Pentax launches orange version of WG-1

Pentax has announced an addition of a new shiny orange version of the PENTAX Optio WG-1 GPS waterproof digital compact camera range.

The Optio WG-1 has unique GPS functions such as the recording and storage of positioning log data during travelling and is waterproof, shockproof, coldproof, dustproof and crushproof.

The new Shiny Orange version was designed in response to demand from outdoor enthusiasts. Featuring a high-quality finish in brilliant-orange with an aluminium-alloy front panel, a gunmetal-grey rubber coating has also been applied to the edge of the camera body.

Along with its rugged characteristics, the WG-1 GPS has a 14 megapixel sensor, 5x wide-angle optical zoom lens, a 3 inch LCD screen, HD movie recording, macro shooting from 1cm and AF tracking.

The Shiny Orange Pentax Optio WG1-GPS will be available from the beginning of August 2011, with an RRP of £299.99. To find more information, visit the Pentax website.

Techradar

Sony Cybershot DSC-H70 Digital Camera

Sony’s new Cybershot DSC-H70 digital camera is a pocket-sized, metallic super zoom with 10x zoom and 25mm wide angle lens through to 250mm telephoto zoom. Allowing you to go as wide as you like or really bring your subject in close. Features include 3.0” (230K dots) Clear Photo™ LCD display features sharp, natural color that makes it easy to compose shots, read menus, and view photos, even in bright sunlight. Capture expansive landscapes with one touch Sweep Panorama or take stunning 720p HD videos. Also, get clear shots with Optical SteadyShot image stabilization that uses a built-in gyro sensor to detect camera shake and automatically shifts the lens to help prevent blur without sacrificing image quality.

The H70’s Active mode stabilizes hand-held movie recording. Advanced features, such as the anti-blink, skin soft, face detection and Smile Shutter technology to easily create stunning images of people. Self-Portrait timer functions along with an In-camera Guide assist users getting better shots from everyday photography. The Sony H70?s lens carries the same Sony G branding as the company’s digital SLR lenses, an indication of its confidence in the lens optical performance. The Sony H70 stores images on Secure Digital, SDHC or the latest SDXC types. The H70 is also compatible with Sony’s own proprietary Memory Stick PRO Duo cards.

Overall, the 16-megapixel Cyber-shot DSC-H70 is the best value at the entry level of Sony’s 2011 compact megazooms and has some very strong features for a camera in its price range.

The Sony H70 camera will be available in black, silver, blue, or red versions.

SBWIRE

Sony Launches NEX-C3 and a35, Puts Big Sensors in Small Cameras

The Sony Alpha NEX-3 remains one of the best cameras PCMag has reviewed, packing a D-SLR-sized sensor and interchangeable lens capability into a body that's more manageable, all for a price that won't hurt nearly as bad as most D-SLRs. On Wednesday, Sony announced the next-generation Sony NEX-C3, which keeps the NEX-3's high-end hardware, but slims down even more and adds a few welcome features.

The NEX-C3's body has been made even smaller, and the camera now weighs just 8 ounces. The NEX-3 won't exactly tip the scales, weighing in at 11 ounces, but it's an improvement nonetheless. Battery life is improved too, Sony says, up to 400 still shots between charges. The NEX-C3's APS-C sensor was boosted to 16.2 megapixels, and can shoot NEX-3-like 720p HD video (the NEX-3's cousin, the Alpha NEX-5, offered 1080i shooting for $100 more than the NEX-3).

There's also a new "Photo Creativity" mode on the NEX-C3, which is essentially a jargon-free way of manually controlling the camera. Users can control "background defocus" instead of aperture, and "color" instead of white balance, and the effect of any changed settings can be seen immediately on the LCD. (There is still a true manual mode, with the terms that will be more familiar to experience photographers.) There are plenty of in-camera effects as well, letting you digitally apply filters and effects to your photos—the effects are also available to NEX-3 and NEX-5 owners via a firmware update.

One drawback of the NEX-3 was the relative lack of available lenses, and Sony announced one more alongside the NEX-C3. The SEL30M35 is a 30mm f/3.5 macro lens with a minimum working distance of 0.95 inches, which makes it ideal for super-close shots. The lens will be available in October, for "about $250," said Sony.

The Sony NEX-C3 itself will be available in August in silver, black, and pink, for $650 with a kit lens. We've wondered for months why no other camera manufacturer has come out with a competitor to the NEX-3: A small(er) camera, with a D-SLR sensor inside, and a few compromises (like no optical viewfinder) that most casual users won't mind, for a reasonable price. It appears that Sony wants to build its lead before other manufacturers catch on.

For fans of the more traditional D-SLR, Wednesday brought Sony news as well. The Sony Alpha a35 (SLT-A35) is the newest in the line of Sony's D-SLRs, and uses some of Sony's technology, like the Translucent Mirror Technology, to deliver extremely fast performance—the a35 can shoot up to seven frames per second—and excellent low-light shooting, all the way up to ISO 12800. Whether you're shooting in Live View or with the viewfinder, video or stills, the a35 promises plenty of speed upgrades across the board. The battery life has been upgraded here too, up to 440 still shots per charge, and the in-camera effects are present as well. The a35 will be out in August, for about $700 with a kit lens.

PCMag

Digital Photography 101: How to photograph fireworks

It's happened — somehow it got to be summer already. Summer means Fourth of July celebrations are coming up, and fireworks offer wonderful opportunities for photography. Despite occurring in somewhat challenging circumstances (at night, with bright, moving light), it's actually pretty easy to photograph fireworks, as long as you follow some simple guidelines. You'll find that many of these suggestions are a lot like those we discussed in our column on how to photograph lightning, because many of the principals are the same.

photo : tecca.com

Find your vantage point

Where you decide to shoot from will depend on the location of the fireworks, and what sort of shots you're going for. Ask around or look online to determine where the fireworks will be launched from, so you can figure out ahead of time the best place to be to photograph them. The ideal position would be from some distance away, at a vantage point above ground level. This could be a balcony, a hillside, or even just standing on a picnic table or other raised object. The elevation and distance result in nice wide-open shots of the fireworks themselves, as well as the scene around and under them. Just try to avoid external light sources like street lamps, if possible. They won't necessarily ruin your photos, but they will detract from the fireworks themselves. It's also a good idea to check the speed and direction of the wind, so that, ideally, the wind blows the smoke from the fireworks away from you and your camera.

Include scenery

While the colorful explosions are beautiful to watch, and provide lovely photos, pictures of only the bursts aren't terribly exciting in and of themselves. Consider including scenery in your pictures, both to offer a sense of scale and keep your compositions interesting. If you're lucky enough to be somewhere the fireworks will reflect in a body of water like a lake, bay, or pond, that can result in some stunning photographs. Obviously, you want an unobstructed view of the sky, but trees and other objects can provide interesting framing for your compositions.

Another thing to consider is whether you want people in your photographs. Including the spectators can be a great way to capture the excitement of a fireworks display, and gives you the opportunity to play around with techniques such as silhouetting. You could also consider including buildings, monuments, and similar structures as an addition to your shots of the fireworks themselves.

Use a tripod

As with most low-light photography, you'll get the best results if you use a tripod. This is especially important when photographing fireworks, as the long exposure times needed to capture the spectacle will also capture any movement of your camera. In a pinch, you can always try setting your camera on something like the hood of your car, or a bench, but a tripod is definitely the best way to go. You'll also probably want to use a remote release of some sort — either a remote control or a wired shutter release — for the same reason. You could just use the self-timer function, but since it's sometimes hard to predict when the most beautiful fireworks will be lighting up the sky, timing your shots right will be difficult.

Flash and focus

In almost all fireworks photography, you should keep the flash turned off. There are situations where you might want to use it, though, such as to briefly illuminate a subject in the foreground, while still allowing the fireworks themselves to light up the background. This can be tricky, though, and works best with an external flash.

The other thing you'll want to turn off is your camera's auto-focus function. A bright, moving object in a dark sky will utterly confuse your camera, and it will spend so long whirring and stuttering to try to find something to focus on that you'll miss your shot! Turn it to manual, and set the focus to infinity (or focus on an object in the foreground, if that suits your composition).

Slow shutter speeds

The beauty of fireworks isn't just in the explosion itself, but in the trails of light that blossom out and slowly fade away as they fall. So you'll have to use relatively slow shutter speeds to capture the whole show. Luckily you'll probably have a bit of warning, as most fireworks make some sound as they shoot into the sky, but it will require practice and a bit of luck to get the timing right. If you have a bulb setting on your camera, where the shutter will stay open exactly as long as you hold the button down, that might be the most useful. If not, try using the shutter priority mode and setting the exposure time for 1-3 seconds.

Aperture and ISO

Finding the right balance between capturing enough of the explosion's beauty and not ending up with a washed out blur or a grainy mess can be tricky. Play with your camera's settings and experiment with different shutter speed and aperture settings, and see what works best. Since you're using a tripod, you should be able to select a relatively low ISO setting of 100-400 — remember that you're not exposing for the dark sky, but for the bright flashes of color.

While you could use a higher ISO, you don't need to. The fireworks are bright enough to be captured by your camera sensor, and using a lower ISO will reduce the digital noise you'd see in the dark sky at higher settings. Bear in mind as well, though, that a higher ISO will let you use a smaller aperture, which will give you a larger depth of field. That gives you a bit more wiggle room in terms of focusing, which is incredibly helpful for a moving subject like fireworks. So aim for the 200-400 range, but experiment and see what works best for your camera.

Light up your own back yard

In addition to the fireworks displays put on by municipalities, most states allow the sale and use of some forms of smaller fireworks for individuals to use on their own property. While not as spectacular as the huge commercial displays, these smaller explosives can provide some beautiful photographs. What can be even more fun is that with your own personal fireworks display, you can control exactly when, where, and how everything happens. This is a great time to try out light painting techniques with sparklers!

Whatever your plans are for this Fourth of July, don't forget to bring your camera! From a huge national fireworks extravaganza to your own back yard barbeque, a little planning and a little luck will reward you with beautiful photographs. Just remember to follow your local laws and be safe! The American Pyrotechnics Association has an excellent online resource for fireworks safety information, as well as listings of local regulations.

by Katherine Gray
Tecca

Casio Exilim EX-ZR100

If you've ever tried to photograph a sporting event, a concert, or anywhere else people aren't standing perfectly still for hours at a time, you've seen how frustratingly slow digital cameras can be—a few seconds to start up, a few seconds between shots, and a half-second or more of shutter lag add up to a lot of missed moments. If you feel the need for speed, then the 12.1-megapixel Casio Exilim EX-ZR100 ($299.99 direct) is for you. It's lightning-fast and akes great photos and video, but its quirks, including a less-than-stellar user interface, keep this camera from the top of its $300 class.

Design

The Exilim EX-ZR100 is one of the classier, sleeker cameras I've tested. It has a smooth, metallic feel to it, and the dark-gray color (the only color available) makes it even sleeker. The 2.3-by-4.1-by-1.1-inch body has rounded corners, a slightly raised look around the lens, and a small bump on the right side that acts as a grip. At 7.2 ounces it's not particularly light, but it's still pocket-friendly. The front of the camera, with too many logos and numbers (there's a Casio logo, a 12.5x symbol, and an HS logo), is annoyingly busy, but I'll overlook that in favor of the otherwise well-designed form.

On the front of the camera, other than the plethora of signage, is the wide-angle, 12.5x optical zoom lens. The lens extends from 24mm all the way to 300mm, which means whether you want a wide landscape shot or an extreme close-up, you'll get your shot. The ZR100's ability to go so wide and so tight is rare: Casio's Exilim EX-H20G ($349.99, 3.5 stars) starts at the same 24mm, but can only extend to 240mm. The Canon PowerShot SX210 IS ($349.99, 3.5 stars), on the other hand, starts at 28mm but extends all the way to 392mm.

The controls on the ZR100 aren't radically different from any other camera, with a few exceptions. There are dedicated buttons for switching between video and still recording mode, and a button solely for switching between single-shot and High Speed CS mode (more on that below). The LCD on the back of the camera is very sharp, a 3-inch screen packed with 460,000 dots (twice as sharp as most pocket cameras, which fill their screens with 230K dots), but about average for a $300 shooter.

The screen makes the otherwise drab interface a little more appealing, but not by much. The ZR100's menus are mostly gray text on gray backgrounds, and don't exactly pop. It's easy to navigate, though. If you press the center button on the camera's directional pad, it pops up a menu with the most-used options, which is a nice touch.

Performance

Turning the Exilim EX-ZR100 and shooting a picture takes 2.6 seconds: a fine score, but nothing spectacular. What is spectacular is the camera's recycle time, the time between shots. By default, Review mode (which briefly shows you the image you just shot before reverting to the viewfinder) is disabled by default, and with that off you can fire a shot every 0.7 seconds, crazy fast for a compact camera. With Review mode on (like most digital cameras), it still flies, needing only 1.6 seconds between shots. Add that to the camera's 0.3 seconds of shutter lag, and the ZR100 is absolutely screaming fast for its size and price.

In the PCMag Labs, we use the Imatest suite to objectively measure image quality, and we care especially about two tests: lines per picture height, a measure of an image's sharpness; and the percentage of noise in an image. The Casio Exilim EX-ZR100 scored well in the sharpness department, with a center-weighted average of 1,881 lines per picture height. Any score over 1,800 is very sharp, and the EX-ZR100's 1,881 is in line with or slightly better than other $300-range cameras, like the Editors' Choice Nikon Coolpix S9100 ($329.95, 4 stars), which scored 1,767.

A few technological tweaks by Casio make the ZR100 an excellent low-light camera, which hasn't always been true of Casio cameras. The sensor is backside-illuminated, which means the sensor is re-wired to bring photodiodes closer to the lens, which means more light can be absorbed more quickly. All that leads to a stellar low-light performance: The ZR100 can shoot photos up to ISO 1600 before Imatest measures 1.5 percent noise in an image, the threshold at which photos can become visibly noisy. That means, when you're at a party or shooting at night, the ZR100 is a good friend to have. The S9100 can go even further, though, all the way up to ISO 3200.

There were a couple of odd things that I encountered while shooting with the ZR100. First, and most annoying, the camera's image stabilization when zoomed in is terrible—anything beyond about 5x zoom created near-universally blurry photos. Second, the autofocus was often slow, taking a second to find a subject, the lens bouncing in and out as it tried to focus. Neither is a deal-breaker (though the image stabilization problem is close), but both are frustrating to encounter on a $300 camera.

Video recording options abound, from the high-speed to the high-quality. You can shoot in 1080p HD at 30 frames per second, and videos are recorded as .MOV files which can be uploaded directly to Facebook or YouTube. If you're feeling adventurous, though, you can shoot at 240, 480, or even 1,000 frames per second, though resolution gets ridiculously low, fast. The 1,000fps effect is cool, but there's not much practical use for any 224-by-64 video. HD video looked good, with crisp and clear colors.

Another of the best features on the ZR100 is its HDR (High Dynamic Range) technology. The camera takes three pictures simultaneously: one over-exposed, one under-exposed, and one normally exposed. Those three images are combined into one image, which typically has exceptional dynamic range and impressive colors that can show details in both shadows and highlights. If realistic isn't what you're after, though, try the HDR-Art feature, which takes HDR to an extreme to create a photo that looks more like an original piece of art. The HDR-Art feature is incredibly fun to shoot with, especially shooting still or slow-moving subjects.

The camera records to SDXC, SDHC, and SD cards. There's 52.2MB of built-in memory, enough for a couple of pictures if you forget your card, but you'll want a big card if you're doing serious shooting—and you'll want a Class 6 card or higher for the higher-speed work. There's a proprietary USB port for connecting the camera to your computer, and a mini-HDMI port for connecting it to your HDTV to play back photos and videos.

There's really not a lot wrong with the Casio Exilim EX-ZR100, but its subpar interface and the occasional quirk when zooming and focusing hold it back from topping our list of compact cameras—as does its $300 price tag. If you're looking for plenty of speed, and solid images even in low light, it'll serve you nicely. If the zoom and autofocus issues turn you off, my recommendation would be to either spend an extra $30 and get the Editors' Choice Nikon S9100, which offers a better user experience and huge zoom to go along with it, or spend the same $300 and get the Canon PowerShot SX230 HS ($299, 4 stars), which offers better still image capture (but not-as-good video), and packs a GPS for geotagging your photos.

PCMag