RSS
 

Posts Tagged ‘compact’

Smartphones killed the compact and now they’re coming for entry-level ILCs

14 Aug

When friends ask me to recommend a camera, more often than not they say they’re looking to take better pictures than what they get from their phone. But what does “better than my phone” actually mean?

One of those key differentiating factors has been the “pretty blurry background” effect that an interchangeable lens camera is capable of producing. Whether you know the word ‘bokeh’ or not, you know what a nice portrait looks like: sharp focus on the subject, a soft blurry background. And you know that your phone can’t do it (until now – more on that in a second). In my experience, that’s often part of what people mean when they say “better than my phone.” But those days are quickly coming to an end, and it’s the iPhone 7 Plus leading the way.

It’s not even a question of if the $ 500 ILC becomes obsolete, it’s a matter of when

The iPhone 7 Plus offers Portrait Mode, which uses depth information from the device’s two rear-facing cameras to mimic shallow depth of field. Apple sure didn’t invent it, and it’s far from perfect, but that doesn’t matter: they’ve made the effect very convincing and put it in the hands of millions of users.

The entry-level ILC is dead, long live the entry-level ILC

It’s not even a question of if the $ 500 ILC becomes obsolete, it’s a matter of when. And when may actually be right now. Ex-Google SVP Vic Gundotra spelled it out in a recent Facebook post.

He pretty much hits the nail on the head right there. As it functions now the effect isn’t perfect, but it’s likely already good enough for most people, and it’s only going to keep getting better. And that phrase, “good enough for most people” is exactly how we talked about smartphone cameras just as the compact camera was dealt its final blow.

Computational photography killed the $ 500 DSLR

I know what you’re thinking. “But zoom! Pixel-level resolution! Low light image quality!” I’m here to tell you that smartphones are already well on their way to solving those problems, if they haven’t already. And here’s the key: they don’t have to get it perfect, it just has to be convincing enough to most people. Also, there are approximately zero people outside of the photography community who care how their photos look at 100% magnification.

Smartphone cameras can’t get any bigger than they already are, but they can get smarter. With more cameras, sophisticated algorithms and computational techniques, that’s exactly what they’re doing. It won’t be long before your smartphone camera’s auto mode will be able to retouch images in real-time. Or change apparent focal length after-the-fact.

Lots of people who do want the image quality benefits traditionally associated with a DSLR actually want nothing to do with a DSLR

Autofocus may be the piece of the puzzle that’s hardest to solve. Smartphones are slow to focus in low light, but $ 500 ILCs don’t do a whole lot better. And neither smartphone nor entry-level DSLR is particularly good at tracking a moving toddler, for example. It’s always been necessary to go farther up the product chain to get appreciably better autofocus.

Then there’s just plain old inertia: lots of people who do want the image quality benefits traditionally associated with a DSLR actually want nothing to do with a DSLR. They’re big, confusing and come with a significant learning curve. Camera manufacturers have been able to sell cameras to somewhat unwilling customers because they alone held the keys to better images. So once the device that’s already in your pocket does just about everything a Canon T6 does, why on earth would you be bothered to buy a Rebel?

More than just image capture

Also consider that phones aren’t just capture devices – they’re an interface for your image storage and management. Sure, most entry-level ILCs will connect to your phone via Wi-Fi, but even when it works well, it’s never as easy as just capturing the images on your smartphone in the first place.

Once smartphones can do a reasonably good imitation of things like bokeh and optical zoom, those who never wanted to pick up a dedicated camera won’t have to

There are many ‘set it and forget it’ image management services that will automatically back up your photos, and they don’t stop there – they’ll automatically identify subjects, allow you to search by keyword and date, and organize them into a reasonably-priced photo book for you. Sure beats the pants off spending hours importing and cataloging photos on your hard drive.

There will always be lower-cost, accessible ILCs for people who want to venture outside of ‘green square mode.’ But once smartphones can do a reasonably good imitation of things like bokeh and optical zoom, those who never wanted to pick up a dedicated camera won’t have to.

You’re reading an article on a photography website, so I feel safe saying that you and I care about photography. We want to make pictures, and we take joy in the process. But many people don’t, and they are happy to turn the job over to their smartphone. The day when that segment of the photo-taking population can do that and see results that are good enough in their eyes is right around the corner – if it isn’t already here.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Smartphones killed the compact and now they’re coming for entry-level ILCs

Posted in Uncategorized

 

How a Compact Camera Can Help You Shoot Stunning Images While Traveling on a Budget

20 Jul

Vacations can be a great time to capture some of the most captivating photos ever, and it doesn’t even require using an expensive equipment to do so. In fact, whether your vacation involves hiking, skiing, snorkeling, a safari, mountain biking, or a scenic road trip, a compact camera can also provide stunning results while traveling, with little effort and without Continue Reading

The post How a Compact Camera Can Help You Shoot Stunning Images While Traveling on a Budget appeared first on Photodoto.


Photodoto

 
Comments Off on How a Compact Camera Can Help You Shoot Stunning Images While Traveling on a Budget

Posted in Photography

 

The Olympus TG-5 is the best rugged compact you can buy right now

09 Jul

Washington State’s Pacific coastal beaches are quite the contrast to what you usually find around Puget Sound near Seattle. The pebbles, barnacled rocks and copious sickly sea foam give way to pillow-soft sand, waves you can surf and mountainous, craggy rock formations that make for an otherworldly visual experience. As a local, I’ll admit that I love both varieties. But despite how picturesque a trip to the beach can be, I absolutely hate going with a camera in tow. Sand can kill.

Even brief exposure to sand and saltwater can make for a deadly combination for just about any electronic device, so in planning for a three-day, two-night camping trip to Washington’s Second Beach in La Push, I had basically written off any possibility that I’d bring a camera along. Then, I remembered we had the Olympus Tough TG-5.1

The first leg of the journey was a ferry across Puget Sound to get us closer to the ocean.

And in considering the TG-5, I was reminded of a well-worn saying; ‘it’s not the camera, it’s the photographer.’ I happen to think there’s an awful lot of truth in that, but even so, as a nerd as well as a photographer, there are usually lines in the sand (apologies) I don’t cross. One of them is using a dedicated camera with a smartphone camera-sized sensor.

There are usually lines in the sand I don’t cross.

But then again, my smartphone isn’t rugged or waterproof, and doesn’t have an optical zoom. Adding to that, the TG-5 offers Raw capture, GPS logging, good external controls, a more powerful flash and a crazy good macro mode. With the Tough, you’ve got a pretty compelling, compact package without the hassle of endless smartphone apps, clunky waterproof cases and fiddly lens attachments.

The TG-5’s ‘microscope’ mode sounds a little goofy, but it results in very good macro performance. And check out that background blur despite the small sensor!

Besides, I still find some satisfaction in using a dedicated camera as opposed to a smartphone for even casual photography. So, was the TG-5 the absolute perfect camera for this trip? Turns out, it’s got a couple of quirks. But it was still darn good.

What worked

One of the joys of visiting La Push with the TG-5 was access to tide pools at low tide. Then I discovered they were all just occupied by the same green sea anemones. Maybe next time I’ll try snorkeling to get some more variety.

The very first thing I did with the TG-5 when I grabbed it from our camera cabinet was run it under the tap. Of course, it’s fun to do that just because you can, but it also had some sunscreen on it from a previous user that I wanted to rinse off.

So the TG-5 is very well-sealed against both moisture and dust and dirt intrusion. This meant I could comfortably leave it lying around our beachy campsite even though everything was covered in sand.

The very first thing I did with the TG-5 when I grabbed it from our camera cabinet was run it under the tap.

I could put it in my sandy pocket, or deposit it in my sand-filled bag in our sand-filled tent and not have to worry at all. I brought it along on rocky beach hikes where it was likely I would fall into the ocean. This capability alone is pretty much worth the price of admission in my book, especially if you spend a lot of time outdoors.2

The TG-5’s resolution and sharpness never blew me away, but the Raw files have at least some flexibility in them for the sensor size, and I ended up with a ton of photos I wouldn’t have taken if I was leaving a DSLR in a bag the whole time for protection.

Every image you’re seeing in this article is the result of a Raw file from the TG-5 processed through a beta version of Adobe Camera Raw (more samples available in the gallery). This is probably my favorite thing about the Tough; even though the images can be noisy even at base ISO, I was able to salvage some clipped highlights and lift some shadows to bring detail back in high-contrast scenes, which you’re likely to encounter in outdoor photography.

The TG-5 is, thanks to an updated processor, also a very responsive camera. Start-up, focus and shot-to-shot times were all very quick, making it easy to whip the camera out for a quick shot on the move (and the well-sculpted grip makes it feel secure in the hand). But sometimes, quick shots on the move proved to be a problem for the TG-5. Let’s explore what Olympus could improve on the next iteration of their tough cam.

The TG-5’s metering did a pretty good job here, but I was able to go into the Raw file and pull down some highlights that had clipped in the JPEG file due to the dark background.

1. Okay, and a Nikon D7200 that stayed safely tucked away in a bag for much of the trip.

2. Some sand will still get stuck around the screen and port doors, but nothing another good rinse under a tap won’t take care of.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on The Olympus TG-5 is the best rugged compact you can buy right now

Posted in Uncategorized

 

Undercooked: Canon’s first CMOS-based compact, PowerShot SX1 IS

15 Jun

Canon was producing some impressive superzoom cameras back in 2008. Its PowerShot S5 IS had solid image quality, a capable autofocus system, pleasing color and respectable image quality.

In September of that year, the company split its superzoom line in two. Both the PowerShot SX1 and cheaper SX10 IS had 20X, 28-560mm lenses, 10MP sensors, fully articulating LCDs and decent electronic viewfinders. What differentiated the two – in a major way – was the type of sensor used. The S10 IS went with a traditional 1/2.3″ CCD, Canon made the SX1 its first compact with a CMOS sensor, which was both a blessing and a curse.

Canon had been marketing the PowerShot S-series as ‘hybrid’ cameras since their inception, and the SX1 continued that tradition. Canon used a USM (ultrasonic motor) in that 20X lens, which allowed for quiet focusing that is required when capturing video. The zoom was also capable of zooming slowly, like a camcorder. The SX1 had a prominent movie record button, flip-out widescreen LCD and HDMI output. Heck, even the EVF had a 16:9 aspect ratio, though its resolution was considerably lower than that of its cheaper sibling.

The use of a CMOS sensor rather than a CCD brought an immediate benefit to video-shooters. Unlike previous Canon superzooms, which topped out at VGA resolution, the SX1 could capture 1080/30p video. In 2008 this was a very big deal.

Another benefit of the switch to CMOS was that SX1 could shoot bursts at 4 fps, compared to 0.7 fps on the SX10. While we can’t draw firm conclusions about this, the addition of Raw capture could be due to the faster readout speed of the CMOS sensor, though it could also be a marketing decision.

The PowerShot SX1 was considerably noisier than the lower-end, CCD-based PowerShot SX10 that shared the same design. Old studio scene taken at ISO 400.

So what was the downside? Images were quite noisy as soon as the SX1 left its base ISO of 80, and by the time you got to around ISO 200-400, the CCD-based PowerShot SX10 produced images with less noise and more detail. Compared to its peers from Sony and Panasonic, the PowerShot SX1 was the noisiest.

It’s telling that Canon didn’t release another CMOS-based superzoom for three years. The SX20 and SX30 were both CCD-based, until the arrival of the SX40 HS in 2001, which used a BSI-CMOS sensor.

Were you a PowerShot SX1 owner? Share your memories in the comments below. That’s also the place for leaving suggestions for future TBTs!

Read our PowerShot SX1 IS review


Sample Gallery

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2857485410″,”galleryId”:”2857485410″,”isEmbeddedWidget”:true,”standalone”:false,”selectedImageIndex”:0,”startInCommentsView”:false,”isMobile”:false}) });
Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Undercooked: Canon’s first CMOS-based compact, PowerShot SX1 IS

Posted in Uncategorized

 

Benro launches ProAngel line of compact travel tripods

08 Jun

Benro has announced the ProAngel line of ultra-lightweight and compact travel tripods and monopods. The ProAngel tripods are compact enough to fit into most small and medium sized bags and come with a single leg locking mechanism, allowing users to open the tripod leg sections with a single twist. Secure locking only requires half a turn.

The two-section telescoping center column provides additional height when needed and has a standard 3/8″-16 thread to attach a photo tripod head. ProAngel tripods and monopods are available for most types of camera, from smartphones (Series 0) and compact system cameras (Series 1 & 2), to full frame DSLRs (Series 3 & 4).

The ProAngel models are available without a tripod head or as a kit with the Benro B1 ballhead. For transportation and storage a protective bag with carrying strap is included. Monopods are priced from $ 49-$ 59, while the tripods range from $ 99-$ 249.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Benro launches ProAngel line of compact travel tripods

Posted in Uncategorized

 

Platypod Ultra compact camera support launches on Kickstarter with more features than Pro model

07 Jun

Platypod, the company behind the compact camera support of the same name, has launched a new product on Kickstarter called Platypod Ultra. This latest model is designed for mid-size and mirrorless cameras, unlike the larger Max model and original Pro model. Ultra is compatible with the majority of pro-tier tripod ball heads, according to Platypod, though the device itself is only about the size of a smartphone, making it ultra-compact.

Platypod Ultra is thicker (4.6mm vs 4.0mm) and 10% wider than the original Platypod Pro, making it sturdier, according to the company. The Ultra model comes with four spiked, threaded feet with rubber tips on one end, enabling the device to be used at a variety of angles on both rough and smooth surfaces. The Platypod Ultra also features five threaded holes for greater balancing and positioning options.

The company has also added three new openings to the Ultra plate so that it can be transported on bags using bungie cords or carabiners; there are also three countersunk holes for screwing the plate to a surface, such as a wood post. Finally, the plate also has two belt slots for strapping the tripod to irregularly shaped or vertical surfaces. The company is including a Velcro cinch strap with the kit.

The company is also launching a multi-accessory kit with accessories for both the Ultra and Max models. This kit includes a non-slip pad, 36-inch cinch strap, 3-inch spigot adapter, and a riser for certain tripod ball heads.

The Kickstarter campaign has exceeded its funding goal with more than two weeks remaining. The company is offering backers who pledge at least $ 49 a single Ultra unit, while a $ 69 pledge will also include the multi-accessory kit. Shipping to backers is estimated to start this upcoming July.

Via: Kickstarter

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Platypod Ultra compact camera support launches on Kickstarter with more features than Pro model

Posted in Uncategorized

 

NanGuang releases compact LED panels and accessories for studio use

07 Jun

Chinese lighting and accessory manufacturer NanGuang has revealed a new compact LED light panel for studio use, as well as a wall arm and a background support kit. The Combo 40C LED flat panel light comes with a built-in soft diffuser and features 0-100% dimming control. Stepless color temperature adjustments are possible from from 5600-3200K.

The light measures 230 x 400 x 60mm and comes with 400 LEDs that in total produce 40W of power and 2115 LM at 5600K. According to the manufacturer the average LED life is 50,000 hours.

Also new is the NanGuang wall arm which is designed to support most manufacturers’ light heads up to 5kg in weight. The arm folds out for use and can be pushed flat against the wall when not needed. It can also achieve a full range of lateral horizontal and vertical movement and features a 2-section, extendable arm (93-180cm), a reversible lighting spigot and a 1/4in tripod screw.

The new Background Support Kit can be dismantled for easy transport to location shoots and comes with two tripod-style support stands and three locking cross bars of 100cm length each. It can be used with full or half-length rolls of background paper or any other type of background material that requires a simple pole support. The maximum width is 300cm and the height can be adjusted up to 286cm.

All new NanGuang products are available through distributor Kenro in the UK. The Combo 40C is £179.94 ($ 232), the wall arm will set you back £99.96 ($ 129) and the background kit has a price tag of £77.94 ($ 100). No US pricing information has been released yet.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on NanGuang releases compact LED panels and accessories for studio use

Posted in Uncategorized

 

Ricoh announces WG-50 rugged compact with 5x zoom, built-in macro lights

25 May

Ricoh has introduced a new rugged compact camera – the WG-50 – which replaces the WG-30. The WG-50 offers a 28-140mm equiv. F3.5-5.5 lens. The WG-50 uses a 16MP BSI-CMOS sensor and is capable of recording Full HD video at 30 fps. It is waterproof for two hours at a depth of 14m/45ft, and can cope with being dropped from a height of 1.6m/5ft, will operate at temperatures as low as -10°C/+14F and can withstand 100kg/220lbs of force.

As with Ricoh’s other recent rugged cameras, the WG-50 has an array of six LEDs around the lens that can be used to assist macro shooting, selfies and when using the 2MP digital microscope mode.

The camera will go on sale at the end of June in a choice of orange or black, and will cost $ 279/£249. For more information see the Ricoh website.

Press release

RICOH COMPANY, LTD and RICOH IMAGING COMPANY, LTD. announced the launch of the RICOH WG-50 digital compact camera.

This new model features a compact, lightweight body design, delivering exceptional waterproof and shockproof performance.

Developed as a standard-class waterproof digital compact camera, the RICOH WG-50 provides dependable performance and outstanding operability in demanding outdoor conditions. The WG-50 is waterproof to a depth of 14 metres, shockproof against falls from a height of 1.6 metres, and freeze-proof to temperatures as low as -10°C. It also provides a range of features to facilitate all types of still-image and movie shooting, including approximately 16.0 effective megapixels and Full HD (1920 x 1080 pixels) movie recording capability. It also comes equipped with an outdoor friendly LCD screen on the brightness can be instantly adjusted to the lighting levels in a particular shooting situation.

The RICOH WG-50 features a range of optional camera-mounting accessories allowing the user to fix the camera securely on a bicycle or watercraft. Using the camera’s creative shooting functions, such as interval shooting and Full HD movie recording, the user can capture unique images seen from a very different angle or viewpoint.

RRP £249.99
Availability: End June 2017
Colours: Orange or Black

Main Features

1. Heavy-duty construction allowing underwater shooting down to 14 metres, for up to two hours of continuous operation (equivalent to IPX 8 or JIS Class 8). The RICOH WG-50 is also shockproof against falls from a height of 1.6 metres,* dustproof (equivalent to IPX 6 or JIS Class 6), freeze-proof to temperatures as low as -10°C, and crushproof against weights up to 100kgf (kilogram force). ** Thanks to this heavy-duty construction, the camera performs superbly and dependably even in difficult and demanding outdoor conditions.
* Measured under RICOH IMAGING-original testing standards — from a height of 1.6 metres, onto a surface of 5cm-thick plywood — conforming to Method 516.5-Shock of the MIL-Standard 810F
** Measured under RICOH IMAGING-original testing standards

2. Exceptional image quality
The WG-50 comes equipped with a back illuminated CMOS image sensor, which delivers excellent high-sensitivity and low-noise characteristics and high-speed readout of image data signals. Coupled with a high-performance imaging engine, this image sensor delivers a top sensitivity of ISO 6400 and super-high-resolution images with approximately 16.0 effective megapixels. This model also provides advanced image processing functions, made possible by the latest super-resolution technology, to assure sharp, clear, high-resolution images. It also offers such innovative features as Hand-held Night Snap mode, which automatically captures several images of the same night-time scene from which it produces a single, blur-free composite image. Some advanced features have also been added to this model to facilitate and upgrade scenic photography. For example, white-balance optimisation in the Landscape shooting mode reproduces brilliant greens of trees.

3. 5X optical zoom lens with a 28mm wide-angle coverage
The WG-50 features a high-performance, five-times optical zoom lens with a focal-length coverage from 5mm to 25mm (equivalent to approx. 28mm to 140mm in the 35mm format) to accommodate a wide range of scenes and subjects, including sweeping landscapes. It also provides other convenient shooting functions, such as a macro mode to capture dramatic close-up images from a minimum focusing distance of a mere one centimetre; an Intelligent Zoom function to extend the zoom range to approximately 36 times (equivalent to 1008mm in the 35mm format) without compromising image quality and ideal for superior telephoto photography; and an interval shooting mode, which comes in handy for fixed-point observation.

4. Underwater shooting mode
Specifically designed for underwater photography, the Underwater and Underwater Movie shooting modes are programmed to optimise colour and contrast, based on the data of images actually captured under the water. These modes deliver sharp, true-to-life images by enhancing shades of red which are lost in underwater photography, while effectively compensating for the loss of contrast caused by the diffusion of light in water. During Underwater mode, the Flash Off + Flash On option, allows the user to consecutively capture two images — with a single shutter release — one without flash and another with flash.

5. Six Macro Lights to assist close-up shooting, and a Self-Portrait Assist mode
Ideally positioned around the circumference of the lens barrel for macro shooting, six LED Macro Lights allow the WG-50 to provide bright, uniform illumination on a subject when the Digital Microscope mode is selected.*** Using these Macro Lights, the user can clearly see a magnified view of the microscopic world on the camera’s LCD screen, normally undetectable by the naked eye, to effortlessly capture eye-catching, close-up images. In order to minimize camera shake and subject shake, the Instant Illumination Enhance function allows for the use of a higher shutter speed by automatically raising the discharge level of the Macro Lights at the moment of shutter release. The Macro Lights also provide other useful functions, such as a Self-Portrait Assist mode, which uses the blink of an LED lamp to check if the subject’s face has been safely captured within the picture frame, and the LED Lighting mode, which uses the Macro Lights as a lighting device in the dark.
*** When this mode is selected, the image size is fixed at 2.0 megapixels (at 16:9 proportions).

6. Full HD movie recording for extended shooting of high-quality movies
The WG-50 provides Full HD movie recording employing the H.264 recording format. Users can capture high-quality, extended movie clips (1920 x 1080 pixels, 16:9 proportions) at a frame rate of 30 frames per second. To add some creative touches to movie recording, it also features a high-speed camera function**** for slow-motion playback of captured movie clips, and an interval movie function. A micro-HDMI terminal (Type D) is also provided on the camera body for simultaneous output of Full HD movie clips and sound to external audio-visual devices.
**** When this function is selected, the recorded size is fixed at 1280 x 720 pixels.

7. Triple anti-shake protection to prevent blurred images in all applications
(1) Pixel Track SR mechanism
When recording still images, this advanced shake-reduction mechanism effectively compensates for camera shake by digitally processing affected images.

(2) Digital SR mode
When the camera detects low-lighting conditions in still-image shooting, this mode automatically raises the sensitivity up to as high as ISO 6400, making it possible to use a higher shutter speed and effectively minimise the adverse effect of camera shake and subject shake when dealing with poor lighting conditions.

(3) Movie SR mode
During movie recording, this mode effectively compensates for the misalignment of images caused by camera shake through the use of exclusive software to produce beautiful, blur-free movie clips.

8. 2.7 inch LCD screen with Outdoor View Setting mode
The WG-50 comes equipped 2.7 inch LCD screen with horizontally extended 16:9 proportions and approximately 230,000 dots. The screen’s AR (Anti-Reflection) coating minimises annoying glare and reflections to deliver a sharp, clear on-screen image even in sunshine during outdoor shooting. It also comes equipped with such convenient features as the Outdoor View Setting mode, which easily sets the optimal screen brightness level for a given lighting situation.

9. Other features

  • A range of WG-series mount accessories (optional) for a range of shooting situations
  • Two remote control receptors (one in front and another in the back) to widen signal coverage
  • Macro stand (included) to maintain a minimum focusing distance of one centimetre to the subject during extended observation and shooting of macro images
  • High-speed Face Detection function to capture as many as 32 faces in focus in approximately 0.03 seconds (minimum); Smile Capture function to automatically release the shutter when the subject’s smile is detected
  • Outdoor friendly Style Watch function to display the time on the LCD monitor, using an extended push of the OK button when the camera’s power is turned off
  • Delay-free, push-button start of the playback mode, using an extended push of the playback button
  • Auto Picture mode to automatically select the most appropriate shooting mode from 16 different scene modes
  • A choice of 12 digital filters
  • Pet detection function to automatically detect the face of a cat or dog

Ricoh WG-50 specifications

Price
MSRP $ 279/£249
Body type
Body type Compact
Body material Composite
Sensor
Max resolution 4608 x 3456
Image ratio w:h 1:1, 4:3, 16:9
Effective pixels 16 megapixels
Sensor photo detectors 17 megapixels
Sensor size 1/2.3" (6.17 x 4.55 mm)
Sensor type BSI-CMOS
Color space sRGB
Color filter array Primary color filter
Image
ISO Auto, 125-6400
White balance presets 6
Custom white balance Yes
Image stabilization Digital only
Uncompressed format No
JPEG quality levels Fine, normal, basic
File format
  • JPEG (Exif v2.3)
Optics & Focus
Focal length (equiv.) 28–140 mm
Optical zoom 5×
Maximum aperture F3.5–5.5
Autofocus
  • Contrast Detect (sensor)
  • Multi-area
  • Center
  • Tracking
  • Single
  • Continuous
  • Face Detection
  • Live View
Autofocus assist lamp Yes
Digital zoom Yes (7.2X)
Manual focus Yes
Normal focus range 50 cm (19.69)
Macro focus range 1 cm (0.39)
Number of focus points 9
Screen / viewfinder
Articulated LCD Fixed
Screen size 2.7
Screen dots 230,000
Touch screen No
Screen type TFT LCD
Live view Yes
Viewfinder type None
Photography features
Minimum shutter speed 4 sec
Maximum shutter speed 1/4000 sec
Exposure modes
  • Auto
  • Program
Scene modes
  • HDR
  • Handheld Night Snap
  • Movie
  • High Speed Movie
  • Digital Microscope
  • Landscape
  • Flower
  • Portrait
  • Underwater
  • Underwater Movie
  • Interval Shot
  • Interval Movie
  • Surf & Snow
  • Kids
  • Pet
  • Sport
  • Night Scene
  • Night Scene Portrait
  • Fireworks
  • Food
  • Digital SR
  • Report
  • Green
Built-in flash Yes
Flash range 5.50 m (at Auto ISO)
External flash No
Flash modes On, off
Drive modes
  • Single
  • Self-timer
  • Continuous
  • Burst
  • Remote control
  • Auto Bracketing
Continuous drive 8.0 fps
Self-timer Yes (2 or 10 secs, remote)
Metering modes
  • Multi
  • Center-weighted
  • Spot
Exposure compensation ±2 (at 1/3 EV steps)
AE Bracketing ±2 (3 frames at 1/3 EV steps)
Videography features
Format MPEG-4, H.264
Modes
  • 1920 x 1080 @ 30p, MOV, H.264, Linear PCM
  • 1280 x 720 @ 120p, MOV, H.264, Linear PCM
  • 1280 x 720 @ 60p, MOV, H.264, Linear PCM
  • 1280 x 720 @ 30p, MOV, H.264, Linear PCM
Microphone Stereo
Speaker Mono
Storage
Storage types SD/SDHC/SDXC card
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (micro-HDMI)
Microphone port No
Headphone port No
Remote control Yes (Wireless)
Physical
Environmentally sealed Yes
Battery Battery Pack
Battery description D-LI92 lithium-ion battery & charger
Battery Life (CIPA) 300
Weight (inc. batteries) 193 g (0.43 lb / 6.81 oz)
Dimensions 123 x 62 x 30 mm (4.84 x 2.44 x 1.18)
Other features
Orientation sensor Yes
Timelapse recording Yes
GPS None

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Ricoh announces WG-50 rugged compact with 5x zoom, built-in macro lights

Posted in Uncategorized

 

2017 Roundup: Compact Enthusiast Zoom Cameras

24 Apr

The enthusiast compact market has exploded over the last couple of years, with several manufacturers offering a product with 1″-type sensors. Most of these cameras are small (and sometimes pocketable) and feature fast (but short) lenses. They also vary in terms of design, control points, video specs and whether they have an EVF, so you’ll have some decisions to make. In this roundup, we’ll try to help.

Here are the cameras that we’ll be covering in this article:

  • Canon PowerShot G1 X Mark II
  • Canon PowerShot G5 X
  • Canon PowerShot G7 X Mark II
  • Canon PowerShot G9 X Mark II
  • Panasonic Lumix DMC-LX10
  • Panasonic Lumix DMC-LX100
  • Panasonic Lumix DMC-ZS100/TZ100
  • Sony Cyber-shot RX100
  • Sony Cyber-shot RX100 II
  • Sony Cyber-shot RX100 III
  • Sony Cyber-shot RX100 IV
  • Sony Cyber-shot RX100 V

As mentioned above, the majority of offerings in this category utilize 1″-type sensor, however two cameras offer even larger sensors. The Canon PowerShot G1 X Mark II is built around the largest sensor of the bunch at 1.5″-type, while the Panasonic Lumix DMC-LX100 uses most of the area of a slightly smaller Four Thirds chip.

Sensor size tends to be a major indicator of potential – particularly low light – image quality. Also, cameras with larger sensors will generally allow for much more control over depth of field.

LensEquivalentApertures([“Equivalent focal length (mm)”,”Sony RX100″,”Canon G1 X II”,”Sony RX100 III”,”Panasonic LX100″,”Panasonic ZS100″,”Canon G7 X II”,”Panasonic LX10″,”Canon G9 X II”], [[24,null,””,3.84,”Canon G1 X II at 24mm: F3.8″,4.90909090909091,”Sony RX100 III at 24mm: F4.9″,3.7434,”Panasonic LX100 at 24mm: F3.7″,null,””,4.90909090909091,”Canon G7 X II at 24mm: F4.9″,3.8181818181818183,”Panasonic LX10 at 24mm: F3.8″,null,””],[25,null,””,4.224,”Canon G1 X II at 25mm: F4.2″,5.454545454545455,”Sony RX100 III at 25mm: F5.5″,3.9636,”Panasonic LX100 at 25mm: F4.0″,7.6363636363636367,”Panasonic ZS100 at 25mm: F7.6″,null,””,4.0909090909090917,”Panasonic LX10 at 25mm: F4.1″,null,””],[26,null,””,4.8,”Canon G1 X II at 26mm: F4.8″,6.0000000000000009,”Sony RX100 III at 26mm: F6.0″,4.1838,”Panasonic LX100 at 26mm: F4.2″,7.9090909090909092,”Panasonic ZS100 at 26mm: F7.9″,null,””,4.90909090909091,”Panasonic LX10 at 26mm: F4.9″,null,””],[27,null,””,5.3759999999999994,”Canon G1 X II at 27mm: F5.4″,null,””,4.404,”Panasonic LX100 at 27mm: F4.4″,8.1818181818181834,”Panasonic ZS100 at 27mm: F8.2″,null,””,5.454545454545455,”Panasonic LX10 at 27mm: F5.5″,null,””],[28,4.90909090909091,”Sony RX100 at 28mm: F4.9″,null,””,6.8181818181818183,”Sony RX100 III at 28mm: F6.8″,4.6242,”Panasonic LX100 at 28mm: F4.6″,null,””,null,””,6.0000000000000009,”Panasonic LX10 at 28mm: F6.0″,5.454545454545455,”Canon G9 X II at 28mm: F5.5″],[29,null,””,null,””,null,””,null,””,null,””,null,””,6.8181818181818183,”Panasonic LX10 at 29mm: F6.8″,null,””],[30,null,””,6.144,”Canon G1 X II at 30mm: F6.1″,null,””,4.8444,”Panasonic LX100 at 30mm: F4.8″,8.7272727272727284,”Panasonic ZS100 at 30mm: F8.7″,null,””,null,””,null,””],[31,null,””,null,””,null,””,null,””,null,””,null,””,7.6363636363636367,”Panasonic LX10 at 31mm: F7.6″,6.8181818181818183,”Canon G9 X II at 31mm: F6.8″],[32,null,””,null,””,7.6363636363636367,”Sony RX100 III at 32mm: F7.6″,null,””,9.0,”Panasonic ZS100 at 32mm: F9.0″,6.0000000000000009,”Canon G7 X II at 32mm: F6.0″,null,””,null,””],[33,null,””,null,””,null,””,null,””,null,””,null,””,null,””,7.6363636363636367,”Canon G9 X II at 33mm: F7.6″],[34,7.6363636363636367,”Sony RX100 at 34mm: F7.6″,null,””,null,””,5.0645999999999995,”Panasonic LX100 at 34mm: F5.1″,9.2727272727272734,”Panasonic ZS100 at 34mm: F9.3″,null,””,null,””,null,””],[36,null,””,null,””,null,””,null,””,9.5454545454545467,”Panasonic ZS100 at 36mm: F9.5″,null,””,null,””,null,””],[37,null,””,null,””,null,””,5.2848,”Panasonic LX100 at 37mm: F5.3″,null,””,null,””,null,””,8.7272727272727284,”Canon G9 X II at 37mm: F8.7″],[39,null,””,null,””,null,””,null,””,null,””,6.8181818181818183,”Canon G7 X II at 39mm: F6.8″,null,””,9.5454545454545467,”Canon G9 X II at 39mm: F9.5″],[40,null,””,6.72,”Canon G1 X II at 40mm: F6.7″,null,””,null,””,null,””,null,””,null,””,null,””],[41,null,””,null,””,null,””,5.505,”Panasonic LX100 at 41mm: F5.5″,null,””,null,””,null,””,null,””],[43,8.7272727272727284,”Sony RX100 at 43mm: F8.7″,null,””,null,””,null,””,null,””,null,””,null,””,null,””],[44,null,””,null,””,null,””,5.7252,”Panasonic LX100 at 44mm: F5.7″,null,””,null,””,null,””,null,””],[46,null,””,null,””,null,””,null,””,null,””,null,””,null,””,10.90909090909091,”Canon G9 X II at 46mm: F10.9″],[52,null,””,null,””,null,””,6.1655999999999995,”Panasonic LX100 at 52mm: F6.2″,null,””,null,””,null,””,null,””],[53,9.5454545454545467,”Sony RX100 at 53mm: F9.5″,null,””,null,””,null,””,null,””,null,””,null,””,12.272727272727273,”Canon G9 X II at 53mm: F12.3″],[54,null,””,null,””,null,””,null,””,null,””,7.6363636363636367,”Canon G7 X II at 54mm: F7.6″,null,””,null,””],[65,null,””,null,””,null,””,null,””,null,””,null,””,null,””,13.363636363636365,”Canon G9 X II at 65mm: F13.4″],[66,10.90909090909091,”Sony RX100 at 66mm: F10.9″,null,””,null,””,null,””,null,””,null,””,null,””,null,””],[70,null,””,null,””,7.6363636363636367,”Sony RX100 III at 70mm: F7.6″,null,””,null,””,null,””,null,””,null,””],[72,null,””,null,””,null,””,null,””,null,””,null,””,7.6363636363636367,”Panasonic LX10 at 72mm: F7.6″,null,””],[75,null,””,7.4879999999999995,”Canon G1 X II at 75mm: F7.5″,null,””,6.1655999999999995,”Panasonic LX100 at 75mm: F6.2″,null,””,null,””,null,””,null,””],[81,12.272727272727273,”Sony RX100 at 81mm: F12.3″,null,””,null,””,null,””,null,””,null,””,null,””,null,””],[84,null,””,null,””,null,””,null,””,null,””,null,””,null,””,13.363636363636365,”Canon G9 X II at 84mm: F13.4″],[94,13.363636363636365,”Sony RX100 at 94mm: F13.4″,null,””,null,””,null,””,null,””,null,””,null,””,null,””],[100,13.363636363636365,”Sony RX100 at 100mm: F13.4″,null,””,null,””,null,””,null,””,7.6363636363636367,”Canon G7 X II at 100mm: F7.6″,null,””,null,””],[120,null,””,7.4879999999999995,”Canon G1 X II at 120mm: F7.5″,null,””,null,””,null,””,null,””,null,””,null,””],[144,null,””,null,””,null,””,null,””,15.818181818181818,”Panasonic ZS100 at 144mm: F15.8″,null,””,null,””,null,””],[157,null,””,null,””,null,””,null,””,16.090909090909093,”Panasonic ZS100 at 157mm: F16.1″,null,””,null,””,null,””],[250,null,””,null,””,null,””,null,””,16.090909090909093,”Panasonic ZS100 at 250mm: F16.1″,null,””,null,””,null,””]])

To further help you pick the right camera in this class, we’ve also created the chart below, which breaks down the equivalent aperture for each camera, as you work your way through the zoom range. Our article here explains the concept of equivalence, but at a high level all you need to know is that the lower the line is on the graph below, the blurrier the backgrounds you’ll be able to get and typically, though not always, the better the overall low-light performance.

The camera that stays the ‘fastest’ longest is the Panasonic LX100, due both to its F1.7-2.8 lens and Four Thirds sensor (which it uses a crop of). A number of cameras sit in the middle, including the Canon G1 X II and G7 X II as well as the Sony RX100 I/II. The Panasonic ZS100 is the slowest of the bunch, but it also has the longest reach by a decent margin.

On the following pages, you’ll find what we liked and didn’t like about each camera, links to our test scenes for image quality comparisons, and real-world galleries to give you a sense of how each performs outside the lab. Given that there are five Sony RX100s in this comparison, you might find this article helpful in making a decision between those. 

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on 2017 Roundup: Compact Enthusiast Zoom Cameras

Posted in Uncategorized

 

2016 CIPA data shows compact digital camera sales lower than ever

08 Mar

Last month, the Camera & Imaging Products Association (CIPA) released its 2016 report detailing yearly trends in camera shipments. Using that data, photographer Sven Skafisk has created a graph that makes it easy to visualize the data, namely the major growth in smartphone sales over the past few years and the apparent impact it has had on dedicated camera sales.

The chart shows smartphone sales achieving a big spike around 2010, the same time range in which dedicated camera sales reached its peak. Each following year has represented substantial growth in smartphone sales and significant decreases in dedicated camera sales, particularly in the compact digital cameras category. 

Per the CIPA report, total digital camera shipments last year fell by 31.7% over the previous year. The report cites multiple factors affecting digital camera sales overall, with smartphones proving the biggest factor affecting the sales of digital cameras with built-in lenses. The Association’s 2017 outlook includes a forecast that compact digital cameras will see another 16.7-percent year-on-year sales decrease this year.

Skafisk’s graph below shows the massive divide between smartphone sales and camera sales – be prepared to do some scrolling.

Via: PetaPixel, CIPA

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on 2016 CIPA data shows compact digital camera sales lower than ever

Posted in Uncategorized