Photography Digest

Note: because of the many operational similarities between the E-5 and the E-3, this review does not contain the standard 'body' and 'operation and controls' pages which would normally be found in a dpreview in-depth review. For a full picture of how the E-5 handles, we strongly suggest that you read this review alongside our in-depth review of the E-3, published in 2008.

Taking what could most politely be described as a 'considered' approach to product upgrades, late last year Olympus lifted the curtain on the third generation of its professional SLR, in the form of the much anticipated E-5. Olympus introduced the world to the first Four Thirds camera, the E-1, back in June 2003, and finally got round to updating it with the E-3 four years later.
It is perhaps indicative of where Olympus's priorities lie - or the way the market is headed - that whereas the E-3 took the E-1 back to the drawing board and introduced several new features, the E-5 is probably best described as a warm-over of its predecessor. It's also interesting to note that it benefits from a 'trickle up' of technology from the latest developments in the company's Micro Four Thirds cameras - an unusual situation for what is, effectively, the hero product in the E-system range.
The long delay has caused some wild speculation about the E-5, borne not out of dissatisfaction with the existing model (in fact most E-1 and E-3 users are still happily taking pictures with their 'old' cameras), but, I suspect, out of a need to see Olympus competing with the 'big boys' at this level, and the (related) need for a clear sign that it hasn't abandoned Four Thirds in all the excitement surrounding the mirrorless system.

The E-5 sat here between two of its most obvious competitors (in spec terms): the Nikon D300s and Canon EOS 7D.

At first glance the E-5 (and the lack of any other E-system camera announcements) is unlikely to calm those fears; if anything it confirms that precious little R&D resource is going into the reflex system. Dig a little deeper, however, and you realize that the E-5 is a perfectly sensible upgrade that takes an excellent camera and addresses most all the complaints and offers, according to the marketing blurb, the best image quality ever seen in an Olympus DSLR. It also throws in a nice sprinkling of must-have features (such as 720p movie mode).
The E-5 is, without a doubt, a camera aimed at the Olympus faithful, designed (as described to us) to 'finally offer image quality to match that of Zuiko lenses'. Olympus knows that the E-system lenses are the jewel in its crown and isn't going to abandon that - or its users. The future for Zuiko Digital lens owners might not be a reflex camera (we've had strong hints that a common live view only FT / MFT platform lies ahead), but Four Thirds isn't going away.

Compared to E-3 - key differences

Evolutionary rather than revolutionary, the E-5 is, effectively, an E-3 with a bigger screen, an updated sensor and processor and a few new features. Physically the only changes are a spot of button rearranging (necessitated by the larger area of the screen) and the long-overdue replacement of the redundant xD card slot with an infinitely more useful SD version. Inevitably, after three years there's a lot of feature enhancements, though these are (almost) all lifted from the latest Micro Four Thirds models.
The thing Olympus is really pushing with the E-5 is image quality. It's not a new sensor (from what we can tell this is almost certainly the same as the one in the E-PL1 and E-PL2), but it does sport a redesigned (for which read lighter) Low Pass Filter (with moir� removed by the processor) and a new 'professionally tuned' Image Engine (The TruPic V+). The combination of Zuiko Digital lens, the new sensor and the new processor is claimed to offer image quality better than any 12MP APS-C camera, and, according to Olympus, many with even higher pixel counts.
Let's have a look at the main changes:

• New sensor (12MP vs 10MP Live MOS)
• New TruPic V+ processor (E-3 was TruPic III)
• Large 3.0" 921k vari-angle screen
• Fast Sensor AF (inc Face Detection)
• 720p movie mode (AVI M-JPEG) + Audio recording
• HDMI and Stereo Mic connections
• Art Filters (10, including new Dramatic Tone Filter)
• ISO 6400 top sensitivity (vs E-3's ISO 3200)
• More customization options
• Redesigned color-coded menu system
• New features including Level Gauge in the viewfinder, Multi-exposure, i-Enhance, 7 frame AEB
• SD / CF slots (E-3 was xD / CF)
• New BLM-5 battery (although compatibility is retained with the older PS-BLM1)

Key feature comparison (vs E-3)

Looking at the E-3 and E-5 together it's clear that from a photographic point of view the models share a lot more than they differ, with most of the changes relating to the sensor and to digital features (most of which have already debuted on MFT models). The main physical differences can be seen below - from the front they look almost identical, but round the back the larger, higher resolution screen takes up more space and has meant some buttons have moved (and a couple have gone altogether).

	Olympus E-5	Olympus E-3
Sensor	� 4/3 type Hi-Speed Live MOS � 13.1 million total pixels � 12.3 million effective pixels	� 4/3 type Hi-Speed Live MOS � 11.8 million total pixels � 10.1 million effective pixels
Sensitivity	� ISO 100-6400 � Customizable Auto ISO	� ISO 100-3200 � Customizable Auto ISO
Movie mode	� 720P � 30fps � AVI M-JPEG � Mono sound � External stereo mic connector	No
Processor	TruPic V+	TruPic III
Auto Focus	� 11-point TTL Phase Difference Detection � Automatic or manual point selection � EV -2 to 19 (ISO 100) detection range � AF assist using pop-up flash � Sensor AF (CD-AF) in live view	� 11-point TTL Phase Difference Detection � Automatic or manual point selection � EV -2 to 19 (ISO 100) detection range � AF assist using pop-up flash
AE bracketing	2,3,5 or 7 frames	3 or 5 frames
Scene modes	Yes	No
Art filters	10	No
LCD monitor	�3.0" HyperCrystal TFT LCD monitor (wide viewing angle, semi-transmissive) � Vari-angle (swing and tilt) � 920,000 pixels � 100% frame coverage � 15 step brightness adjustment	� 2.5" HyperCrystal TFT LCD monitor (wide viewing angle, semi-transmissive) � Vari-angle (swing and tilt) � 230,000 pixels � 100% frame coverage � 15 step brightness adjustment
Storage	� SD / SDHC / SDXC) � CF Type I/II	� xD Picture-card � CF I/II
Connectivity	� USB 2.0 (Hi Speed) � Video Out (NTSC / PAL) � IR Remote control (optional) � DC-IN � Remote terminal � PC Sync flash terminal � HDMI � Stereo mic jack	� USB 2.0 (Hi Speed) � Video Out (NTSC / PAL) � IR Remote control (optional) � DC-IN � Remote terminal � PC Sync flash terminal
Other features	� i-Enhance � 2 axis level gauge � Face Detection � Multi exposure mode � Improved customization � Shutter now tested to 150k exposures � Aspect ratio options � Add copyright info
Dimensions	142 x 116 x 75 mm (5.6 x 4.6 x 2.9 in)	142 x 116 x 75 mm (5.6 x 4.6 x 2.9 in)
Weight	813 g (1.8 lb.)	800 g (1.8 lb.

Original Article:www.dpreview.com

Back in 2001, when it was possible to charge $999 for a compact camera, Olympus produced the C-3040Z, C-4040Z and C5050Z which featured some of the brightest zooms to ever appear on such cameras. Sadly, as the years have gone on and prices have dropped, Olympus moved away from this part of the market and it's been a long time since we looked to it for class-leading compacts.
Despite the falling price of entry-level DSLRs and the arrival of their more compact mirrorless competitors, the enthusiast compact sector has seen a resurgence, with Samsung and Nikon weighing-in and Canon going as far as bringing a second model to the melee (the S90 revived the PowerShot 'S' series to sit alongside the company's stalwart G series). Olympus, meanwhile, has remained quiet.
With the launch of the XZ-1 it becomes apparent that Olympus hasn't been sitting idly by - instead it has clearly been watching the sector very closely and has studied the available cameras keenly. The result of this study is an enthusiast compact that takes the best elements of its rivals and synthesizes them into a very attractive package.
There's a bright lens, of course, with the XZ-1 becoming the first of the company's compacts to ever wear its respected 'Zuiko' designation. And it's clear why the company would want to draw attention to the optics, having created the brightest zoom lens of any current compact while still offering a truly useful range. The i.Zuiko lens is F1.8 at the 28mm equivalent end and a still very impressive F2.5 at the 112mm setting.
But the spec doesn't end at the lens - the XZ-1 is built around a high sensitivity 1/1.63" CCD which, along with its peers, makes it one of the larger sensors to appear in a compact camera with a built-in lens. To this it adds two control dials (including an S90-style dial around the lens) and a bright, high-resolution OLED screen. Other high-end highlights include a flash hot shoe and the ability to wirelessly control off-board flashguns. It's hard to imagine what else Olympus could have fitted into the XZ-1's attractive metal-fronted body.

From the front it's clear that the XZ-1 is slightly larger than the two smallest enthusiast compacts (the Panasonic LX5 and Canon S95). It's about the same size as Samsung's EX1/TL 500, making it much more conveniently sized than the larger Canon G12 or Nikon P7000.
The top-down view emphasizes the dimensional differences between the three cameras and also shows the flash hot shoe.

Olympus XZ-1 specification highlights:

• High Sensitivity 10MP CCD sensor
• 28-112mm equivalent lens
• F1.8-2.5 maximum aperture
• CCD-shift image stabilization
• Twin control dials, including one around the lens
• ISO 100-6400
• New TruPic V processor (as used in the company's PEN series)
• Large 3.0" 621k (VGA equivalent) OLED display
• 720p movie mode (30 fps in Motion JPEG format)
• Micro HDMI connector
• 6 Art Filters (As per the PEN series)
• In-camera RAW conversion
• Built-in flash, hotshoe and remote flash control
• Built-in ND filter
  

That lens in context:

The super-bright F1.8-2.5 lens does more than let you keep the ISO settings down in low light. It also allows a surprising degree of control over depth-of-field. It's sometimes hard to work out how much or little depth-of-field a lens will produce, thanks to differing sensor sizes (and the unclear manner in which they are often designated), but the key factors are the physical size of the aperture and the angle-of-view.
In this instance, at the long end of its zoom, the XZ-1 has an aperture with a diameter of 9.6mm at 112mm equivalent, which compares favorably to the 9.8mm maximum aperture at the 83mm equivalent of a typical APS-C 18-55 F3.5-5.6 kit lens. It means the XZ-1 should give at least as blurred a background and do so at something much closer to the traditional portrait focal length. Furthermore it means the XZ-1 should give greater control over depth-of-field than a Micro Four Thirds kit lens, since they tend to offer 7.5mm at 84mm equivalent.
All-in-all, it means the XZ-1 offers similar control over depth-of-field and a more flexible focal length range than most DSLRs or mirrorless cameras with their kit lenses, making it a competitive alternative unless you plan to buy additional lenses.

Original Article:www.dpreview.com

The overall look of the D5100 seems to indication the knowing Nikons renew of its non-pro DSLR choice. Its function set and costs mean that it places very definitely between the beginner-friendly D3100 and the high-end D7000 - it's clearly targeted to entice the attention of fan camcorders lovers without cannibalizing earnings of is sis designs. A dslr dslr digital camera manufacturer can assess the achievements of its industry placement by seeing how many individuals are considering 'which design is right for me?' on conversation boards - and we think a D3100/D5100/D7000 development would reduce such issues. The formal extensive range is that the D90 preserves its place in the extensive range, but both its manufacturers and overlap with other designs recommend that its element is now more one of conventional attention than upcoming importance.

The D5100 has a very similar 16.2MP CMOS indication to the amazing one seen in the D7000 but, normally, drops out on that online digital camera's high-end make and feature-set. So there's no wifi display management, vitamin nutrient mineral magnesium metal make or 39-point AF program but the actual picture amazing is all but similar.

As has become conventional for a Nikon at this cost, the D5100 provides just one management modify, pentamirror viewfinder and no built-in auto-focus web page. However, it earnings 1080p movie ability (at 30, 25 or 24fps), stored using the effective H.264/AVC codec, and a 920,000 dot definitely articulated LCD board to help capture it. These are both considerable earnings over its forerunner the D5000, and the upgrades enhance to the D5100 having little, more clean development and a more conventional side-mounted mixed for that LCD.

These changes handle two rather distressing factors of Nikon's existing lineup: if the D5100 and D7000 end up being nearby designs it will prevent the inelegant overlap that ongoing between the D5000 and D90. It also guarantees a more stylish overall look to the designs themselves (the D5000 was many factors, but quite wasn't one of them).

Although the D5100 is particular as having an Expeed 2 processer, it's value keeping in ideas that Nikon doesn't use this manufacturers program to indicate any particular elements, so the actual sections of plastic and abilities aren't actually the same as those in the D3100 or D7000. However, moreover to a in the same way specced 16.2MP indication, the D5100 provides the same ISO alternatives as its big sibling - enhancing up to an comparative of ISO 25,600. It also gets 14-bit Raw getting - one of the factors that allows provide the D7000 its amazing extremely effective extensive range - which is something Nikon used to provide only on its more costly designs.

Side by side

The D5100 is a bit little than the Insurgent T3i/EOS 600D - probably its closest opposition. Both are a little bit bigger than the Panasonic Lumix DMC-G2, which is designed around less scaly indication, and of course does not have an visual viewfinder set up (instead using a top amazing digital finder). Comfort, the G2 is the most 'involved', and has the most actual management factors and a touch-sensitive LCD display, but overall the three digital cameras are actually quite similar.

Nikon D5100 Key Features

• 16.2 megapixel DX-format CMOS sensor
• Side-articulated 3.0" LCD monitor (920,000 dots)
• 11 AF points (with 3D tracking)
• IS0 100-6400 range (Up to 25,600 equivalent when expanded)
• HD movies (1080p, 720p or WVGA)
• 4 fps continuous shooting
• In-camera effects filters in both stills and video modes

Compared to D5000

The D5100 is a smaller and (we think) more attractive camera than its predecessor the D5000. It is less bulbous, and closer to the D3100 and D7000 in terms of styling. The most significant design difference is the addition of a side-hinging LCD screen in the D5100, as opposed to the bulkier (and more awkward) bottom-hinged LCD used in the D5000.

Key Differences

• Higher resolution sensor (16.2MP vs. 14MP)
• 1080p video mode
• Wider ISO range (100-25,600 equivalent)
• Full-time AF mode (AF-F in live view)
• Dual IR receivers (front and rear)
• Side-articulated LCD screen (as opposed to bottom-articulated)
• 921k dot LCD screen
• 14-bit NEF (Raw) mode
• Effects modes

Compared to the D3100 and D5000: major feature and specification differences

As you can see from the table below the D5100's specification is a significant advance over its predecessor, and substantially in advance of its little brother the D3100.

	Nikon D3100	Nikon 5100	Nikon D5000
Sensor	� 14.2 million effective pixels  � 23.1 x 15.4 mm CMOS (DX format)	� 16.2 million effective pixels  � 23.6 x 15.6 mm CMOS (DX format)	� 12.3 million effective pixels  � 23.6 x 15.8 mm CMOS (DX format)
Image sizes	� 4608 x 3072 (14.2 MP)  � 3456 x 2304  � 2304 x 1536	� 4928 x 3264 (16.2MP)  � 3696 x 2448  � 2464 x 1632	� 4288 x 2848 (12 MP)  � 3216 x 2136  � 2144 x 1424
Movie mode	� 1080p24  � 720p30/25/24  � 424p24	� 1080p30/25/24  � 720p30/25/24  � 424p30/24	� 720p24
Sensor cleaning	� Image Sensor Cleaning  � Airflow control system  � Image Dust Off reference data (optional Capture NX 2 software required)	� Image Sensor Cleaning  � Airflow control system  � Image Dust Off reference data (optional Capture NX 2 software required)	� Image Sensor Cleaning  � Airflow control system  � Image Dust Off reference data (optional Capture NX 2 software required)
AF drive mode	� AF-A  � AF-S  � AF-C  � MF  � AF-F (Live view only)	� AF-A  � AF-S  � AF-C  � MF  � AF-F (Live view only)	� AF-A  � AF-S  � AF-C  � MF
Sensitivity	� ISO 100 - 3200  � To ISO 12800 with boost	� ISO 100 - 6400  � To ISO 25600 with boost	� ISO 200 - 3200  � ISO 100-6400 with boost
Continuous	� 3 fps	� 4 fps  � 100 / 16 frames    (Fine JPEG / RAW)	� 4 fps  � 63 / 11 frames    (Fine JPEG / RAW)
AE bracketing	No	Yes	Yes
Viewfinder magnification	� 0.8x	� 0.78x	� 0.78x
Viewfinder Frame coverage	� Approx. 95%	� Approx. 95%	� Approx. 95%
LCD monitor	� 3.0" TFT LCD  � 230,000 pixel TFT	� 3.0" TFT LCD  � 921,000 pixel TFT  � Articulated	� 2.7" TFT LCD  � 230,000 pixel TFT  � Articulated
Dimensions	124 x 96 x 74.5 mm (4.9 x 3.7 x 3.0 in)	128 x 97 x 79 mm (5.0 x 3.8 x 3.1in)	127 x 104 x 80 mm (5.0 x 4.1 x 3.1 in)
Weight	� No battery: 455g (1.0 lb)  � With battery: 505g (1.1 lb)	� No battery: 510g (1.1 lb)  � With battery: 560g (1.2 lb.)	� No battery: 560g (1.2 lb.)  � With battery: 611g (1.3 lb.)
Image processing engine	� Expeed 2  � 12 bit	� Expeed 2  � 14 bit	� Expeed  � 12 bit
Active D-lighting	On/Off	Auto, Extra high, High, Normal, Low, or Off	Auto, Extra high, High, Normal, Low, or Off
In-camera retouching	� D-Lighting  � Red-eye reduction  � Trimming  � Monochrome & filter  effects  � Color balance  � Small picture  � Image overlay  � NEF (RAW) processing  � Quick retouch  � Straighten  � Distortion control  � Fisheye  � Color outline  � Perspective control  � Miniature effect  � Edit movie	� D-Lighting  � Red-eye reduction  � Trimming  � Monochrome & filter effects  � Color balance  � Image overlay  � NEF (RAW) processing  � Resize  � Quick retouch  � Straighten  � Distortion control  � Fisheye  � Color outline  � Color sketch  � Perspective control  � Miniature effect  � Selective Color  � Edit movie  � Side-by-side comparison	� D-Lighting  � Red-eye reduction  � Trimming  � Monochrome & filter effects  � Color balance  � Small picture  � Image overlay  � NEF (RAW) processing  � Quick retouch  � Straighten  � Distortion control  � Fisheye  � Color outline  � Perspective contro

Original Article:www.dpreview.com

The bottom-end of the similar relationships electronic digital electronic camera has become progressively aggressive with producers culling functions and cutting-corners to offer a eye-catching update path from lightweight digital cameras, at the most eye-catching cost. Consequently we've seen management telephone mobile cellphone calls, path receptors and even concentrate search engines vanish to decrease the expenses of these entry-level, trip digital cameras. From the customer's viewpoint, of course, we've also seen engineering once only in the arrive at of the experts narrow down to almost lightweight electronic digital electronic camera expenses.

For several decades, Concept and then Nikon were able to figure out up the sub-$1000 DSLR industry between themselves, without any particular issue about other gamers in the marketplace. But this hegemony was never likely to last, especially once the gadgets management such as Panasonic, Panasonic and New new new samsung had a chance to get prepared their own opponents. Gradually even Concept had to reaction to the overall look of these companies' progressively amazing low-end unique deals, such as with the breaking of its Insurgent sequence into a several design wide range.

In Sept 2008, rather than just allowing the confident model's cost fall when the next electronic digital electronic camera was offered, Concept released a definitely new design that sat below its then very latest Insurgent XSi/450D. The Insurgent XS (EOS 1000D in Europe) was unashamedly a cut-down edition of the XSi but its combination of a well efficient indication and amazing cost tag have seen it keep offer incredibly, particularly at the price-conscious end of the industry.

Two-and-a-half decades is nearly two lifestyle in modern electronic digital electronic camera conditions, so it was starting to look like the XS might come to be a one-off, until the release of its alternative in Feb 2011. The Insurgent T3 (EOS 1100D) creates on a efficient program and needs it further, providing a amazing (if not exactly cutting-edge) set of functions in a body system that indicates it should be very able of aggressive on cost.

The 1100D needs a sequence of familiar-sounding elements and facial lines them together in a incredibly traditional but still capable-sounding program. So there's a 12MP CMOS processer that is likely to go returning to the 450D/XSi, moreover to The rule eos now-standard 9-point AF program and the 63-area iFCL (Focus, color and luminance sensitive) metering program first seen in the EOS 7D. These combination with the in the same way well-known Digic 4 processer processer to offer a electronic digital electronic camera that's unlikely to offer much in the way of entertainment (which should also mean the prevention of any upsetting ones).

Sitting alongside the Rebel XS (1000D), it's clear that T3 (1100D) is very slightly larger but only by a fraction. The new model eschews the 1000D's textured plastic, instead being constructed of smooth, rather low-density materials.
The rear view shows the 1100D has been updated in line with more recent Canon DSLRs, gaining direct access to live view/movie shooting and a Q button for the interactive 'Quick Control' displays.

Canon EOS 1100D specification highlights:

• 12MP CMOS sensor
• 9-point AF system (up from 7 on the 1000D)
• 63-area iFCL color-sensitive metering (from EOS 7D)
• 720p movie recording at 30 or 25fps (H.264 compression)
• 2.7" LCD, 230,000 dots
• ISO 100-6400 (no expansion)
• Basic+ creative point-and-shoot mode
• Eye-Fi wireless SD card compatible menu options

Original Article:www.dpreview.com

Ever since Idea offered its unique 'Digital Rebel' returning in Aug 2003 - usually the first 'affordable' electronic SLR - the company has consistently designed and improved its entry-level extensive range with ever-more-frequent produces, such as in more and more features in the process. So actual to type, almost completely a period to the day after the discharge of the EOS Insurgent T2i / 550D Idea released its next design, normally known as the EOS Insurgent T3i / 600D. As regular the 550D continues to be in The cannon eos eos extensive range at a cost-effective, with the EOS 1100D slotting in below it to circular off the organization's unique deals to entry-level SLR customers.

The new kid on the prevent can most succinctly be described as a 550D with an articulated display, that also features many of the beginner-friendly features we first saw on the more enthusiast-orientated EOS 60D. Perhaps most significant of these is 'Basic+', a easy, results-orientated way to picture improvements in the scene-based visibility techniques, that allows the individual to alter the look of their pictures and management experience thinking without challenging to know anything particular about how this all functions. The 600D also income multi-aspect quantity getting (in stay view) plus the 60D's 'Creative Filters', a extensive range of outcomes than can be used to pictures after getting, such as toy online digital camera, fisheye and fake-miniature looks. Furthermore it can now easily management off-camera quick fast quick flashes, such as the Speedlite 320EX and 270EX II declared together with it.

The fully-automatic 'green square' visibility strategy has also been personalized to 'Scene Awesome Auto', with a new 'A+' symbol on the strategy change to go with. According to Idea, this strategy (as its name might suggest) now analysis the landscapes at the top element a portion of the online digital camera and places its visibility and image-processing aspects accordingly, and even modifications large outcome to go with. Ongoing the 'beginner-friendly' concept, the online digital camera now also has a 'Feature Guide', that shows brief information of what each operate does on the display to help newbies understand how aspects perform.

There's a tremendous 'Video Snapshot' film strategy too, that's obtained from The cannon eos eos videocamera extensive range. This is with regards to the notion that films are often more exciting when cushioning together from a extensive range of brief 'takes', rather than one long continuous film. It therefore restrictions film producing to brief concepts of 2, 4 or 8 a few moments, then features it returning sequentially as a mixture film, with the choice of along with a soundtrack to help tie them together. This, in impact, allows to you generate complicated, multi-take films without having to hotel to pc modifying.

What hasn't personalized at all, though, is the online digital camera's primary requirements, developing the 600D the first online digital camera in the extensive range that hasn't obtained an improved fantastic indication or new processer. So The cannon eos eos tried-and-trusted 18MP APS-C CMOS indication is still in position, along with its knowing extensive range of ISO 100-6400 (expandable to 12800) and 3.9fps continuous getting. Furthermore the 9-point auto-focus and 63 position metering techniques are the same. What this means is that the 600D is unlikely to bring any entertainment with regards to picture.

On the film front side element part the online digital camera maintains its predecessor's strategy too, providing complete HD producing via a devoted position on the online digital camera's strategy change, with complete information management available for those who want it. There's a new zoom capability ability capability operate, providing 3 - 10x magnifier, and the 600D also has mp3 stage management built-in, with a music audio assess to help assess the right developing.

Put this all together, and it's apparent that the 600D is an amazingly well-featured little online digital camera that's well beyond the conventional stripped-down 'entry level' take a position up, and indeed gives little away with regards to features contrary to EOS 60D (the modifications are mainly with regards to ergonomics and handling). It's also clearly trying to make way of life as easy as possible for SLR newbies to leap on board and start analyzing with amazing manages, while providing enough to understand and make their abilities. But there's an terrible lot of competitors in this industry currently, and the 600D will have its perform cut out to take a position apart from the audiences and entice audiences away from the little, smooth and compact mirrorless designs that will sit together with it on the dealers' racks. Research on to find out how well it expenses in this aggressive industry.

A brief history; Canon entry level digital SLR series

• 20/08/03: Canon EOS 300D / Digital Rebel (6 MP)
• 17/02/05: Canon EOS 350D / Digital Rebel XT (8 MP)
• 24/08/06: Canon EOS 400D / Digital Rebel XTi (10 MP)
• 24/01/08: Canon EOS 450D / Digital Rebel XSi (12 MP)
• 10/06/08: Canon EOS 1000D / Digital Rebel XS (10 MP)*
• 25/03/09: Canon EOS 500D / Digital Rebel T1i (15.1 MP)
• 08/02/10: Canon EOS 550D / Rebel T2i (18 MP)
• 07/02/11: Canon EOS 600D / Rebel T3i (18 MP)
• 07/02/11: Canon EOS 1100D / Rebel T3 (12 MP)*

Headline / New features

• 18 Megapixel APS-C CMOS sensor
• DIGIC 4 processor with ISO 100-6400 (Expansion to 12800)
• Fully articulated 7.7cm (3.0�) 3:2 Clear View LCD with 1,040k dots
• Full HD movie recording with manual control and selectable frame rates
• Digital zoom in movie mode (3x - 10x)
• New 'Scene Intelligent Auto' exposure mode (replacing full auto)
• 'Basic+' and 'Creative Filters'
• Integrated wireless flash control
• 'Video Snapshot' mode for the creation of multi-take movies

Revised kit lens - Canon EF-S 18-55mm F3.6-5.6 IS II

The 600D gets a 'new' kit lens, the EF-S 18-55mm F3.5-5.6 IS II. According to Canon this is identical in specification to the previous version, and features exactly the same optics and IS system: it simply has a revised external design. The visible changes suggest a paring down of production costs, for example the 'white square' alignment mark for mounting the lens is now simply painted on, rather than moulded. The camera will also come in a kit with the EF-S 18-135mm f/3.5-5.6 IS lens.

Canon EOS 600D vs EOS 550D: what's changed

Once again the EOS 600D doesn't officially replace the 550D, but instead slips comfortably into the range between it and the more enthusiast-orientated 60D. The two cameras look near-identical from the front - the 600D is just a fraction taller and wider, due mainly to the swivel-and-tilt screen, and it's a fraction heavier too (by about 40g / 1.4 oz). It's also now got a more obvious grip area for your left hand below the model badge.
Naturally, though, that articulated LCD results in more substantial changes on the back of the camera. The unit is hinged from the side, in signature Canon fashion, and takes up more space than before. So while the rear layout stays the same as the 550D,the 4-way controller's a little smaller and some buttons have moved across to the right. This in turn impinges slightly into the rear grip area, so Canon has created a highly sculpted channel to guide your thumb away from accidental button presses, and help provide a positive grasp on the camera. Note too that there's no space any more for the sensor below the eyepiece that the 550D uses to turn its display on and off.
One less easy-to-spot change is that the functions of the 550D's 'DISP' button have been divided up. The 600D now has an 'INFO' button in its position, which is used to cycle through the various information display options. There's now a separate button on the top-plate labelled 'DISP', which simply turns the screen on and off, effectively taking over the function of the 550D's eye sensor.
This top-down view reveals that the 600D is also a bit deeper, front-to-back than its predecessor, again due mainly to the swivel screen. This adds about 3mm to the depth of the grip, which may not sound like much but improves the handling to a surprising degree. The new top plate 'DISP' button can also be clearly seen here.

Canon EOS 600D vs. EOS 550D feature differences

The list below gives a more complete summary of the feature differences between the 600D and 550D:

• Vari-angle display
• Scene intelligent Auto Mode
• 'Basic+' creative controls in scene modes
• 'Creative Filters' can be applied to images in playback mode
• Multi-aspect ratio shooting (3:2, 4:3, 16:9, 1:1, previewable in Live View)
• Integrated Wireless flash controller with multi-flash support
• 'Video Snapshot' mode
• Auto Lighting Optimizer now adjustable in 4 levels
• Feature Guide
• Image rating (1-5 stars)
• Eye sensor for LCD display replaced by 'DISP' button
• Marginally larger and heavier

Original Article:www.dpreview.com

Note: because of the many operational similarities between the E-5 and the E-3, this review does not contain the standard 'body' and 'operation and controls' pages which would normally be found in a dpreview in-depth review. For a full picture of how the E-5 handles, we strongly suggest that you read this review alongside our in-depth review of the E-3, published in 2008.

Taking what could most politely be described as a 'considered' approach to product upgrades, late last year Olympus lifted the curtain on the third generation of its professional SLR, in the form of the much anticipated E-5. Olympus introduced the world to the first Four Thirds camera, the E-1, back in June 2003, and finally got round to updating it with the E-3 four years later.
It is perhaps indicative of where Olympus's priorities lie - or the way the market is headed - that whereas the E-3 took the E-1 back to the drawing board and introduced several new features, the E-5 is probably best described as a warm-over of its predecessor. It's also interesting to note that it benefits from a 'trickle up' of technology from the latest developments in the company's Micro Four Thirds cameras - an unusual situation for what is, effectively, the hero product in the E-system range.
The long delay has caused some wild speculation about the E-5, borne not out of dissatisfaction with the existing model (in fact most E-1 and E-3 users are still happily taking pictures with their 'old' cameras), but, I suspect, out of a need to see Olympus competing with the 'big boys' at this level, and the (related) need for a clear sign that it hasn't abandoned Four Thirds in all the excitement surrounding the mirrorless system.

The E-5 sat here between two of its most obvious competitors (in spec terms): the Nikon D300s and Canon EOS 7D.

At first glance the E-5 (and the lack of any other E-system camera announcements) is unlikely to calm those fears; if anything it confirms that precious little R&D resource is going into the reflex system. Dig a little deeper, however, and you realize that the E-5 is a perfectly sensible upgrade that takes an excellent camera and addresses most all the complaints and offers, according to the marketing blurb, the best image quality ever seen in an Olympus DSLR. It also throws in a nice sprinkling of must-have features (such as 720p movie mode).
The E-5 is, without a doubt, a camera aimed at the Olympus faithful, designed (as described to us) to 'finally offer image quality to match that of Zuiko lenses'. Olympus knows that the E-system lenses are the jewel in its crown and isn't going to abandon that - or its users. The future for Zuiko Digital lens owners might not be a reflex camera (we've had strong hints that a common live view only FT / MFT platform lies ahead), but Four Thirds isn't going away.

Compared to E-3 - key differences

Evolutionary rather than revolutionary, the E-5 is, effectively, an E-3 with a bigger screen, an updated sensor and processor and a few new features. Physically the only changes are a spot of button rearranging (necessitated by the larger area of the screen) and the long-overdue replacement of the redundant xD card slot with an infinitely more useful SD version. Inevitably, after three years there's a lot of feature enhancements, though these are (almost) all lifted from the latest Micro Four Thirds models.
The thing Olympus is really pushing with the E-5 is image quality. It's not a new sensor (from what we can tell this is almost certainly the same as the one in the E-PL1 and E-PL2), but it does sport a redesigned (for which read lighter) Low Pass Filter (with moir� removed by the processor) and a new 'professionally tuned' Image Engine (The TruPic V+). The combination of Zuiko Digital lens, the new sensor and the new processor is claimed to offer image quality better than any 12MP APS-C camera, and, according to Olympus, many with even higher pixel counts.
Let's have a look at the main changes:

• New sensor (12MP vs 10MP Live MOS)
• New TruPic V+ processor (E-3 was TruPic III)
• Large 3.0" 921k vari-angle screen
• Fast Sensor AF (inc Face Detection)
• 720p movie mode (AVI M-JPEG) + Audio recording
• HDMI and Stereo Mic connections
• Art Filters (10, including new Dramatic Tone Filter)
• ISO 6400 top sensitivity (vs E-3's ISO 3200)
• More customization options
• Redesigned color-coded menu system
• New features including Level Gauge in the viewfinder, Multi-exposure, i-Enhance, 7 frame AEB
• SD / CF slots (E-3 was xD / CF)
• New BLM-5 battery (although compatibility is retained with the older PS-BLM1)

Key feature comparison (vs E-3)

Looking at the E-3 and E-5 together it's clear that from a photographic point of view the models share a lot more than they differ, with most of the changes relating to the sensor and to digital features (most of which have already debuted on MFT models). The main physical differences can be seen below - from the front they look almost identical, but round the back the larger, higher resolution screen takes up more space and has meant some buttons have moved (and a couple have gone altogether).

	Olympus E-5	Olympus E-3
Sensor	� 4/3 type Hi-Speed Live MOS � 13.1 million total pixels � 12.3 million effective pixels	� 4/3 type Hi-Speed Live MOS � 11.8 million total pixels � 10.1 million effective pixels
Sensitivity	� ISO 100-6400 � Customizable Auto ISO	� ISO 100-3200 � Customizable Auto ISO
Movie mode	� 720P � 30fps � AVI M-JPEG � Mono sound � External stereo mic connector	No
Processor	TruPic V+	TruPic III
Auto Focus	� 11-point TTL Phase Difference Detection � Automatic or manual point selection � EV -2 to 19 (ISO 100) detection range � AF assist using pop-up flash � Sensor AF (CD-AF) in live view	� 11-point TTL Phase Difference Detection � Automatic or manual point selection � EV -2 to 19 (ISO 100) detection range � AF assist using pop-up flash
AE bracketing	2,3,5 or 7 frames	3 or 5 frames
Scene modes	Yes	No
Art filters	10	No
LCD monitor	�3.0" HyperCrystal TFT LCD monitor (wide viewing angle, semi-transmissive) � Vari-angle (swing and tilt) � 920,000 pixels � 100% frame coverage � 15 step brightness adjustment	� 2.5" HyperCrystal TFT LCD monitor (wide viewing angle, semi-transmissive) � Vari-angle (swing and tilt) � 230,000 pixels � 100% frame coverage � 15 step brightness adjustment
Storage	� SD / SDHC / SDXC) � CF Type I/II	� xD Picture-card � CF I/II
Connectivity	� USB 2.0 (Hi Speed) � Video Out (NTSC / PAL) � IR Remote control (optional) � DC-IN � Remote terminal � PC Sync flash terminal � HDMI � Stereo mic jack	� USB 2.0 (Hi Speed) � Video Out (NTSC / PAL) � IR Remote control (optional) � DC-IN � Remote terminal � PC Sync flash terminal
Other features	� i-Enhance � 2 axis level gauge � Face Detection � Multi exposure mode � Improved customization � Shutter now tested to 150k exposures � Aspect ratio options � Add copyright info
Dimensions	142 x 116 x 75 mm (5.6 x 4.6 x 2.9 in)	142 x 116 x 75 mm (5.6 x 4.6 x 2.9 in)
Weight	813 g (1.8 lb.)	800 g (1.8 lb.

Original Article:www.dpreview.com