Harley Ogier dives in to test out a cool-looking waterproof camera.
Panasonic is famous for its Toughbook line of notebook computers designed to military standards. That experience is put to good use in the company’s latest compact digital camera, the rugged DMC-FT1.
Built for action
Cased in an attractive metal shell reminiscent of the Toughbook computer, the DMC-FT1 is water-, shock- and dustproof to recognised industry standards. Sealed hatches protect the battery, memory card and connectors, while folded optics keep the lens assembly entirely within the body and behind a protective outer shell. Altogether this makes for an extremely hardy camera capable of shooting in harsh environments without an additional protective housing.
I gave the DMC-FT1 a test run underwater and it performed admirably. The controls were easy to operate and the screen was clearly visible. Image quality was equal to that of pictures taken on dry land. The camera works in salt water, though a rinse in fresh water is necessary afterwards. If you follow the instructions, you’re unlikely to have any problems shooting at the beach or in the pool.
Most digital compact cameras have a pronounced start-up delay while they mechanically extend the lens from within the body. Since the DMC-FT1’s lens remains internal, its start-up time is noticeably shorter than average. This is great for spontaneously capturing images, just the thing a ruggedized compact camera is made for.
In keeping with that shoot-from-the-hip mentality, the DMC-FT1 features a dedicated video record button that works in any shooting mode. It means you can switch rapidly between photo and video recording without having to fumble for the mode dial ” a potentially difficult task while underwater or hanging from the side of a cliff.
Images taken with the DMC-FT1 are of reasonable quality; colour depth is good and the 28mm (equivalent) wide-angle lens is great for those long New Zealand beaches. However, there’s some noticeable blurring around the edges at that widest zoom level.
The camera’s dynamic range seems quite limited, especially in highly contrasted outdoor shots. An Intelligent Auto shooting mode provides some improvement there, adjusting the camera’s settings to best suit your current environment. While manual options are available in the Normal shooting mode, Intelligent Auto is another convenience feature for the quick-shooting action star who doesn’t have time to worry about exposure compensation or white balance.
Regardless of settings, images do appear a little noisier and slightly blurrier than one would expect of a 12 megapixel camera. That’s not to say resolution has anything to do with image quality, but there’s little point in a 12 megapixel sensor if you end up resizing all of your images down to cut out the noise.
Panasonic’s DMC-FT1 doesn’t take the best pictures in its class. However, many will find this a reasonable trade-off for the camera’s extremely durable and waterproof construction. Underwater housings for existing cameras are available but they are not cheap, so with one built in, you may be getting a better deal that you might think.
If you’re looking for a compact camera to match your active lifestyle, the DMC-FT1 is an excellent option.
Phil Hanson gets up to speed with the super-fast shooting modes of a tiny camera with a big heart
It seems entirely fitting that Casio, a leading light in providing calculators that solve complex maths answers in a trice, should also make the king of high-speed compact digital cameras.
The new EX-FC100 may look much like any other pocketable compact, but it packs a mighty performance punch that outshines even top dSLRs: the ability to shoot at up to 30 frames a second. As if that’s not enough, it’ll take video at 1000fps for wild s-l-o-w motion effects.
OUT OF THE BOX
Casio has been making digital cameras for more than 10 years, products marked by good build quality and stylish design. The EX-FC100 body is all metal and weighs a little more than many similar sized compacts at 180g with battery and card. On the back is a 2.7-inch 230k-dot monitor with most controls laid out to the right.
The 6.4-32mm 5x Exilim zoom lens equates to 37-185mm full frame, a range that will usually complement its high-speed shooting capabilities. Maximum aperture is f3.6 at the wide end and f4.5 fully extended. F3.6 is somewhat modest for a quality compact these days. Sensor-shift stabilisation helps ˜steady’ slow shutter-speed shots.
Images are recorded on a 1/2.3-inch high-speed CMOS sensor that, at 9.1, won’t win the megapixel race. On the other hand, there’s much more to a good photo than how many pixels are squeezed onto the sensor.
Multiple focus modes include pan focus, manual, manually selectable AF point and tracking AF.
The FC100 includes Casio’s Best Shot mode comprising a range of scene programs as well as some party tricks like Multi-Motion Image, which records a multi-exposure image on the same frame of a moving subject, giving a strobe-like effect.
Sure, it can take pictures one at a time but that 30 frames per second burst is a standout attribute. And a lag correction feature continuously records to the buffer, allowing the camera to capture an image up to 0.3 seconds before the shutter button is pressed! In these modes the image drops to 6MP.
In single-shot mode using maximum image quality the Casio can shoot about one frame per second and has a continuous shutter function allowing it to click away at 1fps until the SD card is full; this may often be more useful than the 30-frame sprint.
Its high-speed video can shoot at 210, 420 or 1000 frames per second. Resolution is limited in these modes to 480 x 360, 224 x 168 and 224 x 64 pixels. The 1000fps really slows fast action but the lower shooting resolution takes the edge off image quality. A high-definition video mode can record at 1280 x 720 pixels at 30fps and does a nice job of it.
SEEING IS BELIEVING
There’s next to no wide-angle lens distortion and corner sharpness is good.
Colour reproduction is impressive and the dynamic range is notable for a small-sensor camera. Image quality is best at 100 ISO.
For those who need to capture action but don’t want to carry around a big dSLR, the Exilim EX-FC100 is tremendously appealing. No, it won’t do quite the same job as a fully featured ˜big gun’, but on the other hand it does far better than you have any right to expect from such a wee package.
CASIO EXILIM EX-FC100 – Specs
Model: Exilim EX-FC100
Effective Pixels: 9.1 million
Lens: Exilim 6.4-32mm 5x zoom (37-185mm full frame equivalent)
Nikon’s D3x is an exciting proposition for a lot of different people, for a lot of different reasons, writes professional photographer Gary Baildon
At around $18,000, interest in a D3x will be academic for most, perhaps something to buy when that elusive Lotto win finally happens. Yet there is a small but passionate group of professional and well-heeled amateur photographers to whom it represents good value.
But really, why fork out that sort of money for a camera that is going to fit half as many RAW files on your CompactFlash cards and double the strain on your computing power and storage systems?
The number one reason is glaringly obvious: the D3x produces absolutely stunning big files. Recent pro dSLRs have had plenty of file size for editorial and basic magazine advertising purposes, as had 35mm transparency film before it.
So if recent pro dSLRs were the new 35mm film, then the D3x is the new medium format, with the handling and convenience of 35mm.
The benefits of having a new camera that fits seamlessly into your system are immeasurable. When the battery on D-Photo’s demo unit unexpectedly ran low (my fault), I discovered I was able to use the battery from my aging (in digital camera terms) D2xs and carry right on shooting.
Likewise, all of my lenses, speedlights and other accessories just hooked right up. Handling and functionality, while not identical, was so similar to my other Nikons that I never once reached for the manual. There will be a need for more (and bigger) CF cards in the very near future though.
HORSES FOR COURSES
There are many situations in my work where the 12 megapixel Nikons are more than up to the job, and there is nothing to be gained by doubling the data size of a job if you don’t need to.
Where the D3x would fit is in situations where the images will be produced as posters, billboards and so on. It is quicker and easier to use on location than a bulky, power-hungry digital back system, too.
A not so obvious benefit is in situations where the subject does not fill the frame well or you have a scissor-happy art director, and after a zealous cropping session far too many of your 12 megapixels end up in the desktop trash basket. This is where the D3x comes into its own; you are starting out with double the data so there is still plenty of resolution, even after significant cropping.
Do you or I really need a D3x? I can put my hand on my heart and say yes on totally defensible business grounds. However, if my primary income weren’t generated from photography I would be spending every waking hour thinking up a reason.
The camera is an exciting proposition for a lot of different people, for a lot of different reasons. In my view, the D3x can be likened to a desirable performance car, and many people are still buying those as they allow their hearts to rule their heads.
NIKON D3X – SPECS
Price: $18,229 (body only) Manufacturer: Nikon Model: D3x Effective Pixels: 24.5 million Sensitivity: ISO 100 to 1600 in steps of 1/3, 1/2 or 1 EV Storage Media: CompactFlash (Type I/II, compliant with UDMA); Microdrives Monitor: 3-inch LCD, approx 920,000 dots (VGA), 170-degree wide-viewing-angle, 100 per cent frame coverage Interface: USB Dimensions: 159.5 x 157 x 87.5mm (H/W/D) Weight: 1220g
Phil Hanson says all-in-one printers have come a long way but wonders if cramming so much technology into one box delivers the quality of prints photographers expect.
Quality photo printers that take up to A4 paper have become an endangered species.
These days, people wanting a printer to work with the smaller paper sizes find they have to buy a workbench space-wasting A3 or go for a multi-purpose machine that prints, scans, copies, faxes and makes the coffee. Manufacturers obviously see advantages in offering desktop Swiss Army knives, instead of single-function dedicated printers.
The Epson TX700W is an upmarket member of the TX family whose $120-ish TX200 D-Photo reviewed last year, and which effectively dealt to scepticism about whether all-in-ones could be any good.
Costing roughly three times as much, the TX700W ups the ante in all areas and adds a really useful bonus: wireless (and Ethernet) connectivity for both PC and Mac. It’ll also print on suitable CDs.
Styled in Italy and finished in gloss and matte blacks, the TX700 is of generally sturdy construction, although the double paper trays feel flimsy. Controls are nicely arranged on a tilting panel around an LCD screen that guides the user through various modes and maintenance functions when not working the device from a computer.
At 44.5cm wide and 38.5cm deep, the TX700W doesn’t occupy too much space.
A wide range of media devices can be accommodated, including SD, xD, Compact Flash cards and USB memory sticks.
Up and running
Those who follow the simple setup instructions will be printing within minutes. I found the separate wireless connection instructions somewhat confusing, but managed to get there.
The printed manual isn’t up to much, but the on-screen version is excellent. Full marks too for Epson’s on-screen utility that allows such an easy interface for such things as maintenance and ink management.
Six of the best
The TX700W uses six cartridges of Epson’s Claria photographic inks, which D-Photo matched with the gorgeous 300gsm Epson Ultra Glossy photo paper. Letting Photoshop handle the colour management, the machine produced excellent prints from JPEGs and TIFFs ” and did so at blazing speed. The results easily exceeded the TX200.
Moving right along
No nasties spoiled the scan and copy functions. It’ll scan up to a decent 4800dpi, and Abbyy OCR software is included for getting documents into a word processing program. As with printing, it scans at impressive speed. Copying is also quick and easy.
This is a very good machine. Who’d have thought three or four years ago that you could get a multifunction unit that produced this kind of quality work for four hundred bucks?
In addition, if you’re worried about excessive ink usage from your printer, try a ink-saving software such as PretonSaver – click here to find out more.
Harley Ogier looks at the options for people who don’t want to take their all-singing, all-dancing expensive notebook computer on the road.
Computers are essential tools for the modern photographer. However, while a notebook PC is a bulky accessory that can really weigh you down when travelling, newer ˜netbooks’ are small and lightweight.
Not only are they lighter to carry, they are also cheaper than their bigger brothers. And while they may not have the power and speed of heavier notebooks, they can give you plenty of options for storing photos and connecting wirelessly to the internet.
What are they?
Netbooks, or sub-notebooks, are miniaturised notebook (laptop) computers. There has been a surge of them in the market, with most manufacturers dipping their toes in the water to give consumers a cheaper way to get a computer.
To cut down on cost, weight and size, netbooks exclude luxuries such as CD or DVD drives ” some don’t even have a hard drive. Instead, they generally include at least one card reader, several USB ports and an inbuilt memory card to replace the hard drive.
Netbooks typically feature low-powered (slow) processors that are unsuitable for games or particularly taxing applications that need plenty of grunt. This is a trade-off for battery life ” a good netbook will generally give you at least four hours of running time before a recharge is required.
Why you need one
Despite their limited facilities, most netbooks are capable of running applications such as Photoshop. You’ll find that although Photoshop’s stated minimum requirements do exceed the capabilities of many netbooks, they’ll still manage common photo editing tasks such as cropping, resizing and retouching. But there are plenty of other photo software programs around that don’t need the power Photoshop demands.
Where you will run into trouble is screen real estate. A tiny computer means a tiny screen, and you’re looking at something between eight and 12 inches diagonally. The majority of netbooks run screen resolutions of 1024 x 600, not quite the 1024 x 768 minimum that modern applications are designed for. This means you’ll be doing a lot of scrolling, which can be tricky when all you have is a miniature touchpad.
For serious photo editing, a mouse is a necessity. There is a range of miniature mice designed for notebooks, both wired and wireless. Alternatively, you could invest in a small graphics tablet. One the size of your netbook or smaller would be easy to transport, and could even be perched on the keyboard for laptop use. Watch out for touchscreen netbooks in the near future, which will offer all the advantages of a graphics tablet with a computer built in.
Like full-sized notebooks, netbooks usually feature a standard VGA connector for an external screen or projector. If you have access to a screen or a television (perhaps in your hotel room) then you can do some serious editing without being restrained by screen size. Beware those few netbooks that require a special proprietary cable to connect to a screen, especially where those cables aren’t included in the box.
Photo editing aside, netbooks are just tiny computers. They’ll run any application that’s not too resource intensive. This includes office suites, content management systems for hardcore photographers, and the usual gamut of web browsers, email clients and media players.
Most models are available with a choice of Microsoft Windows or Linux operating systems. The Linux versions often come at a lower price, and are a good option if you’re already familiar with Linux or don’t mind learning some new tricks.
Instead of a hard disk drive, netbooks typically feature a solid state drive (SSD). Essentially this is just a big, fast memory card. Like your camera card, SSDs have no moving parts and so won’t be damaged if you haul your netbook around while it’s turned on, or use it in a moving vehicle. SSDs also use less power, which contributes to that increased battery life.
As always there’s a trade-off. Solid state drives are more expensive than hard disks, and are generally an order of magnitude smaller for a similar price. For example, a particular netbook might be available with a 16GB SSD, or a 160GB hard disk drive.
Which is better depends on you. If you’re looking for a storage unit to dump memory card after memory card full of photos onto, the hard drive option gives you that ability. If you’re just after an editing tool or a way to copy photographs from one memory card to another, the SSD option may fit the bill.
Good netbooks support both wired and wireless networking, so you can get online anywhere there’s a network: home, office or in many hotels and cafes. You can also use any wireless broadband product that supports USB, such as Vodafone’s Vodem or Telecom’s T-Stick.
Netbooks are a great way to email your photos home or to upload them to photo sharing websites. Professionals can use online file storage services to backup their photos while travelling ” this could be particularly valuable for people worried about losing essential shots.
Netbooks are the new must-have in the roving digital photographer’s toolbox. If you do choose to invest in a netbook, finding a model that best suits your existing methods and kit will ensure you get the most in return. As always, get the most expensive one you can afford, look out for storage capacity, processing power and battery life. Also consider buying a portable charger so you can give your battery a boost in the car.
Phil Hanson goes wide with Leica’s new compact and says it delivers pictures a pro would be pleased with.
Most of today’s compact digitals are good at pulling in reasonably distant objects with the ˜long’ end of their lens but suffer at the other end of the zoom range, where some cannot even offer a modest 35mm full-frame equivalent.
That’s fine for many photographers who can’t or don’t want to get close to the action, or who like a nice telephoto effect for their portraits. But the market hasn’t been kind to those who like to take photographs in the thick of things, or who enjoy the visual impact of wide panoramas.
Leica’s D-Lux 4 embraces the needs of wide-angle enthusiasts, offering a genuine 24mm full-frame equivalent view. And it goes one step further, with an optional 24mm optical viewfinder that slides into the hot shoe.
The D-Lux 4 replaces the similar looking and well regarded D-Lux 3 but there are many changes to what at first seems like a familiar camera. For example, the D-Lux 3 zoomed to an equivalent 112mm whereas the newcomer stops at 60. The D-Lux 3 didn’t have a hot shoe. But most important, the D-Lux 4 takes better pictures, if only because of less noise at higher ISO. The earlier camera was starting to get noisy at 400 ISO; now, 400 is fine and 800 quite usable.
Two things that haven’t changed are the quality feel of a well-built product and its good handling. I’m somewhat clumsy but the D-Lux 4’s controls, though small, are so well positioned that I never hit the wrong button, something I can say about few compacts.
The DC Vario Summicron lens offers an aperture of f2 to f2.8 and performs well wide open across the zoom range. Those who buy the D-Lux 4 for its wide view will be pleased by the low distortion and vignetting. Adding icing to the wide-angle cake is the ability to switch to a 16:9 picture format, in which the effective resolution drops to nine megapixels instead of the 10 in 4:3 format. I’m going through a 16:9 junkie phase, so that’s where I pretty much left it.
ON THE GO
Unfortunately, the D-Lux 4 is just a little too big to carry in a shirt pocket, but would be fine for a jacket or bag, meaning it can still be a constant companion.
Leica allows users to have full manual control, or you can just click it into Program and let it work on your behalf. This became my favourite mode because settings can be tweaked to suit your needs.
An easy alternative is using the various Scene modes, ranging from soft skin to film grain; but because Murphy’s Law says you always have the wrong scene selected for the picture that needs to be taken, I abandoned it in favour of Program.
Many compacts only produce pictures in JPEG format and there’s no problem with that for many applications. But the D-Lux 4 also shoots RAW, which allows a huge range of adjustments in post-processing and is favoured by professionals.
It’s when burying your head in the pixels during RAW processing that the stellar performance of the D-Lux 4 becomes apparent.
It’s no Leica M8, but costs a fraction of its big brother’s price and will produce images that are perfectly acceptable for the pro and keen amateur.
LEICA D-LUX 4 – Specs
Model: D-Lux 4
Effective pixels: 10.1 million
Lens: DC Vario Summicron 5.1-12.8mm ASPH zoom (24-60mm full-frame equivalent) with image stabiliser
Viewfinder: 24mm equiv ¨optional accessory
Monitor: 3-inch TFT colour LCD
Shutter: 60 sec-1/2000 sec
ISO: auto, 80, 100, 200, 400, 800, 1600, 3200
Shooting modes: Program, Shutter Priority, Aperture Priority, Manual, 2 x custom modes, video
Exposure metering: Multi-field, Centre-weighted averaging or Spot
Focus modes: Autofocus, face recognition, AF tracking
Media: SD, SDHC, MMC
File format: JPEG, RAW
Flash: Auto, auto and anti-red-eye, long-time synchro and anti-red-eye, flash always, flash off, first/second shutter curtain
Interface: USB 2.0
Battery: Lithium-ion rechargeable or optional mains unit/charger
Dimensions: 109 x 60 x 27mm (W/H/D)
Your nearest stockist
Genuine wide-angle performance
Optional manual adjustment for almost everything
It’s got that red Leica dot
Too big for my pocket
Image Quality 19
Value for money 15
Harley Ogier says the HyperDrive Colorspace is a fast and robust unit that can be easily upgraded
Sanho is responsible for the HyperDrive range of photo backup devices, an award-winning line of hand-held units that allow you to back up your digital photographs quickly and easily on the road.
The Colorspace Ultra Direct Memory Access (UDMA) is the latest addition to its line-up.
The casing is made up of a black plastic front and a black metal back, with open slots for memory cards and a power cable. You won’t find plastic or rubber flaps for dust protection, nor will you find anything ergonomic. However, it’s a solid machine that’ll transfer files from your card at blistering speeds.
The model I reviewed came with a 120-gigabyte hard drive, which could easily hold tens of thousands of 12 megapixel JPEGs or several thousand RAW files; other versions are available up to 500 gigabytes. The drive is easily user-replaceable and a case-only version is available for people who want to install the drive themselves.
The Colorspace UDMA provides extremely quick back-up of memory cards, at up to 40 megabits per second (depending on the speed your card allows). This means you can back up a two-gigabyte memory card in a minute.
Incremental back-up is supported so you can copy just those images that have been added or changed since your last back-up. This is a great time saver if you’re keeping your photographs on both your memory card and the back-up device.
Transfer from the UDMA to a computer is also reasonably fast when using a high-speed USB port on your PC. The unit appears as a removable hard drive on your computer, so there’s no software to install ” just plug and play.
Sanho claims the battery will last for 250GB worth of back-ups between charges. However, that assumes you won’t view your photos on the screen, because ” as you’d expect ” doing so will put extra pressure on the life of the battery.
The Colorspace UDMA features an extremely bare user interface that looks like something out of MS-DOS days.
Browsing images is awkward using the inbuilt screen, especially when you have a few hundred in one folder (as most cameras tend to store their photos).
You can’t hold buttons down to scroll, so you end up pressing a button a few hundred times to get through ¨a list.
However, there is a particularly nifty calendar view in which you can see a thumbnail for each day you’ve taken photographs, but it’s impossible to browse more than one month at a time.
But you can view picture histograms layered over the photo shown on the computer’s screen, which is really nifty.
The Colorspace UDMA is brilliant as a portable back-up device, but rather limited as a media viewer. It offers a lot of storage, can be upgraded and has a fast and powerful back-up system. However, its awkward user interface may limit its appeal for those who want more than a fast, solid, back-up unit.
Sanho Hyperdrive Colourspace UDMA Specs
Manufacturer: Sanho Corporation
Model: HyperDrive Colorspace UDMA
Display: 3.2-inch LCD, 320 x 240 pixels
Hard disk drive: 2.5-inch SATA, 120GB, user replaceable
Memory card support: CompactFlash (Type I/II), MicroDrive, SD, SDHC, MMC, Memory Stick, MS MagicGate, MS Select, MS PRO, MS PRO MagicGate, xD, xD Type H/M
Taking your camera on the road is all well and good until your memory card fills up. Starting with Epson’s P-3000, Harley Ogier tests two portable storage devices that can free up your memory card and let you carry on shooting.
The P-3000 is the entry-level model in Epson’s range of multimedia storage viewers, targeted at the “professional photographer and advanced amateur”. Half backup device, half media player, it does a pretty good job of both but doesn’t push the boundaries of either.
Users of digital cameras will find the P-3000 extremely familiar: it’s shaped so like a compact camera, I can’t hold it without my index finger reaching for an imaginary shutter button. The controls are set to the right of the screen, just as you find on most digital cameras, with nice anatomical grips on each side.
The menus are like those of most cameras combined with those of a media player. You’ll find options such as My Photos and My Videos, all of which are pretty clear. The fonts are smooth, the icons simple yet sharp and the whole thing has a slick feel that really flattens the learning curve.
Being an entry-level model the P-3000 only features a 40GB hard drive that could store perhaps 10,000 12 megapixel JPEG photos or a few thousand RAW files. It’s not going to last you a month-long world tour if you shoot 500 RAW images a day, but it’s still a decent capacity for selective photographers or short trips.
The backup process is simple: just pop in your card and select ˜Memory Card Backup’. It’s not the fastest process, taking 10 minutes to back up my two-gigabyte card. Memory card support is also limited to the industry standards ” if your camera uses a proprietary format such as xD or Sony’s Memory Stick, you’ll need an optional adapter.
Restoring your backups to a memory card or USB drive is simple, though connecting the P-3000 to a computer requires Epson’s proprietary software. Once the software is installed all’s well, but one wonders why it doesn’t just appear on the desktop as a normal USB device.
Avoid copying unfocussed or noisy images across to the P-3000 because its brilliantly perfect 4-inch LCD is going to show you just how bad they are. With four dots per pixel (instead of the usual three), colours are stunning.Your average LCD computer monitor just can’t compare ” Epson’s top-end P-7000 viewer can actually be used as a second computer screen to check your image colours.
The P-3000 supports RAW files from a wide range of camera manufacturers and JPEGs up to 30 megapixels. A good range of video formats are also supported, along with MP3 and WMA audio files. You can’t play music in the background while working with images or anything so fancy, but the P-3000 could happily replace a basic MP3 player.
The P-3000 lacks any advanced backup features and suffers from limited storage. However, the display quality is superb and the model a good choice for reviewing images and making short-term backups. For megapixel-hungry professionals or longer term storage, look at the P-7000, which features a 160GB hard drive for four times the capacity.
Display: 4-inch LCD, 640 x 480 pixels, 16.7 million colours
Fraser Kitt was the first person in the country to get his hands on Canon’s new EOS 450D. He’s still beaming.
Canon has made some major improvements with its latest entry-level digital SLR, the EOS 450D, including shrinking the card slot for SD cards and ballooning the LCD screen to a gigantic three inches. The frame rate has taken a bump up to 3.5fps and the buffer can now withstand a massive 56 images in one hit. But is this the camera for you?
Boosting the screen size to three inches is a good thing as the information generated is so easy to read, even for aging eyes. Each box of information on the screen is clear and a quick look around the camera back will give you the corresponding button to push to make changes.
When using shutter or aperture priority the camera even prompts you to turn the wheel to make exposure adjustments. It means making adjustments using the screen is fast and allows you to tweak without raising the camera to your eye. When you do move the camera to your eye a sensor just under the eyepiece automatically shuts off the screen.
I’m still not a big fan of Live View but this new feature in dSLRs is starting to develop in the 450D. Once you have enabled Live View and scoured the custom functions for the two different settings, you will be able to read the camera like a compact.
Ideally you’ll use manual focus when shooting in Live View, but should you wish to take advantage of the camera’s auto-focus system, using the custom settings will help. Quick Mode ” a contradiction in terms ” lets you choose where you want the focus point to be, then, with the press of the asterisk button, will set the camera about focusing. The screen will black out when you press the button as the mirror goes down to allow focusing. It takes valuable time and is annoyingly slow.
The other option Live Mode works faster, allowing the camera to focus with the mirror up, but it is still slower than holding the camera to your eye. The beauty of the Live View settings is that you can tether the camera to your computer with the USB cable and take pictures remotely.
Get the point
The nine-point focus system works beautifully and will automatically select where your subject is when using the AI Focus. Or, with a push of the button and turn of the control wheel, you can select any of the points to use.
Canon has improved this model out of this world with a big 12.2 million pixel CMOS sensor, huge three-inch screen and the brilliant DiG!C III image processor for images with the correct colour balance and just the right punch to make them look realistic.
The screen could be better ” it only has 230,000 pixels so double or triple this amount would make it unbelievable.
Realistically, this is a budget camera that is aimed at those who don’t want to carry a bulky camera. The ability to shoot a series of images at 3.5fps is a bonus, as are the image-stabilised lenses. And I’m sure there is someone out there who will love the Live View.
Model: EOS 450D
Effective Pixels: 12.2 million
Lens: 18-55mm EF-S IS & ¨ 55-250mm EF-S IS
Viewfinder: Eye level pentamirror
Monitor: 3-inch TFT colour LCD ¨ (230,000 pixels)
Shutter: 30 — 1/4000 sec
Aperture: f3.5 — f5.6
ISO: Auto, 100, 200, 400, ¨ 800, 1600
Shooting Modes: Green Auto, ¨ Program, Aperture & Shutter ¨ Priority, Manual, Auto Depth, ¨ Portrait, Landscape, Macro, ¨ Sport, Night Scene, Flash Off
Exposure Metering: Evaluative, ¨ Partial, Spot, Average
Focus Modes: One shot AF, AI ¨ servo AF, AI focus AF, manual
Media: SD, SDHC
File Format: JPEG, RAW
Flash: Built in
Interface: USB2, AV
Batteries: Lithium-ion ¨ rechargeable
Dimensions: 128.8 x 97.5 x ¨ 61.9mm
Weight: 475g (body only)
Fast SD card with SDHC support
Big 3-inch screen
Not enough pixels in the screen
Image Quality 19
Value for money 17
Sony’s new W120 comes in black, blue, silver or pink and is packed with 7.2 million pixels and a 4x optical zoom ” but it is its facial recognition and smile shutter that will make shooting your mates a barrel of fun.
Smile, You’re on Candid Camera
Facial recognition has taken photography to new heights; it makes shooting people so easy. Sony has given you three options so that you can precisely target your audience. The auto option is the simplest, putting little boxes around each head in the scene and altering the exposure so it is perfect for skin tones. Because a lot of us shoot children the W120 has a child priority setting that targets the little heads in your picture, or you can select adult priority to capture the adults in the picture ahead of the tiny tots.
If you want to ensure your subjects are smiling when the shutter fires, just switch the dial to smile shutter ” which automatically snaps a shot when your subject smiles. You don’t even have to press the shutter because the camera analyses the faces in the scene and fires the shutter the instant someone grins. The camera also recognises a face in profile ” a major advancement in facial recognition ” tracking your subjects even when they turn away from the camera.
Zoom, zoom, zoom
Sony’s affiliation with Carl Zeiss means this camera has a lens that is enviably sharp. The Vario Tessar zoom covers a decent 32mm wide angle through 4x to 128mm telephoto. At the wide-angle end of the zoom you’ll get more in the picture with the wider-than-normal 32mm lens, or shoot beautiful portraits at the 128mm telephoto end. Don’t forget the macro mode that will let you shoot as close as 50mm for impressive close-up images.
Even in its entry-level camera Sony offers unrivalled flash coverage. The camera isn’t confused when shooting though doorways or when your subject would normally be out of range. If you delve into the scene modes you’ll be amazed at how well this little camera balances available light and flash in the Twilight Portrait mode. As the name suggests, it will work best when there is still some available light in the sky.
Slow to Show
I’m finally getting with the ˜now’ generation, and when it comes to how quickly images are portrayed on the screen this camera is slow. You push the review button and have to wait for the image to be processed before the first picture comes up, then each subsequent image pops onto screen fuzzily before sharpening up. It will hardly depress you to have to wait a few seconds but it is slow to show.
Sony’s compact and cute Cybershot W120 takes sharp images and gives brilliant flash coverage, offering more flash range than any other camera in its price bracket. The facial recognition works almost faultlessly, but I did notice it slows down in lower light conditions and it sometimes fails to lock on to heads if they are small in the scene. You’ll find the 4x optical zoom very useful since it starts at 32mm and reaches to 128mm telephoto, making it ideal for travel or just shooting family and friends.
Model: Cybershot DSC-W120
Effective Pixels: 7.2 million
Lens: Carl Zeiss Vario Tessar ¨ 5.35-21.4mm (32-128mm 35mm ¨ equivalent)
Monitor: 2.5-inch TFT LCD ¨ (115,200 pixels)
Shutter: One to 1/1600 sec
Aperture: f2.8 — f5.8
ISO: Auto, 100, 200, 400, 800, ¨ 1600, 3200
Shooting Modes: Easy, Auto, ¨ Program, Scene — Twilight, ¨ Beach, Snow, Fireworks, Twilight ¨ Portrait, Landscape, Soft Snap, ¨ Smile Shutter, High Sensitivity
Exposure Metering: Multi ¨ Pattern, Centre Weighted, Spot
Focus Modes: Multi-point TTL ¨ auto-focus
Media: Memory Stick Duo/Pro ¨ Duo, 15MB onboard
File format: JPEG, MPEG-1
Flash: Auto, On, Off, Slow Sync
Batteries: Lithium-ion ¨ rechargeable
Dimensions: 88.2 x 57.2 x 22.9mm
4x optical zoom
Fantastic flash coverage
Slow to review images
Fine movies can only be recorded ¨ to a card
Image Quality 18
Value for money 17