Appearing identical to the Canon T5i in many ways, there’s more under the hood of the T6i to distinguish it from older Canon models. Is the difference worth the price hike, though?
Canon Rebel T6i Preview with Images
Unlike the T5i’s subtle improvements over its predecessor, the T4i, the newer T6i offers an outright jump in specifications. A greater image resolution overall will perhaps be the greatest increase, accompanied by a sensor resolution or 24 megapixels instead of 18 (no doubt in response to the latest Nikons).
Of course, the Image Processor has now been upgraded to Digic6, which still doesn’t seem all that different from the older Digic5.
An increase in ISO range by one stop may entice low-light shooters, but an increase in white balance presets and autofocus points may appeal to a larger range of potential customers. Basic features beyond these mentioned remain largely the same, though the T6i is slightly less heavy.
It should come as no surprise that the biggest reason to buy this camera may be the built-in WiFi, which – when coupled with the 24 megapixel sensor – puts it right in line with Nikon’s newest entry level cameras.
For beginners, those traveling (and wanting to upload photos on the go) may particularly like the WiFi, while landscape and portrait photographers (and those who enjoy printing LARGE) will admire the sensor and resolution that comes along with the Canon Rebel T6i. For more hobbyist shooters, and those unconcerned with the performance of their current camera, the T6i will still offer a powerful but pricey upgrade option. Anyone coming from the T5i or even older T4i may do just as well to sink that money into some primo glass or other accessories that would provide an edge.
Of course, don’t just take my word for it. Instead, come visit us in Manhattan (at 29 West 46th Street), and check out the camera for yourself. Or check it out in our online store.
Olympus detractors continue to lose ground, and the Olympus m.Zuiko 40-150mm f/2.8 PRO isn’t helping them one bit. But for those of us out there who love Olympus, is the $1500 price tag worth it, and how does it fare in regard to the Olympus hallmarks of image quality and portability?
Olympus m.Zuiko 40-150mm f/2.8 PRO: PRObably Worth It
Let me level with you right now, folks: I am not a huge fan of telephoto lenses, because I no longer do a lot of distanced work. An 80mm lens is an extreme for me nowadays, as most of my stuff is shot on the street, a few yards (tops) away from my subjects. That being said, a few years ago when I lived out in the country (North Central Pennsylvania aka Coal Country), I used to loooove telephoto lenses. Well, if I knew then what I knew now…it probably wouldn’t have helped all that much because I would still have had to wait five years to get my hands on this lens. Because I would wait for this lens. Why? Because it’s that kind of lens. It works well – so, so well – with the OM-D E-M1, to the point where it feels as though the two of melded together to form some sort of super camera.
The Olympus m.Zuiko 40-150mm f/2.8 PRO is built like a PROverbial brick house. A quality build all-around, you can feel it almost instantly when you pick up the lens. That metal body and all that glass inside give the lens some weight, though, and definitely detracts from the portability that so many people associate with Micro Four Thirds cameras. That being said, it is best to view this lens as a truly professional piece of equipment on par with an equivalently long lens from Nikon or Canon: it ain’t built for convenience, but for durability and performance. Included with the lens is a nice tripod color, but the real nifty amenity to this lens is the inclusion of a kind of shotgunning lens hood. You simply lock it onto the lens like any other lens hood, but then there’s this rubber grip around the hood. Twist and pull towards the camera and the hood slides back on it’s circular mount, allowing for easier stowing inside your camera bag or lens case. Twist the rubber the same way and push away from the camera, and the hood springs back out, protecting you from pesky flare. I know, I know: totally badass.
Well, the heaviness is a down side. But, the heft does help stabilize for handheld shooting. This characteristic, coupled with that f/2.8 constant aperture, makes shooting in sub-optimal conditions easy as pie. For instance, most of the images in this review were shot on a windy, cloudy day while the camera was handheld. Some images were shot at a higher ISO and faster shutter speed, but I did end up pushing the camera to a shutter speed of 1/200th. What I got was fantastic, considering.
Here, the Olympus m.Zuiko 40-150mm f/2.8 PRO really PROves itslef worthy – not only of the price tag, but also of your adoration. Like every other top-of-the-line offering from Olympus, this lens yields excellent results. It handles portraits, it handles nature, it handles action. It does everything you need it to do, with no PROblems whatsoever. Chromatic aberration/color fringing is non existent on this baby. And once you pop on that no-hassle lens hood, flares are rendered moot. So are there any real down sides to the Olympus m.Zuiko 40-150mm f/2.8 PRO lens? No, not really. Even though my test was brief, the samples will speak for themselves.
Need telephoto zoom? Need PRO telephoto zoom? Shoot with a Micro Four Thirds camera? If you answered “yes” to all of these questions, give the 40-150mm PRO a look-see. Hold it in your hands. Gaze into its depths. Seriously, though, consider this lens if you do a lot of distance work, especially if doing so in low light or where faster shutter speeds are needed. Sports photographers, I am looking at you.
Sample images below. Click on any image to see full resolution.
Fresh on the heels of the Fujifilm X30 comes the announcement of the Olympus PEN E-PL7, the next incarnation of the stripped-down, ultra-compact PEN Lite series. But how stripped-down is the new camera? In true Olympus fashion, the insides command more than just a passing glance, and one just-under-the-hood feature may wind up raising some eyebrows.
Olympus PEN E-PL7: Selfie Machine or E-M10 Lite?
With Olympus boasting about the best autofocus system yet, and the inclusion of a 180-degree rotating LCD (flipping below the camera to face the user from beneath the camera), the big application of the Olympus PEN E-PL7 seems to be a selfie camera. That is, until you get to the guts of the camera, where some nice E-M10-esque specs shine through coupled with two things sorely missed on that particularly excellent machine.
Sporting the same sensor, image processor, image stabilization (with the same effectiveness), LCD screen size and resolution, built-in WiFi, shutter speed, x-sync speed, and video recording capabilities as the E-M10, the Olympus PEN E-PL7 clearly promises much in terms of image quality. For those holdouts who didn’t purchase an E-M10, the idea of joining the growing number of Olympus photographers is still an enticing proposition.
Add to this the not-so-touted features of an accessory port (allowing a microphone, an external flash, or an electronic viewfinder) and environmental sealing. ENVIRONMENTAL SEALING!
Sporting a battery with a longer life per charge – the finishing touch, if you will – the total package seems less like the PEN Lite cameras of the past, and more of a stand-alone offering in the Olympus Lineup.
The Olympus PEN E-PL7 is expected to hit stores late next month, in silver and black kits as well as body-only in black. The silver body-only camera will arrive in early October. Pricing has been set at $699 for the camera and lens kit (which includes the 14-42mm retractable kit zoom, but not the pancake version) and $599 for the body alone.
Making the rounds on the internet today, the Fujifilm X30 has officially been announced, with the biggest details being the inclusion of an EVF, an articulating LCD, and a longer battery life.
Fujifilm X30: The Saga Continues
The Fujifilm X30 is the next big (small?) thing in the X lineup, replacing the X20 that wooed some enthusiasts and beginners with that neat optical viewfinder. Touted for the inclusion of a whopping 2.36-million-dot electronic viewfinder, articulating LCD, built in WiFi, better battery life, and an extra film simulation mode, the X30 is making the kind of splash we’ve come to expect from the X Series cameras, but is it justified?
The new improvements, while welcome, don’t neccassarily seem to amount to that great of a change, and the only thing missing from the X20 is the optical viewfinder. The X30 retains the same lens and the same sensor.
Let’s talk about that sensor. Originally a welcome feature in the Fujifilm X20 (due in no small part to comparatively tinier sensors on competing models), the 1/2.3” sensor now seems a bit out-classed, thanks to the likes of the Canon G1X Mark II and the Sony RX100 II and III.
To be honest. the X20 has it’s appeal – even despite some drawbacks. And the X30 seems to be following that tradition with even more appeal, while still retaining the same drawbacks (cough**sensor**cough) .
The electronic viewfinder will be a clincher for some, a deal breaker for others. Personally, I would have liked to see a hybrid viewfinder (like the one in the X100 and the X-Pro1).
Built-in WiFi sounds great, but as I’ve done only a little preliminary poking around on Fujifilm’s smartphone app, I can’t really muster up any feelings about it.
In conclusion, while it will be nice to see a fresh commitment to continuing the X Series lineup, the overall lack of innovation in the Fujifilm X30 relegates this camera to a solid addition that may promise much to the enthusiast, but sorely misses the mark with dedicated Fujifilm customers.
Brand new to Canon’s L lineup, the EF 16-35mm F4 L IS USM is a stocky addition promising improved sharpness in a slightly-weighty package.
Shooting with the Canon EF 16-35mm F4 L IS USM
This lens is designed for Canon’s full-frame DSLRs. If it’s unparalleled image quality you’re after, and not necessarily a super wide lens, it could still make an excellent companion to any Canon DSLR with a cropped sensor. For the sake of this review, though, I matched it up with a Canon 5D Mark III and took to the streets of Midtown, heading over to Times Square to see this sharpness for myself.
The first thing that strikes me about this lens is the weight – it’s lighter than the 16-35mm F2.8 L, but heavier than the 17-40mm F4 L. It feels like a lens should, but may not be portable enough for everyone.
One of the biggest features on this lens is the Image Stabilization, making it the first of Canon’s wide-angle zoom lenses to sport such a feature. Obviously, this makes a difference for handheld, low-light shooting. If you plan on slapping this puppy on a tripod (which would not be such a horrible idea, given the weight), the IS seems a little superfluous.
Shot at f/4
Shot at f/5.6
Shot at f/8
Holy F Stops, Batman! Starting at F4 and working my way up to F8, I was flabbergasted at how sharp my images were. While the bulk of my samples were street work, it was nice to see detail close in, across the frame and well into the corners. For daylight shooting, F8 is the perfect aperture. For less light, F4 is still workable, but a little hectic. Aperture performance is going to hinge on the intended use of the EF 16-35mm F4 L IS USM, which brings us to our next point…
Who It’s For
Not everyone is going to love this lens. Ain’t that always the case? Canon is essentially courting two groups of photographers with this lens – architecture or landscape junkies, and street photographers.
Those shooting architecture and landscapes will love the lens, and will find it most useful at F8, smack-dab on a tripod mount. IS won’t need to be there, but it will probably be a welcome feature.
Street photographers, on the other hand, will find themselves shuffling between F4 and F8 depending on the aperture needed, and for night shooters, that IS is going to make a world of difference. The convenience of having your standard focal lengths right there at your fingertips only sweetens the deal.
Who Should Buy It
Not sport photographers. Sorry dudes, but you guys already have the 16-35mm f/2.8 L, and it gives you faster performance when you use that wide, wide aperture. Instead, this lens is ideal for street work, architecture, and landscapes, and might be of interest to anyone already invested in the 16-35mm f/2.8 L, but who also might want sharper results.
Rumors have been flying about a medium format mirrorless camera, purportedly being developed by such manufacturers as Sony and Fujifilm. Such rumors might seem wild, but more than possible given both companies histories.
Medium Format Mirrorless: Probably Pretty Possible
While I’m hesitant to jump on top of just any rumor that appears on dubious camera news sites, the likelihood of Fujifilm or Sony releasing a medium format mirrorless camera actually seems fairly positive. Sony’s the innovator at the forefront of the industry, quick to follow up on the success of the Sony A7 and A7r cameras, and the point and shoot RX series.
Given the success of the company’s full frame mirrorless cameras, the impact they’ve had on the photographic community, and the niche they dominate, is it strange to believe Sony could be considering an even larger sensor niche, with greater profit margin?
One thing that might stand in Sony’s way: that relative dearth of lenses many photographers keep joking about. Lacking much of a lineup for their existing cameras, this new medium format mirrorless camera might need to sport a mount to accommodate an already-existing roadmap from some other manufacturer. Bronica Strikes Back, anyone?
Of course, Fujifilm seems even likelier to churn out a medium format mirrorless, especially when one considers the company’s long-running successes in medium format film cameras. In addition to this history, recent success with fixed-lens digital range finders like the X100 and X20 mean the biggest hurdle for Fujifilm would simply be a larger sensor and (maybe) a larger body.
While it might be preferable to see interchangeable lenses for a medium format mirrorless Fujifilm camera, it seems doubtful as the vast majority of Fuji’s rangefinders (especially those in medium format) tend to sport a fixed lens.
While all of this is pure speculation, it doesn’t seem too far out there, given the facts, and way the industry seems to be headed, with every manufacturer (except Nikon and Canon) attempting to find their niche.
Announced earlier this year at CES, and following the innovative design of its predecessor the PowerShot N, the Canon N100 is nice enough camera with a few quirks that might need working around…or just plain understanding.
Shooting with the Canon N100
Controls and Handling
The Canon N100 looks and feels mostly like a real camera. Not that square monstrosity that predated it (the Powershot N). Gone is the weird shutter-release-on-the-lens design. Gone is the…well, not much else. But just be thankful they got rid of that lens design, sheesh.
You still get built in WiFi, but now you also have a rear-facing camera. Taking these features into account, along with creative filters (and even a film-simulation mode), one can tell this camera is meant to be fun, even if that comes at the price of performance.
Despite this relative emphasis on ease-of-use over performance, we can’t write the Canon N100 off completely: a 1/1.7” sensor puts it just a smidgen above some of the competition out there, and with some nice IS and a decent f/1.8 aperture when the lens is at its widest (a 24mm equivalent).
In other areas, the performance seems a little handicapped, with a relatively low ISO range (80-6400), no outward controls for rapidly changing shooting modes, and that weird screen that only flips up 90 degrees (Why Canon? WHY?).
The lens on this camera is does not offer a lot of zooming power. Aimed predominantly at people who want to take portraits of their friends and family, this camera doesn’t really need the zoom range that other manufacturers are putting into their products. However, if you’re looking for some zoom, the Canon N100 has 5x optical and a little digital left over (though I didn’t use it, ’cause who wants to see that eyesore?). If you’re looking to shoot distant birds, or photograph people from half a block away, there are other cameras out there that might suit you better.
ISO performance on the N100 isn’t terrible, with decent results up to ISO 800. For dimmer situations necessitating higher sensitivity, I would still try to stay at 3200 or under, as ISO 6400 does show a fair amount of grain.
Like most Canon point and shoots with built in WiFi, the N100 is easy to sync to a smartphone using the Canon Camera Window app, which allows transfer to smartphones and tablets, as well as remote shooting and geotagging. The remote shooting functions were fairly bare-bones with the N100, and silent mode is co-opted by some weird beeping that goes on with the camera when the shutter is triggered. So, the WiFi isn’t ideally suited for any sort of candid captures, but works great if you just want a basic remote or wish to share photos with smart devices.
The Canon N100 has a rear-facing camera, so you, the photographer, can still have pictures of yourself when you’re presumably photographing your friends. I don’t have any friends, but I do love Zeikos camera gear, so I shot that with me making ducklips in the corner of the frame. CLASSIC.
Like almost every point and shoot or compact camera out there these days, the Canon N100 also comes with a plethora of artsy filters. Now, normally these filters suck on small sensors. Something just seems off, whether it’s the way the image processor handles them, or some curse that befell all smaller sensors by some sort of full-frame warlock. At any rate, the 1/1.7” sensor and the Digic 6 Processor seem to work in tandem to deliver moderate results, even when using the Toy Camera filter. (These images were also shot using the camera’s macro focusing mode, which is quite nice, but not as good as some of the competition.)
Image quality on the N100 is surprising to say the least. Even though I was working with JPEGs, there was still a little room for tweaking, and I even managed to save one slightly under-exposed photograph. In general, the automated performance seems intelligent enough to do it’s job, while the hardware (and software) give you images with a teeny bit of leeway. Colors are very nice, and you won’t find a real need for the Vivid Effect unless that’s really your thing.
The Canon N100 is a decent little camera with enough features, gizmos, and doohickeys to keep younger photographers on top of their passion. Canon has pushed this camera as a “story camera” and there’s a lot going for it in that niche. The social inclination of the N100, from the rear-facing camera to the built-in WiFi, speaks to the denizens of Twitter and Facebook. However, a lack of prosumer features, and the half-implementation of some decent ideas (again, a 90 degree articulating LCD…) means this puppy isn’t going to see the audience that the SX700 will, even though both cameras sit at around the same price.
If you’re in the mood to try something new and fun, or you want to be connected while you shoot with your compact, this camera might just be the One.
The first impression you might have pulling the Olympus SH-1 out of the box is how much this camera looks like a Pen Camera. For better or for worse, it isn’t. Instead, the SH-1 is decidedly a point and shoot camera with a large zoom range and excellent video. But what else does the Olympus SH-1 boast? And is the camera’s price tag a fair indicator of image quality?
Shooting with the Olympus SH-1
So it isn’t a digital Pen, but is it still worth buying? For some, the Olympus SH-1 will make a big difference in terms of what can be captured, and when it can be captured. The biggest feature on this small camera is, without a doubt, the 5-axis image stabilization, which is being implemented in compact FULL HD video for the first time (so Olympus says, at least).
At any rate, that IS is really helping out video and Image Quality and long ranges, so it’s safe to say that those looking for a compact megazoom – or a pocketable camera that also delivers excellent video – will find this little runt appealing.
Like most compacts, especially Olympus compacts, the controls and their layout are minimalist but functional. Missing are any dials for shutter and aperture, and between the mode dial on top and the concise menu layout, it’s plain to see that the Olympus SH-1 is an easy-to-use camera streamlined for a more automatic shooting experience.
Built in WiFi is easy enough to sync to your smartphone or tablet, and the relative ease with which one can change shooting modes (set the mode dial, then press the “ok” button to select different options), gives this camera a certain appeal not readily found in other brands.
What can I say, the reach on this sucker is fantastic. From a 25mm equivalent at it’s widest, to a whopping 600mm equivalent at it’s furthest in, the lens is great. That 5-axis image stabilization only bolsters the performance.
Manual Mode on the Olympus SH-1 is a bit of a pain. Like most compacts, here you’re working with a D-Pad to adjust your settings – from Shutter Speed and Aperture, to ISO. If you’re working in a location with constantly-changing lighting, it may not be the easiest way to use this camera, but if you can set it and run with it, you won’t be disappointed.
As usual, Olympus throws in some nifty art filters for certain effects. While most might seem gimmicky, I personally like the Grainy Black And White effect, which tends to offer extreme contrast for a love-it-or-hate-it feel.
Panorama mode allows wider images with decent stitching. It works best with still subjects, and if you wanted a panoramic shot of architecture or landscapes, this feature would prove itself useful. If you’re looking to capture busy scenes with lots of movement, you may want to look elsewhere, as the stitching software still seems to mar some difficult, moving subjects.
Image quality is the big bust on the SH-1, and while it might not be perfect, it certainly isn’t abysmal. As with most small-sensor cameras, the big point one should keep in mind when considering this camera is that you’ll want to get the image right while in-camera. TRYING TO SAVE A SHOT IN POST IS VERY DIFFICULT.
That being said, I’m still surprised at how this little puppy held up. I especially enjoyed setting up the WiFi and using my old iPhone as a remote LCD while I held the camera nonchalantly, taking some pretty nice candid shots of people walking by.
It’s no RX-100ii, but the Olympus SH-1 may be the compact to look at. Generally, it strikes you on paper as being a go to workhorse for stable handheld video, and long-distance lens performance. With the added WiFi and some minimalist design, however, it could lend itself to almost anyone who wants a basic camera with some decent output. In general, I would say it performs about as well as – if not better than – Fuji’s X20. You might lose a viewfinder and a lot of manual controls, but a more portable design will have many right in the Olympus Brand pocket.
Recently out in stores (since early March), the Fuji 10-24 f/4 R OIS is a lens of great construction with pretty awesome performance. Is it worth the $999 price tag, though? Here are some sample images and some personal input on a lens I became addicted to the moment I used it.
Fuji 10-24 f/4: Classy Camera Companion
This review’s setup: the Fuji 10-24 f/4 on the X-T1.
When it comes to wide-angle lenses, I’ve almost always used primes. I’ve handled some nice Tokina wide angle zooms, and I’ve personally owned the Sigma 10-20, and I’ve sometimes been impressed by the performance I’ve experienced or the samples I’ve seen. Well, Fuji’s new lens has its hooks in me. It’s truly a great lens. It may not be worth the money, though, depending on who you are and what you shoot.
I found the easiest way to use this lens to be setting the camera to aperture priority mode. On the X-T1, this simply meant setting shutter speed and ISO to auto, and trying desperately not to fudge the aperture ring too much.
The Aperture Ring
This is the only negative thing I really have to say about the lens: the aperture ring sucks. Okay, maybe not sucks. But it’s just too easy to move inadvertently. Some basic prep time spent memorizing the position of the three rings – aperture, zoom, and focus, probably would have helped, but I’ve got too short of an attention span for that so I hit the streets and cursed at the camera in my head every time I scrambled to get a shot. In summation, it’s not so much a deal-breaking flaw as it is something you can learn to work around, or work with. Just be prepared to drop one or two mental f-bombs.
Astounding glass can be found in this lens. Maybe it’s the quality of the glass itself, or the coating they’ve put on the glass, or a spell cast by wizard from another dimension, but the performance here is fantastic. There is some drop in sharpness at the extreme corners of the lens, but when you shoot at f/8 and up, you can kiss that hiccup goodbye. And given that this lens is primarily aimed at landscape and architecture photographers, I don’t image many people would be shooting at f/4 to begin with.
Probably having just as much to do with the fact that I’m using the X-T1 as it does the lens, the colors and image quality are still impeccable with this camera. Given the choice of pairing the Fuji 10-24 with the X-T1, or sticking with the kit lens, I would pick the 10-24. Mostly because I love shooting wide, and photographing on the street, but also because I personally feel the images that I am getting with the 10-24 maybe be just a little better.
Again, the Fuji 10-24 has some great construction, with a mostly metal exterior and interior (although there is still a little plastic on the front and rear inside barreling). The heft of the lens is nice, with what I would say is just the right amount of weight. It may put off some prospective buyers, especially those looking for a lightweight mirrorless setup. Luckily, most of those people tend to go for Olympus and Panasonic, so this lens shouldn’t be disappointing to them.
Who It’s For
Generally, I’d recommend this lens to people who love the wide-angle look. Duh, right? But that price tag ($999) can be a bit steep for some, and it really is a specialty lens. Couple this with the fact that you still get a keystone effect in shots of architecture, and it may not be everything Fuji has claimed it to be. Definitely a high quality beast, but more suiting to people who can live with distortion than those who can’t or just outright abhor it. Also, as I mentioned above, it isn’t very light, so weight may throw some people off. I would say this is ideal for street photography and landscapes, but I would definitely suggest you try before you buy.
I’m addicted to this lens. I love the 15mm focal length, I love the weight (it doesn’t feel like it’s another plastic lens with an over-inflated price tag), and I love the image quality. I still detest the aperture ring, but maybe I’m just becoming a crotchety old man. Who knows.
Just for fun, here’s a Toynbee tile I found while testing the lens.
Perhaps somewhat overshadowed by the news of a point-and-shoot Pen, the Olympus TG-3 appears no less impressive, effectively announced as a replacement to the WG-2 and sporting some welcome improvements.
Olympus TG-3: Competition-Proof Compact?
Tough cameras may induce wonder from some, but they rarely pique my interest. I say rarely because the TG-3 has been announced and my interest has finally been piqued.
Here are some pictures of a pre-production model.
|Model||Stylus TOUGH TG-3|
|Waterproof||Submersible down to 50ft/15m|
|Crushproof||Withstands up to 220lbf/100kgf of pressure|
|Shockproof||Resists drops up to 7ft/2.1m high|
|Freezeproof||Puts up with freezing weather down to 14°F/-10°C|
|Wi-Fi Connectivity||The built-in Wireless LAN and free Olympus Image Share (OI.Share) app enable you to:1) Easily share files (JPEG/MOV) to iOS and Android mobile devices,2) Geotag photos with GPS location information from iOS and Android mobile devices,3) Remotely operate the zoom, activate the self-timer, adjust white balance and exposure (ISO, shutter speed, aperture), select the shooting and drive modes, select the AF area, and trip the shutter, all from an iOS and Android mobile device.
4) Apply custom signatures and Art Filters to photos taken and stamps to Photo Story photos.
|GPS & Electronic Compass||GPS: Quickly locates position within 10 seconds and is more accurate than ever.Location and landmark information can be viewed and geotagged to photos.Electronic Compass: Displays information such as 1) Latitude and longitude, 2) Atmospheric and water pressure, 3) Altitude and water depth, and 4) Date and time.|
|Zoom||4x Optical Zoom + 2x Super Resolution Zoom + 4x Digital Zoom|
|Focal Length||4.5 – 18.0mm (35mm equivalent: 25 – 100mm)|
|Aperture Range||Wide: f2.0, f2.8, f8.0Tele: f4.9, f6.3, f18.0|
|Focus Range/Working Distance||Wide/Tele: 3.9in/10cm to infinity;Super Macro Mode: 0.4in/1cm to infinity, focal length fixed to 25mm (equiv)|
|Image Sensor||16 Megapixel – BSI CMOS 1/2.3”|
|Image Processor||TruePic VII|
|ISO Sensitivity||ISO 100, 200, 400, 800, 1600, 3200, 6400, AUTO, HIGH|
|White Balance||Auto, One-touch, Cloudy, Sunny, Incandescent, Fluorescent, Underwater|
|Shutter Speed||1/2 – 1/2000 (Night Scene: Longest 4 sec)|
|Continuous Shooting||5fps / 100 images (16M); 15fps / 100 images (3M); 60fps / 100 images (3M)|
|Self-Timer||2 sec, 12 sec, Custom Self-Timer (1-30 sec start timer, 1-10 pictures, 1-3 sec interval)|
|Interval Shooting||1 sec – 24 hrs interval, Max 99 frames, 1sec-24hrs start timer|
|AF Illuminator||Built-in AF Illuminator|
|Flash Modes||Auto, Red Eye Reduction, Fill-in, Off, LED|
|Focus Mode||Face Detection AF, AF Tracking, AF Lock|
|Shooting Modes||Mode Dial: Intelligent Auto (iAUTO), Program Auto (P), Aperture Priority (A), Microscope, Scene Modes (22), Art Filters (11), Photo Story, Custom (C)Microscope Modes: 1. Microscope, 2. Focus Stacking, 3. Focus Bracketing, 4. Microscope ControlScene Modes: 1. Portrait, 2. ePortrait, 3. Landscape, 4. Interval Shooting, 5. Hand-held Starlight,6. Night Scene, 7. Night + Portrait, 8. Sport, 9. Indoor, 10. Self Portrait, 11. Sunset, 12. Fireworks, 13. Cuisine, 14. Documents, 15. Beach & Snow, 16. Under Water Snapshot,
17. Under Water Wide1, 18. Under Water Wide2, 19. Under Water Macro, 20. Snow,
21. Panorama, 22. Backlight HDR
Art Filters: 1. Pop Art, 2. Soft Focus, 3. Pale & Light Color, 4. Grainy Film, 5. Pin Hole, 6. Diorama, 7. Dramatic Tone, 8. Fish Eye, 9. Sparkle, 10. Reflection, 11. Fragmented
Picture Modes: Vivid, Natural, Muted
|Panorama||Allows you to intuitively pan the camera across the scene; standard and full 360° views available.|
|Still Image Playback Edit Effects||1. Resize, 2. Crop, 3. Audio Clip (Record 4 sec audio to image file), 4. Red Eye Fix, 5. Shadow Adjustment, 7. Rotate Image, 8. e-Portrait (smoothes skin tone to view on HDTV)|
|Still Image File Format||JPEG|
|Video Mode, Resolution and Recording Speeds||1080p, 720p, VGA, Time-Lapse Movie (720p),High-Speed 120fps (640×480), High-Speed 240fps (432×324)*When shooting 1080 60p/1080p/720p movies, use SDHC class6 (speed class)/SDXC class6 or higher for best results.|
|Time-Lapse Movie||Images obtained with the Interval Shooting mode can be compiled automatically in the camera into a Time Lapse Movie lasting up to 10 sec. Movie is recorded in 720p size at 10 fps.|
|Audio Recording||Linear PCM|
|Video File Format||MOV/H.264, AVI/Motion JPEG (High-Speed Movie, Time-Lapse Movie)|
|Rear Monitor Size (Aspect Ratio)||3.0″ (3:2)|
|Rear Monitor Resolution and Type||460K Dots LCD|
|Removable Media Card||SD, SDHC, SDXC, Internal Memory|
|Outer Connectors||Multi-terminal (USB Connector, DC Jack, Audio/Video Output), HDMI Type D|
|Auto-Connect USB||USB 2.0 High-Speed (USB Mass Storage)|
|Language||English, French, Spanish, Brazilian Portuguese, European Portuguese, German, Italian, Russian, Czech, Dutch, Danish, Polish, Swedish, Norwegian, Finnish, Croatian, Slovenian, Hungarian, Greek, Slovak, Turkish, Latvian, Estonian, Lithuanian, Ukrainian, Serbian, Korean, Simple Chinese, Traditional Chinese, Thai, Arabic, Bulgarian, Romanian, Persian, Indonesian, Hebrew, Malay, Vietnamese, Japanese|
|Battery||Lithium-Ion Rechargeable Battery (LI-92B)|
|380 shots; 120 minutes continuous video shooting|
|Dimension||4.4″ W x 2.6″ H x 1.2″ D (111.5mm W x 65.9mm H x 31.2mm D)|
|Box Contents||TG-3 Digital CameraWaterproof InstructionsWrist StrapLI-92B Rechargeable Lithium-Ion Battery
USB Cable (CB-USB8)
AC Adapter (F-2AC)
Quick Start Guide
CD-ROM with Instruction Manual and Olympus Viewer 3 Software
Worldwide Warranty Card
The biggest highlight here? Built-in WiFi and interval shooting give users that ability to turn the Olympus TG-3 into an action camera with a remote, as well as send of pictures and video to social networks like Twitter, Facebook, or YouTube. Having used the free Olympus app, OI.Share, I can safely say that it feels fairly easy to use, and once you get used to setting up a connection with between the camera and your phone, it is pretty close to hassle-free.
For those who disdain the ever-increasing social aspect of digital photography can still fall in love with this camera, thanks in no small part to improved macro capabilities, including a claim from the manufacturer that the Olympus TG-3 can focus as close as 1 cm (!!!) – probably made possible with some crazy zoom feature in the camera menu, or the optional LG-1 LED ring light ($59.99).
At any rate, the TG-3 has been announced, and will retail for around $349. While you might rejoice at that price, you’ll have to wait until June for the camera to become available. It will be available in red and black.