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Panasonic Lumix DMC-GH3 Hands

18.26 | Label: Panasonic Lumix DMC-GH3 Hands

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

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: Lumix G vario 7-14mm

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: Canon EOS 6D Hands

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: Sony NEX-6 Hands-on Preview

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

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

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