Is a Compact SLR Important to You ?

Posted on August 7, 2011 by digital camera

 

 

 

Is a Compact SLR Important to You
Compared to point-and-shoot digital cameras, all dSLRs (digital single-lens reflex cameras) are a bit on the chunky side.
However, some are more compact than others, particularly the Four Thirds models from
Olympus and Panasonic. A few, particularly pro models with large battery packs and
vertical grips, border on the huge. Before you lay down a large hunk of change for a digital
camera, play with it to make sure it’s a size that you’ll be comfortable lugging around
with you. The difference in weight alone can be significant if you’re walking around all
day with a camera strap around your neck. If you’re the sort of photographer who would
have been happy with a small, lightweight, virtually silent Leica rangefinder camera
(which nevertheless produced superb pictures), you might also prefer a smaller dSLR.
Heck, you might even want the Leica M9, a non-dSLR that looks and handles like a
rangefinder film camera, but produces 18 MP digital images (and will set you back
$7,000, plus more for lenses).
In that vein, don’t forget to take into account the size of the lenses you’ll be using, too.
My favorite digital SLR has a 28mm-200mm zoom lens that was touted, on introduction,
as the smallest in the world. I’m very happy I have that compact lens with such an
extensive zoom range, because for many photo outings it’s all I need, and I can avoid
carrying around a weighty camera bag and a half dozen other lenses. I actually went to
Europe several years ago carrying only that 28-200mm lens and a 17-24mm wide-angle
zoom, and two dSLR ( digital single-lens reflex cameras ) bodies. My entire kit fit into a compact shoulder bag that was easy
to tote with me everywhere I went.
If you need a compact digital SLR, check out the size and weight of the lenses you are
likely to use at the same time you examine the heft of the camera body itself.

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Canon EOS 550D / Rebel T2i white balance

Posted on August 7, 2011 by digital camera

Set the white balance Canon EOS 550D / Digital Rebel T2i
White balance correction is a process of rendering exact colors inside your final
picture. A lot of people don’t even notice that light offers different color properties
because of the human eye auto-magically adjusts to several color temperatures, so
rapidly, in fact, that anything looks correct in a matter of milliseconds.
If color film reigned over the world, professional photographers would select which usually film to use depending on just what their light source was going to be. Essentially the most common film was balanced for sunny days, however you may possibly also buy film that has been color balanced for tungsten light sources. Almost every other lighting situations needed to be handled by using color filters on the lens. This process was important for the photographer’s final picture to show the right color balance of a scene.

A person’s digital camera ( Canon EOS 550D / Digital Rebel T2i ) offers the ability to perform this specific same process automatically, nevertheless , you can
also decide to override it and set it manually. Suppose which method we can
use? You’re catching on quickly! Once more, a person’s photography or pictures should be supposed to be about maintaining control over exactly what influences your final picture.
Happily, you don’t have to have a deep knowledge of color temperatures to control
your own camera’s white balance. The options are made to you in terms which might be easy to get on with and that will make elements pretty simple.

Your white balance choices are usually:
• Auto: The default location to your digital camera (Canon EOS 550D / Digital Rebel T2i). It might be the setting used by all of the
Basic settings
• Daylight: Insolvency used for basic daylight/sun-lit shooting.
• Shade: Made use of when working in shaded places which might be still employing sunlight as the dominant light source.
• Cloudy: The options for overcast or really cloudy times. This specific and the Shade setting will eliminate the actual blue color cast in the photos.
• Tungsten: Made use of for any celebration where you’re using usual household-type
bulbs on your light source. Tungsten is an extremely warm light supply and can result in
a yellow/orange cast in case you don’t correct for it.
• Fluorescent: Helpful to get rid of the particular green-blue cast that may result from using usual fluorescent lights as your own dominant light source. Several fluorescent lights
are actually balanced for daylight, which usually would allow you to utilize the Daylight
white balance options.
• Flash: Utilised when ever you’re with all the built-in flash or with a flash on the hot
shoe. You need to select this white balance to adjust for any slightly cooler light
that proceeds from using a flash. (The hot shoe is a small bracket situated on the
top of your digital camera, Canon EOS 550D / Digital Rebel T2i which usually rests just above the eyepiece. This specific bracket is used for
affixing a better flash to the Canon EOS 550D / Digital Rebel T2i
• Custom: Signifies that you’re having a customized white
balance which is modified for a particular light source. In the event you
know very well what the color temperature of your light source is actually, you
can certainly manually build a white balance setting which is specifically
for that light source.
Your digital camera has two different “zones” of filming settings to
decide on. These are located on the Method dial, and they’re

Canon EOS 550D / Rebel T2i shooting modes are divided into the Basic zone and the Creative zone.

Canon EOS 550D / Rebel T2i shooting modes are divided into the Basic zone and the Creative zone.

known as the Basic and also Creative zones. Each of the Basic modes, which might be identifiable by small symbols, are automatic in nature and also usually do not allow for much, if virtually any, customization. The Resourceful modes, defined by the letter emblems, allow for a lot more control by the photographer (Figure ).

 

 

Canon EOS 550D / Rebel T2i WHITE BALANCE

Canon EOS 550D / Rebel T2i WHITE BALANCE

 

 

 

 

 

SETTING THE WHITE BALANCE

1. After switching on or waking the digital camera, select one of the shooting modes from the Creative area such as P (you can’t choose the white balance when using any of
that Basic modes).
2. Click the WB press button on the back of the camera ( Canon EOS 550D / Digital Rebel T2i )to start up the white balance
menu. It is the top switch on the Cross keys.
3. Utilize the left/right Cross keys to choose the
proper white balance to your shooting
situation.
4. Click the Set button to lock inside your selection.
5. Look at the digital camera display to ensure that your
proper white balance is chosen.

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Panasonic lumix DMC G3 (16 MP Micro Four-Thirds Interchangeable Lens Camera with 3-Inch Touch Screen LCD )

Posted on July 31, 2011 by digital camera

 

panasonic dmc g3

Touchscreens can be resistive or I capacilive. The latter are glass panels coated in conductive material. Skin conducts electricity, so the screen detects touch. Resistive screens are made up of plastic layers - when two of these meet after pressure from a finger or stylus, there's an electrical connection and the touch is registered. The G^s screen is resistive, but you won't often have to jab it repeatedly.

The compact-styled GF1 proved popular as a ‘take-anywhere* camera for enthusiasts, but the GF2 left these users nonplussed. This was largely down to the fact that Panasonic simplified the handling, removed several direct control buttons and introduced touchscreen control. This may have been meant to appeal to novices, but to enthusiasts it felt like dumbing down. Panasonic’s modern-day classic reportage camera appeared to have been transformed into a snapper’s model — albeit a very well-built one.
Panasonic’s new Micro Four Thirds camera, the Lumix DMC-G3, however, could be the model Panasonic lumix DMC GF1 and Panasonic lumix DMCG2 users have been wailing for. Il combines the compact-camera styling of the GF line with the more advanced handling and control of the mini-SLR-like G-scrics. Even belter news is that the Panasonic lumix DMC G3 has the G2′s articulated, touch-sensitive LCD and an electronic viewfinder, so there’s no need to buy the optional finder like with the GF2.

Panasonic DMC G3 Review

Panasonic DMC G3 Review

FEATURES
Interestingly, when Panasonic announced the Panasonic lumix DMC G3 its effective resolution was 15.7Mp, but within 24 hours a firmware upgrade increased this to 15.8Mp. Panasonic has used a new Live MOS sensor, with novel circuitry, claimed to work in tandem with noise suppression within the photodiode to give cleaner images.
Meanwhile, the Panasonic lumix DMC G3 uses the same Venus Engine VI FHD processor as the top-end DMC-GH2. This enables the Panasonic lumix DMC G3 to shoot at a maximum rate of 4fps, or 20fps at 4Mp.

Is this new 15.8Mp compact system camera the ideal choice for candid photographers? Angela Nicholson hits the streets…

The Panasonic lumix DMC G3 is aimed at more experienced photographers than the GF2, but there are 17 scene modes, Intelligent Auto plus (iAt) and the Creative Control modes (previously My Color) for simplified shooting.
Experienced users are likely to prefer the Photo Style modes (previously Film modes) to the Creative Control options because they can be used in any of the advanced shooting modes (PASM). It’s possible to change the contrast, sharpness, saturation and noise reduction applied with the options: Standard, Vivid, Natural, Monochrome, Scenery, Portrait and Custom.
Because it’s a mirror-less camera, the Panasonic lumix DMC G3 uses contrast detection for autofocusing, and with the Lumix G Vario 14-42mm £/3.5-5.6 ASPH MEGA OIS kit lens, Panasonic claims the Panasonic lumix DMC G3 can achieve sharp focus in just 0.18 sec. The coverage of the AF system has also been extended to operate over the Panasonic lumix DMC G3′s entire imaging area, and AF points can be positioned right up to the edge of the frame.
As well as Panasonic’s usual AT Tracking, 23-Area, 1-Arca and Face Detection AF modes, the Panasonic lumix DMC G3 has a new Pinpoint AF mode. It’s similar to 1-Area AF, but the target area is magnified on screen as the shutter is fired so that you can check the correct part of the scene is sharp.
No compact system camera or SLR is complete without video-recording capability, and the G3 can shoot full 1-ГО (1,920×1,080 pixels) as AVCHD or Motion JPEG files, with output at 25fps or 30fps.
The G3 has lots of features that will appeal to enthusiasts. Controls such as the Touch Shutter enable the user to touch the screen to activate focusing and fire the shutter, enabling much easier photography from unusual positions. It’s also great for street and candid work.
BUILD AND HANDLING

“The G3 is the sort of camera that most enthusiasts can pick up and use straight away”

Although it’s around 25 per cent smaller than the G2, the C3′s body feels solid. It doesn’t seem excessively heavy, but it isn’t flimsy cither.Compared with the G2, the grip is the most noticeably shrunken element, but it’s still pronounced enough to make the camera comfortable to hold during and between shots.
One of the great things about the Panasonic lumix DMC G3 is that there’s more than one way to adjust the most frequently used features. The sensitivity settings, for example, can be accessed via the shortcut button on the back of the camera, or the customisable Quick Menu. The Quick Menu options can be reached by pressing the Q. Menu button (which doubles as Function button 2) or the icon on the touchscreen. Once the Quick Menu screen is activated, it can be navigated by the touchscreen, the rear dial or the buttons on the back of the camera — or a mix.
You could be forgiven for thinking that, like the GF2, there’s no exposure or focus lock (AE/AF lock), but by default the Display and Function (Fn) button 1 is set to AE/AF lock. Function button 2 is assigned to accessing the Quick Menu, but there’s also an on-screen icon for that, so it’s no great loss to change its function. However, with a total of 17 functions, some may feel a little short-changed by having only two function buttons to which they can be assigned.
Like the Panasonic lumix DMC G2, the Panasonic lumix DMC G3 has a three-inch, 460k articulated LCD. As usual, reflections become a problem in bright ambient light, and this is made worse by fingerprints and smudges.
The Panasonic lumix DMC G3′s 1,440k EVF is one of the best available, and details are sharp and clear, but the photographer is divorced from the world around them. The image is clearly digital, and colour drag is an issue, so rainbow colours follow the viewfinder information when the camera is moved.
The G3 is the sort of camera that most enthusiasts can pick up and use straight away, but it takes a little longer to get to know it and customise it to your preferences. It’s worth experimenting with the various options until you find the best set-up.

Panasonic LUMIX DMC-G3 16 MP Micro Four-Thirds

Panasonic LUMIX DMC-G3 16 MP Micro Four-Thirds Interchangeable Lens Camera with 3-Inch Touch Screen LCD

PERFORMANCE
At sensible printing sizes, images have plenty of detail and smooth gradations. Scrutinising them at 100% (or actual pixels) on-screen reveals a respectable level of detail. It’s impressive how little chroma noise is visible in JPEG images taken across the G.Vs sensitivity range of ISO160-6400. Even in the shadows of images taken at ISO6400 there’s no sign of coloured speckling. Howcver,shots taken at ISO1600 or above are a little softer than those from the lower sensitivity settings. Zooming to 100% reveals a watercolour-like texture to ISO6400 and ISO3200 JPEGs, but A3 prints are still a realistic proposition. As expected, raw files have more chroma noise and detail. Red speckling is still slightly more noticeable in the shadows than blue or green, but the noise’s colour and spatial distribution is more even than from past cameras.
Colours are generally well-reproduced, but in the Standard Photo Style, greens can look too vibrant. It’s a shame the supplied raw conversion software (SILKYPIX Developer Studio 3.1 SE) doesn’t allow for switching between Photo Styles.
Panasonic lumix DMC G3 users can have confidence in their camera’s auto white balance system because it produces accurate results in a wide range of situations, even mixed artificial light. The only time it faltered was in woodland shade towards the end of the day, when it made images look a bit too neutral. Using the Shade setting made the shots too warm and brownish. Fortunately, it’s easy to set a custom white balance value on the Panasonic lumix DMC G3.
There were only a few occasions when it was necessary to use the exposure compensation facility to adjust the exposure away from that set by the Multiple metering system. It’s clear that the general purpose light meter isn’t easily fooled by especially light or dark areas within the scene, and the Panasonic lumix DMC G3 generally turns out well-exposed results.
The Intelligent D-Range Control (I-Dynamic) may be set to one of three levels (or off), but only applies the brightening effect to the level the camera calculates to be appropriate — up to the level selected by the user. Darker details arc lightened well and subtly, and there’s no obvious colour shift, haloing or increase in noise. There’s no reason why the Intelligent D-Range system shouldn’t be left on its higerst setting  for must shots.
Similarly, the advanced Intelligent Resolution (IR) system applies different processing to edges, textures and areas of smooth gradation on a pixel-by-pixel basis, enhancing detail without introducing artefacts in the even-toned sections.
Panasonic is justifiably proud of the G3′s AF system. It’s often quick and accurate. It’s a contrast detection system, but it’s very fast — apart from in low light. The responsiveness of the Touch Shutter option is especially impressive, and it’s a bonus when working at uncomfortable angles. It’s also useful for street or candid photos because it’s less obvious that you’re shooting.
The full-time AF in the video-recording mode works fairly well. As the camera moves, the subject under the active AF point drifts smoothly into focus at a speed appropriate for video work. It can drift a little in and out of focus as it finds the right point, but is generally pretty good.
OUR CONCLUSION
Panasonic has a winner on its hands. The Panasonic lumix DMC G3 combines the best elements of the G2 and GF2, and some from the GH2, and is likely to find favour with enthusiasts, especially those who like street and reportage photography.
With the 14-42mm kit lens or a pancake optic, it’s a great camera to slip in a bag or carry in your hand, ready to capture everyday goings-on as well as holidays and days out.
Panasonic has made strides in noise control and low light performance, but the G3′s strength is in its small size and high-quality images in’average’ lighting conditions.
It can be hard to identify what you like about the images a camera produces, and while the results from the Panasonic lumix DMC G3 may not be perfect, they have a lovely, film-like quality .

 

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canon 11OOD/ Rebel T3 VS nikon D3100

Posted on July 30, 2011 by digital camera
canon-eos-t3-1100d vs
canon-eos-t3-1100d privew

canon’s 11OOD is a major update of the 1000D, and also demonstrates how far technology has moved in the previous three years. Like the other Canon SLRs in the collection, DIGIC 4 image processing enables 14-bit colour depth within raw files.
Exposure metering is from Canon’s iFCL (intelligent Focus Colour Luminance) process, which takes focus and also colour information into account and also scene brightness. Top of the sensitivity limit rises from ISO1600 to 6400, however sensor resolution is up from 10. Mp, to only 12. 2Mp, meaning the canon 11OOD has the lowest resolution in the group. Even though the canon 1000D had no video-capture facility, the canon 11OOD deals with only 720p.
“The Basic+ system successful, adding versatility to scene modes by giving ‘ambience’ selections”
PERFORMANCE
The canon11OOD feels a bit cheap when compared to nikon D3100, but the revised control layout is implemented well, and also the Quick Control menu gives access to most of the important filming parameters via the LCD. The LCD itself is a bit small at 2. 7 inches, and is known for a low resolution of 230k. It also lacks the pivoting abilities of the screen fitted to the 600D and 60D.
On-screen help is available to support beginners and the Basic* system works well, adding versatility to scene settings by offering ‘ambience’ selections such as vivid, soft and also intense, as well as enabling colour balance adjustments. These kinds of extras and the Creative Auto shilling mode assistance to bridge the gap between automatic shooting and also advanced settings. Photo quality is similar to more expensive Canon SLRs, and also the modest sensor resolution helps to ensure excellent dynamic range and low image noise at high ISO controls. Continuous-drive speeds are comparatively disappointing, shedding from 3fps in JPEG quality modes to 2fps for raw images.

Canon Rebel T3 / EOS 1100D VS nikon D3100
Canon Rebel T3 / EOS 1100D VS nikon D3100

Canon EOS 1100D

-Step-up to DSLR image quality with a large, APS-C sized 12. 2MP CMOS sensor
- ISO 100-6400 ISO sensitivity for low-light, hand-held pictures without flash
- Wide-area 9-point auto focus to get precise rapid focusing
- DIGIC 4 with 14-bit picture processing for improved color gradation and also tonal range
- 63-zone iFCL exposure metering program for accurate light measurement.

- WITH 18-55MM VR
- IMAGE SENSOR: APS-C CMOS (22.2×14 7mm)
- IMAGE RESOLUTION: 12.2 mega pixel
- LCD: 2.7 ing TFT (230.000 dots)
- STORAGE: SD (SDHC & SDXC)
- WEIGHT: 496g (with battery and card)

Nikon D3100

Nikon D3100 Digital SLR
Nikon D3100 Digital SLR Camera

14.2 Megapixel DX-format CMOS Image Sensor
Full 1080p HD Cinematic Video with full-time autofocus and sound
Fast 11-point Autofocus System
Easy-To-Use—Featuring Nikon’s Guide Mode

Sensor Size : 23.1 x 15.4mm

Image Sensor Format : DX

Image Sensor Type : CMOS

Image size (pixels) : DX-format
(L) 4608 x 3072
(M) 3456 x 2304
(S) 2304 x 1536

Dust-reduction system : Image sensor cleaning , Airflow Control System , ,Image Dust Off reference data (optional Capture NX 2 software required)

File Format
JPEG: JPEG-Baseline compliant with fine (approx 1:4), normal (approx 1:8), or basic (approx 1:16) compression
NEF (RAW) + JPEG: Single photograph recorded in both NEF (RAW) and JPEG formats

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MANFROTTO 468MG HYDROSTATIC BALL HEAD

Posted on July 30, 2011 by digital camera

MANFROTTO 468MG HYDROSTATIC BALL HEAD

MANFROTTO 468MG HYDROSTATIC BALL HEAD

the MANFROTTO 468MG HYDROSTATIC BALL HEAD

The 468MG can handle pretty much whatever you want to throw at it. It’s designed to support large SLRs or mediumformat cameras fitted with heavy telephoto lenses, and can handle a weight of up to 16kg –more than enough for even the heaviest DSLR. Themain
body of the head is formed froma solid casting of light but extremely strong magnesiumalloy, with a large 4cmdiameter Tefloncoated
aluminiumball. The body has two slots allowing the camera
to be tilted up to 90º in either direction, and it has a locking lever on
one side which lets the whole head rotate on its base, so that the
camera can be panned smoothly through 360º.
So it’s tough and flexible, but whatmakes the 468MG stand out is
the two-part control on the side of its body. This consists of a large
rubber-coated knob which locks or releases the ball. It has a very
short travelling distance, whichmeans the ball goes frommoving
freely to locked rigid in about a quarter turn, which is great for rapid
adjustments. In the centre of this knob is an adjustable friction
control, which regulates how easily the ballmoves when released.
By careful adjustment of this control it is possible to set the tripod
up in such a way that it will provide just enoughmovement to track
your subject, but enough rigidity for amovement-free shot.
As well as this you get Manfrotto’s usual bomb-proof build
quality, with all themetal parts coated in a tough scratch-resistant
matt black powder finish. It’s not cheap, but it’s worth investing in.

Dimensions:  7.8 x 4.1 x 4.8 inches ; 1.5 pounds

Tripod Head:  Pan / TiltPan 360°
Tilt +90°-90°
Tilt Drag: Friction setting helps balance camera weight Independent Pan & Tilt locks

can handle a weight of up to 16Kg

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How do I fix wonky horizons

Posted on July 30, 2011 by digital camera
fix wonky horizons?

solving - fix wonky horizons

I have recently read and studied some of this summer’s holiday pictures from Scotland, and I’m hoping the particular one of the problems I had when taking these individuals may be resolved in Photoshop Elements. Any time shooting the sea I endeavoured to receive the horizons straight, although what resulted were several photos with near-perfect results. Can (finish this specific off in Elements?

Solving sloping horizons could not be simpler in Elements. Together with your image open, select the Straighten tool from your toolbar. A drop down menu will seem at the top of the work area, which allows you to select whether or not you want the change to trim the resulting photo, to keep its original size, or grow or shrink the canvas to fit. The final two will leave empty breathing space around the edges of your respective rotated photo, so for minor adjustments its greatest to pick the trim choice.
Now simply move your mouse along the horizon to pull a straight line, so when you let go the photo will rotate according to the horizon.
Remember pictures taken with a relatively wide lens could possibly have suffered with a little distortion, which will must be rectified before you can straighten any horizon; this can be executed through the Correct Digital camera Distortion option inside Filters tab.

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PROFOTO PRODAYLIGHT 400 AND 800 AIR

Posted on July 28, 2011 by digital camera

PROFOTO PRODAYLIGHT 400 AND 800 AIR

ProDaylight 400 Air

ProDaylight 400 Air

Cool things that look good and work well often come from
Sweden, and the latest launches fromStockholm-based
Profoto fulfil all of those positive national characteristics,
and then some. The ProDaylight 400 Air and ProDaylight
800 Air aremetal halide base, continuous light sources
equipped with a state-of-the-art cooling systemwhich
is designed to eliminate excessive noise. Designed for
heavy-duty use, with toughmetal housings and
ballasts, they look good and are both solid and reliable.
The ProDaylights also feature Profoto’s ‘Air’ radio remote
capability, which gives photographers themeans to
activate or deactivate and dim50% of the light. By using
Profoto’s studio software, you can create and coordinate
amultiple lighting setup, which includes numerous units
of flashes and continuous lights fromyour computer.
Well thought-out, tough and good looking, and they don’t
come in a flat-pack box. Perfect.

PROFOTO PRODAYLIGHT 400 AND 800 AIR

PROFOTO PRODAYLIGHT 400 AND 800 AIR

Technical specifications ProDaylight 400 Air
Size 15.4 x 5.1 x 7.1 IN
Weight 5 LBS .07 OZ
Wattage 400 W
Color Black
Lamp Type GE CSR 400 HR UV-C
Lamp Life 750 hours
Color Temperature 5600 Kelvin
Ballast Voltage 100-120 V 50/60 Hz
Ballast Flicker Free Electronic 400W
200-240 V 50/60 Hz
Pro Daylight Ballast

Technical specifications ProDaylight 800 Air
Size 15.4 x 5.1 x 7.1 IN
Weight 6 LBS .17 OZ
Color Black
Lamp Type GE CSR 800 HR UV-C
Ballast Flicker Free Electronic 800W
Ballast Voltage 100-120 V 50/60 Hz
Wattage 800 W
Lamp Life 750 hours
Color Temperature 5600 Kelvin
200-240 V 50/60 Hz

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medium format pentax 645d

Posted on July 28, 2011 by digital camera

PENTAX 645D

PENTAX 645D

Pentax-645D-Front camera

A full five years after announcing its
development, 2010 has seen Pentax finally unveil its
much anticipated 645Dmedium-format digital camera – and
to reveal that it will finally be available in the UK by the end
of the year, having been available only in Japan. It features a
40MP, 44 x 33mmCCD image sensor, 921k-dot 3in LCD
and is compatible with the existing PENTAX 645 systemlenses.
We’ve finally got our hands on one (see our full pro review
in our January 2011 issue), and it seems to have been
worth the wait. It features a lightweight, but solidly built,
body comprising a magnesium-steel alloy frame,
reinforced glass LCD panel protectors and a well-produced
dustproof, weather-resistant construction.
The high-performance CCD image sensor has, perhaps
surprisingly, been produced by Kodak and measures
44 x 33mm – that’s approximately 1.7 times larger than
its 35mm-format counterparts. The newly-designed
shutter unit has a top speed of 1/4,000sec, which Pentax claims can
withstand as many as 50,000 shutter releases. The PENTAX 645D
also boasts dual SD/SDHC card slots, a newly-designed, 11-point wide-frame
AF sensor, a 77-segment multi-pattern metering system
(for super-high-accuracy light metering), the DF-80
Natural-Bright-Matte focusing screen… and on, and on
and on. Will we fall in love with the PENTAX  645 in the same way we
did the analogue 67? Only time will tell. But for the
moment we are just glad that it exists and that it’s here.

40 megapixel medium format CCD sensor PENTAX 645D

40 megapixel medium format CCD sensor

40 megapixels
A 40 Megapixel medium format CCD sensor (44x33mm) CCD sensor provides a highly regarded resolution of 7264×5440 pixels, which is perfect for ultra-high resolution imaging, exceedingly large printing applications, and also outstanding cropping overall flexibility.

• 40 million effectiv pixels
• 40.1 million total pixels
• 44 x 33 mm CCD sensor
• 6.0 μm x 6.0 μm pixel size

Image sizes     • 7264 x 5440 pixels
• 6528 x 4896 pixels
• 5376 x 4032 pixels
• 4224 x 3168 pixels
• 3072 x 2304 pixels

Large 3 in . LCD
Large, 3 in . LCD display screen, with anti-reflective layer and also reinforced glass surface, features 921, 500 dots of quality, wide angle viewing, and also 32X picture review magnification for easy on-camera picture proofing.

Lens Compatability
Compatibility having new D FA autofocus lens and also older 645 lenses guarantees a wide selection of PENTAX glass for a wide variety of photographic applications.

11 point SAFOX IX+ autofocus process
Highly responsive and also accurate 11 point SAFOX IX+ autofocus system includes light wavelength sensor for improved focus speed and also reliability, also within different lighting conditions.

Magnesium alloy body

Magnesium alloy body PENTAX 645D

body PENTAX 645D Magnesium alloy

Magnesium metal covers around any rigid aluminum diecast chassis gives durability and also thermal stability while minimizing weight.

77 segment metering system
Highly accurate 77 segment metering method for perfectly exposed graphics even in difficult lighting.

77 segment metering system

77 segment metering system

14 Bit RAW data files in PEF in addition to Adobe DNG
Strong, 14 Bit RAW files in PEF in addition to Adobe DNG formats retain great details in highlight and also shadow areas of an picture, and offer a high level of overall flexibility when processing RAW data files.
File Formats:    Still: RAW (PEF, DNG), JPG (EXIF 2.21), DCF 2.0 (design rule for camera file system)

1. 1 frames for each second at full 40 megapixel resolution
Consecutive filming up to 1. 1 frames for each second at full 40 megapixel resolution, permits action photography in a very medium format camera system.

Dual slot SD/SDHC storage device
Dual slot SD/SDHC memory card help support ensures fast and also reliable storage for high definition picture files, simultaneously saving within multiple formats, assigning pictures to different cards based on their original format, and also easily holding one memory card in source.

PENTAX 645D Fully weather sealed

Fully weather sealed PENTAX 645D

Fully weather covered
Fully weather covered and also coldproof design resists rain, snow, dust, and also other environmental hazards in the course of field use, to keep the PENTAX 645D operating from peak performance levels.

100-1600 ISO
ISO 100-1600 provides great existing-light photo catch with excellent noise performance.

Highly flexible white balance
Highly flexible white balance choices include several frequent presets, 3 Kelvin color temperature configurations, and 3 manual saves, every with WB fine adjustment tuning.

All-glass, trapezoid pentaprism viewfinder
All-glass, trapezoid pentaprism viewfinder with compatible focusing screens offers a 98% field with view viewing angle for accurate framing applications.

Multiple JPG picture processing modes
Multiple JPG graphic processing modes include Bright, Natural, Portrait, Landscape, Vibrant, Muted, Reversal Film, and also Monochrome, for high quality JPG output not having extensive computer enhancement and also manipulation.

PENTAX 645D

PENTAX 645D

In-camera HDR image take
An in-camera HDR (high dynamic range) image capture function blends 3 consecutive frames of ranging exposures into a single, perfectly blended thoroughly image, maximizing detail within all tonal degrees.

Mirror dampening hardware
Mirror dampening hardware is applicable a braking action to the mirror swing, minimizing this effect of digital camera shake and noise levels towards image capture process.

Mirror Lockup function
Mirror Lockup perform prevents blur caused by that movement of the mirror during the exposure, making certain the sharpest possible picture capture for professional-caliber applications.

HDMI output
HDMI output with regard to high resolution image display on HDTVs.

Digital Level function
A Digital Levels function platforms the vertical and horizontal inclination of the digital camera, ensuring captured photos remain level towards horizon.

High capacity Li-Ion battery
High capacity Li-Ion battery offers up to 800 photos in typical shooting ailments.

Weight     • No battery: 1450g (49.5 oz)
• With battery and 2 SD cards: 1482g (52.3 oz)

Pentax-645D

Pentax-645D review

 

 

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CANON 4K CONCEPT CAMERA AND THE CANON CROSS MEDIA STATION

Posted on July 28, 2011 by digital camera
CANON 4K CONCEPT CAMERA AND THE CANON CROSS MEDIA STATION

CANON 4K CONCEPT CAMERA CANON CROSS MEDIA STATION

CANON 4K CONCEPT CAMERA AND THE
CANON CROSS MEDIA STATION
Everyone involved with convergence is talking about it, and the
question that once was a ‘what if?’ has become a ‘when?’Will I
be able to shootmoving images and grab a still to the quality of
a conventional still?Well Canon’s latest concept compact 4K
camera could be the next step on the path. Canon says it will
never look like the conceptmodel it has created, but who knows?
It’s all questions at themoment, but surely the answermust
be around the corner (just read our editor’s interview in our
November issue with Rainer Fuehres, head of Canon Consumer
Imaging at Canon Europe). The working conceptmodel that
Canon has been sending around the globe shoots 4K video at
60fps using a single 2⁄3in CMOS sensor. It’s not a pro piece of kit,
but stay tuned for the beginning of the ‘Canon versus RED’ war
over the future of ultra high-definition video.
Like buses, when one comes along, another is sure to follow,
and the same could be said of Canon concepts. Following on from
the 4K is the Cross Media Station, and the possibility of a wire-free
one-stop photo work solution.
You get back froma shoot, your camera batteries are dead and
yourmemory cards full after a long day’s shooting. You walk in the
door, put your Canon camera down on to the Canon Cross Media
Station and it downloads all of your images and video while
charging the battery. No wires, no sockets, no plug-ins! Just a
blue light to tell you all is well. If Canon could get it to send your
images to a computer, backup hard drive and client too… now,
that’s what we call a workflow solution! CANON 4K CONCEPT CAMERA

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GITZO BASALT TRIPOD SERIES

Posted on July 28, 2011 by digital camera
GITZO BASALT TRIPOD SERIES

tripod GITZO BASALT TRIPOD SERIES

The science of tripods always seems to boil down to two key elements: strength and eight. Based on aerospace technology, Gitzo’s latest development of a new high-performance basalt fibre tube seems to have taken both of these elements to new levels of perfection. The scientific bit is that Gitzo starts with raw fibres which they wet in a special resin and then pull through a high-temperature core that generates the tube. This works perfectly with 6X carbon fibre tubes, while basalt fibres absorb a smaller quantity of resin and this reduces tube density and performance. To overcome this, Gitzo has developed a new technology to boost a higher quantity of resin into the fibres and increase the tube performance.Whatever that all means, what we know is that it produces a great range of tripods that we don’t need an assistant to lift and that will take the inevitable knocks. Oh and, just as importantly, they look great in black and orange also.Whoever thought that tripods could be so sexy?

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