PHOTOGRAPHIC CENTRAL

Photo of the Day- Tustin Hangars II

2012-02-29T20:12:00.001-08:00

Tustin Hangars II- Olympus EP2 "Cross Process"

Olympus Pen E-P2 Sample Price Best Rate
Pre storm at the Tustin Hangars, California. Public access is not allowed but there are still plenty of composition opportunities outside the boundaries. I preferred to have this scene shot in the EP2's cross processing mode.

-Carl

Fujifilm X10 Review

2012-02-23T21:22:00.007-08:00

Fujifilm X10 Review
February 2012, Carl Garrard

Fujifilm X10 Review: Ever daydream of your own perfect camera design? I do. I do it all the time. Two years ago I daydreamed about a compact camera that I'd make. In that daydream I decided that I'd like to have a manual zoom bright aperture lens, 2/3" sensor, and a rangefinder styled camera with a better than average optical viewfinder. Fuji must have been listening to me. Or wait, maybe it wasn't just me, maybe it was many who were having the same very daydream and Fuji caught onto it. That sounds more plausible to me, and it's probably true.

Fujifilm X10 Digital Camera (Black) (B&H Best Price)

Fujifilm X10 Review: Introduction

There's no doubt in my mind that the X10 is the result of listening to the camera market demand. Fujifilm's X10, X100, and XPro1 all have a similar rangefinder theme and the family resemblance is obvious. Fuji's focus is on making retro exterior designs with modern leading edge technology underneath. Fuji have been on a faster pace than all of the other camera companies for the last year and with some 20+ models already announced this year it makes me wonder how the heck the design team can keep up.

My review is centered around my shooting experience with the Fuji X10 over the last three weeks. My comments are raw and off the cuff based on my impressions through the course of using the Fuji as a serious compact camera. My expectations were high with it, it's a pricey beast, and Fuji have done extensive marketing telling us its a serious camera with artistic style handcrafted Japanese heritage. So lets get on with how well Fuji have done here with the execution of the X10.

Fujifilm X10 Review: Out of the Box
Fujifilm X10 Digital Camera (Black) (B&H Best Price)

The X10 is impressive enough, even the packaging is elegant for cardboard and plastic, a step above what I'm used to seeing. Fuji even managed to give you a tool to install D-rings for your camera strap- that's a first as far as I know. Thoughtful details indeed. The package is fairly normal otherwise giving you all the essentials minus an SD card to get going.

Fujifilm X10 Review: Getting Used to the X10
Fujifilm X10 Digital Camera (Black) (B&H Best Price)

After unpacking the X10 the battery went right on the charger and I examined the X10 in hand. I wanted to look through that viewfinder I've been hearing so much about, and try the new lens design that incorporates the on/off switch. The X10's Viewfinder was impressively large view wise, rivaling some entry level DSLRS and blowing away every compact I've used yet in viewable area and overall clarity. No lie there, its great. The lack of a center AF point or parallax correction lines leaves something to be desired for the X20.

Real glass prism viewfinder- a step way above the competition

No beating about the bush, it's almost a waste of a gorgeous viewfinder if you don't have these, but like I said, almost. As is, I'll take it in this class of camera over anything else out there even though it normally covers only 80-85% of the actual scene. It's a massive improvement over other compact optical finders, massive.

Heft was nice, lighter than I anticipated .. much like the Nikon P7000 was in hand. The grip isn't something I'd rave about but the materials surrounding it are nice. The X10's grip feels too skinny for my medium sized hands. I feel like I have to squeeze it while operating it one handed and that means discomfort. Long term use I never warmed up to the grip. It just feels like the lump on the front is too thin, make the lump wider and that should fix the issue. Balance is slightly to the left because of the lens.

Fujifilm X10 Review: After the Battery was Charged
Fujifilm X10 Digital Camera (Black) (B&H Best Price)

After installing the charged battery, I inserted a fast SD card in the battery compartment area, formatted it, and made some quick changes to the settings I'd use right away. Ready to go now and get a feel for the camera. I went right to the lens.

The lens design is unique and interesting but it's not all roses. I don't like the implementation of the on/off switch here because that means the X10 is a two handed operation- a big no no for me with compacts. Although Fuji did a great job implementing such an innovation, it's simply not for me. In three weeks I never got used to it nor warmed up to it. Going into this review that was my biggest concern.

This design tells your hand on/off

Otherwise the lens operates smoothly. When I did remember that the on/off switch is located at the lens, the way the lens is designed tells you when it is on and off and at its widest focal length- all by feel alone. You don't have to look to see. There's a little smooth tension then a click and the camera comes on- that means you are at 28mm wide. Like I said they implemented that design brilliantly, I just never took to the on/off switch being there.

Buttons dials and gizmo's are all well made and feel high quality- an almost perfect match to the body itself which feels as well built as all of the marketing fluff Fuji threw at us. There's no lying here, the X10 is a brilliantly crafted camera and if it weren't for a few warts I'll mention later- the grip was bigger, and the on/of switch located around the shutter release- I'd be in compact heaven. Maybe the X20 will be better, that's up to Fuji to listen. As is, the X10 is one of the finest crafted cameras I've ever used- no matter what the price.

Exterior and mechanical function wise you could say I'm pretty impressed. There's some real genius in the X10 but it's obvious to me it's a new design to the market and needs refinement. I'm not at all impressed with the rear rotating dial (not the one by the thumb at the top), it's too thin and too easy to press functions while rotating it. I'm not a fan of those kinds of dials, whereas the one by the thumb is my cup of tea. The scroll and click thumb dial is excellent albeit a bit loose and chimpy compared to other components of the exterior, but still high quality enough and it got the job done.

Although the grip is too thin on the front I like the rubber thumb rest a lot- it saves any semblance of one handed shooting for me although this camera is definitely not my choice for a quick one hand grab type of camera. The G12 Canon is, the Ricoh GRD III definitely is, and a few others. But not the X10.

Remember all those camera's I said Fuji announced this year? We'll they've been busy and honestly the X10 feels rushed to the market. I hear it's selling in boat loads but that's because Fuji tapped a hidden well in the camera market. Quite frankly I don't think they were ready for the amount of oil they discovered. Time to do some refinement and I hope they are listening again to the right people.

Fujifilm X10 Review: Powered Up
Fujifilm X10 Digital Camera (Black) (B&H Best Price)

The menu system is straight forward for me, I had no issues finding what I needed and setting the camera up the way I like. In fact, the menu system was one of the more positive notes for me- a little bit disorganized in some places but nothing that kept me from wanting to go in and tinker from time to time. I never had to pick up the manual once in three weeks - then again I am used to a lot of cameras and makes.

As far as LCD screens go the X10 fairs well. It's bright and detailed and does a fair job of keeping glare off of it but I've used better and worse. It's plenty large enough for viewing and I only wish it was flush against the body, it's kind of odd that it's raised about a 1/4" from the back of the body. Almost feels stuck on the back like a graham cracker... and one good pull at a corner would pull it off- but obviously that isn't the case.

Now that I had a fair feel for the camera and know where everything I need is, it was time to start taking pictures.

Fujifilm X10 Review: In the Hand (Warning, long winded segment)
Fujifilm X10 Digital Camera (Black) (B&H Best Price)

One of the most important aspects of a camera design to me is handling. How a camera feels in the hand and operates is quite frankly just as important as image quality to me, if not even more. If I don't enjoy using a camera I'm not inclined to bring it with me, or use it at all. The X10's simplistic form follows function rangefinders styling promises a straight forward handling style, but this is no rangefinder. A camera can look like a work of art, but that alone doesn't necessarily translate into a camera I'll like to use on a daily basis.

Since the X10 is considered a 'premium' compact, my analysis and criticisms are a bit more in-depth than cameras of a lessor class- basically I'm saying that I'm going to be more critical because of where the X10 sits in price and stature. So do keep this in mind when you read this section. I have a lot of expectations riding on the X10 not only because of its price and position in the market, but also because of Fujifilm's extensive marketing campaign.

Gorgeous craftsmanship.

My first impressions of the X10 in the hand overall were pretty positive. This is a very well built precise machine, there is nothing at all cheap feeling about the X10 in any way shape or form. Build quality is simply exemplary and Fuji's marketing doesn't exaggerate here one iota. Careful attention has been made to most of the external controls and how they feel and operate, there is a finesse in the way the buttons click, a finality in the sound and feel of the click that is very satisfying, but not all of the buttons.

The left side row of buttons, the FN button to top of the camera namely are the exceptional ones. The larger AEL, DISP and Raw buttons although larger, have a somewhat squishy feed back in comparison to the others, and I would have preferred the same feel for all of the button- to me that would be a smart continuity in design. I'm nitpicking here, but the three bigger buttons don't feel as sure footed in use, they are just kind of spongy and quiet. I like the feel, use, and quick snap positive engaging sound of the others much more-even though they are smaller.

Dial wise the main control dial has just the right amount of resistance that should keep the camera from switching out of the PASM (or other modes) from accidental bumping. It feels just right. On the other hand though, the exposure compensation dial needs refinement. It is too tough to adjust and feels a bit gritty inbetween clicks. I have to hold the X10 with both hands to make this adjustment which I use quite often. I'd much prefer a lighter action, one that could be engaged using my thumb and a one hand hold on the X10. Not a deal breaker, and I will get used to it, but it needs refinement.

The shutter release is a three stage release, in feel. The first stage is very soft- it almost feels like pre-half press, suspension for the index finger if you will. Half press is very nice (for engagement of the auto focus), just right. The last click is the release of the shutter and this takes a bit more pressure than half press, again, just right. Release is snappy, quiet and sure. Well done on the shutter release Fuji.

I'm not a big fan of the autofocus/manual focus switch on the front. I can't see it when I shoot and therefore it takes memorization and that is kind of a distraction for me. I like visual cues for controls. Luckily I don't make a switch from AF and MF very often, and never use continuous focus on a compact, so I'll get used to it. The action, like the EV dial, is very stiff. Probably a good thing in this case though as you don't want to accidentally bump the X10 out of the preferred focus method.

Last but not least the zoom ring/on-off switch combo is something totally new to camera design. It takes some getting used too, but the implementation of it is nearly flawless. Nearly. Gotta say it's quite odd not having a switch or button to turn on the X10, but since this camera has a manual zoom ring it makes sense to me why Fuji incorporated the two together. Doing so ensures the camera will be turned off only after the lens is fully retracted and "safe". Still, I'd rather have a regular style on/off switch I can operate with one hand, as is the X10 is a two handed operation and that's a no no for me.

The two stage zoom feels good, first stage turns the camera on and the second is when you arrive at wide angle. You can feel both without looking, and although different at first, you'll get used to it. After using it for a couple of hours (purposely turning the camera on and off frequently) it became second nature, by feel. If I have one critique, its that I wish the zoom ring beveling was a bit deeper to give a better grip on the zoom ring. It's beautiful but I'd prefer not to have to squeeze the ring tight in order to keep my fingers from slipping- more "traction" please.

Holding the X10 in my right hand is a bit slippery. The grip has enough indent, but the faux leather is just a bit too slippery for such a small grip. I think either the indent needs to be larger or the faux leather more "tacky" to ensure a more confident one hand hold. As is the X10 feels to me as if I need to be using two hands at all times- and I'm not accustomed to doing that on a compact camera, at all.

Grip is too thin left to right and front to back for my taste.

All of the controls on the X10 are great but I can't help but feel the X10 is a bit cramped and slippery- it's not bad or anything, but it could be much better. The saving grace for one handed shooting is the soft rubber thumb pad. The texture of it is perfect, it just needs to be larger to compensate for the off balance of the X10 caused mainly by the weight of the lens and zoom ring.

Holding the X10 with my right hand only, and I feel like the camera wants to sag down to the ground on the left side- it takes more effort than it should to keep the X10 straight and true ready to shoot (almost feel like I have to pinch it kind of hard to do so one handed). In a way, the X10 almost feels too small to be of the rangefinder design. Its best used with two hands at all times, at least I feel more comfortable doing so. Giving the middle finger more to hold onto on the the front of the camera or just a tackier surface to grip, would change all this though.

Overall handling isn't as good as I thought it would be, but it isn't bad either. Had the X10 been as big as the X100, I think my comments would be much different in this regard.

Fujifilm X10 Review: Photographing with the X10
Fujifilm X10 Digital Camera (Black) (B&H Best Price)

Lets get to the things that immediately annoyed me. First of all the beveling on the lens housing is slick and you have to grip it more than I'd like to turn the X10 on. Looks nice, but I need more traction. Secondly the Raw writing speed is slower than I'm used too with serious compacts- bottom line it's too slow to write when I want to take a quick glance at an image I just made- wait wait wait. Ok. Now wait a minute, what was I doing? Oh yeah, looking at the image.... but why? Hmmm. Oh yeah I remember now. Yes that happened to me and enough for it to be a constant irritation.

Lets see, what else annoyed me. Well really not much right away. It wasn't till later on that I discovered a couple of major flaws with the X10- but lets not jump ahead now.

When I got going with the X10 I started to enjoy using it. I found it just took me a while to get used to how different it is in comparison to other cameras I've used. Different doesn't automatically insinuate good or bad, it takes time and use to see if those differences make a practical dent in the photographic experience. I found the X10 to be a hot and cold sort of camera- not well rounded. Some things it does very well, and others - it falls on its face.

Fujifilm X10 Review: Battery Life
Fujifilm X10 Digital Camera (Black) (B&H Best Price)

When I first saw the battery I knew the X10 would disappoint here, and although it wasn't as bad as I thought it might be, ultimately the X10 needs a bigger battery (and a larger grip around it). It wouldn't be so bad if the battery life indicator didn't just suddenly drop from 2/3rds full to zero in such a short period of time, but it does. A percentage meter or more accurate readout of the remaining power would help. I don't like carrying extra batteries. I'm great at managing battery life in a camera as long as the meter is reliable- the X10's isn't.

Fujifilm X10 Review: Image Quality
Fujifilm X10 Digital Camera (Black) (B&H Best Price)

When the X10 behaves like a camera should, it's capable of very good overall image quality from ISO 100-3200. Much better than most compacts in this class. Color is fine from the Jpegs and the Velvia, Astia, and Provia simulations do a good job at simulating the film I used to use (and some I still use) from Fujifilm. I really have no complaints about the image quality from the X10 when the issues I raise in this review aren't encountered. In fact it's probably the best compact I've used image quality wise when it behaves- and it doesn't stop at the sensor or processing level. I prefer to use the Provia setting which is as close to "natural" as Fuji's film comes. Take a look at these 800 and 3200 samples right out of the camera- this is great for a compact folks.


ISO 3,200 Jpeg Provia Setting (OOC)

ISO 800 Jpeg Provia Setting (OOC

I turned down the noise removal as far as it will go (low) for these shots, but it's clear after reviewing the raw files that Fuji are doing a lot of chroma noise removal. Luckily the higher ISO shots still retain decent color though. Fuji have done a good job at removing just enough luminescence noise not to intrude on much detail loss but I prefer a true off setting in camera. Still the Jpegs are more than acceptable by my strict standards.

At low ISO's the X10 makes highly detailed, low distortion, beautiful images (again as long as you get the exposure right). Colors and tones are subtle and classy, and this is one area that Fujifilm show their expertise off. Take the image below. Sun dog in mid day sky, ISO 100. You can see the subtle color of the rainbow (sun dog), and the colors and tones of the clouds are spot on. A great job with auto white balance in Provia film mode here. I shoot sun dogs all the time and most cameras muck them up badly- not the X10.

ISO 100- Clouds and Sun Dog

The lens is remarkable. A very usable and versatile 28-112mm lens that has a nice bright aperture f/2-2.8 across the zoom range. Macro is good although way too much distortion and shading are found on the wide end. Macro on the telephoto end would have been a much better choice in this case. Otherwise the lens is sharp corner to corner with reasonable distortions, low vignetting, low color fringing, low flare, low barrel and pincushion distortion. This is a lens I'd love to have on my DSLRS or m4/3 cameras. Fuji done good here and should be commended for it.

And now the bad part. Fuji have totally blown the histogram and exposure review experience with the X10. Not only does the Histogram not show exposure value changes or adjustments real time, it doesn't show blown highlights correctly before, during, or even after the exposure has been made. This means one cannot safely rely on the histogram reading the camera is giving you. In order to really know what your images will look like you'll need to review them on a computer. Here is an example where the X10 really blew it (pun intended).

I have a lot of experiences with sunrise and sunset shots. Anyone who does knows that dealing with the red channel during sunset or sunrise can really be challenging but not impossible. Typically I like to underexpose by almost a full stop just to give my equipment plenty of exposure room later on when I develop a raw file. In in the image below the X10 showed a full stop of empty detail in the highlight range on the histogram during and after the exposures I made of this sunrise. They looked great on the LCD too. As a precautionary measure I even shot in Raw just in case I wanted to try and get more highlight out of the scene later on. With a full stop of underexposure I thought I was safe. And when I reviewed my images I saw this.

Highlights are destroyed by blooming and an inaccurate histogram.

"Eh no problem, I have a raw file to work with. I can fix this." I thought. Nope, there was no salvaging this sunrise in Raw either. The red channel was completely destroyed. Image trashed, scene gone forever. And this was a pretty darn nice light show too.

After reviewing the set of shots I made of the sunrise I started going back to see if I had missed some blooming in other shots, and indeed I had. It's not as obvious during bright conditions, but anytime the scene has a fair amount of range in it- the Fuji's sensor show's its weakness.

To me this is unacceptable and Fuji ought to fix the X10 through a recall notice for free, for all purchasers of the X10. That's just me.

Fujifilm X10 Review: Final Conclusion

In three weeks time I couldn't quite bond with the X10 like I hoped I would. On paper and in the flesh the X10 almost seems too good to be true. But in use, the Tiger shows it's stripes and it can forget about any sneak attack on it's prey. I hope you are keeping up with the metaphorical references here. I don't know how else to express my mixed emotions about the X10.

There are two fatal flaws with the X10 that I can't get over.

Two issues are major and one is even recall worthy. The X10's newest firmware did not fix the highlight blooming issue, nor address the faulty histogram and blown red channel- at all. I think the two issues might be interlinked, simply the sensor may not be capable of holding extra bright highlights as well as it should in certain shooting conditions- and that is the frustration.

The highlight blooming doesn't always show, only in certain circumstances. Fuji needs to fix this blooming highlight orb issue one way or another in order to gain any of my trust as a serious competitor in the current marketplace. The histogram issue isn't as serious but can be depending on how much you rely on your exposures when reviewing images during and after the exposure (who doesn't anymore?). For me it is.

Simply put the X10 is the best example of a Jekyll and Hyde camera I think that I've ever used. In some ways it is a brilliant camera, and in others a total disaster. I'm more of the mind set that a great camera should be well rounded, a sort of jack of all trades and master of none.

After using the X10 for 3 weeks I found it to simply infuriate me at times (blown red channels, useless histogram, highlight blooming orbs, and the other not so intense frustrations), and other times had me grinning ear to ear. But the cumulative effect leaves me wondering why Fuji screwed up so many things in this camera. It could have been a grand slam, but I find it overall to strike out on a pop fly. My dream camera ended up being a sort of nightmarish frustration. If I can't rely on it in all circumstances to do what a camera today should, I don't want to use it. There are simply too many alternatives out there.

I wish I could wholeheartedly recommend the X10 but I can't. As long as you don't mind the highlight blooming and useless histogram, it's other faults can be forgivable and be worked around I suppose. Some shooters love the X10 as is and I can see why, but as a reviewer I have a moral obligation to report issues I find as well I use too many different cameras that don't have these issues to just let them slide. They are simply unforgivable from my standpoint.

Therefore the the X10 as is now gets my lowest rating yet. If Fuji can work miracles on future firmware, or do a recall and fix those issues on repair, I'd be glad to change the rating. As is, I can't. Recommended for those who love rangefinder designed compacts, like photographing sun dogs, and can ignore a couple of big flaws. For everybody else:

Fujifilm X10 Rating- Below Average (for its class)

As always, be safe and happy shooting.

-Carl Garrard

If you want to purchase a Fuji X10 I recommend only a handful of retailers, mainly B&H Photo who always have competitive prices and excellent customer service. You can check the lastest best price on the X10 here:
Fujifilm X10 Digital Camera (Black) (B&H Best Price)

In case you like shopping at Amazon, their best price can be found here:

Fujifilm X10 Best Price Check Amazon

X10 Pros

Very Good overall image quality (see cons about blooming) if exposure is correct, for a compact
Excellent color rendering (Fuji specialty)
Low noise, very good high ISO capability
Top notch build quality- magnificent
Overall excellent viewfinder (for a compact)
Superb sharp lens, bright aperture range (one of its finest traits)
Excellent amount of external controls and customization
Pro-Light mode works well (auto aligning and stacking)
Image stabilization
Hot shoe
Slick pop up flash
Fun film modes and unique EXR modes (with limitations)

X10 Cons

Histogram is nearly useless, blown color channels are not properly reported (especially the red channel)
Highlight blooming (orb) is recall worthy
On/off switch means two handed use
AF illumination lamp shuts off if you use the macro setting w/no warning
Grip is uncomfortable/balance off
Battery life isn't good and warning time for last 2/3rds too short
LCD display information switching is too fiddly- it wastes time
Raw writing times are too slow for a camera of this class and price
Macro is on the wrong end of the focal length
EXR modes are limited and frustrating
Manual focusing is a joke (I thought for a while it didn't even work)

Sony Alpha A600 Coming? (Updated 2-18)

2012-02-16T20:26:00.000-08:00

(Not an actual A600 image, obviously)

Recently I received information from an apparently well informed gentleman about an upcoming A600 DSLR from Sony. I'm not normally in the rumor business here but I wanted to share this with readers mainly because of the source of the rumor. I also think it's directly related to a highly debated topic and therefore newsworthy. Yes this is about an actual DSLR rumor, not a rumor about an SLT model. This person who shared this information has given me inside (and secret) information in the past, but has not contacted me in about 2 years.

Unlike information shared previously to me, this time I've been told I can share it. Based on this persons past reputation with sharing highly detailed information... it caught my interest.

Here's what I was told, summarized and broken down:

Supposedly this model will replace the existing A580 DSLRand be at a slightly higher price point, but lower than the A65.This camera will fill the gap between the upcoming (and rumored) A57 model and the current A65SLT for those who prefer a traditional DSLR.

I was told that for now Sony's reaction to gathered marketplace demand is to keep traditional and non traditional DSLRS in the fold, but that only two OVF DSLRS would stay in the lineup. Priority is now given to SLT but that OVF are not yet out of the lineup. At least not yet. Apparently this is a pretty sudden switch in strategy, according to him.

The A600 is supposedly designed to be more affordable at the production level but does not skimp on features, and is designed for enthusiasts based on their demand. The design decisions were cost cutting without sacrificing much of what enthusiasts desire in a DSLR- good for Sony and good for the traditional consumer.

Loose specifications I received for the possible A600 are as follows:

-New body design, similar to A65 in size
-Larger brighter OVF than the A580 (still penta-mirror, cost savings) at .92x magnification "w/data overlay" @ 97% coverage
-Similar live view system as the A450 (away goes the second sensor and mechanisms that cost extra money), more traditional main sensor live view with faster contrast detect AF than previous Sony DSLRS, this time for all lenses
-updated 18.4 mp APS-C CMOS sensor (See update this has now changed)
-up to 8fps capture with full metering and af capabilities (A580 could do only 5fps with metering/af)
-same battery as A580, A65, A77
-new "wide coverage" 15 point AF system (new type with 5 cross type sensors)
-full 1080p HD video will be included (no specifics on this)
-Dual card slots (no specifics on type)
-New pop up flash (not sure how this will work, assume bounce and regular?)
-Silver and Black model (depending on territory)
-New quieter mirror box mechanism and shutter
-First curtain electronic shutter mode
-Moisture/dust preventive measures (but not moisture or dust resistant)
-3 custom function buttons
-Updated Quick Navi Menu interface (assume like A65's which isn't true quick navi like A900/etc.)
-Dual control wheels, rear is scroll and click type
-Due this year before fall

Now again this is a rumor I received- but the way in which it was worded sounded legitimate enough to share. Normally I ignore these kinds of emails when then come in. The specifications are indeed interesting and conceivable to me- yet despite the sources reputation, I always hold on things being fact till I see something in the flesh.

Again- I'm reporting this because this person has given me credible inside information in the past (the type unfortunately I had to keep secret), and gives the rumor credence I suppose, based solely on his accurate information (and pictures sent) in the past.

I was also told that originally the A600 had already been designed, then scrapped. But because of higher than expected demand for an optical viewing path alongside the demand for EVF, the project that was initially scrapped was brought back to life.

To me this sounds a bit too good to be true, but it's reasonable to assume I suppose that Sony could produce both EVF and OVF DSLRS until such time as a viable replacement for both comes to fruition. Also, the numerical name of the DSLR makes complete sense, both as a replacement for the A580 DSLRand for the tradition of past "6" series cameras. The A65is a tweener model, a lot bang for the buck, the A600 seems to be the optical equivalent of that cameras hierarchy- optical or electronic choice for A-Mount users.

Could it be? Sony are going to provide a choice afterall in the mid range segment? Rumors on SAR state there will be an A900 replacement with an OVF maybe one in the mid range too isn't so crazy. I'm both skeptical and optimistic about this rumor based on the source and current Sony strategy.

I really don't see this happening personally, but I do hope its true though! I would love to be wrong about what Sony are going to do in the future and for them to pull a 180 like this. Would a move like that endear traditional users back to Sony? Tough question but surely it would pique their interest at the very least.

Last thought I have on this subject is just an excerpt from an interesting interview that my buddies at Imaging-Resource conducted with Mark Weir from Sony USA :

http://www.imaging-resource.com/news/2012/01/15/sony-interview-10-years-hence-will-mirror-based-cameras-be-a-distant-memory

The excerpt that peaked my interest is when Dave Etchells asks Mark if Sony would respond to the market if there were a cry out for traditional DSLRS: "DE: So if you see a large, angry mob of customers coming demanding a conventional SLR... Sony would respond."

And Mark's answer was: "MW: I think Sony always keeps their customers in the front of their minds."

The question remains at just how much outcry (if any) Sony have heard or noticed and if indeed there was enough to keep at least two optical path "traditional" DSLRS in Sony's Alpha lineup. Apparently according to the source, there was.

I guess that remains to be seen. If I hear more about a supposed A600, I will report it. I've been told an update about this rumored camera will come in the future, more specifics about the camera that I'll be allowed to share.

Interesting, to say the least. Guess we'll see what happens.

Carl

__________________________________________________________________________

Update 2-18-2012

My contact has made a correction/update to the A600 rumor.

The initial information on the sensor size is incorrect. Now I'm being told the A600 was originally designed to be 18.4mp but will instead be 16.2mp, and will use an updated version of that sensor.

According to the source, Sony had originally planned to design two sensors but because of the high demand of the 16.2mp sensor from other manufacturers of late (I guess we can expect other cameras in the future to also use this sensor?) the 18.4mp sensor wasn't put to production and instead the 16.2mp sensor was upgraded.

Upgrade specifics aren't known. I'm guessing they were implemented to facilitate faster live view and video options?

Apparently, this was also an ancillary cost savings measure that worked best for Sony's CMOS sensor sales division as well saving the Alpha division internal development costs. Also, this decision was made very recently, and his initial information included the first "final" specifications of the camera. This is what I'm being told now.

Given the other specifications he mentioned and rumors out about the A57 camera, this seems a much more logical sensor to use. No more information was given on the A600 but I've asked several other questions (poignant ones as well) and await answers.

Again I'll re-iterate: Until I see something concrete, I'm suspect of the information given, but this new information seems much more logical and "real" to me.

-Carl

Olympus Pen E-P1 Review

2012-02-13T09:01:00.000-08:00

Olympus Pen E-P1 Review
February 2012, Carl Garrard

Olympus Pen E-P1 Review- Not only do Olympus have a rich history of camera making and innovations that spans over decades, they also have made at least a couple classic designs that have not only stood the test of time but have engraved themselves into camera lore. Olympus have much of my respect as a camera maker and despite some recent financial hiccoughs with the parent company (putting it mildly), I see no reason they won't continue to make more wonderful cameras in years to come. Today, I'm talking about the Olympus Pen E-P1, Olympus's first mirrorless camera to the market.

Olympus PEN E-P1 Body Only Current Best Price Used and New

Olympus Pen E-P1 Review: Introduction

Olympus's E-P1 was their first D.I.L (digital interchangeable lens) camera, and at the time of its introduction warmed the hearts of many in the photography community immediately. Olympus added to the effect by marketing the E-P1 with sheer brilliance, even going so far to pay a wonderful artist to come up with a song for a video Olympus produced. With over three and a half million views, I'm sure my feelings are mutual for many many others. This video actually brought a tear to my eye on more than one occasion (happy tear or two of course).

Beautiful craftsmanship. Simple, elegant, purposeful- kind of like a ... Pen.

I don't recall how many times I listened to that song or watched the video, but each time I did I remember thinking how perfect of a song it was for the Pen's introduction. In a way too, it was a great reminder of the spirit of photography and how important it is in our culture and our personal lives. Each moment only happens once, we don't get a second chance.

My review is a reflection of how the E-P1 has made an impression on me thus far. It is a camera that I'll admit isn't my main camera, but instead fills a spontaneous niche in my photography- much like many other cameras that I own. It stands out as one of the better ones though, and for reasons the E-P1 sort of makes unique.

Note: Know that this review was written using the final version of the E-P1's firmware from Olympus, therefore this review doesn't suffer from the same "out of the gate" constraints that were reported in the initial reviews of the EP1. It's a bit more of a mature product as a result of the firmware upgrades and my review is based solely on its "finished" design.

Olympus PEN E-P1 Body Only Current Best Price Used and New

Olympus Pen E-P1 Review- Disclosure #1: This is the second time I've used an E-P1 for any length of time. I find that timing is sometimes important when it comes to evaluating a camera. My needs vary slightly over the course of time, and so does my attitude and perspective. Apparently I wasn't ready to be accepting of the E-P1 the first time around and in hindsight I find that to be ok now. I don't like to force myself to finish a review just because someone lent me a camera or because I purchased it. I like it to happen sort of naturally. My time with the EP1 the second time around has been a much different experience, as this review will reveal.

Olympus Pen E-P1 Review- Features

Olympus cameras are always loaded with useful, photography oriented, and sometimes flat out fun features. The bang for the buck factor is high with the E-P1. On the outside it looks simple, elegant, stylish and fun. The great thing is that you can shoot with it just that way, simple, and fun. But if you are like me and want more control over the camera the E-P1 is loaded with excellent features literally oozing out of its body moldings.

The Olympus E-P1 was Olympus's first interchangeable lens camera designed without a mirror box, AF unit, or viewfinder.

Olympus PEN E-P1 Body Only Current Best Price Used and New

Some might say it has too many things packed in there but I completely disagree. It might take you a bit to work around the menus and set the camera up your own way- and that can be daunting initially- but after you get used to the camera its like you custom ordered it your way. I'd much rather have the inconvenience of an initial break in and set up period, and hefty menus, than to not have features I want or need to make a good photograph. I say don't be a whiner, take the time to get to know the camera and it will reward you in return.

The E-P1 is loaded with fun art filters that beg you to work outside your comfort zone and try new and challenging types of photography and compositional choices. I love the Art filters, and I love the Jpegs from them. I only wish the E-P1 had the cross processing filter the E-P2 has.

You can read the specification sheet for all of the E-P1's features if my E-P1 favorites list doesn't tick any of your boxes.

Art Filters- Grainy B/W, Pinhole, and Pop Art are my three favorites (I use pop art and an odd white balance setting to simulate cross processing with success)

Custom FN button- I have mine set for one touch manual white balance, but you can choose many other things for this button.

Quick Menu- Pressing the Ok button allows you to use an active interface to change almost all settings on the E-P1 fast, and without having to menu dive. After my initial set up and a few tweaks after, I rarely have to visit the menus of the E-P1. I love this feature.

Single Auto Focus w/Manual- Allows me to auto focus and touch up manually with a magnified (7x) view of my subjects if needed. This is the most versatile AF implementation I've ever used. Olympus aren't the only one to use it but its pretty rare in camera world to have it.

Super Sonic Wave Filter- Effective elimination of dust . Olympus pioneered it, everyone else (but Sony) copied it. Love it, love it, love it. A big weight off my mind and time savings in post processing.

In body image stabilization- a huge advantage.

Dual axis level gauge keeps your horizons and axis straight and true.

Olympus Pen E-P1 Review- Style

What can I say? Gorgeous. It's a totally gorgeous camera. The Original Pen line was a work of art that followed function, truly a masterpiece of a small camera design. It's a no brainer then to have looks of that camera, and the spirit of its simplicity in a digital version.

Not many, including myself, weren't taken by the heart when we first saw it. I still love looking at the E-P1 and picking it up. Just enough style with just enough external controls- a good design balance here- a good working camera that just looks stellar. How fun.

Olympus PEN E-P1 Body Only Current Best Price Used and New

Olympus Pen E-P1 Review- Handling

Ironically the small and simple body is a great handling one. There's just enough grip to feel firm and steady in the hand even with medium sized lenses attached. I wouldn't put a 300mm f/2.8 on the front of it, but any of the smaller primes and consumer zooms feel perfect on the Pen. Controls are well laid out for the most part and after extensive use became intuitive and second nature. I really like how the E-P1 handles. It's well balanced too, cool to the touch, and the buttons and dials all have a rigidity that speaks quality and usability.

Going in and out of the coat pocket nothing on the camera body will snag or be accidentally changed. The E-P1 is especially wonderful in this regard with a small prime (like the 17mm f/2.8) attached. I think this combination is when the Pen shines the most and only wish Olympus had an array of small compact "pancake" primes in varied focal lengths for this camera.

The top of the camera is laid out just right. The on/off switch has been given its own status light (a nice touch), the shutter release and EV button all located within easy reach of the forefinger. Importantly I never accidentally switch the camera on or off or need to double check where the top controls are with a quick glance. All three buttons feel different enough to be mapped mentally- just intuitively designed and placed.

Good sized shutter release, classy on/off switch light. EV button is easy to reach and use.

Size- As is the E-P1 is a pretty small camera with a larger than average sensor- which is the main inspiration and draw to the digital Pen line. Carrying it around with the kit lens I find that it's not all that much larger than some of the more serious fixed lens compacts out there as long as you don't put on a huge lens.

Surprised but the size comparison? So was I.

Sure the X-10 has a viewfinder and the lens is slightly longer on the telephoto end, but the advantages aren't all that great in real life use. I find the fiddly on/off switch of the X10 and small grip to be distractions for one handed shooting wherein the E-P1 is brilliant for quick one handed shots- something I absolutely insist upon having in a small camera.

Olympus PEN E-P1 Body Only Current Best Price Used and New

Olympus Pen E-P1 Review- Lens Wish list, Kit Lens Quality

A 12,14,17,25,35,and 45mm set of pancake primes could conceivably travel with me nearly undetected weight or space wise, covering a full frame equivalent of 24-90mm all with fast apertures. If I were the one making decisions on the Pen lens lineup, those would all have been in the pipeline from the get go like one big matching set. Olympus should still fill in those gaps now, I say.

Back to reality, the 14-42mm kit lens is very decent and nearly covers that range in a very small form factor (although I don't like the locked zoom thingamajig- it's impractical and fiddly). Images are sharp, contrasty, and plenty good enough for my varied expectations.

Auto focus is quick and Olympus's implementation of focus by wire is nearly perfect. It's one of the few focus by wire types that I actually like- normally I prefer mechanical focus 99 times out of 100. I didn't notice its "focus by wire lag" ever- and that is how it should be.

Olympus Pen E-P1 Review- Image Quality

Olympus PEN E-P1 Body Only Current Best Price Used and New

12 megapixels will cover a vast array of needs for a photographer without taking up too much card space, processor power, or computer storage. I think 12mp is nearly perfect resolution for most tasks. The E-P1 makes gorgeous 20x30" prints uncropped at ISO's 100 and 200. Enough for me, more than enough for most. And that is without up sampling the images sizes, or even when processed from raw.

At base ISO, the E-P1 gives plenty of detail, gorgeous colors, and excellent tones right out of the camera.

Jpegs are that good at those ISO values. Raise the ISO, and like all cameras, image quality starts to diminish incrementally. Still, it's not uncalled for to get a great looking 8x10 at ISO 3,200 assuming you pay minimal attention to a proper exposure. Just watch out for banding in the shadow regions on under exposed images. Overall the Jpegs are so good there is little to capitalize on output wise by shooting raw. I always shoot Raw+Jpeg so if the Jpeg is right from the start, I might keep that instead of the raw file at times.

I'm smitten with Olympus's processing on Jpegs and the vast amount of control a user has on the output. It's all the fiddling and tweaking one could need from a camera- and that much forethought put into what users will need gives me happy thoughts about Olympus. A very photographer first oriented company.

Hint: Don't underexpose and then push your processing in Raw. Get your exposure correct the first time.

Raw- The highest ISO level that I'll use the E-P1 at and still feel totally comfortable is ISO 5,000. There is still plenty of good looking detail and low enough noise to make a great looking 10x14 or 8x10 photograph depending on how well you nailed the exposure. Some grain is present but I find it uniform and pleasing and not that much more than larger sensors at all. Take a look at the ISO 5000 shot below, shot in very dim light and hand held.

E-P1 ISO 5,000, ACR converted Raw file

Olympus PEN E-P1 Body Only Current Best Price Used and New

Image Quality Summary- Olympus has mastered the art of in camera Jpeg processing. Simply put, the E-P1 has Jpegs that often look good enough right out of the camera that I'd gladly rely on them and not have to spend time processing a raw file. Colors and contrast are next to fantastic- punchy without being overblown or oversaturated. Plenty of detail, plenty of dynamic range and tonal value.

And I just love how much control I have over the amount of noise reduction in them. Olympus gives you the option to have highly detailed Jpegs if you don't want the camera to do much or any noise removal. This is critical for digital cameras if you ask me. The user pays for a camera, they should have the choice over the image quality that comes out of it.

Raw gives me more freedom to work with my exposure (safe for about 1 full stop of over exposure), white balance, and image output size and bit depth of course, but I find that I use raw less with the E-P1 simply because I'm so happy with the Jpegs. My only wish is that Olympus had a DNG raw file option like Panasonic, Pentax, and Leica do.

Image quality on the whole is very good to excellent. I don't find there to be that much sacrifice at all regarding the smaller 4/3 sized sensor when compared to other DSLRS I have. Do I have cameras that perform with better image quality than the E-P1? Sure of course I do. Yet most of my cameras aren't as portable as the E-P1. And you know what they say about having a camera with you...

Olympus PEN E-P1 Body Only Current Best Price Used and New

Olympus Pen E-P1 Review- Le Art Filters

I like them and encourage users to try them. The trick is not to expect too much at first, just have fun with them. Later you might find like I do that the filters are not only really good, they help you to be more creative and help your mind to see a particular scene in advance with one of the 6 filters in mind.

The Pop Art filter can give some interesting color nostalgia to images.

I like the punchy oversaturated contrasty look of the Pop Art filter

Olympus PEN E-P1 Body Only Current Best Price Used and New

After a while you might develop a new way of shooting- and even a style of shooting- that you might not have ever pursued before. As I mentioned earlier in the review I have 3 favorites that I use consistently- Pop Art, Grainy b/w, and Pin Hole.

Grainy b/w used to be my favorite and only Art Filter used, but I've since moved onto the other two and indeed find uses for them. Still, Grainy b/w probably gets the most use and I only wish I had some basic control of the output. As is I still dig it, a lot.

ISO 3,200 w/Grainy b/w filter

Now that's just funny.

One good reason to like the Grainy b/w filter is that grain is the main theme, so feel free to shoot at whatever ISO you wish, just as I did above. Depending on your perception of what good image quality is, the grain can be very attractive, even on a larger print.

The pinhole Art filter is just flat out fun.

Olympus Pen E-P1 Review- Battery Life

Battery life is somewhat of a positive surprise. The supplied PS-BLS1 lithium ION battery runs at 1100mA and 8.4 volts. That isn't really a lot of battery power. And unless you like shooting blind the E-P1 relies on this battery 100% of the time off the rear LCD. That said, here's the surprise.

I was able to consistently get 4 hours of solid shooting time with the Ep1, which means about 350-700 shots off of one charge with varied power management and no use of a flash (I normally don't use flash anyways). For a small compact camera that I can take with me anywhere, that is more than enough battery life to rely on for a full day's shoot. I can comfortably manage the E-P1's battery life and know confidently that I won't run out before days end. I expected worse with the smaller battery to be honest.

Glad I was pleasantly surprised.

Olympus PEN E-P1 Body Only Current Best Price Used and New

Olympus Pen E-P1 Review- Autofocus Comments

Autofocus is plenty good even in varied lighting on the E-P1 using the latest firmware update. For street shooting and landscape shooting, the E-P1 didn't disappoint. I found it to lock on at least 95% of the time, and accurately (the key).

Disclosure #2: I always use the center AF point on any camera (well near always), and the focus/recompose method. This works for me but often takes a bit more time to do in comparison to a traditional point focus shoot method.

Therefore AF speed is more critical at times doing things my way, and so it goes without saying I desire faster AF performance. Bottom line I don't recall the E-P1 giving me fits, at any point while using it. Even when using it on some moving subjects. It's no pro DSLR but when the situation calls for one of those I just use one of those.

Also worth noting is that I am using the second generation kit lens, which is supposed to be a bit faster in focusing than the original kit lens supplied with the E-P1.

Olympus Pen E-P1 Review- History

The current E-P1 "Pen" is designed in spirit from a historic line of Pen film cameras, the last of which was the Olympus Pen "FT" model. The Pen F model was probably the most popular overall and had great sales success worldwide. It is in the spirit of this model specifically that the E-P1 was designed after.

A bit about the Pen "F" quoted from Olympus:

"The Olympus Pen F (1963) was the world's first and only half-frame system single-lens reflex camera, released in 1963. The camera featured a porro-prism finder and was the first to have a rotary titanium shutter. It could be used with a highly versatile range of 20 exchangeable lenses. The Olympus Pen F was a revolutionary camera packed with innovative features. The rotary shutter, which combined speed with durability, was reportedly perfected only after long and hard effort by Olympus engineers."

Here is an important note (in bold) about the Pen during its time. I find these comments interesting because I know a great many photographers who use the modern day Pen as a smaller substitute for their professional equipment- brand loyalty goes right out the window. Compact digital fixed lens cameras are being used less and less by Pro's as a secondary system, and Pens and mirrorless models seem to be replacing them more and more.

"The first-generation Olympus Pen camera appeared in 1959 and the design process began with the concept of creating a camera that could be sold for ¥6,000 yen. The Pen combined the superb photographic performance of the D-Zuiko lens with excellent portability, and it was also used by professional photographers as a secondary camera.

Over 17 million Pen cameras were distributed worldwide, and that's a lot of cameras. It says a lot about the design of the series, as well as it's innovations. The modern day Pen line does a good job of honoring its history both in design and market relevance, and most importantly execution.

Olympus Pen E-P1 Review: Final Conclusion
Olympus PEN E-P1 Body Only Current Best Price Used and New

For now, the E-P1 fits a solid niche in my photography. It's image quality is about a stop or two better than the best fixed lens compact cameras I've used, and it's not that much larger when using the kit lens or smaller lenses. I found very little to complain about with the E-P1 my second go (with much more extensive hands on) around with it. Simply stated the E-P1 did not frustrate me in any way, nor do I miss the convenience of a built in flash much, if at all. Like all cameras it's not perfect but that is an unattainable goal anyways.

I also found the E-P1 to be an elegant and rewarding tool to use. Something about the sound and feel of a focal plane shutter cycling in a camera so small is quite rewarding, and Olympus tuned the sound and feel of that shutter well. It's not too loud of a camera to use when volume is an issue, nor is it so quiet that I miss out on the feel and finality of the exposure. Attention to details like this really warm my heart and make using a photographic tool just that much more rewarding.

The E-P1 is highly portable, and when I don't need a viewfinder its a good choice to bring with me- otherwise I prefer a K5 with a small lens attached. It's an easy camera to carry around with a couple different lenses and goes easily in and out of a coat pocket. It's also a great camera for backpacking when you want DSLR level quality but you don't want to sacrifice lens selection. The lenses are small and light. I can bring 3 Pen lenses that will weigh less than one DSLR lens with an equivalent focal length.

Features wise, the E-P1 pleases greatly. It has a lot of features that stand out for me, namely the in body image stabilization, dual axis level gauge, art filters, in camera raw development and Jpeg tweaking. It's dust reduction system is the best in the business (alongside Pentax) and that bodes well for worry free lens changes in most environments. These are the big things that stand out for me on the E-P1 on a daily basis. I'd hate to not have any of those features.

In terms of customization The E-P1 is loaded. Olympus may have a vast menu system but the amount of control and freedom that gives a user is almost unsurpassed by other manufactures. This I believe is one reason why some users prefer Olympus over other popular makes and models like Canon and Nikon. And while those two makes surely offer more than some others do, I think Olympus holds the record for customization amongst manufacturers. If anything its a three way tie between them, Pentax, and Ricoh.

I could write a book on the amount of control that the E-P1 gives the user over shooting parameters etc., but this is a review, not a book.

Having used many of the mirrorless models (but not all) I'm surprised that the E-P1 even though older than some, comes out at the top of the list for me. I was sure a Panasonic with its well organized menu system and black serious looks would win out, but so far the E-P1 has them all beat. I'm not really sure why that is either. Maybe photography is a bit more about the style of your equipment and how it makes you feel when you use it than I realized. No that isn't it.

Simply put the E-P1 is a well designed and handling camera that offers a ton of control wrapped up in a stylish unassuming exterior that produces beautiful images. And for the price you can get one for nowadays, even brand new, this camera is simply a steal. This is one of the primary motivations for reviewing the E-P1 years after its introduction, but certainly not the only one. I'm glad I gave the E-P1 a second shot.

E-P1- Highly Recommended

(Especially for today's new and used prices)

Olympus PEN E-P1 Body Only Current Best Price Used and New

As always, be safe and happy shooting.

-Carl Garrard

Sony Alpha 500mm G SSM Telephoto Announced

2012-02-08T02:25:00.000-08:00

Sony Alpha 500mm G SSM Telephoto Announced
February 2012, Carl Garrard

Today Sony has silently announced the arrival of the 500mm f/4 G SSM Super Telephoto lens for Alpha DSLR's and SLT model cameras. This lens has been on display in various forms at photo trade shows for the last 3-4 years and finally makes it to the production line. Just in time for the new pro camera's coming later on this year, I'd say. This lens marks Sony's commitment to higher end camera models and shows they are more serious about DSLRS/SLT's than all the talk over the last 6 years. Read on for the full press announcement.
Sony Lens Deals

Finally Sony Alpha shooters can rejoice with the announcement of a high end fully professional lens in a much desired focal length and comparatively bright aperture lens. The wait was long and painful but now finally shows its going to be available this year, in a month. Now all of those who have been pining for this lens can fork out the cash for it (price for US customers tbd soon) and show us how good it really is. Right now it looks as though the outlay for this lens is going to come in around $10,000.00- $12,000.00 USD.

Cheers!

-Carl Garrard

Sony Lens Deals

From Sony Europe:
Closer encounters with new 500mm super-telephoto
08 February 2012

Rugged, pro-focused SAL500F40G lens from Sony for A-mount SLT and DSLR cameras

* Longest-ever focal length G Lens from Sony
* Bright F4.0 aperture for superior light gathering
* Nano AR Coating on optical surfaces for flawless still images and HD video
* Compatible with SteadyShot INSIDE featured in all a cameras
* New SSM drive circuit for quick, accurate autofocus
* Rugged dust- and moisture-resistant design: ideal partner for SLT-A77
* Enhanced handling and operability

SAL500F40G

Serious photographers can pull distant subjects closer with a powerful new 500mm (equivalent to 750mm with APS-C camera) super-telephoto lens from Sony.

The SAL500F40G is ideal for sports, wildlife and demanding imaging applications that require extreme magnification with uncompromised optical performance.

The SAL500F40G is the longest fixed focal length G Lens from Sony to date. Whether you’re shooting detail-packed stills or Full HD video, you’ll enjoy frame-filling close-ups with flawless resolution. With a bright F4.0 maximum aperture, its excellent light gathering power allows the use of faster shutter speeds to broaden shooting opportunities.

The ruggedly-engineered SAL500F40G copes effortlessly with tough photo assignments. Focusing ring and front/rear joints are protected by interlocking seals that shrug off dust and moisture, even when you’re shooting outdoors in driving rain or arid desert conditions. This weather-resistant design makes the SAL500F40G a perfect partner for the SLT-A77 (a77) Translucent Mirror camera that offers serious photographers similarly ruggedized performance.

Like all other A-mount lenses, the SAL500F40G is compatible with the SteadyShot INSIDE image stabilisation system that’s featured in every a Translucent Mirror and DSLR camera from Sony. Depending on shooting conditions, camera model and settings, you’ll enjoy camera-shake blur compensation that’s equivalent to approximately 4.5 stops (max.) in shutter speed.

Inside, the advanced optical design of the SAL500F40G includes 11 elements in 10 groups, including three ED (Extra-low Dispersion) glass elements. It’s also the first G Lens from Sony to feature advanced new coating process that ensures crisper, clearer images. Exclusive to Sony, the ground-breaking Nano AR Coating process cuts internal reflections by up to 80% compared with previous models. Resulting images are brilliantly crisp and clear, with dramatically reduced lens flare and ghosting. Flare is reduced still further by the carbon fibre lens hood that’s lined with black velvet fibres to absorb incident light.

Razor-sharp autofocus performance makes the SAL500F40G ideal for capturing an athlete’s explosive movements or the unpredictable flutter of wild birds. The high-torque SSM (Super Sonic wave Motor) features a new drive circuit, ensures rapid, responsive AF with up to 4x faster object tracking than conventional Sony lenses.

Serious enthusiasts will also welcome a strong emphasis on enhanced handling and ergonomics. Four focus hold buttons are spaced around the lens barrel for easy operation in any position. They’re complemented by a two-way DMF (Direct Manual Focus) mode button and focus range switch for positive, fumble-free operation when you’re shooting under pressure.

Built to order, the SAL500F40G super-telephoto lens from Sony is available in Europe from late March2012.

Sony Lens Deals

Technical specifications

Key Specifications


500mm F4 G SSM

Min. aperture


F32

No. of aperture blades


9 (Circular aperture)

Max. magnification ratio


0.135

Min. focus


4.0 m

Filter diameter


42 mm (Exclusive)

Dimensions

(Diam. X L)


140 x 367.5 mm

Weight (approx.)


3460 g

Teleconverter compatibility


Yes (1.4x: AF and MF Mode, 2x: MF mode)

Dust and moisture resistance


Yes

Pentax K-01: Reviewing the New Direction

2012-02-02T15:53:00.000-08:00

Pentax K-01: Reviewing the New Direction
February 2012- Carl Garrard

Pentax K-01- Reviewing the New Direction: My first thought when holding a K-01 at CES was "whoa.". Certainly Marc Newson makes striking designs but I never thought I'd see him co-design a camera. But lately there is a market for looks in just about every device in electronics on the market, and photographic manufacturers have started to give that crowd something to chew on. Not everybody wants an all black camera that reminds them of Darth Vader ( I would), some would like a bit of style to tote around. Well Pentax listened to that crowd, now they need to get one in your hands.

Pentax K01 Price Check

I tend to be the kind of person that likes my cameras style to follow function, but I know I am in the minority of the camera market. Therefore when I first saw the K-01 I reminded myself of this, and tried to think of the type of people that I know that would like one. Immediately I could think of at least a dozen people who would drool over it, but none of those individuals would be enthusiasts or camera geeks like myself. Many of them would be women or very style conscious friends of mine. Then, the K-01 started to make sense.

Ok I admit, it looks a little bit like Darth Vader in this image.

Pentax knows the camera market is very crowded, and they also know they would like to get new users into the brand. It is the style conscious crowd they are after, but, the K-01 isn't all about style. There is a lot more to this camera than meets the eye. And no it isn't traditional in design. But that doesn't mean that's a bad thing. I say tomato, you say tomato. It's all good. All's fair in love and war.

Pentax K01 Price Check

In the hand the K-01 felt simple, organized, and straight forward. Controls were colorfully marked (see below) and in very logical easy to reach locations for the most part. Auto focus was pretty quick on the pre-production units I handled, and that was in lower artificial light. Seemed pretty darn accurate to me as well. I'm sure production units will indeed improve and refine upon the pre-production units although the ones I handled seemed finished to me. Heft was good, comfortable and sure footed in the hand, and plenty of room for the hand without being too large. The new small pancake lens is just about right for street photography and keeps the K-01 down in size overall (and weight).

Yep, that's a bold design and color. And I want that 40mm lens for backpacking!

They come loaded with good features, good video, and fun artistic filters for the new generation to play around with. A simple camera that takes excellent photographs (we know that 16mp sensor is one of the, if not the, finest APS-C sensor to have been put into a DSLR to date).

Pentax K01 Price Check

You have to admit, that's a neat looking design. Yes, I know it's different.

I can see a crowd of teenagers I know using a few K-01's in different colors having a ball with photography in just about any social situation without getting frustrated about its design or overwhelming feature set. Pentax has struck a good balance of simplicity yet still retaining a good core set of features for the K-01. The new 40mm lens is so tiny and simple (and odd looking), it seems a perfect fit for the K-01. I'm not allowed to share the images I made with the pre-production units but what I reviewed on the camera and monitor looked quite fantastic.

Pentax K01 Price Check

No finder, but simple and straight forward handling and controls (nice screen too)

My only gripe right out of the gate I suppose for the K-01 is that there is no eye-level viewfinder, but that shouldn't matter to 90% of people I see taking pictures at arms length. The extra weight of the K-01, built in image stabilization, and better higher ISO performance than most of the mirrorless cameras out there should ensure a lot more sharp and clean looking images for those shooters. Ok, not terrible given the crowd it courts, but of course my personal preference would be to have a finder or at least an option for an EVF.

If I had my choice between a black K-01 or a Nikon V/J-1, I'd take the K-01 any day over those cameras with its much superior sensor and sensible Pentax menu system. In fact I might even take one over the Sony NEX-7. Yes you think I'm mad, but I'm adamant about the fact that I don't need 24mp for an every day shooting camera, plus, I really don't like the NEX7's menu system (not to be confused with the external controls which are really really nice). The finder in the NEX-7 although stellar, isn't enough to persuade me to fork out that much money.

I've handled all of the camera's I've mentioned in this preview of sorts, and holding and operating a camera is far and away much more revealing than reading about them. The K-01 although totally radical in its appearance, is a sensible and easy to use daily shooter with some very intelligently placed (and proven) decision making under its skin.

Check out the entire spec sheet and hold a K-01 in your hands before you judge it. Keep an open mind and don't be afraid to have fun or be a bit different in the crowd. Although I'm not going to run out and purchase a K-01 tomorrow, I can see getting one for a family camera and getting a lot of great images with it. Plus it will be the most interesting looking camera on my display shelf at home (when it isn't being used) and a great conversational piece when company is over.

If the K-01 interests you, I highly recommend B&H Photo and Video as a retailer. They have the best service and very competitive prices. You can check on the K-01's availability here: Pentax K01 Price Check

Keep a lookout for a full review of the Pentax K-01 on Photographic Central. In the meantime enjoy a full compliment of Specifications and Press Announcement appetizers, compliments of the house.

-Carl Garrard

Pentax K-01 Features Etc.

PENTAX K-01 Features and Design

Marc Newson commissioned design

PENTAX commissioned designer Marc Newson to develop the contemporary, timeless design of the PENTAX K-01’s body. Newson’s retro-meets-contemporary design is evident in all elements of the

K-01 including the product logo, camera strap (included) and start-up screen that appears when the K-01 is powered on. Buttons, shutter release and control levers are purposefully placed and accented with colors for instant recognition including a vibrant red button for Video Recording and a brilliant green for the PENTAX Green button. The mode dial and power switch are made of high-quality aluminum alloy, while the memory card slot and grip connectors are covered with protective rubber. The design optimizes both form and function on a camera that is as suitable on a photo shoot as it is in a museum display that honors design as art.

Exceptional image quality

The PENTAX K-01 is equipped with a newly developed CMOS image sensor measuring 23.7 millimeters by 15.7 millimeters. With approximately 16.28 effective megapixels, this sensor assures high-speed readout of image data signals. The K-01 also features a new “PRIME M” imaging engine to assure first-rate movie recording performance in a digital interchangeable lens camera. The K-01 offers an extra-wide sensitivity range — from ISO 100 to ISO 12800, or to ISO 25600 when expanded using a custom function — while minimizing digital noise at all sensitivity levels.

Compatibility with every PENTAX K-mount lens ever made

The PENTAX K-01 accepts a wide array of PENTAX interchangeable K-mount lenses* so users may choose the most suitable lens for a particular subject or scene.

*K-, KA- KAF, KAF2, and KAF3- mount lenses can be used with the PENTAX K-01, while screw-mount lenses, 645-system lenses and 67-system lenses can be used with an adapter. Some functions may not be available on certain lenses.

High-quality video recording

The PENTAX K-01 features Full HD video-recording function to capture high-quality movie clips in 1080p resolution (1920 x 1080 pixels). H.264 compression format offers a choice of frame rate (30, 25 or 24 frames per second) to accommodate user-specific applications. Two new features facilitate video recording:

· a video recording button for instant pushbutton start

· and a stereo microphone with audio gain control and wind noise suppression for more realistic sound

Video record options are flexible, offering the photographer to select aperture or shutter exposure control, and PENTAX Shake Reduction helps stabilize captured video. Users may add personal touches to recorded clips using various Custom Image modes or record subjects in a series of video clips with the Interval Movie Shooting mode. The PENTAX K-01 also comes with an HDMI terminal (which allows the user to simultaneously output both Full HD movie clips and stereo sound) as well as an external microphone input terminal.

New-generation High Dynamic Range (HDR) mode

The High Dynamic Range mode (which produces one extra-wide-gamut blended photo from three images taken at different exposure levels) is accessible with a turn of the mode dial and allows users to select one of three exposure increments as well as the level of effect, while an automatic position adjustment function assures precise alignment of three images even when they are taken with a handheld K-01.

Pentax K01 Price Check

Custom Image Modes and Digital Filters for personalized expression

The PENTAX K-01’s Custom Image modes allow users to select the most appropriate finishing touch for a particular subject or scene to express the photographer’s creative intention or taste. Two of the 11 Custom Images functions are Bleach Bypass to create a dramatic visual effect used in motion pictures and Cross Process to produce a fanciful image with unusual colors. The K-01 also features 19 distinctive digital filters including Miniature to convert an actual scene into an image full of miniature models for an unusual visual effect. Users may be more creative by applying multiple digital filters to a single image.

Smooth, quiet, high-speed burst shooting

The PENTAX K-01’s high-speed burst shooting mode comes in handy when preserving the action of fast-moving subjects in a series of images, since it captures up to six frames per second. With its mirrorless construction, the K-01 offers exceptionally silent mechanical operation that allows users to concentrate on photography even when shooting such subjects as stage performances.

Large, wide-angle 3.0 inch LCD monitor with approx. 921,000 dots

The PENTAX K-01 features a large, easy-to-view, high-resolution 3.0 inch color LCD monitor with approximately 921,000 dots. The wide-view design assures a clear view of the monitor from approximately 170 degrees horizontally and vertically, which is useful in low- and high-angle shooting.

PENTAX-original Shake Reduction (SR) mechanism for sharp, blur-free images

The PENTAX K-01 incorporates the PENTAX-developed SR mechanism, which effectively reduces annoying camera shake by approximately four shutter steps. Usable with all compatible lenses, including those produced for film-format SLR cameras, this mechanism produces sharp, blur-free images even under demanding conditions that are prone to camera shake, such as when using a telephoto lens, shooting in the dark without flash illumination, or capturing landscapes in the twilight. Equipped with the PENTAX O-GPS1 device (an optional GPS unit launched in June 2011), the K-01’s SR system helps astrophotographers track and shoot celestial bodies.

Effortless, user-friendly Auto Picture and Scene modes

The PENTAX K-01 features the PENTAX-original, user-friendly Auto Picture mode, which selects the most appropriate shooting mode for a given subject or scene from Portrait, Landscape, Macro and other distinctive shooting modes, while optimizing all camera settings, such as aperture, shutter speed, white balance, saturation, contrast and sharpness. This allows a new photographer to concentrate on image composition and shutter opportunity. The K-01 also offers 19 different Scene modes to help simplify the photography of challenging subjects or scenes such as Night Scene Portrait mode, Pet mode, and Backlight Silhouette mode. Users simply choose a corresponding icon on the camera’s LCD monitor.

Additional features

-TTL image-sensor metering, with a choice of multi-segment, center-weighted and spot modes

-Contrast-detection autofocus system with 81 selectable focus points

-DR (Dust Removal) mechanism to shake off dust adhering to the surface of the CMOS image sensor

-CTE white-balance control mode to emphasize the predominant color of a particular scene, such as the sunset

-A choice of four image size ratios (4:3, 3:2, 16:9 and 1:1) to accommodate different subjects and applications

-Multi-exposure mode (up to nine exposures on a single image), with an auto exposure compensation function

-Interval shooting mode, useful in time lapse recording of landscapes and flowers/plants from an exact same location and angle

-Compatibility with the new-standard SDXC and UHS Speed Class 1 memory cards

-SILKYPIX Developer Studio 3.0 for PENTAX RAW image data development (developed by Ichikawa Soft Laboratory) included; in-camera RAW image development also available

Pentax K01 Price CheckFull Press Release:

PENTAX RICOH IMAGING AMERICAS CORPORATION INTRODUCES

PENTAX K-01 DESIGNED BY MARC NEWSON

DENVER, CO February 2, 2012…When is a camera more than a photographer’s tool? The answer is when it’s an object designed by Marc Newson, one of the most acclaimed and influential contemporary designers.

PENTAX RICOH IMAGING AMERICAS CORPORATION introduces the Marc Newson designed PENTAX K-01* interchangeable lens camera (ILC). The new PENTAX K-01 is another bold effort from the manufacturer that is known for pushing camera size, color, durability, and now, design, to the limit. Widely known for designing a wide range of objects from furniture and household products to bicycles, cars, aircraft and yachts, Marc Newson has had collected works displayed in The Museum of Modern Art (MoMA) in New York City and many other major museums.

*pronounced ‘kay- zero-one’

The contemporary, timeless K-01 houses a full array of advanced functions and user-friendly features in a camera body with remarkable form and function. The elimination of an optical viewfinder and quick-return mirror gave Newson more freedom in designing the camera body, and the K-01 showcases Newson originality in every detail. Available in black, white and Newson’s signature yellow colors, the K-01 features the designer’s autograph logo stamp on the bottom of each camera.

The famed designer’s touch also is evident in a new smc PENTAX-DA 40mm F2.8 XS interchangeable lens. As the world’s thinnest interchangeable lens,* the new 40mm combines with the PENTAX K-01 camera body to deliver a unique ILC system that is perfect for photographers who are as keen on design as they are on performance. Together, the K-01 and 40mm lens system mark the intersection where high technology and high design meet.

Key features of the PENTAX K-01 include:

· Durable machined aluminum frame under a stylish black, white, or yellow exterior.

· PENTAX mirrorless body design is compatible with 25+ million PENTAX K-mount lenses spanning decades.

· Large 16 megapixel APS-C sized CMOS image sensor with low noise image capture and multiple aspect ratios.

· Bright, high resolution 3 inch LCD with 920,000 dots.

· Full HD 1080p video capture at 30 FPS with h.264 compression (60 FPS at 720p) features outstanding video capture flexibility.

· Sensor-shift PENTAX Shake and Dust Reduction system is compatible with every mounted PENTAX lens.

· Fast 6 FPS burst mode is ideal for fast-action photography.

· Flexible ISO range of 100-25600 ensures gorgeous noise-free imaging in any lighting condition.

· Focus peaking mode provides fast and accurate manual focusing for critical focus applications.

* The world’s thinnest interchangeable lens for lens-interchangeable digital SLR cameras, as of February 1, 2012 (based on PENTAX’s research).

The K-01 will be available in yellow, black and white in March 2012 for $749.95USD (body only) and $899.95USD (lens kit including new DA 40mm XS) in Marc Newson designed packaging and with the Marc Newson designed strap. The smc PENTAX-DA 40mm F2.8 XS unifocal interchangeable standard lens will ship at the same time for $249.95 USD.

Additional information is available here: www.pentaximaging.com/news and a video interview with Mark Newson regarding the K-01design may be viewed here: www.youtube.com/pentaxian1 Images of other Marc Newson creations are available here.

PENTAX is a leader in the production of a variety of adventure ready digital cameras including weather-resistant digital SLRs and stylish, compact, waterproof cameras, as well as lenses, flash units, binoculars, scopes, and eyepieces. For more than 90 years, PENTAX has developed durable, reliable products that meet the needs of adventurous consumers and businesses. With new headquarters in Denver, Colorado, PENTAX RICOH IMAGING AMERICAS CORPORATION is a subsidiary of PENTAX RICOH IMAGING COMPANY, LTD. effective October 1, 2011. Additional details may be found here: www.pentaximaging.com/news

# # #

Fujifilm X10 Review Coming Soon

2012-02-01T17:04:00.000-08:00

Fujifilm X10 Review Coming Soon
Fujifilm X10 Digital Camera (Black)

Yep the Fuji X10 has finally arrived into my hands. I haven't even opened the box yet but I am VERY excited to get this camera in the field. I had a chance to meet up with Fujifilm at CES in Las Vegas and handle all of the new cameras they announced. As well we chatted a lot about future developments, the XPro1 and other topics I shall not discuss! Fujifilm has been making very interesting cameras of late and this one in particular is special to be because I called for a camera almost exactly like this a couple years before its announcement.

Fujifilm X10 Digital Camera (Black)
The X10's specifications are almost identical to the "dream compact" I envisioned a couple years back so therefore I'm a bit more excited than usual to get it out there and see what kind of camera it translates in practical use. Stay tuned for much more here on Photographic Central about the X10's performance in a full review.

Cheers!

-Carl

X10 Best Price Check at BH!

Pentax Introduces New Optio VS20 Dual Position Compact and 20X Zoom

2012-01-25T14:00:00.000-08:00

Pentax's Optio VS20 20X Zoom w/Vertical Shooting Enhancements
January 25th, 2011- Carl Garrard

Pentax's Optio VS20 kind of breaks new ground for portrait photographers by being the first ever compact fixed lens camera to include an extra zoom lever and shutter release designed solely to aid in portraiture/vertical shooting. The VS20 also includes a secondary grip on the face plate that further aids in vertical shooting ease of use. Besides these stand out features, the VS20 is equipped with a 20x 28-560mm f/3.1-f4.8 (faster aperture than the usual superzoom) equivalent zoom lens and a 16mp 1 2/3" CCD sensor (that's right, it's not a BSI CMOS sensor).

Pentax VS20 Price Check

Also on it's brag sheet: The VS20 sports a wide 100-6,400 ISO range, sensor shift image stabilization, 720p HD video, 3" 460K dot LCD screen, 1cm macro shooting, digital horizon level, IR remote compatible, a host of Pentax's digital special effects filters, and much more. Pentax's VS20 will retail for $249.99 and is available in Black and White variants. Availability- February 2012.

My Thoughts on the Pentax VS20

With the standard press release jargon out of the way, I'm curious about the VS20. First of all, the choice of a CCD sensor could be a great decision for better quality low ISO shots- CCD's typically have better output at low ISO values than BSI CMOS sensors. While I did have a chance to handle the VS20 I wasn't allowed to make any images yet since the units I handled were pre-production types. I have to say that the inclusion of the extra zoom lever and shutter release is a brilliant idea, it promotes using different types of compositions, and makes me wonder why nobody thought of it before!

The lens at least on the spec sheet, is quite nice and includes a brighter than average f3.1-4.8 aperture range- atypical for superzoom cameras. Starting off at 28mm on the wide end should ensure better optical performance in the barrel distortion category and is plenty wide for most circumstances- 560mm on the long end is quite enough for just about any circumstance and I'm glad Pentax has real sensor shift image stabilization included.

The added grip on the left side of the camera in my mind is a very thoughtful consideration that only Pentax seems to think of (kudos Pentax). This tells me that a photographer is designing most of their cameras over there, the kind that pays attention to details and form following function priorities.

The wide ISO range and higher than average 1/2,500th top shutter speed will also come in handy for low light and brighter lit scene situations. I'm not a huge fan of compacts without PASM modes but for $249.00 this package looks like a fun little deal and I can't wait to give it a real life try out- seems to be a perfect lightweight versatile camera for short photography sessions when weight and size are serious considerations.

One more note, if you accidently leave your SD card in your computer, the VS20 has 16mb of memory built in, enough memory for at least a few photographs at full resolution, or a dozen or so at smaller resolutions- heh, better than nothing. For a full specifications list and the entire press release from Pentax, just continue on browsing below.

Pentax VS20 Price Check

Be sure to come back sometime to read a full review of the Pentax VS20 at Photographic-Central.

Cheers,
-Carl Garrard

PENTAX RICOH IMAGING AMERICAS CORPORATION

INTRODUCES OPTIO VS20 WITH 20X ZOOM AND VERTICAL SHOOTING ENHANCEMENTS

(DENVER, CO) January 25, 2012…PENTAX RICOH IMAGING AMERICAS CORPORATION announced the Optio VS20 digital compact camera today. This versatile model features a high-power 20X optical zoom lens (28-560mm equivalent) and a second vertical shutter-release button with zoom lever for effortless portrait oriented shooting. A vertical shutter release and zoom lever give the Optio VS20 a unique feature typically found on DSLR cameras, which lends itself to added stability at long optical zooms, as well as comfortable grip for such images as portraits, high rise buildings and architecture, monuments, trees, sports action, and panorama frames. The Optio VS20 even includes a vertical tripod socket for outstanding stabilized vertical support. A new Handheld Night Snap mode also is introduced to capture beautiful images with minimal blur and noise even in low light settings.

The Optio VS20 body is built in a compact digital form factor, and offers several other advanced functions and user-friendly features including:

· A 16.0 megapixel CCD sensor with mechanical sensor shift Shake Reduction for stabilized, blur-free images even in low lighting

· A large 3.0 inch, wide view (approx. 170 degrees) LCD for easy image capture and review

· Auto Picture mode that automatically chooses the best camera settings

· Triple Shake Reduction (SR) for sharp, blur-free images and video

· Other new scene modes including Fish-eye, Sketch modes and a Stretch filter for more creative options

The PENTAX Optio VS20 will be available in noble black and brilliant white on www.pentaxwebstore.com for $249.95 in February 2012.

# # #

PENTAX MEDIA CONTACT:

Michelle Martin

303.728.0224

michelle.martin@prac.pentax.com

CONSUMER CONTACT:

pentaxinfo@pentax.com

1-800-877-0155

www.pentaximaging.com

http://m.pentaximaging.com

www.facebook.com/pentax

www.youtube.com/pentaxian1

www.pentaxphotogallery.com

PENTAX OPTIO VS20 FACT SHEET

The 20X optical zoom lens with 28mm wide-angle coverage handles a variety of subjects and scenes

The Optio VS20 features a high-performance, extra-powerful 20X optical zoom lens covering focal lengths from 28mm wide angle to 560mm super-telephoto (equivalent in the 35mm format). The extra-wide zoom range captures images in a wide range of subjects and scenes from landscapes to sports events. A high-quality Macro mode shoots down to just one centimeter from the subject. An Intelligent Zoom function further extends the zoom range to approximately 144X to cover the focal length of an approximately 4032mm super-telephoto lens (in the 35mm format) without compromising image quality.

Effortless, comfortable vertical-position shooting with image orientation shift and vertical position tripod socket

The Optio VS20 enhances vertical shooting three ways:

· An extra shutter-release button and a second zoom lever offers a better grip for vertical shots

· Automatic shift of image display orientation (from horizontal landscape to vertical portrait by detecting vertical alignment with its orientation sensor)

· A vertical-position tripod socket to securely set the camera up with a lighter, more portable tripod

Exceptional image quality

With 16.0 effective megapixels, a high-performance smc PENTAX zoom lens, and a CCD shift Shake Reduction (SR) mechanism, the Optio VS20 delivers well-defined, high-quality images. Even when enlarged, images offer high-resolution prints with outstanding edge-to-edge sharpness.

Large 3.0 inch LCD monitor

The Optio VS20 features an HVGA high-resolution 3.0 inch color LCD monitor with approximately 460,000 dots. Since this extra-large monitor provides a clear view of images and menus, the photographer can quickly and efficiently check captured images and menu settings. In addition, the monitor is treated with AG (Anti-Glare) coating to improve visibility by minimizing reflections and blocking stains such as fingerprints.

Triple Shake Reduction for sharp, blur-free images

Sensor-shift-type Shake Reduction (SR) mechanism

The advanced sensor shift SR mechanism produces sharp, blur-free images even under shake-prone shooting conditions such as when shooting with a telephoto lens, at sunset or indoors with low-lighting.

Digital SR mode*

During still-image shooting, the Optio VS20 automatically raises its sensitivity to as high as ISO 6400 by detecting the subject’s brightness level. This user-friendly feature allows photographers to capture the subject at faster shutter speeds to minimize the risk of camera shake and subject shake.

Movie SR mode**

During movie recording, the Movie SR mode effectively compensates for camera shake to produce beautiful, stabilized movie clips.

*When the Digital SR mode is selected, the recorded size is fixed at five megapixels (2592 x 1944 pixels).

** When the Movie SR mode is selected, the angle of view becomes narrower than normal shooting.

Automatic selection of the most appropriate shooting mode

The Optio VS20 features the PENTAX-developed Auto Picture mode, which automatically selects the most appropriate shooting mode for a given subject or scene by accurately assessing various photographic conditions over the entire image field. This user-friendly mode selects one of 15 shooting modes including Blue Sky and Sunset among others, and optimizes various camera settings (such as sensitivity and shutter speed) for the best results with minimal effort.

New Scene and Filter modes for greater creative options

Thirteen user-friendly scene modes allow the photographer to effortlessly capture beautiful images simply by selecting a desired scene mode for a given subject or scene. Handheld Night Snap for low light allows photographers to take pictures while confirming the level of filtering effect on the LCD monitor, and Fish-eye and Sketch modes offer creative visual effects for more personalized expression. A New Stretch filter extends a particular portion of an image for an eye-catching special effect.

Upgraded auto face recognition function with a new face recall function

The Optio VS20 Face Recognition AF & AE function offers a new Face Recall function that prioritizes a pre-registered face when optimizing focus and exposure settings, which comes in handy when taking group shots. To assist the photographer in capturing beautiful, lively snapshots, the Optio VS20 also provides other user-friendly features including the Smile Capture mode that automatically releases the shutter the moment the camera detects the subject’s smile, and the Blink Detection function that warns the photographer when the subject’s eyes close at the time of shutter release.

High-quality HDTV movie recording with pushbutton start

The Optio VS20 captures beautiful, high-definition movie clips (1280 x 720 pixels).* Since the camera provides an independent movie recording button on its back panel, the user can instantly start recording movie clips from any shooting mode. It also features three new digital filters (Fish-eye, Miniature and Sketch mode) to allow the user to experiment with more diversified visual expressions.

*When the Optio VS20’s AV output terminal is used, movie clips are output as normal image-size data. If the user wishes to play back movie clips at high-definition TV proportions (1280 x 720 pixels), the data must be transferred to a personal computer for playback.

Additional features:

· Digital level and 48 segment grid display functions for easy confirmation of horizontal and vertical alignment

· Wireless remote-control shooting using an optional PENTAX infrared remote control

· Choice of three image aspect ratios (4:3, 16:9 and 1:1) to accommodate different applications

· D-Range setting to prevent whitewashed (overexposed) and blacked-out (underexposed) areas in an image

· Digital Panorama mode to effortlessly create a single panoramic picture from as many as three images

· Neck strap included

· Image viewing, editing and filing software included: MediaImpression 3.1 for PENTAX (Windows version compatible with Windows 7) and MediaImpression 2.1 for PENTAX (Macintosh version compatible with Mac OS X 10.7)

Windows is a registered trademark of Microsoft Corporation in the United States and other countries.

This product supports PRINT Image Matching III. PRINT Image Matching enabled digital still cameras, printers and software help photographers to produce images more faithful to their intentions. Some functions are not available on printers that are not PRINT Image Matching III compliant.

Print Image Matching is a trademark of Seiko Epson Corporation.

The PRINT Image Matching logo is a trademark of Seiko Epson Corporation.

Macintosh and Mac OS are trademarks of Apple Inc., registered in the U.S. and other countries.

All other brands or product names are trademarks or registered trademarks of their respective companies.

Design and Specifications are subject to change without notice.

Pentax VS20 Price Check

Sony Cybershot DSC-V3 Review- A Cybershot Powerhouse

2012-01-16T20:47:00.000-08:00

Sony Cybershot DSC-V3 Review- A Cybershot Powerhouse
January 2012, Carl Garrard
Sony DSC-V3 Price Check

Sony V3 Review: As Canon clearly shows with the G1X, the age of the enthusiast level rangefinder styled compact is far from dead. Sony's DSC-V3 was the last of its kind, unfortunately, and one has to wonder just how far along that camera's successor would be now if Sony had only continued the V series lineup. Although the V series is seemingly a forgotten line for Sony, it still remains a unique and interesting camera some 7 years after it's introduction for some shooters like me. I've even made Sony a V5 blueprint/concept in this review (complete with image!).

Sony DSC-V3 Price Check

Sony V3 Review: Introduction, the Basics

In Sony's Cybershot glory days the DSC-V3 was a successor to the popular and capable DSC-V-1, and improved greatly upon that design. Both shared a similar Carl Zeiss lens but just about everything else was changed or upgraded on the V3. Sony's V3 is a 7.2mp rangefinder styled full featured prosumer compact camera that sports a wide range of unique features and full 14 bit raw capability (yep you heard right, a Sony compact that has raw). On the front of the V3 you see the heart of its design, a 34-136mm f/2.8-4 Carl Zeiss Vario-Sonnar lens with an automatic lens cover which is surrounded by a thick aluminum accessory lens adapter ring. It also sports an optical viewfinder and some other surprises which I will go into more on the rest of the review.

Sony Cybershot DSC-V3 Physical Views

Sony DSC-V3 Price Check

Front- Note: AF Illuminator, IR lamp, Optical Viewfinder, Flash

Rear-Note: Manual controls galore, and dual media card switch

3/4 View- Nice big grip and Rangefinder no-nonsense styling

Sony V3 Review: How it competes today: The Sony V3 still has a competitive feature set nearly 8 years after its introduction, and in the digital age that is nearly a lifetime. In the category it competes in there is a checklist that enthusiasts look for as a staple for a camera of this type that the Sony V3 includes, such as:

Optical Viewfinder (larger view than most compacts)
Large LCD screen (2.5" is plenty)
Many external Manual controls
Raw capability (V3 records in 14 bit raw here)
Versatile Sharp Lens (Carl Zeiss here) w/ability to use filters/adapters
Good grip
Flash Hot Shoe (the open type, not current proprietary type Sony uses)
Larger than usual compact sensor (1 1/8" type, bigger than most small compacts)
Excellent low ISO image quality and better than average high ISO image quality
Small enough to fit into coat pocket
Excellent Build Quality (magnesium body panels and some metal controls)

Sony DSC-V3 Price Check

Sony V3 Review: Unique Features/Unique to Sony

Boasting a plethora of unique features, it simply baffles my mind why this camera was not continued in Sony's lineup. The V3's unique features are its Hologram AF illuminator (laser grid pattern auto focus assist lamp), Night shot infrared mode (more on this in a bit), and Night shot framing mode. Unique to Sony compacts are its 14 bit raw files (only Sony compact ever to boast raw) and dual media card slots (Sony memory stick and a compact flash slot). Also worth mentioning are its larger than normal 1 1/8" Super HAD CCD 7.2mp sensor, and big sharp f2.8-f4 Carl Zeiss Vario-Sonnar lens.

Sony DSC-V3 Showing its Hologram IR Lamp illuminating (purple light)

Sony V3 Review: Why I like the Sony V3

As a reviewer/photographer/consumer alike, I'm an enthusiast at heart and I am especially fond of rangefinder styled cameras and rangefinders as an alternative camera to a DSLR. I find these kind of cameras especially appealing for travel and lightweight duty in a backpack which the V3 seems to serve especially well. Today they are just as attractive as an optional camera as they have ever been which gives testament and market validity to the rangefinder design. Rangefinders simply aren't going away.

Sony's V3 is unique amongst it's own herd of sheep. It is the only compact camera Sony ever made that included the capability to shoot raw, and the only compact Sony camera ever that has 14bit A/D conversion.

The V3 also included technologies that were prevalent in Sony's Cybershot cameras of the time such as a laser grid AF illumination lamp (Sony calls it Hologram AF) and an Infrared mode that does dual duty: First as an IR only shot (Nightshot IR), and the other used to aid autofocus in complete darkness -without the use of an AF illumination lamp. Sony called it "Nightframing".

I've seen some funny stuff on the internet and TV with "ghost hunters" using the V3 as a tool to take pictures of poltergeist and other strange phenomena in complete darkness. Um, believe whatever you will about these stories, but the fact remains the V3 can indeed see in the dark. I'll leave it at that.

Nightframing allows the V3 to frame and focus in complete darkness without a subject seeing any light transmitted from the camera. The photographer can view the subject in full infrared however when the final picture is made, it is made in the normal color spectrum of light.

How does the V3 shoot using IR? Simply put the V3 has a movable IR filter in camera. Most cameras have a permanent IR filter over the image sensor blocking IR light. When the V3 is in Nightframing or Nightshot modes, the IR filter is moved out of the way of the sensor automatically- letting a full spectrum range of light pass into the sensor surface.

IR light is not filtered in this mode. To help during no light situations Sony designed the V3 with an IR lamp on the camera to illuminate subjects in complete darkness- essentially giving the V3 (and the photographer watching the LCD screen) night vision. Below is a sample of what you see on screen and how the final image looks- the green tinge is due to the IR light and how the camera processes that "color".

DSC-V3 Nightshot Mode

Sony used this IR system on a few cameras, namely the F (F717/F828) and V (V1/V3) series only. It's a brilliant system that is gone on all future Cybershot cameras, as was the hologram AF assist. Both were removed to save cost on future cameras. I don't know about you, but I'd gladly pay the extra fee for these features. Sony, put them back in!

Sony's hologram AF assist is the best ever designed. I've used every type of AF assist on the market and without a doubt this one is the most effective. A class one laser is used to project bright laser lines in a pattern that allows the V3 to shoot and accurately focus in completely dark conditions void of any light at all.

SONY's Hologram AF Assist- Class 1 Laser, Grid Pattern, pure genius!

I like the V3's image output quite a bit, especially in raw (although the Jpegs aren't that bad at all), and I like the output of every ISO setting (including the secret ISO settings). I find that if I shoot raw the V3 can give the latest and greatest serious compacts a run for their money, granted at a lower resolution. (See more on this topic in the image quality section of the review).

I use every feature the V3 has and I wouldn't want to get rid of any of them. A progressive improvement in its current features would however be welcomed along with adding some of the newer cool image stacking and HDR features would be nice. Features like that would make the V5 modern, and including a sweep panorama mode that would actually work seamlessly with a smaller sensor and lack of focal plane shutter would also be greatly appreciated.

Sony V3 Review: Its Successor- What I'd Prefer or Change

Sony DSC-V3 Price Check

Lets pretend that the Cybershot division at Sony wakes up and decides to introduce a new V3 Cybershot successor. They really should, it's the perfect time for a V5 and I'd love to be a consultant on it's design- I'd even work for free if need be. Yes, I'm serious. If that ever happens here's some of what I'd design/include on a future (V5) model:

Larger Optical Viewfinder w/center AF point (or new OLED EVF) on left side vs. center
AEL Lock button under the thumb
Zoom toggle switch replaced with a mechanical zoom ring on the lens (See Fuji X10)
In place of zoom toggle, move the multi-controller wheel down in place of it
At least a 2/3" sized sensor (no more than 12mp), preferably 4/3 size @10mp
Faster aperture (f/2-f/2.8 ideal)
24-120mm f/2-f/2.8 Lens (Carl Zeiss)
Macro on the long end of the zoom range
Retain Nightshot and Nightframing, and Laser AF illuminator
Speed up start up and shut down times by at least half as much time as it currently takes
Increase battery life by double its current performance
Allow use of NS and NF (above) in all modes and all shutter speeds (this is absolutely critical!)
Retain 14bit raw A/D conversion
Increase ISO range from 50-3,200
Introduce a DNG Raw option
2.7" 460K Swivel screen (will settle for stationary screen of those specs)
Include new front control wheel (customizable)
New on board flash location (pop up type would be great, center fixed type would be acceptable)
Improve grip design
All metal exterior construction (especially the battery door)
-4 to +4 EV compensation range
Retain hot shoe type
Add an image stabilized sensor, or lens type image stabilization
SD and CF slots
Simplified exterior (less soap marks and advertisements of features on the body)
Few other things I didn't mention in this list, like getting rid of some buggy operations (bright sun small aperture syndrome for example)

Sony DSC-V3 Price Check
The image below is somewhat of an idea of what I'd like the "V5" to look like. A more simplified front face, flash moved to a pop up style, and larger OVF (I re sized it for this image) moved to the left of the camera along with the eyepiece. Other things like the AF illuminator and IR light would need to be moved around to accommodate those changes.

My idea of what the V3's successor should look more like. Note the position of the OVF view would not be impeded by a finger on the grip (as is you can see fingers), yet the new location of the IR/AF lamp would not be hindered either.

Sony DSC-V3 Price Check

Also making the Sony badge smaller and less conspicuous gives priority to the simplification of the design and I think looks a lot better. The pop up type flash would be centered and in front of the current hot shoe. I've left out redesigning the grip on photoshop here, but wanted to do a quickie job visually on more what I'd be looking for in a replacement of the V3 (sorry for the shotty PS job).

Obviously I could spend a lot more time on constructing visuals on what I'd like to see in a replacement but I don't have that much time on my hands. Sony could however make a very handsome simplified replacement for the V3 (somewhat similar to the above), keeping in mind the form following function aesthetics of the rangefinder design. And if Sony did so, and were smart about listening to enthusiasts needs, could be very successful with it. One look at the NEX7 and you know Sony can do it. A lot of former V3 owners and high end Cybershot fans would likely flock to it asap.

Sony V3 Review: A Couple Secret Infrared Features

I'm not even sure if any other V3 owners even know you can shoot up to ISO 2,500 right out of the camera. Sony doesn't mention this in any of its documentation that I could see, but I stumbled upon it doing some IR testing of the camera. There are some limitations to using this ISO setting because for one, it can't be selected manually so you have to trick the V3 into using it or just shoot in very low light conditions.

V3 Screen shot. Note Raw recording ISO 2,500

The good part is that it will record images up to ISO 2,500 in raw. Just set the image quality setting to raw, and that takes care of that part. Secondly, you'll need to shoot in Program Auto or full Green Auto in order to access the IR capabilities of the V3 (pity that). And lastly, set the V3 to AUTO ISO to gain access to higher ISO values than ISO 800. That's it. The images themselves don't look too bad either for an older sensor that is a bit smaller than today's premium compacts (testament to its excellent once class leading performance).

And another little "secret" about the V3, or better yet, less well known is the fact that you don't have to settle with the somewhat greenish IR look when using Nightshot IR. All you have to do is change the P. Effect setting in the menu to b/w or sepia, and you still retain all the benefits of IR without the green haze look. Here are a couple sample shots straight out of the camera (in raw) using both of the secrets I've outlined here.

ISO 2,500 from Raw (ACR processed, saturation 0)


ISO 2,500 from Raw/ACR (you can see the IR light patch here)

I really like the look of the grain at these higher ISO settings, clean, uniform, granular (and no banding!). Not bad for an older camera using older sensor technology at all. If you can live with the rules that using IR brings with the V3 (fastest shutter speed is 1/30th sec, always uses the largest aperture setting it can), the V3 can be used for tasks it probably wasn't ever mean too at all such as regular IR photography as shown below. All I did was use a 3 stop ND filter via filter adapter for this image.

Sony V3 Infrared Image (shot in Nightshot IR mode) using 3stop ND filter w/adapter tube

Check for Sony DSC-V3 Secret Features

Sony V3 Review- Image Quality

When taking normal images (color etc.) the V3 does an outstanding job today considering it's age. It can still make images nearly equal in overall quality to some of the best serious compacts I've used. Cameras like the G12 barely outperform it at lower ISO values. Here is a side by side comparison in lower light levels at ISO 800 vs. the G12.

Canon G12 vs. Sony V3 ISO 800 from Raw (Same Settings)

For a full size shot of the above just click on this URL: http://images.alphamountworld.com/carlg/sony-V3/g12vsV3-800-raw-acr.jpg

When shooting raw, you'll gain a stop of dynamic range and about a half stop of ISO performance with the G12, but that is about it. In the image above though I do think I see more detail retained from the V3 in some areas of the image, pretty amazing considering the difference in resolution here (10mp G12 vs. 7.2mp V3).

For 13x19" inch prints the V3's sharpness and resolution has never disappointed me on images I haven't cropped. That's good enough performance in my book.

Sample Image Gallery- Sony V3 Review

This gallery contains hand held image samples that I've recently compiled with the V3, just click on the image for a larger view.


Nice Sharp Zeiss Lens

Plenty of camera for landscapes

Again, plenty of camera for Landscapes

Good for closeups, could be better but not bad

Again, good for close ups

Flash exposure is good- hey Dad, no red-eye!

Plenty of dynamic range here (Jpeg out of camera, Raw even better)

ISO 800 looks fantastic for a compact, Jpeg right out of the camera

Overall image quality is one of the V3's strong points. All ISO's look good, and the Carl Zeiss Vario Sonnar lens is tack sharp. Although the lens will give some barrel and pincushion distortion, and CA's show on bright contrast edges, neither are worth worrying about. The lens is great, its only weak spot is a lack of wider angle and better macro performance but it's average in both categories and gets the job done. The range of 34-136 may not seem that good now, but it was pretty good in its day and it's more than adequate for most circumstances. You can attach wide and tele adapters if you need either too, if you wish.

Sony V3 Review: Shooting Speed

When shooting raw you'll need to wait about 13 seconds for a file to write, which is pretty darn slow by today's standards. Yet we are talking about a camera nearly 8 years old, and since it's Sony's only raw capable compact I'm not complaining. A super fast Sony HG Duo Memory stick card is needed for that speed too. Good thing is that Jpegs look great out of camera so if you don't have time to wait, just set the sharpness and contrast to -1 and let the V3 go. Jpeg shooting is very fast, and it has some burst shooting capability as well (up to 8 frames at 2fps @ full resolution, or 12 frames at 4fps @5mp resolution).

Sony V3 Review: Video

When the Sony V3 came to the market, 640x480 resolution video at 30fps was the bees knees. Nowadays a camera with this specification would be laughed out of the camera market. However, if you don't really need high resolution video for most things (count me in there), the V3 does a pretty good job here and the sound is quite decent actually for mono sound using only one microphone. In order to achieve those numbers you have to use Sony's memory stick cards (HG Duo), it wont record at 30fps on a CF card at 640x480- best it will do 15fps.

Sony V3 Review: Conclusion

That big control dial is lovely, so is that hotshoe and the rear thumbwheel/switch near the big dial

Today the Sony V3 still remains a very interesting and unique camera. Sony has since made nothing else quite like it when you look at its feature list. Although its a bit dated, it shows its age well. It comes with some quirks like slow raw writing times, and choosing a very small aperture for no reason in bright conditions (when set to auto exposure modes) which robs some sharpness from images due to diffraction.

It's battery life is pretty average, but manages to squeeze a lot out of a relatively small lithium ION battery. It's optical viewfinder is oddly placed in the center of the camera and fingers/lens show in the view as a result. Exposure settings are very limited in the IR Nightshot mode, but there are work arounds.

All of these shortcomings (and more) could be addressed in a new updated refreshed and revamped model, without taking away what the V3 does so well. I myself have spoke in person with Mark Weir about the possibility of a Sony V3 replacement. And while Mark fell short of being at all committal about a V3 replacement, I could see his eyes light up when we discussed this camera and I do think it is one of Mark's favorites that Sony has ever produced.

Sony's Cybershot division apparently hasn't got the memo yet though (Mark no longer runs that division), and I think it is a grave mistake to not make a full featured compact that would compete with the likes of the Canon G12/G1X , or Nikon P7100. Not many makers are competing in this segment right now- that being the fixed lens rangefinder styled full featured compact with a big lens/sensor combination, and an optical viewfinder. Not everybody wants a compact system camera, and I believe they are an entirely different buyer altogether. Canon got the memo, Sony step up to the plate. Show us what Cybershot can be, again.

My imagination lights on fire when thinking of what a modern day V5 could offer. It also pains my heart to think about this too much though considering a V3 replacement will probably never come. Miracles have happened. I'll always remain hopeful that maybe, just maybe, Cybershot will show us something of a replacement *this* year. One thing is for certain, Sony are aware of the demand and many people are left scratching their heads as to why Cybershot won't make a V5.

For now, we have the Sony DSC-V3. A versatile, handsome, quirky rangefinder styled camera that sports excellent image quality at all sensitivities and best of all a very low used market price. If you like interesting and different cameras, I employ you to take a look at a V3 if you've never used one. It isn't perfect but it is certainly capable for many tasks that a lot of compacts today wouldn't even think of tackling (especially in low light situations) and its features are sure to make you popular at any social gathering.

As always, be safe and happy shooting.

-Carl Garrard

P.S. For the Sony Cybershot division: Get off your hands and make a V3 replacement. Stop making excuses and being silent on this. Your fan base deserves it and will love you for it.

Check for Sony DSC-V3 Secret Features

__________________________________________________________________________

Sony DSC-V3 Manufacturer Specifications

Convenience

    * Movie Mode(s) : MPEG VX Fine with Audio (640x480 at 30fps) (MPEG VX Fine requires Memory Stick PRO media), MPEG VX Standard with Audio (640 x 480 at 16fps), Video Mail with Audio (160x112 at 8fps)
    * Picture Effect(s) : Black & White, Sepia
    * Removable Flash Media Compatibility : Tested to support up to 1GB media capacity1; does not support Access Control security function
    * Scene Mode(s) : Beach, Candle, Fireworks, Landscape, Snow, Twilight, Twilight Portrait
    * Still Image Mode(s) : Auto Bracketing, Burst, JPEG (Fine/Standard), Multi-Burst, RAW, TIFF
    * White Balance : Automatic, Cloudy, Daylight, Flash, Fluorescent, Incandescent, Manual

General

    * Imaging Device : 1/1.8" Super HAD™ CCD
    * Megapixel : 7.2 MP
    * Recording Media : Memory Stick® Media, Memory Stick PRO™ Media, Memory Stick Duo™ Media (with adaptor), Memory Stick PRO Duo™ Media (with adaptor), CompactFlash® (Type I)

Interface

    * PictBridge Compatible : Yes

Power

    * Battery Capacity : 4.4W (1220 mAh)
    * Battery Type : InfoLithium® (NP-FR1)

Video

    * Hybrid Record Mode : N/A

Advanced Features

    * Image Stabilization : N/A
    * NightFraming System : Yes

Convenience Features

    * AF Illuminator Light : Yes (Hologram)
    * Clear Color/Clear Luminance NR : Yes
    * Date/Time Stamp : Yes
    * Erase/Protect : Yes
    * Histogram Display : Yes
    * Media/Battery Indicator : Yes
    * Multi-Pattern Measuring : Yes
    * NightShot® Infrared System : Yes
    * Power Save Mode : Yes (after approx. 3 min. of inactivity)
    * Real Imaging Processor™ Technology : Yes
    * Red-Eye Reduction : Yes (On/Off)
    * Self Timer : Yes (10 Seconds)

Hardware

    * Docking Station : N/A
    * LCD : 2.5" (123K Pixels TFT LCD Screen)
    * Lens Construction : 8 Elements in 7 Groups, 2 Aspheric Elements
    * Lens Type : Carl Zeiss® Vario-Sonnar®
    * Microphone/Speaker : Yes/Yes
    * Viewfinder : Optical, True Zoom

Operating Conditions

    * Flash Effective Range : 1'3"-8' (0.4-2.5 m)
    * Flash Mode(s) : Auto, Forced, Off, Slow Synchro

Service and Warranty Information
    * Limited Warranty Term : 1 Year Parts & Labor

Weights and Measurements

    * Dimensions (Approx.) : 4 5/7" x 2 5/6 "x 2 7/15" (119.8 x 72 x 63mm)
    * Weight (Approx.) : 13 oz (360 g) Body; 14 oz (410 g) Body w/Battery, Media, Shoulder Strap

Control

    * ISO : Auto, 100, 200, 400, 800

Drive System

    * Burst Mode : 8 Shot at 2fps (7MP JPEG fine)

Inputs and Outputs

    * Accessory Terminal : 2.5mm Mini-Jack
    * Audio/Video Output(s) : Yes (Multi-pin connector, NTSC/PAL Selectable)
    * Input(s) : N/A
    * USB Port(s) : Yes (Supports USB 2.02)

Optics/Lens

    * 35mm Equivalent : 34-136mm
    * Aperture : f2.8-f4.0 (W), f5.4-f10 (T)
    * Aperture Range : f2.8/f5.6 (W), f5.4/f10 (T)
    * Digital Zoom : 0-2.0X (Precision)
    * Exposure Compensation : ±2.0 EV, 1/3 EV Steps
    * Filter Diameter : 58mm (by required VAD-VHA adaptor)
    * Focal Distance : 19 3/4" (50cm) (Minimum), 4" (10cm) (Minimum Marco W), 15 3/4" (40cm) (Minimum Macro T)
    * Focal Length : 7.0-28.0mm
    * Focus : 5 Area Multi-Point AF, Center AF, 14-Step Manual
    * Macro Mode : 4" (10cm)
    * Optical Zoom : 4X
    * Shutter Speed : 1/8-1/2000 sec. (Auto) , 1-1/2000 sec. (Program Auto) , 30-1/1000 sec. (Manual)
    * Smart Zoom® Technology : 0-19X (at VGA Resolution)
    * Total Zoom : 8X

Software

    * Operating System Compatibility : Microsoft® Windows® 98, 98SE, 2000 Professional, Me, XP Home and Professional; Macintosh® OS 9.1/9.2/OS X (10.0-10.3)
    * Supplied Software : Picture Package™ for Sony v1.1 (Windows®), Pixela™ ImageMixer VCD2 (Macintosh®), ImageData Converter v1.1 (Macintosh®), USB Driver, Cyber-shot Life tutorial (Windows®)

In the Box

    * A/V and USB Cables

    * Rechargeable InfoLithium® Battery (NP-FR1)
    * Shoulder Strap

    * Battery Charger (AC-LS5)
    * Software CD-ROMs

Minolta MD Mount- Vivitar SCS 28mm f/2.8 Close Focus Lens

2012-01-10T06:03:00.000-08:00

Minolta MD Mount- Vivitar SCS 28mm f/2.8 Close Focus Lens
January 2012- Carl Garrard
Check Prices On USED LENSES

Snapshot Review: Vivitar was once a more well known and respected lens maker during the film era than they currently are. They produced a large quantity of high quality prime lenses that you can find on Ebay now for mere pennies compared to new lenses. This one is one of my favorites for the price that I use on my Pentax and 4/3 gear alike. I purchased this lens for a mere $20.00 plus shipping and it arrived in like new condition. Mounted on the 4/3 mount it gives a 35mm equivalent close focus magnification of 1:2.5 (35mm magnification is 1:5) and has a reasonably bright f/2.8 aperture just as the name suggests.

Check Prices On Lenses
It is light, small, well built, with a dampened smooth focusing ring- the quintessential film era prime lens in terms of build and quality (they make them like this now, but not for this price!). Because the Vivitar has a better than average magnification quality, you have more control over out of focus areas and its more versatile than most primes in this genre. I find it quite a bargain.

Close focus showing 1:5 magnification (35mm equivalent)

It has a 6 bladed aperture and ranges from f/2.8-f22. It is made mostly of metal and so is the mount. The focal length and price make this lens a great 4/3 or m4/3 candidate with an easy to find adapter. As long as you don't mind the Vivitar name, the lens is quite a bargain and highly recommended for it's price.

Close focus example f/2.8 on DMC-L1 4/3 mount

Take a look at this lens if you are shopping used for lenses you intend to use on adapters, or if you still shoot film, its a very nice film lens for an older MD mount Minolta film camera.

Check Prices On Lenses

Cheers,
Carl

Panasonic Lumix DMC-L1- Still a Real Gem!

2012-01-06T06:24:00.000-08:00

Panasonic Lumix DMC L1 Review- Still a Real Gem!
January 2012, Carl Garrard

Panasonic DMC-L1 w/Minolta MD Rokkor 45mm f/2

Panasonic L1 Review- The Four Thirds mount may have been shown the door, but that doesn't diminish the shine of some of the cameras that use/used it, namely the DMC-L1 by Panasonic. Some of you may have this camera confused by the DMC-LC1 but the two cameras couldn't be more night and day different. After all the L1 is a true DSLR in a rangefinder's clothing unlike the LC1 which is a fixed lens digicam. And some of you still may have this camera confused with using the Micro Four Thirds mount, but this camera existed well before m4/3 was even conceived. Today it still remains one of my favorite cameras of all time, and for reasons I will outline. My current L1 is relegated to doing near infrared photography only, having been converted by Spencers Camera as a dedicated near IR photographic tool.

As a tool for near IR photography it contains all of the essentials plus a few hidden surprises that make it a dream to work with. And the image quality it produces still impresses even though it is some six years old.

Panasonic DMC-L1 w/Leica Kit Lens Price Check New
The Panasonic DMC-L1 DSLR Review

Why am I writing about a six year old DSLR? Simply because it is a unique and capable camera, fun to use, and has a set of features that can stomp some modern DSLRS even today. And yeah, it looks really cool as a rangefinder styled camera as well. Really cool. It's looks aren't the half of it though. This is a serious photographic tool with an excellent set of controls and features to match.

The DMC-L1 has no less than 20 buttons and switches on the backside alone, and all fall nicely to the hand. The L1 comes from a family of "L" cameras starting back in 2001 with the LC5. Since then, a progressive development of the rangefinder styled camera has ensued giving the L1 the advantage of years of feedback to improve the body layout and controls all the while keeping a very similar look to previous cameras in the lineup, such as the DMC-LC1 (just add a C). The main difference of course is that this is a DSLR and the other two were digicams with fixed lenses.

On top we have more controls, again falling nicely to the hand and there to make fast adjustments keeping the photographer out of the menu system. The placement of the controls is not the only important aspect, of the L1, it's the type of controls they chose to put around the camera.

Why I Like the L1

First and foremost let me introduce you to my feature list of the DMC-L1. Some of these features aren't shown as highlights on the press announcement or reviews on the net but are absolutely vital as a photographic tool (and are noted with an * below) and make the L1 a real bonafide enthusiasts tool. This list also serves as my personal favorite stand out features.

7.5mp Live MOS Image Sensor (blend of CCD and CMOS development)
Dedicated AF assist lamp*
Unique Dual position on board flash w/bounce feature*
Multi-Exposure mode that records even to Raw files*
Live view mode with digital telephoto and manual focus magnification features*
Ability to confirm focus with manual focus lenses of all brands and types*
DNG Format Raw Files*
Manually selectable dedicated Shutter Speed dial*
External controls for AF type, Drive mode, Metering, White Balance, ISO, Flash EV compensation, DOF preview, Flash settings, AEL/AFL, Shutter speed, and two custom Function Buttons you assign*
Unique Film mode settings and two customizable memory stored user film settings*
Automatic metering up to a full 60 seconds (most DSLRS are only 30 seconds)
2 second Mirror Lock Up*
Release without lens setting (allows usage of any MF lens on the market w/adapter)*
In camera resizing and trimming*
Thumb operated control wheel set for fast EV compensation adjustments*
Durable Die Cast Magnesium body
Ultra Sonic Sensor Vibration for Dust Removal (the most effective kind)*
Three frames per second shooting
SD Card
ISO 100-1600 range
Great candidate for infrared conversion because of the live view tools and white balance range*
And many, many more features

Check out all those dedicate controls again! Bliss I say, pure bliss!

Panasonic DMC-L1 w/Leica Kit Lens Price Check New

Unfair Treatment?

Sound like an enthusiast photographic tool to you? Exactly! It is of my opinion that the L1's capabilities somehow got lost/overshadowed by the heated DSLR race in which it entered. The L1 may be a victim of timing to the market more than anything- sporting wildly popular rangefinder styling, looks, and external controls/handling way before they became popular in the mainstream as they are now.

External Controls like this. Take that you run of the mill DSLR you!

The L1 might have also fallen prey to a specification contest to other makes. It could have been that its set of features were simply overlooked because it lacked certain specifications that the press love to rave about. You know, features such as megapixels or high speed frame rates. Nevermind that most people never take advantage of either of those features to their fullest extent, and, add on that this camera's feature set was probably more useful as a real tool than many other popular cameras at the time.

To be fair, it's price in 2006 was rather steep if all you were looking at were megapixels and frame rates. To me however, there are far more valuable features to a budding or active photographer than just megapixels or high frame rates. In fact, those really don't appeal to me much at all. I find that six megapixels is far more resolution than most people ever use even today, and most people don't need frame rates higher than three frames per second either. If either of those are your priority when using a camera, go ahead and stop reading this article now and save yourself the angst and time spent.

And on top of all that I feel the L1 was way over criticized and misunderstood by a majority of the press. The L1 was never designed to compete with the likes of the standard DSLR (if there ever was such a thing), rather this camera was something entirely new and different in many respects and that fact alone was grossly missed. What a pity, a real pity.

Well, no use crying over spilled milk. What is done is done.

And today the L1 is still a very capable photographic tool, just as it always was. The difference now is that you can buy a body only for about 1/4th the original retail price if you look around for a bit. My advice to bargain shoppers is this- If you like rangefinder styling and handling, need a camera that can use many brands of manual focus lenses effectively, you like unique quirky cameras, and the feature list I mentioned previously appeals to you at all- then I suggest you grab one now. You're likely to fall in love with it and the expense you shell out will be wholly worthwhile.

Live View

If you don't trust the AF confirmation in the optical viewfinder, you can can always magnify the image in live view up to 10x the normal size for ultra fine focusing when manually focusing. The screen is large and detailed enough to ensure a tack sharp image when using this method. You can also auto-focus in live view but there's no contrast detection style AF system here, the mirror will flip flop when you focus using phase detect type focusing. I say just take your time and manual focus, enjoy the features the L1 has that help you with that.

Live View Mode (Image courtesy of Panasonic)

Besides focusing aids, the L1 is equipped with a live histogram and a couple different types of composition grids including the traditional rule of thirds grid. Pushing the display button cycles through the different information and a lot of it is tailored to your liking in the menu system. Don't want some of the information, chose to leave it out. Want more, include more- it's up to you.

Handling

One of the more notable traits of the L1 is how well it lays in the hand and how well the form of the body functions- it's not just good looks. This is of course assuming you know how to properly hold the L1, i.e. hold it how it was designed to be held. Do this, and the camera suddenly becomes very comfortable to hold and operate as well the shutter release and all other controls become easily mapped and second nature to use.

This is how you hold the L1. Right side in the palm, thumb flat on the backside rested, forefinger on the shutter release. Hold it this way, and I assure you this is one comfortable camera to hold all day long!

I don't know how many times the flat sides of the L1 have helped me hold it much more steadily than a typical every day DSLR, I've actually lost count. That's good too since the L1 doesn't have in body stabilization like most of the DSLR's I use- you'll need to find a lens that has that feature optically if you really need it.

Easy to hold with the left hand and make a self portrait.

Even making self portraits is a breeze with the L1, namely because of the position of the shutter release and the shape of the grip. Using my left hand on this camera to take a shot is almost as natural as using my right hand, can't do this nearly as easily with the other DSLRS I have. This is very typical of rangefinder designed cameras like this, but the size of the L1 helps matters even more.

Handling is mostly subjective, but overall the L1 remains a well laid out comfortable design to use because of its inherent design platform. Form follows function, bottom line. Just so happens that the form factor is quite pleasant to look at!

Build Quality

A metal chassis says a lot to me about what kind of consumer a camera is designed to court. The L1's die cast magnesium chassis is stiff, light, and high quality. The rest of the camera surrounding its magnesium frame is also above average in quality giving the L1 the object permanence an enthusiast desires. Plain speak, I just hate creaky plasticy cameras.

Unique Flash
I say unique but that isn't entirely telling the truth. Panasonic has this type of on board flash on the L1's predecessor- the LC1, and Leica share's the same type as well on the Digilux 2 and 3 models. However, that is where the lack of unique ownership ends. No other designer has built a two position on board flash in the same manner as Panasonic.


Flash position 1, Bounce Flash mode. Effective indoors with low ceilings, what a bonus!

Flash position 2, Normal. High enough to eliminate red eye, genius!

For indoor shooting or product shooting, that bounce flash does a great job as long as you realize it has power limitations and work within its means. Bounce flash is very nice to use because it doesn't blast your subjects with frontal lighting, instead it bathes them and the lighting appears much more.. um, natural than direct flash.

I have used the L1 for weddings and other events without bringing an accessory flash. Granted I had to choose my spots a bit better than had I brought a big heavy flash, but nevertheless I've made due with it just fine and it always brings a smile knowing I got away with very minimalist standard equipment so well.

Adapted Lenses- The New Trend

In my opinion the "new" trend of using older film lenses on DSLR's with adapters should have breathed new life into interest for the L1, it's a perfect camera to use for such lenses- especially because it includes an optical finder with auto focus points that will confirm focus with ANY manual focus lens you attach. Thats right, any manual focus lens.

Fotodiox MD-4/3 adapter and Minolta MD 45mm f/2 Lens

Because of the inherent advantages the 4/3 mount has, a vast array of lenses are available for use with adapters- more than most types of cameras. Two lenses that I like to use quite a bit are the Minolta MD 45mm f/2 and Vivitar SCS 28mm Close Focus f/2.8. Both were purchased in near new condition for under $40.00 apiece, and both are capable of lovely images with smooth out of focus areas. Not to mention they are tack sharp.

For my near infrared camera, not all lenses are usable because of the dreaded hot spot that occurs on the images due to some lens designs. It took a bit of trial and error to see which lenses I could use that didn't exhibit this issue. I found the Zuiko 14-42mm Olympus lens to be quite good, as well as the 25mm pancake too if you like AF lenses. My two pancake prime budget lenses I mentioned above are free from this issue as well.

Image Quality

Panasonic DMC-L1 w/Leica Kit Lens Price Check New

Something about the L1's image quality is almost sort of magical. Test charts and DXO measurements won't tell you the whole story, so don't go looking there. I'll do my best to explain, and what better way to do that than with a few sample images? Maybe I'm seeing something that isn't there maybe I am. But I will say this, the L1 has surprised me on more occasions I can count when reviewing the images on screen or print.

Lake Fulmor, Idyllwild California DMC-L1

Cleveland National Forest, Near Rancho Santa Margarita, California DMC-L1

Snowy Santiago Peak, Winter, California DMC-L1

There is a tonality to the images that is both calming and soothing. No, it's not just the subject matter of the images above, there is something else to them. Example, I have a folder of web images I keep that has images from every make and model of camera I've ever used in it, and the ones from the L1 always seem to stand out in their own unique way. The image(s) above for example, I completely forgot I shot them with the L1, but after I reviewed the exif data the odd attraction I have to this images suddenly made sense. Surprised me pleasantly to find out that I used the L1 here, and it justified that mystical look the L1 has.

With my IR converted L1, this holds true more than ever. Even the out of camera Jpegs seem to have some sort of glow or iridescence to them that I can't quite grasp technically- perhaps the answer is that it's not a technical trait at all. It might just be artistic, and, that also might have been the intention of the designers at the Lumix facility.

Near IR Daytime Moon Image, ISO 100, Pentax A 50mm f/1.4 lens

The Pilgrim, Dana Point Harbor, California- IR Converted DMC-L1

I've owned two or three L1's, but currently I just have the one IR converted L1 in my collection of cameras. I may some day add another used L1, but for now the IR model suits me just fine. The L1 makes a fine specimen for a dedicated IR camera, ticking off nearly every serious feature I prefer for IR shooting.

Technically speaking it might have a lot to do with the "Live-MOS" sensor that Panasonic designed for the L1. It really is a combination of what a CMOS and CCD sensor bring to the table. CCD sensors in my opinion are superior in image quality to CMOS sensors at low sensitivities, while CMOS reign supreme at higher sensitivities and video applications.

The Live Mos sensor of the L1 retains the look of CCD at low ISO's and the live view capabilities of CMOS. I can't help but wonder how good a 7.5mp Live Mos sensor would perform nowadays for higher ISO work considering the new 16mp Live Mos sensor from Panasonic performs better than the L1's sensor with it's pixels being about 1/2 the size.

Regarding the banding I mentioned earlier in the article, note that it doesn't have to plague your images. After figuring out how to properly combat it, I happily use my L1 all the way up to ISO 1600 where I find the camera makes great looking images with a fine, uniform grain pattern. Quite lovely from my IR camera as you can see below.

ISO 1,600 ACR converted Raw

Yet I'll only use the higher sensitivities when I convert from raw. As nice as the Jpegs are I find I'd much rather control the amount of chroma/luminescence noise in my files.

Used Prices/Replacement?

Panasonic DMC-L1 w/Leica Kit Lens Price Check New

I've seen L1's go as low as $150.00, and I've seen them sell as high as $1,000.00. The price fluctuation with supply and demand used to be that great, but since then the DSLR market has continued to move forward with great speed. L1's now settle in near new condition for about $300.00 body only. You'll pay more than that for the matching Panasonic/Leica 14-50mm f/2.8-3.5 kit lens, at least double if you are lucky. While its true bodies come and go for the most part, some come and are never replaced with a real successor. That is the case here for the L1, so don't be expecting a replacement L2 to come around anytime soon.

While Olympus and Panasonic never officially gave a public statement they were no longer making products for the 4/3 mount (don't confuse that with the m4/3 mount), its pretty obvious that Panasonic is done making DSLRS for the immediate future. I don't consider the new GX1 or previous GF1 to be successors to the L1 or L10 because neither have a built in viewfinder of any kind. I don't like accessory viewfinders generally speaking.

It's Not all Roses

As much as I like the L1, there are a few weaknesses I should mention to the reader or potential buyer. Keep in mind these are weaknesses that I've completely learned to ignore or simply work around.

Viewfinder- First and foremost its optical viewfinder won't dazzle even the sharpest eyed photographer. The viewing size/magnification is pretty small in comparison to other DSLR's I use and is probably the L1's biggest weakness. That said, the viewfinder still manages to report a good amount of information to the eye, but lacks some settings such as ISO and file type. (see * in Roses section). A magnifying eyepiece is available to increase the viewing size if that is something you need, and it works quite well. Olympus and Panasonic both make one to fit this although the Panasonic one is harder to find. I have both.

Flash- For flash geeks, there is no dedicated flash sync port on the L1, yet keeping on the bright side of things it still manages to include the more common style hot shoe vs. a proprietary mount at least.

Weather Sealing- For all weather types, the L1 isn't sealed for dust or moisture protection, you'll need to keep an umbrella or camera sock handy if you like to shoot in the elements much.

Image Banding- In some samples (not all ironically) image banding has been reported. This is the phenomena wherein a camera's image files show horizontal, diagonal, or vertical dark noise bands in the final image. Many cameras have this issue and it's not entirely uncommon although it quite well should be I say. I've owned two L1's, one showed banding in the shadow regions at higher ISO's and the other does not. On the unit that showed banding I found the blue channel to be the culprit of the banding.

How to fix the handing- Adjusting the blue channel saturation slider in ACR in the "calibrate" field will really help matters if you happen upon an L1 that exhibits banding. It can all but be eliminated with careful adjustments of this setting using Adobe Camera Raw. There are rare circumstances and under exposed images at higher ISO's that no matter what I do you can still see some, but again, those images are rare and I don't think the ones I'm mentioning were ever really good enough to want to keep around long term anyways.

The Roses

What I really like about the L1 is its versatile and complete feature set, and all of the external controls. The angel is in the details of the L1, it's a thoroughly thought out camera with an excellent menu system and set of features. It's pretty obvious to me that the L1 was designed by active photographers that placed an emphasis on including features that photographers really need when they are shooting. Grand idea hah?

As obvious as that sounds you'd be surprised at just how many cameras I've used where a manufacturer has left out some very important and obvious bits in a camera. With the L1, I don't recall I've ever had a day of shooting with it wherein I sat wishing it would have been better thought out or had included features I really need. That is one reason why the ol' L1 continues to be a camera that appeals to me as a tool and why it has never "got old".

Specifically I appreciate the way the L1 was designed to aid in manual focusing. First and foremost it's ability to confirm focus on the auto focus points even with obscure lenses using an adapter, is extremely valuable. Although there are only three auto focus points, they are the ones I use most. *With such a small viewfinder the fact the L1 gives you a confirmation "green dot" when you have achieved focus nearly eliminates the need for a large and bright finder for the benefit of manual focusing. You can add a magnifying eyepiece that will enlarge the view at the expense of eye relief.

Conclusion- Panasonic DMC-L1 Review

Panasonic DMC-L1 w/Leica Kit Lens Price Check New

In a rapidly changing and unsure digital camera market I find certain cameras have been overlooked or forgotten that shouldn't be. Of course I'm not saying the L1 is the bees knees for every application, or even the best choice in a DSLR with a manufacturer that may not even make new products for its mount in the future ever again. What I am saying is that this camera is an excellent deal and that currently you can still find plenty of them around and plenty of excellent glass to use, whether you prefer autofocus or especially manual focus lenses.

The image quality is excellent from ISO 100-800, and perfectly usable (see my section on banding) at 1,600- in fact quite lovely if you like a bit of tight grain like I do in certain images. At lower ISO's the L1's performance is just as good as any other DSLR I've used, and often they have much larger sensors than the L1. I've never been disappointed in the image quality from the L1 here at all.

Handling is superb, and one of my favorite aspects of this camera. Controls are bountiful and well placed. If you like a camera that bristles with them, I find it hard to believe you won't like the L1. It's comfortable, not too heavy, not to big or small, and is adorned with grip all over the camera for a secure hand hold in any position.

To my eyes the DMC-L1 is a Panasonic classic that might just be a victim of being born in the wrong era- it was never as popular as I think it should have been. To me, the L1 was, and still is a gem.

As always, be safe and happy shooting.

-Carl Garrard

Panasonic DMC-L1 w/Leica Kit Lens Price Check New

Nikon Coolpix P300 Review

2011-12-17T16:44:00.000-08:00

Nikon Coolpix P300 Review
December 2011, Carl Garrard

Nikon P300 Review: This being my first ever official Nikon review, I want readers to note this isn't the first Nikon camera I've used- far from it in fact. That being mentioned I'll get right on into it. Nikon's Coolpix P300 is a pocketable wide angle 24-100mm f/1.8-4.9 lens digital camera that sports manual modes, interesting scene modes, and some enthusiast styling and controls. Image reviewing and framing is made way a of 3" LCD screen with 920,000 dots- there is no optical viewfinder. Video wise it is capable of full 1080p HD video and even has 120fps VGA 120 and 720 60fps video modes.

Just about right for the family camera I say, one that will handle vacations and work at home equally well. Enthusiasts might be put off by the lack of a raw file option but the Jpeg image quality might please you enough. Currently the price is about $329.00 brand new, but refurbished models can also be found for much less at this link below. I suggest that if you are looking for a good deal and interested in the P300, to check prices regularly as they do vary.
Nikon Coolpix P300 Current Price Check

Nikon Coolpix P300 Review: Main Advertised Features
Nikon Coolpix P300 Current Price Check

Wide 24mm wide angle to100mm f/1.8-f/4.9 zoom lens
12.2mp CMOS 1 2/3" Backside Illuminated Sensor
Manual Controls
Photographic Art Filters (Soft key, Nostalgic Sepia, Low Key, High Key, High Contrast B/W)
Image Stabilization (VR)
Full HD Movie Recording
8 Frames Per Second Shooting
Easy Panorama Mode
ISO 160-3200 Range
189 Grams

Nikon Coolpix P300 Review: Hands On Impressions
Nikon Coolpix P300 Current Price Check

The Coolpix P300 is a lightweight and small compact camera that easily fits into a pair of pants pockets. It's scant 189 gram weight means you can walk around with it all day in your pocket comfortably. In the hand it feels like a deck of cards with a small rubber front grip and rear thumb pad grip that works well to keep it from slipping. It has an all metal case with a mostly flat to semi-flat black exterior. It's not a bar of soap, but it's pushing it.

It's rather thin so one handed shooting while making adjustments isn't that easy to do, especially when trying to adjust the top plate control wheel located on the right hand side. There's a lot of two handed holding using this camera. Had it a bigger front and rear grip and the dials and buttons been located a bit differently, one handed shooting would have been more convenient.

Powering on the Coolpix P300 takes a bit of effort as I found I had to really push and hold down on the on/off switch in comparison to other compacts I've used. The good side to that though is there will be no accidental on/off switching when taking the camera in and out of a pocket.

The lens extends in an above average speed and the camera is ready pretty quick (just make sure you don't have a start up icon set in the menu, or you'll have to wait several seconds for it to clear and half pressing the shutter release doesn't cancel it). Toggling the zoom is easy to do, and the toggle lever is actually perfectly sprung. The lens doesn't have far to go, but the speed of zooming is pretty average. Popping up the flash is a manual procedure, but I like it. And it's a pretty slick implementation that doesn't leave it vulnerable to snagging on clothing either.

Lens comes out quick, flash is slick. Check out that grip!? Cool AF assist lamp though!

Powering down the P300 is just as snappy as turning it on. If you want to review your images you don't have to turn on the camera, just press and hold the playback button down and the image review process starts up with out the lens extracting. When you are done looking over images just press the on/off switch and the lens will not power down. Press again on the playback button though, and it turns the camera completely on. I think having the P300 programmed so that another press on the playback button to shut off the screen only would have been more logical.

If you think setting the camera to Green Auto will do the trick in low light, be warned. The camera cuts off at one full second long exposures and doesn't auto raise the flash. That means you'll need to think a bit when shooting in low light and be sure the P300 has appropriate settings to handle the low light. Not my idea of an easy green mode, but then I never use that setting anyways. The target market of this camera probably does want to use it though, so keep this in mind.

Running through the menu is quite a pleasure. I find it's 3 tabbed menu system easy to maneuver and one of the better qualities of the P300. It's set up to show the shooting menu, video menu, and set up menu in P,A,S,M modes and is simplified in every other mode. If you get lost in this menu system I suggest pulling out the manual and having a read, but you really shouldn't have too.

Love the menu, 3 tabs easy peasy. ISO and White Balance shouldn't be buried here though.

One of my greatest nit picks of the P300, in fact the greatest of them all, is the way Nikon configured the P300 to react when doing white balance adjustments. The first time you use the P300 I suggest you do not adjust the vividness or hue of your image until you understand one VERY important find I made. If you adjust either parameter by first entering the +/- compensation adjustment (quick menu), you will need to remember to go back into that menu and then hit reset. Otherwise the white balance adjustment is not available in the regular menu item at all, any longer. What? Yep it's true.

Warning, adjusting vividness or hue in this mode can cause brain damage!

To make matters worse, it's not even grayed out in the menu nor does the camera or manual give you any indication as to why this is. I sent an email to Nikon letting them know they have a bug on their hands and it needs to be addressed. Lets hope the fix this with a firmware update, it needs one.

I particularly liked using the Night Landscape mode. It auto stacks and auto aligns a series of images after a series of quick exposures is made (just takes one press on the shutter though). The payoff is the ability to use higher ISO values with less noise than a single exposure would show. This way you don't have to raise a flash in really low light, or put the camera on a tripod. I call it no-tripod mode. As long as you keep reasonably still while the P300 captures a series of quick images, you should have a blur free final image. I think this mode comes in handy for all still subject shooting. Overall I see about a 1-2 stop gain in lower noise.

Night Landscape Mode ISO 2500 Compare Below

Regular Jpeg ISO 1600 Compare with Above

Unfortunately you cannot choose the ISO value you'd like to use, or adjust white balance. You also cannot shoot with the macro mode on or adjust any color settings. Exposure value compensation is available, but that's about it. And lastly keep in mind this mode will crop some of your image (in hand held mode) but manages to keep that to a minimum.

If you set the P300 to tripod mode in the menu in this mode, the image is not cropped but it does not stack a series of images together either. Boggles the mind- that move.

Not to shabby here on the stitching and using the mode itself is quite easy. I adjusted the under exposure a bit using photoshop/curves.

Using the Panorama Mode is quite fun and it does a very decent job stitching the images. You won't be making any gargantuan prints from this mode because it only records a 3200 pixel wide (at 180 degree setting) image. But if you want a decent Panorama for web use or small prints, it does the job nicely.

Macro shooting (or lack thereof) is pretty average here. No matter what zoom setting you are at I find the P300 to be pretty disappointing in its minimum captured area. Macro works better than regular shooting mode but a macro camera this is not. I've seen many compacts perform much better than this, but it's still a usable mode.

Not what I'd call a macro minimum size area, but better than a punch in the arm.

Nikon Coolpix P300 Review: Image Quality
Nikon Coolpix P300 Current Price Check

Lets face it, compacts aren't the kind of camera you want to use if ultimate image quality is the desired (at least not usually)- it's about convenience. Most compacts with such a small sensor (backside illuminated or not) have very similar image quality. When compared to it's peers the P300 is just above average of the pack here, but most users looking at this level of camera will probably be quite pleased.

One of the first things I noticed with the P300's images was the grainy texture that all ISO sensitivities posess. It's a pleasing grain though, not odd shaped, rather sandpaper grain like- uniform and pleasant to the eye. I also noticed a lot of noise reduction being done at all ISO levels, even base ISO. Chroma noise though has been suppressed pretty good for a compact, Nikon did a good job here of keeping that under control. Since there is no menu option for noise reduction settings for the user, you are set with what Nikon does on the images- and there is no raw file option either. Here is a series of ISO images starting at base and going up to ISO 3200 (notice the color shift change using AWB).


ISO 160

ISO 400

ISO 800

ISO 1600

ISO 3200

For Jpegs coming out of the camera they aren't that bad though especially when compared to some of its peers. I've seen better Jpegs from cameras with a sensor this size but overall they aren't that bad for prints up to 11x14 at base ISO and usuable all the way up to ISO 1600 for 4x6" prints. With its fast aperture at wide angle, and its vibration reduction lens element kicking in, you might not have to go that high on the ISO scale indoors (or better yet in lower light situations) anyways since the lens lets in a lot of light at wide angle and stabilizes the image to boot. If you are shooting moving subjects though, you'll need to go higher on the ISO setting to increase your shutter speed to combat blur.

Nikon Coolpix P300 Review: Conclusion
Nikon Coolpix P300 Current Price Check

If you want to know what I think of the P300, just read the review above. Yep, that's my conclusion! Or go ahead and try and cheat and read the pro and cons.

As always be safe and happy shooting!

-Carl Garrard

Nikon Coolpix P300 Current Price Check
Pros

Decent picture quality for a small sensor/Jpeg only output looks good up to ISO 800 usable 1600
Mini HDMI Port (common size)
Scant 189 grams, easy to carry in the pocket all day
Nice wide angle to decent mid telephoto range
Bright Wide Angle Aperture (f/1.8)
Image Stabilized Lens (VR/Lens Shift Type)
Good LCD Screen
Small and pocketable
Slick Flash
Inclusion of some semblance of a grip on front and back
Easy to adjust in M Mode
Night Landscape mode is more useful than it's advertised - a 1-2 stop gain in noise control
Panorama Mode Actually Works
Inclusion of AF Assist Lamp
Quick Start Up and Shut Down (See cons on/off switch though)

Nikon Coolpix P300 Current Price Check
Cons

*White Balance Lockout Issue*
No Raw Choice
No Noise Reduction Control
Jpegs have a lot of luminescence noise reduction
Average Battery Life (must charge via USB cable)
On/Off switch fiddly (must hold down hard)
Extra control wheel on top awkward to adjust one handed
*No Live Histogram (shown on playback only)*
No Auto Exposure Lock Option
Color fringing (wide angle especially)
AV/USB access port in odd location (bottom of the camera)
Odd cyan shift cast to outdoor images using AWB

Haha fooled you. I do actually have a final conclusion but I wanted to see if you were paying attention.

Overall I find the Coolpix P300 to be a camera that won't dazzle you, but it's very functional and does the majority of photo work pretty well. I find it's strengths lie in its versatile focal length, especially for indoors and for scenery. Long zoomers look beyond the P300- it's not that kind of camera. Also worth noting is that the P300 is very lightweight so put it in a pocket and forget it. The battery life is just average for a compact, but I've seen worse. I like that it has manual controls that are pretty easy to use and well implemented, but the lack of control on the Jpeg output whether we're talking noise reduction or other parameters leaves something to be desired. Raw would have been nice.

Nikon needs to fix the white balance flaw I pointed out in this review. I encountered it very early on in the review process and I think I put the P300 down for about 3 days before desiring to pick it up again. It peeved me something fierce, and I can't for the life of me figure out how this got passed the trial period of the design team. But that was my only major complaint about the P300. I have nitpicks but nothing is a deal breaker for a camera of this class and price range, nor for the audience it is intended to court.

After using the P300 for more time I found to start to actually like it's simplicity and fun modes. The button and dial layout could use some polish so that the P310 could handle better. Also, please include a live histogram Nikon, everybody but you includes one.

The lens has a great range and nice bright aperture on the wide end which also incorporates lens based vibration reduction which works pretty effectively.

Overall the P300 is a nice little pocket point and shoot that puts in some enthusiast styling and control, but it falls short of being what I'd call an enthusiast camera. Those who want a little more control over the photography process but don't want to pay the premium that enthusiast cameras such as the S100, G12, or P7100 ask, this is a good choice for Nikon shooters.

P300 Review: Full Specifications
Nikon Coolpix P300 Current Price Check

Effective pixels

12.2 million
Image sensor

1/2.3-in. type CMOS; total pixels: approx. 12.75 million
Lens

4.2x zoom NIKKOR; 4.3-17.9 mm (35 mm [135] format picture angle: 24-100 mm); f/1.8-4.9; Digital zoom: up to 2x (35 mm [135] format picture angle: Approx. 200 mm)
Focus range
(from lens)

30 cm (1 ft.) to infinity (8), Macro close-up mode: 3 cm (1.2 in.) to infinity (8)
Monitor

7.5cm(3-in.), approx. 921k-dot, wide-viewing angle TFT LCD with anti-reflection coating
Storage media

Internal memory (approx. 90 MB), SD/SDHC/SDXC memory cards*1
Image size (pixels)

12M (High) [4000 X 3000?], 12M [4000 × 3000], 8M [3264 × 2448], 5M [2592 × 1944], 3M [2048 × 1536], PC [1024 × 768], VGA [640 × 480], 16:9 [3968 × 2232]
Vibration Reduction (VR)

Lens shift VR

ISO sensitivity

ISO 160, 200, 400, 800, 1600, 3200, Auto (auto gain ISO 160-1600), Fixed range auto (ISO 160-400, 160-800)
Interface

Hi-Speed USB
Power sources

Rechargeable Li-ion Battery EN-EL12 (supplied), Charging AC Adapter EH-69P (supplied), AC Adapter EH-62F (optional), Battery Charger MH-65 (optional)
Battery life*2

Approx. 240 shots with EN-EL12 battery
Dimensions
(W x H x D)

Approx. 103.0 x 58.3 x 32.0 mm (4.1 x 2.3 x 1.3 in.) excluding projections*3
Weight

Approx. 189 g (6.7 oz.) with battery and SD memory card*3
Supplied accessories*4

Rechargeable Li-ion Battery EN-EL12, Charging AC Adapter EH-69P, USB Cable UC-E6, Audio Video Cable EG-CP16, Strap, ViewNX 2 (CD-ROM)
Optional accessories

AC Adapter EH-62F, Battery Charger MH-65

    * *1Not compatible with Multi Media Cards (MMC).
    * *2Based on CIPA industry standard for measuring life of camera batteries. Measured at 23°C (73°F); zoom adjusted with each shot, built-in flash fired with every other shot, image mode set to Normal.
    * *3Method of noting dimensions and weight is in accordance with CIPA DCG-005-2009 guideline.
    * *4Supplied accessories may differ by country or area.

Specifications are subject to change without any notice or obligation on the part of the manufacturer. February 2011.

Pentax DA 35mm f/2.4 AL Review

2011-11-28T14:08:00.000-08:00

SMC Pentax-DA 35mm f2.4 AL Review
November 2011, Carl Garrard

Pentax DA 35mm f2.4 AL Lens Review
Introduction- The budget 35mm f2.4 is compact lightweight standard equivalent lens for all Pentax DSLRs (as of the time of this writing). As the name implies, it has a relatively bright max f/2.4 aperture and 50mm equivalent (in 35mm terms) field of view. This lens is for the budget conscious or those who like a good bang for the buck. Pentax denotes that this lens is good for beginners who want better picture quality from a prime lens without having to spend a lot of money to do so.

Pentax 21987 DA 35mm f/2.4 AL Lens for Pentax Digital SLR cameras

Priced at around $199.00-$229.00 USD (I landed mine for $140.00 USD), indeed this lens is one of Pentax's most affordable lenses. It lacks some of Pentax's standard features such as a distance scale, weather sealing, and quick shift focusing, but as you'll see soon, the price and performance will likely make you forget about those specifications.

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Special Features- Lets face it, it's a prime lens at a budget price. Not many features to relay here. But I will note that Pentax offers their Super SMC coating to the front element which should not be understated or taken for granted. If you clean your lens elements even half as much as I do, you'll appreciate this coating and how easily dust, oils, and water are wiped away.

Other than that, the front element does not rotate during focusing which makes for the use of circular polarizers. Pentax adorns the body of the lens with its notched grooves near the lens mount to make dismounting and mounting the 35mm f/2.4 an easier task by allowing you to keep a good grip on it.

Performance
Overall the Pentax 35mm f/2.4 is a very good to excellent performer-especially for its price. Optically there is really nothing to complain about no matter how you dissect it, no matter what the cost. As you'll see below, the images back up my opinion of this lens's performance characteristics.

Focus Speed and Accuracy
Primes like this tend to usually be quick and accurate- but with the use of the camera's focus motor I find it to be quicker than other micro motor models. Focus is fast albeit with the cost of additional noise. I found no issues with accuracy at any f-stop when mounted to the K5, K20D, or K200D.

Sharpness- From center outward this lens is sharp, starting right from its max aperture. Corners are only a tad soft at f/2.4, and really nothing to be concerned with. It reaches terminal velocity (rather, its best sharpness from corner to corner average) at about f/4, and only slightly decreases in overall resolution as you approach f/11. A very mild taper in sharpness in comparison to most lenses- rather impressive actually.


f/2.4


f/4


f/5.6

f/8

Pentax 21987 DA 35mm f/2.4 AL Lens for Pentax Digital SLR cameras

Distortion- As you can see in the test images below- Very little barrel distortion, almost imperceptible by the naked eye and not relevant on the whole. An excellent performance here. A great choice for landscape photography in this regard granted the focal length affords your compositional needs. As a standard equivalent focal length, likely it will hit more than miss in this regard.


Grid Overlay Over Test Chart (Click for larger view)

Original Image Without Grid

Personally I think the 50mm "standard" focal length (in this case equivalent after you factor in the 1.5x crop factor) is one of the most versatile focal lengths you can use when you decided to buy a prime lens.

Aberrations

Color fringing shows wide open but is quite mild and easily gone by f/4, not an issue here either. Again an excellent performance.The examples below show the mild color fringing on a high contrast target at f/2.4 and gone at f/4.


CA f/2.4

Lack of CA f/4

Flare is tame overall despite the lack of a lens hood of any kind. I'm very impressed with the performance here overall but its good to keep in mind that lenses of this focal length tend to do pretty good here in general.

Flare.. or rather, lack thereof.

Bokeh looks pretty darn good for a lens with an average magnification performance and a 6 blade aperture design. Likely this is due to the curved aperture blades creating more pleasing backgrounds in the larger aperture settings as shown by the samples below.

Bokeh f/2.4 (note circular out of focus aperture effect)

Bokeh f/4 (Note the curved blades on the aperture effect)

Pentax 21987 DA 35mm f/2.4 AL Lens for Pentax Digital SLR cameras

Maximum Magnification looks just slightly above average for lenses of this focal length unless you include the most very recent budget primes from other manufacturers that just hit the market- at this point its just an average performance. I'd have liked to see a better performance in this regard, perhaps at least matching the 18-55mm WR kit lens's 1:3 magnification ratio. As is though a pretty small area can be captured, then cropped if that is your desire. The high sharpness performance of this lens is certainly agreeable to this decision if you so choose to make it.

Real Life Maximum Magnification Sample


Real Life Maximum Magnification Sample II

Test Chart Maximum Magnification Captured Area (Full Test Chart is 20x30" wide)

FINAL Conclusion

Pentax 21987 DA 35mm f/2.4 AL Lens for Pentax Digital SLR cameras
On the whole the Pentax 35mm f/2.4 exceeds most of my expectations for a lens of this price new/retail. If you are shopping by looking at pictures and specs of it on the net, you'll never get the experience you'd need to truly appreciate this budget prime. I speak from experience here.

If you are comparing DSLR systems and looking at budget primes from all manufacturers, the Pentax may seem a bit high priced for the total package you get, but optically it may be the best of all the manufactures. Your emphasis for value is important to keep in mind, but if you are just looking for a lightweight excellent performing optic that stands up against optical tests very well, the Pentax 35mm DA f/2.4 is a good no brainer choice.

I liked this lens so much I decided not to return it to the retailer and use it almost daily on one of my own personal K5's. I do miss some of the features that Pentax is typically known for (weather sealing, quick shift focus) but not enough for me to return the lens. I can forgive it's plastic lens mount, and don't think a lens this light needs a metal one. I do enjoy it's low weight, nice sized focus ring, and its sharp as a tack, low distortion rendering much more than I miss some features.

As always be safe, and happy shooting.
-Carl Garrard

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Sony A65 Review- Alpha Ala TMT

2011-11-21T19:06:00.000-08:00

Sony A65 Review- Alpha ala TMT (Updated 11-23-2011)
November 2011, Carl Garrard
Sony A77 24.3 MP Digital SLR CHECK PRICES

Sony A65 Review: When my hand first wrapped around the Sony A65 I knew it was the medium sized bodied camera I had been wanting from Sony for quite some time- at least in it's size and form factor. I won't be shy to say that I favor medium sized DSLR's (or DSLT's/DTMT's) over typically larger Pro and Enthusiast level DSLR's. I find a medium sized body to be more practical for all day holding yet still fully functional and controllable when using larger lenses. Find out the rest of my thoughts on the A65 next.

Sony A65 24.3 MP Translucent Mirror Digital SLR With 18-55mm Lens

Introduction/Features: Sony's Alpha A65 DSLT with TMT (Translucent Mirror Technology, as Sony now calls it) is a 24mp interchangeable lens camera with a 2.4million pixel electronic viewfinder and a fixed mirror that allows full time, uninterrupted phase detection auto focus for both still and video images. It also boasts a high frame rate with fixed aperture at 10 frames per second, or 8 frames per second with full control. Sony has caught up to the competition by introducing several "picture effects" or art filters along with the A65, including Sony's once unique sweep Panorama, Auto HDR, Handheld twilight, and DRO modes. It has a tilt/swivel high resolution 920K LCD screen and full 60fps 1080p video as well. Sounds like a bargain with a kit lens for $999.00, doesn't it? We'll it is, especially when compared to it larger brother the A77.

Handling - Sony A77 shooters might not like me saying this but I actually prefer using the A65 more than the A77 as a daily shooter. I do miss some of the external controls of the A77, but not so much as to tip the scale in it's direction. Nope, I prefered to use the A65 most of the time when I had my time with the A65 and A77 bodies Sony loaned me, and that I used during the big Sony press event in San Diego, CA.

There's just something about medium sized DSLRs (whoops DSLT I mean) that I like most. I find them to accommodate most high end features without the large volume or weight penalty. Typically the prices are near half of cameras a step higher than them, and usually they will perform about 80% or more of the same tasks. In other words, cameras in this class simply offer the best bang for the buck. I find the A65 currently to be that camera for Sony.

Sony A65 24.3 MP Translucent Mirror Digital SLR With 18-55mm Lens

Gripping the A65 is very comfortable. I have what I refer to as medium sized hands and holding the A65 was usually quite a pleasure for me. In fact, I'd go so far to say that of all the Sony cameras I've owned or used the A65 is probably my favorite in this regard. I found it light enough to carry all day, even with a medium sized lens such as the 70-300G or 16-50mm kit lens, and found it more comfortable to use during shooting as well. Could just be a fit thing, but I do feel its form factor will please more photographers than its larger brother.

Controls on the A65 are pretty minimalist but there are the essentials that I use quite often like the ISO and EV buttons, right where I need them. The same held true on the A580, so I'm glad to see them in the right location on the A65. There is plenty of space on the top deck for a small LCD display, something missing I think would have really added even more value to the A65 had Sony included it. If you disagree with the inclusion of an LCD display, certainly a couple more buttons could have been added on the top deck to facilitate faster acquistion of commonly used controls- or better yet, another custom button you could assign yourself. Seems like an awful waste of space (Contact, anyone... anyone.. never mind).

On the backside of the A65 there is a pretty plain and traditional layout almost very similar to many of Sony's point and shoot cameras, especially with the main control pad. The Fn button is in a nice location and that button really gets used a lot. I actually find the rear side of the A65 less cluttered and more organized than the A77- with the trade off of more menu diving. Since the menu system of the A65 is pretty snappy and organized, I find this a pleasant compromise. I do really like the A65's layout of buttons and controls for most shooting situations- less clutter means less stress while shooting for me- your experience of course may vary.

Variable Angle LCD Display- Here is another area I think the A65 trumps the A77, mostly. I do like the more simple design of the A65's LCD screen-both aesthetically and operationally than I do the A77's.

No doubt the A77's LCD has more available angles than a geometry book, but for most uses I'd rather not be confronted with so many choices. I found myself fiddling with the A77's display much more than the A65, and that is a distraction from shooting I really don't need. The way the A65's screen is oriented will work for most applications the A77's will, and it won't be so much of a distraction.

Auto Focus Performance- I might start to sound like a broken record here- but for the cost, I think the A65 is the better camera of the two for the autofocus performance. I tend to use the center AF point 99.99% of the time and for my money the A65 performs better than the A77- when price is a factor. Why? Simple, I found them to be identical in lock rate, AF speed, and accuracy when using the central AF points that are equipped with cross sensors.

It didn't matter what kind of light I was in either. When using the central AF points (highlighted in fuchsia above) I found no real differences between the two cameras. So, from a bang for the buck perspective the A65 wins this battle.

What I like most about the autofocus system of the A65 mostly though, is that it has all of the performance characteristics that I like in the A580's auto focus system, with none of it's weaknesses. Generally speaking I found the auto focus to be a bit more accurate than the A580's too. This is likely due to the fact that the A65's system is fully active 100% of the time, but it's really hard to say. I just report the results. The A580's autofocus for me wasn't ever really off, but it did miss on occasion whereas the A65 did not.

Battery Life- Although the A65 is rated slightly higher than the A77 in battery life, I found it overall to be quite average if not below average when compared to cameras of its peers. The silver lining here is that Sony decided not to change the battery type that is used in so many other Alpha cameras, so if you have multiple Alphas or a few hold over NP-FM500H batteries, bring them if you plan on shooting all day. I managed to squeeze about 400 shots out of the A65, which is below its rated life and I didn't use flash. I mentioned this in the A77 review too- but this is not typical of Sony to under perform against its rated batter life. Usually I'll get more images out of one charge than its CIPA rating. Still, its a bit better than the A77, once again.

Sony A65 24.3 MP Translucent Mirror Digital SLR With 18-55mm Lens

Image Quality- Image quality is identical to the Alpha A77's. My comments therefore are exactly the same except for one key point- the A65 does not compete with enthusiast level DSLR's and therefore I don't have the same expectations as the A77 for image quality. I don't expect a pick up truck to beat a sports car, and therefore I bring the same fair sort of mentality to comparing cameras. Compared to it's peers, I think the A65 offers more bang for the buck than the a77 does, at least in terms of raw resolution and cropping power. It's peers will out perform it at higher sensitivities but nobody but Sony offers 24 megapixels in an interchangeable lens camera for under $900.00 (body only). Keeping this in mind, I still feel the same way about the Jpeg engine and high ISO performance of the A65.

Both need improvement, and if Sony can figure out how to improve both of these factors by one full stop, the A65 would then be a real game changer in this regard. I'd also like to see a NR off option or at least a chroma only noise NR low setting. This would show off the A65's 24mp sensor on the Jpegs, not just the raw files. Here is an excerpt from the A77 review regarding overall Jpeg image quality.

"As far as the Jpeg engine is concerned, I have many issues with it. First of all I feel way too much noise reduction is being done on the Jpegs at ALL ISO values, which robs detail in every 24mp file you save. Then why have 24 megapixels you ask? Good question. Maybe Sony has the answer to that.

Secondly, the way the images are processed are unlike anything I've seen in past Sony Jpeg. The artifacts showing mainly in shadow detail are some of the weirdest I've ever seen. No, this is not a good thing. More so when you turn on vignetting correction in camera. When the A77 is bringing up shadowed areas to a brighter scale, the artifacts really start to show. And besides the artifacts, detail is mushed over because of noise reduction even at ISO 100.

I'm not sure if Sony were scared to show some image noise on their new mega-sensor on the Jpegs or not, perhaps that's why they are so heavy handed on the noise reduction? Only Sony knows that. As is this is a camera that I'd only rely on Jpegs when using the special stacking modes- Auto-HDR and MFNR, where lower noise and higher detail are retained than a standard one exposure Jpeg. That is, anytime I plan on retaining all finite detail. Otherwise the A77 is a raw only camera to me. Which segue's into my next segment, Raw quality. "

As far as raw image quality is concerned, there is a huge improvement. But for the A65 I do think Jpegs are even more important for the target audience. I don't know many people that buy $500-$900 DSLRS that tend to shoot in Raw only. At least I don't know many people that I meet in person that do anyways. I find that to be true with more advanced shooters than beginners or growing enthusiasts. Anyways, here is an excerpt from the A77 review on Raw image quality, since the two are identical.

"Raw image quality is a massive improvement over a single exposure Jpeg. Yet compared to its peers the Raw image quality is about average, better than some 14mp sensors I've seen, but not as good as some 16mp sensors I've seen. In my opinion, the A77's sensor is good to about ISO 2,500 -3,200 in a pinch perfectly exposed. Clearly low light shooting has been sacrificed for yet even more megapixels. Yet I don't recall any of our readers or readers on other forums screaming up and down for more megapixels- perhaps the surveys that were sent out to the public that helped sway this decision were given too much weight? Perhaps. Only Sony knows.

If you are going to shoot Raw only and don't mind shooting at ISO 1,600 and under (or just normally don't) then the A77 is a fine photographic instrument able to reach resolution levels no other APS-C DSLR or DSLT has been able to reach yet. For gigantic color rich prints with lots of dynamic range, the A77 is a fantastic tool. Shooting an ISO 50 image on a sharp lens and viewing it on screen is something else, print it large though and you'll really know the full potential of this sensor.

Although DXOMark give the A77 a pretty high score, it is fundamentally necessary to pay special attention to the ISO scrore. That, and the DXOMark score is based off of Raw only, not the combined Jpeg and Raw images I've done on my evaluation. Add that the A77 gets high marks for resolution, color depth, and dynamic range (all which I agree with DXOMark) and our conclusions are actually quite similar. "

Viewfinder- Again, the viewfinder is shared with the A77/65/NEX7/5N (with add on unit) so my thoughts are the same on them all. Best EVF to date (of the date of this article), but doesn't replace the inherent advantages of an Optical Viewfinder, it just gets closer to replacing them. Some of the major advantages of the EVF are for manual focusing (via focusing peaking and magnification), real time exposure via full time histogram, live shooting data and menu switching, 100% composition, and low light scene amplification (when it's twilight for example you can see the scene better through the EVF than with your eyes).

Some of the disadvantages of the EVF are power consumption, no framing composing unless the camera is turned on, highlights/shadows clipping, wysiNOTwyg, better indoors than outdoors, and tracking fast objects with any AF setting other than speed priority. Likely most of the cons won't be noticed by consumers, so the payoff in this class of camera for a viewing experience this size is excellent.

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How the Jpegs Should Look (Updated/Added 11-23-2011)

In this section of the review I provide samples on how I think Sony's Jpeg engine should look at the higher ISO values. These samples were shot in low natural light (especially ISO 16,000) and converted using Adobe ACR. Only chroma noise was removed (slider at 50%).

The first image is shot at ISO 6,400 near sunset, and the second shot at ISO 16,000 about 20 minutes later (almost completely dark). Light was almost non-present, and both of these shots were hand held as well. Meaning that I used the A65 at near dark conditions and could get sharp images hand held at high ISO's using raw. I wouldn't dare using the Jpegs out of camera for these two shots.

ISO 6,400 ACR Converted Jpeg (Chroma Noise Removal Only)

Full sized processed Jpeg for ISO 6,400 can be found here:

http://images.alphamountworld.com/a65/_DSC0079-6400-flower-jpeg-sample.jpg

Full sized processed Jpeg for ISO 16,000 can be found here:

http://images.alphamountworld.com/a65/_DSC0084-16000-flower-jpeg-sample.jpg

Plenty of detail is retained and the odd Jpeg artifacts I mention in this review are not present. No downsizing is necessary here to make the images look acceptable. Printed at 13x19" you can hardly see the noise grain at ISO 6,400, and printed at 8x10 the same applies for ISO 16,000. Surely there is some color bleeding and grain present at the highest ISO setting, but the images are much better than a standard Jpeg out of camera even when set to the low noise removal (NR) setting. Below is the out of camera Jpeg, for comparison.

Out of camera Jpeg- A65

Note, the chroma noise removal and very low light contributed to the reduced amount of color saturation that is evident in the ISO 16,000 shot, both in my processed image and the OOC Jpeg above.

If I can process images using a standard raw converter like this, surely Sony can change the firmware to make Jpegs look this good (or better) from the processor/firmware in camera. Later I processed these images using a careful hand in Neat Image.

The Y noise channel was the only channel reduced giving the images a much lower noise look (what the A100 could do at ISO 400 in these conditions). The down side here is that each image took careful processing and took a bit of time, as well some minor detail was removed.

A better looking Jpeg would be instant and out of the camera. It would not require the knowledge, skill, or time to process. I would venture that most shooters who purchase the A65 would prefer to rely on the out of camera Jpegs and know they are getting as much detail and color as possible out of the sensor throughout the ISO range. Hopefully Sony release a new firmware update addressing the Jpeg engine of the A65 and A77 both (throw in the NEX7 too while you are at it).

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Sony A65 Review Final Conclusion

Sony A65 24.3 MP Translucent Mirror Digital SLR With 18-55mm Lens

This conclusion is brief. I like the A65, and overall liked it more than the A77 both in use and for the price. For more demanding needs, the A77 surely is a better camera but I think overall the A65 is definitely the better camera for the dollar. From it's comfortable form factor to it's wonderful EVF the A65 DSLT is my favorite of all the "TMT" cameras to date. Price and features wise the A65 is a pretty darn good value, even when compared to its peers.

Had it more user customization options, a better Jpeg engine, and better overall high sensitivity image quality, the A65 would probably be the leader of its peers. But as is, the A65 is just an alternative- being pretty equal when all things are considered (it is at the higher price range than its peers), but no better as an all round camera than what Canon or Pentax have to offer in this class of camera. The only exception to the rule in this class is Nikon's D5100 which I think takes the back seat to the A65 even with better high sensitivity image quality.

The A65 has a solid laundry list of core features that make it a good DSLR (I mean DSLT, whatever). It has wireless flash capabilities, a built in auto-focus motor for legacy lenses, built in image stabilization, and an excellent autofocusing system that blows away most of its peers at this price range (the Pentax Kr is pretty snappy as well). Add that the EVF is nearly the magnification/viewing size of a full frame DSLR, that it has a host of unique image stacking/aligning features, and even a set of art filters to have fun with, and the A65 makes an interesting proposition for those that don't mind giving up an optical view. At this price range, I think more would be willing than most.

Compared to the A55 and A33, the A65 is simply in another class in most respects- especially when it comes to the viewfinder and handling characteristics. While I prefer the A55's image output overall to the A65's it doesn't have enough features otherwise that impress me. Therefore when I compare the A65 to every other SLT Sony has made, I conclude it to be the best value for the buck- and a camera that A-Mount shooters ought to really have a look at if they are considering an SLT model.

As always, be safe, and happy shooting.

-Carl Garrard

"Click and support, it's so easy a cave man could do it."

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A65- Pros'

Good sized body and comfortable reassuring handling
Large viewing experience with EVF
Lots of resolution to work with
Fast and Accurate Autofocus
Very Good Raw Image Quality (to ISO 2,500)
Excellent manual focus camera (focus peaking and magnifying tools are wonderful)
Good Dynamic Range
Good metering
Good color
Controls are well located
Decent build quality (internal alloy chassis)
Wireless flash capable
Image stabilization built into body

A65-Cons'

Jpegs aren't pretty- some awful artifacts, soft, mushy like oatmeal (waste of 24mp)
Image quality (noise) suffers in low light or shadow regions (entire ISO range)
No control for Jpeg out put (3 settings for NR are all way too much, might as well be none)
Battery life is average to below average
Cannot compose shots unless camera is powered on
More expensive than its peers
Auto White balance still too warm
Top plate seems wasted (mostly)

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Sony A65 24.3 MP Translucent Mirror Digital SLR With 18-55mm Lens

36mp? Enough is Enough!

2011-11-19T19:19:00.000-08:00

36 Megapixels? Enough is Enough!
November 2011, Carl Garrard

Rumors have it (or leaks if you believe like me) that Sony are set to introduce a new 36mp sensor for the A900 replacement. The recent experience I've had with the new 24mp APS-C sensor from Sony is cause enough to give me pause on the thought of a full frame camera having this much resolution. Why? For several reasons. First of all, the cost of the production of camera will have to increase for development of the new chip. Secondly the file sizes are going to be monstrous putting massive loads on your storage card, hard drives, and image post processing time. More...

Sony Alpha A900 24.6MP Digital SLR Camera (Black)

Now before I get going on this I'd like to be really clear about my motivation. I think I can sum up my thoughts here by saying that I think the timing of this sensor is just off. Economically the world is in transition still and it doesn't look like we're going to get a break from a down market anytime soon. A sensor like this will require purchasing of bigger memory cards, possibly more external drives, and possibly an upgrade in your laptop/desktop computer as well. That is of course you are willing to suffer the hit that will likely result from this sensor.

On top of all that, what remains to be the wild card here is the image quality. 36mp on a full frame sensor is a lot of crammed and smaller pixels, some three times smaller than Nikon's D700 and D3 cameras that still currently lead the DSLR industry in low light high sensitivity shooting performance. Surely more resolution could be had than those cameras, I concede to that much, but I think 36mp is frankly way too overboard.

Another reason I bring this topic up here, is because many of the manufacturers like Nikon, Pentax, and others buy sensors from Sony. They are the only two likely to use this new sensor (Nikon more than Pentax probably) in addition to Sony but together they make up three of the 4 major brands that make DSLRs. Not much choice unless you are a Canon shooter. And speaking of, I think Canon nailed the specifications with the new EOS 1DX at 18mp. Plenty of resolution (medium format cameras used to be this much not too long ago), but promised excellent low light shooting. Currently the Canon 5D Mk II performs even better than Sony's 24mp model so 21mp even seems to be quite enough.

Canon EOS 5D Mark II 21.1MP Full Frame CMOS Digital SLR Camera (Body Only)

If Sony are going to try and get more market share this is not the way to go. I think the average DSLR consumer wanting to upgrade to full frame are starting to realize that megapixels isn't all that important anymore. The term itself at least in the US is becoming increasingly less popular in conversations I have with everyone. In other words, most people don't give a crap about megapixels as much as they used too.

I think if the brass at Sony have made this choice already, it is a bad choice. If they haven't made this choice then I implore you in Tokyo- don't do it. Just make a really great FF body with all the essentials with some modern flair to keep it fresh and viable on the market. And please, offer a FF camera with an optical viewfinder and and electronic viewfinder so you can cater to both sides of the buying crowd.

Cheers,
-Carl Garrard

Pentax K5 DSLR Review

2011-11-19T05:11:00.000-08:00

Pentax K5 DSLR Review (Updated 11-20-2011 New ISO 51,200 Gallery)

October 2011, Carl Garrard

Pentax K-5 16.3 MP Digital SLR with 3-Inch LCD (Black Body Only) (See all Digital SLRs)

Pentax K5 DSLR Review: In the past ten years or so I've used and/or owned many digital, film, and digital SLR cameras- more perhaps than I'd like to count or share. In that time very few cameras truly rise up as my overall favorites. They've come in large and small packages, expensive and inexpensive alike. Price or size has never been a necessary determining factor in a design. I admire cameras of all makes and sizes and prices.

Few of those designs, and I mean very few, have taken ahold of my imagination and photographic spirit the way the Pentax K5 has. This extensive review explains why the Pentax K5 is truly a special camera to me, and why it is my vote for DSLR of the Decade.

Introduction:

Yet another honest to goodness DSLR review? 1001 Noisy Cameras ought to be pleased about that, right? Anyways, Pentax's K5 is the most recent DSLR to come across my desk, and rounds out my triple header weather proof DSLR review set. Fresh off of writing the K200D and K20D DSLR reviews (other DSLRS of which I own, and have owned in the past), the K5 makes a serious case for its place in my weatherproof DSLR kit along side those camera bodies. Of late, I've outfitted myself with a weatherproof DSLR kit simply because I do not want to miss an opportune moment due to harsh weather conditions- I want to be right out there in them.

Time is fleeting. In my mind there's no time to cancel a photographic assignment or planned outing because the weather doesn't favor the equipment or comfort I seek. Therefore if my equipment is ready to handle the task, I've really got no excuse not to get out in the good stuff and see the world. And that's exactly what the aforementioned Pentax's do best- they're ready to take on the challenge of just about any sort of inclimate weather and do it reliably.

Although I tried to cover as much as possible about the K5 in this review, it's next to impossible to do so without writing a huge book. So I've put down in writing what has come to mind first when using the K5. Now with that said, onward.

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K5 Versatility
Lets first take a look at what type of photographer would best benefit from the K5. Here I've compiled a list of photographer types and highlight features of the K5 that might be the best consideration for that particular type of photographer or assignment.

K5 Shown here with optional weatherproof vertical/portrait grip

Sports Shooters: Fast continuous AF, 7fps, a 100% accurate viewfinder with very decent magnification, and awesome high ISO image quality make the K5 a real contender for this role. It may not be the best option but certainly the most affordable one and very capable indeed. Three years ago this camera would have been right at the top for a pick at this role.

Street Shooters: It's weatherproof, small and unintimidating, ultra quiet, takes just about any manual focus lens and with a magnification feature, great low and high ISO image quality, excellent viewfinder, discreet, what more can you ask for when shopping for a street camera?

Landscapers: Image quality galore, HDR, multi-exposure raw files, 100% LCD and OVF framing, axis and horizon digital level, Live View, ultra magnification for fine focusing, weatherproof, cold proof, small and packable, excellent battery life, what the heck else do you need from a camera for landscapes?

Portrait Shooters: Again, it's quiet, it has built in wireless flash capabilities with a dedicated flash sync, unitimidating, handles excellent, lots of fast prime lenses available for it (and a few fast zooms), and plenty of resolution for large prints.

Macro Shooters: It's big 3" screen, magnification abilities, focus bracketing, excellent resolution, small body for tight spaces, and flash options make it a wonderful contender.

Outdoorsman/Extreme Photographers: See landscapers section. Add that you can buy very good weather proof optics that are small and sharp for very little money- and my goodness what an IDEAL dslr for this task. Plenty of room in the grip. Buttons are usable with cold weather gloves, its durable, small, and able to withstand extreme elements.

Traveling Journalists: A small quiet DSLR with excellent high ISO capability supported by a vast number of excellent high quality small yet fast prime lenses (Limited Series). Unintimidating and feature packed to handle a multitude of shooting environments many journalists face- I simply can't think of a better DSLR for this task.

The Beginner: The K5 may be more expensive than entry level DSLRS, but you can operate it like a beginners camera for as long as you like- until you are ready to start advancing your photographic skills. The K5 is an excellent platform to grow into, and likely you'll find it difficult to ever reach the full potential of what the K5 is capable of. Great long term investment, buy one camera and forget it. Start shooting like crazy.

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Pentax Lineup Cross Comparison

K200D vs K20D vs K5 (The Three Amigos!)

Lets take a look at how the K5 compares to the other Pentax DSLRS I have in my tool chest. I've picked all three of these cameras for various reasons and all will get rotating photographic duty, especially with fall and winter weather coming to California very soon. All three of these cameras have extensive weather sealing and two of them are almost obscenely affordable on the used market. I like them all for their strong points, but there has to be one that stands out the most.

Size comparisons of The Three Amigos with different Pentax lenses. Look out for a review on the one in the middle soon.

Pentax K200D

First introduced in early 2008. Affordable minimalist DSLR with weatherproof capabilities, go anywhere worry free AA power supply, excellent low ISO CCD image output, small and yet very comfortable with just about any lens. Lightest of the group. When going lite for trail running or day backpacking trips, could be the preferred body. When you want a back to basics experience without a heady menu system or complicated interface, or just feeling sort of retro, this is the camera to bring. Bring it along to take pictures, period.

Pentax K20D

First introduced in early 2008. Best handling DSLR of the group- has some features from both the K200D and K5, kind of the middle man DSLR here. The K20D although older, still has an unique alluring quality about it. Biggest DSLR of the pack but still not too bulky or large for backpacking or trail running if you don't mind additional weight in your pack, or if you use a smaller lens. Still has a minimalist back to basics feel to it, but enough customization and newer style features to tinker with if you get the itch. A well balanced DSLR in this regard- makes it a unique and satisfying camera to shoot with. It has just enough of what you need for most situations to make it a very capable tool. Image quality is excellent for landscapes especially. It'll hold its own for wildlife or action shooting if you need it too. The K20D screams "I can do it, if you let me try." Might be the best overall value at its used price of all three cameras. It all depends on the depth of your needs though.

Pentax K5

First introduced in early 2010. "Q" would build this DSLR for James Bond. The most expensive of the group. It can do everything either camera in this group can do and much more, but it's reliant on a proprietary lithium battery. Smaller than the K20D, but heavier than the K200D. Best image quality by far of the group (less that mystical special K200D CCD factor). Almost every feature can be customized, you could spend hours on downtime relaxing on the couch processing images or videos in the camera after the fact. Bring it into a hurricane, drop it into a sand dune, shoot it out of a 16" Battleship gun, the K5 won't care. Excellent Landscape tool, especially because of its WYSIWYG OVF and LCD composition capabilities- yet there are a plethora more reasons that make it such a good tool for this task. Almost an overwhelming feature set and capable package. Responsive, versatile, Pentax's best overall effort yet. The K5 is the best culmination/combination of what Pentax is good at. It's cute and small, but lookout, it really is a wolf in sheep's clothing.

The K5 stands out of this pack and is hereby branded- A Jack of all trades, master of sum.

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The K5's Remarkable Processing and Image Sensor

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The K5 is equipped with a brand new Prime II image processor and 16.3mp CMOS sensor. Together, they and the engineered firmware make all the beautiful image quality magic happen. After looking over the images I've amassed so far at all ISO sensitivities, I've come away quite impressed.

"The sky is the limit"- that's the thought that repeated itself when deciding what sensitivity setting I want to use with the K5. I am pleased with the output at all ISO sensitivities, and quite frankly blown away. I believe the K5 is basically worry free to ISO 6400 in terms of image quality, 12800 to 25,600 are totally decent (sometimes for large prints especially monochrome), and beyond 25,600 are usable up to its max ISO of 51,200.

I've seen no banding or bad habits of the sensor at any sensitivity setting, which falls in line with my findings on the A580 DSLR sharing the similar sensor as well. Processing in the camera though, is another big part of the equation wherein the K5 excels.

At the lowest sensitivity I find the K5 is the first camera that I can use to shoot in raw for landscapes in harsh lighting circumstances that retains enough dynamic range that makes HDR near obsolete. You'll need to work your files sometimes, but the shadow detail is phenomenal, even when you "pull" your shadows up greatly.
Even up to ISO 200 I find the K5 will handle most scenes in this fashion quite well. Not too long ago what is possible with the K5 now, was simply impossible.

Next are some samples I've included for this review covering a broad range of ISO sensitivities. Most of these are processed from ACR in Photoshop unless otherwise stated. Each picture has a caption giving some details of the settings, click on the image for a larger size, hit your browsers back button to return to the review.


Trabuco Canyon Landscape ISO 200 18-55mm WR Lens f/8 CTE WB Setting

Old Junker From 60's Hippy Days, Trabuco Canyon ISO 2500 f/8 (Note Low Noise!)


Old Mining Shaft, Trabuco Canyon ISO 6400 f/5.6 (Note color retention/low noise)


Apollo, 55mm SDM ISO 16,000 f/4 (Note the very low light by his pupils!)

Those four samples are just a small looking glass into the capabilities of the K5 image quality wise. All of them were shot without extra care made to using higher ISO values. This is unlike just about every other camera I've used in the past -less the A580, where I've always handled higher sensitivities with extra caution.

The very last image of Apollo retains excellent detail and was shot in difficult low artificial light. Low light is the real test for a sensor, just about any sensor can perform good at higher ISO's in well lit (especially studio images) scenes. The K5 passes this harsh test with flying colors (while retaining them at the same time!). Here is a shot at ISO 2500 where subtle tones and color are preserved, almost unthinkable for this ISO setting not too long ago, and this is just a Jpeg straight out of camera.

ISO 2,500 AWB, low light (note low grain, wow)

In low ISO's blue sky noise is next to none up to ISO 200, preferably ISO 80. Most landscape photographers I know prefer to use lower ISO's for most images, so this makes the K5 a great choice for them.

Metering
Compared to other Pentax DSLRS and the older 16 segment metering, the K5's 77 segment metering is simply in another class of performance here. Without question it's one of the more immediately obvious improvements I noticed right away, and continued to notice. There isn't a metering system that I know that is perfect but the K5's, especially compared to its siblings (less the K7), is so much better in this regard I forgive it for the rare brain fart that may occur. Overall I found it to be very reliable, with a slight bias in preserving highlight detail at times which means the occasional bump up in EV value compensation will need to take place.

White Balance

Like the K7 that pioneered a much more accurate auto-white balance, the K5 follows suit doing a much better than the DSLR predecessors of the past. When I do rely on Jpegs, the output is so close to what I'd adjust in raw, I'm perfectly happy with the results. Outdoors or indoors in odd lighting the K5 just seems to handle color issues well. Stick it in live view and you can watch the K5 make near immediate color adjustments as you pan around the room, or just after you've turned the camera on.

Far as I can recollect, Ricoh were the first to pioneer this kind of white balance with the GRD III compact, from there, the K7 followed (not because of Ricoh just in time lines of release), and all of Ricoh's cameras since. Pentax have taken a similar route with all of the cameras from the K7 and beyond and should be commended for the giant leap forward. Not all manufacturers have this down!

It's not a perfect system but heads and tails above past cameras and likely good for about 90% of your shots. I'll take that score any day of the week. Odd how Ricoh ended up purchasing Pentax- isn't it? Match made in heaven? Could be.

*Note about CTE white balance setting. I find this to be the best auto-setting for landscapes that I've found yet, and If I hadn't read most of the K5 manual, I'd never have found it. Apparently this setting is optimized for landscape use, and I can see why.

Handling

Overall the K5 handles excellent. I'll preface this segment by saying that I think the K20D still handles better overall- at a very slight expense of size and weight. While the K5 is excellent in this category, the K20D is superb (in my mind one notch higher than excellent). The smaller size of the K5 does make for some real estate compromises in comparison but still manages to be a completely competent overall DSLR in this regard. It's comfortable, balanced, weighty and controls are very well placed. It's no wonder the K5 is so similar to the K7 and it's a testament to the K7's original design out of the gate that it largely remains unchanged.

Auto Focusing System- SAFOX IX+

In general I find the K5 to be a very fast and accurate autofocusing DSLR. The lower the light levels the slower the auto focus of course- which is very common in DSLRS, but the K5 like the K20D and K200D before it doesn't seem to want to give up in near dark conditions (and I like that). In bright light, the K5 is one of the fastest focusing DSLRS I've ever used (top 3 for sure), especially when using a lens that is screw driven and utilizes the in-body focusing motor.

The SDM focusing lenses are quiet and smooth but the focus motors aren't as fast as I'm accustomed to seeing with this type. I'd like to try out some other brands on the Pentax to get a feel. That said, the screw driven lenses are super snappy, and this obviously isn't an issue with the K5 (nor with SDM lenses really, it's not that big of an issue).

The K5 attacks its AF subject quickly, and is tenacious in constant AF mode. The motor in the body works overtime to keep your subject in focus, like a cat following a drawn string on the carpet floor- quick quick quick quick! Micro adjustments happen constantly and frequently, and although it can be a bit loud, I find it accurate after I've made an exposure. If for whatever reason your K5/lens combo doesn't focus accurately, don't worry, the K5 has a micro AF adjustment feature that will automatically identify your lens and save your adjustment settings forever and ever (up to 20 lenses).

Live View CDAF System

The only area I find the K5 to exhibit any hint of struggling is when I'm using live view contrast detect auto focusing (CDAF). Sometimes there's just not enough contrast for the K5 to lock onto in a scene and this is very much normal for this kind of AF system. Using PDAF (phase detect) in live view isn't all that bad and seems to have a higher percentage lock rate. If you don't mind the mirror flip up and down, try it, I like it.

Otherwise, the AF point can be positioned just about anywhere on the screen, when using CDAF find an area with more contrast to use the AF point on, and likely the K5 will lock, and lock accurately. Only on a couple of occasions did a scene trick the K5 into thinking it really had a sharp lock, when in fact it didn't. I don't complain about those kind of results, especially because of the vast improvement I've seen in CDAF technology and how that has found its way into the K5.

My Favorite Two Filters- Cross Processing and Infrared

I'm a big sucker, I like the cross processing look. Occasionally CP can just render a mood that other processing techniques simply can't offer no matter how hard they try. The feeling is difficult for me to describe, but best attributed to my childhood when viewing old photo albums that had pictures from the 1970's. You know the kind? The almost turned orange and near faded look? That doesn't quite fully explain the draw CP has for me though, there is something else to it I really like. Here is a quickie sample I took while driving (don't do that).

Some Church in Rancho Santa Margarita, CP blue/magenta filter, ISO 250

The K5's Infrared Filter isn't so bad either. It's a bit hit and miss when it comes to a real "near IR" look, but when the camera gets it right, it's a lot of fun. I myself shoot with IR cameras (conversions, not Hoya filters) so I know what the real deal should look like. Even though it's not authentic, the look is intriguing and promotes experimentation. Blue skies w/clouds make a nice backdrop if you can get them in your scene. Pentax basically simulates the look of IR by taking the blue channel and making it fully dark, and turns vegetation into a more translucent white (that doesn't always work). Nevertheless it's grainy and it's fun, and that is enough for me to have some fun with. Portraits look really interesting. Try it. Le Sample below.

Just A Tree- IR Filter ISO 80 (My favorite ISO setting for this filter)

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Technical Info and Commentary

Build Quality

The heart of the K5 (just as the K7 before it) lies in a hybrid magnesium allow body, encasing a stainless steel chassis that's strong enough to take years of heavy photographic use. Pentax clearly overbuilds their cameras. Why isn't the very back panel made of magnesium too? The high level composite type of the back panel isn't chincy plastic, its durable fiber reinforced composite that stays warmer, resists scratches, and takes bumps and bruises better by being able to flex, unlike metal.

Weather Sealing

There are a plethora of gaskets and seals on the Pentax K5 that armor it from the elements. In my time with the K5, I've only had one rainy day to test it out but it was quite a day of rain. I wasn't shy about keeping the K5 in the elements while I was warm and dry under my gortex gear and waterproof boots. Prior to that day I've spent time in Hawaii with the K7 in torrential rains and the K7 never budged. Therefore I can attest personally to the level of sealing and dust protection from experience. It flat out works and gives me a sense of calm knowing the elements won't ruin a trip.

Optical Viewfinder

The K5 is equipped with one of the very best optical viewfinders in the high end DSLR category. Specification wise, it's a full 100% coverage (typical is about 96%), .92x magnification (typical is about .85-.90x) finder that is quite bright via the glass pentaprism. This remains unchanged from the K7. A lot of information is displayed at the bottom of the view, including a tilt horizon indicator (can barely make it out in the image to the left) and full time ISO reading. 11 auto focus points (9 double cross type) will light up red when the subject is in focus within the specific AF area. Four focusing screen types are available.

Control Panel

The K5 is also equipped with a quick control panel that allows you to make fast adjustments while over a highlighted area. This system is fast and intuitive, very similar to what other manufactures have done as well (Sony Quick-Navi screen, Olympus, etc.). I particularly like this screen for fast access to digital filters and cross processing modes, its much faster than navigating the menu. Distortion controls, HDR control, HDR shadow/highlight correction, extended bracketing, file types/sizes/quality, and SR (shake reduction) are just a thumb twist away from fast changes.

Digital Horizon Level

Another helpful tool, especially for landscape artists, is the digital horizon level. This version is an improvement over the K7's digital level in that it adds pitch to the equation. This way you can get your horizontal adjustment as well as your pitch correct at the same time. Combine this tool with the automatic geometric distortion correction at the time of shooting, and this will save photographers a lot of time in photoshop. Also if you're an aviation buff, you can mock fly the K5 around your house airplane style like a little kid. Yeah, you know I did it- so what.

Live View

Just about every tool you could want for live view is included with the K5. It uses two kinds of focusing methods- contrast detect and phase detect (with a mirror flip), has face detection, manual focusing magnification on any area of the screen, a live histogram (luminescence only), full EV adjustment range, digital level, normal shooting settings, 3 kinds of grid overlay screens, and much more. Although contrast detection AF isn't as fast as phase detection, Pentax has done a lot of work making theirs much faster since the introduction of the K7 (do any of you remember the first generation CDAF?).

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Quick Market Comparison: K5 vs. A580

Another camera which shares a similar sensor as the K5 is the Sony Alpha A580. This is a camera which I've repeatedly announced high praise for, mainly because of its image quality for the price. Currently the A580 goes for about $799.00 Body Only, roughly half of the price of the K5 unless you factor in the current rebate for the K5 of $300.00 off of its $1,499.00 MSRP.

The K5 is even smaller than the Sony A580 but still retains a better grip, which surprised me. Not lighter, but smaller.

For about $500.00 dollars more than the A580 though, the K5 has an impressive upgrade path which included the following: Industry leading weather/dust sealing, a much larger and brighter optical viewfinder, better grip and control surfaces, magnesium and stainless steel build quality, massive customization options, a much quieter shutter/mirror cycle, dedicated AF lamp, battery grip option, longer rated shutter life, top illuminated LCD panel, full metering and autofocus at 7fps (a580 will do 7fps but af and focus are locked), intervalometer, catch-in focus, Jpeg customization options, many art filters, cross processing and reversal film modes, a much more effective and reliable dust removal system, more external controls (dual dials and metering dial for example), a slightly smaller form factor, and many more features that don't come off the top of my head.

Still, the A580 has similar AF speed, image quality, wireless flash as the K5. It bests it with a tilt LCD screen, unique phase detect full live view mode, unique 6 frame image stack multiframe noise reduction/handheld twilight options, lighter weight, and better battery life. To date I believe the A580 represents Sony's best DSLR for the dollar and has been a favorite of mine for nearly a full year now- mainly because of its image quality, stacking features, and tilt LCD.

Both cameras have a 3 frame auto-image aligning/stacking HDR mode, which is not only handy for extreme lighting circumstances but also for low light noise reducing capabilities. When shooting in HDR mode in either camera, noise is reduced by about one full stop because of a 3 image stack in camera. This mode works best on still subjects, and allows for hand hold shooting at high ISO's in very dim circumstances with less noise penalty as a result. Sony's MFNR mode, aligns 6 images, and gives you a 2 stop advantage. I find the image stacking options useful and am glad to see the K5 at least incorporates one of those two types of shooting.

Both will do HD video, but the K5 has more manual options- Sony's advantage is the AVCHD file type which takes less memory to record. Video is not a major concern of mine at all, at this time.

And last but not least, both have a moving image sensor that stabilizes hand held vibrations and movement- which is an advantage for every lens you own.

Other than that I find these two cameras a world apart in how they operate, handle, and what tasks they are best suited for. The A580 will keep up with the K5 in ideal weather circumstances, but add dusty, windy, or rainy environments and the K5 leaves the A580 in the dust. The massive amounts of customization options of the K5 are a strength seldom showcased in reports of the K5. Let me be clear, this is a HUGE part of the K5 experience and it truly sets itself apart from any other manufacturer in this regard. Other manufactures do have customization options (big brands), but for more expense, and never as comprehensive as the K5.

For outdoors, the K5 is an easy no-brainer choice, unless the weather conditions are ideal. Indoors I'll take either, but the K5 has more ISO options, and a dedicated AF assist lamp and much quieter shutter. In low light situations where I need a quiet stealthy camera (when do we ever need a loud camera?), the K5 would win here hands down. Yep it's more expensive but for my personal use, I find the advantages worth the extra cost. Both are excellent cameras for the price however.

As overwhelmed with the K5 as I am, I almost find it shocking that the A580 still impresses me after using the K5. Holding both in your hand tells you a lot about the quality of construction which speaks volumes in favor of the K5, but when comparing image quality on screen or print they are very close to one another- the K5 having a one stop advantage in shadow detail and overall dynamic range. In use, both cameras are just a blast to use and entice creativity backed by solid fast and reliable performance.

My pick if I have to have just one camera? The Pentax K5, price and all.

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K5 vs. Mirrorless

In case you don't know, there's a new kind of camera segment that's been gaining popularity in the photo industry. Most manufacturers are now involved in the mirrorless category which include Sony, Samsung, Pentax, Olympus, Panasonic, and even Nikon finally stumbled into the market with a new model or two recently.

Fortunately I've also had the opportunity to try many of these models out first hand. Some are much more impressive than others- let me first get that straight. Some are also very tempting for me to use in addition to DSLRS, yet the only way I can justify getting yet another camera system is to be sure there is a place for one in my shooting that is legitimate and not just for play or fun.

Mirrorless cameras are typically more compact than DSLRS which is supposed to be their main selling point. So far though, in having used several different brands and models, the only real mirrorless system I see out there that is really compact is the Pentax Q system. Sony does well the the NEX-3/5 series, but once you add anything but a pancake prime lens to it, the size factor is suddenly not as good, and there are compromises that come with such a system.

Many of them do not have a built in viewfinder, you'll need to purchase a separate (and often expensive) EVF finder in order to get that eye level view. And when you do attach the finder, there is more compromise in the compact advantages a mirrorless system has inherently. So, all of this got me thinking about the K5 and the small limited lenses that are available for it.

I began to realize that the K5 and a small pancake or limited lens wouldn't be all that much bulkier than any of the popular (or respectable class) Mirrorless cameras. Yet at the very same time, there would be no additional compromises I'd have to make with the K5 because it already has everything I need in a camera. Putting a small lens on the front just makes the K5 a very compact imaging device, and it's really not that much larger than some of the enthusiast level mirrorless cameras out there with a similar lens attached. Check out this photo below when compared to the Canon G12 compact set at a similar focal length, then imagine that most mirrorless cameras are larger than the G12- especially with a lens attached.

The K5 isn't that much larger than the G12, and most mirrorless cameras w/lens would be larger than the G12.

It'll be a bit heavier than a mirrorless camera, but with that comes a steadier camera, in body image stabilization, a beautiful 100% coverage optical viewfinder, the best APS-C image quality available, and full feature set. So to reiterate, the K5's small form factor again has another advantage here. In a way, the K5 can be as large or small of a system as you'd want it to be. Versatility is an understatement, all without much if any compromise.

This is something to really think about folks. The K5 purchase could do much more for you than you might initially think- it's kind of a stand alone product in this regard. Truly the K5 isn't just a typical DSLR, it really does stand alone in the market as something unique- classing into "DSLRS" although it is one, might be a bit too general. Here we go right back to my buy one camera argument for the K5.

Keep in mind too that there are excellent vintage used manual focus Pentax prime lenses available that would make an excellent companion for a compact outfit. Hmm, something to think about here. No compromises in camera operation, class leading image quality, for near the same size as an enthusiast level mirrorless camera but with much more versatility.

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Pentax K5 DSLR Review- Final Conclusion

The Pentax K5 is a stunning representation of Pentax's core strengths and capabilities as a camera manufacturer. Always the camera for the photographer by the photographer kind of company, the K5 incorporates nearly all of Pentax's best attributes and very few of their weaknesses.

Obviously Pentax listened to its users of the K7 and responded. That camera too, had very few weaknesses yet Pentax still managed to improve upon that design with the K5 greatly when many other manufacturers in the same situation might not have given that much effort to do so- and most importantly not needed too.

Unequivocally the K5 is a refined DSLR for the most serious user but its unintimidating exterior seems to politely extend out a hand to new users and say, "Just set me in green mode and I'll take care of you". And that's exactly what the K5 does for serious photographers as well. I couldn't come up with one scenario where I felt the K5 couldn't handle a situation with authority or aplomb.

When you aren't out shooting seriously with it, it's just a cool and fun camera to explore and use. There are so many filters and settings and features that you'll never get bored trying to master any one of them. It's a techy little wonder that manages to push several of my happy buttons simultaneously. It is hard to put down. During the course of writing this review I've stopped several times just because I wanted to shoot with it and it didn't matter what the subject was, a toe, a bowl of mushy cereal, grandmas' old tea kettle, or a lamp. They are all game. I just had to get up and go shoot.

Getting back to being serious, I find the Pentax K5 DSLR to be a well balanced design from any angle you critique it. Not only is it a massive upgrade to the already stellar K7, but I find that all of its features, construction, and image quality all sort of came together like planets aligning in our solar system. Is it perfect? No, of course not. No camera is perfect. Just how close to that ideal the K5 comes though- that is what makes it such a strong camera to recommend to nearly any kind of shooter I can think of.

The K5 in itself is a massive engineering hurdle, I'm not sure buyers really understand the magnitude of engineering the K5 is. To put an enthusiasts dream wish list into a camera, then have it organized in such a way where most things are easy to find and use, have it fit in such a small form factor, and have it perform as responsive as it does- man, you really have to hand it to Pentax's engineers to pull this one off right. I'd give them a high five if I ever meet any of them.

Hurray for the little guy. Go Pentax.

As an all rounder, nobody makes a better DSLR than the Pentax K5 at any price. And in the end that is why I name the Pentax K5 the *DSLR of the Decade.

*Denotes the last 10 years of DSLR history (2001-2010)

As always, be safe and happy shooting.

-Carl Garrard

Click and Support- Easy peasy, lemon squeazy.

K5- Pro's and Con's

Here is a quick pro and con list for the short attention span types. All of this praise made finding a con list for the K5 the hardest part of doing this review. All said and done, even with the Con list, the K5 gets the highest praise I've ever bestowed on a DSLR.

Pro's

Customization Galore
Highest Image Quality of any APS-C DSLR (as of writing)
Images Print Excellent Up to ISO 16,000, Useful Beyond to ISO 51,200
Excellent Extreme Weather/Environment DSLR
A Enthusiasts Wish-List Come True
Generally Fast, Accurate, and Tenacious Low Light Auto Focusing
SHHHHHhhhhhhhhhhhhh..... It's Ultra Quiet (see con list)
Small form factor, well balanced weight
Excellent Large, Comfortable, Secure grip (one handed shooting all day long)
Handling is excellent for such a small DSLR
Best Dust Removal/Prevention System of Any DSLR
100% Accurate, Large, Bright Optical Viewfinder
Big LCD Screen (Color/Brightness Customizable)
Dual Customizable Control Dials
Stellar Price/Feature Ratio
Fast Frame Rate (6.9 fps Tested, 7fps claimed)
Strap Lugs Do Not Interfere With Handling (do not press against pressure points on hand)
Excellent Live View Options (Fast Contrast Detect AF w/firmware update)
Several Firmware Updates Enhance Feature Set/Support User
Excellent Choice For Military/Coast Guard/Government Service Journalists
User Choice for Noise Reduction On Jpegs
Automatic Lens Distortion Correction (for more modern Pentax Lenses)
Autofocus Fine Tuning (up to 20 lenses)
Embedded Custom Copyright Information Option
4 Customizable Buttons/Dials
Tilt/Axis Digital Level (tilt level even in the viewfinder!)
In Camera Image Stabilization (SR)
Dynamic Range Setting, Auto-Aligning HDR Setting, Multi-Exposure Setting (available for Raw files too!)
DNG Raw Format or PEF Proprietary Format Available
Myriad of Filter/Film Simulation Options
Excellent Buffer (with newest firmware v1.11)
Quick Adjustment Info Screen (w/full time/date/day display)
Excellent Timer/Drive Options (remote options especially)
Dedicated Mirror Up Mode/Bulb Mode (all ISO's now available in this mode due to fw upgrade)
Excellent Range of EV Control (-5 to +5)
Enough Bracketing Options To Satisfy Anyone
HD Video, and External Mic Jack
16mp resolution14 Bit Raw Files (for excellent color rendition/prints at very large sizes)
GPS Option if you are into that

Con's

Image processing for HDR shooting can take a bit too long
Battery life could be a bit better (but is great when you manage it well, which is key)
Cross Processing should be available for in-camera post processing duties
AF speed in lower light levels could be a bit faster (but it is tenacious and rarely does not lock on)
A Flush Mounted, Flip and Twist LCD Would be Better (as long as handling/size isn't compromised)
In Body AF Motor Can Be Loud (Manual/SDM focusing ensures near silent reputation, see pro list)
One Card Slot (I just use a 32GB Class 10 card though)
Flash Sync Speed Could Be Higher To Match Competitors
Write times in some shooting modes are pretty slow
Bottom of camera could use rubber seating around tripod mount (to keep camera secure on tripod/minimize damage to paint/body)
Bring back the finger grooves in the left side of the body (like the K20 please)
Swing out doors are better than rubber grommets

K5 ISO 51,200 Gallery

The K5 is an extraordinary tool for low light shooting, as I've discussed on the review almost ad nauseum, however, I felt that a small gallery showing samples of the capability of the K5 might help to do my words more justice. Tell me what you think on the three samples below! (Processed from Raw in ACR)


Morning Coffee


My Favorite Model!

Pokey, the Handsome Lad!

Pentax K5 Full Specifications

Sensor:	Type: CMOS w primary color filter and integrated Shake/Dust Reduction sensor movement system Size: 23.7 x 15.7mm Color depth: 8 bits/channel JPG, 14 bits/channel RAW Effective pixels: 16.3 MP Total pixels: 16.9 MP Recorded resolutions Still: 16M (4928x3264), 10M (3936x2624), 6M (3072x2048), 2M (1728x1152) Movie (resolution/FPS): 1920x1080p25, 1280x720p30/25, 640x480p30/25 Quality levels: ** Premium, * Best, ** Better, * Good Dust Removal: DR II (ultrasonic vibration to low pass filter) with Dust Alert function	Lens Mount:	Type/construction: PENTAX KAF2 bayonet stainless steel mount Usable lenses: PENTAX KAF3, KAF2, KAF, and KA (K mount, 35mm screwmount, 645/67 med format lenses useable w adapter and/or restrictions) SDM function: Yes Power zoom function: Yes
Focus System:	Type: SAFOX IX+ TTL phase-difference 11 point (9 cross) wide autofocus system with light wavelength sensor Focus modes: AF Single (w focus lock, focus/shutter priority selectable), AF Continuous (w focus/FPS priority selectable), Manual Focus point adjustment: Auto 11 Point, Auto 5 Point, User-Selectable, Center AF assist: Yes, via dedicated LED AF assist lamp	Viewfinder:	Type: Pentaprism Coverage (field of view): 100% Magnification: 0.92X (w 50mm F1.4 at infinity) Standard focusing screen: Natural-Bright-Matte II (interchangeable) Diopter adjustment: -2.5m to 1.5m Depth of field preview: Optical (diaphragm stop-down), Digital
LCD Monitor:	Type: 3.0” TFT color LCD with brightness/color adjustment and AR coating Resolution: 921,000 dots Wide angle viewable: Yes LIVE VIEW Type: TTL by CMOS image sensor Field Of View: 100% Display Modes: Magnification (2-6X AF, 2-10X MF), Grid Overlay (4x4, Golden Ratio, Scale), Bright/Dark Indication, Histogram Autofocus: Yes, Contrast + Face Detection, Contrast Detection, Phase Difference	Built-in Flash:	Type: Retractable P-TTL popup flash Guide number: 13m (ISO 100) Coverage: 28mm wide angle (equiv 35mm) Flash modes: On, Redeye, Slow Sync, Slow Sync + Redeye, Trailing Curtain Sync, Wireless Flash exposure compensation: -2 to 1 EV (1/2 steps)
External Flash:	Type: Hotshoe (P-TTL), high speed sync and wireless w PENTAX dedicated flash, X-Sync Socket Synchronization speed: 1/180 sec	Storage Media:	Internal memory: n/a Removable memory: SD, SDHC, SDXC (via firmware update)
Interfaces:	Ports: USB 2.0 hi-speed, AV out, HDMI out, DC in, cable switch, 3.5mm stereo microphone, X-sync socket Video out: HD (via HDMI), NTSC, PAL Printer interfaces: n/a	Power Supply:	Power source: Rechargeable Li-Ion battery D-LI90, D-BG4 Battery Grip (optional) for 2nd D-LI90 battery or 6X AA batteries Recordable images: Approx 980 (approx 740 w 50% flash, CIPA) Playback time: Approx 440 min Movie recording time: Approx 25 min (automatic overheat shutdown protection) AC adapter available: Yes (optional)
Physical Specifications:	Body dimensions (W x H x D): 5.2 x 3.8 x 2.9” Body weight Without battery or removable memory: 23.3 oz Loaded and ready: 26.1 oz Construction material(s): Magnesium alloy shell over stainless steel chassis Weather resistant: Yes (77 weather protection seals) Operating temperature: 14-104°F (-10 to 40°C)	Language Support:	English, French, German, Spanish, Portuguese, Italian, Dutch, Danish, Swedish, Finnish, Polish, Czech, Hungarian, Turkish, Greek, Russian, Korean, Chinese (Simplified/Traditional), Japanese
Image Stabilization:	Type: Sensor-Shift Shake Reduction with rotational compensation (4 stops max) Electronic level function: Yes, verification via viewfinder and LCD panel	Metering System:	Type: TTL open-aperture 77 segment metering Sensitivity range: EV 0 to 22 (ISO 100, 50mm F1.4) Multi-segment: Yes (77 segments) Center weighted: Yes Spot: Yes Exposure compensation: +/- 5 EV (1/3 and 1/2 steps) Exposure lock: Yes Exposure bracketing: Yes (2, 3, or 5 frames, up to +/- 2 EV in 1/3 or 1/2 steps)
ISO Sensitivity:	Auto: ISO 100-12800 (1, 1/2, 1/3 steps), expandable to ISO 80-51200, Bulb mode up to ISO 1600, auto ISO range selectable Manual: 100-12800 (1, 1/2, 1/3 steps), expandable to ISO 80-51200, Bulb mode up to ISO 1600	*White Balance:**	Auto preset modes: Auto, Daylight, Shade, Cloudy, Fluorescent (D, N, W, L), Tungsten, Flash, CTE Manual mode(s): Yes, 3 manual and 3 Kelvin temperature presets available, copy WB settings from a captured image available * WB fine adjustment available in all modes
Shutter:	Type: Electronically controlled, vertical-run, focal plane shutter Shutter speed: 1/8000 to 30 sec (1/3 or 1/2 steps), Bulb	Capture Modes:	Mode selection: Green, Hyper Program (P), Sensitivity Priority (Sv), Shutter Priority (Tv), Aperture Priority (Av), Shutter & Aperture Priority (TAv), Metered Manual, Bulb, X-Speed, USER (5 presets), Movie Custom Image Modes: Bright, Natural, Portrait, Landscape, Vibrant, Muted, Monochrome, Reversal Film, Bleach Bypass - All include gamut radar and fine adjustment of saturation, hue, high/low key, contrast, and sharpness (regular and fine adjustment scales). Monochrome mode includes adjustments for filter effects (green, yellow, orange, red, magenta, blue, cyan, infrared), toning (sepia, warm/cool), high/low key, contrast, and sharpness (regular and fine adjustment scales). Green simplified mode available: Yes P/A/S/M/B: P, A, S, M, B (extended modes Sv, TAv) Date stamp: n/a Digital filters (capture): Toy Camera, Retro, High Contrast, Extract Color, Soft, Starburst, Fisheye, Custom Data record: Folder name (standard, date), file name (standard, customizable), embed copyright
Drive Modes:	Mode selection: Single, Continuous (Hi, Lo), Self-Timer (12s, 2s), Remote (0s, 3s, continuous), Auto Bracketing (standard, timer, remote), MLU (standard, remote), HDR Capture (+3, 0, -3 with 5 blend settings and pixel alignment), Multi-Exposure (2-9 shots), Interval (999 shots, 1 sec to 24 hrs, time delay available) Continuous FPS - Continuous Hi: 7.0 FPS (22 JPG, 8 RAW) - Continuous Lo: 2.0 FPS (unlimited JPG, 12 RAW) Self-timer: Yes (12s, 2s) Remote control: Yes, infrared (0s, 3s, continuous), cable switch	Playback Modes:	Mode selection: One Shot (no data, basic data, full data, color channel histogram, bright/dark indication, copyright info), Multi Image Display (4, 9, 16, 36, 81 thumbnails), Calendar Filmstrip, Folder, Magnification, Select & Delete, Movie Playback (no data, basic data, full data), Save RAW Data From JPG (if available in buffer memory) Mode pallet: Image Rotation, Digital Filter, Resize, Cropping, Slideshow, Save as Manual WB, RAW Development, Index Print, Image Comparison, Protect, DPOF, Movie Edit, Extract JPG from Movie Magnification: Up to 32X, scrollable, quick magnification) Digital filters (playback): Toy Camera, Monochrome (filter, toning), Retro, Color, High Contrast, Soft, Extract Color, Starburst, Sketch, Watercolor, Fisheye, Pastel, Slim, Miniature, HDR, Posterization, Base Parameter Adj, Custom
File Formats:	Still: RAW (PEF, DNG), JPG (EXIF 2.21), DCF 2.0 compliant, DPOF, PIM III Movie (compression): AVI (Motion JPG)	Custom Functions:	Functions available: 27
Computer Requirements:	Windows: Windows XP/Vista/7, USB 2.0 port Mac: MacOS-X 10.3-10.6, USB 2.0 port