24 PAGES OF GREAT GEAR PREVIEWS
Spring 2012
NEW: OLYMPUS OM-D The hottest and newest products on the market
SEE PAGE 8
THE BEST KIT OF THE YEAR – SO FAR! • DSLRs • Compacts • CSCs • Lenses
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WELCOME & CONTENTS
WELCOME WILL CHEUNG FRPS, EDITOR Will’s passion for photography is closely matched by his passion for the latest hardware
If you enjoy photography, the odds are that you love all the shiny equipment that is part and parcel of modern imaging. There are some incredible developments in technology that make picture-taking more creative, rewarding and fun than ever before. It’s a great time. Most Wanted is a 24-page bi-annual, special supplement that celebrates all that is new and exciting in photographic hardware, so is essential reading whether you are about to make an investment or just want to keep abreast of the latest innovations. Enjoy, and see you for the next issue in September.
MOST WANTED: CONTENTS IN THIS ISSUE
DSLRS – PAGE 4
COMPACTS – PAGE 17
CSCS – PAGE 13
LENSES – PAGE 22
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DSLR ROUND-UP
DSLR: ROUND-UP 2012 We take a look at the latest generation of DSLRs and see what they have to offer in terms of image quality and performance
CANON EOS-1D X
AT A GLANCE... PRICE £5300 body-only RESOLUTION 18-megapixels FORMAT 35mm full-frame CONTACT www.canon.co.uk
Canon has streamlined its flagship EOS-1D series cameras with the EOS-1D X, and has crammed its two top models into one new machine. It’s primarily aimed at sports and press photographers, who need both high quality and as much shooting speed as possible. The EOS-1D X delivers both in spades, with a new 18-megapixel full-frame sensor and 12 frames-persecond (fps) shooting speed. The sensor is the first full-frame with gapless microlenses and this unparalleled light-gathering power with uprated Digic-4 processor gives a range from ISO 100-51,200, expandable to an amazing ISO 50-204,800. The massive numbers extend to the metering system too –
100,000 pixels in 252 zones. Metering is linked to a new autofocus system with 61 points covering a wider field, 41 are cross-type and five are dualdiagonal. Enhanced iTR-AF algorithms give best-ever servo tracking to keep up with fast-moving subjects. Professionals increasingly need to include video coverage, and the EOS1D X includes the highest new levels of performance here. Rounding out the professional specification are remote connectivity options for fast wireless upload of images immediately, direct from the camera. Early feedback confirms high expectations. It’s a power-house, a technical tour de force from the world’s largest camera manufacturer.
Nikon D4 The D3 was a landmark camera, but four years is a long time and though we’ve had the D3s and D3x, the D4 is the first ground-up overhaul. If 100 per cent improvements add up to a 100 per cent better camera, then that’s the D4. The full-frame sensor is 16megapixels, driven by a new Expeed-3 processing engine running ISO 100-12,800, expandable to an incredible ISO 50-204,800. It will fire at 10fps (11fps with AF and AE locked) and Nikon says the shooting speed and uprated mirror mechanism have been optimised in conjunction with the AF system, to give faster subject acquisition and better movement tracking. AF uses 51 points, configurable to 21 or nine, with 15 cross-type. A key advantage of the D4 is the central AF points are fully active to f/8, which greatly extends the camera’s versatility with teleconverters that often push the aperture above the normal f/5.6 ceiling. AF is further enhanced by linking to the metering’s 91k pixel array for detailed analysis using Advanced Scene Recognition. For example, it will home in on a face, expose for that
AT A GLANCE... PRICE £4800 body-only RESOLUTION 16-megapixels FORMAT 35mm full-frame CONTACT www.nikon.co.uk
“ It’s a total upgrade based on feedback from professionals – Nikon has listened”
correctly, and will retain lock even when the camera is turned from horizontal to vertical framing, by changing the AF points automatically. Switching framing positions is seamless, with hand grips and buttons for key controls relocated for rapid access. Video features have been extended, and remote connectivity for wireless image transfer is faster and more integrated. It’s a total upgrade based on feedback from professionals – Nikon has listened.
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Sigma SD1 Merrill To mark the relaunch of its intriguing SD1 at a much lower price, Sigma has named it after the late Dick Merrill, inventor of the Foveon sensor that is the camera’s centrepiece. Foveon sensors differ from conventional designs by filtering red, green and blue light separately, and that presents two unique possibilities. Firstly, it can theoretically treble the resolution, up from 15-megapixels to an amazing 45-megapixels. Although this can be calculated in different ways and other estimates put it somewhere nearer 30-megapixels in comparative terms, that’s still mighty impressive. Also, the Foveon design makes the sensor immune to colour moiré, so no antialiasing filter is needed, further enhancing sharpness. It’s the sensor that really sets the SD1 apart, and Sigma claims this was responsible for the original high asking price, but production costings have been reconfigured and the new price massively reduced. It is now an affordable alternative to other high-end cropformat DSLRs, where it offers a unique option with the tantalising prospect of higher resolution than any rival.
AT A GLANCE... PRICE £1840 body only RESOLUTION 15-megapixels FORMAT APS-C 1.5x crop factor CONTACT www.sigmaimaging-uk.com
“The Sigma SD1 Merrill is a very capable camera in every department”
On top of that, the SD1 Merrill has a competitive specification. The body is magnesium alloy, weathersealed, and can shoot at 5fps. The metering system has 77 elements, and the AF uses 11 cross-type sensors. The SD1 doesn’t have Live View though, there is no video option, and the lens mount uses the exclusive Sigma SA fitting. Ultimately, it’s all about the sensor and it’s a shame that no other manufacturers are currently backing the unique Foveon concept. But the Sigma SD1 Merrill is a very capable camera in every department, it’s now affordable, and it’s got that sensor.
NIKON D800/E You can’t fail to be impressed by the Nikon D800’s 36-megapixel full-frame sensor. The D800 makes the perfect partner to the D4, because if you’re happy to run at a more leisurely pace, some attractive alternatives become possible. While the D800’s 4fps shooting speed is hardly slow, it gives the processing engine time to manage those massive 36-megapixels files. The other trade-off is the maximum ISO is reduced, though again the D800 is no slouch with ISO 1006400 (expandable ISO 50-25,600). The D800 is good for a maximum of 200,000 cycles, half the rated life of the D4, but still more than enough. It all adds up to a tempting package
– better image quality, much smaller and lighter, and half the cost of the D4. The D800 is hard to fault, with all other main features like the AF system, metering, bigger LCD and video functions, all lifted straight out of the D4. Perhaps the most difficult decision will be whether to opt for the D800E version, which does away with the sensor’s anti-aliasing filter. This allows the full 36-megapixels resolution to be realised, at the risk of some moiré appearing – though this can be addressed in software. The D800 represents a unique challenge – are you good enough? Only flawless technique and the finest optics will show what it can really do.
AT A GLANCE... PRICE D800 £2400, D800E 2690 body only RESOLUTION 36-megapixels FORMAT 35mm full-frame CONTACT www.nikon.co.uk
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OLYMPUS OM-D E-M5
The latest Micro Four Thirds camera from Olympus taps into its 40-year pedigree of OM cameras to bring you a very special product
VITAL STATS RESOLUTION: 16.1-megapixels LENS MOUNT: Micro Four Thirds ISO RANGE: 200-25,600 SHUTTER RANGE: 60secs-1/4000sec ART FILTER MODES: Includes Pop Art, Soft Focus, Grainy Film, Pin Hole, Diorama, Dramatic Tone, Key Line
The Olympus E-M5 is the first product in the company’s new OM-D dynasty of Micro Four Third format cameras and is the result of extensive research. The desired qualities identified included high resolution, environmental seals and a viewfinder so the camera can be used held up to the eye like a traditional SLR. Olympus has addressed these needs and much more in the E-M5, which is, packed full of the latest technology and innovations. It is the inclusion of an eye-level electronic viewfinder (EVF) that has resulted in the distinctive bulge in the body’s top profile and given the E-M5 the looks of a classic Olympus OM-film camera. For composing your shots you now have the option of a 3in monitor or a flicker-free EVF with 1.44-million dots that shows 100 per cent of the field of view and is full of essential camera-setting information. Switching between the two is done automatically by sensors next to the eyepiece, which detect when the camera is raised up to the eye. The monitor itself is a tilting screen and
You now have the option of a 3in monitor or a flicker-free EVF that shows 100 per cent of the field of view
has touch-screen capability for fast adjustment of key functions. Whether you use the EVF or the monitor you get to see live changes of any adjustments you might make. The quality of the viewfinder image itself is excellent. The OM-D’s resolution is an impressive 16.1-megapixels with a newly developed Micro Four Thirds Live MOS sensor. This is coupled with Olympus’ TruePicVI processing engine to ensure outstanding image quality with minimal digital noise and excellent colour reproduction even at very high ISO values. The ISO range is an impressive 200 to 25,600.
COOL FEATURE INTEGRAL EVF
“Another world’s first on this camera is a five-axis image stabilisation system for pinsharp images”
Ensuring optimum sharpness is Olympus’ world fastest autofocusing system that also features 3D tracking for successful tackling of fastmoving subjects. This can be used in conjunction with the E-M5’s top continuous shooting speed of nine frames-per-second to ensure that you do not miss the moment. The AF system works using 35 focus points and you can change the number of active sensors to suit the subject or use just the central sensor. Manual focusing is provided too. Another world’s first on this camera is a five-axis image stabilisation system to give pinsharp images at slow shutter speeds. This innovative system is designed to counter the risk of blur caused by lens roll as well as the usual up and down or sideways movements of the camera. Because this system is built
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Stats a fact
16.1 MEGAPIXELS
9fps TOP SHOOTING SPEED
5-ax -axis IMAGE STABILISATION
into the E-M5 body, the benefit can be enjoyed with any lens. The E-M5 has a full complement of exposure modes so whether you prefer to use fully automatic program, aperture-priority, shutter-priority or metered manual or scene modes, you have the choice. You can also enjoy Olympus’ unique selection of creative Art Filters that can transform a mundane picture into an inspirational image with no need to resort to a computer or special software. Among the Art Filters there’s one completely new one called Key Line, and two modified ones with an extra setting in Cross Processing and Dramatic Tone. Many of the Art Filters can be modified further so, for example, you can add a white border or frame to finish off the effect.
There is another interesting feature in Art Filters and that is the bracketing facility. In this mode, the camera takes one picture but then processes the original in your chosen Art Filter modes to give several different looks from one shot. You can either produce images with every Art Filter or just pick a few you really like. So, for example you can bracket Pinhole, Cross Processing and Dramatic Tone Art Filters and then decide later which you want to keep. In summary, the much anticipated Olympus OM-D E-M5 is an exciting camera with a great deal on offer. It handles like a dream, offers an impressive specification, has plenty of system support including a grip and looks like a camera in the traditional sense, even though under the bonnet it’s bristling with the latest technological developments. Most Wanted 2012 | 9
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2012
FUJIFILM X-PRO1
Packed with innovation including the completely new X-Trans CMOS sensor, the Fujifilm X-Pro1 promises image quality of the highest order
ujifilm has always had a knack for doing things differently, both with its own innovative designs and also manufacturing high grade products for others. Last year, the X100’s fresh take on cutting-edge technology blended with classic design hit the bulls-eye with enthusiasts, quickly followed by the X10. And now it has done it again with the X-Pro1 – this time really raising the stakes. The X-Pro1 doesn’t quite fit conventional categories, but cherry-picks the best bits from a few. The style is retro-cool, with more than a hint of classic Leica M-rangefinder about the looks and layout, with bold, simple dials on the top for shutter speeds and exposure compensation, and apertures around the lens mount. Perfect. In your hand, the size is right – it’s almost identical to a Leica M9 – with a nice bit of reassuring weight. You can sense the build quality, and feel it immediately you touch the dials, or move the aperture ring, thoughtfully clicked in one-third f/stops. The viewfinder is the same opticalelectronic hybrid type that is such a highlight of the highly successful X100. It can be either direct-optical with a crystal clear real-time view, or fully electronic with a sharp 1.44million dots display. This cunningly combines the best of both, with an LCD display overlaid on the optical view, to show things like a live histogram and variable AF points, as well as all the regular settings information. You can customise it and move things around, then there’s a switch to change the optical magnification from 0.37x to 0.6x so the frame matches up when you change lenses. The APS-C format sensor is all new and has a unique (and patented) layout for red, green and blue filters that are arranged in a random pattern. This so-called ‘organic’ design is similar to film and so neatly sidesteps the problem of moiré. As a result, the sensor has no anti-aliasing filter to blur very
AT A GLANCE... PRICE £1450 body-only LENSES 35mm f/1.4 £550 18mm f/2 £550 60mm macro £600 RESOLUTION 16-megapixels FORMAT APS-C 1.5x crop format CONTACT www.fujifilm.eu/co.uk
fine detail, leaving the door wide open for those fabulous lenses to resolve every one of the 16-megapixels. Those with fond memories of Fuji’s film emulsions, such as Velvia, Provia and others, can look forward to onboard processing that mimics their characteristics. The lenses are exceptional. There are only
“Those with fond memories of Fuji’s film emulsions... can look forward to onboard processing that mimics their characteristics”
three at the moment, 20mm f/2, 35mm f/1.4 and 60mm f/2.4 macro, but up to six more are promised. They are expected to go both wider and longer, and include a pancake prime plus image-stabilised zooms. This will extend versatility, and the pancake should make the X-Pro1 pocketably slim. The X-Pro1 is a CSC, but it’s unlike the rest. It’s a cut above in every department, from the stylish looks, to the hybrid viewfinder, the unique sensor, to the fabulous lenses. It’s something rather special.
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2012
CSC: ROUND-UP Compact system cameras are selling in huge numbers and here are the two very latest models to be launched
OLYMPUS OM-D E-M5 Olympus has enjoyed considerable success with its Micro Four Thirds PEN series and it will be no surprise if it gains even more momentum with the E-M5, the first in its OM-D range. Where the PEN range will continue to target relative novice users who want a simple-to-use camera with all the latest features, the OM-D collection will aim at those who understand the benefit of interchangeable lenses and prefer to use cameras with a viewfinder. Also the E-M5 is environmentally sealed against dust and moisture so the camera will continue to perform reliably in arduous conditions. The OM-D has a high-quality EVF system providing a bright, contrasty image with 100 per cent field of view using 1.44m dots, plenty of exposure information and a high frame rate of 120fps for flicker-free viewing with minimal time lag. There’s a 3in monitor that can be tilted to make very low-level or high shooting viewpoints very easy to achieve. Adjacent to the viewfinder eyepiece is a sensor that detects when the camera is raised to the eye and switches automatically between the EVF and the rear monitor. The OLED, 610k-dot monitor has touch-screen functionality using electrostatic capacitance. Camera settings such as AF point selection, ISO and white-balance can be chosen using the touch-screen monitor in the Super Control panel. The screen comes into its own for playback too, and you can quickly scroll through and magnify into images to check their quality.
Speaking of quality the E-M5 is home to a high resolution 16.1megapixel Live MOS sensor with excellent ISO performance. The ISO range on offer is 200 to 25,600 and Olympus’ powerful TruePic VI image processing engine ensures fast write times and excellent image quality even at high ISO values. Helping you make the most of the lenses, especially in less than perfect conditions, there is a new five-axis image stabilisation system. It is the world’s first system designed to combat camera movement including lens rolling motion, and works with still and video image capture. With multimotion IS the camera compensates even as you walk around filming. The actual benefit varies depending on the lighting and the lens in use but the potential gain is up to five EV steps.
AT A GLANCE... PRICE £1150 with 12-50mm f/3.5-6.3 RESOLUTION 16.1-megapixels FORMAT Micro Four Thirds CONTACT www.olympus.co.uk
“There are 11 main filters with some variations so plenty of opportunity to experiment and produce fascinating images”
Another world’s first for the E-M5 is its single-shot autofocusing speed that Olympus claims to be the quickest around. The gain in AF speed is due to the new image sensor, improved processing speed and high-speed lens drive control. Autofocusing is handled by a 35-point system, and this can be set to single-point or to a 3x3 group within the 35-point area. The improved AF system also benefits continuous 3-D tracking AF too and the E-M5 can keep quickmoving subjects in sharp focus while shooting in continuous drive mode. Olympus Art Filters allow great creativity with minimal fuss because everything is achieved in-camera so no need for a computer and editing software. The OM-D E-M5 has gained a new creative filter, Key Line, as well as a couple of variations, Cross Process II with a magenta tone option and Dramatic Tone II which is a monochrome setting. There are 11 main filters with some variations so plenty of opportunity to experiment and produce fascinating images. Most Wanted 2012 | 13
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CSC ROUND-UP
Pentax K-01 Pentax makes a point of not giving the K-01 the CSC tag on the simple premise that it’s not especially compact. This is a direct consequence of Pentax’s aim to make the K-01 the first mirrorless camera to support a huge system of existing SLR lenses. The K-01 sports the Pentax K-mount, a bayonet mount that first appeared in 1975, which means that there is a huge pool of lenses out there that can be successfully used on this brand new camera. This also includes 42mm screw-thread, Pentax 645 and 67 lenses when used with the appropriate lens adapter. A benefit that applies to all compatible lenses is that the camera has body-integral sensor-shift to minimise camera shake. The K-01 will be available with the SMC Pentax DA 40mm f/2.8 pancake lens, giving the equivalent of a 60mm lens in the 35mm format. Focusing is handled automatically with compatible lenses, using a single zone or multi-segment system in single-shot or continuous AF. Face detection and Live View are also options. AT A GLANCE... PRICE £679.99 with 40mm DA f/2.8 RESOLUTION 16.3-megapixels FORMAT 23.7x15.7mm APS-C 1.5x crop factor CONTACT www.pentax.co.uk
“ burst mode is an option for fast action “A shooting giving a top speed of 6fps”
Under that very modern exterior rests a 16.3megapixel APS-C-size CMOS sensor. It’s the same sensor found on the successful K-5 and gives an image size of 4928x3264 pixels. And there’s the option of using different image ratios, 1:1, 4:3, 3:2 and 16:9, to suit every situation. Its ISO sensitivity range is 100 to 12,800 with 100 to 25,600 when the range is extended, and there is the option of shooting JPEGs and Raw. A burst mode is an option for fast action shooting giving a top speed of 6fps. The available shutter speed range is 30secs up to 1/4000sec and works in conjunction with program, aperture-priority, shutter-priority and manual metering modes. In addition there are also 19 scene exposure modes including innovative settings such as Forest, Blue Sky and Museum as well as the more common Sunset, Portrait and Landscape. There are the usual features to modify exposure including AE-L, compensation up to +/- 3EV in 0.5 steps and bracketing. There is no EVF feature but the 3in, 920,000-dot TFT LCD monitor provides a bright, contrasty image for easy composition and there is plenty of camera setting information available. The Pentax K-01’s striking good looks are thanks to the industrial design mastery of Marc Newson CBE and it is available in black, white or yellow.
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POLAROID DIGITAL DUA FLASHGUN Here’s an innovative new flashgun that has equal appeal to still photographers and moviemakers alike
his innovative flashgun features two light sources making it the perfect partner for keen CSC and DSLR photographers. It’s a high quality, advanced function flashgun with dedicated through-the-lens flash metering for still photography but it also features a three-LED, daylight-balanced continuous lamp for shooting video. Two models are available, the PL150 has a manual zoom head while the PL160 boasts a power zoom function. The PL160 also has an integral diffuser and flash reflector to give softer lighting effects. On the PL150 the reflecting plate and diffuser are detachable. As a flashgun the zoom head covers from 24mm wide-angle to 85mm short telephoto
with click-stopped in-between settings at 28mm, 35mm and 50mm. The tilt head has four click-stopped positions for bounce flash photography while the head also swivels for upright format bounce flash shooting. For video shooting, the three LEDs gives three watts of constant lighting, running for 60 minutes continuously from a set of fresh AA batteries. Of course, the continuous light source can be handy when shooting stills in low light too, to aid composition and focusing. All in all, this pair of Polaroid flashguns is a welcome addition to the flash scene. AT A GLANCE... PRICE Polaroid PL150 £129.99, Polaroid PL160 £159.99 CONTACT www.polaroid.co.uk
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COMPACT: ROUND-UP
2012
Compacts are gaining more features and higher resolutions making them ideal for photographers of all levels
CANON POWERSHOT G1X Canon’s new semi-pro compact could be something of a game-changer in this crowded sector. The G1X continues the long tradition of the G-series in terms of styling, but under the bonnet there’s a lot to get excited about. Canon has fitted the G1X with a 18.7x14mm CMOS sensor, which is just a tad smaller than those found in many of the company’s DSLRs. The 4:3 aspect, 14.3-megapixel sensor is designed to produce DSLR quality images using a new DIGIC 5 processor in a compact, rugged body making it a particularly attractive prospect to those looking for a portable back-up to their DSLR kit. Harnessing the pixel power of this larger sensor is a retractable 4x 28mm to 112mm zoom lens (35mm equivalent). It’s also fast at f/2.8 to f/5.8 and fitted with Canon’s IS intelligent optical image stabilisation to help avoid camera shake.
AT A GLANCE... PRICE £699 RESOLUTION 14.3-megapixels SENSOR 18.7x14mm CMOS LENS 28-112mm (35mm equivalent) CONTACT www.canon.co.uk
The sturdy stainless steel body with built-in flash is also fitted with a 3in variangle 920k LCD screen enhancing composition options, in addition to an optical viewfinder. As you would expect, the range of shooting options
“Harnessing the pixel power of this larger sensor is a retractable 4x 28-112mm zoom lens”
is vast with both a full complement of manual, semi-automatic and full autoexposure controls. The camera’s fast lens and larger sensor also make the most of a decent ISO range, which extends from 100 to 12,800. The G1X also sports a 4.5fps burst mode, 14-bit Raw still capture, and 24fps HD video, in addition to a range of creative options, such as an ND filter.
MORE COMPACTS TO CONSIDER...
GE G100 GE has rolled out the G100 boasting a 14megapixel sensor and 15x zoom, 28mm to 420mm equivalent.
NIKON COOLPIX P310 This 16-megapixel model benefits from an extremely bright f/1.8 to f/4.9 4.2x optical zoom.
RICOH 24-85MM MODULE An addition to Ricoh’s mirrorless GXR system, a new 16megapixel APS sensor.
PENTAX OPTIO WG-2 The Optio WG2 is built to withstand tough conditions making it attractive to outdoor enthusiasts.
SAMSUNG WB150 The WB150 benefits from Wi-Fi file sharing capability so you can upload to social networking websites.
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FUJIFILM FINEPIX HS30 EXR The latest edition to Fujifilm’s EXR bridge range sports a revamped 16-megapixels backlit CMOS sensor, which is designed to be more effective in low light, and retains that impressive 24mm to 720mm equivalent zoom lens, as seen on the existing HS20 model. Fujifilm asserts that a redesign of the CMOS sensor means images will produce up to 30 per cent less noise at higher ISO settings. Users will also be able to select from three sensor-controlled settings to take account of contrasting shooting conditions. A High Resolution (HR) setting is designed for bright, sunny conditions, the Wide Dynamic Range (DR) option is best suited to contrasty lighting, and the High Sensitivity and Low Noise (SN) option is reserved for low-lighting. The camera’s electronic viewfinder (EVF) is now slightly larger than the one found on its
SAMSUNG WB850F
AT A GLANCE... PRICE £439 RESOLUTION 16-megapixels LENS 24-720mm (35mm equivalent) CONTACT www.fujifilm.co.uk
predecessor, and sports a 920k-dot screen. There’s also a 3in, 460k resolution tilting LCD screen. Start-up speed is faster too, as is the write to card time after continuous shooting which is now just two seconds. Additional highlights include a new lithium-ion battery, full manual and automatic exposure control, TTL flash hotshoe, and 1080p HD movie capture.
NIKON COOLPIX P510 Nikon’s engineers have been hard at work improving its bridge superzoom with the announcement of the 16megapixel Coolpix P510. The camera sports a whopping 41.7x optical zoom lens with a 24mm to 1000mm focal length equivalent. As you’d expect, Nikon’s proprietary Vibration Reduction (VR) technology helps users stay sharp when shooting hand-held at extreme focal lengths. The camera also has built-in GPS helping photographers record the exact location where an image was taken. One of the most anticipated features on the P510 is a new Function button, designed to help users assign and access frequently used settings more quickly and efficiently, thus enhancing the camera’s handling experience. Furthermore, the variangle 3in LCD monitor can be tilted down to approximately 90 degrees making for improved low-angle shooting.
AT A GLANCE... PRICE £399.99 RESOLUTION 16-megapixels LENS 24-1000mm (35mm equivalent) CONTACT www.nikon.co.uk
Other key features include a 5fps burst capability, auto HDR mode, a 3D shooting function enabling you to create a 3D still image which can be played back on suitably equipped TVs and computers, HD movie capture, wireless image transfer, and an SLRstyle mode dial offering manual and semiautomatic exposure control.
AT A GLANCE... PRICE £299 RESOLUTION 16.2-megapixels LENS 23-483mm (35mm equivalent) CONTACT www.samsung.co.uk
Globetrotters looking for a convenient compact will be keen to take a close look at Samsung’s Wi-Fi-enabled WB850F. The new model comes equipped with a 16-megapixel CMOS sensor, 21x optical f/2.8-f/5.9 zoom lens with a focal length equivalent of 23mm to 483mm. It’s the longest zoom yet seen from the Korean technology giant, and should appeal to those looking for a very wide focal length range in a relatively compact body. Having Wi-Fi on board means there’s no need to carry leads and cables to transfer images. Users can instead copy images wirelessly to their hard disk or to cloud-based systems such as Samsung’s AllShare Play and the Microsoft Sky Drive service. Users can also email or upload images and HD videos to social networking sites directly from the camera via an Wi-Fi hotspot. A built-in GPS and Live Landmark function allow users to download maps and location information as well. Other notable features on the WB850F include, 1080p HD motion capture, creative in-camera editing via a Motion Photo function, where users can isolate elements in the shot, while freeze-framing the surroundings, full manual exposure control or Smart Auto functions with an array of scene modes, panorama stitching, and a multi-image Split Shot feature.
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COMPACT ROUND-UP
SIGMA DP1M/DP2M Sigma has unveiled a new series of larger fixed lens compact models, which the company collectively dubs ‘Merrill’, named in honour of Dick Merrill, the co-creator of the Foveon image sensor. Both the DP1 and DP2 models have the same 15.4x3megapixel APS-C Foveon sensor found in Sigma’s flagship SD1 DSLR. Effectively, the camera captures 46megapixels which it divides into three RGB colour layers to produce higher resolved 15.4- megapixel images. Also new are the cameras’ redesigned optics; with the DP1M featuring a 19mm f/2.8 lens and the
DP2M offering a longer 30mm f/2.8 alternative. Both lenses also benefit from Sigma’s FLD low dispersion technology glass. Also new and improved is the high resolution 3in, 920k-dot LCD and robust and uncluttered camera body. Although both sport fast autofocus systems, those looking for more control over focus will welcome the manual focus ring which is found on both models. Aimed squarely at the enthusiast market, there’s a lack of gimmicky scene modes in favour of a more classical manual, and semiautomatic exposure control.
AT A GLANCE... PRICE £TBC RESOLUTION 46-megapixels (3x15.4-mp) FORMAT 24x16mm CONTACT www.sigma-imaging-uk.com
And there’s even more... Never wanting to be outdone by the competition flooding the market with superzoom compacts, Canon’s 20x optical zoom PowerShot SX260 HS could prove to be a hit with those on the move. The 12.1megapixel camera is available in a choice of silver, black, green and red finishes. Fujifilm has been busy too, and has just unveiled four superzoom bridge cameras. The FinePix S4500 and S4200 come equipped with a 14-megapixel sensor, with the S4500 boasting a whopping 30x optical zoom. The S4200 isn’t to be sniffed at, though, thanks to an impressive 24x zoom pushing maximum focal length to an equivalent of 576mm. And if that wasn’t
enough choice, Fujifilm has crammed its range with two other cameras sitting between the company’s HS30 EXR and the S4500 and S4200 products. Both the SL300 and SL240 have 14-megapixels and hotshoe connectivity, and come with 30x and 24x optical zooms respectively. Meanwhile, Olympus has announced its own new superzoom compact in the shape of the SZ-31MR. The 24x optical zoom camera is driven by a 16-megapixel sensor and comes with plenty of shooting options, including 3D capture and 1080p HD video all built into a stylish-looking body. Olympus has also released an update to its ‘Tough’ range of compacts. The TG-
820 has a 12-megapixel sensor housed in a shockproof, dust-resistant and waterproof housing. Pentax has a fine history of innovation in its range of compacts, and the 16-megapixel Optio VS20 is no exception. The new camera is the first compact of its kind to be fitted with a second shutter button and zoom control on the side of the body for upright shooting. Finally, Samsung has introduced more compact models sporting integrated Wi-Fi for easy file sharing. The diminutive ST200F has a 10x optical zoom with 16megapixel sensor, while the company’s DV300F model sports a 5x optical f/2.5 lens with a 16-megapixel chip.
20 | Most Wanted 2012
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LENSES ROUND-UP
LENSES: ROUND-UP 2012 Brilliant cameras are all very well, but you still need good quality glass on the front to make the most of that clever technology
CANON EF 24-70MM F/2.8L II USM Canon has updated this popular lens first launched in the mid-nineties with what it calls a new and more durable body. The fast f/2.8 zoom also benefits from completely redesigned optics and is aimed squarely at the professional and advanced amateur who require high levels of resolving power. Although the lens is a tad smaller than its predecessor, Canon has added an optical system that includes two Ultra-low Dispersion (UD), and one Super UD aspheric elements, which are designed to minimise chromatic aberration and colour blurring. Each lens element now has Canon Canon’s proprietary Super Spectra Coating (SSC) to help combat ghosting and
flare. SSC is formulated to allow 99.9 per cent of the light to reach the sensor and ensures consistent colour balance across the lens range. With a versatile wide-angle zoom range, the EF 24-70mm f/2.8L II USM also makes light work of close subjects with a 38cm close focus capabililty at all focal lengths. Other features of note in this latest offering in Canon’s high-grade L-series range include improved zoom durability and greater shake and shock resistance within the lens barrel. There’s also a new Zoom Lock lever, enabling users to secure the zoom position at the wide-angle end to prevent damage when in transit.
AT A GLANCE... PRICE £2299 CONTRUCTION 18 elements in 13 groups FILTER SIZE 82mm MIN FOCUS 38cm WEIGHT 805g CONTACT www.canon.co.uk
Nikon AF-S Nikkor 85mm f/1.8 G Nikon’s popular FX-format 85mm telephoto prime lens sees an update and has been given a completely new optical design with an integrated focus motor allowing autofocus on all Nikon DSLRs. The new lens benefits from a fast f/1.8 maximum aperture making it ideal for anyone looking for an affordable portraiture optic and will also produce shallow depth-of-field in movie capture as well as stills. The lightweight lens provides an equivalent focal length of 127mm when fitted to a Nikon DX-format body, such as the D7000. Constructed from nine optical elements, the lens has a seven-blade diaphragm, which Nikon asserts will contribute to a substantially more circular bokeh in out-of-focus background elements. Super Integrated Coatings have also been added to temper lens flare and chromatic aberration and improve colour balance. Also under the bonnet is an ultra-compact Silent Wave Motor (SWM), which Nikon has developed to reduce AF noise levels, particularly important when shooting HD movies. Finally, an internal focus design prevents the front element from rotating, allowing users to attach filters and other lens attachments. At £470 this lovely lens is competitively priced.
AT A GLANCE... PRICE £470 CONTRUCTION 9 elements in 9 groups FILTER SIZE 67mm MIN FOCUS 80cm WEIGHT 350g CONTACT www.nikon.co.uk
“An internal focus design prevents the front element from rotating”
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In association with
OLYMPUS M.ZUIKO DIGITAL ED 75MM F/1.8 Details were scarce about this bright new lens from Olympus as we went to press, but it is such an exciting optic and has so much potential that we could not ignore it. Said to arrive in stores towards the end of 2012, this fast prime is designed for Micro Four Thirds system cameras. It features a fast f/1.8 maximum aperture in a full-metal design. The 75mm focal length makes it ideal for portraiture both in low light and studio conditions. Mock-up photographs made available to us show this to be a premium quality lens with excellent build quality in an all-metal design. No price or formal specifications are currently available, but Advanced Photographer will bring you more information as it arrives.
AT A GLANCE... PRICE £TBC CONTRUCTION TBC FILTER SIZE TBC MIN FOCUS TBC WEIGHT TBC CONTACT www.olympus.co.uk
TAMRON SP 24-70MM F/2.8 DI VC USD Tamron has rolled out a premium 24-70mm f/2.8 zoom designed specifically for full-frame cameras that also includes integrated optical stabilisation. Also on board is an Ultrasonic Silent Drive autofocus motor for near-silent shooting and video capture. The lens also benefits from some degree of environmental sealing being moistureresistant. A circular aperture diaphragm takes advantage of the fast f/2.8 maximum aperture to produce attractive background blur. And Tamron states this bokeh is maintained even when the lens is used two stops down from the maximum aperture. Tamron’s proprietary Vibration Compensation stability control technology, which is built into the lens, allows for better accuracy when shooting in low light. The optics giant has used what it terms ‘high grade glass’ to deliver an attractive alternative to similar offerings from the likes of Nikon, Canon, and Sony, all of whose mounts are supported. This more affordable alternative may be ideal for those on a budget.
AT A GLANCE... PRICE £TBC CONSTRUCTION 17 elements in 12 groups FILTER SIZE 82mm WEIGHT 825g CONTACT www.intro2020.co.uk
More Lenses...
Canon has also rolled out two new wide-angle primes, replacing older models that date back some two decades. Both the EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM have redesigned glass for improved sharpness and clarity. Canon has furnished the new models with its 4-stop IS and USM technologies for steady and silent shooting. Meanwhile, Sigma has been busy launching into both wide-angle and telephoto markets. The company’s 30mm f/2.8 EX DN and 19mm f2.8 EX DN lenses are designed for Micro Four Thirds and Sony’s E-mount systems, respectively. The two compact prime lenses are among the first Sigma has developed specifically for mirrorless cameras. The 19mm variant offers a 35mm focal length equivalent, while the 30mm extends this to 60mm. Both lenses benefit from Sigma’s own multi-layer coatings to reduce flare and ghosting and also sport new autofocus motors, which moves the lens directly without the need for gears or other moving mechanical parts. This assists with keeping noise levels down too. Sigma has also unveiled its APO Macro 180mm f/2.8 EX DG OS HSM the first 180mm macro to combine a 1:1 magnification with an f/2.8 aperture. Tokina has launched the AT-X 116 Pro DX 11-16mm f/2.8 lens for Nikon and Canon mounts. The fast optics make it ideal for low-light shooting and an ingenious ‘One-touch Focus Clutch Mechanism’ allows photographers to switch between manual and AF by pulling the focus ring back.
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