Nikon D3200 hands-on preview with test samples


Preview based on a production Nikon D3200

Nikon has updated its entry-level DSLR offering with the addition of a 24MP CMOS sensor. This makes it equal to Sony's A65, A77 and NEX-7 in offering the highest pixel count we've yet seen at the APS-C sensor size, and second only to the full-frame professional-grade D800 in Nikon's entire range. The significant thing, though, is that it does so at a starting price of $699 (the same launch price as the D3100 and Panasonic DMC G3, for comparison). It may not be revolutionary, but it promises a lot of camera for a competitive amount of money.

Pixel-count aside, the changes from the D3100 are subtle but, with 1080p30 video, a 920k dot LCD and the option to add an affordable Wi-Fi transmitter, there are clear benefits over the D3100's pretty capable specification. As usual for Nikons at this level, the D3200 doesn't feature a built-in focus motor, doesn't offer auto exposure bracketing and has simplified Active D-Lighting options but beyond these, there's little missing that you could reasonably expect for this class of camera. It even regains the option to trigger the camera with an infrared remote - with the inclusion of sensors on the front and rear of the camera.

The inexorable rise of the mirrorless camera has undoubtedly put particular pressure on the entry-level end of the large sensor market. The smaller body sizes of mirrorless cameras, combined with their more compact-camera-like operation has helped win-over some people who would otherwise have bought a DSLR, as well as drawing people away from high-end compacts. However, entry-level DSLRs still offer a very attractive and polished photographic tool - and with continuous autofocus behavior that no mirrorless camera has come close to matching (aside from Nikon's own 1 V1 and 1 J1, which feature smaller 'CX' sensors). With this in mind, it's understandable Nikon would wheel-out a camera with a big headline specification to look impressive on the shop shelf.

Although its upgrades aren't necessarily the product of great leaps of ingenuity, the D3200 is a continuation of a carefully evolved - and tailored to suit its market - line of cameras, that offers tremendous capability with well thought-out ease-of-use. If the image quality comes anywhere near that of the 24MP Sonys, the D3200 is going to be a tough camera to compete with.

The only thing that seems odd on the D3200 is the lack of image processing filters at the point of capture. Since Olympus introduced its Art Filters to the E-30 back in 2008, processing filters have become increasingly common on most cameras. And, while they're not an essential feature by any means, they're nice to have, especially in a camera at this level. Given that Nikon's P7100 offers a selection of special processing effects, it's a little odd not to see them here. There's an option to re-process JPEGs, though - with examples in our preview samples gallery.

Nikon D3200 specification highlights

24MP CMOS sensor
ISO 100-6400 (plus ISO 12,800-equivalent Hi1 setting)
Expeed 3 processing
3.0", 920k dot screen
Full HD 1080p30 video (with 25p and 24p options)
Microphone socket
Twin IR remote receivers
4 frame-per-second continuous shooting
Guide mode
Compared to its peers:


Side-by-side against the Panasonic G3, it's immediately apparent the size trade-off you make to retain an optical viewfinder. In this comparison the mirrorless Panasonic has a slightly smaller sensor, but Sony's NEX and Samsung's NX models aren't much larger than the G3 while boasting APS-C sensors.


The D3200 is very similar in size to Canon's Rebel T3/EOS 1100D, with which it nominally competes. The T3, while a very likeable camera, looks very off-the-pace with its 12MP sensor, 720P movies and 230k dot screen.

Wi-Fi option (WU-1a)

Alongside the D3200, Nikon announced an optional Wi-Fi transmitter for the camera. The WU-1a clips into the USB socket of the D3200 and allows you to broadcast its images to smartphones and tablets running a Nikon app. The unit allows the camera's live view output to be streamed to the smart device and allows images to be shot remotely (at a distance of up to 49ft, but with no control over the camera's settings).

Initially an app will be available for Android phones and tablets, with an iOS version expected in fall/autumn 2012. We're told the app will allow either full-size or VGA-resolution images to be transferred from the camera, but we have yet to see how long it would take to grab a 24MP image. We would also like to see how securely the unit attaches to the camera, given that it sticks out of the side, and looks like it might be a little easy to dislodge. It also requires the port cover that reaches all the way up the camera's flank to be left hanging open all of the time that it's in use.


If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).

Conclusion / Recommendation / Ratings are based on the opinion of the reviewer, you should read the ENTIRE review before coming to your own conclusions.

Images which can be viewed at a larger size have a small magnifying glass icon in the bottom right corner of the image, clicking on the image will display a larger (typically VGA) image in a new window.

To navigate the review simply use the next / previous page buttons, to jump to a particular section either pick the section from the drop down or select it from the navigation bar at the top.

DPReview calibrate their monitors using Color Vision OptiCal at the (fairly well accepted) PC normal gamma 2.2, this means that on our monitors we can make out the difference between all of the (computer generated) grayscale blocks below. We recommend to make the most of this review you should be able to see the difference (at least) between X,Y and Z and ideally A,B and C.


This article is Copyright 2011 and may NOT in part or in whole be reproduced in any electronic or printed medium without prior permission from the author.


Buy the Nikon D3200 from Amazon
Nikon D3200 24.2 MP CMOS Digital SLR
with 18-55mm f/3.5-5.6 AF-S DX VR NIKKOR Zoom Lens (Black)
$699.00
Nikon D3200 24.2 MP CMOS Digital SLR
with 18-55mm f/3.5-5.6 AF-S DX VR NIKKOR Zoom Lens (Red)
$699.00
Nikon D5100 16.2MP CMOS Digital SLR Camera
with 18-55mm f/3.5-5.6 AF-S DX VR Nikkor Zoom Lens
$646.95
Nikon D3100 14.2MP Digital SLR Camera
with 18-55mm f/3.5-5.6 AF-S DX VR Nikkor Zoom Lens
$546.95
Nikon D90 12.3MP DX-Format CMOS Digital SLR Camera
with 3.0-Inch LCD (Body Only)
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In-depth Review of the Panasonic Lumix DMC-ZS20/TZ30


Just published: Jeff Keller's in-depth review of the Panasonic Lumix DMC-ZS20 (TZ30 outside the US). The ZS20 is the slimmest 20x zoom camera on the market, with a lens covering a 24-480mm equivalent range and featuring the company's latest Power O.I.S stabilization. The 14MP high-speed MOS sensor allows the ZS20 to autofocus in as little as 0.1 seconds, and shoot at up to 10 frames per second (5fps with AF-tracking). It also has GPS and an updated mapping function to show photos on a map with greater detail. The ZS20 can capture 1080p60 movies in AVCHD or, in an interesting step for one of the creators of AVCHD, it can shoot 1080p30 in MP4 format.



This review is based on one originally published at The Digital Camera Resource Page, enhanced with a full set of our own product images, our usual studio comparisons and an expanded samples gallery, plus the addition of a standard dpreview score. We've been fans of Jeff's work at dcresource for years and we'll be working with him to bring some of his top-quality reviews to dpreview.com in the coming months. We want to give you as much high-quality content as we can, in as timely a fashion as possible and we believe this is a great way of diversifying our reviews. Let us know what you think.

Click here to read Jeff Keller's in-depth review of the Panasonic Lumix DMC-ZS20 (TZ30)


Panasonic Lumix DMC-ZS20 (Lumix DMC-TZ30)
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Buy the Panasonic Lumix DMC-ZS20 (Lumix DMC-TZ30) from Amazon
Panasonic Lumix ZS20 14.1 MP High Sensitivity MOS Digital Camera
with 20x Optical Zoom (Black)
$290.50
Panasonic Lumix ZS20 14.1 MP High Sensitivity MOS Digital Camera
with 20x Optical Zoom (Silver)
$295.95
Panasonic Lumix ZS20 14.1 High Sensitivity MOS Digtial Camera
with 20x Optical Zoom, Red (DMC-ZS20R)
$299.00
Panasonic Lumix DMC-ZS10 14.1 MP Digital Camera
with 16x Wide Angle Optical Image Stabilized Zoom and Built-In GPS Function (Blue)
$184.99
Panasonic Lumix DMC-ZS8 14.1 MP Digital Camera
with 16x Wide Angle Optical Image Stabilized Zoom and 3.0-Inch LCD (Black)
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Adobe launches Photoshop Lightroom 4.1 Release Candidate 2



Adobe has released a second Release Candidate version of Lightroom 4.1, its Raw conversion and asset management software. The latest version adds support for 13 additional cameras, including the Nikon D3200, Olympus E-M5, Pentax K-01, Ricoh GXR A16 24-85mm and the three latest Samsung NXs. Interestingly, it also adds an improved 'defringe' option to reduce axial chromatic aberrations.

The latest release candidate includes a series of bug fixes, that are detailed on Adobe's blog site, in addition to support for 16, 24 and 32-bit HDR TIFF files.

The most interesting update, from our perspective, is the improved ability to remove the purple and green axial CA that can appear on out-of-focus regions, particularly those shot with fast lenses. Adobe's Eric Chan explains the feature in a detailed blog post.

As usual, the Release Candidate tag indicates 'that this update is well tested but would benefit from additional community testing before it is distributed automatically to all of our customers.'

Click here to download Lightroom 4.1 Release Candidate 2 from the Adobe Labs site

Press statement:

New Camera Support in Lightroom 4.1 Release Candidates

Canon EOS 5D Mark III*
Canon EOS 60Da
Fuji FinePix F770EXR
Fuji FinePix F775EXR
Nikon D3200
Olympus OM-D E-5M
Panasonic Lumix DMC-GF5
Pentax K-01
RICOH LENS A16 24-85mm F3.5-5.5
Samsung NX20
Samsung NX210
Samsung NX1000
Sony Alpha NEX-VG20
Sony SLT-A57
*Support for the 5D Mark III was also included in the first Lightroom 4.1 Release Candidate

NOTE: The Lightroom and Camera Raw team is well aware of the new X-Pro1 camera from FUJIFILM. We are currently developing raw support for the X-Pro1 and look forward to providing it as soon as support is complete. Thanks for your patience on this topic.

Release Notes

Lightroom 4.1 RC2 now includes the ability to process HDR TIFF files. (16, 24 or 32-bit TIFF files) This can be quite useful if you have merged multiple exposures into a single 32-bit image using Photoshop’s HDR Pro. Using the new basic panel controls can be a very effective and straightforward method of achieving an overall balance across the tonal range.
Additional Color Fringing corrections have been added to Lightroom 4.1 RC2. Please see this blog post for additional details.

Canon offers EOS 5D Mark III firmware v1.1.2

Canon has made the latest firmware (v1.1.2) for the EOS 5D Mark III available from its customer support websites. The update fixes a number of small bugs and adds compatibility with the GP-E2 GPS receiver. The file can be downloaded from your region's Canon support website.

Click here for the download link at Canon USA

Fujifilm provides modified-sensor X10 to address white-orb issue


We've just received an updated Fujifilm X10 featuring the revised, orb-resistant sensor, announced in March. We've rushed it straight into our studio to see how it performed, alongside the existing X10 we had been putting through our review process. We'll be doing more in-depth testing, to check whether the changes Fujifilm have made have had any other impact on image quality but, given the interest surrounding the issue, we thought we'd show our preliminary results. (Updated with image quality comparison)

Jump to:

'White Orb' test
Image quality comparison
'White Orb' test

Here we've used a directed light source to show the large white discs, or orbs, that the X10 (and X-S1) would show when bright light overwhelmed the sensor.

Nikon recalls batch of 1 V1, D7000, D800 and D800E batteries

This is an important announcement regarding the EN-EL15 battery which is used in the Nikon D7000, D800, D800E and Nikon 1 V1 cameras.

While Nikon takes great measures to assure high quality products, it has come to our attention that a certain number of EN-EL15 batteries manufactured by one of our suppliers did not meet Nikon’s internal quality standards. In extremely rare cases, this may cause the battery to overheat and the exterior casing to become deformed. Batteries exhibiting this problem have only been confirmed in the Nikon manufacturing process. We have received no reports of this problem from the market. Therefore, in order to ensure the safety of our customers and their equipment, we have initiated a voluntary replacement scheme for applicable products.

Customers using an applicable EN-EL15 battery may request a replacement battery as indicated below.

Applicable batteries



Locate the lot number for your EN-EL15 battery. Lot numbers are alphanumeric characters printed at the bottom of the name plate on the bottom of the battery as shown below.
Check the 9th digit of the lot number as indicated below.


- If the 9th digit of the EN-EL15 battery lot number is E or F then the battery needs to be replaced as it may be affected by this issue.

- If the 9th digit of the EN-EL15 battery lot number is A, B, C, D, G or any subsequent letter in the alphabet then the battery is safe to use. This voluntary recall is limited only to those units of the model EN-EL15 in lots E and F.

This issue does not apply to EN-EL15 batteries supplied with the D7000 and Nikon 1 V1 purchased before February 29, 2012 or to batteries purchased individually before February 29, 2012.

Replacement battery requests

To return and receive your new EN-EL15 battery pack, click here and follow the instructions immediately below the battery image. You will need to click a link and enter the battery lot number to determine if the battery is eligible.

Just Posted: Nikon D3200 preview samples gallery



We've prepared a samples gallery using the D3200 - Nikon's latest entry-level DSLR. While many of the features are familiar from the D3100, the latest model incorporates a 24MP sensor, so we thought we'd see what the pictures look like. Given the kind of user it's aimed at, we decided to see what the D3200 could do using the 18-55mm F3.5-5.6 VR kit lens, at a various of ISO settings and in different lighting conditions.

There's no Raw support for the D3200 yet, so all these images were shot with the camera's default JPEG settings (which has noise reduction and Active D-lighting on). The last nine images are JPEGs re-processed in camera, using a variety of post-capture filter options.

Nikon D3200 samples gallery



There are 36 images in this samples gallery. Please do not reproduce any of these images on a website or any newsletter / magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review), we do so in good faith, please don't abuse it.

Unless otherwise noted images taken with no particular settings at full resolution. Because our review images are now hosted on the 'galleries' section of dpreview.com, you can enjoy all of the galleries functionality when browsing these samples.

Fujifilm issues firmware for X-Pro1 and XF lenses to silence chatter


Fujifilm has updated the firmware of its X-Pro1 high-end mirrorless camera and the three X-mount lenses that go with it. The updates make a series of changes, including a promise to reduce the aperture 'chattering' that has been common when using the camera. It also adds parallax-correction of frame lines to the optical viewfinder in manual focus mode, along with a series of bug fixes.

First impressions:

Out initial tests of the latest firmware show that, while the aperture continues to constantly adjust when the camera is switched on, the lenses no longer make an obvious chattering noise when doing so.

The addition of parallax correction to manual focus mode is less impressive though. The corrected framelines are only displayed when you half-press the shutter button, which is not terribly helpful for composing your image. Also, the selected focus area isn't corrected at all, meaning you effectively have to guess where the camera will try to focus if you press AEL/AFL to perform an AF acquisition.

X-Pro1 camera body firmware v1.01

Click here to download Fujifilm X-Pro1 firmware V1.01

Lens firmware for Fujfilm XF lenses

Click here to download Fujifilm XF18mm firmware v1.01

Click here to download Fujifilm XF35mm firmware v1.01

Click here to download Fujifilm XF60mm Macro firmware v1.02

Dpreview launches redesigned and improved on-site search (beta)


We've just launched a redesigned and improved on-site search feature. The search system, currently in beta, is designed to give more relevant results from all of dpreview's editorial and forums content. We've also redesigned the way results are presented, to make it easier to get to the information you wanted. We're looking for user feedback during the beta process to help fine-tune the system and how the results are provided, so there's a 'Feedback' link at the top of every results page, to let you report back to us.

The rejuvenated search system is powered by Amazon's CloudSearch system, and should be more predictable and consistent than our previous search system was. Have a play around with it and let us know what you think.

Extreme contrast edits in Lightroom 4 and ACR 7


With the launch of Lightroom 4, Adobe formally introduced a new version of the raw processing engine that powers both Lightroom and Photoshop's Adobe Camera Raw (ACR) 7 plug-in. Known as Process Version (PV) 2012, it represents quite a radical shake up in the way you can now process your Raw (and non-Raw) images.


The new PV 2012 controls offer the ability to create an HDR-ike tonal range from a single image capture.
Adobe has offered several reasons for this change. With earlier process versions - PV 2003 and PV 2010 - there was a degree of overlap between some of the Basic panel tone controls, not to mention confusion among users as to the most effective slider combinations.

In addition, the default tone settings differed for Raw and non-Raw images. Different amounts of adjustments were therefore required depending on whether you were editing a Raw image or a JPEG for example, making it problematic to share settings between the two file types. So on one level PV 2012 is an attempt to make tonal adjustments more straightforward and intuitive to perform.

Above all though, the range of control when editing raw images was becoming somewhat limited by what the PV 2010 (and earlier) adjustment sliders would allow. The sensor performance of today's mirrorless and DSLR cameras make it possible to effectively extract a more extended dynamic range. The thing is, you need the raw processing tools to keep up with these developments. PV 2012 is Adobe's effort to do just that. In this article, we'll compare some of the raw file editing capabilities of PV 2012 against its predecessor, PV 2010.

What's changed in the PV 2012 Basic panel?

In PV 2012, there are still six primary tonal adjustment sliders in the Basic panel, all intended to be used in their order of appearance. But some sliders have been replaced and those that remain have seen changes in functionality. It's important to note that, unlike previous versions, most of the PV 2012 controls are scene adaptive, meaning their behavior - even at default settings - is optimized on a per image basis.


Here you can see PV 2010's
default tonal adjustment
settings for raw files. In PV 2012, the default
value for each tonal
adjustment slider is 0 for
both raw and non-raw files.
The Exposure slider is effectively a combination of PV 2010's Exposure and Brightness sliders. It is used set overall image brightness. The Contrast slider is now scene-dependent, offsetting its operational midpoint slightly depending on whether you are editing a low key or high key image.

Brand new Highlights and Shadows sliders offer separate luminance control for midtone-to-highlight and midtone-to-shadow regions, respectively (although there is a degree of overlap between the two). They work in both positive and negative directions and on an evenly balanced scale. So you can lighten or darken the highlights and shadow areas independently, with a +10 move being similar in strength to a -10 adjustment. The Whites and Blacks sliders are used to adjust the end points for the image's brightest and darkest tones, respectively.

Controlling a high contrast image with PV 2012

In the examples below, we'll take a look at the benefits PV 2012 offers over its predecessor when working on a high contrast raw image that contains a wide dynamic range. Here I'll be using ACR 7, which provides the same PV 2012 adjustments as Lightroom 4.


I shot this image from inside the entrance of a church building. This photo was captured in RAW mode and contains just about enough information in the highlight and shadow areas to show the complete tonal range. The challenge of course is how to process the image to extract this information.
In the image above you can see by the histogram I've overlaid that the highlights are blown out and the shadow details are completely hidden. Because this is a Raw file, however, we can extract some data that would have simply been lost in an 8-bit JPEG.


With a little patience it is possible to recover some highlight and shadow detail using PV 2010. I began by reducing Exposure by nearly 1 stop, to -.95 in an effort to minimize highlight clipping. I set both the Recovery and Fill Light sliders to their maximum values - an extreme move - in order to restore even more detail in the highlights and open up the shadows. The Blacks slider was then increased from its default of +5 to +13 in an effort to regain some of the contrast lost by my extreme Fill Light adjustment. I then lowered Brightness to +40 (from its default of +50) and increased Contrast to +50 (from its default of +25).
While the PV 2010 edits are certainly an improvement over the original image, we are left with a somewhat flat looking image with muddy shadows and relatively little contrast in the background areas of the scene. And you'd be hard pressed, too, to argue that the slider adjustments I've described above are intuitive. Let's take another pass at the same file, but this time using PV 2012.


Using PV 2012 controls I was able to increase Exposure to +45 to brighten the overall image. I also increased Contrast to +36. I used an extreme Highlights adjustment of -100 to eliminate clipping in the clouds and a +100 Shadows adjustment to bring out more detail in the interior shadows. Note that by eliminating highlight and shadow clipping I was then able to actually boost my white point by setting the Whites slider to +10 and lower my black point by moving the Blacks slider to -35. These last steps allowed me retain much more image contrast, which I then increased a bit more throughout the midtone range with a Clarity slider adjustment of +7.
As you can see, the PV 2012 options give me greater control over the tones in the image in a more straightforward, though by by no means dumbed-down manner. In the crops that follow you can see just how much difference there is in using PV 2012 versus PV 2010.


PV 2010 default settings PV 2012 default settings
Notice how much more shadow detail is visible in PV 2012's default settings. This initial rendering obviously provides a better starting point for extracting useful information.


PV 2010 after editing PV 2012 after editing
At first glance the edited results may look very similar. But take a closer look at these crops (click on the thumbnails for a larger view) and you'll see that the PV 2010 image shows distinct halos around the column edges as well as false color in the clouds. Overall, the PV 2012 image offers a much more natural, 'less-processed' looking result.

Adobe announces Photoshop CS6 and CS6 Extended



London, UK — April 23, 2012 — Adobe Systems Incorporated (Nasdaq:ADBE) today announced Adobe® Photoshop® CS6 and Photoshop CS6 Extended software, major releases of the undisputed standard for professional digital imaging. Packed with new features and enhancements, the software includes groundbreaking innovations and unparalleled performance breakthroughs that expand the frontiers of imaging science, and deliver new levels of creativity and increased efficiency. Photoshop CS6 Extended integrates the state-of-the-art editing, compositing, and graphic design capabilities of Photoshop CS6, as well as advanced tools for 3D design*, image and video editing, and quantitative analysis which address the unique needs of the graphic design, video, Web, architecture, medical, manufacturing and engineering industries.

“Creativity is at the very centre of our efforts – both in developing exceptional tools, and enabling our users to create beautiful imagery that stands out from the visual clutter around us,” said Winston Hendrickson, vice president products, Creative Media Solutions, Adobe. “Photoshop CS6 is unrivalled in capabilities and power and – as we have seen from the astonishing reception of our recent public beta – has once again captured the imagination of the worldwide creative community. ‘Photoshop magic’ is alive and well with CS6.”

Since Photoshop CS6 was released as a public beta on March 22 for Mac OS and Microsoft® Windows® platforms, there have been nearly one million downloads of the software worldwide – surpassing any public beta in Adobe’s history. With this launch, Photoshop CS6 and Photoshop CS6 Extended can be purchased as stand-alone applications, key components of the Adobe Creative Suite 6 family (see separate press release), and now as part of Adobe’s revolutionary Creative Cloud™ offering, also announced today (see separate release).

Create with Imaging Innovation and Peak Performance

Photoshop CS6 and Photoshop CS6 Extended deliver unparalleled speed and power combined with the creative tools necessary to perform advanced image manipulation, design, motion‐based content editing, and compositing. The software helps users to patch images with control for exceptional results; edit with real-time interactions and a fluid feel powered by the new Mercury Graphics Engine; easily edit video; perform automatic tone mapping and sharpening; and use improved design tools for better results with fewer steps. Creative customers will be able to take advantage of an efficient, modern UI that puts all focus on images, and sync settings and preferences for consistent workflows across multiple devices via Adobe Creative Cloud.

“Adobe Photoshop CS6 gives Trek powerful design tools to help bring our creative vision to a reality faster and with greater control than ever before. The responsiveness of the new Mercury Graphics Engine is simply breathtaking and being able to see the results instantaneously helps us keep to our extremely tight timelines," said Eric Lynn, creative director, Trek Bicycle. "We often work with large files that include more than 500 layers and being able to search them all – and continue working while saving a large document – is invaluable to our workflow and a huge time saver for us.”
Photoshop CS6 features include:

Content-Aware Patch – Allows greater control by letting users choose the sample area used to create a patch.
Adobe Mercury Graphics Engine – Takes advantage of the graphics processing unit in modern hardware to speed up imaging and editing tasks, and process large images faster.
New and Re-engineered Design Tools – Type styles enable consistent formatting; vector layers apply strokes and add gradients to vector objects; custom strokes and dashed lines are easily created; quick layers search and more.
Intuitive Video Creation – The full range of familiar Photoshop tools and an intuitive set of new video tools to create and enhance any video clip.
Blur Gallery – A simple new interface with on-image and in-context controls allows users to quickly create photographic blur effects including tilt-shift effects, blur everything with one focal point, or vary the blurriness between multiple focal points.
Photoshop CS6 Extended includes all Photoshop CS6 features and:

Mercury Graphics Engine for 3D – Increased power and speed via engine optimised for 3D imaging.
New 3D Controls – UI improvements for more efficient 3D workflows.
New 3D Effects – Reflections and “drag-able” shadows to enhance images.
Adobe Creative Cloud and Digital Imaging

Adobe Creative Cloud gives creative customers a new option for purchasing and experiencing Adobe software innovation, including Adobe Photoshop CS6:

Creative Cloud membership provides designers with access to download and install every new Adobe CS6 application announced today and two new HTML5 products, Adobe Muse™ and Adobe Edge preview.
Creative Cloud powers the integration of creative tablet applications, such as Photoshop Touch, into everyday work – seamlessly synchronising and storing files in the cloud, for sharing and access on any device.
Creative Cloud members will be able to easily deliver mobile apps to iOS and Android marketplaces and publish, manage and host websites.
Adobe Creative Cloud members will receive access to application upgrades, including new Photoshop features – before they are launched as part of a major update, as well as inventive new products and services, as they emerge. Adobe Photoshop Lightroom® 4 will be offered as part of Creative Cloud membership in the future.
Live Streamed Webcast

The launch event for Adobe Creative Cloud and CS6 will be streamed live beginning at 6pm GMT, April 23 at www.adobe.com/special/cs6/launch-event.html and will be available there as a continuous rebroadcast from 7pm – midnight GMT on April 23. An on-demand version will be available at http://tv.adobe.com beginning April 24.

Pricing and Availability

Adobe Photoshop CS6, Adobe Photoshop CS6 Extended, Adobe Creative Suite 6 editions and Adobe Creative Cloud are scheduled to be available within 30 days and can be pre-ordered now. Photoshop CS6 and Photoshop CS6 Extended will also be available through Adobe Authorised Resellers, the Adobe Store and Adobe Direct Sales; estimated street price for Photoshop CS6 is £556 (ex. VAT) and £794 (ex. VAT) for Photoshop CS6 Extended.

Upgrade pricing is also available to eligible customers. Subscription pricing for Photoshop CS6 Extended is £14.29 (ex. VAT) per month for an annual contract and £22.23 (ex. VAT) for a month-to-month contract. For more detailed information about features, OS support, system requirements, upgrade policies and pricing, please visit http://www.adobe.com/uk/products/photoshop.html

Adobe Creative Cloud membership for individuals is £38.11 (ex. VAT) per month based on annual membership and £57.17 (ex. VAT) per month based on month-to-month membership and includes access to Photoshop CS6 Extended. A special introductory offer of £22.23 (ex. VAT) per month for CS3, CS4, CS5 and CS5.5 individual customers is also available. Learn more at http://www.adobe.com/uk/products/creativecloud.html

Mamiya Leaf announce Leaf Credo 80MP, 60MP and 40MP digital backs


New Hardware Design with Blazing Performance Speed

TEL AVIV, April 23, 2012– Mamiya Leaf, a leading provider of medium format camera equipment, today introduced a newly designed medium format digital camera back platform -- the Leaf Credo. Available in three different models, the Leaf Credo 80, Credo 60, and Credo 40 digital camera backs feature high-quality resolutions of 80, 60 and 40 megapixels respectively.

Key platform features include:

A large, high resolution (1.15 megapixel), multi-touch screen with excellent rendition of 16 million colors for quick and easy verification of focus and tonal accuracy;
Fast, new dual-core microprocessor enables powerful performance for the fastest available image viewing, focusing and editing;
A new, intuitive graphical user interface (GUI) offers easy navigation and extends the touch screen beyond the LCD area -- letting you navigate and click outside the image area;
New FireWire 800 and USB3 implementation delivers fastest image transfer speeds.
Planned from the ground-up for comfortable, effective shooting both indoors and out, Leaf Credo delivers high-resolution Live View functionality for precise focusing when shooting un-tethered. It also offers a wide viewing angle and a built-in bi-directional spirit level.

The flagship of the Leaf Credo platform is a full-frame 80 MP CCD sensor with a dynamic range of 12.5 f-stops. New to Mamiya Leaf is a full frame 60 MP CCD sensor with 3:4 aspect ratio providing unmatched detail, richness of color, low noise and beautiful tonality. Also available is the 40 MP CCD sensor which offers the fastest capture speed in the Leaf Credo platform at 1.2 frames per second.

Leaf Credo digital backs work seamlessly with the Mamiya 645DF camera - which offers shutter speeds up to 1/4000 of a second and sync speeds of up to 1/1600 of a second with Schneider-Kreuznach designed Leaf shutter lenses.

The Mamiya Leaf open platform philosophy enables compatibility with other medium format camera bodies, such as the Hasselblad V and H and Contax (see www.mamiyaleaf.com for full compatibility list).

Leaf Credo digital backs are optimized for shooting with Capture One software, which comprises a comprehensive workflow to capture, organize, edit, share and print images.

“Leaf Credo delivers the best price/performance ratio in the large sensor digital back market,” said Ziv Argov, marketing director, Mamiya Leaf. “Its impressive combination of high resolution image quality, ease of use, and the latest multi-touch screen LCD technologies makes the Leaf Credo digital back platform appealing for all photographers regardless of their styles.”

Pricing for the Leaf Credo 40 starts at € 14,995/$19,495. The Leaf Credo 60 is listed at €24,995/$32,495 and the Leaf Credo 80 for € 29,995/$38,995. Shipping is planned for June, 2012.

Mamiya Leaf - Leaf Credo 80, 60 and 40 specifications

Leaf Credo 80 Leaf Credo 60 Leaf Credo 40
CCD size 53.7 x 40.4 mm 53.0 x 40.4 mm 43.9 x 32.9 mm
Pixel size 5.2 micron 6.0 micron 6.0 micron
ISO 35-800 50-800 50-800
Capture rate (frames per second) 0.7 1.0 1.2
Exposure time Up to 2 minutes Up to 1 minutes Up to 1 minute

CameraBag 2


A stalwart in the photo category of the iOS App Store for a while, CameraBag from Nevercenter has been popular with lo-fi photo fans for years, thanks to its simple interface and effective 'one shot' filters. A version for desktops, CameraBag 1 proved popular, but with CameraBag 2, Nevercenter has completely redesigned the app from the ground up.

CameraBag 2 has proven a huge commercial success already, and after its release earlier this year the Mac version briefly became the highest-grossing non-Apple app in the Mac App Store. CameraBag 2 is intended to be an all-in-one editing tool with a plethora of vintage effects paired with what Nevercenter describes as a 'full suite of photographic tools' such as exposure and luminance controls. It has an extremely simple interface, showing your selected image large in the window with all the available effects visible on tabs to the right of your photo. In any editing tab, you can choose the 'Quicklooks' view and see what your photo would look like with any of the pre-made filters added to it.

The 'Quicklooks' view allows you to see at a glance how your photo would look with any of CameraBag 2's filters applied.
Key Features:

Over 100 adjustable filters.
Exposure, color balance, shadow/highlight controls
Batch editing.
'Quicklooks' and live previews.
Fast processing.
RAW compatible.
Operating Requirements:

Mac: OSX 10.5 or newer, Intel CPU (Core 2 Duo or better)*
Windows: XP SP3, Vista, or Windows 7
1GB RAM
70MB hard drive space
At $29 from Nevercenter’s website (and $23.99 in the Mac App Store), CameraBag 2 is slightly pricier than an app like Nik Software's Snapseed, but still cheaper than Apple’s Aperture or Adobe’s Photoshop Elements. CameraBag also has an edge over one-trick apps like Snapheal or Photosplash as it features both filter effects and basic editing tools. For this review, I will take you though the steps of editing a photo in CameraBag from importing to creating a filter and batch processing.

Importing

CameraBag 2 is compatible with JPG, PNG, TIFF, and most RAW file formats. For this review, I imported a .NEF file from a Nikon DSLR. You can read more information about file handling and compatibility in Nevercenter's FAQ, which is here.


You can import photos into CameraBag 2 by dragging them into the window, clicking the 'Load' option in the welcome page, or by going to File / Open. Once you have opened an image, you can browse through other photos in the folder within CameraBag 2 by using your right and left arrow keys.


Styles

After loading your photo, CameraBag 2 with push you straight into the 'Styles tab where you can add various (an initially overwhelming) effects. You can choose to skip this step and move straight to the Adjustments tab if you only want to do subtle light and color adjustments. After you have made changes in the Adjustments tab, you can add a Style by returning to the Styles tab and clicking the '+' that will appear to the right of the filter name after a brief hover. Every time you hover over a name of a style, a live preview of the style’s effect on your photo will appear.


For this image I chose the delightfully retro “Light Leak” style.


I used the remix slider to make the photo appear as if the light was leaking from the right and left side of the camera, leaving my subject unaffected.
The 18 styles available in CameraBag 2 range from toy-camera effects like 'Plastic' to the more flattering 'Wedding' options and all are customizable using the 'Amount' slider to adjust the intensity of the effect and the 'Remix' slider to adjust the variation. The 'Remix' slider in particular is great for creating unique effects. For example, in the 'Hipster' style, the 'Remix' slider will adjust the vignette, color balance, light curves, and film grain size as you move from either end of the spectrum. For quick, batch editing of party photos, this could be where it ends - creating your unique effect and saving.

Adjustments

Not all of the tricks in CameraBag 2 are meant to make your pictures look like they were taken using a 19th-Century pinhole camera with a scratchy lens. Under the 'Adjustments' tab, you can crop, straighten, and control the levels of your photo using exposure, contrast, and saturation options. Under the 'Light' controls, you can adjust the RGB and Luminance Curves as well as adjust the shadows and highlights. The 'Color' controls let you do everything from color correction to split tone and selective saturation and the 'Photographic' effects add options like vignetting, film grain, and discoloration.

Every time you add an effect, a tile appears at the bottom of the screen. Here, you can return to your affects at any time to edit, change the layering of your effects, click the power-button to hide your effect, or the 'x' to remove it.
This screengrab shows my photo with the “Light Leak” tile deactivated. In the Crop/Straighten tab, a slider will straighten and auto-crop your photo. If you want to crop further, you can use the manual cropping tool with a rule-of-thirds grid built in or choose on of the many, pre-made ratios.
Adjustments is where you will also find the 'Constrain Size' option for saving your file - a rather strange place for it, as most photographers would expect to see this option somewhere in the file save dialog. This option appears as a tile next to your other adjustments and will be applied to all photos during batch editing.

Adding a Border

After you are done styling and adjusting, you can add a border. Options here range from simple, customizable borders to elaborate film-style frames. While some of these borders are subtle and only add a texture on the edges of the image, the bigger frames will auto-crop your photo.


Finishing Up

Once you have created the perfect look for you photo, its time to save it. And I don't just mean save your image - a feature I really like is the ability to save the effects that you've applied to an image as a filter, which you can use again in the future. Whether you design your own filter or use one of the 'pre-baked' options, you can give a large folder of photos the same, distinct look by using the 'Batch Process' option.


If you like what you've done so much that you want to process other images in the same way, you can save your adjustments as a new filter. Simply choose the 'Add Current…' button and choose a name. CameraBag 2 will add your adjustments to the Favorites tab. If you want to apply your choice of effects to more than one image, you can batch process entire folders of pictures very easily. Just go to 'Batch Process Folder' in the File menu....

...and add a 'postfix' that you want added to the filenames of your processed images.... ...create a new folder for the processed files, and you're done.
Batch processing takes a little time but will move much faster if you use the 'Constrain Size' option found in the adjustments tab. To give you some idea, batch processing a folder of 70 photos totaling 449MB took nearly 10 minutes on my Mac when set to export at full size, and 5 minutes using the 'Constrain Size' option to limit the width to 1200 pixels.

Conclusion

CameraBag 2 is great for batch editing photos, but I would not recommend it as a primary photo editing program as the tools and adjustments are not quite as precise as they should be. The sliders are great for quick editing, but for the perfectionist, it can be draining trying to toggle your way into the perfect light/shadow mix. You also cannot zoom in to see the details of your photograph during the editing process. Your photo will only ever be as big as your window will let it get which was fine for me on my large iMac, but an 11-inch Macbook Air user would be out of luck. This seems such a glaring omission that I'd be surprised if Nevercenter didn't fix it in an update.

Although CameraBag 2 is lacking in a couple of areas, its redeeming features far outweigh its weaknesses. The live previews and Quicklooks make editing photos extremely fast and easy, its many pre-made filters and styles are all customizable (which saves on the 'my photos look like everyone else's' effect), and the quick and easy batch processing is great.

In the future, I would like to see a customizable watermark feature as well as zoom-able viewing controls, but for now, CameraBag 2 has rightfully earned its place on the top of the App Store photo market.

We like: A ton of customizable filters, easy interface with effects tiles for quick revisions, live previews, quick processing, batch editing.

We don't like: Somewhat imprecise adjustment controls, no zoom control.

645 PRO app for iPhone offers access to lossless camera output (but not Raw)


App developer Jag.gr has launched 645 PRO, a flexible photography and processing app that provides access to the lossless output of the iPhone's camera. The company grabs the processed camera output before the phone compresses it, and saves it as a TIFF file. These files, which it slightly optimistically calls 'Developed Raw,' can then be accessed via iTunes. The app also offers a series of features such as spot metering and exposure, focus and white balance lock, as well as a series of film simulation options and aspect ratio options, but it's the uncompressed output that is, as far as we are aware, unique.


As well as uncompressed output, PRO 645 offers a good degree of control over the iPhone's camera.
Until now, the vast majority (if not all) of iPhone apps apply their image processing to images that have already been compressed as a JPEG, with the reduced processing latitude that brings. The processed images produced by most app are then subjected to a second compression step at the end of the process.

PRO 645 intercepts the camera data after it's been initially processed (demosaiced and with processing parameters such as white balance and sharpening applied), but before the phone compresses it. This file can be be saved as a TIFF (presumably 8-bit), alongside a JPEG version with whichever of the app's image manipulations you've chosen to apply. These JPEGs are also much less compressed than the iPhone's default compression, which is usually the starting point for most apps (equivalent to the maximum quality option in Photoshop, the developer claims).

Even without this access to the best-possible quality output from your iPhone, the app also offers a range of useful photographic features such as a live histogram, spot metering and the ability to independently lock exposure, focus and white balance, to give a high level of control over the images you're capturing. The only downside is that the TIFF output has to be accessed via iTunes, but it's still an interesting step forward for occasions when the camera you have with you is your iPhone.

645 PRO is available from the Apple App Store for $2.99, and we're hoping to review it in the coming weeks.

Dan Chung speaks to Canon's Chuck Westfall about 4K Cinema EOS cameras

DSLRnewsshooter's Dan Chung has been speaking to Canon USA Technical Advisor Chuck Westfall for more details about the company's 4K Cinema EOS offerings. Both the 500C and 1D C are skewed towards cinema and high-end television production, rather than documentary and news work, Westfall says, but hints that 'peaking' and 'zebra' focusing and exposure aids could be added to the 1D C if the market demands it.

For those people still trying to work out why Canon is so interested in 4K video and who it thinks is going to be buying its kit, this nine-minute video is well worth watching.

Hands-on with Samsung NX20, heading refreshed lineup with NX210 and NX1000



Share life in perfect detail with the NX1000, NX20 and NX210 - the world’s first SMART compact system cameras with built-in Wi-Fi connectivity

BEIJING, China – April 19, 2012 – Samsung Electronics Co., Ltd, a global leader in digital media and digital convergence technologies is breaking new ground with its award-winning NX series with three new compact system cameras (CSC) that pioneer built-in Wi-Fi connectivity: the NX1000, NX210 and NX20. Now professional quality images can be easily captured, shared and stored straight from your camera - wherever you are in the world.

Introducing the NX1000, NX210 and NX20

The innovative additions to Samsung’s NX range represent the future in CSC technology: SMART cameras with in-built Wi-Fi technology that allow users to connect to wireless networks without any additional cards or devices. Full Wi-Fi connectivity is complemented by an impressive range of features, continuing the heritage of innovation that the NX series has been consistently recognized for since the launch of the NX10 in 2010.

As standard, all three NX models feature a 20.3 Megapixel APS-C CMOS sensor, developed in-house by Samsung to give high quality images in rich color and detail. They are also fully compatible with the NX series’ unique i-Function system, enabling users to control parameters using the lens itself, adjusting the image without ever having to move off target. With Samsung’s range of nine lenses and professional standard accessories, the NX eco-system ensures that all imaging ambitions can be realised, whatever the user’s photographic speciality or interest.

Enhancing Samsung’s 2012 SMART CAMERA ecosystem, these latest additions to the NX range have been designed to satisfy the ambitions of users of all abilities, whether an experienced professional or someone just looking to trade-up from their point-and-shoot.

The NX1000 is highly portable and its eye-catching compact design makes it as useable as it is attractive. Available in stunning White, classic Black or eye-catching Pink it houses a feature-rich range of specs, with technology such as Smart Auto 2.0 and the Smart Link Hot Key, making it simpler than ever to shoot and share great images instantly.

The NX210 follows the NX’s design heritage, with a premium metallic finish. Like its predecessor the NX200, the NX210 also offers a 3.0” AMOLED display for viewing images and Full HD movies in brilliant resolution. With easy access to Wi-Fi functions, the NX210 allows quick sharing with friends and family, whilst with Samsung Mobile Link users can show off their best images on phones and tablets, or on the big screen with TV Link connecting the NX210 wirelessly to internet-enabled TVs.

The NX20 is the perfect match for enthusiast amateur or professional photographers looking for a highly portable camera that gives the professional look and feel of a DSLR but at a fraction of the size and weight, with the addition of an ergonomic grip to fit comfortably into the hand. Delivering impressive speed with its 1/8000s Fast Shutter, breath-taking images are shown on its clear 3.0” clear AMOLED swivel display, increasing visibility by approximately 20%. The NX20 also incorporates a range of functions and manual controls in order to deliver pro-standard pictures every time, including SVGA EVF so users can frame images like a professional.

In-Built Wi-Fi for simple sharing and saving

With Samsung’s latest SMART features, users can share pictures at the touch of a button, uploading to social networks including Facebook and Picasa, or emailing them to friends and family – all straight from their new NX camera. The cameras also offer further options for capturing and displaying images via other devices, including the ability to link to a Samsung smartphone and use as a remote viewfinder, and - with the Samsung Mobile Link function - to display images on devices such as tablets or internet-enabled TV.

Creative control at the touch of a button

Pictures shared on the spur of the moment are no longer restricted to simply shooting and sending - with the creative features of the new NX cameras, Facebook pictures can be artistic without ever going near a computer. The ten Smart Filters and added Selective Color function, for example, mean that users can adjust the look and feel of shots as they take them. In addition, all three cameras also feature Panorama and 3D Panorama, allowing the whole story to be told in one complete picture. With the Smart Panel featured on all the new models, settings and features can be easily accessed and applied, making creative photography easier than ever.

Mr. Myoung Sup Han, Senior Vice President and Head of the Digital Imaging Business, Samsung Electronics, commented: “The three new additions to the NX range mark an evolution in Samsung’s SMART CAMERA offering, demonstrating our understanding that digital imaging is about sharing the best moments with family and friends, and not only about taking great pictures. Samsung is paving the way, introducing the world’s first SMART Compact-System-Cameras for professional standard images that are worth sharing.”

“With the inclusion of in-built Wi-Fi connectivity, our customers can now share pictures and videos straight from their NX camera. More importantly, however, the NX camera’s wireless connectivity does not mean sacrificing fantastic image quality – you can now have the best of both at your fingertips. This dedication to innovation will make Samsung a leader in the SMART CAMERA market.”

Samsung NX20, NX210 and NX1000 specifications

Samsung NX20 Samsung NX210 Samsung NX1000
Body type
Body type Rangefinder-style mirrorless
Sensor
Max resolution 5472 x 3648
Other resolutions 5472 x 3080, 3888 x 2592, 3712 x 2088, 3648 x 3648, 2976 x 1984, 2944 x 1656, 2736 x 1824, 2640 x 2640, 2000 x 2000, 1920 x 1080, 1728 x 1152, 1024 x 1024
Image ratio w:h 1:1, 3:2, 16:9
Effective pixels 20.3 megapixels
Sensor photo detectors 21.6 megapixels
Sensor size APS-C (23.5 x 15.7 mm)
Sensor type CMOS
Color space sRGB, Adobe RGB
Color filter array Primary Color Filter Primary Color Filter
Image
ISO Auto, 100, 200, 400, 800, 1600, 3200, 6400, 12800
White balance presets 8
Custom white balance Yes (1)
Image stabilization No
Uncompressed format RAW
JPEG quality levels Normal, Fine, Superfine
File format
RAW (SRW)
JPEG (EXIF 2.21)
DCF
DPOF 1.1
PictBridge 1.0
Optics & Focus
Autofocus
Contrast Detect (sensor)
Multi-area
Selective single-point
Single
Continuous
Face Detection
Live View
Autofocus assist lamp Yes
Digital zoom Yes (1.2x, 1.4, 1.7, 2.0 Intelli-Zoom)
Manual focus Yes
Number of focus points 15
Lens mount Samsung NX mount
Focal length multiplier 1.5×
Screen / viewfinder
Articulated LCD Fully articulated Fixed
Screen size 3"
Screen dots 614,000 921,000
Touch screen No
Screen type Active Matrix OLED screen TFT LCD
Live view Yes
Viewfinder type Electronic None
Viewfinder coverage 100 %
Viewfinder magnification 1.04×
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/8000 sec 1/4000 sec
Exposure modes
Program
Aperture Priority
Shutter Priority
Manual
Scene modes
Live Panorama (2D, 3D)
Beauty Shot
Night
Landscape
Portrait
Children
Sports
Close Up
Text
Sunset
Dawn
Backlight
Fireworks
Beach & Snow
Sound Picture
3D Photo
Built-in flash Yes (Pop-up ) No
Flash range 11 m
External flash Yes (via Hot-shoe with optional SEF-42A, SEF220A ) Yes (via Hot-shoe with bundled SEF8A or optional SEF-42A, SEF220A ) Yes (Hot-shoe, SEF8A)
Flash modes Auto, On, Off, Red-eye, Fill-in, 1st/2nd Curtain, Smart Flash, Manual
Flash X sync speed 1/180 sec
Drive modes
Single
Continuous
Burst (5M size only)
Self-timer
Bracket (AE/WB/PW)
Continuous drive Yes (8, 3 fps)
Self-timer Yes (2 sec to 30 sec)
Metering modes
Multi
Center-weighted
Spot
Exposure compensation ±3 EV (at 1/3 EV, 1/2 EV steps)
AE Bracketing ±3 (3 frames at 1/3 EV, 1/2 EV steps)
WB Bracketing Yes (3 frames from +/-1 to +/-3 in either blue/amber or magenta/green axis)
Videography features
Format
MPEG-4
H.264
Microphone Stereo
Speaker Mono
Resolutions 1920 x 1080 (30 fps), 1920 x 810 (24 fps) 1280 x 720 (30 fps), 640 x 480 (30 fps), 320 x 240 (30 fps)
Videography notes Multi-motion recording : x0.25 (640, 320 only), x0.5 (1280, 640, 320 only), x5, x10, x20
Storage
Storage types SD/SDHC/SDXC
Storage included None
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes
Wireless BuiltIn
Remote control Yes (Optional SR2NX02)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description Lithium-Ion BP1310 battery & charger Lithium-Ion BC1030 battery & charger
Battery Life (CIPA) 360 330 320
Weight (inc. batteries) 341 g (0.75 lb / 12.03 oz) 222 g (0.49 lb / 7.83 oz)
Dimensions 122 x 90 x 40 mm (4.8 x 3.54 x 1.57") 117 x 63 x 37 mm (4.61 x 2.48 x 1.46") 114 x 63 x 37 mm (4.49 x 2.48 x 1.46")
Other features
Orientation sensor Yes
GPS Optional
GPS notes WGS84

Wi-Fi and Samsung's 'Smart Camera Ecosystem



Today, Samsung has announced three new Wi-Fi-equipped NX models, all of which share the same 20MP CMOS sensor that was used in last year's NX200. Dpreview spent some time in Korea last month, and got some hands-on time with the new cameras as well as an exclusive opportunity to ask some senior executives about their vision for the future of the NX line, and for photography in general.

The new NX lineup consists of three models - the NX20, which replaces the NX10, the NX210, which replaces last year's popular NX200, and an entirely new NX, the NX1000, which is aimed at beginner photographers and compact camera upgraders. As well as sharing the same 20MP CMOS sensor, all three of the new NX models feature Wi-Fi connectivity.

The NX models share the 'Smart Camera' capabilities with the compact models announced earlier this year. This means they can be set to automatically back-up images every time you come back into range of your home Wi-Fi network and allow control of the camera via a 'remote viewfinder' app on compatible smartphones. There are also options for uploading to various 'cloud'-based back-up sites, to ensure both peace-of-mind and accessibilty of your images.

When you enter 'Wi-Fi' mode with the NX20, NX210 and NX1000 you'll see this screen. This is where you can select what you want to do with your pictures - among other options you can send them to a smartphone or tablet, email them, stream them to a television, or share them on social networking sites.
Samsung's latest Wi-Fi-equipped cameras can connect either via a wireless Internet router or directly to another device. This allows users to email images and share them on Facebook straight from the camera, via an internet hotspot. Alternatively, it allows photographers to browse images from their camera directly on a Wi-Fi-equipped AllShare or DLNA enabled television, or via an Android smartphone using Samsung's 'MobileLink' app. At our meeting in Seoul we asked the assembled executives for their vision of what the company is calling its 'Smart Camera Ecosystem'.

'Digital life starts with the content creator'

Nyunwoo Nam - marketing manager for the NX range told us that putting Wi-Fi into Samsung's mirrorless cameras is a logical next step. In his opinion, he explained, 'digital life starts with the content creator, the photographer who takes his or her images and then shares them. For the past couple of years Samsung has been communicating to users the fact that cameras aren't just for taking pictures, they are evolving to be used as sharing devices. Nam added 'with the addition of Wi-Fi to our NX range, users have a more convenient way to share their stories'.


Like other recently-announced compact cameras from Samsung, the new NX range is intended to fit into a connected 'ecosystem'. The new NX1000 (pictured) makes sharing very easy thanks to a direct Wi-Fi button on the camera's top plate, which initiates a menu for sharing with one touch.
He went on - 'all of our devices will evolve to make our users' experience easier, and more enjoyable, and the camera is the first step to achieving that goal. Future products will make it even easier to connect and share media, and have fun and be creative'.

'The camera is becoming a communication tool'

So is the future one in which we're connected to everything, all the time? Byounjae Jin, principle engineer in Samsung's R&D department thinks that it is. 'People should know this already' he told us - 'this is the entire concept of devices like smartphones and it makes sense'.

It seems that Samsung doesn't envisage smartphones and cameras converging completely though - at least not yet. According to Sunhong Lim - VP Sales & Marketing, Samsung 'wants people to use their cameras and smartphones together'. He explained 'the camera is becoming a communication tool - a vehicle for communicating with others [but] phones and camera are separate products - they will co-exist'.

Nikon updates entry-level DSLR with 24MP D3200 and optional WiFi


The Nikon D3200 Provides New D-SLR Shooters a Powerful Combination of Effortless Operation, 24.2-Megapixel High Resolution and Wireless Connectivity to Mobile Devices

MELVILLE, N.Y. (APRIL 19, 2012) – Today, imaging leader Nikon Inc. introduced the new 24.2-megapixel Nikon D3200 HD-SLR; a camera designed for photo enthusiasts ready to step up to a D-SLR or for the busy family memory keeper with an active lifestyle who demands a camera that can keep pace. From low-light to fast action, the D3200 delivers the amazing image quality Nikon is known for, either indoors or outside. Whether new to photography or upgrading from a point-and-shoot, the D3200 features Nikon's acclaimed instructive Guide Mode to help unleash the photographer in everyone. From candid action shots to staged portraits that flatter, the Nikon D3200 provides the power to capture every moment easily and beautifully with stellar image quality and in stunning Full HD (1080p) video.

Ready to tag along for any outing, the Nikon D3200's compact, lightweight body makes it easy to pack for a quick day trip or the long haul. A host of advanced features, including a super high resolution 24.2-megapixel DX-format CMOS sensor, Full HD (1080p) video recording with full time autofocus (AF) and 4 frames-per-second (fps) high-speed continuous shooting mode, prepare the D3200 for challenging lighting conditions and fast paced action. Also, Nikon D3200 users will be able to take advantage of the new WU-1a Wireless Mobile Adapter. When connected to the camera, this optional adapter can wirelessly send images to mobile devices like smartphones and tablets, preview an image before shooting and control the camera remotely.

"When every moment is as precious as the next one, having a camera that takes the guesswork out of photography is important," said Bo Kajiwara, director of marketing, Nikon Inc. "The Nikon D3200 HD-SLR offers effortless functionality and easy-to-use connectivity to mobile devices that answers the call for a capable, entry-level D-SLR that will change how you share amazing images with your friends and family."

Stunning Images to Last a Lifetime

The new Nikon D3200 delivers outstanding image quality no matter the user's skill level by leveraging Nikon's renowned technologies. The new 24.2-megapixel DX-format CMOS sensor allows for incredibly sharp images with stunning detail and less noise, while Nikon's EXPEED 3™ image processing engine helps to create clear, lifelike images and video with vivid colors, smooth tonal gradations and low noise.
The Nikon D3200 grants users impressive performance in low-light, affording the ability to shoot with assurance even during night games and school plays. With a native ISO range that extends from ISO 100 to 6400, the D3200 can also be expanded to a high of ISO 12,800 for extreme low-light situations resulting in previously impossible photos. Additionally, Nikon's Scene Recognition System works in tandem with the camera's 3D Color Matrix Metering II to recognize factors such as color and brightness for balanced exposures, accurate AF, faithful white balance and beautiful flash photos.

Effortless Operation

Beginner photographers as well as those looking to expand their repertoire of shooting techniques will appreciate the Nikon D3200's Guide Mode which provides step-by-step photo instructions to capture amazing images. Easily accessible through the Mode Dial found on top of the camera body, the Guide Mode walks beginning D-SLR users through the process of set-up, shooting, viewing and deleting images. Because it asks the user what kind of creative photo technique they would like to learn, the Guide Mode has been widely acclaimed for its ability to build confidence and give users the tools to create amazing images. As more people discover the benefits of replacing their camcorder with a D-SLR, the Guide Mode also walks users through the best video settings to create home movies with blockbuster flair. For those with a more advanced skill level, the Guide Mode features helpful Assist Images that serve as a visual reference to inspire users and illustrate the desired result, while guiding them through easy-to-follow techniques.

Further taking the guesswork out of photography, the D3200 also includes six Scene Modes. Photographers can set the Mode Dial to Portrait, Landscape, Child, Sports, Close-Up or Night Portrait, and the D3200 will automatically adjust camera settings for optimal results in a variety of conditions.

Beautiful Home Movies in Full HD

When images alone can't tell the whole story, the Nikon D3200 offers the full HD experience of high quality 1080p video. Users can create memorable, cinematic quality videos at 24 or 30 fps and easily share HD content online with friends and family or on their own HDTV via the HDMI output.

Continuing down the path that its predecessor, the Nikon D3100, started, the D3200 implements full-time AF during video recording to help capture crisp video even during the most action-packed situations. To boost the production value of any home video, the camera offers manual or automatic exposure control, and a stereo microphone input to attach an optional external microphone such as the compact ME-1 Stereo Microphone. Furthermore, the D3200 offers other HD-SLR advantages including the ability to create a shallow depth of field, amazing low-light video performance and NIKKOR lens versatility.

Capturing videos on the D3200 is simple, even when in Live View. With a dedicated video record button and easy access to the Live View switch, users can capture video clips before the moment is gone. Additionally, videos play with astonishing detail and clarity on the D3200's 3-inch, high resolution 921,000-dot LCD screen.

A Camera to Keep Pace with an Energetic Existence

An active lifestyle requires a capable camera that is ready at a moment's notice, and the Nikon D3200 packs powerful technology to tackle just about any challenge. Delivering up to 4 fps in high-speed continuous shooting mode, the D3200 helps ensure that important, spontaneous and easy-to-miss memories are captured, from a baby's first smile to a game winning grand slam. Additionally, the D3200's advanced 11-point AF system allows the user to find and keep focus while maintaining a clear view of that subject. This advanced focusing system is ideal for capturing tricky subjects like a dancer mid-leap during the big recital or a dive for the line drive in centerfield.

The Nikon D3200's power is amplified when combined with the versatility of Nikon's legendary NIKKOR optics and powerful accessories. Compatible with Nikon's dedicated DX-format lenses and over 50 FX-format lenses as well as Nikon's Speedlight System, the Nikon D3200 puts creativity at the user's fingertips. The optional WU-1a Wireless Mobile Adapter for the D3200 allows the connected user to easily share photos taken on the D3200 to an Android™ platform based smartphone or tablet, so friends and family can enjoy the moment almost as quickly as it happens.1 Android platform users are able to wirelessly transfer images from the camera to a mobile device, preview the image before shooting photos, and even remotely control the camera from up to 49 feet. The Application for use with an Android platform smartphone (2.3 series) and tablet (3.x series) is expected for release in May 2012.2 Additionally, an Application for the iPhone® and iPad® mobile digital device is expected for release in Fall 2012.3

Price and Availability

The Nikon D3200 outfit with the versatile AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR image stabilization lens will be available in late April 2012 for a suggested retail price (SRP) of $699.95* in either Black or Red. The optional WU-1a Wireless Mobile Adapter, sold separately, will be available in late May 2012 for a suggested retail price (SRP) of $59.95*. For more information on the Nikon D3200, NIKKOR lenses, additional Nikon D-SLR cameras and accessories, please visit www.nikonusa.com.

Nikon D3200 specifications

Price
MSRP US: with 18-55mm VR - $699.95; UK: with 18-55mm VR - £649.99; UK: with 18-55mm VR - €699
Body type
Body type Compact SLR
Sensor
Max resolution 6016 x 4000
Other resolutions 4512 x 3000, 3008 x 2000
Image ratio w:h 3:2
Effective pixels 24.2 megapixels
Sensor photo detectors 24.7 megapixels
Sensor size APS-C (23.2 x 15.4 mm)
Sensor type CMOS
Processor Expeed 3
Color space sRGB, Adobe RGB
Image
ISO Auto, 100, 200, 400, 800, 1600, 3200, 6400 (12800 with boost)
White balance presets 12
Custom white balance Yes (1)
Image stabilization No
Uncompressed format RAW
JPEG quality levels Fine, Normal, Basic
File format
NEF (RAW): 12 bit
JPEG
Optics & Focus
Autofocus
Contrast Detect (sensor)
Phase Detect
Multi-area
Selective single-point
Tracking
Single
Continuous
Face Detection
Live View
Digital zoom No
Manual focus Yes
Number of focus points 11
Lens mount Nikon F mount
Focal length multiplier 1.5×
Screen / viewfinder
Articulated LCD Fixed
Screen size 3"
Screen dots 921,000
Touch screen No
Screen type TFT LCD with 160° viewing angle
Live view Yes
Viewfinder type Optical (pentamirror)
Viewfinder coverage 95 %
Viewfinder magnification 0.8×
Photography features
Minimum shutter speed 30 sec
Maximum shutter speed 1/4000 sec
Exposure modes
Programmed auto with flexible program (P)
Shutter-priority (S)
Aperture priority (A)
Manual (M)
Scene modes
Portrait
Landscape
Child
Sports
Close-Up
Night portrait
Built-in flash Yes (Pop-up)
Flash range 12 m (at ISO 100)
External flash Yes (Hot-shoe, Wireless plus sync connector)
Flash modes Auto, Red-Eye, Slow, Red-Eye Slow, Rear curtain
Flash X sync speed 1/200 sec
Drive modes
Single frame
Continuous
Self-timer
2s Delayed remote
Quick-response remote
Quiet shutter release
Continuous drive Yes (4 fps)
Self-timer Yes
Metering modes
Multi
Center-weighted
Spot AF-area
Exposure compensation ±5 EV (at 1/3 EV steps)
WB Bracketing No
Videography features
Format
MPEG-4
H.264
Microphone Mono
Speaker Mono
Resolutions 1920 x 1080 (30,25, 24 fps), 1280 x 720 (60, 50 fps), 640 x 424 (30, 25 fps)
Videography notes Frame rates of 30p (actual frame rate 29.97 fps) and 60p (actual frame rate 59.94 fps) are available when NTSC is selected for video mode; 25p and 50p are available when PAL is selected for video mode; Actual frame rate when 24p is selected is 23.976 fps
Storage
Storage types SD/SDHC/SDXC UHS-I compliant
Storage included None
Connectivity
USB USB 2.0 (480 Mbit/sec)
HDMI Yes (Mini Type C)
Wireless Optional
Remote control Yes (Optional)
Physical
Environmentally sealed No
Battery Battery Pack
Battery description Lithium-Ion EN-EL14 rechargeable battery & charger
Battery Life (CIPA) 540
Weight (inc. batteries) 505 g (1.11 lb / 17.81 oz)
Dimensions 125 x 96 x 77 mm (4.92 x 3.78 x 3.03")
Other features
Orientation sensor Yes
GPS Optional
GPS notes GP-1

Nikon announces AF-S Nikkor 28mm F1.8 G full-frame wideangle prime



New NIKKOR Lens is the Latest Addition to Popular Series of FX-format f/1.8 Prime Lenses

MELVILLE, N.Y. (April 19, 2012) – Today, Nikon Inc. announced the wide-angle AF-S NIKKOR 28mm f/1.8G, a fixed focal length lens with a large maximum aperture to carry on the legacy of superior NIKKOR imaging technology for enthusiasts and professionals. With a large maximum aperture of f/1.8 and Nikon's exclusive Nano Crystal Coat to reduce ghost and flare, the 28mm FX-format lens offers stunning sharpness and versatility for both photos and HD video.

"This NIKKOR lens is the latest addition to the popular family of f/1.8 primes designed to give HD-SLR shooters the performance and versatility needed to capture images and HD video with outstanding image quality," said Bo Kajiwara, director of marketing, Nikon Inc. "The new AF-S NIKKOR 28mm f/1.8G is a great way for photographers to discover a high-quality, wide-angle prime lens that provides amazingly crisp focus and natural background blur."

Professional and enthusiast HD-SLR photographers will appreciate the 28mm f/1.8G's wide-angle versatility and enjoy the sharp focus and lightweight yet durable construction befitting a NIKKOR lens. The lens' Nano Crystal Coat prevents ghosting and flare and helps produce spectacular high-resolution photos and HD video in even the most challenging lighting conditions. This 28mm lens also features a large f/1.8 maximum aperture, giving the photographer the ability to effortlessly highlight natural background image blur.

The 28mm f/1.8G's construction and optical formula is deep-rooted with NIKKOR core technology to ensure the highest level performance and versatility for the most demanding imaging applications. Featuring eleven optical elements in nine groups with two aspherical elements, the 28mm f/1.8G is designed to be a compact and durable lens maximized for versatility. Additionally, the new 28mm lens is able to resolve high resolution images with amazing sharpness and clarity, making it an ideal companion for the new 36.3-megapixel Nikon D800 HD-SLR. Professionals and enthusiasts are offered complete lens control with two focus modes, (M) manual and (M/A) autofocus with manual override that allow the photographer to tailor their focus for any shooting scenario. The 28mm f/1.8G lens is also equipped with a Silent Wave Motor (SWM) allowing for smooth, silent and precise autofocus operation essential for capturing pristine HD video.

Price and Availability

The AF-S NIKKOR 28mm f/1.8G lens will be available at the end of May 2012 for the suggested retail price (SRP) of $699.95*. For more information please visit www.nikonusa.com.

AF-S Nikkor 28mm F1.8 G Specifications

Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 28 mm
Image stabilisation No
Lens mount Nikon F (FX)
Aperture
Maximum aperture F1.8
Minimum aperture F16.0
Aperture ring No
Number of diaphragm blades 7
Optics
Elements 11
Groups 9
Special elements / coatings 2 aspherical lens elements and lens elements with Nano Crystal Coat
Focus
Minimum focus 0.25 m (9.84")
Maximum magnification 0.22 x
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
Physical
Weight 330 g (0.73 lb)
Diameter 73 mm (2.87")
Length 81 mm (3.17")
Sealing No
Colour Black
Filter thread 67 mm
Hood supplied Yes
Hood product code HB-64
Tripod collar No

Olympus releases firmware v1.1 update for OM-D E-M5 Apr 18, 2012 a


Olympus has issued a firmware update for the OM-D E-M5, fixing a few minor issues. Operation with SDXC cards larger than 48Gb is now more stable and the display of the focal length for powerzoom lenses has been improved. The v1.1 update is available for installation immediately via the Olympus Digital Camera Updater.

Click here to install the update via the Olympus Digital Camera Updater


Olympus OM-D E-M5
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with 3.0-Inch Tilting OLED Touchscreen and 14-42mm Lens (Black)
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2012 Pulitzer Prize photography winners announced


Columbia University has announced the 2012 Pulitzer Prize winners for photography. The prize for Breaking News Photography was awarded to Massoud Hossaini of Agence France-Presse for, 'his heartbreaking image of a girl crying in fear after a suicide bomber’s attack at a crowded shrine in Kabul.' The winner in the Feature Photography category is Craig F. Walker of The Denver Post, 'for his compassionate chronicle of an honorably discharged veteran, home from Iraq and struggling with a severe case of post-traumatic stress.' The annual awards include a cash prize of US$10,000. Information on this year's awards and the winning photographs can be found on the Pulitzer Prizes site.

Massoud Hossaini is an Afghanistan-born photographer, raised in Iran, who became a political activist during that country's 'Reformists Movement' in the late nineties. It was during this time that he chose photography as a means of documenting the events around him, covering the plight of Afghan refugees and the post-9/11 War on Terrorism in Afghanistan. He has worked for Agence France-Presse since 2007.

Craig F. Walker has been a staff photojournalist at the Denver Post since 1998. He has chronicled personal stories of domestic AIDs survivors as well as the World Trade Center attack and US wars in Iraq and Afghanistan. He is a previous Pulitzer Prize winner (2010) for a his series of images about a teenage American soldier during the height of violence in Iraq.

Corel releases Service Pack 1.0.1 for AfterShot Pro



Corel has announced Service Pack 1.0.1 for AfterShot Pro, the company's photo management, editing and raw processing solution. With this update Corel has added bug fixes, support for 20 new cameras and enhancements such as improved highlight recovery processing and a couple of new plugins.

Press Statement:

Corel Aftershot Pro users can download the Service Pack from Corel's support site.

The update includes the following enhancements, bug fixes and support for new cameras:

Enhancements

Improved Highlight Recovery processing
Two new plugins: Equalizer, for added color correction, and Nostalgia, for black-and-white and color film simulation
Increased the maximum supported JPEG or TIFF image size from 30 megapixels to 40 megapixels
Improved plugin SDK to support more plugins that include features like geo-tagging
Additional Camera RAW Support for:

Canon PowerShot G1 X
Canon PowerShot S100
Canon 5D Mark III
Fuji X100
Leica V-LUX 3
Nikon D4
Nikon D800
Nikon D800e
Panasonic GX1
Panasonic FZ150
Pentax K-01
Samsung NX200
Samsung NX100
Samsung NX5
Samsung NX10
Samsung NX11
Sony NEX-C3
Sony A35
Sony A57
Olympus OM-D E-M5
Issues Addressed

A one-pixel wide or tall image artifact that appeared through the center of some images
Localization issues
Instability when removing Heal/Clone layers
Demosaicing – stability and processing time
Fedora Linux—installation and run issues
Output issue that prevented images from being converted to the correct color space
No Label – fixed menu bar issue

Blackmagic Designs announces Blackmagic Cinema Camera



NAB 2012, Las Vegas, USA - April 16, 2012 - Blackmagic Design today announced Blackmagic Cinema Camera, a revolutionary digital cinema camera design that includes powerful features such as super wide 13 stops of dynamic range, high resolution 2.5K sensor, built in high bandwidth SSD recorder, open file format support, color correction with full version of DaVinci Resolve and a built in LCD with metadata entry, all in an attractive compact design for only US$2,995.

Blackmagic Cinema Camera will be demonstrated on the Blackmagic Design NAB 2012 booth at #SL220.

Many current generation video cameras suffer from a "video look" due to a limited contrast range, a maximum HD resolution sensor, poor quality optics and lenses, the use of heavy video compression for file recording and poor integration with NLE software metadata management. With these limitations, they cannot be used for high end work or feature films.

Blackmagic Cinema Camera has been designed to eliminate these problems so customers get a true feature film look, and at an affordable cost can shoot high end television commercials, episodic television programming and feature films.

Blackmagic Cinema Camera

Blackmagic Cinema Camera includes a super wide 13 stops of dynamic range, large 2.5K sensor, a built in SSD recorder that has the bandwidth to capture open standard CinemaDNG RAW, ProRes and DNxHD files, a built in capacitive touch screen LCD for direct metadata entry, standard jack audio connections, built in high-speed Thunderbolt connection, 3 Gb/s SDI output, a refrigerated sensor for low noise, and is fully compatible with extremely high quality Canon EF and Zeiss ZF mount lenses.

Blackmagic Cinema Camera also includes a full copy of DaVinci Resolve for color correction and Blackmagic UltraScope software for waveform monitoring. UltraScope can be run on a laptop connected to the camera via a Thunderbolt connection.

One of the most important features of the camera is its super wide dynamic range of 13 stops, allowing feature film quality images. Commonly people focus on more pixels, however often this just creates a higher resolution, but still "video" looking images that suffer from highlight and black clipping that limits details. Blackmagic Cinema Camera's wide dynamic range eliminates this problem and provides film quality with dramatically more detail retained in black and whites in the image. Once the shoot is complete, the included DaVinci Resolve color correction software can be used to adjust images and take advantage of this extra range in the images. The high quality EF and ZF lens compatibility also helps create sharp and cinematic images that look incredible.

To eliminate the damage that low bit depth and high compression video storage creates, Blackmagic Cinema Camera includes a fast SSD recorder. The built in SSD recorder can record on fast solid state disks the full sensor detail in 12 bit Log RAW files in the open standard CinemaDNG format. These files can be read by all high end video software. The full 2.5K sensor data is stored in the files completely uncompressed because the SSD has the speed to store video data at the required rate. Then this high quality file can be color corrected on DaVinci Resolve for the same high quality result currently only possible on cameras costing tens of thousands of dollars.

Blackmagic Cinema Camera has been designed as the perfect companion to Final Cut Pro X and Avid Media Composer NLE software. Unlike other cameras, which require the use of custom video file formats that are not compatible with popular NLE software, often making the post production process a nightmare, the Blackmagic Cinema Camera includes absolutely no custom video file formats, and every file type included is open standard. It records into CinemaDNG format for RAW files, ProRes and DNxHD for HD resolution files compatible with Final Cut Pro X and Avid Media Composer.

The built in large LCD display makes focus easy, and allows playback of captured files. Blackmagic Cinema Camera includes a built in microphone, as well as external jack based mic/line level balanced audio connections. When playing back recorded clips, a speaker is built in, and there is an included headphone socket, as well as embedded audio on the SDI output and Thunderbolt connection. The SDI output includes all camera data such as timecode, transport control, shutter angle, color temperature setting and ASA information overlaid in attractive anti aliased fonts.

For easy metadata entry, the built in LCD features fast and responsive capacitive touch screen technology. When the user taps the display with a finger, a data entry window called the "slate" appears. This lets the user enter shot information just like typing on a smart phone. This data is then stored in the files so can be accessed by NLE software when editing content later. Metadata is compatible with popular software such as Final Cut Pro X and DaVinci Resolve. All camera settings can be changed on this touch LCD, such as frame rate, shutter angle, color temperature, dynamic range, focus assist settings and more.

Blackmagic Cinema Camera includes an innovative industrial design built from solid machined aluminum metal which results in an attractive but rugged design. All of the camera, recorder and display have been shrunk down into a lightweight design thats very portable.

"This is one of the most exciting products we have ever created and its been a work in progress for a very long time," said Grant Petty, CEO, Blackmagic Design. "Ever since I was a telecine engineer back in the 1990's I have wished that video cameras would include features that allowed them to perform creatively similar to film. However current digital cameras are too heavy, way too expensive and need costly accessories to work. We felt there was a need for a camera that delivered these features in a design that's optimized for professional video shoots, as well as being a compact, elegant design that's easily affordable. We think we have achieved that!"

Blackmagic Cinema Camera Key Features

High resolution 2.5K sensor allows improved anti aliasing and reframing shots.
Super wide 13 stops of dynamic range allows capture of increased details for feature film look.
Built in SSD allows high bandwidth recording of RAW video and long duration compressed video.
Open file formats compatible with popular NLE software such as CinemaDNG 12 bit RAW, Apple ProRes and Avid DNxHD. No custom file formats.
Includes no custom connections. Standard jack mic/line audio in, BNC 3 Gb/s SDI out, headphone, high-speed Thunderbolt I/O technology, LANC remote control and standard DC 12-30V power connection.
Capacitive touch screen LCD for camera settings and slate metadata entry.
Compatible with extremely high quality Canon EF and Zeiss ZF lenses.
Supports 2.5K and 1080HD resolution capture in 24, 25, 29.97 and 30 fps.
Thunderbolt connection allows direct camera capture via included Media Express software and supports live waveform monitoring via the included Blackmagic UltraScope software.
Includes a full copy of DaVinci Resolve 9.0 color grading software.
Availability and Price

Blackmagic Cinema Camera will be available July 2012 for US$2,995 from Blackmagic Design resellers worldwide.

 
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