The 18-200mm kit lens has an 11.1x zoom ratio, with a 35mm equivalent focal range of 29-320mm when the focal length crop is taken into account.
The Canon EOS 60D will work with pretty much any EF-mount lens ever made, as well as with the special EF-S lenses designed for cameras with APS-C size sensors. In Live View mode, the Canon 60D offers three autofocus modes ,as per other recent Canon digital SLRs. The Canon 60D uses the built-in flash head as its AF-assist illuminator, rather than a bright light built into the camera's body. Without an external strobe attached, and when in Creative Zone modes (Program, Priority, Manual, and Bulb), the internal strobe will fire its AF assist pulses if needed whenever the flash is raised.
First introduced on the Canon Rebel XTi, Canon's system-wide approach to reducing the impact of dust on the image sensor is also included on the Canon 60D with a slight update to the anti-static coatings used.
The principal approach other manufacturers have used to deal with dust has been to make the system self-cleaning, vibrating either the anti-aliasing filter itself or a protective cover glass lying above it, to shake loose adhering dust particles.
Dust reduction.?The Canon 60D includes Canon's EOS Integrated Cleaning System, first introduced on the EOS Rebel XTi camera. No matter how good an automatic cleaning system, there?are?going to be some stubborn dust particles that it can't dislodge.
Located in Shooting Menu 3, the Dust Delete Data option displays a screen that shows when the last Dust Delete reference image was captured.
Despite Canon's advanced anti-dust technology, we feel compelled to point out that we've thus far seen?no?anti-dust system that completely eliminates the need for sensor cleaning. The Canon EF-S 18-135mm IS (Image Stabilized) kit lens offers better-than-average zoom ratio, with pretty good performance. Higher than average barrel distortion at wide-angle and moderate pincushion distortion at telephoto with the 18-135mm IS kit lens. Moderately high chromatic aberration at wide-angle and telephoto with the 18-135mm IS kit lens. Overall, a pretty good performance for a kit lens here, especially one with a 7.5x zoom ratio. If this involves quality photography, the task associated with a camera would be to illustrate the center from the image and Nikon cameras dare to consider it mind-on. Since its first camera in 1948, Nikon has advanced significantly to create the best camera within the area of both amateur and professional photography. Nikon’s D Series dslr cameras include such popular models because the D200, D80, D40x and D40 in addition to professional models like the lately introduced D300 and D3 dslr cameras. The Nikon L-Series or even the Existence Series happen to be made to make reminiscences simple and inexpensive.
Furthermore, each one of the new L-Series cameras boast impressive battery existence, along with a greater light sensitivity, which causes it to be simple to produce better pictures in low light situations.
Nikon’s COOLPIX performance number of digital camera models offer advanced functions, easy operation, and picture quality to fulfill photo and camera fanatics. The Nikon S-Series digital camera models using the prefix S meaning style truly focus on the tastes of photography enthusiasts. You can use a camera line art in your conversations to let your friends know that you are going for a professional photo shoot.
Contact us with a description of the clipart you are searching for and we'll help you find it. This article will be the first in a series of articles on webcasting and will cover a wide range of topics including video cameras, video switchers, converters, computer inputs, audio, reference monitors, webcast hardware, webcast software, live streaming services providers, and some additional hardware that is important in order to produce a professional live webcast.
Live streaming video webcasts are a lot more complicated than the workflow that most video producers are accustomed to when they film, edit, and upload a video to a video host. Part 2 of this series on webcast video production focuses on Sony's NEX-FS100 large-sensor camcorder and new capabilities added via a firmware upgrade that (among other things) makes it compatible with Sony's LA-EA2 lens adapter. The Sony NEX-FS700 has much to recommend it as a top-flight large-sensor, interchangeable-lens camcorder and as a worth-the-upgrade successor to the Sony FS100.
This article is the fourth in a series on webcast video production and discusses video switchers, including the cost and features that differentiate several popular models. Now featuring a new interview from NAB 2013 on the Sound Devices Pix240i, this article looks at a handful of portable and rackmount external video recorders for live HD production, specifically in the role of recording the master program feed from a live switch. In this ongoing Streaming Media Producer series on webcast video production, Shawn Lam covers the video format converters he uses in his own HD webcast workflows, and one new converter that just might be the video converter, scaler, and distribution amplifier to rule them all. Nikon has announced the new D7200 APS-C DSLR camera, here are first official sample images of Nikon D7200.
How to support us ?If you're getting any photo gear, books or anything, simply using any of links below when you order anything, is the biggest help to us to keep adding to this free website.
The idea is clearly to offer a sensible subset of the X-T1’s features in a camera that offers a similar handling experience, but at a lower price. What the X-T10 lacks in comparison to the X-T1 includes weatherproof construction, ISO and metering-mode dials, and some smaller refinements such as dial locks and a PC sync socket for studio flash. However, the X-T10 gains a few new features commensurate with its more entry-level target audience.
Available in either a staid all-black, or a rather attractive silver-and-black design, the X-T10’s body-only price is ?499. The X-T10 offers an impressively broad feature set, with a specification that would have looked outlandishly advanced just a few years ago. Full HD movie recording is available, at up to 60fps and with full manual control over recording. With its boxy, high-shouldered design, the X-T10 can look a bit odd from some angles, but the advantage is that it gives more space for controls and more room for your right hand to grip. In use, the X-T10 behaves rather like a simplified X-T1, which of course is the whole idea.
Aperture is normally set by a ring on the lens, but certain Fujinon lenses lack this control, including the XC 16-50mm, which is the cheaper of the two kit zoom options. ISO sensitivity doesn’t have its own control, but can be assigned to a function button, or set via the onscreen Q menu that gives quick access to 16 user-selectable settings. The screen itself is a 3in, 920,000-dot LCD that tilts upwards by 90° for waist-level shooting, and downwards by 45° for high-angle shots. The X-T10 comes with a new advanced autofocus system, which will also be available in a firmware update for the X-T1 (as Version 4). Group mode uses sets of AF points positioned in a defined area of the frame, and is designed for when you wish to maintain a specific composition.
With static subjects the X-T10 focuses quickly, silently and accurately, especially with the small 16-50mm kit zoom. We haven’t yet had time to test continuous focusing out fully, but initial impressions are quite positive. With the same sensor and processor as other X-system cameras going back to the 20-month-old X-E2, I wasn’t expecting any great surprises from the X-T10 with regard to image quality, and didn’t really see any either. However, we’ve seen equally nice colour from the X-A2 which uses a conventional 16MP Bayer sensor, so we can’t help wonder what Fujifilm might be able to deliver using one of the latest 24MP Bayer sensors that give excellent results in cameras like the Nikon D7200. High ISO image quality has always been a Fujifilm strength, and the X-T10 accordingly delivers really nice results up to ISO 3,200 at least.
Fujifilm’s X-system cameras have used the same 16MP X-Trans CMOS sensor and EXR Processor for a while now, which means that the X-T10 gives much the same image quality as other recent Fujifilm cameras, including the X-T1.
High ISO images tend to look particularly good, with excellent noise suppression and colour retention. The unusual colour filter array also means that X-Trans image files tend to look different to those from conventional Bayer cameras, when viewed at the pixel level. Because of its X-Trans CMOS sensor, we’ve had to treat the X-T10 slightly differently to usual in our Applied Imaging tests, and as a result the numbers don’t necessarily compare directly to conventional Bayer-sensor cameras.
At ISO 100 (which is only available in JPEG) the X-T10 gives an essentially noise-free image, with good rendition of fine detail and attractive colour (although highlights visibly clip). Noise only really starts to have an impact at ISO 1,600, with shadow detail starting to block up a bit. Lens Peripheral Illumination Correction first appeared in the 50D and has since featured in several of Canon's consumer and enthusiast DSLRs.
The first of these is what Canon refers to as Live Mode AF, whereby the camera applies contrast detection algorithms to the data streaming from the image sensor. This expands creative options enormously, but every time the lens is removed, dust from the environment is free to enter the camera body. Once dislodged, a strip of sticky material at the bottom of the sensor cavity or mirror box catches and holds them. The camera's Self-Cleaning Sensor Unit uses a piezoelectric element to shake dust particles off of the low-pass filter in front of the sensor. To deal with these, the Canon 60D has the ability to shoot a dust reference photo, and then transfer that information to Canon's Digital Photo Professional software, which can use it to eliminate the shadows cast by dust particles on the images.
Selecting OK on this screen initiates a cleaning cycle, after which the camera prompts you to take a picture of a blank white surface.


Sooner or later, you're going to need to clean your sensor, so we strongly recommend purchasing a good-quality sensor cleaning kit right along with your DSLR. At the telephoto end, there was about 0.4% pincushion distortion, which is also higher than average though not quite as noticeable.
Chromatic aberration in the corners with the Canon 60D's 18-135mm kit lens is moderately high at both wide-angle (18mm) and telephoto (135mm) settings.
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The organization thinks in delivering absolute quality through advanced imaging techniques and also the Nikon cameras speak for this. The Series of the top rated COOLPIX family happen to be praised as the standard compact digital camera models that mix excellent performance with easy-to-use features.
The most recent within this series the Coolpix P6000 is full of filled with interesting features, like built-in Gps navigation, an Ethernet connection, wireless expensive, along with a new Vista-compatible raw format. The series is particularly popular because of its attractive slim look among youngsters and girls. So if you wish to procure one, buy Nikon camera online and you’ll never regret your choice, for this is actually the most preferred option among all wise purchasers today.
While it's not as strong a webcast camera as the FS700 (review coming soon), it still has much to recommend it.
With its combination of excellent image quality, dial-based controls and a rugged, compact body design, it earned numerous awards – including our own Premium Compact System Camera of the Year and our Reader Product of the Year at the 2015 AP Awards. To this end, the X-T10 uses the same 16.3-million-pixel, X-Trans CMOS II sensor (which includes on-chip phase-detection pixels for autofocus), alongside Fujifilm’s EXR Processor II.
There’s a pop-up flash that is cleverly hidden in the viewfinder housing and released by a switch on the top-plate.
The sensitivity range covers ISO 100-51,200, although raw-format recording is frustratingly restricted to ISO 200-6,400. This allows remote control of the camera with a live view display on the smart device, which is perfect for shooting on a tripod with, say, the camera at odd angles. The camera has built-in stereo microphones, along with a 2.5mm stereo socket for an external microphone. Indeed, with a cleverly sculpted front grip, rear thumb hook and grippy rubberised coating, the X-T10 feels impressively secure in your hand for such a small camera. It is based around traditional analogue controls, with top-plate shutter speed, exposure compensation and drive-mode dials. In this case, aperture is set using the rear control dial, which works fine but doesn’t give quite such a satisfying handling experience. Alongside magnified live view, the X-T10 has a peaking display that highlights in-focus edges of the subject, along with Fujifilm’s unique digital split-image display. I assigned ISO to the front control dial, meaning I could click the dial in to activate the setting, then rotate the dial to change it. It’s a really nice finder, being bright, clear and colour accurate, and it matches the optical finders on most APS-C DSLRs for size. However like all tilt-only screens, it becomes much less useful when shooting in portrait format. For static subjects this employs Fujifilm’s familiar 49-point grid covering most of the frame, with the AF area size selectable in five steps to match the subject. It also works well in low light, and I prefer to turn off the blindingly bright autofocus illuminator as it’s rarely needed. On one level this is a good thing, as it means you get Fujifilm’s signature lovely colour rendition, via its ‘film simulation’ modes that are designed to mimic classic film emulsions. Crucially, the raw files would be rather easier to handle in third-party conversion software.
Metering is usually well judged, and because the camera provides a live preview of the exposure it’s easy enough to apply any necessary compensation without resorting to guesswork. One real annoyance, though, is that raw recording is limited to the ISO 200-6,400 range, and you can’t access the extended sensitivity settings unless you have raw disabled (and have also turned off the electronic shutter option in the menu). This isn’t a bad thing, as these cameras are capable of giving very fine results, with particularly attractive JPEG colour output.
But infuriatingly, Fujifilm limits raw format recording to ISO 200-6,400, so you’re stuck with the in-camera processing and can’t apply your preferred noise reduction at higher sensitivities.
Not all raw converters can handle raw files, either, although Adobe Camera Raw and Capture One can both produce good results.
We measure 12.4EV range at ISO 200, which gives plenty of latitude in exposure and post-processing. Switch to ISO 200, the lowest setting available in raw, and the image quality is still excellent but there’s more detail retained in the highlights. From this point onwards it has increasing impact, but even ISO 6,400 gives quite acceptable results for less critical purposes. Focusing is internal, and the 18-135mm uses a micro DC motor for autofocus instead of the ultra-sonic motor found on models with the USM designation. Again, the built-in image stabilization system is rated for up to four stops of correction, and is enabled or disabled with a provided switch. EF-S lenses can't be used on full-frame Canon cameras, nor on their models with 1.3x crop factors, like the current EOS-1D Mark III, but small-sensor cameras like the 60D can use any full-frame lenses in Canon's arsenal.
For example, a 100mm lens on the Canon 60D will show the same field of view as a 160mm lens on a camera with a 35mm frame size. Peripheral Illumination Correction works with over 85 different Canon lens models, in both RAW and JPEG workflows. It's a disappointing omission, as its a feature available in some prominent models from competing manufacturers, at around the same price point. This allows focusing without interrupting the live view, but has the disadvantage that it is significantly slower to achieve a focus lock, which makes it less useful for handheld photography, or when shooting moving subjects. From there, it's only a matter of time before some of it makes its way to the surface of the sensor ,where it casts shadows that appear as dark blobs in your images.
This approach was pioneered by Olympus, but has since been adopted by Canon, Nikon, Pentax, Panasonic, and Sony, in various forms. The dust is then trapped by an adhesive strip along the base, preventing it from causing further nuisance.
Automated anti-dust systems like Canon's will certainly help with some of the dust, typically the dust that the nylon brush-based cleaning systems can also handle.
The amount and intensity of the color fringing reduces as you move toward the center of the image, but is still slightly evident in the center at wide-angle.
At full wide-angle, corners on the right side of our test targets were somewhat softer than the center, but the blurring didn't extended very far into the frame. The main optical issues with this lens are chromatic aberration, corner-shading and geometric distortion, all of which can be corrected for or reduced in most advanced image editing software. The research was carried out in four regions of client satisfaction: display quality, performance, operation, and search and styling. The most recent Nikon cameras within this series namely the L10, L11 and L12 mix high-quality construction and designs with user-friendly features at reasonable prices. The most recent within the S series Nikon cameras would be the S610, the S610C, the S710 and also the S560.
This article will be the first in a series of articles on webcasting and will cover a wide range of topics including video cameras, video switchers, converters, computer inputs, audio, reference monitors, webcast hardware, webcast software, live streaming services providers, and some additional hardware that is important in order to produce a professional live webcast.Video Camera SelectionThere are several ways you can categorize video cameras. Now Fujifilm is trying to build on this success with the launch of its simplified little brother in the shape of the X-T10.
It has a cosmetically very similar DSLR-style design, with a centrally mounted electronic viewfinder and tilting rear screen, and uses Fujifilm’s signature dial-led control layout, including top-plate shutter-speed and exposure-compensation dials (most lenses have their own aperture dials).
Another switch puts the camera into its beginner-friendly Auto mode, and allows access to subject-optimised scene modes. Continuous shooting is available at 8 frames per second, with continuous autofocus during shooting.
The electronic shutter is also completely silent, which is great in situations where the clack of a mechanical shutter would be intrusive.
A dedicated red record button on the top plate initiates recording at any time, but can be re-purposed to another function if you prefer. With die-cast magnesium-alloy top and base-plates and aluminium dials, build quality feels solid enough, if not quite as rugged as the weatherproof X-T1. Twin electronic control wheels are placed on the front and back of the body, both of which can be clicked inwards to function as buttons. The drive-mode dial gives access to panorama, multiple exposure and bracketing modes, alongside the more usual single and continuous shooting. The XF 18-55mm zoom does have an aperture ring, along with a very useful stop-faster aperture, and would be our kit of choice for starters, although it does come at a ?200 premium. Clicking the front dial switches between AF area modes, but this can be changed to suit your preference.


This works really well, and personally I much prefer it to the X-T1’s awkwardly placed, locking ISO dial.
However, the window is unusually small, so you need to align your eye with it perfectly to see properly into the corners of the screen. However, it adds eye-detection AF for portraits, along with two new modes for continuous focusing on moving subjects. The subject’s expected starting point, where the camera will initially acquire AF, can be set anywhere in the frame. In 8fps CH mode the camera can only use phase detection for focusing, so you’re limited to 3?3 or 5?3 groupings in the centre of the frame. We’re aiming to produce a more in-depth article covering the real-world capabilities of the new focus system shortly, so keep an eye out for this in the next month or two. Auto white balance tends to work well, although it occasionally drifts towards an overly cool interpretation of the scene. This is pretty infuriating when shooting in low light when you have no option but to boost the ISO, and I’d really like to see Fujifilm make raw files available at any setting, like every other brand.
This drops monotonously as the sensitivity is increased, but even at ISO 3,200 we see a quite respectable 8.2EV range.
The top three settings – ISO 12,800 through to ISO 51,200 – are only available in JPEG, and give very marginal results.
For JPEG shooting, the correction is made at capture time, while RAW shooters can access the function in Canon's Digital Photo Professional software, although Canon shooters should note that the latter approach offers the highest degree of correction. Using Custom Function III-4, AF assist can be disabled altogether, set to fire from the external flash only, or set to fire with external strobes including an IR assist beam only. Some cameras use a dedicated piezoelectric element to provide the vibration, while others perform double duty with the sensor shift mechanism used for their image stabilization, with widely varying vibration frequencies and efficacies. If the surface you used to capture the image wasn't sufficiently uniform, you'll get an error message, but if the image was good, you'll see a confirmation screen. Sharpness at full telephoto is quite good too, with excellent detail across the frame, though chromatic aberration is still a bit high.
Geometric Distortion is the tendency for the lens to bend straight lines outward (like a barrel -- usually at wide-angle) or inward (like a pincushion -- usually at telephoto). As mentioned previously, the Canon 60D  has the capability of reducing corner shading automatically in-camera by enabling Peripheral Illumination Correction. The X-T10 is also noticeably smaller and lighter than the X-T1, making it easier to carry around all day. However it can potentially show distortion with moving subjects, and strangely it can’t be used with the extended ISO settings. Fujifilm hasn’t included an NFC chip for easy set-up, but its implementation of Wi-Fi makes connecting the camera to the phone extremely straightforward anyway, so this is no real loss. It is noticeably nicer than the recently launched and broadly similar Panasonic Lumix DMC-G7 – see here for an overview of the main differences between the X-T10 and the G7.
Indeed, it’s just one of seven user-customisable controls, along with the top-plate video button, the four buttons of the D-pad, and an additional rear Fn button. The information display shows extensive exposure information, including an electronic level and live histogram, and usefully it all rotates when shooting in portrait format.
Like the viewfinder, it’s great to use when shooting and gives a clear view of the subject. However if you shoot raw, you can always re-convert in-camera using your preferred settings without even having to touch a computer. Along with the ability to use your own preferred noise reduction at high ISOs, this would also allow more effective highlight recovery at ISO 100. By ZQOn August 19, 2015 Posted in new iphone, Tech 1 Comment Technology is mounting every day, you can never imagine the amount that has been invested just to introduce new devices, smartphones and gadgets. The lens features built-in image stabilization (IS) that is capable of up to four stops of correction. In-camera correction of JPEGs operates with somewhat reduced strength, especially when shooting at higher ISO sensitivities, given that the correction can make image noise more pronounced. The Canon 60D includes the ability to detect the light source (including the color temperature and whether or not the light is pulsing), and then take these into account and microscopically shift the focus as necessary. For non-flash photography, Canon's ST-E2 wireless sync transmitter can also be used for AF assist. Every DSLR ever sold has offered a sensor-cleaning mode, in which the mirror is locked up and the shutter opened to permit the sensor to be cleaned with compressed air, a solvent-carrying swab, or other means. In addition, some manufacturers have adopted coatings on the low-pass filter intended to prevent dust particles from adhering in the first place. The second part of the cleaning system involves post processing with a compatible personal computer and the supplied Digital Photo Professional software. There's thus no need to keep track of a separate dust image file, the information is always available in the file headers, assuming you've actually performed the dust-mapping process.
The Dust Delete Data just generated will now be included in the headers of any JPEG or RAW images captured, until you decided to capture a new dust reference image. We ourselves use and recommend products from?Copper Hill, which we've found to be both highly effective and among the most reasonably priced on the market. All in all, this is a pretty sharp optic for a kit lens especially considering the zoom range, and the built-in image stabilization will come in handy for low-light or telephoto shooting.
A menu setting allows you to choose whether to use the electronic or mechanical shutter, or allow the camera to switch between the two as required. I assigned the D-pad to move the AF area directly around the frame, as I find this gives a particularly fluid way of shooting when using the electronic viewfinder. Apple is born to surprise us, the foundation of the brand was raised on the basis of excellence & quality, so it never compromised on its repute. This lens has a MSRP of US$699.99 if bought separately, and again costs significantly less when purchased bundled with the camera. Autofocus modes include One-shot, Predictive AI Servo AF, and AI Focus AF, which automatically selects between the One-shot and AI Servo modes.
If more than one face is detected, the multi-controller can be used to select a different face. As the market has matured and more DSLRs have found their way into the hands of novice users, it has become clear that some automated way of dealing with sensor cleaning is needed. Via a menu option, the camera maps any stubborn dust spots that remain on the sensor after cleaning, saving their locations as Dust Delete Data that can subsequently be used to subtract the spots during post-processing. You can update the Dust Delete data any time you think the camera might have been exposed to dust, or after you've manually cleaned the sensor. While chromatic aberration is a bit high, it is easily corrected with some post-processing.
At full telephoto, all four corners were only slightly soft with the top right being the softest.
The directional keys themselves are noticeably easier to find and activate by touch compared to the X-T1’s notoriously recessed and spongy ones.
As with the 18-135mm lens, both a lens hood and soft case are available as optional extras. Canon's EOS Utility software allows correction data for lenses (including models as-yet unreleased) to be uploaded to the Canon 60D, up to a maximum of 40 lenses. Alternatively, in what Canon refers to as Quick Mode AF, the mirror is briefly dropped to allow an autofocus operation using the camera's phase detection autofocus sensor. A third option includes a manual sensor cleaning function which raises the mirror and allows users to clean dust that may have stuck to the low-pass filter. The latest dust map is automatically incorporated into the EXIF headers of all JPEG images, or the headers of any RAW files.
Here's an example of the wide-angle shot above with most of the chromatic aberration removed in Adobe Camera Raw. There was no detectable shadow from the lens barrel, resulting in a good exposure with the flash. This mode offers quick autofocusing, but with the disadvantage that there is an interruption of the live view stream during the AF operation. ENG cameras can be tripod mounted although may require a heavier-duty tripod and tripod mount adapter.Lens selection on an ENG camera is different from lens selection on a photo DSLR and camcorder, mostly because ENG video lenses are designed for video, DSLR lenses for photos, and most camcorders have fixed lenses so you cannot change lenses, only adapt them. The lens has a MSRP of US$499.99 if bought separately, but costs significantly less when purchased bundled with the camera. ENG lenses are generally the easiest to smoothly focus and zoom in and out but an ENG lens and ENG body are much more expensive than a traditional fixed-lens camcorder.Photos lenses are generally not parfocal--meaning they don't hold focus when you zoom out--and don't always have evenly dampened zoom and focus rings.
Because I also have come across girls who want some pinkish, copper or red iPhones at their disposal.Would it not be a bonus for all the guys around, who can actually gift the colorful rosy, cheeky and girly iPhone to their girlfriend?



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