Digital Cameras

Panasonic Lumix DMC-LX2

2008-10-02T02:55:00.000-07:00

This camera's ability to capture images in wide-screen format is unique and useful, but the DMC-LX2 is a tad bulky for a point-and-shoot.

The 10-megapixel Lumix DMC-LX2 ($410 as of February 15, 2007), the most recent Panasonic model we've tested, has the same image stabilization feature found on many other Lumix cameras, but it dispenses with those cameras' long zoom in favor of a smaller, more compact body. Even so, the lens protrudes from the camera body by 0.75 inch when the camera is turned off, giving it a total depth of 1.75 inch and making it a little too clunky to fit comfortably in most pockets. The lens cap isn't integrated into the camera body, either; instead, it dangles from a tether while you shoot. If you switch on the camera with the lens cap still attached, you'll get an on-screen warning to remove it.

The DMC-LX2 replaces the DMC-LX1, which we tested last year. The main update involves resolution: The new model takes 4224-by-2376-pixel stills with a wide-screen (16:9) aspect ratio--a format unique to this camera. The HD format is nice for snapping wide-angle shots of, say, landscapes, but pictures that have a distinct foreground subject showed too much extraneous background (though this might be good for capturing unique effects). You can use the three-position switch on the lens to jump to the camera's 3:2 (DVD dimensions) mode, or to its traditional 4:3 mode. In 3:2 format, however, you get only 8.5 megapixels; and in 4:3 mode, 7.5 megapixels. The zoom lens extends to 6.2X if you ratchet the resolution down to 2 megapixels, but at the camera's highest-resolution setting you can only zoom to 4X.

If you choose the right format, the DMC-LX2's unusual, 2.8-inch wide-screen LCD (located on the back of the camera) crops the image just the way an HDTV does. The HD mode takes some getting used to, though. Unless you hold the camera at arm's length, you have to move your eyes to see the entire display. One nifty feature: You can set the display to "high angle" mode, making shots easier to view when you hold the camera over your head--say, in a crowd. The camera has no optical viewfinder.

The camera and the manual say that you can capture movies in either 16:9 or 4:3 mode, but the camera we received for testing allowed movie capture only in 4:3 mode. When I tried to select the 16:9 mode, the camera insisted that I was still in the unsupported 3:2 mode.

Like the DMC-LX1, the newer model has several buttons on its small, well-constructed aluminum body. In addition to the usual mode dial and menu navigation buttons, it has an exposure lock button conveniently situated on the back, and a button on the top of the camera for turning on image stabilization. This feature uses software to reduce blur, and you can use it in multiple scene modes. The tiny joystick on the back controls things like aperture and shutter speed when you use a mode that supports these manual adjustments, but I would rather have used the four menu buttons to adjust these settings. The joystick adjusts the manual focus, too--a function that it does make a bit easier.

Two buttons control the flash. Unfortunately, you must use a button on the top of the camera to pop up the flash manually. One of the four directional buttons lets you select the flash mode, but pressing it doesn't cycle through the modes; instead, it launches an on-screen menu, so you have to use the directional buttons or the joystick to select the mode, and then press the Menu button to enter the mode. That's far more complicated than it should be.

The DMC-LX2 earned excellent scores in nearly all of our image-quality tests. Most shots--even magnified enlargements--looked sharp, and the camera earned our top score for exposure quality. In our lab tests, cameras capture images while mounted on a tripod, but outside the lab, I tried the Lumix's two image-stabilization modes (one works continuously, and the other works only when the shutter release it held down, ostensibly to save battery life). Neither mode can prevent blurry pictures in extremely shaky settings (on a roller coaster, for example), but they will gain you an f-stop or two, which is enough to save some pictures, particularly in low light.

In addition to aperture-priority, shutter-priority, and full-manual shooting modes, the DMC-LX2 offers 18 scene modes, including one for 'Food' and two for taking shots of babies ('Baby1' and 'Baby2'). The latter two modes prompt you to identify your child's birthday; subsequently they refer to that date in stamping photos with your baby's age--for example, "2 years, 1 month, 19 days." (The two Baby modes are identical; there are two of them s you can track the progress of two children.) The camera's menus explain what the scene modes do, but they don't do a very good job of it--the description of Food mode reads, "For taking pictures of food. Take a picture without flash for the best result."

The camera's warranty is a bit unusual, and not in a good way: Most parts are warranted for a year, but the CCD is covered for only six months, and the labor warranty lasts just 90 days. Most camera warranties back their product for a full year on both parts and labor.

Nikon D70S

2008-10-02T02:45:00.000-07:00

The D70s offers a good selection of features and fast autofocus, but image quality was a little disappointing.

Compared to some other digital SLRs--such as the bulky Fujifilm Finepix S2 Pro or the heavy Konica Minolta Maxxum 7D--the Nikon D70s feels small and lightweight. The D70s fits comfortably in the hand, measuring just 5.5 by 4.4 by 3.1 inches, and weighs only 1 pound, 9 ounces without the lens. Although the camera offers a profusion of buttons, the most commonly used ones fall under the fingers, such as the buttons to change metering modes, exposure, and focus lock. The two control dials--one on the front and one on the rear--fall naturally under your index finger and thumb. Having two dials makes controlling the camera in full manual mode much easier than with cameras that have only one dial. On the D70s, one dial controls the shutter and the other changes the aperture. In contrast, the Digital Rebel XT, which has just one dial, makes you hold down a button so the dial changes the aperture instead of the shutter speed.

Also, you can also control most of the settings on the D70s using a combination of a button and one of the control dials, instead of having to navigate an on-screen menu. For example, to change the ISO setting on the D70s, you hold down the ISO button and turn the control dial. This method can be a little awkward because you need to use both hands: one to hold down the button and one to rotate the dial. The settings can also be accessed through the menu, which is navigated with a 4-way thumbpad. A single rechargeable battery powers the camera; it lasted for 500 shots, the cutoff point in our tests, and easily enough for a weekend trip.

One curious omission is the ability to store custom settings; most digital SLRs allow them. However, the mode dial on the D70s does have seven scene modes (for portraits, sports, night shots, and so on), plus the usual manual exposure modes: shutter-priority, aperture-priority, program, and full manual.

Although the 2-inch LCD is a slight improvement on the 1.8-inch screen on the D70, it still looks small compared with the 2.5-inch screen on the Maxxum 7D. The Nikon screen is clear and bright, however, and is easily viewable in anything but direct sunlight.

We found the autofocus of the D70s to be very responsive, focusing quickly in most lighting situations. The D70s was very quick to start up: It was ready to take photos less than a second after we turned it on, so you aren't likely to miss a shot while waiting for the camera.

Serious photographers are more likely to manually adjust settings rather than be content with automatic settings. That's why our SLR testing now includes some shots taken using manual adjustments, in addition to shots using automatic settings. All of the SLRs we tested improved their color accuracy scores under manual settings, but none more dramatically than the D70s: It earned the lowest score under fully automatic mode, but scored higher than most of the other SLRs after we set a custom white balance and adjusted its exposure settings.

We found that the automatic metering of the D70s consistently underexposed our test images, leading to weak colors. To be fair, most digital cameras underexpose because it is easier to recover details in an underexposed picture than in an overexposed one. The images I shot were underexposed only by around half a stop, so they were easy to fix in my image editing application of choice, Adobe Photoshop.

Outdoor images looked more impressive, though the shots I took on a sunny afternoon did have a slightly bluish cast to them. Exposure was more accurate in daylight, although some images were still underexposed using automatic metering. As expected, we were less impressed with the images when we increased the ISO setting (as when shooting in lower light): We noticed noise in our test images beginning at ISO 800; noise was very noticeable in images shot at ISO 1600. However, the D70s did earn one of the highest scores for its noise reduction (only the Canon EOS 20D scored higher); the pattern of noise was less obvious than with other cameras--none of the annoying white dots that we saw in the Finepix S2 Pro's images, for example. For exposures longer than a second, the D70s includes an additional noise reduction mode, whereby it takes a second exposure with the shutter closed in order to gauge how much digital noise the image sensor's electronics are introducing, and then uses the reading to subtract noise from the first shot.

On the other hand, the D70s did not score well in our sharpness and distortion tests. Though it did an impressive job in rendering fine lines distinctly, the sharpening process that the D70s uses to bring out these details also introduced some moir?? artifacts, with unsightly color fringing in some areas.

At $1299 for the kit we reviewed, the D70s costs a few hundred dollars more than some other SLRs we've tested. But it is a good value for the money if you don't own any lenses: the 18-70mm Nikkor lens that comes with the kit is excellent. But if you already have Nikon lenses, you can save a bit of cash by buying the body only, which goes for $899. You can use the D70s with most lenses that use the Nikon F mount; only a few older lenses won't work with it.

Upshot: The small, lightweight Nikon D70s offers conveniences you won't find on other models, though its image quality lags behind many other SLRs.

Canon Powershot G7

2008-10-02T02:43:00.000-07:00

Compact advanced digicam offers a slew of features, but mediocre battery life.

The sophisticated $600 Canon PowerShot G7 boasts a 10-megapixel sensor, face-detection autofocus, optical image stabilization, and a maximum light sensitivity of ISO 1600. In contrast, the PowerShot G6 had a 7.1-megapixel rating, lacked image stabilization, and reached ISO 400.

The compact G7's rugged, bricklike metal body feels as though it could weather a few knocks. Its black exterior gives the camera a serious look.

The large, high-resolution 2.5-inch LCD doesn't swivel (the G6's did), lacks a wireless remote, and offers just a strip of rubberized material to grasp onto--a poor substitute for a true hand grip.

The mode dial atop the camera offers typical assortment of shooting modes, plus two positions you can assign customized settings to. Working with the camera's dedicated ISO dial is far more convenient than using an LCD menu.

Unfortunately, the top panel lacks a status display LCD.

On the back, the G7's four-way selector button is surrounded by a thin thumb wheel that lets you make menu selections without a lot of button pressing. When you select a scene mode using the thumb wheel, a virtual dial spins on the LCD screen--a nice touch.

The G7 delivered very sharp shots in our tests, earning the best score on this measure among recently tested advanced cameras. Overall, the G7 earned a Very Good rating for image quality. We were disappointed, however, by the indifferent accuracy of its exposures on indoor shots (at automatic settings), especially on shots where we used the built-in flash. On outdoor shots the G7 usually supplied accurate exposures. The slow autofocus proved frustrating: The lens tended to swim in and out for several seconds before locking onto my subject; and in dim lighting, it sometimes produced out-of-focus shots anyway.

The G7's 6X optical zoom is modest in comparison to the 10X or 12X zooms we've seen on most advanced cameras recently. Photo enthusiasts may be disappointed that the G7 shoots only JPEGs (no RAW images). And if you like to use a tripod, be forewarned that the SD card slot is located next to the battery compartment on the underside of the camera; before you can swap cards, you'll have to remove the camera from the tripod. It's just as likely that you'll have to replace the battery, however: The G7's battery lasted just 275 shots on a full charge, in a category where the average is over 400 shots.

The G7's shortcomings aside, its generous controls and easy navigation may prove an ideal combination for photographers who frequently adjust manual settings in pursuit of the perfect shot. But photo enthusiasts looking for a backup camera to supplement their digital SLR may be turned off by the G7's high price, lack of RAW support, and mediocre battery life.

Nikon D200 DSLR

2008-10-02T02:40:00.000-07:00

Average Megapixels For an SLR

This digital SLR has an average megapixel count for its class. You can print images from an 8- to 10-megapixel camera at sizes up to 8 by 10 inches with no loss in quality; at 13 by 19 inches, however, prints will exhibit a slight loss of detail. Images from a 13-megapixel camera look good at 13 by 19 inches and can be pushed to 16 by 24 inches. Though prints at these larger sizes will lose some sharpness, they'll be superior to what you'd get from 35mm film printed at the same dimensions. You’ll also have plenty of latitude to crop and resize images. As the pixel count on an image sensor increases, so does its propensity to produce images plagued by noise--ugly speckling patterns. To avoid noise, look for a camera with the lowest pixel count that still serves your output needs.
High Continuous Shooting Speed

When a camera is in burst (or drive) mode, it will continue to shoot as long as you hold down the shutter button. How quickly a particular model takes pictures in this mode depends on its continuous shooting speed, measured in number of frames per second (fps). This SLR has a high continuous shooting speed. With a burst speed of 5 fps or greater, a camera can record a very subtle range of expressions in series shots of people. These slight variations can often make the difference between a good portrait or candid photo and an unusable one. You'll also be able to capture decisive sports and entertainment moments.
RAW Image Format

RAW is an uncompressed format for preserving graphics files. Smaller than TIFF files, RAW files often permit restoration of images that have overexposed highlight areas; also, you can ensure that your camera will store the full range of color it captures. You'll need special software on your computer to deal with RAW files, and shooting in RAW format can slow down your SLR. Some cameras with RAW capabilities let you choose from among several resolutions, so you can shoot RAW files at smaller pixel dimensions. That way, if you don’t need the full resolution of your camera, you can shoot RAW photos while saving space on your card.
JPEG Image Format

All digital cameras can capture JPEG images. The JPEG compression process greatly reduces the amount of storage an image requires, and JPEG images transfer quickly from your camera to your computer. JPEG compression is a lossy algorithm, however, which means that saving an image in JPEG format degrades its quality. The high-quality JPEG settings on most cameras are quite good, and it's difficult to spot differences between a JPEG compressed image and a noncompressed image. Still, if you like to edit your images, you may want to upgrade to a camera that also supports a noncompressed (lossless) format, such as TIFF or RAW.
Supports Center-Weight Metering

The light meter controls how long the shutter stays open and how large the aperture is--two variables that are critical to image quality. The default meter on most cameras is a matrix meter, which divides your scene into a grid, gauges the light in each cell of the grid, and then averages the results to come up with a final metering value for the shot. This SLR, however, uses a center-weight meter, which works like a matrix meter but pays more attention to the cells at the center of the viewfinder. This approach to metering can help greatly with backlighting complications.
Supports Spot Metering

A camera's light meter controls how long the shutter stays open and how large the aperture is--two variables that are critical to image quality. This SLR features spot metering. A spot meter gauges the necessary aperture and exposure time for a shot by measuring one spot in the scene you are photographing--usually a very small one. A spot meter is useful for dealing with backlighting complications and scenes that have a very wide dynamic range (a big variation in brightness or darkness) because it ensures that the exposure will be appropriate for certain specific details in the scene.
Fast Shutter Speed

A camera has two mechanisms for controlling how much light hits the sensor: the aperture, which opens and closes like the iris in your eye; and the shutter, which determines how long the sensor will be exposed to light. Depending on how fast the camera can open and close its shutter, you’ll be able to freeze fast-moving motion more precisely or less precisely. This model's fast shutter speed makes it ideal for capturing pictures at sporting events, in nature, and in moving water. You still have the option of shooting at slower shutter speeds to create blurred motion, if you wish.

Pentax K100D

2008-10-02T02:38:00.000-07:00

This 6-megapixel SLR is a fine choice for beginning and intermediate shooters.

The K100D's $700 price tag (as of November 6, 2006) puts it at the low end of the entry-level digital SLR market, and its 6.1-megapixel resolution lags behind the current state-of-the-art. Nevertheless, this camera offers a feature set ideally suited to beginning shooters plus enough room to grow that intermediate photographers won't sniff at it either.

The K100D is small but well balanced, with a large hand grip that maximizes its stability during shooting and makes it comfortable to hold. In addition, the K100D incorporates Pentax's sensor-based image stabilization technology, which tries to minimize the effect of camera shake by moving the sensor to compensate for jittery hand vibrations.

For an entry-level camera, the K100D doesn't skimp on interface features. You get a bright, 2.5-inch rear-mounted LCD, plus a top-mounted LCD status display. The camera provides a full complement of readily accessible and easy-to-understand controls.

Unfortunately, the model's battery life is not up to par. The Pentax ships with four alkaline AA batteries, rather than with a rechargeable battery. In our battery life testing, the Pentax took only took 265 pictures before running out of juice.

Pentax claims that the K100D has two stops worth of stabilization; but in my shooting, the camera's stabilization fell somewhere between one and one-and-a-half stops. In contrast, lens-based systems consistently offer three to four stops. The K100D uses its sensor-shaking technology as a dust removal mechanism--handy for any camera that works with removable lenses.

The K100D is well designed and comfortable to shoot with, and its essential features are easy to access. Shooting modes include program, shutter- and aperture-priority, full manual, and bulb. The camera adds flexibility to the 13 scene modes by letting you adjust ISO, white balance, and exposure compensation. In Auto Picture mode, the camera analyzes your subject and selects one of these custom program modes. The K100D provides a full complement of manual modes, too, though it lacks a program shift feature for automatically cycling through different aperture/shutter speed combinations that deliver the same exposure.

The 11-point autofocus system works well, and metering on the camera is very good, though the K100D isn't particularly speedy. Powering up takes about a second, as does waking from sleep. The camera's burst speed maxes out at 1.5 frames per second for JPEG images.

The K100D takes very good pictures for a 6.1-megapixel camera. If you don't plan to enlarge pictures beyond 8 by 10 inches or to use zooming or cropping very often, 6.1 megapixels is plenty.

The K100D shoots Raw images and three levels of JPEG images. By default, the camera's JPEG output is a bit soft, so you might want to adjust the sharpening parameter within the camera. Though the K100D offers ISO levels up to 3200, images show substantial noise at ISO 800 and above.

The K100D is a great entry-level SLR camera, with an unmatched price. Pentax offers an extensive array of lenses to buy separately, and the camera's interface and design make for a comfortable shoot. If you want a full-featured SLR with fairly advanced features, it's hard to beat the price and performance of the K100D.

Nikon D50 DSLR

2008-10-02T02:34:00.000-07:00

This 6.1-megapixel model brings interchangeable-lens photography to an affordable level.

Nikon's 6.1-megapixel D50 digital SLR model is no photographic marvel, but it does fit nicely into the latest digital camera trend: making interchangeable-lens photography accessible to shooters who don't have deep pockets.

If you already have Nikon lenses from a film camera, you can use them with a D50 body, which sells for $750. Nikon also sells the D50 with an 18mm-55mm zoom lens for $900, a price a bit less than that of the D50's direct rival, Canon's 8-megapixel Digital Rebel XT, and about $400 less than the Nikon D70s.

The choice between the D50 and the 6.1-megapixel D70s is an interesting dilemma. (For more info on the Digital Rebel XT, the D70s, and other digital SLRs, see "Powerful Cameras, Lower Prices.") The two Nikons are near twins in look (both have 2-inch LCDs), function, and megapixel count. The D50 is a bit smaller and lighter, though, and it accepts SD (Secure Digital) media cards exclusively (the D70s accepts CompactFlash).

The D50 also lacks some controls as compared with the D70s. You'll still get most of what a hobbyist photographer might look for, though, and intermediate photographers should find the D50 easier to use than the D70s.

A surprising difference between the two models: Shooting in automatic mode, our shipping D50's images were brighter and had livelier color. According to Nikon, this is by design: The D70s is biased toward underexposure by default, while the D50 is tuned for those photographers who want to minimize the time they spend tweaking their shots on a computer.

The D50 is a fine entry-level digital SLR--particularly if you own some Nikon lenses. Some may even prefer it to Canon's popular Rebel XT.

Konica Minolta Maxxum 5D

2008-10-02T02:31:00.000-07:00

The Maxxum 5D has features that will appeal to point-and-shooters, as well as to some budget-minding advanced photographers.

At $899 including an 18mm-to-70mm lens, the Maxxum 5D competes with other consumer digital single-lens reflex models such as Nikon's D50, Canon's EOS Digital Rebel XT, and Olympus's EVolt E-300. The 6.1-megapixel Maxxum 5D has the requisite manual exposure modes, but it also has five scene modes located on a top-mounted dial. Advanced users will appreciate that the camera has a dedicated ISO button located prominently just beside the mode dial, and that it has a dedicated white-balance dial on the top just to the left of the flash--an unusual but welcome feature. You can set a custom white balance, or you can use a notch on the dial to change the color temperature in 100-degree increments. The camera has white-balance bracketing, too.

As with all SLRs, the Maxxum 5D won't let you frame your shots with its LCD, but at least the display is a big one--2.5 inches, one of the largest on an SLR. The information on the display rotates automatically if you rotate the camera, and you can magnify the information with the press of a button. But images look grainy on the LCD; sometimes it made me think that I had botched shots when I actually hadn't.

An antishake mechanism is built into the camera body rather than the lens (as with other cameras offering antishake mechanisms), so optional lenses should be less expensive. The mechanism won't compensate for shaky hands in all settings, but it can give you a little more leeway--for example, if you're forced to use a 1/30-second shutter speed rather than the 1/60 or 1/125 second you're usually confident in.

In our image-quality tests, the Maxxum 5D earned an overall score of Very Good, thanks to above-average scores in tests for exposure and color quality. However, its score for image sharpness was below the group average, beating only the mark of the Pentax *ist DS. Its battery fared well, as did those of all the SLRs we've tested, reaching our 500-shot testing cutoff.

The Maxxum 5D can shoot at 3 frames per second when capturing JPEG images at its best setting, for up to 30 frames--that's fast, and pretty lengthy for a consumer model. (You can shoot a maximum of only 5 frames when capturing RAW files.)

However, firing away at that clip can get pretty noisy, as the camera clacks loudly when taking a shot. The lens is fairly loud when focusing, too. That and the camera's blocky plastic body contribute to an impression that the Maxxum 5D is a bit less polished than some other models. It looks and feels better than the original Canon Digital Rebel, but it doesn't compare quite as well to the best consumer SLRs.

Upshot: Its uncommon antishake mechanism, large LCD panel, and well-arranged controls make the Maxxum 5D a good choice for someone seeking a consumer-friendly SLR.

Fujifilm FinePix S8100fd

2008-10-02T02:29:00.000-07:00

This lightweight model has a zoom lens that plays well at both wide-angle and telephoto extremes.

The Fujifilm FinePix S8100fd offers a host of advanced features at an affordable $400 price, but its biggest strength is the versatile 18X zoom lens. It covers a 35mm film camera's range--specifically, the equivalent of 27mm to 486mm--providing true wide-angle and extreme telephoto capability in a single compact unit. (However, in our roundup of megazooms, the Olympus SP-570 UZ had the greatest range: 26mm to 520mm.)

On a spring trip to Lake Tahoe, I found the wide angle to be excellent for sweeping mountain backdrops, while the long telephoto let me pick out details in the distance and get up close to wildlife. The camera's dual image stabilization was effective at reducing the chance of blur in zoom shots and at capturing moving targets, such as birds in flight. It works by shifting the sensor to compensate for unsteady hands and by raising the sensitivity to allow for shorter exposure times.

The S8100fd's automatic face detection optimized the focus and exposure in my portraits well, even when I was zooming from a distance. And its automatic red-eye removal took the guesswork out of flash photography. For users who want maximum control, the camera also provides exposure compensation, aperture- and shutter-priority settings, and full manual focus and exposure controls.

Despite the relatively low exposure range of F2.8 to F8.0, the camera tended towards large apertures for my scenic shots. I liked being able to reduce this myself, to achieve a longer depth of focus in pictures with foreground subjects against the lake and mountains.

The color fidelity of my photos sometimes disappointed me. Images with large areas of green trees and grass often looked unnatural. However, the S8100fd performed well in our lab tests, where our judges saw good color reproduction. Exposure accuracy was exceptional in natural light, but could have been better using the built-in flash. Images weren't as sharp as you might expect from the camera's 10-megapixel sensor.

The S8100fd offers several continuous shooting modes, including two high-speed settings that record at a lower resolution. You can record up to 33 frames at either 7 frames per second for 5-megapixel images or 13.5 fps for 3 megapixels, which might be useful for stopping the action in sports and wildlife shots. The camera records only standard-definition video at up to 30 fps.

Rubber surfaces on the front and rear of the handgrip make the lightweight S8100fd comfortable to hold and operate. The conveniently arranged controls generally work well, although it's sometimes easy to forget to select the image stabilization and face detection buttons on top of the camera. The 2.5-inch LCD is sufficiently clear and bright for composing most shots, but its colors didn't seem very natural. Because I wore the camera by its neck strap, I tended to use the electronic viewfinder often--it's hard to shoot with arms outstretched while you have it tethered to your neck. Bumping up the refresh rate from 30 fps to the optional 60 fps improved the viewfinder's stability, but it still felt like trying to focus on a fuzzy TV.

A set of batteries lasted for a good 459 shots in our lab tests, but they drained more quickly than I expected during my everyday use. Fortunately, the camera runs off regular AA alkaline batteries, so it was easy to find replacements during my trip.

The Fujifilm FinePix S8100fd is a good all-rounder at a reasonable price. It offers plenty of automated assistance, but lets you tweak settings manually when necessary. It makes a good choice for anyone seeking a single camera for all occasions.

Fujifilm's FinePix S700

2008-10-02T02:26:00.000-07:00

The nicely priced S700 has good features and SLR styling but an awkward electronic viewfinder.

Fujifilm's FinePix S700 adds an SLR-style frame to the solid functionality of an advanced point-and-shoot. Its best traits are its long battery life, manual controls, 10X optical zoom, and image stabilization--not a bad combo in a $250 model.

The camera powers up in less than 2 seconds, and the shutter button responds fairly quickly. It handled close-up shots nicely; I photographed a quarter at a distance of about 2 inches, and the resulting shot looked crisp and clear.

In our lab tests, the 7.1-megapixel S700 earned a high score for color accuracy and an average score for sharpness. Its scores for distortion, however, were subpar. In our battery-life tests, the camera's four AA alkaline batteries supported 475 shots--much better than the average score.

I liked the camera's 'Natural Light and Flash' mode shooting option, where the camera captures a pair of consecutive shots--one without flash and another with flash--so you can compare which lighting captured the better image. A continuous-shooting mode snaps shots at a resolution of either 7 megapixels (the unit's maximum) or 4 megapixels. This feature worked fine, but it was a bit slow to record.

The S700 has the chops to perform well in most shooting scenarios. You may find the body a bit bulky, though.

Sony Alpha DSLR-A700

2008-10-02T02:15:00.000-07:00

A complex, well-made camera with tons of controls, the A700 takes exceptionally sharp, well-exposed shots.

First impressions of the Alpha DSLR-A700, Sony's $1900 (as of 12/14/2007), 12-megapixel digital single-lens reflex camera, brings to mind terms like "massive," "brick-like," and "complex." With its deep right-hand grip and 2.75-pound weight (which includes the zoom lens in the kit we tested), it feels big and heavy.

That impression is, however, a bit deceiving. The A700's body is comparable in size to the Canon EOS 30D I use, and most of the Sony's weight is in the lens--the body, without a battery, is 24 ounces, less than the 30D or the Samsung Digimax GX-10 I reviewed at the same time as the Sony. Some of that savings in weight comes from the Sony's magnesium body, which should also add to its overall durability.

Unlike some other digital SLR brands, Sony did not go cheap on the kit lens bundled with its camera: The $1900 price includes a zoom lens with an appealing 24mm to 158mm (35mm equivalent) focal length. Purchasing the body alone reduces the price by $500. Apart from this lens, however, the number of other lenses and accessories available for this model is limited.

Complex the A700 certainly is--it probably has more exposure controls than any other DSLR I've seen to date. That said, the camera's ease of use is still exceptionally good: Like most current DSLRs, it has fore and aft selector dials for quickly changing shutter speeds, aperture values, and exposure compensation. But it also has a healthy number of nicely placed, well-labeled, dedicated buttons for key controls such as white balance, drive mode, ISO setting, and metering modes.

My favorite feature, however, is the Function button on the back of the camera. In shooting mode, the A700 displays a comprehensive summary of your exposure settings on its 3-inch LCD. By pressing the Function button, then working the mini-joystick and the selector dials, you can directly select and change any of the displayed settings right on the screen. It's extremely quick and intuitive.

Other high points for the A700 include slots for both Memory Stick Pro Duo and Compact Flash media; built-in optical image stabilization that works with all of Sony's Alpha lenses; five-frames-per-second burst shooting; three memory registers for custom user settings; plus a wireless remote and an HDMI port for viewing your images on a high-definition display.

Image bracketing options in the A700 are extensive: In addition to the usual automatic exposure bracketing, it has white balance, flash bracketing with one shot, and two levels of dynamic-range bracketing. This latter feature is useful in scenes with extremely high contrast. In a test shot that included the interior of a room and a window with a bright outdoor scene, turning up the dynamic range greatly improved shadow detail, though with a slight overexposure of the highlights.

My informal test shots with the A700 were mostly up to expectations. I was impressed with their overall sharpness, especially in macro (close-up) images. In photos with deep shadow and bright highlights, the A700 delivered significantly more shadow detail than did the Panasonic Lumix DMC-L10K, the Samsung GX-10, or my Canon 30D reference camera. Color balance seemed a bit erratic, though: A scene taken in late afternoon sun with automatic white balance had a distinct blue/magenta cast. However, switching to daylight white balance produced accurate colors. In other shots, auto white balance produced perfectly acceptable colors. In our lab tests, the A700 earned high marks for exposure accuracy and for image sharpness, but it scored a bit below average for color accuracy.

Disappointingly, the image editing and image management software package Sony has bundled does a disservice to its camera. The three apps are poorly integrated, and are a mishmash of the overly simple and overly complex. The Image Data Converter SR application, for example, has a plethora of tools for editing and processing RAW format images--but almost nothing for editing JPEG-based shots. For that, you have to go to the relatively low-end Sony Picture Motion Browser app, which is obviously more suitable for the company's point-and-shoot models. And while the RAW application comes in both Mac and Windows versions, Picture Motion Browser is Windows only. (That's not a big concern, though, because Apple's free iPhoto is a far better application.) The third application is the Image Data Lightbox SR, another simple app for viewing and organizing your photos.

With its sharp, 12-megapixel imaging and with more exposure controls than most photographers--amateur or professional--will likely use, the beefy and finely designed A700 rises to nearly pro-level photography, making it well worth its $1900 price tag. It is limited mostly by its relatively narrow range of available lenses and accessories.

Nikon D-300

2008-10-02T02:06:00.000-07:00

This digital SLR camera has high resolution, a very fast burst-shooting capability, and exceptional flexibility, but it's quite complex.

My first impressions of the Nikon D300 digital SLR camera may rekindle my fondness for Nikon SLRs. It's not a perfect 10, but it's interesting and nicely built, and it performed better than I expected.

The D300 is not for the casual photographer. It's big, it's heavy--the body is just over 2 pounds with the battery--and it costs $1800 (as of 03/18/08) without a lens. It's also a complex camera that offers 12.3-megapixel imaging and straddles the line between professional and consumer.

When you pull the D300 out of the box, one of the first features to catch your eye is the 3-inch color LCD. More than just a way to review your photos, the LCD has a Live View mode that lets you compose shots while viewing the screen; the setup is ideal for those times when it's difficult to use the eye-level viewfinder, such as in studio work and tripod-based macro shooting. (The D300 and the top-of-the-line D3 are the only two cameras in the Nikon digital SLR lineup that have Live View.)

Nikon's implementation of Live View, however, is a bit more complicated than that of the Olympus E3, which I reviewed at the same time. You switch a mode dial on the D300 to 'LV', press the shutter release once to lock the mirror up and turn the LCD on, and press the release again to focus the lens and trip the shutter. Setting Live View on the Olympus, on the other hand, requires a simple press of a dedicated button on the back of the camera and flipping another lever to close off the eye-level viewfinder so that light entering through it won't affect the exposure. More important, the Olympus E3's LCD panel is hinged, so you can tilt it toward you when you're holding the camera very low or high overhead.

One of the D300's strong suits is its array of options for tailoring its controls to your liking; the 421-page paper manual gives you an immediate clue to its complexity. That said, the documentation is excellent--readable, well organized, and without the squint-print found in the manuals of too many other brands.

You can program many of the buttons, as well as the dual front and back selector dials, to handle other functions; by default, for example, the FN button near the lens mount sets bracketing options, but you can reassign it to control depth-of-preview, to enable or disable the flash, to select metering modes, or to enable auto-focus or auto-exposure lock. Fine-tuning is a common theme throughout the D300's controls. Take bracketing, for example: Instead of the usual three to five bracketed shots, the D300 is capable of taking up to nine frames with different exposure settings, or nine frames with varying white-balance values. The only drawback is that you cannot use exposure bracketing and white-balance bracketing as the same time. (I had to cruise through the manual just to locate the camera's bracketing control, which lives under the somewhat hidden FN button.) Like many other digital SLRs, the Nikon D300 has picture styles (Standard, Neutral, Vivid, and Monochrome) that let you quickly change the timbre of your images. In addition, the D300 allows you to fine-tune each of those styles with custom saturation, contrast, brightness, and hue settings. You can store up to nine custom configurations and give each its own descriptive label--an outstanding feature, and a real help to those of us with poor memories. One other interesting capability: If you have more than one D300 body, you can copy your custom setting from one camera to another.

The ability to tweak the camera becomes essential when you dive into the menu system. Dense and complicated, the D300's menus are, at first, a nightmare. Fortunately, you can arrange the menus in the order you prefer to see them, though the task is somewhat laborious.

The images this camera produced surprised me. Past Nikons have had a strong tendency to underexpose images, requiring fixes later in software. But of the three cameras I tested together--the D300, the Olympus E3, and my Canon 30D--the Nikon did by far the best job of capturing difficult, high-contrast landscapes. In scenes with vast amounts of snow, sky, and water, the Nikon was the only camera that came close to capturing accurate color and brightness. Both the Canon and Olympus produced shots that were substantially underexposed and far too blue. When I tried shooting less-complex subjects such as structures, objets d'art, and more-balanced landscapes, the image quality among the three models was a wash. The only knock on the D300 is its images' sharpness: Many of the landscapes seemed soft when I viewed them in Photoshop at 100 percent magnification. On the other hand, in our lab tests, where depth of field isn't as much of an issue, the D300 earned very high scores--in all likelihood due to the camera's exceedingly high resolution.

The D300 is quite fast: It can capture an impressive 6 frames per second in burst mode, and 7.5 fps with the addition of an external battery pack. My test unit came with Nikon's capable image editing and RAW-format processing application, Capture NX. However, having Capture NX bundled with the camera is a limited-time offer that expires in spring 2008; when you buy, look for a box adorned with a sticker mentioning the inclusion of Capture NX. Finally, if you add Nikon's MC-35 adapter cable (around $100) and a handheld Garmin GPS device, you can log location data with your images, too. As a landscape photographer, I regretted that I was unable to try that function.

The Nikon D300 is not a camera that you can simply pick up and run with. Its high resolution, exceptional flexibility, excellent exposure accuracy, and useful Live View function make it worth the effort of working through a longish learning stage. It should fare well against its two strongest competitors, Sony's Alpha 700 and Olympus' E3.

Fujifilm S5200

2008-10-02T01:59:00.000-07:00

This bargain-priced model is well designed, takes attractive shots, and is easy to use.

The Fujifilm S5200 is fast in a number of ways. For one thing, it starts up quickly: It was ready to shoot in about a second after we turned the power on, and shutter lag was less than half a second. That's quick enough to ensure that you wouldn't miss many shots.

The autofocus is very snappy, finding the right focus point in under a second in most situations. A couple of unconventional modes make it flexible. The AF Multi mode focuses on a high-contrast object located near the center of the screen. This works well when you take a shot of two people: Though the faces are off-center, the camera usually finds them and focuses on them. The AF Area mode lets you pick a spot anywhere on the screen as the focusing target, which is useful if you want to focus on an off-center object to create a depth-of-field effect. We found this tool is a lot easier to use than the manual focus, which required us to hold down the exposure compensation button while using the zoom buttons to focus.

The S5200's design enhances its ease of use: The handgrip is comfortable, and its textured rubber coating helps you keep holding on even if your hands get sweaty. The shutter button falls under the index finger, and the zoom controls are under the thumb. You can work the mode dial with your thumb, too, but using the other buttons (such as the menu button and the directional control) requires your other hand. The on-screen menus are pretty straightforward, though somewhat oddly worded: The camera refers to "photometry" instead of metering modes, which may confuse some users. The LCD screen is a little small (at 1.8 inches), but the viewfinder is excellent. It's one of the few I've seen that didn't require me to jam my eye right up to it to see the whole image--that's a big plus for spectacles wearers.

We were very impressed with the image quality of the S5200: In our tests with studio and natural lights, images displayed bright, vivid colors and lots of detail. Flesh tones looked great, with natural colors and plenty of shadow detail. Though the camera shoots only at a resolution of 5.1 megapixels, the results were noticeably sharper than from many higher-resolution cameras (such as the 8-megapixel Panasonic DMC-FZ30 and the 6-megapixel Konica Minolta DiMage 6Z). The sharpening that the camera applies didn't cause much color interference: We saw very little evidence of color fringing.

The exposure we took using the built-in flash was slightly off, yielding images that were a bit underexposed. In low light, however, the camera struggled: Though the ISO setting can be pushed up to 1600, images taken at high settings showed a lot of noticeable noise. You can push the shutter speed up to an impressive 15 seconds, but there's no dark field subtraction or other noise reduction mode, so noise becomes a big problem at longer exposures.

The S5200's battery life was superior: The camera reached our test maximum of 500 shots on four AA batteries. You can use rechargeable NiMH batteries if you like, but Fujifilm doesn't include them (or a charger) in its package. We encountered one annoyance involving the power management. Most cameras go into standby mode after a certain period of inactivity, and you can get out of it by pressing the shutter button. But the S5200 simply turns the power off; to start shooting again, you have to turn the power dial to off and then back to shooting mode. You can alter how long it waits before turning itself off, however.

The lens's styling gives the impression that you can zoom by twisting it, but unfortunately you can't do this. And it's sometimes a little difficult to tell whether your photos are in focus or not, since the LCD screen is rather small. But these are relatively minor issues.

Upshot: The easy-to-use S5200 takes great pictures and offers a good range of advanced features for a low price.

Olympus E3

2008-10-02T01:25:00.000-07:00

This big, heavy, rugged SLR camera has extensive advanced controls and fast burst-shooting speed, and can autofocus very quickly.

The 10.1-megapixel E3, the top dog in Olympus's line of digital single-lens-reflex (DSLR) cameras, is an attractive package for both pros and serious amateurs. You have to be serious about your photography--and have plenty of arm strength--though, because the bulky E3 body alone costs $1700 and weighs just under 2 pounds. Adding the lenses increases both the cost and the heft: The 12mm-to-60mm (24mm-to-120mm, 35mm equivalent) zoom I received with the E3 is around $900, by itself, and together the body and lens tip the scales at an arm-fatiguing 3.25 pounds.

Like most new DSLRs, though, the E3 provides speed and flexibility, and this camera offers them in spades. Tested against my now aging Canon 30D and the new Nikon D300, the E3 delivered lightning-quick auto-focusing, noticeably faster than either of the other cameras did. The E3 will capture up to five frames per second--not quite up to the Nikon's six-frames-per-second burst-shooting speed, but still quite fast.

The E3's flexibility starts with its bright, 2.5-inch color LCD, which swings away from the camera body and swivels. I loved this feature in my old Olympus C-5060, and the company had a good reason to add it to the E3: Pressing the live view button, you can compose your shot on the LCD screen. (A simple thing that every digital point-and-shoot does already.) The design makes shooting still lifes with a tripod, paparazzi pics over crowds, or macros of low-lying wildflowers much easier on the back. The LCD has one other extremely useful trick: Like most DSLRs, it displays a concise summary of current camera settings. Unlike with most of the competition, though, you can also use the four-way navigation buttons to highlight a specific setting and change it on screen, or you can use them to create a custom group setting--especially useful when you want to make several changes at the same time.

The E3 has highly customizable controls. Dual selector dials--one on the back, one on the front--are now commonplace on DSLRs. But you can reassign the E3's dials in a number of useful ways; you can, for example, set one to adjust the f-stop and the other to change the shutter speed. The same is true for the camera's many other controls; for example, the AE/AL button can lock the exposure value, or the focus, or both. All of that means less adapting to the camera and more adapting the camera to your way of shooting.

The theme extends to many of the creative controls in the E3's menu system. Some examples include the E3's implementation of automatic bracketing, which includes options for exposure, white balance, flash, and (new to me) ISO or image sensitivity bracketing. The E3 offers extensive control over color balance, as well: You can fine-tune all of the presets and color temperature settings along the red-green axis.

That level of control is a good thing, because the E3's color balance was off in some shooting situations. When I first started shooting with the E3 I was, to put it mildly, disappointed in the photos. For shots taken under difficult conditions--landscapes with lots of snow, water, and sky--all of my images were a stop-and-a-half underexposed and looked as if I had forgotten to remove a dark-blue filter. Correcting these shots (taken in RAW format) on my computer soaked up a lot of time. Extensive use of bracketing helped only a little. Fortunately, subsequent sessions with more mundane subjects, such as cars, homes, small still lifes, and dogs, produced far better results--accurate colors, outstanding details, and only the slight underexposures that are common in DSLRs.

Among the more interesting controls found in the E3 is an antishock mode, which trips the shutter from 1 to 30 seconds after you press the shutter release and the mirror snaps up--useful for macro work where you remembered to bring your tripod but forgot the (optional) wireless remote. Image stabilization is controlled within the camera, so the function works with all Olympus Zuiko lenses.

The Master 2 image editing application included with the E3 is a capable product, with a good selection of editing tools. If you want batch-processing capabilities, you'll have to upgrade to the $100 Studio 2, available from Olympus as an online download. (A 30-day trial version of Studio 2 is included on the Master 2 CD.) If you are an Adobe Photoshop CS3 jockey, the latest version of Camera Raw reportedly supports the Olympus RAW format. If you're on Photoshop CS2, you're probably facing an expensive upgrade, because the older version of Camera Raw that's compatible with CS2 won't recognize the E3's files.

Overall, I enjoyed using the E3. It feels comfortable in the hand, its magnesium body looks and feels durable--ready for extensive time in the field--and operating the controls is quick and efficient. And unlike my experience with many cameras, I could read the color LCD, even with my dark, polarized sunglasses on. As someone who shoots extensively in the mountains, my only concern is the color balance issue.

OLYMPUS C-7070

2008-10-02T01:21:00.000-07:00

It would be easy to classify the Olympus C-7070 Wide Zoom as a simple case of keeping up with the Joneses. A near twin to the older C-5060 that it replaces, the C-7070's bump in resolution from the now pedestrian 5 megapixels up to a more desirable 7.1 megapixels keeps it competitive with the slew of recently released 7- and 8-megapixel cameras. But Olympus has also added numerous refinements to the C-5060's prodigious collection of creative controls and made the C-7070 noticeably easier to use.

I will confess at this point that I own the C-5060, having purchased it based on our own Best Buy recommendation. Smaller and lighter than an SLR, the C-5060 made a good choice for the back-country and travel photography I do. The new C-7070 has all of the qualities that made its predecessor attractive, including a well-thought-out selection of control buttons and menus, plus extras like dual-media support (XD-Picture Card and CompactFlash) and a swiveling LCD--the latter being especially useful for shooting low-lying wildflowers.

The C-7070's refinements include the capability to capture RAW and JPEG images at the same time--useful if you want to display your work immediately, then go back and process the RAW files at a later time. The scene mode function is improved somewhat--though there are no longer individual settings on the mode dial, they are still easily selected by picking from a list on the LCD. Each scene mode choice now displays a sample image, helpful for less-experienced photographers.

Two completely new features are the in-camera red-eye fix and the so-called oracle auto focus, a function that might help sports photographers. It works like this: After you set the exposure lock on a moving subject, oracle AF tries to predict the correct distance to the subject at the time you actually press the trigger. To test this, I shot cars moving down a city street using either traditional autofocus or the oracle AF setting. I can't say that oracle AF was more successful in freezing my desired subject.

The focal length of the camera remains unchanged. The 4X optical zoom starts at the 35mm equivalent of 27mm--ideal for interior and landscape shooting. The f-stop range, however, is a little better on the newer model: f2.8 to f11 versus f2.8 to f8. That's helpful for a little more depth of field, but it would have been more useful if Olympus had made the lens faster--the now ancient C-5050 started at f1.8, and there were complaints from users when the C-5060 went to f2.8.

My expectations for the C-7070's image quality were not matched by the results of PC World's lab tests and my less-formal shots. Though it received an overall score of Very Good, the C-7070's image sharpness was only marginally better than that of the C-5060's images. Like a number of 7-megapixel models I've seen recently, there was a distinct falloff in sharpness when I viewed the C-7070's shots at 100 percent in Photoshop. Test images also had somewhat more noise than I expect to see in this level of camera. It's not objectionable in a standard 8 by 10 print, but will likely be pronounced if you crop and enlarge much.

Upshot: Though image quality is not quite what you'd expect, the C-7070 is still one of the most powerful and flexible advanced digital cameras available.
Olympus C-7070 Wide Zoom

7.1 megapixels, 3072 by 2304 maximum resolution, 27mm to 110mm focal range (35mm equivalent), f2.6 to f11 maximum aperture range, shutter speeds from 16 seconds to 1/4000 second, optical and LCD viewfinders, USB connection, XD-Picture Card and CompactFlash slots, rechargeable lithium ion battery, 13.5 ounces with battery, Olympus Master software.

Olympus EVolt E-300

2008-10-02T00:56:00.000-07:00

This rugged SLR is fast and can shoot in long bursts, but it requires specific lenses.

The Olympus EVolt E-300 digital SLR ($900 with lens, $800 otherwise) comes with a slew of creative features. Once you master them--particularly the exposure controls--you can take some truly dazzling photos. Digital photographers looking to move beyond a simple point-and-shoot model likely won't be disappointed by the EVolt E-300's strengths, though it does have some distinct weaknesses.

The EVolt's design is eye-catching. There's no hump on the top of the camera--the signature mark of all SLRs for the past 45 years. Olympus moved the viewfinder's optical path to the left side of the body, which makes the camera slightly shorter than most other digital SLRs. Though it isn't a significant savings in size, the flat-top design does seem to help the EVolt slide in and out of an overstuffed camera bag more easily. Our shipping Olympus has a polished look and feel. Its solid, bricklike body feels as if you could pound nails with it. The dials turn smoothly and easily, and the body fits firmly in two hands.

The E-300 will easily serve photographers of any skill level--convenient for those times when you have to hand your camera to someone who's comfortable with only point-and-shoot models. In addition to full automatic exposure mode, the E-300 has a selection of preset scene modes that quickly adjust your settings to specific situations. The E-300 provides a total of 15 scene modes in its menus; five of them also are located on its dial.

In the past we've praised Olympus cameras for their intuitive menus, but the E-300 takes a slight step backward. The submenus are not as well labeled as those of the Olympus C-8080 we tested previously, and working out the location of the camera's many settings takes some time. For example, the camera's white-balance controls are spread across three of the five menu sublevels. And you can't customize the menus as extensively as you can the Nikon D70's, for example, or even those of some earlier Olympus models.

On the plus side, the Olympus responds more quickly as you use it. Many of the key exposure controls change rapidly with the press of a dedicated button and a spin of the camera's selector dial. Also, I especially like the Olympus's status screen on its 1.8-inch LCD. It's easy to read, with blue letters on a black background, and it tied in nicely to the camera's controls.

For our formal image-quality tests, we took some shots in the camera's default fully automatic mode. It's a good test of a camera's ability to capture details and accurate color, before you add your exposure-correction preferences. The E-300's images looked similar to those from Canon's semiprofessional EOS 20D: a bit underexposed, with colors that were slightly less saturated than the hues of the original subject.

(Some digital photographers prefer default settings that produce slightly underexposed images that allow them to make adjustments on a PC without losing details, as would happen in overexposed areas.) In tests with automatic mode, the E-300 earned very high image quality scores--significantly higher than those of the Nikon D70s--and scored well for color accuracy when we used a custom white balance and manually adjusted the exposure settings (though here the D70s earned similarly high scores).

The EVolt E-300 has an 8.2-megapixel CCD--higher than on a few other affordably priced SLRs, such as the Nikon D70s and the Pentax *ist DS, which have a 6.1-megapixel CCD. In our test photo, the Olympus reproduced better fine-line details than the Nikon D70s--in fact, its output was comparable to that of the much more expensive, semiprofessional 8.2-megapixel Canon EOS 20D. The Olympus's high-resolution CCD will come in handy if you often crop and enlarge pictures to the practical limits of the images.

One innovative feature of the E-300 is a dust filter that sits between the shutter and the sensor and that vibrates to release dust particles. Dust specks in images shot by digital SLRs are a common problem, partly because changing lenses on an SLR exposes the camera's interior to dust.

On the downside, in our new test that evaluates how much digital noise cameras introduce to images, the EVolt E-300 produced noisier images at ISO 1600 than the other SLRs we tested.

In burst mode, the Olympus proved almost indefatigable. Capturing images in its second-best JPEG setting, the Olympus consistently fired off at about 2.5 frames per second, stopping only when I ran out of space on my CompactFlash card. At the highest JPEG setting, the camera is rated to take 12 consecutive frames. By contrast, burst mode on the SD Card-based Pentax *ist DS was less consistent, with the frames-per-second speed revving up and down, but averaging roughly 1.5 fps.

Unfortunately, the E-300 requires specific lenses. Unlike the digital SLRs from Canon, Nikon, and Pentax, there is no massive base of existing 35mm film camera lenses to choose from. If you're starting from scratch, buying clean used lenses for these cameras could save you a significant amount of money, but you don't have this option with the E-300. And while Olympus's selection of Zuiko Digital lenses is pretty good, it's still a fairly new line and doesn't have nearly the breadth of the competition. The Zuiko lens we received has a focal ring that is connected by wire to an electronic motor. By comparison, the focal rings on the other tested SLR lenses move glass inside the lens mechanically. The E-300's method lacks the tactile feedback the other lenses provide when focusing manually, though we did find the E-300's mechanism helpful for fine-tuning the autofocus.

Upshot: Though the lenses available are limited, the E-300 delivers high image quality, and its features are well suited to photographers of all skill levels.

* Nikon D80

2008-09-28T03:45:00.000-07:00

The good: Excellent color rendition and noise levels; large feature set; highly customizable; lightning-fast performance.

The bad: Full raw editor costs extra; flash sync of 1/200 second.

The bottom line: Nikon scores big with the D80, its new 10-megapixel, sub-$1,000 dSLR.

The last time Nikon updated its sub-$1,000 mid-range dSLR, a handful of minor, but certainly welcome, updates gave us the D70s. Now, Nikon has given the camera a serious overhaul, including a new 10.2-megapixel CCD imaging sensor, an 11-area AF system (up from 5), the obligatory larger LCD screen (2.5 inches, up from 2 inches), and a pile of in-camera editing and custom functions. With this newest revision, Nikon has put the camera more in line with its expected audience, which spans lower-end enthusiasts, all the way down to SLR newbies who crave more power than they can get with the company's entry-level dSLR, the D50.

The only downside to this slight shift in focus, is a slower top shutter speed--the D80 tops out at 1/4,000 second instead of 1/8,000 second--and a slower flash-sync speed of 1/200 second instead of the 1/500 second that the D70s offers, which was significantly faster than its competitors' in the first place.

This may irk sports shooters, who may appreciate the extremely fast shutter of the D70s, or other action shooters, who like to freeze movement with a fast burst of flash, but the majority of photographers won't notice the difference. But, given that more advanced enthusiasts now have the Nikon D200 to quench their needs--a D200 equivalent didn't exist when the first D70 came out--the advances in almost all other areas of this camera should outweigh these couple of changes.

The camera body is technically slightly smaller in all dimensions compared to those of the D70s, but current owners will find the design very similar. Most of the buttons are the same and in the same places, and there are dedicated buttons for many commonly used functions. For example, a cluster of buttons next to the shutter let you change metering mode, exposure compensation, drive mode, and AF mode.

Meanwhile, the buttons to the left of the 2.5-inch, 230,000-pixel LCD screen let you change white balance, ISO, and image size and quality settings without diving into menus. About the only function without its own dedicated control is AF zone selection, though the camera's programmable function button can be programmed to cover that if you so choose. The default for this button is to display the current ISO setting.

Three dials adorn the camera body. The mode dial lets you choose between program, aperture- or shutter-priority, full manual, full auto, or any of six preset exposure scene modes. The other two dials, located on the front and back of the grip, let you change aperture and shutter speed. Together, they make full manual shooting quick and easy.

Nikon's menu system is straightforward and, for the most part, intuitive. An option in the setup menu lets you hide some of the menu items by either selecting Nikon's preshortened Simple menu, which displays only what Nikon thinks are the most commonly changed menu items, or My Menu, which lets you choose which items the camera displays in each of the playback, shooting, custom setting, and retouch menus. Never heard of the retouch menu? That's because it's new.

The retouch menu lets you edit your photos in camera. Choices include resize, crop, red-eye reduction, filter effects, or monochrome. The coolest is probably the overlay option. It works only with raw images, but it lets you superimpose one image on top of another and even lets you choose the opacity, so the pictures can blend more smoothly. It won't replace Photoshop, but for simple overlays, it's pretty fun. Plus, since all the retouch menu functions save a new version of your image, you can always go back to the original later, and, in the case of overlays, you can lay more photos on top of already mashed-together images.

Other fun options include creating your own tone curves using the included Camera Control Pro software, as well as adjustable hue control, and a black-and-white mode with options for virtual yellow, orange, red, or green filters. A multiple exposure mode lets you shoot as many as three frames, which are then combined into one image by the camera. Of course, like most dSLRs, the D80 includes selectable white balance, as well as the usual metering and autofocus options. The image-processing and AF system are the same ones that come in the D200, while the 3D Color Matrix Metering II included here is the same as the one in the D50.

Like the D70 and the D70s, the D80 includes Commander Mode, which lets you control compatible Nikon Speedlights without the need for a separate wireless trigger, such as Canon's ST-E2 Speedlight Transmitter, which must be purchased separately to allow you the same level of control from Canon cameras and flashes. Unlike the D70s, which could only control one group of Speedlights on one channel, the D80 can control as many as three groups on any of the four channels Nikon offers.

In the "keeping up with the Joneses" department, Nikon has included SD-HC support, so you'll be able to use SD cards with capacities larger than 2GB. Also, Nikon will offer an optional vertical grip for the D80 called the MB-D80 which will hold up to one or two EN-EL3e rechargeable lithium-ion batteries or as many as six AA batteries. That means you won't be stuck buying a third-party grip as were so many D70 and D70s users. Without the grip, the D80 runs on one EN-EL3e battery.

Meanwhile, in the "not keeping up with the Joneses" department, Nikon continues to charge extra for its Capture NX software. PictureProject software is included for free, and will do rudimentary raw conversion, but if you want full raw control you'll have to shell out the extra cash for Capture NX. To their credit, Capture NX does include more image-editing functionality than that of the free software included with other manufacturers' dSLRs, but most buyers expect full raw conversion to be included with the camera.

Because of some nasty problems with third-party batteries in recent years, the camera will accept only Nikon's official EN-EL3e batteries. However, the company's new batteries let you see more detailed info. If you look under battery info in the setup menu, you can see remaining battery life as a percentage, as well as how many pictures have been shot since the last charge, and a loose gauge of how many times the battery has been recharged. It would've been nice to see average minutes or pictures remaining, as Sony's InfoLithium batteries provide, but we're not complaining about this extra info from Nikon, and the charge meter is a well-conceived idea.

Performance was among the fastest we've seen so far. In our lab, the D80 took 0.1 second to power up and capture its first image. Subsequent shots took 0.3 second without flash and 1 second with the flash turned on. Raw shots were just as fast, with a shot-to-shot time of 0.3 second. In our lab's high-contrast test, the shutter lag measured 0.45 second, slowing to 0.9 second in the low-contrast test. Continuous shooting yielded nine fine-quality 10.2-megapixel JPEGs in 2.7 seconds, for an average of 3.33fps and turned in about the same performance on basic-quality 2.5-megapixel JPEGs, capturing 99 images in 33.3 seconds for an average of 2.97fps.

The built-in flash has a Guide number of 13 at ISO 100, up from the D70s's Guide number of 11 at ISO 100. The extra power was noticeable in our lab test shots. Plus, the D80 did an excellent job of balancing the camera's fill flash with our scene's incidental lighting. In the field, we also noticed that fill flash from the D80 was consistently even.

Image quality from the Nikon D80 is quite impressive. Colors were accurate and neutral and the camera's meter did an excellent job of reading the scene and providing an accurate exposure. At times, mostly in extreme cases when the scene was dominated by darkness, the Matrix metering tended to preserve detail in the shadows at the expense of highlights, though typically, this is what one would've intended in that situation. Plus, switching to selectable zone metering or using the camera's massive plus or minus 5EV exposure compensation should help in those situations.

The 18mm-to-135mm, f/3.5-to-f/5.6 kit lens, which pushes the suggested price well above $1,000, performed well. We saw almost no colored fringing and were impressed with the lens's sharpness given its affordable price. Despite its plastic lens-mount, it feels more solid than many of the kit lenses on the market. Our only complaint was a slight amount of vignetting noticeable at the wide end of the zoom range.

Images from the D80 showed very little noise in our tests. At ISO 100, ISO 200, and ISO 400 noise was practically nonexistent, with only an extremely fine grain beginning to become apparent at ISO 400. Even at ISO 800, noise was a little more noticeable but still no more than a fine grain. At ISO 1,600, noise became noticeable but lacked the many off-color speckles that characterize many cameras' noise profile, and was similar to what we've come to expect at ISO 800 on some other dSLRs. At ISO 3,200--Nikon calls it H1.0--noise was obvious, resembling a coating of fine, snowy grain. A fair amount of detail was obscured by the grain but plenty still remained, and prints as large as letter size--and possibly even larger--should be acceptable, though far from perfect.

Buying an SLR is a complex process, which should include not only the camera body, but also a given manufacturer's--and third parties'--complement of lenses and accessories. That's exactly why manufacturers such as Canon, Nikon, Pentax, Olympus, and KonicaMinolta have built up such a large following over the years. Now that Sony has bought KonicaMinolta's know-how and released the DSLR-A100, which is compatible with past KonicaMinolta lenses and accessories, the consumer electronics giant has gained entrée into this market in a meaningful and substantial way. The same can be said for Samsung and Panasonic and their respective licensing of Pentax's and Olympus's technology. That means that big players, such as Nikon, have to continue to refine their technology if they want to remain competitive.

With the D80, Nikon has proven that it is very much still pushing ahead strongly. With 10.2 megapixels, lightning-fast performance, high-quality images with very low noise, and a heaping pile of convenience features, Nikon's D80 will not disappoint. We're just eager to see how it stacks up to Canon's Rebel XTi, which is due to hit stores just weeks from now. But, if you already own some Nikon lenses and have been waiting for an affordable 10.2-megapixel dSLR, this one is a sure winner.

CNET Editor Review

* Sony α (alpha) DSLR-A100

2008-09-28T03:39:00.000-07:00

The Sony α (alpha) DSLR-A100 camera is an instant classic: the top-quality 10 mexapixel DSLR system camera that builds on a two-decade legacy of Minolta photographic leadership, accepts 20 years of A-mount lenses sold worldwide—and introduces Sony imaging innovations like high-sensitivity shooting with Super SteadyShot® in-camera image stabilization, Dynamic Range Optimizer to automatically increase detail in bright and dark picture areas, new anti-dust technology to keep the CCD imager clean for better pictures and Eye-Start ® autofocus system for faster camera response.

Superior Electronics, Amazing Simplicity

In the revolutionary new Sony® ? (alpha) DSLR-A100 camera, Sony digital technology takes you a giant step toward professional performance -- with advanced imaging, image stabilization and creative control functions, plus ease of operation that helps everyone take better digital pictures right from the start.

Advanced Lenses and Accessories

The Sony® ? (alpha) DSLR-A100 camera is your gateway to an incredibly sophisticated array of lenses and accessories -- including precision Sony® standard and zoom lenses, Sony® "G" Series lenses with advanced motorized autofocusing, amazingly bright Carl Zeiss® T coated lenses, professional-quality flash units, and compatibility with over 16 million Maxxum®, Dynax and A-mount lenses sold worldwide.

10 MP APS-size CCD Imager

A large APS-size CCD imager allows more light to pass to each pixel, increasing sensitivity and reducing noise -- and providing greater detail when you make big prints or crop in close on your subject.

Super SteadyShot® Image Stabilization

When you shoot with high sensitivity, the shutter remains open longer -- so to compensate for shaky hands or fast-moving subjects, the Sony® Super SteadyShot® system automatically reduces image blur. And because it works in-camera, you’ll get the benefit of Super SteadyShot® stabilization with every lens you use.
Sharp, Clear Photos that Preserve the Mood

With high-sensitivity (ISO 1600) shooting, the Sony® ? (alpha) DSLR-A100 camera captures great photos without flash even in low light -- which makes it an ideal system camera for shooting without a tripod or in locations (like museums and churches) where flash is prohibited.

Anti-Dust Technology

Changing lenses in a DSLR can allow dust to enter the camera -- so to keep the CCD imager clean for better pictures, the Sony® ? (alpha) DSLR-A100 camera utilizes both static-free anti-dust coating on the CCD filter and anti-dust vibration that automatically shakes the CCD to dislodge dust each time the camera is shut off.

Dynamic Range Optimizer

To recover details in dark or bright areasof the picture, the Sony® ? (alpha) DSLR-A100 camera provides two levels of Dynamic Range Optimization: Normal DRO, to improve shadow detail using standard gamma curves for fast shot-to-shot response time, or Advanced DRO, to adjust dynamic range area-by-area for the greatest precision.

Bionz™ Image Processor

At the heart of the Sony® ? (alpha) DSLR-A100 camera is the advanced Bionz™ Image Processor, using hardware-based Large Scale Integrated (LSI) circuitry that responds ten times faster than software image processors -- improving camera response time, handling Dynamic Range Optimization processing and extending Stamina® battery life.

Eye-Start® Autofocus System

Some DSLR systems don’t start focusing until the shutter button is half-pressed -- but that can slow down camera response. The Sony® ? (alpha) DSLR-A100 camera begins its precision autofocus adjustments the moment you bring your eye to the viewfinder, to capture fast-action subjects other cameras might blur.

2.5”1 Clear Photo LCD Plus™ Screen

The Clear Photo LCD Plus™ design of the Sony® ? (alpha) DSLR-A100 camera’s built-in screen makes it easy to read camera setup menus even in bright sunlight -- and gives you a better picture when you use your screen to set up shots and check results.

Continuous Burst Mode at 3 Frames Per Second

To catch fast action more effectively, the Sony® ? (alpha) DSLR-A100 camera offers continuous JPEG image capture up to the limit of your flash memory card -- plus RAW Burst Mode (up to 6 shots) with intelligent buffer management to allow more shots to be captured without waiting for the buffer to clear.

Super-Accurate Exposure Control

A 40-segment honeycomb sensing system provides multi-pattern measuring for superior exposure control accuracy.

Flexible Exposure Modes

For greater creative freedom in a wide range of shooting conditions, the Sony® ? (alpha) DSLR-A100 camera provides full manual exposure control as well as Program Auto, Aperture Priority and Shutter Priority.

9-Point Auto Focus Selection

The Sony® ? (alpha) DSLR-A100 camera gives you all the focusing options you need for composing your shot with foreground, background or off-center subjects -- including manual focus point selection, Spot AF, Continuous AF and AF Lock.

Lithium Ion Battery with Stamina® Power

A supplied NP-FM55H Lithium Ion rechargeable battery lets you take up to 750 shots4 on a full charge, recharges quickly with supplied battery charger.

Dual Media Options

The Sony® ? (alpha) DSLR-A100 camera accepts both CompactFlash™ Type I/II media and optional Memory Stick Duo™ media (with supplied adaptor).

Product Specifications

Weights and Measurements

Dimensions (Approx.) : (WHD) 5 1/4" x 3 3/4" x 2 7/8" (133 x 95 x 71 mm)

Weight (Approx.) : 1 lb. 3 oz (545g) body, not including battery, lens and media

Convenience

Burst Mode : Up to 3FPS; Unlimited to capacity of media (JPEG L/M/S); Maximum 3 frames (RAW + JPEG); Maximum 6 frames (RAW)

Color Mode(s) : Black & White, Standard, Vivid, Adobe RGB (Except for Adobe RGB, all other color modes use the sRGB color space)

Memory Stick PRO™ Media Compatibility : Tested to support up to 16GB media capacity; does not support Access Control security function

Red-Eye Reduction : On/Off (all modes)

Self Timer : Yes (10 seconds, 2 seconds, Off)

White Balance : Auto plus 6 Modes (Daylight, Shade, Cloudy, Tungsten, Fluorescent, Flash); +/-3 step adjustable Kelvin tempature control

Hardware

LCD : 2.5" TFT (230k pixels) LCD with Clear Photo™ design

Microphone : N/A

Viewfinder : Optical: TTL, 0.83x, 95% coverage

Power

Battery Capacity : 7.2V, 1600 mAh; CIPA standard: approx. 750 pictures4

Battery Type : NP-FM55 Lithium-ion rechargeable battery

General

Imaging Device : 10.2 (effective) APS CCD Sensor; 23.6 x 15.8 mm; RGB primary color filter

Megapixel : 10.2MP

Convenience Features

AF Illuminator Light : Yes, On/Off Select

Clear RAW NR : N/A

Histogram Display : Yes, Playback only

Movie Mode(s) : N/A

Multi-Pattern Measuring : 40 Segment, Center Weighted, Spot

Scene Mode(s) : Portrait, Landscape, Sunset, Night View/Night Portrait

Processor

BIONZ™ Engine : Yes (LSI with Dynamic Range Optimizer (DRO/DRO+))

Optics/Lens

EV Compensation : ±2.0 EV, 1/3 EV Steps

Exposure : Manual Exposure: Yes, w/EV indicator, Manual Exposure: Yes; Aperture/Shutter Priority, Manual, Program Shift: Yes, Command Dial

Focus : Auto Focus: TTL Phase Detection, Multi-point: 9 Area, 8 Line, 1 Cross Sensor, Auto Focus Mode: Yes, Adjustable Spot AF: Selectable Sensor, Visual Focus Confirm: Direct via VF Matte Screen, Manual Focus

ISO : Auto/160/200/400/800/1600/ Lo80/Hi200

Lens Type : Interchangeable A-mount

Shutter Speed : 30 <>

* Sony DSC-S700

2008-09-28T03:34:00.000-07:00

Given the budget Cyber-shot DSC-S700's position at the rock-bottom of Sony's 2007 camera line, all you should really expect from it is the ability to take usable photos with minimal fuss. And by those standards, it passes muster. Just.

Compact and weighing 6.8 ounces, the S700 fits comfortably in a jacket pocket. It uses a typical control layout: the mode dial and power switch sit on top, while on the back you'll find a zoom rocker; four-way-plus-enter switch for exposure compensation, flash, macro and self-timer; and image quality/delete, review, display, and menu buttons. All these controls are large enough--the 2.4-inch LCD leaves plenty of space for them along with a small thumb grip--and it's pretty comfortable to shoot one-handed. However, the buttons all feel a bit flat and hard to push, while the navigation switch doesn't always seem to register presses. Like many of its classmates, the S700 lacks an optical viewfinder, and there are times in bright sunlight that the LCD becomes unreadable.

Feature wise, there's not a lot to the 7-megapixel S700. As with many budget options, it sports a relatively slow, narrow-angle lens, in this case an f2.8-4.8 35-105mm 3x zoom. From within the menus you can choose from some color effects, spot or evaluative metering, several white-balance presets, sensitivity up to ISO 1000, Fine or Standard compression quality, sharpness, flash compensation, and single or burst shooting.

Compared with many low-budget models, the S700 performs pretty well. It powers on and shoots in just under 2 seconds. In good light when there are no contrast problems to challenge the autofocus, it focuses and shoots in 0.8 second--tolerable, but not great. But when the lights dim and contrast decreases, shutter lag increases just a bit to 1.1 seconds, which is very good for its class. It typically takes about 1.8 seconds to shoot two consecutive frames, which jumps to a reasonable 2.5 seconds when flash comes into play. The S700 provides a limited three-shot burst mode that shoots at around 1.4-1.6fps, depending upon file size and quality settings.

The results look a bit more middling when it comes to photo quality. Though it certainly fares no worse than many competing cameras, its pictures don't match up to those of models such as the Canon PowerShot A550 or Fujifilm FinePix A900. You can get some decent snapshots in good light, as long as you stick to the lowest ISO sensitivity setting, though they might not stand up to printing larger than 8x10. There's surprisingly little fringing. Beyond that, however, problems arise. The default evaluative metering mode tends to underexpose shots and photos lack sharpness. There's visible vignetting at the widest angle of the zoom range. Depending upon the subject matter, photos shot at ISO 200 can be OK, but above that there's simply too much noise and detail smearing from aggressive noise suppression. The automatic white balance remains within acceptable limits, but occasionally gets confused. (Some photo samples are available here.)

In the highly competitive low-end camera market, it takes a bit more work to stand out from the crowd. Unfortunately, the frill-free Sony Cyber-shot DSC-S700 can't quite keep up with better same-priced models like the Canon PowerShot A550 or Sony's own, slightly more expensive DSC-W55.

The good: The Sony Cyber-shot DSC-S700 has respectable performance for its class.

The bad: Unfortunately, it has some issues with photo quality.

The bottom line: Other models do budget better than the Sony Cyber-shot DSC-S700.

* Sony Cyber-shot DSC-H7

2008-09-28T03:28:00.000-07:00

Shoot dramatic close-ups and sharp fast-action shots with the 8.1 megapixel Cyber-shot® DSC-H7 digital camera. The Carl Zeiss® 15X optical zoom and Advanced Sports Mode with high shutter speed are perfect for crisp long shots and excellent detail when shooting at sporting events.

Super SteadyShot® image stabilization and high-sensitivity (ISO 3200) mode reduce blur when shooting without a flash and Face Detection technology brings out the best in faces. You can also manually control the exposure and focus of the DSC-H7, making it ideal for more artistic shots. And with HD (high definition) output, photos can look even more spectacular when you share them with friends and family on HDTV screens.

High-Power Carl Zeiss® 15X Optical Zoom

A superb lens for bringing long-distance subjects up close, the pro-quality Carl Zeiss® Vario-Tessar® lens design of the DSC-H7 provides 15X Optical zoom design -- with 25X HD Digital zoom to enlarge the center portion of the picture so you see even more detail.

8.1 MP Super HAD™ CCD

More megapixels give you more detail and definition for editing, cropping, and making large digital prints. Sony’s advanced Super HAD™ (Hole Accumulated Diode) CCD design allows more light to pass to each pixel, increasing sensitivity and reducing noise.

HD Output1

Thanks to Sony, your photo album can go high-def -- with direct HD output1 to compatible HDTV screens, so you can view DSC-H7 still photos in spectacular high definition clarity and detail. Your life never looked so exciting!
HD Slide Show with Music

It’s the high-definition viewing experience that makes photos come alive on compatible HDTV screens, accompanied by your choice of visual effects and any of four preset musical selections stored in memory or your favorite MP3 tunes downloaded from PC to your camera for use as background music.

Face Detection

By automatically controlling focus, exposure, color and flash, this new Sony feature reveals faces in shadow, makes skin tones look more natural and eliminates harsh facial glare -- to help bring out every expression on every face in every shot, so you’ll capture the personalities and emotions that make memories come alive.
High Sensitivity Mode

With Super SteadyShot® image stabilization to minimize blur, High Sensitivity Mode (ISO 3200) lets the DSC-H7 shoot effectively in low light without flash to preserve the mood -- and Sony’s original Clear RAW™ NR (Noise Reduction) image processing technology helps suppress the color noise that can accompany high-sensitivity shooting.

Advanced Sports Mode

To capture fast-moving subjects in split-second detail, the DSC-H7 provides a Sports shooting mode that combines high shutter speed (up to 1/4000 sec.) that responds more quickly to rapid motion -- a great way to catch the perfect moment in sports, children’s games, pet tricks and more.

Long-Distance Flash

A powerful flash provides extra illumination to light up subjects farther from your camera, with precise light control and the ability to adjust flash for both front and rear sync when shooting at low-speed sync setting.
Super SteadyShot® Optical Image Stabilization

Other image stabilization systems crop in to compensate for “camera shake” -- but with the Super SteadyShot® system, optical sensors detect camera movement and send correcting signals to a stabilization lens that allows even ultra-long-distance digital photos to capture more detail with less camera shake distortion.

9-Point Auto Focus

Because an off-center subject can make your shot more interesting, the DSC-H7 can measure auto-focus precision at 9 points on your screen -- giving you greater creative freedom to compose your image.

D-Range Optimization

Powered by the exclusive Sony Bionz™ high-speed processing engine, D-Range Optimization preserves image data in bright highlights and reveals more detail in shadows or backlit areas -- for great results even in difficult lighting conditions.

In-Camera Retouching

The DSC-H7 lets you add creative effects to photos after you shoot -- including soft edge filter to soften backgrounds, cross filter to place starry “dazzles” at highlight points, partial color filter to mute surrounding colors, even fish-eye filter to create interesting fish-eye lens effects.

In-Camera Red-Eye Reduction.

Irritating “glowing eyes” can ruin even the most creative photos -- so the DSC-H7 gives you in-camera correction at the touch of a button to reduce lingering red-eye effect that other systems might miss.
2.5”2 LCD Screen, Simple Controls

The DSC-H7 provides a large, bright LCD screen that makes it easy to compose shots, check results and read menus even in bright sunlight -- plus simple camera menus, a new GUI Home button, and Function Guide display that makes it easier to learn camera setup operations.

Electronic Color Viewfinder

In addition to its 2.5”2 LCD screen, the DSC-H7 has a built-in electronic color viewfinder that lets you shoot in traditional camera style and save battery power by turning your LCD screen off.

Remote Control Function

In both shooting and play mode, you can use a supplied remote control unit to control basic camera functions – including zoom, menu settings, etc. – so you can put yourself in the picture when shooting with a tripod or sit back andenjoy the show when you share images on your home TV screen.

Wheel Dial for Manual Exposure Modes

For more creative freedom, a simple wheel-dial control lets you quickly change camera settings in manual modes (shutter speed priority, aperture priority, manual exposure) and also control ISO sensitivity, focus area, and exposure value. In play mode, the wheel dial provides a quick way to view your next or previous shot.

31 MB Internal Memory

The DSC-H7 allows you to capture shots in-camera for later transfer to PC or Memory Stick Duo™ media -- so even if you forget your flash memory card, you can always get the shot.

Memory Stick Duo™ Media

The DSC-H7 has a built-in slot for optional Memory Stick Duo™ media or higher-capacity Memory Stick PRO Duo™ media -- the ultra-compact media for shooting, storing and sharing your photo images.

76X Smart Zoom® Feature4

Sony’s Smart Zoom® feature gives you an amazing ultra-close crop on the central portion of interest in your photo while avoiding the image degradation of other digital zooms.

MPEG Movie VX Fine Mode

The DSC-H7 can capture VGA (640 x 480) audio/video clips at high frame rate (up to 30 frames per second5) -- with Optical Zoom in movie mode to let you zoom in or pull back while taking action shots.
Stamina® Battery Power

The DSC-H7 provides up to 250 shots3 with a fully charged NP-BG1 Lithium Ion battery -- enough shooting capacity to cover a long weekend or a whole vacation.

Weights and Measurements

Weight (Approx.) : Weight: 13.2 oz (375 g) Body; 1lb 2.1 oz. (514 g) including Battery and optional Memory Stick™ DUO Media

Dimensions (Approx.) : Dimensions: 4 5/16" x 3 5/16" x 3 3/8" (109.5 x 83.4 x 85.7 mm)

Convenience

White Balance : Automatic, Cloudy, Daylight, Fluorescent 1, Fluorescent 2, Fluorescent 3, Incandescent, Flash, Manual

Self Timer : Yes (10 seconds, 2 seconds, Off)

Memory Stick PRO™ Media Compatibility : Tested to support up to 8GB Memory Stick DUO PROTM media capacity1; does not support Access Control security function.

Still Image Mode(s) : Burst, Normal JPEG, Bracket Exposure

Red-Eye Reduction : Yes (On/Off all modes)

Burst Mode : Up to 100 Shot at TBD fps (all resolutions)

Erase/Protect : Yes/Yes

Date/Time Stamp : No/ No

Media/Battery Indicator : Yes/Yes

Color Mode(s) : Black & White, Natural, Sepia, Vivid

Hardware

LCD : 2.5"2 (115K Pixels TFT LCD Screen)

Viewfinder : 0.2" 201k LCD, TTL EVF

Lens Construction : 13 Elements in 8 Groups, 4 Aspheric Elements/ 1 ED lens

Microphone/Speaker : Yes/ Yes

Lens Type : Carl Zeiss® Vario-Tessar®

Docking Station : N/A

Convenience Features

AF Illuminator Light : Yes

PictBridge Compatible : Yes

Multi-Pattern Measuring : Yes

SteadyShot® Image Stabilization : Yes

Scene Mode(s) : Advanced Sports Shooting, Beach, Fireworks, High Sensitivity, Landscape, Portrait, Snow, Twilight, Twilight Portrait

Movie Mode(s) : MPEG VX Fine with Audio (640x480 at 30fps) (MPEG VX Fine requires Memory Stick DUO PRO™ media), MPEG VX Standard with Audio (640x480 at 16fps), Presentation Mode (320x240 at 8.3fps).

Power Save Mode : Yes (after approx. 3 min. of inactivity)

In-Camera Editing : Red-eye reduction, soft edge filter, cross filter partial color filter, fish-eye filter

Power

Battery Type : Lithium-Ion NP-BG1

Battery Capacity : 3.6V, 960 mAh

Optics/Lens

* Focal Length : 5.2 - 78 mm

* 35mm Equivalent : 31 - 465 mm

* Focus : 9 Area Multi-Point AF, Monitoring AF, Flexible Spot AF

* Aperture Range : Auto, (f2.7-5.6W)/(f4.5-8T)

* Shutter Speed : 1/4-1/4000 sec. (Auto), 1-1/4000 sec. (Program Auto), 8" - 1/2000 (Aperture Priority), 30" - 1/4000 (Manual/Shutter Priority)

* Exposure Compensation : 2.0 EV, 1/3 EV Step Increments

* ISO : Auto, 80, 100, 200, 400, 800, 1600, 3200

* Smart Zoom® Technology : Up to 18X (5MP), 23X (3MP), 25X (16:9 2MP) 76X (VGA Resolution)4

* Digital Zoom : 0-2.0X (Precision)

* Optical Zoom : 15X

* Macro Mode : Yes

* Total Zoom : 30X

* Face Detection : Yes

Olympus SP-550UZ

2008-09-28T03:18:00.000-07:00

Last year, Olympus released the SP-550UZ, a 7-megapixel digital camera with an impressive 18x zoom lens. We loved its lens' long reach and wide angle, and appreciated its great body design. Unfortunately, the camera was plagued with performance and picture quality issues. Now Olympus offers the SP-560UZ, an 8-megapixel follow-up. It carries over both good and bad aspects of last year's camera, but overall presents an improvement.

Body design was one of our favorite aspects of the SP-550UZ, so we were pleased to see that the new version looks and feels almost identical. Every design aspect is carried over, from the pop-up flash to the comfortably large, flat buttons. It even weighs nearly the same, standing at a hefty but manageable 16.4 ounces with four AA batteries and an xD memory card.

A whopping big lens stands out as the SP-560UZ's most prominent feature, just like its predecessor. The 27-to-486mm-equivalent lens is slightly wider and shorter than the SP-550UZ's 28-to-504mm-equivalent lens, but still offers the same f/2.8-4.5 range and 18x optical zoom. I could easily frame the spire of the Empire State Building from Hoboken, N.J., thanks to the camera's long reach. Sensor-shift image stabilization helps reduce camera shake, a vital feature when pushing the camera to its full zoom without a tripod to stabilize it.

Unfortunately, the SP-560UZ's biggest feature is also one of its greatest weaknesses. While its lens is long and wide, it simply isn't very sharp. Regardless of the lens position and focus, pictures taken on the SP-560UZ generally look soft. Fine details, like text focused upon from a great distance, can appear fuzzy regardless of focus, shutter speed, or ISO sensitivity. Beyond the softness, significant noise further hurts the camera's pictures. Notable grain appears at ISO 200, and gets significantly worse as sensitivity gets higher. At ISO 400 and higher, noise consumes fine details, rendering textures muddled.

Like most superzooms, the SP-560UZ targets experienced users, and so it is packed full of useful, advanced features. An electronic viewfinder offers a great alternative to the camera's 2.5-inch LCD screen for framing shots, especially when shooting in direct sunlight. The camera toggles between EVF and LCD screen, so you can't have both running at once. However, when shooting with the EVF, pictures still appear on the 2.5-inch LCD screen by default, so you have to take your face away from the viewfinder to review what you just shot. The SP-560UZ also includes a full selection of exposure controls, including Program/Aperture-priority/Shutter-priority, and Manual shooting modes.

While it didn't come loaded on our review sample, version 3.1 of the SP-560UZ firmware adds support for Olympus wireless flash units. If you install the optional firmware upgrade through the included Olympus Master 2 software (instructions can be found on Olympus' support site), the camera can be set to function on one of four different channels to wirelessly control Olympus' FL-50R or FL-36R flash units. This is the first time we've seen this feature on a non-SLR camera, and it can be useful for users who want to set up a small studio.

In our lab tests, the SP-560UZ far surpassed its slow predecessor but otherwise showed middling performance; it's responsive enough to shoot without much trouble, but it feels sluggish at times. After a 2.4-second wait from power-on to first shot, the camera could record a new JPEG every 2.1 seconds with the onboard flash turned off. With the flash enabled, that wait bumped up to 2.5 seconds between shots. RAW shooting was quite slow, capturing a single uncompressed picture every 13.5 seconds, though that's not abnormal for a non-SLR. RAW shooting is a welcome feature on any non-SLR camera, but the extra long shot-to-shot time definitely limits its usefulness. The shutter lagged a slightly sluggish 0.6 seconds with our high-contrast target, and 1.5 seconds with our low-contrast target. In burst mode, the camera captured 11 full-resolution JPEGs in 9.7 seconds for an average rate of 1.1 frames per second. The camera also features a high-speed burst mode that can shoot 15 still photos a second, though it can only record at 1280 x 960 or lower resolution, and doesn't refocus between shots.

If you want a camera with an extremely long lens for less than $500, the Olympus SP-560UZ is one of only a few choices available by retail. The Sony Cyber-shot DSC-H9 has a mere 15x optical zoom, but its slightly nicer pictures offset its slightly shorter lens. Otherwise, you'll need to invest in a digital SLR with a very long lens, and together they can cost a lot more.

CNET editors' review

Canon PowerShot S3 IS

2008-09-28T03:02:00.000-07:00

Canon changed a bit more than the shape of the headlights between the PowerShot S2 IS and the S3 IS, but not much. The newer model integrates a 6-megapixel CCD instead of 5 megapixels, and Canon tosses in a few new features, but ultimately, it's the same camera. That's not necessarily a bad thing--the S2 remains a great camera, and the S3 carries on the tradition.

The Canon PowerShot S3 IS's aesthetic seems to be a cross between those of a classic Volkswagen Beetle and a Busy Box. Granted, it's the same body as its predecessor's, but the silver bits stand out more against the current version's iridescent, dark gray plastic than they did against the previous model's silver coloring. As with the S2, there's certainly enough here to keep you busy for a long time, though, and loving every minute of it. (For more details about the S2/S3's basic design and features, read the PowerShot S2 IS review.)

For the S3, Canon upped the size of the flip-and-twist LCD to 2 inches from 1.8, which is still disappointingly small. The company also added a ludicrous 16:9 aspect mode: not only does it simply crop and letterbox the standard 4:3 image, but the LCD is too small for a functional letterbox display. More useful is the new 320x240 60fps movie-capture mode, which produces slick little movies, as does the VGA, 30fps mode. Unfortunately, the camera still lacks raw format support.

Oddly, despite the different sensors--or perhaps because they use the same f/2.7-to-f/3.5, 36mm-to-432mm lens and Digic II imaging processor--the S3's photos look almost identical to the S2's. They display a broad tonal range, albeit with some clipping in the highlights and shadows, very good color accuracy and saturation, and acceptable edge-to-edge sharpness. Its noise profile follows suit as well: low until about ISO 200, then increasingly bad. Though the camera can now boost ISO sensitivity to as high as ISO 800, either manually or by enabling ISO Boost in a programmed-exposure mode, the noise at that setting is quite obtrusive. In general, the S3's photos look good but can't really shake the digital look, either onscreen or in print.

Performance, while not identical to the S2's, is either the equivalent or better. Start-up to first shot takes only 1.5 seconds, which is quite zippy overall, and extremely good for a camera that has a long lens to extend. Shutter lag in bright light runs about 0.4 second and doubles to 0.8 second when the lights get low. The S3 is also relatively responsive: 1.1 seconds typically from shot to shot, plus another second if the flash needs to recycle. Though it maxes out at 1.5fps in continuous-shooting mode, there's no buffer-constraint on the number of sequential shots at maximum resolution; I find that much more useful than a fast but limited burst mode. It was certainly sufficient to capture active dogs and children playing in the park, including kids spinning in a tire swing.

Autofocus occurs quickly for the most part, although a few of my shots looked as if the focus hadn't locked before capture. I didn't experience any of the problems that the S2's reviewer did with SuperMacro mode; it worked fine for me, even with the lens almost pressed against the subject. The image stabilization bought me about two stops of shutter latitude, but my hands shake like an octogenarian's--a coffee-drinking octogenarian.

I'm not a big fan of electronic viewfinders (EVFs), and the S3's didn't convince me otherwise; though it's fine for framing, I hate that it freezes when the shutter is pressed. The LCD is certainly viewable in most light, but I prefer an eye-level viewfinder to the unsteady arm's-length approach.

True, a cheap dSLR will provide better performance, and a moderately priced one will deliver better photo quality. But the Canon PowerShot S3 IS's combination of features, performance, and relatively compact design certainly gives megazoomers a compelling alternative.

CNET editors' review

* Canon EOS Rebel XS

2008-09-28T02:42:00.000-07:00

dSLRs on a shoestring The Canon EOS Rebel XS joins the ranks of digital SLR cameras that can be had for a song--to the tune of $750 or less, with lens.

Remember when it was common to drop $500 to $700 on a nice digital point-and-shoot? These days, with the same money, you can pick up a digital SLR camera.

These aren't professional models or the very best that current technology has to offer, but for the photo enthusiast on a budget--or even the avid family photographer--they can be a big leap forward. With larger sensors and generally faster performance than snapshot models offer, these cameras provide plenty of tools to photographers who prefer a camera with more than one button. And if you save your pennies, you can increase their flexibility and image quality in the future with additional lens and accessory purchases.

But which to buy from this year's models? Here's my take. For the best overall value for the money, the Pentax K200D hits all the right notes with a dust- and weather-resistant body, sensor-shift image stabilization, and other premium features. It's biggest weakness is not-terribly-accurate colors and a tendency to underexpose, which can be overcome with some tweaking. For the best photo quality, the Canon EOS Rebel XS delivers, especially in low light, and its kit lens is the best of the group.

It does have some operational annoyances, though, such as hard-to-see AF points in the viewfinder and no spot meter, and it lacks in-body image stabilization. Though it's not a clear winner in every race, the Nikon D60 seems to have the best overall performance of the group. However, its photo quality and feature set can't match most of the other models for the money.

For the cheapest model that fulfills the dSLR promise--better performance, photo quality, and flexibility than a point-and-shoot--the Sony Alpha DSLR-A200 seems to have garnered its share of fans.

* Canon PowerShot SD890 IS

2008-08-10T06:22:00.000-07:00

When a series of products is as successful as Canon's PowerShot line, it's almost impossible not to approach each new offering with high expectations. Canon has produced hit after hit, including our Editors' Choice picks, the SD790 IS and SD1000. While the SD890 IS ($399.99 list) doesn't quite have what it takes to be our next top compact camera, this 10-megapixel shooter still lives up to its PowerShot name, with plenty of features and innovations, as well as impressive image quality.

The SD890 IS is actually a little lighter than the Nikon Coolpix P60 I tested recently, but it's also far more compact, so the weight (about 5.5 ounces, body only) is more noticeable. And at 2.3 by 3.8 by 1.1 inches (HWD), the SD890 IS is small enough to tote around easily. Yet the camera strikes a nice balance between size and comfort, as it's big enough to hold easily without being too bulky.

The only controls on the top of the camera are the shutter button and a toggle switch for the zoom. I'm not a fan of the power button. It's a small, half-moon-shaped nub wedged into the curve of the camera next to the LCD and above the viewfinder, making it difficult to tap without a conscious effort. Turning the camera on requires a deliberate press from just the right angle, and it helps if you have a long-enough fingernail. (Those with big hands and fingers will likely struggle.) This complaint might sound minor, but it can be an issue, particularly if you're trying to turn the camera on in a hurry.

A dial next to the power button lets you toggle between automatic, manual, video, and scene modes. Underneath it you'll find the Print/Share, Playback, Display On/Off, and Menu buttons, along with the SD890 IS's scroll wheel, which also functions as a four-way controller. This last feature allows one-touch access to frequently used items like the ISO settings (only high or auto), the self-timer, flash modes, and focus options.

The SD890 IS features a slightly better-than-average 6.6mm to 33.0mm 5X optical zoom lens (35mm equivalent: 37mm to 185mm) with corresponding maximum f-stops of f/3.2 to f/5.7. The camera's 2.5-inch LCD worked well, even in direct sunlight. The display adjusts its brightness to match the light conditions, and images appear crisp and clear.

Once you're ready to start shooting, making various adjustments is straightforward. When you're in manual or scene modes, you can use the scroll wheel to select and preview specific shooting modes. For instance, with the dial turned to scene, you can frame a shot on the LCD and see how it looks when adjusted to match the scene specifications for indoor, sunset, foliage, and more. It's convenient to shuffle through and quickly preview scene settings in this manner, especially if you have the time to set up a shot carefully. For instance, while shooting in a park, I had the camera in child/pet mode but chose to switch into foliage mode while taking in the greenery. As I turned the dial, the plants went from slightly muted to a vibrant green that really popped. The same preview advantages are available for manual modes, like digital macro, color swap, and color accent. Unfortunately, toggling through the various modes using the scroll wheel can take some getting used to. The wheel is not the most intuitive or responsive, and sometimes selecting a specific mode quickly is difficult.

High ISO mode will crank up the camera to an impressive ISO 3200, though of course you'll see some serious graininess at that setting. The images actually start to show some grain at around ISO 200 and are significantly grainy past ISO 400. The camera's face detection works well and is surprisingly responsive to moving subjects.

While most cameras offer straight-up image stabilization, that of the SD890 IS comes in three flavors: Continuous, Shoot-only (activated when the shutter button is pressed), and Panning (which stabilizes only up-and-down motion). When taking pictures of moving subjects in a dimly lit restaurant, panning mode produced the best results, but all three options produced a significant improvement over the shots I took with image stabilization turned off.

The SD890 IS isn't short on shooting modes, offering 11 within the scene setting, plus four more within manual, similar to those offered by the Fuji FinePix J10. The manual settings, similar to those found on other recent Canon models, include Digital Macro, Color Accent, Color Swap, Stitch Assist. Manual also offers a number of more advanced controls, including exposure compensation, white balance, and various autofocus options. While the scene modes are fairly standard (portrait, kids/pets, and the like), there are some more-unusual options, such as separate settings for snow and beach scenes, and an aquarium mode to enhance aquatic shots, cutting down on glare and ensuring deeper, more accurate color.

In-camera editing options are fairly limited but include red-eye correction, cropping, resizing, and "My Colors," which can highlight a selected color in an image or switch to sepia, black-and-white, or other effects. Like the Nikon P60, the SD890 IS can be started in review mode by holding down the playback button. You can then jump right into shooting mode by hitting the shutter button.

The camera's performance in the lab was good. I have a few minor complaints, but the average user probably won't notice many of them. Daylight shots were a bit shadowy. Viewed alone they looked fine, but the difference was easier to see when compared with the brighter shots the Editors' Choice SD1000 produced. Flash shots tended to be underexposed but otherwise consistent, with vivid color. The images didn't exhibit any purple fringing. The lens suffers from some distortion at the widest angles, but this wasn't a major problem.

The SD890 IS is responsive enough, but it's not going to set any records. Boot-up time is fine at 2.7 seconds. Recycle time is decent at 2.98 seconds, though the SD890's shutter lag, at 1.4 seconds, was a bit disappointing. However, while using the SD890 IS in everyday situations, I didn't have any significant complaints about the time it took to power up and shoot.

Video looked crisp, and the audio was clear. Videos can be shot at 640-by-480 or 320-by-240 resolution, both at 30 frames per second. There's also a time-lapse option, to shoot video at 1 or 0.5 frames per second at 640-by-480 resolution. I was able to zoom in while shooting, though the audio was so sensitive that, while shooting in a quiet office, the sound of the lens extending was recorded with my video. Besides the video mode on the dial, you can record standalone audio in playback mode, available among other editing options in the menu.

I was really impressed with the SD890's rechargeable battery, which held a full charge during my entire extended testing period.

Thanks in large part to a generous feature set and good picture quality, the Canon PowerShot SD890 IS holds its own among compact cameras. Still, there's no getting around the high $400 price tag. The Kodak EasyShare M1033 is just one example of another 10MP shooter that rings up at about half that price. While the M1033 may not live up to the SD890 IS's performance, it's a great low-cost alternative. Nevertheless, I wouldn't hesitate to recommend the SD890 IS for its ease of use, versatility, and impressive images.

Article courtsey of pcmag.com

* Pentax Optio M50

2008-08-10T06:18:00.000-07:00

The saying that good things come in small packages doesn't always hold true (Sony Rolly anyone?), but it certainly does in the case of the Pentax Optio M50 ($229.95 list). Loaded with features like face detection and digital shake reduction, this well-rounded 8-megapixel compact (available in silver, pink, or blue) offers a lot of bang for the buck. Although some areas have room for improvement, the Optio M50's simple interface and overall good performance make this a point-and-shooter nearly anyone can enjoy.

At 2.2 by 3.7 by 0.9 inches (HWD), the brushed-metal 4.7-ounce Optio M50 is similar in size to the Casio Exilim EX-S880. Though tiny, the camera feels surprisingly sturdy and sports a 2.5-inch LCD, which is easy to view, both indoors and in direct sunlight—important, as there's no optical viewfinder. The lens has a range of 6.3 to 31.5mm (35mm equivalent: 36mm to 180mm), maximum f-stops of f/3.5 to f/5.6, and a 5X optical zoom. Like most point-and-shoot cameras, the M50 accepts SD and SDHC memory cards.

For the most part, the M50's buttons are thoughtfully placed and big enough for even large fingers to press squarely. But while the shutter button (located on top of the camera) is slightly elevated and easy to find by touch, the power button (next to the shutter button) is concave and offers no tactile feedback, making it harder to locate. The four-way controller serves as navigational tool for menus, and provides instant access to flash and focus modes, while a center button controls display information. The zoom control is relatively wide and easy to press with the thumb, and you get dedicated buttons for the face-detection and smile-capture features.

The menu system is uncomplicated and unlikely to intimidate novices. Options to adjust settings like white balance and sensitivity are well positioned and easy to find, although the M50 may have taken the friendly approach a bit too far. For example, the mode selection screen, while helpful and informative, features large icons that, in my opinion, mimic the drawings of a fifth grader; they might be a bit off-putting for some.

For automatic shooting, the M50 will select from six modes (standard, night scene, landscape, portrait, sport, flower) depending on the scenario, and an instant review option allows a picture to be previewed for from 0.5 to 5 seconds after it's taken. The M50 isn't too strong on manual settings. While you can, for example, adjust the M50's white balance, you have to choose from six preset options rather than fine-tuning it manually.

Face detection works well. Even in groups of more than four people, the camera recognized and focused the individual faces in the shot. Smile capture, on the other hand, wasn't reliable. It was able to detect smiles, but more than half the time when the LCD indicated that someone was smiling the M50 failed to snap a picture. (The Optio V20 did better here.) The M50's Digital Shake reduction was a mixed bag. The images I took while walking, at both a normal pace and briskly, showed very little blurring. Unfortunately, there was noticeable noise in many of the shots, likely because Pentax raises ISO settings in order to reduce blur. ISO settings range from 100 to all the way to 6400, but, in general, I found leaving the ISO at 100 was best, as using the higher settings resulted in more noise than I'd like to see. This means you're pretty much limited to bright daylight shots or, in darker settings, to those within range of the flash—somewhat problematic, because the camera's flash didn't wow me.

The M50 held up well in most areas during my lab tests. Image quality was slightly above average with good daylight consistency, although colors seemed slightly muted. Flash shots were inconsistent, with an overall dark cast; the V20's flash shots were much better and consistent. Achieving 2,000 lines, the M50 scored slightly above the average on our resolution test. (The average score for an 8MP camera is between 1,700 and 1,900.) Boot and recycle times were also good, at 3.33 and 2.33 seconds respectively. Shutter lag was very good as well, at 0.28 second. Barrel distortion wasn't apparent at the telephoto end but was significant at the wide angle of the lens.

The M50 does a great job of capturing 30-frame-per-second AVI video. Quality was superb, with little graininess and great color contrast. You can't use the 5X optical zoom while recording, but otherwise I had no complaints. The M50 doubles as a voice recorder as well, but the audio quality was slightly tinny.

There's a lot to like about the Pentax Optio M50. It's compact and responsive, and it offers solid overall performance; furthermore, it's loaded with features, is easy to use, and has a great price. If you're in the market for an inexpensive compact that doesn't skimp on features, the Pentax Optio M50 is worth a look. On the other hand, if you favor performance over style, the V20, which costs about the same, might be a better choice.

Article courtsey of pcmag.com

* Nikon D60

2008-08-10T06:12:00.000-07:00

When a camera manufacturer releases a pricey D-SLR, it had better have killer features or some sort of hook to entice current users to upgrade to the latest model or to get new customers to take the plunge. The Nikon D60, while a very good camera, doesn't really deliver in that regard. With a 2.5-inch LCD, a 10.2-megapixel CCD sensor, and lacking a Live View system, the D60 is nearly identical to its predecessor, the D40. That's not necessarily a bad thing, because the D40x is a significant step up from a simple point-and-shoot camera, but I wish the D60 offered more new features. With so much competition in the entry-level D-SLR market, this camera is in danger of becoming obsolete before long.

When you place the D40x and the D60 side by side, it's hard to tell them apart. Weighing in at 20.6 ounces with a battery and an SD card and without a lens, the easy-to-hold D60 is much lighter than its big brother, the 33.6-ounce D300. The included AF-S DX Nikkor 18mm to 55mm, f/3.5 to f/5.6G VR (vibration reduction) lens (35mm equivalent: 27mm to 82.5mm) is light enough not to add much to the camera's body weight.

While not quite as intuitive as the D300's, the D60's menu system is much simpler than that of the competing Sony Alpha DSLR-A350. I really like that the LCD displays graphic representations of nearly every setting. For example, the lens is represented by a circle that opens and closes as you increase and decrease the f-stops. Shutter speed is represented by rotating bars around the lens. If the shot you wish to take is too dark, you'll get a message on the LCD telling you so. There's an Information button on the bottom left of the camera that lets you customize what you see on the display. This same button also lets you access frequently used settings, such as ISO, white balance, and metering modes. To get to all camera settings, you need to use the Menu button.

During testing I found that autofocus was sluggish, compared with the same feature on the Sony A350. The D60 uses only a three-point autofocus, while the A350 and Canon EOS Rebel XSi both use a nine-point system. Generally, the more focal points, the quicker the response time can be. Nikon also employs lens-based optical image stabilization here, as opposed to Sony and Olympus (with its E3, for example) which rely on in-camera sensor-shift image stabilization. This is something to keep in mind if the lens you already own lacks this feature, as it is not built into the camera's body. That said, the D60 performed well during testing, and I never had a problem with blurry images. Nikon offers plenty of DX lenses for the D60, but as with the D40, older Nikon or Nikon-compatible D-SLR lenses (anything other than Nikon Nikkor AF-S lenses) won't have autofocus capabilities when installed on this model because of its relatively compact construction. Check Nikon's Web site for a full compatibility list.

A handy and fun feature that you won't find on all D-SLRs is stop-motion movie mode. The camera takes a series of JPEG files and converts them into a movie—a 640-by-480 AVI file at a frame rate of 15 frames per second. I found it easy and fun to use. The D60 also offers in-camera editing, including corrections for brightness and red-eye. Like the D300, the D60 has 3D Color Matrix Metering II. When this mode is activated, the camera will determine the best possible exposure for the scene to produce accurate light and shadow detail. I found it worked as well here as in the D300: Shots came out clear and bright, even in a darkened environment. An additional feature is the automatic Dust Reduction system, which works in conjunction with a new airflow control to keep the lens clean.

The D60 has a number of manual settings, including white balance, ISO sensitivity, shutter speed (including continuous mode), auto and manual focus, exposure metering, flash modes, exposure compensation, and active D-Lighting. It also shoots in RAW and RAW + JPEG format for maximum flexibility.

ISO settings go all the way up to 3200, and, as with most D-SLRs, low-light shots were impressive. Noise was negligible at about ISO 400, and even at ISO 1600 noise was minimal—often completely unnoticeable. I did find that at ISO 3200 unacceptable noise was present in some shots.

In the lab the D60 demonstrated its high speed. One of the key missions of a D-SLR is to eliminate shutter lag and enable continuous shooting. The D60 doesn't disappoint, with a boot-up time of just 0.2 second, and shutter lag of just 0.15 second—scores nearly identical to those of the $1,800 (body only) D300. At 1.5 seconds, recycle time was impressive, but not as lightning-fast as the D300's (less than a second). Still, this is much quicker than any compact point-and-shoot camera can manage. The camera's burst mode was effective and speedy, allowing for continuous shots to the capacity of the card. (The D60 conveniently supports SD and SDHC cards, so you don't necessarily have to upgrade your existing memory format.)

Using a DX-format CCD image sensor, the D60 produces exceptional images. The camera averaged 2,000 lines on our resolution test—on par for a 10MP camera. My daylight and flash still-life shots were superb, with accurate colors and more-than-adequate flash coverage. Shadows were true to life, with no under- or overexposure. I saw slight barrel distortion at the very fringes of the wide angle, but that's to be expected. Outdoor shots yielded fantastic color, especially in the vivid mode, and I was able to get some excellent shots of the city skyline.

I don't have many complaints about the D60. It is an easy-to-use camera that produces high-quality images, and at $750 (with lens), it's a terrific deal. But since there aren't too many substantial feature upgrades from the D40x, the D60 is in danger of falling behind the current competition. The Sony A350 offers an excellent Live View system, a tilting LCD, and 14.2MP resolution, while the Canon EOS Rebel XSi sports a 3-inch LCD and a 12.2MP sensor. Of course, both of these models cost more—about $800 (body only)—but you'll get more features in the bargain. Still, if you want a solid, simple, budget D-SLR, the D60 delivers.

Article courtsey of pcmag.com

* Panasonic Lumix DMC-FZ18

2008-08-10T05:55:00.000-07:00

Our current Editors' Choice superzoom, the Panasonic Lumix DMC-FZ18, packs a massive array of features—and an 18X zoom lens—into a relatively compact body. This 8.3-megapixel shooter delivers above-average image quality, and at only $399.95, it's a bargain. (Its biggest fault—noisy images in low lighting—is typical of cameras in this class.) A worthy follow-up to Panasonic Lumix DMC-FZ8, the FZ18 adds some key features like a longer zoom and wider angle, higher sensitivity and resolution, and Intelligent Auto Mode, which includes face detection, automatic scene selection, intelligent ISO, and continuous autofocus. It's also similar to the Fuji FinePix S8000fd, but the FZ18 delivers more advanced features, greater ease of use, and better performance.

The star component of the FZ18 is its 18X wide-angle Leica lens, which has a range of 4.6mm to 82.8mm (equivalent to a 35mm lens with a 28-to-504mm zoom). The wide angle is a welcome upgrade from the FZ8, allowing you to capture more in group portraits and landscapes. The zoom operates at two speeds, depending on how far you push the zoom lever, and operation is smooth and seamless.

ISO ranges from 100 to 1,600. The camera has an Intelligent ISO mode that detects moving subjects and automatically increases the ISO to decrease blur. Panasonic has added a high-sensitivity mode that enables you to capture photos at an ISO as high as 6,400, although the resolution drops to 3MP. (Needless to say, the image quality also takes a dive.) The maximum aperture varies from f/2.8 at the wide end to f/4.2 at 504mm. The FZ18 offers not only raw mode, it also provides a raw-plus-JPEG option, which isn't usually found on inexpensive superzooms.

The FZ18's design showcases Panasonic's thoughtful attention to ergonomics. At 14.4 ounces (including battery and SD card), the camera is lightweight for a superzoom yet feels solid and well constructed. The FZ18 has a nice, rubberized grip that puts your fingers in a logical position to control the top-level buttons and provides a nice hook on the back for your thumb. On top, the shutter-release button and zoom lever are logically placed for comfortable use. The mode dial lets you select one of 14 top-level settings, including the primary mode selections and most popular scenes. Panasonic has added discrete manual focus and macro buttons, allowing for direct operation.

The back of the camera is home to a 2.5-inch, 207,000-pixel display. The screen is very bright; I was able to frame shots even in full sunlight. On my field tests, however, I found the LCD was sometimes slow to refresh. If that's a problem, you can frame shots with the electronic viewfinder, which has a 188,000-pixel display and includes an adjustable diopter. That's a welcome addition not available in the DMC-TZ3, which lacks an electronic viewfinder.

The buttons on the FZ18's back are well positioned for ergonomic use. The two that you'll use most are the main menu cursor buttons and the joystick. The center button of the menu cursor puts you into the menu system; the four surrounding directional buttons let you control exposure, flash settings, the self-timer, and image playback. If you prefer, you can navigate the menu using the small joystick. It's convenient for accessing commonly changed settings, such as ISO and white balance.

On my field tests, the FZ18 was an impressive performer. It's a blast to use, thanks to its extensive list of features, intuitive menu system, and highly versatile lens. In general, the camera captured images with accurate, natural color and correct exposures, especially outdoor shots. Indoor and low-light shots sometimes suffered from noise (more on that later).

Image stabilization worked well. Panasonic gives you two stabilization settings: In mode 1, the image stabilizer is constantly working; in mode 2, the stabilizer is activated only when the shutter button is pressed. On my tests, both options worked fine, although I found mode 1 a little easier to use. The face detection function, new to the Panasonic's superzoom line, automatically sets exposures and focus. It can recognize up to 15 faces, and it worked well under normal lighting conditions, although sometimes not as well in low light. The FZ18 has 17 scene modes, plus an advanced mode that lets you fine-tune the settings in popular scenes. In portrait mode, for instance, you can choose among normal, soft skin, outdoor, indoor, and creative settings.

While testing the FZ18, I discovered two unique and useful features. The high-angle LCD mode helps when you hold the camera above your head to take a shot because it optimizes the display, increasing the viewing angle—on my tests, it worked well. Another feature I like is the Extra Optical Zoom mode, which enables you to achieve a zoom of up to 28.7X. When you use this feature, the resolution drops to 3MP, but images still looked good enough.

For video, you can record motion JPEGs at 30 frames per second (up to 2GB in size) at resolutions of 640 by 480 and 320 by 240 pixels at the traditional 4:3 aspect ratio, and 848 by 480 pixels in 16:9 aspect ratio. The camera adjusted well to various lighting conditions and color was impressive, but you can't zoom during video capture.

On lab tests, I saw some barrel distortion at the extreme edge, which is typical. Simulated daylight test shots at ISO 100 were rendered in accurate color and crisp detail, with no purple fringing. Noise was visible at ISO 200 and objectionable at ISO 400. The FZ18 didn't fare as well on indoor flash tests, yielding images that were less crisp and a bit noisier. The FZ18's boot-up time was 3.2 seconds, which is fast for this class of camera. The camera also did very well on the resolution test, achieving an average resolution of 2,000 lines.

The Panasonic Lumix FZ18 is at the top of its class in features, and its performance was marred only slightly by noisy images under low lighting conditions, which is typical of cameras in this category. It's a perfect option for the photographer who wants more than a point-and-shoot but doesn't need the advanced features of D-SLR models.

Panasonic provides a one-year warranty on the Lumix DMC-FZ18.

Article courtsey of pcmag.com

* Canon PowerShot SD950 IS

2008-08-10T05:36:00.000-07:00

Canon's $399.95 PowerShot SD950 IS is a high-performance point-and-shooter that's perfect for photographers who want brilliant, crisp images but don't want to mess with manual controls. While this very capable 12-megapixel camera might strain your pocket (and your pocketbook), it's a top-notch snapper loaded with high-end features for serious amateurs.

The SD950 is a step up from Canon's 8MP SD870. Canon has increased the resolution and added an optical viewfinder for use in bright daylight, though it had to reduce the SD950's screen to 2.5 inches to fit the viewfinder. (The SD870 left off the viewfinder to make room for a 3-inch LCD.) Another nice feature that's sometimes absent from point-and-shooters is an on-screen battery meter—a good idea and oh so useful. And for amateur videographers, the SD950 provides the option of high-def video at 1,024 by 768 (however, the frame rate drops to 15 frames per second, and the aspect ratio remains at 3:2).

The first thing you notice about the SD950 is its handsome, solid titanium body, which is rendered in snazzy curves and rounded corners. The 5.8-ounce camera feels substantial and durable in your hands. There's no real grip, although the rounded curve on the right-hand side makes for a more comfortable hold.

At 1 inch thick, this camera can fit into your pocket. It's not nearly as slim as Canon's Digital Elph series because its image sensor is almost twice as large—and that demands a larger lens. The SD950 is outfitted with a 3.7X optical zoom lens that runs from 36mm to 133mm (with corresponding maximum f-stops of f/2.8 to f/5.8). I'd prefer a slightly wider-angle lens, such as the 28mm-to-105mm lens on the Canon SD870, but those who go for more zoom will like the SD950. Its sensitivity ranges from ISO 80 to 1,600 (Canon includes an ISO 3,200 scene preset, but this lowers the resolution to 2MP). There's a 2.5-inch LCD for framing shots, as well as the optical viewfinder. Use the viewfinder with caution, though, because it doesn't provide the full view delivered by the display. On my tests, I found the LCD viewable even in bright daylight.

As do most current point-and-shoot models, the SD950 comes with advanced face detection and an optical image-stabilization feature, which is especially useful at longer zoom lengths. You also get 11 scene modes, such as portrait, indoors, beach, snow, and so on.

Ergonomically, Canon has arranged the dials and buttons in a logical way that lets you access settings quickly. A cleverly canted mode dial at the top lets you easily choose between auto, manual, movie, and scene modes. Below that is a center function button—a feature that enables you to choose from the four options by circling your finger around the dial, much like a scroll wheel on an iPod. As you scroll, a graphic appears on the LCD to indicate what will be selected if you depress the button. This sounds gimmicky, but it lets you keep your eye on the LCD if you're changing a setting in the middle of a shot. You can also find this feature on the SD870.

The function button is flanked by four small buttons for PictBridge printing, playback, display, and menu. These four buttons are perilously tiny but are raised somewhat for tactile guidance. The Power button at the top is small and flush; those with large hands are sure to fumble. The large shutter button at the top left is very responsive, however, as is the zoom toggle.

If you've ever used a Canon digital camera, the menu system will be familiar. It's marvelously simple to use. All settings are a click or two away and are arranged so conveniently that you can't get lost in the menu—although you won't have full control when using the manual setting. You can easily change the ISO and white balance, but the camera gives you no way to set the aperture manually. For a camera this sophisticated, Canon should consider adding full manual control. The 12MP Fuji FinePix F50fd offers more advanced settings, including flexible low-light and action shooting tools—for $100 less.

On our lab tests, the PowerShot SD950 delivered very strong performance. Daylight shots were awesome in their detail and clarity at ISOs of 100 and 200. At ISO 400, noticeable fuzziness crept in, and anything above that level was very noisy. Flash photos were similarly beautiful at ISO 100 and 200—and just as disappointing at high sensitivities. Boot-up time was a relatively fast 3.4 seconds, and recycle time using flash was about 3.2 seconds. Shutter lag was noticeable but not a deal-breaker. On the resolution test, the camera averaged 2,025 lines, which is outstanding for a 12MP camera. There was no pincushion distortion at the telephoto end of the range and just the average amount of barrel distortion at the widest angle. The FinePix F50fd yielded similar results on lab tests.

The camera performed beautifully on my field tests, capturing detailed images with true color. In Auto mode, many of the photos snapped at ISO 200 were crisp, with no noise. In many cases, photos taken in dark shadows at ISO 400 were also surprisingly crisp and impressive. Face detection worked as advertised, as did the image-stabilization technology. Again, these results were similar to the F50fd's.

Canon's Auto ISO Shift feature, which automatically increases the ISO setting to capture an image at a shutter speed that compensates for camera shake or low lighting, was hit or miss. On my tests, it delivered adequate exposure but recorded images at ISO 800, resulting in unacceptably fuzzy photos. This was particularly acute at longer zooms.

The camera's high-def video capture, at 1,024-by-768, is a nice touch. Details were very sharp, although the trade-off was a stuttering 15 fps. You can kick the resolution down to 640 by 480 at 30 fps for smoother video with less detail. It's your choice.

Canon bundles a proprietary rechargeable lithium ion battery and a 32MB SD storage card. You'll want to invest in a much higher-capacity card to hold your photos, since at 12MP resolution the included card can hold only eight images shot at best quality.

Primarily because of its high cost, the Canon PowerShot SD950 IS isn't for everyone. If you're not a Canon stalwart, the Fuji FinePix F50fd is definitely worth a look. But for those who don't mind paying top dollar for a point-and-shooter, this one delivers high resolution and truly impressive photos.

Canon offers a one-year limited warranty against defects in materials or workmanship. For online support visit: http://www.usa.canon.com.

Article Courtsey of pcmag.com

* Sony Cyber-shot DSC-W300

2008-08-10T05:15:00.000-07:00

For most of us, a massive D-SLR is way too much camera to carry around all the time. Trim and lightweight, Sony's $349.99 Cyber-shot DSC-W300 is small enough to keep in a pocket and at the ready, but just because it's tiny doesn't mean it isn't capable. The speedy, super-high-resolution 13.6-megapixel DSC-W300 snaps some sharp photos with rich, pleasing colors, especially when outside. On the other hand, the camera's flash is a bit heavy-handed, and its physical controls may prove difficult for large fingers to operate.

The DSC-W300's attractively styled all-metal frame feels solidly built. About the size of a deck of playing cards, the camera measures 3.7 by 2.3 by 1.1 inches (HWD) and weighs 6.6 ounces. It features a relatively standard 3X optical zoom lens with an aperture range of f/2.8 to f/16 and a focal length of 7.6mm to 22.8 mm (35mm equivalent: 35mm to 105mm). The 2.7-inch screen, which dominates the back of the camera, is bright and easy to read except when viewed in strong, direct sunlight. There's also an optical viewfinder for framing shots.

Button layout is typical for a slim point-and-shoot camera. Along the top left edge are the power and shutter release buttons—both within easy reach of your index finger. Since the big display takes up so much real estate on the back of the cam, the dedicated Menu, Home, Picture Playback, and Slideshow viewing keys are extremely tiny. The mode dial, which lies flat on the camera body (right next to the screen), is also a challenge for larger hands, like mine, to manipulate.

Located within the SCN function are eight handy scene modes to make shooting simpler. You'll find helpful modes like SoftSnap, which shoots subjects with soft backgrounds, as well as Twilight, Beach, and Snow. Turning the mode dial to the Smiley Face icon flips the device into Smile Shutter mode, a feature integrated across Sony's Cyber-shot camera line. With this mode enabled, the camera locks onto faces in the frame and automatically snaps shots as your subject smiles. Yes, it's a bit of a gimmick, but it worked well on my tests. Other handy features include a face-recognition engine that can track up to eight faces at a time and a nine-point autofocus system.

The camera's menu system, unlike those of competing models such as the Canon PowerShot SD790 IS, takes a little while to understand. The interface is similar to that of Sony's own Cyber-shot DSC-T2, but unlike the T2, the DSC-W300 doesn't have a touch screen to help you out. Hitting the Home button pulls up a list of global settings. You navigate by using the aforementioned flat, circular mode button. The experience is reminiscent of Sony's XrossMediaBar interface (found on its TVs and PlayStation 3 consoles). Think this may be what he's after: "Pressing the Menu key yields a list of options you can change—but, confusingly, there's a different list for each mode. On the plus side, descriptions of menu items appear as you select them.

During labs testing, the DSC-W300 displayed nimble performance. The camera's average boot-up time was a swift 2.1 seconds. Shutter lag was minimal at 0.2 seconds, and I measured recycle time as an acceptable 3.1 seconds between shots. The camera's optics weren't bad, either. Though I observed a touch of barrel distortion at the lens's widest angle setting, there was no trace of pincushion problems when I zoomed up close. As far as image quality goes, the DSC-W300 delivered pleasing daylight pictures, possessing rich colors and crisp detail. Flash shots, on the other hand, were inconsistently exposed, with bright, flaring hot spots in the foreground and murky darkness plaguing the background. The DSC-W300 averaged 2,100 lines on our resolution test, confirming that it is capable of delivering its advertised 13.6MP resolution.

Informal shots taken outside in bright daylight were lovely, with vivid color and proper exposure. Dark environments were another story. Despite the device's ISO range (which tops out at 6400), shots taken without the flash or inside dimly lit bars resulted in heavy blurring of moving objects. These pictures also exhibited a fair amount of noise. Under the same conditions with the flash enabled, inconsistency issues popped up again. Subjects in the foreground had a tendency to be blindingly bright while those in the background were correctly exposed. Still, this type of problem is common among point-and-shoot cameras. If you want to take natural-looking night photos, you'll need to spring for an expensive D-SLR model.

As for video, the DSC-W300 captures MPEG movies in 640-by-480-pixel resolution at 30 frames per second. My test videos looked smooth and sounded fine. The camera stores video and pictures to Sony's proprietary Memory Stick Duo and Memory Stick Pro Duo media.

With its stylish design, high resolution, and agile performance, Sony's Cyber-shot DSC-W300 is a compelling compact camera. If you plan to shoot most of your pictures outdoors or within well-lit environments, the W300 captures some great-looking images. And at $349, it's not outrageously priced when compared with other high-end models like the $399 Canon PowerShot SD950 IS. But there are better bargains out there—in particular, the $150 Casio Exilim EX-Z9, which also exhibited good daylight picture quality and excellent video capture. Of course, none of these cameras displaces our reigning Editors' Choice point-and-shoot camera, the top-notch Canon PowerShot SD790.

Article Courtsey of pcmag.com

* Understanding A Digital SLR

2008-08-10T03:04:00.000-07:00

What Is a Digital SLR Camera?

If you've been wondering "what is a digital SLR?" I'm not all that surprised.

Many consumers are much more familiar with compact digital cameras, since these models have flooded the marketplace.

Like cell phones, it's hard to walk down the street these days without seeing someone snapping a photo. Digital SLR cameras are far less common, and up until 2005 were really only used by professionals.

The good news is that the price of digital SLRs keeps falling and many are competitive now with the high-end compact cameras. This also means that many new consumers are hearing about these cameras and aren't quite sure what they can do.

So what is a digital SLR? Let's find out.
SLR Defined

SLR is an acronym: it stands for Single Lens Reflex.

Now you know what SLR stands for but that doesn't really help answer the question, does it? Let's define further:

* With an SLR camera, you see exactly what the lens sees
* You can change the lens on a digital SLR
* Digital SLRs have large image sensors that produce high-quality photos
* An SLR has a near-zero lag time, and is ideal for action photography

Bottom line? Digital SLR cameras are versatile.

You can take photos of everything from sleeping kittens to race cars and you'll never be limited by your camera.

With an SLR in your hands you can rest assured that you'll only miss great photo opportunities because you weren't prepared, not because your camera was too slow.

The Anatomy of a Digital SLR

To properly answer "what is a digital SLR?" you have to understand a bit about the mechanics of an SLR camera.

In order to avoid getting overly technical I've simplified this diagram and am highlighting the key elements.

If you really want to dredge into the specifics, you can do that at Wikipedia.

Refer to first image

1. Light passes through the lens and strikes a mirror (green)
2. The mirror reflects the light up to a focusing screen
3. Light passes through the focusing screen and enters a block of glass called a pentaprism
4. The pentaprism reflects the image so that you can see it in the viewfinder
5. When you take a photo, the mirror flips up and a shutter (blue) opens that exposes the digital sensor (red) to light

This is a great example of what-you-see-is-what-you-get. By using the viewfinder you can precisely compose your image and adjust the focus.

Is ithe image that you see in the viewfinder 100% accurate? In most cases it isn't.

If you read digital SLR camera reviews, you may hear a lot about viewfinder "coverage" and "brightness".

Many digital SLR viewfinders only show you 95% of the image that will be captured by the sensor - this is what "coverage" refers to. Unless you are extremely precise when it comes to your photographs you won't notice the 5% difference.

Digital SLR viewfinders also vary in brightness, which is another way of saying how clear the image appears. "Bright" viewfinders make it easier to use manual focus, since you can clearly see the details of your subject.

A Lens For Every Occasion

In addition to the pentaprism viewfinder, one of the key features of any digital SLR camera is the ability to change lenses.

Most people think that the camera alone is responsible for capturing an image, but this isn't the case.

The lens that's attached to it can play a huge role in the color, contrast and clarity of every single photo that you take.

Owners of digital SLR cameras can buy lenses that match their photography style, since a landscape photographer should not use the same lens as a wildlife photographer.

The ability to swap lenses at any time adds to the versatility of a digital SLR camera, and means that even if your photography needs change in a couple years, you won't have to buy a new camera, you'll just need a different lens.

* Leica Lenses - An Overview

2008-08-10T02:58:00.000-07:00

2/50 Summar:

The Summar is Leitz's first f 2.0 lens, introduced in 1933. It shows it's best results between f 3.2 and 6.3. In this range, it is comparably sharp, like my Kodak Retina Ia 3.5/50 mm Xenar from the 50ies. In this range, it is a "high contrast lens", but different than we use the phrase today. Here it means, that the lens shows clear colors but hardly shadow details. To give an example: When you look at a tree at dawn or sunset, you clearly see the colors of the bright parts, but the shadows are gone and almost black. That's what the lens does, even in bright daylight. Additionally, the unsharp areas are more unsharp than in a "usual" 50 mm, almost like from the 2/90 mm M Summicron. Both effects (suppression of shadow details and "increased" unsharpness) result in the most impressive 3D or pictoral effect I've ever seen from a 50 mm, incl Noctilux. The highlights are over-pronounced, which gives an additional impression of light in your pictures (like in impressionism). At f 2.0 the corners tend to be dark and the colors are almost gone. It is a warm to neutral lens.

2/50 Summitar:

The Summitar is Leitz's second f 2.0 lens, introduced in 1939. There are uncoated and coated versions. In my experience, both appr. agree in their rendition. It shows it's best results between f 2.0 and f 4.0/ 4.5, but you may use it up to f 8 or f 9. It is more sharp than the Summar, and it's sharpness is comparable to the 2/50 coll Summicron or between the coll Summicron and the rigid chrome Summicron. At f 2.0 the Summar's dark corners are gone. The unsharpness compares to the rigid chrome Summicron. The color rendition is (far) more rich than from the Summar, comparable to the 1.5/50 Summarit or even the rigid chrome Summicron (but less than strong than in the coll Summicron). At low light (1/60 at f 2.0, E 100s), the color impression changes from saturated to transparent (like thin water colors in painting). There are many shadow details, but far far less than in the current 50 mm Summicron. The 3D effect compares to the rigid chrome Summicron (less strong than in the coll Summicron), but is significantly less strong compared to the Summar. It is a "cold" lens.

2/50 coll Summicron:

The coll Summicron was introduced in 1953 (1954 M version). There are at least 2 versions, maybe 3 (if you count different coatings as different versions). The first (usually below s/n 1 mio) has a high(-er) amount of rare earth included in the glass melting process, and was described by Marvin Moss 2, 3 months ago. If you look thru the lens, the glass appears slightly yellow ("yellow glass" Summicron). The pictures are a little more warm than from the other versions (Viewfinder article). The second, which I know, has a "blue" coating, which "peels off" after long year's claening, and was decribed by Marc J Small recently. The glass is not yellow anymore. The third version has a coating which looks like "reflecting light" or like a mirror if you look from the side, and yellow if you look from above (this lens is sometimes also described as "yellow glass" Summicron). I know nr 2 and 3 from experience. They show best results between f 2 and 5.6, and the optimum at f 4.0. Although they are "somehow" sharp at f 8, I often have wished, I had another lens mounted at this f-stop. In my impression, they are a (very) little less sharp than the 2/50 Summitar, but have a very beautiful out-of-focus rendition (strongly modeled, but less strong than from the Summar). The colors are very saturated, almost as strong as in the current Summicron (at daylight at or above f 4 and 1/250, E100s). They are more strong than from the rigid chrome Summicron in sun shine, but less strong than in pictures from the rigid chrome Summicron after rain. In general, the lens has a "soft" sharpness and saturated colors. It's a warm to neutral lens.

Rigid chrome 2/50 M Summicron:

The rigid chrome M Summicron was introduced in 1956, and is identical to the NF Summicron (Erwin Puts). There are two different coatings: The first goes off after (long years) cleaning, and the front element looks grey; the second is blue to blue-violett and stays untouched. The lens shows its best results between f 2 and f 8, with an optimum at f 4. It's sharpness is so impressing, that I feel it as comparable to the current Summicron at f 4 or f 8. It is definitely more soft at f 2.0 or f 2.8, specially in the corners, but it's a "pleasant unsharpness", like the 1/50 Noctilux at f 2.8. Different, I don't like it's sharpness at f 11 or 16 (it's like the coll Summciron at f 8), because the loss of sharpness between f 8 and f 11 is too strong. The out-of-focus rendition is soft and pleasant, and tends more to the Summitar, specially in lower f-stops (f 2.8 to f 4), than to the coll Summicron. The modeling effect is less strong than from the coll Summicron. The color and grey tone rendition is very rich, specially in daylight up to (max) f 4, 1/250, E100s. The color saturation depends on the type of pictures: In lower light (1/60, f 4, E100s) the colors are very saturated, the shades are very rich; in bright sun light (above f 4, 1/250 E100s), the lens looses it's magic and is as fine as the Summitar or Summarit. It is my "one and only" 50 mm lens for rainy or strongly overcast days (if I look for color richness), and in b/w up to f 4, 1/250, 200 ASA (if I look for richness in grey tone rendition). The lens is a "cold", low to middle contrast lens.

Black 2/50 Summicron:

The "black" Summicron was introduced in 1969, and is - according to Laney - the officially 2nd version (thanks to i.e. Erwin Puts, we know better). I had this lens for some month, about 25 years ago, and I can give you my reasons why we "divorced" pretty soon - although you may call me something like a Summicron manic. Compared to the rigid chrome Summicron, my lens had an increased contrast but a reduced sharpness. The contrast agreed to the current 1.4/50 M Summilux, and the sharpness to the 2/50 coll Summicron. Maybe I had a "Monday production", maybe not. I was so disappointed by this lens at that time (in comparison to the rigid chrome Summicron), that I sold her pretty soon. In my memory (which may be errorous), the color rendition is comparable to the coll Summicron resulting from the enhanced contrast. Today, I'm sure, that I over-reacted 25 years ago, and that my expectations resulting from the rigid chrome Summicron (which I had sold to purchase the black Summicron) were too high. On the other side, I've never touched this type of lens again.

Current 2/50 Summicron:

The current Summicron was introduced in 1980. I bought it last year after reading Erwin Puts comments, which says in short: "simply the best". Whatever Erwin says on his site or in his recent Summicron evaluation and comparison, also agrees to my impression. The lens is astonishing sharp at f 2.0, and very sharp above. The color saturation is extraordinary rich, and the contrast is high. - But, it is not "my" Summicron (I sold it after half a year). For me, the color saturation in combination with it's high contrast was too strong, in all types of light, it reminds me on colors of children sweets (i.e. "Smarties" or "Easter eggs"). Additionally, I missed the rigid chrome's softness in the out-of-focus areas and the richness in grey tones. In my mind, and maybe depending on my type of film-development-print-paper-combination, the contrast in the grey tones is too strong. To give an example: If you have a soft/ tender (?, phrase) subject, like a landscape in fog, you need to underexpose the b/w film at least 1/2 or one f-stop with this lens to get a negative, which's print agree to your memory from the scene. The rigid chrome Summicron gives a correct negative without correction. The lens is a neutral, high contrast lens.

1.5/50 Summarit:

The Summarit was introduced in 1949 (M 1954), and is a coated Xenon (1936). It shows it's best performance between f 1.5 and f 4, with an optimum at f 2.8, but you may use it up to f 8 with fine results. It's sharpness is better than from the coll Summicron, if contrasts are not extremely large, and comparable to the 1-st version 2/90 M Summicron at f 2.8. It's out-of-focus rendition is soft to very soft, specially at lower f-stops (up to f 4). As in the Summar or in the rigid chrome Summicron, far out-of-focus light sources are shown as circles, whose outer borders are more bright than the center. The color rendition is a little "flat" (less saturated) in low light conditon, like from the Summitar at f 2.0, and less saturated than from the rigid chrome Summicron. Different, the color rendition is very fine, and almost as good as in the rigid chrome Summicron, when you have a little sun shine in your pictures. It's a very nice lens for 50 mm portraits, also from today's view. It's weak part are very high contrasts at low f-stops (f 1.5 to 2.8). It's a neutral lens with a very slight tendency to "warm".

1.4/50 M Summilux:

The Summilux was introduced in 1959, and there are 2 versions (2-nd, 1961). There are indications, that the coating has been changed around 1980; I have experiences with a 1981 lens. It's sharpness is comparable to the 2/50 R Summicron, 1-st version, which is slightly better than the 2/90 M Summicron, 1-st version. It's out-of-focus rendition also agrees to the 2/50 R Summicron, 1-st version. Color rendition is rich and saturated with lots of shades, and agrees to the visual impression. I see the most remarkable difference to the 1.5/50 M Summarit in the color and contrast management at lower f-stops under low light conditon: While the Summarit may produce "flat" or "thin" colors between f 1.5 and f 2.0 in very low light, the Summilux still shows saturated (and remarkable sharp) pictures. It's contrast is higher than in the rigid chrome or 2/50 R Summicron (1-st version), but still pleasant (in my perception). It's a "warm" lens.

1.0/50 Noctilux:

The 1.0 Noctilux was introduced in 1976 (1.2/50 in 1966); there are indications, that the coating has been changed in the early 80ies. I have (some) experiences with a 1981 lens. You may use it between f 1.0 and f 8, with astonishing results at f 8 (for a f 1.0-lens). I prefer the lens between f 2.8 and f 4.0. At f 2.8, the sharpness is lower than from the 1.5/50 Summarit, maybe comparable to the 2/90 M Summicron (1-st version) at f 2.0 or a 1981 2/90 R Summicron at f 2.0. It's out-of-focus rendition is soft to very soft and modeled, maybe as "creamy" as in the 2/90 M Summicron. Unfortunately I've never had a result like Tina's b/w "Mesquito Indian Man"; my own experiences at f 1.0 compare to well-known LUG members' pictures on various web sites. To me, it's most remarkable performance is based in the lens' management of (light) contrasts: no matter how strong, the lens can handle it. The color management, specially at f 2.8 or f 4.0, reminds more on the 2/90 M Summicron than on any 50 mm lens. It's a neutral to "warm" lens with a tendency to white-yellow.

2/35 M Summicron:

The 35 Summicron was introduced in 1958; there are at least 4 versions (1958, 1969, 1973, 1980). I have experiences with nr 2 and 4, I prefer nr 4 (although nr 2 was a remarkable lens already). The lens shows its best results between f 2.0 and f 8, and it's hard to define an optimum f-stop (which is theoretically at f 4.0). Already at f 2.0 the lens shows remarkable sharpness, and you have the impression that you just change the DOF (and not the sharpness) when you decide for a higher f-stop. Later you find out, that the lens is indeed more sharp, i.e. at f 4.0, but you are so impressed by the total of it's rendition at f 2.0, that you hardly realize the increase in sharpness at a first glance. The sharpness is continuous between 1 m and infinity, and at least one class better than in the 2/35 Nikkor with floating elements (nr 2 is appr equal to the Nikkor). It's out-of-focus rendition is soft (and beautiful), and almost as strong modeled as from the coll 2/50 Summicron. The color rendition compares to the 2/50 R Summicron (1-st version) or 2/90 R Summicron (mine is from 1981), rich in shades; the lens is able to handle even large contrasts (light and color) without problems, but different than the Noctilux. While the Noctilux seems to reduce or adapt strong light sources to its own standards, the 2/35 Summicron shows both, the brightness of the strong light and unchanged (not influenced) colors in areas which are very close to the strong light source (i.e. reflections of bright sun in water, and the color of the water around the reflections). It's performance in low light is remarkable with a tendencey to white-blue. It's a cold lens.

2/35 asph Summicron:

I've not used this lens, but I saw print film results (Fuji-something, no Ciba- or Digiprint) from pictures Ferdinand sent to me. From what I see in the pictures, the asph 2/35 Summicron compares to the nr 4 2/35 Summicron, except that the lens is as sharp as the 1.4/35 ASPH Summilux between f 2.0 and f 4.0. The out-of-focus redition is as beautiful as from the nr 4 version (2/35), except that it's more contrasty.

1.4/35 ASPH Summilux:

The ASPH version was introduced in 1994 (1990, "aspherical"); mine is from 1996 and belongs to an M6 ESL. Different than the first version, this lens' glass is pressed and has 1 asph surface (first: polished, 2 asph surfaces). It shows it's best results between f 1.4 and 5.6, and between 0.7 and 10, 15 meters. I've never seen any 35 mm lens, which is as sharp as this lens, even at f 1.4. The rendition of the out-of-focus area is less pleasant, and rather disappointing to me in comparison to the 4-th version 2/35 Summicron's rendition (when I bought the camera/lens, I bought it becasue I was highly attracted by it's design and shape - I'm still attracted, but ...). To me, the out-of-focus rendition looks rather like a collection of colored/ painted corns than a 3D or pictoral rendition of the unsharp (fore- and background) areas. The richness in color rendition is equally impressing as the shrapness of the lens, specially in low and very low light (i.e. between f 1.4, 1/15, to f 2.8, 1/60, E100s). In my experience you need a slide filme to really appreciate, what this lens does with low light colors (a print film can't handle it). Above f 5.6, and at infinity (all f-stops) my 2/35 Summcron (nr 4) was more sharp. The lens is a high contrast lens; it's a neutral lens.

2.8/28 Elmarit:

The lens was introduced in 1965; there are at least 4 versions (1965, 1972, 1979, 1993). I had an early version, maybe nr 1 or 2. Though it was remarkable at close distances, it was unsharp above 10 meters. I sold it, and purchased a 3.4/21 SA. Recently, I saw b/w pictures taken with a later version. The lens' rendition was very impressive, but I've no own experiences.

3.4/21 Super Angulon:

The 3.4 SA was introduced in 1963 and followed the 4/21 SA (1958). It shows its best results between f 4.5 and f 11, I prefer f 8. It is the the only super wide, on which I thought a little miracle might have happened to the 35 mm format optical industry, and which I judge as impressing as the MF 4.5/38 Biogon [ I feel the 4.5/38 as the best super wide I ever saw; additionally, both lenses (3.4/21 SA and 4.5/38 Biogon) perform very similar (sharpness, color rendition, out-of-focus rendition), at least when stopped down to f 8 ]. The 3.4/21 is pretty sharp, and comparable to the pre-asph (version 4) 2/35 Summicron or rigid chrome 2/50 Summicron.

Both, the out-of-focus and the color rendition, also agree to the pre-asph 2/35: rich and with a lot of shades. In low light (i.e. f 4, 1/30 to 1/60, 200 ASA), it additionally accentuates white or bright areas, increasing the modeling effects. In my experience, the 4/21 M SA performs similar (although less sharp by far), but both, the 2.8/21 asph Elmarit and 4/21 R SA, perform remarkably different. Though more sharp, specially at lower f-stops, the 2.8/21 asph lens shows colors and contrasts, which agree to the color and contrast rendition/ management of the current 2/50 M Summicron or 1.4/35 ASPH Summilux, and which I feel as "too strong" or too much saturated (not always, but too often). Different, the 4/21 R SA shows a (slightly) reduced color scale, specially in bright sun shine.

The shadow parts are very dark, almost black. And, although this special performence remembers on the Summar's color rendition, there is a difference in the viewers picture perception: The pictures, specially landscapes in bright sun light, get "restless", "turbulent", "unsteady", "nervous" (?, phrase). This effect results from the large number of changements of bright sun shine and (almost) black shadow, which cannot be avoided most of the times.

The large number of changements results from the wide angle of the lens: you simply get "very much" in your picture. Additionally, there is another difficulty: Specially unexperienced 21 mm VF/RF users pretty soon get desperate, because the forground is "too empty". So, although I feel the 3.4/21 SA's rendition as more pleasant, I'd suggest the 4/21 R SA to beginners, because it is more easy to create the picture (you get what you see). The 3.4/21 is a neutral lens with a slight tendency to cold, the 4/21 R SA is a warm lens.

2/90 M Summicron:

The 2/90 M Summicron was introduced in 1957 (1980, 2nd version). I know the 1-st version pretty good, which is so fine, that Leitz needed 22 years to replace it by a (slightly) improved version (Erwin). And, to be honest, I hardly see any difference. It shows it's best performance between f 2.8 and 8, with an optimum at f 4, but you will get very fine results at f 8 also. To give an impression of the lens' rendition: Whenever I see a large (and good !) black & white picture or poster on a wall, kiosk, etc showing a person/-s, I have the feeling that this picture _must_ have been taken with the 2/90 M Summicron. The idea is my mind, before I realize that it's - of course - from an LF camera, and that it should have been less sharp. But, the example gives an idea, how rich the very special grey tone rendition of this lens is (Erwin notes, that she is famous for her "creamy" rendition). She is definietly less sharp than the 2.8/90 M Elmarit, and is the wrong lens if you want to document events. But, you will be in the b/w portrait heaven if you use her for exactly those pictures or "emotional" sceneries, landscapes included. It's a cold lens.

Article Courtsey of Mr. Breull

* Panasonic DMC-TZ5

2008-08-10T02:41:00.000-07:00

Basic Specifications

Resolution 9.10 Megapixels
Lens 10.00x zoom (28-280mm eq.)
Viewfinder LCD
LCD Size 3.0 inch
ISO 100-6400
Shutter 60-1/2000
Max Aperture 3.3
Mem Type SDHC / SD
Battery Custom LiIon
Dimensions 4.1x2.3x1.4in (103x59x37mm)
Weight 8.5 oz (240 g)
MSRP $350
Availability 03/2008

Panasonic DMC-TZ5
Overview

Panasonic released the TZ5 in March of 2008, updating the TZ3 with a new sensor, slightly new styling and a few new features.

The Panasonic DMC-TZ5 upgrades the 7.2 megapixel sensor of the DMC-TZ3 to 9.1 megapixels, but maintains the 10x Leica-branded optical zoom lens and Panasonic's signature Optical Image Stabilization (MEGA O.I.S.). The lens offers a 28-280mm zoom range, offering a true wide-angle option. Panasonic has trimmed the size and weight again: it's 0.6 an ounce lighter at 8.4 ounces (240g) and just a few millimeters thinner. It's still not comfortable in a shirt pocket, but it's definitely compact and portable.

Panasonic has made some subtle alterations to the body and interface dials to make it simpler and easier to use. The Panasonic TZ3 crammed 10 settings onto the main mode selector dial; the TZ5 removes four of these settings to the operation menu, and adds a dedicated image playback switch near where your right thumb will rest on the back of the camera body. The results is a less imposing selector dial, that also doesn't switch to playback mode when the dial gets accidentally turned. The Panasonic TZ5's 3.0-inch LCD screen is also maintained, but the resolution has increased from 230,000 pixels to 460,000 pixels, offering a much clearer and sharper playback image.

The DMC-TZ5 offers a first for Panasonic cameras: Hi-Def recording in its movie mode, at 1,280x720 pixels (720p). The addition of a new Component connection port allows you to view your Hi-Def masterpieces on your Hi-Def television. Standard movie mode recording is still available. The Panasonic TZ5's ISO sensitivity has also been pushed one more stop with a maximum sensitivity of 6,400 in a dedicated scene mode. Panasonic hasn't added manual controls to its feature set, preferring to aim this camera at the point-and-shoot market.

Panasonic didn't re-invent an already good camera, maintaining a versatile lens with amazingly little distortion, and its ease of use. Instead, they have improved what didn't work, and added Hi-Def movie recording, and a few new features to the Panasonic TZ5.

Panasonic TZ5
User Report

Look and feel. The Panasonic DMC-TZ5 is a box-style camera with an extending lens. The high-res 3.0" LCD screen dominates the rear of the camera; there's no place to fit an optical viewfinder, but with this screen and several options for determining the brightness of it, you don't feel like you need one. Controls are laid out intelligently across the top and rear of the camera; the battery and memory card are accessible from the bottom of the Panasonic TZ5. The tripod mount is tucked away on the extreme right of the bottom, meaning it's quite practical to keep the camera mounted on a tripod and still be able to change the battery or memory card.

The handgrip, long a feature of the TZ-series, has improved with each generation. On the original TZ1 there was nothing but the protruding groove of the camera to hold onto, and the slick finish of the camera made it a bit slippery at times. Panasonic addressed this problem by adding a small horizontal strip of texturized rubber to the front of the grip, giving the fingers something to grip; they have further improved this on the Panasonic TZ5 by putting the strip in the vertical orientation. Your fingers naturally find the strip with your index finger resting on the shutter release button. One-handed operation is quite feasible, but for most shots you'll find yourself using your other hand to support the camera while you make adjustments to settings. It's worth noting that there isn't much real estate left on the front of the Panasonic TZ5 to place the flash; you have to make sure your middle finger is out of the way, or you might end up partially obscuring the flash.

Panasonic has made a few adjustments to the number and layout of controls on the Lumix TZ5. Gone is the image-stabilization button, replaced with an E.Zoom button which allows the user to instantly zoom to the maximum range and back again. The zoom function of the camera is quite good, with the zoom rocker providing a very responsive level of acceleration. It's not terribly fast, taking about 2.5 seconds to go from 28mm to 280mm, but then, the lens is fairly beefy.

Panasonic has also added a dedicated recording/playback switch to the Panasonic TZ5, just above the notch where you rest your left thumb on the rear of the camera. Everything else remains unchanged from the TZ3; the zoom rocker is still a trigger collar surrounding the shutter release button, and an on/off switch is tucked in between the shutter button and the mode selector dial.

A four-way direction pad and central button control the Panasonic TZ5's menu navigation. The only other change of note is that Panasonic has helpfully labelled the microphone area of the top of the camera, as a visual cue to not cover the mic during video or audio recording.

Interface. Panasonic has introduced a new Quick menu interface system with the DMC-TZ5, which overlays the most common settings onto the LCD screen. Pressing the Q.Menu button introduces a menu bar to the top of the LCD screen, allowing the user to change nine settings on the fly without having to enter the main menu screen. Specifically, the user can change the Panasonic TZ5's image stabilization mode, burst shooting mode, focus mode, white balance setting, ISO setting, intelligent exposure mode (either on or off), aspect ratio, quality setting, and the LCD power mode. In some modes however, there will be fewer options available for the user to set, as the scene modes take away some of the burden of decision-making. The best thing about this new menu is that because it overlays the LCD screen, you can see the effect your new setting will give you in many cases. For example, you get a visual demonstration of the effect of the image stabilization mode you're selecting; choosing one aspect ratio over another will show you exactly how it will look on screen. It's a very quick and effective way of changing settings, and the user is guided through these settings with short but instructive bits of text.

I actually found that the Panasonic TZ5's Quick menu setting was preferable to using the standard menu system to make these changes, as it offered slightly more information regarding one setting over another. For example, if you want to change the focus mode, you have six options to choose from: in the regular menu, you are presented with icons only; with the quick menu, you get the same icons, plus a line of text at the bottom of the screen that describes the selection.

The Panasonic TZ3 introduced the option to display a live histogram during shooting, and it's still available in the TZ5. It's not incredibly advanced, but it does give you an accurate representation of the various levels of luminosity in an image: shadows, mid-tones, and highlights.

The menu system maintains a virtual mode dial that first appeared in the TZ3. The menu appears briefly whenever you rotate the physical mode dial, so there's never any question of what mode you're in. It is important to note that the SCN1 and SCN2 selections actually activate the same menu selection, the Scene mode. The only difference is that each maintains a separate memory of the last scene setting you used. So if you want to quickly flip between Scene modes, you just have to switch between the two selections on the mode dial. What I didn't like about it was that you had to confirm the scene selection prior to shooting: the scene selection menu comes up automatically and you have to press the shutter button or menu/enter button to begin shooting.

Panasonic TZ5 Basic Features

* 9.1-megapixel, 1/2.33-inch CCD sensor delivers image resolutions as high as 3,456 x 2,592 pixels

* 10x optical zoom lens, equivalent to 28-280mm

* 4.0x digital zoom

* 3.0-inch color LCD monitor (460K pixels)

* Shutter speeds from 1/2,000 to 60 seconds, depending on mode

* Aperture range from f/3.3 - f/11, depending on zoom position

* Built-in flash with 5 modes plus Red-eye Reduction

* 50MB internal memory

* Power from 1,000mAh proprietary lithium-ion battery

* PictBridge compatible

Panasonic TZ5 Special Features

* Face Detection

* 23 preset Scene modes including "Clipboard" mode

* Movie mode with sound, and Hi-Def movie recording (1280x720p)

* Voice Memo option for still images

* Two Optical Image Stabilization modes

* Macro and Self-Timer modes

* Adjustable ISO from 100 to 1,600 equivalents, 1,600 - 6,400 in HI-SENS mode, plus 3 auto-ISO settings

* Adjustable white balance with five settings, including a Custom adjustment

* Overlaid "quick menu"

Panasonic TZ5 Conclusion

Pro:

* 10x optical zoom with true 28mm wide angle
* Almost distortion-free lens
* Excellent quick menu system
* Compact body for zoom range
* Optical image stabilization
* Sturdy build
* Big, 460,000-pixel, 3-inch LCD
* Easy to Use
* Simple mode for handing the camera off to the less experienced in the family
* Ability to limit ISO in Auto and Intelligent ISO
* Very good Automatic White Balance
* Fast startup for a long zoom
* Good shutter lag for a long zoom
* Blazing shutter response if you prefocus
* Almost two frames per second at full resolution (1.87)
* Twenty-three Scene Modes
* Fast download speeds
* Good macro performance
* Good print quality at ISO 100 up to 11x14; ISO 1,250 good at 5x7
* Above average battery life

Con:

* Anti-noise processing muddles detail at all ISO settings
* Moderate chromatic aberration at wide angle and telephoto
* High contrast in harsh outdoor images
* Somewhat subdued color compared to other cameras in this class
* Flash coverage is uneven at wide angle, and insufficient at telephoto
* Cant delete photos just taken without going to playback mode, unless in self-portrait mode
* Hi-definition video recording requires fast SD memory card
* Moderately soft corners
* Flash doesn't throttle down well in Macro mode
* Flash power does not adjust noticeably
* Poor low light performance at low ISOs
* Continuous mode performance is slower than the TZ3, offering 1.87 fps to the TZ3's 2.99 fps.

* Canon EOS 450D Rebel XSi

2008-08-10T01:59:00.000-07:00

Basic Specifications
Resolution 12.20 Megapixels
Kit Lens 3.00x zoom 18-55mm (29-88mm eq.)
Viewfinder Optical / LCD
LCD Size 3.0 inch
ISO 100-1600
Shutter 30-1/4000
Max Aperture 3.5
Mem Type SDHC / SD
Battery Custom LiIon
Dimensions 5.1x3.8x2.4in (129x98x62mm)
Weight 19.0 oz (539 g)
MSRP $900
Availability: 04/2008

Canon Rebel XSi / 450D Overview

Canon's new EOS Rebel XSi digital SLR includes quite a few features new to the EOS camera system, and once again exceeds some of the abilities of the company's intermediate digital SLR camera, the EOS 40D. With an updated look and a slightly taller profile, the Canon XSi has a 12.2-megapixel CMOS sensor, a 3.0-inch LCD, an improved nine-point autofocus sensor, a DIGIC III processor, and is capable of 3.5 frames per second. Its new Live View mode is improved over the Canon EOS models introduced in 2007, offering both contrast-detect and the more traditional phase detect modes. Like its XTi predecessor, the Canon XSi offers the EOS Integrated Cleaning System for dust removal both pre- and post-capture.

Picture Styles are also included as before, with a slightly updated interface. A few buttons have been moved around to make room for the larger LCD, and the body is slightly taller, yet with a lower overall weight. A new battery and the switch to SD/SDHC for storage may be part of the lighter weight. The Canon XSi is still compatible with all EF-S and EF lenses. Body-only the Canon Rebel XSi lists for $799, and the IS lens kit sells for an MSRP of $899. Check above right and at the bottom of the review pages for links to better pricing.

Canon Rebel XSi User Report

Canon's original Digital Rebel debuted in 2003, breaking new ground and bringing digital SLR technology within the grasp of consumers. Though the word "Digital" has been dropped, the Canon Rebel XSi continues the tradition of bringing advanced digital camera technology within the range of the casual photographer, with a price that leaves room in the budget for an extra lens or two. While the step from the Rebel XT to the Rebel XTi brought more internal than external changes, the Rebel XSi is a more complete overhaul. Many of the external changes are welcome, including the slightly taller grip and bigger LCD, but the real story, as is usually the case with Canon SLRs, is the improved sensor.

It's not just an improvement in number of pixels, but the improvement in their performance that makes the new 12.2-megapixel sensor extraordinary. Yes, Live View with contrast-detect autofocus, an image-stabilized lens, and several new automated features are welcome enhancements, but image quality is usually what gets our attention here, and the Canon XSi's is impressive.

Canon Rebel XSi Look and feel

My favorite part about my Rebel XTi is its small size. I shoot other Canon or other brands of SLRs when I need more advanced features, like a faster frame rate, but sometimes the only thing that will do is a small SLR, and the last three Rebels are among the smallest. The Canon Rebel XSi is only a little larger than its predecessor, but it looks bigger, and a little more professional like its big brother, the Canon 40D.

The XSi is about two millimeters wider and four millimeters taller than the XTi, and weighs about 29 grams less, despite the larger LCD and heavier image-stabilized lens. So while it's a little bigger, the Canon Rebel XSi is less of a burden when walking around. Canon has improved the grip again, adding a slightly taller grip area. My four fingers fit almost entirely, with only about three millimeters of overhang. It may be a little fatter too; but the greatest change is the more rubbery, leather-textured grip.

The thumbpad on the back also offers a better grip, and greater surface area. The diopter wheel is a little larger than the XTi's for easier access, and the Canon XSi's lens release button is a little larger too. Shutter release. It takes a real camera geek to notice, but the shutter button is set at a more aggressive angle than any Digital Rebels past; it now matches the angle of the semi-pro Canon 40D camera and pro 1D.

It's not a big deal, but it does make it easier to gently squeeze that important button when its activation angle matches the natural bend of the finger. Contours and accents. Muscular curves are the main design theme on the Canon XSi, with a look designed to evoke the Canon 1D Mark III and the Canon 5D. The pop-up flash that was a distinct element of the XTi is flush with the rest of the XSi's flow. While the XTi's metal parts, the hot shoe and strap loops, are painted black, those of the XSi are metal.

I prefer the black, but paint wears off, and the XSi's silver won't show the wear quite as clearly as the painted parts. The new design also eliminates at least one unnecessary accent part under the Mode dial, and the rear panel is less intricate to mold, likely lowering the cost of the Canon Rebel XSi's outer parts.

Basic Features
* 12.4-megapixel, 22.2 x 14.8mm, 14-bit RGB CMOS sensor delivering 4,272 x 2,848-pixel images. Effective count of 12.2-megapixels and 3:2 aspect ratio

* Single-lens reflex digital camera with interchangeable lenses (supports all Canon EOS series lenses). Focal length multiplier of 1.6x as compared to a 35mm camera

* Variable ISO (100, 200, 400, 800, and 1,600 settings)

* TTL optical viewfinder with detailed information display, diopter adjustment, and depth-of-field preview

* 3.0-inch, low-temperature TFT LCD with 230,000 pixels and Live View display mode

* Automatic, Program AE (shiftable), Shutter Priority, Aperture Priority, Depth-of-Field AE, and Manual exposure modes, plus Portrait, Landscape, Close-up, Sports, Night Portrait, and Flash Off programmed modes

* Variable white balance with Auto, six manual presets, and a Custom setting (reads from a neutral gray or white card), as well as a color correction tool and bracketing function

* External hot shoe supports E-TTL II metering, FEL, and FP (high speed sync) flash with Canon EX Series Speedlight

* Flash exposure lock function (FEL)

* 35-zone Evaluative metering linked to all focusing points, Center weighted average metering, Spot (4%) or Partial (9%) central-area spot metering; metering range of EV 1 to 20 (at normal temperatures, EF 50mm f/1.4 USM, ISO 100)

* Adjustable exposure compensation from -2 to +2 EV in 1/3 or 1/2 EV increments in all exposure modes

* Auto exposure bracketing (AEB) from -2 to +2 EV in 1/3 or 1/2 EV increments in all autoexposure modes

* Shutter speeds from 1/4,000 to 30 seconds, and a Bulb setting for longer exposures

* Electronic self-timer with a fixed duration of 10 or two seconds

* Image storage on SD or SDHC memory cards Special Features

* Live View mode includes two focusing modes: Quick, phase-detect mode, and Live, contrast-detect mode

* Dust reduction and automatic sensor cleaning

* Picture Style menu offers six presets plus three user-defined settings for contrast, saturation, sharpness, and tone

* Continuous Shooting mode capturing as many as 53 images as fast as 3.5 frames per second (with shutter speeds of 1/250 second or faster)

* TTL autofocus with nine focusing points, manually or automatically selectable; One shot AF, Predictive AI Servo AF, AI Focus AF, and manual focus with AF assist beam, depending on exposure mode selected; working range of EV -0.5 to 18 at ISO 100

* Built-in E-TTL II retractable-type flash with red-eye reduction; guide number is 13/43 at ISO 100, m/ft, flash angle said to cover the field of a 17mm lens (27mm in 135 format); topside hot shoe for external flash connection of EX Speedlite flashes

* E3 remote control socket and IR remote control window

* 24-bit JPEG and 36-bit RAW data file formats. Available resolution settings are: 4,272 x 2,848; 3,088 x 2,056; and 2,256 x 1,504

* Red-eye Reduction via built-in illuminator

* Optional external hand grip/battery pack adds secondary shutter release and control wheel, as well as AE lock and focus point buttons for vertical-format shooting

* NTSC/PAL selectable video out connectivity

* DPOF (Digital Print Order Format) and DCF (Design Rule for Camera File System) compliant

* PictBridge; Direct Print capability to selected Canon photo printers

* USB 2.0 connectivity with TWAIN driver for PC and Adobe Photoshop plugin for Macintosh

Pro:

* Excellent 12.2 megapixel sensor with impressively low noise and superb detail
* Live View mode works very well
* Live View mode offers a choice between phase-detect and contrast-detect modes
* Zoom in five or ten times with Live View
* Image-stabilized kit lens is excellent optically
* Small size is great for travel and all-day carry
* Dust removal technology largely eliminates sensor cleaning chores
* 3.0-inch LCD with a wide viewing angle for better image sharing and focus check
* Taller grip makes for a more comfortable hold
* New viewfinder offers greater magnification
* Integrated status display conveys a lot of information
* IR detection turns off LCD to reduce glare and battery drain
* Print/Share button enables quick and easy printing and image transfer
* Fast image transfer eliminates the need for a card reader
* AF system works well in low light
* Picture Styles makes choosing and customizing color modes fast and easy
* Compatible with over 50 lenses and accessories
* SD cards are inexpensive and easy to find
* Selectable auto-rotation feature rotates on the camera or only in the computer
* Fast autofocus
* Viewfinder magnification is very good at 97% accurate
* Shutter button design allows followup shots without refocusing
* Good macro performance
* Excellent detail from the sensor
* Images are sharp, but not oversharpened, and noise suppression is kept well under control
* Color is very accurate, with only red being a little high, which consumers generally like
* Auto white balance handles most situations very well
* Print quality is excellent, making sharp 16x20-inch prints
* High ISO shots are surprisingly good, easily useable at 11x14
* Great shot-to-shot, shutter lag, and cycle time numbers
* Suitable for the inexperienced amateur, perfectly usable by the seasoned pro

Con:

* AF-assist adjustment and Flash Exposure compensation are buried in the Flash Settings menu.
* In Live View Quick AF mode, camera does not tell you which AF points are in focus
* Kit lens produces somewhat high barrel distortion at wide angle
* Flash coverage is uneven, falling off in the corners
* Indoor white balance is a quite orange
* Battery capacity reduced with significant use of Live View mode, larger screen, dust off system
* Switch from CF to SD may bother experienced EOS users
* ISO range is not as broad as higher-end offerings
* Front lens barrel rotates, making polarizer lens use difficult
* Live View shutter lag is a little longer

* Fujifilm FinePix S100FS

2008-08-10T01:41:00.000-07:00

Basic Specifications

Resolution 11.10 Megapixels
Lens 14.30x zoom (28-400mm eq.)
Viewfinder EVF / LCD
LCD Size 2.5 inch
ISO 100-10000
Shutter 30-1/4000
Max Aperture 2.8
Mem Type SDHC / SD / xD
Battery Custom LiIon
Dimensions 5.3x3.7x5.9in
(133x94x150mm)
Weight 32.4 oz (918 g)
MSRP $800
Availability 02/2008

Fujifilm FinePix S100FS Overview
Review Date: 07/29/08

The Fujifilm FinePix S100FS is based around a 2/3-inch Super CCD HR VIII image sensor with an 11.1 effective megapixel resolution and Fuji's RP Processor III. The sensor is coupled to a Fujinon-branded f/2.8 to f/5.3, 14.3x optical zoom lens that offers a 35mm-equivalent focal range from 28 to 400mm, and includes both optical image stabilization and a true manual zoom ring (rather than the "fly-by-wire" zooms found on most such digital cameras).

Other Fujifilm S100FS features include a 2.5-inch tilting LCD display, an SD/SDHC/xD-Picture Card combo slot, Fuji's face detection 2.0 with automatic red-eye removal, extended dynamic range control, and ISO from 100 to 3,200 with extensions to ISO 6,400 at 6 megapixels and a very high ISO 10,000 at 3 megapixels. The Fujifilm FinePix S100FS also has the ability to save in RAW format, and offers a selection of film simulation modes.

In addition, the Fujifilm S100FS features:

Dual Image Stabilization: Fujifilm's Dual Image Stabilization technology combines optical image stabilization with optimized image settings to reduce blur caused by camera movement and subject movement. A mechanically stabilized "floating" lens element reduces blur caused by slow, hand-held shutter speeds. At the same time, Fujifilm's Picture Stabilization technology reduces blur caused by subject movement.

Multi-Bracketing Function: The S100FS offers expanded bracketing functions including: Film Simulation Bracketing, Dynamic Range Bracketing and AE Bracketing.

High-Speed Shooting: Reliable high-speed performance is possible with the S100FS through Fujifilm's newly developed Super CCD VIII "HR" and the new image processor RP (Real Photo) III Processor. At 3-Megapixels, a maximum of 50 continuous shots at 7 frames per second is possible. In addition, 14 scene settings and customer settings are available with four auto-focus modes offering high-speed, high-precision shooting and focusing for a diverse range of conditions.

Movie Mode: The FinePix S100FS offers a Movie mode with sound at 30 fps in VGA quality, and zoom capable with manual zoom ring while in movie mode.

xD/SD/SD-HC Compatible Slot: The FinePix S100FS features an "xD/SD Compatible Slot" which accepts not only Fujifilm's traditional xD-Picture Cards but also Secure Digital and SDHC cards too.

Fujifilm S100FS User Report

Don't let the price scare you. The Fujifilm FinePix S100FS is the least expensive hybrid you can buy.

The Fujifilm S100FS is not only built like a serious digital SLR, it has a larger sensor than most digicams, a real lens with a manual zoom ring, RAW file capture, and some sophisticated exposure controls beyond aperture and shutter speed.

But the Fujifilm S100FS still retains some of the conveniences and fun of a digicam with Movie mode, Scene modes, a single lens (with digital zoom), and LCD/EVF framing (with a tiltable LCD, too).

The Fujifilm S100FS's lens, with its 14.3x optical zoom and Super Macro focusing to 0.4 inch, is one reason this $800 digicam is a bargain. You'd spend a small fortune duplicating that range in digital SLR glass.

That range makes the Fujifilm S100FS a long zoom, but it gives the impression of being something beyond merely a long zoom digicam. It's a hybrid that avoids many of in the inconveniences and expenses of a digital SLR and many of the shortcomings of a digicam. If you're looking to move up but don't want to pack a separate bag for camera gear, the Fujifilm S100FS might be just what you're looking for.

I fell in love with the lens but there are plenty of other toys to play with on the Fujifilm S100FS.

Look and Feel. Perched on a table, the Fujifilm S100FS could easily be mistaken for a digital SLR. It's actually slightly bigger than a Canon Rebel XSi with the kit lens. And it's built just as well. There's nothing cheap about the body, the buttons, or the dials.

And there are plenty of buttons and dials on the Fujifilm S100FS, just like on a serious digital SLR. I really didn't have to make many trips to the menu system to change settings. There was usually a button to make the change I wanted, whether it was EV, ISO, shutter release, focus mode, or just setting the aperture and shutter speed. The Fujifilm S100FS even has a command dial like a digital SLR, something rarely seen on a digicam).

That digital SLR experience, which in my view is really the optimum photographic user interface, extends to the lens. There's no zoom lever. Instead, you twist the zoom ring on the lens, just as you would with any digital SLR lens. No steps, just a somewhat stiff twist to the perfect composition.

Unlike many digital SLRs, however, you can see the live image in the LCD or the electronic viewfinder. And because the LCD tilts, you can hold the camera at waist level or over your head and still see what the camera sees.

Although the camera is hefty, I never got tired shooting with it. You can't pocket it but you don't have to sling it over your shoulder either. I used a wrist strap and carried it in a holster case.

With the Shutter button free of a Zoom lever, a simple Power switch rings it. So you won't fumble around looking for some small button to power-on the S100FS. Behind it are an ISO button and an EV button (which also displays image info). And behind them is the handy Command dial.

Just to left of that cluster is the Mode dial. It's a thick mode dial, not the coin-thin sort you see on ultracompacts. A full 3/8 inches thick, in fact, so you can easily stretch your thumb over to spin to another mode.

Usually your thumb will rest on the sculptured back panel right next to the Metering ring around the Exposure Lock button. Below that is the EVF/LCD switch and the Playback button. Directly below the Playback button is the four-way navigator with a Menu/OK button. And to the left of that is the Face Detection/Red Eye Removal button. Well below that is the Display/Back button.

Those back panel buttons are arranged rather randomly, but you get used to the layout quickly.

On the left side of the camera are another set of buttons starting with the Shutter Release modes (which include Top 7 high res/Top 3 Raw, Last 50 3-megapixel, Dynamic range bracketing, Film simulation bracketing, Auto exposure bracketing, Last 7 high res/Last 3 Raw, and Long period). The Image Stabilization button is under that and below it is the Focus Modes switch (Continuous or Single autofocus or Manual focus) and a Focus button.

There's a dioptric adjustment on the left side of the EVF, too. And, as noted, the bottom of the LCD flips up for low angles. You can also pull out the top and flip the bottom back in for overhead shots.

The grip is much more comfortable than the small XSi grip, in fact with a nice molded finger slot for your middle finger.

Get your hands on an S100FS and you won't want to put it down. It handles so much like a digital SLR, I kept forgetting to use the LCD to frame my shots, bringing the viewfinder up to my eye.

Conclusion

Pro:

* Unusually nice fit and finish
* Wide zoom range, extending to 28mm at the wide angle end
* Manual zoom ring
* Lens hood has slot so you can manipulate a polarizer
* Buttons for functions like Image Stabilization and ISO
* Film Simulation mode mimics three film emulsions
* Four Auto ISO settings to limit highest sensitivity
* Raw mode
* Full resolution captures at 3 fps
* Tilting LCD
* Dynamic Range expansion options work well to hold onto highlight detail under harsh lighting
* Shutter lag times are better than average
* Prefocus shutter lag is exceptionally short
* Good continuous-mode speed for an 11-megapixel camera

Con:

* Raw mode is unusually unwieldy
* Very bright AF-assist illuminator
* Zoom not made for Movie mode
* No 16:9 aspect ratio
* Shutter lag is a little slow at full telephoto
* Lots of chromatic aberration from wide-angle through middle focal length settings
* Dynamic Range expansion comes at the expense of higher image noise, and less detail in
shadows
* Camera penalizes you for pressing the shutter button too soon after a shot, by refusing to take a
shot until you release and re-press the shutter button.
* Battery life is short for a camera this size - you'll probably want to pick up a second battery

* Olympus Stylus 1030SW

2008-08-10T01:24:00.000-07:00

Basic Specifications

Resolution 10.10 Megapixels
Lens 3.64x zoom (28-102mm eq.)
Viewfinder LCD
LCD Size 2.7 inch
ISO 80-1600
Shutter 4-1/1000
Max Aperture 3.5
Mem Type xD
Battery Custom LiIon
Dimensions 3.7x2.4x0.8in (94x61x21mm)
Weight 6.0 oz (170 g)
MSRP $400
Availability: 03/2008

Olympus Stylus 1030SW

Overview
The Olympus Stylus 1030SW is a 10.1 megapixel point-and-shoot digital camera with a rough-and-ready body that is waterproof, crushproof, shockproof, and freeze-proof. A 3.6x optical zoom lens provides a wider-than-average 35mm-equivalent focal length of 28mm-102mm and is complemented by a 5x digital zoom. At f/3.5-f/5.1, the lens isn't the fastest glass in town, but the camera specializes in outdoor shooting, so the speed of the lens should suffice under most outdoor conditions.

As is common for point-and-shoot cameras, aperture and shutter speed cannot be set manually on the Olympus Stylus 1030SW. Instead, you'll find a total of 29 shooting modes, 25 of which are scene modes. The 1030SW's basic feature set is complemented by on-board Help, a Shooting Guide, the very useful Perfect Shot Preview (which gives you a preview of how a photo will look with various settings such as White Balance), a live Histogram and Frame Assist. There's also a Shadow Adjustment feature on the Olympus 1030SW that is designed to balance shadows and highlights in various situations such as backlit scenes, and a Manometer that measures air pressure, so mountain climbers and scuba divers have a reference point of the height (or depth) at which an image is captured.

Face Detection and a post-processing automatic Perfect Fix feature add to the Olympus Stylus 1030SW's capabilities. Optical image stabilization is not available. Instead, the 1030SW utilizes its ISO range of 80 to 1600 for what the company calls "Digital image stabilization." Like most compact cameras, the Olympus Stylus 1030SW does not have an optical viewfinder. However, the camera is outfitted with a high resolution 2.7-inch LCD that has a wide angle of view and 5 brightness settings. All things being equal, even considering its feature set, the Olympus Stylus 1030SW's real claim to fame is its ability to withstand conditions that other cameras (or their manufacturers) can only dream of.

Olympus Stylus 1030SW User Report

Like its predecessors in the SW lineup, the Olympus Stylus 1030SW is made for the outdoors and can handle just about anything you can think of. You can drop it from 6.6 feet, sit or stand on it (it can withstand up to 220 pounds of pressure), take it underwater to a depth of 33 feet, or outdoors in sub-freezing weather (down to 14 degrees F). But you don't have to be an outdoor adventurer to test the Olympus 1030SW's durability; just think of it as a camera that can go where no other camera can -- or should -- venture.

The Olympus 1030SW is a perfect companion for the swimming pool, beach, boat, or anywhere water, dirt, dust, and other elements would wreak havoc with the electronics of most cameras. At its core, though, the Olympus Stylus 1030SW is a point-and-shoot camera with the standard array of shooting options. But its feature set holds a few pleasant surprises with extras that make shooting easier for novices, and provide more experienced users with a couple of handy options as well. The camera has a few shortcomings that may detract from its usefulness as your one-and-only digital camera, but the Olympus Stylus 1030SW is a hardcore camera for those who want to take pictures under conditions where other cameras fear to tread.

Look and Feel.

Built like a workhorse, the Olympus Stylus 1030SW's metal body is incredibly sturdy. Thanks to special protective seals and gaskets, the camera can be submersed in water to a depth of 33 feet. Because it's so well-sealed, the Olympus 1030SW is impervious to rain, snow, sleet, hail, dust, sand, and other outdoor camera hazards. At the same time, the metal body can be dropped from a height of 6.6 feet with no ill effects; and while you may not make a habit (as I did) of purposely dropping your camera, accidents happen and it's always comforting to know that a slip-through-the-fingers drop or bump won't harm the camera. You should, however, check the sealed areas for specs of dust or sand, which can interfere with the seals.

The Olympus 1030SW's crushproof feature is probably more important than you imagine as I recently found out. After setting the camera on the couch next to me one day, a friend innocently sat down on it. Although he weighs less than 220 pounds, this made me a believer in Olympus' claims that the 1030SW's body and reinforced LCD can withstand up to 220 pounds of pressure. Since freezing temperatures are long gone in my area, I didn't test the 1030SW's ability to function in 14-degree Fahrenheit conditions; but in last year's test of its sibling, the 770SW, there were no problems (other than my frozen hands and face).

Measuring 3.7 x 2.4 x 0.94 inches, the Olympus Stylus 1030SW is small enough to be carried comfortably in pocket or purse. It weighs about 6.3 ounces with the battery and xD-Picture Card, a little heavier than other compact cameras, but the weight certainly adds to the camera's sturdy feel. The Olympus 1030SW's design is a little different from most, and looks more industrial than sexy. However, the 1030SW comes in three cool color combos: silver/silver, black/silver, and green/silver.

A self-covering lens is located in the upper right hand corner (when you're looking at the camera from the front), with the flash just out of the way of your forefinger when gripping the camera. The lens is protected by the automatic cover, which opens when you power up the camera and the lens's surface showed no droplets or other picture-altering effects when wet. But it's a little too easy to let the forefinger on your left hand stray in front of the lens and ruin the shot, so be particularly careful if you have large hands. Generally, though, the Olympus Stylus 1030SW is fairly comfortable to hold.

The Olympus 1030SW doesn't have an optical viewfinder; rather, your sole method of composing is its 2.7-inch, 230,000-dot LCD. The display has a wide angle of view so you can easily see your composition from the side or overhead. This also allows you to easily share images with family and friends right after you've photographed them. The ability to adjust the LCD's brightness in five steps is an extra benefit so you can easily tweak the monitor according to shooting conditions. In low light, the 1030SW's LCD lights up automatically so you can clearly see what you're shooting.

Conclusion
Pro:
*Compact, attractive design
* Rugged build
* Waterproof
* Freeze proof
* Crushproof
* Shockproof
* Submersible to 33 feet with no time limits
* Special underwater scene modes
* 28mm wide-angle optical zoom
* Macro illumination lamp
* Face Detection
* 2.7-inch LCD
* Shadow Adjustment
* Live preview of effects, exposure, and white balance
* Helpful on-board Guide
* Quality mode dial replaces mode button
* Pre-Capture movie mode

Con:

* External control identifiers difficult to read
* Image noise even at low ISO
* Chromatic aberration
* Soft images
* Face Detection buried in main menu
* Image quality not as good as "non-rugged" competition
* Poor autofocus system
* No manual aperture and shutter speed controls
* Digital image stabilization isn't what it sounds like
* Weak flash
* No optical viewfinder