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Panasonic Lumix DMC-GH3 Hands

18.26 | Label:


Preview based on a pre-production DMC-GH3
NOTE: The grip material on the unit used for this preview was not final.
Since the introduction of the Lumix DMC-GH1 back in 2009, the GH-series' place in Panasonic's Lumix lineup has been clear; a flagship stills and video model designed for enthusiasts who demand a well-handling, responsive and customizable camera with all the latest technology the company has to offer. The goal was to show that a camera did not need to be the size of a DSLR to perform like one. The enthusiastic and largely unanticipated response to the GH2's movie capabilities by working videographers (Google 'GH2 video hack' to get an idea for how keenly its capabilities are being exploited) has meant that Panasonic must now also consider that its camera is being integrated into professional video rigs.
With the announcement of the Panasonic Lumix DMC-GH3, the quest to offer a smaller-than-a-DSLR alternative has shifted noticeably to one that seeks to maintain its appeal to video professionals and stills photographers for whom small size is easily trumped by accessible manual camera controls, expandability and durability. If that sounds like a description of a DSLR user, we suspect it does to Panasonic as well. The GH3 is the company's largest Micro Four Thirds camera yet, with dimensions that essentially match those of the APS-C Sony SLT-A65.
The GH3 gains a weather sealed (dust/splash proof) magnesium alloy body which now gives Panasonic a camera body to match their moisture- and dust-sealed G X Vario 12-35mm F2.8 ASPH lens and G X Vario 35-100mm F2.8 ASPH fast zooms. Additional highlights include 6 fps shooting (or 4fps with live view) and five customizable function buttons. While the camera's still image resolution remains at 16MP, the GH3 has a new Live MOS sensor, three-core Venus 7 FHD processing engine and a new low pass filter. Panasonic claims improvements in high ISO shadow detail, color reproduction and white balance over its predecessor. The GH3 also offers in-camera HDR and multiple exposure image modes, as well as Wi-Fi connectivity that Panasonic hopes to leverage with its own (as yet unreleased) remote triggering and image transfer apps for iOS and Android phones. One thing the GH3 loses, however, is the multi-aspect ratio sensor size found on its predecessor, with 3:2 and 16:9 format images being a crop from the camera's 4:3 ratio chip.
There are pro-focused additions to the GH3's video capabilities, with timecode-supported broadcast quality video that is capable of bit rates as high as 72Mbps. Video pros may want to re-read that last bit. Only the US $3500 Canon EOS 5D Mark III offers higher bit rates and Panasonic suggests its compression might offer better quality. The GH3 gains the ability to shoot in MOV (h.264) format, freeing it from the restrictive frame- and bit-rates laid out in the AVCHD standard. This means the camera can capture files natively as 30p, as well as 60i. There is also the choice of All-I or IPB compression (more of which later in the preview), which Panasonic is hoping will further endear it to videographers currently using GH2s.
The GH3's new EVF is a 1.7 million dot OLED panel with a 16:9 ratio of 873 x 500 pixels. Panasonic lists a robust 1.34x magnification (equivalent to 0.67x on a full frame SLR) ,and says that because information is transmitted to the panel 8x faster than the GH2, the onscreen image will remain smooth and natural even while panning quickly across a scene. The rear display panel is a 3" 614k dot resolution OLED unit that, like that of its predecessor, is touch-sensitive. For both stills and video shooters looking to extend the camera's abilities, the GH3 offers a 3.5mm mic input (GH2 users had to resort to a 2.5 - 3.5mm adapter), headphone jack, PC sync socket and a new optional battery grip that attaches to base plate providing the option for additional power.
Note that this pre-production unit of the GH3 is not a cosmetically-finished version.
The GH3 is both taller and wider than the GH2. Its more-prominent handgrip has a decidedly DSLR look and feel about it, and a texturized grip surface now wraps around the right edge of the front plate. The GH3 also gains a control dial on its top plate and a flash sync port on the front. The AF assist light has been moved to a more sensible location where you're far less likely to inadvertently block it with your finger.
The GH3 has a 610k dot OLED side-hinged rear panel display. The taller shoulder of the GH3 allows for a significantly revised control layout. There is a 4-way control dial as well as a larger-circumference thumb dial. The movie record button now sits on the rear camera plate, alongside four of the GH3's five Fn buttons and a focus mode switch.
The GH3 has a wider, deeper handgrip much more like that of an actual DSLR. The mode dial on the left is now dedicated to drive mode, with the GH2's focus modes moved to the rear of the camera (and AF area options relegated to the touchscreen). Three buttons dedicated to white balance, ISO and exposure compensation lie in a row in front of a re-designed Fn button. Stereo mics now sit behind, rather than atop the built-in flash.

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Canon EF 70-200mm 1:2,8 L IS II USM

18.24 | Label: ,

The EF 70-200mm F2.8 L IS II USM was announced in January 2010 as a replacement for Canon's fast image-stabilized telephoto zoom, the EF 70-200mm F2.8 L IS USM, which dates from 2001. With the rapid increase in SLR sensor pixel counts placing lenses' optical qualities under ever finer scrutiny, the company clearly felt it was time for an update for this professional workhorse, and has revamped the design accordingly. In the process, it claims to have improved almost every aspect of the lens, including the optics, autofocus, image stabilization, and the mechanical design.
The optical formula is suitably complex - 23 elements in 19 groups - and includes no fewer than five ultra-low dispersion (UD) glass elements, plus one made from fluorite, to minimize chromatic aberration. The minimum focus distance has been decreased giving improved maximum magnification, the IS system updated to give a claimed 4 stops of stabilization, and the autofocus system revised to meet the demands of Canon's latest fast, high-resolution DSLRs such as the EOS-1D Mark IV. The lens is also, as is usual for Canon's L series optics, fully sealed against dust and water.
Of course all this comes at a considerable price - as usual with a new release, the 'II' lens commands a hefty premium over the previous version of the lens, which also makes it around four times as expensive as its (non-image stabilized) third party rivals from the likes of Sigma and Tamron. Indeed with an introductory price well over the $2000 mark, many potential upgraders will surely be wondering whether the improvements can possibly be worth the money. Over the next few pages we'll do our best to find out.
Headline features
  • 70-200mm focal length range; fast F2.8 constant maximum aperture
  • Optical image stabilization – 4 stops
  • Ring-type USM focusing with full-time manual override
  • EF mount for Canon 35mm full-frame and APS-C DSLRS
Angle of view
The pictures below illustrate the focal length range from wide to telephoto, on 35mm full-frame and APS-C camera bodies:
70mm (full frame) 200mm (full frame)
70mm (APS-C; 112mm equivalent) 200mm (APS-C; 320mm equivalent)

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Lumix G vario 7-14mm

18.17 | Label:

The Lumix G Vario 7-14mm F4 ASPH was the third lens Panasonic announced for its fledgling Micro Four Thirds system, back in March 2009. It certainly created a significant buzz on release, with the company taking advantage of the short back focus of the mirrorless mount to deliver a lens whose compact size belies its dramatically wide 114º angle of view and constant F4 maximum aperture. The 7-14mm is far and away the smallest zoom currently available to offer such a wide angle of view; compared to the Olympus equivalent for Four Thirds DSLRs its dimensions are shrunk by at least 20% each way, and it's just 40% of the weight.
Like all other zooms this wide, the 7-14mm F4 features a distinctive design, with a bulbous front element and an integrated hood to protect that large expanse of glass against stray light. The compact barrel houses no fewer than 16 pieces of glass, arranged into 12 groups, and including two aspherical and 4 extra-low dispersion glass elements to combat aberrations. However a side-effect of that large dome of glass at the front is that there's no facility to attach filters to the lens.
The 7-14mm is small and impressively spec'ed, but this does come at an eye-watering price: its $1000 tag is significantly higher than any APS-C wide zoom, and not so far off the Nikon 14-24mm F2.8, which not only covers a full frame sensor but is also a stop faster. It's also a lot more than Olympus's Micro Four Thirds wideangle - the tiny M Zuiko Digital 9-18mm F4-5.6 - which we praised for its combination of decent optics and remarkable compactness. So what extra does the Panasonic offer that might tempt you to spend all that money?
Headline features
  • Super-wideangle zoom range (14-28mm equivalent)
  • Compact design
  • F4 constant maximum aperture
  • Micro Four Thirds mount for Olympus and Panasonic cameras
Angle of view
The pictures below illustrate the focal length range:
7mm (14mm equivalent) 14mm (28mm equivalent)
Panasonic Lumix G Vario 7-14mm F4 ASPH specifications
Price • US: $1000
• UK: £1090
Manufacturer's code H-FE007014
Date introduced March 2009
Maximum format size Micro Four Thirds
Focal length 7-14mm
35mm equivalent focal length 14-28mm
Diagonal Angle of view 114º - 75º
Maximum aperture F4
Minimum aperture F22
Lens Construction • 16 elements / 12 groups
• 4 ED glass element
• 2 aspherical elements
Number of diaphragm blades 7, rounded
Minimum focus 0.25m
Maximum magnification 0.08x
AF motor type Micro Motor
Focus method Internal
Image stabilization via camera body where available
Filter thread • No filter thread
Supplied accessories* • Front and rear caps
Weight 300 g (10.6 oz)
Dimensions 70 mm diameter x 83 mm length
(2.8 x 3.3 in)
Lens Mount Micro Four Thirds

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Canon EOS 6D Hands

18.08 | Label:


Preview based on a pre-production Canon EOS 6D
One of the key themes of Photokina 2012 is shaping up be the resurgence of the full frame format, with the launch of a raft of cameras featuring 24x36mm sensors. First up was Sony, with its SLR-like Alpha SLT-A99 and Cyber-Shot RX1 fixed-lens compact. Now, just four days after arch-rival Nikon announced what it billed as the 'smallest and lightest full frame DSLR' in the shape of the D600, Canon has revealed its own contender - the EOS 6D.
The EOS 6D is best seen as a full frame version of the EOS 60D - indeed it's very similar in both control layout and dimensions. Its front profile is very similar to the Nikon D600, but it's rather slimmer front-to-back, and lighter too. However it differs from the Nikon in a number of key respects; for example it has Wi-Fi and GPS built-in, while the D600 offers a distinctly higher spec'ed autofocus system, dual card slots and a built-in flash.
Canon EOS 6D key specifications
  • 20.2MP full frame CMOS sensor
  • DIGIC 5+ image processor
  • ISO 100-25600 standard, 50-102800 expanded
  • 4.5 fps continuous shooting
  • 'Silent' shutter mode
  • 1080p30 video recording, stereo sound via external mic
  • 11 point AF system, center point cross-type and sensitive to -3 EV
  • 63 zone iFCL metering system
  • 97% viewfinder coverage; interchangeable screens (including Eg-D grid and Eg-S fine-focus)
  • 1040k dot 3:2 3" ClearView LCD (fixed)
  • Single SD card slot
  • Built-in Wi-Fi and GPS
  • Single-axis electronic level
The EOS 6D is built around a new Canon CMOS sensor, which offers a pixel count of 20.2MP (compared to the D600 and A99's 24MP, or the 5D Mark III's 22MP). In concert with the DIGIC 5+ processor it offers a standard ISO range of 100-25600, expandable down to 50 and up to 102,400. The AF system has 11 points, but only the central one is cross-type (i.e. sensitive to both vertical and horizontal detail). However according to Canon to will operate at extremely low light levels; right down to -3 EV – a stop dimmer than the 5D Mark III.
The EOS 6D's most eye-catching additions are integrated GPS and Wi-Fi - their first appearance on a Canon SLR. The GPS unit includes exactly the same functionality as on the company's compacts - it can embed location data into every image, and has a logging function that can keep track of where you've been through the day. This, we suspect, will be most-popular with landscape and travel photographers.
The integrated Wi-Fi unit has the basic functionality you might expect, allowing transfer of images to a smartphone or tablet, and direct upload to social media sites such as Facebook and YouTube. You can also send images directly to a Wi-Fi-enabled printer. But we think more photographers are likely be interested by the fact that it can also be used to turn your smartphone into a wireless remote control via Canon's EOS Remote app for iOS or Android, complete with live view and full control of exposure settings.
The EOS 6D gains Canon's silent shutter mode that we saw on the 5D Mark III, which offers quieter, more discreet shooting. It gets in-camera HDR and Multiple Exposure modes, but disappointingly these are JPEG only, unlike on the 5D Mark III that also records RAW files. There's also a single-axis electronic level to check for wonky horizons.
The 6D doesn't, however, offer the latest goodies Canon introduced on the EOS 650D. There's no on-chip phase-detection to aid autofocus in live view or movie mode, nor does Canon's superb touchscreen interface make an appearance. As usual at this level the screen itself is fixed, rather than articulated as with the 60D the camera is modeled on - Canon says this is for maximum durability and minimum size. So if you really want a full frame camera with an swiveling screen, the Sony A99 is your only option.
Canon hasn't yet offered any firm commitment on pricing or availability for the EOS 6D, but we're led to believe it will be a month or two before it's in the shops. Its price is likely to be in the same ball park as the Nikon D600, placing it between the EOS 7D and EOS 5D Mark III in Canon's lineup.
Key specs compared to EOS 5D Mark III and Nikon D600
In the table below we see how some of the EOS 6D's key specs measure up against its more expensive big brother, the 5D Mark III, and its main rival the Nikon D600.
 
Canon EOS 6D
Canon EOS 5D Mark III
Nikon D600
 Effective Pixels  • 20.2 MP  • 22.3 MP  • 24.3 MP
 ISO Range  • 100-25600 standard
 • 50-102800 expanded 		 • 100-25600 standard
 • 50-102800 expanded 		 • 100-6400 standard
 • 50-25600 expanded
 No of AF points  • 11  • 61  • 39
 Screen  • 3"
 • 1,040,000 dots		  • 3.2"
 • 1,040,000 dots		  • 3.2"
 • 921,000 dots
 Viewfinder  • 97% coverage
 • 0.71x magnification		  • 100% coverage
 • 0.71x magnification		  • 100% coverage
 • 0.7x magnification
 Built-in flash  •  No  • No  •  Yes
 Continuous drive  • 4.5 fps  • 6 fps  • 5.5 fps
 Storage  • SD  • Compact flash
 • SD		  • SD
 • 2 slots
 Weight
 (inc batteries)		  • 770g (1.7 lb)  • 950g (2.1 lb)  • 850g (1.9 lb)
 Dimensions  • 145 x 111 x 71 mm
   (5.7 x 4.4 x 2.8")		  • 152 x 116 x 76 mm
   (6.0 x 4.6 x 3.0")		  • 141 x 113 x 82 mm
   (5.6 x 4.5 x 3.2")
 Wi-Fi + GPS  •  Built-in  •  Optional  •  Optional
Size and design compared to the EOS 5D Mark III
The EOS 6D slots in below the EOS 5D Mark III in the range, and not surprisingly gives up a few features in comparison. The much-simpler AF system is perhaps the most glaring difference, but it also shoots more slowly. However 6D owners do get Wi-Fi, GPS and interchangeable focusing screens.

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Sony NEX-6 Hands-on Preview

18.05 | Label:


Preview based on a pre-production NEX-6 with firmware v.01
When it entered the mirrorless market with the NEX-3 and NEX-5 back in 2010, Sony, along with Panasonic and Olympus, saw vast potential to attract the millions of compact camera users who wanted better image quality but without the bulk of a DSLR. Today, however, as the smartphone market continues to erode compact camera sales we see camera makers increasingly turning their attention to a smaller - but potentially more eager - group; enthusiasts who want a lighter, more compact DSLR alternative, but still demand the level of customization and camera control to which they've grown accustomed. As such, we've seen high-end offerings like the Sony NEX-7, Olympus OM-D E-M5, Panasonic DMC-GX1 and Fujifilm X-E1, which in both price and feature set are aimed well beyond point and shoot upgraders.
With the announcement of the NEX-6, Sony appears to be refining the high-end concept by merging the technology and user controls of the NEX-7 with the connectivity of the NEX-5R. In essence, the NEX-6 combines the hallmarks of an enthusiast-oriented offering - control dials and a viewfinder - with Wi-Fi functionality and camera apps. Quite oddly, though, for a camera that makes an obvious effort to accommodate smartphone owners, Sony has removed the touchscreen operation found in recent NEX-5 iterations.
The NEX-6 and NEX-7 are so similar not only in appearance but specification (save the latter's 24MP sensor) that after even a cursory glance, a fair if not obvious question is surely, 'Is the NEX-7 still relevant?' The NEX-6 offers the same stunning 2.3 million dot OLED EVF, a built-in flash, 1080p60 video, and even adds an exposure mode dial and (finally) an ISO standard hotshoe connection in addition to enhancements Sony introduced in its recent NEX-5R announcement.
The NEX-6, like the NEX-5R, uses a modified sensor with pixels devoted to performing phase-detection to provide a hybrid autofocus system. The phase-detection pixels are used to determine depth information about the focus target, which means the camera has to perform less hunting. Sony is the fourth manufacturer (following Fujifilm, Nikon and Canon) to go down this route, with the potential of faster focus, improved continuous focus performance and better autofocus in movie shooting. We're very keen to get our hands on a production-ready camera and examine its performance in our in-depth review.
And as with the NEX-5R, the NEX-6 has built-in DNLA-compliant Wi-Fi and on-camera apps. While the app collection is rather limited at announcement, Sony has made clear it plans to expand offerings in the near future. And the possibility of enhancing your camera's current capabilities through user-friendly app downloads, as opposed to firmware updates is one that could be worth the wait. As it stands, you can can push images from the NEX-6 to an iOS or Android smartphone, or straight to Facebook (or Sony's PlayMemories site) across a Wi-Fi network. You can also use your smartphone as a remote viewfinder/trigger.
Sony NEX-6 specification highlights
  • 16.1MP CMOS sensor
  • 2.3 million dot resolution OLED EVF
  • ISO 100-25600
  • Control dial
  • Dedicated Fn button
  • 'Quick Navi' display
  • Multi interface hotshoe (supports standard contacts and proprietary connector)
  • Wi-Fi for connection via Wi-Fi networks or to smartphones
  • Proprietary in-camera apps
  • Built-in flash (GN 6)
  • Electronic First Curtain shutter
  • 1080p 60p HD movies in AVCHD (50p on PAL region models)
Compared to the NEX-7
There is precious little other than sensor size (16mp versus 24MP) and price to separate the NEX-6 from Sony's flagship NEX-7. If you have no need for output beyond 16MP and are willing to trade the NEX-7's Tri-Navi control interface and external mic socket for a mode dial, Wi-Fi connectivity and a Quick Navi menu, you can get the NEX-6 with a co-announced 16-50mm F3.5-5.6 OSS power zoom for an attention-grabbing MSRP of $US 999. In discussions with us, Sony has acknowledged it expects the NEX-6 to have a direct impact on sales of the higher-priced NEX-7.
The NEX-6 is virtually indistinguishable from the NEX-7, being marginally taller only due to its protruding mode dial. It has more gently rounded edges along its top plate and lacks the metal construction of Sony's flagship model, but is still a solid-feeling camera.
Both cameras incorporate the same 3 inch LCD and OLED EVF. Button layout is very similar, with differences only in the placement of the movie record button (which has been much-criticized on the NEX-7). The NEX-6 has two control dials (versus three on the NEX-7) and a mode dial. It also lacks an AF/MF switch. The NEX-6 is shown here with the included rubber eyepiece cup.
Along the top plate there is little meaningful distinction between the cameras other than the dial arrangement. Yet the small power zoom kit lens, which covers nearly the same focal length range as the older 18-55mm lens on the NEX-7, offers a much more compact package.
E-mount power zoom 16-50mm F3.5-5.6 OSS lens
Alongside the NEX-6, Sony introduces the E PZ 16-50mm F3.5-5.6 OSS power zoom lens. This eight-group/nine-element optically-stabilized lens offers a minimum focus distance of 0.25m at its wide end and accepts 40.5mm filters. Collapsing to just under 30mm when powered off, the lens is easily the most compact E-mount optic available outside of Sony's E 16mm F2.8 Pancake lens. Impressively, this new lens is only slightly deeper than Panasonic's PZ 14-42mm F3.5-5.6 OIS power zoom, while offering a usefully-wider field of view at the wide end (24mm versus 28mm equiv.) although settling for a bit less reach at the tele end (75mm versus 84mm equiv.).
The Sony E-mount E PZ 16-50mm F3.5-5.6 OSS power zoom lens
With an all-black finish that matches the NEX-6, the plastic and metal construction of the PZ 16-50mm F3.5-5.6 OSS feels pleasingly solid in hand. A long slider placed along the left side of the lens barrel offers an ample, knurled platform with which to easily zoom the lens. The throw of the slider is rather short, offering no variable speed zoom capability. It does though make for smooth and relatively quiet zooming during video recording, which is really the whole point of a power zoom.
What we really appreciate, however, is the dual-function control ring at the front of the lens barrel. In AF modes it is used to manually zoom the lens. With a double-ridged platform, the ring is wide enough for a sure and comfortable hold and offers a pleasingly smooth action that allows for precise focal length adjustments. Unlike the single-speed zoom slider, you can increase the speed of the zoom by rotating the ring more quickly. On our pre-production unit, however, this produces much more audible motor noise than using the power zoom slider.
Switch the camera to MF mode and this same ring automatically controls focus instead, with zoom control operated by the slider. Based on initial impressions we much prefer Sony's ring/slider design over the dual lever approach in the Panasonic 14-42 power zoom, where we can never tell by feel whether we're about to zoom or focus the lens.
While the Sony lens is of a focus-by-wire design, the action is dampened just enough to approximate a 'feel' of connection to the lens elements with responsive operation. And with MF assist enabled, an initial turn of the control ring brings up a magnified scene view for focus confirmation.

If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

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Blur Gallery

17.59 | Label:

Blur Gallery

CS6 brings three new blur tools designed to make adding photographic blurs to images quick and easy. The tools - Field Blur, Iris Blur and Tilt-Shift are grouped together at the top of the Filter>Blur sub menu. In a move that will make Lightroom users feel right at home, you make adjustments to control points  directly on the image, rather than in a separate filter window.
Iris Blur simulates selective focus, and allows you to mask out one or more areas in the image which should remain sharp, while blurring the remaining portions of the scene.

In the original image the areas of soft focus begin just past the model's right shoulder.
Using the Iris blur filter you can edit a shape which contains a built-in mask to isolate the parts of the image you want to remain in focus. You can control the amount of blur, the brightness and color of bokeh highlights and freely move the entire control unit around the image. You can even add multiple control units.
The final result is an image in which only the model's face and neck are in focus.
Field Blur offers a fast, intuitive way to either blur an entire image or perform multiple depth-of-field adjustments. And a Tilt-Shift blur option lets you mimic the behavior of lenses that allow for manipulation of the plane of focus.

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Content-Aware Patch and Move tools

17.58 | Label:

Content-Aware Patch and Move tools

The content-aware technology that was introduced to Photoshop CS5's Fill tool is now available in the Patch tool. Alongside this in the tool panel, there's also a Content-Aware Move tool.

The Patch tool now has a Content-Aware option. You can select among five different region-preservation options.
A new Content-Aware Move tool (highlighted in red) allows you to move a selected object and have its previous location filled in to blend with the immediate surroundings.
The algorithms behind the content-aware selection and blending have been updated so that they work more seamlessly along higher contrast edges.
In the original image you can remove the geese along the left side of the frame by... ...making a selection around them (shown in red)...
...and with the Patch tool set to Content-Aware, dragging the selection to an an open expanse of water. You can then move one of the  remaining geese by making a selection around it (shown in red)...
and with the Content-Aware Move tool selected, dragging it to a new location. Most images, like the example show here, will require at least some cleanup work around the selection edges

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UI redesign

17.54 | Label:

UI redesign

As you'd expect, CS6 offers a number of new tools and functionality. Yet, the most immediate change for any previous Photoshop user is undoubtedly going to be the UI (user interface) redesign. For the first time in 22 years, the team at Adobe has given Photoshop a complete makeover. Along with the more obvious changes you'll see below, roughly 1800 icons and 250 cursors have been redesigned.

Photoshop CS6 launches with the Application frame enabled and an interface design that features light text on a dark background.
By default, CS6 offers a much darker background palette to surround your image than previous versions. A number of icons have been redesigned and Panel names are now displayed in sentence case rather than all caps. In the screenshot above, look carefully along the bottom left (highlighted in red) and you'll notice two tabs; one for Mini Bridge and the video Timeline. Clicking on either will extend the tab up into a filmstrip-style panel that runs horizontally beneath the image area.
You do have a number of options for changing the UI color scheme by going to Preferences>Interface. The most crucial of these, in my opinion, is the ability to set the Background fill and Application frame colors independently. In each of the examples below I have set the Background fill to medium gray while changing the interface color among four available presets. Note that you can also choose a custom color for each.
Black interface with medium gray Background fill. Dark interface with medium gray Background fill.
Medium gray interface with medium gray Background fill. Light gray interface with medium gray Background fill.
With CS6 you can also display 'rich cursors' that show contextual information such as dimensions, angle of rotation or other adjustment parameters right alongside the cursor, as shown in the example below.
The rich cursor information is context sensitive. When using one of the marquee tools you can view the dimensions of the marquee you're drawing as well as the XY coordinates of its location. You can also specify where this information is displayed in relation to the cursor. In the example shown here, I've set it to display along the bottom right edge.

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Types of photographs

17.43 | Label:


Types of photographs 



Non-digital photographs are produced with a two-step chemical process. In the two-step process the light-sensitive film captures a negative image (colors and lights/darks are inverted). To produce a positive image, the negative is most commonly transferred ('printed') onto photographic paper. Printing the negative onto transparent film stock is used to manufacture motion picture films.
Alternatively, the film is processed to invert the negative image, yielding positive transparencies. Such positive images are usually mounted in frames, called slides. Before recent advances in digital photography, transparencies were widely used by professionals because of their sharpness and accuracy of color rendition. Most photographs published in magazines were taken on color transparency film.
Originally all photographs were monochromatic, or hand-painted in color. Although methods for developing color photos were available as early as 1861, they did not become widely available until the 1940s or 50s, and even so, until the 1960s most photographs were taken in black and white. Since then, color photography has dominated popular photography, although black and white is still used, being easier to develop than color.
Panoramic format images can be taken with cameras like the Hasselblad Xpan on standard film. Since the 1990s, panoramic photos have been available on the Advanced Photo System film. APS was developed by several of the major film manufacturers to provide a film with different formats and computerized options available, though APS panoramas were created using a mask in panorama-capable cameras, far less desirable than a true panoramic camera, which achieves its effect through a wider film format. APS has become less popular and is being discontinued.
The advent of the microcomputer and digital photography has led to the rise of digital prints. These prints are created from stored graphic formats such as JPEG, TIFF, and RAW. The types of printers used include inkjet printers, dye-sublimation printer, laser printers, and thermal printers. Inkjet prints are sometimes given the coined name "Giclée".
The web has been a popular medium for storing and sharing photos ever since the first photograph was published on the web by Tim Berners-Lee in 1992 (an image of the CERN house band Les Horribles Cernettes). Today popular sites such as Flickr, Picasa and PhotoBucket are used by millions of people to share their pictures.

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Pixel Quality

17.42 | Label:

Pixel Quality


The marketing race for "more megapixels" would like us to believe that "more is better". Unfortunately, it's not that simple. The number of pixels is only one of many factors affecting image quality and more pixels is not always better. The quality of a pixel value can be described in terms of geometrical accuracy, color accuracy, dynamic range, noise, and artifacts. The quality of a pixel value depends on the number of photodetectors that were used to determine it, the quality of the lens and sensor combination, the size of the photodiode(s), the quality of the camera components, the level of sophistication of the in-camera imaging processing software, the image file format used to store it, etc. Different sensor and camera designs make different compromises.

Geometrical Accuracy

Geometrical or spatial accuracy is related to the number of pixel locations on the sensor and the ability of the lens to match the sensor resolution. The resolution topic explains how this is measured at this site. Interpolation will not improve geometrical accuracy as it cannot create what was not captured.

Color Accuracy

Conventional sensors using a color filter array have only one photodiode per pixel location and will display some color inaccuracies around the edges because the missing pixels in each color channel are estimated based on demosaicing algorithms. Increasing the number of pixel locations on the sensor will reduce the visibility of these artifacts. Foveon sensors have three photodetectors per pixel location and create therefore a higher color accuracy by eliminating the demosaicing artifacts. Unfortunately their sensitivities are currently lower than conventional sensors and the technology is only available in a few cameras.

Dynamic Range

The size of the pixel location and the fill factor determine the size of the photodiode and this has a big impact on the dynamic range. Higher quality sensors are more accurate and will be able to output a larger dynamic range which can be preserved when storing the pixel values into a RAW image file. A variant of the Fujifilm Super CCD, the Super CCD SR uses two photodiodes per pixel location with the objective to increase the dynamic range. A more sensitive photodiode measures the shadows, while a less sensitive photodiode measures the highlights.

Noise

The pixel value consists of two components:
(1) what you want to see (the actual measurement of the value in the scene)
(2) what you do not want to see (noise).
The higher (1), and the lower (2), the better the quality of the pixel. The quality of the sensor and the size of its pixel locations have a great impact on noise and how it changes with increasing sensitivity.

Artifacts

Besides noise, there are many other types of artifacts that determine pixel quality.

Conclusion

Unfortunately there is no single standard objective quality number to compare image quality across different types of sensors and cameras. For instance, a 3 megapixel Foveon type sensor uses 9 million photodetectors in 3 million pixel locations. The resulting quality is higher than a 3 megapixel but lower than a 9 megapixel conventional image and it also depends on the ISO level you compare it at. Likewise, a 6 megapixel Fujifilm Super CCD image is based on measurements in 3 million pixel locations. The quality is higher than a 3 megapixel image but lower than a 6 megapixel image. A 6 megapixel digital compact image will be of lower quality than a 6 megapixel digital SLR image with larger pixels. To determine an "equivalent" resolution is tricky at best.

End of the day, the most important thing is that you are happy with the quality level that comes out of your camera for the purpose that you need it for (e.g. website, viewing on computer, printing, enlargements, publishing, etc.). I strongly recommend that you look beyond megapixels when purchasing a digital camera.



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Sensitivity (ISO)

17.39 | Label:


 Sensitivity (ISO)

Conventional film comes in different sensitivities (ASAs) for different purposes. The lower the sensitivity, the finer the grain, but more light is needed. This is excellent for outdoor photography, but for low-light conditions or action photography (where fast shutterspeeds are needed), more sensitive or "fast" film is used which is more "grainy".
Likewise, digital cameras have an ISO rating indicating their level of sensitivity to light. ISO 100 is the "normal" setting for most cameras, although some go as low as ISO 50. The sensitivities can be increased to 200, 400, 800, or even 3,200 on high-end digital SLRs. When increasing the sensitivity, the output of the sensor is amplified, so less light is needed. Unfortunately that also amplifies the undesired noise. Incidentally, this creates more grainy pictures, just like in conventional photography, but because of different reasons. It is similar to turning up the volume of a radio with poor reception. Doing so will not only amplify the (desired) music but also the (undesired) hiss and crackle or "noise". Improvements in sensor technology are steadily reducing the noise levels at higher ISOs, especially on higher-end cameras. And unlike conventional film cameras which require a change of film roll or the use of multiple bodies, digital cameras allow you to instantly and conveniently change the sensitivity depending on the circumstances.

ISO 100 ISO 800
ISO 100 - Red Channel ISO 800 - Red Channel

The above unmagnified crops of prosumer digital camera images show high levels of color noise at higher sensitivities. Noise is usually most visible in the red and blue channels.

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Buying a Digital SLR

17.37 | Label:

Buying a Digital SLR

Why a digital SLR? 
 
So you've decided to invest in a new digital camera and have made your mind up that you want to step up to a digital SLR, but the huge range of models on offer and endless flow of technical jargon have left you more confused than when you started? Fear not, this page will take the pain out of choosing the perfect digital SLR for you, whether you're a seasoned shooter or a total novice.
Before we get down to business it's worth stopping for a moment to ask the question: why would anyone want a digital SLR when compact digital cameras are so much smaller, lighter and more affordable? The answer can be summed up in two words: versatility and image quality.
The versatility isn't just the fact you can change lenses and add a wide range of accessories - from basics such as flashguns and remote controls to the more specialized equipment that allow SLRs to capture anything from the tiniest bug to the most distant stars. It's also about the creative versatility offered by the more advanced controls and higher quality components.
And this leads on to the second factor; image quality. In broad daylight the quality difference between a good compact and a digital SLR is minimal; both will produce sharp, colorful results with little effort. But when you start to push the boundaries a bit more; shooting in low light, attempting to capture fast moving sports action or wildlife, or when you want to experiment with shallow depth of field (to add a soft background to a portrait for example), the advantage of a digital SLR's larger sensor and higher sensitivity start to make a big difference. A digital SLR can't beat a compact camera for 'pop it in the purse or pocket' convenience but for serious photography the SLR wins hands down. With prices lower than ever it's not that surprising to discover that many people own one of each.

What is an SLR?

The basic physical design of the SLR has remained essentially unchanged for over half a century. The name itself, 'Single Lens Reflex', refers to the hinged mirror that bounces the light passing through the lens up to the viewfinder for framing then flips out of the way when you press the shutter to allow the light to hit the sensor (or film).
As the (simplified) diagram above shows, the mirror inside an SLR reflects the image formed by the lens up to the optical viewfinder (via a focusing screen and prism). When the picture is taken the mirror flips out of the way to allow the light to fall directly onto the sensor (or film), which sits behind a mechanical shutter. The mirror is also flipped up for live view operation (where the sensor is used to provide a live video feed directly to the screen on the back). More on this - and on the newer 'mirrorless' hybrid cameras at the bottom of this page.

What do you need?

With so many digital SLRs on the market at so many different price points it's a good idea to narrow down your options by thinking about what 's important to you, and what you want to do with the camera. Do you want the same kind of 'point and shoot' simplicity as you get with a compact camera or are you the type of photographer who likes to roll up his or her sleeves and take control of every function? Many entry-level DSLRs offer a range of 'point and shoot' subject / scene modes, whereas more 'professional' models don't (though all have a basic 'auto' program mode). Do you shoot a lot of sport or wildlife? If so you'll need a fast camera with a high frame rate, and will probably want one of the smaller sensor formats.
If you shoot in very low light you'll be looking for a camera with the best possible high ISO performance and possibly in-body image stabilization, if you do a lot of studio, portrait or macro work you may well decide that a 'live view' function is a high priority.
Finally there are practical considerations; do you need a particularly rugged (or weatherproof) body? Does the size and weight of the camera play an important role in your choice? Do you have a particular application in mind that requires a specialist lens or other accessory? Not all camera systems offer the same range of lenses and not all cameras are compatible with the more specialized add-ons. And don't forget that most DSLRs are compatible with many of the lenses and accessories originally designed for film SLR cameras (from the same manufacturer), so if you're already heavily invested in a film system you may want to stick to the same system when you move to digital.
Armed with some answers to these questions you can use the information on the rest of this page to produce a shortlist of cameras that match your needs perfectly.

Sensor size

Let's look first at the physical size of CCD or CMOS sensor used to capture your photographs. Although there are slight variations, virtually all DSLR sensors fit into one of three size categories (starting with the largest); Full Frame, APS-C and Four-Thirds. Sensor size isn't as important as some people would have you think, but there are some key differences. The first is what is known as the 'crop factor'. As the diagram below shows, as the sensor gets smaller it captures a smaller area of the scene, resulting in a photograph that looks like it was taken at a longer focal length (1.5x or 1.6x longer for APS-C, 2x for Four-Thirds).
The crop factor isn't a major issue for most users, but it does have important consequences for some. If you're buying a digital SLR to replace a film model because you've got a kit bag full of lenses you need to be aware that unless you buy a full frame model all your lenses will produce very different results on your new camera.
For telephoto shooters the result is quite a bonus, as all your lenses will effectively get even more powerful. On the other hand the crop factor means your wideangle lenses will no longer offer anything like a 'wide' field of view. Fortunately there is a wide range of specially designed 'digital only' lenses for smaller sensor DSLRs.
The three most common sensor sizes compared: full frame, APS-C and Four-thirds. Smaller sensors 'crop' the scene and make a lens appear to have a longer focal length. For sports and wildlife shooters the smaller sensor has the effect of making their telephoto lenses and zooms even more powerful.
So which is right for you? Each has its own benefits and each has its limitations, and if you're building a DSLR system from scratch you needn't get too hung up on which is right for you.
The largest (and most expensive) DLSR format is full frame (so called because the sensor is the same size as a frame of 35mm film). DSLRs with full frame sensors have the biggest, brightest viewfinders and because there's no crop factor are often chosen by photographers who are upgrading from a film SLR and already own expensive wideangle lenses. The larger sensor also means that - all other things being equal - full frame cameras will produce the best results in very low light and at higher sensitivities. On the downside, full frame cameras are big and expensive, and there is only a handful of models to choose from. You also lose the focal length 'boost' offered by smaller sensor cameras when shooting with telephotos.
The larger the sensor the easier it is to get very shallow depth of field effects. The flip side of this is that it can be harder to get everything in focus when you do want to. Overall though, the larger sensors offer more control over depth of field for those that know how to use it.
APS-C is by far the most common format, used in virtually all Canon, Nikon, Pentax and Sony DLSR models. With a crop factor of 1.5x or 1.6x you need special digital lenses to get true wideangle results, but these are readily available and are usually less expensive than their 'full frame' counterparts. The 'kit lens' supplied with most APS-C cameras is a good starting point, offering a versatile zoom range from wideangle to short telephoto.
The difference in size and weight between a full frame professional level camera (Nikon D3, left) and a compact entry-level DSLR (Nikon D60, right) is considerable. The Four Thirds system promises slightly more compact camera bodies and lenses. Four thirds is also the only DSLR system that uses the slightly squarer '4:3' format (as used on virtually all compact digital cameras).
Four Thirds is a new 'all digital' format developed by Olympus and currently used in Olympus and Panasonic DSLR models. Unlike the other systems on the market Four Thirds is not based on any existing film SLR system and uses a totally new lens mount, so all the lenses in the system are designed for digital, making the crop factor issues mentioned above less relevant. With the smallest sensor size Four Thirds offers slightly more compact camera bodies and lenses. Although the smaller sensor should in theory mean that these cameras produce noisier (grainier) results in low light and at higher sensitivities, for most purposes the difference isn't huge.

Anti shake systems

Photos taken in low light or with long telephoto lenses can easily be ruined by blur caused by the camera moving during the exposure (camera shake). Image stabilization (IS) systems are designed to counteract the motion of camera shake and reduce (or eliminate) the resultant blurring. Every manufacturer has a different name for it ('Super SteadyShot', 'Anti Shake', 'Vibration reduction', Mega OIS'), but all use one of two techniques. Optical IS works by moving a small element inside the lens and is totally separate from the camera. Sensor shift IS - as the name implies - moves the sensor itself. Note that the terms 'optical' and 'mechanical' IS are often used interchangeably.
Image stabilization systems reduce the blur caused by camera shake, allowing sharp pictures to be taken even in low light or at long focal lengths.
The net result is the same, though obviously sensor IS is built in to the camera, so offers its benefits to every lens you buy. Lens IS has the advantage of stabilizing the view through the viewfinder as well as reducing blur in the final picture, but if you intend to buy several lenses it can end up being more expensive as stabilized lenses cost more than their non-stabilized equivalents. At the moment Sony, Pentax and Olympus offer in-body sensor stabilization, whereas Canon, Panasonic and Nikon offer stabilized lenses (including standard 'kit' lenses).

Speed

If you're used to using a compact digital camera picking up and taking pictures with a digital SLR will be a revelation; even entry-level models focus and shoot faster than any compact. As you move up the range to more expensive models focus speed will increase slightly, but the real difference is continuous shooting frame rate, something of vital importance to sports and wildlife photographers.
Most entry level DSLRs offer a continuous shooting rate of around 2.5 or 3 frames per second; plenty enough for most casual photographers trying to snap the kids or pets running around the back yard. The most basic models limit the number of shots you can take in a single 'burst' (especially if you're shooting in the highest quality RAW mode), but again this isn't likely to trouble the average user.
If you do have real 'need for speed' you'll need to leave the entry-level behind and move into the mid range or semi-professional sector. Here the starting point is 5 frames per second (though if money is no object the Canon EOS 1D Mk IV and Nikon D3s can deliver 10 and 11 frames per second respectively), and larger 'buffer' memory means you can take a lot more frames in a single burst. To compare frame rates and other aspects of SLR performance for any model you're interested in check out the reviews .

Size, weight and durability 

As mentioned above digital SLRs come in a variety of shapes and sizes from the ultra compact entry-level models to the tank-like professional models. If you're likely to do a lot of shooting in damp, humid or dusty conditions you'll need to look for a DSLR with some kind of weatherproof sealing and a solid magnesium alloy chassis, and possibly one with a built in dust removal system to keep the sensor clean. Obviously this kind of durability doesn't come cheap, though there are plenty of mid-range models that offer some level of protection from the elements.
On the other hand, if you like to travel light and don't feel like lugging two or three pounds (1 to 1.3 Kg) of camera gear round your neck then look for one of the new generation of ultra compact lightweight DSLRs - some of which tip the scales at not much more than 20 oz / 0.5 Kg with a small lens. It doesn't matter how great a camera is if you can't be bothered carrying it around with you because it's too big or too heavy. You can check out camera weights and dimensions using the comparison tools .

Screens and live view 

One of the defining features of an SLR camera is that you frame the picture by looking through the same lens that takes the picture (by looking through the viewfinder). And many users moving from a compact to a DSLR in the past few years have been surprised to discover that you can't use the color screen on the back of the camera to frame the pictures in the same way you can with a compact. That's all changing as more and more models offer a 'Live View' option that does just that.
Live view isn't without its drawbacks; in most cases it slows down the picture taking process in use as the design of an SLR means the mirror inside the body has to be flipped up to enable live view and flipped back down to focus or take a shot. Some models allow auto focus in live view mode (without the mirror flips), but this is often a fairly slow process. The only exception is Sony, with its unique 'dual sensor' live view system, which is fast, but currently cannot offer a high resolution live view image.
LCD screens have come on in leaps and bounds in recent years and 2.5 or 3.0 inch LCDs are now common. Some models offer very high resolution screens for an ultra-clear picture, though of course this adds a premium to the price.
That's not to say live view isn't a useful feature; in the studio the ability to magnify a portion of the display to check focus is a real boon, and the fact you don't need to put your eye to the viewfinder can make shooting from very awkward positions (such as low on the ground or with the camera above your head) considerably easier.
Some DSLRs even have articulated screens that can be angled to offer a better view when getting behind the camera is difficult. You can check out the live view performance of any DSLR model you are interested using the in-depth reviews reviews .

Ease of use features

With entry-level digital SLRs now aimed at first-time users and those who might normally choose a compact camera, many of the ease of use features (on-screen guides, intelligent automatic modes, on-screen guides, face detection and so on) common on compacts have started to appear here too. Although any SLR can be used in simple 'point and shoot' mode, some models go a lot further in helping you get the right shot than others.
On-screen guides, intelligent automatic modes and compact camera-like 'fun' features (such as special effects and face detection) are starting to appear on entry-level SLR models. ideal if you find the idea of using this kind of camera daunting.

Advanced photography features 

Although all digital SLRs share a common base feature set as you move up the ranges you'll find more and more advanced features and more controls that may or may not be of importance to you. You'll also find that higher level SLRs offer far more customization options, allowing you to fine tune every aspect of the camera's operation. Many of these functions and options will be of interest only to the more advanced photographer.

Movie modes

IAs a direct consequence of the introduction of Live View to SLRs, n the last couple of years HD movie modes have started to appear on many digital SLRs. Video capable SLRs may be the new kids on the block, but they're already making a splash with both amateur videographers and serious movie makers. The main reason is that big sensor, which allows Hollywood-style focus effects and excellent image quality, even in low light, and the versatility offered by the huge range of lenses (from fisheyes to extreme telephotos) is opening up a new world of creative possibilities.
Most video-enabled SLRs can't autofocus during movie clips, and some only offer rudimentary manual controls, but all are capable of surprisingly good results. To find out more about HD video capture check out our beginner's guide .

System addict...

One last word. Buying an SLR is, for many people, only the first step on what can become a lifelong relationship with a specific camera system, so it's important to look at the 'bigger picture' when making your choice. The camera is only part of the equation when it comes to image quality; the lens has an equally important role to play. Most of the major players have broadly similar lens options (and there's plenty of third-party alternatives for those that don't), but inevitably each has its relative strengths and weaknesses. If you have a specific application that needs specialized lenses (or other accessories) it's worth doing some research before committing to one system or another; dpreview's lens reviews and user forums are an excellent place to start.

A word on mirrorless ('hybrid') system cameras

Mirrorless cameras use a mechanically simpler system that does away with the optical viewfinder and mirror altogether. This allows for physically smaller 'big sensor' cameras that promise the quality of an SLR without the bulk.
The prominent system at the moment, Micro Four Thirds (offered by Olympus and Panasonic) features two distinct camera formats. The first looks (and in many respects acts) like a conventional SLR, complete with a large high resolution electronic viewfinder. The second format gets a lot closer to 'compact camera' size by dropping the eye-level viewfinder altogether (all framing is done with the rear LCD screen). Some models offer an optional clip-on electronic viewfinder.
At the moment the so-called 'hybrid' camera is very much in its infancy, and is expected to take a significant chunk out of the entry-level SLR market over the next couple of years as more players join the game. As it stands there are pros and cons to a mirrorless system camera when compared to a similarly-priced SLR:
Hybrid camera advantages
  • Smaller, lighter and usually quieter than equivalent SLR
  • Ease of use with many compact camera features (such as face detection)
  • Better integrated video capture functionality
  • Electronic viewfinders usually larger than entry-level SLR optical viewfinders
  • Full shooting information and menus in the viewfinder
  • Smaller lenses
Hybrid camera disadvantages
  • Fewer models / brands to choose from
  • Limited lens choices
  • Slower - in some cases much slower - autofocus
  • Limited continuous ('burst') shooting capabilities
  • Electronic viewfinders cannot match the clarity of a good optical finder
  • Current models offer relatively poor low-light performance

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