Sony A300 Review
The Sony A300 is certainly a fun camera to use, owing to its zippy Live View performance, tilting screen and advanced feature set. While plastic, it is well made, looking and feeling like it was built to last. The control interface is largely intuitive and easy to use, although allow yourself a bit of time to get used to it if you are switching from another brand. If I had to pick one of its many features, I would cast my vote in favour of Manual Exposure Shift. This is by no means a new function – in fact, some cameras had it half a century ago – but is sorely missing from most contemporary SLRs.
Sony also deserve our accolades for resurrecting and rethinking Live View 'Mode A', i.e. live view obtained using a secondary sensor in the optical path. But while their solution has brought about a noticeable improvement in viewfinder brightness, it has left the OVF rather small when compared to other DSLRs, even those with a similarly sized sensor. In the long run, Sony may want to release DSLRs with dual-mode live view to please both those that want fast auto-focus and those who like to focus manually and compose their shots with utmost precision.
Zoltan Arva-Toth
more : photographyblog
Sony also deserve our accolades for resurrecting and rethinking Live View 'Mode A', i.e. live view obtained using a secondary sensor in the optical path. But while their solution has brought about a noticeable improvement in viewfinder brightness, it has left the OVF rather small when compared to other DSLRs, even those with a similarly sized sensor. In the long run, Sony may want to release DSLRs with dual-mode live view to please both those that want fast auto-focus and those who like to focus manually and compose their shots with utmost precision.
Zoltan Arva-Toth
more : photographyblog
Sony 50mm F1.4 review
The Sony 50mm F1.4 is the company's current offering in the classic 'fast standard' category, and was introduced at the genesis of the Alpha system in July 2006. Of course its origins go back well before then; this lens is essentially a reworking of the Minolta AF 50mm 1:1.4 RS from 1990, which was itself a restyling of a 1985 design that, alongside the Maxxum/Dynax 7000, formed part of the world's first autofocus SLR system. And that original AF version was itself heir to a long line of manual focus Rokkor lenses dating back many years before. To consumers brought up on the 'use it for a year, throw it away' upgrade cycle which electronics manufacturers (and until recently, credit-card companies) have so encouraged, such longevity may come as a real surprise, making the design seem positively antique. But in truth it really serves to illustrate the maturity of the traditional standard lens formula, which has been refined over many years to a quality level difficult to surpass without a major redesign.
The current Sony 50mm F1.4 has been cosmetically refreshed for the Alpha branding, with smooth rubber grips giving a distinctly minimalist look broken only by a few trademark orange accents. It also adds a couple of useful refinements to the older Minolta design, including modified coatings more suited to the demands of digital SLRs, and the addition of ADI focus distance encoding for improved flash metering. However the underlying design appears to be otherwise the same, and size and weight are identical. It features the classic 50mm F1.4 lens formula of 7 elements in 6 groups, with all-spherical lens surfaces. However there is one standout feature compared to similar lenses, a circular aperture diaphragm using 7 rounded blades, again inherited from Minolta's designers who were concerned about the aesthetics of out-of-focus backgrounds long before the internet popularized 'bokeh' as a buzz-word every savvy on-line photographer needed to know (if not necessarily understand, or even be able to pronounce).
The 50mm F1.4 was obviously designed as a 'standard' lens for 35mm film, and therefore will behave as such on the Alpha 900 full-frame DSLR, with an angle of view offering none of the 'perspective distortion' associated with wideangle or telephoto lenses. However its mainstream usage will now be with APS-C cameras such as the Alpha 700, on which it behaves like a short 'portrait' telephoto, a role requiring subtly different characteristics (including high sharpness at wide apertures and attractive bokeh). But this year we've seen the first genuinely new-design mainstream contender in this lens class for many years, the Sigma 50mm F1.4 EX DG HSM, which we found to offer precisely these benefits. So how does the Sony fare against such stiff competition?
Andy Westlake
more : dpreview
The current Sony 50mm F1.4 has been cosmetically refreshed for the Alpha branding, with smooth rubber grips giving a distinctly minimalist look broken only by a few trademark orange accents. It also adds a couple of useful refinements to the older Minolta design, including modified coatings more suited to the demands of digital SLRs, and the addition of ADI focus distance encoding for improved flash metering. However the underlying design appears to be otherwise the same, and size and weight are identical. It features the classic 50mm F1.4 lens formula of 7 elements in 6 groups, with all-spherical lens surfaces. However there is one standout feature compared to similar lenses, a circular aperture diaphragm using 7 rounded blades, again inherited from Minolta's designers who were concerned about the aesthetics of out-of-focus backgrounds long before the internet popularized 'bokeh' as a buzz-word every savvy on-line photographer needed to know (if not necessarily understand, or even be able to pronounce).
The 50mm F1.4 was obviously designed as a 'standard' lens for 35mm film, and therefore will behave as such on the Alpha 900 full-frame DSLR, with an angle of view offering none of the 'perspective distortion' associated with wideangle or telephoto lenses. However its mainstream usage will now be with APS-C cameras such as the Alpha 700, on which it behaves like a short 'portrait' telephoto, a role requiring subtly different characteristics (including high sharpness at wide apertures and attractive bokeh). But this year we've seen the first genuinely new-design mainstream contender in this lens class for many years, the Sigma 50mm F1.4 EX DG HSM, which we found to offer precisely these benefits. So how does the Sony fare against such stiff competition?
Andy Westlake
more : dpreview
PENTAX ANNOUNCES LIMITED EDITION WHITE K2000 DOUBLE ZOOM DIGITAL SLR SYSTEM
GOLDEN, CO (December 16, 2008)…PENTAX Imaging Company has announced a limited edition, white PENTAX K2000 DSLR system with a double zoom kit. This new model replicates the original K2000 design that launched in September 2008 for consumers who are ready to make the transition from a point-and-shoot digital camera to digital SLR photography. The new camera body and both lenses* feature a brilliant white color with black trim.
The white PENTAX K2000 is an entry-level system consisting of the new PENTAX K2000 body, a white smc PENTAX DA L 18-55mm F3.5-5.6 AL lens, and a white smc PENTAX DA L 50-200mm F4-5.6 AL lens. Bundled as a complete kit for the convenience of the customer, the PENTAX K2000 system offers uncomplicated operation for new digital SLR users and family photographers seeking high-quality digital SLR photography for the first time. Combining PENTAX-developed, easy-to-use Auto Picture modes as well as powerful learning functions all housed in one of the smallest, lightest camera bodies in its class, the PENTAX K2000 system is ideal for digital SLR beginners. Additional features on the newest digital K2000 SLR body include a 10.2 megapixel CCD, a 2.7 inch, 230,000 dot high resolution, wide-view LCD panel, and an ultra compact design that facilitates one handed operation. The body also features the same PENTAX-developed Shake Reduction technology found on more advanced K series digital SLRs. PENTAX Shake Reduction is compatible with more than 25 million PENTAX lenses to deliver sharp images even when handheld at slower shutter speeds. The K2000 also features the powerful PENTAX-developed Auto Picture Mode, which selects from Portrait, Landscape, Macro, Action, and Night Portrait modes to tailor the camera settings for any photographic situation. The camera also has a comprehensive Dust Removal system to help keep images spotless. A dedicated programmable help button clearly explains current camera settings to guide and teach the user about digital SLR photography.
The lenses included with this PENTAX K2000 system are the white versions of a newer series introduced with the DA L designation. This DA L series offers the same optical performance and compatibility as the current smc PENTAX DA 18-55mm II and smc PENTAX DA 50-200mm lenses. This stylish, limited edition white PENTAX K2000 kit will be available on a very limited basis in February 2009 at a price to be announced.
More information is available here: www.pentaximaging.com and product images are available here: http://www.pentaximaging.com/press/pressfiles.html. 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 Hoya Corporation.
*Note: The white smc PENTAX DA L 18-55mm F3.5-5.6 AL and smc PENTAX DA L 50-200mm F4-5.6 lenses will only be available in the US as part of the white PENTAX K2000 Double Zoom Kit. This new PENTAX digital SLR body will only be available under the white PENTAX K2000 product name in the US. The same body will be available under the PENTAX K-m product name outside of the US.
The white PENTAX K2000 is an entry-level system consisting of the new PENTAX K2000 body, a white smc PENTAX DA L 18-55mm F3.5-5.6 AL lens, and a white smc PENTAX DA L 50-200mm F4-5.6 AL lens. Bundled as a complete kit for the convenience of the customer, the PENTAX K2000 system offers uncomplicated operation for new digital SLR users and family photographers seeking high-quality digital SLR photography for the first time. Combining PENTAX-developed, easy-to-use Auto Picture modes as well as powerful learning functions all housed in one of the smallest, lightest camera bodies in its class, the PENTAX K2000 system is ideal for digital SLR beginners. Additional features on the newest digital K2000 SLR body include a 10.2 megapixel CCD, a 2.7 inch, 230,000 dot high resolution, wide-view LCD panel, and an ultra compact design that facilitates one handed operation. The body also features the same PENTAX-developed Shake Reduction technology found on more advanced K series digital SLRs. PENTAX Shake Reduction is compatible with more than 25 million PENTAX lenses to deliver sharp images even when handheld at slower shutter speeds. The K2000 also features the powerful PENTAX-developed Auto Picture Mode, which selects from Portrait, Landscape, Macro, Action, and Night Portrait modes to tailor the camera settings for any photographic situation. The camera also has a comprehensive Dust Removal system to help keep images spotless. A dedicated programmable help button clearly explains current camera settings to guide and teach the user about digital SLR photography.
The lenses included with this PENTAX K2000 system are the white versions of a newer series introduced with the DA L designation. This DA L series offers the same optical performance and compatibility as the current smc PENTAX DA 18-55mm II and smc PENTAX DA 50-200mm lenses. This stylish, limited edition white PENTAX K2000 kit will be available on a very limited basis in February 2009 at a price to be announced.
More information is available here: www.pentaximaging.com and product images are available here: http://www.pentaximaging.com/press/pressfiles.html. 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 Hoya Corporation.
*Note: The white smc PENTAX DA L 18-55mm F3.5-5.6 AL and smc PENTAX DA L 50-200mm F4-5.6 lenses will only be available in the US as part of the white PENTAX K2000 Double Zoom Kit. This new PENTAX digital SLR body will only be available under the white PENTAX K2000 product name in the US. The same body will be available under the PENTAX K-m product name outside of the US.
Tamron AF 18-270mm f/3.5-6.3 Di II VC LD Lens Review
Designed specifically for DSLR cameras with 'APS-C sized' imagers, Tamron's latest ultra-zoom lens, the AF18-270mm Di-II claims to offer the world's largest zoom ratio of any current lens. The 15x zoom covers angles of view that range from the equivalent to a 28mm wide angle to a 419mm ultra telephoto in 35mm format. As such, it represents a genuine 'all-purpose' lens for DSLR users who wish to cover as wide a variety of subjects as possible without having to change lenses.
Naturally, if you want to shoot at high zoom magnifications you need some kind of image stabilisation. Tamron has equipped the new lens with an 'advanced' VC (vibration compensation) mechanism that it claims allows users to shoot with shutter speeds up to four EV steps slower than would otherwise be possible without stabilisation. It also provides more stable viewfinder images to make framing shots easier.
Anti-shake correction relies on three coils arranged in a tri-axial system, which drive a compensator lens electromagnetically via three steel balls that support the optical system. These rolling balls have very low friction and produce fast and silent correction of camera shake, delivering stabilised viewfinder images. This system enables the lens to be mechanically simpler and results in a very small and light DSLR lens for such a long focal length range.
more : photoreview
Naturally, if you want to shoot at high zoom magnifications you need some kind of image stabilisation. Tamron has equipped the new lens with an 'advanced' VC (vibration compensation) mechanism that it claims allows users to shoot with shutter speeds up to four EV steps slower than would otherwise be possible without stabilisation. It also provides more stable viewfinder images to make framing shots easier.
Anti-shake correction relies on three coils arranged in a tri-axial system, which drive a compensator lens electromagnetically via three steel balls that support the optical system. These rolling balls have very low friction and produce fast and silent correction of camera shake, delivering stabilised viewfinder images. This system enables the lens to be mechanically simpler and results in a very small and light DSLR lens for such a long focal length range.
more : photoreview
Canon EOS 5D Mark II Review
Canon’s EOS 5D Mark II is a powerful and feature-packed DSLR that represents a significant upgrade over the original 5D, and a tough rival in the growing ‘affordable’ full-frame market. We’re becoming used to seeing new models released every 18 or even 12 months, with often gradual improvements, but a lot has changed in the three years since the EOS 5D was launched.
The new EOS 5D Mark II may share essentially the same body and AF system as its predecessor, but almost everything else has changed. The sensor’s been boosted to 21.1 Megapixels, matching Canon’s flagship EOS 1Ds Mark III at a fraction of the price, the maximum sensitivity increased by three stops, continuous shooting accelerated from 3 to 3.9fps, the viewfinder coverage slightly broadened to 98%, and the screen greatly improved in size and detail to a 3in VGA model. There’s now also Live View, AF micro-adjustment, support for quick UDMA cards, an HDMI port, a new battery with accurate feedback and numerous processing tricks including Highlight Tone Priority, Auto Lighting Optimizer and Peripheral Illumination Correction. And oh yes, it’s also the first Canon DSLR to offer movie recording, and in nothing less than the 1080p format.
Gordon Laing
more : cameralabs
The new EOS 5D Mark II may share essentially the same body and AF system as its predecessor, but almost everything else has changed. The sensor’s been boosted to 21.1 Megapixels, matching Canon’s flagship EOS 1Ds Mark III at a fraction of the price, the maximum sensitivity increased by three stops, continuous shooting accelerated from 3 to 3.9fps, the viewfinder coverage slightly broadened to 98%, and the screen greatly improved in size and detail to a 3in VGA model. There’s now also Live View, AF micro-adjustment, support for quick UDMA cards, an HDMI port, a new battery with accurate feedback and numerous processing tricks including Highlight Tone Priority, Auto Lighting Optimizer and Peripheral Illumination Correction. And oh yes, it’s also the first Canon DSLR to offer movie recording, and in nothing less than the 1080p format.
Gordon Laing
more : cameralabs
Canon EF 24-105/4L IS USM Lens Review
The EF 24-105/4L IS USM is a very nice lens indeed. On a full frame DSLR like the EOS 5D, it has an ideal focal length range for a single general purpose lens, with applications ranging from landscapes to portraits. It can be used wide open at f4 and still yield very sharp images and with the 3 stops of stabization which the IS system provides, it's useful for low light work as well. It can yield sharp images at 1/3s at 24mm and 1/12s at 105mm. What's somewhat less impressive is the noticeable vignetting and distortion, especially at 24mm. This can easily be corrected digitally of course, but it's always better not to have it there in the first place. If the lens had been designed to eliminate vignetting and distortion though, it would probably have ended up much larger, heavier and more expensive and some of the zoom range might have had to be lost. If that's the case, the compromise is worth it.
On an APS-C DSLR like the EOS 40D the focal length range is a bit less useful, being similar to a 38 to 168mm on a full frame camera, so you don't really have wideangle coverage. However image quality is very high since the edges and corners of the image are cropped out, and that's where aberrations are strongest. If instead of a single lens you're prepared to carry two, then the EF 24-105/4L IS paired with the EF-S 10-22/3.5-4.5 makes an excellent lens set, providing high quality coverage from 10-105mm (16-168mm full frame equivalent) with just two lenses.
more : bobatkins
On an APS-C DSLR like the EOS 40D the focal length range is a bit less useful, being similar to a 38 to 168mm on a full frame camera, so you don't really have wideangle coverage. However image quality is very high since the edges and corners of the image are cropped out, and that's where aberrations are strongest. If instead of a single lens you're prepared to carry two, then the EF 24-105/4L IS paired with the EF-S 10-22/3.5-4.5 makes an excellent lens set, providing high quality coverage from 10-105mm (16-168mm full frame equivalent) with just two lenses.
more : bobatkins
Canon EOS 5D Mark II: Test
Let's cut to the chase -- the Canon EOS 5D Mark II does live up to its billing. It takes a great full-frame DSLR, the original 5D (Pop Photo's 2005 Camera of the Year), boosts damn near everything, adds high-definition video capture, and turns in an overall performance that makes it a virtual steal (or at least as close as a steal comes in this price bracket). The body-only street price is $2,700; $3,500 with the EF 24-105mm f/4L IS USM kit lens.
Does the 5D Mark II have drawbacks? Certainly. The autofocus is no faster than that on the original 5D (greetings from the Wayback Machine). The burst rate, at just 3.9 frames per second, isn't pro-sports caliber. And when shooting video, though the image quality rivals any consumer-level camcorder, there's no autofocus.
Of course, the true wonders and shortcomings of this camera are in the details. So let's take a look at those in four key areas.
Philip Ryan
more : popphoto
Does the 5D Mark II have drawbacks? Certainly. The autofocus is no faster than that on the original 5D (greetings from the Wayback Machine). The burst rate, at just 3.9 frames per second, isn't pro-sports caliber. And when shooting video, though the image quality rivals any consumer-level camcorder, there's no autofocus.
Of course, the true wonders and shortcomings of this camera are in the details. So let's take a look at those in four key areas.
Philip Ryan
more : popphoto
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