This entire book is written with a brilliant premise, and here’s how Scott describes it: “If you and I were out on a shoot, and you asked me, ‘Hey, how do I get this flower to be in focus, but I want the background out of focus?’ I wouldn’t stand there and give you a lecture about aperture, exposure, and depth of field. In real life, I’d just say, ‘Get out your telephoto lens, set your f/stop to f/2.8, focus on the flower, and fire away.’ The Digital Photography Book. You d say, ‘OK,’ and you’d get the shot. That’s what this book is all about. A book of you and I shooting, and I answer the questions, give you advice, and share the secrets I’ve learned just like I would with a friend, without all the technical explanations and without all the techno-photo-speak.”

This isn’t a book of theory—it isn’t full of confusing jargon and detailed concepts: this is a book of which button to push, which setting to use, when to use them, and nearly two hundred of the most closely guarded photographic “tricks of the trade” to get you shooting dramatically better-looking, sharper, more colorful, more professional-looking photos with your digital camera every time you press the shutter button.The Digital Photography Book.

Here’s another thing that makes this book different: each page covers just one trick, just one single concept that makes your photography better. The Digital Photography Book. Every time you turn the page, you’ll learn another pro setting, another pro tool, another pro trick to transform your work from snapshots into gallery prints. The Digital Photography Book. There’s never been a book like it, and if you’re tired of taking shots that look “OK,” and if you’re tired of looking in photography magazines and thinking, “Why don’t my shots look like that?” then this is the book for you.

The objective of this pair of Canon zooms, like Nikon, is clear: to counter the market penetration of the kits machines stabilized with the stabilizer in the body than the known 18-200 or 18-250 mm. Moreover, these 250 mm. end seem to have the intention of fighting with the Tamron AF 18-250/3.5-5.6 Di II.

See if the 18-200 range in a kit consisting of two units to equal or better known as Tamron or Sigma.

Although this is EF-S zoom lens comes to replace the EF 55-200/4.5-5.6 II USM so some comparisons are made with this zoom.

With the two zooms in the hands, the newcomer has grown by weight, poise or exterior finish of the plastic material and has been reduced in length and diameter. The external design is completely new, in the zoom ring is now a longer and thinner and continuous striatum and that of the MF, as it does now. Make manual approach to the predecessor model, given the brief of the ring and its clearance was a really complicated. Now we can take comfort and in its spin and counter-spin has little slack side.

The zoom ring has a twist reasonably smooth but lacks continuity, or have small blockages or changes in hardness in its turn. In 45 th pass from 55 to 250 mm.

The filter size has gone from 52 to 58 mm. and other important change is that, despite being closer externally, its internal optical effective diameter has grown, now offers a maximum aperture of f the angular zone 1:4.0 instead of 1:4.5 f the previous model.

The operational design of the zoom lens is equal to the previous model, single-element telescopic lens hood and circular rotational approach. This time the setting of this element is very smooth and without any backlash.

To complete the construction work the displacement of the pupil runs through an inner cylinder or tunnel which is lined in its first 10 mm. Felt initial anti-glare and is subsequently mate with striatum. In this way all the way inside is isolated from the outside to protect the interior against dust ingress. An interesting detail that some higher-end zooms still lack it.

The construction of the base of the bayonet plastic remains without peripheral O-ring.
Last September saw the answer with his Nikon AF-S DX VR 55-200/4-5.6 G in the area of the focal lengths of 18 to 200′s without stabilize installed base range DSLRs with stabilizer in the body.

Now it’s a Canon with a product very similar in purpose, in focal range, optical performance and even paragraphs of benefits and services. The Nikkor also sinned, like the zoom, a high vignetting in favor of obtaining a high contrast in corners from their highest openings.

This abuse of vignetting in some new batches of zooms seem to hint that in the very near future, and this is pure speculation, new DSLRs be provided with an option menu vignetting correction. I recently saw him in the Olympus E-3, Leica and incorporates it into the M-8 encoded with the goals and I think very soon be as common as a function of self-cleaning sensor.

This product, like the Nikkor mentioned, can be described as very effective with the constraints discussed during testing.

Little as his companion kit, the EF-S 18-55/3.5-5.6 IS, quit just as successful as this has gone, he’s going to be uphill all the way to general-18-200′s. This they reserve to see the wide-angle and zoom functions.

For:
- Resolution and contrast in center and corners very high since large openings.
- Construction completed successfully.
- Ergonomics, volume, weight, excellent handling and performance.
- Stabilizer very effective and quiet.

Against:
- Excessive vignetting at maximum aperture throughout the focal range.
- Focus on long runs slow.
- Move the zoom’s terse, with lack of continuity.
- No serial parasol.

We have among us the new Canon 500D DSLR, the entry model digital SLR in the world that incorporates Canon’s most remarkable characteristic of 1080p video recording, ie, high-definition video.

The Canon 500D has 15.1-megapixel sensor in APS-C accompanied by the DIGIC IV processor and system 9-point autofocus. THE maximum sensitivity that comes without force is 3200 ISO. The display of 3 inches and almost one-megapixel resolution gives a good impression, but a model for those who start with digital photography DSLR so would have been more attractive if, as Sony does, he would have endowed with motion to the screen.

Canon 500D, video recording at 1080p

The burst mode is discrete, then do not forget that this is a low end camera. Reaches the 3.4 frames per second, getting up to 170 pictures in a row when shooting in JPEG.

The main novelty of the Canon 500D is the Live View system that incorporates face detection and autofocus with contrast, which allows recording video at 1080p but at 20 fps. There is another way to 30 fps at 720p quality, like the Nikon D90, his nearest rival in the market. The video mode allows us to record up to 30 minutes or 4 GB of data.

Other important data is your Canon 500D sensor cleaning system to prevent dust and the shutoff of the screen when using the electronic viewfinder.

The EOS 400D converted into the new EOS 1000D, the EOS 450D is facing a peculiar challenge: not only demonstrate that the modest upgrade has been worth it, but is able to offer something more than her little sister put on the market for less than 400 euros.

Novelty Live View

Neither the viewer nor the new spot metering or increased resolution. There is no doubt, already discussed in our first-touch shots that the main novelty of the EOS 450D is the incorporation of Live View, absent depending on the EOS 400D, and improved its system approach by contrast.

Already overtaken the discussion about whether this function is useful or not, now that is present in 90% of the SLR models seems sufficiently clear that there is no turning back. This should think of Canon to go into the hills just six months after launching the EOS 400D and removed this new model of the pocket.

In addition, the renovation allowed to kill two birds with one stone: to introduce the preview screen and give it the approach by contrast. Something that at the beginning of this 2008, was not as prevalent as it may seem now.

As you know, this technology allows the camera to focus automatically without having to go up and down the mirror reflex, and therefore, with greater agility and without losing the image on screen for a few seconds.

However, this focus system still has a long way to go. In general, is rather slow, and if the light is not enough, doubts and mistakes to pick a point now are fairly normal.

While fans might be enough, especially for those who deny the frame on the screen and continue to prefer the viewfinder, its performance may be a disappointment to those who come from a compact high-flying and hope to find something similar.

Its activation, incidentally, continues to take a path that most users seem unnatural: instead of being the trigger that sets in motion this approach as it pressed halfway, is another button marked with an asterisk-the – which is responsible for this task.

More screen

Another major developments in the literal sense, in addition, the EOS 450D is its screen, which now grows from 2.5 to 3 inches. Unfortunately, the resolution has not followed suit and settles for the same 230,000 points that wore its predecessor.

Here is an early excuse to start talking in a few months of a future EOS 500D. And is that even with their good performance, this has nothing to do with the LCD more than 900,000 items that look young Canon EOS 50D and Nikon D90.

Although they are set to benefit from rebuscar models above, is arguably tilting the monitor of the Sony A300-priced similar or even lower than many miss less.

The menus follow the style that Canon has used for all your digital SLR for just over a year. Simple and very intuitive, with the help of many shortcuts to control the sensitivity or white balance, among other parameters.

Furthermore, in the absence of another monitor, is the rear screen which is responsible for centralizing all the settings for the taking. It does so with a menu that allows easy navigation through two or three taps, access to almost all the functions of the camera.

Visor improved

One of the little details that also deserves to be listed as interesting novelty is the new viewfinder of the EOS 450D.

The improvement in the size and brightness of the frame through it comes topped with the presence of such important data as the sensitivity with which they are working. One more point for this EOS.

It is also very curious the new sensor located next to the viewfinder, which is responsible for the screen off automatically after the camera closer to the eye. Admittedly not a very original idea at this stage, Konica Minolta and used for years in their first digital SLR, but at least mark distances respect to the simplest EOS 1000D.

A CMOS which calls for optical quality

Without abandoning-of course-size APS-C, the EOS 450D bet now by a CMOS sensor type that rises to 12 million pixels effective resolution. An improvement not accompanied by parallel progress on issues such as the cleaning system or automatic adjustment of sensitivity.

In fact, was surprised by the modesty of this Canon in its range of ISO values. Faced with the fashion sensibilities-and figures forced stratospheric ISO 3200 than any compact 150-euro holds, this EOS settles for a maximum of 1600 ISO.

Modesty is not false, however, hides some extraordinary results because the control of noise, without undermining the protection of both the sharpness and detail is excellent with 800 ISO and the camera holds the kind without any problem with ISO 1600. So why not add at least a value of 3200 forced ISO?

This reserve and the unavailability of intermediate steps in the menu of ISO are the only objection that could be made to this SLR with a sensitivity and noise concerns.

Nor is it any surprise that the new CMOS operation that has a built-in liner in general, could be described as outstanding. Their level of resolution and color performance, in addition to the dynamic range of shots, put the EOS 450D as one of the safest in its class.

However, it is always possible to find points that have not been crowned with much success. The automatic white balance, for example, still leaves much to be desired when it comes to coping tungsten lights.

Nor has convinced the new method of automatic adjustment of brightness, that however much it seeks a kind of dynamic range expansion of the image, not showing too effective.

To extract the maximum potential of the camera, as well as playing with the RAW files, the resulting JPEG are excellent in most conditions, it is also important to invest in an optical conditions. It has become a litany comes to talking about the low-end SLR from various brands, but it is worth bearing that in mind.

And is that the Canon 18-55 mm f3.5-5.6 IS EF-S series that accompanies this body falls short of what the EOS 450D can give so far as the auto-focus with a System 9 points more than decent for this segment, and the potential of the 12-megapixel CMOS.

The good news is that the new version of this standard includes optical stabilizer IS, unlike that of the predecessor model. In the absence of stabilization integrated in the body, is thankful that Nikon and Canon are taken seriously the task of stabilizing its objectives even more economical.

The built-in flash, for its part, no highlights, and roughly dragged the flaws and virtues of his fellows: causes the shadow of a barrel of the goal if it focuses too closely and failed to illuminate when using a telephoto lens. The exhibition, yes, often very accurate.

Finally, the theory of self-improvement is no Camelo. After more than half a thousand shots’ help profusely from the Live View, the battery indicator shows no sign of weakness.

Half a dozen precise adjustments

It is not the hit of the season or possibly intended to be. Calmly and without making much noise in the double-meaning of the term, the more humble saga of the Canon EOS has been made with a reputation and a commercial tug difficult to combat.

The EOS 450D tightens screws one of the weakest of the EOS 400D and elevates this model to a stadium closer to half that segment of the basic reflex. A perfect strategy to stop the go-ahead to the EOS 1000D.

The improvements in the display and the display, the slight increase in the burst to 3.5 frames per second, including a spot metering system and preview Live View with contrast approach allows Canon EOS 450D put this a step further up.

Unquestionable quality and performance to date, but a design and ergonomics that are still glued to the window more core market. ¿Combination enough to justify a price slightly higher than the competition? Difficult to answer a question in which too many factors involved.

If you are looking for a safe investment, the EOS 450D is probably the best idea. Did you worse? That security must be paid by assuming that we are not betting on the best value at the time. There are genuine bargains out there.

Canon Digital IXUS 980 IS

The IXUS 980 IS is perched at the top of this saga, thanks to its new 14.7-megapixel CCD and image processor DIGIC IV. However, their chances are of the manual controls that make this model a rarity in the IXUS range.

Canon Digital IXUS 980 IS

Less fortunate have been with the optics, which settles for a modest stabilized zoom equivalent to 36-133 millimeters, or the screen, 2.5 inches and 230,000 points of resolution.

IXUS 870 IS

More moderate in regard to resolution (incorporates a CCD 10 million pixels), the IXUS 870 IS can boast of being one of the few compact Canon that includes among its features a wide angle lens with coverage.

This is a 4x optical zoom that pays a focal equivalent to 28-112 millimeters in step universal. With a maximum brightness of f2.8-5.8 among its benefits, not need, as made clear in the name of the model-IS optical stabilizer.

Canon Digital IXUS 870 IS

Among his most prominent, there are the presence of the new DIGIC IV processor and its display of 3 inches diagonally. As his presentation, the IXUS 870 IS has a maximum sensitivity of ISO 1600 and uses SD cards Card, SDHC and MMC (including MMCplus and HC MMCplus) to store their images.

Canon Digital IXUS 870 IS

For now, have not leaked information about the price and availability of either of these two models.

Canon 980 IS

Canon 980 IS

Canon 980 IS

Canon 980 IS

Canon 980 IS

Canon 980 IS

Canon 980 IS

The information can be seen shooting overprinted on the screen for easy handling of the shooting. Options include brightness and RGB histograms, a screen grid to facilitate the composition and aspect ratios for standard sizes of photography.

For studio photographers, Mode Image Direct (Live View Mode) can be used with an external monitor or through EOS Utility. The images can be captured by remotely with the presence of art directors or clients, thereby saving valuable time get in the shot.

Compatible models:

EOS-1Ds Mark III

EOS-1D Mark III

EOS 5D Mark II

EOS 50D

EOS 40D

EOS 450D

EOS 1000D

Thus, the SX110 IS takes over from the PowerShot SX100 IS one year after its launch without bringing anything new regarding the optical coverage. Is kept zoom stabilized by both the increases of 10, with a focal equivalent to 36-360 millimeters.

With a maximum brightness of f2.8-4.3 and a range of 1 cm macro, Canon it defends the progress made by the optical stabilization system. According to official data, the new mechanism is now able to offer an improvement of up to 4 steps with regard to the speed of normal shot.

9 megapixels

Stronger than the increase of one million points experienced by the CCD sensor, which goes from 8 to 9 megapixels, is certainly improving rear monitor. And is that the new SX110 IS not only increases the size of your screen up to 3 inches, but it also doubles the resolution to reach 230,000 points.

A cosmetic change that, in fact, comes accompanied by a body somewhat more compact and stylish than that of its predecessor.

Canon PowerShot SX110 IS

Without changes in the values of sensitivity (100 to 1600 ISO, with a value of 3200 forced ISO), the SX110 IS is still assuming a wide range of automatic and manual settings, including traditional modes PASM control. It also includes a new mode called Easy Auto Mode and a system for detecting the movement.

Powered by two standard batteries, this second generation of the family SX still betting on the SD cards and SDHC Card and prefers to put aside the high-definition video to remain faithful to the sequences of 640 x 480 pixels and 30 frames per second.

And it is that while outwardly the SX1 IS seems a more compact long zoom (not least, is the twin sister of the PowerShot SX10 IS), inside it hosts a 10-megapixel CMOS rather than CCD sensors used so far in all-or-almost all of the compact.

Apparently identical, the PowerShot SX1 IS (right) and SX10 IS coexist in the renewed catalog of Canon.

Although this detail is just a technicality over for the vast majority of users, in fact, the SX1 IS intended to mark a turning point in terms of image quality, noise control and shooting speed concerns in this segment.

If he succeeds or not is still early to know. For now, we have to settle for a quick look at the benefits and design of the unit early this PowerShot WE with which it has already been able to spend a few minutes.

Relay upward

Differences aside, both the SX1 as the SX10 IS IS opt for a more robust than that of the PowerShot S5 IS, in which both chambers relevant for two reasons. Forms may be slightly less metallic curves or touch the body but the fact is that in the hands of the two chambers passed a great feeling.

One idea that is reinforced by seeing the metal barrel zoom, topped with an excellent idea: the real and equivalent focal appear etched in it, so that at any moment you can know the exact position of the target without looking at the screen nor the viewer.

Besides the absence of the RAW format, without doubt, one of the main criticisms which will face this couple-canonical, we miss least one front wheel to facilitate the handling of adjustments of exposure.

In its place, we have only one rear wheel quite comfortable to use and centralizing many of the controls of the camera. Those devoted to the exhibition, incidentally, now take this elegant aesthetics of menus using the sliders in the series PowerShot G.

28-560 mm

With the permission of the above CMOS, optics also marks a major leap in the new SX. Faced with the 12x optical zoom of the S5 IS, now extends coverage to 20x, and what is more interesting, new cameras were paid by the end of the optical angular momentum.

The result is a familiar zoom and 28-560 mm f2.8-5.6, which arrives in this case supported by the optical stabilizer IS from Canon. Judging by the early tests, the focus of the tour is really fast and the approach does not show too many problems, even in the most extreme focus.

Have disappeared, yes, that controls the S5 IS housed in one of the sides of his barrel and handle it quickly allowed the manual focus and macro.

Now the rear is a command that is responsible for managing these functions, with special attention to the system of manual focus, control of which rests in the rear wheel. Its handling is quite satisfactory, taking into account what is customary, thanks also to the needs of an expanding area of the image framed.

As with its predecessor, the SX1 IS uses four standard batteries and provides in front of two typical microphones, each on one side of the flash. There is also no changes in the characteristic red button dedicated to activate the video recording.

The screen, fully mobile, complete the list of good ideas inherited from the previous model. In the case of the new PowerShot, yes, this is a 2.8-inch widescreen monitor.

Unfortunately, the electronic viewfinder again leave something to be desired. And that in spite of its size of 0.4 inches, is slightly larger than that of the S5 IS.

Full HD Video

With the memory card slot (SD Card, SDHC and MMC) sealed to avoid temptations, little can be said about the performance of the new CMOS sensor used.

In addition to his happily-restrained-resolution, particularly emphasizes speed continuous shooting, up to 4 frames per second at full resolution. A figure in which the processor DIGIC IV also will have had much to do.

Another of the novelties brought by the new generation processor to the photographic inventory is the ability to record movies in high definition at 1080p. The SX1 IS becomes, behind the Casio Exilim Pro EX-F1, in the second compact that dares with this tool.

A role that, incidentally, comes with an HDMI connector, thus following in the footsteps of the most recent SLR models of the firm.

Many expectations

With the permission of the PowerShot G10, the new PowerShot IS SX1 has all the dots to become one of the most compact Canon awaken interest in the coming months.

If the SX10 IS merely reinforce the bet zoom long arguments with more traditional but equally interesting (see the angle or 20x zoom, for example), the SX1 IS opts for a more risky path that generates as much excitement doubts.

Will the new CMOS to live up to expectations or its size will remain an insurmountable barrier?

For now, what seems clear is that the SX1 IS is more a balloon catheter or an advancement path that could take the compact in the future than willing to raze a model in the window.

Its rugged construction, manual controls, RAW recording and the appearance-per-view of an angle of 28 millimeters have generated so many expectations that, after reviewing the first hundreds of samples collected, it may not all be met.
And it’s not forget that after these 500 euros and its high performance is still hiding a compact archiconocidas with some limitations, especially when talking about the noise.

Seamless management

¿The G10 brings the same problems found in some models of the previous saga PowerShot G regarding the sealing of a barrel of the lens? That is possibly the first question that many users will, but which, unfortunately, it is difficult to give an answer after only three days of cohabitation with the camera.

In addition, the construction of the G10 admits few painless. Robust and forceful, criticizing its volume would be going against one of the hallmarks of this family. It is heavy and large to be a compact, but its grip and its management are comfortable enough to forget this detail after a couple of hours of use.

Very similar to the PowerShot G9 in terms of management and distribution, the wheel of sensitivities now located to the right of direct viewer remains great.

The command dedicated to the exposure compensation Scramble a little at first, but corrected the gesture of going to dip into the main dial to adjust this value, its management with the left hand is very comfortable despite the fact that the wheel is something small and pretty tough.

The menus reflect the usual aesthetics of the latest PowerShot G. Only options to turn the image stabilizer and, above all, recording simultaneously in RAW and JPEG are more hidden from the account on the main menu.

While not especially fast, nor is its mission, nor the start-up or wait time between shots dilate in excess.

Only by working simultaneously in JPEG and RAW can notice a little more work that requires the storage of the two. Attention also to the weight of almost 15 megapixels and their impact on the capacity of the SD Card and SDHC.

Angular bill

Given that increasing the resolution will not be cause for celebration among potential users of this camera, is the new 28-140 millimeter lens that focuses the attention on the new compact.

His performance was excellent in terms of coverage, the TV is a bit short, but worth the sacrifice by the angle, zoom and focus of the tour.

With good light there is no problem, and only in extreme conditions we encountered failed attempts to approach. Interestingly also the macro approach of only 1 centimeter, although the volume of optical hampers this type of composition as close without causing shadows on the scene.

The catch has been made with a Canon PowerShot G10:

But in view of the images, is not all good news. The goal is behaving correctly to 28 millimeters even with the maximum aperture. The barrel distortion is more evident, if there is a close-up close, of course-but tolerable.

At the same margins quite correct that not-perfect-optics is maintained in regard to significant loss of sharpness at the edges.

The catch has been made with a Canon PowerShot G10:

Most obvious is the presence of chromatic aberrations in some images. The appearance of halos purple and green stripes occurs too often and easily in the scene recorded any area of contrast is cut or on a background very clear.
While the effort is logical that angular pass some bills, we must not forget that other brands have managed to lower this barrier of 28 mm far, getting even more satisfactory results in this subject.

The catch has been made with a Canon PowerShot G10:

Can these aberrations compensated for working on RAW? We are convinced that, but unfortunately the version 3.5 of Digital Photo Professional (DPP) that came with the camera-the first PowerShot G compatible with this software professional allegedly kept off these options to import the files.

More resolution, the same noise

Something similar happens to us very closely reviewing the samples collected and processed RAW files.

Surely, these files could give more of themselves in terms of sharpness, noise control or recovery of shadows and lights if they were successfully treated with a program like Adobe Lightroom or Apple Aperture, because the truth is that the DPP options fall far short.

The catch has been made with a Canon PowerShot G10. RAW format images taken in and processed with Digital Photo Professional 3.5:

Only in this context may be understood as the curious who this week compared the well-known photographer Michael Reichmann made the PowerShot G10 with a Phase One digital back, and in which the compact is not leaving anything wrong stop.

The truth is that, as shown in the photographs attached, resolution and accuracy of color and exposure, with a tendency to sobreexponer, at least in the tested model, is not lacking in the G10.

The dynamic range is also correct, despite the resolution that accumulates over the sensor and is particularly strong, especially in the ease with which the lights were “burned” if they are not cared for the exhibition.

The catch has been made with a Canon PowerShot G10. RAW format images taken in and processed with Digital Photo Professional 3.5:

The new system also provides automatic contrast too, or at least does not give more than what has already been seen on other occasions: the texture is recovering somewhat in the shadows, but the lights remain unchanged, unrelated to this office.

The problem is, as always, in the management of high sensitivities. And it is that noise is left in the shadows and see ISO 200, though without becoming annoying. The results at 80 and 100 ISO are really good, no doubt, but from 400 ISO processing attacked with virulence quite the detail and sharpness of the image.

The good news is that the chroma noise is fairly well controlled, giving the go-ahead to a luminance noise that does have a most enjoyable aspect at least in half sensibilities.

The catch has been made with a Canon PowerShot G10:

400 ISO
800 ISO
800 ISO
ISO 1600
ISO 1600

¿We expected more from this G10? Well the fact is that, carried by the initial enthusiasm and for his outstanding ergonomics, we had overlooked that PowerShot has always claimed to be a good reinforcement for an SLR, not a substitute.

The noise and chromatic aberrations make us again put his feet on the ground. Not like to ask if the G10 is an excellent compact, it is, and best, but to ask whether the Lumix DMC-LX3 Panasonic or the Nikon Coolpix P6000 no longer be able to challenge in a field dominated thus far by Canon.