Panasonic Lumix DMC-GH4 4K Review

Panasonic lumix dmc-gh4 4k review. While the Panasonic GH3 is widely regarded as a great compact system camera for shooting video, its stills capability has been rather overlooked. Panasonic is hoping that the GH4 will gain more respect as a stills camera but its headline specification is its ability to shoot Ultra High Definition 4K (4,096x2,160-pixel) video.

Panasonic has clearly invested a lot of time and effort in improving on the GH3 for the GH4, and the new camera has an extensive list of new or enhanced features. However, some may be surprised to learn that the sensor's pixel count has stayed the same at 16.05 million, even though the sensor is completely new. Outwardly, the GH4 also looks almost identical to the GH3 and has a very similar arrangement of controls.

Features
Panasonic is keen to point out that any improvements made to allow 4K video recording also have a beneficial impact on still image quality. For example, because 4K recording is so demanding in processor power, the new 16.05-million-pixel Digital Live MOS sensor is coupled with the Venus Engine IX processor (the Panasonic GX7 has the Venus Engine VIII; the GH3 has the VII version), which is a quad-core processor. In addition, the sensor has twice the read-out speed of the GH3, reaching 200Mbps. This should mean improved autofocussing (AF) speeds and better noise control.

Clearly the company is confident of the GH4's noise control: sensitivity may be set in the native range of ISO 200-25,600, with ISO 100 as an expansion setting. In comparison, the GH3 has a range of ISO 200-12,800, with expansion settings of ISO 125 and ISO 12,800-25,600.

Thanks to the new processor, the GH4 can shoot continuously at up to 12fps (frames per second) in Single-AF mode with a UHS-III SD Card installed. This rate drops to 7.5fps in continuous autofocus mode. Further refinements on the GH3 include an increase in the number of selectable AF points from 23 to 49, focus peaking to help manual focussing, and zebra display to indicate highlights that are close to burning out.

Build and handling
There are only a few noticeable differences in the appearance of the GH4 in comparison with the GH3. They are closely matched in size and weight, and have an almost identical control layout. However, the eye-cup around the electronic viewfinder is slightly larger on the GH4 to offer a little more shade from strong sunlight. There's also a lock button at the centre of the mode dial to prevent it from being knocked out of position. This lock is our preferred type, which clicks to lock or unlock that so the button doesn't need to be held down when rotating the dial.

As before, the GH4 has a magnesium alloy body that is dust- and splash-proof, and it has the same solid feel as the camera it replaces. But Panasonic has bolstered the GH4's durability by giving its shutter a life-span of 200,000 cycles, double that of the GH3.

Like the electronic viewfinder, the 3-inch LCD rear display offers a very clear view, thanks to its 1,036k-dot resolution. Images look great on it, as there's a very pleasing level of contrast. It's also very responsive to the touch, making it a convenient way of selecting AF point and other setting options.

Performance
As a general rule, the GH4 produces great looking images with good exposure, pleasing contrast, natural colours and lots of detail. Zooming in to 100% on-screen reveals that some JPEG images don't have quite the fine detail or micro-contrast that we see from other cameras, but they look great at sensible viewing sizes.

As is often the case, the GH4's simultaneously captured raw files have more detail. At higher sensitivity settings they also have more noise, but this can be dealt with on an image-by-image basis to produce a good result.

Noise is controlled well throughout the sensitivity range, but detail isn't maintained quite as well as in the Fujifilm X-T1, for example, at higher sensitivity settings.

At 100% on-screen, JPEGs look good up to around ISO 3,200. Above this figure, softening becomes more apparent. Raw files have chroma noise visible at 100% from around ISO 800, but it's within acceptable limits, and as we've mentioned before, can be subjected to reduction as required. By ISO 12,800, however, raw files need careful editing to conceal noise and preserve detail. ISO 25,600 gives respectable results but, as is often the case, is best kept for emergencies.

Panasonic claims that the GH4's autofocus system can operate down to an incredible -4EV. Our testing indicates that with the right lens, it is quite a bit better in low light than previous G-series cameras. We were impressed by how quickly it was able to focus with the new Leica DG Notricon 42.5mm f/1.2 ASPH OIS in dim conditions, but this is a super-fast lens with a price to match.

Panasonic's 12-35mm f/2.8 lens, which gives a focal length range equivalent to the popular 24-70mm on a full-frame camera, also delivers sharp subjects quickly, but we found the new 14-140mm f/3.5-5.6 kit lens a little more variable – especially at the telephoto end.

In good light, the AF system is generally very fast and it can keep pace with moving subjects when the AF point is in the correct location. Tracking AF mode has also improved, but it can't be relied upon to follow a fast moving subject around the frame.

The autofocus system changes pace when movies are being recorded. A touch of the screen to change focus point sees the focus shift smoothly and comparatively slowly, creating a professional-looking result.

Panasonic's metering and white balance systems have been found to be good performers in the past, and the GH4 doesn't disappoint in either respect. The camera's automatic white balance system produces convincing results in a wide range of lighting conditions. In natural light, the results you get when shooting using the Automatic setting are often indistinguishable from those taken using the Daylight setting.

Although the GH4 has the usual trio of metering modes (Multiple, Centre-weighted and Spot), we found that the general-purpose 1,728-zone multi-pattern metering delivers great results in most situations. There were relatively few occasions when we had to use the exposure compensation facility to adjust exposure.

As usual, the GH4 is supplied with ISL's Silkypix software for editing images and converting raw files. In reality, few GH4 owners are likely to use Silkypix in preference to Adobe's more refined and better-specified options: Photoshop CC, Lightroom 5 or Elements 12. Silkypix has most of the controls you need, but it isn't especially intuitive or pleasant to use. Adobe's recent update to its Camera Raw plug-in (version 8.5) makes GH4 raw file processing possible with the Photoshop family.

We haven't been able to test the GH4's video capability extensively, but it's clear that it produces highquality footage. As with the camera's still images, exposure, white balance and colour all look good, and there's plenty of detail visible.

Verdict
As Panasonic has stuck with the same pixel count as the GH3 for the GH4, it doesn't make really significant strides with detail resolution, but the images do look a little nicer straight from the camera, and noise is better controlled. The GH4 also takes a step forward in autofocussing:, it's fast and accurate in most situations and can focus on subjects in pretty low light.

Somehow, holding the GH4 doesn't instil the same level of excitement as picking up the Olympus E-M10 or one of Fujifilm's X-series CSCs, but it combines all the modern technologies that we like: a high-resolution electronic viewfinder; a vari-angle screen that's touch-sensitive; the ability to shoot raw and JPEG images when using Creative Control filter effects; and Wi-Fi connectivity that allows the camera to be controlled remotely.

Perhaps the lack of excitement is largely because the GH4 has a modern SLR-like design rather than the retro-styling of the Olympus and Fujifilm cameras. Nevertheless, the GH4 is an excellent camera that encourages creativity and is weather and dust-proof, so it can be used in a wide range of conditions.

We say: The GH4 has some of our most sought-after features: a high-resolution EVF, a vari-angle screen that's touch-sensitive and Wi-Fi connectivity. It's also weather and dust-proof and takes great-looking images.

The Specs
Sensor : 16.05MP Micro Four Thirds format (17.3x13mm)
Focal length conversion : 2x
Memory : SD/SDHC/SDXC
Viewfinder : OLED Electronic viewfinder (EVF) with 2,359,000 dots (approx 100% cover)
Video resolution : 4K (4,096x2,160) and Full HD (1,920x1,080p)
ISO range : 200-25,600; expandable to 100-25,600
Autofocus points : 49
Max burst rate : 12fps Single AF, 7.5fps Continuous AF
LCD screen size : 3-inch; 1,036,000 dots
Shutter speeds : 1/8,000-60 sec plus Bulb to 60 mins
Weight : 480g (body only)
Dimensions : 132.9x93.4x83.9mm
Power supply : Li-ion battery (included)

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Nikon D5200 Review

The Nikon D5200 might look much the same as the original D5000 of 2009. but underneath its compact DSLR form, this third-generation model hides a significant list of upgrades. Over the years. Nikon has polished the spec, pinched some of the best features from more costly models, and just to top it off, has now dropped in a brand-new sensor.

Up from 16.2- to 24.1-megapixels, the sensor promises to be a winner. Other headline features include the 39-point AF system with nine cross-types, lifted straight from the D7000, along with its 2,016-pixel Matrix metering system, too.

It's tricky to see where the D5200 sits in the market, now that the demarcation lines have become blurred. It obviously beats the recently upgraded Nikon D3200, and on paper it also has the measure of the more expensive D7000 on manyaspects. too. Tht D5200 competes most closely with the Canon 650D, though currently the D5200 costs about £100 more at £720 with 18-55mm VR kit lens. The D5200 is still very new, so the price could settle a bit lower, but even as things stand, it looks tipped to become the new leader of the pack.


Handling & ease of use: SCORE 22/25
Don't let the colour put you off! Its also available in conventional matt black, though to be fair, a vox- pop around the office was fairly evenly split. Nikon calls it red, but it's much more red wine than postbox, and there's also a browny-bronze version.

Colour aside, the shiny finish emphasises the plastic shell, but all manufacturers use plastic these days, certainly for anything below full pro-grade models, and it's hard to be too critical when the fit and finish is as high as this and saves both weight and cost.

Low weight is almost always welcome, and at 555g for the D5200 body and battery, this is about as light as it gets - roughly 40% less than a semi-pro DSLR. The smaller size is more of a double-edged sword, though, as it doesn't make that much difference to portability and the downside is controls can be a bit tight and fiddly for anyone with larger hands - you might even press something accidentallywith the palm of your thumb. Nikon's design helps out here with a large and secure front hand grip, and rubberised and contoured rest on the back to keep your thumb out of trouble. When holding the camera correctly, with the weight supported in your cupped left hand, all is well.

There is direct access. or semi-direct access, to key controls for shutter speed, aperture and ISO, all well placed. In manual, for example, the command dial under your thumb adjusts shutter speed by default, and pressing the exposure compensation button at the same time changes aperture, and these functions swap roles according to mode priority. There is no ISO button, but the Fn button near your left thumb around the lens mount can be customised to this.

All settings come up on the rear LCD, and this is one of the camera's several highlights. The screen is large at 3in, fullyarticulating for easy viewing with the camera above your head, on the ground, or it can be swivelled forward fora self-portrait. The image is bright and sharp with 921.000-dot resolution, and features Nikon's neat 'graphic' display, with a lens iris icon that changes size according to f/number, and a virtual shutter-speed dial that rotates analogue style. If you prefer numbers only, switch to 'classic' presentation, and another option is to change the background colour to differentiate between modes like auto. scene or effects.

Features: SCORE 23/25
The new 24.1-megapixel sensor has got to be top of the new features list, and its exceptionally good. It's driven by an uprated Expeed 3 processing engine from the D3200, but despite that camera's extremely similar sensor (24.2-megapixels, made by Nikon themselves), this one is different. It's not made by Sony either - Nikon's usual bedfellow in these affairs - but by Toshiba. It has slightly more dynamic range and better noise performance, and it also runs one stop higher at an expanded ISO 25600.

Action photographers in particular will welcome the new 39-point AF system. with nine cross-type sensors for more reliable focus locking with difficult subjects. It operates very well with the circular multi-selector to shift the AF point and it's easy to move around almost instinctively while composing the shot. Combined with a respectable five frames-per-second shooting rate. the D5200s servo AF tracking ability is the best and simplest to use of any DSLR at this price level.

The 2.016-pixel Matrix metering also comes from the D7000. It is colour- sensitive and has sufficient resolution for face recognition and 3D servo tracking, to aid the autofocus. Auto-ISO has also been given a makeover - you can now specify the minimum shutter-speed threshold, plus it can also be set to adjust for focal length changes to combat camera-shake.

The D5200 has a full set of scene modes - sport, landscape. close- up and so on - in line with other cameras in this category. and there is a selection of digital effects that can be applied at the shooting stage - like colour sketch, miniature, selective colour etc. As expected, they're mostly a matter of taste. Rather more usefulare in-camera Raw processing options, like post-capture adjustment of exposure, noise reduction, White Balance, contrast, sharpening, cropping, rotation, straightening verticals and more. In-camera processing is a little laborious, as you have to adjust one thing. apply it, then go back in to make the next adjustment, but there is a surprising amount of scope to exploit the benefits of Raw without going near a computer.

There are also a few things missing from the D5200 to note, though nothing too serious or unexpected. There is no in-camera AF drive so you can't use lenses without their own built-in drive motors, though that's mostly older ones. And the pop-up flash has no commander mode to control off-camera flashguns remotely, if you were hoping for that

Performance: SCORE 24/25
The best thing about the Nikon D5200 is its performance. Image quality is first rate, with the new 24.1-rnegapixel sensor being at least as good as any APS-C format camera available, quite possibly the best - and that's saying something. You can use it with confidence up to ISO 1600. and beyond that without much hesitation. The normal range runs from ISO 100-6400. with expanded options up to 1S025600, though these boosted settings are not great.

The 39-point AF system is also exceptionally good for this class. and while not quite as sophisticated as the Nikon D300s, in terms of practical capability, you're unlikely to notice it. The five frames-per-second shooting rate is enough to nail most moving targets. The metering is well above average, too. with 2,016 pixels analysing the image and also passing subject movement data to the AF system.

Second-tier features are comprehensive, only missing out on relative non-essentials like the top shutter speed of 1/4000sec. And it's a nice machine to use with well-placed controls and that niftyfold-out LCD. It would be good to have a little more real estate around the quite tightly clustered buttons, but that's just how it with a compact body and a large LCD taking up most of the area.

Specifications:
Body only: $796.95
Image sensor: CMOS DX-format
Image resolution: 24.1 megapixels
LCD: 3.0in (921,000 dots)
Storage: SD (SDHC/SDXC)
Weight: 555g (inluding batery and card)

Key Features:
CMOS SENSOR: The D5200's all-new I 24.1 megapixel is made by Toshiba. Image quality is very high, super sharp, and with better noise performance than the sensor in the D3200 produced by nikon

CONTROL PANEL: The graphic control panel is neat showing key camera senttings with animated icons. It can be switched to more conventional numbers and the background colour can also be changed to differentiate between modes.

ARTICULATING LCD: 3in LCD Is big, bright and clear with 921,000 dots. It folds out to swivel and tilt in every direction you'd need it to, including facing forward for self portraits. Can be reversed for protection.

FN BUTTON: Fn button is positioned around the lens mount, close to your left thumb. It can be assigned numerous functions for direct access, with ISO being perhaps the most useful.

VIEWFINDER: The viewfinder is fed by a penta-mirror, which is lighter and cheaper than a pentaprism, but also slightly less bright. It offers 95% image coverage at a magninfication Of x0.78. 39 AF points have good coverage, with nine cross-type sensors for added sensitivity.

Verdict
There is much to like about the Nikon D5200, even to admire. The affordable pricing belies serious performance underneath that is a cut above the rest in key areas of image quality, autofocus capability and metering.

It can take on almost anything, including action sutjects that are usually the preserve of more expensive models. The only caveat is that the D5200 needs high-grade lenses to both allow the AF system to perform at its best, and also for the sensor to shine. The consumer-grade zooms that most owners are likely to fit will probably be the weakest link in the chain.

Handling & ease of use: 22/25
Features: 23/25
Performance: 24/25
Value for money: 24/25
OVERALL SCORE: 93/100
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Nikon D7100 Simple Review

In less than a year, Nikon has relaunched and refreshed practically its entire D-SLR range. It started with the D3200 in April last year, and carried right through to the top end of the range, with the D4 and D800. The D600 provided an affordable entry point for those upgrading to Nikon's full-frame FX format, and the D5200 was just the ticket for 'advanced beginners'.

However, there was a gap to be filled - and for most N-Photo readers it was the biggest gap of all. Where were the high-end DX-format D-SLRs to replace the D7000 and D300s?

The answer, is seems, is the D7100, and the specifications are stunning. The 24-megapixel sensor is the obvious starting point. It isn't the same sensor as we have seen in the Nikon D5200 or the D3200, it's a completely new device that has been built to Nikon's own specification. And there's no optical low-pass (anti-aliasing) filter over the sensor Oust like on the D800E), which should mean higher levels of fine detail.

Comparisons with the existing D7000 and D300s are inevitable, especially since Nikon says the older cameras will continue. The improved sensor is only one of the differences. One key improvement over the D7000 is the D7100 provides weather sealing so should be able to carry on shooting in more challenging conditions (as the D300s can). The D7100 also gets Nikon's advanced Multi-CAM 3500DX AF module, which has 51 AF points, with the central 15 being cross-type. This is the fifth SLR in Nikon's line-up to feature an AF system that can be used with lenses that have a maximum aperture of f/8. It means that the autofocus will function with a greater number of telephoto lenses when used with a teleconverter — ideal for sports and wildlife fans.

The D7100's new 1.3x crop mode is especially interesting. When this is selected the imaging area is almost completely covered by the 51 AF points and the maximum continuous shooting rate is boosted from a respectable 6fps to 7fps. The crop mode is indicated by a frame in the viewfinder, and means a total effective crop factor of 1.95x - so a 200mm lens gives the angle of view of a traditional 390mm SLR lens.

This crop mode can also be used in still or video mode and it allows Full HD movies to be shot at 50i or 601 for smoother recording of action or slow-motion playback. When shooting videos in DX format the frame rate is limited to a more common 30, 25 or 24p.

The metering is handled by the same 2016-pixel sensor as you'll find in the D7000, and an Expeed 3 processor is used to handle the larger file sizes. The native sensitivity range is IS0100-6400, but it can be expanded to IS025,600.

Build and handling
Despite the addition of weather sealing, the D7100 is actually a little lighter than the D7000. It also feels more solid, and textured coatings on the front and rear grips make it feel comfortable and secure in the hand.

Nikon has added a lock-button mode to the mode dial to prevent accidental exposure mode changes. Like the D600, the D7100 has its Live View switch located near the bottom of the back of the camera. There are two settings, one for stills and one for video Live View mode. Pressing the Lv button at the centre of the switch activates the Live View feed.

This change to the button layout has meant that the video activation button has had to be relocated and, as with Nikon's other recent D-SLRs, it is near the shutter release button. Sports shooters will be disappointed, however, that there is still no separate AF On button at the back — one of the much-loved features of the D300s.

Nikon has introduced a new 1' button at the bottom-left of the back of the D7100. Pressing this allows quick access to some key features such as the 1.3x Crop mode, Picture Control mode and HDR mode. It's a useful addition that complements the healthy collection of direct controls.

The screen size has been boosted to 3.2 inches and a resolution of 1,229,000 dots. We were only able to use a pre-production sample of the camera indoors, but the screen seems a good performer and it doesn't suffer excessively from reflections when used near a bright window. It uses a new, high-intensity `RGBW' design for extra brilliance.

Our first impressions are that the D7100's contrast detection system is a little quicker and more decisive than we have found with cameras such as the Nikon D5200, though we'll want to get a sample in for review before we make any proper comparisons.

Performance
So far we have only been able to use a pre-production sample of the Nikon D7100 and while the early signs are good, we will have to wait for a full-production model before we can comment on the quality of the images it produces.

Nikon's other 24-megapixel D-SLRs, the D3200 and D5200, have impressed us with their resolution, dynamic range and high ISO performance, so we have high hopes for the D7100. Because it doesn't have an anti-aliasing filter it will be particularly interesting to see how much detail the D7100 can resolve.

In fact, this raises another question, Before, the only obvious step up for quality-conscious Nikon owners with a DX-format camera was to go full-frame with the 13600. But now the D7100 matches the bigger camera's resolution and lets owners carry on using their DX lenses without having to invest in new ones.

Normally, we'd expect a full-frame camera to outperform an APS-C camera, but the removal of the anti-aliasing filter in the D7100 means the difference could be a lot smaller.

We will want to scrutinise the darker midtones and shadows of high sensitivity images, however, to check for any signs of the banding issues which some users have reported with the D5200.

Early verdict
Nikon has created a small yet solid camera that is pitched perfectly at serious photo enthusiasts. It fills one of the last gaps in Nikon's refreshed camera range - arguably the most important gap of all. We all strive for the best possible image quality, but we don't all have the budget for a full-frame camera like the D600.

The weather sealing is a nice touch that allows the user to carry on shooting when others have to pack up and head home, but it's interesting to note that the D7100 does not have the all-metal chassis and professional control layout of the D300s, re-igniting the debate about the pros, cons and likelihood of an update to Nikon's only professional DX-format camera. The D7100's limited buffer capacity at 6fps (9 frames in RAW), also seems small compared with 20 frames on the D300s at 7fps (although, obviously, you get only 12 million pixels).

Given the D7100's high pixel count the decision to include a 1.3x crop and omit the anti-aliasing filter is sensible. The former will allow tighter framing of the subject (this could also be achieved by cropping) and a faster continuous shooting rate, while the latter suggests we may get the highest level of detail ever seen in an APS-C-format camera. Deep source review: teachradar.com

Nikon D7100 24.1 MP DX-Format CMOS Digital SLR with 18-105mm f/3.5-5.6 AF-S DX VR ED Nikkor Lens
24.1 megapixed DX-format image sensor
Shoot up to 6 frames per second for up to 100 continuous shots
Wireless sharing and control with WU-1a adapter (not included)
ISO range from 100 to 6400
1080p videos with full-time autofocus and built-in stereo mic
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Sony NEX-F3 Review: 16.1 MP Compact System Camera

If you want big-camera flexibility without the bulk or the price tag, you'll love Sony's clever NEX caeras: they're as portable as compacts and as powerful as digital SLR's.

Sony NEX-F3 The world of cameras used to be fairly simple if you wanted something affordable and portable you'd buy a point-and-shoot compact camera, and if you wanted something flexible that cost a fortune and weighed a ton you'd buy a digital SLR. Not any more. Compact system cameras, also known as hybrid cameras, promise the best of both worlds: the portability and affordability of compacts and the power and performance of SLRs.

Do these smart snappers deliver? We think they do. Cameras like Sony's NEX-F3 have much bigger sensors than traditional compacts, so they can capture much more detail, and their swappable lenses give you SLR-style flexibility. You can currently choose ( from over 30 prime, zoom, telephoto, wide angle and macro lenses to use with the NEX-F3.

You don't need to invest in lots of lenses to take great pictures, though. Thanks to that bigger sensor and Sony s wonderfully named BIONZ processor, the standard 18-55mm lens is an excellent all-rounder that's surprisingly good even in low light, and with a 16.1-megapixel resolution the level of detail is stunning. Sony says the NEX-F3 delivers "professional quality" images, and reviewets agree that while the results aren't quite SLR-quality, they're not far oft The Sony camera even delivers decent depth of field effects - something compact cameras are traditionally very bad at.

In addition to straightforward shooting, the Sony can also record HD video, and its tilting LCD screen makes awkward shots considerably less uncomfortable. It shoots in both JPEG and RAW format, and the camera includes built-in filters called Picture Effects to give your shots a retro sheen or soften skin tones in portraits. Intelligent Auto mode does a good Job of choosing the best parameters for each photo you take, and if you want to get stuck in you can change the individual settings manually.

Sony NEX-F3K/B 16.1 MP Compact System Camera with 18-55mm Lens (Black)
16.1 MP Exmor APS HD CMOS image sensor
Full HD movie shooting 60i/24p
LCD tilts down 13°, up 180° for low-angle and self-portrait shots
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Nikon 1 J3 Digital Camera Review

JUST six months after the launch of the Nikon 1 J2, the J3 has arrived featuring a number of improvements. The J3 is no longer the entry-level model in the Nikon 1 compact system camera line-up, as this place has now been taken by the 51, which was announced at the same time as the J3 and which we will be testing in AP 16 March. Consequently, Nikon has included some of the features from the top-of-the-range Nikon 1 V2 into the J3 to differentiate it from the new entry-level model. On the face of it, then, the J3 offers the same sensor and advanced shooting modes as the V2, but it is packed into a compact and simple body similar to the J2.

FEATURES 8/10

All the cameras in the Nikon 1 range feature a CX-format sensor, which at 13.2x8.8mm (or 1in) is the same size as the sensor found in the Sony Cyber-shot DSC-RX100. The CX sensor is small when compared to those used in most other CSCs, being roughly half the surface area of a four thirds-sized sensor and less than one third the size of an APS-C sensor A CX-sensor has a crop factor (focal length magnification) of 2.7x, which means that the 10-30mm1/3.5-5.6 kit lens available with the J3 is equivalent to a 27-81mm on a 35mm camera.

A smaller sensor means the Nikon 1 body and lens system can be made more compact than other CSCs. Also, with a focal length magnification of 2.7x, Nikon SLR users can fit their F-mount lenses to Nikon 1 cameras via the F-to-l-mount F T1 mount adapter. In this instance, a low-cost 70-300mm f14.5-5.6 DX lens would, for example, become a 190-810mm lens.

The main concern with a small sensor is the impact it has on image quality. In this third-generation Nikon 1 camera, the company has introduced a new 14.2-million-pixel sensor, which is also used in the V2. Interestingly, in both cameras Nikon has opted not to include an anti-aliasing filter. Nikon must believe that any effects from not including the filter, such as moire patterning, are acceptable in order to achieve sharper images.

Although the J3 is not classed as an entry-level model, it is still targeted at the casual user rather than the enthusiast, with auto modes aplenty for no-fuss shooting Many of the shooting modes make use of the fast processing power of the Expeed 3A processor Nikon claims this processor is capable of processing up to 850MB/s, which is more than three times the speed of a top DSLR, such as Nikon's D4 The result is an impressive array of high-speed shooting modes, including standard drive modes of up to 15fps with continuous AF for up to 22 frames, or up to 60fps without continuous AF for up to 20 frames There are other less common shooting modes, too, such as the 'best moment capture' modes of slow view and smart photo selector Both are designed to make picking out the best shot from a 20-frame sequence easier.

There is also a degree of manual control possible. This is mostly found through the 'creative menu, where modes such as manual, aperture and shutter priority can be found, as well as modes such as Easy Panorama. All in all, the camera is geared for point-and-shoot photographers.

BUILD AND HANDLING 7/10

Although the Nikon 1 S1 is now the entry-level model, the J3 is the smallest and lightest Nikon 1 system camera so far — but only just. Nikon's claim that the J3 is the smallest CSC has the stipulation 'with CX-format sensor or larger'. The camera measures 101x60.5x28.8mm, so it can virtually fit in the palm of your hand, and it weighs a mere 244g with battery and memory card inserted.

The top and front of the camera are finished with a slick, brushed-metal effect This finish is more professional-looking than the smooth, shiny, plastic-looking surface of the J2. A few buttons have been moved around, including the shooting-mode dial, which is now on the top-plate. The result is a much less cluttered rear However, I am disappointed there is no thumb grip, given that the rear of the camera is smooth and can prove to be slippery. Instead, there is a raised edge to rest the thumb against, which is less effective.

Like its J2 predecessor, the J3 does not have a viewfinder or hotshoe. It does, however, include a built-in flash, which has a redesigned crane mechanism.

The J3 has a respectable start-up time, with the camera ready to shoot in just under 3secs. The on/off switch can be skipped when using a Nikon 1 lens, because rotating the lens from its locked position starts up the camera.

Battery life is modest, especially with the camera's power-hungry shooting modes. While testing the camera, on most days I was restricted to half a day's shooting before needing to recharge the battery.

Most images are processed speedily and do not slow down the use of the camera, which is impressive given that some of the modes are data hungry. However, there are shooting modes, including motion snapshot and some creative modes such as night landscape, that take more than 10secs to process.

The in-camera rating system works well. When in playback, pressing the F button on the rear control wheel accesses the 1-5 star rating system. I would like to see this sort of set-up introduced in Nikon DSLRs.

Overall, the camera is well designed for simple point-and-shoot operation. However, getting one's head around the shooting modes is less straightforward. A mode such as slow view is both difficult to handle and surplus to requirements, given the easier to use smart photo selector.

WHITE BALANCE AND COLOUR 8/10

Given that most of the Nikon 1 J3's auto modes do not allow manual control over white balance and colour, I was particularly keen to see what the colours are like straight out of the camera. Thankfully, they are generally accurate, punchy and print-ready.

When using one of the manual-exposure modes - which is possible when the shooting mode dial is set to creative - one can take manual control of white balance and colour In the picture control menu, there are the usual modes such as standard, vivid and monochrome, with the option to tweak sharpening, contrast, brightness and, in the case of the monochrome mode, add filter effects and toning. On a bright sunny day I find the standard mode renders bright greens and blues very well, while the vivid and landscape modes are too saturated. As for white balance, there are times when the colour rendition is a little cool, so I found myself switching between AWB and the presets to maintain some warmth of tone.

METERING 8/10

Given that most of the shooting modes are automatic, the Nikon 1 J3 can usually be left to take control of the metering. By and large, the J3 meters for an exposure in a similar way to a Nikon DSLP, with a preference for midtone and shadow luminance. Therefore, if the scene has a wide range of tones, the chances are the brighter areas, such as the sky, will be a little too bright. In this case, it is worth activating the Active D-Lighting (if this is possible in the shooting mode), because it makes tonal detail at either end of the dynamic range more obvious. As one would expect of a CSC, the J3 has a choice of matrix (evaluative), centreweighted and spot metering. Spot metering is linked directly to the active AF point, so it is only truly available when using spot AR Introducing touch functionality to the LCD screen to choose the AF point would speed up this metering process.

NOISE, RESOLUTION AND SENSITIVITY 25/30

We would expect an imaging sensor that does not have an anti-aliasing filter, such as that found in the Nikon 1 J3, to punch above its weight when it comes to resolved detail In fact, the camera resolves the level of detail that we would expect from a 14 2-million-pixel camera, reaching the 24 marker on our resolution charts. This is a marked improvement from the 10-million-pixel J2, but against the higher-resolution competition of today this level of performance is, at best, average. There is actually an impression of detail further along from the 24 marker, but moire patterning interrupts a clear impression of all nine lines separately.

What is impressive, though, is that detail is still resolved up to the 24 marker even at ISO 3200. However, images are not bean', as the presence of luminance noise in unprocessed 12-bit raw files can be seen at every ISO setting, which steadily becomes more obvious higher up the ISO range. Chroma (colour) noise can be found in unprocessed raw files at any ISO setting, being more obvious in shadow detail and often in the form of purple patches.

As a default, a rather aggressive degree of noise reduction is applied to JPEG files This may smooth out luminance noise, but it also means that detail becomes less crisp. Overall, the feel and depth of images prove to be a little flat, being more akin to those from a compact camera than from a DSLR.

All the comments in this section of the review are made about images taken with the 10-30mm lens and viewed at 100%. Images can, of course, be produced on a smaller scale — which there is scope to do given the improved resolution — and detail appears sharper and cleaner Therefore, it is possible to achieve good-quality images.

AUTOFOCUS 9/10

Speed is a key selling point of the Nikon 1 J3, thanks to its powerful Expeed 34 processor. The impressive high-speed continuous burst modes are backed up very well by what Is an excellent hybrid AF system, which uses both phase and contrast-detection AF In good-contrast light, focusing on static subjects is, to the eye, instant. Even in low-contrast light focusing is speedy, although contrast detecuon appears to be employed because - a quick hunt is often required. Most other CSC systems require a longer hunt in such conditions, which can often be unsuccessful, so here the J3 shines.

If you set the camera up to use subject tracking AF for a high-speed scene, such as a runner competing in a race, you can expect most images from a 151ps burst to be in focus on the tracked subject. I would be interested to test the J3 against the Nikon D4 in various acuon situations to see how it fares.

It is possible to use continuous AF for video capture without it being distracting. A quick snap from one focus point to another is fairly subtle and made without hunting or a loss of focus.

LCD, VIEWFINDER AND VIDEO 7/10

With no viewfinder or hotshoe to attach an optional viewfinder, the Nikon 1J3 fully relies on its rear screen to compose and view images. Just like the V2 and J2, the J3 uses a 3m, 921,000-dot LCD screen, with durable glass exterior Its display is bright, crisp and has a wide viewing angle. Even in bright light it is possible to compose a scene using the screen, although accurate evaluations on exposure in such a situation are not possible. Given the casual-user target audience, perhaps a screen with touch functionality or articulation would be welcome.

Video recording is possible in full HD (1920x1080 pixels) at an impressive 60i or 30p, in MOV format and using the H.264/ MPEG-4 compression. Stereo sound is possible, although there is no option to attach an external microphone.

DYNAMIC RANGE 7/10

The Nikon 113 has a dynamic range of approximately 11EV, which by today's standards is rather modest. However, in most real-world situations, such as a high-contrast landscape, it is difficult to note real differences between this camera and some entry-level DSLRs that officially test more favourably. Some highlight clipping can occur, so it is worth making use of the settings to increase tonal detail, such as Active D-Lighting.

A creative mode! regularly used is 'backlighting', to which HDR can be added. This is ideal for high-contrast landscapes because the tonal detail in the sky can be kept, but the midtone and shadow details are brightened. Rather than the overall exposure looking dull, it looks - for want of a better word -dynamic.

CONCLUSION

COMPARED to its Nikon 1J2 predecessor, the J3 is a much improved camera. In essence, the J3 is the V2 in a compact, viewfinder-less body, geared to the casual user It can take a while to work your way around the camera, with manual control tucked away and some auto shooting modes that could do with a little more explanation. Where the J3 shines, though, is in its speedy operation, thanks to its powerful Expeed 3A processor. Fast shooting modes and responsive AF make for excellent handling.

However, I can't help but feel a little disappointed with the J3 when it comes to image quality. The 14.2-million-pixel sensor is capable of producing decent 44 prints, but go much bigger and the soft detail - certainly from the 10-30mm kit lens - is more apparent. The launch of three new lenses, including a 50mm f/1.8 and 18-35mm f/35-5.6 (both 35mm equivalents), at the same time as the camera is promising, and the improvements to image quality from the last generation are plain to see. The camera is up to speed operationally, but its image quality has some catching up to do.

OUR RATE FOR NIKON 1 J3 IS: 79%

Nikon 1 J3 14.2 MP HD Digital Camera with 10-30mm VR 1 NIKKOR Lens (White)
14.2 MP super high-speed AF CMOS Sensor, Shoot 15 fps w/ autofocus, Best Moment Capture - view live images in slow motion.
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Best DSLR Camera for Professional HD Video Recording

Canon's EOS 5D Mark III is widely regarded as 'the best' current DSLR for shooting video. With a 24-105mm 1/4 IS USM lens, which is a great all rounder, it would set you back closer to $2000 budget. However, two alternatives spring to mind: the Canon EOS 7D and the Canon EOS 5D Mark II, both of which would come in on or under your budget.

In terms of video quality the two are very similar, with the EOS 5D Mark II having a proven history in broadcast television (it's been used to shoot many TV shows, including an episode of the US hit series House, featuring Hugh Laurie). There are certain key differences to consider between the two cameras, though, which largely come down to one thing - the relative sensor sizes of each camera.


If you regularly shoot at longer focal lengths (recording wildlife or sport, for example), then the EOS 7D has a distinct advantage, as its APS-C-sized sensor increases all focal lengths by 1.6x. This is like having a 1.6x teleconverter attached permanently to your camera, so a 200mm lens would exhibit an angle of view similar to a 320mm focal length.

This will let you achieve a stronger telephoto effect from shorter focal-length lenses, and as shorter focal lengths tend to be relatively cheaper than 'true' long lenses this also has financial implications.

However, with its full-frame sensor, the opposite is true of the EOS 5D Mark II (or Mark III for that matter), which makes it far easier to shoot wideangle footage. As the effective focal length of a lens isn't affected by the full-frame sensor size, a wider range of high-quality wideangle lenses is available. A larger sensor size also has an impact on your creative options, particularly when it comes to achieving a really shallow depth of field and producing 'cleaner' footage in lower-light conditions. For example, at ISO settings of 1600 and above, the EOS 5D Mark II exhibits markedly less noise than the EOS 7D.

So, assuming you don't need the 'telephoto advantage' offered by the EOS 7D, I can't help but feel that the EOS 5D Mark Ills the best option in this instance. You may have to shop around to find someone still stocking the camera, but you should be able to find a kit with a 24-105mm lens for around $2000.

Canon EOS 5D Mark III 22.3 MP Full Frame CMOS with 1080p Full-HD Video Mode Digital SLR Camera (Body)

EOS 5D Mark III DSLR Body
Eyecup Eg (not shown), Battery Pack LP-E6
Battery Charger LC-­E6, Wide Neck Strap EW-­EOS 5D Mark III
Stereo AV Cable AVC-­DC400ST, USB Interface Cable IFC-­200U
EOS Digital Solution Disc, Software Instruction Manual
1-Year Canon U.S.A. Limited Warranty
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Canon EOS 7D 18 MP CMOS Digital SLR Camera with 3-Inch LCD (Body Only)

Advanced HD movie mode with manual exposure control and selectable frame rates. Intelligent Viewfinder with 100 percent field of view; 19-point, all cross-type AF system equipped with dual diagonal cross-type sensors.
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Canon EOS 5D Mark II 21.1MP Full Frame CMOS Digital SLR Camera with EF 24-105mm f/4 L IS USM Lens

EOS 5D Mark II Body, Canon EF 24-105mm f/4 L IS USM lens, Eyecup Eb, Wide Neck Strap EW-EOS5DMKII, Stereo Video Cable STV-250N, USB Interface Cable IFC-200U, Battery Charger LC-E6
Battery Pack LP-E6, EOS Digital Solution Disk, Software Instruction Manual
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Fine Art Photo Books: For Serious Photographers and Travelers

A beautiful presentation of images is the goal of every photographer. Today a custom book is the best way to preserve and present a collection of images.

Like cameras and lenses, photo books vary widely in quality - you get what you pay for.

Printing and Paper: PhotoBook Press books arc printed using a state of the art Kodak Nexpress on 115Ib text weight papers - coated, uncoated, glossy or matte.

Sewn Binding: Signature sewn bindings are the gold standard of bookbinding. The pages are not glued, stapled or side sewn. We fold the pages into booklets, sew them up the middle, then to each other to create a book that will last. PhotoBook Press makes the only photo books that employ this traditional method of book binding. A signature sewn book opens flat naturally allowing images to span the full width of the open book.

Aspect Ratio & Page Count: Because your photography is unique there are not just 3 sizes of book that will suit everyone. And you certainly have more than 20 pictures. At PhotoBook Press we offer 12 shapes in square, vertical and horizontal aspects - if one of those doen't work we make custom sizes. The books range in size from 36 to 500 pages.

Corers, Endpapers & Finishes: Custom fabrics, silks, leathers, raw boards and graphic covers in 1, 2 and 3 piece bindings. Beautiful endpapers give the book a finished professional look. Custom stamps on the spine and cover of books. Slip cases and clamshells and dustjackets to protect the books.

Design: Design Tool software helps you to lay out your book - or our experienced designers will do it for you. The experience of creating your book with our dedicated and knowledgeable team makes the pmcess a delight.

Your carefully composed shots become a carefully composed book. As it should be.

Itoya ART Profolio 8 1/2 x 11 Storage/Display Book Portfolio-24 Sleeves/48 Views
100% acid-free and archival safe
Durable polypropylene cover
Clear top-loading polypropylene pocket pages

Thick gauge, acid-free black mounting paper
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Sony Reveals New Alpha SLT 58

SONY is set to launch the SLT Alpha 58, a new entry-level flagship Alpha camera. Set to replace the Alpha 57, the Alpha 58 is due out in mid-April, priced around $598 body only.

The Alpha 58 features a 201-million-pixel, APS-C, HD imaging sensor (the Alpha 57 uses a 16-million-pixel sensor) and an OLED Tru-Finder electronic viewfinder (EVF), to help convey more colour and contrast in viewed images. The EVF has a resolution of 144 million dots.

The Alpha 58 also sports a 2.7in (460,000-dot resolution), tilting LCD monitor, as well as a Bionz image processing engine, borrowed from the Alpha 99 to help improve image quality in low light.


The news comes as Sony UK product manager for SLT and NEX, Joe Asai, tells AP that - amid the booming CSC market - Sony wants its Alpha cameras to cater for users who wants the more secure, DSLR-like handling, rugged feel and better grip offered by the SLT line-up.

The camera's maximum burst rate is five frames per second (or 81 ps in continuous advance priority AE mode), according to Sony. Also included are 15 picture effects and a 15-point AF system.

To help accurately track moving subjects, the 492g newcomer incorporates auto-object framing and lock-on autofocus. In a presentation, Sony said the Alpha 58 can establish 'continuous detection of subject size' to enable 'optimal AF point alignment with the target frame'. Sony has told AP that it will discontinue its Alpha 37 model around Easter and that production of the Alpha 57 will likely cease soon after.

Sony has also unveiled three new A-mount lenses, including a redesigned 18- 55mm f/3.5-5.6 The new SAM [Smooth Autofocus Motor] II version boasts a new rear element to combat ghosting and flare. It is priced around £180 and due out in April.

A revamped 70-400mm f/4-5.6G telephoto lens with an AF claimed to be 4x faster than its predecessor, priced around $1,898, and a Carl Zeiss Planar T• 50mm f/1.4 LA SSM, costing about $725, are due in this month.

Sony SLT-A58K Digital SLR Kit with 18-55mm Zoom Lens, 20.1MP SLR Camera with 3-Inch LCD Screen (Black)
20.1 MP Exmor HD APS sensor with 8 FPS shooting
Translucent Mirror Technology accelerates AF performance
1080/60i/24p Full HD or 1080/30p MP4 movies w/ Quick AF
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