The Next Camera

Sony Alpha NEX-7

2011-10-14T08:38:00.000-07:00

Review Summary: The high-end Sony NEX-7 is a compact system camera that offers enthusiasts more control over camera settings, as well as a built-in high-resolution electronic viewfinder. But that's not all they'll be enthused about, because the NEX-7 also has a 24.3-megapixel APS-C sensor and can shoot up to 10 frames per second; it can also shoot Full HD video (AVCHD 2.0).

Pros: 24.3-megapixel sensor; Small body; More controls for enthusiast shooters; Electronic viewfinder built-in.

Cons: No cons for a preview.

Price and Availability: The Sony NEX-7 compact system camera should be available in the US market from November 2011. Body-only pricing is set at approximately US$1,200, while a kit version including a special black variant of the Sony E 18-55mm F3.5-5.6 OSS lens will be priced at around US$1,350. The LA-EA2 Alpha mount adapter with phase-detection autofocus capability will cost about US$400, and will be available from November 2011.

Basic Specifications
Resolution:	24.30 Megapixels
Kit Lens:	3.00x zoom 18-55mm (27-83mm eq.)
Viewfinder:	LCD
LCD Size:	3.0 inch
ISO:	100-16000
Shutter:	30-1/4000
Max Aperture:	3.5
Dimensions:	4.7 x 2.6 x 1.7 in. (120 x 67 x 43 mm)
Weight:	14.6 oz (415 g)
MSRP:	$1,350
Availability:	11/2011
Manufacturer's page:	Sony Alpha NEX-7

Sony Alpha NEX-7 Preview

Sony NEX fans have been waiting for more controls to quickly adjust various exposure settings in a hurry, rather than dig into the menu, and I'm sure many had a wish list for this or that extra feature to make the existing NEX design just a little better. I say "just a little" because the satisfaction level with the existing NEX series is pretty high. But Sony took the NEX series to another level, adding not just more control, but also an OLED electronic viewfinder, a 24.3-megapixel sensor, and an impressively fast frame rate. The new combination of features exceeds what the average enthusiast digital SLR can do, and does it in a significantly smaller package.

Adding all these features required a slight size increase over other NEX designs, but not significantly so. It's a little taller, a little wider and a little thicker, but noticeably heavier than most other NEX cameras. Quoting the company's specs of 14.6 ounces (415g), that's heavier than the 9.5 ounce (269g) NEX-5N, also announced at the same time. When we were able to hold a prototype, the feeling was very solid and high quality.

From the front, the appearance is very similar to the NEX-5, but with a more sculpted grip and a slightly taller profile. The camera also uses lugs for D-rings, rather than the wide metal lugs found on all the other NEX cameras. Pictured just left of the shutter button is the new Navigation button, which cycles through the options available to the user through the Tri-Navi camera control system.

We're told the NEX-7 will include the same 18-55mm kit lens, but dressed in black to better match the body. The NEX-7 is the first to be fitted with a conventional Sony-proprietary hot shoe rather than the Smart Accessory Terminal found on other NEX cameras. The power switch has moved yet again, this time ringing the shutter button as it did on the NEX-3, but facing the front. This matches what a great many SLRs do, so it's by far the best power switch location on the NEX so far.

The XGA-resolution OLED electronic viewfinder peeks out from the upper left corner, a great location to avoid nose smudges on the LCD, at least for right-eye-dominant folks. The 3-inch LCD has 921,600 dots of resolution, and tilts up and down like all NEX cameras. A clever switch/button combo changes between AF/MF function and AE Lock, and then there's the usual NEX control cluster below that. The Record button takes up a better position than past designs, just atop the leather-like thumb grip.

It's the two dials nestled into the camera's top deck where the NEX-7's true value emerges for the enthusiast shooter. Used in combination with the NEX-7's rear dial and the front Navigation button, the three form a unique camera control system driven by visuals on the LCD, whose changes you can see applied to the scene in real time.

Enthusiast's Prayers Answered: The Sony NEX-7 "Tri-Navi" Interface

As wildly successful as the NEX-5 was, it's no secret that many enthusiast users were frustrated by its "beginner-friendly" user interface. With the NEX-7 aimed squarely at the enthusiast crowd, Sony has gone all out to develop an entirely new user interface better matched to enthusiast's desires. Calling the result the "Tri-Navi" interface, we think they've done a pretty good job.

At the core of the NEX-5's interface problems was the simple paucity of buttons. Feeling that too many buttons would confuse the novices and digicam-upgraders the NEX-3 and NEX-5 were aimed at, Sony gave users only three to control the camera with. That was probably fine for the point & shoot set, but it made accessing the cameras' many capabilities a teeth-gnashing, thumb-reddening exercise. (Everyone at IR had sore thumbs the day after the NEX-5 arrived, from incessant fiddling with the single control wheel. <grin>) With the NEX-7, Sony has decisively addressed this problem, adding two more control dials on top of the camera and extra button and lever on the rear panel.

At the heart of the Tri-Navi interface are three control dials; the two new ones mounted edge-on at the camera's top, plus the rear dial familiar from earlier NEX models. Together they form a very convenient and flexible user interface that we can't wait to get our hands on for some live shooting. (The sample of the NEX-7 we had to work with was still very early in its firmware development, so we couldn't do any real shooting with it yet.)

Tri-Navi Interface. The two dials on the top right of the camera (seen here edge-on) and the familiar control dial on the rear panel form the heart of the new "Tri-Navi" user interface. Shown here in Aperture Priority mode, the two top dials control aperture and exposure compensation (Av and Ev), while the rear dial manages ISO and the center button switches between exposure modes. (Click on the image for a larger version.)

By default, the two top dials control exposure; aperture, shutter speed, or exposure compensation, depending on the exposure mode you're working in. You can cycle through a total of five different sets of control parameters, though, simply by pressing the Navigation/Function button located on the camera's top front panel, just to the right of the shutter button.

Many Options. You can quickly choose between five different sets of controls for the Tri-Navi interface. In the shot above, the DRO/HDR set has been chosen, with the top left dial controlling HDR exposure range, the top right dial exposure compensation, while the rear dial selects the type of tonal adjustment desired (DRO, HDR, or off).

As noted, you can cycle through five different sets of options for the Tri-Navi controls. Exposure settings are always at the top of the list, but the others are programmable. The diagram below shows the defaults for the other four option sets.

Option Round Robin. This illustration (courtesy Sony US, from their NDA briefing deck) shows the default sequence of options, accessed by successive presses of the Navigation/Function button. This particular shot shows the D-Range settings seen in the photo above, in their place in the rotation. You can choose from a total of six options, to fit into the four non-exposure "slots" in the rotation. (Click the picture to see the larger version of this image; it just didn't crunch down to 500 pixels wide all that well.)

Sony's done a great job of making the Tri-Navi interface configurable. You can select from a total of six different options for each "slot" in the round-robin of choices accessed via the Navigation button, and one available option is "none." If you select None for one or more of the option slots, it shortens the selection cycle accordingly. For instance, if you didn't often use the D-Range or Creative Style settings, you could eliminate them from the rotation, so you'd only have three options to cycle through to get to any one of them. This may seem like a small point, but it impressed us with the thought that went into the interface design. Sometimes less is more, and recognizing this speaks to a deeper understanding of how people actually shoot than we're often see expressed in many product designs.

The default assignments for the three Tri-Navi dials change depending on the shooting mode you're in. Here's a table listing assignments for each dial in each major camera mode:

Sony NEX-7 Default Tri-Navi Dial Assignments
Shooting Mode	Left Dial	Right Dial	Rear Dial
iAuto	No Function	No Function	No Function
Program Auto	Program Shift	Exposure Compensation	ISO
Aperture Priority	Aperture Value	Exposure Compensation	ISO
Shutter Priority	Shutter Speed	Exposure Compensation	ISO
Manual	Shutter Speed	Aperture Value	ISO
3D Sweep Panorama	Right/Left direction	Exposure Compensation	? (prototype bug)
2D Sweep Panorama	Right/Left-Up/Down direction	Exposure Compensation	? (prototype bug)
Anti Motion Blur	No Function	Exposure Compensation	No Function

Here are the dial assignments for each of the optional settings groups:

Sony NEX-7 Optional Tri-Navi Dial Assignments
Settings Group	Left Dial	Right Dial	Rear Dial
Focus Settings	Focus Area Select	Left/Right focus position	Up/Down focus position
White Balance	White Balance Preset	A/B color adjust	G/M color adjust
D-Range (DRO)	Level (1-5)	Exposure Compensation	DRO Off/DRO/HDR
D-Range (HDR)	EV Spread	Exposure Compensation	DRO Off/DRO/HDR
Creative Style	Creative Style Selection	Amount (+/-3) of parameter selected by rear dial	Sharpness, Saturation, Contrast
Picture Effects	No Function	Select among options for current Picture Effect	Choose Picture Effect (Miniature, Partial Color, etc.)
Custom	(see below)	(see below)	(see below)

In Custom mode, you can assign any of 9 functions plus "Not Set" to any of the three dials. The only restriction is that you can't assign the same function to more than one dial. The nine functions that can be assigned to the control dials via the Custom option are:

Exposure Compensation
Autofocus Mode
ISO
Metering Mode (pattern)
White balance preset (Auto, Daylight, etc.)
DRO/Auto HDR mode (Off/DRO/HDR, but also Off/ DRO Level 1-5, Auto HDR/ HDR EV spread 1-6)
Creative Style preset
Picture Effect
Quality (JPEG Fine/JPEG Standard/RAW/JPEG+RAW)
"Not Set (in case you don't want to assign any function to that dial)

Bottom line, the NEX-7's new Tri-Navi interface offers more flexibility and configurability than anything we've seen to date on a Compact System Camera.

Sony NEX-7 Technical Info

by Mike Tomkins and Dave Etchells

Sensor and processor. The Sony NEX-7 features an impressively high-resolution 24.3 megapixel Exmor APS HD CMOS image sensor, the same as that featured in the company's flagship SLT-series camera, the simultaneously-announced Alpha SLT-A77. This new imager is coupled to the latest version of Sony's proprietary Bionz image processing engine. some 24.7 megapixels, and the sensor's dimensions are 23.5 x 15.6mm, yielding a 1.5x focal length crop when compared with 35mm lenses. The NEX-7's sensor has a standard RGB Bayer color filter.

With a 3:2 aspect ratio, the NEX-7 can provide maximum image dimensions of 6,000 x 4,000 pixels at full resolution. Two further 3:2 aspect ratio resolutions are available: 4,240 x 2,832 pixels, or 3,008 x 2,000 pixels. The NEX-7 also provides a choice of three 16:9 aspect ratio shooting modes, each of which has the same pixel width as its 3:2 aspect counterpart, but with heights of 3,376, 2,400 or 1,688 pixels respectively.

The Sony NEX-7 offers a wide sensitivity range of ISO 100 to 16,000 equivalents, and includes an Auto ISO function. High ISO noise reduction cannot be disabled altogether, but provides three adjustable operating strengths: High, Normal, or Low.

Optics. Like all of the company's NEX-series cameras, the NEX-7 natively accepts only Sony E-mount lenses, although it can also accept an unusually wide range of lenses via mount adapters provided by Sony and third parties. As with its siblings in the NEX-series, the NEX-7 doesn't provide in-body image stabilization, and instead relies on optical image stabilization in the lens, if available.

Three Sony E-mount lenses are already shipping in the US market: a 16mm f/2.8 prime, an 18-55mm f/3.5-5.6 stabilized zoom (available in a kit with the NEX-5N body), and an 18-200mm f/3.5-6.3 stabilized zoom. Next to arrive should be the 30mm f/3.5 macro prime lens, which is currently slated to begin shipping from October 2011, just a few weeks after the NEX-5N goes on sale. Further lens models arriving later this year should see the lineup swell to seven models, including a Sony 55-210mm f/4.5-6.3 stabilized zoom in October, a Carl Zeiss Sonnar T* E 24mm f/1.8 prime in December, and a Sony 50mm f/1.8 stabilized prime in December. The company's roadmap further calls for a Sony G-branded standard zoom, a wide angle zoom, and a mid-telephoto prime during 2012.

As well as Sony's own Alpha-mount SLR lenses (and the Minolta / Konica-Minolta Alpha-mount lenses which predate Sony's purchase of Konica-Minolta's SLR business), the NEX-7 can also be adapted to shoot with Alpa, C-mount, Canon EF-, EF-S, and FD, Contax G, Contarex, Contax / Yashica, Exakta, Fujica X, Hasselblad Xpan, Leica M, M39, or R-mount, M42 mount, Micro Four Thirds, Minolta A or SR-mount, Nikon F-mount, Olympus OM or PEN F, Pentax K-mount, Rollei, or T2-mount lenses. An impressive list indeed, although, it should be noted that each adapter will have differing limitations, and the majority will be manual-focus only.

Another item announced alongside the NEX-7 makes the NEX-series unique among mirrorless cameras in providing support for phase detection autofocus. The LA-EA2 adapter will provide phase detection autofocusing with tracking, predictive control, and AF micro adjustment for all AF-capable Alpha-mount lenses, but cannot be used with a teleconverter. Slated to arrive in the US in November, the Sony LA-EA2 mount adapter will be priced at around US$400.

Lens correction. When shooting in JPEG mode, the Sony NEX-7 includes the ability to automatically correct lens shading (vignetting), lateral chromatic aberration, and distortion in-camera, as images are captured. We don't currently have any information as to which specific lens models are supported for this feature.

Focusing. Of course, when you're not using the LA-EA2 mount adapter, the Sony NEX-7 is limited to contrast detection autofocusing, just like any other compact system camera would be. Sony says that it has implemented a new autofocus algorithm that improves focusing performance and speed. The NEX-7's AF system offers 25-point autofocusing, and has a working range of EV 0-20 at ISO 100 equivalent, with an f/2.8 lens. As well as the 25-point mode, the NEX-7's autofocus system can be configured to operate either with a single point at the center of the image frame, or a flexible point that can be moved around the frame (within an 11 x 17 grid) to focus on a specific off-center subject. The NEX-7 provides both single-servo and continuous-servo autofocus operation. A built-in LED autofocus illuminator helps the NEX-7 to achieve a focus lock on nearby subjects in low ambient lighting conditions. Working range for this AF assist lamp varies depending on the specific lens in use, but with the 18-55mm kit lens, has a working range of 1.6 - 9.8 feet (0.5 - 3.0 m).

As you'd expect, it's also possible to focus manually with the Sony NEX-7, either after an autofocus operation has been performed (Direct Manual Focus, in Sony parlance), or without any prior autofocus operation. When focusing manually, Sony offers two Focus Magnifier zoom levels to aid in determining the precise point of focus, either 5.9x or 11.7x. Also included is the "focus peaking" display which was introduced in the NEX-C3. This makes it easier to identify the point of focus by highlighting the areas of strongest image contrast. When enabled, three highlight colors are available (white, red, or yellow), and the peaking function can operate at one of three sensitivity levels (high, mid, or low.)

Performance. The NEX-7 offers significantly improved performance over the NEX-5 in a couple of key areas. Sony claims prefocused shutter release lag of just 0.02 seconds, which it says is not only five times faster than that of the NEX-5, but the fastest of any interchangeable lens camera.

Burst shooting is equally swift, with a maximum rate of ten frames per second (manufacturer spec) possible in the Speed Priority Continuous burst mode, which locks focus and exposure from the first frame. Burst depth in this mode is rated by Sony as 18 fine or 17 standard JPEG frames, 13 raw frames, or 11 raw+JPEG frames.

Dust reduction. As with the NEX-5 before it, the Sony NEX-7 includes a two-pronged dust reduction strategy, with a charge protection coating on its low-pass filter that aims to prevent dust adhering in the first place, and the ability to vibrate the filter to shake free any stubborn particles that manage to adhere despite the coating. Sony describes the latter system as being new, although it hasn't detailed precisely what changes have been made. (We do note that it is now using the term "ultrasonic vibration" in its marketing materials for the NEX-7, however, suggesting that it may perhaps have increased the vibration frequency.)

The NEX-7's dust reduction system operates when the camera is switched off, which helps to reduce the startup time, while not relying entirely on the user remembering to manually trigger a dust reduction cycle. It is, however, possible to perform a cycle manually through the menu, if desired.

Sony NEX-7 OLED Viewfinder. A major feature of the NEX-7 is its OLED (Organic Light-Emitting Diode) electronic viewfinder. In fact, this is the first rangefinder-style camera that we're aware of anywhere near its size that has a fully electronic viewfinder tucked up in the corner of the body with 'nary a bulge or dimple to mark its presence. Sony tells us that the significantly smaller size of the OLED viewfinder module is what let them shoehorn an EVF into the NEX-7 while still maintaining its very svelte lines.

For old-school types like ourselves, the charm of putting a compact, sleek rangefinder camera up to your eye is a pleasure in itself; the fact that the view through the eyepiece is so crisp, detailed and accurate is icing on the cake. You don't have to be an old-timer to appreciate this, though; we expect that the Sony NEX-7 will find a lot of very happy users among the new-school crowd as well.

Long time IR readers will know that we've never been big fans of electronic viewfinders (EVFs). Thus far the tonal range, clarity, brightness, resolution, and update lag/refresh rates of EVFs have generally made them poor substitutes for the tried and true optical versions.

As technology continues to advance, though, many limitations of earlier EVFs are being addressed, and the OLED technology used in the "TruFinder" found in these latest Alpha and NEX models makes another large step in the right direction.

The sole sample of the NEX-7 we saw was a very early unit; physically complete, but with barely-functional firmware not yet set up to take full advantage of the TruFinder's capabilities. We had ample opportunity to sample the wonders of the TruFinder on the eval samples we had of the Sony A77 and A65, though – and were very impressed with what we saw.

There's a lot more to the story of the new OLED TruFinders than would fit here, so check out our detailed report on the A77's viewfinder in that model's review. A few quick notes are clearly in order here, though, as the viewfinder will be such a large part of shooting with the NEX-7 experience, and our time with the A77 yielded valuable experience.

Rich Information. This is actually a shot through the eyepiece of the Sony A77's viewfinder, not that of the NEX-7. (Which wasn't functional enough yet on the early prototype we saw.) One thing we found impressive was how much information could be displayed and easily read, without the display feeling cluttered.

Big, Sharp, Accurate

The first thing that strikes you about the TruFinder is how big it is. If you're used to shooting with normal subframe SLRs, you're in for a pleasant surprise the first time you look through the one. It's really more a size you'd expect to see on a high-end full-frame SLR selling for thousands of dollars more. It's also incredibly sharp; the first EVF we've seen with XGA (1,024 x 768) resolution; a staggering 2.4 million RGB dots. It also shows 100% of the frame area that the camera will capture; another feature more commonly associated with very high-end professional cameras.

Other Improvements, a couple of gripes

One of our biggest EVF gripes has been poor handling of highlight detail: It's often impossible to see what's going on with sky detail if you're shooting a landscape. The TruFinder has some of the best highlight handling we've seen to date, but unfortunately gets into trouble at the other end of the tonal scale, with a tendency to plug dark areas of the image badly. Also, even at maximum brightness, the TruFinder isn't nearly as bright as a sunny day, so we found that our eyes sometimes took a few moments to adapt when we first looked through it when the surroundings were very bright.

We did feel that the TruFinder's update lag and refresh rate were considerably better than we saw on last year's Alpha A33 and A55 models, although it's still not quite up to the zero millisecond lag provided by an optical finder.

Finally, of course there are the things no optical viewfinder can do: For one, provide a true preview of the shot you're about to capture (including white balance and exposure), and for another offer an incredibly rich information display.

Bottom line, while still like the visual experience of looking through an optical viewfinder, Sony's new TruFinder addresses a number of traditional EVF issues, and brings such a host of other benefits that we'd be happy to make the optical/EVF switch with it.

As noted, the foregoing is only a brief discussion of all the pros and cons of Sony's new OLED TruFinder; check out ourA77 viewfinder page for all the details.

Display. On the rear panel of the Sony NEX-7 is an articulated TFT LCD panel. Like that of its predecessor, the NEX-7's panel can be tilted approximately 80 degrees upwards, for waist-level or low-to-the-ground shooting, or around 45 degrees downwards for shooting over a crowd. The panel's basic specifications are also unchanged, with a three-inch diagonal, 16:9 aspect ratio, total resolution of 307,200 pixels (921,600 dots), and Sony's TruBlack anti-glare design. There's also still an automatic brightness control with five-step manual override, plus a Sunny Weather mode which increases brightness still further for better visibility under bright ambient lighting.

As well as its built-in LCD panel, the Sony NEX-7 is compatible with the company's optional CLM-V55 LCD panel accessory, a five-inch, 800 x 480 pixel display that attaches via the HDMI port, and includes a detachable hood to improve daylight visibility.

Exposure. The Sony NEX-7 offers a choice of nine basic operating modes, unchanged from the NEX-5: Intelligent Auto (iAuto), Programmed AE, Aperture-priority AE, Shutter-priority AE, Manual, Sweep Panorama, 3D Sweep Panorama, Anti Motion Blur, and Scene Selection. This last will automatically set the camera up for one of eight common scene types, as selected by the photographer. Available scene modes are Portrait, Landscape, Macro, Sports Action, Sunset, Night Portrait, Night View, and Hand-held Twilight.

As in Sony's recent cameras, the Hand-held Twilight and Anti Motion Blur modes are similar in that they capture six sequential frames with higher sensitivity / shutter speeds to prevent blurring, and then combines them in-camera to yield a single frame with reduced noise levels. They differ from each other in that Hand-held Twilight mode will generally opt for lower (but still hand-holdable) shutter speeds than in Anti-Motion Blur mode. The Sweep Panorama modes each capture a burst of images for as long as the shutter button is held down, then automatically stitch them into a panorama. (The 3D mode generates a single image with separate left-eye and right-eye views of the scene, as the subject passes across the field of view).

As with all compact system cameras, the NEX-7's performs exposure metering using its image sensor. The metering system in the NEX-7 assesses the metered scene as 1,200 separate zones, and has a working range of EV 0 - 20 at ISO 100 equivalent, with an f/2.8 lens attached. Available metering modes include Multi-segment, Center-weighted, and Spot. As well as locking the metered exposure along with the focus when using multi-segment metering, there's also a dedicated Auto Exposure Lock button. Exposure compensation is available within a range of 5.0 EV on either side of the metered exposure, in 0.3 EV steps, and the NEX-7 can also perform three-frame bracketed exposures with a step size of either 0.3 or 0.7 EV.

The Sony NEX-7 offers a generous selection of ten white balance modes, including Auto, six presets (Daylight, Shade, Cloudy, Incandescent, Fluorescent, and Flash), a direct color temperature setting (2,500 to 9,900 Kelvin), a color filter setting (15-steps of green to magenta bias, and 15-steps of blue to amber bias), plus a Custom white balance mode. There's also a white balance fine adjustment function available.

Available drive modes include Single-shot, Continuous, Speed Priority Continuous, Self-timer (with a delay of two or ten seconds), Continuous Self-timer (shoots three or five exposures, after a ten second delay), Bracketing, and Remote Commander (for use with the optional RMT-DSLR1 infrared remote control unit).

Shutter speeds from 1/4,000 to 30 seconds are possible, and the NEX-7 also offers a bulb shutter function that will hold the shutter open for as long as the shutter button is depressed. Flash sync is at 1/160 second. An optional long-exposure noise reduction function is available for exposures shot with shutter speeds longer than 1 second.

The NEX-7 focal-plane shutter has the same exposure specs as for the earlier NEX-5, but the NEX-7 has obviously been goosed up some to get its amazing 10 frames per second at full 24-megapixel resolution.

The most noticeable change in the NEX-7's exposure system is its use of an "electronic first curtain." This improves performance while reducing noise and vibration, and overall is a very welcome addition.

Sony NEX-7 Electronic First Curtain: Fast and quiet. A key technology in all Sony's August 2011 Alpha and NEX announcements is the "electronic first curtain" exposure capability. This greatly speeds the shutter release on live-view cameras, and significantly reduces shutter-generated vibration as well. A little explanation is perhaps in order.

In a conventional SLR, the focal-plane shutter is composed of two leaves or "curtains" that work together to control the exposure time. Think of your camera's sensor as a window with two window shades; one rolling up from the bottom, the other rolling down from the top. The first curtain starts the exposure by dropping down to uncover the sensor. The second curtain ends the exposure by dropping down to cover it again. After each exposure, the shutter curtains are returned to their original positions in preparation for the next shot. Very short exposures are made by having the two curtains move together, moving a small slit across the focal plane.

To help you visualize, here are a couple of animations showing the action described above, one for a longer exposure, the other for a short one; once the graphic loads, click the button to see the shutter animation. (These animations are from Photocourse.com; check out their excellent Textbook of Digital Photography.)

In a live-view camera, the shutter curtains are initially open, so light can reach the sensor to create the live viewfinder display. In live view mode with a conventional mechanical shutter, the bottom curtain has to be raised first, before the exposure can begin. This of course takes time, increasing the shutter lag before the exposure can begin. The closing of the first curtain can also introduce additional vibration, affecting image sharpness at some shutter speeds. (See our detailed discussion of the blur anomaly in the original Olympus E-P1 for an example. The same issue exists to a greater or lesser degree in most mirrorless cameras, though it's all but invisible in some.)

What's new in this latest crop of Sony cameras is that the "first curtain" function is performed electronically. Rather than having to raise the shutter curtain before the exposure, the NEX-7, NEX-5N, A65, and A77 all begin the exposure electronically, manipulating voltage levels on the sensor array to enable light-gathering in a progressive wave, sweeping down the sensor's surface.

The most noticeable result of this is that shutter lag in live view mode is very brief: Sony claims only 20 milliseconds(0.02 second), a number closely matching the 22 milliseconds we measured electro-optically in our lab on the NEX-5N, which uses the same shutter mechanism. (We'll obviously test the NEX-7 itself once production samples are available.) The reduced curtain movement also reduces shutter-induced camera vibration, and makes for a much quieter shutter release as well: All Sony's new cameras with this shutter setup are unusually quiet in operation.

This isn't the first time we've seen an electronic first-curtain on an APS-C sensor: The Canon 40D SLR introduced the concept back in August of 2007, and as far as we know, Canon live-view-capable SLRs still employ the technology. There's a significant difference in what we call prefocused release lag, though, with Canon's SLRs in Live View mode measuring in the range of 80-90ms, vs the astonishing 20ms for the NEX-5N and NEX-7. A 20ms release time is actually quite a bit faster than even very high-end professional SLRs can manage. (The Nikon D3s is one of the very fastest, with a release lag of 43ms, measured on the same test equipment we used for the NEX-5N.)

Tilt level. The Sony NEX-7 includes a dual-axis level gauge, which helps ensure level horizons and prevent converging verticals in photos. The gauge is displayed in a style reminiscent of an aircraft attitude indicator, but with a separation of the roll and pitch indicators. When the camera is perfectly level, the pitch indicators and markings at the end of the roll indicator are illuminated in green.

Face detection. Even among SLRs, face detection during live view is a fairly common feature these days, and for compact system cameras its pretty much standard. The Sony NEX-7 goes a step further, though, in offering the ability to register the faces of eight specific individuals, who will then be automatically recognized and prioritized over other faces when determining focus, exposure, and flash output, as well as during post-exposure image processing. The NEX-7 is capable of simultaneously detecting and accounting for up to eight faces in any given scene, and also includes a Smile Shutter function with three-step sensitivity, which will automatically capture an image when your subject is smiling. Of course, face detection can be disabled, should you wish.

Flash. The Sony NEX-7 includes an auto-popup flash strobe, a first for a NEX-series camera. The guide number is 6 meters at ISO 100, and coverage is 18mm, with a recycle time of around four seconds. In another first for a NEX-series camera, the NEX-7 also includes Sony's proprietary flash hot shoe, as seen on its Alpha SLRs (as well as on Minolta and Konica Minolta models manufactured before Sony acquired their DSLR business). The addition of the full-sized hot shoe and popup flash means that the NEX-7 doesn't include Sony's Smart Accessory Terminal, seen on other recent NEX-series models, and hence isn't compatible with accessories dependent upon this. Although the NEX-7 doesn't include a built-in sync terminal, Sony is offering an FA-ST1 sync terminal adapter which mounts on the camera's hot shoe, allowing connection to studio strobes.

The NEX-7 uses pre-flash TTL metering, and offers +/- 3.0 EV of flash exposure compensation, in 0.3 EV steps. Available flash modes include Flash Off, Auto Flash, Fill Flash, Slow Sync, and Rear Sync, and an optional red-eye reduction function is available. Some external strobes including the HVL-F36AM, HVL-F42AM, HVL-F56AM, and HVL-F58AM support high-speed sync and wireless shooting.

Creative. The Sony NEX-7 includes quite a range of creative controls to help photographers get the look they're after, with a minimum of time spent in the digital darkroom. A selection of eleven Picture Effect modes are available, five of them new since the NEX-5 (with one mode having been removed.) The new modes include Soft High-key (which replaces the NEX-5's High-key mode), plus Soft Focus, HDR Painting, Rich-tone Monochrome, and Miniature. The Posterization (color or black & white), Pop Color, Retro Photo, Partial Color (red, green, blue , or yellow), High Contrast Mono, and Toy Camera are all held over from the earlier camera.

In addition, the NEX-7 provides an enlarged selection of Creative Style choices as compared to the NEX-5, each of which offers +/- three-step control over contrast, saturation, and sharpness. New Creative Style modes include Neutral, Clear, Deep, Light, Night Scene, Autumn Leaves, and Sepia, in addition to the existing Standard, Vivid, Portrait, Landscape, Sunset, and Black & White modes from the NEX-5.

A Dynamic Range Optimizer function aims to open up the shadows while maintaining highlight detail, and can be left under automatic control, or set to one of five preset levels. There are also several multi-shot modes, including Hand-held Twilight and Anti Motion Blur (both of which allows faster shutter speeds with reduced image noise), and an Auto HDR mode. This last creates a single high dynamic range image from three sequential shots, whose exposure level varies anywhere from 1 - 6 EV in 1 EV steps, controlled automatically or manually.

The NEX-7 also offers an in-camera Sweep Panorama function, which captures and stitches together multiple images as you sweep your lens across a panoramic scene. When set to Wide mode, Sweep Panorama can create a horizontal scene with a resolution of 12,416 x 1,856 pixels, or a vertical scene with a resolution of 2,160 x 5,536 pixels. In standard mode, the horizontal dimensions are 8,192 x 1,856 pixels, while vertical panoramas occupy 2,160 x 3,872 pixels.

3D Imaging. In addition to the standard Sweep Panorama function, the NEX-7 includes a 3D Sweep Panorama mode, which was added to the earlier NEX-5 model via a post-launch firmware update. Since the NEX-7 only has objective lens, the stereo effect is created using some clever mathematics to reconstruct a 3D image as the subject passes across the lens' field of view. The result is saved as a single multi-picture object file that contains two separate JPEG images, one for each eye, allowing it to be viewed on 3D-capable Sony Bravia displays In Wide mode, 3D Sweep Panoramas occupy 7,152 x 1,080 pixels, while in Standard mode the resolution is 4,912 x 1,080 pixels. There's also a 16:9 mode, which saves a 1,920 x 1,080 pixel panorama suitable for full-screen HDTV viewing.

Video. The Sony NEX-7 also offers Full HD (1,920 x 1,080 pixel) video capture capabilities, and according to Sony, is the world's first interchangeable-lens camera (along with other Sony models simultaneously announced) able to record Full HD off the sensor at 60 frames per second. (We've seen cameras previously which recorded 60 interlaced fields per second at Full HD resolution, but these either clocked the data off the sensor at 30 frames per second and then split each frame across two interlaced fields, or they clocked the data at 60 frames per second but discarded alternating fields, to be compliant with the original AVCHD 1080 60i specification.)

The NEX-7's Full HD video is recorded using AVCHD Version 2.0 compression, with Dolby Digital (AC-3) audio, and a wide range of progressive-scan and interlaced frame rates are available. When set to NTSC mode, the available progressive-scan rate are 60 fps (28Mbps) or 24 fps (24 Mbps or 17 Mbps), and you can also opt for an interlaced 60 fps (24 Mbps or 17 Mbps). If you switch to PAL mode, the options are the same, except that the 60 fps rates are replaced by 50 fps equivalents, and the 24 fps rates by 25 fps ones.

It's also possible to record at high-def resolution of 1,440 x 1,080 pixels (12 Mbps), or a standard-definition VGA (640 x 480 pixel, 3Mbps) resolution. These are all available at 30 fps in NTSC mode, or 25 fps in PAL mode, and are captured using MPEG-4 AVC (H.264) compression with MPEG-4 AAC-LC audio. Note that no 720p recording mode is available on the NEX-7.

Unlike many competing cameras, the Sony NEX-7 provides full control over movie exposure, with a choice of Program, Aperture-priority, Shutter-priority, or fully Manual recording. It also allows Tracking autofocus, as well as use of Creative Style and some Picture Effect modes during movie capture. Recording is started and stopped with a dedicated Movie button on the NEX-7's rear panel, and audio is captured by default with a built-in stereo microphone. There's also an external stereo microphone jack, compatible with microphones including Sony's own ECM-CG50 Shotgun Mic and ECM-ALST1 Stereo Mic. A built-in monaural speaker caters to movie playback, and has an eight-step adjustable volume setting.

Playback. To let you immediately judge composition, exposure, and the like, the Sony NEX-7 provides an optional Auto Review function that can display images on-screen for two, five, or ten seconds immediately post capture. After capture, Playback mode lets you review single images, with optional shooting information, RGB histogram, or blinking highlight/shadow warning. In addition, images can be enlarged up to 16.7x to confirm fine details. Two index views are available, showing either six or twelve frames at once.

Connectivity. The Sony NEX-7 includes a USB 2.0 High Speed data connection, allowing for transfer of images and movies to a personal computer. Two operating modes are available for the USB connection, either USB Mass Storage Class, or Microsoft's Media Transfer Protocol. Catering for high-definition video output, the NEX-7 also provides a Type-C Mini HDMI connection, with support for Bravia Sync, Sony's brand name for the Consumer Electronics Control standard. This allows certain playback functions such as switching between images to be performed using the attached display's remote control unit. There's no standard-definition video output on the NEX-7, though, so photographers who've yet to switch to a high-def display will need a third-party device with which to view images on a standard TV.

Although the NEX-7 doesn't have a dedicated power input, it can accept external power via the AC-PW20 AC adaptor kit. This includes a dummy battery which feeds power to the camera from the AC adaptor, with a small flap in the battery compartment door providing ingress for the dummy battery cable. With the exception of the aforementioned flash hot shoe, and jack for an external stereo microphone, there is no other external connectivity on the NEX-7.

Storage. As well as Sony's proprietary Memory Stick PRO Duo and Memory Stick PRO-HG Duo flash cards, the NEX-7 can also write images and movies to Secure Digital cards, including the higher-capacity SDHC and SDXC types. We don't currently have information regarding support for Eye-Fi's WiFi-capable SD cards, nor for high-speed UHS-I compliant cards. 2D images can be saved either in Sony ARW 2.3 raw format, or as standard JPEG files (DCF Ver. 2.0, Exif Ver. 2.3, MPF Baseline compliant). 3D images are saved as Multi Picture Object files (MPF Extended compliant).

Battery. The Sony NEX-7 draws power from a proprietary NP-FW50 lithium-ion battery pack, which is rated by Sony for 430 shots to CIPA testing standards when using the LCD display, an improvement of 30% over the battery life of the previous NEX-5 model. When using the built-in electronic viewfinder, rated battery life falls to 350 shots.

Sony NEX-7 Conclusion (for now)

We obviously can't conclude a whole lot from a camera that we've only seen in barely-functional prototype form, but what we've seen looks tremendously impressive. We do have a good idea of what the NEX-7's image quality will be like,d though, because it uses the same 24.3 megapixel sensor and advanced Bionz processor that we've already shot a fair number of test images with in the A77. Sony claims that the A77's image quality "approaches that of full-frame cameras", and we found that indeed to be the case when we compared image samples against those from Sony's earlier A900 full-frame SLR. That same level of imaging prowess in the NEX-7's super-compact body can't help but be a huge hit.

As if that weren't enough, there's also the NEX-7's very nice eyelevel viewfinder, flash hot shoe, greatly expanded movie recording capabilities, and a dramatically enhanced user interface. The NEX-5 was last year's runaway best-seller; it looks to us like the NEX-7 is destined for the same this year. If Sony can hit their retail-availability date of sometime in November (and can produce enough quantity to meet demand), we think there'll be a lot of NEX-7s under Christmas trees this year. It's clearly one of the most exciting camera announcements of 2011; stay tuned and we'll bring you our usual in-depth test analysis as soon as production samples are available.

http://www.imaging-resource.com/PRODS/NEX7/NEX7A.HTM

Digital Camera Fujifilm X10

2011-10-10T21:36:00.000-07:00

12.0 megapixels | 2.8" screen | 28 – 112 mm (4×)

The Fujifilm X10 is an enthusiast compact with a F2.0-2.8, 28-112mm-equivalent lens. It's built around a 2/3" (6.6 x 8.8mm) CMOS sensor that uses Fujifilm's EXR pixel arrangement. The 12MP sensor can produce either 12MP images in high resolution mode, under-expose half its pixels to provide 6MP images with greater dynamic range, or combine neighboring pixels for a 6MP high sensitivity mode. The X10 borrows extensively from the styling of the X100 (though its zooming viewfinder means you lose the X100's hybrid viewfinder), to give a camera that sits conceptually between the Olympus XZ-1 and the Canon Powershot G12.v

Specifications

Body type
Body type	Compact
Sensor
Max resolution	4000 x 3000
Image ratio w:h	1:1, 4:3, 3:2, 16:9
Effective pixels	12.0 megapixels
Sensor size	2/3" (8.8 x 6.6 mm)
Sensor type	EXRCMOS
Processor	EXR
Image
White balance presets	7
Custom white balance	Yes
Image stabilization	Optical
Uncompressed format	RAW
JPEG quality levels	Fine, Normal
Optics & Focus
Focal length (equiv.)	28 – 112 mm
Optical zoom	4×
Autofocus	Contrast Detect (sensor), Multi-area, Center, Tracking, Single, Continuous, Live View
Digital zoom	Yes (2x)
Manual focus	Yes
Normal focus range	50 cm (19.69")
Macro focus range	1 cm (.39")
Lens mount	None
Screen / viewfinder
Articulated LCD	Fixed
Screen size	2.8"
Screen dots	460,000
Touch screen	No
Live view	Yes
Viewfinder type	Optical (tunnel)
Viewfinder coverage	85 %
Photography features
Maximum aperture	F2.0 - F2.8
Minimum shutter speed	30 sec
Maximum shutter speed	1/4000 sec
Aperture priority	Yes
Shutter priority	Yes
Manual exposure mode	Yes
Subject / scene modes	Yes
Built-in flash	Yes
Flash range	9 m
External flash	Yes (hot-shoe)
Flash modes	Auto, On, Off, Red-Eye, Slow Sync
Continuous drive	Yes (10 fps)
Self-timer	Yes (2 or 10 sec)
Metering modes	Multi, Average, Spot
Exposure compensation	±2 EV (at 1/3 EV steps)
AE Bracketing	(at 1/3 EV, 2/3 EV, 1 EV steps)
WB Bracketing	No
Videography features
Format	MPEG4
Audio channels	Stereo
Resolutions	1920 x 1080 (30 fps), 1280 x 720 (30 fps), 640 x 480 (30 fps)
Storage
Storage types	SD/SDHC/SDXC
Connectivity
USB	USB 2.0 (480Mbit/sec)
HDMI	Yes (Mini connector)
Wireless	None
Physical
Environmentally sealed	No
Battery	Battery Pack
Battery description	Lithium-Ion NP-50 rechargeable battery
Weight (inc. batteries)	350 g (0.77 lb / 12.35 oz)
Dimensions	117 x 70 x 57 mm (4.61 x 2.76 x 2.24")
Other features
Orientation sensor	Yes
Timelapse recording	No
GPS	None

http://www.dpreview.com/products/fujifilm/compacts/fujifilm_x10

new Nikon Coolpix P7100

2011-10-08T22:06:00.000-07:00

10.1 megapixels | 3" screen | 28 – 200 mm (7.1×)

The Nikon CoolPix P7100 is an updated version of its P7000 enthusiasts' compact. While the specifications improve by gaining an extra control dial and a flip-out LCD, the biggest improvement is to the camera's responsiveness.

Specifications

Body type
Body type	Compact
Sensor
Max resolution	3648 x 2736
Other resolutions	640 x 480
Image ratio w:h	1:1, 5:4, 4:3, 3:2, 16:9
Effective pixels	10.1 megapixels
Sensor photo detectors	10.4 megapixels
Sensor size	1/1.7" (7.49 x 5.52 mm)
Sensor type	CCD
Processor	Expeed C2
Image
ISO	100 - 3200 + Hi (ISO 6400)
White balance presets	6
Custom white balance	Yes (PRE1, PRE2, PRE3)
Image stabilization	Optical
Uncompressed format	RAW
JPEG quality levels	Fine, Normal, Basic
Optics & Focus
Focal length (equiv.)	28 – 200 mm
Optical zoom	7.1×
Autofocus	Contrast Detect (sensor), Multi-area, Center, Selective single-point, Tracking, Single, Continuous, Face Detection, Live View
Digital zoom	Yes (4X)
Manual focus	Yes
Normal focus range	50 cm (19.69")
Macro focus range	2 cm (.79")
Number of focus points	99
Lens mount	Unknown
Screen / viewfinder
Articulated LCD	Fully articulated
Screen size	3"
Screen dots	921,000
Touch screen	No
Live view	Yes
Viewfinder type	Optical (tunnel)
Viewfinder coverage	80 %
Photography features
Maximum aperture	F2.8 - F5.6
Minimum shutter speed	60 sec
Maximum shutter speed	1/4000 sec
Aperture priority	Yes
Shutter priority	Yes
Manual exposure mode	Yes
Subject / scene modes	Yes
Built-in flash	Yes
Flash range	9 m
External flash	Yes (Compatible i-TTL Nikon Speedlights)
Flash modes	Auto, Auto with red-eye reduction, Fill flash, Manual, Slow sync, Rear curtain flash
Continuous drive	Yes
Self-timer	Yes (10 or 2 second delay)
Metering modes	Multi, Center-weighted, Spot
Exposure compensation	3 EV (at 1/3 EV, 1/2 EV, 1 EV steps)
AE Bracketing	±4 (3, 5 frames at 1/3 EV, 1/2 EV, 1 EV steps)
WB Bracketing	Yes (3 or 5 shots in 1, 2 or 3 mired increments on Amber-Blue axis)
Videography features
Format	H.264
Audio channels	Stereo
Resolutions	1280 x 720 (30 fps), 640 x 480 (30 fps), 320 x 240 (30 fps)
Storage
Storage types	SD/SDHC/SDXC
Connectivity
USB	USB 2.0 (480Mbit/sec)
HDMI	Yes
Wireless	None
Remote control	Yes (Optional wireless remote)
Physical
Environmentally sealed	No
Battery	Battery Pack
Battery description	DC 7.4 V, 1030 mAh
Battery Life (CIPA)	350
Weight (inc. batteries)	395 g (0.87 lb / 13.93 oz)
Dimensions	116 x 77 x 48 mm (4.57 x 3.03 x 1.89")
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	None http://www.dpreview.com/products/nikon/compacts/nikon_cpp7100

NEW Sony NEX-5N

2011-10-08T04:46:00.000-07:00

Review based on a production NEX-5N with firmware 01

The Sony Alpha NEX-5N is the fourth model in Sony's NEX line of APS-C format mirrorless interchangeable lens cameras. Just as the NEX-C3 replaces the NEX-3, the 5N is a direct replacement for its predecessor the NEX-5, using the company's latest 16.1MP CMOS sensor in place of the previous 14MP chip. Although the 5N is nearly indistinguishable from the NEX-5 on the outside (and is bound to be regarded as such by many casual observers), it is actually a very different camera, and one that is worthy of serious attention.
The two most significant changes to the NEX-5N compared to the NEX-5 are its new sensor, which we have been very impressed by in the NEX-C3, and the addition of a touch interface - unique in Sony's current Alpha lineup. When images of the first NEX cameras appeared, many people assumed their lack of buttons indicated touch-sensitive operation, so it's interesting to see a touchscreen finally appearing on the 5N.
While the NEX-3 and 5 were close siblings, differentiated mostly by styling and HD video capability, the NEX-5N and NEX-C3 are more like cousins. The 5N has a wider ISO range, spanning 100 - 25600 (equivalent) and adds support for the new FDA-EV1S electronic viewfinder. Like the co-announced NEX-7, the 5N also offers the option of using an electronic first-curtain shutter that promises to substantially reduce shutter lag. Furthermore, when paired with native E-mount lenses, it gains the capability to compensate for certain optical aberrations (namely lateral CA, vignetting and distortion - each of which can be turned on or off at the user's discretion). The NEX-5N also adds support for the new LA-EA2 SLT Alpha mount lens adapter which will also be compatible with the NEX-7.
Even with the addition of these enthusiast-friendly features the 5N still retains its appeal to compact upgraders. The same iAuto and Photo Creativity modes from the C3 are available on the 5N, along with a generous helping of the 'Picture Effects' creative processing options, available in PASM modes.

Sony NEX-5N specification highlights

Touch-screen display
Electronic First Curtain shutter
Revised 16.1MP CMOS sensor
ISO 100-25600
10fps continuous shooting mode (at full resolution)
In-camera CA, vignetting and distortion correction
Auto ISO limit of 3200 (increased from ISO 1600 in NEX-5)
Creative Control results-orientated user interface
Picture Effects processing options
1080p 60p HD movies in AVCHD format

Compared to the NEX-5

The NEX-5N is almost identical to the 5 in terms of form, but there have been some significant changes made to its function. The 5N's new stand-out feature is the introduction of a touchscreen that provides alternative access the the camera's operational controls, as well as adding few additional features that take advantage of this input method.

Cosmetically, the NEX-5N (on the right) is nearly identical to the NEX-5, with the exception of a slightly angled top-casing and a silver flair around the power switch. The overall appearance of the 5N has been further streamlined by creating a single magnesium-allow top plate. The hand-grip material has has a more refined feel too, but doesn't seem to offer any more grip.

NEX-5N compared to NEX-5: key differences

	Sony NEX-5N	Sony NEX-5
Sensor	• 16.1 million effective pixels	• 14.2 million effective pixels
Body construction	• Magnesium alloy (front and top plate)	• Magnesium alloy (front plate)
Maximum shooting rate	• 10 FPS	• 7 FPS
Electronic Viewfinder	• Optional accessory	• No
SLT Adapter support	• Yes	• No
LCD touch-screen	• Yes	• No
Lens aberration correction	• Yes	• No
Video	• 1080 60i/p (AVCHD)	• 1080 60i (AVCHD)
Sensitivity	• ISO 100 - 25,600	• ISO 200 - 12,800
Electronic first curtain shutter	• Yes	• No

Compared to the Olympus E-PL3

The Olympus PEN series have, historically, been geared more towards the enthusiast crowd than Sony's NEX cameras which have been marketed primarily towards compact upgraders. However, with the 5N's new bevy of customization options and expanded features, that line is becoming blurred.

The NEX-5N is impressively small - as you can see in this comparison with the Olympus E-PL3, it's the same width but sits lower and has sections of its base cut away to reduce its overall volume. However, the 5N's larger sensor means the lens is considerably larger than the collapsing unit on the PEN and, unlike the Olympus, the NEX-5N doesn't have built-in image stabilization.


From the top down, the NEX-5N's generously-sized hand grip is obvious, and so is the supermodel-thin body, compared to the E-PL3. This is partly an optical illusion - the 5N's lens mount protrudes from the body and looks, here, as if it is part of the lens. Also apparent in this view is the 5N's unadorned top plate. Unlike the E-PL3, there is no exposure mode dial, and no hotshoe. Even the 5N's flash connector is concealed behind a door.

http://www.dpreview.com/reviews/sonynex5n/

New JVC Video

2011-10-07T09:22:00.000-07:00

JVC has announced the GC-PX10, a 12 megapixel/1080p60 hybrid stills/video camera with 10x optical zoom. The model, which combines a 1/2.3" back-illuminated CMOS sensor can shoot 1080p60 video at bitrates of up to 36Mbps, full-resolution images at 30fps or 8.3MB images at 60fps. The camera, which appears to be a US version of the previously-announced, Japan-only GC-PX1, can also capture slow-motion video at 300fps. It includes 32GB of built-in memory, as well as accepting SDXC, SDHC and SD cards.
Press Release:

New JVC Video/Still Hybrid Camera Offers Pro-Level Performance and Features

WAYNE, NJ, October 3, 2011 – JVC today announced a new digital camera that uses a new high speed imaging engine to shoot both high quality digital still images and stunning Full HD video. The JVC GC-PX10is a true hybrid camera that shoots 12 megapixel stills and Full HD 1920 x 1080/60p video. In addition, it offers such professional-level capabilities as 60 shots per second still image shooting, 300 frames-per-second video recording for high-quality super-slow motion and the ability to capture pristine still images from video.
At the heart of the GC-PX10 is JVC’s new FALCONBRID high speed imaging engine, first seen in JVC’s Full HD 3D camcorder, the GS-TD1. FALCONBRID is a single-chip technology with the processing power to allow the GC-PX10 to record Full HD progressive video at 36Mbps for rich, detailed images. In addition, the camera can shoot 8.3 megapixel stills while recording Full HD video for clear, high-quality still images from recorded video. The camera’s image sensor is a 1/2.3” 12.75 megapixel back-Illuminated CMOS sensor.
Digital still shooting in real time offers up to 12 megapixel resolution (4000 x 3000). An ISO6400 mode is available for increased sensitivity when shooting in dark environments. Rapid-fire still shooting of 8.3 megapixel (3840 x 2160) stills is possible at 60 shots-per-second, up to 130 shots total per burst, or 12 megapixel stills at 30 frames-per-second. This surpasses the capabilities of digital SLR cameras currently available.
For super-slow motion shooting, the GC-PX10 can shoot video at 300 frames-per-second. Image resolution is VGA (640 x 360), making it more than sufficient for online posting and viewing. But more importantly, this mode can be used for approximately two hours straight. So, to offer an extreme example, it’s possible to record an entire soccer game in super-slow motion.
Other features that will appeal to the serious shooter include optical image stabilization with JVC’s Advanced Image Stabilizer, 10X optical zoom (19x Dynamic Zoom with no image degradation when zoomed), KONICA MINOLTA HD LENS, a mode dial for both automatic and manual settings (white balance, aperture and shutter), microphone output and headphone input.
The camera offers 32GB of internal memory, SDXC/SDHC card slot, tiltable three-inch touch panel monitor, HDMI output and bundled LoiLoScope FX software for Windows®.
The JVC GC-PX10 will be available this month for $899.95.

http://www.dpreview.com/news/1110/11100609jvchybridcamera.asp

news : Redrock Micro creates Canon EF to MFT adapter with aperture control

2011-10-07T08:21:00.000-07:00

DSLR video accessory specialist Redrock Micro has created a Canon EF to Micro Four Thirds lens adapter. The LiveLens MFT adds the electronics required to control the aperture on the mounted EOS lenses. A 9V battery and a touch-panel allows the adapter to specify the lens aperture in 1/3EV steps. The adapter costs $442.50 and is available directly from the manufacturer's website. (Via Photography Blog)

Redrock Micro's New LiveLens MFT™ Delivers Canon EF Lens Compatability for Micro Four-Thirds (MFT) Cameras

Razor-Sharp Canon Lenses Usable on MFT Bodies such as Panasonic AF100, GH2

Hollywood, CA and Dallas, TX - Redrock Micro, the recognized leader in affordable professional-grade cinema accessories, announced today the release of the new Redrock Micro LiveLens MFT™. The LiveLens MFT is the first active lens mount to allow Canon EF lenses to be used with any micro four-thirds camera body, including the Panasonic AG-AF100, Panasonic GH2, and Olympus E-P3. Now, the exceptional sharpness and clarity of Canon optics can be mated with the compact, powerful capabilities of micro four-thirds cameras.

Small Lens Adapter with Big Capabilities

Redrock Micro's LiveLens MFT provides the required power and electronics to control Canon EF lenses when attached to a micro four-thirds camera body. With the LiveLens MFT's control touchpad, the EF lens' aperture can be open and closed in increments as small as 1/3 stop. The LiveLens MFT works with virtually every EF lens available today, including variable aperture zoom lenses, prime lenses, consumer-level lenses, professional L-series lenses and most third party EF-compatible lenses. A marvel of advanced design, the LiveLens MFT is incredibly compact and weighs less than 6oz.
LiveLens MFT uses Canon lens control technology proven for over three years in professional productions. For operators and DPs who have invested in Canon EF lenses and want to extend their investment to MFT cameras like the AF100, LiveLens MFT is an invaluable tool.

Pricing and Availability
Introductory pricing for the LiveLens MFT is $442.50. Redrock Micro's LiveLens MFT is a limited edition product and is available immediately. LiveLens MFT can be purchased direct from Redrock Micro at redrockmicro.com/livelensmft.

Pentax Q

2011-10-05T04:40:00.000-07:00

Basic Specifications
Resolution:	12.40 Megapixels
Kit Lens:	Non-Zoom 9mm (47mm eq.)
Viewfinder:	LCD
LCD Size:	3.0 inch
ISO:	125-6400
Shutter:	30-1/2000
Max Aperture:	1.9
Dimensions:	3.9 x 2.3 x 1.2 in. (98 x 58 x 31 mm)
Weight:	8.3 oz (235 g) includes batteries, kit lens
MSRP:	$799
Availability:	09/2011

Pentax Q

No price data available. Check back soon.

Review Summary: Pentax produces a small-sensor digital camera with interchangeable lenses, a first for the digital camera industry. It's early to tell, but we think the Pentax Q could give both the enthusiast digital cameras like the G12 and the compact system cameras a run for their money, provided it's not too small for the average user.
Pros: Interchangeable lenses that are also light and compact. Very small size that's easy to take anywhere. Still has physical controls where other companies seeking small designs have opted for other solutions with a steeper learning curve.
Cons: Small buttons and small size might be too hard to use for some. Image quality is bound to trail other compact system cameras, especially low light shots.
Price and Availability: Initially, the PENTAX Q system will ship in Japan. Anticipated shipping time to the United States is early Fall 2011 at around $800 for the standard lens kit.
Bloggers/Press: Click for Pentax Q images to use in your posts.

Pentax Q Hands-on Preview

by Shawn Barnett, Mike Tomkins, and Zig Weidelich
Posted June 23, 2011
It wasn't long ago I had the pleasure of running around town with one of the largest interchangeable lens cameras on the market, the Pentax 645D. It was big, but handled well, with excellent optics and a very high-resolution sensor. Today the contrast was dramatic, carrying the very tiny Pentax Q, a small interchangeable lens camera. The experience was very different, but it was still a Pentax, a company that's pushing beyond lots of boundaries lately. The Pentax Q has smaller optics and a smaller, lower-resolution sensor. Indeed, it's so small it fits in a pocket and conceals easily in a palm--or behind an iPhone. It could even hang--as our illustration demonstrates--from a keychain, were it not worthy of better daily care than that.

Although we don't expect a 1/2.3"-sized sensor to compete with comparably priced SLRs and CSCs, we're impressed with the execution on the Pentax Q, and see signs that it will likely rival quality enthusiast cameras like the Canon G12, albeit at a $300 price premium for the luxury of interchangeable lenses.
Build. With all of its latest digital SLRs, Pentax has demonstrated its ability to build a high quality camera, and the Pentax Q's magnesium alloy build feels more serious than a simple pocket camera, despite its Lilliputian stature. Pentax's impressive line of Limited SLR lenses, in particular, seem to be echoed in the quality of the 8.5mm Standard Prime kit lens as well. Both the lens and mount are steel and have a tight, precision fit.
Dials and buttons, too, are of good quality, with firm detents on the dials, and audible, tactile clicks on the buttons: an important feature with such small buttons.
Most surprising is how natural it feels to use the Pentax Q. It's smaller than the average pocket long zoom, but still feels about like using one, thanks to the small finger and thumb grip. In something of an optical illusion, the lens seems to be closer to the grip side of the camera than the other, but it's actually about two millimeters to the right.
Ultimately, the Pentax Q is built more like an SLR, but it feels as familiar as a quality pocket camera.
With the lens off, you can see the small sensor that allows such a small camera and such small lenses. It's somewhat surprising Pentax didn't choose a 1/1.7" sensor, as are used in the Canon G12 and competing designs. But the 12.4-megapixel CMOS sensor is backlit, which should offer better performance in low light, and lower noise overall.
The front view of the Pentax Q shows an IR remote sensor embedded into the grip, an AF-assist lamp, the lens release button, and two holes for the stereo microphones. The peculiar dial on the right of the lens is used to quickly select among a selection of Smart Effects or other available filters. Via a menu, you pick which filters you want to have at each setting; returning the dial to the white dot turns all filters off.
Though the flash looks like any other built into a pocket camera, it is anything but ordinary. It doesn't just pop up, it swings up and over to the right (see photo below) to help minimize red-eye and to clear larger lenses and lens hoods. Someone deserves an award for this bit of engineering. Here's hoping Pentax makes a wad of cash licensing the design to other companies. The flash will also fire from its nested position.
A look at the top of the Pentax Q shows the 8.5mm lens (47mm equivalent), called the 01 Standard Prime. Its knurled ring makes mounting and removal easy, and the front focus ring does not offer physical control over focus, instead feeding ring position data to the focusing system as you turn it. Our attempts with the prerelease model were actually pretty impressive, as the focus tracked the ring's movement very well, unlike many competing designs.
The small popup flash is released via the slider just behind it. It takes a little practice to release the flash without your fingers getting in the way. Next to that is the Playback button, something we'd have preferred to see on the back, but admittedly there's very little room on the Pentax Q. The hot shoe looks relatively massive on the Q, compatible with Pentax's current line of flashes, however large. Five holes mark the position of the speaker. The small power button is right of that, and the gunmetal shutter button rises fairly high from the camera body, offering a very soft half-press with a clean break at full press for a very good feel.
The Mode dial sits atop and dictates the shape of the small fingertip grip, just as the Rear dial describes the shape of the rear thumbgrip. Strap lugs are molded into the top plate of the Pentax Q, presumably also of magnesium alloy.
Tightly fitted into the small chassis is the 460,000-dot, 3-inch TFT LCD with a 170 degree viewing angle. Unlike the Sony NEX-C3 and Panasonic GF3, two cameras also pushing the size barriers for interchangeable lens cameras, the Pentax Q doesn't take the minimalist approach to the camera's interface to eliminate buttons. Instead they take the approach that's worked for pocket digital cameras for years: small buttons; no scroll wheels, soft buttons, or touchscreens. I can see some objecting to the use of such small buttons, but those who don't like small buttons have no business looking at a camera this small to begin with. Most of the buttons are recessed and stiff enough to avoid accidental activation, yet they yield to gentle, inward pressure with a soft click. The four outer navigation buttons are beveled upward from the center out for easier tactile differentiation from the other buttons, which are admittedly quite close.

Magnesium alloy. The Pentax Q feels very solid thanks to its magnesium alloy body.

Most of the buttons are marked, and so self-explanatory. The markings are small enough that those with poor near vision might have trouble, but they would also have trouble with the interfaces on the C3 and GF3, so I think Pentax has made a good choice here. Just above the Exposure Compensation button is a secondary IR remote port, according to Pentax (we received no remote with the prerelease camera, so we've no way to test it at this point).
It's when I look at the cavities necessary to house the battery, memory card, pop-up flash, and sensor that I marvel at the electronic engineering required to pack the circuit boards and processors into such a small remaining space. Internal space is further constrained by buttons, dials, the LCD, ports, and even the tripod mount. It is an impressive achievement, even if the sensor is quite small.

Getting back to that pop-up flash, it is a bit of a marvel itself, demonstrating that there is a way to get built-in flashes a little further from the lens through the application of clever engineering. First, with a slide of the mechanical release, a springloaded plunger rises from inside the Pentax Q's body, then opposing sprung levers both lift the flash and level it again in its final resting position. A simple downward press puts all back into place, quite well concealed and compact.
Size and Weight. Dimensions are 3.9 x 2.3 x 1.2 inches (98 x 58 x 31mm). Weight with a memory card, battery, and lens is 8.2 ounces (235g), and 7 ounces (198g) with the lens removed. That makes the lens 1.3 ounces (36.8g) light, at least a partial answer to the question of why you'd make an interchangeable lens camera with so small a sensor.

Connectivity. The Pentax Q includes USB 2.0 High Speed data connectivity, as well as both NTSC / PAL composite standard definition video output, and a Type-D Micro HDMI high definition output; both of these are accessed via a small rubber door on the bottom of the camera. Impressively, given the size, the Pentax Q also includes infrared remote control receivers on both the front and rear of the camera, ensuring the remote works whether you're behind the camera or in front of it.

Storage. The Pentax Q accepts Secure Digital storage media, including the newer, higher capacity SDHC and SDXC types. Images are stored as 12-bit .DNG Raw files, or 8-bit JPEGs in one of three quality levels. Movies are stored as .MP4 files. The door is released with a slide to the rear, after which it swings open toward the front of the camera under spring pressure.
Power. A proprietary D-LI68 lithium-ion rechargeable battery allows the Pentax Q to provide for 230 shots on a charge, to CIPA testing standards (50% flash usage), or 160 minutes of continuous playback. This door also opens with a firm pull to the rear, followed by a springloaded swing toward the front.

Pentax Q Technical Details

Sensor. The modest size of Pentax's Q compact system camera has been achieved largely thanks to Pentax's choice of a 1/2.3"-type image sensor, where the company's main rivals have all chosen to use significantly larger sensors in their interchangeable-lens models. Compared to a Micro Four Thirds camera, the Pentax Q's imager has just slightly less than 1/8th the light gathering area, while APS-C models have an advantage of closer to 13x.
That decision is likely to prove something of a double-edged sword. On the one hand, it has allowed Pentax to craft a camera which it can confidently claim to be the world's smallest, lightest interchangeable-lens digital camera body. On the other hand, all other things being equal it also leaves the Pentax Q unlikely to challenge its compact system camera rivals in terms of high ISO noise performance, and nor can it rely on lens aperture control to provide the same shallow depth of field for creative effect. There's certainly something to be said for the importance of size and weight in camera design, though. If your camera gets left behind when you're out and about, the best image quality in the world is of little use when an unanticipated photo opportunity presents itself.
Aiming to achieve the best high ISO noise performance possible with its chosen sensor size, Pentax has selected a backside-illuminated, 12.4 effective megapixel CMOS image sensor for the Q. The backside-illuminated design places circuitry on the rear (non-illuminated) side of the sensor, allowing the greatest possible area on the light-gathering side to be devoted to photodiodes. Total resolution of the Pentax Q's chip is 12.75 megapixels, and the maximum dimensions of output images are 4,000 x 3,000 pixels. The sensor has a 4:3 aspect ratio, and the Pentax Q also offers cropped 3:2, 16:9 and 1:1 aspect modes. ISO sensitivity ranges from 125 to 6,400 equivalents in 1/3 EV steps, and can be controlled automatically or manually throughout the entire range.
Lens mount. Accompanying the Pentax Q's image sensor is a new stainless steel lens mount that's significantly smaller than the K-mount used on Pentax's digital SLR cameras. Dubbed the Q-mount, this has an outer diameter that's almost one-third smaller than that of the K-mount, allowing a reduction not only in camera body size, but also in the size of attached lenses. Like other compact system cameras, with no need to accommodate a bulky mirror box, optical viewfinder, dedicated autofocus and metering sensors, etc., Pentax has been able to reduce flange back distance--which relates closely to body thickness--by a whopping margin of close to 80%. Flange back distance for the Pentax Q is just 9.2mm, less than half that of the Sony E-mount (18mm), Micro Four Thirds mount (20mm), and Samsung NX mount (25.5mm).
As an aside, there's an interesting back story behind the names of Pentax's lens mounts. With the introduction of the K2, KX and KM film cameras in 1975, the company--then known as Asahi Pentax--decided to replace its venerable M42 screwmount with a newer, easier-to-use bayonet type. Dubbed the K-mount, the new mount's initial stood for "King"--an indication of Asahi's belief in their product which also happened to dovetail nicely with their marketing efforts. (At the time, the Asahi Pentax logo included a crown, while their cameras appeared in advertisements alongside a deck of playing cards, with a king card shown prominently.) Every king needs his queen, and with the debut of the Pentax Q camera, the new Q-mount assumes that role.

Optics. Alongside the camera's launch, Pentax has revealed its first five Q-mount lens models, split into two distinct groups, which Pentax Japan refers to as the "High-Performance Series" and "Unique Series" respectively. High Performance lenses feature metal mounts and Pentax's SP (Super Protect) lens coating, offer 40.5mm filter threads, and include both a built-in ND filter, and an in-lens shutter mechanism that allows 1/2,000 second flash sync with the internal flash. Unique-series lenses are aimed at lower cost, and replace the metal mount with a plastic one, much like the company's DA-L lenses on K-mount cameras. They also drop autofocus capability, the in-lens shutter mechanism and ND filter, don't include filter threads, and--with the sole exception of the Fish-Eye lens--don't feature the Pentax SP lens coating.
The High Performance series includes two lens models at launch. The PENTAX 01 Standard Prime kit lens-- which ships with the camera itself--has a 35mm-equivalent focal length of 47mm, and an f/1.9 maximum aperture. The sole zoom lens, and the only High Performance-series lens available for separate purchase at launch, is the PENTAX 02 Standard Zoom. This offers up a 35mm-equivalent focal length range of 27.5-83mm, with a maximum aperture that varies from f/2.8 to f/4.5 across the range.
The Unique series lens lineup includes three models at launch, all of which are manual-focus only. The PENTAX 03 Fish-Eye is the sole model in the series to include an SP coating, and has a 17.5mm equivalent focal length, a 160° field of view, and a pan-focus design. The remaining two lenses are intended for creative use, and will likely appeal to fans of Lomo photography. Dubbed "toy lenses," the Pentax 04 Toy Lens Wide and Pentax 05 Toy Lens Telephoto equate to 35mm and 100mm lenses in the 35mm format, respectively, and each introduces various aberrations into final images.
Following are detailed specifications for all five Q-mount lenses that accompany the Pentax Q camera at launch.

	PENTAX-01 STANDARD PRIME	PENTAX-02 STANDARD ZOOM	PENTAX-03 FISH EYE	PENTAX-04 TOY LENS WIDE	PENTAX-05 TOY LENS TELEPHOTO

Series	High-Performance Series		Unique Series
Mount	PENTAX Q
Mount Material	Metal		Plastic
Flange Focal Length	9.2mm
Lens Construction	8 elements in 5 groups	8 elements in 7 groups	6 elements in 5 groups	4 elements in 3 groups	3 elements in 3 groups
Angle of View	49.5°	76.0° - 29.0°	160°	64°	24.5°
Actual Focal Length	8.5mm	5mm - 15mm	3.2mm	6.3mm	18mm
35mm-equivalent Focal Length	47mm	27.5mm - 83.0mm	17.5mm	35mm	100mm
Max. Aperture	F1.9	F2.8 - F4.5	F5.6	F7.1	F8
Diaphragm Control	Automatic		Fixed
Lens Shutter	Yes		No
ND Filter	Yes		No
SP (Super Protect) Coating	Yes			No
Minimum Focusing Distance	0.2m	0.3m (all focal lengths)	0.09m	0.07m	0.27m
Approx. Maximum Magnification	0.05x	0.06x	0.06x	0.15x	0.08x
Filter Thread Diameter	40.5mm		Not compatible
Maximum Diameter	45.5mm	48.5mm	40.6mm	40.6mm	40.6mm
Minimum Length	23.0mm	48.0mm	30.5mm	25.0mm	19.5mm
Approx. Weight	37g	96g	29g	21g	18g
Hood	MH-RA 40.5mm (optional)	PH-SBA 40.5mm (optional)	Not compatible

Stabilization. Despite the huge reduction in body and mount size compared to its K-mount cameras, Pentax has still left sufficient room within the Q-mount's image circle to allow for it to include its sensor shift image stabilization mechanism. Like that used in its SLRs, the Pentax Q's Shake Reduction system is said to be good for a four-stop correction, and thanks to the in-body design, it's available for all Q-mount lenses.
Dust reduction. The Pentax Q also includes the company's DR II dust reduction system, similar to those used in its flagship K-5 / K-7 and 645D digital SLRs. Based around a piezoelectric element, this system represents a worthwhile step up in efficacy from the sensor shift-based systems used in many consumer DSLRs.
Performance. In its Continuous Hi-speed burst shooting mode, the Pentax Q can capture images at a swift five frames per second, although burst depth is limited to just five JPEG frames. By switching to the Continuous Lo drive mode, the burst speed falls to 1.5 frames per second, but the buffer depth can be extended to a much more useful 100 JPEG frames.
Display. On its rear panel, the Pentax Q offers up a roomy 3.0-inch LCD panel with a total resolution of some 460,000 dots, commonly known as HVGA (half VGA), where each pixel comprises adjacent red, green, and blue dots. The Pentax Q's display is said to offer wide 170-degree viewing angles both horizontally and vertically.

Viewfinder. The Pentax Q doesn't offer any form of built-in optical viewfinder, and unlike some compact system cameras, it can't accept an external electronic viewfinder either. Pentax does offer a shoe-mounted O-VF1 optical viewfinder accessory, but it only includes guide marks for the 47mm kit lens, and this combined with its $250 price tag will likely persuade many to instead rely solely on its LCD display.
Focusing. Like its main competitors, the Pentax Q uses contrast-detection autofocusing, operating on data streaming from the main image sensor. The Pentax Q's 25-point autofocus system has both single and continuous-servo operating modes, and includes a face detection function. Of course, it's also possible to focus manually if desired.
Exposure. As you'd expect, the Pentax Q includes the usual selection of Program, Aperture-priority, Shutter-priority, and Manual exposure modes. There's also an Auto Picture mode that can automatically select between Standard, Portrait, Landscape, Macro, Night Scene Portrait, Night Scene, Blue Sky, and Forest shooting modes as the camera deems appropriate. For those who want a modicum more control without the need to understand basic exposure variables, there's also a Scene mode that offers a healthy selection of modes: Portrait, Landscape, Macro, Moving Object, Night Scene Portrait, Sunset, Blue Sky, Night Scene, Night Snap, Food, Pet, Kids, Forest, Surf & Snow, Backlight Silhouette, Candlelight, Stage Lighting, Museum, plus three JPEG-only modes, Night Scene HDR, Quick Macro, and HDR.
Shutter speeds from 1/2,000 to 30 seconds are available, and are controlled with an in-lens shutter mechanism in the Pentax 01 Standard Prime and Pentax 02 Standard Zoom lenses. The Fish-Eye and Toy lenses all lack an in-lens shutter mechanism, and since the camera body itself doesn't include a shutter, this necessitates use of an electronic shutter when these lenses are attached. The Pentax Q also offers a bulb position in the Manual exposure mode, and this lowers the maximum sensitivity from ISO 6,400 to 1,600 equivalent. Three metering modes are available: Multi-segment (no info yet available on how many segments), Center-weighted and Spot. The Pentax Q offers 3.0 EV of exposure compensation, in 1/3 EV steps. There's also a three-frame bracketing mode, plus an exposure lock function which can be tied to either the Shutter or Green buttons.

Flash. The Pentax Q includes a built-in five-mode popup flash strobe with a guide number of 7 meters / 23 feet at ISO 200. As we mentioned, at first glance it looks to be fixed in place, but it actually includes an unusually tall articulation mechanism that allows coverage sufficient for a 28mm-equivalent wide angle lens. There's also a full-sized hot shoe compatible with all of Pentax's current flash strobes, although larger units are likely to prove rather unwieldy, when paired with the Pentax Q's impressively compact body. The internal flash provides a red-eye reduction function, and operating modes include Auto, Auto + Redeye, On, On + Redeye, Slow Sync, Slow Sync + Redeye, Trailing Curtain Sync, and Off.
When using the internal flash strobe, X-sync is possible at 1/2,000 second, but only if the attached lens includes an internal shutter mechanism -- something true only of the High Performance lens series. X-sync falls to 1/250 second with an external flash strobe, and plummets to just 1/13 second for Unique-series lenses that must rely on an electronic shutter. Flash exposure compensation is possible within a range of -2.0 to +1.0 EV.
HDR imaging. Like all of Pentax's recent DSLRs, the Pentax Q includes in-camera high dynamic range imaging, which automatically blends three shots in-camera to yield a single frame. As with the company's DSLR HDR mode, the Pentax Q can automatically microalign the source images, allowing the HDR mode to be used handheld.
Creative. A particularly unusual feature of the Pentax Q is its Smart Effect functionality, which offers up a selection of Brilliant Color, Unicolor Bold, Vintage Color, Cross Processing, Warm Fade, Tone Expansion, Bold Monochrome, Watercolor, and Vibrant Color Enhance effects. Each can be assigned to the dedicated front dial to provide five-step control (1-4 and Off) over the strength of the effect. Alternatively, the dial can be set to switch between user-selected effect types. There are also a variety of capture-time digital filter modes, as seen in past Pentax SLR cameras. These include Toy Camera, High Contrast, Shading, Slim, HDR, Invert Color, Extract Color, Color, Watercolor, Posterization, and Fisheye. Finally, a JPEG-only "Blur Control" mode attempts to simulate reduced depth of field, mimicking the look of images shot with larger-sensor cameras.
User modes. Pentax Q shooters can also store their favorite camera settings, filters, and custom image modes into one of three User modes, allowing quick recall of favorite settings useful in a specific shooting situation.
Video. As well as still images, the Pentax Q can capture 1,920 x 1,080 pixel high definition video (commonly called 1,080p or "Full HD") at a rate of 30 frames per second. If storage or bandwidth are more important than resolution, you can also select from high-def 1,280 x 720 pixel (720p) and standard-def 640 x 480 (VGA) at the same rate of 30 fps. Unlike Pentax's digital SLR cameras, the Q uses H.264 AVC compression, which is far more efficient in terms of storage space, albeit with a greater requirement in terms of processing power to edit the resulting video on a computer.

Pentax Q size comparisons

Pentax Q vs Pentax A110

Arthur Etchells, IR's Director of Strategic Development, jumped in his time machine and acquired this pristine Pentax Auto 110 Super, circa 1982, for comparison with the Pentax Q. Its lens mount was even smaller, as the photos show. It was a true SLR, complete with pentaprism. Its relatively squat profile was allowed by the small stature of the 110 film cartridge, while the Pentax Q's size is dictated partially by the 3-inch LCD. The Auto 110 did not have a hot shoe, though it is less than a millimeter taller than the Pentax Q.

From the front with the lenses off, you get an even better idea of how small the Pentax Auto 110 Super's mount is. The two-bladed shutter inside the Auto 110's lens mount makes the film size seem smaller than it is. The Auto 110 was unusual in featuring a combined leaf shutter / aperture diaphragm in the camera body, while the corresponding lenses had a fixed f/2.8 aperture. Between exposures, the shutter / aperture mechanism was held partially open to allow image framing through its optical viewfinder, while the mirror beneath provided a light seal when lowered to prevent film exposure. An interesting side effect of this design was that full-aperture imaging was only available for exposures 1/30th second or longer. The view from the back with the film door open hence gives a better comparison of the Pentax Q's 1/2.3" sensor to the 110mm film size of the Pentax Auto 110.

Pentax Q vs Panasonic GF3

Now of course we realize that the Pentax Q goes up better against the Canon G12 in terms of sensor size, but it also competes in the Compact System Camera market, and it compares quite favorably to the latest small entry in that category, the Panasonic GF3. Both have pop-up flashes and a smallish grip, but the Pentax Q has a few more controls, and no touchscreen. The GF3 also has a Movie record button that the Pentax Q lacks, while the Q has a hot shoe that the GF3 discarded.

Pentax Q vs Sony NEX-C3

Neck and neck with the GF3, the Sony NEX-C3 is also larger than the Pentax Q. Where the Sony C3 uses soft buttons and a dial for most controls, the Pentax Q goes for more conventional small buttons with bold labels. It's arguable that Pentax's approach will be more readily understood by most pocket digital camera users. The Q's built-in flash makes the camera seem smaller when compared to the NEX-C3 with its accessory flash mounted.

Shooting with the Pentax Q

by Shawn Barnett
Though it works well enough to get our preliminary lab shots, the prerelease Pentax Q we received for preview was still a little rough in its operation for reliable use in the field, so we'll have to confine our comments to the fit and basic utility of the Q.
As someone who's used to handling everything from the smallest pocket cameras to the largest pro SLRs, I have no problem adapting to the small size of the Pentax Q. Its small buttons are familiar and easy to use, with each working as I expect; indeed the buttons work better than some of the small cameras we review. Though my thumb rests on the AF and Green buttons, I didn't press any of them accidentally as I used the Pentax Q.
As it should be, the Mode dial is stiffer than the Jog dial in the back. Both are easy to access, but you want the Mode dial to stay put most of the time, while the rear dial should give to gentle pressure to allow quick settings changes and zooming in and out of photographs in Playback mode. Excellent design there, design that also looks cool.
I also found the front Quick dial to have potential. In addition to assigning Smart Effects to the four settings, you can choose to dial in Custom Image settings, Digital Filters, or choose among the four different aspect ratios: 16:9, 3:2, 4:3, and 1:1. The filters weren't working properly when I tried them, but changing aspect ratios was easy enough, showing the value of such a dial.
Lenses snick on and off of the Pentax Q just as they do on any other quality system camera with metal mounts, which is nice. I shouldn't say lenses, though, because we've only received the one 8.5mm lens, which I remove mostly to look again on that little sensor and incredibly short flange back distance (the space between the lens and sensor), and feel the quality of the mount's interface. In fact, there's nothing cheap feeling about the Pentax Q. It's all pretty solid and well-made. In the hand it feels rock solid, more so than any pocket camera of recent memory, even more than the Canon S90. The Pentax Q's magnesium alloy body is obviously the cause.
You don't really grip the Pentax Q, you pinch it gently between your two middle fingers and your thumb. For me, it rides high in my hand, with my right ring finger propping it up from underneath the front panel. It's very easy to shoot only one-handed, though of course we always recommend using two. That's fairly easy as well, thanks to the large open area for the left hand, though I did find my finger entering some of the shots when I was shooting with the camera turned vertically to the right. Bring two comparatively large hands together on a small camera and that'll happen now and then.

Of course the real story of using the Pentax Q is in how it performs, and I just can't talk about that having seen such an early unit. I managed to have fun with it, and there's no question it's a serious camera, complete with the Manual and semi-auto controls photographers prefer. Missing from the experience was actually switching lenses for various subjects, but the 47mm equivalent lens was sufficient, as I like shooting with one focal length. I was occasionally surprised, though, when subjects I've shot recently most often with 24 and 28mm lenses were more tightly framed, requiring that I step back. So few APS-C cameras offer the equivalent of a Normal lens, I'm just not used to shooting that way these days.
Discussion. Post-announcement, there were plenty of interesting comments and criticisms of the Pentax Q. The main point of contention: why they chose such a small sensor. I'd been wondering the same thing for months. (Anyone watching the rumor sites knows that the photos of what was called the Pentax NC-1 were circulating for several months, and while the name was not correct, the images were absolutely right.) I can't disagree with those who wouldn't want a small-sensor compact system camera for their purposes; for their purposes, they're right. But once I held the Pentax Q, all of that concern went away. I think it's mostly the build quality, as I've said, that changed my mind. My ultimate determination, of course, will come down to image quality. I'm all for toy lenses and creative photography if that's your thing, but at $800, a camera had better be able to take a crisp image when you need it to.
While I understand the criticism, I think it largely misses the point. Because the Pentax Q is properly described as a Compact System Camera, people automatically compare it to the existing Micro Four Thirds and APS-C competition on the market. In that comparison, though the Pentax Q is indeed smaller, its small sensor means that image quality is unlikely to rise to the level we've seen from these larger-sensor cameras. Point taken.
But at this size, the Pentax Q has another list of more relevant competitors, namely the Canon G12 and Nikon P7000, both quite a bit larger, and the Canon S95, and Panasonic LX5. A large number of professional and enthusiast photographers have decided that the tradeoff of a smaller sensor is worth it for the compactness and simplicity found in these otherwise serious camera designs. These four cameras have one point of potential superiority over the Pentax Q, that of sensor size. Three offer a 1/1.7" sensor, and the Panasonic's is 1/1.63", both of which are larger than the Q's 1/2.3" sensor. Their point of inferiority, though, is their reliance on built-in zoom lenses, which cannot be exchanged for lenses of different types or quality. This is the second compromise photographers make when shooting these high-end compacts, because zoom lenses almost always include flaws somewhere along their zoom range, and their motorized zoom mechanisms can be too slow and inaccurate when compared to the physical zoom rings on a CSC or SLR.
When compared to these cameras, the Pentax Q is smaller than any, and has the advantage of interchangeable lenses, some of which in theory could be of higher quality, with greater sharpness in the corners and less chromatic aberration (again, we won't be able to say this for sure without testing a shipping version). I do think the optics will need to show some prowess to be taken seriously, but I can't overstate the value of having a small system camera when you want to travel light, and this is the smallest of system cameras at this point. Traveling with a Micro Four Thirds camera, I can cover a lot greater focal range in a tiny space than I can with either of my APS-C SLRs; and the four high-end pocket cameras mentioned above also can't compete in zoom range. Pentax will need to ship a longer telephoto zoom to match what I get with an E-PL2 and a 14-150mm (28-300mm eq.) lens, but the potential is there, thanks to the Q-mount. And because of the smaller sensor, long focal-length Q-mount lenses will be much smaller than even Micro Four Thirds vendors will be able to produce.
The four high-end pocket cameras I mentioned range from $400 to $500, another point in their favor. But is $300 really that much more to gain the option to switch lenses? Certainly for some, but those enthusiasts out there buying accessory lenses, special brackets, and other multi-hundred dollar accessories to enhance their otherwise compact camera might not think so. The Pentax Q wasn't made for most people, even most enthusiasts, but it is made for some.
For most enthusiasts photography is a hobby. Some enthusiasts get so deep into the speeds and feeds they forget this, and are the first to decry a camera like the Pentax Q. That's fine, and part of the hobby, frankly: comparing, measuring, ranting, and ultimately preferring this or that. We cater to them, happily so. But I'd like to remind enthusiasts like myself that it is a hobby, and if we're not having fun, what are we doing?

What I like about Pentax is that they seem to understand this. Photography is fun. I get the sense that they're having fun, too, pursuing the art of making cameras that are fun to use, plenty capable, and yet novel. While of course they're in business to make money, their bold, photographer-centric--and often hobbyist-centric moves tell me that it's not their only motivating factor. I like that.
Suffice it to say I've seen enough that I look forward to getting a production version of the Pentax Q. I love using quality cameras regardless of their size, but the trend toward smaller compact system cameras and quality pocket cameras has me intrigued. I still use my SLRs for more serious work, but I always grab a smaller CSC or pocket camera when heading out on the town, so I'm very happy camera companies continue to make more serious compact cameras for the enthusiast market.
The solid design and quality build of the Pentax Q is encouraging. May it spur innovation from others; whether it does or not, long live the Queen..

http://www.imaging-resource.com/PRODS/PENTAXQ/PENTAXQA.HTM#

Advanced Camera with Lens Nikon 1 J1 / V1

2011-09-29T22:16:00.000-07:00

Advanced Camera with Interchangeable Lens cameras that propose new forms of imaging expression and enjoyment

TOKYO-Nikon Corporation is pleased to announce the release of the first two models in the new Nikon 1 series, the J1 and V1. Nikon 1 is an advanced interchangeable lens that proposes new forms of imaging expression with a new super high-speed AF CMOS image sensor, the new high-speed image-processing engine, EXPEED 3, and the new Nikon 1 mount lens system.

Nikon J1

Nikon V1

Development Background

As a manufacturer of optical devices, Nikon has long developed products equipped with innovative new features based on technologies originally cultivated decades ago for film cameras. The many cameras released by Nikon over the years have continuously expanded photographic possibilities. Even with the nearly complete transition to digital that we see today, Nikon has continued to expand its lineups of compact digital cameras and digital-SLR cameras. Nikon's COOLPIX-series cameras are user friendly compact digital cameras, while the D-series line of digital-SLR cameras supports the needs of an incredibly wide variety of photographer, from the beginner to the professional. Nikon will celebrate its 95th anniversary next year, and is extremely proud of its record of having utilized its optical technologies in the development of many innovative products over nearly a century. So that we may continue our role as a leading company in the imaging industry in this age when digital technologies have become so common, Nikon looks forward to proposing new forms of imaging enjoyment and value over the next century as well. The first step in this process has been the development of a new type of camera that creates new imaging possibilities never before considered with conventional compact digital cameras or digital-SLR cameras.

Nikon 1 J1 / V1 Primary Features

The world's smallest and lightest*1 interchangeable lens digital cameras that propose new forms of imaging expression Faster image processing and superior reproduction characteristics have been achieved for both still images and movies through the combination of the CMOS image sensor and image-processing engine, both developed by Nikon. The cameras are also equipped with Nikon's newest lens mount system. Despite the new lens mount, the mount adapter enables the use of existing F-mount NIKKOR lenses*2 with the J1 and V1, for excellent compatibility with equipment users may already own.
- Nikon 1 mount, Nikon's new compact, high-performance lens mount system The Nikon 1 mount is the new lens mount system developed for compatibility with Nikon's new imaging format. The new mount not only supports the dedicated 1 NIKKOR VR 10-30mm f/3.5-5.6, 1 NIKKOR VR 30-110mm f/3.8-5.6, 1 NIKKOR 10mm f/2.8 and 1 NIKKOR VR 10-100mm f/4.5-5.6 PD-ZOOM Nikon 1-mount interchangeable lenses, but also F-mount NIKKOR lenses*2, manufactured by Nikon for more than half a century, when the new FT1 mount adapter is used. This enables users to enjoy tremendous variety in their imaging expression with the ability to choose the lens best suited to the scene, subject, or their own creative intent from a broad lineup of standard and special-purpose lenses.
- The world's first*3 cameras to be equipped with a new super high-speed AF CMOS image sensor and offer focal plane phase detection AF The new super high-speed AF CMOS sensor is a Nikon CX-format CMOS image sensor. With the new CX format, Nikon has added a new imaging format to its existing Nikon FX and DX formats for digital-SLR cameras. The J1 and V1 are the world's first interchangeable lens digital cameras equipped with focal plane phase detection AF*3 for the world's fastest autofocusing*4. They offer standard sensitivities of ISO 100 to 3200, with the ability to further increase sensitivity to an equivalent of ISO 6400 with a Hi 1 setting. They also support matrix metering, center-weighted metering and spot metering.
  - *1Applies to V1 only: Among interchangeable lens cameras with a built-in electronic viewfinder (EVF). (Based on Nikon research as of September 21, 2011.)
  - *2Autofocus may not perform as expected in some situations or with some lenses. Restrictions apply to mounting and functionality with some lenses.
  - *3Among interchangeable lens digital cameras. (Based on Nikon research as of September 21, 2011.)
  - *4Among interchangeable lens digital cameras available as of September 21, 2011. Statement based on performance with shooting using the 1 NIKKOR VR 10-30mm f/3.5-5.6 at the maximum wide-angle position with AF-area mode set to Single-point. Results based on Nikon test conditions.
- New EXPEED 3 image processing engine The cameras are equipped with Nikon's latest image-processing engine, EXPEED 3, which is based on EXPEED, Nikon's exclusive comprehensive image-processing concept, and optimized for the Nikon 1 system for increased speed and performance.
Simple operation with compact and lightweight bodies that make them perfect for everyday use The J1 and V1 are compact and lightweight cameras that you can keep with you at all times, making them perfect not only for vacations and special events, but also for quick and easy capture of everyday scenes or unexpected episodes.
You can easily record photos or movies with four shooting modes (Motion Snapshot, Smart Photo Selector, Still image, Movie).
A new advanced hybrid autofocus system that enables the world's fastest autofocusing*1 with the world's most focus points*2 The advanced hybrid autofocus system combines phase detection AF, which enables faster focusing and superior subject tracking performance with moving subjects, with contrast-detect AF, which performs well in low-light conditions. This hybrid system ensures optimal focusing under a variety of shooting conditions.
As the world's first*1 interchangeable lens cameras to implement focal plane phase detection AF, the J1 and V1 have achieved the high-speed autofocusing needed for certain capture of even the most unexpected photo opportunities. This enables certain capture of the perfect photo opportunities when shooting moving subjects and subjects such as children and pets whose movement is very difficult to predict.
What's more, at 10 fps, the cameras also offer the world's fastest continuous shooting rate*3 with AF tracking, and the world's fastest high-speed continuous shooting rate*4 of 60 fps.
The J1 and V1 also boast the most focus points*2—73 with phase detection AF—available with any interchangeable lens digital camera currently available.
- *1Among interchangeable lens digital cameras available as of September 21, 2011. Statement based on performance with shooting using the 1 NIKKOR VR 10-30mm f/3.5-5.6 at the maximum wide-angle position with AF-area mode set to Single-point. Results based on Nikon test conditions.
- *2Among interchangeable lens digital cameras available as of September 21, 2011. Refers to the number of phase detection AF points available for selection at an AF-area mode setting of Single-point. (Based on Nikon research.)
- *3At shutter speeds of 1/60 s or faster and an aperture setting of f/5.6 or larger. Results based on Nikon test conditions as of September 21, 2011. (Based on Nikon research.)
- *4The maximum number of shots per burst is 30 with the V1 and 12 with the J1. Maximum shooting rate when focus is locked with the first shot in a burst. Results based on Nikon test conditions as of September 21, 2011. (Based on Nikon research.)
Motion Snapshot, imaging function that combines full-HD movie with a still image for more dramatic imaging expression In Motion Snapshot mode, simply pressing the shutter-release button records a still image and about a second of high-resolution movie footage beginning before and ending after the time the shutter-release button was pressed. Movies recorded in Motion Snapshot mode are played back in slow motion. With slow-motion playback at 0.4x normal playback speed of the movie and a still image, Motion Snapshot allows users to express impressive moments that show slight changes in expression, the rustling of tree leaves, or fluctuations in nature.
Shooting/recording: Choose one of four themes (Beauty, Waves, Relaxation, Tenderness) prior to shooting. When the shutter-release button is pressed halfway, the camera begins recording movie footage to the memory buffer. When the shutter-release button is pressed the rest of the way down, a still image, along with about a second of movie footage beginning before and ending after the time the shutter-release button was pressed, are recorded to the memory card.
Playback: After approximately 2.5 seconds of movie footage recorded in Motion Snapshot is played back in slow motion, the still image is displayed. Total movie/still image display lasts for 10 seconds, during which time the background music for the selected theme is played. The movie file and still image file recorded each time the shutter-release button is pressed in Motion Snapshot mode are stored as a set on the memory card. This fun new feature enables a new form of imaging expression that combines both still images and movie footage using conventional shooting operations.
Smart Photo Selector for simple capture of the best shot When the shutter-release button is pressed halfway in Smart Photo Selector mode, the camera focuses and begins buffering images. When the shutter-release button is then pressed the rest of the way down, the camera compares shots recorded to the buffer both before and after the shutter-release button was pressed, and automatically selects five to record to the memory card. It also eliminates the need for capturing a large volume of shots with continuous shooting and the troublesome process of later manually selecting the best shot from a series.
Shooting/recording: Rotate the mode dial to Smart Photo Selector mode. When the shutter-release button is pressed halfway, the camera focuses and begins recording images to the buffer memory. Up to 20 images can be saved in the buffer memory each time the shutter-release button is pressed (some before the shutter-release button is pressed, some after). Of the 20 buffered images, the camera automatically records the single best shot based on movement and composition, as well as four additional candidate images to the memory card.
Playback: Users can choose a different "best shot" than that selected by the camera from the candidate images, and also delete unnecessary images.
A simple, high-quality design The concepts of simple, streamlined, fashionable and high-quality were adopted for design of both the Nikon 1 J1 and V1. The only decoration on these flat, smooth cameras is the Nikon 1 brand name and the J1 or V1 model name on the front of the cameras. Positioning of a rear grip ensures a firm hold on the camera without sacrificing its simple, flat shape.
What's more, lenses are available in the same colors as the cameras* for an integrated appearance. The graphical user interface (GUI) adopted for monitor display is structured to be as simple and streamlined as the cameras themselves. Superfluous menus have been eliminated for an intuitive, easy-to-understand GUI design.
- *Kit lenses only.
Nikon J1

White

Red

Pink

Black
Silver

Nikon V1

Black

White
Air-gapless structure adopted for LCD monitor with wide viewing angle The J1 is equipped with a 3.0-inch, approximately 460k-dot TFT LCD monitor with wide-viewing angle, and the V1 offers a 3.0-inch, approximately 921k-dot TFT LCD monitor with wide-viewing angle. The monitors built into both cameras utilize an air-gapless structure with which the protective glass and LCD panel are integrated for a thinner design and increased visibility outdoors, enabling users to enjoy more beautiful display of their photos and movies.
Short Movie Creator automatic movie editing software that is easy to use and can be launched independently The Short Movie Creator software bundled with the cameras is an automatic movie editing application that is fun to use with still images and movies recorded with Nikon 1 cameras. It can be used to easily create original short movies with imaging effects (styles) and background music. Short movies created with Short Movie Creator can be saved to a memory card for viewing on the camera, or uploaded to online movie sharing sites such as YouTubeTM. In addition, collaboration with Nikon's image transfer, browsing, editing and sharing software, ViewNX 2, enables easy organization and editing of still images and movies.
- Short Movie Creator Primary Features
  - Easily create original short movies from still images and movies by simply selecting an imaging effect (style) and music. With a maximum playback time of 30 minutes, three options are available: Summarize to fit to music, Use all images and movies, Summarize to manual length.
  - Priority can be placed on the two seconds before and after a specific portion by simply selecting a "best scene". A single movie file can be registered more than once for specification of additional best scenes.
  - Music files can also be edited so that only a specific portion is used.
  - The frame size and frame rate of short movies can be selected to suit the manner in which they will be used. Short movies can be saved to memory cards in a format that makes it possible to view them with the cameras.
  - Titles and credits can be added to movie files.*
    - *Windows version only.
Bright, high-contrast electronic viewfinder with a resolution of approximately 1440k-dot (V1 only) The V1 is equipped with a bright, high-contrast electronic viewfinder (EVF) with a resolution of approximately 1440k-dot (SVGA). It is extremely clear with a frame coverage of approximately 100%, and utilizes a color filter system that prevents color breakup that appears as a rainbow artifact due to the interaction between subject movement and the photographer's eye, for faithful display of moving subjects.

Additional Features and Functions

Movie recording mode with 1920 x 1080/60i full-HD movie support for superior picture quality
Equipped with Nikon's exclusive imaging system, Picture Control, which allows users to choose and adjust the way in which the camera processes photographs according to the type of scene or their own individual preference
Support for RAW (NEF) recording built in*1
Active D

http://www.nikon.com/news/2011/0921_digital_01.htm

10 camera creative

2011-09-29T09:01:00.000-07:00

The camera is one gadget and have had much choice.
    Often times, forget to switch the focus from manual to automatic!
    However, you can see the 10 concepts for a future camera that makes you from an amateur photographer, a pro photographer.

    1) The Canon Snap by David Münscher.

Shaped like a ring, this camera is a type of antique and very easy for you to photograph each each time.

2) Flying Stick Camera by Tsunho Wang.

Flying Stick can fly like a helicopter and photographed from above.

3) Triops Digital Camera by Franziska Faoro.

The camera which has 3 fisheye lens, ideal if your tour to immortalize the scene.

4) Samsung SS700 by Jin Woo Han

Wow, imagine a camera that functions as a screen. Imagine how much it costs for a camera that has legs as in the picture frame!

5) Touch Sight by Chueh Lee, Liqing Zou, Ning Xu, Saiyou Ma, Dan Hu, Jiang & Zhenhui Fengshun Sun

Visual digital cameras equipped with the Touch Sight sound has a lightweight, equipped with a flexible Braille display 3D images on the embossed image drngan on the surface.

6) Fun camera by Jian Guan

With a convex glass is very pleasing to the art of photography, this camera will give a fisheye distortion to see the photos we take. You can even make a funny picture.

7) Skyros by Siddharth Kambe & Dipti Hanako Kambe.

Can fly to actually take pictures from above.

8) Extreme Compact Digicam by Camillo Vanacore.

Water repellent, asyiik times yes while diving.

9) Panoramic Digital Camera by Hye-Jeong Yang

Wow this is also a camera that can fly, soar and play (spins) and captures all that to see from above.

10) USB Digital Camera by Sungwoo Park.

This small and tiny .. simple ..

http://gamexeon.com/forum/handheld-portable-device/60477-10-konsep-kamera-masa-depan.html

New nikkor lenses

2011-09-29T07:20:00.000-07:00

The first four lenses in the new 1 NIKKOR series for the Advanced Camera with Interchangeable Lens Nikon 1 camera system: three compact and lightweight kit lenses, 1 NIKKOR VR 10-30mm f/3.5-5.6, 1 NIKKOR VR 30-110mm f/3.8-5.6 and1 NIKKOR 10mm f/2.8, suitable for a wide variety of shooting scenes, and the power drive zoom lens 1 NIKKOR VR 10-100mm f/4.5-5.6 PD-ZOOM.

TOKYO-Nikon Corporation is pleased to announce the release of the first four 1 NIKKOR lenses for the new Nikon 1 camera system. The Nikon 1 Advanced Camera with Interchangeable Lens is a new digital camera system that proposes new forms of imaging expression and enjoyment. Cameras in this new system utilize the new Nikon 1 lens mount system, which supports the new 1 NIKKOR brand of interchangeable lenses. The first four lenses released for this new system are the 1 NIKKOR VR 10-30mm f/3.5-5.6, 1 NIKKOR VR 30-110mm f/3.8-5.6, 1 NIKKOR 10mm f/2.8 and 1 NIKKOR VR 10-100mm f/4.5-5.6 PD-ZOOM.
The new 1 NIKKOR brand of interchangeable lenses continues in the tradition of the Nikon F mount, which has a history that goes back more than half a century. 1 NIKKOR lenses employ the new Nikon 1 mount, and are developed for use with Nikon 1 cameras. These lenses support Nikon's new CX format, which adds a new imaging format to the existing Nikon FX and DX formats. They are compact and lightweight for superior portability, have a simple design that is well suited to that of Nikon 1 cameras, and are available in a variety of colors.
The 1 NIKKOR VR 10-30mm f/3.5-5.6, 1 NIKKOR VR 30-110mm f/3.8-5.6, 1 NIKKOR 10mm f/2.8 and 1 NIKKOR VR 10-100mm f/4.5-5.6 PD-ZOOM lenses released under the 1 NIKKOR brand offer optical performance optimized for the Nikon 1 system for sharp rendering in a compact size. With release of these four lenses, Nikon offers a lineup for the Nikon 1 system that covers basic requirements in terms of typical scenes. In addition to standard and telephoto zoom lenses that cover a wide range of focal lengths (angle of view equivalent to 2.7x that of the same focal length in 35-mm [135] format), a high-power zoom lens equipped with a 10x power drive zoom mechanism perfect for movie recording, and a wide-angle, slim fixed focal length (prime) lens with superior portability are being released.
For nearly 80 years, Nikon's extremely reliable photographic lens brand, NIKKOR, has been comprised of highly functional, high-performance lenses. These lenses have supported the photography of a wide variety of users to become one of the world's most popular lens brands. With release of the new Nikon 1 digital camera system, which proposes new forms of imaging expression, enjoyment and value, and NIKKOR lenses employing the Nikon 1 mount, Nikon will continue to expand its lineup of NIKKOR lenses utilizing optical technologies accumulated over its long history to offer increased convenience to users of Nikon cameras.

1 NIKKOR VR 10-30mm f/3.5-5.6 Primary Features

1 NIKKOR VR 10-30mm f/3.5-5.6

A 3x standard zoom lens that covers the 10–30-mm range of focal lengths (angle of view equivalent to 27–81-mm in 35-mm [135] format) and is easy to use
Compact and lightweight enough to be taken anywhere
A standard zoom lens with a retractable lens mechanism
Equipped with a vibration reduction (VR) mechanism
A minimum focus distance of just 0.2 m for extremely close-up shooting

1 NIKKOR VR 30-110mm f/3.8-5.6 Primary Features

1 NIKKOR VR 30-110mm f/3.8-5.6

A 3.7x telephoto zoom lens that covers the 30–110-mm range of focal lengths (angle of view equivalent to 81–297-mm in 35-mm [135] format)
A compact, lightweight telephoto zoom lens that offers superior portability with a retractable lens mechanism
Equipped with vibration reduction (VR) mechanism
Support for a wide variety of scenes, from portraits to sports scenes

1 NIKKOR 10mm f/2.8 Primary Features

1 NIKKOR 10mm f/2.8

A slim, wide-angle fixed focal length (prime) lens with a focal length of 10 mm (angle of view equivalent to 27 mm in 35-mm [135] format)
Superior portability from a stylish, slim wide-angle fixed focal length (prime) lens with a maximum length of just 22 mm
Metal mount adopted for increased durability, and a metal exterior for an elegant feel
The perfect lens for those who want a lens that can easily be taken anywhere to capture snapshots with superior image quality

1 NIKKOR VR 10-100mm f/4.5-5.6 PD-ZOOM Primary Features

1 NIKKOR VR 10-100mm f/4.5-5.6 PD-ZOOM

A high-power zoom lens that covers the 10–100-mm range of focal lengths (angle of view equivalent to 27–270-mm in 35-mm [135] format)
A 10x power drive zoom lens
Retractable lens mechanism
Equipped with a vibration reduction (VR) mechanism
Zooming speed (3 speeds available) can be adjusted with positioning of the power drive zoom switch
Smooth zooming with the built-in power drive zoom mechanism, an unusual feature for interchangeable lenses
The perfect lens for those who want to maximize the enjoyment of recording still images, movies, or both
Metal mount adopted for increased durability, and a metal exterior for an elegant feel

Imaging Products—lineup—Advanced Camera with Interchangeable Lens

http://www.nikon.com/news/2011/0921_lens_02.htm

iPhone DSLR: the next generation (video)

2011-09-28T10:14:00.000-07:00

Everything you know about awkwardly attaching SLR lenses to iPhones is wrong. This is how you do it. What started out as a quick and less-than-perfect mod of OWLE's Bubo iPhone mount by one Jeremy Salvador (pictured above) has turned into a collaboration between production company Vid-Atlantic and OWLE itself on a more finely tuned, iPhone 4-friendly prototype that delivers some truly impressive results. Sadly, the actual iPhone 4 version of the rig won't be available for a while yet, but you can get an idea of what will be possible with it after the break.

you can see video ==> http://vimeo.com/13402704

http://www.engadget.com/2010/07/17/iphone-dslr-the-next-generation-video/

Sony SLT-A35 Review

2011-09-28T10:02:00.000-07:00

Preview based on a production SLT-A35 with firmware 1.00

The format of this review has been slightly shortened as the Sony SLT-A35 is in terms of operation and image output very similar to the Sony SLT-A55 that we reviewed in August 2010. To learn everything about the SLT-A35 we recommend reading not only this review but also the full review of the SLT-A55.

The Sony SLT-A35 marks the second wave of Sony's radical SLT design, and does so in a way that offers to put the technology into more people's hands. This entry-level model incorporates almost all the features of the original A33 and A55, but includes what Sony promises is an improved 16MP sensor and handful of extra processing options. The only real losses are the articulated rear screen and $50 from the MSRP of the 18-55mm lens kit, compared to the A33, taking it down to $699.

Almost from the moment it bought Konica Minolta's DSLR division, Sony has been working on offering DSLRs with truly usable live view. Rather than clumsily adding live view to a conventional DSLR design, Sony has tried to offer it while retaining one of the key features that make DSLRs so desirable - their fast autofocus system. Its first attempts, using a secondary live view sensor built into the viewfinder prism, were promising but often resulted in cameras with distinctly different behavior depending on whether you were shooting in live view or optical viewfinder mode.

The SLT design has an electronic viewfinder, rather than an optical one, and as a result it doesn't need a movable mirror to direct light up to the viewfinder. Instead it used a fixed, semi-transparent mirror to provide light to a focusing sensor, allowing the rest through to the imaging sensor. The result is a full-time live view camera that can offer fast, DSLR-style phase-detection autofocus and complete consistency of behavior regardless of whether you're using the eye-level viewfinder or the rear screen for viewing. The fact that this is all available in a small, relatively inexpensive enthusiast camera made the A55 one of our favorites in its class.

The A35 represents a gentle refresh and reshuffle compared to the existing models, rather than any radical redesign. The A35 gets a redesigned version of the 16MP CMOS chip featured in the A55, with Sony promising improved power consumption. This improvement should not only improve the camera's battery life compared to its predecessors, but also offer improved heat characteristics - extending the duration of videos the camera can capture before any risk of overheating occurs. It can now record for up to 29 minutes per clip, rather than the 9 that the A55 can manage with SteadyShot switched on (most DSLRs are limited to 29 minutes or fewer to avoid attracting duty at the higher rate applied to camcorders).

Beyond that, the changes are subtle - the main difference being that the A35 gains a series of image processing filters (such as the de rigueur 'Toy Camera' option), that are becoming a standard feature at this level of camera. The high-speed shooting speed is the same as the A33's 7 frames per second, but no longer gives full-resolution images. Instead, to reduce the amount of data being processed (this slower rate and the lack of GPS emphasizing that this is an A3X camera, rather than an A55 replacement), the A35 takes a 8.4MP chunk from the middle of the frame, giving a 1.4x crop. This has the effect of giving the long end of the kit zoom a field of view equivalent to a 116mm lens in film terms, rather than the usual 83mm.

Sony A35 specification highlights

Revised 16.2MP CMOS sensor
ISO 100-12800
ISO 100-25600 in multi-frame NR mode
15-point AF sensor (3 cross-type)
SLT design offering full-time live view with phase-detection autofocus
1080i60 HD video in AVCHD format (from 30fps sensor output)
Auto+ mode giving easy access to the appropriate multi-shot shooting modes
Picture Effects processing options

http://www.dpreview.com/reviews/sonyslta35/

Nikon updates Capture NX adding Raw support for V1/J1

2011-09-28T09:55:00.000-07:00

Nikon has announced version 2.2.8 of its Capture NX image editing software. The latest version resolves minor bugs and extends Raw support to the recently released Nikon 1 V1 and J1 mirrorless cameras, and the Coolpix P7100 enthusiasts' compact.

Click here for more information and to download Capture NX v2.2.8

Article: 3D Video Primer: Part 2

2011-09-28T08:38:00.000-07:00

3D Video Primer: Part 2

Why 3D, Why Now?

Three-dimensional still and video imaging has been around for a very long time, but in recent years, 3D has enjoyed something of a resurgence in popularity. Film studios are busy pumping out 3D movies, every other television set released these days seems to be capable of displaying 3D content, and it is even possible to capture images in 3D yourself, using many of the latest digital still and video cameras.

But what is driving the current upsurge of 3D? Improvements in the technology, pressure from manufacturers who are desperate to create and monitize the next 'big thing' in consumer electronics, or consumers themselves?

3D Video: Who's playing?

All of the major television manufacturers offer 3D-compatible TVs, and today's big 3D releases are available for purchase on Blu-ray, to watch in the home. After a long wait, there is now a standard for 3D video. Announced earlier this year, AVCHD 2.0 includes support for 1080 60p and 50p, and high-definition 3D movies encoded using Multiview Video Coding (MVC). As far as 3D video creation is concerned, Panasonic and Sony are currently the only two companies that offer an 'end-to-end' 3D solution in both professional and consumer spheres, but in the consumer space they are also joined by JVC.

As well as 3D display solutions, JVC currently markets two 3D camcorders, the twin-lens, twin-sensor GS-TD1B full HD 3D Everio, and the single-lens, single-sensor GZ-HM960BUS Full HD Everio, which can convert 2D footage into 3D in-camera. Like the GZ-HM960BUS, Panasonic's HDC-TM900K is a conventional single lens, single sensor 2D camcorder but when paired with an optional 3D conversion lens it can record 3D footage.


JVC's GS-TD1B full HD 3D Everio has twin lenses, twin sensors and an autostereo LCD screen.	The Sony HDR-TD10 is designed in the same way, and allows videographers to manually adjust the convergence of its two lenses for fine control over the 3D effect.

Panasonic takes a different approach in the HDC-TM900K, which is a conventional single-lens single-sensor camcorder which can produce 3D footage when paired with the optional VW CLT1 stereo adapter.	Sony's 3D Bloggie pocket camcorder can produce 2D or 3D video and stills courtesy of its twin lens design. Like the Panasonic HDC-TM900K/VW CLT1 pairing, footage is captured on a single sensor, at correspondingly reduced resolution compared to 'true' twin-lens, twin-sensor designs.

Sony debuted its HD 3D Camcorder, the Handycam HDR-TD10, earlier this year. The twin-lens, twin-sensor TD10 allows the user to switch between recording in 3D and 2D, and if you don't have a 3D-compatible TV or computer, footage shot in 3D can also be played back conventionally in 2D. Sony also markets the 3D 'Bloggie' compact video camera. Dual lenses provide 1920x1080 3D HD video and like the TD10, the Bloggie offers the option to record in 2D as well.

The advantages of twin-lens, twin-sensor designs, like those shown above from JVC and Sony are primarily the ability to adjust the convergence of the two lenses (either manually or automatically), which is useful when shooting at close focussing distances, and low-light performance. With a single sensor per lens, there are many more pixels available to assemble the image, and in low light this means that downsampling (where the signals of neighboring photosites are combined to produce a cleaner, less noisy image) is more practical.

Systems that use twin lenses but a single sensor cannot be adjusted for convergence (although this isn't a problem in most shooting situations) but more seriously, they must necessarily use a smaller area of that sensor to record each of the left/right channels, limiting the options for downsampling, and thus increasing the risk of noisy footage in low light. Naturally though, twin-lens single-sensor systems are potentially less bulky and - of course - less expensive.

Still 3D Imaging

Stereography has been popular for more than a century, but until recently it was largely confined to the hobbyist sphere. Although 3D still imaging isn't being pushed as heavily as video by mainstream electronics manufacturers, an increasing number of cameras are being introduced which feature some kind of 3D functionality, either built-in or via special accessories.
Several of Sony's current range of Cyber-shot compact cameras, including the recently-reviewed DSC-HX9 and DSC-TX10, feature a 3D capture mode, and the same is true of Panasonic's DMC-ZS10, FX78 and TS3. last autumn, Panasonic also announced three new interchangeable lenses for its LUMIX G series of cameras, including the world's first interchangeable 3D lens, the H-FT012.

The only company which currently offers a dedicated 3D still image camera is Fujifilm. The FinePix REAL 3D W3 features two lenses and two sensors. Fujifilm also markets a small range of dedicated accessories, including the FinePix REAL 3D V1 viewer, an 8-inch autostereo LCD display.

Life in 3D

Manufacturers are clearly banking on the monetary potential of consumer-level 3D imaging, but stereoscopy, in many forms, has been around for over a century. Why the sudden interest in grabbing a new consumer demographic and putting 3D cameras into their hands?

According to Dave Briganti, Senior Product Manager of Imaging at Panasonic, part of the answer is that various technologies are maturing at the same time, and coming together to make it easier for manufacturers to offer complete, affordable, 3D 'solutions'. Briganti mentions 3D televisions as a specific example: 'I think bringing this phenomenon into your living room has been what's driving this current trend. Television [reflects] what happens in mainstream America. I think the fact that 3D has become available in a TV in your home is really what's lead imaging manufacturers to develop these 3D products and technology.'

If you're shopping for a new television, the chances are that you'll come across a lot of models which boast '3D compatibility'. Although availability of 3D content is still fairly low, the number of channels that offer it is growing, and 3D movie releases are available on Blu-ray disc. Manufacturers are also hoping that the emergence of affordable, consumer-level 3D video cameras onto the market will increase the popularity of home 3D, too.

The logical next step from becoming a consumer of 3D content is becoming a creator. When it comes to 3D camcorders, Andy Bubala, Sony Electronic's Camcorder Business Director echoes Briganti's sentiments 'It used to be a five-figure minimum for this type of equipment, really only available to professionals and studios. Now, for $1,500 you can buy a video camcorder that shoots really high quality 3D, and has the option to shoot and playback in 2D.'

But will consumers accept a whole new learning curve? How easy will it be for people to adapt to a new way of capturing and viewing video? Most people can't remember a time when enthusiast amateurs didn't have access to video cameras. So in 20 years' time, is it possible that we won't be able to remember a time when we didn't have 3D video cameras?

'It's easy to make 3D, but hard to make it good'. So says Buzz Hays, Senior VP of Sony's 3D Technology Center, and respected stereographer. 'As a consumer, you want to be able to turn on the camera and get baby's first steps. You don't get two chances with that. So at Sony we had to take a lot of the professional experience we have in 3D filmmaking and translate that into an experience that works in a video camera where people shooting it don't have to think at all about what they're doing.'

Sony's TD10 3D camcorder uses two lenses, and two sensors - one for each lens. As illustrated in this image (simplified for illustration only), the convergence of the lenses can be adjusted either automatically or manually by the videographer, according to the distance of the subject. This doesn't make much difference at normal viewing distances, but can help a lot when shooting subjects at close quarters.

The experience that Hays is talking about is the experience of using Sony's latest HDR-TD10 3D HD camcorder. The TD10 captures high-definition 3D video using two lenses, mated to two sensors, and its innovative '3D ready' LCD screen shows 3D footage during capture and review, without the need for special glasses.

Some 3D camcorders use a single lens/sensor combination and split a 1920 x 1080 signal into two channels, thereby reducing 'true' resolution. The TD10's twin lens/sensor design maintains full HD in both left and right channels, mimicking the human vision system. By adjusting the amount of convergence between the two lenses, advanced videographers can take precise control over the look of their 3D footage. If they want to, amateurs – of the sort that Hays is talking about – can just leave those decisions to the camera.

Adoption Worries

Despite the pace of innovation, and the raft of new 3D products on the market, manufacturers aren't getting things all their own way. Panasonic's Dave Briganti accepts that consumers aren't adopting 3D as quickly as the industry had expected. There are many possible reasons for this (a global recession certainly doesn't help) but the most likely is that consumers tend to be a little cautious about jumping onto new technological bandwagons in case they turn out to be a fad. A similar, equally cautious purchasing pattern occurred when HDTVs first debuted on the market.

In fact, Buzz Hays at Sony believes that part of the answer to the thusfar relatively slow takeup of consumer 3D lies in the timing of the new technology, so soon after HDTV – the last 'big thing' in television. As Hays points out, a significant number of consumers have only recently, within the last three or four years, adopted HD technology on their home sets.

'For those people who've just bought an expensive TV that will last them for a while, they're not ready to turn around and invest again,' he explains. Going forward, however, 'Sony is now outfitting a significant majority of its newly manufactured TV with 3D capability, so regardless of whether people buy it for 3D purposes or not, [if you buy a new Sony TV now] you have a very good chance of ending up with something that's 3D capable.'

Sony's strategy is not unique. Dave Briganti at Panasonic similarly believes that the secret to consumer adoption of 3D partly lies in the way in which the technology is promoted to consumers. Panasonic's stragegy is simple: 'When we have a customer that wants to buy a 3D television, we try to bundle that with a camcorder or another 3D device that is compatible with the set.'

Meanwhile, Nick Dager, an analyst with the Gerson Lehrman Group as well and editor and publisher of Digital Cinema Report and IndieFilm3D thinks that the reasons 3D televisions, specifically, are not selling as well as their manufacturers had hoped are threefold. 'The cost [of the hardware], confusion about [whether or not people need] special glasses – as well as the cost of the glasses - and a serious lack of quality content'.

In Dager's view, it is the third reason that holds the key to 3D's long-term viability, and that as the amount of high-quality 3D broadcast content increases, so will the willingness of consumers to watch it.

With 3D TVs filling stores, more and more 3D-capable cameras and camcorders being released and more tha 40 3D movies projected for release in 2012, 3D is growing fast. But like a teenager experiencing growing pains, it hasn't quite reached maturity yet. If Hollywood can stop making 3D just to make 3D and find out where it really fits, and if electronics manufacturers can convince consumers that their home videos reallyneed to be in 3D not 2D, then maybe, just maybe, the angry teenager will grow into a healthy adult.

Barnaby Britton is Reviews Editor of dpreview.com. Valentina Valentini is a freelance journalist based in Los Angeles. You can see more of her work at her website, www.valentinavalentini.com

http://www.dpreview.com/articles/5239141538/3d-video-primer-part-2

Updated: Sony Carl Zeiss Sonnar T* E 24mm F1.8 ZA samples

2011-09-28T08:28:00.000-07:00

We have just updated our previously posted samples gallery from the Sony Carl Zeiss Sonnar T* E 24mm F1.8 ZA. Our previous gallery was shot exclusively using the NEX-7 but these latest samples were shot with the NEX-5N. Together, these samples should give you a good overall indication of how the lens performs in front of both 24MP and 16MP sensors. As usual we've tried to shoot the lens in a variety of conditions and at a variety of apertures to give an idea about how it behaves.

http://www.dpreview.com/