The Samsung NX200 is a Compact System Camera (CSC) with an interchangeable lens system. It is based on an APS-C-sized sensor and Samsung’s NX-mount system, which currently comprises nine Samsung lenses. The range of lenses will be expanded this year, with the latest being the Samsung 85mm f/1.4 ED SSA, which is a fast portrait lens that supports Samsung’s i-Function technology. The lens ring—which is normally used for manual focusing—can be used for i-Function settings, a very handy feature that can be programmed by the photographer to change various settings right from the lens.
The compact Olympus E-PL3 has a retro body design and is available in different colors. The camera has a large swivel LCD on the back which allows the user to flip the monitor up and down. This is handy but is not as flexible as a swivel monitor that allows side-to-side movement. The LCD screen is a standard TFT screen instead of the OLED system used by the Olympus E-P3.
While parts of the nation are blessed with warm or let’s say tolerable weather during these winter months there are many more areas in which we inhabitants spend the short days thinking about the springtime to come. For photographers who earn all or part of their keep with their camera some of the planning has to be preparing for what is hoped will be a busy season—the myriad social events that photographers are paid to document, including weddings, graduations and concomitant senior portraits, Easter and First Communions, and whatever social and familial events that come along. Granted, a good many jobs are already booked by now, but there are always late calls, cancellations, and rebookings.
What qualifies a digital inkjet printing paper as “fine art?” To begin, it should be able to reproduce a wide range of tonal values and colors that satisfy the photographer. It should be “archival”, meaning that there should be no contaminants or even optical brighteners that could affect the print stability long term. And perhaps most important is that it should have that “look,” sometimes described as emulating a well-made darkroom print.
The new super wide angle Distagon T* f/2.8 15mm lens for Canon and Nikon mounts is neither lightweight nor inexpensive (1.6 lb for Nikon, 1.8 lb for Canon mount, $2950) but what you get from this manual focus lens is exceptional image quality and facility that is perhaps unmatched by any other lens in its focal length class. With a 95mm filter thread and integral and fully compatible lens shade, the lens offers an extraordinary 110-degree angle of view that is pleasure to work with on a wide variety of subjects. The fast f/2.8 aperture is matched on the narrow end by a minimum aperture of f/22, which at 15mm means there’s potential for extraordinary depth of field effects using the 10-inch closest focusing range. While decidedly not a portrait lens, the 15mm is ideal for landscape, street photography and creative advertising work, as well as architectural and urban photography, as I discovered in mybrief time working with it.
The diminutive Nikon 1 series of cameras, including the J1 reviewed here and the coming V1, introduces the new CX-format CMOS sensor to the interchangeable lens, mirrorless camera field, which we dub Compact System Cameras. The sensor is smaller than APS-C and Micro Four Thirds sensors, coming in at a 2.7x multiplication factor using standard 35mm focal length designations. The 10.1-megapixel sensor has a native speed of ISO 100, with speeds up to 3200, and 6400 with a 1 EV push.
The new Canon PIXMA PRO-1 is a 13x19” pigment-ink printer that makes fine quality prints in a price range that could be considered quite fair for what you get ($999). Aimed at avid photographers and enthusiast printmakers, as well as pros choosing to do their own mid-size prints, the PIXMA PRO-1 fills a void left by HP’s abandonment of the category and directly challenges Epson. The printer offers ease of use, solid performance, 12 ink cartridges, and all in all seems to improve upon 13” printers of the past. Our tests were aimed at determining if the PIXMA PRO-1 could be a solid contender in its class and if there were upgrades or new workflow techniques that would differentiate it from the competition.
This story began with the discovery of a few old rolls of C-22 126 format film in a drawer coinciding with some information that came in from the folks at Film Rescue. The idea of finding the formula for and mixing C-22 chemistry was not appealing, and while I could have probably gotten an image using Dektol, inexperience with processing old color films and fear of losing whatever was on the film prompted me to contact the company. I’m glad I did.
The new Canon 5D Mark III has a large and handy grip on the right side. The body is a lot smaller than the new EOS-1D X because the 5D Mark III doesn’t use a “motor winder like” bottom for the rechargeable battery and therefore doesn’t offer a second shutter release button and setup dial, convenient for vertical shots. An additional battery grip is offered as an option, however.
Backing up images while on the road makes sense; having a backup drive that can take the rigors of the road seems to make even more sense. That’s the idea behind the ioSafe Rugged Portable USB 3.0, available in various configurations, including SSD (Solid State Drive) and HDD (Hard Disk Drive), capacities, and aluminum or titanium covers. Regardless of the enclosure, the unit is dubbed shockproof (drops from 20 feet with the SSD and titanium enclosure with the optional “skin”), waterproof (submersible up to 10 feet for three days in aluminum, or 30 feet in titanium), and dustproof even in sandstorms, and even during ice storms for 24 hours. And, you’re also covered if you happen to drop it into a barrel of oil (up to 12 feet for an hour) or climb above 15,000 feet (aluminum) or 30,000 feet (titanium). To back up their guarantees the company includes a one-year replacement and one-time data recovery guarantee (up to $5000 on the data side).