With a design based on its previous starter model in the Pentax K-m, and some trickle down features from the higher end K7, the new K-x in offering 12.4 effective megapixels from a 12.9-megapixel CMOS sensor should in theory offer a best of both worlds’ solution, providing potential owners trading up from a point-and-shoot compact a pretty sound investment for their cash.

With conventional looks and control layout the K-x shouldn’t prove cause for operational confusion either; its auto picture option the most prominent setting found on the 14-strong shooting mode dial. This also includes the regulars of program, shutter priority, aperture priority and manual settings along with an increasingly ubiquitous video shooting option. As an answer of sorts to the Art Filters on Olympus E-series DSLRs, Pentax here offers its own user selectable creative digital filters: toy camera, high contrast, soft, star burst, retro, extract colour, fish eye, custom.

Pick the camera up and, feeling deceptively lightweight and plasticy out of the box, added sturdiness is leant to the K-x via the insertion of the four alkaline AAs required for power into the base of the grip. At this point the camera, with 18-55mm equivalent test lens attached, immediately feels rock solid. The combo is not so weighty or huge however at 615g that carrying it around all day taking pictures will result in neck or back injury.

And, while the slots for AAs, readily indicative of a budget model, is initially a disappointment – for the overall price we’d expect a rechargeable lithium-ion cell – Pentax claims if using NiMH batteries up to 640 images can be captured as opposed to the so-so 210 using bog standard alkalines.

Flick the on/off switch encircling the K-x’s shutter release button and you’re up and shooting instantly, rear LCD displaying essential shooting information in a clear and colourful format and a cool Samsung-like blue light illuminating on the top plate. Unlike Sony’s rival Alpha DSLR models the display information doesn’t flip through 90 degree if you turn the K-x on its side. However, in common with that range, the camera does feature in-body anti-shake, here Pentax’s own sensor-shifting Shake Reduction (SR) mechanism compatible with most of the manufacturer’s K-mount based lenses, old and new. And the K-x’s grip is of sufficient size to achieve a reassuringly firm hold.

Usefully, a dedicated "LV" (Live View) button in the middle of the back plate means that it’s easy to switch between optical viewfinder and screen below when composing shots, the internal mirror flipping out of the way and viewfinder itself blanking out when doing so. With rivals such as Canon’s DSLR range the user has to first wade through many menu settings to first enable the feature.

More unusually still at this level, the K-x’s light sensitivity settings can be boosted to a semi-pro equivalent ISO 12,800 for flash free photography in the near dark and 16:9 widescreen format HD video recording – at 1280 x 720 pixels, 24fps, rather than Full HD 1920 x 1080 – marking this out as an affordable all-in-one device.

However, there’s not the HDMI port we might also expect to find in attendance; just a combined AV/USB out hidden under a small plastic flap on the DSLR’s left flank (when viewing the camera from the back).

For those looking to shoot in lower light and achieve the best results possible, non-expanded light sensitivity settings otherwise run from ISO 200 to ISO 6400; pretty much what we’d expect to find at this level. We also get a pop-up flash and top-mounted hotshoe for the addition of supplementary flash if required, and the regulars of shooting JPEG, RAW and both file formats in tandem.

Examining results straight out of the camera, even exposures are the norm, colours a little cool but realistically so with the camera left on its default settings. Unadulterated images benefit from the application of Unsharp Mask and we did notice some obvious pixel fringing in evidence when enlarging sections of an image in Photoshop to check detail. In the main though, the camera and basic kit lens configuration performs very well.

Verdict:

Ultimately the K-x is a camera that will endeavour to provide both beginners and more experienced users with their, er, kicks. It’s an affordable, well-featured all-in-one device and very capable with it too, making it a tempting proposition for those not already wedded to a rival system due to ownership of pre-existing lenses.

?

Tags: Cameras DSLR cameras Pentax Pentax K-x 12 megapixels

Pentax K-x DSLR camera originally appeared on http://www.pocket-lint.com on Wed, 25 Nov 2009 12:09:09 +0000

Panasonic’s first two Micro Four Thirds system cameras – last year’s G1 and this spring’s GH1, which added high-def video – based their designs on that of traditional digital SLRs. Even though technically they weren’t, having junked the integral mirror box mechanism in order to bring lens and sensor closer together.

In theory this promised more diminutive camera bodies and lenses, yet in practice neither G1 nor GH1 are much smaller than the latest entry-level DSLRs based around regular APS-C sized sensors.

But that aspect is about to change. As the advertising blurb runs, the new Micro Four Thirds Panasonic Lumix DMC-GF1 is like a DSLR – in that lenses can be changed and image quality is a step up from a bridge camera – only smaller.

Its styling is closer to a compact camera, albeit one that will be a snug fit for even the deep pocket of an overcoat; the busy top plate control layout recalling the look of a high-end rangefinder camera. It is the manufacturer’s answer to, and direct rival of, Olympus’ E-P1, otherwise known as the Pen.

While that camera’s hybrid nature was deemed revolutionary on release, it omitted a couple of fairly crucial features for the photo enthusiast – especially one spending ?600 on a body without lens.

Fortunately the similarly solidly built (but fractionally lighter) GF1 has shoehorned in one of its rival’s omissions – a flash of the pop-up variety to maintain the Lumix’s boxy lines – whilst, doubtless partly due again to size, still failing to deliver an optical viewfinder.

However it does offer an electronic viewfinder (EVF) like those incorporated on the G1 and GH1, as an optional extra that clips onto the vacant top plate hotshoe. This costs around ?160, compared to ?100 for an optional optical viewfinder for the Olympus Pen.

Photos are composed on the GF1 in its absence via the 3-inch, 460k-dot resolution LCD with Live View; double the resolution offered by the E-P1, which in our eyes makes for a much smoother, more life-like display image.

Headline resolution is otherwise nigh on identical, at 12.1 effective megapixels from a 13.1 megapixel LiveMOS sensor, and, like the Pen is basically a concertinaed Olympus E-series DSLR, so the GF1 squeezes the functionality of its G1 and GH1 forebears into a more manageable shape.

This includes a mono HD video mode with a dedicated recording button, and a choice of AVCHD or (more widely compatible) Motion JPEG compression, resolution being the lower 1280 x 720 pixels rather than the Full HD 1920 x 1080. A side mounted HDMI port is also provided for hooking the camera up to an HD TV, though the required cable costs extra.

If you really want the most compact camera solution, then opt for the 20mm non zoom "pancake" lens we had on test, equivalent to 40mm in 35mm terms, which, when bought in conjunction with the Panasonic body, will set you back a not-so-cool ?800. We found it works best for shooting portraits and close ups, where a shallow depth of focus, blurring distracting backgrounds, proves a specific aid to creativity.

If we’ve one true criticism it's that the blocky, rectangular GF1 lacks anyway in the way of a decent grip, with only a thin raised strip on the front providing purchase for the fingers when shooting handheld. Still, it’s also possible to use the camera as a gloried point and shoot courtesy of Panasonic’s reliable intelligent Auto (iA) mode, whereby it recognises common scenes and subjects and adjusts settings automatically, saving the user otherwise fiddling around with controls and dials to achieve similar results.

With the GF1 powering up for action with DSLR-approximate swiftness in just over a second, other built-in aids to creativity include its "My Colors" modes that come across as Panasonic’s re-interpretation of the Olympus Pen’s Art Filters. They even include a pop art style "Dynamic Art" option.

We also get film simulation modes "borrowed" from its G1 and GH1 siblings and a Peripheral Defocus Mode that blurs potentially distracting backgrounds – even when you’re not shooting with a 20mm lens. Left on standard default settings colours are rendered beautifully natural and life-like with a crispness few standard fixed lens compacts could match. Impressive stuff – though of course it comes at a price.

Verdict:

So does the GF1 beat the Pen as the best, most affordable DSLR/compact hybrid to date?

Of course the answer depends on your personal requirements, but used as a tool for general purpose photography, the clearer, smoother LCD for shot composition and review, plus built-in flash inevitably take the Panasonic up a notch.

It therefore gets our vote as the current most successful marriage of DSLR functionality with compact portability and usability. But with further incarnations of the Pen promised very soon by Olympus, it’s unlikely to stay that way for long.

It’s also worth noting that for the near ?600 UK asking price for the GF1, one could buy a very capable APS-C sized DSLR with lens included.

PHOTOS: Panasonic Lumix GF1 digital camera

Tags: Cameras Micro Four Thirds Compact cameras DSLR cameras 12 megapixels Panasonic Panasonic Lumix GF1

Panasonic Lumix DMC-GF1 camera originally appeared on http://www.pocket-lint.com on Tue, 03 Nov 2009 12:00:00 +0000

The new EOS 7D is a fully redesigned EOS with high performance in mind so the new, extremely well-specified, EOS marks a step change for Canon's EOS models featuring an 18MP APS-C sized sensor and HD video to name two of the key features.

At first glance the EOS 7D seems to be like many other Canon EOS DSLRs with the familiar, slightly swooping top plate design and deeply recessed handgrip. The pentaprism housing hosts a useful pop-up flash unit and it is this that starts to mark the 7D out as being a little different from recent EOS models, such as the 5D Mark II, to which it is closely allied.

However, the 7D is a quite radical departure for the EOS marque, one designed to slot between the 50D and 5D Mark II and a not insignificant price tag of just shy of ?1700 may need some justifying for many tempted by its treats.

It is also a camera designed to help Canon pull back market share that competitors have been nibbling away at over recent months, to provide a professional level of control and performance within a body priced at the semi-professional level.

Headline changes are impressive, a new APS-C sized, 18MP CMOS sensor and 19 zone (all cross type) AF setup, which sports its own processor making AF accurate and blisteringly fast, particularly when tracking fast moving subjects.

8fps sequence shooting is very good indeed, the AF tracking across the frame proving no problem. However, slightly more challenging were subjects moving directly at the camera, which were less well handled.

However, given the camera is shooting at a class leading 18-megapixels at 8fps - for up to 126 JPEGs - that's not bad. Though to get that speed and buffer power, you'll need to use UDMA CF Type I/II storage.

This is key when shooting RAW; the buffer starts to bulge at 15-images but the camera's all new image engine, dual DIGIC 4 image processors, means that while the frame rate does drop as the buffers fills, it'll continue to shoot at around 3fps as the camera gulps down the huge, (up to) 30MB gobbets of RAW image data. Still, the only camera to compete with it in terms of speed is the 10fps professional-level EOS 1D Mark III.

You can fully customise the AF set-up; the AF points used for both camera orientations as well as the AF mode used can be changed or tweaked to how you want them; you can also build-in specific AF tweaks for specific lenses if required. The 7D’s AF makes use of the camera's accelerometers, which also provide data for the camera's rather natty built-in electronic spirit level system.

One caveat to the AF speed is when shooting in Live View, which has three focus modes of Live mode, Face AF Live mode and Quick mode. The latter is relatively fast, as you'd expect, but the other two settings are slower and of course when shooting in Live View, you have to factor in the time needed to get the mirror up and out of the way; then back again and between each exposure.

One of the best things about the 7D is its new, clear and bright viewfinder; the 7D is the first EOS offering a 100% field of view finder, at 1.0x magnification and it's probably the best APS-C DSLR viewfinder we've come across.

We particularly like the transmissive LCD used for a clever heads-up-display for framing and AF point selection indication, and it provides a comprehensive level of shooting data that helps make this finder a joy.

A 22mm eyepoint makes using the finder excellent when wearing spectacles, but only just, as the bottom extremes of the data information are only just visible. The large pentaprism “hump” denotes the camera from its older 50D sibling and hides the aforementioned pop-up Speedlite, a useful addition for those moments where a puff of flash can lift a backlit shot, say.

One disappointment centres on the otherwise superb 3-inch Clear View II LCD screen, with its 920k-pixel resolution. It is not articulated and while it features a wide 160-degree viewing angle (Canon has stripped away the air gap between the protective cover and liquid crystal found on previous iterations of such screens to improve contrast and reduce glare, which it does) reflections can still be an issue in bright conditions when using the screen at such oblique angles.

A magnesium alloy body has a suitably tactile covering, so holding the thing is reassuring and making it easy to hang on to in the rain –?while environmental seals ensure the camera is in no way compromised by such shooting conditions.

Wireless flash control means the 7D has another EOS first. It's the first EOS to have an integral Speedlite transmitter, allowing remote control of (up to) three groups of four flashguns - an impressive pro' level of performance at the price.

In terms of the physical controls, the most obvious thing is they are larger than on both the 50D and 5D Mark II, ideal for use wearing gloves in inclement weather and, now there's a dedicated switch for Live View and movie shooting with an integral Start/Stop button for recording. This marks a step change because at last the camera's movie mode is an integral camera system, part of the default kit and operations, as opposed to a seemingly add-on feature as on previous EOS models.

Otherwise, the layout is typically EOS, though the control dial lock and power switch have been separated; the on/off switch now nestles below the mode dial on the top plate, along with other adjustments, a much more logical - and welcome - handling enhancement.

A couple of new controls include a dedicated button to quickly change the selected image quality setting to RAW + JPEG and a new “Q” button, which activates an interactive display of your control options on the screen, which you can browse and select using the control dial, the multi-selector control and the Set button.

This is nice since those familiar with the physical controls of an EOS, and the menus, can carry on as before, while those less familiar to the camera (or EOS models, if trading up or across to the 7D) can still get at everything, quickly and simply and importantly, learn the controls and what they do as they go.

And it is here that we get even closer to the beating heart of the 7D since, despite all the new kit and the 1080p movie making frills, it still looks quite pricey. Yes, it has significant enhancement over the 50D, but the question is simply this: “Should I consider trading up to this model?”

If you looked at the 7D as an EOS 5D Mark II “lite”, it might not look good value. The APS-C format means there is a 1.6x field of view adjustment needed for any focal length you use compared with the full frame 5D Mark II. Although the additional depth of field control this provides, certainly where portrait or macro work is involved, and the extra leg it gives any telephoto optics or zooms, arguably outweighs this as a possible niggle, compared to the full frame 5D Mark II.

However, throw in the fact the 5D Mark II costs around ?1000 more, and you realise that much of your hard-earned cash would make a great fund towards more (or better) optics; it is certainly not as straight forward an equation as it might at first seem. So now consider this…

Compared to the ?4000 (body only) EOS1D Mark III, the Canon it most closely resembles in terms of speedy performance, say, and suddenly you get another complexion completely. You could buy two 7D bodies for the price of one 1D Mark III and have plenty of change over for another lens.

Okay, so you loose a couple frames per second continuous shooting compared with the 1D Mark III but then you gain a greater sensitivity range; ISO 100 to a boosted ISO 12,800. And you get Full HD movies (with stereo sound when using optional stereo microphones) plus a superb new viewfinder.

Also bear in mind, the build quality is on a par with the 1D Mark III but the camera control is (arguably) better than the more expensive Mark III sibling. Oh! And you'll have a spare back-up 7D body into the bargain.

Metering and exposure control are pretty faultless, a new Focus Colour Luminance system measuring (as the name suggests) focus, and colour and luminance across 63 zones, while switching between the four metering modes of evaluative, partial, centre-weighted average and spot metering, provide differing “looks” to the same scene, depending on where you meter in a scene. On balance, my preference was for centre-weighted average, which gave the best overall metering balance overall.

Detail and colour are excellent; shooting RAW+JPEG gave superb results though the auto WB setting left things looking a tad warm. Processing the RAWs (I shot RAW + JPEG throughout) using the supplied Canon Digital Photo Professional software was easy, even if said software is a tad slow, particularly when exporting the RAWs as JPEGs.

One of the most impressive aspects of the 7D is the low noise performance at higher ISOs. Shooting between ISO 100 and ISO 2000 was a delight, since noise is non-existent at the lower end of that scale and almost invisible at the higher end.

A series of ISO test images show the amount of detail retained up to ISO 2000 is good, above ISO 3200 details starts to drop away but noise is still well controlled. Above ISO 6400 and detail is stripped away making images seem rather fuzzy, which is a shame.

The dual DIGIC IV engine really struts its stuff in the 7D, but arguably overdoing it a bit at ISO 5000 to 12,800. Noise processing can be adjusted (as can much of the camera settings) to your preference.

The only other slight niggle is some purple and blue fringing on some high contrast subjects shooting using the cameras new EF-S 18-135mm IS zoom; in RAW you can process this away if needed, but the net effect otherwise, is to give a slight softness to the images in which the fringing is present and add another level of work to post shoot processing.

The EOS 7D is the third EOS to sport Full HD at 1920 x 1080-pixels after the 5D Mark II and EOS 500D. Shot at 29.97fps the 7D provides superbly smooth widescreen video with sound. Stereo sound can be recorded with optional stereo microphones that can plug straight into the camera. Clips up to a second shy of 30-minutes can be shot in HD, providing you use UDMA CF cards. Otherwise the longest clip possible is of a lowly, 5 seconds duration. You also get full manual control over shutter speeds and aperture settings during shooting, though focusing adjustment needs to be done manually.

The camera's custom control interface is another example of how this camera's handling has been enhanced. Here, a simple diagrammatic representation of the camera control layout is shown providing a fast ready reckoner of what button does what. Each camera control location has a highlight and a range of adjacent options to change the behaviours of the buttons or control in the display, and that makes sorting your preferred custom camera control very easy and provides an almost endless range of options.

I shot around 1300 images for this test and all of that on two charges of the LP-E6 battery pack. The last charge is still at 80%, checked from within the camera's menus system; after a full, 2 days of shooting, I still had 23% of power to spare on the first charge and that after plenty of reviewing on the screen, frequent Live View shooting and a modest amount of (built-in) flash photography. This is very impressive power performance indeed.

Verdict:

Well made, quickly intuitive to use, fleet-of-foot across most performance measures and able to produce stunning results, even at high sensitivity settings, all means the Canon EOS 7D is both a cleverly realised combination of professional specification and semi-professional pricing.

The EOS 5D Mark II is the step down model for those social photographers working on a tighter budget compared against the 1Ds Mark III, here, the EOS 7D provides the same job for sports or wildlife photographers compared with the EOS 1D Mark III.

The 1.6x APS-C field of view crop boosts your lens focal lengths, helping you help tuck your subject tight into the frame, while the smaller 18MP CMOS sensor (than the full frame chip in the EOS 5D Mark II) means it can be blisteringly fast too.

There's no compromise on image quality apart from (arguably) shooting above ISOs of 6400 and the purple fringing evident in some high contrast shots. The 7D might not be the natural substitute for those social photographers thinking of the 5D Mark II, but for those shooting sporty stuff or where longer focal lengths need to be considered for wildlife work, and you're on a tighter budget, the 7D makes a lot more sense than the EOS 1D Mk III. Looked at in that way, it also represents superb value for money as well.

Tags: Cameras DSLR cameras Canon Canon EOS 7D 18 megapixels

Canon EOS 7D DSLR camera originally appeared on http://www.pocket-lint.com on Wed, 28 Oct 2009 14:52:20 +0000