Reviews
December 8th, 2009 by D-Photo
Harley Ogier gets to grips with Nikon’s latest amateur dSLR
The D5000 is Nikon’s latest amateur dSLR, featuring a variable-angle LCD monitor to make the most of Live View. It offers functionality between Nikon’s entry-level D60 and D90 models, without being a direct successor to either.
Form
Some serious amateurs seem to be turned off by the D5000’s plastic construction. My advice: get over it. The D5000’s body feels extremely durable and the plastic cuts down on weight. At 560g without battery or memory card, it’s one of the lighter dSLRs I’ve tested.
The D5000 fits comfortably in the hand and can be shot one-handed if you’re using autofocus and don’t have to adjust any settings. A traditional two-handed grip works equally well; the controls are well placed. All buttons are accessible without taking your hands away from the shutter release and the zoom ring, which makes for fast and easy shooting.
Monitor
The D5000’s most novel feature is its variable-angle LCD monitor, which can be rotated through a variety of horizontal and vertical positions. This is an uncommon feature for Nikon, but has been implemented to the company’s usual high standards. Many devices with twist-screens have positions in which they ‘black out’. The D5000 has no such issues, and the screen works in any position you can rotate it into. The monitor can even be rotated closed, facing into the camera. This provides great protection against scratches or fingerprints in transit, or if you feel like pretending you have a non-digital SLR. I found it particularly useful when shooting at night, as the screen kept turning on and blinding me. Rotate 90 degrees, problem solved.
I had hoped that the D5000 would feature the Nikon D90’s gorgeously sharp 920,000 pixel LCD monitor. Unfortunately, it sports the 230,000 pixels of the D60 instead, which is average for both compact and dSLR cameras. Image previews still look sharp, but the reduced detail means it’s not quite as easy to check your manual focusing.
Image Quality
The D5000 uses a 12.3 megapixel CMOS sensor in a crop format (‘DX format’ in Nikon parlance). This means the sensor is physically smaller than 35mm film, designed for use specifically with Nikon DX format lenses.
Images are clear and crisp with minimal noise. Nikon’s Active D-Lighting feature provides good dynamic range; even when shooting a highly contrasted sky, I found the resulting images to be colour-rich and detailed in both shadow and light.
The D5000’s low-light imagery is some of the best I’ve seen from an amateur dSLR. Using just the built-in Night Landscape shooting mode, I was able to get beautiful detail out of the clouds and skyline on a pitch-black evening.
I do most of my personal shooting in JPEG format to avoid the extra step of RAW conversion. For those who don’t wish to shoot in RAW and perform careful conversion later, the D5000 provides perfectly adequate JPEG compression on-camera. Alternatively, the D5000 can record each image in both RAW and JPEG format to the same card; this does slow your continuous shooting rate somewhat, but means that you have a set of JPEGs ready for immediate printing or emailing and a set of RAW files for editing.
Live View
Like most dSLRs on the market today, the D5000 provides a Live View feature. I was quite excited about this, given the variable-angle LCD. Personally, I’m a lifelong fan of the viewfinder, and the only time I get excited about Live View is when awkward shots make the viewfinder a non-option.
Live View certainly works well with the monitor; I even managed to take a few snapshots of the back of my PC without getting my head stuck behind the desk again (this is a very real risk). However, the D5000 suffers from the same grindingly slow autofocus in Live View as the Nikon D90. Contrast-detect autofocus, the type used in compact cameras, is slower than the phase-detect method used by dSLRs. This is a simple fact. However, the D5000 can take up to five seconds to focus in Live View; a good compact camera can focus on the same subjects, in the same light, in a second or less. My solution to this was simple: turn off autofocus.
The D5000 allows you to zoom in on the LCD monitor, so you can see down to the pixel level whether your image is in focus. Focusing manually is quick and gives good results after just a few minutes’ practise. However, having to focus manually defeats the primary purpose of Live View, which is to turn a dSLR into a point-and-shoot.
Not everyone who purchases a dSLR wants to be a photographer; many people just want to take higher quality photos than a compact camera can provide. If you’re one of these people, the D5000’s Live View functionality just isn’t going to cut it.
Kit Lens
I reviewed the D5000 with a Nikon AF-S DX NIKKOR 18-55mm f/3.5-5.6G ED VR zoom lens. This is available packaged with the D5000, or individually for use with any Nikon DX-format camera.
The 18-55mm NIKKOR is a reasonably compact lens with external focusing. The fore end of the lens acts as a focus ring, and there’s no display of focal length. Like all Nikon G series lenses, it doesn’t feature an aperture ring. Despite the compact size, the lens includes Nikon’s vibration reduction system, which makes a noticeable difference in images shot freehand or in low light.
An 18 to 55mm range (27 to 82.5mm equivalent in 35mm film terms) is fine for basic home photography. Personally, however, I would recommend one of Nikon’s 18-105mm or 18-200mm lenses to get the most out of the D5000. They’re not significantly larger or heavier, and the additional zoom is invaluable if you like to go outside.
Conclusion
The D5000 is a strong amateur dSLR providing a great range of functionality for the amateur photographer. However, its dreadfully slow autofocus in Live View fails to cater for the point-and-shoot user. Even so, it’s an excellent choice for the amateur photographer whose budget won’t quite stretch to Nikon’s top entry-level offering, the D90.
NIKON D5000 – Specs
Manufacturer: Nikon
Model: D5000
RRP: TBA
Effective Pixels: 12.3 million
Image Sensor: 23.6 x 15.8mm CMOS (Nikon DX format)
Viewfinder: ~95% frame coverage
LCD Monitor: 2.7-inch, 230,000 dot, variable angle TFT LCD
Shutter: 1/4000 to 30 seconds, bulb
ISO: 200-3200 in steps of 1/3 EV (also supports ISO100 and
ISO6400 equivalent)
Exposure Metering: 3D colour matrix metering II (type G and D lenses), colour matrix metering II (other CPU lenses), centre-weighted, spot
Media: SD/SDHC
File Format: NEF (RAW)
12-bit, JPEG, AVI
Interface: USB 2.0, composite video out, HDMI video out
Batteries: Rechargeable lithium-ion, approx 510 images
Dimensions: 127 x 104 x 80mm
Weight: 560g (without battery or memory card)
Reviewed with Lenses
Nikon AF-S DX NIKKOR 18-55mm f/3.5-5.6G ED VR
Nikon AF-S DX NIKKOR 10-24mm f/3.5-4.5G ED
Contact
www.nikon.co.nz
PROS
- High image quality
- Variable-angle LCD monitor
CONS
- Slow autofocus in live view
Design 17
Performance 18
Features 19
Image Quality 18
Value for money 18
TOTAL 90/100
This article if from D-Photo issue 31.
December 1st, 2009 by D-Photo
Phil Hanson samples Panasonic’s second Four Thirds camera, now upgraded with the SIGNIFICANT NEW ADDITION OF HD video capture
Panasonic’s Lumix G1 received an enthusiastic review in D-Photo 28, and for good reason. The first Micro Four Thirds camera to reach our shores, it delivered important new features and showed huge promise. Hot on its heels comes the GH1, largely the same camera with the notable addition of HD video.
SPOILT FOR CHOICE
Why two choices? Alluring as glorious 1080 HD may
be, it eats space on the memory cards and will be
more than needed for some users’ requirements,
such as posting to the internet or viewing on small screens.
It’s almost like Panasonic is trying to make up for not offering video on the G1, such is the effort that’s gone into making the GH1 video friendly. For example, although the user can make various settings via menus, the easiest way is just to hit the red button on the camera back near the shutter release, and you’re away under the camera’s automatic control.
Prominent on top of the body is a pair of stereo microphones and a 2.5mm jack for external microphones. Sound is encoded using Dolby Digital Stereo Creator.
DIM THE LIGHTS
It’s the result that counts and the GH1 delivers the goods in both 720 and 1080. The results are among the best I have seen from camera-based video. And thanks to those microphones, sound quality is top class. Video recording is possible in either the AVCHD or Motion JPEG formats, although the full 1920 x 1080 requires the AVCHD setting.
NEW PIECE OF KIT
The test GH1 came bundled with the new G Vario 14-140mm f4-5.8 ASPH image-stabilised lens that was apparently designed with HD video recording in mind, offering continuous, silent auto-focusing and seamless aperture adjustment. Whether for video or still, it’s a classy lens that balances beautifully with the body.
The long zoom range, a 28 to 280mm full-frame equivalent, will be a boon to many, and its only real drawback is the relatively modest maximum aperture. However, image quality is already good wide open. There’s minor vignetting and distortion at the wide end of the zoom — a small price for its overall performance.
THAT VIEWFINDER
Because of its similarity to the G1, this review has been about the GH1’s video abilities. But I can’t resist revisiting the most controversial aspect of Micro Four Thirds — its electronic viewfinder (EVF). Apart from displaying camera setting information, the roles of a viewfinder have been to focus and frame the picture. 
Today’s autofocus takes care of the first requirement. And an EVF frames the shot as well as ever; the only difference is the way it presents the image to the eye.
Plus, the G1 and GH1 both have a wonderful 3-inch TFT LCD panel that hinges out from the back and adjusts to almost any angle. If only all dSLRs had this feature.
CONCLUSION
The convergence of still and video technology into a single piece of equipment is one of the Next Big Things, and the GH1 is a milestone because of the results it achieves and because it’s such a small, light and compact package.
PANASONIC
LUMIX DMC-GH1 – SPECS
Manufacturer: Panasonic
Model: Lumix DMC-GH1
Viewfinder: Colour LCD,
1,440,000 dots
Monitor: Free-angle 3-inch TFT
LCD, 460,600 dots
Shutter: 1/4000 to 60 seconds, bulb
Aperture: f4-f5.8
ISO: Auto, 100, 200, 400, 800,
1600, 3200
Shooting Modes: Auto, Scene (Sunset/Party/Baby/Pet), Portrait, Scenery, Sport, Night Portrait
Exposure Metering: Intelligent multiple, centre-weighted, spot
Focus Modes: AF tracking, 23-area, 1-area (selectable), face detection
Media: SD, SDHC
File Format: JPEG, RAW, AVCHD, Motion JPEG
Flash: TTL built-in pop-up
Interface: USB 2.0, composite video out, HDMI video out
Battery: Rechargeable lithium-ion
Dimensions: 124 x 84 x 45mm
Weight: 903g with lens,
battery and card
Contact
www.panasonic.co.nz
PROS
- Good image quality
- Ditto for videos
- A light, compact outfit
CONS
- Limited ‘native’ lenses, accessories
- Maybe the EVF
Design 18
Performance 18
Features 18
Image Quality 17
Value for money 16
TOTAL 87/100
This article if from D-Photo issue 31.
November 25th, 2009 by D-Photo
With its versatile zoom lens and HD video recording, Steve Hart can’t put the SX1 IS down
At first glance the PowerShot SX1 IS looks like a dSLR but this model has a lens fixed to its body and is a little smaller than one might expect.
Five minutes after opening the box you would have slotted in your four AA batteries and started shooting. You will be impressed by its 20x optical zoom lens that delivers clear, crisp images to the camera’s 10 megapixel CMOS sensor. It is the first time Canon has used this type of sensor in a compact camera.
Only trouble is, I wouldn’t quite call this a compact, given the ultra-slim shirt pocket models that are now doing the rounds. Certainly, CMOS sensors have — until now — only ever featured in the firm’s interchangeable lens dSLR cameras.
Sensing CMOS
It is probably because of the SX1 IS’s dSLR-like body that Canon has been able to fit in a CMOS sensor over the much smaller CCD (which was used in its predecessor, the SX10 IS). So what does it all mean?
Well, the fact these sensors are typically used in larger dSLR cameras means you are getting dSLR grunt and quality for the price of a high-end compact. And the sensor is powerful enough to capture pictures that can be printed up to A2 size (420 x 594mm). That’s larger than most domestic printers can handle, so you’ll have no trouble printing to A4 size.
And being a ‘compact’ — aimed at the person who wants to point and shoot — this camera is easy to use. But it also features many options the keen photographer needs, including the option to use it in full manual mode.
Flash
While the camera has a built-in flash, it will only light objects up to 4.8 metres away — that may be fine for most situations. However, this camera does allow you to connect an optional flashgun to its hot shoe. With a good-quality flashgun you can get the range you need to enjoy another level of creativity.
Zoom, zoom, zoom
The lens needs a special mention because it is so versatile. In opting to use a 28mm to 560mm lens, Canon has made a big effort to meet most people’s needs.
It also has a zero cm super-macro facility that should satisfy anyone keen on photographing coins, flowers, insects, jewellery and the like.
And the camera uses an optical image stabiliser (that’s what the ‘IS’ stands for) to help you keep those zoom shots steady.
Flipping out
The SX1 IS’s 2.8-inch LCD screen is a lot like those seen on video cameras. With this model you can flip out the screen and twist and tilt it to all sorts of angles. It means you can hold the camera high above your head and look at the screen to frame your shot.
And because this camera also shoots full-resolution HD moving images, the screen is perfect for recording video. Moreover, unlike some cameras, this model allows you to record video and still use the zoom feature of the lens.
Conclusion
Small and light, the PowerShot SX1 IS is a camera for
all seasons that will meet the needs of keen photographers. It shoots at up to four frames per second and has strong video recording features and a built-in stereo microphone.
CANON
POWERSHOT
SX1 IS – Specifcations
Manufacturer: Canon
Model: PowerShot SX1 IS
Effective Pixels: 10 megapixels
Lens: 28mm-560mm (35mm equivalent), 20x zoom
Monitor: 2.8-inch LCD vari-angle, approx 230,000 dots, 16:9
Viewfinder: Electronic 16:9
Picture Format: Selectable 4:3 or 16:9
Aperture: f2.8-f8.0
ISO: 80, 100, 200, 400, 800, 1600
Shooting Modes: Auto, P (Program), Tv (Shutter Priority), Av (Aperture Priority), M (Manual), C (Custom), Portrait, Landscape, Night Snapshot, Sports, Special Scene (Indoor, Night Scene, Sunset, Long Shutter, Foliage, Snow, Beach, Fireworks, Aquarium, ISO 3200, Colour Accent, Colour Swap), Movie Standard, Movie HD
Media: SD
File format: JPEG, MOV
Flash: Built in flash and hot shoe for flash attachment
Interface: USB, HDMI
Battery: Four AA
Dimensions: 124 x 86.9 x 88.3mm (W/H/D)
Weight: 560g
CONTACT
www.canon.co.nz
PROS
- Fast shooting at four frames per second at full frame
- Good zoom
- Doubles as a hi-def video camera (1920 x 1080)
CONS
- Firmware upgrade needed for RAW mode shooting
Design 15
Performance 18
Features 16
Image Quality 18
Value for money 17
TOTAL 84/100
This article if from D-Photo issue 30.
November 25th, 2009 by D-Photo
Harley Ogier takes Ricoh’s latest compact out to experience its special features
The CX1 from Ricoh is a quality digital compact camera that has a particularly professional feel about it. And its revolutionary Dynamic Range mode delivers a little bit of magic that boosts the quality of photos — but more of that later.
Its 7.1x (28-200mm equivalent) zoom lens is impressive for such a compact and lightweight camera and the lens is also a decent physical size, which is equally uncommon in this type of prodict.
The CX1 also provides good macro functionality, although extreme close-ups don’t seem quite as sharp or as detailed as they could be — I guess it all depends what you are used to.
Image sensor
The CX1 uses a nine megapixel CMOS image sensor, a point of difference with most digital compact cameras currently using CCDs. Traditionally, CCD sensors are used in high-end cameras for their greater image quality, but the technologies have converged on the quality field and that’s no longer exclusively the case.
This little camera does display notably more image noise than similar CCD-based cameras at high ISO settings, but still at levels below the average compact. CMOS sensors generally deliver their images faster,
and this results in a particularly responsive preview screen that refuses to lag, even if the camera is swung about rapidly.
Dynamic range
The CX1 provides better dynamic range than many of its competitors, showing detail in both the dark and light areas of contrasted images. There’s also a special ‘DR’ (Dynamic Range) shooting mode that provides an even greater improvement over many other compacts.
The Dynamic Range mode appears to increase the exposure time slightly, and I found it harder to avoid camera shake when shooting freehand. The reason for this is that when in DR mode the camera takes two photos and then magically blends both shots together to produce the best overall picture. However, both shots are saved to the card. It means photos taken in this mode (which has four settings) have far more dynamic range than most other compacts in this class. The CX1 also features good sensor shift-based image stabilisation, though, which goes a long way towards reducing camera shake.
Usability
Uncommon to digital compact cameras, the CX1 features a manual focus mode. In this mode the camera’s menu navigation buttons are used to focus, working in much the same manner as the zoom control.
Holding down another button zooms in on the centre of the screen so you can check the focus — it’s easy to achieve results as crisp as with the autofocus with minimal practice. This is especially useful when shooting up close, perhaps in situations when the autofocus won’t quite lock on or you want to take a soft-focus picture.
The CX1 packs nearly twice the resolution as its competitors into its 3-inch LCD, giving excellent playback quality. The built-in electronic level rotates the image
in playback mode when the camera is turned on either side, allowing you to view portrait images using the whole screen.
Conclusion
Ricoh’s CX1 is a quality camera that offers serious advantages in dynamic range and LCD resolution over many of its competitors. If you’re after colour depth and usability, definitely place the CX1 in your list of cameras to consider. It may at first glance look like an R10, but this baby has a bit more under the bonnet.
RICOH CX1 – Specifications
Manufacturer: Ricoh
Model: CX1
Effective Pixels: 9.29 million
Lens: 4.95-35.4mm (28-200mm 35mm equivalent)
Viewfinder: None
Monitor: 3.0-inch LCD,
920,000 dots
Shutter: 1/2000 to 8 seconds
Aperture: f3.3-f5.2
ISO: 80-1600
Shooting Modes: Auto, Easy, Dynamic Range, Continuous, Scene (Portrait/Face/Sports/Night Portrait/Landscape/Nightscape/High Sensitivity/Zoom Macro/Skew Correction/Text), My Setting/Movie
Exposure Metering: Multiple (256 segment), centre-weighted, spot
Focus Modes: Multi AF, spot AF, multi-target AF, manual focus, fixed focus (snap), infinity
Internal Memory: ~88MB
Media: SD (2GB max), SDHC (16GB max)
File Format: JPEG, AVI
Flash: Built-in
Interface: USB 2.0, composite video out
Batteries: Rechargeable Lithium-ion, approx 270 images
Dimensions: 101.5 x 58.3 x 27.9mm
Weight: 203g with battery
and strap
Contact
www.lacklands.co.nz
PROS
- 28-200mm equivalent lens
- Impressive dynamic range
- Great-quality LCD monitor
CONS
Average image quality
Design 19
Performance 18
Features 18
Image Quality 16
Value for money 15
TOTAL 86/100
This article if from D-Photo issue 30.
November 5th, 2009 by D-Photo
Sony pulls out all the stops for its latest compact offering, as Phil Hanson discovers
Even if it didn’t have a Zeiss lens with a decent optical zoom range, or 12.1 megapixels or commendable build quality, there would still be one compelling reason to buy Sony’s Cyber-shot W210 compact: its dynamite user interface.
True, there are some very good interfaces out there that are intuitive and easy to understand, but the W210’s stands with the best in the business. Its graphics are so clear the photographer is left in no doubt about which feature is being selected and why. It’s a real boon to those who are new to using a camera and certainly is of no harm to the rest of us.
For example, turn the knurled mode dial and the generous 2.7-inch LCD screen reproduces a graphic image of the chosen setting as well as a written description. As a random for-instance: “Soft Snap. Shoot subject with soft background”.
BUT THERE’S MORE
The W210, which replaces the well-regarded W120 of 7.2 megapixels, includes features such as Smile Shutter and Intelligent Scene Recognition that are appearing on many compact and which, although it’s tempting to write them off as gimmicks, are actually very useful. It also has Sony’s SteadyShot image stabilisation.
For those yet to experience it, Smile Shutter automatically takes the photo of a group or solo subject when it detects a smile and can be adjusted to prioritise children’s or adults’ smiles. Here’s the neat thing: it really does work. Well, our test grouch caught it out a couple of times, but the percentage of keepers was high.
Smile Shutter also works with face detection that fine-tunes focus, exposure, white balance and skin tones. These results can look a little artificial but you can take that as either praise or criticism, depending on what you’re trying to achieve.
The Intelligent Scene Recognition automatically adjusts settings for a range of common and sometimes tricky situations like twilight portraits or backlighting. This is again a feature creeping into compact cameras and saves having to dial through a whole bunch of alternatives on a menu. Of course, it stands or falls by how well it recognises the scene. For the most part the W210 performed admirably.
YOU HAVE CONTROL
Most controls are arranged on the back, to the right of the LCD panel. These are principally two dials, the top one setting the various modes, the other for controlling the display, flash, self-timer and focusing range. Above these dials a small toggle switch zooms the lens.
THROUGH THE LENS
One of Sony’s pluses is its alliance with Carl Zeiss, among the world’s best known and best lens makers. The W210 comes with a 4x optical zoom Vario Tessar. It zooms from 5.35mm to 21.4mm, or 30-120mm full-frame equivalent. That’s only two millimetres shy of the 28mm that starts to put a smile on wide-angle enthusiasts’ faces, while the ‘long’ end is excellent for really tight portraits or bringing in action from a medium distance.
If the telephoto end of the optical zoom isn’t enough, the reach can be extended by digital zoom, with the inevitable lessening of picture quality.
A SENSITIVE ISSUE
The camera offers sensitivity of up to ISO 3200 but there’s a lot of noise and it’s a setting best used for must-get photos only.
CONCLUSION
The Cyber-shot W210 does a good job of handling most photo opportunities. Another nice pocketable solution for when you just want to point and shoot.
SONY CYBER-SHOT
DSC-W120 – Specifications
Manufacturer: Sony
Model: DSC-W210
Effective Pixels: 12.1 million
Lens: Carl Zeiss Vario-Tessar 4 zoom, 5.35-21.4mm (30-120mm full-frame equivalent)
Monitor: 2.7-inch TFT colour LCD, approx 230,000 dots
Aperture: f2.8-f5.8
ISO: Auto, 100, 200, 400, 800, 1600, 3200
Shooting Modes: Auto, scene selection, movie.
Media: Memory Stick Duo (15MB internal memory)
File format: JPEG Exif 2.21, MPEG1
Flash: Auto
Interface: USB
Battery: NP-BG1, NP-FG1 rechargeable
Dimensions: 95 x 56 x 22mm (W/H/D)
Weight: 146g with battery
CONTACT
www.sony.co.nz
PROS
CONS
- Body styling a bit run-of-mill
Design 17
Performance 17
Features 16
Image Quality 17
Value for money 16
TOTAL 83/100
This article if from D-Photo issue 30.
November 4th, 2009 by D-Photo
Phil Hanson takes a new waterproof camera from FujiFilm down to the poolside
Some readers may have learnt the hard way that moisture and the electronics inside digital cameras are not a good mix.
Many cameras, even some professional dSLRs, lack waterproofing and must be used with caution in inclement weather and dusty areas. Forget about giving them a good dunking.
In the days of film, photographers had to use a cumbersome casing to go underwater, or buy one of a few specialised cameras like the Nikonos or Sea & Sea models.
Special casings have largely been required for digitals going sea-side, but now some specialised waterproofed models are available and the latest to splash into D-Photo’s test pool is Fujifilm’s FinePix Z33WP.
You won’t be able to dive the Mariana Trench with this baby, but it is good at three metres for up to two hours or, more typically, splashing around at the beach or pool.
BODY BEAUTIFUL
The Z33WP’s a small camera even for compact, but it is beautifully formed and quite distinctive in a marketplace where one product often looks much the same as the other. The lens is at the top right corner (as you view it), a look inherited from some earlier members of the FinePix family, and although the body is curvy, it’s easy to hold.
The back is dominated by a 2.7-inch LCD screen and two rows of five buttons each are arranged down the right side. Apart from the shutter and on/off button, all functions are controlled by these buttons, a requirement of the waterproofing.
Although small, the buttons, which are convex, are surprisingly easy to use and the interface quite intuitive.
THE LENS
Because waterproofing and a telescoping zoom lens don’t go well together, the 6.3-18.9mm Fujinon lens is located entirely within the slim body behind a clear glass cover. There’s no protective cap and the cover must be kept clean and clear if picture quality is not to be affected.
The confined nature of the lens likely explains why its optical zoom range is a modest 3x and the maximum aperture f3.7 (and f4.2 at the tele end) when f2.8 is common on compacts. The lens represents a 35-105mm full-frame equivalent — useful for many applications, although it may not please wide-angle enthusiasts. For those who need to reach farther, digital zoom extends the range to about 5.7x with a loss of image quality.
Overall the lens performs well, although not at its best when shooting into the sun — there’s not even a semblance of a lens shade.
IN THE FIELD
Fujifilm sternly warns that the Z33WP is not shockproof, so you might not want to take it on your next extreme adventure. It also warns to be careful at the beach as sand may get into the microphone and speaker. D-Photo played it safe and took it to where many users will typically make their images: poolside and at a local lake.
Left to its own devices the camera tends to choose higher ISO speeds than I’d have thought necessary. Unfortunately, the images are getting noisy by 400 ISO, so for maximum quality, set the speed manually — the alternatives go down to a commendable 64.
It’s great to be able to splash around and not worry about wrecking your camera.
CONCLUSION
The Z33WP should enjoy a good market in our outdoorsy country, whatever the season. It’s easy to handle and use and oh-so stylish. Good one, Fujifilm.
FUJIFILM FINEPIX Z33WP – Specifcations
Manufacturer: Fujifilm
Model: Z33WP
Effective Pixels: 10 million
Lens: Fujinon 6.3-18.9mm (35mm -105mm full-frame equivalent)
Monitor: 2.7-inch TFT colour LCD, approx 230,000 pixels
Shutter: 8 sec-1/2000 sec
Aperture: f3.7-f4.2
ISO: Auto, 64, 100, 200, 400,
800, 1600
Shooting Modes: Program AE, Scene Recognition, 12 modes
and movie
Exposure Metering: TTL 256-zone
Media: SD, SDHC
File Format: JPEG Exif 2.2,
AVI, WAV
Flash: Auto, red-eye reduction and removal, slow-synchro, forced flash, suppressed flash
Interface: USB, HDMI mini connector
Battery: NP-45 Lithium-
ion rechargeable
Dimensions: 92 x 60 x 21mm (W/H/D)
Weight: 110g (body only)
CONTACT
www.fujifilm.co.nz
PROS
CONS
Design 18
Performance 16
Features 16
Image Quality 15
Value for money 16
TOTAL 81/100
This article if from D-Photo issue 30.
October 29th, 2009 by D-Photo
Harley Ogier gets to grips with a new hybrid camera from Nikon that blends dSLR looks with the ease of use of a compact
A renowned manufacturer of professional and amateur dSLR cameras, Nikon also produces a respectable range of digital compacts. The P90 is a mix of the two, packing a digital compact camera into a lightweight dSLR-style body.
Construction
The P90 has a solid look and feel reminiscent of Nikon’s high-end dSLR family. The construction is good, with metal screen hinges, strap loops and a metal tripod socket. Rubber finger and thumb pads make the grip particularly comfortable, and the controls are smooth and responsive.
The lens is protected by a solid cap with a good locking mechanism to prevent it falling off in transit. The camera will refuse to power on if the lens cap is in place — an annoyance if you just want to view images, but a power saver if something hits the start button inside your bag.
Image quality
Image quality is good for a digital compact, with sharp edges and vivid colours. In high-contrast situations the colour depth can be amazing, and the P90 is the best compact camera with which I’ve ever shot a sunset.
Despite a large, quality Nikon lens, the P90 has a tiny 1/2.33-inch 12 megapixel image sensor. That many pixels in a small sensor is going to result in noise, especially when the lights dim. The P90’s lens does provide great zoom, but it’s not going to give you dSLR performance.
Modes
The P90 offers a wide range of shooting modes, including the full range of manual modes not found on lower
end compacts (aperture priority, shutter priority, program and full manual). The preset shooting modes
are definitely useful, and the manual modes provide access to a number of optional settings that aren’t usually visible.
Choosing the right mode for your scene can make a huge difference, more so than on many digital compacts where the auto mode can handle pretty much anything.
Viewfinder
The P90 features a variable-angle LCD monitor. It doesn’t swing around horizontally and nor can it be flipped closed as seen on several Canon models, but it does provide a good range of vertical adjustment. This is a real help when shooting from above or below eye level. The LCD’s resolution isn’t great, but images do appear sharp and colours are true.
The electronic viewfinder (EVF) is equal in quality to the monitor, though you can make out individual pixels when it’s right up against your eye. The EVF does provide dioptre adjustment, which some compact cameras such as the Pentax X70 do not. The bespectacled may find this a major advantage, as the EVF certainly has its uses.
Conclusion
Nikon’s Coolpix P90 offers a wide range of features and a zoom level uncommon among digital compact cameras. It’s not ideal for those who never leave the auto mode but makes a great choice for photographers who love to delve into manual settings yet don’t want to stretch to dSLR hardware.
NIKON COOLPIX P90 – Specifications
- Effective Pixels: 12.1 million
- Lens: 4.6-110.4mm (35mm equivalent 26-624mm)
- Viewfinder: 0.24-inch TFT LCD, 230,000 dots, dioptre adjustment
- Monitor: 3.0-inch variable angle TFT LCD, 230,000 dots
- Shutter: 1/2000 to 8 seconds
- Shooting Modes: Auto, scene, scene auto selector, P, S, A, and M exposure modes, best shot selector, optimize image, flash exposure compensation, noise reduction, distortion control, date imprint, black border, movie mode, sport continuous mode, voice memo, voice recording
- Exposure Metering: 256-segment matrix, centre-weighted, spot, spot AF area
- Focus Modes: Auto (9-area automatic selection), centre, manual, face priority
- File Format: JPEG, AVI, WAV
- Interface: USB, composite
video out
- Batteries: Rechargeable Lithium-ion, approx 200 images
- Dimensions: 114 x 83 x 99mm
- Weight: 490g with battery
Contact
www.nikon.co.nz
PROS
CONS
Design 19
Performance 17
Features 18
Image Quality 17
Value for money 17
TOTAL 88/100
This article if from D-Photo issue 30.
October 29th, 2009 by D-Photo
Harley Ogier puts Pentax’s dSLR lookalike through its paces to see if it performs as good as it looks
Pentax’s X70 is a high-zoom digital compact camera. Built in the form factor of a dSLR but with a non-removable lens, the X70 offers a compromise between the ease and portability of a digital compact, and the raw power of an amateur digital SLR.
Serious glass
At first glance the X70 really does look like a dSLR. The lens contains some serious glass (14 elements in 11 groups), and when fully extended equates to 624mm in 35mm terms. Despite this, Pentax has got the X70 down to just over 400 grams loaded and ready. Sadly, the lens cap is of the push-on variety: there’s no locking mechanism to keep it in place. This means it’s easier to knock off than it should be, which isn’t great when you’ve got so much glass exposed.
Image quality
The X70 takes great images, crisp and sharp under good lighting conditions. Contrast isn’t perfect and, without the ability to shoot RAW files, there’s not as much room for adjustment. Still, choosing the right shooting mode or manual settings can really improve the results. You can get a lot out of the X70 if you take the time to learn its extensive functionality.
I did notice a fair amount of noise when the sun was low and the sky wasn’t quite so clear. No amount of fiddling corrects this — the X70’s image sensor is a third the size of a full-frame dSLR’s and it just isn’t as good at pulling light out of nowhere. If, like myself, you’re a nightscape enthusiast, results will disappoint.
Viewfinder
Further emulating the dSLR form, the X70 features an electronic viewfinder (EVF) in addition to its LCD monitor. The two may be toggled between with a dedicated button, though there’s some delay in doing so. Often I found myself pressing the button twice thinking it hadn’t worked, only to see the camera switch screens then immediately switch back.
At 230,000 dots the LCD isn’t the highest resolution available. This may contribute to the aliasing problem when viewing images, where narrow lines such as overhead cables appear blocky and jagged on-screen. Zooming in shows that the images themselves are perfect — this is a playback issue only, your photos will be fine. The EVF is a similar 200,000 dots and is visibly an electronic display.
Smile
The X70 features reasonable face detection, though not the best I’ve tried. Smile detection is implemented quite well, as long as your subjects keep smiling — there’s a short delay before the shutter actually fires, and I had more than a few cases of post-smile imagery.
Conclusion
The Pentax X70 packs a big lens into a body much
smaller and lighter than the average amateur dSLR. Though let down by the limited quality of its LCD monitor and EVF, it takes good, sharp images and provides real telephoto capability. Great for those seeking extremely high zoom options.
PENTAX X70 – Specifcations
- Effective Pixels: 12 million
- Lens: 4.6-110.4mm (35mm equivalent 26-624mm)
- Viewfinder: Electronic,
200,000 dots
- Monitor: 2.7-inch TFT LCD, 230,000 dots
- Shutter: 1/4000 to 1/4 sec
(up to 4 sec in manual/Night Scene modes)
- Shooting Modes: Auto Picture, Sport, Digital SR (5M), Movie, User, Manual, Aperture Priority, Shutter Priority, Program, Scene (Landscape, Flower, Portrait, Backlight, Half Length Portrait, Night Scene, Night Scene Portrait, Stage Lighting, Surf & Snow, Baby, Kids, Pet, Food, Fireworks, Frame Composite, Party, Museum, Sunset, Digital Wide, Digital Panorama)
- Exposure Metering: Multiple, centre-weighted, spot
- Focus Modes: 9-point AF, spot AF, auto tracking AF, macro, super macro, infinity landscape, AF point selection, manual focus
- File Format: JPEG, AVI, WAV
- Interface: USB 2.0, composite video out
- Batteries: Rechargeable Lithium-ion, approx 170 images
- Dimensions: 111.8 x 81.3 x 99.1mm
- Weight: 411g with battery and memory card
Contact
www.pentaximaging.com
PROS
- 26-624mm equivalent zoom lens
CONS
- Susceptible to noise in low light
- Limited quality LCD monitor
Design 18
Performance 18
Features 18
Image Quality 19
Value for money 15
TOTAL 88/100
This article if from D-Photo issue 30.
October 22nd, 2009 by D-Photo
Phil Hanson enjoys the simple pleasure of taking photos with one of the easiest to use cameras on the market today.
Despite what the pundits have been saying, the megapixel race seems far from over — little shirt-pocket compacts that may never be called upon to make anything bigger than an A5-sized print are showing up with 12 to 15 megapixel sensors.
So it is with the Canon IXUS 110 IS, a 12.1 megapixel wonder that has a Smart Auto mode that uses scene detection technology to analyse the shooting scene in detail and select one of 18 modes.
Improved motion detection technology makes blur-free capture of moving subjects easier, while i-Contrast brightens the dark parts of a photo without blowing out correctly exposed areas.
The now common face detection incorporates blink detection, which, as Canon puts it, “helps avoid the disappointment of a mistimed portrait shot”. Face self-timer technology, already seen on other cameras, simplifies group shots or self-portraits by waiting until the user enters the frame before shooting; it’s really clever.
A graphical user interface even includes a hints and tips option with nuggets of advice on using the camera’s features.
Too Simple
I got a bit of a shock on picking up the IXUS 110 — it’s too darned simple! After the normal digest of dSLRs and advanced compacts, there aren’t enough buttons; where are the apparently endless menus?
Many readers will feel the same way, but it’s all part of Canon’s plan to provide foolproof shooting for people who don’t know the first thing about cameras. A heap of thoughtful development has gone into the ‘works’ behind the simple interface to ensure a high success rate
from just pointing and shooting and the results were really good.
in the Field
It’s a stylish, attractive camera with a 145g heft that suggests it’s likely to be a strong and durable product. Fortunately, Canon hasn’t gone silly with the styling and the relatively few controls are well laid out and, despite their small size, are easy to use.
The 5mm-20mm, f2.8-f5.8 lens zooms from a full-frame equivalent of 28mm to 112mm, an extremely useful range for a camera of this type. The 4x zoom range can be extended to 16x via the digital zoom feature (a wicked 448mm in full-frame terms), along with the inevitable drop in quality. There’s also a digital 1.4 or 2.0 tele-converter function, also with a loss of quality.
Without these digital enhancements and using the highest quality JPEG setting, the IXUS 110 delivers cracking good photos.
Moving Experience
The IXUS 110 does a nice job of movie capture; it has certainly developed well beyond the gimmick stage. The movies can be played on the 2.8-inch TFT LCD screen, downloaded to a computer or played via an HDMI mini connector on a suitable television panel.
Conclusion
It’s possibly a little too basic for advanced amateurs or pros to carry as a shirt pocket or purse ‘take it with you’ camera, but for most people it will tick all the boxes.
CANON IXUS 110 IS – Specifications
- Effective Pixels: 12.1 million
- Lens: Canon 5.0-20mm (28mm- 112mm full-frame equivalent)
- Monitor: 2.8-inch TFT colour LCD, approx 230,000 dots
- Shutter: 1 sec-1/1600 sec
- ISO: auto, 80, 100, 200, 400, 800, 1600 and 3200 via function menu
- Shooting Modes: Auto,
program AE, movie
- Exposure Metering: Evaluative, centre-weighted, average, spot
- Focus Modes: Face detection, centre, AiAF
- Media: SD, SDHC, MMC, MMCplus, HC MMCplus
- File Format: JPEG Exif 2.2, MOV
- Flash: Auto, red-eye reduction and correction, slow-synch
- Battery: MB4L Lithium-ion rechargeable
- Dimensions: 98 x 54 x 22mm (W/H/D)
CONTACT
www.canon.co.nz
PROS
CONS
- Lacks optical viewfinder found on some IXUS models
Design 18
Performance 17
Features 16
Image Quality 17
Value for money 17
TOTAL 85/100
This article if from D-Photo issue 30.
October 22nd, 2009 by D-Photo
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.
Shoot fast
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.
Results
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.
Conclusion
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.
Panasonic DMC-FT1 – Specifications
- Effective Pixels: 12.1 million
- Lens: 4.9-22.8mm (35mm equivalent 28-128mm)
- Monitor: 2.7-inch TFT
LCD, 230,000 dots, 100%
frame coverage
- Shutter: 1/1300 to 8 seconds,
15, 30, 60 seconds
- ISO: 80-1600 auto,
1600-6400 selectable
- Shooting Modes: Intelligent
Auto, Normal Picture,
Scene, Beach & Surf, Snow, Sports, Clipboard
- Exposure Metering: Intelligent multiple
- Focus Modes: Face, AF tracking, multiple (11-point), 1-point, spot
- Media: SD, SDHC, MMC (Still images only)
- File Format: JPEG, AVCHD Lite, QuickTime Motion JPEG
- Interface: USB 2.0, composite video out, miniHDMI
- Batteries: Rechargeable Lithium-ion, approx 340 images
- Durability: Waterproof (3.0m), dustproof, shockproof (1.5m)
- Dimensions: 98.3 x 63.1 x 23.0mm
- Weight: 184g with battery
and SD card
Contact
www.panasoniclumix.co.nz
PROS
- Convenient video recording
CONS
Design 17
Performance 18
Features 18
Image Quality 16
Value for money 16
TOTAL 85/100
This article if from D-Photo issue 30.
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