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.
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.
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.
When we first heard about the Kickstarter-funded Triggertrap, it was a nice but nichey lab instrument of a device that could fire your DSLR with diverse stimuli, like lights or ringing phones. It wasn’t the first photo-tripping idea we’d seen, but at least it could be had for a fair sum ($75.00) and be used out of the box. But now, by connecting that tech to an app and charging $19.98 for both the software and hardware, Triggertrap might open up remote snapping to a lot more folks.
Running off any iPhone, iPad or iPod using iOS 5, the app uses a dongle which can be connected by cable or infrared to most DSLRs or advanced compacts. From there, you’ll be able to use all of your iDevice’s sensors as triggers, from motion through to facial recognition and even GPS. The app doesn’t just fire the shutter, either — it also gives you control over the focus and flash. And if you don’t have a separate camera, the iPhone’s built-in cam can be used instead — which would save you from buying the $9.99 dongle, if you have the necessary accoutrements. So if you’ve been wondering how to get those hard-to-shoot images, or have more nefarious ideas, check the videos after the break.
Mamiya Leaf today introduced a newly designed medium format digital camera back platform – the Leaf Credo. Available in three different models, the Leaf Credo 80, Credo 60, and Credo 40 digital camera backs feature sensors with 80, 60 and 40 megapixels of resolution, respectively. The flagship of the Leaf Credo platform is a 53.7 x 40.4 mm 80-megapixel CCD imager with a dynamic range of 12.5 f-stops. New to Mamiya Leaf is a similarly sized 60MP CCD sensor with 3:4 aspect ratio providing great detail, colour and tonality as well as low noise. Also available is a smaller 40MP CCD sensor which offers the fastest capture speed in the Leaf Credo platform at 1.2 frames per second. All Leaf Credo backs come with a large, high-resolution multi-touch screen with 16 million colours, a fast dual-core processing unit and a new, intuitive graphical user interface. Pricing for the Leaf Credo 40 starts at 14,995/$19,495. The Leaf Credo 60 is listed at 24,995/$32,495 and the Leaf Credo 80 for 29,995/$38,995. Shipping is planned for June.
What if all the answers to the universe resided in the stars? What if your real home was in space? What if you had a camera engineered specifically to capture the beauty of the night sky? You do. Canon has just outed the proper successor to the EOS 20Da, with the 60Da “catering to astronomers and hobbyists” who’d rather spend their clicks on galaxies than flowers and Earthlings. According to Canon, there’s a “modified infrared filter and a low-noise sensor with heightened hydrogen-alpha sensitivity” — something that presumably means the world to astronomers. In more understandable terms, it’s packing an 18-megapixel CMOS sensor (APS-C), a 3-inch Clear View LCD (you know, the flip-out kind), a nine-point autofocus system and TV-out support. The Silent Shooting feature that we already praised on the EOS 5D Mark III is here as well, as is a native ISO ceiling of 6,400 and an expandable range that reaches 12,800. Canon also throws in its RA-E3 remote controller adapter — a vital accessory for those looking to shoot timed exposures greater than 30 seconds — as well as an AC adapter kit for those all-night sessions. It’ll hit select dealers later this month for $1,499, and no, this is not a joke.
Remember when we were in a tizzy about the Nikon D4, way back in January? We got to play with this tank of a DSLR a bit, but sadly weren’t permitted to actually publish any of the photos or video that we shot with the thing. Sure, we’ve seen some samples of it in action, but it’s not quite the same. Thankfully, the company made our late-February that much better, allowing us to take the D4 on a jaunt around the city, a couple of weeks ahead of its mid-March launch. We strolled around Washington Square Park and 6th avenue, with the beast of a camera in-hand, shooting tourists and scenery, before popping by a subway station to have a go with the camera’s purported excellent low-light capabilities that we’ve been hearing so much about. Click on through to take a look at some sample video.
Japanese camera manufacturer Olympus has just introduced the successor to its SZ-30MR compact shooter. The new snapper not only sees a minimal increment on its stage name, SZ-31MR, but it also keeps the same 16-megapixel backlit sensor as its predecessor, as well as an identical 24x (25-600mm) optical zoom. Though, the newcomer does get a fresh image processor, making the jump from a TruePic III to a TruePic V, thus bringing along better low-light performance, scene enhancements and keeping high-quality shots while using the zoom feature. Amongst other traits, the device is packing a 3-inch (920,000-dot) LCD, 6400 ISO and 1080p video capture at 30fps. Olympus is also implementing a new technology dubbed iHS (Intelligent, High-Sensitivity and High-Speed), which the company claims will produce sharper and more vivid images. All this can be yours for a mere $399 this April when it’s released, but if you want to know more before parting with that cash, check the pic gallery below and the PR after the break.
Olympus has embraced the camera designs of yesteryear for several generations, from its first Micro Four Thirds models to last year’s E-P3. But now the Japanese camera maker is stepping up its retro game, announcing a brand new line of Micro Four Thirds cams. Meet the OM-D. A dramatic departure from the more modern-looking PEN cameras, this new line of mirrorless models, specifically the E-M5, in many ways duplicates the design elements of the 1970s-era OM System. The first consumer camera in that SLR lineup, the OM-10, served as clear inspiration for the slightly boxy, black or silver and black magnesium alloy digital model we have today. We were able to spend some time with the Olympus E-M5 before tonight’s announcement, and were very impressed with what we saw. Jump past the break for our impressions and an Olympus-guided video walkthrough, and thumb through the gallery below for a detailed look at the company’s answer to the Fujifilm X-Pro1.
Exactly twelve months after the unveiling of the Optio WG-1 family, Pentax is now introducing the successors to its colorful and ruggedized shooters. And while its macho design hasn’t changed much, the newcomers usher in a host of predictable spec bumps. The new all-terrain shooters are sporting a 16-megapixel, back-illuminated CMOS sensor, 1080p (30fps) movie mode, micro-HDMI for when you feel like sharing your adventures and a 3-inch, 460,000 -dot LCD to help you frame your shots. Of course, this wouldn’t fall under the rugged category if it couldn’t handle anything you threw at it, which is why any WG-2 is waterproof up to 40 feet, shock-resistant and dustproof. If you’re thinking about taking one of these on the trails with you, be ready to unleash around $350 for the unguided model or about $50 more for a GPS-enabled number. Neither will be available until March, so you’ll have to wait a while, but in the meantime we’ve got the full PR below along with some press shots.
Alongside the new additions to Canon’s A-Series of digital cameras, the company is also giving more demanding consumers a similar outpouring of love with four additional shooters in the PowerShot family, which sport a diverse array of features such as WiFi connectivity, 20x optical zoom and rugged designs. Leading the charge for the ELPH lineup is the 530 HS. Along with the 320 HS, it features the ability to wirelessly upload images to Canon’s online portal, where users may then post their latest captures to Facebook, Twitter and YouTube. The ELPH 530 HS features a 12x optical zoom lens paired with a 10 megapixel sensor and is expected to retail for $349 in April. Meanwhile, the 320 HS delivers a 5x optical zoom lens and a 16.1 megapixel sensor. It’ll carry a $280 price tag and is set to hit stores in March. Both ELPH models feature Canon’s DIGIC 5 image processor, capture 1080p video and include a 3.2-inch LCD touchscreen.
Those who roll Rear Window style may want to check out Canon’s new SX260 HS, which packs a 25mm wide-angle lens that boasts up to 20x optical zoom. Like the latest ELPH’s, it also offers the DIGIC 5 processor and captures 1080p video. Unique to the SX260 HS, it features GPS for location tagging and a burst shooting mode that captures a continuous 10.3 frames per second. It’ll be available in March for $349 and is set to come in black, green and red finishes. Lastly, the D20 offers up a few ruggedized features for outdoor enthusiasts. It features underwater shooting abilities (including a specific macro mode), and is also said to be shock-proof and freeze-proof — no mention of it tolerating heat, though. The D20 incorporates a 12.1 megapixel sensor, captures 1080p video and features a 5x optical zoom lens. It also offers GPS, but unlike the other cameras here, it uses the DIGIC 4 image processor. If you’re considering the D20 for your next adventure, it’ll be available in May for $349. You’ll discover more about these four additions in the PR, after the break.
Thirty six megapixels. That’s the native resolution of Nikon’s long-awaited FX-format digital SLR. The D800 was designed with all professional photographers in mind, but with 36.3-megapixel captures (yes, that also means 36.3 megapixels in RAW, or 15.4 in DX format), the Japanese camera maker’s latest DSLR output is likely to far exceed the needs of many. It also limits low-light shooting capabilities — the D800 is a full-frame camera, but even so, with a standard sensor capturing 36.3 megapixels, its high-ISO performance is unlikely to match the likes of the D4, or Canon’s new 1D X. It’s for this reason that Nikon limited the camera’s top native sensitivity to ISO 6400, or 25,600 in Hi2 extended mode. Want to see more? Thumb through the gallery below and jump past the break for a closer look at the latest full-frame DSLR to hit the market.
Remember the NEX-7? Ever since a days-long shooting session back in September, Sony’s prized mirrorless cam has eluded us — and the rest of the world. As you may recall, the flagship Alpha ILC was hit by the Thailand floods, resulting in delay after delay, eventually missing the holiday shopping season entirely before resurfacing late last month. Another week later and our beloved Sony Alpha NEX-7 has finally arrived, ready to take on the streets of New York City. So what exactly is the NEX-7, and why does it cost as much as a mid-range DSLR? First off, the 24.3-megapixel APS-C ILC captures, well, 24.3-megapixel images, offering the highest resolution of any mirrorless model on the market. Its APS-C sensor is identical to the one found in Sony’s A77 DSLR, measuring larger than Micro Four Thirds and on par with most full-size digital SLRs.
If having the ability to capture mural-size images ranks fairly low on your digicam wish list, you may take comfort in some of the NEX-7′s other features, such as its gorgeous and durable magnesium alloy body, built-in XGA OLED electronic viewfinder, 3-inch, 921k-dot articulating LCD and unique tri-navi control interface that enables direct access to key settings adjustments, including both aperture and shutter speed in manual mode. There’s also 1080/60p HD movie capture with full manual control and microphone input support, a 10 frames-per-second continuous shooting mode (with exposure and focus locked) and a BIONZ image processor that’s capable of delivering low-noise images all the way through ISO 16,000. These features combine to make the NEX-7 one of the most powerful mirrorless cameras to date, but are they enough to justify the $1,200 body-only price tag? Join us past the break to find out.
Point-and-shoot refreshes may not get you all hot and bothered like some new, networked DSLRs might, but Nikon’s doing its best to reinvigorate the category. Announced today, the new line of Coolpix digital cameras crams an assortment of dedicated features — Intelligent Auto, ultra-zoom and ruggedization — into a spread of budget-friendly, 720p HD-capable offerings. The leader of this updated bunch, the L810, combines a 26x (22.5mm-585mm) lens, 19 exposure settings and a 3-inch LCD screen with VR image stabilization for users who want to get up close and personal without compromising detail. While the bar-lowering L26 makes the art of imaging a bit simpler and removes that pesky need for photographic know-how, capturing pictures using a 5x Zoom-NIKKOR lens in tandem with its array of automatically-selected scene modes. And for the accident prone amongst you amateur Ansel Adamses, the company’s S30 packs a 10.1MP sensor and 3x wide angle lens into a drop-resistant, waterproof shell. These three digital imaging amigos are available starting this February in an assortment of colors, with the L810 retailing for $280 and its category siblings pegged for $120 each. Head on past the break to peruse the official presser and get the lowdown on the extended feature set.
Those of you seeking a more-pocketable P-series may want to consider the Coolpix P310, which offers the same 16.1 megapixel BSI CMOS sensor, a 921k-pixel 3-inch LCD, a native sensitivity range of ISO 100-3200 (Hi1 of ISO 6400) and a 4.2x 24-100mm f/1.8 (maximum) optically stabilized zoom lens. As Nikon’s high-end pocketable model, the P310 offers advanced exposure modes, including program, shutter- and aperture-priority, along with a full manual mode. There’s also 1080/30p video capture with stereo sound and in-camera editing. Both cameras will be available in February, with the Coolpix P510 shipping in black and red for $430 and the black-only P310 running you $330. Oh, and don’t forget about that plenary P-PR past the break.
We’ve seen Panasonic’s 2012 lineup of ruggedized and entry-level point-and-shoot cameras, but now the Japanese-based manufacturer is unleashing a pair of compact “Traveler Zoom” cams to the 2012 mix. The Lumix DMC-ZS20 and ZS15 include 20x (24-480mm) and 16x (24-384mm) optically stabilized zoom lenses, respectively, 3-inch 460k-pixel LCDs, 1/2.3-inch High Sensitivity MOS sensors and a 10 fps burst shooting mode (5 fps with continuous AF). The higher-end ZS20 features a 14.1 megapixel sensor and 1080/60p video shooting while the ZS15 captures 12.1 megapixel stills and 1080/60i HD clips. Both cameras include 0.1-second “Light Speed Autofocus” and top sensitivity levels of ISO 3200, though you’ll need to opt for the ZS20 to take advantage of GPS with map logging and a noise-canceling stereo mic. The pair will ship in March, with a black, red, white or silver ZS20 running you $350, compared with a $280 price tag on the black or silver ZS15. As always, you’ll find the full PR after the break.
There comes a time when you must clear out the old and make way for the new, and that’s exactly what Nikon has in store for its D300s and D700 shooters. According to Electronista, the Japanese camera giant added both of its aforementioned DSLRs to the “old products” section on its motherland site. Given how often we see products get refreshed, it shouldn’t come as a huge surprise — especially when we’ve seen the D700′s expected successor hanging out in the wild many times before. Keep in mind that Nikon recently took the wraps off its D4, so perhaps it’s just a good ol’ sign the new more-compact flavors are looming just around the corner. Needless to say, we’ll let you know as soon as it happens.
After getting our eager mitts on Nikon’s long overdue D3 successor, aptly named the D4, we got a second chance to revisit our fat-bodied, photo-taking friend at the company’s CES booth. The 16.2MP DSLR features a 3.2-inch LCD screen and is capable of 1080p video capture at 30fps. But that’s not why we went back for more and it’s not why you’re reading this right now. We were keen to put the D4′s big, bad networking capabilities to the test — one of which links an array of up to ten of the cameras together for simultaneous, remote shooting over WiFi. Unfortunately, this feature requires use of the TW-5A wireless dongle, which is still awaiting FCC certification and could not be demonstrated. Neither could the imaging company show off the one-to-one connection that allows an auxiliary camera to be controlled from a primary unit. We did get to briefly interact with the camera’s native web server running on a laptop, from which you can snap shots, toggle settings (like ISO and shutter speed), playback and download your recordings. You can catch a peek of the interface and an extra look at this sought after shooter after the break.