Minggu, 30 September 2012

Lomography Fisheye No 2 review

Lomography Fisheye No 2 review

Originally introducing a Fisheye camera back in 2005, Lomography's Fisheye No 2 brings with it a number of upgrades, most notably in the form of a bulb mode – which enables you to capture longer exposures – and an 'MX' switch, which enables you to set multiple exposures on the same section of film.

Like its predecessor, the Lomo Fisheye No 2 features an almost 180 degree field of view, and takes 35mm film. This is still relatively easy to come by in many supermarkets, chemists and so on. Lomography also produces its own range of films, which we used during this test. Processing on the high street is also relatively easy to find, but again you can use Lomography's own lab, which we used here.

For those not in the know, Lomography is the company that has brought back many incarnations of analogue photography. It is proving extremely popular with its unique designs in many different styles.

Lomography Fisheye No 2 review

Buying Guide
Fuji X100
Best compact camera 2012

Lomography cameras are well known for their erratic behaviour. This can include light leaks, ghosting, flare and other unusual properties, which most users believe to be part of the charm.

The Lomography Fisheye No 2 camera - priced at around £79 in the UK and $75 in the US - comes with an optical viewfinder that can be attached to the camera's hotshoe, enabling you to more accurately judge composition than you could with its predecessor, which didn't come bundled with the accessory.

A fixed aperture of f/8 is available on the camera, while shutter speeds are limited to 1/100 second in standard, or as long as you need in Bulb mode. The approximate focal length of the lens is 10mm.

Build quality and handling

As with most Lomo cameras, the Fisheye No 2 is not for shy and retiring types.

Lomography Fisheye No 2 review

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Available in a variety of fun designs - including Python, Faded Denim, Vibrant Orange and others - probably the most striking aspect of the camera is the bulbous fisheye lens on the front of it.

Again like many Lomography cameras, the Fisheye No 2 is very light, because it's constructed from plastic. However, it also feels relatively robust and able to be chucked into a bag ready to be taken anywhere.

Controls on the camera are few and far between, leaving you free to concentrate on composition. The only switches you'll find on the Lomography Fisheye No 2 are those to go from the standard shutter speed of 1/100 second to Bulb mode. Handily, there's also a Lock mode, which stops you accidentally switching into Bulb mode.

Lomography Fisheye No 2 review

On the back of the camera there's also the "MX" switch, which stands for multiple exposure. Like many other Lomography cameras, the Fisheye No 2 is capable of creating unlimited multiple exposures on one frame of film, enabling you to use some fun, creative, but unpredictable effects.

The camera comes with a rubber lens cap that can be attached to protect the fisheye optic. However, on our review model at least, this didn't fit very snugly, and fell off at almost every opportunity – especially when the camera was floating around in a handbag.

A circular viewfinder on the top of the camera is designed to give you a rough guide as to how the composition of the image will turn out. Although you have to remember that it won't be exactly as you see through the viewfinder, thanks to parallax error, it's a useful addition to the original Fisheye camera.

Lomography Fisheye No 2 review

A dial at the back of the camera is provided for winding on the film after each frame is taken. Although this can be a little frustrating for those used to automatic (and of course digital) cameras, it does at least help prevent wasted shots, because the next image can't be taken until the film is wound on.

Once the film is used up, you will need to rewind the film using the gear at the top of the camera. The gear can be a little fiddly to use, so you may find this takes longer than anticipated.

Speaking of the film, loading it is pretty easy, especially if you have worked with 35mm film cameras in the past. If not, it's pretty quick to learn, and you can insert a new film in under a minute.

Sabtu, 29 September 2012

Canon PowerShot A4000 IS review

Canon PowerShot A4000 IS review
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The Canon PowerShot A4000 IS is a 16MP camera that sits at the top of Canon's A-series of affordable, beginner-level compacts. And It really is a compact camera: viewed from the front, the Canon A4000 is not much bigger than a credit card. It's only around 24mm deep too, but still manages to squeeze in an 8x optical zoom with an equivalent focal range of 28-224mm.

Coming from Canon's PowerShot line, the A4000 IS favours functionality over fashion - although you could be forgiven for missing that detail at first glance. The A4000's minimalist metal body certainly wouldn't look out of place in Canon's more stylish range of IXUS point-and-shooters.

Canon PowerShot A4000 IS

A 3-inch 230k-dot screen swallows up much of the rear of the Canon PowerShot A4000 IS, with a set of small control buttons dotted down its right-hand side. There are no dials here - just push-button controls - which could potentially make it slower to move between settings and make adjustments.

However, there is at least a one-touch movie button for instantly recording HD video. The Canon PowerShot A4000 IS shoots 720p at 25fps, with full-time Intelligent Image Stabilisation to help kill camera wobbles and keep footage smooth.

Canon PowerShot A4000 IS

Newcomers to digital photography will no doubt appreciate the level of hand-holding the Canon PowerShot A4000 IS offers. The Intelligent IS system automatically adjusts the optical Image Stabilizer between six different modes in order to reduce blur.

There's also a dedicated Help button, plus a Smart Auto exposure mode that analyses the scene you're shooting and selects one of 32 different camera set-ups accordingly.

Canon PowerShot A4000 IS at a glance
16.6MP (16MP effective) 1/2.3-inch CCD
Lens: 5.0-40.0mm f/3.0-5.9 (28-224mm equivalent)
LCD Screen: 230k dot, 3.0-inch TFT LCD
ISO range: ISO 100 - 1600
Dimensions: 95.3mm x 56.3mm x 24.3mm, 145g (including battery/memory card)

In a further nod to keeping it simple, the Canon A4000 IS comes with Live View Control. This mode doesn't dirty itself with talk of 'apertures' and 'white balance', but distills camera control into three simple on-screen sliders for brightness, colour and tone.

While it isn't exactly bristling with semi-automatic and manual exposure modes - Program mode is the closest you'll get - the Canon A4000 does at least enable you to set a custom White Balance and adjust exposure compensation up to +/- 2 EV in 1/3 stop increments.

Canon PowerShot A4000 IS

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Elsewhere, the Canon A4000 IS's Face Detection system can pick out 35 faces in a scene and adjust focus and exposure appropriately, while Face Detection White Balance automatically optimises the colour for accurate skin tones.

Further highlights on the compact camera - priced at £169 in the UK and $199.99 in the US - include a Macro mode that can focus as close as 1cm, and six creative modes. These include Miniature, Monochrome and retro Poster Effects that can be applied to HD movies as well as stills.

This week's hottest reviews on TechRadar

This week's hottest reviews on TechRadar

This week we've got plenty of new reviews for you. As well as Apple's new iPhone 5, there's the Galaxy Mini 2 at the following end of the price spectrum.

Then there's Adobe's brand new version of Photoshop Elements, which is sure to be a big seller in the run-up to Christmas.

We've also got a full review of Nikon's new D600, which will slot in nicely between the professional Nikon D800 and the enthusiast-level Nikon D7000.

Check out everything we've reviewed this week below.

Samsung Galaxy Mini 2 review

The 105g Samsung Galaxy Mini 2 slides in at the lower end of Samsung's range and can be picked up for around £150 ($200) SIM-free. It's also available for free on contract starting at just £10.50 per month. The Galaxy Mini 2 isn't Samsung's entry level handset - that accolade goes to the Galaxy Y – which means it lines up against the likes of the Nokia Lumia 610, HTC Desire C and Sony Xperia U.

Pick up the Galaxy Mini 2 and you're met with that undeniably plastic finish which graces Samsung's whole range of smartphones from the quad-core Galaxy S3 flagship, all the way down to the likes of the Galaxy Ace 2 and Galaxy Y. There's a 3.27-inch TFT display with a 320 x 480 resolution. It's a good looking, budget handset with a strong build quality and manageable size – and the bright colour option for the rear cover will probably resonate with fashion-conscious teens.

LG 50PM670T review

Having developed its own passive Cinema 3D system and stuffed its TV ranges largely with Edge LED screens, you'd be forgiven for thinking that plasma tech is a low priority for LG. And you'd probably be right, but the 50-inch, Full HD and thoroughly feature-packed LG 50PM670T plasma TV represents - at least on paper - an increasingly tempting trend on the part of a handful of TV manufacturers of issuing low-key but huge plasma screens at startlingly low prices.

Elsewhere, the LG 50PM670T is a typical example of an all-round living room TV, strapped with an extensive array of smart TV apps and LG's excellent new networking-friendly user interface called SmartShare, plus a Freeview HD tuner and a Full HD resolution. For a mid-range TV priced at £749.99 (around $1,214), that's not at all a bad haul of features.

Adobe Photoshop Elements 11 review

Adobe Photoshop CS6 may have gathered all the attention, but its baby brother Photoshop Elements has been quietly growing up. Now at version 11, it's a mature, sophisticated image-editing program that provides 90 per cent of the functionality of the full Photoshop, at a fraction of the cost. Pricing for new Photoshop Elements users is £79.10, or £119.14 for an Elements & Premiere Elements bundle. If you're upgrading from a previous copy of Photoshop Elements, it will cost £64.81, or £98.16 for the bundle.

This time around, there are only a handful of new features - although these are very much worth having - since Adobe has concentrated on the look and feel of the program. Gone is the dark, grey-on-grey look of previous versions; in comes a bright, fresh livery with much more readable text, clear tool icons, and a far fresher and more appealing look overall.

Crucial v4 128GB review

While every man and his dog is throwing SATA 6Gbps interfaced SSDs at us as if there's no tomorrow, where does that leave everyone that are still packing SATA 3Gbps systems? Surely they deserve some modern SSD love too? This is the premise behind Crucial's latest v4 family of drives: build a 3Gbps SSD at a good price so people with 3Gbps systems don't have to buy expensive 6Gbps models with features and performance they can't tap into. Seems vaguely sensible, right? While that would have been a sound idea when 6Gbps drives were relatively expensive, real life has dealt the Crucial v4 a kick where it hurts. The SSD market has become a little more cut throat sooner then most people expected and more than many ever thought possible.

Nikon D600 review

Nikon has been rather busy over the past year, having already released the D4 and D800 in quick succession. But the company isn't taking a break just yet. The Nikon D600 aims to fill the gap between the hugely capable and professional Nikon D800 and the enthusiast-level Nikon D7000. The D600 is Nikon's first 'accessible' full-frame DSLR. Its £1,955.99/$2,099.95 price tag comfortably undercuts the full price of the Nikon D800 or Canon EOS 5D Mark III, while the size and weight of the Nikon D600 are only a marginal increase over the cropped-sensor Nikon D7000.

At the heart of the Nikon D600 is a new 24.3-million pixel, FX format CMOS sensor. It may seem quite a reduction from the 36.3MP chip in the Nikon D800, but it's still enough to outdo a Nikon D4 or Canon EOS 5D Mark III in terms of outright resolution. But has Nikon cut any corners to produce its smallest and least expensive full-frame offering?

This week's other reviews


Sony HX10V review

Fujifilm FinePix F770 EXR review

Games consoles

Sony PS3 review


Medion Akoya P6635 review

Mobile phones

Apple iPhone 5 (Verizon) review

Apple iPhone 5 (AT&T) review

Apple iPhone 5 (Sprint) review


Samsung Series 9 S27B970D review


Epson EH-TW9000W review


OCZ Vertex 4 512GB RAID0 review

Jumat, 28 September 2012

Sony HX10V review

Sony HX10V review

Sony introduced the HX10V in February 2012 to sit in its latest range of superzoom travel compacts.

The Sony Cyber-Shot DSC-HX10V features very similar specifications as the Sony HX20V, but comes with a shorter zoom range, at a still impressive 16x optical zoom.

Housing an 18.2 million pixel 1/2.3 inch CMOS sensor, the camera also features the latest Bionz processor, Full HD video recording, inbuilt GPS and full manual control.

Sony HX10V review

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The 16x optical zoom lens is equivalent to 24-400mm in 35mm equivalent terms, and is also boosted to double that by Sony's Clear Zoom technology.

Working in the same way as digital zoom, Sony claims that its By Pixel Resolution Technology is of a higher quality than standard digital zooms.

On the back of the camera is a 3-inch, 921k dot XtraFine TruBlack TFT LCD screen. There's no viewfinder, and no port or hotshoe to incorporate one either.

Sony HX10V review

Unlike the premium Sony RX100, the Sony HX10V doesn't have the ability to shoot in raw format. It does come with a number of other advanced controls, though, such as Program and Manual mode.

Other interesting features, probably designed to attract holidaymakers, are a number of Picture Effects, or digital filters, sweep panorama, 3D shooting and intelligent Auto modes.

There's also an impressive sensitivity range, starting at ISO 100 and rising all the way up to ISO 12800.

Sony HX10V review

The Sony HX10V has a full price of £299 in the UK and $329.99 in the US, putting it in the same price bracket and category as the popular Panasonic TZ25, which also features a 16x optical zoom.

Sony invests $645M in Olympus to become largest shareholder

Sony invests $645M in Olympus to become largest shareholder

Despite its own well documented financial woes, Sony has coughed up $645 million (UK£400,AU$621) to become the largest shareholder in Olympus.

The deal givs Sony a 51 per cent stake in the company, whereas Olympus will maintain 49 per cent of the pie.

The investment, it seems, is less about Sony wanting a slice of Olympus' digital imaging expertise and more about taking a foothold in the medical supplies business, where Olympus is a big player.

"By combining the know-how and products Olympus has developed in its medical business with Sony's strengths in audio visual solutions, the two companies aim to establish a comprehensive systems integration business that offers high value-added solutions for operating rooms and other medical arenas," the new best friends said in a joint statement.

Camera collaboration not forgot

The investment was dubbed a "business alliance agreement" and "capital alliance agreement," according to a press release, language that points to a mutually beneficial relationship moving forward.

Sony CEO Karzuo Hirai stated that the two Japanese giants aren't forgetting about each other's respective strengths in the camera business.

"We also believe there are many potential opportunities for collaboration between Olympus and Sony's digital camera businesses and are confident that by building on our respective strengths we can also enhance and grow our presence in this market," he said.

The deal follows a year in which Panasonic, Samsung, and Fujifilm were all linked with significant investment in Olympus.

Tsuyoshi Kikukawa, Olympus's former chairman, pleaded guilty earlier this week to charges of falsifying accounts in order to cover up $1.7 billion (UK£1.05, AU$1.63) in losses.

We first reported on Sony's interest back in June, but back then it was only thought to be after 10 per cent share.

Via Hothardware, DPReview, BBC

Fujifilm FinePix F770 EXR review

Fujifilm FinePix F770 EXR review

Bucking the manufacturer's recent trend for adding subtly tweaked compacts to the burgeoning travel zoom area of the camera market, Fuji has instead gone for a complete design overhaul with the FinePix F770 EXR - its latest addition to the popular F-series.

Boasting far more than just a few small enhancements and updates, the new model boasts a very sophisticated feature-set, headlined by a 20x optical zoom lens that offers an equivalent focal range of 25-500mm on a 35mm camera.

Fujifilm FinePix F770 EXR review

As well as bettering the 15x zoom offering found on its predecessor - the Fuji F600 EXR - this move brings the new Fuji F770 EXR into line with its direct competitors: the likes of the Canon SX260 HS and Panasonic Lumix TZ30, for instance.

Additional noteworthy features include Fuji's latest 16MP EXR back-side Illuminated CMOS sensor, Full HD (1080p) movie recording capability with high speed movie capture at 320fps and raw file capture, plus built-in GPS functionality and fast 11fps continuous shooting (8MP) - with more besides.

Fujifilm FinePix F770 EXR review

The powerful performance that the Fuji FinePix F770 EXR promises is made all the more appealing when you factor in its price tag. With a launch price of £329.99 in the UK and $479.99 in the US, and a street price of around £299/$330, Fuji looks to have come up with a competitively priced camera that offers a number of advantages over its rivals.

Build quality and handling

With little difference between the Fuji F770 EXR's overall shape compared to the older F600 EXR that it replaces, Fuji seems to have stuck with its tried-and-tested design, saving the bigger changes for the internal components and features, instead.

Fujifilm FinePix F770 EXR review

A few subtle tweaks to the Fuji FinePix F770 EXR's profile include an enhanced front grip that provides a secure and comfortable grasp on the camera, coupled with an all-over soft-touch rubber finish that further augments this feature.

Available in understated black or more striking red, white or blue, the Fuji F770 EXR is slim and stylish, with a well-designed interface that keeps its operation blissfully simple.

Fujifilm FinePix F770 EXR review

Like its predecessors, the F770 EXR boasts a well-stocked mode dial that's mounted on a slant, abutting the top and back panels of the camera. Falling neatly under the thumb, the dial is a very welcome feature that provides a far quicker and more intuitive way of working than menu-based systems tend to offer, dispensing with the need for multiple button presses and scrolling through menus to find the setting you want.

A dedicated movie button also gives fast access to the Fujifilm F770 EXR's Full HD movie recording feature, with softkey access to key functions provided by the scrolling four-way d-pad, plus Fuji's 'F' button offers a concise on-screen menu that presents you with additional important functions for fast tweaking on the fly.

Fujifilm FinePix F770 EXR review

Both the latter contracted 'F-mode' menu and the main menu system are clear, easy to read and logically laid out, with the number of options available for adjustment expanding or contracting according to the exposure mode you're working in at the time.

Stick to the automatic shooting modes and you'll have fewer options to change, while switching to any of the more advanced modes broadens the level of scope for manual control over settings.

Kamis, 27 September 2012

New iPad magazine Photography Week launches

New iPad magazine Photography Week launches

Photography Week, the new digital magazine from the makers of TechRadar, Digital Camera World, N-Photo, PhotoPlus and Practical Photoshop, is celebrating its launch by offering all readers five free issues.

The cutting-edge magazine for enthusiast photographers has been designed from the ground up for tablets, and is initially available for iPad via Newsstand, Apple's digital magazine download store.

Anyone who downloads the free Photography Week app can get their first five issues completely free as part of a no-obligation trial.

Each issue of Photography Week features video guides to show you the latest techniques and gear, slideshows of stunning photography and special interactive articles.

Watch the video to see Photography Week in action on an iPad:

Get involved

The tablet-only magazine also integrates with social media, offering you the opportunity to share articles via Facebook and Twitter, and featuring reader photos on its cover and in its gallery pages.

"Photography Week is a cutting-edge magazine in every sense of the word," said editor Paul Grogan. "We hope every photographer with an iPad will find the combination of tablet-focused design and interactive features an essential addition to their kitbag."

Photography Week is on sale now. Get a free UK trial copy or a free international Photography Week trial copy now.

Selasa, 25 September 2012

Adobe Photoshop Elements 11 review

Adobe Photoshop Elements 11 review

Adobe Photoshop CS6 may have gathered all the attention, but its baby brother Photoshop Elements has been quietly growing up. Now at version 11, it's a mature, sophisticated image editing program that provides 90 per cent of the functionality of the full Photoshop, at a fraction of the cost.

Pricing for new Photoshop Elements users is £79.10, or £119.14 for an Elements & Premier Elements bundle. If upgrading from a previous copy of Photoshop Elements, it will cost £64.81, or £98.16 for the bundle.

This time around, there are only a handful of new features - although these are very much worth having - since Adobe has concentrated on the look and feel of the program.

Adobe Photoshop Elements 11 review
Automatic fixes in Organiser are take-it-or-leave-it single button effects

Gone is the dark, grey-on-grey look of previous versions; in comes a bright, fresh livery with much more readable text, clear tool icons, and a far fresher and more appealing look overall.

But the refurbishment is far more than just skin deep: in Photoshop Elements 11, Adobe has gone out of its way to make the tools more intuitive, with intelligent walkthroughs and easy quick adjustments.

Adobe Photoshop Elements 11 review
Camera Raw uses a slightly stripped-down version of the Photoshop Raw engine


Photoshop Elements 11's Organiser is the tool for cataloguing, retrieving, printing and filing your images.

It offers a range of techniques to make the process easier, from facial recognition to geo-tagging to straight calendar searches; unfortunately, the facial recognition is hit and miss (we were frequently asked to identify bits of building).

Adobe Photoshop Elements 11 review
Face recognition can get out of hand - we were asked to put a name to that window

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You can perform some routine image enhancement tasks with Photoshop Elements 11's Organiser, but you have no control over the process: it's an all-or-nothing approach with single buttons to enhance sharpness, contrast, colour and so on. It's almost always worth opening selected images in the Editor to get to grips with them properly.

An entirely separate application, files are transferred from the Organiser to the Editor to work on them, and this is a fairly straightforward process. Even tasks that are offered directly by the Organiser, such as creating calendars and photo books, are in fact processed by the Editor.

Adobe Photoshop Elements 11 review
Refine Edge creates perfect cutouts, with far greater ease than ever before


This is where the main body of Photoshop Elements 11 resides. It's divided into three different working sections, each of which caters to a different level of user: Quick, Guided and Expert.

Although the three modes are capable of acting independently of each other, you can move smoothly between them - and this pays huge benefits, particularly when moving from Guided to Expert mode.

Adobe Photoshop Elements 11 review
Modify cutouts with the Selection brush. Parameters are at the bottom of the screen

In all three modes, the Options bar that shows tool settings has moved from the top to the bottom of the screen, and it shows all the parameters in a clear, understandable way.

Together with the tool panel and the side panel, this does of course take up a lot of screen space, but they can all be slid out of the way, and there's even a floating panel mode for those who prefer it.

Adobe Photoshop Elements 11 review
Operations such as aligning layers are now easier, thanks to bolder, clearer panels

Quick mode

In this stripped-down view, there are only a handful of tools - selection, redeye, tooth brightening, text and healing. The Smart Fix, Exposure, Colour and other buttons that were one-click effects in the Organiser now pop open to reveal a 3 x 3 grid of variations, each showing the target image.

There are other simple controls as well - so the Colour adjustment, for instance, can target Saturation, Hue or Vibrance, as well as having an Auto button.

Adobe Photoshop Elements 11 review
In Quick mode, adjustments are simple, but with a wide degree of user control

While the panels have been pared down, the menus still offer the full Photoshop Elements 11 experience, with access to all the filters, adjustments and techniques. For the beginner, though, Quick Mode will provide much of what you need to do on a day-to-day basis, without scaring you off.

Guided mode

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In this mode, all the tools and panels are hidden, save for a single panel that presents you with a series of options - Touchups (skin tone correction, colour enhancement, scratch and blemish removal, and so on), Photo Effects (depth of field, Orton effect, and now featuring tilt-shift, high key and low key effects) and Photo Play (out of bounds, pop art, picture stack and reflection).

Selecting any one of these guides you through the process, holding your virtual hand as you make adjustments, invoke filters, and apply enhancements - all without reaching for a tool or menu option.

Adobe Photoshop Elements 11 review
The Lens Blur filter has a striking range of controls for photographically authentic blurs

It's almost foolproof, demonstrating that nearly anyone can create spectacular effects with ease; and there's enough potential for customisation here to enable many types of image to be processed in the way that suits them.

Guided mode is a terrific learning experience, because it shows the power of Photoshop Elements 11 without frightening the horses.

Adobe Photoshop Elements 11 review
When creating an effect in Guided mode, simple controls take you through each step

Expert mode

The biggest surprise comes when you create an effect in Guided mode, and then switch to Expert. You'll find that the image you've been working on is now presented as a series of layers, masks, adjustments and filters, exactly as if you'd created all the effects directly in Expert mode in the first place.

This serves two main functions: it enables you to edit the images you've created, fine-tuning the results, adjusting layer modes and repainting masks as required; and it also enables new users to learn a lot about how the effects have actually been created.

Adobe Photoshop Elements 11 review
Switching to Expert mode shows all the effects as multiple layers

Apart from the cleaner, brighter look, Expert mode benefits from a few new filters. As well as a powerful Lens Blur effect, there are new Comic, Graphic Novel and Pen and Ink filters, all of which create variously hand-drawn looks. But they do so with a tremendous sense of realism, and frankly are far better than anything Photoshop itself can produce. A real pleasure to work with, these are hugely entertaining filters.

You'll certainly benefit from Photoshop Elements 11's new Refine Edge dialogue, which has now been fully updated to provide sophisticated cutout tools - not just smoothing edges, but isolating tricky areas such as hair from difficult backgrounds.

Adobe Photoshop Elements 11 review
The Comic filter creates striking drawn effects that you can fully customise


It's also far easier to add presets in this release than it was in Photoshop Elements 10 and others, and it's the first Elements version to support Actions, the automation system that enables you to execute complex series of effects with a keystroke. Except that you can't create them - you can only use Actions that have been built in Photoshop (and not all effects work).

Adobe Photoshop Elements 11 is a mature, thoughtful program that has eschewed flashy new features in favour of a genuinely more approachable interface. That said, the Refine Edge tool in itself is enough to warrant the upgrade; the extra filters are the icing on the cake.

Kamis, 20 September 2012

In pictures: Pentax Q10

In pictures: Pentax Q10

The Pentax Q10, revealed shortly before the start of Photokina 2012, is the world's smallest, lightest compact system camera (CSC).

Following on from the Pentax Q, it has a new 1/2.3-inch back-illuminated sensor with 12.4 million pixels. This small sensor results in a 5.5x focal length magnification, so using the 8.5mm lens produces an image equivalent to a 47mm lens on a 35mm camera. When the Adapter Q is used to attach a K-mount, a modest telephoto lens becomes an extreme telephoto.

Pentax Q10

Pentax has upgraded the autofocus algorithm from the Pentax Q on the Pentax Q10, which is designed to improve its speed and accuracy. Plus, sensitivity can be set up to ISO 6400.

In pictures: Pentax Q10

In addition to program, aperture priority, shutter priority and manual exposure modes, the Pentax Q10 has 21 scene modes and an Auto Picture mode that sets the scene mode automatically.

In pictures: Pentax Q10

Four of your favourite Smart Effect modes, such as cross process and Brilliant Colour, can be assigned for quick access via the dial on the front of the camera.

Pentax Q10

The flash can be popped up to reduce the risk of red-eye, but if you forget it will still fire in its resting position.

In pictures: Pentax Q10

Pressing the Pentax Q10's Info button brings up a quick control screen to enable all the key settings to be adjusted.

Pentax Q10

The BC option on the mode dial stands for Blur Control, and using it sets the camera to apply extra blur to out of focus areas to recreate the restricted depth of field effect that is associated with larger sensor cameras and wide apertures.

In pictures: Pentax Q10

Pentax K-5 II and Pentax K-5 IIs: 10 things you need to know

Pentax K-5 II and Pentax K-5 IIs: 10 things you need to know

In the new Pentax K-5 II and Pentax K-5 IIs, Pentax has made a few subtle, but important upgrades on its premium DSLR, the K-5. The public have just had their first view of the K-5 II and K-5 IIs at Photokina 2012, alongside fellow new camera, the Pentax Q10. Here we look at some of their key features.

Pentax K-5 II and Pentax K-5 IIs sensor

Although the Pentax K-5 II and Pentax K-5 IIs both have the same APS-C format CMOS sensor with the same 16.3MP pixel count as the Pentax K-5, it is a newly designed device.

Pentax K-5 II and Pentax K-5 IIs differences

The only difference between the Pentax K-5 II and the Pentax K-5 IIs is that the K-5 IIs doesn't have an anti-aliasing filter. This means that the images are more likely to suffer from moiré patterning, but they should be sharper and more detailed. Because Pentax expects to sell fewer K-5 IIs bodies, it has a recommended full price that is £150/$100 more than the K-5 II.

Pentax K-5 II and Pentax K-5 IIs autofocus

Pentax K-5 II and Pentax K-5 IIs: 10 things you need to know

The big news for the Pentax K-5 II and K-5 IIs is that they have the SAFOX X AF system which Pentax claims to be faster and more accurate than the system in the Pentax K-5. It can also operate down to -3EV, which is only equalled by the newly announced Canon EOS 6D.

Pentax K-5 II and Pentax K-5 IIs shake reduction

As well as helping to prevent camera shake from blurring images, Pentax's Shake Reduction (SR) system inside the Pentax K-5 II and Pentax K-5 IIs can be used to rotate the sensor to correct sloping horizons or adjusted the composition slightly.

Pentax K-5 II and Pentax K-5 IIs sensitivity

Pentax K-5 II and Pentax K-5 IIs: 10 things you need to know

Sensitivity may be set in the native range ISO 100-ISO 12800, or from ISO 80-ISO 51200 when expanded via a custom function.

Pentax K-5 II and Pentax K-5 IIs LCD

A resin layer between the LCD and the cover over the 3-inch 921,000-dot screen helps reduce reflections, making it easier to see images on the Pentax K-5 IIs and Pentax K-5 II screen than the Pentax K-5's.

Pentax K-5 II and Pentax K-5 IIs viewfinder

Pentax K-5 II and Pentax K-5 IIs: 10 things you need to know

Unlike many APS-C format DSLRs, the Pentax K-5 II's viewfinder shows 100% of the view, so images can be composed more accurately.

Pentax K-5 II and Pentax K-5 IIs rugged design

A total of 77 seals keep moisture and dust outside the cameras' body so the Pentax K-5 IIs and Pentax K-5 II can be used environments that are too harsh for many DSLRs.

Pentax K-5 II and Pentax K-5 IIs continuous shooting

Pentax K-5 II and Pentax K-5 IIs: 10 things you need to know

Up to 30 images can be captured at maximum continuous shooting rate of 7fps, which if Pentax's claims for the AF system prove true could make it an attractive option for keen sports photographers.

Pentax K-5 II and Pentax K-5 IIs price and release date

The Pentax K5 II and Pentax K5 IIs will be available from early October, with the Pentax K-5 II set to retail for £799.99/$1,199.95 and the Pentax K-5 IIs for £949.99/$1,299.95 (body only).

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