Review based on a production Nikon Coolpix P50

The Coolpix P50 is Nikon’s attempt at a middle-ground camera: it’s neither a point-and-shoot-only ultra compact nor a fully-fledged photographers’ camera. Instead it’s a pocketable digital camera that marries a sensible sensor to a useful lens and keeps the frills (and the cost), to a minimum. This is a camera to take everyday photos with, rather than one for getting particularly serious about photography. But in such a crowded market does the P50 have what it takes to make it onto our recommended list? Let’s find out. Let’s start by having a look at the headline features.

• 8.1 Megapixels and 3.6x wide-angle zoom
• Face priority mode
• In-Camera Red-Eye Fix
• D-Lighting
• SDHC card compatibility
• Approx. 52 MB of internal memory

The P50 processing incorporates Nikon’s Expeed “processing concept.” This doesn’t mean that it has the same processor as the Nikon D300 or D3 (in fact Nikon says that it doesn’t refer to any specific parts or features). Instead, “Expeed” refers to “Nikon’s original comprehensive concept of digital image processing… a system that embodies Nikon’s intense passion for digital images.” Which doesn’t appear to mean a lot more than: ‘contains Nikon picture cleverness.’

Coolpix P50 Specifications

Review based on a production Alpha DSLR-A700 with firmware version 2.0

It’s been almost two years since Konica Minolta pulled out of the photo business and transferred its entire camera division to Sony, and well over a year since the first Sony DSLR (the DSLR-A100) was announced. Two years is a long time in the digital SLR market, but the three years Minolta (latterly Konica Minolta, now Sony) SLR users have been waiting for a high end model to replace the innovative Maxxum (Dynax) 7D must have felt like a lifetime. But, finally, it’s here, and it looks very much like the mockup shown earlier in the year.

Like the A100, the new camera still wears its Konica Minolta heritage very much on its sleeve, and when you start to look a little more closely at the specification it’s obvious that there’s still an awful lot of Konica Minolta DNA in the A700. This is hardly surprising given that the circumstances behind its development.

And, just as the A100 was obviously based on - and designed to be a successor to - the KM 5D, the A700 follows on from the 7D, and - despite lots of Sony touches and an attractive new design - 7D users are likely to find using the new model reassuringly familiar.

But of course Sony doesn’t only have existing system users in its cross hairs; the A700 is designed to go head to head with the latest ‘prosumer’ models from Nikon, Canon and Pentax. Whether the A700 offers enough to really put Sony on the DSLR map will be decided when we get to look properly at the image quality, but on specification, features and handling it certainly seems to have what it takes to play with the big boys.

Interestingly the one thing the A700 doesn’t have is any form of live view; when we spoke to Sony about this the answer was simple; they believe that the compromises involved in current systems are satisfactory, and they won’t implement live view until they can ‘get it right’. Whether the lack of live view has any real relevance in a camera at this level remains to be seen; we doubt it.

The A700 shares many technologies with earlier Konica Minolta models (including, naturally, the lens mount), plus all those introduced in the A100 - though virtually all have been uprated or upgraded in one way or another (we’ve been told the A100 and A700 share virtually no components). From the sensor to the construction of the body to the GUI to the extensive feature set, this is a very different camera to the entry-level A100 (more of which later in this review). We’ll start by looking at what’s specifically new to this model:

What’s new (highlights)

Other new / upgraded features of note:

• New advanced Dynamic Range optimizer functions (also supported in RAW)
• New software bundle with all-new raw converter
• Dedicated AF illuminator (red LED)
• New Creative Styles (expansion of color modes function on A100)
• 0.3 EV steps (or 0.5 EV if you prefer)
• ISO 3200-6400 expanded range
• Compressed Raw mode and X-Fine JPEG mode
• High ISO noise reduction control
• Grip sensor (optional trigger for eye control)
• RGB histograms
• New ‘Quick Navi’ control system

3 years on: A700 vs Konica Minolta Maxxum (Dynax) 7D

Before we look at the A700 and how it compares to Sony’s first DSLR (the A100) and the rest of the market it’s worth having a quick look at how it compares with the Konica Minolta 7D. Our first impression of the A700 was that in spirit (and very much in reality when you look closely) it is the successor to KM’s first (and only) high-end digital SLR, introduced almost exactly 3 years ago at PMA 2004. it’s obvious that the A700 contains a lot of Minolta DNA (there are elements of the D7D and the Maxxum/Dynax 7 film SLR in its design and control layout) and it’s fair to say that - for users of Minolta’s lens system - it can be considered a (long awaited) successor.

Although the styling has been given a modern twist and the D7D’s button / switch overkill has been toned down a little, it’s not hard to see where Sony’s designers started from, and there are many features from the D7D that made it almost unchanged into the A700. These include the basic control layout (the second dial has been lost and replaced by a simpler on-screen ‘Quick Navi’ system), the magnesium alloy construction, the eye-start focus, CCD-shift IS and high level of customization and the optional vertical shooting grip. For potential upgraders looking for a reason to trade up from a D7D to Sony’s new ‘Advanced Amateur’ model here’s just a brief taste of what three years difference makes:

• Twice as many pixels: 12MP CMOS sensor (vs 6MP CCD)
• New shutter with higher maximum speed and higher sync speed
• Bigger screen with three times the resolution
• Improvements to focus speed and accuracy
• Faster (5 fps) continuous shooting capabilities and better buffering
• New 40 segment honeycomb metering
• Better GUI and huge range of new features
• HDTV output
• Creative Styles and lots of new parameters to play with
• HDTV output

Review based on a production Canon EOS 350D, firmware Ver 1.0.1

On 20th August 2003 Canon dropped a bomb into the digital SLR market with the six megapixel sub-$1,000 EOS 300D (Digital Rebel). Eighteen months later and just in time for the largest trade show of the year (PMA 2005) Canon has revealed the successor to the 300D, the new, smaller, eight megapixel, EOS 350D (Digital Rebel XT). At first you’d be forgiven for thinking this was just a drop-in upgrade of the EOS 300D with the EOS 20D’s eight megapixel sensor, but in actual fact it has a new CMOS sensor (it’s 8.0 megapixels versus the 20D’s 8.2 megapixels), the 350D also has a smaller body, re-worked design, DIGIC II, new features and custom functions.

Global production of the EOS 300D started at 70,000 units per month, this was increased to 100,000 units per month a few months later. Canon clearly have big plans for the EOS 350D because they will be start production at 130,000 units per month (which is almost twice the initial production level for the EOS 300D).

Summary of changes (compared to the EOS 300D / Digital Rebel)

• Eight megapixel CMOS sensor (not same as EOS 20D)
• Second generation CMOS (same generation as rest of current range)
• DIGIC II image processor (better image quality, faster processing, less power consumption)
• Instant power-on time, faster shutter release, shorter blackout time
• Continuous shooting speed increased (3.0 fps vs. 2.5 fps)
• Buffer increased (14 JPEG frames vs. 4 JPEG frames)
• Image processing time decreased (thanks to DIGIC II)
• Compact Flash write speed increased
• Smaller body (15 x 5 x 8 mm smaller)
• Lighter weight (17% lighter including battery)
• Matte plastic finish, standard body color to be black, sliver will also be available
• Re-designed control layout (drive mode button, new metering mode & AF buttons)
• Metal mode dial
• Harder rubber finish on hand grip (doesn’t feel much like rubber)
• Smaller and lighter NB-2LH battery (same as PowerShot S60 / S70) which is 48% lighter
• Rear LCD panel changed
• Flash pop-up slightly higher (just 5 mm)
• E-TTL II flash
• Nine custom functions
  • Customizable SET button
  • Control noise reduction
  • Flash sync speed in Av mode
  • Shutter button / AE button
  • AF-assist beam control
  • Selectable 0.3 or 0.5 EV exposure steps
  • Mirror lock-up
  • E-TTL II mode
  • Flash shutter curtain sync (1st or 2nd)
• Selectable Metering mode
• Selectable AF mode
• Flash exposure compensation
• Independently selectable color space
• Two preset and three custom image parameter sets, B&W mode (same as EOS 20D)
• White balance fine tuning and bracketing (improved)
• Proper RAW+JPEG (one RAW, one JPEG; although only Large/Fine)
• Record review histogram via Info button
• Play Jump mode by shot date, 10 or 100 images
• USB 2.0 Hi-Speed connection
• New BG-E3 battery grip (portrait controls), takes two NB-2LH or six AA batteries
• Two additional menu languages added; Korean and Russian
• Subtly re-designed kit lens now named the EF-S 18 - 55 mm II (still no USM)
• Software now includes ZoomBrowser, DPP and EOS Capture
• Lower initial list price

Review based on a production PowerShot Pro1, Firmware v1.00

Just when we had hoped that manufacturers were moving on from the megapixel race we caught news of Sony’s ICX456 eight megapixel CCD sensor which was leaked onto the Internet in June last year. And so at that time it wasn’t difficult to predict that we would see a rash of eight megapixel digital cameras just in time for PMA 2004. Sony were first to market with their DSC-F828 which utilized a unique version of this 2/3″ Type chip which instead of an RGBG color filter array had an all new RGBE color filter array (more info here). As predicted we each of the remaining ‘big five’ manufacturers introduce their eight megapixel digital camera at PMA; Canon PowerShot Pro1, Nikon Coolpix 8700, Olympus C-8080 Wide Zoom, Konica Minolta DiMAGE A2.

Canon’s offering is the eight megapixel, seven times optical zoom PowerShot Pro1. A camera which appears to bridge between what some would like to call the ‘G8′ (an eight megapixel G series camera) and a follow-on to the Pro70, Pro90 IS series. Canon’s lens design is also interesting, the same seven times optical range as we first saw in Minolta’s DiMAGE 7 (and subsequently the 7i, 7Hi, A1 and now A2).

An “L-series” lens

Just as Sony did with the F828 Canon are ensuring that they make a quality statement about this camera’s lens. Not surprising when you consider that the pixel pitch (the distance between the center of each pixel location) of this 2/3″ Type eight megapixel sensor is just 2.7 µm (about the same as the 1/1.8″ Type five megapixel sensor used in some compact digital cameras). And the fact that it has an ‘ambitious’ (by compact digital camera standards) 28 to 200 mm equiv. zoom range.

This is the first time Canon have designated a digital camera lens with the “L-series” label, normally reserved for professional quality SLR lenses. Apparently this lens can carry this mark because it has a combination of both UD (ultra-low dispersion) and fluorite lens elements. I am sure that the ‘L’ mark will make many people ooh and ahh, however the proof of the pudding, as they say, will be in the image samples, lots of people got equally excited and later disappointed by the Carl Zeiss T* lens on the Sony DSC-F828.

Despite having a large ring around the lens barrel the zoom on the Pro1 is still ‘zoom by wire’ (electrically driven) rather than the preferred mechanically linked setup as seen on the Minolta DiMAGE 7x, A1 and Sony DSC-F828. However Canon are at least driving the zoom mechanism with a USM (ultrasonic motor) which provides both multiple speed and relatively quiet operation.

The lens, while perhaps not as fast as the Sony lens does have a very respectable maximum aperture of F2.4 at wide angle and F3.5 at telephoto. This should provide the AF system plenty of light for quick focusing as well as the exposure system / photographer plenty of opportunity to ’stop down’ the lens (use a smaller aperture) for optimum sharpness.

The new Canon EOS-1D Mark II is the successor to the Canon EOS-1D which was announced and introduced at the end of 2001. This new generation of digital SLR almost doubles resolution with its new eight megapixel CMOS sensor, doubles the size of the continuous shooting buffer. Despite the advertised 8.5 fps the EOS-1D Mark II actually shoots at a maximum of 8.3 fps (the same as the EOS-1D).

The EOS-1D Mark II is also obviously Canon’s answer to Nikon’s fast shooting D2H announced last year, it does appear however as though Canon are raising the bar with resolution and one would hope we can expect similar low noise performance from its CMOS sensor as we have seen from the same technology in the EOS 10D.

Putting the additional resolution and buffer size to one side there are also a variety of improvements and changes compared to the EOS-1D, not least of which a new version of Canon’s DIGIC image processor, an extension of selectable ISO sensitivity, support for Secure Digital as well as Compact Flash and the addition of a USB port (although only USB 1.1). The SD slot and USB connector are interesting additions as they may hint towards potential future add-ons for this camera such as a wireless kit (pure speculation on my part at this stage).

Canon EOS-1D Mark II vs. EOS-1D (primary specification differences)

	Canon EOS-1D Mark II	Canon EOS-1D
Sensor	28.7 x 19.1 mm CMOS 8.2 million effective pixels	28.7 x 19.1 mm CCD 4.2 million effective pixels
Image sizes	3504 x 2336, 3104 x 2072, 2544 x 1696, 1728 x 1152	2464 x 1648, 1232 x 824
Processor	DIGIC II	DIGIC
White balance	Image sensor only	Hybrid external & image sensor
Shooting modes	(P, M, Tv, Av)	(P, M, Tv, DEP, Av)
Sensitivity	ISO 100 - 1600 Boost: Low: 50, High: 3200	ISO 200 - 1600 Boost: Low: 100, High: 3200
Color matrix	4 sRGB, Adobe RGB, 2 user configurable	4 sRGB, Adobe RGB
Contrast	Tone curve, 5 level contrast control	Tone curve
Sharpness	Level	Level, Pattern
Continuous	Max. approx. 8.3 fps	Max. approx. 8.3 fps
Buffer size	JPEG: 40 frames RAW: 20 frames	JPEG: 21 frames RAW: 16 frames
Max shutter	1/8000 sec	1/16000 sec
Flash X-Sync	1/250 sec	1/500 sec
Flash	E-TTL II	E-TTL
Storage	Compact Flash Secure Digital (Dual writing capable)	Compact Flash
FAT32 support	Yes	No
Digital connection	IEEE 1394 (FireWire) USB 1.1 (enables PictBridge)	IEEE 1394 (FireWire)
LCD monitor	2.0" 230,000 pixels	2.0" 120,000 pixels
Orientation sensor	Yes	No
Playback zoom	Up to 10x	No

Review based on a production EOS-1Ds, Firmware Version 1.0.1

Introduction

The EOS-1Ds is Canon’s newest professional SLR. Based on the EOS-1D body the EOS-1Ds raises resolution to 11 megapixels, uses a CMOS sensor (just like the EOS-D30 and D60) and is the first Canon digital SLR with a sensor which captures a full 35 mm frame.

Last year Canon introduced the EOS-1D, it was the first professional digital SLR since the EOS-D2000 which was a collaboration with Kodak. The EOS-1D has a 4 megapixel sensor and can capture at an amazing 8 frames per second, clearly targeted at the sports photographer. The EOS-1Ds covers almost every other type of photography, from landscape to portrait, photo journalism to weddings. The ability to use 35 mm lenses at their designed focal length (field of view) combined with the high pixel count will be strong points for those film photographers who have hesitated on going the digital route because of these two issues. The 1Ds is capable of shooting at wider angle than any other digital SLR (at least until the actual release of Kodak’s DCS-14n).

The EOS-1Ds body is based around the EOS-1V professional film SLR. From a size point of view the 1Ds body is almost identical to an EOS-1V with the additional powerdrive booster attached. The base of the camera contains the large battery pack and allows for the integration of a vertical (portrait) hand grip and control system. Build quality is superb, the entire body moulded from magnesium alloy with environmental seals around every compartment door, terminal, connector and button.

Canon EOS-1Ds major features summary

• Professional EOS Digital SLR
• Magnesium body, environmentally sealed, based on EOS-1V
• Integrated battery compartment / vertical hand grip
• 11.4 megapixel CMOS sensor (primary colour filter)
• Full frame sensor, no field of view crop / focal length multiplier
• Output image size: 4064 x 2704 or 2032 x 1352
• JPEG (Fine/Normal), RAW (12-bit)
• Simultaneous RAW+JPEG mode (saves RAW plus either Full size or Half size JPEG)
• Maximum burst speed of 3 fps for up to 10 JPEG frames or 10 RAW frames
• Option to also record a JPEG file when shooting RAW
• ISO 100 - 1250 in 1/3 stop steps, ISO 50 available from a custom function
• ISO sensitivity bracketing
• Same 45-point AF as EOS-1V
• Response time similar to the EOS-1V - 57 ms shutter release and 87 ms viewfinder blackout
• Evaluative, Partial, Center-weighted, Spot and Multi-spot metering
• Shutter speed range: Bulb, 30 - 1/8,000 sec (1/250 sec flash X-sync)
• Aperture range: F91 - F1
• Noise reduction can be enabled for exposures 1/15 sec or slower
• IEEE 1394 (Firewire) connectivity
• CF Type I or II (inc. IBM Microdrive)
• Hybrid Auto White balance combines external white balance sensor and main sensor
• White balance bracketing
• Up to three parameter sets: tone (gamma) curve, sharpening, JPEG compression ratio
• Selectable ‘colour matrix’ settings define colour space (sRGB / Adobe RGB) and balance
• 21 custom functions, 26 personal functions, which can be stored into ‘function groups’
• Bracketing of exposure (shutter / aperture), white balance and ISO sensitivity
• Voice annotation capability (built-in microphone)
• Illuminated status LCD’s
• Supplied RAW conversion application (File Viewer Utility)
• Supplied remote capture (tethered operation) software
• Double battery charger

New features / updates since the EOS-1D

• Full-frame 11 megapixel CMOS sensor
• Continuous shooting down to 3 fps, max 10 images
• ISO range 100 - 1250, ISO 50 selectable from custom function
• Noise reduction takes effect from 1 sec (1/15 sec for the EOS-1D)
• Personal functions can be set via in-camera menu
• JPEG compression now represented as numbers rather than a ruler
• FAT32 filesystem support for Compact Flash cards greater than 2 GB
• Playback magnification now available
• Images can be tagged with a unique ’signature’ for use with Data Verification Kit
• Improved battery life (thanks to CMOS sensor)
• Fastest shutter speed down to 1/8,000 sec (1/16,000 sec for the EOS-1D)
• X-Sync speed down to 1/250 sec (1/500 sec for the EOS-1D)

Eleven megapixels

The EOS-1Ds features a full-frame 11 megapixel CMOS sensor. The sensor makes this camera the first Canon EF mount digital SLR without any field of view crop (focal length multiplier), that 16 - 35 mm lens will provide the exact same field of view on the EOS-1Ds as it would on an EOS-1V with film.

Interestingly despite the increase in resolution compared to the EOS-D60 the EOS-1Ds sensor has a larger pixel pitch because of its larger effective imaging area, this in theory will lead to more sensitivity, dynamic range and lower noise. Below you can see a comparison of the EOS-1Ds sensor beside that from the EOS-1D and EOS-D60. To the right is a shot ‘down the neck’ of the EOS-1Ds with the sensor exposed.