Edited by Georg...
May 25, 2012
Published: Apr 01, 2012
The Sony NEX-7 is a compact camera with an E-mount system and an extremely high resolution (24MP). The metal body is very robust and sports a stylish retro design, which offers new features like two additional setup dials to change image parameters. These setup dials, located on the camera back and accessed using the right-hand thumb, are integrated seamlessly into the body and nearly invisible when looking at the camera from the top.
Edited by Georg...
Oct 08, 2013
Published: Sep 01, 2013
The RX1 is the first time Sony has combined a compact camera system with a fixed lens system that includes a full-frame sensor that’s nearly the size of classic 35mm film material (35.8x23.9mm). The basic camera concept combines elements of digital compact cameras with features of classic viewfinder cameras, but leaves out an optical or electronic viewfinder. In its stead Sony offers an LCD screen on the back, similar to what you’d find in an entry-level compact camera. The screen is very large (3”) and offers a very high resolution (1.28 million RGB dots). The resulting image preview and the representation of the menu structure is crisp and clear. Sony does offer an optional optical viewfinder, which is mounted on the hot shoe. Just like the camera itself, it is quite expensive. Most users will also be surprised by the battery recharger system of the RX1. It’s equipped with a USB recharger and the user is forced to recharge the battery in the camera. An external recharger and additional batteries are offered as an option.
The difference between a “constant” aperture zoom and other standard zooms is that when you increase the focal length on the standard zoom the maximum aperture narrows. This might make the difference between being able to hand hold or not when zooming in, and may indeed force the use of higher ISOs. Known as “fast” lenses, constant aperture zooms are pricier and bulkier than their variable-aperture counterparts. And to sweeten the pot, we’ve seen more and more fast lenses with built-in image stabilization, which gets you even more low light and steady shot capability.
The 70-200mm focal length has been the standard tele-zoom choice for many years, offering near normal to a good tele range that suits many practical purposes. Yet, quite a few stock-in-trade 70-200mm lenses had been slow or lost significant aperture as soon as you left the shortest zoom setting, making them a real challenge for handheld, low-light, or even max focal length shooting. Certainly, improvements in sensors and processors in terms of the high ISO/image quality ratio have helped. If you’re too slow on shutter speed with a variable aperture zoom you can always jack up the sensitivity. But that’s not always a great choice and it seems to force you to compromise image quality just to make up for the lens losing “speed” just when you need it most.
The new Canon G1 X quite an extraordinary camera. It has thecompact body of a high-end point and shoot camera with a large CMOS 18.7x14mm sensor delivering 14 MP. This sensor is larger than Micro Four Third sensors (17.3x13 mm) in Panasonic or Olympus CSC cameras.
The Samsung Galaxy is a new type of camera that’s more like a tablet computer with an integrated camera system. However, rather than using a small low resolution camera module (like smart phones and tablet computers) it offers a “real” camera module with an ultra zoom lens. This lens system offers a 21x zoom lens with a focal length of 23 to 483mm (35mm film equivalent).
As billions of images are produced by millions of devices, the demand for bigger capacity storage, faster memory cards, and speedier methods of transferring huge files has become apparent. Cloud storage has become a standard offering among many camera makers; so independent cloud services have grown. Essentially branded server farms, the competition for your data is increasing, as are capacities of desktop backups.
“Lighting is really common sense and personal observation. This is applied to a few rules of photography which cannot be broken and to others which I tend to bend a little.”—Paul Beeson
A monolight or monobloc to our European friends is a self-contained studio flash that is typically, but not always, powered by an AC power source and allows for different light modification devices, including reflectors, light banks, or umbrellas. The key phrase in that last sentence is self-contained. To my way of thinking the biggest advantage monolights possess is just that—if you’re shooting on location or for that matter anywhere and the power pack in a pack and head system stops working, so do you. If you have a couple of monolights and one of them fails, you can still shoot.
The Nikon D4 is a large sized, 16MP, lightning fast D-SLR, with high-definition video capability good enough to satisfy an independent film producer. At first, my thought was to see how the D4 worked when used for the more mundane subjects I shoot than what it was designed for, and to see how it compared to the APS-C sized cameras I prefer. But, by the time my experience with the camera ended, I had shot a tutorial video with it (www.setshoptutorials.com and then click on “Anatomy of a Still Life”), found its fast framing rate more helpful than I expected, and decided I especially liked Nikon’s D4, an FX camera, when shot in the DX (APS-C) mode. Although the primary difference between the D4 and the D3 is the D4’s increased resolution and its advanced video capability, I found the whole package that represents the D4’s feature set just as important, so let’s look at those.
When creating their mirrorless camera system, Panasonic wisely, I think, chose the Micro Four Thirds format rather than designing an all-new proprietary lens mount. The system includes two dozen or so Lumix lenses, including conversion lenses, along with adapters for Leica R and M mount lenses, Four Thirds digital SLRs, plus the ability to use lenses from Olympus, Sigma, and Tamron. The Micro Four Thirds system is here to stay and the Lumix DMC-G5 seems a perfect way to jump on board.
The Pentax K-01 belongs to a class of cameras generally known as “mirrorless”—Pentax calls it a hybrid—that combine large LCD screens with interchangeable lenses and more often than not a retro look. Marc Newson, the Australian industrial designer who crafted the Pentax K-01, works in a style called biomorphism that uses smooth flowing lines, translucency, and an absence of sharp edges. The camera is available in black, white, or Newson’s signature yellow with the designer’s logo on the bottom.
Instead of trying to be just another me-too camera, the K-30 from Pentax Imaging is trying to be different, and that’s a good thing. First, there was the introduction of the K-01 mirrorless camera and now there’s the K-30 SLR, for when the going gets wet and not-so-wild. The rugged Pentax K-30 is designed for photographers who enjoy outdoor lifestyles and combines a weather- and dust-resistant compact body, HD video recording capabilities, and a glass prism optical finder with a 100 percent field of view, something most welcome in the small SLR category. To keep itself high and dry, the camera has 81 seals and is built to be cold resistant and function in temperatures as low as 14˚F, which is a number not all that uncommon here on Daisy Hill, Colorado, in the winter.
Oct 22, 2013
Published: Sep 01, 2013
Whether you are new to Off-Camera Flash (OCF) or not, you might want to check out one of the most versatile systems on the market for OCF, Rogue FlashBenders, manufactured by ExpoImaging. The Rogue system is based on a pliable flat panel reflector that you bend as needed to modify your light when used in conjunction with speedlights. It is versatile, stores flat in your camera bag, and has a diffusion panel that installs over the modifier to turn it into a portable softbox.
The best photo and imaging products of 2010 were voted on at the Technical Image Press Association (TIPA) General Assembly held from April 8-10, 2010 in New York. The editors of the 28 member photo and imaging magazines from nine European countries plus Canada, South Africa, and the United States met to vote on the TIPA Awards 2010 and discuss the association’s activities and projects.
The annual meeting of the Technical Image Press Association (TIPA) to vote for the best photographic and imaging products in 2011 was held on April 9, 2011 in Istanbul, Turkey. This year at the TIPA General Assembly 29 member magazines voted for the best product in each category. TIPA has member magazines from nine European countries and Australia, Canada, China, the U.S.A., and South Africa, plus has an affiliation with the CJPC of Japan. The General Assembly selected the best photo and imaging products of 2011 in 40 categories. In the past 21 years the association has given over 430 awards for products from over 70 companies from 15 countries. Shutterbug, the sole US magazine in the association, was represented at the meetings by Editorial Director George Schaub.