Great Camera video

Camera Test: Pentax K20D

2008-05-06T03:46:00.000-07:00

With rich features, a big 14.6MP sensor, and an estimated street price of $1,299, Pentax's super DSLR is a rare talent.

The 10.2MP Pentax K10D was a DSLR bargain in 2007 with its nearly pro body, excellent image quality, fast AF, image stabilization, and a price of only $920 (body only) when launched. It's still a steal at $700 (street). But if you want a camera with higher resolution, larger LCD, live view, and other enhancements, check out the new 14.6MP Pentax K20D ($1,299, estimated street).

At first, the K20D seems to be a twin to the K10D. Pentax kept what was outstanding in the K10D and improved it in all the right places, so the K20D is more of an upgrade than a new design. We got our hands on one of the first production units, and after running it through the Pop Photo Lab and field tests, found five reasons why this camera promises to be a big hit.

Image quality

This camera captures the most detail in its price class at ISOs below 1600. Incorporating the first Samsung-produced APS-C-sized CMOS sensor, the K20D represents a shift from the Sony CCDs found in previous Pentax DSLRs, and a further strengthening of Samsung's partnership with Pentax. By the time you read this, Samsung will have released its own camera with specs similar to the K20D.

According to Pentax, the new sensor captures 14.6 megapixels (effective) in 4672x3120-pixel files, with up to 12 bits per color in RAW. In addition, the pixel design expands the light-gathering photo diode to about the same area as competitive 12-megapixel CCD sensors. This gives the K20D the potential for higher resolution than the K10D, with light sensitivity similar to more expensive 12MP DSLRs such as the Nikon D300 ($1,800, street, body only) or Sony Alpha 700 ($1,350, street, body only). With increased sensitivity and noise reduction, Pentax boosted the normal ISO range up to ISO 3200, and the expanded range as high as ISO 6400.

5 Reasons to Take Your Camera Everywhere in 2008

2008-04-14T03:59:00.000-07:00

1. You’ll begin to see the world Differently - with a camera in your pocket or bag you’ll find yourself looking for opportunities to use it and when you start looking at the world in that way you’ll start to see if differently.

2. You’ll take more pictures - it sounds obvious - and it is - but the result of more pictures is that you’ll improve your averages of taking a good one!

3. You’ll be more likely to get out of Auto mode - the more you use your camera and see your results the more you’ll find yourself wanting to stretch yourself out of auto mode into using the full potential of your camera.

4. You’ll get to know your camera - the more you use your camera the more familiar you’ll become with it and what it’s capable of. I find that after an intense week with my camera that changing settings becomes second nature and much faster.

5. You’ll miss less ‘Kodak moments’ - you don’t realize just how many opportunities you miss to capture moments photographically until you start carrying your camera around. While I’m a big believer in not relying upon your photography to ‘create’ memories - I think that images are a wonderful way to help remember stories and celebrate life.

- DIGITAL CAMERA SENSOR SIZES -

2008-03-29T01:31:00.000-07:00

How does your digital camera's sensor size influence different types of photography?

Your choice of sensor size is analogous to choosing between 35 mm, medium format and large format film cameras-- with a few notable differences unique to digital technology. Much confusion often arises on this topic because there are both so many different size options, and so many trade-offs relating to depth of field, image noise, diffraction, cost and size/weight.

I have written this article after conducting my own research to decide whether the new Canon EOS 5D is really an upgrade from the 20D for the purposes of my photography. Background reading on this topic can be found in the tutorial on digital camera sensors.

OVERVIEW OF SENSOR SIZES

Sensor sizes currently have many possibilities, depending on their use, price point and desired portability. The relative size for many of these is shown below:

Canon's 1Ds/1DsMkII/5D and the Kodak DCS 14n are the most common full frame sensors. Canon cameras such as the 300D/350D/10D/20D all have a 1.6X crop factor, whereas Nikon cameras such as the D70(s)/D100 have a 1.5X crop factor. The above chart excludes the 1.3X crop factor, which is used in Canon's 1D series cameras.

Camera phones and other compact cameras use sensor sizes in the range of ~1/4" to 2/3". Olympus, Fuji and Kodak all teamed up to create a standard 4/3 system, which has a 2X crop factor compared to 35 mm film. Medium format and larger sensors exist, however these are far less common and currently prohibitively expensive. These will thus not be addressed here specifically, but the same principles still apply.

CROP FACTOR & FOCAL LENGTH MULTIPLIER

The crop factor describes the sensor's width ratio to a full-frame 35 mm sensor. It is called this because when using a 35 mm lens, such a sensor effectively crops out this much of the image at its exterior (due to its limited size).

35 mm Full Frame Angle of View

One might initially think that throwing away image information is never ideal, however it does have its advantages. Nearly all lenses are sharpest at their centers, while quality degrades progressively toward to the edges. This means that a cropped sensor effectively discards the lowest quality portions of the image, which is quite useful when using low quality lenses (as these typically have the worst edge quality).


Uncropped Photograph	Center Crop	Corner Crop

On the other hand, this also means that one is carrying a much larger lens than is necessary-- a factor particularly relevant to those carrying their camera for extended periods of time (see section below). Ideally, one would use nearly all image light transmitted from the lens, and this lens would be of high enough quality that its change in sharpness would be negligible towards its edges.

Additionally, the optical performance of wide angle lenses is rarely as good as longer focal lengths. Since a cropped sensor is forced to use a wider angle lens to produce the same angle of view as a larger sensor, this can degrade quality. Smaller sensors also enlarge the center region of the lens more, so its resolution limit is likely to be more apparent for lower quality lenses.

Similarly, the focal length multiplier relates the focal length of a lens used on a smaller format to a 35 mm lens producing an equivalent angle of view, and is equal to the crop factor. This means that a 50 mm lens used on a sensor with a 1.6X crop factor would produce the same field of view as a 1.6 x 50 = 80 mm lens on a 35 mm full frame sensor.

Be warned that both of these terms can be somewhat misleading. The lens focal length does not change just because a lens is used on a different sized sensor-- just its angle of view. A 50 mm lens is always a 50 mm lens, regardless of the sensor type. At the same time, "crop factor" may not be appropriate to describe very small sensors because the image is not necessarily cropped out (when using lenses designed for that sensor).

Smaller sensors require lighter lenses (for equivalent angle of view, zoom range, build quality and aperture range). This difference may be critical for wildlife, hiking and travel photography because all of these often utilize heavier lenses or require carrying equipment for extended periods of time. The chart below illustrates this trend for a selection of Canon telephoto lenses typical in sport and wildlife photography:

An implication of this is that if one requires the same magnification on a 35 mm camera as that attained using a 200 mm f/2.8 lens on a camera with a 1.5X crop factor (requiring a 300 mm f/2.8 lens), one would have to carry 3.5X as much weight! This also ignores the size difference between the two, which may be important if one does not want to draw attention in public. Additionally, heavier lenses typically cost much more.

For SLR cameras, larger sensor sizes result in larger and clearer viewfinder images, which can be especially helpful when manual focusing. However, these will also be heavier and cost more because they require a larger prism/pentamirror to transmit the light from the lens into the viewfinder and towards your eye.

DEPTH OF FIELD REQUIREMENTS

As sensor size increases, the depth of field will decrease for a given aperture (when filling the frame with a subject of the same size and distance). This is because larger sensors require one to get closer to their subject, or to use a longer focal length in order to fill the frame with that subject. This means that one has to use progressively smaller aperture sizes in order to maintain the same depth of field on larger sensors. The following calculator predicts the required aperture and focal length in order to achieve the same depth of field (while maintaining perspective).

As an example calculation, if one wanted to reproduce the same perspective and depth of field on a full frame sensor as that attained using a 10 mm lens at f/11 on a camera with a 1.6X crop factor, one would need to use a 16 mm lens and an aperture of roughly f/18. Alternatively, if one used a 50 mm f/1.4 lens on a full frame sensor, this would produce a depth of field so shallow it would require an aperture of 0.9 on a camera with a 1.6X crop factor-- not possible with consumer lenses!

A shallower depth of field may be desirable for portraits because it improves background blur, whereas a larger depth of field is desirable for landscape photography. This is why compact cameras struggle to produce significant background blur in portraits, while large format cameras struggle to produce adequate depth of field in landscapes.

Note that the above calculator assumes that you have a lens on the new sensor (#2) which can reproduce the same angle of view as on the original sensor (#1). If you instead use the same lens, then the aperture requirements remain the same (but you will have to get closer to your subject). This option, however, also changes perspective.

INFLUENCE OF DIFFRACTION

Larger sensor sizes can use smaller apertures before the diffraction airy disk becomes larger than the circle of confusion (determined by print size and sharpness criteria). This is primarily because larger sensors do not have to be enlarged as much in order to achieve the same print size. As an example: one could theoretically use a digital sensor as large as 8x10 inches, and so its image would not need to be enlarged at all for a 8x10 inch print, whereas a 35 mm sensor would require significant enlargement.

Use the following calculator to estimate when diffraction begins to reduce sharpness. Note that this only shows when diffraction will be visible when viewed onscreen at 100%-- whether this will be apparent in the final print also depends on viewing distance and print size. To calculate this as well, please visit: diffraction limits and photography.

Keep in mind that the onset of diffraction is gradual, so apertures slightly larger or smaller than the above diffraction limit will not all of a sudden look better or worse, respectively. On a Canon 20D, for example, one can often use f/11 without noticeable changes in focal plane sharpness, but above this it becomes quite apparent. Furthermore, the above is only a theoretical limit; actual results will also depend on lens characteristics. The following diagrams show the size of the airy disk (theoretical maximum resolving ability) for two apertures against a grid representing pixel size:


Pixel Density Limits Resolution (Shallow DOF Requirement)		Airy Disk Limits Resolution (Deep DOF Requirement)

An important implication of the above results is that the diffraction-limited pixel size increases for larger sensors (if the depth of field requirements remain the same). This pixel size refers to when the airy disk size becomes the limiting factor in total resolution-- not the pixel density. Further, the diffraction-limited depth of field is constant for all sensor sizesThis factor may be critical when deciding on a new camera for your intended use, because more pixels may not necessarily provide more resolution (for your depth of field requirements). In fact, more pixels could even harm image quality by increasing noise and reducing dynamic range (next section).

PIXEL SIZE: NOISE LEVELS & DYNAMIC RANGE

Larger sensors generally also have larger pixels (although this is not always the case), which give them the potential to produce lower image noise and have a higher dynamic range. Dynamic range describes the range of tones which a sensor can capture below when a pixel becomes completely white, but yet above when texture is indiscernible from background noise (near black). Since larger pixels have a greater volume -- and thus a greater range of photon capacity -- these generally have a higher dynamic range.

Note: cavities shown without color filters present

Further, larger pixels receive a greater flux of photons over a given exposure time (at the same aperture), so their light signal is much stronger. For a given amount of background noise, this produces a higher signal to noise ratio-- and thus a smoother looking photo.


Larger Pixels (Often Larger Sensor)		Smaller Pixels (Often Smaller Sensor)

This is not always the case however, because the amount of background noise also depends on sensor manufacturing process and how efficiently the camera extracts tonal information from each pixel (without introducing additional noise). In general though, the above trend holds true. Another aspect to consider is that even if two sensors have the same apparent noise when viewed at 100%, the sensor with the higher pixel count will produce a cleaner looking final print. This is because the noise gets enlarged less for the higher pixel count sensor (for a given print size), therefore this noise has a higher frequency and thus appears finer grained.

COST OF PRODUCING DIGITAL SENSORS

The cost of a digital sensor rises dramatically as its area increases. This means that a sensor with twice the area will cost more than twice as much, so you are effectively paying more per unit "sensor real estate" as you move to larger sizes.


Silicon Wafer (divided into small sensors)		Silicon Wafer (divided into large sensors)

One can understand this by looking at how manufacturers make their digital sensors. Each sensor is cut from a larger sheet of silicon material called a wafer, which may contain thousands of individual chips. Each wafer is extremely expensive (thousands of dollars), therefore fewer chips per wafer result in a much higher cost per chip. Furthermore, the chance of an irreparable defect (too many hot pixels or otherwise) ending up in a given sensor increases with sensor area, therefore the percentage of usable sensors goes down with increasing sensor area (yield per wafer). Assuming these factors (chips per wafer and yield) are most important, costs increase proportional to the square of sensor area (a sensor 2X as big costs 4X as much). Real-world manufacturing has a more complicated size versus cost relationship, but this gives you an idea of skyrocketing costs.

This is not to say though that certain sized sensors will always be prohibitively expensive; their price may eventually drop, but the relative cost of a larger sensor is likely to remain significantly more expensive (per unit area) when compared to some smaller size.

OTHER CONSIDERATIONS

Some lenses are only available for certain sensor sizes (or may not work as intended otherwise), which might also be a consideration if these help your style of photography. One notable type is tilt/shift lenses, which allow one to increase (or decrease) the apparent depth of field using the tilt feature. Tilt/shift lenses can also use shift to control perspective and reduce (or eliminate) converging vertical lines caused by aiming the camera above or below the horizon (useful in architectural photography). Furthermore, fast ultra-wide angle lenses (f/2.8 or larger) are currently only available for 35 mm and larger sensors, which may be a deciding factor if needed in sports or photojournalism.

CONCLUSIONS: OVERALL IMAGE DETAIL & COMPETING FACTORS

Depth of field is much shallower for larger format sensors, however one could also use a smaller aperture before reaching the diffraction limit (for your chosen print size and sharpness criteria). So which option has the potential to produce the most detailed photo? Larger sensors (and correspondingly higher pixel counts) undoubtedly produce more detail if you can afford to sacrifice depth of field. On the other hand, if you wish to maintain the same depth of field, larger sensor sizes do not necessarily have a resolution advantage. Further, the diffraction-limited depth of field is the same for all sensor sizes. In other words, if one were to use the smallest aperture before diffraction became significant, all sensor sizes would produce the same depth of field-- even though the diffraction limited aperture will be different.

Technical Notes:
This result assumes that your pixel size is comparable to the size of the diffraction limited airy disk for each sensor in question, and that each lens is of comparable quality. Furthermore, the tilt lens feature is far more common in larger format cameras-- allowing one to change the angle of the focal plane and therefore increase the apparent depth of field.

Another important result is that if depth of field is the limiting factor, the required exposure time increases with sensor size for the same sensitivity. This factor is probably most relevant to macro and nightscape photography, as these both may require a large depth of field and reasonably short exposure time. Note that even if photos can be taken handheld in a smaller format, those same photos may not necessarily be taken handheld in the larger format.

On the other hand, exposure times may not necessarily increase as much as one might initially assume because larger sensors generally have lower noise (and can thus afford to use a higher sensitivity ISO setting while maintaining similar perceived noise).

Ideally, perceived noise levels (at a given print size) generally decrease with larger digital camera sensors (regardless of pixel size).

No matter what the pixel size, larger sensors unavoidably have more light-gathering area. Theoretically, a larger sensor with smaller pixels will still have lower apparent noise (for a given print size) than a smaller sensor with larger pixels (and a resulting much lower total pixel count). This is because noise in the higher resolution camera gets enlarged less, even if it may look noisier at 100% on your computer screen. Alternatively, one could conceivably average adjacent pixels in the higher pixel count sensor (thereby reducing random noise) while still achieving the resolution of the lower pixel count sensor. This is why images downsized for the web and small prints look so noise-free.

Technical Notes:
This all assumes that differences in microlens effectiveness and pixel spacing are negligible for different sensor sizes. If pixel spacing has to remain constant (due to read-out and other circuitry on the chip), then higher pixel densities will result in less light gathering area unless the microlenses can compensate for this loss. Additionally, this ignores the impact of fixed pattern or dark current noise, which may vary significantly depending on camera model and read-out circuitry.

Overall: larger sensors generally provide more control and greater artistic flexibility, but at the cost of requiring larger lenses and more expensive equipment. This flexibility allows one to create a shallower depth of field than possible with a smaller sensor (if desired), but yet still achieve a comparable depth of field to a smaller sensor by using a higher ISO speed and smaller aperture (or when using a tripod).

Tamron AF 18-250mm f/3.5-6.3 Di II Lens

2008-03-17T02:43:00.000-07:00

In its new AF18-250mm f/3.5-6.3 Di II LD Aspherical [IF] Macro lens, Tamron has provided an impressive 13.9x zoom magnification yet only added 0.2 mm in diameter and 0.6 mm in overall length to the dimensions of the AF18-200mm Di-II lens. Designed specifically for DSLR cameras with 'APS-C' sized image sensors, this lens covers the equivalent of 27-375mm on Nikon, Pentax and Sony camera bodies and 28.8-400mm on a Canon DSLR. We tested the lens on the new Nikon D60, which lacks a built-in focus drive motor and, therefore, relies on the AF motor in the lens for all autofocusing.

The optical system in the new lens consists of 16 elements in13 groups with an LD (Low Dispersion) glass element and one AD (Anomalous Dispersion) lens in the first group to minimise on-axis chromatic aberration, particularly at long focal lengths. Two hybrid aspherical lens elements have been used to provide a compact optical design and the third lens group has been optically configured to minimise astigmatism while maintaining high zoom power and optimal image quality.

The optical design is also digitally-orientated with the aim of providing angles of incidence that ensure optimal light levels reach the imager over the entire image field throughout the zoom range. High image quality and resolution, adequate contrast and flatness of image field have been primary goals. Multiple-layer coatings on cemented surfaces of plural elements and ordinary elements ensure ghosting and flare due to reflections that occur when light enters through the front element and reflections caused by the imager itself are reduced to the absolute minimum.

A minimum focusing distance of 45 cm is maintained throughout the entire zoom range, providing a maximum magnification ratio of 1:3.5 at the 250mm end of the zoom range. It's not true macro but it does provide some great close-up pictures. Internal focusing makes it easy to use angle-critical filters with this lens. A metal lens mount is provided and a flower-shaped lens hood is included as a standard accessory.

The lens barrel is solidly designed and very compact for the focal length range this lens covers. A broad zoom ring is located towards the camera mount, while a narrow focus ring is situated near the lens hood mounting. Both rings are quite heavily textured to provide a very secure and comfortable grip. The gold ring that characterises the Tamron brand is located between them.

Engraved on the barrel just behind the zoom ring grip are focal length markings for 18mm, 35mm, 50mm, 70mm, 100mm, 200mm and 250mm positions. These marks line up against a line on the lens barrel (which doubles as a guide when fitting the lens on a camera) when focal lengths are adjusted. Engraved behind the focusing ring are distance indicators in feet and metres for 0.45, 1, 2, 3, 7 and 30 metres plus infinity. No depth of field or infrared indicators are provided.

A slider switch close to the lens mount allows users to switch between auto and manual focusing. A zoom lock prevents unwanted barrel extension when carrying the lens/camera combination facing downwards. Image stabilisation system is not provided in this lens. The lens is supplied with end caps and a flower-shaped lens hood. The hood reverses over the lens when it is not in use and locks into place with a bayonet mounting.

Handling
In use, the AF18-250mm lens was a comfortable match with the Nikon D60 camera on which it was tested. As with other AF/MF lenses, the focusing ring can only be moved when the AF/MF switch is set to MF. It moved very smoothly and covered the focusing range in roughly one sixth of a turn.

The zoom ring was much stiffer, although it also moved smoothly and showed no tendency to 'creep'. Moving from the 18mm to the 250mm setting involved a quarter of a turn, which was good for the zoom range. The zoom lock and AF/MF sliders, though small, clicked positively into place and it was easy to change settings.

We missed the stabilisation when shooting at longer focal lengths, particularly in low light levels and when shooting close-ups with the 250mm setting. Close focusing capabilities were quite impressive, with the lens focusing to 45 cm from subjects and producing a 1:3.5 magnification ratio with the 250mm setting.

Performance
Considering the range of the zoom, the overall performance of the AF28-300mm F/3.5-6.3 XR Di lens we reviewed was above average - and very even across its focal length range. We obtained the best results in our Imatest tests at between two and five f-stops down from the maximum aperture. Performance tailed off at longer focal lengths, although it remained reasonably good for an extended-range zoom. However, when enlarged to 100% or greater, test shots taken at the 250mm setting were not quite pin-sharp.

At all focal lengths, centre resolution was slightly higher than edge resolution, which is to be expected with a lower-priced lens, although the difference was not as great as in some lenses we've tested. The results from our tests can be seen in the graph below.

Lateral chromatic aberration ranged between low and moderate, depending on the focal length used. Our Imatest results are shown in the graph below, where the red line denotes the border between 'insignificant' and 'low' and the blue line marks the border between 'low' and 'moderate'.

The test lens showed no evidence of flare in blacklit shots, regardless of the focal length setting. This confirmed the effectiveness of the supplied lens hood. Bokeh (out-of-focus blurring) was generally attractive.

Barrel distortion was very obvious at the 18mm focal length but it switched to slight pincushioning at 35mm. This pincushioning remained through the rest of the zoom range without increasing significantly. We believe it would have little impact on normal photography.

Conclusion
Given its extended focal length range, the Tamron AF18-250mm f/3.5-6.3 Di II LD Aspherical [IF] Macro lens represents excellent value for money. It would be a good choice for photographers who want a DSLR body with just one extended-zoom lens that covers the most commonly-used angles of view. Its relatively light weight, compact size and robust construction make it particularly suitable for travellers.

SAMPLE IMAGES

18mm setting; 1/400 second at f/10.

Taken from the same position as the shot above; 250mm setting, 1/800 second at f/6.3.

18mm setting; 1/60 second at f/5.6.

250mm setting; 1/125 second at f/6.3.

250mm setting; 1/160 second at f/8, showing the bokeh (out-of-focus blur) of the lens.

Backlit shot with the 18mm setting showing no evidence of flare or ghosting.

Backlit shot at 110mm focal length. No flare or ghosting is evident.

250mm setting; 1/640 second at f/11.

An enlarged crop from the shot above showing the slight softening caused by the lens.

250mm setting; 1/400 second at f/6.3.

250mm setting; 1/500 second at f/7.1.

120mm setting; 1/125 second at f/5.6.

SAMPLE IMAGES

18mm setting; 1/400 second at f/10.

Taken from the same position as the shot above; 250mm setting, 1/800 second at f/6.3.

18mm setting; 1/60 second at f/5.6.

250mm setting; 1/125 second at f/6.3.

250mm setting; 1/160 second at f/8, showing the bokeh (out-of-focus blur) of the lens.

Backlit shot with the 18mm setting showing no evidence of flare or ghosting.

Backlit shot at 110mm focal length. No flare or ghosting is evident.

250mm setting; 1/640 second at f/11.

An enlarged crop from the shot above showing the slight softening caused by the lens.

250mm setting; 1/400 second at f/6.3.

250mm setting; 1/500 second at f/7.1.

120mm setting; 1/125 second at f/5.6.

Toolbox: Take Me With You

2008-02-10T16:14:00.000-08:00

The best camera is the one you actually take with you. It’s true that for ultimate image quality and control, compact cameras can’t beat digital SLRs, but advances in technology have made pocketable models a terrific alternative for many situations. We’re not suggesting that you replace your D-SLR, but rather that you give yourself the option of a smaller system when size and weight matter. With sensor sizes hitting the 12-megapixel range, compacts are a great solution for occasions when a D-SLR and its various accessories would be a burden.

Compacts are great as backup cameras, for traveling lightly and especially for situations where discretion is important, like urban areas where you may not want to call attention to yourself or your equipment. Many compacts do more than just take pictures, too; some feature extras like video recording, in-camera editing, music and media playback and more.

Canon PowerShot G9 The advantage to shooting in RAW is the flexibility the format provides in processing and adjusting exposure subtleties. JPEG files, on the other hand, provide faster review at more manageable file sizes. The G9 gives the best of both worlds, with a RAW+JPEG mode that captures both file types simultaneously. Many compacts eliminate viewfinders to keep dimensions small and LCDs big, but the G9 offers a choice between composition on an optical viewfinder or a large 3-inch LCD screen. The 12.1-megapixel sensor is at the front of the class, and the G9 includes optical image stabilization, a 6x optical zoom and compatibility with Canon accessories like EOS Speedlite flashes and optional wide and tele conversion lenses. List Price: $499.

Casio Exilim Zoom EX-Z1080 Higher light sensitivity is a boon for shooting in low-light situations, as well as for getting shots with sharper focus when shaky hands or subject movement is an issue. The EX-Z1080 offers blur reduction based on motion-analysis technology, setting the most appropriate shutter speed and ISO sensitivity (up to a pro-level ISO 6400). Motion analysis also is used with face detection and an auto-tracking AF system to keep sharp focus and proper exposure on subjects’ faces when shooting portraits. The EX-Z1080 has a 10.1-megapixel sensor, a 2.6-inch LCD display and a maximum seven-shot-per-second continuous shutter (at 2-megapixel capture). The camera also features high-quality H.264 video capture and a YouTube Capture Mode for users to shoot and upload video at the optimum size, quality and settings of the popular video-sharing site. List Price: $279.

Fujifilm FinePix F50fd On occasion, a compact offers features that many pro level D-SLRs won’t have, such as wireless technology. The FinePix F50fd, for instance, can transfer images to any IrSimple-equipped device through infrared technology. Images even can be transferred to other F50fd cameras for immediate sharing with friends. The camera also features a hefty 12-megapixel sensor, full manual photographic control, mechanical image stabilization combined with Fujifilm’s Picture Stabilization Technology for Dual Image Stabilization, Face Detection 2.0, Automatic Red-Eye Removal and top ISOs of 6400 (at 3 megapixels) and 3200 (at 6 megapixels). List Price: $279.

Kodak EasyShare Z1275 The manual options of the EasyShare Z1275 allow the user to select aperture, shutter speed, exposure compensation values, white balance and flash mode. The camera automatically adjusts to help minimize camera shake by boosting ISO sensitivity up to a healthy 3200, allowing faster shutter speeds. The 12-megapixel sensor captures images that provide prints up to 30x40 inches, and Kodak’s Perfect Touch technology automatically enhances images for better, brighter pictures with less shadow. The Z1275 can record video in HD, too, with 1280 x 720 resolution at 30 fps. Frames can be extracted and printed at 4x6 inches. List Price: $229.

D-SLR Systems

2008-02-10T16:05:00.000-08:00

Buying a D-SLR is a little different than buying most other high-tech devices. You’re also selecting a complete photo system, from lenses and flash to accessories and software. The “right” camera for your needs, present and future, depends a lot on what you expect from your system.

All of the major camera systems here offer the essentials you’ll need for most subjects and situations. Longtime camera makers have an edge over newcomers in the depth and breadth of their systems, but leaps forward in technology even the playing field.

To help you get a clearer idea of the bigger picture offered by the camera makers, we’ve compiled a comprehensive overview of each system. While we don’t have the space here to list every lens and accessory available, we’ve attempted to provide a representative sampling that will give you insight as to what you can expect from the system you choose.

Canon
Canon offers an extensive D-SLR system that includes six camera bodies, 60 lenses, five flash units and a number of accessories.

Canon makes its own CMOS image sensors and processing engines—a decided advantage in getting them to work optimally together. All EOS cameras feature fully electronic lens mounts and a focusing motor in each lens rather than in the camera body. The electronic mount eliminates mechanical linkages for quick, reliable, accurate and near-silent operation of the aperture diaphragm, while each EF lens has a focusing motor optimized to its characteristics. USM lenses have Ultrasonic Motors that provide quick, accurate, near-silent autofocusing.

Cameras. Canon’s top model is the rugged EOS-1Ds Mark III, by far the highest-resolution, “35mm form factor” D-SLR, with a 21.1-megapixel, full-frame, self-cleaning image sensor, dual DIGIC III imaging engines, 5 fps shooting at full resolution, a big 3-inch LCD with live-view capability and more.

For action shooters, the EOS-1D Mark III records its 10.1-megapixel images at up to 10 per second and otherwise basically shares the EOS-1Ds Mark III’s fine features, but has a smaller image sensor, with a 1.3x focal-length factor.

The EOS 5D features a 12.8-megapixel, full-frame image sensor at about one-third the cost of the EOS-1Ds Mark III.

The new EOS 40D provides 10.1 megapixels, 6.5 fps shooting, a 3-inch LCD monitor with even more live-view capabilities than its “big brothers,” a self-cleaning sensor and more. The focal-length factor is 1.6x.

Canon’s entry-level model is the EOS Digital Rebel XTi, with a 10.1-megapixel self-cleaning sensor, 3 fps shooting and very good performance. The focal-length factor is 1.6x. The even lower-priced 8-megapixel EOS Digital Rebel XT remains in the line.

Sweet Spot D-SLRs

2008-02-10T15:51:00.000-08:00

“Sweet-spot” D-SLRs are those between the entry-level models and the often much pricier, larger and heavier pro models. They’re in the sweet spot because, though they’re much closer to the entry-level models in price, they share a lot of features with pro models. That makes them great choices for many photographers, including pros on a budget and enthusiasts alike.

While most entry-level D-SLRs offer 10 megapixels these days, the models we look at here generally produce better image quality through use of higher-end image processors and A/D converters and better AF systems. Sweet-spot models typically offer faster shooting rates and usually are the first consumer models to get new technologies and features developed for pro D-SLRs. These cameras offer a terrific value, dollar for dollar, balancing price and performance.

Canon EOS 40D

A major upgrade of Canon’s popular EOS 30D, the new 10.1-megapixel EOS 40D provides 23-percent more pixels, 14-bit A/D conversion, a DIGIC III image processor, and improved long-exposure and high-ISO noise reduction. It features a 3.0-inch LCD monitor with Live View capability, Canon’s EOS Integrated Cleaning System to do away with sensor dust, 6.5 fps shooting and lots more—all for $100 less than the 30D when it was introduced.

Canon’s most affordable model with a Live View LCD, the 40D actually betters the Live View capabilities of the professional EOS Mark III-series cameras (which are restricted to only manual focus in Live View mode), allowing you to focus manually or use the AF system. The Live View mode also features silent shooting, exposure-simulation and grid-line modes. Even more impressive, with the optional WFT-E3A wireless file transmitter, you can remotely control your camera from a nearby computer and view the Live View image on your computer monitor.

Autofocusing performance is excellent. All nine AF points are now cross-types with lenses of ƒ/5.6 or faster, while a unique diagonally oriented central sensor features enhanced precision at ƒ/2.8 or faster—actually better than Canon’s pro cameras. Focusing calculation speed is 1.3x faster than with the 30D, and autofocusing is more accurate and more stable. AF operating range remains EV -0.5 to EV 18 (ISO 100).

The 40D retains the 30D’s fast 0.15-second startup and 100,000-cycle shutter, top shutter speed of 1⁄8000 sec., compact yet high-capacity rechargeable battery, and compatibility with all Canon EF and EF-S lenses (with a 1.6x focal-length factor).

Specifications
Camera: Canon EOS 40D
Image Sensor: 10.1-megapixel (effective) CMOS
Resolution: 3888 x 2592 pixels
Sensor Size: 22.2x14.8mm, 1.6x focal-length factor
LCD Monitor: 3.0-inch Live View
AF System: 9-point
Shutter Speeds: 1⁄8000 to 30 sec., X-sync up to 1⁄250 sec.
ISO Settings: 100-1600 (1⁄3-stop increments), plus 3200
Continuous Firing Mode: 6.5 fps, 3 fps
Recording Format: JPEG, RAW, sRAW
Metering: 35-zone evaluative, 9% partial, 3.8% spot, center-weighted
Storage Media: CompactFlash
Dimensions: 5.7x4.2x2.9 inches
Weight: 26.1 ounces
Power Source: BP-511A rechargeable lithium-ion battery
Estimated Street Price: $1,299