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Gary Marshall: Tablets are no longer just idiot toys

Gary Marshall: Tablets are no longer just idiot toys:

From time to time even jaded tech hacks get a "wow!" moment. I had one last night when I saw that Avid had launched an iPad app.

Avid? The high-end video and ProTools firm? An iPad app? Yep, yep and yep.

Avid reckons the iPad makes a great wee video editor, and its Avid Studio plays happily with the firm's high-end desktop software. It's right, and it's not the only firm thinking along the same lines. Apple, of course, already does Garageband and iMovie, Adobe has Photoshop Touch, and there are stacks of digital audio products such as Auria and the tasty-looking Bitwig music studio.

Not bad for toys, eh?

Getting better all the time

What's really great about this is that we're still in the very early stages, both in terms of technology - we've gone from single core to dual core to quad core tablets already; imagine what horsepower tablets will have in five years - and in terms of what's possible for our tablets to do.

Take music, for example. You can use your tablet as a quick and dirty composition device, or as a controller for a desktop music production program, or as a fully-fledged studio, or you can slot it into another bit of hardware such as Behringer's utterly brilliant/completely demented iAxe or its faintly frightening iPad mixers.

This isn't about whether tablets are better than PCs or vice-versa; it's about people, and what they can do, and the ever-expanding universe of possibilities today's technology delivers and tomorrow's promises.

We've only had iPad-y tablets for two years. What on earth will we be doing with them in ten?

Source : Google Reader

Buying Guide: What is a bridge camera?

Buying Guide: What is a bridge camera?:

What is a bridge camera?

A stalwart of the digital photography industry for the past decade, the bridge camera forms a bridge between a compact point-and-shoot camera and a full-blown DSLR.

It typically features some, but not all, of the manual settings and even physical controls that one would expect to find on an entry-level DSLR, including occasional command dials and chunky shooting mode wheels. But it retains some of the accessibility and user friendliness of a snapshot camera, plus the lens can't be removed or swapped.

Unsurprisingly, its design has aspects of the two types of camera, although the overall look and handling of a bridge camera tends to suggest what we'd term a DSLR 'lite'.

Nearly every traditional camera manufacturer and electronics giant has a bridge model in its current range. In the case of Fujifilm, to take one example, until the recent launch of its 'X' series of high-end compacts (Fuji X10, Fuji X100), this was the closest the manufacturer got to a more professional camera.

Even now, the Fuji FinePix HS20, Fuji FinePix HS30 (due Spring 2012) and new flagship XS-1 models have retained the look and feel of a DSLR. These come complete with manual operation of the zoom, a unique feature among bridge models that tend to rely on a button press to prompt the camera to zoom in or out.

Fuji's manual lens operation arguably enables more precise movement and framing. DSLR-like features such as the ability to shoot unprocessed raw files alongside the JPEG files offered by compact cameras are another feature of most, but not all, bridge cameras.

As well as offering a best of both worlds approach in terms of features and versatility, a distinct advantage of the typical bridge camera is a vastly expanded focal range. In other words, they'll usually have a longer zoom than you'd find on cameras of more compact proportions. For argument's sake, let's say more than the 18x offered by compact travel zooms.

While this means that on a bridge camera just the one lens provides a fantastically broad array of framing options, the other distinctly appealing aspect is the cost.

For example, to match the focal range provided by the likes of Canon's PowerShot SX40 HS, which offers up to 840mm in 35mm terms, DSLR owners would be looking at spending around £10-£11k on a specialist lens.

This bigger lens also further differentiates bridge cameras from those cameras that have more recently been labelled as premium compacts, such as the Canon PowerShot G12, Nikon P7000 and Fuji X10, which offer DSLR-like solidity, but modest zoom or fixed focal length lenses.

Of course, we couldn't argue that a bridge camera costing under £400 will match the quality of a DSLR with a mega expensive optic, because of the much smaller sensor size at its core for starters, when compared with the APS-C chip found in entry-level DSLRs. But many amateurs will feel that the bridge camera's compromise is worth it, because of the broad wealth of framing and capture options at your disposal.

It's also worth noting that an equivalent lens for a DSLR will be not only expensive, it'll also be large, heavy and physically unwieldy.

The bridge camera isn't just more affordable then; it's a much, much more portable choice. Shoot wide or at the extremes of the camera's telephoto (maximum zoom) setting - and toggle between them in a matter of seconds - the choice is yours.

It's perhaps no surprise then that the all-encompassing versatility of today's bridge camera sees it marketed at families, who might have otherwise been considering an entry-level DSLR, as well as enthusiasts and bird and animal watchers, who will appreciate that extra lens reach without spending a fortune.

This is also why the relative affordability and accessibility of compact system cameras (CSCs), and their interchangeable lenses, has failed to kill off the bridge camera. So the bridge camera isn't a niche product, but rather a mass market one.

Given the lens power shoehorned onto its compact DSLR-like frame, the bridge camera is also imaginatively known in some circles as a superzoom, mega zoom or power zoom.

How do bridge cameras work?

Bridge cameras work in much the same as any other digital camera that doesn't use a DSLR-style mirror box mechanism. That's because bridge cameras have been developed as digital cameras from the get go - not as adaptations of existing 35mm film camera bodies, like the early DSLRs. Even now, DSLRs owe a lot of their handling and performance to analogue SLRs.

While not a professional tool, the bigger piece of glass when compared to the lens on your average pocket camera does arguably provide better quality images from a bridge camera, even if the sensor inside is just as small as your standard point and shooter. So it won't replace that DSLR just yet.

Like any other dedicated digital camera costing £100 and up, the hub of the bridge camera is a large LCD screen around the back with continuous live view. Depending on the model, it may even be angle-adjustable. This enables formerly tricky low or high-angle shots to be taken, and helps improve visibility by angling the screen away from direct sunlight.

Indeed, bridge cameras were the first to introduce a tilting and swivelling rear monitor, which has over the past two years begun to also feature on CSCs and full DSLRs.

In addition to this screen, on a typical bridge camera there will also be a separate, smaller viewfinder, more recently an electronic viewfinder (EVF), offering a 100% field of view, like the screen.

This eye-level finder is another core bridge camera feature that is steadily finding its way into higher-end compact system cameras around the £1,000 mark (Nikon V1, Panasonic GH2, Sony NEX-7). But it's worth noting that bridge cameras got there first, acting as a test ground for all this new technology.

Aside from that whopper of a lens, a built-in viewfinder is another way a bridge camera now distinguishes itself from your typical pocket point and shoot.

Because of the longer focal range of the zoom lenses on bridge cameras, built-in image stabilisation (IS) - usually optical or sensor-shift rather than the software-enhanced cheat of digital IS - is a must to aid handheld shooting at anywhere near maximum telephoto setting without blur. Gyro motors prompt the sensor to move to counterbalance any external motion.

Such a camera providing all the lens power most casual photographers will ever need sounds alluring. Not everybody wants to have to buy a shed-load of lenses and accessories to get a wide variety of picture-taking options.

The all-in-one ethos of the bridge camera has been further extended in the high-definition era, with most now offering Full HD video capture at cinematic frame rates of 24fps, 25fps or 30fps. Capture commences with the press of a dedicated record button on the backplate or top plate, no matter which other stills shooting mode has been selected on the typically chunky top dial.

The larger body proportions than your average point and shoot also offer more room for stereo microphones, typically placed either side of the lens barrel or directly above. More expensive models offer a vacant hotshoe for the attachment of accessories, including auxiliary flash.

While all bridge cameras enable the use of removable media - SD, SDHC and SDXC cards - some Olympus models also feature integral memory capacity. This has largely died out elsewhere in the market now that affordable removable media is sold in supermarkets.

Which bridge camera to buy?

As always, when buying a bridge camera you'll have a budget in mind. Fortunately in today's ultra-competitive market there is a bridge camera available to suit you, especially with the prices of entry-level DSLRs and CSCs falling.

If you're not bothered about an accessory shoe on your bridge camera, whether the camera records stereo sound and are happy to settle for 1080 x 720p HD video rather than the best quality 1920 x 1080p, then you won't need to spend top dollar.

If you have a bit more to spend but aren't worried about switching optics, and a whole host of manual features rather than a big lens are your main concerns, then a premium compact such as the Canon G12 or Nikon P7000 - both with control layouts and handling that resemble a DSLR - might be a better bet.

However, if it's big zooms at a fair price you're after, then the 35x optical zoom Canon PowerShot SX40 HS is a good place to start your personal investigation of bridge cameras, coming in at a street price of £350-£400.

For those finding the Canon a tad plasticky, there's the more rugged Fuji FinePix HS20 EXR, an update of 2010's HS10, or the HS30 model. This offers a 30x optical zoom and the ability to manually adjust the zoom barrel - which is great for enthusiasts looking for that hands-on feel. We found the Fuji on sale for a bargain £230 at the time of writing, through the deals to the side of the Fuji FinePix HS20 EXR review.

Alternatively, Nikon's rival Coolpix P500 goes 'one louder' than the Canon SX40 HS by claiming a 36x optical zoom reach. It doesn't quite match the Canon at the telephoto end, with an 810mm maximum setting as opposed to 840mm, yet starts wider, at 22.8mm, for those who want to shoehorn group portraits and panoramic landscapes into frame.

Electronics giants are also getting in on the superzoom/bridge camera act, a notable example of which is Sony's Cyber-shot HX100V. As well as a 30x optical zoom, users can benefit from an EVF, high resolution tilting LCD and geo-tagging of images, earmarking the camera as one of the most capable all-in-ones around.

Panasonic has also gone superzoom crazy of late, its currently available exponent being the Lumix DMC-FZ150, which closely matches the Sony Cyber-shot HX100V for features and warm, vibrant imagery. While on paper the zoom reads a little more modest, at 24x or a 24-600mm equivalent, this model also comes with an adjustable LCD monitor, EVF and Full HD video at 25fps in stereo.

Read our mini guide to which bridge cameras may set your pulse racing.

Best bridge cameras

Canon PowerShot SX40 HS

35x optical zoom offering 24-840mm equivalent reach in 35mm terms, plus super fast Digic V processor.

Read the full Canon PowerShot SX40 HS review

Fuji FinePix HS20 EXR

16MP, manual zoom and focus control, plus 30x optical zoom which is the equivalent of 24-720mm on a 35mm film camera.

Recently joined by a trio of new superzooms; the Fuji SL300, also with a 30x zoom; S4200, with a 24x zoom; and S4500, again with a 30x zoom. Fuji clearly believes that when it comes to DSLR-styled bridge cameras, more is more!

Read the full Fuji FinePix HS20 EXR review

Fuji XS-1

Fuji's newly announced flagship bridge camera is worthy of a spotlight all of its own - if only because at £699 RRP, it costs more than most consumer DSLRs. It sports the same 2/3-inch 12MP EXR CMOS sensor as the Leica-inspired Fuji X10 compact.

Other key specs include a 26x zoom (24-624mm equivalent), bright f/2.8 maximum aperture, plus 1.44MP EVF.

Read the hands-on Fuji XS-1 review

Panasonic Lumix DMC-FZ48

12.1MP and 24x optical zoom, providing a 25-600mm equivalent reach in terms of a 35mm film camera. Very similar to the FZ45, except that that had 14MP.

Read the full Panasonic Lumix DMC-FZ48 review

Panasonic Lumix DMC-FZ150

Pricier than the FZ48, this more recent flagship 24x optical zoom camera comes with angle adjustable LCD, 3D mode, electronic viewfinder plus Full HD video at 25fps in stereo.

Read the Panasonic Lumix DMC-FZ150 announcement

Nikon Coolpix P500

12.1MP 'Performance' model, with class-leading 36x optical zoom stretching between 22.5mm and 810mm when compared with its film equivalent.

Read the full Nikon Coolpix P500 review

Olympus SP-810UZ

Claimed to be the world's smallest bridge model with a zoom above 30x. It has a 36x reach, or 24-864mm on a 35mm camera. It's joined by the recently announced 26x Olympus SP-720UZ and 21x Olympus SP-620UZ 'ultra zoom' models, plus 20x SZ-11 and 24x SZ-14 superzooms.

Read the full Olympus SP-810UZ review

Sony Cyber-shot HX100V

The electronics giant's entry in the superzoom category also fields 16MP, 3D Sweep Panorama, a 30x optical zoom providing a 27-810mm range, here joined by integral GPS facility for retracing your steps shot by shot.

Read the full Sony Cyber-shot HX100V review

Leica V-Lux 3

There's nothing like mentioning the Leica brand to bring photo enthusiasts out in a sweat of anticipation - or a cold sweat, if thinking about the price. Closely resembling Panasonic's FZ150 with its 24x optical zoom, it comes with that all-important red badge and bundled software including Photoshop Elements.

Read the Leica V-Lux 3 announcement

Kodak EasyShare Max

Kodak's DSLR-styled big zoom bridge cameras may not be the prettiest, but they're pretty cheap, and this 30x, backlit CMOS sensor-sporting behemoth with bright f/2.8 maximum lens aperture can be found online considerably lower than the £259.99 list price.

Other models in Kodak's current range include the EasyShare Z5010, a 14MP, 21x optical zoom bridge, which looks to surely be on the way out, having more recently been joined by the 16MP, 26x optical zoom Z5120 model, priced at an identical £159.99.

Shop for the Kodak EasyShare Max

Source : Google Reader

Buying Guide: Best budget studio lights: 8 tested

Buying Guide: Best budget studio lights: 8 tested:

Budget studio lights explained

When you want to shoot portrait photos indoors, what should you do about lighting?

On a bright day with big windows, ambient light might just suffice, but most of the time you'll be reaching for your flashgun. Yet no matter how good your bounce and swivel technique, or what fancy flashgun diffusers you have to hand, the results are always going to be second best.

It's time to step up to a proper home-studio flash kit. Many photographers shy away from the prospect, thinking studio flash will be complicated, fiddly and expensive. We beg to differ.

Some of the latest kits are amazingly simple to use, offer excellent versatility, and are almost infinitely more controllable than a flashgun (or multiple wirelessly linked flashguns) for creating beautiful lighting. And that is, naturally, the most important ingredient for great shots.

Better still, some of the complete studio kits on test here actually cost less than a single mid-range flashgun.

So what do you get for your money? At the heart of each kit on test is a pair of flash heads. Each head plugs directly into a mains electricity outlet and mounts on its own lighting stand.

The heads range in power from 150Ws (Watt-seconds) to 400Ws, the latter being preferable if you want to shoot family groups rather than individual portraits or relatively small still-life subjects.

The maximum height of the stands ranges from 1.9m to a giraffe-like 3.52m, but most top out at about 2.3m. That's plenty high enough for getting a respectable downward angle for portraiture, even when people are standing up.

Controlling light

The main advantage of studio flash compared with a flashgun is that you can get much softer, more natural-looking lighting. It all comes down to the size of the light source and its distance from the subject.

For example, the sun is huge but is 93 million miles away, whereas a flashgun is much closer but has a very small flash tube. Both give a hard light that's harsh, unflattering and can be downright ugly. By contrast, the business end of a studio flash head is larger, and its area is made bigger still by fitting a softbox or brolly.

Opinion is divided on which is best. Brollies take no time at all to put up, just like a regular umbrella. Most of the kits in this group that come with brollies have one or two translucent models. Also called 'shoot-through' brollies, these mount in front of the flash head and the flash fires through them, so the effective light source becomes the same size as the brolly itself.

Silver brollies work the other way around, in that they face away from the subject and light from the flash head is bounced back off the silvered surface. This tends to produce a slightly harder light, which works well for children with young, wrinkle-free skin.

The downside to brollies, especially shoot-through ones, is that the light fires out at all angles, bouncing off walls and ceilings, so it's more difficult to control.

A softbox has black sides so all the light is essentially forward-facing. They're much more time-consuming to put together than extending a brolly, but are a better bet when you want a more directional light source.

Flash heads contain not one but two bulbs. As well as the main flash tube, a secondary 'modelling lamp' gives you a preview of how the results will look.

In every kit here apart from the Proline Apollo 180/180 Twin Head Kit, you can set the modelling lamp to a 'proportional' setting. This means that as you increase or decrease the power of the flash tube, the modelling lamp varies in intensity accordingly. It's handy for getting a rough idea of how the end results will look.

Even so, it's not as critical as used to be the case with film photography, since you can simply take test shots and review them on your camera's LCD screen.

The same goes for exposure, where a reviewed image and histogram on the camera's LCD display help you to fine-tune exposure settings. A typical camera setting for studio flash shots is f/8 at 1/125 sec.

This hits the sweet spot of most lenses for optimum optical quality, while a shutter speed of 1/125 sec ensures that the shutter is open for long enough to accommodate a full-power flash, complete with any slight delay in triggering. You'll therefore usually set the brightness of the image by altering the power setting of the flash heads.

Precise, easily adjustable controls are a bonus.

Key studio light features

Look out for these key features when buying your budget studio lights:

Carry handle

The absence of a handle is hardly a deal-breaker but, where fitted, they do make for more secure carrying, especially with hot lamps, and lessen the likelihood of an expensive accident.

Modelling lamp

Modelling lamps in this group range from 50W to 250W. Higher wattage lamps give a brighter, clearer view, but will tend to run hotter. It's a good idea to buy a couple of spares.

Controls

The back of the head usually features all the available controls, as well as a photo-electric slave cell, for triggering one head from another without extra cables.

Reflector

These generally have a bayonet-fit and are available in standard or wide-angle versions. They're not used when a softbox is fitted, which mounts on the head in the same way.

Clamp

A sturdy clamp enables you to lock the flash head securely in position. There are normally splines on the joint to avoid the head slipping downwards during use.

Flash tube

Flash tubes don't last forever but are generally user-replaceable. This is the case with all flash heads in the group apart from those in the Lastolite Lumen8 SV 400w Twin Head Softbox Kit.

Clip locks

Using the bottom clip lock, you can splay the legs as far apart as possible. Position the front of the flash head directly over one of the legs to give maximum stability.

Light stands

These should be robust and sturdy, so they can give plenty of support to flash heads even at their maximum height and with a large softbox attached.

Bowens Gemini 400/400 Twin Head Studio Kit

Bowens Gemini 400/400 Twin Head Studio Kit - £545

Not for the faint hearted, the Bowens Gemini 400/400 Twin Head Studio Kit comes in a single padded case and weighs in at 16.2kg. It's not too hard to lug around though, as the case features wheels on the bottom so you can pull it along.

The flash heads have a particularly robust, industrial feel to them. Like the Elinchrom D-Lite it 2/4 Two Head Umbrella Kit, the Elinchrom D-Lite 4it Studio To Go Two Head Kit and the Lastolite Lumen8 SV 400w Twin Head Softbox Kit, they have a 400Ws rating. But these have the highest maximum light output, at GN 76.

Helpfully, the rotary power adjustment knob is fitted on the side of the head rather than around the back. It gives continuous, stepless adjustment with nominal markings through a five-stop range.

Where other heads in the group feature modelling lamps of 100W or less, the Bowens has a bright 250W bulb, which you can set to full power, proportional or off. When reducing output power, there's an auto-dumping feature that eliminates the need to fire a test flash to dump additional power manually. For large adjustments, however, auto dumping is quite slow, so it's quicker to fire a test flash anyway.

A neat extra feature is that you can power the heads from an optional Bowens Travelpak battery unit, which plugs into a connector on the back panel. It's useful for location work where there's no mains supply, but comes at a hefty price of £500.

Performance

The two 90cm brollies supplied have clip-on covers so you can use each one as a silver or translucent brolly. However, switching between options is a fiddly chore.

Firing each flash head at 2m from a target through a translucent brolly gave an aperture range of f/3.6 to f/18 at ISO 100, when increasing power from 1 to 6 on the rotary control. That's pretty powerful, but the dial lacks the precision of some push-button systems, as seen on the Elinchrom D-Lite it 2/4 Two Head Umbrella Kit and the Elinchrom D-Lite 4it Studio To Go Two Head Kit heads.

Elinchrom D-Lite it 2/4 Two Head Umbrella Kit

Elinchrom D-Lite it 2/4 Two Head Umbrella Kit - £460

Uniquely in this group, the Elinchrom D-Lite it 2/4 Two Head Umbrella Kit has two heads of different power ratings. The 400Ws head is intended as the main light source, whereas the 200Ws head is more ideal for use as fill-flash, a hair light or for illuminating backgrounds. The Guide Numbers are 64 and 45 respectively.

Although the heads are of different powers, the control layout is identical. Everything in the kit is beautifully designed and built with Swiss precision. Simple push-buttons on the back of the head enable power to be increased or decreased over a five-stop range in 1/10th stop increments, and the LED display is easy to see in dark studio conditions.

The kit also contains two 83cm brollies; one silver, one translucent. They're very good quality, but a cheaper option than the softboxes included in the dearer Elinchrom D-Lite 4it Studio To Go Two Head Kit. A bonus of both kits is that wireless radio triggering is built into the heads and a hotshoe-mounting transmitter is part of the package. Everything's wrapped in two smart, slimline carry bags; one for the heads, the other for stands, brollies, and other bits and bobs.

Performance

Good for prolonged use, performance is enhanced by the fact that the heads are the only ones in this group to feature cooling fans, which kick in automatically when needed.

Colour temperature was consistent throughout the power range, and the push-button controls adjust flash power with precision. Throughout a series of shots, the output stayed consistent as well, so performance is pretty much flawless. Our only slight criticism is that the 200Ws head lacks oomph, needing f/10 for a correct exposure in our 2m translucent brolly test. On the plus side, it has a quick recycling time of just 0.6 seconds from full-power flash, and the 400Ws is pretty quick too, at 1.2 seconds.

Elinchrom D-Lite 4it Studio To Go Two Head Kit

Elinchrom D-Lite 4it Studio To Go Two Head Kit - £550

There's plenty of power on hand from this kit's two 400Ws heads, which have a GN of 64. As with the cheaper Elinchrom D-Lite it 2/4 Two Head Umbrella Kit, it's easy to set up even if you've never used studio flash. There's a good handbook, plus a video DVD guide that demonstrates lighting techniques for getting great results.

As well as two full-power heads, this kit includes a pair of excellent-quality 66cm softboxes, rather than the brollies supplied in the cheaper Elinchrom kit. Both kits include full wireless radio triggering and auto power dumping, plus auto-sensing cooling fans in the heads. Plus, unlike some of Elinchrom's previous softbox-based kits, this includes a reflector. It's handy when you want to use bare-bulb lighting for a harder light source, or for illuminating a background with one of the heads.

The softboxes are quick and easy to put together and deliver a lovely soft lighting effect, and they're more directional and controllable than brollies. The bayonet attachment is reassuringly rugged, and the whole kit feels like it's really built to last. Our only slight complaint is that Elinchrom uses a non-standard 7mm brolly shaft, so you have to buy own-brand brollies if you want to extend your kit. Even so, the price of a pair of 83cm silver and translucent brollies is quite reasonable, at £25.

Performance

Shooting through a translucent brolly positioned 2m from a target, we got an aperture range of f/4.5-16 in our tests. Impressively, the 1/10th stop push-button power controls were entirely accurate throughout testing.

As with the other Elinchrom kit, which features one of the same flash heads, power output was remarkably consistent throughout a long series of shots and colour temperature didn't change at all throughout the power range.

Interfit EX150 Mark II Home Studio Kit

Interfit EX150 Mark II Home Studio Kit, £220

Remarkably, this complete Interfit EX150 Mark II Home Studio Kit costs less than many a mid-range flashgun. Open the box and you'll find two 150Ws flash heads, light stands, two reflectors, a 60cm softbox, a 90cm translucent brolly and all the cables. However, you don't get a carrying bag, so the emphasis really is on 'Home Studio Kit', and there's also no handbook. The latter omission isn't too much of a problem because at least there's a video DVD guide to setting up and using the kit.

The flash heads are compact, but they're also basic. For example, the modelling lamp only has proportional and off settings, there's no auto power dumping facility, and you can't even turn off the audible recycle/ready beep. The lack of auto-dumping means you have to manually fire a test flash each time you reduce power in the head, or risk over-exposure.

The flash heads don't feel very robust and the light stands are a bit on the wobbly side, especially when extended to their maximum height. By contrast, the square softbox is well made and even features a secondary internal diffuser for super-soft lighting. The translucent brolly is of reasonable quality too.

Performance

With a power rating of just 150Ws and a GN of 32, these are the lowest-powered heads in the group. The calibration of the stepless rotary power control proved fairly accurate between 2-4 but power dropped off dramatically at the lower end of the scale.

Firing through the translucent brolly from 2m, each head gave a maximum power level equivalent to f/11 at ISO 100. At the lowest setting, the flash wasn't even strong enough to trigger our Sekonic flash meter. At least power was consistent throughout a long series of test shots. If you're after a super-cheap kit for occasional home use, this is worth considering.

Interfit EXD200 Home Studio Kit

Interfit EXD200 Home Studio Kit - £295

At £75 more than Interfit's EX150 kit, the Interfit EXD200 Home Studio Kit is still one of the cheapest options in the group, and has a lot more going for it. The upgrade from 150Ws to 200Ws heads might not sound very dramatic but, in our tests, maximum light output was much greater than the rating would suggest.

The flash heads are also much more sophisticated than Interfit's cheaper options. You get push-button power control in 1/10th stop increments, complete with an LED display, similar to the Elinchrom heads on test. The modelling lamp has proportional, free (manually adjustable) and off settings, and the annoying recycle beep can be switched off.

There's still no auto-dumping facility, but the head fires a test flash automatically when you reduce power, so you don't have to do it manually. For large reductions in power, this is actually a lot faster than waiting around for auto power dumping to do its thing.

The EXD200 heads also have a programmable slave mode, like that of the Elinchrom heads. You can use this to trigger the heads from a flashgun, in which case pre-flash pulses are ignored and the heads trigger at the right split-second for the actual exposure.

Other differences between the two Interfit kits are that this one includes a carrying bag, and features a handbook, but no DVD video guide. The good-quality softbox and brolly are the same in both cases, and so are the slightly rickety stands.

Performance

Recycling times from a full-power flash are pretty respectable, at 1.5 seconds, which is the same as with the lower-powered Interfit 150Ws heads. In this case, though, the EXD200 heads achieved a much more intense maximum light output, sufficient for an f/18 aperture when fired through a translucent brolly.

Lastolite Lumen8 SV 400W Twin Head Softbox Kit

Lastolite Lumen8 SV 400W Twin Head Softbox Kit - £455

This complete studio kit is based around a pair of robust, well-engineered 400Ws heads that sit on particularly sturdy stands. It's just as well, because the stands extend to a towering 3.52m, dwarfing everything else in the group. The stands are air-cushioned too, which is a nice touch.

At a GN of 60, the heads are a little down on maximum light output, compared with other 400Ws heads in the group. They also lack an auto-power dumping facility, but a test flash is fired automatically, as needed, when you reduce the power setting. The only downside is that the flash tubes are fired more often than necessary and, unfortunately, the Lastolite heads are the only ones in this group where the flash tubes are not user-replaceable.

The 66cm softboxes are of luxurious quality and feature a secondary internal diffuser panel. They produce a very soft, even light, but aren't ideal if you're in a hurry. They're fiddly and time-consuming to set up – the softboxes have their own illustrated assembly guide with no fewer than 30 individual steps.

On the plus side, a reflector is supplied for each head, so you don't have to buy these separately if you want to use bare-bulb flash or add brollies. As with all but the Elinchrom heads, they feature a standard 8mm brolly shaft.

Performance

The stepless rotary power dial enabled an aperture range of f/2.2-14 in our tests, firing each head from 2m using a translucent brolly. The calibration scale is only nominal, however, and proved quite inaccurate. The maximum power equivalence of f/14 is quite disappointing for a 400Ws head. In other respects, colour temperature and shot-to-shot power output is consistent throughout the power range and over long sequences of shots.

Photo Basics Strobelite 2-Light Educational Kit

Photo Basics Strobelite 2-Light Educational Kit - £350

Like both Elinchrom kits and the Interfit EX150, the Photo Basics Strobelite 2-Light Educational Kit includes an instructional DVD to help beginners get up and running. Indeed, the video runs for two hours, and the 'educational' aspects don't stop there.

The kit also includes a floor positioning mat and a floor mat guide card, to help you place the subjects and the flash heads in the right positions for various lighting effects. It's a bit like the studio photography equivalent of painting by numbers.

In other respects, the kit is rather lacking. The heads don't live up to their 300Ws potential, and lack auto-dumping. You have to manually fire a test flash every time you reduce the power setting. There's also no facility for turning off the recycle/ready beep. Power adjustment is via a stepless rotary control, which enables a nominal four-stop range.

The heads are quite compact and lightweight, but the light stands feel flimsy and only extend to a maximum height of 1.9m, which is the lowest in the group. The two translucent brollies are of reasonable quality, but we'd rather have one translucent and one silver to add versatility.

Performance

The Photo Basics heads gave less light output at their maximum power settings than either of the lower-rated Interfit heads. Shooting from 2m through a translucent brolly, the aperture range stretched from f/2.2 at minimum power to f/10 at its highest.

The calibration of the power dial was fairly accurate, but the consistency in flash output throughout a series of shots was disappointing. We experienced fluctuations of +/-0.3EV throughout sequences of shooting, with changes in light intensity occurring at random from one shot to the next. Overall, this is poor value, especially compared with the cheaper Interfit EXD200.

Proline Apollo 180/180 Twin Head Kit

Proline Apollo 180/180 Twin Head Kit - £265

The second cheapest kit in this group, at only £45 more than the Interfit EX150, the Proline outfit nevertheless comes in its own carry case complete with roller-wheels. But while the case looks smart, what's inside is a bit of a letdown.

The 180Ws heads are extremely small and disappointingly basic. The low-power 50W modelling lamp is an on/off affair that lacks a proportional setting, and there's no auto-dumping facility. Overall build quality feels a little on the cheap side, and the recycling/ready beep can't be switched off, which is frustrating.

The light stands are similarly flimsy, but at least you get a 50 x 70cm softbox as well as a 105cm translucent umbrella. The softbox is of rather better quality but, again, the umbrella has a fragile feel to it and our review sample soon started to come unravelled. The heads are designed in such a way that there's a small reflector built into the front end, but we still suffered a lot of light spill.

Performance

At its full power setting, each head enabled an aperture of f/11 in our standard test, firing through a translucent brolly, two metres from the target. The power is nominally adjustable through a four-stop range, although in our tests it was rather more than four stops, at f/1.1-1 1. Frustratingly, almost all of the power adjustment was in the final quarter of the knob's travel, at the maximum end of the range. This made fine adjustments in flash power difficult.

At full power, the recycle time is a sluggish three seconds, which is about twice other heads on test here, apart from the Photo Basics Strobelite 2-Light Educational Kit, which takes two seconds. Power output also varied somewhat between +/-0.2EV in our tests. The inconsistency wasn't quite as bad as with the Photo Basics heads, but still rather worse than all other heads in the group.

Verdict: best budget studio lights

Both of the Elinchrom kits in this testing group offer supreme sophistication and excellent build quality. They're also very easy to use, thanks to highly intuitive and versatile controls.

Of the two kits, the D-Lite 4it Studio To Go is the more appealing, because both flash heads are of the more powerful 400Ws variety. You also get a pair of high-quality 66cm softboxes, which are a step up from the translucent and silver 83cm brollies included in the cheaper D-Lite it 2/4 Two Head Umbrella Kit.

Both Elinchrom kits come with wireless radio trigger systems, auto-sensing cooling fans and video DVD guides, as well as quality carry cases.

Next on the list, it's a close call between the Bowens Gemini 400/400, Interfit EXD200 Home Studio and Lastolite Lumen8 SV 400W. The Bowens kit has impressively strong build quality and powerful maximum output, but the overall design and controls feel a little too utilitarian, especially considering the high asking price.

The Lastolite kit is quite similar in all respects, but is rather better value for money at nearly £100 less. However, the heads are a bit down on maximum light output for their 400Ws rating and the softboxes are annoyingly fiddly to assemble.

The Interfit EXD200 has refined controls and advanced slave modes, more akin to the Elinchrom kits. The heads also punch above their weight for light intensity, considering they're only rated at 200Ws. By comparison, the rest of the lighting kits on test look like also-rans.

Verdict

An unbeatable combination of power, versatility and ease of use, the Elinchrom D-Lite 4it Studio To Go Two Head Kit boasts intuitive control panels and built-in wireless radio triggering. Every item is beautifully made. It's marginally the most expensive kit, but worth every penny.

For power, sophistication, quality and ease of use, the Elinchrom D-Lite 4it Studio To Go Two Head Kit delivers the perfect package.

Source : Google Reader

Hands on: Nikon D800 review

Hands on: Nikon D800 review:

Introduction

Probably one of the most highly anticipated DSLRs, and most widely rumoured cameras, of the past few months, the Nikon D800 is finally official.

With its substantial 36.3-megapixel full-frame FX sensor, Nikon is aiming the D800 at the higher end of the market, namely professionals and top-end enthusiasts. The £2399.99 price tag reflects that.

The company is keen to point out that it is not a replacement for the Nikon D700, but will sit alongside it (for the moment, at least).

This is of course Nikon's second DSLR announcement of 2012, with the flagship Nikon D4 arriving just a couple of weeks ago. The D800 utilises many of the new features of the D4 in a smaller body and at a cheaper price point.

These include the same EXPEED 3 processor, the same Multi-Cam 3500 FX autofocus system which offers 51 autofocus points and the same 91k pixel metering system. It's also capable of focusing right down to -2 EV (moonlight, essentially), which coupled with its ability to shoot at up to ISO 25,600 (at the Hi 2 setting), should make this a promising camera for its low-light shooting.

The D700 doesn't feature a video mode, but the D800 brings Full HD functionality. It can record 1080p video at 30, 25 and 24fps frame rates, along with 60 and 50fps rates at 720p for shooting slow-motion movies. Both FX and DX crops are available in video mode, although the D800 lacks the D4's useful new 1920 x 1080 crop mode.

In another upgrade over the D700, the D800 features dual memory card slots. Unlike the D4, the D800 makes use of existing memory card formats, namely Compact Flash and SD. The decision to include two formats might prove mildly frustrating for some pros, who will now have to carry two different sets of cards.

Altogether, Nikon claims to have included 36 new features or improvements to this full frame DSLR camera, when compared to the D700, and is also introducing a new battery grip which is compatible with multiple types of Nikon batteries.

The D800 will be available in two versions: a 'standard' body, plus a special edition, called the D800E. This will have the anti-aliasing filter removed, but comes with an extra £400 premium as a result.

Removing the filter allows for a potentially greater amount of detail to be resolved, and is a feature most commonly found on medium-format cameras, which Nikon is clearly aiming to target with this latest release. But this comes at the price of increasing the chances of false colour or moiré patterning.

This type of noise is relatively straightforward to remove in photo-editing software packages, such as Lightroom 4. Nikon's own Capture NX2 can also be used to reduce or remove the effect, and will come bundled with the D800E.

Build quality and handling

In terms of size, shape and weight, the differences between the D800 and D700 are subtle. It's 10% lighter than the D700 and the body has a more 'contoured' look and feel. Like the D4, the shutter release has been slightly repositioned for better ergonomics, while a number of the controls have been tweaked

New buttons include a direct video record button just behind the shutter release, which reflects the D800's increased focus on high-end video. There's also a new switch to the right of the rear screen that enables you to toggle between live view in stills mode and video mode.

These controls are mirrored on the D4, which should make switching between the two bodies a relatively straightforward process for pros packing both cameras.

Just to the left of the lens mount is a direct AF mode control button, which is used in conjunction with the camera's two control dials. Rotating the rear dial enables switching between AF-S and AF-C, while the front dial can be used to toggle between the various options available in each mode.

Although it may be surprising to hear that such a video-focused camera doesn't come with an articulating screen, the D800's fixed 921k dot 3.2 inch LCD panel is promising. As with the D4, it features automatic monitor brightness control. During our brief time with the camera, we found reflections to be minimal with a good viewing experience to be had from a variety of different angles.

The viewfinder now offers 100% frame coverage, as opposed to the D700's 95%, which is likely to be welcomed by photographers specialising in landscapes, and other disciplines that demand criticial framing.

A dual-axis electronic virtual horizon is also a useful addition for outdoor photographers, and can be viewed either on the LCD monitor or through the viewfinder, which is also extremely handy.

Anyone familiar with Nikon DSLRs, especially the D700, or D3 S/X professional series, will be at ease with the menu and operation of the camera.

Performance

Obviously it's difficult to fully evaluate the performance of a camera without being able to shoot real-world images with it, but initial impressions are extremely promising.

Stills shot by John Wright, a fashion photographer using the D800, were on display at the camera's launch and gave a good indication of the capabilities the new 36 million pixel sensor can offer. Video output looks like it will be similar to that seen in the D4.

As with the D4, the central 11 AF points are capable of functioning at f/8. This effectively means that teleconverters can be used to extend the reach of shorter length lenses, rather than having to worry about packing multiple long and heavy telephotos. For instance, a 200-400mm f/4 fitted with a 2x teleconverter effectively becomes a 400-800mm f/8 that still works with autofocus.

Like many of its competitors, Nikon has really ramped up its video efforts and the D800 is no exception, with several new features directly aimed at videographers. One such example of this is, as on the D4, uncompressed HDMI output, which is likely to be welcomed by those looking to produce broadcast quality video.

Although the Nikon D800 features 36.3 million pixels, which is more than three times that found on the D700, the company claims that noise performance is roughly equal. This is one of the key areas that we will be keen to test further in our full review once samples become available.

The shutter has been tested to around 200,000 cycles, while the battery life has been reduced from the D700 to around 850 shots at CIPA standard. While the D700 was capable of around 1000, the new battery has been made to comply with a new Japanese electronics law, hence the reduction in shot output. However, since those 850 also includes the flash being fired, it's likely that the battery has the potential to last even longer, depending on the situation.

Verdict

It's clear that Nikon is really striving to make 2012 its year. In the past 23 working days, the company has launched 20 products (which includes DSLRs, compacts and accessories).

With the Olympics coming up, Nikon is obviously trying to tap into the huge number of professionals who are demanding ever increasing amounts from their cameras, whether that is with higher resolution images or professional quality HD video.

For the price, the D800 represents a good investment. You get pretty much all of the best features of the D4 in a more compact and lighter body, for just shy of half of the price.

It's perhaps a little bit strange to see older bodies in Nikon's range continuing, namely the D700 and the D3X, which now offers a 24 million pixel sensor at greater expense than the D800's 36MP one.

Nikon is also keen to tap into other areas of the market where it previously hasn't quite had the reach. With the introduction of the D800E, this means medium-format users who are looking for large sensors with tons of details, especially for those working in fashion and studio environments.

It seems like a smart move to introduce this camera at around the same time as the D4 as we can see lots of pros deciding to invest in both, using the D800 as a good second body. High-end enthusiasts and videographers should find lots that they like about this camera, too.

With Canon also keeping its customer base waiting for a 5D Mark II upgrade, Nikon also has the potential to tempt a few of its rival's core audience over to the other side.

Look out for a full Nikon D800 review in due course.

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Source : Google Reader