NAS stands for network-attached storage. It essentially describes network storage options for the home and office. There’s a lot of technical gobbledygook attached to this storage option, but suffice to say that you can use it to share data among computers, use the network drive as a media hub to stream movies and tunes, share printers (via onboard USB ports), and possibly use these drives for data backups as well. Those USB ports can also be used to attach other compatible devices, such as flash drives and even hard drives (for data transfer or backup to the attached hard drive, as applicable). However, be aware that the connected drive may need to be reformatted for this purpose, which means all data will be wiped out.

Network drives look more or less like typical external hard drives, with one exception: They do not connect to your host computer but instead, via Ethernet cable, connect to your wireless network. Any computer on your network can read from and write to these drives once you’ve logged on from that computer. The drive comes pre-configured with specific “shares”—one of which is your “private” or “admin” share.

A share is a shared folder, but that doesn’t mean everyone gets to share it. It could just be shared among computers in your local area network (LAN), specifically your home network. You can password-protect shares and grant limited access, all by setting up user accounts and groups. And you can add to these at any time and adjust other settings using a Web-based administration tool. When you turn the drive on, it may take a few minutes for all the protocols to fall into place. Much of it runs on autopilot. Initially you’ll need to set up a user name and password for login (don’t lose these, or you may have to reset the entire system, which may also erase all data). That’s it in a nutshell.

Network vs. Typical External Hard Drive

One of the advantages of a network drive is that it disregards your operating system. I can read from and write to my NAS drive from Windows or Mac, or the Great Cosmic Computer on Planet 9 (if it speaks the same computer language). With my earth-bound everyday drives, I can only exchange information effectively if that drive was formatted for the computer’s operating system (OS). I might be able to read from the drive, such as copy files, but not write to that drive if it has been formatted for another OS. For cross-compatibility I would need a drive formatted for DOS, which has some inherent limitations. However, sharing data with a network drive is nowhere as fast as with a conventional drive.

Unlike the typical hard drive, which is only accessible from the connected computer, a network drive is accessible from anywhere on the planet via the Internet. It may require setting up a special remote access account initially through the browser login site.

I’ve recently come across several options for creating a home network. These include the Western Digital My Book World Edition (at Amazon: WD My Book World Edition) and Seagate BlackArmor NAS 220 (at Amazon: Seagate BlackArmor NAS 220) for increasingly more demanding work environments, and on a smaller scale, Verbatim’s 1 TB Network Storage Drive (at Amazon: Verbatim 1 TB Network Storage Drive), and SimpleTech’s SimpleNET NAS Head USB 2.0 Portable Dongle (At Amazon: SimpleNET NAS Head USB 2.0 Portable Dongle). That last one is a mouthful and an odd creature, to boot.

RAID Defined

Before we go any further, we need to define a basic term involved in computer storage: RAID. RAID stands for Random Array of Independent (or Inexpensive) Disks. A RAID drive is comprised of two or more disks configured to operate in tandem, within a housing with a central controller. You may be able to hot-swap disks in select RAID drives, but many require that the drives be replaced by an authorized service center, or at the very least, require complete shutdown before swapping out any drive. Normally, the drives in a RAID system must be matched by brand, model, and capacity. Of course, you can’t mix and match IDE with SATA drives, which use different controllers and pin configurations.

The basic two-drive RAID configuration can be set up so that one disk mimics the other, serving as a constant backup in case of failure. This is the “mirrored” drive, or RAID 1. RAID 0 has both drives operating together, but instead of backing each other up, they each hold pieces of information to provide faster throughput, forming a meandering stream of data. The problem is that if one of these “striped” drives goes down, the data may be totally corrupted and irretrievable. The down side to the mirrored drive is slower operation and half the storage capacity. In other words, if you buy a 2 TB RAID 1 drive you’re effectively only getting 1 TB of storage; with a 2 TB RAID 0 drive, you get 2 TB (minus what the system requires in each case).

RAID drives are usually configured one way or the other out of the box. The best way to reconfigure the drive is via a hardware switch. Using software to change the RAID configuration may slow the drive down.

Our Options

Western Digital (WD) has several NAS systems, beginning with this 2 TB RAID edition. It is Mac Time Machine-compatible, but may require that the drive’s firmware be updated (log in via your browser – on Mac, enter via Bonjour – and select the Advanced Mode, then System tab and Update). At least that’s in theory. I couldn’t get Time Machine to use the WD My Book World drive for backups for some inexplicable reason. So I’ll just continue to use it as a shared drive, without backups. After all, the drive is stylish and runs extremely quiet—and otherwise operates quite effortlessly, being readily accessible from any computer I own—PC, Intel Mac, and pre-Intel Mac. It’s also from the generation of WD green drives, so it’s more energy-efficient. This drive was configured out of the box and remains a RAID 1 drive.

Also a RAID 1 drive out of the box, the Seagate BlackArmor NAS 220 is metal and built like the proverbial tank. It consequently has less of an aesthetic than the WD drive, which is all white with rounded corners. The one thing this drive was not configured to do was work with Apple’s Time Machine. But since it is firmware-updatable, that may change in the future.

Both the WD and Seagate network drives are designed to remain on 24/7. That doesn’t necessarily apply to Verbatim’s Network Storage Drive, which is a compact 1 TB solution. This is a single disk drive, so there’s no option for any RAID configuration. This Verbatim drive is a very uncomplicated network solution that you may want to avail yourself of for a home network.

SimpleTech’s SimpleNET NAS Head USB 2.0 Portable Dongle essentially lets you turn any USB hard drive into a network drive. It features FAT32, NTFS, HFS+, and EXT3 (network sharing) file system support. With its two USB 2 ports, it can be used like other network devices, for any number of file-sharing purposes, and is compatible with all current operating systems.

Canon EOS 7D-front. The 7D is shown here with built-in flash ready for action, with EF-S 15-85mm lens attached. I hadn't worked with this lens, but the camera itself should be a model for future EOS designs. Canon photo.

I was all set to begin this review with a diatribe about all the negatives pertaining to movie shooting and Live View, but then thought better of it and opted to take the journey into 7D-dom with a positive foot forward.

When you look at the real meat and potatoes inside this machine, you’ll discover, as I did, that when you peel back the movie capture veneer, the Canon EOS 7D is a very capable DSLR. That’s especially true when it comes to capturing breaking action, owing to a highly responsive, albeit not flawless, AF system coupled with an even more responsive shutter release. There-I took the high road. Too bad Bob Hope isn’t around to do the movie version: “The 7D Road to Bali, the Musical.“ I could even write the music and lyrics.

On the Outside

Canon 7D-top. One of my favorite features on Canon DSLRs is the shooting mode dial on the left. It does away with otherwise having to resort to the LCD plus function button. Shown with EF-S 18-135mm lens (not tested). Canon photo.

The interface on the 7D should be familiar to current EOS D-series users, so adding the 7D as a backup to a late-model 5D or 1Ds shouldn’t put you too far back on the learning curve. Although it would benefit you to mate this camera with lenses designed for the Canon APS-C/EF-S mount to get the most from the matched combo in terms of optical performance.

If this is your first foray into Canon EOS-dom, then expect to spend some time with the manual-just so you can trick this baby out to do your bidding. I’ve never really found any Canon EOS to offer any stumbling blocks to immediate use right out of the box. However, I do find myself turning to the manual on occasion to customize some of the functions, particularly to put myself on surer footing. Of course, as with any new camera, don’t stray too far from that little booklet: You may encounter unanticipated situations that require further finessing of the 7D’s parameters.

I do feel that some of the function buttons on the 7D could be more clearly labeled. In point of fact, I prefer the physical interface on my D300, which would be the Nikon counterpart to this camera, if somewhat lower in resolution. I simply prefer the arrangement of buttons and controllers on that camera to what we have on the 7D. But one can easily take the opposing viewpoint if you’ve been working with Canon D-series cams all this time.

Canon 7D-back. Here you can see one of the many menu screens, this one governing the 580EX II flash seated in the hot shoe. Canon photo.

As for the Main Menu, I feel that the Nikon screens on my D300 are easier to navigate. I just find jumping across numerous screens in the 7D to be confusing. But again, that’s a judgment call. You could easily argue that it simplifies navigation, replacing the need to scroll through countless menu options.

The top panel surrounding the data display gives you four function buttons huddled together above the display, plus one more button and a dial behind the shutter release. Except for the data illumination button, the three others above the display are dual-purpose. I gotta tell ya, I’m not a fan of dual-purpose buttons. One dial controls one parameter, the other the alternate parameter.

Problem is trying to decipher which does which. Okay, well maybe there is a logical system here-when you stop to figure it out. The function on the left corresponds to the wheel in front (behind the shutter button); the function to the right goes with the dial in back. Yeah, so it’s not rocket science, but I don’t always carry my pocket-edition “Logic Will Out” by Spock (an entertaining read for all my fellow Star Trek fans, by the way).

The Live View/Movie controls are found to the right of the optical finder, which features a comfy rubber eyecup and dioptre adjustment dial in the upper right. The camera icon signifies Live View for still capture, whereas the movie camera icon to the left obviously represents movie shooting. The Start/Stop button is for movies. One other button you might want to become familiar with is AF-ON, to help you target the subject. But a word of caution: when shooting movies, set focus first. Otherwise the camera searches for a focusing target and totally throws the movie out of whack.

The textured grip is ergonomically designed, with a likewise textured thumb-rest for a surer grasp. Physically, the camera is built to take some punishment, in terms of the elements: It boasts a magnesium body with dust and weather sealants. More importantly, it feels solid and worthy of that $1700 price tag (give or take). The 7D, as Canon’s flagship APS-C model, has almost made me forget the Rebel T1i, although, at less than half the price, that more modest DSLR remains a tempting tidbit.

Rockefeller Center Christmas Tree. A Christmas in New York album would not be complete without a shot of the tree, the largest ever at Rockefeller Center. For this Manual exposure with the 17-55mm IS lens at 17mm, I used an exposure of f/4 and 1/15 sec, handholding the camera-image stabilization engaged. I had to boost highlight levels to bring up the tonality of the ice skating rink. ©Jack Neubart. All rights reserved.

On the Inside

The EOS sports an 18 MP CMOS sensor. Which means it provides ample room for cropping. Granted, it does fall a bit short of the 21.1 MP resolution of the 5D Mark II, its big brother, if you will, but at considerably lower cost.

The camera also boasts dual Digic 4 processors (like the new 1D Mark IV), which places it one step above the 5D Mark II. The 21.1 MP 1Ds Mark III employs Digic 3. The Digic processor is the firmware basically in charge of all that magical mumbo-jumbo that we tech-heads like to go on about. If the CMOS sensor is the heart, then Digic is the brain-both working in tandem.

Out of the box, this camera can reach burst speeds of up to 8 fps and up to 15 continuous RAW captures (126 large/JPEGS) on a UDMA CF card (not bad when you consider that the much higher-priced 1D Mk4 goes to 10 fps, albeit permitting more frames to be shot before filling up the buffer-and way more than the piddling 3.9 fps on the 5D Mk2). In fact, aside from the full-frame sensor benefiting the 5D, that camera appears to be eating the 7D’s dust on numerous levels. By the way, in terms of burst rates, the 7D beats out the Nikon D300S by a nose (up to 7 fps on the Nikon, with standard battery).

The camera uses 19 cross-type focusing points designed to respond to subjects (especially movement) along the horizontal and vertical axes. To optimize focusing at maximum aperture, notably with fast lenses, the AF system includes dual diagonal cross-type sensors. I got further clarification from Canon on what they refer to as dual diagonal cross-type sensors that are also employed: “The center point is a dual cross-type sensor that is sensitive to both vertical and horizontal lines and compatible with both f/5.6 and f/2.8 lenses.” As I understand it, these dual sensors are optimized for fast lenses and thereby are more sensitive to movement and hard-to-focus subjects under varying light conditions.

ISO settings range from 100 to 6400 (expandable to 12,800). Canon has also upped the ante on the metering system incorporated into the 7D. As they explain: “The EOS 7D features a new, 63 zone dual-layer sensor designed to complement the 19-point AF system. By taking into account the color and luminosity surrounding chosen AF points, this new system delivers an entirely new level of accuracy for better results even in difficult lighting situations. Since the metering sensor has a color measurement function, exposure errors and focus errors caused by different light sources are minimized; the EOS 7D gives stable exposure from shot to shot in situations where light changes, such as in a theater or concert hall. This makes the EOS 7D ideal for scenes with extreme difference in brightness such as brightly lit scenes or backlit scenes; the camera balances exposure of the main subject at the background, and exposures are not overly influenced by bright areas in the shot.”

As even further clarification, Canon provided me with this information regarding the dual-layer sensor: “The sensor’s light receiving component has two layers. The upper layer detects the amount of light in the Blue/Green wavelengths and the lower layer detects the amount of light in the Red/Green wavelengths.” Well, that’s the hype. Read on for the rest of the story.

Metering and Shooting Modes. I photographed the Brooklyn Diner and Radio City Music Hall with the 7D in Programmed autoexposure mode, while I captured St. Patrick's Cathedral by setting the camera to Manual. For the diner I used a +1.33 EV override (f/2.8, 1/20 sec), and +0.67 EV for Radio City (f/2.8, 1/15 sec). Switching to Manual (f/2.8, 1/4 sec) did away with trying to second-guess exposure overrides. Camera was set to ISO 400 for each exposure, with image stabilization on the lens switched on. ©Jack Neubart. All rights reserved.

Movies and Live View

I absolutely refused to get involved with Live View and movie shooting on the Canon EOS 5D Mark II. And perhaps that was a good thing. Because movie shooting was practically my first entanglement with the EOS 7D the moment I stepped out the door with this camera. And that was likely a big mistake, tainting my impression of the 7D at the outset.

What Canon – and everyone out there who buys an EOS camera largely on the merits of movie shooting – fails to realize is that this is not the camera’s strong suit. In fact, it’s the weak link that begs the question: Why even bother with it? I know, you’re going to tell me there’s one person who made a big splash producing a video with an EOS. Whoop-de-do!

If you read the credits, you’ll see it was a major undertaking to squeeze out that quality from these cameras. And if I’m not mistaken, each “scene” was carefully staged to minimize focusing, exposure, and white balance variables. The end result was a highly polished production that does indeed rival anything produced with a commercial digital video camera.

Pro photographers might use movie capture to record sets and lighting. However, for most of us, the movie capture feature is just a way to record special moments with family and friends or snippets of vacations. Shooting your entire vacation with this camera will likely prove a disappointing experience. And you’ll find you’ve burned through your memory cards just when that rare moment happens, as baby takes its first steps.

Much of the woes behind movie shooting reside in Live View capture. It’s just not up to the task, at least where this camera is concerned. Admittedly, some other cameras do a much better job of movie shooting and Live View operation, so I won’t say, don’t buy a still digital for its movie or Live View feature. What am I really saying? Buy a 7D not in hopes of becoming the next Otto Preminger or Steven Spielberg but because you need a high-quality still camera.

Lenses Tested

You might think that Canon is supporting its APS-C lineup with a whole slew of lenses, but when you look more closely you realize that ain’t the case: There’s only a smattering of EF-S lenses, mostly standard zooms, plus one ultra-wide zoom, one telephoto zoom, and a macro. Canon definitely needs to get on track with this series of optics. For this review, Canon sent me the EF-S 17-55mm IS and EF-S 18-200mm IS, as I’d requested-I wanted lenses that would cover a wide range.

EF-S 17-55mm IS lens. Fairly well constructed mechanically, this lens does suffer from lens creep. Optically it receives a passing grade. Canon photo.

EF-S 18-200 IS lens. Despite its serious tendency toward lens creep and a few other shortcomings, this lens did prove itself when confronted with breaking action. Canon photo.

Both lenses tested with the 7D feature Canon’s proprietary Image Stabilization (IS). I didn’t specifically set out to test IS in these lenses, but from shots taken with the shorter zoom, IS wasn’t all that effective: I was lucky to squeeze out an extra two stops before camera shake hit; rarely three stops.

By the way, you should be prepared for the 1.6X sensor factor that internally crops your images. Not a problem (and some see it as a benefit-myself included) when it comes to telephotos, but a serious drawback when working with wide-angles-my old full-frame Canon fisheye purchased just for the 5D has now lost a good deal of its allure.

From a mechanical perspective, the 17-55 is the superior lens. While both suffer from lens creep, the sheer force of gravity grabs hold of the 18-200 lens barrel, preventing it from remaining in a fixed position the moment the lens is tilted downward. It definitely needs a zoom lock, which is absent on both lenses. At least on the 17-55, when the lens barrel is fully retracted, it remains stationary. It’s only when you zoom the lens out that lens creep sets in.

Using the Built-in Flash. I was in Times Square one evening when I came upon this popular cartoon character posing with tourists. I employed the camera's built-in flash, with the 17-55mm lens and lens shade attached. Note that the lens/shade combo blocks the flash. Exposure made with the camera in Manual mode. ©Jack Neubart. All rights reserved.

My other problem with the 18-200 lens is that it does not come with a lens shade-which is the case with practically all non-L-series Canon lenses. Lens flare can be a serious problem, so watch for bright light sources when shooting.

The slower maximum aperture and DC focusing motor on the longer lens did not appear to impede AF tracking response. Continuous tracking was more important with this lens than with the 17-55, since my primary objective here was sports activities. With the wider lens I focused on more stationary targets, largely architectural and landscape elements. The camera’s native phase-difference detection AF system certainly proved more capable than contrast detection employed by Live View.

As for manual focusing, I had little occasion to use it with either lens. The longer zoom has a very inconveniently positioned, thin focusing ring at the front edge of the lens. When manually focusing this lens, set the switch to M-otherwise you’ll experience considerable resistance, as of gears grating, even though you may see the focus shift as you rotate the ring: The lens does not support manual override during AF operation.

The arrangement of focusing and zooming rings on the 17-55 is just the reverse. This shorter lens features improved manual focus control that works when the lens is set for either M or AF, while employing Canon’s USM (Ultrasonic motor) for quieter and smoother autofocusing. Both lenses feature internal focusing, which means you can use a polarizer without worrying about having to realign the filter after focusing.

Aside from that, both lenses performed fairly well from an optical standpoint, although the 17-55 did impress me as being a tad on the soft side. More to the point, both lenses exhibited fairly noticeable vignetting wide open, but it was less disturbing in everyday shooting (just watch for it in clear skies and monotones).

Inside St. Patrick's Cathedral. I photographed this NYC landmark shortly before Christmas, with the 7D and 17-55mm lens-handheld, with image stabilization engaged, all at ISO 400. Vertical: available light, f/2.8, 1/15 sec, at 35mm (= 56mm in 35mm equivalent). Verticals with lens tilted upward: here I shot by available light and then flash (apparent by all the brightly lit backs of heads), with the lens at 17mm (= 27mm) and an available-light exposure at 1/10 sec (1/60 with flash). Horizontals: even bounce flash (evident with the bright vaulting arch framing the sculpture) was not an ideal solution, and the existing lighting proved to be a better choice. The flash used was a Canon 580EX. ©Jack Neubart. All rights reserved.

Does It Make the Grade?

The Canon single-digit D-series cameras have always stood for top-of-the-line products. So we can expect nothing less of any other Canon EOS model that bears this moniker.

The Canon EOS 7D is remarkably noise-free, from a practical standpoint. Digital noise is either indiscernible or barely so at ISO levels through ISO 800. Luminosity noise is certainly well-controlled. And you just start to get a feeling of color noise peeking out at you at ISO 1600-but you really have to be looking for it. Color noise starts to become more seriously observable at ISO 3200, and you may find it objectionable at ISO 6400.

Digital Noise. Here you can see noise levels, which are practically non-existent at low ISO levels, but increase exponentially as we hit the highest light sensitivity levels. Color noise in particular is evident at ISO 3200 and most apparent at ISO 6400. These are actual-size cropped sections. ©Jack Neubart. All rights reserved.

However, I’d say it was still within acceptable tolerances, especially for an APS-C sensor. The 7D’s noise levels are higher than those found in the 5D Mk2, notably at the highest ISO levels. I judged noise in the 5D Mk2 at ISO 6400 to be roughly equivalent to that found at ISO 3200 in the 7D. However, I’d still choose this camera over many competitors, were I choosing on the basis of noise levels alone. And considering the 7D’s feature set in general and lower cost, I’d pick it over the 5D Mk2, unless I really needed that camera’s full-frame sensor and those few extra megapixels.

The shutter button on the 7D has a hair-trigger response, which, if I recollect correctly, aligns it closer to the flagship 1Ds than the 5D (but don’t hold me to that-been a while since I worked with either). Either way, it was certainly responsive enough when shooting sports activities-and that’s what counts. Granted, this may not be your first choice for action photography, but it does a commendable job (that’s why they built the 1D Mark IV).

Despite dual Digic chips, I can’t say that I saw a tangible improvement in white balance performance. Camera technology tries to emulate the human neuro-optical system, but it has a long way to go. The same goes for exposure. I found myself making the same judgment calls as with any other camera, overriding auto exposures where necessary and even switching to manual on occasion. There is a further issue with the camera correctly evaluating and capturing contrast-and here we still need to make manual adjustments in post. But the 7D is not alone where any of this is concerned.

I just wanted to show Saks Fifth Avenue and St. Patrick's Cathedral in relation to each other. You'll see Saks featured in my Light Show Christmas video on Vimeo. ©Jack Neubart. All rights reserved.

In Conclusion

Canon did lots of things right with this camera. But most importantly, if you think you’re sacrificing a clean noise-free image to save a few bucks, think again. The Canon EOS 7D makes no compromises. In many respects it flies past the 5D Mark II.

The only drawback to the 7D is the range of available Canon lenses, notably at the wide end. Fortunately, third-party manufacturers, namely Sigma, Tamron, and Tokina, are stepping up to the plate and filling in any gaps. And Canon’s own EF-S 10-22 and EF-S 60mm macro are lenses worth owning right out of the gate. As for the lenses, the test sample 17-55 is kind of pricey and proved to be a tad on the soft side.

Mechanically, I found the 18-200 vastly inferior to anything I’d worked with from Canon, but optically it’s more than acceptable. You could argue that because the lens has been around the block a few times (it wasn’t new when I got it), it’s to be expected. I argue just the opposite: The lens should have staying power.

You’ll note I avoided ending with a mention of movie shooting. Oh darn, I went and did it anyway! By the way, just to be fair, I did produce a short movie using clips and stills captured with the 7D. The movie focuses on Christmas in New York City and is available on Vimeo:

I trust you’ll enjoy it. Comments are certainly welcome. Just remember: I didn’t set out to produce something to be entered in the Cannes, Toronto, Tribeca, or Sundance film festival, although feel free to enter it as a nominee.

NEWS FLASH. Canon’s EOS E1 video plug-in for Apple’s Final Cut Pro was just released. According to Canon, “This new plug-in allows simple and easy transfer of video content from Canon’s EOS DSLR cameras directly into Apple Final Cut Pro. The EOS E1 video plug-in takes advantage of Final Cut Pro’s powerful Log and Transfer feature, which allows users to select and mark the video directly while it is still on the camera, add custom metadata and ingest the clips in the background so the editing can begin immediately.”

The EOS E1 video plug-in is a free download available at Apple http://www.apple.com/downloads/macosx/finalcutstudio/. The plug-in is compatible with Final Cut Pro 6 or higher and currently supports Canon EOS 5D Mark II, EOS 7D and EOS 1D Mark IV cameras.


Verdict: Buy the Canon EOS 7D for its awesome still capture capabilities. This DSLR is hard to beat in an APS-C camera. But, aside from the Canon 10-22 and 60 macro, you might want to look elsewhere for APS-C lenses. I was not blown away by the 17-55 IS and 18-200 IS lenses that I tested-lens creep being a chief concern, especially in the longer lens.

Amateur Football with Continuous Autofocus. I captured this series with the 7D and 18-200mm IS lens with the lens at 200mm (= 320mm) for most shots, except the tackle (lens at 130mm). Note the rapid sequence-do you really need a faster burst rate? I had to adjust white balance for this entire series in particular. ©Jack Neubart. All rights reserved.

Additional Information and Technical Specifications

• For more information, visit: Canon USA

• For technical specifications, visit: Canon EOS 7D

• For prices and user reviews of this camera, check out: Amazon (about $1699) Canon EOS 7D 18 MP CMOS Digital SLR Camera with 3-inch LCD (Body Only); or B&H (about $1699) Canon EOS 7D 18 MP CMOS DSLR

• For prices and user reviews of the Canon EF-S 17-55mm f/2.8 IS USM, check out: Amazon (about $1060) Canon EF-S 17-55mm f/2.8 IS USM Lens for Canon DSLR Cameras; or B&H (about $1060) Canon EF-S 17-55mm f/2.8 IS USM Lens

• For prices and user reviews of the Canon EF-S 18-200mm f/3.5-5.6 IS, check out: Amazon (about $584) Canon EF-S 18-200mm f/3.5-5.6 IS Standard Zoom Lens for Canon DSLR Cameras; or B&H (about $595) Canon EF-S 18-200mm f/3.5-5.6 IS Lens

Leica M9 (front). A ruggedly built, Euro-styled digital rangefinder in which quality, performance, and price go hand in hand. Photo courtesy Leica.

It has been a very long time since I last worked with a rangefinder camera. And likely just as long since I last had the distinct pleasure of working with a Leica, although, as I recall, that was an SLR. The one thing that did stand out in my mind was how crisp the images were that came out of the Leica lenses I used.

Given that digital is, in a sense, a more complex image-forming process involving any number of variables mediating from the moment of capture on an imaging sensor and in-camera processing until the final image springs to life, I’m not sure that we’ll ever see quite the same quality, regardless of the lens or camera, or sensor. And yet we as photographers still manage to evolve our art with the technology and find ways to take that technology to new levels of creativity and bring new heights of awareness to every moment and scene we capture with our cameras.

The Leica M9 brings to mind my very first camera, the one that my dad bought me when I was a wee lad, and which he wouldn’t let me use for some years, afraid I’d break it (okay, I eventually did-but it wasn’t my fault, dad, I swear). So I bided my time and when the New York World’s Fair of 1964/65 rolled round, I finally got the chance to take the camera out on my own.

I loved that 35mm camera-a Neoca (Japanese top to bottom). It was no Leica by any stretch of the imagination. Didn’t even have a light meter inside. But it was a rangefinder. And what I remember about that rangefinder is that I was never entirely comfortable using it-I just didn’t feel it gave me the speed I needed or the certainty. And that’s still how I feel about rangefinder focusing. (However, I’m certain that many of you may feel just the opposite and would take a rangefinder over autofocusing or any other type of focusing any day of the week.)

And that brings us full circle to the M9, a full-frame, 18MP CCD digital camera featuring coincident-image rangefinder focusing-with the added benefit of interchangeable Leica lenses.

It’s No Coincidence, Or Is It?

Leica M9 interface. User-friendliness lies at the heart of this camera, with no complex or confusing array of function buttons. Even the menus are simple and straightforward. Photo courtesy Leica.

Rangefinder focusing in the M9 is of the coincident-image type. That means that you manually rotate the focusing ring until the image within that small central field (which is also used in metering) is not two images but one coincident image. Where straight lines are involved, Leica refers to it as “split-image focusing,” although my understanding of split-image dates back to my earliest SLR, where the center of the finder image was definably split and had to be merged to achieve focus.

Here we’re still talking about some form of coincident-image focusing. This works great, unless you have subjects without distinctive lines, shapes, forms, or textures-you need detail you can easily latch onto. Like I said, this is not my favorite form of focusing-but don’t be dissuaded by my lack of alacrity when it comes to rangefinders. Again, your mileage may vary.

While we shouldn’t expect this camera to offer Live View or anything even remotely resembling it, we also must realize that, because this is not a reflex viewfinder, the view the camera affords us comes courtesy of a viewfinder that is slightly displaced from the lens axis. As such, we would normally expect to encounter what is known as “parallax error,” where what we’re seeing and what we’re capturing do not quite match.

But that’s the beauty of the Leica M rangefinder. The camera features auto parallax correction, so that we can compose with fairly good assurance that what we’re seeing is what we’re capturing. It may not be in perfect alignment, but close enough so that we don’t have to worry about cutting people’s heads off. In fact, the viewfinder displays a bright-line frame that we normally use in composing the scene. Centrally defined within that area is the highlighted rectangular field that we use when focusing (or metering).

Just one caveat. The 21mm Summilux-M lens that I used encompasses a broader field than the camera’s built-in viewfinder can accommodate. To remedy that, Leica came up with a 21mm dedicated optical Viewfinder M that slips into the camera’s hot shoe (there are additional finders for 18mm and 24mm lenses).

Of course that means that you can’t use flash and finder at the same time, but this lens is not really something you’d use with flash anyway, given its superior low-light imaging capabilities with that amazingly large (f/1.4) maximum aperture. Then again, unless you needed fill-hmm, something to ponder.

A test of balance. Normally I'd be seriously concerned over a rangefinder camera's ability to capture symmetry. So I put the M9 to the test with various subjects, from near and relatively far (well, across a wide thoroughfare). For the pastries, I leaned the camera against the glass of a gourmet bakeshop. In each case, I used the optical finder attached to the camera's hot shoe to compose after metering in camera. The symmetry may not be perfect, but it's well within acceptable parameters. ©2009 Jack Neubart. All rights reserved.

So, how exactly does this partnership of external finder and rangefinder focusing work? Well, the camera’s built-in viewfinder is used for focusing and exposure, while the external finder is used for composition. Yes, it is time-consuming to switch back and forth, which is why Leica photographers fall largely into the category of “image-makers” who have a sense of what they plan to photograph, and not “snapshooters” who fly by the seat of their pants (not that I’m saying being a snapshooter is necessarily a bad thing-I have lots of spontaneous captures that could never have been planned).

With a Leica M9, there is a process: You see the scene with your eye, scrutinize its possibilities, wait for the pieces to fall into place after focusing and setting exposure, then release the shutter.

One very positive aspect of a rangefinder camera is that your viewing experience is independent of the lens’s maximum aperture, in contrast to a DSLR. That makes this combination of fast lens and M9 that much more suitable for low-light, especially nighttime, shooting.

Making Sense of a Sensor

Now, before we go on, you may be asking, in this age of CMOS sensors on 35mm-styled cameras, why CCD? Well, Leica continues to believe that the Kodak CCD chip is the way to go for ultimate quality. Leica had this to say about their sensor, in a published release:

“The image sensor of the M9 employs further-advanced and meticulously designed micro lenses with a low refractive index. The micro lenses at the sensor edges are laterally displaced towards the image center to precisely match the characteristics of M lenses. This optimized micro lens design captures and concentrates even the most oblique rays on the sensor and reliably prevents image brightness fall-off at the edges and corners of the image. As a result, all existing Leica M lenses maintain their full performance when used for digital photography.

“The intentional decision to exclude a moiré filter, which optically filters out the finest image details, was made to permit the full exploitation of the superb resolution of Leica M lenses. Any moiré patterns occurring with the M9 are eliminated in the camera’s digital signal-processing software. The optimized signal-noise ratio of the CCD image sensor reduces the need for digital post-processing and ensures that images possess an unrivaled, natural visual impact. This results in high-contrast, particularly high-resolution exposures with natural color rendition from corner to corner.”

The long and the short of it is, you’re getting a full-frame 24x36mm (35mm film-size) sensor, which means no focal-length conversions. And that means that the 21mm Summilux-M lens I was working with gave me that sweet ultra-wide view that I was hoping to capture from the get-go. All current M-series lenses, from 16mm to 135mm, are compatible with the M9, as well as most older M optics.

Exposure Control the Old-Fashioned Way-With a Twist

Leica M9 (top). Here are found the shutter speed/mode dial, off/drive mode switch, and dedicated hot shoe. Photo courtesy Leica.

Pressing down on the shutter button activates the camera’s exposure meter, except in the B (Bulb) setting, where it remains inactive. As the user manual explains, “exposure metering for the available ambient light is performed through the lens with the working aperture.” Exposures on this camera are center-weighted. That means that the centrally defined area should also be a guide as to which subject areas will affect exposure most strongly.

I don’t recall exactly which SLR cameras used match-needle LEDs, but essentially the M9 uses that methodology for exposure control-but only in Manual mode. These LEDs point to whether exposures are running hot or cold, with a dot LED showing the camera-recommended exposure. Rotate the aperture ring on the lens and/or the shutter-speed dial on the camera to arrive at an optimum exposure and use either to override the camera-metered exposure as needed.

There is also an Aperture-priority automatic mode, where instead of indicators you get actual numbers digitally represented as an LED-readout of the shutter speed. As with all Aperture-priority metering systems, change the lens aperture and see a corresponding change in shutter speed. In this mode, pressing down to a second position on the shutter button locks in exposure (you’ll hear a second faint beep)-but only in standard advance mode. (There is also a soft mode and a discreet advance, which delays shutter release for a fraction of a second.)

Exposure compensation in Aperture-priority is activated via the Set button menu or the Setting Dial (a wheel located coincident with the cursor buttons to the right of the LCD). A blinking indicator tells you that exposure override is in effect. (Keep that in mind, or better yet manually reset it before moving on to avoid future exposure errors.) Overrides are in 1/3 EV increments, to +/-3 EV, whereas aperture and shutter-speed values are in half steps (mechanically set on the respective dials). A Main menu option gives you a choice of whether you can use the Setting Dial independent of or in tandem with the shutter button.

Auto-bracketing is also available in Aperture-priority mode. Set the camera to single-shot or continuous drive operation, the Set menu to exposure bracketing on, and the Main menu to the number of shots per sequence (3/5/7), the necessary increments (0.5/1/1.5/2 EV), and sequence (0/+/- or -/0/+). With a single press of the shutter button down all the way to make the first exposure, the camera will continue to fire the required sequence of shots even with your finger off the button.

Flash Usage

The M9 also features dedicated flash operation with either a Leica flash or any flash that uses a dedicated SCA adapter (typically Metz and other European brands). You have the option of first- or second-curtain sync. Regrettably, a flash did not avail itself for the necessary tests. When using matched flash units, flash exposure is controlled with center-weighted TTL pre-flash metering via two silicon photodiodes.

Here’s more on that (from the manual): “The Leica M9 determines the required flash power by firing one or more pre flashes, fractions of a second before taking the actual picture. Immediately after this, at the start of exposure, the main flash is fired. All factors that influence the exposure (such as filters and changes to the aperture setting) are automatically taken into account.”

You can also use a non-dedicated, hot-shoe-type flash. Unfortunately, there is no X-sync contact as a workaround.

Digital Noise

The levels of digital noise in this camera are fairly well-controlled. You begin to discern luminosity noise at ISO 1000 but not to the point of rendering a picture unusable. At ISO 1600, color noise becomes readily apparent, and it’s markedly noticeable at ISO 2500. There is no option for high ISO NR (noise reduction) to deal with the problem. Then again, the problem is not serious enough to warrant it. There is also an ISO 80 option, referred to as “pull.” As with pull processing of film, the result is a flatter, lower-contrast image, so I don’t recommend this setting, unless push comes to shove-well, you know what I mean.

The only noise reduction in the camera revolves around long exposures. It kicks in automatically at around 1/30 sec. Normally you’d expect long exposure NR to take effect at shutter times of 1 second or longer. You’ll notice that longer exposures take twice as long (from two seconds and up, you’ll see a digital countdown). The camera is using dark frame subtraction to alleviate fixed-pattern noise, evident as hot pixels (reminiscent of bleach specks).

Warm & cold. I liked the contrast of tonalities in this scene between dusky blue and warm incandescent. I'm not sure that I would have opted for this shot with another camera, but it felt right with the M9. You may be able to see a fair amount of noise in this ISO 2500 exposure (readily apparent at normal magnifications). ©2009 Jack Neubart. All rights reserved.

Sometimes it’s better to treat the problem of hot pixels in post and grab that next shot when the opportunity avails itself, instead of waiting for the camera to do its thing. Take fireworks, for example. Precious seconds are lost and all too soon the show is over, or you may have missed the most exciting, most vivid explosion of color because the camera was busy.

On average, I haven’t found long exposure noise to be a particularly vexing or even observable problem, at least at shutter times I was using, and would have preferred this to be an optional setting. But there was one instance, when I inadvertently made an exposure in Aperture-priority at 32 seconds and found a hot pixel, despite long exposure NR. However, this is something that is easily retouched out, so let’s not sweat the small stuff, as they say.

The Summilux-M 21mm f/1.4 ASPH Lens

21mm Summilux-M with 6-bit encoding. Leica M-series lenses are 6-bit encoded so that camera and lens can easily talk to each other. All the photos I shot (and shown here) were taken with this lens. Photos courtesy Leica.

Here’s what Leica has to say about their lenses: “The current M lenses are supplied with a 6-bit code on the bayonet mount (see photo) that is scanned optically by the M9. On the basis of the coded information, the M9 can compensate for any (almost negligible) system-inherent vignetting effects if necessary. In addition, the lens type is recorded in the EXIF data of the image files and, when using the latest flash units like the Leica SF 58, automatically adjusts the reflector to match the focal length of the lens attached.”

What this information fails to address is that the EXIF data omits one vital piece of information: lens aperture. These days I rely on this data so that I don’t have to stand there with a paper and pen or recorder to note the f-stops. And because I was shooting out in the cold, literally, I wasn’t about to stop and jot down notes for each and every exposure. Just wouldn’t be prudent, to borrow a phrase from that noted “Saturday Night Live” bard.

Costume jewelry. I photographed this costume jewelry in an outdoor market-simply as a challenge for the 21mm Summilux-M. I had enough light for a 1/60 sec exposure (ISO 800). ©2009 Jack Neubart. All rights reserved.

But let’s get to the nitty-gritty. If I understand Leica’s statement, they’re saying I shouldn’t expect to see vignetting. Well, not so. Vignetting was readily apparent when shooting at or near maximum aperture. Stopping down to f/4 alleviated the problem considerably, although at wider apertures the effect should only be observable over uniformly toned areas, such as sky, where a little vignetting may be tolerable.

Statue of Liberty in the flesh. We have lots of these living statues stationed around Central Park, here in NYC. I found this one interesting against the backdrop of the towering Time Warner Center. Note the vignetting at the corners, which meant that I obviously shot this at or near maximum aperture (so that the backdrop would blur slightly) with the 21mm lens. Unfortunately, the EXIF data does not record lens aperture, despite the electronic pathways that exist between lens and camera. ©2009 Jack Neubart. All rights reserved.

I do have one complaint about this lens and it revolves around the lens cap. I can’t tell you how many times this has slipped off in the camera bag. It’s a flexible plastic cap that slides over the screw-on lens shade that comes with the lens. It feels too flimsy and inadequate for a $6000 Leica lens (which is nearly as much as the M9 body goes for). I think the addition of retaining clips on a solid plastic cap would be better.

In the Final Analysis

The Leica M9 is clearly a product of German design and engineering, which has always been a standard other camera manufacturers have aspired to in terms of reliability, durability, and solid construction. It’s a rigorous standard that few try to achieve and fewer still approach with any conviction.

When one learns that the M9 is constructed of a one-piece, all-metal housing, specifically high-strength magnesium alloy, with a top deck and dust- and moisture-resistant base plate machined from solid brass blocks, one can’t help but be impressed. By the way, the battery and memory card compartments are accessed via removal of the base plate. (Make sure the plate grabs onto the hinge, or you’ll get a nagging reminder that the camera isn’t closed properly.)

What’s more, the camera sports a new, microprocessor-controlled, fairly silent, and – according to Leica – highly durable focal-plane shutter that enables shutter speeds up to 1/4000 second and flash sync of 1/180 second. And that only sweetens the pot.

Statue of Columbus, Columbus Circle, NYC. When I was done photographing the buildings, I turned around to find a bridal party being photographed by the statue. While I was able to get some shots at a closer distance, I like this one, with the huge sculpture reflecting the enormity of the situation. ©2009 Jack Neubart. All rights reserved.

Still, it feels a little strange to say that I’ve been shooting digital images with a Leica. I know the digital Leica has been around for a number of years now, but it’s just on principle. Granted, it is a good thing, albeit a sad moment when tradition gives way to technology.

One more thing that we should point out: Leica uses Adobe DNG as their de facto RAW file format. That frees Leica from bundling any software with the camera (so keep that in mind before you spend an hour looking for a CD that is not there). Further, I’d strongly recommend the use of a fast SDHC card, or you may find what-feels-like a limited memory buffer filling up quickly with uncompressed RAW captures. You also have the option of compressed DNG (with or without JPEG), or JPEG alone.

Unlike some of the cameras we’ve reviewed, the Leica M9 is not what I would describe as a “fun” camera. While the design lends itself to ready use by anyone willing to understand and appreciate manual rangefinder focusing and manual exposure (with an Aperture-priority option), it’s not the camera you take to the beach or to parties.

It’s a camera with a serious air and a sense of style, one that should be used with forethought and intent. For those willing to spend the time and make the effort, the M9, in combination with any M-series lens but especially the 21mm f/1.4 Summilux-M, will help you realize your vision. Yes, it’s pricey. But for the price you get more than a brand name. You get a sense of unrivaled quality and a visual awareness that no DSLR will give you. You learn to see in a different light. And that, my friends, is the beauty of a Leica M9.

For more information, visit: Leica’s website
Technical specifications: Check out the Leica M9 website
For prices and user reviews of the Leica M9:From Amazon (about $8999); From B&H (about $6995)
For prices and user reviews of the Leica 21mm f/1.4 Summilux-M: From Amazon (about $5995); From B&H (about $5995)

Pentax K-x body, white version. Photo courtesy of Pentax.

I approach each new camera with a degree of skepticism. Unlike many out there, I’m not as easily swayed by all the media hype and promotional gobbledygook. I’m from Brooklyn and we need to see that something actually works. So when the Pentax K-x arrived, I looked at it, pleased that they sent me the “white” version, only because it reminded me of the Imperial Storm Troopers from Star Wars (would have been a great fit). I unpacked everything, mated the lens to the K-x body, installed the lithium batteries that came in the box, then added my own SDHC card-none included (also takes standard SD-but why hamper the machine out of the gate!). And I started to play with it.

Hmm, not bad, I thought. But let’s see how it performs in the real world. So, intrepid explorer that I am, I ventured outside. It may not be a tropical rain forest, but it is an urban jungle out there rife with photographic opportunities. I was ready for bear (good luck finding one of those in Brooklyn, but you get my drift) and I headed straight for my favorite city park.

Here Kit-ty

Pentax K-x with Kit Lens. A DSLR with style and pizazz. Get a hold of that matching lens. Photo courtesy of Pentax.

By the way, not only is the camera white (with contrasting black touches), but so is the matching SMC Pentax DAL f/3.5-5.6 18-55mm AL kit lens. The camera also comes in red or blue. (Not sure how I would have felt about it in red or blue, but I know I’m happier with this one.) And for the traditionalist, there’s always the standard black version. Other lenses from Pentax are the traditional black tone.

The basic one-lens kit is priced very reasonably (under $650 street), but if you’re willing to spend a bit more, you can up the ante and add a 50-200 or 55-300 zoom to the deal ($750 and $850, respectively)-and still get a great bargain. That means you’ll be ready to shoot landscapes, portraits, and, with the longer lenses, wildlife (such as that bear we alluded to earlier). (Don’t forget to multiply focal length by the APS-C sensor factor: 1.5X, to arrive at the effective focal length. That’s especially important when determining a usable range of values under low lighting conditions, with the camera’s in-body image stabilizer.)

18mm to 55mm lens. These two shots show this lens at either extreme. It's a cute lens, in that matches the tone of the camera. I only wish they'd included the lens shade. Still, this lens performed well, although I spent most of my time with the longer zoom, which came with a lens shade. ©Jack Neubart. All rights reserved.

What’s even more amazing about this camera, at this price, is that you don’t have to settle for a smaller sensor, such as Micro/Four Thirds. OK, granted, perhaps it is not as small as some of the latest Micro Four Thirds sub-compacts now out there (the built-in optical viewfinder and reflex housing/mirror account for that), but it is small and light enough to wear around your neck without complaint on a hot, humid day while hiking around St. John USVI.

On the Surface

The K-x has a nicely contoured, textured grip, although the back, particularly under the thumb rest, is on the smooth side. Not having used the camera in a humid clime, hard to say if that would affect anything, but I doubt it.

All the camera controls on the K-x are neatly arrayed, with all but one-the flash popper-upper/delete button-situated conveniently on the right side, including the lens release. Granted, I’m more used to having a lens release on the left, because otherwise your fingers tend to get tangled, but you get used to it. What I found a bit disconcerting was combining the flash and delete buttons in one. But this too, is something you get used to before long.

Well, there is one other function located separately. As expected, the diopter correction is situated adjacent to the optical finder-actually rides atop it. And it’s a slider that lacks the fine-tuning you may be used to on more robust DSLRs. Still, this did not prove to be a problem.

So, when do I start griping and grumbling and tell you what I really think? Well, I hate to disappoint, but you won’t find too much of that here. This little camera truly surprised me. Okay, there are some things I wasn’t overly thrilled with, and we’ll get to them in due time. Be patient.

The Interface

Pentax K-x Black Version--back. The camera features a user-friendly interface. Photo courtesy of Pentax.

Camera manufacturers are beginning to understand that we, at any level of expertise, and especially eyeglass wearers like myself (who hate putting on glasses just to read an LCD panel), like having the information up front-or in back, to be precise, on that large color monitor-and in large type, with maybe some graphics thrown in. The K-x entirely bypasses a top-panel vanilla data panel in favor of the rear and fairly sizable color monitor, which is bright and fairly easy to see even outdoors, except under direct sunlight (so you duck under the shade-no biggie). As soon as you turn the camera on, you see the operating/shooting mode boldly emblazoned on the LCD, which is also true when switching from one to the next. Need the date and time? It’s there also-and very readable.

Practically every button serves a key function. There’s no confusing array back here-just the meat and potatoes that you need to capture that image.

The thumbwheel is where it should be, falling directly beneath your thumb. And there is only one such wheel, which leads to less confusion. What’s more, it’s sensitive to the shooting mode when in shutter-priority, aperture-priority, and sensitivity-priority modes. Yes, folks, this is a camera that has had sensitivity training-about time! Well, not really, since I don’t know anyone who would choose this option when there’s a chance of getting grainy images as a result. But stay tuned, there’s more ground to cover before we discuss the fineness of our coffee grounds.

Getting back on track, in manual mode, you have to hit the AV (+/-) button on top to shift between shutter speed and aperture settings. Next to that button is a button with a green dot that you define. Unfortunately, I have no idea what I set it for (Ain’t that always the way it is with custom functions?).

Two buttons to the immediate right of the LCD (next to the cursor buttons) are Info and Menu. If the camera settings are not displayed, hit the Info button once to show them, twice to get to a screen with a broader spectrum of parameters. Between this screen and the dedicated buttons can be found all the essential control settings you’ll need. You may note a few parameters grayed out/off. These apply only to JPEG captures. If the camera is set for RAW or RAW+JPEG capture, these functions become unavailable. So how do you get around this? Set the green button to switch from one to the other. Hey, now I remember what I’m using that button for! (Just remember to hold it down for a second.) And so that I don’t leave you in a lurch, let’s turn to some of the more interesting functions you get with the K-x.

Picture and Scene Modes

Pentax K-x Black Version--top. The camera features a comfy grip. Photo courtesy of Pentax.

The Pentax K-x has a dedicated Auto Pict setting on the mode dial. You wanted some gripes? Here it comes. This mode makes absolutely no sense to me at all. I point it around my office/studio and it gives me readings ranging from face detection (pointed at a chair) to a runner to a scenic view. The flash doesn’t automatically pop up unless set to Auto; user overrides, however, remain in place. So what is it doing? I haven’t a clue.

Now, let’s skip past this auto setting and move to the specifically defined picture modes, which are supposedly “auto” with a purpose. Here, by hitting the Info button, we can see which parameters have been tweaked, although, again, all subject to user overrides such as exposure compensation, ISO, and flash. And there appears to be no rhyme or reason for the settings the camera uses. It doesn’t set a faster shutter speed for action or a shallower depth of field for a portrait; in fact, these settings are identical, when you point the camera at the same subject. So what gives!

Even at the macro setting, the aperture hovers at the same setting (all other variables aside, namely ISO and extreme brightness). Although each picture mode will set AF to single-shot or continuous on its own-that’s at least something. But to be practical, I say just skip these picture modes altogether. There’s still a lot of camera to explore, and you’re still getting a good bang for your buck.

The scene (SCN) modes, on the other hand, do appear to take more control over the camera. To access this function, hit the Info button, scroll to the scene mode (the first icon), and hit the OK button. Then you’ll see an explanation of what the setting does. Unfortunately, the information is sparse and not really anything of practical value, so your best bet is to just play around with each of the choices.

The museum setting prevents you from inadvertently using the flash by deactivating the flash button. It also deactivates the flash cursor button, with a reminder when you attempt to use it. The same applies to other scene settings, such as candlelight and sunset-although, I would like to use fill flash here, but can’t. (Picture mode also has a flash verboten setting that you can use if you have a bad habit of popping the flash where and when you shouldn’t.) The flash is otherwise accessible in most modes, but does not pop up automatically-unless set on Auto. When set for kids or pets, the camera goes into continuous AF (no doubt with face detection for kids), and burst mode.

Pentax K-x Black with Flash. The built-in flash proved handy in many instances. Photo courtesy of Pentax.

Movies, Live View, and AF

To manually activate face detection, the camera must be used in Live View. There is also a dedicated movie mode setting, which kick-starts Live View mode. Since the camera lacks an articulating monitor, you can’t hold it the way you normally would a video camera, although I personally prefer to use the optical finder on my vid-cams.

As with other cameras that employ Live View for movies, temperature build-up can have deleterious effects on quality (translation: increased noise) and the camera may shut down, essentially following Isaac Asimov’s Third Law of Robotics mandating that a robot must protect itself. And what is a sophisticated, microprocessor-governed camera if not a form of robot? But don’t be scared. The Three Laws of Robotics also dictate that no harm should come to humans, no matter how badly some people treat their cameras. (For a different perspective, read R.U.R. – Rossum’s Universal Robots, a play by Karel Capek-so perhaps you should be more attentive to the needs of your camera.)

Movies are recorded in 1280 x 720p/16:9 or 640x416p/3:2–at 24 fps, captured in AVI format (Motion JPEG compression). Still capture maxes out at 4288 x 2848. Color depth is 8 bits/channel JPEG and 12 bits/channel RAW.

The dedicated Live View (LV) button is on the back of the camera. Live View can lead to really tardy autofocusing when face detection or contrast detection are selected, operating off the image sensor. I’d recommend the wide array (phase detection utilizing the AF sensor) setting instead, although this does black out the viewfinder momentarily in this operating mode. In Live View, focusing only occurs when you press the shutter button part way.

On the other hand, standard AF operation, with however many focusing points you select, is surprisingly fast. Except under very low lighting, which has been the bane of many AF systems.

The one annoying aspect to autofocusing is in continuous AF. The camera beeps each time it locks onto its target. There’s no off switch for this mode alone.

Soccer. I was pleasantly surprised by the K-x's ability to capture breaking action with continuous AF. Since these were minors playing, I avoided shots showing faces. I used the 50-200mm lens with a 1/500 sec shutter speed (ISO 800). ©Jack Neubart. All rights

Nifty In-Camera Effects and Other Features

The K-x boasts some neat in-camera effects, largely applicable to JPEG capture. But the camera gives RAW shooters a workaround so that you can still exploit this machine’s “digital filters.” Namely, with the card in the camera, apply the effects to the stored image with post processing. This way you have your RAW cake and eat it too (okay, doesn’t sound so tempting when I put it that way). You can even create your own custom filter.

Included in post-processing is HDR. Using the effect in post is pretty much a wasted effort. Well, perhaps I shouldn’t quite say that: the HDR conversion in post does do a little to improve the image, but not nearly as much as you’d want or expect.

HDR, in capture mode, is an effect that involves a bracketed burst of three exposures (normal, under and over), which the camera blends in order to squeeze out all available tonalities. The camera should be on a tripod with the entire world perfectly stationary (any movement will produce ghosting artifacts or prevent perfect registration of the composite images). There are two HDR settings. HDR 2 tends to go overboard and evens out all the tonalities. The HDR 1 setting preserves more of the contrast, and it definitely is an improvement over the non-HDR version in recapturing lost tonal detail. Unfortunately, you can’t use it with RAW captures, which means you’re losing considerable image information out of the starting gate.

Not available to the camera in post are the cross-process effect and lens corrections, namely for distortion and color fringing (lateral chromatic aberration, to be specific).

Cross-process. In this instance, I wanted to see what the cross-process effect would look like. Since there are so many variables involved in cross-processing, one can't fault this rendition. So you either love it or leave it. ©Jack Neubart. All rights reserved.

Normally, I’d pooh-pooh digital camera effects. But I have to admit, I like many of those offered here. To be blunt, they’re fun, and I believe that’s the raison d’etre behind this camera in the first place: Make picture-taking fun.

Other features include in-camera shake reduction. Here the options are limited to on or off-no in-between settings, which may make it less confusing for some, rather than trying to fathom what the different image stabilization functions mean and when to use them.

And there’s the obligatory dust reduction system, with an interesting twist. The camera lets you get a visual of the sensor and its resident dust in a memory capture that’s revealed on screen. See dust? Manually activate the in-camera dust-shaker-offer. It took a few tries, but the sensor was finally dust free. The only bothersome aspect to all this is that this is a noisy system, with a noticeable kick when activated.

Church. I photographed this neighborhood church with the 50-200mm lens. If you look carefully (upper right), you can see one of the dust spots before the sensor was fully rid of them. Dust spots are normally more easily seen in areas of uniform tonality, especially bright areas such as sky that are underexposed. ©Jack Neubart. All rights reserved.

Digital Noise. I'd activated High ISO NR (noise reduction), which helped a little, but you can see how digital noise becomes readily apparent at high ISO levels. I would still use a noise reduction plug-in on these shots (all cropped tightly from a horizontal shot of the church). ©Jack Neubart. All rights reserved.

In Conclusion

The manual that comes with the Pentax K-x is 300+ pages long. So you can see that there is a lot of functionality built in.

No, not every feature was to my liking-especially the part about requiring four AA cells, since the camera does not come with a rechargeable Li-Ion battery pack. Granted, the single-use lithiums that came with the camera do last a long time, but these batteries are costly to replace. Alkalines have a short life in this camera. And rechargeable NiMH (Nickel metal hydride) batteries proved quirky.

I’m told by Pentax that these rechargeables should be rated over 2000 mAh, preferably 2450 mAh, which meant that most of my rechargeables were unsuitable. I didn’t fare any better with freshly charged 2100 mAh cells either, so I’m not sure how much of a difference 2450 would make. It could be that you not only need freshly charged but new and freshly charged NiMH cells for this camera. And the brand of NiMH batteries could be the issue-too many variables. Pentax also mentioned that when switching batteries, allow at least a minute before turning the camera back on. So, to be safe, let’s just stick with disposable lithiums (but dispose of properly). When shooting with Live View, expect a greater drain on power.

Well, I did say that all was not perfect with the K-x. Image quality was very good, if not remarkable. And the AF system was largely on track, especially when it came to action photography. The lenses were easy to work with, if noisy during AF operation. Noteworthy was manual focusing on these lenses-with positive detents at either end of the focusing spectrum preventing you from rotating the ring too far. That was a refreshing contrast to many higher-priced lenses on other cameras. So, when I reflect back on the experience, I have to admit that I was quite pleased. Quite pleased indeed.

More Effects. Much of the drama was lost in the shade (or overcast-I can't recall which), so I applied the high-contrast effect, which, in truth produced as much a super-saturated look as a high-contrast rendition. But I kinda like it. Then I decided to extract the reds and oranges, again during the capture stage. You can vary the flavors of each of the effects and never grow tired of them. ©Jack Neubart. All rights reserved.

Verdict. Buy it. The Pentax K-x is fun and easy to use. And it’s a bargain! If you’re worried about the batteries, you’ll probably do okay just carrying around a spare set of lithiums.


For more information: Visit the Pentax K-x page
For technical specifications: Visit Pentax
See current prices and user reviews: (about $650 with kit lens) at Amazon, at B&H

Nikon D300S--front of camera. The Nikon D300S is a solidly built 12.3 MP CMOS DSLR that exhibits solid performance. It's not revolutionary, but is definitely a step up the ladder, compared to the original D300. Photo courtesy Nikon.

I’ve been very happy with my Nikon D300. I’m certainly glad I didn’t wait for the next iteration to come out because I’ve made good use of this camera on two continents. Three, if you count Brooklyn, NY (we like to think of ourselves as more than simply a borough of New York City). Anyway, I approached a review of the next-gen D300, the D300S, with some degree of trepidation. I’m obviously not going to hate the camera, unless they somehow managed to mess up a good thing. And if I love it, then I have to consider buying it to replace a body that still has that fresh camera smell, and for which I paid good money (is money ever bad?).

Before continuing, I should note that you’ve no doubt read my friend and colleague’s report on the D300-Peter Burian was quite thorough. (If you haven’t, check it out here.) But this is where I give you my take on the camera, and go into specific differences between new and old.

One thing I noticed is that the manual for the D300 is actually 18 pages longer than that for the new D300S. As a D300 owner, I gloated. Then I also noted that the D300S Quick Guide has nearly twice as many pages-now I’m starting to feel cheated. What could explain these odd discrepancies? Well, I wasn’t about to dig through each booklet page by page, so let’s just see what pops up as we continue to explore, compare and contrast.

The Cover Story

For starters, you get the same durable magnesium-alloy shell as the D300 with what Nikon calls “advanced dust and moisture countermeasures” (sounds like they have a team of miniaturized Navy SEALs guarding this machine-the elements don’t dare mess with this baby).

Now, if you look at the shutter release mode dial on the top panel, left side (it’s the lower dial activated via a release button), you’ll notice that Live View is no longer there. It’s been replaced by a Quiet shutter mode. So if you don’t want to wake the baby, this may be the route to take. I’m not sure how effective it will be with flighty animals since I’m sure you just stepped on a twig-crack! Bye, bye, birdie (sounds like a great name for a Broadway show). And it slows the camera down.

But if you’re in the spy biz, it should prove helpful; just make sure to turn off the AF light so you won’t give yourself away. (I don’t think the camera is that noisy, but, frankly, there are times when you do want to be as unobtrusive as possible.)

Nikon D300S-back of camera. You'll notice the dedicated Live View button to the right of the large LCD. Above that, centered in the multi-selector control dial, is the Movie button. Photo courtesy Nikon

Okay, so what happened to Live View? It now has a dedicated function button to the right of the LCD monitor on the back. Does Live View work better than it did on the D300 as a result of this change? It’s still a clumsy affair. As soon as you try to focus, the monitor blacks out and you’re forced to look through the optical finder, then back again; which is why I haven’t been convinced to abandon the trusty optical viewfinder-at least on this camera. And as part of Live View, you get a Virtual Horizon indicator. I prefer working with the viewfinder grid display (optionally activated via the main menu) and visible when using the optical finder.

And of course we have HD movies with the aid of Live View. Press the button in the center of the multi-selector (cursor wheel) on the back to start recording. You’ll be shooting in AVI format with Motion JPEG compression. Keep Live View running too long though, and you build up heat and noise until the camera shuts down automatically. Is that any way to shoot a movie? Could you see Alfred Hitchcock using this camera to shoot Rear Window? I don’t think so.





That’s all I’m going to say on the subject, since, as you know, not a big fan of movie shooting with still cameras. Still, it does beat having to schlep around a separate camera just to shoot movies. Just be sure to use a turbo-boosted, high-capacity memory card when shooting HD.

Oh, almost forgot. The media door. They took away the latch and made it slide out to open. I liked the latch, but I do forget it’s there when I’ve been away from my D300 for too long. This modified entry, on the D300S, should meet with greater acceptance.

But there’s something beyond the door that is truly startling. Do you dare to open it? (I’m still in the Halloween spirit). We hear a creaking sound, shrilly screams, deep laughter; the door opens to reveal”¦

On the Inside

Not one but two memory card slots, ladies and gentlemen. You can now load up a CF card as before, but you can add an SD card so that they operate in tandem. One card is designated as “primary” while the “secondary” card can collect the overflow, back up the primary, or store JPEGs while the main card stores RAW (NEF) files. I can’t tell you how many times I could have used a second card in my D300. This feature alone makes it very tempting to upgrade.

Nikon D300S-card slots. To my way of thinking, the most outstanding new feature on the D300S is the dual-slotted memory card compartment. It now holds both CF and SD, which can work in tandem. Photo courtesy Nikon.

Seriously, there have been numerous photo shoots where I’ve had to stop at the most inopportune times to load a new card. What’s more, SD cards are more widely supported in laptops and other devices where you might want to transfer files to, so having this option means you don’t have to carry around a card reader when using these devices. And the nice thing about SD cards is that they can be easily write-protected (ever accidentally put a CF card back in the camera or lose track of which CF cards were already used?).

The D300S inherits the D300 Nikon’s digital windshield wiper-er, I mean, Dynamic Integrated Dust Reduction System.

In describing this feature, Nikon, on their website, went from this description under the D300: “Self-cleaning ultrasonic sensor unit minimizes degradation of image quality due to dust particles,” to this for the D300S, making it appear that we also have a squad of miniaturized Army Rangers coming to our rescue: “Ultrasonic process combats the accumulation of dust in front of the image sensor, safeguarding image quality,” the operative words here being “combat” and “safeguarding.”





But not to make light of it, it does work, and you can activate it manually, or let it activate automatically. Plus there’s the option of manual cleaning. (However, I strongly caution against manual cleaning. Despite everything you’ve read, these days there should be no need to manually clean a sensor, unless it’s a medium format digital back, or if you’ve carelessly exposed the camera’s sensor to wayward particles, or changed lenses under adverse conditions, or left it open too long.

The last time I attempted to physically clean the sensor, on an entirely different camera system I should add, it proved a bigger headache than it was worth, involving more swabs in number and variety than I care to recount.)





I am disappointed that Nikon didn’t upgrade the CMOS sensor. It seems that Nikon is stuck in a time warp-or sensor warp-governed by that 12+ MP range (excluding their use of the 24.5 MP chip in their D3X-a Sony chip, by the way). I was really hoping that Nikon would come through with something of its own at a midway resolution-say 16 MP. I could easily go for that.

As before, you get a shutter that has been tested to beyond 150,000 cycles-not quite what the top-of-the-line DSLRs can deliver, but certainly respectable, especially in this price range.

The D300S does, however, have a souped-up drive. This model can now record up to 7 fps (in contrast to a maximum of 6 fps on the D300)-and, as expected, at full resolution. It’s not much, I know, but every little bit helps. Of course, if you opted for focus-priority, that will slow things down.

Spider in web. I met and photographed this spider's cousin in Cologne, Germany. But there I used an off-camera Nikon SB-900 flash with my D300. Here I used the D300S with the built-in flash, after removing the lens shade to prevent vignetting. Copyright ©2009 Jack Neubart. All rights reserved.

My D300S Experience

I took the D300S out trick-or-treating on Halloween. Okay, I didn’t dress it up as Ashton Kutcher (because I didn’t think of it at the time), but it did venture out with me on a rainy Halloween in New York City. I’ve learned to avoid the parade itself if I’m going to get any in-your-face close encounters with ghosties, goblins and ghoulies. I instead headed to where the parade was supposed to terminate. Except that when I got into Manhattan, it was raining-and continued to rain for two hours. When the rain finally stopped, I emerged onto the street.

Of course, I hadn’t counted on trees dripping water down on me. I’ve gotten cameras wet before, with no ill effect, but one does try to limit the exposure to the elements. And even though the camera was weatherproofed to some degree, the 18-200mm VR II lens I was using was not protected in this manner. So, better safe than sorry.

Halloween, Greenwich Village, NYC 2009. For the vast majority of these shots, I set the camera to Manual mode, with the shutter speed at 1/30 and aperture at around f/5.6, plus a Nikon SB-900 mounted in the camera hot shoe under TTL control. The diffusion dome was attached to the flash, with the head positioned at an upward angle for, what I felt, is a better light throw. Copyright ©2009 Jack Neubart. All rights reserved.

Well, I finally made it to the main thoroughfare in Greenwich Village, the hub of post-parade activity, with throngs of vampires, werewolves and whatnot. Of course, you do miss some of the more extraordinary costumes at this point, but it beats having to get there hours early to secure a good vantage point for the parade.

Mated to the D300S was one of my trusty Nikon SB-900 flashes. The SB-900, while pricey, is by far the best shoe-mount flash on the planet, and out of the box, the best accessorized, with filters and a diffusion dome. I use this diffusion dome constantly, and did here. I angle the head upwards, but still at an angle, so that I feather the light (you can’t bounce it off the ether on an open street)-it’s not quite as harsh this way (when used close to the subject) and the flash covers a broader area.











When using the SB-900, I mostly shot with the camera in Manual mode, while the flash output remained under TTL control (and often do the same with the camera’s built-in flash). I found that 1/30 second at f/5.6 (or thereabouts) worked nicely to also encompass some of the ambient light, and with reasonable reach.

Although I did experiment with different settings and different shooting modes. For the most part, I find that with any flash, Manual mode works most consistently while eliminating many variables. Ordinarily, when shooting by available light, I opt for Nikon’s Matrix metering. I found this multi-pattern metering approach works quite reliably, although I still have to exercise some discretion to ensure good exposures (metering systems can’t be expected to take all variables into account-at least until someone finds some way to plug them into our visual cortex).

Photographing people constantly in motion at fairly close range proved a challenge on the street. Nikon employs a very capable AF system, with a vast array numbering as many as 51 AF points or down to a very finite single point AF. In combination, you can select single-shot or continuous AF. You also have the option of 9 and 21 points.

If you want the camera to continuously track a subject that is moving unpredictably, then pick 51 AF points with 3D tracking and continuous AF. (Continuous AF should be used when you or the subject is in constant motion, or when such activity is anticipated.) Admittedly, the choices can be a big mind-boggling. If you’re new to the camera, start with the most basic: auto area AF, which gives you the widest latitude.

The manual points out that, in this AF mode, if a type G or D lens is used, the camera can distinguish human subjects from the background. Alas and alack, mateys, we be photographing ghoulies and other beasties that go bump in the night, so I c’not be sure the AF system be designed for this experience.












Of course, when push comes to shove, the 18-200 VR II lens I was using did give me the option to manually override AF at any time. That’s one of the especially nice things about Nikon lenses.

Anyway, the problem, as I see it, is that in situations like this, where there are throngs of people, not individual subjects that the AF sensor can easily latch onto, it becomes tough for the camera to identify the subject of the picture. And when there are constant surprises at every turn and with every step you take, the onus is more on you than the camera to identify what you want to focus on and capture.











But I managed quite well while avoiding dripping leaves and zombies foaming at the mouth. Of course, one could very reasonably blame some wayward Halloween gremlins for any failed pictures this night (“Halloween XXIX: Gremlins, Me, and My Camera”-soon to be a major motion picture playing in a theater near you). But I’m pretty confident that I exorcised all the demons, leaving me to enjoy my Halloween booty (and don’t forget to watch “The Exorcist Redux”-make up your own tag line for this one).

And a noisy crowd is the perfect segue to discussing digital noise. Noise is certainly well-controlled at low ISO levels, but becomes noticeable at ISO 800, though not to a disturbing level. Color noise gets loud at ISO 1600 and shrieks at 3200, although not as bad as on some other cameras. However, invoke High ISO NR and the noise reduction algorithms will go a long way toward alleviating the problem without resorting to software plug-ins. I didn’t detect any deleterious effects on operating speed with in-camera NR invoked, although I’m sure it does eat into the memory buffer.

Soccer. With light levels low, I had to set ISO to 3200 so that I could use action-stopping shutter speeds. Shutter speeds went from 1/800 to 1/500, and finally down to 1/160, where you'll observe some motion blur. Continuous AF was employed. The point is, the camera managed to capture all this action without flinching-and it's not especially designed for this purpose. The 18-200 VR II lens did an awesome job as well. Copyright ©2009 Jack Neubart. All rights reserved.

All in all, an enjoyable experience that has taught me I need to delve deeper into my own D300 and rediscover features I may have overlooked. In fact, I went back in and changed some of the settings on my camera. And my recommendation to you is to exploit the D300S to the fullest. It’s a very capable camera when put in capable hands.

*Note: Nikon 18-200 VR II lens used throughout.

Verdict: Buy it, if you’re looking for a solid performer in a system DSLR at a reasonable price. Buy it if you constantly find yourself wishing you had another card in the camera.

Don’t buy it simply for the movie feature (I couldn’t justify buying any DSLR for this reason alone).

But if you already own a D300, buy the D300S if you need a second body-otherwise, skip it because you’re not really getting that much of a performance or feature boost to make it worth the upgrade. You’d probably do better investing in a D700, if you have the lenses to support it.

For more information: Nikon USA
Tech specs: Nikon USA
For prices and user reviews: Amazon (Nikon D300S); B&H (Nikon D300S; about $1,700 US)
For another great review: see Zoltan Arva-Toth’s take on the Nikon D300S over at Photography Blog

Canon EOS 5D Mark II + 16-35mm lens. This is a versatile combination, which proved itself street shooting in New York City, with subjects ranging from street scenes to candid portraits-even a celebrity sighting at a film premiere. Copyright ©2009 Jack Neubart. All rights reserved.

I remember when long intervals would go by before a new SLR was introduced, back when we were shooting film. Today, those intervals are growing remarkably shorter and shorter, although not short enough for some of us who eagerly await the next iteration. Technology, it seems, waits for no man or woman.

When the original, and very reasonably priced, EOS 5D came out, I bought it and chucked my APS-C Canons. I had heretofore resisted buying EF-S glass expecting to make this move one day. And while I’d considered the pricier 1Ds-series cameras, I felt that, for my needs, the 5D would do. In fact, for the same price as a 1Ds, I could buy the 5D and several lenses.

More to the point, I bought a Canon fisheye for starters, to take advantage of the full-frame sensor. So I felt like I had my cake and could eat it too. To top it off, all my Canon EF lenses would now be true to form. No more dealing with sensor factors. My wide-angles would be truly wide, although I did miss that extra boost my telephotos got with the 1.6X factor (applicable to Canon APS-C). But coming back to that fisheye, I now could take pleasure in that unique fisheye perspective. (Sadly, it wasn’t till I bought the Tokina fisheye zoom-for an APS-C camera, no less, namely the D300-that I truly began to exploit the possibilities of fisheye optics.)

With continued use, I could sense that there were certain features lacking on my original 5D, but I wasn’t really looking forward to upgrading too quickly. Besides, for me to take the plunge, a new 5D would have to be packing some serious new hardware-or software (technically, firmware).

Well, I’ve finally got my hands on the 5D Mark II. But is it all it’s cracked up to be, enough so for me to upgrade? Having tested the 1Ds Mark III adds another twist to this story. That 1Ds is a marvelous piece of machinery, if pricey. Should I continue to play the waiting game? Well, the only way to find out is to put the new 5D through its paces and see how it compares. (Unless otherwise noted, all references to the 5D henceforward are to the Mark II, just as references to the 1Ds apply to the Mark III.)

1Ds MkIII vs 5D MkII

While both cameras boast a 21.1 megapixel CMOS sensor, the similarities pretty much end there. There are obvious differences between the two cameras in size and heft, with the 1Ds-series always being the more robust. But aside from some functions we have yet to deal with on the new 5D and which are lacking in the more professional 1Ds, that camera does leave the 5D in the dust when it comes to autofocusing.

The 5D is as easily distracted as a horny teenager when a group of cheerleaders walks by. The big brother to the 5D, on the other hand, refuses to be distracted by subjects moving into the frame (unless you want it to via a custom function). For anyone photographing sports or capturing faces in the street, such distractions can prove annoying. More to the point, it can lead to missed shots. Hence, advantage 1Ds.

To me, this is the key difference, and I just wanted to get it out there for anyone still mulling over these choices or asking why I bothered with a review of the 1Ds Mark III so late in the game.
But if that’s not enough, the 1Ds’s resilient battery is another excuse to own this camera. And, if I hadn’t mentioned it, by comparison the hair trigger on the 1Ds gives it yet another advantage, no matter what you’re shooting. The 5D’s shutter button takes a little more effort to actualize an exposure. That hadn’t been a problem on my original 5D, but now that I’ve experienced the 1Ds, it becomes noticeable.

Okay. Enough about the 1Ds. We’ve come to talk about the 5D Mark II, so let’s commence.

Interface

5D Mark II - top panel. The changes here are also subtle, but you will note that the hot shoe has gone from black to silver on the new model, which shows less wear and tear. Copyright ©2009 Jack Neubart. All rights reserved.

You’d be hard-pressed to immediately point out the differences between the 5D and 5D Mark II on the surface, aside from the obvious larger LCD on the new model. But look closer and you’ll see new buttons and a slight reconfiguration of the button array.

But before I get into the function buttons, I have to remark on the shutter release. While this button doesn’t appear any more responsive on the new camera than on the original 5D, it has been very slightly repositioned-but enough to make it a truly ergonomic fit. I don’t feel as if my index finger is being twisted out of joint. It’s nestled in there, perfectly at home-and that’s as it should be.

In the move toward improved ergonomics, Canon also saw fit to move the LCD illumination button to the right, immediately behind the upper dial. But why they reconfigured the pairings of functions for the other buttons located next to it is beyond me. If you haven’t worked with the 5D, then no matter. If you have, this may take a little getting used to.

One of the features I like in Canon DSLRs is the mode dial. This dial makes it easy to switch shooting modes on the fly, with your left hand. The new dial adds more custom settings-not that I’ve ever used the custom settings on my own 5D. I like the idea of having multiple custom mode settings-three on this camera, but I can never remember which one is which, so it seems moot, unless you use it regularly.

On the back are the multi-controller, the thumbwheel, and the set button-all with lots of functionality. And what you will find especially welcome is that by pressing the multi-controller, you bring up a screen with all key functions displayed on the large monitor, which saves you from having to look for the individual buttons-not that they’re especially hard to find, but it is nice to have control centralized on this screen. Now it just becomes a matter of using the right combination of dials, controller, and set button to navigate and select them.

The Jump button on the back has been replaced with the Picture Style button. Picture style is a feature that I don’t normally use, so it’s wasted on me. And Canon has rearranged all the function buttons back here on the left, so that the delete button lines up with the rest (at the bottom). I actually preferred having it set off from the others, so it was easier to locate by touch. So without that Jump button, how do you jump from one menu screen to the next? Well, stay tuned…

A distinctly new AF-on button joins the two original buttons (governing sensor array and AE lock) at the top, behind the LCD panel. This button comes in handy in that it lets you separate AF from shutter operation, potentially speeding up the camera’s response time.

Soccer. I had just put camera to eye when I saw this action unfolding and quickly released the shutter (ISO 800/1/800 sec; shutter priority). While AI Servo (continuous AF) didn't work in every instance, notably when someone stepped in front of the camera, there was nothing to distract the sensor from capturing this moment. I did do some cropping, since I stood a bit far from the action, even with a 200mm f/2.8 lens. As for the doggie shot, well you can see the tie-in: to the victor go the spoils. This was another grab shot with the same lens. Copyright ©2009 Jack Neubart. All rights reserved.

Menus & Color Monitor

The real startling difference makes itself apparent when you switch on the menu. Now, instead of having to scroll through the menu options, or using the aforementioned jump button, you jump from one screen to the next with the aid of the main dial behind the shutter button.

The thumbwheel on the back scrolls through the options on each screen without you first having to activate that screen, speeding up the process and making it more user-friendly. Beyond this point, you’ll have to fall into a routine, since it seems that the multi-controller and set button can be used interchangeably. So make it a habit to use one or the other and avoid confusion.

But the real startling aspect of all this is the plethora of screens. Now, instead of simply three sub-menus, you have nine distinct sub-menu screens. The last one of these is My Menu, where you can go to quickly access your most frequently used menu options. So if it’s starting to look as if they’ve redesigned the 5D to make it more user-friendly, you’d be on the mark-Mark II, that is.

5D Mark II vs. 5D - menu/back panel. The back may not appear that different on the two cameras, but the menus and LCD scream "notice me!" (you'll get the "scream" part when you get to the later shots). Copyright ©2009 Jack Neubart. All rights reserved.

A typical night in New York City. It turns out that the movie Zombieland was premiering nearby and everyone came dressed for the occasion. I obviously used flash (Canon 430EX) for these shots. The 16-35 lens was at 16mm for the "I almost got bit by a zombie" shot; 35mm for the others. Copyright ©2009 Jack Neubart. All rights reserved.

Celebrity sighting. Actor Woody Harrelson entering the movie theater for the premiere of his new flick Zombieland. I know, he's not exactly in focus, but I didn't have time to do more than raise the camera above the heads of the crowd and hope for the best. As it turns out, he's very amiable, to the point of shaking hands with fans. Copyright ©2009 Jack Neubart. All rights reserved.

EF 16-35mm f/2.8L II USM Lens

While fast lenses have the advantage of speed, they come at a cost. When you add the price of this $1500 lens to a $2700 camera, it certainly begins to add up. On the other hand, the lens will stay with you for a very long time (and may lose little resale value), whereas you may be swapping out the camera in two or three years. So, in my book, a good lens is a better investment than a camera body.

The other price you have to pay is size and weight. At 4.4 in. and 22.6 oz., this lens is long and heavy in comparison to the 17-40 f/4 (3.8 in./17.6 oz.), not to mention twice the price of that other lens. But for me, the real difference, aside from the faster maximum aperture on this lens, is the 82mm filter diameter, since my filters top out at 77mm. And do you know what it means to buy a filter that size-and schlep it around along with those 77mm filters for my other lenses (okay, I could buy a stepper ring, but really-spend still more money?).

So, now it comes down to performance. Sadly, this lens is not rectilinear. Barrel distortion is readily apparent at the 16mm setting, and pincushion distortion can be seen at 35mm and even at 25mm. I found less distortion on the EF-S 10-22 than on this lens, albeit I can’t use that lens here. But the point is, that APS-C lens is much less expensive, albeit much slower. Other than that, I had no complaints. Vignetting is well-controlled here. Sharpness may falter at that f/2.8 maximum aperture, but it’s only noticeable when compared to a similar image produced with the lens stopped down. So all in all, I was very happy with the results.

Focal length range. I'm not sure why this attractive young woman was standing there, but she made a nice addition, helping me illustrate the focal length range of the lens at the 16mm and 35mm settings. ISO 400: f/3.2, 1/60 + Canon 430EX flash. Copyright ©2009 Jack Neubart. All rights reserved.

Other Stuff

The 5D MkII also features automated sensor cleaning, which we’re beginning to take for granted in a 35mm-style DSLR these days-but it’s still worth mentioning, since this feature was notably absent in the original 5D (to my chagrin). Battery life on the 5D MkII is longer than in the 5D (1800 mAh for the new battery vs. 1390 mAh for the old). The specs say you should get 50 more exposures.

More remarkable is control over digital noise-and that’s without invoking in-camera noise reduction! Yes, you do see luminance and color noise at high ISO levels, namely 3200 and beyond, but not at disturbing levels. And if you apply a noise-reduction filter, then, as we say in my Brooklyn neighborhood, fageddaboudit! And did I mention you can climb the ISO ladder all the way up to 6400? And that’s not interpolated. That’s an actual stated value. The original 5D only went to ISO 1600.

Digital noise. I found that digital noise was well-controlled, even at high ISO settings. For this shot the camera was set to ISO 3200. While a close look will reveal that the image is grainy, that graininess is certainly tolerable and easily corrected with noise-reduction software. The same holds for shots made at ISO 6400. Copyright ©2009 Jack Neubart. All rights reserved.

"How much is that doggie in the window?" You may have heard the song, but I was lucky enough to see the picture. As the dog was repositioning itself in the frame, I repositioned myself to get this shot, again with my Canon 200mm f/2.8. Even at ISO 1000, the image looks quite clean. Copyright ©2009 Jack Neubart. All rights reserved.

And I guess I have to talk about live view and movie recording. Some have made a big to-do about shooting movies with this camera and even considered buying it for this feature. For me, it’s much ado about nothing. When I read (in the user manual) about all the caveats associated with live view and movie shooting-especially noise buildup with increased heat levels during prolonged use, I look back at my Sony Handycam and think: All I had to do there was look in the optical viewfinder (I had that option), select any of a myriad of effects, and press a button. Simple. Using a digital still camera for movies-with all those caveats, it seems so caveman! When you bring digital still movies out of the Stone Age, come and talk to me.

Candid portrait. As this distinguished-looking gentleman passed me on the street, I quickly snapped his picture, then asked him to pose for this shot, captured by available light (ISO 800: f/3.5, 1/400). Copyright ©2009 Jack Neubart. All rights reserved.

Why is it I can never find two pairs of black leather pumps in my size? Again a grab shot, at ISO 1000, f/5.6, 1/800 sec. Copyright ©2009 Jack Neubart. All rights reserved.

Verdict: Buy it. If you’re upgrading from the original 5D, you’ll find the enhancements well worth it. If you’re new to full-frame DSLRs, this is certainly the right step to take. If you’re already a Canon DSLR aficionado, the only proviso is this: no, if you’ve stocked up on EF-S lenses; yes, otherwise, or willing to start building your lens armory from scratch.

Indoor portrait. As I was heading toward my train, I came upon this very talented blues singer, so I grabbed the 5D Mark II with 16-35mm lens and composed the shot. The first image was made by available light (at 1/25 sec.-who need image stabilization?); flash was added for the second. If you're wondering why the performer is pointing at me, I was moving in for the shot and he noticed not me and the camera so much as my Tilley hat, which he obligingly incorporated into the song-to the amusement of the crowd. A little laughter at my expense, but it was worth it. Copyright ©2009 Jack Neubart. All rights reserved.

For more information on the Canon EOS 5D Mark II: Visit Canon USA
Tech specs/EF 16-35mm f/2.8L II USM: Visit Canon USA
For Prices and User Reviews: Visit B&H Photo (about $2699) and Amazon (about $2699) Canon EOS 5D Mark II 21.1MP Full Frame CMOS Digital SLR Camera (Body Only)

Canon EOS 1Ds Mark III - front. This is a rugged camera, with everything needed to deliver top quality images from day one. Granted, the heavy-duty battery gives it a large footprint and considerable heft, but still this is one camera you'd be proud to be seen with. Copyright ©2009 Jack Neubart. All rights reserved.

I’ve been working with Canon EOS single-lens-reflex cameras since they burst upon the scene. Well, actually, since shortly before, when I and other members of the photo press were introduced to the very first one-the EOS 1-on a top secret junket in Bar Harbor, Maine, many, many moons ago. Back then the photo press consisted entirely of print publications and cameras were analog, or as we simply liked to call them, cameras.

Fast forward to the digital age-and the full-frame EOS 1Ds DSLR. The 1-series continues to be the ranking member in the EOS lineup, designed for every imaginable professional application, with durability, functionality, reliability, and consistency at the forefront. And you’ve no doubt heard of the EOS 1Ds Mark III (MkIII, for short), the current flagship. While not the newest EOS on the block, like the 5D Mark II, it shares a 21.1 megapixel CMOS sensor.

But more to the point, it maintains the longstanding tradition established by its progenitors. And since Photocrati is a new site, we thought we’d take this camera out for a spin and round out our experiences with the EOS, with newer cameras to come under our scrutiny when available. In the meantime, here goes. Oh, and at the outset, at roughly $7,000, we should also point out that this is not the cheapest camera out there. But you’re getting a lot of bang for your buck and a camera that will probably outlast you in the field.

The EOS Interface

Canon EOS 1Ds Mark III - back. As you can see, this camera has lots of buttons, and not all of them readily accessible without diverting attention away from the subject. The large color monitor can be used for live view, but only with manual focusing, which, in my view, defeats the purpose of this feature. Copyright ©2009 Jack Neubart. All rights reserved.

When it comes to cameras, familiarity breeds anything but contempt. The EOS interface remains familiar territory, although some things inevitably were bound to change, for better and worse. I do wish camera manufacturers would stop using two dials with interchangeable functionality on the one hand, unique attributes on the other. But I’m guessing that will never change, even if a rocker switch were to replace one of the dials. So we might as well learn to live with it. (Although I’ll probably continue to list it as a pet peeve.)

While being familiar with EOS DSLRs in general was helpful, I was still troubled by the plethora of buttons all over the place. I know, this is not the first camera to bear the brunt of this complaint, but that doesn’t ameliorate the situation. I would often find fingers playing Twister with the buttons-not fun (unlike the board game) when you’re trying to do things quickly.

I also found it difficult to read the data displays. There’s the typical display on top, and a smaller one below the color monitor on the back. Hopefully the T1i’s data display will migrate to the next generation 1Ds when that comes along. Of course, you could say I should get new glasses-but, really, do I need to whip out my glasses just to read the display? Fortunately, the optical viewfinder gives you much of the working info you need, so that’s a quick workaround.

Data Panels. There are two data panels, the main one on top provides the most used information, and a smaller one on the rear that was of no practical use to me. Copyright ©2009 Jack Neubart. All rights reserved.

Canon EOS 1Ds Mark III - top view. In case you didn't think there were enough buttons on the back, here are a few more for you to get your fingers around. Okay, perhaps I'm making light of the configuration, and I should point out that this plethora of controls on top and in back do give you quick access to many needed functions. Copyright ©2009 Jack Neubart. All rights reserved.

By the way, the dioptric adjustment is under the eyecup: squeeze the sides in and lift straight up to reveal the tiny dial on the left. The adjustment appeared to be finer than on other cameras I’ve worked with. And there’s also a built-in eyepiece blind, activated via a lever-nice touch, instead of that very inconvenient eyepiece cover that is often used (assuming you didn’t lose or misplace it). Granted, I rarely, if ever, find myself shading the eyepiece-if I do, it’s usually with a hand. But this definitely facilitates the process and is a more effective approach that I would avail myself of when necessary.

One more thing you’ll notice is the large footprint. That’s due to the large, high-capacity battery. You need that kind of battery to drive this kind of machine-we’re talking NASCAR, not go-karts. Expect to get good mileage. Since this is the 1Ds and not the 1D (twice as fast at half the resolution), you’ll have to contend with 5 fps (at the “H” drive setting)-which is fine, unless your bread-and-butter is sports/action photography.

Under the Hood

To begin, the 1Ds MkIII supports two memory cards: CF and SD, operating in tandem. That can prove very handy. But to maximize capture rates at highest resolution, use the fastest cards you can get. Slow cards will slow you down and put you in pause mode as the frame buffer empties out. Still, I did find myself maxing out the buffer even with a SanDisk Extreme III SDHC class 6 card, when shooting RAW + small JPEG. (The only reason for the JPEGs was in case I used a geotagger to geographically ID the files, plus backup insurance.)

By the way, I can understand taking preventive measures so the card door doesn’t open inadvertently, but I think they’ve gone overboard on this one. Try holding a memory card while accessing the card chamber and you’ll understand what I’m talking about. It’s inelegance taken to a new level. Or another level of Twister-except, again, without the element of fun.

Canon EOS 1Ds Mark III - card door. The camera's card door has an inconvenient latch that makes accessing this compartment rather awkward. On the plus side, there are two slots: for SD and CF cards that work in tandem, so there's little fear of running out of card memory during a fast-paced and arduous shoot. Copyright ©2009 Jack Neubart. All rights reserved.

While not currently the highest resolution camera on the block, the 1Ds MkIII still gives you plenty of pixels to work with. That translates into plenty of room to crop. And at this resolution, it gives you pause to consider whether you still need a medium format DSLR. (On the other hand, as one who has worked with medium format digitals with resolutions reaching 60 megapixels, it’s no contest.)

The 1Ds MkIII boasts twin Digic III processors. That means the camera has processors working in tandem so that it can almost anticipate your every need. They may not be next generation as in the 7D, but they go a long way toward optimizing performance. That said, one can always wish for something better and faster. And I can’t wait for the next-gen 1Ds (sorry, no clue when that will arrive).
Of greater practical importance, perhaps, is the durability factor. The shutter has been tested to 300,000 cycles-twice that typically rated for other “pro-level” cameras. And it is fully sealed against dust and moisture-so, combined with an L-series Canon lens (equally dust/moisture-resistant), you have a camera that will go virtually anywhere imaginable-at least on this planet. (When we start testing cameras on Venus or Pluto, I’ll give you an update).

As mentioned, burst rates top out at 5 fps for that shutter, although the frame buffer is the limiting factor if you’re shooting RAW, or worse, RAW + JPEG. But if you’re shooting JPEG alone, you can reach 56 frames before the camera needs a breather. Capture is 14-bit, just shy of 16-bit that medium format cameras have standardized on–may not seem like much, but those bits add up exponentially. There’s also the option of sRAW (smaller file sizes), although I’m not sure why you’d spend $7000 on a camera only to choose this option.

Autofocusing–On Track & Off

The AF system in the 1Ds MkIII features 19 cross-type AF points with f/2.8 or faster lenses, and 26 additional “assist points.” Unfortunately, the functionality of these cross-type sensors changes with the maximum aperture of the lens, so you have fewer and fewer of them as the lens gets slower and slower, until they are only horizontal-line sensitive AF points with f/5.6 lenses. The Assist AF points help in focus-tracking when predictive AF is employed (a function of AI Servo continuous AF).

Having said all that, it brings us to a recent squabble some have voiced. Or more to the point, much has been made of the woes plaguing the latest 1D-series EOS cameras with regard to autofocusing, notably concerning focus-tracking. Well, from my experience with the 70-200mm f/4 lens attached, Canon apparently addressed that problem with a good deal of success, if not unqualifiedly, with the latest firmware update (already installed on this test camera when I received it). Keep in mind that this f/4 lens makes use of only one central cross-type sensor surrounded by horizontal sensors.

So after a largely successful run with my zoom, I decided to try AF with an f/2.8 lens, choosing my f/2.8 macro-perhaps not the ideal candidate for this test. My reason for saying that is this: With the 100mm f/2.8 macro lens attached, things did not go quite as smoothly. In fact, I found myself resorting to my usual routine, namely switching to full manual focusing. And this happened despite the fact that some exposures were made with subjects exhibiting plenty of contrast and texture-and less than life-size, which should have made it easier for the AF sensors to lock on. So I guess we don’t live in a perfect world just yet.

You also have some flexibility in the way AF works, via the Custom Functions. When using the macro lens, I briefly played with one of these Custom Functions governing the assist points-but, again, perhaps not the best lens for this test, since it did not seem to make a difference.

Custom Functions Galore

There are a ton of Custom Functions. Seventeen of these address AF and drive functions, as part of the C.Fn III subset. For instance, you might want to set tracking sensitivity for AI Servo to better deal with obstacles that come between you and the subject. This way you can avoid getting off track as soon as, say, someone walks into the frame in front of the subject. As an extension of this, another Custom Function lets you place priority on a subject entering the field of view closer to you than the original subject. You can also prioritize if the camera continues to track the subject at the expense of drive functions, or if the drive takes priority so that you can continue to shoot at a fast clip, at the expense of AF.

Fifteen Custom Functions are devoted to exposure alone (C.Fn I subset). Among these, you might want to address exposure and ISO increments. And, when shooting in Aperture Priority, if you want to avoid long shutter speeds under low lighting conditions when employing flash, opt for the fixed 1/250 flash sync speed. This, however, may not be the most prudent choice for fill-flash applications, where the flash takes a backseat to the ambient lighting.

There are over two dozen more Custom Functions contained in two additional subsets. If ever you’ve wanted a camera that you could customize to your heart’s content, this is it. But as I’ve said before, go slow so you don’t end up sinking underneath all those Custom Functions. Start with the most vital ones then play around with the rest at your leisure.

Other Functions

Automatic sensor cleaning is a welcome feature, albeit quite commonplace in today’s DSLR world. However, I believe that activating this feature both when the camera is switched on and when switched off is overkill. You can choose to activate this function, but not when it’s activated. It would be nice to be able to choose whether to initiate the process when the camera is turned on, turned off, or both, as well as none of the above. Of course, manual activation is possible. And for those who really feel the need, you can initiate a manual process (I’m getting this sense of déjà-vu that I’ve said this before).

There is also live view. But on this camera that means setting the lens to manual focusing. I tried it with my macro lens under bright lighting conditions. It was doable, but not my first choice. Sometimes I simply had no other option, since a plant or bug was otherwise out of reach.

Conclusions

Considering that I feel, in a sense, I’ve taken a ride in Mr. Peabody’s Wayback Machine, although I’ve transported myself only a very short distance into the past, and viewing this camera in light of its design and accomplishments, I have to say I was impressed. Now sling-shotting back to the future, in light of more recent technologies that have been introduced, I still say-I’m impressed. I’ve always found Canon to deliver very usable images, with quantifiably good exposures and white balance. And I definitely like having more real estate to work with.

Since I wasn’t testing any new lenses with this 1Ds Mark III, I can only say that the lenses I employed performed as expected. As for camera operation itself, the release was certainly responsive enough (there’s also a second one, for vertical shooting-but I never used it), with no measurable shutter lag to speak of-any delay is best attributed to human failure to respond in a timely manner to unfolding action. And while I found autofocusing and focus-tracking well within acceptable tolerances, I once again found myself having to take the manual route when using a macro lens. But in this instance, manual control extended to shooting at less than life-size, which was unexpected.

One thing that struck me about this camera when I tried to squeeze it into a compact shoulder bag for my meanderings about town: It wouldn’t fit. And then it dawned on me. It wasn’t supposed to. Given the heavy-duty battery and the resulting overall bulk of this camera, this EOS was not made for quick jaunts. Admittedly, I did find it fatiguing to schlep around hanging from my neck for extended periods, but I was sure glad I wasn’t using my 300mm f/4 IS or a faster piece of glass.

Still, we come back to this: The EOS 1Ds Mark III is a serious camera for the serious-minded. No pro has come to me complaining about this camera. Pros use it, and abuse it. In fact, given a choice between using a 1Ds and 5D on the job in the studio, pros pull out the 1Ds. They tell me it impresses their clients-no minor point in a highly competitive arena.

There are cameras out there that are faster and smarter, but sometimes what you need is a workhorse camera. And this 1Ds Mark III, my friends, is a workhorse designed to stay the course.

Verdict: Buy it. It will work for your professional needs and your professional image.

Live-Action Soccer. All these shots were taken with the 70-200mm f/4 lens (generally zoomed out), with the camera in shutter-priority mode and set to 1/800 second to freeze movement as best as possible without the need to crank up ISO to outrageous levels (ISO was set to 400 for most exposures, with the first three frames at ISO 100), while delivering a usable f-stop (which often ended up at or near maximum aperture). A number of frames were cropped, but certainly not all, the intent being to focus attention on the play in motion--in particular, the sequential exposures occurring within a hair's breadth of each other. AF was set to continuous focus tracking, and with few exceptions the camera did an admirable job. Copyright ©2009 Jack Neubart. All rights reserved.

For more information: Visit Canon USA
Tech specs: Canon USA
For prices and user reviews check out: Amazon (Canon EOS 1Ds Mark III 21.1MP Digital SLR Camera (Body Only)) (about $6,100), TestFreaks (Canon 1Ds Mark III, rated 7/10), and B&H Photo (about $6,100)

Tamron SP AF60mm F/2.0 Macro. This APS-C macro is one stop faster than others in its class, and balances nicely when attached to the camera. Optically, it performed admirably. Courtesy of Tamron.

Any-and every-macro lens excites me with the challenge of portraying my subjects in intimate detail. So when I heard that Tamron introduced the SP AF60mm f/2.0 Di II LD 1:1 Macro, my heart truly started pounding. Normally, macro lenses in this focal length range start at f/2.8. So we’re talking about a macro lens that is a full stop faster.

Are you beginning to feel the adrenaline? Because this is an APS-C lens, that 60mm translates into a very respectable 96mm short telephoto on the Canon Rebel T1i that I used in my testing (soon to be available for Nikon and Sony). That short telephoto focal length gives me added breathing room between the lens and those tiny, often skittish critters I routinely confront.

Why We Need a Fast Macro Lens

Now, granted, most of us shoot our close-ups stopped-down. And it’s a given that depth of field is minimal when shooting at or near life-size. Still, depth of field does matter. We try to squeeze out every pixel of sharpness we can, especially when shooting handheld. The slightest hand tremor is enough to throw a subject out of focus.

You could add image stabilization to the lens and get around the worry over camera shake, at considerable added cost (provided it’s even available). And the benefit of this feature at or near life-size magnification is questionable. Besides, that addresses only one challenge. Outdoors, any breeze can make long arduous moments spent in fine-tuning focus on a delicate blossom a memory. Hence, you’ll often see me using a ring-flash attached to the front of the lens as a means of addressing practically any close-up challenge.

So where does a fast macro lens enter the picture? For one thing, not everyone likes to use flash or has a suitable flash in their camera bag. But there are even more important reasons. When shooting wide open (using selective focus), you surround the subject in a soft blur of color that many of us find pleasing. Or you want to throw distracting elements out of focus as much as possible and focus attention entirely on your subject-or one aspect of it. Combine that with exposing at a usable handheld shutter speed (preventing camera shake) when shooting under low light levels. And, last but not least, shooting wide open provides the added benefit of allowing shutter speeds that may be fast enough to prevent subject motion blur.

Of course, it’s all relative. You go with the flow, and tailor your approach, prioritizing depth of field and motion control-or both equally, as the situation and your artistic sensibilities demand. The fast macro lens gives you that added flexibility.

And even though this is a macro lens, we don’t have to limit ourselves to shooting close-ups. Effectively a short telephoto, it has utility as a portrait lens. As a relatively fast telephoto, it can be used for street shooting and landscapes under low lighting conditions. I spent considerable time exploring these options and found that this macro lens indeed has lots of utility.

Sketch Artist. I didn't want to disturb this sketch artist as he was working on a portrait; so I avoided flash and shot wide open for a 1/125 sec exposure under open shade. That was sufficient to prevent the artist's hand from blurring, while focusing attention on his work (ISO 100). Copyright ©2009 Jack Neubart. All rights reserved.

A Closer Look

As with other popular macro optics in this focal length, this lens focuses to life-size magnification (1:1 reproduction ratio) without add-on extension. The lens employs two LD (low dispersion) glass elements to correct for various aberrations. According to Tamron, they employed new BBAR (Broad-Band Anti-Reflection) multi-layer coatings for optimum performance.

Lens Construction. The lens features low dispersion glass elements and exclusive coating technology to enhance optical performance. Courtesy of Tamron.

Moreover, internal coatings on cemented surfaces of lens elements are designed to enhance sharpness, while yielding superior color reproduction. It all seemed to work. The lens captured brilliant colors. It exhibited minimal vignetting at f/2. Image quality was only marginally degraded when shooting wide open, but was optimized at f/2.8 (arguably even at f/2.5).

The lens is on a par with other 60mm macro lenses in terms of size and weight, surprising, considering its fast aperture. In fact, it was well-balanced with the Rebel T1i-just heavy enough to keep a slightly downward tilt when the camera hangs from around your neck. That downward torque may also explain why it was so easy to shoot handheld under low lighting situations, or with slightly less than the optimum shutter speed, calculated by 1/(1.6 sensor factor x 60mm focal length) = 1/100, rounded off.

Head Shot. The wildly colored wig caught my eye when I came upon this mannequin head in a display case on the street. With enough light to expose at ISO 100, I shot wide open to blur out the surroundings and the second head, which gave me a 1/160 sec shutter speed, easily enough to prevent camera shake. Copyright ©2009 Jack Neubart. All rights reserved.

GOOD ENOUGH TO EAT. I photographed this tart through the display window of a gourmet bakeshop by available light, holding the camera firmly against the glass for this f/5.6 exposure. ©2009 Jack Neubart. All rights reserved.

More surprising still for a lens of this speed is the relatively small filter diameter: 55mm; a drop larger than some, smaller than others. More to the point, attach a circular polarizer and you can take advantage of internal focusing. Of equal importance, since the lens does not extend beyond the edge of the barrel, that’s added assurance that you won’t frighten timid creatures. And it makes it easier to use a ring flash.

In My Experience

There are too many factors to consider (in camera and lens) to judge AF performance objectively, but on the whole I’d say it was nominal-no better or worse than with my normal macro lens. Where this macro does falter is in manual focusing.

While the lens does offer AF with MF override, as well as full-time MF, manual focusing proved jerky and uneven. While I routinely preset focus at the closest setting for life-size shooting, I switch to AF when I feel conditions are suitable at greater shooting distances-close, but not that close.

When AF doesn’t work, I switch to manual, as I did when photographing live frogs behind glass in an exhibit at the American Museum of Natural History, NYC. The problem was that I couldn’t easily and quickly arrive at the optimum focusing point because the lens fought me every step of the way. By the time I had fine-tuned focus using this lens’s manual focusing ring, the frog had moved out of position. So I kept trying, and eventually succeeded.

Frog Close-up by Available Light. The smaller species of frogs, such as this poison dart frog, are constantly darting about, but sometimes pause long enough for a few exposures. To prevent camera shake (the lens was leaning against the glass--but often not very steadily, at an angle), I chose to shoot wide open and maximize shutter speed, which was still quite slow under these low light conditions (ISO 800, 1/15 sec). Of course, you can't expect to get more than one eye in focus in a head-on shot--but it sure looks menacing. Copyright ©2009 Jack Neubart. All rights reserved.

Frog Close-up by Flash. I was even able to shoot some poison dart frogs at or near life-size, when they were close enough to the glass. A ring flash--held off camera to prevent backscatter from the glass and glaring reflections in the frog's skin--gave me the depth of field I needed while freezing movement. Copyright ©2009 Jack Neubart. All rights reserved.

I didn’t let that experience dissuade me from trying to capture some very tight close-ups of flowers in a garden. Here I opted for ring lighting to bring as much detail into focus as possible, and in some cases using this lighting to highlight the bloom while letting light falloff create a black backdrop. In an entirely different scenario, on the streets of New York City in late afternoon, I encountered numerous situations that proved ideal candidates for this lens. They ranged from sculptures to a carriage horse and a sketch artist, as well as various scenic views.

Flower: Life-Size. I set the lens to the nearest focusing point for life-size captures and stopped down all the way to f/22 to maximize depth of field, while using a ring flash attached to the lens. I fine-focused by moving to-and-fro with the camera. Copyright ©2009 Jack Neubart. All rights reserved.

Flower with Black Backdrop. I used a ring flash, shooting at f/22 for this life-size capture. I stopped-down, not so much for depth of field as to limit the reach of the light and create a stark backdrop. Copyright ©2009 Jack Neubart. All rights reserved.

Carriage Horse. With the built-in flash on the Rebel T1i at the ready, I prepared to photograph a carriage horse from a fairly close distance. Suddenly the horse turned towards me--so I quickly grabbed the shot. I was amazed at the clarity. The eyelashes look as sharp as cactus needles. Copyright ©2009 Jack Neubart. All rights reserved.

Scenic View. Scenic views don't come to mind when using a macro lens, but don't limit yourself. I--again--took advantage of this lens's large maximum aperture for this shot of New York's Central Park. Copyright ©2009 Jack Neubart. All rights reserved.

Sculpture, Central Park. When I saw this colorful and mystifying sculpture, I had to shoot it. Okay, in this instance, perhaps a wide-angle might have let me shoot from a closer distance (without standing in the street, in the way of traffic), but the short telephoto focal length kept perspective more natural. Interestingly, the f/2 exposure let me shoot at 1/100 sec (ISO 100), enough to suspend motion. Copyright ©2009 Jack Neubart. All rights reserved.

Final Analysis

Overall, I was very impressed-although the problems I encountered with manual focusing did put a crimp in my unbridled enthusiasm. In particular, I liked the way this 60mm Tamron macro softly blurred out backgrounds, while keeping the subject (plane) tack sharp. I have to add that I was really blown away by the lens’s overall optical performance.

Selective Focus. Shooting at f/2 lets you selectively focus on one slice in the image plane while creating a soft blur of surrounding color in this exotic plant. You wouldn't know this was situated in the heart of a busy New York City thoroughfare. Copyright ©2009 Jack Neubart. All rights reserved.

Girl & Horse. I had come upon some bronze-like, life-size plaster sculptures on the street when the light was waning. Knowing flash would throw back glaring reflections, I opted to shoot by available light. I took advantage of that wide aperture to shoot handheld, using exposures as slow as 1/50th second (ISO 800). Copyright ©2009 Jack Neubart. All rights reserved.

Now, the caveats. For a 60mm, non-OEM macro, this glass is not cheap. In fact, at $569 in the Canon mount, it’s pricier than a comparable EF-S 60mm Canon macro-by almost $200.

However, Nikon’s AF-S 60mm Micro-Nikkor is only a few dollars less, making this lens more competitive. And while this Tamron macro does offer a fast f/2 maximum aperture, it loses a stop at the deep end, extending to only f/22, in contrast to f/32 on those other lenses.

It’s a trade-off, but one that’s easy to accept, especially if you prefer shooting by available light. But, I keep coming back to image quality, and based on that alone, I’m sold.

Optical Performance. You can just barely detect some loss in image quality at f/2 in this image of a bank note. For all practical purposes, don't let that stop you from shooting wide open with this lens. (Unsharpened JPEG capture; ISO 100; camera on tripod). Copyright ©2009 Jack Neubart. All rights reserved.

For more information: Visit Tamron
Street price: B and H: $569 (Canon mount); Amazon (Canon mount): $569 Tamron AF 60mm f/2.0 SP DI II LD IF 1:1 Macro Lens for Canon Digital SLR Cameras
Technical Specifications: Tamron SP AF60mm F/2.0 Di II LD 1:1 Macro (model G005)
Lens Construction: 10 groups/14 elements
Angle of View: 26 ° 35′ (APS-C size equivalent)
Diaphragm Blade Number: 7
Minimum Focus Distance: 9.1 in. (0.23m)
Macro Reproduction Ratio (max.): 1:1
Filter Diameter: 55mm
Weight: 14.1oz. (400g) (Nikon mount)
Size (Diameter x Length): 2.9 x 3.15 in. (73 x 80mm)
Accessory Included: Lens hood
Mount: Canon, Nikon (with built-in AF motor) and Sony

While it was fun to use, the Olympus E-620 did not leave a lasting impression. I needed to get back to my own DSLR system and do some serious shooting. Fast forward. Now the Olympus E-3 lands on my doorstep. Obviously not the newest camera in the Olympus Four Thirds DSLR camp, the pro-level E-3 certainly is the one that takes itself most soberly, as the flagship in the fleet.

You might say, I began with the progeny and traced its lineage back to the progenitor. Well, not all the way back, an interim step but a quantum leap above the original E-1, the DNA strand from which all Olympus digital SLRs evolved.

Olympus E-3 front. The Olympus E-3 looks, feels, and works like a pro-level camera. The only thing that detracts from that impression is the built-in flash. On the other hand, it's nice to have on occasion. Copyright ©2009 Jack Neubart. All rights reserved.

The E-3 ($1,250) begins with the high-speed Live MOS sensor and 10.1 million effective pixels. It also features Olympus’s Supersonic Wave Filter dust reduction system for the image sensor, along with image stabilization built into the camera body (effective range: 5 steps, according to the specs), making it usable with every compatible Four Thirds lens (and there are lots of them).

In contrast to some of the newest Olympus DSLRs, the E-3 doesn’t lure you with those gimmicky “art filters” (frankly, calling it “art” is artifice) or face detection (if it can’t work with Cousin It from The Addams Family then it won’t work with my Uncle Frank or Aunt Harriet).

What the E-3 is, really, is a responsive machine that understands what you’re trying to capture-and attempts to deliver. And, for the most part, it does. Moreover, the 50-200 SWD lens ($1,035) takes this camera where it needs to go, helping it excel, especially when it comes to action, wildlife, and candid street photography.

Tight and tighter. With effectively 100-400mm at your disposal, you can do some nice scenic shots as well. These two shots represent the lens at the 50mm (=100) and 200mm (=400) settings. Copyright ©2009 Jack Neubart. All rights reserved.

Live View

At this point, you may be asking about live view. So let’s mention it now and get it off the table.

Live view is not the first phrase that jumps onto the page when I review a DSLR, but I mention it for those who would fault me if I didn’t. Yes, it’s here. But for me, it’s like a timer on my coffee maker–nice to have, but not something I find myself using. I just flip open the articulated (swing/tilt) LCD monitor and slide it back in place facing me, so it can be used for playback, or to facilitate inputting settings in the camera. In my view, live view thwarts good camera handling practices. You can’t simply rely on the camera’s image stabilization to guarantee blur-free pictures. It’s not a video camera.

Besides, I’m not comfortable with it. There, I’ve said it, now let’s move on. (In some respects, I’m still an analog guy at heart.)

A Hard Body

The one thing you immediately notice when you grab hold of the E-3 is that it has body and substance. Reminds me of myself, he remarks humbly (okay, no comments from the peanut gallery). It doesn’t feel like a toy. The rubberized grip is superbly contoured. The lens mount looks as solid as they come.

I know… When I review those lightweight cameras, I’m bursting at the seams with glee that I don’t have to schlep around something this heavy (and, really, the E-3 is not that heavy). But when I put camera to eye with all seriousness and deliberation, the camera I’d rather have is one that makes me exercise mind, spirit-and body. And given a choice between an E-620 and an E-3, I’ll take the E-3 any time. I should add that my tests didn’t include the optional booster battery pack, a $200 add-on. Keeping that attached to the camera might have shifted the balance, but then again, that’s why I left it out of the equation.

Buttons, Buttons, Who’s Got Da Buttons?

Unfortunately, the E-3 does. Lots of “˜em-over 20-and literally all over the place. Whoever designed this thing must have six fingers on each hand, with possibly two opposable thumbs. Worse yet, I had to take my hand away from the lens barrel to get at the Mode button and others that are situated alongside the finder on the left, as well as those at the base of the monitor-not a pleasant chore with a heavy lens attached. And to make matters worse, there are two rotary dials plus cursor buttons that add to the confusion.

Olympus E-3 rear view. Lots and lots of buttons, plus another dial on the grip. Still, once you get the hang of this camera, all these controls should fall into place. And I have to admit, the articulated screen is a nice touch. Copyright ©2009 Jack Neubart. All rights reserved.

Now the menus. By accessing the main Menu on the color LCD monitor, you open yourself and the camera up to virtually endless possibilities-so many, in fact, that it gave me a headache. I’d say tweak these settings over time, as you find need for them. Don’t just dive into it, or you may find yourself coming up for air rather frequently.

There is one menu that you will frequent. When hitting the OK button, a screen pops up with all the most-used functions. You can usually avoid the more involved main Menu by taking this route. Or, you can use one of the dedicated buttons. Only difference is that some parameters require the main Menu. For instance, when adjusting AF target areas (say, from single to full screen array), you’ll need to switch targeting modes here: the “OK” route only lets you shift the array in one direction or another (for example, if you want to target subjects on the left, instead of in the center of the screen).

Of course, if I were working only with this camera on a daily basis, I’d have all that figured out before setting out on some life-altering journey. All I’m saying is that this plethora of buttons, dials, and menu options does not make the journey any easier. And you’ll need to take more than just one step to get on the right path.

Digital Noise

Even at ISO 100, images exhibit some graininess. But having said that, the observable noise is luminance-not color-noise at this light-sensitivity level. As you move up the ladder in ISO, luminance noise becomes more obvious, but color noise is not as detrimental as we might expect-even at ISO 1600. Color noise was, however, easily observed in images captured at ISO 3200 (but still not as bad as in some other DSLRs with larger sensors). As they say, you win some, you lose some. Add some noise reduction software and you should be living in a fairly quiet neighborhood.

My Field Experience with the E-3

All my initial complaints aside, I spent very little time with the user manual my first time out with the camera. OK, with all those buttons, you’d think they’d have what you need right up front. NOT. So I did have to crack open the manual a few times. And even then, when it came time to switch to manual focusing, what did I do? I looked for a button (game show buzzer sounds shrilly here). I forgot that it’s set electronically-and that’s truly annoying. The one button I really would appreciate having at my disposal is what this camera/lens lacks.

Anyway, I’d removed the tripod mount from the lens to make it easier to handhold. Despite the lens’s weight, the combo was not uncomfortable in the least, either around my neck or in my hands. I had initially set my sights on photographing birds and squirrels. The reason? When you translate in Four-Thirds-speak, 50-200 becomes a whopping 100-400-with a pretty fast maximum aperture, given the modest size of the lens-and I really wanted to take advantage of that 400mm with wildlife, which in New York City means mostly birds and squirrels, and the occasional raccoon (yup, we got “˜em). If anyone dares mention those denizens of the subway tracks as examples of NYC wildlife, it’ll be pistols at dawn.

So, I’m walking, and what do my eyes behold? The newly built skateboard and related-wheelie-hijinks park buzzing with activity. So I planted myself in one spot. Asked a guy if this spot was safe; he said yes. With my Spidey sense tingling, I moved back onto the grass. Seconds later another skateboarder lands on the exact spot where I was standing!

I noted that I needed a better vantage point, so I moved to the top of a skateboard ramp–the runway, if you will–and kept an eye on the skateboarders as they whizzed by. I’d set the camera to continuous AF, using a single, central AF point, with the drive in high-speed continuous mode. Given that the background was a bit distracting, I kept to ISO 100, shooting in Program mode for this series. I’d switch to Shutter Priority for the soccer game. Well, I captured some amazing mid-air acrobatics! Not bad for my first few minutes with the camera.

High-flying. I used continuous AF to track the skateboarder's movements through the jump and successful maneuver. Copyright ©2009 Jack Neubart. All rights reserved.

I did mention soccer. As I approached the soccer field, I kept shooting with continuous AF, but set focusing to multiple AF points to see how well the E-3 could track action that zigged and zagged. That wasn’t the best choice, although I did grab one nice shot of a kicker sending the ball flying. So I switched to dynamic single target AF (which uses only a few AF points out of the array). I liked this mode for action. Tight, but not too tight; loose, but not too loose, if you get my drift.

I captured a heart-pounding sequence as two players vied for the ball as it was in the air. I swung the camera round to follow the action. Here I also shifted to ISO 400 and switched from Program to Shutter Priority at 1/500 second in an attempt to freeze the action. I had set image stabilization to IS1 (to compensate for all movement) but, at this shutter speed, it didn’t matter, even though I panned with the action. Normally when panning, the IS2 setting should be used.

Getting your kicks. I realized too late that the camera was still in Program mode for this soccer shot, but that didn't seem to be seriously detrimental. If anything, the slight blur added to the momentum. Copyright ©2009 Jack Neubart. All rights reserved.

Capturing the moment. Here I shifted to Shutter Priority and 1/500 sec in an attempt to freeze action (at ISO 400--I didn't want to go higher). These shots capture tense moments of play focused around a ball seemingly suspended in midair, with just a touch of blur for realism. Copyright ©2009 Jack Neubart. All rights reserved.

Finally, I switched to single-point AF in one-shot mode when it came time to shoot pictures in the garden. Cabbage white butterflies have eluded me all summer. I wasn’t expecting a tight close-up, but I figured that with 400mm and reasonably close focusing on this lens, I could get something I could work with. And I did. I had to crop out half the frame around the butterfly, but I like the result. And I did the same with a bee on a flower. For the bee resting on a leaf (this one sat there for some time), I added an Olympus shoe-mounted flash. I also found some leaves with water droplets interesting, and shot that full frame with flash.

Cabbage white butterfly. I cropped tightly to focus on the butterfly. At ISO 400, luminance noise is readily apparent as graininess. Copyright ©2009 Jack Neubart. All rights reserved.

Bee on leaf. Even ISO 100 shows some luminance noise. But note those nice, round out-of-focus highlights in this f/3.5 exposure, due to the circular aperture. Copyright ©2009 Jack Neubart. All rights reserved.

Leaf with raindrops. I found the design of the leaf interesting, especially with the droplets. The shoe-mount flash helped focus attention on the main leaf, its serrated edges, and venous pattern. The droplets were icing on the cake--almost literally. Copyright ©2009 Jack Neubart. All rights reserved.

Here, doggie. This pup was a challenge. I wanted a tight shot, so I set the lens at the longest zoom setting, but it refused to stand still. Finally, I switched to continuous AF. That's when the little doggie decided to take a breather and I grabbed the shot. By the way, can you identify this breed? No prizes, just my heartfelt thanks. Copyright ©2009 Jack Neubart. All rights reserved.

A Sweet Lens

Using the camera’s built-in flash was not even a consideration, given the size of the Olympus Zuiko Digital ED 50-200 f/2.8~3.5 SWD lens, made worse by the long lens shade.

And speaking of lens shades, this one has an interesting twist-the moral equivalent of a moon roof: slide a small panel (door?) back to allow easy access to a rotating circular polarizer. Nice touch, Olympus!

Olympus Zuiko Digital ED 50-200 f/2.8~3.5 SWD lens. I loved everything about this lens-well, almost. I'd really prefer a switch on the barrel to change from AF to manual. But optically it can't be faulted. I used image stabilization (set to IS1) for all my shots. Copyright ©2009 Jack Neubart. All rights reserved.

One noteworthy point: in the shot of the bee on a leaf, the water droplets are out of focus. But what we should emphasize is how nicely circular those out-of-focus highlights are, due to the 9-bladed circular aperture.

Mechanically, the lens leaves a little to be desired. The zooming ring tends to fight you on its long and arduous journey from 50 to 200mm. At around 100mm, it’s as if someone put a “slow down merging traffic” sign in your path, and the lens almost grinds to a halt. Not the most conducive for fast responses to unfolding action-which is why I normally worked within a short range of focal lengths.

Optically, the lens cannot be faulted. I was just as happy with the results shooting wide open as shooting stopped-down. All that exotic glass appears to have paid off.

Fire engine. I photographed the fire engine from around a half block away, with the lens at 200mm, then moved in closer, setting the lens at 50mm, for this study of all the gauges and knobs (I just loved the arrangement of rectangular and circular shapes, with those color accents). Note the crisp detail in each case, and the rich colors. Copyright ©2009 Jack Neubart. All rights reserved.

Focal length matters. I shot both pictures with the lens at 200mm. The 50-200 is surprisingly effective at isolating medium and large-size blooms, but what impressed me even more was making it appear that I was lost in a tropical jungle, when all I did was to isolate a portion of a mimosa tree. Copyright ©2009 Jack Neubart. All rights reserved.

In Conclusion

I was not done shooting. I meant to bag me a squirrel, and, gosh-darn-it, I did just that on a subsequent outing. It was after 5 pm, late summer. I set the lens at 200mm, the camera in program mode, AF to one-shot, and ISO to 800 to give me motion-stopping shutter speeds (as much as possible without cranking ISO any higher, not so much for camera shake, but rather for the squirrel’s movements).

I made several exposures, and as the critter moved away, I tried to anticipate it. I moved closer; it climbed up a tree to enjoy its bounty, a peanut obviously tossed by a passerby. As it reached about eye level, where it felt safe enough, it started to shell the peanut and dig in. I watched and photographed, moving a step closer, inching my way more and more with each few exposures. Finally, peanut eaten, patience worn thin, the squirrel vamoosed up the tree, leaving me with my own bounty of countless exposures. Another rewarding experience with the E-3 and 50-200 lens.

Hey, I'm eatin' here; can't a squirrel get a little privacy? In the shade, I boosted ISO to 800 to give me a reasonably fast shutter speed of 1/200 with the lens zoomed all the way out, while shooting wide open to blur out the backdrop. Copyright ©2009 Jack Neubart. All rights reserved.

Verdict: Buy it. If you don’t mind the smaller Four Thirds sensor or being limited by 10.1 MP resolution (little room to crop), this is definitely a camera to own and use.

For more information: Visit Olympus USA , or Amazon Olympus Evolt E-3 10.1MP Digital SLR Camera

Tech specs: Olympus USA
B&H Price–Olympus E-3: $1,250
B&H Price–Olympus Zuiko Digital ED 50-200 f/2.8~3.5 SWD Lens: $1,035

Canon Rebel T1i--front. The Canon Rebel T1i is a neat little DSLR to tool around with. You'll hardly know it's hanging from your neck, owing to the cozy size and heft of the camera/kit lens combo. By the way, look closely at the lens: if it appears that there's no focusing ring, look again--it's an annoyingly thin, knurled ring on the very front of the lens barrel. Copyright ©2009 Jack Neubart. All rights reserved.

The Rebel has always been Canon’s sleek but inexpensive choice in a digital SLR. That’s true even now. The T1i, while still not the sharpest tack in the bunch, manages to make a point with a solid feel and comprehensive feature set.

Each succeeding Rebel climbs one rung up the ladder, with this latest Rebel offering higher resolution–15.1 MP–and faster processing–Digic 4 (one of those acronyms that has never really caught on as such, but does appear to deliver in principle) on its CMOS chip. Then add a larger LCD and HD video capture (if you go in for that), and the camera becomes even more appealing. Of course, when you include an image-stabilized lens in the package and price it all under $900, there are bound to be some compromises. But are these compromises you can live with? Well, that depends.

Canon Rebel T1i--rear. The most used functions are clearly labeled; more esoteric functions may be foreign to those new to Canon cameras. The camera, however, does provide clues on the data screen as to what various functions do. Still, clear labeling would be better. Copyright ©2009 Jack Neubart. All rights reserved.

Light Is Right

Sometimes a lightweight camera is what you need-sometimes not. But on occasion, it does feel good not to be weighed down by a ton of gear around your neck. And I’ll admit, I liked that feeling when working with the T1i, even if it was merely a temporary reprieve from my everyday camera system. So, yes, the kit combo is a decidedly good match where weight is concerned-and size. And there’s a good balance between body and lens. The camera itself has a good, rubberized and contoured grip on the front, with a rubberized thumb grip on the back, making the body easy to grasp securely.

However, lighter lenses can also be more difficult to handhold without incurring camera shake, since the downward torque of a heavier lens tends to act as a built-in stabilizer. And that’s where this lens’s image stabilization (IS) comes into play. I was surprised to see IS in a kit lens (why not round it out with a lens shade, Canon?).

Testing IS range. With the 18-55mm lens at 55mm (x1.6 Canon APS-C = 88mm), I pre-focused on the wall of the emporium, then made exposures from 1/6 to 1/100 (with 1/100 sec calculated to be the optimum exposure for blur-free results at this focal length), with all images similarly processed--and cropped. The photo shot at 1/6 begins to show some of the strain of shooting at a relatively slow shutter speed. Note how the window notices begin to go slightly soft (above image). Copyright ©2009 Jack Neubart. All rights reserved.

So far, I’m likin’ what I’m seein’. So far…

Then we move to the lens mount on the body. It’s metal, so it looks sturdy enough. But would I feel secure attaching my 300 f/4 IS lens, or worse a 300 f/2.8? I don’t think so. I stop at the 70-200 f/4.
Still, that leaves a lot of lenses at your disposal-and really, would you attach a lens costing several thousands to this body? Doubtful anyone would even entertain that thought.

Lens mount. The T1i features a metal lens mount. Note the red and white dots (lens mounting indexes). The white dot is for Canon EF-S (APS-C) lenses; the red for Canon's EF lenses. Copyright ©2009 Jack Neubart. All rights reserved.

We’ll get back to the lens in a moment. First we need to look at the camera’s functionality.

A Whole Mess o’ Functions

There are lots of functions for a camera this size and one supposedly this easy to operate. To begin, many of the function buttons are cryptic for a first-time user. Then switch on the menu-8 screens. Do we really need all that?

This is not a pro-level camera, even though, as a pro, I liked tooling around with it. But if I only used the camera sporadically, I’d have to resort to the manual each time before taking it out of the house (and did, on occasion). And then there’s the matter of having to hit the Set button to activate a menu choice. Do we need all these steps? Same with Delete. Just too many steps-it gets in the way of truly enjoying this camera.

On top of that, the four cursor buttons operate interchangeably with the control dial behind the shutter button-not always, though, which is where it gets confusing. Sometimes they can be made to work at cross purposes with each other.

LCD monitor. Make the camera smaller and you have to maximize the available real estate, hence the lack of a top data panel. So now the LCD monitor takes over this function. Interestingly, put an eye to the optical viewfinder and this display extinguishes until you pull away from the camera--nice touch (note the display-off sensor immediately above). Copyright ©2009 Jack Neubart. All rights reserved.

Am I being picayune, as an ex-girlfriend once commented? Well, it’s often the small stuff that matters the most. So the saying, “Don’t sweat the small stuff”-well, that ain’t in my vocabulary. If you let the little things slip through the cracks, you’ll be missing the bigger picture. That’s my story, mixed metaphors and all, and I’m sticking to it.

One of the nice features is automatic sensor cleaning. You can also activate this function manually. And then there’s the sensor cleaning function for those of you who live in a clean room-entirely manual, which involves raising the mirror and going in there with a swab (I’ve had my fill of that, thank you). Oh, and good luck trying to find the right menu screen in the first place. Again, it’s easier if you use the camera on a daily basis.

There are some other functions, some worth mentioning, others not. But I’ll reserve comment on the ones I tested in the photo captions. Suffice to say, many of these functions are best reserved for JPEG captures. Hence, it’s wise to shoot JPEGs, even when shooting RAW, just so you can take advantage of these, such as the picture scene modes (activated via the mode dial) and auto lighting optimizer, a function increasingly found in today’s DSLRs (a custom function on this camera and one not entirely to my liking). (Note: Canon points out that its included Digital Photo Professional software extends functionality to RAW captures.)

Auto Lighting Optimizer. The Auto Lighting Optimizer only works with JPEGs, sadly. You can readily see how it reduced contrast (at the Strong setting), mostly in the shadows (middle photo). And it works with fill-flash as well as ambient lighting. However, you can achieve much, much better results working from the RAW file, which also lets you recapture washed out highlights (the related image should be obvious) (bottom photo). Copyright ©2009 Jack Neubart. All rights reserved.

Digital noise tests. Digital noise is tolerable at ISO levels up to 800 (although the graininess is visible), but begins to take its toll at ISO 1600, and certainly at ISO 3200 (shown). Copyright ©2009 Jack Neubart. All rights reserved.

AF and Live View

One-shot AF is fast, no doubt about it. However, I wasn’t all that thrilled with continuous AF tracking. This failure to track moving subjects is likely due to the dearth of AF points: there are only 9 of them, although they do cover a large enough portion of the screen.

Switch to live view, and like any camera that uses the LCD to focus, AF moves at a snail’s pace, at least to my way of thinking. I avoided it once I tried it. I know, many of you love live view. Well, what can I say? I’m old-school when it comes to focusing. That is, given the choice between the optical and LCD viewfinder, I opt for optical. Besides, the LCD on this camera is locked in place. For live view to be practical, the monitor should swing out and tilt/rotate.

Squirrel. I found that relying on AF tracking was iffy, so I went back to the tried-and-true: one-shot AF, setting focus on the squirrel's eye and hoping she didn't move while I recomposed the shot. Here I used a 70-200mm f/4 at 200mm (= 320mm), with a 580EX shoe-mount to freeze the animal's movements. Copyright ©2009 Jack Neubart. All rights reserved.

HD Video

As far as shooting video with this camera, especially HD (high-def), I wouldn’t leave the video camera home on my next vacation. While the T1i does support AF and AE, with full manual zooming, still, you don’t get nearly one-tenth the functionality of a true digital camcorder. And the sound? It picks up all ambient noise from camera handling. Yes, that can also be a problem with any camcorder with a built-in mic-but at least with camcorders you have a much higher quality microphone-and those recordings are in stereo!

And wait…What exactly can you do with those movie files? Edit them? Canon doesn’t provide the best software, so you have to go out and buy it.

And consider all the space this eats up on your memory card. Okay, I’ll admit. I originally thought it was a good idea to include a movie mode on a DSLR. But I know that the next time I’m out shooting in a once-in-a-lifetime situation and down to my last memory card, and just when that one shot avails itself-and I see CARD FULL popping up, I’ll scream and kick myself for the movie clip I shot of those cute bear cubs, when I could have captured an amazing series of stills of mama bear chowing down on a misguided tourist. Yeah, I’ve been watching too many movies on FearNet.

EF-S 18-55mm f/3.5-5.6 IS Kit Lens

When you compare a Canon lens with and without image stabilizer, you’ll see that the additional cost for IS is more than the cost of this lens alone, were you to buy it separately. That tells you that you’re getting a bargain. But there’s always the devil to pay in any bargain.

This all-plastic lens is a featherweight. As mentioned, that gives it a nice balance with the T1i body. But physically, that’s the only positive. Zooming is not altogether smooth. And manual focusing? As they say in my Brooklyn neighborhood, fagedaboudit!

Okay, perhaps I exaggerate–just a bit. Fact is, the focusing ring has been relegated to a thin collar around the front of the lens barrel-as if someone remembered about it at the last second. And that design really, really bugs me! How easy is it to put a finger on the front element while trying to grab the focusing collar in haste or when distracted! Seriously, Canon…

And if you haven’t guessed, forget about using a circular polarizer. Even with AF, that rotating front element makes that impractical. What’s more, if the lens is set to AF and you think you’ve set it to MF, you’ll note, in your abortive attempt to manually focus, that you seem to be grinding gears as you instead shift the zoom focal length. Not a pretty picture-or sound.

Talk about sounds. You may hear a clicking sound if you pick the camera up while the lens is resting on a surface. That’s the lens barrel shifting position. Nudge it gently and you’ll get the same result. It’s not a loose cannon (get the pun?), but is disturbing.

On the plus side, the lens accepts 58mm front-mounted filters, which you likely have already. In addition to adding a filter, buy a lens shade-as overpriced as they are. You can get a knock-off for almost $10 less than Canon’s EW-60C. But don’t get a rubber lens shade, as they tend to deform, which could cause vignetting.

Now let’s move past the book’s cover and see how good a read it is. I was happily surprised by the lens’s performance. I don’t think Canon souped-up sharpness and contrast in the T1i to make up for possible deficiencies in the lens optically, since I also tested it with one of my regular Canon zooms. So I’d have to say, in terms of sharpness, contrast, and color rendition, this lens appeared to hold its own. Another pleasant surprise was the close-focusing limit, at just under 10 inches.

White horse. I photographed this white horse with the kit lens and a Canon 430EX flash held just off camera. Note how nicely the lens captures detail in the cropped version. Surprising for the lens of this ilk. Copyright ©2009 Jack Neubart. All rights reserved.

One more thing. Remember the missing lens shade? Well, the lens seems to have been designed with adequate internal baffling, in conjunction with anti-flare components in the body, to produce flare-free images when shooting against the light. Obviously, I haven’t tested every situation, and I’m sure flare ghosts will pop up under the right conditions. But with a bright light source behind the subject, the resulting image did not exhibit any non-image-forming light.

Shooting wide with fill-flash. This is an enormous statue--part of an annual Italian festival. So I set the 18-55 at its widest setting and photographed it first by available light and then with fill from a 430EX strobe. Fill lighting makes a difference. These are RAW captures, so the Auto Lighting Optimizer didn't play a role here. Copyright ©2009 Jack Neubart. All rights reserved.

All fired up. I wanted to capture the flames shooting up from the grill, so I set a relatively long exposure (1/15 sec) and fired a 430EX flash to provide overall illumination. Copyright ©2009 Jack Neubart. All rights reserved.

Conclusions

I’m not really sure that Canon knows exactly what to do with this camera. It seems simple enough, judging by weight and size, but is otherwise a complex tool with lots of oomph built in. If you’re looking to move up to a digital SLR without making a heavy investment or simply want an inexpensive and lightweight DSLR that you can tool around with on your next vacation, the Rebel T1i would be a good choice.

However, don’t buy this camera if you expect to use it extensively to shoot video-HD or otherwise, as you may be disappointed. Buy it as a still digital, and use the video capture as an adjunct feature to capture special moments when a camcorder isn’t handy.

On that note, Canon recommends a super-fast/high-speed SDHC memory card for HD video capture. Since I devoted my time to shooting stills, I had expected such a card would be suitable for large bursts while shooting continuously. I hadn’t anticipated being stymied by the internal memory buffer. Shooting RAW+JPEG only allowed maybe 4 consecutive captures before the memory buffer filled up. Disappointing.

Shooting life-size. I photographed this Pennsylvania leatherwing with a macro lens at life-size magnification with the aid of a ring-flash. As is my wont, I manually set the lens to the closest focusing point and fine-tune focus by physically moving the camera. Since the flash needs time to recycle so that I couldn't shoot fast bursts, the T1i's limited memory buffer was not a problem. Copyright ©2009 Jack Neubart. All rights reserved.

And if you’ve already set your eyes on the Rebel to begin with, then rest assured you’ve made a good choice in this model. Buying one of the earlier iterations is just out of the question, unless you really need to save the few greenbacks.

Candid portrait. I met photographer Abby Ross at an Italian festival in my neighborhood. As she began to walk away, I yelled "smile," at which point she obligingly turned around. I snapped the shot without even looking through the finder, with the flash held a short distance from the camera. You can see this talented photographer's work at www.abbyross.com. Copyright ©2009 Jack Neubart. All rights reserved.

Verdict: Buy it. The Rebel T1i may not be as much fun to use as some cameras in this size or price range, but it delivers plenty of bang for the buck. Just be sure to buy a second lens, in case the kit lens should meet with an untimely demise.


For more information: Canon USA
Technical Specifications/Rebel T1i: Canon USA Rebel T1i
Technical Specifications/18-55 kit lens: Canon USA 18-55 kit lens

For more information and user reviews visit Amazon (Canon EOS Rebel T1i 15.1 MP CMOS Digital SLR Camera with 3-Inch LCD and EF-S 18-55mm f/3.5-5.6 IS Lens) and/or B&H Photo (Canon Rebel T1i).

From the Editor: To see another great review of the Canon Rebel T1i, check out Mark Goldstein’s article over at PhotographyBlog.com.

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