#- Photography Techniques: What To Keep In Mind The Views Taken.

Photography Techniques: What To Keep In Mind The Views Taken.

Panasonic DMC-GH2

Preview based on a pre-production GH2

When Panasonic first launched the GH1, its second Micro Four Thirds camera, it was widely seen as simply being a G1 with video shooting and a considerably more expensive kit lens. And, if your primary concern was stills photography then this wasn't an entirely unreasonable assessment. However, its real appeal was not that it had video, but that it offered what was, at the time, some of the most flexible, high quality video available. Again, the 14-140mm F4.0-5.8 kit zoom may not have been cheap but it had been specifically designed and built with fast, quiet autofocus and stepless aperture control to allow AF during movie shooting and exposure changes without sudden changes in brightness.

#- 6 Technical Reasons To Buy Digital Cameras. [Technical buying digital cameras.]

6 Technical Reasons To Buy Digital Cameras. [Technical buying digital cameras.]
            

            Of course, each question is who will buy digital cameras is how best to buy cameras. It would be better suited to the owner. And running for a long time Do not buy a new one in the near future. We provided six reasons outlined in the following digital camera [Tech buying a new digital camera.]

Panasonic Lumix DMC-GF2 Preview based on a pre-production GF2 It's been fourteen months since Panasonic announced its first compact-body 'rangefinder-like' Micro Four Thirds camera, in the shape of the DMC-GF1. This quickly gained a following as arguably the best 'enthusiast' camera of its type, with its solid feature set, fast reactions and body bristling with external controls. But since then the market has moved on and new contenders have appeared on the scene, with Sony's NEX cameras in particular making a splash due to their impressive miniaturisation and excellent image quality. Under this new-found pressure of competition, the GF has slimmed-down and emerged with a new, sleeker look.

Panasonic Lumix DMC-G1 review

Panasonic Lumix DMC-G1

The G1 is the most unusual and exciting digital camera we've seen for a while.

It's made from a mixture of SLR and compact camera technology, and promises the quality of an SLR without the bulk. As such, it could be the ideal camera for discerning photographers on the go.

It uses a new interchangeable lens system called Micro Four Thirds. These lenses are a little smaller than equivalent SLR lenses, but the most significant size reduction is in the camera body. The G1 lacks an SLR's optical viewfinder and associated optics and, as a result, isn't much bigger than an ultra-zoom camera such as Panasonic's FZ28. However, the 17.3x13mm sensor is four times the size of the FZ28's, which has a huge impact on image quality. The sensors in most entry-level SLR cameras are 30 per cent bigger again, but the G1's is still in SLR rather than compact territory.

Sony alpha NEX-5 Full Review

Sony alpha NEX-5 Full Review

The joint development of the Micro Four Thirds system by Olympus and Panasonic allowed them to be first in the market with mirrorless, interchangeable-lens compact digitals that offer DSLR-like image quality in sub-DSLR size camera bodies. Olympus announced their E-P1 in mid June 2009; Panasonic their GF1 in early September. The partners had this niche to themselves for the rest of 2009 and into the second quarter of 2010, but now there is competition looming.

Samsung has just introduced their NX10 and Sony has thrown their hat into the ring with the recently announced NEX-3 and alpha NEX-5, due in the market this July. Barely a week after the Sony announcement, an NEX-5 found its way to my door. The ink was hardly dry on my review of Samsung's NX10, so the opportunity to shoot the newest entries into the class back-to-back (along with the GF1 back in October 2009) has given me hands-on time with three of the four players in the field.

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Sony Alpha SLT-A55V Review

Sony Alpha SLT-A55V Full Review

Announced this past August for a September debut in the market (along with the Alpha a33), the Sony Alpha SLT-A55V is the higher resolution and faster continuous shooting half of this duo. DCR.com Editor Allison Johnson shot the a55 at a Sony function in Jackson and Yellowstone, Wyoming, and came away impressed with the camera's speed. Fast continuous shooting rates and a capable autofocus combined with good image and color quality to create a very good first impression.

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Canon Ixus 1000 HS Review

It’s 10 years since the first Digital Ixus camera, and Canon has marked the occasion with the launch of the 1000 HS. The number 10 is a running theme, defining the megapixel rating and the zoom range. Even the video mode records at 1080p (pronounced ten-eighty-p, in case you’re wondering).

We’ve got little time for marketing gimmicks, but in this case, the 10 theme makes a lot of practical sense. 10 megapixels strikes a sensible balance between detail and noise levels, and the back-illuminated sensor design (where the electronic circuits don’t get in the way of the light path) bodes particularly well for noise. Meanwhile, the 10x zoom lens nudges this camera into ultra-zoom territory – perfect for sightseeing, sports and nature photography, as well as capturing candid portraits. It’s not the brightest of lenses, with an f/3.5-5.6 aperture, but that’s par for the course for this type of camera. More disappointingly, the lens is lacking when it comes to wide-angle photography, starting at 36mm. Rival cameras manage anything from 30mm to 24mm, capturing a much wider field of view.

Canon PowerShot SX130 IS Review

Compact ultra-zoom cameras are perfect for people who want to expand their photographic horizons but don’t want to lug an SLR-shaped camera around. The Canon SX130 IS is amongst the cheapest ultra-zoom compacts, undercutting most rivals by £50 to £100. It’s not completely without company at this price, though. The excellent Samsung WB600 has fallen in price since we reviewed it and is now available for around £150 too.

Although the WB600 shows few signs of cost-cutting, the SX130 IS’s budget price is more obvious. Its batteries are the main giveaway. We used to think of AA batteries as a mixed blessing but these days we’re less forgiving. The advantage is that it’s cheap and easy to buy additional batteries. In practice, the downsides are more significant. AA batteries are heavier, bulkier and more hassle to charge than a Li-ion cell. They also make flash photography very slow – full-power flash shots were 15 seconds apart in our tests. We found that the SX130 IS warned of low batteries for a long time before they actually ran out. It’s not a disaster but it was a little distracting. It’s also important to note that rechargeable batteries and a charger aren’t included in the box. By the time you’ve budgeted for them, the SX130 IS costs around £20 more than the WB600.

The camera itself is much larger and heavier than other compact ultra-zoom cameras. At 46mm from its lens to its screen, it’ll only fit into generously proportioned pockets. The bulbous plastic design feels reassuringly solid but it’s no looker.

The upside of the big, curvy design is that it’s extremely comfortable to hold, with a raised metal grip on the front allowing stable one-handed shooting. It also provides room for lots of controls alongside the spacious 3in screen. Face detection and exposure compensation get dedicated buttons, and we’re happy to see that ISO speed is easily accessible by pressing the top of the navigation pad. The pad doubles as a wheel, speeding up operation where large changes to settings are needed, such as shutter speed or focus. The wheel’s design could be better though – the pressure needed to rotate it sometimes resulted in us pressing it in, inadvertently selecting one of the four button functions.

Source Article by : http://www.expertreviews.co.uk/digital-cameras

Canon EF 70-200mm 1:2.8 L IS II USM Review

 The EF 70-200mm F2.8 L IS II USM was announced in January 2010 as a replacement for Canon's fast image-stabilized telephoto zoom, the EF 70-200mm F2.8 L IS USM, which dates from 2001. With the rapid increase in SLR sensor pixel counts placing lenses' optical qualities under ever finer scrutiny, the company clearly felt it was time for an update for this professional workhorse, and has revamped the design accordingly. In the process, it claims to have improved almost every aspect of the lens, including the optics, autofocus, image stabilization, and the mechanical design.

Canon EF 50mm F1.8 II Review

   The Canon EF 50mm F1.8 II is the least expensive lens currently available for the EOS system, and has been in the lineup since late 1990. It's a simplified version of the original EF 50mm F1.8 of 1987 (often referred to as the 'Mark I') which was supplied as standard with some of Canon's earliest 35mm EOS SLRs; however it can trace its lineage back a lot further than that, as the company has been making 50mm F1.8 standard lenses since 1959. Like its predecessor, it uses simple symmetric Gaussian optics with six elements in five groups, in a well-proven formula which is known to offer excellent correction of aberrations.

Canon EOS 60D Review

Canon EOS 60D Review based on a production Canon EOS 60D Canon's X0D series has throughout its life appealed to a wide range of photographers, from enthusiasts and semi-pros through to some pros who appreciated having a lightweight option. Each model offered a high enough specification (usually in terms of build quality and AF sophistication) to ensure it was both aspirational and attainable for users who had out-grown their Rebel/XX0D series. However, the feature set always left a sizeable gap below the company's full-blown 'pro' models.

Canon EOS 550D Digital SLR Review

Canon EOS 550D Digital SLR

Canon's new mid-range flagship builds on the popular EOS500D by squeezing in an 18Mp CMOS sensor and a top sensitivity of ISO6,400, improved movie capabilities and a higher resolution screen amongst other improvements into the same-sized body. Here we'll take a look at whether it's worth the current asking price of £749 for the body only, or £899 with the 18-55mm IS F/3.5-5-6 lens., but at a much lower price point.

Canon releases PowerShot G12 premium compact

Canon releases PowerShot G12 premium compact

          Canon today announces the new PowerShot G12 – the latest model in the multi award-winning PowerShot G-series trusted by professional photographers the world over. The new model offers photographers best-in-class flexibility and all-round powerful performance, with professional levels of control and support for a wide range of accessories.
          While retaining the classic handling and control of its predecessor, the PowerShot G12 has been designed to offer superior performance to suit the needs of professionals and enthusiasts alike. Canon’s HS System, 720p HD movie recording and Hybrid IS are new additions, delivering premium image quality in stills and movies, and a new Front Dial provides improved handling and swift manual control. The PowerShot G12 is also compatible with a new optional Lens Filter Adapter, which extends with the lens when using the zoom to offer full coverage throughout the zoom range.

Olympus E-5 Brief Hands-on Preview

          Taking what could most politely be described as a 'considered' approach to product upgrades, Olympus has lifted the curtain on the third generation of its professional SLR, in the form of the much anticipated E-5. Olympus introduced the world to the first Four Thirds camera, the E-1, back in June 2003, and finally got round to updating it with the E-3 four years later. We got a sneak preview of the E-3's successor a couple of weeks back - we'll update this short article to a full review as soon as we get a production E-5 in the office.

          It is perhaps indicative of where Olympus's priorities lie - or the way the market is headed - that whereas the E-3 took the E-1 back to the drawing board and introduced several new features, the E-5 is probably best described as a warm over of its predecessor. It's also interesting to note that it benefits from a 'trickle up' of technology from the latest developments in the company's Micro Four Thirds cameras - a situation unusual for what is, effectively, the hero product in the E-system range.

Panasonic Lumix DMC-TZ8 review

           The TZ8 is a cut-down version of the Panasonic TZ10, and costs around £75 less. The two models are very similar and their photo-taking abilities are identical. What you don’t get here is the TZ10’s GPS tagging, its 3in, 460,000-dot screen and its ability to record video in AVCHD Lite format.

          GPS tagging is something we can happily live without, especially if it’s as flaky as the TZ10 was in our tests. The screen downgrade is more significant, but this one’s 2.7in diameter and 230,000-dot resolution are perfectly adequate.
         The TZ8 records its video in the capacity-hogging M-JPEG format, which means a 2GB card holds just eight and a half minutes of video. However, unlike the previous cut-price TZ model, this one can record videos in 720p HD.
           Noise reduction wasn’t as effective as it was on the TZ10 and the audio is mono rather than stereo, but the autofocus and zoom are fully operational and their motors didn’t spoil the soundtrack. Comparisons with the TZ10 aside, the TZ8’s videos are considerably better than from most stills cameras.
          With the same lens, sensor and image-processing engine, it’s no surprise that the TZ8’s photo quality and performance are identical to the TZ10’s. That’s good news for outdoor photography, with crisp details and exquisite colours in bright light. Low-light, high-ISO shots were spoiled by noise, but the highly effective stabilisation meant we could keep the ISO speed down as long as the subject wasn’t moving.

Nikon releases AF-S Nikkor 200mm f/2G ED VR II lens

           Nikon has released an updated version of its 200mm F2 VR professional lens. Retaining the same lens construction as its predecessor, the AF-S Nikkor 200mm F2G ED VR II features the company's latest, second generation Vibration Reduction technology (VR II) and adds adds a new mode onto the AF switch. It also includes nano-crystal coating to reduce ghosting and flare. Priced at £5299.99, it will be start shipping next month.

AF-S NIKKOR 200mm f/2G ED VR II: A Star Performer

          Nikon today announces a completely new professional telephoto lens AF-S NIKKOR 200mm f/2G ED VR II to replace AF-S VR NIKKOR 200mm f/2G IF-ED. The new lens features Nano Crystal Coat, the new generation of Vibration Reduction technology (VR II) and a new A/M focus mode, making it the ideal lens for serious photographers seeking uncompromised performance.

          The lens retains the optical construction of its predecessor and delivers outstanding image quality with excellent sharpness, contrast and definition as well as smooth bokeh making it the perfect choice for photographers shooting stage events and indoor sports.

Pentax K-r mid-level DSLR announced with brief hands-on

          Pre-Photokina 2010: Pentax has announced the K-r, its latest mid-level DSLR. Initially sitting above the K-x in the range it offers more angular, K-7-esque styling. It offers 6 fps continuous shooting and HD movie recording and regains AF-point illumination in the viewfinder. It also features a high-res 920k dot (VGA) LCD display and the ability to shoot at up to ISO 25600. Unusually for a Pentax at this level it uses an rechargeable Lithium Ion battery pack but can be used with AAs via an optional adapter. We've had a chance to get to grips with the K-r and have prepared a brief hands-on article discussing its features and additions.

Compact, lightweight, multi-features... It’s the mid-range digital SLR camera

          PENTAX Imaging Systems announces the launch of its latest digital SLR camera – the K-r. Encased in a compact, lightweight body, this new model combines simple, user-friendly functions with a wide array of advanced features, designed to enhance the fun and excitement of digital SLR photography.

Sigma 70-200mm 1:2.8 EX DG OS HSM Review

          It's now over a decade since Sigma's original 70-200mm F2.8 APO design first saw the light of day, and after three successive makeovers, the company clearly felt it was time to start again from scratch. The result is this: the 70-200mm 1:2.8 EX DG OS HSM, which despite its similar-sounding name is a completely new design. It was announced back in February alongside four other lenses, as Sigma stole the show at an otherwise-quiet PMA 2010. The 'OS' stands for 'Optical Stabilizer', this being is the first image-stabilized fast telephoto zoom to emerge from a third-party lens maker. Indeed the combination of in-lens stabilization and Sigma's ultrasonic-type 'HyperSonic Motor' (HSM) focusing is sure to make a compelling package for a wide range of users - it's considerably cheaper than Canon and Nikon's similar options, while offering the option of optical stabilization to Sony and Pentax users for the first time in this type of lens.

           The 70-200mm F2.8 OS sports a brand-new optical optical formula which incorporates a new weapon in the lens maker's armory, the latest type of glass which Sigma calls 'FLD' for 'F' Low Dispersion. This slightly opaque nomenclature indicates that it has similar optical properties to Fluorite, an expensive and difficult-to-work material that Canon has employed in the course of establishing its reputation as a maker of excellent telephotos. The 70-200mm F2.8 OS HSM uses two FLD elements within its 22 element / 17 group construction, alongside three elements made from the more conventional Super-Low Dispersion (SLD) glass. Sigma promises that this should give excellent correction for residual chromatic aberration.
         The lens's impressive specification is rounded off with a 9-blade circular aperture for the attractive rendition of out-of-focus regions of the image, plus an adapter that extends the length of the lens hood to provide more effective shading for users of APS-C format DSLRs. The minimum focus distance is 1.4m, with a maximum magnification of 0.13x, which is a step back from the 1m minimum focus and 0.28x magnification of the most recent 70-200mm F2.8 EX DG Macro HSM II. All this is topped-off by a price which, while substantially higher than the older lens, is still substantially lower than its Nikon and Canon equivalents. On paper at least, this all adds up to a mouthwatering package; so let's see how well the lens lives up to its promise.

Sigma 70-200mm F2.8 design history
          •70-200mm F2.8 EX APO - Original version, minimum focus distance 1.8m (1999)
          •70-200mm F2.8 EX DG - Addition of 'digitally optimized' lens coatings to reduce flare (2005)
          •70-200mm F2.8 EX DG Macro (HSM) - Minimum focus distance reduced to 1m (2006)
          •70-200mm F2.8 EX DG Macro HSM II - Improved optical performance (2007)
          •70-200mm F2.8 EX DG OS HSM - All-new design with built-in Optical Stabilization (2010)


Headline features
          •70-200mm focal length range; fast F2.8 constant maximum aperture
          •Optical image stabilization – 4 stops claimed
          •Ring-type HSM focusing with full-time manual override
          •Available in Canon, Nikon, Pentax, Sigma and Sony mounts

Angle of view
           The pictures below illustrate the focal length range from wide to telephoto, on 35mm full-frame and APS-C camera bodies:

  70mm (full frame)

 

70mm (APS-C; 112mm equivalent)

200mm (full frame)

 

200mm (APS-C; 320mm equivalent)

Nikon D7000 announced and previewed

          Nikon has released the D7000 mid-level digital SLR. Housed in a magnesium alloy body, the feature-rich camera incorporates a 16.2Mp CMOS sensor, faster 'Expeed 2'-branded processor, 921k dot 3.0" LCD and can record 1080p24 full HD movies. It features the company's latest 39-point AF system with 3D tracking and 2,016 pixel RGB metering sensor. It will start shipping with the 18-105mm VR kit lens from October 2010 at a retail price of $1499/£1299.99/€1399. We've had a pre-production D7000 in the office for long enough for us to prepare an full hands-on preview looking at the camera, its features and where it'll sit in the range.

THE NEW NIKON D7000: READY TO FULFIL YOUR PASSION

          Nikon launches the D7000, a D-SLR that offers exceptional image quality, reliability and performance packed into a durable and portable body.

          Jordi Brinkman, Product Manager for Nikon Europe, says: “The exciting new D7000 is the ideal next camera for D-SLR owners who want to further indulge their passion for photography with a camera that boasts more advanced features providing creative power. It has a new image sensor, EXPEED 2, AF system and metering sensor to ensure great performance in a highly durable body. In fact, it has everything you need in your next SLR but in a size you wouldn’t expect.”

Exceptional image quality
           The D7000 includes a range of new features to ensure superior image quality including 16.2 effective megapixels with the newly developed Nikon DX format CMOS image sensor. The camera boasts a new image-processing engine, EXPEED 2, which delivers higher image quality, higher speed processing and multiple functions with more power. And the D7000’s increased ISO sensitivity (100-6400, extendable up to 25600) ensures exceptional detail with minimal noise when capturing fast moving subjects or in poor light situations, even without the flash.

Outstanding reliability

          The D7000’s bright Glass Pentaprism Viewfinder with approximate 100% frame coverage and 0.94x magnification gives you the most precise view and focus of any scene, and it is always ready when you are with a shutter speed of 1/8000s, tested to 150,000 cycles. What is more, the camera is protected by magnesium alloy top and rear covers and has durable sealing against dust and moisture so it is prepared for even the most testing of situations.
          When it comes to storage, the D7000 again provides you with maximum reliability. The twin SD memory card slots allow for added storage capacity and give you the freedom to manage your images and video in the way you want to either by saving more of them, keeping different formats separate or always having backup space when you need it.

Enhanced performance
          The D7000’s newly developed AF system featuring 39 focus points, including 9 cross-type sensors in the centre, gives you the sharpest focus, no matter where your subject is in the frame. And with Nikon’s new 2,016 pixel RGB metering sensor to enhance the effectiveness of the Scene Recognition System, plus High Speed Continuous shooting capability at 6FPS, you can be sure to capture incredibly accurate, high-quality images every time.

Full-HD D-Movie with AF-F mode
          The D7000 has direct access to a movie record button so you can capture footage in full HD (1080p) with greater ease. The AF-F gives continuous focus during movie recording, which is captured using MPEG4 AVC/H.264 compression, and has a stereo microphone jack for quality sound recording. This means superior image quality and operability when using the D-Movie function.
           The D7000s built-in movie editing functions also give you the freedom to chose the start and end points of your footage and switch to selected frames for capturing still images without relying on a computer – letting you edit and share your films quickly and easily.

Optional accessories
          Nikon is also launching the new Speedlight SB-700, a feature-packed yet easy-to-use flash unit. The SB-700 offers lighting benefits that greatly surpass the camera onboard flash, allowing total control over scene or subject lighting to create beautiful, professional looking results.
           To guarantee great performance for longer, the D7000 also has a dedicated Multi-Power Battery Pack MB-D11 (optional) that enables seamless switching of power supply with the in-camera battery, vertical shooting and further stabilizes the body when using a long telephoto lens.
           The D7000 is compatible with the GP-1 GPS (Global Positioning System) unit which records location information in the image file and of course, the camera supports a wide variety of NIKKOR lenses.

Key features:

          • Nikon DX-format, newly developed 16.2MP CMOS sensor: with expanded sensitivity range, this high-pixel sensor offers outstanding colour and detail for both pictures and movie
          • New EXPEED 2 image processing: achieves higher image quality, higher speed processing and multiple functions, with lower energy consumption
          • High ISO (100-6400, extendable up to 25600) sensitivity: offers low noise whilst still providing extremely sharp detail
          • New 2,016-pixel RGB metering sensor: the high-pixel RGB sensor will enhance the effectiveness of the Scene Recognition System for high-quality images every time
          • Newly developed AF system featuring 39 focus points including 9 cross-type sensors in the center: delivers superior subject acquisition and tracking performance, so you can achieve the right focus no matter where your subject is on the screen
          • Glass Pentaprism Viewfinder with approx 100% frame coverage and 0.94x magnification: for the most precise view and focus of any scene
          • High durability with magnesium alloy top and rear, sealing against dust and moisture: allowing you to shoot with confidence even in the toughest conditions
          • Full HD D-Movie with AF-F modes and in-camera editing functions to choose the start and end points of your movies and save individual frames as still images. It also supports an external microphone input for quality stereo sound recording
          • HDMI connectivity: so you can view your images or watch your HDTV movies on a full HD television
          • Easy access Live View with new Contrast-detect AF modes: face detection with contrast AF is faster and more powerful than ever. Up to 35 people can be detected within approx. 0.08 seconds, even if subjects are not directly looking at the camera. Subject Tracking keeps moving subjects in focus. Normal area AF is recommended for pinpoint focus and wide-area AF for handheld shooting
           • Durable shutter unit with shutter speed up to 1/8,000: proved by 150,000 cycles of shutter-release testing
           • Twin SD memory card slots: offer more capacity for saving images, more options for organising your images and videos or extra backup so you can manage your images exactly as you want them.
          • High Speed Continuous shooting at 6FPS: With approx. 0.05-second release time lag and 6 frames-per-second shooting, you won’t miss a moment
          • Extensive playback functions: including 72-thumbnail display, calendar display and image sorting by date
          • In-camera retouch functions (retouch menu) including movie editing function and new color sketch
          • Tone and colour control: Picture Controls lets you set the look and mood of your pictures and movies before you shoot
          • ViewNX 2 free bundled software, will be bundled with the D7000: It inherits the basic operations of ViewNX whilst providing much enhanced operability, including a refined GUI, and a range of easy-to-use features allowing you to edit photos as well as movies
          • 7.5 cm (3-in.) LCD Monitor:, the approximately 920k-dot TFT LCD monitor has a VGA wide-viewing angle (170°) with reinforced glass so you can immediately see your work in detail
          • Supports a wide variety of NIKKOR lenses
          • Rechargeable Li-ion Battery EN-EL15 : intelligent power management to give maximum performance with minimized power usage

Additional images



Samsung Debuts Swivel-Lens Camcorder, Wi-Fi Camera

(Digital Camera Review)
Samsung's HMX-E10 camcorder does HD video and sports a 270-degree swiveling lens, while the ST80 camera offers WI-Fi and a 14.2 megapixel resolution.
South Korean electronics giant Samsung has taken the wraps off two new consumer photography products: its HMX-E10 high-definition camcorder and ST80 digital camera. The HMX-E10 features a 270-degree swivel lens that enables users to capture video from almost any angle; meanwhile, the ST80 digital camera offers a 14.2 megapixel resolution and integrated Wi-Fi for easy photo sharing.
First up, the HMX-E10 camcorder captures full HD 1,920 by 1,080 video at 30 frames per second, and can also be used as an eight megapixel still camera. The back of the unit features a 2.7-inch LCD touchscreen display, and the camera features both HDMI output and USB connectivity so users can connect it to any computer without using a USB cable—users can also charge up the camcorder via USB. The HMX-E10 stores video to microSD cards, but perhaps what’s most interesting about it is a 270-degree swivel lens that lets users take video from almost any angle. The unit also comes with Samsung’s intelli-studio video editing and sharing program, and—when connected to the Internet—offers a one-touch upload feature that lets users share video on Web sites and YouTube. Samsung says the HMX-E10 should be available in September with a suggested retail price of $199.99; it’ll be available in white and black versions

Next up, Samsung is expanding its line of Wi-Fi equipped digital cameras with the 14.2-megapixel ST80. The ST80 features a 3× optical zoom, a 3-inch WQVGA touchscreen display, and the ability to record 720p HD video at 30 frames per second. The camera’s integrated Wi-Fi and Samsung AllShare (DLNA) technology simplify uploading and sharing photos; the camera also feature a number of smart features, including innovating cropping and scene recognition, and comes with an account for mobile hotspot operator Boingo so users can upload their photos from 120,000 Wi-Fi hotspots around the world. Samsung expects to put the ST80 on sale in September for a suggested price of $249.99

(Digital Camera Review)

Nikon D5000 Review : Nikon D5000 Conclusion Part 5

Conclusion :

Digital SLRs keep getting better and better. The truth is, there hasn’t been a bad digital SLR for a few years now. Because they’re so good, I’m becoming more and more of an advocate of less expensive bodies. Most photographers don’t need a full frame sensor or a pro-level build. Features like frame rate and moisture-sealing are over-hyped in my opinion. The Nikon D5000 is exactly the kind of digital SLR most photographers should be buying. It offers great performance, excellent image quality, solid features and a couple bonuses – HD video and the tilt-swivel LCD. The D5000 is more camera than most people will ever need. And if you’re reading this and thinking, “But Photo-John, how am I going to spend all of my $2000 camera budget?” — no problem. Spend it on lenses. A professional zoom lens or two will do more for most photographers than a better body could. When you find your camera is getting in the way, then upgrade. The D5000 is an incredible camera – especially when you consider the $730 price tag. Buy a better lens, like the Nikon AF-S 18-200mm. the AF-S 17-55mm f/2.8 VR or if you really wanna go big, the AF-S 70-200 f/2.8 VR lens. and you’ll be shooting the kids’ soccer games like a pro

Who Should Buy The Nikon D5000

The Nikon D5000 is an excellent choice for:

Beginning photographers and families who want a reasonably priced digital SLR that can do it all.
Outdoor photographers who want a light, compact camera body with great image quality and performance.
Nikon 35mm or DSLR owners looking to upgrade – the D5000 offers 90% of the performance of the D90 for hundreds less.

Nikon pros looking for an inexpensive backup body. The D5000’s image quality and performance will surprise you.
The Nikon D5000 is not the best choice for:
Pro sports photographers or others who need the most speed and best auto focus performance.
Photographers who really abuse their gear.

Contents of the Nikon D5000 Kit Box

- Nikon D5000 Body
- Rechargeable Li-ion Battery
- Quick Charger
- Eyepiece Cap
- Rubber Eyecup
- USB Cable
- Audio Video Cable
- Camera Strap
- Body Cap
- Accessory Shoe Cover
- Software Suite CD-ROM

- End -

Nikon D5000 Review : Nikon D5000 Image Quality Part 4

Nikon D5000 Image Quality

The Nikon D5000 uses the same 12.3-megapixel sensor as the highly-rated Nikon D90. And like the D90, the D5000 excels at low light photography. I happily shot with it up to ISO 1600 and even ISO 3200 looked pretty good. I also was impressed with the way the D5000 renders subtle details – especially in highlights.

I shot all kinds of stuff with the D5000 and I was pretty damn pleased with all of it. The low noise levels mean you can really push your files in post-processing to recover shadow detail – and that means you can comfortably shoot a little dark to hold highlights. The more I used the camera the more comfortable I felt shooting at ISO 800 or 1600. Popular Photography magazine noted that the D90 has slightly better resolution than the D5000 even though they use the same sensor, indicating different in-camera processing. That’s not to say the D5000 has poor image quality, though. It just has slightly less resolving power and more noise at high ISO settings. So the D90 and D700 may be better. Ask me if I care. No – no I don’t. The D5000 is awesome at ISO 1600 and totally usable at ISO 3200. Check out the night shots I made at ISO 3200 with the AF-S 35mm f/1.8G lens. I’ll let those pictures (below left and middle) tell the rest of the story.
Next>> Nikon D5000 Conulusion>>>

Nikon D5000 Review : Nikon D5000 Experience Part 3

Nikon D5000 Camera Experience:

The two things I like the most about the D5000 are its small size and the wonderful high ISO image quality. It makes a great outdoor camera because it’s easy to pack and can deliver great photos in all kinds of conditions. The low noise also means you can pump up the ISO for sharp action photos without worrying about them getting all chunky-looking.
Live View isn’t appropriate for sports or action photography because you can’t frame or follow a moving subject well with an LCD. But for macro photos, product photography and tripod landscapes, it’s the best. Nikon’s new Vari-angle LCD means you don’t have to crouch down or contort yourself to see the LCD when you’re using Live View – just set your camera up on a tripod and adjust the LCD so you can comfortably see it. The Vari-angle LCD does have some quirks – you can’t use it for self-portraits on a tripod because when you flip it down and around to face you, the tripod is in the way. But it’s still great for standard Live View or video shooting. And it’s far better than an LCD that doesn’t move at all.

Overall, I really like the D5000’s physical design. It feels solid in my hands, I was never worried about dropping it, and changing settings with the Information Display screen is easy and efficient. However, nothing is perfect and I had some trouble with the placement of some controls. Intuitively, the exposure compensation button seems well-placed, right behind the shutter release. However, moving my index finger back to press it made the camera feel a little less secure in my hand and the position was a little cramped. Sometimes I even had to take the camera away from my eye to double check where the button was. This might seem nitpicky, but being a mostly manual exposure guy, I use the exposure compensation button for almost every photo. I use a lot of cameras and my favorite position for the exposure compensation button is in the back of the camera where I can press it with my right thumb.

The D5000’s AF points are selected with the 4-way multi-selector to the right of the LCD. The OK button returns the auto focus to the center point – the one I use the most. Unfortunately, the multi-selector is right where the palm of my hand presses against the back of the camera. Too many times I accidentally changed the focus point with the palm of my hand and my subject ended up out of focus. Unpredictable behavior is one of the last things you want with a camera. I learned to check the focus point regularly and press the OK button to make sure the center AF point is selected. But there’s no doubt photos have and will be missed because of the position of the multi-selector.

Standard AF behavior allows you to pre-focus in single shot auto focus mode and then recompose. As long as you keep the shutter release button depressed halfway, the focus will stay locked on your subject. So far, so good – this is exactly how the D5000 behaves. However, when I shot a sequence of photos with the D5000, the auto focus unlocked after the first shot and refocused on the background. I’ve never experienced this AF behavior before and it totally confused me. All I knew was I had a sequence of photos where all but the first frame were totally out of focus. After some trial and error I discovered that I had to hold the AE-L / AF-L button down to keep the focus locked if I wanted to shoot a sequence. That’s not quite what the manual describes and it’s also not what I’ve learned to expect from other cameras. So, heads up if you’re shooting a sequence and you’ve pre-focused in the AF-S single shot focus mode. The D5000 might not do what you expect it to do.

By no means are these control issues deal killers. But I was uncomfortable enough that they needed to be mentioned. Overall, I was very happy when I shot with the D5000. I quickly learned to be confident in the image quality regardless of conditions and the more I used it, the more I liked it. The small size makes the D5000 a great camera when space is limited and the image quality makes it even better.


Since there’s no auto focus once you start recording a video clip, it’s very important to have a focus strategy before you start. You can try to focus manually, but I wouldn’t recommend it. I use the Live View auto focus to pre-focus on something I think will work for my whole clip. Since focus isn’t as critical with video as it is with still photography I don’t think it’s that big of a deal if I’m a little off. If you really need to refocus, stop recording and set up another shot.
I recommend using image-stabilized lenses for video. Handholding the camera without image stabilization makes for shaky videos – you don’t want your viewers to get seasick. Luckily the 18-55mm Nikkor kit lens that comes with the camera is equipped with Nikon’s VR (Vibration Reduction) image stabilization. Two other lenses I used didn’t have image stabilization and the difference was obvious.
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Nikon D5000 Review : Nikon D5000 features Part 2

Nikon D5000 Features :

Feature-wise, the D5000 is basic but solid. The most important features, in my opinion, are the excellent 12.3-megapixel sensor, the D-Movie video mode, the updated auto focus system, and the tilt-swivel LCD display. The sensor alone is a good reason to buy the D5000. Spec-wise, the D5000’s movie mode is the same as the D90. It captures 720p-resolution video at 24 frames per second and there’s no auto focus available once you start recording. You can either focus manually or get your focusing done with the Live View auto focus before you start recording.

The 2.7-inch, 230k, Vari-angle LCD is the most attention-getting feature on the D5000. Tilt-swivel LCDs are great if you use Live View in the studio, for macro photos or any kind of photography you do on a tripod. And of course, tilting, swiveling LCDs have been standard on camcorders for years. The D5000’s LCD flips down 180 degrees and can rotate all the way around so you can see it while looking into the camera – perfect for self-portraits or shooting video of yourself – unless you use a tripod, in which case the tripod will be in the way.

For shooting, the D5000 has a nice mix of consumer-friendly auto modes and manual options. For beginners there’s a pure auto mode plus 19 scene modes for everything from the obvious (Sports, Landscape, Portrait) to more esoteric shooting modes like Autumn Colors, Blossom, Candlelight, and High Key. For more experienced photographers there’s full manual (M), Program (P), Aperture Priority (A) and Shutter Priority (S).
People who shoot action will be pleased with the 4 frames per second capture rate and the improved auto focus system. The D5000’s eleven AF points offer a lot more coverage than D60’s three. You can choose from continuous AF, single-shot AF, or Auto-servo AF, which analyzes a scene and chooses single or continuous AF for you. The D5000 offers four auto focus point strategies – single point, Dynamic area, Auto-area, and 3D-tracking. The 3D-tracking mode uses Nikon’s famed 3D metering sensor to detect and track a subject across all 11 AF points. Unfortunately, it’s only available in the D5000’s scene modes – so if you’re a manual exposure photographer, it’s not gonna do you much good.

The D5000 has numerous in-camera processing options, including Picture Control, Active D-Lighting and an extensive Retouch menu. If there’s ever a feature or setting you don’t understand on the camera, just press the “?” button to display an explanation on the LCD (see Setup help screen sample, below). Along the same lines, when you change a setting, the LCD displays a thumbnail photo representing the setting you’re changing. For instance, if you select ISO 800 there’s a thumbnail of a night scene. If you select AF-S from the focus options, you see a thumbnail of a landscape (see below, right).

The D5000 is available body only (US $729) or in a kit with the Nikkor AF-S 18-55mm f/3.5-5.6 VR lens (US $849.95). This is a great kit lens and I highly recommend it to first-time Nikon DSLR buyers. It will get you started shooting and it’s got great optics – much better than the previous, non-VR version, which I found pretty disappointing when I used it a couple of years ago

Nikon D5000 Design

The Nikon D5000 is compact and light without feeling insubstantial or plasticky. Rounded corners and a comfortable grip help give it a nice solid feel in spite of its small size and minimal weight. There is a pop-up flash, of course – all but the most professional cameras have pop-up flashes now. I easily carried it with the kit lens mounted, in a small hydration backpack. It was almost like not carrying a camera at all.

The Nikon D5000’s key design feature is the new Vari-angle tilt-swivel LCD, which I described in the Features section. The D5000 uses Nikon’s Information Display screen (see below) to display and access features and settings (see below). Higher end cameras have more dedicated buttons for ISO, white balance, etc. But the Information Display screen makes it easy to change settings without dedicated buttons. Just press the “i” button to the left of the LCD, navigate to the setting you want and press OK to access the function and make your change. In spite of the minimal external controls, Nikon included an easy to reach dedicated Live View button. With some earlier implementations of Live View it could be a bit of a puzzle turning it on. Not so with the Nikon D5000.

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Nikon D5000 Review : Part 1

The Nikon D5000 is Nikon’s second digital SLR to offer video capture and its first to incorporate a tilt/swivel LCD display. The D5000 has a compact body with a 12.3-megapixel DX format CMOS sensor, a full range of shooting modes and exposure controls, and 720p video at 24 frames per second.

I got a sneak peak at the Nikon D5000 at the annual PMA tradeshow in March. I was excited when I saw the Vari-angle LCD display. I love being able to adjust the position of a camera’s LCD and think it’s great that Nikon is finally offering this valuable feature. It’s especially useful for photographers who use Live View or shoot video.
The D5000 has the same excellent 12.3-megapixel sensor as the Nikon D90 that was introduced last fall. Since the D90 received so much praise for low light image quality, I was really looking forward to using the D5000 for night photos and other low light photography. I’ll give you a preview now and say the D5000 did not let me down. I’ve shot a wide variety of subjects with it, including a wedding, food (bacon-related, of course), some mountain biking and a little architecture. The more I use it, the more I like it.

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