Nearly two years after Konica Minolta transferred its camera division over to Sony, and over a year after Sony’s first DSLR (the A100), today is the day that the curtain is finally lifted on the long-awaited ‘high end’ Alpha digital SLR (in principle the replacement for the Konica Minolta 7D). The new model sports an impressive specification including magnesium alloy construction, 12MP CMOS sensor (with on-chip A/D conversion), 5fps shooting and a wealth of features and customization options, though interestingly (given the recent spate of announcements) no live view option. There’s also a couple of new lenses and a new vertical shooting grip.

Like Sony’s mainstream DSLR-A100 model, the new A700 unit incorporates Super SteadyShot® Inside image stabilization in the camera body and is compatible with most Minolta Maxxum® mount lenses in addition to Sony lenses.

Picture Quality

The camera’s new 12.2-megapixel Exmor™ CMOS sensor conducts analog-to-digital (A/D) signal conversion and dual noise reduction right on the sensor itself. Noise reduction is applied to analog signals before A/D conversion and the resulting digital signals are then subject to a second round of noise reduction.

Clean, noise-free digital signals are then sent to the newly developed BIONZ™ processing engine. Lubell said this engine has been optimized to process data-rich picture information at high speeds, and to reduce picture noise in the RAW data stage before final image compression and encoding. The results are high-resolution, detailed images with rich tonal reproduction.

Extraordinary Responsiveness

A newly developed, auto-focus system features 11 wide-area sensors, including a center dual cross sensor comprised of two horizontal and two vertical line sensors for exceptional AF precision.  An F2.8 line sensor leverages the brightness of fast aperture lenses for even greater precision.  Lubell said that extraordinary focusing speed has been realized through improved algorithms and a high-torque focusing drive motor. The large, bright, viewfinder uses a precision-ground optical glass pentaprism and a high refractive index eyepiece lens to provide 0.9x viewfinder magnification and 95 percent frame coverage.  Manual focusing is aided by an interchangeable spherical acute matte focusing screen.

The camera has a high-performance vertical traverse shutter with a maximum shutter speed of 1/8,000th of a second to freeze fast-moving action. A high-power coreless motor charges the shutter and mirror mechanism, allowing continuous shooting at up to five frames per second. In JPEG fine or standard mode, continuous shooting is limited only by the capacity of the media card (sold separately), while up to 18 frames can be captured in RAW.

Expanded Creativity

The new camera features fourteen creative styles, including night view, autumn leaves or vivid, which can be selected to enhance images. These effects can then be fine-tuned by customizing contrast, sharpness, zone matching and other parameters. Sony’s Dynamic Range Optimizer (DRO) function has been updated on this model so users can choose the desired level of detail recovered in areas of shadow. The advanced mode offers the option of five levels of user selectable correction. Additionally, DRO bracketing creates three images from a single capture with three different levels of DRO.

There is an extensive array of customization options to personalize the camera to match shooting styles. The unit’s quick navigation interface can be accessed instantly with the four-way multi-selector, and selected parameters can be adjusted directly by control dials

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resolution with the flexibility that only an EOS SLR can offer. Benefit from DIGIC III processing, rugged build quality and technologies that redefine SLR performance.

Features

• 21 MP full frame CMOS
• 14-bit A/D processing
• 5 fps, max. burst of 56 JPEGs
• Dual “DIGIC III” processors
• High precision wide area AF
• EOS Integrated Cleaning System
• ISO 100-1600 range (L:50 H:3200)
• 3.0″ LCD with Live View mode
• EF lens compatibility

Maximum quality. Total control.

21 Megapixel full frame CMOS sensor
The full frame CMOS sensor of the EOS-1Ds Mark III provides a massive 21 Megapixels of detail – exceeding the standard quality demanded by leading photo agencies. Images are processed at 14 bit colour depth for finer tonal gradations. Picture quality is assured by effective noise reduction at high sensitivities and a low pass filter that combats false colour and moiré. The sensor’s wide dynamic range can be set to preserve more detail from bright areas with the Highlight Tone Priority function.

Dual “DIGIC III” processors
Dual “DIGIC III” processors drive the camera’s rapid performance, allowing near-instant start-up and response times.

5 fps with 56 frame burst
The EOS-1Ds Mark III delivers 5 frames per second for a continuous burst of up to 56 JPEGs (12 in RAW).

Wide-area AF with 19 cross type points
A high precision AF system employs 19 cross type points with sensitivity up to f/2.8, spread out across the AF area to accommodate off-centre subjects. 26 AF assist points aid AF tracking for increased accuracy.

EOS Integrated Cleaning System

Canon’s built-in dust prevention and cleaning system uses a combination of technologies to reduce, repel and remove dust from the sensor. A Self-Cleaning Sensor Unit shakes dust from the sensor with each power on.

Wide ISO Range

A wide 100 to 1600 ISO range as standard is expandable to L:50 and H:3200.

3.0″ LCD with Live View mode

The bright 3.0″ LCD provides pin-sharp definition for checking focus and composition, with 10x magnification for finer details. When shooting from awkward positions, Live View mode gives you the option of framing your image from the LCD.

Picture Style
Picture Style presets provide easy image processing. Each style offers a different colour response – similar to the way film types are changed to achieve different effects. Picture Style presets are customizable in-camera or through the supplied Picture Style Editor software.

Weather sealed, magnesium alloy body
A magnesium alloy body with dust and moisture resistant sealing protects the EOS-1Ds Mark III from harsh weather and the rigours of daily use.

EOS system compatibility
The EOS-1Ds Mark III is compatible with all EF lenses (excl. EF-S lenses), EX Series Speedlite flash units, and the Wireless File Transmitter WFT-E2.

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Despite the core elements of the D700 essentially being the same as the D3’s, there have been a number of alterations which explain why its RRP is almost £1,400 lower. Beginning with the similarities, the same fullframe, FX-format CMOS sensor outputs an effective resolution of 12.1MP, from a total value of 12.87MP. This has been paired with the EXPEED processing technologies also adopted by the D3, which deliver a 14-bit Analogue to Digital (A/D) conversion and 16-bit image processing. Nikon claims that this ensures smooth tonal gradations in both Raw and JPEG files, with the single-engine processing responsible for rapid operational speed and and a high signal-to-noise ratio up to ISO 6400.

After this point the D700 has further increments of sensitivity, effectively extending the range from ISO 100 to 25,600. Being outside of the camera’s ‘standard’ sensitivity range, these settings result from the method of bit-shifting rather than conventional sensitivity control. Noise reduction may be applied to both high-ISO shots and long exposures, with the Auto ISO control option further enabling you to set both a maximum sensitivity and minimum shutter speed at which you wish the camera to operate. This is particularly useful for non-stabilised telephoto optics for the prevention of image blur.

The D700 also provides support for both DX and FX format lenses, which is much to Nikon’s credit. This is in contrast with Canon’s prohibition of EF-S lens support on its 1D and 1Ds models, and makes sense given the more enthusiast market at which the model is aimed. To achieve this, though, images may only be captured at a maximum resolution of 5.1MP and the standard DX conversion factor of 1.5x applies. In terms of image optimisation Nikon’s Active D-Lighting system is present, and works by applying an adjustment curve for the benefit of shadow and highlight retention.

It differs from standard D-Lighting in that adjustments are made as the image is being processed, rather than applied to images post-capture, although D-Lighting is also an option in the Retouch menu among a host of other retouching options. Four Picture Controls allow images to be captured in Standard, Neutral, Vivid or Monochrome formats, with the further option of editing, naming and saving your own variations in-camera (as well as in the Capture NX2 software). As if that wasn’t enough, Picture Controls can be shared between DSLRs and computers once they have been defined, and even downloaded from Nikon websites.

As with metering, we also see the same incarnation of the D3’s 51-point Multi-CAM 5300 AF system. 15 cross-type centre points are vertically arranged in a 3×5 formation, with a further 18 each to the left and right. The system supports single point, auto area and dynamic focusing options, with a further 3D Tracking option available with the latter setting. This utilises colour information from the aforementioned RGB sensor to help keep track of moving subjects, while the auto and single-point area options are said to recognise people and skin tones to effectively provide face recognition.

Live view is available, supporting both manual and auto focusing. The view may be magnified up to 13 times (past 100%) and viewed on the camera’s 3in LCD screen, which has a high resolution of 920,000 dots and a viewing angle of 170°. Tethering the camera to a computer is also an option via the Camera Control 2 Pro software, though unfortunately this doesn’t come bundled with the camera.

There are a number of other features which you could spend many happy hours discovering. The Virtual Horizon facility essentially functions as an inbuilt spirit level, and may be overlaid onto the live previewing of an image, while the Custom Functions menu allows no less than 50 various adjustments, from assigning options to the Func button to a host of flash options and everything in between. You can even choose from five options to define the diameter of the centreweighted metering area – certainly a far cry from my Halina disc camera days.

So what of the differences? Well, arguably the main criticism of the D3 is that there’s no form of either dust prevention or removal with regards to the internal components. Thankfully, Nikon has seen fit to include the piezoelectric-based sensor-cleaning system that debuted on the D300, which is complemented by a dust-mapping facility via the Capture 2 NX software.

The 3D Colour Matrix II metering system has also been carried on from the D3, with its 1,005 pixel RGB sensor said to analyse brightness, contrast and AF area among other factors to determine accurate metering. Furthermore, it works in tandem with Scene Recognition technology which optimises white balance, exposure, i-TTL control and focus, all ‘within milliseconds prior to shutter release’. There are many other minor differences, pertaining to the camera’s operation and feature set. Instead of the D3’s 9fps burst depth the D700 manages 5fps, though this may be boosted to 8fps with either the EH-5A mains adaptor or MB-D10 battery pack. Curiously, while the D3 can also rattle off 11fps in its DX mode, the D700 retains a constant maximum 5fps rate at default, regardless of what format you’re shooting in. The shutter mechanism is also different and has been tested to 150,000 cycles, and there’s no microphone and speaker for audio notation. The camera also loses one of the D3’s two CompactFlash slots, while a sliding cover and large release button allow for card removal as opposed to the D3’s cover-popping button. There’s also no secondary LCD screen underneath the main one for checking exposure and image parameters, and the Info button has lost its assignment to the Lock button, now sitting on its own to the right of the LCD screen.

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With the TruePic III processor seen in the last few Olympus DSLRs, each camera manages to shoot JPEGs up to the capacity of the card and up to eight Raw images at a constant pace, though burst speed sees a slight increase now at 3.5fps. Lacking the 11-point biaxial AF system of the E-3, no claims are made of world’s-fastest focusing, with focusing limited to three horizontally arranged points. This expands to 11 points when used in conjunction with live view in Imager AF mode.

Sensitivity may be adjusted in full-stop increments over a range of ISO 100-1600 on both cameras. This is augmented by both a long-exposure noise reduction option and a high-ISO noise filter, with the latter’s intensity adjustable over three levels.

Each camera’s built-in flash has a guide number of 12 (at ISO 100) and is operated automatically through the camera or manually via a button on the top plate. An assortment of slow-sync, rear-curtain-sync and flash compensation options may be selected, and, as was the case with the E-3, wireless flash operation is also possible. The camera is able to synchronise safely with up to three compatible off-camera flash units – at present, this will work with the FL36R and FL50R wireless flashguns. This allows individual positioning and control over each separate unit and is clearly something Olympus is pushing, having also recently made it possible on its SP range of bridge models. The camera is also compatible with Olympus’s non-wireless units, including the two ring and twinflash options, but not the FL-40 flashgun.

The other main difference is the addition of a grip on the E-520. This allows for a better spacing of the shutter and exposure compensation buttons, and easier access to three extra buttons positioned on the rear – namely Function, Image Stabilisation and AF point selection. The Function button allows the user to assign a frequently used setting for quick access, with the selection including depth of field preview for live view images and a quick changing from simultaneous Raw and JPEG recording to JPEG recording.

Face Detection features on both models, as does a Perfect Shot Preview mode which allows you to view a preview of an image at different exposure and white balance settings, enabling you to select the most appropriate settings. Up until here, the two cameras are largely the same, though the E-520 has a few extra options which justify its higher asking price. Chief among these is sensor-based image stabilisation, which claims to offer a compensatory effect of up to four stops of usable shutter speeds.

So, for instance, an image that would be achievable at a speed of 1/500sec would in theory be possible at 1/30sec. It works with all compatible lenses and comprises three seperate options. The first option is a general, all-purpose mode which uses both vertical and horizontal axes to stabilise the image. The second mode stabilises the image over the horizontal axis only, and is designed for panning subjects such as racing events. Finally the third option does essentially the same as the second, but along the vertical axis only. This is the first time the last mode has featured on an Olympus DSLR.

And finally, images are whisked onto the user’s choice of either CompactFlash, xD or the less common Microdrive media formats.

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If comparing specifications side by side, you’ll see that the EOS 1000D sits neatly between the 400D and 450D. It admittedly shares more in common with the latter model, though the headline spec – namely the 10.1MP CMOS sensor and 2.5in LCD screen – have remained from the 400D. And while the 1000D doesn’t technically replace the 400D, Canon has said that its arrival corresponds with the latter model’s discontinuation. With the APS-C sensor measuring 22.2 x 14.8mm, all mounted lenses are subject to a crop factor of 1.6x. The 18-55mm kit lens, therefore, produces an effective range of approximately 29-88mm, with the mount accepting Canon’s EF and EF-S range of optics. Impressively there’s no loss of functionality, even when using the oldest EF lenses.

A pixel configuration of 3888 x 2592 pixels allows for images to be printed – theoretically at least – to 13 x 8.5in at 300dpi, though experience shows that larger prints up to and above A3 are also attainable. Images are stored in either Raw or JPEG formats, or a combination of the two, with three JPEG sizes and three compression ratios to choose from.

Focusing features a seven-point wide-area system, with five horizontal points along the middle of the frame, and one each above and below these. The system features one f/5.6 cross-type centre point and is linked to a trio of focusing options to cater for both stationary and moving subject matter.

Autofocus operation is also possible when using the camera’s live view mode, with the choice of Quick and Live focusing options. As its name suggests, the Quick mode is the zappier of the two, though a short mirror blackout is necessary for the camera to autofocus. The Live mode, meanwhile, allows an uninterrupted view of the camera focusing, but as it uses contrast rather than phase detection it’s noticeably slower – the reason being that focusing is performed off the camera’s main imaging sensor, rather than the dedicated AF sensor with which ‘standard’ autofocusing is carried out.

An LCD screen measuring 2.5 inches sits on the back of the camera, and features the 230,000 dot resolution that is standard for this type of model. Its brightness may be adjusted over seven levels to compensate for awkward lighting conditions, and the display may be customised to one of four colour themes – perfect for the young and trendy, or indeed, the not so young for whom different text and background combinations may be easier to read than others.

Keeping processing in line with most recent Canon DSLRs, the camera features the company’s DIGIC III processing technology. This is said to help reduce noise in images and maintain a swift operational speed, and helps the camera to maintain a JPEG burst mode of up to 3fps, up to the capacity of the memory card. In Raw capture this rate drops to 1.5fps, up to a maximum of five images.

A 35-zone metering system offers evaluative, partial, and centreweighted average options, though the 450D’s option of spot metering hasn’t been included here. Likewise, the Highlight Tone Priority option has also been omitted from the Custom Functions menu, though the Auto Lighting Optimiser has remained. Its purpose is in correcting brightness and contrast in either low-contrast images, those subject to trickier lighting conditions such as backlighting, or where insufficient flash, if used, has reached the subject.

An LCD screen measuring 2.5 inches sits on the back of the camera, and features the 230,000 dot resolution that is standard for this type of model. Its brightness may be adjusted over seven levels to compensate for awkward lighting conditions, and the display may be customised to one of four colour themes – perfect for the young and trendy, or indeed, the not so young for whom different text and background combinations may be easier to read than others.

Finally, the camera’s sensitivity range may be adjusted in full-stop increments over a range of ISO 100-1600. This range is admittedly a little limited by current standards, though Canon has stressed that this is for performance’s sake. In other words, it’s happy enough with results at ISO 1600, but obviously not past this.

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Samsung, leaders in digital imaging, announces the launch of the 14.6 mega-pixel GX-20 digital SLR. The Samsung GX-20 is aimed firmly at the discerning enthusiast photographer who wants comprehensive functions, stunning design, ease of use and real value for money – all in one camera. Samsung also announces the launch of two new lenses, giving both GX-20 and GX-10 series users even more freedom to express their creativity.

Robert King, Commercial Director of Samsung Cameras says, “With the launch of the GX-20 digital SLR, Samsung has a full digital camera line-up ranging from convergent compact digital cameras through to high-end fully-featured digital SLRs. This product is the start of an exciting DSLR range for Samsung as it is our first DSLR with our own manufactured CMOS sensor.

This is a very important step for Samsung which is set to support our expansion in this competitive product sector. The GX-10 is the next step in Samsung’s continued growth in the SLR market – the new GX-20 offers cutting-edge functions as well as outstanding picture quality to satisfy users of all abilities.

The GX-20 is robust enough for taking quality pictures in wet, sandy or dusty conditions. The special water-resistant and anti-dusting body sealing protects 72 different parts and the advanced Dual Dust Removal System included in the GX-20 also removes problematic particles from the sensor, resulting in perfect, blemish-free pictures with minimum effort on the part of the photographer.

With the one-touch RAW button, built into the GX-20, RAW file shooting is made simple and instantly available to users even during general JPEG shooting. The RAW files can be checked on the LCD and then be directly converted to JPEG format via the built-in converter.

With the GX-20, continuous shooting at 3 fps (frames per second) is possible; up to 9 fps; giving the user the best chance to get a great picture.

The GX20 boasts a 14.6 mega-pixel image sensor, which offers the photographer a sharper image with richer colours for a truly compelling composition. Taking photos is made easier with the Enhanced Digital Filter which allows a greater dynamic range of exposures and can also be used to add various effects or compensate for missing pixels after taking a picture. For unrivalled photo viewing, the GX-20 also comes complete with a wide view 2.7” TFT LCD (230k pixels) and live view through the optical viewfinder or LCD display.

With its powerful built-in Optical Picture Stabilisation (OPS) technology, the GX-20 prevents blurred pictures by shifting the CCD to counter any movement of the camera’s body. This function is designed to minimize shake by oscillating the image sensor vertically and horizontally – eliminating the need for additional anti-shake lenses.

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Nikon has been cranking out new digital SLR camera upgrades like crazy these last two years, with the low, high, and pro end of the lineup getting update after update, but the mid-level SLR in particular has gone more than 18 months without an upgrade. While the Nikon D80 has a rich feature-set and maintained a high resale value throughout its tenure, it’s due for an upgrade.

The Nikon D90 arrives fashionably, just as its predecessor did in late 2006. It comes sauntering in with most of the current hot features that the D80 lacked, plus a new twist that will bowl them all over with its relevance and utility.

With a 12.3-megapixel sensor, the Nikon D90 rises to the resolution of the more professional D300. It also shares the same sensitivity as the D300, ranging from ISO 200 to 3,200, plus L1 (100) and H1 (6,400).

Though Face Detection is helpful in Live view mode, its utility goes further, as it’s now an integral part of Nikon’s Scene Recognition System (SRS). Thanks to the Nikon D90′s 420-pixel matrix metering sensor, the SRS can combine color metering with autofocus sensor data and tune white balance and exposure with a particular bias toward getting faces exposed properly. In theory, this should also include making sure the Nikon D90 focuses on an eye rather than a nose or forehead. If true in practice, this is quite an advance. Face detection even comes into play in i-TTL Flash control.

The Nikon D90′s 11-point phase-detect AF system is arrayed in a diamond pattern and now includes 3D focus tracking as found on the D3 and D300.

Another essential upgrade on the Nikon D90 is the move to a high resolution 3-inch LCD screen. The 920,000-pixel display has a 170-degree viewing angle and appears to be as nice as the new screens found on the D3 and D300. It makes checking focus and using Live view mode that much more pleasant.

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The Pentax K200D is an affordable 10 Megapixel DSLR with built-in Shake Reduction that provides stabilisation facilities with any lens you attach. Announced alongside the K20D in January 2008, the K200D may be over-shadowed by the feature-packed 14 Megapixel flagship model, but it boasts an unprecedented degree of strength and weather-proofing for a body of its class.

The K200D additionally supports top-end Pentax lenses with quick and quiet SDM focusing and offers Pentax’s unique Sensitivity Priority mode which allows you to select the desired sensitivity and let the K200D work out the appropriate shutter and aperture.

the K200D also sports a number of advanced features. There’s an upper LCD information screen, support for both Pentax’s own PEF and Adobe’s DNG Raw formats, along with optional in-camera RAW processing and even a dedicated RAW button on the side

Numerically-speaking, the K200D may be the successor to the K100D, but it’s clearly much more than simply an enhanced version of this earlier body. Indeed the K200D actually shares much more in common with the company’s former flagship, the K10D.

So while the K200D doesn’t boast the K10D’s penta-prism viewfinder, dual control dials, interchangeable focusing screens nor match its continuous shooting capabilities, it does employ the same sensor, same Shake Reduction and same PRIME image processor, along with the K10D’s Sensitivity Priority ‘Sv’ shooting mode and a number of its menu options. And in one small respect, the K200D is actually a little better: its screen measures 2.7in to the K10D’s 2.5in

The K200D may not feature Live View, but it does offer a unique combination of dust and weather-proofing along with several advanced features at an affordable price. So is it a bargain version of a former flagship, or a cut-down compromise which lacks the latest features? Find out in our Pentax K200D full review where we’ll weigh-up its features against other Pentax DSLRs and crucially compare the image quality against contemporary rivals including the Canon EOS 450D / XSi and Olympus E-520. And as always, for a demonstration of its highlights

One major difference between the K200D and the K10D though, not to mention the vast majority of other DSLRs, is its power source. Rather than using a proprietary rechargeable Lithium Ion pack, the K200D employs four standard AA batteries. Fit the K200D with Lithium AA batteries and you could shoot up to 1100 images, and if that’s not enough.

Pentax has developed a brand new battery grip for it. For some people, the opportunity to operate on AA batteries is a serious advantage – certainly even if you run out of power in unusual or remote locations, a spare set should be relatively easy to find.

The GX-10 boasts a 10.2 mega-pixel image sensor, which offers the photographer a sharper image with richer colours for a truly compelling composition.  Taking photos is made easier with the PentaPrism viewfinder with its high magnification (0.95x) to provide a clearer, wider field of view (95%) for optimum shooting.

The advanced design features of the GX-10 ensure it is robust enough for taking quality pictures in even wet, sandy or dusty conditions as the camera comes equipped with a special water-resistant and anti-dust sealing. The advanced dust removal function included in the GX-10 also removes potentially problematic dust from the CCD by vibrating it automatically when the camera is booted, resulting in perfect blemish-free pictures with minimum effort on the part of the photographer.  A further dust barrier is provided by the special coating on the CCD’s protective window.

With the one-touch RAW button, built into the GX-10, RAW file shooting is made simple and instantly available to users even during general JPEG shooting.  The RAW files can be checked on the LCD and then be directly converted to JPEG format via the built-in converter for convenience.

For unrivalled viewing of photos the GX-10 also comes complete with a wide view 2.5” TFT LCD (210k pixels). With its powerful built-in Optical Picture Stabilization (OPS) technology, the GX-10 prevents blurred pictures by shifting the CCD to counter any movement of the camera’s body. In addition, when a manual lens is used in ordinary digital SLR cameras, the camera’s shake prevention mechanism does not function properly since the camera does not have the lens information.  In the GX-10, however, the manual lens information can be input so that film cameras’ manual lenses can also be used with the GX-10.  (In some digital SLR, because the lens has the shake prevention functionality, the unsteady hands cannot be compensated for when manual lenses are used.)

The advanced design features of the GX-10 ensure it is robust enough for taking quality pictures in even wet, sandy or dusty conditions as the camera comes equipped with a special water-resistant and anti-dust sealing. The advanced dust removal function included in the GX-10 also removes potentially problematic dust from the CCD by vibrating it automatically when the camera is booted, resulting in perfect blemish-free pictures with minimum effort on the part of the photographer.  A further dust barrier is provided by the special coating on the CCD’s protective window.

With the one-touch RAW button, built into the GX-10, RAW file shooting is made simple and instantly available to users even during general JPEG shooting.  The RAW files can be checked on the LCD and then be directly converted to JPEG format via the built-in converter for convenience.

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The D300 is certainly more than enough to make the competition sweat.

A new auto-focus sensor with 51-points, there’s focus tracking by color, scene recognition, Picture Control presets, six frames per second continuous shooting, Compact Flash UDMA support, Live View and the mighty impressive 3.0″ 922,000 pixel LCD monitor.