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