Action camera manufacturer GoPro have just unveiled two new editions to the range of action cameras in the form of the new HD GoPro Hero 3 White, Silver and Black editions action cams.
The new HD GoPro Hero 3 action camera are now half the size of its predecessor Hero 2 and are equipped with built-in Wi-Fi technology. The flagship action cam of the range is the GoPro Hero 3 Black edition, is capable of capturing both 4 K and 2.7 K video resolutions.
“The Wi-Fi enabled HERO3: Black Edition is the most advanced GoPro, ever. No expense was spared during its development, resulting in a GoPro that is 30% smaller, 25% lighter and 2x more powerful than previous models. Wearable and gear mountable, waterproof to 197′ (60m), capable of capturing ultra-wide 1440p 48fps, 1080p 60 fps and 720p 120 fps video and 12MP photos at a rate of 30 photos per second, the HERO3: Black Edition is the world’s most versatile camera. Built-in Wi-Fi, GoPro App compatibility and the included Wi-Fi Remote (normally a separate $79.99 accessory) make the HERO3: Black Edition all the more versatile, still.”
Oh, and if the Hasselblad Lunar isn’t quite rich enough for your blood, why not take a look at the H5D medium format camera? The device looks a good deal like its predecessor, maintaining a similar video camera-esque form factor, with an optical viewfinder that extends from the front of the body to the back, above a larger, brighter, easier-to-read display. You’ll also find a smaller, monochrome display on the top of the camera to the right of the optical viewfinder. The H5D’s also a bit more ruggedized than its predecessor, with improved waterproofing and larger controls — and it certainly does feel like a big, sturdy camera.
As with the Lunar, the version we played with is still in prototype stage and wasn’t quite functioning perfectly, much to the chagrin of the Hasselblad rep. When the camera hits in December (functioning properly, no doubt), it’s going to start at a (perhaps not surprisingly) pricey €13,000 here in Europe, going all the way up to €30,000, depending on whether you opt for the 40-, 50, or 60-megapixel variety — because hey, what’s another €17,000, right?
Leica has its more unique creations, but some of its more affordable cameras are usually upscale parallels to Panasonic models — and that’s undoubtedly true for the newly official (and previously leaked) V-Lux 4 and D-Lux 6, which respectively echo Panasonic’s FZ200 and LX7 shooters. We can’t object too much. That similarity gives the 12-megapixel V-Lux 4 superzoom (seen up top) a 25-600mm equivalent lens with a constant, wide f/2.8 aperture to snap bright images at long distances. The D-Lux 6, meanwhile, combines its large 1.7-inch, also 12-megapixel sensor with a 24-90mm, f/1.4-2.3 lens and that distinctive aperture control ring. What you’re really getting over the Panasonic equivalents is a subtler, all-black Leica color scheme and a copy of Adobe Lightroom 4 to manage the imminent flood of photos. Photographers who don’t mind knowing their luxury cameras’ true roots can swing by Leica dealers in November to buy either design; we don’t yet know prices, but it’s safe to assume that the V-Lux 4 and D-Lux 6 will carry premiums over their more pedestrian equivalents.
Late last month, Canon added yet another model to its Cinema EOS line — the C100 captures 1080p video, rather than the 4K clips enabled with the C500, but it also costs a heck of a lot less, at just shy of eight grand. It also offers some other nifty features, such as a pair of built-in mics and a duo of XLR inputs at the front of the top handle, SD card slots on the rear and a new autofocus button — it’s not a continuous solution, offering only single-shot, but it sure beats not having the feature at all.
The camera is surprisingly lightweight, given its size and capability, and can be held quite comfortably with a single hand, as we did during our hands-on at Photokina earlier today. With a modular design, the camera featured a 3.5-inch 920k-dot LCD in its current configuration, and offers the standard suite of ports, including HDMI output with embedded time code. It also includes an ISO range of 3200 to 20,000, a maximum shutter speed of 1/2000 second and a built-in ND filter. The C100 is expected to hit stores in November for $7,999, but you can take a closer look right now in our gallery below and the hands-on video just past the break.
Canon already outed a pair of superzoom cameras prior to Photokina 2012, but it turns out the company wasn’t done adding to its PowerShot family. First, we have the PowerShot G15, which has a 28 – 140mm wide angle f/1.8 – f/2.8 lens, 12.1 megapixel sensor and Canon’s DIGIC 5 image processor. Its sensor has a max 12,800 ISO, shoots RAW stills and records 1080p video, and you can view your subjects using the optical viewfinder or the 3-inch, 922,000 dot LCD on the back. It replaces the G12 in Canon’s lineup when it goes on sale for $500 this October.
The PowerShot S110 replaces the S100, and like that camera, it’s got a 12.1-megapixel sensor, max 12,800 ISO and an f/2.0 lens. Unlike its predecessor, however, its got a 3-inch, 461,000 dot capacitive touchscreen on the back and ditched GPS in favor of WiFi. That wireless capability lets the S110 pull GPS data for geotagging from Android or iOS devices using Canon’s CameraWindow app and share photos and videos on the web. It does RAW shooting, has a 10fps burst mode and records 1080p 24fps video as well. It’ll come in both black and white versions that run $450 when it goes on sale next month.
Lastly, there’s the PowerShot SX50 HS superzoom camera. It packs a 24-1200mm, f/3.4 – f/6.5 lens and optical image stabilization to ensure clear shots even when using the camera’s full 50x zoom capability. Like the SX40 HS is replaces, it has a hotshoe and a 12.1-megapixel sensor. It has a max 6,400 ISO and like its new PowerShot mates, it has a 10fps burst mode, shoots RAW photos and 1080p video. The SX50 HS can be had in October for $480.
Used to be, to get a full-frame sensor in a Canon camera, you had to shell out big bucks for a pro rig like the 5D Mark III or 1D X. No longer. Canon’s just unveiled its EOS 6D, the smallest, lightest and cheapest full-frame DSLR it’s ever made. Weighing 690g, the 6D is 20 percent lighter than the 5D Mark III, and at $2,099, it’s a full $1,400 less than its heftier stablemate — which also puts it directly in line with Nikon’s recently released full-frame shooter, the D600. In addition to that mammoth sensor, the 6D’s the first EOS camera to have built-in WiFi. When paired with the company’s free iOS and Android apps, you can use your phone to change the 6D’s settings, take and geotag photos using the live remote function, and even transfer those shots to your handset wirelessly.
Medium format camera fans, brace for impact: there’s a new Hasselblad coming. The H5D supercedes the ages-old H4D with a True Focus II system that — we’re told — is both more accurate and immediately confirms its lock. Hasselblad has also reworked the body for a more rough-and-ready feel, giving the H5D bigger controls, an extra-bright viewfinder and better weatherproofing. A new RAW + JPEG capture mode, improved wide-angle-to-macro lens conversion and a fresh 24mm f/4.8 lens have also been added to tempt studio photographers. If all this sounds alluring, H5Ds will be available in 40-, 50- and 60-megapixel versions (plus 50- and 200-megapixel Multi-Shot variants) this December. We likely won’t know the effect on our bank accounts until at least a September 18th media event, but we wouldn’t assume any kind of populist pricing — Hasselblad’s tendency towards five-digit figures may limit any first-hand exposure to a rental.
Here’s something you probably didn’t expect: a compact Sony camera with a full-frame sensor. While Photoprice.ca was uncovering a treasure trove of leaked press shots that include the Alpha A99 and NEX-6, it also came across images of the RX1, whose body looks borderline pocketable yet stuffs in the same kind of sensor (and likely image quality) you’d normally reserve for pro-grade models. Several extra details reveal themselves right from the start. The RX1 is carrying a 35mm, f/2.0 lens with no apparent button to detach the lens — the included glass is probably as good as it’ll get. However, the RX1 is most definitely tuned for experienced shooters, with a toggle for macro focusing as well as dedicated controls for aperture and exposure compensation. We’re also liking that there’s a pop-up flash, a standard hot shoe for accessories and three custom settings on the mode dial. The slip doesn’t include mention of a release date or a price, but talk during the A99 slip mentioned a September 12th unveiling that wouldn’t shock us if it included multiple cameras — and we would be equally unsurprised if the RX1 carried the same high price commonly associated with other full-frame bodies.
We’d been worrying that Pentax would be left out of the flurry of new cameras in the run-up to Photokina. With the new X-5, there’s reason to relax. The new shooter sits at the higher end of the by-the-numbers superzoom crowd, centering most of its energy on a 26x, 22-580mm equivalent lens as well as a backside-illuminated CMOS sensor that should keep the resulting 16-megapixel photos and 1080p videos relatively clean. Most of the effort to stand out from the pack, however slightly, involves previewing pictures rather than capturing them — an electronic viewfinder and a tilting, 3-inch LCD will help perfect those macros and overhead concert shots. The X-5 won’t shake the foundations of personal photography, especially not when it’s using AA batteries for power, but hitting all those right notes at a $280 price could persuade more than a few of us to take the plunge after the September launch.
Digital imaging buffs are certain to experience a whirlwind autumn, but there’s nothing on the books saying that manufacturers need wait for the biennial Photokina expo to roll out new models. Just in time for the back-to-school season, Canon is announcing two new superzoom cams — the SX160 IS will serve as the successor to the SX150, while the SX500 IS is an entirely new camera, set to sit alongside the company’s SX40 HS and SX260 HS point-and-shoots. Both new models include identical 16-megapixel 1/2.3-inch CCD sensors, intelligent image stabilization, a relatively modest ISO range of 100-800 and the ability to capture 720p video at 25 frames-per-second.
As you may have guessed the SX500 IS is the higher-end flavor, offering a 30x, 24-720mm lens with a maximum aperture range of f/3.4-5.8. That model boasts autofocus improvements of 32 percent and decreased shutter lag of 33 percent over the SX40 HS, Canon’s former top model in this category. The SX160 IS, for its part, packs a 16x, 28-448mm f/3.5-5.9 lens and offers 22 percent faster autofocus and 46 percent less shutter lag than the SX150 it replaces. It’s also powered by AA batteries, which some users may find to be an advantage, considering wide availability during trips abroad. Both cameras include 3-inch LCDs — 461k-dot for the SX500 and 230k-dot with the SX160 — and are set to ship in September, with the black SX500 IS priced at $330 and the SX160 IS available for $230, in both red and black.
If your company doesn’t have a camera with WiFi sharing somewhere in your lineup, many will say you’re not even in the photography game. Fujifilm is definitely playing: welcome the FinePix F800EXR, its first camera with wireless sharing as part and parcel of the experience. Its centerpiece is a free Photo Receiver app for Android and iOS devices that will catch as many 30 images at a time from an ad hoc WiFi camera link. The matching (if unceremoniously named) Camera Application can return the gesture by geotagging shots as well as finding existing photos on the map. Fujifilm will even pre-Instagram the photos through six new on-camera filters for those who can’t stand posting images online without at least some Lomo or tilt-shift effects thrown in.
As for the actual camera part of the camera, Fujifilm is keeping afloat in the competitive waters with a 16-megapixel, CMOS-based EXR sensor that can widen the dynamic range or lower the noise if sheer resolution isn’t all that vital. An equally noteworthy 20x (25-500mm equivalent) lens out in front will zoom in a lot closer than any phone camera — well, most of them. We’re otherwise looking at the technology we’d expect in a point-and-shoot of this class, such as full-resolution burst shooting at up to eight frames per second, 1080p video and a RAW mode for image quality sticklers. Stores should have the F800EXR in August for about $350, or about as much as the Galaxy Nexus that just might serve as its companion.
There have been plenty of false alarms in recent months, but Canon’s first mirrorless interchangeable lens camera (ILC) is finally here — in fact, we’re holding it in our hands. The EOS M is clearly reminiscent of a point-and-shoot, such as the company’s high-end PowerShot S100. Sure, Canon could have added some of the dedicated controls that its professional user base would demand, but photojournalists aren’t the target here, for a few reasons. Canon’s primary motivation, at least from an official perspective, was to create a camera that serves to bridge the gap between pocketable compacts and full-size DSLRs with a simple user interface designed to educate, not intimidate. Also key, however, was avoiding cannibalization of the company’s low-end and mid-range Digital SLR models, which clearly still have a place in the lineup one tier above this ILC.
We’ve been generally unimpressed with the latest round of basic point-and-shoots, including those from Samsung’s mid-range Smart series, but we do tend to take heed whenever a manufacturer opts to focus on optics rather than bumping up the megapixel count to boost sticker appeal. Compared to sub-$200 shooters, there’s a fairly limited market for $549 pocketable models — a price point that often prompts would-be owners to dig beyond superficial specs in search of full manual control, solid high-ISO performance, fast focusing and a lens that enables both low-light shooting and shallow depth of field. Samsung’s EX2F appears to fit the bill, offering a 12.4-megapixel 1/1.7-inch CMOS sensor, a top extended ISO setting of 12,800, a 3-inch VGA-res AMOLED display and — the crown jewel — an f/1.4-2.7, 24-79mm lens. That optic delivers an additional one 2/3 stop of sensitivity over the EX2F’s predecessor, the two-year-old TL500. Other advantages include a lighter magnesium alloy body, an NX power pin-enabled hot shoe for adding an external mic or flash, and a new micro-USB trigger cable.
Samsung’s been flaunting its WiFi-equipped Smart cameras throughout the last year, but with a generally significant tradeoff in image quality, we haven’t been terribly impressed. The EX2F, however, is a model we’re finally eager to get our hands on. This 12.4-megapixel CMOS shooter packs an f/1.4-2.7 lens — quite a feat for any point-and-shoot — along with a full-size hot shoe, dual image stabilization, a top ISO setting of 12,800 (extended), a 24-79mm 3.3x lens and a 3-inch swivel VGA-resolution AMOLED display. That’s in addition to the full manual shooting mode, RAW option, 1080/30p HD video capture and the standard plethora of WiFi options, including Remote Viewfinder and Auto Backup. Accessory add-ons include an optical viewfinder, external mic and a secondary flash (a smaller pop-up model is built-in, and retracts when not in use). There’s no hint of pricing or availability, but with that industry-leading f/1.4 lens, pro-level features and AMOLED display, we’re certain that the EX2F won’t come cheap. Full PR is after the break.
Update: It appears that the EX2F includes a 1/1.7-inch sensor, compared to the significantly larger 1-inch sensor on the Sony RX100. Samsung has also confirmed that the camera will be priced at $549, and is scheduled to hit stores in August.
We can count on one hand the number of times a waterproof camera was the only suitable option for any given photo shoot, but drizzle and even flash monsoons can strike at any moment, especially in some locales. Most clothing and other analog gear can survive such attacks of mother nature nearly unscathed, but smartphones and cameras are another story altogether — unless they’re coated in head-to-toe weather sealing, of course. Pentax may not be a top player in any digital imaging category, but the company does have a few serious DSLR contenders, and should be taken seriously for anyone in the market for a new ILC. The manufacturer’s latest swappable-lens model, the K-30, is quite a respectable beast, and a fairly solid value at $900 with an 18-55mm kit lens. Beneath that steel and polycarbonate black housing there’s a 16.3-megapixel APS-C sensor with shift-based stabilization, a 100-percent FOV optical viewfinder, a color-adjustable 921k-dot 3-inch LCD and a bevy of manual control options, for stills and video alike.
Canon touts EOS Rebel T4i with improved video focusing system, EF-S 18-135mm and EF 40mm silent lenses (hands-on)
There wasn’t much reason to upgrade with last year’s T3i, but that’s certainly not the case with the Canon EOS Rebel T4i. This new entry-level DSLR packs a redesigned 18-megapixel APS-C CMOS sensor with brand-new focus capabilities, enabling the camera to use both phase- and contrast-detection autofocus when paired with one of two new STM lenses. The center portion of the sensor uses traditional phase-detection technology, while points nearer to the perimeter aid by recognizing contrast in a scene, enabling a more accurate autofocus technique for both stills and video shooting. On the video front, the new lenses — an EF-S 18-135mm f/3.5-5.6 IS STM for $550 or the EF 40mm f/2.8 STM “pancake” for $200 — allow for much more silent zoom and focusing during video capture, so you don’t need to worry about those sensitive stereo mics picking up mechanical noise. The camera still did a bit of focus hunting while recording video during our hands-on, but autofocus performance was quite impressive while capturing stills, even in low light.
Nikon ha ufficializzato il prezzo dei quattro kit con il quale commercializzerà quanto prima in Italia la nuova reflex “entry-level” D3200 che, ricordiamo, sarà equipaggiata con un sensore CMOS in formato APS-C da 24.2 megapixel. La nuova arrivata segna un deciso passo avanti rispetto al predecessore D3100, con l’adozione di soluzioni apprezzate come l’ingresso per il microfono esterno, ampio display da 3″, scatti continui fino a 4fps, sistema di autofocus a 11 punti, processore EXPEED 3 e adattatore per la connessione wireless con altri dispositivi. Ovviamente è presente la modalità liveview e la registrazione video è garantita in full HD a 1920 x 1080 e 30/25/24p.
Photojojo has this week added a new camera remote to their range of products called the ioShutter. Which has been designed to transform your iPhone or iOS device into an advanced remote shutter remote.
The ioShutter camera shutter remote consists of a cord and iOS application, allowing you to control your DSLR camera shutter directly from your iPhone, iPad, or iPod Touch.
Once setup ioShutter provides you with 6 modes to choose from including: standard trigger, motion trigger, sound trigger, time-lapse, timer, and bulb.
“The sound trigger fires your camera by sound, even when you’re across the room. Cram your friends together and make some noise! Or snap the money shot with a huge, “SURPRIIIISE!!”
Boogie down with the motion trigger for hilariously fun pics. Catch Fido sneaking onto the couch. Or dance, jump and mosh in your living room to get candid photos of your pals having a blast.
You’ll find making time-lapses is extra easy since the ioShutter app uses a bright, fumble-free iPhone touch-screen interface. Just set what intervals you want your future masterpiece to be shot at, and let it do its magic.”
ioShutter system is now available to purchase from the Photojojo online store for $70.
ADATA has announced the launch of two new Premier Pro memory cards for cameras and other devices. The new Premiere Pro cards are available in SDHC and SDXC styles and both use UHS-I specifications for impressive performance.
Memory cards are capable of read speeds of up to 95 MB per second and write speeds of up to 45 MB per second. The cards come in storage capacities of 16 GB, 32 GB, and 64 GB. The fast read speeds combined with high storage capacities should make the scourge particularly good for photography with cameras supporting high-resolution and fast burst shooting.
The memory cards also have data protection features such as being x-ray proof and having resistance to extreme temperatures. The memory cards also have error correcting code support to ensure the data doesn’t get corrupted. Pricing and availability are unknown.
A new contender has entered the action camera market this week, with the announcement from Ion Worldwide thats its launched its new action camera called the Ion Air Pro, which we first featured back last month.
The Ion Air Pro is lighter than the Hero2 action cam, and is waterproof to 30ft without the need for additional casings. Its also been designed to provide easy media synchronisation over Wi-Fi.
Other features on the new Ion Air Pro action camera include a waterproof microphone, and even the ability to flip the video picture if it ends up shooting upside down. The Ion Air Pro camera is available in three different packages depending on your needs.
The first is the bare Ion Air Pro for $230. With the Ion Air Pro Plus for $290 offering CamLock bike and helmet attachments. While the Ion Air Pro Wi-Fi provides a Wi-Fi Podz, and can synchronise with Ion Air’s iOS application.