Isn’t it great when a company puts out a product that’s not only better than the one it replaces, but superior in some ways to higher-end models? Take Epson’s new Stylus Photo R1900 ($530, street). Not only does it replace the popular, and aging, Stylus Photo R1800, but it may eat into sales of the Stylus Photo R2400 ($700, street).

We say that based on the print and performance results we got in the Pop Photo Lab, where the R1900 set a new record for color accuracy and wide color gamut. It also popped out 13×19-inch borderless prints on Premium Glossy photo paper in only 4 minutes, 20 seconds — much faster than the R1800 (6 min, 48 sec), though still not as fast as Canon’s Pixma Pro9000 (2 min, 27 sec).

While the Canon may make prints faster, the R1900, like its predecessor, makes longer-lasting ones. According to Wilhelm Imaging Research (www.wilhelm-research.com), color and black-and-white prints on Epson’s Watercolor Radiant White paper will resist fading for up to 200 years on display under glass, about twice as long as what Canon claims for the dye-based Pro9000.

Like its predecessor, the R1900 makes borderless prints up to 13×44 inches using roll media, handles cut-sheet and thick fine-art papers up to 13×19 inches using two paper paths, and prints on coated CDs and DVDs.

Then there are the improvements: The R1900’s permanent MicroPiezo AMC print head now has the same ink-repelling coating the more-expensive Stylus Pro 3800 has. Epson says this prolongs the head’s lifespan and shortens cleaning cycles, saving a bit on ink costs over time (though we didn’t test this). A colorimetric calibration of the print head at the factory helps the accuracy of color profiles supplied with the R1900 or downloaded from the Epson website. In addition, it has a built-in sensor for automatic print-head alignment and nozzle checking.

One reason for the increased speed may be Epson’s new, faster-drying UltraChrome Hi-Gloss 2 pigment inks. The R1900 is loaded with eight cartridges-cyan, magenta, yellow, matte-black, photo-black, plus an enhanced gloss optimizer and new red and orange inks that replace the R1800’s red and blue inks.

Epson claims the new inks improve skin tones and expand the color gamut. We agree. In a variety of print samples, skin tones were incredibly accurate, making this an ideal portrait printer (and it’s light enough to tote to a wedding reception). The new ink cartridges also contain small glass beads, designed to increase shelf life.

More important, the color gamut on the R1900 is larger than on any printer we’ve tested, earning an Excellent rating. Based on our analysis using ColorThink Pro 3.0 test software, the R1900 produced a gamut volume of 708,000 color units on Epson’s Premium Glossy photo paper, compared with the R1800’s 675,000 and the Canon Pro9000’s 638,000 color units (using Photo Paper Pro Glossy). In practical terms, this means that the R1900 can reproduce more of the colors captured by today’s flatbed scanners and DSLRs, especially from RAW images converted to 16-bit TIFF files and saved in Wide Gamut or ProPhoto RGB color space.

Not surprisingly, considering the new orange ink, the R1900 does a better job than the R1800 in printing medium-to-dark reds and oranges. The Canon Pro9000 can produce a more-saturated bright yellow and dark purple, but, in nearly all other color areas and especially in darker shades, the R1900 has the advantage.

Like the R1800, the R1900 uses only six colors at a time to make a print, since the loaded photo- and matte-black inks automatically alternate based on the paper surface. Also, we don’t count the enhanced Gloss Optimizer as a color since it’s really a clear overcoat. It helps to darken deep blacks and improve color saturation even on glossy photo papers, and it adds a layer of protection and a glossy appearance to all types of plain and matte papers.

The company also added Radiance Technology (co-developed by RIT) to the printer driver. It’s based on mathematical models that control the placement of ink dots for maximum color accuracy and saturation. Epson says it reduces grain and improves color transitions; we noticed how prints made at much-lower-resolution settings than we usually recommend (e.g., 8×10 inches at 120 ppi instead of 200 ppi) looked far better than expected.

The Radiance algorithms might also be the reason behind the improvement in black-and-white prints made from color images. The R1800 showed lots of color casts with these, but the R1900 did a great job — nearly as good as the R2400, which has a more sophisticated black-and-white driver.

As for its design, the R1900 looks more like a smaller Stylus Pro 3800 than an upgraded R1800, with prominent panel controls on top instead of buttons on the side. A really nice touch? Two Hi-Speed USB connectors in the rear so that two computers can be attached at a time.

Now, if only we could figure out how to cut the cost of ink in half (at $13, street, per cartridge, it adds up), this printer would never fade from our sight — just like the beautiful enlargements it produces.

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Nikon hit the bull’s-eye with its entry-level 6.1MP Nikon D40 and 10.2MP D40x DSLRs. The low price and high performance of both cameras lured scores of compact-shooters into the Nikon DSLR fold. Now, Nikon is predicting that its latest model, the 10.2MP D60 ($749, street, with 18-55mm f/3.5-5.6G Vibration Reduction AF-S DX Nikkor lens), will be an even bigger hit.

The D60 looks just like the D40x, it has the same-megapixel sensor, and the two share an autofocus system, LCD monitor, and battery. Is there enough that’s new to justify the upgraded moniker?

Yes. But considering the heated competition in this category from Canon, Olympus, Pentax, and Sony, it’s too soon to say whether the D60 will become the new entry-level leader. One thing’s for sure — now that Nikon has joined the ranks of shake-beating DSLRs by making the VR lens standard, and priced the kit for less than the D40x body alone, the D60 will be a strong contender.

After running a D60 through our battery of tests in the Pop Photo Lab, we noticed several performance improvements over the D40x. (See our test of the earlier camera). Nikon didn’t gut the D40x; instead, it improved it and added new components.

For starters, the D60’s new EXPEED processor is a close cousin of the one in the Nikon D300, Popular Photography’s 2007 Camera of the Year. According to Nikon, this provides a startup time of only 0.18 sec, more sophisticated image-quality controls (including Active D-Lighting to bring out detail in dark shadows), advanced JPEG compression algorithms, and a speedy 3 frame-per-second continuous burst capability (when used with a fast SDHC card).

HIGHER POWERS

With an Excellent rating on JPEGs from ISO 100 to 1600, the D60’s image quality tested slightly better than the D40x’s. That’s impressive, since the D40x also had Excellent image quality up to ISO 1600.

Both models capture Excellent resolution — the D60 delivered 2050 lines at ISO 100, typical for a 10.2MP sensor and sharp lens, while the D40x showed 2075 lines. Color accuracy: Excellent.

The D60 steals the low-noise award from the D40x (again, on JPEGs for both). At ISO 100, noise was nearly invisible (Extremely Low, our best rating). By ISO 800, noise crept up to Very Low. Built-in noise reduction dampened resolution by just 5 percent: It hit 2050 lines at ISO 100 and 1950 lines at ISO 1600.

At the boosted ISO level that Nikon says is equivalent to ISO 3200, the noise rating climbed to Moderate, but was noticeably high in shadow areas, pulling down image quality at that ISO to Extremely High. Again, that’s similar to the D40x — still, the D60’s noise control was superior, and well beyond that in JPEGs from the recently tested Sony Alpha 350 ($800, body only).

That its stellar ratings are for JPEGs is great for the many D60 buyers who will be new to the world of RAW. While resolution and color accuracy results from NEF RAW files (converted using Nikon’s supplied ViewNX software) were nearly identical to JPEGs and also earned Excellent ratings, ViewNX doesn’t do a great job at controlling noise levels, which is why our test results are based on Fine-quality JPEG images. RAW-to-TIFF noise levels were higher at all ISOs, starting at Very Low (1.4) and reaching Moderate (2.5) by ISO 800. By ISO 3200, RAW images were Unacceptable (3.2).

If you opt for Nikon’s Capture NX software ($129, street) you’ll be able to control noise with far better results, as well as make local adjustments using the U-Point controls.

Another option for RAW shooters: The D60 lets you develop RAW images in-camera, adjusting exposure settings such as white balance, resolution, and contrast, before storing the results as JPEGs. Every DSLR should have this feature — it cuts the need to shoot RAW + JPEG, which slows the burst speed and gobbles memory.

We decided to check out how well the camera converted RAW to JPEG, and found that it did a slightly better job at high ISOs. It also allowed us to save Fine-quality JPEGs — a real benefit since you can save only Basic-quality JPEGs when shooting in RAW + JPEG mode. So if you don’t want to shell out extra for Capture NX, use the camera’s RAW conversion controls instead of the ViewNX software.

NEW TALENTS

The D60 includes all of the image controls and presets that made the D40x a hit, such as ± 5-stop exposure bracketing (ideal for high-dynamic-range shooting), white-balance fine-tuning, flash compensation, 3D Color Matrix Metering II, and several Digital Vari-Program modes. You can remove redeye from images, add color-filter imaging effects, and even turn on Active D-Lighting to improve the shadow and highlight details in high-contrast scenes.

New creative tools include a star-effect filter that works like an optical filter — only you can select the number of points and quality of the star. There’s also a unique stop-motion animation function: Shoot a burst of still images, select the first and last in a sequence, and use the camera to create a video that can be played back in-camera at rates of up to 30 frames per second and resolutions of up to 640×480 pixels per frame (VGA quality — perfect for those wedding-cake-eating (or smearing) events that look great when played back on a television or on the camera’s LCD.

In addition to accepting higher-capacity (and generally faster) SDHC cards, as well as standard SD cards, the D60 is the first DSLR to expand support of the 2GB Eye-Fi wireless card ($100, street). This device lets you upload captured images wirelessly, and automatically, to your computer or to photo-sharing websites such as Kodak’s EasyShare Gallery.

When you use an Eye-Fi card, the D60 adjusts its power and sleep modes to ensure that image uploads from the card will be completed. However, there’s no way to turn off the card’s Wi-Fi transmission (a potential battery drain, even when you’re not uploading), and you need a computer to help set up Wi-Fi partnerships.

UPGRADES IN FOCUS

While the EXPEED processor speeds up many functions within the D60, Nikon makes no claims for it regarding the speed of the autofocus system. But it may help explain why the D60, with the same Multi-CAM 530 AF sensor as the D40x, focused 1/10 sec faster at all tested EV levels from 12 to -1.

Some of the credit might go to the new 24-70mm f/2.8 Nikkor AF-S lens we used in our AF tests. (Unfortunately, the 50mm f/1.4 Nikkor we’ve used in other AF tests isn’t compatible with the D60’s AF system, although it can be focused manually, as can all non-AF-S Nikkor glass. So far, Nikon hasn’t released a replacement prime lens with an f/1.8 or f/1.4 maximum aperture.) In any case, the AF system on the D60 is fast and sensitive in low light. But with just three zones, don’t expect it to track action as well as the 9-zone Nikon D80 or competitors with more AF zones.

Mechanically, there are two major improvements on the D60. The integrated dust-reduction system borrows one element from the Nikon D300–a vibrating Optical Low-Pass Filter (OLPF) in front of the CCD imaging sensor that shakes off dust. In addition, the D60’s innovative Airflow Control System directs a small burst of air towards the sensor every time the mirror-assembly is raised and lowered during exposure.

Another mechanical improvement: the eye sensor under the optical viewfinder, which automatically turns off the LCD when an eye nears it. Unlike a similar mechanism on the Sony A350, though, it can’t be set to activate AF

Although the D60’s pop-up flash doesn’t include the wireless flash commander mode of the D80, the camera does support wireless flash control when using the optional dedicated SB-800 Speedlight or SU-800 wireless flash controller. We’ve been spoiled by the wireless flash and easy-to-access external controls on Nikon’s more expensive D300 and D80, and we had to get used to the slower pace and menu-driven approach of the D60.

But its intended audience — first-time DSLR owners — will be thrilled when they see how much faster and more capable this camera is than any digital compact. Its menu controls are extensive, though you can leave them in a simple mode, selecting up to four colored backgrounds, and saving custom settings for different photographers. Plus, as on the D40x, all functions can be demonstrated with the help of thumbnail photos on the LCD.

In all, for those ready to make the leap from a compact to a DSLR, the D60 is a great place to land.

Imaging: 10.2MP (effective) CCD captures 3872×2592-pixel images with 12 bits/color in NEF RAW format.

Storage: SD and SDHC cards. Stores JPEG, RAW, or RAW + Basic JPEG.

Burst rate: Continuous Fine-quality JPEGs at 3 fps (tested with Kingston 16GB SDHC card).

AF system: TTL phase detection system with 3 selectable AF zones and red activation lights. Single-shot, continuous, and AF autoselect, predictive focus tracking. Sensitive down to EV -1 (at ISO 100, f/1.4).

Shutter speeds: 1/4000 to 30 sec plus B (1/3-EV increments).

Metering: TTL metering with 420-segment RGB sensor. 3D Color Matrix II evaluative metering, centerweighted (8mm circle), and spotmetering (approx. 2.5 percent of viewfinder). EV 0-20 (at ISO 100).

ISO range: 100-1600 (in 1-EV increments, plus boost to ISO 3200).

Flash: Built-in pop-up with i-TTL autoflash and 420-segment RGB sensor, GN 39 (ISO 100, feet). Flash sync at 1/200 sec. Dedicated hot-shoe.

Viewfinder: Fixed eye-level, penta-Dach mirror.

LCD: 2.5-in. TFT with approx. 230,000-dot (77,000-pixel) resolution.

Output: Hi-Speed USB 2.0 and video. PictBridge compatible.

Batteries: EN-EL9 Li-ion rechargeable; 520 single-frame shots per charge (CIPA rating).

Size/weight: 5×2.5×3.7 in., 1.22 lb with card and batteries (body only).

Street price: $749 with 18-55mm f/3.5-5.6G VR AF-S DX Nikkor lens.

For info:www.nikonusa.com.

VIEWFINDER TEST

Accuracy: 97% (Excellent)

Magnification: 0.81X (Very Good)

COMPETITIVE SET

• SONY Alpha 350 with 18-70mm f/3.5-5.6 DT AFkit lens ($900, street)

$150 more gets you a DSLR with Super SteadyShot image stabilization that works with any Sony or Konica Minolta lens. The Alpha 350’s AF system also works with all Sony and most KM lenses, while the Nikon AF only works with the latest AF-S lenses. The Nikon D60 captures images with slightly less resolution than the A350 (2050 vs. 2150 lines) despite the Sony’s higher 14.2MP sensor, but at a faster 3 fps burst rate compared with 2.5 fps on the A350. The D60’s JPEG noise control tested better at all ISOs up to 3200; however, the A350 produced less noise at high ISOs when shooting RAW (converted to TIFF with supplied software). As with the Sony, the D60’s dynamic range can be adjusted using Nikon’s D-light adjustments. The A350’s 9-point AF system is more sophisticated, has better tracking capability, and is slightly faster than the Nikon’s in bright light. The D60 viewfinder offers superior magnification and eye relief, while the Sony has a larger 2.7-inch, live-view LCD with fast live-view AF.

• PENTAX K200D with 18-55mm f/3.5-5.6 SMCP-DA kit lens ($800, street) Priced closer to the Nikon, the K200D may be a much tougher competitor — literally. It has a more rugged body, with a stainless-steel chassis and dust- and weatherproof seals. Plus it offers a sensor-based shake reduction system that works with all Pentax lenses, and a more sophisticated 11-point AF system (again, with a wider range of AF-compatible lenses than the Nikon). Downside: It uses regular AA batteries, while the Nikon comes with a rechargeable Li-ion. We haven’t tested the K200D yet, but it has a similar-megapixel CCD sensor and a wide variety of image controls. Its claimed burst rate, 2.8 fps, is slightly slower, and ISO goes up only to 1600. Previous models lead us to expect low noise and great color.

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What’s in a name? With DSLRs, not much. Case in point: Sony’s new Alpha 350 ($800, street, body only; $900 with 18-70mm f/3.5-5.6 Sony DT lens). Based on quick math, you might guess it’s half the camera the Alpha 700 ($1,300, body only) is. But the A350 actually boasts a higher-megapixel (14.2) sensor than the A700, plus several conveniences such as a tilting LCD and a live-view mode with fast autofocusing.

Then again, Sony didn’t design the A350 to compete against advanced DSLRs such as the A700. It’s geared toward photographers coming from digital compacts, who may be drawn to its live view, high megapixel count, compact size, and friendly price. The A350’s closest competitors in terms of megapixels, the 14.6MP Pentax K20D and Samsung GX-20, both cost $500 more. The Canon EOS Rebel XSi, priced similarly to the A350, offers 12.2MP. And the less-expensive Nikon D60 and Pentax K200D pack 10.2MP.

Experienced DSLR shooters know that megapixels don’t tell the whole story, and the A350 confirms this. In Pop Photo Lab tests, the A350’s APS-sized 14.2MP sensor delivered less detail (average 2150 lines of resolution at ISO 100-800) than the 12.2MP Sony A700 (2280 lines). Resolution was significantly below the 2350 lines of the Pentax K20D at ISO 100, and nearly the same as the Pentax at ISO 6400 with noise reduction on. (Indeed, the Sony captured detail on par with the 10.1MP Canon EOS 40D.)

Still, the A350’s resolution, combined with Excellent color accuracy (Average Delta E of 6.9) and Extremely Low noise at low to moderate ISO settings, helped the camera achieve an Excellent image quality rating at ISO 100-800.

Detail heads south quickly if you set the camera to ISO 1600 or 3200, where the shadows and midtones require cranked-up noise reduction — especially in JPEGs. RAW shooters will have plenty of choice, control, and better results at all ISOs when converting to TIFFs or JPEGs using the included Image Data Converter SR Version 2 software.

At ISO 1600, we set the noise reduction slider to 50 (on a 0-100 scale) and got a Low noise rating, while resolution dropped nearly 20 percent to 1730 lines, just making an Excellent rating. To keep noise under control at ISO 3200, especially in shadow and midtone areas, we slid NR up to 100 and watched resolution drop further to 1530 lines. That’s still an Extremely High rating, and overall image-quality results at these ISOs followed a similar trajectory.

STEADY AS SHE GOES

While noise performance at high ISOs doesn’t come close to the latest DSLRs we’ve tested, Sony has another low-light weapon: Super SteadyShot image stabilization. Based on our DxO Analyzer 3.1 Blur tests of A350 images shot using a 100-300mm zoom set to 200mm, this sensor-shift system delivered between 2.5 and 3 stops of improvement, similar to the A100 and slightly less than the A700.

So while you might have to crank up the ISO to get a good exposure in low light on the Canon and Nikon, or spend more on image-stabilized lenses for them, you can slow the A350’s shutter speed a few stops without needing a tripod.

Most of the A350’s competitors boast a slightly faster burst mode of 3 or 3.5 frames per second. We got a continuous rate of 2.5 fps for Fine-quality JPEGs using a super-fast CF card, the 4GB SanDisk Extreme Ducati (rated at 45MB/sec). We captured up to 7 RAW images at 2.1 fps (better than the 6 Sony claims). There’s no RAW + JPEG burst, and in that mode JPEGs can be set only to Large/Fine quality.

In our field tests, the Sony’s 40-zone metering system proved fast and accurate, except in very low light below EV 2. Menus were easy to navigate, and we readily accessed important exposure adjustments with the press of the function button.

Image-quality controls are extensive, and include Sony’s proven Dynamic Range Optimizer (DRO) for expanding highlight and shadow details in high-contrast scenes. (The included conversion software also allows you to apply advanced DRO settings to RAW files.) Adjustments can be made to all white-balance presets (including flash), and you can select Kelvin temperature or custom settings. Access to the exposure and white-balance bracketing adjustments is tricky — you have to press the self-timer/motor drive button and scroll down the menu to find them.

Soccer moms and Nascar dads will like the speed and sensitivity of the A350’s autofocus, as will anyone who uses live view. The 9-zone AF system has only one cross-type sensor in the center, but it’s extremely fast in bright light, very fast in low light from EV 4 to EV 0, and respectable in dim light at EV -1 (its limit). To compare, the Canon EOS Digital Rebel XTi is faster in low light below EV 0, and its AF can still lock onto detail at EV -2.

SONY’S AUTO-FOCUS ADVANTAGE

The Sony’s real AF advantage becomes obvious in live view. In addition to the imaging sensor, a second, lower-resolution sensor sends a live signal to the LCD. While this two-chip system is similar in concept to that of the groundbreaking Olympus Evolt E-300, the Sony has a unique two-mirror design that lets light hit both the imaging sensor for live view and the AF array simultaneously. That means AF occurs at nearly the same speed when you use live view as when you use the optical viewfinder — there’s no delay while the mirror swings up and down as with the live-view AF systems on competing DSLRs.

To keep the A350 compact, Sony fit the normal optical viewfinder path under the additional live view path. In our opinion, that compromised the design of the optical viewfinder, resulting in a tunnel-vision effect, Acceptable magnification of 0.74X, and a tiny, hard-to-read data display. Most other APS-sensor DSLRs in this class deliver 0.85X or greater magnification, plus better eye relief.

TILT THAT LCD

Sony was smart to give the 2.7-inch LCD some wiggle room. Using the tilting monitor, photographers should be able to compose and shoot steady waist-level shots or capture images while holding the camera overhead. But the LCD doesn’t rotate away from the body or forward for self-portraits, unlike the Panasonic Lumix DMC-L10K and Olympus E-3. Nor can you fold it inward to protect the screen.

Rotate the A350 to a vertical orientation, and the data display follows. Hold in the display button for a few seconds and the LCD brightness adjustment appears, and the display shuts off immediately when your eye approaches the optical viewfinder. As on earlier Sony models, looking through the viewfinder also triggers an AF-activation mode, but we usually keep this turned off to prevent battery drain.

During live view, the LCD can be set to display exposure information, a live histogram (with RGB colors), or AF points with highlight indicators. You can also zoom in for manual-focus adjustment. These features, and the responsive live-view AF, should appeal to those who prefer an LCD to an optical viewfinder.

The A350 also has a “Smart Teleconverter” mode — that is, digital zoom. Activated by pressing the display button, it zooms in to either 1.4X (7.1MP) or 2X (3.9MP). Again, since most compact cameras do the same, this function may appeal to point-and-shooters who are stepping up. But digital zoom is still digital zoom, no matter what it’s called — and you’re better off cropping in the computer.

GRAB IT, IT GRABS YOU

In terms of ergonomics and controls, the A350 has much in common with Sony’s new entry-level A200. It’s nicely balanced, the grip is more comfortable, and it feels solid and well built. Unlike the Olympus E-510, Pentax K20D, and Sony’s pro-level A700, the A350 doesn’t sport weather and dust seals, but it does include a dust-repelling sensor coating and a sensor-shake function to help dislodge dust.

A new button on top allows you to switch quickly between optical viewfinder and live view. A knurled dial on the left gives quick access to exposure modes and seven image-preset modes (including night view, portrait, and sunset), all of which can be adjusted. But we wish the buttons to activate exposure compensation or AE lock were raised instead of flush to make them easier to find with cold or glove-clad fingers.

Sony carries forward on the A350 the ability to control external flash units with the pop-up flash — a great feature that has yet to show up in any Canon DSLR. You can adjust the pop-up’s output, though only through the menus, not by a dedicated button (as for ambient exposure). In ADI flash mode, you can also set the A350 to ignore reflections and combine lens information and ambient light to make a balanced flash exposure.

Still, we suggest buying an accessory flash unit such as Sony’s HVL-F56AM or F36AM ($310 and $200, street, respectively). This would not only enable wireless control and high-speed flash sync, but would prevent redeye and lens shadows — a common problem on the A350 due to the short height (less than an inch) of its pop-up flash.

MOVING ON UP

In all, the A350 has impressive features, specs, and price. But it’s still too early to tell whether it will lure serious shooters away from the new Canon EOS Rebel XSi or Pentax K200D. Though we haven’t tested them yet, both promise to control noise well in low light and high ISOs. And the Canon is likely to capture more detail.

As for stealing customers from Sony’s own A700? We doubt it. That camera will continue to attract hard-core shooters. The A350 is aimed at those moving up from a compact or for those who want (and can afford) more from an entry-level DSLR than Sony is offering in its new A300 ($600, estimated street, with 18-70mm f/3.5-5.6 lens), Nikon in its new D60 ($630, street, body only), or Olympus in its new E-420 ($500, estimted street, body only). For such photographers, the A350’s increased image quality and overall performance will be amazing, and the extra features — especially live view — will be reassuringly familiar.

VITAL STATISTICS

Camera Test: Sony Alpha 350

Imaging: 14.2MP effective CCD sensor captures images at 4592×3056 pixels with up to 12 bits/color in RAW mode.

Storage: CompactFlash Type I/II; Microdrives, and MS Duo using optional CF adapter. Stores JPEG, RAW, and RAW + JPEG files.

Burst rate: Fine-quality JPEGs: 2.5 fps continuous with fast CF card, up to 7 RAW at 2.1 fps (tested).

AF system: 9-point TTL phase-detection AF with diamond pattern, center cross-type sensor with 8 linear sensors. Single-shot and continuous AF with fore/aft and across-the-frame tracking. Sensitive down to EV -1 (at ISO 100, f/1.4, tested). Live-view AF uses 9-point AF system with no mirror-lockup delay.

Shutter speeds: 1/4000 to 30 sec plus B (1/3-EV increments).

Image stabilization: Sensor-based, works with all lenses.

Metering: TTL metering with 40-zone evaluative, multi-segment, centerweighted, and spotmetering (approx. 8% of viewfinder). 1200-zone metering in live-view mode. EV 2-20 (at ISO 100).

ISO range: 100-3200 (in 1-EV increments).

Flash: Built-in pop-up unit with TTL autoflash with ±2EV exposure compensation (1/3-EV increments), GN 39 (ISO 100, feet), covers 18mm lens field of view. Flash sync to 1/160 sec. Dedicated Sony/Minolta hot-shoe and wireless control of optional flash.

Viewfinder: Eye-level, fixed penta-Dach mirror. 96% accuracy with 0.74X magnification.

Live view: Pentamirror tilt mechanism with separate sensor.

LCD: 2.7-in. transflective TFT with 230,000-dot (77,000-pixel) resolution.

Output: Hi-Speed USB 2.0, NTSC video. PictBridge and PIM III compatible.

Battery: Rechargeable NP-FM500H InfoLITHIUM M; CIPA rating, 730 shots, 50% with flash. 410 shots with live view on.

Size/weight: 5.25x4x3 in., 1.49 lb with card and battery.

Street price: $800, body only; $900 with 18-70mm f/3.5-5.6 Sony DT lens.

For info: www.sonystyle.com.

COMPETITIVE SET

• Canon EOS Rebel XSi ($800, street, body only) Without testing it, we can’t assess image quality. The Rebel has more sophisticated AF, with cross-type sensors, plus a better optical viewfinder and faster burst of 3.5 fps (Sony’s is 2.5). But its 3-inch LCD doesn’t swivel, and there’s a delay when using AF in live view. And the Sony has wireless flash control and sensor-based IS.

• Pentax K20D ($1,300, street, body only) At 14.6MP the closest DSLR in megapixels, it costs $500 more. The Pentax delivers 10% higher resolution and image quality, especially at ISO 1600 and 3200. It has weather and dust seals, and its optical viewfinder, with removable focusing screens, is vastly superior. Plus, its 3-fps burst mode has a 16-shot RAW capacity vs. 7 on the Sony. But AF is slower in low light below EV 2, and there’s a mirror delay in live view.

The post Camera Test: Sony Alpha 350 appeared first on Popular Photography.

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Sometimes, albeit very rarely, a new camera comes out that makes me think: Wow! That’s amazing! Then, not too long after, the technology that knocked my socks off becomes ubiquitous.

It happened more than a decade ago when Casio first put an LCD screen on a digital camera. And now Casio has done it again with its new EXILIM Pro EX-F1 ($999, estimated street).

What? Almost a grand for a 6-megapixel, electronic-viewfinder model? That’s expensive, considering the crowd of competitively priced 10-14MP DSLRs. Sure, the Casio packs an image-stabilized, 12X, f/2.7-4.6 zoom lens, and such goodies as the ability to shoot high-definition movies at 1920×1080-pixels per frame with stereo sound. It also includes an HDMI jack (cable optional), a hot-shoe for mounting an external flash or video light, and a jack for an accessory microphone. But at this point, we’re starting to expect that kind of stuff.

No, what’s truly unique — and really quite amazing — about Casio’s new camera is its ability to capture full-sized images at up to 60 frames per second and shutter speeds up to 1/40,000 sec.

Don’t think 60 fps is fast enough? Then switch to video recording mode and capture lower-res 512×384-pixel images at 300 fps, or thumbnail 336×96-pixel images at a blazing 1200 fps. That kind of frame rate can give you fantastic slow-motion footage that is great for analyzing high-speed events. Want to pick apart your golf swing? Or capture an exploding water balloon? This is your camera.

How does this 6MP camera pull off this kind of stop-action photography? With help from a new generation of image processors, a newly developed CMOS sensor, and lots of built-in RAM memory, Casio found a way not only to capture images at a burst rate of 60 frames per second off the sensor, but also store as many as 60 frames in the RAM buffer prior to storing on the removable SD or SDHC card.

This allows you to scroll rapidly through the 60 frames using the camera’s 2.8-inch LCD monitor to choose only the ones you want to keep. Or you can set the burst rate from 1 to 59 fps to extend the time covered by the burst. Dialing down the burst speed also allows you to use the EX-F1’s pop-up flash at up to 7 fps (another first).

Not a fast enough flash? A lower-powered LED light fires at between 10 and 60 fps, but works only for subjects close to the camera.

My favorite setting is a new (as yet unnamed) mode that I call “Before and After.” In the first variation, the camera continuously captures 6MP images at 60 fps, emptying out and refilling the buffer until you press the shutter. At that point, it stores the 60 frames taken prior to shutter release, giving you a 1-second window to capture the perfect moment. Or it can be set to capture 30 frames prior to shutter release and 30 frames after.

It will be interesting to see what creative photographers willing to push the envelope will do with the EX-F1. And I’m looking forward to the day when this technology migrates to a more affordable Casio compact — or even to a DSLR.

Will I someday be able to capture that mystical green flash I once saw at sunset in the middle of the Atlantic Ocean? Only time will tell.

Ask Mike

Q. I print lots of borderless photos on my inkjet printer, but important edge detail is often cropped by the printer. How do I stop that from happening?

A. Nearly all software print drivers have a borderless expansion slider. Move it from max to min (or in between) to retain edge details.

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Serious photographers tend to look down on compact cameras. But would they change that attitude for one that delivered the same image quality as a DSLR, yet allowed them to travel light? Sigma believes so — and that they’ll pay a premium for its new compact DP1 ($800, street).

It’s too soon to say whether the DP1 — with its handsome good looks, single-focal-length lens, and slip-on, rangefinder-style viewfinder — will garner a cult following like the classic 35mm Contax T2 and Konica Hexar compacts, more recent high-end digital compacts such as the Ricoh Caplio GX100 and Panasonic Lumix DMC-LX2 (a less-expensive version of the Leica D-LUX 3), or even Sigma’s own SD14 DSLR. But we couldn’t wait to put the DP1 to the test in the Pop Photo Lab and the field — especially after waiting a year and half for it since it was announced.

The delay was predictable, as Sigma was very deliberate in developing the DP1. It has a tough, yet slim, die-cast aluminum body (though no weather or dust seals), a 9-zone (all cross-type) autofocus system, and full manual metering and exposure controls. Most important, it’s the first compact to use a DSLR-sized sensor.

UNCOMMON SENSOR

Most compacts use smaller CCD or CMOS sensors (usually 7-9.5mm diagonally) whose pixels are just 2-3 microns wide, and use a striped or Bayer-pattern RGB filter array to help create a color image from black-and-white-sensitive pixels. At 24.9mm diagonally, the DP1’s Foveon X3 Direct Image sensor measures far larger than most compact camera sensors. It also boasts 7.8-micron pixels (typical of 8-10MP DSLRs). Cameras with larger pixels tend to be more sensitive to light and have better noise performance at higher ISOs.

In addition, Foveon X3 sensors use a three-layered approach to capturing red, green, and blue information from a scene, similar to the layers in color film. In the DP1, each layer contains an array of 1768×2652 pixels (4.7MP), which Sigma and Foveon add together for 14.1MP. Claiming the DP1 has a 14.1MP sensor is controversial, since it’s not in keeping with certain industry standards, such as CIPA’s Effective Pixel rules, which would put it at 4.7MP.

Our Lab tests of the DP1 show that images shot in RAW and converted to TIFF files using the supplied Photo Pro 3.1 software capture 1810 lines of resolution at ISO 100. That rivals images shot with most 8-9MP compacts and DSLRs, and it’s just slightly below the Sigma SD14 (1900 lines). While not rivaling the 2350 lines captured by the 14.6MP Pentax K20D, resolution is far better than the typical 5MP camera.

The DP1 doesn’t stop there. It outguns every compact camera we’ve tested when it comes to noise control in RAW files, starting with an Extremely Low rating (1.0) at ISO 100 and topping out at Low (1.7) at ISO 800. That’s significantly better at ISO 800 than the noise levels from the 10.3MP Ricoh Caplio GX100 (Unacceptable, 3.95) and Canon PowerShot G9 (Moderate, 2.6). It even beats the Sigma SD14 at ISO 800 (Moderately Low, 2.3).

Color accuracy was also stellar, with Excellent ratings (6.4 Delta E at ISO 100) all the way through ISO 800. Shadow and highlight detail? Decent in properly exposed images, but highlights started to blow out at 1 stop overexposure and on flash-lit subjects within a few feet of the camera. Despite the slightly narrower dynamic range and exposure latitude compared with RAW images captured by most DSLRs, though, the DP1 is the first in its class to earn an Excellent image quality rating from ISO 100 to 800.

Compared with its RAW shots, the DP1’s JPEGs show slightly lower resolution, higher noise, and less shadow and highlight detail at all ISOs. It can be set to capture only either RAW or JPEG, not RAW + JPEG. If you stick to RAW for its image-quality advantage, have plenty of storage space on your computer: When using the Double Size RAW setting (we recommend it to get the most detail), 16-bit TIFF files will take up 106MB on your hard drive, due to generous interpolation. A comparable-resolution 9MP digital camera produces a 54MB TIFF at 16 bits.

LENS WORK

Given the tight space of a compact, Sigma faced its greatest challenge in designing the DP1’s 16.6mm f/4 wide-angle lens (a 28mm equivalent). The short distance between the lens and sensor in a compact can magnify distortion, chromatic aberrations, and vignetting.

Sigma kept such problems to a minimum. The lens is sophisticated, with six elements in four groups, and Super Multi Layer Coating technology to reduce distortion and chromatic aberrations. Also, the DP1’s sensor pixels include microlenses to focus light toward the edges of the sensor, minimizing light falloff. Plus, the sensor’s size means that depth of field is shallower than on other compacts, a good thing for portraits.

In our Lab tests using DxO Analyzer 3.1 software, the DP1 lens captured images with only Slight barrel distortion and minimal light falloff (just noticeable at f/4 but gone by f/5.6). Impressive for a wide-angle compact, even with a fixed lens.

The optional VF-11 optical viewfinder ($149, street), though cute mounted on the hot-shoe, was no real match for this lens, due to its visible barrel distortion and lack of parallax markings. Compose using the 2.5-inch, 230,000- dot LCD instead.

Unlike many of its competitors, the DP1 lacks image stabilization, so its sharpness can be offset by camera shake at slow shutter speeds. And the maximum f/4 aperture cuts its low-light capability further.

Don’t expect the pop-up flash to bail you out in low light or backlight. It’s fairly low-powered, and when it’s up, or when you use the optional dedicated flash ($79, street), it fires on every shot regardless of the ambient light — there’s no true auto function with flash, so it’s similar to setting forced or fill flash.

We like the flash compensation control, with ±3 EV levels in 1/3-step increments. But redeye-reduction is painfully slow, taking more than 3 sec (and four flashes) from shutter press.

All of the DP1’s closest competitors have faster, more sophisticated AF. The 9-zone contrast-detection system allows you to select zones using menus, but it’s sluggish. The LCD freezes when you press the shutter, and doesn’t return to live view until focus is achieved, a delay of about 1 second.

There are two AF settings — one for close focusing to infinity, and the other for scenics and long distance. You also can control focus with a dial. This might be more useful for street photography and capturing fleeting expressions during a portrait shoot, since it bypasses the AF delay. But with a 28mm lens and 11.8 inches as its closest focusing distance, the DP1 isn’t ideal for macro or close-up work.

In continuous-shooting mode, the DP1 captures 3 Fine-quality JPEGs in 1 second, though the screen blacks out during the burst, followed by another delay of 10 seconds for the buffer to clear and you can shoot again. Also, the AF doesn’t track a moving subject or change the focus distance during the burst. In single shot RAW capture, each shot takes 12 seconds to store.

Editor’s note: Due to an operational error, we originally reported that there was no burst mode when shooting raw images. In fact, the DP1 fires 3 raw frames in one second, and then takes 23 seconds to store them before enabling the next shot or sequence.

BOTTOM LINE

The DP1 sets a new standard for image quality in a compact camera, especially at ISO 400 and 800. Its fixed 28mm-equivalent f/4 lens has incredibly low distortion and minimal light falloff that adds to image quality.

Now, if only it had a faster AF system, shorter delays between single JPEG and RAW shots, a more sophisticated pop-up flash, and an image-stabilized zoom lens, the DP1’s potential could go well beyond cult favorite to mainstream popularity.

Imaging: 14.1MP (effective, based on X3 Direct Image Sensor that has three RGB-sensitive layers of 1768×2652 pixels each). 12 bits/color in X3F RAW format.

Storage: SD and SDHC cards. Stores JPEG or RAW.

Burst rate: Up to 3 Fine-quality JPEGs at 3 fps, no RAW burst.

Movie: QVGA (320×240 pixel) resolution, monaural sound.

Lens: 16.6mm (28mm equivalent) f/4.

Closest focus: 11.8 inches. AF system: Selectable 9-point contrast detection system with AF lock. Manual-focus dial.

Shutter speeds: 1/2000 to 15 sec in 1/3-EV increments.

Metering: Evaluative, centerweighted, and spotmetering (1.5%). EV 3-15 (at ISO 100).

Exposure compensation: ±3 EV in 1/3-EV increments. 3-shot exposure bracketing. ISO range: 100-800 (in 1-EV increments).

Flash: Built-in pop-up, GN 20 (ISO 100, feet). Redeye reduction and Slow Synchro Mode. Dedicated hot-shoe for optional EF-140DG S-TTL flash.

Viewfinder: Optional optical viewfinder VF-11 ($149, street).

LCD: 2.5-in. TFT with 230,000-dot (77,000-pixel) resolution, 160-degree viewing angle.

Battery: Rechargeable Li-ion BP-31; approx. 250 shots per charge (CIPA rating).

Output: USB 2.0, video out (NTSC/PAL), audio out.

Size/weight: 4.5×2.3×2 in.; 8.8 oz without card and battery (body only).

Street price: $800.

For info: www.sigmaphoto.com.

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Want to show your photos on your new HDTV? Great idea, but it’s not as easy as it sounds — your digital camera doesn’t store files the way HDTVs display them. Here’s advice and tools to help you streamline the HD slide show process.

Most 6-12-megapixel cameras capture images that contain far more pixels and detail than you need for even the most colossal HDTVs, which have 1920×1080-pixel resolutions (approximately 2MP). Those images also have a different shape: Most compacts, as well as Olympus and Panasonic DSLRs, shoot photos with a 4:3 aspect ratio; other DSLRs capture 3:2 images. But HDTV screens have a 16:9 aspect ratio and display uncropped photos with wide bars on either side. So start by cropping your images to 16:9 at a resolution of approximately 2MP.

Another problem? Most HDTVs are optimized for the color and image quality of video and TV signals from HD-enabled cable or satellite boxes and DVD players. (Only the latest Blu-ray and HD-DVD players can display still images in true HD resolution.) These signals typically look better with higher color saturation, contrast, and sharpness — all of which you’ll find as HDTV default settings.

Unless you change the settings in the TV menus, print-optimized photos from a digital camera will appear too washed out or contrasty. Luckily, you only have to change the settings once and save the new ones for slide shows. Saving your images in the sRGB color space will minimize the color difference.

Only a few HDTVs have built-in card readers — and they’re slow, take only SD cards or Memory Sticks, and don’t optimize image size and color. Most cameras have video output, but it’s usually limited to VGA (640×480-pixel) resolution, which looks horrible on an HDTV.

Fortunately, several inexpensive devices, such as the Kodak EasyShare HDTV dock ($100, street) and the Sony Cyber-shot Station CSS-HD1 ($70, street), can be attached to your HDTV and enable slide shows at 720p, 1080i, or 1080p resolutions. These docks also charge compatible cameras and include remote controls, but neither provides sophisticated transitions or plays multimedia slide shows with music.

To create a dazzling multimedia extravaganza, you’ll need a computer and software. Movie-editing programs for PCs, with support for HD slide shows, include CyberLink’s PowerDVD 7 Deluxe ($70, direct; www.cyberlink.com), InterVideo’s WinDVD 8 Platinum ($50, direct; www.corel.com), and Adobe’s Premiere version of Photoshop Elements ($90, street). For Macs, Apple’s iLife 08 suite ($70, street) has iMovie, iDVD, and iPhoto software, plus other useful programs.

Connect your computer to your HDTV with an HDMI or DVI cable (most HDTVs have jacks), then connect the sound cables. To access images stored on multiple computers or on DLNA-certified network storage devices, tap into a Wi-Fi home network with the MediaGate MG-350HD wireless HD player ($220, street) or the D-Link MediaLounge DSM-320 with built-in DVD player and multi-card reader ($170, street). Hewlett-Packard’s MediaCenter HDTVs provide Wi-Fi connectivity directly. For optimum wireless streaming of multimedia content from your computer to your HDTV, use a fast 802.11G network or router.

Now all you have to do is lower the lights, crank up the sound, and get the popcorn out of the microwave!

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How do you beat the 2007 Camera of the Year at its own game? Drop two zeros off its name and double its price — and you get the Nikon D3 pro DSLR, (street: $5000.00) with a full-frame sensor, super-tough body, and faster burst rate. There’s more to it than that, and we’re still running a production model of the D3 through our gauntlet of tests in the Pop Photo Lab. But we can give you a peek at one of the D3’s most outstanding feature: low noise at high ISOs.

Even at ISO 200, the added light-gathering capability of the larger pixels on the D3’s 12.1MP full-frame sensor beats the D300’s 12.3MP APS-sized sensor. Shooting RAW takes full advantage of the D3’s lower noise and 14-bits-per-color capture. And it gives you much more flexibility, especially when using the trial version of Capture NX 1.3 software (included with the camera) to convert NEF RAW to 16-bit TIFF files.

Capture NX’s exposure and noise reduction controls let you strike a balance between resolution and noise, depending on your needs. For example, at ISO 6400 you can crank up noise reduction to High (100 setting) to minimize noise (Moderately Low rating), while softening detail by 10 to 20 percent. At this setting, images with lots of skin tones, highlight areas, and midtone shades look as though they were shot at ISO 800 or 1600 on many other DSLRs, and the D3 earns a Moderately Low noise rating. At ISO 3200, using this setting, noise gets a Very Low rating.

Or you can maximize detail by turning down the noise reduction. This makes shadow noise more obvious at ISO 3200 (a Moderate rating), but fine details are maintained. Even at ISO 25,600 — where noise is Unacceptable even with noise reduction at the 100 setting — color images converted to black-and-white will pass muster for newspaper use. For this reason alone, we expect to see the D3 being used without flash by photojournalists in a variety of shooting conditions — even dimly lit sports events.

Bottom line? This camera, like the D300, will bestow an unheard of flexibility to low-light shooters, or give sports photographers the ability to crank up the shutter speed without adding flash.

Please check back for updates on the Nikon D3 as we continue our lab testing, and look in the March 2008 issue of Popular Photography & Imaging Magazine for our full lab test.

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How many colors can your digital camera capture — thousands, millions, billions? Can your computer display them all? Your printer reproduce them?

You can’t tell from spec sheets, where the only mention of color is usually an

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First impressions matter, especially for photographers seeking a picture-taking partner. But sometimes it takes a real effort to figure out if a DSLR is the perfect match for you. For instance, when Olympus introduced us to its new 10.1MP E-3 ($1,700, street, body only), it seemed like love at first sight (see Hands On, December 2007). Yet we needed time (and Lab tests of a production model…how romantic!) to confirm our first impressions.

Are we still enamoured? Even more so. This new Olympus flagship DSLR proves that the Four Thirds system has a bona fide place in the pro and advanced-amateur photographer’s kit.

Continuing the innovation begun with the E-1, its predecessor, the E-3 incorporates such features as the Supersonic Wave Filter dust reduction system, as well as staples of its sub-$1,000 DSLR line, such as live view with autofocus and sensor-based image stabilization with live confirmation.

Olympus replaced the E-1’s sluggish AF with a super-fast, 11-point biaxial AF system. It improved the viewfinder, burst rate, and durability of the body and shutter. Plus, it threw in a swiveling 2.5-inch LCD and pop-up flash with wireless external flash control.

Performance? The E-3 did incredibly well in the Pop Photo Lab’s image quality tests, challenging (though not outperforming) the 12.3MP Nikon D300 ($1,800, body only), tested in this issue. It earned a similar Excellent image quality rating all the way up to ISO 3200 when shooting in RAW mode.

Despite the E-3’s stellar RAW performance, fine-quality JPEGs ran into trouble with noise, especially at high ISOs. Surprisingly, noise levels on JPEGs shot at ISO 100 were similar to those we measured in RAW files shot at ISO 1600 (1.7, a Low noise rating); but by ISO 1600 JPEGs showed Unacceptable noise.

The solution for E-3 users is clear: In low light, shoot RAW.

RIP-ROARING AF

No matter what the lighting conditions, sports, action, and portrait photographers will be drawn to the speed and power of the E-3’s autofocus. Olympus claims that this AF system, which has a new TTL phase-difference engine with 11-point full-twin cross sensors, is the fastest on any DSLR.

The company qualifies this claim, stating that it tested the E-3 against other available DSLRs (at a time when neither the Nikon D300 nor the Canon EOS 40D was available) using a lens similar in range and aperture to its new Zuiko 12-60mm f/2.8-4 ED SWD (Supersonic Wave Drive) lens. Olympus also notes that the new AF system reaches its top performance with only two other new Zuiko SWD lenses.

Why the caveat? In our autofocus tests, we generally use the DSLR maker’s 50mm f/1.4 (or the nearest equivalent), often the brightest, most affordable lens. It helps keep the speed of the lens out of the DSLR’s AF-speed equation, since in most cases, complex zooms focus more slowly than lenses with fixed focal lengths. But Olympus doesn’t yet have a 50mm f/1.4 in its Zuiko lineup.

So for our AF tests we used the 12-60mm SWD lens at light levels from EV 12 to EV 1, then switched to the Panasonic Leica 25mm f/1.4 (a Four Thirds system compatible lens) to test the E-3 in extremely low light below EV 1. (We tested the Zuiko separately, as well; our report follows.)

We discovered that in very bright light (EV 12 to 8), the E-3 was a speed demon at 0.3 sec — a fraction of a second behind the leader in that brightness range, the Sony Alpha 700 (0.24 sec), and nearly identical to the Nikon D300 and Canon EOS 40D. In normal light (EV 6 to 4), the E-3 squeaked ahead of the D300 and fell behind the Sony, while holding its own against the Canon. In low light (EV 3 to EV 0), it slowed the way the Sony did and trailed the Canon and D300.

That’s a fine showing for a DSLR with a zoom lens, all the more impressive given that Olympus DSLRs used to be in last place in AF speed tests. We can’t help but wonder if the E-3’s AF speed will improve further if and when Olympus introduces a fixed 25- or 50mm f/1.4 SWD lens.

To continue our AF tests in extremely low light (EV 0 and below), we switched to the Leica 25mm f/1.4, since it achieved faster AF speed than the dimmer 12-60mm f/2.8-4 lens. But by EV -1 the E-3’s AF speed dropped to extremely slow, and it couldn’t focus at all at EV -2, where the low-light AF leader, the Nikon D300, still locked in at less than 1 sec.

LIVE ADVANTAGE
While the E-3 isn’t as sensitive as either the Canon EOS 40D or Nikon D300 in extremely dim lighting conditions, it packs an extra feature that should thrill low-light shooters — a built-in, sensor-based image stabilization system. For Canon, Nikon, and Panasonic DSLRs, which all rely on lens-based IS systems, you’ll need to pay more for each stabilized lens you buy.

Olympus claims up to 5 stops of handholding advantage with the E-3’s IS system (the highest claim for IS from any manufacturer). But our tests made at 100mm and 200mm settings with a Zuiko 50-200mm f/2 lens (a 100-400mm equivalent, given the camera’s 2X lens factor) showed a 2.5- to 3-stop advantage, similar in range to that of the Sony A700’s sensor-based IS system and slightly better than what we found in the consumer-level Olympus Evolt E-510 DSLR.

The E-3 can also brag about its ability to show the stabilization effect in real time through the swiveling 2.5-inch LCD monitor when the live view mode is on. This lets you hold this camera down low, at waist level, or up high while composing through the live-view LCD.

Such a maneuver would be difficult even with the Nikon D300’s larger and sharper 3-inch LCD, and not at all possible on the Sony A700’s 3-inch LCD, which doesn’t provide live view. And while the Panasonic DMC-L10 DSLR sports an LCD of similar size and resolution that also swivels and provides live view, the Panasonic lacks a sensor-based IS system, relying instead on the expensive, stabilized Leica kit lens that’s sold with it. So the live view advantage goes to the E-3, with its built-in IS and swiveling LCD.

However, the 3-inch LCDs on the Nikon D300 and Sony A700 have an advantage in playback due to their higher resolution and larger sizes. Plus the D300 offers both phase- and contrast-detection AF, as well as

a high-def video output jack for live view on an HDTV. But neither of these rivals provides the safety of the Olympus — the LCD can be rotated inward to protect it from bangs and scratches.

We think that most advanced DSLR shooters will rarely use live view and are more interested in the optical viewfinder. Olympus has steadily improved the viewfinder experience since the tunnel-vision E-1, and the E-3 has an Excellent (tested) viewfinder. One quibble: The data display is now along the bottom edge of the viewfinder, as in most other DSLRs, not along the right side, where Olympus used to place it. But to see all the numbers clearly you may need to reposition your eye, causing vignetting at the top of the viewfinder image.

FAST AND TOUGH

Other notable improvements to the E-3 include its faster burst speed of 5 frames per second, compared with the E-1’s 2 fps. Shooting Fine-quality JPEGs, we were able to capture 37 frames at 5 fps, and 17 in RAW mode (using a Lexar 300x UDMA CF card). Again, not the speed or capacity of the Nikon D300 in burst mode (up to 100 JPEGs at 6 fps), but competitive and fast enough for most photographers.

Olympus also beefed up the gasketing and weatherproofing on the magnesium-alloy camera body, which may be the most rugged in its class.

In field tests, we found most of the controls on the E-3 positioned where we would expect, except for the ISO button just behind the shutter. More than once, our trigger finger accidentally activated this button. It would make more sense to switch its position with the exposure compensation button.

The E-3 is the first Olympus DSLR with a pop-up flash that’s capable of wireless control of an external flash — specifically, the new Olympus FL-50R ($430, street). That puts it ahead of the Canon EOS 40D, but the wireless flash controls and capabilities of both the Nikon D300 and the Sony A700 are more advanced than the E-3’s.

Still, priced at $100 less than the D300 body, the E-3 might be the better bargain for some photographers. Its built-in image stabilization will save money when adding lenses down the road. Its 2X lens factor and extremely fast AF system are a boon to nature and sports shooters who like to travel light (and who can appreciate the value of Olympus’s highly rated Zuiko lenses). And its articulating 2.5-inch LCD with live view and AF will appeal to macro photographers and street shooters trying to get a better view.

Any photographer will fall for the E-3’s amazing image quality in RAW mode (even at high ISOs), sophisticated yet easy-to-master controls, and body built to handle pro challenges without concern for the safety of its LCD.

Olympus, this looks like true love.

Imaging: 10.1MP effective Live MOS sensor captures images at 3648×2736 pixels with up to 12 bits/color in RAW.

Storage: Dual slots for CompactFlash Type I/II (including UDMA) and xD-Picture cards. Stores JPEG, RAW, RAW + JPEG.

Burst rate: Fine-quality JPEGs: 5 fps up to 37 shots. RAW: 5 fps (tested) up to 17 shots.

AF system: TTL phase-difference detection system with 11 points full-twin cross AF sensors. Single-shot and continuous AF with focus tracking. Sensitive down to EV -1 (at ISO 100, f/1.4).

Shutter speeds: 1/8000 to 60 sec plus B (1/3-EV increments). 150,000 cycle rating.

Metering: 49-zone TTL metering with Digital ESP, centerweighted, and spotmetering (approximately 2.0% of viewfinder). EV 1-20 (at ISO 100).

ISO range: ISO 100-3200 (1/3 or 1-EV increments).

Flash: TTL auto pop-up flash, GN 43 (ISO 100, feet). Flash sync to 1/250 sec. Provides wireless control of optional Olympus FL 50R flash. Dedicated Olympus hot-shoe. Viewfinder: Fixed eye-level pentaprism.

LCD: Swiveling 2.5-in. TFT with 230,000-pixel resolution and Live View mode.

Output: Hi-Speed USB 2.0, NTSC/PAL video, and remote cable connector.

Battery: Rechargeable BLM-1 Li-ion, CIPA rating, 610 shots, 50% with flash.

Size/weight: 5.6×4.6×2.9 in., 1.8 lb without card and battery.

Street price: $1,700, body only.

For info:www.olympusamerica.com.

VIEWFINDER TEST

Accuracy: 98% (Excellent)
Magnification: 1.15X (Excellent)

COMPETITIVE SET

• Sony Alpha 700 ($1,400 street, body only): With its larger 3:2 aspect ratio and 12.2MP CMOS sensor, the A700 captures slightly higher detail than the E-3, but color is not as accurate nor is noise as low at ISOs above 1600. The A700’s AF system squeaks past the E-3’s in very bright light (using a 50mm f/1.4 lens). Both cameras have image stabilization systems that gain up to 3 stops’ advantage. The E-3 body is built tougher than the A700 and also sports a swiveling LCD monitor with a live view mode. The A700’s larger, sharper, 3-inch LCD has a fixed position and no live view.

• Nikon D300 ($1,800, street, body only) Priced slightly higher, the D300 outperforms the E-3 in several categories, notably its faster AF speed in very low light and its maximum burst rate of 6 fps (versus 5 for the E-3.) The D300 has a fixed-position, higher-quality, 3-inch LCD that also allows live view — with two types of AF. We’d give the E-3 a slightly higher rating for body strength, but the D300 has easy-to-master controls and a refined dial and button arrangement. Its external flash controls and AF tracking are more advanced. And JPEGs from the D300 look better at high ISO settings.

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Nikon could have played it safe. By just tweaking its highly rated D200, the company could have come out with a camera priced closer to Canon’s new 10.1MP EOS 40D ($1,300, street, body only). Instead, the engineers went wild, revamping everything from the viewfinder to the sensor, adding live view, and taking such pro-level features as the 51-zone AF system from the new Nikon D3 ($5,000, body only).

The result: the new 12.3MP D300 ($1,800, body only).

Now, after our Lab and field tests, it’s clear that Nikon made the right decision. We’re so convinced of it that the editors of Pop Photo named the D300 The Camera of the Year 2007 — and in the face of heated competition in the middleweight DSLR class from the just-as-new 10.1MP Olympus E-3 ($1,700, body only) and 12.2MP Sony Alpha 700 ($1,400, body only).

From the outside, the D300 looks a lot like the D200. But what’s on the inside pushed the D300 to new performance records in the Pop Photo Lab:
• It’s the first DSLR to earn an Excellent image quality rating from ISO 200 all the way up to ISO 3200.
• It sports the fastest (and most sophisticated) AF we’ve tested so far.

A major factor in the D300’s stellar image quality is the new Sony-made 12.3MP (effective) CMOS sensor that captures RAW data with up to 14 bits of color per red, green, and blue channels. Most other DSLRs in this class only provide 12 bits per channel. This gives the D300 an advantage in reproducing fine color gradations, shadow details, and wider dynamic range. But it also increases the file size of images recorded in the 14-bit mode (selectable over normal 12-bit RAW).

To handle this tsunami of data, Nikon turned to the D3’s new high-speed EXPEED image processor. Not only does it move RAW data, but it also works its noise-reduction, dynamic-range, and color-algorithm magic on stored JPEGs.

Results from the Pop Photo Lab show how well this works on Fine-quality JPEGs:
• Excellent image quality, ISO 200-3200.
• Excellent color accuracy, ISO 200-1600.
• Excellent resolution, up to ISO 6400.
• Noise levels, Extremely Low at ISO 200 to only Moderate at ISO 6400.

The only reason the D300 didn’t earn an Excellent image quality rating at ISO 6400 was the higher noise levels in shadows.

Since the EXPEED processor leaves RAW data pretty much alone, other than applying some data compression or converting 14-bit color to 12-bit to save space (all options you can select), RAW files processed in the supplied ViewNX software don’t get the full benefit of the processor’s noise-reduction savvy. As a result, noise ratings for RAW images are noticeably higher than for JPEGs when using that utility. However, our test results confirm that the noise reduction algorithms in Nikon’s RAW converter, Capture NX version 1.3, match or exceed the noise reduction capabilities of the EXPEED processor.

In the past, Nikon charged extra for Capture NX, while other manufacturers included a solid RAW converter with their cameras. Now that’s finally changed. NX now ships with Nikon’s D300 and D3, allowing advanced exposure, white balance, and lens-distortion correction, D-lighting and sharpening tools, and the powerful U-Point technology (with an assortment of filters) inherited from Nik Software, Inc.[Nikon originally stated that Capture NX would be included in the software bundle. That was updated after we went to press. A trial version is included, and the full version of Capture NX is available for $129 street price.]

BANG, BANG, BANG

If you’re a sports photographer and photojournalist, then you might want to stick with the amazing low-light image quality and burst capacity of Fine-quality JPEGs, and leave RAW (or RAW + JPEG) to those who can accept the hit to burst capacity and have time to process the files later. After all, the D300 captures up to 100 Fine-quality JPEGs at 6 frames per second (tested with a 16GB Kingston Elite Pro 133X CompactFlash card).

At 6 fps, the D300 gulps down 19 RAW files, two more than the Canon EOS 40D. While the Canon, with its 6.5 fps up to 160 images, outguns the Nikon in JPEG mode, the D300 has slightly more data to process due to its higher-megapixel sensor, which delivers 5-10 percent more data than the Canon. You can boost the D300’s burst rate to 8 fps with the MB-D10 Multi-Power Battery pack or an AC adapter.

The Sony A700, which has a sensor with similar resolution, stores more RAW files (up to 20) and JPEGs (unlimited depending on card speed and capacity) but at 5 fps.

The EXPEED image processor also cuts startup time (Nikon claims 0.13 sec), enables true HDTV video output (via an HDMI connector), and serves up dynamic-range enhancements in the Active D-Lighting controls. When turned on, Active D-Lighting manages high-contrast scenes by preventing blown-out highlights without blocking up shadow details, much like Sony’s Dynamic Range Enhancement. For NEF RAW files, Capture NX software must be used to apply D-lighting adjustments.

ULTIMATE AUTOFOCUS

For more virtuosity, look at the AF. Taken from the D3, it’s a 51-zone, TTL phase-detection system with 15 cross-type sensors capable of vertical and horizontal detail detection when using any Nikkor lens with a f/5.6 or wider aperture. (The Canon EOS 40D has nine cross-type sensors active at f/5.6 or larger, plus a center sensor active with f/2.8 or larger-aperture lenses.)

In our tests, the D300 focused extremely fast in bright and moderate light from EV 12 to EV 6, slightly faster than the EOS 40D, but not as quick as the Sony A700 or Olympus E-3. In low light from EV 4 to EV 1, it was just behind the Canon but much faster than the Olympus. And in very low light from EV 0 to -2, it was faster than any other DSLR we’ve tested, maintaining an AF speed of under 1 second even at its limit of EV -2 (the Olympus stopped at EV -1).

You can select individual AF zones or groups in patterns of 11 zones, and fine-tune the AF for individual lenses (great for third-party glass or old Nikkors that don’t provide object-distance data to the camera). The 51-zone pattern also covers a wider area of the image than Nikon’s full-frame D3 (a 1.5X 35mm lens factor benefit) so the D300’s 3D-Tracking should, in theory, be able to lock onto a moving subject and follow it across more of the field of view than the D3.

Without a testable D3, we couldn’t confirm this in our field tests. But we verified Nikon’s claim that the D300’s Auto-Area AF mode, with its Scene Recognition System (SRS), can track an object by color and shape. It gives higher priority to off-center skin areas (such as a face, exposed shoulder, or arm) rather than centrally located background elements. So instead of manually locking onto a person in a scene and then recomposing, you can let the AF do it all in one move. We like the way this camera thinks!

SEE IT LIVE

The AF system also works in live view — albeit with a delay in focus and capture due to the time it takes the mirror to swing up and down. Predictive focus tracking doesn’t work in this mode, but there’s a second AF method that uses contrast detection and analysis of image detail. You can position an AF zone anywhere in the scene and zoom in on the live image up to 13X to check focus, but we found it much slower and not useful for moving subjects, such as an insect or swaying flower.

Do pros and advanced amateurs need live view? We don’t think it’s about to replace the D300’s excellent optical viewfinder, with 0.94X magnification and 99 percent accuracy. But it sure comes in handy for macro and overhead shots.

Unlike the Olympus E-3 and Panasonic Lumix DMC-L10, the D300 doesn’t have a swiveling LCD. But its 307,000-pixel (920,000-dot, VGA resolution) 3-inch screen packs twice the resolution of those moveable monitors and of the 3-inch (230,000-dot) display on the Canon EOS 40D. It has a wide 170-degree viewing angle, and you can read images and text even in bright sunlight.

ANY WHICH WAY

Metering systems and most image-quality controls on the D300 are similar to those on the D200. With that 3-inch LCD, menu controls are a snap. Modify the Picture Control presets to fine-tune contrast, sharpness, brightness, saturation, and hue. Monochrome? Adjust for color filter effects and tone.

In addition, you can create custom Picture Controls in the supplied software and upload them to the camera — especially useful for studio shooters with different lighting setups.

Our field tests confirmed the accuracy of the metering and white balance systems. If you’ve shot with Nikons before, you’ll find the external controls easy to master while looking through the viewfinder. And the number of setting variations is astounding. That’s one reason the D300’s manual is so thick.

Of course, we doubt that most photographers will read all the way through the manual before firing up the D300. Taking pictures with this camera is simply irresistible.

Imaging: 12.3MP (effective) CMOS sensor captures images at 4288×2848 pixels with up to 14 bits/color in RAW mode.

Storage: CompactFlash Type I/II including UDMA; microdrives. Stores JPEG, RAW (12 or 14 bit), RAW + JPEG and TIFF files.

Burst rate: Fine-quality JPEGs: 6 fps up to 100 shots. RAW: Up to 19 RAW at 6 fps (12-bit); 8 fps with optional battery grip.

AF system: TTL phase detection with 51 illuminated focus points (15 cross-type). Single-shot and continuous AF with 3D focus tracking. Sensitive down to EV -2 (at ISO 100, f/1.4).

Shutter speeds: 1/8000 to 30 sec plus B (1/3, 1/2, or 1-EV increments). 150,000 cycle rating.

Metering: TTL metering using 1005-pixel RGB sensor, 3D Color Matrix II, centerweighted, and spotmetering (approx. 2.0% of viewfinder). EV 0-20 (at ISO 100).

ISO range: Normal: ISO 200-3200; expanded: ISO 100 or 6400 (in 1/3-EV increments).

Flash: i-TTL built-in pop-up flash, GN 39 (ISO 100, feet). Flash sync to 1/250 sec. Provides wireless control of Nikon SB-600 or SB-800 units. Dedicated Nikon hot shoe.

Viewfinder: Fixed eye-level pentaprism.

LCD: 3-in. TFT with 307,00-pixel resolution, 170-degree viewing angle.

Output: Hi-Speed USB 2.0, HDMI video, 9-pin GPS, and 10-pin remote control.

Battery: Rechargeable EN-EL3e Li-ion, CIPA rating, 1000 shots, 50% with flash.

Size/weight: 5.8×4.5×2.9 in., 1.82 lb without card and battery.

Street price: $1,800, body only; $2,100 with Nikkor 18-135mm f/3.5-5.6G ED-IF AF-S DX lens.

For info: www.nikonusa.com.

VIEWFINDER TEST

Accuracy: 99% (Excellent)
Magnification: 0.94X (Excellent)

COMPETITIVE SET

• Sony Alpha 700 ($1,400, street, body only): With its similar-sized 12.2MP CMOS sensor, the A700 captures nearly as much detail as the D300, but the color is not as accurate. The noise control advantage also goes to the D300 at ISO 1600 and above, and its AF system squeaks past the A700’s in very low light (the A700 is faster in very bright light). The A700 boasts the same spectacular 3-inch LCD monitor — but with no live view, and it captures 5 fps in burst mode vs. the Nikon’s 6 fps. To its credit, the A700’s SteadyShot IS gives it up to a 3-stop handholding advantage with any lens.
• Olympus E-3 ($1,700, street, body only): For only $100 less, the E-3 ranks as the closest competitor to the D300 in most categories. Like the Sony, it features a sensor-based IS system, but it also has a swiveling LCD monitor (albeit a 2.5-incher) and live view with AF. The tough body has more control buttons (some in odd places), and its AF system is slightly faster in very bright light. However, the D300’s AF wins hands-down in moderate and very low light. Plus, its AF tracking is superior, and its better noise reduction at high ISOs also gives it the image-quality advantage.

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