Canon EOS 50D Digital Camera Review
The Canon EOS-50D is a solid incremental upgrade from the 40D. It doesn't have any dramatic new features, delivers a gorgeous LCD, 15-megapixel resolution, an improved live view mode, and burst mode at a speedy 6.3 frames per second. However, we were unimpressed by the merely average results in our lab testing, where the 50D consistently scored on par or worse than both its predecessor and the much less expensive Canon XSi. The Nikon D300, at roughly the same price as the 50D, posted superior scores in color, dynamic range, manual noise, automatic noise, and lowlight tests. The 50D is a solid performer, but didn't outshine the alternatives. If you're already a Canon user, possibly moving from entry- to mid-level SLRs, and with a lens or two already in your hands, then it could be a good choice for you. However, if you have a 40D, moving up to the 50D probably isn't justified. And for a newcomer to SLRs, who's looking to pay about $1500 for a camera, the Nikon D300 is probably a better choice, as they are very close in features, and the Nikon performed better in our tests.
Likes
- Solid construction
- Large, high resolution LCD
- Good live view functionality
- Overall competent scoring in our tests
- Clear, well organized menu system
Dislikes
- Body essentially unchanged from 40D
- Uninspired test scores
- No major new innovations
- Heavy, over three pounds with kit lens and battery
Tim Barribeau
more : digitalcamerainfo
Likes
- Solid construction
- Large, high resolution LCD
- Good live view functionality
- Overall competent scoring in our tests
- Clear, well organized menu system
Dislikes
- Body essentially unchanged from 40D
- Uninspired test scores
- No major new innovations
- Heavy, over three pounds with kit lens and battery
Tim Barribeau
more : digitalcamerainfo
Sony Alpha 900: Camera Test
What happens when an electronics behemoth jumps into DSLRs? In Sony's case, it pushes development into overdrive for a couple of years. Then it makes a full-frame 24.6MP CMOS sensor and steals the title of most megapixels in the 35mm format from Canon, which has held the title for as long as anyone can remember.
But a camera is more than just megapixels. And the Alpha 900 ($3,000, street, body only) packs a gorgeous viewfinder that covers the entire frame, plus real-world resolution greater than that of any camera we've tested.
In terms of design, the A900 follows previous Sony DSLRs. The grip has a deep cutaway for your middle finger and a long divot on the inside for your fingertips, making a very comfortable hold. There are dual scroll wheels to set shutter speed and aperture independently, plus dedicated buttons for exposure compensation, white balance, ISO, and drive mode, as well as a dial for exposure mode. Add the fact that you can press the function button to jump into a menu of most of the settings, and you've got a really versatile imaging tool.
Like too many pro-level DSLRs, the A900 doesn't pack a pop-up flash. Ask Sony, though, and you'll hear that the A900 isn't meant for pros. We doubt that'll stop wedding and event photographers from flocking to it. That goes doubly once they check out Sony's new HVL-F58AM flash ($500, street). Since the entire flash head swivels horizontally instead of twisting, you can keep the head in the same basic position for vertical portraits as for horizontal shots. So, while the white bounce card in most on-camera flash units faces in the wrong direction when you shoot verticals, it faces your subject with this Sony.
Philip Ryan
more : popphoto
But a camera is more than just megapixels. And the Alpha 900 ($3,000, street, body only) packs a gorgeous viewfinder that covers the entire frame, plus real-world resolution greater than that of any camera we've tested.
In terms of design, the A900 follows previous Sony DSLRs. The grip has a deep cutaway for your middle finger and a long divot on the inside for your fingertips, making a very comfortable hold. There are dual scroll wheels to set shutter speed and aperture independently, plus dedicated buttons for exposure compensation, white balance, ISO, and drive mode, as well as a dial for exposure mode. Add the fact that you can press the function button to jump into a menu of most of the settings, and you've got a really versatile imaging tool.
Like too many pro-level DSLRs, the A900 doesn't pack a pop-up flash. Ask Sony, though, and you'll hear that the A900 isn't meant for pros. We doubt that'll stop wedding and event photographers from flocking to it. That goes doubly once they check out Sony's new HVL-F58AM flash ($500, street). Since the entire flash head swivels horizontally instead of twisting, you can keep the head in the same basic position for vertical portraits as for horizontal shots. So, while the white bounce card in most on-camera flash units faces in the wrong direction when you shoot verticals, it faces your subject with this Sony.
Philip Ryan
more : popphoto
Adobe Photoshop Lightroom 2 Software Review
One question we field a lot around here – and I'm sure Adobe's heard more than their share of this one too – is, "Will Lightroom replace Photoshop for what I do?" Entangled in this question is the issue that's always been part of my typical response: "It depends on what you need to do with your images." Lightroom 2, with its more involved Develop module, makes it clear that Adobe is moving toward a single-source solution for raw conversion, process/sort, routine editing tasks, and output control. And improvements in the second iteration clearly address the original Lightroom's weakest area from this list: routine editing. Although it's still no Photoshop (nor is it meant to be), Lightroom's Localized Adjustments tool, improved lens correction and vignetting console, and ever-growing palette of processing controls make version two a substantial step forward for covering the basic functions that both amateur photographers and full-time pros seek in an image editor.
Not surprisingly, the package's workflow tools – especially its keywording functions and new Smart Collections auto sort features – are also appreciably improved. And with more transparent file handling and a synchronization function for checking for changes, serious shooters are less likely to get bent out of shape over how Lightroom incorporates their files.
Although Lightroom 2 is arguably the most consumer-friendly of Adobe's image editing options (with its limited range of controls and many presets, even more so than Photoshop Elements, I'd argue), there's no doubt that at its core, this is not a pure image editor but rather a workflow solution designed for folks who need to manage a lot of images. For advanced work involving masking, gradients, cloning/healing, or raw conversion, hard-core image processors will still fall back on Photoshop and Camera Raw. But Lightroom 2's better integration with Adobe's other imaging products should help it continue to jockey for position at the front of the pack among image workflow tools, and more advanced editing options might just make the latest version of Lightroom the all-in-one organization and editing system some serious amateurs have been waiting for.
Pros:
* Localized Adjustments provides basic, reasonably powerful masking
* Keywording smarter than ever
* New print options will appeal to wedding/portrait shooters
* Camera Profiles provide a nice baseline for raw conversion
Cons:
* Requires a powerful computer for optimal performance
* Dual-screen support still not seamless
* At $299, the price will turn off many casual shooters
David Rasnake
more : digitalcamerareview
Not surprisingly, the package's workflow tools – especially its keywording functions and new Smart Collections auto sort features – are also appreciably improved. And with more transparent file handling and a synchronization function for checking for changes, serious shooters are less likely to get bent out of shape over how Lightroom incorporates their files.
Although Lightroom 2 is arguably the most consumer-friendly of Adobe's image editing options (with its limited range of controls and many presets, even more so than Photoshop Elements, I'd argue), there's no doubt that at its core, this is not a pure image editor but rather a workflow solution designed for folks who need to manage a lot of images. For advanced work involving masking, gradients, cloning/healing, or raw conversion, hard-core image processors will still fall back on Photoshop and Camera Raw. But Lightroom 2's better integration with Adobe's other imaging products should help it continue to jockey for position at the front of the pack among image workflow tools, and more advanced editing options might just make the latest version of Lightroom the all-in-one organization and editing system some serious amateurs have been waiting for.
Pros:
* Localized Adjustments provides basic, reasonably powerful masking
* Keywording smarter than ever
* New print options will appeal to wedding/portrait shooters
* Camera Profiles provide a nice baseline for raw conversion
Cons:
* Requires a powerful computer for optimal performance
* Dual-screen support still not seamless
* At $299, the price will turn off many casual shooters
David Rasnake
more : digitalcamerareview
Nikon D90 Review
Folks who've been paying attention to Nikon DSLRs for the past several years have noticed a trend: a high performance Nikon comes out, followed some months later by a lower priced camera that offers a chunk of the performance at a fraction of the price. When the D2X was introduced it was the undisputed Nikon pro camera. Ten months or so later, the D200 shows up, and while it provided a 10 megapixel sensor to the D2X's 12.4, it matched the 5 fps continuous shooting rate and produced better high ISO images to boot.
The D300 came out and immediately eclipsed the D2X/Xs, becoming the new Nikon DX sensor flagship – again at a fraction of the price. The full-frame D3 is introduced, followed by the D700 which packs a lot of the punch for about 60 percent of the cost. And now the D90 arrives shooting D300-quality stills and packing a decent movie mode for about two-thirds the cost of the movieless D300. If you really dissect the D90 shots they might be a tiny bit noisier at higher ISOs than the D300, or it might just be my eyes are tired. The D90 continuous shooting rate won't match the D300, but in reality, this is not a shootout between the D90 and the D300.
Comparisons are tempting since both cameras probably share the same sensor, might share the same processing pipeline, and do share identical ISO sensitivity ranges, but the D90 is targeting folks looking for something just a bit above an entry-level body, not the high end of the performance spectrum. In this regard the D90 offers sparkling performance at a bargain price, and movies if you want ‘em.
Pros:
* Good image/color quality
* Good AF and shutter performance
* Good build quality
* Good high ISO performance
* HD video capability
* Good flash performance/recycle times
Cons:
* HD video time limited
* No AF for video
* Limitations of current technology mean video is via Live View only
J. Keenan
more : digitalcamerareview
The D300 came out and immediately eclipsed the D2X/Xs, becoming the new Nikon DX sensor flagship – again at a fraction of the price. The full-frame D3 is introduced, followed by the D700 which packs a lot of the punch for about 60 percent of the cost. And now the D90 arrives shooting D300-quality stills and packing a decent movie mode for about two-thirds the cost of the movieless D300. If you really dissect the D90 shots they might be a tiny bit noisier at higher ISOs than the D300, or it might just be my eyes are tired. The D90 continuous shooting rate won't match the D300, but in reality, this is not a shootout between the D90 and the D300.
Comparisons are tempting since both cameras probably share the same sensor, might share the same processing pipeline, and do share identical ISO sensitivity ranges, but the D90 is targeting folks looking for something just a bit above an entry-level body, not the high end of the performance spectrum. In this regard the D90 offers sparkling performance at a bargain price, and movies if you want ‘em.
Pros:
* Good image/color quality
* Good AF and shutter performance
* Good build quality
* Good high ISO performance
* HD video capability
* Good flash performance/recycle times
Cons:
* HD video time limited
* No AF for video
* Limitations of current technology mean video is via Live View only
J. Keenan
more : digitalcamerareview
D300 Firmware Update 1.10
The following improvements have been made in version 1.10
- The Highlights playback display option has been moved from Display mode > Basic photo info > Highlights in the playback menu to Display mode > Detailed photo info > Highlights.
- The size and color of “Demo” displayed in the monitor with playback when No memory card? in the Custom Settings is set to Enable release, have been modified.
- The range of settings available for ISO sensitivity settings > ISO sensitivity auto control > Minimum shutter speed in the shooting menu has been increased from 1/250 – 1 s to 1/4000 – 1 s.
- When shooting in hand-held live view mode and the frame is magnified prior to autofocusing, operation has been modified so that display returns to the magnified display rather than full-frame display.
- Images captured with Rotate tall, in the playback menu, set to On are not automatically rotated for display immediately after capture (image review).
- A Copyright information item has been added to the setup menu. When Copyright information is enabled, the copyright symbol (©) is shown in the shooting info display.
- Recent settings can now be displayed in place of My Menu.
- Custom Setting e3 Flash cntrl for built-in flash (e3 Optional flash when an optional Speedlight is mounted on the camera) can now be added to My Menu using the Add items option in My Menu from Add items > Custom setting menu > e Bracketing/flash.
- The degree of the High ISO NR setting can now be confirmed in the shooting info display while the High ISO NR setting item, in the shooting menu, is being applied.
- Ankara, Riyadh, Kuwait, and Manama have been added to the Time zone options for the World time item in the setup menu.
- When a GPS device is used and no heading information is available, ---.--° is now displayed for the Position > Heading option in the GPS item in the setup menu.
- When shooting in live view mode using Camera Control Pro 2 (Ver. 2.2.0 or later) with a PC-E lens, the aperture setting can now be adjusted from the computer.
- Focus acquisition performance in dynamic-area AF mode has been improved.
- Focus acquisition performance with contrast-detect AF has been improved.
- Auto white balance performance has been improved.
- The fourth digit in seconds display for GPS latitude and longitude information is now rounded off rather than omitted.
- The current MB-D10 battery type setting can now be confirmed in the shooting info display when R6 / AA-size batteries are used with the Multi-Power Battery Pack MB-D10.
- An issue that caused an increase in noise with shooting in [M] exposure mode at a shutter speed setting of bulb with the shutter held open for less than 8 seconds and Long exp. NR enabled has been resolved.
- An issue that prevented shutter release at the specified shutter speed when no operations were performed for 30 seconds in mirror up mode has been resolved.
- An issue that caused abnormal image display when Image review was set to On and the playback zoom in button was pressed immediately after shooting at the following settings has been resolved.
. Image quality: NEF (RAW ) + JPEG
. NEF (RAW) recording: Lossless compressed or Compressed
. Image size: S or M
- When the Speedlight SB-800 was mounted on the camera with flash mode set to distance-priority manual (GN) mode, and the camera recovered from standby mode triggered by the auto meter off function, the distance information displayed on the SB-800 changed. This issue has been resolved.
Nikon D300 Firmware Update 1.10 (Windows) (Mac)
- The Highlights playback display option has been moved from Display mode > Basic photo info > Highlights in the playback menu to Display mode > Detailed photo info > Highlights.
- The size and color of “Demo” displayed in the monitor with playback when No memory card? in the Custom Settings is set to Enable release, have been modified.
- The range of settings available for ISO sensitivity settings > ISO sensitivity auto control > Minimum shutter speed in the shooting menu has been increased from 1/250 – 1 s to 1/4000 – 1 s.
- When shooting in hand-held live view mode and the frame is magnified prior to autofocusing, operation has been modified so that display returns to the magnified display rather than full-frame display.
- Images captured with Rotate tall, in the playback menu, set to On are not automatically rotated for display immediately after capture (image review).
- A Copyright information item has been added to the setup menu. When Copyright information is enabled, the copyright symbol (©) is shown in the shooting info display.
- Recent settings can now be displayed in place of My Menu.
- Custom Setting e3 Flash cntrl for built-in flash (e3 Optional flash when an optional Speedlight is mounted on the camera) can now be added to My Menu using the Add items option in My Menu from Add items > Custom setting menu > e Bracketing/flash.
- The degree of the High ISO NR setting can now be confirmed in the shooting info display while the High ISO NR setting item, in the shooting menu, is being applied.
- Ankara, Riyadh, Kuwait, and Manama have been added to the Time zone options for the World time item in the setup menu.
- When a GPS device is used and no heading information is available, ---.--° is now displayed for the Position > Heading option in the GPS item in the setup menu.
- When shooting in live view mode using Camera Control Pro 2 (Ver. 2.2.0 or later) with a PC-E lens, the aperture setting can now be adjusted from the computer.
- Focus acquisition performance in dynamic-area AF mode has been improved.
- Focus acquisition performance with contrast-detect AF has been improved.
- Auto white balance performance has been improved.
- The fourth digit in seconds display for GPS latitude and longitude information is now rounded off rather than omitted.
- The current MB-D10 battery type setting can now be confirmed in the shooting info display when R6 / AA-size batteries are used with the Multi-Power Battery Pack MB-D10.
- An issue that caused an increase in noise with shooting in [M] exposure mode at a shutter speed setting of bulb with the shutter held open for less than 8 seconds and Long exp. NR enabled has been resolved.
- An issue that prevented shutter release at the specified shutter speed when no operations were performed for 30 seconds in mirror up mode has been resolved.
- An issue that caused abnormal image display when Image review was set to On and the playback zoom in button was pressed immediately after shooting at the following settings has been resolved.
. Image quality: NEF (RAW ) + JPEG
. NEF (RAW) recording: Lossless compressed or Compressed
. Image size: S or M
- When the Speedlight SB-800 was mounted on the camera with flash mode set to distance-priority manual (GN) mode, and the camera recovered from standby mode triggered by the auto meter off function, the distance information displayed on the SB-800 changed. This issue has been resolved.
Nikon D300 Firmware Update 1.10 (Windows) (Mac)
EOS 50D Firmware Update Version 1.0.3
This firmware update (Version 1.0.3) incorporates the following fixes.
1. Corrects a phenomenon in which an image becomes overexposed when C.Fn.II-3 Highlight tone priority is set to "1" together with other camera settings. (This correction has already been incorporated in the Version 1.0.2 and later firmware.
2. Corrects a rare phenomenon in which "busy" blinks on the camera's display panel and the shutter cannot be released due to the timing of battery installation.
3. Corrects a rare phenomenon in which "Err 99" appears on the camera's display panel and LCD monitor and the shutter cannot be released due to the timing of pressing the shutter button.
Firmware Version 1.0.3 is for cameras with firmware up to Version 1.0.2. If the camera's firmware is already Version 1.0.3, it is not necessary to update the firmware.
more : canon
1. Corrects a phenomenon in which an image becomes overexposed when C.Fn.II-3 Highlight tone priority is set to "1" together with other camera settings. (This correction has already been incorporated in the Version 1.0.2 and later firmware.
2. Corrects a rare phenomenon in which "busy" blinks on the camera's display panel and the shutter cannot be released due to the timing of battery installation.
3. Corrects a rare phenomenon in which "Err 99" appears on the camera's display panel and LCD monitor and the shutter cannot be released due to the timing of pressing the shutter button.
Firmware Version 1.0.3 is for cameras with firmware up to Version 1.0.2. If the camera's firmware is already Version 1.0.3, it is not necessary to update the firmware.
more : canon
Lowepro Inverse 200 AW Camera Bag Review
The Lowepro Inverse 200 AW held up well in our testing, offering plenty of storage space to hold many accessories, as well as a large DSLR body with lens attached, and two additional lenses stowed to the side. Even with it filled to the brim user comfort was excellent when the straps are properly tightened on your waist. The only complaint I had with the design were the waist straps, which had to be readjusted every time I put the bag on as they loosened every time the bag was taken off. Overall the bag worked quite well in use, and easily adapted to different mounting positions with simple adjustments.
Pros:
* Enough pockets to make MacGyver smile
* Wide, padded straps keep heavy loads supported comfortably
* Attachment points for tripod and other accessories
* Storm resistant shield
Cons:
* Waist strap clips loosen easily and require readjustment
* Rain cover can be a hassle to install and prevents you from accessing components while on
dietcokefiend
more : digitalcamerareview
Pros:
* Enough pockets to make MacGyver smile
* Wide, padded straps keep heavy loads supported comfortably
* Attachment points for tripod and other accessories
* Storm resistant shield
Cons:
* Waist strap clips loosen easily and require readjustment
* Rain cover can be a hassle to install and prevents you from accessing components while on
dietcokefiend
more : digitalcamerareview
Sony Alpha DSLR-A900 Review
The Alpha 900 represents in a nutshell the almost schizophrenic nature of Sony's digital camera division, which can market compact cameras with smile detection and a Playstation style user interface at the same time as this, perhaps the most pared-down, frill-free and unashamedly 'serious' DSLR we've seen in a long time.
You can't help feel that Sony's long-held worry that as a consumer electronics giant it will never be totally accepted as a serious camera manufacturer has been instrumental in shaping a flagship camera that studiously avoids the creeping 'gadgetization' of DLSRs and concentrates on old fashioned stuff like picture taking.
And hey, for the most part this is no bad thing; the Alpha 900 is uniquely approachable for a camera in this class, has the best viewfinder on the market and produces, as long as you don't venture into the higher reaches of the ISO range range too often, very appealing output indeed. It feels and acts like a camera - in stark contrast to many of Sony's compacts, which seem to be designed to act like a cross between a camera phone and a games console - without offering the utility of either. Looking through the huge viewfinder you get the full advantage of the full frame format; the engulfing view makes you feel totally involved in the picture taking process.
No doubt about it, there is much to like about the Alpha 900 - from the quality of images it produces to the extensive control over image parameters and, as I've already mentioned, the excellent, intuitive and uniquely user-friendly handling. The built-in image stabilization is a real boon and makes the Alpha 900 a no brainer purchase for anyone with a sizeable Minolta 35mm camera lens collection. The only 'frippery' I found myself missing was live view (we do a lot of work in the studio where magnified live view, when done well, can be a real time saver), though not everyone will care.
Simon Joinson
more : dpreview
You can't help feel that Sony's long-held worry that as a consumer electronics giant it will never be totally accepted as a serious camera manufacturer has been instrumental in shaping a flagship camera that studiously avoids the creeping 'gadgetization' of DLSRs and concentrates on old fashioned stuff like picture taking.
And hey, for the most part this is no bad thing; the Alpha 900 is uniquely approachable for a camera in this class, has the best viewfinder on the market and produces, as long as you don't venture into the higher reaches of the ISO range range too often, very appealing output indeed. It feels and acts like a camera - in stark contrast to many of Sony's compacts, which seem to be designed to act like a cross between a camera phone and a games console - without offering the utility of either. Looking through the huge viewfinder you get the full advantage of the full frame format; the engulfing view makes you feel totally involved in the picture taking process.
No doubt about it, there is much to like about the Alpha 900 - from the quality of images it produces to the extensive control over image parameters and, as I've already mentioned, the excellent, intuitive and uniquely user-friendly handling. The built-in image stabilization is a real boon and makes the Alpha 900 a no brainer purchase for anyone with a sizeable Minolta 35mm camera lens collection. The only 'frippery' I found myself missing was live view (we do a lot of work in the studio where magnified live view, when done well, can be a real time saver), though not everyone will care.
Simon Joinson
more : dpreview
Olympus and PADI Dive Deeper into Underwater Photography
Pioneers of Digital Photography and Scuba Diving Education Extend Partnership to Bring Underwater Photography to Recreational Divers of All Skill Levels
LAS VEGAS, Nv., October 22, 2008 – Capturing in-water images is easier than ever for scuba divers and water enthusiasts of all levels as Olympus extends its partnership with PADI (the Professional Association of Diving Instructors) as the official digital underwater photography equipment sponsor of the PADI Diving Society through December 2009. Announced today at the DEMA Show 2008 in Las Vegas, the two companies have extended their relationship and will continue to work closely together to help recreational divers capture amazing images during their scuba and snorkeling adventures.
“Olympus’ innovative cameras are designed to take incredible photographs in any setting, including underwater,” said John McGuire, product manager, Underwater and Outdoor Products, Olympus Imaging America Inc. “PADI is the obvious partner for us as it is the undisputable leader in recreational dive training and education. Additionally, our organizations share similar philosophies: commitment to quality as well as respecting and protecting the environment.”
PADI Americas Director of Marketing and Communications, Kristin Valette, concurs, “PADI maintains a strong commitment to the protection and preservation of the aquatic realm, supporting the philosophy of ‘take only pictures, leave only bubbles.’ Partnering with Olympus, a worldwide brand committed to quality and excellence, enables us to reach more divers and water enthusiasts and spread the passion for underwater photography and ocean conservation. PADI is honored to continue our partnership with Olympus.”
The partnership provides the more than 175,000 PADI Diving Society members with direct access via events to Olympus cameras for learning underwater photography skills and earning a PADI Digital Underwater Photographer Specialty certification. It also enables Olympus and PADI to co-brand their underwater photography offerings at PADI Diving Society events around the world, including the recent PADI Photo Safari hosted in Bonaire as well as the 10th Annual Total Submersion Dive Festival and the Tahiti Dive Festival scheduled for 2009. Additional details are available at www.olympusamerica.com/underwater and www.padi.com.
ABOUT OLYMPUS IMAGING AMERICA INC.
Olympus Imaging America Inc. is a precision technology leader, designing and delivering award-winning products for consumer and professional markets.
Olympus Imaging America Inc. works collaboratively with its customers and its ultimate parent company, Olympus Corporation, to develop breakthrough technologies with revolutionary product design and functionality that enhances peoples’ lives every day. These include:
* Digital and Film Cameras
* Professional Digital SLR Imaging Systems
* Related Underwater Products and Accessories
* Digital and Microcassette Recorders
* Digital Media
* Binoculars
Olympus Imaging America Inc. is responsible for sales in the United States, Canada, Mexico, the Caribbean, and Central and South America. For more information, visit: www.olympusamerica.com.
LAS VEGAS, Nv., October 22, 2008 – Capturing in-water images is easier than ever for scuba divers and water enthusiasts of all levels as Olympus extends its partnership with PADI (the Professional Association of Diving Instructors) as the official digital underwater photography equipment sponsor of the PADI Diving Society through December 2009. Announced today at the DEMA Show 2008 in Las Vegas, the two companies have extended their relationship and will continue to work closely together to help recreational divers capture amazing images during their scuba and snorkeling adventures.
“Olympus’ innovative cameras are designed to take incredible photographs in any setting, including underwater,” said John McGuire, product manager, Underwater and Outdoor Products, Olympus Imaging America Inc. “PADI is the obvious partner for us as it is the undisputable leader in recreational dive training and education. Additionally, our organizations share similar philosophies: commitment to quality as well as respecting and protecting the environment.”
PADI Americas Director of Marketing and Communications, Kristin Valette, concurs, “PADI maintains a strong commitment to the protection and preservation of the aquatic realm, supporting the philosophy of ‘take only pictures, leave only bubbles.’ Partnering with Olympus, a worldwide brand committed to quality and excellence, enables us to reach more divers and water enthusiasts and spread the passion for underwater photography and ocean conservation. PADI is honored to continue our partnership with Olympus.”
The partnership provides the more than 175,000 PADI Diving Society members with direct access via events to Olympus cameras for learning underwater photography skills and earning a PADI Digital Underwater Photographer Specialty certification. It also enables Olympus and PADI to co-brand their underwater photography offerings at PADI Diving Society events around the world, including the recent PADI Photo Safari hosted in Bonaire as well as the 10th Annual Total Submersion Dive Festival and the Tahiti Dive Festival scheduled for 2009. Additional details are available at www.olympusamerica.com/underwater and www.padi.com.
ABOUT OLYMPUS IMAGING AMERICA INC.
Olympus Imaging America Inc. is a precision technology leader, designing and delivering award-winning products for consumer and professional markets.
Olympus Imaging America Inc. works collaboratively with its customers and its ultimate parent company, Olympus Corporation, to develop breakthrough technologies with revolutionary product design and functionality that enhances peoples’ lives every day. These include:
* Digital and Film Cameras
* Professional Digital SLR Imaging Systems
* Related Underwater Products and Accessories
* Digital and Microcassette Recorders
* Digital Media
* Binoculars
Olympus Imaging America Inc. is responsible for sales in the United States, Canada, Mexico, the Caribbean, and Central and South America. For more information, visit: www.olympusamerica.com.
Sony Alpha DSLR-A900 Review
Sony’s Alpha DSLR-A900 feels like it’s been with us for a long time – after all, the prototype was first shown back in March 2007 and its sensor unveiled in January 2008. So unlike its rivals which are often sprung with little notice, we’ve long-known what Sony’s flagship DSLR would look like and speculated how its new 24 Megapixel full-frame sensor may perform in practice.
Despite this advance information though, using the A900 in person is still quite a surprise in a number of respects. First, it’s larger and heavier than it looks, and once equipped with a quality lens like the Carl Zeiss 24-70mm f2.8, you certainly know you’re carrying it around. This is not a combination for anyone who wants to travel light, but it does feel well-balanced in your hands and like most heavier cameras, this heft instils a degree of confidence. It should also be said, the A900’s very distinct styling comes across better in the flesh than in photographs – it’s a unique but smart-looking camera.
The second surprise is the optical viewfinder, which is one of the largest, brightest and most enjoyable we’ve used in a long time; even in full-frame terms, it’s of a very high standard. Rather than feeling you’re looking down a tunnel at a framed view, you actually find yourself looking around the A900’s viewfinder image.
The third surprise is the speed of handling and operation. 24.6 Megapixels is a great deal of data to process, but the A900 rarely feels like its breaking a sweat. It’s very responsive and attacks continuous shooting, firing at only a fraction below 5fps in our tests – remember Nikon’s D700 may also offer 5fps, but is only handling 12.1 Megapixel images, while Canon’s EOS 5D Mark II shoots at a relatively modest 3.9fps.
Fourth is the resolution. It comes as no surprise to discover 24.6 Megapixels can potentially capture a lot of detail, but taken under the right conditions, the A900’s images still have the ability to impress with how far you can zoom-in before reaching a 100% view.
Gordon Laing
more : cameralabs
Despite this advance information though, using the A900 in person is still quite a surprise in a number of respects. First, it’s larger and heavier than it looks, and once equipped with a quality lens like the Carl Zeiss 24-70mm f2.8, you certainly know you’re carrying it around. This is not a combination for anyone who wants to travel light, but it does feel well-balanced in your hands and like most heavier cameras, this heft instils a degree of confidence. It should also be said, the A900’s very distinct styling comes across better in the flesh than in photographs – it’s a unique but smart-looking camera.
The second surprise is the optical viewfinder, which is one of the largest, brightest and most enjoyable we’ve used in a long time; even in full-frame terms, it’s of a very high standard. Rather than feeling you’re looking down a tunnel at a framed view, you actually find yourself looking around the A900’s viewfinder image.
The third surprise is the speed of handling and operation. 24.6 Megapixels is a great deal of data to process, but the A900 rarely feels like its breaking a sweat. It’s very responsive and attacks continuous shooting, firing at only a fraction below 5fps in our tests – remember Nikon’s D700 may also offer 5fps, but is only handling 12.1 Megapixel images, while Canon’s EOS 5D Mark II shoots at a relatively modest 3.9fps.
Fourth is the resolution. It comes as no surprise to discover 24.6 Megapixels can potentially capture a lot of detail, but taken under the right conditions, the A900’s images still have the ability to impress with how far you can zoom-in before reaching a 100% view.
Gordon Laing
more : cameralabs
Canon Rebel XS Review
Shooting with the Rebel XS is an enjoyable experience, and while comparisons between the XS and the generally similarly (and often identical) XSi are obvious and natural, Canon has done a nice job of paring down the more advanced camera's feature set for the XS without losing the essence of what has made the latest Rebel models so excellent. If you can live without some of the advanced features – better dynamic range control, more resolution, a wider AF area with more points, and a larger screen – that the XSi offers, the XS actually brings newer technology to the table with its unlimited JPEG buffer for continuous shooting and more broadly compatible cross-type center AF sensor.
Canon's kit zoom remains my least favorite part of the current Rebel package, but that's easily (and relatively cheaply rectified). There are some construction oddities and ergonomic issues to look out for, but a quick in-store test drive should be enough to tell whether you'll get along with the XS's physical form or not. With those concerns aside, there's very little else to get in the way of taking fantastic photos with the XS.
Finally, it might have been nice to see more differentiation between the XS and what's already available from Canon. But with overall performance and image quality marks that are top notch, it's hard to fault the manufacturer too much for sticking with a formula that works. And in almost every regard, the Rebel XS does just that.
Pros:
* Rebel XSi performance for less bucks
* Fantastic, reliable AF system
* Extremely clean high-ISO shots
* More processing options than you could possibly need
Cons:
* Build quality not great
* Kit lens is of average quality
* Auto white balance struggles at times
* Live view less than useful
David Rasnake
more : digitalcamerareview
Canon's kit zoom remains my least favorite part of the current Rebel package, but that's easily (and relatively cheaply rectified). There are some construction oddities and ergonomic issues to look out for, but a quick in-store test drive should be enough to tell whether you'll get along with the XS's physical form or not. With those concerns aside, there's very little else to get in the way of taking fantastic photos with the XS.
Finally, it might have been nice to see more differentiation between the XS and what's already available from Canon. But with overall performance and image quality marks that are top notch, it's hard to fault the manufacturer too much for sticking with a formula that works. And in almost every regard, the Rebel XS does just that.
Pros:
* Rebel XSi performance for less bucks
* Fantastic, reliable AF system
* Extremely clean high-ISO shots
* More processing options than you could possibly need
Cons:
* Build quality not great
* Kit lens is of average quality
* Auto white balance struggles at times
* Live view less than useful
David Rasnake
more : digitalcamerareview
Sony Alpha DSLR-A350 Review
The Alpha A200 was a solid performer, but at the end of the day what it really had going for it was one key spec: a fantastic price point for its level of specification. With street prices for the A350 all in the $800 range, the value equation changes somewhat. Sure, the A350 adds an excellent live view system – undoubtedly the most highly functional and uncompromised one on the market. I can't emphasize this enough: even considering Olympus's well thought-out live view system, the A350 is the first DSLR to offer a clean-sheet design approach to the live view problem, and thus not surprisingly, it's the first DSLR I've spent time with where live view feels well integrated with the rest of the device.
But if live view – even good, well implemented live view – just isn't your thing, the A350 has to work a lot harder to sell itself. If you can live without on-screen shooting in your DSLR, then what you're paying for with the A350 is essentially a $300 resolution bump. And if, in turn, you don't need 14.2 megapixels for the kinds of all-around shooting you have in mind, the A200 provides a better viewfinder, snappier continuous shooting performance, and a level of specification otherwise that meets the more expensive model point for point.
If you're looking for a camera to ease the transition from a point-and-shoot, something with a live view system that you can use every day for every shot without compromising AF performance, the A350 is your camera. Those willing to settle for a "purer" DSLR experience, however, can get most of the rest of the A350's performance for less money. Ultimately, then, whether you'll find the Alpha A350 to be the pinnacle of consumer DSLR development to this point or an abomination to its reflex-camera heritage really comes down to a question of personal preference.
Pros:
* Most integrated, best performing live view system on the market
* Superior flash metering means better flash shots
* Articulating LCD a nice touch
* Long list of picture styles, processing controls
Cons:
* Noise performance is middle of the pack
* White balance a bit of a mess
* Build quality feels unremarkable
* Tiny, dark optical viewfinder
David Rasnake
more : digitalcamerareview
But if live view – even good, well implemented live view – just isn't your thing, the A350 has to work a lot harder to sell itself. If you can live without on-screen shooting in your DSLR, then what you're paying for with the A350 is essentially a $300 resolution bump. And if, in turn, you don't need 14.2 megapixels for the kinds of all-around shooting you have in mind, the A200 provides a better viewfinder, snappier continuous shooting performance, and a level of specification otherwise that meets the more expensive model point for point.
If you're looking for a camera to ease the transition from a point-and-shoot, something with a live view system that you can use every day for every shot without compromising AF performance, the A350 is your camera. Those willing to settle for a "purer" DSLR experience, however, can get most of the rest of the A350's performance for less money. Ultimately, then, whether you'll find the Alpha A350 to be the pinnacle of consumer DSLR development to this point or an abomination to its reflex-camera heritage really comes down to a question of personal preference.
Pros:
* Most integrated, best performing live view system on the market
* Superior flash metering means better flash shots
* Articulating LCD a nice touch
* Long list of picture styles, processing controls
Cons:
* Noise performance is middle of the pack
* White balance a bit of a mess
* Build quality feels unremarkable
* Tiny, dark optical viewfinder
David Rasnake
more : digitalcamerareview
PANASONIC ANNOUNCES PRICING FOR LUMIX DMC-G1, THE WORLD’S FIRST MICRO FOUR THIRDS SYSTEM CAMERA
Secaucus, NJ (October 16, 2008) – Panasonic today announced pricing for the world’s first Micro Four Thirds System camera, the LUMIX DMC-G1 – available in mid-November for a suggested retail price of $799.95, which includes the LUMIX G VARIO 14-45mm/F3.5-5.6 ASPH/MEGA O.I.S. kit lens. Also available in November, the LUMIX G VARIO 45-200mm/F4.0-5.6/MEGA O.I.S. telephoto Micro Four Thirds lens has a suggested retail price of $349.95.
The LUMIX G1, available in black, blue and red models, is the first interchangeable lens camera to offer consumers a choice of colors. Weighing about half as much as a standard digital single-lens reflex (DSLR) camera (1.28 lbs)*, the LUMIX G1 is loaded with features that both entry-level and more experienced DSLR users will appreciate. The LUMIX G1 introduces a new Contrast AF (Auto Focus) system that is accurate and fast. Additionally, the LUMIX G1 features Panasonic’s Intelligent Auto mode found across the LUMIX line of cameras, which includes AF Tracking, Intelligent Exposure, MEGA O.I.S., Intelligent ISO, Intelligent Scene Selector, and Face Detection.
“The LUMIX G1 provides the power of a DSLR with many of the easy-to-use features from our point-and-shoot digital cameras,” said David Briganti, National Marketing Manager, Imaging, Panasonic Consumer Electronics Company. “With the LUMIX G1, we’re able to provide manual controls and professional-quality images, while also making the camera much more compact and with intuitive features easy for those new to DSLRs to learn and use.”
The LUMIX G1’s electronic Live View Finder, with a high-resolution 1,440,000-dot equivalent, allows the user to shoot the exact image seen, while also displaying information about the camera’s settings. The LUMIX G1 also features a free angle 3.0-inch LCD, enabling the user to see the adjustments as they are being made, a valuable learning tool for users new to manual controls, as the effects can be confirmed visually before snapping the shot.
Panasonic will expand its Micro Four Thirds System cameras and lenses in 2009, including a new model that builds on the LUMIX G1’s portability and style, while incorporating High Definition video capabilities. More details to be released in 2009. For more information about the Panasonic LUMIX DMC-G1, please visit www.panasonic.com/dsc.
*Compared to the Panasonic LUMIX DMC-L10.
About Panasonic Consumer Electronics Company
Based in Secaucus, N.J., Panasonic Consumer Electronics Company is a Division of Panasonic Corporation of North America, the principal North American subsidiary of Panasonic Corporation. (NYSE: PC) and the hub of Panasonic's U.S. marketing, sales, service and R&D operations. In its commitment to provide consumers with extensive imaging resources, Panasonic LUMIX established the Digital Photo Academy, a series of nationwide workshops designed to instruct consumers how to optimize the features on their digital cameras and produce high-quality photos. Panasonic is honored to support OUR PLACE – The World’s Heritage, a project that will create the world’s largest photographic collection of UNESCO World Heritage sites, with acclaimed photographers exclusively using LUMIX digital cameras to capture all images. Information about Panasonic LUMIX digital still cameras and its affiliated programs is available at www.panasonic.com/dsc.
The LUMIX G1, available in black, blue and red models, is the first interchangeable lens camera to offer consumers a choice of colors. Weighing about half as much as a standard digital single-lens reflex (DSLR) camera (1.28 lbs)*, the LUMIX G1 is loaded with features that both entry-level and more experienced DSLR users will appreciate. The LUMIX G1 introduces a new Contrast AF (Auto Focus) system that is accurate and fast. Additionally, the LUMIX G1 features Panasonic’s Intelligent Auto mode found across the LUMIX line of cameras, which includes AF Tracking, Intelligent Exposure, MEGA O.I.S., Intelligent ISO, Intelligent Scene Selector, and Face Detection.
“The LUMIX G1 provides the power of a DSLR with many of the easy-to-use features from our point-and-shoot digital cameras,” said David Briganti, National Marketing Manager, Imaging, Panasonic Consumer Electronics Company. “With the LUMIX G1, we’re able to provide manual controls and professional-quality images, while also making the camera much more compact and with intuitive features easy for those new to DSLRs to learn and use.”
The LUMIX G1’s electronic Live View Finder, with a high-resolution 1,440,000-dot equivalent, allows the user to shoot the exact image seen, while also displaying information about the camera’s settings. The LUMIX G1 also features a free angle 3.0-inch LCD, enabling the user to see the adjustments as they are being made, a valuable learning tool for users new to manual controls, as the effects can be confirmed visually before snapping the shot.
Panasonic will expand its Micro Four Thirds System cameras and lenses in 2009, including a new model that builds on the LUMIX G1’s portability and style, while incorporating High Definition video capabilities. More details to be released in 2009. For more information about the Panasonic LUMIX DMC-G1, please visit www.panasonic.com/dsc.
*Compared to the Panasonic LUMIX DMC-L10.
About Panasonic Consumer Electronics Company
Based in Secaucus, N.J., Panasonic Consumer Electronics Company is a Division of Panasonic Corporation of North America, the principal North American subsidiary of Panasonic Corporation. (NYSE: PC) and the hub of Panasonic's U.S. marketing, sales, service and R&D operations. In its commitment to provide consumers with extensive imaging resources, Panasonic LUMIX established the Digital Photo Academy, a series of nationwide workshops designed to instruct consumers how to optimize the features on their digital cameras and produce high-quality photos. Panasonic is honored to support OUR PLACE – The World’s Heritage, a project that will create the world’s largest photographic collection of UNESCO World Heritage sites, with acclaimed photographers exclusively using LUMIX digital cameras to capture all images. Information about Panasonic LUMIX digital still cameras and its affiliated programs is available at www.panasonic.com/dsc.
Adobe Creative Suite 4 Now Shipping
Milestone Release Radically Improves Creative Workflow Efficiency; Redefines Collaboration Between Designers and Developers
SAN JOSE, Calif. — Oct. 15, 2008 — Adobe Systems Incorporated (Nasdaq:ADBE) today announced the immediate availability of the Adobe® Creative Suite® 4 product family, the highly-anticipated release of industry-leading design and development software for virtually every creative workflow. Delivering radical breakthroughs in workflow efficiency – and packed with hundreds of innovative, time saving features – the new Creative Suite 4 product line advances the creative process across print, Web, interactive, film, video and mobile.
Customers can choose from six new versions: Adobe Creative Suite 4 Design Premium, Design Standard, Web Premium, Web Standard, Production Premium and Master Collection. The combination of Creative Suite and the new capabilities of Adobe Flash® Player 10, also available today (see separate press release) deliver new levels of creativity and expressiveness across media channels. Designers using the Adobe Creative Suite 4 product family will gain unprecedented creative control using the new expressive features and visual performance improvements in Adobe Flash Player 10 to deliver breakthrough Web experiences across multiple browsers and operating systems.
“Creative Suite 4 and Flash Player 10 introduce vital time-saving features, new levels of integration and the jawdropping innovations our design and developer customers expect from us,” said John Loiacono, senior vice president, Creative Solutions Business Unit at Adobe. “CS4 continues to fulfill our promise to customers to break down more barriers in cross-media workflows, while also providing new services and collaboration tools that help them manage complex client demands.”
As part of the CS4 product launch, the largest in Adobe’s history, also available today are brand new versions of Photoshop® CS4, Photoshop CS4 Extended, InDesign® CS4, Illustrator® CS4, Flash CS4 Professional, Dreamweaver® CS4, Fireworks® CS4, Contribute® CS4, After Effects® CS4, Adobe Premiere® Pro CS4, Encore® CS4, Soundbooth® CS4 and Adobe OnLocation™ CS4.
Intuitive Workflows Improve Creative Efficiency
A simplified workflow in Adobe Creative Suite 4 enables users to design across media more efficiently by making it easier to complete common tasks and move content seamlessly among applications. InDesign CS4 includes a new Live Preflight tool that allows designers to catch production errors and a newly customizable Links panel to manage placed files more efficiently. The revolutionary new Content-Aware Scaling tool in Photoshop CS4 and Photoshop CS4 Extended automatically recomposes an image as it is resized, preserving vital areas as it adapts to new dimensions. An expanded version of Dynamic Link in CS4 Production Premium enables users to move and update content between After Effects CS4, Adobe Premiere Pro CS4, Soundbooth CS4, and Encore CS4 without rendering, saving countless hours in production. With deep XMP metadata support, the production workflow is simplified, resulting in online
content that gives viewers new ways to interact with and search for video, while giving content owners new opportunities to track and monetize content.
Adobe Creative Suite 4 brings 3D center-stage providing the ability to paint, composite, and animate 3D models using familiar tools in Photoshop CS4 Extended. Flash CS4 Professional now offers the ability to apply tweens to objects instead of keyframes, providing greater control over animation attributes. Also in Flash CS4 Professional, the new Bones tool helps create more realistic animations between linked objects. With a searchable library of more than 450 dynamically updated device profiles from leading manufacturers, Adobe Device Central CS4 enables users to easily test mobile content designed using many of the Creative Suite 4 products.
New and Expanded Services Extend Capabilities for Online Collaboration
Adobe Creative Suite 4 now also offers a host of services* for online collaboration. Adobe ConnectNow, a service of Acrobat.com, allows real-time collaboration with two colleagues or clients. Designers can also share color harmonies with Adobe Kuler™. Other online resources include: Adobe Community Help for technical questions; Resource Central for accessing video and audio product-related news and tutorials, as well as Soundbooth scores and sound effects; and Adobe Bridge Home, a customizable resource for tips, tutorials, news and inspirational content.
Pricing and Availability
Adobe Creative Suite 4 and its associated point products are immediately available through Adobe Authorized Resellers and the Adobe Store at http://www.adobe.com/store. Estimated street price for the Adobe Creative Suite 4 Design Premium is US$1799, US$1699 for Adobe Creative Suite 4 Web Premium, US$1699 for Adobe Creative Suite 4 Production Premium, and US$2499 for Adobe Creative Suite 4 Master Collection. To reward customers for staying current, Adobe is offering Creative Suite 3 customers moving to Creative Suite 4 a lower upgrade price than it offers to those moving from older, qualifying versions. For a limited time, a special introductory offer enables customers with older qualifying products to enjoy the same lower price with savings of up to US$200 off their actual upgrade price. For more detailed information please visit http://www.adobe.com/creativesuite.
Adobe Flash Player 10 is available immediately as a free download for Windows, Macintosh and Linux platforms (including new support for Ubuntu 7 and 8) from http://www.adobe.com/go/getflashplayer
About Adobe Systems Incorporated
Adobe revolutionizes how the world engages with ideas and information – anytime, anywhere and through any medium. For more information, visit http://www.adobe.com.
SAN JOSE, Calif. — Oct. 15, 2008 — Adobe Systems Incorporated (Nasdaq:ADBE) today announced the immediate availability of the Adobe® Creative Suite® 4 product family, the highly-anticipated release of industry-leading design and development software for virtually every creative workflow. Delivering radical breakthroughs in workflow efficiency – and packed with hundreds of innovative, time saving features – the new Creative Suite 4 product line advances the creative process across print, Web, interactive, film, video and mobile.
Customers can choose from six new versions: Adobe Creative Suite 4 Design Premium, Design Standard, Web Premium, Web Standard, Production Premium and Master Collection. The combination of Creative Suite and the new capabilities of Adobe Flash® Player 10, also available today (see separate press release) deliver new levels of creativity and expressiveness across media channels. Designers using the Adobe Creative Suite 4 product family will gain unprecedented creative control using the new expressive features and visual performance improvements in Adobe Flash Player 10 to deliver breakthrough Web experiences across multiple browsers and operating systems.
“Creative Suite 4 and Flash Player 10 introduce vital time-saving features, new levels of integration and the jawdropping innovations our design and developer customers expect from us,” said John Loiacono, senior vice president, Creative Solutions Business Unit at Adobe. “CS4 continues to fulfill our promise to customers to break down more barriers in cross-media workflows, while also providing new services and collaboration tools that help them manage complex client demands.”
As part of the CS4 product launch, the largest in Adobe’s history, also available today are brand new versions of Photoshop® CS4, Photoshop CS4 Extended, InDesign® CS4, Illustrator® CS4, Flash CS4 Professional, Dreamweaver® CS4, Fireworks® CS4, Contribute® CS4, After Effects® CS4, Adobe Premiere® Pro CS4, Encore® CS4, Soundbooth® CS4 and Adobe OnLocation™ CS4.
Intuitive Workflows Improve Creative Efficiency
A simplified workflow in Adobe Creative Suite 4 enables users to design across media more efficiently by making it easier to complete common tasks and move content seamlessly among applications. InDesign CS4 includes a new Live Preflight tool that allows designers to catch production errors and a newly customizable Links panel to manage placed files more efficiently. The revolutionary new Content-Aware Scaling tool in Photoshop CS4 and Photoshop CS4 Extended automatically recomposes an image as it is resized, preserving vital areas as it adapts to new dimensions. An expanded version of Dynamic Link in CS4 Production Premium enables users to move and update content between After Effects CS4, Adobe Premiere Pro CS4, Soundbooth CS4, and Encore CS4 without rendering, saving countless hours in production. With deep XMP metadata support, the production workflow is simplified, resulting in online
content that gives viewers new ways to interact with and search for video, while giving content owners new opportunities to track and monetize content.
Adobe Creative Suite 4 brings 3D center-stage providing the ability to paint, composite, and animate 3D models using familiar tools in Photoshop CS4 Extended. Flash CS4 Professional now offers the ability to apply tweens to objects instead of keyframes, providing greater control over animation attributes. Also in Flash CS4 Professional, the new Bones tool helps create more realistic animations between linked objects. With a searchable library of more than 450 dynamically updated device profiles from leading manufacturers, Adobe Device Central CS4 enables users to easily test mobile content designed using many of the Creative Suite 4 products.
New and Expanded Services Extend Capabilities for Online Collaboration
Adobe Creative Suite 4 now also offers a host of services* for online collaboration. Adobe ConnectNow, a service of Acrobat.com, allows real-time collaboration with two colleagues or clients. Designers can also share color harmonies with Adobe Kuler™. Other online resources include: Adobe Community Help for technical questions; Resource Central for accessing video and audio product-related news and tutorials, as well as Soundbooth scores and sound effects; and Adobe Bridge Home, a customizable resource for tips, tutorials, news and inspirational content.
Pricing and Availability
Adobe Creative Suite 4 and its associated point products are immediately available through Adobe Authorized Resellers and the Adobe Store at http://www.adobe.com/store. Estimated street price for the Adobe Creative Suite 4 Design Premium is US$1799, US$1699 for Adobe Creative Suite 4 Web Premium, US$1699 for Adobe Creative Suite 4 Production Premium, and US$2499 for Adobe Creative Suite 4 Master Collection. To reward customers for staying current, Adobe is offering Creative Suite 3 customers moving to Creative Suite 4 a lower upgrade price than it offers to those moving from older, qualifying versions. For a limited time, a special introductory offer enables customers with older qualifying products to enjoy the same lower price with savings of up to US$200 off their actual upgrade price. For more detailed information please visit http://www.adobe.com/creativesuite.
Adobe Flash Player 10 is available immediately as a free download for Windows, Macintosh and Linux platforms (including new support for Ubuntu 7 and 8) from http://www.adobe.com/go/getflashplayer
About Adobe Systems Incorporated
Adobe revolutionizes how the world engages with ideas and information – anytime, anywhere and through any medium. For more information, visit http://www.adobe.com.
Canon EOS 50D Review
The Canon EOS 50D is a feature-packed semi-pro DSLR which takes the already capable 40D, increases the pixel count by 50%, quadruples the sensitivity and packs in all the latest features – bar a movie mode. As such it’s a very impressive specification, and one which on the whole lives up to its promise.
Kicking-off with resolution, the EOS 50D packs more pixels into its cropped sensor than any model to date, so there’s obviously concerns over noise levels. But Canon’s bold claims of matching the noise levels of the earlier EOS 40D were confirmed in our High ISO tests. From 100 to 1600 ISO, the EOS 50D’s output really is very similar to that from the EOS 40D when viewed at 100% on a pixel level. At 3200 ISO, the 50D applies greater noise reduction, but tone it down a notch and again it looks similar to the 40D. Admittedly the 50D’s 6400 and 12800 ISO modes are a step too far, but it’s an impressive achievement to boost the total pixels by 50% without any perceptible compromise in noise levels over its 10 Megapixel predecessor at the same sensitivities.
It’s also important to remember these comparisons were made at 100%, viewing each pixel at 1:1 on a computer monitor. If you print images from the 40D and 50D at the same size, the 50D’s higher pixel count means any artefacts would appear smaller, so in this respect it has the advantage.
The use of gapless micro-lenses has improved sensor efficiency and allowed it to match the noise levels of its predecessor, although looking to the future, this is a trump card that can only be played once. Now the 50D’s sensor is already maximising its real-estate, the engineers will need to look elsewhere to improve efficiencies should they want to boost resolutions again without affecting noise.
Gordon Laing
more : cameralabs
Kicking-off with resolution, the EOS 50D packs more pixels into its cropped sensor than any model to date, so there’s obviously concerns over noise levels. But Canon’s bold claims of matching the noise levels of the earlier EOS 40D were confirmed in our High ISO tests. From 100 to 1600 ISO, the EOS 50D’s output really is very similar to that from the EOS 40D when viewed at 100% on a pixel level. At 3200 ISO, the 50D applies greater noise reduction, but tone it down a notch and again it looks similar to the 40D. Admittedly the 50D’s 6400 and 12800 ISO modes are a step too far, but it’s an impressive achievement to boost the total pixels by 50% without any perceptible compromise in noise levels over its 10 Megapixel predecessor at the same sensitivities.
It’s also important to remember these comparisons were made at 100%, viewing each pixel at 1:1 on a computer monitor. If you print images from the 40D and 50D at the same size, the 50D’s higher pixel count means any artefacts would appear smaller, so in this respect it has the advantage.
The use of gapless micro-lenses has improved sensor efficiency and allowed it to match the noise levels of its predecessor, although looking to the future, this is a trump card that can only be played once. Now the 50D’s sensor is already maximising its real-estate, the engineers will need to look elsewhere to improve efficiencies should they want to boost resolutions again without affecting noise.
Gordon Laing
more : cameralabs
Phase One Releases Capture One 4 PRO
COPENHAGEN, October 15, 2008 -- Phase One A/S today announced the immediate availability of Capture One 4 PRO, the RAW workflow software for photographers focused on transforming RAW files into the highest quality photographs.
Capture One 4 PRO has been designed to enhance the image quality of professional digital captures. It is built on a darkroom paradigm to enhance images and minimize the need for
post-production. The workflow is responsive and flexible, adapting to a photographer’s needs.
“Phase One supports pro photographers who prefer straightforward, responsive, effective options to meet uncompromising standards of quality,” said British fashion photographer Drew Gardner. “So you find in Capture One 4 PRO an experience more consistent with what photography is all about. Using Capture One 4 PRO is more like stepping into a darkroom than entering a post- production computer class.”
Capture One 4 PRO Builds on RAW Workflow Innovations
Capture One 4 PRO is designed to satisfy a photographer’s specific work preference and situation. It offers freedom to create custom tool tabs with existing personal toolsets, and to work with multi monitor setups.
World leading tethered shooting is delivered by connecting a Phase One digital back or a supported DSLR camera to the computer and capturing images directly into Capture One 4 PRO.
The Styles feature has been redesigned to give photographers broader choices in exploring and creating unique looks that can be controlled and reproduced to create an exclusive signature.
An enhanced Color Editor feature permits fine-tuning of image colors with precise adjustment tools. Color adjustments can be saved as presets or as customized ICC profiles for consistent reproduction across multiple images.
A new Skin Tone tool lets photographers easily set and reproduce skin tones shot under various light conditions, even without using a gray card.
New Lens Correction tools improve image quality by compensating for undesired lens charac- teristics. These tools minimize chromatic aberration, purple fringing, distortion, sharpness falloff and light falloff. They permit creative effects such as image framing with a new vignetting tool.
“Phase One pioneered RAW workflow software,” said Jan Christiansen, marketing director at Phase One. “Now, Capture One 4 PRO takes these innovations to the highest level, with a clean, intuitive interface to give photographers a creative edge with superior image quality.”
Capture One 4 PRO supports Phase One and Mamiya medium format cameras and RAW files from a wide range of cameras including: Canon, Epson, Fuji, Konica Minolta, Leica, Nikon, Olympus, Pentax, and Sony. Please see http://www.phaseone.com/4 for specific models.
Pricing and Availability
Phase One Capture One 4 PRO is available now in English through Phase One’s worldwide part- ner network (please see http://www.phaseone.com/Content/ContactUs/LocateDealer.aspx)
and Phase One’s e-shop at http://www.phaseone.com/Content/EshopMenu.aspx
Other language versions are planned for release at a future date. Capture One 4 PRO is free for registered users of Capture One PRO 3.x. Its estimated street price is USD399 and EUR299.
Recommended minimum system requirements are Macintosh OS X 10.5.5 or later, Intel® based processor, or Microsoft Windows® XP SP3 or Windows Vista SP1 and Windows .NET Framework v3, Intel Pentium 4® processor, 1 GB RAM and a 1280 x 800 resolution screen.
More information on product features is available at http://www.phaseone.com/4.
About Phase One
Phase One is a leading provider of digital image capture and work flow management technology. Phase One P+ Series digital backs and camera systems open new possibilities, putting the focus back on the moment of capture. Phase One Capture One software helps streamline the capture and post-production process. Supporting DSLR, medium- and large-format photographic equipment, Phase One products are renowned for their superior quality, flexibility and speed
— enabling pro photographers to realize their most subtle and most complex visions without compromise.
Phase One is an employee-owned company based in Copenhagen with offices in New York, Lon- don, Tokyo, Cologne and Shanghai.
For more information about the products, visit the Phase One web site on www.phaseone.com. Phase One and Capture One are registered trademarks of Phase One A/S. All other brand or product names are trademarks or registered trademarks of their respective holders.
Capture One 4 PRO has been designed to enhance the image quality of professional digital captures. It is built on a darkroom paradigm to enhance images and minimize the need for
post-production. The workflow is responsive and flexible, adapting to a photographer’s needs.
“Phase One supports pro photographers who prefer straightforward, responsive, effective options to meet uncompromising standards of quality,” said British fashion photographer Drew Gardner. “So you find in Capture One 4 PRO an experience more consistent with what photography is all about. Using Capture One 4 PRO is more like stepping into a darkroom than entering a post- production computer class.”
Capture One 4 PRO Builds on RAW Workflow Innovations
Capture One 4 PRO is designed to satisfy a photographer’s specific work preference and situation. It offers freedom to create custom tool tabs with existing personal toolsets, and to work with multi monitor setups.
World leading tethered shooting is delivered by connecting a Phase One digital back or a supported DSLR camera to the computer and capturing images directly into Capture One 4 PRO.
The Styles feature has been redesigned to give photographers broader choices in exploring and creating unique looks that can be controlled and reproduced to create an exclusive signature.
An enhanced Color Editor feature permits fine-tuning of image colors with precise adjustment tools. Color adjustments can be saved as presets or as customized ICC profiles for consistent reproduction across multiple images.
A new Skin Tone tool lets photographers easily set and reproduce skin tones shot under various light conditions, even without using a gray card.
New Lens Correction tools improve image quality by compensating for undesired lens charac- teristics. These tools minimize chromatic aberration, purple fringing, distortion, sharpness falloff and light falloff. They permit creative effects such as image framing with a new vignetting tool.
“Phase One pioneered RAW workflow software,” said Jan Christiansen, marketing director at Phase One. “Now, Capture One 4 PRO takes these innovations to the highest level, with a clean, intuitive interface to give photographers a creative edge with superior image quality.”
Capture One 4 PRO supports Phase One and Mamiya medium format cameras and RAW files from a wide range of cameras including: Canon, Epson, Fuji, Konica Minolta, Leica, Nikon, Olympus, Pentax, and Sony. Please see http://www.phaseone.com/4 for specific models.
Pricing and Availability
Phase One Capture One 4 PRO is available now in English through Phase One’s worldwide part- ner network (please see http://www.phaseone.com/Content/ContactUs/LocateDealer.aspx)
and Phase One’s e-shop at http://www.phaseone.com/Content/EshopMenu.aspx
Other language versions are planned for release at a future date. Capture One 4 PRO is free for registered users of Capture One PRO 3.x. Its estimated street price is USD399 and EUR299.
Recommended minimum system requirements are Macintosh OS X 10.5.5 or later, Intel® based processor, or Microsoft Windows® XP SP3 or Windows Vista SP1 and Windows .NET Framework v3, Intel Pentium 4® processor, 1 GB RAM and a 1280 x 800 resolution screen.
More information on product features is available at http://www.phaseone.com/4.
About Phase One
Phase One is a leading provider of digital image capture and work flow management technology. Phase One P+ Series digital backs and camera systems open new possibilities, putting the focus back on the moment of capture. Phase One Capture One software helps streamline the capture and post-production process. Supporting DSLR, medium- and large-format photographic equipment, Phase One products are renowned for their superior quality, flexibility and speed
— enabling pro photographers to realize their most subtle and most complex visions without compromise.
Phase One is an employee-owned company based in Copenhagen with offices in New York, Lon- don, Tokyo, Cologne and Shanghai.
For more information about the products, visit the Phase One web site on www.phaseone.com. Phase One and Capture One are registered trademarks of Phase One A/S. All other brand or product names are trademarks or registered trademarks of their respective holders.
Olympus E-420 Review
The world’s smallest digital SLR does not disappoint. The Olympus E-420 packs professional features and performance into a remarkably small, lightweight and comfortable camera body. It’s obvious that Olympus’s designers thought this one through. The E-420 is well designed and user-friendly; its body is exceptionally comfortable; and the controls, menus and other settings are highly intuitive. It is a pleasure to use.
If I bought this camera, I would probably also buy the Olympus Zuiko 18-180mm lens. A lightweight, user-friendly digital SLR with a diminutive 36-360mm equivalent lens for under $1,000? I have to admit, it’s very tempting.
Who Should Buy It
The E-420 is an excellent choice for:
* Professional photographers who want a compact lightweight backup digital SLR- especially those who are already using Olympus lenses.
* Professionals for whom packing light is a top priority, such as extreme sports and travel photographers. Female pros in particular will appreciate the E-420’s comfortable size and weight.
* Advanced and serious intermediate photographers looking for digital SLR features, performance and image quality in a smaller, moderately priced package.
* Beginning and intermediate photographers who want to get serious about photography and need a camera they can grow into.
* Families with one serious photographer and a spouse or teens who also want to take great pictures without the intimidation of a big SLR.
This camera is not the best choice for:
* Hardcore pros who require the best possible performance, image quality, or a camera body that can stand up to lots of abuse.
* Beginning photographers intimidated by too many options.
* Anyone who just wants a simple, easy, inexpensive point-and-shoot camera.
Photo-John
more : photographyreview
If I bought this camera, I would probably also buy the Olympus Zuiko 18-180mm lens. A lightweight, user-friendly digital SLR with a diminutive 36-360mm equivalent lens for under $1,000? I have to admit, it’s very tempting.
Who Should Buy It
The E-420 is an excellent choice for:
* Professional photographers who want a compact lightweight backup digital SLR- especially those who are already using Olympus lenses.
* Professionals for whom packing light is a top priority, such as extreme sports and travel photographers. Female pros in particular will appreciate the E-420’s comfortable size and weight.
* Advanced and serious intermediate photographers looking for digital SLR features, performance and image quality in a smaller, moderately priced package.
* Beginning and intermediate photographers who want to get serious about photography and need a camera they can grow into.
* Families with one serious photographer and a spouse or teens who also want to take great pictures without the intimidation of a big SLR.
This camera is not the best choice for:
* Hardcore pros who require the best possible performance, image quality, or a camera body that can stand up to lots of abuse.
* Beginning photographers intimidated by too many options.
* Anyone who just wants a simple, easy, inexpensive point-and-shoot camera.
Photo-John
more : photographyreview
Mamiya Introduces 45mm F2.8 D Wide-Angle Lens
Mamiya announced the introduction of the Mamiya Sekor 45mm f2.8 D -- the latest lens in the growing series of Mamiya Digital lenses. This wide-angle lens utilizes low-dispersion glass to correct chromatic aberration, producing high resolution and a large image circle coverage for film and digital backs. The use of floating lens elements ensures edge-to-edge sharpness at all focusing distances.
Since wide-angle lenses can cause color shift problems with digital backs (due to the extreme angle at which light rays hit the sensor), the Mamiya 45mm f/2.8 D has been designed to direct light rays so that they are parallel when they hit the sensor – producing maximum sharpness, color accuracy and contrast.
The Mamiya Sekor AF 45mm f/2.8 D lens has been designed with a 16bit CPU that allows easy firmware upgrading, fine lens characteristic correction and fast, reliable communication between the lens, camera body and digital back when used in conjunction with the Mamiya 645AFDIII and 645AFDII.
The lens has an angle of view of 76 degrees - equivalent to a 28mm lens in the 35mm format. The Mamiya Sekor AF 45mm f/2.8 D is especially suited for architectural photography and other subjects dominated by straight lines. It also features a one touch switching ring for easy changing between manual and auto focus.
Pricing and delivery to be announced later this year.
Specifications
Since wide-angle lenses can cause color shift problems with digital backs (due to the extreme angle at which light rays hit the sensor), the Mamiya 45mm f/2.8 D has been designed to direct light rays so that they are parallel when they hit the sensor – producing maximum sharpness, color accuracy and contrast.
The Mamiya Sekor AF 45mm f/2.8 D lens has been designed with a 16bit CPU that allows easy firmware upgrading, fine lens characteristic correction and fast, reliable communication between the lens, camera body and digital back when used in conjunction with the Mamiya 645AFDIII and 645AFDII.
The lens has an angle of view of 76 degrees - equivalent to a 28mm lens in the 35mm format. The Mamiya Sekor AF 45mm f/2.8 D is especially suited for architectural photography and other subjects dominated by straight lines. It also features a one touch switching ring for easy changing between manual and auto focus.
Pricing and delivery to be announced later this year.
Specifications
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Joint update service for Four Thirds lenses
The "Joint update service for Four Thirds lenses" lets you update your lens by downloading the latest firmware via the Internet simply by connecting the Four Thirds System-compliant camera and lens.
Previously, lens firmware could only be updated when the lens was mounted on a camera made by the same manufacturer. If the mounted lens was not made by the same manufacturer as the camera, then the lens firmware could not be updated regardless of whether or not the mounted lens is compliant with the Four Thirds System Standard.
With this new service, it doesn’t matter what combination of camera and lens you use, you will always be able to update the firmware via PC/Internet.
For more details, click on one of the following links:
For Olympus Camera and lenses Users
For Panasonic Camera and lenses Users
For Sigma lenses Users
Sigma lens firmware does not need updating as of October 15, 2008.
"Four Thirds System Standard" Web Site
Previously, lens firmware could only be updated when the lens was mounted on a camera made by the same manufacturer. If the mounted lens was not made by the same manufacturer as the camera, then the lens firmware could not be updated regardless of whether or not the mounted lens is compliant with the Four Thirds System Standard.
With this new service, it doesn’t matter what combination of camera and lens you use, you will always be able to update the firmware via PC/Internet.
For more details, click on one of the following links:
For Olympus Camera and lenses Users
For Panasonic Camera and lenses Users
For Sigma lenses Users
Sigma lens firmware does not need updating as of October 15, 2008.
"Four Thirds System Standard" Web Site
Notice to customers using Sigma Tele Converters for Pentax mount
SIGMA APO TELE CONVERTER 1.4x EX DG for Pentax mount and APO TELE CONVERTER 2x EX DG for Pentax mount are not compatible with lenses epuipped with HSM. Therefore, these Tele Converters cannot be used with the APO 50-150mm F2.8 II EX DC HSM for Pentax mount and APO 70-200mm F2.8 II EX DG MACRO HSM for Pentax mount.
Please refer to the list below for compatibility of Sigma Tele Converters.
APO TELE CONVERTER 1.4x EX DG for Pentax mount
It is possible to use AF
APO 70-200mm F2.8 EX DG, APO 70-200mm F2.8 EX
APO 100-300mm F4 EX DG, APO 100-300mm F4 EX IF
APO 300mm F2.8 EX DG, APO 300mm F2.8 EX
It is only possible to use MF
APO 50-500mm F4-6.3 EX DG, APO 50-500mm F4-6.3 EX RF
APO MACRO 180mm F3.5 EX DG, APO MACRO 180mm F3.5 EX IF
APO TELE MACRO 300mm F4, APO TELE MACRO 400mm F5.6
APO 500mm F4.5 EX DG, APO 500mm F4.5 EX
APO 800mm F5.6 EX DG, APO 800mm F5.6 EX
APO TELE CONVERTER 2x EX DG for Pentax mount
It is possible to use AF
APO 70-200mm F2.8 EX DG, APO 70-200mm F2.8 EX
APO 300mm F2.8 EX DG, APO 300mm F2.8 EX
It is only possible to use MF
APO 50-500mm F4-6.3 EX DG, APO 50-500mm F4-6.3 EX RF
APO 100-300mm F4 EX DG, APO 100-300mm F4 EX IF
APO MACRO 180mm F3.5 EX DG, APO MACRO 180mm F3.5 EX IF
APO TELE MACRO 300mm F4, APO TELE MACRO 400mm F5.6
APO 500mm F4.5 EX DG, APO 500mm F4.5 EX
APO 800mm F5.6 EX DG, APO 800mm F5.6 EX
Sigma lenses, expect those in the above list, cannot be attached to Sigma Tele Converters. Sigma APO Tele Converter 1.4x and 2x are dedicated to Tele Converter lenses, which should only be used with the above lenses.
Please do not use the APO Tele Converter on top of another APO Tele Converter, or any other kind of converters.
AF function of Pentax mounts cannot be used with SFX / SF7 Cameras.
Please refer to the list below for compatibility of Sigma Tele Converters.
APO TELE CONVERTER 1.4x EX DG for Pentax mount
It is possible to use AF
APO 70-200mm F2.8 EX DG, APO 70-200mm F2.8 EX
APO 100-300mm F4 EX DG, APO 100-300mm F4 EX IF
APO 300mm F2.8 EX DG, APO 300mm F2.8 EX
It is only possible to use MF
APO 50-500mm F4-6.3 EX DG, APO 50-500mm F4-6.3 EX RF
APO MACRO 180mm F3.5 EX DG, APO MACRO 180mm F3.5 EX IF
APO TELE MACRO 300mm F4, APO TELE MACRO 400mm F5.6
APO 500mm F4.5 EX DG, APO 500mm F4.5 EX
APO 800mm F5.6 EX DG, APO 800mm F5.6 EX
APO TELE CONVERTER 2x EX DG for Pentax mount
It is possible to use AF
APO 70-200mm F2.8 EX DG, APO 70-200mm F2.8 EX
APO 300mm F2.8 EX DG, APO 300mm F2.8 EX
It is only possible to use MF
APO 50-500mm F4-6.3 EX DG, APO 50-500mm F4-6.3 EX RF
APO 100-300mm F4 EX DG, APO 100-300mm F4 EX IF
APO MACRO 180mm F3.5 EX DG, APO MACRO 180mm F3.5 EX IF
APO TELE MACRO 300mm F4, APO TELE MACRO 400mm F5.6
APO 500mm F4.5 EX DG, APO 500mm F4.5 EX
APO 800mm F5.6 EX DG, APO 800mm F5.6 EX
Sigma lenses, expect those in the above list, cannot be attached to Sigma Tele Converters. Sigma APO Tele Converter 1.4x and 2x are dedicated to Tele Converter lenses, which should only be used with the above lenses.
Please do not use the APO Tele Converter on top of another APO Tele Converter, or any other kind of converters.
AF function of Pentax mounts cannot be used with SFX / SF7 Cameras.
Nikon D90 review
We described the D80 as a photographer's camera and, despite the addition of video, the D90 appears to share that same ethos. On a purely specification level, it's a highly competitive piece of kit, but it's the way the features have been chosen and put together that make it the camera that it is.
The D90 viewfinder is amongst the best you'll find on any APS-C camera and it sits above the highest-resolution screen we've yet seen on a camera of this class. The buttons are well chosen and sensibly positioned, and the two-dial interface is a pleasure to use. (Buyers coming from other systems can even reverse the operation of the meter and dials to make everything that bit more familiar).
The image quality, whether at base ISO or the higher settings, is excellent even if it can need a bit of tweaking of the internal settings to tailor the output to specific needs. While it's understandable that Nikon would want to try to bring the processing settings into line with its more expensive cameras, it's questionable how well the rather under-sharpened default output will serve the buyers of this camera. A little more contrast and saturation improve things, without any ill effects.
The early talk about the D90 was about its video capability and indeed it does record HD videos - good ones by digital stills camera standards. But don't let that distract you, this is a camera which lets nothing get in the way of taking photos. Its degree of configurability results in long menus but they're generally well arranged and color-coded to minimize the likelihood you getting lost in them. There's also the option to create a menu of your most used settings (or list the most recently used ones, if you don't want to spend time setting it up), and a status screen that gives fairly fast access to those key parameters that don't have their own buttons.
Richard Butler & Simon Joinson
more : dpreview
The D90 viewfinder is amongst the best you'll find on any APS-C camera and it sits above the highest-resolution screen we've yet seen on a camera of this class. The buttons are well chosen and sensibly positioned, and the two-dial interface is a pleasure to use. (Buyers coming from other systems can even reverse the operation of the meter and dials to make everything that bit more familiar).
The image quality, whether at base ISO or the higher settings, is excellent even if it can need a bit of tweaking of the internal settings to tailor the output to specific needs. While it's understandable that Nikon would want to try to bring the processing settings into line with its more expensive cameras, it's questionable how well the rather under-sharpened default output will serve the buyers of this camera. A little more contrast and saturation improve things, without any ill effects.
The early talk about the D90 was about its video capability and indeed it does record HD videos - good ones by digital stills camera standards. But don't let that distract you, this is a camera which lets nothing get in the way of taking photos. Its degree of configurability results in long menus but they're generally well arranged and color-coded to minimize the likelihood you getting lost in them. There's also the option to create a menu of your most used settings (or list the most recently used ones, if you don't want to spend time setting it up), and a status screen that gives fairly fast access to those key parameters that don't have their own buttons.
Richard Butler & Simon Joinson
more : dpreview
Nikon D90 Review
The Nikon D90 is a difficult camera to rate. When viewed as a 'traditional' SLR, it is simply an excellent camera that I very much enjoyed using. All the frequently used functions have direct controls assigned to them, be it aperture, shutter speed, ISO speed, file quality, drive mode, AF mode, AE Lock – you name it. Despite being a relatively complex camera, the D90 proved highly intuitive to use. The extra functions that distinguish it from the D80, such as ultrasonic sensor cleaning, 3D focus tracking, 50% faster continuous shooting speed and Active d-lighting are well worth the price difference between the two models.
In use, the D90 felt extremely responsive, could lock focus quickly and confidently on virtually anything, while the meter handled almost any scene you threw at it very well, necessitating much less use of the exposure compensation function than I'm used to. Together with the excellent meter, Active D-lighting proved highly useful in photographing high-contrast scenes. The quality of the images captured by the camera was astounding, in terms of resolution, colour, tonality and signal-to-noise ratio alike.
It is only the 'add-on' features like Live View and video recording that deserve criticism. The Nikon D90's Live View implementation is decidedly sub par, despite the glorious screen it is delivered on. There is no live histogram, the magnified view appears interpolated and the contrast-detect auto-focus is extremely slow. The highly useful Virtual Horizon Indicator of the D700 didn't find its way to the D90 either.
Zoltan Arva-Toth
more : photographyblog
In use, the D90 felt extremely responsive, could lock focus quickly and confidently on virtually anything, while the meter handled almost any scene you threw at it very well, necessitating much less use of the exposure compensation function than I'm used to. Together with the excellent meter, Active D-lighting proved highly useful in photographing high-contrast scenes. The quality of the images captured by the camera was astounding, in terms of resolution, colour, tonality and signal-to-noise ratio alike.
It is only the 'add-on' features like Live View and video recording that deserve criticism. The Nikon D90's Live View implementation is decidedly sub par, despite the glorious screen it is delivered on. There is no live histogram, the magnified view appears interpolated and the contrast-detect auto-focus is extremely slow. The highly useful Virtual Horizon Indicator of the D700 didn't find its way to the D90 either.
Zoltan Arva-Toth
more : photographyblog
PENAX DROPS K20D PRICE TO $999.95
Golden, CO (October 12, 2008)….PENTAX Imaging Company has announced significant savings on its flagship, award winning digital SLR. Beginning Sunday, October 12, 2008, the price of the PENTAX K20D digital SLR camera body has dropped to $999.95. The full-featured, 14.6 megapixel, weather-resistant DSLR features a three-step dust reduction system, the PRIME image processor, fully customizable capture and control settings, and PENTAX developed Shake Reduction that works with any of the 25 million PENTAX lenses ever manufactured. More details are available at www.pentaxslr.com.
PENTAX also reduced the price of the popular, rugged and waterproof PENTAX Optio W60 digital camera to $299.95. Lightweight and fully waterproof, the Optio W60 features 10 megapixels and a 5X zoom lens with 28mm wide-angle capability. The Optio W60 operates up to 13 feet underwater for two hours and at extreme temperatures well below freezing. More details are available at www.h20camera.com.
Both cameras and other exciting photography products are available for purchase from authorized PENTAX Dealers http://www.pentaxslr.com/buy/dealers or www.pentaxwebstore.com.
PENTAX Imaging Company is an innovative leader in the production of digital SLR and compact cameras, lenses, flash units, binoculars, scopes, and eyepieces. For almost 90 years, PENTAX technology has developed durable, reliable products that meet the needs of consumers and businesses. With headquarters in Golden, Colorado, PENTAX Imaging Company is a division of PENTAX of America, Inc.
PENTAX also reduced the price of the popular, rugged and waterproof PENTAX Optio W60 digital camera to $299.95. Lightweight and fully waterproof, the Optio W60 features 10 megapixels and a 5X zoom lens with 28mm wide-angle capability. The Optio W60 operates up to 13 feet underwater for two hours and at extreme temperatures well below freezing. More details are available at www.h20camera.com.
Both cameras and other exciting photography products are available for purchase from authorized PENTAX Dealers http://www.pentaxslr.com/buy/dealers or www.pentaxwebstore.com.
PENTAX Imaging Company is an innovative leader in the production of digital SLR and compact cameras, lenses, flash units, binoculars, scopes, and eyepieces. For almost 90 years, PENTAX technology has developed durable, reliable products that meet the needs of consumers and businesses. With headquarters in Golden, Colorado, PENTAX Imaging Company is a division of PENTAX of America, Inc.
Canon EOS 50D Review
Canon's new 15.1-megapixel EOS 50D is a 'big brother' model to the popular EOS 40D (which remains in the company's line-up) and a 'little brother' to the coming EOS 5D Mark II. Offering higher resolution than the 40D, it has a new DIGIC 4 image processor, which supports 14-bit image processing, improved noise reduction and 30% faster processing times. It also delivers continuous shooting speeds of up to 6.3 frames/second with a UDMA CompactFlash card.
Despite having smaller photosites than the 10.1-megapixel 40D, the 50D's sensor is quite a different beast. New manufacturing processes, plus redesigned photo diodes and 'gapless microlenses' enable it to capture more light, thereby providing a better signal-to-noise ratio than the bare specifications imply. These changes have enabled Canon to boost the camera's normal ISO range up to 3200 and add two 'HI' settings that take sensitivity up to an impressive ISO 12,800 equivalent.
Like other recent Canon DSLRs, the 50D comes with Canon's EOS Integrated Cleaning System. This, too, has been improved by applying a new fluorine coating to the low-pass filter to repel environmental dust. Stubborn dust particles can be removed automatically post-capture with Dust Delete Data logging plus Canon's supplied Digital Photo Professional software.
Physically, the 50D's body and control layout are almost identical to the 40D. Both models feature magnesium-alloy casings with a rubberised cover on the grip. According to Canon, the 50D's body has better environmental sealing than the 40D's. Both cameras share the same accessories, including the BP-511A battery and ACK-E2 adaptor/charger, the BG-E2 battery grip, TC-80N3 remote control and WFT E3/E3A wireless file transmitter.
Margaret Brown
more : photoreview
Despite having smaller photosites than the 10.1-megapixel 40D, the 50D's sensor is quite a different beast. New manufacturing processes, plus redesigned photo diodes and 'gapless microlenses' enable it to capture more light, thereby providing a better signal-to-noise ratio than the bare specifications imply. These changes have enabled Canon to boost the camera's normal ISO range up to 3200 and add two 'HI' settings that take sensitivity up to an impressive ISO 12,800 equivalent.
Like other recent Canon DSLRs, the 50D comes with Canon's EOS Integrated Cleaning System. This, too, has been improved by applying a new fluorine coating to the low-pass filter to repel environmental dust. Stubborn dust particles can be removed automatically post-capture with Dust Delete Data logging plus Canon's supplied Digital Photo Professional software.
Physically, the 50D's body and control layout are almost identical to the 40D. Both models feature magnesium-alloy casings with a rubberised cover on the grip. According to Canon, the 50D's body has better environmental sealing than the 40D's. Both cameras share the same accessories, including the BP-511A battery and ACK-E2 adaptor/charger, the BG-E2 battery grip, TC-80N3 remote control and WFT E3/E3A wireless file transmitter.
Margaret Brown
more : photoreview
Delkin Releases Secure Digital to CompactFlash Adapter
Poway, CA. Oct 10, 2008 - Delkin Devices, Inc. has just begun shipping its Secure Digital to CompactFlash card adapter, the latest addition to the company’s extensive line of readers and adapters.
With Delkin’s new adapter, SD card users will finally be able to take advantage of high-end, CF-only devices, including digital cameras, readers, adapters, portable storage devices, audio devices, digital photo frames and more.
“We noticed that there was an increasing number of photographers using both SD and CF cards and we wanted to give them an easy way to maximize use of both media types,” said Kathleen Finlayson, Delkin’s Accessories Product Manager.
Delkin’s new SD-CF adapter is SDHC compatible and can be fully inserted into any device that takes CompactFlash cards, including Delkin’s ImageRouter, a reader that transfers data from multiple CompactFlash cards to a computer at once. “Push-push” technology makes it very easy to insert and remove SD cards from the adapter.
“At Delkin, we pride ourselves on our ability to uncover and respond to customer needs,” said Martin Wood, Delkin’s CEO. “We realized that many different groups of users, not only photographers, could benefit from an SD to CF adapter so we worked to come up with the most useable device - one that is SDHC compatible and that can be fully inserted into CF-only devices.”
Delkin’s SD-CF adapter is now available and can be found online at http://www.delkin.com/products/connect/adapters/ or in most camera stores worldwide. MSRP is $29.99.
Delkin Devices, Inc. is based in Poway, California, and its European branch office is located in Birmingham, England. Delkin has been “Making Photography Better” since 1986. From SensorScope cleaning products and Archival Gold Media to Pop-Up Shades and Power batteries, Delkin products deliver premium quality, innovative designs and an ongoing dedication to superior customer service. Delkin Devices and its products have become worldwide industry leaders in both OEM and consumer markets. Delkin branded memory cards continue to be a leading choice among professional photographers and others passionate about digital photography.
With Delkin’s new adapter, SD card users will finally be able to take advantage of high-end, CF-only devices, including digital cameras, readers, adapters, portable storage devices, audio devices, digital photo frames and more.
“We noticed that there was an increasing number of photographers using both SD and CF cards and we wanted to give them an easy way to maximize use of both media types,” said Kathleen Finlayson, Delkin’s Accessories Product Manager.
Delkin’s new SD-CF adapter is SDHC compatible and can be fully inserted into any device that takes CompactFlash cards, including Delkin’s ImageRouter, a reader that transfers data from multiple CompactFlash cards to a computer at once. “Push-push” technology makes it very easy to insert and remove SD cards from the adapter.
“At Delkin, we pride ourselves on our ability to uncover and respond to customer needs,” said Martin Wood, Delkin’s CEO. “We realized that many different groups of users, not only photographers, could benefit from an SD to CF adapter so we worked to come up with the most useable device - one that is SDHC compatible and that can be fully inserted into CF-only devices.”
Delkin’s SD-CF adapter is now available and can be found online at http://www.delkin.com/products/connect/adapters/ or in most camera stores worldwide. MSRP is $29.99.
Delkin Devices, Inc. is based in Poway, California, and its European branch office is located in Birmingham, England. Delkin has been “Making Photography Better” since 1986. From SensorScope cleaning products and Archival Gold Media to Pop-Up Shades and Power batteries, Delkin products deliver premium quality, innovative designs and an ongoing dedication to superior customer service. Delkin Devices and its products have become worldwide industry leaders in both OEM and consumer markets. Delkin branded memory cards continue to be a leading choice among professional photographers and others passionate about digital photography.
Lowepro Launches The Classified AW Series
Hardworking Bags For Hardworking Photojournalists
New Classified AW Shoulder Bags Offering Fast-Access, Along with Discreet and Truly Modern Design
PHOTOKINA 2008, KÖLN, Deutschland - September 26, 2008 - Lowepro, creator of innovative carrying solutions for the imaging world, announces the launch of Classified AW, a new breed of camera bags specifically designed for hardworking photojournalists. This series of distinctive bags represents Lowepro’s continuous commitment to the professional photographer and was created with the unique requirements of the photojournalist in mind—inside and out. Classified AW shoulder bags conceal photographers’ gear (and their mission) with a discreet and slim profile, contoured to be comfortable, move easily with the body and help navigate a busy street in Prague or a crowded subway in New York.
Soft edges, briefcase styling, leather details at contact points and an embossed logo create a subtle aesthetic on each of the four Classified AW models. A large-capacity, fast-access main compartment with an angled opening stays stable and secure while grabbing a camera, making a lens change or rushing to the next location. Fully collapsible, removable padding allows custom organization of gear and folds down for easy packing. The largest model of the series also accommodates up to a 15.4” widescreen notebook computer, and all models feature Lowepro’s patented All Weather Cover to protect from the elements.
“We are thrilled to bring this professional series to the photo specialty market,” said Nicole Mummenhoff, Senior Vice President of Worldwide Marketing, Lowepro. “Classified AW delivers a full set of workmanlike features, plus a modern, off-hours appeal that Lowepro believes will speak to the photojournalist who wants style and substance in his or her camera bag.”
Additional premium features include: removable memory card wallet; padded shoulder strap with camera keeper to prevent sliding; removable 3-point stabilizing strap to minimize movement; zippered gusset to customize carrying capacity; full-grain, leather-trimmed divider system to cradle fragile equipment; built-in microfiber cloth to protect LCD screen; leather handle for added comfort and additional carrying option; and Lowepro’s patented.
Designed for photojournalists who want their camera bags to work as hard as they do, Classified AW provides the required features with a modern, discreet style. Available in a range of sizes to accommodate camera, lenses and accessories
Classified 140 AW Dimensions:
Interior: 6.5 W x 6.3 D x 8.9 H inches
16.5 W x 16 D x 22.5 H centimeters
Exterior: 9.8 W x 8.7 D x 11.8 H inches
25 W x 22 D x 30 H centimeters
Classified 160 AW Dimensions:
Interior: 8.9 W x 6.3 D x 11.2 H inches
22.5 W x 16 D x 28.5 H centimeters
Exterior: 13.4 W x 8.9 D x 14 H inches
34 W x 22.5 D x 35.5 H centimeters
Classified 200 AW Dimensions:
Interior: 15 W x 6.3 D x 11 H inches
38 W x 16 D x 28 H centimeters
Exterior: 18.3 W x 9.8 D x 14 H inches
46.5 W x 25 D x 35.5 H centimeters
Classified 250 AW Dimensions:
Interior: 15 W x 6.3 D x 11 H inches
38 W x 16 D x 28 H centimeters
Exterior: 18.3 W x 11 D x 14 H inches
46.5 W x 28 D x 35.5 H centimeters
Classified AW Series Colors:
Black, Sepia
Additional Features by Model:
Built-in key clip (one in 140 and 160; two in 200 and 250)
Luggage sleeve (200 and 250 only)
Leather handle wrap (200 and 250 only)
Padded compartment that fits most 15.4" widescreen notebook (250 only)
New Classified AW Shoulder Bags Offering Fast-Access, Along with Discreet and Truly Modern Design
PHOTOKINA 2008, KÖLN, Deutschland - September 26, 2008 - Lowepro, creator of innovative carrying solutions for the imaging world, announces the launch of Classified AW, a new breed of camera bags specifically designed for hardworking photojournalists. This series of distinctive bags represents Lowepro’s continuous commitment to the professional photographer and was created with the unique requirements of the photojournalist in mind—inside and out. Classified AW shoulder bags conceal photographers’ gear (and their mission) with a discreet and slim profile, contoured to be comfortable, move easily with the body and help navigate a busy street in Prague or a crowded subway in New York.
Soft edges, briefcase styling, leather details at contact points and an embossed logo create a subtle aesthetic on each of the four Classified AW models. A large-capacity, fast-access main compartment with an angled opening stays stable and secure while grabbing a camera, making a lens change or rushing to the next location. Fully collapsible, removable padding allows custom organization of gear and folds down for easy packing. The largest model of the series also accommodates up to a 15.4” widescreen notebook computer, and all models feature Lowepro’s patented All Weather Cover to protect from the elements.
“We are thrilled to bring this professional series to the photo specialty market,” said Nicole Mummenhoff, Senior Vice President of Worldwide Marketing, Lowepro. “Classified AW delivers a full set of workmanlike features, plus a modern, off-hours appeal that Lowepro believes will speak to the photojournalist who wants style and substance in his or her camera bag.”
Additional premium features include: removable memory card wallet; padded shoulder strap with camera keeper to prevent sliding; removable 3-point stabilizing strap to minimize movement; zippered gusset to customize carrying capacity; full-grain, leather-trimmed divider system to cradle fragile equipment; built-in microfiber cloth to protect LCD screen; leather handle for added comfort and additional carrying option; and Lowepro’s patented.
Designed for photojournalists who want their camera bags to work as hard as they do, Classified AW provides the required features with a modern, discreet style. Available in a range of sizes to accommodate camera, lenses and accessories
Classified 140 AW Dimensions:
Interior: 6.5 W x 6.3 D x 8.9 H inches
16.5 W x 16 D x 22.5 H centimeters
Exterior: 9.8 W x 8.7 D x 11.8 H inches
25 W x 22 D x 30 H centimeters
Classified 160 AW Dimensions:
Interior: 8.9 W x 6.3 D x 11.2 H inches
22.5 W x 16 D x 28.5 H centimeters
Exterior: 13.4 W x 8.9 D x 14 H inches
34 W x 22.5 D x 35.5 H centimeters
Classified 200 AW Dimensions:
Interior: 15 W x 6.3 D x 11 H inches
38 W x 16 D x 28 H centimeters
Exterior: 18.3 W x 9.8 D x 14 H inches
46.5 W x 25 D x 35.5 H centimeters
Classified 250 AW Dimensions:
Interior: 15 W x 6.3 D x 11 H inches
38 W x 16 D x 28 H centimeters
Exterior: 18.3 W x 11 D x 14 H inches
46.5 W x 28 D x 35.5 H centimeters
Classified AW Series Colors:
Black, Sepia
Additional Features by Model:
Built-in key clip (one in 140 and 160; two in 200 and 250)
Luggage sleeve (200 and 250 only)
Leather handle wrap (200 and 250 only)
Padded compartment that fits most 15.4" widescreen notebook (250 only)
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