Panasonic introduces new line of mini camcorders

Panasonic HX-WA10 (Credit: Leonard Goh/CNET Asia)

QUEENSTOWN, New Zealand--Panasonic today unveiled a new series of mini camcorders which allows users to capture full-HD videos and high-resolution still images. 

The HX-WA10 is a rugged videocam that features a flip-out display and aesthetics similar to that of the Sanyo Xacti camcorders. The WA10 is waterproof up to depths of 3m, which makes it suitable for recording by the beach or pool. It can snap 16-megapixel photos, too. There is also the DC10, which doesn't have the waterproof function but gains a larger LCD. 

Panasonic TA20 (Credit: Leonard Goh/CNET Asia)

Panasonic also introduced the TA20 and TA2 pocket camcorders. Both shooters have a 3-inch touchscreen LCD and voice recording feature. The TA20 is tougher, with waterproof and shockproof specifications of 3m and 1.5m, respectively. The duo also sport a Night View mode, which boosts the brightness of the scene digitally to allow users to record clips in low-light conditions. 

We will update this story with details of prices and availability once we get more information.

Via Cnet

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Sony Alpha and NEX updates at CP+

The translucent chassis of the unnamed midrange Alpha dSLR. (Credit: Sony)

At the CP+ imaging tradeshow in Yokohama, Japan, Sony announced plans for its Alpha dSLRs lineup. 

This year, photographers can expect a midrange dSLR that employs a translucent mirror, much like the SLT-A55 and A33. The electronics firm showed off a mockup unit that's clad in a translucent chassis for visitors to see the internal mechanisms. 

Sony also announced development plans for a new standard zoom lens, 500mm F4 G optics, hotshoe flash and vertical grip. 

Mock up of the 500mm F4 G lens. (Credit: Sony)

For the mirrorless NEX system, the lens roadmap was shown. What's interesting is the 24mm Zeiss optics for this imaging format. If you recall, a few days earlier Carl Zeiss issued a statement saying that the company has joined the Micro Four Thirds consortium. So, it appears that the lens manufacturer is not tied to making optics for only one mirrorless imaging standard. 

Sigma's prototype of the 30mm F2.8 E-mount lens. (Credit: DC Watch)

Yesterday, Sony announced that it will open up the specifications for its E-mount to lens manufacturer for free. Sigma appears to have already hopped on the bandwagon, and showed a prototype of a 30mm F2.6 prime lens at CP+ for the NEX system. But what's also surprising is that the Japanese lens maker has announced it has just joined the Micro Four Thirds group. 

Sony's roadmap for E-mount lenses. (Credit: Sony)

From the looks of it, it seems like the biggest winner in the race for mirrorless interchangeable lens cameras (ILC) are the optics company. Will this move spur Canon and Nikon to unveil their own mirrorless ILCs soon?

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Nikon joins the F1.8 compact club

Even after using a preproduction model for the past few days, I've really had a hard time classifying the new Nikon Coolpix P300. As part of its P series, geared to enthusiasts, you'd think Nikon was taking on models like the popular Canon PowerShot S95 and the newOlympus XZ-1. But while it has the basic black, no-nonsense design, fast lens and broad manual feature set of those models, it uses a relatively small but backside-illuminated (BSI) 1/2.3-inch sensor similar to mainstream consumer cameras like the Ixus 300 HS--it's priced lower than the former and higher than the latter. 

Overall, I really like the camera's design. Though it lacks the lens-ring control of the Canon and the Olympus, the P300's pair of dials--one on the top right and one doubling as four-way switches for exposure compensation, macro, flash and self-timer--provide a nice feel for fast shooting adjustments. Despite being on the small side, it's still fairly comfortable to hold, with a grippy stripe in the front for extra security. And the popup flash's split design means that you still have a spot on the top left for your fingers while the flash is open. The LCD looks big, bright, and relatively high resolution as well. I also like the dedicated movie-record button, which doesn't require choosing a dedicated mode on the dial. 

My one gripe with the design is the menu and delete buttons, which sit below the navigation dial, are too flat and difficult to feel. 

As for features, here's a comparative summary:Like a lot of cameras with BSI sensors, it has several multishot modes for improved low-light quality. 

I have to admit; as part of the P series, I really expected that this would be Nikon's answer to the S95--an ultracompact with the P7000's sensor--rather than the Ixus 300 HS, though no doubt Nikon sensibly enough considers the manual controls sufficient reason to position it this way. 

As for its potential, a lot will be riding on image quality and performance (we can't comment on those based on the preproduction unit); ultimately, it's not worth paying more for a nice set of manual controls if it doesn't deliver on the photo quality. We look forward to putting it to the test. 

Via Crave CNET

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Fujifilm X100 price announced, and it's not going to be cheap

(Credit: Fujifilm)

The Fujifilm FinePix X100 isn't news. In fact, it's been previewed, twittered and generally overexposed (if you'll pardon the expression) for months now. And yet, until today, we haven't had US pricing or availability for it. The wait is over: It'll be available in March, and you'll be shelling out US$1,195.95 for it. 

From a market standpoint, the X100 is a bit of an oddball. In spirit, it seems closest to theLeica X1, another expensive rangefinder-style compact using an APS-C-size sensor. But the X1, while it doesn't seem to be officially discontinued, is out of stock at a lot of outlets and no replacement has been announced. I don't know whether that's a commentary on the X1's US$2,000 price tag or the size of the market for a product like this. 

I do think the potential X100 user may also overlap with those attracted to less expensive cameras like the Olympus E-P2 or Panasonic Lumix DMC-GF2: They're rangefinderish-style cameras with a relatively large sensor that you can slap a nice prime lens on. 

Fujifilm seems to be hoping that people will find the much talked-about hybrid viewfinder, larger sensor and cool design are worth the price premium. The viewfinder toggles between optical (like a point-and-shoot's, but higher quality with an information overlay) and electronic, which is nice to have. The large sensor is definitely an attraction, with its potential for better-than-average low-light quality, especially compared to the smaller Four Thirds sensors. And yes, the design is cool, though many of the controls are laid out like it's just a big 'ol point-and-shoot. 

Via Crave CNET

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Canon extends supertelephoto lens range with 200-400mm model

Canon's EF 500mm f/4L IS II USM supertelephoto is set to debut in May with a price of about US$9,500. (Credit: Canon)

Canon disclosed prices for previously announced overhauls of its 500mm and 600mm supertelephoto lenses, but more unusually, announced a new 200-400mm model that will join the company's already large lens family. 

Nikon and Canon, locked in fierce competition for professional photographers, often have similar lens models, but Nikon for years has offered a highly regarded and newly refurbished 200-400mm supertele zoom while Canon stuck with its increasingly elderly 100-400mm design. Now Canon is countering with the EF 200-400mm f/4L IS USM Extender 1.4x. 

Some of the nomenclature should look familiar: f/4L means a continuous maximum aperture of F4 and Canon's L-series attributes of durability, image quality, and weatherproofing; IS denotes image stabilization, which counteracts lens shake and is just about essential in long telephotos; USM means a quiet, fast ultrasonic focusing motor. 

New, though, is the term "Extender": The lens includes a built-in 1.4x telephoto extender that increases the focal length to 560mm but drops the maximum aperture to f5.6. Canon sells standalone 1.4x and 2x telephoto extenders, but it's not clear how exactly the built-in model works. Presumably it will be less disruptive to engage than removing a large telephoto lens and attaching the extender between the lens and camera body. And photographers doubtless will hope the fact that it's tailored to the lens will mean it provides higher optical quality than the general-purpose telephoto extenders. 

Canon didn't share many other details about the 200-400mm lens besides that it'll use fluorite crystal, which helps magnify an image without as much image-marring chromatic aberration as more conventional glass lens elements. 

One tidbit to watch will be whether it's a fixed-length design adjusted with a traditional zoom ring vs. the push-pull design that some photographers dislike about the 100-400mm product. And of course the price, size, and weight will help determine how deeply this lens will spread into the ranks of amateur bird and safari photographers. 

Canon will show a prototype of the 200-400mm lens at the CP+ tradeshow in Pacifico Yokohama starting February 9. 

Although the 200-400mm has a narrower zoom range than the 100-400mm model, a shorter range typically comes with fewer optical compromises to distortion, sharpness, chromatic aberration, and vignetting. One definite benefit: The 200-400mm has a wider maximum aperture of F4, compared to F5.6 at full telephoto on the US$1,600 100-400mm lens. 

New 500mm and 600mm models 
Closer to the here-and-now are the revamped 500mm and 600mm models, which Canon announced last August. Brace yourself here for some prices only a professional or very serious amateur can handle. 

The EF 500mm f/4L IS II USM is due to ship in May with a price of US$9,500, and the EF 600mm f/4L IS II USM lens is due in June for about US$12,000. 

That's a big step up from the first-generation models, which at B&H Photo today cost US$6,700 and US$8,650, respectively. But the second-generation models come with several improvements: New optical ingredients Canon says produce better image quality; improved image stabilization that Canon promises will counteract shaking to the tune of 4 F-stops (enough, at least in theory, to shoot stationary subjects at 1/60 of a second vs. 1/1000 of a second); and an anti-smear coating on the front and rear lens elements; and new internal lens coatings to reduce ghost and flare problems. 

Helping in the new era of video SLRs is quieter image stabilization and the new power focus mode that enables smoother mechanically controlled focus changes. Finally, the new lenses get a new image stabilization mode that engages IS only when the shutter is pressed, which is convenient to avoid the jerky side effects of tracking a moving subject. 

Image quality is front and center. "Both lenses will outperform their predecessors through the use of two fluorite elements over the previous one fluorite and two UD [ultra-low dispersion] glass elements. More fluorite results in better image quality as it reduces chromatic aberration to a greater degree than UD glass," Canon said. "The reduction of chromatic aberration contributes to superior resolution, contrast, and color fidelity." 

Most noticeably, though will be the dramatically lower weight for these monster lenses through use of lighter optical elements and more magnesium and titanium in the lens barrel. The 500mm model drops 18 percent from from 3,870g to 3,190g, and the 600mm drops 27 percent from 5,360g to 3,920g, Canon said. You'll still need a tripod or monopod, but at least carting these lenses will be easier with 680g pared off the 500mm model and more than 1.4kg pared off the 600mm. 

Canon has just overhauled its 300mm and 400mm F2.8 models with comparable weight reductions. 

Also today, Canon announced it's built 60 million lenses for its SLR line. The vast majority of those, of course, come along with mainstream camera models such as Canon's new 600D and1100D entry-level dSLRs. Those cameras come with a new second-generation 18-55mm kit lens with improved image stabilization, Canon said. 

Via CNET

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Pentax K-5 gets silver paint job, matching lenses

The silver K-5 dSLR. (Credit: Pentax)

Pentax, never one to shy away from attention-grabbing colors for its dSLRs, will be gracing us with a retro black-and-silver limited-edition version of its K-5 midrange dSLR. In addition to the cosmetics, the K-5 Limited Edition Silver model will also have a thicker grip than the standard model and more durable glass protecting the display and status LCD. 

The limited edition 40mm lens. (Credit: Pentax)

The limited edition 70mm lens. (Credit: Pentax)

The company will also release three of its prime lenses to match, the smc PENTAX-DA 21mm F3.2 AL Limited Silver, the smc PENTAX-DA 40mm F2.8 Limited Silver, and the smc PENTAX-DA 70mm F2.4 Limited Silver. When this shiny crowd-pleaser ships in April in the US, the body will cost about US$100 more than the basic black model. Pricing on the lenses has not been announced. 

Via Crave CNET

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Sony's E-mount specifications to open to all lens makers

As with SLRs, lenses make the system and Sony needs a lot for its NEX ILCs.
(Credit: Sony)

Hmmm. Earlier today, both Zeiss and Schneider announced plans to manufacture lenses for the Olympus/Panasonic-brainchild Micro Four Thirds (MFT) mount for ILC (interchangeable lens) cameras. Hours later, a note from Sony has popped up in my inbox stating that it will open its competing E-mount specification up--free of a license fee--to all lens and adapter makers, starting in April. 

When you think about it, Sony really didn't have much of a choice. Whatever inroads MFT has made in the market is partly attributable to the availability of lenses and adapters for legacy lenses. But it's also worth it for those lens and adapter makers because there's more than one manufacturer's body that can take 'em. Sony may be opening up the spec for lenses, but at least for now it will remain the sole manufacturer of E-mount bodies. It will be interesting to see what impact the lack of a license fee has on manufacturer incentives given the smaller pool of consumers. Especially since there are only three products that currently support that mount: The NEX-5, the NEX-3, and the NEX-VG10. 

Via Crave CNET

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