Kodak EasyShare M1093 IS

The EasyShare M1093 IS has an average bundle. Inside the box you'll find:

• The 10.1 effective Megapixel EasyShare M1093 IS digital camera
• KLIC-7004 rechargeable lithium-ion battery
• Wrist strap
• USB power adapter
• USB cable
• Camera/printer dock adapter
• CD-ROM featuring Kodak EasyShare software
• 28 page Getting Started Guide

As is the case with most cameras these days, Kodak built memory right into the EasyShare M1093 IS, instead of bundling a memory card. The M1093 has 32MB of built-in memory, though only 21MB of that is available for photos. That holds about seven photos at the highest quality setting, so you'll want to pick up a large memory card right away. The EasyShare M1093 can use SD or SDHC media, and I'd suggest picking up a 2GB card to start with. While buying a high speed card is a good idea (especially if you'll be recording HD movies), you don't need to go overboard.

The EasyShare M1093 is powered by the KLIC-7004 rechargeable lithium-ion battery. This battery contains 3.7 Wh of energy, which is about average for a camera in this class.

Nikon Coolpix P6000

The Coolpix P6000 has an average bundle. Here's what you'll find inside its box:

• The 13.5 effective Megapixel Nikon Coolpix P6000 digital camera
• EN-EL5 lithium-ion rechargeable battery
• AC adapter
• Shoulder strap
• USB cable
• Video cable
• CD-ROM featuring Nikon Software Suite
• 205 page camera manual (printed)

Like most cameras these days, the Coolpix P6000 has built-in memory, instead of having a memory card included in the box. The P6000 has 48MB of built-in memory, which is pretty good these days. Even so, that holds just 2 RAW or 7 high quality JPEGs, so you'll want to buy a large memory card right away. The P6000 supports SD and SDHC flash memory, and I'd suggest a 2GB or even 4GB card to start with. It's definitely worth spending a little extra to get a high speed card.

The Coolpix P6000 uses the familiar EN-EL5 lithium-ion rechargeable battery for power. This battery holds 4.1 Wh of energy, which isn't a whole lot for a higher-end camera

Panasonic Lumix DMC-ZS3

The Panasonic Lumix DMC-ZS3 has an average bundle. Inside the box, you'll find:

• The 10.1 effective Megapixel Lumix DMC-ZS3 camera
• DMW-BCG10 lithium-ion rechargeable battery
• Battery charger
• Wrist strap
• USB cable
• A/V cable
• CD-ROM featuring PhotoFunStudio 3.0 HD, ArcSoft Media Impression and Panorama Maker
• 137 page camera manual (printed)

Panasonic has been doing the built-in memory thing for a few years now. The DMC-ZS3 comes with less memory than its predecessor (40MB vs 50MB on the TZ5), but it's still enough to get you started. Even so, you'll want to buy a large memory card right away. The ZS3 supports SD, SDHC, and MMC memory card formats, though I'd stick with the first two. I recommend a 2GB card if you won't be doing a lot of movie recording, and a 4GB or even 8GB card if you will be. It's definitely worth spending a little extra on "high speed" cards, though there's no need to go overboard.

The DMC-ZS3 uses the new DMW-BCG10 lithium-ion battery. This battery packs just 3.2 Wh of energy, which is actually less than the battery used on the TZ5. Despite that, Panasonic managed to get exactly the same battery life numbers on the ZS3 as they did on its predecessor

Canon EOS-5D Mark II

The EOS-5D Mark II is available in two kits. You can buy just the body alone, or you can get the camera plus a 24 - 105 mm F4L lens. Here's what you'll find in the box for each of these:

• The 21.1 effective Megapixel EOS-5D Mark II camera body
• F4L, 24 - 105 mm IS USM lens [lens kit only]
• LP-E6 lithium-ion battery
• Battery charger
• Shoulder strap
• Body cap
• USB cable
• A/V cable
• CD-ROMs featuring EOS Digital Solution and Software Instruction Manuals
• 227 page camera manual (printed)

I imagine that most EOS-5D Mk II owners will be buying the body only kit, unless they want to get their hands on that 24 - 105 F4L IS lens. The kit lens has a nice range and build quality, though it's not terribly sharp. If you want to use other Canon lenses, you can: the 5D supports all EF mount lenses, with no focal length conversion ratio to deal (this is the beauty of full frame sensors). Those of you upgrading from Digital Rebel or EOS-20D/30D/40D/50D cameras take note: your EF-S lenses will not work on the 5D!

Digital SLRs never come with memory cards, so unless you have a CompactFlash card sitting around, you'll need to buy one right away. The EOS-5D Mark II supports both Type I and II CompactFlash cards, including the ultra fast UDMA-enabled models. I would buy a 4GB card at the very least, as fast as you can afford.

The 5D Mark II uses a different battery than its predecessor. The new LP-E6 battery packs a whopping 13.0 Wh of energy, which is as good as you'll find.

Nikon Coolpix S630

The Coolpix S630 has an average bundle. Here's what you'll find inside its box:
The 12.0 effective Megapixel Nikon Coolpix S630 digital camera
EN-EL12 lithium-ion rechargeable battery
Battery charger
Wrist strap
USB cable
A/V cable
CD-ROM featuring Nikon Software Suite
163 page camera manual (printed)
Like most cameras these days, the Coolpix S630 has built-in memory, instead of having a memory card included in the box. The S630 has 44MB of built-in memory which, while a little above average, still doesn't hold many high quality photos (seven, to be exact). That means that you'll want to buy a memory card right away. The Coolpix S630 supports SD and SDHC cards, and I recommend a 2GB card to start with. While buying a "high speed" card isn't a bad idea, you certainly don't need to go overboard.
The Coolpix S630 uses the EN-EL12 lithium-ion battery. This battery packs 3.9 Wh of energy into its plastic shell, which is average for cameras in this class

Canon EOS Digital Rebel XTi (Black) Digital Camera

Digital Camera Resource Page
DCRP Review: Canon Digital Rebel Xti
If you can't decide between the Rebel XTi and the Nikon D80 (and don't already own some of their respective lenses), that's a tougher question to answer. I much prefer the D80's design and build quality, but it is more expensive than the XTi. If you want that nicer body and a real LCD info display, then it may be worth spending more to get the D80. There's also the upcoming Pentax K10D, which offers a sealed, weatherproof body and image stabilization for around the same money. The bottom line is try as many of these cameras as you can, prioritize what features you require, and then make your own decision.

Canon PowerShot S40 Review

The PowerShot S30 and S40 mark a revival by Canon of the higher end 'S' series of digital cameras. Clearly since the S10 and S20 Canon have explored the ultra-compact 'pocket' type digital camera, the S30 and S40 are a little larger but more feature rich. These two new cameras (virtually identical apart from their output resolution S30 - 3mp, S40 - 4mp) now sit between the PowerShot 'G' series (G1, G2) and the IXUS / ELPH (S100 / S110 / S300) digital cameras.

Pentax *ist D Review

Pentax announced the *ist D digital SLR on 26th February 2003, the week before PMA 2003. The *ist D is essentially a digital version of the *ist film SLR announced the week before. The major physical difference between the two cameras (apart from all the digital controls on the rear of the *ist D) is that the *ist D appears to have a heavier metal subframe. Although expected to be on the shelves by July 2003 the camera has been delayed (twice) due to 'procurement of materials required' (Sony's sensor?). The *ist D is the first digital SLR Pentax has brought to market, they did announce and show a pre-production digital SLR a couple of years ago but that project was cancelled in favour of the *ist D we see today.
The *ist D is currently the smallest and lightest digital SLR, it measures just 129 x 95 x 60 mm (5.0 x 3.7 x 2.3 in) and weighs 650 g (1.4 lb) including batteries (no lens). The *ist D has a the same six megapixel (Sony ICX413AQ) sensor used in the Nikon D100, it has a Pentax K lens mount and supports K, KA, KAF and KAF2 lenses. It is also possible to use screw mount lenses, 645 and 67 series lenses with an adapter.
Lenses Used
We had a limited range of lenses available to us at the time of review, the three lenses shown below were used for all samples and image quality tests, above each test you will see an indication of the lens used ( the 50 mm F1.4 was used for comparison and resolution tests due to its resolution, neutrality and consistency).

Sony Cybershot DSC-V1 Review

The Cybershot DSC-V1 was introduced by Sony just before the Photo Marketing Association (PMA 2003) trade show this year. Despite its compact proportions the five megapixel, four times optical zoom DSC-V1 is squarely aimed at the 'Prosumer' market and will have to compete with the likes of the recently announced Nikon Coolpix 5400 (5 mp, 4x zoom) and Canon PowerShot G5 (5 mp, 4x zoom). Other interesting features of the V1 are Sony's first hot-shoe for external flash (they have introduced complementary the HVL-F32X flash too), support for Memory Stick Pro (up to 1 GB), 'Hologram AF' laser based low-light AF assist, five-area auto focus, Night Shot and Night Framing, USB 2.0 connectivity and full control of sharpening, tone and color saturation (at long last).
Like previous high-end Sony digital cameras the DSC-V1 has a 'Carl Zeiss' branded lens system, although not as fast (large maximum aperture) as previous 'Carl Zeiss' lenses we certainly hope that this crucial element of image quality will give the DSC-V1 an edge over the competition.

Panasonic Lumix DMC-LZ2 Review

Announced just in time for PMA (February 2005), the Lumix DMC-LZ2 (and the 4 megapixel LZ1 launched simultaneously) is a major upgrade to the DMC-LC80 that doubles the lens reach (now a 6x optical) and throws in Panasonic's proven Mega Optical Image stabilization to boot. Other significant changes include a larger 2.0-inch (though lower resolution) screen, 14MB of internal memory and boosted burst mode and battery life. All this, and the price - at around $277 on the street - is well below its predecessor, and firmly at the 'entry-level' end of the market. Here's a quick run-down of the headline specification:
5 megapixel CCD
37-222mm equiv. (6x) Lumix DC Vario Optical Zoom
4x Digital Zoom
Advanced Mega Optical Image Stabilizer
Mega Burst Mode
2x AA batteries
14MB of internal memory
2.0-inch LCD
8 scene modes
Orientation sensor
Venus Engine Plus
5-area autofocus

Olympus Stylus Verve (μ-mini) Digital Review

Olympus unveiled the µ-mini Digital / Stylus Verve Digital at the Photokina trade show in Cologne (September 2004). The camera has soft rounded 'stylish' design, an all-metal body with a color coordinated sliding cover over its two times optical zoom lens. The Stylus Verve will is available in a range of colors. Specification wise it offers fairly basic fuss-free operation, 2x (35-70mm equiv.) zoom, four million pixels and a weatherproof design. The camera is known as the Stylus Verve Digital in the US, and the µ ('Mju') mini DIGITAL in Europe and SE Asia, so you can have a camera with a silly name wherever you live in the world. We'll use the Stylus Verve name in this review mainly because it's easier typing that than trying to remember the key combination for µ.
Revolutionary design
Six body color variations (Jewelry Silver, Pure White, Cosmic Black, Crystal Blue, Velvet Red and Copper Orange)
Weatherproof* metal body
4.0 million pixels
2x optical zoom (35 – 70mm equiv.), f3.5-4.9
1.8 inch high-contrast LCD (134,000 pixels) with 160° viewing angles on both the vertical and horizontal axis
TruePic TURBO image processor
Still image editing functions including new fish-eye and soft focus modes
Movie recording function with sound
PictBridge support
13 subject/scene modes

Olympus SP-500UZ Review

Five and a half years ago, long before Panasonic launched the FZ series, before Canon, Kodak, Minolta - or anyone else for that matter - had joined the 'big zoom' party there was the Olympus C-2100UZ. With its image-stabilized 10x zoom, electronic viewfinder and SLR-styling the C-2100UZ was a big success when it launched mid-2000 (the only alternatives at the time being Sony floppy disk cameras with camcorder lenses).
Fast forward to 2006. The super zoom market has got a lot busier and Olympus has lost its early lead, failing to offer a serious alternative to popular models like the Canon S2IS or the Panasonic FZ20, despite fairly regular upgrades to the compact C7XX series of ultra zoom cameras. The biggest problem is the lack of image stabilization, something that in today's market means 'budget' - and that's where the new, lower-priced (but still IS-free) SP-500UZ comes in.
The six megapixel SP-500UZ - announced last August - offers a 10x zoom, full manual control, RAW capture and a wealth of photographic and digital features. With a feature list as long as your arm, lots of beginner-friendly scene modes, a predictive AF function, which predicts the location of a moving subject at the moment the shutter closes, a nice 2.5-inch screen and a 3cm macro mode, the SP-500UZ certainly seems to offer an excellent 'bang for your buck', but is it good enough to compete in such a crowded area of the market? Lets find out, starting with a quick run-down of the key selling points:
6.0 million pixels
10x zoom lens (38-380mm equiv) F2.8-3.7, plus 5x digital zoom
Electronic viewfinder with 201,600 pixels
2.5” LCD
Auto, Program, Aperture Priority, Shutter Priority and manual exposure
21 scene modes
Focusing options: iESP auto focus and Spot incl. option for selectable AF area with 143 points, plus Predictive AF for back or forward moving subjects
Super Macro mode up to 3cm
Histogram function in shooting mode and playback
Recording in JPEG or RAW format
10MB internal memory plus xD-Picture Card slot
TruePic TURBO image processor
Optional macro, tele and wide lens converters can be attached

Nikon D80 Review

Two and a half years ago Nikon announced the six megapixel D70, their first affordable enthusiasts digital SLR, it proved to be a very popular camera and strong competitor to the Canon EOS 300D (Digital Rebel). Just fifteen months later Nikon revealed the D70s which was essentially the same camera with a some subtle tweaks (improved AF, wider flash coverage, higher capacity battery, larger LCD monitor). And so just over fifteen months on from the D70s Nikon present the latest incarnation of their 'enthusiasts' digital SLR line, the ten megapixel D80.
The D80 slots nicely between the entry-level D50 and the semi-professional / professional D200, clearly based on the D70 design but also different enough to be seen as a completely new model. It features a ten megapixel DX format CCD (the same we presume as used by Sony in the DSLR-A100), the metering sensor from the D50 and numerous other items taken or modified from the D200.
UPDATE 18/Dec/06: In our original review a mistake was made in the measurement of the ISO sensitivity of the Canon EOS 400D as used for comparison, this has now been corrected and the releveant pages of this review updated.
Key features
10.2 megapixel DX format CCD (1.5x FOV crop)
Image processing engine (similar to D200 / D2X)
3D Color Matrix Metering II, 420 pixel sensor (same as D50)
11-area AF system (new version of Multi-CAM 1000, similar to D200)
Custom Auto ISO (selectable maximum ISO, minimum shutter speed)
Configurable high ISO and long exposure noise reduction
Mechanical only shutter (maximum 1/4000 sec, flash sync to 1/200 sec)
Quoted 80 ms shutter lag (short viewfinder blackout; 160 ms)
Larger, brighter pentaprism viewfinder (x0.94 magnification)
Support for SD-HC (SD cards over 2 GB in capacity)
In-camera retouching
D-Lighting (shadow / highlight enhancement)
Red-eye reduction
Trimming
Monochrome
Filter effects
Small picture
Image overlay
Multiple-exposures
Compact body (smaller, lighter than D70/D70s)
Improved menu user interface (same as D200)
Higher capacity EN-EL3e battery (provides detailed information, same as D200)
Wireless flash integration (same as D200)

Casio Exilim EX-Z850 Review

Announced just before PMA in February 2006 - almost exactly a year to the day after the camera it replaces - the EX-Z850 is Casio's latest ultra-compact flagship model, offering a huge feature set in a very slim, all-metal body. The EX-Z750 was very well received when it was launched, and remains to this day the most highly-specified 7MP ultra-compact on the market. The EX-Z850 doesn't change the basic formula much but does offer a raft of small improvements; there's an extra megapixel, a couple new Best Shot modes, improved screen brightness, a more powerful flash (with some extra modes) and a movie light. As is becoming standard on this type of camera the Z850 also includes a 'high sensitivity' mode, with up to ISO 1600 on offer.
8.12 Megapixel CCD
3x optical zoom lens
High speed start up and operation
2.5-inch TFT super-bright screen and optical viewfinder
MPEG-4 movies at up to 640x480 / 30fps
34 Best Shot scene modes
440-shot battery life (CIPA standard)
In-camera special effects
Post-shot white balance and exposure adjustments
Aperture priority, shutter priority and manual exposure options
EX button for fast access to shooting controls
White LED light enables both still images and movies to be taken in low light conditions and acts as an AF assist light

Leica M8 Review

In 1954, at Photokina (or 'Foto Kina'), Leica introduced the first M series camera, the M3, the first Leica rangefinder body with a bayonet interchangeable lens mount, it was the beginning of a legendary series of cameras and lenses, the latest of which, the M7 is one of the only 35 mm rangefinder cameras still in production. For over half a century Leica has resisted the temptation to change the essential simple design established with the original M3 (it wasn't until 2002 that an electronically-controlled shutter was introduced allowing aperture priority automatic exposure). With an average 10 years between major upgrades and many of the original M3s still in regular use, the M platform is felt by its legion of fans to be the purest photographic tool available, and a welcome antidote to the mass of plastic feature-laden models that make up the rest of the market. Owning a Leica M camera has always been something people do with their hearts as much as their heads - and some of the 20th century's greatest photographers and most famous images were taken using them. It is no surprise then, that - despite talking about it for at least five years - Leica felt no need to rush into things when they decided it was time to bring the M into the digital age.
And so, fifty-two years after the M3, and just in time for Photokina, Leica has made another historical introduction, the first digital M series, the M8. This new rangefinder digital camera has the classic design, build and function of the M series but utilizes a completely digital imaging system. The M8 has a specially designed ten megapixel CCD sensor which being slightly smaller than a film negative introduces a 1.33x field of view crop. This ratio conveniently converts several standard M lenses to sort-of equivalent steps (so 21 mm to approx. 28 mm, 28 mm to approx. 35 mm).
The M8 is not an adapted M7, it is a totally new camera with a new body (albeit one that bears all the usual M trademarks), a new viewfinder and a new sensor. Nor is it necessarily the end of the line for M film cameras; Leica is leaving that door open, for the moment at least.

Sony Cyber-shot H5 Review

The Cyber-shot DSC-H1 was Sony's first foray into the increasingly crowded compact, image stabilized 'super zoom' market, and it was a very successful one too. The DSC-H5 (along with little brother the DSC-H2) arrived almost exactly a year later in February 2006. The H5 is notable as the first 'big zoom' compact camera to feature a 7 megapixel sensor (a new Sony 1/2.5" CCD), and for its huge 3.0" screen. Otherwise the specification is pretty much the same as the H2, itself a fairly subtle update to the original H1 - no bad thing given the very high standards set by that model. Let's start with the headline features:
7.2 million effective pixels
36-432mm equivalent (12x optical) F2.8-3.7 Carl Zeiss Vario-Tessar zoom lens
Super Steady Shot optical image stabilization
Wide ISO 80-1000 range
Clear RAW™ noise reduction technology
3.0” LCD (230,000 pixels) & 0.2" (200,000 pixel) Electronic viewfinder
Full photographic control
Real Imaging Processor & 14-bit DXP A/D Conversion
Optional wide and tele lens converters
Scene selection (7 modes)
Histogram indication
32MB internal memory, plus a Memory Stick/PRO Duo slot

Sigma DP1 Review

The Sigma DP1 is without doubt one of the most eagerly anticipated cameras of late, certainly in the compact camera sector. Sigma first presented a concept prototype of the DP1 at Photokina 2006 but the first production models only hit the shelves in March this year. Interest in the camera was so big that Sigma even took the very unusual step of explaining the delay in an official statement (unforeseen image quality problems which resulted in a requirement to change the specification of the camera's imaging pipeline).
So what is all the fuss about? It's the sensor. The DP1 uses the same Foveon X3 sensor as Sigma's SD14 DSLR and that makes it the first compact camera ever to be made with an SLR-sized sensor (it's around the same size as the Four-Thirds format). But not only the sensor differentiates the new Sigma from the zillions of compact cameras that are currently available. With its no-nonsense feature set and 28mm (35mm equiv.) prime lens the DP1 is a million miles away from the superzooms, smile modes and face detection functions that are nowadays standard on so many compact digital cameras.
On its dedicated DP1 website Sigma says it 'set out to create a camera that could translate an irreplaceable instant into a work of art of the highest order'. So has Sigma succeeded in living up to its own hype? Let's find out on the following pages, starting as ever with the headline specification:
14.06 million (4.69 million x 3) Foveon X3 CMOS sensor
28mm equiv, F4 lens
RAW capture
Full manual control
TRUE image processing
230,0000 pixel, 2.5-inch LCD
Movies in 320 x 240 pixels (QVGA) @ 30 fps

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

The AF-S Nikkor 35mm F1.8G DX is Nikon's latest lens, announced in February for PMA 2009. Its introduction came as something of a surprise to many observers, not because it's an updated 35mm lens with a built-in autofocus motor, but because the 'DX' designation indicates that it's designed for use on DX format bodies, and isn't fully compatible with Nikon's growing FX format camera range. According to Nikon, this has allowed the company to design a lens that is smaller, lighter and cheaper than it would have been had it offered full coverage of the FX image circle. In effect, the lens is primarily targeted as an inexpensive, large aperture option for users of the entry-level (D40 / D40X /D60) series of DSLRs.
The 35mm focal length is roughly equivalent to 50mm on an FX camera, and the lens therefore fits into the 'standard' category, with an angle of view offering none of the 'perspective distortion' associated with wideangle or telephoto lenses. The fast F1.8 maximum aperture admits more than four times as much light as the AF-S 18-55mm F3.5-5.6G VR DX kit lens, which is useful for shooting in low light while keeping shutter speeds reasonably high. The 'Silent Wave Motor' allows autofocus on all of Nikon's DSLR bodies, with the added bonus of allowing the user to tweak focus manually in AF mode if desired.
The 35mm F1.8G features an optical design of 8 elements in 6 groups, including an aspherical element for the correction of aberrations usually associated with large aperture prime lenses. However unlike the typical 50mm standard prime for the full frame (FX) format, this lens's focal length is rather shorter than the flange distance from the lens mount to the imager. This necessitates the use of a so-called 'retrofocal' design, which is more usually associated with wideangle lenses; unfortunately this often results in increased aberrations relative to traditional near-symmetric 50mm designs. So how does the 35mm F1.8 DX measure up?
Headline features
35mm focal length; fast F1.8 maximum aperture
Silent Wave Motor allows autofocusing on all Nikon DSLRs
Full-time manual focus override
For DX format cameras

Panasonic Lumix DMC-LX3 Review

Panasonic's LX series has always been home to the company's most ambitious compacts, offering a range of photographer-friendly features in a small, stylish and solid body festooned with external controls. It's been two years since the launch of the LX2 and the market has changed a lot in that time - the level of features offered even on inexpensive models has grown and the cost of all cameras, particularly DSLRs, has fallen drastically. Both of these trends risk reducing the potential market for premium compacts if their features are available on cheaper compacts, and much better photographic tools (in terms of flexibility of purpose and image quality) are available for only a little more money. So the LX3, more than its predecessors, has to play to its strengths - it needs to offer some of the best compact camera image quality, a good degree of user control and a body that is more convenient and pocketable than DSLRs can be.
And Panasonic seems fully aware of these challenges. When announcing the camera, the company pointed out that more pixels on the same sized sensor does not always result in better image quality and described its approach with the LX3 as: "boldly reversing the industry trend of pushing toward ever-higher pixel counts." It's an admirable position (though one that would be easier to acclaim if the company hadn't, on the same day, released one of the most pixel-dense cameras we've ever seen), and one that seems promising - the benefits of newer sensor and processing technology without those advances being strangled by the downsides of smaller pixels. (And we believe that if you offer more pixels with the hard drive clutter and slower camera operation they bring, then those pixels must be good at the pixel level, otherwise, what benefits do those additional pixels bring?)
Headline features
24mm wide 2.5x optical LEICA DC lens
F2.0-2.8 maximum aperture range
MEGA O.I.S.(Optical Image Stabilizer)
Venus Engine IV
Joystick-operated manual control
Large 3.0” 460k dot LCD monitor
Raw and JPEG recording modes
Up to ISO 3200 sensitivity
Up to 1280x720 (30 fps) pixel movie capture
Manual exposure and focus options
1/2000th to 60 sec shutter speeds
Available in black or silver

Canon PowerShot G10 Review

The G10 is the third incarnation of Canon’s flagship ‘prosumer’ compact since the G series was reinvented with the G7 in 2006. Announced two years after the G6, the G7 caused quite a buzz; partly because everyone had presumed the budget SLR had killed off this sector of the market, partly because it lacked several of what had become G series trademarks (fast lens, tilting screen, raw mode, secondary LCD panel), and it would be fair to say the response was ‘mixed’. The G9 went some way towards placating the critics, reintroducing raw mode and improving handling, but it still suffered from the fundamental problem that the sensor inside couldn’t deliver on what the fantastic camera promised on the outside.
When we reviewed the G9 last year, we praised it for the styling, handling and build and for its excellent output at low ISO settings. The G10 builds on this by adding handling and control refinements, improving the LCD resolution, and, most importantly, adding a wider lens starting at 28mm (equiv.). It also retains the rangefinder styling and solid build quality, and reduces the amount of silver accents on the camera. All the external controls have been carried over, and a new one has been added (a very useful exposure compensation dial).
The things we criticized the G9 for (the unneeded increase in resolution, and the slow-ish lens) have not been addressed. Instead Canon has increased the resolution for the sensor even more, to 14.7 megapixels. The updated lens, though wider at the wide end, is also shorter at the long end, and has less zoom range overall. The speed of the lens is again almost the same F2.8-4.5, though the wider lens does retain the G9’s relatively compact dimensions. The price remains at around $500

Panasonic Lumix G1 Review,

When you consider the incredible flexibility offered by digital capture (unencumbered by the physical need to put the film behind the lens and to advance it frame by frame) it's perhaps surprising that the digital interchangeable lens camera has remained so firmly rooted in a basic design that hasn't changed since the 1950's. The single lens reflex does its job very well, but building a camera around a mirror box seriously ties the designer's hands - not only in the physical size and shape of the body, but in the lenses too (the distance to the sensor means retrofocus designs are needed to overcome the distance from the sensor to the flange).
The reasons for this seemingly dogmatic attachment to the single lens reflex are fairly obvious; the main players in the market have a vested interest in maintaining compatibility with legacy lenses and offering as seamless a transition from film to digital as possible for their millions of existing users. Besides, it's a lot easier to design a body that works in the same way SLRs always did than to launch an entirely new lens system.
There have also been some technological barriers to deal with; the lack of digital displays good enough to produce an electronic viewfinder that can even get close to a good mirror and prism, and the fact that current phase-detect autofocus systems won't work without a mirror being the two most commonly cited.
It is perhaps unsurprising then, that the first company to challenge the SLR hegemony is Panasonic, a manufacturer with no legacy film SLR system to support and a share of the digital SLR market so small that it's relatively easy to simply drop it and move on. We strongly suspect that the L10 will be the end of Panasonic's brief foray into the standard Four Thirds System and that - for all the joint development statements - it was Panasonic, not Olympus that was the driving force behind the introduction of Micro Four Thirds

Pentax K2000 / K-m Review,

The fastest-growing part of the camera market is currently being powered by photographers moving from compact cameras to DSLRs. Unfortunately for manufacturers, the added competition this has attracted has seen the prices they can charge being eroded (although it could be argued that the lower prices are spurring some of that growth). Rather than trying to slash the prices on their existing, highly-featured cameras, there has been a trend towards designing simplified cameras that can be made and sold more cheaply, offering only the features that first-time DSLR users will want without appearing too intimidating.
For many years, Pentax was often in the position of offering the least-expensive DSLR on the market with some keenly-priced entry-level offerings. However, the latest generation of down-specced and aggressively-priced models from Nikon and Sony have dramatically changed the price-conscious end of the market. Pentax has clearly been watching these developments closely and has responded with this, the Pentax K2000 (K-m in Europe).
The K2000 follows many of the trends we've previously seen in camera-downsizing, with Pentax finally giving-in to the trend of removing the top-panel LCD. It uses the K200D's sensor but comes with a simplified control layout (geared towards users coming from compact cameras) and a less sophisticated AF-system (5 points vs 11 on the K200D). The K-m also lacks the K200D's weather-sealing but in turn you get an ISO 3200 setting and slightly quicker continuous shooting.
Lightweight lenses
In addition to the smaller body, Pentax has re-engineered two of its consumer zooms to further reduce the weight of the overall package. The new versions of the the 18-55mm F3.5-5.6 and the 50-200mm F4.0-5.6 are designated DA L (for lightweight, on our scales the 18-55mm L measured 24g lighter than its standard counterpart), and can be distinguished by the silver, rather than green ring encircling them

Canon EOS 5D Mark II In-depth Review

Back in August 2005 Canon 'defined a new DSLR category' (their words) with the EOS 5D. Unlike any previous 'full frame' sensor camera, the 5D was the first with a compact body (i.e. not having an integral vertical grip) and has since then proved to be very popular, perhaps because if you wanted a full frame DSLR to use with your Canon lenses and you didn't want the chunky EOS-1D style body then the EOS 5D has been your only choice. Three years on and two competitors have turned up in the shape of the Nikon D700 and Sony DSLR-A900, and Canon clearly believes it's time for a refresh.
So here is the 5D Mark II, which punches high in terms of both resolution and features, headlining: 21 megapixels, 1080p video, 3.0" VGA LCD, Live view, higher capacity battery. In other words, a camera that aims to leapfrog both its direct rivals, either in terms of resolution (in the case of the D700) or features (in the case of the DSLR-A900). Full detail below.
Key features / improvements
21 megapixel CMOS sensor (very similar to the sensor in the EOS-1Ds Mark III)
Sensor dust reduction by vibration of filter
ISO 100 - 6400 calibrated range, ISO 50 - 25600 expansion (1Ds Mark III & 5D max ISO 3200)
Auto ISO (100 - 3200) in all modes except manual
3.9 frames per second continuous shooting
DIGIC 4 processor, new menus / interface as per the EOS 50D
Image processing features:
Highlight tone priority
Auto lighting optimizer (4 levels)
High ISO noise reduction (4 levels)
Lens peripheral illumination correction (vignetting correction)
RAW and SRAW1 (10 MP) / SRAW2 (5 MP)
RAW / JPEG selection made separately
Permanent display of ISO on both top plate and viewfinder displays
AF micro adjustment (up to 20 lenses individually)
Three custom modes on command dial, Creative Auto mode
Image copyright metadata support
98% coverage viewfinder (0.71x magnification)
3.0" 920,000 dot LCD monitor with 'Clear View' cover / coatings, 170° viewing angle
Automatic LCD brightness adjustment (ambient light sensor)
Live view with three mode auto-focus (including face detection)
No mirror-flip for exposures in Live View if contrast detect AF selected
Movie recording in live view (1080p H.264 up to 12 minutes, VGA H.264 up to 24 mins per clip)
Two mode silent shooting (in live view)
New jump options in play mode
HDMI and standard composite (AV) video out
Full audio support: built-in mic and speaker, mic-in socket, audio-out over AV (although not HDMI)
IrPort (supports IR remote shutter release using optional RC1 / RC5 controllers)
UDMA CompactFlash support
New 1800 mAh battery with improved battery information / logging
New optional WFT-E4 WiFi / LAN / USB vertical grip
Water resistance: 10 mm rain in 3 minutes

Nikon D3X In-depth Review

Ever since the simultaneous announcement of the Nikon D1H and D1X back in 2001 Nikon's professional D 'single digit' series has been split into two - the X series designed for high resolution applications such as fashion or landscape photography and the H series for high speed sports type photography (lower resolution but faster continuous shooting). When the Nikon D3 was announced in August 2007 it did not carry an 'H' in its name but was clearly designed for speed. So the question wasn't if, but when, Nikon would launch a high-resolution counterpart. It arrived, after more than a year of eager anticipation, in the shape of the Nikon D3X in December 2008.
Superficially, the new flagship is the D3's identical twin. The body, controls, user interface and also a large proportion of the camera's electronic and mechanical innards have been carried over directly from the D3. The camera's core component, however, is brand new. The 36 x 23.9 mm CMOS sensor provides a resolution of 24.5 megapixels, and while this is - compared to the D3 - a massive jump in resolution, D3X users have to accept a smaller range of sensitivity (ISO 100 to 1600, extendable to ISO 50 to 6400) and slower continuous shooting of five frames per second (7 fps in DX mode) in return.
While the only other piece of news - the 'Extra High' setting for Active D-Lighting - won't make much difference for most users, the premium that Nikon is charging for the extra resolution most certainly will. For $8000 retail price you can bag yourself almost two D3s. The D3X is also roughly $1500 more expensive than its only real competitor in terms of specification and features, the Canon EOS 1Ds Mark III. This won't make the professionals who this cameras is targeted at contemplate changing systems, but can a camera be worth the equivalent amount of a small car? Read on and find out in our in-depth review of the Nikon D3X

Olympus E-620 Preview

Olympus has established a tradition of offering very well specified cameras in the entry-level, and was one of the first to offer two cameras in this bracket - the little E-410 and its image-stabilized big brother, the E-510 (later upgraded to the 420 and 520 respectively). Now it has introduced the E-620, a model that will 'sell alongside' the E-420 and E-520 (in the sense that we suspect it will eventually replace the E-520) as the company's attempt at a '450D-killer'.
And, even by Olympus's standards of entry-level generosity, it's not short on toys - including an articulated screen to make full use of its live view system, which itself is one of the better implementations of this feature (from the company that got there first). It's also got 'Art' modes and the ability to shoot in four different aspect ratios - adapted from the features of the recently announced E-30. There's also in-body Image Stabilization and a level of configurability that is unparalleled in this class. In fact it's astonishing how much Olympus has crammed into its small dimensions - it's nearer to the size of the E-4X0 than the E-5X0 series (due in part to use of the small BLS-1 battery), and the E-420 was famously the smallest DSLR in the world.
More importantly, perhaps, the E-620 seems to address some of the main shortcomings of the E-520 - the viewfinder is slightly larger and has been reworked so that the information panel appears below the view screen, rather than tucked-away off to the right. It also moves on from the old three-point AF system with the introduction of a seven-point version, which includes five cross-type sensors. In fact, the specification of the E-620 is so high that it makes as much sense for us to compare it to Olympus's recently introduced semi-pro body, the E-30, as to the company's existing entry-level models.

Olympus E-30 Review,

The E-30 is the long-awaited high-end enthusiast model that fills the gap in the Olympus E-Series lineup between the E-520 and the ostensibly professional level E-3. Such is the pace of change in the digital camera market that the new model leapfrogs the E-3 by offering a higher pixel count (12MP), larger screen and improved contrast detect AF system - as well as introducing several novel features including a digital spirit level, multi exposures, aspect ratio options and a handful of built-in special image effects ('Art Filters' as Olympus calls them). It loses the E-3's class-leading weather sealing and has a slightly smaller optical viewfinder, but otherwise offers almost exactly the same features and performance in a slightly lighter, very slightly smaller and - at launch - similarly priced body.
Since this review was started Olympus has fleshed out the middle of its DSLR range even more with the announcement of the E-620. The E-620 takes a slightly cut-down version of the E-30's feature set and squeezes it into an incredibly compact body that isn't considerably bigger than the E-420. The E-30, in turn has seen hints of a coming price 'realignment' to a level more consistent with its market position.
The E-30 goes head to head with the Nikon D300, Canon EOS 40D/50D, Sony Alpha 700 and Pentax K20D, and - on paper at least - offers a compelling feature mix in the most attractive Olympus body for a long time. But does it have what it takes to do battle with the big beasts of the digital SLR jungle, and does it really offer a viable alternative to the E-3? Let's find out.
Compared to E-3 - key differences
Although designed to sit between the E-520 / E-620 and E-3 in the E-Series lineup the E-30 is far nearer to the latter than it is to the consumer level models - with the added beneft of a year or so of development, meaning the E-30 gets all the new toys introduced since the E-3 (most important being contrast-detect AF). The biggest differences are the body material and weatherproofing (where the E-3 wins hands down), the viewfinder (the E-3 is again the winner, though anyone moving from one of the consumer level four-thirds SLRs is going to see a huge improvement in both size and brightness) and the sensor - up from 10 to 12 megapixels. There are also a handful of new features and spec changes.
Glass fiber reinforced plastic vs weatherproof magnesium alloy body shell
Slightly (8mm) shorter and around 115g lighter
Slightly smaller viewfinder with reduced frame coverage
New 12MP LiveMOS sensor (E-3: 10.1 MP)
Brighter and larger LCD screen
E-30 has a mode dial
Art Filters, multiple exposures, aspect ratio options and lots of scene modes
No card door lock, no eyepiece shutter
AF fine tuning for up to 20 lenses (and per AF point!)
Built-in digital level guage
Contrast detect (Imager) AF with face detection
Slightly reduced raw buffer size (12 frames)
Adds vertical panning mode to stabilizer (IS3)

Canon EOS 500D (Digital Rebel T1i / Kiss X3 Digital) Preview

Just 14 months after the launch of the EOS Rebel XSi (450D), Canon has unveiled its latest model, the Rebel T1i (500D). It's the fifth generation of Rebel and enters the market at a difficult time - in the midst of a global economic downturn and against the fiercest competition we've ever seen in the entry-level DSLR sector. So what has Canon done to make this latest model in the longest-established family in the sector live up to the edgy and exciting image implied by its US naming?
The 500D/T1i doesn't quite have to be the everyman camera that its predecessors were. The introduction of the Rebel XS (1000D) in June 2008 means the T1i no longer has to appeal to everybody who doesn't want to stretch to buying into the 50D class. As a result, the 450D was able to bulk up its feature set to include a selection of features that price-conscious shoppers don't necessarily realize they want, such as a larger viewfinder and spot metering. The result was probably the most complete Rebel we'd seen.
There's a full explanation of the differences between the 500D/T1i and it predecessor on the coming pages but, in general terms, it's a gentle re-working of the 450D. So you get the 15MP sensor much like the one that appears in the 50D, helping this to become the first entry-level DSLR to feature video (and 1080p HD video at that). You also get the lovely 920,000 dot VGA monitor that has been slowly working its way down most manufacturer's DSLR line-ups. There are a handful of other specification tweaks that come from the use of the latest Digic 4 processor but essentially this is most of a 50D stuffed into the familiar 450D body.
And, if the loss of the letter 'X' from the US name seems a bit disconcerting, you can comfort yourself with the knowledge that the Japanese market will still know it by the odd-to-European-ears 'Kiss X3 Digital.' For simplicity's sake, we'll refer to the 500D/T1i/Kiss X3 by the name 500D throughout the rest of the preview.

Canon PowerShot SX1 IS Review

Canon's popular superzoom range of cameras began with the release of the PowerShot S1 IS back in 2004, and has been incrementally upgraded each year with more features and more pixels, with the last update being the PowerShot S5 IS announced in May of 2007. In September of 2008 Canon announced dual successors to the S5 IS. The cheaper of the two models is the Powershot SX10 IS, which features a 10 MP CCD sensor behind a 20X image stabilized lens, with the more expensive camera - the SX1 IS - adding RAW mode, a CMOS sensor, faster continuous shooting speed, and HD 1080p video recording.
Canon pioneered the use of CMOS sensors in digital SLRs (starting way back in 2000 with the EOS D30) - and they have long been used in cheap imaging devices (such as mobile phones and no brand 'keychain' digicams), but until now they haven't made their way into mainstream compact cameras. The reason has been simple; they just haven't been good enough. CMOS sensors have more circuitry built into the chip itself than CCD sensors, leaving less room for actually capturing light. This isn't a problem when you're working with a sensor with a large surface area, but at very small sizes it means lowered sensitivity - and that means noise and all the image quality problems associated with removing it.
Any problems with CMOS on large (DSLR) sensors were fixed long ago, and it is now the dominant technology in all but the cheapest models. The quest to fix them for smaller sensors has taken a lot longer, but it's one that continues because the possibilities offered by the on-chip processing capabilities of a CMOS sensor are simply too enticing for camera manufacturers to ignore (quite aside from the fact they use less power and are, in theory, a lot cheaper to mass produce). The SX1 IS, along with Sony's HX1 and the Ricoh CX1, is the first in a new wave of CMOS-sensored 'serious' compact cameras, and though few claims are being made about how the use of CMOS will affect image quality per se, they all sport unique features (high speed capture, HD movies, clever image stacking modes) which are only possible because this technology.
Like every camera in this range since the original S1 IS, the SX1 is designed to be a 'hybrid', combining stills and movie photography in a single device (the S1 IS was one of the first cameras to feature a dedicated Movie record button). But the use of a 16:9 format screen and viewfinder - plus the use of a CMOS sensor capable of full 1080p capture - means that the SX1 is unique in the range (and different to the SX10) in that it gives almost as much weight to movie capture as it does stills.
PowerShot SX1 IS vs PowerShot S5 IS - key changes
Higher resolution sensor (10MP vs 8MP)
New 28 - 560 mm equiv lens
Digic 4 processor (S5 IS was Digic III)
Larger, higher resolution LCD screen (2.8 inches vs 2.5 inches)
HD movie recording at 1080p (1920 x 1080)
'My Menu' system
Greatly increased continuous shooting (burst) speed
RAW file format is back

Sigma 10-20mm 1:4-5.6 EX DC HSM review

The 10-20mm F4-5.6 EX DC HSM is Sigma's offering in the APS-C ultrawide zoom sector, first announced in February 2005. It was introduced amongst a flurry of announcements as manufacturers raced to provide wideangle zooms for the burgeoning APS-C format DSLR market, with similar offerings also appearing in short measure from the likes of Tamron and Tokina (not to mention all of the major camera companies). It has since become a very popular lens, due in no small part to offering the joint-widest angle of view of all the APS-C ultra-wide zooms, while being available in mounts to fit all of the major DSLR systems. Equally it's not hurt by having a very competitive price; it's notably much cheaper than the camera manufacturers' own offerings in this sector.
The optical formula features 14 elements in 10 groups, including three Super-low Dispersion glass elements for the minimization of chromatic aberrations, and three aspherical elements to reduce distortion and other aberrations. Users of Canon, Nikon, Sigma, and Four Thirds cameras benefit from an ultrasonic-type 'HyperSonic Motor' (HSM) for fast and silent autofocus, while the Pentax and Sony mount versions use the 'screw-drive' coupling from the camera body. The 'DC' designation indicates that this lens is designed for DSLRs with APS-C or smaller sensors, and isn't suitable for use on a full-frame body (the image circle isn't large enough, and vignetting will occur).
Of course the market doesn't stand still, and Tamron (arguably Sigma's biggest direct rival) has recently revised its own offering in this sector with the SP AF 10-24mm F3.5-4.5 Di-II LD Aspherical (IF). In the Four Thirds mount, Olympus has also entered the arena with its very impressive Zuiko Digital ED 9-18mm F4-5.6. And while Sigma has itself recently announced a new constant maximum aperture 10-20mm F3.5 EX DC HSM, the indications are that this will sell alongside the slower model as a higher-priced premium product. So how does the 10-20mm F4-5.6 stand up in the face of its new competitors?
Headline features
Ultra-wideangle zoom (15-30mm equivalent on 1.5x DX / APS-C DSLRs)
F4-5.6 maximum aperture
Available for Canon, Nikon, Sigma and Four Thirds mounts with built-in HSM focusing motor, and Pentax and Sony mounts with focus driven from camera body (non-HSM version)
For reduced frame (APS-C / DX / Four Thirds) format DSLRs only

Panasonic Lumix DMC-LX3 Review

Panasonic's LX series has always been home to the company's most ambitious compacts, offering a range of photographer-friendly features in a small, stylish and solid body festooned with external controls. It's been two years since the launch of the LX2 and the market has changed a lot in that time - the level of features offered even on inexpensive models has grown and the cost of all cameras, particularly DSLRs, has fallen drastically. Both of these trends risk reducing the potential market for premium compacts if their features are available on cheaper compacts, and much better photographic tools (in terms of flexibility of purpose and image quality) are available for only a little more money. So the LX3, more than its predecessors, has to play to its strengths - it needs to offer some of the best compact camera image quality, a good degree of user control and a body that is more convenient and pocketable than DSLRs can be.
And Panasonic seems fully aware of these challenges. When announcing the camera, the company pointed out that more pixels on the same sized sensor does not always result in better image quality and described its approach with the LX3 as: "boldly reversing the industry trend of pushing toward ever-higher pixel counts." It's an admirable position (though one that would be easier to acclaim if the company hadn't, on the same day, released one of the most pixel-dense cameras we've ever seen), and one that seems promising - the benefits of newer sensor and processing technology without those advances being strangled by the downsides of smaller pixels. (And we believe that if you offer more pixels with the hard drive clutter and slower camera operation they bring, then those pixels must be good at the pixel level, otherwise, what benefits do those additional pixels bring?)

Headline features
24mm wide 2.5x optical LEICA DC lens
F2.0-2.8 maximum aperture range
MEGA O.I.S.(Optical Image Stabilizer)
Venus Engine IV
Joystick-operated manual control
Large 3.0” 460k dot LCD monitor
Raw and JPEG recording modes
Up to ISO 3200 sensitivity
Up to 1280x720 (30 fps) pixel movie capture
Manual exposure and focus options
1/2000th to 60 sec shutter speeds
Available in black or silver

Canon EOS 450D (Digital Rebel XSi / Kiss X2 Digital) Review

Four and a half years have passed since the first affordable digital SLR from Canon; the EOS 300D (Digital Rebel). In that time we have witnessed two further iterations (the EOS 350D and EOS 400D) leading up to today's fourth generation EOS 450D, with twice the megapixel count of the original (twelve versus six) in a smaller body with a far wider range of functionality and features and a $200 lower list price. Since those heady days in 2004 when the EOS 300D was the only kid on the block we've seen Nikon, Pentax and Olympus all attempt to hit the same sweet spot of size, features and price at the 'lower end' of the DSLR market, with varying degrees of success. Without a doubt the EOS 450D will have to do more today to prove itself in an increasingly crowded market.

On the find a detailed breakdown of all of the changes and updates compared to the EOS 400D but the headlines are; a larger 3.0" LCD monitor, Live View with both passive and contrast detect AF, Spot metering, improved auto-focus, 3.5 fps continuous shooting a larger viewfinder and a switch SD/SDHC for storage (all previous cameras in this range were Compact Flash). Other features appear to be inherited from the EOS 40D; 14-bit image pipeline, Highlight Tone priority, optional High ISO noise reduction, 'My Menu' and display of the ISO sensitivity on the viewfinder status line. There's also the new stabilized kit lens

Note that throughout this review we will refer to the EOS 450D by its European name; if you live in other parts of the world you'll know the camera by (in order of silliness) Rebel XSi or Kiss X2 Digital, but they're all the same.

Canon EOS 50D Review,

Almost exactly a year after the arrival of the EOS 40D, Canon has announced the 50D, which we're assured will be a sister-model, rather than a replacement. Recent history has seen Canon release new models every 18 months-or-so but it's been a busy year with newcomers such as the Nikon D300 getting a lot of attention in the 40D's keen-amateur/professional segment. The 50D is essentially a 40D body wrapped around a newly-developed 15 megapixel sensor that finally rectifies the situation in which Canon's XXD range trailed the company's entry-level line, in pixel terms. Canon is claiming that the new sensor's design (new manufacturing processes, redesigned photo diodes and micro lenses) mean that despite the higher resolution image noise has improved, something we'll be putting to the test later.
The other big change is the inclusion of a new, high-resolution LCD screen. 920,000 dots mean that it can convey 640 x 480 RGB pixels, making it effectively a VGA standard monitor. Three anti-reflection layers built into the screen do their best to keep it useable in bright conditions, too.
There are various other changes and added features, with many of them stemming from the first appearance of the Canon's Digic 4 processor. The key differences between the 50D and 40D are detailed below.

Fujifilm Finepix F200 EXR Review

Fujifilm won a great many fans with its F30 and F31fd models, which combined slightly larger than average sensors containing fewer pixels than their competitors with some clever image processing, to produce some of the best high ISO images we'd ever seen from a compact camera. In fact, three years later, there are very few compacts we can think of that do a better job once the sun goes down.

While playing lip-service to the needs of low-light photography (and continuing to produce cameras whose processing give them a slight edge over their contemporaries), Fujifilm didn't appear to make further progress in the direction the F30 had pioneered. With the F200 EXR, Fujifilm seems to suggest that it wants to regain its low-light crown, based on a novel sensor technology it has developed . In a time when compact cameras are becoming increasingly commoditized, it's interesting to see a company trying to use more than just marketing to differentiate its products.

And, even without its EXR cleverness, the F200 EXR is still a fairly well specified camera. It has one of the largest sensors used in any compact camera (it's a 1/1.6" type, which means it has a surface area of around 0.45cm2) combined with a lens that offers a very useful range, equivalent to 28-140mm in 35mm film terms. To put this in perspective, most DSLRs are supplied with lenses covering a roughly 28-85mm range. It's not the fastest (brightest) lens in the world but it's not excessively slow compared to its peers.

The F200 also offers image stabilization, which is one of the best features for ensuring consistently sharp images, along with modes that allow a reasonable amount of control over the camera and ones that take care of everything for you.
12MP Super CCD EXR sensor with 6MP dynamic range and high sensitivity modes
Dual Image Stabilization (High sensitivity + CCD shift)
5.0x optical zoom (28-140mm equiv)
3.0-inch TFT screen with 230.000 dots
ISO 3200 sensitivity at full resolution
IR Communication (IR simple™/IR SS™)
VGA movie capture of 25 frames per second with sound
Micro thumbnail view (up to 100 thumbnails visible)
5fps continuous mode (3MP, 12 frames max)
Aperture priority modes