Posts Tagged ‘ISO’

Canon Comes Out With Rebel T2i

February 8th, 2010 by Derek
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Rating: 4.0/5 (1 vote cast)

Canon has announced it’s newest Rebel, the reasonably (for once) named Rebel T2i. Updates? Well, it’s up to an 18.0 megapixel sensor, new wide-aspect LCD, 3.7 frames-per-second shooting, the 1080p shooting gets 30/25/24 fps selectable, there’s a stereo mic jack, ISO goes from 100 – 6400, and something about some hand-me-down techs from the 7D. So, evolutionary? Yeah, of course, but that’s still a pretty solid set of features for this newest Rebel.

It’s set to be released as a kit with the usual 18-55mm IS currently, and we’re of course taking preorder allocations over at our site. So, if you want your name on the list, best to shuffle over to http://www.robertsimaging.com/preorder.jsp and get that going.



P100, other Coolpix point and shoots announced

February 4th, 2010 by Nick
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Today Nikon announced their refresh for the Coolpix line by adding the P100, L110, L22, and S3000, S4000, S6000, S8000 compacts. The P90 is to cede to the P100, and it looks like it’ll be a doozie of an upgrade. The Nikon Coolpix P100 will have a 10.3 megapixel back-lit CMOS sensor and a 26x optical zoom (26mm-678mm equivalent) Nikkor ED lens. It’ll also be able to churn out 10fps at 10MP, and near 120fps at 1.1MP. No idea how the 3200 ISO setting will perform yet, but maybe you won’t need to use it given the sensor-shift VR system. There’s a host of other software functions to make “minimal user intervention shooting” produce good looking pics. It’s also got a macro focusing distance of .4″, though no word on what the maximum reproduction ratio. Oh right, 1080p HD video is also on the menu.

If you’ve got to use AA batteries and don’t trust this new-fangled back-lit CMOS business, then step down to the L110 and take your pick between black and red. Your glass is 15x optical from 28-420mm (equivalent), supported by sensor-shift VR image stabilization and a max ISO of 6400. It also has the first ‘cyanotype’ color setting I’ve seen a manufacturer brag over. Ta da. It takes 12.1MP stills and 720p HD video (at 30fps).

The other AA offering is the L22, weighing in at 12MP with a modest 37-134mm equivalent focal range. The L22 has a ‘Big, Bright 3.0-inch LCD’ with an anti-glare coating and a maximum ISO of 1600.

The 000 (Tri-aught?) range of Coolpix this time around are the S3000, S4000, S6000, and S8000. The S3000 (for Style yeah) wields 12.0MP, a 27-108 equivalent focal range, a 2.7″ LCD, some firmware functions to correct for red-eye, florid, staggering friends who neither smile nor cease blinking, and a maximum ISO of 3200.

Next up is the S4000, which looks to succeed the S230 and put a 3.0″ touch screen in your hot, little hands for things like touch-shutter (which sounds like an alt-rock band who should be opening for Toad the Wet Sprocket) and touch-AF. Beyond that it records 720pHD movies, and sidles on up to 3200 ISO. It also has a cyanotype color mode.

The S6000 appears with 14.2MP, a 28-196 equivalent Nikkor ED glass lens, and spits 4fps for up to 45 frames in Sports Continuous mode. It also features the “make your friends look good without trying” firmware functions.

The S8000 crowns the Tri-Aught sorority with a 14.2MP sensor, 10x optical zoom with Nikkor ED glass (starts at 30mm equivalent), a 3.0″ VGA display at 921,000 dots, and Optical VR Image Stabilization and a close focus distance of .4″ in Macro mode.



2009 Holiday Shopping Guide: Image Stabilization

December 3rd, 2009 by Derek
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2009-holiday-shopping

Well everyone, it’s that time of the year again. Christmas (and other winter holiday) shopping. And, like last year, we’re back to help. Not necessarily by just pushing the products we want you to buy (D3s, 7D, *cough cough*), but by giving you useful, more sweeping tips to make you a more savvy shopper, able to sift through the seas of numbers, specs, and options available.

OK, ok, we’ll probably plug a specific product or two as we go along. We sell camera equipment, it’s what we do, you know?

But, let’s start with a simple one: image stabilization.

Image stabilization is known by many names (basically a different one for each manufacturer), but is ultimately down to the same idea. Some of the more common names for this technology include:

  • Image Stabilization (IS)
  • Vibration Compensation (VC)
  • Vibration Reduction (VR)
  • SuperSteady Shot
  • And many more

So, what does it do? Well, when you hold a camera, it’s subject to slight trembles and other shakes from your hands. These are natural, and how bad they are depends on your age, physical condition, grip, stance, camera, and more. But, what is means without fail is that at longer exposures, the natural movements from your hands will move the camera a little, and make pictures look less sharp.

There are three ways image stabilization works: electronic, optical, and in-body. Of those, you should only ever choose optical or in-body. Those two help reduce shake using complicated gyroscopes that shift elements to counter for your hand shake. Electronic stabilization, however, works by simply pushing your ISO up, which introduces grain and noise and color shifts, and in general trades one problem for a different one.

Also, because it just counters your movement, image stabilization doesn’t change exposure. In low light, you will still need longer exposures which means moving subjects will still have motion blur. But, if you’re shooting largely stationary subjects, or family portraits around the Christmas tree, image stabilization will help keep your shots crisper. Recommending a camera or lens with image stabilization over one without is easy, we’ll recommend it every time.



Canon Days: S90 Comparisons

November 17th, 2009 by Carel Struycken
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Rating: 5.0/5 (1 vote cast)

[EDITOR'S NOTE: Carel sent us this as a supplement to his last post.]

[UPDATED: Now better laid out for comparisons]

As mentioned in the review, all images were shot without noise reduction or sharpening. For the Canon 350D I only shot 400, 800 and 1600ISO

-Carel Struycken

PowerShot S90 Crops:

ISO 100

ISO 100

ISO 200

ISO 200

ISO 400

ISO 400

ISO 800

ISO 800

ISO 1600

ISO 1600

ISO 3200

ISO 3200

PowerShot G10 Crops:

ISO 100

ISO 100

ISO 200

ISO 200

ISO 400

ISO 400

ISO 800

ISO 800

ISO 1600

ISO 1600

EOS 350D Crops:

ISO 400

ISO 400

ISO 800

ISO 800

ISO 1600

ISO 1600



Canon Days: Hands On Review: PowerShot S90

November 17th, 2009 by Carel Struycken
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Rating: 4.0/5 (1 vote cast)

carel struyckenDuring the ’70s, a producer/director friend of mine used to roam the LA punk scene with an amazing little 35mm camera, the Minox 35 GL. It was the smallest 35mm camera ever produced. Its sharp Minotar lens shot beautiful pictures and thanks to the high ISO films that were being perfected in those days, one could shoot in very low light. There has never been any digital equivalent in size and low light capabilities until now, with Canon’s introduction of the S90. With the G11 and S90 cameras, Canon has finally reversed the maddening pixel race. Pixel density on the G11 has been reduced from its predecessor’s 34MP/cm² down to 23MP/cm² and low light performance has greatly improved. The S90 uses the same sensor and its f-2 maximum aperture helps to make this the best p&s for available light shooting.

The Canon S90 is slightly larger than Canon’s Elph (3.5 x 2.2 x 0.8″ for the Canon SD940IS vs. 3.9 x 2.3 x 1.2″ for the Canon S90), but it still easily slips into the average pocket. A bit too slippery sometimes and it almost fell out of my hands before I made it a rule to use the wrist strap. Much has been made of the programmable function control ring around the lens and it is indeed wonderful…

[EDITOR'S NOTE: Hit the jump to read the rest of Carel's review and to view his large gallery of sample shots]

[UPDATED]

(more…)



From Canon’s Whitepaper, A Nugget of Wisdom

November 13th, 2009 by Derek
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Rating: 5.0/5 (1 vote cast)

Some notes on perceived image quality are appropriate here. First, images shot with the EOS-1D Mark IV tend to reveal blur and defocus more easily than images shot with the EOS-1D Mark III or EOS-1D Mark II, especially when viewed at the same size (for example, when viewing at 100% on a computer monitor). After all, the EOS-1D Mark IV provides 16.1 Megapixels — approximately 1.6 times more than the EOS-1D
Mark III (10.1 Megapixels) and approximately 2 times more than the EOS-1D Mark II (8.2 Megapixels).

As long as final print size is the same, the visible effects of blur and defocus are the same regardless of pixel count. However, it is becoming popular to view images on computer monitors; thus, clients and photographers are increasingly concerned about blur and defocus in images shot with high-resolution cameras. EOS-1D Mark II and EOS-1D Mark III users should understand the increased likelihood of blur and/or defocus when using high resolution cameras. To prevent these image defects, photographers should use faster shutter speeds at high ISO settings and/or shoot with IS (Image Stabilizer) lenses.

That, alone, made this whitepaper worth reading, I think. Remember everyone, as megapixels go up, the stuff you see at a 1:1 level will be increasingly flawed, and that decisions regarding ultimate image quality can only rationally be made at the proper final viewing size. It’ll save you a lot of frustration with your equipment if you keep that in mind.



The Voice of Raw, Episode 11

October 24th, 2009 by Derek
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Audiocast Icon (Good)Nick and Derek tackle everything from Canon’s new EOS-1D Mark IV to the S90, Lensnbaby’s new optics, Sony price moves, Lightroom, and more.



Canon’s New EOS-1D Mark IV Gets Real

October 20th, 2009 by Derek
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eos-1d-mark-IVCanon this morning in the wee hours when I was decidedly not awake announced their newest pro body, the long-awaited EOS-1D Mark IV. It’s direct predecessor, the Mark III, had just been announced before I hired on here at Roberts, so the announcement of the Mark IV is something of a milestone for me, personally.

Now, getting past the sentimentals, here’s what you need to know:

1. The Mark IV continues the tradition of the 1D line in using an ASP-H sensor with a 1.3x crop factor. The full-frame chips remain a hallmark of the studio-oriented 1Ds line, and of course the 5D series. It’s up now to 16.1 megapixels, and keeps dual-processors (now the DIGIC IV models).

2. It has an all new 45-point autofocus system (39 of which become the more accurate cross-type points with an aperture of f2.8 or wider). Did we  mention it’s all new and reportedly exhaustively field tested?

3. Canon is showing a rare conservative streak, and the continuous shooting mode is throttled back to 10 frames per second (versus the blistering 14 of its predecessor).

4. 1080p video. Really, were you expecting them to leave this out after the 5D Mark II, Rebel T1i, and 7D all got it? If you were, shame on you. If you weren’t, ta-da! HD video for everybody!

5. Expanded ISO. The Mark IV sport an expanded ISO range of 100 – 102,400 (which seems somehow familiar)

Those seem to be the key points, a lot of it is the stock stuff you’d expect from a camera at this price point. It keeps the 3″ 920,000 dot LCD, build, 1/300s EX shutter sync, 100% viewfinder, you get the point. Continuing the trend started with the EOS 7D, Canon’s announced a new wireless file transmitter for this beastie (and one for the 5D Mark II, too), for those of you who dig sending photos straight to a computer.

I shouldn’t have to say Get On Our Wait List Today, but it looks like I just did.



The Voice of Raw, Episode 10

October 19th, 2009 by Derek
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Audiocast Icon (Good)0:22 – Fotorosa

1:12 Nikon D3s

3:37 – Sandisk Extreme, Extreme Pro

5:23 – Nikon AF-S 85mm DX Macro

6:24 – Lensbaby Props

7:00 – Facebook Fan Shoutouts



Nikon Announces D3s Pro DSLR with 720P Video

October 14th, 2009 by Derek
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Rating: 4.0/5 (1 vote cast)

d3sRight around two years ago Nikon shook up the camera business when it announced it’s first full-frame DSLR, the D3. Focusing on overall image quality and low-light performance instead of the then-popular (well, more so than now anyway) megapixel race, the D3 came out with a higher megapixel count then previous models, but nowhere near the count Canon and Sony were gearing towards. And it paid off, Nikon carved out a strong following of people who loved the low-light performance and the amazing speed the D3 offered.

Now, in 2009 Nikon is taking a less revolutionary tack, opting to revise and improve the already highly critically reviewed D3 with the new D3s. Introducing some reported tweaks to a new 12.1 megapixel sensor, sporting a boosted ISO range fro 100 to 102,400, a 720p HD video mode, and an increased buffer (now holding 48 raw files vs 18 in the D3), the D3s doesn’t tweak much else. The body design, LCD, and most of the specs remain as they were. But, put it to yourself, with how solid the D3 was at what it aimed to do, what else could you ask for but some intelligent revisions to an already stellar camera?