Eat Up Digital Camera Review Fees. And

cam cam gay digital camera review free msn cam gratis webcam chat sex olympe chat gratuit free adult chat rooms no sign up; http://www.body-arena.de/profile_info.php?ID=298036&my, free chat online sexe en cam gratuit; http://www.marconibari.it/, cams sexy free cam to cam online chat cam hot jasmin cams livesex (http://www.quirk.com) creative live cam socialize hd af webcam porno amateur videos chat live live cams free chat my cams live cyber sex sexwebcam.com livecam.con webcam hd gratis sex chatten (http://videoaok.com) hot cam live ocean city cam watch live girls free chat caramail cam sex cam sex usb camera sex chat web cams adult video chat site gay chat free webcam

About the Author

Jeremy
sexporno digital camera review live webcam talk chat free online sex mit webcam adult chat android webcamseks live jasmin chat free chat room free sex gay online sex chat free live tchat free cam to cam sex sites freelive sexcam live girls on web 3d sex chat Sex Online webcams private girl cam online cam chat live (http://Vanguarddrug.com) webcam chat avenue free lesbian chats webcams amateurs free sex by webcam [www.talentmoments.gr] lesbian chat now free online cam girl webcam sex clip on line cam chat webcam chatt active web cam record live webcam cam porno en direct fille en cam

Digital Camera Reviews

Comments are closed

Anmeldelse og test af Samsung WP10 Black på PriceRunner

Sådan vælger du digitalkamera

Kom i gang med fotografering

Der er et bredt udvalg af digitalkameraer på markedet. Netop derfor er det vigtigt, at du baserer dit valg på, hvor meget tid og energi du vil bruge på at fotografere.
Det er lettere end nogensinde før at tage fotos af høj kvalitet. Mange er tilfredse med de fotos, de tager med deres smartphone, men der er også mange kritiske forbrugere, som vil have den ægte vare.

Kameratyper

Digitalkameraer fås i fire typer.

Compact kamera

Compact kameraer, eller “sigt og skyd”-kameraer, er små, vejer kun lidt og er nemme at bruge. De fleste indstiller fokus og eksponering automatisk. Fast- eller zoom-objektiv, blitz og søger er integrerede.

Et compact kamera fås til priser helt ned til 100 kr. Men de fleste koster fra 400 – 4000 kr., alt efter specifikationerne. Generelt er compact kameraer billige og en god nem løsning til hverdagsbrug.

Bridgekameraer

Bridgekameraer udfylder kløften mellem compact kameraer og digitale SLR-kameraer (spejlrefleks-kameraer). De har cirka samme størrelse og vægt som de fleste dslr-kameraer, og billedkvaliteten er sammenlignelig. Den største forskel er, at et bridgekamera har et ikke udskifteligt objektiv og lang zoom. Bridgekameraer uden fuld automatik har også i et vist omfang mulighed for manuel kontrol af lukketid, blænde og ISO-lysfølsomhed. De koster mellem 1200 og 4000 kr.

Hybridkameraer

Hybridkameraer – eller mikrosystemkameraer – kombinerer de mindre kameraers kompakthed med dslr-kameraernes udskiftelige objektiv og ikke mindst store billedsensor. De har ikke det store spejl indeni, som dslr-kameraer har, og derfor er de betydeligt lavere. Hybridkameraer er små, lette og tager billeder af høj kvalitet. De koster mellem 2600 og 10 000 kr.

DSLR-kamera (digitalt spejlreflekskamera)

Digitale spejlreflekskameraer (digital single-lens reflex cameras – DSLR-kamera) er ekstremt fleksible kameraer med udskiftelige objektiver, spejlsøger og et hav af manuelle indstillingsmuligheder foruden et større udvalg af auto-programmer. Spejlreflekskameraet gør brug af et spejlsøgersystem, hvor lys fra motivet reflekteres gennem objektiv, spejl og prisme, så du i søgeren ser, præcis hvordan dit billede bliver. DSLR-kameraer er dyre kameraer af topkvalitet og noget større end compact kameraer. De koster mellem 2500 kr. og 30 000 kr., enkelte helt op til 10 0000 kr. afhængig af tilvalgte objektiver mm.

Udstyr og funktioner

Blitz

Blitz er en funktion, der har været på digitalkameraer, lige siden de kom på markedet. Kun de dyreste kameraer har ikke blitz, fordi producenterne forventer, at professionelle fotografer bruger separat blitz. En blitz udsender et kortvarigt lysglimt for at eksponere motiver i mørke omgivelser. De fleste digitalkameraer har en automatisk blitz-funktion, der udløser blitzen, hver gang lysniveauet er så lavt, at det er nødvendigt.

Autofokus

Autofokus bidrager til at undgå tågede billeder og skelne fotomotivet fra baggrunden. Mindre kameraer fokuserer lettere end større kameraer, men begge typer har autofokus som standard.

Ansigtsgenkendelse

Mange compact kameraer kan automatisk identificere ansigter på et foto og fokusere på dem, hvilket sikrer, at motivet skiller sig ud fra baggrunden.

Reduktion af røde øjne

Blitzlys reflekteres sommetider i folks øjne, som derved kommer til at se røde ud. En funktion til reduktion af røde øjne er populær i kameraer og foto software.

Opløsning

Et kameras opløsning måles oftest i megapixels. Antallet af megapixels beskriver, hvor detaljerede billeder kameraet tager. Jo flere megapixels et kamera har, jo større og mere detaljerede vil billederne være. Men de fleste digitalkameraer har high-megapixel sensors, og næsten alle compact kameraer har en god opløsning, så der er ingen grund til at bekymre sig for meget om megapixels. Billedkvalitet vurderes bedre ved at se på sensorens størrelse, idet et kamera med en større sensor tager mere præcise billeder og gengiver farverne bedre.

Billedsensor

Billedsensoren er den del af kameraet, der tager fotoet. Jo bedre billedsensor, des bedre billedkvalitet. Generelt har små kameraer en lille sensor, mens DSLR-kameraer har større sensorer, kendt som APSC-sensorer (størrelse 25.1×16.7 mm), som tager bedre billeder i dårlig belysning.
Dyrere kameraer har en ”full frame” sensor (størrelse 36×24 mm), som generelt er af endnu bedre kvalitet og producerer endnu bedre fotos.

Shutter delay

Shutter delay er betegnelsen for den periode, der går, fra man trykker på udløseren, til kameraet tager billedet. Compact kameraer har længere shutter delay end DSLR-kameraer, hvilket gør de sidste mere velegnede til motiver i bevægelse.

Live view

Alle compact kameraer giver mulighed for at se ”live view” igennem en LCD-skærm, før billedet tages. De fleste DSLR-kameraer har stadig en spejlsøger i stedet for LCD-skærm til hjælp, når billedet skal fokuseres.

Video

Videooptagelse har i længere tid været en funktion i mange compact kameraer, og de seneste år er man også begyndt at se DSLR-kameraer, der kan optage videoer. Videokvaliteten er ikke altid i top, fordi begrænsninger i design af kamera og objektiver betyder, at videofunktionen ikke virker lige så godt som et rigtigt videokamera.

Billedstabilisering

Billedstabilisering kompenserer for små rystelser i hænderne, når du holder kameraet. Funktionen sikrer, at billederne bliver skarpe og klare i stedet for utydelige.

Zoom

Ved hjælp af zoom kan kameraet forstørre et originalbillede. 5 x zoom betyder fx, at kameraet kan forstørre et billede, til det er fem gange større end originalen. Optisk zoom bruger objektivet og er den absolut bedste type zoom, mens digital zoom bruger intern software, der fungerer ligesom billedbehandling på en PC, og som bestemt er tilfredsstillende. Nogle kameraer kombinerer optisk og digital zoom for at opnå den størst mulige zoom-effekt.

Objektiver

Udskiftelige objektiver har først og fremmest interesse for dig, der ønsker et DSLR-kamera. Fast objektiv har kun én fokuslængde eller brændvidde, men er af højere kvalitet end zoom-objektiver. Zoom-objektiver har variabel fokuslængde eller brændvidde, som typisk spænder fra 6-10 x zoom (tele), der bl.a. anvendes til portrætfotos, og som er modsætningen til vidvinkel-zoom til landskabsbilleder.

Læs udvidet Digitalkamera køberåd.

Digital Camera Reviews

Comments are closed

Performance review all she does assists sample

[unable to retrieve full-text content]

…changed.. Welcome to my Leica X1 Digital Camera Review ! I have tons of sample X1 images as well as my full… The. Welcome to my Leica X1 Digital Camera Review ! I have tons of sample X1 images as well as my full…

Digital Camera Reviews

Comments are closed

“3 Lightroom History Tips” plus 1 more Digital Photography School

“3 Lightroom History Tips” plus 1 more: digital photography School

Link to <a href='photography' target='_blank'>digital photography</a> School

3 Lightroom History Tips

Posted: 05 Nov 2013 10:37 AM PST

Lightroom history tips opener

Like Photoshop, Lightroom has a History feature that shows a list of the fixes you’ve applied to an image. It can be used to wind back changes that you have made to an image. Unlike the Photoshop history, the Lightroom history entries don’t disappear when you close Lightroom – they remain accessible from one instance of Lightroom to the next.

The History panel is on the left in the Develop module. Click to open it and you’ll see a list of the edits made to the image. These read from bottom to top so the topmost history setting is the one you applied last to the image. These History settings show not only the sliders you adjusted when editing the image but also the final value of that slider and the amount of change you made at that step.

Lightroom history tips 1

You can wind back the history of changes that you’ve made to the image by clicking any of the entries in the History panel. Until you make further changes to the image you won’t lose the later history states if you click on an earlier one. So you can click from one history state to the next to view the image at that point in the editing process.

If you click to view an image at an earlier stage of its editing and then start making changes to the image you will lose all the later history states – they’ll be replaced by your new edits.

3 Lightroom History Tips

Here are three handy tips for working with Lightroom History:

1. Delete History

You can delete the Lightroom history for any selected image. To do so, click the X (Clear All) button in the top right of the History panel. This removes the history steps from the History panel – it doesn’t actually remove the edits from the image – it just clears the History panel.

Lightroom history tips 2

If you are like me you will use the backslash key () in the Develop module to compare the image Before and After your edits. However, sometimes you will want to compare the After version with the image as it was part way during the editing process – not as it was when you imported it.

You can set the Before version of an image to be the image as it was at any earlier History step. To do this, right click the History step that shows the image at the point you want to make the Before image and choose Copy History Step Settings to Before. If the most recent history step isn’t selected, select it to return to the current state of the image. Now, when you press the Backslash key you will compare the current state of the image with the selected history state.

You can also drag and drop History steps to do the same thing. So, if you are viewing the Before image you can drag and drop any History step onto the Before version and that will become the new Before version. Again – you don’t lose any history steps when you do this, you’re just creating a different Before version of the image.

Lightroom history tips 3

3. Create a Virtual Copy

When you are part way through editing an image you might want to go back and try a different editing process but also keep the version of the image you are working on. You can use the History panel to facilitate this. Start by selecting the History step where you want to begin an alternative method of editing the image. Right click the image and choose Create Virtual Copy. This creates a new Virtual Copy – its starting point is the current History step – it has no other History steps associated with it. Also note that this new Virtual Copy is the currently selected image.

Lightroom history tips 4

Before beginning to work on this image, click the original image in the filmstrip to reselect it and click the last History step in the list to return this version of the image to your current editing point.

You’ll now have two versions of the image – a virtual copy extracted from the image at the point at which you want to begin an alternative editing approach and the original version with all your current edits in place.

Post originally from: digital photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

3 Lightroom History Tips

The post 3 Lightroom History Tips by Helen Bradley appeared first on Digital Photography School.

The Science of Selecting Photos

Posted: 05 Nov 2013 07:17 AM PST

By Annie Tao

The business of photography is a complicated matter. I spend hours after each photo shoot culling, processing and sorting the photos to tell the story of the day.

From a recent session of one of my own children, I realized that choosing the final photos can be described as a Venn Diagram! One circle represents images photographers love and the other circle represents images clients love. Some images overlap and some don’t.

To be successful, you want the largest area to be the one that overlaps: images both photographers and clients love. It is important, however, to be aware of what images may fall into the other areas.

Here is an example.

Professional Photographers Venn Diagram by Annie Ta bg

I had a photo shoot of my son just last week. He recently turned 6 years old, so this mini shoot was to capture how he loves reading, loves playing with Legos, and still has hints of having a baby face.

After the shoot, I went through the images as though this was a regular client gallery, but found myself saving a few images that I know would NOT have made it into a client gallery!

That got me thinking.

Are there photos that I’ve left out of a client gallery that should have been in it?

Below are examples of photos from this recent shoot that would make it into a client gallery…

Annie Tao Photography The Science of Selecting Photos article image that would make it into client gallery 2

Annie Tao Photography The Science of Selecting Photos article image that would make it into client gallery 1

Annie Tao Photography The Science of Selecting Photos article image that would make it into client gallery 3

Below are examples of photos that would NOT have made it into a client gallery, but I love…

Annie Tao Photography The Science of Selecting Photos article image that would NOT make it into client gallery 2

Above: he is playing with his hands and arms, which he does when he’s nervous.

Annie Tao Photography The Science of Selecting Photos article image that would NOT make it into client gallery 1

Above: he is chewing gum (I can even see it in his mouth – Oy!), which is his favorite treat.

What does this mean?

Note: I am writing this for Children and Family Photography, but this can apply to any portrait session.

  1. During the session, pay attention to the children’s behavior. What are the little things they do when they’re happy, nervous or excited?
  2. Have an open dialogue with the parents. If they feel comfortable with you, they will share details about what they love or the little quirks that represent their child. It could be something you wouldn’t have guessed.
  3. Remember your client when selecting your final images. Think about what images your clients may like that perhaps didn’t make it into your selection. There may be something you’d want to include in the final images that may bring a tear to their eyes or make them laugh, but isn’t “perfect” in your eyes.

In terms of photo selection, your job as a Photographer is to choose photos that represent your artistic style. You are also a Service Provider whose ultimate goal is to make your clients happy.

Annie Tao is a Professional Lifestyle Photographer in the San Francisco Bay Area who is best known for capturing genuine smiles, emotions and stories of her subjects. You can visit annietaophotography.com for more tips or inspiration and stay connected with her at facebook.com/annietaophotography.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

The Science of Selecting Photos

The post The Science of Selecting Photos by Guest Contributor appeared first on Digital Photography School.

You are subscribed to email updates from Digital Photography School
To stop receiving these emails, you may unsubscribe now.
Email delivery powered by Google
Google Inc., 20 West Kinzie, Chicago IL USA 60610

Photography Tips

Comments are closed

Nikon Df | Digital Trends Reviews – freenewspos.com

We haven’t had a chance to fully test this product yet, but we’ve assembled this helpful overview of relevant information on it.

The Nikon Df combines the functionality and performance of the popular D4 dslr with the retro body design of more classic Nikon digital cameras

“Nikon Df | Digital…” Developments of events

. The larger mechanical knobs and buttons reinforce the classic, tactile feel of an analog camera, while protecting the components from dust, water, and weather. The 16.2 megapixel CMOS sensor is identical to the one found in the D4, ensuring a field-tested high image quality, and is equipped with the same large ISO range and shutter speed. Although the Nikon Df doesn’t support video, it is the lightest and smallest in the Nikon FX dslr series, and features a power-up time of .14 seconds so you’ll never miss a shot. Release Information

  • November 28, 2013
  • $2,750.00

Key Features

  • 16.2 Megapixel CMOS Sensor
  • RAW, RAW + JPEG Support
  • Full-frame dslr in a lightweight body
  • Sturdy, nostalgic design

Digital Camera Reviews

Comments are closed

New Camera Envy and Old Camera Envy « Matthew Hall Photography

Since Nikon debuted their most recent models of professional cameras, I have been a bit confused. Sure, the flagship D4 is an amazing camera, but the price tag is a bit beyond what I see as worthwhile for what I shoot. Then there is the D800, which is at a more attractive price point, but at 36MP, with RAW files that can be in the 75MB range, shooting with one would require a serious upgrade in memory cards, and computer memory, and hard drive space, just to end up throwing away up to 80% of the pixels every time I went to make a reasonably-sized print. It just didn’t seem worth it. I am skeptical about the megapixel wars anyway, and my D700 makes such lovely pictures I didn’t want to significantly change things just to get a new camera. What I really wanted was a full-frame digital camera with 16-18MP at the price of the D800. Nikon wasn’t giving it to me.

Yesterday, Nikon announced the Df, the camera that, by specs at least, is what I have been waiting for. In case you don’t know, Nikon designates its digital SLR cameras with a D: D4, D700, D3200, etc. Its film cameras, of which two are still produced, were designated with an F: F5, F100, FM10, etc. So the name suggests what is a bit odd with the Df, something that it shares with a newish collection of cameras from Fuji and Sony: It is a backward movement in design.

Ever since the F5, cameras have used dials, rather than knobs, to make adjustments. It allows for quick shooting and making changes to exposure on the fly without having to pull the camera away form the eye. It is extremely convenient. But on the other hand, there are those who claim that the F4 is actually the better camera, even though it was the last of Nikon’s cameras to use knobs on top of the body instead of dials on the front and back. The Df is, in essence, a digital version of the F4, whereas digital cameras up to this point have been aspiring to the F5 (okay, that sentence was film propaganda…the D3 surpassed the F5)

So why are we moving backward? Well, we’re not. The Df is a technological move forward, and its digital pedigree is the high end Nikon digital cameras that pros everywhere have in their bags already. This camera, as well as the Fuji x100, simply are giving a nod to the fact that there are multiple camera designs out there, and that some people prefer the older design. That’s the thing about modern dslrs…there is really only one design, regardless of what brand you prefer. Nikon claims this camera, the Df, will slow you down, make you think more…return you to “pure photography”. Maybe. It will still be a hotrod workhorse.

But what is with this small counter-trend toward the antiquated? Why do photographers turn back the clock on technology, when we have the most powerful imaging technology available to us? To answer, I quote at length from Susan Sontag’s On Photography, in the chapter “Photographic Evangels”:

“Whatever the claims for photography as a form of personal expression on a par with painting, it remains true that its originality is inextricably linked to the powers of the machine: no one can deny the informativeness and formal beauty of many photographs made possible by the steady growth of these powers, Like Harold Edgerton’s high-speed photographs of a bullet hitting its target, of the swirls and eddies of a tennis stroke, or Lennart Nilsson’s endoscopic photographs of the interior of the human body. But as cameras get ever more sophisticated, more automated, more acute, some photographers are tempted to disarm themselves or to suggest that they are not really armed, and prefer to submit themselves to the limits imposed by a pre-modern camera technology–a cruder, less high-powered machine being thought to give more interesting or expressive results, to leave more room for the creative accident. Not using fancy equipment gas been a point of honor for many photographers–including Weston, Brandt, Evans, Cartier-Bresson, Frank–some sticking with a battered camera of simple design and slow lens that they acquired earlier in their careers, some continuing to make their contact prints with nothing more elaborate than a few trays, a bottle of developer, and a bottle of hypo solution.

“The camera is indeed the instrument of ‘fast seeing,’ as one confident modernist, Alvin Langdon Coburn, declared in 1918, echoing the Futurist apotheosis of machines and speed. Photography’s present mood of doubt can be gauged by Cartier-Bresson’s recent statement that it may be too fast. The cult of the future (of faster and faster seeing) alternates with the wish to return to a more artisinal, purer past–when images still had a handmade quality, an aura. This nostalgia for some pristine state of the photographic enterprise underlies the current enthusiasm for daguerreotypes, stereograph cards, photographic cartes de visitie, family snapshots, the work of forgotten nineteenth- and early-twentieth-century provincial and commercial photographers.

“But the reluctance to use the newest high-powered equipment is not the only or indeed the most interesting way in which photographs express their attraction to photograph’s past. The primitivist hankerings that inform current photographic taste are actually being aided by the ceaseless innovativeness of camera technology. For many of these advances not only enlarge the camera’s powers but also recapitulate–in a more ingenious, less cumbersome form–earlier, discarded possibilities of the medium. Thus, the development of photography hinges on the replacement of the daguerreotype process, direct positive images on metal plates, by the positive-negative process, whereby from an original (negative) an unlimited number of prints can be made. (Although invented simultaneously in the late 1830s, it was Daguerre’s government-supported invention, announced in 1839 with great publicity, rather than Fox Talbot’s positive-negative process, that was the first photographic process in general use.) But now the camera could be said to be turning back on itself. The Polaroid camera revives the principle of the daguerreotype camera: each print is a unique object. The hologram (a three-dimensional image created with laser light) could be considered a variant on the heliogram–the first, cameraless photographs made in the 1820s by Nicephore Niepce. And the increasingly popular use of the camera to produce slides–images which cannot be displayed permanently or stored in wallets and albums, but can only be projected on walls or on paper (as aids for drawing)–goes back even further into the camera’s pre-history, for it amounts to using the photographic camera to do the work on the camera obscura.

“‘History is pushing us to the brink of a realistic age,’ according to Abbott, who summons photographers to make the jump themselves. But while photographers are perpetually urging each other to be bolder, a doubt persists about the value of realism which keeps them oscillating between simplicity and irony, between insisting on control and cultivating the unexpected, between the eagerness to take advantage of the complex evolution of the medium and thee wish to reinvent photography from scratch. Photographers seem to need periodically to resist their own knowingness and the remystify what they do.” (123-126)

It should be noted that Sontag wrote this around 1973, somewhere around the time that we are currently referencing in our own throw-backs. Of my three most-used film cameras’ the most recent was made in the early 1980s. Only one autofocuses. Two are sure-fire conversation starters simply because they are not tiny or fast.

So the retro movement itself has a long tradition; it is not something of the moment, not something we are just doing in the second decade of the 21st century. Throwing back, and having major companies present powerful tools that are in someways throwbacks, invites us, if not forces us, to reconsider the benefits of the relentless Futuristic surge forward, the apotheosis of speed and resolution. Why 36MP? Why dials? Why digital? Why 35mm?

Fuji’s x100 and Nikon’s new Df are not rebukes, or answers in and of themselves. But they are very pretty and powerful chances for every photographer to reaffirm–or maybe even reconsider–why and how they shoot. How many cameras can we say that about?

Excerpt taken from:

Sontag, Susan. On Photography. Picador: New York, 1973.

Digital Camera Reviews

Comments are closed

Canon Digital Cameras Problems

Canon digital cameras problems exist in every Canon camera, but that is typical of any camera from any manufacturer. Canon has had some issues with the EOS 5D because of poor color as well as the inability for the camera to handle dark and light images in one picture. Not everyone reports this problem, but […]

via http://feedproxy.google.com/~r/CreativePortfolioBlog/~3/pHOQX-s-anI/

Digital Camera Reviews

Comments are closed

Fujifilm Finepix Z700EXR Digital Camera Review

Features
Handling
Performance
ePHOTOzine verdict and ratings
Specification

Fujifilm Finepix Z700EXR: Click on the thumbnail for the larger image.
The slim and stylish Fujifilm Z700EXR has a touch screen interface for the more tactile amongst us. In this review Gary Wolstenholme takes a look at how it performs, as well as how it feels.

Fuji’s Z700EXR offers the same EXR technology as their EXR range of advanced compacts, but with ease of use and design tailored to more casual shooters. Sitting pretty at the top of their slim and compact camera range, the Z700EXR costs £165 and promises to offer better quality pictures in low light, better dynamic range in high contrast situations and plenty of resolution the rest of the time. The slim style and touch screen interface should appeal to those who like their gadgets with a hint of iPhone, especially as images are changed by dragging your finger over the screen in much the same way as you would use Apple’s mobile phone.

Fujifilm Finepix Z700EXR: Features
Fuji’s EXR sensor technology has been employed in this camera, but I imagine most people buying this camera will probably leave the camera to its own devices in EXR auto mode. In this mode the camera analyses the scene contrast and brightness to decide if the scene requires more dynamic range due to high contrast, or better noise performance in low light. If the camera deems that the scene requires neither, it raises the resolution to its maximum of 12 megapixels. The idea is that the camera should produce better images on the whole than a standard point and shoot camera.

Although not massive, a 5x zoom, equivalent to 38-180mm on a 35mm camera, is a welcome addition on a camera this slim. The extra telephoto reach will certainly help in those situations where you just can’t get close enough to your subject.

A large 3.5inch touch sensitive screen dominates the rear of the camera. People who’ve gotten used to the latest touch screen mobile phones and other similar gadgets like iPods should feel right at home with this system.

Fujifilm Finepix Z700EXR Key features: Click on the thumbnails for larger images.
The 5x zoom lens and the flash are protected by the sliding cover when not in use. The touch screen in quite reflective, which can make it difficult to see what you’re doing in bright conditions.

The usual photographic aids found on most of the latest compact cameras are also included such as, Face Detection, Image Stabilisation, Auto Scene recognition and strangely Pet Detection. I did not have a cat or dog to test the system on, but I did manage to get the dog detection to pick up my partner if she screwed her face up a certain way. She volunteered herself purely in the interests of scientific study. I must add the dog detection also works on my face if I stick my tongue out. A touch and shoot mode is also included, which makes composing off centre a breeze. You simply touch the area you wish the camera to focus on. There is quite a bit of lag on this system, but it is useful for static subjects.

Fujifilm Finepix Z700EXR: Handling
Having most of the controls taken care of by a touch screen interface means that Fuji didn’t need to make any room for buttons on the rear of the Z700EXR. Instead the camera’s back is almost completely filled by a huge 3.5inch TFT LCD screen. The space around the screen gets a little wider on the right hand side, which provides a little space to rest half your thumb. However, if you have fat fingers, like I do, you may find this design a little uncomfortable to hold. I found I just couldn’t get a good enough purchase on the camera to confidently hold and use the camera with one hand. I also found that when I used my other hand for support, I would occasionally end up with my finger in front of the lens. Of course aspects of the camera’s handling like this can be very subjective, so I would suggest handling one in a shop if you are unsure whether this design is for you.

The touch screen itself is very responsive and the menus are very clear and easy to navigate. Unfortunately the touch sensitive covering on the screen can be quite reflective, which can cause problems with the clarity of the screen when shooting in bright conditions. Other than this issue, it is a joy to use. Playback of images is very iPhone like, a sweep of your finger across the screen is all that’ required to move from one image to the next.

The build quality is very good. The sliding cover that protects the lens and flash is sprung with a nice weight to it and the shiny finish looks very smart, even if it is prone to showing every finger print.

Fujifilm Finepix Z700EXR: Performance
Focusing is fairly quick, especially when the face detection system is active, which gives the Z700EXr a largely responsive feel in use. In low light conditions the camera can take a while to lock on though, even when the built-in AF illuminator is active.

Exposures produced by the Z700EXR are generally quite pleasing, with the camera only generally being fooled by very large areas of light or dark in the frame, which is typical of this kind of camera. In those particular conditions, having the extended dynamic range can pay dividends.

The camera is capable of recording a fair amount of detail, although I do find that areas of very fine detail, or strong diagonal lines tend to show JPEG-like artefacts, probably due to the nature of the Super CCD EXR. These artefacts are especially visible if the offending area has quite a large amount of contrast at regular intervals in a small space, such as you would get with parallel lines.
Subtle colours are reproduced faithfully, whilst primary and secondary colours seem to have more saturation, making them really stand out. This results in quite punchy looking images from the camera.

Fujifilm Finepix Z700EXR: Click on the thumbnails for larger images.
Exposures are generally very balanced. I found myself prone to getting the edge of my finger in shots due to the camera’s design.
Subtle colours are reproduced accurately. The 5x zoom lens is a useful range for a wide range of subjects.

ISO and noise performance
There is no significant noise until at least ISO400, but what can be seen in all images at any ISO setting are the peculiar artefacts. These are particularly prevalent on the fountain, where the jets of water are quite close together closest to the ground. At ISO400 you can see the effects of noise reduction on detail in the image, but the levels of noise are still quite palatable.

From ISO800 and beyond, the levels of noise become much more apparent. I would say that ISO800 will still produce good postcard size prints, whereas the level of detail lost in images taken at ISO1600 and 3200 may only make images taken at these settings suitable for sharing at small sizes on the web.

White-balance
In our white balance test, the Z700EXR left quite a strong warm colour cast when using Auto White Balance under incandescent light and under the warm white fluorescents in our studio. The incandescent preset produces a much more accurate result under incandescent light, but unfortunately the fluorescent preset left quite a strong magenta cast, which may look at little disturbing in images.

Fujifilm Finepix Z700EXR White-balance test: Click on the thumbnails for larger images.
Auto white-balance in incandescent lighting Auto white-balance in fluorescent lighting
Incandescent preset in incandescent lighting Fluorescent preset in fluorescent lighting

Buffer read/write times
During testing, I measured the delay between shots to be around 1.2 seconds on average when using a class 6 SDHC card, which is very responsive for a compact at this level. The camera is equally responsive during playback, with there being virtually no delay from one picture to the next.

Lens performance
Internal lens designs like this found on the Z700EXR have long been associated with optical issues of their own, and this optic is no exception. The biggest issue arises when there is a strong source of light in the frame. Under these conditions the lens is quite prone to flare and have loss of contrast. In more friendly conditions the lens performs well, with little distortion or colour fringing to speak of. Images show good contrast and sharpness from edge to edge throughout the zoom range.

Fujifilm Finepix Z700EXR Lens quality: Click on the thumbnails for larger images.
The internal lens design is quite susceptible to flare and colour fringing. However, in ideal conditions the lens is capable of recording a good amount of detail.
Distortion is kept to a minimum. The macro function allows you to get within about 5cm of your subject.

Fujifilm Finepix Z700EXR: Verdict
Overall the Z700EXR is an accomplished performer, capable of producing high quality images. Although there may be the odd weakness, such as noise levels not being as impressive as promised, the lens being prone to flare and peculiar Super CCD artefacts in images, it’s strengths may be enough allow you to see past them.

The camera has a high quality finish, is intuitive to use and doesn’t cost too much either. When compared to similar cameras at this price point, it represents pretty good value for money.

Fujifilm Finepix Z700EXR: Pros
High quality fit and finish
Slim design
Intuitive touch screen interface
High dynamic range feature
Touch and shoot mode
Good exposure system

Fujifilm Finepix Z700EXR: Cons
Super CCD artefacts in images
Lens prone to flare
Touch screen can be quite difficult to see in bright conditions
Noise performance not as good as I’d hoped

Fujifilm Finepix Z700EXR: Specification

Price £165.00
What comes in the box Charger, Battery, USB cable, Software, Manual
Contact www.fujifilm.co.uk
Lens f=6.4 – 32.0mm, equivalent to approx. 35- approx. 175mm on a 35mm camera
Resolution 12Mp
Sensor size 1/2inch
Sensor type Super CCD EXR
Max. Image size 4000 x 3000
Aspect ratio 4:3
LCD monitor size 3.5inch
Optical viewfinder N/A
Focusing system Contrast Detection
Focusing modes Single AF, Continuous AF (when scene recognition and Movie) Center fixed, Auto area, Place of touch (Touch & Shoot mode)
File types JPEG
ISO sensitivity ISO100-3200
Metering modes EXR Auto, Auto, Touch & Shoot, Scene Position, Natural Light, Natural Light & with Flash, Manual, Movie SP: Portrait, Portrait Enhancer, Landscape, Sport, Night, Night (Tripod), Fireworks, Sunset, Snow, Beach, Party, Flower, Text, Dog, Cat
White-balance Auto, Fine, Shade, Incandescent light, Fluorescent light 1 (Daylight), Fluorescent light 2 (Warm White), Fluorescent light 3 (Cool White)
Exposure compensation +/- 2EV
Shutter speed range 1/2000-8 seconds
Anti-shake mode Dual Image Stabilisation
Movie mode 1,280 (1,280 x 720: HD), 24 frames/sec., 640 (640 x 480: VGA), 30 frames/sec. with monaural sound. Zoom function cannot be used during movie recording.
Media type SD, SDHC
Interface USB
Power Rechargeable Li-Ion battery NP-45A
Size (wxdxl) 91.8 x 59.0 x 20.3mm
Weight (with battery) 146g

The Fujifilm Finepix Z700EXR costs £165 and is available from Warehouse Express here:

Fujifilm Finepix Z700EXR

Digital Camera Reviews

Comments are closed

“Fujilfilm XM1 Review [and XA1/XE2 Thoughts]” plus 1 more Digital Photography…

“Fujilfilm XM1 Review [and XA1/XE2 Thoughts]” plus 1 more: digital photography School

Link to <a href='photography' target='_blank'>digital photography</a> School

Fujilfilm XM1 Review [and XA1/XE2 Thoughts]

Posted: 04 Nov 2013 10:57 AM PST

A review of the Fujifilm XM1 by Ben Evans from www.EnglishPhotographer.com.

I knew mirrorless cameras were the future when Fujifilm launched their X-Pro1. Small and light like a Leica but with the practicality of autofocus, it had the image quality to live up to its name. When Fujifilm put the same innovative X-trans sensor in the X-E1 I recommended it over its bigger brother.

Fujilfilm XM1 Review 1

Well, they’ve just done it again; the new X-M1 has the same amazing sensor in a smaller, lighter, cheaper camera body. Don’t confuse it with the X-A1, which doesn’t have the X-trans sensor. Or with the X100s, which can’t change lenses. Or with the XE-2, which is better but more expensive. We’re paying less, so we get less. What’s missing; and what do we miss?

[embedded content]

The X-Pro1 had a hybrid optical and electronic viewfinder and the screen. The X-E1 lost the optical viewfinder so action and low-light photography was trickier, but gave us an upgraded electronic viewfinder (apparently from Sony’s top-end RX1). The X-M1 has no viewfinder so you have to compose with the screen. In practice this means less battery life, shakier pictures and poor visibility in bright light. But now the screen tilts, which I like.

Fujilfilm XM1 Review 2

Gone also is the svelte metal toughness of the X-Pro1, replaced with pretty plastic. But gone too what little weight was there before. I carry too much, so lighter wins every time. If I wanted tough I’d get a Pentax.

The kit lens is back to being a kit lens; cheap and slow with a maximum aperture from f3.5 to f5.6. This also means slower focussing in low light. There’s no aperture control on the lens nor switches for manual focus or stabilization. It’s pretty small and image quality is okay. But better to buy a proper X mount lens; the 35mm f1.4 beats all of Leica’s (it has autofocus!) and Zeiss now supports the system too. Fuji have a sensible roadmap for new lenses, which makes building a kit viable.

With the same lens, the image quality of the X-M1 should match its pricier siblings. Reading around, it seems the different chip may diminish quality slightly, but this could be that the jpegs are tuned to the consumer’s taste for stronger noise reduction and more sharpening.

Fujilfilm XM1 Review 3

You also lose out with the controls. The X-M1 is a machined metal dial short of a immersive user experience. You’ll get used to it but its no X-Pro1. But for people who’ll just be using auto or program it’s really excellent and the quick menu is very helpful.

Technology gets faster, and technology gets smaller. The X-M1 is as small as we’d want to go. Some manufacturers have made the mistake mobile phone makers made a few years ago; sacrificing usability for diminutive size.

Fujilfilm XM1 Review 4

This points to a characteristic of Fujifilm; they seem to understand what photographers want. Why? They listen. The XE1 had slow autofocus; the XE2 addresses this. The X Series cameras were a bit pricey for many people; the XM1 and XA1 were launched. It’s a pleasure to see a tiltable LCD screen on both.

But there’s a flaw in that clichéd Capitalist aphorism, ‘give the people what they want’ – as Steve Jobs made a billion proving, often they don’t know until you show them. And so it is; the rush to flesh out the X system has led Fujifilm to launch too many cameras, too quickly.

Fujilfilm XM1 Review 5

Looking at the images, for the bodies are almost identical, the XM1 has only a small advantage over the XA1. So why pay more? Looking at the XM1, it’s difficult to ignore the similarly priced XE1s rendered obsolete by the XE2. They’re all great cameras, but what’s to choose between them?

It comes down to how you’ll use it. Photographing an international event for charity that required social media engagement, the XM1 with its built-in wifi was the right choice; it’s simple enough to edit the images on a phone using Snapseed them upload them. The wifi is useful then; but surely it would be worth hiring an app developer to enable proper remote control of the camera too.

Fujilfilm XM1 Review 6

If you’re able, spend a bit more on the XE2 or the X-Pro2 if/when it’s announced. The quality will be a bit better, and you’ll benefit from faster focussing. Otherwise, compare the used/ end-of-line price of an XE1 against the XM1 and XA1, weighing up wifi and a tiltable LCD on the XM1/XA1 against slightly better quality and a viewfinder (XE1). Ultimately, it’s the quality problem of too much choice; pick one and just photograph with it!

Fujilfilm XM1 Review 7

Check out the new Fujifilm X-Series Video

[embedded content]

Ben Evans is the author of Photography: The Few Things You Need To Know, available at www.GreatBigBear.com. He is an English-speaking Barcelona photographer – www.EnglishPhotographer.com teaching photography with www.BarcelonaPhotographyCourses.com.

Post originally from: digital photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Fujilfilm XM1 Review [and XA1/XE2 Thoughts]

The post Fujilfilm XM1 Review [and XA1/XE2 Thoughts] by Guest Contributor appeared first on Digital Photography School.

How to Photograph Strangers: The 100 Strangers Project

Posted: 04 Nov 2013 07:17 AM PST

A Guest submission by Matt John Robinson

Liz

The First Stranger

Taking the portrait of a person whom you’ve just met moments before is one of the most exciting—and in the beginning, unnerving—experiences you can have as a photographer. It’s also one of the most rewarding.

The 100 Strangers Project sounded simple enough: gather 100 portraits of complete strangers after getting their consent. For my mostly introverted self, this meant more precisely: interact with 100 human beings I would otherwise never interact with…AND take their photograph.

Jimmy

The prospect seemed filled with anxiety. Yet the intrigue and amazing possibilities that gathered vaguely in my mind were becoming too palpable to resist. I had seen and greatly admired many 100 Strangers photos by Chris Camino, an online photography contact who was working on the project (known on dPS and Flickr as Paco X).

When I realized that a few of his portraits had been taken only an hour away from me, I had to know more. “How does he do it? How does he interrupt people during their daily routine and so boldly ask for their picture? How do they react, and why would they ever say yes?” Chris was happy to share his process and agreed to have me tag along during his next stop in Philadelphia.

He was honest. He was direct. Chris would see something in a stranger and would stop them, letting them know exactly what he admired and why he wanted to take their picture. The stranger, more often than not, would agree! They might even ask how he’d like them to pose; they might even walk to a more appealing background; they might even glow with the flattery of somebody wishing to take their picture. These strangers, for however brief the encounter, would connect with this photographer. They would trust him.

Allen

It was a rush just watching it unfold before me. I knew I wanted to feel the excitement of photographing a stranger myself. I saw a few interesting strangers and would point them out to Chris, secretly hoping that he would goad me into taking their picture myself. And he would. But I wouldn’t. My courage would build up—almost to the point—and a wave of nerves would wash it all away. What if they refused? What if they thought I was just a creep?

Chris spotted another stranger walking across the street with a friend, and I ambled after him. His stranger agreed very kindly after he introduced himself and me. The woman and her friend were both lovely and seemed like very warm and open people. It occurred to me that this was the perfect opportunity: I had already half-met this “stranger,” the woman’s friend, and judging from her personality she was likely to agree.

While Chris was busy shooting, I walked over to his stranger’s friend with as much an air of confidence as I could muster. I told her that I very much wanted to start the same photography project and wondered if she was willing to be my very first stranger. Not only did she agree to have her portrait taken, but she was flattered to be the start of the project. After the shoot, as she started to walk away, she turned and called back with her bright smile, “Thank you for your kindness.” Thank you for my kindness!

Unknown Stranger 1

I was blown away. So blown away and filled with excitement over my first ever street portrait that I forgot the young woman’s name. But I am oh-so-grateful to have met my unnamed Stranger #1 in her Philly’s ball cap. She opened my eyes to how easy and instantaneous it can be to connect with people you’ve never met, and how truly kind a complete stranger can be.

And the greatest revelation: I, as a photographer, have the power to capture the beautiful qualities of anybody I pass by. Or I can at least make the attempt. And anybody with a camera has that power. It might seem silly to photographers who’ve been doing this for ages, but I really think it’s something a lot of photographers haven’t thought about. I certainly hadn’t.

Emily

It was addicting. A piercing set of eyes, an awesome sense of style, or just a charismatic air—it’s all gloriously walking on the street and waiting to be captured by a camera. I returned to Philadelphia several times and also shot at a few places more locally.

I’m a little over halfway through my project now. No matter where I go, though, it’s all the same. I wait until I find somebody with some quality that I want to capture and then simply walk up to them and introduce myself and the project. Often I will let them know what caught my eye. And the majority of the time these strangers agree… and then it’s time to think about the photo.

Marcy

How to: the Posed Street Portrait

The technical considerations I make for posed street portraits are identical to any that you might make when taking any sort of outdoor portrait. You just have to figure it out a little more quickly.

I almost always make an attempt at carefully pairing my strangers with their backgrounds.

Sometimes I will find a background first, and I’ll wait for a serendipitous stranger to happen upon me. Other times I’ll come upon a stranger without having the time to consider a background before addressing them. In that case, I will always ask if they mind if we continue to walk in the direction they were headed until a suitable background catches my eye (it’s amazing how accommodating the strangers usually are).

It’s just my own personal style to really “create” the portrait. Other street portrait photographers take the opposite approach and prefer to photograph their subject exactly where they found them. The hugely popular Humans of New York photographer Brandon Stanton asks, “Can I take your picture, just like that, right where you are?”

William

100% of my backgrounds are in the shade. I like soft, even lighting, as most portrait photographers do. Working with shade also gives you the ability to shoot any time of day, and midday is actually quite nice. While cloudy skies are appealing because of the ability to shoot out in the open, bright sunny skies make for beautiful shade.

However, not all shade is equal. Sometimes the shadows can still be too heavy depending on how far you are from the open sunlight. For instance, if you’re in the shade of a building, yet there is open sky above you and all around, the lighting may very well be ideal on its own. However, if you’re under the shade of a tree, or on a street surrounded by shade with tall buildings on each side and only a thin strip of open sky, a reflector is usually going to help a lot.

Aside from what’s above you, what the stranger is facing is also important when considering the lighting. If you’re in the shade of a building, and your subject is facing other buildings in the shade, there is hardly any light being reflected sideways and up, so the eyes are going to appear very dark. On the other hand, if the subject is facing buildings/sidewalks/streets that are brightly lit by the sun, their eyes will be nicely illuminated by the reflected light, and you’ll capture a nice catch-light.

For those times when there’s not much open sky or bright surroundings outside the shade, carrying around a collapsible reflector is extremely helpful. You can expand it and have the subject hold it themselves around waist or chest height, depending on the framing, angling it slightly toward their face. This works well when the light is still generally coming from above.

Sometimes, depending on the structures around you and the time of day, the light mostly comes from the side. In this case it is helpful to have somebody hold the reflector on the opposite side the light is coming from (the subject is unable to do this without getting the reflector in the frame), bouncing back the light onto the shadowed side of the face. The strangers I stop often have friends along with them, and they’ve always been happy to assist with the reflector. As soon as the reflector is busted out, the stranger is likely going to ask how you want them to look/stand/pose.

Christian

Posing the stranger can be the second hardest part for a lot of people just getting started, right after the approach. The simplest way, and the way I still use sometimes, is to not even bother with a specific “pose.”

I’ll just ask them, “Ok, let’s get a few straight-faced shots—no smile.” And then after a few frames, warm them up with a joke or two and try to get them smiling (or just ask them to smile).

The way they are standing and holding their arms isn’t important if you’re just shooting head shots. The pose matters when moving out from the head shot, and for that, I’ve done all sorts of things.

You can just start backing up and capture their natural pose while they’re not fully aware that you’re actually capturing the entire body (this is all assuming you’re shooting with a prime—zooming out from the head shot and continuing to fire away would work great as well).

One of my personal favorites is to have the stranger sit down in a specific location that I think will work well with them. I’ll sit down myself exactly where I want them to sit and show them generally how I would like them pose. The stranger will follow suit with their interpretation and usually ask for more direction. I’ll follow with something like, “However your body feels comfortable,” and then start taking photos. At that point I’m looking through the viewfinder and beginning to frame my subject.

Ben Sarah

When it comes to composition, I am a heavy “rule of thirds” guy, especially with the eyes. The rule of thirds isn’t as much a “rule” as it is a way that our visual system scans the frame. For whatever reason, placing key points of the photograph on the thirds lines, or at their intersection, really focuses our attention during visual processing. This is dramatically true for portraits especially.

Placing the subject’s eyes on (or above) the upper third line gives them a much larger impact (try it yourself: on the same image with two different crops, place the eyes on the middle horizontal line and then place it side by side with the eyes on the upper third line).

I also avoid the “floating head.” That is, I almost never frame the subject from just their neck up, leaving their face to be the only thing in the frame. Including a good part of the shoulders in a headshot is key in grounding the subject within the frame and giving them their proper space. It’s a similar element to not cropping the subject at the knees or elbows.

There are of course exceptions to both of these compositional guidelines (you can see them in my own portraits), but they are a great place to start and it’s hard to go wrong when following them.

Katelyn

And finally, the lens and camera settings. Choosing the lens greatly depends on how much of your subject you’re really aiming to capture.

I focus primarily on head shots because of the intimacy it provides through a strong connection with the eyes. Because my primary goal is to come away with a good head shot, I always shoot street portraits with my 85mm f/1.2 lens.

I love the 85mm focal length for several reasons. For one, there is no distortion. Shooting a headshot with a 50mm or wider is going to make the center of the face appear subtly bulbous (and super bulbous if you’re down in wide angle territory). This can be mostly corrected in post, but why not get it right in camera?

More importantly, the 85mm gives you perfect working distance, which is especially important when working with strangers. Standing two feet in front of a stranger with a 50mm lens to get a head shot can feel pretty “in your face” for them. With the 85mm, you’re a bit further back, yet you’re close enough to easily continue communication—to continue chatting and helping them to feel comfortable.

Conversely, if you’re shooting a 200mm, you’re going to be pretty far away, and may have to raise your voice a good bit. You begin to lose your subject’s connection to the camera. And in a street setting, you really might not have enough room to back up, especially if you’d like the option to capture a full length.

I almost always shoot with a very large aperture for head shots in order to isolate the subject through a shallow depth of field as much as possible. For my personal tastes, I don’t mind having the ears and tip of the nose blurred. In my opinion it just places even more emphasis on the eyes, and well, I am in love with a good pair of eyes. It also naturally softens the skin of the forehead and cheeks, which is an added bonus.

I shoot in manual, choosing my aperture and then adjusting my shutter speed to properly expose. I won’t shoot an SS below 1/100 and will boost my ISO if needed from there.

Christina

I hope this post was helpful for anybody interested in outdoor portraiture, and especially those who might be interested in starting this amazing street photography project. It’s a no-brainer that my people skills have improved and I’m a lot more comfortable interacting with complete strangers. And of course, my portrait photography has improved a great deal. All the while, it has been so much fun. If you’re interested in the project, check out our Flickr group for the 100 Strangers Project.

Matt John Robinson is a portrait photographer from Allentown, Pennsylvania. See more of his work at www.mattjohnrobinson.com and connect with him on Facebook and Flickr.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

How to Photograph Strangers: The 100 Strangers Project

The post How to Photograph Strangers: The 100 Strangers Project by Guest Contributor appeared first on Digital Photography School.

You are subscribed to email updates from Digital Photography School
To stop receiving these emails, you may unsubscribe now.
Email delivery powered by Google
Google Inc., 20 West Kinzie, Chicago IL USA 60610

Photography Tips

Comments are closed

Product Critiques : Canon PowerShot SD110 3MP Digital Elph with 2x Optical…

nitadigitalcaera.blogspot.com ® Product Critiques : Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom from Canon

Hey, This must be a gorgoeous time I have a Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom myself made a determination to discuss nicely for you about. That Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom is one of the best products ever made by Canon. Utilizing this appealing belongings you will certainly take more than purely shopping this specific item. You just aren’t gonna ask a lot the reason why the particular stuff crafted a amusing revenue due to the fact launched, plus on this site I am going to tell you the important matters using this product although anyone their very own way for you to have a good time using item by Canon. I am certain you also will see the easiest method to generate it more enhanced with your own accord. Let’s start to see the Canon product highlights unveiled.

It’s not possible to no way icon biggrin Product Critiques : Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom from CanonCanon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom actually benefit you. Highly..!

Get you the Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom on this page:

B0001G6U9I 400 Product Critiques : Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom from Canon

BuyAmazonNow zps3ee5e9e7 Product Critiques : Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom from Canon

Item : Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom

Category : Point & Shoot digital cameras

Brand : Canon

Features :

  • 3.2-megapixel sensor captures enough detail to create photo-quality 10-by-14-inch enlargements
  • Canon 2x optical zoom lens with 3.2x digital zoom
  • 9-point autofocus; movie mode; PictBridge compatible
  • Store images on Secure Digital (SD) memory cards (16 MB card included)
  • Powered by NB-3L battery pack (included with charger)

Description :

The Canon PowerShot 3.2MP Digital Elph Camera with 2x Optical Zoom is ultra-compact but big on convenience and features. The Print/Share button lets you quickly print directly to your printer or upload images to your PC. Features: 3.2-megapixel resolution; 2x optical zoom and 3.2x digital zoom for a total 6.4x zoom; 16MB Secure Digital memory card; 9-point artificial intelligence autofocus (AiAF) for accurate, automatic focus, and movie mode with sound; 1.5″ low-temperature polycrystalline silicon TFT color LCD; 2048 x 1536 pixels for photo-quality 8×10 prints or medium-quality 11×14 enlargements; real-image optical zoom viewfinder; built-in flash with auto, red-eye reduction, and slow sync modes; and voice record function. The ultracompact and highly stylish Canon PowerShot SD110 updates its predecessor, the SD100, with Canon’s new Print/Share button, which helps you quickly send your photos directly to your printer or upload them to your PC. The SD110 also features 3.2-megapixel resolution; 2x optical zoom; nine-point artificial-intelligence autofocus (AiAF) for accurate, automatic focus; and a movie mode with sound.

Optics and Resolution

The PowerShot SD110 offers a 3.2-megapixel CCD sensor that produces images up to 2,048 x 1,536 pixels, for photo-quality 8 x 10 prints or medium-quality 11 x 14 enlargements. Other resolution modes include 1,600 x 1,200, 1024 x 768, and 640 x 480. The superb all-glass 2x optical zoom lens has a focal length of 5.4-10.8mm (equivalent to 35-70mm in 35mm photography). It also incorporates a 3.2x digital zoom for a total zoom of 6.4x.

Movie Mode

The PowerShot SD110 lets you capture high-resolution 30-second video clips with sound at 640 x 480 (10 frames per second). You can also capture 3-minute movies at lower resolutions: 320 x 240 and 160 x 120 (both at 15 frames per second).

More Features

  • Quick Shot function reduces the time lag between pressing the shutter button and starting exposure
  • Nine-point artificial-intelligence autofocus (AiAF) for fast and sharp images, even with off-center subjects
  • 1.5-inch low-temperature polycrystalline silicon TFT color LCD (118,000 pixels)
  • Real-image optical zoom viewfinder
  • Built-in flash with auto, redeye reduction, and slow sync modes
  • Record a voice memo of up to 60 seconds and attach to images
  • Shutter speed: 1/2000-15 seconds
  • White balance control: Auto, preset (daylight, cloudy, tungsten, fluorescent, fluorescent H), or custom white balance
  • 2x to 10x zoom into captured images while reviewing via LCD
  • Continuous shooting: 2.2 frames (maximum 12 images)

Canon Technology Features

  • DIGIC Imaging Processor: While much technical discussion of digital cameras centers around the optics and the CCD sensor, the complex task of image rendering is the job of the image processor–the “brains” of a digital camera. Canon’s latest, exclusive DIGIC imaging processor significantly enhances digital camera performance in numerous areas. DIGIC’s high-speed signal processing is combined with high-capacity buffering to give Canon digital cameras fast response and continuous shooting capability unmatched by other digital cameras. DIGIC delivers longer battery life and beautiful, rich color rendition with far fewer white saturation problems. And DIGIC’s unequaled precision delivers clear, noise-free images that are demonstrably superior.
  • iSAPS Technology: Canon iSAPS (Intelligent Scene Analysis based on Photographic Space) technology dramatically improves the performance of AF (autofocus), AE (autoexposure), and AWB (auto white balance). By analyzing a huge volume of photography data accumulated over 60 years and the manufacturing of over 150 million cameras, Canon engineers arrived at statistical relationships among focal length, focus distance, scene brightness, and other factors. Equipped with this “foreknowledge,” Canon PowerShot cameras can optimize AF/AE/AWB settings for any given scene more rapidly and more effectively.
  • Multipoint AiAF: Canon’s wide-area, multipoint AiAF (artificial-intelligence autofocus) automatically selects one or more focusing points based on factors such as subject position and motion. AiAF works in conjunction with iSAPS Technology to more quickly and accurately achieve autofocus under a wide variety of shooting conditions. You get fast, accurate AF whether you hold the camera horizontally or vertically, whether you have stationary or moving subjects, with off-center subjects, and even in low-light or low-contrast situations.

Advanced Printing

The camera features Canon’s Print/Share button, which illuminates when a successful connection is made between the camera’s USB port and a PictBridge-compatible printer or Windows PC. When it is lit, pushing the button will print the currently displayed image (based on the printer’s default PictBridge or Direct Printer settings) or automatically transfer the image to your PC. When connected to a Canon compact photo printer, the camera/printer combination allows for “movie-prints” (sequential frames of a movie clip printed as thumbnails on a single card) and photo IDs (passport-style ID photographs).

s70 ez print Product Critiques : Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom from Canon

Direct Photo Printers

For large-format desktop printing, try one of the Direct Photo Printers which allow you to print directly in one of two ways: plugging the compatible PowerShot camera into the Direct Photo Printer using the supplied cable, or simply inserting a memory card with a supplied adapter. You can also connect the printer to your computer, for more options. Print high-resolution, borderless images in postcard size or as 8.5 x 11s within minutes.

Storage and Transfer

Images and video are stored on tiny Secure Digital (SD) memory cards; the camera is also compatible with MultiMedia cards (MMC). The included 16 MB card holds approximately 21 images at the large/fine setting. Images can be downloaded to either a Mac or PC via USB 1.1 connectivity, which means the camera can be connected to any USB-based computer running Windows Me/2000/XP or Mac OS 8.6 or later without your having to install any software.

Power and Size

The camera is powered by a rechargeable lithium-ion battery (NB-3L). With the LCD on, you will get approximately 210 shots; with the LCD off, 550 shots. It measures 3.35 x 2.20 x 0.94 inches and weighs 5.82 ounces without batteries.

What’s in the Box

The package contains the PowerShot SD110 digital camera, a 16 MB Secure Digital memory card, a rechargeable lithium-ion battery (NB-3L), a battery charger (CB-2LU), USB and A/V cables, and a wrist strap. The software supplied on the CD-ROM includes the browsing and printing programs ZoomBrowser EX (Windows) and ImageBrowser (Mac). Other software includes PhotoStitch and the photo- and movie-manipulation programs ArcSoft PhotoStudio and VideoImpression.

You will never take pictures the same way again… fabulous

I own three digital cameras and a pricy SLR and the Canon SD110 has made all the others obsolete. This camera changed my photo-taking behavior and excitement, and now I always carry it in my bag or pocket. First, you should know Canon and Nikon make the best digital cameras – primarily because they were smart in outsourcing electronics to the best Chinese component manufacturers (Flextronics, Celestica) and used their own industry-leading optical lenses. I prefer Canon because of ease of use (both camera and downloading to PC), braoder range of sophisticated features, rock solid reliability, accessories (you must get the cute leather case… all your friends will ask!), and the cameras just *look* and *feel* infinitely cooler.

The SD110 is a small, powerful, high performer even among its Canon peers. Though I provide a balanced view below, as a connoisseur of every new technology out there for cameras, I can attest this little machine boasts a ton of horsepower…

A single thing for sure, it is actually a joyous moment only just having the following stuff. An exciting emotion exactly like your bloodstream boiled by warm that will make you intend to give it a try regardless of what condition. Only just sitting around on your balcony or screwing around utilizing your pals making use of the Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom is likewise not a bad ideas. It is one of the Canon good option making it convenient capable to do various things depending upon the users interests and activity. Us also, its like my everyday do not ever apart on this Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom, this is because I’ve discovered a whole lot fun making use of it as my extra routine to delight me, seriously with thanks to the Canon that got so amazing and convenience in my live. Whether you’re male’s, young women, kid, grown ups, it is not really a valid reason to fail to attempting this unique product, because much like whatever i before that might be your individual way enjoying with this particular Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom since the media to reach your joyful moment.

In hopes significantly a Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom allows you to relaxed. Get the morning having Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom.

 Product Critiques : Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom from Canon

Product Critiques : Canon PowerShot SD110 3MP Digital Elph with 2x Optical Zoom from Canon

Digital Camera Reviews

Comments are closed