Photography Magazine

One of only two lenses that contains both refractive and diffractive glass elements, this image-stabilized tele zoom is dramatically more compact — and expensive ($1,143, street) — than its refractive-only Canon ($549, street) or Nikon ($479, street) counterparts. Unlike more common refractive optics, diffractive optical design is based on how light rays bend when forced to move around (not through) an obstruction — in this case, a pattern of molded, sawtooth, Fresnel-like, concentric circles. A full-frame lens, it scales up to a 105-450mm on Canon EOS Digital Rebel models.

Hands On:

About one-third smaller than other 70-300mm stabilized lenses, it’s also a few ounces lighter. Ribbed and rubber-clad focus and zoom rings turn evenly and smoothly. On our EOS 5D test camera, autofocus action is silent, rapid, and sure. In addition to AF-, IS-, and IS-mode switches, a fourth locks the zoom in its 70mm position.

In The Lab:

SQF tests found sharpness and contrast in the Excellent range at 70mm and 200mm, dipping to Very Good at 300mm, roughly equal to Canon’s refractive version. DxO Analyzer 3.1 tests found Slight barrel distortion at 70mm (0.11%) and Visible pincushion distortion at 200mm and 300mm (0.34% and 0.33%, respectively), slightly better than the non-DO lens. Light falloff left the corners by f/5.6 at 70mm, and by f/8 at 200mm and 300mm, an average performance, but again slightly better than the refractive zoom. Maximum magnification ratios at the uniform close-focusing distance of about 52.5 inches were 1:14.25 at 70mm; 1:6.33 at 200mm; and 1:4.75 at 300mm (less power than Canon’s claimed 1:4). Our image stabilization tests were based on DxO’s Blur analysis: Three different users gained 2.5 to 3 stops of handholdable shutter speeds.

Conclusion:

Willing to pay to travel light and save space? You won’t be disappointed with this remarkably bulk-free, satisfyingly sharp, full-frame, stabilized tele zoom.

Specifications

70-300mm (74.15-282.15mm tested), f/4.5-5.6 (f/4.74-n.a.* tested), 18 elements in 12 groups. Focusing turns 160 degrees counterclockwise. Zoom ring turns 80 degrees clockwise. Focal lengths marked at 70-, 100-, 135-, 200, and 300mm. • Diagonal view angle: 34-8 degrees. • Weight: 1.63 lb. • Filter size: 58mm. • Mounts: Canon AF. • Included: Lenshood, soft case. • Street price: $1,143.

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An 88-400mm equivalent, this is Canon’s longest EF-S (digital only) zoom, and roughly the low-cost digital alternative to its 100-400mm f/4.5-5.6L full-frame “white” image-stabilized zoom that’s so hot with pros. At $280, street, this 55-250mm is by far Canon’s most favorably priced IS tele zoom, with the only glass close to it a 70-300mm IS lens that streets for roughly $550.

Not actually paired in a kit with Canon’s 18-55mm f/3.5-5.6 IS starter lens (yet), this is the system’s de facto kit telezoom. It’s squarely targeted at intermediate DSLR shooters who feel hemmed in by the 18-55mm and crave something longer. While most comparable digital tele-zooms that start at 55mm go to only 200mm (i.e., the Nikon, Sigma, and Tamron), Canon reaches out to 250mm.

This lens replaces the 55-200mm full-framer, a late film-era optic, and boasts a new optical design incorporating a UD element for controlling color fringing and a simpler, less costly IS system. The IS mechanism (the same as in the 18-55mm IS lens) is claimed to produce up to 4 additional stops of handheld sharpness in the 55-250mm. This is the first IS system for Canon that autodetects panning and limits its shake control to the vertical axis.

HANDS ON

A bit heavier and longer than the non-IS 55-200mm that it replaces, this lens is still compact enough to throw no shadow at any focal length when used with the Rebel XTi’s built-in flash — surprising for a zoom that extends to the equivalent of 400mm.

Both zoom and focusing rings are rubberized, ribbed, generously sized, and smooth-turning. The AF action is fast and accurate with minimal searching and, by non-USM standards, relatively quiet (again on the Rebel XTi).

IN THE LAB

SQF data came in within the Excellent range at three tested focal lengths. The lens charted slightly better than Nikon’s 55-200mm VR zoom; at 55mm and 135mm, better than the comparable Tamron; and light-years beyond the earlier 55-200mm at all tested focal lengths.

DxO Analyzer 3.0.1 tests demonstrated very well-controlled distortion, with only Slight barrel at 55mm (0.14%), and Slight pincushion at 135mm and 250mm (0.14% and 0.15%, respectively). Almost into the Imperceptible range, these results compare very favorably with those of the 55-200mm, which produced Noticeable pincushion distortion at 135mm and 200mm (1.35% and 1.60%, respectively).

Light falloff, about average, was gone from the corners by f/5 at 55mm, by f/5.6 at 135mm, and by f/6.3 at 250mm.

Maximum magnification ratios at the uniform close-focusing distance of about 40.5 inches ranged from 1:12.6 at 55mm to a strong 1:2.85 at 250mm.

Using DxO’s blur factor analysis, four different shooters tested two sample lenses and found a somewhat underwhelming 2 to 2.5 extra stops of handheld sharpness with IS engaged.

CONCLUSIONS

A natural for globe-trotting vacationers and soccer parents, this is the obvious second lens for Canon EOS 40D and Rebel XSi owners. Clearly it and the 18-55mm IS make an attractive team that promises sharp pictures in dicey light across an amply wide 13.9X zoom range. And you can’t beat that price.

SPECIFICATIONS

55-250mm f/4-5.6 (55.65-256.41mm tested), f/4-5.6 (f/4.09-6.37 tested), 12 elements in 10 groups. Focusing turns 100 degrees counterclockwise. Zoom ring turns 70 degrees clockwise. Focal lengths marked at 55-, 70-, 100-, 135-, 200-, and 250mm.

• Diagonal view angle: 27-6 degrees.

• Weight: 14 oz.

• Filter size: 58mm.

• Mounts: Canon EF-S.

• Street price: $280.

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If you needed proof that Pentax has a high-performance, professional-quality DSLR in the offing, this $1,000 (street) lens is it.

Based on the film-era 200mm f/2.8 FA lens, it’s equipped with new internal-flare-suppressing coatings, and it has a newly designed rear element which Pentax claims projects a perfectly flat-field image. A 300mm equivalent, it sports Pentax’s SMC supersonic focusing motor for near-silent autofocus action, as well as Quick-shift focusing that lets you touch up focus manually while the lens remains in the AF mode.

Joining the 300mm f/4, 16-50mm f/2.8, and 50-135mm f/2.8, this is the fourth lens in Pentax’s DA* family of matched, pro-oriented glass. Fully loaded with water- and dust-repelling gaskets and O-rings, it’s a high-speed tele prime that’s clearly well constructed and ready for outdoor action.

Hands On

Surfaced in a faint, matte-black crinkle finish and ornamented with the bright green aluminum ring that signifies a Pentax digital-only lens, this mostly polycarb prime is average in weight and size for the class — very similar to the Sigma 150mm DG macro lens, for example. (At 1.8 pounds, it’s more than a pound lighter than the comparable Olympus 150mm, which also scales up to about 300mm, but that’s because the Oly is an f/2).

Although the Pentax is more than 5 inches long, it throws no shadow at close-focus when used with the K200D’s built-in flash. It also has plenty of gold ornamentation, a depth-of-field scale, and an extra-deep 3.25-inch lens shade that includes a clever trapdoor ( or finger window) that lets you reach in to fine-tune the positioning of a mounted filter.

In The Lab

SQF results showed sharpness and contrast in the Excellent range at all apertures and output sizes. (No surprise there.) DxO Analyzer 3.0.1 tests found near-absolute distortion control, with only Imperceptible pincushion distortion (0.01%) detectable. (This is, in fact, the single best distortion performance we’ve encountered since adopting the DxO system in 2005.) We found no noticeable light falloff in corners at any aperture. Finally, at the close-focusing distance of 46.75 inches, the maximum magnification ratio was a satisfyingly powerful 1:4.56.

Conclusions

In its superior vignetting- and distortion-control performance, this digital-only tele actually tests very much like the full-frame lenses we’ve evaluated on DSLRs with APS-sized sensors — no surprise since its design is based on a 35mm lens. Its high speed and near flawless optics coupled with Pentax’s sensor-based image stabilization technology helped us take dozens of satisfying pictures over several weeks of field testing. It promises the pro or serious amateur virtually distortion-free and perfectly sharp pictures, even in less-than-perfect light.

If there’s a downside to this lens, we couldn’t find it.

Specifications

200mm (198.33mm tested), f/2.8 (n.a. tested*), 9 elements in 8 groups. Focusing turns 210 degrees clockwise.

• Diagonal view angle: 8 degrees.

• Weight: 1.85 lb.

• Filter size: 77mm.

• Mount: Pentax KAF.

• Included: Lenshood, soft case.

• Street price: $1,000.

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This digital-only, 5.3X, wide-to-medium-tele, general-purpose zoom ($600, street) is an attractive upgrade for Nikon shooters underserved by their entry-level 18-55mm kit lens. No longer a beginner? It offers Vibration Reduction, plus extra reach in both directions, scaling up to 24-127.5mm on most Nikon DSLR bodies. Two extra-low dispersion glass elements rein in the image-softening effect of chromatic aberration (a.k.a. color fringing), and three aspheric elements help tackle linear distortion.

HANDS ON:

Slightly bulky for an amateur’s general-purpose lens, this zoom is more than an inch longer and 4 ounces heavier than Canon’s comparable 17-85mm f/4-5.6 IS digital-only zoom ($515, street). At close-focus, the lens (without hood) throws a shadow at all focal lengths when used with a built-in flash. (As subject distances grow, the shadow gradually disappears, first at the long end of the zoom range.)

With a slightly stiff zoom action but well-damped manual focusing, the lens offers fast, accurate, and — thanks to Nikon’s Silent Wave Motor — extremely quiet autofocus. All switches and collars are adequately sized and marked, and the lens feels solidly constructed, almost pro-quality.

IN THE LAB:

SQF data showed sharpness and contrast in the Excellent range at all tested focal lengths — not surprising for a Nikkor. In DxO Analyzer 3.0.1 distortion control tests, we found Visible barrel distortion at 16mm (0.49%) and Slight pincushion distortion at 50mm and 85mm (0.20% and 0.19%, respectively). This is a noticeably stronger performance than the Canon, which showed, for example, Very Visible barreling at 17mm (1.25%). (The Nikon’s numbers suggest average distortion control by today’s standards, but 10 years ago, they would have been headline news.)

Light falloff was gone from the corners by f/8 at 16mm, f/5.6 at 50mm, and f/6.3 at 85mm — also an average performance. Maximum magnification ratios at the uniform close-focusing distance of a tight 13.2 inches ranged from 1:14.25 at 16mm to an OK 1:3.8 at 85mm.

In DxO blur tests of the lens’ Vibration Reduction system, three users gained between 2 and 2.5 stops of extra handholdability with VR engaged — not great, but also not surprising as image stabilization is usually most effective at longer focal lengths.

CONCLUSIONS:

If you’re an ambitious amateur calling for more optical oomph from your everyday zoom, but you’re not ready to take on the physical and financial burden of high-speed pro glass, Nikon has heard you.

SPECIFICATIONS:

16-85mm (16.54-86.42mm tested), f/3.5-5.6 (f/3.34-5.35 tested), 17 elements in 11 groups. Focusing turns 160 degrees clockwise. Zoom ring turns 80 degrees counterclockwise. Focal lengths marked at 16-, 24-, 35-, 50-, 70-, and 85mm.

• Diagonal view angle: 83-18 degrees.

• Weight: 1.22 lb.

• Filter size: 67mm.

• Mounts: Nikon AF.

• Included: Lenshood, softcase.

• Street price: $600.

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Each month the NPD Group ranks America’s top-selling digital cameras based on unit sales.

Here are the top-selling digital SLRs for March 2008.

1) Canon EOS Digital Rebel XTi

Canon’s EOS 400D Digital Rebel XTi has been loaded up with power and features taken from its EOS 30D and 5D cameras. The XTi ($659, estimated street, body only; $719 with 18 - 55mm f/3.5 - 5.6 II EF-S lens) most notably captures 10.1-megapixel images — leapfrogging it ahead of the higher-priced 8MP Canon 30D and putting it squarely in competition with the Sony Alpha 100 and the Nikon D80. The Rebel XTi also gains a dust-reduction system that uses both hardware and software suppression of dust — a first for Canon DSLRs. The camera’s LCD doubles as an oversize alphanumeric status panel, showing key shooting data such as shutter speed, f-stop, ISO, and the number of shots remaining. This highly readable white-on-black display stays on except for when you’re looking through the viewfinder, turning off if an eypiece sensor detects your face — then back on again when you lower the camera. Another new XTi feature (one it shares with Canon’s top-pf-the-line professional DSLR, the EOS-1D Mark III) is its Self Cleaning Sensor Unit, which uses an ultrasonic micromotor to shake image-marring dust off the low-pass filter that protects the sensor. The XTi’s most outstanding feature, in our view, is its autofocus system. Inherited from its bigger brother, the Canon EOS 30D, this nine-point, wide-area AF array tracks focus tenaciously, making the XTi the best choice in its class for shooting sports, or anything else that’s moving fast.

2) Nikon D40

The obvious shortcomings of compact cameras and the shrinking prices of entry-level digital SLRs have spurred a huge growth in the DSLR market. Nikon hopes to continue that trend with the 6.1MP D40 ($560, street, with 18-55mm f/3.5-5.6 lens). The D40’s features and overall performance clearly raise the bar on the “entry-level” DSLR class. But will first-time DSLR owners be satisfied with the D40’s overall performance compared with its competitors or similarly priced advanced compacts such as the 10MP Canon PowerShot G7 ($500, street, with built-in 6X optical zoom)? And does it have what it takes to attract 35mm holdouts or current DSLR owners looking for a better camera? Yes and no. First-time DSLR shoppers can’t argue with the price of this camera — priced even lower than the Nikon D50 it replaces, and highly competitive with the 6.1MP Pentax K100D ($590, street, with 18-55mm lens), the older 8.0MP Canon EOS Digital Rebel XT ($600, street, with 18-55mm EF-S lens), and the 8MP Olympus Evolt E-500 ($580, street, with 14-55mm Zuiko lens). But current digital SLR owners who would like to upgrade their equipment will certainly be happier with a newer 10-megapixel DSLR (for some examples, see “10MP Shootout,” February 2007), even though they cost a few hundred dollars more. And Nikon 35mm SLR owners who have a bag full of Nikkor lenses and are ready to cross over to digital might ignore the D40, due to its lack of autofocus support for their older lenses. (Only relatively new Nikkor AF-S or lenses, and compatible third-party lenses whose AF motor is located in the lens, work with the D40’s autofocus system.) Also comapare to the 10-megapixel Nikon D40x.

3) Canon Digital Rebel XT

At the bottom of Canon’s digital SLR lineup, this very compact model offers excellent image quality for its class. Its fairly advanced exposure and metering controls rival those on the higher-end EOS 20D and 30D, although its performance at ISO settings higher than 200 isn’t nearly as strong. It also lacks the spot meter that the 30D provides to supplement Canon’s 9-percent Partial metering mode. While its autofocus system isn’t as fast or sensitive as the more expensive cameras’, it’s still quick, accurate, and capable of focusing even at EV -0.5 at ISO 100. Like the 20D and 30D, the XT has an APS-size CMOS sensor with a 1.6X lens-conversion factor, and it’s compatible with Canon’s less expensive EF-S lenses as well as the full line of EF lenses, EX-series Speedlites, and Canon’s E-TTL II flash system. The XT’s burst capability of up to 50 fine-quality JPEG images at 3.5 fps is impressive for the price. However, this camera has a shorter list of features and fine-tuning tools than many other cameras in its price range. The XT doesn’t capture TIFFs, but you can process its RAW images with the included Digital Photo Professional 2.1 software.

4) Nikon D300

The Nikon D300, Pop Photo’s 2007 Camera of the Year, features a 12.3-megapixel self-cleaning DX-format CMOS sensor and high-resolution (920,000-dot, or 307,000 pixel) 3-inch LCD with a 170-degree viewing angle. The camera takes F-mount lenses, and provides selectable 14-bit RAW image capture. The D300’s optical viewfinder provides a nearly 100 percent view of the image frame and 0.94x magnification. The camera’s CompactFlash slot supports the UDMA standard for fast write speeds. The D300 body also incorporates an HDMI port for outputting images to a high-definition screen.

The D300’s exposure controls include a native 200-3200 ISO range that can be expanded with a Lo-1 ISO 100 setting or a Hi-1 ISO 6400. In the lab, the D300 scored Excellent in the image quality category from ISO 200-3200, making it the first DSLR to earn that rating for the entire ISO 200-3200 range. Color accuracy scored Excellent for ISO 200-1600, resolution scored Excellent up to ISO 6400, and noise levels were Extremely Low at ISO 200 and only Moderate at ISO 6400. The camera also provides a new implementation of Nikon’s D-Lighting technology, making it available in shooting mode instead of simply as an image-correction tool. Active D-Lighting applies localized tonal changes to open up dark shadows while retaining highlight detail, and can be used at low, medium, and high settings.

The D300 supports Nikon’s iTTL external flash system and includes a built-in flash. Nikon claims the D300’s shutter lag clocks in at 45 milliseconds and its startup time at 0.13 second, thanks to the camera’s EXPEED image processor. Its drive mode speed is rated at 6 frames per second for a series of 100 JPEGs or 8 fps with Nikon’s Multi-Power Battery Pack MB-D10 attached. The D300’s 51-point autofocus system uses a new MultiCAM 3500 DX sensor, offering selectable 9-, 21-, and 51-point group dynamic autofocus. Its 15 cross-type sensors remain active with all Nikkor lenses. The camera employs face-detection technology and Nikon’s new Scene Recognition System to distinguish between subjects and backgrounds and detect movement, improving both autofocus performance and automatic exposure and white balance settings. The D300 (body only), which also includes Nikon Capture NX RAW conversion software, is available with a MSRP of $1799.95.

5) Nikon D60

The 10.2-megapixel Nikon D60 is an improved version of Nikon’s D40x camera. It retains the same body; viewfinder; battery, and 230,000-dot, 2.5-inch LCD with a wide 170-degree viewing angle. However, the D60 LCD and viewfinder have been upgraded with a sensor system that automatically rotates the LCD’s status display when the camera is turned and switches it off when the camera is brought up to the photographer’s eye. The D60 also has a new system for keeping dust off the sensor. It vibrates the low-pass filter that covers the CCD, in a similar manner to the system in the higher-end D300 SLR, and has an airflow control system that keeps more dust from getting near the sensor in the first place. The D60 uses the same image processing engine as the D40x, but Nikon has dubbed it “Expeed” in the new camera.

Among the notable functions that the D60 shares with the D40x are a 3fps drive mode, eight Digital-Vari Program scene modes, 3D Color Matrix Metering II, three-area autofocus, and support for Nikon’s wireless flash control system. New features in the D60 include more powerful in-camera RAW-to-JPEG conversion that allows the photographer to adjust numerous image parameters before saving the file; Nikon’s Active D-lighting feature, which opens up dark shadows while preserving highlight detail as a shot is taken; and a focus indicator that can be displayed in the viewfinder instead of the exposure meter to aid manual focus. The D60 also outdoes the D40x by capturing stop-motion movies, with selectable frame rates and sizes. Movies can be previewed on the LCD and adjusted before being saved as an AVI video file. Other additions include a digital cross filter for adding star effects to specular highlights, an RGB intensifier that lets the photographer increase the saturation of each color channel separately, and redeye correction. The D60 will be available in February 2008 in a kit with the AF-S DX Nikkor 18-55mm f/3.5-5.6G lens. Pricing for the D60 with 18-55mm VR lens kit will be $749.95

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Panasonic Lumix DMC-TZ50 : Panasonic introduced a new addition to its award-winning TZ-family of digital cameras, the Panasonic LUMIX DMC-TZ50, complete with Wi-Fi capabilities, standard 802.11b/g wireless LAN connectivity and access to T-Mobile HotSpot service, users can upload digital photos taken with the Panasonic TZ50 directly to Picasa Web Albums, a free online photo-sharing service from Google. The 9.1 megapixel Panasonic Lumix TZ50 is packed with a 28mm wide-angle lens, 10x optical zoom and the ability to record HD video, making it the ideal digital camera for active users. The Panasonic Lumix DMC-TZ50 will be available in silver in May 2008 for a manufacturer’s suggested retail price of $449.95.

Panasonic Lumix TZ50 - Share photos “This advanced digital camera makes it possible for users to share their photos with friends and family with unprecedented ease and without a computer,” said Alex Fried, National Marketing Manager, Imaging, Panasonic Consumer Electronics Company. “Active users will appreciate the Panasonic Lumix TZ50’s Wi-Fi capabilities so they can share photos while on-the-go, but they will also benefit from HD video recording, a 10x optical zoom and a 28mm wide-angle lens, so capturing images, whether far or wide; moving or still, is all possible with this compact camera.”

Panasonic Lumix DMC-TZ50 camera - Hotspot service and Web Album Panasonic uses the T-Mobile Hotspot service and Picasa Web Albums’ APIs to create a new optimal online environment and community for sharing digital photos. After taking photos with the new Panasonic Lumix DMC-TZ50, users will be able to wirelessly send one or multiple photos at a time, directly to Google’s Picasa Web Albums. Users can connect to standard wireless home networks, but furthermore, the Panasonic TZ50 can also connect to the T-Mobile HotSpot Service, which provides fast and reliable Wi-Fi Internet access at more than 8,800 public locations throughout the United States, including Borders Books & Music stores, Hyatt Hotels and many major airports. The Panasonic Lumix TZ50 comes with an offer for 12-months of complimentary T-Mobile HotSpot W-FI service.

Panasonic TZ50 wireless camera - Cell phones and Account Users can register one email account with their Panasonic TZ50, so after uploading their photos to Picasa Web Albums, they can have the URL to that album sent to the registered account. Since many cell phones and smartphones receive emails, users can register their own email address and then forward that Picasa Web Albums URL to friends and family, all while away from home and without using a computer. In addition, users can browse their albums to confirm that photos have been successfully uploaded, and choose to delete uploaded photos directly on the digital camera.

Panasonic Lumix DMC-TZ50 megazoom camera - High Definition and SD memory The new Panasonic Lumix TZ50 is the latest member of the Lumix TZ-Series, renowned for packaging a 28mm wide-angle 10x optical zoom Leica DC lens (equivalent to 28-280mm on a 35mm film camera) into a compact body. The 28mm wide-angle lens captures subjects and scenes wider at the same standpoint than a normal 35mm camera. Notably, the new Panasonic TZ50 integrates the capability of recording 720p HD (high-definition) motion pictures together with its direct output function allowing users to enjoy watching both still and motion pictures in impressive HD quality on a HDTV via an optional component cable or by inserting the SD Memory Card into the SD slot, which is available on all Panasonic VIERA HDTVs.

Panasonic Lumix cameras - Intelligent mode and Operate The Panasonic Lumix TZ50 also incorporates Panasonic’s advanced Intelligent Auto (iA) mode consisting of seven intuitive technologies, all which are specifically designed to help make photo-taking enjoyable and easy. When in Advanced Intelligent Auto mode, various technologies all operate automatically; the consumer does not need to change any settings.

Panasonic Lumix DMC-TZ50 features • Intelligent Exposure - Photos will no longer be under- or over-exposed. Instead, the TZ50 instantly analyze the framed image and adjusts the brightness in areas that are too dark because of dim lighting, backlighting or the use of the flash. The camera will automatically adjust the brightness accordingly. • Digital Red-eye Correction - Helps eliminate the red-eye problem that sometimes results when taking flash shots at the night. Incorporated into the built-in flash, the camera emits a small preliminary flash before the main flash, detects red-eye and will digitally correct it. • MEGA O.I.S. - Gyrosensors detect hand-shake and the lens system shifts to compensate, helping to prevent hand-shake from creating a blurry image and Intelligent ISO - Determines if the photo subject is moving and change the ISO setting and shutter speed accordingly. • Intelligent Scene Selector - Senses the ambient conditions, recognizes the shooting environment and will automatically select the appropriate scene mode from: Scenery, Portrait, Macro, Night Portrait or Night Scenery mode. This intuitive technology, helps the consumer use the most common scene modes that are built into the camera, but often go unused, without making any manual adjustments. • Face Detection - Detects faces anywhere in the frame and automatically chooses the optimal focus and exposure settings so portraits come out clear and crisp. Detecting up to 15 faces, Panasonic’s Face Detection can even track a face if the subject is moving and Continuous AF – The Continuous AF (auto focus) system maintains focus on the subject even without pressing a shutter button halfway, thus minimizing the AF time.

Panasonic DMC-TZ50 wireless megazoom camera - Brightness and High resolution LCD Once a user is in iA mode, these multi-capable functions happen automatically no adjustments or settings changes need to be made. Furthermore, the Panasonic DMC-TZ50 boasts Intelligent LCD function, which detects the lighting condition and controls the brightness level of the LCD in 11 fine steps, to offer a display with excellent clarity in any situation with the newly developed 460,000-dot high resolution in 3.0-inch LCD screen.

Panasonic Lumix DMC-TZ50 - Image processing LSI and Effects The Panasonic TZ50 incorporates the Venus Engine IV, Panasonic’s new high-performance image processing LSI. The Venus Engine IV produces higher-quality pictures than its predecessor, the Venus Engine III, by using a more advanced signal processing system. The new Venus Engine IV also improves noise reduction, elevates the detection accuracy and corrective effects in both MEGA O.I.S. and Intelligent ISO and reduces the shutter release time lag.

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Sony will launch a new Cyber-shot series digital camera, the DSC-T300, in the Taiwan market on March 21 at a recommended retail price of NT$13,980 (US$456), according to Sony Taiwan.

The DSC-T300 features a 10.1-megapixel resolution, 3.5-inch 230,000-pixel TFT-LCD screen, 5x optical and 2x digital zoom, Enhanced Face Detection and Child Priority Face Detection. Dimensions are 94×59.3×21.4mm (W×H×D) with a weight of 149g not including battery or memory card.

The price of DSC-T300 is 7-13% lower than the NT$15,000-16,000 charged for its preceding models, according to industry sources. Sony currently has the largest share of Taiwan’s digital camera market at 25-30% in terms of sales volume, followed by Canon with 20-22%, the sources indicated.

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3 March 2008 - Kodak’s latest M-series model is the stylish little M863, a small snapper that features face detection AF and Perfect Touch technology. So, it looks nice and has some nice features but is it any good? Let’s find out.

Kodak’s range of new models grows apace and the Kodak EasyShare M863 represents the mid-range in its M-series of compact models. Available in three liveries: red, black and silver, it is small and stylish to look at and hits the shop shelves at an attractive £99.99.

It is standard fare otherwise, with an 8.2-megapixel sensor and Face Detection AF, which certainly works well enough on those directly facing the camera, but I found it struggled with faces in profile for example. However, the AF system as a whole is actually rather good using five selectable zones, a 5-zone multi setup or you can pick just the central AF zone for subjects that prove slightly more challenging, such as when shooting macro subjects.

However, it’s quite slow, particularly in macro mode but once focused it proved reliable in most situations. Only low contrast and very busy subjects, such as cluttered fencing or tree branches, for example, caused it to hesitate or refuse to play ball.

In terms of overall handling though, the camera’s small size makes it very portable and it’s light weight, chiefly achieved through the camera’s predominantly plastic build, means it’s very pocketable.

However, the mode dial on the top plate is tiny, almost impossible to use with gloves, as the knurled edges are so small. The dial is used to select the camera’s main shooting options such as auto, scene (or subject program) modes of which you get 18 modes in all and that include all the usual suspects: portrait, landscape, fireworks, text and museum modes, to name a few. There’s a macro mode (for subjects closer than 28cm) and you get to the digital anti-shake mode here too.

The latter simply bumps up the ISO to the top ISO 1600 setting, so watch out for image noise, more on this later. The shutter and flash buttons sit next to the mode dial while on the back a small lens zoom switch moves the optics through the 3x 34-102mm focal range. A fast F2.8 to F5.2 maximum aperture range looks good but the aperture control is a simple two-step affair – you either use F2.8 or the minimum F5.1 setting.

The camera’s menus are large and simple to follow, each set of menus is separated into three tabs and the large 230k-pixel screen makes both the menu size nice to use and of course the quality of image playback when you’re snapping. The so called “indoor/outdoor” LCD is sharp and colourful and is surprisingly nice to use, even outdoors but it has a reflective surface which can become frustrating at times in direct lighting.

Start up takes around 2 seconds, then another second for the camera system to “wake up” so all average so far. The camera’s sluggish AF system compounds the slight shutter lag problem, which takes a while to get used to, once there though, you can work around it but again, at this level of the market, this is not overly bad.

In terms of other controls, there is a modicum of manual settings such as exposure compensation (in auto modes but not in scene modes) of +/-2EV, the usual array of semi-automatic white balance (WB) settings (tungsten, daylight, etc.) as well as a fully auto WB mode of course.

Sensitivity settings are comprehensive with an ISO 64 to ISO 1600 range, metering provides a TTL, centre-weighted and spot options, so providing a useful amount of controllability in varied or difficult lighting conditions.

Controls on the back include a circular four-way jog button that can toggle the screen’s display (you can have framing guides, shot images and the like displayed – or not) and you also get a central “OK” button to select a choice in a menu or to display an image if