Aquabotix Hydroview Robot Submarine Controlled from iPhone

Aquabotix Hydroview Robot Submarine Controlled from iPhone . Unfortunately, you can never set foot in this submarine. But this new robot submarine Hydroview Aquabotix bring a new dimension to remote control the IOS, and allows you to explore the oceans. The Aquabotix Hydroview robotic submarine is an underwater vehicle equipped with a lightweight high-definition cameras and LED lights. Instead you will control your use of IOS or Android device - your device back in the direction you want to travel and also work with laptops.

Polaroid Z340 Two functions in one device

Polaroid Z340 Instant Digital Camera also has a 2.7 inch screen, which allows you to see the photos instantly, and make minor edits. Photos can be downloaded to a computer from the SD card or you can print them directly using the built-in printer devices. Printed size, 3 × 4 ", is the exact same size with the first Polaroid camera. Two functions in one device.

EOS C300 a new Canon digital cine camera

Canon familiarizing yourself with the filmmakers through the release of high-end video cameras that use the EOS camera system C300 Cinema. The following cameras are quite expensive for consumers 'general' but suitable for professionals. For the body only, C300 valued USD 20,000 or about USD 180 million. Medium 2 zoom lens that accompanies each valued USD 45,000 and USD 47,000. Cinema EOS itself is almost similar to a traditional still camera, but he worked at various bearing lenses. Fujio Mitarai, Canon's chief executive said he was also capable of 1080p HD video capture.

SeaLife DC 1400 capture the amazing underwater world

Sealife DC 1400 is a camera that makes it easy to take amazing underwater pictures and produces HD video. SeaLife latest generation 14-megapixel camera incorporates a diver-friendly designs and six color modes underwater sharp, colorful images and HD video - underwater or on land. Adding housing one hand usability is "Command Central" located in front of a camera shutter button, which allows access to menus and 5X optical zoom. The SeaLife DC1400 digital camera is the easiest to use under water, NEVER. This camera has five widespread "piano key" controls, large shutter button, and the finger-tip control lever that allows scrolling through menus or zooming in and out without releasing your grip from the camera.SeaLife DC 1400 capture the amazing underwater world.

Olympus PEN E-PM1 High quality lenses like a DSLR

Olympus PEN series' compact digicams just got three more new models. The most affordable, and smallest in the series, is E-PEN PM 1, which will be available in six stylish colors (purple, pink, brown, white, silver, and black). PEN idea behind the whole series that they are both compact (such as point and shoot), but features fast, high-quality interchangeable lenses (like a DSLR). All cameras in this series will feature 12.3 Megapixel Live MOS image sensor, a TruePic VI Image Processor, Dust Reduction System, 3.0 "LCD screen (460K pixels), and high ISO 12,800 capability. Olympus PEN E-PM1 High quality lenses like a DSLR.

Olympus SP-810UZ Anyone with a creative eye will be happy

Anyone with a creative eye will be happy with 10 SP-810UZ is the Magic Filters can be applied to almost all the stills and movies. This includes new Miniature and Reflection filter. You give the appearance of a miniature photograph miniature models with strong colors and contrast (by narrowing the depth of field) while the Reflection simulates a magical horizontal reflection of your subject, as if it were standing next to a perfectly flat water. SP-810UZ stand apart from the most SLR-shaped ultra-zoom camera. It is not always critical, though, and this certainly large zoom - its 864mm (equivalent) focal length telephoto longest ever grace the ultra-zoom camera. In the meantime, it is assured that the point-and-shoot simplicity is reflected in the price.

Ricoh CX4 comes with improved image stabilization

After so long not launch a product, in this week's Ricoh will release a new camera. which will be named CX4, a follow up from the previous generation CX3. This version offers a list of comparable specification - 10.8x optical zoom, wide angle lens 28-300mm, 3-inch LCD with 920,000 dot resolution - but offer improved image stabilization with a 3-fold. It is also capable of capturing 720p video and has a bevy of creative filters.

FinePix X10 a comfortable vacation with Fujifilm

This camera has a new larger 2 / 3 '12 megapixel CMOS sensor and high-definition EXR bright F2.0 F2.8 wide-angle lens users to zoom in 4x telephoto. A 2.8-inch LCD sits on his back and the camera itself is made of die-cast magnesium alloy, so it is strong enough to survive even the most heavy-handed users. this of course can capture full HD video and produces a professional like a shot. and, if you're wondering, no pop up flash. FinePix X10 a comfortable vacation with Fujifilm.

Sony DSC HX9V camera with G Lens and 3D Sweep Panorama capabilities

Sony DSC HX9V Cyber-shot camera is the journey-zoom feature-packed, offering a 16x, 24-384mm zoom lens, 16.2 megapixel Exmor R back-illuminated CMOS sensor, built-in GPS tracking complete with compass, full 1080p video high definition recording with stereo sound and HDMI output and 3D panoramas and 3D Sweep Still. Another key feature of the well-appointed Sony HX9V including panoramas Intelligent Sweep, which now includes a 42.9-megapixel high resolution mode, 3-inch LCD screen with 921,000-dot, 10fps burst shooting mode at full resolution, ISO range 100-3200, Optical SteadyShot with Active mode, the camera cuts back and forth while you're shooting handheld HD video, plus Intelligent Auto, Program, and full manual shooting modes, and support for both Memory Stick PRO Duo and Secure Digital cards.

Nikon V1 and J1 pocket photo system DSLR

Nikon V1 and J1 pocket photo system DSLR, Nikon announced the Nikon J1 and V1, mount interchangeable lens camera that offers HD video capture and super-fast autofocus system that is currently unmatched. The first representatives of a new photo system are Nikon cameras and Nikon J1 1 and Nikon 1 V1.

First, let's take out the core features of the road. Behind the lens sits third all-new Nikon EXPEED image processing engine. It can capture full HD video at 30fps or 10.1 megapixel images. For low light situations J1 and V1 can improve their ISO 3200, provided of course the built-in pop up flash is not enough.

Pentax Optio RZ18 Compact with 18x Optical Zoom

While the standard point and shoots optical zoom will suffice in most scenarios, it can be a major crux when it comes to capturing shots of your favorite animal while on safari. To solve this problem Pentax is launching the Optio RZ18.

This point and shoot camera boasts a comparable footprint and form factor to that of cameras in the same class, but includes a massive 18x optical zoom. That’s the equivalent of a 25-450mm lens.

Camera Fujifilm Finepix X10

Most of today’s digital cameras look as sturdy as a plastic cup. And probably many of you can attest to that claim after one drunken night out. Not Fujifilm’s Finepix X10 camera. The camera’s body is built from lightweight, yet ultra strong, die-cast magnesium alloy. Course, this shooter is anything but a point and shoot designed for quick snap shots, though it can easily accomplish that.

A 2/3″ 12 megapixel EXR-CMOS sensor captures high rez photos, while a built-in wide angle and telephoto lens allows to you capture a variety of shots. Like many of today’s cameras it can zoom up to 4x, but Fujifilm says that their new Intelligent Digital 2x Telephoto zoom technology doubles that. On the converse the lens can achieve macro shots as close up as 1cm. And the always attractive soft-focus “bokeh” effect, often added in Photoshop, can be accomplished in cameras thanks to a “7-blade aperture.”

GE Power Pro X500 more realible

I make it a point to let readers know that I am by no means a professional photographer (though with all these camera reviews I’m getting closer), but I do know what I like in a camera as a consumer. One thing that I’ve always liked are “bridge cameras” – so called because they bridge the gap between simple point and shoot models, and more advanced SLR models. Bridge cameras have a very small image sensor that allows their single lens to take on a multitude of functions (from macro to zoom), and while the GE Power Pro X500 might just be the most inexpensive bridge camera I’ve ever seen, its lens doesn’t skimp at all.

Pentax X70 Review

The ultrazoom category is a force to be reckoned with in today's market. Not only do these cameras offer a wide- to telephoto focal range; they cost less than a dedicated SLR. The Pentax X70 is a 12 megapixel powerhouse with a 24X optical zoom, the first entry from the same company that manufactures the formidable K-series of DSLRs.

The X70 has some interesting features jam-packed into a DSLR-like body, including a 12-megapixel CCD sensor, 24X zoom with a focal range from 26-624mm, high-speed continuous shooting of up to 11 fps, Super Macro Mode for getting as close as 1 cm from your subject, and HD movie capture at 1280x720 at 15 frames per second.

FEATURES OVERVIEW

The strongest feature of the X70 is the optical zoom range, giving you a pure, unadulterated 26mm wide to a super telephoto 624mm. What's also different about the X70 is the amount of user control it offers, including Manual (M), Shutter Priority (Tv), Aperture Priority (Av) and Program (P) modes to control nearly every aspect of the shooting process.

But to get into the nitty gritty of the camera, and some of the features that make the X70 unique, here's a run down of what it's got...

24X Optical Zoom: The most powerful feature of the camera is its optical power. The ability to zoom from 26mm, which will give you a nice wide landscape, to a 624mm telephoto, letting you hone in on subjects far from the camera, is a boon when you want to get both kind of shots with only one camera. The X70 allows you to do so.

Triple Shake Reduction: With such a powerful zoom range there usually comes a tradeoff -- blur at telephoto lengths. Pentax's proprietary Shake Reduction technology utilizes an image stabilization system that uses a gyro sensor to recognize camera shake and compensates by shifting the CCD to prevent blur. The second system in place is digital stabilization that works by bumping up the ISO. Both methods work well to keep camera shake from ruining a shot. The third SR is Movie SR, which is used for video capture.

LCD: The X70 has a large, high-res 2.7 inch TFT color LCD with anti-reflective coating and a 230,000-dot resolution, as well as an Electronic Viewfinder with an impressive 200,000-dot resolution.

Fast Continuous Shooting: Also impressive is a burst rate of 11 fps JPEG shooting up to 21 frames before the buffer memory needs to be cleared, allowing you to capture the action without missing a shot.

HD Movie: The X70 captures HD video at a resolution of 1280x720 at 15 fps, which is interesting, because most HD capture in compacts is 24 or 30 fps. The camera also captures VGA resolution video at 848x480 at 30 fps.

Face Detection: This feature captures up to 32 faces in 0.03 seconds. Smile Capture detects when your subject is smiling, and Blink Detection will let you know if the subject's eyes are closed before you press the shutter. This function works great if you are shooting kids or a large group photo.

Exposure Modes: The X70 has four exposure modes, including Program AE, in which the camera selects the best aperture and shutter speed automatically for you; Aperture Priority; Shutter Priority; and Manual, allowing photographers to select their aperture and shutter speed.

Auto Bracketing: With this function you can set the camera to capture three simultaneous exposures, one that is under, one over, and one in between, so that you can choose the right exposure, or even stack them together later for high dynamic range photography.

Styling and Build Quality
The X70, much like other cameras in the ultrazoom category, is somewhat of a mini DSLR. That being said, it is not exactly a pocket camera. It is similar in design to offerings from both Olympus and Fujifilm in form factor and overall dimension, measuring 4.4 x 3.2 x 3.9 inches (WxHxD) and weighing in at 13.8 oz.

Ergonomics and Interface
Picking up the X70 is similar to handling a DSLR. It has a similar right-hand grip and a protruding lens that you would typically place your hand on to zoom with, except that with the X70 you obviously can't do this with the barrel.

The placement of the controls, including the mode dial on the top right of the camera, is very reminiscent of an SLR. The top of the camera features the mode dial which allows between movie and manual mode, the on/off button, the shutter with the zoom lever, and the Exposure Compensation button that lets you choose the compensation value, shutter speed and the aperture value. Also on the top of the camera is a button that lets you pop up the flash.

Display/Viewfinder
In most of the reviews that I have written for DigitalCameraReview, I have criticized the EVF as mostly a useless feature that is clunky and just takes up more space on the back of a camera. In the case of the X70, the 200,000 dot resolution viewfinder is fast, accurate, and very similar in responsiveness to the Panasonic G1 (which set the bar high for EVF because of its speed and accuracy). The X70's EVF works great, and displays all the shooting information through the viewfinder. The LCD also works well. Measuring 2.7 inches with a smudge resistant coating, it plays back images accurately with 230,000 dot resolution.

PERFORMANCE

Timings and Shutter Lag
While the X70 is not a speed demon, the lab testing gave us pretty standard results. AF was slow, especially with the lens fully extended, making the zoom lens creep to find focus. When you'd like to shoot an image quickly, this becomes very annoying.

Auto Focus
The X70 uses a contrast-based AF system with 6 different options. The Standard AF works for most shooting scenarios. The second AF mode, Macro, offers a focusing distance of 4 to 20 inches for close pictures of your subject. One of my favorite focusing options for the X70 is the 1 cm Macro mode, allowing you an extreme close up of your subject within a centimeter away. This is a unique and helpful option that gives you an incredible level of detail.

Infinity AF is optimal for taking images of distant objects and still being able to keep most the frame in focus. There is also a Manual Focus that lets you set your own focus, and an AF Area Selection that lets you select a specific area to focus the frame with 25 user selectable points.

Lens and Zoom
Although the X70 doesn't have the highest optical zoom power in its class (other manufacturers have models with 26X), it provides a wide range that appeases all types of photographers. Based on a 35mm equivalency, the camera's focal distance ranges from 4.6-110.4mm (26-624mm) with an aperture range of ƒ/2.8-5.0.

Flash
The X70 has a pop-up flash with various settings, including Auto, Auto with Red-eye, Flash on + Red-eye, Slow-speed Sync and Slow-speed Sync with Red-eye, which can be changed by clicking the left arrow button on the four-way controller. It has an effective range of 29.9-ft (wide, auto ISO) to 16.7-ft (tele, auto ISO).

Image Stabilization
Image stabilization is called Triple Shake Reduction (coined by Pentax), and uses a CCD-shift or another form of digital and a high-ISO setting to prevent blurring. Shake Reduction can be hit or miss in the X70, depending on your focal length. That being said, shooting at the wide end of the lens will produce less blur issues if there is enough available light. When using telephoto lengths, however, real problems crop up.

Shake Reduction can be accessed through the Rec. menu, and there is also a Digital SR option on the mode dial. Overall, the camera worked fine at the wider focal lengths, but at telephoto I encountered a few problems and ended up with some overexposed images.

I found the Movie SR for shooting video mostly useless because the video captured with the X70 is sub-par, but I'll get more into that later.

Battery
Battery life on the X70 depends on if you shoot video or stills. The X70 uses a lithium-ion rechargeable battery that comes with the camera, and according to CIPA-compliant testing, 170 stills can be captured if half of these images are used with flash. My field-testing, with only about 10% of my shots using flash rendered about 250 or more stills.

However, battery time drained quickly when the 11 fps continuous shooting mode was employed or when I shot HD video. Overall, field-testing was similar to Pentax's in-house testing.

CONCLUSIONS
The X70 offers a lot in the way of control and focal length, but is it worth the $400 price tag? Most ultrazooms are running at this same price point, and most have fared considerably well on this site, but the X70 is a great camera that offers a lot of control similar to a DSLR. Not only can the X70 take you from extreme wide-angle to super telephoto with one lens, it does so with the ability to take control of nearly every aspect of shooting.

In comparison with the Pentax K2000 DSLR, you can purchase this camera with two kit lenses, including the 18-55mm & 50-200mm for $649 from their Web store, giving you a zoom range of 18-200mm, which still can't touch the 624mm tele on the X70. For $250 more, you get a larger sensor, bigger camera and a larger quiver of lenses.

Depending on your experience with photography and your budget, the X70 is a worthy competitor in the growing ultrazoom market, and after using quite a few over the years, this camera by far exceeds where the others have failed. If you have the dough to move up to DSLR photography, then by all means do it. Nothing beats a good DSLR. If you're a dedicated shutterbug and want a camera with all the focal power you'll ever need in one place, the X70 is your camera. This is even a great intermediary camera for the casual shooter who wants to move up to a better class of camera than a typical point-and-shoot. All things considered and tested, the Pentax X70 is a worthy competitor in the ultrazoom market.

Pros:

* Good image quality and performance
* Exceptional focal range
* Great low-light performance
* Advanced manual control

Cons:

* Poor HD video quality
* AF is slow
* Overexposed images at longest focal lengths
* No RAW support

Olympus E-620 Review

What happens when entry-level is no longer entry-level? We've been pondering this quasi-philosophical question for awhile - ever since the major players in the DSLR world went from building one camera under $1000 to rounding out a lineup with two or three models in this segment. By what standards do you judge a camera that sits squarely between the once-clear consumer and enthusiast categories? For that matter, what do you even call these new "higher than entry-level but not quite prosumer" cameras?

With two DSLRs already positioned squarely in the entry-level category, as well as a recently released prosumer model, we were a bit surprised to learn that Olympus would be the latest manufacturer to add a mid-level camera to their rapidly expanding DSLR stable. On the one hand, with all the buzz around video capture making its way down to this category, the recently announced Olympus E-620 may not strike a chord with gadget geeks looking for the latest thing. At the same time, the inclusion of a slew of new technology developed for Olympus's high-end E-30 suggests that this camera might just have a few noteworthy tricks of its own up its sleeve.

BUILD AND DESIGN
The technologies inside the E-620 will be most familiar to those who know Olympus's prosumer model, the E-30. Size-wise, though, the E-620's closest sibling in Olympus's lineup is the tiny E-420, coming in just slightly larger all around than Olympus's smallest entry-level model. In this way, Olympus's new model does what a lot of upper entry-level DSLRs do, taking key technologies from an advanced model and grafting them into smaller, lighter bodies. But with a footprint almost identical to the nearly pocket-size E-420, the E-620 takes smaller and lighter a step beyond most of its rivals - making it a good match against Panasonic's well-rounded Micro Four Thirds model, the G1, in more than one respect.

Ergonomics and Controls
With its striking similarity to the E-420 - as with basically all current Olympus models, the control layout follows a single system-wide basic formula - navigating the E-620's ins and outs will be simple enough for transitional Olympus shooters. In trying to get up to speed on the control layout, those unschooled in Olympus's user interfaces expressed concerns we've heard before about buttons that are too small and too numerous. Those with big hands may also find the overall ergonomic experience here unrewarding: in spite of the fact that it's both light and provides a much more ample grip area than older "flat front" Olympus DSLRs, the fact remains that there's simply not much unoccupied surface area for your fingers to rest on with this camera.

Even finding the camera's small size and even smaller buttons hard to come to terms with, I was able to quickly re-adapt to Olympus's way of doing business. As we've said over and over, serious shooters tend to come to appreciate what may seem at first blush like "button clutter" to the uninitiated: in the case of the E-620, button position is generally logical and accessible (though I will note that I don't like the fact that the flash settings button, which sits on the top deck to the left of the flash and prism, can't be actuated with your right hand), and having direct access to commonly changed exposure and performance settings is an asset rather than a liability.

Menus and Modes
Continuing a theme from the previous section, Olympus menus can be a bit of an "acquired taste." The E-620's page menus can be a bit difficult to deal with in spots: things aren't always where you might expect to find them when it comes to the gray area between what's a shooting option versus a master or "setup" option, for instance. But while Olympus hasn't fundamentally reworked its UI structure, they did improve things by allowing you to turn off the advanced settings menu - significantly de-cluttering the menu structure when it's disengaged - as well as replacing the visually ambiguous wrench icons for setup menus with a more universally understood gear pictograph for setup options. And we can always hope that some small refreshers this time around on an interface that his been essentially unchanged for years signal a significant overhaul in the offing.

What continues to work well, though, is the E-620's shooting status display, which uses the LCD to provide a wealth of information about the camera's settings. As best we can tell, pretty much every conceivable option - from ISO to image size to noise reduction aggressiveness - is represented on this display, and you can use the d-pad to move around within this interface and change settings as desired. The sheer quantity of information in the E-620's snapshot view can be a little overwhelming, but this kind of quick access to major and minor functions tweaks alike sure beats digging into the menus.

Like most consumer DSLRs, the E-620's modes are a mix of novice-friendly auto exposure options and deep-level control for enthusiasts - with the added twist of Olympus's Art Filters technology. Olympus's latest in-camera processing and emulation system, Art Filters serve up six photo effects, including filters mirroring the look of shooting with a pinhole camera, a soft-focus filter, or on high-speed monochrome film. A complete list of the camera's shooting options is as follows:

* Auto: Camera selects all exposure values
* Program: Auto exposure mode with user control for flash settings, metering mode, etc.
* Shutter Priority: User selects shutter speed, and camera calculates aperture for correct exposure
* Aperture Priority: User selects aperture, and camera calculates shutter speed for correct exposure
* Manual: User selects both aperture and shutter speed
* Scene: Five scene presets - landscape, portrait, macro, action, and night portrait - each have their own position on the mode dial
* ART/SCN: Eleven additional scene presets, as well as the aforementioned art filters, are accessed via a menu from this position

Like most DSLRs, if you're looking for fun things to do with your photos in playback, you won't find those options on the E-620. Overall, while the camera's overall shooting experience clearly targets both enthusiasts and general consumers, the E-620's complex heads-up displays, many custom setup functions, and button-rich control layout will find more appeal with (and, at times, engender less frustration among) a slightly more serious and savvy set of photographers. At the E-620's price point, this camera serves up a whole lot of advanced tech, and while this is certainly a boon for serious shooters (especially those with a preexisting investment in Olympus gear), it also presents a steeper learning curve at the outset for shooters coming over from other systems or moving up from a point-and-shoot.

Display/Viewfinder
Comparing the E-30's 2.7 inch, 230,000 dot LCD to the simply fantastic screens on competitors like the Nikon D90 and Canon EOS 50D, we felt a little like Olympus had brought the proverbial knife to a gunfight. If the E-30's HyperCrystal II LCD was a little overmatched in the prosumer class, it's much easier to find praise for this same display on the E-620, compared to other entry- and mid-level consumer models. Specs are in keeping with current expectations in this group, and as before, the screen remains fluid in live view mode, and contrasty and vibrant everywhere else.

PERFORMANCE
On the surface, the E-620 appears to take one of our favorite approaches to the problem of designing a consumer DSLR: offer a compact but feature loaded camera at a price that's low enough to keep the model squarely out of serious enthusiast territory - which is to say, well under $1000. Users may have more choice than ever in the "step up" entry-level realm these days, but with so much technology carried over directly from the E-30, we approached the E-620 with the assumption that it would be a powerful camera fit for serious shooters, in spite of its size.

Shooting Performance
With performance numbers roughly equivalent to what we saw from the E-30 in most respects, the E-620 didn't top the list in terms of speed. No doubt the slower focusing 14-42mm kit lens played a role in the differential between the E-30 and the E-620 in our "straight from the box" AF tests. At the same time, there's a lot of solid performance to work with here.

CONCLUSIONS
When we reviewed the E-30, we liked just about everything about the camera - except the price. When the E-620 came along, it seemed like exactly the answer we - and, we're betting, a lot of other shooters - are looking for: the E-30's creative advantages for casual shooters and those who don't relish the thought of hours of post-processing, in a camera that's more in line with what your typical student or advanced family photographer is willing to shell out. Likewise, shooters with an investment in Olympus who want to see what the bulk of Olympus's new creative technologies are all about without making the major investment that the E-30 represents now have a low-cost alternative to consider.

It's in no way a sleight on the E-620 to say that this camera could fairly be marketed as "E-30 Lite." Even in an industry where we're used to derivative models and trickle-down technology, the E-620 impressed with just how closely its performance - from shooting speed to image quality - aligned with what we saw from the much more expensive parent model. The E-620 may not have an edge on its strongest competition in measures of raw performance, but with quick continuous shooting, a boatload of processing controls, a full complement of Olympus's latest creative features, and the ability to get plugged in with Olympus's legendary lenses, the E-620 also has some advantages that no competitor can match.

No, there's no video capture, and novice shooters may balk at the camera's many features and modes. But if you're a current Olympus system user, this might just be the backup body you've been waiting for.

Pros:

* E-30 technology for under $1000
* Very nice kit lens
* Creative features are fun, useful
* Wireless flash control is excellent

Cons:

* AF performance is hit or miss
* Live view experience still not perfect
* Noisier at high ISOs than competition

Olympus Stylus Tough 6000 First Thoughts

The Olympus Stylus Tough-6000 is a semi-rugged digital camera designed for people who might destroy a normal camera. It offers shock resistance from falls up to 5 feet, a waterproof case to a depth of 10 feet, and still functions in temperatures as low as 14F. Sporting a wide angle zoom lens, dual image stabilization, and a 10 megapixel sensor, Olympus wasn't skimping on features with this durable camera. For our first thoughts piece, we'll take a look at how well this camera performs in not-so-normal operating conditions.

Rugged Case
Olympus designed the case for the Tough-6000 from the ground up with durability and ruggedness in mind. All ports and access panels are fully gasketed to prevent water intrusion, with the release clips mounted slightly recessed so you don't accidentally open one of them while the camera is in use. The case feels very durable in your hands, with no hint of flexing or creaking when you are holding it.

The plastics feel solid in combination with the stainless steel panels, although it is still comfortable to hold in your hand with the rounded edges. The camera uses a periscope style lens, instead of a telescoping lens which would make waterproofing much more difficult.

In our submersion tests the camera worked beautifully, capturing clear images and movies underwater. The flash gave odd results depending on how the light reflected off of the surface of the water, sometimes creating an overexposed or underexposed image. The microphone picked up underwater sounds clearly, but it was limited to clunks as our soda can bobbed in the water, not the surrounding voice.

User Interface
One concern with rugged cameras is how do you operate them if you are wearing gloves? With an operating range down to 14F, chances are you will have your fingers inside a mitten to shield them from the cold air. Olympus took this into consideration and included a tap recognition mechanism so you can hit the four sides of the camera to control different functions. Hitting the right side toggles through the flash settings, hitting the left side toggles the macro settings, hitting the top twice clicks OK, and hitting the bottom puts the camera into display mode.

Overall, our initial impression of the Olympus Stylus Tough-6000 is very positive. The camera feels solid and durable, takes reasonably high-quality photos in normal and abnormal conditions, and it doesn't cost an arm and a leg.

Stay tuned for our full review where we will continue our in-depth look at the Tough-6000.

Nikon D5000 Review

On the surface, the arrival of the D5000 was only a matter of time. According to figures released from Nikon, sales of the entry-level D40, D40X, and D60 cameras account for roughly 80 percent of all Nikon DSLR sales. It's no wonder that Nikon was so eager to take the new high resolution sensor and video mode from their mid-grade D90 and put it into a lower-priced entry-level DSLR ... the new Nikon D5000.

We'll explore the D5000's video performance at length, but rest assured, if you liked the video quality from the D90 then you'll feel the same way about the D5000.

FEATURES OVERVIEW
The D5000 features the same 12.9 megapixel (12.3 million effective pixels) APS-C (or DX format, in Nikon's nomenclature) sensor and Nikon's latest generation EXPEED processor found in the D90. It also inherits the 11 point AF system with color and distance tracking as well as optional viewfinder gridlines from the D90. The viewfinder magnification is slightly smaller than the one in the D40X/D60, but the extra AF points and viewfinder gridlines make for a superior user experience.

The most noteworthy feature on the D5000 is the all new tilt and swivel LCD display used for a standard status display as well as live view and image/video playback. The only other new features of note are the new higher-capacity EN-EL9a battery and the optional MC-DC2 remote cord. Overall, the total package is pretty impressive for an advanced consumer camera like the D5000.

The D5000 shares the same 200 to 3200 nominal ISO range (with ISO 100 and 6400 options available), and the ability to use "Active D-Lighting" (Nikon's proprietary feature that boosts shadow details and helps prevent overexposed highlights so you don't have to spend as much time editing your photos after you take them).

There's built-in image sensor cleaning, a continuous shooting rate of "up to" 4fps, and live-view with contrast-detection auto focus. In addition to the typical DSLR manual exposure modes, there are five advanced scene modes that can help ease the transition worries of folks coming into the camera from more fully automatic compact digitals. The D5000 also has automatic and selectable D-Lighting to provide a wider dynamic range, 3D Color Matrix Metering II with scene recognition exposure system, a built-in flash, and a shutter tested to more than 100,000 cycles.

The D5000 uses SD/SDHC memory media and Nikon includes a rechargeable li-ion battery, quick charger, eyepiece cap, rubber eyecup, USB and A/V cables, camera strap, monitor cover, body cap, accessory shoe cover, and CD-ROM of software with each camera.

There are seven primary shooting modes:

* Auto: An automatic "point-and-shoot" mode with virtually all camera settings determined by the camera according to conditions; flash will fire automatically if the subject is poorly lit. The Picture Control (PC) menu, which provides a wide range of sharpening, contrast, brightness, saturation and hue adjustments, is disabled in this mode.
* Program: Camera sets shutter speed and aperture for optimal exposure
* Aperture Priority: User selects aperture, camera determines shutter speed
* Shutter Priority: User selects shutter speed, camera determines aperture
* Manual: User selects shutter speed and aperture
* Scene: The D90 offers portrait, landscape, close-up, sports, and night portrait scene presets in which the camera optimizes settings according to the mode chosen
* D-Movie: HD video capture is available at up to 720p (1280 x 720 pixels) and 24 fps in Motion JPEG format; we'll go into more detail about the D5000's video in the "Image Quality" section of the review

With regard to the close-up mode in the list of scene presets, this option adjusts camera settings and sets the AF point to the center of the image, but does not otherwise invest this camera with any particular close-up capability: it takes a lens to do that. Fortunately, many Nikon zoom lenses have reasonably impressive close focus capabilities, and the 18-55mm VR and 24-120mm VR lenses used during this review did a pretty impressive job ... allowing me to get close enough for some simple flower shots.

FORM, FIT, AND FEEL
The design of the D5000 looks strikingly similar to the D40X/D60, but the D5000 is noticeably larger than the D40x (seen below) since the new camera has to make room for the tilt and swivel LCD. It's not as large as the D90, but if you enjoy the size and weight of the D40X/D60 then you may find the D5000 just a little too big.

Styling and Build Quality
While not as physically small as the entry level D40/40X/60 models, the D5000 features similar plastic construction and is obviously less rugged than the D90 or D300.

Ergonomics and Interface
Despite being more compact than the D90, the D5000 is packed with plenty of controls on the top and back of the body, even adding a few extra buttons compared to the D40X/D60.

Display/Viewfinder
The D5000 features a 2.7 inch, 230,000 dot monitor with the first tilt and swivel mount used on a Nikon SLR. The monitor offers 100 percent frame coverage and is adjustable via internal menu for seven levels of brightness.

The screen is a pleasure to use for image review in good lighting conditions, and the adjustable brightness settings help when using the monitor for composition outdoors in direct sunlight. Live view can be used for still image capture and must be used for movie capture, but if the monitor had a higher resolution it would be easier to confirm focus using the monitor.

The viewfinder is something of a disappointment on the D5000. The viewfinder offers the same 95 percent frame coverage used on the D40X and D60, but the magnification is now only 0.78x compared to 0.8x on the D40x and D60. The diopter adjustment for individual eyesight helps you see through the lens in correct focus if you're wearing glasses and shoot without them.

PERFORMANCE
The D5000 is intended to replace the D60 on the consumer end of Nikon's SLR offerings. That said, the D5000 features several performance improvements over the D60 that make the D5000 closer to the mid-level D90. Is the D5000 really good enough to challenge a "prosumer" camera like the D90? In the right hands ... yes. The D5000 has most of the features seen in the D90, and if you're willing to use only AF-S lenses and can handle 4 fps burst shooting instead of 4.5 fps then the D5000 is essentially just a cheaper D90.

In fact, although the D5000 is limited to only 4 fps in continuous/burst mode, it can capture up to 63 JPEG images or 11 RAW files while the D90 is limited to just 25 JPEGs or 7 RAW files.

Timings and Shutter Lag
Like most current-generation Nikon SLRs, the D5000 is ready to go as soon as you hit the power button. Likewise, shutter lag and auto focus lag aren't an issue. Here are a few figures showing the timings in our lab:

Auto Focus
The D5000 uses the same version of the Nikon Multi-CAM 1000 AF Module found in the D90. Its 11 focus points include the "rule of thirds" locations in the frame for folks who practice that form of composition. Single-point AF is suggested for static subjects, dynamic-area AF for moving subjects, auto-area AF for spontaneous shooting, and 3D-tracking (11 points) AF when changing the composition after focusing on a subject. This is a huge step up from the 3-area TTL Nikon Multi-CAM530 AF module in the D60.

I found auto focus performance extremely good in bright lighting conditions, and most of the time the D5000 even managed to acquire focus rapidly under dim light. The timing numbers seen in the previous section suggest just how rapid the system is – right at the front of the pack for a non-pro camera.

The dynamic-area AF in the D5000 performs pretty well on moving subjects. Again, this is essentially identical to the D90, so holding focus on moving subjects like athletes or wild animals should be extremely easy for even novice photographers.

Lens Mount
The D5000 uses the same modified Nikon F bayonet lens mount used on the D40/D40X/D60 cameras, which means about 40 million Nikon lenses dating back to 1959 will mate to the camera. Unfortunately, like those other entry-level Nikon cameras, there is no AF motor built into the body, meaning only lenses with autofocus motors (such as Nikon AF-S lenses) will AF on the D5000.

Flash
The D5000 has a built-in flash that is virtually identical to the one used in the D60 and D90 with a range of about 17 feet at ISO 200. Additionally, the camera is equipped with a hot shoe to accept more powerful flash units should the user so desire. Color rendition was good, and flash recycle times were speedy – the flash was ready to go almost instantly in normal conditions and within 4 seconds after a full discharge. With flash enabled the D5000 won't let you take another photograph until the flash is fully charged.

Image Stabilization
It's a Nikon, so image stabilization is built in specific lenses that carry a "VR" designation, like the 18-55mm kit lens supplied with our review D5000.

Battery
The D5000 uses a revised version of the battery from the D40 and D60. It's backwards compatible and can be used in the older cameras and with the same charger. The new EN-EL9a has an increased capacity of 7.8Wh, compared to the 7.2Wh rating of the old EN-EL9.

Nikon rates the D5000's EN-EL9a lithium-ion battery for 510 shots ... which is more than what the old battery delivered in the D60, but considerably less than the D90's 850 shots using the EN-EL3e. Battery life looks to be in the CIPA ballpark based on my experience with this camera, but it's always prudent to carry a spare battery for all day shooting treks.

Nikon doesn't offer a multi power battery grip for the D5000, but if history is any indicator then various third-party manufacturers should develop a battery grip for the D5000 before the end of the year.

IMAGE QUALITY
Although I use cameras and lenses from a number of different manufacturers, Nikon SLRs consistently deliver images with solid color, good white balance, and excellent metering. Since the D5000 packs essentially the same sensor as the D90 and D300, it's easy to assume you'll get similar image quality out of all these cameras.

Images made at default settings with the D5000 were pleasing to my eye in terms of accurate color reproduction, contrast, and sharpness. Granted, sharpness and brightness could have used a little boost, and I often found myself using a minimal increase in exposure compensation (+0.3EV). The only other change I made to the camera settings was to increase the saturation in some of the flower images. Overall, the Picture Control menu offers fantastic control over sharpness, contrast, brightness, saturation, and hue. The Active D-Lighting feature (which is on by default) does a fantastic job of bringing out shadow detail while preserving highlights. That said, if the Active D-Lighting feature is on, you cannot adjust contrast and brightness in the Picture Control menu.

Video Quality
If you just want a quick overview of the D5000's video quality, rest assured that the video capability of this camera is quite good. If you're used to the video quality in a compact point-and-shoot camera, then the D5000 will certainly impress you in terms of color, smoothness, and detail.

The D5000, like its big brother the D90, can capture movies at 1280x720, 640x424, or 320x216 sizes, all at a 24 fps (the same speed as theatrical film). The fact that many different Nikon lenses can be used with the D5000 to shoot video means that the D5000 actually has a substantial advantage over consumer-grade video cameras. Zoom lenses can be zoomed while capturing video, fast prime lenses allow you to shoot in extreme low light, VR lenses function to reduce camera shake.

The only major limitations to using the D5000 as a video camera are that videos are limited to 5 minutes in length or a maximum file size of 2GB and you can't use auto focus. That's right. The camera won't auto focus while shooting video – you use the AF sensor to lock focus before you start recording video and you hope that the camera-to-subject distance remains constant ... otherwise your video will be out of focus. Of course, you can manually focus, but most average consumers don't enjoy using manual focus.

The other thing to keep in mind is that video has to be done via Live View mode (using the monitor). This isn't inherently good or bad. Folks who've shot video with compact digital cameras may feel right at home (at least until they have to go to manual focus). Still, it's a safe bet that at least a few seasoned SLR users will want to shoot video with this camera using the viewfinder.

The next potentially negative issue about the video performance of the D5000 is the effect of what's known as rolling shutter when capturing video. The "rolling shutter" effect essentially causes vertical objects to take on a distorted tilt when a camera is panned across a field of view, such as tracking a running subject against a stationary background.

Exposure, Processing, and Color
The D5000 is now the least expensive Nikon to offer the 3D Color Matrix Metering II with Scene Recognition System found on higher-priced Nikon cameras. The 420-pixel RGB 3D Color Matrix Metering II system works with the Scene Recognition System to evaluate various elements of the scene to produce a near perfect exposure. This isn't as good as the 1005-pixel RGB 3D Color Matrix Metering system found in high-end Nikons, but it's identical to what is used in the D90.

My experience with the D5000 suggests the camera is prone to slight underexposure in difficult, high contrast situations in order to preserve highlight details. This is essentially the opposite problem that the D90 had, which tended to overexpose slightly during our tests. For those photographers who don't want to use the 3D Matrix metering, center weighted and spot metering options also available.

In addition to the standard Picture Control menu options for changing the way the camera processes images, the D5000 also offers a Retouch Menu, including D-Lighting, red-eye correction, trim, monochrome, filter effects, color balance, small picture, image overlay, quick retouch, straighten, distortion control, fisheye, and NEF (Nikon Electronic Format) processing – Nikon's RAW file format. The in-camera NEF processing is particularly valuable if you're using non-Nikon software to edit your images. NEF processing allows the user to make a JPEG copy of these files in camera while retaining the original NEF files for later editing.

CONCLUSIONS
When Nikon released the D90 consumers quickly fell in love with the video capability built into a full-featured DSLR. Unfortunately, the largest market interested in shooting video with a DSLR is the entry-level consumer market ... and the D90 is just a little too large and expensive for entry-level enthusiasts. Considering that entry-level DSLRs make up about 80 percent of Nikon's DSLR sales, the D5000 is an obvious evolution. That said, the minor size, weight, and price increase over the D60 might be enough to prevent potential D5000 owners from making a purchase.

The vast majority of entry-level DSLR owners use their DSLR like an advanced point-and-shoot camera with only one or two lenses, so making a larger, heavier, and more expensive camera probably isn't ideal for the entry-level market. That said, the D5000 is essentially a cheaper version of the D90 ... so if you can live with using only AF-S lenses and a smaller viewfinder then the D5000 is a great low-cost alternative to the D90.

In the end, the biggest complaint I have with the D5000 isn't related to performance or features – it's all a matter of positioning. The D5000 should be a direct (though slightly improved) replacement for the D60, but in reality it fits better in the Nikon line up between the D60 and the D90. If the D5000 was $100 cheaper I'd have an easier time accepting it as a replacement for the D60. As it stands now, the D5000 is a great camera that isn't quite sure if it's an entry-level camera or a "prosumer" camera.

Pros:

* Good image quality and performance
* HD video capability
* Essentially a D90 for less money

Cons:

* HD video time limited
* No AF for video
* Too expensive for an entry-level camera

Panasonic announces pricing, availability for Lumix GH1

Announced at PMA 2009, the Panasonic Lumix DMC-GH1 will be rolling out to retailers in early June. As expected based on previously announced European pricing, the new HD-capable model will command a hefty $1499.95 kit price when it hits stores next month.

The GH1: A refresher course
Based on Panasonic's original Micro Four Thirds concept, the Lumix DMC-G1, the GH1 adds the ability to capture 24 fps full HD (1920x1080) video, or 60 fps 720p (1280x720) movies as part of the camera's live view functionality. Built around the same full-time live view platform that powered the G1, the GH1 uses DSLR-style interchangeable lenses, but eliminates the traditional DSLR's mirror and optical viewfinder – reducing the camera's size and optimizing it for full-time live view.

A 12.1 megapixel sensor provides capture for both stills and video, and like the original G1, the GH1 features an articulating 3.0 inch LCD with a very fast 60 fps refresh rate.

To support the needs of video (i.e. near-silent focusing, quick AF response), Panasonic also announced a video-specific 14-140mm f/4.0-5.8 Lumix lens with the GH1. Providing coverage equivalent to 28-280mm in 35mm terms, the new Lumix G Vario HD lens will be available in June as well as part of the GH1 retail launch.

For more info on the GH1, have a look at our original launch announcement as well as our hands-on preview of the new camera and lens combo.

Retail details
The GH1, packaged in kit form with the new 14-140mm video-ready lens, will be up for pre-order before the official retail launch on Panasonic's website. Per Panasonic, the new camera will only be available in black.

Red Rock DSLR Converter Kit Turns Your Digital SLR Into A Professional Camcorder

Many of today’s DSLRs can record 1080p HD video. One problem though: the form factor of the camera makes it challenging to produce high quality video equitable to the fully featured camcorders. Enter Red Rock’s DSLR bundles. They turn any digital SLR into a full blown high end, cinema worthy camcorder. Features include follow focus, swing away matte box for light management and easy access to lens swapping, shoulder mount and hand grips for a steady shot as well as a support cage.

They’ve got premade bundles that start at around $2,000, but according to their site you can build your own kit according to your needs.

Nikon Coolpix S230 Review

Assume these things when considering the quality of the Nikon Coolpix S230: the potential buyers for this camera are not looking for a high-end, near DSLR quality compact. They are looking for a camera with a little flair, but they don't want to sacrifice decent image quality. They want a nice set of specs, like the S230's 10 megapixel CCD sensor and 3x Nikkor zoom lens.

Assuming the above, we'll judge the S230 on its ability to deliver adequate image quality and offer a little fun without losing functionality. After spending a few weeks' worth of quality time with the S230, I can say it measured up to these basic criteria.

BUILD AND DESIGN
Physically, the most notable feature on the S230 is the 230,000 dot, 3.0 inch touch screen on the back panel. You won't find an optical viewfinder back here, or much else for that matter.

Two buttons – photo review and shooting mode – plus the shutter release itself are the only ones you'll find on the S230. This means that the user is dependant on the touch screen for all other functions.

The camera itself is available in a few sleek shades, and our particular model is plum. Though the look is finished with a brushed metal design, the camera body is definitely plastic. Not exactly drop-proof, but it does make the whole package relatively light.

Ergonomics and Controls
The S230 measures a trim 0.8 inches wide, making it easy to carry in a coat pocket. The Nikkor lens dominates the front panel, and the LCD occupies most of the back panel. Again, most control is handled through the touch screen. Unlike the S60, the camera you saw Ashton Kutcher wielding in a recent ad campaign, zoom is not handled through touch interface. Instead, a good, old-fashioned zoom toggle is positioned on top of the camera with the shutter button.

Slim cameras are stylish, but an ultra-thin camera can be an ergonomic nightmare. The S230 isn't. A small indentation on the back panel provides a nice thumb grip, making it easy to hold the camera in one hand and operate the touch screen with the other hand. And though the S230 is certainly pocketable, it's not quite as slim as the likes of a Sony T-Series Cyber-shot. Still, this is a modern look and a cool color.

Menus and Modes
Menus are simple, straight-forward, and have slightly enlarged icons for easier use with the touch screen. Pressing the menu icon in the bottom corner of the screen calls up two menus. One offers access to shooting settings, including ISO and white balance, and the other adjusts camera settings. Display, macro, self-timer and flash settings are all at your fingertips on the camera's default display. Menus are, for the most part, straightforward and intuitive.

Shooting modes are accessed through one of the buttons on the back panel. Here's a rundown of the features and shooting modes on board the Coolpix S230:

* Auto: Camera controls most settings, though the user is able to adjust white balance and use the touch screen to lock in an autofocus target.
* Scene: Choose from sixteen different scene modes with pre-set shooting settings, including food and fireworks. Control over functions like white balance and ISO are not available in scene modes.
* Scene Auto Selector: The camera automatically chooses a scene mode based on the shooting situation and adjusts settings accordingly.
* Video Recording: The S230 records video with sound in either TV movie (640x480) or small size (320x240).

Utilizing touch screen interface, the S230 is equipped with a "draw" function, allowing you to embellish photos by adding stamps or doodles to photos. Not a feature for everyone, but the set that's attracted to Nikon point-and-shoots by the Ashton Kutcher campaign might be interested. Other in-camera retouching features include D-Lighting and manupaltions by stretching/skewing images.

Display/Viewfinder
A 3.0 inch display is fairly sizable, but touch interface demands a lot of space. Thankfully, the LCD on board the S230 doesn't feel cramped. As we've noted before, a touch screen is sort of a love-it-or-hate-it feature. Smaller hands are friendlier to touch screens, and those with bigger hands tend to fight with the interface. The S230's touch screen won't be attractive to everyone, but as a person who doesn't mind the touch interface, I found it very responsive.

The screen has a matte finish, which helps cut down on glare, but I wouldn't count on using it in intense sunlight. In low light conditions, the image on the display becomes very noisy.

PERFORMANCE
The S230 isn't going to compete with high-end compacts, but it does provide reasonably fast performance and nice image quality for casual shooting. In good light conditions, auto focus is quick and consistent. As you'd expect, performance declines when light conditions fade.

Shooting Performance
The S230 showed some marked improvements over previous Coolpix cameras in the speed department, turning in low shutter lag numbers and better than average auto focus speed as well.

Focus options include center, face priority, and auto. Shooting in auto mode, you'll be able to use the touch screen to override auto focus and lock in a target by tapping the LCD. An icon appears on the right side of the screen, and the focus is removed by touching the icon.

In good light, the auto focus was snappy. It picked out objects more consistently in shots with higher contrast. Under darker conditions, or a scene with little contrast, the S230 often failed to lock in focus on a target. The focus mechanism is also somewhat noisy. As we expected the S230 focused best in center mode or in scenes with good lighting and contrast.

Selecting Face Priority auto focus mode enables face detection. A small yellow box outlines the faces it identifies and selects one as a focus target. In my experience, it was reliable and consistent. The Smile shooting mode uses face detection and takes this technology one step further by automatically snapping a picture when it detects a smile on the subject's face. Like face detection, the smile shooting mode was fast and reliable.

I encountered some funny problems in the auto scene selector mode. Though the mechanism of switching between scene modes is streamlined, and an icon appears to indicate which scene is being used, it struggled on several occasions to identify the right scene. It would often find something in my shots that looked like a face, such as a configuration of keys on my keyboard, and flip into portrait mode. It usually selected macro mode correctly, and could switch into night mode for a dim shot, but it was wrong often enough to make this a clumsy feature. Manually choosing a scene mode is easy enough, so I'd advise someone with this camera to skip the auto scene selector completely.

Nikon employs their "4-Way Vibration Reduction" system as a form of image stabilization in the S230. It's a combination of automatic ISO and shutter speed adjustments coupled with motion detection technology that aims to reduce blurring in images. Without any form of lens or sensor stabilization, the vibration reduction system only goes so far. I didn't see any noticeable difference in shots using the VR setting – except for some evidence of noise and noise reduction when the camera boosts ISO, of course.

The CIPA standard for this lithium-ion battery is listed as 160 shots. My experience with the S230 confirmed this spec, giving me a couple days' worth of moderate use before it needed to be re-charged.

Lens Performance
The f/3.1-f/5.9 3x Nikkor lens, with a 35mm equivalent of 35-105mm, doesn't pack much zoom power – just enough to bring an object across a room closer. Nikon reserves higher zoom capability for higher-spec S cameras and the Coolpix P series. I also had some difficulty using the S230 for very close macro shots, so it would seem that the ideal focus range for this camera is within a few feet of the shooter. It's also worth noting that operating the lens is a little sluggish and a little noisy, though I wouldn't go so far as to call it unacceptable.

Though the lens carries the Nikon name, it's not immune to same issues that plague most budget compacts. Barrel distortion is pretty obvious in close-range wide-angle shots. The further I moved back from my subject, the less apparent it was. I also saw some pin-cushion distortion at telephoto. To remedy this common symptom, Nikon has included a user-selectable distortion control system. Sure enough, it straightened out some of the nasty distortion we saw, especially barrel distortion at wide angle.

CONCLUSIONS
Did the S230 deliver the basic image quality and fun-factor we were looking for? With a few reservations, I'd say it did. In good light, it captured some nice images. Colors are slightly saturated, but not to an extreme.

When the sun goes down, though image quality declines and the flash becomes a necessity. Aside from that, the 3.0 inch display brought some flair to an otherwise basic point-and-shoot.

Pros:

* Warm, generally neutral colors
* Flashy 3.0 inch touch screen
* Attractive build and design
* Reliably speedy performance

Cons:

* Images are noisy from low ISOs on up
* Some corner softness and fringing in shots
* Only packs a 3x zoom
* Some weirdness with the Scene Auto Selector