DC | Digital Camera

Nikon D3X DSLR 24.5 MP

2009-01-01T19:15:00.000-08:00

Nikon D3X DSLR 24.5 MP

Price (Amazon.com)

Specifications

Effective pixels
24.5 million

Image sensor
CMOS sensor, 35.9 x 24.0 mm; Nikon FX format; total pixels: 25.72 million

Image size (pixels)

FX format (36 x 24): 6,048 x 4,032 [L], 4,544 x 3,024 [M], 3,024 x 2,016 [S]
DX format (24 x 16): 3,968 x 2,640 [L], 2,976 x 1,976 [M], 1,984 x 1,320 [S]
5:4 (30 x 24): 5,056 x 4,032 [L], 3,792 x 3,024 [M], 2,528 x 2,016 [S]

Sensitivity
ISO 100 to 1600 in steps of 1/3, 1/2, or 1 EV; can be set to approx. 0.3, 0.5, 0.7, or 1 EV (ISO 50 equivalent) below ISO 100, or to approx. 0.3, 0.5, 0.7, 1, or 2 EV (ISO 6400 equivalent) over ISO 1600

Storage media
CompactFlash (Type I/II, compliant with UDMA); Microdrives

Monitor
3-in., approx. 920k-dot (VGA), 170-degree wide-viewing-angle, 100% frame coverage, low-temperature polysilicon TFT LCD with brightness adjustment

Exposure metering

TTL full-aperture exposure metering using 1,005-pixel RGB sensor
1) 3D Color Matrix Metering II (type G and D lenses); Color Matrix Metering II (other CPU lenses); Color Matrix Metering (non-CPU lenses if user provides lens data)
2) Center-weighted: Weight of 75% given to 8-, 15- or 20-mm circle in center of frame, or weighting based on average of entire frame
3) Spot: Meters 4-mm circle (about 1.5% of frame) centered on selected focus area (on center focus area when non-CPU lens is used)

Exposure modes

1) Programmed Auto (P) with flexible program,
2) Shutter-Priority Auto (S),
3) Aperture-Priority Auto (A),
4) Manual (M)

Interface
Hi-speed USB

Power sources
One Rechargeable Li-ion Battery EN-EL4a/EL4, Quick Charger MH-22/MH-21, AC Adapter EH-6 (optional)

Dimensions (W x H x D)
Approx. 159.5 x 157 x 87.5 mm (6.3 x 6.2 x 3.4 in.)

Weight (without battery, memory card, body cap)
Approx. 1,220 g (2 lb. 11 oz.)

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Older Post:

Canon EOS 5D Mark II DSLR 21.1 MP

DC Digital Camera (Main Page)

Canon EOS 5D Mark II DSLR 21.1 MP

2008-12-21T07:11:00.000-08:00

Canon EOS 5D Mark II DSLR 21.1 MP

Price (Amazon.com)

The EOS 5D Mark II has a stunning 21.1-megapixel full-frame CMOS sensor with DIGIC 4 Image Processor, a vast ISO Range of 100-6400 (expandable to ISO L: 50, H1: 12800 and H2: 25600), plus EOS technologies like Auto Lighting Optimizer and Peripheral Illumination Correction. It supports Live View shooting, Live View HD videos, and more. It can shoot up to 3.9 fps, has 9 AF points plus 6 AF assist points, a new 98% coverage viewfinder, a 3.0-inch Clear View LCD (920,000 dots/VGA) and a rugged build.

Type

Type: Digital, single-lens reflex, AF/AE camera
Recording Media: CF Card Type I and II, UDMA-compliant CF cards, via external media (USB v.2.0 hard drive, via optional Wireless File Transmitter WFT-E4A)
Image Sensor Size: 36.0mm x 24.0mm (35mm Full-frame)
Compatible Lenses: Canon EF lenses
Lens Mount: Canon EF mount

Image Sensor

Type: High-sensitivity, high-resolution, large single-plate CMOS sensor
Pixels: Effective pixels: Approx. 21.1 megapixels
Total Pixels: Total pixels: Approx. 22.0 megapixels
Aspect Ratio: 3:2 (Horizontal: Vertical)
Color Filter System: RGB primary color filters
Low-pass Filter: Fixed position in front of the CMOS sensor
Dust Deletion feature:
(1) Automatic sensor cleaning
(2) Manual cleaning of sensor
(3) Dust Delete Data appended to the captured image

Recording System

Recording Format: Design rule for Camera File System 2.0
Image Type: Still: JPEG, RAW (14-bit, Canon original), sRAW1, sRAW2, RAW+JPEG
Video: MOV

File Size:
(1) Large/Fine: Approx. 6.1MB (5616 x 3744 pixels)
(2) Large/Nomal: Approx. 3.0MB (5616 x 3744 pixels)
(3) Medium/Fine: Approx. 3.6MB (4080 x 2720 pixels)
(4) Medium/Normal: Approx. 1.9MB (4080 x 2720 pixels)
(5) Small/Fine: Approx. 2.1MB (2784 x 1856 pixels)
(6) Small/Normal: Approx. 1.0MB (2784 x 1856 pixels)
(7) RAW: Approx. 25.8MB (5616 x 3744 pixels)
(8) sRAW 1: Approx. 14.8MB (3861 x 2574 pixels)
(9) sRAW 2: Approx. 10.8MB (2784 x 1856 pixels)
Exact file sizes depend on the subject, ISO speed, Picture Style, etc.

Recording Functions: With the WFT-E4A attached, image recording to the CF card and to the USB external media connected to the WFT-E4A will be possible as follows:
(1) Standard
(2) Automatic switching of recording media
(3) Separate recordings according to image-recording quality
(4) Recording images having the same size

Backup Recording: Enabled with WFT-E4A attached
File Numbering: Consecutive numbering, auto reset, manual reset.
Possible to create new folders and select folders in the CF card
RAW + JPEG Simultaneous Recording: Provided (RAW/sRAW+JPEG also possible)
Color Space: sRGB, Adobe RGB
Picture Style: Standard, Portrait, Landscape, Neutral, Faithful, Monochrome, User Def. 1-3

Image Processing

Type: Auto, Daylight, Shade, Cloudy, Tungsten Light, White Fluorescent Light, Flash, Custom, Color Temperature setting
Auto White Balance: Auto white balance with the image sensor
Color Temperature Compensation: White balance correction: ±9 stops in full-stop increments
White balance bracketing: ±3 stops in full-stop increments
Blue/amber direction or magenta/green direction possible
Color Temperature Information Transmission: Provided

Viewfinder

Type: Eye-level pentaprism
Coverage: Vertical/Horizontal approx. 98%
Magnification: Approx. 0.71x (-1m-1 with 50mm lens at infinity)
Eyepoint: Approx. 21mm (from eyepiece lens center)
Built-in Dioptric Adjustment: -3.0 to +1.0m-1 (diopter)
Focusing Screen: Interchangeable (Eg-D: Grid lines, Eg-S [point of Focus], Eg-A standard focusing screen provided
Mirror: Quick-return half mirror (transmission: reflection ratio of 40:60, no mirror cutoff with EF600mm f/4L IS USM or shorter lenses)
Viewfinder Information: AF information (AF points, focus confirmation light), Exposure information (shutter speed, aperture, ISO speed, AE lock, exposure level, spot metering circle), Flash information (flash ready, flash exposure compensation, High-speed sync, FE lock), Image information (Highlight tone priority, monochrome shooting, maximum burst, white balance correction, CF card information), battery information
Depth-of-Field Preview: Enabled with depth-of-field preview button

Autofocus

Type: TTL-CT-SIR AF-dedicated CMOS sensor
AF Points: 9 AF Points (1 Cross Type) + 6 AF Assist Points
Metering Range: EV -0.5-18 (at 73°F/23°C, ISO 100)
Focusing Modes: Auto, One-Shot AF, Predictive AI Servo AF, AI Focus AF, Manual focusing (MF)
AF Point Selection: Automatic selection, manual selection
Selected AF Point Display: Superimposed in viewfinder and indicated on LCD panel
AF-assist Beam: When an external EOS-dedicated Speedlite is attached to the camera, the AF-assist beam from the Speedlite will be emitted when necessary.

Exposure Control
Metering Modes: 35-zone TTL full-aperture metering

Evaluative metering (linkable to any AF point)
Partial metering (approx. 8% of viewfinder at center)
Spot metering (approx. 3.5% of viewfinder at center)
Center-weighted average metering

Metering Range: EV 1-20 (at 73°F/23°C with EF50mm f/1.4 USM lens, ISO 100)
Exposure Control: Program AE (Shiftable), Shutter-priority AE, Aperture-priority AE, Creative Auto, Full auto, Manual exposure, E-TTL II autoflash program AE
ISO Speed (Recommended Exposure Index): ISO 100-6400 (in 1/3-stop or 1-stop increments)
ISO 100-3200 set automatically
Extension settable (with C.Fn.I-3-1): ISO 50 (L), 12800 (H1), 25600 (H2)
High Tone Priority settable: ISO 200-6400
Exposure Compensation: Manual: ±2 stops in 1/3- or 1/2-stop increments (can be combined with AEB)
AE Lock: Auto: Applied in One-Shot AF mode with evaluative metering when focus is achieved
Manual: By AE lock button

Shutter

Type: Vertical-travel, mechanical, Electronically-controlled, focal-plane shutter
Shutter Speeds: 1/8000 to 1/60 sec., X-sync at 1/200 sec.
1/8000 to 30 sec., bulb (Total shutter speed range. Available range varies by shooting mode)
Shutter Release: Soft-touch electromagnetic release
Self-timer: 10-sec. or 2-sec. delay
Remote Control: Remote control with N3-type terminal. (Wireless remote controller RC-1/RC-5 can also be used.)

External Speedlite

Zooming to Match Focal Length: Provided
Compatible Flash: EX-series Speedlites
Flash Metering: E-TTL II autoflash
Flash Exposure Compensation: ±2 stops in 1/3- or 1/2-stop increments
FE Lock: Provided
External Flash Settings: Flash function settings, Flash C.Fn settings

Drive System

Drive Modes: Single, Continuous, and Self-timer (10-sec. or 2-sec. delay)
Continuous Shooting Speed: Max. 3.9 shots/sec.
Maximum Burst: JPEG (Large/Fine): approx. 78 (CF)/approx. 310 (UDMA CF)
RAW: approx. 13/approx. 14 (UDMA CF)
RAW+JPEG (Large/Fine): approx. 8 (CF/UDMA CF)
Based on Canon's testing standards with a 2GB CF card, continuous shooting, ISO 100 and Standard Picture Style
Varies depending on the subject, CF card brand, image-recording quality, ISO speed, drive mode, Picture Style, etc.

Live View Functions

Shooting Modes: Still photo shooting and video shooting
Focusing: Quick mode (Phase-difference detection)
Live mode/Face Detection Live mode (Contrast detection)
Manual focusing (5x/10x magnification possible)
Metering Modes: Evaluative metering with the image sensor (still photos)
Center-weighted average metering (video)
Metering Range: EV 0-20 (at 73°F/23°C with EF 50mm f/1.4 USM lens, ISO 100)
Grid Display: Provided (Two-type grid displays)
Exposure Simulation: Provided
Silent Shooting: Provided (Mode 1 and 2)

LCD

Type: TFT color, liquid-crystal monitor
Monitor Size: 3.0 in.
Dots: Approx. 920,000 (VGA)
Coverage: Approx. 100% (viewing angle: approx. 170°)
Brightness Adjustment: Auto, 7 levels provided
Interface Languages: 25 (English, German, French, Dutch, Danish, Portuguese, Finnish, Italian, Norwegian, Swedish, Spanish, Greek, Russian, Polish, Czech, Hungarian, Romanian, Ukraine, Turkish, Arabic, Thai, Simplified/Traditional Chinese, Korean, Japanese)

Image Playback

Display Format: Single image, Single image + Image-recording quality/shooting information, histogram, 4- or 9-image index, magnified view (approx. 1.5x-10x), rotated image (auto/manual), image jump (by 10/100 images, index screen, by shooting date, by folder), slide show (all images/selected by date/folder)
Highlight Warning: Provided (Overexposed highlights blink)

Image Protection and Erase

Protect: Single images can be erase-protected or not
Erase: Single image, check-marked images or all images in the CF card can be erased (except protected images)

Direct Printing

Compatible Printers: PictBridge-compatible printers
Printable Images: JPEG images compliant to Design rule for Camera File System (DPOF printing possible) and RAW/sRAW images captured with the EOS 5D Mark II
Easy Print feature: Provided

DPOF: Digital Print Order Format

DPOF: Version 1.1 compatible

Direct Image Transfer

Compatible Images: JPEG and RAW images
Only JPEG images can be transferred as wallpaper on the personal computer screen

Customization

Custom Functions: Total 25
Camera User Settings: Register under Mode Dial's C1, C2 and C3 positions
My Menu Registration: Provided

Interface

USB Terminal: For personal computer communication and direct printing (USB 2.0 Hi-Speed)
Video Out Terminal: (1) Video OUT terminal: NTSC/PAL selectable
(2) HDMI mini OUT terminal
Extension System Terminal: For connection to WFT-E4A

Power Source

Battery: One Battery Pack LP-E6
AC power can be supplied via AC Adapter Kit ACK-E6 with Battery Grip BG-E6 attached.
Battery Check: Auto
Power Saving: Provided. Power turns off after 1, 2, 4, 8, 15 or 30 min.
Date/Time Battery: One CR1616 lithium-ion battery
Start-up Time: Approx. 0.1 sec.

Dimensions and Weight

Dimensions (WxHxD): Approx. 6.0 x 4.5 x 3.0 in./152.0 x 113.5 x 75.0mm
Weight: Approx. 28.6 oz./810g (body only)

Operating Environment

Working Temperature Range: 32-104°F/0-40°C
Working Humidity Range: 85% or less

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Older Post:

Pentax K2000 DSLR 10.2 MP CCD

2008-12-14T10:53:00.000-08:00

Pentax K2000 DSLR 10.2 MP CCD

Price (Amazon.com)

10.2 MP
10.2 megapixel CCD sensor offers superior image resolution with maximum control over noise.

Ultra-compact, lightweight design
One of the smallest and lightest available designs makes the K2000 perfect for spontaneity. Easy one-handed operation with a comfortable carrying weight makes transitioning from a point and shoot trouble-free.

Pentax Auto Picture
Expect the right exposures with the settings you want. Auto Picture mode automatically calculates photographic factors to pick the best picture mode, optimizing the camera settings for any situation.

Scene modes
Ten intuitive Scene modes offer point-and-shoot ease by further optimizing the camera for common situations and subjects.

2.7 inch LCD monitor
A 2.7 inch high-resolution, wide-view LCD monitor beautifully displays your pictures, and provides intuitive, easy-to-read menus.

Pentax-developed body-based Shake Reduction
With body-based Shake Reduction, the Pentax SLR system will stabilize your shots, providing maximum flexibility with no compromise in optical quality. It increases your handheld shooting shutter speed range by 2.5 to 4 stops for blur-free pictures, and is compatible with every Pentax lens ever produced.

Help Button
Leave the manual at home. The dedicated and reprogrammable Help Button on the K2000 is like having a built-in user’s guide. It clearly explains camera settings to ease the transition from compact photography to DSLR mastery.

Dust Alert function
Dust Reduction and Dust Alert features eliminate the need for time-consuming retouching by minimizing dust and determining if and where any dust remains after the system is activated.

Pentax Real IMage Engine (PRIME)
PRIME image processing engine maximizes image properties and allows custom adjustment of image parameters, such as truer color tones, a wider dynamic range, and natural-looking high ISO images.

Full backward lens compatibility
Pentax has manufactured over 25 million lenses in the last six decades; all DSLR bodies offer backward compatibility with every one. Whichever lens is used, whether a most recent lens or a classic screwmount, it will faithfully capture the image desired.

Custom IMage modes
Custom IMage modes, with six preset options, offer superior control of how the PRIME processor develops images, and can be further modified to meet your needs. Get beautifully processed images in any shooting condition.

AA battery compatibility
Approximately 1,650 images can be taken when using AA size lithium batteries due to their energy-saving design. (Four Energizer lithium batteries are included with each camera.) Plus, AA power can be found anywhere in the world.

Specifications

Sensor: Type - Interline interlace CCD with primary color filter and integrated Shake/Dust Reduction sensor movement system; Size - 23.5 x 15.7mm; Color depth - 8 bits/channel JPG, 12 bits/channel RAW; Effective pixels - 10.2 MP; Total pixels - 10.75 MP; Recorded resolutions - 10M (3872x2592), 6M (3008x2000), 2M (1824x1216); Quality levels: (Best), (Better), (Good); Dust Removal - Image sensor movement combined with SP coating

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 useable w/ adapter and/or restrictions); SDM function - YES; Power zoom function - n/a

Focus System: Type - TTL phase-matching 5 point wide autofocus system (SAFOX); Focus modes - AF Auto, AF Single (w/ focus lock), AF Continuous (available in Action mode including Auto Picture Action, Kids, Pet, Stage Lighting, and Night Snap modes, P/A/S/M/B/Sv), Manual; Focus point adjustment - Auto, Wide, Spot; AF assist - YES, via built-in flash

Viewfinder: Type - Penta-Mirror; Coverage (field of view) - Approx 96%; Magnification - Approx 0.85X (w/ 50mm f/1.4 at infinity); Standard focusing screen - Natural-Bright-Matte II; Diopter adjustment - -2.5 to 1.5; Depth of field preview - Digital (available as a custom function linked to Help button)

LCD Monitor: Type - 2.7” TFT color LCD monitor, adjustable brightness; Resolution - 230,000 dots; Wide angle viewable - YES

Built-in Flash: Type - Retractable P-TTL auto/manual popup flash; Guide number - 11 (100/m); Coverage - 28mm wide angle (equivalent to 35mm); Flash modes - On, off, redeye, wireless; Flash exposure compensation - -2 to 1 EV in 1/2 steps

External Flash: Type - Hot shoe (P-TTL, high speed sync available), wireless with Pentax dedicated flash; Synchronization speed - 1/180s

Storage Media: Internal memory - n/a; Removable memory: SD, SDHC

Interfaces: Ports - USB 2.0 hi-speed, video out; Video out - NTSC, PAL; Printer interfaces - PictBridge

Power Supply: Power source - 4 AA (lithium, NiMH rechargeable, alkaline); Recordable images - Approx N/A (lithium); Playback time - Approx N/A (lithium); AC adapter available - YES (optional)

Physical Specifications: Body dimensions (W x H x D) - 4.8 x 3.6 x 2.7”; Body weight, without battery or removable memory - 18.5 oz, Loaded and ready - 20.8 oz (lithium); Construction material(s) - Fiber reinforced plastic polymer covers around a rugged stainless steel chassis; Operating temperature - 32-104 degrees F

Language Support: English, French, German, Spanish, Swedish, Dutch, Italian, Russian, Portuguese, Danish, Finnish, Polish, Czech, Hungarian, Turkish, Greek, Japanese, Korean, Traditional/Simplified Chinese

Image Stabilization: Type - Body-based, sensor shift Shake Reduction (4 stops maximum)

Metering System: Type - TTL open aperture, 16 segment metering; Sensitivity range - EV 0-21 (ISO 100, 50mm f/1.4); Multi-segment - YES, 16 segments; Center weighted - YES; Spot - YES; Exposure compensation - +/- 2 EV (1/2 or 1/3 steps); Exposure lock - YES (available as a custom function linked to the help button); Exposure bracketing - YES, 3 frames, up to +/- 1.5 (1/2 steps) or +/- 1.0 (1/3 steps)

ISO Sensitivity: Auto - 100-3200 ISO (1, 1/2, 1/3 steps), up to 1600 ISO in Bulb mode; Manual - 100-3200 ISO (1, 1/2, 1/3 steps), up to 1600 ISO in Bulb mode

White Balance: Auto preset modes - Auto, Daylight, Shade, Cloudy, Fluorescent (D, N, W), Tungsten, Flash; Manual mode(s) - YES; WB fine adjustment available

Shutter: Type - Electronically controlled, vertical run, focal plane shutter; Shutter speed - 1/4000 to 30 sec, bulb available

Capture Modes: Mode selection - Auto Picture (Portrait, Night Portrait, Landscape, Macro, Action), Picture (Portrait, Landscape, Macro, Action, Night Scene Portrait, Standard Flash Off), Scene (Night Scene, Surf & Snow, Food, Sunset, Kids, Pet, Candlelight, Museum, Stage Lighting [2M JPG], Night Snap [2M JPG]), Program, Sensitivity Priority, Shutter Priority, Aperture Priority, Metered Manual, Bulb (available in Metered Manual); Green simplified mode available - N/A; P/A/S/M/B - P, A, S, M (extended modes include Sv, Bulb available in Metered Manual); Date stamp - N/A; Digital filters (capture) - Toy Camera, High Contrast, Soft, Starburst, Retro, Color Extract (N/A). Custom Image Modes includes Bright, Natural, Portrait, Landscape, Vibrant, and Monochrome modes. Color Custom Image Modes include gamut radar and fine adjustment for saturation, hue, contrast, and sharpness. Monochrome Custom Image Mode includes adjustment for film filter effects (green, yellow, orange, red, magenta, blue, cyan, infrared), toning (sepia warm/cool), contrast, and sharpness (regular and fine adj scales).; Data record - Folder Name (standard, date)

Drive Modes: Mode selection - Single, Continuous (Hi, Lo), Self-Timer (12s, 2s), Remote (0s, 3s), Auto Bracket; Continuous FPS - 3.2 FPS (4 JPG and Continuous Hi, 4 RAW), 1.1 FPS (unlimited JPG and Continuous Lo, 4 RAW); Self-timer - YES (12s, 2s); Remote control - YES, infrared (0s, 3s)

Playback Modes: Mode selection - One shot, index (4, 9, or 16 thumbnails, select & delete available), magnification (quick zoom available), image comparison, image rotation, folder view, calendar, slideshow, histogram, bright/dark indication, resize, trimming, DPOF, digital filter, RAW to JPG; Magnification - Up to 16X, scrollable; Digital filters (playback) - Toy Camera, High Contrast, Soft (3), Starburst, Retro, Color Extract, Illustration (Pastel, Watercolor), HDR (3), B&W, Sepia, Color (18), Slim (+/- 8), Brightness (+/- 8), Custom

File Formats: Still - RAW PEF/DNG, JPG (EXIF 2.21), DCF 2.0 (design rule for camera file system), DPOF, Print Image Matching III

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Older Post:

Sony Alpha α DSLR-A200K 10.2 MP CCD

2008-12-03T04:32:00.000-08:00

Sony Alpha α DSLR-A200K 10.2 MP CCD

Price

The Sony α (alpha) DSLR-A200 camera is positioned to carry a new generation of photographers into the creative world of DSLR performance.

10.2 MP CCD

Superb image quality gives you great DSLR shots right from the start, with a large APS-size CCD imager developed by Sony to expand dynamic range, minimize noise more effectively and provide greater detail for making big prints or cropping in tight on your subject.

Expanded ISO Sensitivity

Broad sensitivity range from ISO 100 to ISO 3200 enables the Sony alpha DSLR-A200K to capture beautiful color images even in very dim light - with High ISO Noise Reduction technology that reduces picture noise artifacts at high-sensitivity ISO 1600 and ISO 3200 settings by eliminating noise from RAW data after analog-to-digital conversion.

Super SteadyShot in-camera Image Stabilization

A high-performance sensor detects vibrations and the image stabilization system automatically compensates. Because image stabilization is built into the α (alpha) DSLR-A200, every lens benefits - and with an advantage of from 2.5 to 3.5 stops, you can shoot effectively at higher shutter speeds even in very low light with minimum blur from shaky hands or fast-moving subjects.

Bionz Image Processor

The “brain” of the Sony α DSLR-A200 is the advanced Sony Bionz Image Processor, using hardware-based Large Scale Integrated (LSI) circuitry to enhance images with rich tonal reproduction, improved white balance and exposure control, and expanded D-Range Optimizer capabilities. With 2-channel data transfer from CCD to processor, your camera can also respond faster.

Dynamic Range Optimizer

To improve results with backlit subjects and recover details hidden in shadows or lost in glare, the α (alpha) DSLR-A200 provides Dynamic Range Optimizer at two levels: Normal DRO, to improve detail using standard gamma curves for fast shot-to-shot response time, or Advanced DRO, to adjust dynamic range area-by-area for the greatest precision.

Anti-Dust Technology

Changing lenses in a DSLR can allow dust to enter the camera - so to keep the CCD imager cleaner for better pictures, the α DSLR-A200 utilizes both static-free anti-dust coating on the CCD filter and anti-dust vibration that automatically shakes the CCD to dislodge dust each time the camera is shut off.

Auto Pop-Up Flash

In Auto or some scene selection modes, the camera flash automatically pops up and fires when needed to help you shoot more effectively. Flash is cancelled in Landscape, Sport or Sunset modes and in “Flash Off” position on the Exposure Mode dial.

Eye-Start Autofocus System

It begins precision autofocus adjustments the moment you raise the camera to your eye - so unlike some DSLR cameras that don’t start focusing until the shutter button is half-pressed, the Sony α (alpha) DSLR-A200 never slows down your ability to catch fast action.

9-Point Center Cross AF Sensor

A fast focus motor and improved focus control help bring images into sharp definition more quickly, with predictive focus control that automatically calculates the position of a fast-moving subject.

Flexible, Accurate Exposure Control

A 40-segment honeycomb sensing system provides multi-pattern measuring for superior exposure control accuracy - and you can also select center-weighted or spot metering modes. You’ll also have 6 preset White Balance control settings and RGB Histogram display to check color balance.

Scene Selection Modes

Along with auto exposure, the α (alpha) DSLR-A200 gives you scene selection modes to optimize camera performance for Portrait, Landscape, Macro, Sports, Sunset and Night Portrait/Night View situations.

Creative Style Settings

To express your creativity and personal taste, you can adjust contrast, saturation and sharpness settings for any of 8 finishing styles - including Standard, Vivid, Portrait, Landscape, Night View, Sunset, B & W and Adobe RGB modes.

2.7” Clear Photo LCD Screen

A large built-in screen with anti-reflective coating makes it easy to read camera setup menus even in bright sunlight and improves image quality when you check your shots.

Index and Slide Show Display

To quickly review your photos, the alpha DSLR-A200 can display 4, 9 or 25-frame index views - or present automatic slide shows with fade-in/fade-out effect.

Function Guide Display

On-screen menus are intuitive and easy to use - and a simple Camera Function Display can be activated and operated with one hand using the Fn (Function) button and controller button to adjust Flash mode, Autofocus mode, White Balance, Metering mode, AF area and D-Range Optimizer.

Continuous Burst Mode at 3 Frames Per Second

To capture action more effectively, the α (alpha) DSLR-A200 offers continuous JPEG shooting up to the limit of your flash memory card - plus RAW Burst Mode (up to 6 shots) with intelligent buffer management to allow more shots to be captured without waiting for the buffer to clear.

Stamina Battery Power

You can take up to 750 shots on a fully charged NP-FM500H InfoLITHIUM battery - and you’ll be able to see about how much power remains in percentage increments, so you can keep shooting in confidence.

High-Capacity Media Options

For conveniently storing and sharing your images, the Sony α (alpha) DSLR-A200 accepts CompactFlash Type I/II media and Memory Stick PRO Duo media via an optional adaptor.

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Older Post:

Sony Alpha α DSLR-A700 12.24 MP

2008-11-22T23:26:00.000-08:00

Sony Alpha α DSLR-A700 12.24 MP

Price

12.24 MP Exmor Imaging Sensor

A newly designed APS-C size CMOS imager with on-chip noise-canceling before and after A/D conversion provides over 12 million pixels, drawing out the full image description power of the Sony alpha DSLR-A700’s high-performance lenses and providing spectacular detail for making big prints. Advanced on-sensor A/D conversion yields rich tonal reproduction with high signal-to-noise ratio.

Professional Lenses and Accessories

The Sony DSLR-A700 accepts a superb array of precision optics, including new Sony wide-aperture zoom lenses that perform brilliantly over a broad range of focal lengths, Sony “G” Series lenses with advanced motorized autofocusing, amazingly bright Carl Zeiss T coated lenses, and over 16 million Minolta a-mount lenses sold worldwide - plus professional-quality flash units and system accessories to expand your creative horizons.

Super SteadyShot Image Stabilization

Built-in technology moves the image sensor in response to camera shake, enabling every lens to benefit from automatic blur reduction - and provides an advantage of up to 4.0 shutter speed steps to sharpen images in lower light, for hand-held shots that would normally require a tripod.

Bionz Image Processor

At the heart of the α (alpha) DSLR-A700 DSLR camera is the advanced Sony Bionz Image Processor, using hardware-based Large Scale Integrated (LSI) circuitry that improves camera response time, screens out noise before RAW data conversion, handles Dynamic Range Optimization processing and prolongs battery life.

Dynamic Range Optimizer

To recover details in dark or bright areas of the picture, the α (alpha) DSLR-A700 provides multiple levels of Dynamic Range Optimization: Standard mode, to improve shadow detail using standard gamma curves; Advanced Auto mode, allowing you to select any of 5 DRO correction levels, or DRO Advanced Bracketing, that automatically takes three shots at different DRO levels with a single shutter press.

Continuous 5 Frames-Per-Second Advance at 12.24 MP

The high-speed processing power of its Bionz engine, a quick-response coreless motor to drive the shutter, and dual mirror stoppers to prevent mirror bounce - they all enable the α (alpha) DSLR-A700 to capture action more effectively at either 5 or 3 frames per second, even shooting at full 12.24 MP resolution. You can also shoot continuously to the limit of available memory in JPEG Fine and Standard modes.

Advanced Pentaprism Viewfinder

With a bright focusing matte, an optical glass prism and glass lenses that prevent ghosts inside the finder, the α (alpha) DSLR-A700’s viewfinder image makes it easier to see your subject, compose your shot and adjust focus manually.

Eye-Start Autofocus System

The α (alpha) DSLR-A700 begins its precision autofocus adjustments the moment you bring your eye to the viewfinder - so you’ll be ready to catch the perfect moment.

11-Point Center Dual Cross AF Sensor

A newly developed Sony AutoFocus system with a large f2.8 sensor improves your ability to frame the subject and capture moving subjects with greater focusing precision - and a focus drive clutch lets you switch seamlessly between auto and manual focusing by pressing a simple button.

Super-Accurate Exposure Control

A 40-segment honeycomb sensing system provides multi-pattern measuring for superior exposure control accuracy in a wide range of lighting conditions.

Simple Camera Control Menus

Even with all its high-tech features, the α (alpha) DSLR-A700 is amazingly simple to operate - and a quick press of the Function (Fn) button switches the LCD display from standard menu information to a new Quick Navigation screen for camera setup via joystick and forward-back controls. The menus are easy and intuitive - and memory function lets you save and recall personalized camera settings.

Creative Custom Settings

The α (alpha) DSLR-A700 is designed to bring out your creativity with a wide range of auto preference settings, including four basic image styles (Standard, Vivid, Neutral and Adobe RGB) and three style-box memory settings for quick setup in special events like weddings and competitive sports.

Easy-to-Use Exposure Mode Dial

The α (alpha) DSLR-A700’s top-mounted dial gives you quick access to Program Auto, Aperture priority, Shutter-speed priority, Manual and full Auto exposure setting modes - as well as six scene selection modes that optimize camera focus, exposure, brightness, contrast and other settings for Portrait, Landscape, Macro, Sports Action, Sunset and Night View/Portrait scenes.

Quick Setting Recall

The “C” button allows you to make changes more quickly by calling up Creative Style settings, Exposure compensation, Flash compensation and many more operating modes and camera functions.

Stamina Power

To give you confidence for long shootng sessions in the field, the α (alpha) DSLR-A700 can take up to 650 shots on a fully charged NP-FM500H InfoLithium battery - with indication in percentage of about how much battery power remains.

Built-In Flash

The Sony DSLR-A700 flip-up flash covers a wide focal range, synchronizes at 1/250 sec., supports red-eye reduction and slow flash features as well as manual flash mode to set flash intensity. A wireless flash signal is available for external flash synchronization.

Anti-Dust Technology

Changing lenses in a DSLR can allow dust to enter the camera - so to help keep the CMOS imager cleaner for better pictures, the Sony alpha DSLR-A700 utilizes both static-free anti-dust coating on the imager's filter and anti-dust vibration that automatically shakes the sensor to dislodge dust each time the camera is shut off.

Rugged Magnesium Alloy Body

The α (alpha) DSLR-A700 is built to very high standards of durability and performance - so you can shoot on location in difficult conditions with confidence that your equipment can handle the challenge.

Xtra Fine 3.0” LCD Screen with 921k Pixels

With almost 1 MP performance, it’s like having a high-resolution photo viewer built into your camera - and the α (alpha) DSLR-A700’s amazing photo-quality screen displays sharp, bright images even outdoors with a wide viewing angle so you can share photos more easily.

PhotoTV HD Viewing with HDMI Output

The α (alpha) DSLR-A700 provides direct HDMI output to your Bravia HDTV and other compatible HDTV screens, so you can view and share photos in breathtaking clarity and detail. You can choose between standard 3:2 and widescreen 16:9 aspect ratio - and with new Bravia HDTV models, photos are automatically optimized in sharpness, gradation and color reproduction for HD display.

Wireless Remote Control

For shooting as well as viewing convenience, Sony supplies a multi-function wireless remote control with the α (alpha) DSLR-A700 - allowing you to control HDTV photo viewing and trip the shutter by remote to put yourself in the picture.

Versatile Recording Formats

Images can be captured in RAW, cRAW (optimized for fast action), RAW+JPEG and three JPEG modes (Extra Fine, Fine and Standard), for greater versatility in every digital photo application.

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Older Post:

Sony Alpha α DSLR-A350 14.2 MP CCD

2008-11-15T10:08:00.000-08:00

Sony Alpha α DSLR-A350 14.2 MP CCD

Price

14.2 MP CCD Resolution
The highest pixel resolution in its class (as of January 2008), for spectacular image detail for making big prints and tight crops. An advanced APS-size CCD imager developed by Sony expands dynamic range and minimizes noise more effectively for clear, sharp photos even at high sensitivity setting (up to ISO 3200).

Live Preview of Your Subject
The DSLR-A350’s Live Preview mode links you and your subject on a large 2.7” LCD screen, for a familiar point-and-shoot style -- with super-quick AF response and accurate exposure control to help you catch the perfect moment. In Live Preview mode, the camera bypasses the optical pentaprism mirror to create a live “eye-to-eye” view on the LCD of loved ones, children, pets and fast-changing scenes.

Tiltable 2.7” Clear Photo LCD Plus Screen
A large built-in screen with 2-way angle tilt provides a sharp, clear view of your subject and tilts up or down for low-angle or high-angle monitoring in situations where you want a child-level or overhead shot.

Continuous Shooting While Viewing
The DSLR-A350 lets you shoot continuously at up to 2 frames per second while you see your subject in the large 2.7" LCD viewfinder, so you never lose track of the action. In JPEG mode, you can shoot up to the limit of your flash memory card; in RAW Burst Mode you can capture up to 4 shots, with intelligent buffer management to allow more shots to be captured without waiting for the buffer to clear.

Smart Teleconverter 2X Zoom
At the touch of a button you can zoom in electronically on your subject, reproducing pixels on a 1:1 basis with no degradation in picture quality. One touch zooms in at 1.4X, the second touch advances to 2X zoom -- creating the 35mm equivalent of a 200mm telephoto effect with the DSLR-A350’s standard 18-70mm zoom lens.

Expanded ISO Sensitivity
A broad sensitivity range from ISO 100 to ISO 3200 enables the DSLR-A350 to capture beautiful color images even in very dim light -- with High ISO Noise Reduction technology that reduces picture noise artifacts at high-sensitivity ISO 1600 and ISO 3200 settings by eliminating noise from RAW data after analog-to-digital conversion.

Super SteadyShot In-Camera Image Stabilization
Because image stabilization is built into the DSLR-A350, every lens benefits by an advantage of from 2.5 to 3.5 exposure steps. This allows you to shoot effectively with minimum blur even in low light without flash -- or adjust exposure control for smaller lens aperture to increase depth of field and bring both foreground and background into sharp focus.

Bionz Image Processor
The “brain” of the α (alpha) DSLR-A350 is the advanced Sony Bionz Image Processor, using hardware-based Large Scale Integrated (LSI) circuitry to enhance images with rich tonal reproduction, improved white balance and exposure control, and expanded D-Range Optimizer capabilities. With 2-channel data transfer from CCD to processor, your camera can also respond faster.

1200-zone Evaluative Metering
Information from the image sensor dedicated to Live View is divided into 1200 zones of luminance and RGB color information. In addition D-Range Optimizer technology contributes to judge the scene and then determine the optimum exposure to reproduce images with a more natural look.

Dynamic Range Optimizer
To improve results with backlit subjects and recover details hidden in shadows or lost in glare, the DSLR-A350 provides Dynamic Range Optimizer at two levels: Normal DRO, to improve detail using standard gamma curves for fast shot-to-shot response time, or Advanced DRO, to adjust dynamic range area-by-area for the greatest precision.

Anti-Dust Technology
Changing lenses in a DSLR can allow dust to enter the camera -- so to keep the CCD imager cleaner for better pictures, the DSLR-A350 utilizes both static-free anti-dust coating on the CCD filter and anti-dust vibration that automatically shakes the CCD to dislodge dust each time the camera is shut off.

Auto Pop-Up Flash
The camera flash automatically pops up and fires when needed, to help first-time DSLR photographers shoot more effectively. Auto Pop-up works in Auto mode and some scene selection modes; Flash is cancelled in Landscape, Sport or Sunset modes and in “Flash Off” position on the Exposure Mode dial.

Eye-Start Autofocus System
It begins precision autofocus adjustments the moment you raise the camera to your eye -- so unlike some DSLR cameras that don’t start focusing until the shutter button is half-pressed, the Sony DSLR-A350 never slows down your ability to catch fast action.

9-Point Center Cross AF Sensor
A fast focus motor and improved focus control help bring images into sharp definition more quickly, with predictive focus control that automatically calculates the position of a fast-moving subject.

Scene Selection Modes
Along with auto exposure, the DSLR-A350 gives you scene selection modes to optimize camera performance for Portrait, Landscape, Macro, Sports, Sunset and Night Portrait/Night View situations.

Creative Style Settings
To express your creativity and personal taste, you can adjust contrast, saturation and sharpness settings for any of 8 finishing styles -- including Standard, Vivid, Portrait, Landscape, Night View, Sunset, B & W and Adobe RGB modes.

Index and Slide Show Display
To quickly review your photos, the DSLR-A350 can display 4, 9 or 25-frame index views -- or present automatic slide shows with fade-in/fade-out effect.

High-Resolution Thumbnails for PhotoTV HD Viewing
The DSLR-A350 automatically creates high-resolution thumbnail images for viewing on Sony’s BRAVIA HDTV in optimized PhotoTV HD mode, with image format adjustable for standard 3:2 or widescreen 16:9 display.

Function Guide Display
On-screen menus are intuitive and easy to use -- and a simple Camera Function Display can be activated and operated with one hand using the “Fn“(Function) button and controller button to adjust Flash mode, Autofocus mode, White Balance, Metering mode, AF area and D-Range Optimizer.

Stamina Battery Power
In optical viewfinder mode, you can take up to 730 shots on a fully charged NP-FM500H InfoLITHIUM battery -- and you’ll be able to see about how much power remains in percentage increments, so you can keep shooting in confidence.

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Older Post:

Sony Alpha DSLR-A900 24.6 MP

2008-11-04T21:12:00.000-08:00

Sony Alpha α DSLR-A900 24.6 MP

Price

35mm full frame 24.6MP Exmor CMOS image sensor
The A900 features a 35mm full frame Exmor CMOS image sensor that is approximately 2.35x larger than the APS-C sized sensors found in many DSLR cameras. The result is a larger capture area, improved wide angle performance, and tighter depth of field control. In addition, its 24.6MP resolution maximizes the resolving power of your existing lenses and delivers sharper, higher contrast photos.

SteadyShot INSIDE in-camera image stabilization
Building on years of expertise, Sony has developed the world’s first body-integrated image stabilization solution for a full frame DSLR. The SteadyShot INSIDE in-camera image stabilizer actually shifts the image sensor to compensate for camera shake without sacrificing image quality. The compensation effect is equal to as many as four shutter speed steps, giving you more creative freedom when shooting in low light. And, because it is integrated into the camera body, SteadyShot INSIDE technology works with all compatible α (alpha)system lenses.

Dual BIONZ processors for up to fast 5fps performance
The A900 harnesses the power of Dual BIONZ image processing engines to deliver true-to-life images with ultra-low noise and continuous shooting at up to 5 fps.

Ultra bright, 100% coverage glass pentaprism viewfinder
A large, ultra bright glass pentaprism viewfinder provides you with amazing clarity and high optical performance for tighter focus control. In addition, it offers viewfinder magnification of 0.74x, allowing you to see an image nearer to its actual size, as well as 100% field coverage for detailed framing work.

Intelligent Preview Function
The Intelligent Preview function allows you to see the effects of manual adjustments to exposure value, shutter speed, aperture, Dynamic Range Optimizer and White Balance before you take the shot, so you can determine the optimum settings before you take the shot, instead of losing time to trial-and-error.

3.0” Xtra Fine LCD (921K pixels)
Review your images in stunning detail on the 3.0” Xtra Fine LCD display (921k pixels). With photo-quality resolution of 270ppi(pixels per inch), you can identify any necessary focus or exposure corrections at the time of capture, rather than discovering them when you transfer your images to your PC.

PhotoTV HD viewing w/ HDMI output
The Sony A900 provides direct HDMI output to your BRAVIA HDTV and other compatible HDTV screens, so you can view and share photos in breathtaking clarity and detail3. Additionally, PhotoTV HD capable BRAVIA HDTVs will automatically optimize display settings, such as sharpness, gradation, and color to display your images in a way that more closely matches the natural look of printed photographs3.

Precise and fast 9-point AF system w/ 10 point assist
A high-performance autofocus system uses 9 focus points (center dual-cross type) and 10 assist points to deliver fast and precise focusing.

Flagship design
The A900 features an impressive design befitting a premium flagship model. The simple form eschews ornamentation and exudes competence, while the iconic pentaprism design element conveys superior optical performance. The A900 also incorporates a distinctive cinnabar-colored ring circling the lens mount – a design element shared across every α (alpha) DSLR camera.

Rugged magnesium alloy shell
The body of the A900 is entirely covered in a die-cast magnesium alloy shell, providing a rugged feel and surprisingly light weight.

Moisture/dust-resistant design
Sealed viewfinder optics and rubber gasket surrounds on all buttons, dials, and switches help resist the entry of dust and moisture into the camera, and allow for safe use in a wide range of environments.

Battery Performance
A supplied InfoLITHIUM lithium-ion battery provides long-lasting performance, allowing you to capture approximately 880 images on a single charge.

Durable Shutter Design
The shutter mechanism in the A900 is designed to achieve shutter speeds up to 1/8000 seconds and proven for 100,000 cycle operation.

Dual Card Slots
The Sony A900 features a dual card slots and accepts both CompactFlash and Memory Stick Duo Media (sold separately).

40-Segment Multi-Pattern Metering
A 40-segment multi-pattern metering system provides superior exposure control accuracy in a wide range of lighting conditions.

Dynamic Range Optimizer
To recover details in dark or bright areas of the image, the A900 provides multiple levels of Dynamic Range Optimization: Standard mode, to improve shadow detail using standard gamma curves; Advanced Auto mode, allowing you to select any of 5 DRO correction levels, or DRO Advanced Bracketing, which automatically takes three shots at different DRO levels with a single shutter press.

On-Chip Column A/D Conversion
Analog-to-digital signal conversion is performed by the full frame Exmor CMOS image sensor.

Dual Noise Reduction Processing
In addition to digitizing analog signals, the full frame Exmor CMOS image sensor also performs both analog and digital noise reduction. This on-chip dual noise reduction process aids in the high speed transfer of noiseless digital signals.

F2.8 Sensor
The autofocus system in the A900 features a highly accurate F2.8 sensor for improved focus precision when using lenses faster than F2.8.

Updated Image Data Converter SR3
Updated Image Data Converter SR3 software improves your workflow with faster RAW file processing and improved image correction.

APS-C Size Capturing
In addition to full frame image capture, the A900 can also crop images to the APS-C size format, allowing the use of lenses designed specifically for APS-C sized image sensors.

Viewfinder magnification of 0.74x
Viewfinder magnification of 0.74x lets you see your subjects nearer to actual size.

Eyepiece Shutter
The A900 includes a built-in eyepiece shutter which can be shut to help shield against entering light and prevent exposure errors.

AF Micro Adjustment
AF Micro Adjustment allows you to fine tune focus for various lenses6. The A900 can store adjusted focus values for up to thirty lenses.

Mirror Lockup Mode
Mirror Lockup Mode raises the main mirror before exposure to reduce vibration at shutter release, resulting in better performance during long exposure shots of fireworks, stars, etc.

2EV Exposure Bracketing (3 exposures)
The Sony DSLR A900 allows you to bracket up to three exposures in 2.0EV-step increments.

Rubberized Grip
Sony drew upon its extensive experience designing and building heavy professional broadcasting camcorders to develop a rubberized grip that allows you to hold the A900 with comfort and confidence.

Image Data Lightbox software
The Image Data Lightbox software included with your α (alpha) DSLR helps you browse, rate, and compare your images, making it easier to select your favorites for further processing.

Remote Camera Control
Remote Camera Control allows you to control your A900 from your PC.

Picture Motion Browser (PMB) Software
Sony Picture Motion Browser (PMB) software provides a simple and intuitive way to sort and archive your image collection, as well as perform common editing operations and output to data disc or the Web.

Convenient Button Placement
Concentrate on your shooting and make adjustments on the fly thanks to convenient button placement. The ISO and White Balance adjustment buttons are located on the top of the camera body near the shutter button for easy thumb operation.

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Older Post:

Sony Alpha α DSLR-A300K 10.2 MP CCD

2008-10-29T06:24:00.000-07:00

Sony Alpha α DSLR-A300K 10.2 MP CCD

Price

For first-time DSLR users, Sony combines superb 10.2 MP quality, a high quality DT 18-70mm f3.5-5.6 standard zoom lens, and Live Preview in a large tilting 2.7" LCD monitor for point-and-shoot simplicity. You'll have super-quick AF response, continuous shooting speed up to 3 fps with viewfinder and up to 2 fps in live view mode, plus high sensitivity (ISO 3200) for great low-light shots. What's more, you get simple controls, Creative Style settings and in-camera Super SteadyShot image stabilization that work with every Sony, Carl Zeiss and legacy Minolta a-mount lens. Stamina power for up to 730 shots, Auto Pop-up Flash and many more features make DSLR model an excellent choice for your favorite new hobby.

10.2 MP CCD
Superb image quality gives you great DSLR shots right from the start, with a large APS-size CCD imager developed by Sony to expand dynamic range, and minimize noise more effectively for clear, sharp photos even at high sensitivity setting (up to ISO 3200).

Live Preview of Your Subject
The DSLR-A300’s Live Preview mode links you and your subject on a large 2.7” LCD screen, for a familiar point-and-shoot style - with super-quick AF response and accurate exposure control to help you catch the perfect moment. In Live Preview mode, the camera bypasses the optical pentaprism mirror to create a live “eye-to-eye” view of loved ones, children, pets and fast-changing scenes.

Tiltable 2.7” Clear Photo LCD Plus Screen
A large built-in screen with 2-way angle tilt provides a sharp, clear view of your subject and tilts up or down for low-angle or high-angle monitoring in situations where you want a child-level or overhead shot.

Continuous Shooting While Viewing
The DSLR-A300 lets you shoot continuously at up to 3 frames per second while you see your subject in the viewfinder, so you never lose track of the action. In JPEG mode, you can shoot up to the limit of your flash memory card; in RAW Burst Mode you can capture up to 6 shots, with intelligent buffer management to allow more shots to be captured without waiting for the buffer to clear.

Smart Teleconverter 2X Zoom
At the touch of a button you can zoom in electronically on your subject, reproducing pixels on a 1:1 basis with no degradation in picture quality. One touch zooms in at 1.4X, the second touch advances to 2X zoom - creating the 35mm equivalent of a 200mm telephoto effect with the DSLR-A300’s standard 18-70mm zoom lens.

Expanded ISO Sensitivity
A broad sensitivity range from ISO 100 to ISO 3200 enables the DSLR-A300 to capture beautiful color images even in very dim light - with High ISO Noise Reduction technology that reduces picture noise artifacts at high-sensitivity ISO 1600 and ISO 3200 settings by eliminating noise from RAW data after analog-to-digital conversion.

Super SteadyShot In-Camera Image Stabilization
Because image stabilization is built into the DSLR-A300, every lens benefits by an advantage of from 2.5 to 3.5 exposure steps. This allows you to shoot effectively with minimum blur even in low light without flash - or adjust exposure control for smaller lens aperture, to increase depth of field and bring both foreground and background into sharp focus.

Bionz Image Processor
The “brain” of the α (alpha) DSLR-A300 is the advanced Sony Bionz Image Processor, using hardware-based Large Scale Integrated (LSI) circuitry to enhance images with rich tonal reproduction, improved white balance and exposure control, and expanded D-Range Optimizer capabilities. With 2-channel data transfer from CCD to processor, your camera can also respond faster.

1200-zone Evaluative Metering
Exposure information from the image sensor dedicated to Live View is divided into 1200 zones of luminance and RGB color information. In addition D-Range Optimizer technology contributes to judge the scene and then determine the optimum exposure to reproduce images with a more natural look.

Dynamic Range Optimizer
To improve results with backlit subjects and recover details hidden in shadows or lost in glare, the DSLR-A300 provides Dynamic Range Optimizer at two levels: Normal DRO, to improve detail using standard gamma curves for fast shot-to-shot response time, or Advanced DRO, to adjust dynamic range area-by-area for the greatest precision.

Anti-Dust Technology
Changing lenses in a DSLR can allow dust to enter the camera - so to keep the CCD imager cleaner for better pictures, the DSLR-A300 utilizes both static-free anti-dust coating on the CCD filter and anti-dust vibration that automatically shakes the CCD to dislodge dust each time the camera is shut off.

Auto Pop-Up Flash
The camera flash automatically pops up and fires when needed, to help first-time DSLR photographers shoot more effectively. Auto Pop-up works in Auto mode and some scene selection modes; Flash is cancelled in Landscape, Sport or Sunset modes and in “Flash Off” position on the Exposure Mode dial.

Eye-Start Autofocus System
It begins precision autofocus adjustments the moment you raise the camera to your eye - so unlike some DSLR cameras that don’t start focusing until the shutter button is half-pressed, the Sony DSLR-A300 never slows down your ability to catch fast action.

9-Point Center Cross AF Sensor
A fast focus motor and improved focus control help bring images into sharp definition more quickly, with predictive focus control that automatically calculates the position of a fast-moving subject.

Scene Selection Modes
Along with auto exposure, the DSLR-A300 gives you scene selection modes to optimize camera performance for Portrait, Landscape, Macro, Sports, Sunset and Night Portrait/Night View situations.

Creative Style Settings
To express your creativity and personal taste, you can adjust contrast, saturation and sharpness settings for any of 8 finishing styles - including Standard, Vivid, Portrait, Landscape, Night View, Sunset, B & W and Adobe RGB modes.

Index and Slide Show Display
To quickly review your photos, the DSLR-A300 can display 4, 9 or 25-frame index views - or present automatic slide shows with fade-in/fade-out effect.

High-Resolution Thumbnails for PhotoTV HD Viewing
The DSLR-A300 automatically creates high-resolution thumbnail images for viewing on Sony’s BRAVIA HDTV in optimized PhotoTV HD mode, with image format adjustable for standard 3:2 or widescreen 16:9 display.

Function Guide Display
On-screen menus are intuitive and easy to use - and a simple Camera Function Display can be activated and operated with one hand using the “Fn” (Function) button and controller button to adjust Flash mode, Autofocus mode, White Balance, Metering mode, AF area and D-Range Optimizer.

Stamina Battery Power
In optical viewfinder mode, you can take up to 750 shots on a fully charged NP-FM500H InfoLITHIUM battery - and you’ll be able to see about how much power remains in percentage increments, so you can keep shooting in confidence.

High-Capacity Media Options
For conveniently storing and sharing your images, the α (alpha) DSLR-A300 accepts CompactFlash Type I/II media and Memory Stick PRO Duo media via an optional adapter.

Advanced Lenses and System Accessories
Sony’s α (alpha) system gives you everything you need to expand your creativity in DSLR photography: precision Sony DT zoom lenses and specialty lenses, Sony “G” Series lenses with advanced motorized autofocusing, amazingly bright Carl Zeiss lens designs, and professional-quality flash units.

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Older Post:

Sigma SD14 Digital SLR Camera 14MP

2008-10-21T19:49:00.000-07:00

Sigma SD14 Digital SLR Camera 14MP

Sensor: Foveon X3 Pro 14M CMOS Image Sensor; 20.7 x 13.8 mm
Photodetectors: 14.1 million (2652 x 1768 x 3)
Effective pixel locations: 4.6 million (2640 x 1760)
Image sizes: 4608 x 3072 (Super High) - Interpolated; 2640 x 1760 (High); 1776 x 1184 (Medium); 1296 x 864 (Low)
Image formats: Foveon X3 RAW (.X3F, 12-bits per photodetector); JPEG (Fine, Normal, Baisc compression)
Lens mount: Sigma SA mount
Field of view crop: 1.7x
Autofocus: TTL phase detection, 5 area; operating range: 0 to 18 EV
Lens servo: Single Servo AF; continuous Servo AF with motion prediction function; Manual
Sensitivity: ISO 100, 200, 400, 800, 1600 (extended mode)
Metering: 8-segment evaluative, center, center-weighted average
Metering range: 1 - 20 EV
Exposure mode: (P) Program AE, (A) Aperture-Priority Auto, (S) Shutter-Priority Auto, (M) Manual
Exposure compensation: +/-3 EV in 0.3 EV steps
AE lock: Dedicated AEL button
AE bracketing: Three images; compensation steps: 0.3 - 3.0 EV
Shutter type: Vertical travel metal focal plane shutter; electronically controlled through entire speed range
Shutter speed: 30 seconds to 1/4000 second, Bulb (up to 30 seconds)
Depth-of-field preview: Button, stops-down lens aperture
X-Sync shutter speed: Up to 1/180 second
Shooting modes: Single frame; continuous shooting; self-timer 10 seconds; self-timer 2 seconds
Continuous mode: High: 3 frames per second (fps) for 7 frames; Medium: 3 fps for 12 frames; Low: 3 fps for 24 frames
White balance: Auto, Sunlight, Shade, Overcast, Incandescent, Fluorescent, Flash, Custom
Sync contact: Hot-shoe, X-contact only (also has dedicated Sigma link contact)
Flash control: STTL automatic flash exposure; only Sigma EF-500 DG Super SA, EF-500 DG ST SA flash units
Built-in flash: Pop-up; Guide number 11; coverage approximately 17 millimeters
Viewfinder: Pentaprism viewfinder; eyepoint 18mm; magnification 0.9x; frame coverage 98%; diopter adjustment: -3 to +1.5 dpt
LCD monitor: 2.5-inch TFT LCD, 150,000 pixels, 100% frame coverage
Connectivity: USB 2.0, video out
Storage: CompactFlash Type I/II
Power: Lithium-Ion battery BP-21, AC adapter (optional)
Dimensions: 144 x 107 x 81 millimeters (5.7 x 4.2 x 3.2 inches)
Weight (without battery): 700 grams (1.5 pound)
What's in the box: Sigma SD14 digital SLR, Lithium-ion power battery BP-21, battery charger BC-21, USB cable, video cable, neck strap, eye cap, body cap, eyepiece cap, SIGMA Photo Pro 3.0 CD-rom, SD14 instruction manual

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Older Post:

Canon Rebel XT Digital SLR Camera 8MP

2008-10-17T13:43:00.000-07:00

Canon Rebel XT Digital SLR Camera 8MP

Digital AF/AE SLR
Recording medium: CF card type I and II
Image format: 0.87 x 0.58 inches / 22.2 x 14.8 millimeters
Compatible Lenses: Canon EF lenses including EF-S lenses (focal length conversion factor: equivalent to approximately 1.6x indicated focal length compared to 35mm format)
Lens Mount: Canon EF mount
Image Sensor: High-sensitivity, high-resolution, single-plate color CMOS sensor
Total pixels: Approximately 8.2 megapixels, 8.90 effective pixels
Aspect ratio: 2:3 (vertical:horizonrtal)
Color filter system: RGB primary color filter
Low-pass filter: Fixed position in front of the image sensor
Recording format: Design rule for camera file system JPEG and RAW 2.21 compliant
Image format: JPEG and RAW (CR2)
File size: JPEG: UP to approximately. 3.3 MB (3456 x 2304), RAW: approximately 8.3 MB (3456 x 2304)
Folders: Automatic setting
File numbering: Continuous numbering, auto reset
Image-processing parameters: Standard parameters plus up to three custom processing parameter sets and monochrome can be set
Interface: USB 2.0 hi-speed
White balance: Auto, preset (daylight, shade, cloudy/twilight/sunset, tungsten light, white fluorescent light, flash), manual (custom: read off photo quality gray card or white subject)
Viewfinder: Eye-level SLR (with fixed pentamirror)
Coverage: Approximately 95 percent vertically and horizontally (against JPEG Large)
Magnification: 0.8x (-1 diopter with 50mm lens at infinity)
Eyepoint: 21mm
Dioptric adjustment correction: minus 3.0 to 1.0 diopters
Focusing screen: Fixed
Mirror: Quick-return half mirror (Transmittance: reflection ratio of 40:60, no mirror cut-off with lenses up to EF 600 millimeters F4)
Viewfinder information: AF points, AE lock, FE lock, AEB in progress, flash ready, improper FE lock warning, high-speed sync, flash exposure compensation, red-eye reduction, shutter speed, bulb, FE lock, processing data, built-in flash recycling, aperture, exposure level display (exposure compensation, manual exposure level, AEB level, flash exposure compensation, red-eye reduction lamp on time display), max burst during continuous shooting, AF/MF focus confirmation, CF card full, CF card error, no CF card
Depth-of-field preview: Enabled with depth-of-field preview button
Eyepiece shutter: None (provided on strap)
Auto focus (AF): TTL-CT-SIR with AF-dedicated CMOS sensor
AF points: 7
AF working range: EV 0.5 - 18 (at ISO 100)
Focusing modes: One-Shot AF, predictive aI servo AF, AI focus AF (automatically selects one-shot AF or aI servo AF selected according to shooting mode), manual focusing (MF)
AF point selection: Automatic selection, manual selection
Selected AF point display: Superimposed in viewfinder and indicated on LCD panel
AF-assist beam: Intermittent firing of built-in flash, effective range: approximately 13.1 feet/4 meters at center, approximately 11.5 feet/3.5 meters at periphery
Metering modes: Maximum aperture TTL metering with 35-zone SPC. Evaluative metering, Partial metering at center (approximately 9 percent of viewfinder), center-weighted average metering
Metering range: EV 1 to 20 (at 68 degrees F/20 degrees C with 50 millimeter F1.4 lens at ISO 100)
Exposure control systems: Program AE (shiftable), shutter-priority AE, aperture-priority AE, automatic depth-of field AE, full auto, programmed image control modes (portrait, landscape, close-up, sports, night portrait, flash off), E-TTL II autoflash program AE, and manual
ISO speed range: Equivalent to ISO 100 to 1600
Exposure compensation: Up to plus or minus 2 stops in 1/2 or 1/3-stop increments. Manual exposure compensation, AEB (auto exposure bracketing)
AE lock: Auto: operates in one-shot AF mode evaluative metering when focus is achieved; Manual: enabled with AE lock button (No AE lock in basic zone modes)
Shutter type: Vertical-travel, mechanical, focal-plane shutter with all speeds electronically-controlled
Shutter speeds: 1/4000 to 30 seconds in 1/2- or 1/3-stop increments, bulb, X-Sync at 1/200 seconds
Shutter release: Soft-touch electromagnetic release
Noise reduction for long exposure: Set with C. Fn-02
Self-timer: 10 second delay
Remote control: Remote control with RS-60E3 terminal or wireless remote controllers RC-1/RC-5
Built-in flash: Auto pop-up, retractable, built-in flash in the pentaprism
Guide number: 13 (at ISO 100 in meters)
Recycling time: Approx. 3 seconds
Flash-ready indicator: Flash-ready indicator lights on in viewfinder
Flash coverage: Up to 17 millimeters focal length (equivalent to 27mm in 35mm format)
EOS external flash or dedicated speedlites: E-TTL II autoflash
Drive modes: Single, continuous, self-timer/remote control
Continuous shooting speed: Approximately 3.0 frames per second (with battery pack NB-2LH, at Tv=1/250 seconds for all recording qualities)
Maximum burst during continuous shooting: 14 shots (large/fine)
LCD monitor: TFT color LCD monitor
Screen monitor size: 1.8 inches
Pixels: Approximately 115,000 pixels (displayed pixels)
Brightness control: 5 levels settable with menu's LCD brightness
Image display format: Single image, 9-image index, magnified zoom, auto play, auto play right after shooting
Highlight alert: In the single image with information display mode, the highlighted portions containing no image information with blink
Image protection and erase: A single image can be protected or unprotected; A single image or all images stored in a CompactFlash card can be erased if they are unprotected
LCD monitor language: English, German, French, Dutch, Danish, Italian, Finnish, Norwegian, Swedish, Spanish, Simplified/Traditional Chinese, Korean, Russian, and Japanese
Battery: Battery pack NB-2LH (x1)
Dimensions (W x H x D): 4.98 x 3.71 x 2.63 inches / 126.5 x 94.2 x 64 millimeters
Weight: 17.1 ounces / 485 grams
Operating temperature: 32 to 104 degrees F / 0 to 40 degrees C; 85 percent or less humidity
Len (included): EF-S 18 to 55mm f3.5 to 5.6 USM
Focal length and maximum aperture: 18 to 55mm 1:3.5-5.6
Lens construction: 11 elements in 9 groups
Diagonal angle of view: 75 degrees 20 yards to 27 degrees 50 yards
Focus adjustment: Inner focusing system with Micro USM
Closest focusing distance: 0.28 meters / 0.92 feet to infinity
Zoom system: Rotating type
Filter size: 58mm
Maximum diameter x length, weight : 2.7 x 2.6 inches, 6.07 ounces / 69 x 66.2 millimeters, 190 grams

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Canon EOS 50D DSLR Camera 15.1MP

2008-10-10T12:55:00.000-07:00

Canon EOS 50D DSLR Camera 15.1MP

Digital single-lens reflex AF/AE camera with built-in flash
Image sensor size: 22.3 x 14.9mm
Compatible lenses: Canon EF lenses (including EF-S lenses)
Lens mount: Canon EF
Sensor type: High-sensitivity, high-resolution, large single-plate CMOS sensor
Effective pixels: Approximately 15.10 megapixels
Total pixels: Approximately 15.5 megapixels
Aspect ratio: 3:2 (horizontal: vertical)
Color filter system: RGB primary color filters
Low-pass filter: Fixed position in front of CMOS sensor
Dust deletion feature: Yes
Recording format: Design rule for camera file system 2.0
Image type: JPEG, RAW (14-bit Canon original), sRAW, RAW+JPEG
File size: Large/fine: 5 MB (4752 x 3168); large/normal: 2.5 MB (4752 x 3168); medium/fine: 3 MB (3456 x 2304); medium/normal: 1.6 MB (3456 x 2304); small/fine: 1.7 MB (2352 x 1568); small/normal: 0.9 MB (2352 x 1568); RAW: 20.2 MB (4752 x 3168); RAW+large/fine: 20.2+5 MB (4752 x 3168); sRAW 1: 12.6 MB (3267 x 2178), sRAW 2: 9.2 MB (2376 x 1584); sRAW 2+large/fine: 9.2+5 MB (2376 x 1584)
Recording functions: With WFT-E3A attached, image recording to the WFT-E3A will be possible as follows: standard, automatic switching of recording media, separate recordings according to image-recording quality, recording images having the same size
Backup recording: Enabled with WFT-E3A attached
File numbering: Consecutive, auto reset, manual reset
Color space: sRGB, Adobe RGB
Picture style: Portrait, landscape, neutral, faithful, monochrome, user defined 1-3
Image processing type: Auto, daylight, shade, cloudy, tungsten light, white fluorescent light, flash, custom, color temperature setting
Auto white balance: Auto white balance with image sensor
Color temperature compensation: White balance correction: +/-9 stops in full-stop increments; white balance brackeing: +/-3 stops in full-stop increments
Viewfinder type: Eye-level pentaprism
Coverage: Approximately 0.95x (-1m with 50mm lens at infinity)
Eyepoint: Approximately 22mm
Focusing screen: Interchangeable (Ef-D: grid lines, EF-S: point of focus, EF-A: standard focusing screen)
Mirror: Quick-return half mirror
Depth-of-field preview: Yes
Autofocus type: TTL-CT-SIR AF-dedicated CMOS sensor
AF points: 9
Metering range: EV 0.5 to 18
Focusing modes: Auto, one-shot AF, predictive AI Servo AF, AI Focus AF, manual
AF point selection: Automatic, manual
Selected AF point display: Superimposed in viewfinder and indicated on LCD panel
AF-assist beam: Small series of flashes fired by built-in flash
Metering modes: 35-zone full-aperture metering: evaluative, partial (9 percent of viewfinder at center), spot (3.8 percent of viewfinder at center), center-weighted average
Metering range: EV 1-20
Exposure control: Program AE (shiftable), shutter-priority AE, aperture-priority AE, depth-of-field AE, creative auto, full auto, programmed image control modes (portrait, landscape, close-up, sports, night portrait, flash off), manual exposure, E-TTL II autoflash program AE
ISO speed: Automatically set: ISO 100 to 6400 (in 1/3-stop or 1-stop increments); basic zone modes: ISO 100 to 3200 set automatically; extension settable: ISO 12800; high-tone priority settable: ISO 200 to 1600
Exposure compensation: Manual: +/-3 stops in 1/3- or 1/2-stop increments
AE lock: Auto and manual
Shutter type: Veritcal travel, mechanical, electronically controlled focal-plane shutter
Shutter speeds: 1/8000 to 1/60 second, X-sync at 1/250 second; 1/8000 to 30 second, bulb
Shutter release: Soft-touch electromagnetic
Self timer: 10- or 2-second delay
Remote control: Yes, with N3-type terminal
Flash type: Retractable auto pop-up
Flash metering: E-TTL II autoflash
Recycling time: Approximately 3 seconds
Flash-ready indicator: Viewfinder icon
Flash coverage: 17mm lens angle of view
FE lock: Yes
Flash exposure compensation: Up to +/-2 stops in 1/3- or 1/2-stop increments
Compatible flash: EX-series Speedlites
Drive modes: Single, high-speed continuous, low-speed continuous, and self-timer
Continuous shooting speed: 3 shots/second to 6.3 shots/second
Live View shooting modes: Live View, remote Live View (with a personal computer installed with EOS utility)
Live View focusing: Manual, autofocus
LCD monitor: 3-inch TFT color LCD
Resolution: Approximately 920,000 pixels
Coverage: Approximately 100 percent
Brightness adjustment: 7 levels
Interface languages: 25
Display format: Single image, single image + image-recording quality/shooting information, histogram, 4- or 9-image index, magnified view (approximately 1.5x to 10x), rotated image (auto/manual), image jump (by 10/100 images, index screen, by shooting date, by folder), slide show (all images/selected by date/folder)
Image protection: Yes
Erase: Single, check-marked images, or all (except protected images)
Compatible printers: PictBridge
Printable images: JPEG compliant to design rule for camera file system and RAW/sRAW images
Interface: USB 2.0, NTSC/PAL selectable, HDMI mini out
Battery: Rechargeable battery pack or AA alkaline batteries
AC adapter: ACK-E2 adapter kit sold separately)
Camera width: 5.7 inches
Camera height: 4.2 inches
Camera depth: 2.9 inches
Weight: 25.7 ounces (body only)
Warranty: 1 year

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Nikon AF-S NIKKOR 50mm f/1.4 Lens

2008-09-30T17:12:00.000-07:00

Nikon AF-S NIKKOR 50mm f/1.4 Lens

An essential tool with a focal length that closely replicates the visual perspective of the human eye when used with an FX-format D-SLR. Nikon’s optical expertise and modern technological advances, such as the Silent Wave Motor, help to deliver outstanding operation that is critical for Nikon FX and DX-format photographers who demand the pinnacle of photographic performance.

Ideal for travel, event, environmental and general photography in a wide variety of conditions, the new AF-S 50mm f/1.4 lens combines a superb optical formula with an ultra-fast f/1.4 maximum aperture, making it destined to become an instant classic in this digital age. This compact lens continues the tradition of NIKKOR precision optics to provide photographers with sharp, high-resolution images and the ability to focus as close as 1.5 feet for added versatility. The integration of an ultra-compact Silent Wave Motor ensures fast, whisper-quiet operation.

The AF-S NIKKOR 50mm f/1.4G teams perfectly with the low noise at high ISO sensitivity performance of Nikon D-SLRs such as the D3 and new D700 cameras. When used on a Nikon DX-format digital SLR camera, the new AF-S NIKKOR 50mm f/1.4G provides an ideal portrait picture angle, approximating that of a 75mm lens in use on a FX-format D-SLR or 35mm SLR camera.

A newly developed optical formula effectively corrects sagittal coma flare and coma aberration, delivering astonishing image quality and allowing more users to realize their creative vision with vivid clarity. Instances of lens flare and chromatic aberration are further suppressed through the use of Nikon’s exclusive Super Integrated Coatings, which also help ensure vividly accurate color balance. The rounded diaphragm opening combined with the nine-blade aperture contributes to a substantially more natural appearance of out-of-focus background elements.

The Nikon AF-S NIKKOR 50mm f/1.4G lens is scheduled to be available at Nikon dealers beginning December 2008.

Nikon D90 DSLR Camera 12.3 MP

2008-09-26T08:37:00.000-07:00

Nikon D90 DSLR Camera 12.3 MP

Details

Image sensor format: DX
Image sensor type: CMOS
Sensor size: 15.8 x 23.6mm
Total pixels: 12.9 MP
Effective pixels: 12.3 MP
Image area (DX format): Large: 4288 x 2848; medium: 3216 x 2136; small: 2144 x 1424
Top continuous shooting speed at full resolution: 4.5 frames per second
Continuous shooting options: CH: up to 4.5 frames per second; CL: up to 4 frames per second
LCD monitor size: 3 inches diagonal
LCD monitor type: Super density
Monitor resolution: 920,000 pixels
Angle of view: 170-degree wide viewing angle
Monitor adjustments: 7 brightness levels
Shutter type: Electronically controlled, vertical-travel focal plane
Slowest shutter speed: 30 seconds in steps of 1/3, 1/2, 1 EV
Fastest shutter speed: 1/4000 second in steps of 1/3, 1/2, 1 EV
Bulb shutter setting: Yes
Lowest standard ISO sensitivity: 200 in steps of 1/3, 1/2, 1 EV
Highest standard ISO sensitivity: 3200 in steps of 1/3, 1/2, 1 EV
Lowest expanded ISO sensitivity: Lo-1 (ISO 100 equivalent)
Highest expanded ISO sensitivity: Hi-1 (ISO 6400 equivalent)
Expanded ISO sensitivity options: Lo-1 (ISO 100 equivalent) in steps of 1/3, 1/2, 1 EV; Hi-1 (ISO 6400 equivalent) in steps of 1/3, 1/2, 1 EV
Storage media: SD, SDHC
Storage system: JPEG: JPEG-baseline compliant, can be selected from size priority and optimal quality; AVI
File system: Compliant with DCF 2.0, DPOF, Exif 2.21
Exposure modes: Programmed auto (P) with flexible program, shutter priority auto (S), aperture priority auto (A), manual (M), auto
Advanced scene modes: Portrait, landscape, close-up, sports, night portrait
Exposure metering system: 420-pixel RGB sensor 3D Color Matrix Metering II, center weighted, spot
Metering range: 1: 0 to 20 EV (matrix or center-weighted metering); 2: 2 to 20 EV (Spot metering, ISO 100 equivalent, f/1.4 lens)
Exposure meter coupling: CPU
Exposure compensation: +/-5 EV in increments of 1/3, 1/2, 1
Exposure lock: Yes
Exposure bracketing: Yes, 2 or 3 frames in steps of 1/3, 1/2, 2/3, 1, or 2 EV
Shutter release modes: Single frame (S), continuous low speed (CL) at 1 to 4 frames per second, Live View (LV), self-timer, continuous high speed (CH) at 4.5 frames per second
Movie modes: HD 1280 x 720 at 24 fps, VGA 640 x 424 at 24 fps, QVGA 320 x 216 at 24 fps
White balance: Sun, shade, fluorescent, incandescent, flash, preset, fine tune by Kelvin color temperature setting, auto, auto (TTL white balance with 420-pixel RGB sensor), 7 manual modes with fine tuning
White balance bracketing: Yes, 2 or 3 exposures in increments of 1, 2, or 3
D-lighting bracketing: 2 exposures
Playback functions: Full frame, zoom, slideshow, pictmotion, histogram, shooting data, highlight point display, auto image rotation, sound playback, D-movie playback, thumbnail (4, 9, 72 segments), calendar
Interface: High-speed USB, NTSC, HDMI
Lens mount: Nikon F bayonet mount
Compatible lenses: DX AF Nikkor, D-G-type AF Nikkor, AF Nikkor, AL-P Nikkor, non-CPU AI Nikkor (supported functions may vary)
Picture angle: 1.5
Viewfinder frame coverage: Approximately 96 percent
Viewfinder eyepoint: 19.5
Reflex mirror: Quick-return type
Viewfinder magnification: Approximately 0.94x
Depth-of-field control: Yes
Autofocus system: Nikon Multi-CAM 1000 autofocus module with TTL phase detection, 11 focus points (including 1 cross-type sensor) and AF-assist illuminator (range of approximately 0.5 to 3 meters)
Focus modes: Single-servo AF (S), continuous-servo (C), manual (M) with electronic rangefinder, Live View autofocus (face priority, wide area, normal area)
Focus lock: Yes
Picture control: Standard, neutral, vivid, monochrome, 9 user-customizable settings, portrait, landscape
In-camera image editing: Trim, D-lighting, color balance, image overlay, filter effects, monochrome, color balance, NEF (RAW) processing, quick retouch, straighten, distortion control
Built-in flash: Yes
External flash shoe: Yes
Nikon Creative Lighting System compatibility: Yes
Flash sync speed: Up to 1/200
FP high-speed sync: Up to 1/4000
Flash sync modes: Front-curtain sync (normal), slow sync, rear-curtain sync, red-eye reduction, red-eye reduction with slow sync
Accessory shoe: Yes
Self-timer: 2, 5, 10, 20 seconds
World time setting: Yes
Date, time, and daylight savings time settings: Yes
Battery type: Rechargeable lithium-ion
AC adapter: EH-5a
Battery charger: MH-18a
Image comment: Yes
Battery life: 850 shots (CIPA)
Tripod socket: 1/4-20
Supplied software: Software Suite CD-ROM
Supplied lens: AF-S DX Nikkor 18-105mm f/3.5-5.6G ED VR
Focal length: 18 to 105mm
Zoom ratio: 5.8x
Maximum aperture: f/2.5 to f/5.6
Minimum aperture: f/22 to f/38
Autofocus: Yes
AF-S (silent wave motor): Yes
Compatible formats: DX, FX in DX crop mode
Vibration reduction: Yes
Distance information: Yes
ED glass elements: Yes
Super-integrated coating: Yes
Aspherical elements: Yes, 1
Manual/auto focus mode: Yes
Minimum focus distance: 1.48 feet
Maximum angle of view: 76 degrees
Minimum angle of view: 15 degrees at 20 feet
Lens elements: 15
Lens groups: 11
Maximum reproduction ratio: 1:5
Mount type: Nikon F-Bayonet
Filter type: 67mm screw on
Lens attachment size: 67mm
Lens dimensions: 3 inches in diameter, 3.5 inches long
Camera width: 5.2 inches
Camera height: 4.1 inches
Camera depth: 3.0 inches
Weight: 22 ounces (camera), 14.8 ounces (lens)
Warranty: 1 year

Filters Improve Your Digital Photographs

2008-09-23T14:23:00.000-07:00

Filters Improve Your Digital Photographs
by Stan Pontiere

If you look around at photographers today, you will notice that almost none of them are using filters. There is an exception to this, however, if you are watching a professional photographer at work, there is rarely a time when he is not using a filter on his camera. Filters are one of the easiest ways to improve your digital photographs.

I am not telling you that you should go out and buy $200 in filters that you will probably never use. But, there are three filters that are really a must have in your gadget bag. They are a UV1, UVA, and a polarizing filter. They are both inexpensive and will add an extra dimension to your digital photographs.

The UV1 filter is primarily used to filter out excess ultraviolet light. It is ultraviolet light that is the primary cause of that bluish cast that you get in your scenic photographs. By adding a UV1 filter to your camera when taking scenic photos, you will eliminate or nearly eliminate that bluish haze that ruins so many photographs.

The second filter that you should carry is a UVA filter. This filter is also used to reduce ultraviolet light but it also has a slight warming effect. In both daylight and flash pictures, you may notice that skin tones often have a slightly bluish cast. As a UVA filter has a slight warming effect, it will very effectively give you much more natural skin tones. You may occasionally want to also use this filter in place of a UV1 filter in your scenic photographs.

The polarizing filter is the real star of these three filters. Many photographers call it their "National Geographic" filter. If you have ever worn polarizing sunglasses, you have probably marveled at how rich the colors are when wearing them. Polarizing filters and sunglasses work by eliminating diffuse reflections thereby allowing the full rich natural colors to come through. If you pick up a old copy of National Geographic, you are almost always amazed at the rich blue skies and bright fluffy clouds in their photographs. That rich blue comes from the use of the polarizing filter. By eliminating the diffuse reflections in the sky, the rich natural blue of the sky creates a dramatic photograph. One note of caution, because of the nature of polarized light, your automatic exposure setting might be incorrect. To overcome this, you might have to use manual exposure settings or EV value correction. The nice thing about a digital camera, is that you will be able to review your shot and make the necessary corrections immediately.

Filters are both inexpensive and take up very little room and the resultant improvement in your digital photos make it well worth the investment. You probably won't find filters at the bit-box stores but, any good camera shop will have a wide selection. By the way, while your at the camera shop, pick up a good lens cleaning kit. Handkerchiefs and tissues paper will ultimately ruin your lens. Each time you use them, it produces minor scratches on your lens and degrades the quality of your image.

Photography: Monochrome With Photoshop

2008-09-19T10:35:00.000-07:00

Photography: Monochrome With Photoshop
by David Bigwood

As a freelance I have to capture the images that magazines want and 99 plus% want everything in glorious colour. So, as I no longer have a darkroom, the only way for me to satisfy my craving for black and white is to convert suitable colour images to monochrome using my trusty computer.

Grayscale Mode
The simplest and quickest way was how I started and that was just to change the mode in Photoshop from RGB to Grayscale. I opened the picture, went to 'Image' in the Menu Bar and selected 'Mode' then selected 'Grayscale' from the drop down menu. This brought up a dialogue box asking if I wanted to discard all colour information. I clicked 'OK' and the job was done. I was then able to adjust the monochrome image to my liking. It couldn't get any easier. 'Easy-peasey,' as Jamie Oliver would say.

So, with the image open, go to 'Image>Mode>Grayscale' then 'Discard color information'.

In Photoshop Elements the process is the same.

Desaturate Method
As easy is the use of the 'Desaturate' command. With the original colour picture open, go to 'Image' select 'Adjustments' and 'Desaturate' from the drop down menu. The result is very similar to the Grayscale method and can also be achieved by going to 'Hue/Saturate' and reducing the 'Saturation' slider to -100.

'Image>Adjustments>Desaturate'

In Photoshop Elements, go to 'Enhance>Adjust color>Remove color'.

Channel Mixer Method
Now we come to a slightly more complicated method but one that gives a higher control than the previous two. Once again, with the original colour picture open, go to 'Image' and select 'Adjustments' then select 'Channel Mixer' from the drop down menu. This will bring up the Channel Mixer dialogue box with sliders for the Red, Green and Blue channels. When opened the sliders will be set for 100% red and 0% for the other two channels. Before you do anything, select the Monochrome box at the bottom left of the dialogue box. Then have a look at the image with 100% for each of the other two colours in turn and 0% for the rest. The results will depend upon the majority of colours in the original. You may find that one of the channels suits you perfectly, in which case you can ignore the other two by leaving them at 0 and click on 'OK'.

However, it will probably be the case that you can get a better result by mixing bits of each channel. I start generally by reducing the Red to about 50 or 60 and increasing Green to 20 to 30 and the Blue to whatever makes up 100 - you don't have to end up with 100 but the results are normally better if you do. Once I have made the initial changes, it is a matter of trial and error to come up with the best result.

The Constant slider allows adjustments of the finished image - sliding to the left produces a darker result and to the right, a lighter one. I have found that I rarely adjust this.

There is no equivalent in Photoshop Elements.

LAB Mode
Another method that produces generally good results is to use the LAB Mode. With the colour image open, go to 'Image' and select 'Mode' then choose 'Lab color'. In the Layers Window, select 'Channels' which will give you four channels, LAB, Lightness, A and B. Go to channel A and select it all then delete it. Repeat this for channel B and then go to the Lightness channel. Go to 'Image>Mode>Grayscale' click 'OK' in the dialogue box that asks whether you want to discard the other channels and you have a monochrome image to adjust to your satisfaction.

There is no equivalent in Photoshop Elements.

Any one of the completed operations above will provide me with a useable monochrome image of the particular colour image that I selected to begin with. However, all require additional work to make them into more than just a basic monochrome picture.

As you have seen, and as with so many operations in Photoshop, it is possible to get to an end result in various ways and the ones I have outlined are not the only ones that will provide a conversion to monochrome. Some swear by one method or another but I find that while I have a tendency towards the channel mixer method, there are times when it doesn't produce the result I am after. Then I will try one of the alternative methods and am pleased that I know more than one. And, sometimes, I find an interesting result that I was not expecting and that takes me down a path that I was not anticipating.

5 Tips to Make Your Digital Photography Better

2008-09-16T21:07:00.000-07:00

5 Tips to Make Your Digital Photography Better
by John Peters

Think about composition
Always try your best to compose your pictures correctly at the time you take the photo, ensuring you crop tightly and remove unwanted elements from your photo. Many people are tempted not to worry about composition, thinking that they'll simply edit the photo on their computer. However, cropping your image on the computer reduces image detail, and your pictures lose sharpness and overall quality.

Get close to your subject, fill the frame
A common mistake made by beginners is allowing the subject to get lost in the background. If you're taking a photo of someone, get as close to them as possible. You can do this by moving closer to them or by using your optical zoom. Don't be afraid to zoom in to remove distracting backgrounds.

Avoid placing the subject dead centre
One of the easiest ways of ensuring a boring photograph is to the place your subject exactly in the centre of the photo. One way around this is to mentally divide your image into thirds, and place your subjects along these imaginary one-third lines. You'll be surprised at what a difference this can make.

Draw the viewer into the photo
Want to create photos that draw the viewers into photo? One technique is to use leading lines, such as roads or fence lines, natural frames, such as door ways, to lead the viewer's eye to the subject.

Consider lighting when taking a photo
Many beginners overlook that lighting plays an important part in photography. While the professionals can afford the latest lighting equipment, there's a lot that a beginner can also do to make their photographs special. Try taking photographs at different times of day - the early morning in particular offers opportunities for taking dramatic images. When indoors try using window light. Avoid taking photos in harsh, bright conditions, particularly in the middle of the day.

HDD Digital Camcorders Features

2008-09-16T10:39:00.000-07:00

HDD Digital Camcorders Features
by Bob Brown

Hard Disk Drive (HDD) or hard drive or fixed disk drive digital camcorders do not need tapes or discs on which to record data - they record right onto the internal hard drive. The hard drive inside them is usually similar in size to the hard drive in a laptop computer. The video data can then be transferred to your computer and can be made into DVD's quite easily.

Because HDD camcorders uses compression to store huge amounts of video data, they can record from five to seven hours, depending on the size of the hard drive. And that is just the amount they can record in the high-quality setting. In the low-quality setting, they can record up to thirty-seven hours. The recording quality of these types of camcorders is usually quite high, so that you wind up with very good quality videos.

They are smaller and more compact than other types of digital cameras and they have no moving parts, so there is a lot less chance of mechanical breakdown. And a lot of these cameras come with anti-shock shield that protects the hard drive if the camera is dropped. The camera has a sensor in it that can actually tell if the camera has been dropped. In an effort to help you take better pictures, they also come with image stabilization to correct the image if your hand is shaking.

A lot of these cameras come with anti-shock shield that protects the hard drive if the camera is dropped. The camera has a sensor in it that can actually tell if the camera has been dropped. In an effort to help you take better pictures, they also come with image stabilization to correct the image if your hand is shaking.

If you were to actually run out of storage space on a HDD camcorder, they usually come with a memory slot, in which you could use a memory card.

With HDD camcorders, you can easily search through your different video segments, deleting and rearranging footage without rewinding or fast-forwarding. You can sort your videos into categories with icons.

These types of camcorders are often more expensive than other kinds of digital camcorders, but they are a great option.

How To Produce A Better Digital Photo

2008-09-15T15:34:00.000-07:00

How To Produce A Better Digital Photo
by Ronald Firquain

Digital photographic cameras are so small now that they fit neatly and securely in a shirt pocket. For that reason people tend to take more pictures than people that use old film. And are more popular than film ones. And stores in compressed format. Another myth is with more mega pixels have bigger light sensors also known as CCD. Always compare and look at all the important features that make good pictures not just mega pixels. One of the benefits that is so attractive is the ability to see your results immediately, and delete a photo if you are not happy with it, at zero cost. The benefits are enormous, and advances in software have quickly overcome the weaknesses of early photography. Cameras have changed the world of photography forever. And have become so advanced that almost all now have aperture and shutter speed settings, not to mention amazingly powerful optical zoom lenses. They have revolutionized photography, with a whole generation of new photographers inspired to take up taking pictures. Due to the decrease in usage of ordinary snap shots with the old dark room method which is very much time consuming latest methods of photography they have become more popular. And are so small now that they fit neatly and securely in a shirt pocket.

People tend to take more snap shots than people that use old film. Ask family members and friends if they have cameras and maybe camcorders and if they might bring them along to film the wedding. Most store snap shots in compressed format. Have changed the world of photography forever. And have become so advanced that almost all now have aperture and shutter speed settings, not to mention amazingly powerful optical zoom lenses. They have revolutionized photography, with a whole generation of new photographers inspired to take up taking photos. Most measure subject distance automatically using acoustic or electronic techniques, but it is not customary to say that they have a range finder. Main Concept And Evolution When it becomes common, a question many photographers asked was whether their film could be converted to digital.

SLR cameras are generally larger than the point and shoot, but will have a lot more options, both in settings and accessories like interchangeable lenses and external flashes. Read digital camera ratings on the unit as well as on other units as well, whether those are also under. Before you purchase Canon EOS 400D, make sure that you research and compare it with other models. With cameras, being so affordable these days adding an image to your auction page is easier than ever. However, in the age of digital cameras, these main features are available on nearly all, should the owners take the time to learn how to use them. Bigger CCD sensors are more expensive to manufacture and correspondingly then one that use bigger CCD sensors are more expensive. And are great devices for capturing digital photos though they only work as long as their battery is not empty. The LCD is often hard to view in bright light, so they also may have optical viewfinders that let you see a no electronic version of the frame. You probably can handle several different exposure modes and lets you set exposure yourself. 5 Focus controls Most have an automated system for sharply focusing your images. And can however be set to use lower resolution usually in order to save on disk space since lower resolution photos result in smaller photo files.

For the most part camera are replacements of the old film. Many come with software to help you manage your pictures. With becoming more and more popular photo printing services and providers of free prints too introduced new photo paper sizes. These Digital SLR camera support live feed to the LCD by using one of two techniques. Are getting cheaper; they pack more power with higher memories and higher resolution. The Best ones are easy to use the best one is not only to take great pictures, but they take these pictures easily. Each person who wants to record the family memories on there computer will be happy to know that they can use the best camera and get photos that pros would be proud of for their publications. The best them have improved so much that even the pros are using these great machines. So many memories that will remain treasures for generations. Because, amateurs and professionals have different needs when buying a camera, but there is information for both groups that will help them compare. Fortunately, there are many tools that consumers can use to compare before making any purchase. And are capable of capturing sound bytes and video besides taking stills. The new camera do produce better photos but not just because they have more mega pixels but mainly because they just got better and better over the years.

New Canon Security Camera has 40x Optical Zoom

2008-09-14T18:37:00.000-07:00

New Canon Security Camera has 40x Optical Zoom

The Canon VB-C60 features the industry's most powerful 40x optical zoom and 4x digital zoom. The camera's advanced auto focus system achieves smooth, immediate focus. The VB-C60 ultra-long zoom is able to maintain edge-to-edge tonal accuracy and clarity through the entire zoom range. The camera also features a wide angle lens, with a 56° horizontal field of view.

The high-precision aspherical lens allows for high resolution video in a variety of conditions. Colors remain true due to use of low dispersion glass. The bright F1.6 diameter lens combined with high-sensitivity CCD provides optimal contrast even in low light.

The infrared lens coating minimizes ghosting due to infrared rays and increases night mode sensitivity. The lens system is built upon Canon video camera technology to provide high quality continuous video capture that is equipped to handle diverse lighting conditions and temperatures throughout the day.

Books - Excerpt: Digital SLR Cameras and Photography for Dummies by David D. Busch

2008-09-04T13:23:00.000-07:00

Books - Excerpt: Digital SLR Cameras and Photography for Dummies by David D. Busch

Book: Digital SLR Cameras and Photography for Dummies

Today, the digital SLR (or dSLR) has become such a hot item among people who take pictures that virtually everyone, including your grandmother, probably knows that SLR stands for single lens reflex. However, your Nana - or you for that matter - might not know precisely what single lens reflex means. It's a camera (film or digital) that uses a marvelous system of mirrors and/or prisms to provide bright, clear optical viewing of the image you're about to take - through the same lens that is used to take the picture.

The key thing to know is that a dSLR is a very cool tool for taking photos electronically.

Welcome to the chapter that tells you exactly how smart you were when you decided to upgrade from whatever you were using previously to the future of digital photography. You find out how a digital SLR will transform the way you take and make pictures, why the strengths of the dSLR are important to you, and why the few downsides really don't matter. Getting in on the ground floor is great, and I tell you why.

dSLR: dNext Great Digital Camera

If you've already made the jump to a digital SLR, you've discovered that the dSLR lets you take pictures the way they were meant to be taken. After using other film or digital cameras, anyone interested in taking professional-looking photos notices why dSLRs stand out:

You can view a big, bright image that represents (almost) exactly what you'll see in the final picture. No peering through a tiny window at a miniature version of your subject. No squinting to compose your image on an LCD viewfinder that washes out in bright sunlight. Nor do you have to wonder whether you've chopped off the top of someone's head or guess how much of your image is in sharp focus.

A dSLR responds to an itchy trigger finger almost instantly. Forget about pressing the shutter release and then waiting a second or two before the camera decides to snap off the shot. Unlike most point-and-shoot digital cameras, dSLRs can crank out shots as fast as you can press the button.

You have the freedom to switch among lenses - such as an all-purpose zoom lens, a super-wide angle lens, an extra-long telephoto lens, a close-up lens, or other specialized optic - quicker than you can say 170-500mm F5-6.3 APO Aspherical AutoFocus Telephoto Zoomexpialidocious. (Best of all, you don't even have to know what that tongue-twister of a name means!)

Just be prepared to succumb to lens lust, a strange malady that strikes all owners of dSLRs sooner or later. Before you know it, you'll find yourself convinced you must have optical goodies like the lens shown in Figure 1-1, a telephoto macro lens that's absolutely essential (you'll think) for taking photos of butterflies from enough of a distance to avoid scaring the timid creatures away.

If you're ready to say sayonara to film, adios to poorly exposed and poorly composed pictures, and auf Wiedersehen to cameras with sluggardly performance, it's time to get started.

The sections that follow (as well as other chapters in this part) introduce you to the technical advantages of the digital SLR and how to use the dSLR's features to their fullest. When you're ready to expand your photographic horizons even farther, Parts II, III, and IV help you master the basics of digital photography, go beyond the basics to conquer the mysteries of photo arenas such as action, flash, and portrait photography, and then discover how you can fine-tune your images, organizing them for sharing and printing.

Improving Your Photography with a dSLR

The differences between digital SLRs and the camera you were using before you saw the light will depend on where you're coming from. If your most recent camera was a point-and-shoot digital model, you know the advantages of being able to review your photos on an LCD an instant after you took them, and you also know the benefits of fine-tuning them in an image editor. If you're switching to a digital SLR from a film SLR, you are likely a photo enthusiast already and well aware that a single lens reflex offers you extra control over framing, using focus creatively, and choosing lenses to give the best perspective. And, if you're making the huge leap from a point-and-shoot non-SLR film camera to a digital SLR, you're in for some real revelations.

A digital SLR has (almost) all the good stuff available in a lesser digital camera, with some significant advantages that enable you to take your photo endeavors to a new, more glorious level of excellence. Certainly, you can take close-ups or sports photos with any good-quality film or digital camera. Low-light photography, travel pictures, or portraits are all within the capabilities of any camera. But digital SLRs let you capture these kinds of images more quickly, more flexibly, and with more creativity at your fingertips. Best of all (at least for Photoshop slaves), a digital SLR can solve problems that previously required working long hours over a hot keyboard.

Despite the comparisons you can make to other cameras, a digital SLR isn't just a simple upgrade from a conventional film camera or another type of digital camera. A dSLR is very different from a film SLR, too, even though some vendors offer film and dSLRs that look quite a bit alike and share similar exposure metering, automatic focusing, and other electronics. If you look closely, you find that the digital SLR camera is different, and how you use it to take pictures is different.

In the sections that follow, I introduce you to the advanced features and inner workings so that you can begin getting the most out of your dSLR.

Composing shots with a more accurate viewfinder

With non-SLR cameras, what you see isn't always what you get.

Theoretically, the LCD on the back of a point-and-shoot digital camera should show exactly what you'll get in the finished picture. After all, the same sensor that actually captures the photo produces the LCD image. In practice, the LCD might be difficult to view under bright light, and it's so small (a few LCDs are only 1.5 inches diagonally) that you'll feel like you're trying to judge your image by looking at a postage stamp that's gone through the wash a few times.

The view through a non-SLR camera's optical viewfinder is likely to be even worse: tiny, inaccurate enough to make chopping off heads alarmingly easy, and with no information about what's in focus and what is not.

More advanced cameras might use an electronic viewfinder (EVF), which is a second, internal LCD that the user views through a window. EVFs provide a larger image that's formed by the actual light falling on the sensor and can be used in full sunlight without washing out. However, they might not have enough pixels to accurately portray your subject and tend to degenerate into blurred, ghosted images if the camera or subject moves during framing. They also don't work well in low light levels. An EVF is a good compromise, but not as good as a dSLR for previewing an image.

A digital SLR's viewfinder, in contrast, closely duplicates what the sensor will see, even though the image is formed optically and not generated by the sensor itself. It's all done with mirrors (and other reflective surfaces) that bounce the light from the lens to your viewfinder, sampling only a little of the light to measure exposure, color, and focus. As a result, the viewfinder image is usually bigger and brighter - from 75 percent to 95 percent (or more) of life size using a dSLR "normal" lens or zoom position, compared with 25 percent or smaller with a point-and-shoot camera's optical or LCD viewfinder. You see 95 percent of the total area captured, too.

Check out Figure 1-2 and decide which view of your subject you'd rather work with. Even the 2.5-inch LCD on the point-and-shoot model in the upperleft corner is difficult to view in bright light; the electronic viewfinder in the upper-right corner can be fuzzy, making it hard to judge focus. The digital SLR's big bright viewfinder (bottom) is, as Goldilocks would say, just right.

A dSLR shows you approximately what is in sharp focus and what is not (the depth-of-field), either in general terms (all the time) or more precisely when you press a handy button called the depth-of-field preview. Your digital SLR viewing experience is likely to be more pleasant, more accurate, and better suited for your creative endeavors.

Flexing the more powerful sensor

Digital SLR sensors are much bigger than their point-and-shoot camera counterparts, and this gives them a larger area for capturing light and, potentially, much greater sensitivity to lower light levels.

A dSLR's extra sensitivity pays off when you want to

Take pictures in dim light.
Freeze action by using shorter exposure times.
Use smaller lens openings to increase the amount of subject matter that's in sharp focus.

Within the Canon digital camera line alone, you find digital SLRs with 22.2-x-14.8mm to 24-x-36mm sensors (the size of a 35mm film frame). Some of Canon's digital point-and-shoot cameras use a sensor that measures only 7.8 x 5.32mm. Put in terms that make sense to human beings, the dSLR sensors have 8 to 20 times more area than their Lilliputian sensor-mates. Figure 1-3 gives you a better idea of the relative sizes.

If you think of a sensor as a rectangular bucket and the light falling on it as a soft drizzle of rain, you see that the larger buckets are going to collect more drops (or the particles of light called photons) more quickly than the smaller ones. Because a certain minimum number of photons is required to register a picture, a larger sensor can collect the required amount more quickly, making it more sensitive than a smaller sensor under the same conditions.

In photography, the sensitivity to light is measured by using a yardstick called ISO (International Standards Organization). Most point-and-shoot digital cameras have a sensitivity range of about ISO 50 to ISO 100 (at the low end) up to a maximum of ISO 400 (at the high end). Fuji has introduced a compact digicam with its SuperCCD sensor that includes two light-sensitive areas per pixel, and it boasts an ISO 1600 maximum sensitivity, but virtually all other non-SLR cameras top out at ISO 400.

REMEMBER

In contrast, digital SLRs - with their more sensitive sensors - commonly have ISO settings of up to ISO 800. Many are capable of ISO 1600 or even ISO 3200. There's a downside to this extra speed, as you see in the section "Reducing noise in your photos," but in general, the added sensitivity is a boon to people who want to shoot photos in dim light, take action pictures, or need to stretch the amount of depth-of-field available.

Reducing noise in your photos

Noise is that grainy look digital photos sometimes get, usually noticeable as multi-colored speckles most visible in the dark or shadow areas of an image. Although you can sometimes use noise as a creative effect, it's generally a bad thing that destroys detail in your image and might limit how much you can enlarge a photo before the graininess becomes obtrusive.

The most common types of noise are produced at higher sensitivity settings. That's because cameras achieve the loftier ISO numbers by amplifying the original electronic signal, and any background noise present in the signal is multiplied along with the image information. As you see in the Figure 1-4, a relatively low ISO value of 200 produces an image that's virtually free of the noise, but jumping the sensitivity to ISO 1600 produces a lot more noise - even though a person used a digital SLR for both pictures.

REMEMBER

One reason why point-and-shoot digicams rarely have ISO settings beyond ISO 400 is that the noise becomes excessive at higher ratings, sometimes even worse than you see in the lower example at right. However, you can boost the information that the bigger dSLR sensors capture to higher ISO settings with relatively lower overall noise. I've used digital SLRs that had less noise at ISO 800 than some poor-performing point-and-shoots displayed at ISO 100. Obviously, the larger sensors found in dSLRs score another slam-dunk in the noise department and make high ISO ratings feasible when you really, really need them.

Noise doesn't always result simply from using high ISO settings: Long exposures can cause another kind of noise. Although some techniques can reduce the amount of noise present in a photo (as you discover in Chapter 2), by and large, digital SLR cameras are far superior to their non-SLR counterparts when it comes to smooth, noise-free images.

REMEMBER

Thanks to the disparity in size alone, all sensors of a particular resolution are not created equal, and sensors with fewer megapixels might actually be superior to higher-resolution pixel-grabbers. For example, most older 6-megapixel dSLRs produce superior results to the newest 8-megapixel non-SLR digicams. I've seen results from one $3,500 4.3-megapixel pro-level dSLR that run rings around the best images possible from an $800 EVF model with an 8-megapixel sensor. So no matter how many megapixels a point-and-shoot camera's sensor can hoard, that sensor isn't as big as a dSLR's. And when it comes to reducing noise, the size of the sensor is one of the most important factors.

Reclaiming depth-of-field control

Depth-of-field is the range over which components of your image are acceptably sharp. In general, being able to control the amount of depth-of-field is a good thing, because having more or less depth-of-field gives you creative control over what is sharp and what is not. You might prefer to zero in on a specific subject and let everything else remain blurry. Or you might want to have everything in your frame as sharp as possible.

To understand how dSLR cameras give you more control over depth-of-field, you need to understand the three factors that control this range, which I outline in Table 1-1.

Point-and-shoot digital cameras offer very little control over depth-of-field, because, unless you're shooting an extreme close-up (see Factor 1 in Table 1-1), virtually everything is in sharp focus (despite Factor 2). This condition (which can be a bad thing if you're trying to use focus selectively) is due to Factor 3: Non-SLRs use that tiny sensor, which calls for lenses of a much shorter focal length.

So, a point-and-shoot digital camera might have a 7.5mm to 22.5mm 3X zoom lens that provides a slightly wide-angle to slightly telephoto field of view. A digital SLR with the largest (24 x 36mm) sensor might need a 35mm to 105mm zoom to provide the same perspective.

Yet, depth-of-field is dependent on the actual focal length, not the equivalent. So that point-and-shoot camera's lens, even at its longest telephoto position, provides more depth-of-field than the dSLR's same-perspective zoom at its widest angle. So much is in focus with a non-SLR digital camera that, in practice, you have very little control over depth-of-field, except when shooting close-up pictures from very short distances.

Even if you're shooting relatively close with a point-and-shoot camera, as in Figure 1-5, judging and using depth-of-field can be tricky. The house in the background is too sharp, and because this particular digicam didn't have great close-up capabilities, the ice-covered berries in the foreground aren't sharp enough. Shooting the same scene minutes later with a dSLR equipped with a macro lens shows how control over depth-of-field can be used creatively to isolate a subject (see Figure 1-6).

Because of the longer focal lengths mandated by the dSLR's larger sensors, these cameras offer the photographer an important creative tool.

In Chapter 6, I explain depth-of-field in more detail.

Nikon D60 Digital SLR Camera 10.2MP

2008-08-26T19:32:00.000-07:00

Nikon D60 Digital SLR Camera 10.2MP

Features

AF-S DX NIKKOR 18-55mm f/3.5-5.6G Vibration Reduction lens
2.5-inch LCD screen - horizontal and vertical orientation are detected automatically
Continuous shooting at 3 fps; Active Dust Reduction System with Airflow Control
Capture images to SD/SDHC memory cards

Details

Sensor: 10.2 MP
Image Resolution: 3872 x 2592
Storage Media: SD/SDHC Memory Card
Compressed Format: JPEG
Compressed Format: NEF (RAW)
LCD Monitor: 2.5-inch
LCD Pixels: 230,000 pixels
LCD Coverage: 100%
Shutter Speed: 30 - 1/4000 sec.
Light Metering Method: Spot
Light Metering Method: Matrix metering
Light Metering Method: TTL
Light Metering Method: Center Weighted
Exposure Modes: Auto
Exposure Modes: Manual
Exposure Modes: Landscape
Exposure Modes: Portrait
Exposure Modes: Close-up

Canon EOS 40D Digital SLR Camera 10.1MP

2008-08-06T09:59:00.000-07:00

Canon EOS 40D Digital SLR Camera 10.1MP

Features

10.1 MP CMOS sensor captures enough detail for photo-quality poster-size prints
Large 3.0-inch LCD display with enhanced Live View and broadened color gamut
6.5 frame-per-second continuous shooting capability -- for bursts of up to 75 Large/Fine JPEGs or 17 RAW images
sRAW mode; 35-zone metering system; integrated Self-Cleaning Sensor Unit
Powered by BP-511A, BP-511, or BP-512 lithium-ion battery pack; stores images on CF cards

Details

Type: Digital AF/AE SLR Camera
Recording medium: CF Card Type I and II and external media (USB v2.0 hard drive, via optional wireless file transmitter)
Image format: 0.87 x 0.58 inches (APS-C size sensor)
Compatible lenses: Canon EF, EF-S, TS-E, and MP-E
Lens mount: Canon EF mount
Lens focal length conversion factor: 1.6x
Image sensor: High-sensitivity, high-resolution, single-plate CMOS
Pixels: Approximately 10.10 megapixels
Total pixels: Approximately 10.50 megapixels
Aspect ratio: 3:2 (horizontal: vertical)
Color filter system: RGB primary color filters
Low-pass filter: Fixed position in front of CMOS sensor
Recording format: DCF 2.0 (Exif 2.21); JPEG, RAW, and RAW+JPEG simultaneous recording possible; multiple options for recording images on memory card
Image format: JPEG, RAW (Canon CR2)
File size: JPEG/large: approximately 3.5 MB (3,888 x 2,592); JPEG/medium: approximately 2.1 MB (2,816 x 1,880); JPEG/small: approximatley 1.2 MB (1,936 x 1,288); RAW: approximately 12.4 MB (3,888 x 2,592); sRAW: approximately 7.1 MB (1,936 x 1,288)
Folders: Automatically created by camera
File numbering: Continuous, auto reset, manual reset
Color space: Selectable between sRGB and Adobe RGB
Interface: USB 2.0 high-speed mini-B port; NTSC/PAL for video output
White balance settings: Auto, daylight, shade, cloudy, tungsten, white fluorescent light, flash, custom WB setting, user-set color temperature
Auto white balance: Yes, taken from imaging sensor
Personal white balance: White balance bracketing: 3 consecutive images written to CF card for each firing of shutter; up to +/- 3 levels in 1-step increments; white balance shift: blue/amber bias and/or magenta/green bias +/- up to 9 levels; manually set by user
Viewfinder type: Eye-level SLR with solid glass pentaprism
Coverage: Approximately 95 percent
Magnification: 0.95x (-1 dpt with 50mm lens at infinity)
Eyepoint: Approximately 22mm
Dioptric adjustment correction: -3.0 to +1.0 diopter
Mirror: Quick-return half mirror (transmission: reflection ratio of 40:60)
Viewfinder information: AF (AF points, focus confirmation light), Exposure (shutter speed, aperture, ISO speed, AE lock, exposure level, spot metering circle, exposure warning), Flash (flash ready, flash exposure compensation, high-speed sync, FE lock, red-eye reduction light), Image (monochrome shooting, maximum burst, white balance correction, CF card information)
Depth-of-field preview: Enabled with depth-of-field preview button; possible in Live View function
Eyepiece shutter: None
Autofocus type: TTL-CT-SIR AF-dedicated CMOS sensor
AF points: 9 cross-type AF points, including center AF point; fully functional with f/5.6 or faster lenses
AF working range: EV -0.5 to 18
Focusing modes: Autofocus (One-Shot AF, Predictive AI Servo AF, AI Focus AF), manual
AF point selection: Automatic, manual
Selected AF point display: Superimposed red illumination in viewfinder; also visible on top or rear LCD panel when AF point select button is pressed
AF-assist beam: Intermittent firing of built-in flash
Metering modes: 35-zone TTL full-aperture metering: evaluative, partial, spot, center-weighted average
Exposure control systems: Program AE (shiftable), shutter-priority AE, aperture-priority AE, auto depth-of-field AE (non-shiftable), full auto (non-shiftable), programmed image control modes, manual exposure, E-TTL II autoflash program AE
ISO speed range: Equivalent to ISO 100 to 1,600 (in 1/3-stop or whole increments)
Exposure compensation: +/- 3 stops in 1/3- or 1/2-half increments
AE lock: Auto: applied in One-Shot AF mode with evaluative metering when focus is achieved; manual: by AE lock button in all metering modes
Shutter type: Vertical-travel, mechanical, focal-plane shutter with all speeds electronically controlled
Shutter speeds: 1/8,000 to 30 seconds (1/3-stop increments); X-sync at 1/250 of a second
Shutter release: Soft-touch electromagnetic
Self-timer: 10-second and 2-second delay
Remote control: Canon N3 type terminal
Flash type: Auto pop up, retractable, built-in flash in pentaprism
Guide number: 13/43
Recycling time: Roughly 3 seconds
Flash-ready indicator: In viewfinder
Flash coverage: 17mm lens focal length
Flash metering system: E-TTL II autoflash
LCD monitor: 3-inch TFT color
Pixels: Approximately 230,000
Coverage: 100 percent
Brightness control: 7 levels
Image display format: Single image, 4-image index, 9-image index, jump, magnified zoom (approximately 1.5x to 10x), histogram, AF point display, auto rotate, rotate; live view: view image before shooting on LCD monitor; live histogram and live simulation of exposure level possible with C.Fn IV-7-1
Highlight alert: In the single image display and info display, over-exposed highlight areas will blink
Protection: Single or all images in memory card
Erase: Single image, select images, all images in CF card or unprotected images
Direct printing from camera: Yes, with Print/Share button
Compatible printers: CP and SELPHY compact photo printers, PIXMA photo printers, and PictBridge-compatible printers (via USB cable, included with camera kit)
Settings: Print quantity, style (image, paper size, paper type, printing effects, layout), trimming, tilt correction (compatibility varies, depending upon printer in use)
Power source: Dedicated battery pack, AC adapter
Number of shots: Approximately 1,100 images (normal shooting, no flash); approximately 800 images (50 percent flash use)
Battery check: Automatic
Item width: 5.7 inches
Item height: 4.2 inches
Item depth: 2.9 inches
Item weight: 26.1 ounces

Canon Rebel XSi Digital SLR Camera 12MP

2008-08-02T19:45:00.000-07:00

Canon Rebel XSi Digital SLR Camera 12MP

Features

12.2-megapixel CMOS sensor captures enough detail for poster-size, photo-quality prints
Large 3.0-inch LCD display; includes Canon's EF-S 18-55mm, f3.5-5.6 IS zoom lens
DIGIC III image processor provides fast, accurate image processing; improved Autofocus and framing rate
EOS Integrated Cleaning system, plus Dust Delete Data Detection in included software
Stores images on SD/SDHC memory cards

Details

Sensor: 12.2 Megapixel
Image Resolution: 4272 x 2848
Storage Media: SD/SDHC Memory Card
Compressed Format: JPEG
Compressed Format: RAW
Focus Mode: Manual focus
Focus Mode: One-shot AF
Focus Mode: AI Focus AF
Focus Mode: AI Servo AF
Focusing Range: EV -0.5-18 (at 73°F/23°C, ISO 100)
LCD Monitor: 3.0-inches
LCD Pixels: 230,000 pixels
LCD Coverage: 100%
Shutter Speed: 1/4000 sec. to 1/60 sec.
Shutter Speed: X-sync at 1/200 sec.
Light Metering Method: Evaluative
Light Metering Method: Partial metering

Pentax K20D Digital SLR Camera 14.6MP

2008-07-29T11:51:00.000-07:00

Pentax K20D Digital SLR Camera 14.6MP

Features

14.6-megapixel resolution captures enough detail for poster-sized prints
2.7-inch LCD display
Dust-proof, water-resistant construction
Comprehensive Dust Removal system
New Live View function
Capture images to SD/SDHC cards

Details

Brand: Pentax
Model: 19381
Optical Sensor Resolution: 14.6 MP
optical sensor technology: CMOS Unknown modifier
maximum aperture range: n/a Unknown modifier
Lens Type: interchangeable
optical sensor size: 15.6 x 23.4mm Unknown modifier
Included Flash Type: Pop-up flash
Display Size: 2.7 inches
light sensitivity: ISO auto (100-3200) Unknown modifier
Image types: JPEG, RAW
Shooting Modes: Portrait, Landscape, and Vibrant modes, each with gamut radar and fine adjustment of saturation, hue, contrast, and sharpness. Monochrome includes adjustment for filter effects Unknown modifier
Exposure Control Type: shutter-speed-priority, manual, automatic, aperture-priority
Viewfinder Type: Optical
Width: 5.6 inches
Depth: 2.8 inches
Height: 4 inches
Weight: 1.6 pounds

Pentax K200D Digital DSLR Camera

2008-07-26T18:42:00.000-07:00

Pentax K200D Digital DSLR Camera 10.2MP

Features

10.2-megapixel resolution captures enough detail for poster-sized prints
Includes 18-55mm f3.5-5.6 lens
Large, 2.7-inch wide-view LCD monitor
Dust-proof, water-resistant construction; comprehensive Dust Removal system
Capture images to SD/SDHC cards

Details

Brand Name: Pentax
Model: 19554
Optical Sensor Resolution: 10.2 MP
optical sensor technology: CCD Unknown modifier
Optical zoom: 3 x
maximum aperture range: F/3.5-5.6 Unknown modifier
Minimum focal length: 18 millimeters
Maximum focal length: 55 millimeters
Lens Type: Zoom lens
optical sensor size: 15.7 x 23.5mm Unknown modifier
Included Flash Type: Pop-up flash
Display Size: 2.7 inches
light sensitivity: ISO 100-1600 Unknown modifier
Image types: JPEG, RAW
Shooting Modes: Auto Picture, Picture (Portrait, Landscape, Macro, Action, Night Scene Portrait, Standard Flash-Off), Scene (Night Scene, Surf & Snow, Food, Sunset, Kids, Pet, Candlelight, Museum), Program, Sensitivity Priority, Shutter Priority, Aperture Priority, Meter Unknown modifier
Exposure Control Type: Candle, Night scene with portrait, Kids, Landscape, Portrait mode, Action, Macro, Museum, Surf & snow, Pet, Food, Night scene, Sunset
Viewfinder Type: Optical
Width: 5.2 inches
Depth: 2.9 inches
Height: 3.7 inches
Weight: 1.4 pounds

The New Canon EOS Rebel XS Digital SLR Camera

2008-07-22T09:26:00.000-07:00

The New Canon EOS Rebel XS Digital SLR Camera

Canon EOS Rebel XS DSLR Camera - Features:

10.1 Megapixel CMOS sensor with DIGIC III Image Processor.
Auto Lighting Optimizer for highlight/shadow control, and Picture Style settings for in-camera color, contrast, and sharpness control.
High-speed, wide-area 7-point AF with center cross-type sensors.
Excellent performance with 3.0 fps continuous shooting and burst rate up to 514 Large JPEGs (until memory card is full).
Large 2.5-inch LCD monitor with Live View Function.
EOS Integrated Cleaning System.
Canon's lightest and most compact EOS Digital SLR to date.
Compatible with compact SD and SDHC memory cards.
Compatible with over 60 Canon EF/EF-S lenses and most EOS System accessories.

Canon’s CMOS (complementary metal oxide semiconductor) sensor captures images with exceptional clarity and tonal range, and offers the most pixels in its class. It offers many of the same new technologies first seen in Canon’s professional EOS-1D Mark III to maximize each pixel's light gathering efficiency. It’s an APS-C size sensor (22.2 x 14.8mm), and there's an effective 1.6x increase in the lens’s marked focal length when attached. Canon’s DIGIC III Image Processor dramatically enhances image quality and speeds up all camera operations for intuitive operation. It works in concert with the EOS Rebel XS’s sensor to achieve unprecedented levels of performance in all lighting situations.

DIGIC III Image Processor
Developed to maximize performance between the capture and recording stages of digital photography, the EOS Rebel XS’s DIGIC III Image Processor works hand in hand with Canon’s CMOS sensor to achieve even higher levels of performance. The entire electronic system is totally redesigned, giving the camera its incredible combination of speed and image quality. Digital noise is significantly reduced in shadow areas, and color reproduction is superior.

How To Choose Batteries For Your Digital Camera

2008-07-15T15:08:00.000-07:00

How To Choose Batteries For Your Digital Camera
by Sara Fobbs

For a photographer, there is little worse than the bad feeling that you've just missed a fantastic shot because the digital camera battery went dead. It is necessary to bring another replacement battery with you if you are planning to take a lot of photos. There are many reviews and articles telling us how to choose a decent digital camera, however, few of them tell us how to pick a replacement battery methodically and clearly. Now, let's face the important question, how can we find a good battery replacement for our digital cameras?

We must know batteries first before we choose one. There are 3 kinds of digital camera batteries that we often use, including: alkaline battery, Ni-MH battery and lithium-ion battery.

1) Alkaline battery

Alkaline battery is the most common battery in our daily life. There are many brands of alkaline batteries we can find, like Duracell, Energizer, Sony, Samsung, Maxell, etc. Unlike rechargeable batteries, alkaline batteries are not able to circulation use. Once it is drained, you have no option but throw it away.

Advantage: Easy to buy, Cheap (only for who need it temporarily,) and more choice of brands.

Disadvantage: Irrechargeable, Cost too much if often use. Low energy conversion efficiency.

2) Ni-MH battery

Ni-MH battery is a kind of rechargeable battery. You can find it in retail stores in size AA. As the same as alkaline batteries, Ni-MH batteries are not expensive, either, and the voltage and performance is similar to standard alkaline batteries in those sizes. You may pay more money than alkaline batteries when purchasing Ni-MH batteries, however, the ability to recharge 1000 times can save a lot of money.

Advantage: Rechargeable, Great compatibility

Disadvantage: Its durability is less than alkaline battery that has the same specification. Cost too much if use only once. The Memory effect will causes them to hold less and less charge.

3) Lithium-ion battery

Lithium-ion battery (sometimes abbreviated Li-ion batteries) is also rechargeable. Nowadays, most digital cameras use Lithium-ion battery as power supply. It is lighter and more powerful than alkaline battery and Ni-MH battery. Lithium-ion batteries do not suffer from the memory effect. They also have a low self-discharge rate of approximately 5% per month. (which is 30% for Ni-MH battery).

Advantage: Rechargeable, Less weight, Great energy

Disadvantage: Expensive. Its life span is dependent on the number of charge/discharge cycles and the age from being manufactured. It is not so safe as other batteries in some situation.

How to choose batteries

For AA battery digital camera users, if you need batteries temporarily, choose alkaline battery instead. It is cheap and good enough, you can find it in every retail stores. For those regular users of AA battery digital camera, you should choose Ni-MH rechargeable battery. Though it will cost more than purchasing alkaline battery, its ability to recharge will save you a lot of money.

Many people will neglect the voltage of the battery when they plan to buy batteries. Take the two batteries into example.

Battery A: 3.6 V * 1200 mA
Battery B: 7.2 V * 1000 mA

Most people will chose battery A, but I suggest you the battery B, even though 1200 mA is higher than 1000 mA, the voltage of battery B is twice higher than the voltage of battery A. Ignore the electricity resistance:

P (power)=U (voltage)*I (current)

The power of battery B is much higher than battery A.

If your digital camera uses lithium-ion battery, the easiest way is to buy another original battery pack from the manufacture. Despite it is expensive, the quality is guaranteed and it will be full compatible with your digital camera.

Battery Maintains

1) For alkaline batteries, remember to take them out of the digital camera after using, the alkaline liquid will damage the camera if let it out.
2) For Ni-MH batteries, fully charge/discharge battery up to 3 cycles before achieving full capacity of a new battery. Fully discharge and then fully charge the battery every two to three weeks for battery conditions. Run the device under the battery's power until it shuts down or until you get a low battery warning. This will help you reduce the memory effect greatly.
3) For Lithium-ion battery, do not discharge it, it doesn't have memory effect, it will damage the battery to discharge it.
4) Remove from the device and stored in a cool, dry, clean place if the battery will not be in use for a month or longer.

The New Canon SELPHY CP760 and CP770 Compact Photo Printers

2008-07-08T07:41:00.000-07:00

The New Canon SELPHY CP760 and CP770 Compact Photo Printers

The Canon SELPHY CP770 compact photo printer is the cute carry-it-all solution for those looking for a small photo printer for the home or on-the-go. The SELPHY CP770 photo printer comes bundled in a basket-style storage bucket, which not only houses the printer, but also stores coordinating accessories including paper, ink cartridge and power cord. The unique design is the first of its kind and allows consumers to tote the printer virtually anywhere they need to go: summer camp, birthday parties, wedding showers, or a scrapbooking get-together.

Canon's new design innovations were created with a focus on improving mobility and usability based on the printers' broad range of uses, including printing photos for family albums, school art projects and scrapbooks. Each printer has larger buttons arranged in a "makes-sense" layout, designed for simplicity and easier navigation through menus. The number of buttons on each printer has been reduced from 12 buttons on previous models, down to nine for more simple functionality.

"Canon wants to keep photography fun for the whole family by making it easier for children and adults to print out instant memories and share them with everyone," said Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A. "The fun design and ease of use helps make these printers the perfect gift for anyone who wants a new and convenient way to display and share their photographs."

Canon SELPHY CP770 Compact Photo Printer

The inviting "basket" design and fun colors make this printer appealing for moms, kids, grandparents or anyone who wants access to a photo printer for their entire memory portfolio. At first glance, many might not think of the SELPHY CP770 as a photo printer because its appearance is such a natural fit for a child's playroom or family living room. An on-the-spot photo printer makes a great gift for friends and family, too.

The printer is equipped with a 2.5" High-Definition LCD monitor to preview images before printing. The monitor itself has also been angled so that it can be easily viewed, even when sitting at a table that the printer is resting on. The SELPHY CP770 compact photo printer is available in a friendly apricot and crisp white color. The optional Canon NB-CP2 battery pack, makes it easier than ever to print photos while on the road or camping. The NB-CP2 battery pack can provide hours of printing power before each recharge.

This printer makes it easier than ever to print out priceless shots taken from a mobile phone or other handheld device. The CP770 compact photo printer supports the new, must-have "IrSimple" feature – a high-speed infrared wireless communications standard allowing consumers to wirelessly print snapshots from their mobile phones, PDAs or other digital devices. The printer accepts a wireless infrared signal to transmit photo data from mobile phones and other devices that support this standard.

Canon SELPHY CP760 Compact Photo Printer

Easy to use, the new Canon SELPHY CP760 compact photo printer helps turn digital images into photography with a compact simple to use design to print great 4x6 inch photographs and make the most out of a digital camera. Now the whole family can crowd around the printer and easily see images on the new 2.5 inch, Thin Film Transistor (TFT) control screen which can be clearly viewed from various angles. The easy-to-view screen also lets users quickly navigate through menus and neatly preview images before printing. The addition of simplified card slots lets users plug in memory cards or print straight from the camera with a USB cord.

Portrait Image Optimize & Face Detection Without A Computer

New Portrait Image Optimize technology from Canon allows users to correct and improve their image quality all without a computer. When "red-eye" occurs in photos, the CP770 and CP760 printers can automatically determine the position of the red-eye and change the pupils back to a natural color for printing. The CP770 and CP760 printers can lighten or darken individual areas of an image, making it possible to create a photograph where the face and background are well balanced. These functions will also identify a subject's face inside an image, and correct to the ideal brightness and coloring for "brilliant" images.

New and Improved Photo Lamination

Both the CP770 and CP760 photo printers feature new overcoat technology to help reduce blurring, and fingerprint smudges. After the yellow, magenta and cyan colors have printed, a special overcoat layer is applied to the image through a proprietary lamination process. Not only does the lamination help to reduce bleeding and blurring of printed photo, it also helps to reduce the risk of water and fingerprint smudges, as well as fading that can be caused by ultraviolet light, gas and other such environmental factors.

Canon BU-30 Bluetooth Adaptor

Making it even more convenient to print images is the optional Canon BU-30 Bluetooth adaptor. Available for both the SELPHY CP770 and CP760 photo printers for a suggested retail price of $49.99, the BU-30 adaptor allows images to be sent from Bluetooth enabled devices directly to the SELPHY model to be printed.

The New Nikon D700 Digital SLR Camera

2008-07-01T00:46:00.000-07:00

The New Nikon D700 Digital SLR Camera

Nikon D700 Digital SLR Camera: 12.1-effective megapixel Nikon FX-format sensor that measures 23.9 x 36mm, which is nearly identical to the size of 35mm film. Benefiting from Nikon’s legacy of imaging technology innovation, the D700 offers both advanced and professional photographers stunning image quality, accurate color reproduction and revolutionary low light performance.

Building on the immense success of the Nikon D3 professional D-SLR camera, the D700 offers pro-level performance and an extensive array of features and innovations in a comfortably nimble platform. In addition to the Nikon-original FX-format CMOS sensor, the D700 incorporates Nikon's EXPEED Image Processing System, Nikon’s renowned 51-point auto focus system with 3D Focus Tracking and two Live View shooting modes that allow photographers to frame a shot using the camera's three-inch high-resolution LCD monitor. The D700 also features Nikon’s sophisticated Scene Recognition System and a new active dust reduction system.

Nikon’s flagship FX and DX-format cameras, the D3 and D300 respectively, established new benchmarks for digital image quality, speed, and unmatched ISO performance. The D700 maintains this new measure with exceptional overall image quality, broad tonal range and depth, and extremely low noise throughout its native ISO range of 200 to 6400.

“Nikon FX-format cameras have teamed with our strong lineup of DX-format models to offer photographers unprecedented advancements in performance and versatility along with the freedom to choose the format that best serves their needs. Today’s introduction of the D700 offers an important new option to photographers who need the overall performance and imaging perspective Nikon FX-format cameras offer,” said Edward Fasano, general manager for marketing, SLR System Products at Nikon, Inc. “Nikon has developed a host of innovative technologies such as the Scene Recognition System and Picture Control, incorporating them into both FX and DX-format digital SLRs to ensure that photographers can leverage the advantages of both formats seamlessly, and achieve the end-results that best fulfill their photographic vision.”

Nikon FX-Format CMOS sensor

The D700’s 12.1-megapixel FX-format CMOS image sensor provides exceptional image quality throughout its remarkable ISO sensitivity range. A large pixel size of 8.45 µm allows for an extremely low signal-to-noise ratio and a wide dynamic range. The 12-channel readout enables accelerated information transfer, allowing the D700 to shoot at speeds of up to eight frames per second at full resolution (using the optional MB-D10 Multi Power Battery Pack) and quickly write image data onto the CompactFlash card.

The Nikon D700 offers a versatile base ISO range from 200-6400 but can be expanded to range from ISO 100 (Lo-1) to 25,600 (Hi-2) affording photographers the new-found confidence to shoot in the widest variety of lighting conditions from the brightest midday sun to dim interiors. Images previously thought to be impossible to create without complex lighting set-ups or lengthy post-processing are now captured easily and faithfully with the D700, unleashing new and diverse shooting possibilities.

Also new to the D700 is Nikon’s first self-cleaning system designed for the FX-format sensor. Utilizing four distinct vibration frequencies, the D700 frees image degrading dust particles from the sensor’s optical low-pass filter at start-up, shut-down or on demand. As an added benefit, the mirror box and entire shutter mechanism are constructed of materials that resist creating debris that can affect image purity.

Fastest speed and autofocus in its class

The Nikon D700 Digital SLR Camera starts up in a mere 0.12 seconds and has a nearly imperceptible shutter-lag response time of 0.40 milliseconds, making this an extraordinarily responsive tool for the demanding photographer. The D700 can record full-resolution JPEG images at an astounding five frames per second (fps), or eight fps with the optional MB-D10 battery pack for up to 100 images, or up to 17 lossless 14-bit Nikon NEF (RAW) files. To write images efficiently, the Nikon D700 is also compliant with the next-generation of high-speed UDMA CompactFlash cards that will enable recording speeds up to 35 megabytes/second.

The D700 offers one of the fastest and most accurate advanced AF systems on the market today. Nikon’s Multi-CAM 3500FX autofocus sensor module features 51 AF points and the ability to use 3D tracking to focus and lock-on a moving subject. The 15 cross-type sensors and 36 horizontal sensors can be used individually or in groups, with the option for Single Area AF mode and Dynamic AF modes using groups of either 9, 21 or all 51 focus points. The system also features 3D Focus Tracking with automatic focus point switching that takes advantage of all 51 AF points as it uses scene color content and light information to accurately track the subject.

Intelligent features for sophisticated performance

The Nikon D700 relies on a wealth of innovative Nikon technologies to help photographers create superb images. Nikon’s Scene Recognition System analyzes information from the 1,005-pixel RGB light sensor for use in auto exposure, auto white balance and autofocus calculations. The Scene Recognition System also assists autofocus by tracking subject position and automatically shifts the AF points used to match the subject’s movement within the frame. This system also contributes to higher accuracy of auto exposure and auto white balance detection, resulting in sharp landscapes, flattering portraits and engaging action shots.

Photographers also have the option to enhance their pictures during or after capture with the Picture Control System and Active D-Lighting. Nikon’s Picture Control System enables users to adjust their images to pre-set parameters such as Standard, Neutral, Vivid and Monochrome that apply tweaks to image sharpening, tone compensation, brightness, overall tone and saturation. D-Lighting uses localized tone control technology to further optimize highlight and shadow detail while also maintaining natural contrast, giving photographers the ability to capture more perfectly exposed images, even in unusual lighting conditions. Active D-Lighting lets photographers choose from various intensities during capture, while a new Automatic mode also applies varying levels of D-Lighting as, and when needed, to enhance photos while shooting.

Enhanced Live View modes and viewfinder

Ideal for studio, remote applications and more, Nikon’s Live View allows the photographer to compose the subject on the bright three-inch, TFT LCD monitor. In Handheld mode, the user is able to recompose the frame prior to actual shooting; familiar TTL phase-detection AF is activated, using all 51 AF points. Tripod mode is designed for precise focus accuracy with still subjects and tripod stabilization. It enables focal-plane contrast-detect AF on a desired point within a specific area. Remote view, focusing and shooting can also be controlled from a PC (via connection or wireless) using the optional Nikon Camera Control Pro 2 software. Additionally, the Virtual Horizon feature on the Nikon D700 can now be superimposed over the Live View monitor image to aid composition.

While using Live View to compose or review images and settings, users will appreciate the ultra-high resolution 920,000-dot VGA, three-inch TFT LCD monitor with tempered glass that provides a wide 170-degree viewing angle. The large monitor is remarkably effective when confirming the focus with enlarged playback images. The camera also outputs a video signal to an HD television using the new smaller HDMI-C standard, which is an excellent solution for workshop demonstrations or shooting tethered for clients.

Photographers will also be able to compose images easily using the wide and bright viewfinder that features an eye-level pentaprism with high refraction index and provides a 95 percent frame coverage with 0.72x magnification. Each of the 51 AF points, as well as a framing grid, can also be superimposed on the finder screen to suit the photographer’s personal preferences.

Rugged construction and durability

High-strength magnesium alloy is used for the construction of the camera body, rear body and mirror box to create a precision platform, reduce weight and provide rugged durability. The camera is tested to stand up to the rigors of the globetrotting photographer and is weather sealed using precision O-rings where connections are made to effectively combat dust and moisture.

The shutter unit employs an assembly made of a new composite carbon fiber and Kevlar hybrid material. Tested on fully assembled cameras, the D700’s shutter unit has been proven through 150,000 cycles under demanding conditions. The self-diagnostic shutter constantly monitors and maintains shutter precision to ensure peak performance.

The new Nikon D700 Digital SLR Camera FX-format will be available late July 2008.

Overview: Sanyo Xacti HD1010 Digital Camcorder

2008-06-28T08:57:00.000-07:00

Overview: Sanyo Xacti HD1010 Digital Camcorder

The Sanyo Xacti HD1010 digital media camera with 10x optical zoom is a high-definition compact digital media device that combines both the functionality of a digital camera and a digital camcorder. The HD1010 offers advanced, next-generation video performance and high-quality stills in one small, lightweight camera. This powerful little device is designed to record either 1080P (30fps) or 1080i (60fps) high-definition video and 4-megapixel digital still images, all of which are handily stored to a convenient SD or SDHC memory card.

Sanyo Xacti HD1010 Highlights

1080P (30fps)
Incorporating the latest high-definition CMOS sensor, the Sanyo Xacti HD1010 camcorder captures either 1920x1080 (1080P) high-definition video at 30 frames-per-second or 1920x1080 (1080i) high-definition video at 60 fields-per-second. Designed to record the rich and vibrant colors of real life, the HD1010 also captures the subtle tones to provide the natural-looking result.
The HD1010’s CMOS sensor provides the responsiveness needed to capture fast moving subjects and Sanyo’s noise reduction technology helps obtain the cleanest signal from each pixel.
The HD1010 records to the latest in MPEG-4 standard MPEG-4 AVC/H.264, delivering exceptional video clarity and detail while maintaining the smallest file size possible.

10x optical HD lens
At the front of the HD1010 is a commanding 10x all-glass HD lens. The HD1010’s fast f/1.8 lens is capable of allowing almost four times more light through to assist in lower light venues. Consisting of eight groups and eleven total lenses with a built-in neutral density filter, the HD1010's lens provides a fantastic field-of-view with a 38-380 mm range (35 mm equivalent). Combined with the 10x digital zoom, the HD1010 provides up to 100x total zooming capability.

Large 2.7-inch wide screen display
The Xacti HD1010 features a large 2.7-inch widescreen Liquid Crystal Display (LCD). The display flips out from the camera and rotates up to 285 degrees on an axis that allows you to take great video or still images from otherwise-difficult-to-view positions, especially useful when shooting in large crowds or in small rooms.

4-megapixel still photos
The Xacti HD1010 enables simultaneous shooting of 4-megapixel still images and HD (1920 x 1080 pixel) movie clips, with a simple press of the shutter button during the shooting of a movie clip. Users will never need to miss another precious photo opportunity. (Depending on the mode used to take still images, simultaneous video clip shooting may be interrupted. While shooting video clips, using the digital image stabilizer may change the angle of view for still images.)

Face Detection/Chaser Technology
The latest in digital still photography -- Face Detection and Face Chaser technology actually monitor the subject’s face and adjust brightness and focus to incredibly clear photos. This technology can be used to recognize up to 12 faces in both video and still photos on Sanyo’s HD1010.

HDMI high-definition output
It’s easy to share your high-definition movies on your HD television with the HD1010. Using the HDMI (High-Definition Multimedia Interface) terminal built into the base station, just one cable (cable not included) connects your camcorder to your TV for a totally digital output. HDMI carries both the video and audio signals in digital form for the highest quality playback.

Convenient SD/SDHC memory card
The Sanyo Xacti HD1010 records high-definition and photos directly to a standard SD or SDHC Memory Card. In fact, the HD1010 is capable of recording up to 1 hour and 27 minutes 1080P (30fps) video on a single 8GB SDHC card or 1 hour and 14 minutes of 1080i (60fps) high-definition video on a single 8GB SDHC card (card sold separately). The HD1010 is compatible with SD Memory Cards up to a 32GB. The SD memory card’s compact size (0.94W x 1.26H x 0.08D inches) and weight (about 2 grams) makes it ideal for the compact size of the HD1010. The minimal power requirements of the SD card also contribute to longer recording and playback times. When connected to the computer via the USB cable, the HD1000 acts as a standard card reader. Transferring images and videos to your computer has never been easier.

Image stabilization
High-definition can't hide shaky or erratic camera shaking. That's why Sanyo's HD1010 comes with a sophisticated image stabilizer for both stills and video. Using a proprietary Sanyo algorithm, the HD1010 compensates for distracting up-and-down or side-to-side camera movement during video shooting, keeping your subject steady and easy to follow. It accurately distinguishes between unintentional camera shake and deliberate camera movement. This handy feature operates in both wide-angle and telephoto modes, giving every shot a solid, professional-looking feel.

Sequential photo shoots up to 7 frames per second
Shoot pictures like the pros with up to 7 photos in a single second. The perfect solution for action photography.

Random access
Each video is recorded as an individual MPEG-4 and each still as a JPEG file. This allows you to review a specific image or video quickly and easily, without having to rewind or fast forward.

Adjustable resolution modes
Choose from eight different video resolution modes and eight different still photo resolution levels depending on how your images will be used.

Easy camera to PC connection
Sanyo's HD1010 streamlines the confusing and complicated component connection process with an innovative docking station. This doc provides an instant connectivity to HDMI -- (cable sold separately) -- component, composite or S-video connection to a TV, DVD player and computer. The HD1010 even recharges its internal battery when nested in the docking station.

Robust sound recording
Record 48 kHz, 16-bit, 2-channel sound for AAC-LC (MPEG-4 Audio). Incredible high quality audio is the perfect match for the stunning high-definition videos. The Xacti HD1010 also features a dedicated terminal to which an external microphone can be attached.

Organization and in-camera editing
With the Sanyo Xacti HD1010’s 9-image display function, users can quickly search for specific images or videos. And, with the slideshow feature, images can be played back continuously. The HD1010 allows users to edit clips right in the camera. Unwanted images can also be easily deleted, freeing up memory card capacity.

Ergonomic design
The Xacti series has become known for the small size and ergonomic design. The HD1010 features a comfortable angle designed to easily fit in the palm of the hand. The HD1010's design adapts a new 105-degree angle research proven to be less tiring to hold and shoot than typical camcorders. Easy-to-hold and easy-to-shoot, the HD1010 raises the bar in compact camcorder design.

Super-fast startup
With the tapeless design, the HD1010 eliminates the need to queue up a tape deck or get a DVD or hard drive spinning. When the HD1010 is powered on, closing the LCD display puts the HD1000 in standby mode. Simply open the display and the HD1000 automatically powers up and can begin immediately recording in as little as two seconds.

Manual controls
The HD1010 features versatile manual controls for advanced shooting. The following settings can be manually adjusted according to the shooting situation: Manual focus adjustment (16 settings); aperture adjustment (6 stops); exposure compensation (1.8 EV, 0.3 EV steps); shutter speed (13 settings); and image-quality adjustment (for sharpness and color saturation).

Easy HD playback
The Xacti HD1010 enables easy playback of recorded high-definition images directly on a TV screen. Connect the HD1010 to a VCR or DVD recorder to back-up copies of recorded content. Still images and video clips on the Xacti HD1010 are played back continuously and in chronological order. Along with MPEG-4 digital recording, the Xacti HD1010 offers convenient connection to a PC. With simple drag-and-drop operation, it's easy to save recorded video clips and still images onto a computer's hard disk for emailing, editing or archiving. The HD1010 also comes with a remote controller to operate the camera at a distance during playback.

Canon CR-DGi Digital Non-Mydriatic Retinal Camera

2008-06-21T01:48:00.000-07:00

Canon CR-DGi Digital Non-Mydriatic Retinal Camera

The digital CR-DGi Digital Non-Mydriatic Retinal Camera captures images that can be viewed immediately, making procedures more efficient. Because the images are digital, they can be used with many different applications, such as telemedicine and electronic filing. The advanced digital imaging and its user-friendly operation facilitate eye exams.

Features

Ideal image production for diverse applications, including telemedicine, PC-based video conferencing, electronic filing, and remote storage.
Powerful digital camera technology enables refined images of the retina for detecting and monitoring diabetes, glaucoma, and other serious conditions.
Simple two-step procedure for image captures.
Simplified eye fixation by a user-friendly internal fixation target.
Small amount of light is needed to capture clear images; therefore, examinees will not be discomforted by brightness. Required illumination is 90% less than during instant photography and 75% less than with film photography.

Specifications

45 degrees angle of view
45 mm operation distance from the front of objective lens
Approx. 3.7mm in SP mode
Sensor resolution of 8.2 megapixels or higher with Canon EOS Digital Camera back ( sold separately)
Resolution depends on model of attached digital camera - For more information on available models, contact an authorized Canon dealer
Patient’s diopter compensation range:

Without compensation lens: -12 to +15D
With "-" compensation lens: -7 to -33D
With "+" compensation lens: +11 to +35D

Dot matrix fixation target
5-inch built-in monochrome TV monitor
RS422 data output

Digital Camera: Nikon COOLPIX S52 and S52c

2008-06-15T23:01:00.000-07:00

Digital Camera: Nikon COOLPIX S52 and S52c

The Nikon COOLPIX S52 and S52c feature Optical VR Image Stabilization technology, which compensates for camera shake as well as ISO capabilities up to 3200, which provide more opportunities to capture fast moving subjects and greater flexibility and clarity when shooting in low-light settings. These cameras also boast an AUTO ISO control, which automatically selects the optimal sensitivity across a range between ISO 100 and ISO 800, and up to ISO 2000 in High-Sensitivity mode.

The S52 and S52c come with a 3x Zoom-NIKKOR lens designed to capture brilliant detail and vivid colors in every photo and a huge 3.0-inch high-resolution LCD screen allowing easy sharing and viewing of images. Also, these new cameras are built on Nikon's innovative EXPEED digital image processing system designed to enhance noise reduction and improve the signal-to-noise (S/N) ratio.

Like all cameras in the COOLPIX line, the S52 and S52c include Nikon's unique image innovations including enhanced Face-Priority AF, which automatically finds and focuses on up to five faces within the frame; In-Camera Red-Eye Fix, which can automatically detect and correct red eye in a photo; and D-Lighting, which compensates for excessive backlight or insufficient flash in images.

The Wi-Fi enabled S52c can send images directly via email through its Wi-Fi connection, as well as support my Picturetown, Nikon’s photo sharing and storage service. Through my Picturetown, users can email pictures directly to friends and family, publish pictures to the photo community sharing Website Flickr, and link their photos to blogs and social networking sites. Pictures can also be sent to the email addresses of a BlackBerry device for viewing.

The S52 and S52c both feature the Pictmotion function which will allow users to combine their favorite movies and photos and create in-camera slide shows with music including songs uploaded from iTunes.

The COOLPIX S52 and S52c come packaged with Nikon's exclusive COOLPIX Software Suite for organizing, editing and sharing photos. The S52 and S52c are SDHC compatible and utilize Nikon's ultra-compact EN-EL8 rechargeable Li-ion battery.

+ How to Avoid Red-Eye in Flash Photos

Canon Projectors: REALiS WUX10 and SX80

2008-06-06T20:13:00.000-07:00

Canon Projectors: REALiS WUX10 and SX80

Canon's top-of-the-line REALiS WUX10 is the world's first WUXGA-resolution (1920 x 1200) widescreen Multimedia Projector using LCOS (Liquid Crystal on Silicon) technology. It delivers the highest resolution of any Canon projector and provides precise color reproduction and exceptional image quality. The WUX10 is the perfect solution for the increasing number of professional users displaying and/or creating widescreen visual content.

Canon's REALiS SX80 Multimedia Projector is a high-resolution SXGA+ (1400 x 1050) model that combines multiple user-friendly features, including being the world's first projector to offer PictBridge connectivity. With easy installation and affordability, this projector is ideal for users in corporate, education and other professional fields.

"We are seeing the world rapidly transitioning to high-resolution image display in every sector including HDTV, personal computers, DVDs and Web video, which raises the public's image-quality expectations," noted Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A. "For this reason, presentation professionals need high-resolution, widescreen, large-image display solutions that are affordable and compact. Answering this need are Canon's new REALiS WUX10 and REALiS SX80 Multimedia Projectors, which are breakthrough products that are totally manufactured by Canon and engineered to meet the demands of displaying high-resolution digital imagery."

Both of these new REALiS Multimedia Projectors feature new LCOS reflective LCD panels which were developed by Canon. The REALiS WUX10 incorporates a 0.71-inch WUXGA (1,920 x 1,200 pixels) panel, the world's first LCOS panel of its size to achieve such a level of resolution. The REALiS SX80 features a 0.55-inch SXGA (1,400 x 1,050 pixels) panel. Compared with devices utilized in projectors employing different types of projection systems, LCOS panels facilitate the reproduction of exceptionally high-resolution images free of the "screen door effect," a visual distraction common to LCD projectors, in which a faint grid pattern appears over the projected image. Realizing high levels of imaging performance, LCOS technology has garnered considerable attention within the industry.

In addition, both of the new Multimedia Projectors feature Canon's proprietary AISYS (Aspectual Illumination System) Optical Engine. AISYS equalizes the light from the projection lamp and maximizes the performance of the LCOS panels to achieve high brightness, excellent contrast, exceptional resolution and a more compact projector form factor. Both of these new Multimedia Projectors also feature newly developed Genuine Canon 1.5x Powered Zoom/Focus Lenses that deliver increased resolution and suppression of lens aberrations, and improved 10:0 lens offset, reducing the need for tilting and/or keystone correction. In addition, these lenses include Canon's new lens coatings, which reduce both glare and ghosting.

The new Canon REALiS WUX10 and SX80 Multimedia Projectors include such unique Canon user-friendly features as: Off and Go, which allows users to pack-up quickly after a presentation by simply unplugging the power cord while internal circuitry continues to run the fan and cool the projector; Auto Set-Up functions for focus, keystone, signal inputs and screen color-correction; and an RJ-45 Network Connection and a built-in network interface for centralized control and monitoring of multiple projector units (both projectors are also compatible with industry-standard controllers).

The REALiS WUX10: The Top-of-the-Line
Responding to the rapidly expanding need for a widescreen, high-resolution projection solution that is also affordable, Canon engineered its top-of-the-line REALiS WUX10 Multimedia Projector to deliver clear, defined WUXGA-resolution (1920 x 1200) images. The REALiS WUX10 supports 1080 video content and WUXGA 16:10 computer resolution. This projector's significantly larger display area enables Macintosh and Windows users to project their computer's entire screen in its true proportions, just as it appears on their widescreen desktop or laptop computer monitors.

Rated at 3200 Lumens of brightness and with a contrast ratio of 1000:1, the AISYS-enhanced LCOS REALiS WUX10 Multimedia Projector can project full and precise display of photographs, intricate spreadsheets with small text, CAD drawings and full-motion HD or SD video. In addition, this projector features the ability to process analog RGB and component signals, from input to display, in 10-bit resolution for higher-quality images. The REALiS WUX10 Multimedia Projector weighs 10.8 lbs. and is scheduled to be available in October 2008 at a suggested list price of $12,999.

The REALiS SX80: The New Generation of SXGA+
Canon's new REALiS SX80 Multimedia Projector heralds the arrival of a new generation of SXGA+ resolution (1400 x 1050) display excellence. Featuring a new, streamlined, glossy pearl-white design, the projector delivers 3000 Lumens of brightness at a contrast ratio of 900:1. This new projector provides an expanded display area that is compatible with multiple computer-display formats such as WXGA and SXGA, with an entire SXGA screen being displayed in its true proportions - just as it appears on a PC monitor. The screen size of the REALiS SX80 Multimedia Projector can also be changed to accommodate different presentation venues and/or applications.

Convenient interfaces are key features of Canon's line of REALiS Multimedia Projectors, and the new REALiS SX80 advances these benefits even further. If desired, users can take advantage of the USB/PictBridge connectivity for "PC-Free" presentations. A convenient USB port enables users to connect a "flash" or "jump" drive or a PictBridge compatible digital camera or digital camcorder directly to the REALiS SX80 Multimedia Projector to display jpeg photos. A wide selection of video and audio inputs - including a DVI-I interface for Macintosh and Windows computers - and an HDMI terminal for digital video camcorders (such as Canon's new XL H1S or VIXIA HF10), Blu-ray and other DVD players, further increases content-playback device options. Optional accessories for the REALiS SX80 Multimedia Projector include a new "folding" ceiling attachment to facilitate maintenance and replacement of the projection lamp or filters. The REALiS SX80 Multimedia Projector weighs 11.5 lbs. and is scheduled to be available this month at a suggested list price of $3,999.

Both the Canon REALiS WUX10 and the REALiS SX80 include a three-year parts and labor/120-day lamp limited warranty and will be on display in the Canon booth, # C1529, at the InfoComm '08 trade show being held from June 18-20 at the Las Vegas Convention Center.

Home Security Camera: A Focus On The Security Camera

2008-05-30T15:16:00.000-07:00

Home Security Camera: A Focus On The Security Camera
by Steve Herzog

Reaching your house and then finding out that there has been an intrusion or an invasion of your home criminally is one of the worst things that would ever happen to your life. A lot of these instances have been happening a lot all over the world and in order to keep your home secure whether you and your family are there inside the house or are away, you should consider the installation of home security systems a good example is a security camera.

Installing a home security camera would give you a sense of security. Installing other home security systems aside from the security camera is of course a better idea if you have the money. Thanks to the fact that technology is becoming more and more affordable, home security cameras are considered to be one of the most affordable home security systems out in the market, not to mention the fact that the said cameras are proven to be effective in discouraging criminal intrusions into your home. Because of its affordability and effectiveness, a security camera installed in the home has gained popularity.

Studies have shown that the number one barrier in terms of burglaries and crimes would be the installation of home security systems, to be specific, home security cameras. This is because the burglars and criminals know for a fact that even if they succeed in pulling of their crimes, they will still be caught in the end because their actions were recorded on camera. That is why most of the criminals would choose to rob another house once they notice a security camera in the house they are presently in or see warning signs that the house is under video camera surveillance.

Another benefit of a home security camera would be the fact that the owner of the house would be able to view first who is the visitor at the front door before they decide to open it. This will help the owner get rid of unwanted guests and even report to the authorities if a suspected criminal is knocking on the front door. The latest models of home security cameras even have a two-way radio feature wherein the owner and the guests at the front door can communicate back and forth. The owner also has the option to program or record an audio message that will play to announce denial of entry to unwanted guests.

Take Great Family Photos With Any Camera

2008-05-19T20:18:00.000-07:00

Take Great Family Photos With Any Camera
by Carol Knopf

My daughter-in-law showed me the photos she had taken of my grandson. Cute as he is, his face was criss-crossed with shadows, hiding his features. "It's not exactly like yours," she told me, "but you're so great at photography." Actually, I'm not so great but along the years I've picked up a few tricks to make my photos really pop. Here is some of the best advice I've been given.

Get Down Low
Photos of children look a thousand times better when you get down at their level. If your kids are sitting on the floor, sit on the floor with them and take the photo. If you're photographing a baby laying on a bed, changing table, sofa, etc., make certain you're photographing the baby at that level. Much less effective is a photo angle from below or above your subject. Of course there are some artistic shots that can be taken pointing up or down but if you're interested in taking a portrait shot, shoot the picture at their level.

Use Your Flash Indoors and Out
We all know that using flash indoors makes for a better photograph. But use the correct flash or your subject may look washed out. Many cameras, including digital cameras, have settings for indoor photography. These cameras adjust the lighting to account for artificial light given off by lamps. The results are photos with natural looking skin tones and more true to life colors

Outdoors, flash can be equally effective. Remember the shot my daughter-in-law took of my grandson. Those shadows criss-crossing his face could have been removed if his mom had used "fill" flash. By using flash in a shady area, the face is illuminated and you can see those beautiful features that made you want to take the photo in the first place.

A few years ago, a friend of mine was getting married and asked me if I would photograph her wedding. I readily agreed because that was something I could give as a wedding present and since my friend couldn't afford a professional photographer, she and her fiance would really appreciate it.

I asked Inez where and when she was getting married. She informed me they were having the ceremony in the middle of the summer at noon in a park. "It's great", she told me. "There will be plenty of light." Well she was right about that; there's no brighter light than outside at high noon in the middle of summer. I asked if there were any trees near the wedding site and was relieved when Inez told me there were huge leafy trees all over the area.

No one - and I mean absolutely no one - looks good in bright light pouring down on them. The wedding photos were a great success; they were taken in the shadows under the trees, using fill flash. If you're photographing your family outside, find some shade to place your subjects; then use fill flash to keep shadows off their faces. The results will be terrific.

Let Subjects Interact With Each Other
Take a look at most family photos and everyone is lined up, staring at the camera. Not very creative are they? Try photographing your child playing with mom or dad or a sibling. Or if you photograph a child by himself, give him a favorite toy or stuffed animal. Children don't have to be staring at the camera to photograph well, nor do adults. When there's a connection between people, the photograph is more interesting.

Try a "Sports" or "Motion" Setting Outdoors
A friend of mine wanted some photos of her little girl, a ball of nonstop energy. After her mother tried in vain to get the little girl to sit still and pose for pictures, I made a suggestion. We let her run around to her heart's content. The photo session was being done in a public garden. There were some areas where this little ball of energy could run through fields of wildflowers. I set my camera on the "sports" setting; this is the setting that stops motion and gives the freeze-frame look to horse races, baseball, football and other games. The results were incredible. This lovely little girl was caught in stop-motion (perfectly exposed) as she ran through fields of wildflowers and down garden pathways. The flash is disabled in this setting but if there's enough light, the shadows won't mar the photo and the photo is taken so quickly the bright light won't wash out your subject.

Take Lots of Photos
During a trip to Europe many years ago, I met a professional photographer and his wife. This man had sold a great many photos to National Geographic, including a cover photo, so you know he was good at his job. I asked him how many shots he had to take to get the cover photo. "1600", he told me. I was flabbergasted. He then explained that the main difference between an amateur photographer and a professional is the number of photos they take. He took photos of the same subject from many different angles, using different settings, in different light. I took his words to heart and saw an immediate improvement in the quality of my photography. In fact, I started selling some of my work shortly after heeding this advice. I never became a full-time professional but it was a nice sideline and today I have an online store selling clothes and gifts featuring my photography.

Of course, children are not likely to stand still while you take 30 or 40 photos. But that's okay. It's better if they don't just stand there. I spent an afternoon with my grandchildren recently and watched them play. As they were playing, I was snapping away - with a digital camera that cost under $300. The results were amazing; they're as good as any professional.

It may take a little practice but try out some of these tips and see the difference in your photography. You just might find that you no longer need to pay for professionals; you've taken your own photography to new levels and created memories that your family will treasure forever.

How Many Megapixels Do You Need?

2008-05-16T18:08:00.000-07:00

Digital Camera: How Many Megapixels Do You Need?
by Andrew Goodall

Digital photography has created a generation of 'experts' who love to talk technology. One of the major buzzwords may just be the most overused term in the language of digital photography. That word: "Megapixel."

Tell anyone you are thinking of buying a new digital camera, and the first question they will probably ask you is "How many megapixels does it have?" In my gallery I often overhear comments like "I would love to take better photos, but my camera doesn't have enough megapixels."

Like computers and the internet, digital photography has bred two types of 'expert.' There are people who know a lot. Then there are the people who know just a little, but think they know everything. Many of these people have been persuaded (most likely by a salesman trying to increase his commission) that the key to good photography is a high megapixel rating. By clinging to this notion, they may well be ignoring more important factors that could help them become better photographers.

The number of pixels in a photo determines how much you can enlarge the picture without losing image quality. The more megapixels, the bigger the print. But how important is this really, for most photographers in today's digital world?

Let's forget about the size of the enlargement for a moment. How many photos these days are ever printed at all, let alone enlarged to poster size? Gone are the days of shooting photos on negative film, and printing them to see the results. These days we see the results immediately in the camera, and can look at them in better detail on the computer screen. In fact, by eliminating the cost of film and developing, more people are taking more photos than ever before.

But back to the question: how many of these photos ever get printed? Most pictures live their lives on a computer screen, where we see a small version of a photo at 72dpi. In fact, if we want to share them in emails or add them to webpages, we have to make them even smaller to travel in cyberspace.

Of course there are people who print a lot of their photos. I encourage everybody to print their best photos, frame them, hang them, give them as gifts...after all, what is the purpose of all these photos if we don't do something with them? But do we need a lot of megapixels to create a good print?

In most cases, the answer is no. The vast majority of printed photos are 6x4 or 5x7 inches, and very occasionally 8x12 inches. Very few non-professional photographers will ever print a very big enlargement from their own photography. They might think they will; but almost certainly, they won't.

So, do we really need all these megapixels? I equate it to buying a car than can travel 200 kilometres per hour in a country where the speed limit is 100. The power is there, and it may give some inward pride to know it is there...but it is wasted power all the same. Apart from bragging rights, in some ways you equally well served by an old hatchback that just gets you from Point A to Point B.

You can produce good, high quality prints up to 8x12 inch (20x30cm), and probably larger, with a five megapixel camera. This is not a compromise; I doubt you would see any improvement in print quality taking the same picture on a ten megapixel camera. Certainly you would see a difference if you enlarged the photo to poster size, but (as we have discussed), very few people reading this article are likely to do that.

Please do not see these comments as negative. I would never suggest that anyone who has bought a more powerful camera has wasted their money. Your upmarket camera probably came with an extra feature or two that adds to the fun you can have with photography. And of course, it is nice to know you could make giant prints from your photos...even though we both know you possibly never will.

Rather, I want to encourage all those people who didn't buy the top-of-the-range camera and wish they did, or are currently agonizing over how much to spend on their next camera. If you want a camera that takes a decent photo, for use online or to produce small and medium sized prints, you don't need to overextend your budget. Buy the camera you can reasonably afford and be happy with it - it will do the job for you.

If there is one important buying tip that is more important than the megapixels, it is to find a camera with a good quality lens. If your photos are not crystal clear and sharp when they are small, they are not going to improve by being blown up to larger sizes. In fact, all you would acheive is to make your blurry photo bigger and blurrier.

Just as importantly, once you have your camera, learn to use it. Most digital cameras come with manual settings that allow you to be truly creative once you know the basic photography techniques. If you look at the results of most photo competitions, you will usually find that the winner did not have the most upmarket camera. Invariably, it is the person with the imagination and skills to get the best out of the camera they have.

A Beginner's Guide to Digital Cameras

2008-05-08T12:58:00.000-07:00

A Beginner's Guide to Digital Cameras
by Daniel Bousho

The digital camera has become a prevalent part of modern culture. Today it seems everyone has a digital camera, from families on vacation documenting their time together to professional photographers making a living with photography, digital cameras have found their way into every niche of modern living. So evolved has digital camera technology become, causing the cameras to be produced so cheaply, that the cameras are now available as cheap giveaway items much like the coffee mugs of the past.

Digital cameras are fun to use. The technology has opened up the field of photography in new ways to millions of people. With the digital cameras instant feedback of photos anybody can feel like a famous photographer posing subjects and setting shots. This flexibility has redefined the way families capture special moments. At dinner gatherings around the globe, families catch and share moments easily using a digital camera. With the need for film and film processing gone, digital photos are instantly made available. In many cases the photos can be shared on the spot with digital memory technology.

Digital cameras share the same principles of traditional film based cameras. There is an optic system that collects and focuses light from the subject and there is a shutter and depth of field system that controls how the light is channeled into the camera. In addition to the optics, a digital camera has the additional characteristic of pixel density, or mega pixel rating. This rating tells how many individual points of data will be used to render the image, the more the number of points, the higher the quality or resolution of the picture. A camera of 10 mega pixel density will take a higher quality picture than a camera of 5 mega pixels, but the optics also plays a key role in the quality of the picture. Simply measuring by pixel resolution is not enough; the camera still needs to employ a good optic system to get the most out of picture quality.

You don't have to spend a lot of money to get a digital camera, and unless you have a really professional need, you can get into a digital camera for well under $300.00. The price you pay will drive what type of digital camera technology you get. The lower end models are typically a point and shoot technology offering a variety of optics. In this level the price point is driven by the quality of the optics and the quality or size of the electronic sensor. Typically the point and shoot models have a fixed optic system with some higher quality point and shoots offering a basic optical zoom. Point and shoot cameras fit most people's needs and have found their way into countless homes around the globe.

Higher end professional models can be priced upwards of $1000.00. These models are extremely similar to the film based models professionals use in that they offer many features professionals expect. Complete control over the subject's exposure is a key consideration in a high end professional camera. Just like the film based SLR's, high end digital cameras offer the user settings for depth of field, shutter speed and even more settings particular to the digital camera. In recent years there have been lower priced entries into the professional digital camera arena. These entries coined "prosumer" models allow many of the features of a higher end digital camera but offer the affordability of a high end point and shoot. Which format you choose depends on your budget and what type of photography you plan to do.

The most common digital camera in use today is the basic point and shoot variety. These models offer the user the basic ability to capture a photograph with ease and efficiency. The cameras typically offer a limited range of settings that allow the user some creative control of the subject, but the cameras design intent is to be a simple device to take pictures with. The term point and shoot sums up the cameras operation, simply point the camera at the subject and press the button. The point and shoot varieties are the easiest digital cameras to use and offer most users ample flexibility to enjoy the camera without getting bogged down in the technology of photography or digital cameras.

The digital SLR camera shares many of the same properties with the film based SLR camera. The user is offered a multitude of setting adjustments for the camera allowing different depths of field and shutter speeds which control the cameras exposure just like a film based SLR camera. In addition to the traditional exposure settings, the user is offered additional settings to control particular digital camera characteristics like white balance and image resolution. Not only do digital SLR cameras share in the ability to control exposure, they also share the ability to interchange lenses, a major advantage over the point and shoot models. The ability to change lenses sets the digital SLR camera into a category all its own. With digital SLR's the user controls the shots just like a film based camera, but gets the convenience and flexibility of a digital camera. Using the cameras settings and lenses the digital SLR camera provides control and flexibility to generate high quality photos.

Digital camera technology has evolved as quickly as any other electronic technology. What was cutting edge yesterday is considered old hat today. When you consider what digital camera technology is available to use, it is easy to get lost in the specifications and particulars of cameras, but just like any other technology it's what you use it for that will determine how it fits in your life. If you feel it's time to get a digital camera, your considerations are as simple as ever with a camera. How much do you need? A well equipped point and shoot that's used often is as valuable as a high end SLR that you never learn to fully use. Get the one you want to use the most.

+ Digital Camera Basics

Review: Canon EF 70-300mm IS USM Macro Telephoto Lens

2008-05-03T21:35:00.000-07:00

Review: Canon EF 70-300mm IS USM Macro Telephoto Lens
by Ian Thompson

The Skinny
The Canon EF 70-300mm IS USM lens is an excellent consumer lens for macro and telephoto photography. The range of zoom combined with the Image Stabilizer will give amateur and up-and-coming professional photographers a boost to the range of shots they will be capable of.

The Good

Image stabilisation allows shooting in lower light without a tripod
Excellent zoom range
Great depth of field
Very responsive manual focus

The Bad

Focus is a little soft at maximum zoom
USM takes some getting used to
Auto-focus can get confused when there are multiple targets at different ranges along focus path

Review
I purchased my Canon XTi Digital Rebel 400D early this year. The last high quality camera I owned was a film camera nearly twenty years ago, and I had not done any serious photography in the intervening period. I had waited for nearly ten years for digital SLR cameras to come up to the right level of quality (at least 10Mp) at the right price (sub $1000), and once that had occurred I was ready to buy.

The camera I purchased came with a stock lens of 18-55mm, and I happily used this lens to take photos for my website for 3 months before deciding that for a full range of expression in my shots, I needed at times to get much closer to the subject. As it turns out, finding impartial reviews of lens is surprisingly difficult. People are passionate about their photographic gear (and there is probably much astro-turfing going on as well). In the end, I simply went to Amazon and read every review, from 5 star to 1 star on the lenses I was interested in. After some searching I narrowed down the choice to the Canon EF-S 55-250mm and the Canon EF 70-300mm. From the reviews I read, I could have purchased either of these lenses, with the reviews going slightly to the EF-S 55-250mm. As it turns out, my local camera shop offered me a very good price on the EF 70-300mm, so I went with that lens instead. So in the end the price was the deciding factor.

The first thing I must say is that the lens does take some getting used to, and this has led to a few poor reviews on Amazon. One complaint is that it is 'too light' to feel like a professional lens. I have to say, as I tend to lug the camera, 2 lens and the tripod for kilometers over fairly rough terrain, I am grateful for any reduction in weight I can get. Another complaint is that the ultrasonic motor (USM) feels strange the first time you use it, and I have to admit, when you first use it, it feels like the lens is 'wobbling' in your hands. However, this is not what is occurring at all. The USM is driving a gyroscope inside the lens, and the gyroscope is actually resisting the movement/shaking of your hand to keep the lens steady. And it shows in the shots you can take. You get very clear shots in very poor light at long focal distances.

The other problem that many beginners on this lens will experience is the auto-focus problem when there are multiple targets at different ranges along the focal path. It is important to note that this type of shot is fairly rare. Most of the time you will have a clear subject without any interference, but if you are taking photos in crowds of people, or in a forest, this can catch you out. Not that this is a particular problem of the EF 70-300mm, it is more a generic problem of auto-focus on telephoto lenses. I find that the simple solution is to use manual focus to choose which target you want to focus on, and then let auto-focus refine it. Once you have manually focused on the correct target, the auto-focus finds it easier to hone in on the that target. This works about 80% of the time. The other solution is to manually focus. One thing I must say about this lens is that the manual focus is excellent. It is much better than the stock lens the camera came with, and I find that at greater zoom levels I prefer to manually focus rather than rely on the auto-focus. It is a surprisingly fine focus even at full zoom. This, along with the Image Stabilizer (IS), makes shooting long shots with this lens so enjoyable.

Another complaint about an earlier model of this lens was that the lens would 'fall open' when the camera was pointed down. Canon has added a 'lock' to lock the lens to 70mm, however I haven't found it necessary as my lens is stiff enough to hold it's position, so Canon have most probably addressed that specific complaint in the current model as I have had no problem with the lens falling open, and I have taken it over some pretty rough terrain.

One thing that has delighted me about this lens is the level of detail I get in the photo, even at long range. I discuss this in greater detail on the photos page. Of course the camera has a ten megapixel resolution, but I believe it speaks to the quality of the lens when you can take a shot of someone over 20 metres away and you are able to see the weave of the fabric in their clothing in the resulting photo. The only exception to this is shooting at maximum zoom (300mm) where the focus tends to be a little soft. When I shoot now and I am at maximum zoom, I tend to pull back a little and take another shot. While this is a downside to this lens, it is not unexpected for a consumer lens at this price. For a full focal range, most professionals will buy an 'L' lens.

Overall, the Canon EF 70-300mm IS USM lens is an excellent consumer grade lens for amateur and budding professional photographers. While it does have it's flaws, the lens produces high quality shots for macro photography. It does take some getting used to, but once you have learned the quirks of the lens it will go with you whenever you go out on a shoot. And at under $600 the Canon EF 70-300mm IS USM is great value for money.

Digital Camera: Pentax Problems

2008-04-28T14:46:00.000-07:00

Digital Camera: Pentax Problems
by Chris Campbell

Pentax digital camera problems are not something you hear about, but that may be because Pentax gives you very clear digital camera basics for operating their cameras. They explain everything in detail and seem to leave nothing unsaid about operating the Pentax cameras. The biggest problem with the Pentax digital cameras is the warranty coverage and the time it takes to send your camera in for repairs. It can take up to eight weeks before you receive your camera back from the manufacturer. When you buy any camera, especially a Pentax digital camera, you should check the lens to make sure no damage has been done during shipping or assembly.

As for some other Pentax digital camera problems, they are not so much about the camera as much as it is what you can and cannot do with the camera. If you buy the W30 digital camera, which is supposed to be waterproof, you might find out that not every camera stands up to this particular statement. You should always look for a underwater camera that is highly rated by users before selecting any underwater camera. The customer service is not very helpful if something happens to this and many other cameras.

Other than the usual Panasonic digital camera problems associated with user error, Panasonic cameras do hold up well when taking clear pictures. Before buying any digital cameras, you should read the reviews and check for any recall alerts from the manufacturer to ensure you are getting a good camera that will give you only the best quality pictures. You will find that some users rate the cameras poorly. You just have to use good judgment and determine if it could be a user error that causes the problem before you decide to buy any digital camera. Digital cameras are easy to use if you read the manuals.

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+ How to (No Kidding) Read Your Camera Manual

Digital Camera Basics

2008-04-25T18:54:00.000-07:00

Digital Camera Basics
by Barry Craft

How Many Megapixels?
The first thing you should understand before you buy a camera is megapixels. Why do megapixels matter? Megapixels matter because the number of megapixels determines the resolution and size of the image. The more megapixels, the larger a print of the image can be. Nowadays, 5 megapixels is a good starting point for an entry level digital camera. You can expect excellent prints at 4 x 6 and even as large as 8 x 10.

Should You Get a DSLR?
The next important thing when buying a camera is which type to get. An SLR (Single Lens Reflex) camera is expensive, but if you are looking for a high-resolution camera with excellent picture quality, SLR cameras are the way to go. This would be the digital equivalent of a 35 mm film camera.

If you are familiar with 35 mm film cameras, you will find many of the same features and then some. One of the most popular features of a digital SLR is the ability to change lenses.

Point and Shoot Cameras
A point and shoot camera will cost less, still give you excellent image quality, and can be very good at macro photography. Also, point and shoot cameras don't have the loud shutter clack that many SLR cameras have, although the newer SLR cameras are much quieter. Another advantage of point and shoot cameras is they have many automated features and preset programs to give you optimal photographs especially if you are a beginner.

Memory Cards
After you get a camera, you must choose a good memory card for your camera. The most popular types of memory cards for digital cameras are MultiMediaCard (MMC), Memory Stick (MS), Smartmedia (SM), Secure Digital (SD), xD-Picture Card (xD), and CompactFlash (CF). Certain cameras require certain memory card types, so make sure you ask an expert which memory card is right for the camera you have.

One of the most important things to consider with memory cards is how many pictures you plan on taking it at one time before downloading them to your computer. Also if you plan to use the higher resolution settings on your camera, you will able to take fewer pictures so you may want to invest in a memory card that has a larger storage capacity.

It is important to know how to transfer pictures from your camera, since you only can send and edit pictures once they are on the computer. Now, your camera probably came with a USB cable. That is one option. Another option is to get a memory card reader. A USB cable is a wire that plugs into your camera at one end and your computer at the other end.

Card Readers
A memory card reader is a piece of hardware that plugs into your computer and then you remove the memory card from your camera and insert it into the card reader. Memory card readers are also usually faster to download your pictures than a USB cable. Using a memory card reader also allows you to save the batteries on your camera because the camera does not have to be on during the transfer.

Downloading Your Pictures
Depending on the type of computer you have, a message will come up saying that you camera is connected. Or, in the case of a Mac computer, you just go into iPhoto, which comes standard on newer Mac computers. Use the help tab at the top of your screen to find out how to download your pictures. After you have downloaded your pictures, you can delete the pictures on your memory card, freeing up lots of space so that you can take more pictures. It is also a very good idea to periodically make a copy of the pictures on your computer and burn them to either a CD or DVD as a backup copy in case your computer's hard drive fails. You probably have spent a lot of time and effort in creating some beautiful pictures and you wouldn't want to lose them.

New Canon CR-1 Non-Mydriatic Digital Retinal Camera

2008-04-17T07:50:00.000-07:00

New Canon CR-1 Non-Mydriatic Digital Retinal Camera for Ophthalmic Professionals

Strengthening its position as a leading provider of total digital imaging and workflow management solutions for eyecare professionals, Canon U.S.A., introduced the Canon CR-1 Non-Mydriatic Digital Retinal Camera at Vision Expo East.

Featuring a redesigned optical system that achieves extremely detailed, high-resolution diagnostic images of the retina, the new Canon CR-1 Digital Retinal Camera enables a full 45-degree view angle to help the eyecare professional detect and monitor ocular conditions. When attached to a Canon EOS 40D Digital SLR Camera (sold separately), which provides up to 10.1 million pixels resolution, the CR-1 Non-Mydriatic Digital Retinal Camera is capable of delivering clear and detailed diagnostic images for virtually immediate review.

"Ever since developing the world's first non-mydriatic retinal camera in 1976, Canon has been a pioneer and leader in the field of retinal imaging," said Tsuneo Imai, senior director and general manager, Canon Medical Systems. "From easy alignment to outstanding digital image capture, Canon's latest advancement, the CR-1 Non-Mydriatic Digital Retinal Camera, has all the features needed to enhance eye exam efficiency by providing outstanding digital imaging technology."

The CR-1 integrates advanced specifications into an ergonomic unit, all of which have been designed for improved ease of use and comfort in a streamlined form. One-hand joystick operation and an illuminated operation panel enable easy one-handed operation in darkened rooms, while a shorter working distance allows closer interaction with the patient and easy access to the patient's eyes.

The CR-1 system, when combined with the optional Canon imageSPECTRUM Version 3.0 software, facilitates comprehensive study management and image capture control at the operator's finger tips through a simple graphical interface. This newly enhanced PC-based software package allows for quick, easy input and access to information and images. imageSPECTRUM Version 3.0 features Multi-image Compare, which allows the comparison of up to eight images simultaneously. The DICOM (Digital Imaging and Communication in Medicine) Standard-compliant interface facilitates easy integration with select DICOM modalities and allows connection to a variety of local- and wide-area network configurations.

Canon offers and markets a full line of digital imaging solutions for the ophthalmic world, including Non-Mydriatic and Mydriatic Retinal cameras, and full auto-tonometer and full auto-ref keratometers, all of which will be on display at the show. In addition to the new CR-1, the Canon product line includes:

CR-DGi Non-Mydriatic Retinal Camera: The CR-DGi camera provides up to 8.2 megapixels resolution to enable the capture of well-defined retinal images which can help the eyecare professional detect and monitor pathologies, including glaucoma and diabetes.

RK-F1 Full Auto Ref-Keratometer: The RK-F1 Keratometer from Canon, inventor of the first Auto Ref-Keratometer, allows for extremely easy operation with full automatic alignment for refractometry and keratometry.

TX-F Full Auto Tonometer: Using innovative Canon Full Automatic technology and its 3D tracking system, the TX-F Tonometer allows doctors to perform simple eye exams efficiently and reliably.

The Canon CR-1 Digital Retinal Camera is now available and imageSPECTRUM Version 3.0 is anticipated to be available at the end of April, through Canon authorized dealers.

Olympus E-420: World’s Smallest And Lightest Digital SLR Camera

2008-04-07T18:03:00.000-07:00

Olympus E-420: World’s Smallest And Lightest Digital SLR Camera

Weighing a mere 380 grams (13.4 ounces), the Olympus Evolt E-420 Digital SLR Camera is 20 to 40 percent lighter than competing DSLRs. Good things come in this small package, including Live View, which enables users to hold the camera away from their faces and interact with their subjects – ideal when capturing photos of children, for example.

This lightweight 10-megapixel DSLR offers heavyweight technologies, including a bigger, more viewable 2.7-inch LCD and consumer-friendly fast On-Screen Autofocus, Face Detection, Shadow Adjustment Technology and Perfect Shot Preview to get the most out of the Live View experience. Additionally, when it comes to Live View, not all LCDs are created equal. At 2.7-inches, the portable E-420 LCD is large enough for users to compose and review images without squinting. The small camera’s LCD is not just larger, it is part of a camera with technologies intelligent enough to take advantage of the Live View photography experience. These innovative technologies include:

On-Screen Autofocus works as seamlessly as a point-and-shoot to display subjects in focus on the LCD the instant the shutter is pressed half way;
Face Detection Technology targets and locks on up to eight faces to ensure they are in focus and crystal clear for amazing portraits;
New and Improved HyperCrystal II™ Technology delivers twice the contrast and better viewing in extreme lighting conditions, a broader range of color detail, and a wider angle of view on the LCD so you and your friends can see it up to 176 degrees off-center;
Shadow Adjustment Technology captures detail in the bright areas of a frame and opens up detail in the shadows that other cameras would render too dark or underexposed; and
Perfect Shot Preview enables you to view and select your favorite effect right on the LCD, and see how the image will look before you even capture it, so you know that what you see is what you get.

“The Olympus E-420 delivers the professional-grade image quality of a digital SLR with the simple operation of a point-and-shoot camera,” said John Knaur, senior marketing manager - DSLR, Olympus Imaging America Inc. “Thanks to the camera’s small size and lightweight body, users can take the E-420 everywhere, and they will never miss another shot because the of the camera’s straightforward controls. Additionally, our innovative technologies help consumers get more from Live View.”

World’s Smallest Digital SLR Camera
A camera designed to be held away from the face lets you take great photographs without weighing you down. The E-420 is small enough to fit into a purse or a jacket pocket and light enough to shoot with comfortably all day. Measuring 5.1 inches by 3.6 inches by 2.1 inches (excluding protrusions), it is the world’s smallest digital SLR. And at a featherweight 13.4 ounces, only its predecessor (E-410) weighs less. The E-420’s new ergonomic grip on the front of the body allows for easier one-handed operation and ensures a secure hold in the most challenging shooting conditions.

One of the World’s Thinnest Lenses Meets the World’s Most Compact DSLR
The world’s smallest DSLR deserves a similarly compact lens, and Olympus has it: the ultra compact Zuiko 25mm f2.8 digital specific lens. This 0.9 inch-thick lens offers a fixed 50mm equivalent angle of view. Together with the E-420, the Zuiko 25mm f2.8 lens will offer the ultimate combination of ease of use and portability.

Photographers can also purchase the E-420 in a kit with a compact, Zuiko Digital 28-84mm equivalent (ED 14-42mm Four Thirds) f3.5-f5.6 lens that perfectly matches the imager so light strikes the sensor directly to ensure rich, accurate colors and edge-to-edge sharpness. Both lenses (Zuiko 25mm f2.8 and 28-84mm f3.5-f5.6) are part Olympus’ expanding line of 100 percent digital lenses – designed specifically for digital photography. Unlike other camera companies, Olympus does not rely on old film lenses, which often result in images with soft edges or other imperfections.

The Live View Experience
Olympus was the first to bring Live View to a consumer DSLR (the E-330 in 2006), and Live View has revolutionized DSLR photography. Anyone who has photographed young children knows that you get the best reactions when you hold the camera away from your face and maintain eye contact and an engaging smile. If you have tried to take photos high above the heads in a crowd or low near the ground, you will appreciate that it is easier to use a swivel LCD screen than to climb a ladder or lie on your stomach.

The E-420 solves these problems with its Live View LCD, which enables photographers to hold the camera away from their faces and at angles they just cannot reach by using the optical viewfinder alone. The E-420’s new Live View autofocus functionality now simplifies the process by working just like a point and shoot. By simply pressing the shutter button halfway, your subjects come into focus on the LCD, so when the perfect moment occurs it is easy to capture sharp images.

A viewable LCD is where a great Live View experience begins. Few things are more annoying for a photographer than squinting to see an image on an LCD screen in bright sunlight or a dimly lit room. The E-420 solves this problem with its large, bright 2.7-inch LCD display that incorporates new HyperCrystal II technology. This display offers twice the contrast for better viewing in extreme light conditions (i.e. when the sun is at your back), a broader color gamut that displays a greater range of color detail, and a 176-degree viewing angle.

Always Find a Face in the Crowd
A camera this consumer-friendly is perfect for taking portraits of friends and family while out and about. The E-420’s Face Detection feature distinguishes between people’s faces and the background. It tracks up to eight faces within the image area and automatically focuses and optimizes exposure for sharp, brilliant portrait pictures. Even if your subjects are moving, the camera continuously tracks their faces.

Bright Day or Deep Shadow, Never Miss a Detail
Shooting scenes with shadows can be tricky because of the extreme contrast between dark and bright areas. The E-420 addresses this challenge with Shadow Adjustment Technology that compensates for extreme contrast when shadow areas are underexposed and lack visible detail. Now users can preview and capture images with the same fine contrast they see with their own eyes.

Preview All the Possibilities
With 18 pre-set scene-select modes for every imaginable shooting scenario and full manual controls, the E-420 offers a world of possibilities to photographers. Additionally, Perfect Shot Preview enables users to preview and select various photographic effects on a live, multi-window screen on the LCD before snapping the shot. This feature shows photographers what their images will look like beforehand under various settings, ensuring that they capture exactly what they want. It is an ideal way for novice users to learn about the effects of different photography techniques, such as exposure compensation, white balance and metering.

Enlarge Your Photos
Capturing, enlarging and displaying amazing images on your wall is a snap thanks to the E-420’s 10 million pixels for high-resolution photos. The 10-megapixel sensor gives users the flexibility to enlarge prints to the sizes supported by many of today’s printers, or crop the image to print only a part of the image that is important to them. The high-performance Live MOS image sensor in the E-420 delivers excellent dynamic range for accurate color fidelity and a new state-of-the-art amplifier circuit dramatically reduces noise and captures fine image details in the highlight and shadow areas.

Improved Auto White Balance
Many digital SLR users want to focus their attention on things other than white balance while they are on the move. As a result, the E-420 features an improved automatic white balance performance with a new algorithm for more accurate color.

TruePic III for Image Clarity & Speed
Olympus’ TruePic III Image Processor produces crystal clear photos using all the pixel information for each image to provide the best digital images possible for every photo with accurate color, true-to-life flesh tones, brilliant blue skies and precise tonal representation in between. TruePic III also lowers image noise by one step to reduce graininess in images shot at higher ISO settings, enabling great results in low-light situations.

Worried about missing the winning goal at the soccer game? The image processor on the E-420 enables it to shoot up to 3.5 frames per second in sequenced shooting mode, which means that photographers will be able to capture fast-paced action as it happens.

Dust Reduction System for Spot-Free Images
Life moves too fast to spend time worrying about dust ruining your images. Olympus’ proven Dust Reduction System produces spot-free photos with the exclusive Supersonic Wave Filter™. The patented ultrasonic technology vibrates to remove dust and other particles from the front of the image sensor and captures it on a special adhesive membrane every time the camera is turned on. These spot-free photos liberate users from hours spent retouching photographs at the computer or sending their cameras back to the manufacturer to remove dust trapped inside.

Media Versatility
Accepting both CompactFlash Type I & II, Microdrives, and xD-Picture Cards, the E-420 provides a choice of data storage options for enhanced flexibility, and it is possible to transfer image files from one card to the other right inside the camera.

Wireless Flash Capability
If you decide to venture into the arena of advanced lighting, the E-420 is ready to meet the challenge. The E-420 is compatible with the Olympus FL-50R and FL-36R wireless electronic flashes that are designed exclusively for digital photography. When these flashes are used in combination with the E-420, wireless multi-flash photography is possible. The E-420 can control up to three wireless flash groups independently, with several flash units per group.

Availability
The Olympus Evolt E-420 Digital SLR Camera will be available in May 2008.

Pentax Student Photography Program

2008-04-03T19:10:00.000-07:00

Pentax Student Photography Program

Pentax Imaging Company has announced a Pentax Student Photography Program to support budding photographers and photography educators with camera bodies, lenses and flashes at significant savings. Known for producing photography equipment that offers value, quality, ease-of-use, durability, and affordability, Pentax takes great pride in the commitment to countless users who have learned and taught the art of photography with a Pentax camera.

The Pentax Student Photography discounts are offered exclusively to full-time students at accredited institutions (high schools, colleges and universities) as well as full-time photography educators. Students and educators must observe the following conditions to qualify for these significant savings:

Purchase the Pentax equipment from an authorized Pentax dealer between April 1, 2008 and June 30, 2008

Complete a Pentax Student Program form (available for download at www.Pentaxslr.com/studentprogram)

Students must provide photography class enrollment certification (class schedule or copy of registration) and a copy of a valid student identification.

Educators must submit a copy of course curriculum for their photography class and a copy of a valid faculty identification.

Due to the significant discounts offered, all requirements listed must be met and approved by Pentax Imaging Company and may not be combined with any other offers including consumer promotions and rebates. This program is valid to students and educators in the United States for purchases made in the United States.

For more information, qualified photographers may e-mail customer.followup@pentax.com or call 1-800-877-0155 (press “0” and ask to speak to the Pentax STUDENT PROGRAM).

How To Improve Your Photography With A Single Lens Reflex Digital Camera

2008-03-31T17:07:00.000-07:00

How To Improve Your Photography With A Single Lens Reflex Digital Camera
by John Philips

SLR digital cameras have always been associated with professional or, at the very least, the more serious amateur photographers because of their expense. However, because every day new models of SLR digital cameras are being launched, they are becoming more affordable, and more people who want that extra control over their photography than they can get from a compact are upgrading to them.

Even novice photographers can take remarkable pictures with these new cameras, which after a time are particularly user friendly. SLR cameras, the cheap entry level models included, surpass even the most expensive standard digital cameras and, as the digital world is moving extraordinarily fast, more and more models come onto the market and prices are falling.

There are some disadvantages, however to owning a digital SLR camera.

Even though they are becoming more affordable they still incur higher costs than basic compacts. They are bigger, weigh more, the extra expense of purchasing lenses, and there is a learning process to enable you to become familiar with the camera. But if you want your photographs to have a more professional quality then it is worth it.

The options and features appear unlimited in the world of SLR digital cameras and personal choices will depend on what you need out of a camera. Below are listed some of the more popular models, which will hopefully give you an idea of what would match your taste. This is not in the slightest an all-inclusive record, just a casual mixture. There are countless others introduced regularly.

Nikon D40
Affordable digital SLR that is easy to use and compact with a 2.5 inch LCD screen, 6.1 mega pixel and a built-in flash and hot shoe.

A user-friendly camera packed with features that make this camera a fine introduction for the newcomer to DSLR. With all the innovative options and flexibility, which has come to be expected with SLR photography, the D40 will encourage more people into the world of digital SLR than any earlier digital SLR.

Olympus Evolt E410
A compact and well built SLR with a 2.5-inch Live View HyperCrystal LCD display, 10 mega pixel and dust-free technology.

One of the most compact DSLR cameras with 30 automatic shooting modes designed to provide the uppermost adjustments for a variety of shooting circumstances, but also with a full range of manual controls to enable you take command of your photography.

Pentax K10D
Extremely well built and affordable SLR with10.2 Mega pixels, a 2.5" Active Matrix TFT Color LCD display screen and an SLR Optical Pentaprism Viewfinder.

The Pentax K10D is one of the more appealing SLR cameras presently available on the market. The well-designed body and very responsive features are combined with dust-proof seals and water-resistant body.

Canon Digital Rebel XT
One of the smallest and lightest digital cameras in its class with a 1.8 inch TFT color LCD monitor, 8 mega pixel and DIGIC II Image Processor, enabling fast, accurate image processing.

Despite the small LCD screen the Rebel XT is famed for its superb range of features and great value for money. With a sturdy build quality and a smaller, lighter but easy-to-handle design and rich colours and silky smooth resolution, which is to be expected from a Canon product.

Sony Alpha A200K
Powerful, versatile and simple to use with 10 mega pixel, 2.7-inch ClearPhoto LCD and 4x optical zoom.

With high-speed processing, high sensitivity, advanced noise reduction, lightweight and exceptionally easy to operate, the Sony Alpha gives you all you need to develop your photographic creativity. Excellent for those stepping up from point & shoot cameras.

There are many makes and models available for the SLR digital camera shopper and these are just a selection. no matter what you want out of a camera there will be one to fit you.

Nikon: Ashton Kutcher Stars In New Advertising Campaign

2008-03-27T19:58:00.000-07:00

Nikon: Ashton Kutcher Stars In New Advertising Campaign

Hollywood's A-list actor and producer, Ashton Kutcher, is lending his photogenic qualities to Nikon to promote the manufacturer's new COOLPIX Style series cameras. The campaign will debut nationally on March 25th with a television commercial, which precedes the print advertisements and an interactive online component. Nikon selected Kutcher for the campaign to bring brand relevance to a broader and more youthful audience. Taking place in trendy locales such as boutique hotels and upscale shopping destinations, the campaign highlights the exquisite styling, fashionable colors, simplicity and great performance of Nikon's Style series compact digital cameras.

“Ashton is the perfect choice for this campaign as he embodies both the stylish and fun attributes of Nikon’s COOLPIX Style series cameras," said Lisa Baxt, senior communications manager for Nikon Inc. "Ashton’s collaborative spirit, creativity and approachable personality enhanced our campaign which showcases the great style, sleek colorful design and ease of use of Nikon’s newest COOLPIX Style series cameras.”

"I am thrilled to work with Nikon on this campaign,” said Kutcher. “I think technology today represents so much more than just function – it represents personal style and sophistication. I’m enjoying the opportunity to work with such a well respected brand and a group of highly creative individuals on a campaign that showcases the style, design and simplicity of the new COOLPIX cameras.”

The television campaign spots, directed by Emmy award winner Brian Buckley, have Kutcher’s COOLPIX camera being discretely taken and passed around by numerous adoring fans who take several pictures with it before slipping it back into Ashton’s pocket. Ashton then notices some surprising pictures when he reviews the photos on his camera's LCD screen. The print campaign, shot by legendary photographer Norman Jean Roy, truly captures the sophisticated yet playful essence of Ashton and the aesthetics of the camera. Following the television and print advertisements, the campaign will come full circle with a uniquely engaging internet component, details of which will be revealed shortly.

The Photographer and the Writer

2008-03-23T17:49:00.000-07:00

The Photographer and the Writer
by Andrew Goodall

A nature photographer and a travel writer worked together on an article for a travel magazine. The article was a success, and after publication they got together for a drink. "You know," said the travel writer, "that was some great photography. You must have a great camera"

"Thanks," said the photographer. "And that was some terrific creative writing. You must have a great typewriter."

If you get this joke, you are probably a photographer who puts up with ridiculous comments every day. If you don't get it... read on, my friend, and learn.

If you eat a great meal at a restaurant, you don't compliment the chef on the quality of his saucepans. When we appreciate a great painting, we don't automatically think about the brand of paintbrush. When you hear your favourite song... well, you can see where I am going with this. So why is it that so many people think that good photography is all about how much money you spend on your camera?

A camera is the tool a photographer uses for their craft. There are dozens of brands and models available, with myriad minor features that sound good in a camera shop. But good photography, as it always has, requires only the most basic features available in just about any camera: shutter speed, aperture, and a good quality lens.

In the days of film, these features were only available on SLR and larger format cameras, so it could be argued that they belonged to the realm of 'serious' photographers. However, in the digital age, these essential features are available on almost any camera, should the owner take the time to learn how to use them.

Regardless of what type of camera they have, a photographer uses an appreciation of light, a unique flair for composition, and a sense of timing, to capture their subject in a way that satisfies their vision. These skills are the product of experience and creativity, and have nothing to do with technology.

I was guest speaker at a camera club once, where a member brought a whole suitcase full of expensive camera gear to the meeting. There was no reason to bring cameras to that particular meeting, and by all reports he wasn't much of a photographer, but he wanted everyone to see how much gear he had. What he did not seem to grasp was that cameras don't earn you respect as a photographer - photos do.

If you want to improve your photography, never assume it will automatically happen with a better camera. Instead, settle for the camera you can afford, and learn to use the camera you have. Remember; shutter speed and aperture, a good lens, and a good sense of light and balanced composition. Master these and you will get results no matter what sort of camera you have.

Don't be intimidated by photographers with thousands of dollars worth of equipment. Instead, intimidate them with your photography... in the end, only results matter.

Canon's new PowerShot line-up Digital ELPH cameras: SD890 IS, SD790 IS and SD770 IS

2008-03-18T21:55:00.000-07:00

Canon's new PowerShot line-up Digital ELPH cameras: SD890 IS, SD790 IS and SD770 IS

New digital ELPH cameras inspire style, vision and innovation.

Whether capturing spur-of-the-moment inspirations or momentous family occasions, Canon U.S.A.'s newest additions to the PowerShot line-up: SD890 IS, SD790 IS and SD770 IS Digital ELPH cameras continue to provide intelligent, easy-to-use features, resulting in fantastic photos. Integrated Canon technologies such as Motion Detection Technology, Optical Image Stabilization, Genuine Canon Face Detection Technology, and Canon's proprietary DIGIC III imaging processor, along with the inherent style of the ELPH line; make them the ideal accessory for capturing a night out on the town or an intimate social gathering.

"The Canon PowerShot SD890 IS, SD790 IS and SD770 IS Digital ELPH cameras carry on the trend-setting traditions and extend the boundaries of technological ease and the individual sense of style that has always been at the heart of the ELPH line-up," states Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A. "Canon continues to draw upon its 70 years of imaging excellence and photographic expertise to develop new technological advancements, as well as create stylish form factors as seen in the iconic box and circle design of ELPH cameras."

PowerShot SD890 IS Digital ELPH Camera
This PowerShot SD890 IS Digital ELPH camera is a prime example of Canon quality, from the tip of its 5x optically image stabilized, zoom lens to the big and brilliant 2.5 inch PureColor II LCD display embedded in the camera's contoured back. Indeed, it is that very 5x zoom lens that expands the user flexibility by expanding the focusing range from a maximum wide-angle equivalent of a 37mm lens to its maximum optical telephoto equivalent of a 185mm lens. Ideal for capturing everything from broad sweeping vistas to intimate close-ups, the PowerShot SD890 IS Digital ELPH model is also capable of securing macro images from less than an inch away from the subject, making extraordinary, high-resolution nature shots as elementary as point and shoot.

From the moment it appears in a user's hand, it is clear that this Digital ELPH camera is like none that have come before. From the body's clean lines and smooth, matte silver finish to the topside metallic robe that highlights and accentuates the camera's curves, the 10-megapixel PowerShot SD890 IS Digital ELPH camera's alluring proposition is one of beauty, versatility and ability.

This camera's multi-control dial enables the user to simply switch between shooting modes, settings and even images during playback, with easily understandable mode icons displayed on the camera's 2.5-inch PureColor II LCD display. There's even a traditional optical viewfinder for the purists who prefer it.

PowerShot SD790 IS Digital ELPH Camera
The 10-megapixel PowerShot SD790 IS Digital ELPH camera's optically image stabilized 3x zoom has a focusing range from a wide-angle equivalent of 35mm to a maximum telephoto equivalent of 105mm. Like the PowerShot SD890 IS Digital ELPH camera, the SD790 IS Digital ELPH camera features the quick and easy-to-use multi-control dial.

Though smaller than a deck of playing cards, the PowerShot SD790 IS Digital ELPH camera conveys a cool, substantial look and feel, thanks to its solid, yet streamlined, chiseled design. Adding to its appeal is the camera's large and highly visible, three-inch PureColor LCD II display, with an adjacent multi-control dial and new button configuration that combine to form a flat control panel.

PowerShot SD770 IS Digital ELPH Camera
The PowerShot SD770 IS Digital ELPH camera's classic box and circle design has characterized the Digital ELPH look for more than a decade. This 10-megapixel model boasts the thinnest body of any optically image stabilized ELPH model ever produced, featuring a slimmer yet higher capacity battery pack, that with the camera's power-saving improvements, actually increases the number of photos that can be taken on a single charge to approximately 300 images.

Among the key features of the PowerShot SD770 IS Digital ELPH camera are a 2.5-inch PureColor LCD II screen and an optical viewfinder as well as the same optically image stabilized 3x zoom as its more senior sibling, the PowerShot SD790 IS Digital ELPH camera. The PowerShot SD770 IS Digital ELPH camera is offered in the classic matte silver finish with high gloss highlights around the lens barrel and topside edge, and the reprise of Canon's sleek and striking two-tone finish that incorporates matte black highlights around the lens barrel and circle along the camera edge.

Beating The Blur
Among the significant technological advances shared on the new PowerShot SD890 IS, SD790 IS and SD770 IS Digital ELPH cameras is Canon's intelligent anti-blur system. Developed by linking four of Canon's most cutting-edge achievements: Optical Image Stabilization, Motion Detection technology, Hi-ISO Auto and Noise Reduction technology, the result is consistently sharp and clear pictures, even when the shooting conditions and circumstances may not be ideal.

The most common cause of blurry pictures is actual camera shake. This can be caused by anything from a photographer's unsteady hands to movement in a car along a bumpy road to shots where the zoom lens is extended to a maximum telephoto length or even dimly lit conditions without benefit of flash that causes the shutter to stay open longer in order to admit enough light to make a proper exposure. Canon's proprietary Optical Image Stabilizer (OIS) physically compensates for camera movement and shake by actually shifting the lens (unlike other Image Stabilization systems that merely mask the undesirable movement electronically).

Adding to these ELPH cameras' anti-blur effectiveness, Canon's Motion Detection Technology is linked to the camera's High ISO Auto mode. This improves image clarity by raising ISO speeds (and shutter speeds) for fast-moving subjects (such as a child hitting a baseball from home plate and then running towards first base) or lowering ISO speeds to reduce noise when the subject is stationary. In short, when this impressively intuitive technology detects movement it automatically raises the ISO just enough to reduce image blur. When no movement is detected, it optimally lowers the ISO to reduce noise.

Genuine Canon Face Detection Technology
All three PowerShot Digital ELPH cameras feature the latest and most advanced generation of Genuine Canon Face Detection Technology, thus ensuring that up - to nine forward-looking faces in the frame - whether posed for a family portrait, candidly capturing friends and fun, or spontaneously snapping a toddler's expression of triumphant glee as two halting steps - are in focus and properly exposed, with or without flash. In addition to focus and exposure control, the camera's Face Detection feature captures truer, more accurately lit skin tones (and hence more beautifully rendered pictures) thanks to Canon's improved Face Detection White Balance. There's also a new optional "AF Point Zoom" feature that digitally enlarges the face of the main subject on the camera's LCD screen to make it easy to determine the optimum timing for clicking the shutter to capture the moment.

In-Camera Image Enhancement
Canon Digital ELPH cameras offer an array of in-camera processing features that once required tweaking with computer-based photo software. Now, newly developed Automatic Red-Eye Correction can be engaged while shooting, minimizing the need for correction before printing or sharing images.

With Canon's Image Inspection Tool, users can review pictures recently taken on the camera's bright, brilliant and easy-to-read 230,000-pixel PureColor LCD II display by zooming in to ensure that the subjects are in focus and to check for such picture-damning details as closed eyes or inappropriate expressions. What's more, with the digital ELPH camera line's Trimming Function, users can easily crop images, centering and creating memorable close-ups whether they are smiling faces or iconic cityscapes.

DIGIC III Imaging Processor
The "brain" in every new Canon digital camera is Canon's proprietary DIGIC III imaging processor. This exclusive chip is responsible for the camera's higher performance levels including faster start up, faster autofocus and quicker shutter response times that leave long lag competitors far behind. What's more, the DIGIC III processor improves both the image quality and the cameras' power consumption, extending the battery life under typical shooting conditions.

The PowerShot SD890 IS, SD790 IS and SD770 IS Digital ELPH cameras are scheduled to be in stores early April, end of March and mid-April respectively. Each of these new, camera kits include a battery pack and charger, a 32MB SD memory card, a USB interface cable, an AV cable, a wrist strap, and Canon's software suite.

The Best All Around Digital Camera

2008-03-11T19:47:00.000-07:00

The Best All Around Digital Camera
by Chris Campbell

Why is so difficult for camera companies to come up with one good all around digital camera that's perfect for all occasions? I suppose it's not really in their best interests to encourage consumers to only own one perfect camera, when they can sell them several. If I were more of a conspiracy theory advocate, I'd suggest they do it on purpose. But, I'm not, and I do believe there are other factors at work here. With all that being said, it doesn't mean we can at least try to find the most likely candidate for best all around digital camera.

The three most distinguishable features or dividing factors when it comes to digital cameras are size, ease of use, and image quality. To lesser and greater degrees, these traits seem to be mutually exclusive when it comes to camera design and build.

Smaller sized camera designs are very portable, but usually affect ease of use and image quality in negative ways. The smaller a camera is, the smaller the controls are, which makes them harder to use. Single control buttons and wheels are often used for multiple functions which can increase user confusion. Smaller cameras often mean, that features like viewfinders get left off in the effort to add bigger LCD screens. Smaller often means zoom lenses are less powerful, and overall lens quality suffers. The most successful small sized cameras I like are the Canon PowerShot SD1000 Digital Elph, and the Olympus Stylus 790SW.

Ease of use usually means lots of auto settings, which is great for newbie photographers, as little skill is required to snap a picture. But, it also means camera designers are forced to compromise on default settings that are OK for most pictures, but not great for all pictures. Factory set defaults will have to do until cameras become smart enough to detect all the nuances of a particular shot regarding lighting, color, and artistic intention. The Canon Powershot A570IS is one of the better cameras in terms of simplifying things at a reasonable price.

The ultimate in image quality usually means big bulky SLR cameras with a case load of lenses and controlled lighting for different types of shooting environments. SLR photography also involves micro managing of all the various camera settings such as aperture, ISO settings, white balance, f-stop and so on. You really have to know what your doing. The Canon Rebel XTi Digital SLR, or the Nikon D40 are good cameras in this category that don't break the bank.

To build one camera that can do everything would be ideal, but were not there yet. I believe we will be at some point, but a number of technologies still need to make some considerable advances before that can happen. Lens technology and camera intelligence being the two main ones. Until then, the best all around digital camera will just have to be the one your holding right now. Like the song says, "Love the one your with".

Never Buy A Kodak EasyShare M753 Digital Camera

2008-03-06T09:49:00.000-08:00

Never Buy A Kodak EasyShare M753 Digital Camera
by Chris Campbell

Is it really possible, to get more than you pay for? We all like to believe that, as we're walking out the store with our brand new purchase still shrink wrapped neatly tucked under our arm. But, how long until the shrink wrap is cracked, and buyers remorse starts to settle in. In the case of the Kodak EasyShare M753 Digital Camera, it may not take too long. But, whose fault is that? The consumers or Kodaks?

I've bought EasyShare cameras in the past, and they all seem to experience the same problem with the mode selection wheel. It never seems to stay put. Every time you slip the M753 into a case (not included by the way) you have to make sure you didn't accidentally turn it own. Otherwise, that's a sure fire way to churn thru batteries. Even using the camera, you'll find it annoying to have to check the mode wheel, to make sure it hasn't slipped. There nothing worse than thinking your taking a still picture, when the EasyShare is actually in movie mode.

Kodak made a strange decision with the EasyShare M753 when it comes to the battery. It comes with a rechargeable battery, which some people will like, but others will hate. The only way to charge it out of the box, is to plug the M753 into your computers USB port. For those with no computer, this could be an awkward proposition. You can get a separate wall battery charger, but that of course is extra. Even if you do have a computer, this may not be the best camera for an extended trip. Unless you plan on dragging your desktop computer (aka: camera battery charger) with you. The exclusion of a battery meter doesn't really help much either.

While camera manufacturers seem thrilled to throw lots of megapixels into a camera, they really cheap out with internal memory. The M753 only has enough for a few pictures. Be sure to budget for an additional memory card, as a 7MP camera can fill up a small memory card pretty quick.

While I know, that less than $100 is not much for a camera these days, Kodak could have made the case a little stronger. An extra few millimeters of plastic can't cost that much can it? Or failing that, how about bundling the M753 with a protective carrying case. One that won't mess with the power switch would be nice.

In terms of image quality, don't set your expectations too high here. For less than $100, you don't really get much here. If your planning on only shooting outside on nice sunny days with plenty of natural light, you should be ok. Of course if you already have a phone camera, you'll probably get just as good pictures using that instead of an EasyShare M753.

Not the nicest review I know, but it's hard to say anything glowing about cameras in this category. I guess if you go through a lot of disposable cameras, the EasyShare M753 may be a better choice. Other than that, I'd scrounge another hundred bucks or so, and get a whole lot more camera. For another two hundred, you can actually get into some really amazing cameras.

Tips: How To Make A Time-Lapse Video With Your Digital Video Camera

2008-03-04T08:13:00.000-08:00

Tips: How To Make A Time-Lapse Video With Your Digital Video Camera
by Kevin Rockwell

Getting the most out of your digital video camera can mean being able to create some really cool stuff. You just have to step outside the manual a bit and find the cool things you can do with your digital video camera and your editing software.

We have all seen them in a movie or a TV show, those very cool shots where they speed up time and capture a long segment of time and condense it into a very short amount of video. My very favorite example of this technique was an arty movie of many years ago that was called Koyaanisqatsi. In that movie they had some very interesting segments where they did time lapse effects to show driving on a bridge, flowers growing, clouds flying by and so on. Another example is many of the TV news stations nowadays have a camera that captures the day’s weather and then they process it down to a 20 second clip to show the clouds and weather racing by on screen.

Well this technique is not just a tool in the hands of the movie makers or the big TV stations. You can do this with your digital video camera gear too. I will go into two ways that you can accomplish this effect and get some cool results for your next video project. This one is worth playing around with in order to find the right settings to get the most dramatic effect.

Technique number one is to use the camera itself to do the time lapse recording for you. Almost all digital video cameras have the ability to do an interval recording. What this means in a nutshell is that you tell the camera how long you want to record for and how long in between recordings and it will go on autopilot for you for as long as the battery lasts or the tape runs out. This is what those cameras at the convenience store do, they record a few seconds of motion every 30-60 seconds giving the overall view of the traffic in the store over time.

Now if you want to capture some time lapse in your digital video camera you will need to get into your cameras menu and find Interval Recording (or in my case Int Rec, as I use a Sony PD 150 for my camera) When you select this option you will decide how long of an interval between shots you want and how long to record each time. If you are trying to capture something that takes a long time to occur and in which not much happens quickly you will want to set the interval at around a minute and the record time as short as possible on your camera. An example would be if you wanted to record a day in the life of a flower or the clouds rolling by in the sky. Suppose however that you want to capture an event that has lots of action and occurs over a much shorter time frame. Then you would want to shorten the interval between recordings and increase the time of each recording. So in this case you might record every 15-30 seconds and record up to 2-3 seconds of video each time.

I used this technique to capture an afternoon of work being done by a team of carpenters on my house remodeling project. The result was a flurry of activity as workers raced hither and yon nailing boards, carrying equipment and building walls. I have added it to my photo collection of the project. (Hey I had to live through the project so I might as well have a great record of it for posterity!)

Now suppose you have one of the great software video editing packages on your computer to work with your digital video camera. Now you can do it in post as they say in the business. You can record any length of video you want (subject to the limitations of your tape length) and then import it into your editing program.

Sidebar:
I use Adobe Premiere Pro for my editing jobs, but I have also used Avid DV Express, Final Cut Pro, and others in the non linear editing world. These are all great programs and are very powerful products that can create some very professional looking videos. You don’t have to have these products to create your own videos but if you are serious about digital video editing it might be a good idea to take a look at these options.

I digitize my raw video of the scene I am doing time lapse on into my computer (big hard drive, video eats up GB’s of space) and then import the clip into my time line. From th3e timeline you can then select the clip with a right click. From there you will be given a menu with options depending on the software you use. Select the option that says “duration”, “speed” or something similar. Change the speed of the clip so that time will speed up considerably. If you have an hour of video in the clip and want to shorten it to 2 -5 minutes then you need to increase the speed of the clip to 3 or 4 thousand percent of normal. This will require your software to render the clip at the higher speed and may take some time top process depending on the speed of your computer.

Once you have rendered the video clip at the new speed you will want to play it to see if the movie flows evenly or if you will want to readjust the speed setting to make it better. Sometimes you may want to shorten your raw video and adjust the speed down somewhat in order to get a smooth flow of action. Once you have rendered the clip at the new speed you can now cut and splice it as you see fit with the speeded up action intact. There are some things you will record that might only need a slight speed change, take for instance some digital video of your kids playing sports. Double or triple the speed of the clip and show it to them and you might have them rolling on the floor.

You can also use these techniques to capture the growth of a flower or plant over the course of days or weeks. Simply set you camera in exactly the same place at the same time each day and record an interval that works each day fro however long you want to document. May be you get the seedling just breaking soil and follow it all the way through turning into a full grown plant.

Another interesting idea is to capture the path of the moon across the night sky. Set up your camera on a tripod in a spot that can see the path of the moon for several hours. Set the camera to interval record and put the moon on one side of the frame so that it will pass across the frame as the night passes. This one may require some testing in order to get the exposure and framing right as well as the right interval to record at. Most likely you would want to set the interval as long as you can and the record time as short as you can but do a test run first to see what works.

I can’t stress enough that using your digital video camera can be great fun and you can achieve some cool results. Play around and test. You just might find yourself creating some very creative digital video to share with the rest of the world.

Digital Infrared Cameras

2008-03-01T07:13:00.000-08:00

Digital Infrared Cameras
by Amit Salkar

Earlier, it was expensive and very difficult to perform infrared photography with the results being extremely unpredictable and disappointing. However, today, digital photography has made it possible to capture infrared pictures anytime by integrating pictures with the normal pictures or manipulating regular digital photos using Photoshop or tweaking certain settings of your digital cameras. By using digital infrared photography techniques one can produce brilliant photographs through the emulsion of normal photos and modified regular digital photos.

Digital infrared cameras enable speedy access to detailed infrared images that can be immediately used for various purposes. These cameras also require a focus adjustment in order to record infrared radiation as a focused image. Digital infrared images produce prints that look similar to the conventional infrared film. For example, blue skies record images in black, while vegetation record images in white. With digital cameras becoming more reasonably priced, invisible light photography can be accessed by just anyone.

The key accessories required for digital infrared photography include a tripod and an infrared filter with the function of blocking visible light and allowing the invisible infrared light to pass through the camera's sensor. However, photographers use the most suitable filter to obtain the infrared image that they want to pull off. Infrared films are capable of recording up to the wavelength of light that the emulsion is sensitized for. In general, most of the infrared films make use of dyes to expand their sensitivity range beyond red and towards the nearest infrared spectrum. Most photographers also tend to use wide-angle lenses as these lenses can include more of the scene and elements to reflect infrared light and have a greater depth of field range than longer lenses.

Digital infrared cameras have several distinct advantages. It enables you to instantly view the image that you just recorded. Through digital infrared techniques, images can be easily manipulated, underexposed images can effortlessly be adjusted through Levels controls, and also the overall digital infrared image contrast can be increased in case the image appears to be too flat. Additionally, infrared film rolls are very affordable thus helping you to save on costs.

The New Canon PowerShot SD1100 IS Digital Camera

2008-02-17T11:44:00.000-08:00

The New Canon PowerShot SD1100 IS Digital Camera

8.0-megapixel Digital Elph Camera with 3x optical zoom and optical image stabilizer

With 8.0-megapixel technology at its heart, the Canon PowerShot SD1100 IS Digital Elph Camera brings you high-resolution images that maintain their sharpness and vivid impact even when they’re enlarged and cropped. The 3x optical zoom is a clear winner when it comes to getting up close and personal. And Canon’s invaluable Optical Image Stabilizer reduces the blur of camera movement, even in tricky, low-light situations.

Specifications

Type of Camera

Type of Camera: Compact digital still camera with built-in flash, 3x Optical/4x Digital/12x Combined Zoom with Optical Image Stabilizer System

Image Capture Device

Type: 8.0 Megapixel, 1/2.5 inch type Charge Coupled Device (CCD)
Total Pixels: Approx. 8.3 Megapixels
Effective Pixels: Approx. 8.0 Megapixels

Lens

Focal Length: 6.2-18.6mm f/2.8-4.9 (35mm film equivalent: 38-114mm)
Digital Zoom: 4x
Focusing Range: Normal: 12 in./30cm-infinity
Macro: 1.2 in.-1.6 ft./3-50cm (W), 1.2 in.-1.6 ft./3-50cm (T)
Digital Macro: 1.2-3.9 in./3-10cm (W)
Autofocus System: TTL Autofocus

Viewfinder & Monitor

Viewfinder: Real image optical zoom viewfinder
LCD Monitor: 2.5-inch low-temperature polycrystalline silicon TFT color LCD with wide viewing angle (PureColor LCD II)
LCD Pixels: Approx. 230,000 pixels
LCD Coverage: 100%

Aperture and Shutter

Maximum Aperture: f/2.8 (W) - f/4.9 (T)
Shutter Speed: 15-1/1500 sec.; Long Shutter operates with noise reduction when manually set at 1.3-15 sec.

Exposure Control

ISO Sensitivity: Auto, High ISO Auto, ISO 80/100/200/400/800/1600 equivalent (Standard output sensitivity. Recommended exposure index)
Light Metering Method: Evaluative*, Center-weighted average, Spot**
* Control to incorporate facial brightness in Face Detection AF
** Metering frame is fixed to the center
Exposure Control Method: Program AE; AE Lock
Exposure Compensation: +/-2 stops in 1/3-stop increments

White Balance

White Balance Control: Auto, Preset (Daylight, Cloudy, Tungsten, Fluorescent, Fluorescent H), Custom

Flash

Built-in Flash: Auto, Red-eye Reduction, Auto Red-eye Correction, Flash On, Flash Off; FE lock, Slow Synchro
Flash Range: 12 in.-11 ft./30cm-3.5m (W), 12 in.-6.6 ft./30cm-2.0m (T) (when sensitivity is set to ISO Auto)
Recycling Time: 10 sec. or less (battery voltage=3.7V)
Flash Exposure Compensation: +/-2 stops in 1/3-stop increments

Shooting Specifications

Shooting Modes: Auto, Camera M, Portrait, Special Scene (Foliage, Snow, Beach, Sunset, Fireworks, Aquarium, Underwater, Indoor, Kids & Pets) Night Snapshot, Color Accent, Color Swap, Digital Macro, Stitch Assist, Movie
Photo Effects: My Colors
Vivid, Vivid Blue, Vivid Green, Vivid Red, Neutral, Sepia, Black & White, Positive Film, Lighter Skin Tone, Darker Skin Tone, Custom
Self-Timer: Activates shutter after an approx. 2-sec./10-sec. delay, Custom
Wireless Control: Not available
Continuous Shooting: Approx. 1.3 fps (Large/Fine)

Image Storage

Storage Media: SD/SDHC Memory Card, MultiMediaCard, MMC Plus Card, HC MMC Plus Card
File Format: Design rule for camera file system, DPOF Version 1.1
Image Compression: Normal, Fine, SuperFine
JPEG Compression Mode: Still Image: Exif 2.2 (JPEG)
Movie: AVI (Image: Motion JPEG; Audio: WAVE (Monaural))
Number of Recording Pixels: Still Image: 3,264 x 2,448 (Large), 2,592 x 1,944 (Medium 1), 2,048 x 1,536 (Medium 2), 1,600 x 1,200 (Medium 3/Date Stamp), 640 x 480 (Small), 3,264 x 1,832 (Widescreen)
Movie: 640 x 480 (30 fps/30 fps LP), 320 x 240 (30 fps) available up to 4GB or 60 minutes, 640 x 480 (up to 2 hours at 0.5 fps/1 fps), 160 x 120 (up to 3 min. at 15 fps)

Playback Specifications

Playback Modes File: Still Image: Single, Magnification (approx. 2x-10x), Jump, Auto Rotate, Rotate, Resume, My Colors, My Category, Transition Effects, Histogram, Overexposure Warning, Index (9 thumbnails), Sound Memos, Slide Show, Red-eye Correction, RAW, Trimming, Resize, Image Inspection Tool
Movie: Normal Playback, Special Playback, Editing, Auto Rotate, Resume

Erasing Specifications

Erase Modes: Still Image: single image, select range, select by date, select by category, select by folder, all images
Movie: part of movie, all of movie

Interfaces

Computer Interface: USB 2.0 Hi-Speed (mini-B jack)
Video Out: NTSC/PAL
Audio Out: Monaural
Other: Memory card slot; direct connection to Canon SELPHY Compact Photo Printers, PIXMA Photo Printers and PictBridge-compatible printers via camera's USB 2.0 Hi-Speed cable

Power Supply

Power Source: 1. Rechargeable Lithium-ion Battery NB-4L
2. AC Adapter Kit ACK-DC10 (optional)
Shooting Capacity: Still Image: approx. 240 shots (NB-4L)*
Playback Time: Approx. 360 min. (NB-4L)

* LCD screen on. The above figures comply with CIPA testing standards and apply when fully-charged batteries are used.

Physical Specifications

Operating Temperature: 32-104°F/0-40°C
Operating Humidity: 10-90%
Dimensions (W x H x D): 3.42 x 2.16 x 0.87 in./86.8 x 54.8 x 22.0mm
Weight: Approx. 4.41 oz./125g (camera body only)

Buying a Digital SLR Camera? Follow These Tips.

2008-02-16T06:23:00.000-08:00

Buying a Digital SLR Camera? Follow These Tips!
by Jayda Kaycee

It is incredible to see the features that are available on digital SLR cameras, but it can also be a scary process to try to understand the details and reviews that you find. It is necessary to learn about the feature details and specifications to that you can choose which camera you would like to buy. Although there is a lot to learn, you can easily overcome your lack of knowledge by studying it out to learn what features you want.

As you learn about digital SLR cameras, there are a few points that you need to understand: What are megapixels and why do I need them? I have heard of digital SLR cameras, what are they? Is a digital SLR camera really more superior to a basic digital camera? Which model should I choose when I purchase my digital SLR camera?

Understanding the definition is important as you start on this exciting journey. Megapixel refers to the resolution of a given camera, it specifies how many pixels are in a given space. If you select a camera with higher megapixels, your photographs will be a higher quality and the image will be sharp and clear.

As you select how many megapixels you need, think about what the camera will be used for so that you don't overdo the pixel count. You pictures may look unnatural if you are using a camera with excess pixels, you do not need too many pixels if you will not be enlarging the photos. Find a good balance of pixels within your price range, and the read digital SLR camera reviews and select the model that fits your needs.

"SLR" is the abbreviation for "single lens reflex," a SLR camera has a small mirror located between the camera film and lens. This mirror projects the image to a focusing screen through the lens. This technology is found in all of today's high-end digital cameras which creates more control and image focusing for the photographer.

What is the difference between a digital SLR camera and a basic digital camera? The digital SLR cameras offer features that cannot be found on more basic cameras, including: ISO settings, higher megapixels, the ability to change camera lenses, and many more.

Now that you know a little more about digital SLR camera you will need to decide which model to choose, it is easy to see that digital SLR cameras are superior to basic cameras. Determine which features you would like to have and then compare digital SLR models through the reviews. By following these simple steps, you will soon have your brand new camera ready to use.

Photography: How to Avoid Red-Eye in Flash Photos

2008-02-12T10:01:00.000-08:00

Photography: How to Avoid Red-Eye in Flash Photos

What is red-eye, and why does it happen?
We’ve all seen it in snapshots we’ve either taken ourselves, or been shown by others: the pupils of your subject’s eyes are lit up in a devilish bright red color, unlike anything we’re used to seeing in real life. And of course, you never saw it in your camera’s viewfinder when you took the picture.

What is happening is that the pupil of a person’s eye, even though it appears to be black when we view it, is actually clear. Since the inside of the eyeball is normally never illuminated, we see it as a small black circle. But in some flash photos, if the flash is close to the lens of the camera, its illumination sends a burst of light right through to the rear of the inside of the subject’s eyeball. The retina of your subject’s eyes is rich in red blood vessels, and this produces the bright red color we see in the pictures.

If the flash is close enough to the lens, the light not only enters your subject’s inner eye, but can then reflect straight back out and actually be recorded by the camera. With the retina in your subject’s eye now fully illuminated, you get the tell-tale bright red glow that we all now know as "red-eye." So the first thing to know is that for all intents and purposes, red-eye in photos is a flash phenomenon. It’s very unlikely you’ll encounter it using sunlight, or available light only when shooting indoors.

Using the built-in flash:
Cameras like the Canon EOS Digital Rebel XT and XTi have a built-in flash, that pops upwards an inch or two for easy and convenient flash photography – at least, as long as your subjects are not too far away. And nearly every compact digital camera has a built-in flash as well. Since many of these cameras are so small in size, the designers are often forced to put the built-in flash nearly right next to the lens. Any time you use a built-in flash that’s close to the lens, you run the risk of occasionally getting red-eye in any pictures with people in the scene.

Obviously, you can’t physically move the built-in flash away from the camera lens. So manufacturers have resorted to another feature: Red-Eye Reduction.

Red-eye Reduction:
The idea of this feature is that by one means or another, the camera sends out light to your subject before the picture is taken. Since the subject’s pupils normally tend to dilate, or get wider, in dim light (and get smaller in bright light conditions), the idea is to reduce the level of red-eye by making the user’s pupils appear smaller before the picture is taken. With smaller pupils, there’s less area to be marred by red-eye, and even if it does show up in your pictures, it’ll tend to be less noticeable.

Some cameras do this by rapidly flashing the flash unit with "pulses" of flash illumination, for a second or two before the picture is taken. The hope is that your subject’s eyes will react to these rapid pops of light and the pupils will become smaller. A moment later, that actual picture is taken, with the flash firing again, but at (usually) greater power.

Canon’s cameras take a different approach, using a small, built-in lamp to shine continous white light directly at your subject for about two seconds, prior to the picture being taken. In fact, a scale appears on EOS digital SLRs with this feature in the viewfinder, to count down the two seconds that this red-eye reduction lamp is active, so that you know when to fully press the shutter button and take the picture. Again, the idea is that this added light before the picture is taken will cause the subject’s pupils to contract, and therefore reduce the level of red-eye if it appears.

It’s important to understand that neither of these approaches to in-camera red-eye control ever claim to completely eliminate the chance of getting visible red-eye. As the feature’s name says, it’s red-eye reduction, not red-eye elimination.

Using accessory speedlites:
Since an accessory flash unit (like Canon’s Speedlite 430EX, or 580EX) is larger and sits on top of the camera, the flash unit itself is raised several inches above the lens. The flash-emitting part of these units is nowhere near as close to the lens as in the case of a built-in flash. This distance between lens and flash means that right from the start, you’re less likely to get red-eye in your pictures. Let’s be clear: we’re not saying you won’t or can’t get red-eye in pictures taken with an accessory flash unit, only that because it starts out being a few inches farther from the lens, you can often avoid the probem in your shots of people.

Distance plays a key role in red-eye:
It’s a fact that the farther you are from a subject, the more likely you are to get red-eye in your flash pictures of people. The farther away you are from a subject, the more the flash illumination tends to be parallel to a straight line entering your camera lens. If flash illumination can go straight into your subject’s pupils, and then reflect straight back out again, you’ll see it as red-eye in your pictures. But if instead it’s at a slight angle relative to the "axis" that the lens is seeing, you’ll usually avoid that direct kick-back of light into the camera, and the subject’s pupils will usually appear the normal black color.

So to avoid red-eye, try to do the following:

1. Where possible, try to step physically closer to your subjects. This doesn’t mean be only inches away, but if you have a choice of taking that birthday party shot from 15 feet away, with your zoom lens at a telephoto setting, or stepping to about 6 feet away with the lens at a wider-angle setting, you’re much less likely to get red-eye from the 6 foot distance.

2. Try to resist using telephoto zoom settings in flash pictures of people. It’s not that telephoto lenses have anything to do directly with red-eye – they don’t – but any tele lens encourages you to stand back at a greater distance from your subject(s). It’s this added distance that increases the chances of red-eye.

Other techniques to avoid red-eye:

1. Bounce flash
If you’re using an accessory speedlite with bounce capability, and if you’re shooting indoors in a room with relatively low, light-colored ceilings, you can tilt your flash head upward so it shines at the ceiling, and then “bounces” back down to your actual subject(s). If done properly, this will totally eliminate any possibility of red-eye appearing in your flash pictures. The reason is that the flash illumination actually striking your subject is now coming downward, from the ceiling.

Remember that your ceiling must be white or near-white (if it’s colored, the returning light hitting your subject will take on that color – it’s no fun to eliminate red-eye, only to have an entirely red subject from that red-painted ceiling). And the other thing is that you need a standard ceiling height – somewhere around 8 to 12 feet. Bounce flash obviously won’t work in the open outdoors, and you can’t expect it to work in a large ballroom, or in a high-school gym. Finally, you’ll need to experiment and practice somewhat to get the hang of how far upward to tilt your flash head, depending upon how far away you are from your subjects (unlike direct flash, with bounce, you’re actually better off taking a step or two away from your subject, to get your light coming down at an angle instead of from directly above).

2. Use a third-party flash bracket
You’ve no doubt seen this one at every wedding you’ve been to: the pro photographer who’s shooting the wedding has his or her flash mounted on a contraption that holds it way, way above the camera. It looks totally awkward, but the pro using it has a point: by moving the flash well above the lens and its optical axis, he or she has much less concern that red-eye will appear in their flash photos. These brackets come in styles that “rotate” or “flip”, as well as completely rigid types. The rotating brackets let you position the flash head above the lens, regardless of whether you’re shooting horizontal or vertical pictures. With the rigid types, your flash may be positioned way off to one side if you turn the camera to take a vertical picture.

Canon doesn’t market these brackets, but many third-party companies do, in a wide variety of styles, degrees of ruggedness, and price points. Well-stocked camera stores usually have them on-hand. And to retain your E-TTL flash, use Canon’s Off Camera Shoe Cord 2, with one end attached to your camera’s hot shoe, and the other attached to your bracket’s flash shoe. Now, the flash will be as automatic as if it was directly on top of the camera.

3. Take the flash off the camera
Using either the Off Camera Shoe Cord 2, or Canon’s wireless E-TTL flash system, remove your flash entirely from the camera and position it elsewhere. By moving it off-camera, you virtually eliminate any possibility of red-eye. Using either the Speedlite 430EX, or the 580EX in their “slave” mode, and triggering them with an optional Speedlite Transmitter ST-E2, it’s easy to get fully automatic flash exposure, with the flash up to 20 feet or more away from the camera. The ST-E2, combined with one of these speedlites, is a great combination for effective bounce flash shooting as well, whether you’re holding a single flash off-camera in one hand, or using multiple flash units to evenly light a room or area.

4. Use available light, and don’t shoot with flash
In some conditions indoors, or at night, you can get beautiful, natural-looking pictures by simply turning off your flash, setting a higher ISO, and using natural light to take pictures. Try this along with flash pictures in different scenes, and you’ll develop a sense of when to revert to this technique. It certainly eliminates any chance of seeing red-eye.

Source: Canon

The Benefits of a Digital Camera Over a Film Camera

2008-02-07T11:23:00.000-08:00

The Benefits of a Digital Camera Over a Film Camera
by Gabriel J. Adams

Most individuals are now opting for the digital camera instead of the standard camera because of its amazing versatility. The capability to store the photographs using a memory card instead of the typical use of film is also a nice bonus! The amount of photos that can be stored on these cards usually varies with the amount of megapixels used to take the photo. The higher the amount of megapixels used for the photo, the lower the amount of photos that will be able to be stored on the memory card. Many individuals simply transfer the photos to their computer in order to free up space on those memory cards and there are several online storage sites available for use that enable photo sharing with individuals of your choice.

Photographs taken with a digital camera can be easily edited on your computer through the utilization of several different programs, though many cameras offer the ability to edit photos effectively right on the camera. The photographs can also be e-mailed to friends and relatives instantly upon transfer to your computer. The many individuals working in the media will find the digital camera to be very useful for coverage of the latest events due to the ability to instantly transmit photographs around the world; enabling the meeting of very short deadlines.

Digital cameras can be used for taking still photographs but they can also record a series of events. An interesting event that takes place can be instantly captured by a digital camera by way of a short film and then can be processed with the assistance of the computer to create a short video clip.

Most of the digital cameras available today come with custom viewfinders and LCD screens, which will enable the person to view the photo before capturing it in the camera, and thus enables you to capture only what you actually want.

The advancements in digital camera technology enable the user to take photos at a magnified version, using the macro lens and powerful zoom features, which will help in uncovering the beauty present in the universe at the micro level. Digital cameras are used to perfection in many of the adventurous activities that we participate in today. They can be used to take photos of all types of events, from underwater explorations to capture the life beneath the sea to the emotional and exciting birth of your first child.

Most of the digital cameras have been provided with their own image handling software, which is used to edit the pictures in the computer. The pictures can be saved in standard formats such as PNG, GIF, or JPEG. The software can be used to further enhance the quality of the picture. Advanced computer software, such as CorelDraw or Photoshop, can be used to further refine the photos that are captured by the digital camera and these stunning pictures can easily be developed using the digital camera in tandem with your home computer and printer.

For the average user, a digital camera is much superior to a film camera.

To Buy or Not To Buy: Nikon D40 Digital SLR Camera

2008-02-05T08:40:00.000-08:00

To Buy or Not To Buy: Nikon D40 Digital SLR Camera
by Chris Campbell

The Nikon D40 Digital SLR Camera has been on a multitude of top ten lists and received numerous five star ratings. But, every camera has it's quirks and some of them can be quite glaring. Then Nikon D40 is no exception. They say there's no such thing as a bad camera, only bad photographers. I'd like to take that a bit further, and say that there's no such thing as a bad photographer, only good photographers using the wrong camera. So, let's be a little critical with the D40 SLR, and see if it's really the right camera for you.

The most obvious shortcoming of the Nikon D40 camera, is the absence of an autofocus driver in the camera body. What this means, is that if autofocus is important to the way you take pictures, they you are somewhat limited in the number of lenses you can use with the D40. Only about ten percent of the available lenses for the Nikon D40 have autofocus drives built into the lenses. Needless to say, those lenses are considerably more expensive than lenses without autofocus (upwards of $500 or more). Autofocus would be important to anyone shooting shots with lots of movement, such as sports or wildlife.

Nikon decided that a depth of field preview feature was not necessary for the D40. Depending on your preference for taking pictures, this may or may not be of concern. Some photographers find this very helpful, but others may just experiment with different aperture settings and figure out from that what stays in focus, and what doesn't. I would suggest, that someone learning photography could really benefit from a depth of field preview as it helps to teach the principles of objects in focus and defocused.

One last small grievance. Most SLR's in this price range, allow you to take pictures in the RAW format, and the D40 is no exception. What is a bit surprising, is that when you take pictures with the RAW and JPEG format at the same time, the D40 only uses a very basic JPEG format. For a camera in this price range I would have expected better. Again, your photo taking preferences come into play here. If all you ever take is only RAW, or only JPEG format pictures, then don't concern yourself with this issue.

So, at this point you may still be convinced that the Nikon D40 SLR is still the best camera for you. That's fine, like I said earlier, it really depends on what is the right camera for you. It's hard to beat a good photographer with the right camera.

Nikon’s new AF-S Micro Nikkor 60MM F/2.8G ED Lens

2008-02-03T18:13:00.000-08:00

Nikon’s new AF-S Micro Nikkor 60MM F/2.8G ED Lens

Nikon introduced the new AF-S Micro NIKKOR 60mm f/2.8G ED lens engineered specifically for extreme close-up photography, and perfectly suited for general imaging as well. The new AF-S Micro NIKKOR 60mm f/2.8G ED lens can focus at a distance of approximately 0.185m (.6 ft.) at its closest, and allows photographers to capture breathtaking close-up photography with reproduction ratios up to 1:1 (life-size).

“Nikon is proud of its strong reputation for designing and producing some of the world's finest close-up lenses, delivering faithful and consistent color reproduction, stunning sharpness and beautifully balanced contrast,” said Edward Fasano, general manager for marketing, SLR Systems Products at Nikon, Inc. “Serious close-up photographers are naturally demanding and we are confident that these discerning customers will be excited about the performance of the new 60mm f/2.8G ED Micro NIKKOR."

Engineered for use with Nikon’s digital and 35mm SLR systems, the new AF-S Micro NIKKOR 60mm f/2.8G ED lens incorporates a myriad of innovative features and technologies, including Nikon's Silent Wave Motor technology (SWM), Nano Crystal Coat, Extra Low Dispersion (ED) glass and Internal Focusing (IF) design.

Combined with the Silent Wave Motor technology and Internal Focusing system, the
AF-S Micro NIKKOR 60mm f/2.8G ED-IF provides handling characteristics that better enable superior close-up photography. The SWM provides fast, quiet and accurate autofocus performance and Nikon’s Internal Focusing (IF) design further enhances AF performance, while also allowing photographers to manually focus quickly and smoothly. Internal Focusing (IF) also eliminates rotation of the front lens element, making it more convenient to use rotating polarizing filters as well as the Nikon Wireless Close-up Speedlight System. A rounded nine-blade diaphragm opening allows out-of-focus background or foreground scene information to appear more natural.

Nikon's exclusive Nano Crystal Coat and Super Integrated Coating produce superior color, while dramatically reducing ghosting and flare for superior image quality. An additional (Extra-low Dispersion) ED glass element minimizes chromatic aberration, allowing the lens to deliver stunning, high-contrast images while the use of two aspherical lenses help correct spherical aberration and coma, producing accurate image reproduction even at the widest aperture.

Nikon New COOLPIX S210 Digital Camera

2008-01-29T19:51:00.000-08:00

Nikon New COOLPIX S210 Digital Camera

The super thin, (less than 3/4-inch) COOLPIX S210 digital camera offers 8 effective megapixel resolution, a 3x Zoom-NIKKOR glass lens, Electronic Vibration Reduction (VR) Image Stabilization technology, and a slim, quality-crafted aluminum body. The S210’s slim, elegant camera design comes in an array of color options, and delivers high performance and ease-of-operation.

"With the COOLPIX S210, Nikon has created an affordable compact camera that boasts both style and power" says Bill Giordano, General Manager, marketing, COOLPIX for Nikon Inc. "The gentle contours of the S210’s small camera body will fit comfortably in the user’s hand providing greater mobility. Adding to the camera’s style, the S210 will come in an array of fashionable colors that are sure to excite the style-savvy consumer who is looking for an eye-catching camera that takes stunning photos."

The COOLPIX S210 features Electronic VR Image Stabilization, which is designed to help produce sharper and clearer images, especially in lower lighting conditions or when capturing moving subjects. Users can also take advantage of extended light sensitivity settings as high as ISO 2000. Automatic sensitivity control is also included, which allows users to concentrate on a taking a photo while the camera selects the optimal ISO. To minimize blur, the S210 comes with a High-Sensitivity mode that automatically selects the optimal light sensitivity. The COOLPIX S210 utilizes Nikon's innovative EXPEED image processing system for enhanced noise reduction and improved the signal-to-noise (S/N) ratio.

The COOLPIX S210 comes with a bright, high resolution 2.5-inch LCD monitor with a wide 170-degree horizontal and vertical viewing angle. The LCD monitor has an anti-reflective coating, easing the composition of photos even in direct sunlight, and an acrylic panel that prevents scratches and fingerprints. The S210 also boasts improved menu displays, as well as revised menu icons that will make framing photos easier than ever before.

Like all cameras in the COOLPIX line, the S210 boasts user-friendly imaging innovations designed to make the photo-taking process fun and easy. These technologies, referred to as Nikon In-Camera Innovations, include In-Camera Red-Eye Fix, D-Lighting, and Face Priority AF. In-Camera Red-Eye Fix automatically detects and corrects red eye, a common condition that occurs in flash photography. In playback mode, D-Lighting compensates for excessive backlight or insufficient flash in images, and Nikon’s enhanced Face-Priority AF automatically finds and focuses on up to 12 people’s faces within one frame, ensuring clear, crisp portraits.

The COOLPIX S210 comes bundled with Nikon's exclusive COOLPIX Software Suite for organizing, editing and sharing photos. The S210 is SDHC compatible and utilizes the Nikon's ultra-compact EN-EL10 rechargeable Li-ion battery. The S210 will be available in a selection of colors such as plum, graphite black, cool blue, and brushed bronze.

Canon Introduces Two Highly Anticipated Telephoto Lenses (EF200mm f/2L IS USM and the EF800mm f/5.6L IS USM) at PMA 2008

2008-01-29T19:00:00.000-08:00

Canon Introduces Two Highly Anticipated Telephoto Lenses (EF200mm f/2L IS USM and the EF800mm f/5.6L IS USM) at PMA 2008

Canon U.S.A. announced the launch of two new telephoto lenses for use with its EOS SLR cameras: the EF200mm f/2L IS USM and the EF800mm f/5.6L IS USM, the world's longest focal length lens with an Optical Image Stabilizer system. The Company, which exhibited prototypes of the lenses during PhotoPlus Expo in New York last October, is launching them at the PMA tradeshow (booth E101) at the Las Vegas Convention Center, January 31 to February 2.

"The development of these two new lenses continues to show how Canon actively responds to the imaging needs of our professional and advanced amateur customers. We are proud to provide the right equipment to help photographers capture the best and brightest images under all conditions," said Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.

The EF800mm f/5.6L IS USM and EF200mm f/2L IS USM are professional L-Series lenses that incorporate the latest generation of Canon's high-performance Optical Image Stabilizer system (OIS), giving them a stabilization effect equivalent to a shutter speed four settings faster. In addition, they feature optical systems utilizing fluorite and UD lens elements to provide excellent chromatic aberration correction for high-resolution, high-contrast shooting performance. Both lenses use only lead-free glass, and also incorporate lightweight yet durable magnesium alloy lens barrels with enhanced resistance to moisture and dust.

The Canon EF200mm f/2L IS USM is an exceptionally sharp lens that is significantly lighter (2520g/5.5 lbs. vs. 3000g/6.6 lbs.) than its predecessor, the renowned EF200mm f/1.8L USM lens, while adding OIS and a weather-resistant design. Ideal for all kinds of low-light photography including portraiture as well as indoor sports, the EF200mm f/2L IS USM has a close-focus setting of 1.9 m/6.2 feet and a circular aperture system that enhances its background blur rendition at wide apertures.

The Canon EF800mm f/5.6L IS USM is not only the longest focal length lens available with OIS, it is also virtually the same physical size as the EF600mm f/4L IS USM (461mm vs. 456mm), while weighing nearly 2 lbs. less (4500g/9.9 lbs. vs. 5360g/11.8 lbs.). These outstanding features were made possible by the use of a lightweight magnesium alloy lens barrel construction and a state-of-the-art super-telephoto optical system featuring 2 fluorite elements as well as Super UD and UD glass elements. The EF800mm f/5.6L IS USM is well-suited for a wide variety of long-range photo applications such as wildlife and nature photography as well as sports and documentary photojournalism.

The new Canon EF200mm f/2L IS USM is scheduled to be available in April at an estimated retail price of $5,999.00 and the new Canon EF800mm f/5.6L IS USM is scheduled to be available in May for an estimated retail price of $11,999.00.

Simply The Best Digital SLR Camera - Period.

2008-01-27T10:55:00.000-08:00

Simply The Best Digital SLR Camera - Period.
by Chris Campbell

So, you've decided to make the jump from simple point and shoot cameras into the realm of SLR photography. If you've done any sort of research, your mind and eyeballs are probably reeling from an overload of information. Digital SLR photography, is one those hobbies that is rich with technological jargon. It gets worse, if your one of the perfectionist type that really likes to minutely analyze any major purchase... intent on getting the best digital SLR camera for your money. You could be in for a long bumpy ride. Today it's time to shorten that ride and smooth out the bumps.

Lets get right to it. It's very true, that the immense popularity of digital cameras (SLR and otherwise) and rapid technical advances have produced a glut of choices and features that can be bewildering to the average consumer. Those same trends have have also pushed manufactures and retail establishments to be highly competitive in both design and pricing. That's something that can only benefit the consumer. In a couple of ways actually. Not only do you have a bevy of choices, but the vast majority of those SLR choices are really good cameras. Long story short... it's hard to go wrong in this category. I'll make it even simpler for you. Pick any one of the following three digital SLR cameras, and you won't be disappointed. They are the Canon Digital Rebel XTi, the Nikon D40, and the Olympus Evolt E510. As of this writing, the 10 megapixels flavors for these cameras are all available for about $600. That includes a basic kit lens. That feels like highway robbery, compared to the $1000 I paid for a good point and shoot digital just a few years back.

When looking for the best digital SLR camera you can find, the important word to remember is "YOU". Ask a dozen camera enthusiasts why they their favourite camera is their favourite, and you likely get a dozen answers. Every photographer takes pictures for different reasons, values different attributes in the finished pictures, and handles a camera differently. And so will you. A good hands-on exercise before making your final selection, would be to go to a speciality camera store with lots of models on hand, during a non busy time. Try out as many models as you can, taking pictures of people, things, shadows, and any odd lighting areas of the store you can. Try different lenses to. Have lots of questions for the sales people, but take their answers with a grain of salt. They are sales people after all. The actual experience of handling and using the camera should be your final factor in making your decision. Not specifications like burst mode, megapixels, ISO, or sensor size. The best digital camera, is the one that enables YOU to take the best pictures you can.

Still feel a need to look some more? That's fine. Like I said there are a crazy number of choices when it comes to digital SLRs. It never hurts to take a peek into what Canon, Nikon, Olympus and others are offering as the latest and greatest SLR cameras. Just remember, the more time you spend looking for a camera, the less time you spend taking pictures.

The New Canon PowerShot SD1100 IS Digital Camera

2008-01-25T14:41:00.000-08:00

The New Canon PowerShot SD1100 IS Digital Camera

The Canon PowerShot SD1100 IS Digital ELPH camera - the newest entry in Canon U.S.A., Inc.'s ever-fashionable line of catwalk-worthy ELPH cameras – adds another dimension to the line's active lifestyle eye appeal: color. Whether the activity du jour involves painting the town red, dancing 'til dawn, soaking up golden rays as the sun rises over a coral-colored beach or getting lost in a loved ones' baby blues, these petite and colorfully clad cameras make the scene and capture it, for the magic of the moment or for more enduring memories.

The Canon PowerShot SD1100 IS Digital ELPH camera is offered in five lyrically named designer shades that suit the style, present the personality and express their user's taste and tempo. From the eclectic mix of antique elegance and au courant accessorizing of Bohemian Brown; the shimmering chic and subtle heat of Pink Melody; the wistful and occasionally wild stirrings of Rhythm and Blue, and of course, the exquisite refinement and enduring appeal of precious metals conveyed by the PowerShot SD1100 IS Digital ELPH camera dressed only in its Golden Tone skin or catching the array of light – both brilliant and soft–as it plays on the camera body's Swing Silver sheen, these cameras capture the images at hand while conveying a picture of their users worth at least a thousand words.

Still, the PowerShot SD1100 IS Digital ELPH camera is not just another pretty face. This feature-rich, pocket-sized, 8.0 megapixel, optically image stabilized digital camera is firmly rooted in the traditions of photo excellence and imaging innovation that Canon is known for.

"We recognize that many Digital ELPH camera users view their cameras as statements of personal style, valued as much for the image they convey as the images they capture," said Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A. "The color choices of the PowerShot SD1100 IS Digital ELPH camera create additional opportunities for personalization and individual expression."

A Sharp Zoom Lens with Image Stabilization
Adding to the new camera's versatility and optical excellence is its sharp and fast 3X optical zoom lens (38-114mm equivalent opening up to f/2.8 at wide-angle settings and f/4.9 at telephoto settings). The PowerShot SD1100 IS Digital ELPH camera also features Canon's advanced Optical Image Stabilization (OIS) system that significantly reduces the image-blurring effects of camera shake by shifting the lens to compensate for the movement. Available for the first time in an entry level Digital ELPH, Canon's OIS technology is proven effective for extended telephoto shots as well as low-light shooting conditions and helps users get the best possible picture quality every time.

Genuine Face Detection Technology
Beyond their appeal on the social scene, the PowerShot SD1100 IS Digital ELPH cameras feature the latest and most advanced generation of Canon's Genuine Face Detection technology, thus ensuring that up to nine forward-looking faces in the frame – whether posed for a family portrait, candidly capturing friends and fun, or spontaneously snapping a toddler's expression of triumphant glee as two halting steps – are in focus and properly exposed, with or without flash. In addition to focus and exposure control, the SD1100 IS camera's Face Detection feature captures truer, more accurately lit skin tones (and hence more beautifully rendered pictures) thanks to Canon's improved face detection white balance.

Face Selection and Motion Detection Technology
While the face detection algorithm automatically prioritizes up to nine human faces in a scene, it can also be instructed via the Face Select and Track function to lock on to a single face in the crowd, ensuring that the chosen countenance is finely focused, no matter where it appears in the frame. Additionally, a new Motion Detection function linked to the camera's High ISO Auto mode improves image clarity by raising ISO speeds (and shutter speeds) for fast-moving subjects or lowering ISO speeds to reduce noise when the subject is stationary. These automatic advances provide even more ways for the PowerShot SD1100 IS Digital ELPH cameras to optimize picture quality with seamless ease.

DIGIC III
The "brain" in every new Canon digital camera is Canon's proprietary DIGIC III imaging processor. This exclusive chip is responsible for the cameras' higher performance levels including faster start up, faster autofocus and quicker shutter response times that leave long lag competitors far behind. What's more, DIGIC III improves both the image quality and the cameras' power consumption, extending the battery life under typical shooting conditions.

See and be Scene
The PowerShot SD1100 IS Digital ELPH camera offers users a choice of 18 shooting modes including a fully automatic mode that makes these cameras a true point-and-shoot affair; a semi-automatic "Camera M" mode which allows access to features such as Exposure Compensation and White Balance adjustments that Full Auto mode does not, as well as a plethora of scene selection modes - including Canon's new Sunset mode – that optimize image results under a variety of shooting conditions.

These scene modes put the power of Canon's collective photo expertise into the hands of even the most rookie shooter, ensuring that in the end, the shots are the best that they can be, whether indoors or out; in day or night light (and now, with the Sunset setting, in between too); through an aquarium glass; across stark snowy vistas or bleached sandy beaches; into lush, colorful foliage or at a brilliant burst of fireworks against a black satin sky.

The PowerShot SD1100 IS Digital ELPH cameras feature Canon's precise 9-point Autofocus system along with the new AF-Point Zoom feature that work together with Face Detection Technology to allow users to double check the facial expressions of their subjects, when shooting under more challenging conditions. After activating the feature in the camera's menu, the AF-Point Zoom can be engaged simply by pressing the shutter button halfway.

Streamlining the image review process, Canon's Intelligent Orientation Sensor determines whether a scene is being shot as a vertical or horizontal image and automatically adjusts it for quick and easy review on the camera's bright, sharp and easy-to-read, 230,000-pixel 2.5 inch Pure Color LCD II screen. The Image Inspection Tool feature zooms in on faces automatically during playback to make it even easier to check facial expressions. The new cameras also feature Canon's newly developed Automatic Red Eye Correction that engages in the shooting mode, minimizing the need for correction before printing or sharing images. In-Camera Trimming is yet another new advancement that allows users to adjust and save cropped versions of their images without using a computer. As an added convenience, the Canon PowerShot SD1100 IS Digital ELPH cameras are compatible with MMC, MMC+ and HC MMC+ memory cards as well as standard SD and SDHC memory cards.

What Is A Good Digital Camera?

2008-01-23T14:58:00.000-08:00

What Is A Good Digital Camera?
by Claude Fullinfaw

Digital Photography for Beginners

The latest cameras on the market are so easy to operate that both professionals as well as the amateur can now take excellent photos. The photo resolution and the shutter speed of these new camera devices are so perfect that it's a breeze to take your photographs now. If these features do not operative to the high standards that we expect them to, all we have to do then is jump onto our computers and get into one of those fancy software programs that make editing your photos so easy. An excellent way to bring life back to your precious moments you had captured on your digital camera.

Do you remember the last time you took a photograph? May I ask you if it was perfect in every detail? Well! The reality is that you may have not taken a really good shot after all. Quite often we take good snaps but if we were to look at all the elements that make up a good photo the chances are our photo may fall short in quite a few key areas. Perhaps you paid a lot of attention to framing your photo but paid less attention to the lighting factor that may affect the final picture. Maybe you did pay attention to the lighting detail but you completely forgot that you had to include a flash or you may have slipped up on the final adjustments and the red-eye reduction settings were one of them. This would certainly make your photos look quite ordinary. To avoid this human error in taking photos we now have at our disposal the modern digital camera that allows us to take photography to the next level giving our snaps the professional look they deserve.

What Is A Good Digital Camera?

A good digital camera is so clever that it is able to adjust its settings to take on what ever it's asked to do. I certainly am not so smart as these small gadgets. It can bring to life pictures taken in the dark shadows in the steamy rain forest or among the bright backgrounds present among the roses in the garden. It's program is smart to work it around all the different scenarios that may arise in its short life to bring pleasure to its you as it's owner with gifts of beautiful memories for you to cherish.

Digital cameras are so powerful that within minutes you could have your picture edited and in a frame on your dining table ready for your guests to take a look at before they leave the family reunion. Imagine all of you crowded around looking at your little baby boy gaping up at the camera. The grandparents would certainly love to be able to share in those captured moments in your child's life especially id they live away from you. The digital technology that comes today with your camera includes the red-eye reduction, crop features, zoom and automatic color enhancements. Certainly it has been a great help to have these tools at hand to be able to just shoot and print beautiful photos. It just cannot get easier. At least it may seem like that for the moment at least. We can never tell what good surprises invention has in store for us mortals to get even lazier and let these little cameras take over.

Are you are aware that you could do digital photos without a digital camera or any of the software that is out there to create photos? The camera is only a part of the entire process taking and making perfect snaps. The camera is only an instrument if I may say in taking the perfect photograph. From here on it gets better as we have numerous software programs designed to take your photographs to the next level to get the most out of them. It's certainly wonderful as this is where the dirt hits the road and the magic happens. We can turn into magicians for a moment and transform our photographs completely around by changing the looks of the images with the brilliant software at hand. And we can do almost anything to the image to make it jump out of the photograph at us.

Claude Fullinfaw is a successful publisher of digital photography tips at Digital-Photography-For-Beginners.com where he provides more information on digital photography that you can research in your pajamas on his website at Digital Photography.

Digital Camera: Photographing Sunrises & Sunsets

2008-01-22T12:54:00.000-08:00

Digital Camera: Photographing Sunrises & Sunsets

Place the horizon off-center
The picture will be more interesting if the horizon is not in the center of the picture. To include a lot of the colorful sky, place the horizon in the lower third of the frame.

Use night flash
Night flash combines a slow shutter speed to capture the background scene with flash that illuminates a nearby subject. It's especially good for taking a picture of a person with the sunset or city lights in the background.

Include a silhouette
Your sunset pictures will be even better when you include a foreground object such as a tree or a person silhouetted against the colorful sky in the background. Use the 'no flash" option on your camera, or it won't be a silhouette.

Keep your lens clean
Dust particles, fingerprints, or other foreign matter can cause considerable lens flare when you include the sun in your pictures.

Digital Camera: Photographing Parties

2008-01-20T12:49:00.000-08:00

Digital Camera: Photographing Parties

Holiday gatherings are great opportunities to take pictures your friends and family will enjoy for years to come, so break the camera out early—while everyone’s fresh—and follow these tips to help make the most of your pictures from this special time of year.

Get the Group

It can be difficult to get everyone in one place. While you have the whole gang together, take a group or family portrait! It will probably be a treasured keepsake.

Be Candid

Resist the urge to make every shot a posed photo - jump into the "life of the party" for candid shots that capture the spirit of the people and the occasion. Move around to get different perspectives on any games, hugging, dancing, cooking and eating. If you’re shooting digital, take lots of pictures and then edit later. Don’t forget to use your camera's video mode to capture the fun as well.

Zoom In

Closer to your subject is almost always better. Use your zoom to fill the frame and get more dynamic compositions. Sometimes once a guest sees the camera, they freeze up, so standing back and using the zoom mode can also result in more authentic and unexpected candids.

Set the Mode

Unless you’re going for a specific effect, use the camera’s easiest shooting mode for your situation. If your camera has a “Party” mode setting, use that. If not, use the “Automatic” mode and let the camera figure out the right shutter speed, flash and other settings.

How to (No Kidding) Read Your Camera Manual

2008-01-19T05:45:00.000-08:00

How to (No Kidding) Read Your Camera Manual
by Barry Tanenbaum

As a writer and editor in the photo business I find myself from time to time in the office of Lindsay Silverman, senior technical manager at Nikon. Invariably, there'll be a stack of camera manuals on his desk. Nothing unusual there, but what distinguishes Lindsay's collection is the fact that the pages of these manuals bristle with tiny color tags.

One day I asked, "What's with the Post-it flags?"
"That's the way I read manuals," Lindsay said.
"You mean that's the way you mark them for future reference."
"Well, yes and no," he said. "C'mon, I'll buy you a cup of coffee and explain it."

To start with, he said, manuals in general have a bad reputation. "I hear it all the time: 'Who wrote this stupid manual?' 'Why does it have to be so long?' But the problem isn't the manual, it's the way a lot of people read it—or don't read it. They take the camera out of the box and while the battery charges up they'll either ignore the manual and go do something else, or they'll sit down and start to read the manual, intending to go cover to cover."

"It's not a novel," he said. "It's a lot of information, and like a manual for any product that involves a degree of technology, a camera manual can be confusing simply because it's hard to digest in one shot."
"And you suggest…?"
"Here's what I do. I break it down into categories of information: What do I already know? What do I need to know right now? What do I need to know a lot of the time? What do I need to know some of the time?

"Let's say it's a digital SLR, like the D200. I know how to mount a lens, how to put the battery in—I work at Nikon, I gotta know that! I also know how to go into the custom settings menu because I'm familiar with those steps from a previous Nikon model, so I can set some basic functions.

"Next, what do I need to know now? For me that's metering and autofocus choices, the speed of the frame advance and details of the custom settings. I don't sell the custom settings short: they're what makes the camera mine and makes it work for me the way I want it to work. Custom settings aren't something I get to eventually, I go there pretty quickly."

"Okay," I said, "I got the order of things. But the color tabs….?"

"I know, it may sound weird, and my colleagues chide me on this, but we all have our ways of learning and doing things. As I read the sections I'm interested in—and this can be over a period of days—I'll get to things I want to know about, and I mark the sections according to my own code of interests: red for flash info, yellow for the operating modes of the camera and so on. Now I can go right to the information I need when I need it."

"Making it accessible and digestible," I said.

"Right. To me it makes no sense to read any manual front to back. There's no narrative there; there's no story. There's information, facts and suggestions, and I want to go to them as I need them."

"What about the quick setup guides that come with the cameras?

"They come with everything these days," Lindsay said, "and they're the easy way in. But they tell you what you need to get started, not what you need to get into the things that allow you to really control and customize your camera, the things you need to get the most out of the camera."

Well, I didn't go out and buy Post-it flags after talking with Lindsay, but I did take his suggestions to heart: no more cover-to-cover for any manual—camera, DVD recorder, electronic keyboard, anything. I'm going right to what I need to know immediately, and I'll learn the rest as I need to and as I go along. Hey, my cell phone manual has more pages than The Old Man and the Sea, but it's nowhere near as engaging.

Digital Camera: Top 10 Tips for Great Pictures

2008-01-15T18:05:00.000-08:00

Digital Camera: Top 10 Tips for Great Pictures

01) Look your subject in the eye
Direct eye contact can be as engaging in a picture as it is in real life. When taking a picture of someone, hold the camera at the person's eye level to unleash the power of those magnetic gazes and mesmerizing smiles. For children, that means stooping to their level. And your subject need not always stare at the camera. All by itself that eye level angle will create a personal and inviting feeling that pulls you into the picture.

02) Use a plain background
A plain background shows off the subject you are photographing. When you look through the camera viewfinder, force yourself to study the area surrounding your subject. Make sure no poles grow from the head of your favorite niece and that no cars seem to dangle from her ears.

03) Use flash outdoors
Bright sun can create unattractive deep facial shadows. Eliminate the shadows by using your flash to lighten the face. When taking people pictures on sunny days, turn your flash on. You may have a choice of fill-flash mode or full-flash mode. If the person is within five feet, use the fill-flash mode; beyond five feet, the full-power mode may be required. With a digital camera, use the picture display panel to review the results.
On cloudy days, use the camera's fill-flash mode if it has one. The flash will brighten up people's faces and make them stand out. Also take a picture without the flash, because the soft light of overcast days sometimes gives quite pleasing results by itself.

04) Move in close
If your subject is smaller than a car, take a step or two closer before taking the picture and zoom in on your subject. Your goal is to fill the picture area with the subject you are photographing. Up close you can reveal telling details, like a sprinkle of freckles or an arched eyebrow.
But don't get too close or your pictures will be blurry. The closest focusing distance for most cameras is about three feet, or about one step away from your camera. If you get closer than the closest focusing distance of your camera (see your manual to be sure), your pictures will be blurry.

05) Move it from the middle
Center-stage is a great place for a performer to be. However, the middle of your picture is not the best place for your subject. Bring your picture to life by simply moving your subject away from the middle of your picture. Start by playing tick-tack-toe with subject position. Imagine a tick-tack-toe grid in your viewfinder. Now place your important subject at one of the intersections of lines.
You'll need to lock the focus if you have an auto-focus camera because most of them focus on whatever is in the center of the viewfinder.

06) Lock the focus
If your subject is not in the center of the picture, you need to lock the focus to create a sharp picture. Most auto-focus cameras focus on whatever is in the center of the picture. But to improve pictures, you will often want to move the subject away from the center of the picture. If you don't want a blurred picture, you'll need to first lock the focus with the subject in the middle and then recompose the picture so the subject is away from the middle.
Usually you can lock the focus in three steps. First, center the subject and press and hold the shutter button halfway down. Second, reposition your camera (while still holding the shutter button) so the subject is away from the center. And third, finish by pressing the shutter button all the way down to take the picture.

07) Know your flash's range
The number one flash mistake is taking pictures beyond the flash's range. Why is this a mistake? Because pictures taken beyond the maximum flash range will be too dark. For many cameras, the maximum flash range is less than fifteen feet—about five steps away.
What is your camera's flash range? Look it up in your camera manual. Can't find it? Then don't take a chance. Position yourself so subjects are no farther than ten feet away.

08) Watch the light
Next to the subject, the most important part of every picture is the light. It affects the appearance of everything you photograph. On a great-grandmother, bright sunlight from the side can enhance wrinkles. But the soft light of a cloudy day can subdue those same wrinkles.
Don't like the light on your subject? Then move yourself or your subject. For landscapes, try to take pictures early or late in the day when the light is orangish and rakes across the land.

09) Take some vertical pictures
Is your camera vertically challenged? It is if you never turn it sideways to take a vertical picture. All sorts of things look better in a vertical picture. From a lighthouse near a cliff to the Eiffel Tower to your four-year-old niece jumping in a puddle. So next time out, make a conscious effort to turn your camera sideways and take some vertical pictures.

10) Be a picture director
Take control of your picture-taking and watch your pictures dramatically improve. Become a picture director, not just a passive picture-taker. A picture director takes charge. A picture director picks the location: "Everybody go outside to the backyard." A picture director adds props: "Girls, put on your pink sunglasses." A picture director arranges people: "Now move in close, and lean toward the camera."

Canon VIXIA: a new lineup of consumer High-Definition camcorders

2008-01-11T10:43:00.000-08:00

Canon VIXIA: a new lineup of consumer High-Definition camcorders

The new HD camcorder family – the Canon VIXIA HF10 Dual Flash Memory camcorder, VIXIA HF100 Flash Memory camcorder and VIXIA HV30 HD camcorder – reflects Canon's commitment to High-Definition imaging excellence. In addition, the previously released HG10 AVCHD Hard Disk Drive camcorder and HR10 AVCHD DVD camcorder join the VIXIA family, giving consumers a variety of formats to choose from, all of which deliver a superior High-Definition experience. Also being introduced is the DW-100 DVD Burner.

"We are very excited about our new VIXIA family of camcorders, as well as being an innovator by offering Dual Flash Memory," said Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A. "Consumers are actively investing in HD televisions and they're discovering the value of capturing memories in HD. Whichever format consumers may prefer, including our revolutionary Dual Flash Memory, all VIXIA camcorders share Genuine Canon Optics and a host of Canon technologies allowing precious moments to be preserved with unrivaled color and clarity."

VIXIA Core Technologies

All VIXIA camcorders feature Canon core technologies to create HD video that possesses the highest level of image quality – a Genuine Canon HD Video Lens incorporates over 70 years of optics experience in professional broadcast and photography; a Canon designed and manufactured HD CMOS Image Sensor for Full HD (1920 x 1080) image capture; the Canon-developed DIGIC DV II Image Processor for superior color and clarity; Instant AutoFocus for fast and accurate auto focusing, crucial for HD; and SuperRange Optical Image Stabilization, which corrects a wide range of camcorder vibration for virtually shake-free images.

Dual Flash Memory – The Ultimate Consumer Convenience

Canon's breakthrough use of Dual Flash Memory – the ability to record to an internal Flash drive as well as a removable SDHC memory card - allows consumers to experience a new level of performance, style and flexibility. Dual Flash Memory allows consumers to record video to the camcorder's internal Flash drive even if they do not have a memory card. When the internal Flash drive becomes full, footage can be easily transferred to an SDHC memory card and when it comes time to view their video, the card is simply placed into a memory card reader in a computer or HDTV for instant viewing. Furthermore, having a SDHC memory card slot allows for expandability, since greater capacity can be added in the future by purchasing additional cards.

Flash Memory boasts a number of advantages and end-user benefits for maximum convenience and flexibility. Since Flash Memory is a solid-state memory format and has no moving parts, the camcorder can be smaller, more compact and lighter than ever before, allowing it to be carried anywhere. Additionally, Flash Memory is a highly stable method of storage, and as a result, accidental jolts to the camcorder are significantly less likely to result in failure or data loss. Consumers will also enjoy the camcorder's low power consumption, which leads to longer battery time. Compared with other types of storage, Flash Memory camcorders are able to read and write data faster, so users can start recording faster and have immediate access to their recorded scenes.

VIXIA HF10 Dual Flash Memory and VIXIA HF100 Flash Memory Camcorders

Despite their compact size, the VIXIA HF10 Dual Flash Memory and HF100 Flash Memory camcorders are packed with advanced technology and a wealth of features to create stunning quality video. The VIXIA HF10 Dual Flash Memory camcorder offers the flexibility of recording up to 6 hours of High-Definition video to a 16GB internal Flash drive, as well as the option of recording to an SDHC memory card. The HF100 Flash Memory camcorder features an SDHC memory card slot only. The SDHC slot provides future storage expandability with both models. These camcorders also offer other sophisticated new features, including a newly designed Genuine Canon 12x HD Video Lens, a robust Canon 3.3 Megapixel Full HD CMOS Image Sensor, and Full HD Lens-to-Screen (1920 x 1080 Full HD resolution to capture, record and output).

In addition to 24p Cinema Mode, which allows users to mimic the look of Hollywood-style movies, the VIXIA HF10 Dual Flash Memory and HF100 Flash Memory camcorders offer a new feature called 30p Progressive Mode. Canon's 30p Progressive Mode, once exclusive to pro-level camcorders, delivers clarity for fast action events, such as sports or news, and is the perfect frame rate for clips intended to be posted on the Web. A 2.7" Widescreen Multi-Angle Vivid LCD offers a wide viewing angle, making it visible from any direction. It also offers an expanded color range to more accurately reflect what users will see later on their HDTV. The models use an Intelligent Lithium-ion Battery, which indicate the remaining battery time down to the minute. Furthermore, the VIXIA HF10 Dual Flash Memory and HF100 Flash Memory camcorders offer a newly designed Mini Advanced Accessory Shoe, providing cable-free connectivity to an optional Canon microphone or video light. A microphone terminal with manual level control delivers additional audio flexibility and a fully functional 3.1 Megapixel digital camera is built right in, allowing consumers to capture high-quality still images with a wide selection of Advanced Photo features.

VIXIA HV30 HD Camcorder

As the successor to the highly acclaimed, award-winning Canon HV20 HD Camcorder, the VIXIA HV30 HD camcorder provides consumers with the ability to record HD quality video to MiniDV cassettes. Wrapped in a sophisticated black exterior, the VIXIA HV30 camcorder features a Genuine Canon 10X HD Video Lens, Canon 2.96 Megapixel Full HD CMOS Image Sensor, DIGIC DV II Image Processor, a 30p Progressive Mode (and 24p Cinema Mode), and a 2.7" Widescreen Multi-Angle Vivid LCD. In addition, the VIXIA HV30 camcorder is compatible with Canon's high capacity BP-2L24H Lithium-ion battery.

DW-100 DVD Burner

The Canon DW-100 DVD Burner is the perfect companion for Canon Flash Memory camcorders and Canon Hard Disk Drive camcorders. It allows a consumer to burn all, part or previously recorded video from a compatible Canon camcorder to a DVD. In addition to burning Standard Definition DVDs, the DW-100 can also burn AVCHD DVDs which can be played in compatible Blu-Ray players. The DW-100 DVD Burner has only three buttons: power, record and eject, making operation fast and easy. Unlike other similar yet daunting devices, the DW-100 DVD Burner is designed for one-touch operation: connect via USB, set and burn. The DW-100 can also act as a player itself by connecting to an HDTV through the Canon VIXIA HF10, VIXIA HF100 or VIXIA HG10 camcorders.

Security Camera Swann Microcam 3 Wireless Ultra Miniature

2008-01-09T13:18:00.000-08:00

Security Camera Swann Microcam 3 Wireless Ultra Miniature

The ultimate in miniature surveillance technology available. The 2.4GHz transmission gives extended range and the clarity and picture quality have been enhanced for even better full color images.

The extremely small camera is portable and easily concealed. Position it in the babies room, use it on a pole to check for leaves in your guttering or look for vermin inside small cavities. The tiny MicroCam 3™ will transmit up to 100m/328ft. It can be used with a 9V battery or the mains power adapter included in the kit.

Features

380 TV Lines for clear image resolution
Miniature & discreet for day surveillance
For indoor covert home or office use
Wireless 2.4GHz transmission between camera & receiver up to 150ft (50m)
Connect receiver to any TV, VCR or Swann Security Monitor
Camera set to channel 3 (2450MHz) wireless frequency
Receiver switchable between 4 channels to add extra wireless cameras

Specifications

Image Sensor: 1/3' CMOS
TV System: NTSC/ PAL
Resolution: 380TV Lines
Scan Frequency: NTSC 60Hz / PAL 50Hz
Minimum Illumination: 1 Lux
Output Power: 10mW / 3mW USA
Transmission Frequency: 2.4Ghz
Camera Power: 5V ~ 9V DC 200mA
Receiver Power: 9V ~ 12V DC
Max Transmission Distance: 328ft / 100m
Operating Temperature: 32°F ~ 122°F / 0°C ~ 50°C

Caution: Important Notice to users of Fujifilm FinePix Z10fd Digital Camera

2008-01-06T10:12:00.000-08:00

Caution: Important Notice to users of Fujifilm FinePix Z10fd Digital Camera

From FUJIFILM: Please read below "CAUTION" carefully, and insert the battery with right direction.
If the battery is loaded incorrectly, do not attempt to remove it with excessive force, and contact a FUJIFILM repair service.

If the battery is loaded with the arrow in an upward direction, or facing back to front, it may become jammed. Using excessive force to remove the battery may cause the battery to become damaged, overheat, ignite or explode. If the battery is loaded incorrectly, do not attempt to remove it with excessive force, and contact a FUJIFILM repair service. Refer to the instruction manual for FUJIFILM repair service contact information.

If a battery pack or battery charger other than a FUJIFILM product is used for this camera, there may be a possibility of heat generation, ignition or explosion of the battery. FUJIFILM Corporation cannot accept liability for any damage due to accident, such as breakdown, heat generation, ignition or explosion, as a result of using a battery pack or battery charger that is not a FUJIFILM product. In this case, the repair of this product is not covered by the guarantee.

Source: FujiFilm

Resolution: Canon EOS 1Ds Mark III 21.1MP Digital SLR Camera

2008-01-04T10:02:00.000-08:00

Canon EOS 1Ds Mark III 21.1MP Digital SLR Camera

The new 21.1-megapixel, full-frame Canon EOS-1Ds Mark III digital SLR camera brings the power of Canon's professional imaging excellence and innovation into sharper focus than ever before. While Canon's EOS-1D series has dominated the 35mm-based professional Digital SLR market for the past six years, the new EOS-1Ds Mark III digital SLR takes Canon's pro-digital prowess into and the realm of high-fashion and commercial photo studios where bulkier, medium-format cameras previously reigned.

The Canon EOS-1Ds Mark III's compact, lighter-weight magnesium alloy body is rugged and versatile enough to take out of the studio and into the field. The camera's fast, five-frame-per-second (fps) shooting rate for bursts of up to 56 Large/Fine (21-megapixel) JPEGS or 12 RAW images is unmatched in its class, making it the ideal instrument for capturing the fluid motion and free-flowing lines of location-based fashion photography as well as a wide range of other professional photographic applications.

Revolutionary Resolution
Developed and manufactured by Canon specifically for the EOS-1Ds Mark III digital SLR, the camera's new full-size 36 x 24-millimeter CMOS image sensor offers the highest resolution in its class and is comprised of approximately 21.1 million effective pixels (5632 x 3750) set at a pitch of 6.4 microns. The user can select any one of six recording formats ranging from 21.0 megapixels in Large JPEG or RAW format, 16.6 or 11.0 megapixels in the two medium JPEG sizes, or 5.2 megapixels in the small JPEG or "sRAW" formats. In any JPEG format, the user can set one of ten compression rates for each image size. In sRAW mode, the number of pixels is reduced to one-fourth that of a standard RAW image and the file size is cut in half, while retaining all of the flexibility and creative possibilities associated with full-size, traditional RAW images.

Dual "DIGIC III" Image Processors
Fulfilling the ultra-low noise, ultra-high image quality promise of the EOS-1Ds Mark III Digital SLR camera requires handling the enormous signal processing requirements of the camera's 21-megapixel resolution and top continuous shooting speed of five fps. To accomplish this, Canon has incorporated two identical DIGIC III imaging engines into the camera for parallel (and hence, faster) signal processing. The CMOS sensor reads out to the dual "DIGIC III" processors simultaneously in eight channels. DIGIC III is the next generation of Canon's proprietary image processing engine. This technology ensures the fine details and natural colors of images are optimally recorded and, as an added bonus, is responsible for the EOS-1Ds Mark III SLR's high-speed performance, faster signal processing, and more efficient energy consumption.

Adding to the improved virtuosity of the images captured by the EOS-1Ds Mark III Digital SLR camera is the camera's 14-bit Analog-to-Digital (A/D) conversion process. Able to recognize 16,384 colors per channel (four times the number of colors recognized by the EOS-1Ds Mark II Digital SLR camera's 12-bit conversion capability), this line-leading model is able to produce images with finer and more accurate gradations of tones and colors. Additionally, given the significantly larger image file sizes created by the EOS-1Ds Mark III Digital SLR camera, Canon has provided compatibility with the new Ultra Direct Memory Access (UDMA) compact flash memory card specification, which enables ultra-high-speed data transfer to the card. Utilizing a UDMA compliant card doubles the data transfer speed compared to a conventional memory card, putting the new EOS-1Ds Mark III on par with the 10.1-megapixel EOS-1D Mark III camera, even though the pixel count of this new model is more than twice as large.

Advanced Autofocus Technology
The EOS-1Ds Mark III autofocus system--first introduced earlier in 2007 on the EOS-1D Mark III Digital SLR--has 45 AF points including 19 high-precision cross-type points and 26 Assist AF points. This new array allows the 19 cross-type points to be divided into groups of nine inner and nine outer focusing points plus a center point, which makes picking an individual focusing point much faster and easier than going through all 45. During manual AF point selection, the AF point area is expandable in two stages via Custom Function control.

At the request of sports and wildlife photographers, a new micro-adjustment feature allows for very fine changes in the AF point of focus for each lens type in use, along with the addition of adjustable focus-tracking sensitivity as another sophisticated new AF feature. Other new components in the AF system include the reconfigured concave submirror and the secondary image formation lens, both products of Canon's vast expertise in optical engineering. Finally, the low-light sensitivity of the new AF sensor has been doubled to EV-1 for superior performance compared with earlier EOS Digital SLRs.

Live View
One of the dynamic innovations incorporated into new EOS Digital SLRs--and optimized for professional shooters on the EOS-1Ds Mark III digital SLR--is Canon's Live View shooting mode, which provides photographers with an expanded and exceedingly convenient set of shooting options beyond the conventional SLR through-the-lens viewing. Framing and shooting subjects using the camera's LCD screen affords the shooter the same 100 percent field of view provided by the optical viewfinder--this is a full-frame Digital SLR after all--but Live View has the added advantage of allowing the image to be more easily composed on the camera's bright and brilliant 230,000-pixel, three-inch LED screen. Additionally, the LCD-viewed image can be magnified by five or ten times in order to ensure that the shot is optimally focused.

Live View is at its best during tripod shooting, particularly for close-up photography where precise focusing is imperative. As a side benefit, the Live View shooting mode helps to reduce vibration by lifting the reflex mirror out of the optical path well in advance of the exposure, improving image quality at slow shutter speeds. Additionally, as the release time lag is miniscule, even instantaneous movements like a bird taking flight can be readily captured. The shutter charge sound can be delayed and made quieter than normal in Live View mode to avoid spooking wildlife or disturbing people nearby with unwanted camera sounds.

If a user is going to be several feet away from the camera, such as in some studio settings, the EOS-1Ds Mark III can be connected by cable to a computer via its USB 2.0 High-Speed interface. The camera can also be operated remotely at distances up to 492 feet with the assistance of the optional Wireless File Transmitter WFT-E2A, which allows users to view images directly off the camera's sensor in virtually real time, with the ability to adjust many camera settings quickly and easily.

Viewing Display
Easy to read, even in outdoor conditions such as bright sunlight, the EOS-1Ds Mark III Digital SLR camera features a three-inch, 230,000-pixel wide-angle LCD display screen. The TFT color liquid-crystal monitor features seven user-settable brightness levels and a wide, 140-degree viewing angle, both horizontally and vertically. An added advantage of the large, three-inch display size is the ability to utilize a larger font size for text, making it easier to read setting and menu options on the screen.

Canon extends its "ease-of-reading" policy to the EOS-1Ds Mark III's viewfinder as well. Bright and clear with zero distortion, a 100 percent picture coverage, and a magnification factor of .75x, it is the finest viewfinder ever placed in an EOS camera.

EOS Integrated Cleaning System
Another first for a professional digital SLR of this caliber is Canon's complete dust management solution, called the EOS Integrated Cleaning System. The new CMOS image sensor is designed with a lightweight infrared absorption glass cover that vibrates for 3.5 seconds when the camera is turned on or off. This brief delay can be cancelled immediately upon start-up by pressing the shutter button half way. Dust that has been shaken or blown loose of the sensor is trapped by adhesive surfaces surrounding the sensor unit housing, preventing the problematic particles from reattaching themselves to the filter when the camera moves.

Like its sibling, the EOS-1D Mark III, the shutter of the EOS-1Ds Mark III Digital SLR camera carries a durability rating of 300,000 cycles and, though it generates less dust, still charges itself three times during the manual cleaning process so that dust is shaken off the shutter curtains as well. This cleaning system uses very little battery power and can be turned off in the custom function menu.

The second part of the dust management system is a software solution that maps the location of any spots that may remain on the sensor. The mapped information is saved as Dust Delete Data and attached to the image file. Subsequently, the offending dust information is subtracted from the final image during post processing, using the supplied Digital Photo Professional software.

Rock Solid Reliability
The entire body of the EOS-1Ds Mark III, including its internal chassis and mirror box, is made of an advanced magnesium alloy for exceptional strength and rigidity. Comprehensive weatherproofing at 76 locations on the camera body ensures superior reliability, even when shooting in harsh environments. Together with the 300,000-cycle shutter durability rating, these features result in a camera that, even though it is six ounces lighter than the EOS-1Ds Mark II, can truly withstand even the most severe shooting conditions.

Improved Software
Among the most valuable features of the EOS-1Ds Mark III Digital SLR is its compatibility with Canon's new Picture Style Editor 1.0 software. With PSE, photographers can personalize the look of their photographs by inputting their own preferred image processing parameters, including custom tone curves. The EOS-1Ds Mark III Digital SLR also ships with the latest versions of Canon's powerful software applications, including Digital Photo Professional 3.2 and EOS Utility 2.2, which support the camera's Remote Live View and Dust Delete Data functions, as well as incorporating a broad range of additional improvements designed to improve image quality and speed up workflow. Particularly noteworthy in DPP 3.2 is a new Lens Aberration Correction Function that corrects various image defects such as chromatic aberration, color blur, vignetting, and distortion. Initially, the Lens Aberration Correction Function will support images captured by the EOS-1Ds Mark III and 11 other EOS Digital SLRs using any of 29 individual EF and EF-S lenses. Also included are ZoomBrowser EX 6.0 and ImageBrowser 6.0 for easy browsing, viewing, printing, and archiving with compatible computer operating systems, including Microsoft Windows Vista and Windows XP, as well as Mac OS X.

Canon EF 14mm f2.8L II USM Lens
Designed primarily for discerning landscape and architectural photographers, the Canon EF14mm f2.8L II USM lens is ideally suited to the EOS-1Ds Mark III's full-frame capability. Measuring 3.7 inches in length and weighing in at under 23 ounces, this ultra-wide angle L-series prime lens is well corrected for rectilinear distortion, provides a 114-degree diagonal angle of view, and delivers high-speed autofocus with higher image quality overall including superior peripheral image quality, compared to its predecessor, the stalwart EF 14mm f2.8L USM lens.

While its large diameter, high-precision aspherical and UD elements, optimized lens element positioning, and flare and ghost-reducing lens coating ensure that this lens delivers the top optical performance in its professional class, Canon has added other features photographers have been asking for--improved dust and water resistance incorporated around the mount, switch panel and focusing ring, and a round aperture that creates a nice background blur and makes it easier to recognize an out-of-focus scene in less than brightly lit conditions. Furthermore, Canon has created a new lens cap specifically for the EF 14mm f2.8L II USM that is held to the lens by a stopper.

Canon produces 30 millionth EOS-series SLR camera

2008-01-03T12:38:00.000-08:00

Canon produces 30 millionth EOS-series SLR camera

Canon Inc. announced the achievement of a new camera-manufacturing milestone as combined production of the company's EOS-series film and digital single-lens reflex (SLR) cameras passed the 30-million mark. Additionally, production of EOS Digital-series SLR cameras has passed the 10-million unit threshold.

The achievement coincides with Canon's 70th anniversary and the 20th anniversary of the launch of its EOS line of SLR cameras. Shipment of EOS cameras began in 1987 from Canon Inc.'s Fukushima Plant (now Fukushima Canon Inc.), with production later moving to Canon Inc., Taiwan and the company's current main production base at Oita Canon Inc. In 1997, the 10th anniversary of the series, production reached 10 million units, and in 2003 it passed the 20-million mark. And now, a mere four years later, Canon reached the 30-million level.

In March of 1987, Canon's 50th anniversary, the company introduced the EOS 650 AF SLR camera, the first model of the EOS series. The EOS 650 incorporated the world's first fully electronic mount system, achieving complete electronic control not only between the lens and body but throughout the entire camera system, representing a new generation of AF SLR cameras. Standing for "Electro Optical System" while also carrying the name of the Greek goddess of the dawn, the EOS series marked the dawn of an impressive range of innovative technologies and new heights of technological development.

Designed to realize Canon's key concepts of high speed and ease-of-use, EOS cameras garnered high acclaim from a wide range of users. In 1989 the company introduced the top-of-the-line EOS-1 professional model, and in 1992 the EOS 5 QD (EOS A2/EOS A2E or EOS 5 in regions outside Japan), equipped with Eye-Controlled Focus, a groundbreaking AF function that allowed users to select a desired focusing point just by looking at it. The following year, in 1993, Canon succeeded in expanding the company's user base with the compact, lightweight EOS Kiss (EOS Rebel XS or EOS 500).

In 2000, Canon formally ushered in the age of the digital SLR camera with the introduction of the EOS D30, equipped with the company's proprietary CMOS sensor. In addition to developing in-house such key components as CMOS sensors and the high-performance DIGIC digital image processor, Canon offers an extensive lineup of EF lenses and has launched cameras aiming to fulfill the company's new key concepts of high speed, ease-of-use, and high image quality. This year, commemorating the 20th year of the EOS series, Canon has further bolstered its digital SLR camera lineup with the launch of the top-of-the-line EOS-1D Mark III and EOS-1Ds Mark III, featuring a fully revamped camera system, as well as the EOS 40D, which has won praise from a wide range of users, from first-time SLR camera owners to advanced amateurs.

Canon, through continued technological innovation with the EOS series, and by strengthening its marketing activities to deliver enhanced product quality and services, will continue its efforts to deliver all-around user satisfaction with an even more attractive lineup of products, contributing to new directions in the future of photographic expression.

Video Tutorial: Digital Camera Nikon COOLPIX S51/S51c

2008-01-01T13:17:00.000-08:00

Video Tutorial: Digital Camera Nikon COOLPIX S51/S51c

To help familiarize yourself with the Nikon COOLPIX S51 or S51c digital camera, here’s a short video which offers descriptions of a few of these camera’s coolest features, tips for taking great pictures and an explanation of how to use the incredibly cool wireless feature of the S51c camera. Topics in the video include:

Taking steady shots

Ensuring the subject is in focus

Capture bright images

Utilizing the movie mode

To download the video, please click one of the following links:

Full Resolution (250 MB)

Web-Ready (11 MB)

Tutorial: Digital Camera Nikon COOLPIX S700 Video Tutorial

2008-01-01T13:00:00.000-08:00

Tutorial: Digital Camera Nikon COOLPIX S700 Video Tutorial

To help familiarize yourself with the Nikon COOLPIX S700 digital camera, here’s a short video which offers descriptions of a few of the camera’s coolest features, as well as tips for taking great pictures. Topics in the video include:

Taking steady shots

Ensuring the subject is in focus

Capture bright images

Utilizing the movie mode

To download the video, please click one of the following links:

Full Resolution (146 MB)

Web-Ready (7 MB)