Simple mystical effect on your photo by rick gondrong

Step 1.
Fix your original photo histogram by using image adjustment level and curve

Step 2.
Use Unsharp Mask tools to more sharpen your photo, if your photo not to sharp.
In this photo, i used the amount 100 and radius 1px

Step 3.
Create duplicate layer from background and rename as cloud, then use filter-render-clouds to create smoke effect to the photo

Step 4.
Coloring the smoke with yellow to give warm effect to the smoke, I used color balance on image adjustment on this step

Step 5.
Change the Cloud layer Opacity to 81% and Fill to 51%

Step 6.
Use your creativity in deleting some smoke area on your photo

Step 7.
Create enother duplicate layer from background and name it Blur. Then use filter-blur-gaussian blur with 50px

Step 8.
Change the blending option of Blur layer to Hard light. This will give more contrast light to your photo

Finish

tips by rick gondrong

Canon 5D Mark II will coming soon!

The new 5D II will not be released at Photokina, but instead will be a surprise announcement on April 22, according to a source I am unwilling to disclose.
The specs of the new camera are as follows (final name unavailable):

- 15.3 MP full frame CMOS sensor (vastly improved light-gathering capacity per pixel: improved micro lenses; miniaturized micro circuitry; enhanced signal/noise ratio)
- Weather sealing same as 1Ds Mark III
- Dual Digic III with all-new “CXR” NR system reported to best 3rd party NR software. Available as a C.F with 4 levels of customizable parameters.
- 14 bit A/D conversion
- ISO 12800 (C.F. up to 25600)
- Reported 1 2/3 stop sensitivity improvement
- All-new 29-point TTL CMOS sensor with 12 cross-type for F/2.8 or faster lens 35% faster than 40D)
- Micro lens fine adjustment for up to 14 lenses
- 300,000 exposure shutter durability
- 6.0 / 3.0 fps
- 3.0″ LCD
- 922,000 pixels
- EOS Integrated Cleaning System
- Live View (improved from 450D; latest generation)
- 6/3 fps continuous shooting for up to 68 frames
- MSRP $3499, available June 2

via dpreview forum

Composition tips: Rule of thirds by Rick Gondrong

The basic principle behind the rule of thirds is to imagine breaking an image down into thirds (both horizontally and vertically) so that you have 9 parts. As follows.











As you’re taking an image you would have done this in your mind through your viewfinder or in LCD display that you use to frame your shot. With this grid in mind the ‘rule of thirds’ now identifies four important parts of the image that you should consider placing points of interest in as you frame your image.

Not only this - but it also gives you four ‘lines’ that are also useful positions for elements in your photo.

The theory is that if you place points of interest in the intersections or along the lines that your photo becomes more balanced and will enable a viewer of the image to interact with it more naturally. Studies have shown that when viewing images that people’s eyes usually go to one of the intersection points most naturally rather than the center of the shot - using the rule of thirds works with this natural way of viewing an image rather than working against it.

Using the Rule of Thirds comes naturally to some photographers but for many of us takes a little time and practice for it to become second nature.

In learning how to use the rule of thirds (and then to break it) the most important questions to be asking of yourself are:

* What are the points of interest in this shot?
* Where am I intentionally placing them?

Once again - remember that breaking the rule can result in some striking shots - so once you’ve learnt it experiment with purposely breaking it to see what you discover.

Lastly - keep the rule of thirds in mind as you edit your photos later on. Post production editing tools today have good tools for cropping and reframing images so that they fit within the rules. Experiment with some of your old shots to see what impact it might have on your photos.

tips by rick gondrong

Tips For Beginner in Photography

As a newbie in photography, and after i bought a camera for the first time, i really don’t know every functions on my camera. Then i read the manual books, browsed the internet and asked my friends about all those things. Now, i want to share this tips for other peoples who have interest in photography and wants to know about such a things in photography.

What is aperture?

Aperture as also called f-stops, are the areas of lens in which light enters the camera. It is controlled by the diaphragm. Aperture controls the amount of light reaching the film. They are marked, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22 and 32. This number depends on your lenses, not all lenses have all these numbers. Some may start at f-5.6 and end with f-22. Some even have more and they work in stops. From f-1.4 to f-2 is one stop, f-1.4 to f-2.8 is two stops.

Remember, the smaller the number is the larger the aperture and vice-versa. For instance, f-4 is larger than f-8, and f-8 is larger than f- 16. Larger apertures allow more lights to reach the film. Each f-stop allows twice as much light as the previous and half as much as the next one. f-4 allows twice as much light to reach the film than f-5.6 but half as much as f-2.8. Think of apertures as a window blind. You get more light with the blind open. As you close the blind, less light enters the room. Lens diaphragm works like a blind. When opened, maximum light goes through the lens and exposes the film. With smaller apertures, less light goes through.

Check aperture simulation on photonhead.com. Really a good simulation. Thanks.
Another function of aperture?

Apertures also control depth-of-field. Depth-of-field is the range of sharpness behind and in front of the point on which the lens is focused. When you focus on an object, only the part your lens is focusing on will be sharp. By closing the aperture, you can bring other objects in sharp focus. If you want a blurred background, use larger apertures. Use smaller apertures to gain more depth-of-field if you want objects in front and behind your main subject to be in sharp focus.

What is shutter speed?

Shutter speeds control the length of time you keep the shutter open to allow light to expose the film. Some shutter speeds are: 1,1/2, 1/4, 1/8, 1/15, 1/30, 1/60, 1/125, 1/250, 1/500, 1/1000 sec. Most cameras offer longer and shorter shutter speeds going as long as 30 sec. to 1/8000 sec. Shutter speeds also work in stops. From 1 sec to 1/2 sec is one stop; From 1 sec to 1/4 sec is two stops. Each shutter speed allows twice as much light as the previous and half as much as the next one. Slower shutter speeds allow more time for the light to expose the film.

Another function of shutter speed?

Shutter speeds control motion. To freeze a subject you need faster shutter speeds. To create blur use slower speeds. 1/500 sec shutter speed can freeze a race car. 1/2 sec speed will blur a waterfall to give a sense of motion.

Try shutter speed simulation on photonhead.com

What should i use for, a shutter speeds or apertures?

This is called priority on camera, for example in my Canon its called “Av” (Aperture Priority) and “Tv” (Shutter Speed Priority). If you want to control depth-of-field, select your aperture priority and your camera will pick the shutter speed. If you want to control motion, select a shutter speed priority and camera will pick the f-stop. Only you can decide which aperture or shutter speed will give the result you want.

Or, you can use both of them by control Aperture and Shutter Speed in “M” (Manual Mode). Remember, apertures and shutter speeds work together. If you change one, you must change the other to get the same overall exposure, otherwise you can over or under expose your shots.

What mode do I have to use to select my apertures and shutter speeds?

Program mode “P” will automatically selects both aperture and shutter speeds for you. It is best for beginners and snap shooters. When you learn more about photography, you should use aperture priority, shutter priority, or manual mode. In aperture priority, you select apertures and camera automatically picks the shutter speed. It is best used when you want to control depth-of-field. Shutter priority works the opposite. You select a shutter speed and camera picks the aperture. It is best used for action photography. When you want to be in total control of your photography, switch to manual mode. You select both the aperture and shutter speeds.

Does my camera always select the right aperture or shutter speed?

No. Camera meters are designed to give medium tone results. Medium tone is neither light nor dark. It is neither white nor black. Medium tone usually a 18% grey for almost digital camera today. Medium tone is half way in-between. Background of this page is medium tone. Tree trunks, blue jeans, green grass, blue sky are all medium tone. If your subject is medium tone, you can trust your meter, otherwise you must compensate by opening up or closing down.

What is exposure compensation?

In program, aperture priority, and shutter priority modes you must use exposure compensation dial which is marked by +/- signs, to open up or close down. If you don’t use exposure compensation dial and change one setting, your camera selects other setting which will give the same overall exposure. In manual mode you can simply change either the aperture or the shutter speed to vary exposure.

Exposure compensation is a dial or on some cameras a button which is used to override the camera meter in auto exposure modes. It should be left on zero setting for normal exposures. When you want to add or reduce exposure, select +/- 1/3, 1/2, or 1 stops of exposure compensation depending on your subject and how much you want to lighten or darken it. Make sure to zero the settings after you take your picture or you will over or under expose other shots. Learn more about exposure.

How should i do exposure compensation?

It depends on your subject and lighting. For white subjects open up 11/2 to 2 stops in the sun or 1/2 to 1 stop in the shade. For black subjects do the opposite. For subjects that are not white or black but are lighter or darker than middle tone, open up or close down 1/2 to 1 stop. How much you open up or close down depends on how light or dark you want your subject to be.

What is ISO?

It is film speed. Films have different speeds and also work in stops. ISO 50, 100, 200, etc. From ISO 50 to 100 is one stop, or two stops to 200. Slower films have less grain and are sharper than faster films, but require longer exposure time. Use ISO 50 or 100 with slide films, and 100 or 200 with print films for general purpose photography. Use faster films for fast action photography.

Photohead simulation will explain you more about ISO.

What camera should i buy?

Avoid program mode only cameras. Buy a camera that has at least aperture priority and manual mode. Avoid a camera that does not allow manual selection of ISO. Consider a camera with exposure compensation, remote release, full viewfinder information, and at least 1-1/1000 sec shutter speeds.

What about lenses?

Start with a kit lens 18-55mm or 17-85mm, 28-80mm and 70-210mm or 100-300mm zoom lenses. You’ll know if you need more lenses based on the type of photography you do. Only you can decide which lenses will work for you. It is best to start with minimum of equipment and add as you grow.

Blurry images. Why?

The blurring effect of camera shake is caused when the lens is moved while the shutter is open. Often seen when holding a camera in low light and high zoom situations. Remember that most cameras have slow lenses, and the potential for camera shake increases as you zoom in. Check this camera shaking simulation
The solution is to use a safe shutter speed or flash to freeze motion. Changing to a wide angle lens also helps, and remember a fast speed film can also buy you a few stops of light.

Another blurry image could come by using a slow shutter speed. Hand holding the camera can cause blurred images. Your lens may be dirty. Low quality UV or Skylight filter is used. Use a tripod for best results.

by Rick Gondrong

Review: Nikon D300

The Nikon D300 is the LONG awaited successor to the D200, which was introduced way back in 2005. This upgrade isn't evolutionary by any stretch of the imagination -- it's a totally new camera. Here are the most significant new features:

• New 12.3 effective Megapixel DX-format CMOS sensor
• EXPEED image processing "concept"
• Continuous shooting as fast as 8 frames/second (with the optional battery grip)
• 51-point autofocus with 3D subject tracking
• Huge 3-inch LCD display with 307,000 pixels (920,000 dots) with live view support
• Dust reduction system
• Picture Control settings let you have sets of color control settings (think Picture Styles on Canon SLRs)
• Active D-Lighting lets you brighten shadows while taking photos (instead of after)
• Rugged magnesium alloy body is sealed against dust and moisture
• HDMI video output

see more dcresource

how to make a HDR in Photomatix

I'll show you how to make a HDR in photomatix

this the original pick







first open the image 3 times with photomatix, clik HDR an choose generate. set the specify the E.V spacing 1 2/3 and clik ok and clik ok once again






now you can tone mapping as u like









if you finish tone mapping now save as tiff, don't forget to change setting to 16 bit.
now open photoshop to change level





now set the level as you want








now make a frame for finishing








Finish...!! it's done, so easy right...?









BEFORE













AFTER




















tutorial by OdINK
you can get photomatix software here

High dynamic range

In computer graphics and photography, high dynamic range imaging (HDRI) is a set of techniques that allows a greater dynamic range of exposures (the range of values between light and dark areas) than normal digital imaging techniques. The intention of HDRI is to accurately represent the wide range of intensity levels found in real scenes ranging from direct sunlight to shadows.

HDRI was originally developed for use with purely computer-generated images. Later, methods were developed to produce a high dynamic range image from a set of photographs taken with a range of exposures. With the rising popularity of digital cameras and easy-to-use desktop software, the term "HDR" is now popularly used^[1] to refer to the process of tone mapping together with bracketed exposures of normal digital images, giving the end result a high, often exaggerated dynamic range. This composite technique is different from, and generally of lower quality than, the production of an image from a single exposure of a sensor that has a native high dynamic range. Tone mapping is also used to display HDR images on devices with a low native dynamic range, such as a computer screen.

*all pick is copyright by OdINK

From Wikipedia

9 Tips of Night shoot photography by rick gondrong

1. Taking photos after sunset (Twilight zone)
Twilight is the time before sunrise, or after sunset, when sunlight scattered in the upper atmosphere illuminates the lower atmosphere, and the surface of the Earth is between light and dark. Dawn is the time before sunrise. It is recognized by the presence of weak sunlight, while the sun itself is still below the horizon. Dusk is the time after the sunset, the amount of light still available during twilight zone allows a faster shutter speed to create short motion blurs.
The best time of taking photos after sunset is during the dusk. The sky isn’t completely black but the blue color of sky is great and still show more details in the distance with the faster shutter speed.

When the sun is going downOriginally uploaded by Rick Gondrong.

2. Keep it Steady will reduce blurry and camera shaking
With minimum light at night, it will requires slow shutter speed. To shoot bright pictures without the blur at night, use a tripod or monopod to keep your camera steady.
When using a tripod or monopod you can use three technic:
a. Cable release, A cable release allows you to fire the shutter without having to touch the camera body (and tripod).
b. Mirror lockup, enable your cameras mirror lockup setting and gently press the shutter. Check your user manual for details of where this option is and how it works. (On my Canon, it’s under the “Custom Functions” menu).
c. Self timer, this will let you press the shutter release button and let the camera settle before taking the picture. Most cameras default to 10 second timer.
If you don’t have a tripod or monopod with you, find some support objects to keep your body and arms stable. For example, you can lean on a wall or place your elbows on a table to keep your arms steady. If there’s nothing to help keep you steady, stand with your legs far apart from each other and hold your breath while taking the picture.

3. Use Higher ISO but it will make noisey photo
Some time noisey photos more better than blurry photos, because you can reduce noise with image editing software but you can’t remove blur. Use a higher ISO will give more brightness photos.

4. Use larger lens aperture or F-number smaller
The aperture range of a lens refers to the amount that the lens can open up or close down to let in more or less light, respectively. Apertures are listed in terms of f-numbers, which quantitatively describe relative light-gathering area. Lenses with larger apertures are also described as being “faster,” because for a given ISO speed, the shutter speed can be made faster for the same exposure.
Additionally, a smaller aperture means that objects can be in focus over a wider range of distance, a concept also termed the depth of field.
For example, lens aperture f/1.0 is better in the night shoot than lens aperture f/2.8

5. Make a Motion Blur photos

Jakarta at Night
Originally uploaded by a Journey Beyond.

Some time blurry photos are not bad like a motion blur, it can add some interest of your photos. When shooting a moving objects, or deliberatly move your camera (panning technic) to create a motion blur. Zooming in while the shutter is still open will also add an interesting forward-motion effect (zooming blur).

6. Use Bulb Mode
Ever see “bulb” flash on your camera as you crank the dial to increase exposure time? Bulb mode is when your shutter stays open for as long as you hold down the shutter release. Most cameras will top out at a 30 second exposure. Bulb mode combined with a locking cable release allows you to keep the shutter open for as long as you want.

7. Use Flash or additional light
By using flash or additional light like continuous light is the usual technic to shoot in the dark. The combination of flash and long exposure will give you good photos at night. The flash will freeze the foreground and the long exposure will reveal the background.
When shooting the people, they always tend to move right after they see the flash, you need to set the shutter curtain sync to the second curtain (Usually in the custom functions settings). This will fire a flash just before the shutter closes instead of in the beginning. Using second curtain sync will also put people in front of any motion blur so nothing is covering their faces. Second curtain sync is available in most new digital SLR cameras but rarely seen in point and shoot cameras.

8. Create a High Dynamic Range (HDR) photos with auto exposure bracketing

London Night View from NFT HDR
Originally uploaded by vladatzar.

When using auto exposure bracketing (AEB) technic on camera, place your camera on a tripod for steady state and shoot three exposures, one darker, one lighter, and one just in the middle.
Then load the images into HDR image editor like Photoshop or Photomatix and create HDR file out of the three exposures. After create a HDR image, you can apply tone mapping to to reveal more details. With a tone mapped night photos, it can give results similar to shooting during twilight with more post-processing control.

9. Use continuous shoot and Stack
Sometimes when you shoot long exposures, noise and hot pixels will appear even at the lowest ISO setting.
To overcome this problem, shoot the same photo a few times (more is better) with continuous shoot, and use Photoshop CS3 image stacking to combine the analyze the image to remove noise and hotpixels.
After open Photoshop CS3, follow this instruction :
1. Open the File> Scripts menu and choose Load files into Stack
2. Click the Browse button and load all the images.
3. Checkmark the “Create Smart Oject after Loading Layers” and click OK.
4. Open the Layers> Smart Objects> Stack Mode menu and choose Median.

tips n trick by rick gondrong

Review Canon EOS 40D

The EOS 40D becomes the sixth Canon 'prosumer' digital SLR, a line which started back in 2000 with the EOS D30, and how far we've come. It's been eighteen months since the EOS 30D and although on the surface the 40D looks like a fairly subtle upgrade there's a lot that makes this an even better camera. Of course we expect a step up in megapixels, and so the 40D comes with a ten million pixel CMOS sensor with the same sort of dust reduction as the EOS 400D, an ultrasonic platform which shakes the low pass filter. Other improvements bring the EOS 40D closer into line with the EOS-1D series, these include a move to the same page-by-page menu system, both RAW and sRAW (2.5 MP), 14-bit A/D converter and 14-bit RAW, cross-type AF points for F5.6 or faster lenses, a larger and brighter viewfinder, interchangeable focusing screens, a larger LCD monitor (3.0") and faster continuous shooting (6.5 fps)

Review From dpreview

Olympus E-510 EVOLT Review

Just before PMA in March 2007 Olympus lifted the curtain on two new Four-Thirds system compact digital SLRs, the E-410 (reviewed here in June) and this model, the E-510 (which is essentially a replacement for the well regarded E-500). Although the E-510 has much in common with its little brother, including an all-new (Matsushita) Live MOS Image Sensor that can provide Full Time Live-View on the LCD monitor and an updated TruePic image processor, it is a considerably more sophisticated tool with some important extra features. Key amongst these is a sensor-shift image stabilization system and more sophisticated external controls, though are also numerous minor feature differences too. Note that some of the text in this review (when describing identical functions) is repeated from the E-410 review.

Compared to E410 - key differences

Once you start to look under the hood there are actually a surprising number of differences between the E-410 and the E-510, even putting aside the obvious; the latter's CCD-shift image stabilization system and bulkier design (the E-510 has a true 'grip', something the E-410 does without). This is obviously a camera aimed far more squarely at the 'enthusiast' market than its kid brother, and it offers a far more sophisticated level of control and customization. Below is a far from exhaustive list of the key differences:

• Larger and heavier
• Sensor-shift Image Stabilization
• Dedicated buttons for WB, ISO, Metering and AF mode
• Dedicated AF area button
• Customizable Fn button
• Two 'MyMode' custom modes
• Finer, customizable EV steps (1/3, 1/2 and 1 EV)
• Wider range of custom settings and minor extra features (e.g. file naming options, customizable HQ mode, Auto ISO limit etc)
• Very slightly different continuous shooting / buffering (6 raw frames vs 7 on the E-410)
• Optional wireless remote control

Key feature comparison (vs E-500 EVOLT)

Of course the E-510 is actually the successor to the E-500 (and the E-300 before it), and although the headline changes are significant (new sensor/processor, live view, in-body stabilization), there are also a number of minor feature tweaks and improvements (in fact far too many to list here, so we'll stick with the basics).

• New 10MP Live MOS sensor and TruePic III processor
• CCD-shift image stabilization
• The return of Live View
• New kit lenses
• Faster USB interface ('real' USB 2.0 speed)
• All-new body shape
• Wired remote option
• Slightly higher continuous shooting frame rate and larger raw buffer
• New high resolution LCD screen
• Loss of some minor features (ISO step control, manual focus bracketing, time lapse, customizable display color scheme, TIFF)
• A few new and/or improved features (true auto ISO with limit setting, noise filter)

Review From dpreview.com

Leica M8 Review

In 1954, at Photokina (or 'Foto Kina'), Leica introduced the first M series camera, the M3, the first Leica rangefinder body with a bayonet interchangeable lens mount, it was the beginning of a legendary series of cameras and lenses, the latest of which, the M7 is one of the only 35 mm rangefinder cameras still in production. For over half a century Leica has resisted the temptation to change the essential simple design established with the original M3 (it wasn't until 2002 that an electronically-controlled shutter was introduced allowing aperture priority automatic exposure). With an average 10 years between major upgrades and many of the original M3s still in regular use, the M platform is felt by its legion of fans to be the purest photographic tool available, and a welcome antidote to the mass of plastic feature-laden models that make up the rest of the market. Owning a Leica M camera has always been something people do with their hearts as much as their heads - and some of the 20th century's greatest photographers and most famous images were taken using them. It is no surprise then, that - despite talking about it for at least five years - Leica felt no need to rush into things when they decided it was time to bring the M into the digital age.

And so, fifty-two years after the M3, and just in time for Photokina, Leica has made another historical introduction, the first digital M series, the M8. This new rangefinder digital camera has the classic design, build and function of the M series but utilizes a completely digital imaging system. The M8 has a specially designed ten megapixel CCD sensor which being slightly smaller than a film negative introduces a 1.33x field of view crop. This ratio conveniently converts several standard M lenses to sort-of equivalent steps (so 21 mm to approx. 28 mm, 28 mm to approx. 35 mm).

The M8 is not an adapted M7, it is a totally new camera with a new body (albeit one that bears all the usual M trademarks), a new viewfinder and a new sensor. Nor is it necessarily the end of the line for M film cameras; Leica is leaving that door open, for the moment at least.

Solving the corner vignetting problem

Because a rangefinder camera doesn't have a mirror box doesn't need to use retrofocus lenses, meaning they sit much closer to the film (or in this case the sensor). The problem with this comes with wide angle lenses (which are pretty much the main staple of the rangefinder camera). Towards the corner of the frame the angle of incidence of light coming from the rear of the lens is so severely off-perpendicular that they would not pass equally through the microlenses above the sensor leading to fairly strong vignetting. Even a modest wide angle lens at this kind of distance could produce a difference of a stop or two between the center of the frame and the edges using a standard CCD sensor.

Leica, obviously keen to solve this problem, took a three pronged approach with the M8:

1. Don't use a full frame sensor - at this time it would be cost prohibitive and too complex to produce a sensor which can cover the entire 36x24 mm frame and still work with rangefinder lenses. For this reason the M8's sensor measures 27x18 mm (or 1.33x crop).
   
2. Use offset microlenses - instead of placing all microlenses directly over the photodiode they are gradually offset as you get closer to the edge of the frame (see below).
   
3. Know which lens is being used and apply some software correction - all new M series lenses now carry a six-bit code which allows the M8 to identify which lens is used and (optionally) apply a 'final stage' software based vignetting correction (for RAW images the lens used is simply recorded, no change is made).

Below is a diagram provided by Leica which does some way to explaining how microlenses at the edge of the frame are offset from the photodiode below them, compared to a normal microlens / photodiode combination in the center of the frame.

preview from dpreview.com

Panasonic Lumix DMC-L10 Review

Panasonic's first digital SLR caused quite a stir at an otherwise lackluster PMA 2006, due in no small part to its unique Leica-inspired styling and Vario Elmarit 14-50mm optically stabilized lens. But ultimately the DMC-L1, failed to translate all that launch interest into actual sales. This was thanks in part to its high price (the kit lens accounting for half the $2000 ticket) and rather slender feature set. But the other problem - shared with the Olympus E330 (on which it was based and with which it shared many components) - was that the bulky unconventional styling, dismal viewfinder and clunky Live View Implementation sent potential purchasers scurrying back to the 'safe' choice of an SLR from a more mainstream manufacturer.

And now we have the second Panasonic Lumix DSLR, the DMC-L10, a far more conventional affair (it actually looks a lot like a reflex version of the FZ50) that offers some significant new features including a fully articulating LCD monitor, user interface improvements, a resolution hike to ten megapixels and the ability to use contrast-detect autofocus in Live View mode using the sensor itself (though only with compatible lenses - basically the two new zooms announced today). There are also several features that have migrated from Panasonic's compact Lumix range, including Intelligent ISO mode, quick 'FUNC' menu and a sprinkling of scene modes.

Like the L1 the new model is the fruit of the partnership between Panasonic and Olympus, and once again it features a Live MOS sensor and SSWF dust removal filter, (we don't have definite information yet, but the mirror box and sensor are, we suspect the same as the E-410). Once again the kit lens is a Panasonic/Leica collaboration, complete with optical image stabilization, though (presumably to keep costs down) it is a lighter, slower zoom (F3.8-5.6) and it doesn't have an aperture ring. The L10 also does away with the L1's traditional shutter speed dial in favor of twin control dials.

Compared to the DMC-L1, feature and specification differences

The L10 is a very different beast to the camera that came before it, and is obviously aimed at a very different segment of the market. Where the L1 was a solid, heavy lump of a camera with a semi professional build, traditional 'shutter speed and aperture dial' operation and styling that owed more than a nod to Leica's rangefinder models, the L10 is a lightweight, conventionally styled SLR with a control interface and feature set that matches mid-range models from the bigger players in the market. You don't get the L1's tank-like build, and some users will bemoan the loss of the unique 'bounce' 2-position flash and aperture ring, but I think it's safe to say that the L10 is going to be a far easier camera for Panasonic to sell.

The main spec differences are shown below, but first let's start with a summary of the important stuff:

• New lightweight compact body.
• Resolution increase (from 7.5 to 10 megapixels).
• Slightly brighter viewfinder (with optional 1.2x magnifier eyepiece included) .
• Articulating screen (180° swing and tilt).
• New smaller, lighter kit lens (around a stop slower max aperture too).
• All-new control interface.
• Contrast detect autofocus in live view (mirror stays up) - with compatible lens
• Less expensive than L1 at launch (though recent L1 price drops may reduce gap in store).

review from dpreview.com

Pentax Digital SLR Camera K20

Pentax K20 - Coming as an upgrade to the K10D, the flagship Pentax K20D features a newly developed CMOS image sensor offering 14.6 effective megapixels and noise-reduction technology. Custom image functions allow users to select between six preset options and further adjust image processing, including saturation, hue, contrast and sharpness. The K20D also offers an Expanded Dynamic Range function, claimed to allow users to gain more contrast and detail in bright settings. The Pentax K20D also sports an Autofocus button, 4x or 8x zoom option, as well as a weather and dust resistant body. Other notable upgrades include a 2.7-inch LCD with adjustable brightness and Live View. The LCD is wide-view, which means you can view images approximately 160 degrees both vertically and horizontally to take full advantage of Live View.

Pentax K200 - Housed in a compact body, the new Pentax K200D contains all the technology of the K10D, and is designed for entry-level DSLR users. The K200D features a 10.2-megapixels sensor and a 2.7-inch widescreen LCD. A proprietary shake reduction system has also been incorporated, along with auto picture and various scene modes. Like the K20D, the K200D comes with a dust and weather resistant body.

The smc Pentax DA* 200m f/2.8 ED (IF) SDM will ship in March for $1099.95; the smc Pentax DA* 300mm f/4 ED (IF) SDM is coming in May for $1299.95. The smc Pentax DA 55-300mm f/4-5.8 ED will be released in May for $399.95, and the smc Pentax DA 35mm f/2.8 Macro Limited is coming in April for $599.95. The smc Pentax DA 18-55mm f/3.5-5.6 AL II is shipping as a lens kit bundled with the Pentax K200D in March, and carries a value of $199.95.

review from WAHP photography

Review Sony Alpha DSLR-A700

It's been almost two years since Konica Minolta pulled out of the photo business and transferred its entire camera division to Sony, and well over a year since the first Sony DSLR (the DSLR-A100) was announced. Two years is a long time in the digital SLR market, but the three years Minolta (latterly Konica Minolta, now Sony) SLR users have been waiting for a high end model to replace the innovative Maxxum (Dynax) 7D must have felt like a lifetime. But, finally, it's here, and it looks very much like the mockup shown earlier in the year.

Like the A100, the new camera still wears its Konica Minolta heritage very much on its sleeve, and when you start to look a little more closely at the specification it's obvious that there's still an awful lot of Konica Minolta DNA in the A700. This is hardly surprising given that the circumstances behind its development.

And, just as the A100 was obviously based on - and designed to be a successor to - the KM 5D, the A700 follows on from the 7D, and - despite lots of Sony touches and an attractive new design - 7D users are likely to find using the new model reassuringly familiar.

But of course Sony doesn't only have existing system users in its cross hairs; the A700 is designed to go head to head with the latest 'prosumer' models from Nikon, Canon and Pentax. Whether the A700 offers enough to really put Sony on the DSLR map will be decided when we get to look properly at the image quality, but on specification, features and handling it certainly seems to have what it takes to play with the big boys.

Interestingly the one thing the A700 doesn't have is any form of live view; when we spoke to Sony about this the answer was simple; they believe that the compromises involved in current systems are satisfactory, and they won't implement live view until they can 'get it right'. Whether the lack of live view has any real relevance in a camera at this level remains to be seen; we doubt it.

The A700 shares many technologies with earlier Konica Minolta models (including, naturally, the lens mount), plus all those introduced in the A100 - though virtually all have been uprated or upgraded in one way or another (we've been told the A100 and A700 share virtually no components). From the sensor to the construction of the body to the GUI to the extensive feature set, this is a very different camera to the entry-level A100 (more of which later in this review).

review from dpreview