when only $200 separates the two cameras. Pictures below, and check out a video walkthrough done by our Engadget Show Producer / Canon enthusiast Chad Mumm after the break. 
You're looking at Canon's new 4k "Multipurpose" concept, a wondrous amalgamation of still and video cameras pumping 60 frames per second at 4k resolution out of an 8 megapixel 2/3-inch CMOS sensor. Yep, we said 4k video, approximately quadruple the resolution of 1080p. We had a chance to go hands-on with the prototype at Canon Expo 2010, and believe us when we tell you that it's really, really sharp, both in terms of hardware and the images it produces. The hardware is essentially a giant SLR body packing a fixed video-style lens complete with zoom and focus controls and a high-def flip-out LCD viewfinder (we're told it's the same LCD found in Canon's new XF-300 and XF-305 video cameras).
We were told by a Canon rep that, unlike competing camera-maker RED's offerings, the Multipurpose concept is not specifically designed for digital cinema. Instead, it's intended to offer "multipurpose image capture," which seems to imply something like the continuous photography promised by Canon's other futuristic prototype. And although we're told that the 4k Multipurpose camera will never come to market, it certainly sends a bold message to an industry content with 1080p that higher resolutions like 4k are coming down the pipe and aren't just the realm of boundary-pushing cinema nerds. But don't take our word for it, check out our hands-on video with this beast after the break.
»
it was just a twinkle in our articulating screen of a peripheral vision. And now it's official -- my, how times have changed. Here's what we know about the 50D successor (with definite nods to the Rebel T2i's feature set): the 18-megapixel DSLR has a single DIGIC 4 processor and boasts 1080p H.264 video with an in-camera movie editing feature, manual audio level control, a "flexible" (read: articulating) 3-inch LCD screen, an ISO range of 100-6,400 purported to be expandable to 12,800, and support for processing RAW images from within the camera itself. Look for the little photo shooter to hit retail at the end of September for just a dollar under $1,100 body only, or $1,400 with a bundled 18-135mm f/3.5-5.6 IS zoom lens. You know the drill: pics below, press release and video after the break. 
and Rebel T2i
not a soul mentioned manually exposed video, but if you were personally plagued by a jittery aperture when shooting said footage with certain lenses (a bug that previously appeared in the 5D Mark II
) you'll be happy to hear Canon diligently decided to fix the issue anyhow. The 1.0.8 firmware updates for both aforementioned DSLRs are now available at our source link, but unless you've personally had a problem they may not be worth your time; Canon's changelog shows aside from fixing a few menu misspellings, the new code does absolutely nothing else.
The DP Review gang (motto: "blood in / blood out") has just done another one of its world famous superzoom group camera tests, and the results are guaranteed to frighten and enlighten you. Both the Panasonic FZ35
and Canon SX20 IS
were singled out for boffo kudos (that's right -- boffo kudos). Apparently they're "the most refined models in this test," with lenses deemed "sharp across the zoom range," and kickass quality images and HD video. Of course, each of these bad boys has its own character, with the Canon feeling more like an entry-level DSLR to the reviewer, even with "by far the best viewfinder in this test." Panny's entry, on the other hand, gets points for portability and an intuitive user interface. Besides those two guys, there are a half dozen or so other cameras in the test. How did your favorite hold up? Hit the source link to check it out for your own self.
and Canon SX20 IS were singled out for boffo kudos (that's right -- boffo kudos). Apparently they're "the most refined models in this test," with lenses deemed "sharp across the zoom range," and kickass quality images and HD video. Of course, each of these bad boys has its own character, with the Canon feeling more like an entry-level DSLR to the reviewer, even with "by far the best viewfinder in this test." Panny's entry, on the other hand, gets points for portability and an intuitive user interface. Besides those two guys, there are a half dozen or so other cameras in the test. How did your favorite hold up? Hit the source link to check it out for your own self.
is pretty confident that by then it'll have figured out how to do a single lens capable of going from macro shots all the way out to a 5000mm focal length. And yes, apparently it's small enough to fit in a young girl's hands. This non-interchangeable lens is backed by an all-touch interface (say sayonara to your knobs and dials), an extremely high-resolution sensor, and image stabilization so advanced as to make shooting at that unspeakably high zoom range a viable option. Finally, the whole lurid dream is topped off with video-only capture. Canon argues you won't need to shoot stills when its video is capable of keeping everything in focus all the time -- you'll just pick out your favorite scene from the movie reel. Go past the break to see the highfaultin video demo.
A classic SLR film camera
gutted and given a digital upgrade -- blasphemy? Maybe, but there's no denying that this mod by Diego Monge is plenty impressive. He started out with a Canon AE-1 Program SLR, and apparently simply stuffed the guts of a compact digital camera of some sort inside, resulting in what he calls the AE-1 Program Digital -- a 9-megapixel camera complete with image stabilization, a functional flash, and 4GB of memory (non-removable, it seems).
Unfortunately, there doesn't seem to be any details on the build process, let alone a how-to, but you can at least get a glimpse of it in action in the video after the break.
gutted and given a digital upgrade -- blasphemy? Maybe, but there's no denying that this mod by Diego Monge is plenty impressive. He started out with a Canon AE-1 Program SLR, and apparently simply stuffed the guts of a compact digital camera of some sort inside, resulting in what he calls the AE-1 Program Digital -- a 9-megapixel camera complete with image stabilization, a functional flash, and 4GB of memory (non-removable, it seems).Unfortunately, there doesn't seem to be any details on the build process, let alone a how-to, but you can at least get a glimpse of it in action in the video after the break.
Canon has done it again. Last year the Canon EOS Rebel T1i ($899.99, 
) along with the Nikon D5000 ($729.95, ) led the D-SLR revolution by being the first sub-$1,000 models to offer high-definition video. Capture is limited to 720p, but both cameras are capable of broadcast-quality video. The new EOS Rebel T2i ($899.pp list with 18-55mm IS kit lens) is Canon's update to the T1i, and is currently the only sub-$1,000 D-SLR to offer 1080p30, 1080p24 and 720p60 HD video capture. Its spectacular image quality, versatile video recording options, and relatively low price earn the T2i our Editors' Choice award.
Design and Features
The T2i features the same APS-C size (22.3 by 14.9mm) 18-megapixel image sensor used in the pricier Canon EOS 7D ($1,699,), allowing the camera to deliver similar image quality and video capture options. Just keep in mind, the 7D still offers several key advantages over the T2i: Its larger body has more physical controls; it captures 8 frames per second (compared to the T2i's 3.7 fps) in continuous mode; and offers more than double the number of autofocus points as the T2i (19 vs. 8).
The body of the T2i looks much like the T1i. Both cameras are similar in size, with the T2i measuring 3.8 by 5.1 by 3 inches (HWD). The T2i weighs 1.6 lbs with its included 18-55mm lens, and 1.14 lbs without. The body is smaller than the 7D, however, sacrificing controls like the large scroll wheel that makes cruising through menus such a pleasure on the 7D. Instead, button layouts look more like a compact point and shoot camera, with up, down, left and right buttons. This layout worked just fine for me, however, and the T2i is still comfortable to hold.
The T2i's 3-inch LCD is the largest and sharpest display on any D-SLR camera to date, offering VGA resolution (1.04 million dots). The top-of-the-line $4,999 Canon EOS-1D Mark IV has a 920K-dot LCD screen with a 4:3 aspect ratio, measuring 1.75 by 2.38 inches (HW), while the T2i's display has a 3:2 aspect ratio and measures 1.75 by 2.5 (HW) inches.
Canon sticks with the same user interface (UI) on all of its Rebel cameras, which is nearly identical to its mid-range and professional line. The UI is simple and intuitive, but you need to be familiar with D-SLRs in order to use many of the camera's features. (An Auto mode is offered for beginners, however.) D-SLR cameras from Sony offer even more intuitive user interfaces, going as far as to teach beginners to use some of the cameras' advanced features—the Sony Alpha DSLR-A230 ($549.99,
) features this interface. Olympus also makes a similar attempt with its new Micro Four thirds camera, the E-PL1 ($599.99, ). Performance Tests
Though the T2i can power on and snap its first shot in an average of just 1.38 seconds, its continuous shooting speed is limited to 3.7 frames per second (fps). The camera is unable to process images more quickly, due to its 18-megapixel sensor. By comparison, the 12.4-megapixel Pentax K-x captures images at 4.7 fps and 12.3-megapixel Nikon D5000 shoots 4 fps.
After testing the T2i using the Imatest suite in PC Labs, I found the image quality comparable to the 7D. The 18-55mm kit lens that ships with the T2i produced very sharp images, slightly sharper than the 17-85mm lens I used when testing the 7D. The 18-55mm kit lens that ships with the T2i produced very sharp images that were actually slightly sharper than the 17-85mm lens I used when testing the 7D. At the T2i's sharpest f-stop (f/5.6), the camera averaged 2,296; 2,258; and 1,885 lines per picture height at ISO 100, 200 and 400, respectively. The Canon 7D averaged 1,999; 1,975; and 1,882 lines at the same ISO sensitivities.
Also like the 7D, the T2i can shoot at up to ISO 6400, but our test results indicated that images shot at ISO 6400 showed distracting amounts of noise. You can shoot at ISO 3200 without noticeable noise, however. In this regard, the camera truly excels, letting you shoot without the flash in low-light situations.
HD Video Capture
The Canon T2i is without a doubt the best sub-$1,000 D-SLR for recording videos—it offers all the popular HD resolutions and frame rates, including 1080p30, 1080p24, 720p60. Until the T2i was released, the only camera to offer these video capture options was the twice-the-price Canon 7D.
Video captured with the T2i is suitable for professional use, and advanced options (such as manual control of shutter speed, aperture, etc.) make this an excellent choice for pros. Other photographers may prefer the intuitive feel of a camcorder, however—using a D-SLR to capture video can be difficult, considering that D-SLR cameras were originally designed with still photography in mind, not video. As a result, the built-in microphone often picks up lens noise, and autofocus is very sluggish while recording video (or capturing stills in live view mode), since the otherwise speedy phase detection AF system is bypassed in these modes. The only cameras to overcome this hurdle are Micro Four Thirds models, including the Panasonic Lumix DMC-GF1 ($899.95,) and the Olympus E-PL1 ($599.99, ).
Unlike the 7D, which shoots to CF memory cards, the T2i can write to SD/SDHC memory cards. In fact, the T2i is the first Canon Rebel to offer support for SDXC cards, which are identical in physical size to SD cards but theoretically will be able to store up to 2 terabytes of data while achieving read and write speeds of up to 300 Mbps. SDXC cards have a long way to go before they live up to their full potential, however—cards are currently only available in 48 and 64 GB sizes with 10Mbps read and write speeds, and prices are exorbitant.
The T2i includes mini-HDMI and mini-USB ports—the inclusion of these standard ports means you won't need to search high and low to find a replacement, especially when traveling overseas, where proprietary cables will likely not be available. The mini-HDMI port also supports Consumer Electronics Control (CEC)—if your HDTV also supports this feature, your television remote will be able to control the camera without the need for programming. Also, when you power on the camera, your HDTV will power on and switch to the corresponding input the T2i is plugged into. When the camera is turned off, it will turn off the HDTV too.
At $899, the Canon EOS Rebel T2i is an extraordinary value. It offers excellent image quality and all of the mainstream HD video recording resolutions. Overall, the majority of the T2i's improvements over its predecessor are video-related, though. So if HD video versatility is not a priority for you, consider purchasing a Canon T1i or Nikon D5000—both cameras can shoot 720p HD video and have come down in price since they were released, making them a better value for photographers primarily interested in shooting stills.
(from internet)
) along with the Nikon D5000 ($729.95, ) led the D-SLR revolution by being the first sub-$1,000 models to offer high-definition video. Capture is limited to 720p, but both cameras are capable of broadcast-quality video. The new EOS Rebel T2i ($899.pp list with 18-55mm IS kit lens) is Canon's update to the T1i, and is currently the only sub-$1,000 D-SLR to offer 1080p30, 1080p24 and 720p60 HD video capture. Its spectacular image quality, versatile video recording options, and relatively low price earn the T2i our Editors' Choice award. Design and Features
The T2i features the same APS-C size (22.3 by 14.9mm) 18-megapixel image sensor used in the pricier Canon EOS 7D ($1,699,
), allowing the camera to deliver similar image quality and video capture options. Just keep in mind, the 7D still offers several key advantages over the T2i: Its larger body has more physical controls; it captures 8 frames per second (compared to the T2i's 3.7 fps) in continuous mode; and offers more than double the number of autofocus points as the T2i (19 vs. 8). The body of the T2i looks much like the T1i. Both cameras are similar in size, with the T2i measuring 3.8 by 5.1 by 3 inches (HWD). The T2i weighs 1.6 lbs with its included 18-55mm lens, and 1.14 lbs without. The body is smaller than the 7D, however, sacrificing controls like the large scroll wheel that makes cruising through menus such a pleasure on the 7D. Instead, button layouts look more like a compact point and shoot camera, with up, down, left and right buttons. This layout worked just fine for me, however, and the T2i is still comfortable to hold.
The T2i's 3-inch LCD is the largest and sharpest display on any D-SLR camera to date, offering VGA resolution (1.04 million dots). The top-of-the-line $4,999 Canon EOS-1D Mark IV has a 920K-dot LCD screen with a 4:3 aspect ratio, measuring 1.75 by 2.38 inches (HW), while the T2i's display has a 3:2 aspect ratio and measures 1.75 by 2.5 (HW) inches.
Canon sticks with the same user interface (UI) on all of its Rebel cameras, which is nearly identical to its mid-range and professional line. The UI is simple and intuitive, but you need to be familiar with D-SLRs in order to use many of the camera's features. (An Auto mode is offered for beginners, however.) D-SLR cameras from Sony offer even more intuitive user interfaces, going as far as to teach beginners to use some of the cameras' advanced features—the Sony Alpha DSLR-A230 ($549.99,
) features this interface. Olympus also makes a similar attempt with its new Micro Four thirds camera, the E-PL1 ($599.99, ). Performance Tests Though the T2i can power on and snap its first shot in an average of just 1.38 seconds, its continuous shooting speed is limited to 3.7 frames per second (fps). The camera is unable to process images more quickly, due to its 18-megapixel sensor. By comparison, the 12.4-megapixel Pentax K-x captures images at 4.7 fps and 12.3-megapixel Nikon D5000 shoots 4 fps.
After testing the T2i using the Imatest suite in PC Labs, I found the image quality comparable to the 7D. The 18-55mm kit lens that ships with the T2i produced very sharp images, slightly sharper than the 17-85mm lens I used when testing the 7D. The 18-55mm kit lens that ships with the T2i produced very sharp images that were actually slightly sharper than the 17-85mm lens I used when testing the 7D. At the T2i's sharpest f-stop (f/5.6), the camera averaged 2,296; 2,258; and 1,885 lines per picture height at ISO 100, 200 and 400, respectively. The Canon 7D averaged 1,999; 1,975; and 1,882 lines at the same ISO sensitivities.
Also like the 7D, the T2i can shoot at up to ISO 6400, but our test results indicated that images shot at ISO 6400 showed distracting amounts of noise. You can shoot at ISO 3200 without noticeable noise, however. In this regard, the camera truly excels, letting you shoot without the flash in low-light situations.
HD Video Capture
The Canon T2i is without a doubt the best sub-$1,000 D-SLR for recording videos—it offers all the popular HD resolutions and frame rates, including 1080p30, 1080p24, 720p60. Until the T2i was released, the only camera to offer these video capture options was the twice-the-price Canon 7D.
Video captured with the T2i is suitable for professional use, and advanced options (such as manual control of shutter speed, aperture, etc.) make this an excellent choice for pros. Other photographers may prefer the intuitive feel of a camcorder, however—using a D-SLR to capture video can be difficult, considering that D-SLR cameras were originally designed with still photography in mind, not video. As a result, the built-in microphone often picks up lens noise, and autofocus is very sluggish while recording video (or capturing stills in live view mode), since the otherwise speedy phase detection AF system is bypassed in these modes. The only cameras to overcome this hurdle are Micro Four Thirds models, including the Panasonic Lumix DMC-GF1 ($899.95,
) and the Olympus E-PL1 ($599.99, ).Unlike the 7D, which shoots to CF memory cards, the T2i can write to SD/SDHC memory cards. In fact, the T2i is the first Canon Rebel to offer support for SDXC cards, which are identical in physical size to SD cards but theoretically will be able to store up to 2 terabytes of data while achieving read and write speeds of up to 300 Mbps. SDXC cards have a long way to go before they live up to their full potential, however—cards are currently only available in 48 and 64 GB sizes with 10Mbps read and write speeds, and prices are exorbitant.
The T2i includes mini-HDMI and mini-USB ports—the inclusion of these standard ports means you won't need to search high and low to find a replacement, especially when traveling overseas, where proprietary cables will likely not be available. The mini-HDMI port also supports Consumer Electronics Control (CEC)—if your HDTV also supports this feature, your television remote will be able to control the camera without the need for programming. Also, when you power on the camera, your HDTV will power on and switch to the corresponding input the T2i is plugged into. When the camera is turned off, it will turn off the HDTV too.
At $899, the Canon EOS Rebel T2i is an extraordinary value. It offers excellent image quality and all of the mainstream HD video recording resolutions. Overall, the majority of the T2i's improvements over its predecessor are video-related, though. So if HD video versatility is not a priority for you, consider purchasing a Canon T1i or Nikon D5000—both cameras can shoot 720p HD video and have come down in price since they were released, making them a better value for photographers primarily interested in shooting stills.
(from internet)
A little time with a Micro Four Thirds digital camera was enough to convince me it's time to trade up.
Content with my Canon EOS Digital Rebel's 6 megapixels and large 18- to 55-mm lens, I've resisted the siren song of more powerful, multi-megapixel cameras. My Canon was the most expensive camera I'd ever bought. It was also my first and only digital SLR. Prior to owning it, I'd taken analog film shots, with an excellent 35-mm Minolta.
It's not that I haven't strayed now and then. When I go on business trips, I often take a point and shoot—usually one of the excellent Canon PowerShots we have on hand—because they're so much smaller. I've fallen in love with their zoom capabilities, which are better than my D-SLR, as well as their ability to shoot video. I've also tried more than a few high-end D-SLRs, including some awesome models from Nikon. They take amazing photos, and Nikon usually outfits them with powerful telephoto lenses, which came in handy a couple of years ago when I used one to take some shots at the New York Mets' last home game at Shea Stadium. Yet, despite all of this high praise, I never wanted to dump my Rebel in favor of a point-and-shoot or D-SLR camera. Typically, the point and shoots didn't offer me enough control (I often go off program and shoot in shutter- or aperture-priority modes). Plus, I can't change lenses. As for D-SLRs, yes, they can now handle video, but they're also big and heavy.
More recently, however, I've been trying out some of the new Micro Four Thirds cameras from Olympus and Panasonic. At 12 megapixels, each camera, by the way, more than doubles the megapixels in my trusty EOS Digital Rebel. In case you haven't heard, Micro Four Thirds is a digital camera innovation that applies some D-SLR characteristics to point and shoots. These new cameras share many of the characteristics of full Four Thirds cameras, including SLRs, but they're considerably smaller. So while you can change the lens on a Micro Four Thirds camera, there's no prism (or the signature SLR shape on top of the camera). And like an SLR, the camera is fully configurable, offering, essentially, equal the number of photography controls in far less space and with image quality comparable to any D-SLR.
I liked the idea of SLR-ness without all the bulk and was eager to take a Micro Four Thirds model for a spin. Last year, I walked around New York City with the $900 Panasonic Lumix DMC-GF1. It's not actually as small as a point and shoot. Rather, this Micro Four Thirds camera is roughly the same size as the SLRs of the 70s—the ones that did not feature the big battery-powered film winders. The GF1 took decent photos and offered a lot of control, but I just didn't have enough time with it to get, well, inspired.
It wasn't until recently that I tried another Micro Four Thirds camera, and, this time, things were different.
Olympus' $1,099.99 E-P2 didn't get a stellar review from PCMag's digital camera Analyst PJ Jacobowitz, but I was immediately impressed by the look and feel of the camera. I took it with me on a trip to Sanibel Island, FL. I thought I'd try it out with some beach shots. Neither the Olympus nor the GF1 feature a viewfinder, which, for someone who's been using an SLR for more than half his life, takes some getting used to. The Olympus did come with a viewfinder attachment that slipped into the hotshoe, but it looked ridiculous and bulky, so I didn't use it. One big difference between the Panasonic and Olympus is that the latter does not feature a built-in flash. This seemed like a major oversight, one that Olympus appears to recognize; the company offers a very old-school-looking hot-shoe flash. Again, I didn't like the bulk, so I avoided using it.
As soon as I got to the beach, I started shooting photos. At first, I was shooting three at a time—until I figured out how to get the camera to do single shots. Both Micro Four Thirds cameras have lovely, large LCD screens, which makes navigating their menus easy. I did notice, however, that it was somewhat easier to find my way around the Olympus. I shot in Auto and Program, and then shutter- and aperture-priority modes. There were remarkable presets in the camera for shooting effects like "grainy black and white film." The images on the large LCD looked pretty good. But I really hadn't seen anything yet.
One morning I got up before sunrise to collect shells on the beach. I'd been told that low tide and sunrise were prime shell hunting times. Plus, we'd had a storm the day before, which turned "prime" into "excellent." Of course, I took my camera in case I encountered any amazing shells or wildlife. I did on both counts, and I also witnessed an amazing West Coast sunrise on the Gulf side of Florida.
Soon I was snapping away, trying every setting and adjustment I could think of, but, ultimately, Auto was the most intelligent and best setting for capturing the cacophony of colors lighting up the morning sky.
I had so much fun that I repeated my morning sojourn the next day—with even better photo results. Later that day, I looked at my wife and told her that this camera had convinced me it was time to upgrade. I now felt certain that I could capture pretty much any image I wanted with a Micro Four Thirds (though I was pretty certain I'd want one with a built-in flash).
What's more, for the first time, I realized that I wanted more megapixels. Actually, that point was driven home for me a few days later when a Twitter follower showed me how he could take one of my sunset photos and make it better by zooming and cropping so the final shot better represented the "rule of thirds." Had he tried that same trick with one of my old 6-megapixel shots, the resulting images would have been awash in grain. This image is simply gorgeous.
I have to admit, I feel guilty about giving up my Canon EOS Digital Rebel; it's what I used to document my daughter's first 11 years. But foolish devotion is no match for progress, especially when progress is so spectacular.
(from internet)
Content with my Canon EOS Digital Rebel's 6 megapixels and large 18- to 55-mm lens, I've resisted the siren song of more powerful, multi-megapixel cameras. My Canon was the most expensive camera I'd ever bought. It was also my first and only digital SLR. Prior to owning it, I'd taken analog film shots, with an excellent 35-mm Minolta.
It's not that I haven't strayed now and then. When I go on business trips, I often take a point and shoot—usually one of the excellent Canon PowerShots we have on hand—because they're so much smaller. I've fallen in love with their zoom capabilities, which are better than my D-SLR, as well as their ability to shoot video. I've also tried more than a few high-end D-SLRs, including some awesome models from Nikon. They take amazing photos, and Nikon usually outfits them with powerful telephoto lenses, which came in handy a couple of years ago when I used one to take some shots at the New York Mets' last home game at Shea Stadium. Yet, despite all of this high praise, I never wanted to dump my Rebel in favor of a point-and-shoot or D-SLR camera. Typically, the point and shoots didn't offer me enough control (I often go off program and shoot in shutter- or aperture-priority modes). Plus, I can't change lenses. As for D-SLRs, yes, they can now handle video, but they're also big and heavy.
More recently, however, I've been trying out some of the new Micro Four Thirds cameras from Olympus and Panasonic. At 12 megapixels, each camera, by the way, more than doubles the megapixels in my trusty EOS Digital Rebel. In case you haven't heard, Micro Four Thirds is a digital camera innovation that applies some D-SLR characteristics to point and shoots. These new cameras share many of the characteristics of full Four Thirds cameras, including SLRs, but they're considerably smaller. So while you can change the lens on a Micro Four Thirds camera, there's no prism (or the signature SLR shape on top of the camera). And like an SLR, the camera is fully configurable, offering, essentially, equal the number of photography controls in far less space and with image quality comparable to any D-SLR.
I liked the idea of SLR-ness without all the bulk and was eager to take a Micro Four Thirds model for a spin. Last year, I walked around New York City with the $900 Panasonic Lumix DMC-GF1. It's not actually as small as a point and shoot. Rather, this Micro Four Thirds camera is roughly the same size as the SLRs of the 70s—the ones that did not feature the big battery-powered film winders. The GF1 took decent photos and offered a lot of control, but I just didn't have enough time with it to get, well, inspired.
It wasn't until recently that I tried another Micro Four Thirds camera, and, this time, things were different.
Olympus' $1,099.99 E-P2 didn't get a stellar review from PCMag's digital camera Analyst PJ Jacobowitz, but I was immediately impressed by the look and feel of the camera. I took it with me on a trip to Sanibel Island, FL. I thought I'd try it out with some beach shots. Neither the Olympus nor the GF1 feature a viewfinder, which, for someone who's been using an SLR for more than half his life, takes some getting used to. The Olympus did come with a viewfinder attachment that slipped into the hotshoe, but it looked ridiculous and bulky, so I didn't use it. One big difference between the Panasonic and Olympus is that the latter does not feature a built-in flash. This seemed like a major oversight, one that Olympus appears to recognize; the company offers a very old-school-looking hot-shoe flash. Again, I didn't like the bulk, so I avoided using it.
As soon as I got to the beach, I started shooting photos. At first, I was shooting three at a time—until I figured out how to get the camera to do single shots. Both Micro Four Thirds cameras have lovely, large LCD screens, which makes navigating their menus easy. I did notice, however, that it was somewhat easier to find my way around the Olympus. I shot in Auto and Program, and then shutter- and aperture-priority modes. There were remarkable presets in the camera for shooting effects like "grainy black and white film." The images on the large LCD looked pretty good. But I really hadn't seen anything yet.
One morning I got up before sunrise to collect shells on the beach. I'd been told that low tide and sunrise were prime shell hunting times. Plus, we'd had a storm the day before, which turned "prime" into "excellent." Of course, I took my camera in case I encountered any amazing shells or wildlife. I did on both counts, and I also witnessed an amazing West Coast sunrise on the Gulf side of Florida.
Soon I was snapping away, trying every setting and adjustment I could think of, but, ultimately, Auto was the most intelligent and best setting for capturing the cacophony of colors lighting up the morning sky.
I had so much fun that I repeated my morning sojourn the next day—with even better photo results. Later that day, I looked at my wife and told her that this camera had convinced me it was time to upgrade. I now felt certain that I could capture pretty much any image I wanted with a Micro Four Thirds (though I was pretty certain I'd want one with a built-in flash).
What's more, for the first time, I realized that I wanted more megapixels. Actually, that point was driven home for me a few days later when a Twitter follower showed me how he could take one of my sunset photos and make it better by zooming and cropping so the final shot better represented the "rule of thirds." Had he tried that same trick with one of my old 6-megapixel shots, the resulting images would have been awash in grain. This image is simply gorgeous.
I have to admit, I feel guilty about giving up my Canon EOS Digital Rebel; it's what I used to document my daughter's first 11 years. But foolish devotion is no match for progress, especially when progress is so spectacular.
(from internet)
