Sony Cyber-shot DSC-HX200V

The Sony Cyber-shot  HX200V updates the Sony Cyber-Shot HX100V superzoom. In its fresh guise the camera may well look pretty much the same, although the HX200 has a slight cosmetic modify on account of its new distinctive grip finish.

Sony Cyber-Shot HX200V 30x optical zoom lens could be the very same as that found in its predecessor. This provides a wideangle 27mm that can extend right through to a telephoto 810 mm, managed either by using the zoom toggle round the shutter or the manual zoom ring on the lens itself. In contrast to other superzoom cameras there’s a switch to the side of the lens that toggles between manual zoom and also manual focus control. It is possible to then zoom using the zoom toggle and change manual focus via the lens ring, for instance.

The lens is fast through its zoom range, though the zoom ring controls the lens electronically – it isn’t a full manual zoom ring as per the Fujifilm FinePix HS20 — which could mean small, incremental ‘jumps’ in between focal ranges rather than complete pin-point precision. Optical SteadyShot image stabilisation helps keep shots sharp and it is useful at the longer focal ranges where it’s tricky to maintain the camera steady.

Nevertheless, we’d have liked a wider-angle 24mm setting for this latest release to keep it consistent with most competitors’ superzoom cameras on the market.

The biggest change comes in the form of the Sony Cyber-Shot HX200Vs latest 18. 2-megapixel,

1/2. 3in CMOS sensor. This increases the resolution from the 16. 2-megapixels of the previous Sony Cyber-Shot HX100V model, and maintains Sony’s backlit Exmor R technology. Sony’s Paul Genge claims this new sensor is twice as sensitive at the sensor level,

However, we would have liked a wider-angle 24mm setting for this latest release to keep it in line with most competitors’ superzoom cameras on the market.

The biggest change comes in the form of the Sony Cyber-Shot HX200V‘s latest 18. 2-megapixel,

1/2. 3in CMOS sensor. This increases the resolution from the 16. 2-megapixels of the previous Sony Cyber-Shot HX100V model, and maintains Sony’s backlit Exmor R technology. Sony’s Paul Genge claims this new sensor is twice as sensitive at the sensor level,

which translates into a much cleaner signal and, therefore, higher quality images with,

Sony claims, one-sixth the image noise of the previous model.

When ever WDC reviewed the Sony Cyber-Shot HX100V in May 2011 we did note that the highly-populated sensor did, in part, hinder the final quality – so for the HX200V to introduce yet more pixels is a bit of a risk in our eyes.

Sony Cyber-Shot HX200V has a 1080p (50fps) HD movie mode could be accessed via the one-touch movie switch, and it is now possible to capture 13-megapixel, 16: 9 stills during movie recording without interrupting the recording.

On the Sony Cyber-Shot HX200V’s rear is a 920k-dot Xtra Fine LCD that has a wide viewing angle and it is mounted on a tilt-bracket for vertical realignment. This makes for easy overhead or waist-level shooting, though there’s still no sign of a full vari-angle bracket system.

To check the screen is an Electronic Viewfinder (EVF) with an eye-level sensor to instantly activate it for use. Although this is very useful for using at more telephoto zoom lengths for stabilisation and also for counteracting glaring sunlight, the viewfinder itself is a rather small 0. 2in in dimensions and has a lowly 201k-dot resolution. It’s not going to contend with the likes of the (admittedly more expensive) Fujifilm X-S1.

The Sony Cyber-Shot HX200s V designation indicates that this model also features GPS technology. Global Positioning Satellite may be used to add location-based metadata to graphics that’s useful for cataloguing or getting together with up-to-date web technologies for map positioning and the like.

Sweep Panorama furthermore sees an update: Sony Cyber-Shot HX200V’s mode is now able to capture shots through a full 360°, as well as the existing high-resolution Sweep Panorama HR and 3D modes.

Overall the Sony Cyber-Shot HX200V looks like a decent superzoom. Granted it’s a small update over and doesn’t represent the big jump made between the HX1 to HX100V. Assuming the image quality betters its predecessor it will be a fine addition to the variety.

There is no final word on pricing, but based on last year’s model’s$479. 00 launch price, all of us anticipate that the HX200V will carry a similar price. Availability is also unconfirmed, though a late The spring release date seems almost certainly.

•  18.2MP “Exmor R™” CMOS Sensor with Extra High Sensitivity technology
•  30x Optical Zoom / 60x Clear Image Zoom
•  3.0-type “Extra Fine” LCD Screen
•  9 Picture Effects
•  GPS, Compass and GPS Log REC Functions
•  ISO Sensitivity Setting Auto / 100 / 125 / 160 / 200 / 250 / 320 / 400 / 500 / 640 / 800 / 1000 / 1250 / 1600 / 2000 / 2500 / 3200 / 4000 / 5000 / 6400 / 8000 / 10000 / 12800
•  Aperture iAuto (F2.8-F6.3) / Program Auto (F2.8-F6.3) / Manual (F2.8-F8.0)
•  Full HD Movie Shooting capability (1920×1080/60p) and Optical SteadyShot Active Mode (3 way shake cancelling)

CANON EOS 5D Mark II vs CANON EOS 5D Mark III

THE CANON EOS 5D Mark III borrows several features from the company’s not too long ago announced EOS-1 D X DSLR flagship, in the body aimed at enthusiasts and also professionals The Canon EOS 5D Mark III is defined to bring the EOS-1 D X’s 61 -point AF system and also high-powered Digic 5+ orocessing engine to the semi-professional market, coupled with a higher resolution full-frame sensor housing 22. 3 million pixels.

Due in shcps at March, pnced $3, 799. 00, the newbie boasts a single Digic 5+ processor with eight-channel readout, made to handle six full-resolution frames per second ( FpS ) to 18 raw data files and more than 16. 000 JPEGs. The flagship EOS-1D X features two Digic 5+ processors The ISO variety has been improved from the IS0100-6400 of the Canon FOS 5D Mark II b/ 2 stops, to IS0100-25, 600 ISO extension modes allow a highest setting roughly equal to ISO 102, 400, which can be still 1EV short of the EOS-l D X The new model will feature exactly the same 3 2in Gear Viewpoint II LCD screen as that on the EOS-1D X, built utilizing a 1. 04-million-dot grid.

The camera’s CANON EOS 5D Mark III viewfinder has also already been improved to offer a 100% look at the image to become captured (the EOS 5D Mark II has a 98% viewfinder), while maintaining the same 0. 71xmagnificaticn.

The very best shutter speed remains 1/8000sec and also the max mum flash sync speed is 1/200 sec Canon has used any additional processing power of Digic 5+ to introduce new image-correction functions The EOS 5D Mark III has new built-in lens modification facilities designee to automatically reduce the effects of vignetting and also chromatic aberration before the documented image is passed to the memory card.

CANON EOS 5D Mark II with CANON EOS 5D Mark III

Canon additionally claims the processor allows high ISO noise to become dealt with more effectively

For the very first time in a Canon DSLR, there is a built-in HDR mode This brings together three different exoosures into one, to enhance the range of tones from a high-contrast scene.

And also saving the final combined picture, the camera ( CANON EOS 5D Mark III ) saves up to three bright/dark/ normal data files, gi ving users the teedom to produce a different version utilizing their own software afterwards This HDR function can be found under a new Creative Photo button on the camera body This key also gives users immediate access to other features, such as picture styles and multiple-exoosure modes.

Canon has launched a new silent mode to reduce the sound of the shutter and also mirror This works by slowing the mirror’s movement (although this mode is restricted to a top burst rate of 3 fps Frame  p second ).

Housed in a magnesium-alloy body, Canon offers introduced a level of weather sealing for the FOS 5D Mark III Gaskets located under the camera’s buttons and dials aim to prevert ingress of moisture and also dust, v/hile a seal round the lens mount is intended to provide better protection for the mirror box. The shutter mechansm has additionally been ‘reinforced’ but Canon slil only quotes exactly the same 150 000 cycles as the EOS 5D Mark II.

New to the EOS 5D series is SD card compatibility, along with trie EOS 5D Mark III accepting both CF and SD cards via dual memory slots.

The camera CANON EOS 5D Mark III takes the same LP-E6 battery as the prior mcdel, but has gained 140g -now weighing 950g. Canon has told AP that it will run together with the EOS SD Mark II.

experience Lenskirt preview

many photographers have attempted to take photos or a video through glass, simply to be thwarted by reflections. It’s very difficult to remove every reflection unless all light resources from the digital camera side of the glass can he eliminated, which is where the Lenskirt comes in. It is a soft materials hood that is attached securely to the digital camera lens barrel using a drawstring cord, after which fixed to the glass using the suckers at the other finish. The hood suits flush against the glass and does not let any light into the glass within the camera’s field of view, therefore removing any reflections
There are several uses for the Lenskirt, be it time-lapse sequences (by decreasing all reflections from internal light sources, just like someone turning on a light), or taking photos through a windowpane in a house, a car, a plane cr even a water tank at an aquanum lenskirt is manufactured out of a durable matenal that can be , olded flat into a bag, and is simple to set up and effective in use. People who press a lens right up to the glass to reduce reflections will find that using a Lenskirt instead, the camera’s stability isn’t affected by vibrations of the glass, just like in a moving car or truck.

printing system and papers

my friend mike likes to explore the subtleties and also extremes of tone in a print. ‘I think of tonality as having an emotional effect and frequently use extreme movements of tonality-, he describes. ‘I might create the print very dark or very pale, as an example. I have a fairly precise idea of the way I want a print to look once i go into the darkroom. It’s about exploring how the negative could be printed in different ways. ‘
mike uses largely selenium to tone his prints, or even gold toner for the paler prints, which can be known for its archival properties. ‘When several photographic papers were on the market, I used a wide range -mainly due to the different ways the papers responded to toners, ‘ he provides. ‘My standard papers were Agfa Record Rapid and also Agfa Portnga Rapid. Both replied well to selenium toner and also both would “split-tone” reliably, with Portriga paper particularly yielding the rich brown/purple coloration.
‘When I started exploring high-key prints I used Seagull, a paper with a cooler tone, that we felt suited the more subtle tonal scale I often gold-toned the actual prints to accentuate cold tones. A paper I used by a small number of pictures was Kodak Ektalure. made fa the portrait trade and only obtainable in grade 2, normal. It was an unusual papers for split-toning, giving a subtle brown on higher midtones. To allow for working among grades or to nuance tonality, I used Beers formula print developer, which I mixed from raw chemicals. I still make and also use this developer today.
‘None of those papers is available right now, but there are numerous of other papers available on the market that give perfectly satisfactory results. 1 have used Foma, llford and Adox papers, and now use variable-contrast papers — llford Warmtone or Adox MCC 110 — with respect to the feel I want in the print. I generally print with a single filtration system, although occasionally I use split-filter techniques.

Metering Modes Explained and Understanding

Generally there are three main forms of metering mode that are widely available in digital cameras, every suited to a different kind of photography ,

  MULTI-ZONE METERING : The default mode for many digital cameras, this creates an exposure after
taking  separate readings through zones that cover the entire image.

USE IT FOR…
• This mode creates well-balanced exposures in the majority of situations if the subject is a midtone.
• It will automatically try and adjust exposure in difficult lighting situations (a backlit topic, for example).
• It doesn’t always work, though, and shooting in low light levels and also on overcast days may cause it issues.

  CENTRE-WEIGHTED METERING : This function takes its light reading from the entire frame, but -concentrates close to 62-85% of the exposure towards the center.

USE IT FOR…
• This mode is not as likely to be influenced by very bright or very dark areas near the edge of the frame.
• It gives fairly foreseeable results, so Exposure Settlement adjustments are straightforward.
• Just remember, it may be fooled by bright skies or dark foregrounds, standard of many landscape shots.

  SPOT METERING : Just 1-5% of the frame is metered for, but your digital camera will still try to expose- this area as a midtone, so you will need to know what a midtone actually looks like.

USE IT FOR…
• This function offers more accurate readings than others, because it isn’t influenced by any of the brighter or darker areas in your image.
• A blue sky at noon or a sunlit lawn are good examples of the midtone. When the area the spot covers is darker, apply negative Exposure Compensation, and when it’s brighter apply positive Exposure Compensation.

this is picture show for you the different  between all Metering Modes ,

Metering Modes Understanding

D800 & D800E nikon

With 36. 3-megapixels, it’s blatantly apparent whom Nikon has within their sights with the FX-sensored D800 and D800E – medium format. But is this ‘breakthrough’ what we should have all been waiting for
I know that there is still a lot of unknowns about the Nikon D800 I have no idea, but I will hold my hands up now to being impressed by the offering. Shortly after the D4, which although looks a significant bit of kit but does suffer a little from the outright brilliance of the Nikon D3S – which isn’t broken just a little short on pixels you can argue – the Nikon D800 specs are impressive your money can buy. Yes, it’s speed against quality, high ISO performance against a more portable size.
Possibly the biggest unknown is the ISO performance. At the launch in United kingdom, Nikon’s Banfietd stated it might have an equivalent performance to that of the D7000, which is really a pretty good performer. Tests will ensue and many column inches follows.
Speed is alright at just over 4fps in FX, definitely better than most medium format cameras, but this jumps in DX-crop using the new MB-D12 battery grip to 6fps, but MP drops to 15MP. There’s always a trade off. You have the EXPEED 3 image processor, 91k dot 3D CoLour Matrix Metering III program and AF system, with 6 AF modes, by the Nikon D4. The new LCD comes irom the Nikon D4 as well, so 3. 2-inches and 921k dots.
One of my questions, directed at David Banfield, was about lenses. Does this mean simply certain Lenses are suggested, etc? But no, some of the latest crop are pleased to sit on the leading, including non-pro glass like the Nikon 24-120mm.
Dual card slots stay, but this time around you have one CF and one SDHC, which I believe is a nod to the direction all memory cards are heading, The body is tough, made from magnesium alloy and has plenty of dust and weather seals. You’re ‘safe’ with the shutter up to 200, 000 cycles, which to give some perspective is actually 273 images a day, every single day, for two whole years; most likely enough for the target audience to make last a lot longer.
The movie side of Nikon’s range is getting better and better all the time. In the past, their codec just could not match that of Canon’s. Nevertheless, Nikon now states that the MPEG-4 (MOV) footage from the D800 is “broadcast quality” and may shoot 30p, 25p and 24p, and has uncompressed HDMI out. There’s audio in (3. 5mm, no XLRs at this time ), with an audio levels display and adjustable sensitivity.
Electric battery life from the EN-EL15 is pretty impressive too. with Nikon quoting 900+ frames while using standard CIPA test, which does consist of half of the frames using the built-in GN 12 pop-up flash unit.
File sizes, as you’d expect, are huge along with full FX 16-bit TIFF files coming in at around 212MB each and also NEF Raws around the 76MB area – 16GB and also 32GB cards are going to be the norm methinks! Expectations will probably be high for the D800; by our conversations, both real and via our Twitter and also Facebook webpages, people seem wary more of the ISO capabilities than other things. I think it’s a sign of the economic times; people are ready to spend but they want an appreciable uplift in key areas before giving over their plastic. Nevertheless, Nikon’s track record of late is 24-carat gold, and several will, I am sure, enable models like the Nikon D3S and also Nikon D700 do the talking. From my opinion, there has been few digital cameras from any manufacturer of late that have tempted my wallet out of pension until now. In Nikon’s material it claims the Nikon D800 to be groundbreaking. This I can’t discuss for sure yet. What it isn’t is bank-breaking, and that’s refreshing at this time.

Nikon D800 and D800E

WHAT’S THE ACTUAL NIKON D800E NEXT?
Essentially it’s the same as the Nikon D800 in size and also spec but for one ‘tiny’ detail, Nikon has taken out the anti-aliasing filter from the sensor’s front. Why? Many people say to increase the detail to meet the requirements of, say, medium format clients. At the launch we saw two identical images shot with each model and you could see a noticeable distinction in the detail of the D800E’s image when shown at 100 percent. The actual downside is that, as medium format customers will attest to, there’s a higher chance of moire and false color in pictures. However, software does remove these effects, NX2 involved.

Pentax Optio RZ18 - Review Compact Digital Cameras

along with mounting pressure to provide
cameras that offer increasingly comprehensive feature models at the same time as keeping the body looking svelte and stylish, manufacturers ought to work harder than ever to provide attention-grabbing compacts. New models are now offering top-notch features like Full HD movie shooting, high-resolution LCDs and also advanced exposure modes as well as progressively intelligent’features including face/pet/scene recognition and smarter Auto ISO systems, even at entry-level.
The actual travel-zoom sub-category of the small photographic camera market has seen some particularly fierce competitors of late, with a glut of cameras sporting colossal zoom lenses as well as built-in GPS systems, along with some or all of the features already mentioned. The new Pentax Optio RZ18 enters the (entry-level sector) with the fray with headline features including a flexible 18x optical zoom lens (equivalent to 25 – 450mm on a 35mm camera), including a 16-megapixel CCD sensor, 720p HIGH DEFINITION video shooting at 30fps and also dual shake reduction (CCD-shift-type and Pixel Track SR) – all for a very reasonable cost.
Extroverts can decide to express themselves by selecting either the eye-catching orange or even white versions of the RZ18, while those who prefer something more unobtrusive can choose the black finish instead. In terms of aesthetics, the Pentax Optio RZ18 offers little to comment upon; with a larger, larger body than your typical compact, the Pentax Optio RZ18′s design centers around accommodating that big zoom lens, which trumps many of its rivals in terms of versatility.
The chunky rectangular body is accented by a matte black top panel and black lens housing, giving it a unique – fairly masculine – appearance. Viewed from your front, your eye is immediately drawn to the lens housing, which takes up most of the obtainable space, but there’s also a small built-in flash, plus an AF-assist lamp and IR receiver for the optionally available extra infrared emote that allows for faraway control of the Pentax Optio RZ18.
The top part panel sports a minimalist look, with just a small, raised area of the panel housing the generously-proportioned silver shutter release and the spring loaded zoom lever that encircles it, along with the smaller illuminated power button that sits alongside.
Viewing figures
Around the back, there’s a 3-inch LCD which – at 460, 000-dots – isn’t the highest resolution screen we’ve seen, but it does offer enough detail for most everyday photographic tasks. The viewing angle is usefully wide when shooting with the camera to the left or right of your position. However, tilting the camera up or down proves to be a bit more restrictive. As a beginner-friendly model, Pentax Optio RZ18 isn’t covered in controls, dials and switches – rather, it sports just four small buttons (Playback, Smile Capture/Face Detection, Green and Menu buttons) arranged around the small black four-way d-pad. The latter control also offers quick access to the self-timer, macro, shooting mode and flash options, with a central OK button to confirm selections.
Usefully, the earlier mentioned Green button can be programmed to perform one of several different tasks: it can be pressed to revert to automatic shooting speedily – whichever mode you will be using at the time – or set to initiate the camera’s voice or movie recording features. In the same menu there’s a further choice to select from frequently-used functions, comprising exposure compensation, recorded pixels, ISO sensitivity and also white balance, along with scores more options which includes highlight or shadow correction, sharpness, saturation, comparison and much more besides. Each one of these can be assigned to any of the directional keys on the d-pad: you’ll just have to keep in mind which one does which!
The Pentax Optio RZ18 seems very good in terms of design, but on picking it up we could not help but feel a tad disappointed with the plasticky quality. With a lightweight outer shell, the majority of the weight clearly comes from the large zoom lens, which can be stowed inside the body while it’s powered down. This has the effect of creating the camera feel somewhat unbalanced, necessitating two-handed shooting if you wish to stand a chance of keeping it still and level. Build quality apart, the Pentax Optio RZ18 impresses in other areas. Having a relatively quick start-up, the digital camera is ready to shoot in just over a second, as the 18k zoom lens is quick to travel to possibly end of its focal range using the zoom lever.
The menu system is straightforward to navigate, with options spread across four pages in the Recording mode section, along with a further three pages in the Setting menu. The features readily available for adjustment are pared-down whenever you’re using the automatic exposure modes, with additional becoming available if you progress to the more complex Program mode. Choosing the latter setting enables you to take more control of the shooting process, for example selecting your personal white balance, ISO, AF and metering settings to name a few. Unfortunately, there is no aperture shutter priority or manual exposure modes, making the Pentax Optio RZ18 much more suited to photographers in search of a fuss-free shooting experience.
Other available choices
All of those other shooting modes are represented by colourful on-screen icons split across two pages, with the mode’s name and a brief explanation of what it does appearing as you scroll through the options. As well as Auto, there are day, night-time and skin-enhancing portrait modes, plus a saturation-boosting Blue Sky option, warm sunset, food, kids, pet and candlelight modes, among others. For capturing sweeping vistas, the RZ18 offers two options: Digital Wide – which stitches two shots together to create a more expansive image -or Digital Panorama, which usually stitches together three frames, offering a ghost graphic after each shot for you to line up in the next frame. This process of panorama creation is looking a little out-dated now whenever viewed alongside some other manufacturer’s more impressive Sweep Panorama functions, but – at this price-point – it’s not something you’d necessarily expect
Operationally, Pentax Optio RZ18 is not the snappiest performer available on the market, with a wait of several seconds between shots. The AF system, nevertheless, is reasonably fast and accurate in great light, but with performance dropping off once the lights dim. When it comes to image quality, we particularly like the pleasingly-punchy colours that the Pentax Optio RZ18 captures and the lens delivers a decent level of sharpness round the centre of the frame. However, there’s some loss of detail round the edges when working at either extreme of the focal range. Noises is well-controlled at the lower end of the Pentax Optio RZ18′s native range, beginning to appear at around ISO 400. Beyond this time though, noise is very prevalent, with usable pictures being produced at ISO 800, but we’d recommend steering clear of the reduced-resolution, 5-megapixel pictures that result when you venture into your top settings.

Technical Details

Prints Big or Smull Black And White B&W

any time he was working in a Black-And-White darkroom with glass plates and later wilh film negatives. jorg frequently made very large prints. Mis dramatic scenes of the International landscape, rendered in black-and-white, required prints that could show every razor-sharp detail. For jorg, the priming method was both an and craft. The art lay in determining how to make each aspect of the graphic while the craft was translating that eyesight to the light-sensitive, emulsion-coated paper.
These days, it’s not hard to become complacent about the craft side of making a print. We have got tools that are both immensely powerful and simple to use. You do not have to he a good craftsman lo get a pretty good prinl. but if you’re no) satisfied wilh very good, wc have some lips to gel you on the road to gallery-quality.

Starts Using the Image File , If we were still shooting film, we’d be saying it starts using the negative, and that’s how you should be Ihinking of the photograph as soon as of initial exposure. Having the most detail and the best possible exposure from the outset puts a person on the paih to lop-echelon prints. Otherwise, you’re always going to he fighting against shortcomings and trying to coax detail where it’s been lost. Take care lo get the exposure perfect. If possible, bracket in the field to give your-self options down the road. You may have met photographers who say they never review images in the field and also who say they can tell the proper exposure without the use of a light meter. Maybe they can. but if you have the DSLR on a tripod and you’re shooting a landscape, chances arc. you have the time lo do a quick check of the composition on the LCD screen and call up the histogram to be sure you aren’t clipping.

Capture In Color , We usually suggest. shooting in color and even converting to black-and-white in Ihe computer. Thus giving you ihe most image information in your image file. A number of DSLRs do an excellent job in monochrome mode, and we like using thai mode in The field for getting a fast look at how a scene will render, but when it’s time to make the critical exposure, do it in color.

Capture In RAW , This one is a no-brainer. If you are looking for Ihe most detail and also best tonality, you have to shoot in RAW. Just like JPEG compression is. it’s Mill compression. If you want to make Adains-esque prints, start with a RAW file.

Convert To Black-And-White , There are numerous options for doing the conversion. Adobe Photoshop and Lightroom have sophisticated controls, as does Apple Aperture. The most popular choice is Nik Silver Efex Pro 2 for its combination of power along with a simple photography-oriented interface, and the fact that it gives you a layered file, which provides you even more control over Ihe image as you proceed to printing.

Set The Picture Resolution To 300 dpi , There is no shortage of opinions about this point on the Internet, but we prefer to keep it simple. Set the graphic resolution to 300 dpi, and when that doesn’t leave you with as large of a print as you’d like, up-res with a program like onOne Perfect Resize (this is the new name for Genuine Fractals). Boosting resolution isn’t perfect, but in the event you start wilh a large image file that has a lot of image data, ihe resizing algorithms do an excellent work. We prefer this to resampling in Photoshop most of the time.

Print In Colour Or Monochrome Mode , That one is a little more very subjective. Printer drivers and inksets do a excellent work in pure black-and-white modes, but for ihe besi possible prinls. we slill like lo print in full color. For many images, this gives you added depth and dimension. It also lets you provide the image a warm or cool lone, if you want.

High-QuaIity Papers , The primer producers make excellent papers that have been made to give you optimum image quality using their printers. There arc several third-party paper manufacturers that create a variety of alternatives. Ultimately, this is a subjective choice. A glossy paper will certainly show delail betler, and ii could make incredibly rich black areas. Satin and also matte papers give a slightly softer effect. Watercolor paper is a lot softer still. For highest impact and an jorg -esque look, we recommend glossy or possibly matte paper.

black white photo print

Ricoh CX6 Macro and 10.7x optical zoom

GEARED UP using a 4. 9-52. 5mm (28-300mm equivalent) f/3. 5-5. 6 Ricoh zoom lens, 1cm macro mode and also 10-million-pixel senscr. the Ricoh CX6 is in its core just like previous versions all the way back to the actual Ricoh CX3. Unfortunately, the 10-million-pixel senscr and the camera’s JPEG-only capture is starting to look a little dated. Nevertheless, useful improvements have been made to the Ricoh CX6′s dealing with.

Previous models within the series are limited to automate exposure, but the Ricoh CX6 offers shutter priority regarding speeds from 8-1, ’2000sec, or aperture concern for one of two settings: ‘open’ or even ‘minimum’. Combined with a host of advanced controls and also shooting modes, this may make the Ricoh CX6 the deal photographer’s travel lover.
BUILD & HANDLING
At lower than 3cm deep, the Ricoh CX6 is impressivefy small for any digital camera with a lens of such a wide zoom range. Nevertheless, the camera Ricoh has a tough plastic external with a smooth front panel, which feels a bit cheap. Similarly, the shutter-release button and com switch are a little loose. Nevertheless, the brushed-metal effect top panel boks elegant and the solid shooting mode dial is flush to the body therefore it can’t easily be knocked.
The trunk is dominated by the scratch-and smudge-resistant 3in VGA LCD screen, and the quality of the screen has been upped to an impressive 1. 23 million dots. It is also 17x brighter than the screen within the last model, and has an auto brightness adjustment. Bright daylight continues to be a challenge for easy viewing, however there is no doubt the screen is much better this time round. A new movie-record key has been installed for HD video recording up to 720d. The actual joystick control doubles up to scroll with the mam menu and access a quick menu for four cusLcmisable controls, composed of exposure compensation, ISO, white balance and AF mode.
Usng the standard electronic digital zoom, it can be tricky to achieve precise focal lengths. Fortunately, the camera Ricoh also features step-zoom in 28, 35, 50, 85, 105, 135, 200 and also 300mm settings.

Ricoh CX6 zoom

Start-up time is 2. 5-3secs, which is a little slow. Shutter lag is minimal however.
For a camera only at that level, there are some sophisticated controls and shooting modes. For instance, the contrast-detection hybrid autofocus system constantly measures subject distance for claimed AF speeds as quick as 0. 1 sec. You will find seven different AF modes, including spot, multi-target and also face priority. The latter not just prioritises focus, but also the exposure and also white balance for detected faces. Manual focus enables precise changes.
Shooting modes include 5fps highspeed burst open, interval shooting and creative shooting modes, which usually now features bleach bypass as an option.
It takes a while to get round all that is on offer in the Ricoh CX6, but once set up to the user’s most frequently used settings the camera is speedy to navigate.
PERFORMANCE
Like the older models in the series that share its sensor, the Ricoh CX6 reaches the 20 marker on our resolution charts at ISO 100, and the 14 marker at ISO 3200, which is respectable. Image detail appears a little smudged when viewed at 100%, especially at ISO 400 and above.
A new ‘optical super resolution’ is obtainable in ‘weak’ or ‘strong’ settings, and applies further sharpening and tonal compression during processing to provide clarity to edge detail and better tonal range. However, I discover that detail is overprocessed and is best avoided. Work on the JPEG Tiles in post-production instead
For natural results, it is better to stick to the standard colour mode, simply because vivid is overpowering. Generally, auto white balance could be relied upon, although blue skies in sunny problems are cyan in tone
Autofocus is very quick in bright light, but in low-contrast conditions the actual contrast detection hunts for the AF point, which usually slows down the focusing process.

Ricoh CX6

Image sensor
1/2.3-inch CMOS sensor (total pixels: approx. 10.60 million)

Focal length
f=4.9-52.5 mm (Equivalent to 28-300 mm on a 35 mm film cameras. With step zoom set, option of 8 fixed lengths: 28 mm, 35 mm, 50 mm, 85 mm, 105 mm, 135 mm, 200 mm, and 300 mm.)

Recording Media
SD memory card, SDHC memory card (up to 32 GB), Internal memory (approx. 40 MB)
Eye-Fi card (X2 series) *5

Shutter speed 8, 4, 2, 1 – 1/2000 sec.

Operating temperature 0°C to 40°C

Sony NEX-3 Review | Compact Digital Cameras

digital cameras has thus far gone from strength to strength, with every subsequent release introducing increasingly revolutionary features and improved technologies. The recently-launched NEX-C3 is no exception. Boasting headline features such as a 16. 2-megapixel, Exmor APS HD CMOS sensor DSLR-sized, plus 720p HD movie recording capability, S. Sfps continuous capturing mode and a high-resolution 921, 000-dottilting LCD, the NEX-C3 certainly looks well-equipped on paper.
In the flesh, this small interchangeable lens camera doesn’t disappoint either it’s slim, fashionable and solid, with a mix of metal and tough plastic making up its sleek outer shell. Sporting an overall design that isn’t all that different to that of its forerunner – Sony NEX-3- precious lovers of any of the NEX system digital cameras should feel instantly at home with Sony NEX-3. The control layout really is easy, with just a small power switch, raised silver shutter release and playback button on the top panel. There’s no built-in flash or universal hotshoe, but a little rectangular cover flips open to reveal a proprietary connection that allows you to attach one of Sony’s purpose-built mini-flashguns provided in the box to the camera.

Sony Alpha NEX-3 Compact System Camera

The back panel is dominated by the NEX-C3′s big 16: 9-format tilting LCD, along with just two tiny lozenge-shaped silver buttons placed either side of a scrolling four-way d-pad. A further dedicated movie button is mounted on the sloping area that links the top panel with the back of the camera, plus a rubberised thumb pad teams with the textured, curved plastic front grip to provide a reasonably comfortable and secure-feeling hold.
Returning to the regulates, the two previously-mentioned buttons on the rear of the camera Sony NEX-3are unlabelled. Nevertheless, on powering up the camera their individual functions are revealed on-screen, together with the top control accessing the main menu system and the lower button calling up the built-in bank of capturing tips. The latter will prove very useful to first-time NEX camera lovers – especially those who are upgrading from a compact. The tips cover a range of techniques, such as basic explanations of how to hold the camera, avoid blurred photos and shoot movies for instance, as well as more complex skills. By default, the camera Sony NEX-3 judges the conditions, the exposure mode you’re using and the subject that you’re taking photos of and tailors the tips that it displays to suit. If you wish to look up tips on a particular subject, you can access the full contents of the tip list via the primary menu screen, where you’ll find options split into colour-coded areas covering portraits, landscapes, night views, close-ups and also subjects in motion.

Sony Alpha NEX NEX3

The four-way d-pad features a scrolling outer ring that lets you speed through the on-screen menus and also make quick adjustments to settings when working in the manual modes as an example. Pressing the central silver button calls up a virtual exposure mode dial on the LCD; after that you can either use the directional keys or scroll to’rotate’the graphic, with the name plus a short description of each mode appearing alongside as you navigate from the options. This technique works fine for the most part, but is undoubtedly slower than working together with a physical mode dial: a sacrifice made in order to preserve the streamlined dimensions from the camera that Sony claims to be the’smallest and lightest’in its class. One handy feature of note with the d-pad however, is the new facility to assign your own choice of function left and right directional keys – a welcome feature that improves handling.
Selling point
One of the Sony NEX-3 large selling points is its APS-C DSLR-sized sensor, which usually – although no guarantee of top-notch graphic high quality – has the potential to out-perform other cameras with smaller sensors, especially in terms of the level of detail captured and low-light performance. The NEX-C3′s 16. 2-megapixel sensor provides a higher resolution than its 14. 2 predecessor – a pretty significant increase – even though lack of built-in viewfinder or flash that many criticised the NEX-3 for is still prevalent.
The shooting modes on offer also remain the same, with the fully-automatic Intelligent Auto mode, plus eight different scene modes catering for novices, along with the usual Program, Shutter Priority, Aperture Priority and also Manual modes readily available for more advanced users. In the absence of any brand new shooting modes, the IAuto mode in NEX-C3 does offer some extra opportunities for customising the results the Sony NEX-3 produces, with the option of tweaking the colour temperature, brightness, colour saturation and also depth of field inside your shots – among others. This ‘Photo Creativity’feature acts as a useful introduction to some of the technical aspects of photography, with live previews of how the changes you’re making will affect the final result.
There’s also the facility to apply any of the camera’s Creative Styles – which alter the balance of the colours recorded in your images – plus a bank of 11 Picture Effects comprising Toy Camera, Posterization. Pop Color, Retro Photo, High Key and several black and white-selective, colour options. We found that some of these effects suited our personal tastes better than others, but all yield good results that live up to their descriptions and undoubtedly expand the creative possibilities for budding photographers. Happily, the Sony NEX-C3 also boasts Sony’s fully automatic Sweep Panorama mode, which yields superb results with minimal effort. The HD movie mode that the Sony NEX-3 incorporates remains the same as its predecessor’s, offering a top resolution of 1080 x 720p at 30fps and stereo sound. While this can’t compete with some rival’s Full HD 1080p modes, results are relatively smooth, nicely detailed and shouldn’t disappoint the casual user – although more’serious’enthusiasts might want to look a little further up the NEX camera hierarchy instead.
Performance-wise
, the Sony NEX-C3 is on a par using its forebear, starting up in around 2 secs and delivering quickly shot-to-shot times in Single shot mode. Switch to continuous burst mode and the NEX-C3 performs just a little slower than the NEX-3, thanks to its resolution-hike. However, it still reaches a respectable 5. 5fps at full resolution: sufficient to capture most moderately-paced action-packed situations. When it comes to image quality, the NEX-C3 is capable of generating accurately-metered images imbued with natural-looking colours by default, with plenty of options for customising the design of your shots tucked away in the menus, as we previously mentioned. Any exposure issues can be combated using Sony’s excellent Powerful Range Optimizer, or more advanced users can take matters into their own hands and apply exposure compensation manually instead. Low-light performance is on a par with that of your average entry-level DSLR, because of the camera’s APS-C sensor. Noise is kept well under control up to ISO 800, with usable results up to and including ISO 3200. ISO 6400 sees significant softening of fine detail, but shots are still suitable for printing little or sharing on the internet.

Sony  NEX-C3 Specifications

• Imaging Sensor
Imaging Sensor : Exmor™ APS HD CMOS sensor (23.4 X 15.6mm)
Processor : BIONZ™ image processor
Anti Dust : Charge protection coating on Low-Pass Filter and electromagnetic vibration mechanism
Focal Length Conversion Factor : 1.5x
Color Filter System : RGB primary color filters
Pixel Gross : Approx. 14.6 megapixels
Effective Picture Resolution : Approx. 14.2 megapixels
• Recording
Media Type : Memory Stick PRO Duo™/Pro-HG Duo™/PRO-HG HX Duo™ media SD, SDHC and SDXC memory card
Color Space : sRGB, AdobeRGB
Still Image Mode : JPEG (Standard, Fine), RAW, RAW+JPEG
Still Image Size 16:9 : L (12M): 4592 X 2576 M (6.3M): 3344 X 1872 S (2.9M): 2288 X 1280
Still Image Size 3:2 : L (14M): 4592 X 3056 M (7.4M): 3344 X 2224 S (3.5M): 2288 X 1520
Video Resolution : MP4 HD: 1280 x 720/ 30p MP4 VGA: 640 x 480/ 30p
Audio Format : MPEG-4 AAC-LC
Video Format : MP4 (MPEG-4 AVC (H.264))
• LCD Display
LCD Type : 3.0” TFT Xtra Fine™ LCD (921,600 pixels) w/TruBlack™ technology
• Focus Control
Focus System : Contrast AF
Focus Points : 25 points
AF Modes : Single-shot AF, Continuous AF, Direct Manual Focus, Manual Focus
Focus Area : Multi Point AF (25 points), Center Weighted AF, Flexible Spot AF

• In the Box
HVL-F7S detachable flash
Power cord
USB cable (Mini B)
SEL1855 E-mount 18-55mm lens
Case for flash
NP-FW50 Lithium ion rechargeable battery
CD-ROM
Lens cap
BC-VW1 Battery Charger
Shoulder strap