WhyCanon's rivals should fear this DSLR

D300SDSlR OVE8£2000!

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elcome ••• to the May issue of Britain's favourite guide to digital cameras and accessories, and how to use them. This month we test Canon's new EOS 550D and discover that its really rather good! Also on the testing bench are the impressive Sony Alpha 450 and Olympus E-PL 1, along with a quartet of superzoom compacts that are perfect for taking on holiday,

Top portrait photographer Trevor Yerbury shows just what can be achieved with one camera, one lens and a feel for natural light, while Jeremy Walker explains why no landscape photographer should be without at least one Neutral Density filter in their bag, See you next month!

Nigel Atherton n i gel_at herton@ipcmedia.com

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WHAT I DIGITALCAMERA

CONTENTS MAY 2OfO • ISSUE 161

IN THE ISSUE 06 OPENING SHOT

An in'Pirational image of Rannoch Moor in Scotland, <:aptured by Jeremy Walker

08 UVEVlEW Adobe's new Creative Suite. Pentax hatches new medium form .. t pl'lns. plus much more

15 YOURVlEW Got a \Irong opinion on one of the burning issues of the day? Here's where to share it ..

17 OURVIEW _ .and here's where we'll be getting a few thing, off Ou r chest too. Repl ie'< welcome!

130 , . :! II( I) 3:. 1'43 ·1 COMP£TmON! Win a Nikon D300s package worth £1,5OO!

PHOTO TECHNIQUE 19 NUPOCrA

Your camera-buying quffiiom and technical queries arnwered by our experts

14 PROfILE: TREVOR YERBURY The top portrait photogr;,pher sho""5 what c;,n be achieved with minim;,1 equipment

30 MY DIGITAL CAMERA Two more of our reade .... .how off their exce llent portfoliO'S

J.It C· j:": ! J'N'j ~ i l GUIDE TO: NDRLnRS Top pro JeremyW;, lker explains why you need NO tilte .... and how to use them

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WHAT I DIGITALCAMERA

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38 ,.):I, :!130 1'j;;! M£T£RING We explain the various types and which you Vlould use for different KenariO'l

.lt2 (' ) :'I:t(·(oi'j ; i l ~ZlNG Pholoshop E~ments: Resizing your images for web and email

4ft EVENING ClASS PhOt05hop guru Martin Evening .. s ...... ses more of your photogr;,ph, and offers his expert advice on how to give your images more imp<KI

EQUIPMENTTESTS 51 C.::I, DJ3·i'{ i jICANONE0555OD

The new ED'i in Canon's stable boast, ISMP and some excel lent features, How does it fare?

58 SONY ALPHA 450 AI ,u\).(500. tile Sony A4SO looks like a barg<lin. We put it through its PiKes

66 Coj:I, DJ 3· i'{i jl FOUR-WAY GRQUP T£ST: .oX ZOOM COMPACTS Superzoom creative compact! priced bf'llWen £250 and £350: the (anon SX210 IS, Nikon SSOOO, Panasonk TZ-,O, and Sony HX5. Which is the best?

12 tol: I,: J,!or.l ;;l OLYMPUSE-PU With high.end features, this mlall Micro Four Thirds model is certol inly tempting

T7 RlCOHCX3 With HO video c.lpture. what else does this \OM~ lOx zoom compact haVf' to offer?

79 tlKONUIO How does this 28-42{)'nm su~rzoom ~rform?

79 CASIO EX·ns Stylish. slim compact offering IOMP

79 OLYMPUS MJU 9OtO Impressive spec indudes a 28-28Omm zoom

~ GEARED UP! Apple A~rture 3 software. the MiFi. Sennheiser MK£ 400 miaophone, Manlrotto 530 vid~o tripod head, and more gadgets reviewed

86 LENS GROUP TEST:

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BUYER'S GUIDE 105 OSL.

Every current DSLR tested and rated

110 COMPACTS Choosing a compact? Stop here first

116 UNSES All lenses listed, with scores, prices and advice

120 F'LASN / TRIPODS Al l the variables for choosing a flashgun and tripod

122 BAGS / STORAG£ Backpacks, shoulder bags, and storage options

124 PftINTERS / MULT1R1NCT1ONALS / SCANNERS from printers to all";n·ones: output opt iorfs sorted

126 50nWARE Your comprehensive guide to photo software

PHONE WRITE

wdc@ipcmedia.com Whatdigitalcamera.com 0203 1484797 What Digital Camera, Blue fin Building, 110 Southwark Street, London SE1 OSU

- - _._- ~ - .. Rannoch Moor By Jeremy Walker Taken at SUlYIle in wint!'!; thiuOOI i7,' JereflT)'WalkeI sIlows jusl I'dIaI IS ~ with NO like"- Ftw a fcjl maslfldasl hom

1----~""=~="""""= IlI'n to p34.

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This Month ••• Adobe steals the headlines wit h the new Creative Suite, while Pentax hatches its medium format plans ...

ADOBE PHOTOSHOP CSS PART OF NEW CREA11VE SUITE Mobe announced the latest YefSlOfl of rts image and video editing behemoth CreatM! SUite. mduellng Photoshop (55. The latest verSIOn of Photoshop features a host of new features. and looks set to remain at the top of the unage-edltlng tree.

Amoog the new features IS the HOR Pro module. Improvmg upon the previous HDR image productlOf1 process, HDR Pro offers more control over the HDR merging process as v.tell as further control over the mapping of tones In an Image and the style of output. The HDR Pro module also offers eKtended controls WIth an enhanced dialogue bol( as well as new algorithms to help reduce ghosting.

One of the real standout new fea tures In

Photoshop (55 IS Content-Aware Fill. Working alongside the spot healing brush, or as an option in the fill feature, Content-Aware Fi ll takes into account the structure and detail of image elements, promismg 'near-invisible' results when removing unwanted objects.

Other Improvements to the software Include a nE.W

Raw image processing engine, reahstH: pamtJng and brushes, automated lens correctIOn and Improved black-and-white conversion through the lab.

As mentioned. Photoshop (S5 forms part of the wider CreatIVe SUite, With nE.W vefSI()I1S of Premier. Bridge, InDesign. Illustrator, Flash and much more. Pholoshop is eKpected 10 be available In the neKt fe\\' months and will be available In two verslOOS

(normal and extended), as well as part of multiple Creative Suite Collection packages.

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ADOBE LlGHTROOM3 PUBUC BETA 2 AVAILABLE Adobe has announced the immediate availability of Its Lightroom 3 public beta update. The beta, downloaded by some 350,000 photographers to date, IS currently a labs release, and as such is subJect. to constant improvement and feedback.

Lightroom 3 beta 2 offers Improvements according to this feedback, and new features include tethered shoot ing support for a fange of Nikon and Canon cameras, the ability to im!X)rt and manage video files from a DSlR, and improved speed. Luminance nose reduction has also been add ed to the colour nOise reductIOn options. To download Adobe Photoshop lightroom 3 beta 2, visrt the Lightroom page on Adobe Labs.

WACOM CINTIQ21UX INmlAC1IVE 21IN DISPLAY Wacom has introduced the newly redesigned Clntiq 21 UX interactIVe display. The device features a range of fl{W and improved functionality - rt features 2,048 levels of pressure sensitivity for better pen performance, and also has t'NO 1"I€\N Touch StriPS for quid:: access to pre-determmed controls,

As WIth other WitCom devK:es, the Cmtlq 21 UX features eight ExpressKeys located either side of the display which allow quick access to commonly used features, thus improving the workflow. The 21m display comes complete wnh patented stand, allCMting the stand to reclme between 10" and 65°, whHe it can also be rotated around 1800

The ( intiq 21 UX w ill hit stores from late March J early April, priced £1,799.90. For more information, visit Wacom online.

PENTAX 645D MEDIUM FORMAT CURR£NTLYJAPANHONLY Pentax had one of the biggest stones of the month as It announced ItS foray into the world of medlum·format cameras. The new 6450 features a 6:45 ratio medium format sensor (larger than a full frame 35mm sensor) designed by Kodak. With a studio-friendly 40 milhon pl~els. The camera also features Pentax's Real Image Engine processing, a 14·blt AID converter, and a new SAFOX IX+ II point autofocus system.

The lens mount appears to be the same original 645 mount that featured on previous film medium format cameras, therefore allowing compatibil ity With older lenses. though Pentax has also launched a new O·FA lens to accompany the new body. This IS a 55mm f12.8

(43.5mm in 3Smm equivalent) dust~ proofed and weatherproofed to match the camera, and features Pentax's first fully rounded diaphragm.

The 6450 is currently only bemg launched in Japan from May, with no Indication so far as to If or when ft will be arriving on our shores. Prices are expected to be around 850,000 Yen (around £6,315) for the camera and 100,000 Yen (around (745) for the lens.

The Pentax fi lm 645 cameras have been used and adored by many professional fashion and portrait photographers in the past and no doubt Pentax will be hoping to tempt these lapsed or film Pentax users back. into their new digital verSion.

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THINK TANK BAG LOGISTICS MANAGER Think Tank Photo has announced Its latest gear-canymg solutIOn. The logIStICS Manager IS the manufacturer's first roiling equipment case for lighting and photographic gear, and IS

specified to shoulder the burden wrth ease. The LogIStICS Manager features endless

interior layout optlOflS, SO it's adaptable for a

•

NERO SOFTWARE MULTIMEDIA sum 10 Nero has announced the latest version of the PC -001)' Mutilmedl3 Suite 10, which offers users the ability to import. edit and export files from a wide variety of sources. This incarnatIOn also features a radically overhauled interface and WindO\oVS 7-specific features. The StartSmart utility simplifies the language, giving users five options of hcr.v to get started. By basing these choices w ithin the likes of Video and Photo and MusIC. the beginner should know immediately where to cl ick. There's also a powerful media player, which holds several edit ing tools for both photo and video. The files can then be organised into a slideshow and e)(ported to a number of devices, including to Blu-Ray disc. Windows 7 supports the likes of enhanced toolbar playback funct fons, which di5play the album art and current track when the program is minimised while playing music. Nero MultllTl('(jla Suite lOIS available now for £59. More InformatlOrllS at www.nero.co.uk

range of equipment configuratlOf'lS, ....mIle Its large size means vast quantities of gear can be easily transported.

When transporting large amounts of elq)ensive gear around, secUrity IS ImperatIVe, and as such the logiStICs Manager offers a three-tier security solution. A TSA combinatIOn lock features to secure the main Zipper, a security cable and combination Jock are on the rear to secure the bag to an immovable object while an ID plate allQIAIS lost gear to be identified and returned to the owner.

Various other features are In place to make the bag user-friendly - an extendable handle allQINS easy transport, at tachment points feature on either side for tripods and stands, and a stretchable lower outer pocket is present for storage.

The logistics Manager is available nQIN for a list price of S599 (£400). For more information and a full specificatlOl1, viSit www.thinktankphoto.com

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BOSTON BIG PICTURE WWW.BOSTON.COM/BIGPICTURE The internet is a fanl~tic resell.nce for photographer\ hartxluring evelYfhing from buying advice to tedmical expertise. Or.e of its best uses. however, is as a place from....-hid! yaJ tan be impired. Endless galleries s~ just what's possible with a ame!"a, and one of the very best is The Sig Picture blog on Boston.com.

The Sig PictlJ"e is pan of the Boston Globe website, run I:rt website dewIoper Alan Ta)b.1he bIog !¢ates every Monday, Wednesday and Friday. Taylor cites his inspiration for the bIog as being publicatioos 01 old v.tlere the focus was 00 high.quality, amazing imagerv, with a subjea mane!" locus on 'aJITent events, Iesser­known stories and Just about anytl¥l"(j that rolTleS across the wire that looks really interesting'.

Companies such as the AP, RPlIte!"s and Getty Images - under license to the Bostoo Globe - supply images. with other images also from public domain sources and private photographers.

The subject maner can at times be tough viewing ­a gallery of more than 50 images from the Haiti earthqua~e now has numerous missing images. no doubt removed after complaints. However. more often than not it's a one-stop website to vif!w stunning images from some of the world's best pIlotographer\ and well wortl"tj of a OOokmal1:..

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EVE-FI Xl FAMIL V Wl-R ENABLED MEMORY CARDS The next generation of WIreless Wi-Fi enabled memory cards have been announced, (ourtesy of Eye-Fi, The new range, labelled the X2 series, offer 'faster­than-ever' upload and download speeds, according to Eye-Fi.

Incorporated into the range is the Connect Xl, offering a 4GB capacity and automatic upload to a range of online­sharing sites. The Explore X2 offers much the same, but w ith an 8GB capacity. Completing the range is the Pro X2, a card with an 8GB capacity and the ability to

WWW.WI-IAlOIGiTALCAMERA.COM

upload either JPEG or Raw files. All the new cards offer class 6 802.11 n Wi-Fi performance. meaning images can be uploaded faster than in previous incarnations.

11

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Canon Take more than pictures. Take stories.

WOC IN FOCUS Lesley Banks I stopped by your stand at Focus On Imaging, and your team were so helpful in giving me advice on my prospective purchase of a nEW camera. I even managed to buy it at a favourable price from one of the vendors at the show. Having had it for a week, I'm delighted with it

Th is was my first Focus and I thoroughly enjoyed it. I was surprised by hooN busy it was, considering there's a recession on. I can only assume that people's passions are the las! things to be cut back on when economies must be made. As for myself. I was spending my redundancy money!

IN PRAISE OF PAUL "OOChiggsOO"

Regarding your Sony A850 preview video, in which you inlerviE"lNed Sony's Paul Genge. I met Mr Genge at Focus 2010. 1 had just purchased an A850 and although he was busy at the show he took time out to give me advice and tips, and congratulate me on my choice. He knows the market well, from ne"oMJies right through to pro loggers. He's a lovely guy, very genuine and he know.; his stuff. He believes in his products and this really comes across in his presentations, I'm on my second Sony, havilg slirted with an A200, and believe me the A850 is an awescme camera. The f1fN.I

28-75mm fuji frame lens issuperb

ll1E CRUEL HAND OF FAIT Benjamin l awson Last year I bought a Panasonic 177 to take 00 holiday. During the trip it was accidentally dropped from our balcooy ooto the 1Cl'M1 two flool> bekMr, To my amazement the camera stililNOrk~ periectly. My son was so impressed by this that he bought one for his wife. Last week their daughter knocked it off the arm of the sofa ooto a thick pile carpet and it broke ­the lens no looger retracts back into the body. Was I just lucky or are they unlucky?

Guy Barker There seems to be a lot of people out there, especially 00 in ternet forums, who are rYlO!e interest~ in the technical data associated with cameras than in actually tak ing pictures. They possess an encyclopa~ic knowledge of e-.lery figure in the specificatioos, agonise over microscopic differences in ndse or resolution between cameras and argue m.Jt the merits of ooe type of internal component over another, They aggressively assert ~r opinions that one moot>! is better than its rivals, despite (I'm fairly sure) not having personally used them themselves, and their tribalism toward their favourite brand wouk!n't be out of place on a football terrace,

Yet where are the pictures to back up their sel f-prodaimed expertise? Do they actually use their cameras, or just talk about them) In the few cases that they publish a gallery link, their pictures are almost invariably without any artistic merit.

Magazines such as yours, and websites like dprevi€:w, pander to these people by writing off cameras as second rate f<x the most trivial of flJ'WS that in real-work! use would sek!om be noticed, Pemaps people should spend more time exploring their creative side and less time obsessing about the equipment.

WE SAY Photography is a marriage of art and science so it's no surprise that some people come to it with a technical interest and others as purely as an art form. Like you, I'd happily pick up pretty much any DSLR and be happy with the pictures I got, but many enthusiasts do care that one ,.,oe,. n,'l!' ,h"w .5% chroma noire at ISO 1600 than another, and it's our job to point this out to them.

WE SAY A bit of both, I suspect' Sounds like the camera fell onto its extended lens, whkh is a scenario thilt rarefy has a happy outcome. . Hopefully it will be covered by their; household insurance. I FASHIONABLE CAMERA laura Branson I'm a fan of America's Next Top Model and especially enjoy the photo shoots, Many of the photographel> seem to use the same type of camera but it isn't one that I recognise - it certainly isn't a Canoo or a Nikoo, Wouk! you know wilat it is)

WE SAY As an occasional viewer myself, I'm pretty sure you're refem'ng to the Hasselblad, a medium format SLR. The 'Blad has been a favourite camera in many sectors of the pro market for decades, and is what Neil

;

Armstrong took to the moon. They've gone digital nOV{, of course, and feature a much larger rensor than you get in 35mm style DSLRs, with between 3D and 50 million pixels, depending on the model. Prices start at around £10k.

Would you want to go pro?

~ facebook

WNW.FACEBOOItCOMfNltATDIGITALCAMERA WNW.TWITTER.COMll'tltATDIGCAMERA ~ Join us 011 FacebOO<. and Twitter and get exclusive r.ews a~d updates!

Send your letters to wdc@lpcmedl8comorto iYhatOlgtlillCameramagallfle BI~ FinBUI/dlllK, IIGSouthwark street london, Sfl 8511 -OR VISIt our forums online atwwwwhaidlgltalcameracom/forums

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PENTAX TRIPLE WHAMMY After several years of relatIVely low act:Mtv and nol a huge amount of 1I11lO11ation, Pentax has managed to surpnse me three times In the past c~1e of months with some genulne~ onglnal thlllkir.g.

First, the bad rxw.;. Vv'hile Sony grves us etght different DSLRs. Pentax grves us the same DSLR (the K-x) In eight different colours. I doubt that many BritJ~ hobbytsts have been sitting at home thinking, 'If onty DSLRs came In pink, brown, or tUrqUOISe: I may be IfIII"OI"Ig of course, and we mustn't forget the strange tastes of the Japanese markel, but let's JUst say they're not for me.

an a more positive note, the company's new 1- 1 0 compact g<Ne

me an anack of de~ vu 'Nhen I saw the PICture. because It takes rts design from Pentax's Auto 110 SLR system of Its 19705 heyday. For those too ~ng to remember. It was a tJny SLR that fined in the palm of )<lUr hand (see Image, ab>Je) and took 110 film. There was a range of tlny lenses, a t11'Ty' flash and even a tiny motordnve for rt. It looked like an ActIon Man accessory but was a true functioning SLR. The 110 gained a

cult 10IIOOn9 and stil l has rts own .......ebsite (WVv"N,pentaxl10.co.uk).

For a moment I thought Pentax had pro:luced a digital version and lei! a !TlOIT\eI"Itary rush of exdtement until I discCNefed that the 1- 10 is a fixed-lros point and shoot - albert an eye<atching one. But perhaps Pentax really could produce a proper digital vefSIOfl. After ai, the aver~ digtal sensor is no bigger than 110 film. It could even accept the same lenses and accessories. It 'MXJId go dcmn a stoml, and would make the Moo Four Tl'lIrds system look. JX)SitiveIy gargantuan. Come on Pentax, bbN the coI:J'Nebs off those Auto 110 moulds. - you must have them in a cu~rd~re.

Final~, years after shoMng the prototype of a dfgital version of

its 645 medium format camera, and INhat seems like an etemity of 'wil l they. ""'""01"1'1 they' speculation, Penw: has finalty decided to laurch II (see page 9). Hallelujah!

The new 645D is a 4O-rnegapor.el, 0,(0) beast that ~ fills the gap bel\M:!en the tcp Canon and Nikon DSlRs and HasseIbIad, and as such should find a reactt market The mere fact of the ~ of a pro meditnl format Pentax Wli bestCM' more prestge and credbility on the rest of the I\>ntax r..-ge, wtoch can on~ be a goocIttwlg for them.

The on~ negatM> IS that so far they're on~ Ia\rld"JII"lQ rt Ifl Japan, oot If the camera IS arTf goocI, and 11. prDJeS popular, It wi on~ be a matter of time before 11.

~ these shores - ether offioal~ or thrcugh the back d;x(.

SIGMA

OUR W 0 R L D

liz O. Baylen: Born In 1979. Graduated from Ohio University's School 01 Visual Communications In 2001 and Degan working for The Washington Times. She has covered assignments around tile world and was selected as a finalist for the Pulitzer Prize while with The Washington Times. Most recentty, her Images have appeared In The New Yor1< TImes arid los Angeles Times.

Photo data: SIGMA APO 120-400mm F4.S-S.6 DG as HSM, "2500 second at f5.6.

LIZ O. BAYLEN SHOOTS THE WORLD WITH A SIGMA LENS.

Even landscapes like the Lincoln Memorial can be seen in a playful light.

A dud .. sett le!> on Lhe Il.'nl'C\ing pool in front of Ihe Lincoln Memorial. TIlis amusing mOIllt:nt was

cuplured by a telephoto loom lens thai incorponllcs Sigma's original OS (Optical SlabiliM:r) function .

Sigma has imroUut'Cd IWO new OS lcicLoom1cnscs compat ible wilh digit:11 SLR camcnls. TIlelit' lenses

arc primari ly dCl> igncd for extremc lciephOlo worl bUl re\'callhcir additional strength when taling

close·up ~holS. SLD (Special Low Dispersion) coatL-d g lu;.s eITL"Ctive1y correets chromatic abcrr.lt ion~

lind Super Multi . Layer Coating reduces narc and gho~ting . 1l1(~ USM (Hyper Sonic Motor) provides

silent. respons ive autofocus nelion lLnd full · time manual focus o\crridc.

• oWaitabie lor Sip. canon. Nikcl1, Sony.., I'lrVax 0WIIl!IaS

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Two telephoto zoom lenses incorporating Sigma's origina l Optical Stabiliser function.

SIGMA APO 120-400m F4.S-S.6 DG OS HSM I SIGMA APO lS0-S00m FS-6.3 DG OS HSM UIoioij. .....

E Sigma Imaging (UK) Ltd. 13 Little Mundclls. Welwyn Garden City. Herts . AU I EW. Tel: 01707 329 999 Fax: 01707 327 822 www.sigma-imaging-uk.com E-mail : sales@sigma-imaging-uk.com

Photo Advice For the quickest response, send your pr~ems to our online forum at www.whatdlgltakamera.com/ forums oremailto wdcCipcmedla.cam

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What's tile difference between my metering modes? GEMMA BRACKNEU VIA EMAIL

~ I've finally upgraded my ageing (asia

• l75 and bought a Canon 5000, whim J am really enjoying using. So

far I have set this to evaluative metering, as I am unsure as to the difference between the other spot and partial metering options. Could )OU explain how these differ please?

~ Matt G replies: The two lNOfk on a

l similar principle of metering only a 5fll<J1I proportion of a scene, bur they

differ in the size of the area they meter. Spot metering rovro a comparably smaller area (around 4% in comparison to partiiJl's 9%). and so is better suited when the subject ()(' the midtone of a particular subject ocrupi5 a small percentage of the frame. As partidl metering extends this drefe a little further, it can be used when the subject occupies a little more of the frame and;s set agJinsr a particularly brighter or darker background, which you cJa,n'1 want the GiIffief .. 10 l.iiIke ;'10 coosid!!tam. Outrtxx portraitutP

v.ouId be one ~~01;;"":-;;:~~1.

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Fast zoom required ISlANDOREAM VIA THE woe FORUM

~ I have a Nlkon D300s WIth various lenses, and I

• want to buy a standard fast lens which I can use for weddings, portraits and some landscapes. My

18·200mm has served me well in good light but Isn't

suitable in low-light situations or for portraits. I know the 50mm is a great lens for that but I do want a lens that I am not gOing to continually have to be changing. I have read loads of reviews about the Nikon 17-55mm 112 .8 but can't afford it, so I'm now looking at the Tamron 17-S0mm tn.B Vc. Do you have a View on this lens?

~ Nigel replies: We tested the Tamron 17-50mm

• fl2.B in the last issue against the similar Sigma 17-70mm fl2.8-4. Both lenses turned in

exceptional performances and can be heartify recommended. In the end it comes down to whether you want the constant aperture of the Tamroo or the slighlly longer reach of the Sigma. Also, the Tamron was slightly better than the Sigma at smaller apet1ures while the Sigma was marginally ahead at the wider ones,

LCD SCREEN LOUPES lURHS AN leD SCRIIN INTO A VlIWHNDIft

HOOOlOUPE 3.0 CINEMA KIT lEI The HoodLoope can be worn aroond the ned:. and just used fOf ched:.ing image sharpness, or by using the optional Cinema Kit can be fixed 10 LCD screens up to 3inche for use when shootirg video.

mD The pro choice, this heavy~uty model fealures focusable Schneider optics, a 3x magnification and +1·3 dioptre correction.

lCOVF IlITIJ The LCDVF is a simple device that attaches to your camera's LCD screen via a magletic frame that is fixed to the screen via adhesive (easily remo~eI;ij.

F"lShing for advice CHAR1IE75 V1A tilE woe FORUM

~ I'm looking for a small camera that I can

• use to take self-ponraits when I'm fishing and that has a swivel LCD screen so I can

see and cha:k the pictures before putting the fish down. I have a budget of up to £250.

~ Nigel replies: It seems that swivel LCD

• screens have been quietly disappean'ng from compacts in your pn'ce range and I

can't find anything that has one close to your budget. Some of the chunkier bn'dge-rype cameras such as the Nikon P90 and Sony HXl have swivel sClt?ens but are bigger and cost over £300. Your best bet is the Samsung ST500 or ST550. Although they don't have swivel screens they have a second LCD screen on the front, which VrIOuld suit your purpose. The ST550 has a great 3in touchscreen LCD on the back and would be my pick,

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CAMERA SKIUS Portraits in the home JASON HARPER EMAIL

~ A serviceman friend of mine w ill

• shortly be returning to duty in Afghanistan and has asked me to

take some portraits of him, and of his w ife, in their home. I'm a bit nervous be<ause I want them to be creatively and technically good (so I can put them in my own portfolio), but don't have any studio lighting or backgrounds, just an SB600 Speed light for my Nikon 080, w hich I seldom use. Do you have any advice?

~ Nigel replies: Studio portraits on

• white backgrounds are fine but the fashion these days is for more natura/­

looking portraits in realsunwndings. You can shoot great portraits using just a window as your light source. Shoot with your back to the window, or an open doof; iMth your models faong you, and you'll get a kNely diffused light on them. Set a WIde aperture to blur any

WWW.WHATDtGITALCAMERA.COM

distracting biJckground details. If you need extra illumifl<Jtion bounce your flashgun off a wall to the side of your subjects, but don't use it direct. I'm sure there must be an armchair or sofa you can use as a posing aid. Failing that use a shaggy rug, or the bed as your set, or even use a mirror

EXPERTADVICE

as a prop. You might find that converting your image to mono afterwards gives your shots a more ar1)l look and helps stop any background colours in the room becoming a distraction. The image above was taken at home using fl<Jturalllght with an 8Smm lens set to fl2.8.

Waterproof on a tight budget LAUREN SAINBRJDGE VIA THE FORUM

~ We're going on a beach holiday and want

• a camera we can take snorkelling. But we only have aoout £120 to spend, whICh is

less than any of the waterproof digital cameras that I've seen. Is there anything out there?

~ Nigel replies: Fujifilm has a ve/}'good

l waterproof compact called the Z33wp, which you can buy for around £/20. It's

small, comes in a range of funky colours, and has big chunky buttons which makes it easy to use in water. It's cheaper than its rivals because it isn't a Tough' type camera and doesn't feature their hedl1' duty shock-proof, drop-proof build But it's as rugged as any normal camera and the results are pretty good too.

21

WHAT I DIGITALCAMERA

22

Whyismy lens clicking? DANNY WESTON VIA £MAIL

~ I recently bought a secondhand Canon EF

• 70·200mm lens form Ebay, which I use on ooth my Canon 400 and 50 bodies. I am a litt le concerned

that something may be wrong with it - although my images look fine, when I focus I sometimes hear a cl icking sound coming from the lens, which I've never heard from any of my other lenses. Do you know if this is a common problem with this lens?

B Matt G replies: If your 'ens has image • stabilisation (some of Canon's 70-200mm lenses

are stabmsed, while some aren't). the sound you hear is most likely to be the operation of the image stabilisation system. This uses sensors inside the lens to notice any movement that would otherwise blur an image, which instruct the relevant lens group to shift in order to compensate for this. As this form of image stabilisation is lens-based, you should be able to check whether this is working correctly by looking through the viewfinder as you half-depress the shutter release button; thiS is what effectively unlocks the stabilisation system and puts it into action. If you can't see any difference, or if your particular lens doesn't feature image stabilisation, it will require the manufacturer's attention.

J 111111111

:

SDXC ~ The humble SD card ha5 prevailed as ~ the recording format of choice for most camera manufacturers, though it too has to evolve if it is to keep up with new technology_ The fim generation of SO cards offered capadties up to 2GB, which, given the more modest pixel counts of cameras at the was seen as sufficient_

As pixel counts grew and video recording crept into more cameras, the SOHC variant arrived with increased capacity (up to 32GB) and faster transfer speeds. And now, with the SO format supported by many DSLRs and camcorders, and with high-definition video recording a staple feature of both, the SOXC format represents the next step in high<apacity storage.

SDXC cards have already become available with a minimum capacity of 32GB, but theoretically they are claimed to support upto 2TB of storage. As well as an increase in capacity, the format increases transfer speeds, meaning data may be written to it and read from it faster than with previous cards. The SO Association predicts that current maximum transfer

speed of l04MBisec may soon escalate to 300MB/sec - three times the speed of the fastest available CompactFlash card.

While some people may see such high capacities and speeds as being surplus to requirements, manufacturers have already

begun supporting the new format in their recent models. canon's latest IXUS and PowerShot cameras joined the EOS 550D in supporting SOXC media, as have Panasonic's recent additions to its Micro Four Thirds cameras.

Support for the t echnology is set to spread t o laptops and satellite navigation systems among other common appliances, while a 'micro' version will typica lly be employed in smaller devices, such as

mobile phones which already use micro SO and micro SOHC media. While these cards don't offer backwards compatibility for use in older cameras, support for standard SO and SDHC cards has been maintained in such models, so there's no need to invest in them just because your camera supports the format. With street prices starting at about £200, it's perhaps just as well.

THE MONTH

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WHAT I DIGITALCAMERA

26

PREVIOUS PAGE: Taken by Trevor on a Nikon 0700 with his 8Smm fl1.4lens, and lit entirely by naturallighl assisted by a folding reflector

in the professional photography industry. This has enabled them to run a programme of photography workshops all over Europe. which they promote with stands at shaws such as Focus On Imaging.

In recent years they have also been shooting fine art nudes for books, magazines, calendars and exhibitions, which they both find creatively rewarding. 'My grandfather did it in the 1930$; it was his work: that inspired me: says Trevor,

This has led to a successful sideline in boudoir photography - artistic nude and glamour work, usually commissioned by the subject, or their partner. An essential ingredient in this strand of the business, hOW'ever, is the presence of Faye.

'We 3MJays explain to male photographers that they MUST have a female with them for this sort of work: insists Faye. 'Firstly a woman

Trevor uses just one lens on his Nikon

D7oo: an 85mm f/ 1.4 can help direct the subject and show her how to pose. But it's also safer, for both photographer and cl ient, to have a woman on set, and it gives her reassurance'

She says that many male photographers have a lot to learn when it comes to photographing nudes, whether it's in their personal presentation, ~ud io environment or 'bedside manner"

'Many men don't know how to talk to women: she says. 'Some make inappropriate remarks when the girl is lying then~. When we do ~ho\oVS I look at $Orne of the men and think, .. A woman wouldn't want to be photographed by you." Hopefully we' re helping to teach them.'

TRA YELLING L1GIIT Although the Yerburys have their Edinburgh studio they like to shoot as much as possible on location, and for this work their methods are refreshing simple. No bags of lenses, no cases of lights. Trevor uses only one prime lens on his Nikon D700: an 85mm f/l .4.

'Its lovely for portraiture,' he says. As well as the flattering perspective it produces, the fll.4 maximum aperture lends itself to great shallow depth of fie ld effects as well as creating a super bright vielNfinder image.

Faye uses a D300 with J U~ a single 24·70mm 112.8 lens - so she does the group shots at weddings. Most of their locat ion work is lit solely with natural light. but they are masters at using it and moulding it to their needs.

'Back in film days I used a Hasselblad w ith just a prime lens for most of my work, so I've gone back to that method of working: says Trevor. 'I take just one camera, one lens and perhaps a refleder. I don't use a tripod -I didn't even use one 01 those when 1 had the Hasselblad.

'But the most important part of being a photographer is not the kit, it's the ability to visualise an image in your mind, and then be able to create it. The camera IS simply the method of capturing it :

The Yerburys went digital about three »

ABOVE: Trevor took this stunnirlQ portrait in the bar of the Novotel Hotel in london, USing just da~ ighl coming in through the windows, and a gold rellector to liJi in the shadows. It was taken on the Nikon D700 and BSmm 112 .8 lens

ABOVE: An example of the Yerburys' Boudoir photography, taken by Faye at the couple's Edinburgh studio using the Nikon D700 and 85mm fll.4lens. The light was provided by a single 80wens stooio flash head fitted with a large softbox

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TREVORYERBURY INTERVIEW

WWW.WHATDIGITALCAMERA.COM 27

WHAT I DIGITALCAMERA

28

ABOVE: This fashion pomail by Trevor w;r; lit by just the light from a window to the mooel's right, with a gold refll'Ctor on the other side. Nikon D700, 8Smm fll.4len$

ABOVE: Trl'JOftook this dlJ"ing an outdoor lighting WJfkshop, usir.g his 0700 and 8Smm lens. He faVOJrS p:>rtabIe, battl'l)'-poM'rro Quantum flash arid packs for this 'iO!1 of IMlrk

years ago. 'At the time I took the prevailing advice and bought a Canon EOS 50, but when the 0700 came out I switched back to Nikon. Nothing \\lfong with Canon, but I'm more used to the Nikon way of doing things, having DINned the F3, F4 and FS film cameras, so it felt like coming home, in a way.'

We shoot everything in manual eXiXlsure

Despite the 0700 and 0300'5 resolution of just 12 million pixels, they regular ly produce 30x40inch prints from images taken on both cameras and have no issues with the Image quality. Everything is shot in Raw using manual exposure, though there's no set formula as to the choice of exposure sett ings.

They use Photoshop to process their work, in conjunction with a small selection of plug-in filters. 'Some of Kevin Kuoota's filters are wonderful, especially the b&w ones: enthuses Faye. 'We have Kuoota dashboard which has hundreds of filters. though we only regularly use a fevv of them. Totally Rad is good too. But we don't do to much Photoshop work. We like to keep it simple all the way through the process - if the photo is good to start with everything aher that should be simple too' WOC • Trevor and Faye Yerbwy will be sharing their wedding photography tips next month, 50 don't miss i(l To see more of their IM'Jrk visit \o\MIW.

yerburystudio.com and WINW.

yerburyweddings.com ABOVE: TrMr shot this on the Bowens stand during a lighting demo at Focus On Imaging 2010, just weeks ago, using a softbox on a single Bowens head. Nikon 0700, 85mm.

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Neutral Filters Pro landscape snapper and

ND addict Jeremy Walker explains why you need them

WORDS AND PICTURES: JEREMY WALkER

Welcome to the mysterious world of Neutral Density filters, a land of black magic and alchemy, combinations, improbable mathematical formulae; a land with a language all of its own: NOs, Grads, Big Stoppers, Hard and Soft edges, point threes, sixes or nines, and so the list goes on.

Actually It isn't that scary. Mastel)' of this useful accesscry can Impr~ your pICtures, ar.d requires no more than SOfI'Ie very Simple malhs, honestlyl

So what IS a Neutral DenSity filter and what does It do) Why have one in your camera bag? Read on and all will be revealed.

Neutral Density (or ND) fi lters are grey in appearance and are designed to reduce the amount of light entering the camera, thus creating the need for an increase in the overall exposure tinle, but giving no change in the colour or hue of the image.

Vv'hy shookl you want to increase the e~posure time? Well, because It will enable the creatIVe use of

movement and blur In an image, For example, you may wish to prcxluce a bluny mISty effect on a waterfaU or the sea but the sun is too bnght and even at a sman aperture the exposure may not be long enough. By applying an NO filter, the exposure ...... 11 be Increased and enough tIme ...... H

be- creatNlior" the water to move dunng the exposure. The longer the elqX)SUre, the more silky blur IS created.

Not only IS uSU"lg an NO great for creatrve water shots but also for any image where there is movement. such as crtyscapes WIth people and traffic movJng or where clouds are movIng through an image. Using an NO filter will open

up new- and exciting ways of lookIng at the world around you.

Neutral Density filtffi come m a range of denSIties or 'stops'. They are usually avaIlable In t>M>, three or four stops - or. more technICally, point six, point nine and one point t>M>. BasIcally .6 = two stops, .9 = three stops, 1.2 = four stops. H you are using a .6 NO you increase the exposure by t>M> stops - for example. a ooe-second exposure becomes four seconds.

NDGRADS A Neutral DenSIty Graduated filter (also known as an ND Grad) is very similar to a Neutral Den51ty

filter but has one majOl" difference.lrtStead of co.-enng thev.tJole filter and therefore affecting the WlOIe of the image and exposure, it""';l1 run from a dear filter end gently fade into a neutral densrty, almng only part of the Image to be affected.

NO Grads are used pnmarily to control the exposure be~ the foreground and sky of an mage. usually the sky will be the bnghtest part of the Image and the foreground the dal1::est. Meter for the foreground and the skywill be massivety CNel"exposed; meter for the sky and the foreground v.ill be too dark. The soiutJoo is to meter for the foreground (the darker area), »

Neutral Density filters are ideal for adding a ~it of ~Ktra oomph to a shot which may otherwise be a bIt boring. It gives the shot more energy and dynamism. As a ~o it's also great to be able to give the client more chOICe.

meter for the sky (the brighter area) and note h(MI much brighter the sky is- prcbably two, three or four stops. Set the camera to the exposure reading for the foreground and use an t.() Grad of the ~opnate strength (two, three or four stops) to dalten the sky, thus balanong out the exposure foreground and sky. After a little practice, the procedure of metering for the foreground, metering for the sky and applying an NO Grad v.i ll become seccnd nature

lIARD OR SOFT? No.v just to complicate things. NO Grads are available In Hard and Soft gradatIonS.. I use the lee Filters S"f.'tem and I find that despite the name, Hard Edge Grads are JUSI perfect for landscape pho(ography and don't grve ~ a hard line or edge running through the image. Ninety-nine limes out of 100 I will use a Hard Edge Grad for my landscape Images. OccasKlna11y though, a Soft Edge Grad can be indispen<;ab\e. When working in woodland INhere the trees are top-lit and you Just want to hold the exposure back In the upper !X)rtion of the Image, a Hard Edge Grad will proouce too much of an exposiJe difference and ~ v.il end LJl WIth tree trunks going from light to dark. With a Soft Edge Grad the gradatIOn IS very subtle and less pronounced, ......twch IS Ideal when ~ have subJeCt matter running into the graduated portlOfl of the picture.

One important JXlint is to set the camera to manual exposure before shooting. H' you have the camera set on a Program mode, the meter v.ill

KNOW BEFORE YOU GO! ,

./ 1lM1IIIISIIIIS" CRU1t MOVDIOR Use an ND Grad \0 balance Use an NO filter to reOJce the brightness level between the cr.oerall expostn! so >pJ sky and fOTegl'OlKId to retain CM use 9DN shutter speeds doud (\eta'1 irlclayliglttobU"water, more I. ,

cIcOOs Of action , KARa OR SOfT " COMBIME.Rl1tRS " Grads can come ~th

add NO and NO harder or softer lines of ~~ together for a stronger l}"acWtion. A soft-edged ____ ._~;.y, effect Grad ~ ideal for ISlE!YeI'I ~~'"" , horizonS,orvb:!nelemen~

ROO18011SQUMl " """""'''''' ... .". WIlh solid NO filt~ it doesn't , really matter whether yen; AftRlURE. " filterS are rOU'ld or square, The smaller yt::JJ chosen but for Grads get sq.Jilre ones aperturE!. and the more that you can Il"ICM! ~ and wideanglethe \er6,~ 00M1 in the holder to line ~ shaIpef the ~aduatlOI"\ with the horizon. of a Grad filter will appear,

36

ABOVE: A lee Big Stopper was LJSed fO( tlls shot~. --;;:~:~=::=== Vuflkh rm ted in an exposure time of 10 minutes.

think the sky has gone dark v.t-.en you a~~ the NO Grad and v.il \Iy to compensate and make the Image bnglter, thus negaung the use of the Grad and Ieavmg you bad: to square one.

The more you stop dcmn a lens, the more a graduation becomes apparent. With dig:tal cameras, unless you need a huge depth of fJeld, you should normal~ be wo::nll"lg at about fI8 to fill as these apenures v.i ll be Usfng the ~t SIXlt for sharpest results from the lens. These apenures are ideal for Hard Edge Grads as they will shoN no line or edge through your Irl"'IQge

at all, 00t you do have to be wary of your focal length. The wider the focalleogth of your lens, the sharper a Hard Edge Grad may be, so you may WISh to S\NIIch to a Soft Edge Grad to counter thIS. Certarltj once you are worktng WIth extremely 'Mde lenses a Soft Edge Grad will be a must

Once you stan to play WIth Neutral Density filters and Grads you'll rea lise hoN simple It is, and you'll soon Ix! able to stan combining the two. Use the NO Grad to control the exposure difference betweef1 the foreground and sky, and apply the overall NO to Increase the exp:lSlIre of the whole image, as to create subject blur Of

rno.<ement. woe

KNOW YOUR CAMERA

Metering Modes WORDS MAT GALLAGHER

Metering is something most of us probably take tor granted in modern cameras but it is essential for evelY single shot you take, whether you're shooting in full Auto mode or completely manual.

The meterrng system measures the light eotemg the Glmefa - throu9'l the lens (TTL) in the case of digital SLRs- and It then translates thIS information into relatIVe shutter values. aperture values or stops. So when expos.ng manually ~ can use the digtal reading to match Vvtlat the light meIer deems IS wei exposed; a when shooting In Auto It ""';0 prO'JIde the Cilmera With the Information to select the appr~te shutter and aperture values.

VoJhen It comes to malang a camera, and to testng it, the metering system is as much an integ"aI pan as the fOCUSll"lg. processor and sensor. Each manufacturer has rts OM'\ unique metering

_ _ This is the metering system at its I' ... IIt.... most inventIVe and in full SWIng. 1.. ... .,... The name can vary between _ _ manufacturers but is commonly known as Evaluatrve, Malnx or Multi·zone metenng. For this the camera uses the entire image to detefTTllr.e the exposure. PrimitM'

system and strives to achieve bener ways of evaluating the light coming through the lens.

Most cameras will prc.Mde you with a choice of modes fa your metemg as. ~h the system is deYer ~ to 'M)rk: out ho.N to expose the image, it cannot predict If you want to get creatrYe with your exposure tY bnng detail out of certain areas. lfoIhen there IS high contrast in the scene or

sy;tems 'MXIfd just have taken a straight average, but today'sadvanced systems break the image down into smaller sections (01" zones) and combine this Information to make a more informed chOIce as to the exposure. This means th<!t It can detect v.rt.ich areas are likely to be the ITlO'it important and v.rt.ich to Ignore

strong baddightlng, the metenng system is forced to moose between shadoN and highlight areas, as the dinamic range 01 the sensor cannot record to the same extremes that we can see WIth the naked ¥. By chalgmg the metenng rncde, you can choose whether you meter univroalt-,< from the scene, gIVe priority to certain areas, tY sifTllt-,< select an area of the scene.

for the cJq)OSure, so even with the sun directt-,< in your image the camera can avoid making eYeI)'thlng else too dark. Evaluative mode is the best selection /Q( the majority of your images, and ont-,< for eKtreme cases, difficult lighting or specific effects shoukl you ever need to stray too far from it.

<! D C".....,;g,led mel""";',

• VIable alternatrve to the ~aluatM> optIOn as It also uses the \M'IoIe of the scene to meIer but, as the

name suggests. places a greater weighting to the IIglt coming from the central area. It is the second most common mOOe, behind

evaluative, to feature in any metenng selection and makes use of the same secoons of the image as the evaluatIVe mode does.

Centre->Jv'eghted metenng IS often preferred t7t those wantlll9 to photograph a partICUlar thing, rath!>r than the scene as a v.t.oIe, and can \r'v'Crl: well for photographing people or

If your subjeCt IS tile on~ thing that matters, or you are dealing WIth extreme contrast or backhghting. use spot

metering. This mode allow's you to specify a very small area of the irr..:lge. typical~ bet'\oVeefl3% and 5%, wtllch makes it ~ when the elq)OSUre IS aitJc.a1 on certain parts of your image. Spot metering

is very popular with portrait photographers who are kx>king to concentrate on skin tones. It can also be effect;"'e for wildlife shots of a subject In the undergrowth, Spot metering is also suited to bright subjects such as the moon vvt1en you want to bring out its detail. The spot metering zone is an Important ~gredlent to the evaluative and (entre-weighted mill.

OOJe(tS m a scene. IrVhere the SLbject is the focus but you also want to sI'la.v its surroundings.

Altematrvett It can be U5eful ......neo you have a pa~ bnght sky that could otherwrse silhouette your subject. or fOf photographing a group of people In a scene.

CAMERA SKillS

Leading Lines WORDS AND IMAGES PAUL NUTTALL

Leading lines is one method that depends upon util ising scenic surroundings in a format to literally lead the eye following a subject through the image. It can be an addition that takes an image to that meaningful next level.

Lines are capable of leading the viewer's eye through the frame in different directions, usually either towards or away from a point of interest. When you open a novel, for example, your eye has been trained to read from left to right from top to bottom. Imagery is different as the eye will grab at certain contrasting areas, yet still follow and 'read through' the image.

Composition should consider viewpoint as this may provide a 'look down' onto natural lines such as pathways that wouldn't be seen from ground eye level. Arranging natural lines also requires consideration of where you wish to place emphasis in the frame, as a line can lead to a key subject. Multiple lines can provide a more complex effect that leads the eye back and forth, though complex compositions can become unpleasant to look at. Lines often lead from the bottom of an image, leading into the centre or key thirds.

Splitting a composition with a line can also have an unusual yet appealing effect. By dissecting one area from another, a line can have a significant impact. Central lines can act as divisions or pointers from one area of an image to another too.

PAnERNS Leading lines don't strictly have to be single, defined lines. Shooting at the right angle on a pattem, for example, can create real drama in an image and draw the eye through the frame.

PLACEMENT Don't always concentrate on placing the leading lines in the conventional position. Introduce the line from off-centre, and have it exit the frame at a differing position.

EMPHASIS With a low angle and close-up to a leading line, you can add real impact to a shot. While leading lines are a great tool to draw the eye through a frame, they can themselves be the focus of a shot.

MULTIPLE Don't always concentrate on just a single leading line in a shot. Introducing more than one can create a real dynamism, though don't overcomplicate things.

SHAPE Remember, leading lines don't have to be straight. A meandering stream or winding road creates a sense of harmony within the shot.

The NEW interactive online magazine

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WCMtDS AN) PICTURI.S ""1(1 LOWt

Here's the hypothetical: you've shot a bunch of images using your 12-megapixel compact camera and want to email them over to your family. But the catch is that at full resolution and finest quality, each of the JPEG files from the camera are around 5MB each - physically far larger than required and too big to transmit using a regular email account. As obvious as it may seem, downsizing and compressing these images is the answer to the conundrum - and it's easy to do using Photoshop Elements or a variety of other photo-editing software.

Of course, with the rise of social media websites such as Faceboci:: out there, it is possible to share your pJdures In other ways. Facebook has a clever widget that auto-resizes and compresses images to conform to Its standards - however, these aren' t especially large on screen and are fairty compressed too, so the Quality decreases. Plus, if you're uploading 100 SIngle 5MB files, that's the same as streaming 500MB via your Internet connection and 'Mil take a long trme. A more sensible solution is to have already downsized your images' physical proportions, resaYing as smaller files.

There are things to consider with resizing, however. First, eflSure the Oflglnal file is saved, and the smaller version saved as a copy with an easy-to-understand naming convention that \o\IOn't confuse you. Second, when viev,ling images via the web it's important to have them in the correct resolution, at a sensible size and in the correct sRGB colour space to vie\'.' properly. Also, as wi th any form of resizing, you're entirely adjusting the original image and, as such, sharpness

suffers and a sharpening method is recommended where possible. There are many things to consider, including how long resiZing can take - ",,"ether you need to resize a SIngle image, a batch, change their names, make multiple ~ available and so forth.

Here's our Quid: 51ep-by-51ep on how to resize for web and why each process is

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1"1 \Allst MUS1·\lA\lI CI\MIMS I\ID GW\ llSllD dD B!\lID 81 OUB 1ll\M Of lIPIBlS

12;[I[I I )fu'/,!iiil IWlllCANONCO UK

• 18MP APS-C SENSOR • ISO 100-6400 (H, 12,800) • 3.7FPS BURST MODE • FULL 1080P HO MOVIE • 63 POINT iFCL METERING • EXT MIC SOCKET

HIGH RESOLUTION AI 18MPthe [OS 5500 offefs the highest resolution of all of the beginnef-leveIOStRs.

ISO ANO METERING Tile 63-I00e metering is similarlo the system empl(11ed in tile [OS 70. and a top ISO 0112,800.

HDVIDEO ]()80p lesolulion and the potential to a~erthe frame ra le means the [ OS 5500 should produce superb footage.

EXTERNAL MIC PORT A directiooal or lavalier mic can be connected to the external mic port, vastly improving the recotded sound.

QUICK CONTROL MENU Tile touch of a bulton at tile rear of the EOS 5500 turns the display into an intelactive menu.

WWW.WHATOtGITALCAMERA.COM

~ Canon's EOS 5500 is the latest r.c..- addition to the stable of beg inner­t o-amateur level DSLRslooking to capture the imagination of users stepping up from advanced compacts or bridge models. The EOS 5500 improves on the previous model, the EOS 5000 , by increasing the megapixel count. continuous shooting and screen resol utio n as well as improving t he movie mode and microphone compat ibility.

I'£ATURfS Stepping up from 15 to 18MP puts the EOS 5S00 resolutely above its Nikon rival, the 05000, which sits at 12.3MP. Much of the chasing pack fa il to even come close to this impressive resolution, w ith the 142MP Sony Alpha A450 and A550 being a few to get close. The 5500's OIGIC 4 processor is carried over from the previous EOS 500D. as is the nme-point AF focus system, but the metering system has taken an impressive Jump from a 35 to a 63-zone iFCL system, similar to the one used in the EOS 70. The ISO range remains unchanged, although now the Auto sett ing does make up to 6400 available instead of needing to be accessed manually.

The burst mode sits at 3.7fps, which is relatively impressive for the price range, although the large fi le sizes produced by the 18MP CMOS chip reduces the burst capaci ty to either 34 maximum resolution JPEGs or six Raw files. One of the most significant features on the EOS 550D's spec list concerns the movie mode. The top 1 DSDp HD movie resolution now has the choice of 30, 25 and 24fps capture so the frame rate of traditional camcorders and cine cameras can be replicated, as well as a hi-speed rate for the lower 720p mode to capture faster-moving action, at either 60 or 50fps. This means the overall motion should be smoother than the EDS 5OO0's 20ips, giving the likes of fast

CANONEOS 550D

action a more natural appearance when being recorded. Having a mic port means a more focused manner of recording sound can be used via a 3.5mm jack and is connected Ilia the hotshoe. The AF system will only focus on a button press rather than constant ly when filming, so it's far better to rely on the manual focus_ Full manual control is also available Wit hin t he movie mooe, as is the ability to lock exposure to prevent unwanted changes.

The 3in. l,040k-pixel screen is superbly detailed in both live view and basic menu mode, and the viewing angle of 160 degrees matters little in real-world usage, in spite of being marginally narrower than its rivals. The alternative to the screen is the 95% approximate coverage viewfinder complete With light sensor to ensure the LCD isn 't adive when not being used.

The Creative Auto mode allows the likes of depth of field and exposure to be changed using sl iding scales via the rear display. and benefits hugely from being based in a primarily visual manner as It gives those unfamiliar with depth of field and exposure an easily understandable system . Standard. Portrait. Landscape, Neutral, Faithful, Monochrome, and three User Oefined Picture Styles are also available, accessible via the interactive display on the rear screen.

D£SIGN In terms of looks the EOS 5500 is very much a tradit ional OSLR design, although the body looks a far cry from some of the boxy. brick­like models of yesteryear. The mode dial gains a No-Flash mode and a colour change but is otherwise the same as the EOS 5000, being chunky enough for larger hands to grip and possessing an assured location when changing between modes. The ISO button is close by as well, alongside the on/off switch and adjustment dial, making it extremely »

53

WHAT I DIGITALCAMERA

54

simple to up the simulated film speed via the adjustment dial without moving away f rom the viewfi nder.

The back of the EOS 550D offers a brand new layout. with the Live View button no longer sharing functionality with the Direct Print button and being far closer to the viewfinder In its place is the Quick Control button, which turns the rear display interactive, allowing any value to be changed via the d-pad or scroll wheel. This simplistic method of altering the likes of shutter speed and aPl"rture isn't new to DSLRs, but is represented in a suitably basic manner for the beginner on the EOS 550D by having a large ex.planation at the bottom of the screen alongside the control method used to alter that value.

For those not yet comfortable with utilising the dials the Quick Control menu may be a slight ly better fit, offering an instantly vi~ual way of control ling the images without trawling through menus. Each of the buttons are reasonably recessed into the body giving it a sleek appearance without sacrificing functionality, and each is reasonably straightforward to locate w ithout needing much fami liarity w ith the camera. The only slight annoyance, which hinges around the menu ~ystem, is that the d-pad often doesn't always work in a multi-directional manner, instead only moving left to right, regardless of the button being pressed. ThiS is especially apparent in the Quick Control menu options for Picture Styles and ISO. Otherwise the controls remain simple, not relying too much on menus to alter settings nor putting the funct ionality among a disparate set of buttons dotted around.

Fortunately the ~i ze and shape of the 550D hasn't been overtly scaled back to adhere to the 'compact DSLR' trend, sti ll possessing a reasonable-sized grip. Even better is the placement of the PQlNer switch and Uve View button : both are close enough for the right hand thumb to activate without the need for the hand to be re-adjusted. ThiS gives the

PrnroRMANCE Having the largest resolution in its range puts a fair amount of pressure on the EOS 5500 to comfortably blow the opposition

THE EXPOSURE CONTROL WAS EXCELLENT IN NUMEROUS SITUATIONS

camera a far more versat ile feel, because most of the important settings can be altered on the fly. This extends to the likes of the Quick Menu button, AV and Picture Styles, all of whICh are placed intelligently so as not to be an obstruction and barely a finger stretch away.

The weight and build of the camera is also a major benefit, as even w ithout a lens attached the body feels as if it could survive a reasonable fa ll without incurring severe damage. Even the connection covers and card slot are sturdy enough to stand up to repeated use. Both of these locate into position in a satisfying manner, and the raised area of the card slot becomes extremely useful when trying to access the SDISDHC card with wet hands. The small grip patches at the rear and around the front perform a similar task, making the 550D far less likely to slip in damp conditions.

away. The 18MP CMOS sensor makes a fai rly sizeable impression as far as file size is concerned, which had an obvious impact on the buffer, but other than the increase in potential magnification not a huge amount more is gained. The nine-point focus system offers selectable areas across the frame, and even when swapping between these zones the focus speed remained impressively rapid and, when left to the automatIC offering, was superbly quick even in low light. Only when the live view was in use did the EOS 5500's AF slow, as the selectable focus area took a long time to manoeuvre into the correct position using the d-pad. The metering functionality, which almost doubles the metering points from 35 to 63, has a less obvious impact when shooting, but prOVides an impressively balanced exposure overall. In brighter conditions the EOS 5500 successfully kept the amount of

blown highlights to a minimum, even in longer exposures on a cloudy day. In fact, the exposure control was excellent in numerous situations, and the low-light performance »

How does (anon's 550D sibling?

E055500

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AfSY'STEN: ~p:lIlt .'" LCD: 3in, 92tM< 3i1l, I,04Ok

, .. 100-12.800 100-12.800

LMVlEW: Y. Y.

MOVIE MOllE: I080p 12Qfps) 1080p(Z'.1.97,Z5, 23976 fps)

SIZE: 128.8.97.5. IZS.8.97.3. 5L9mm 62mm

WEl61fT: ~" "" WWW.WlIATOIGITALCAMERA.COM

~~~ ________________________ -.~~CA~NONEOS550D

ISMPCMOSCNIP The 22.3 x 14.9mm APS-C CMOS senMlf

outputs 5184 x 3456 images. resulting in some impressive 27MB Raw files. The burst mode doesn't slow down as a result, although the buffer call take fewer images in a cont inuous stream.

63-ZONE METERING SYSTEM By utilising a similar iFCl63-zone metering system to the EOS 70 semi-pro OSLR, me EOS 5500 is capable of some very accurate readings, leading to an impressive all-round level of exposure in most conditions.

SELECTABLE VIDEO FRAMERATES )r,creasing the frame rate for video capture can make the motion appear that much smoother, or 9M! the video a 'cinematic-look' as pel" traditional film cine-cameras. The EDS SSOD can shoot in 24, 2S or 30fps to cater for all tastes.

EXnRNAL MlC INPUT The addition of a lSmm audio input socket means a variety of mkrophooes can now be connected to the EOS 5500, irKluding a directional mic to record the source directty in front of the camera or wireless tie mic for recoo:ling dlaklgue from a distilrxe.

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CANON550D FUU SPECIRCAnONS

PRII ________________ tlIIII

SENSDI ___________ . ____ I8IIP APS-C CMOS

IlITPUTSI2L __________ 5184 x 3456jixe1s

FOCN..LENGTHtNlIL __ U' lDCS KlIIT ____________ 1JIoo EF,u-s FUFteW _____________ JIEG. Raw. toIOV(H.264)

1lM'I5SIIlI _______ ____ YEI$,~

1lllUI9'ACE ______ _____ sRGB, M:Qe ReB S1t/T1ERTtPE.. _______ . ____ EIIIctrJD: IDIIniIId ~

S1t/T1ERSPEEIlS _________ I~ IlJb

1M)( RASHS1I«: . _____ ll21Dh secmd

BW-II Mr«SLIWSA1DI_No IlIST 1IEIllI:TDI .. _________ Yes

ISO-____ ______ ____ lOIJ·12.8l1

EXPOSlIIEIIIUS ____ ____ M. A. Sop. CA IlElIRlNGSYSIEM ________ 63·lIIleiFCI.

EXPOSlIiE elM' _____ . ____ +1- 5EV il l!.!, Ioi. EV

YI1lITIIWMCL ________ .ItJto. 7 p:esets.ll1\alJ31p:eset

stcqe.WB~oo

YI1lITIIWMCEIIIAIlEf ____ 3 hines +/. 31eYe1s IlllUIlUf'C£IIIR(l _____ Yes

IIIMMll_ ------ ---- srcIe. contilIous. seII..-.er LNEIGlE __ ______ _____ YEI$, lUck na.nll.iloe mode If Ull ____________ . ____ 3i'I Ilea"*w 1FT 1ll4!ll-1lol

VlWFHlR"M'E-___ f'eI:DJitu" FIlD CFYlW . ______ 95% DD'JREAIlllSThlHT _ _____ -3w+l1/m

FInlSINGIGlEL _______ ())e Shd. AI Sento.. AI Focus. .... NPOIifS __ ______ ____ 9 pj1tM.6 = ~. certre.

extra SIIIISiIMty. Vl.8) [If F'REY1EW ________ . ____ Yes

PC RASH SOCIEl ________ No BW-II RASH _____ v. c.taIREWSE ___________ Yes [RemoteS'llitdl RS-QlJ,

l16nd:e RC-Q 1oDIJ1rtCARD. ______ ____ SD,SDtt:: POWElL _________ . ____ ~u.mLP--E8 1DIIE1MIY ________ . ____ USB. HDIIl ffillIIl,lok-iJ

WEIGHT --------53Il DHDISDCL ______ l28..8 x 91.3 x 62rrm

FOR MORE PRICE COMPARISONS IN OUR BUYER'S GUIDE ruRN TO PAGE 106

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WHAT I DIGITALCAMERA

56

-SHARPNESS The nilll! autofocus areas not

only made the EOS 5500 imJXe5sively rapkl at find· ing a focal point, but impressively accurate as well. The 18MP sen~ certainly came into its own here. and even the JPEG managed exceHen! darity. (anon 18-55mm at 24mm, 1116, 1125rh, 150 100, AWB

RAW/ JPEG Th~ £OS 5500 IS (ap.lbl~ of SMolmg SlmultanHllls R,]w and )PEG fi les and these two example-; <JJow thaI the JPEG does start to show signs of smoothing at aroooo the 200% m~ndlCatlon mark, where the Raw I, ~uperb up dose Canon 18 55mm al 18mm fl8 11/6Orh ISO 100 AWB

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TONE &- EXPOSURE The beoef~s of a 63-zooe meteri1g system is dearfor all to see, offerirKj an impressfie en:! pro:luct in spile of mixed lightirg cornitioos. ~ the mele!irg <;)'Stem brooght across frrrn the ~ EOS 7D medrlS the EOS 550D can prOOuce some 1'i1tUa 1~ semi-pro M inages. rare!)' bbMrlg CXJt tijllights ....tile fll<l intainirKJ a k.wI of detail within shaOOwe<J areas. EI'eI'IWlen tested against a severei)' shaOOwed erMl'CM1€Ill irMlMng some harsh spotliJhts the resuks 'M:fe SlJIPisingy impressiYe, CCfJing well urm strenuoos conditioos.

COLOUR &- WIiITE BALANCE Left to the alltOmatic setting. the EOS 5500's wille balance I:et>ps the torleS iiTll'tessNe/y in cheO:. Theh!'s 00 majcr fa\-Ql..lirg of art( partioJlar hJe, prodllCing a far wore neutral end proiJct. O::casiooa l ~ this reql.ired slight a/teram via the Picttre Styles, espedal ~ when takilXj lXlfIraits, but for the most part the end product I'.eS b.3lanc:ed I'IlOl.gh across the tooal rar¥Je to ~e coosistent images. The Pkture St)1es offer a few 11)((1' choices, irduding a roorochrome Cfltion and two aJStomisabie ~ albMng for contrast ard brightness to be altered ~~,

SIIARPNESS &- DETAIL The 5S0()'sAPS.( sensortunsoot superbly shaJp images despite such a high resolution. VVnen slegJir;;! I.lp'MIrd tImuijllhe ISO settings, the shi3~s rare~

drq>s to LOaCCept<ble k:w/s.

ISO SENSmVlTY &­IMAGE NOISE Left totheAuto settir.g. ~ the EOS 550D.-.eemed \0 be averse to tqlirKJ the ISO, whidJ resufted in some unma~e<;hutterspeedsonoccasioo. l mage rrise in general was impressively minimal for the most part, oMth oriythe top ISO 12,8OJ, or H setting. ~g ir;;l on being LflLJSabIe. Attmt.g1 an amount of roise slaned 10

beoome IIisilIe in the 3200 sening it isn't CI\IeIty c:OVous, meanh] the EOS SSOD is perledlyusable in ItM'er Ighl IWh the likes of lI"f' kit lens anacOO:!.

RAWj JPEG JPEG smoothing is on~ eW:Ient at the 200% ma!]lification mark, v.tlerea5 tfie Raw files are St.fleIbIy w!P to (1"1 irrpessive ~ree.

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was a particularly impressive example of that. There was very little to pick between the higher ISO settings in terms of noise, with only an extreme amount of magnification in a photo editing program capable of showing the differentiat ion outside of the EXIF data. Leaving the camera on the auto ISO setting did produce some mixed resu lts and lengthy shutter speeds. which can heavily compromise the focus when off tr ipod due to camera shake, but manually upping the settings to 3200. 6400 or even the H 12,800 mark resulted in far sharper shots. Unlike re<:ent Micro Four Thirds models the EOS S50D isn't overrun with preset picture modes offering such niche settings as Tilt And Shift or Pinhole, instead st icking to more traditional offerings such as Portrai t and Monochrome. On the basic settings there was no evidence of over-saturation, which has occasionally blighted Canon DSLRs, and colour quality in general was impressively balanced, keeping reds in che<:k without dulling the entire image.

The 3.7fps frames per second rate IS quite impressive when in JPEG shooting, and in spite of the quoted numbers went wel l beyond 34 images before slowing down, slowing In pace at around the 60 images mark. Involving Raw led to a more noticeable drop in pace as the buffer quICkly fills after a couple of seconds.

One of the major improvements in terms of image quality over the EOS SOOD isn't re lated to the st ills. With the video having 24fps and 30fps frame rates available. The result is far smoother motion overall, espe<:ially when panning and re<:ordlng rapid motion. Although the whirr of the AF is st ill noisy in terms of being picked up by the internal microphone, a dire<:tional mic at least max.imises the potential for cutting out unwanted environmental noise, even if it requires the extra ex.pense. Although not quite up to the standard of its more professionally-aimed sibling, the SD Mk II, the video outputted by the EOS 550D was extremely impressive for the price range.

VAWE. One stumbling block for the EOS S50D will be the price, as the RRP is high for a beginner-

CANONEOS 550D

aimed DSLR. Sitting at £900 SRP With the 18-55mm kit lens. the EOS 550D is already almost BOO more than the SRP of the Nikon DSOOO, one of its close rivals. For the extra cash both the increased resolution and Full HD movie mode are the only real benefits over the chasing pack, so those unfussed by the larger fi le size or higher quality HD video needn't shell out the extra cash . Comparing a number of shots and results side-by-side, the SSOD comes out favou rably against the competition . Those with an eXisting stock of Canon lenses are likely to embrace the fu ll functionality of the EOS 550D. so the extra few hundred pounds shouldn 't be too much of a stretch . woe

VERDICT The E05 5500 is an excellent camera, offering a beginner similar specs to an E05 70 semi-pro model at a fraction of the price. The low-light and video performance are a superb bonus to the excellent overall image quality. The 18MP resolution may mainly make the files larger, but the sharpness and detail are top-notch regardless. The most impressive new addition on the stills side is the 63-zone metering system, as it seems to be capable of coping with almost any lighting condition and still turn out a decent shot. The 150 range may be verging toward unusable at 12,800, but below that the noise was minimal enough to make it difficult to tell the shots apart. The price may be a touch high compared to its rivals, but the Canon E05 5500 is well worth the extra cash.

SCORES LIKES IlSI5M

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• 14.2MPCMOSSENSOR • 18-55MM F/3.5-5.6 KIT LENS • 2.7IN,230K-OOTLCO • 9-POINT AUTOFOCUS SYSTEM • 7FPS SPEED PRIORITY MODE • ISO 200-12,800 EQUIVALENT

u.l~2:u@~nfJ IN-CAMERA HDR AUTD By shooting two images in SlJCces­sion tile HDR mode merges shadow and highlighl delail in Olle image.

UP TO ISO 12,800 for eliremely low light shooting the A450 has ISO sensitivity to a

. ..... whopping 12,800 at foil resolution

IN-CAMERA STABILISATION As per all Sony DSLR cameras, Super SleadyShot INSIDE minulely mol'es IIIe sensor to coontercamera shake.

7FPS SPEED PRIORITY MODE A speedy snapper, in Speed Pliority mooe it's possible to fireofi up to se~en frames per second.

HIGH RESOLUTION Wrth its lUMP CMOS sensor the A450 can output 4592 ~ 3056 pixel images

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.. . -

~ Sony's laten Alpha model sits at the ~ lower end of its mid-level range. Splicing together the speedy continuous shooting mode as found in the AS50, but lacking the class-leading Quick AF live view from the rest of the AI pha range. Is this new model a fine balance of user demand at an affordable sub-£500 price-point, or more a play to further bulk out the Alpha range to tempt potential buyers by Sony's sheer mass-presence in the marketplace?

FEATURES Sat in the range between the lower-end Sony A380 and marginally higher mid-level ASSO, the Sony A4S0 offers the majority of the ASSO's spec at a sub-£SOO price point. There are some key differences, however: the rear screen is a 2.7in, 230k-dot LCD version that cannot be freely tilted as per the ASSO's larger 31n, 920k-dot t ilt-angle version. The other significant omission is that the top-performing Quick AF live view capabi lity lacks - where other Alpha models have a dedicated live view image sensor, the A4S0 doesn't, so Manual Check liveview is the only method available.

Apart from these changes, the A4S0 is very much like the ASSO found above it in the range. The high-resolution 14.2-megapixel CMOS sensor outputs large images as either JPEGs or using Sony's ARW Raw format. Steady Shot INSIDE image-stabilisation technology features as standard, With the sensor capable of countering a claimed two to four stops of shake, whichever lens is attached to the front. The Bionz processor provides images up to an extended ISO sett ing of 12,800 and there is even an Auto HDR feature that takes two images in quick succession and auto-combines in camera for a single image with edended shadow and highlight exposure captured.

The A4S0's Priority Speed Mode also offers the same high speed continuous shooting of

SONYA450

steven frames per sE'(ond, as per the ASSO. When not in this specific mode an ample Sfps is offered or a potential4fps when In live view. The nine-point AF system keeps things up on the speed-front, including an Eye-Start activation that readies the AF system when you r eye nears the 95% viewfinder.

DESIGN The A4S0's body design is the same as the other mid-level Alphas, bar the LCD wh ich is fixed to the rear, meaning a sol id and sizeable grip is on offer and the camera feels good in the hand. However, the exterior doesn't feel entirely polished and is somewhat 'plast icky', though not fl imsy. Saying that, the overall layout is welcome when compared to the lower-end Alpha models with their sunken­grips that make for less-comfortable use.

A variety of one-touch buttons around the A4S0's body provide ease of control. Most funct ions are quick-accessed using the Fn button on the camera's rear, avoiding any excessive menU-digging among myriad options in the full menu. One-touch D-range (Dynamic Range Optimiser), Drive mode and ISO buttons each sit just beh ind the shutter release atop the camera . Further exposure lock and exposu re compensation control buttons feature on the camera's rear, accompanied by the usual d-pad layout for general control and playback. Interfaces are displayed in an easy-to­understand format that's designed to visually inform about exposure, presenting the shutter value change when adjusting aperture, for example. This visual prompting is great for new users getting to grips with manual controls but, and importantly, doesn't slow down a more advanced user's use in any way.

The provided 18-SSmm kit lens has a set-forward front fOCUSing ring that makes accidental touching of the front element common when manually focusing - a »

59

WHAT I DIGITALCAMERA

60

focus ring further set back In the lens would have made for better use.

PERFORMANCE For a 5ub-f SOO DSLR the A450 is a decent performer, despite its lack of a more comprehensive live view system that even Sony's lower-spec mooels and many competitors' entry-level models have. Manual Check Livevlew featu res, wh ich IS qulCk­accessed from a button on top of th .. camera, but this mode is e)«lctly as described - manual focus only. Of course, for those users unfaled by the presence of live view, th is is a good compromise: save money buying a more affordable model with high speed features as per the Alpha ASSO above it in the range.

When using the 18-55mm kit lens in manual focus it's easy for a drift ing digit to get in the way of the front glass element, as there's little distance to grab at Also, the lens makes notable volume in autofocus mode. For optimum results there are plenty of other Sony­compatible lenses out there. and future lenses penned for release too.

The M50's nine-point autofocus system is re latively nippy. though with no AF-assist lamp as such it will struggle to attain focus in low light. Attempting to take an ISO 3200

SENSOR:

LCD:

ISO SENSITIVITY:

LIVE VIEW:

VIEWFINDER FIELD Of VIEW:

AF-POIHTS;

DRIVE MODE:

STEADY SHOT INSIDE:

DU~ REDUCTION:

WEIGHT,

DIME NSI ONS:

How does Sony's A450 compare to its other models?

A550 ASOO A450

14.2MPExmor 12.3WExmor 14.2MPExmor CM1S CMOS CMlS

3in.921k-oot 3in.2n-dol 2.7in.2n-OOl ti~-ang~ ti~-ang~

200-12.800 200-12.800 200-12.800

Yes. Quick Af liw Yes. Quick Af I~ Yes. Manual Rlcus ";ew & Manua l v'ew & Manual Cileckmodeoo~ Focus C!Jeck mode Focus C!Jeck mode (no autoiocus) available available

95' 95% 95%

9-poinl 9·point 9-poinl

51ps (7fps Speed 51. SIps (71ps Speed I'riooty I.b.le) Priooty MOOe)

Yo Yo Yo

Y. Y. Y.

59S11 app!'\»: 597gap)ttD:. 520gapp!l»:.

137x l04xMmm 137x l04xMmm 137 x 104 x 81mm

WHICH IS THE MOST ALPHA? If you're out for an Alpha camera but not sure wIlich one to grab, you may notice subtle differences between one model and the ne)(l - particularly in the mid-level market spot. The quick referef1ce table above makes light work of fiashing between the di fferences and similarities of the three most recent mid-level Sony OSLRs. The A4SO maintains the rapid-fire seven frames per second of the AS50 above it, so is ideal fOf users shooting fast action shots. However. as well as the price being lowest of tire three, so is its feature set - there's no Quick AF live view available, nor a ti lt-angle capable LCD. Yet, at 14.2MP its sensor captures higher resolution images than the ASOO.

portrait at lJ2Sth in a dimly ht pub one Saturday afternoon was a struggle - and with the capacity to shoot up to a sensitivity of ISO 12,800 (i.e. In yet lower light) this seems to be a bit of an anomaly to get to use the high-ISO

minimum, and th is one does feel small; further emphasised by the black borders and space around the screen placement.

In-camera HDR (high dynamIC range) and D-Range Optimiser (DRO) features also

THE A450'S SPEED PRIORITY MODE TROUNCES MOST COMPETITORS' CONTINUOUS SHOOTING settings appropriately. The pop-up flash does act as an illuminator by pre-flashing the subject for focus, though flash isn't always desirable and a dedicated lamp would have provided the option of var iety_ There are three AF options - the usual AF-S for a single focus; AF-C for continuously adjusting focus; and the AF-A option providing a combination for initial single focus then re-focuslng if the subject moves.

Compared to entry-level models. the A450's Speed Priority mode trounces competitors' continuous shooting modes by offering up to seven frames per second. However, outside of this specific mode it's a Sfps maximum or 4fps when in Manual Focus Liveview.

The LCD screen is 2.7in, 230k-dot and not a free-angle t ilting type - the same as found in the entry-level Alpha A230 model. Most DSLR cameras these days come with a 3in screen

provide options for ways of exposing images, without the need for any post-production. The In-camera HDR mode takes two f rames in quick succession and 'threads' them together to render one single image with suitable highlight and shadow exposure that would not be possible in a single standard exposure . Although Sony is currently the only manufacturer to provide such a mode that can be used handheld. it won't always be successful in lower light with some image ghosting on occasion. In general though it's a good option to have, with user-defined control of a 1-3EV difference (in 05EV values) between first and second exposures. Results are reasonably subtle and useful for real-world use, though it would be preferred to see more creative control, as per the depth of light smoothing. saturation and other »

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surpasses the former (CD sensors found in the lower-spec entry­level Alpha models.

15012,800 The Bionz proce!.SOr inside me A450's body is adopted from the ultimate full-frame Sony Alpha - the A900. As such, expect a high·spec image processing engine.

2.7IN LCD SCREEN The A450 opts for a fixed screen on the rear for reviewing your images.

GRIP Unlike the entry-level Alpha DSlRs in me range with sunken·style grips, the A450 has a chunky grip that makes for comfortable use.

A-MOUNT The alpha-mount lens fining can take current Sony lenses or, for step·up users with old Konka Minolta glass, these lenses are also compatible.

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FOCIiUMmlIMGMfOO(II_l.5x LENSI.UIJ.. __________ SOO)' .kDrt!l"Mobrt Mi"dIN'

II/:Iic;I Mi"dLJ lenses FU f1JWN ________ J'EG. Raw(MN(J. Raw+1'EG ClM'RESSDL __ . ______ fhl/stnla1l ft6 CllOl.II~ ____ ._ . _____ sRGB. oIdobe RGB SllllTIRIYPL _________ Eleclnricaly-arb1jed.l'!IItica-..... _ ... SllllTIRSPmIS. ________ :Il - II4IDlII SllCttll,I*/SIlAI MAXRASHS'r'Il: ____ . _ ____ II19lh sec BULHlIM\GE STIIIUSAJDI ._ Yes. Sleai:t,'SID Insi:Ie OOSI"REJU:IDI . __ . _____ oIRistD: coaIil ,_ sIiII 1SD _____ . _____ . _____ BI29ll

"""""""" ____ p. U 111, Ni&ft I'1miI. SIItset. Sp;r1skli:n.Macro. ~ I'1miI. Flash on,Auto

IIElERI4GSYSIIM._._ . _____ 4O-st.e:~ SPC EXPOStH elM' . __ . ______ 100 Step UEV \'MIrE 1WAll:E.. _________ o\Jo I Da)t&t1I I ChJti 1Shad!! I

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sinJJtooerus use IIowe\<eI1 f'II'l'IUI ____ . ____ . ______ MP.fM5OOH~kr1

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TONE (; EXPOSURE E:t;lOSlJre in general is goo:l, though IOrlal1y can seem a little flat at times. Sometimes this can be more the fault of the l'Iflite baJaoce casting cool tones that rrovide a perception of flatness ­tholXjh it's not always the case.

M:litiooal in-camera D-Rarge ~timiser arid HDR do offer additional Wif'iS 10 adjust final exposure 100, though these results are otMously entirely separate from a stardard exposure. The rea r AEL eXf,OSlJre lock also came to tfle rescue on a oomber of occasions to maintain exposure levels in compromising cooditioos.

COLOUR (; WHITE BALANCE In the 'stardard' mode, {(~our can be a little on the flat side. In evening light orwith fill·flash, auto I'.tlite balance did occasionally produce cool bluel cyan results lhiltlooked a little 'bleached-out' , i-kMt1.'llt'f, a ¥ariety of other Creotive Style shooting modes - b&w, SUnset, Landscape, Portra~ and VMd - are also selectab'e in-<amera for other colour effects.

SHARPNESS (; DETAIL Considerirlg the high resolutioo of the sensor the image detail is!1J(Xl. 10000h this d::les deplete due to the high ISO noise redlXlioo that softens images for sake of pilrtial noise remNal. The main is.-.ue with sharp1€Ss is the 18· SSmm kit lens wtlich is a linle soft, aod produces visible chromatic aberratioo, panicularl)' to the comers al the IW:Ier end. AlthouJh IlOt unexpected, to get the roost from 1heA450, or il"lde«j most DSLR cameras, putt ing a \lariet)' of lenses in yotr kit bag is an ideal solution. Something like the prime SOmm 111.4 wi ll prlJ'lide StJpefb fXX\ra it resLJlts without t.eaking the bank, thol..9h there area hlJge anay of ament aoo some forthcoming SoI1)' lenses to cr:Nef all bases.

ISO SENSITIVITY (; IMAGE NOISE Although ISO 12,800 is availa~e it's oot likely to be an everyday setting. Its use is lim~ed due 10 focusing issues in low ligh~ and the image llOise level is si!11ificant, even when vijev.'l'd on the LCD screen. From ISO 200 to 400, images are very smooth and Io.v-rlJise. with a gradual increase in colour noise from ISO 800 and alxM>. Real-world use to ISO 1600 is consistent.

RAWj JPEG iMlen using the bundk>d Image Data Cooverter software it's possible to outpUt the ARW Raw files as JPEG or Tiff formats. In urpocessed form the original Raw/iles are simiJar 10 the JPEG counterparts, the most notable difference oong the level of rrise - the JPEG files seem less rrisy bul slight~ softer due 10 increased noise reduction J)'ocessing. of l'o11ich there is no user-definable control tOadJust in-camera.

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controls found in post-production software such as Photomatix. When not using the HDR mode a similar, yet ent irely different. D-Range Optimiser option is available. The key difference here is that this works by pulling exposure detail from a single exposure, so the overall available dynamic range of the image is 100000er and this can limit the extremes of what's possible. However, with five levels available from slight to significant adjustment, the capacity is there for more subtle results than the HDR - though above DRO level three the shadO"vV exposure can look wrong in some scenes. The biggest downside of both mooes is that when shooting in Raw (including Raw & JPEG) neither mode is accessible.

Raw files are captured in Sony's native ARW fi le format, with Image Data Converter software provided in the box to read, edit and manage your files. An imminent Camera Raw (ACR) update from Adobe wil l also see these files readable using Photoshop or Elements too. Although Sony·s software isn·t as nippy as Adobe's offering, it does provide camera­specific adjustments in post-production. such as uSing the D-Range Optimiser presets.

Battery life is extended beyond an acclaimed 1 J)OO shots per charge. Certainly a full day of shoot ing left the camera w ith a good 15% remaining, which is pretty good going after hundreds of shots, some playback and lots of continuous AF work. Having this battery power symbol as an accurate percentage - not the common 'four bars of pO"vVer' - is also an accurate way to keep on top of the charge.

Though the next generation of Sony DSlRs wi ll come with Full HD capture in tow, as we found at a press conference at the PMA show 2010, there's st ill no movie mode on the A450.

Overall the A450 gives gooo results. though in the placement of the camera that's perhaps most confusing , With yet another model number in the range, the monetary and spec difference betv-Jeen the nearest Alpha cameras is very subtle. Plus, in the sub-£SOO category there are compet itor cameras that offer live view, video, proper AF-illuminator lamps and larger screens.

SONYA450

VALUE For a penny less than £500 the A450 is an affordable DSlR. However, by stripping out the Quick AF live view, one of the stronger features of Sony's range is missing , Of course, for a buyer not fussed by live view the A4S0 is then perhaps an ideal proposition.

HO"vVever, the similar spec and price-point to both the A500 and A550 models may only assist in confUSing prospective buyers as to which is the mooel to go for - plus the 100000er­spec A380 model can be found for nigh-on the same price as the A4S0, as close as £20 difference. WDC

VERDICT The A450 excites and perplexes. It's a decent D5LR, but when considered against the saturated Alpha range it becomes tougher to place, predominantly due to the subtle price differences between the next models up and down the range. Performance is identical to the A550 where features match, despite no Quick AF live view ­arguably one of 50ny's foremost features - and a smaller 2, 7in, 230k-dot screen. For some potential buyers it will wrap up exactly what's on the wish list for under £500, so it does have some marker spread. Yet with some competitors' more entry-level models offering more features, excluding the super-fast 7fps continuous shooting, it's not necessarily top of its game. Certainly good, but worth considering other closely-specced and similarly-priced models.

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£280

CANON POWERSHOT SX210 IS I *~:! I) I'MW.CANON.CO.UK

The SX21 0 is an update on the SX200 m<Xle1 and sits mid-range among Pa.verShot models. ~ is, though. the most poNeIful compact-sized model and (omes with an Impressive feature list There's a 14.1MP sensor capturing at 4320 x 3240 pixels with a standard ISO range of 80-1600. The lens is a 14x. optical zoom, offering 28mm at its wi~ end and an aperture range of 1/3.1 to 115.9 at the long end. This is controlled by a small rocker on the top. For creative shooting it features fu ll manual, aperture priority. shutter priority and program modes. There's also a full Auto. Simple mocIe, and 17 scene modes, including a low-light mcde for high ISO shooting at 35MP resolution. On the fear it has a 3in LCD screen - though this is a 16:9 widescreen display, so for still image shooting you only get the equivalent of around a 2.7in display in height A fear dial allQINS quick adjustTnellt of aperture or shutter, and GIn be used for manual focusing, plus a range of other functions. The dial also doubles up as a four-way d-pad, providing quick access to focusing, flash, self timer and exposure compensation. As well as a movi€ mode on the shooting dial, there's also a quick movie record bunon to allow for instant access, which can be customised for other uses. When the camera is turned on the flash automaticalty raises but can then be pushed dovvn and pulled up again manualtywhen needed. Autofocus features a Single centre point select;on with face detect;on and tracking; there's also lens-based image stabilisat;on to reduce the chance of camera shake, even at fu ll zoom, Video is recorded in Canon's native H.264 .mov format at 720p high definition with stereo audio.

DESIGN The design of the SX21 0 is in keeping with previous PowerShot models, being Simple and clean, with a prominent shooting mode dial

WWW.WHATOfGITALCAMERA.COM

that has the same feel as those featured on the DSLR range. There's not much in the way of grip, as the front is flush, but the mode dial sits neatly under the thumb and has enough resistance to avoid changing the mode accidentally, The LCD screen initial ly looks impressive, as it takes up much of the rear, but its widescreen format is only of benefit when shooting video and, combined with the relat ively low 230k-dot resolution, leaves tradit ional stills shooters a little short-changed.

PERFORMANCE In use, the camera is very responsive and a breeze to operate. To save space and keep a clean deSign, the quick access symbols have been removed and instead show up on the screen when your finger covers the dial. Whi le this is clever, it does slow the process. Focusing is quick and rel iable, backed up w ith a powerful low-light AF beam. The creative modes are quick and easy to use thanks to the rear dial, and the range of scene modes includes some useful and fun functions, such as: the miniature mode, for tilt shift effects; a fisheye effect; and high ISO low-light mode. The HD video feature is easlty accessed and simple to use, thanks to the smooth zoom and impressive stabilisation. The ,mov Quickt ime format also means it's easy to play back on any machine.

VALUE FOR MONEY This is the second cheapest camera of the four on test and costs just £30 more than its Nikon competitor. Though the SX21 0 lacks some of the more advanced and fancy features of the more expensive models here, It produces great images and video and is definitely worth considering,

COMPACTGROU EST

67

WHAT I DIGITALCAMERA

68

NIKON COOLPIX 58000 (\fb1I] WMV.NIKON.CO.UK

This IS Nikon's flagship Coolpix in the company's Style range, and is designed more for looks and usability than for creativity. which comes from the Performance or P-range. The $8OC() is the world's slimmest lOx zoom compact, at JUst 27 .3mm in depth without the lens extended. It features a 14.2MP sensor that outputs at 4320 x 3240 pixel ~. vvith an ISO range of 100-3200. The lens offers a 3G-300mm equivalent and an aperture range of f/3.5-5.6, which is decent at the longer end but ~miti ng for wideangle. The zoom is controlled by a rocker around the shutter button, and vibration reduction {VR} is built into the lens.

The menu offers a choice of Auto, 16 scene modes, Smart Portrait and Subject tracking options, which should have most situations covered. Especially as in Auto the Menu offers (ontrol over most functions, including focusing. metering and ISO,lNith exposure compensation also selectable from the rear d-pad control, alongside flash, macro, and self-timer options. The rear LCD screen is a high-r5OIution 3in 920k-dot display in 3:2 format and fil ls the majority of the rear of the camera. Access to the shooting modes isn't immediatety obvious as it sits under a button with a green camera icon, but once used to the navigation it IS &'Bf to use. The d-pad has a selection wheel built in, though with no manual focusing, aperture or shutter control this is limited to menu and exposure controls, vvhich are divided into Brightness (exp camp), VIVidness, and Hue (\Nhite ba lance). The range of metering and fOCUSing options are pretty impressive, offering focus point selection, centre, auto and face priority, and a choice of matrix and centre-lNE'ighted metering. The video is accessed via a quick record button on the rear and gives 720p high definrtion with stereo audio In motion­JPEG format, vvhich is easily vifwf>d but generalty less efficient in storage and compression quality.

DESIGN Keeping a clean and simple design, protruding features are kept to a minimum. The 58000 comes in a choice of champagne, brown and black colours, though the black is the best option. The back panel also remains clean but perhaps a little 'budget' in its styling. There is no grip on the front but the rear has a handy inset textu red area for your thumb. The LCD has an impressive resolution and image reproduction, The flash pops up automatically when needed and must be closed manually. Not content with being the slimmest, this is also the lightest in the test, which, though by only a few grams, is apparent in its casing,

PERFORMANCE The 58000 is simple to use for the novice, though the more creat ive options are a little more hidden. Rear controls don't feel as polished as some, and funct ion access is a bit unconventional. Focusing is well catered for in features but can struggle to lock on in low light beyond the AF beam's reach. The zoom suffers from a comparatively long wide setting, wh ich won't suit landscape fans, and the optICal zoom is not operational in movie mode. However, this camera's strengths undoubtedly lie in the ability to simply point and shoot

VAWE FOR MONEY There are many hidden skills beneath its simple exterior, most of which wi ll remain unseen. This is be<:ause the images rare ly need further adjustments outside the standard Auto settings. For the money this is a great camera, especially if you're after a solid point-and-shoot compact. For more advanced or crit ical use, however, it's probably worth investing a little extra for one of the other models here,

,

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PANASONIC LUMIX lZIO IIWII.PANASONIC.CO.UK

The TZIO is Panasonic's flagsh ip superzoom and is aimed at the more advanced travel shooter. It featu res a 12 .1 MP sensor, outputting at 4000 x 30Cl0 pxels in 4:3. 4176)( 2784 In 3:2 or 4320 x 2432 pixels in 16:9 format. The ISO offers a standard 8O-16(X) and up to 6400 using the high sensit;."ity mOOe at a ff'duced resolution. The 12x opticalzOOffi offers the benefit of an extra wide 25mm to get more in the shot, while still providing a decent 300mm at the long end, with an aperture maximum of 113.3 to 1/4.9. Creative shooting is vvel l catered for with a choice of PSAM shooting mOOes. For simple control there's an Intelligent Auto mode, VIotlich optimises the settings accoroing to the type of scene it detects. The!e's also a selection of 29 scene mooes and a custom setting. The rear LCD is a 3in, 460k-dot display. and despite the Choice of shooting formats has chosen the more native 4:3 format, 'Atlich means in standard shooting you are using the screen to Its full potential.

The video mOOe uses the AVCHD Ute fOrm.3t that delivers a nop high-definition image with stereo sound. thiS is a fOffilat developed by Sony and Panasonic and offers hfgh levels of compression while maintaining very high quality. The ckJMlside is that It needs video-editing software to convert it before it can be Yie\.ved easily on a computer. The included PC-only Photofunstudio software 'Ni l! ckJMlload and bum AVCHD Lite files to DVD, but for proper editing you 'Ni ll need to buy additional software. Another clever feature is GPS, which all<J.r.6 you to pinpoint v.tlere the images were taken by kxation and also by landmarks, thanks to the inbuilt database.

DESIGN The TZI 0 is the chunkiest in this test but only by 1 mm. It is the only model to have a form of finger grip on the front al lowing a more solid

WWW.WHATDIGITALCAMERA.COM

hold, while on the rear there is a textured area for thumb grip. The body feels solid and wel l made, with a small mode dial inset on the top panel. The rear is dominated by the 3in screen but also features a five-button layout for menu and quick function access. There's a Q-menu button for common feature adjustment and dedicated buttons for exposure and movie recording. The flash remains built into the body rather than a pop-up, and its central positioning keeps it clear of fingers. Overall. navigation is quick and easy to explore.

PERFORMANCE This is a very pleasing camera to use and its ample zoom combined w ith the 25mm wideangle sett ing ke€p all creative options open. The zoom is quick and smooth and the autofocus comes with a w ide range of options from spot to face detection and tracking, all of which work speedily, even in IQIN light. The shooting modes cover all eventualities and the scene modes are both practical and creative. Shooting video offers full optical zoom and the Power O.I.S stabilisat ion really sholNS its strength. The only downside is that the Lite version of AVCHD IS only just starting to be supported by editing software, so updates may be required for programs such as iMovie.

VALUE FOR MONEY Being one of the pricier models in the test the TZ10 justifies its extra cost 'Nith some useful features, such as the GPS, the zoom, and the creative modes. It produces great-looking images and all image attributes can be adjusted from the menu. The video mode gives great­looking results and is easy to use, however the AVCHD Ute format makes rev iewing and edit ing trickier than with some other formats.

COMPACTGROUPTEST

QI II PICTlRE SIZE • QUALITY EB ASPECT RATIO

1

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69

WHAT I DIGITALCAMERA

70

SONY eYlER-SHOT HX5 I:;: rN WIINSONY.CO.UK

The HXS offers a full assortment of Sony's latest technologies, all rolled into one camera to create what Sony believes to be the ultimate creative tool. It features a relatively sparsely populated 10.2MP sensor of the latest back-i lluminated Exmor R CMOS type, designed for low noise at high sensitivity. It outputs at 3648 x 2736 pixels in 4:3, 400J)( 2672 in 3:2, or 3648)( 2056al 16:9. The ISO range offers from 125 to 3200. with a Handhekl TlNi light scene mode that combines six el(J)OSUres to produce shake-free images in very Iow-light scenes. Other intrioguing functions on th is ~ include: the intel ligent sweep panorama that can prcduce a 270 degree images in JUst a quick sweep of the camera; aID-frames­per-second burst mcde at full resolutiOll; a backlight mcde that takes multiple shots for an almost HDR effect, and GPS that not only pinjX)ints INhere the shot was taken but also, using the compass feature, the direction and coverage of the shot. The lens offers a lOx zoom from a wide 25mm to a moderate 2S0mm with an ma~ aperture of 1/3.5 to liS.5 controlled >;ia a lever around the shutter button. Interestingly, thIS is not a Zeiss lens but a Sony G type, the range classed as professional quality in the OSLR lens range. The HX5 offers a range of aeatJve and ea9f shooting modes. For the aeatille side there's Program and Manual mode. though no aperture or shutter priooties. There's a range of 14 scene modes, an intelligent Auto setting and an Easy mode that keeps it as a point and shoot. The rear screen is a 3in LCD in 4:3 format that dominates the rear panel but features a fairly basic 230k-dot resolution. The video mode uses the AVCHO format to prcduce 1080i high-definition video. This is the highest resolution in the test - though is In an interlaced form. Plus the file format sti li requires the use of editing software to be able to ~, unless plugging directly into an HOTV.

DESIGN The HXS has a solid build and few protruding features. It features a recess to form a grip on the f ront of the body and also a small indent on the back for your thumb. The rear panel has been kept very clean with a simple d-pad control that includes quick functions, a dedicated movie button and three small funct ion buttons controlling playback. menu and delete. Other.vise, the LCD screen dominates the rear of the camera. Sony's ne<N multl-(ard slot allows for either MemorySt ick Duo or SD cards to be used in this moclel too.

P£RFORMANCE In use the HXS is responsive and logical, with the main scene functions accessed directly from the top mode dial. The lack of at least aperture priority d(){>S seem an oversight ­however, with on ly two apertures available at anyone t ime, the manual and program modes are probably sufficient. The added features are what really makes the HX5 special. and the burst mcde, TlNl light shoot ing and intelligent <;weep panorama wou ld all be enough reason to buy this camera. Autofocus is swift and reliable even in low-light conditions. The real let down, though, is the LCD screen; despite its impressive size. the 230k-dot display appears overly bright and the only controls offer to further increase the brightness.

VALUE FOR MONEY Though the most expensive in this test, the HX5 has the largest number of added features, most of which you'll use on a regular basis. Images are a nice mi~ of natural tones and punch. and they more than hold their own in terms of quality and noise. It's only the screen and manual e~posure options that hold it back.

WWW.WHATDIGITAlCAMERA.COM

CANON POWERSHOT 5X21015

IS l'Jnaeestdsaliml

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11 16 16 16 11

COMPACTGROUPTEST

PANASONIC SONY LUMIX CYBER-5HOT TZIO HX5 12:1:lOOIl1(25.Drm) lOx Z1lOOI (25-25Imn)

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FIATURIS DESIGN P(IIFORMANCI IMAGI QUILITY VAlUI

18 18 18 18 11

FIATURES DESIGN ,(IF,"MANCt IMAGIOU.UTY VALUE

19 18 18 18 18

I

• 89%~ 82% 89% 91%

All of these cameras have their unique abilities and will appeal to slightly different usef5. It does depend on how much control you want over your images. Though all will let you put them into autopilot as it were, some will allow you to regain more control than othef5. If budgets are tight the Nikon is the viable option and, from a point and shoot perspective, delivef5 nice-looking images. Being the smallest and lightest, it is certainly pocket·friendly too. For just £30 more however, the Canon SX210 IS offers a

WWW.WHATOfGJTALCAMERA.COM

flexible range of creative modes, and superior HD video, while taking up mere millimetres more of pocket space. The regular screen display is relatively small and low resolution though, due to the 16:9 format 230k-dot screen. It also lacks the advanced features of the final two models.

Both the TZ10 and the HX5 offer a similar proposition; both with 25mm wideangle lenses, GPS data, and AVCHD video variants. The TZ10 offers a more manual ability, with a greater range of apertures and a full set of creative exposure modes.

Video mode is impressive but the format requires an additional package for editing and the included software is just to view.

Sony's HX5 packs in the largest number of features to the mix. The zoom is nice and wide, though not the longest and produces some of the most pleasing and noise·free results here. The LCD screen is a let down but is still workable and the 1080i HD video looks great though can suffer with compatibility. Overall, it edges past the other models and is truly worthy of our gold award. WDC

71

72

OLYMPUS E-PL1 SQUEEZING ... IG ... ·END FEATURES INTO A DIMINUTIVE BODY, IS T ... IS T ... E MOST TEMPTING MICRO FOUR T ... IRDS CAMERA YET? (*!i t I ] WITH 14-42"" LENS

iWIW.OLYMPUSmUK 13:;'li4!;J • 12.3MP LIVE MOS SENSOR • TRUEPIC V PROCESSOR • SIX ARTFILTERS • nop VIDEO RECORDING • NEW LIVE GUIDE OPTION

LIVE GUIDE MODE Oesigoed with the beginner in mind, settings soch as colour and brightness mav be changed with easv-to-use sliders,

,.----, BUILT-IN FLASH The [ -I'Ll is also Olympus's first PEN model to fealure an integrated Hash, while tile tIotshoe accepts external units.

ACCESSORY PORT Situated under the hots hoe, this accepts an ophooal eleelronic v;ewfindet or stereo micropoooe.

nmD BY MAn GOLOWCZYNSKI

~ Just under two years ago, Panasonic's ~ Gl demonstrated for the first time how the promised advantages of the Micro Four Thirds fonnat translated into an actual camera. The model was praised, though its insignificant size advantage over a DSLR left many feeling that the miniaturisation of the system could go that one step further.

Two years on and Panasonic and Olympus have both provided an array of models for the series, which novv include some pocket·friendly alternatives to those fol lowing the traditional SLR fonn. And with the latest E-Pll model Olympus has pushed the concept the furthest, with both its body and price tag being the most modest yet.

FEAnJRES Although the E-P\..l is designed to sit at the base of Olympus's PEN series. the company has not only carried over many features from its tvvo previous models but also gifted it with new ones. Notably. the E-PL1 is the first Olympus model to offer a built- in flash, as well as a dedicated button for stopping and starting video recording.

With the model aimed at novice photographers. it also debuts a new Live Guide Interface INhlch allows the user to adjust a number of parameters

in a straightfOlWard manner. The warmth of an image, for example, may be regulated by moving a slider towards the warm or cool extremes of the scale, lNhile saturation, brightness, depth of field and shutler speed may also be altered In this way. The feature also provides recommendations for shooting particular subjects. such as pets and flowers, in a similar vein to the GUide function on prf>Vious Olympus cameras.

In keeping w ith the camera's fun and functional ethos, Olympus's Art Fi lters have continued on this m~, with a choice of six.. These include the previous Pop Art. Soft Focus. Grainy Film, Pin Hole and Diorama, together With the new Gentle Sepia option, and each may be used in conjunction with the camera's HD movie mode. Sadly. support for stereo audio recording has been dropped as standard, though it is still possible with the aid of an external microphone

Image and video capture takes place on a 12.3MP live MOS sensor, in both Raw and JPEG formats. which works together with a rf>Vised version of Olympus's TruePic V image processing engine. Together, they allovv for the camera's sensitivity to run f rom ISO 100 up to a max.lmum ISO 3200, w ith a range of noise-reduction options available. The familiar combination of

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IF THE E-PL1INDICATES THE DIRECTION FOR HYBmDS THE OUnOOK IS CERTAINLY POSITIVE Olympus's Supersonic Wave Filter and image stabilisation system have a~ made their way into the E-PL I, with the latter function claiming to stabilise effectively at up to three extra stops of exposure past vvttat would be usually possible.

While 3in LCD screens have dominated many cameras over the past year or so (including Olympus's other PEN offerings), the E-PL "s measures 27in and has a resolution of 230JXXl dots. There's also a HOMI output to complement the camera's HD video capabi lities, and a slot that accepts both SD or SDHC memory cards.

DESIGN While the relationship between the E-Pl and E-P2 was doW, the appearance, feature set and asking price of the nevv arrival show it to fulfil a different aim. First glances show the E-PL 1 to differ only slightly, with the previous large, flat grip replaced by a smaller but more defined protrusion. There's a small revision to the lens mount button, but it's on the rear and top plate where the camera distinguishes itself from its siblings. Without a command dial by the thumb rest, operation IS

carried out entirely through the handful of buttons and mode dial on the top plate. With the mode dial novv on the nght-hand side of the camera, the flash sits on the left INith a catch below to activate it And thanks to the dedicated record button on the rear, video recording may be carried out with greater spontaneity.

The inner barrel of the lens retracts into itself when the lens is not in use, though ideal~ there would be an option to link this to the powering up and down of the camera. As it is, the camera requires two operations - one to activate power and one to lock or unlock the lens. Together wth the need to remove the awi<voJardly thin lens cap, it makes starting up the camera a touch more difficult than w ith a comparable high-end compact, such as the Canon GIl, which slmp~ requires a button press.

Whereas the E-Pl and E-P2 offered all-metal bodies, the ICMler positioning of the nE"N model means that only the metal frontage has been retained, with the back and sides constructed of plastiC. Despite this the model feels very well constructed, and together wth the slightly smaller body this reduces the overall weight.

PERFORMANCE The camera is set by default to hide many of its customisatlOfl optIOns, the sort that wi ll be famil iar to users of previous E-system models. Once enabled, they turn a seeming~ simple camera into one full of customisable options. If you don't want to use the movie recording button for its intended purpose, say, you can change its function to a different setting, In the same way the Fn button may be personalised. Further exploration uncovers a bulb mooe that can be programmed up to 30mins, and an Anti-shock setting ideal for use INith lower shutter speeds,

With no mirror/pentaprism combination, the E-PL 1 relies solely on the contrast-detect system to achieve autofocus. This steps through » WWW.WHATDIGITALCAMERA.COM

• As with the E·Pl alld E-p], the 12.3MP sensor alld TruePic V rmcessing l'Il!Ji~ deliwr a hi!tJ standard of images, ard the level of deta il the camera aoo ~it lens are able to resot.-e together is impressive, As ever, a IinJe sharpening is reqlJired to lift images past the quality Typical of its JPEGs. though not as much as may be expected, Metering is generally fine. though as the camera occasOOalIy errs 00 the side of tNerex~ure, sane higl-jKjht detail can tun out a bit prematurely. the Gr~aOOJ ~tion may be used to coLflter this QlJality is slKjhtly corr-pomised 1'1 image noise patteming in shadoo.v detail, even in im<Iges shot as bw as ISO 200. Aside from a slighttenOO-lcy to be a linle warm on occasion, the camera'sAuto White Balance system is generally re liable, I'd

OLYMPUS E-PL1

prefer there to be a Standard colour mode of sane sot, as the NatlJ'al mode (the defa~ setting) can lade lite, though this may be adjusted in camera to taste. The 14-42mm kit IerlS maintaJrlS excellent shatpneSS towards edges, with just a marginal drop in sharpness tCMIards COOler<;,

With the Olympus E·PL 1, cok:JIJ is IM'iI maintained right up unli l lSO 1600. Noise Iises steadily throt..Wj1 the sensitivity range, aoo ontt shilts silJlilkantly for the 'MJI'St at the I-Wghest setting.

73

points of focus incrementally to find the right one, and, as on previous models, it does this even Yllhen the focus point ha>n't changed from the previous capture. While for most static subjects this won't be too much of an issue, anything requiring more immediate focusing attention is likely to present a greater problem. Switching to manual focus is one solution, though the focusing ring is not mechanically linked to the relevant lens group, but to a system which electronically instructs hovv far this group needs to shift. This makes fine-tuning focus less intuitive, a problem compounded by the small steps by which the system finds focus. When shooting video it's easy for this movement to become quite apparent in the resulting footage, as the focusing ring may at times need to be shifted by a fa ir amount. This isn't necessarily insurmountable: using a tripod or simply stopping the lens down far enough can get round this problem. Another saving grace comes with the 14x magnification option, which makes the process of focusing on more distant subjects infinitely easier, n is also possible to set the camera to focus continuously during movie recording, though this system lacks some of the expected responsiveness when the subject or camera chan~s position. Using an external microphone rather than the inbuilt one is also likely to pick up less of the camera's operating sounds, which can otherwise be noticed (even Vlihen using manual focus),

Thankfully, the processing speed when using the Art Filters has improved from when Olympus fi rst introduced the feature, most likely as a result of its n€."Ner processor. Using a relatively fast

SDHC card the average processing time for a simultaneous Raw and high-quality JPEG file is around three seconds, though this varies wrth each effect, The Pop Art finer, for example, is applied instantly, while the Pinhole filter can take four to five seconds. The process ing speed of each effect seems roughly proportional to its effect on movie frame rate, when the two are used together. While three liners are able to maintain 30fps recording, the Grainy Fi lm filter reduces this to 6fps and the Pinhole to just Zfps.

The addition of a flash is welcome, particularly as many users upgrading from compacts w ill be used to its presence. A panel hosting a handful of flash options helpfully includes a few separate po.vers (such as full povver, y.. povver and so 00)

though to some the addition of the flash and the slightly smaller form factor may be preferable.

VERDICT The Micro Four Thirds system has definitely pioneered the hybrid concept but Samsung's NXIO, Ricoh's GXR sy.;tem and the promises made by Sony will all challenge how its future models are received. Nevertheless, it's becoming clear that the advantages offered by such cameras take more and more away from the appeal of enthusiast comparu, which have long enjoyed the reputation slowly being bestowed upon this newer breed. The only Significant benefits of such enthusiast models come from their

THE LEVEL OF DETAIL THE CAMERA AND KIT LENS ARE ABLE TO RESOLVE TOGETHER IS IMPRESSIVE which negate the use of a separate flash compensation function, though the flash itself alvoJays needs to be manually released from the top plate first by the user, regardless of whether it is set to its most basic automated setting.

Finally, the softvvare su ite supplied with the camera includes Olympus's latest 'ib' program. While it allows basic Raw adjustment. its focus is more on doing several things to extend the camera's functionality, rather than specialising in anyone of them. These include tagging people and mapping Images. as well as editing tasks such as panorama stitching. Its slick interface differs considerably from the soltvvare previously supplied with Olympus cameras, but for serious editing it's perhaps best to look elsewhere.

VAWE Having been launched nine months after the original E-Pl , the E-Pll commands roughly the same price for both lxx1y-only and kit optkms. This may make the former option seem more Iogicat with its larger LCD screen, more effective image-stabilisation system and stereo sound recording, to name but three of its benefits,

retracting lenses, which makes them more pocketable than models like the E-PL 1. This factor aside, it's hard to see what their next move will be simply to justify their existence.

If the E-PU indicates the direction for hybrids, the outlook is certainly positive. The camera is not perfect, particularly when its focusing foibles are considered, and it'd be nice to see high-res LCDs and a few other wrinkles ironed out in future models. Even so, to achieve this level of image quality in such a small body is impressive; let's hope Olympus and Panasonic are as ingenious with their future models as they have been in their conception of the system. woe

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WHAT I DIGITALCAMERA

RICOH CX3 WI114 HD VIDEO CAPTURE, WHAT ELSE DOES THIS IO.7X ZOOM SWOOTER OFFER?

m The first mcKiel in Rican's CX series W debuted in 2009, with the CXl following a little more than six months after. This circa six-month launch pattern cootinues with the latest addition - the Ricoh CX3.

~TURES The CX] features a new lOMP CMOS sensor which, like some other cameras of late, is back­illuminated. This offers increased shooting performance in low light - a feature aided by the improved noise reduction, utilising the algorithm seen on the Ricoh GR DigitallU. The CX3 offers full HO video capture now too but otherwise mum of the spec remains the same as the CX2 before it - induding the ability to only capture JPEG images, still no Raw format has been introduced on this occasion. Also, while boasting its own incarnation of the fashionable 'Smart Auto' capture mode, the CX3 still lads a fully manual mode. New additions include an HDR blending shooting mode, plus in<.amera processing modes include a tiltlshift-emulating 'miniaturisation' mode.

DESIGN The CX3 body has a retro feel, with solid lines and a reassuring weight, a brushed-steel finish, and a solid plastic handgrip. The buttons are simple, leaving the top and rear unduttered. A simple mode-dial resides on the top plate, while a joystick-style control on the bad: offers access to focus and flash buttons. The menu ~tem is basic, while when shooting an oo-screen display provides a nifty camera level indicator.

P£RfOtlMANCE The Ricoh CX] is a pleasure to use. Not only is it

TESTED BY PAUl NunAU

comfortable in the hand, but the focusing system is sharp and prompt, though at the tele-end of the zoom this does slow a touch. The 3in high-resolution screen is a joy. making both shooting and reviewing images a pleasure. Quite often the camera er r~ on the side of underexposure. This isn't uncommon in many compacts, and while highlights are preserved the lack of Raw shooting limits manipulation.

VAWE Currently priced around £300, the e X3 finds itself in the company of some respectable advanced shooters, but lacks both Raw capture and full manual shooting control. However, its predecessor. the (X2, currently retai ls at around just £50 less. When you consider that the eX3 offers the signifi cant upgrade of an improved sensor. as well as HD video capture, its value appears more impressive.

VERDICT The CX3 is one of the most 5fJiking advanced compacts out there. INittJ an impressive backlit sensor and HD video output it 5eeI17S like a winner. Hovvevet; the lack of Raw capture or manual control mean it can't be considered among the most elite compacts.. woe

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CASIO EX-Z25

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\\\WI.EXILlM.CO.UK ~ The Casia EX·Z2S isa stylish. sl im compact r;.t",Ii offering 12.1MP and a 3xoptical zoom. Also induded is a 720p high-definition vkleo mode and Auto Best Shot mode.

With HD movie mode the EX-Z25 has an impressJve feature for the price-!X>int straight f rom the get-go. The 3)( optical zoom is a touch short to make the camera particularly versatile, and the 2.7in LCD screen only stands at 230k-dot resolution rather than a higher resolution as is becoming more standard

The design IS very much in keeping WIth the Exil im range, and the slim, lightweight 102g frame means the EX-Z25 barely makes a dent in the pocket. The reduced space at the rear has resUlted in far smaller buttons than some previous models, which can be fiddly to press, though the on-screen menu system remains the same straightforward and easy-to-use set up.

Image detail at the centre of the frame, especially for macro images, can be impressive, but the edges start to shQIAI sfgns of softness. Add to that the over-bearing pixel smoothing and the versatil ity of the l2S is limited. MT

ABOVE. Central detail is fine. but the edges are beIow-par

SPECIFICATIONS LINS J3..114mm. fl3.I·5.9 RES 12.l11f' ISO &\·1&00

SCORES UK .. Slim, simple to use, HO I'i!loo mtMle. affwdable price DISUKES Images are flawed in a numbe<of areas, loom is too ~hllrt

LCD VI1 SLZE 89Jx 5I.h 19futm MIGKT 102g

TOTAL

80%

POWER [j.i:.J1 IIfMDRY~ DTHER lmAV ~

1i 11 1i

" 11

WWW.WHATDIGITALCAMERA.COM

,

~ I \\\WI.NIKON.CO.UK ~ The Nikon Coolpix Ll10 lSa 12.1MP r..cIIII superzoom compact with a lSx optical zoom starting at a wideangle 28mm equivalent. Avai lable in black or the rather S\Nanky 'wine red'. it has a chunky enough grip to fi rmly secure it in the palm. Although there's no vie-wfinder, the 3in LCD is of goOO quality, despite not always shovvil19 images in their best light - wel l-e~posed images can appear to have bl()lM1 highlfghts on playback. when this isn't the case upon reviewing on an external device.

Image quality is a bit of a let d()lM1 as optimum sharpness Isn't there and fringing can be seen in a few scenarios. No Raw capture features and the JPEGs seem overly-processed, often shCMling artefacts and suffering e~cessive noise reduction that leads to softness and 'muddled' colours. ISO 32()()..6400 are only for use in a 3MP mode. The rest of the ISO range is reasonable, but lacks the desired sharpness.

However, at just under £200 the Ul0 is a bargain. Vv'h ile its image quality isn't the sweetest spot, It'd be t ricky to find a similar camera to give this one a run for its money. ML

ABOVE. Macro mode full(tions most proficiently

SPECIFICATIONS """"_ RES J2.Jr.f' 1SO III)..1&OO LCD 3i1,46ll-lit

$11£ )08.91143 1 MEMOR'f SO 78.Jmm OTHER \\tx-ati:.J1 MIGHT 406g

PI1III. ""

SCORES LI ... Affordable, Vibratioo Re-duction,lSJ; optical

OISUKU Image Quality, no viewfinder, no manual Clmtroh

PlRflftll&llCI

TOTAL

83%

1i 11 11

"

WHAT I DIGITALCAMERA

~ The latest model in Olympus's mJu series, r..cIIII the 9010, offers a bulging specification to place it fi rmly In the pocketable travel compact camera category. The mooel boasts an impressive lOx optical zoom, ranging from a 28mm wideangle through to 280mm in 35mm equivalent terms. Other areas of the specification include a 14MP CCD sensor, 2.7in HyperCrystal1i LCD screen and internal image stabilisation.

In terms of design, the mju 9010 offers a stylish , angular body, though accommodating the lOx optical zoom means that the bcx:ly is thicker than most. The camera's body also feels a touch plasticky in the hand, while the scroll wheel on the camera's rear is loose and feels susceptible to breaking. However, the minimal button layout on the rear is pleasing, along With a large dedicated video record button to access HD movie mode.

Image quality is generally fairly average. While high-ISO penormance is fairly decent, the 901 0 tends to underexposure and images appear overly warm. PN

ABOVE Images tend to be underexposed

SPECIFICATIONS LfNS 28-28Cmm RES 14.511f' " 64-3200 LCD ViR, 2llk ~

SI1£ 94151.6 1 3Llmm WEIGHT l/l£ POWER Ii-500

SCORES FUT1IRfS

UKIES lCO screen, lOx 100m. image nojsecootrol DISliKES locQnsistent e>:iIIl~ures,

pia sticky IlOOy

ImlN

I 1m 11111 VUII

TOTAL

83%

11 11 11 1i 1i

79

PENTAX I,,"nlol._ -._aa._ 100UI1I-4.' U·W4Do11 I""OA~

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!.l_lI ht ......... TIoIHI liD 1'\.-141'10Il10 " 4 ' i'l.-JU FIoM tltt F\.-501\ 1'10.... £41. '1-1"-'11 ...... 1'Io.~ lUI t i lt ,S-ST.u -.- 1"1-" lUI 1791 ..,-, OM ""."'... 191.91 11M., R_ Ul.9t lIMoCll _. control U'.9t eN!,... ("P '''.91

SENNJfEISER MKE400 lIDJ IllWiSfNIti£ISER.CO.UK

~ The Sennheiser MKf 400 is OJ

r:..t;; compact directIOnal

mKrophooe that can Connect 10

:>Orne modem DSlRs via 3.5mm

audIO jaCk. The miaophone is

designed to focus sound recording

from a partICUlar subJect rather than

the ('mire SUrTOUndmgs, such as the

camera operator.

One ISSUe WIth 5Omt> modern

d1rectiooal miaop/'lones is the

Physical sill', as they often apPear in

the frame due to the DSlR body

oon9 short and !em WIdt>. The

Sennhetser MKf 400 doesn't suffer

from this. due to beIng incredibly

comPdCt at only 130mm long. The

MKE 400 also SIts ooly 62mm off the

hotshoe In SPite of having OJ vibration­

absorbrflg supPort. making it alilhe

less likely 10 appear in shot.

Aud'O quality is a vast

rrnprcl\(('ment ~r standard, built-in

mics from a DSLR, as the unwanted

extraneous aUdIO IS discarded. There's

also the opponuntty to t>M:>ak the

recording volume and SWItch rnto OJ

po/e-mounted boom mlC mode fOf

off<Ofllera recordlng_ MT

UK£S Fully fealllred am aceIIMt

""""'" ... ., DISlIkES SWitches are s/~ 100

smatt, mic is ~

89% ~~ WWW.WHATDlGITAlCAMIRA.COM

l MIFI lIIIW.lHR££.CO.UK

m Up until just a f(!IN years ago, interne! on

r.r.t the go was a dream for most and OJ very

expens/V£' luxury for the fE'\<\!. How£>ver. recently

lOp introductIOn and proliferation of U5B

dongles has enabled web brCl'W5lng on the go

at an affordable Price and has prOVed

invaluable for those who needed to be

connected 10 the field.

The new MlFI POrtable Internet solution

from 3 takes thl" idl"a to the nl"xt levl"l. Thl"

MIFi lOOks SOmething like a small mobile

phonl" Without the main buttons. and

serves as a portable Wi-Fi routl"r, As a

result, the devICe can connect to 3's

I"xtenSlve 3G network to offer internet

on the go, while also haVing the added

benefit of not needmg a Wired USB

connection and also allOWIng web

connectivity to muillpil" devices at once.

The MlFi is available through contract,

though a Pay As You Go OptIOn IS

available. A range of Contract lengths and

data amount is available, though we tested

the £15 per month 3GB allowancl", which

reqUIres an Initial one-off £50 purchase of the

devrce. Pay As You Go also has an Initial £50

purchase and data can be booght separately,

With 7GB currently COSling £25.

Connectmg to the internet is merely a

sequential bulton-press away, with the devICe

J)OWenng up and connecting m around, 5

seconds. Internet speeds are, In general,

ImpreSSively qUick. There can be issues With

network coverage, thoogh 3 were keen to point

OUt that they would nevt>r sell a device If it were

to be most commonly used outside an area

where decent receptIOn can be found. The device

also appea(5 to struggle With reception and

Connection therem as battery life lessens, though

an AC adaptor is provided for easy charging.

The MiFi 15 a dever solution to the problem of

Internet on the go, and Irs nice to be able to

connl"Ct more than one device to your own

personal W,-F, hotspot. Ii's not all roses howeYer­

there are issues With reception and battery life isn't

the best. Add to thiS the likelihood of being tied

IOto a fixed Contract and It can be pncey, espeCially

conSidering how much data can be ~Ioaded In

any given month. Generally speaking, the MiFi IS

an expenSIVe luxury. However, If you're

comfortable paYing the price then Irs a great,

practical bit of kit. PN

UIttS Ease of use utiIisrJg

mulrip/e devices

DrSUICES IssIJes with bartery

ife ~ s91aI, ~

84%

81

Aperture 3

WHAT I DIGITALCAMERA

84

MANFRono 503HDV l~iN WIIW.MANFROTTO.CO.UK ~ The Manfrotto S03HDV video head has a number of ~ innovative extras for the price, including friction controls and an illuminated spirit level. Both the size and price of the head denote professional usage, w ith the maximum supported weight being 8kg.

For a DSLR with a long lens, or professional camcorder, this head provides incredibly smooth movement across both the horizontal and vertical axes thanks to the impressively flu id head. The amount of motion can be tempered via the Tilt Friction knobs, which al low for more tension to be exerted to slow movement dovm. The Counter Balance System can combat heavier items being placed on the head with four stages of resistance, allOWing both heavy and lighter items to receive the same smooth motion.

Having a light under the spir it level is surprisingly useful, especially when shoot ing low light, and the adjustable pan bar makes the head size all the more manageable. MT

LIKES Provides supeib stability for larger cameras DISLIKES Expensive and heavy

880/0~

GARMIN OREGON 550T HANDHELD SAT NAV I1E!II \\\WI.HANDTEC.CO.UK

~ Landscape photography often relies ~ on being in the nght place at the right time. and thIS can sometimes Involve a long hike and a certain degree of map reading, This is all very wel l if the walking and map reading is also part of your hobby, but surely in these rno::Iern times we cook! make life a little easier for ourselves? The an'Mlef is, yes, we can. The Garmin Oregon is a portable sate ll ite navigation device that IS designed for those travelling on foot. At aoout the size of a mobile phone. it has a 3in colour touchscreen display and comes preloaded with fu ll European recreational maps.

The device is built for the outdoors with a rubberised waterproof shel l and includes a 3.2MP camera for snapping quick shots of your locations, v.mich are automatkally geotagged and linked to your Iocation­handy for pinpointing great photographic spots. Also built into the device is a three­ax.is compass to allow you to .. asily follow your route, and a barometric altimeter to gauge haw high you are. Full 0$ mapping is also available for individual regions (1 :2$ scale, £130 each) or for the INhale of the

UK (1:50 scale, (200), which are available from the GarTnin website as a dovv"nloacl or on a memory card.

Apart from the ability to tag and find Iocabons quickly, the device features a sun and moon mo::Ie that wil l provide you with accurate rise and set times for your location - very handy for catching the right light. The device can even work as a standard Sat Nav with route planners for road navigation by car or foot, along with a selection of landmark, address and service searches. Operation is very simple. and once it has locked on to the GPS satel lites you'll be <NVif>J. The price may not be comparable with a simpe map and compass.. but, for the freedom to concentrate on your photography and never get lost it's worth every penny. MG

UKlS Fast way to find locations, simple to use and has tons of eKtra features

DlSUKES Screen isIl't particularty" bright and can be on the small side Rather pricey if you want the as maps as well

880/0~

THE COMPLETE NATIONAL GEOGRAPHIC DVD BOXED SET I*J~ ! I \W/I/.SHOPtI\TGEO.CO.UK

~ National Geographic magazine is ~ synonymous INith great photography, and has inspired generations of readers, myself included, to pick up a camera and to see the world. But much as you may love to own the complete set. those l,400-odd issues would require more Bi lty bookcases than you probably have room for. But now the archive, stretching from 1888 to 2008, has been published as a boxed set of six DVDs. Once you've installed Adobe Air (it's on Disc One) you can brOlo'6e the whole lot as pdf-style pages, ads and all. The pages scroll pretty quickly, iPhone-style, and you can zoom in on the text or photos. The sl ick interface also provides access to additional features such as personal selections from past Editors and photographers, and a trivia quiz section. You can bookmark or print favourite pages and the Geobr~e feature finds all articles relating to specific locations.

The pages rescale automatically to your window, and the navigational elements are hidden until you sl ide your cursor to the edge of the screen, leaving you wrth ma)(imum real estate to enjoy those pictures. It's a shame the pages have no embedded links- you can't cl ick on an item on the contents page and go to that feature, as you can with \rVDCs own dig ital edition, for e)(ample, and it would be great to be able to save pictures as wal lpaper, or perhaps see a related video cl ip, But maybe I'm asking a lot for £60. As rt IS. th is is al ready pretty good value. There's even a bonus DVO featUring technique tipS. a behind~the-scenes

featurette. and interviews with Geographic photographers. OVerall, this is a superb gift for any NatGeo fan. NA

LIKES Good interlace. 1,400 issues in the box. ,~

images. good "I", DI51IKEs No

em """" cootff1t

BOOKS OUR WORLD NOW PU8USNEII: R&'ur&.RS ISBN NO: 978-0-500-28869-6

([ITI I'NM'_REUTERS,CO_UK

~ Oneof the main criticisms r.t".IIIII that can be levelled at press ~rogr.3phy is that it's noonal ~

fairty hea...,. going. Unfortunately. the death aoo suffering of peq:k arouoo the world - rather than peopIe's ha~ness- is more li ~~ to make heacjijnes. aoo as such countless ~tO]rartoers are posted to regions of cmfliet to doctroent ocrurerlC!'S.

1-1a-M.wr. it·s not all OOJm and gOOffi and. thankful ~. in OurWorld NfMI, Reuters manages to find a different take on the )Wr that was.

THINGS AUTHOR JIM KRAUS&' PU81ISIfER WOW 800ttS ISBNNO: 97~W

lim l'NM',f+OWDESlGN.COM

~ There are times in ewry r.t".IIIII ~tO]rapher's Iffe....t1en they fioo themselves bereft of ideas. VVhen this stagnant period occurs. inspiratIOn can often be hard to COOJe 0" Some take k:lng walks tlYCllgh unfamilia r pastures, I'A1iIe others revisit old images and try to find a new angle from them. One of the best opt;oos, howevet; is a g:xxl photO]raphy Ixxlk, sud! as Jim Krause's Things.

Billed as'not a book of pictures, but a Ixxlk oi ideas'. l1ingsoffersa

SpI~ into four sections - ooe for each quarter of the year­the title takes a ~bokat2009.Vvhile

it's fair to say that OJ, INorI::i No.v has the obligatOI)' quota of the mortid just l'IlOlIgh to remind us that we do itx\ee(i live in troubled times, its content is by 00 means fascinated with it - for example, candid smts of world leaders accompany gf<.llhic rioting images to sOO.vcase the coll apse of

collection of images spaced OYer

19 abrumal chapters. T~1es aoo st.qea matter range from the roore normal (lose Up and (reatures thrOU]h to the more abstract Sh<OOw Worki and Metapho" & Suggestion. The images ttuoogt-out the title aren't to the hKjhest standam, thoogh this gves them an air of attainabil ity that aids

ADVENTURE PHOTOGRAPHY AUTHOR MlOfAEL ClARk PUBU$N&.R LARK BOOkS tSBN NO: 978+60059-519-6

(Ej] WM'I.OEWIlEWISMEDIA,COM

~ A career in photograp'ly can r.t".IIIII lead dcMm many different paths. There are wel l·pakl studio aoo fashion photO]ra~ landscape and wildlife pI"OtO]raphers, as well as jOObing press pI"Otographers, among mal"rj others. It's safe to say.~. that tn' of the most desirable of the lot is that of the outdro- aoo extreme sr-orts pI"Otograplm.

Michael Clatk is someone I'koo makes a IMng in some of the most breathtakh] natural environments. His wOO:: has awoared in Natiooal Gec9tap'!k aoo Spons lllusrrared.

to name just 1\\0

pt..O!ications, 0300 in

"""''"'" PhorOip{irj he shares the tricks of thetrade.

As wei as telling you....natkityou·1 need in order to follow in his footsteps, Clatk talks the reader thfOL9h all the trid:s of the trade relating to a range of sports. Not oo~ that, but Clatk goes behind the scenes aoo explores the nuts and oo~s of ~h] pro aoo seUh] your images. iMlethef lOu're

the global ecooorny, OUrWorld Nowmaintains the

hKjh standard set by previoos Reuters titles in the serie';, aoo is refreshing in its documentatlOll of contelTl(Xltaty issues. 9O%PN

inspiratIOn, and v-.+tile some of the chapters and txJSt-prool.dion a:Mce may 00 s1~htty ctscure, this is sometimes....nat you need to make you think outside of the box, CNeraIi. a gcod title for those stllCK in a photO!J<lPhic rut,

84%PN

an 0l.IId0a SjXlI1S fan or 001.

Mlent~ Photography is crammed fun of tips and tricks a~icable to any outooar Iflotogr<flher or al"rjOl1e looking to tum their ootDy into a career, 88%PN

85

WWW.WHATDIGITALCAMERA.COM

LUMIX G20MMF/I.7 [iIj]l I'MW.PANASONIC.CO.UK Given its 17.3)( 13mm sensor, the standard lens for a Micro Four Thirds camera (according to the rule of using the diagonal length of the sensor) ought to be about 22mm. That is close enough to 20mm for this lens to be vie'-Ned as a standard optic, espedally given its fast 1/1.7 aperture, wh ich echoes the typical apertures of standard lenses for 35mm cameras.

Evidence for this suggestion can be found in the fact that the Panasonic GFI is available bundled with the 20mm lens. But if the Lumix G 20mrn 1/1 .7 is to be adopted as a standard lens, then it has to be highly usable and exceptionally well-behaved. The 9000 n€INS is that it meets both of these demands admirably.

The only control on the lens itself is a manual-focus ring. use of which automatically enlarges the viewfinder image (where avai lable), Despite using a fly-by-wire system that drives the focusing mechanism electronically, there is a gocx:! feel to the focusing ring.

As this is a 'pancake' lens that protrudes only 26mm from the front of the camera, it would be reasonable to expect the lens to feel cramped­but it doesn't. There IS no aperture ring, no distance read-out and no depth-of-field scale, but the lens has not been marked-down for any of

OLYMPUS 17MMF/2.8 1:f,@J I'MW.OLYMPUS.CO.UK

As the first Olympus lens for the Micro Four Thirds system, the 17mm f12.8 can be viewed as haVing defined the standard for prime lenses. It is also, potentially. a competitor to Panasonic's similarly­priced lumix G 20mm fl1.7 lens, which has almost the ..ame breadth of vie-vv but benefits from a faster maximum aperture,

l ike the lumlx 20mm, Olympus's 17mm is a pancake design that hugs the front of the camera and protrudes no more than about 25mm from the flange. The only control is a manual-focus ring, which drives the fOCUSing mechanism electronically: the sound is more energetic than that f rom the Lumix but Olympus's lens is qUicker to achieve sharp focus on the test camera used ,

Its smaller maximum aperture means that the Olympus lens also has a reduced front element and a correspondingly small lens cap that verges on being fiddly to fit. The moving part of the lens, which extends and retracts very slightly during focusing, looks a little flimsy but that may be an unjustified concern.

One of the great things about the pancake design is the fact that it does not intrude into the illumination area of the pop-up flashgun. In fact (and despite the fact that this is a lens review rather than a camera test) it is walth noting that

WWW.WHATDlGITALCAMERA.COM

these omiSSions because the people who are going to use the M icro Four Thirds system w ill include relative nev..rcomers to photography who are unlikely to require such old-fashioned things,

Far more important is the optical performance of the lens. Its MTF resolution remains above the crit ical 0.25 cycles-per-plxellevel from Wide-open down to about 1114 and, though some colour fringing can be found if searched for, it is not a problem in real-world images. The only serious disappointment is its rather slow and Sl ightly noisy AF mechanism

At a shade under £300 on the web. this may be viewed as being a rather expensive standard lens; the big question many buyers may ask is whether they would be better served by a similarly priced zoom lens with a more modest aperture,

the Panasonic G I body used for this evaluation produced very gocx:l flash exposures when the 17mm lens was used .

The MTF chart shows that optimal resolut ion (above 0.25 cycles-per-pixel) IS maintained from wide-open to just beyond fl8: this is a reasonable performance but it is nothing to write home about and when fully closed-down the lens records Just 0.15 cycies-per-pixeL

Overall this is a good lens but it doesn't shine brightly. It wins over the lumix G 20mm in having a sl ightly wider angle but it loses out in MTF test ing and it might be usurped by a similarly­priced 14-42mm zoom that sacrifices a little in the apelture stakes for greater versatil ity. Of course the zoom would be bulkier and If a truly compact combination is needed then the Olympus 17mm is always going to hold appeal,

LENS GROU EST

•

a range of

» 87

WHAT I DIGITALCAMERA

88

LUMIX G VARIO I4-4SMM F/3.5-S.6 ASPNERICAL MEGAOIS m:m I'MW.PANASONIC.CO.UK Handling for the 14-45mm lens is excellent thanks to an unfussy design and a logical layout, both of which echo the appearance of Leica's Micro Four Thirds 4Smm prime lens. The zoom ring is wider and closest to the camera body, pushing the narrower focusing ring further forwards. The lens extends by almost 50% as it is zoomed from 14mm to 45mm but focusing is entirely internal, leaving the f ront element undisturbed.

The AF system is brisk, accurate and virtually silent As with other lenses, manual intervention is possible in AF mode via an electrically driven rather than mechanical linkage, The resistance on both collars is just about perfect. though the looming movement lacks a little smoothness.

Resolution test results exceeded expectat ions given the price of this lens. The MTF curves were all above the critical 0.25 cycles~per-pixe l level

from wide open down to more-or-Iess f/16 at all three tested focal lengths. Admittedly. the resolution dropped below 0.2 cycles-per-pixel at f/22 but there ought to be no reason to set so

small an aperture on a camera where the ISO can be varied to accommodate brightly-lit scenes.

There was a trace of ch romatic aberration at 14mm but this was not vis ible in real-world images. To cap th is Vf~ry sol id performance, the lens incorporates Panasoni('s Optical Image Stabilisation, which is effective and unobtrusive.

Overall this is a really nice lens. The fact that it has a relat ively modest and variable ma~ imum

aperture is less significant than it would be on an optical reflex camera because the G l's electron ic vievvfinder maintains its brightness regardless of the lens fitted . In its own way. this versat ile and well-equipped lens is every bit as goOO as the 7-14mm zoom at about one-quarter of the cost.

OLYMPUS M.ZUIKO 14-42MM F/3.5-S.6 ED ~ I'MW.OLYMPUS.CO.UK This lens features a clever 'parking' system, making it much more compact when stowed than when in use. Olympus has achieved this by extending the rotation of the zoom ring to retract the middle of the three concentric cylindrical units. thereby redUCing the overal l length from about 7Smm to just over 40mm.

Perhaps because of this collapsible design the innermost cylinder looks a little flimsy and there appears to be a little slack that is evident when fitting and removing the lens cap. There is also slight rotation of the f ront-most flange during fOCUSing. This is unlikely to be a problem for either handling or filter movement but it is a bit disconcerting. These things give the camera-and­lens combination the air of a high-spec fixed-lens compact rather than a full DSLR-like feel

The zooming collar has a short throw and a smooth action but rotates the opposite way to that used by lumix lenses. which is not ideal. Manual focusing is achieved using the narrow collar at the front of the outer barrel: this fa lls comfortably to hand when required.

The AF system works well but it is neither as quick nor as quiet as that installed in lumix's

14-4Smm zoom. Olympus's lens has a marginally weaker set of MTF curves and lacks image stabilisation - though Olympus PEN cameras have this built-in. Stil l, the resolution figures stay above 0-25 cycles-per-pixel across the aperture range down to about f/14 w ith Just a slight drop wide-open at the 42mm setting.

The most serious weakness is magenta fringing, especially at 14mm, that is present when demanding subjects are photographed.

In its own right this is a goOO lens, but against the lumix 14-4Smm, which offers more features at less cost. it faces st ilf competit ion. Some buyers wi ll be swayed by Its compact form. lower mass and clever 'parking' system but objectively it has to take second place behind Panasonic's zoom.

Despite being bundled as a kit lens, the 1 4-4~m is a versatile zoom that delivers gre<lt irTJ<lgeS at bot!1 ends of i

AIthooIjl some colour fringing was cle<lriy visible in tedmical images at 14mm, it is all but undetectable in rea l·wood images.

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LEICA DG MACRO­ELMARIT 45MM F/2.S ASPWERICAL Iga ll!] \\\\WPANASONIC.CO.UK Let's not beat about the bush: th is is an amazing lens that has rNery bell and whistle, not to mention the Le ica seal of approval. With a focal length that is wice the sensor diagonal, Leica's 45mm is ideally placed to offer a high-quality macro performance. much like the 90·1 05mm macro lenses offered for full-fram .. 3Smm cameras. The 'macro' label in the lens name suggests this ought to be the case, but such labels don't always deliver what they promise. Leica's lens does: it is a true macro that works brill iantly in AF mode_

The Af system is qUiet and qUite quick, but not blindingly so. Manual intervention is possibl", via the only collar on the lens and activates an enlarged viewfinder Image {where available} to make focusing easier. Using an electronic viev.riinder isn't as quick as using an optical micro-prism. but the experience IS not unpleasant.

The 45mm looks and feels like a Leica lens and its MTF chart has a correspondingly tradit ional profile. The figures are a shade dlsappomting at the ends, dipping belOlN 0.25 cycles-per-pixel at maximum aperture and beyond f/14, but the resolution is above 0.3 cycles-per-pixel across the most-used apertures from f/4 to 1/8.

LUMIX G VARIO 7-14MM F/4.0 ASPWERICAL Piiibl \\WIIPANASONIC.CO.UK

On Panasonic's website this lens is listed at £1,375. Fortunately, it can be obtained for close to £900, which is stil l a lot - but a lot less than £1,375

So what do you get lor your money? Extemally there is a bu lbous front element that is protected by a fixed petal-type lens hood, over which a slide-on cap protects the lens when not in use. Internally there are l our ED glass elements and two aspherical profiles. The zoom rmg is located closest to the camera body, with the manual­focus ring beyond. Manual focusing is done electronically rather than manually and is aided by an enlarged viev.riinder image (where available).

At the shortest focal-length setting, great care must be taken to keep the camera parallel to any objects that are to be correct ly rendered without converging verticals, for example. but there is not a hint of geometrical distortion. A slightly odd noise (rather like the flexing of a bellows) came from the review lens at the w idest end of the zoom but not the sort to set alarm bells ringing.

Technical test ing reveals a wel l-matched set of curves that remain above 0.25 cycles-per-pixel from maximum aperture down to about f/13, suggesting that the lens is likely to perform very

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Optical Image Stabilisation (Mega OIS) is bu ilt into the lens and controlled from the camera body. This works well, Without any of the jitters that some other systems produce. A focus limiter restricts the minimum object distance to O.5m for normal photography and allows extended focusing down to O.15m in macro mode. Incidentally, the focal-plane marking is to be found on the left-hand end of the top plate and is discreet to the point of being easily overlooked.

When considered as an 'ordinary' prime lens Leica's 45mm MFT lens is distinctly expensive but its true macro capabi lity puts it firmly into the macro lens arena, where its price can be more eaSily justified. If you 'NIII use all Its features then the price may be worth paying.

well in most pidure-taking situat ions. Obviously the use of a pop-up flashgun would be ill-advised given the zoom's bulky front end, but that ought to be a more-than-tolerable limitation.

It is worth noting that the zoom ring rotates clockw ise (from behind the camera) to set longer focal-lengths and that this matches the rotation of the companion Lumix 14-45mm zoom. The altemative 14-42mm zoom f rom Olympus rotates counter-clockwise, which might prove rather unsettling if paired with the Lumix 7-14mm.

Despite being larger than other Micro Four Thirds lenses, the Lumix 7-14mm is a pleasure to use and allows some very dramatic compositions to be recorded. It is hardly an everyday lens, but it's an admirable beast in more ways than one.

LENS GROU

leica's 45mm lells d~ ivers biting sharpness in sct'Ilic images and true

EST

1:1 maaodose-ups (the red dot on the 3nm i

89

WHAT I DIGITALCAMERA

PERFORMANCE These si)( Micro Fou r Thirds lenses all

industry-standa rd method for measuring the performance of lenses. A high MTF figure indicates that t he opt ic can resolve more fine detail.

return very good MTF (Modulation Transfer Function) performances. MTF is an

LUMIX G20MMFjI.7

lumix's ....meangle lens fully justifies its flU maximum aperture by deliverirlg high resoi LJtion from

wide-wen to almost 1/16.

OLYMPUS I7MMF/2.8

This is a slightty disappointing CUNe 00t the results are impressive across

the most-used apel1uresgiven the wide angle-Df-view offered.

LUMIX GVAmO 14-45MM F/ 3.5-

5.6 ASPHEmCAL MEGAOIS

Evl'll t~ millOr deviation recOfded cannot detract from t~ fact that

•

•

lLJrrix G 20nvn f/1.7 on Lurrix OMC-Gl V8I'i8tion t:I MTF~ w'Ml ApeflYre Settng

, " Aperture Setting (F-Number)

OIy~s M.Zuiko 17mm fI2.8 on Lu miX DMC-Gl v.riatton 01 MTF50 WI!!! "!*lyre SeuIl10

, . Aperture Setting (F·Nurnbef)

Lumix G Varia 14-45mm 113.5-5.6 OIS 011 Lumix OMC-G1 Variation r;I MTF!JO wiIrI Apertu ... Settlngr:~----, •

8

, "

The minimum figure for top-quality imaging is 0.25 cycles-per-pixel and the ma)(imum theoretical figure, which w ill ha rdly ever be real ised in pradlCe, is 0.50

this is an excellent set of Cl.II\IeS, ApertlXe setting (F-Number)

1"'_"'''III_IIII11''I'.f~ .. ' .km.=~' k~;'~·~~~III"""."""III~~"'I ••• """.IIII11""~~~~::!~~~~~::::::::~ __

All PHOTOGRAPHS (0 JON TARRANT

90 WWW.WlIATDIGITALCAMERA_COM

LENS GROU EST

cycles-per-pixel. Any lens that stays above the minimum figure across all (or most) of its aperture range is doing very well .

The data for the graphs were obtained

using Imates! sofmare (www.imatest.com) and the graphs were created using the f reeware program RJS Office (www.rjsweb.netl.

5 -e- Mt,.,..UM FOCAL LENGTH =:""* INTERMl:OIATI. FOCAL UNGTH

8 -B- MAXIMUM FOCAL LENGTH

~ M.Zliko 14-42mm fl3.5-5.6 ED on LumOc DMC-Gl v.,W;In of MTP.iO wt!1 AI*fI,n Setti;="=-'---:-,----,,--,

-=- _ ... _-.. ----,-.... --9-----

OLYMPUS M.ZUIKO 14-42MM

F/ 3.5-S.6 EO

~ ->---.-­-Aklxlugh there appears to be a slig ht

ctop in resolution wide-open at 42mm the MTF OlIVeS stay above the Aperture SeWng ( F-Nu~r)

crucial 0.25 cycles-per-pixel level. L ____ ---'-==.:::""-::.c.== ____ ---'

leica DG Macr(>.8marit 4Smm fl2.8 DIS (J'l Lumbt: DMC-G1

LEICA DG MACRO­ELMARIT 4SMM

F/ 2.8 ASPHEmCAL Although maximlJ11 and minimum

..

aperture r!'SOlutions are a bit ,!--,-~___,,~~~---,----,----,---~, weak, the Leica 45mm's mid-rarlge ' Aperture ~ng (f -Number)

periOfflKlrlCe is solid. '---_____ --"==== "'-=="--____ --'

.. ~ of MTF50wth Aper'(Uft! ~r"":::====, ~-... -­-----

LUMIX GVAmO 7·14MM F/ 4.0 ASPHEmCAL

The gl'Ol.ping of the cu rves here is good and the overall level of

-e.--... _

resolLJtioIl is very impressive, especial~ L ______ --'-~~'_";t';,~~""':~L ____ __.J for an ultra-mangle zoom.

VERDICT Trying to split these six lenses on the basis of objective technical testing alone is surprisingly difficult because these are all fine products. Inevitably, therefore, subjective preferences must come into play.

Both the pancake lenses work well and, if a choice had to be made, essentially the decision would come down to opting for a standard angle-of-view or a slightly wider one, like that of a 35mm lens on a full-frame 35mm camera. Photographers \litho recognise the intimate feel that comes from USing a compact lens on an equally compact body - much like using a film--based Leica rangefinder - may be more likely to opt for the wider lens. but will doubtless wish they could have both the

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faster aperture and the shorter focal-length! The Leica DG Macro-Elmarit 45mm prime

lens is vel)' special. It is bitingly sharp and offers a genuine 1:1 macro facility that delivers superb images. The 45mm focal.Jength is a/ro ideal for portraiture on the Micro Four Thirds format The lens is expensive but there's a certain element of getting what you pay for.

Even more expensive is the 7-14mm fl4.0, but again irs easy to see why the price is so high. Distortion and aberrations are minimal or non~xistenr. and image quality is impressive. More important, this lens offers ultra-wide angles-of-view that the others don't.

The M-Zuiko 14-42mm and Lumix 1445mm are direct rivals in tenns of zoom and aperture ranges but differ in look and feel. Olympus has a more clever design. Panasonic has

OISUKES ClYomatk abertation

~l!!!!!!!!!! 11 11 11 11 11

TOTAL

88%~

IUIIIIS 21 IISIU 21 PllfGRMU&1 11

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LlK£S UIn-a·wKle angle-ol·view

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stabilisation in its lens.' Olympus doesn't but IS is in its camera bodies. Both can capture the fields-of-view of the 17mm and 20mm primes, so in that sense those are redundant. But the 45mm prime adds genuine macro photography to the mix.

tf it 'Alere my money, I'd buy the Gl with 14-45mm stabilised kit lens add the 45mm Leica when funds allowed.

Comparing these resuit5 against other larger-format lens tests irs clear that the Micro Four Thirds system deserves to be taken vel}' seriously. Using a smaller camera may not be macho bur it looks like a smart move. WDC

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Lenses carry many suffixes as part of their names, as the Tamron 28-300mm f/3.5-6.3 XR DI VC LD Aspherical (IF) Macro proves. Here's a list of the most common suffixes in use:

SUFFIX KEY FE Canon's fisheye lenses

"'. "'. ...

11111 Denotes version of lens APO ApochTOmatic lens elements

designed to produce sharper images by focusing all wavelengths of light to the same pOint

G Nilon lenses without a manual apenure ring

DA Pentax lenses designed for APS-( sized sensors

OG Sigma's designation for digital and fu ll-frame lenses

Di Tamron lenses designed for fu ll frame sensors

Oi-If Tamron lenses compat ible with APS-( sensors

DO Canon lenses featuring a diffractive optical element

OX Nikon lenses designed for APS·C sensors

ED Nikon lenses featuring Extra Low Dispersion element{s)

ED Olympus and Leica lenses with low dispersion glass

EF Canon lenses compatible with full-frame & APS-(-sized sensors

EF-S Canon lenses compatible only with APS-C sized sensors

EX Sigma's ·excellent'lens range

HSM Sigma lenses with Hypersonic Motor

IF Internal focusing lenses L Canon's 'Luxury' lens range lD Tamron lenses with Low

Dispersion glass MF Manual-/ocusing-onlylenses OS Sigma lenses with Optical

Stabil isation PC-E Nikon's Perspect ive Control

lenses PRO Tokina's Professional range

of lenses SlD Sigma lenses conta ining one

or more Super Low Dispersion elements

TS-E Canon's 'nit and Shift' lenses UD Canon lenses with Ultra Low

Dispersion element(s) VC Tamron lenses with Vibration

Compensation VR Nikon lenses with Vibration

Reduct ion USM Canon lenses with an

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