Sony SLT-A35 Review

Preview based on a production SLT-A35 with firmware 1.00

The format of this review has been slightly shortened as the Sony SLT-A35 is in terms of operation and image output very similar to the Sony SLT-A55 that we reviewed in August 2010. To learn everything about the SLT-A35 we recommend reading not only this review but also the full review of the SLT-A55.

The Sony SLT-A35 marks the second wave of Sony's radical SLT design, and does so in a way that offers to put the technology into more people's hands. This entry-level model incorporates almost all the features of the original A33 and A55, but includes what Sony promises is an improved 16MP sensor and handful of extra processing options. The only real losses are the articulated rear screen and $50 from the MSRP of the 18-55mm lens kit, compared to the A33, taking it down to $699.

Almost from the moment it bought Konica Minolta's DSLR division, Sony has been working on offering DSLRs with truly usable live view. Rather than clumsily adding live view to a conventional DSLR design, Sony has tried to offer it while retaining one of the key features that make DSLRs so desirable - their fast autofocus system. Its first attempts, using a secondary live view sensor built into the viewfinder prism, were promising but often resulted in cameras with distinctly different behavior depending on whether you were shooting in live view or optical viewfinder mode.

The SLT design has an electronic viewfinder, rather than an optical one, and as a result it doesn't need a movable mirror to direct light up to the viewfinder. Instead it used a fixed, semi-transparent mirror to provide light to a focusing sensor, allowing the rest through to the imaging sensor. The result is a full-time live view camera that can offer fast, DSLR-style phase-detection autofocus and complete consistency of behavior regardless of whether you're using the eye-level viewfinder or the rear screen for viewing. The fact that this is all available in a small, relatively inexpensive enthusiast camera made the A55 one of our favorites in its class.

The A35 represents a gentle refresh and reshuffle compared to the existing models, rather than any radical redesign. The A35 gets a redesigned version of the 16MP CMOS chip featured in the A55, with Sony promising improved power consumption. This improvement should not only improve the camera's battery life compared to its predecessors, but also offer improved heat characteristics - extending the duration of videos the camera can capture before any risk of overheating occurs. It can now record for up to 29 minutes per clip, rather than the 9 that the A55 can manage with SteadyShot switched on (most DSLRs are limited to 29 minutes or fewer to avoid attracting duty at the higher rate applied to camcorders).

Beyond that, the changes are subtle - the main difference being that the A35 gains a series of image processing filters (such as the de rigueur 'Toy Camera' option), that are becoming a standard feature at this level of camera. The high-speed shooting speed is the same as the A33's 7 frames per second, but no longer gives full-resolution images. Instead, to reduce the amount of data being processed (this slower rate and the lack of GPS emphasizing that this is an A3X camera, rather than an A55 replacement), the A35 takes a 8.4MP chunk from the middle of the frame, giving a 1.4x crop. This has the effect of giving the long end of the kit zoom a field of view equivalent to a 116mm lens in film terms, rather than the usual 83mm.

Sony A35 specification highlights Revised 16.2MP CMOS sensor ISO 100-12800 ISO 100-25600 in multi-frame NR mode 15-point AF sensor (3 cross-type) SLT design offering full-time live view with phase-detection autofocus 1080i60 HD video in AVCHD format (from 30fps sensor output) Auto

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Canon PowerShot S100 Preview

Preview based on a pre-production Canon Powershot S100

When Canon revived its Powershot S range with the S90 in August 2009, it was in acknowledgement of a clear demand from enthusiast photographers for high quality yet pocketable cameras offering extensive manual control. The S95, which followed almost exactly a year later, stuck with much the same formula - a relatively large sensor (at least in compact camera terms), a 28-105mm equivalent zoom lens with a fast F2 maximum aperture at wideangle, and a multi-functional control dial around the lens. But while its successor, the S100, looks much the same again on the outside, it is to all intents and purposes a brand new camera.

Crucially, the S100's three key imaging elements are all entirely new. The lens range has been extended wider and longer, to a 24-120mm equivalent 5x zoom; it retains the fast F2 maximum aperture at wideangle but is limited to a rather less-impressive F5.9 at telephoto (an inevitable consequence of the camera's compact dimensions). Secondly the S100 debuts Canon's latest DIGIC 5 image processor, which the company says is six times faster than the previous version, allowing more sophisticated image processing and noise reduction. But perhaps most significantly, the S100's image sensor is a Canon-made 12.1 MP 'high sensitivity' CMOS sensor in the 1/1.7" format (approx 7.5 x 5.5mm); only the second home-grown sensor the company has used in a compact camera after the Powershot SX1 IS of 2008.

Canon says the new sensor employs technology similar to that used in its EOS SLRs, including an on-chip noise cancellation system, and microlenses which cover more of the sensor area to improve its light-gathering characteristics. The company claims that this results in reduced noise and increased dynamic range; the maximum available ISO has accordingly been increased to 6400. A 4-channel readout system also substantially improves the continuous shooting rate, up to 2.3 fps compared to the S95's 0.9 fps. For real speed freaks there's also a scene mode that can capture 8 frames at an impressive 9.6 fps, but it's limited to JPEG images only, with no manual control.

The new sensor also allows the S100 to offer this year's must-have feature: full HD movie recording at 1920x1080 resolution, with a 24P output framerate. Unlike the S95, optical zoom is available while recording movies. This enhanced video capability is supported by a revised control layout, that now includes a direct movie recording button underneath your thumb on the back of the camera. Other features enabled by the new sensor and processor include user control over noise reduction, and a white balance system that can adjust different areas of the image separately to compensate for mixed lighting (when the camera is set to Smart Auto mode).

The lens's optical image stabilization system has been updated too, with no fewer than 7 modes available for different purposes including macro, panning, video, and tripod work. The 'Intelligent IS' system will automatically select the mode it considers most appropriate for the current shooting situation. The S100's lens also gains a built-in neutral density filter, as seen on Powershot G series, to allow the use of larger apertures in bright sunlight.

Also new to the S100 is its built-in GPS unit, similar to that used in the Powershot SX230 HS 'travel zoom'. This not only allows you to tag images with the location at which they were taken, but also includes a logger function that can keep track of your movements (regardless of whether or not you're taking pictures) and plot the result on Google Maps.

In terms of external design, the S100 gains subtle finger and thumb grips, which should reduce the chances of it slipping from your grasp if you're not paying due care and attention. The camera will also be available in a 'titanium silver' version alongside the more conventional black - this is not the shiny silver of the Elph / Ixus series, but a darker, matte-finish look.

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Olympus PEN E-PL3 Review

1. Introduction2. Specs3. Body4. Operation & Controls5. Displays6. Menus7. Menus8. Handling9. Performance10. Image Stabilization (Stills and Video)11. Noise and Noise Reduction12. Resolution13. Dynamic Range14. Photographic Tests15. Art Filters16. Other Features17. Movie Mode18. Compared to (JPEG)19. Compared to (JPEG Higher ISO)20. Compared to (RAW)21. Conclusion22. Samples----------------> Buy this product< Back to reviews / previews

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Panasonic Lumix G X Vario PZ 14-42mm F3.5-5.6 ASPH OIS Preview

Preview based on a pre-production Lumix G X Vario PZ 14-42mm F3.5-5.6 ASPH Power OIS
running firmware version 0.0

Until now, anyone looking at the lenses being made for the new breed of mirrorless interchangeable lens cameras could be forgiven for believing they're just slightly downscaled versions of conventional SLR optics. This isn't actually true, of course - ILC lenses are becoming increasingly sophisticated, and incorporating video-friendly features such as fast, silent internal focusing and stepless aperture control. But from the outside, nothing much has changed; they're all cylinders with zoom and focus rings. Until now.

Panasonic's Lumix G X Vario PZ 14-42mm F3.5-5.6 ASPH Power OIS is, however you look at it, a strikingly different prospect. Because while its specs may suggest just another kit zoom, even a passing glance shows it's something rather different. In reality it's a tiny, collapsible optically-stabilised zoom that's barely larger than the popular Lumix G 20mm F1.7 ASPH pancake prime when retracted. Panasonic has achieved this remarkable downsizing by discarding the mechanically-coupled zoom ring mechanism and the conventional manual focus ring, and replacing both with levers that operate motors inside the lens barrel. This allows the whole lens mechanism to be collapsed, much as it would be in a compact camera's lens. Like the co-announced Lumix G X Vario PZ 45-175mm F3.5-5.6 ASPH Power OIS telephoto, the lens is a power zoom.

Crucially, given the Lumix G series 'hybrid' stills/video philosophy, the inclusion of power zoom also enables smooth zooming during movie recording, something that's not easy when using a lens with a conventional rotary zoom ring. This ties-in with the lens's 'HD' tag, which designates that the lens's aperture and focus systems are optimized for movie use.

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Samsung NX200 Preview

By Privateye (Sep 14, 2011 at 15:06:16 GMT)

For those of you who are talking about a size fit to call compact and good to pocket it around while travelling should look at Samsung WB750. Bear with it for a couple of months.

Nothing to complain for it has an 18X optical & 24X smart zoom, 24

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Panasonic Lumix DMC-FH7 (Lumix DMC-FS22 / Lumix DMC-FS22) Review

The Panasonic Lumix DMC-FH7 is a slim, stylish compact camera with a 16MP CCD sensor and a 4x optically-stabilized zoom lens, which covers a useful 28-112mm (equivalent) range. Similar in most respects to its predecessor the FH5, the FH7 features a new touch-sensitive LCD screen, which enables Touch AF - a feature which has trickled down from higher-end Lumix cameras which allows you to focus and release the shutter by simply touching the display.

With the FH7, Panasonic is squarely targeting the consumer-level point-and-shoot market, and as such, apart from its stylish, minimalist design, the camera is packed with beginner-friendly and 'lifestyle' features. Beauty retouch, Aesthetic and Makeup filters are all designed to quickly polish portrait photographs, and a built-in Image Uploader is intended to make it easy to upload captured files to Facebook or YouTube when either the camera, or memory card, are connected to an Internet-enabled computer. Speaking of connectivity,the FH7 does not feature an HDMI connection, only USB 2.0 for connection to a computer or television (AV out).

Specification at-a-glance 16.2 effective Megapixels 28-112mm equiv lens with optical stabilization 3in touch-sensitive LCD screen with 230k dot resolution 720p (30fps) video mode ISO sensitivity up to 1600 Built-in Image Uploader (requires PC with Internet connection) Street price $179 (£110) Click here for full product information including reader reviews and image samples (opens in new window)

Design / Key Features

The FH7's slim metal body is free from the plethora of buttons that we'd expect to see on higher-end Lumix models. In fact, there are only two buttons (power on/off and the shutter release) on the top plate, and none on the rear. The only thing on the rear of the FH7 is its 3in touch-screen, and this is the camera's main control point. Virtually every aspect of the camera's operation is (or can be) controlled via the screen, using touch. Even the shutter release can be reassigned to touch operation if desired.

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Ricoh GR Digital IV Preview

Preview based on a pre-production Ricoh GDR IV running firmware 1.02

With the announcement of the GR Digital IV, Ricoh updates its premium compact-camera model. A sucessor to the GR DIgital III, the GRD IV retains key elements from its predecessor. A fixed 28mm F1.9 lens sits in front of a 10MP 1/1.7" type CCD sensor, capable only of VGA video output. There's also the built-in pop-up flash and hotshoe. However, dig a little deeper and the changes are considerably more extensive.

Ricoh has taken the oportunity to introduce numerous enhancements to the GRD IV. As you might expect, there's an updated image processor that Ricoh is using to wring more out of the sensor. Beyond this the most notable addition is an image stabilization system that uses sensor-shift to counteract camera shake. Ricoh also adds its 'Hybrid AF' system with which they claim a 2x improvement in AF speed over the GRD III. And, in what has become something of a Ricoh tradition, the GRD IV features a cutting-edge display: Sony's WhiteMagic RGBW LCD screen that promises greater luminance than traditional LCD displays while consuming less power.

The camera's electronic level gauge has also been overhauled, and now detects not only horizontal roll, but also tilt inclination, which is eminently useful when photographing buildings or other vertical structures. In one of the best (and sadly, rare) implementations of multiple exposure shooting, the GDR IV allows you to overlay up to five separate image captures into a single composite, with the option to automatically save the individual image files as well.

The GRD IV maintains the external control layout of its predecessor, providing easy access to shooting and exposure parameters without having to change from a shooting position. This well thought-out, ergonomically sensitive design is enhanced by many useful customization options. The camera's two Fn buttons can be configured in pairs, allowing you to setup and switch between up to four combinations of dual-button function sets. A well-placed 'Adj.' lever provides quick access to a maximum of five shooting parameters. The specific selection and order of these parameters can be customized from an exhaustive list of options.

The external body design of the GRD IV is virtually unchanged from the GRD III. And while the camera's rather box-like, spartan aesthetic may not win any beauty awards in comparison to its more showy competition, it is solidly built, comfortable in hand and offers a sure grip.

Ricoh GR Digital IV key specifications: 10MP 1/1.7-inch CCD 28mm equivalent/1.9 lens Sensor-shift image stabilization 'Hybrid AF' focus system 3.0 inch RGBW 1.23 million dot LCD GR Digital IV image processor 30fps VGA video capture Multiple Exposure mode (up to five overlapping image captures) Electronic level gauge Compared to the Panasonic DMC-LX5

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