Kodak EasyShare Max Z990

The Kodak EasyShare Max Z990 is a full-featured ultrazoom that looks like a small DSLR and comes with a very long 30x optical zoom lens (28-840mm, 35mm equivalent).

The 12 megapixel camera features Kodak's first use of a back-illuminated CMOS sensor, designed to provide better low light image quality and increased speed of operation. The increase in speed made possible by the new sensor enables the camera to have very fast continuous shooting speed, a "sweep" panorama mode with which you can create an ultra-wide panorama image by slowly sweeping the camera, and an HDR mode, which takes three shots and combines them into one image with less dramatic contrast. Here's the view from the wide and telephoto ends of that big zoom range:

Wide angle

Telephoto

The camera includes full 1080p HD (1920 x 1080) movies with stereo sound and the use of optical zoom and continuous focus while in movie mode. The camera also includes full manual exposure controls, RAW shooting ability and other interesting features. Priced at $299.95 at the Kodak website, the EasyShare Max Z990 is substantially less expensive than similar cameras produced by Canon, Nikon and Sony.

In my "First Look" I noted that I was favorably impressed with the many features of the EasyShare Max Z990, its overall appearance, smoothly operating long lens and good image quality. I did have concerns about the camera's apparently slow shot-to-shot speed. After another week and a half with the camera I've had a chance to further explore these issues. Let's find out how the camera did.

BUILD AND DESIGN
The EasyShare Max Z990 looks and feels like a small DSLR. It has a comfortable, rubberized right hand grip and a solid, composite body. The lens has a rubber coating as well, which gives it added protection. The camera is no lightweight at 1.3 pounds (about 589 grams) including batteries and memory card, but the weight is distributed well. Overall, the camera has a very good "feel."

The camera comes with four rechargeable NiMH batteries and a charger, a USB cable, a lens cap with a strap, a neck strap, and a brief User Guide in English, French, Spanish and Portuguese. According to the User Guide, when the camera is connected to the computer, a software downloader automatically runs and will download and install Kodak's software for transferring images to the computer and editing pictures. The software downloader did not work for me but I managed to load it from Kodak's website. Kodak's website also contains an Extended User Guide.

Ergonomics and Controls
The camera's rubber-coated, right hand grip permits you to easily hold the camera with one hand, though two hands are sometimes needed for added support, especially when using the long end of the zoom. The huge lens dominates the front of the camera, where it's bordered on both sides by stereo microphones. On one side of the lens is a combination auto focus assist/timer/video lamp. On top of the lens is the flash, which must be manually opened unless auto-flash is enabled and the camera decides that use of the flash is appropriate, in which case the flash will pop open.

The right side of the camera contains HDMI and USB ports that are covered by a rubber flap with a fragile-looking rubber tether. The camera's bottom contains the centrally located tripod mount which, unfortunately, is constructed of plastic, rather than metal. The compartment for the batteries and memory card is covered by a thick plastic door that I found difficult to open and close. The camera has 128MB of internal memory and uses SD and SDHC memory cards.

The camera's controls are located at the top and rear. On top is a chunky mode dial, with selections for Smart Capture, HDR, Creative Modes, Portrait, Sport, Scene Modes, Manual, Shutter Priority, Aperture Priority and Program. The large, metal shutter button has a zoom control lever around it and both work well. You'll also find an on/off switch and buttons for continuous shooting (endless, 4 pictures at 5 fps, 4 pictures at 9 fps and 20 pictures at 60 fps), focus (normal, infinity, macro (as close as 10cm), super macro (as close as 1cm), and manual) and timer (10 seconds, 2 seconds and two shots).

At the rear is the large, 3.0-inch diameter LCD monitor, electronic viewfinder and a viewfinder/LCD switch. The rear also contains a speaker, a one-touch movie button, a selector wheel for selecting menu items, a four-way selector, a playback button and a share button, which allows you to automatically send your pictures and videos to social networking websites and email address once they are transferred to your computer. Next to the LCD are buttons for display, which adds or removes information from the LCD monitor, flash (auto, fill, red-eye reduction, off), film effects (simulates the classic Kodak films of Kodacolor, Ektachrome, Kodachrome, T-Max, Tri-X and Sepia) and delete.

Menus and Modes
The menu on the EasyShare Max Z990 is different than in other Kodak cameras I've used and it took some getting used to. The menu choices are always on the LCD screen, except when the display button is pressed. The menu items are on a black semi-transparent background that obscures the view of the LCD at the top and bottom, so it's a good idea to press the display button when you no longer need to refer to the menu. Menu items change depending on the mode selected. The camera's shooting modes are as follows:

• Smart Capture: The camera identifies the shooting conditions and automatically selects the most appropriate settings, including the applicable scene mode, exposure setting, and face recognition.
• Program: Users have access to most manual settings, including ISO (up to 6400), white balance, exposure compensation, flash compensation (6 levels), color mode (vivid, full, basic, black and white, sepia), contrast, sharpness, focus (face priority, multi-zone, center and selectable) and picture quality (fine, standard, basic and RAW).
• Manual: Users get access to all functions of Program mode plus control of shutter speed (1/2000 seconds to 16 seconds) and aperture (up to 10 settings).
• Aperture Priority: All functions of Program mode are available plus control of aperture.
• Shutter Priority: Users get all functions of Program mode plus control of shutter speed.
• Scene: Users can select a scene mode from sport, portrait, children, backlight, high ISO, bright, sunset, self-portrait, night portrait, candlelight, night landscape, landscape, stage, fireworks, flower, and panorama (manually combining three images).
• Creative: Users can select special scene modes including night scene (shooting moving objects in low light), dramatic (high color saturation), intelligent portrait (camera selects the best shot from multiple photos), photobooth (camera takes four timed pictures and arranges them in a vertical strip) and automatic panorama (camera takes a panorama shot when the user sweeps the camera vertically or horizontally).
• HDR: Camera takes three shots and combines them to even out the contrast.
• Video: HD (1080p (1920 x 1080) at 30 fps and 720p (1280 × 720) at 30 fps, VGA (640 × 480) at 30 fps, and WVGA (640 x 352 at 30 fps). Auto focus is active during videos and optical zoom may be used. .

HDR Off

HDR On

Display/Viewfinder
The EasyShare Max Z990 has a 3.0-inch diameter LCD monitor in a 4 x 3 aspect ratio with a resolution of approximately 460,000 dots. The monitor has three different brightness settings - auto where brightness is automatically adjusted based on the environment, high power and power save. The LCD monitor is a good one, and can be seen well in both shady and conditions but, like most LCD monitors, it is hard to see in bright sunshine. Fortunately the camera also comes with an electronic viewfinder. While the viewfinder is small and lacks a diopter adjustment for use without glasses, it is bright and sharp.

I found myself using the viewfinder almost exclusively when out of doors. The viewfinder serves another useful function. When shooting at the long end of the zoom, holding the viewfinder against your eye stabilizes the camera and helps to minimize blur.

DCR tests cameras for LCD screen quality, measuring for contrast ratio and a brightness unit called nits. The best LCD monitors have a contrast ratio above 500:1 and at least an output of 500 nits of a full white screen. The LCD monitor of the EasyShare Max Z990 was found to have a contrast ratio of 537:1 and to measure 446 nits for peak brightness and 0.83 for dark. These are all good scores and confirm my assessment of the high quality of the camera's LCD monitor.

Canon EOS Rebel T3 Full Review

Announced in February 2011 along with the more fully featured Rebel T3i, the EOS Rebel T3 slots into the middle of Canon's entry-level DSLR lineup based on MSRP. The T3 features a 12.2 megapixel CMOS sensor and improved DIGIC 4 processor, a nine point auto focus (AF) system with a single center cross-point sensor and a 100-6400 ISO sensitivity range.

A 1280 x 720 HD video capability is on board and still image continuous shooting rates are up to 3 fps. The camera uses a 63 zone dual-layer metering system for exposure calculation and you can review your results on a 2.7-inch LCD monitor. The T3 offers a range of scene-specific shooting modes in addition to the obligatory manual modes, along with RAW, JPEG or RAW/JPEG image capture options.

Canon has also included a new EOS Feature Guide "...with an enhanced Quick Settings Screen that now includes detailed descriptions of camera settings. The EOS Feature Guide is designed to help first-time users and beginning enthusiasts better understand each camera setting with descriptions and guided recommendations for when to utilize certain settings. Along with an explanation of camera settings and modes, the Feature Guide includes easy-to-understand directions of how to use particular settings such as aperture adjustment in Canon's Creative Auto mode."

Memory media compatibility is SD/SDHC/SDXC. The T3 will be available as a kit, paired with Canon's new EF-S 18-55mm f/3.5-5.6 II zoom lens. Here's the view at each end of that zoom:

Wide Angle

Telephoto

Canon includes an eyecup, camera strap, battery and charger, interface cable, basic printed user's manual and CD-ROM software in each kit. The camera is also compatible with Canon's full line of EF and EF-S lenses.

The T3 is coming with us on our drive to Florida for the last space shuttle launch, STS-135 with shuttle Atlantis. With the 18-55 as its only lens, the T3 will be spending launch day in the hotel, but we'll find plenty of work for it coming and going from Cape Canaveral. So, off to Florida and Go Atlantis!

BUILD AND DESIGN
Built of composite materials, the T3 sits toward the smaller end of the DSLR size universe dimensionally - 5.1 x 3.9 x 3.1 inches. The deeply sculpted handgrip design and overall control layout is typical for the class as a whole.

Ergonomics and Controls
The handgrip area and camera back are covered with a rubberized material, but there's very little difference in feel between it and the hard plastic portions of the body. The little finger of my shooting hand curls under the body, with the thumb and shooting finger aligning nicely with the thumb rest and shutter button, respectively. Clearance between the handgrip and lens barrel is fairly good for my average sized hands.

Controls are fairly mainstream DSLR, with all shooting options located on the mode dial. There are dedicated playback, menu and display buttons on the camera back, along with cross keys for ISO, white balance, drive mode and AF mode, respectively. Video capture is accomplished via another dedicated button on the camera back, and a quick control button offers user inputs depending on the particular shooting mode.

Unfortunately, Canon provides only a basic printed user's manual with the T3 and this manual doesn't cover operations such as changing the picture style parameters with regards to sharpness, contrast, hue, or saturation for folks who choose to shoot in the manual modes. This process turns out to be fairly intuitive, particularly if you pay attention to the small print on the monitor as you try to access the settings and pick up that the display button is the control you need to activate.

The problem is the T3 is quick to overlay an explanation of what the particular picture style does and this covers the camera direction to use the display button to make changes. Once you've done it a few times it becomes second nature, but trying to figure it out for the first time, in the field and without benefit of printed explanations in the basic manual proved frustrating for a time.

Canon calls the automatic shooting modes "basic zone," and activating the quick control button in some basic zone modes offers the user the ability to influence the "ambience" of the shot - deviating from the standard look of the shot to vivid, soft, warm, intense, cool, brighter, darker or monochrome variations. In "creative zone" (manual) modes, the quick control button brings up a screen displaying the current shooting settings: mode, aperture, ISO exposure compensation, picture style, white balance (WB), auto lighting optimizer, raise flash control, AF and drive modes, metering mode, image-recording quality, battery level and number of possible shots. This screen permits these settings to be adjusted, but there is a redundancy with the ISO, AF, drive and WB functions, and not for the better. These four settings are changed more quickly by using the dedicated cross keys rather than bothering with the quick control screen.

Menus and Modes
Menus are simple and fairly straightforward, and vary in number depending on basic vs. creative zone modes. Basic zone mode menus tend to consist of two pages of shooting, playback and set-up, respectively; creative zone menus run to four pages for shooting, two for playback and three for set-up. Creative zone modes also offer a "my menu" option not found with basic zone modes.

Shooting modes are typical entry-level DSLR, offering manual controls along with automatic and some scene-specific options to ease the transition trauma for long-time Point and Shoot users moving into their first DSLR.

• Auto: Camera handles virtually all settings and user has very limited input.
• Flash Off: Auto mode with flash disabled; very limited user input.
• Creative Auto: Auto mode, but user can change depth of field, drive mode, flash firing and scene ambience.
• Portrait: Auto mode blurs background, smoothes hair and skin; user can also influence ambience.
• Landscape: Auto mode with wide depth of field, enhanced blue and green colors and increased sharpness; user can influence ambience.
• Close-up: Auto mode, user can influence ambience. Close up distance is determined by individual lens performance parameters. Use of dedicated macro lens is recommended for 1:1 reproduction ratios.
• Sports: Auto mode with camera settings optimized to capture moving subjects (continuous shooting rate, AI servo AF); user can influence ambience.
• Night Portrait: Auto mode with camera settings optimized for a long shutter to expose dark backgrounds along with flash to light subject in foreground; user can influence ambience.
• A-Dep: An auto mode where camera establishes settings to brings objects in foreground and background into focus; user has wide variety of inputs.
• Program Auto: Camera sets aperture and shutter speeds, user has wide variety of inputs and can vary aperture/shutter combinations via main dial.
• Aperture Priority: User sets aperture, camera sets shutter; wide variety of user inputs.
• Shutter Priority: User sets shutter speed, camera sets aperture; wide variety of user inputs.
• Manual: User sets aperture and shutter speed; wide variety of user inputs.
• Movie: Capture 1280 x 720HD video at 25 or 30 frames per second.

Display/Viewfinder
The 2.7-inch LCD monitor has a 230,000 dot composition and is adjustable for seven levels of brightness. Coverage is approximately 99%. In our studio testing the monitor recorded a 473 nit peak brightness, just below the 500 nit threshold that generally delineates better monitor performance outdoors. Contrast ratio was a fairly high 1006:1 - and in my experience camera monitors with lower peak brightness values and higher contrast ratios seem to be a bit easier to use in bright outdoor light. In practice, the T3 monitor was fairly usable outdoors, although the right combination of sun angles could still play havoc with image composition.

The monitor must be used for video capture, but the viewfinder should be everyone's method of choice for still image capture in most cases. And while most of the T3's current competition carries identically sized 2.7-inch monitors, these cameras are for the most part earlier generation models. At least one competitor has had the last two generations of its entry-level model with 3.0-inch monitors, despite the fact that the overall camera body size is slightly smaller than the T3.

The viewfinder features a diopter adjustment for eyesight and while its coverage is about 95% (thus leading to things creeping into the captured image that weren't visible at composition), the use of the viewfinder has significant power savings over the monitor for still image capture. The viewfinder image was OK - not the largest or brightest ever, but serviceable in an entry-level unit.

Sony Announces New D-SLR and NEX Cameras

Sony made some noise this morning with announcement of five cameras. The new cameras include the Alpha A65 and A77 D-SLRs, both with a translucent mirror and OLED viewfinder. Three NEX cameras, the NEX-5N and NEX-7 for photographers and the NEX-VG20 for videographers arrived on the scene, along with a trio of new E-mount lenses.

The Alpha A77, which replaces the A700, is built around a 24.3-megapixel APS-C Exmor CMOS image sensor, and features a new Bionz image processor and a translucent mirror that allows the camera to shoot at an amazing 12 frames per second with continuous autofocus. An innovative shutter, which uses an electronic first curtain, helps to speed up shooting and reduces shutter lag to less than 50 milliseconds.

The camera's eye-level electronic viewfinder is built on OLED technology, and it's astounding to look through. It refreshes very quickly and boasts an extremely sharp 2.359 million dot resolution, with none of the light fall off or coverage issues that are present when using a pentaprism or pentamirror optical viewfinder.

Its rear LCD features an innovative hinge system, which makes it possible to position it so you can view it form the top, bottom, or either side of the camera. The A77 can capture video at 1080p60 or 1080p24 resolution using the AVCHD Progressive codec. If you’d rather record direct to MP4, you can do so at 1080i60 or 1080p30.

The camera’s magnesium alloy body is sealed against the elements, and includes built-in GPS for geotagging. A vertical battery grip accessory is available, which is also sealed. Sony is launching a new kit lens with the A77, a 16-50mm f/2.8 SSM zoom lens. The camera will be available in October for $1,399 as a body only or for $1,999 with the kit lens.

The A65

The A65, which will be made available at the same time, is a pared-down version of the A77, targeted at a consumer audience. The camera features a 24-megapixel Exmor CMOS sensor, and is capable of 10 frames per second shooting with continuous autofocus. Its AF system is less advanced than that of the A77, its kit lens is the standard 18-55mm f/3.5-5.6 variety, and its LCD features a simplified tilting mechanism. The camera’s body is polycarbonate, and it is a bit smaller than the A77. There are many shared features between the two cameras, including the OLED EVF, GPS support, and the translucent mirror design. The A65 will be available as a body only for $899 or with the kit lens for $999.

The NEX-7

The second generation of the NEX system continues to roll out, featuring two more upgraded bodies and one completely new camera. The latter, the NEX-7, is an enthusiast-targeted mirrorless interchangeable lens camera, loaded with the same 24.3-megapixel sensor, OLED EVF, and video capabilities found in the A77. The camera features the same tilting 3” LCD that has been used across the NEX line, and is packed with as many manual controls as Sony could fit on its svelte body. It is capable of shooting images at 10 frames per second, and cuts shutter lag to 0.02 second thanks to its use of an electronic first curtain design.

The Tri-Navi system, which uses three control wheels, allows you to quickly adjust shooting settings, without having to delve into menus. It somehow manages to squeeze a built-in pop-up flash and an Alpha hot shoe in as well. The camera will be available in November at a price of $1,199 for the body only or $1,349 with an 18-55mm kit lens with a matching black finish. That lens will be available only in the kit.

The NEX-5N

The NEX-5N, which replaces the NEX-5, is a 16.1-megapixel camera with a touch-screen interface. Sony has designed the interface so that the screen augments the physical buttons on the camera rather than replacing them. The camera shares the shutter design of the NEX-7 for extremely fast performance, although it does not include an integrated OLED EVF. Rather, an accessory viewfinder, which will only be compatible with the NEX-5N, will be available to add the same high-resolution OLED to the camera, priced at $349. The camera will be available in early September in black, silver, or white as a body only for $599, or $699 with the 18-55mm lens.

Sony has also released an update to their NEX-VG10 camcorder, the NEX-VG20. Available in November for $2,199 with an 18-200mm lens, or $1,599 as a body only, the camcorder offers a few upgrades over its previous incarnation. Its resolution has been improved to 16.2 megapixels, and it can now capture RAW stills, 1080p60 and 1080p24 video, and 5.1-channel sound. A new grip and belt design, an additional Record button, and a wireless remote control are also now part of the package.

The NEX lens line-up is also expanding with three new optics. The E 50mm F1.8 OSS adds a fast, standard angle prime lens to the system, which should really work well in low-light situations when coupled with the outstanding high ISO capability of the NEX system. Sony has also announced a companion telezoom that should match well with the existing 18-55mm kit lens. The E 55-210mm F4.5-6.3 OSS lens will come in handy for situations when you need some extra reach with the camera, such as at sporting events or the zoo. Finally, the Carl Zeiss SonnarT* E 24mm F1.8, the first Zeiss-designed lens for the NEX system, steps in to provide fast, wide-angle coverage. Its offers a field of view that is equivalent to 36mm on full frame cameras, making it a great asset to street photographers, photojournalists, and others with the aspiration to be the next Cartier-Bresson.

Rounding out the announcements is a new Alpha lens adapter for the NEX system. It does not replace the existing adapter; instead it brings improved autofocus performance when using Alpha lenses on a NEX camera. The LA-EA2 adapter, set to retail for $399, features a translucent mirror and a dedicated phase detect autofocus sensor. This provides much faster focus performance than the contrast detect system currently used in the NEX. It is compatible with all NEX cameras, although a firmware update will be required for older bodies.

New Sony Camera: 4K and Beyond

The bar has been raised again. Sony is planning to show the prototype of a new >4K motion picture camera at NAB 2011. This could be historic.

We’re an hour southwest of Tokyo at Sony’s Tech Center in Atsugi. No pictures allowed, but we spent time with the development team and executives involved in this latest addition to the Sony CineAlta product line. It doesn’t have a name yet, but instead of calling it the Next CineAlta Camera, let’s give it the working title of Cine Altissima. She is not a mere 4K motion picture camera. Behind the PL mount, there’s an 8K sensor: 8768 x 2324 pixel single CMOS sensor (that’s 20.4 Megapixels) — Super35 3-perf size, 16-bit RAW output, 16:8:8.

Altissima covers a wider color space than any other digital camera, and will include ACES Film Emulation.

In normal mode, the new Sony 4K camera will shoot from 1-72 fps. In HFR (High Frame Rate) mode, she’ll go from 1-120 fps.

A 1 TB Memory Card recording at 24 fps will store about an hour of “footage.” A dockable SR Memory Card Recorder can attach to the camera for recording directly to an SR Memory Card of 256 MB, 512 MB or 1 TB. I imagine that other recording options will become available, both onboard as an accessory digital “magazine,” and tethered by cable in a separate case. Debayering for instant viewing or playback will be available with external real time hardware.

Altissima has the familiar look, in prototype form, of a high end motion picture camera: hints of F35, Arricam Studio or Panaflex Millenium. Power will be dual 12 volt; consumption is expected to be less than a Sony F35.

What does the image look like? The pictures from the prototype, on a large 4K monitor, were stunning. Rich blacks, incredible detail, superbly sharp. I’m guessing the native ISO sensitivity is around 800-1000 — just quick speculation in a dark test room and a tabletop set.

I think what makes this new camera possible is the fact that Sony manufactures the five secret sauces essential to practical 4K: sensor, storage, software, station, and screening. Sony makes the 8K sensor that subsamples to 4K. That’s a significant amount of headroom; higher resolution from this sensor might be seen in the future. Storage: Sony makes the SR Memory Cards–they have an impressive 5 Gbps sustained data rate. Station: Data from the SR Memory Card is downloaded, cloned, and copied via Sony’s SRW-5800/2 deck. Software: Sony announced that Avid, Final Cut Pro and other major editing systems will handle all this. Finally, Sony’s 4K digital projectors have been installed in more than 7500 theaters worldwide.

Sony’s new Cine Altissima camera has the potential to be the big breakthrough into practical 4K production. This isn’t the trickle of traditional workflow. This is the floodgates opening.