Video Cameras-Sony HDR-SR7 Hi Def HD Camcorder

Features:

• 3.0 Megapixel
• 20x Optical Zoom
• 60GB Hard Drive
• AVCHD High Definition file format
• Super Steady Shot (electronic image stabilization)
• Built-in flash

Credit:mcbaincamera.com

Canon HG10 Hi-Def Camcorder

The Canon HG10 AVCHD Format Hard Disk Drive Camcorder delivers high definition technology with the effortless ease of recording video directly onto a hard disk. Incorporating the latest AVCHD (Advanced Video Codec High Definition) format, it puts superb image reproduction and advanced features at your fingertips in a compact AVCHD Format HDD camcorder, which means you'll carry it everywhere you want to capture the special moments in your life in true HD.

Among the Canon Exclusive features on the HG10 are Canon's own Full HD CMOS sensor and advanced DIGIC DV II image processor. More exclusives are SuperRange Optical Image Stabilization, Instant Auto Focus and our new 2.7" Widescreen Multi-Angle Vivid LCD. With the Genuine Canon 10x HD video zoom lens and a host of other advanced features the HG10 is the right choice in HDD camcorders.

Credit:mcbaincamera.com

Sony DSC H5 Digital

Clad in black, the new DSC-H5 model has a 7.2-megapixel CCD imager and extra-large, three-inch LCD screen. It also shimmers in silver along with the stage-worthy DSC-H2 model, which has a six-megapixel imager and two-inch LCD. Both cameras flaunt Carl Zeiss® Vario-Tessar 12x optical zoom lenses and focal length ranges of 36 to 432 millimeters (35 mm equivalence).

Features:

• 7.1 Megapixel
• 12x Optical Zoom (36mm - 432mm 35mm equiv.)
• 3.0'' LCD screen
• Sony’s Super SteadyShot® optical image stabilization
• Sony Memory Stick slot

Sony DSC G1 Digital

The G1 model is Sony’s first digital camera with the ability to send photos wirelessly to other Digital Living Network Alliance (DLNA)-enabled devices, such as another camera or a PC. The G1 model features a 3.5-inch LCD screen with resolution of 921,000 pixels. Lubell said that’s four times higher than the average compact digital camera and all previous Sony Cyber-shot models. The new camera’s slide show with music function makes sharing photos directly on the camera even more enjoyable.

Features:

• 6 Megapixels
• 3x optical zoom
• 3.5'' Lcd Screen
• Super Steady Shot

For more information, visit http://www.sonystyle.ca

Olympus Stylus 1030SW (silver)

The camera that redefines tough. The Stylus 1030 SW is one tough camera. The Shockproof, Waterproof, Freezeproof and Dustproof design gives active people the confidence to take this camera anywhere and shoot in nearly any condition. Plus, the wide-angle lens lets users capture more of what they see. Great for divers, surfers, rafters, skiers and anyone with an active lifestyle.

SHOCKPROOF (6.6FT).
Accidents happen. A rugged metal body and revolutionary shock-absorbing construction are designed to withstand a 6.6-foot fall, drop or other mishap.

WATERPROOF (33FT).
Innovative waterproof seals and gaskets allow you to take underwater movies and amazing pictures in a pool, lake or ocean.

FREEZEPROOF (14°F).
Perfect for skiing, snowboarding, sledding and other winter fun, this camera is winterized to perform at below-freezing temperatures.

CRUSHPROOF (220 LBF).
With a rugged body and reinforced LCD, the Stylus 1030 SW withstands up to 220 pounds of pressure so your camera and images are protected.

3.6x WIDE-ANGLE ZOOM LENS.
A wider field of view ensures you’ll never miss anyone or anything in your shot. Great for shooting landscapes, underwater scenery, group portraits and amazing panoramic pictures.

Features:

• 10.1 Megapixel
• 3.6x wide-angle optical zoom (35mm equivalent: 28–102mm)
• Shock Proof (6.6ft)
• Waterproof (33ft)
• Freezeproof (14ºF)
• Crushproof (220LBF)
• 2.7” HyperCrystal™ II LCDFor more information, visit http://www.olmpuscanada.com/

Canon PowerShot SD1100 IS (blue)

Canon PowerShot SD1100 IS (blue)

Colour communicates. It introduces you before you say a word, making PowerShot SD1100 IS Digital ELPH the ultimate image-maker. Five fashion-forward hues expressed in pure aluminum add a new burst of excitement to Canon’s Perpetual Curve design. Of course, a camera that brings out the best in you also delivers Canon’s most advanced technology features. Call it style with substance, for a new level of picture taking pleasure.

Features:

• 8.0 Megapixel
• 3x Optical Zoom
• Optical Image Stabilizer
• Face Detection Technology
• Motion Detection Technology
• DIGIC III Image Processor for sharper images and improved functionality
• 2.5-inch PureColour LCD II

What's in the box?

• Lithium-ion Battery Pack NB-4L
• Battery Charger CB-2LV
• SD Memory Card SDC-32M
• Wrist Strap WS-DC2
• Digital Camera Solution CD-ROM
• USB Interface Cable IFC-400PCU
• AV Cable AVC-DC300

For more information, visit http://http//:www.canon.ca

Top 5 Digital SLR Cameras for Consumers

The digital SLR is a marriage of the best of both worlds: the convenience of a digital camera with the flexibility of an SLR. Once priced sky-high, now they are starting to drop in price. Here are the top cheap digital SLRs for consumers and first-time SLR beginners.

1. Canon EOS Rebel XTi Digital SLR

The Canon Digital Rebel SLR was the first digital SLR to enter the price realm of the typical consumer, and it was the first to cost less than $1,000. In automatic mode, it's a dazzling point-and-shoot. You also have the option of taking control over the camera. There are few bad things to say about this popular 10.1-megapixel camera.

2. Nikon D40x Digital SLR Camera

This recent addition to the consumer digital SLR lineup at Nikon features loads of bang for the buck. You get 10.2 megapixels, you can shoot three frames per second, and it features a large and vivid LCD screen. It's comfortable to hold, and the menu is easy to use. The in-camera editing is also handy.

3. Pentax K100D Digital SLR Camera

This digital SLR proves you don't have to drop a lot of money to make the switch from point-and-shoot to SLR. This is one of the least expensive SLRs on the market at around $500 retail price, and its smaller size makes it easier for adjusting to the bulk of an SLR. It also features 11-point autofocus and 6.1 megapixels.

4. Sony Alpha A100 Digital SLR Camera

Sony's debut on the digital SLR front has lots of features, but is still simple to use for recent SLR converts. Some of its features will specifically make capturing a great picture easier. Instead of the autofocus enabling when you press the shutter button, it focuses as soon as you put eye to viewfinder. It also features 9-point autofocus, manual exposure control and the choice between Compact Flash and Memory Stick memory cards.

5. Olympus EVOLT E-510 Digital SLR Camera

This is a high-quality, low-price addition to the consumer level digital SLR options. This 10 megapixel digital SLR features image stabilization and an impressive dust reduction system.
Credit: cameras.about.com

Major Components of an Hd Video Camera

All video cameras contain 3 major components - the lens, imager, and recorder. The lens gathers and focuses the light on the imager, which is normally a charge coupled device (CCD) or CMOS sensor IC. Finally, the recorder will encode the video signal into a form that can be stored. Commonly, the optics and imager are known as the camera section.

The optic lens is the first component in the camera section's light path. The optics normally have one or more the following adjustments:
1. aperture - controls the amount of light
2. zoom - controls the field of view
3. shutter speed - captures continuous motion
In most consumer units, these adjustments are automatically controlled by the video camera's electronics, normally to maintain constant exposure onto the imager.

The imager is the "eye" of the camera, housing a photo sensitive device or devices. The imager works to convert light into an electronic video signal through an elaborate electronic process. The camera lens projects an image to the imager surface,
exposing the photo sensitive array to the light.

The light exposure is then converted into an electrical charge. Towards the end of the timed exposure, the imager will convert the accumulated charge into a continuous analog voltage at the imager's output terminals.

The third piece, the recorder, is responsible for writing the video signal to a recording medium, such as magnetic videotape. The recording function involves many steps of signal processing, and historically, the recording process introduced some distortion and noise to the stored video, such that the playback of stored signal may not retain the same detail as the original live feed.

All but the most primitive of video cameras will also need to have a recorder controlling section which will allow you to control the camera. You can also swich the recorder into playback mode for reviewing your recorded footage.

The image you recorded doesn't need to be limited to what appeared in the view finder. For a documentation of events such as those used by the police, the fields of view will overlay such things as the time and date of the recording along the top and bottom of the image.
As you can probably tell now, a high definition video camera is very complex indeed. There are several other parts involved as well, although the above are the most important. A HD video camera is very complex in build, making it something
that is more than worth the time it takes to create.
Credit: www.articlesbase.com

Canon 10.1MP Digital SLR Camera with 2.5 In. LCD and EF-S 18-55mm Zoom Lens

Rebel XTi offers an unbeatable combination of performance, ease-of-use and value. It has a newly designed 10.1 MP Canon CMOS sensor plus a host of new features including a 2.5-inch LCD monitor, the exclusive EOS Integrated Cleaning System featuring a Self Cleaning Sensor and Canon's Picture Style technology, all in a lightweight, ergonomic body. The Digital Rebel XTi is proof positive that Canon continues to lead the way with their phenomenal digital SLRs.
Image resolution up to 3888 x 2592
Picture Style settings for a broad range of control over color, contrast and sharpening
Uses NB-2LH Li-Ion battery pack
Uses Compact Flash® Type I and II memory cards
Includes EF-S 18-55mm f3.5-5.6 IS USM zoom lens, Li-Ion battery (NB-2LH) and charger, AV and USB cables, eyecup, neck strap and software
MFG Model # : DIG-REB-XTI-SLV/LENS
MFG Part # : DIG-REB-XTI-SLV/LENS
Credit to: homedepot.com

Canon EOS 400D/Rebel XTi Digital Camera with 18-55mm Lens

What is Canon Digital Rebel XTi with Lens Kit? The Digital Rebel XTi is a digital SLR (Single-Lens Reflex) camera with 10.1-Megapixel resolution. The camera is also known as Canon EOS 400D. The stead progression of Canon’s consumer-level digital SLR cameras included the original Digital Rebel with 6 MP of resolution and the Digital Rebel XT with 8-Megapixel resolution. The XTi supports interchangeable lenses of Canon EOS series. The kit also includes the 18-55 mm f/3.5-5.6 EF-S USM lens, which is 28-90 mm equivalent (the APS-C Size CMOS sensor warrants 1.6x conversion factor). The camera has a 3:2 aspect ratio APS-C size CMOS sensor, which is perfect for 6x4 prints and very close to other formats people usually choose for printing. The sensor in the new model is self-cleaning and uses ultrasonic vibrations to remove dust from its low-pass filter (EOS Integrated Cleaning System). The camera stores the images on inexpensive Compact Flash memory cards and is powered by a rechargeable proprietary battery pack (same battery as the previous model). The XTi features fast Digic II processor and in addition to JPEG can record images in RAW format. The camera has a built-in flash as well as the hot shoe for external flashes. The camera has automatic modes as well as manual ones. The camera has a large 2.5-inch LCD screen with 230,000 pixels and an optical through-the-lens viewfinder. The camera uses a CMOS sensor instead of a CCD that most other cameras use. The lens features manual and automatic focusing and a solid construction. The camera supports ISO 100-1,600 and features USB 2.0 connectivity.
Improvements over Digital Rebel XT The improvements over its predecessor include smaller and lighter body, higher resolution, larger LCD screen with higher resolution, dust removal system, Display Off sensor, 9-point AF (vs. 7-point) and faster focusing.
Getting Started The camera and the lens arrived in one box. I did not bother even opening the manual, but was able to attach the lens to the camera, charge and insert the battery and the CF memory card that I have and was ready to shoot. You should also attach the supplied shoulder strap to the camera (I was just too eager to try the camera out). The manual is obviously worth reading; especially its part that pertains to attaching the lens. It describes how to align marks on the lens and the body. Also, make sure there is no excessive dust present where you are attaching the lens, because the dust is a big problem and a headache if it gets on the sensor (CMOS), even though the new camera has dust-reduction technology. In the Box The camera comes with its lens (if purchased as a kit), battery pack, battery charger, strap, video and USB cables, manuals and software.
Usage Once I opened the box, I immediately noticed how well constructed the camera and the lens are. The camera is pretty light for a digital SLR and rather compact. The lens has the zooming and focusing rings that require just enough effort to rotate to have solid feel. The memory compartment lid is solid as is the door of the battery compartment. The camera came pre-set to its automatic mode and I was able to take pretty good pictures in that mode by switching the lens into automatic focus mode (the switch is on the lens itself) and just pointing and shooting. The camera even pops its flash up when there is not enough light. This mode is obviously designed to let even people who are not familiar with photography take good pictures. If you have used a compact digital camera before, you might be surprised that you cannot use the LCD when composing the shot. The screen stays blank until you take the picture. Aside from this kind of review, the screen is also used for menus and control functions. You use the viewfinder to compose the shot, confirm the focus in manual focus mode or the focus points in the automatic focus mode. The new IR sensor turns the LCD screen off when you are composing the shot so that the light from it does not interfere with you looking into the viewfinder, especially at night. The camera no longer has a separate LCD for shooting parameters and therefore uses its 2.5-inch LCD screen for this function as well (basic shooting information like shutter speed, aperture and exposure compensation). This is probably more energy consuming, but better from the packaging standpoint. The shooting parameters are also shown in the viewfinder, under the frame. The camera lets you adjust the shooting parameters (aperture on aperture priority mode or shutter speed in the shutter priority mode) by rotating the thumb-wheel on the top of the handgrip. Overall, the controls are mostly carried over from the previous model, which is a good thing since the ergonomics are excellent. Ergonomics and Ease of Use The XTi is convenient to hold. The handgrip has good surface texture and configuration and the lens lends itself to being held by your left hand, SLR-style. The viewfinder is slightly dim with the supplied lens (the lens has a maximum aperture of f/3.5 at wide angle or f/5.6 at telephoto) but adequate for most situations. The major controls are within easy reach. As with any SLR camera, you have to remember that you zoom using the ring around the lens and manually focus (should you decide to forgo autofocus) by rotating the outer barrel of the lens as well. The camera shows you where it focused in the automatic mode by briefly illuminating the selected focus points within the viewfinder, which is convenient. The tripod mount is located well and the camera is stable when mounted on a tripod. The menu system is easy to use and some functions are called directly by a push of a designated button (e.g. ISO). The supplied (kit) lens has an outer barrel that rotates when focusing, which may make using a polarizer difficult. The zooming ring has clearly marked focal lengths, but the focusing ring has no distance markings. It is difficult to expect a non-rotating barrel on a cheap kit lens though. Parameters The camera lets you adjust a wide range of parameters. The resolution goes up to 10 MP. There are also two modes of RAW shooting: RAW and RAW+JPEG Fine, where the JPEG file is the largest and best quality. Very convenient. The RAW files that I got were larger than 10 MB in size! Also, take note, the 8MP Fine JPEG images can be up to 5 MB in size. You can also adjust the ISO (100-1,600), white balance, sharpness, contrast and other shooting parameters using the menus. The menus are quite easy to use and appear fast. Performance The camera would power on or off instantaneously, but the sensor cleaning takes time and takes about 2 second with sensor cleaning. The focusing is very fast at under a second, even in the dim environments (the camera has an autofocus-assist light that is engaged when the built-in flash is engaged). Automatic focusing now uses 9-points and has improved speed. The shutter lag is virtually absent when pre-focused or when using the camera’s manual focus. The camera can take pictures at about 3 frames per second. In RAW mode it does it for 9 consecutive frames, then slows down to 1-2 seconds per shot. In JPEG mode, takes 9 frames at 3 fps, then slows down to about 1 fps. Image Quality I mostly used the camera in its RAW mode, adjusting white balance, contrast and other parameters in Adobe Photoshop CS2. The JPEG pictures were very pleasing in color, had good white balance and color saturation. All images had very low noise levels, excellent detail level and dynamic range. The kit lens produces generally sharp results with slightly soft corners at full wide angle and full telephoto ends. There is some purple fringing (chromatic aberrations) at wide angle, but nothing visible at telephoto. The lens makes corners softer at widest aperture settings, but behaves better stopped down. I discovered that the JPEG files could use better automatic white balance. The automatic white balance made photos taken in incandescent light too warm and photos taken in sunlight slightly too cold. Still, the colors were pleasing and worked well in full auto mode. The noise levels are very low. There is no noise visible at ISO 100-400. At ISO 800, there is some noise, but it has fairly fine pattern. And there is more noise at ISO 1600, but not as much as what consumer-level compact digital cameras produce at ISO 400 (except for Fuji SuperCCD cameras). The camera produces 10-Megapixel images that can be printed as large as 13x19 at pretty much any ISO up to 800 and ISO 1600 photos will look great at smaller sizes. Heavy cropping with smaller-size prints is an option as well. Battery Life The battery that comes with the camera should be being able to produce 360 shots with partial use of flash or 500 shots with no flash use. I took about 120 photos with no signs of battery depletion. About the Kit Lens The supplied lent is solidly built and works well enough for an inexpensive kit lens. For general photography it will be sufficient. But if you are going to crop extensively and print resultant crops rather large, you might need a better lens (e.g. fixed lens or a more expensive zoom).
Credit to : epinions.com

Nikon D80

Building on the success of the D70 and D70s, the new D80 digital SLR is the latest addition to this high performance camera line, and incorporates Nikon's latest digital and photographic technologies.

Nikon D80 review | Logicamera: "Nikon D80 DSLR"

Nikon D80 review | Logicamera: "Nikon D80 DSLR

With a new 10.2 effect"

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With a new 10.2 effective megapixel DX Format CCD image sensor and an exclusive high-resolution color processing engine inherited from Nikon’s latest professional digital SLR cameras, the D80 can render images with incredible resolution, sharp detail and vibrant color that is unmatched in this class of cameras. And it can shoot these images fast – at speeds of up to 3 frames per second, for up to 100 consecutive shots (in JPEG Normal mode.)
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Specifications

- 10.2-Megapixel CCD imager yielding 3872 x 2592 pixel images
- Slimmer and more compact body than its predecessors
- 2.5-inch color LCD with 230,000 pixels with 170-degree viewing angle
- Digital Vari-Program, Program w/shift, Shutter priority, Aperture priority and Manual
- Exclusive Nikon 3D-Color Matrix II metering
- ISO sensitivity from 100 to 1600 in 1/3 steps
- Shutter speeds from 1/4000 to 30 seconds, flash sync to 1/200
- Onscreen menu for Playback, Shooting, Custom functions and Setup
- High ISO Noise Reduction with three settings (Normal, High, Low)
- Compressed RAW and JPEG formats in three quality levels and sizes
- Secure Digital memory card storage
- USB data and control interface
- High-capacity EN-EL3e battery and compact MH-18a Quick Charger
- Optional MB-D80 Multi-Power Battery pack
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The D80 includes a larger 2.5-inch 230,000-dot high-resolution LCD, that provides an ultra-wide 170-degree viewing angle. Navigating the spacious preview of your images is easy with a new dedicated Zoom button, magnifying images on screen up to 25 times their original size. A new RGB histogram display aids in evaluating exposures with greater precision. Other playback options include single frame, 4 or 9-image thumbnail display, an improved histogram display and highlight point display. A new menu interface featuring refinements to the carefully chosen color scheme and increased font size makes navigation easier on the eye, easier to understand and easier to use. Menus can be customized to display only selected items using the new "My Menu" set.

For anyone just beginning to enjoy the added performance and versatility of a digital SLR, creative shooting is as simple as rotating the Digital Vari-Program mode dial on the camera. The D80 has seven pre-configured exposure modes to optimize the camera for specific shooting conditions and greatly increase the chances of taking a great photograph. In “Portrait” Mode, for example, the camera automatically optimizes the color, hue, and saturation levels to capture the most flattering skin tones, softens the focus of the background to emphasize the face and applies a milder form of in-camera sharpening. Users can choose from Auto, Portrait, Landscape, Close-Up, Sports, Night Landscape or Night Portrait.

A new 11-area auto-focus system detects focus with superb precision and can even track a moving subject across the frame, shifting focus instantly and automatically to any of the 11 auto-focus points. The D80’s large, bright 0.94x viewfinder affords a remarkable view, making critical composition easier. The camera’s rechargeable battery can last up to 2700 shots on a single charge, while also providing a real-time "Fuel Gauge" of the percentage of charge remaining in the battery at all times. The D80 is also compatible with Nikon’s AF Nikkor lenses as well as the new DX Nikkor lenses, which are designed exclusively for use with Nikon DX format digital SLRs.

One of the key advances developed for the D80 is Nikon's own high-resolution image processing engine that inherits best-of-breed technologies from Nikon's latest professional digital SLR cameras, including color independent analog pre-conditioning and high-precision 12-bit digital image processing algorithms, which combine to produce natural-looking images that benefit from faithful color and tone reproduction. This new dedicated high-performance processing chip greatly accelerates performance on all levels, while also achieving lower power consumption, assuring more pictures per battery charge.

The D80 also benefits from Nikon's exclusive 3D Color Matrix Metering II, to ensure accurate exposures, even in the most challenging lighting conditions. Evaluating, rather than merely measuring or averaging the true content of each scene, input from the system's frame-wide 420-pixel sensor is automatically referenced against an onboard database of over 30,000 scenes from actual photography to calculate final exposure value. Variable Center-Weighted metering and Spot metering centered on the active focus area are also available, as are exposure compensation and auto exposure bracketing.

The optional MB-D80 battery pack helps extend the shooting capabilities of the D80 with an ergonomic design that adds shooting stability. Able to run on either one or two EN-EL3e rechargeable batteries or six AA-size batteries, the pack also features an additional command dial and alternative buttons for shutter release and AE-Lock/AF-Lock that make vertical shooting more comfortable.

The D80 is available now for US$999.95 for body only and US$1299.95 for body and lens outfit, including the new 18-135mm f/3.5-5.6G AF-S IF-ED DX Nikkor Lens.
Credit to : www.logicamera.com

Canon PowerShot A640 review

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Canon PowerShot A640 review

The Canon A640 is a 10-megapixel point-and-shoot camera that is perfect for casual users who'd like a little extra power in their hands.
Canon PowerShot A640

The PowerShot A640 and A630 digital cameras are equipped with high resolution 10.0 and 8.0 Megapixel CCDs respectively. Both cameras feature the same body design, high-quality Canon 4x Optical Zoom lens, optical viewfinder as well as a 2.5-inch Vari-Angle LCD screen.
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Specifications

- 10 Megapixel
- 4x optical zoom / 4x digital zoom
- 2.5" vari-angle color LCD with up to 10x playback zoom
- Auto focus, auto and manual exposure
- Advanced TTL AiAF 9-point autofocus system
- Program AE, Shutter-speed priority, Aperture priority and Manual modes
- Pre-programmed creative scene modes for beginners
- Movie mode w/sound, 640x480 30fps up to 1GB
- 1.5fps Continuous burst capture of Large/Fine images
- Low-light focus assist illuminator
- Light-guide zoom flash, angle changes with focal length
- ISO 80-800
- JPEG file format
- 4 AA batteries
- Secure Digital Card Storage (32MB Internal)
- Direct print and PictBridge Compatible
- USB 2.0 high-speed connectivity for PC and Mac
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Both cameras are equipped with a 9-point AiAF “Smart” autofocus system and 21 shooting modes. The standard Shooting Modes are Full Auto, Program, Shutter-priority, Aperture-priority, Manual, and Custom with additional modes including Portrait, Landscape, Night Scene, Special Scene (10 varieties), Stitch Assist and Movie. Both models are capable of recording 30 fps VGA movies with sound for up to 36 minutes when using an optional 4GB SD memory card.

Two new shooting features for the A-Series line are Safety Zoom and Digital Tele-converter. The Safety zoom function allows users to comfortably explore digital zoom without sacrificing image quality while the new Digital Tele-converter digitally emulates having a traditional tele- converter attached.

Canon’s enhanced (from previous models) "My Colors" mode provides PowerShot users with an incredible range of creative photo effects, which can be accessed directly from the camera with no need for post-processing in a computer. Consumers can adjust a specific color within an image to modify the look and feel of their picture. Available My Color playback modes include Vivid Blue, Vivid Green, Vivid Red, lighter and darker skin tones, as well as options for creating black & white, sepia, neutral and positive film effects. Where previously, users could only enable "My Colors" while shooting, the updated My Colors mode lets users retouch captured images as well, without the need for special software applications or tools.

Because of Canon’s proprietary DIGIC II (Digital Imaging Integrated Circuit) image processor, consumers can enjoy long battery life, smooth operation, accurate color reproduction, and excellent image quality. The DIGIC II chip combines the roles of image processing and camera function control into one chip, resulting in faster display and write times for each image and lower power consumption, which extends battery life.

Whether it is raising your camera above your head to get a shot of your child at her first dance recital or dropping your camera below your knees to watch your baby crawl for the first time, the large 2.5-inch vari-angle color LCD screen increases the ability to get those hard to view, but essential shots. The A640 and A630 digital cameras use four AA batteries, while providing more shots (up to 500 with LCD screen on, based on CIPA standards when using rechargeable NiMH batteries) than previous models, thanks to reductions in power consumption made possible by improvements in key components and circuit design.

Optional accessories include NiMH Rechargeable Battery & Charger Kit CBK4-300, AC Adapter Kit ACK900, Underwater Housing WP-DC8, High Power Flash HF-DC1, Conversion Lens Adapter LA-DC58F and the choice of wide-angle, telephoto and macro supplementary lenses. (These are the same supplementary lenses used by Canon’s high-end PowerShot G6 digital camera.)

The Canon PowerShot A640 and A630 Digital cameras will be available in October for estimated selling prices of $399.99 and $299.99. Credit to : www.logicamera.com

Camera System : Storage Card

Storage cards are to digital cameras what films are to conventional cameras. They are removable devices which hold the images taken with the camera. Storage cards are keeping up with the rapidly changing digital camera market and are trending in the following direction:

larger capacities (several GB) and faster write speeds to accommodate higher resolution images and shooting in RAW
lower prices per MB or GB of storage
smaller form factors for smaller digital cameras

The only downside of all this good news is a proliferation of storage card formats, making it more difficult to use cards across different cameras, card readers, and other devices (such as PDAs, MP3 players, etc). The image and table below give you an idea of how the sizes of typical formats compare:

Card Type Dimensions in mm Volume in mm³
CompactFlash II / Microdrive 42.8 x 36.4 x 5.0 7,790
CompactFlash I 42.8 x 36.4 x 3.3 5,141
Memory Stick 50.0 x 21.5 x 2.8 3,010
Secure Digital 32.0 x 24.0 x 2.1 1,613
SmartMedia 45.0 x 37.0 x 0.8 1.332
MultiMediaCard 32.0 x 24.0 x 1.4 1,075
Memory Stick Duo 31.0 x 20.0 x 1.6 992
xD Picture Card 25.0 x 20.0 x 1.7 850
Reduced Size MultiMediaCard 18.0 x 24.0 x 1.4 605

CompactFlash
CompactFlash is a proven and reliable format compatible with many devices and generally ahead of other formats in terms of storage capacity. Capacities above 2.2 GB require that your camera supports "FAT32". CompactFlash comes in Type I and II which only differ in thickness (3.3mm and 5.0mm) with Type I being the most popular for flash memory, while Type II is used by microdrives.

Microdrives
Pioneered by IBM, microdrives are minute hard disks that come in CompactFlash Type II format and typically offer larger storage capacities at a cheaper cost per megabyte. However, CompactFlash has been catching up with higher capacity cards. Microdrives use more battery power, create more heat (which can result in more noise) and have a higher risk of failure because they contain moving parts.
SmartMedia
Bigger in surface than CompactFlash but much thinner, they are more fragile and known to be less reliable. This format is gradually being phased out of the market with virtually no new cameras being announced supporting this format.
Sony Memory Stick
Yet another standard, set by Sony but now also manufactured by others such as Lexar Media. The main drawback is that there are fewer cameras using this type of memory, although their number is gradually increasing. So if you buy another brand of camera later on, you may not be able to use your memory sticks. Memory sticks are more expensive per megabyte because there is less competition in the market. Although their capacity continues to increase, they tend to lag behind CompactFlash in terms of maximum capacity. Several variants exist such as Sony Memory Stick with Select Function, Sony Memory Stick Pro, Sony Memory Stick Duo, and Sony MagicGate.
Secure Digital (SD)
Supported by the SD Card Association (SDA), this compact type of memory card allows for fast data transfer and has built-in security functions to facilitate the secure exchange of content and includes copyright (music) protection which makes them more expensive than the similar MultiMediaCards which we will discuss next. SD cards have a small write-protection switch on the side, similar to what floppy disks have.

MultiMediaCard/SecureMultiMediaCard/Reduced Size MultiMediaCard (MMC/SecureMMC/RS-MMC)
Supported by the MultiMediaCard Association (MMCA), MultiMediaCards have the same surface but are 0.7mm thinner than SD cards and have two pins less. Hardware-wise MMC cards fit in SD card slots and many, but not all, SD devices and cameras will accept MMC cards as well. Check out the specs before you buy. Two variants are SecureMMC, similar to SD, and Reduced Size MMC.
xD Picture Card
Another format aimed at very small digital cameras, developed by Olympus, Fujifilm, and Toshiba.

Other Formats
Older formats include floppy disks and PCMCIA cards. A few models support writing on to 3-inch CD-R/RW discs. Some low-end cameras don't have removable storage cards but instead have built-in flash RAM memory. Credit to : Vincent Bockaert

Camera System : Sensor Linearity

Sensors are linear devices. If you double the amount of light, the sensor output will double, as long as the pixels are not full (*). Once a pixel reaches full capacity, it will give a constant or "clipped" output. Human vision is non-linear, as explained in the dynamic range topic. A doubling of the light in low light conditions has a much larger effect than in bright conditions. Our vision amplifies the shadows and compresses the highlights.

Sensors respond in a linear way (*) to light while human vision responds in a non-linear way which is often approximated by a power curve of about 0.45. So what the sensor measures as "127" is perceived by the human vision as about "186".

If we expose this sensor until the pixels are full, then the brightest pixels will output a value of 254 (255 would be clipped). If we halve the amount of light, the brightest pixels will output a value of 127. This implies that the brightest stop uses up half of the 255 available tones and this is where human vision is least sensitive. There are only a few tones left to describe the darkest stops, where human vision is more sensitive. This creates a very dark linear RAW image with a histogram skewed to the left.

Sensors (red curve) respond in a linear way to light while human vision (green curve) responds in a non-linear way which is often very roughly approximated by a gamma curve of 1/2.2. So what the sensor measures as "127" is perceived by the human vision as about "186" (or "2047" is perceived as "2988", as indicated in these 12 bit graphs). The blue curve is a typical tonal curve applied to the linear data to compensate for the human vision and to compress the dynamic range into the smaller dynamic range of the monitor or printer in such a way that it is pleasing to the human eye.

Therefore digital cameras apply a tonal curve to the linear raw data so that images viewed on a monitor or printed images are more pleasing to the eye. Applying a gamma correction of 1/2.2=0.45 will allocate more tones to the shadow areas and fewer tones to the highlight areas in line with the characteristics of our vision. When working in a gamma 2.2 color space like sRGB or Adobe RGB the images will appear perceptually uniform on a monitor or print, avoiding posterization (banding).
In reality cameras and raw converters go beyond a gamma correction and apply more of an S-shaped (on a logarithmic scale) curve to the data in order to "compress" the larger dynamic range so it can be represented on a monitor or print in a way that it is pleasing to the human eye.

(*) In practice, there are some non-linearities in the darkest shadows and brightest highlights. Also, some cameras, e.g the Nikon D2X, preprocess the sensor data before the ADC. Credit to : Vincent Bockaert

Camera System : Pixel Quality

The marketing race for "more megapixels" would like us to believe that "more is better". Unfortunately, it's not that simple. The number of pixels is only one of many factors affecting image quality and more pixels is not always better. The quality of a pixel value can be described in terms of geometrical accuracy, color accuracy, dynamic range, noise, and artifacts. The quality of a pixel value depends on the number of photodetectors that were used to determine it, the quality of the lens and sensor combination, the size of the photodiode(s), the quality of the camera components, the level of sophistication of the in-camera imaging processing software, the image file format used to store it, etc. Different sensor and camera designs make different compromises.

Geometrical Accuracy
Geometrical or spatial accuracy is related to the number of pixel locations on the sensor and the ability of the lens to match the sensor resolution. The resolution topic explains how this is measured at this site. Interpolation will not improve geometrical accuracy as it cannot create what was not captured.

Color Accuracy
Conventional sensors using a color filter array have only one photodiode per pixel location and will display some color inaccuracies around the edges because the missing pixels in each color channel are estimated based on demosaicing algorithms. Increasing the number of pixel locations on the sensor will reduce the visibility of these artifacts. Foveon sensors have three photodetectors per pixel location and create therefore a higher color accuracy by eliminating the demosaicing artifacts. Unfortunately their sensitivities are currently lower than conventional sensors and the technology is only available in a few cameras.

Dynamic Range
The size of the pixel location and the fill factor determine the size of the photodiode and this has a big impact on the dynamic range. Higher quality sensors are more accurate and will be able to output a larger dynamic range which can be preserved when storing the pixel values into a RAW image file. A variant of the Fujifilm Super CCD, the Super CCD SR uses two photodiodes per pixel location with the objective to increase the dynamic range. A more sensitive photodiode measures the shadows, while a less sensitive photodiode measures the highlights.

Noise
The pixel value consists of two components:
(1) what you want to see (the actual measurement of the value in the scene)
(2) what you do not want to see (noise).
The higher (1), and the lower (2), the better the quality of the pixel. The quality of the sensor and the size of its pixel locations have a great impact on noise and how it changes with increasing sensitivity.

Artifacts
Besides noise, there are many other types of artifacts that determine pixel quality.

Conclusion
Unfortunately there is no single standard objective quality number to compare image quality across different types of sensors and cameras. For instance, a 3 megapixel Foveon type sensor uses 9 million photodetectors in 3 million pixel locations. The resulting quality is higher than a 3 megapixel but lower than a 9 megapixel conventional image and it also depends on the ISO level you compare it at. Likewise, a 6 megapixel Fujifilm Super CCD image is based on measurements in 3 million pixel locations. The quality is higher than a 3 megapixel image but lower than a 6 megapixel image. A 6 megapixel digital compact image will be of lower quality than a 6 megapixel digital SLR image with larger pixels. To determine an "equivalent" resolution is tricky at best.

End of the day, the most important thing is that you are happy with the quality level that comes out of your camera for the purpose that you need it for (e.g. website, viewing on computer, printing, enlargements, publishing, etc.). I strongly recommend that you look beyond megapixels when purchasing a digital camera. Credit to : Vincent Bockaert

Camera System : Microlenses

To overcome the limitations of a low fill factor, on certain sensors an array of microlenses is placed on top of the color filter array in order to funnel the photons of a larger area into the smaller area of the light sensitive photodiode.

Microlens funnels the light of a larger area into the photodiode (indicated in red) of the pixel Electron microscope image of real microlenses

Camera System : Manual Focus

Manual focus disables the camera's built-in automatic focus system so you can focus the lens by hand (*). Manual focus is useful for low light, macro or special effects photography. It is very important when the autofocus system is unable to get a good focus lock, e.g. in low light situations. Note that some digital cameras allow you to manually focus only to a few preset distances. Higher-end digital cameras allow focusing using the normal focus ring on the attached lens, just like in conventional photography.

(*) In digital cameras, manual focus is often implemented on a fly-by-wire basis, whereby the manual inputs to focus in or out are relayed to the autofocus system which effects the change in focus.Credit to : Vincent Bockaert

Camera System : Effective Pixels

Effective Number of Pixels
A distinction should be made between the number of pixels in a digital image and the number of sensor pixel measurements that were used to produce that image. In conventional sensors, each pixel has one photodiode which corresponds with one pixel in the image. A conventional sensor in for instance a 5 megapixel camera which outputs 2,560 x 1,920 images has an equal number of "effective" pixels, 4.9 million to be precise. Additional pixels surrounding the effective area are used for demosaicing the edge pixels, to determine "what black is", etc. Sometimes not even all sensor pixels are used. A classical example was Sony's DSC-F505V which effectively used only 2.6 megapixel (1,856 x 1,392) out of the 3.34 megapixel available on the sensor. This was because Sony fitted the then new 3.34 sensor into the body of the previous model. As the sensor was slightly larger, the lens was not able to cover the whole sensor.

So the total number of pixels on the sensor is larger than the effective number of pixels used to create the output image. Often this higher number is preferred to specify the resolution of the camera for marketing purposes.

Interpolated Number of Sensor Pixels
Normally, each pixel in the image is based on the measurement in one pixel location. For instance, a 5 megapixel image is based on 5 million pixel measurements, give and take the use of some pixels surrounding the effective area. Sometimes a camera with, for instance, a 3 megapixel sensor, is able to create 6 megapixel images. Here, the camera calculates, or interpolates, 6 million pixels of information based on the measurement of 3 million effective pixels on sensor. When shooting in JPEG mode, this in-camera enlargement is of better quality than those performed on your computer because it is done before JPEG compression is applied. Enlarging JPEG images on your computer also makes the undesirable JPEG compression artifacts more visible. However, the quality difference is marginal and you are basically dealing with a slower 3 megapixel camera which fills up your memory cards twice as fast—not a good trade-off. It is similar to what happens when you use a digital zoom. Interpolation cannot create detail you did not capture.

Fujifilm's Super CCD Sensors
Normally sensor pixels are square. Fujifilm's Super CCD sensors have octagonal pixels, as shown in this diagram. Therefore, the distance "d2" between the centers of two octagonal pixels is smaller than the distance "d1" between two conventional square pixels, resulting in larger (better) pixels.

However, the information has to be converted to a digital image with square pixels. From the diagram you can see that, for a 4 x 4 area of 16 square pixels, only 8 octagonal pixel measurements were used: 2 red pixels, 2 blue pixels, and 4 green pixels (1 full, 4 half, and 4 quarter green pixels). In other words, 6 megapixel Super CCD images are based on the measurement by only 3 million effective pixels, similar to the above interpolated example, but with the advantage of larger pixels. In practice the resulting image quality is equivalent to about 4 megapixel. The drawback is that you have to deal with double the file size (leading to more storage and slower processing), while enjoying a quality improvement equivalent to only 33% more pixels. Credit to : Vincent Bockaert
(http://www.dpreview.com/learn/?/Glossary/Camera_System/effective_pixels_01.htm)

Camera System : Connectivity

A digital camera's connectivity defines how it can be connected to other devices for the transfer, viewing, or printing of images, and to use the camera for remote capture.

Image Transfer
Early digital cameras used slow RS232 (serial) connections to transfer images to your computer. Most digital cameras now feature USB 1.1 connectivity, with higher end models offering USB 2.0 and FireWire (IEEE 1394) connectivity. Manufacturers generally bundle such cameras with cables and driver software.
Note that real transfer rates are always lower than the theoretical transfer rates indicated in the table below. Practical transfer speeds depend on your computer hardware and software configuration, the type of camera or reader, the type and quality of the storage card, whether you are reading or writing (reading is faster than writing), the average file size (a few large files transfer faster than many small ones), etc.
Instead of connecting the camera with a cable to your computer you can also insert the storage card into the PC Card slot of your notebook or a dedicated card-reader.

Theoretical Transfer Speeds Transfer Rate
USB 2.0 - Low-Speed = USB 1.1 Minimum 1.5 Mbps
USB 2.0 - Full-Speed = USB 1.1 Maximum 12 Mbps
USB 2.0 - High-Speed 480 Mbps
FireWire/IEEE1394 100-400 Mbps
Practical Transfer Speeds Approx. Transfer Rate
Digital Camera USB 1.1 ~ 350 KB/s
Digital Camera FireWire ~ 500 KB/s
USB 1.1 Card Reader ~ 900 KB/s ~ 7 Mbps
PC/PCMCIA Card Slot on notebook ~ 1,300 KB/s ~ 10 Mbps
USB 2.0 or FireWire Card Reader ~ 3,200 KB/s ~ 25 Mbps

A transfer rate of 1 Megabit per second (Mbps) equals 128 Kilobytes per second (KB/s) and is able to transfer 7.5 Megabytes of information per minute or about four 5 megapixel JPEG images.

Remote Capture
On some cameras, the connection to transfer images can also be used for remote capture and time lapse applications.

Video Output
Most digital cameras also provide video (and sometimes audio) output for connection to a TV or VCR. More flexible cameras allow you to switch output between the PAL and NTSC video standards. Cameras with infrared remote controls make it easy to do slideshows for friends and family from the comfort of your armchair.

Print Output
Some digital cameras, e.g. those with PictBridge and USB Direct Print support, allow you to print images directly from the camera to an enabled printer via a USB cable without the need for a computer. Although printing directly from a digital camera is convenient, it eliminates one of the key benefits of digital imaging—the ability to edit and optimize your images.Credit to : Vincent Bockaert (http://www.dpreview.com/learn/?/Glossary/Camera_System/connectivity_01.htm)

Camera System : Color Filter Array

Each "pixel" on a digital camera sensor contains a light sensitive photo diode which measures the brightness of light. Because photodiodes are monochrome devices, they are unable to tell the difference between different wavelengths of light. Therefore, a "mosaic" pattern of color filters, a color filter array (CFA), is positioned on top of the sensor to filter out the red, green, and blue components of light falling onto it. The GRGB Bayer Pattern shown in this diagram is the most common CFA used.

Mosaic sensors with a GRGB CFA capture only 25% of the red and blue and just 50% of the green components of light.

Red channel pixels
(25% of the pixels) Green channel pixels
(50% of the pixels) Blue channel pixels
(25% of the pixels) Combined image

As you can see, the combined image isn't quite what we'd expect but is sufficient to distinguish the colors of the individual items in the scene. If you squint your eyes or stand away from your monitor your eyes will combine the individual red, green, and blue intensities to produce a (dim) color image.

Red, Green, and Blue channels after interpolation Combined image

The missing pixels in each color layer are estimated based on the values of the neighboring pixels and other color channels via the demosaicing algorithms in the camera. Combining these complete (but partially estimated) layers will lead to a surprisingly accurate combined image with three color values for each pixel. Credit to : Vincent Bockaert (http://www.dpreview.com/learn/?/Glossary/Camera_System/color_filter_array_01.htm)

Camera System : Batteries

Most digital cameras use either rechargeable Lithium-ion batteries or rechargeable/disposable AAs.

Disposable AAs
Given the high power consumption of digital cameras, it is economically and environmentally unjustified to use disposable batteries other than in emergency situations when your rechargeables are depleted. Disposable Lithium AAs are more expensive than Alkalines, but having about three times the power packed in half the weight, they are ideal to carry with you as a backup.

Rechargeable AAs (NiCd and NiMH)
NiMH (Nickel Metal Hydride) rechargeable AA batteries are much better than the older NiCd (Nickel Cadmium) AAs. They have no "memory effect" (explained below) and are more than twice as powerful. Capacities are constantly improving and differ per brand.

Rechargeable Lithium-ion Batteries
Li-ion (Lithium-ion) rechargeable batteries are lighter, more compact, but more expensive than NiMH batteries. They have no memory effect and always come in proprietary formats (there are no rechargeable Li-ion AAs). Some cameras also accept disposable Lithium batteries, such as 2CR5s or CR2s via an adapter, ideal for backup purposes.

Charging
Example of Lithium-ion battery and adapter to accommodate three CR2 Lithium batteries.

Fully charged batteries will gradually lose their charge, even when not used. So if you have not used your camera for a few weeks, make sure you bring a freshly charged battery along on your shootout. Charging NiCD batteries before they are fully discharged will reduce the maximum capacity of subsequent charges. As the effect gets stronger when repeated often, it is called "memory effect". It is therefore recommended to recharge the batteries only after they are fully depleted. To a lesser extent, this is also useful for NiMH or Lithium-ion batteries, although they have virtually no memory effect. Doing so will also increase the life span of the battery which is determined by the number of "charge-discharge" cycles that depends on the type and brand.Credit to : Vincent Bockaert
(http://www.dpreview.com/learn/?/Glossary/Camera_System/batteries_01.htm)

Camera System-AF Assist Lamp

Some manufacturers fit their cameras with a lamp (normally located beside or above the lens barrel) which illuminates the subject you are focusing on when shooting in low light conditions. This lamp assists the camera's focusing system where other cameras autofocus will likely have failed. These lamps usually only work over a relatively short range, up to about 4 meters. Some lamps use infrared light instead of visible light which is better for "candid" shots where you don't want to startle the subject. Notable higher end external flash systems feature their own focus assist lamps with far greater range.


The focus assist lamp on this Canon PowerShot S50 is located above the lens and beside the flash. It serves a double purpose. Firstly it fires a beam of patterned white light in low light situations which helps the auto focus system to get a lock. Secondly, when the flash and anti-red- eye are enabled it remains lit for as long as you half-press the shutter release to reduce the size of the subject's pupils and thus reduce the chance of red eye.
Hologram AF found on some Sony cameras works by projecting a crossed laser pattern onto the subject. This bright laser pattern helps the camera's contrast detect AF system to lock on to the subject. The system works well as long as the subject is large enough to be covered by several laser lines.
Credit to:Vincent Bockaert(www.dpreview.com/learn/?/Glossary/Camera_System/af_assist_lamp_01.htm)

Top cameras of the last five days: Digital Photography Review

Top cameras of the last five days: Digital Photography Review