Sony HDR-CX350V Full HD Flash Memory Camcorder Review

August 23rd, 2010 by Allison Gibson Posted in Camera Reviews, Sony HDR-CX350V Camcorder

Sony HDR-CX350V Full HD Flash Memory Camcorder
Text and Images by Tony Gomez

Earlier this year Sony introduced an entirely new line of High Definition HandyCam camcorders. Depending on the model, these new camcorders use hard disk, internal memory, or removable flash memory—or a combination thereof. I recently tested one of the best of these new models, the HDR-CX350V, which is a 32GB internal/removable flash memory model that shoots 1920 x 1080 Full HD video and sells for $799.99 (MSRP).

Features

The HDR-CX350 is quite small, due to the flash memory feature. It’s only 2-1/8” D x 2-5/8” H x 5” L, and weighs a very comfortable 11 ounces. But don’t let its small size fool you. Packed inside is a powerhouse of features:  Full 1920 x 1080/60i HD video with a 7-megapixel Exmor-R CMOS imaging sensor, 7MP max/5MP (widescreen) still resolution, a Sony high quality G-lens with 12X optical/160X digital zoom, Geotagging with built-in GPS receiver, Face Detection/Face Priority, Optical Steady Shot with Active Mode, and a Mini-HDMI port (for viewing of all captured video and stills on an HD monitor with a mini-HDMI to standard HDMI cable (not provided).

Initial Settings

The CX350 has an easy, logical UI. Switch between Video and Photo modes by simply touching the Mode button at the back of the camcorder. Flipping the LCD screen open powers the unit on. A 2.7-inch TouchPanel LCD allows the various controls to be accessed. Adjust the Movie Image quality to Standard or HD (1920 x 1080). In HD mode there are four settings, with HD HQ being the default. HD HQ gives the best compromise between image quality and recording time, whereas HD FH and HD LP give longer recording times respectively, but at reduced High Definition quality. Select the recording medium—either 32GB internal (default), or Sony’s Memory Stick Pro Duo (if you have one inserted).

In the Shooting Set menu you can set the SteadyShot to be either Standard or Active (for improved image stabilization). The Low-Lux sensitivity setting can also be activated, making it very handy for getting better exposure when shooting under low-light conditions. Face and Smile Detection settings are also available to lock into faces for the best focus.

For shooting still pictures, the Photo Settings menu is where you adjust image size (7MP/5MP WideScreen/2MP/ or .3MP VGA mode) as well as Flash Mode, Flash Level, and RedEye Reduction (when the built-in flash is used). Still image capture is also available simultaneously while shooting video, but at reduced 3MP resolution.  Just press the handy PHOTO button on the top next to the zoom button or on the LCD panel to automatically capture a JPEG image while shooting video.

Low-Light Recording Features

In addition to recording video within a well-lit daylight scene, the CX350 is excellent for recording in low-light/night conditions. Two built-in features make this happen—the Exmor-R sensor and the Low-Light Sensitivity setting. The Exmor-R sensor is Sony’s revolutionary CMOS sensor that allows video capture with relatively little increase in noise. This is remarkable because the sensitivity required to capture such an image in low-light would normally boost any noise to an unacceptable level. My video shot at Universal Studios City Walk in Los Angeles at night demonstrates the impressive low-noise capture.

12X Optical Zoom and Active Mode Image Stabilization

The CX350 has Sony’s high quality G-Lens with a remarkable 12X optical zoom range (30mm – 357mm equivalent). At 30mm it’s a very practical wide angle lens so you can get more in the frame. Another nice feature is the zoom control, which is smooth and responsive to finger pressure, and can travel its full range from a fast three seconds to a slow 13 seconds.

Handholding your camcorder has always been a challenge to videographers because of the tendency for camera shake. Sony has long been a leader in optical image stabilization technology, in order to make those captured images relatively shake free, but now their new Active Mode for SteadyShot in the CX350 brings it to a new level. In Active Mode, three types of image shake reduction are now employed: vertical, horizontal, and lateral roll. The end result is a dramatic new level of camera shake reduction when handholding. This Active Mode shake reduction improvement was demonstrated to me when I was handholding and shooting scenes of the San Francisco Golden Gate Bridge from three miles away.  And just in case you might need it, 160X Digital Zoom is available at reduced resolution.

Sony HDR-CX350V 7MP still shots (click the thumbnails to see full-size images)

Final Words

Sony has really packed a ton of practical features into the diminutive HDR-CX350V. The image quality of captured 1080i video (daylight or night) was superb on my HD TV. Still images captured were as good as any 7MP digital camera I’ve tested too. The image stabilization was significantly improved thanks to ActiveMode SteadyShot. If you want a small sized High Definition camcorder that is a real workhorse, the HDR-CX350V should fit the bill nicely.

Sony HDR-CX350V: www.sonystyle.com

High Speed: Casio EX-FH100 Review

July 30th, 2010 by Allison Gibson Posted in Camera Reviews, Casio EX-FH100

Casio EX-FH100 Review
Text and Photos by Allison Gibson

The Casio EX-FH100 has been making waves since its announcement at CES due to its inclusion of a back-illuminated CMOS sensor, 10x optical zoom and—most notably—high-speed video and still recording. Priced at $349.99, the FH100 offers a lot of features, including full manual shooting and the ever-alluring possibility to capture slow-motion video, all in a sleek and compact body. The fact that the FH100 can shoot high-speed movies at 1,000 frames per second (fps) and burst mode stills at 40fps tops the list of reasons that it’s an exciting piece of equipment, and the superb quality of its still image capture makes it a nice overall camera, albeit with a few frustrating UI kinks.

High Speed Still Images

High-speed shooting is accessed at any time by pressing the HS button on top of the camera, or by turning the shooting mode dial to the red Continuous Shooting option. With the HS button you can toggle between continuous shooting and single shot, regardless of whether you are in CS mode, Manual, Aperture Priority or Shutter Priority. Continuous shooting is not available when shooting in Best Shot mode. In continuous shooting mode, you have the option of capturing up to 30 images at rates of up to 40fps. These choices are accessed by pressing the SET button. For capturing action such as sports or fast-moving subjects such as pets, the EX-FH100 is almost unparalleled among compact cameras.

Super Slow Motion Video

As I mentioned, the show-stopping feature of this camera is its ability to shoot high-speed movies at up to 1,000 frames per second—which allows for a super slow-motion effect (33 times slower than true life). With video becoming not only popular but expected in compact cameras these days, the Casio EX-FH100 goes above and beyond in delivering exciting possibilities for creating slow-motion movies with pocket-size equipment. The drawback, however, to recording these impressive slow-motion movies at 1,000fps is that the resolution is substantially decreased, bringing videos all the way down to 224 x 64 pixels in size (640 x 480 at 120fps, 448 x 336 at 240fps, 224 x 168 at 420fps).

What Needs Work

This camera is a serious piece of equipment—both the features and the price reflect that—and yet the thing handles quite inelegantly. The screeching electronic noise that the lens motor makes when you zoom and focus is truly painful. It sounds as if the camera is frying on the inside. Frankly, it sounds cheap. And then there’s the auto focus lag, which is a problem in several of the shooting modes from the Best Shot menu—even when you press the shutter release half way down. The worst of it happens when shooting in “Multi-motion image” mode from the BS menu. Once the image is finally captured, the screen goes black and then says “Busy…Please wait…” for 15 seconds. Obviously in the interim you are bound to miss any other photo-ops. It’s hard, however, to complain too much about this when the high-speed camera offers continuous shooting mode to make sure you capture a whole sequence instead of worrying about shot-to-shot lag time. But sometimes you just want to take one picture, not 30, not 10, not even 5.

The layout of the camera’s buttons also leaves much to be desired. Where one’s thumb would naturally sit when gripping the camera, the video record button also sits. There is also the chance that a thumb will inadvertently press the HS button when pressing the shutter release because of where it sits, making it easy to accidentally switch to or from high-speed mode. The camera’s large 3-inch LCD is nice and bright, but is probably the culprit as to why buttons seem awkwardly placed in the meager space beside it.

Conclusion

The battery life of the EX-FH100 is remarkable, and its compact size makes it easily portable, though it is noticeably heavier than many point-and-shoot cameras on the market right now. Because it uses a backlit CMOS sensor, it does incredibly well in low-light, capturing sharp images even in the dimly lit temperate rain forests of northern Washington State. With a whole host of Best Shot scene modes, as well as Manual, Aperture Priority and Shutter Priority modes, the EX-FH100 does stand alone as a feature-rich compact digicam, but if you are looking into purchasing this camera it’s most likely for its specific high-speed capabilities.

Casio EX-FH100

Interchangeable Lens Camera: Samsung NX10 Review

June 29th, 2010 by Allison Gibson Posted in Camera Reviews, SamSung NX10

Samsung NX10 Review
Text and Photos by Allison Gibson

Interchangeable Lens Digital Cameras

A new genre has emerged in digital photography gear: the compact interchangeable lens digital camera. Not to be confused with its rival, the Micro Four Thirds system camera—which is, in turn, the rival of the digital SLR camera—the interchangeable lens digital camera is, in bare-bones terms, a hybrid point-and-shoot/D-SLR. With a large APS-C size CMOS image sensor that’s as big as those found in entry-level D-SLRs, the compact interchangeable lens camera has the advantage of a smaller, more lightweight body. The major defining difference between the compact interchangeable lens digital camera and the D-SLR is that the former is mirrorless, meaning it abandons the mirror box (which in a D-SLR is necessary for the viewfinder to see exactly what the lens sees), operating exclusively with Live View shooting—the same way that the Micro Four Thirds camera does. (See my recent review of the Panasonic Lumix GF1 to learn more about the Micro Four Thirds standard.)

So far in 2010, three cameras of this type have been announced: the Samsung NX10, which was floated as a concept at PMA 2009 and then introduced in full at CES 2010; and the Sony NEX-3 and NEX-5, which were both announced on May 11, 2010 after Sony introduced the concept at PMA.

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Pentax Optio I-10 Review

May 18th, 2010 by Allison Gibson Posted in Camera Reviews, Pentax Optio I-10

Pentax Optio I-10 Review
Text and Photos by Allison Gibson

Retro Cool Compact

Similar to the white Pentax K-x D-SLR, the white Pentax Optio I-10 compact camera is eye-catching and envy-inducing—a beautiful object in the hand of the photographer. Weighing only 5.4-ounces, and measuring 1.1-inches thick, this ultra compact point-and-shoot is light and slim. And with the charming retro look of its pearl white body, the I-10 (which also comes in black) has style.

What’s Old is New

Because so many point-and-shoot cameras share similar specs and price points, manufacturers sometimes try to attract consumers by setting their cameras apart with style. Most camera makers opt to go the route of sleek and futuristic for these compacts, but Pentax has taken a look back for their style cues—back to the once beloved Pentax Auto 110 film camera. The new Optio I-10 (notice the homage to the past even with the name?) is styled after its elder—with a digital face-lift of course. At PMA in February, I had the chance to check out the old and new side by side, and the similarity is staggering. Both fit right in the palm of your hand. With the popularity of all things vintage in photography right now, such as the Hipstamatic iPhone app and resurgence of Pinhole photography, the I-10’s retro cool looks are right on trend. But how does it fare as a contemporary camera?

Beyond the Beauty

With a 12.1-megapizel CCD sensor and offering 5x optical zoom, the I-10 features much of what consumers want in a slim and stylish point-and-shoot. The 5-25mm (28-140mm equivalent) f/3.5-5.9 PENTAX zoom lens does offer a less than desirable aperture range, however. The camera’s 2.7-inch LCD screen—with a 16:9 widescreen aspect ratio—is quite bright, even in direct sunlight. Though a 3-inch screen is ultimately more desirable for framing, it would have caused the camera body to be larger, and one of the I-10’s most celebrated features is its petite size.

Shooting Modes and Special Features

The I-10 features a host of subject and setting-specific shooting modes, which are accessed at the touch of the “Mode” button on a four-way D-pad to the right of the camera’s LCD. It is convenient that Pentax has chosen to not bury this menu deep in a digital folder somewhere because most users of this point-and-shoot will opt to swap modes fairly often, as the shooting environment changes from, say, Surf and Snow to Night Scene. Also included among the 24 shooting modes are: Auto Picture, Program (which allows slight tweaks to Auto such as white balance and exposure compensation), Portrait and Digital Shake Reduction (SR). There is also a mode called Digital Wide, which stitches together two pictures to create a wider image. This is not to be confused with Digital Panorama mode, which stitches together more than two images taken with the camera to create a panoramic photograph.

In addition to the point-and-shoot friendly shooting modes, there are a few features that are meant to assist in quality image capture. Another of the four-way D-pad choices takes you directly to a Focus Mode menu, where you can choose from among: Standard, Macro, Super Macro, Pan Focus, Infinity and Manual. To help the photographer avoid taking blurry pictures in challenging lighting conditions, the I-10 features a mechanical sensor shift Shake Reduction system. The Optio I-10 also features High Definition video (720p at 30fps) in .AVI format.

Interface

As I touched on above, there is a four-way control on the back of the camera, located to the right of the LCD, and owing to its petite size, there is room for few other manual controls on the body. A playback button and a button for Smile Capture and Face Detection are found above the four-way D-pad. Pentax’s “Green Button,” which is also found on the Pentax Kx, allows for a customizable quick-jump to a specific menu feature—I set it to EV Compensation. The button also doubles as the trash option when reviewing images in playback mode. To the left is the Menu button, where a fairly straight-forward set of options is presented in lists. At the top of the camera, we find the on/off button, shutter release and zoom toggle.

Beyond the D-SLR-like looks of the I-10, it carries over the feel of one in a small but important way with the raised hand grip on the front of the camera and the “leatherette” texture in the same place. I find that too many ultra compact digicams are hard to get a comfortable handle on, with their sleek body designs and slick plastic cases. The I-10 feels a lot more secure in-hand than most due to the small details of the grip and texture.

Performance

I did the bulk of my test shooting outside on a sunny day at a farmer’s market, and found that this was the ideal shooting condition for the I-10. It does well handling detail in bright spots and shadows, and focuses quite quickly on still objects in good lighting. In Auto Picture mode, with the Standard Focus option, I was able to get close-up shots with shallow depth-of-field, as it “took the guesswork out of photography” for me, as they say, reverting automatically to f/3.5 and ISO 80 to capture food displayed at a seller’s stand. When I shot the food that was inside of my farmer’s market tote, it punched up to ISO 800 in Auto mode and still maintained low noise. The results of photographing moving subjects in difficult lighting conditions were less consistent, however. At a fashion show in Malibu (a prime environment for showing off the stylish little digicam, by the way), the I-10 had some trouble tracking the fast-moving runway models under the inconsistent catwalk lighting.

The Price of Beauty

The I-10’s price that has been raising a few eyebrows since its January announcement, though I have to note that at $299.99 $249.99 (updated price) (MSRP) it’s not outrageous. People seem to expect to get everything they ever dreamed of in a camera these days for less and less money. All said, it is in the same ballpark as—or even less expensive than—some digicams with comparable specs. But I don’t like to play the spec-by-spec comparison game. It’s best to get your hands on a camera, get your eye to the viewfinder (or fixed on the LCD in this case), to judge whether it’s worth your money. You’ll need to weigh the limited aperture range against the stylish looks and ultra compact portability; the less consistent capture of moving subjects in difficult lighting against the impressively low-noise capture at higher ISOs when shooting still objects. In my estimation, the Pentax Optio I-10 packs an intuitive UI, HD video and a good zoom into its ultra compact and portable little body. Your major decision might come down to whether or not you want to commit to the camera’s unique retro look.

Pentax Optio I-10

Micro Four Thirds: Panasonic Lumix GF1 Review

April 1st, 2010 by Allison Gibson Posted in Camera Reviews, Panasonic Lumix GF1

Panasonic Lumix GF1 Review and All About the Micro Four Thirds System
Text and Photos by Allison Gibson

The Micro Four Thirds System

The Micro Four Thirds standard, co-developed by Olympus and Panasonic in 2008, has been gaining popularity since its inception. But many consumers (and manufacturers) are still hesitant to commit their money to the system. The advantage of the mirrorless Micro Four Thirds camera is that you get an interchangeable lens system on a more compact body, and with a smaller lens mount (about 6mm), than that of a D-SLR. Also, though the size of the image sensor is 30-40% less than the APS-C size sensors used in most D-SLRs, it’s about nine times larger than that of a point-and-shoot. The slimmer body of the Micro Four Thirds camera is achieved by abandoning the mirror box (which in a D-SLR is necessary for the viewfinder to see exactly what the lens sees), operating exclusively with Live View shooting. Essentially, Micro Four Thirds offers photographers the image quality—and freedom of interchangeable lenses—of a D-SLR, while at the same time allowing for the portability of compact fixed lens cameras.

However, the difference between Micro Four Thirds and D-SLR isn’t about the former having a lower price tag, necessarily. The eight Micro Four Thirds cameras on the market right now—the Panasonic G1, GH1, GF1, G10* and G2*, and the Olympus PEN EP1, EP2 and EPL1—are in the $600 to $1,500 price range (*the G10 and G2 were announced by Panasonic on 3/8/2010 but are not yet available to consumers). Meanwhile, entry-level D-SLRs can be found for under $500. There are also new competitors to the Micro Four Thirds genre, beyond the existing D-SLR. There have been a couple new advancements in the realm of compact interchangeable lens cameras since the beginning of 2010, including the Samsung NX10. Introduced in full at CES in January, the NX10 (not yet available to consumers) incorporates a 14.6-megapixel APS-C size CMOS sensor with a mirrorless interchangeable lens, all in a package much smaller than a standard D-SLR. And at PMA in February, Sony announced a concept camera that will also rival the Micro Four Thirds genre in terms of what it offers—a larger than point-and-shoot image sensor, interchangeable lenses and a stealth body size.

Panasonic Lumix GF1

The latest addition to Panasonic’s Lumix G series lineup of Micro Four Thirds cameras is the Lumix DMC-GF1. At $899.95 (MSRP), the 12MP GF1 is at the middle price point of the three in the series. The kit comes with a 20mm f/1.7 Micro Four Thirds “pancake” lens, though I tested it with Panasonic’s Lumix G Vario14-45mm f/1:3.5-5.6.

The boxy retroish style of the GF1’s body makes the camera seem important, like a part of photographic history. And though the manufacturer markets the camera as, “the world’s smallest and lightest system camera,” it definitely feels solid in-hand. In fact, it seems too solid, and heavy really, to hold out in front of you to frame a shot with the LCD, but since there is no built-in viewfinder that’s what you’re left to. Panasonic does sell an optional external electric viewfinder (DMW-LVF1), which offers 100% field of view when attached to the hotshoe, and I regret that I didn’t test the camera with it.

The 3-inch wide angle LCD is nice and bright, but I had the urge to hold the camera up to my eye to frame each shot, the same way I would with a D-SLR. It’s funny that the key function buttons on the camera are even set up in such a way that they’d work fine if you had your eye to the viewfinder. The dial for adjusting the aperture and shutter speed hits right where the thumb can get to it, and there is even a dedicated video button on the top near the shutter release so that you can jump to video mode regardless of what shooting mode you’re currently in. Other external functions include: a drive mode lever (for burst, auto bracket and self-timer), and buttons for: playback, opening the pop-up flash, ISO control, White Balance and Auto Focus mode, among others. Within the digital menu, there are easy to navigate layers, including Film Mode (more on that later), Aspect Ratio choices and controls for video (“Motion Picture”) mode.

Shooting

With the GF1’s impressive full-time Live View, you’re able to see your real time adjustments to exposure, aperture and even shutter speed, so there are no surprises after you take a shot. And as soon as you press the shutter release, you’re taking your picture—there’s no lag time from shot-to-shot like with a point-and-shoot—which is another reason this camera feels on par with a D-SLR.

The GF1 shoots in RAW and JPEG, and offers full Manual shooting mode as well as Aperture and Shutter Priorities, Auto mode, 18 dedicated still image Scene modes and 11 movie Scene modes. The GF1 also boasts an interesting list of “Film modes,” including for color: Standard, Dynamic, Nature, Smooth, Nostalgic and Vibrant; and for black-and-white: Standard, Dynamic and Smooth, which emulate film effects. There are also options to create and save custom Film modes. The GF1’s available ISO sensitivity is from 100 to 3200 with Auto and Intelligent ISO. It shoots High Definition video (1280 x 720 at 30fps) in AVCHD Lite format (Motion JPEG).

Conclusion

You probably don’t know a lot of people who own a Micro Four Thirds camera, mainly because the standard is relatively new and there are so few models out there. If you’re looking into it now, it’s probably because you’re drawn to the interchangeable lens system, compact size and D-SLR-like image quality, and you’re excited by the technology of it all. The Panasonic Lumix GF1 will certainly set you apart, and you will have the tools to capture large, sharp and dynamic images. While the smaller lens mount size means you can’t use anything from an existing arsenal of D-SLR lenses, there are more than 20 available Leica M/R lenses and 30 Four Thirds lenses that can be used with the Micro Four Thirds System standard GF1 (with a lens mount).

Panasonic Lumix GF1

Canon PowerShot G11 Review

March 17th, 2010 by Allison Gibson Posted in Camera Reviews, Canon G11

Text and Photos by Allison Gibson

Canon’s latest G-series flagship compact—the PowerShot G11—features some marked improvements from its predecessor, the G10. Image quality is sharper, thanks to the cutback in megapixels to better suit the 1/1.7-inch image sensor, and low-light performance is improved, with less noise at higher ISO ranges. The lure of the G11, and its predecessors, is that it looks and feels more professional than a standard point-and-shoot (and of course, offers full manual shooting control), while at the same time offering a much more compact alternative to an interchangeable lens D-SLR or Micro Four-Thirds standard camera. This place in the market—often referred to as “prosumer”—attracts both professional photographers who want a compact second camera, and advanced amateurs looking to move into more serious gear but who aren’t yet ready for the heft, price and responsibility of a D-SLR.

What’s Different from the G10

The MSRP for the G11 is $499.99, and it remains the same also for the G10. With this new generation G series camera, Canon recognized the need to cut back on the megapixel count—going from the G10’s 14.7 down to 10MP with the G11— despite the industry’s penchant for using these ever-increasing numbers as a selling point. Though comparing the number of effective pixels may be an easy spec for consumers to swallow, jamming more and more megapixels into a sensor the size of the G10’s wasn’t doing image quality and noise control any favors.

The G11’s CCD sensor is the same as its predecessor’s, as is Canon’s DIGIC 4 Image Processor, but the G11 features a newly developed High Sensitivity System for improvements in low-light shooting. The improvements are noticeable—even in conventional settings—with higher ISOs. I tested the G10 last year at ISO 800 in a dark jazz club in Boston, only to find the captured image (unsurprisingly) teeming with noise. The G11 does much better at ISO 800, and even ISO 1600, yielding usable results with greater detail preserved. The G11 has essentially the same wide-angle 28-140mm f/2.8-4.5 lens as the G10, bumping it up slightly to offer 5x optical zoom.

Let’s Get This Out of the Way—the Viewfinder is Awful

An optical (or electronic, even) viewfinder is expected by most photographers on a camera of this level, and it’s nice that the G11 includes one. However, it’s virtually useless for framing shots because the lens is in the way and the coverage is a paltry 77%. The good news is that the 2.8-inch, wide Vari-angle LCD is diverse in all of the various angles you can position it in. It’s extremely bright, making it functional even in direct sunlight, though it’s smaller than the G10’s 3-inch fixed screen. Having been basically forced to use the G11’s Vari-angle LCD exclusively, because of how bad the coverage of the viewfinder was, I found myself contorting it all kinds of ways—even holding it at 90 degrees to block people nearby from seeing exactly what I was shooting. (Which is admittedly neurotic, but comes in handy when you’re trying different settings and don’t need nosey folks next to you looking on.)

Handling the Camera

The G11, as I’ve said, feels more professional than other compact cameras. It’s heavier, larger and much sturdier with its magnesium alloy shell. You feel confident hanging it from a strap around your neck or shoulder—like you know what you’re doing. The controls on the body include: a shooting modes dial on top, which sits atop a very convenient dedicated ISO control dial; an on/off button; a zoom control; and the shutter release. To the left of those on top are the hotshoe mount for an external flash and a dial control for exposure compensation. On the back of the camera, to the right of the LCD, are: a four-way control pad for MF on/off, flash, self-timer and Macro, with a set button in the middle and a scrolling ring around the outside.

Shooting Modes

The G11 has the ability to shoot in RAW (CR2) and JPEG, and offers full Manual shooting, Aperture and Shutter Priorities and Auto mode. There are also 17 Scene modes, including: Portrait, Landscape, Night Scene and Stitch Assist. It also shoots video (640×480 at 30fps). Capture is to SD/SDHC Memory Card, MultiMediaCard, MMCplus card or HC MMCplus card. It offers no internal memory.

Comparing Options

The G11 is fun to use, with impressive image quality, as was the case with the G10 before it. The major improvements are the better quality results at higher ISOs and the Vari-angle LCD, which provides a lot of freedom for getting creative angles. The most exciting thing, though, about shooting with the G11 is actually fantasizing about what the next generation of the G series will hold. Better viewfinder? Please! Full HD video? The lens control ring found in the Canon S90? Thank you! Of course, at $500, it has been argued that one might as well jump into the entry-level D-SLR market and reap the benefits of that level of image quality, lens options and overall control. One generation back, there are several such D-SLRs at a comparable price—lens kit included—such as the Nikon D40 or Canon EOS Rebel Xs. However, as I previously mentioned, an advantage of the G11 is its stealth size, and that’s something you won’t find with interchangeable lens cameras.

Canon PowerShot G11

Samsung DualView TL225 Review

February 18th, 2010 by Allison Gibson Posted in Camera Reviews, Samsung TL225

Text and Photos by Allison Gibson

I’ve been known to cut my husband’s head off. In pictures, that is. He’s several inches taller than me, and when we travel we tend to forgo asking strangers to take our photo for us, opting instead to go for the stretched-out-arm-double-self-portrait. Inevitably, he only makes it into the shot from the neck down, or in other cases, our faces crowd the frame so much that the picture might as well have been taken in our front yard rather than in front of the Eiffel Tower. Sure, there’s the Quick Pod, Arm Extending Self Portrait Device, which would allow for further extension beyond my limited arm’s length, but then I still couldn’t see a preview of the shot to frame it. And, let’s face it; I probably wouldn’t go through the trouble of hooking it up. I’ve seen hacks online where people have glued small mirrors to the front of their cameras to resolve this issue, but it hasn’t been until recently that a camera has existed to remedy this problem professionally. It’s been a long time coming.

The Samsung DualView TL225 boasts two LCD screens—a 3.5-inch touch screen on the back and a 1.5-inch front LCD, which allows you to see a live view of what the lens sees, in order to get a perfect shot. Ingenious, really. Though I don’t know what took so long for this feature to make its way to consumers, I give major credit to Samsung for being the first.

Specs

The TL225 has a 12.2-megapixel CCD image sensor and 4.6x optical zoom. The 4.9-22.5mm (35mm film equivalent: 27-124.2mm) f/3.5-5.9 wide angle Schneider-KREUZNACH lens allows for shooting wide landscape vistas and large groups of people. There is an expanded list of flash modes, beyond what is often seen in pocket cams, including: Auto, Auto & Red-eye reduction, Fill-in flash, Slow sync, Flash off and Red eye fix. The TL225 records High Definition video (1280×720p at 30fps) in H.264 format, and has a mini HDMI connector.

Interface

If you’re a fan of the touch screen interface, you’ll be a fan of the TL225. The camera body is virtually void of any protruding buttons, save for a small power button, an almost flat shutter release, a zoom toggle and a slim and flat playback button—all on top. The wide 3.5-inch LCD screen fills up the entire back of the camera, and its touch menu is about as good as I’ve seen before for navigating the menu layers and scrolling through shots in playback. A simple tap of obviously marked tabs and symbols takes you where you need to be, and the circular shooting mode menu scrolls smoothly. The touch screen uses “haptic” technology, which causes a little buzz to occur when you tap so that you get the reassuring sensation of having pressed a button and made a selection. Also, the Gesture UI allows for the camera to respond to your hand gesture in order to access certain features.

Shooting Modes

Harbor shot in Auto Mode

Harbor shot in “Sunset” Scene Mode

There is an assortment of shooting modes in the TL225, including: Auto, Program, Smart Auto (which automatically recognizes the scene and adjusts settings), and thirteen dedicated Scene Modes (including: Beauty Shot, Frame Guide, Night, Portrait, Children, Dawn, Sunset, Text, Close up, Landscape, Backlight, Fireworks and Beach & Snow). There is also Dual Image Stabilization (IS) mode, which uses both Optical (OIS)—for combating hand-shake—and Digital (DIS)—as a backup—to help you capture sharp, blur-free shots. In Program Mode you can select from an ISO range of 80-3200, or ISO Auto. You can also choose to shoot in Auto Focus Mode, Macro (for a focusing distance closer than 80cm) or Super Macro (for less than 3-8cm) in order to control depth of field as specifically as the point-and-shoot will allow.

DualView

The nice thing about the 1.5-inch front LCD on the TL225 is that it turns off and basically disappears if it’s not in use, so that you don’t go around promoting your shots to the world if you use the rear LCD to frame. Also, it lies underneath the glossy, black semiopaque casing of the camera, so it’s much more scratch resistant than the rear screen.

There are additional uses for the front LCD beyond giving you a live view of what the lens sees for self portrait taking. In Child Mode, built-in animations, such as a winking clown, keep the attention of squirming toddlers and crying babies. The Samsung website offers additional Child Mode Animations for free download as well. The Countdown Timer animation is another option to be viewed through the front LCD, so that you know when to smile and when not to blink as you wait for the self timer to release the shutter.

Inconveniences

My biggest complaint about the TL225 would be the memory issue. Samsung insists on using a Micro SD/SDHC to keep the camera slim and compact, but it ends up being a hassle for most of us whose card readers and arsenal of memory cards are of the SD/SDHC variation. At most, however, this is no more than an inconvenience; not really a flaw. The camera does come with about 55MB of internal memory as well.

Conclusion

All said, I’m a fan. Yes, mostly because of the DualView aspect, but also because I found the overall design and functionality of what could be a “gimmicky” camera to be very good. The $349.99 (MSRP) price tag is a response to the Schneider-KREUZNACH optics, the near flawless UI and the dual LCDs—not the comparable specs and image quality of point-and-shoots that can be found for well under $300. So, those are your options to weigh. Some people assume that the DualView TL225 is marketed only to those interested in vanity, but I think it’s worth considering how often you take self portrait shots, especially if you travel a lot. This is an innovation that goes far beyond vanity or gimmick in my opinion.

Samsung DualView TL225

Nikon COOLPIX S1000pj Review

February 11th, 2010 by Allison Gibson Posted in Camera Reviews, Nikon COOLPIX S1000pj

Text and Photos by Allison Gibson

The Nikon COOLPIX S1000pj’s built-in projector seemed like a gimmick at first, but after using it, I found that the feature quickly moved beyond the realm of “party trick” into that of functionality. Boasting a 12.1-megapixel CCD sensor, a 5x optical zoom 5-25mm f/1:3.9-5.8 Nikkor lens, and an ISO range from 80-6400, the COOLPIX S1000pj fares well against competitors in its category specs-wise. The compact Nikon camera feels sturdier in-hand than many other point-and-shoots, and looks more professional with its gunmetal black finish and bright 2.7-inch LCD.

Image Quality

The compact COOLPIX S1000pj is an impressive image taker for its class. This point-and-shoot camera doesn’t offer Manual shooting mode—or even Aperture or Shutter Priorities—but its Auto and Scene selections do tend to make the right setting choices for capturing crisp, vivid shots. The shooting modes offered are: Auto, Smart Portrait and Subject Tracking, as well as a solid lineup of Scene modes, including: Scene auto selector, Portrait, Landscape, Sports, Night portrait, Party/indoor, Beach/snow, Sunset, Dusk/dawn, Night landscape, Close-up, Food, Museum, Fireworks show, Copy, Backlight and Panorama assist. It also shoots movies with sound (640 x 480 at 30fps). Capture is to 36MB internal memory or an SD/SDHC card.

Low-Light

The COOLPIX S1000pj also boasts a generous ISO range, though the numbers may impress more than the results. I was prepared for the worst when I set out to shoot at ISO 6400, but was actually impressed with the results once I did. Not surprisingly, there is a good amount of noise, but much less than I expected, and the images retained better detail than I expected as well. Still though, you probably don’t want to venture above ISO 800 to be safe. But being as this is a point-and-shoot camera, it is really meant to make taking pictures as simple as possible, and the Scene mode options listed above do the work for you quite well—even the modes meant for low-light shooting.

One seemingly insignificant feature of this camera that made me happy was the fact that whatever flash mode you set it to stays set even after you turn the camera off. Too often with point-and-shoot cameras, you turn the Auto flash mode off and then next time you go to take a shot, the flash is back on again by default, forcing you to take the step to turn it off again before each shot.

Projecting Your Pictures

The stand-out feature of the Nikon COOLPIX S1000pj—and most definitely the reason for the $430.00 price tag—is the built-in projector, which allows you to display your photos and videos directly from the camera (via internal memory or SD/SDHC card) onto a blank wall or projector screen. The camera comes bundled with two small, plastic projector stands, but I found them to be unnecessary, as setting the camera on any flat surface works. I even projected images stably onto a brick wall in downtown Los Angeles while holding the camera in my hand. There is a sliding focus adjustor on top of the camera to make sure the projections are sharp. You can set the camera to project a slideshow of all of your images, or just share one, and there is a remote control so that you can step away and control the projector from elsewhere.

The projector has up to 10 lumens of brightness, and its throw distance is 10-inches to 6-feet 6-inches. According to Nikon the battery endurance when running the projector is approximately one hour (on a fully charged battery).

Handling The Camera

The COOLPIX S1000pj is compact and thin enough to fit in a pocket, but it feels sturdy compared to the plasticky lightness—okay, cheapness—of many small point-and-shoot cameras. At 5.5 ounces, it is actually heavier than most others, and the brushed metal surface of the face-plate adds a stylish sophistication to the look of it. I supposed if you’re going to have Ashton Kutcher hold one in ads, it had better look good.

As is almost always the case with point-and-shoots, the S1000pj lacks an optical viewfinder, but the 2.7-inch LCD with anti-reflection coating is bright and clear. The small selection of buttons to the right of the LCD are what you’d expect: the camera button for switching between shooting modes, playback, menu, delete and the four-way control for flash, exposure compensation, macro mode and self-timer. The projector button is conveniently located on top of the camera, right next to the focus slider, on/off button and shutter release. The digital menu is easily navigable and zooming in and out with the toggle on top of the camera is smooth.

It’s Really All About That Projector

Though the COOLPIX S1000pj does have many of the features one would want in a stylish and slightly more advanced point-and-shoot camera, the feature that really sets it apart is the built-in mini projector. This feature is admittedly impressive, and useful, and I imagine we will see it become more common in the near future (Sony is reported to be working on it, according to Photo Rumors). However, you would have to decide whether it’s worth the approximately $150.00 more you’ll likely be paying for it since cameras with similar specs and no projector can be found for well under $300.00, even by Nikon.

Nikon COOLPIX S1000pj

Olympus FE-5020 Review

January 13th, 2010 by Allison Gibson Posted in Camera Reviews, Olympus FE-5020

Text and Photos by Allison Gibson

A Super Wide-Angle Point-and-Shoot

When shopping for a compact point-and-shoot camera, there are a slew of features to consider, and they vary based on what is most important to you as a photographer. If you have kids who play sports, you probably want to look for a camera that has a fast shutter speed or maybe a scene mode meant for precisely that type of shooting. If you like to have a camera handy for parties, you want to make sure the image quality is good in low-light. Other things to look for are: zoom, flash, shooting modes, video, battery life, display and ergonomics. The slim, 12-megapixel CCD image sensor Olympus FE-5020 is a slick and stylish point-and-shoot that, for only $159.99 (MSRP), boasts high marks in many of the above categories.

Super Wide-Angle

The 4.3-21.5mm f/3.3-5.8 Olympus lens lives up to the hype of the FE-5020 being a “super wide-angle” camera, as it’s being billed by the manufacturer. To get closer to specific parts of the action, the FE-5020 offers 5x optical zoom, controlled by a quickly responsive thumb toggle to the right of the LCD. It is an unpleasant but not surprising detail to many photographers who prefer to compose shots with a viewfinder that this low-priced point-and-shoot lacks one. However, the large, bright 2.7-inch LCD offers expansive coverage of the wide shots.

Shooting Modes

The FE-5020 offers Intelligent Auto (iAuto) shooting mode, Program Auto mode and Digital Image Stabilization Plus mode, as well as a large assortment of specialty Scene Modes, including: Portrait, Landscape, Night Scene, Night + Portrait, Sport, Indoor, Candle, Self Portrait, Sunset, Fireworks, Cuisine, Documents, Beach + Snow and Pet. Additionally, there are “Magic Filters,” which include: Pop Art, Pinhole and Fisheye—if you can get to them in the LCD menu, that is. You can only access the Magic Filters option from the Menu button if you are in the Program Auto shooting mode, and once you get to them in the digital menu, they are untitled and offer only a dark thumbnail shot of what the filter will look like when applied. But however difficult Olympus makes it to get to the Magic Filters, they do deliver good results once they are in use. The Fisheye filter offers a much truer rendition of the effect that a real Fisheye lens gives, as compared to the Fisheye Art Filter in the recently reviewed Pentax K-x D-SLR.

The FE-5020 also shoots video (640×480, 30/15fps)—though not High Definition—with sound, which does well to capture sharp footage if the available light is sufficient.

Highs & Lows

With its sophisticated looks, compact size, super wide-angle lens and 5x optical zoom, the Olympus FE-5020 is a well-priced point-and-shoot camera, however not without a few issues. The shutter release button has a wobbly, unstable feel to it, making it difficult to focus and take quick, precise shots instantly. The shot-to-shot lag time also leaves much to be desired. The built-in flash is much too bright, washing out shots with its overly harsh light in most ambient lighting situations.

The image quality is good, however, in low-light if you punch up the ISO. From ISO 64-400 it does great, and at 800 only a little noise starts to show up. At ISO 1600 you begin to see heavy noise.

The FE-5020’s AF (auto focus) Tracking, which Olympus bills as “automatically tracking moving subjects and continuously adjusting the focus and brightness to capture them sharply with ease,” didn’t always meet that standard for me in capturing a busy, low-lit Los Angeles outdoor night scene.

A great thing about this camera, though, is the outstanding battery life. It uses a Li-ion Rechargeable Battery (LI-42B), which lasts 150 shots according to the manufacturer, and seemed to last even longer than that for me—which was impressive considering that the LCD is always on due to the lack of a viewfinder.

The FE-5020 has 48MB of internal memory, and is xD-Picture Card and microSD (with optional adapter) compatible, which was admittedly inconvenient for me, as my card reader didn’t read the Olympus xD-Picture Card that I tested the camera with. A more accessible SD or SDHC would be a better choice for Olympus to go with. Of course, the camera comes bundled with a USB cable to retrieve images.

Overall, the thin and lightweight Olympus FE-5020—which comes in an assortment of jewel-toned finishes, including wine red, royal blue and dark gray—is a well-priced point-and-shoot with many of the features you may be looking for, plus more. It has a large, bright LCD, a large assortment of auto shooting modes and filters, advanced Face Detection (up to 16 faces), and the TruPic III Image Processor delivers sharp results that you can blow up to poster sized prints.

Olympus FE-5020

Pentax K-x Review

December 14th, 2009 by Allison Gibson Posted in Camera Reviews, Pentax K-x

Text and Photos by Allison Gibson

An Intuitive Entry-Level D-SLR with Surprising Features

Walk down the street with the white Pentax K-x D-SLR in hand, and you’ll likely attract the attention of enthusiastic strangers who will stop in their tracks to ogle the camera, or even shout compliments from across the street. But even beyond its eye-catching looks (it also comes in black and a limited edition red or navy blue color), the K-x is attractive to a large number of consumers because it offers the market an affordable entry-level D-SLR with High Definition video recording and a built-in HDR processing feature. Because the $650 MSRP includes the body and kit lens, the Pentax K-x is more affordable than many new entry-level D-SLRs, including the Nikon D5000 ($630, body only) and the Canon EOS Rebel XSi ($699, kit).

An Ideal Entry-Level D-SLR

Camera manufacturers have begun to hone in on a growing, and long ignored, demographic: the Pro-Amateur, or “Prosumer.” This photographer finds the typical point-and-shoot digicam lacking in features, but isn’t yet ready to move on to a pro-level D-SLR. The Pentax K-x might offer perfect entrée into the SLR world because it boasts a few of the advanced features of its big sister, Pentax’s flagship D-SLR, the K-7, yet it also offers features like Auto Picture and Scene Modes, which are typically found in many consumer-level compact cameras.

We tested the K-x with its kit lens, the limited edition white, weather resistant DA 18-55mm f/3.5-5.6. While shooting, we focused on how the camera could introduce D-SLR photography to those new to it by experimenting with features that might serve as good learning tools—shooting with capture modes like Shutter and Aperture Priority, and shooting in RAW+ mode for more control of exposure in processing.

The K-x’s 2.7-inch LCD features Live View, which people used to point-and-shoot cameras have come to expect, but the feature is only now becoming common in D-SLRs. The LCD also has adjustable brightness and Face Detection Auto Focus for up to 16 faces. The optical viewfinder is small, offering only 96% coverage, but is still preferable to the LCD for composition.

At 4.8-inches wide by 3.6-inches high, and weighing only 20.5 ounces fully loaded, the camera is easily light and compact enough for one-handed shooting, and won’t weigh you down when it’s around your neck for long periods of time. The grip is substantial enough that the camera feels secure in-hand and there is a nice, large space on the back of the camera for the thumb to rest, where it won’t accidentally bump buttons. It seems like a triviality, but that happens too often the way some other manufacturers’ models are set up. The K-x is compatible with every Pentax lens ever produced.

A Full Range Of Features

Replacing the 10.2-megapixel Pentax K2000, the K-x boasts a 12.4MP CMOS sensor with sensor-shift Shake Reduction. One of the major upgrades from the K2000 is the ability to capture widescreen HD videos in 720p resolution (1280×720) at 24 frames per second (fps), and sound with the built-in microphone. Other new, more advanced features are borrowed from the pro-level K-7, including: built-in HDR (High Dynamic Range) image capture, which blends three bracketed images into a single picture for low, mid-range and highlight detail, and also a faster, more responsive11-point wide angle SAFOX VIII auto focus system. The PENTAX PRIME II image processing engine has a fast, 4.7 fps capture speed and a top shutter speed of 1/6000 of a second.

Digital Art Filters

The K-x also offers Creative Processing and Filter modes, which Pentax boasts as offering photographers “the ability to explore artistic freedom through unique special effects.” These digital filter modes appeal to the photographer who is new to shooting with a D-SLR because they offer in-camera effects that a more advanced professional photographer might seek to capture with alternative optics or manual adjustments—rather than through digital manipulation—like for instance, the “Fish-eye” effect.

We’ve seen creative art filters in D-SLRs before, most notably in Olympus’ E-series lineup. As we pointed out in our hands-on coverage of the Olympus E-620 mid-range D-SLR and even the more advanced E-30 D-SLR, built-in creative filters can offer surprisingly stunning results. DP Technical Editor, Tony Gomez, was particularly fond of the “Grainy Film” black-and-white filter offered in both Olympus cameras. However, I wasn’t instantly impressed with many of the digital art filters in the K-x. To begin with, the feature is buried deep within the digital menu options in the camera, which is not the place a major selling-point feature like this should be hidden. There is a “Green Button” on the top of the camera near the shutter, which can be customized to be a quick-jump to any feature in the menu, so I ended up setting it to jump to Digital Filters after growing tired of going through the menu each time I wanted to change the filter. The Digital Filters that the K-x offers are: Toy Camera, High Contrast, Soft, Starburst, Retro, Color Extract, Fisheye, and room for eight Custom options. The Fisheye filter was one that I was initially most excited to try out, however I would hope to see it tweaked for the next generation of this camera because it was less than impressive. There are three levels of intensity that can be set with the filter, though the effects of each did not really resemble the wide, hemispherical results of shooting with an actual fisheye lens—rather the images appeared flat with only an abrupt bulge in the center of the frame. The Color Extract filter was much more successful. The processed images appear completely desaturated save for the one color you set it to focus on (there are six colors to choose from).

Shining in Low-Light

Where the K-x shined was auto focus, which captured moving subjects very well, and in low-light, where it did well capturing low-noise images at higher ISOs. Overall, the Pentax K-x is a feature-rich entry-level D-SLR that has impressive image quality and bonus features such as HD video and HDR capture. The digital filters have the potential in the next generation to be outstanding, though they leave much to be desired for now. The compact design and Auto Picture shooting modes make it attractive to first-time D-SLR photographers, who will learn a lot about D-SLR photography from experimenting with this camera.

Pentax K-x