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

Returning in 2001, when it was possible to cost $999 for a lightweight online electronic camera, Olympus designed the C-3040Z, C-4040Z and C5050Z which offered some of the brightest zooms to ever appear on such electronic cameras. Unfortunately, as the decades have gone on and costs have decreased, Olympus shifted away from this factor of the industry and it's been a while since we seemed to it for class-leading compacts.

Despite the dropping cost of entry-level DSLRs and the overall look of their more lightweight mirrorless opponents, the fan lightweight industry has seen a revival, with New new new samsung and Nikon weighing-in and Concept going as far as providing a second design to the melee (the S90 enhanced the PowerShot 'S' sequence to sit together with the organization's stalwart G series). Olympus, meanwhile, has stayed silent.

With the release of the XZ-1 it becomes obvious that Olympus hasn't been seated idly by - instead it has clearly been viewing the industry very effectively and has analyzed the available electronic cameras incredibly. Due to this research is an fan lightweight that needs the best components of its opponents and takes up them into a very eye-catching system.

There's a shiny relationships, of course, with the XZ-1 becoming the first of the organization's compacts to ever use its well known 'Zuiko' place. And it's obvious why the organization would want to highlight the optics, having designed the brightest contact of any current lightweight while still providing a truly useful extensive variety. The i.Zuiko relationships is F1.8 at the 28mm comparative end and a still very amazing F2.5 at the 112mm creating.

But the specifications doesn't end at the relationships - the XZ-1 is designed around an enhanced stage of stage of stage of sensitivity 1/1.63" CCD which, along with its co-workers, creates it one of the bigger receptors to appear in a lightweight online electronic camera with a built-in relationships. To this it results in two management telephone mobile cellphone calls (including an S90-style modify around the lens) and a shiny, high-resolution OLED display. Other high-end features include a display hot shoes and the capability to easily management off-board flashguns. It's complicated to think about what else Olympus could have set into the XZ-1's eye-catching metal-fronted system.

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 relationships does more than let you keep the ISO alternatives down in low mild. It also allows a amazing level of management over depth-of-field. It's sometimes complicated to perform out how much or little depth-of-field a relationships will generate, thanks to different indication styles (and the unclear way in which they are often designated), but the key aspects are the actual measurement the aperture and the angle-of-view.

In this example, at the lengthy end of its zoom capability ability capability, the XZ-1 has an aperture with a measurement 9.6mm at 112mm comparative, which investigates positively to the 9.8mm highest possible possible aperture at the 83mm comparative of a common APS-C 18-55 F3.5-5.6 kit relationships. It indicates the XZ-1 should give at least as ambiguous a experience and do so at something much better the conventional symbol primary duration. Furthermore this would mean the XZ-1 should give higher management over depth-of-field than a Little Four Thirds kit relationships, since they usually provide 7.5mm at 84mm comparative.

All-in-all, this would mean the XZ-1 provides identical management over depth-of-field and a more versatile primary duration extensive variety than most DSLRs or mirrorless camcorders with their kit relationships, creating it a aggressive substitute unless you way to buy extra relationships.
Original Article:www.dpreview.com

The EF-S 18-200mm F3.5-5.6 IS is The concept eos newest contact for APS-C structure DSLRs, offered as a affiliate to the EOS 50D. Its announcement in Aug this interval came as no amazing shock, as extensive primary duration extensive variety 'superzooms' are clearly well-known amongst camcorders lovers looking for an all-in-one relationships for journey and daily getting. The most apparent example of this is the run achievements of Nikon's AF-S 18-200mm F3.5-5.6G VR, and a Rule comparative has almost certainly been the most-requested relationships on our boards.

With its 11x zoom ability capability ability extensive variety, the 18-200mm becomes The concept eos most devoted consumer-level zoom ability capability power to date; the organization has formerly shied away from generating relatively cost-effective superzooms, with its only past venture into this industry being the 28-200mm F3.5-5.6 (USM) for Drawbacks SLRs from delayed 2000. And while it's this mature relationships that the 18-200mm most incredibly seems to be to be, Rule has handled to press a lot more into the style in the all the encompassing eight decades. The zoom ability capability ability quantity has been prolonged to a 35mm-equivalent extensive variety of 29-320mm, and the new relationships features The concept eos newest lightweight picture support program (as seen on the EF-S 18-55mm F3.5-5.6 IS and the EF-S 55-250mm F4.5-5.6 IS), which provides automated panning recognition and (according to the company) four prevents of support. All this has been obtained using a effectively complicated graphics of 16 components in 12 categories, such as two UD cup components and two aspherical components which are developed to reduce chromatic aberration and make sure unique corner-to-corner details across the zoom ability capability ability extensive variety. Rounding off the requirements is a tiniest concentrate extensive variety of 45cm/1.5ft at all primary activities.

One style choice may however cause a stage of dismay; the relationships uses a relatively unsophisticated little web page program for auto-focus, in contrast to the ring-type USM style more usually seen on mid-range relationships such as the EF-S 17-85mm F4-5.6 IS USM. Consequently, audiences may battle to discover any apparent benefits over Tamron's lately declared 18-270mm F3.5-6.3Di II VC LD Aspherical (IF) Macro, which activities a time zoom ability capability ability extensive variety and Tamron's own visual support program. Aside from this, Rule have developed a relationships which is clearly developed to reverse the confirmed customer benefits Nikon's well-known 18-200mm VR head-on; so how does it go with up to the challenge?

Headline features

• 29-320mm equivalent focal length range; F3.5-5.6 maximum aperture
• Optical image stabilization � 4 stops, automatic panning detection 
• EF-S mount for Canon APS-C DSLRS only

Angle of view

The pictures below illustrate the focal length range from wideangle to telephoto:

18mm (29mm equivalent)	200mm (320mm equivalent)

Canon EF-S 18-200mm 1:3.5-5.6 IS specifications

Street price	� $699 (US) � �550 (UK)
Date introduced	August 2008
Maximum format size	APS-C
Focal length	18-200mm
35mm equivalent focal length (APS-C)	29-320mm
Diagonal Angle of view (APS-C)	74� - 8�
Maximum aperture	F3.5-5.6
Minimum aperture	F22-36
Lens Construction	� 16 elements / 12 groups � 2 UD elements � 2 Aspherical elements
Number of diaphragm blades	6, rounded
Minimum focus	0.45m/1.5ft
Maximum magnification	0.24x at 200mm
AF motor type	Micro motor
Focus method	Internal
Image stabilization	� 4 stops � Automatic panning detection
Filter thread	� 72mm � Does not rotate on focus
Supplied accessories	� Front and rear caps
Optional accessories	� EW-78D Hood � Case
Weight	600 g (21.2 oz)
Dimensions	79 mm diameter x 102 mm length (3.1 x 4.0 in)
Lens Mount	Canon EF-S only
Other	Supplies distance information for E-TTL II flash metering

* Supplied accessories may differ in each country or area

Original Article:www.dpreview.com

The Zuiko Digital ED 9-18mm 1:4-5.6 is Olympus's latest all-new relationships style, declared in May 2008. It locations in the organization's 'Standard' sequence of relationships, and provides ultra-wide position ability to the more budget-conscious individual. In this respect it expenses around 15% less than the identified 'Pro' sequence Zuiko Digital ED 11-22mm 1:2.8-3.5, while providing considerably broader position protection, but providing up a quit with regards to highest possible possible aperture and presenting reduced growth (most especially no water/dust sealing).

The relationships functions an amazingly lightweight and lightweight style for a wideangle zoom capability ability capability, understanding one of the advantages confident by Olympus for the Four Thirds system on its launch. This is obtained with an visual system of 13 components in 9 categories, such as an ED cup element to reduce chromatic aberration and comprehensive use of aspherical relationships locations (the front aspect part aspect element is 'Dual Incredibly Aspherical', no less). Also creating an overall look is Olympus's 'focus-by-wire' system, with no immediate specific relationship between the details concentrate team and the motor-driven inner concentrate team.

The 9-18mm's only immediate opposition in the Four Thirds system is the Sigma 10-20mm 1:4-5.6 EX DC HSM, which at enough duration of composing is rather more affordable and functions ultrasonic-type concentrating, but drops at the comprehensive end where every millimetre of primary duration problems (9mm provides an additional 5 levels position of perspective over 10mm). The Sigma will be topic of a upcoming review; for now let's see how the 9-18mm expenses in our assessments.

Use of the Panasonic L10 as Four Thirds assess body

We have selected to use the Panasonic L10 as our conventional assess system for Four Thirds relationships the way it gives the biggest figures in our amazing assessments (which we believe is most likely due to it having a relatively insufficient anti-aliasing filter); this is designed usually to offer the fairest evaluation to other manufacturers' techniques. This continues to be the situation despite the latest launch of the 12 Mp Olympus E-30 and and the Little Four-Thirds Panasonic DMC-G1, and we've therefore selected to comply with the L10 for the advantages of balance (although the distinction in evaluation to these cameras is minimal). The cases choice contains pictures taken with the Panasonic L10, Olympus E-30 and Olympus E-3 techniques.

Headline features

• Ultra-wideangle zoom range (18-36mm equivalent)
• F4-5.6 maximum aperture
• Four Thirds mount for Olympus and Panasonic DSLRs
• Fits Micro Four Thirds cameras via adaptor

Angle of view

The pictures below illustrate the focal length range (from ultra-wide to merely wide):

9mm (18mm equivalent)	18mm (36mm equivalent)

Olympus Zuiko Digital ED 9-18mm 1:4-5.6 specifications

Street price	� US: $525 � UK: �440
Date introduced	May 2008
Maximum format size	Four Thirds
Focal length	9-18mm
35mm equivalent focal length	18-36mm
Diagonal Angle of view	100� - 62�
Maximum aperture	F4-5.6
Minimum aperture	F22
Lens Construction	� 13 elements/9 groups � 1 ED glass element � 2 aspherical elements
Number of diaphragm blades	7, rounded
Minimum focus	0.25m
Maximum magnification	0.12x
AF motor type	Micro Motor
Focus method	Internal
Image stabilization	None
Filter thread	� 72mm � Does not rotate on focus
Supplied accessories*	� Front and rear caps � Lens Hood LH-75C
Weight	280 g (9.9 oz)
Dimensions	79.5 mm diameter x 73 mm length (3.1 x 2.9 in)
Lens Mount	Four Thirds

* Supplied accessories may differ in each country or area

Original Article:www.dpreview.com

The AF-S Nikkor Drawbacks F1.8G DX is Nikon's newest relationships, declared in Feb for PMA 2009. Its release came as something of a shock to many experts, not because it's an personalized Drawbacks relationships with a built-in auto-focus web page, but because the 'DX' position indicates that it's developed for use on DX structure methods, and isn't definitely appropriate with Nikon's enhancing FX structure electronic digital electronic camera wide range. According to Nikon, this has permitted the company to style a relationships that has less scaled impact scaly, less significant and more affordable than it would have been had it provided complete dental protection applications of the FX picture group. In impact, the relationships is mainly focused as an cost-effective, huge aperture choice for customers of the entry-level (D40 / D40X /D60) sequence of DSLRs.

The Drawbacks primary duration is approximately comparative to 50mm on an FX electronic digital electronic camera, and the relationships therefore suits into the 'standard' classification, with an position of viewpoint providing none of the 'perspective distortion' associated with wideangle or telephoto relationships. The fast F1.8 highest possible possible aperture confesses more than four times as much mild as the AF-S 18-55mm F3.5-5.6G VR DX kit relationships, which is useful for getting in low mild while maintaining shutter costs reasonably excellent. The 'Silent Routine Motor' allows auto-focus on all of Nikon's DSLR methods, with the engaged extra of enabling the individual to improve concentrate independently in AF strategy if suggested.

The Drawbacks F1.8G features an graphics of 8 components in 6 categories, such as an aspherical element for the difference in aberrations usually associated with huge aperture primary relationships. However contrary to the common 50mm conventional primary for the complete type (FX) structure, this lens's primary duration is rather reduced than the flange wide range from the relationships set up to the imager. This specifications the use of a so-called 'retrofocal' style, which is more usually associated with wideangle lenses; unfortunately this often results in improved aberrations comparative to conventional near-symmetric 50mm styles. So how does the Drawbacks F1.8 DX evaluate up? 

Headline features

• 35mm focal length; fast F1.8 maximum aperture
• Silent Wave Motor allows autofocusing on all Nikon DSLRs
• Full-time manual focus override
• For DX format cameras

Angle of view

The picture below illustrates the angle of view (click here for comparisons with the Nikon 50mm F1.4D):

35mm (DX format)

Nikon AF-S Nikkor 35mm 1:1.8G DX specifications

Street price	� $200 (US) � �200 (UK)
Date introduced	February 2009
Maximum format size	DX
Focal length	35mm
35mm equivalent focal length	52.5mm
Diagonal Angle of view	47�
Maximum aperture	F1.8
Minimum aperture	F22
Lens Construction	� 8 elements / 6 groups � 1 hybrid aspherical element
Number of diaphragm blades	7, rounded
Minimum focus	0.3m (1.0 ft)
Maximum magnification	0.16x
AF motor type	� Ring-type Silent Wave Motor (ultrasonic-type) � Full-time manual focus
Focus method	Internal (rear) focus
Image stabilization	� None
Filter thread	� 52mm � Does not rotate on focus
Supplied accessories	� Front and rear caps � HB-46 hood
Optional accessories
Weight	210g (7.4 oz)
Dimensions	70mm diameter x 52.5mm length (2.8 x 2.1 in)
Lens Mount	Nikon F only

* Supplied accessories may differ in each country or area

Original Article:www.dpreview.com

 The AF-S Nikkor 50mm F1.4 G is Nikon's newest take on the traditional 'standard lens' idea, and was provided in Sept 2008. It's a alternative the mature AF-Nikkor 50mm F1.4D which we analyzed last interval, with improved optics to better fulfill the requirements of contemporary high-resolution complete kind receptors. The visual system is an new edition of the traditional 'double Gauss' style, with an extra element placed towards the coming back to provide an 8 element, 7 team options. According to Nikon, this increases modification of off-axis aberrations, which guarantees better performance towards the sides of the kind particularly when using huge apertures.

The AF-S place indicates that the relationships functions a built-in 'Silent Wave' web page for quick and silent autofocusing, which also provides complete interface with Nikon's entry-level DSLR methods such as the D60 and D5000. A further advantages provided by this ring-type web page is the 'manual problem autofocus' strategy, which allows the individual to improve concentrate independently after autofocusing. There's also a round aperture style which uses 9 curved knives, for a more organic edition of out-of-focus qualifications.

Of course all these upgrades over the mature relationships come at a cost, and the AF-S 50mm F1.4G is considerably more costly than its forerunner. It also has to competitors with the other new kid on the prevent - the amazing (if a little bit more costly) Sigma 50mm F1.4 EX DG HSM. So allows discover out out how it investigates to these two relationships, and whether it's value your hard-earned money.

Headline features

• 50mm focal length; fast F1.4 maximum aperture
• Silent Wave Motor allows autofocusing on all Nikon DSLRs
• Full-time manual focus override

Angle of view

The pictures below illustrate the angles of view on FX (35mm full frame) and DX camera bodies:

50mm (FX 35mm full-frame)	50mm (DX; 75mm equivalent)

Nikon AF-S Nikkor 50mm 1:1.4G specifications

Street price	� $485 US � �300 UK
Date introduced	September 2008
Maximum format size	35mm full frame
Focal length	50mm
35mm equivalent focal length (APS-C)	75mm
Diagonal Angle of view (FF)	46�
Diagonal Angle of view (APS-C)	31� 30'
Maximum aperture	F1.4
Minimum aperture	F16
Lens Construction	8 elements / 7 groups
Number of diaphragm blades	9 (rounded)
Minimum focus	0.45m
Maximum magnification	0.15x
AF motor type	� Ring-type SWM � Full-time manual focus
Focus method	Unit
Image stabilization	� None
Filter thread	� 58mm � Does not rotate on focus
Supplied accessories	� Front and rear caps � Lens Hood HB-47 � CL-1013 Lens Pouch
Weight	290g (10.2 oz)
Dimensions	73.5mm diameter x 54.2mm length (2.9 x 2.1 in)
Lens Mount	Nikon F only

* Supplied accessories may differ in each country or area

Original Article:www.dpreview.com

The Panasonic Lumix G 20mm F1.7 ASPH was declared lately as the organic affiliate to the lightweight Lumix DMC-GF1 Little Four Thirds electronic dslr electronic camera, together with a Leica-branded 45mm F2.8 Macro (the electronic dslr electronic camera is also available with a 14-45mm kit zoom). The H-H020, as Panasonic incredibly wants to contact it, is a huge highest possible possible aperture 'normal' primary in a very lightweight 'pancake'-type program. It creates up a quit and a 50 % more mild than Olympus's M. Zuiko Digital 17mm F2.8 hot sweet (which is only partially smaller), and is therefore sure to be of attention to E-P1 entrepreneurs who want to capture in low mild using a relationships well-matched to that online digital camera's measurement.

The F1.7 aperture is quick for a hot sweet relationships, and to accomplish this Panasonic has handled to press a 7 element, 5 team style into that lightweight gun gun gun barrel, such as two aspheric components to help decrease disruptions and chromatic aberration. There's a 7-bladed aperture program, using rounded knives developed to provide an eye-catching, sleek impact to out of concentrate features. Rounding off the specifications is a tiniest concentrate wide range of just 20cm. However it's important to note, that contrary to many of Pansonic's relationships, this doesn't have built-in visual picture stabilisation.

The 40mm-equivalent position of viewpoint may originally appear uncommon, but this is actually a 'perfect normal' relationships, with a primary duration just like the indication angled. What this implies is that it provides pictures in a very quite quite fairly neutral style, completely without any the 'perspective distortion' associated with wideangle or telephoto relationships. While this primary duration was generally less typical than the well-known 50mm primary on Drawbacks cameras, it still packed an reasonable market as the conventional relationships for a wide range of high-quality compacts, such as the Leica / Minolta CL. Indeed with that 45mm F2.8 macro and an future 14mm F2.8, Panasonic seems to be placement the GF1 as the religious heir to companies the CL and the Contax G sequence - as a top amazing realistic electronic dslr electronic camera program for serious electronic cameras lovers. Let's see if the pancake's picture amazing can stay up to such considerable objectives.

Headline features

• 20mm 'perfect normal' fixed focal length; fast F1.7 maximum aperture
• Ultra-thin, lightweight design 
• 'Focus by wire' manual focus system
• Micro Four Thirds mount for Panasonic Lumix G and Olympus Pen systems

Angle of view

The picture below illustrates the lens's angle of view (taken from our standard position):

20mm (40mm equivalent)

Panasonic Lumix G 20mm F1.7 ASPH (H-H020) specifications

Price	� US: $400 � UK: �300
Manufacturer's product code	H-H020
Date introduced	September 2009
Maximum format size	Micro Four Thirds
Focal length	20mm
35mm equivalent focal length	40mm
Diagonal angle of view	57�
Maximum aperture	F1.7
Minimum aperture	F16
Lens Construction	� 7 elements/ 5 groups � 2 Aspherical elements
Number of diaphragm blades	7, rounded
Minimum focus	0.2m / 0.66ft
Maximum magnification	Approx 0.13x
AF motor type	DC Micro motor
Focus method	Unit focus
Image stabilization	No
Filter thread	� 46mm � Does not rotate on focus
Supplied accessories*	� Front and rear caps � Lens case
Weight	100g (3.5 oz)
Dimensions	63mm diameter x 25.5mm length (2.5 x 1.0 in)
Lens Mount	Micro Four Thirds

* Supplied accessories may differ in each country or area

Original Article:www.dpreview.com

 PMA 2009 was a show incredibly light on well-known opinions, but one of the most officially exciting upgrades may well have decreased unique of many fan camcorders lovers. Concept offered two new viewpoint management relationships to its TS-E ('Tilt and Move for EOS') extensive variety, through the TS-E 24mm F3.5 L II and the TS-E 17mm F4L. But while the latter quite normally got the concentrate as the widest-angle viewpoint management optic ever made for an SLR system, both function a considerable enhancement over existing well-known styles.

What is usually awesome about these two relationships is that both allow, for initially (at least for wideangle primary activities developed particularly for DSLRs), individual spinning of the aspect and shift axes comparative to the electronic digital digital camera and to each other. (Hartblei's 'Super Rotator' styles accomplish identical activities, but using a longer period primary duration optics initially developed for strategy framework electronic cameras.) Formerly the aspect axis was set as conventional at 90� to the shift axis, and the relationships could be customized to set them both in the same axis if the individual suggested. This limitation has now been removed, making the relationships activities, and therefore awesome alternatives, much more versatile. The aspect and shift procedure goes +/-90�, enabling change in any direction, and moreover the aspect procedure individually goes +/-90�, enabling aspect in any direction comparative to the shift. This performance allows camcorders lovers to enhance stage of place in their pictures without preventing down as far as they would otherwise need - essential when looking for to press every last pixel of details from the newest 20+ Mp DSLRs while preventing the bad results of diffraction.

Canon has also gone to city on the the visual styles, such as the use of high-precision aspherical front aspect part aspect components to keep disruptions to a tiniest, and several UD components to decrease chromatic aberration. In the scenario of the TSE 24mm F3.5 L II, what this implies is a significantly more complicated system than its forerunner - 16 components in 11 categories, as in contrast to 11 components in 9 categories of the mature design. According to Concept the useful picture group is also much bigger - 67.2mm in contrast to 58.6mm - which in concept allows an enhanced extensive variety of activities without vignetting. The relationships also uses the organization's new 'Sub-Wavelength Structure Coating', which is developed to decrease dimension and analyze significantly in relationships that contain large curve-radius components - such as wideangles. Also involved is the currently-fashionable round aperture diaphragm, developed to provide an eye-catching edition to out-of-focus locations of the picture.

The price for all these upgrades is, however, quite awesome. The 'II' edition buys a $1000 top fantastic over the mature relationships on its release, which indicates it costs very nearly as much as an EOS 5D Level II human body. There will probably be more than a few entrepreneurs of the unique relationships considering whether it's value the update, and whether the new optics and versatility of activities offer adequate objective to crack out the bank credit cards. Let's see what we can find out.

Headline features

• 24mm focal length; F3.5 maximum aperture
• � 8.5� Tilt and �12mm Shift
• Independent rotation of tilt and shift movements (through 90� and 180� respectively)

Angle of view

The pictures below illustrate the angles of view on 35mm full frame and APS-C camera bodies:

24mm (35mm full-frame)	24mm (APS-C; 38mm equivalent)

Canon TS-E 24mm F3.5 L II specifications

Street Price	� $2200 � �1900
Date introduced	May 2009
Maximum format size	35mm full frame
Focal length	24mm
35mm equivalent focal length (APS-C)	38mm
Diagonal Angle of view (FF)	84�
Diagonal Angle of view (APS-C)	60�
Maximum aperture	F3.5
Minimum aperture	F22
Lens Construction	� 16 elements / 11 groups � Aspherical elements � 3 UD glass elements
Number of diaphragm blades	8, rounded
Minimum focus	0.21m (8.3")
Maximum magnification	0.34x
AF motor type	Manual focus only
Focus method	Internal (rear) focus
Image stabilization	None
Filter thread	� 82mm � Does not rotate on focus
Supplied accessories	Front and rear caps, hood
Weight	790g (28 oz)
Dimensions	89mm diameter x 106mm length (3.5 x 4.2 in)
Lens Mount	Canon EF only

* Supplied accessories may differ in each country or area

Original Article:www.dpreview.com