Showing posts with label Cameras. Show all posts
Showing posts with label Cameras. Show all posts

Nikon introduces D3200 entry-level DSLR

24.2 MP camera not replacing D3100
Nikon has introduced a new DSLR to sit within its entry level range of cameras, featuring a 24.2 million pixel sensor, which it says it will sell alongside the camera's predecessor, the D3100.

The headline grabbing specification of the D3200 is of course the 24.2 million pixel sensor, Nikon's second high resolution camera to be introduced this year and the second highest in its current line-up (behind the Nikon D800's 36 million pixels).

It is designed to sit above the D3100 in the entry level range of DSLRs, but is not intended to be a direct replacement.

The native sensitivity ranges from ISO 100 up to ISO 6400, and is expandable up to Hi1, which is an equivalent of ISO 12800.

Eleven autofocus points are provided by the Multi CAM 1000 autofocus sensor for phase detection focusing when shooting through the optical viewfinder. A contrast detection system is also available when using Live View.

Processor

The D3200 uses the same Expeed 3 processor which can be found in Nikon's more expensive bodies, the D800 and D4. This promises to offer considerably faster speeds than the Expeed 2 processor, allowing for better noise reduction and full HD video recording.
1080p video recording is available at 24, 25 and 30fps, while 50 and 60fps can be achieved when recording in 720p HD. A stereo mic jack is included for adding an optional external microphone.

Big improvements have been made to the Guide Mode, which Nikon says has proven to be popular on its previous D3000 and D3100 models. This acts as an in-camera guide to achieving popular results. New additions, such as "Reds in Sunsets" have been added for the D3200.

Design

Slight changes have been made to the ergonomics of the camera, including the addition of a dedicated Live View button, a movie record button and a drive mode option.

The rear LCD is now a 921k dot device, compared with the 230k dot screen of the D3100.

Available as a separate accessory, the Nikon D3200 can have Wi-Fi functionality added via the WU-1A adapter. This allows for images to be shared on social networking sites and other options via a connected smartphone. A free app for Android will be available to download from sales start date, while an iOS version should be ready in the autumn.

The Nikon D3200 price is set to be around £559.99 body only (around $895), or £649.99 (around $1,039) with the 18-55mm kit lens. It will be made available in both red and black from the middle of May. Meanwhile, the Nikon WU-1A wireless adapter price will cost around £54.99.

Source: http://www.techradar.com/news/photography-video-capture/cameras/nikon-introduces-d3200-entry-level-dslr-1076604
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Canon Cinema EOS C500 camera hands-on (video)

The familiar EOS-1D C isn't the only Canon camera to make its public debut ahead of NAB. The Cinema EOS series welcomes a third model to the collection this week, with looks that nearly match last year's C300. Unlike that model, which you can already pick up through e-tailers and at specialty shops, the C500 has a long way to go before it gets a shipping nod -- it may not even make it to market in 2012. The $30,000 price tag may pose an even greater barrier to entry than its to-be-announced availability date, however, and may in need of some tweaking before it's ready to compete with already established models, like the much less expensive RED Scarlet. Like the 1D C, the C500 can shoot 4K video -- the most apparent upgrade from the $16,000 C300. To that end, boosting its price tag may be the only way for Canon to avoid cannibalizing that less-abled flavor, since many cinematographers would otherwise pay little attention to the C300, due in part to its 1080p-limited shooting capabilities.

It's been a few months since we've last seen Canon's first Cinema EOS model, but the C500 has a look and feel that seems to be only subtly different from the C300. It is noticeably heavier, likely due to the additional cooling gear on board to accommodate 4K shooting. Both flavors include dual CF card slots, which you'll only be able to use for snapping 1080p video -- 4K is fed to an external recorder through the dual 3G-SDI ports, which for obvious reasons you won't find on the C300. There's also a larger grip on board, now a permanent fixture on the C500, which should aid with bare-bones handheld shoots -- but if you're dropping 30 grand on a digital body, some sticks and a dolly shouldn't be far behind. Like its sibling, this year's model ships with either a Canon EOS or industry standard PL mount, so if you have a need for both, you'll need two cameras. Overall, you're looking at the same sleek, albeit slightly unconventional body design, with a price tag that's likely to make amateurs weep and pros run for the rental house. As always, there's a hands-on video waiting just past the break.

Source: http://www.engadget.com/2012/04/15/canon-cinema-eos-c500-hands-on/
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Red-light camera firm in talks with Jacksonville has been kicked out of other cities

The company in talks with the city was abandoned by 3 Western towns.

The company Jacksonville is negotiating with to install at least 25 red light cameras at intersections around the city has been kicked out of several U.S. cities because revenues didn’t equal projections.

Jacksonville is negotiating with Redflex Traffic Systems, an Arizona-based subsidiary of Australian Redflex Holdings. The company’s contract with Albuquerque, N.M., was shot down late last year by voters and the City Council, and two West Coast cities canceled their deals.

Albuquerque Councilman Dan Lewis said he was neutral about the cameras at first but eventually came out against them when he learned more.

The city asked the University of New Mexico in December 2009 to study the effects of the cameras on crashes. It found the number of crashes at intersections with cameras increased 3.5 percent, mostly due to a jump in rear-end collisions.

Also, Lewis said, the city was running in red ink.

“The program began to lose about $100,000 a month,” he said. Although the company renegotiated, the City Council followed the non-binding vote of the people to end the contract.

Redflex billed the city $4.5 million shortly thereafter, claiming the city had to pony up its share of revenue from tickets that were still outstanding even after the program was canceled. The city is currently disputing the claim in court, the Albuquerque Journal newspaper reported.

Lewis also pointed out that the cameras create a perverse incentive for cities to make sure the number of violators remains high, noting that if driver behavior actually changed, the number of violations would decrease over time and the cameras would produce less revenue.

He argues that other, more inexpensive safety measures, such as extending yellow light lengths, would be more effective.

Andrea Aker, a spokeswoman for Redflex, disagreed.

“It isn’t true,” she said. “Data is indisputable that safety cameras change driver behavior.

“Cities that operate safety camera programs consistently show a reduction in red light running and violations.”
Albuquerque isn’t the only city that has kicked Redflex out of town: Burien, Wash., and Glendale, Calif., both abandoned their Redflex-operated camera systems this year.

The details of the agreement between Redflex and Jacksonville, including payment terms, have yet to be finalized, but Redflex’s bid submission proposes a fixed monthly cost to the city of $3,999 per approach at the 25 intersections.

The company says its pricing model is designed to require “zero out-of-pocket expense and zero financial commitment,” and that the city would be able to address its overhead expenses before addressing the Redflex invoices.

If Jacksonville’s ticket monthly totals exceed $3,999 per approach, the excess is split between the city and state. If it’s less, the city owes that amount to Redflex.

The only city in Northeast Florida with red light cameras is Green Cove Springs, which has a contract with American Traffic Solutions, one of Redflex’s competitors. ATS submitted a bid to install and manage Jacksonville’s proposed system but ultimately lost out to Redflex.

Like Redflex, ATS has had contracts ended in cities across the country, including Houston in 2010 and Los Angeles this year.

Academics and traffic safety experts remain divided on the cameras’ efficacy.

A 2004 study by North Carolina Agricultural & Technical State University claimed that the cameras’ presence increased the total number crashes by more than 40 percent.

On the other hand, a 2005 study by the Federal Highway Administration showed a decrease in the number of right-angle crashes but found evidence for an increase in rear-end collisions — ostensibly because of more people stopping abruptly at traffic signals.

The Insurance Institute for Highway Safety, a nonprofit group funded by auto insurance companies, is a staunch supporter of red light cameras.

Russ Rader, a spokesman for the group, noted that while some studies showed that cameras caused an increase in rear-end crashes, the Institute believes this is more than offset by reductions in side impact crashes, which it characterizes as more dangerous.

Source: The company Jacksonville is negotiating with to install at least 25 red light cameras at intersections around the city has been kicked out of several U.S. cities because revenues didn’t equal projections.

Jacksonville is negotiating with Redflex Traffic Systems, an Arizona-based subsidiary of Australian Redflex Holdings. The company’s contract with Albuquerque, N.M., was shot down late last year by voters and the City Council, and two West Coast cities canceled their deals.

Albuquerque Councilman Dan Lewis said he was neutral about the cameras at first but eventually came out against them when he learned more.

The city asked the University of New Mexico in December 2009 to study the effects of the cameras on crashes. It found the number of crashes at intersections with cameras increased 3.5 percent, mostly due to a jump in rear-end collisions.

Also, Lewis said, the city was running in red ink.

“The program began to lose about $100,000 a month,” he said. Although the company renegotiated, the City Council followed the non-binding vote of the people to end the contract.

Redflex billed the city $4.5 million shortly thereafter, claiming the city had to pony up its share of revenue from tickets that were still outstanding even after the program was canceled. The city is currently disputing the claim in court, the Albuquerque Journal newspaper reported.

Lewis also pointed out that the cameras create a perverse incentive for cities to make sure the number of violators remains high, noting that if driver behavior actually changed, the number of violations would decrease over time and the cameras would produce less revenue.

He argues that other, more inexpensive safety measures, such as extending yellow light lengths, would be more effective.

Andrea Aker, a spokeswoman for Redflex, disagreed.

“It isn’t true,” she said. “Data is indisputable that safety cameras change driver behavior.

“Cities that operate safety camera programs consistently show a reduction in red light running and violations.”
Albuquerque isn’t the only city that has kicked Redflex out of town: Burien, Wash., and Glendale, Calif., both abandoned their Redflex-operated camera systems this year.

The details of the agreement between Redflex and Jacksonville, including payment terms, have yet to be finalized, but Redflex’s bid submission proposes a fixed monthly cost to the city of $3,999 per approach at the 25 intersections.

The company says its pricing model is designed to require “zero out-of-pocket expense and zero financial commitment,” and that the city would be able to address its overhead expenses before addressing the Redflex invoices.

If Jacksonville’s ticket monthly totals exceed $3,999 per approach, the excess is split between the city and state. If it’s less, the city owes that amount to Redflex.

The only city in Northeast Florida with red light cameras is Green Cove Springs, which has a contract with American Traffic Solutions, one of Redflex’s competitors. ATS submitted a bid to install and manage Jacksonville’s proposed system but ultimately lost out to Redflex.

Like Redflex, ATS has had contracts ended in cities across the country, including Houston in 2010 and Los Angeles this year.
Academics and traffic safety experts remain divided on the cameras’ efficacy.
A 2004 study by North Carolina Agricultural & Technical State University claimed that the cameras’ presence increased the total number crashes by more than 40 percent.

On the other hand, a 2005 study by the Federal Highway Administration showed a decrease in the number of right-angle crashes but found evidence for an increase in rear-end collisions — ostensibly because of more people stopping abruptly at traffic signals.

The Insurance Institute for Highway Safety, a nonprofit group funded by auto insurance companies, is a staunch supporter of red light cameras.

Russ Rader, a spokesman for the group, noted that while some studies showed that cameras caused an increase in rear-end crashes, the Institute believes this is more than offset by reductions in side impact crashes, which it characterizes as more dangerous.


Read more at Jacksonville.com: http://jacksonville.com/news/metro/2012-04-11/story/red-light-camera-firm-talks-jacksonville-has-been-kicked-out-other#ixzz1riCM0ViK
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Hands-on: Lumix GF5 clears up Panasonic’s mirrorless camera strategy


Mirrorless interchangeable lens cameras are all the rage right now, and the market is heating up with an even greater variety of brands producing their own take on the format – such as the Fujifilm niche X-Pro1 and Olympus OM-D.

Not to be left behind, Panasonic, which introduced the very first micro four thirds (MFT) camera back in 2008, just unveiled its latest addition to its MFT family: the Lumix GF5. We got our hands on pre-release prototypes to see just how well it’ll stand up against the competition.

What’s in a name?
Before we jump in, some of you might be a little confused about the name GF5. Didn’t Panasonic unveil the GF3 just nine months ago? And what happened to the GF4? It doesn’t help that the company has a truck load of MFT camera models, and it could feel like they’re just throwing out cameras on to the market without thought.

But the GF5 helps to clear things up. For one, it’s called the GF5 because the number 4 is considered really unlucky in Japan, and with the GX1 launched last November, Panasonic now has four classes of MFT cameras: the G and GF series for beginners, and the GH and GX for pros and amateurs who know their way around a camera.

Beginner-friendly

The GF5 is aimed squarely at beginners, and includes a new tutorial of sorts in camera. This programme lets users choose from several pre-loaded photos they want to emulate, then relays the instructions step-by-step so they can attempt to produce a similar shot.

Fourteen filter effects let shooters express their creativity, and these effects can be previewed on the 3-inch, 920k-dot LCD touch screen before the photo is actually taken. The camera can also recommend filters based on the user’s selected shooting mode.

GF5 vs. GF3

Panasonic just made the GF3 obsolete within a span of nine months, and that’s bound to make some people unhappy. Just how different is this new model?

Different enough, as it turns out. The GF5 has a new sensor which produces 30 per cent less noise than the GF3, but it still has the same 12.1 megapixels. There’s also a new image processing engine and a graphic engine to boost performance.

The GF5 can push ISO up to 12,800, while the GF3 can only do up to 6,400. But from my hands-on, the picture quality starts to really deteriorate from ISO 1,600 and it’s really not recommended unless you want unsightly grain in your photos.

Autofocus has been tweaked to be slightly faster in the GF5, and the camera can lock on to its subject in 0,09 seconds. It’s also capable of shooting 4 frames per second at full resolution, an improvement from the GF3’s 3.8fps.

If you’re into shooting video, the GF5 can now do full HD (1080p) video at 30fps in stereo sound. You can also choose to record in the MP4 format, while the GF3 could only do AVCHD at 720p and mono sound.

Externally, however, not much has changed. The GF5 is a tad heavier, but you won’t even notice it. I also like the enlarged grip for the right hand, which is certainly more comfortable than the GF3.

Lenses and accessories

No big surprises here. The GF5 is compatible with all existing X series lenses, although the selection is a bit limited at the moment. It ships with the 14-42mm F3.5-5.6 kit lens, which is amazingly tiny and has a unique zooming and focusing mechanism.

Hands-on: Lumix GF5 clears up Panasonic’s mirrorless camera strategy

Mirrorless interchangeable lens cameras are all the rage right now, and the market is heating up with an even greater variety of brands producing their own take on the format – such as the Fujifilm niche X-Pro1 and Olympus OM-D.

Not to be left behind, Panasonic, which introduced the very first micro four thirds (MFT) camera back in 2008, just unveiled its latest addition to its MFT family: the Lumix GF5. We got our hands on pre-release prototypes to see just how well it’ll stand up against the competition.

What’s in a name?

Before we jump in, some of you might be a little confused about the name GF5. Didn’t Panasonic unveil the GF3 just nine months ago? And what happened to the GF4? It doesn’t help that the company has a truck load of MFT camera models, and it could feel like they’re just throwing out cameras on to the market without thought.

But the GF5 helps to clear things up. For one, it’s called the GF5 because the number 4 is considered really unlucky in Japan, and with the GX1 launched last November, Panasonic now has four classes of MFT cameras: the G and GF series for beginners, and the GH and GX for pros and amateurs who know their way around a camera.

Beginner-friendly

The GF5 is aimed squarely at beginners, and includes a new tutorial of sorts in camera. This programme lets users choose from several pre-loaded photos they want to emulate, then relays the instructions step-by-step so they can attempt to produce a similar shot.

Fourteen filter effects let shooters express their creativity, and these effects can be previewed on the 3-inch, 920k-dot LCD touch screen before the photo is actually taken. The camera can also recommend filters based on the user’s selected shooting mode.

GF5 vs. GF3
Panasonic just made the GF3 obsolete within a span of nine months, and that’s bound to make some people unhappy. Just how different is this new model?

Different enough, as it turns out. The GF5 has a new sensor which produces 30 per cent less noise than the GF3, but it still has the same 12.1 megapixels. There’s also a new image processing engine and a graphic engine to boost performance.

The GF5 can push ISO up to 12,800, while the GF3 can only do up to 6,400. But from my hands-on, the picture quality starts to really deteriorate from ISO 1,600 and it’s really not recommended unless you want unsightly grain in your photos.

Autofocus has been tweaked to be slightly faster in the GF5, and the camera can lock on to its subject in 0,09 seconds. It’s also capable of shooting 4 frames per second at full resolution, an improvement from the GF3’s 3.8fps.

If you’re into shooting video, the GF5 can now do full HD (1080p) video at 30fps in stereo sound. You can also choose to record in the MP4 format, while the GF3 could only do AVCHD at 720p and mono sound.

Externally, however, not much has changed. The GF5 is a tad heavier, but you won’t even notice it. I also like the enlarged grip for the right hand, which is certainly more comfortable than the GF3.

Lenses and accessories

No big surprises here. The GF5 is compatible with all existing X series lenses, although the selection is a bit limited at the moment. It ships with the 14-42mm F3.5-5.6 kit lens, which is amazingly tiny and has a unique zooming and focusing mechanism.

You can also play around with Panasonic’s conversion lenses, which look like cute tiny caps you can screw onto the 14-42mm, bringing with them various capabilities such as macro or fish-eye shooting. I spent quite a while fiddling with these conversion lenses, and found it a challenge to screw them on and off. They definitely need more work on the usability front.

Round-up

The GF5 is a nice piece of kit, and could be a good choice for photographers looking to pick up photography as a hobby. But I still recommend picking up an entry-level DSLR for a better experience.

The only crucial unknown factor left is the price – the GF5 better be well-priced, or it might very well flop in a country saturated with DSLRs and other mirrorless cameras.

Source: http://www.techgoondu.com/2012/04/05/hands-on-lumix-gf5-clears-up-panasonics-mirrorless-camera-strategy/#.T32BtMUgcfV
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Snap happy: will smartphones spell the end for digital cameras?

Darren Yates gets snap-happy testing to see if smartphones have consigned digital compact cameras to history.

A few years ago, you might have been lucky and had a digital camera in your pocket to pull out and grab those once-in-a-lifetime moments – if you remembered to take it with you. These days, everyone just whips out their smartphones and starts snapping away. I keep telling people you have to think of smartphones as portable computers and in terms of features, they either have or are about to knock a range of devices out of the market from MP3 players to GPS devices. And you have to wonder whether digital compact cameras are next. These cameras are being squeezed by smartphones on one side and ever-decreasing prices for digital SLR cameras on the other. While it's highly doubtful that a compact camera will ever match a digital SLR model for image quality, it's worth asking the question have digital compact cameras met their match in smartphones. So we decided to test it out, comparing two brand-new digital still cameras – Panasonic's $449 Lumix DMC-TZ30 and Canon's $399 Digital IXUS 500 HS - against Samsung's $598-unlocked Galaxy SII smartphone.

Video capture

The one area where digital compact cameras have really leapt ahead in recent times has been video capture. Gone are the days of small video frame sizes, no optical zoom and no image stabilisation during video capture. Both of the compact cameras we tested feature full HD (1920x1080-pixel or “1080p”) capture with optical image stabilisation removing hand wobbles and full optical zoom during video capture. The Panasonic captured its video in AVCHD format, which is very similar to Blu-ray movies in its layout, but it also offers progressive-scan capture, a technique that results in smooth, clean video on big-screen TVs. The Canon stores its movies as straight MOV files and although it uses the same highly-efficient H.264 video compression as the Panasonic, its quality isn't quite as good, particularly with horizontal panning shots. It also captures CD-style WAV audio rather than more efficient AAC or Dolby AC3 format.

Not to be outdone, smartphones capture video too. However, capturing 1080p video requires at least a dual-core processor and they're still rare in smartphones, making the Galaxy SII even more noteworthy. Typical phones with a 1GHz single-core processor will only capture 720p (1280x720-pixel) video at best. The Galaxy SII uses H.264 video compression for its 1080p video capture but without optical zoom and image stabilisation, it's not quite as versatile as the compact cameras. However, provided you can hold it steady, the SII's video quality is noticeably smoother than the IXUS 500 HS, particularly on horizontal panning shots, but the SII's auto-focus tends to “hunt” more and seems slower to react to changes in object distance.

Still images

It still seems to be in our collective buying consciousness that lots of megapixels equals better photos. News of Nokia's new 41-megapixel (41MP) PureView 808 smartphone certainly suggests that. But far more important is the quality of the lens – you can have as many megapixels as you want but if the lens is rubbish, the photos will still look awful. Most of us only print photos at the standard 6x4-inch size and for that, you really only need 3MP images. Even the cheap $149-prepaid HTC Wildfire S smartphone can snap off 5MP photos while the Galaxy SII has an 8MP image sensor.

But again, without optical zoom or image stabilisation, it takes more work to grab high-quality snaps with a smartphone. The new Lumix TZ30 captures 14MP images through a 20X-optical zoom lens with optical image stabilisation, the IXUS 500HS is just a bit behind, capturing 10MP images through a 12X-optical optically-stabilised zoom lens but it's also smaller too.

Another factor that makes a difference is the physical size of the lens – the larger the lens, the more light hits that image sensor. It's one more reason why digital SLR cameras take better quality pictures again. Even so, the SII again gives the IXUS 500 HS plenty to think about and it's only the image stabilisation and optical zoom that keeps the 500 HS just marginally ahead.

Bottom line

And in the end, that's how compact cameras are staving off defeat at the hands of smartphones – by offering higher-end features and in many cases, they look headed for a demarcation dispute with dedicated video cameras. At the moment, the new Lumix DMC-TZ30 looks to be the compact camera to beat and it'll be some time before you see a smartphone match it. On the other hand, Canon's IXUS 500 HS isn't quite in the same league and if you had a Galaxy SII, it's only the 500 HS' optical zoom and image stabilisation you'd miss.

Of course, the one drawback for having your smartphone do everything is battery life – it's well known that few things suck the life out of a smartphone battery like using the GPS and capturing 1080p video wouldn't be too far behind.

But in the end, it's pretty hard to escape the convenience of being able to rattle off pics and video clips with your smartphone – just don't expect your smartphone to match a good compact digital camera, unless you're carrying something like a Galaxy SII or better.

Source: http://www.smh.com.au/digital-life/hometech/snap-happy-will-smartphones-spell-the-end-for-digital-cameras-20120320-1vh10.html
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Compact cameras die in a flash thanks to smartphones

The technology was primitive but now photographers such as Annie Leibovitz can't be parted from smartphone cameras

In an August, 2010 Monday Note called Smartcameras in our future?, I hoped for smartphone-like apps running on a nice compact camera such as Canon's S90 (now replaced by the S100). At the time, in-camera photo processing was limited and wireless connectivity required accessories such as Eye-Fi, a clever but not so easy-to-use SD card with a Wi-Fi radio.

On the smartphone side, connectivity (Wi-Fi and 3G) was simple and mostly good (AT&T exceptions hereby stipulated) and, as a bonus, GPS geolocation worked. But when it came to picture quality, smartphones couldn't compete with dedicated compact cameras. The phones' inadequate sensors had trouble with high contrast scenes. Pictures in low light? Forget about it.

Since then, sensor technology has made incredible progress. A few years ago, ISO 3,200 was considered extreme; today, the Canon 1 DX and Nikon D4 reach ISO 204,800 sensitivity. Granted, these are big, expensive high-end cameras – and heightened sensitivity doesn't always yield the best picture – but the new top number is 64 times the previous maximum. A low-light scene that once required a blur-friendly 1/2 second exposure can now be safely captured in 1/128th of a second.

Such progress stems from the silicon industry's relentless progress, particularly, in this case, in silencing electrical noise. Stray electrons that are introduced by the camera's circuitry are intelligently rejected; "authentic" electrons that capture the sparse photons in a low-light snapshot are no longer drowned in an electrical hubbub.

As expected, these improvements have "dribbled down". The advancements in silicon technology that gave us the 24x36mm sensors in our pro cameras are finding their way into the tiny sensors in our smartphones. "The Best Camera Is The One That's With You" is truer than ever. Esteemed photographers such as Annie Leibovitz have fun showing off what they can do with a smartphone.

But improved sensor technology is only one of the reasons why smartphones have eaten compact cameras alive. The other reason is software. Smartphone app stores now sport a huge number of photo apps. Search for ''photo editor" in Google Play (née Android Marketplace) and you'll get more than 1,000 hits. The iPhone App Store yields an absurdly high number as well. Not all of these apps are useful – or even good – but the gamut is impressive. From collage to special effects, from panorama stitching to HDR processing (coaxing highlight and lowlight details into a "viewable" picture), smartphone camera software makes these better sensors even better.

Now add in the smartphone's connectivity with its natural affinity for easy and automatic upload/download, especiallyPhotostream for Apple devices … Compact cameras – which, by comparison to smartphones, don't seem quite so compact anymore – are at an ever-growing disadvantage.

"It won't last," says Samsung. In the eyes of many, the Korean electronics giant has become the new Sony, or, better, the new Panasonic. Well known for smartphones and tablets, Samsung also reigns in the HDTV market, they make PCs, refrigerators, cameras, all very good ones. As the king of Android phones, it's no surprise to hear rumors that Samsung is preparing to launch Android compact cameras. It's a terrific idea: Compact cameras have bigger sensors, better optics and zoom lenses. With better apps and connectivity (Wi-Fi at least), they'll make great travel companions.

Canon and Nikon should pay heed…or risk sequestering themselves in the ultra high-end camera ghetto.

Source: http://www.guardian.co.uk/technology/2012/mar/19/smartphones-compact-cameras
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Surveillance cameras for all Egyptian sports venues

Cairo - Egyptian government has decided to install surveillance cameras in its all sports venues following Feb 1 football fans’ clashes in a stadium that left 74 people as dead while injuring hundreds others.
The move came during a meeting presided by Prime Minister Kamal al-Ganzouri, Xinhua reported citing Al-Ahram daily.

Two meetings were conducted Saturday over the Port Said tragedy and the possible resumption of domestic football activities. It was also decided to appoint a new governor for Port Said within days, the daily reported.

On Feb 1, clashes had broken out in Port Said stadium after el-Masry team beat the most popular national team el-Ahly three to one in an Egyptian premier league.

Emad al-Bannani, head of the National Sports Council, said the penalties for the Port Said’s al-Masry team will be announced within 10 days.

Last week, 75 people had been referred to a criminal court in connection with the football match riots. The charged people included nine police officers, three officials of el-Masry club and two minors.

Source: http://www.khaleejtimes.com/DisplayArticle08.asp?xfile=data/middleeast/2012/March/middleeast_March433.xml&section=middleeast
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Lights, camera, and action at your fingertips

As part of the launch of its next-generation iPad, Apple updated iMovie and GarageBand and released iPhoto for the iPad and iPhone.

iPhoto is a perfect fit for mobile devices, taking advantage of the touch screen to make sorting, editing and sharing photos intuitive and easy.

There has been no shortage of photo apps for Apple devices but the release of the iPhoto app means that Apple’s entire collection of iLife apps is now available for Apple’s mobile operating system, iOS.

The newly announced iPad has a five-megapixel iSight camera, so you can use iMovie to create your own HD videos from shooting to editing — all in the one device — although shooting video on an iPad is admittedly more cumbersome than using an iPhone or one of the many pocket video cameras available.

If you have Apple TV, the little set-top box that also got an update with Apple’s latest announcement, you can use AirPlay to show off your iPhoto creations on your HD TV.

And Apple’s online storage system iCloud lets you store your work online, sharing between devices and with friends and family.

Although iPhoto and iMovie are available only for iPad 2 and later, if you have a first-generation iPad (the one without a camera) developers have figured out a workaround to get the apps onto your device. Google news results for iPhone, iPad and you’ll come with up suggestions on how to do that.

Adobe Photoshop Touch, iPhone and iPad 2 or later, Android, $9.99

Adobe recently released its Photoshop Touch app for the iPad, delivering features that you may already be using with Adobe’s Photoshop Express app, along with some new ones for the touch screen tablet. You can layer images from several different photos, add effects and touch up photos. The app’s Scribble selection tool lets you get rid of part of an image easily by, as the name suggests, scribbling on what you want to keep and what’s to be removed.

Remote control app, iPhone, free for the lite version for iPhone and iPad, $19.99 for iPhone pro version, iPad pro version, $49.99

Vancouver photographer John Biehler introduced me to this app from onOne software and it comes in both lite and pro versions.

It works with Canon and Nikon digital single-lens-reflex cameras (check online at onone.com to see if your camera is among those supported) letting you remotely control both video and still frame shooting on your camera.

You connect your camera via USB or Wi-Fi to a computer that’s running onOne’s DSLR remote server application. You get that software from onOne’s download site.

From there, control your camera using the app on your iPhone, iPod touch or iPad. With the pro versions you can monitor and stop video recording.

Camera+, iPhone, iPod touch, iPad, 99 cents

Camera+, which has sold more than seven million copies, was co-created by University of Victoria grad Lisa Bettany, who is on an around-the-world trip cataloguing her travels on her iPhone with Camera+ and collecting material for a book on iPhone photography.

Source: http://www.vancouversun.com/business/Lights+camera+action+your+fingertips/6291066/story.html
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Faster, sharper iPad coming March 16 with better camera

In Apple’s first major product announcement in the post-Steve Jobs era, the company on Wednesday introduced the latest version of its best-selling iPad tablet, which sports a higher-resolution display, better cameras and faster wireless connectivity.

The product, dubbed simply "the new iPad," will go on sale March 16 at the same $499 to $699 prices as earlier versions. Pre-orders began Wednesday through Apple’s website.

In a media presentation in San Francisco, Chief of Marketing Phil Schiller announced that the new iPad will have an updated LCD display that is four times the resolution of the iPad 2. Called "a retina display" for its density of pixels, its dots on the screen will not be distinguishable by a user viewing from distance of 15 inches.

The new device also will be compatible with faster 4G wireless cellular networks offered by AT&T and Verizon. With the new networks, users will be able to stream video or download apps at much faster speeds than with the older, slower 3G networks. Verizon’s 4G network has been deployed and turned on in Utah, while AT&T’s has not.

The iPad will also be equipped with a new 5-megapixel back camera similar to the one used in the latest iPhone 4S. The earlier iPad 2 was widely criticized for its weaker set of back- and front-facing cameras.

The new iPad will be powered with a faster A5X quad-core graphics processor in order to meet the demands of the higher-resolution screen. Schiller said the device will have the same 10-hour battery life as the older iPad versions.

In order to take advantage of the tablet’s new 2048-by-1536-pixel screen, developers will have to program their apps to run in the new native resolution, though Schiller said older apps will be scaled up and should look better.

Reaction to the announcement was mixed.

Source: http://www.sltrib.com/sltrib/money/53663146-79/ipad-apple-wednesday-faster.html.csp
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Sony refreshes 2012 camera line up

Sony has unveiled a raft of new digital cameras for 2012 including models with boosted optical zoom lenses, better low light performance and faster auto focus features.

At the beefy end of the compact range, Sony's 18-megapixel Cybershot DSC-HX30V offers a 20 times optical zoom lens and built-in Wi-Fi for syncing photos directly to a PC or via Sony's PlayMemories cloud storage service. There's also a version without Wi-Fi dubbed the DSC-HX20V.

Larger still is the Cybershot DSC-HX200V30X with an astoundingly zoomy 30X optical lens (that's 810mm lens equivalent). Armed with a bunch of fully manual controls for the hands on photographer, the HX200V has a tiltable 3-inch screen and can shoot 1080p video at a smooth 60 frames a second.

At the other end of the spectrum, the dinky TX range has two new entries. The rugged, freeze proof and waterproof to 5 meters Cyber-shot DSC-TX20 is armed with a 16-megapixel sensor, the TX-20 manages 4X optical zoom and displays the results on a built-in 3-inch screen which is touch sensitive.

The 0.53-inch-deep Cyber-shot DSC-TX66 has a built-in lens cover that slides down to power on the camera, and it packs the new 18-megapixel BSI CMOS sensor with faster autofocus speeds. A 3.3-inch-diagonal OLED touchscreen allows you to access most of the camera's settings.

The 18-megapixel DSC-TX66 is fitted with a 5X optical zoom in a half-inch thick package, sporting a 3.3-inch OLED touch screen and faster autofocus, as featured on the rest of the cameras in Sony's updated range.

Set to appear some time in May, the Cybershot DSC-WX150 continues Sony's megazoom theme, with a 10X optical zoom for the 18-megapixel CMOS sensor crammed into a camera around the size of Canon's competing Ixus range. Like many of the other cameras, the WX150 uses Sony's new backlit Exmor R CMOS sensor with considerably better low light performance.

The WX150 has a 3-inch screen while an even smaller brother, the WX100, has a slightly smaller 2.7-inch screen. Sony claim the 108gr WX100 is the smallest and lightest camera with a 10x optical zoom lens.

The Sony range of cameras are due to roll out from April through to May. More details are available on Sony's updated 2012 camera range web pages.

Source: http://www.pcr-online.biz/news/read/sony-refreshes-2012-camera-line-up/028030
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Backup Camera Rule With $2.7 Billion Cost Delayed Again by U.S.

A U.S. rule that may require all cars and light trucks sold in the country to have rear-view cameras won’t be issued by today’s deadline and may be delayed until after November’s presidential election, regulators said.

A 2008 auto-safety law signed by President George W. Bush mandated the Transportation Department to issue the requirement by the end of 2011. It’s now being pushed back a second time by Transportation Secretary Ray LaHood and will be issued by Dec. 31, the department said in an e-mailed statement yesterday.

“If we have a strong safety agenda, then we have to deal with the issue of people injuring or killing children as a result of backover accidents,” LaHood said yesterday in an interview. “We want to make sure we have a good rule.”

The proposed rule, estimated to cost $2.7 billion, was listed as one of the five most expensive pending U.S. regulations in an Aug. 30 letter President Barack Obama sent to House Republican leaders. Requiring backup cameras would add $58 to $203 to the cost of a vehicle, depending on the model and whether it already has a video screen, the U.S. National Highway Traffic Safety Administration has said.

“While the department has made progress toward a final rule to improve rearward visibility, it has decided that further study and data analysis -- including of a wider range of vehicles and drivers -- is important to ensure the most protective and efficient rule possible,” the agency said in its statement.

Gentex Benefit

The rule may save about 146 lives a year by improving rear visibility of vehicles, NHTSA estimated in 2010 when it issued a proposed rule. While the law doesn’t explicitly require a rearview camera, no other technology currently meets the standard.

Back-over accidents cause 292 U.S. deaths annually, most frequently killing children and the elderly. At a cost of $2.7 billion a year for an annual fleet of 16.6 million, the regulator’s highest estimate, each life saved would cost $18.5 million.

The rule will benefit Gentex Corp., a maker of rearview mirrors that include camera displays, David Leiker, a Robert W. Baird & Co. analyst, said in a Dec. 28 report. Gentex, based in Zeeland, Michigan, may have revenue growth of as much as 20 percent on shipment growth of as much as 14 percent spanning three to four years, Leiker said in the report. He recommends buying Gentex shares.

The company, which reported $1.02 billion in revenue in the year that ended Sept. 30, competes against Magna International Inc. as well as makers of systems that display images from backup cameras in navigation systems.

Gentex rose 4.5 percent to $27.64 at yesterday’s close in New York. The shares have slid 6.6 percent this year.

Two Deaths

Fifty children are backed over each week on average, and two are killed, according to KidsAndCars.org, a Leawood, Kansas- based group that advocates a camera requirement. Seventy percent are backed over by a parent or other close relative, with 1- year-olds being the predominant age, according to the group’s data.

Automakers through the Alliance of Automobile Manufacturers, whose members include General Motors Co. and Toyota Motor Corp., criticized the proposal issued in December 2010, saying a single standard doesn’t make sense because bigger models have larger blind spots.

Backup cameras are standard on 45 percent of 2012-model vehicles sold in the U.S., according to data compiled by Edmunds.com, a Santa Monica, California-based website that tracks automotive sales.

Source: http://www.businessweek.com/news/2012-02-29/backup-camera-rule-with-2-7-billion-cost-delayed-again-by-u-s-.html
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HTC bets on cameras, music to recover smartphone mojo

(Reuters) - Taiwan's HTC Corp, the world's No. 5 smartphone maker, launched a range of models on Sunday, packing advanced cameras and music functions into new designs in a push to recover from a rapid fall from grace in a challenging and fickle market.

The new phones, unveiled at the Barcelona Mobile World Congress, are crucial for HTC in its battle with Samsung Electronics and Apple Inc, a fight it was losing at the end of last year when its sales slumped and investors dumped its shares on concerns it had lost its edge.

That fall had been as rapid as HTC's rise from obscure contract maker to designer of must-have smartphones, and analysts said that its approach with the new devices represents a pragmatic choice for a company that lacks the resources of its big-pocketed rivals.

"HTC seems to have learned from mistakes it made in 2011," said Malik Saadi, Principal Analyst at Informa Telecoms & Media.

"The company aims now to concentrate on what they do best and have built their brand on: bringing innovation through design of premium devices rather than spreading efforts across all segments of the market."

The HTC One series consists of three models, the One X, One S and One V, running the latest version of Google's Android software.

The phones feature HTC's ImageSense camera technology that the company says offers photography on a par with traditional digital cameras, including fast autofocus and low-light shooting. They also have photo storage and sharing software.

The phones have fast processors for graphics and either polycarbonate or metal cases the company says are harder and more resilient than standard ones.

Music features include integrating Internet radio and using audio technology from Beats Electronics, which HTC bought last year, for games as well as music.

LOOKING OVER THEIR SHOULDERS

HTC said 144 mobile operators -- the widest carrier support for the firm so far -- have agreed to carry HTC One range models starting from April.

"The products look competitive, but HTC executives will be looking over their shoulders nervously to see how these new devices stack up against rival Android smartphones also being announced at the show," said Ben Wood, head of research at CCS Insight.

Analysts note however that, as most mobile vendors are building their phones around similar themes, making it harder to differentiate models, companies will need to look to software, innovation, distribution and building partnerships to stay ahead of the game.

"HTC's strategy to streamline its branding and to offer fewer, better-differentiated products is a reaction to both market forces and engineering necessity," said Tony Cripps, principal analyst at Ovum.

"Its decision to focus on perfecting core smartphone functionality around camera and music playback is an extremely pragmatic one."

HTC said earlier this month that it anticipated a drop in revenue of as much as 36 percent for the first quarter, well below analysts expectations.

The former contract maker had a fairytale ride in 2010 and early 2011, when its shares more than tripled in the 14 months to April 2011 and sales grew four-fold in 1- years as consumers snapped up its innovative phones with their distinctive large clock numerals.

But an equally rapid fall from grace saw its stock become the worst performer among global smartphone companies last year, down 42 percent.

Source: http://uk.reuters.com/article/2012/02/27/us-mobile-fair-htc-idUKTRE81P0R320120227
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CCTV cameras in the street - are they a good or ban investment?

"The cameras are there for a reason, as long as they are doing their job in cutting down crime then I have no issue with Leicester having the highest number of CCTV cameras in the country."

Gurmeer Singh, 21 Retail manager, Evington

"The cameras crack down on crime, littering and what the blind eye doesn't see. CCTV will pick it up straight away."

Mark Sawbridge, 39 Sales supervisor, Hamilton

"CCTV is good for everyone. People can't hide and if it makes Leicester safer, then that's the most important thing."

Elizabeth Roff, 69 Retired, Leicester

"When they first came out I wasn't that keen on them, but since then CCTV has proved its worth and it helps police prevent crime."

Beryl Scott, 76 Retired, Houghton on the Hill

"I have nothing against them – it's a shame we need monitoring but if you have nothing to worry about then there should be no problem with CCTV cameras at all."

Tom Ishmael, 18 Unemployed, Anstey

"I hate them, it's a violation of our human rights and I don't believe it stops crime."

Melody Catley, 21 Student, Leicester

"It not only prevents crime but can also aid in the prevention of accidents too, which is definitely beneficial to Leicester as a whole."

Hannah Nuttall, 21 Student, Leicester

"If you're not doing anything wrong and abide by the law, then why should people have a problem with CCTV cameras?"

Akila Jussab, 48 House husband, Highfields

"CCTV cameras are good in many ways. They are useful to the police and protect the community from car theft and vandalism too."

Rajen Tank, 40 Civil servant, Birstall

"I feel that the cameras have not been maximised to their full potential. They do a good job but don't seem to provide clear enough images to acquire evidence."

Yemi Adevinto, 37 Psychologist, Hamilton

"I was a bit taken aback when I heard Leicester had the most CCTV cameras in the country, but I think it not only creates a deterrent for criminal behaviour but also helps police in investigating crime and searching for missing people."

John Jude Wong, 25 Student, Leicester

"I think it's brilliant that Leicester has the most cameras. If we have the most it can only be in our best interests, we choose to live in a safe society and it's the way we have developed."

Lauren Harris, 22 Student, Leicester

"I think there are many things that would have benefited better from all the money spent on CCTV cameras, such as community projects to get kids off the streets."

Jane Hill, 65 Market trader, Leicester

"I don't feel crime is any less because of the CCTV cameras as there are still lots of shoplifters that get away with crime because of a camera that's not facing the right way at that moment in time."

Rachel James, 19 Sales assistant, Leicester

"I was attacked outside MunchBunch near the Haymarket. I went straight to the police after it had happened and no footage was captured – it upsets me that people can get away with actions like these."

Source: http://www.thisisleicestershire.co.uk/Big-Brother-s-watching-closely-ndash-care/story-15291844-detail/story.html
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Traffic cameras protect privacy by not showing victims

Q: I just wanted to write to you because I have a few questions regarding the online "traffic cams" around the Capital District.

Question No. 1: Why is it that every time there is a traffic accident on, say, the Northway or 787, when I try to view the camera nearest the accident, almost without fail that particular camera feed says: "Camera Temporarily Unavailable?" Is it that the DOT or whoever controls the cameras is trying to protect us from seeing the "carnage" on our Capital District highways? (I'm half-joking with this question, of course.) However, on numerous occasions, for example, I'd be listening to a radio or TV traffic report, and then immediately I'd check the camera closest to that incident, but the "Camera Temporarily Unavailable" picture is shown. What gives here?

Question No. 2: In most other metropolitan cities such as Philadelphia, NYC, etc ... the Internet traffic cams show real-time streaming (or close to real-time) video of the traffic cam feeds. However, here in the Capital District, we only get one still image every few minutes. Why is this the case? On local TV stations they show streaming video from those exact same traffic cam feeds; why do all the Internet feeds only show a still picture? This just doesn't make any sense to me.

Question No. 3: Why are there no traffic cams between exits 23 and 24 of the Thruway? I should hope that with the new widening of the Thruway to six lanes, that cameras will be installed near the more heavily traveled sections, such as near the Delaware Avenue overpass or at the overpass of Route 85.

— Anthony B. Martino, Cohoes

A: We'll tackle your questions as you asked them, one at a time.

As to the first question, the camera angles may change for police purposes or to protect privacy.

"Typically, during an incident involving an accident our camera operators will work with State Police to determine the severity of the accident and to evaluate if injuries are present," she said. "This may involve moving the camera from its wide-angle view and zooming in close to the accident scene. Operators may at this point restrict the camera to the NYSDOT 511 website because they are prohibited from transmitting any personal identifier information. For privacy reasons, traffic cameras cannot show images that: identify an individual, driver or passenger; identify license plates of vehicles; identify contents of the enclosed interior of passenger vehicles; or track the individual travel pattern of a specific vehicle."

Once an assessment has been made, Breen said, the camera operator will zoom back out to the original wide angle view so no identifying information can be seen. The image would then return to unrestricted.

"If an image is deemed disturbing, or inappropriate for public view, the camera image will be restricted until the incident is cleared," she said.

R.W. Groneman, spokesman for the Thruway Authority, agreed the main purpose of the camera is not for public consumption.

"The reason we put the cameras up is for traffic control and management," he said.

The camera shots are provided on the web as a public benefit, he said, but the chosen angles and views are meant to help control traffic. The views shown are for the benefit of traffic engineers and may differ from what the public might want to see at any moment.

As for your second question, Breen said, the reason for the still images on the 511 site is that the technology is old.

"The video system for the Capital Region was first installed more than a decade ago before many of the advances in streaming video were available," she said. "Recently, we have upgraded the roadside traffic system with fiber-optic cabling and network cameras, reducing maintenance costs and increasing stability. An added advantage has been high-quality video that is easily delivered to local TV stations on their video network. Getting video to the 511 system on the NYSDOT network is a bit more complex due to information security concerns. We are reviewing the 511 feeds as part of our total system upgrade, and plan a system update later this year."

And to answer your final question, Groneman said a new camera will be added on the Thruway.

"As part of the reconstruction of the Thruway between Exit 23 and Exit 24 in Albany, a new traffic camera will be installed near the Delaware Avenue overpass," he said. "It should be operational in the near future."

Source: http://www.timesunion.com/local/article/Traffic-cameras-protect-privacy-by-not-showing-3343201.php
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Canon launches 6 new camera models with wi-fi features

YOKOHAMA, FEB 13:
Japanese camera major Canon has launched six new models, including the LEGRIA camcorder HFR series, which will have wi-fi connectivity. This is its latest offer to camera enthusiasts who are keen to link their pictures speedily and painlessly onto social media sites such as Facebook or You Tube.

These models were launched at the CP+2012 (Camera and Photo Imaging Show) organised by the Camera and Imaging Products Association held at Yokohama on Sunday.

Camera makers such as Canon have been facing serious competition with mobile phone cameras getting better and smarter by the day. The ease of linkage and connectivity these phone cameras offer to users with 3G connections makes them the imaging equipment of choice for photo buffs who want to quickly upload their pictures or video footage on social networking sites.

Addressing a group of Indian journalists invited by Canon to Japan for the CP+2012, Canon India Senior Vice-President, Mr Atul Bharadwaj, said that the newly launched Canon models offer such a linkage. The models with wi-fi features include Ixus 510HS, 240 HS, and in the LEGRIA camcorder series HFR 38, R 36, M52 and M56.

He said the camcorder series offer full high-definition recording in a compact and lightweight body, and the new models come with advanced features including wi-fi. “So you can shoot high quality pictures or video footage and quickly share it with your friends or family members and on Facebook, You Tube or any other social networking sites.”

Mr Baharadwaj added that at the moment the wi-fi connectivity will be available through iPhones, iPads and iPods touch. “The objective is to complement and not compete with your smart phones”.

Canon India, which sold equipment worth Rs 1,525 crore last year, sees robust growth in the digital SLR category in the coming years. While its compact cameras sell more than SLRs in India, the higher priced SLRs (average price of an SLR is Rs 33,000 compared with Rs 6,700 of a compact) offer higher growth opportunities to Canon business in India.

Source: http://www.thehindubusinessline.com/industry-and-economy/info-tech/article2888191.ece
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Olympus OM-D E-M5: A Mirrorless Camera Built to Compete With DSLRs

Olympus's new Micro Four-Thirds camera is based on a wish list from photographers in Japan, and the result is an interchangeable-lens model that shoots quickly, withstands water, and boasts outstanding maneuvers in the dark.

Olympus took the wraps off its latest Micro Four-Thirds camera today--its eighth compact interchangeable-lens camera overall, but the first model not to be part of the company's Pen series. Instead, the 16-megapixel Olympus OM-D E-M5 is the inaugural entry in the company's new OM-D line.

Although the new camera's sensor is the same size as that of previous Pen and Panasonic Lumix G cameras (17.3mm by 13.0mm), it's a revamped version of the Live MOS sensor. Olympus says that, thanks to the redesigned sensor, the OM-D E-M5 offers the fastest autofocus speed of any interchangeable-lens camera on the market, DSLRs included.

Olympus is positioning the OM-D E-M5 as a "wish list" model resulting from user feedback in Japan, where the company says mirrorless models account for nearly 50 percent of interchangeable-lens camera sales. Based on customer requests, the OM-D E-M5 is built to meet high demand for a rain- and dust-resistant body, an interchangeable-lens camera with an integrated eye-level viewfinder, and good low-light performance.

The camera has been completely redesigned from the inside out, with a dust- and splashproof magnesium-alloy body that's slightly bigger than anything Olympus has released in its Pen line. Keep in mind that "splashproof" does not equal "waterproof"; the OM-D E-M5 can handle rain and spray, but it isn't designed to be submerged underwater. Aesthetically, it's modeled after the Olympus OM-4 SLR from the mid-1980s, a 35mm film camera.

The OM-D E-M5 has a 1.4-million-dot eye-level viewfinder with a 120-fps refresh rate above its Micro Four-Thirds lens mount. Olympus claims that the camera offers improved noise correction throughout its ISO range, which caps out at 25,600.

Beyond those core "wish list" specs are a number of equally enticing in-camera features and hardware. In addition to the aforementioned fast autofocus speeds, the camera offers a 4.2-frames-per-second burst-shooting mode with continuous autofocus (or 9 fps with AF set on the first shot), plus 1080i video recording at 60 fps with automatic correction for rolling-shutter effect. It also has body-based image stabilization due to a five-axis sensor-shift system built to correct pitch and yaw rotation, as well as an adjustable 3-inch touchscreen OLED display that complements the camera's physical controls for focusing and shutter release.

One key similarity between the OM-D E-M5 and Olympus's Pen series of interchangeable-lens cameras is the inclusion of several "Art Filter" presets that apply special effects to images and video as you shoot them. On top of holdovers such as the Miniature Mode and Toy Camera effects, new filters include a black-and-white version of Olympus's ominous-looking Dramatic Tone filter (which you can now also use in movie mode for a Darren Aronofsky, Pi-style look), an Echo effect that creates visual trails behind moving objects in video mode, and a Key Line mode that makes photos resemble comic-book drawings.

One thing that's missing is a built-in flash, although a detachable flash is included with the camera. The camera's hot shoe and accessory port also hosts older flashes, microphones, and other accessories from the Pen line.

Also on the "wish list" that Olympus's research provided was a greater variety of Micro Four-Thirds lenses, specifically in the areas of fixed focal length and high-end glass. The company hopes to address that demand with three new lenses also announced today, all of which are compatible with Olympus's Pen series, Panasonic's Lumix G series, and the new OM-D line.

The only zoom lens of the three is the M.Zuiko Digital ED 12-50mm F3.5-6.3 EZ, which will be available as a kit lens with the OM-D E-M5. Like other Micro Four-Thirds cameras, the OM-D E-M5 has a focal length multiplier of 2X when a lens is attached, meaning that the new zoom lens will have an effective focal range of 24mm to 100mm in 35mm film equivalent when mounted.

Still in development are two new prime lenses that are slated to be available by the end of the year. The faster of the two is the M.Zuiko Digital ED 75mm F1.8, with a wide aperture that the company says is built for fast-action shooting and portrait photography. The M.Zuiko Digital ED 60mm F2.8 is a dust- and splashproof macro lens with a minimum focus distance of 7.5 inches. Olympus has not yet announced pricing or availability for these two prime lenses.

Due in April, the Olympus OM-D E-M5 will be available in black or white, and it will cost $1000 for the body only--a price that puts it up against midrange DSLRs rather than most interchangeable-lens compacts. It will also be available in two kit configurations: with a 14-42mm F3.5-5.6 lens for $1100, and with the new 12-50mm F3.5-6.3 lens for $1300.

Source: http://www.pcworld.com/article/249372/olympus_omd_em5_a_mirrorless_camera_built_to_compete_with_dslrs.html
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Pentax reveals high-end, compact K-01 camera



Pentax fans will be delighted to know they won't have to make do with the ill-starred Pentax Q when it comes to higher-end compact cameras.

Thanks to a gun-jumping announcement by camera retail powerhouse B&H Photo Video, details on the rumored Pentax's K-01 have now emerged. The camera uses the relatively large APS-C-sized sensor and corresponding K mount lenses from Pentax's SLR line, but omits the bulk-inducing flip-up reflex mirror used for SLRs' optical viewfinders.

Update 5:10 p.m. PT: Pentax has officially announced the camera, and B&H's specs were spot on. Pentax also showed sharp-looking yellow and white versions of the camera body, instructed us that we're to pronounce the camera name "K zero one," and said it'll cost $750 for the camera body or $900 with a new 40mm pancake f2.8 lens when it ships in March. The lens alone costs $250.
In short, Pentax seems to have made more of a mini-SLR than a mega-compact, compensating for the runty Pentax Q sensor with a large, premium-sensor design (though, of course, it's not nearly as vast and expensive as the sensor in the medium-format Pentax 645D camera). The K-01 approach means that Pentax shooters can keep their lenses--a contrast to how Sony came up with its new E mount for its NEX line of compact interchangeable-lens cameras with APS-C sensors.
 
Pentax's choice also means that the K-01 design is relatively bulky. Smaller sensors don't offer the same image quality, but they permit smaller lenses. Overall, the approach tilts more in the direction of a smaller option for SLR shooters than the step-up camera for compact camera owners.

Cutting down on the bulk will be the new pancake lens, the Pentax DA 40mm f/2.8 XS, which B&H also revealed. The retailer is accepting preorders for the camera and said the lens will ship in March.

The K-01's 16-megapixel sensor has a range up to ISO 25,600 and can shoot H.264-encoded video at 1080p and 30 frames per second or 720p at 60fps, B&H said. The K-01 also uses Pentax's sensor-shift technology to counteract camera shake.

The camera can shoot bursts of 6 frames per second and use shutter speeds up to 1/4000 second, B&H said. It's got a pop-up flash and a mode for shooting in-camera HDR (high dynamic range) images. The camera and lens were designed by Marc Newson.

Source: http://news.cnet.com/8301-30685_3-57370191-264/pentax-reveals-high-end-compact-k-01-camera/
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Most anticipated tech products of 2012

A collection of OLED TVs at Samsung’s
 booth at The International Consumer
Electronics Show. (Courtesy of Samsung)
The annual CES (Consumer Electronics Show) marks the start of the new tech year. As marketers, experts and designers mingle to chat about what they see will be the most exciting new trends to hit the market, consumers are often left scratching their heads about some of the choices dubbed "hottest" or "must-have." While the novel and new age can be fun to dream about, the best gadgets are those that can be easily implemented into our everyday lives. We've taken some time to speak to tech lovers and everyday consumers alike to compile this best hits list for the coming year.

Apple Products

It's a hand-down winner every year. Whether it's the newest iPhone or iPad, it's going to cause shopper panic and eager anticipation. This is the no-brainer of every year's list.

Ultrabooks

Already causing a stir in late 2011, the "ultrabook," or wafer-thin laptop designed to work with Windows 7, is hoping to be a worthy alternative to the MacBook Air. Weighing no more than three pounds, the ultrabook is expected to provide a super-portable option for those who demand higher computing abilities. Louis Ramirez, senior features editor for DealNews agrees.

"Every major computer manufacturer from Samsung to Asus is expected to have an ultrabook series in its repertoire for 2012," said Ramirez.

Wii U

Ramirez also supports the popular verdict that Nintendo's Wii U gaming console will be the most asked-for in the new year. The U, which is described as having a "revolutionary touch screen controller" by the Nintendo official website, resembles a cross between a tablet and typical console and supports full HD graphics. While the new Wii U will support the original remotes and nunchuk controllers, as well have backward compatibility for all official Wii games, we wonder if the touchscreen component may prove to be awkward for younger players and costly for those wishing to upgrade.

Windows 8

For those of us who have finally adjusted to the splendor that is Windows 7, we can anticipate a whole new world of computing with the upgrades that Windows version 8 boasts to master. Louis reasons that the touch-sensitive capabilities will spur the launch of new touch-screen desktops that can take advantage of this feature. He also reminds us that the system will rely on the new mosaic-like Metro UI interface, which will "radically change the look of the current Windows desktop - trading Windows 7's desktop icons for a wall of widgets."

Lytro Camera

As far as digital cameras go, the Lytro (listed as one of the 50 best inventions of 2011 by TIME magazine), may be a game-changer. Andrew Schrage, editor of Money Crashers, looks forward to this quirky camera with a base price of around $399.

"I think it'll revolutionize what people expect in a pocket camera or even a more advanced digital SLR," said Schrage.

Part of the appeal is the ability to change the focus of any snapshot you take, after the fact - which means no more blurry images you wish you could change.

Roku Streaming Stick

The streaming entertainment desk-top boxes, made most popular by Roku, may soon be a thing of the past. The second part of 2012 will bring a slimmer, smaller version of the technology used to wirelessly bring movies, television, and games to our TV, as the Streaming Stick is introduced. Looking much like a typical USB thumb drive, but offering a more compact solution to those dust-collecting boxes, Roku hopes to give consumers a better option for software upgrades that are necessary to keep the entertainment flowing. The unit cost, around $50 – 100 for the new device, isn't the only thing you may be paying for. The Streaming Stick will connect via the MHL socket – something most TVs aren't yet equipped with.

The Bottom Line

It's best to do some research before you go "ga-ga" about any new piece of gear. As with most things, prices of new tech will come down, and bugs will be worked out the longer new gadgets are on the market. If you are concerned about blowing your budget on something that still has a few kinks, leave the risk-taking to the early adopters.

Source: http://technology.canoe.ca/2012/01/17/19255931.html

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