Archive for the ‘Digital SLR Cameras’ Category:
Nikon D3100 Review
The 3.0-inch LCD on the back has been improved from the D3000, with the most significant difference being the inclusion of Live View.
This was sorely missing on the D3000, so we welcome it with open arms of the D3100. Included on the Live View is an AF-F mode and Scene Auto Selector, which means that the camera will best match the shooting conditions to a pre-determined mode if you want it to
The chassis of the D3100 is almost identical to the D3000. This is no bad thing. It’s actually pretty trim for a DSLR which means you can easily grip it, with your fingers and thumbs finding the right spots.
But it is the weight of the thing which is the most surprising aspect of the D3100 – it’s super light, with Nikon boasting that it is its lightest DSLR yet.
The display’s format of 3-inches has remained the same. The camera’s display is playing a more important role in the camera, and the Nikon D3100 SLR camera is equipped with special software with features of Nikon’s View NX. This makes it possible to edit photos and video clips in the camera itself, while maintaining user-friendliness. The Nikon D3100 will come with the latest Nikon ViewNX 2 software, just like all the Nikon DSLR cameras
Canon EOS 60D Review
The upgrade to an 18-megapixel sensor brings the Canon EOS 60D up to date with the Rebel T2i and the 7D, and splits the difference between the two in frame rate, with the T2i shooting 3.7 fps, and the 7D ripping through 8 fps, while the Canon 60D can shoot at 5.3 frames per second. That’s down from the 50D’s 6.3 frames per second, one of the first downgrades on the list.
A major improvement is the addition of a 1.04-million pixel, 3-inch Vari-angle LCD screen on the Canon 60D, opening up more unique composition possibilities to the class of shooter that Canon is seeking with this new design.
Though it’s the fifth EOS SLR to support HD video capture, the Canon 60D is the first of its class to do so. Resolutions include 1,920 x 1,080p, 1280 x 720, and 640 x 480, saved in H.264 compression with linear PCM audio. Frame rates include 30, 25, and 24 fps for Full HD, and 60 fps and 50 fps for HD and VGA. Also included is a feature only recently added to the 5D Mark II’s video mode, the all-important audio-level adjustment; so in this sense, the Canon 60D is a more advanced video capture device than the 7D.
So what about Canon’s competitors? It’s fair to say that the EOS 60D aces anything that Nikon currently has to offer in the mid-range, with the Nikon D90 and the D300S looking rather old-school in comparison to this. Nikon has revealed an upgraded entry level DSLR in the shape of the D3100, and we fully expect an announcement of a D90 successor in the run up to the Photokina trade show in late September – watch this space…
Sony could threaten to rain on the EOS 60D’s parade, too, which isn’t something we would have said even last week. Sony’s intriguing new translucent-mirror cameras, the Sony Alpha a55 and a33, seem to offer outstanding AF performance (for Live View and video as well as stills) and a whopping great speed hit – 10 frames per second with autofocus must be causing a few jitters over at Canon HQ. The Sonys are keenly priced too, coming in at under £1000 each.
Of course, all this is speculation until we test all these new cameras side by side, but after a fairly light spring and summer release schedule, it’s great to see the big Japanese camera makers doing what they do best – bringing out genuinely innovative new kit.
Sony Alpha DSLR A290 Review
The A290 and A390 together now have the 14.2-megapixel, in-body stabilized CCD sensor of the outgoing A380. Compared to their ancestors, they also have a simpler top control layout and a redesigned grip that should be more comfortable to hold.
Differences between the two revolve around displays, much like the gap between earlier Alpha models. The A290 has a fixed 2.7-inch LCD and depends on its optical viewfinder alone for previews. Moving to the A390 changes to a tilting display and gives the option of live view from the LCD. Either has a simplified menu system for new photographers, both Memory Stick Pro Duo and SDHC for storage and HDMI video out.
Video recording is still absent on either camera
Sony NEX-3 Review
The CMOS is much larger than the Micro Four Thirds sensor, leading to some major benefits: maximum image size is 4592×3056 pixels, or 39×26cm in print-speak. Note that a larger sensor leads to a more narrow depth of field, closer to that of a 35mm SLR.
It has two major and highly appealing features from the earlier, compact DSC-HX5V: an amazing panorama feature that can be used with the camera horizontally or vertically (you’ll love the rapid fire of the shutter as it shoots the sections!); high burst rate.
The Sony NEX-5 has one even better spec: AVCVHD movie shooting in Full HD: 1920×1080 pixels
Several hot features were brought over from recent Alphas and Cyber-shot digital cameras, including Sweep Panorama, Auto High-Dynamic Range shooting, Handheld Twilight, and Anti-motion-blur modes, each of which strategically combine and align several images into one seamless one. It’s pretty impressive stuff. As if that weren’t enough, Sony’s also announcing an upcoming upgrade (even before the cameras ship!) that will enable a special 3D Sweep Panorama mode that will work with several as-yet unannounced Bravia TV sets coming in July 2010.
Both the Sony NEX-5 and NEX-3 sport a wide, 3-inch LCD with 921,000-dot resolution. The surprise is that the super-slim LCD tilts up 80 degrees and down 45 degrees for easy viewing. With TruBlack technology borrowed from Sony’s picture frames, shooting in or out of doors is a pretty good experience.
Though by name the new cameras are Alphas, they no longer use the Alpha mount; instead Sony has christened a new E-mount, for which two lenses will ship right away, both as kit lenses. The first is a fairly standard 18-55mm f/3.5-6.3 lens with Optical SteadyShot, and the second is a 16mm f/2.8 pancake prime lens. Both have a beautiful aluminum barrel in brushed gunmetal gray.
An adapter is available for mounting Alpha lenses, but autofocus will be disabled with the NEX cameras. Two converters will also ship for use with the 16mm lens: an Ultra Wide Converter with a 12mm equivalent view, and a Fisheye Converter.
Finally, an 18-200mm f/3.5-6.3 OSS lens is planned for shipment some time this year.
Both the Sony NEX-5 and NEX-3 accept both Memory Stick Pro-HD Duo and SD, SDHC, and SDXC media.
Sensor. The Sony NEX-3 and NEX-5 have the company’s third generation Exmor sensor. It is an APS-C sized HD-CMOS sensor that Sony says is 60% larger than a Four Thirds sensor, and 13 times larger than a typical video camera sensor, so they expect performance gains in both areas.
Dust. The Sony NEX cameras have a dust abatement and removal system, where they’ve included a charge-protection coating on the low-pass filter, and they also vibrate the low pass filter to shake dust free.
Processor. Sony doesn’t say much about the new Bionz processor beyond that it’s the third generation of the chip. Looking at the images, it could be a big part of what’s improved their image quality so much.
Autofocus and metering. The Sony NEX-3 uses contrast-detect autofocus only. It has two autofocus modes AF-S for single and AF-C for continuous focusing. There are three autofocus area modes, including Center, Multi, and Flexible Area modes. You can also choose full Autofocus, DMF, which allows you to adjust focus after the autofocus operation, and Manual Focus. Focus is fast and fairly accurate. See the Shooter’s Report or Performance tab for more.
The Sony NEX-3 has the option of Spot, Center-weighted, and Multi-area metering.
Optics. Sony’s new lenses are designed to respond more quickly than conventional SLR lenses can, with the express purpose of enabling autofocus while shooting video. Most SLRs either disable autofocus while capturing video, or else they essentially ruin the bit of the video where you’re focusing because of the lens motor noise and the excessive focus and exposure changes required.
Olympus Pen E-PL1 Review
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.
Tags: Olympus Pen E-PL1