Franke & Heidecke, makers of Rollei, files for insolvency

Franke & Heidecke GmbH, Feinmechanik & Optik, based in Braunschweig, Germany, has filed for insolvency.

The Hans R. Schmid Beteiligungs GmbH, Offenburg, acquired the majority shareholding in the company in September 2008. For majority shareholder Hans R. Schmid, a devoted supporter of the company’s products, who had described his commitment as a matter of personal importance, there was no alternative to filing for insolvency any more.

Although it had already been obvious at the time of the take-over that a successful restructuring would cost substantial effort, Schmid accepted the responsibility and

acted determinedly. Additional specialists were employed, weak points in the company were examined and millions were invested et al. in production and quality management.

Due to these measures quick progress could be made, however, the massive failures of the past could not be resolved in the required time. When recently financial and other old liabilities turned up, which had not been known to the new shareholder at the time of the take-over, it became evident that a financial reorganization would not be possible even by investing further millions. This all the more, as additionally negotiations with important business partners, banks and the attempt to obtain public funds failed.

In spite of considerable risk of loss the new shareholder invested repeatedly until the very end and has preserved the company and the hope to maintain 131 jobs for a long time. Now the insolvency could not be avoided any longer. In total Schmid invested millions in the two-figure range.



Franke & Heidecke partnered with Jenoptik to develop the medium format Rolleiflex Hy6 and Sinar Hy6-s65r, using a Sinar/Jenoptik digital back. The camera is also sold as the Leaf AFi-II, using a Leaf designed and manufactured back, so this announcement casts a shadow over several highly-respected manufacturers.

Kevin

Canon EOS Rebel XSi (EOS 450D) review

We review the Canon EOS Rebel XSi (EOS 450D / EOS Kiss Digital X2), the first new mid-range model from the maker, and ask how well does it perform against strong rivals in a seemingly overcrowded market?





Canon’s market share in entry-level and pro-grade DSLR’s is impressive but rivals have been equally successful with pitching mid-range models for enthusiasts. Despite the introduction of the magnesium alloy-bodied 10-megapixel EOS 40D, this important market segment is an area that Canon hasn’t done that well with since the EOS 20D. Looking to leverage on the success of Canon’s hugely popular EOS Rebel XTi (EOS 400D), and subsequently replaced by the EOS Rebel XS (EOS 1000D), the maker’s EOS XSi (450D) slots neatly between the two. Rather than downgrading features from the 40D, as the name suggests the EOS XSi is more like a XTi on steroids.

Boasting a higher resolution sensor than either model, the EOS XSi has a 12.2-megapixel CMOS imager with automated dust cleaning, 14-bit colour for a finer range of tones, and a new, larger 3.0-inch (230k dot) LCD with Live View. Although the EOS XSi can be bought body only, so you can add it to a existing Canon system or choose from any of the maker’s lenses, a newly introduced image stabilised EF-S 18-55mm IS kit lens makes for a well-rounded package.

While the EOS XSi shares more than a passing resemblance to the entry-level offering the body has a larger viewfinder image, up from 0.81x to 0.87x. It’s not quite as large the image found on the EOS 40D but it’s a significant improvement nonetheless. Other features usually found on more expensive Canon models include ISO settings in the viewfinder, spot metering (although it’s a none too-narrow 4-percent) and both the Highlight Tone Priority and Auto Lighting Optimizer options introduced originally on the maker's pro-level EOS 1D models. Although we found the effect very subtle these last two features attempt, respectively, to improve highlight detail while adjusting brightness and contrast locally.

Trading up

The EOS XSi is also the first DSLR from the maker to adopt the smaller SD/SDHC card format. While this is likely to make those trading up from a compact feel more comfortable, it’s another card to find if you’re already using Canon DSLR’s. Build quality mimics that of the plastic-shelled XS (and earlier XTi), it’s pretty good but nothing like that of the magnesium outer used for semi-pro EOS 40D. We also found the EOS XSi to be pretty small but that makes it handy for traveling and a new vertical grip can always be added when you need a little extra heft to help balance larger lenses.

We thought the layout of the controls easy to work from, and the re-located ISO button, now found close the forward command dial is an improvement. We also liked the new larger screen, even if the scale looks slightly at odds with the rest of the body. If you don’t like the black on white data panel, three additional colour schemes can tone it down some. Unlike the interface of Nikon and Olympus models, though, features are selected from sub-menus after locating the appropriate button. But you can’t use the forward control dial to make selections they have to be made from the four-way controller instead. This and the fact a lot of the cameras features are set using custom settings makes it a little clunky. But, the pre-programmable My Menus screen can store your most used options, and this, once set-up, can be a big plus.



Sadly, the EOS XSi still lacks the rear command dial used by the maker’s semi-pro and pro-level cameras. This means manual exposure isn’t quite as slick, as you have to hold down the EV compensation button to shift between shutter speeds and aperture values. Despite that, the EV shift button is just a thumb’s reach away making a lot easier than some.

The EOS XSi is the first truly consumer orientated DSLR from the maker to feature Live View. Like other maker’s offerings, with the exception perhaps of Sony’s system, operation is still far away from the quick focusing and ease of use of a compact. As a result we feel the average camera-buyer isn’t likely to find benefit for day-to-day snaps, but for more specialized applications such as macro and still-life work using a tripod it’s a welcome advance. In the new contrast-detection mode, you can focus accurately using the 10x magnification option either using auto or manual focus from any point on the screen. It’s slower in use than the Quick AF Live View mode, which requires the mirror to flip and use the usual AF system, but there’s no blacking-out of the LCD screen and shutter-lag is minimal.

Need for speed

Using the camera held to the eye is a pretty positive experience overall but it is a little cramped compared with a 35mm full-frame viewfinder. The 9-point AF system from the EOS XTi now has a central cross-type sensor for improved accuracy with lenses of f/2.8 or brighter. The diamond-shaped layout and sensitivity means it’s a superior system to most rival offerings at this level, and blazingly fast in operation but we still noticed occasional focus inaccuracies with the new kit lens.

Like all Canon DSLR’s, picture quality is a highlight though cramming more pixels on to the same size sensor does have drawbacks. Sensitivity is limited to a maximum of just ISO1600, a little conservative perhaps but, with good colour and detail, entirely usable for many situations. A custom High ISO noise reduction option reduces the colour speckles further but continuous shooting falls from a respectable 3.5fps to 2fps for the first second dropping to just 1fps thereafter, even when not using high ISO’s. Noise levels at lower ISO’s are, for the most part, well-controlled. But, depending on the conditions, occasional colour speckles can still be seen in the shadows at just ISO 100.

Switching off the Auto Lighting Optimiser can help reduce noise, and works only very subtly in any case. Off by default the Highlight Tone Priority can also introduce some slight noise in the shadows, but it’s a handy, if again subtle, option when wanting to prevent highlights from loosing detail. Overall though, images are highly detailed and especially so when matched with the maker’s premium quality lenses. Not to be outdone, the new 18-55mm image-stabilised kit lens is suitably sharp and a better performer optically at the edges than the previous non-IS version. And, with up to three stops anti-shake compensation available it makes an ideal starter lens.

Ultimately, anyone looking to step up from a digital compact will be hugely impressed with the picture quality. And while there are a couple of handling niggles, there’s still plenty enough here to tempt enthusiasts on a budget. It all adds up to an incredibly well-rounded package and one we wouldn’t hesitate to recommend.

Price

Canon EOS Rebel XSi (EOS 450D) c/w Canon EF-S 18-55mm f/3.5-5.6 IS $679.99 (£489).

Web

www.usa.canon.com, www.canon-europa.com, www.canon.jp


Pros & Cons

Pros

Small lightweight body
Good resolution
Low noise
Effective anti-shake and anti dust systems
Handy live view option


Cons

Small handgrip and general handling niggles
Hi-ISO NR lowers burst rate
Some focus inaccuracies


Rating

4.5/5


Verdict

Some handling niggles, but the EOS Rebel XSi would make a solid choice for those trading up from a compact, while at the same time offering more than enough to satisfy the majority of enthusiasts.

Sample Photos

Leica wraps up R-system

Although we're still waiting for the official announcement, it appears from various sources that Leica has stopped production of their R-system of 35mm lenses and the R9 SLR, in favor of the new 'medium format' Leica S2.

This makes sense to me, as the company has ramped up development of M-series lenses of late and will require manufacturing capacity for the auto-focus S2. Of course, it may also make way for a range of DSLRs based on the FourThirds system, but I doubt that.

Now that they're garnering praise with the Micro FourThirds Lumix G1 and recently announced GH1, I can’t see electronics partner Panasonic investing, at this time, in new FourThirds DSLRs.

I may have it wrong, but Leica aren't likely to re-badge the little Lumix G1 or GH1 and start designing lenses for them, surely a range like that would compete with the M-system?

Kevin

Sigma DP2 revealed

Sigma Corporation has revealed the upgrade to the maker's DP1 - an up-market compact featuring a physically large (20.7x13.8mm) Foveon CMOS sensor (the same sensor as that found on the Sigma SD-14 DSLR). Called the DP2, it shares the same body as the original but has a new 24mm (41mm equivalent) f/2.8 lens. More details and sample photos can be found here.

One of the original DP1's attributes, apart from the large size sensor, was the fixed focal length 28mm wide-angle lens. While the maximum aperture has been increased a stop to f/2.8, which is a big plus, I don't find the 41mm (equivalent) focal length in the new DP2 quite as attractive.

I'm sure it's a high-grade lens, judging by the examples on their site, but I would of preferred either a 35mm f/2, or maybe 28/24mm f/2.8 equivalent, but there again that may just be me.

I really liked the original, sure it wasn't perfect and most of my fellow reviewers felt it 'missed the mark' but it was innovative and, more importantly, inspiring. Don't forget, at that time the DP1 was announced the Panasonic Lumix DMC-GH1 was just a sparkle in Jake Hirose's (General Manager for Imaging Products Worldwide) eye.

Perhaps what's needed then is for Sigma to flex their not inconsiderable optical-engineering muscle, and produce the DPI, boasting a range of interchangeable lenses. Just a thought.

Kevin

B&H Links: Sigma DP2, Sigma DP1

Final Call for Annabel Williams 2009 Awards

DONT MISS YOUR CHANCE TO WIN CANON EOS 5D MKII CAMERA AND LENS

Last year's winning entry, by Jo De Banzie

There’s less than 4 weeks to go to enter the Annabel Williams 2009 Photographic Awards – which boast a total prize fund of over £10,000 including a brand new Canon EOS 5D Mark II camera and lens.

Open for entries now at www.annabelwilliams.com/awards, the awards close on 31 March 2009 – so don’t delay – get your images entered today!

In their second year, the Annabel Williams Awards include categories to inspire and attract all wedding, portrait and lifestyle photographers, with a brand new Amateur category for the 2009 competition. The categories are:

• Weddings
• Children
• Teenager/Adults
• Photo Art
• Amateur/Hobbyist Photographer
• Best Portrait Album
• Best Wedding Album

The overall winner from the above categories will be awarded ‘Annabel Williams Photographer of the Year 2009’ title and will win a Canon EOS 5D Mark II with 24-105mm f/4L IS USM lens, together with £500 of Annabel Williams Contemporary Photographic Training vouchers as well as a host of other goodies. Detailed information on the prizes for each category can be found at www.annabelwilliams.com/awards.

For a single entry fee of just £5.00, photographers can enter as many categories as they like – with entries completed online at www.annabelwilliams.com/awards.

Annabel Williams said: ‘Our awards are all about rewarding those photographers who are fantastic at creating amazing photographs with everyday people – not models; we welcome images from photographers who love breaking all the rules – the more individual the better!’

Kindly supporting this year’s awards are some of the biggest names in the photographic industry, including Canon, Queensbury, SWPP, Amazing Internet and Freebird.

The awards are open to all photographers internationally, not just those based in the UK - for more information, full terms and conditions and to enter online please visit www.annabelwilliams.com/awards.

Alternatively, please contact the Annabel Williams Studio on 01539 821791.

50th Anniversary of the Nikon F-mount

Nikon UK press release:

Nikon UK is pleased to announce the 50th anniversary of its legendary F-mount lens-mounting system, featured on the company’s SLR cameras and NIKKOR lenses. No other camera manufacturer has been able to sustain its original lens mount for such a long period of time – making Nikon’s SLR system the most consistent range for half a century.

The Nikon F-mount was first employed on Nikon’s earliest lens-interchangeable SLR camera, the Nikon F, released in June 1959. Nikon has consistently utilised the same mount without changing its basic structure, whilst other SLR camera manufacturers altered their lens mounts in response to changing technologies, such as autofocus compatibility and digitalisation.

One of the biggest advantages of lens-interchangeable SLR cameras is that users are able to choose from a larger selection of lenses. Maintaining the same basic structure of lens mount for a longer period means a broader, constantly growing array of compatible lenses, including the ability to use older lenses. For this reason, the lens mount is an important and symbolic element for both photography enthusiasts and professionals, who are able to benefit from ongoing use of their carefully selected collection of lenses.

It's pure speculation, but I can't imagine we'll see the Nikon F7 anytime soon, the F6 really doesn't need updating right now.

Kevin

Nikon update P6000 firmware

Nikon has announced an update for the Coolpix P6000 high-grade compact, upgrading the firmware to v1.2. Visit the links below for more information about the improvements and instructions for installation.

The Windows update is available at the link below:
http://nikoneurope-en.custhelp.com/cgi-bin/nikoneurope_en.cfg/php/enduser/std_adp.php?p_faqid=26980

The Mac update is available at the link below:
http://nikoneurope-en.custhelp.com/cgi-bin/nikoneurope_en.cfg/php/enduser/std_adp.php?p_faqid=26981

Panasonic deliver promised Lumix DMC-GH1 with HD video

Panasonic has announced the new LUMIX GH1, as an update to the maker's G1 launched late last year. The new DSLR-like hybrid records high-resolution full HD (1920 x 1080) video at 24 fps or HD video (1280 x 720) movie at 60 fps using an AVCHD format (MPEG-4/H.264). According to Panasonic 'the AVCHD format provides the important benefit of doubling the HD quality recording time compared with Motion JPEG'. The LUMIX GH1 also records video in high-quality stereo. Although it has a built-in stereo mic, an optional (directional) stereo microphone (DMW-MS1) is also available and a convenient Wind Cut function is provided to help to block out distracting video background noise.



Full press release:

The CREATIVE HD HYBRID from the LUMIX G Micro System

The DMC-GH1 -- With D-SLR Photo Quality and Full-HD Movies

Panasonic today introduced the LUMIX DMC-GH1 as a new member of the LUMIX G Micro System of interchangeable lens cameras. Fully compliant with the Micro Four Thirds System standard, the LUMIX G Micro System combines a downsized body with advanced functions that achieve both easy operation and high quality.

The new DMC-GH1 is called a CREATIVE HD HYBRID because it records not only high-quality photos but also high definition 1080/24p or smooth 720/60p HD (High Definition) movies in AVCHD* format. Continuous AF can be used while recording movies, to further boost operating ease. Taking advantage of its system camera design, the DMC-GH1 features the potential for unlimited photo expression by allowing the use of different lenses for specific shooting situations and subjects. High-quality sound recording with Dolby® Digital Stereo Creator and a host of other creative options, including manual settings, giving the DMC-GH1 even greater versatility.

Supporting the DMC-GH1's powerful full-HD movie recording function is a newly developed 12.1-megapixel high-speed Live MOS sensor and the Venus Engine HD image processor, which features two CPUs for outstanding processing capability. The new LUMIX G VARIO HD 14-140mm/F4.0-5.8 ASPH./MEGA O.I.S., which is a versatile 10x zoom interchangeable lens, was designed for movie recording by including a silent and continuous auto focusing function and seamless aperture adjustment.

The DMC-GH1 also features D-SLR photo quality. Its newly developed Live MOS sensor renders images with minimal noise even when using high ISO sensitivity. The multi-aspect ratio function of the sensor allows photos to be taken using a 4:3, 3:2 or 16:9 aspect ratio, all with the same angle of view.

In addition to its high levels of performance for both photos and movies, the DMC-GH1 incorporates the iA (Intelligent Auto) mode,** a hallmark of LUMIX cameras that now includes Face Recognition,*** a function that "remembers" faces once the faces are registered. When a familiar face appears in the frame, the camera will prioritize the focus and exposure to capture it beautifully. This clever function makes it easy to get sharp and clear photos of special subjects in a group of people. iA mode is also available in movie recording. It automatically selects the most suitable scene mode and helps to correct hand-shake, focus and brightness problems -- making it a one-stop solution for capturing beautiful photos and movies.*

Operating ease is an important element of the LUMIX G Micro System identity, and it is highly evident in the DMC-GH1. For example, the clever design of the DMC-GH1 helps to prevent missed shooting opportunities for both photo and movie recording. To start recording a movie during shooting photos, the user simply presses a special, one-touch movie recording button. Most of the settings used for photo shooting carry over to movie recording without requiring any additional setting.

A choice of body colours also makes the DMC-GH1 highly attractive. Users can select authentic black or active red (which was very popular in the DMC-G1).

Panasonic hopes to bring the fun of both photos and movies to as many people as possible with the LUMIX DMC-GH1, an unprecedented system camera that satisfies even the needs of professionals and advanced amateurs while offering easy operation for entry-level users.
*Full-HD (1920 _ 1080) movies are output by the image sensor at 24p (NTSC)/25p (PAL), and recorded at 60i (NTSC)/50i (PAL). HD (1280 _ 720) movies are output and recorded by the image sensor at 60p (NTSC)/50p (PAL).
** Some functions in iA mode will not be available depending on the lens that is mounted.
***Turn the Face Recognition item ON from the shooting menu and register the person with a full-face portrait in advance. Recognition performance varies greatly depending on shooting conditions, i.e., according to factors such as angles, facial expression and lighting, so operation under all conditions cannot be guaranteed. Because the camera searches for faces that are similar to registered faces, there are cases where the faces are not correctly recognized when the registered image and the shooting image vary greatly. When facial characteristics are similar, particularly between parents and their children, or between brothers and sisters, the camera may not distinguish the faces.

1. Technological advantages for 1080/24p full-HD movie recording in the AVCHD format

The LUMIX DMC-GH1 is an advanced photographic tool for recording not only great photos but also beautiful full-HD movies. In addition to Motion JPEG images, the DMC-GH1 can record high-resolution full-HD 1920 x 1080 movies at 24 fps (frames per second) or smooth HD 1280 x 720 movies at 60 fps in AVCHD (MPEG-4/H.264)* format. The AVCHD format can record almost twice the footage in HD quality than the conventional Motion JPEG, using the same SD card. A special, separate button on the back lets the user instantly start recording movies while shooting photos without any having to make any extra settings. There are always two options to record spur-of-the-moment scenes -- high-quality photos or movies. The user can simply choose the one that saves precious memories most beautifully.

The LUMIX G VARIO HD 14-140mm/F4.0-5.8 ASPH./MEGA O.I.S. kit lens boasts a focal length of 28-280mm (35mm camera equivalent) and supports the continuous AF function of the contrast AF system for both photos and movies. Panasonic considers this function to be indispensable for movie recording from a practical point of view. This lens is also designed for movie recording use by minimizing the mechanical sound generated by the continuous AF/AE action.

The newly developed 12.1-megapixel 4/3-type Live MOS sensor is capable of high-speed 4-channel readout to support full-HD movie recording. This sensor is also advantageous for photo recording with a high signal to noise ratio thanks to a new circuit structure that is totally unaffected by the noise generated in each of the circuits. It results in clear pictures even when taken at high ISO sensitivity. The sensor also allows images to be taken at three aspect ratios – 4:3, 3:2 and 16:9 – with same angle of view.

The LUMIX DMC-GH1 also features the Venus Engine HD image processor. The two CPUs in this imaging engine dramatically speed up processing while achieving exceptional noise reduction performance. The Venus Engine HD's excellent energy efficiency supports long-time AVCHD movie recording, and allows the output of both images and sounds via HDMI.
*Full-HD (1920 _ 1080) movies are output by the image sensor at 24p (NTSC)/25p (PAL), and recorded at 60i (NTSC)/50i (PAL). HD (1280 _ 720) movies are output and recorded by the image sensor at 60p (NTSC)/50p (PAL).

2. In addition to recording HD movies– a host of options enhance creativity
The LUMIX DMC-GH1 concept goes much further than simply recording HD movies. Apart from the movie recording capability of conventional digital cameras, the DMC-GH1 also features a Creative Movie mode, which lets the user set the shutter speed and aperture manually to make even more impressive movies. Changing the shutter speed brings special effects to movies, which is especially suitable for shooting fast-moving subject. The ability to control the aperture is convenient when there are several subjects at different distances and it is desired to have each of them stand out. Creative Movie mode gives the user a wider range of expressive possibilities to explore.

The movies also come with the high-quality stereo sound of Dolby® Digital Stereo Creator, the global standard for superior audio recording. For more creative sound recording, an optional stereo microphone (DMW-MS1) is available. A Wind Cut function blocks out most of the noise from background wind even on breezy days.

3. iA (Intelligent Auto) mode operates for both photos and movies
While featuring a host of creative options to enhance both photo and movie recording, the LUMIX DMC-GH1 also includes the iA (Intelligent Auto) mode that Panasonic developed to give LUMIX cameras the ultimate in operating ease and to reduce shooting mistakes. In iA mode the camera does all the work, leaving the user free to compose shots and capture the moment. All the user has to do is aim and shoot even in situations that normally require complicated settings.

For photo shooting, the DMC-GH1 further advances this mode with the inclusion of Face Recognition, an advanced Face Detection function that recognises faces that the user has registered prior to shooting. Once a face is registered, this function will recognize it whenever it appears in the frame. The camera will then display the name that was specified for the person and prioritize the focus and exposure so that the registered face is bright and in sharp focus.

In addition to the advanced functions mentioned above, the iA mode inherits the fundamental functions that users need in a good digital still camera. These include MEGA O.I.S., which helps prevent blurring from hand-shake, and Intelligent ISO Control, which reduces motion blur by adjusting the ISO sensitivity if the subject moves as the shot is taken. AF Tracking is also available, which lets the DMC-GH1 lock onto any subject and keep it in focus even if it moves - making it easy to get beautiful, clear shots when a great photo opportunity suddenly arises. Intelligent Exposure optimizes the exposure for each part of an image, preventing blocked shadows and blown highlights and helping ensure that gradation and details are reproduced beautifully. Intelligent Scene Selector automatically detects the five most common shooting situations -- Portrait, Night Portrait, Scenery, Night Scenery and Close-up and switches to the appropriate Scene mode.

The LUMIX DMC-GH1 now makes the popular iA mode available for movie recording. The Optical Image Stabilizer (O.I.S.) helps prevent blurring from hand-shake when using the high-powered zoom. Face Detection automatically detects a face in the frame and adjusts the focus, exposure, contrast, and skin complexion to record it beautifully. Intelligent Exposure continually checks the ambient light level and adjusts the exposure setting as conditions change, to prevent blown highlights and blocked shadows. Intelligent Scene Selector automatically switches between Normal, Portrait, Close-up, Scenery, and Low Light modes according to the situation to optimize visual quality.
* Some functions in iA mode will not be available depending on the lens that is mounted.
**Turn the Face Recognition item ON from the shooting menu and register the person with a full-face portrait in advance. Recognition performance varies greatly depending on shooting conditions, i.e., according to factors such as angles, facial expression and lighting, so operation under all conditions cannot be guaranteed. Because the camera searches for faces that are similar to registered faces, there are cases where the faces are not correctly recognized when the registered image and the shooting image vary greatly. When facial characteristics are similar, particularly between parents and their children, or between brothers and sisters, the camera may not distinguish the faces.

4. The LUMIX G Micro System identity
With the LUMIX DMC-GH1, Panasonic has developed an entirely new concept in digital cameras that comply with the Micro Four Thirds System standard by taking even greater advantage of the compactness and light weight that are made possible by eliminating the mirror box. By increasing the number of electrical contacts between the camera body and the lens, the camera's expandability is also dramatically increased to maximize future potential.

The LUMIX G Micro System’s 1,440,000-dot equivalent Live View Finder retains the outstanding viewability of an optical viewfinder and can also display information about camera settings that the user can see without taking his or her eye from the subject. A clever built-in eye sensor automatically switches on the viewfinder when the user looks into it, then switches it off and turns on the free-angle 3.0-inch large 460,000-dot high-resolution LCD (which boasts a wide viewing angle) when the user looks away from the viewfinder. The 60-frames-per-second Live View is made possible by the Live MOS sensor, which takes signals directly from the image sensor and sends them continuously to the LCD, in real time. Both the Live View Finder and LCD provide a 100% field of view. This allows the user, when composing a shot, to check the framing accurately from corner to corner.

The contrast AF system adopted by the LUMIX DMC-GH1 is not only accurate and easy to use, but also very fast. Users can choose from a wide range of AF modes, including multiple-area AF with up to 23 focus areas, 1-area AF with a selectable focus area, Face Detection, and AF Tracking.

To deal with dust and other foreign matter entering the body when changing lenses, a Supersonic Wave Filter is built in as part of a Dust Reduction System designed to prevent matter from adhering to the image sensor.

5. Other options to enhance the fun of photography

The wide range of options available for the LUMIX DMC-GH1 let users customise and personalise their camera. An option for photo shooting lets the DMC-GH1 reproduce a square image with a 1:1 aspect ratio in addition to the 4:3, 3:2 and 16:9 multi-aspect ratios.

My Colour mode, which was popular in the DMC-G1, is a special option that gives free reign to the user's creativity. In My Colour mode, the colour, brightness and saturation parameters can be freely adjusted while checking the Full-time Live View image to see how the adjustments affect the picture. This makes it easier and more fun to create interesting, expressive images. The user can adjust the settings that best suit the shooting conditions and his or her expressive intent, for greater photographic control.

The DMC-GH1 also offers a Playback mode that allows the user to play 'only still images,' 'only motion images,' or 'both'. When choosing to play 'only motion images,' it is even possible to play AVCHD and Motion JPEG videos separately. Photos and movies can also be played back together with an attractive seamless effect and background music in the LUMIX DMC-GH1's new Slideshow mode that takes advantage of its large, high-resolution LCD. Using an optional mini HDMI cable, slideshows can be shared in stunning HD video and audio quality on an HDTV with family and friends.

6. HD photos and HD movies with VIERA Link networking

Both still images and AVCHD-format motion images recorded on SD Memory Cards are easy to view on a Panasonic VIERA TV with dynamic full-HD resolution. The user simply inserts the card into the VIERA Image Viewer (SDHC/SD card slot) on a VIERA TV or DIGA Blu-ray Disc Player to play the content. Alternatively, an optional mini HDMI cable can be used to output still and motion images recorded with the LUMIX DMC-GH1 directly to the TV for easy VIERA Link operation. This makes it possible to take maximum advantage of the camera's playback functions, including slideshows in which both still and motion images are played sequentially, or calendar displays and so on. Operation using only TV’s remote controller is super-easy.

7. Rich options for expandability

In addition to LUMIX G lenses, the LUMIX DMC-GH1 and LUMIX G Micro System can use any interchangeable lens that complies with the Four Thirds standard via an optional mount adapter.* This gives the user access to the entire range of Four Thirds lenses. And a stream of new Micro Four Thirds lenses will be announced in the future, providing a large, diverse line of high-performance lenses for the user's photographic toolbox. With the LUMIX G Micro System and the growing assortment of lenses becoming available, the expressive possibilities are unlimited. The LUMIX DMC-GH1 system camera offers a wide variety of options to choose from to match every shooting situation and shooting style.
• External Flash: DMW-FL220(GN22) / DMW-FL360(GN36) / DMW- FL500(GN50)
• PL Filter: DMW-LPL62
• ND Filter: DMW-LND62 NEW
• MC Protector: DMW-LMCH62
• Mount Adapter: DMW-MA1
• Stereo Microphone: DMW-MS1 NEW
• Battery Pack: DMW-BLB13
• Soft Case: DMW-CG2 NEW
• Soft Bag: DMW-BAG1
• Shoulder Strap (Stylish) DMW-SSTG1-A/C/R/K* *NEW
• Shoulder Strap (Woven) DMW-SSTG2-W
• Shoulder Strap (Leather) DMW-SSTG3-T
• Remote Shutter: DMW-RSL1
*Some functions on the DMC-GH1 are not available depending on the lens that is mounted.

Ends

Canon announce another AF accuracy advisory for EOS-1D Mark III and EOS-1Ds Mark III

From Canon UK Consumer Product Support today:

We have learned that some EOS-1D Mark III and EOS-1Ds Mark III digital SLR cameras have a problem in the accuracy of the AF (autofocusing) feature.

Cause:
If an AF point other than the center AF point is used, focus may become soft.

Answer:
Free AF accuracy checks and adjustments will be provided to affected products. Please click here to complete a registration form if you own an affected product and wish to arrange for service. After you have submitted the form you will be contacted by a representative of a Canon Service Centre within one week for a service appointment.

Note:
A prior registration and appointment is preferred before sending your camera to Canon. Any cameras received without a pre-registration and appointment will be serviced at the earliest possible opportunity.


Supplementary information:
Based on the comments and suggestions of professional photographers, we have also created supplementary AI Servo AF information (AI Servo Auto Focus Manual) for users to fully utilize the AF capacity of the cameras. Please refer to this information when you shoot with the EOS-1D Mark III and EOS-1Ds Mark III cameras.


Previous information regarding AF (Auto-focusing) with EOS-1D Mark III and EOS-1Ds Mark III:
The following web announcements were previously released to inform users about improvements in the AF accuracy of the EOS-1D Mark III and EOS-1Ds Mark III.

EOS-1D Mark III: Start of Repairs for AF Mirror Adjustment Problem

Release of firmware that improves the stability of AF accuracy in AI servo AF when shooting extremely low-contrast subjects
EOS-1D Mark III - firmware version 1.2.3.
EOS-1Ds Mark III - firmware version 1.1.2.

The above information, together with the provision of free AF accuracy checks and adjustments, allow users to utilize the AF function of the EOS-1D Mark III and EOS-1Ds Mark III with greater assurance.

We offer our sincerest apologies to customers using these products who have been inconvenienced by this issue. Canon always strives to provide the highest quality products to our customers, and we spare no effort in our quality management to make sure our customers can use our products with confidence.

We hope our efforts will earn your understanding.

Sigma unwrap 50-200mm F4-5.6 DC OS HSM

Sigma Corporation is pleased to announce the new SIGMA 50-200mm F4-5.6 DC OS HSM.

This compact high-performance telephoto zoom lens incorporates Sigma’s own Optical Stabiliser function. The lens incorporates SLD (Special Low Dispersion) glass in the front lens group and is equipped with an inner focusing system to provide high image quality throughout the entire zoom range. The Super Multi-Layer Coating reduces flare and ghosting and provides high contrast images.

The incorporation of HSM (Hyper Sonic Motor) ensures quiet and high-speed auto focus. The OS function effectively eliminates the effects of camera shake so subjects can be easily and clearly seen in the viewfinder as well as in the image. It allows the use of shutter speeds approximately 4 stops slower than normal for steady, handheld photography. For Sony and Pentax mounts he built-in OS System operates in conjunction with a camera body equipped with an anti-shake function and can be used as an alternative with cameras having built-in image stabilisation.

This lens has a minimum focusing distance of 110cm (43.3 inches) throughout the entire zoom range and a maximum magnification ratio is 1:4.5. An inner focusing system eliminates front lens rotation, making it suitable for use with circular polarising filters.




SPECIFICATIONS
Minimum Aperture F22

Minimum Focusing Distance 110cm
Lens Construction 14 Elements in 10 Groups

Maximum Magnification 1:4.5
Angle of View 27.9 - 7.1Åã

Filter Size 55mm
No. of Diaphragm Blades 8 pcs

Lens Hood Bayonet type
Weight TBA

SRP TBA
Dimensions Diameter 74.4mm x Length 101.9mm
Available fittings Sigma, Canon, Nikon (D), Pentax, Sony (D)




*Vignetting will occur if the lens is used with 35mm SLR cameras or digital cameras with image sensors larger than APS-C size.
*For Pentax mount, if the camera body does not support HSM, auto focus will not be available.

Sigma reveal 18-50mm F2.8-4.5 DC OS HSM

Sigma Corporation is pleased to announce the new 18-50mm F2.8-4.5 DC OS HSM.

This large aperture standard zoom lens incorporates Sigma’s original Optical Stabilisation function. For Sony and Pentax mount, the built-in OS function of this lens can be used even if the camera body is equipped with an anti-shake function. As compensation for camera shake is visible in the viewfinder, the photographer can easily check for accurate focus and ensure there is no subject movement. The large aperture of F2.8 and anti-shake function makes this lens ideal for indoor and low-light photography.

Two SLD (Special Low Dispersion) glass elements and three aspherical lenses provide excellent correction for all types of aberrations. The Super Multi-Layer Coating reduces flare and ghosting. High image quality is assured throughout the entire zoom range.

The lens design incorporates inner focusing and inner zooming systems. The overall length of the lens does not change during focusing and zooming, ensuring convenient handling. This lens has a minimum focusing distance of 30cm (11.8 inches) throughout the entire zoom range and a maximum magnification ratio of 1:4.1. The incorporation of HSM (Hyper Sonic Motor) ensures a quiet and high speed AF.




SPECIFICATIONS

Minimum Aperture F22
Minimum Focusing Distance 30cm
Lens Construction 16 Elements in 12 Groups
Maximum Magnification 1:4.1
Angle of View 69.3-27.9Åã
Filter Size 67mm
No. of Diaphragm Blades 7 pcs
Lens Hood Petal-type hood
Weight 395 grams
SRP TBA
Dimensions Diameter 74mm x Length 88.6mm
Available fittings Sigma, Canon, Nikon (D), Pentax, Sony (D)




*Vignetting will occur if the lens is used with 35mm SLR cameras or digital cameras with image sensors larger than APS-C size.
*For Pentax mount, if the camera body does not support HSM, auto focus will not be available.

Sigma announce 10-20mm F3.5 EX DC HSM

Sigma Corporation is pleased to announce the new SIGMA 10-20mm F3.5 EX DC HSM.

This super wide-angle lens has a maximum aperture of F3.5 throughout the entire zoon range. Its wide angle of view from 102.4 degrees produces striking images with exaggerated perspective. The maximum aperture of F3.5 is ideal for indoor shooting and it enables photographers to emphasise the subject.

Two ELD (Extraordinary Low Dispersion) glass elements and one SLD (Special Low Dispersion) glass element provide excellent correction of colour aberrations. Four aspherical lenses provide correction for distortion and allow its compact and lightweight construction. The Super Multi-Layer coating reduces flare and ghosting ensuring high image quality throughout the entire zoom range.

The incorporation of HSM (Hyper Sonic Motor) enables quiet and high-speed auto focus as well as full-time manual focusing capability. This lens has a minimum focusing distance of 24cm (9.4 inches) throughout the entire zoom range and a maximum magnification ratio of 1:6.6.

The lens design incorporates an inner focusing system which eliminates front lens rotation, making the lens particularly suitable for using the Petal-type hood. The, included, Petal-type hood blocks extraneous light and reduce internal reflection.



SPECIFICATIONS
Minimum Aperture F22

Minimum Focusing Distance 24cm
Lens Construction 13 Elements in 10 Groups

Maximum Magnification 1:6.6
Angle of View 102.4-63.8Åã

Filter Size 82mm
No. of Diaphragm Blades 7 pcs Lens

Hood Petal-type hood
Weight TBA

SRP TBA
Dimensions Diameter 87.3mm x Length 88.2mm
Available fittings Sigma, Canon, Nikon (D), Pentax, Sony (D)



*Vignetting will occur if the lens is used with 35mm SLR cameras or digital cameras with image sensors larger than APS-C size.
*For Pentax mount, if the camera body does not support HSM, auto focus will not be available.

Adobe add support for Nikon D3x with update to Lightroom and ACR

Adobe has released Photoshop Lightroom 2.3 and Camera Raw 5.3, available immediately for download at www.adobe.com/downloads/updates/.

The Lightroom 2.3 and Camera Raw 5.3 updates, originally posted as release candidates for community testing on Jan. 23, provide raw file support for the newly-released Nikon D3X and Olympus E-30 cameras.

The Lightroom 2.3 update also provides support for eight additional languages including Dutch, Italian, Portuguese (Brazilian), Spanish, Swedish, Korean, Chinese (simplified) and Chinese (traditional). Additionally, it addresses several issues including a solution to a memory leak that affected some customers of the Lightroom 2.2 release.

Lightroom has received tremendous support from the photography community, and companies have released plug-ins that further extend Lightroom 2’s capabilities.

Today, Nik software announced that its Viveza plug-in for colour refinement and light control is now compatible with Lightroom 2, and Photomatix recently updated its Lightroom HDR plug-in to work smoothly with Lightroom 2. To discover more plug-ins compatible with Lightroom 2 visit the Lightroom Exchange home page: http://www.adobe.com/cfusion/exchange/index.cfm?l=-1&loc=en_us&event=productHome&exc=25&Submit=Filter.

Pricing and Availability

The Adobe Photoshop Lightroom 2.3 update is available as a free download for existing Lightroom 2 customers and the Photoshop Camera Raw 5.3 plug-in is available as a free download for existing customers of Photoshop CS4, Photoshop Elements 7, Premiere Elements 7 and Photoshop Elements 6 for Mac. Both updates can be downloaded at www.adobe.com/downloads/updates/.

Sony debuts Cmos sensor in HX1 super-zoom

The Cyber-shot HX1 from Sony teams stunning picture quality, lightning-fast shooting and powerful creative features in a stylish, supremely easy to use camera.

The new flagship model in the Sony Cyber-shot range showcases sophisticated image sensing and optical and processing technologies that offer unrivalled creative possibilities.

Offering cutting edge performance and a powerful 20x optical zoom range, the compact HX1 fits effortlessly into a weekend bag or small travel case. It’s an ideal companion for anyone who demands high quality imaging performance and advanced shooting functions without the bulk of packing a Digital SLR and all its accompanying lenses.

At the heart of the HX1 is a new Sony-developed ‘Exmor’ CMOS sensor with an effective resolution of 9.1 megapixels. Originally developed for the Sony Alpha Digital SLR, ‘Exmor’ technology delivers outstanding images with reduced noise, especially when shooting in high ISO settings.

In tandem with the powerful BIONZ image processor, the ‘Exmor’ CMOS sensor supports full 9.1 megapixel resolution shooting at an incredible 10 frames per second (max) using a mechanical shutter. Outpacing many pro-spec digital SLR cameras, this super-fast shooting rate is ideal for capturing high-speed action or spontaneous events like parties, where anything can happen in a moment.

Also powered by the ‘Exmor’ CMOS sensor and BIONZ processor, ‘Sweep Panorama’ is a brand-new shooting mode that captures breathtaking landscapes, city scenes and more. Just hold down the shutter button and sweep the camera horizontally (or vertically). The Cyber-shot HX1 quickly and seamlessly stitches together a high-speed burst of frames to create an extra-wide, high resolution image. Panoramas can be viewed as a scrolling preview on the HX1’s three-inch LCD screen, on new S-Frame digital photo frames or on a PLAYSTATION®3.

The ‘Exmor’ CMOS sensor supports two new shooting modes that reduce image noise when you’re shooting in low light. If you’re capturing static subjects, new Handheld Twilight mode grabs a high-speed burst of six frames, combining them to create a single optimised image with dramatically reduced noise levels; fantastic for night cityscapes. If your subject is moving, Anti Motion Blur mode also superimposes six frames to produce one crisp, composite image with less subject blur.

Making its Cyber-shot debut is a new G Lens that has been designed to complement the extraordinary imaging possibilities of the ‘Exmor’ CMOS sensor and BIONZ processor.

Developed originally for the Sony Alpha Digital SLR family, the G Lens in the HX1 teams aspherical lens elements and ED (extra-low dispersion) lens for uncompromising optical precision. You’ll experience superb resolution and minimal chromatic aberration at all settings, from 28mm wide-angle right up to 560mm super telephoto. This generous 20x optical zoom range accommodates a huge range of shooting possibilities, from landscapes and fun-filled family moments to action-packed sports events.

The Cyber-shot HX1 is the first compact camera from Sony that’s capable of shooting 1080/30p HD movies. It captures crisp, detail-packed HD video clips at 5x higher resolution than standard definition movies. Additionally, the built in stereo microphone provides crysyal clear audio recordings.

HD movies and still photos can be enjoyed with superb quality on your BRAVIA or any HD Ready television*. BRAVIA Sync displays the camera’s playback screen on the TV screen, allowing handy control of slideshow, zoom, image index and other functions with your BRAVIA TV’s remote control.

The Cyber-shot HX1 makes it incredibly easy to get great results without the worry of adjusting camera settings correctly. Intelligent Scene Recognition has been enhanced with the addition of Smile Shutter. This lets you capture beautiful smiles automatically, even in tricky situations like twilight or backlighting.

The camera’s tilt-angle 3.0” LCD gives extra flexibility for framing your shots comfortably in any position. Clear Photo LCD Plus technology delivers superb picture quality and contrast, with a resolution of 230,000 dots that’s capable of resolving fine details.

A new jog dial simplifies ‘click and rotate’ selection and adjustment of camera settings. For extra convenience, there’s also a Digital SLR-style Custom button that can be assigned to Smile Shutter, White Balance adjust or metering mode select functions.

The Cyber-shot DSC-HX1 digital compact camera will be available from April 2009.

Pentax announce ultra-wide DA 15mm f/4ED AL Limited

PENTAX U.K. is pleased to announce the launch of the smc PENTAX-DA15mm F4 ED AL Limited, designed for exclusive use with Pentax digital SLR cameras. This is the newest lens to join the acclaimed Pentax Limited series family. Maintaining the highest standards, the Limited series is renowned for unbeatable construction and unsurpassed image quality. This new Limited series lens will continue that tradition while providing users with a new ultra-wide perspective.

Main features of the smc PENTAX-DA15mmF4ED AL Limited

1. Ultra-wide-angle perspective
When mounted on a PENTAX digital SLR camera body, this new lens offers the equivalent to a 23mm angle of view in the 35mm format. This lets the photographer create unique, eye-catching images with visual effects only possible from an ultra-wide-angle lens, such as enhanced perspective and an emphasized depth of field. It is the ideal lens for sweeping landscapes, magnificent architecture and confined interiors.

2. Limited Lens-series quality for incredible images and an appealing compact design.
The PENTAX Limited Lens series combines extensive testing with the incredible knowledge of our engineers to provide every user with a lens designed for the ultimate in image reproduction. True to form, this new lens not only ensures excellent image quality, but also produces sharp, clear images with outstanding contrast, even at the maximum aperture. This is because its optical design has been optimised for digital photography. In addition, the lens barrel, hood, and cap are all made of high-grade aluminium, providing reliable construction in an attractive lens.

3. High-performance optics
This lens incorporates a hybrid aspherical (AL) lens and an optical element of extra-low-dispersion (ED) glass to ensure high-quality image reproduction with minimal aberrations, including lateral chromatic aberration. Additionally, for an ultra-wide-angle lens, the smc PENTAX-DA15mmF4ED AL Limited has excellent control over image distortion.

4. Compact, lightweight design
Thanks to its newly developed optics, this lens is designed to be extremely compact and lightweight despite its ultra-wide-angle perspective. Since it has no dome-shaped protrusion at the front end, the photographer can mount commercial 49mm-diameter filters, including circular polarizing filters popular in landscape photography.

5. Other features
1) Flower-shaped lens hood, with extendible design for easy carrying
2) Minimum focusing distance of 18 centimetres (or 0.59 feet) for close-up photography
3) PENTAX-developed Quick-Shift Focus System for instant switching to manual-focus operation after the subject is captured in focus by the AF system
4) PENTAX-original Super Protect (SP) coating applied to the front surface of the lens, making it easy to wipe off fingerprints, cosmetics and other stains


Price
RRP £569.99

Pentax lifts the wraps on X70 compact

PENTAX U.K. is pleased to announce the launch of the PENTAX X70 digital compact camera. This new bridge camera features a high-magnification optical 24-times zoom lens with a wide-angle to super-telephoto coverage, and sports a highly portable, compact, lightweight body. The X70 is an all-purpose model performing superbly and effortlessly in a wide variety of situations — from casual day-to-day snapshots to travel and sports photography.

Main Features

1. Versatile optical 24X zoom lens to accommodate a range of subjects
Within its compact, lightweight body, the X70 features a high-magnification optical 24-times zoom lens offering a focal-length coverage between 26mm wide-angle to 624mm super-telephoto (in the 35mm format). Coupled with the Intelligent Zoom function, the X70’s range can be extended to approximately 150 times (for an approximate focal length of 3900mm in the 35mm format) without compromising the optical performance of the zoom lens.

2. Reliable shake-reduction system for sharp, blur-free images
The X70 incorporates an image-sensor-shift-type SR (Shake Reduction) system to ensure sharply focused, blur-free images even under demanding photographic conditions - such as when using a telephoto lens or when shooting a sunset or indoor scene using only incandescent light. By accurately detecting the amount of camera shake using a high-performance gyro sensor, and shifting the CCD image sensor vertically and horizontally at high speed, the X70 offers an outstanding camera-shake compensation, equivalent to approximately three shutter steps.

3. High-speed continuous shooting to capture the decisive moment
The X70 lets the photographer capture the subject continuously at a maximum speed of approximately 11 images per second, and up to 21 images in succession.* Coupled with the Auto-Tracking AF mode that keeps a fast-moving subject in sharp focus at all times, the X70 enables the user to capture once-in-a-lifetime moments, even when the subject is an active child or unpredictable pet.

* When the continuous-shooting mode is selected, the image size is fixed at 5M (2592 x 1944 pixels).

4. High image quality
Thanks to the combination of approximately 12.0 megapixels, a high-performance imaging engine, and the high-quality PENTAX zoom lens, the X70 delivers super-clear, high-quality images without fail. It even allows the photographer to choose the preferred finishing touch — Bright, Natural or Monochrome.

5. Movie shooting in HDTV image quality and with anti-shake protection
The X70 delivers high-quality movie clips, equivalent in image quality to that of high-definition TV (1280 x 720 pixels). It also features the Movie SR mode, ** which effectively minimizes annoying camera shake during movie shooting through the use of exclusive software. As a result, the photographer enjoys high-quality, blur-free movie shooting with minimal effort.

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

6. Multi-mode exposure system to accommodate different applications
The X70 offers a choice of four exposure modes: Programmed AE, in which the camera automatically selects the optimal combination of aperture and shutter speed for a given subject; and Aperture-Priority AE, Shutter-Priority AE and Metered Manual modes, in which photographers are free to select either or both aperture and shutter speed to express their creative intentions and personal touch.

7. Auto Picture mode for the automatic selection of seven different shooting modes
The X70 features the advanced Auto Picture mode, which automatically selects the most appropriate scene selection for a given subject by detecting the subject’s lighting and other conditions. This user-friendly feature not only makes the right mode choice for the photographer (from Landscape, Portrait, Night Scene, Night Scene Portrait, Flower, Sport and Standard modes), but also features an auto macro mode, which automatically switches the camera’s focus range to macro in close-range applications.


8. Super-fast Face Recognition AF&AE function to capture up to 32 faces in focus in approx. 0.03 seconds
The X70’s Face Recognition AF&AE function comes extremely handy for taking casual snapshots of people. It optimises the focusing and exposure status of the subject — up to 32 faces in a single image — in approximately 0.03 seconds. The X70 also offers other user-friendly functions: a Smile Capture function that automatically releases the shutter the instant it detects the subject’s smile; and a Blinking Detection function that warns the photographer when the subject’s eyes were closed at the time of shutter release.

9. Auto sensitivity control, up to a super-high ISO 6400
The X70 comes equipped with an auto sensitivity control function, which automatically shifts the sensitivity level in relation to the subject’s lighting condition and the lens focal-length setting. This allows the photographer to use a high shutter speed in dimly lit locations, such as night scenes or indoor sports events, to effectively minimise camera shake and subject shake. The auto sensitivity control range can be set between ISO 50 and super-high ISO 6400.

10. Large, easy-to-view 2.7-inch colour LCD monitor
Despite its compact dimensions, the X70 features a large 2.7-inch high-brightness colour LCD monitor with approximately 230,000 dots. Thanks to the AR (Anti-Reflection) coating, sunlight reflections are kept to a minimum for comfortable outdoor viewing.

11. Other features
1) Choice of image format, from proportions of 4:3, 3:2, 16:9 or 1:1
2) Shooting mode palette for easy selection of the most appropriate shooting mode from 20 different options, including a new Baby mode programmed to capture the healthy, lively face of a baby
3) Overexposure compensation function to prevent white-washed highlight areas
4) 1cm Macro mode can be used as close as one centimeter away from a subject for stunning close-up shots
5) Digital Wide function to composite one extra-wide-angle image (equivalent to an image taken with an approx. 20mm lens in 35mm format) from two images
6) World-time clock to display standard time in 75 cities in 28 time zones around the world, for an extra convenience on the road
7) Frame Composite function (with 90 frames stored in the camera) to shoot or compose images with decorative photo frames
8) Approx. 33.6MB built-in memory
9) Red-eye reduction function to correct annoying red-eye in recorded images during playback


Price
RRP £369.99

Samsung NX series features interchangeable lenses

At the bottom of the press release in the last post, Samsung quite clearly state the NX series will feature interchangeable lenses, not unlike the M3/4 Panasonic Lumix G1 camera.

In any case, the photo of the NX has what looks like a lens release button, if there were any doubters.

With the shorter flange back, I can't really see why a lens converter can't be made to accommodate lenses using the Pentax K mount, and that includes all those superb Limited lenses.

Now where is the follow up to the G1, and Olympus' M3/4 offering?

Samsung reveals NX hybrids using APS-C size sensor at PMA 09

Hot on the heels of Panasonic's Lumix G1, Samsung (and presumably Pentax) are showcasing their new NX series hybrid DSLR at PMA 09. See our earlier story DSLR's: The end of the road?

2nd March 2009 – Samsung has today used PMA 2009 as the global launching pad for the NX Series, the company’s revolutionary new series of digital cameras. The new concept digital camera, the NX Series, offers the performance and image quality of a DSLR and the portability and convenience of a compact point-and-shoot. With the announcement of the NX Series, Samsung is set to become a global leader in the new hybrid camera market.

Samsung’s new NX Series bridges the gap between a DSLR and compact point-and-shoot digital camera by combining the benefits of both in one new model. Like conventional DSLRs Samsung’s new concept digital camera, the NX Series, utilizes an APS‑C sized image sensor providing a much larger surface area to gather light and produce higher-quality images than comparable digital camera systems. Unlike a DSLR, the NX Series does not feature a mirror box and employs an ultra-precise, Electronic Viewfinder (EVF). The use of an EVF has allowed Samsung engineers to significantly reduce the size and weight of the new camera system by decreasing the distance between the lens and image sensor (flange back) by approximately 60% compared to traditional DSLRs. In addition to utilizing the EVF, consumers can also take advantage of the camera’s Live View functionality to frame their shots on the NX Series’ high-resolution screen.

Samsung has recently intensified its focus on the digital imaging market, and established a separate company dedicated exclusively to digital imaging in Samsung Digital Imaging Company. The new company was formed to focus on the development of its digital still camera around world’s first and best in class features, design, and easy to use interfaces and will work towards achieving the company’s stated goal of becoming the world’s leading digital imaging company.

Samsung Digital Imaging Company also creates a much more efficient vertical alignment between related Samsung business units including digital imaging, semiconductor and electronics. This new vertical alignment will create competitive advantages for Samsung by fostering greater collaboration between business units and allowing the company to develop and deliver highly-innovative digital imaging products that set the standard for the industry, including the newly unveiled the new concept digital camera, the NX Series.

“We see the hybrid digital camera market will be over 20% of the global digital still camera market by 2012.” said Sang-jin Park, CEO of Samsung Digital Imaging Company. “With the release of the NX Series, a digital camera that combines the strengths of a DSLR and compact digital camera, Samsung Digital Imaging will become a global leader in the new hybrid digital camera market and achieve the company’s goal to be a leader in the digital camera market by 2012.”

The first model of the NX Series and full range of NX compatible lenses will be available in the second-half of 2009.

For more information on Samsung cameras, please visit www.samsugcamera.com or www.samsungcamera.co.uk

More photos

Olympus Evolt E-520 review

We review the Olympus Evolt E-520, the update to the maker’s mid-range E-510, and ask how well does it stack up against all new models from rivals?

The Olympus Evolt E-520 is an upgrade of the maker’s popular mid-range E-510. And, like the revamp to the earlier entry-level E-420, the E-520 adds a more color accurate 2.7-inch LCD, additional Live View modes and some subtle but hugely important tweaks to the image-processing pipeline. The original E-510 was the first DSLR from the maker to add a body-integral anti-shake system, providing image stabilization to every lens in the range. Not only does this save potentially hundreds of pounds on specialized lenses but provides backwards compatibility with the maker’s earlier optics and helps keep lenses smaller and lighter to boot.

Unlike the E-420 there’s no noticeable change to the body shape, or size of the handgrip. Considering the diminutive dimensions, the grip suits large hands well, far more so than comparable Canons. And while the finish of the plastic outer shell, criticized previously, now seems a step up, slight ergonomic improvements to the aft-selector dial and shooting mode dial are also welcome. The big change is around the back. The 0.2-inch diagonal increase over the earlier 2.5-include LCD doesn’t sound much until you compare the two models side-by-side. There isn’t room for a 3-inch panel, but it’s not the size that impresses rather it’s the picture quality and color accuracy. There’s a new coating too, but while it helps reduce glare it smudges easily.

On View

We can understand the improvements to the screen’s performance too, as the maker has added a raft of new features to Live View option. The original E-510 was one of the first to boast live previewing but it lacked the contrast detection AF modes using data directly from the imager seen on later offerings from rivals. That’s now corrected with the E-520 and the maker has added a face detection option, like that used on their digital compacts. In fairness this works reasonably well though it’s not likely to be used in preference to the optical viewfinder with its own, much faster 3-point auto-focus sensor. The somewhat cramped viewfinder image isn’t a particularly strong point though, so we can see why the maker has been keen to upgrade the Live View feature. Face detection in Live View can be swapped with a quicker reacting 11-point auto-focus option but it still lacks the swift operation required for most moving subjects.

A dedicated button for Live View makes it easy to switch between viewing modes and is in stark contrast to the default menu-centric operation of the Canon offerings. Surprisingly that’s a good call even though many of the E-520’s features can be selected from the camera’s data panel. Simply pushing the OK button at the centre of the d-pad initiates selection of the highlighted data, while a second push reveals a contextual sub-menu with the options. The d-pad or aft-command dial are then used to make selections, and it’s both quick and intuitive. For these features the system works very well indeed especially as the last choice is held in the memory, so you can either quickly amend it or use it as the basis to navigate to the next one.

In use the E-520 feels fast and responsive and the supplied kit lens the 35mm equivalent to a 28-84mm zoom seems every bit as quick to focus as the Nikon and Canon offerings. Optical quality is on a par too, if not slightly ahead to the edges of the frame. And the maker bundles a lens hood, a £20 option for the Canon equivalent. From our tests, using a fast-writing CompactFlash card, the E-520 will fire off an unlimited burst of JPEG’s at 3.5fps, a slightly higher rate than the E-510. It will also buffer 8 RAW frames, or around 80MB of data, before stalling. That’s the same as before but two RAW frames more than the 12-megapixel Canon EOS XSi (EOS 450D) with its slightly larger files.

Light and Dark

Perhaps the most important improvement though is the inclusion of an adaptive dynamic range option, similar to Canon’s Auto Lighting Optimizer, Sony’s Dynamic Range Optimizer (DRO) and Nikon’s Active D-Lighting modes. Coined SAT, or Shadow Adjustment Technology by the maker this holds onto highlights while bringing up shadow detail. It’s subtle at times like rivals’ offerings but it’s a major advance on models that lack the technology.

For the user to benefit, the aptly named Auto Gradation option must be selected first. But, it’s oddly confusing as to why it’s not labeled SAT in the first place. Once enabled we found the expected improvement in shadow detail but we couldn’t leave the camera set to this option indefinitely without the occasional overexposed area. This is a pity as it works well in the E-420 except for that model’s tendency to show banding nose in the shadows at ISO800 and above. This was less troublesome with the E-520 and noise levels were generally kept to acceptable levels even at the ISO1600 maximum. Colors looked great in daylight and weren’t too shabby even under mixed lighting, so we would have to say it’s quite an improvement over the E-510.

Ultimately the Evolt E-520 has lots to commend it. Over the EOS XSi (EOS 450D) the Olympus scores with its built-in anti-shake system and better Live View system, yet the Canon has the better AF system and the slight edge on shadow noise and detail at High ISO’s. We prefer the E-520 to the Sony A-350 though that model has the most effective Live View operation, at least it does if you want to use it like a digital compact. Compared with the Nikon D60 or D80, the lack of affordable image stabilized lenses could be an issue, as too could be the AF incompatibility with earlier optics, but the lower price of the D60 could be tempting. Either way the E-520 makes a solid choice, but it’s not quite as clear-cut as it was when the original E-510 hit the shelves.


Price

Olympus E-520 c/w Zuiko Digital EF-S 14-42mm f/3.5-5.6 $549.95 (£429).

Web

www.olympusamerica.com, www.olympus.co.uk, www.olympus.co.jp



Pros & Cons

Pros

Handy SAT function
Excellent color rendition
Effective image stabilization and anti-dust features
Versatile live view system.


Cons

Small viewfinder image
3-point AF system
Occasional overexposure.

Rating

4/5


Verdict

Not the clear-cut winner that the earlier E-510 was but there’s no doubt the E-520 is a very attractive alternative to the usual Canon, Nikon and, now, Sony options.

Sample Photos