Fujifilm FinePix X100 In-Depth Review

Review based on a production X100 with Firmware 1.01 In amongst all the cameras announced at Photokina 2010 - including enthusiast SLRs such as the Nikon D7000, Canon EOS 60D, Pentax K-5 and Sigma SD1 - one utterly unexpected model stole the show. Fujifilm unveiled the FinePix X100, a compact camera with an SLR-size APS-C sensor and traditional analogue control dials, that hides ground-breaking technology inside a retro-styled body with looks to die for. It's the company's first camera with a large, APS-C sensor aimed at professionals and advanced amateurs since the S5 Pro DSLR of 2006. Fujifilm may be a company that’s currently best-known for its prolific production of compact cameras, but in reality it has a long tradition of making somewhat left-field, unique cameras aimed at serious enthusiasts and professionals. The company regularly sought out market niches in the days of film, from its Fujica 6x9 format rangefinders, through the GA645Zi medium format ‘zoom compact’, to the TX-1 35mm panoramic rangefinder (better known in Western markets as the Hasselblad XPan), all of which still command premium prices on the used market today. In the digital era it has concentrated mainly on its innovative SuperCCD sensor technology, employing it to provide class-leading dynamic range on cameras such as the S5 Pro and the EXR series of zoom compacts. Along the way it has made some genuine cult classics, including the F30 and F31Fd compacts which earned a reputation as excellent low-light performers. The X100, though, is something totally different. It’s a beautifully-designed rangefinder-styled camera that squeezes an SLR-size APS-C sensor into its compact body, and sports a fixed, fast F2 maximum aperture semi-wideangle lens with a classic 35mm-equivalent field of view. It uses traditional analogue control dials for shutter speed, aperture and exposure compensation, alongside an electronically coupled (‘focus-by-wire’) manual focus ring. But the biggest story is its innovative and unique hybrid viewfinder, which combines a conventional direct-vision optical viewfinder with a high-resolution electronic viewfinder, offering the best of both worlds plus a few unique tricks of its own. The large-sensor, fixed-lens compact isn’t a new idea, of course, and both Sigma’s DP series and the Leica X1 have already visited this territory. However these haven’t been entirely convincing products, plagued by slow operation, low-resolution LCDs and, in the case of the Sigmas, a somewhat quirky interface. For this reason they’ve struggled to establish a compelling raison d’etre, especially in the face of competition from the new breed of interchangeable lens mirrorless compacts typified by the Olympus Pen series and Sony NEXs. So the big question is whether Fujifilm has managed to refine the concept, and produce a camera that’s as compelling to shoot with as its specifications (and looks) suggest. There’s no mistaking what Fujifilm’s design team were thinking when they created the X100. Its two-tone body and analogue controls hark back to old rangefinder compacts, and it doesn’t look at all out of place in the company of these 1970s classics. Both Olympus and Leica have recently released retro-styled small cameras in the shape of the E-P1/2 and X1, but the X100 takes the concept to a whole different level. Its flash is even placed in the same position as was once occupied by rangefinder windows. Key features 12 megapixel APS-C sized CMOS sensor Fixed 23mm F2 lens (field of view equivalent to a 35mm lens on full frame) 2.8" LCD screen, 4:3 aspect ratio, 460,000 dots Hybrid optical / electronic viewfinder OVF with 0.5x magnification, projected framelines indicate approx 90% of field of view EVF with ca 0.5x magnification, 1,440,000 dots Traditional-style control dials for shutter speed, aperture and exposure compensation ISO 100 (L), 200-6400, 12800 (H) Flash hot shoe and built-in flash Built-in neutral density filter (3 stops) 1280x720 HD movie recording with stereo sound Compared to... The composite image below gives an idea of the X100's size relative to some of its competitors, both fixed- and interchangeable-lensed. It's a bit taller than the Leica X1 with which it most closely competes, but this mainly reflects the X100's built-in hybrid viewfinder (X1 users have to make do with the rear LCD or an add-on optical viewfinder). It's also noticeably larger than interchangeable lens cameras like the Panasonic GF1, and particularly the APS-C Sony NEX-5 (from which it's poles apart in terms of control philosophy); but again, neither of these have an eye-level viewfinder either. Of course the X100 is distinctly smaller and more portable than any DSLR fitted with a similarly-fast lens. Specifications compared The table below lists some of the key specifications of the X100 and its competitors. What's notable is the combination of an unusually fast lens and a large APS-C sensor, which together bode well for its low-light capability. Camera Lens* LCD Dimensions & Weight (with lens, battery + card) Sensor (effective pixels) Fujifilm FinePix X100 35mm equiv, F2 2.7" 460k pixels 126 x 74 x 54 mm, 445g 5.0 x 3.0 x 2.2 in, 15.8 oz 12.3 Mp CMOS (ca. 23.6 x 15.8 mm) Leica X1 35mm equiv, F2.8 2.7" 230k pixels 124 x 60 x 50 mm, 330g 4.9 x 2.4 x 2.0 in, 10.9 oz   12.2 Mp CMOS (23.6 x 15.8 mm) Panasonic DMC-GF1 40mm equiv, F1.7* 3.0" 460k pixels 119 x 71 x 61 mm, 448g 4.6 x 2.8 x 2.4 in, 15.8 oz   12.1 MP LiveMOS (17.3 x 13 mm) Sony NEX-5 24mm equiv, F2.8* 3.0", tilting 920k pixels 111 x 59 x 54 mm, 361g 4.4 x 2.3 x 2.1 in, 12.7 oz 14.2 Mp HD CMOS (23.4 x 15.6mm) Sigma DP2 40mm equiv, F2.8 2.5" 230k pixels 115 x 64 x 56mm, 280g 4.5 x 2.5 x 2.2 in, 9.9 oz 4.6 MP x 3 X3F (20.7 x 13.8 mm) *The Panasonic DMC-GF1 and Sony NEX-5 both accept interchangeable lenses If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

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ACD Systems releases ACDSee Pro 4 editing/management tool

ACD Systems has released the final version of its ACDSee Pro 4 image editing, browsing and organization software. ACDSee Pro 4 increases the level of control offered in terms of image editing - including lighting and contrast enhancement (LCE) tools to improve highlight and shadow characteristics in raw conversions, maximizing the use of the camera's captured dynamic range. This builds on the range of non-destructive edits that can be easily applied, without affecting the original file or the need to import the images into a database. There are also tools for correcting vignetting and chromatic aberrations, as well as the batch processing options and engagement with external editing tools that were already a part of ACDSee.Press Release: ACD Systems Announces the Only All-in-One Photo Editing and Management Product for Pro Photographers ACDSee Pro 4 Provides Best Combination of Capabilities to Reduce Time, Cost and Complexity ACD Systems today announced the availability of ACDSee Pro 4, the most complete solution for the enhancement and control of image production demanded by professional photographers. Pro 4 is the only solution that allows photographers to carry out the essential elements of the photography creative process and distribution in one place. Over 50 million ACDSee products have been downloaded worldwide. ACDSee Pro 4 lets photographers create, organize and distribute the highest quality images so that they can increase revenues while enhancing their reputations and market reach. As the amount of photographs taken using digital photography explodes, photographers search for the best combination of editing and management capabilities that reduce time, cost and complexity. With ACDSee Pro 4: Photographers receive the highest flexibility for the best artistic control. The patent-pending LCE (Lighting and Contrast Enhancement) single exposure HDR (High Dynamic Range) algorithms are built into Pro 4’s RAW technology. ACD developed the technology to give users a simple and efficient means of dramatically improving lighting and contrast in photos. Photos are fine-tuned to more accurately reflect the subject, and if desired, enhance the representation of the original subject. With LCE, photographers can increase the exposure of dark (underexposed) photos, increase the contrast and vibrancy of dull photos, correct uneven lighting, correct backlit photos, selectively brighten dark areas and darken bright areas (automatic dodge and burn), and create an HDR image from a single exposure.   Original RAW images are rendered in full-size and at amazing speeds. Lighting and exposure problems, including high contrast and backlit scenes, insufficient flash, dull images, and under and overexposure are corrected in seconds. The alternative, multi-exposure HDR, is extremely labor intensive and requires additional, specialized software. It can also result in motion blur, as well as process and capture complexity.   Photographers never have to import or export images into a vendor-controlled database resulting in a virtual view. Unlike other solutions, Pro 4 allows them to edit photographs in real-time, directly from the source – whether it be a camera memory card, hard drive or computer system — and then save those changes to the original equipment.   Allows edits to be seen in real-time and previewed in full screen. Batch processing is intuitive and very fast. Photographers can experiment, yet have the peace of mind of knowing that their originals are always safe with Pro 4’s non-destructive editing capabilities.   ACDSee’s catalog-based technology stores key identifying metadata for each image, including date, location, and equipment used. This makes it fast and simple to perform tasks such as search according to keywords, dates and other important information, and to drag and drop images to compare characteristics and tags with other images.   Gives photographers the freedom to organize photos and their digital workspace according to their individual needs and preferences. They can customize their application toolbars and layout to reflect the way they naturally work with their images—Manage, View, Process and publish Online.   Allows photographers to view and manage a wide range of file types. “As a professional photojournalist, I have to be able to take world class photos, quickly edit them and send them anywhere in the world within minutes,” states Peter Pereira. “A product like ACDSee Pro 4 can make or break me. I was recently in Mexico to photograph the Chichen-Itza ruins. I happened to be there during the Spring Equinox. I took photos and immediately realized their value. While out in a remote area of the Yucatan, I was able to have the best editing tool on my laptop and could send photos I was proud of to an editor in Boston interested in purchasing them. That’s the kind of thing ACDSee lets me do. It would take at least three other products to give me what Pro 4 does incredibly well. I’ve used it for years and it’s been game changing for me.” Photographers can quickly and easily share photographs using ACDSeeonline.com, a free, cloud-based photo sharing site. Privacy controls are set by the photographer, ensuring the highest levels of control and security. And ACDSee Pro 4 allows selected contacts to download password protected full resolution images. Photographers can also share images on the most popular social media sites such as Facebook, Twitter, Flickr, SmugMug and Zenfolio, and/or via their own websites. And ACDSee Pro 4 doesn’t dictate what editing tools photographers use. For example, they can use editing products such as Photoshop and then import their images into Pro 4 for management and distribution. “At ACDSee we pride ourselves on being intensely customer-focused,” said Doug Vandekerkhove, CEO of ACD Systems. “We’re nimble enough to quickly respond to what photographers tell us they need, yet established enough to be able to execute market-changing products that have a dramatic impact and will last. ACDSee Pro 4 maintains that legacy and demonstrates our dedication to helping our customers make a difference. Photographers have responded by making this product our most popular to date.”

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THE VERSATILE NEW NIKON D5100 D-SLR OFFERS A NEW PERSPECTIVE ON CREATIVITY

With a New Swing Out Vari-Angle LCD, Full HD Movie and New In-Camera Effects, The Nikon D5100 and ME-1 Stereo Microphone Provide the Tools and Inspiration to Create Stunning Photos and Movies MELVILLE, N.Y. (April 5, 2011) – Today, Nikon announced the new 16.2-megapixel Nikon D5100 Digital SLR designed for those ready to artistically express themselves and need a versatile camera that can keep pace creatively. The Nikon D5100 D-SLR houses a host of new and innovative features aimed at giving photographers the tools to shatter creative constraints and tell stories with amazing image quality and stunning HD movies. The Nikon D5100 includes features designed to enhance the shooting experience, including an impressive new 3-inch, super sharp 921,000-dot Vari-angle LCD screen and full HD (1080p) movie recording with full-time autofocus. The 16.2-megapixel D5100 is also the first Nikon D-SLR to provide in-camera effects that can be applied to both photos and movies to deliver even more creative expression. “Now more than ever, consumers want to pack only one device with them when travelling on excursions both far away and close to home,” said Lisa Osorio, general manager of marketing at Nikon Inc. “By providing consumers with a simple path to creative freedom for both stills and movies, the Nikon D5100 is designed to become an essential camera for capturing all of life’s occasions.” Ready for the Adventure of Life The D5100 allows photographers of all levels to confidently execute new and creative ways to tell stories with amazing color and clarity. Whether shooting high over crowds or down low to a toddler’s point of view, the swing out style Vari-angle LCD screen makes it easy to compose and share great images. Displaying even the most subtle details with clarity, the super sharp LCD has a 1000:1 contrast ratio and 921,000-dot resolution, with the ability to rotate 180 degrees horizontally and vertically. To further test creative boundaries, photographers can take advantage of the D5100’s in-camera Special Effects Mode. Applied to either stills or D-Movies, these innovative effects are easy to apply and add a high level of creativity and fun to the photo experience. By selecting the Effects position on the mode dial located on top of the camera, photographers can easily apply effects such as Selective Color and choose up to three different colors in a scene while the remainder of the scene is converted to monochrome. Color Sketch creates photos and a stop motion movie in a colorful sketched drawing style, while the Miniature effect records photos and high speed movies to bestow a feeling of a mini-scale scene. To record photos in extreme lighting conditions or to produce movies with a gritty appearance , the new Night Vision mode calls upon Nikon’s pro D-SLR performance to offer extreme low-light capability by enabling the camera to shoot up to a super-high 102,400 ISO. In addition to the Effects mode, users can create photos with amazing tonal range by selecting the high dynamic range (HDR) function within the camera. With this selected, the D5100 will automatically expose two consecutive images in rapid succession – one over and one underexposed up to 3EV stops to produce a finished photo with an amazing range of midtones and highlights that wouldn’t otherwise be possible in a single shot. Additionally, Active D-Lighting can be selected by itself or combined with HDR for an even more dramatic effect. The versatile Nikon D5100 D-SLR will motivate shooters to further explore creatively with its advanced camera features including full manual controls (P,S,A,M on the mode dial) offering the ability to  manage the camera’s aperture and shutter speeds. Once the photo is captured, photographers have the flexible retouch menu at their disposal to apply additional in-camera effects and editing options including color and filter effects, red eye correction and NEF (RAW) processing. The remarkably wide ISO range of 100-6400 (expandable to a staggering 25,600 ISO), allows photographers to shoot confidently in outdoor and indoor low-light situations, even handheld with low noise. In challenging lighting conditions such as when a subject is backlit, Nikon’s Active D-lighting feature helps to keep shadows and highlights consistent for even exposures. To further unleash creativity, the Picture Control system also affords users the choice for Standard, Neutral, Vivid, Monochrome, Portrait, or Landscape settings to apply a personal look and feel to their pictures. Additionally, the versatile Scene Modes let them choose from Portrait, Landscape, Child, Sports, Close-up or Night Portrait and more for stunning results in just about all possible lighting conditions. Create Full HD Movies The Nikon D5100 captures 1080p full HD movies with full-time autofocus and manual exposure control. Users can quickly switch focus modes to stay with the action through a variety of AF functions, including face priority which can track up to 35 human faces, subject-tracking and normal or wide-area autofocus. To activate D-Movie mode and Live-view, a new switch is ergonomically located on the top of the camera near the shutter button for easy access. The D5100 D-SLR offers variable frame rates and resolutions for movies, and can record 1080p at a cinema-like 24 or 30fps, or a web-friendly 720p resolution at either 24 or 30 fps for up to 20 minutes per clip, in the AVC-HD H.264 codec. Once recorded, movie clips can be edited and trimmed in the camera to save time in post production. Whether utilizing a wireless or hot shoe mounted microphone such as the new ME-1, sound can be recorded via the stereo microphone input for professional audio results.  Captured movies can be easily shared using the HDMI output, and controlled remotely with HDMI CEC compatibility.  Superior Image Quality The 16.2-megapixel DX-format CMOS sensor is capable of capturing images that erupt with color and offer amazing sharpness and clarity to create images and full HD movies even in low-light conditions.  Coupled with Nikon’s exclusive EXPEED2 image processing engine, images are brought to life with vivid colors and amazing contrast, accurate exposure, and low noise levels resulting in brilliant image quality. The EXPEED 2 engine also drives the quick 11-point AF system on the D5100 to provide rapid focus acquisition even on fast moving subjects. When shooting action, split second shutter response and four frames per second burst rate make sure no moment is missed, forever putting to rest the story of “the one that got away”. Whether shooting lush wilderness landscapes or an urban skyline, the D5100 utilizes Nikon’s exclusive Scene Recognition System to analyze subject information from a database containing more than 30,000 images to optimize focus, exposure, i-TTL flash exposure and white balance. To assist in creating amazing imagery, the Scene Recognition System reads data from the 420-pixel 3D Color Matrix Meter RGB sensor that examines the scene’s brightness and color data then optimizes the camera’s performance prior to the actual exposure. An entirely greater world of creativity will open up to photographers when adding versatile AF-S NIKKOR lenses to the equation. With a wide range of focal lengths and versatile features, AF-S NIKKOR lenses help to create a variety of photo perspectives to images and movies such as the ability to isolate subjects with a shallow depth of field or zoom close to the action from afar. Combining the D5100 D-SLR with NIKKOR lenses also delivers the sharpness essential for HD movies, and Nikon’s innovative Vibration Reduction (VR) II technology helps to eliminate the effects of camera shake. New ME-1 Microphone To address the needs of the ever growing community of shooters abandoning their video cameras for the versatility of a D-SLR, Nikon now offers the ME-1 stereo microphone. Engineered specifically for a D-SLR, the new ME-1 microphone attaches to the hot shoe and has noise dampening components designed to minimize noise resulting from AF operation. The microphone also has a low-cut filter to reduce wind and other noise not already blocked by the wind screen.  Designed with D-SLR users in mind, the ME-1 is powered through the camera, and also features a cable stop to keep the cable out of the way when using the camera, and reduce instances of noise from unintentional contact. Because it utilizes a standard 3.5mm stereo jack, the ME-1 is ideal for the D5100 and other Nikon HD movie capable D-SLR’s such as the D3s, D300s, D7000, as well as the COOLPIX P7000 and any other camera with a 3.5mm stereo input jack. Price and AvailabilityThe D5100 D-SLR camera will be available throughout the United States beginning mid April 2011 at an estimated selling price of $799.95 for the body only, and $899.95 for the body and lens outfit that includes the AF-S DX Zoom-NIKKOR 18-55mm f/3.5-5.6G ED VR lens. The new Nikon ME-1 microphone will be available in April 2011, and will retail at an estimated selling price* of $179.95. For more information, please visit http://www.nikonusa.com/. Additional images

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Technicolor & Canon collaborate on color science

Technicolor has announced it is collaborating with Canon to develop a suite of creative tools for Canon's video enabled DSLRs. Technicolor says this will: 'facilitate greater usability and integration of Canon EOS DSLR cameras into the motion picture and television production pipeline.' The first result of this tie-up is CineStyle, a profile for Canon DSLRs that provides greater flexibility when using EOS footage in the the professional video workflow. Press Release: Technicolor & Canon USA Form Strategic Alliance To Leverage Technicolor Color Science for Canon EOS DSLR Cameras Paris, France & Hollywood, California – April 5, 2011 – Technicolor (Euronext Paris: TCH) today announced it has formed a strategic alliance with Canon USA, Inc. to leverage Technicolor’s color-science in the development of a suite of creative tools for cinematographers to facilitate greater usability and integration of Canon EOS DSLR cameras into the motion picture and television production pipeline. The new suite of creative tools will be inaugurated with Technicolor’s CineStyle, that coupled with Technicolor’s Digital Printer Lights™, will provide a more seamless pipeline, from principal photography into editorial, for projects filmed using Canon EOS DSLR cameras. Technical tests have been conducted with various camera-lens configurations under the supervision of Technicolor color-scientists with a number of renowned cinematographers. “Technicolor, once again, is taking an innovative leadership position by their very forward-looking development of tools and workflows to support the deployment of Canon’s EOS DSLR’s into motion picture production,” stated cinematographer, and past ASC president, Daryn Okada. “Having shot a theatrical feature using Canon’s EOS DSLR’s (1-D Mark IV, 5D Mark II and the 7D),” stated Tom Stern, AFC, ASC, “I am very supportive of Technicolor and Canon working together to develop the ‘CineStyle’ profile.  This can only help to serve greater utility of the EOS DSLR’s in production cinematography.  I applaud this effort.” The cooperation between Technicolor and Canon USA, Inc. took place over the last year and was prompted by key professional cinematographers eager to incorporate Canon EOS DSLR cameras into their creative palettes. Technicolor CineStyle provides cinematographers with a look that allows for the greatest image latitude as production photography moves into editorial and ultimately digital intermediate color-grading and delivery.  The new CineStyle will be unveiled at the National Association of Broadcasters (NAB) Show 2011 in Las Vegas, Nevada April 11-14 as part of the display in the Canon booth (Central Hall #C4325). “Technicolor has closely followed the adoption of Canon EOS DSLR cameras into the ranks of professional productions,” stated Technicolor’s chief marketing officer, Ahmad Ouri.  “We remain committed to cinematographers as they adopt new tools and techniques, and, based on the requests we’ve received from many of our creative clients, we have worked with Canon to provide a stable path, originating with these cameras and flowing effortlessly into our post pipeline.” “We are astounded at how well Canon EOS DSLR products have been received by the broadcast and film community, and very pleased with the beautiful and creative results that have been produced using our equipment,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon USA, Inc. “We are excited about Technicolor’s development of their new CineStyle for Canon EOS DSLR cameras, giving post-production professionals image files with much greater latitude  and versatility when color grading EOS footage.” Technicolor remains an industry leader in guiding new means of digital cinematography into the post-production pipeline. Technicolor will also demonstrate at NAB its newest iteration of its industry-leading on-set system, DP Lights as part of the CineStyle demonstrations.

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Sony announces HVL-F43AM flash for Alpha DSLR and SLT

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Sony has announced the HVL-F43AM external flash for its range of Alpha SLT and SLR cameras. It has a guide number of 43 (at 105mm, ISO 100) and features the same Quick Bounce System as the HVL-F58AM. This allows the position of the flash head to be adjusted quickly for landscape and portrait-format compositions. The HVL-F43AM can be used with Sony's Wireless Ratio Control and is dust and moisture resistant. Also announced is the VCT-55LH Bracket, which can be used to attach various accessories to the Alpha and NEX range cameras, a soft carrying case (the LCS-AMB) designed to protect A-series cameras, and a lens hood (the ALC-SH111) which is designed to fit the DT 35mm f/1.8 and 85mm f/2.8 SAM lenses.  Jump to: Press Release Additional images Press Release: Sony introduced powerful, compact external flash for Alpha cameras with Quick Shift Bounce Also introduces new Alpha system accessories including bracket, carrying case and lens hood HVL-F43AM external flash with GN43, Quick Shift Bounce adjustment, wireless ratio control and dust/moisture resistant design More new α system accessories: VCT-55LH bracket, LCS-AMB soft carrying case and ALC-SH111 lens hood VCT-55LH Bracket The VCT-55LH is a versatile mounting bracket that offers space for mounting additional ISO cold shoe accessories. A useful add-on for all A-mount cameras by Sony, the bracket can also be used with E-mount cameras such as the NEX-5/NEX-3 and the Handycam® NEX-VG10E HD camcorder. Other accessories – like a shotgun microphone – can be securely mounted while the camera’s main shoe is occupied. The VCT-55LH is ideal for use with the CLM-V55 clip-on LCD monitor that offers a clear, high-resolution view of images during video and still shooting. Soft Carrying Case LCS-AMB The LCS-AMB soft carry case protects your A-mount camera and attached standard zoom lens while you’re travelling. A special suspended partition cradles the camera securely while allowing quick access. Finished in durable black polyester material, the case can be slung over a shoulder using the supplied strap, carried by the grab handle or attached to a belt. It also features handy pockets with space for up to two extra batteries, spare memory card and lens cap. Lens Hood ALC-SH111 Compatible with DT 35mm F1.8 SAM and 85mm F2.8 SAM lenses, this round-profile hood shades from direct sunlight to prevent glare and lens flare. Pricing and Availability The new HVL-F43AM external flash, VCT-55LH bracket, LCS-AMB soft carrying case and ALC-SH111 lens hood for α cameras by Sony will be available this summer for about $350, $50, $50 and $20, respectively. Additional images Lens Hood - ALC-SH111 Bracket - VCT-55LH Soft Carry Case LCS-AMB

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Pentax Japan offers colorful grip options for K-r

Pentax has released a series of multi-colored variants of its K-r DSLR for the Japanese market. A collaboration with music store Tower Records results in a rainbow-themed version, including colorful Pentax logo and candy-colored handgrip. Meanwhile the company has also introduced a series of camouflaged grips for Japanese customers. These range from the traditional militaristic khaki through to a red and white mélange that will presumably blend in perfectly with the strawberries and cream at Wimbledon. The grips can be ordered with new camera or retro-fitted to existing purchases. Camouflage options for the Japanese market include traditional khaki and can be fitted on new purchases or to existing cameras.

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Panasonic unveils Leica Summilux DG 25mm F1.4 lens

Panasonic has announced its long-anticipated Leica Summilux DG 25mm F1.4 lens for the Lumix G system. Also known as the H-X025, it's the company's second premium Leica-branded lens for Micro Four Thirds, and the first to employ Nano Surface Coating for more efficient reduction of flare. It employs nine elements in seven groups, including two aspherical elements and one UHR (Ultra High Refractive) glass element, and a rounded 7-bladed aperture diaphragm designed to render pleasingly-blurred backgrounds. It will be available from August 2011, at a price to be announced. Jump to: Press Release Specifications Press Release: PANASONIC LAUNCHES NEW LEICA SUMMILUX DG / 25mm F1.4 MICRO FOUR THIRD INTERCHANGEABLE LENS, NEW LUMIX NANO SURFACE COATING The New LEICA DG SUMMILUX 25mm / F1.4 ASPH. Lens  Compatible With Panasonic LUMIX G Series of Compact System Cameras, Including LUMIX GF3 SECAUCUS, NJ (June 13, 2011) – Panasonic today announced a new interchangeable Micro Four Thirds lens, the LEICA DG SUMMILUX 25mm/F1.4 ASPH. (H-X025), compatible with the company’s LUMIX G Series of compact system cameras (CSC), including the LUMIX GF3, which was also announced today. The LEICA DG SUMMILUX 25mm / F1.4 ASPH. lens features outstanding brightness of F1.4, and despite the high-performance, it also remains incredibly compact and lightweight. The lens’ brightness allows for a beautiful soft focus when shooting both photos and videos – without having to rely on a flash.  The LEICA DG SUMMILUX 25mm / F1.4 ASPH. lens adopts Panasonic’s Nano Surface Coating technology on the surface of the lens, which helps dramatically minimize reflection at the entire visual light range (380nm-780nm). The technology encompasses an extra-low refractive index coating with nano-sized structure and results in the super-clear photo with dramatic reduction of ghost and flare. The new lens system comprises of nine elements in seven groups using two aspherical lenses and one UHR (Ultra High Refractive) index lens. The newly developed UHR index lens and glass mold aspherical lenses achieve uniformed description from the center to the edges.  The lens’ versatile 25mm focal distance (Equivalent to 50mm on a 35mm camera) is suitable for wide variety of occasions, giving users the flexibility in composition, perspective and aperture control.  The lens is capable to take daily snapshots including scenic sunsets to dimly-lit indoor shots to the deliberately-creative shots using soft focus. When mounted on the Panasonic LUMIX G Series digital cameras, the LEICA DG SUMMILUX 25mm/F1.4 ASPH. lens can take maximum advantage of Contrast AF system, which boasts both high accuracy and high speed for optimal photos. Furthermore, seven blades give the aperture a rounded shape that produces an attractively smooth effect in out-of-focus areas when shooting at larger aperture settings. The lens also features a metal mount, making it extremely durable – even when repeatedly changed. The LEICA DG SUMMILUX 25mm / F1.4 ASPH. lens will be available in August 2011 and pricing will be announced approximately 30 days prior to shipping. For more information about Panasonic LUMIX G Series digital cameras and Micro Four Third lenses, please visit www.panasonic.com/lumix. Panasonic Leica DG Summilux 25mm F1.4 ASPH specifications Price • US: $tba • UK £549.99 Focal length 25mm Maximum Aperture F1.4 Minimim Aperture F16 Image Stabilisation No Aperture • 7 blades • Circular aperture Optical construction • 9 elements / 7 groups • 1 Ultra High Refractive Index element • 2 aspherical elements Minimum Focus 0.30m (0.98 ft) Maximum magnification 0.11x Filter thread 46mm Dimensions 63mm diameter x 54.5mm length (2.5" x 2.1") Weight 200g (7.05 oz) Mount Micro Four Thirds Supplied accessories • Front and rear caps • Storage bag

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Olympus announces LS-20M pocket camcorder

Olympus has announced the LS-20M pocket camcorder with built-in 24 bit/96 hHz Linear PCM stereo sound recording (or perhaps one of its sound recorders with built-in video). Capable of recording full 1080p HD videos, it features a 2" color LCD, an additional 1.46" data LCD, two microphones and HD output. It also includes the company's 'Magic filter' processing effects. The camcorder will be available from June 2011 at a suggested retail price of $299.99. Press Release: New Full-HD Video Combined with Magic Movie Special Effects and Pristine Audio Recording to Create Movies that Look and Sound Like Professional Productions CENTER VALLEY, Pa., May 3, 2011 – Transforming everyday videos into memorable movies can be a challenge, but the Olympus LS-20M Linear PCM recorder makes it easy to add creative flair to any recording with the introduction of high-definition video. Record a live recital, create home movies and upload amazing linear PCM audio and high-definition video with the new Olympus LS-20M. Incorporating technologies much like those that debuted in recent Olympus digital imaging products, the new LS-20M is the first Olympus recorder that captures and edits 1080p HD video while recording 24 bit/96 hHz Linear PCM stereo sound. Combined with four different optional Magic Movie special effects features, the LS-20M enables users to create home movies that look and sound like professional productions in a device that’s so compact it fits in your pocket. “The potential number of uses for the Olympus LS-20M Linear PCM recorder are limitless,” said Amy Leslie, product manager, Olympus Imaging America Inc. “Anyone looking to capture and upload music performances, sporting events, weddings, meetings or just create their own fun videos, can use the LS-20M for their personal and professional audio and video needs.” Lights, Camera, Action The new Olympus LS-20M takes handheld recording to a new dimension with HD video. By combining Olympus’ superior audio capabilities, cutting-edge design and the outstanding optical performance expected from Olympus, this all-in-one handheld offers the versatility and practicality you need. Olympus is creating more ways for consumers to share memories and express themselves through video. Users can capture full HD movies utilizing one of three video format settings up to 1080p for stunning HD video clarity. The camera lens and microphones are located on top of the unit – just point the device in the direction of the intended object and hit record. A crisp, 2.0-inch color LCD on the front of the device clearly displays the video as its being shot. Below the video LCD is a 1.46-inch LCD data screen that displays time, audio levels and battery life. Want to record a live recital that looks and sounds like a professional ballet? The LS-20M can do that, just point and record. The HD video compression format makes it easy to upload videos to Facebook, YouTube, iTunes, Vimeo and other web-based content sharing sites, and the resolution offers remarkable detail on modern home theatre systems. The camera features a 4.1mm (16:9 at 49mm, 4:3 at 59mm) autofocus lens and 4x digital zoom delivering premium video no matter where you are shooting. The Olympus LS-20M allows users to record in low light for more dramatic footage and also offers close-up video shooting. The combination of video and audio excellence has an infinite number of possibilities. Record a close-up of a hummingbird in HD video and set it to your own sound track of better-than-CD quality audio. Studio-Grade Audio Olympus has been on the cutting edge of audio recording technology since inventing the microcassette format in 1969. The fourth in the series, the LS-20M lives up to the company’s renowned history of Linear PCM recording capability, to capture the rich, dynamic sound quality of music performances; like a studio in your pocket. The device captures rich, dynamic sound with its two condenser mics, and the ability to record in Linear PCM (WAV files) and MP3 formats. Use internal or external microphones to record better-than-CD quality audio for movies that sound like they were made in a Hollywood studio. The recording features don’t stop at amazing sound quality. For your convenience, the Olympus LS-20M offers manual or auto-level recording. The “auto” level is perfect if you are recording from the crowd. Thanks to the manual level, musicians can capture optimal sound checks and live performances. Certain settings, like crowded press conferences or a live show at a packed club can provide unwanted background noise that can later be incredibly frustrating. Thankfully, the Olympus LS-20M features a switchable low-cut filter that enables users to eliminate low-frequency sounds and unwanted background noises, like coughing. Collaborating musicians who want to monitor the recording progress on the fly can do so with the built-in speaker. The Olympus LS-20M voice-activation feature automatically starts a recording when a certain level of sound is reached. The self-timer feature starts the recording process after a predetermined amount of time; both are ideal for recording a performance or video without having to operate the recorder. Movie Making Magic Specially designed to expand the potential of your creativity, the new, simple to operate, Magic Movie special effects technology turns scenes of everyday life into extraordinary images that are distinctive and compelling. Using technology from Olympus’ cameras, Magic Movie allows users to create exciting videos, then upload and share them with the world on YouTube or Facebook. Unleash your creative side by incorporating linear PCM audio with your own artistic expression. The LS-20M Magic Movie special effects settings: Rock -- create your own rock video! Step on stage with the classic Rock Magic Movie setting, featuring saturated black images and bright, bold background colors; Sketch – the Sketch Magic Movie setting turns your video into a living and breathing pencil drawing, reminiscent of some popular 80’s videos. Sketch adds an artistic feel and poetic flavor to your recordings; Pinhole --the Pinhole Magic Movie setting allows users to record video with soft, darkened outside edges - enhancing the subject in the center of the video. Pinhole is great for setting a mood to tie in with the melody or focus of your recorded sound; Pop -- The Pop Magic Movie setting super-saturates colors to create a brighter, more vivid video recording. Turn your world into a work of pop art! Powerful Punch in a Compact Package The Olympus LS-20M features a lightweight, durable, black body with silver function buttons in a slim, pocket-size device that fits in your palm. At just 5.3 inches long and 5.4 ounces, the LS-20M provides remarkable power in a convenient and portable size. The attractive Olympus LS-20M is eye-catching and designed with ease-of-use in mind, with the control panel located just below the video and data LCDs. As the previous LS-series models, the record button lights up when activated and the thumb panel enables easy adjustments to settings while recording. A switch on the right side panel allows for easy transition from audio/video to audio-only recording. Inputs at the base of the unit offer easy access to USB and HDMI connections. Plugging the device into a computer or tablet for fast video uploads couldn’t be easier. Accessories The Olympus LS-20M is packaged with everything needed to make HD movies straight out of the box. It’s equipped with a 2GB SD card, one rechargeable Lithium ion battery, and a USB cable. The battery is easily charged by plugging in the LS-20M to a computer. For added memory, the LS-20M can handle SDHC cards up to 32GB for long hours of movie making. An optional RS-30W Wireless Remote empowers users to start and stop the recording of the Olympus LS-20M without touching the unit. This is ideal for live performances, as the device can be placed in an optimal recording position and activated at a distance. Pricing and Availability The Olympus LS-20M provides excellent audio and HD video recording of premium movies at a highly competitive price: estimated street price of $299.99 (U.S.). It will be available in June 2011.

READ MORE - Olympus announces LS-20M pocket camcorder

LUMIX G - New-Generation Micro System Cameras

 The LUMIX G Micro System will change the way you see the digital interchangeable lens camera. It does so with a collection of features that put enormous photographic power in a palm-sized camera with interchangeable lens. The Micro Four Thirds System standard for high quality and wide compatibility. Full-time Live View for setting up the perfect shot. The unique iA mode for capturing stunning photos with all the ease of a compact digital camera. 

 

The New Lumix GF3: A New Age of Photography

Panasonic has today (13th June 2011) introduced the LUMIX GF3, the world's smallest and lightest interchangeable lens LUMIX G system camera (as of 13th June 2011) and designed to help you get more from every moment. Easy to use, bursting with features and weighing just 225g, the LUMIX GF3 puts DSLR image quality in the palm of your hand.

The Panasonic LUMIX G3: Creativity without limits

 

The New Lumix G3 Unveiled: Creativity without limits

Panasonic has today (12th May 2011) launched the LUMIX G3, an interchangeable lens system camera with a build-in Electronic View Finder. With an exceptional range of features and stunning image quality packed into a beautifully lightweight aluminum design, the LUMIX G3 turns everyday moments into works of art. Read More >

Faithfully Reproduced Images

Light is the essence of any type of photography, be it landscape or portrait. So be sure you have a 4/3-type Live MOS sensor with up to 16.1 megapixels, such as the one found in the Panasonic range of Lumix G System Cameras. The Live MOS offers the superior image quality of a CCD sensor and the lower power consumption of a CMOS sensor, efficiently capturing more light for brighter corners and enhanced resolution. The camera delivers full-time live view shooting, while reproducing images with fine detail and rich gradation. What is more, the 4/3-type sensor enables the camera to be used with a host of lightweight zoom and wide-angle lenses. All Panasonic Lumix G Series cameras are compatible with advanced Micro Four Thirds and renowned LEICA lenses, which stand up to any shooting situation with grandeur.

Lenses for More Creative Options

Developed by Panasonic in cooperation with leading photographic engineers, the Micro Four Thirds standard system gives you the opportunity to explore your creativity with a range of compact lenses (in total, eleven lenses from 35mm equivalent 14mm–600mm, and with the fixed-focus 3D lens you can even record 3D photos). It carefully preserves the image quality of the 4/3-type sensor and offers excellent expandability and adaptability to future functions as well.

 

Perfect Portability

Award-winning Panasonic Lumix G System Cameras are built to last, without weighing you down. The highgrade metal body combined with the 4/3-type sensor delivers high D-SLR-like performance, however in much smaller and lighter cameras and lenses than with a conventional D-SLR system. The Lumix G Series models are so compact and comfortable to use that you will truly enjoy exploring completely new realms of photography.

 

 

READ MORE - LUMIX G - New-Generation Micro System Cameras

Lensbaby unveils Composer Pro

Lensbaby has announced the Composer Pro version of its selective focus lens. Available for Canon, Nikon, Sony Alpha, Pentax and Olympus DSLR mounts, the 'Pro' version uses a metal ball-and-socket assembly with refined focus mechanism for smoother operation. The manual focus lens with tilt control is currently available with either the company's Sweet 35 or Double Glass optics for $400 and $300 respectively. Press Release: Lensbaby Announces a New SLR Lens: The Composer Pro The Composer Pro delivers ultra-smooth creative control for the most discerning professional photographers and videographers Portland, OR – April 4, 2011 - Lensbaby announces its newest SLR creative effects camera lens, the Composer Pro.  The Composer Pro refines and enhances the popular and award winning Lensbaby Composer by upgrading the swivel ball and focus mechanism to provide professional performance.  The Composer Pro’s metal swivel ball design and refined focus mechanism deliver ultra-smooth focus and tilt control.  The updated focus mechanism features a fluid and accurate dampened focus ring comparable to the focus mechanisms of the highest quality professional manual focus lenses.  This smooth, fluid operation makes the Composer Pro the perfect choice for discerning professional photographers and videographers who want to create ground-breaking creative imagery.   The Composer Pro is compatible with the Lensbaby Optic Swap System and ships with either the Double Glass Optic or the new Sweet 35 Optic installed. Each optic creates a Sweet Spot of sharp focus that photographers can move around the photo by tilting the Composer Pro’s swiveling lens body.  The Composer Pro is compatible with the complete range of creative optics in the Lensbaby Optic Swap System including the Fisheye, Soft Focus, Pinhole/Zone plate, Single Glass, and Plastic.  Each optic can be swapped into the Composer Pro to deliver a different creative effect.     The Composer Pro joins Lensbaby’s growing family of lenses, which now includes the Lensbaby Composer, Scout, Muse, and Control Freak.  The Composer Pro will retail for $300 with the Double Glass Optic installed or for $400 with the Sweet 35 Optic installed. The entry-level Lensbaby Composer will remain in Lensbaby’s product line but at a lower MSRP of $250. “The Composer Pro builds on the strengths of its siblings in the Lensbaby family. In addition to being a core element in the Lensbaby Optic Swap system, it is smooth, fluid and precise to meet the needs of our community of photographer who want to see their unique visions through a precision piece of photographic equipment. Professional photographers continue to be at the core of our customer base.” said Craig Strong, Lensbaby Co-Founder and Chief Creative Officer.  “The Composer pro is for them.” Composer Pro Specs: Refined metal ball design delivers ultra-smooth focus and tilt control Ships with either the Sweet 35 Optic or Double Glass Optic installed Compatible with the Lensbaby Optic Swap System Focus Type: Manual Size/Weight: 2.25” (5.71cm) high x 2.5” (6.35cm) wide / 4 oz (113.4g) Tilts from zero to 17.5 degrees Sweet 35 Optic Product Specs: Focal Length: 35mm 12 blade internal aperture, controlled by a dial on the front of the optic Aperture range from f/2.5 through f/22 (sweet spot size ranges from 15%, at f/2.5, to 40%, at f/22, of total image area on APS-C sensor cameras) Selective focus optic (creates a sweet spot of focus surrounded by gradual blur) Compatible with Lensbaby Composer, Scout, Muse, and Control Freak lens bodies* Focus distance when used with Composer Pro: 7.5” to infinity 4 multi-coated glass elements, in three groups 46mm front threads** Double Glass Optic Product Specs: Focal Length: 50mm Low dispersion, high refractive index, multi-coated optical glass doublet Aperture Type: Interchangeable, magnetic aperture disks Apertures: f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22 Selective focus optic (creates a sweet spot of focus surrounded by gradual blur) Focus distance when used with Composer Pro: 18” to infinity 37mm front threads accept all Lensbaby accessory lenses Composer Pro with Double Glass Optic is available now from Lensbaby-authorized photo specialty stores worldwide, and from adorama.com, amazon.com, bhphotovideo.com and lensbaby.com.  Composer Pro with Sweet 35 Optic will be available soon. Composer Pro with Double Glass Optic retails for $300 MSRP and Composer Pro with Sweet 35 Optic retails for $400 MSRP. *The Sweet 35 Optic is not compatible with the Composer with Tilt Transformer for Micro 4/3rds and Sony NEX Cameras. **The Sweet 35 Optic is not compatible with current 37mm Lensbaby accessories.

READ MORE - Lensbaby unveils Composer Pro

Canon Rebel T3 / EOS 1100D Review   Review based on a production Canon EOS 1100D with Firmware V1.0.4 The bottom-end of the interchangeable lens camera has become fiercely competitive with manufacturers culling features and cutting-corners to offer a tempting upgrade path from compact cameras, at the most attractive price. As a result we've seen control dials, orientation sensors and even focus motors disappear to reduce the manufacturing costs of these entry-level, gateway cameras. From the consumer's perspective, of course, we've also seen technologies once only in the reach of the professionals filter down to almost compact camera prices. For several years, Canon and then Nikon were able to carve up the sub-$1000 DSLR market between themselves, without any particular concern about other players in the market. But this hegemony was never likely to last, especially once the electronics giants such as Panasonic, Sony and Samsung had time to prepare their own competitors. Eventually even Canon had to respond to the arrival of these companies' increasingly impressive low-end offerings, most notably with the splitting of its Rebel series into a multiple model range. In June 2008, rather than just letting the outgoing model's price drop when the next camera was introduced, Canon launched a completely new model that sat below its then very recent Rebel XSi/450D. The Rebel XS (EOS 1000D in Europe) was unashamedly a cut-down version of the XSi but its mixture of a well trusted sensor and compelling price tag have seen it continue to sell strongly, particularly at the price-conscious end of the market. Two-and-a-half years is nearly two lifetimes in contemporary camera terms, so it was beginning to look like the XS might turn out to be a one-off, until the launch of its replacement in February 2011. The Rebel T3 (EOS 1100D) builds on a successful formula and takes it further, offering a strong (if not exactly cutting-edge) set of features in a body that suggests it should be very capable of competing on price. The 1100D takes a series of familiar-sounding components and folds them together in a distinctly conventional but still capable-sounding package. So there's a 12MP CMOS chip that is likely to date back to the 450D/XSi, coupled with Canon's now-standard 9-point AF system and the 63-area iFCL (Focus, color and luminance sensitive) metering system first seen in the EOS 7D. These combine with the equally well-known Digic 4 processor to offer a camera that's unlikely to offer much in the way of surprises (which should also mean the avoidance of any nasty ones).     Sitting alongside the Rebel XS (1000D), it's clear that T3 (1100D) is very slightly larger but only by a fraction. The new model eschews the 1000D's textured plastic, instead being constructed of smooth, rather low-density materials.     The rear view shows the 1100D has been updated in line with more recent Canon DSLRs, gaining direct access to live view/movie shooting and a Q button for the interactive 'Quick Control' displays. Canon EOS 1100D specification highlights: 12MP CMOS sensor 9-point AF system (up from 7 on the 1000D) 63-area iFCL color-sensitive metering (from EOS 7D) 720p movie recording at 30 or 25fps (H.264 compression) 2.7" LCD, 230,000 dots ISO 100-6400 (no expansion) Basic+ creative point-and-shoot mode Eye-Fi wireless SD card compatible menu options

READ MORE - Canon Rebel T3 EOS 1100D Review

FinePix XP30 with GPS – a world’s first for outdoor compacts

Fujifilm has raised the bar in the competitive outdoor compact camera sector by introducing the FinePix XP30; the world’s first water, shock, dust and freeze proof model featuring built-in GPS functionality.*

Continuing in the tradition set by the XP10 that it replaces, the FinePix XP30 offers a competitively-priced entry into the sector with a specification that will ensure outdoor-loving photographers or adventure sports enthusiasts are well catered for. In addition to GPS and its rugged build quality, the camera also features an impressive 5x, wide-angle, zoom lens, a 14 megapixel resolution and a healthy range of picture taking functions. With a FinePix XP30 in your rucksack, outdoor photographers will be able take their pictures to new heights without the steep price tag!

Pin-point your location, anywhere in the world
An increasing number of compact cameras feature GPS tagging, but only the FinePix XP30 features this type of functionality in a rugged, outdoor model. What’s more, the GPS features on the camera won’t only tell you where you are in the world; it offers additional functions that are essential for outdoor shooting and will make you wonder how you ever managed without them.

Locations can be displayed either as longitude and latitude coordinates, or by place name. The FinePix XP30 has an embedded list featuring around half a million places of interest across the globe. When a shot is taken, the image is tagged with location information, enabling you to quickly find shots of a place you’ve visited. Should users then want to create a photobook of a specific location they can do so using the Photobook Assist function where you can tag images then turn the pages of the book on the camera’s rear LCD.

But that’s not all. If you visit a location that you want to return to but can’t remember which way to go, the Photo Navigation mode is invaluable. Simply find a shot of the location and the FinePix XP30 will not only tell you how far it is from your current spot, it’ll show you the directions you’ll need to get there.

For those who want to re-trace their steps and map a route of their travels, the Route Logging function is certain to appeal. The FinePix XP30 stores your location data every 10 minutes** and, once you get home and the images are downloaded to a PC (through the MyFinePix Studio software included with your camera), a map of the route, along with the pictures you took along the way is created using Google Maps.

Proof that it’s ready for anything
The FinePix XP30 is ready for anything you can throw it. Thanks to the “4 x Proof protection system”, you’ll be able to keep taking pictures long after conventional cameras have packed in. With its designer riveted front panel and rounded body shape featuring a smart two-tone effect, the XP30 is:
Waterproof to 5 metres, making it perfect for underwater photography, for taking pictures in heavy rain or snow, or simply for running it under the tap when it gets dirty
Shockproof up to 1.5 metres, so it’ll handle being dropped or knocked around in a rucksack
Dust/Sandproof, enabling you to take it to the beach without having to worry about the sand getting into it
Freezeproof to –10°C, perfect for skiing, snowboarding or any other sub-zero activities
Quality optics deliver perfect pictures
Sporting a Fujinon 5x wide optical zoom covering 28-140mm (35mm equivalent), the FinePix XP30 is well equipped to deliver high quality images. In addition to the premium optics, the XP30 features Fuji’s advanced Dual Image Stabilisation system to help combat camera shake. Suitable for action shots as this combats image-blur which will often occur when taking photos underwater and at night.

A wide range of functions for every shot you take
As well as offering all the benefits of an outdoor camera, the FinePix XP30 is also a great picture-taking machine in its own right. It boasts a full range of flash overrides, Face Detection for perfect portraits and a generous selection of subject-based scene modes, including Motion Panorama which automatically stitches up to three shots together to create panoramic pictures simply and easily. There’s even a number of in-camera retouching functions including crop, rotate and red-eye removal to ensure that your photos really are perfect.

Outdoor photographers wanting to shoot video aren’t neglected either; the FinePix XP30 offers HD movie capture of 720p at 30 frames per second or conventional 640 x 480 pixel definition.

Fujifilm FinePix XP30 key features:
14.2 megapixel resolution
GPS functionality
5x wide optical zoom covering 28-140mm (35mm equivalent)
CCD shift image stabilisation
2.7 inch rear LCD with 230,000 pixels
Waterproof to 5 metres
Shockproof up to 1.5 metres
Freezeproof to –10°C
Dust/Sandproof]
Motion Panorama mode
Available in 5 colours: Black, Silver, Orange, Blue and Green

* Fujifilm research January 2011
** Anytime On or Only Power On must be selected for data to be logged.
FinePix XP30 specificationsSensor
• 1/2.3 " Type CCD
• 14.0 million effective pixels
Movie clips
• 1280 x 720pixels @ 30fps
• 640 x 480pixels @ 30fps
File formats • Still image : JPEG (Exif Ver. 2.3 )
• Movie : AVI (Motion JPEG )
Lens
• Fujinon 5x Optical zoom lens
• F3.9 - F4.8
• f=5.0mm – 25.0mm
• 28 - 140mm equiv.
Image stabilization Sensor-shift
Focus
Auto Focus
AF area modes • Center
• Area
• Multi
• Tracking AF
Metering TTL 256-zones metering
ISO sensitivity
TBC
Aperture
F3.9-F6.2 (Wide)
F4.8-F8 (Tele)
Modes • Program
• SR Auto
• Movie
White balance
• Automatic scene recognition
• Preset (Fine, Shade, Fluorescent light (Daylight), Fluorescent light (Warm White), Fluorescent light (Cool White), Incandescent light)
Self timer Approx. 10 sec./ 2 sec. delay
Continuous shooting TOP-3 (0.8 fps)
Flash • Auto flash (i-Flash)
LCD monitor
• 2.7-inch
• approx. 230,0000 pixels
• TFT colors LCD monitor
Digital input/output • USB 2.0 High Speed
Video output
NTSC / PAL selectable
Storage • Internal memory 10MB
• SD / SDHC / SDXC memory card
Power Li-ion battery NP-45A
Number of frames Approx 200
Weight (no batt) Approx. 148g
Weight (inc. batt & card) Approx. 165g
Dimensions 99 (W) x 68(H) x 24(D) mm
GPS Yes
Included accesories • Li-ion battery NP-45A
• Battery charger BC-45C
• Plug adapter
• USB cable
• Hand strap
• CD-ROM
• Owner's manual

READ MORE - FinePix XP30 with GPS – a world’s first for outdoor compacts

Fujifilm FinePix S5 Pro

Pre-Photokina 2006: Fujifilm has today announced the Fujifilm FinePix S5 Pro, or at least the development of it, due to be available in 'early 2007'. The S5 Pro features the same SuperCCD SR design sensor although now called 'SR Pro', it features 6.17 million 'S photodiodes' (normal DR) and 6.17 million 'R photodiodes' (highlight DR) for a total photodiode count of 12.34 million. Other headline improvements are the new body (which is obviously based on the Nikon D200) and all that includes; better AF, i-TTL flash, metering, Lithium-Ion battery. Other improvements include better DR control, up to ISO 3200 sensitivity and LAN / WiFi accessories.

Release of much-anticipated Fujifilm DSLR for early 2007

Fujifilm today announces the development of the FinePix S5 Pro, the keenly-awaited successor to the acclaimed FinePix S3 Pro. In a DSLR market that is much more competitive and dynamic than the one its predecessor was launched into, the FinePix S5 Pro will stand apart from the crowd by combining the much sought-after picture quality of Fujifilm’s Super CCD SR sensor with a fully digital and durable professional metal alloy body. With this superior combination of truly professional handling and image quality, Fujifilm expects the FinePix S5 Pro to appeal to an even broader range of professional photographers.

Fujifilm’s ultimate goal in development of its DSLR cameras has been to maximise image quality through constant research and development into its sensor technology. With the introduction six years ago of its acclaimed Super CCD, Fujifilm moved away from increasing the pixel density of its sensors in favour of image quality developments that increase the overall performance of the sensor. The FinePix S5 Pro will see the refinement of a winning formula – Fujifilm’s Super CCD SR II will be updated to the new Super CCD SR Pro. Using a unique layout of twelve million paired photodiodes (6.17 million larger ‘S’ photodiodes for main image information, combined with 6.17 million smaller ‘R’ photodiodes for bright area information), the S5 Pro will deliver improvements in noise, dynamic range, colour and tonality. Further improving the capability of the sensor, a new, improved low-pass filter will ensure that moiré and noise are kept to an absolute minimum. Fujifilm believes improvements in these key areas will be of more true value to professional photographers – the challenge is quality of information, not quantity of information.

The redesigned Super CCD SR Pro sensor will be at the centre of the camera’s performance. However the new Real Photo Processor Pro will ensure that the information is handled in such a way to produce images that are beautifully vibrant, with colour recorded as the human eye sees it. The processor’s two stages of noise reduction will deliver an impeccably clean image, and also permit light sensitivity up to ISO 3200 whilst achieving sharp, low-noise images. A new dark noise reduction process, subtracting the residual, ambient noise on the sensor from the actual exposure, helps the camera produce smooth, clean images when long shutter speeds are used.

The FinePix S5 Pro will also introduce one particularly sought-after feature; the ability to record jpeg and RAW files simultaneously to the card. This will enable photographers to view and distribute smaller-sized jpegs, whilst retaining the ability to work on the larger RAW files later on a PC or Mac. This dual option is available with a variety of image sizes, giving the option to store either a small, emailable file size, or a larger, more detailed jpeg.

With its predecessor achieving recognition for its excellent ergonomics, the FinePix S5 Pro will take the system into a different league, using a tough, professional magnesium alloy shell. With weatherproof seals, and first-rate design, the S5 Pro will be a camera truly deserving of the term ‘workhorse’, equally at home in the studio as on a nature assignment in a humid rainforest. The camera’s shutter mechanism will be testament to its durability, as it has been tested to exceed the key benchmark of 100,000 cycles.

The FinePix S5 Pro will also afford the user much greater control over the unique image parameters that its technology provides. Six stepped dynamic range settings between 100% (normal dynamic range) and 400% (dynamic range expanded by two stops) will enable the photographer to achieve exactly the tonal feel to their images that they want. In addition, three distinct settings for the ‘negative film’ preset option will further enhance the customisable nature of the camera, giving portrait photographers precisely the ‘look’ that they have in their mind’s eye.

Adrian Clarke, Fujifilm’s Director of Photo Products, said: “The development of the FinePix S5 Pro reflects Fujifilm’s commitment to the professional photographer. We remain determined to develop professional level products with the sort of image quality that made the FinePix S3 Pro a favourite among studio, portrait and wedding photographers. The introduction of the FinePix S5 Pro brings heightened performance, handling and image quality to our DSLR product group and we expect this to attract an increasingly diverse range of professional users. These are exciting times for us.”
Improvements of FinePix S5 Pro over FinePix S3 Pro

Image processing and quality
Real Photo Technology Pro, which combines the Super CCD SR Pro and the RP (Real Photo) Processor Pro, allows for greater dynamic range with smoother tonality from highlight to shadow
The improved Super CCD SR Pro features an optimised low-pass filter to reduce noise and minimise moiré
The newly developed RP Processor Pro features two cycles of noise reduction which enables photographers to take images at even higher sensitivities (ISO 100 to ISO 3200) with visibly reduced noise

Greater flexibility to control colour and dynamic range
For even greater creative control over the FinePix S5 Pro’s dynamic range, photographers can now choose from up to six preset ranges between 100% and 400%
For improved reproduction of natural skin tones, three new variations of the original film simulation mode (F1) have been added (five modes in total)

Other camera functions and features
Nikon F-mount compatibility for all functionality with all Nikkor AF-D/G and the latest AF-S optics
RAW+ jpeg (4,256 x 2,848 pixels, 3,024 x 2,016 pixels, 2,304 x 1,536 pixels) dual-save mode
Mac and PC supported tethered shooting mode via USB 2.0 port and optional Hyper Utility software
Robust lightweight magnesium-alloy body with moisture- and dust-proof seals
Durable shutter unit stands up to approximately 100,000 cycles
Adoption of high-precision i-TTL flash control
11-point AF sensor with faster autofocusing than the FinePix S3 Pro
Supports 1/3, 1/2, and 1 stop lens aperture control
Shutter speed 30 sec. to 1/8000 sec, maximum flash sync speed of 1/250 sec.
3 levels of custom function locking with password protection
2.5 inch LCD with 235,000 pixels, gives 100% frame coverage. Colour and monochromatic 30 seconds live view function to check focusing
Li-ion rechargeable battery
Compact Flash ä (CF) Card (Type I/II) and Microdrive ä compatible

Face Detection Technology for post image verification
Uniquely developed Face Detection Technology LSI is under development for the FinePix S5 Pro. With one press of a button, the camera detects up to ten faces almost instantly after each image is captured. After shooting and during playback, the photographer can easily and quickly zoom in and check facial details such as closed eyes, focus and exposure on the LCD monitor

Optional Accessories
LAN Adapter to enable sending of image data at high speed over wireless LAN or Ethernet.
New Hyper Utility Software gives precise control for editing images taken in CCD-RAW 14 bit format It will also enable the FinePix S5 Pro to be remotely controlled by PC
Rechargeable battery
Battery charger
AC Power adapter

Availability & pricing

The FinePix S5 Pro is scheduled for launch in February 2007. Pricing and stockists will be announced nearer to the date of retail launch.*

READ MORE - Fujifilm FinePix S5 Pro

Hartblei Superrotator 80mm F2.8 IF TS

 Telephoto perspective control prime lens • Canon EF, Pentax KAF, Sony Alpha, Nikon F (FX)

Manufacturer description: This Hartblei Lens with Optics by Carl Zeiss is a dream-come-true for fashion and people photographers. Despite the sensational sharpness at open aperture you can still create georgeous blurs and softening. On the other hand, with closed aperture the lens becomes a razor-sharp tool for daily studio work, allowing full control over perspective and sharpness even with difficult lighting situations (new improved Antiflare) Users of 35mm full format cameras will achieve 183% of the originally available pixel size with a shift of 2x10mm horizontally. The resulting image angle will be comparable to a 61,5 mm lens (on 35mm ). i.E, if you stitch two exposures as portrait formats, this will result in a usable picturesize of 44x36mm (at 4 mm overlapping), this gives you a picture diagonale of 56.8 mm opposing a 43.2 mm diagonale at 24/36 = Factor 1.3. With crop sensors and a chipsize of 1:1.5, the gain with a 3-time-exposure/stitch is about 250%

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Understanding exposure

Exposure? What kind of cake is that?? ... .. what exposure seh?? ...

I will try to explain a little about the exposure .... with the goal, we can all understand about:
Understand what it is Aperture, Shutter Speed ​​and ISO
Understand what it is Aperture Priority, Shutter Priority, Manual Aperture and Shutter and when to use them most effectively.
Understand what it Panning techniques and how the hell I'll be panning?
Understand about Depth of Field and how Aperture is responsible for this.
Understanding Shutter Speed ​​about the freezing of movement, the effect of the current (flowing effect)
Understanding of ISO sensitifiti compensation from the film
Understand what it Bracketing and their effect on the correct exposure and / or perfect.

In this article I assume that your camera can at least in the setting to Manual, even better if your camera is a Digital or Analog SLR Cameras. The camera I use is the Nikon D100 Digital SLR Camera but in outline, outline the meaning intent of this article can be implemented in photography in general. Indeed, every photographer has its own style definitions and the approach is to photography. This article is not to blame and I do not justify myself in the topic of exposure in general. Happy reading.

PERFECT Exposure

Ok. If you ask "how should my exposure anyway?" Well easy does he replied, "you have to bener Exposure!" Right? Well, exposure can be classified in to 3 names that are closely related to each other, they are:
Aperture = aperture diaphragm is usually in the size of the f/2.8 lens, f/5.6 and so on
Shutter Speed ​​= how long the opening film at the light when the diaphragm in the open; in size 2s, 1/250s, 1/500s, and so on (s = seconds, seconds)
ISO, film = Speed ​​of the international standard for the sensitive film. For example: ISO 400 is more sensitive than ISO 200, ISO 200 is more sensitive than ISO 100, and so on.

Geez ya camera fuck hell really exist Manual, Aperture Priority, Shutter Priority, Automatic? more cool automatic right then?

"Ok, rather than if I wrote set to P (Automatic or Program mode) continue to live my snap it wrote it all already be set automatically, well kept doing weird must understand 3 languages ​​on trial?". Well if you're satisfied samaP (Automatic or Program mode) your camera exposure settings, so doing in terusin read this article? I believe with a deep understanding and certainly experiment between the 3 names above, you definitely get more exposure the better or more chances you will get a perfect exposure. Is not it better to learn the Manual?

Well now try to see in the viewfinder (you know that little box that you see on camera for motret) there must exist semace gini nih: + "" '0 """'- right? Well if you rotate the control dial on your camera, the arrow will shift according to who you hendaki, if you are rolling to the right, arrows to the right, if ya left his arrow to the left. Usually when the left valuenya greater positive atao to reply to the left valuenya getting smaller and the negative direction.

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