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12/06/2014

The Price Level For The Fujifilm X-T1 Around The World

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The Price Level For The Fujifilm X-T1 Around The World

Introduction
How big a price difference do you think there are between what the Fujifilm X-T1 costs in one country compared to another country? Small? Big? Well I have created an analysis where I have try to find the best price in 24 different countries around the world.
I decided to use the Fujifilm X-T1, as it is a very popular product from Fujifilm. Maybe someday I will do the same study on a different product. More info ( http://www.fujifilmindex.com/articles/FujifilmXT1BestPrice.html)

10/14/2014

Sony A77 M2 DSLR Review: Fast Shooter Great for Low Light

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Pros: Tilt-and-swivel LCD; Evenly exposed pictures with accurate color and sharp detail; Wide ISO range for low-light photography; Continuous shooting of 12 fps for up to 25 photos

Cons: Eye sensor too sensitive ; Overly aggressive noise reduction at high ISOs ; Poor smartphone Wi-Fi connectivity

Verdict : Sony's Alpha 77 Mark 2 DSLR is a solid, fast-shooting camera that can do it all, but it especially shines in low-light settings.

A variation on the conventional DSLR, Sony's Alpha 77 M2 camera is an upgrade of its popular Alpha 77 SLT (single-lens translucent) camera. This system lets a portion of the light through to a dedicated autofocus sensor while sending most light to the image sensor, providing a full-time live view as found on mirrorless cameras for shooting stills and videos. The $1,050 (body only) A77 M2 features a speedy new 79-point phase-detection autofocus system and a large ISO range to capture more detail in extreme low-light situations. With these improvements, can the new Alpha continue to impress, and take on competitors like Canon's $1,200 (body only) EOS 70D?

Image Quality


In general, pictures shot with the A77 M2 turned out bright, sharp and beautifully colored. Sony provided us with an f/2.8, 16-50mm SSM zoom lens ($800) to test the camera. We evaluated the camera's ability to set the right aperture, shutter speed and ISO light-sensitivity levels for even exposure by shooting on shutter- and aperture-priority modes. The A77 M2 performed well at these tasks, for the most part.

Bright-Light Results: Vivid Colors and Sharp Detail

In bright settings, the A77 M2 performed very well. My pictures of Central Park's Sheep Meadow on a sunny Sunday afternoon showed vibrant green blades of grass and a deep blue sky. The camera also retained the fine detail of wispy clouds in the sky.

The A77 M2 accurately captured the pink and red strands in her hair, and kept the overall picture evenly exposed despite her bright white blouse. The flowers on her metallic necklace also rendered clearly. I did notice some distortion in this picture though, where people and trees in the background appear to be stretched diagonally toward the corners.

This photo was shot at the lens's widest focal length (16mm), which results in some distortion on most systems. So if you're getting this lens (which the A77 M2 is frequently bundled with), make sure to set the focal length a little narrower (20mm and up removes the distortion).

The Sony's color reproduction is as good as the quality from Canon's $1,200 EOS 70D DSLR, albeit with subtle differences. A colorful installation at the High Line park taken with both cameras showed similarly rich hues, with the Sony image showing a slightly blue cast while the Canon picture displayed warmer tones.

Low-Light Results: High ISO Range Captures More Detail


With a light-sensitivity range of ISO 100 to 25,600, the A77 M2 is capable of capturing brighter and sharper images in darker situations than competitors such as the Canon 70D (which can achieve ISO 25,600, though Canon recommends staying at 12,800).

At a night game during the US Open, my picture of the Arthur Ashe stadium lit by floodlights is so clear you can see individual people in their seats if you zoom to 100 percent.

In even more challenging light situations, such as the nighttime view from my 36th-floor Hell's Kitchen apartment, the A77 M2 delivered pictures with crisp detail. With a top limit of ISO 25,600, the A77 M2 was able to snap photos of the Manhattan skyline at shutter speeds of 1/60, which is fast enough for handheld shots. (Shooting in aperture-priority mode, I set the aperture to f/2.8 to enable that shutter speed.)

However, Sony's JPEG processor was a bit overzealous. The JPEGs of my nighttime cityscapes appeared muddy in parts, as if someone had finger painted the black sky. In comparison, the unprocessed RAW version of the same shot showed crisp detail, but naturally also plenty of chroma noise (sharp, colored dots). Using Adobe Photoshop CC, I easily reduced the amount of noise to output a crisp JPEG without that finger painted look.

MORE: Best DSLR Cameras 2014

With the A77 M2, you should be able to rely on the camera's JPEG processor up to ISO 6400 to deliver pictures that are relatively noise- and smudge-free. If you start seeing the smudged texture on your images, you're better off processing the RAW version yourself. To be safe, make sure you're shooting in RAW+JPEG (at least in low light) so you have a chance to rescue images in editing.

Video: Good Image Quality, Slight Stuttering


Thanks to its translucent mirror technology with full-time phase-detection autofocus, the A77 M2 deftly kept moving targets sharp even as I panned from a close-up object to one in the distance. All the videos for this review were shot at 1080p and 30 and 60 frames per second, and recorded in AVCHD format. The M2 also shoots in MP4, but not at the Full HD resolution that you get with AVCHD.

On a sunny day in Central Park, I recorded the busy road full of cyclists, horse carriages and people milling around at 1080p 30fps. The video displayed little to no shutter roll – a distortion that happens when the camera is unable to keep up with a moving object, resulting in stretched images. The Sony's footage did show some stutter as I panned slowly across the scene, though.

In darker environments, such as the streets of the Las Vegas strip at night, the A77 M2 showed some shutter roll (also at 30fps) in the fast-moving limbs of a street performer as he cartwheeled in front of an amused audience. The overall exposure in the video was somewhat even. Bright lights in the background were not blown out, but the features of a darker-skinned performer were a bit lost in the shadow and hard to see. More impressively, though, the cartwheeling man was sharp throughout the clip, without significant shutter roll.

I then shot 1080p video at 60 fps, but noticed even more stuttering in the clips when panning across a scene. Stuttering was also somewhat noticeable when subjects in the frame were moving. You won’t notice this effect when playing back the clips in the camera, but you likely will on a computer. We asked Sony's experts about the issue, and they suggested it could be that the computers were not up to the task of playback. But we were using several high-end laptops, including a Dell Latitude 6430u and an Apple MacBook Pro Retina Display. Clips uploaded to YouTube also exhibited the stuttering.

It may be that the AVCHD files are so large that they would require some processing and compression to play smoothly on typical computers and online. Exporting 1080p files in the MP4 format might be better for most users, but the A77 M2 isn't currently able to do this. (Sony first introduced this capability in its new entry-level a5100 mirrorless camera.) For now, the best advice, if you are not shooting professional video, is to shoot in AVCHD but at 30fps.

The A77 M2’s onboard stereo mics picked up sound very well. In the Central Park video, not only was the clopping of horses' hooves distinct, but the chatter of the carriage passengers was also crisp. I could hear birds chirping and kids laughing in the background.

Sony vs Canon EOS 70D Video


Canon’s EOS 70D packs its own system, called dual-pixel autofocus, for tracking a moving subject while recording video. Canon’s technology has 80 percent of its image-sensor pixels run double duty, capturing images and acting as autofocus sensors at the same time. I tested this out at Madison Square Park, filming parkgoers going about their business.

MORE: Best Bridge Cameras 2014

For the most part, there wasn’t a significant difference in the focusing ability of the two cameras. However, the Canon definitely outperformed the Sony, as it was able to shift focus quickly from a set of bars in the foreground to blades of grass behind the bars within a fraction of a second. The Sony focused on the bars but struggled to shift to the new subject.

Also, while you can tap on the LCD monitor to designate a subject on the Canon 70D, the Sony just decides what to focus on. You can half-depress the shutter while recording to force the camera to refocus, but during my testing this was often cumbersome and I could not get the result I wanted.

The Canon shifted focus with ease, creating a pleasingly artistic look, while the Sony held focus on the leaves for a second, then struggled between keeping the leaves and the bar sharp.

Autofocus and Speed


With a shooting speed of 12 frames per second (with autoexposure and autofocus adjustment for each shot) up to 25 images on RAW+JPEG mode, and a top shutter speed of 1/8,000 second, the A77 M2 is quite the speed demon. In comparison, the Canon 70D can shoot only 7 fps up to eight shots on RAW+JPEG mode.

Thanks to the Sony's swift performance, I was able to snap several shots of my friend frolicking on Sheep Meadow in Central Park – and each shot was tack sharp.

Carrying a 79-point phase-detection autofocus system, the A77 M2 latched on to subjects quickly. During video recording though, the camera had a tendency to shift focus midway through filming, blurring the subject.

Design and Handling: Solid, User-Friendly Build


At 5.62 x 4.12 x 3.25 inches in size and 1.42 pounds (body only), the A77 M2 is a hair lighter than the Canon EOS 70D (1.48 pounds, body only). A rubberized grip on the right of its magnesium alloy body has contours to rest your middle and ring fingers on, while your index finger sits comfortably on the shutter button.

The majority of the A77 M2's controls lie on the right side of its body. I especially liked the 3-inch tilting LCD display on the camera, which you can flip out, rotate and twist around to let you easily compose shots at a wide variety of odd angles — even selfies.

One little annoyance with the A77 M2 is the sensor that detects if you put the viewfinder up to your face. Meant to automatically switch the active display between the viewfinder and the 3-inch LCD monitor, it also turned the LCD black anytime my finger hovered within 2 inches of the viewfinder. Thankfully, you can disable the sensor and use a switch on top of the camera instead to switch between viewfinder and screen.
Battery Life

The A77 M2's battery is supposed to last for 410 images, using the viewfinder, or 480 images with LCD monitor, based on CIPA testing standards. I took the M2 with me to a three-day tech convention in Las Vegas and shot 474 pictures and 10 videos (about 45 minutes in total) on one charge with a mix of viewfinder and monitor use. That's better than the touted ability.
Wireless: Useless

The A77 M2 has Wi-Fi built in for sending pictures from your camera to your smartphone or to remotely control the camera. During my time with the Sony, though, the Wi-Fi sharing function did not work at all, whether I used iOS or Android devices. I connected the phones to the camera's built-in Wi-Fi hotspot, entered the password and waited an eternity for the two devices to link, but it never happened. Canon's 70D has better built-in Wi-Fi capability (though that's not saying much, as it's still rather clunky to set up).

For better wireless connectivity, consider using an Eye-Fi memory card, which gives almost any camera a Wi-Fi connection to your smartphone, tablet or computer. In tests, I've found Eye-Fi very easy to use.

MORE: Camera Buying Guide 2014

Controls: Plenty of Knobs and Dials for Easy Use


It might sound intimidating, but the total of 17 buttons, three wheels, a switch and a joystick make the A77 M2 easy to use. If you've already picked the mode you want to shoot in with the Mode dial on the left, you'll find everything else (such as ISO, White Balance and exposure compensation) easily accessible with your right hand.

Thanks to the Fn button on the right of the LCD monitor, top-level controls were easy to access. These include exposure compensation, metering mode, ISO light sensitivity, white balance and drive mode. Just press the button and a 6 x 2 grid appears on the LCD or in the viewfinder. You can go through it with the joystick to adjust each box's setting with either wheel on the camera. You can customize this menu to show your preferred options.

A Menu button on the top left of the LCD offers more in-depth and less commonly used settings. Since there isn't a touch screen, you're dependent on the joystick next to the screen to navigate the multiple pages under each of the five major menu tabs.

When you press the Fn button while looking at a playback of a picture or video, you'll bring up options to send that file to your smartphone or computer via Wi-Fi.

The A77 M2 scored well on our test of how easy it is to reach key settings, thanks to a wide array of dedicated buttons. (Settings that have a dedicated button or knob, such as shutter speed, require 0 steps to access.)

Lenses


The Sony A77 M2 is compatible with 12 Sony A-mount lenses. The f/2.8 16-50mm zoom lens we tested provided good color and image detail with some distortion at its widest setting. The amount of stretching was reasonable though, and expected. You can reduce or get rid of the distortion by pulling back a little from 16mm to 20mm.

Sony also offers a f/1.8 35mm prime (nonzooming) lens for a low $218, which should be great for food and portrait photography. Both Sony and third-party lens maker Sigma offer a 50mm prime lens in the $400 to $500 price range, and sample pictures taken with the Sigma 50mm f/1.4 EX DG HSM setup show that this lens delivers good clarity and color.

The M2 is also compatible with a wide array of A-mount lenses from other third-party manufacturers, such as Tamron and Tokina.
Bottom Line

All in all, Sony's Alpha 77 M2 is a great camera that performs well in everyday situations. A large ISO range also makes it ideal for extreme low-light photography, while the translucent mirror system enables decent autofocus while you're shooting video. The camera is also easy to use, and I especially loved the tilting LCD for selfies or a variety of odd-angled shots. Plus, the Alpha 77 M2 boasts an impressively fast still shooting speed (12 fps) that puts rivals to shame.

Those who want a rig for video recording may prefer Canon's EOS 70D, which has a superb dual-pixel autofocus system that effectively latches on to and tracks moving subjects. But the 70D only shoots up to 30 fps, while the Sony gets up to 60 fps. So each camera has its strengths and weaknesses. Ultimately, if action photography is a higher priority for you than video, the $1,050 Sony Alpha 77 M2 is an excellent choice.

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10/03/2014

Pentax’s the 645Z Review | best lowest Prices

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During the days of film photography, medium-format cameras weren’t just the preserve of professional photographers: many enthusiasts used them as well. Just as with digital photography, the larger frame brought better-quality images that could be blown up to bigger sizes. At around £7,700 / $9,700 for a camera body and a 55mm lens, the Pentax 645Z is beyond the reach of most enthusiast photographers – but it costs just a fraction of what a comparable Hasselblad kit would set you back, so there is lots of interest among experienced photographers.

FEATURES
Like the Pentax 645D that it replaces, the 645Z has a sensor that measures 43.8 x 32.8mm (168% the size of a 35mm frame). Sony has provided the sensor rather than Kodak this time, and the pixel count has been boosted from 40 million to 51 million. The anti-aliasing filter is also omitted to boost detail resolution.

Pentax has coupled the sensor with its Prime III image engine, first seen in the Pentax K-3 APS-C-format SLR. This enables up to 10 raw images (or 30 large highest-quality JPEGs) to be shot at up to three frames per second. In addition, the maximum sensitivity setting is ISO 204,800, significantly higher than the ISO 6,400 maximum offered by other medium-format cameras. There’s also a tilting 3.2-inch 1,037k-dot LCD, which is capable of showing a Live View image, and Full HD movies may be recorded. Pentax has also given the 645Z the Safox 11 phase-detection autofocus (AF) system found in the K-3. This has 27 AF points, 25 of which are the more sensitive cross-type.

BUILD AND HANDLING
Pentax has used the same design and control layout for the 645Z as it did for the 645D. The body is covered liberally with controls that give a quick route to key features such as sensitivity, white balance and exposure compensation. However, there’s only fairly limited scope to customise the use of these buttons. The new camera has the same deep grip and, despite its large size and relatively heavy weight, it feels comfortable in the hand.

As the user interface is fairly similar to that of Pentax’s K-series cameras, it’s easy to get to grips with the 645Z. Even those who have never used a medium-format camera before will soon feel comfortable using it. That said, the menu looks dated. As an SLR, the 645Z has a reflex mirror that lifts to allow an exposure to be made. Naturally this is quite a large unit and, while it’s not quite the door-slam of some medium-format models, you are certainly aware of its movements.

The LCD screen is clear and provides a detailed view, whether you’re composing using Live View mode or reviewing images. The fact that the screen tilts is especially useful when composing images on a tripod in the studio or when out shooting landscapes. It’s also helpful that the screen’s display can be set to rotate, to make it easier to read when you’re shooting in upright format.

PERFORMANCE
The key advantage of having 51 million effective pixels on a medium-format sensor is that it’s possible to record lots of detail. Also, because those pixels are relatively large, they generate a strong signal, which means noise levels can be kept down. This is immediately apparent in the images from the 645Z – they have a huge amount of sharp detail and little noise at the low to mid-range sensitivity settings. Even at the highest sensitivity setting of ISO 204,800, noise is controlled comparatively well. There is some coloured speckling visible, but detail appears to be better retained than in images from small-format SLRs with such settings. Stepping down to ISO 6,400 results in images that look significantly better, with plenty of detail, so using this setting is perfectly realistic.

As we have found with other Pentax SLRs, the 645Z’s Multi-segment metering system generally behaves well, but it is prone to underexposing when faced with bright subjects or when there are large bright areas in the scene. The automatic white balance system also does a good job in a range of natural lighting conditions but, as is often the case, a custom white balance setting is a better bet in artificial light. In the Natural Custom Image setting, the 645Z generally delivers pleasant-looking images with natural colours.

While the 645Z’s AF system can’t compete with a high-end small-format SLR’s, it is pretty impressive considering the size and weight of the elements inside the compatible lenses. Even in quite low light, it homed in on its target decisively with little hunting, although it starts to struggle when subjects get close to the minimum distance.

VERDICT
The Pentax 645Z is a solidly built camera, yet it’s pleasant to use hand-held. It’s not far off being a ‘point and shoot’ medium-format camera if you want it to behave in such a way.

The main aim of using a medium-format camera is to produce higher-quality images than is possible with a small-format camera, and the Pentax 645Z certainly delivers in this respect. Images have a superb amount of detail, and colours are generally natural yet vibrant straight from the camera. Depth of field can also be very limited, which is a potential shortcoming for landscape and macro photography.

OVERALL
We saY: despite being at the more ‘affordable’ end of the medium-format market, the 645Z is solid and weatherproof. it’s also easy to use, and produces superb images with huge amounts of detail.

9/08/2014

SONY ALPHA 6000 Review - what do you get if you cross the A7R with the NeX-6?

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With the launch of the Alpha 6000, Sony has introduced what amounts to an APS-C version of the full-frame Alpha 7. At the same time, two old NEX lines, the NEX-7 and the NEX-6, have been discontinued. Sony expects the NEX-7 owner to upgrade to the A7 range, while the A6000 is designed to meet the needs of the NEX-6 owner, sitting at the top of the company’s APS-C enthusiast line.

Small and sleek, the A6000 has a similar look and feel to the A7. It features a newly designed 24.3-million-pixel APS-C CMOS sensor. It competes pretty closely with the likes of the Fujifilm X-E2, the Olympus OM-D E-M1 and the Panasonic Lumix G6.

features
Along with the new sensor, the A6000 is equipped with the Bionz X, Sony’s latest processor, which is also found in the newest full-frames like the A7, the A7R and the A7S. Sony claims that the Bionz X is three times faster than the previous generation. The image sensor has 179 phase-detection autofocus points. There are also 25 contrast-detection AF points for the hybrid autofocussing system. At the time of launch, Sony claimed that the camera had the fastest AF in the world among cameras with an APS-C sized sensor.

On the back of the A6000 is a tiltable LCD screen, which is joined by an electronic viewfinder: the same 0.39-inch, 1.4-million dot device found on the RX10 premium bridge camera. Reflecting the broader trend, the A6000 comes complete with built-in Wi-Fi and NFC. Like several other Sony cameras, it is customisable with apps downloadable from Sony’s cloud-based photo storage service PlayMemories.

As its standard kit lens choice, the A6000 comes with a 16-50mm f/3.5-5.6 power zoom – the same lens that is packaged with the A5000. You can also buy it body only, giving yourself the freedom to choose from the large range of different E-mount lenses now available. Perhaps the perfect all-round lens for this camera is the Zeiss 16-70mm f/4 optic, but that comes with a £799 price tag – quite a bit more than the camera itself.

Building And Handling
Those who appreciate lots of dials and buttons will enjoy the A6000. It has plenty of controls available, and, like other Sony cameras, pretty much all of them are customisable to help you adjust the camera to suit the way you take photos.



The grip of the A6000 is ever so slightly more pronounced than on the NEX-6, making it easier to hold. There’s also a nice texture covering the camera. On top of the camera are two dials: one for controlling the shooting mode (such as automatic, semi-automatic or manual), and another for altering the shutter speed or aperture, depending on the mode you’re shooting in.

Setting the autofocus point on this camera is a task that would be speedier with a touchscreen, but it’s not too bad if you set the right custom buttons. To make things quicker, set Focus Area to Flexible Spot. From here, you simply need to press the button in the centre of the scrolling dial on the back of the camera to bring up the focus point selection option. You can then use the directional keys to move around the screen. It’s worth noting that this is the default option for the central button when Flexible Spot is selected: if you’ve got it set to anything else, it won’t work in the same way.

Although it’s not a touchscreen, the screen tilts, which is useful for shooting from some awkward angles, or for shielding the screen from glare. The viewfinder is bright and clear, and doesn’t seem to suffer from any noticeable lag. Setting up Wi-Fi is quick and easy, and makes the A6000 convenient for quickly sharing photos to your smartphone or tablet.

“Those who appreciate dials and buttons will enjoy the A6000. It has plenty of controls available”

Performance
Sony is producing some of the most interesting compact system cameras currently on the market and, pleasingly, the A6000 is another great performer to add to the line-up. Its images are great, with beautifully saturated colours. You can experiment with how JPEGs look straight from the camera by adjusting Creative Styles – a number of which are available as pre-stored settings. Detail is rendered very well b
y the A6000. Generally, image smoothing only starts to become problematic for normal printing sizes in shots taken at around ISO 3,200 upwards. Examining images at 100% from around ISO 1,600 upwards, you will find areas of the image that have a painterly effect, but the overall effect is good.



“Sony has come within touching distance of creating the perfect compact system camera”

The camera’s metering system does a good job with exposure, although it sometimes struggles in high-contrast situations, when you’ll need to dial in some exposure compensation. Similarly, the automatic white balance system is a good performer, although it can be slightly confused by some artificial light sources.

In good light, autofocussing speeds are very quick, dropping as the light levels drop, but only struggling to lock on at all in very dark conditions. The 16-50mm f/3.5-5.6 kit lens is a good all-rounder to get started with, but this is the kind of camera you’ll want to buy additional lenses for. Luckily there are some great ones for the E-mount.

Battery life is better than in the A7, probably due to the smaller sensor, but it’s still worth buying a spare battery if you travel.

Overall
Sony has come within touching distance of creating the perfect CSC. Fantastic image quality and customisable buttons are great to have, but a couple of niggles keep it from greatness.

9/02/2014

Inexpensive Digital Cameras Available For Purchase

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Inexpensive Digital Cameras Available For Purchase


Cheap digital cameras for sale : Here my 5 wish list.

Sony Alpha 3000

The Alpha 3000 has a foot in both the DSLR and CSC camps, with DSLR-esque design yet the inner workings of a CSC.

Verdict

The A3000 seems to be a niche camera without a niche to fit into. It's bettered by most of its entry level CSC rivals, but it must be noted that it's simple and easy to use and produces good results as long as you're not in a rush. It could be popular with those who want more to wrap their hand around, but we'd settle for the smaller NEX-3N instead.

Sony Alpha 3000 Best for : shooting high contrast conditions via the EVF, Those who'd like a battery percentage level gauge, people who'd prefer DSLR styling form a CSC.

Pros
APS-C sized sensor
Nex-style controls
lightweight
Profiled hand-grip
Battery percentage level Gauge

Cons
Build quality
Slow focusing
Screen resolution
Slow start up time
Flexes when squeezed


Pentax Q7

Available in 120 colour combinations, does the Q7 manage to improve on its predecessor, the Q10?


Verdict

The Q7 is a capable camera with a good range of features, great build quality, performance and handling, and image quality that compares well to most high end compacts. While some may look at it as a novelty act, the best camera is the camera you have with you. The Q7 certainly ticks the box but it's dominated by larger, more capable rivals.

Pentax Q7 Best for :travelling when you'd like a camera to fit in a pocket. The option to shoot in the versatile Raw format, Capturing faithful colour and exposure.

Pros
Portability
Handling
Features
Build quality
Small lenses
Supports K-mount adapter

Cons
Limited system
Pricey for what could be argued is somewhat of a novelty camera
Noise above ISO 3200




Panasonic Lumix GF6

Does the GF6 deliver enough features to make an impact in the crowded CSC market?


Verdict

By any standards, the GF6 is a great camera. The excellent build quality, superb finish and impressive image quality all add up to make it a system camera that represents superb value for money. Above all, it's a genuinely nice camera to use and would be a perfect choice for those looking to attain better image quality than a point and shoot compact.

Panasonic Lumix GF6 Best for : Those looking for an affordable step up from a compact. An excellent choice of lenses. Responsive touch-screen interface

Pros
Tilting monitor
Versatile controls
Image quality
Noise controls
Auto white balance system can't be faulted

Cons
Over sharpening of JPEG files
Small touch buttons
Lack of viewfinder or accessory compatibility



Nikon 1J3

Nikon describes its J3 as elegantly minimalist yet full loaded, but is this partnership a winning one?

Verdict

The J3 comes with the sort of features you'd expect to find on a CSC when upgrading on a compact camera, and for the most part it's both fun and convenient to use. The small sensor does present a couple of image quality issues, but it should suffice for family photos and those destined for little more than social networking sites.

Nikon 1 J3 Is Best For : New and inexperienced users seeking improved image quality over a compact, People wanting a simple level of control with auto shooting modes.

Pros
Lightweight and simple design
Inclusion of built in flash
Super fast burst rates
Fun auto modes for new users

Cons
Image quality issues from comparatively small sensor
Small selection of nikkor 1 lenses at present
No grip




Fujifilm X-M1

The X-M1 is one of Fujifilm's smallest and lighters CSCs and is designed to target a wider audience than previous models


Verdict

The X-M1 excels in three key areas over its closes rivals, these being style, feel and results. The beautiful image quality the X-M1's X-trans CMOS sensor delivers is a premium worth paying for, but unlike rival models it does lack a touch-screen and viewfinder. It's also a tad pricey for the features it offers when compared with designs from its competitors.

Fujifilm X-M1 Is Best for : Auto shooting modes will appeal to those upgrading from a point and shoot. Impressive resolution of detail. Macro photography

Pros
Excellent results from the X-trans sensor
Styling
Build Quality
Consistent metering system
Auto shooting modes

Cons
No touch-screen
Prices
Lack of connection for an optional viewfinder
No panoramic mode
Range of optics




This is a Cheap digital cameras for sale thanks for visited.

Reviewed By Amateur Photography

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9/01/2014

Sony’s Alpha 77 II Review | best | lowest | body best | lenses | Prices

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A fter the announcement of the full-frame E-mount Sony A7, A7R and A7S compact system cameras and the demise of the NEX brand, you could be forgiven for thinking that Sony might not continue with its A-mount SLT (single lens translucent) cameras. However, the arrival of the Sony Alpha 77 II indicates that this isn’t the case.

As you might guess, the Alpha 77 II replaces the Alpha 77, which is now discontinued, and it has an almost identical shape and design. As before, the new camera is aimed at enthusiast photographers who want a step up from an entry-level model. It sits under the full-frame Alpha 99 in Sony’s SLT line-up.

FEATURES
Like the Alpha 77, the A77 II has a 24-million-pixel sensor, but this is a new device that benefits from the progress that has been made with sensor design in the two-and-half years since the A77 first arrived. Also, for the first time in an A-mount camera, the sensor signal is processed by a Bionz X engine. This has given Sony the confidence to allow sensitivity to be set in the native range ISO 100-25,600 for still images, with a low expansion setting of ISO 50 also available.

One of the benefits of the SLT design is that there can be full-time phase-detection autofocus during movie shooting and when composing images on the rear screen. Sony has used a newly developed phase-detection sensor with 79 AF points (15 of which are the more sensitive cross-type) in the Alpha 77 II. Sensor development means that the A77 II’s CCD AF sensor produces less electronic noise than previous devices and this helps with autofocusing speed and accuracy, as well as boosting low-light performance.

Spot AF performance is also claimed to have been improved, with weighting given to the centre of the spot. There’s a collection of AF-point selection options including Wide, Zone, Flexible Spot, Local, Expanded Flexible Spot and Lock-on AF. In Expanded Flexible Spot mode, you select one AF point and the camera supports this with the surrounding eight points, which is useful when shooting a moving subject.

It’s also possible to adjust the AF tracking duration across five levels via the menu. The low settings are useful when the subject distance isn’t expected to change quickly, while high levels suit shooting subjects at different distances. In addition, a new AF Range Control option allows you to restrict the AF to working within a specific distance range – useful when there are objects between the camera and the subject.

According to Sony, almost all of its A-mount lenses are compatible with the 79 AF points, although only 61 are available when you’re shooting at 12fps. Sony’s 500mm f/8 lens is a notable, but not surprising, exception: it will allow only the centre AF point to be used.

As suggested above, the A77 II can shoot a maximum rate of 12 frames per second with AF tracking, and the buffer has capacity to allow up to 25 raw and JPEG images to be captured in a single burst, but aperture is locked at the start of the sequence.

Other pleasing additions to the A77 II’s featureset include an HDMI port, which can supply clean video output to external storage devices, and Wi-Fi connectivity. As the A77 II has an NFC chip, owners of NFC-enabled smartphones and tablets can connect to the camera by touching the two devices together. Interestingly, despite the presence of Wi-Fi connectivity, the A77 II cannot make use of Sony’s PlayMemories Camera apps.

BUILD AND HANDLING
Sony has given the Alpha 77 II the same tough feel, overall shape and control layout as the A77, and the vertical grip that was produced for the original model can be used with the new camera. There are a few differences, however: there are 27 features that can be assigned to one of the 12 slots in the Function menu, for example. It’s also possible to customise the function of many of the buttons, but the default settings work well.

If you like using Picture Effects (Toy Camera, Pop Color, Posterization, Retro Photo, Soft High-key, Partial Color, High Contrast Mono, Soft Focus, HDR Painting, Rich-tone Monochrome, Miniature, Watercolor and Illustration are provided), it’s worth assigning this and image quality to the Function menu so that you can quickly turn off raw recording “Almost all of Sony’s A-mount lenses are compatible with the A77 II’s 79 AF points” Zooming in on the… sony Alpha 77 II Sony’s made important changes from the A77 The hotshoe has changed from the Sony (Minolta) proprietary shape to the more common universal style. It also has contacts for a wide range of accessories.

The vari-angle mechanism on the rear LCD screen seems a little over-complicated. As SLTs have a fixed translucent mirror, the A77 II has an electronic rather than optical viewfinder. The mode dial has been updated with a lock button to prevent it from being knocked out of position. Strangely, Sony has continued with having the 12fps shooting option located on the mode dial. FOr TEST IMAgES AnD rESOlUTIOn CHArTS, vISIT WWW.teCh rADAr.COM/ CAMerAs Canon eOs70D Price £849 / $1,099 This 20.2MP SLR has a responsive vari-angle touchscreen, and captures great images. reviewed:Issue 144 Meet the rivals… There’s a choice of SLRs and CSCs at this price point Fujifilm X-t1 Price £988 / $1,299 This SLR-style CSC has an excellent electronic viewfinder and traditional exposure controls. and access the effects. As with other Sony cameras, the Creative Style options (Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night, Autumn, Black & White and Sepia), which give JPEG images a particular appearance, can be used when shooting raw images simultaneously.

While the three-inch 1,229k-dot vari-angle screen is useful for composing images from awkward angles, the articulating hinge seems unnecessarily complicated, and it takes a while to get used to its quirks and limitations. The hinges on cameras such as the Canon 70D and Nikon D5300 are much more straightforward.

As on the Sony A7 and 7R, the 2.3-million-dot electronic viewfinder (EVF) is bright and clear, with plenty of detail visible. As usual with an EVF, this brings the benefit of seeing the image as it will be captured. However, when the brightness is set to Automatic rather than manual, the extra gain applied in dark conditions can mean that the viewfinder image looks significantly brighter than the final image, so it’s best to set the brightness to Manual.

PERFORMANCE
Even at the highest selectable sensitivity setting of ISO 25,600, noise is controlled well in raw files, having a fine texture with no banding or clumping visible at 100% on-screen. With careful processing, it’s possible to conceal most of the coloured speckling in raw files and produce an image with just luminance noise giving some grain. Simultaneously captured JPEG files look softer than their raw counterparts, and close examination reveals a painterly texture with slightly sharpened edges. They generally look acceptable viewed at A3 size, but we prefer the slightly sharper, grainer look of the raw files. As you’d hope with a 24MP sensor, the A77 II is capable of recording a high level of detail at the lower sensitivity setting.

While the A77 II’s AF system struggled a little more than the Canon 5D Mark III in the low, flat light of an unlit music gig, there were no such problems with a fast-moving subject in good light. It was positive, fast and accurate. In continuous AF mode with AF selection set to Expanded Flexible Spot, it got rowers sharp in a flash and was able to keep them sharp by using the surrounding points when panning. When AF selection was set to Lock-on AF: Flexible Spot or Lock-on AF: Expanded Flexible Spot, it also tracked them around the frame if the original AF point wasn’t kept in the correct location.

As usual, AF performance varies according to the lens that’s mounted, and a good optic is required to get the best from the Alpha 77 II. It performs very well with the 70-200mm f/2.8, for example, but is a little more hesitant in low light with the 85mm f/2.8 – which also has a much noisier focus mechanism.

We used the Multi-segment metering system almost exclusively during this test. Although we shot in a wide range of conditions, there were only a few when a little exposure compensation was required. The system isn’t easily thrown by large bright or dark areas within the scene. Colours are also good straight from the camera, and the white balance system general does a good job when set to the Automatic setting.

VERDICT
While the changes made to the Alpha 77 II may not seem dramatic, Sony has worked on the most important aspects – the sensor and processor – to boost speed and image quality, as well as the autofocus performance. Many will recognise that it’s sensible to stick with the same pixel count as with the Alpha 77: 24 million pixels capture enough detail for most purposes and allow big prints to be made. The files are large without being unmanageable by the average modern computer.

The AF system improvements and the A77 II’s ability to control noise at high sensitivity levels, combined with the general high quality of the images, makes it a versatile camera that will be attractive to enthusiast photographers who want to shoot a wide range of subjects in a variety of conditions.

OVERALL

We sAY: The A77 II’s image quality is excellent, even at high sensitivity settings, and the autofocus system is fast and accurate. It’s a great choice for enthusiasts who want versatility from their camera.

8/30/2014

Nikon D3300 Reviews 2014

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Can the D3300 Deliver everything that's expected from an entry-level model that's out to target the first time DSLR buyer?



Nikon D3300 evaluations - Nikon's entry level DSLR range has long benefited from a drip down effect, owing to the company's substantial stable of enthusiast and high end models. The Nikon D3300 follows on from the popularity of the D3100 and D3200, and its 24.2 MP sensor has sent the anti aliasing filter removed to see an improvement in sharpness.

Read more 8 Digital Camera Very Deals On Market


The introduction of Nikon's new EXPEED 4 image processor has two key benefits. Not only has it increased the maximum ISO to 25.600, the continuous shooting rate has also improved from 4fps to 5fps. On the rear, the D3300 maintains the same 4in, 920k-dot LCD as seen on its predecessor. It also set ups, sporting the 420-pixel RGB sensor and 11 point AF system that served the D3200 well.

One feature that debuted on the D3200 and retained in the D3300 is the model's graphical rear display. THe graphics represent aperture, shutter and ISO sensitivity, giving beginners a visual reference point to the settings they're changing. The aperture graphic is particularly pleasing, with it getting larger and smaller relative to the size selected. There's also a? button which can be pressed in conjunction with any of the settings which the activates a more in depth explanation of the settings beings used, serving almost as a built in instruction manual for those new to DSLR photography. THe body is constructed from the same polycarbonate as the D3200, and in terms of dimensions it's just 1mm thinner and 1mm shallower than its predecessor, although it is 2mm taller. The body itself is some 25g lighter, while the redesigned standard kit lens now has a collapsible design to make it some 30% smaller and 25% lighter.(Nikon D3300 critiques )

Nikon D3300 testimonials - The optical viewfinder is another area of improvement, with its 0.85x magnification being superior to 0.78x on the D3200. On the whole, the AF system delivers and entry level users should find the level of performance fairly comprehensive. While the 11 point AF coverage is never going to be quite as comprehensive as that found on systems with higher AF point counts, the 11 points themselves are well spread out across the frame. In use, the D3300 meets its 5fps shooting speed and the way it excels in this area, much like close rivals such as the Canon EOS 100D, is a welcome plus. (Nikon D3300 testimonials)

Nikon D3300 opinions - With regard to image quality, the standard colour setting delivers a pleasingly natural palette, while if you want a bit more oomph from your image then the "vivid" preset mode does a great job of lighting a scene. The sensor delivers an impressive dynamic range, which is more in line with cameras higher up Nikon's range, and thanks to the high pixel count and the removal of the low pass filter, the D3300 resolved 34 lines per mm (lpmm) on our test chart, reducing to 28 lpmm at ISO 6400 very impressive performance. ALthough there are signs of colour noise at ISO 800. it's not until ISO 12.800 is reached that luminance noise becomes a rea issue.

Nikon D3300 Verdict
The Nikon D3300 is a good demonstration of what entry level DSLRs can offer. it does lack inbuilt Wi-fi connectivity. THough this is probably understandable owing to the impressively low price tag. On the whole if you;re after an entry level DSLR with a high resolution yet don't want to break the bank, the D3300 should be near the top of your wish list.

Nikon D3300 is Best For
- Novices looking to step up to DSLRs
- if you want to learn advanced DSLR features as you shooting
- HD video with the option to attach an external mic

Pros
- Low price tag
- Impressive burst mode
- Reduction in size kit lens
- High resolution captures masses of detail

Cons
- Lack of built in Wi-fi might disappoint some users
- Issues with noise apparent at lower ISO settings

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4.5 / 5

8/27/2014

NIKON D610 VS D800 : Release Date, Rumors, Price, Prezzo, Preis and Prix

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Nikon D610 : A blend of old and new in this full-frame


Announced at the end of 2013, the full-frame D610 replaces the Nikon D600. The revamp includes an improved shutter unit, a slightly faster burst rate of 6fps, and what Nikon claims is a more accurate white balance system. In other respects, the Nikon D610 already looks a bit behind the times, relying on an Expeed 3 image processor where the D3300, the D5300 and the D4s have Expeed 4.

The design and control layout look practically the same as the D7100. As we’ve come to expect, the D610 beats its Canon 6D rival in the resolution stakes, with a 24.3MP sensor, although this time there’s a low-pass filter fitted, unlike in the D5300 and D7100. However, the D610’s maximum sensitivity setting is ISO 6,400 in the standard range, and ISO 25,600 in expanded mode.

The Canon 6D’s standard range equals the Nikon’s expanded range, while going two stops higher in expanded mode to ISO 102,400.As in the D5300, there’s a 39-point autofocus system, but here the points are clustered closer to the centre of the frame. This makes the large number of individual points less of an attraction.


PERFORMANCE

The updated white balance system is pretty good, but we found many shots took on a slightly green cast. Metering is also inconsistent compared with the 6D. Autofocus accuracy is best if you stick to the nine cross-type AF points, especially for moving targets. Overall, the Canon 6D gives better results, especially in low light.

NIKON D610 VS D800 Analyst

Read more inside.massart & 64 Visual Information Equipment

Nikon D810 : A new sensor with no AA filter and an updated processing engine for better image quality


Nikon’s D800 and D800E caused great excitement when they were first announced in February 2012 – largely because of their ground-breaking 36-million pixel count and their impressive detail resolution. So it’s great news that Nikon claims their replacement, the 36.3MP D810, produces “the highest image quality in Nikon’s history”.

Apparently, the filter over the D800E’s sensor still had some anti -aliasing (AA) properties. Removing AA entirely for the Nikon D810 should enable it to record even more sharp detail. Nikon has also made changes to the D810’s shutter to produce less vibration and reduce blurring. It’s exciting that the D810 has the same 51- point Multi CAM 3500FX AF system (with Group  -area AF) as the class- leading D4S. The maximum continuous shooting rate has increased at full resolution to 5fps (previously 4fps) – and the buffer when shooting in RAW has been doubled . I’m looking forward to seeing how the D810 handles noise, because although the D800 is good for a 36MP camera, noise is still a limiting factor. What ilike: The potential for more detail; better noise control; a split -screen Live View image for assessing depth of field What idon’t like: Built -in Wi -Fi connectivity would’ve been really useful for controlling the camera remotely.

So low ISO!

Unusually, the D810 has a native sensitivity range of ISO 64  -12,800 and there are expansion settings stretching from ISO 32 to ISO 51,200, giving greater scope for shooting at wide apertures or in bright conditions as well as greater low- light capability. The lower ISO settings of the D810 should prove to be especially useful for a camera that I’d expect to be predominantly used on a tripod.

8/26/2014

FUJINON LENS REVIEWS

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We test Fujifilm's new wide aperture portrait lens for the X series


Fujinon Lens Reviews - Fujifilm has done well to create a range of 12 lenses since it launched the X-pro1, including this latest lens. Designed to be used with the APS-C sensors of the Fuji X system, the XF 56mm f/1.2 R provides a similar angle of view to what we'd expect of an 85mm lens on a full frame camera. it has 11 elements in eight groups, and uses one a spherical and two low dispersion elements. Fuji has used its chromatic controlling lenses directly behind the forward element, which is unusually small in relative diameter for a fast aperture lens of this type.

FUJINON LENS
FUJINON LENS
As with nearly all fixed focal length X lenses, the XF 56mm's aperture ring clicks delightfully, if a little loosely, in 1/3 stops between f/1.4 and f/16 - there are no clicks between f/1.2 and f/1.4.

with a lens cap of only 62mm, the XF 56mm is shorter, narrower and lighter than the equivalents lens from Panasonic's G system - even though the G cameras use a smaller sensor. The G cameras use a smaller sensor. The lens is well built and the metal barrel and finely ribbed focusing ring fell good to the touch.

Disappointingly, though, the lens has a plastic hood not a metal one.

The lens sits comfortable on both the X-pro1 and X-T1 bodies, though the more substantial grip, both back and front, of the SLR style X-T1 allows more secure and balanced purchase, Fuji places the aperture ring closest to the mount, so fingers of the supporting hand can find it easily an without you having to shift the holding position of either camera.

The is a bit of whirring while and X-series camera focuses, and it seems to longer (or at least bigger) the lens, the longer it takes to focus. The 56mm has more glass to move than any other fixed lens in the system, and neither the X-pro1 nor the X-T1 is especially deft at shifting it. The host body's ability to make the lens work well definitely affects what you will be able to achieve. also, none of the Fuji bodies has a native ISO 100 setting, so you'll be limited in getting use out of the f/1.2 aperture in daylight.

As for image quality, lenses with wide apertures tend to produce a lot of corner shading, and while the XF 56mm's illumination is indeed less than uniform across the frame, the effect can only really be seen in images of flat, evenly lit areas. For most natural subjects, it will be fine.

Sharpness and detail are good, even when the lens is used wide open. The resolution of captured images obviously increased as i closed down, and i detected a peak between f/4 and f/5.6 and then a decline to f/16. This is based on quite close focus, such as when shooting a waist up portrait. However, as the subject distance increases, sharpness and detail decrease, so by the time i was shooting full length portraits, my images looked decidedly soft. The softness may be due to fringing and a subsequent de fringing exercise in camera, or slightly missed focused at wide apertures. The quality of out of focus highlights are mostly pleasant, which is important to wide aperture shooters. They tend to head towards the frame edges, and from f/2 they are more heptagonal, resulting in a less "creamy" look.

Pros
- Good focal length for serious portrait photographers
- Wide aperture
- Sharpness and detail
- Value for money

Cons
- Many Fuji CSCs are limited to shooting at up to 1/4000sec, making it difficult to use the lens's wide aperture outdoors in extremely bright conditions

US >> The price is right Fujinon <<


Nikon 1 V3 Review

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Sleek and stylish

It’s Nikon’s slickest 1 camera yet, with a tilting touchscreen and Wi-Fi. Let's finds out how well it measures up.


Nikon 1 V3 Review - The last incarnation of the V range, the V2, was SLR-like in its styling. It had a good range of dials and buttons, as well as an integrated viewfinder and a deep handgrip. Nikon has taken a slightly different approach for the V3, removing the built-in viewfinder and making it an optional extra (called the NF-N1000.

Nikon 1 V3
Nikon 1 V3
The V3 has a one-inch type sensor and has increased on the V2’s 14.2 million pixels to reach 18.4 million pixels. The sensor’s optical low-pass filter has been removed, which should mean an increase in detail. Read More About Nikon 1 v3 Another Reviews is Here

BUILD AND HANDLING

In comparison with the V2, the V3 has a much flatter appearance. The textured, raised portion of the grip that is there still makes it comfortable to hold, though.

There are a lot of dials and switches on the V3, which make it pretty easy and intuitive to use. There’s also a fair amount of customization including a dial on the rear of the camera that can be changed to a number of different settings. On the front is a small dial that controls different functions depending on the shooting mode you’re using. In Aperture Priority mode, for instance, it controls aperture. Other buttons are grouped in two positions – one down the left-hand side of the rear, including menu and playback buttons, and the other grouped on the right-hand side, where you’ll find all the buttons you need for most shooting operations. You have a couple of options for setting the auto-focus point. If you prefer physical buttons, you can hit the OK button in the center of the navigational pad, then use the directional keys to move to the point you want. You can also simply tap the area on the screen that you want to focus on.

“The amount of detail on display is good, especially for a camera with a mere one-inch sensor”


PERFORMANCE

Colors straight from the camera are bright and punchy, without displaying too much saturation or vibrance. The amount of detail on display is also good, especially for a camera with a mere one-inch sensor. However, the results are still not able to compete with those from cameras fitted with larger sensors, as the V3’s images have less detail visible when they are viewed at 100%.

Generally, the camera’s metering system does a good job of producing accurate exposures, while the automatic white balance system copes well with mixed or artificial lighting to produce accurate colors This is borne out in our lab results.

Auto-focusing speeds are swift, with the hybrid AF system doing a good job in all but the dimmest of light. The kit lens is a good all-round performer, offering decent sharpness and a flexible focal length.

At mid-range sensitivities, such as ISO 800, the overall impression of noise is good, but look closely and you can see a little loss of detail and some speckling. If you up the sensitivity to ISO 3,200, the noise visibility increases significantly, although it shouldn't be a problem at small printing sizes. Comparing raw images reveals that the V3’s JPEG noise reduction is quite heavy-handed, so you might be better off applying your preferred settings in post-production.

Overall

We say: The V3 is the sleekest yet in the 1 series. It’s nice to see newer technologies, such as a touchscreen, but it’s a shame not to get the eye-level viewfinder as standard.

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4.5 / 5

8/25/2014

Leica T Review

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Crafted machine

Leica’s first mainstream CSC will set you back a pretty penny, but is it worth the outlay?


Leica T Reviews - While compact system cameras have become pretty commonplace over the past couple of years, Leica through its series of rangefinders has arguably been in the CSC market for longer than anybody else. Now, however, it has introduced the T, which will compete more directly with the likes of the Fujifilm X series, the Olympus PEN and OM-D ranges and the Sony E-mount systems.


Leica says that the T system is a return to “back-to-basics shooting”, a claim that is borne out by the fact that there aren’t very many complicated controls on the body of the camera itself.


USA >> Where To Buy Leica T Review <<


Features

Inside the T is a 16.5 million-pixel APS-C sized sensor, which puts it in direct competition with cameras from Sony, Samsung, Canon and Fujifilm. Leica has also developed a new image processing engine for the T series. The Leica T mount is brand-new.

There are currently just two new lenses that are directly compatible: an 18-56mm f/3.5-5.6 lens and a 23mm f/2 prime optic Unlike with Leica’s M rangefinder lenses, T lenses are capable of autofocussing. You can attach classic lenses via an adaptor – although these optics remain Manual Focus only.

"The Leica T features an APS-C sized sensor"


Leica is promising to introduce two more lenses for the T system during September’s Photokina, the huge biennial photo industry fair. Look out for a wide-angle 11-23mm f/3.5-4.5 and a telephoto 55-130mm f/3.5-4.5.

Leica is positioning this camera more towards the luxury end of the market, so design is a key selling point. The body has been designed in collaboration with car manufacturer Audi and is crafted from a single block of aluminium.

Interestingly, the company hasn’t skimped on modern features. There’s integrated Wi-Fi, which allows for the quick transfer of images across to your smartphone, tablet or computer, or for those devices to be used as a remote viewfinder. There’s also a 3.7-inch touchscreen on the back of the camera – much larger than the displays on most CSCs. No viewfinder is included, but an optional model can be attached via the hotshoe.

Build and Handling

At 134x69x33mm, the T is a fair bit smaller than other Leica models. It’s reasonably similar in size and shape to the Panasonic GX7, for example. But it’s quite a heavy camera, and having been crafted from a single piece of aluminium, it feels pretty solidly built too.

Probably the most notable thing about the T’s design is the scarcity of buttons on the body compared with the plethora most modern cameras offer. Most of the rear is taken up with the LCD screen. While there is some space here where additional buttons could have been added, this would no doubt have distracted from the sleek appearance of the camera. There are two dials on the top of the camera, which control different parameters depending on the shooting mode you’re in. The left dial can be customised. For instance, if you’re in Aperture Priority mode, the right dial will control aperture, and you could set the left to adjust sensitivity or exposure compensation.

Also on the top of the camera, you’ll find an on/off switch, a dedicated video record button and the shutter release. If you move the on/off switch past the ‘on’ position, the built-in flash will pop up. Aside from these few manual controls, though, you’re completely reliant on the touchscreen for changing modes and settings. A menu accessed by pressing a camera icon in the centre right of the screen brings can be customised to match your needs. As with the dials, this menu can be customised to your preferred way of working, with a simple hold-and-swipe gesture replacing and re-ordering the functions as desired. Entering playback requires a swipe down from the top of the screen, or a swipe up from the bottom – which is quite a nice touch.

“The body has been designed with Audi and is crafted from a single block of aluminium”


PERFORMANCE

With a premium price tag and the weight of the Leica brand behind it, expectations for the T were pretty high. Sadly, these haven’t quite been met. While the image quality is good, it’s really only competitive with what is already available on the market for a much cheaper price. Most of the time, colours are rendered pretty well, but there are occasions where skies in JPEG images are overly cyan when compared with the raw (DNG) images.

“The automatic white balance system does an excellent job of reproducing accurate colours”


If you’re OK to work with raw files, this isn’t a huge problem, but it’s a little bit disappointing to see. The T’s metering system does a decent job of producing accurate exposures. It has a slight tendency to underexpose, so you’ll need some positive exposure compensation in some circumstances. The automatic white balance system does an excellent job of reproducing accurate colours, even when the camera is faced with an artificial lighting source. Autofocussing speeds – and, indeed, general operating speeds – are certainly not the fastest on the market. In good light, the T will generally lock onto the subject with ease, but it has to work harder in lower light. Shot-to-shot times are a little sluggish, with a few seconds’ gap between each shot.

While the T may open up the traditionally premium Leica brand up to a wider audience, you’re paying over the odds for the famous red dot. Image quality is good, but no better than equivalent competing cameras, and the overall T system is still quite limited until Leica has the chance to develop it.

Overall

We say: Image quality from the T is no better than its equivalent rivals from Sony, Fujifilm or Samsung. If design, aesthetics and that famous red dot are your thing, though, this might just be your bag.

USA >> Where To Buy Leica T Review <<


While compact system cameras have become pretty commonplace over the past couple of years, Leica through its series of rangefinders has arguably been in the CSC market for longer than anybody else. Now, however, it has introduced the T, which will compete more directly with the likes of the Fujifilm X series, the Olympus PEN and OM-D ranges and the Sony E-mount systems. Leica T Camera
4 / 5