Posts Tagged ‘inch lcd screen’
- 10.1 megapixel, 1/1.63-inch CCD image sensor
- F2.0 Leica DC-Vario-Summicron 3.8x optical zoom wide-angle with 24-90mm (equivalent) focal range
- ISO 80-1600 (up to 12800 high sensitivity at lower resolution)
- 3.0-inch TFT LCD with 460K pixels (backlight LED)
- 720p HD video capture (AVCHD lite)
- Face Recognition and Detection technologies
- Venus Engine FHD image processor
- POWER Optical Image Stabilization (O.I.S.)
- SD/SDHC/SDXC card slot
- A/V, USB 2.0, HDMI outputs
- Stereo Microphone with Dolby® Digital Stereo Creator
- Powered by a Li-ion battery pack (rated up to 400 shots per charge)
- Accessories include External Optical View Finder, Wide Conversion Lens, Live View Finder, ND Filter, MC Protector, External Flashes and Leather Case
The brand new E-PL1 is the third Micro Four Thirds camera from Olympus, following on from the E-P1 and E-P2 models which were launched in 2009. The Olympus E-PL1 is a more affordable mass-market camera, with a plastic rather than metal chassis, smaller and lighter body, and a redesigned user interface that’s simpler to use. The easy-to-understand, non-technical Live Guide provides direct on-screen control over key image effects like depth-of-field and sharpness, while the addition of a built-in flash makes the E-PL1 more versatile in low-light. Other key features of the E-PL1 include 12.3 megapixels, 2.7 inch LCD screen, sensor-shift image stabilisation, one-touch HD video recording, Supersonic Wave Filter for automated sensor cleaning, a sensitivity range of ISO 100-3200, 6 different Art Filters and 3fps continuous shooting for up to 10 raw images. The Olympus E-PL1 is available now in silver, black, blue, champagne gold and red at a retail price of $549 body only, £549 / $599 for a single lens kit and £699 for a twin zoom kit.
Ease of Use
The Olympus E-PL1 is the sixth member of the growing Micro Four Thirds family, joining the E-P1 and E-P2 models and Panasonic’s G1, GH-1 and GF-1 line-up. All of these cameras take advantage of the mirror-less nature of the Micro Four Thirds standard to offer a smaller and lighter solution that more traditional DSLR cameras, targeting those users who want to trade up from a compact but who are scared away by the size and complexity of a DSLR. With it’s all-plastic body the E-PL1 is one of the lightest models in this category, weighing 300g, and it’s also a little smaller too, measuring 120.6 x 69.9 x 36.4 mm. Both the more expensive EP-1 and EP-2 cameras have metal bodies, so the E-PL1 has shed weight and lowered cost by using a plastic construction, although it still feels reassuringly well-made with very little flex in the overall design. The depth and weight increase when the supplied poly-carbonate mounted 14-42mm kit lens is fitted, making the E-PL1 instantly more DSLR-like, but fitting a pancake lens like Olympus’ 17mm or Panasonic’s 20mm creates a compact overall package that will particularly suit street photographers looking for an indiscrete camera.
The more modern styling of the E-PL1 is a lot more neutral than the overtly retro design of the E-P1 and E-P2 and will mostly appeal to the younger and more inexperienced audience that this model is aimed at. Our black review sample with silver metal accents looked quite stylish in an understated kind of way, although it lacks the more cohesive design of its predecessors. There’s a generous, textured black plastic hand-grip on the left-front of the camera which I prefer to the original E-P1, and a shiny black panel on the rear where most of the controls are located. The E-PL1 is better constructed than you’d expect given its relatively small size, light weight and budget price-tag, certainly on a par with most entry- and mid-level DSLRs.
Large metal neck strap eyelets are located on top of the camera at the sides, with the rear dominated by the fixed 2.7 inch LCD screen, another cost-cutting measure (the E-P1 and E-P2 both have a larger 3 inch screen). When it comes to storing your photographs the E-PL1 uses SD / SDHC cards, an important decision by Olympus as this format is much more popular than the xD-Picture cards that most Olympus compacts use. The BLS1 battery which provides up to 500 shots under the CIPA testing standard (note that this drop to 280 images if using Live View all the time) is housed next to the SD slot, both protected by a plastic lockable cover. Also found on the bottom of the camera is a metal tripod mount located almost in the centre of the camera body, although not in line with the lens.
As with the E-P1 and E-P2, there is no optical viewfinder as on a DSLR. Instead, you can choose to buy the excellent detachable VF-2 viewfinder which slots into the E-PL1′s hotshoe on top of the camera and is tilt-able to 90° so the camera can be used as you would a medium format model and with 100% field of view. The EVF has its own newly included port, situated just below the E-PL1′s hotshoe and protected with a slide-off piece of plastic that will quickly get lost in the recesses of your camera bag. This port also allows the attachment of an accessory microphone if so desired via the EMA-1 adapter. New for the E-PL1 is the much-requested built-in pop-up flash, activated by a switch on the rear. This uses a folding design to raise the flash as high as possible above the lens, much the one on the Panasonic GF-1.
Once you have captured a photo, the Olympus E-PL1 has a good range of options when it comes to playing, reviewing and managing your images. You can instantly scroll through the images that you have taken, view thumbnails (up to 25 onscreen at the same time and in a Calendar view), zoom in and out up to 14x magnification, view slideshows, delete and protect an image, add a sound clip and set the print order.
The Edit option offers a number of different ways to alter the look of an already-captured photo, including merging 2 or 3 into one, shadow adjustment, redeye fix, cropping, changing the aspect ratio, converting to black and white or sepia, boosting the saturation, resizing and applying the e-Portrait filter. The Info button toggles detailed settings information about each picture on and off, such as the ISO rating and aperture / shutter speed, and there are small brightness and RGB histograms available.
In summary the Olympus E-PL1 is an easier-to-use and crucially cheaper PEN model that doesn’t compromise too much on features and build quality, although serious photographers will miss the key controls that have been removed to make the camera simpler.
The Pentax Optio I-10 is the latest compact camera to come out from Pentax and stands out from the crowd not because of a higher than average megapixel count, or smile technology, but because it offers a retro design similar to Pentax’s Auto 110 film camera. But can the camera that takes its heritage from yesteryear perform today? We were able to take it for a quick spin for a First Look review.
As not to mislead, this First Look impression is based on a pre-production sample sent to us by Pentax. While the handling, form factor and general performance of the camera are finalised, the image processing elements are still being worked on we are told. On the two models (a white version and black version) sent to us, the video capture feature wasn’t working for example, and we noticed blips in the performance of the rear display.
Those caveats aside, that doesn’t stop us telling you about the design and the feel of the camera. It’s light in weight to hold (approx 140 grams with battery), while that retro feel certainly stands it apart from most of the compact cameras on the market today gunning for a compact, slim, feel.
The front of the I-10 boasts a large lens that offers a 5x F/3.5-5.9 optical zoom and further digital zoom qualities beyond that. In reality that gives you the equivalent of a 28-140mm in 35mm speak. The digital zoom (which we always recommend against using) offers a 6.25x zoom giving you a possible total 31.3x if you are willing to forgo image quality.
Above the lens is the flash (rather than to the side) and whether it’s down to the handgrip or the mottled pattern layered over the camera, Pentax has successfully carried off the look they were after. Old meets new has been finely balanced.
Around the back you get a 2.7-inch LCD screen sporting a 16:9 widescreen aspect ratio that gives you plenty of scope for seeing what you are doing. There is no electronic or optical viewfinder; the raised flash housing might make you expect one, but whether you need it or not comes down to personal preference.
Unfortunately if you opt to shoot at the highest resolution (12 megapixels) you won’t be able to benefit from the screen’s 16:9 aspect, with “widescreen” shooting coming in at 9 megapixels. Shooting in 12 megapixels means a black box down the left hand side is automatically filled with data like battery life, what scene mode you are in, whether face detection or smile mode is on, and how many shots you’ve got left, leaving your camera shot free of clutter. In other shooting modes this information is overlaid, but we like the fact that Pentax didn’t choose to put black bars either side of the image, as is often the case, so it looks nice and tidy.
To the right of the screen is the usual array of quick link buttons, nothing unusual there, and the on/off switch, shutter and zoom controls are found on the right hand shoulder. The left hand shoulder sports a finger grip and the zoom ring sits around the shutter button. Usually you’ll find the zoom ring on a compact camera has a knurled grip on the front, here it doesn’t – it faces you rather than away from you, which takes some getting used to.
As with previous Pentax models, the “Green” auto shooting mode will automatically choose the best option for you and let you get on with snapping the pictures. Those that want some control can opt for the specific scene from 24 on offer and here they range from fireworks, to parties to pets. Opting for the pets mode for example allows you to register your pets into the camera so it can then detect their faces in future photographs and make sure they are in focus.
You also get CCD-shift Shake Reduction, which can be used on both stills and video. The video is capable of shooting HD 720p
As for connections, there isn’t HDMI or a dedicated TV out, although a USB cable in the box will allow you to output to a TV via NTSC or PAL. The battery and SD card slot can be found on the bottom. It’s a slide and lock mechanism that won’t give you any problems and should hold up to the test of time.
The menu’s are basic in their approach, easy to understand, however from a graphical point of view not as smooth and styled as some of the camera interfaces out there. Everything is easy to find and we had no problems with them.
Overall the camera was quick to respond with plenty of options to suit most compact camera users. We will hold further judgement on photo quality when we get a full working model, although have included some shots to give you an idea.
The Pentax I-10 looks to offer you the usual Pentax compact camera capabilities in a rather eye-catching retro design. People we showed it too thought that it looked “cute” and rather “fun”, however we also got questions as to whether it was a DSLR (due the styling) and if it was more powerful than a regular compact.
That perception, mainly inspired by companies like Olympus and Panasonic with the Micro Four Thirds cameras (such as the Pen E-P1 and Lumix GF1), might mislead some at first glance. This is, and Pentax makes no claims otherwise, a standard compact digital camera in a funky retro body.
- Better Zoom Lens – FX37 get a 5X zoom lens (25mm – 125mm), meanwhile FX35 came with 25mm – 105mm. 25mm Ultra-Wide-Angle and MEGA O.I.S. image stablizer is still the same, and the photos produced by FX37 is as sharp as FX35. It is very good and not easy to get 1X longer zoom, while producing the same sharp picture!
- New processor – you can find Venus Engine IV on DMC-FX37, which is also used on DMC-LX3. The result is quite pleasing, faster startup time, faster auto-focus, fast image recording … everything a little bit faster
- New iA (intelligent auto) mode – a new AF Tracking function automatically tracks and lock the subject once the AF has been set even, after that, if the subject moves around, the camera will keep lock on and tracking the subject; easier to capture sharp photos.
- Better battery efficiency – you can take 310 photos on a single battery charge with FX37, compare to only 290 photos with FX35
- Photo Quality – FX37 equiped with the same CCD as FX35, as you can expect, photos from them are almost the same in quality. However, thanks to the new Venus Engine IV image processor, FX37 shows a little bit improvement on noise control and color reproduction.
- HD movie – same as FX35, FX37 can take 30fps high-definition 1280 x 720p motion images. You may connect FX37 to a HDTV with a Component Cable (available separately), and watch the HD moives took by FX37 directly on HDTV.
- 10.1 megapixels CCD
- 25mm Ultra-wide-angle Lens and 5x optical zoom
- iA (Intelligent Auto)Mode Advanced with AF Tracking
- 2.5-inch LCD screen with Wide-viewing Angle
- HD Movie Recording
- Advanced MEGA O.I.S. (Optical Image Stabilisation)
The Panasonic Lumix DMC-FX38 sees more and captures more with a brilliant 25mm ultra-wide-angle Lens empowered with a 5x optical zoom. Beauty is promised to be preserved with all the fine details exposed in a 10.1 megapixels resolution, satisfying the need for large prints or trimming photos in the ways you desire. Panasonic’s iA (Intelligent Auto) mode offers you the best shooting results by choosing all the optimal settings for you in any shooting situation.
Packaged inside this camera includes Panasonic’s MEGA O.I.S. to eliminate blurring caused by hand-shake, Intelligent ISO Control to capture high-speed movements, Face Detection to auto-adjust focus and exposure on faces and much more. In the iA mode, AF tracking is featured to continually track a moving subject and keep it in focus, so that a beautiful photo is produced whether subjects are standing still or moving about.
The 2.5-inch LCD screen with a wide-viewing angle makes it a pleasure and fun to take photos, letting you frame your shot in a variety of new and creative ways. The intelligent LCD functionality also automatically adjusts the brightness in 11 steps according to shooting conditions. The Panasonic DMC-FX38 can also record high-definition still images (1920 x 1080 pixels) and HD movies (1280 x 720 pixels, 30fps), which can later be viewed in the 16:9 aspect ratio on large-screen HDTV.
The Canon PowerShot D10 represents Canon’s first foray into the all-action world of adventure cameras. The Canon D10 is waterproof up to 10 meters / 33-feet deep, freeze proof from -10°C / 14 degrees Fahrenheit, shockproof up to 1.22 meters / 4 feet, and is fully protected from dust. More regular features include a 12 megapixel sensor, 3x zoom lens with Optical Image Stabilization, 2.5 inch LCD screen, and new Smart AUTO, Blink Detection and FaceSelf-Timer modes.
Ease of Use
The Canon PowerShot D10 is certainly very distinctive, with toy-camera-like looks that you’ll either love or hate. Our review model had a turquoise blue and silver colour scheme, which can be customised by purchasing an optional coloured Front Cover Set. This is a well-made digital camera with a sturdy metal body and excellent overall finish. It’s just about small enough to fit into the palm of your hand, featuring a 3x optical zoom lens that’s equivalent to a focal length of 35-135mm. The maximum aperture is a fast f/2.8 at the wide end and a respectable f/4.9 at the other extreme of the zoom range. The PowerShot D10 is quite bulky, measuring 4.9cms thick when turned off, making it more suited to a small camera bag than a trouser pocket, but it only weighs 190g without the battery or memory card fitted.
As with most Canon cameras that we’ve reviewed before, the PowerShot D10 is one of the better models around in terms of build quality. Even the tripod mount is metal instead of plastic and positioned centrally in-line with the lens. The only minor criticism is the lack of any handgrip on the front, with just a smooth, flat finish embossed with the Canon logo, making it more difficult to hold than it really should be. Also, changing cards or batteries is not possible while the camera is mounted on a tripod, because the compartment door hinge is too close to the tripod socket.
The Canon PowerShot D10 has relatively few external controls, 14 in total, which reflects the fact that this is quite a simple camera in functionality terms, with only limited photographic control on offer. All the controls are clearly labeled using industry-standard symbols and terminology. As this camera will spend quite a lot of its life underwater, it thankfully has large On/Off and Shutter buttons, and the optical zoom is operated by buttons on the rear, rather than a more fiddly push/pull lever. We would have liked the zoom buttons to have been a little bigger though for quicker access in more unfamiliar shooting environments.
Located on top of the PowerShot D10 are the Print Transfer, Camera/Movie and Play buttons, plus the On/Off and Shutter buttons, and on the bottom are the metal tripod mount and sealed battery compartment, which also houses the SD memory card slot. On the rear of the PowerShot D10 is the 2.5 inch LCD screen, with all the rear controls located to the right. You can directly access the various focus and flash options by clicking left and right on the navigation pad, whilst up and down are respectively used to set the exposure compensation and timer options. There is sadly no dedicated button for ISO speed, which is a commonly used feature, although you can work around this by optionally setting the Print Transfer button to one of 7 available options (which include ISO speed).
Virtually all of Canon’s compact digicams offer a few little known but advanced functions, and the PowerShot D10 is no exception. These well-kept secrets, which you usually only learn about if you read the user guide attentively, include auto-focus lock (AFL), autoexposure lock (AEL) and flash exposure lock (FEL). To lock the focus on a subject for a series of consecutive shots, press the Left button on the four-way pad once while holding the shutter release depressed halfway. To lock the ambient exposure, do the same with the Up button. Flash exposure lock is achieved the same way when the flash is set to Forced On. AEL is available in Program, Quick Shot and Movie modes (you needn’t hold down the shutter release for AEL when you are in Movie mode though).