Ricoh buys Pentax

Ricoh buys Pentax
It is likely that very few people in South Africa today
know Ricoh as a camera manufacturer, at best
they are known locally for their photocopiers. Truth
be told they make some interesting cameras but its
been many years since they were even close to being
a mainstream brand. Now this copier company has
bought the Pentax imaging brand from Hoya in a bid
to get back into the DSLR market. Its a bold move.
Truth be told Hoya never really bought Pentax with
a long term objective in mind, for them it was a way
to take the medical skills from Pentax and then send
the camera division on its way again. Here is hoping
for better things for and from both Ricoh and Pentax.

Olympus Updates PEN Range

Olympus Updates PEN Range For the past few weeks there have been rumours of a new Olympus PEN model coming. Th is month Olympus took many by surprise by announcing 3 new cameras, in essence refreshing their entire PEN range. All three of the new cameras share the 12.3MP Live MOS sensor and boast improved autofocus. In brief the new cameras are:

Olympus PEN E-P3 – replacement for the E-P2 now with built in fl ash and higher resolution (614k) touchscreen

Olympus PEN E-PL3 – replacement for the E-PL2 now with fl ip out LCD screen Olympus PEN E-PM3 – tiny new model aimed at broader consumer market In addition to the new cameras Olympus have launched two new fast prime lenses. Th e fi rst is the M. Zuiko Digital ED 12mm f/2 and the second the M. Zuiko Digital ED 45mm f/1.8.

NEW LEAF Capture 11.5

TURNING OVER A NEWLEAF
Leaf, themanufacturer of digital backs, has introduced the redesign of the Aptus-II User
Interface with the release of Leaf Capture 11.5 Intuitive software. The latest version
delivers a newly designed touch screen GUI (Graphic User Interface) which claims to be
more intuitive and user-friendly, improving workflow processes and providing quicker access to important tools through its newmenu – favourite settings. The release includes support for lens calibration when shooting to a CF card and extends the existing Leaf Capture automatic lens calibration feature from tetheredmode to enable its use while
shooting on the go. The new Leaf GUI’s outdoor theme helps exterior shooting by
improving visibility when facing high glare and reflections. The Leaf GUI is available for
allmodels in the Aptus-II series, including the new arrival, the Aptus-II 12, an 80-megapixel digital back.

Leaf capture 11.5: software and firmware update

How to Choose a Printer

you have  Lots of inkjet options, from all-in-ones that also scan and fax, to wide-format, pro-level printers such as the Epson Stylus Pro 4900 reviewed , before you buy ((any printer )) , ask yourself…

HOW FAST SHOULD IT BE?

When choosing any inkjet, you face a trade-off between image quality and speed. Claims of 10 pages per minute may be true for business documents, but what matters most is the level of quality you want for your photos, and how long it takes for those prints to come out. Find out how fast a given model will print at the size you want at 1440 dpi or more-most inkjets can now produce excellent 8x10s in a few minutes.

HOW BIG, AND ON WHAT MEDIA, WILL YOU PRINT?

Each model has a maximum printing width. Some, such as Epson’s portable PictureMate Charm, top out at just 4 inches (ideal for 4×6 prints). Others,such as the HP DesignJet Z3200, can take sheets or rolls up to 44 inches wide. Printers commonly come in 8.5-, 13-, 17-, 24- and 44-inch sizes—those that print wider are mostly for commercial use. A big size may be tempting, but if you’ll print large only occasionally, it makes more sense to send those few to a lab.

The way a printer feeds paper also matters. Some allow rolls-useful for long panoramas and very big prints. Many smaller ones have cassettes that feed paper better than traditional stacking top-feed trays, and they’re useful with medium-weight paper (250 to 280 gsm). Heavier sheets generally go through the top or specialty feed tray, so if you want to use canvas or heavy watercolor paper, check the maximum paper thickness the printer can handle.

If you want to print directly onto CDs and DVDs, consider a printer with a dedicated tray for that purpose, such as the Epson Artisan 720 or Artisan 835.

HOW MUCH WILL THE PRINTER AND INK COST?

Determining the cost is not as straightforward as it might seem. Besides the printer, consider the total cost per page for printing photos, which includes paper, ink, electricity, and other consumables. Some higher-end printers have user-replaceable print heads and/or ink maintenance tanks that collect ink during cleaning cycles. (the latter can be found on all Epson Stylus Pro and Canon imagePROGRAF models.)

In some cases, when switching to photo-black from matte-black ink to optimize print quality on different papers, the pnnter wastes some ink (about l-4ml), costing 20 cents to $2 per switch. This occurs chiefly with pigment-based models from Epson, though the process has improved considerably even on 24- and 44-inch-ers, including the Stylus Fro 7500 and 9900. Neither Canon’s 13-inch Pixma Pro9500 Mark [1 nor HP’s Z3200 series need to swap inks.

HOW LONG DO YOU WANT YOUR PRINTS TO LAST?

Do some research based on the printer, ink set, and papers you want to use. Look at the data published by testing firms such as Aardenburg Imaging & Archives and Wilhelm Imaging Research. If your printer and paper aren’t listed, look for a similar model that uses the same ink.

Some printers use dye-based inks, some pigment-based, and some a mix of the two. In general, dye is less archival—prints tend to fade faster (especially on matte papers), smudge, and run a chance of color shift on some papers after a few hours or days.

Still, some dye-based inks have been vastly improved in longevity and resistance to moisture. One standout: Epson’s Claria inks, used in the 13-inch Stylus Photo
1400 and the PictureMate and Artisan printer lines. Wilhelm Research expects some Claria ink and paper combinations (when framed behind glass) to last about 100 years before noticeable fading or color shift.

What is digital camera firmware

Occasionally you may read articles online or in the photographs press about new firmware releases for cameras. Firmware is the software run by a camera’s internal electronics and it can be upgraded like any other software, either to resolve problems in a camera’s operation or to introduce new features or specification upgrades.
The first of these scenarios is a little annoying We think that camera companies should have anticipated any issues with a new product through testing prior to launch, and we’d hate to see a world where falling back on the possibility of firmware upgrades means manufacturers are sloppy at performing proper product testing. That said, unforeseeable errors do creep through, and it’s good to know they can be fixed.
When it comes to new features through firmware upgrades, we are all for this. It’s like Christmas come early with essentially better specification for no extra cost.
Firmware releases are usually advertised
and made available from a manufacturer’s website The file is usually downloaded to the user’s PC or Mac and then installed in one of two ways The camera can be plugged into the computer via a USB cable and the firmware updating software run, or the update file can be put on a memory card that is inserted into the camera. A combination of odd button presses and holds is usually then required.
Which of these methods is required will be outlined in your instruction manual and this should always be consulted pnor to performing a firmware upgrade. There isn’t much that can go wrong, but if the camera is turned off during the upgrade process, or if the battery runs out, then a camera can be rendered unusable and will need a costly workshop repair.
Whether you need a firmware update or not is simple to establish. Look at the version number of the available update and compare this to the version your camera is currently running. You’ll find this in the set-up (or similar) menu. Generally, firmware upgrades are a one-way process and it is difficult to roll back from them. Therefore, you might want to wait a few days after an update is announced before you take the plunge Monitor internet chatter regarding the upgrade and watch out for any problems or issues

Samsung NX100

Samsung offers mirrorless, inter-changeablc-lens cameras in DSI.R-like form (with a built-in eye-level FVF) and in smaller compact-camera form. The NX100 is the latter, smaller than all the cameras described here except the Sony NEX-3, but featuring the same 14.6-megapixcl, APS-O-format Samsung CMOS sensor as its larger (but still compact) NX10 sibling.
Features of interest to pro photographers include a 3.0-inch AMOLED monitor for bright viewing and low battery drain, a series of interchangeable Samsung NX-mount lenses, quick auto-focusing and DSLR image quality. The XX100 also can do 720p video. A unique feature is Samsung’s i-Function lens, which lets you set camera functions and apply custom settings via a ring and i-Function button on the lens.
Accessories   include   an electronic cyc-level viewfinder,  an   external   flash   unit   that’s more powerful than the built-in unit, a geotngging GPS unit and the ever-expanding NX lens line.

Sigma DP2x

Sigma DP2x

Sigma was the first to put a big sensor in a little camera, building the tiny DPI around the unique APS-O-format Foveon X3 sensor used in its DSLRs. The DP2x is the latest in the DP line, featuring the same unique full-color
Sony NE
sensor as the SD15 DSLR (not the new SD1 DSLR sensor), but with a new Analog Front End to convert the color data to a digital signal, quicker autofocusing and a Power Save mode. The compact camera features a built-in 24.2mm //2.8 lens (equivalent to a 4 I mm focal length on a 35mm camera) and simple, direct operation. There’s no built-in view-finder, but a clip-on optical one is available.
The big feature here, of course, is thai unique Foveon X3 sensor (note that Sigma bought Foveon in 2008). Image sensors can’t “see” color; they just collect photons. To produce color images, conventional sensors position a grid of red, green and blue filters over the pixels, so that each pixel receives red, green or blue wavelengths. The missing color information for each pixel is created by using data from neighboring pixels and complex proprietary algorithms. This process produces artifacts, so a low-pass filter is placed over the sensor assembly to counter that; this also slightly blurs the image. The sensor in the DP2x contains 14.1 million pixels, stacked in three 4.7-megapixel layers; the resulting images measure 2652×1768 pixels.

Adobe RGB or sRGB

Adobe RGB or sRGB?
I always use Adobe RGB as my colour space, but on a recent shoot t accidently set it to sRGB instead. Also, the pictures have been shot inJPEG. I have processed the images but am not sure how much of image quality I may have lost.
He who makes mistakes, learns. We know that Adobe RGB has a wider colour gamut compared to sRGB. This does not mean that Adobe RGB has more colours. It simply means that the range of colours is greater in Adobe RGB. The number of colours included depends on the bit-depth. In spite of this, sRGB has more than adequate range for many photo situations. So please don’t worry too much.
Your query specifically relates to “how much of image quality would be lost* That would be hard to tell unless you make a similar size picture of the same scene (keeping every parameter the same) but using Adobe RGB. Even then, for many situations, and with careful editing, you would be hard-pressed to observe a noticeable difference. The advantage of Adobe RGB is that it offers you a greater leeway in editing.

Canon EOS Rebel T3 12.2 MP CMOS Digital SLR with 18-55mm IS II Lens and EOS HD Movie Mode

-12. 2 MP CMOS sensor and also DIGIC 4 Image Processor for high picture quality along with speed.
-ISO 100 – 6400 for capturing from bright to poor light.
-Improved EOS HD Movie mode using expanded recording and with in-camera video modifying options.
-High speed, reliable 9-point AF technique utilizing a high accurate, f/5. 6 cross-type center point.
-Enhanced metering which has a 63-zone, Dual-layer metering system for correct -metering between exposures.Best with full line of Canon EF and EF-S lens
-2. 7-inch TFT color LCD; Built-in flash; HD movie mode in 1280 x 720 resolution
-Auto Focus; Dual-layer metering sensor using 73 zones; Basic+ function; Resourceful Auto mode; In-camera Feature Guide
-Comprises of EOS Rebel T3 digital SLR camera and also EF-S 18-55mm f/3. 5-5. 6 IS -Type II Lens; 12 megapixel CMOS sensor; Eye-level SLR viewfinder
-USB 2. 0 port; HDMI mini out terminal: NTSC/PAL selectable; SD/SDHC/SDXC memory slot.
-image  types: JPEG, RAW
-Shooting Modes: Frame movie mode
-Viewfinder Type: Optical
-Width: 5.1 in
-Depth: 3.1 inch
-Height: 3.9 in
-Weight: 17.5 Ounces

18-55mm IS II Lens Canon EOS Rebel T3

A new starter model should convert more than a few point-and-shooter:
ITS BEEN years since Canon introduced a basic entry-level DSLR. In that time frame, video has become commonplace in DSLRs, and interchangeable-lens compacts (ILCs) now compete for the attention of people looking to step up from a point-and-shoot. With its APS-C sized CMOS sensor, 1280×720 30p video recording, new 63-zone metering system, and speedy phase-detection autofocus.
the EOS Rebel T3 ( $550 – $610 street, with 18-S5mmf/3.S-5.6EF IS II lens) makes a great case for going with a DSLR
Like most cameras at this price, the T3 sports a 12.2MP sensor and squeezes a lot of resolving power out of it. In our test, the Rebel
yielded 2190 lines per picture height for a Very High rating. That puts it close to some of its rival DSLRs, Pentax’s K-r {2270 lines) and Sony’s Alpha 390 (2200 lines).
Among ILCs, the Olympus Pen E-PL2 turned in 2260 lines and Panasonic’s Lurmx DMC-GF2 2300 lines.
While these numbers might make the Rebel T3 seem less than impressive, its noise results rebalance the scale. In our tests, it kept images squeaky clean at ISO 100, earning an Extremely Low rating. Of these rivals, only the Olympus matched it. And the T3 barely reached the lower limit of our Unacceptable rating at ISO 3200 and even ISO 6400. So. with a very modest increase over the default noise-reduction settings, you can keep noise to acceptable levels no matter what ISO you shoot. Given that at its default setting at ISO 6400 it resolved 2100 lines, cranking NR way up will still let you retain a lot of detail in your pictures.
The competition doesn’t fare so well here: The Sony A390. whose sensor tops out at ISO 3200, was able to resolve only 1870 lines at that sensitivity with its default noise reduction At its default settings, the Olympus E-PL2 ended up with 2010 lines at ISO 6400, with noise 2.4 points higher than the Canon. Similarly. Panasonic’s GF2 achieved 2060 lines at its default settings at ISO 6400, but as it was extremely noisy at this ISO. significant resolution would be tost if you tried to bring it down to the T3′s noise level.
Of all the competition, Pentax’s K-r provides the biggest challenge in this balancing act, maintaining acceptable noise up to ISO 3200 while resolving 2270 lines. And with a slight increase in noise reduction, it can keep noise to acceptable levels at ISO 6400 while resolving more than 2200 lines.
Where the Rebel wins is in its autofocus speed in moderate and dim light. While ILCs have gotten better at AF, especially in bright light, they still lag behind DSLR phase-detection systems in low light. The T3 focused in less than a second all the way down to EV 0, equivalent to a dim night scene. While Canon rates theT3′s 9-point (all cross-type) AF system to function down only to EV 0, it focused reliably (though inconsistently in speed) down to EV -2 in our tests.
In the Field
The T3 performed well in our field testing, with excellent results from the metering system and AF, and an overall pleasing control scheme for such a low-priced model. serve double duty to access ISO, AF, drive mode, and white balance. Uniquely shaped buttons are arrayed around these— while they’re nearly flush with the camera, their shapes make them easy to distinguish by feel On the 2.7-inch, 230,000-dot fixed LCD, the user interface divides into a main menu and
a quick menu. The former holds settings that mostly won’t be changed frequently such as image quality and color space. The quick menu, reached by the Q button, has a control-panel look similar to that of most DSLRs these days. You can navigate with the direction buttons, using the command wheel
Relatively light and well balanced with its kit lens in place, it
maintains the ergonomic conveniences of DSLR design. The grip is deep enough to give you something solid to hold onto, and the rubber on the grip and back, though extremely smooth, provides enough tactile resistance for most casual shooting.
Like most entry-level DSLRs, the T3 has a single command wheel located near the shutter button. Another nod to its bargain status: the use of a pentamirror rather than the costlier, and typically brighter, pentaprism. Though it covers a hefty portion of the frame (95%), the finders 0.8X magnification makes it a tad claustrophobic.
While many of the T3′s controls are menu-driven, Canon makes the most of the buttons it has fit on the back. The directional buttons for navigating the menus to change э setting. Though fast and convenient, this forces you to look at the LCD—less sophisticated Than the controls on some higher-end DSLRs, where ample physical controls let you shoot without raking your eye oft your subject- Still, for its class, it does a great job.
If you want rapid-fiie bursts, the T3 may not be for you. It tops out at 3 frames per second for JPEGs-sluggish even for this class-up to card capacity. The rate slows to 2 fps tor up to 5 RAW images, or 0.8 fps for one RAW * J PEG shot Burst performance is almost always best when capturing lPEGs alone, since these smaller files write faster to a memory card. Competition? The Penlax K-r. at 6 fps, is much quicker, but tops out at 25 JPEGs or 12 RAW So while the K-r rules for RAW shooters, if you want longer bursts, lheT3s nearly unlimited JPEGs might serve you better. While we would’ve liked a faster burst speed, for the shooters this camera is aimed at, the T3′s speedy AF will be more of a boon.
It would’ve been nice for Canon to have included full HD video capture as it does in all its other DSLRs. although for casual video capture. 720p should be fine lor most users. We also wish that Canon made the custom-functions menu more prominent, as on  its higher-end models. Again, entry-level DSLR users may be less prone to customizing their cameras, but that’s no reason to make the custom functions harder to find.
Bottom Line
The Rebel T3 is a very attractively priced entry-levei DSI R that pro. vides solid performance and value. Its resolving power, low noise, rela -Tively speedy AF. and well-designed controls should help ease novice shooters into the world of DSLRs.
Indeed, die T3 s strengths make the case for DSLR performance over the convenience of an ILCs maller size While its image quality comes close to some of the ILCs on the market, its autofocus still beats the systems found in FLCs once tho lights get dim, as is often the case indoors. Its optical viewfinder, while not the best of its kind, is still a more pleasing experience than the EVFs that ILCs use Finally, the wide array of
lenses available from Canon and from third-party lensmakers far outstrips what is currently available for any ILC.
“faking all of these factors into account, we can say without hesitation that the Canon EOS Rebel T3 is a DSLR bargain and a worthy introduction to a full camera system.

PANASONIC LUMIX DMC-FT3 compact camera

PANASONIC LUMIX DMC-FT3
Panasonic’s latest addition to the outdoor compact
camera range is about as rugged as it gets. The FT3 is
waterproof to 12m, shockproof from 2m and freezeproof
to -10°C , so it will follow you through any downpour,
gale or blizzard and live to tell the tale in playback mode.
Other key features include its 12.1MP resolution,
28-128mm equivalent wide-angle zoom lens, full HD video
capability and POWER OIS with Active mode to combat
camera shake. For those wanting to go truly native you’ll
also find a built-in compass, altimeter, barometer and
GPS receiver.

PENTAX OPTIO WG-1 compact camera

PENTAX OPTIO WG-1
Pentax’s latest outdoor camera takes some big strides
ahead of its predecessor, extending its resistance down
to 10m waterproof, shockproof from 1.5m, freezeproof to
-10°C, dustproof and able to withstand the pressure of
weight up to 100kg. Its 5x optical zoom lens provides a
28-140mm equivalent, while the Optio WG-1 also has
14MP resolution and a 720p HD video recording.
The more adventurous among us might also enjoy its
5 LED for macro and underwater photography

CANON POWERSHOT D10 compact camera

CANON POWERSHOT D10
Canon’s first underwater digital camera is a few years old
now but is still as young and fit as its competitors. While its
3x optical zoom lens may lag behind some of its rivals, the
Canon D10 was taking pictures underwater at depths of 10m
long before the other compacts in this section. Dustproof,
shockproof from 1.2m and freezeproof down to -10°C, the
12.1MP PowerShot D10 has received positive reviews for its
durability and ease of use.

FUJIFILM FINEPIX XP30

FUJIFILM FINEPIX XP30
The 14MP Fujifilm FinePix XP30 isn’t as ‘everything-proof’ as
some of its competitors here, but it provides sufficient
protection for most conditions you’ll encounter and is
significantly cheaper. Waterproof down to 5m, freezeproof
to -10°C and shockproof from 1.5m, and with a rubber grip,
the camera can still handle adversity. The XP30 also features
a 5x optical zoom, GPS tagging, 720p HD video recording,
tracking autofocus and a Motion Panorama mode.

OLYMPUS TOUGH TG-810

OLYMPUS TOUGH TG-810
Perhaps the most stylish of the current crop of outdoor
cameras, the TOUGH TG-810 lives up to its moniker,
being shockproof from heights of 2m and crushproof at
weights up to 100kg. Like most of the other compacts
here, the TG-810 is waterproof to 10m and freezeproof to -10°C.
Along with a 14MP sensor and 720p HD recording, the
TG-810 features a 920,000-dot, 3in LCD screen with an
anti-glare layer and 3D and Panorama modes. It is like the
Panasonic FT3 in including a compass and GPS.

this is the best chosie for COMPACT CAMERAS

CANON EOS 600D Rebel-T3i VS NIKON D5100

Earlier this year Canon and Nikon served up a much-needed refresh of their
entry-level DSLR lineups. Boasting a rash of new features that have trickled
down from the more advanced DSLRs in their range, the Canon EOS600D and
Nikon D5100 offer photographers in this market a creative control that
they haven’t had before. But with similar spec sheets, which camera should
you choose?

canon EOS 600D OR Nikon D5100
canon’s EOS 600D and Nikon’s D5100 may each descend from a line of successful entry-level DSLRs, but with each now supported by a more junior model in its respective range the pair are left to target a more advanced audience. In addition to their high-resolution sensors, each arrives with a highly specified LCD screen and HD video functionality, not to mention a bevy of recording, processing and customisation options. With such similar specifications they are likely to be seen as natural competitors and, given the heritage of each brand, they will naturally attract a lot of interest, but are they equally as impressive or does one clearly outgun the other?

Nikon-D5100-vs-Canon-T3i-600d

Considering its upper entry-level billing, Canon has been generous with the 600D’s
specifications and it actually seems as though you’re getting something of a bargain.
Its 18MP CMOS sensor matches the more expensive EOS 60D for resolution and both
are supported by the same DIGIC4 processing engine. This is also true of the Nikon’s D5100, with both its 16.2MP CMOS sensor and EXPEED 2 processor inherited from the D7000, along with a few nifty extras such as an interval timer for time-lapse recording and multiple exposure function, neither of which is offered by the 600D.
The 600D manages to better the 60D’s 3in articulated LCD screen with a slightly
wider viewing angle and the bonus of an anti-smudge coating. At 1,040,000 dots it
also has the joint highest resolution for an LCD screen on any DSLR, an honour shared
only with its EOS stablemates. The D5100’s screen comfortably matches the 600D in
practically all areas apart from resolution, where its 921,000-dot LCD is slightly behind;
whether this difference comes across in use, however, is something we’ll find out later on

Canon EOS 600D vs Nikon D5100 MOVIE MODE and quality

Both cameras have full HD movie recording, with variable frame rates up to 29.97fps and the provision of a socket on each for external stereo microphones. Canon has also fleshed out the 600D’s movie functionality with a Video Snapshot mode, which captures short video clips before automatically stitching them together, and a Movie Digital Zoom option, which crops the sensor up to 10x while still promising to maintain full HD quality. Similarly, the D5100 allows for movies to be treated with effects such as Miniature and High-key in-camera (which also applies to its images), and even for frames to be lifted out of a piece of footage and saved as JPEGs. In a number of other areas the D5100 appears to outgun its rival, at least on paper. Both cameras, for example, allow a standard sensitivity range of ISO 100-6400, with the 600D offering an additional setting equivalent to ISO 12,800. The D5100 not only matches this, but also betters it with a further Hi2 option equivalent to ISO 25,600. Likewise, the D5100’s 11-point focusing system has two extra points over the 600D’s nine-point module, although both share a cross-type central point for improved sensitivity. The D5100 also has a burst rate up to4fps next to the 600D’s 3.7fps, although Nikon makes it clear that such speeds are influenced by shutter speed, processing options, focus mode etc. In any case, the difference isn’t substantial. As is fairly typical on such models, both cameras offer pentamirror viewfinders, each with a coverage of 0.95x. With a slightly higher magnification, the 600D’s viewfinder appears to present a larger view, although
once the differences in sensor size are taken into account – the 600D has a marginally
smaller sensor – any advantage is negligible. The two are also powered by rechargeable
lithium-ion batteries and support the SD family of memory cards for image and video recording.

BUILD AND HANDLING

Canon EOS 600D vs Nikon D5100 canon Rebel T3i

The two cameras  (canon EOS 600D and Nikon D5100)closely match each other in
both size and weight, although they differ in terms of their finish and design. I found the
slightly mottled treatment of the D5100’s body more pleasing in the hand than the less
refined casing of the 600D, although both cameras make good use of rubber around the
grip for both security and comfort. Canon has been a touch more generous here, though,
and has provided more rubber for the thumb to rest. Each is built well, understandably
with less solidity than more professional magnesium-alloy bodied DSLRs, but with no creaking when subjected to pressure of any sort. To the eye there doesn’t appear to be much to separate the cameras’ grips, although upon handling them the 600D’s feels more substantial. I found it to be the easier to handle and more enjoyable to operate, and it felt more secure in my hands with a range of different lenses. The design of the D5100’s grip meant that it felt slightly less at home in my averagely sized hands, although anyone interested in such The Nikon LCD Screen a model is advised to

ONE AREAWHERE THE TWO CAMERAS DO GO ABOUT THINGS DIFFERENTLY IS IN THEWAY THE CONTROLS ARE ACCESSED AND SETTINGS ALTERED.

handle it for themselves, as their preferences may be different. One area where the two cameras do go about things differently is in the way the controls are accessed and settings altered. While the 600D’s setup allows options to be accessed either through direct buttons or the main shooting display, the D5100 allows only for the latter. This has allowed Nikon to simplify the design of the rear, and with fewer buttons it appears as a less intimidating model for novices. However, the placement of some of the
buttons it does have is questionable. For example, the ‘i’ button for changing many settings is used almost exclusively in conjunction with the menu pad, yet the two are spaced unnecessarily far apart, whereas on the 600D the Q button used to bring up the equivalent option is right next to the menu pad with which it is used. Overall, I found Canon’s system more intuitively designed.

PERFORMANCE
Although both viewfinders are perfectly capable for their task, when shooting
outdoors I found the D5100’s finder to be more pleasing to use, given its slightly
brighter view and more colourful representation of the scene. The 600D’s viewfinder isn’t too far behind, and admittedly this difference is only noticeable during a direct
comparison, but it’s just a shade cloudier in its appearance. While the two cameras have
similar burst speeds on paper, shooting continuously threw up some unexpected results.
While the 600D slowed down its 3.7fps pace after only around three to four simultaneous RAW and JPEG frames, the D5100 maintained its speed for an
average of 10 frames at a time. Both cameras allowed me to take further images while any prior bursts were being processed, although the D5100 shot more than the one frame at a time the canon 600D tended to allow, despite it being burdened by having around twice the images to process. Although it became easy to spot the characteristics of each camera while analysing its images, occasionally each would veer off to produce a different result from the one expected, something which may be attributed to the scene- and content-dependent nature of technology used for metering and processing. Typically, the canon 600D’s white balance was warmer than the nikon D5100’s; this benefited some situations, but images with foliage were better with the colder and slightly more neutral results from the D5100

IMAGES WITH FOLIAGE WERE BETTER WITH THE COLDER AND SLIGHTLY MORE NEUTRAL RESULTS FROMTHE D5100, WHERE GREENS WERE RENDERED
WITH GREATER VIBRANCY.
where greens were rendered with greater vibrancy. Each camera’s metering system did well to ensure the main subject was properly exposed, although with a slight tendency to overexpose the same subject, the canon 600D’s results showed highlights details to be lost a little prematurely; this can be remedied with Canon’s Highlight Tone Priority option, which works effectively. Again, in certain situations a slightly brighter subject may be preferable, although in terms of reliability and balance the nikon D5100 had the edge. The advantage of Canon’s bigger 18MP sensor is slight and I didn’t find it translated into any major gains in detail. I noticed less of a difference between the RAW and JPEG output of the D5100 than between the canon 600D’s files, although with slightly sharper images to begin with there’s less work to be done with Nikon’s files.
The kit lenses of the two cameras performed about as well as each other and both proved the effectiveness of their respective image stabilisation systems. Elsewhere there were differences:
chromatic aberrations were evident in both cameras’ RAW files, although in-camera
processing resulted in the D5100’s JPEGs showing far less than the 600D’s. Conversely, RAW files from the two cameras showed Canon’s kit lens to have the better handle over distortions, although each camera offers an optional
correction setting.

LCD Nikon D5100 vs the 600D Canon Rebel T3i - 600D

LCD
The screen on each camera is easy to pull away from its body and both stay firmly in the position of the user’s choosing. Despite the EOS 600D’s screen having a slightly higher resolution, I didn’t find it displayed any significant benefit over the 921,000-dot LCD of the D5100. Both are capable enough to render images with plenty of detail, and although both claim to have the same 170º viewing angle in brighter conditions I found the EOS 600D just had the edge in visibility once I had turned the LCD screen of each camera out of its standard position.

MENU SYSTEM
For the first-time user, or those coming from
other systems, the Nikon D5100’s menu system
is perhaps the easier of the two with which to get
acquainted. All its options are split between six
clearly-titled screens, in contrast to the EOS
600D’s system, where shooting, playback and
settings options flow over multiple screens in
a less logical order. Nikon’s ‘?’ facility is more
helpful for understanding menu options than the
600D’s feature guide as Canon has restricted this
to only key controls, although when a feature is
unavailable the EOS 600D explains why; the
D5100 does not, which is far from helpful.

AF
With no AF motor inside its body, focusing speed
and performance from the D5100 depend greatly
on the lens being used. With their kit lenses the
D5100 raced ahead when focusing in Live View,
where it was the speedier by quite a margin.
Here, I found the EOS 600D had a habit of
dawdling and being more hesitant, although with
their standard phase-detect focusing systems the
situation was reversed, with the D5100 just
trailing behind in terms of speed. In low light and
against particularly fine details the two cameras
struggled to acquire a lock on to the subject,
although this is not unusual for such systems,
particularly when using the less sensitive
peripheral AF points (which, admittedly,
performed admirably in good light).

MOVIE MODE

(CANON EOS 600D and NIKON D5100)

Each camera offers full HD video recording and a
mono microphone for sound recording, although
should you wish to improve on the sound quality
of the camera’s audio you can attach a stereo
microphone to each. In terms of video quality
both cameras do well to capture detailed and
smooth footage with their kit lenses, and each is
only troubled by a little aliasing. With sound
quality, however, the D5100 falls behind the
Canon due to its more muffled recording. It does,
however, have the advantage of being able to
focus far more quickly during recording, while its
quieter kit lens means fewer sounds are picked
up by the camera’s internal microphone.
Each camera may be focused manually while
shooting video, which not only negates the above
problem but allows for greater creative control.

(CANON EOS 600D VS NIKON D5100)
There’s little to split these two cameras. In a number of key areas they don’t necessarily perform better or worse than the other, but in different ways. Both allow all major options to be changed from a single screen, although those wanting direct access to options
through physical controls can only do so with the EOS 600D. The explanatory nature of the D5100’s menu system is still not matched by the EOS 600D’s equivalent feature, and Nikon’s menu system is still the more practically arranged. For those used to one system or the other, though, such things are unlikely to be an issue. Anyone looking at either camera specifically for movie recording should know that the EOS 600D provides more control over recording options, and it’s here where the D5100 could make the greatest improvements. But for most people, it’s images that matter and here the Nikon steals the lead. Its more reliable metering system keeps exposures balanced, while in the majority of
conditions its auto white balance performance is the more accurate. As a further incentive it’s also currently priced at between $800 and $110 less than the EOS 600D, at just under $830  for its body and kit-lens option.

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