Sony have a new CMOS Sensor (the Exmor RTTM) which is apparently able to better capture detail and fast-moving action in low light filming conditions. So just how do you get people to hear about a new CMOS, with a viral video like this.
Because ordinary football/soccer is just too passé.
When you want to travel light with your DSLR camera you’ll probably want to invest in a super-zoom lens. These lenses have a phenomenal zoom range while still keeping fairly compact. Due to the versatility of the super-zoom lens they are often referred to as the ‘Holiday’ or ‘Walk Around’ lens and with the ability to replace several lenses with just one it’s easy to understand why.
Review
Until this lens was launched last year, if you wanted a super-zoom lens for your Canon EOS your choices were a little limited. Canon have the 28-200 and 28-300mm lenses available but when you consider the 1.6x crop ratio of many Canon EOS cameras these lenses had a 35mm equivalent of 44.8mm at the wide end so if you wanted anything wider you’d have to opt for a Sigma or Tamron lens with an EF mount which many Canon purist hate to do.
However Canon pleased many of their EOS owning customers when they launched the EF-S 18-200mm IS lens last year with a 35mm equivalent range of 28.8 to 320mm on a 1.6x cropped sensor this additional reach was just what the doctor ordered and offers a great deal of versatility.
Canon’s new 18-200mm lens is a large and sturdy looking piece of kit that weighs in at just under 600 grams. This zoom range is achieved in a relatively compact package though thanks to the two telescoping barrels that you’ll see in the images below.
You might think that such a zoom range would come at the expense of maximum aperture but the 18-200 can still manage f/5.6 at the long end which is still pretty fast. You also get Canon’s Image Stabilizer (IS) technology built-in which helps to reduce blurring caused by camera shake and gives you the ability to shoot 4 stops slower than you would otherwise be able to with the IS turned off. This means 1/15sec at the long end is achievable.
On the outside you have a couple of switches. One to turn the IS on or off and one to switch between auto and manual focus.
The zoom ring is large and has a rubber grip which is ideally placed. The manual focus ring sits right at the front of the lens and is slightly on the small size but still adequate. Both the Zoom and Manual focus rings are smooth and make it easy to make fairly fine adjustments.
On the other side of the lens body is a lock switch that allows you to lock the zoom at 18mm which stops the zoom from extending when you aren’t using it. I found myself using this quite a lot while walking around as the zoom action was a little ‘looser’ than I would have liked and would often extend under its own weight which did get a little annoying after a while especially as I seem to be pointing the camera and lens down quite a lot while taking photos of phones etc. It would be handy to have the ability to tighten this up or to apply the lock at any point within the zoom range.
Unlike many other Canon lenses in my kit bag this one doesn’t have an ultrasonic motor (USM) to drive the AF but to be honest, in practice, I hardly noticed the difference. Autofocus was still fast and pretty quiet and remains accurate throughout the zoom range.
There is a downside though as this lens does suffer from vignetting at both extreme ends of the zoom range and there is a little distortion at 18mm. If you are shooting RAW and using Canon Digital Photo Professional to process your images the lens profile will help to correct this and the rest and be easily edited in Photoshop.
Conclusion
This is definitely a lens that I’ll be adding to my kit bag. It’ll replace the 17-85mm and 75-200mm lens that I already carry with me on a day-to-day basis and will help to lighten my every-day kit bag!
At just over £450 the Canon EF-S 18-200mm IS lens is a bargain and offers an excellent zoom range for the money. Sure you lose a little in IQ versus a lens with a fixed focal length or a shorter zoom range but for me the convenience of not having to lens swap or carry multiple lenses outweighs the drawbacks.
Review by: Matt
Should I add a Tilt/shift lens to my photography kit bag ?
The PC-E Nikkor 24mm f/3.5D ED.
In 2008 Nikon introduced the PC-E NIKKOR 24mm f/3.5D ED lens, at the time this was the latest in a series of tilt/shift lenses that offer effective manipulation of: perspective, distortion and focus. Ideal for photographing landscapes, architecture, or panoramas, this (PC) or Perspective Control lens simply corrects linear distortion and aberration to deliver images closer to a true human eye view. This lens can be used on many Nikon D-SLR cameras, and it offers a multitude of possibilities beyond its functions as a precision correcting tool.
Functions
The larger knobs at the top and on the side of the lens are for tilt and shift adjustments; the smaller locking knob (on the right side of the lens) keeps adjustments in place after they are set. The aperture stop-down button, for checking depth of field and for use with manual exposure operation
What’s in the box?
Bayonet Hood HB-41,
Flexible Lens Pouch CL-1120
Nikkor 24mm f/3.5D ED Specification
General
This lens is both a special-purpose lens and also a very effective wide-angle lens. It provides both the pro and serious amateur photographers with a groundbreaking, effective solution for many photographic challenges, as well as offering a whole range of new and exciting avenues for creative exploration. It has a good solid build quality and is a great lens to handle. Despite the multitude of moving parts and complexity of the lens functionality it feels very solid and reliable.
Pro’s and Con’s
Review
This lens offers photographers ‘complete control’ over all its features. Its controls are easy to use and I found it very intuitive to use straight out of the box. The features include an aperture ring, aperture stop-down button, focusing ring, shift knob and tilt knob. The use of Nikon’s Nano Crystal Coat, 3-element glass lens and aspherical elements come together to create a lens that offers outstanding optical quality, with minimal flare and chromatic aberration.
Those photographers who are most likely to find this lens a practical addition to their kit would include architectural, interior, landscape and stock image photographers. Although I feel it has a great deal of creative range and options opening up new potential for any photography enthusiast.
It offers you unbelievable control and the ability to manipulate depth of field in new and interesting ways.
Unfortunately the price means that it’s a very expensive piece of kit to purchase if you are just looking at experimenting with its many interesting possibilities. But it functions extremely well as a 24mm lens and with the additional options it offers you for many photographic disciplines it could be worth its weight in gold and function as a very versatile tool in your camera kit.
Conclusion
I guess I would recommend this lens to any professional photographer. It seems currently the price tag would need a little justification for a specialist lens like this to find its way into many enthusiasts’ kit bags. It can of course always be considered a very good option as a 24mm lens with outstanding built quality and durability. To really benefit from this lens you either have need a practical functional need for its corrective capabilities: as in architectural photography for example. Or just be prepared to experiment and explore your creative potential with added control over the focal plane and depth of field. I personally found this lens a joy to use and more importantly I found it inspired me to challenge myself and discover new avenues for creative expression.
It was refreshing as a digital camera user to find a tool, which gave me back a real sense of creative control and interesting ways in which to use the technology. I also own a lens baby and it is the only lens I can draw a comparison from, its very similar but in a more professional way, it also has a very high level of durability and a fantastic build quality, where as the lens baby in comparison is more of a junior level lens.
Review by: Stuart Birchall
If you are a regular reader you’ll know that we’ve looked at several video cameras in Sanyo’s Xacti range and most recently we reviewed the Xacti HD1010. I have to say that I really like the Xacti cameras, they are really well specified, are small, light and easy to use. Most importantly the quality of the recorded video is really good. I’ve been using the HD1000 to record unboxing videos for about 6 months and really like it. It’s convenient to be able to take the SD card from the camera and pop it in a card reader to copy the video to the PC for editing.
Despite have the same external look the new Xacti HD2000 has a number of improvements over the HD1000 and HD1010. First of all the optical zoom has been up rated from 10x to 16x (it remains 10x for stills) the CMOS sensor is now 8.1 megapixels which allows you to take 8 megapixel stills without interpolation. Face chaser has been updated and can now track and focus on 12 faces in a shot.
Perhaps the most important change, though, is that full HD 1080p recording has been upped to 60 frames per second from 30 fps. It’s pretty unusual to have 60fps on a consumer grade camcorder and even more unusual on a camera this small. If you want to shoot Full HD at 60FPS though make sure you’ve got a high capacity SDHC card and make sure it’s a good quality fast one as that’s a lot of data to be recording!
As with the HD1010 I’ll be spending some time with the HD2000 and will be using it for some of our unboxing videos. I’ll also record some other sample footage to share with you.
I’ll leave you with the HD2000 unboxing video below. As you can see, you get quite a lot in the box!
Sanyo Xacti HD2000 specification:
Video
Still
Full specification can be found on the Sanyo Website.
Posted by: Matt
[ Post Tags: Sanyo Xacti HD2000, camcorder, video cameras, tracyandmatt.co.uk ]
Nikon’s P80 superzoom digital bridge camera, is it a viable alternative to a DSLR?
The P80 was introduced in April 2008 and was Nikon’s first look at the true superzoom market. It features a massive 18x zoom and 10 megapixel resolution; this joined a number of models from other manufacturers in an increasingly competitive market. It is rumoured that Nikon plan to launch the P80 replacement, the P90, in March 2009. This will apparently boast an even greater 24x superzoom Nikkor lens and 12 megapixel resolution. But back to the P80; let’s see how it performs and whether or not it fulfils its promise?
What’s in the box?
GENERAL
The rear of the camera is dominated by the large 2.7 inch LCD, with the eye piece for the viewfinder directly above this. There are two buttons alongside this, one to change the LCD display to show picture taking information and the other to switch between the viewfinder and the LCD rear screen. To the left of the display screen is the D pad, offering flash, exposure compensation, self-timer and macro modes. Three buttons are positioned around this; one to operate playback on the LCD, one to access the menu and one for deleting images.
On the top plate we have the on/off button positioned just behind the shutter release button. This in turn has the zoom ring positioned around it, move to the left for telephoto and to the right for wide angle. Nearer the middle of the top plate is the control dial offering a number of modes including video, fully automatic point and shoot, continuous sport, AP, SP, P, M, scene selection and access to the set up menu.
To the front of the camera we have the self timer lamp and the pop up flash which is operated by a button to the side. A CCD sensor is used and processing is achieved by using Nikon’s Expeed processor similar to the one used in their DSLR range, which is proven to achieve bright, high quality images. Somewhat surprisingly the P80 only captures images in Jpeg format with no RAW option being offered. Nikon also includes in the package a clear, well written instruction book and a CD rom software suite for image manipulation. The unit itself is uncluttered and easy to operate, including accessing menus and is ergonomically designed to feel comfortable in the hands.
On the right hand side of the P80 (right hand side if you are holding it) there is a rubber cover over the small A/V connector.
On the bottom of the Nikon P80 is a screw thread for mounting on a tripod and a fairly secure cover over the battery compartment. The placement of the two means that you’d have to remove the camera from the tripod mount in order to gain access to the battery.
REVIEW
I have carried and used the Nikon P80 for two weeks now for a variety of tasks, including work relating to my occupation and for general family and hobby photography. First of all it is light and compact, so there is no excuse for not carrying it with you most of the time. When you switch the camera on you encounter my first criticism – the lens automatically moves forward pushing the lens cap off which locates on the camera body not the lens itself. Not a major problem you might think but the lens cap cannot be refitted until the camera is switched off. I always make a point of refitting the cap when not taking a photo, to avoid dust and other contamination, but this design makes it impossible.
The performance of the camera is very impressive, the 18x zoom being a major plus point ranging from a true wide angle (27mm) to a mighty telephoto (486mm). The wide angle has often been overlooked by manufacturers on other models in favour of ever increasing telephoto length, with many starting at a not-so-wide 38mm. This makes a camera quite limiting if you enjoy taking architecture or landscape, so the 27mm of the P80 is a very useful addition. I would have preferred a manual zoom operation instead of it being motorised, as I feel this gives better control, but the bridge cameras offering this tend to be much larger and heavier, which may have compromised the appeal of the P80. Nikon have included vibration reduction, using a shifting CCD sensor on the P80, which is very useful on a camera like this and makes a noticeable difference to image quality, particularly when zoomed in.
The picture can be composed by using either the electronic view finder or the 2.7 inch LCD screen on the rear of the body, both offering about 97% scene coverage. These can also be used in playback mode which is a welcome addition when reviewing your images in bright sunlight.
There are a number of scene modes accessed through the menu system, (portrait, night portrait, sports, landscape, night landscape, party, beach/snow, sunset, dusk/dawn, museum, fireworks), and these give the operator a wide choice of point and shoot programmes. All the ones used produced excellent results. The macro mode works well but does have some difficulty in achieving sharp focus below 3cm. I had the opportunity to try out the snow scene mode a number of times during the recent wintry weather conditions, and exposures and autofocus remained controlled even in driving snow.
Nikon’s D lighting system is also included, only at one level and only in playback mode, but even so this is a more than useful feature allowing the operator to lighten details even in dark shadows. As well as these, the more advanced operator has the choice of programme, aperture priority, shutter priority and fully manual modes.
Added to this Nikon has also included a continuous sports mode offering shooting speeds of up to 13 fps, which will enable you to keep up with the action. This is often the best one to use as there is some shutter lag when used on single shot, although in fairness this is not as bad as on some other bridge camera models.
Flash is catered for with a built in unit, again offering a number of options such as automatic, red eye reduction, slow sync. and combinations of these, and it also offers video capability with sound at around 15 fps. Once the image is captured, the P80 has a range of options when it comes to viewing and managing it, including viewing thumbnails (16 on a screen at a time), zoom in/zoom out up to 10x, view a slide show and the usual delete, protect, rotate etc.
So the specification is comprehensive and the optical performance excellent for a camera of this type.
CONCLUSION
My first impression of the P80 after unpacking, was that it would not be my type of camera; it felt too light and small for me and not very comfortable in my hands. It’s not that I dislike bridge cameras as I have owned several and use them for my work all the time.
However, having used the P80 for the past two weeks my opinion has changed. The camera is light to carry, easy to use and produces clear sharp images in a wide variety of situations. More importantly two of my work colleagues were impressed enough to consider purchasing one. Now the question is should you buy this or wait for the forthcoming P90? Rumour suggests the P90 will be priced considerably higher than the P80, possibly around the £350 to £400 mark. So, unless you really need the extra top end zoom and another 2 megapixels, I would seriously consider buying the P80 now. You will not be disappointed.
Review by: Ian McKenna
Samsung have just announced their new H-Series camcorder range all of which will offer full HD video recording on internal Solid-state flash drives rather than conventional memory cards or hard drives.
More details can be found in the press release below.
Samsung’s new H-Series offer users an unprecedented form factor, industry leading design, a renowned Schneider lens with Optical Image Stabilization and high-performance, full-HD video; however, most notable is the use of internal solid state drives (HMX-H104, HMX-H105, HMX-H106) providing onboard memory.
Solid State Drive (SSD)
For the first time in a consumer digital camcorder, a flash-based solid state drive (SSD) is used to provide consumers with highly-reliable and high-performance internal memory. Leveraging its expertise in the design of semiconductor technology, Samsung included its renowned flash-based SSD technology in the new HMX-H106, HMX-H105 and HMX-H104. Offering a 64GB SSD, the HMX-H106 is the world’s highest capacity flash-based digital camcorder. The HMX-H104 and HMX-H105 offer 16GB and 32GB SSDs, respectively, while the HMX-H100 requires the use of a SD/SDHC or MMC+ memory card as it does not feature onboard memory.
Internal Memory
The inherent benefits of utilizing flash-based SSD is to provide consumers with internal memory, including drastically reduced power consumption thanks to no moving parts, faster read/write speeds and better durability. The new H-Series full-HD digital camcorders also utilise H.264 compression, which significantly increases record times. At full-HD resolution and when set to fine mode, users can record up to three hours directly to the 16GB HMX-H104, six hours to the 16GB HMX-H105, and an unparalleled 12 hours to the 64GB HMX-H106.
Schneider Optics
Precision optics are paramount in helping produce inspiring video and Samsung’s H-Series camcorders draw attention to this usage by incorporating world renowned Schneider optics. The camcorders’ Schneider lens features a 10x optical zoom and is paired with Samsung’s new Optical Image Stabilizer, to help reduce the blur found in footage as a result of vibrations and hand shake.
The trusted Schneider lens helps capture remarkably clear and sharp video with accurate colour reproduction, and the H-Series’ direct HDMI connection allows consumers to enjoy their full-HD content on their HDTV without the need for proprietary docking cradles.
The camcorders also offer a large 2.7 inch touch-screen LCD, which serves as the gateway to the camcorders’ comprehensive suite of features. The swivelling LCD also gives users access to key camcorder controls, including record and zoom. When used in conjunction with Samsung’s proprietary swivel grip, the additional placement of controls on the LCD screens allow users to effortlessly control the camcorder when held at low or high angles.
Still Photos
Consumers can also utilise the camcorders to take more than just stunning high-definition video, as each offers a built-in strobe flash and the ability to capture 4.7 mega-pixel (through interpolation) digital still photos.
CMOS Imaging Sensor
At the heart of Samsung’s new H-Series of full-HD digital camcorders is a high-performance CMOS imaging sensor. Measuring 1/4.5 inches, the CMOS sensor boasts 2.2 mega-pixels and yields impressive light sensitivity helping enhance the overall imaging experience for the end-user.
Time Lapse
The camcorders also feature a Time Lapse recording mode that will give consumers the ability to experiment with their creativity. When shooting in the Time Lapse recording mode, the camcorder will record a single image at an interval pre-selected by the user, either 1, 3, 5, 10, 15, or 30 seconds, and will save each image as one single movie file.
“This new series of high-definition digital camcorders clearly speaks to Samsung’s commitment to providing today’s consumers with the most advanced and highest-performing digital imaging technology,” said Steve Mitchell, General Manager Marketing, Samsung Digital Imaging Division.
“Our ability to leverage the synergies that exist across our various businesses in the design and manufacture of digital camcorders and cameras, allows us to be better equipped to meet customer demands and bring higher-performing digital imaging solutions to market faster and more efficiently.”
The H-Series Camcorders will be available from leading high street and online retailers from April 2009.
Posted by: Matt
In a slight break from mobile news from MWC we just got this press release from Sony announcing their new range of Cybershot cameras. I’m particularly pleased to hear that some of the higher-end models are compatible with a GPS kit for geotagging photos! 🙂
This season’s latest additions to the Cyber-shot range of digital cameras look as good as the sensational images they produce.
If you’re passionate about colourful, high-fashion styling and smart technology, look no further than the Cyber-shot T900 and T90. With slim, sensational looks, super-size touchscreens and new 720p HD movie recording, there’s no better way to show you’re serious about great images.
The powerful, compact Cyber-shot W series gains two new range-topping models. The W290 and W270 offer HD movie recording, plus a powerful Carl Zeiss 5x optical zoom with 28mm wide angle lens to fit more into the scene.
If you need high performance in a compact, go-anywhere package, the Cyber-shot H20 teams a powerful 10x optical zoom range and HD movie recording with purposeful styling.
The easy-to-use S980 and S930 offer a great value introduction to the Cyber-shot experience. Available in a choice of silver, black and pink colour options, they’re packed with serious features like Face Detection and SteadyShot image stabilisation for clearer pictures in any situation.
Sony Cybershot T900 and T90
Ultra-slim looks, audacious styling and mouthwatering colour choices instantly mark out the T series Sony digital camera models from other digital cameras.
Just 15.1mm* slim, the T900 is available in a choice of silver, black, red and bronze colour finishes. Even slimmer at just 13.9mm*, the T90 offers silver, black, brown, pink and blue colour options.
Both T series models are beautifully easy to operate. The 3.5-inch wide Xtra Fine LCD touchscreen (T900) gives a detail-packed view of your pictures, as well as fingertip control of camera settings. There’s a new Intelligent Auto mode that makes operation simpler than ever. The camera automatically analyses the scene and sets the appropriate settings for the subject, for the best results with any scene.
The powerful BIONZ processor ensures flawless, low-noise images in any shooting situation — from holidays and fun-filled family moments to atmospheric interiors and low-light scenes.
Optical SteadyShot keeps things crisp and clear when you’re shooting handheld in low light, while enhanced Face Detection and Smile Shutter help you get more great portraits without fuss.
Left your camcorder behind? No problem. New 720p HD movie recording captures detail-packed video clips at a smooth 30 frames per second. Up to 60 mins of crisp HD video and stereo sound can be stored on a 4GB MemoryStick: that’s plenty of time to grab the highlights of a day out or short break. Hook up the T900 or T90 digital camera to any High Definition TV and enjoy the results when you’re back home. BRAVIA Sync makes it easy to control big-screen playback of movies and still photos with your BRAVIA TV’s remote.
Sony Cybershot W290 and W270
The compact new W290 and W270 Sony digital camera models put even more shooting power in your pocket.
Available in a choice of eye-catching colours, the W series Sony digital camera models are all about uncompromising picture quality and practical, easy to use functions.
With a generous 5x optical zoom range and 28mm wide angle, the Carl Zeiss lens broadens shooting possibilities — from detailed close-ups to panoramic landscapes and fun-filled parties.
The powerful BIONZ processor ensures pristine, low-noise 12.1 megapixel images plus responsive shooting performance. Coupled with high sensitivity (ISO3200), Optical SteadyShot reduces the effects of camera shake when you’re shooting handheld, especially at dusk or in dimly-lit interiors.
Enhanced Face Detection and Smile Shutter make it easy to capture natural, spontaneous portraits and group shots. 720p HD movie mode shoots smooth HD video clips and stereo sound to enjoy on your HD TV.
The W290 digital camera has a large 3.0-inch Clear Photo LCD Plus screen which gives a crystal clear, high-contrast view of your pictures and HD video clips, even in bright viewing conditions. Ease of use is enhanced with Intelligent Auto mode that takes care of optimising camera settings to suit any scene.
Also available, the W230 Sony digital camera offers four attractive colour options (silver, black, red & blue). High-quality 12.1 megapixel resolution is complemented by a 4x optical zoom lens, Optical SteadyShot and a large 3.0-inch Clear Photo LCD Plus screen.
All new Sony Cybershot models include Picture Motion Browser 4.0. The latest version of Sony’s image management application simplifies sorting, viewing and searching through photos and video clips stored on your PC’s hard drive. There’s also a wide range of optional accessories available to help you get even more from your Sony digital camera.
There have been three new designs of soft carry cases introduced to protect the main unit against scratches and dust. The first a genuine leather case available in four colours (Black, Red, Brown & White) — LCS-CSVA. The second, a pressed leather case in a different design also in four colours (Black, Blue, Green & Pink) — LCS-CSVB and lastly a casual soft carrying case with six colour variations (Black, Green, Silver, Pink, Brown & Blue) — LCS-CSVC.
A newly developed GPS unit kit GPS-CS3KA can put geotag data to pictures taken by your Sony digital camera. These can then be viewed on maps with Google Earth software and uploaded on major web sharing services. The key benefits over the previous model are higher sensitivity, built-in memory card and SD slots and an LCD display for enhanced usage.
The S980 Sony digital camera is available from end-February 2009, the Sony Cybershot W290 and W270 are available from mid-March 2009 with the W230 digital camera available from mid-April. The Sony Cybershot T900 and T90 are available from end-March 2009, the S930 Sony digital camera is available from mid-April 2009 and the H20 digital camera available from end-April 2009.
Posted by: Matt
Good news for us Canon EOS users, Canon have announced the launch of their new EOS Professional Network which aims to provide a wealth of information on Canon imaging products.
Canon today announces the launch of the EOS Professional Network (EPN) across the UK & Ireland. The Network will consist of EOS Professional Centres and EOS Professional Stockists. The EPN has been developed to provide the very best retail experience within the professional imaging market, and capitalise on Canon’s unique position to be able to supply a complete input and output digital workflow solution.
Lee Bonniface, Special Retail, Sales Director CCI UK & Ireland said “We are delighted to launch the EOS Professional Network which will give photographers greater access to Canon imaging products. It has been developed to equip our retailers with the very best tools, to support, demonstrate and supply the complete Canon solution to photographers”.
The framework of the EOS Professional Network has been built around key criteria which will be monitored to maintain a high standard of service. The Network will be made up of two categories, EOS Professional Centres and EOS Professional Stockists.
EOS Professional Centres and Stockists will have specialist trained staff able to demonstrate Canon’s unique workflow solution from capture through to print on PIXMA inkjet and large format printers using Canon’s range of premium papers and inks. The EPN will hold a wide range of Canon imaging products including EOS system, DPP software, lenses, projectors and scanners, and stage regular demonstration days and pro events.
In addition, EOS Professional Centres will offer photographers the chance to try Canon professional kit within a dedicated studio with professional lighting. Centres will also hold a full range of rental stock. Members of Canon Professional Services (CPS) will be able to use EOS Professional Centres to drop off and collect kit for repair or sensor clean.
For more information and a current list of EOS Professional Centres please visit: www.canon.co.uk/eospro-network
Posted by: Matt
Have Nikon identified a need to shoot video with a DSLR?
Introduction
So here we have the much talked about successor to the very popular Nikon D80, the D90. The latest mid-range DSLR from Nikon, launched in late August just prior to Photokina, is their first DSLR to have HD video capability, so will this be regarded as a useful added feature to ensure success in a very competitive market place or just a gimmick?
What’s in the box?
The camera arrived as a kit complete with the D90 body and Nikon’s new 18/105 kit lens. Also in the box is a branded camera strap, front and rear lens caps and a body cap. Cables consist of a USB connection and av leads. The battery is a Lithium ion cell and comes complete with a mains charger. You also get the user manual (in book form) and a software suite, with an installation guide.
Nikon D90 Specification:
General
The back of the body is dominated by the 3 inch high resolution LCD screen, and to the right of this are four controls. The top one, marked LV, displays the live view on the screen, and below this is the multi-selector which allows navigation and selection on the chosen display. Next is the focus selector lock which allows locking on to a chosen focus point and at the bottom is the Info. Button and this displays the picture taking information on the large LCD. To the right of the screen are five buttons. These, from top to bottom, are; the playback button to view pictures on the screen, the button to display menus on the screen, the help and image protection button, the playback zoom out button and the playback zoom in button. Above the screen are two buttons; to the left is the delete button to remove images in playback and to the right is the auto exposure lock.
On the front of the camera is the button to raise the flash and to select the flash mode, the bracketing selection button, the lens release button and the MF/AF switch. Also on the front of the body are the microphone for video, the infrared receiver for remote operation, the AF assist/self timer lamp and depth of field preview button. To the top of the camera we find the mode dial, which allows selection of scene modes, these include the usual selection of landscape, portrait, macro and sport. It is also possible to select aperture priority, shutter priority and programme mode on this dial along with the two fully automatic “point and shoot” modes, one utilising auto flash and the other disabling the flash. On the opposite side is a small LCD displaying picture taking information and a series of buttons including exposure compensation, selection of metering mode, shutter release selection and AF mode selection. Forward of these are the power on switch, shutter release and command dial.
All connections are to the side of the camera, and include a DC connection and connections for USB, HDMI, video and accessories.
The ‘top’ of the camera is home to hotshoe for the flash and a secondary LCD status panel that tells us shutter speed, ISO, aperture, battery level, white balance and number of remaining shots among other things.
On the bottom you’ll find the battery compartment and the screw connector for a tripod.
Highlights:
Lowlights :
Review
I have used the D90 nearly everyday during the last couple of weeks, this has involved a variety of lighting conditions from simulated daylight, dim artificial lighting in workshops and outdoor work. From the start I felt comfortable with the camera, the D90 feels robust and well balanced, a view echoed by a number of DSLR owning work colleagues. Most controls fall easily to hand, especially those most often used, and information and menus are displayed clearly on the 3 inch high resolution LCD screen.
Although very similar in design, Nikon have improved on the popular D80 with the introduction of some new features, and by adding others from their professional range, particularly the D300.
First of all the most significant introduction is that of hd video capability to a DSLR for the first time. The only other manufacturer to currently offer this is Canon on the EOS 5D mk2, but this is a much more costly alternative. I know many may argue that this is not necessary on a DSLR, but I have found it very useful. Video has never been a priority of mine but the ability to record short videos whilst out with my DSLR definitely scores highly. You could criticise the video option for its mono sound reproduction and lack of autofocus, but it should not be judged against digital camcorders as it is first and foremost a very capable DSLR. The hd video function should be judged as an added feature, which could well become a standard feature on other DSLR cameras in the future.
The major upgrades from the D80 are not ground breaking but, as mentioned earlier, inherited from the highly thought of professional range. This is no bad thing, of course, resulting in a mid range DSLR with many of the specifications found on much more expensive equipment.
These include, the high resolution screen which is identical to those used on the Nikon professional range and a 12.3 MP CMOS sensor replaces the 10 MP CCD sensor seen on the D80. Although the same resolution as those in the higher DSLR range from Nikon, this is in fact a new design with a self cleaning unit fitted. The eleven point autofocus system is similar to the one used in the D80 but with the added feature of 3D focus tracking from the D3 and D300. The D90 can save images as RAW or JPEG files and can also do this simultaneously giving the best of both worlds. We also see an increase in burst rate over the D80, with the maximum increased from 3fps to a very respectable 4.5fps. Nikons D lighting function, which originally had only three settings, for enhancing details that could otherwise be lost in the shaded areas, now has an extra high option added, giving the user even greater control. This has resulted in an increase in weight over its predecessor to 620g. Although this does not make the D90 a heavy weight in comparison to others, any increase will be viewed as a negative point. In practice though I didn’t find it a problem. I carried the D90 with me over a 2 week period both at work and during long dog walks etc. Usually a bridge camera is carried and used for my work activities, which is considerably lighter than the D90, but the gain in useful specification, balance and general handling of the camera more than makes up for any weight increase. I did find that some of the information is very small on the top plate LCD, particularly burst rate, and I found it easier to press the info button which reproduces the information on the large LCD screen.
The kit lens incorporates vibration reduction, Nikons version of an anti shake feature, which controls any blurring from slight body movement and works well on the D90.
Now for performance; this was consistently good throughout the time I used the camera, both in terms of sharp focus and balanced exposure. Noise is controlled throughout the ISO range steadily rising towards the top end. There is a noise reduction option but this can result in some loss of detail at the highest setting. Saturation and general colour reproduction were impressive in a wide variety of situations.
Finally one small thing, I liked the substantial impact resistant screen protector. It just clips on giving excellent protection to the large LCD screen, and if it gets too marked you could remove it and clip on another. Why don’t all DSLR bodies have this option?
Conclusion:
From reading this review you may have realised that I was very impressed with the D90, and this is from someone who has never bought or owned a Nikon camera. My allegiance has always been elsewhere but the D90 could easily change this. The camera is aimed predominantly at the family man with a keen interest in photography, but this is not its only market. Indeed, I feel it has a place in the professional’s kit as a spare body with the ability to video if required. However, the D90 could also be considered by anyone with a budding interest in photography looking for their first DSLR; by utilising the two fully automatic settings clear, well exposed images can be captured immediately. Providing the budget will stretch this far, the D90 will allow the user to expand and grow into the camera without the need to upgrade.
Would I buy one? As an all round, versatile DSLR it takes some beating, and when you consider what the D90 has to offer it is competitively priced. Certainly if I was in the market for a mid range DSLR this would probably be the one I would go for, and would have no hesitation in recommending it to others.
Review By: Ian McKenna
I frequently get asked about the photos that we use in the reviews here in tracyandmatt, seems that some of you are curious about the equipment and method that we use to take the shots of the review devices.
I thought the easiest way to show you would be to record a video of my setup as well as a bit of a demonstration/review of my new Lastolite Studio Cubelite that I recently started using.
As I mention in the video, I used to use an inexpensive light cube that I bought from eBay. The results aren’t bad, 90% of the photos on site were shot using the cube and my Canon DSLR camera. But I wanted something a little better which is why I ended up with the Lastolite setup. I am certainly not a professional photographer but I am keen to do the best I can so hope that you find these tips useful.
Lastolite have two sizes of Cubelite, a 70cm version and, this the 100cm version.
The Studio Cubelite™ is the ultimate solution for product photography and takes our highly successful Cubelite™ concept even further. It allows for control of the light from below and all other directions allowing the photographer to give products that floating look with no shadows if desired. The tensioned diffuser fabric means the reflections on even the most reflective surface are kept to an absolute minimum, whilst the generous front opening can be closed to mask reflections from the camera/operator as well. The patented design also allows you to control the light from underneath by pointing the source up or down into the base unit giving different light distribution effects and creating graduated backgrounds if required.
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