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Samsung NX200 interchangeable lens camera review
There are some cameras that we absolutely love, some we find downright disappointing and others that get the job done, albeit with mediocre results. Samsung's digital imaging devices typically fall within that last category -- they're moderately innovative, generally affordable and often well-designed, but when it comes to image quality and performance, we're left... underwhelmed. So, when we first had a chance to try out the CE giant's new NX200 at IFA in Berlin, we weren't expecting a mind-blowing imaging device. The NX200 is Samsung's latest entrant into the interchangeable lens (ILC) category -- it's a mirrorless model, to be more precise, and a fairly impressive one at that -- at least when you glance at the spec sheet. It's the company's latest ILC to use an APS-C size sensor, which is the largest we've seen in a mirrorless cam. This sensor type implies that the NX200 may have a chance at competing with Sony's NEX-C3, which has been our top pick in the category, and its 20.3 megapixel rating suggests that Samsung wants to be taken seriously here, with a true contender on its hands. But has Samsung delivered a winner? Jump past the break for our take.%Gallery-141618%
Panasonic launches Lumix DMC-GX1 Micro Four Thirds camera, we go hands-on
Remember the Lumix GF1? It was one of Panasonic's first Micro Four Thirds cameras, setting the bar quite high for models to come. But the GF1's successors -- the GF2 and GF3 -- did not live up to expectations, with the company gradually shifting the series towards transitioning point-and-shoot users, and away from early adopters who grew accustomed to the performance and build quality offered by that beloved early mirrorless cam. Now that familiar look and feel is back, in the form of the Lumix DMC-GX1. The 16 megapixel ILC includes a Live MOS sensor and Venus engine, with a maximum ISO of 12,800. Like other Panasonic G-series cameras, the GX1 uses a Micro Four Thirds mount, and is compatible with both Panasonic and Olympus lenses, including the standard 14-42mm zoom that ships with the $800 kit, or the Lumix G X Vario PZ 14-42mm retractable lens that comes packaged for $950. Existing lens owners can pick up just the body for $700. What we really missed was the solid feel of the GF1 -- everything from the housing to the controls felt well-made, while the design of later GF models, was... underwhelming. Picking up the GX1 helped to restore our confidence in the series -- it was a pleasure to hold. There's quite a bit of power under the hood, too. We weren't able to test the GX1, which is expected to hit stores in mid-December, but Panasonic promises autofocus speeds of 0.09 second -- you can focus simply by touching your subject on the 3-inch, 460,000-dot touchscreen. There's also an external EVF option, which attaches to the camera's hot shoe and offers a 1.44 million-dot display with 100-percent field of view. Movie buffs can capture 1080/60i HD video, with either MP4 or AVCHD compression. It goes without saying that the GX1 can shoot in RAW, and offers the complete gamut of advanced shooting modes. Of course the features don't stop there, so jump past the break for the full PR from Panasonic.%Gallery-138523%%Gallery-138519%
Canon C300 cinema camera hands-on (video)
Man, is this thing ugly. But when it comes to cinema cameras, looks are the last thing on a cinematographer's mind -- performance is where it counts, and with the Canon C300, its compact size is an asset as well. We haven't had a chance to shoot with Canon's new flagship cinema cam, but we've heard from plenty of folks who have, including director Vincent Laforet. The C300's incredibly compact size allows cinematographers to work in environments that aren't typically accessible to big rigs -- you can shoot with this camera just as easily as you can with a DSLR, hand-holding it for quick shots, with a waist-mounted Steadicam system for walk-around shoots or even mounting it on a small remote-controlled helicopter, as Laforet did during his three-day Mobius shoot. The C300 will be more familiar to cinematographers -- photojournalists may have access to the cam, thanks to its $20,000 price tag (that's a relative bargain, believe it or not), but you can't pick this up and fire away without taking some time to learn the interface. It has quite the solid feel, as you'd expect from a camera in this price range, though it's not as heavy as it looks -- you won't want to hold it in your hand for a full day of filming, but quick shots probably won't be an issue. The system is modular, so you can add and remove components as you wish -- industry standard connectors let you hook up cinema gear, which is something you could never do with the 5D Mark II. The small form factor and price tag to match should help Canon gain some ground in Hollywood, but we'll wait for a chance to shoot some footage before drawing any firm conclusions. In the meantime, we'll have to take Laforet at his word -- which you'll find just past the break.%Gallery-138415%
Canon C300 makes an appearance in Vincent Laforet's Mobius, find the short and behind the scenes right here (video)
A New York Times photojournalist turned Hollywood director, Vincent Laforet has become synonymous with DSLR video, after his short film Reverie helped catapult Canon's 5D Mark II into the world of digital filmmaking. And after playing such a significant role in launching that camera, we certainly weren't surprised to see Laforet make an appearance at today's Canon Cinema event, with his short film Mobius getting some time on the big screen. The film follows a photojournalist who stumbles upon a Cartel execution, but it also tells the story of Canon's tightly-veiled C300 cinema camera, which the company launched just moments ago. Laforet used a pre-production C300 (note the green tape button labels) to shoot Mobius in the Mojave Desert under a variety of harsh conditions, including powerful sunlight and near-darkness, in both extremely hot and chilly temperatures -- the camera appears to have performed extremely well, given both the remote shooting environment and tight production schedule. Canon has yet to reveal the C300's price tag, which we expect to far undercut the $120,000 Arri Alexa kit, but its sheer portability makes it a more appealing option for filmmakers -- especially those with limited time and other resources. Laforet was able to shoot his film with a very small crew, since the C300 can be operated by just one photographer. The director used the camera mounted on a tripod, tethered to a variety of helicopters, sitting on the road and even hand-held, like a camcorder or DSLR. Laforet shot with Canon's new FK30-300 telephoto cine zoom PL-mount lens, along with a variety of EOS mount lenses, and notes that the camera's form factor makes it even easier to shoot with than a DSLR like the 5D Mark II. Its cost -- somewhere in the range of $20,000 -- should also put it within reach of not only Hollywood cinematographers, but also television directors and even documentary filmmakers and news photojournalists. We won't see the C300 hit the market until late January 2012, so jump past the break for a sneak peak at Mobius to see Canon's new cinema flagship, along with a rather comprehensive behind-the-scenes video.%Gallery-138348%
Canon launches C300 cinema camera, prepares to take on Red Scarlet and Arri Alexa
Well, we have to hand it to Canon -- this was one tight-lipped product launch. The imaging company just unveiled its C300 cinema camera at Hollywood's Paramount Studios, in front of a crowd of hundreds of journalists and film industry elite, including Martin Scorsese. Canon is no stranger to the professional photography community, but it has yet to make a name for itself in Hollywood, where cameras such as the Arri Alexa and RED EPIC dominate the digital filmmaking world. The C300 may not appear to be overwhelmingly powerful on paper -- stock features include an EF or PL mount (not both), 1080p capture, a pair of CF card slots, timecode and HD-SDI output -- but judging by the sample films we saw today, its incredibly powerful sensor and versatile form factor are likely to play a more significant role in making this camera a success. Canon has a new 'EOS Movies' DSLR on the way too: 4K video, 35mm full frame sensor Canon C300 makes an appearance in Vincent Laforet's Mobius, find the short and behind the scenes right here (video) Canon C300 cinema camera hands-on (video)Fujio Mitarai is saying that the camera is especially well-suited to accurate color reproduction, particularly skin tones. We're also receiving word that the C300 will cost somewhere in the range of $20,000 -- how's that for affordable? It contains a Super 35mm CMOS sensor and delivers up to 4K resolution with the outfit's new "top-end" EF zoom lenses, which come in four flavors: two 14.5-60mm lenses and two 30-300mm. And the lenses keep on coming, with three EF prime lenses in 24mm, 50mm, and 85mm variations. That CMOS sensor offers 1920 x 1080 pixels for the reds and blues and 1920 x 2160 for greens. Like we said before, list price for the C300 will be $20,000 when it hits stores in late January 2012. And that appears to be it for this very long announcement, but we'll have our first impressions soon. Full PR awaits you after the break.%Gallery-138391%%Gallery-138405%Christopher Trout contributed to this post
The Canon Hollywood event liveblog!
Lights, check! Camera? Well, it soon might be a Canon. We're live from the red carpet at Canon's Hollywood launch event, where we're expecting the company to reveal its first cinema camera. We'll be watching the action live as it hits the silver screen in SoCal, but you can catch it all from home right here! Things get started at 3PM local time, translated into times for your locales below. Psst... and toss your own time zone / day in comments below! 12:00PM - Hawaii (November 3rd) 03:00PM - Pacific (November 3rd) 04:00PM - Mountain (November 3rd) 05:00PM - Central (November 3rd) 06:00PM - Eastern (November 3rd) 10:00PM - London (November 3rd) 11:00PM - Paris (November 3rd) 02:00AM - Moscow (November 4th) 07:00AM - Tokyo (November 4th) Photos by Zach Honig.
The Canon Hollywood event is tomorrow -- get your liveblog here at 6PM ET!
Canon has been incredibly tight-lipped about its upcoming announcement, with only a few vague details leaking out since the event was announced in September. What we do know is that the imaging company plans to unveil a product that represents a "commitment to play a larger role in the film and television community," and that Martin Scorsese will be on hand -- and we assume he's not there to announce that Sinatra will be shot exclusively with the 5D Mark II. Curiously, Red has scheduled an event for tomorrow evening as well, just a few blocks away from the Canon venue. We'll be coming to you live from Hollywood tomorrow evening, and if the hype is any indication, legacy cinema camera manufacturers have but a few hours left of industry domination. The curtain comes up at 3PM local time, and we've included a handy list of round-the-world start times below. Bookmark this page right here and find out as it happens. Psst... and toss your own time zone / day in comments below! 12:00PM - Hawaii (November 3rd) 03:00PM - Pacific (November 3rd) 04:00PM - Mountain (November 3rd) 05:00PM - Central (November 3rd) 06:00PM - Eastern (November 3rd) 10:00PM - London (November 3rd) 11:00PM - Paris (November 3rd) 02:00AM - Moscow (November 4th) 07:00AM - Tokyo (November 4th)
Pentax Q interchangeable lens camera review
Sony announces NEX-C3 and Alpha A35 cameras, new macro lens Pentax intros Q, world's smallest interchangeable lens digital camera (hands-on video) Nikon 1 J1 review (video) Most of the interchangeable lens cameras we've seen to date seem to follow a standard mold: they have similarly sized bodies, comparable designs and either an APS-C or Micro Four Thirds sensor at the core. But recently, some manufacturers -- namely, Nikon and Pentax -- have begun shrinking camera bodies in an attempt to make them even more appealing to point-and-shoot users. The result: a smaller, lighter, more fashionable ILC -- that also happens to have an itsy bitsy image sensor. Sensor size, not megapixel rating, translates directly to image quality, but also lens and body size, so you can either have an incredibly small body with an incredibly small sensor, or a larger body with a larger sensor. Are you willing to pay a premium for the "world's smallest" interchangeable lens camera, even if it has the same size sensor used in many point-and-shoot cams available for a fraction of the cost? Pentax seems to think that you are -- to the tune of $800. The 12.4 megapixel Pentax Q is tiny -- it's so small, in fact, that you wouldn't be alone in mistaking it for a toy. There is a fully functional camera inside that petite magnesium alloy housing, though it's admittedly not as powerful as you'd expect an $800 camera to be. The pricey kit ships with an 8.5mm f/1.9 lens, and you can grow your collection from Pentax's modest selection of Q-mount lenses, which also happen to have laughably small focal lengths (a 3.2mm fish eye, anyone?), due to the 1/2.3-inch backlit CMOS sensor's massive 5.5x multiplication factor. So how does the Q fare when it comes to performance and image quality? Jump past the break to find out.%Gallery-137376%
Sony A77 reviewed: A 24.3 megapixel game-changer?
It's been a long time coming, but the patience has paid off with Sony's A77 finally getting its first pro review. Sure, the $1,400 cost of entry (body only) will weigh heavily on even the most enthusiastic cameraman conscious. But, what's a few hundred dollars when it comes to a camera that Popular Photography says has "radically changed the world of DSLRs"? It seems only the rival Canon 7D holds a candle to this would-be king, besting Sony's latest when it comes to noise and performance at higher ISOs. However, the A77 wins on its all-around charm, with a 24.3 megapixel Exmor APS-C sensor, articulated LCD screen, world-first OLED EVF and impressive video-shooting chops. Video-wise, that top dollar gets you a high-end performance of 60fps at 1920 x 1080 with the fast phase-detection auto-focus we've also seen on its predecessors, the Sony A55 and A33. Popular Photography does add a single caveat to the largely very positive conclusion: video enthusiasts should probably hold tight to see what Canon and Nikon counter with. Especially if you're in possession of multiple lenses. Aside from that, what's stopping you? Dig in to all the nitty-gritty details below, and we'd advise cutting down on those impulse eBay purchases -- this magnesium-alloyed beauty will certainly make a financial dent when it lands, if not a physical one.
Nikon 1 J1 review (video)
Pentax Q interchangeable lens camera review Samsung's NX200 camera: 20.3 megapixels, interchangeable lenses, full HD video Two megapixel mini-camera measures in at under a cubic inch, weighs under an ounce So, Nikon finally has a mirrorless camera, after what was quite possibly the most dramatic launch event the company has ever conducted. Sure, competing models from Panasonic, Olympus and Sony have already reached the second, or even third generation before Nikon lifted the veil on its J1, but did last month's long-awaited announcement bring us the ILC to rule all ILCs? Well, no, not at all. Nikon isn't targeting pros or even advanced amateur shooters with its latest addition to the interchangeable lens camera family. Instead, the company is marketing its J1 to soccer moms (and dads), fashion-conscious young folk, and casual shooters who want some of the versatility of a DSLR, but are willing to sacrifice excellent image quality for a more compact design. But what about the rest of us? Will Nikon one day reward our patience with a true class competitor? Perhaps, but that's definitely not what we have here. Nikon built the $650 J1 "from the ground up" -- a reference to its 10.1 megapixel, CX-size sensor with a 2.7x crop factor, along with a handful of quirky features that we probably won't use, but that some of you (or perhaps your family members) may love. Jump past the break to see what we really liked about the camera, and what left us rather unimpressed. And it you're dying to judge its performance for yourself, you can check out a handful of untouched images at the coverage link below the conclusion, along with a variety of sample videos spattered throughout.%Gallery-135514%
Canon plans Hollywood event, ready to roll out the red carpet on November 3rd
Oh, what's this, Canon? You want your turn in the spotlight as well? Well, we suppose a hint of an announcement is better than a non-announcement, so bring it on! The imaging company just sent us word of a presumably star-studded SoCal event on November 3rd, giving its cameras a chance to walk the red carpet in a rather surprising Hollywood role reversal. We're not sure exactly what Canon plans to unveil that night -- a new mirrorless camera, or perhaps some fancy pants camcorder, destined for Hollywood's elite? But assuming the company isn't crying wolf, we'll be there with a live report from the red carpet.
Olympus PEN E-P3 Micro Four Thirds camera review
Being the gadget hounds that we are, we're still struggling to fully digest the Micro Four Thirds / interchangeable lens camera market. The performance freak in us suggests that one simply buy a smaller DSLR given the parallel annoyance of carrying around a bag full of lenses, but the mobility junkie in us does appreciate the downsizing -- however minor. Olympus' PEN line has been a beautiful one from the start, but one that found itself out of consideration for many due to the poor value proposition. Even the newest PEN E-P3 isn't a bargain; at $900 with a somewhat versatile 14-42mm lens, it's well north of most entry-level DSLRs, and on-par with many mid-rangers. So, is it really worth splurging on a slightly more compact frame, devilishly good looks and "the world's fastest autofocus system?" Read on for our take. %Gallery-130071%
Olympus PEN E-PM1 Mini gets a $500 price tag, September release date
Remember that cute little Micro Four Thirds camera that Olympus unveiled in June? Well, we just got word that the PEN E-PM1 Mini will ship next month, with an equally petite $500 price tag -- including a 14-42mm f/3.5-5.6 kit lens. The company is positioning the 12.3 megapixel camera as an upgrade for point-and-shoot users, as "the easiest PEN to use," thanks to a new, simpler user interface and 23 Scene-Select modes. Still, the E-PM1 is a very capable interchangeable lens camera (ILC), and includes a 3-inch 460k-dot LCD, 1080i HD video capture, RAW shooting and a maximum sensitivity of ISO 12,800, along with Manual, Aperture Priority, and Shutter Priority shooting modes. The Mini will be available in purple, pink, brown, white, silver, and black -- our color of choice. Jump past the break for the full scoop from Olympus.
Sony Alpha A77 hands-on preview (video)
When it comes to cameras, digital SLRs are a breed all their own. Many DSLR owners don't upgrade their bodies often -- if at all -- and even fewer would consider a switch to a competing camera system, especially after investing in a handful of high-end lenses. Manufacturers need to push innovation even further to target this segment of the market -- when some cameras cost thousands of dollars and already offer excellent performance, simply releasing a body with more megapixels and HD shooting options won't prompt photographers to pull out their credit cards. With its massive 24.3 megapixel sensor and high-res OLED electronic viewfinder, however, Sony's $1,399 Alpha A77 may just be the DSLR upgrade you've been waiting for. We spent a few days with a pre-production A77 paired with Sony's brand new 16-50mm f/2.8 lens ($1,999 in an A77 kit), and were very impressed with what will undoubtedly be a worthy successor to the well-received A700. Jump past the break for our initial impressions, along with plenty of still photo and HD video samples.%Gallery-131349%
Sony NEX-5N replaces NEX-5, adds 16.1 MP sensor, 25,600 max ISO, OLED viewfinder option (video)
Without a doubt, today's biggest news on the NEX front is Sony's 24.3 megapixel NEX-7. But for photographers looking for a bit less power (and a lower $600 body-only price tag), the NEX-5N delivers some of the 7's headline features in a slimmed-down magnesium-alloy body. Sony boosted the NEX-5's sensor from 14 to 16 megapixels in the N, also adding 1080 / 60p AVCHD video capture, a 10 fps continuous shooting mode, a touch-enabled 3-inch LCD, and a maximum sensitivity of ISO 25,600. The mid-range NEX cam also supports an optional XGA OLED electronic viewfinder, which attaches to its accessory port and carries a price tag of $350. We should note that although the accessory port appears to be similar to that used on the NEX-C3 and previous gen NEX-5, the OLED attachment is only compatible with the 5N. Want to know more? Jump past the break for a brief overview video, and check out the rather comprehensive gallery of press shots below.%Gallery-131065%
Sony reveals three new NEX E-mount lenses, LA-EA2 A-mount adaptor with translucent mirror
Sony's NEX line of mirrorless interchangeable lens cameras (ILC) deliver quite a lot of bang for your buck, but a diminutive lens selection reduced appeal for advanced shooters. Today, the company is growing its E-mount family of lenses by three, now offering a total of seven compatible lenses. Shipping in October, the Carl Zeiss SonnarT E will take the helm as Sony's flagship optic, delivering a 24mm fixed focal length and f/1.8 aperture, with a minimum focus distance of 16 cm and a sky-high $999 price tag. Also packing a speedy f/1.8 aperture, the $300 E 50mm OSS doesn't sport Carl Zeiss branding, but it does include built-in image stabilization and a circular aperture, promising smooth defocus. Both lenses will ship in December. Hitting stores in October, a new telephoto lens, the $350 E 55-210mm compensates for its sluggish f/4.5-6.3 maximum aperture with optical image stabilization while offering 3.8x magnification. And finally, Sony's LA-EA2 A-mount adapter lets you use your full-size Alpha lenses with the NEX cameras without losing functionality, thanks to built-in Translucent Mirror Technology and a dedicated AF motor. NEX-3, NEX-5, and NEX-C3 owners will need a firmware update to take advantage of the adaptor, but if you already have a collection of A-mount lenses, $400 may be a reasonable price to pay for full compatibility when it ships in November.%Gallery-131067%
Sony announces entry-level A65, adds yet another DSLR to the Alpha family
Sony is on a roll with some fairly incredible product unveilings this morning. The Alpha A65 is almost an afterthought when compared to today's NEX-7 and A77 announcements, but this $900 (body only) DSLR targets the vastly popular entry-level category, while still including a new OLED electronic viewfinder, 24.3 megapixel CMOS APS-C sensor, and 1080 / 60p AVCHD video capture. Many of the A77's other features made the cut as well, including Sony's Translucent Mirror Technology, an ISO range of 100-16,000, object tracking autofocus, and a high-speed shooting mode (though the pricier model can shoot 12 fps, compared to 10 fps on the A65). You will be missing out on the A77's nifty three-way tilt and swivel LCD, though the A65's display does support tilt. Also missing is a 19-point AF sensor (the A65's has 15 points), a secondary text LCD, and support for an optional vertical grip. Jump past the break for a brief video walkthrough from Sony, along with a sneak peek at the A77.%Gallery-131370%
Ricoh GXR Leica M-mount module gets a September ship date, lets you swap lenses with one sensor
Sure, you've seen cameras with interchangeable lenses -- you might even own one or two -- but a cam that lets you swap out the sensor with the lens? Now that's pretty unique. Ricoh's GXR has been around since 2009 and does exactly that, with four lens / sensor combos, including two zooms and a pair of fixed lenses. Now, the company has confirmed that its new Leica M-mount module will ship on September 9th, letting you use your existing Leica lenses with the GXR. The module includes a 12.3 megapixel APS-C sensor and has a 27.8mm Leica M bayonet mount, with support for RAW image capture and 720p video. It also has an "open" price, which means it's still anyone's guess as to how much you'll be shelling over. But if you own a collection of Leica glass and are interested in experimenting with such a unique sensor-swapping camera system, you're probably somewhat open to open pricing.
Olympus PEN E-PL3 gets a price tag, release date
Last month, Olympus lifted the veil on a trio of 12.3-megapixel Micro Four Thirds cameras, replacing both models in its PEN line and adding the small and light E-PM1. We already knew to expect an August ship date for the $900 E-P3, but now the company filled us in on its tilt-enabled E-PL3, which will be available in black, white, red, and silver when it ships in September. Priced at $700, the kit will include either a 14-42mm zoom or 17mm fixed lens, and will retail for a full c-note higher than its predecessor, the E-PL2. Olympus also announced the VF-3 Electronic Viewfinder (EVF), which will feature a 100-percent field-of-view, 90-degree rotation, and brightness and color temperature adjustments -- though it sounds like that last feature could potentially leave you with off-color images if you mistake the EVF's white balance for what the camera will capture. We're still waiting on availability for the runt of the litter, but we imagine the E-PM1 will make its stateside debut soon -- perhaps even with a price tag lower than its rather pricey, beefier siblings.
Canon restores camera production in Japan, hints at mirrorless model in 2012
There's no question that Canon and Nikon still dominate the interchangeable lens camera (ILC) market, but with Olympus, Panasonic, Sony, and now Pentax all launching compact, inexpensive, mirrorless models in recent years, the legacy manufacturers have some catching up to do. In an interview confirming the restoration of pre-quake production levels in Japan, Canon camera division head Masaya Maeda told Reuters that the company is "considering the technical aspects" of creating a mirrorless camera, following up by saying "we will launch an interesting product next year." The comment doesn't exactly make a mirrorless Canon a sure thing, but it's as solid a commitment as we can expect for now. One possible concern for Canon is that entry into the new ILC category would cannibalize the company's higher-end point-and-shoot offerings, which likely offer higher margins. But if mirrorless models gain market share over traditional DSLRs and Canon doesn't have its own cam to match, the company could find itself racing to catch up, rather than dominating the ILC category as it has done in the past. Competition from Canon isn't likely to start a price war, since there isn't much elasticity at this point, but it could put pressure on other manufacturers to push the limits with image quality, accessory selection, and perhaps even lead to a future lens standard -- though we're probably more likely to see a Pentax Q that can actually capture DSLR-quality images far before manufacturers decide to adopt a universal lens mount.
