Digital Camera Review

Nikon DSLRs prepare for takeoff

2010-06-18T07:56:00.000-07:00

Nikon has announced that the Russian Federal Space Agency has ordered three Nikon Digital SLR cameras, four interchangeable lenses, software and various accessories to be used on board the International Space Station (ISS). The equipment will be transported to the space station by the Soyuz TMA-19 spacecraft, to be launched from the Baikonur Cosmodrome on June 16, 2010. The cameras subject to the order are one Nikon D3S and two Nikon D3X DSLRs. The lenses include the AF-S Nikkor 400mm f/2.8G ED VR supertelephoto lens.

The D3S, released in late 2009, has a newly designed full-frame, 12 megapixel sensor that features extraordinary low light performance up to 102,400 ISO, continuous shooting of up to nine frames per second and high definition video. The D3S was reviewed by DCR this past April and awarded 4 ½ stars out of 5, with our reviewer stating that it is "probably among the most capable pro DSLRs on the market today." The D3X, released in late 2008, has a full-frame 24 megapixel sensor. We also had the chance to review it earlier this year. DCR contributor Theano Nikitas stated that "the D3x's image quality is stunning." The AF-S Nikkor 400mm f/2.8G ED VR, released in 2007, is constructed with extra-low dispersion glass elements that minimize chromatic aberration, producing high quality images, an extra-low refractive index coating and a meniscus protective glass element.

The new equipment will be used along with other Nikon SLR cameras and lenses already being used by Russian cosmonauts in the Russian portion of the space station.
The United States also makes use of Nikon equipment in space. In 2009, NASA ordered eleven D3S cameras and seven AF-S Nikkor 14-24mm f/2.8G ED lenses for use in recording activities aboard the space shuttle and the International Space Station.
For additional information, see Nikon's press release.

Panasonic FX75 gets pricing

2010-06-18T07:41:00.000-07:00

The Panasonic Lumix FX75, announced last week, gets a price tag today. Panasonic lists the suggested retail price at $299.95. The FX75 will be available in mid-July in either black or silver.

The Lumix FX75's bright f/2.2 lens is the standout feature. It offers a 5x optical zoom range starting at an equivalent 24mm at wide angle. The FX75 also features Panasonic's Venus Engine HD II processor, a 14.1 megapixel sensor and 720p HD video recording.

The introductory pricing of $300 is $50 less than the MSRP for Canon's similar PowerShot SD4000 IS "High Sensitivity" camera. Like the FX75, it features a faster-than-usual lens at wide angle. The SD4000 uses a backside-illuminated CMOS sensor, where the Lumix FX75 uses a CCD chip.

Sony alpha NEX-5 Review

2010-06-12T17:49:00.000-07:00

The joint development of the Micro Four Thirds system by Olympus and Panasonic allowed them to be first in the market with mirrorless, interchangeable-lens compact digitals that offer DSLR-like image quality in sub-DSLR size camera bodies. Olympus announced their E-P1 in mid June 2009; Panasonic their GF1 in early September. The partners had this niche to themselves for the rest of 2009 and into the second quarter of 2010, but now there is competition looming.

Samsung has just introduced their NX10 and Sony has thrown their hat into the ring with the recently announced NEX-3 and alpha NEX-5, due in the market this July. Barely a week after the Sony announcement, an NEX-5 found its way to my door. The ink was hardly dry on my review of Samsung's NX10, so the opportunity to shoot the newest entries into the class back-to-back (along with the GF1 back in October 2009) has given me hands-on time with three of the four players in the field.

While Samsung drifted from the rectangular, boxy body shape that characterizes the Olympus and Panasonic cameras, Sony has embraced their concept with a vengeance. The NEX-5 press release calls it (and the NEX-3) the "world's smallest and lightest interchangeable lens digital cameras." Even so, the NEX-5 packs a 14.2 megapixel Sony APS-C Exmor CMOS sensor that results in a 1.5x crop factor (35mm equivalent) for any lenses mounted on the camera. One benefit of that sensor resolution is the ability to crop images fairly aggressively if necessary while still retaining sufficient data for quality photo enlargements. This shot cropped to 8 x 12 inch size still has 228 dots per inch and will produce a good quality print.

Sony will launch the camera with 16mm pancake and 18-55mm zoom lenses available; an 18-200mm zoom is due later in the year. The NEX cameras carry the "Alpha" designation (like the DSLR line), but the NEX lens mount is an "E" mount, not the "A" mount found on the big Sonys. An adaptor for "A" mount lenses is due in July, but will not support autofocus.

The NEX-5 has a 3.0-inch articulating monitor, can shoot 1080i HD video in the AVCHD format and provides automatic and full manual controls as well as JPEG and RAW shooting capabilities. There's face detection, smile shutter technology, Sony's Bionz processor and compatibility with Sony Memory Stick Pro Duo or SD/SDHC/SDXC memory media. Sony provides a compact clip-on flash and flash case with each camera, as well as battery and charger, USB cable, CD-ROM software, shoulder strap, instruction manual and the 16 or 18-55mm lens depending on the kit chosen.

It's small, it's light and it's the newest in this fight - let's see just what the NEX-5 brings to the arena.

Nikon Coolpix S8000 Review

2010-06-12T17:36:00.000-07:00

The Nikon S8000 is a very capable and very slim camera. The 10x optical zoom range offers great flexibility, though auto-only shooting may disappoint advanced shooters.

After schlepping around a 35mm kit with two Nikon camera bodies, several lenses, and a full sized Bogen tripod for many years, I've come to appreciate small, easily pocketable cameras like the Nikon Coolpix S8000. When our test unit arrived, I was immediately impressed and after two weeks of carrying the camera with me just about everywhere I went, my initial impressions haven't changed. The little black S8000 (the camera is also available in silver, red and brown) is about the size of an Altoids tin and provides a nice balance of usability, simplicity and snappy performance.

The tiny low-profile S8000 is a first-rate picture maker that's capable of capturing super images indoors and outdoors. The S8000's collapsible 10x zoom is like carrying a 30-300mm lens around in your shirt pocket. It's also quick enough to capture the decisive moment. Here's my bottom line (at the top of the review): if you want a compact digicam that gives up the biggest bang for your camera buck and you don't need some level of manual exposure capability - you really can't do a whole lot better than the S8000 at this point in time.

BUILD AND DESIGN
At first glance the diminutive auto-exposure only S8000 looks pretty much like every other ultra-compact digicam out there. On closer inspection this little unit seems rather elegant. It's unobtrusive, understated (at least the black version) and eminently pocketable. The S8000 is truly compact, measuring 2.3x4.1x1.1 inches and weighing in (with battery and memory media) at just 6.5 ounces.

The robustly built metal-alloy/polycarbonate body has good dust/weather/moisture seals and feels comfortingly solid. Even though the S8000 is very thin and has smooth surfaces, it is fairly stable in the hands thanks to the nicely placed wrist strap and contoured thumb rest.

Not only does the Coolpix S8000 slip easily into a standard shirt pocket or a small purse, but it carries nicely when gripped loosely in the palm of the hand with the wrist strap looped around the right hand. Areas vulnerable to loss/breakage include the plastic cover of the battery and memory media compartment (which must be locked/unlocked via a tiny slider by the user) and the soft plastic flap over the USB port.

Ergonomics and Controls
The S8000's user interface is uncomplicated and straightforward. The control layout is quite basic and sufficiently similar to other current digicams in the compact ultrazoom class to provide most users with a comforting sense of déjà vu. Buttons are logically placed and come easily to hand for right-handed shooters, but they are all rather small. The super tiny on/off button sometimes requires an extra push or two to power the camera up or down.

The S8000's user interface is logical and uncomplicated; all buttons are fairly small, but they are clearly marked, sensibly placed and easily accessed. Operation is very basic and all exposure options are minor variations on the auto exposure theme. There is no mode dial because shooters only have four options - Auto mode, Scene mode, Smart Portrait, and Movie mode. In place of the standard compass switch, the S8000 features what is essentially a rotary jog dial (which Nikon calls the rotary multi-controller) for super fast menu scrolling and back and forth saved image comparison.
The central portion of the rotary multi-controller functions in the familiar compass switch control configuration - up/down (flash/macro), left/right (self timer/exposure compensation), and center "OK" button. Unfortunately there is no direct access method, like Canon's "func" button for adjusting ISO and White Balance or other often changed settings; any adjustments must be accomplished via menu. There's also a dedicated "one-touch" button for starting and stopping video capture.
Menus and Modes
The S8000's two tab menu system is consistently simple, user-friendly, logical and easily navigated. The large 3.0-inch LCD and reasonable font size make reading the menus easy.

Here's a breakdown of the S8000's shooting modes:

Auto: Point-and-shoot mode with limited user input. In Auto mode (which is actually closer to Program mode) the camera selects the aperture and shutter speed, but allows users to control sensitivity (ISO), white balance, color/saturation, and exposure compensation.

Scene mode: Scene Auto Selector (which automatically selects the most appropriate Scene mode for the shooting situation), Portrait, Landscape, Night Portrait, Party/Indoor, Beach/Snow, Sunset, Dusk/Dawn, Night Landscape, Close-Up, Food, Museum, Fireworks Show, Copy, Backlight, and Panorama Assist.

Smart Portrait mode: Specialized portrait mode that automatically turns on the Skin Softening function to smooth out skin texture and minimize blemishes. The Smart Portrait mode also activates the Smile timer (tripping the shutter when the priority subject smiles), Nikon's Blink Proof function which automatically captures two sequential exposures and then saves the one in which the subject's eyes are open, and Subject Tracking in which the camera locks focus on and automatically tracks the movement of the primary subject to assure sharp focus and rapid response when the "decisive moment" occurs. Subject Tracking continues to function even if the subject briefly exits the frame.

Movie: The camera records HD video at a maximum resolution of 1280x720 at 30 fps) with stereo sound.

Display/Viewfinder
Like most currently available digicams the S8000 doesn't provide an optical viewfinder so the LCD must be used for all framing and composition, image review and menu access chores. The S8000 may lack an optical viewfinder, but makes up for this omission by adding a large screen with what amounts to four times the 230k resolution of some of its competition. The S8000's wide-viewing angle Clear Color 3.0-inch TFT LCD is super sharp (920,000 pixels), bright, hue accurate and fluid.

The info display provides all the information the camera's target audience is likely to need, but in review mode this information remains on the screen for approximately five seconds before allowing the image to be seen without the info overlay - defeating the nifty rotary jog dial's ability to compare saved images by jogging back and forth between them. The LCD gains up (automatically increases brightness) in dim lighting and can be adjusted to the individual shooter's preferences. Some earlier "S" models featured LCDs that were so shiny that they behaved like mirrors, making them essentially useless in bright outdoor lighting - the S8000 shows marked improvement over its predecessors with a very good anti-glare/anti-reflection coating.

Canon PowerShot A3100 IS Review

2010-06-12T17:08:00.000-07:00

Canon's Powershot A3100 IS is the latest in its "A" series of digital cameras, a line that has enjoyed popularity and customer loyalty since A20 launched 10 years ago. Its popularity is mostly due to the "A" series reputation for delivering excellent image quality and dependable performance. Budget-conscious shooters loved earlier "A" series digital cameras because they were like an inexpensive - and slightly stripped down - version of Canon's "G" series digicams.

The A2000 IS, which was introduced in 2008, was the first step in Canon's makeover of the venerable "A" series. The A2000 was an auto-exposure-only point-and-shoot that lacked manual exposure capability, an optical viewfinder and a handgrip. With the A3100 IS, which replaces the popular A1100 IS, Canon's revolutionary "A" series makeover feels complete.

On the surface, the A3100 IS bears a discernible family resemblance to earlier A series digicams, but under the hood presents a major departure from the basic design philosophy that defined its predecessors. The A3100 IS (like its predecessors) provides excellent bang for the buck. Will it help maintain Canon's dominance in this highly competitive market segment? Let's find out.

In general, the A3100 IS's styling is similar to earlier "A" series cameras; its metal alloy and polycarbonate body is compact, stylish (in a practical sort of way) and durable. The camera feels good in the hand - although a bit small - and is easy to operate. Canon's "A" series digicams have always been powered by relatively cheap and universally available AA batteries, but the A3100 IS (and its nearly identical sibling the A3000 IS) are the first "A" series cameras to be powered by proprietary Canon Lithium-ion battery packs.

The A3100 also incorporates a slight redesign of the control array and a new simplified two tab menu system. Its predecessor featured an optical viewfinder and a rudimentary handgrip; the newest PowerShot eschews both. The A3100 IS is smaller (by about 25%) than its predecessor and looks like a shrunken version of earlier A models. Previous "A" series models were very popular with photo enthusiasts and more serious shooters because they provided a useful range of manual exposure options (Aperture Priority mode, Shutter Priority mode and a full Manual exposure mode), but the A3100 IS uses the same auto exposure-only system as the A1100 IS.

Unlike earlier "A" series units, the A3100 IS is thinner, lighter, easier to use than earlier "A" series digicams and easily pocketable. Earlier "A" series cameras were also marketed to a broader demographic, including photo enthusiasts, but the A3100 IS is clearly targeted toward snap-shooters and casual photographers.

The A3100 IS's user interface is logical and uncomplicated; all buttons are reasonably large, clearly marked, sensibly placed and easily accessed. Operation is basic and all exposure options are minor variations on the auto exposure theme. The four-way controller and FUNC button provide direct access to the most commonly changed/adjusted (exposure compensation, WB, ISO, My Colors, flash, macro mode, etc.) features and functions. Kudos to Canon for keeping the exposure compensation button at the top position on the compass switch, making minor exposure adjustments (incrementally lightening or darkening images) easy.

The A3100 IS's mode dial is one of the best I've seen with a logical, almost intuitive layout, but its placement (top right hand corner of the camera body) is a bit disconcerting since it is very close to and directly in line with the on/off button and the slightly-too-small shutter button. Ergonomically, the shutter button should always hold the top right hand corner position.
The mode dial has five dedicated scene positions: portrait, landscape, night snapshot, kids & pets, and indoor. In addition, there is a general scene mode position that leads to a list of less commonly used scene modes including face/self-timer, low-light (2.0 megapixels at 1600 ISO), super vivid, poster effect, beach, foliage, snow, fireworks and long shutter. There's also a dedicated face detection mode button. Canon obviously designed the A3100 IS to as easy to use as possible and most purchasers won't have difficulty using it right out of the box.
Menus and ModesThe PowerShot A3100 IS features a simplified two tab version of Canon's classic menu system. The A3100 IS's menu system, accessed via a dedicated button beneath the compass switch, is logical, easy to navigate and simple, since the camera permits only minimal user input. Push the menu button and the "camera/setup" sub-menus appear. The A3100 IS provides an acceptable selection of shooting modes including program, auto, easy and video/movie modes, and a small, but adequate, selection of automatic scene modes. Here's a complete list of the A3100 IS's shooting modes:

Smart Auto: Automatic scene recognition mode that instantly compares what's in front of the lens with an on-board image database and then matches that information with the specific scene's subject distance, white balance, contrast, dynamic range, lighting and color (just before the image is recorded) to determine the best exposure.

Easy: The camera makes exposure decisions with no user input permitted, except for flash on/off.

Program: Auto exposure with limited user input (sensitivity, white balance, etc.)

Scene: portrait, landscape, night snapshot, kids & pets, indoor, face/self-timer, low-light, super vivid, poster effect, beach, foliage, snow, fireworks and long shutter.

Movie: The camera records VGA video at a maximum of 640 x 480 at 30 fps for up to 4GB or one hour.

Like many currently available point-and-shoots, the A3100 IS doesn't have an optical viewfinder, relying instead on the LCD for all framing/composition, captured image review and menu navigation chores. Most casual shooters don't use optical viewfinders and in many shooting scenarios (macro, festivals, events, portraits), it is quicker and easier to watch the decisive moment come together on the LCD screen than it is through the optical viewfinder.

The A3100 IS may lack a viewfinder, but makes up for it by adding a slightly larger (2.7-inch versus 2.5-inch) LCD screen with double (230K versus 115K) the resolution. The A3100 IS's TFT LCD screen is bright, hue accurate, relatively fluid and automatically boosts gain in dim/low light, and it displays exactly (100% of the image frame) what the lens sees.
The A3100 IS's LCD works fairly well for framing, composition, captured image review and menu navigation. The user-enabled composition grid display is a nice and useful touch, but it is, like all LCD monitors, subject to fading and glare in bright outdoor lighting. The A3100 IS's nifty chronological image review/compare option makes it easy to select the best picture from a sequence of similar images. Photographers who try to "nail" the shot by covering static subjects from various perspectives - like me - will love this feature.

PERFORMANCE
While the Canon A3100 IS doesn't look like earlier "A" series cameras, it uses essentially the same exposure system that made its predecessors popular. Exposure is automatically managed by the camera's DIGIC III processor, which combines most primary camera functions (image interpolation and processing, auto exposure, white balance, JPEG compression, gain control and power management) in one chip that improves efficiency and processing speed. In all exposure modes, the camera automatically optimizes all exposure parameters (aperture, shutter speed, sensitivity, WB, etc.) to consistently produce correctly exposed images.

Shooting Performance
Timing (speed of operation) is one of two most important considerations when assessing digital camera performance, and the other is image quality. The A3100 IS comes in right at the top when compared to its competitors, with the exception of the continuous shooting rate, in terms of operational speed.

Samsung pairs with Boingo Wireless to provide WiFi access

2010-06-12T06:42:00.000-07:00

Boingo Wireless has announced an agreement with Samsung to provide Boingo's wireless access software on wireless-capable Samsung digital cameras. Boingo is the world's largest network of Wi-Fi hotspots. Boingo has Wi-Fi access points at more than 125,000 hotspots worldwide, including Starbucks coffee stores, hundreds of airports and thousands of hotels.

Initially, Boingo software will be pre-installed on the Samsung CL80 digital camera (known in Europe as the ST5500). The CL80 is a compact point-and-shoot camera with a 14.2 megapixel sensor, HD video recording, a 3.7-inch wide 1,152,000 dot AMOLED touch-screen LCD, 7x optical zoom and Wi-Fi and Bluetooth wireless connectivity. Users will be offered three months of complimentary Boingo Wi-Fi access. Support for additional Samsung models will be announced as they become available.

The Samsung CL80 digital camera with Boingo pre-installed is available in most regions worldwide. U.S. availability will be announced in the near future. Customers will receive the first three months of Boingo free by registering at Boingo's webiste. After the promotion period, customers will have the option of subscribing to Boingo for $7.95 per month.

Pentax K-x Review

2010-01-23T07:44:00.000-08:00

With its bearing in the upper entry-level market, the new Pentax K-x DSLR borrows its compact build from the K2000 (a.k.a. K-m) while sharing some of the features of their pro K-7. There are some unique functionalities behind the Pentax K-x, like HDR in-camera processing, a fast continuous shutter of 4.7 frames per second, and some great in-camera processing features. We'll discuss all this and more further on down.

The K-x also has some pretty standard features that are quickly becoming mainstays in the DSLR market, like a 12.4 megapixel APS-C sized CMOS image sensor, 11-point auto focus, 1280x720 HD video capture (at 24 fps, which is the standard speed for cinema motion picture capture), live view and an image stabilization system.

Another feature unique to the K-x is that it comes in four different colors, including black (our unit), white, and the harder to find navy and red. It certainly seems to have all the ingredients for a great camera. Its street price of $650 (body with 18-55mm kit lens) will get you some unique processing options, decent continuous shooting speed, HD video, 1/6000th sec. shutter speed max, and expandable ISO up to 12800. We took it through the paces, with the good folks at Digital Camera Review testing it in the lab and me in the field, and we have a comprehensive look at the Pentax K-x for you.

Fujifilm FinePix F70EXR Review

2010-01-23T07:39:00.000-08:00

Fujifilm's FinePix F70EXR is (as of November 2009) the "World's smallest digital camera with a 10x optical zoom." The svelte new F70 (which replaces Fuji's F60fd model) also incorporates the nifty EXR technology introduced earlier this year on the very popular Fujifilm F200EXR. What sets both EXR cameras apart from the competition is the new Super CCD EXR imaging sensor.

The F70's Super CCD EXR imaging sensor incorporates larger pixels and a novel new layout that (according to Fuji) permits the sensor to capture more light over a shorter period of time than standard sensor arrays. The Super CCD EXR sensor works in tandem with Fuji's new Real Photo Processor EXR for faster camera operation, lower noise levels, improved dynamic range, brighter colors, and sharper images.

The icing on the cake may be the F70's new color saturation choices based on well-known Fuji 35mm slide films like Velvia, Provia, and Astia. If all that's not enough, the F70EXR offers control-conscious shutterbugs an aperture priority mode and a full manual exposure mode. Other neat features include dual image stabilization, third generation Face Detection, a Portrait Enhancer mode, and sensitivity settings up to ISO 12800. That's a lot of functionality for a shirt pocket digicam.

Samsung DualView TL225 Review

2010-01-23T07:32:00.000-08:00

Is it all about the image created, or the unique features of a camera? That's often a question I ask myself when reviewing a new camera. The new Samsung DualView TL225 is by no means short on innovative features, including a dual LCD system that consists of a 3.5 inch touch screen on the back and a 1.5 inch LCD on the front for taking self-portraits, haptic feedback that causes the rear LCD to vibrate when you change settings, and 720p HD video capture.

The concern here is that some of these features are gimmicks instead of tools designed to help a consumer who wants to take great pictures. The Samsung TL225 takes away the mode dials and almost all physical controls except the shutter and power buttons, replacing them with said 3.5 inch touch screen. A full slate of neat features is only useful if they are implemented well.

The TL225 also comes packed with a 12.2 megapixel CCD image sensor, a Schneider-KREUZNACH 4.6x optical zoom lens, face detection, dual image stabilization via digital and optical means, and a Smart Auto shooting mode that analyzes your composition and automatically selects the optimal settings for you. Taking it all in at first glance, the TL225 comes across as a camera that is stylish, sleek, and obviously unique. Let's see if these new features are just a gimmick or if they add up to a unique shooting experience.

BUILD AND DESIGN

When I first took out the DualView TL225 I was instantly impressed by its attractive build and small form factor - then I turned it over to find the expansive touch screen. Though the prospect of shooting with almost no physical buttons seemed daunting, once I turned on the camera and used it for a while those feelings changed.

Ergonomics and Controls

The TL225 is a small camera, no question, measuring 3.93x2.35x0.73 inches and weighing only 5.8 ounces. The slim build makes two-handed shooting feel like a must to avoid accidental contact with the front and rear LCDs.

That's not the case though, shooting with one hand worked as well. I tested it with my big claws to see if placing my thumb on the back and three fingers on the front would disrupt shooting, and it didn't. It looks like Samsung hashed out that very problem before it went to market. But as with most any touch panel, the oil from your fingers leaves traces all over the camera's LCDs.

The buttons (a grand total of four) are all placed on top of the camera. The power button, sunken in slightly to avoid accidental activation, is a bit tricky to press on and off. You really have to push your fingernail down in to start the camera. The other buttons include playback to initiate image review, a small zoom lever, and a shutter button, which is the largest analog button on the TL225. Overall, buttons are placed where you'd expect them to be, though they could be a bit too small for some users. Sacrifices must be made for such a large LCD.

The retractable lens completely shrinks into the camera body. The flash is small and stays out of your fingers' way. There's not much room for your hands and fingers when all is said and done, relegating your hand to the outer rim of the camera since most of the real estate of the TL225 is dedicated to the DualView LCD system.

Menus and Modes

Samsung's TL225 touch screen menu system uses haptic response to confirm your selections. A press of the tab icon along the bottom of the screen pulls up settings for AF, image quality settings, white balance, EV scale, metering, and picture styles. Another mainframe button on the touch screen is the Menu button in the lower right portion of the LCD - by pressing it you can get into the real nuts and bolts of the TL225 - everything from haptic strength to changing the language.

You keep reading the term haptic about this touch screen system. Essentially, this feature gives you a tangible feeling when you select something on the touch screen by vibrating it to confirm your selection. This is similar to some other devices like a joystick controller on a video gaming system that shakes when you are in game play, or a cell phone, and is in the same vein here, except it gives you a tangible vibration to confirm your selection. This is nice, because it makes the touch screen feel more like a real button system. The menu system is intuitive and easy to understand, especially the GUI and menu system. It looks modern and refined, and at 1,152,000 dot resolution, it's the sharpest LCD we've seen on a compact camera to date.

There are five shooting modes for the TL225, including Smart Auto, Automatic, Program, Scene Modes (13 individual scenes) and Dual Image Stabilization that enacts both forms of IS.

Here's a rundown of the shooting and scene modes:

Smart Auto: The TL225 automatically chooses all of the camera settings (the only thing you can change is resolution).
Automatic: Similar to Smart Auto, except you can change the AF area, IS, face detection, picture style and a few other things.
Program: The setting with the most manual control of all shooting modes. You're given control over exposure value, white balance, ISO sensitivity, focus area, face detection, resolution, size, metering, and drive mode. Additionally, you are able to adjust contrast, sharpness and brightness. Various picture styles can be applied in this shooting mode.
Dual: Enables digital and optical image stabilization, and gives you control over exposure, white balance, AF, face detection, resolution, size and metering.
Movie: Shoots 1280x720 HD video, allowing you to choose between 15 fps or 30 fps, video quality, WB, exposure, and metering.
Scene Modes: User chooses from 13 different shooting modes. They include Beauty Shot, Frame Guide, Night, Portrait, Children, Landscape, Close Up, Text, Sunset, Dawn, Backlight, Fireworks, and Beach & Snow.

Display

Depending on which display you're speaking of, the front or the back, they are both pretty cool. The DualView system that the TL225 utilizes is the most unique feature of the entire camera. Let's first talk a little bit about the front, or the self-portrait LCD. It has a resolution of 61,000 dots, and is enacted when you simply press it, giving you a view of exactly what your self-portrait looks like. Other functions of the LCD include a numeric countdown in self-timer mode, and when you are in baby mode, the front of the camera displays a clown animation that will help the infant or toddler to focus.

The rear LCD is big and bright, and takes up the entire back panel. Just like an iPhone, when in playback with the TL225 you can swipe back and forth to move images in succession, also by making an "X" with your finger you can delete an image you don't want. The haptic touch, the easy and intuitive menu system, and the sheer size of the LCD make it far superior to any touch screen device or camera I've used. Not to mention that the front LCD is a unique feature that will intrigue all the self-portrait artists out there.

PERFORMANCE

Samsung's TL225 is a tiny camera that I really enjoyed shooting with on different occasions. It was light enough to lug around constantly, it was easy to put in my pocket, and was discrete when I didn't feel like drawing attention to my shooting of local parks and other places with people present. It has a few quirks that were undesirable, like when using the zoom lever, which only works when you have everything selected from the menu (it won't zoom in and out unless the camera screen is clear), a slow image buffer when it's processing images and saving them to your memory card, and probably one of the biggest pet peeves was that it only records to MicroSD cards, which can be easily lost because of their tiny size.

Speed-wise, the TL225 is a pretty middle-of-the-road performer, with just above bottom performance timings. But lab tests aren't everything - in the field, the TL225 worked quite well for what I needed, which was nothing more than a good picture in a reasonable amount of time.

Sony Cyber-shot DSC-G3 Review

2009-10-04T06:13:00.001-07:00

Nobody could accuse Sony of skimping on features for their Cyber-shot DSC-G3. With built-in WiFi, web browser, 4GB internal memory, and a sizable 3.5 inch touch screen, this slender camera differentiates itself from every other consumer digicam on the market. But is the G3 just a techno novelty, or is it worth its premium price tag?

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Nikon D300S Review

2009-10-04T05:05:00.000-07:00

Comparing spec sheets, we knew that the Nikon D300S wouldn't be a major overhaul of the pro photographer's favorite workhorse, the D300. The D300S most notably adds HD video to the existing model, perhaps making it more of an attractive upgrade to D90 owners than current D300 users. There's plenty of good news here for anyone considering Nikon's newest pro DSLR, and it's all detailed in our full review.

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Kodak EasyShare Z950 Review

2009-09-06T21:44:00.000-07:00

The Kodak EasyShare Z950 calls to mind early point and shoots Kodak put out when ease of use and bright, colorful images were just about all you wanted from a digital compact. Now Kodak brings the same concepts to a much more advanced camera with manual controls, HD video and a 10x optical zoom. The result? A very capable, very modern compact ultrazoom.

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Panasonic Lumix DMC-GF1 added to Micro Four Thirds lineup

2009-09-06T21:22:00.000-07:00

Panasonic announces the Lumix DMC-GF1 today, their smallest interchangeable-lens system yet. The style echoes Panasonic's ultracompact lineup, but the GF1 is Micro Four Thirds all the way. It sports a 12.1 megapixel sensor, 720p HD video recording, and a 3.0 inch LCD. Two new lenses are also announced with the GF1.

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Panasonic Lumix DMC-GF1: Hands-on Preview

2009-09-06T21:16:00.000-07:00

Panasonic offered DCR a few hours with a pre-production Lumix GF1 at a press event in Germany this week. The first images and video emerging from the GF1 offer a glimpse at the performance of Panasonic's latest Micro Four Thirds offering - and European history. Take a look at how the Lumix GF1 fared in and around Berlin's Castle Charlottenburg.

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Canon EOS 7D: Hands-on Preview

2009-09-06T21:13:00.000-07:00

Canon offered us some one-on-one time with the just-announced EOS 7D, and with only a few precious minutes to spend with a pre-production unit, and we wasted no time putting it to work. Keep on reading for some initial impressions and samples from the brand spanking new Canon EOS 7D.

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Canon EOS 7D steps out of myth, into reality

2009-09-06T20:16:00.000-07:00

The Canon EOS 7D makes its official debut today alongside three new lenses. The rumor mill has been buzzing for weeks, and today the 7D steps out of the shadows and into cold, hard reality. At the heart of the 7D is an 18 megapixel APS-C CMOS sensor with improved low light capabilities and a re-vamped metering system. The EOS 7D also aims to blur the ever-blurring line between a still camera and a video camera, offering full 1080p HD recording at a variety of frame rates. Canon fans, it's time to start writing your letters to Santa.

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Casio releases Exilim Zoom EX-Z280 and EX-Z33

2009-09-01T07:32:00.000-07:00

Casio introduces today the slim Exilim Zoom EX-Z280 and EX-Z33. The Z280 offers more of the fancy stuff, like 720p video and sensor-shift image stabilization, and the back-to-basics Z33 features a 10.1 megapixel CCD and Casio's tried and true YouTube video recording mode. Both feature beginner-friendly "Easy" modes.

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Olympus E-600 announced with competitive price

2009-09-01T07:29:00.000-07:00

Olympus adds the E-600 to its beginner-friendly DSLR lineup this morning. With a 2.7 inch swiveling LCD, three in-camera art filters, and a 12.3 megapixel Live MOS sensor, there's a lot here that a first-time DSLR user would like. It offers advanced features like 4 fps shooting already found in the E-620 at a smaller price.

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Panasonic Lumix DMC-FX580 First Thoughts

2009-09-01T07:26:00.000-07:00

The Panasonic Lumix DMC-FX580 succeeds the FX500 as the latest model in the Panasonic lineup to feature a touch screen. The FX580 combines trendy touch interface with a new Venus Engine V and retains the 720p HD video recording and 25mm wide angle lens we've come to know and love in its predecessor. Read on for our first impressions.

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Sony Alpha DSLR-A850 joins flagship A900 as full-frame Alpha DSLR

2009-09-01T07:22:00.000-07:00

Sony launches their second full-frame DSLR today, the Alpha DSLR-A850. Like the flagship Alpha A900, the new A850 will feature a 35mm 24.6 megapixel CMOS sensor and a 3.0 inch 921k dot LCD. With a few exceptions, it's nearly identical to its predecessor. The A850 will start at $2000, a sweet price for a full-frame system.

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Sony Alpha DSLR-A500, Alpha DSLR-A550 unveiled

2009-09-01T07:14:00.000-07:00

Sony announces the Alpha DSLR-A500 and DSLR-A550 this morning sporting the latest generation of CMOS sensors. Coupled with their BIONZ image processor, the 12.3 megapixel A500 and 14.2 megapixel A550 are optimized for low-light performance and boast shooting at up to 12800 ISO.

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Canon PowerShot A480 Review

2009-09-01T07:12:00.000-07:00

The Canon PowerShot A480 showed a lot of promise in our First Thoughts. With the full review in, it's safe to say that the bargain priced A480 delivered on those promises. It's a basic point and shoot that serves up high quality images, ease of use, and dependable performance all under a hundred and thirty bucks.

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Users Speak Out: Panasonic Lumix DMC-LX3

2009-09-01T07:07:00.000-07:00

It's been almost a year since we reviewed the Panasonic Lumix DMC-LX3, but that doesn't mean we forgot all about it. This advanced compact is still a cornerstone in Panasonic's lineup and it's the spotlight of our Users Speak Out feature today. Take a look at what everyone's (still) saying about the Lumix LX3.

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Fujifilm FinePix Z33WP Review

2009-09-01T07:00:00.000-07:00

One look at the Fujifilm FinePix Z33WP and it's obvious that this camera is having more fun than you are. Fujifilm calls it the world's smallest waterproof camera, and they mean it. The Z33WP wraps up a 10.0 megapixel sensor, 3x optical zoom and a 2.7 inch LCD in a tiny water and dust-sealed body. Take a look at how it performed in and out of the water.

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Nikon Coolpix S620 Review

2009-07-23T03:42:00.000-07:00

BY: Howard Creech, DigitalCameraReview.com Contributor

In the old days, before digital cameras, Nikon was the film camera of choice for photojournalists, the only camera ever mentioned in the lyrics of a number one hit song, and one of the imaging tools NASA astronauts took to the moon. At the dawn of the digital age competition was vicious and Nikon wasn't as quick to see the writing on the wall as Canon and Sony.

Nikon's pro, semi-pro, and amateur DSLRs have always been well received, but their earliest digicams looked like something out of a Star Trek movie. The first Coolpix (the CP 900) was an innovative split-bodied design that allowed the zoom lens to move independently from the camera's LCD screen. The different look of the original Coolpix digicams didn't catch on as well with the public as Canon's more traditional looking cameras. Nikon's newest digicam, the "S" for style Nikon Coolpix S620, looks pretty much like every other ultracompact digital out there.

The S620 provides about the same balance of dependably good pictures requiring little user input and dead simple ease of use that distinguish many of today's popular consumer digicams, but it's smaller, lighter, and cheaper than many of them and sports a true wide-angle zoom. The camera design mavens at Nikon clearly don't believe the megapixel wars are over – so the S620 generates gargantuan 12 megapixel images, but it's small enough (2.1x 3.5 x 0.9 inches) to drop in a shirt pocket.

The auto exposure only Coolpix S620 is the little brother to Nikon's S630, but the differences are minimal and many users will likely opt for the S620's more versatile 4x wide-angle zoom over the S630's longer 7x zoom. The S620 is available in Silver, Black, Purple and Pink (my test unit was pink). Experienced shooters won't even need to check the manual before using the camera.

BUILD AND DESIGN
The S620 is an auto exposure only digital camera with no manual exposure capability. In Auto mode the camera selects the aperture and shutter speed, but allows users to control sensitivity (ISO), white balance, color/saturation, and exposure compensation.

Nikon's nifty D-Lighting function automatically enhances underexposed images by subtly lightening darker areas without affecting properly exposed areas. Nikon's BSS (Best Shot Selector) function automatically captures 10 sequential frames and then saves the one with the sharpest focus.

The Coolpix S620 supports SD and SDHC memory cards and provides 44MB of built-in memory – enough for seven full resolution images.

Ergonomics and Controls
The S620 is tiny, but it is fairly stable in hand (although it lacks any sort of serious handgrip) and it is dependably easy to use. Dedicated controls are minimal. All are logically placed and come easily to hand for right-handed shooters.

I really liked the S620's eminently logical rotary jog dial. The S620's compass switch features the familiar control configuration (up/down, left/right, and center button). In addition, Nikon incorporates a nifty rotary collar around its periphery for super fast menu scrolling and back and forth saved image browsing/comparison.

Menus and Modes
The S620's menu system is user friendly, logical, and easily navigated – the relatively large 2.7 inch LCD screen and reasonable print size make reading the minimal menus easy. Unlike comparable digicams from other manufacturers, the S620 doesn't provide direct access (via a "func" button or "Quick Menu") to the most commonly changed/adjusted camera settings and functions like white balance, sensitivity, image size etc.

Here's a breakdown of the S620's shooting modes:

Auto: Point-and-shoot mode with limited user input – the camera automatically selects aperture and shutter speed users can select sensitivity, white balance, exposure compensation, etc.
Scene: Scene Auto Selector (which automatically selects the most appropriate Scene mode for the situation), Portrait, Landscape, Sports, Night Portrait, Party/Indoor, Beach/Snow, Sunset, Dusk/Dawn, Night Landscape, Close-Up, Food, Museum, Fireworks Show, Copy, Backlight, Panorama Assist, and Voice Recording.
Smile: Automatically trips the shutter when the priority subject smiles – plus Nikon's new Blink function that automatically captures two sequential exposures and then saves the one in which the subject's eyes are open.
Subject Tracking: The camera locks focus on and automatically tracks the movement of the primary subject to assure sharp focus and rapid response when the "decisive moment" occurs. Subject Tracking continues to function even if the subject briefly exits the frame.
Movie: AVI Motion JPEG movie clips at 640x480/30fps (with monaural audio). Video clip duration is limited by the amount of available memory (up to 25 minutes).

Display/Viewfinder
Like many current digicams, the S620 doesn't provide an optical viewfinder so the 2.7 inch LCD must manage all framing/compositional, image review, and menu access chores. The S620's LCD is sharp (230,000 dots), bright, hue accurate, relatively fluid, and the info display provides all the data the camera's target audience is likely to need.

The display gains up (automatically increases brightness) in dim lighting. Some earlier "S" models featured LCDs that were so shiny that in bright outdoor lighting they behaved like mirrors, making them essentially useless – the S620 isn't that bad, but it would definitely benefit from some LCD glare reduction technology.

PERFORMANCE
The Nikon Coolpix S620 is pretty quick – it isn't always the fastest camera in its class, but it's never the slowest. Start-up time is 0.07 seconds and shutter lag (press-to-capture – pre-focused) is also 0.07 seconds. AF Acquisition (press-to-capture – no pre-focus) is a very snappy 0.28 seconds.

The S620's continuous shooting mode (which allows users to capture several images in quick succession) is 3 frames in 1.7 seconds. Overall, the S620 comes in a bit quicker than average.

Shutter Lag (press-to-capture, pre-focused)

Camera	Time (seconds)
Sony Cyber-shot DSC-T700	0.02
Canon PowerShot SD970 IS	0.03
Pentax Optio P70	0.05
Nikon Coolpix S620	0.07
Casio Exilim EX-Z150	0.22

AF Acquisition (press-to-capture, no pre-focus)

Camera	Time (seconds)
Sony Cyber-shot DSC-T700	0.23
Nikon Coolpix S620	0.28
Canon PowerShot SD970 IS	0.47
Pentax Optio P70	0.87
Casio Exilim EX-Z150	1.15

Continuous Shooting

Camera	Frames*	Framerate*
Panasonic Lumix DMC-FX37	3	3.6 fps
Nikon Coolpix S620	3	1.7 fps
Sony Cyber-shot DSC-T700	10	1.6 fps
Casio Exilim EX-Z150	13	1.3 fps
Canon PowerShot SD970 IS	∞	1.1 fps

* Note: Continuous shooting framerates are based on the camera's fastest full-resolution JPEG continuous shooting mode, using the fastest media type available (300x CF, SDHC, etc.). "Frames" notes the number of captures recorded per burst before the camera stops/slows to clear the buffer.

With numbers like those shown above, experienced photographers shouldn't have much trouble capturing the peak moment in action shots – pre-focusing on the point where the action will occur and then tripping the shutter just before the composition comes together only works properly when shutter lag and AF lag are both fairly short. Shot to shot times were about average.

Shooting Performance
Nikon's VR (vibration reduction) optical image stabilization function automatically counters the involuntary movements of the photographer and minimizes the virtually unavoidable camera shake that causes blurry images by quickly and precisely shifting lens elements in the tiny Nikkor zoom to compensate for camera movement during exposure. Motion Detection automatically boosts shutter speed and sensitivity (ISO) to compensate for subject movement.

The S620 is powered by a Nikon EN-EL12 lithium-ion battery with 3.9 Wh of juice. Nikon claims the S620 (with a fully charged battery) is good for (according to Nikon) 250 exposures. I do a lot of shoot, review, delete, and re-shoot. I rarely keep track of exposures so I can't quibble with Nikon's numbers, but 250 exposures is noticeably fewer than most of the S620's competition. The supplied rapid charger fully charges the EN-EL12 in about 150 minutes.

The S620's built-in multi mode flash provides an acceptable selection of artificial lighting options, including Auto (fires when needed), On (fill flash), Red-Eye Reduction, Slow Sync, and Off. Nikon claims the maximum flash range is about 18 feet, but that seems a little optimistic, in my humble opinion.

Lens Performance
The heart of the S620 is its very good f/2.7- f5.8.6/5.0mm -20.0mm (equivalent to 28mm -112mm) 4x Nikkor zoom. When the camera is powered up, the lens automatically telescopes out of the camera body. When the camera is powered down the lens is fully retracted into the camera body and a built-in lens cover slides into place to protect the front element. Center sharpness is pretty good overall, but at the wide-angle end of the zoom corners are noticeably soft. At the telephoto end of the zoom corners are still soft but not as conspicuously so.

Wide Angle

Telephoto

The S620 is able to cram about 25 percent more real estate into the frame (at the 28mm end of the zoom) than most of its competition, but that slight edge is somewhat negated by higher than average noise levels indoors. Contrast is balanced and colors are hue accurate. Minimum focusing distance (in Macro mode) is 0.8 inches, or 2.0 centimeters. Zooming is smooth, silent, and quick.

Macro

Image Quality
Like most of its competition the S620's images are optimized for the bold, bright colors, and balanced contrast that many veteran shooters refer to as consumer color – overall color is fairly accurate with most colors relatively close to neutral. Reds are a little warm, blues are a bit bright, greens are a bit too vibrant, and (like the vast majority of point-and-shoots) purples tend toward blue – but most casual shooters (the S620's target audience) probably won't be bothered much by these minor faults.

Standard Exposure

Vivid

Outdoors the S620 (like most of its competition) does a great job – image quality is dependably very good. Exposures are consistently accurate, but lots of sky in the picture will probably result in slightly overexposed images. Take a look at the "wide-angle" image – there is surprisingly little slight barrel distortion. There is some slight edge softness, but that is typical for tiny super complex digicam zooms.

Indoor image quality is also good, but as sensitivity automatically rises to overcome lower levels of ambient lighting, noise rises exponentially and color accuracy suffers a bit. Noise levels are quite reasonable up to ISO 400, but noise levels increase quickly as the sensitivity rises.

ISO 100	ISO 100, 100% crop
ISO 200	ISO 200, 100% crop
ISO 400	ISO 400, 100% crop
ISO 800	ISO 800, 100% crop
ISO 1600	ISO 1600, 100% crop
ISO 3200	ISO 3200, 100% crop
ISO 6400	ISO 6400, 100% crop

The S620's Auto White Balance setting did a pretty good job across a wide range of lighting conditions, but shoots warm under incandescent light.

Auto White Balance, 3200K Incandescent Light

Under mixed lighting (window light, fluorescent, and incandescent) in a local bike shop the S620 wobbled a bit. See the bike helmet display shots – both were taken from the same spot (with no change in camera settings) within seconds of one another.

In addition to the auto setting there are Manual, Daylight, Incandescent, Fluorescent, Cloudy, and Flash settings.

Additional Sample Images

CONCLUSIONS
During the last years of his life Magnum pro Henri Cartier-Bresson replaced his venerable Leica rangefinder with an ultracompact Contax T. Like the Contax T, the ultracompact Coolpix S620 does a remarkably good job with some of the things its predecessors were famous for – plus it's tough enough to go just about anywhere.

The Nikon Coolpix S620 is a very good digital camera, but in the final analysis, the S620 ends up right in the middle of the 12 megapixel ultracompact pack. That's not necessarily a bad thing – higher-rated comparable cameras are not substantially better.

Like most of its contemporaries, the S620 is probably not a good choice for those who like to shoot indoors or in low/dim light, but unlike many of its contemporaries the S620 features a wide-angle lens and the ability to capture stunning macro images.

The S620 will appeal to beginners, casual photographers looking for a stylish "pocket" digicam and hikers/bikers/backpackers/travelers looking for a camera that packs lots of photographic potential into a small lightweight package.

Pros:

Wide angle zoom
Tough
Reasonably priced

Cons:

Noisy images
Poor in low light
Inconsistent results

Source