We’re getting a lot of rain and wet snow this spring, so I’m wondering how that will affect my new ultra high-tech digital SLR. Would the camera be damaged by moisture? If so, what should I do if it rains every weekend? I really want to get outside and start experimenting. K.W.

Answer

Well, that depends on the camera – as well as the lens – that you’re using. The vast majority of equipment does need protection from moisture, particularly rain. Some DSLRs and certain lenses are weather-resistant as discussed in the features chart for such products on the manufacturer’s web site. These include Nikon and Canon’s professional products, the high-end Pentax DSLRs and a few lenses of various brands. No flash unit (including a built-in flash) is weather resistant, however. Even the most hardy pro-equipment should not be used for extended periods in heavy rain, of course.

If you are primarily interested in experimenting with camera features, you might consider shooting from your car; open the window but make sure the camera/lens will not get wet. Dry off any dampness thoroughly with a clean, absorbent cotton cloth; for the lens use a large microfibre cloth. But if you’ll be shooting outdoors, you’ll need a rain cover accessory. Regardless of the one you buy, read the manufacturer’s instructions re: correct installation (and any warnings) to get the most effective protection.

You can find inexpensive products – similar to clear plastic bags – such as the Op/Tech or Ewa Marine Rainsleeve (about $22 from Amazon; about $17 from B&H).

These may be OK in drizzle but for longer outings in rain you’ll want at least a Kata Elements Cover such as the E-702 for a DSLR with short lens (about $60 from Amazon; about $60 from B&H).

Kata also makes accessories for protecting a longer lens and an external shoe-mounted flash unit. Visit B&H or Amazon for information on the Kata products.

Kata's Elements Covers, such as the E702, are the most popular among the affordable accessories. Two sleeves allow access to camera controls and a transparent back allows for viewing the LCD screen and viewfinder.

There are also two brands of high-grade rain covers that use a special eye-piece accessory available for many Nikon and Canon DSLRs. Even if the interior of the cover gets fogged up, you will be able to see through the viewfinder (a necessary extra cost option) (about $32 at Amazon; about $32 at B&H).

The Aqua Tech Sport Shield is available in five sizes to fit cameras with short and long lenses (starting at about $190) (at Amazon; at B&H). A clear waterproof Sport Shield can be added for protecting shoe-mounted electronic flash unit (about $65). For more information and user reviews, see B&H.

The Aqua Tech Sport Shields are well designed and rugged, made of a 3-ply breathable waterproof fabric that allows ventilation and a watertight seal with the lens hood. The flash accessory is also watertight.

The two new products from Think Tank Photo – intended for DSLRs with a 70-200mm f/2.8 or a slightly smaller lens – are more affordable but also quite impressive. The Hydrophobia 70-200 (about $139 at Amazon) and the Flash 70-200 (about $145) models are identical but the latter is equipped with a clear protector for a hot-shoe mounted flash unit.

There’s a larger model too, the Hydrophobia 300-600 (about $150 at Amazon) for much longer telephoto lenses.

The Hydrophobia Flash 70-200 cover is relatively affordable and includes protection for an accessory flash unit. Both models feature a clear back window for the LCD screen and controls, over-sized/adjustable sleeves and adequate access for changing memory cards with full protection from the elements.

For specifics visit Think Tank Photo or view the illustrative video on Rob Galbraith‘s web site.

Note too, that the Hydrophobia covers include a built-in waterproof camera strap attachment so you don’t need to cut holes to insert the strap. Although they’re priced to attract serious photo enthusiasts, these covers were used in rain and snow by some of the pro’s during the 2010 Olympic Winter Games.

I read a blurb on the Internet about the new Class 10 SDXC cards in several brands. This type of memory card sounds perfect: super fast and tons of capacity at 64 gigabytes. Why would anyone want to use any other kind of SD card, except for the high price of the SDXC card? G.R.

Answer

That was certainly interesting news, and the first Extended Capacity cards will be available sometime this spring: Panasonic’s Gold SDXC and SanDisk’s Ultra SDXC. (Other brands, in various speed classes will follow.)

Do note, however, that the Panasonic cards boast a Class 10 speed rating while the SanDisk SDXC cards are Class 4 rated, or not as fast. The SanDisk  64GB card is less expensive however, approximately $350 versus $600 for the Panasonic product.

The new 64 gigabyte SDXC cards are impressive but the SDHC cards are available in Class 10 speed too (in several brands) and in capacities up to 32 GB, plenty for most photo and video enthusiasts.

Initially, SanDisk will primarily target owners of video camcorders with their SDXC card. Class 4 speed is all that’s required with most such cameras. Panasonic’s Class 10 SDXC product – like SanDisk’s conventional super fast Extreme SDHC Class 10 card – is more suitable for owners of high resolution DSLRs. It will allow for taking a greater number of shots in a very long sequence and the camera will be ready for more quite quickly afterward. Class 10 speed is fine for shooting video too, more than adequate even for the 1080p at 30 frames per second that’s possible with some DSLRs.

A 64 GB card may seem attractive since it will hold thousands of still images or over 60 hours of video. That may be necessary for some pros but you may not want to “put all your eggs in one basket”, so to speak. (And frankly, even SDHC cards are available in 32 GB capacity.)

If you were to lose a 64 GB card – or if it became corrupted – think of the number of images or the video clips that you would never get to use. That’s why it makes more sense to buy several 8 GB cards instead, to get all the capacity you need.

The first DSLR that is SDXC-compliant, the EOS T2i works equally well with SDHC cards. While very high capacity may have some benefits, I recommend using 4 GB or 8 GB cards instead, to minimize the number of images that will be lost in case of a problem.

More importantly, there’s the compatibility issue. An SDXC card looks identical to an SDHC card but it’s formatted to work only with SDXC-compliant cameras. At this time, that includes only the Canon and Panasonic digicams and camcorders announced since Jan. 1, 2010 and the Canon EOS T2i (EOS 550D  in some countries).

Eventually we’ll see a lot more SDXC-compliant equipment. But for the near future, SDHC will remain the card of choice for the vast majority of photo enthusiasts. (Of course some cameras use one of the other formats:  CompactFlash or    Memory Stick both available in high capacity versions.)

What kind of a tripod do I need when shooting video clips with my new Nikon D300S? The old tripod that I own is too small and I’m sure I need something better. I’d want one that’s also useful when shooting regular photos but I’d prefer not to pay more than $150. Dawn K.

Answer

That’s a good question, Dawn, but you should also be wondering about the type of tripod head to use. Granted, you may buy a tripod kit that includes a head, but it will probably be a conventional pan/tilt or ball head. Either is perfect for taking still photos but neither is ideal for shooting movies, as I’ll explain in a moment. So, you will probably need two tripod heads; perhaps your old one will be adequate for some purposes.

Start by finding a rigid tripod that is tall enough – without extending the centre post by much – so you don’t need to bend too far down. Extending the centre post too far will really minimize rigidity. Regardless of the size, look for one that is rated for supporting at least 8 lbs. of weight. Your camera/lens and video head will probably weigh less but the higher weight capacity confirms greater stability. There are many multi-purpose tripods that are suitable for people of average height. In the relatively affordable category (without a tripod head), check out models like the Giottos 9371B (about $196), the Slik Pro 700 DX (about $100) and the Manfrotto 055XDB (about $139).

When shooting movies, you’ll definitely want a “fluid” video head. I strongly recommend the Manfrotto 701HDV (about $125) with a capacity of 9.5 lbs. This type of head employs a fluid cartridge – or Teflon pads or a special lubricant – for much smoother pan/tilt effects than a conventional head, to prevent jerkiness in your videos. The most frequent adjustments can be made with the long handle which can be loosened, tightened and locked. If your budget is very tight, consider the Slik 504QF-2 model (about $65); it’s not as well built, but it should provide adequate support.

Check out many tripods and heads in person if you live near a well-stocked photo store. Look for one that’s convenient to operate and very rigid but not excessively heavy. If that’s not practical, start by doing some research at B&H or Amazon. Then read reviews about suitable models in your price range. (Try a Google search to find reviews, using the brand name and/or model number.)

Buy the best that you can afford. Rigid, high-grade accessories should easily last for a decade and they will provide maximum image sharpness whether you’re shooting stills or video clips.

A tripod with bracing struts is often recommended for video because of its extra stability; a geared center column is also a bonus. In an all-purpose tripod however, I recommend one without struts because those components make it impossible to fully splay the legs for low level placement of the camera.

A ball head - like a conventional pan/tilt head - was designed for still photography and works well for that purpose. But when you start shooting movies with a DSLR (or a camcorder), it's worth buying a fluid video head for much smoother results.

The preferred “workhorse” among many professional photographers since 2003, Nikon’s AF-S 70-200mm f/2.8G ED VR model was also my favorite lens in the Nikkor series. It was just about perfect in all aspects, except for some slight corner softness at wide apertures with a full-frame digital SLR. Some reviews also mentioned less than ideal flare control, but frankly, that was nit-picking. In any event, Nikon has replaced that earlier model with a new VR II-designated version boasting a superior optical design, more effective VR stabilizer plus some other benefits.

Nikon’s latest 70-200mm f/2.8 lens is pricey, but it’s a professional-caliber product in all aspects, including the latest optical design, an incredibly effective autofocus system, and unusually rugged build quality. (Nikon D300s; ISO 400; f/7.1; at the Great Northern Concrete Toboggan Race, Milton, ON). © 2010 Peter K. Burian

An f/2.8 lens is desirable for several reasons. The very wide maximum aperture allows for faster shutter speeds than the more typical f/4.5-5.6 zooms. That’s valuable in low light or action photography, allowing us to use lower ISO levels for superior image quality. A maximum aperture of f/2.8 also allows more light to reach the AF sensor for faster autofocus. And AF is maintained even when a 1.4x or 2x teleconverter is used. Granted, this 70-200mm f/2.8 lens is very large and heavy, but it’s built to tolerate pro-level abuse and it’s also dust- and moisture-resistant.

Modifications at a Glance

The AF-S 70-200mm f/2.8G AF-S ED VR II model retains most of the best features of its predecessor including the Silent Wave (AF-S) focus motor and the tripod mounting collar. Other aspects were modified however as per the following list (below image).

As this illustration indicates, the lens employs a full seven elements of extra low dispersion glass, including three of large diameter at the front for maximum aberration control. This optical formula provides superior image quality that will be obvious particularly at the edges of images made with a full-frame DSLR.

As this illustration indicates, the lens employs a full seven elements of extra low dispersion glass, including three of large diameter at the front for maximum aberration control. This optical formula provides superior image quality that will be obvious particularly at the edges of images made with a full-frame DSLR.

* Superior aberration correction and higher edge sharpness/brightness; the latter makes the new lens a better choice for a full-frame DSLR

* Some new elements feature Nano Crystal Coat deposits for additional flare control

* The newer VR II stabilizer provides more effective camera shake compensation

* Barrel length has been reduced by 0.374 inches but the weight has increased by 2.47 ounces

* The new hood is more compact so the lens is more likely to fit into a camera bag’s lens slot

* Instead of a focus range limiter option of “infinity to 2.5 meters” the switch now provides “infinity to 5 meters”; this minimizes searching in the near-focus range

* The AF Lock buttons of the older model have been omitted; apparently most photographers want this feature only on longer telephoto lenses

* Minimum focusing has been reduced to 4.6 feet vs. 5 feet, but maximum magnification is lower at 0.12x vs. 0.16x

* In close focusing, the effective focal length is now shorter  (discussed later)

When viewed at 100% magnification on a monitor, these photos – made at f/2.8 and at f/9 – appear nearly identical, except for depth of field and an extremely slight difference in sharpness in the corners. That’s certainly an indication of an excellent optical formula and confirms that the new lens can deliver pro grade image quality at the widest aperture. (D700; ISO 1600; at the Supershow 2010, Toronto.) © 2010 Peter K. Burian

Design and Construction

Even at first glance, this is an impressive, beautifully-finished lens with tank-like construction. The zoom and manual focus collars are very wide, and rubberized for good grip. The action of both controls is extremely smooth and well “damped”: with adequate friction to satisfy even those switching from manual focus lenses. Several switches adorn the barrel including the focus-range limiter, VR (stabilizer) On/Off, and a switch for the VR Mode. Normal VR is useful for most purposes, including panning with a moving subject; Active VR (with 4-axis stabilization) is recommended for use when shooting from a very unstable platform such as an aircraft.





A distance scale, in feet and meters, is provided under glass. The lens employs internal focusing; that requires shifting only a few elements. Because very little mass must be moved, focus response with the Silent Wave motor is extremely fast. During focusing and zooming, the lens barrel does not extend and the filter mount does not rotate. (However, I found it difficult to remove my thin-ring polarizer. Wrapping a wide rubber band around the filter ring helped make the process easier.) The diaphragm includes nine blades for a circular aperture at many f/stops, for a very pleasing bokeh: the rendition of defocused areas in the background.

While some shooters will prefer a tele-zoom lens with extremely close focusing (“macro”) ability, a “fast” 70-200mm lens is more likely to be used for photos of more distant subjects. (D300s; ISO 400; f/5.6; 1/800 sec.) © 2010 Peter K. Burian

As mentioned earlier, the new lens’ effective focal length becomes shorter when focusing at distances less than infinity. Consequently, the maximum available magnification is lower than it was with its predecessor. Frankly, even that lens did not provide high magnification. Note too, that many other zoom lenses’ effective focal lengths also  reduce in close focusing; this is definitely not unique to the Nikkor 70-200mm f/2.8 VR II lens. Anyone who insists on a zoom with closer focusing or higher (0.256x) magnification might prefer Nikon’s AF-S 70-300mm f/4.5-5.6G ED IF AF-S VR model. Of course, that would mean giving up the benefits provided by the pro-grade f/2.8 lens.

Optical Performance

Although this is a multi-platform lens suitable for all types of SLR cameras, it is optimized for high sharpness/brightness at the edges of an oversized sensor (or  a 35mm film frame).   The superior coatings minimize the risk of internal flare and “ghosting” (reflections in the shape of the lens diaphragm) caused by highly reflective digital sensors. They also provide greater resistance to flare from external light sources, making for images with higher contrast and hence, with greater apparent sharpness.

This Nikon lens is the “sharpest” telephoto zoom that I have tested to date. In this image for example, even the finest lettering on the ski pass tag is razor sharp and very crisply defined. (D300s; ISO 400; f/6.2; 1/1250 sec.; at an Ontario Ski Telemark race, Caledon, ON.) © 2010 Peter K. Burian

Thanks to the seven Extra Low Dispersion glass elements this lens produced incredibly high sharpness across the entire frame at all apertures and focal lengths. Note too, that three of the ED elements are large, and located in the front group, for maximum effectiveness. The result is improved image quality, particularly noticeable at wide apertures, with very high sharpness and freedom from color fringing around subject edges.

Images made at f/2.8 are well within professional standards. Even corner sharpness is high, particularly in the 70mm to 150mm range. In the 151mm to 200mm range, there’s a slight softening at the edges but that’s noticeable only under very high magnification. Chromatic aberration is virtually non-existent, distortion is minimal and flare correction is incredibly effective.

Image quality at f/2.8 is excellent at most focal lengths. The unusually wide maximum aperture transmits more light to the camera minimizing the need for very high ISO levels and ensuring fast autofocus in dark locations. (D700; 190mm at f/2.8; 1/500 sec.; ISO 800; at the Hamilton, ON, Spring Wedding Show). © 2010 Peter K. Burian

This lens provides excellent edge-to-edge sharpness by f/4 at all focal lengths. My best images made with a full-frame D700 are suitable for beautiful 16×24″ prints  after some resing-up in Photoshop. The same level of quality is available at other f/stops down to f/8. As with any lens, there’s a slight loss of sharpness (because of diffraction) by f/11, but 13×19″ prints made from f/16 images look great after some sharpening in Photoshop. On the other hand a telephoto lens is not often used at such small apertures.

This image confirms the exceptional optical potential of the latest Nikon 70-200mm lens. When viewed at high magnification on a professional LCD monitor, it’s perfect in all technical aspects and suitable for a huge print or a double-page spread in a magazine. (D700; 200mm; f/6.3; at the Supershow 2010, Toronto.) © 2010 Peter K. Burian

In photos of a snow-covered hill with the full-frame Nikon D700, there is some shading – darkening of the corners – especially at f/2.8 at long focal lengths. It’s very slight, impossible to see in most other types of photos. Some Nikon DSLRs can automatically eliminate corner shading and it is also easy to correct with software. (My evaluation was based on RAW captures, with the vignetting-correction feature turned off in the Capture NX2 software.) Because the lens was optimized for use with a large (FX format) sensor DSLR, it produces even better edge sharpness/brightness at f/2.8 with a camera using the smaller (DX format) sensor. With the D300s, this was a 105-300mm equivalent lens that was useful for ski and snowboarding races without a teleconverter.

Autofocus and Stabilizer

When used with a recent Nikon DSLR, this Silent Wave lens provides fast/reliable autofocus. And as mentioned earlier, defocused highlights in the background are rendered as circular (not octagonal) at many apertures. (D300s; ISO 400; multi-point AF; f/5.6; 160mm; at an Ontario Snowboarders (RBC Riders) race, Caledon, ON.) © 2010 Peter K. Burian

As with any wide aperture  Silent Wave (ultrasonic) lens, autofocus performance was absolutely first class. During races on snow-covered slopes, focus acquisition was lightning fast with the D300s and with the D700. The camera/lens combination also aggressively tracked the fastest moving competitors. The AF Tracking system was not quite as effective with the fast/erratic action of wakeboarders on an indoor “lake”. That’s understandable considering the low light conditions in the arena.

As this series indicates, the Silent Wave focus motor, was often successful in tracking fast moving subjects. The primary problem in this type of photography is predicting where the subject will appear over a jump and keeping it properly framed for a long series of shots. (D300s; ISO 400; multi-point AF; f/5.6; 200mm; at an Ontario Snowboarders (RBC Riders) race, Caledon, ON) © 2010 Peter K. Burian

With static subjects, the ability to quickly fine-tune focus manually at any time was a real plus. This feature allowed me to optimize focus for the eyes – instead of the tip of the nose – when making portrait photos at a fashion show using autofocus.

Nikon indicates that the new VR II stabilizer offers a four shutter-speed-step advantage, as compared to three with the older VR technology. In other words, images made in hand-held shooting should be sharp even in exposures that are four times as long as those made without Vibration Reduction. That’s an average and some photographers are steadier than others. When shooting displays at an indoor motorcycle show with the D700 at 200mm, I was consistently able to get sharp photos at a 1/15 sec. shutter speed. Some photographers report similar results at 1/8 sec.

Nikon’s latest vibration reduction technology is very effective. As with any stabilizer, the exact results do vary depending on the person using the lens and the focal length in use. In any event, a VR system is certainly valuable in low light when a tripod cannot be used. (D700; 200mm; 1/30 sec.; at the Supershow 2010, Toronto.) © 2010 Peter K. Burian

The Bottom Line

The AF-S 70-200mm f/2.8G AF-S ED VR II lens was designed to satisfy professional photographers working for demanding clients. Naturally, it will also appeal to serious photo enthusiasts who demand the absolutely best equipment. Anyone who still doubts that a zoom can match an excellent single-focal length lens should become a convert after trying this one. In terms of sharpness, resolution of intricate details, snappy contrast, freedom from flare and from color fringing, it is definitely an outstanding performer.

While the more compact/affordable Nikon AF-S VR 70-300mm f/4.5-5.6G IF-ED zoom is impressive in many aspects, photographers who appreciate the benefits of a pro-grade f/2.8 lens will want the new 70-200mm model. (D300s; ISO 1600; f/2.8 at 1/400 sec. at the Toronto International Boat Show). © 2010 Peter K. Burian

If you’re considering this new lens, check it out in person at a photo retailer to determine whether you’ll be comfortable in carrying and handling its 3.4 lb. of mass. (Removing the tripod foot subtracts a few ounces.) Frankly, some potential buyers will prefer something smaller, lighter and more affordable, such as Nikon’s highly-rated AF-S VR 70-300mm f/4.5-5.6G IF-ED lens. That’s understandable. But if you’re a discriminating photographer you’ll want to save up for the 70-200mm f/2.8 VR II model. Considering its level of performance, this zoom will pay dividends for many years in terms of professional-caliber images.

For additional test photos see  http://picasaweb.google.com/pkburian/Nikon70200mmF28BurianSNOWBOARDERSRACE#

For more information, and for specifics about Nikon teleconverters,  check out this lens at  Amazon (about $2300) Nikon 70-200mm f/2.8G ED VR II AF-S NIKKOR Lens For Nikon Digital SLR Cameras; or at B&H Photo (about $2330) AF-S Zoom-Nikkor 70-200mm f/2.8G ED VR II Lens  

AF-S Nikkor 70-200mm f/2.8G ED VR II Specifications

Construction: 21 elements including 7 of ED glass
Angle of View: 34 °20′ – 12 °20′ with full-frame FX sensor; 22 °50′ – 8 ° with DX format sensor
Vibration Reduction: New VR II optical stabilizer
Focus System: Silent Wave with manual override on demand; manual focus; internal focusing mechanism
Minimum Focus Distance: 4.6 feet (1.4m)
Maximum Magnification: 0.12x
Filter Size: 77mm
Size/Weight: 3.4×8.1in; 3.4 lb. (87×205.5mm; 1540g)
Accessories: Lens hood and soft case included; fully compatible with Nikon TC-E II teleconverters
Average Retail Price: Under $2350

Can you help me solve the exposure problem with my new digital SLR camera? It’s fine when I use the fully automatic modes. But I tried taking photos in a church during a wedding (without flash) and all my photos were underexposed. I was using ISO 400 and set the shutter speed to 1/500 sec. in Shutter Priority mode to make sure the photos would be sharp. But they are all too dark. D.M.

Answer

This is also a common problem among students in my BetterPhoto courses when they first try night photography. The answer is simple, but you need to fully appreciate how this semi-automatic mode works. In theory you can set any shutter speed and the camera will set a suitable aperture for a good exposure. If you change the shutter speed, the camera will change the aperture to maintain the same exposure.

That often works well, especially in outdoor photography in daylight. However, in a very dark location, you need to use a much higher ISO – and a much longer shutter speed – for a good exposure. If you set 1/500 sec. at ISO 400 in low light, the camera cannot find an adequately wide aperture to provide a good exposure. (The same would apply if you set a small aperture in low light when using a low ISO level.) When your settings cannot provide a good exposure, most cameras will provide a warning in advance: blinking numerals in the viewfinder.

Note: Instead of providing a warning, some cameras will actually change inappropriate settings when that’s necessary to avoid a grossly incorrect exposure. For example, certain EOS DSLRs can provide this feature when the Safety Shift AV/TV or the Safety Shift ISO custom function is set to On. Do note, however, that neither custom function is available with all EOS cameras.

When you get a warning in low light, start by setting a higher ISO, such as 1600. If the blinking still continues, you must also set a longer shutter speed, such as 1/125 sec. If it’s really dark, you may need to use an even longer shutter speed, such as 1/15 sec. When the blinking stops you should be able to get a well-exposed photo. Granted, at the long shutter speed, the photo may be blurred: from camera shake or from movement of your subjects. If your camera offers even higher ISO options, try those. They will allow you to shoot at a faster shutter speed but your images will be more “grainy” due to digital noise.

If numerals blink in your camera's viewfinder, be sure to change the ISO and the shutter speed or the aperture until the warning signal stops. You should then be able to get a good exposure.

During this ceremony, I needed to use ISO 1600 and a 1/40 sec. shutter speed because of the low light conditions. The image is grainy due to digital noise at the high ISO but the exposure is fine. There's no blurring because I used a lens with an image stabilizer and braced my elbows on a solid object. (86mm focal length.) ©2010 Peter K. Burian

Peter Burian tests Nikon’s latest multipurpose lens with some valuable benefits over the previous model

One of the best selling Nikon lenses, the original 18-200mm VR model was a very competent performer but it has been replaced with a newer zoom that offers several benefits. The latest incarnation includes the best of its predecessor but gains improved Super Integrated Coating for better flare control, and features to prevent zoom creep. As a bonus, the diaphragm is equipped with more blades allowing for a circular aperture at many f/stops. This aspect allows the lens to render out-of-focus highlights as circular for a more pleasing “bokeh”.

The latest Nikkor 18-200mm lens is a fine performer capable of producing excellent image quality. Thanks to its new features, this model is even more desirable than its highly-rated predecessor. (D300; f/22; 20mm; Hoya Pro 1 Digital polarizer; Webster's Falls, Hamilton, ON) ©2010 Peter K. Burian

While this “all-purpose” zoom may be ideal for families who simply want nice pics, it’s suitable for more serious photographers as well. As the price (about $750 in the US) should suggest, this is a premium-grade 27-300mm equivalent lens. The most expensive in its category, the Nikon model is also one of the largest/heaviest. That’s understandable because of the solid construction, two Extra Low Dispersion (ED) plus three aspherical elements for superior image quality, a remarkably effective image stabilizer plus very fast ultrasonic Silent Wave focus motor.

An 18-200mm lens provides numerous focal lengths from wide angle to telephoto. While serious photographers also need other lenses, this 27-300mm equivalent zoom is an ideal choice for outings when portability is important. (D200; f/8; Hoya Pro 1 D polarizer. Linear distortion was caused by tilting the lens and not by an optical flaw) ©2010 Peter K. Burian

Design and Construction

Identical in size/weight to the older AF-S DX VR 18-200mm f/3.5-5.6G IF-ED lens, the new VR II model provides greater friction in the zoom mechanism. This modification ensures that the focal length that you set will not change when the lens is pointed upward or downward. A new switch allows for the zoom mechanism to be locked at the 18mm focal length. This keeps the lens as compact as possible because the barrel cannot protrude when the camera is being carried.

This all-purpose lens, with VR II stabilizer, Silent Wave AF and a zoom lock switch is well equipped with features; in this aspect, it's similar to some of the more expensive Nikkor AF-S lenses.

The barrel is made of an industrial-grade plastic and feels very rugged. The mount is made of metal and surrounded by a rubber gasket for some protection from dust and moisture. However, this lens is definitely not weatherproof like Nikon’s pro series. It features a 3/8″ wide focus ring and a 3/4″ wide zoom ring. Both are rubberized and ribbed for a good grip and they provide smooth operation. The filter thread is 72mm and even a thick polarizer does not seem to produce any vignetting (darkening at the corners).

In this location, there was strong side lighting and back lighting due to extremely bright sunlight entering through stained glass windows. In spite of this potential problem, my images are all technically very good, with minimal degradation caused by flare. (D200; 18mm; f/8 at 1/4 sec. with VR On; Church of Our Lady, Guelph, ON) ©2010 Peter K. Burian

There’s a distance scale under glass, marked in both feet and meters. Thanks to the internal focusing mechanism, the focus ring never rotates in AF operation and the front element remains fixed. Hence, the effect of a polarizing filter – useful for enriching blue skies or removing glare from reflective surfaces – never changes. Extensively-optimized for digital capture, the new lens benefits from multi-layer coatings on numerous internal elements to minimize flare for more snappy contrast. Nikon also provides a lens hood at no extra charge.

As this technical illustration indicates, the 18-200mm VR II lens incorporates five high-tech elements to minimize optical aberrations as well as linear distortion. One of the Extra Low Dispersion elements is very large and that does increase the manufacturing cost.

When zoomed to 200mm, the (lightweight) internal barrel extends by 2.7″; that’s typical of 18-200mm lenses. The Nikon lens is not macro designated like some competitors; the minimum focus distance is 20″ adequate for frame filling photos of a large blossom. Maximum magnification is 0.22x at the 200mm focal length. As with many internally focusing lenses, the actual focal length differs in extremely close focusing versus infinity focusing. Focus on a subject very close to the lens, and the focal length is wider at the short end and shorter at the long end than the markings indicate.

While this 18-200mm lens cannot focus extremely close, it's fine for tightly framed shots of some nature subjects, particularly at the 200mm focal length. Especially at f/11 and at f/16 - apertures often used for adequate depth of field - image quality can be impressive. My technically best close-focus photos (made with a D200) allowed me to make gorgeous 13x19" prints. (D200; Manfrotto tripod; f/16 at 1/60 sec.; ISO 200) ©2010 Peter K. Burian

Like all AF-S/Silent Wave lenses, this one provides very fast autofocus. It also includes an M/M-A switch for selecting manual focus or autofocus with manual focus override after AF has been confirmed. There’s also a Vibration Reduction mode switch. In Normal VR, image stabilization is provided on the 2-axis horizontal plane; this is the standard mode and it’s also ideal when panning with a moving subject. Switch to Active VR and 4-axis (in all directions) stabilization is provided. This second mode is particularly useful when shooting from an unstable platform such as a boat bobbing on the waves.

Vibration Reduction Evaluation

Although the original AF-S Nikkor 18-200mm VR lens was not labeled with the VR II designation, it also employed the same image stabilizer technology. Nikon’s specs indicate that this system – in either of the 18-200mm models – allows for hand holding the lens at a shutter speed of up to four steps longer than with a non-VR lens. The shake compensating effect is visible in a DSLR’s viewfinder – or the LCD display in Live View – as a visual indication of its effectiveness.

Thanks to the Vibration Reduction system, I was able to use relatively low ISO levels while shooting indoors without flash. In this case, ISO 400 provided an adequately fast shutter speed (1/10 sec.) to prevent blurring from camera shake. Without the lens' stabilizer, an ISO of 1600 or 3200 would have been required; at such high levels, image quality is degraded due to digital noise. (D200; 42mm focal length) ©2010 Peter K. Burian

The VR II stabilizer is a valuable amenity since it allows for shooting at longer shutter speeds, reducing the need for a tripod or for a high ISO level. (Every digital SLR provides superior image quality at lower ISOs.) A stabilizer is certainly useful in low light, but it’s also great when shooting a moving subject – such as waterfalls – at a long shutter speed, for intentional motion blur. The VR II system helps to ensure that the static surroundings are sharply rendered.

The VR II stabilizer is very useful when a tripod cannot be used. As these examples indicate, it was impossible to get a sharp photo at 1/15 sec. with the lens hand-held at 200mm, but the stabilizer instantly solved that problem. (D200; ISO 400; Church of our Lady, Guelph, ON) ©2010 Peter K. Burian

During testing, I was usually able to get sharp photos at 200mm (a 300mm equivalent) at 1/25 sec. in a dark cathedral while hand-holding the camera. By comparison, with the VR set to Off, I needed to use a 1/200 sec. shutter speed for a high success ratio. Even at a 1/15 sec. shutter speed, roughly half of my images were adequately sharp for nice 8×12″ glossies. When bracing the camera on a solid object, I got some sharp images (at 200mm) even at a surprisingly long 1/6 sec. shutter speed.

Optical Evaluation

Although the new lens uses the same types of optical elements as its predecessor, it provided slightly higher sharpness in my tests. At every focal length from 18mm to 125mm, it produced high image quality at the maximum apertures; sharpness in the central 70% of the frame was high. Stopping down to f/8 provided an obvious improvement in edge sharpness. As with all lenses of this type, performance at longer focal length was less impressive at f/5.6 but definitely improved by f/8, particularly in the 140mm to 200mm range.

Particularly in the mid-range of focal lengths at f/8, image quality is excellent. This D200 photo is suitable for a 13x19" print with high resolution of intricate detail. (70mm; f/8; Hoya Pro 1 D polarizer) ©2010 Peter K. Burian

In tests made with a Nikon D200, chromatic aberration was visible in images made at very short and very long focal lengths. That was easy to correct by shooting in RAW capture mode and taking advantage of the aberration correction available with some of the converter programs. Note too, that newer Nikon cameras (like the D300 that I also used)  provide automatic chromatic aberration reduction processing to minimize “purple fringing”.

Particularly at 18mm to 70mm there was some distortion of straight lines near the edges of the frame. And at very short and very long focal lengths, some darkening at the corners was obvious. Both aspects are common with multipurpose zooms. Switching to f/8 provided brighter corners. Linear distortion cannot be reduced by stopping down. On the other hand, it’s really problematic only in formal architectural photography; that’s not a typical use for an 18-200mm lens. Note too, that linear distortion can be corrected with certain software programs.

While some barrel or pincushion distortion is visible in photos of a test pattern or a brick wall, it’s rarely noticeable in most other types of images. More importantly, the lens provides good to very good image quality even at f/4-5.6. While the same photo made at f/8 does provide better resolution, this RAW capture allowed me to make an excellent letter size print. (A: the full photo; B: a small portion of the photo; D200; 82mm; f/5 at 1/320 sec.; ISO 100). ©2010 Peter K. Burian

Note: The term “linear distortion” refers to the bending of lines near the edges of an image. There is another type of distortion that becomes obvious when a lens is tilted upward, to include an entire building, for example. Called “perspective” distortion, it can make the structure appear to lean backward. This happens because the base of the building is closer to the lens than its top. Whenever we fail to keep the camera back parallel to a subject, the perspective does appear to be skewed. (See the wide angle Oracle photo, for example.) This effect is caused by the shooting technique and not by any optical flaw.

Flare was very well-controlled. Even in bright side lighting the lens hood – plus the multiple internal coatings – worked well to minimize flare, ensuring snappy contrast. I was pleasantly surprised at the image quality in extremely close focusing while taking photos of Gerbera daisies. While the images were soft at wide apertures, stopping down to f/11 – and especially to f/16 – provided high edge-to-edge sharpness. I recommend f/16 for close focus work since this aperture also provides the depth of field necessary for sharp focus in all parts of the subject.

The Bottom Line

A lens with an 11.1x zoom range is certain convenient since it packs the most commonly used focal lengths into a single barrel. Whenever space and convenience are most important, this Nikon multipurpose zoom would be a fine choice especially on a compact DSLR like the D3000. Tucked into a hip pack or slung over a shoulder, the weight/size should not become a burden. And as a bonus, you’ll get less gunk on your camera’s sensor because you won’t be changing lenses.

The Nikkor 18-200mm VR II lens is great for taking  snapshots during family events but it’s also fine for travel photography thanks to its portability and focal length versatility. (D200) ©2010 Peter K. Burian

In addition to its wide range of focal lengths, the Nikkor AF-S 18-200mm VR II model provides very fast autofocus, a superior optical formula and a very effective image stabilizer. Serious shooters usually own high-grade, wide aperture lenses with a less ambitious set of focal lengths, such as a 70-200mm f/2.8 and a 17-55mm f/2.8 zoom. On the other hand, an 18-200mm lens is preferable  for use when  hiking, touring a city or on a family vacation.

Because this location was on top of a steep, icy slope, it was a pleasure to be carrying a camera with only a single lens. More importantly, I was very impressed with the quality of the images produced by the Nikkor 18-200mm VR II lens. For example, this RAW capture allowed me to make a 13x19" print that would be suitable for framing. (D300; 22mm f/11; ISO 200; Hoya Pro 1 D polarizer; Webster's Falls, Hamilton, ON) ©2010 Peter K. Burian

When shooting stock images, I often drag a 20 lb. camera bag around but that can be a real pain in the “¦ shoulder. And even when hiking with a single pro lens, the equipment can become an albatross around my neck. That’s why it was such a pleasure to work with this multi-purpose alternative. In the past five years, I have tested many “all-in-one” lenses and the AF-S DX Nikkor 18-200mm f/3.5-5.6G ED VR II model been the best of the group. It’s certainly not inexpensive but this one deserves my Best Value award in the 18-200mm category.

For more information and user reviews check out: Amazon   Nikon 18-200mm f/3.5-5.6G AF-S ED VR II Telephoto Zoom Lens for Nikon DX-Format Digital SLR Cameras, or B&H Photo   Nikon AF-S DX NIKKOR 18-200mm f/3.5-5.6G ED VR II Zoom Lens

Nikon AF-S DX NIKKOR 18-200MM F/3.5-5.6G ED VR II Specifications

What is the advantage of the new cameras without a pentraprism and a reflex mirror … like the Micro models from Panasonic and Olympus, and the Samsung NX? Is the benefit simply smaller size versus a Digital SLR? In that case, why wouldn’t someone just buy a smaller camera like the Canon Powershot G11 which also has a built-in viewfinder? R.N.

Answer

The primary appeal of the “mirrorless” or “non-reflex” cameras – and their new petite lenses – is certainly the greater portability. Of course there are some intangibles as well with the latest Micro Four-Thirds cameras: the Lumix GF1 and particularly the Olympus E-P1 and E-P2. These models are very classy and they feature rangefinder-like styling, which appeals to many camera buyers. (See my Olympus E-P1 Review: Field Test Report  ) But let’s discuss some of the other important aspects to clarify additional issues.

As this illustration of the Lumix DMC-GF1 versus the Lumix L10 DSLR confirms that a a Micro Four-Thirds camera can be much smaller than a DSLR especially if it omits a viewfinder. Since the lenses are also smaller, the entire package is substantially more portable.

• While cameras like the   Powershot G11 are compact too, they do not accept interchangeable lenses. That is a serious drawback for anyone who appreciates the ability to use ultra wide, macro and long telephoto lenses, particularly those with very wide maximum apertures.   (See my  Canon Powershot G11 Digital Camera: Field Test Report  )

• The larger Micro Four Thirds Lumix G1 and GH1 are equipped with a viewfinder; while it’s electronic (not optical) it does provide through-the-lens viewing. (See my Panasonic Lumix DMC-GH1 Review: Field Test Report  ) And the newer E-P2 and GF1 accept electronic viewfinder accessories. The PowerShot G11′s zooming optical viewfinder may be preferable in some aspects, but it’s very small, produces high distortion and does not display 100% of the actual picture area.

The Olympus Micro Four-Thirds E-P2 (above) and Panasonic's Lumix DMC-GF1 accept an electronic viewfinder accessory, useful for those who do not want to compose images using the LCD screen. Granted, this type of device does make the cameras larger and slightly heavier.

• The Micro Four-Thirds cameras employ a (18×13.5mm) sensor that’s much larger than the one in the PowerShot G11 (7.6×5.7mm) and in nearly all other cameras with a built-in lens. An oversized sensor allows for much larger pixels for superior image quality at high ISO levels and for greater dynamic range. Note: Sigma’s DP cameras and the Leica X1 – all with built-in lenses – employ even larger sensors than Micro Four-Thirds cameras.

While a camera with a built-in lens is certainly compact, it employs a smaller sensor (A) with smaller pixels than the Micro Four-Thirds cameras, and especially the Samsung NX10 (B).

• The 14.6 megapixel “non-reflex” Samsung NX10 (to be available in spring) is larger than the Micro Four Thirds cameras, though smaller than DSLRs. That’s because it employs the larger (23.4 x 15.6mm) sensor that’s common in DSLRs and it’s equipped with a built-in electronic viewfinder. In the future, other manufacturers may also introduce cameras without a reflex mirror or pentaprism. Like the NX10, those will probably employ large (DSLR size) sensors and accept entirely new, smaller, lenses.

It's likely that future interchangeable-lens "mirrorless" cameras (of various brands) will employ the large sensors originally developed for DSLRs, as the Samsung NX10 does. While they may accept new, smaller lenses, they will not be as compact/lightweight as the smallest Micro Four-Thirds cameras.

While DSLRs will remain the primary choice of serious photographers, others – including their families – appreciate the smaller/slimmer/lighter equipment. And many ardent photo enthusiasts want a second, more portable, but very versatile camera. So, while it’s tempting to believe that a mirrorless interchangeable-lens system targets snapshooters, it actually appeals to a much wider range of potential buyers.

I am planning to buy a new PC with Windows 7, but should I pay extra for 8 GB of Ram instead of 2 GB? It’s not too expensive and I assume it would make my computer faster. Is that correct? L.H.

Answer

Upgrading a new PC with extra Ram can help boost some aspects of performance but note the following. The conventional 32-bit version of Windows 7 can utilize only 4 GB of RAM (actually, only about 3.4GB). If you buy a new PC (with 64-bit CPU) with 8 GB of Ram, the vendor should install the 64-bit edition of Windows 7. Check out the various versions of this OS on the Microsoft website.

A fast new PC with a 64-bit CPU and a 64-bit edition of Windows 7 can have some benefits, but also some drawbacks.

Note: The upgrade to a 64-bit system will cause compatibility problems re: drivers for some hardware you already own and for some software programs as discussed on this Windows forum.

(A Windows XP mode is available for Windows 7 Pro, Ultimate and Enterprise to improve compatibility with older applications. See Microsoft’s website) You may need to find and download updates for some  accessories (hardware); they’re not available for some equipment such as older scanners.

For additional insights, visit the Windows 7 Compatibility Center. Also read the Update a driver for hardware that isn’t working properly page.

In addition to new drivers for hardware, you can find updates for some software, including Nikon (for Capture NX2), for greater 64-bit compatibility. It's worth checking for updates and installing them to optimize your software.

Upgrading to 64-bit system will not make your software faster, except for applications that are optimized for 64-bit processing. In fact, 32-bit software may actually run slower with a 64-bit system. On the other hand, a 64-bit system can handle larger amounts of information, useful if you’re running many programs at one time. And yes, the benefits will be most apparent when you have a large amount of random access memory — such as 8 GB — especially if you are a Lightroom or Photoshop CS4 user, or if you plan to do HDR imaging.

All versions of Windows 7, except Basic, include both a 32-bit edition and a 64-bit edition. When buying a new PC with more than 4 GB of random access memory, remind the vendor to pre-install the 64-bit edition.

One of the top rated digicams on the market, the 14.7 megapixel PowerShot G10 was recently replaced by the G11, with lower resolution said to provide superior image quality. The G10 was definitely an ideal second camera for serious photographers. In fact, this is the one that many of the pros carried when we went out for dinners while working at a week-long photo seminar in Dubai. (Also see Jack Neubart’s Canon PowerShot G10 Review here at Photocrati.com)

After testing the G10, I fell in love with that camera and bought one for my own use. While it received rave reviews about its conventional controls and low ISO quality, most test reports complained about its high ISO performance.

The 14.7 megapixel G10 was a highly-rated camera and produced fabulous images at low ISO but the G11 is even more desirable in some aspects. While resolution is lower at 10 MP, most reviewers agree that this is plenty for a digicam with built-in lens. (G11; ISO 100; f/8; 1/40 sec.)

In my own review for a Canadian magazine, I made the following comment about the G10: By ISO 800, images made in low light are still very sharp but very grainy although that’s not a problem in 5×7″ prints. At higher ISO, JPEG quality really suffers due to speckling and some smearing of fine detail by Noise Reduction processing. At ISO 800+, slightly better results are possible with Raw capture since Noise Reduction and Sharpening can be set to the optimal level in the converter software.

Most technical experts indicated that the problem was caused by the excessively small pixels (photosites). Apparently the engineers at Canon agreed since the company responded by replacing the G10 with the G11, with substantially lower 10 megapixel resolution provided by a new High Sensitivity sensor. That step made sense of course, since it allowed for larger photosites – with greater light gathering ability – for superior results at high ISO.

Thanks to improved technology used in the G11, images made at ISO 800 are suitable for making beautiful letter-size prints. Although I love the G10, my tests confirmed that the G11 is a better choice for high ISO imaging. (f/2.8; 1/125 sec.) ©2009 Peter K. Burian

In addition to that change, the DIGIC 4 processor was improved and features a Dual Anti-Noise System that’s optimized for the new sensor. Canon claims that the new technical aspects provide an improvement in the signal-to-noise ratio and a 1.7x boost to the saturation signal. That’s said to provide  two  stops of improvement in high ISO quality over the PowerShot G10. That allowed Canon to add a new ISO 3200 option and a small bonus: a High Sensitivity 2.5 megapixel mode with automatic ISO selection up to 12,800.   As a bonus, dynamic range was also increased in order to provide greater highlight and shadow detail.

PowerShot G11 Features

Aside from those modifications, the G11 is virtually identical to the G10 in terms of construction (magnesium alloy shell), lens (28-140mm f/2.8-4.8 equivalent) and controls, including some old-style mechanical, metal dials. The tiny optical viewfinder (with 79% scene coverage) was also retained. The viewfinder is not very bright, and there’s a lot of framing inaccuracy in close-up shots, but it can be useful when bright sun obscures the LCD preview display.

The primary benefit of the G11 versus the G10 is the articulated LCD screen. Since it can be placed at virtually any angle, this feature makes the G11 very convenient when held at ground level or at a high level, above the heads in a crowd, for example.

Naturally, the G11 does offer some new amenities, such as an articulating tilt/swivel LCD screen although it’s smaller at 2.7″ versus. 3″. Canon also added a few extra features: Smart AUTO mode, Quick Shot mode (sets AF to continuous and provides quick control screen), White Balance Fine Tuning, HDMI output, a faster flash sync speed (to 1/2000 sec.) plus blink detection in Face Detect AF. Do note however that a few G10 features were omitted: the Auto ISO shift, remote capture support, voice recording and the Super Fine JPG option. I missed only the latter since it would allow the G11 to provide even finer JPEGs with lower compression.

Like its predecessor, the PowerShot G11 offers numerous automatic and manual functions. Interesting features include i-Contrast for automatically lightening dark areas; it’s also available as a post-processing item in Playback mode. The G11 also employs iSAPS: intelligent scene recognition that optimizes focus speed, exposure and white balance in snap shooting. Ten picture styles  are available for producing entirely different effects. In the Custom Color mode, you can set a desired level for sharpness, contrast, saturation and skin tones. The LCD display changes to reflect the effect provided by any picture style – and some other  camera overrides – a very useful preview feature.

Like the G10, the G11 is a remarkably versatile camera, with a vast range of features. Some can be set using mechanical dials while others are selected with buttons or with the Function sub-menu (above) which makes operation particular quick and convenient.

The PowerShot G11 is very versatile particularly when used with one of the compatible  flash units or a tele adapter. Surprisingly, Canon does not offer a wide angle conversion lens. Maximum resolution in movie mode is only standard VGA definition, but the videos (at 30fps) are quite nice and smooth. Note too, that the Digital Photo Pro software (for Windows or Mac) is a very useful RAW file converter with all of the essential features for optimizing a photo. At the time of this writing, DPP produced better quality than the latest version of Adobe Camera Raw that was available for CS4.

Camera Speed

This is definitely not the fastest camera in its league. Start up takes just under a second and the G10 acquires focus in about a half second at wide angle focal lengths indoors. At telephoto settings that can take up to a full second but it’s faster in bright light. I did miss some candid photo opps at first but solved that by pre-focusing and tripping the shutter at the right instant. There was no apparent shutter lag when focus was pre-set. LCD blackout between frames was also a tad long, making it a bit of a challenge to keep a moving subject well-framed when panning the camera.

When shooting JPEGs in Continuous Drive mode I was able to blast off a long series at 1.1 fps, using a fast (Class 6) SDHC card. Even after a dozen shots, the camera was ready to take another burst within 1.5 seconds. The framing rate slows a bit in RAW or RAW+JPEG capture mode but the camera can still take an “unlimited” number of photos. After taking a shot, the image is displayed on the LCD screen in 1 second in JPEG capture or in 1.5 seconds for a RAW or RAW+JPEG photo.

Low ISO Evaluation

Since a camera with built-in lens is not often used for action photography, sheer speed is rarely the most important criterion. The good news is that at ISO 80 to 200, the PowerShot G11 provided beautiful JPEGs with high definition of intricate detail. Granted, this 10 megapixel camera cannot match the amazing resolution provided by the 14.7 megapixel G10. Even so, technically excellent images look great as 13×17″ prints and should satisfy most viewers.

At any ISO from 80 to 200, the G11 can produce stunning image quality, with high resolution of intricate detail as indicated by the small section of the JPEG. I made a 13×17″ inkjet print from this ISO 100 capture and most viewers assume it was made with a DSLR. The photo below is a small portion of the full JPEG. (f/8; 1/40 sec.; 28m equivalent.) ©2009 Peter K. Burian

The standard picture style (color mode) provided smooth JPEGs with high sharpness, employing edge enhancement to increase the crisp effect. Color saturation was moderately high and pleasing overall, but reds were unusually rich. In fact, skin tones were often too ruddy; I was able to prevent that by switching to the Custom Color mode and setting Red saturation to -2. Contrast was high, a definite benefit on cloudy days in early winter. The automatic level for i-Contrast (dynamic range expansion) lightened shadow areas slightly.

Skin tones are often too ruddy (in some color modes) due to very high saturation of reds. When taking people pictures, it's worth switching to the Custom Color mode and setting Red saturation to -2 or experimenting with one of the two Skin Tone color modes. (ISO 100; Standard Color mode.)

While the G11 can provide excellent shadow detail, I wish that i-Contrast would tone down excessively bright areas. The camera tended to over expose mid-tones and this aggravated the problem of “blown out” highlights, exhibiting little texture or detail.  Canon claims that dynamic range is four times greater than with the G10 but frankly, the newer camera did not seem any better in terms of highlight detail. In fact, i-Contrast made the problem slightly worse. In contrasty light, it’s important to avoid overexposure; reducing the Contrast level by -2 (in the Custom Color mode) is also very helpful.

In contrasty lighting, the G11 tends to produce very good shadow detail, particularly with the i-Contrast feature. But it usually renders highlight areas as excessively bright, a problem that can be prevented with the tips suggested above. (ISO 100; i-Contrast Auto.) ©2009 Peter K. Burian

After application of Smart Sharpen in Photoshop CS 4, my best ISO 80 to 200 shots made for very nice 13×17 prints. There’s a bit of digital noise and slight smudging of fine detail but that’s not visible in prints viewed from a normal distance (three or four feet). At ISO 400, the JPEGs still look fine and made very good 11×15″ prints. By comparison, images made with the older G10 at ISO 400 exhibited more visible graininess but higher resolution made the JPEGs  suitable for even larger prints.

While image quality drops slightly beyond ISO 200, my JPEGs made at ISO 400 are still finely detailed and suitable for surprisingly large prints. That's due to a combination of a very fine lens, excellent sensor and effective DIGIC 4 processor. (f/3.5; 1/6 sec.; JPEG optimized for printing) ©2009 Peter K. Burian

High ISO Evaluation

Canon’s primary reason for reducing resolution was to improve high ISO performance. That strategy was successful and the G11 definitely provides obvious benefits by ISO 800. At this ISO, the JPEGs are surprisingly smooth, although there’s more smudging of fine detail due to noise reduction processing. Even so, I was able to make excellent letter size prints from my technically-best images after some careful sharpening. By comparison, the G10 produced ISO 800 images that were very grainy; while there was less smudging, all of my friends preferred the smoother prints made from G11 photos.

Avoid underexposure and the G11 can produce beautiful ISO 800 JPEGs that are suitable for beautiful prints of at least 8.5x11" in size. This is a dramatic improvement over the G10. (f/2.8; 1/30 sec.; JPEG optimized for printing) ©2009 Peter K. Burian

No camera with a small 7.6 x 5.7 mm sensor produces perfect images at ISO 1600, but the G11 is much better at this level than the G10. Color saturation is very low, but that can be boosted in-camera or with software. While chroma noise and noise reduction artifacts are visible in images viewed on a monitor, letter-size prints made from well-exposed JPEGs – after sharpening – are really quite decent.

The same size prints made from  G10 photos are very grainy, although fine lettering – smudged in G11 photos – can be deciphered thanks to the higher resolution. Even so, my friends rated the (ISO 1600) 5×7″ prints from the new G11 as “very nice”.

Well exposed JPEGs made at ISO 1600 are suitable for very good 5x7" prints. Use RAW capture instead -- and apply the optimal levels of Noise Reduction in the DPP software -- and you should be able to make decent 8x10" prints. (f/2.8; 1/50 sec.; image optimized for printing.) ©2009 Peter K. Burian

The G11 offers an ISO 3200 option but that should rarely be needed. Even inside dark cathedrals, I was able to get sharp photos using ISO 1600. While the shutter speeds were quite long, the camera’s image stabilizer is very effective, particularly in the Continuous IS Mode. This feature provided up to a four-stop-benefit in terms of compensating for camera shake. When I braced the G11 against something solid, I was able to get sharp photos at 1/4 second in the 50mm to 60mm equivalent focal length range.

During testing, I found that I was able to make photos without blurring from camera shake at relatively long shutter speeds thanks to the effective Image Stabilizer. That helped to minimize the need for high ISO levels. (ISO 200; 1/13 sec.; 80mm equivalent focal length.) ©2009 Peter K. Burian

Since ISO 3200 is an important new G11 feature, I did try this level but found serious problems caused by artifacts and chroma noise. The JPEGs are soft and “mushy” due to excessive noise reduction that causes obvious blurring of details; there’s also a significant loss of color saturation and some blotchiness. Dynamic range is also very narrow. Most viewers of my prints considered 4×6″ to be about the largest print size that is still acceptable.

As you might expect, it’s preferable to use RAW capture at high ISO. Unlike the camera, the Digital Photo Pro software offers full control over Noise Reduction. Separate tools are available for chroma and luminance noise making it easy to achieve the optimal effect. For the best results in DPP, set Sharpening to a lower level than the default. Later, after modifying the image as desired in Photoshop or other software, apply a sharpening utility with some expertise for the best possible prints.

The first Canon G series camera with an ISO 3200 option, the G11 produces very smooth full resolution JPEGs at this sensitivity level. The JPEGs are suitable for 4x6" prints; use RAW capture mode - and advanced sharpening techniques - and you may be satisfied with 5x7" prints. (f/3.2; 1/60 sec.) ©2009 Peter K. Burian

The Bottom Line

The PowerShot G11 certainly offers benefits at high ISO over the G10 at ISO 800 and at ISO 1600, and can provide acceptable quality at ISO 3200. While higher sensitivity levels are possible too in a special mode,  resolution reduces to 2.5 megapixels and the  JPEGs are suitable only for web use.

The G11  would be ideal if Canon had included user-selectable levels control for noise reduction in JPEG capture. While JPEGs look fine especially at ISO 800, the best results at higher ISO call for RAW capture and tweaking with the Digital Photo Pro converter software; since this is a high-end digicam targeting serious shooters, that’s not a major drawback. Experienced photographers often tend to select RAW capture mode — with any camera — for the best quality and the latitude in making non-destructive image adjustments.

Since the G11 employs a much smaller sensor - with tinier photosites - than the Micro Four-Thirds cameras, it cannot compete with the larger E-P1, E-P2 or GF1 at very high ISO levels. Even so, the G11 produces surprisingly fine quality, especially at ISO 800. (G11; JPEG; f/2.8; 1/13 sec.) ©2009 Peter K. Burian

But how does the PowerShot G11 compare to the Micro Four Thirds cameras? Models like the Olympus E-P1 or P-2, and the Panasonic Lumix DMC-GF1 are the strongest competitors. Frankly, they do have an edge in high ISO quality due to their much larger 18 x 13.5mm sensors and oversized photosites. Particularly the Olympus models provide visibly better results at high sensitivities. When testing the E-P1, I found that ISO 800 produced gorgeous 11×15″ prints. Digital noise speckles were more obvious at ISO 1600, but well-exposed images were suitable for very nice 8×10 glossies.

Anyone who will often shoot at high ISO levels would be well served by either of the Olympus Micro Four-Thirds cameras. (The DMC-GF1 is not as impressive at high ISO but produces superb quality at lower sensitivities.) However, the E-P cameras are much larger than the PowerShot G11 particularly when equipped with the 28-84mm equivalent zoom lens. Aside from a size/weight benefit, the G11 is also equipped with an optical viewfinder, unlike the E-P1, E-P2 or the DMC-GF1. The last two of those cameras do accept an electronic viewfinder accessory, but that makes them even less pocketable.

Perhaps the strongest competitor for the PowerShot G11, the Olympus E-P2 is not equipped with a built-in flash or a viewfinder. Add either of those accessories and the camera - with the kit zoom lens - will be even larger. By comparison, the G11 is quite compact and more portable.

Conclusion

The Canon PowerShot G11 is a very desirable camera in terms of its great versatility, rugged construction, fine image quality and portability. And the built-in 28-140mm lens is impressive in all aspects: high edge-to-edge sharpness, little distortion and minimal chromatic aberration. While it’s not super fast, the G10 provides excellent burst depth even in RAW capture mode. In my estimation, this 10MP PowerShot model will be as successful as its predecessor in attracting long-time photographers due to its classic styling and controls, high resolution articulated LCD and a feature set that targets the experienced shooter.


For full specifications, visit: the PowerShot G11 page on Canon’s website
For pricing information (about $440) and user reviews: check out   B&H and   Amazon and   Adorama

I need some advice about using RAW capture mode. I have just started shooting in RAW mode but after some research on the Internet, I still have some questions about RAW. Why won’t Photoshop CS3 or Elements 7 open and convert the RAW files from my EOS T1i? Also, when using the Canon DPP software, should I save the photos to an 8-bit Tif or a 16-bit Tif. L.V.

Answer

The software that’s bundled with any DSLR certainly supports the unique RAW format produced by that camera. However, versions of Photoshop that are older than CS4 – such as CS3 – do not support the newer cameras’ formats.

That’s because Adobe ceased supporting the older versions. Both Elements 6 and 7 do support the RAW files produced by most of the recent cameras, including the T1i. Anyone who cannot open a RAW file with Elements 6 or 7 will need to download and install the Adobe Camera Raw plug-in version 5.5. See Adobe for the download and for installation instructions. (Photoshop CS4 owners should note that they may also need version 5.5 or later.)

All versions of Photoshop Elements - since version 6 - can support all of the latest DSLRs' RAW formats. Of course, with newer cameras, that may require installing the latest version of the Adobe Camera Raw plug-in. ©2009 Peter K. Burian

The default with any RAW converter is 8-bit per channel color depth when converting to the TIFF format from a RAW file. Most converter programs also allow you to select 16-bit TIFF. A 16-bit image contains substantially more colour and tonal values: over 4000 intensity levels vs. 256 levels for each pixel. That allows for making more significant changes to an image without posterization: a loss of smooth gradations in tone and color.

On the other hand, stick to 8-bit TIFF unless your image editing software provides a great deal of compatibility with a 16-bit file, such as Lightroom, Aperture 2.2, Photoshop CS3 and CS4.

Whether you use the camera maker's software, Photoshop Elements or just about any other versatile converter, you can save a TIFF file in either 8-bit or 16-bit color depth. The latter has benefits but only for those who own image editing software with extensive support for 16-bit files. (Canon Digital Photo Pro screen) ©2009 Peter K. Burian

After your 16-bit file looks perfect – and will need no further adjustments – convert it to 8-bit. (With CS3, you can do so with this command: Image > Mode > select 8-bits/Channel.)

I recommend this step because 16-bit files are huge: twice the size of 8-bit files. Unless you have vast amounts of storage space in your computer (or an external hard drive), you’ll prefer to store the much smaller 8-bit TIFF photos.

You should also print from an 8-bit TIFF. While some software (such as Aperture 2.2) allows for printing from a 16-bit file, Adobe products do not. Even if they did, there is really no great value in printing from the 16-bit TIFF; this is another reason why you may want to save only 8-bit files.