Sony a (alpha) DSLR-A900 Digital SLR Camera (Body Black)

Review :
In the cut-throat digital camera market it's increasingly unusual for products to be shown in prototype form or announced more than a matter of weeks before they hit the stores. There's several reasons for the manufacturers' habit of playing their cards so close to their chests, not least that they can't afford to harm sales of the models they've already released. Sony, the newest 'new kid' on the DLSR block, has no such worries, this being its first proper 'high end' DSLR. In fact, if anything the pressure was on the company to show it was committed to becoming a major SLR system player and that it wasn't going to squander Minolta's long legacy in this market after picking up the assets Konica Minolta shed when it pulled out of the photography market. Thus we saw the first prototype of the Alpha 900 - Sony's flagship full frame digital SLR - back in early 2007 (it appeared behind glass at trade shows such as PMA in March 07), and information has been trickling out ever since; most significantly with the announcement in January of this year of a 35mm full frame CMOS sensor.

And so when Sony finally showed the finished Alpha 900 to us back in the late summer there were few surprises at the basic specification or the appearance of the camera. As we started to dig a little deeper, pore over the fine print and actually use the Alpha 900 we were, however, increasingly surprised - and almost always pleasantly so - at some of the decisions made by Sony's engineers when designing its flagship SLR.

The success of the Alpha 900 amongst the Minolta, Konica Minolta and Sony faithful seems assured; at a launch price of just shy of $3000 it offers a lot of 'bang for your buck' and there is undoubtedly a significant number of Minolta film SLR users who've been waiting years for a full frame digital body on which to use their existing lenses. The challenge for Sony, however, is to generate some interest from people without an existing investment in the Minolta (or subsequent Alpha) system. And on paper the Alpha 900 looks promising - and we're already impressed with the build, handling and viewfinder, so let's find out how well the latest addition to the small but growing 'full frame club' performs.

Key features :

    * 24.6 MP 35mm format full-frame CMOS sensor (highest res in class)
    * SteadyShot INSIDE full frame image sensor shift stabilization (world first)
    * High Speed Dual Bionz processors
    * Eye-level glass Penta-prism OVF, 100% coverage, 0.74x magnification
    * 9 point AF with 10 assist points, center dual-cross AF w/2.8 sensor
    * 5 frames per second burst, newly developed mirror box
    * Intelligent Preview Function
    * 3 User programmable custom memory modes on mode dial
    * Advanced Dynamic Range Optimizer (5 step selectable)
    * 40 segment honeycomb metering
    * 3.0" 921K pixel Photo Quality (270 dpi) LCD display, 100% coverage
    * Direct HDMI output
    * ISO 200-3200 (ISO 100-6400 expanded range)
    * User interchangeable focusing screens (3 options)
    * CF Type I/II and MS slots, LI-ION battery, STAMINA 880 shots
    * Weight 850g (without battery, card, accs)
    * New Image Data Converter SR software (includes vignetting control)
    * New Vertical Grip
    * Supplied with wireless remote control
    * Magnesium Alloy body and rubber seals for dust and moisture resistance
    * AF micro adjustment
    * $2999.99 body price; available late October 2008
Review Source by : www.dpreview.com

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Nikon Nikkor Lens - Nikon 35mm f/1.8G AF-S DX Lens for Nikon Digital SLR Cameras

Description - Pros

• Excellent image quality when stopped down just a little
• Fast and accurate autofocus with full-time manual override
• Generally attractive rendition of out-of-focus regions ('bokeh')
• Resistant to flare
• Low price

Description - Cons

• Slightly soft and low in contrast wide open
• Lateral chromatic aberration somewhat higher than traditional 50mm 'standard' primes
• Prone to purple fringing and bokeh chromatic aberration, most visible at large apertures

Overall Description

The AF-S Nikkor 35mm F1.8G DX is a lens which certainly caused a degree of dismay on its release, with many Nikon fans disappointed by the decision to make it compatible with the DX format only. However the main benefit of that decision is plain for all to see - even at its introductory price the lens costs rather less than the venerable AF-Nikkor 35mm F2.0D, despite the addition of an AF-S motor to allow autofocusing on Nikon's entry-level D40 / D40X / D60 bodies. It's also less than half the price of the few other DX format standard primes currently on the market (such as the Pentax 35mm F2.8 Macro, Tokina 35mm F2.8 Macro and Sigma 30mm F1.4 EX DC HSM), so Nikon has managed with this lens to produce the first genuinely inexpensive (sub-$200) fast standard prime designed specifically for digital SLRs.

Within this context, the lens's performance is very impressive. It produces finely detailed images at all apertures (although with somewhat low contrast wide open), focuses quickly and accurately, and handles well in a small, light package. In particular, it's much sharper than typical DX standard zooms such as the Nikon AF-S 18-55mm F3.5-5.6 DX VR or Nikon AF-S 18-200mm F3.5-5.6 DX VR. The fast maximum aperture allows pictures to be taken hand-held in low light levels, while maintaining relatively fast shutter speeds to avoid blur from subject motion (a key advantage over image-stabilised, but slow, kit zooms when photographing people without flash indoors). The slightly less tangible aspects of image quality - such as resistance to flare, and the rendition of out-of-focus regions of the frame - are also dealt with nicely.

If the lens has one major flaw, it is a certain propensity to show chromatic aberration, of both the lateral kind (which can be corrected by the in-camera JPEG processing of the D90 and D300), and the longitudinal (which cannot). To be fair the latter is a pretty well unavoidable with a fast prime, but the 35mm F1.8G DX suffers from it to a rather high degree, and in particular can give some unpleasant purple fringing effects if you're not careful.

Technical Details

• Engineered for Nikon DX-format digital SLRs - Optical formula optimized for use with Nikon DX-format digital SLRs.
• Aspherical lens element minimizes coma and other types of lens aberrations, further improving image integrity
• Nikon Super Integrated Coating (SIC) enhances light transmission efficiency and offers superior color consistency and reduced flare
• The exclusive Nikon Silent Wave Motor (SWM) enables fast, accurate and quiet autofocus
• Close focusing to one foot for creative perspectives and versatility

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Digital Cameras : Canon EOS 5D Mark II Digital SLR Camera Body Only (Broken Kit Box) w/ Supplied Manufacturer Accessories

Product Features : 

• 21.1-megapixel full-frame CMOS sensor, 14-bit A/D conversion, wide range ISO setting 100-6400 
• Body only; lenses sold separately 
• DIGIC 4 Image Processor; high-performance 3.9 fps continuous shooting; Live View Function for stills 
• Full HD video capture at 1920x1080 resolution for up to 4GB per clip ; HDMI output 
• Updated EOS Integrated Cleaning System specifically designed to work with a full-frame sensor 

Specification : 

21.1 Megapixel full frame CMOS sensor 
For the ultimate in creative shooting, the EOS 5D Mark II features a full frame CMOS sensor (36mm x 24mm). With no cropping or magnification effects, enjoy a true wide angle experience through the large, bright viewfinder. Redesigned pixels minimise noise, while a 21.1 Megapixel resolution surpasses the standards demanded by the leading picture agencies.

DIGIC 4 
Canon’s DIGIC 4 works with the EOS 5D Mark II’s image sensor to deliver outstanding reproduction of colours and subtle tonal gradations. DIGIC 4 also delivers split-second start-up times, Face Detection AF in Live View mode, and additional HD movie recording.

High ISO 
For handheld shooting in low light, the EOS 5D Mark II offers ISO speeds of up to 6400. For dark scenes where using flash is undesirable, this can be expanded to an incredible ISO 25600.

Full HD movie recording 
The EOS 5D Mark II complements outstanding still imaging capabilities with Full HD (1080) video recording. Users can even shoot video to memory card without losing the ability to capture still images. An HDMI connection allows High Definition playback of footage and images on an HDTV.

3.0” High Resolution LCD 
The 3.0” Clear View LCD features 920,000 dot resolution, wide viewing angle and dual anti-reflective coatings – allowing ultra-detailed image review in a variety of conditions. Live View displays real-time images on the LCD, offering three types of auto focus: Quick AF, Live AF, and Face Detection Live AF, which locks onto faces detected in the frame.

Up to 3.9 frames per second 
The EOS 5D Mark II offers continuous shooting at up to 3.9 frames per second. When shooting JPEGs to a UDMA card, maximum burst is limited only by card capacity.

9-point AF + 6 Assist AF points 
Precision auto focus is assured by Canon’s AF system, which employs 9 selectable points and 6 Assist AF points.

EOS Integrated Cleaning System 
Canon’s built-in dust prevention system offers three ways of guarding images against the effects of dust: reduction of internal dust generation; an in-camera sensor cleaning mechanism; and the ability to map stubborn dust spots for removal with Digital Photo Professional software (included).

Durable, compact design 
With a magnesium alloy construction, environmental protection and shutter durability of 150,000 releases, the EOS 5D Mark II is equally suited to location or studio work.

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Alva Store SLR Cameras : Canon Zoom lens - 24 mm - 70 mm - F/2.8 - Canon EF

Features :

• EF mount; standard zoom lens; Comes with Lens Cap E77U, Rear Lens Cap, Lens Hood EW-83F, Soft Lens Case 1219.
• Ultra-low Dispersion glass with Fluorite elements; inner focusing ring; full-time manual focus; aspherical lens
• 24-70mm focal length
• f/2.8 constant maximum aperture
• UltraSonic Motor (USM) AF actuator 

Review : 
The Canon EF 24-70mm f/2.8 L USM Lens is an impressively high performing zoom lens. I regard it as one of the best general purpose lenses available and for the same reasons, it is one of the most-professionally-used Canon lenses. The 24-70 L is as good as it gets in this focal length range.

The Canon EF 24-70mm f/2.8 L USM Lens shown above is mounted to a Canon EOS 1D Mark III.

The Canon EF 24-70mm f/2.8 L USM Lens is a very sharp lens - few zoom lenses reach this level of sharpness. The 24-70 L is sharp in the center at f/2.8 at all focal lengths and performs very well in the corners. Some corner softness is visible at the wide end of the focal length range and more softness is apparent in the 50-70mm corners. As usual, stopping down (selecting a narrower aperture) to f/5.6 makes a big difference in the longer focal length corners.

The wide open 24mm corners are most-affected by vignetting. Vignetting is very well controlled, but apparent in the corners at f/2.8 at 24mm on a full frame body. Vignetting improves as the focal length increases and the aperture is narrowed. At comparable apertures, the 24-70 L shows less vignetting than the also-excellent Canon EF 24-105mm f/4 L IS USM Lens - a typically-expected result when comparing a fast lens to a slower lens.

Like most 24-xx zoom lenses, the Canon EF 24-70mm f/2.8 L USM Lens shows some barrel distortion on the wide end. More specifically, a bulge in the middle of the frame. Barrel distortion disappears around 35mm. A very slight pincushion distortion begins at 50mm and becomes moderate by 70mm.

Color, contrast and saturation are excellent. CA (Chromatic Aberration) is very well controlled - especially for a zoom lens. The wide 8-blade aperture produces a nice quality background blur and a nice amount of it.

Prime lenses (fixed focal length lenses) are often compared favorably to the Canon EF 24-70mm f/2.8 L USM Lens. They are generally less expensive, smaller, lighter, faster (aperture) and very sharp. My personal preference is for zoom lenses for my photography applications in this focal length range. To me personally, the ability to change framing instantly far outweighs the slight image quality advantages fixed focal length lenses offer over the 24-70 L.

I'm often asked - can images shot with a consumer zoom lens be post-processed to result in images similar to 24-70 L images? The answer is: you can adjust contrast and saturation, but you cannot add missing detail. And, color can be very difficult to match later. So, using a better lens will usually result in better post-processed images. Most primes and L lenses are noticeably better than consumer zooms.

Image quality is not the only pro-grade feature of the Canon EF 24-70mm f/2.8 L USM Lens. Excellent AF is part of the equation. A Ring USM (Ultrasonic Motor) AF system delivers quiet, fast and accurate autofocus. The 24-70 L's f/2.8 aperture enables the enhanced-sensitivity of many Canon EOS DSLR body's AF points. As usual for a Ring USM AF system, FTM (Full-Time Manual) focusing is enabled. The 24-70 L does not extend with focus and the 77mm filter ring does not rotate.

The Canon EF 24-70mm f/2.8 L USM Lens' MFD (Minimum Focus Distance) is about best (shortest) in class even without an extension tube. This short focus distance provides a very nice MM (Maximum Magnification). While not close to a 1:1 macro lens, the 24-70 L can take nice flower shots, product pictures ... Although it is not compatible with Canon's extenders, extension tubes will extend the 24-70 L's macro capabilities. Canon's extension tube offering are the FE 12mm extension tube and EF 25mm extension tube. The Canon 500D is a close-up lens that attaches to the filter threads - it also allows closer focusing distances - sorry, I don't have the spec for this one.

Sporting a red Canon L Series Lens ring, the Canon EF 24-70mm f/2.8 L USM Lens' build quality is also, as expected, top of the line. Though not light, the 24-70 feels solid, is comfortable to handle and has a logical layout. The focus and zoom rings are nicely-sized and operate smoothly. Weather sealing (when attached to a weather sealed body) completes the physical quality package.

The Canon EF 24-70mm f/2.8 L USM Lens tips the scales at 33.6 oz (950g) - about 50% more than it's closest Canon competitors, the Canon EF-S 17-55mm f/2.8 IS USM Lens and the Canon EF 24-105mm f/4.0 L IS USM Lens. Of course, the 17-55 gains its advantage by not delivering a full frame 35mm image circle (being an "EF-S" lens) and by having a lesser build quality. And the 24-105 allows only 1/2 as much light through its body at wide open aperture (f/4 vs. f/2.8).

The Canon EF 24-70mm f/2.8 L USM Lens' 77mm filter diameter makes sharing filters (such as a circular polarizer filter) with most of Canon's other L-Series zoom lenses easy (and more affordable of course).

Canon Normal Zoom Lenses Size Comparison - Retracted

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Digital SLR Cameras overview and Best Seller

Most digital single-lens reflex cameras (digital SLR or DSLR) are digital cameras that use a mechanical mirror system and pentaprism to direct light from the lens to an optical viewfinder on the back of the camera. DSLRs are often preferred by professional still photographers because they allow an accurate preview of framing close to the moment of exposure, and because DSLRs allow the user to choose from a variety of interchangeable lenses. Most DSLRs also have a function that allows accurate preview of depth of field. Many professionals also prefer DSLRs for their larger sensors compared to most compact digitals. DSLRs have sensors which are generally closer in size to the traditional film formats that many current professionals started out using. These large sensors allow for similar depths of field and picture angle to film formats, as well as their comparatively high signal to noise ratio. The term DSLR generally refers to cameras that resemble 35 mm format cameras, although some medium format cameras are technically DSLRs.
Here are some examples of DSRL cameras : Canon EOS Rebel T3i, Canon EOS Rebel T3 12.2 MP, Nikon D3100, Nikon D5100, Sony a (alpha) SLT-A55VL, Sony a (alpha) DSLR-A900, Pentax K-5 .

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