Introduction
The annual PMA camera and photography tradeshow was held in Las Vegas again this year. Since 2000, the first year I went, it’s gone back and forth between Orlando, Florida and Las Vegas, Nevada. Most camera companies and PR firms have their headquarters in New York and New Jersey. So PMA is an excuse to go somewhere warm as well as show off new products to their dealers and the press. Orlando is for taking the kids and family to Disney World. And Vegas is for grownup fun.

It’s always hard to summarize PMA and it takes a while to really digest all the new camera gear and process what I’ve seen. As far as big announcements and innovative technology go, it wasn’t the most exciting PMA ever. If I have to sum it up in a sentence, PMA this year was about digital camera refinement. The most exciting news and product at the show was Sony’s unnamed future pro digital SLR. If there was a winner, it was Sony. Of course, there were lots of other products to help you take and enjoy better photos. Read on to learn more about the most interesting and important new digital cameras and photo accessories at PMA 2008.

Sony Wins The Show
One day before PMA started, Sony announced their new Alpha A300 and A350 digital SLRs. And in a surprise move, they also announced a full-frame 24.81-megapixel digital SLR sensor. That sensor would be a big deal for any digital camera maker. But for a company that’s only in their second year of selling digital SLRs, it’s major statement about their intentions to be a player at the highest level. After the sensor announcement I assumed they’d announce make a pro digital SLR with the new sensor at the semi-annual Photokina tradeshow this coming fall. But they went big and announced the yet-to-be-named pro DSLR in a press conference right before the show opened. They also had a model of the upcoming camera behind glass, and the Super Steady Shot-equipped full-frame sensor assembly to be used in the new camera. I don’t think anyone has any doubts now about Sony’s intentions or ability to compete in the digital SLR market.

A Short Article on Sony’s 2008 PMA Announcements >>
Video of the new Sony DSLR-A350 Digital SLR >>

New Digital SLRs
Besides the Sony’s new Alpha DSLR announcements, the most interesting development in digital SLRs was Nikon and Canon adding image stabilization to their entry-level cameras. No – they didn’t add in-camera image stabilization like Pentax, Olympus, and Sony. But due to what I can only see as pressure from those makers, Canon and Nikon are both offering image-stabilized kit lenses with their new DSLRs, the EOS Rebel XSi and D60, respectively. The image-stabilized kit lenses indicate that competition for entry-level DSLR customers has pressured Nikon and Canon into competing on the same playing field as underdogs, Pentax, Sony, and Olympus. And new camera buyers are the winners. Anyone who buys a new entry-level DSLR in 2008 will be rewarded with sharper photos in a wider range of conditions. *

Nikon D60 Press Release >>
Nikon D60 Video >>
Canon EOS Rebel XSi / 450D Press Release >>
Canon EOS Rebel XSi Article >>

Live view is now also close to a standard feature on digital SLRs. The Nikon D60 and Canon EOS Rebel XSi both have it. Sony’s new DSLR-A350 has what they’re calling “Quick AF Live View”. They developed a new mirror assembly so that allows fully active auto focus with Live View activated. There are a few Live View holdouts, but I expect that by the end of 2008 there won’t be a digital camera without it.

Tools like Nikon’s D-Lighting are finding their way into entry-level DSLRs. Canon now offers a similar in-camera processing feature called, Auto Lighting Optimizer, and Sony’s D-Range Optimizer has been available since they introduced the A100. The new Pentax K20D and K200D have an Expanded Dynamic Range function to help photographers capture more shadow and highlight detail. More advanced photographers likely won’t be as interested in these features. But they make a lot of sense as more point-and-shoot photographers make the move from compact digital cameras to digital SLRs. These features offer real in-camera image quality improvements for photographers who aren’t well versed in RAW conversion and post-processing software.

Also interesting in digital SLR news is the public collaboration between Samsung and Pentax. The Pentax K20D and Samsung GX-20 digital SLRs share a new 14.6-megapixel CMOS sensor manufactured by Samsung. Samsung supplies the sensor and Pentax provides the lens mount and extensive camera design experience. Samsung is getting more serious about digital cameras and their marketing guys were anxious to tell us that the new GX-20 DSLR is less Pentax than the GX-10 was. They also had a press conference at the show where they announced a restructuring of their consumer electronics business that will mean more money, resources, and marketing for digital cameras.

Larry Chen’s Samsung GX-20 / Pentax K20D Comparison >>
Samsung GX-20 DSLR Press Release >>
Pentax K20D DSLR Press Release >>

*The one exception is the Olympus E-410, which does not have image stabilization.

New SLR Lenses
A lot of new SLR lenses were introduced at the show, including a whole slough of image-stabilized glass. Sigma has added new image stabilized OS (Optical Stabilizer) lenses and Tamron is also offering new image-stabilized lenses. Some notable new lenses are Nikon’s PC-E NIKKOR 24MM F/3.5D ED tilt/shift lens, Canon’s EF 800mm f/5.6L IS USM, and Sony’s new Carl Zeiss 24-70mm f/2.8 ZA lens. The new Tokina AT-X 116 PRO DX 11-16mm zoom lens is the first super-wide lens for APS-C digital SLRs with a continuous f/2.8 aperture.

It’s also worth mentioning Nikon and Canon’s new image-stabilized kit lenses again. Image-stabilized kit lenses are a huge win for photographers buying their first digital SLR. Image stabilization means more usable photos and better image quality for everyone – but especially for beginning photographers.

New Compact Digital Cameras & Trends
The hottest trends for compact digital cameras are colored bodies, wider lenses, and Smile Priority shooting. A myriad of new body colors is the most obvious change. We actually started to see a lot of colored cameras last year. But walking the show floor this year, colorful point-and-shoots were everywhere. They’re no longer an interesting option – they’re obligatory. And every digital camera manufacturer is offering a whole rainbow of color options for most of their compact digital camera lines. The exceptions are high-end, full-featured cameras like Canon’s PowerShot G9, the Nikon Coolpix P60, and superzooms. Those cameras still only come in serious silver and tough guy black.

A new variation on Face Detection technology is making an appearance in many new compacts. Smile Detection (or Smile Priority or Smile Shutter – depending on the manufacturer) shooting modes identify when your subject smiles and won’t take the picture until that moment. Like Face Detection, this may seem kind of trite and gimmicky – until you try it. It works very well and for photographers who find they often miss the moment, it will be a godsend. Sony adds an in-camera feature that can actually add a smile – just in case you’ve got a really pouty subject.

Video Demo of Nikon’s Smile Detection In Action >>

I’ve been waiting a long time for wider lenses on point-and-shoot digital cameras. There have been a few compacts with 28mm lenses (35mm equivalent). Last year, Panasonic started to give a lot of their Lumix line wider zoom lenses. But when I want wide, I want wiiiiiiiide. So I’m excited about Panasonic’s new Lumix DMC-FX35, which has a 25mm lens (35mm equivalent). The newest Olympus underwater point-and-shoot, the Stylus 1030 SW, has a 28mm wide zoom. Both of these cameras are on my digital camera review short list. The Nikon Coolpix S600 has a 28-112mm wide-angle zoom lens, Casio’s EXILIM Zoom EX-Z200 and EX-Z100 digital cameras both have 28mm wide-angle lenses. Sony’s 10.1-megapixel Cybershot DSC-W170 has a Carl Zeiss 28-140mm zoom lens and their DSC-W150 has a Carl Zeiss 30-150mm lens. It’s nice to see manufacturers adding real wide-angle capabilities to pocket cameras. I am looking forward to testing some of these new point-and-shoots and hope the optics are as good as in previous cameras.

Most Interesting Cameras & Other Photo Gear
Every year there are a few standout products at PMA. As I said in the previous, compact digital camera section, top of my list for review right now are Panasonic’s new Lumix DMC-FX35 with it’s 25mm lens, and the Olympus’ new 10.1-megapixel Stylus 1030 SW waterproof, shockproof, and dustproof point-and-shoot digital camera. I’m also curious about Casio’s hard to classify EXILIM Pro EX-F1, which can capture as many as 60 frames-per-second at a full 6 millions pixels of resolution. With a 12x optical zoom lens and an image stabilized sensor, it’s a very different camera and one I’m anxious to play with.

Both Sigma and Leica made notable announcements about previously introduced cameras at this year’s show. Last year, Sigma announced the DP1 compact camera, which sports a DSLR-sized Foveon sensor in a compact camera body. However, the camera was delayed and still isn’t available. Sigma showed it again at PMA this year and some sample photos have even appeared on another digital photography Web site. The DP1 is a camera we’re very excited about and we’re glad to see that Sigma still intends to make it. I’ve been requesting one for review since last year’s PMA show and I will renew my efforts to get one.

Leica announced an upgrade program for their M8 digital rangefinder. The first upgrade costs 1500 euros and includes a new, quieter shutter and a watch-grade sapphire glass LCD cover replacement. Will sensor upgrades be part of the program? That’s what we all want to know. Regardless, the upgrade program makes a beautiful and very expensive camera a more interesting and compelling investment and sets the M8 apart from other pro digital cameras even more than it already is.

The most interesting new lens is, without a doubt, Sigma’s APO 200-500mm F2.8/400-1000mm F5.6 EX DG lens. This lens is a monster. It really needs a nickname of some sort because it’s so large and looks so strange. I suggest the “RPG,” “Big Bertha,” or just “The Bomb.” Anyone who tries to take this lens anywhere with tight security is definitely getting a cavity search. But there’s nothing else like it and I’m sure the FBI, CIA, military, and wildlife photographers are getting in line to buy them.

Sigma APO 200-500mm F2.8/400-1000mm F5.6 EX DG Lens Press Release >>

Am I saving the best for last? If you’re a film shooter I am. Fujifilm had a medium format folding rangefinder camera on display (see photo in film section, below). It wasn’t an actual working camera - only a prototype so they could gauge interest. I’m not shooting film anymore, but it looks beautiful and it takes me back. The only serious film camera I still own is an old Mamiya Universal rangefinder. The Fuji rangefinder prototype takes me back and I hope they put it into production.

2008 PMA Film News!
PhotographyREVIEW.com hasn’t forgotten about film! Walter Long, better known as walterick on our forums, covered film-related news and products for us this year. He talked to Agfa, Fujifilm, Kodak, and Ilford and wrote a very comprehensive report on the current state of film. The gist of it is that the manufacturers have a firm commitment to film and are in it for the long haul. I’ve noticed renewed interest in film in the past year and am pleased to see both experienced and beginning photographers express their passion for film and the darkroom. It’s good to know that the film manufacturers are paying attention and intend to keep providing quality film for photographers who find it the best medium for their work.

Read walterick’s full 2008 PMA Film Report >>

2008 PMA Report Conclusion
We did our best to cover the whole show and highlight the stuff that we found most interesting with video, articles, and our PMA photo gallery. This PMA Final Report was intended to cover some of the most important new camera, accessories, and photo industry trends. But there’s no way we could see or cover it all. We did our best, but If we missed anything, please feel free to comment below.

I heard this statement not once, but 4 times this year at PMA . And the people saying it were Agfa, Ilford, Fuji, and Kodak.

I met with reps from each of these companies while at PMA. Each one talked about their current film offerings, and their plans for the future (the ones they could share with me, anyway.) When I asked them if they were planning on staying with film for the foreseeable future, they each paused, looked me right in the eye, and said “yes.”

This I believe is the state of film today. The people who are in it, are in it forever. And on the industry side, the story appears to be the same. I believe the film community is consolidating, and I believe there is still enough interest in it to warrant a few industry surprises over the next few years. Here is a rundown of my interactions with the leading film manufacturers and companies making hardware for film users this year at PMA:

Agfa
Agfa may be perhaps the most misunderstood manufacturer in this group. Believed to be “dead,” they are very much still in the market of making film, and are still active in Europe. Their problem has come in finding distribution here in the U.S. They are still producing APS and positive film. Their story with black and white is that it is not currently being produced, but they are selling off their stockpile of black and white before looking at producing more. Despite these manufacturing and distribution issues, Agfa still pledges allegiance to selling film.

Ilford
In 2005, a year after filing for bankruptcy protection, Ilford split in two. It’s chrome and paper products stayed under the Ilford brand name. A group of Ilford’s managers bought its black and white film division and created a new company to continue producing Ilford’s black and white film line. I bumped into one of those managers as I poked around Ilford’s booth. His name is Howard Hopwood, and he was perhaps the most personable man I met at PMA this year. Taking the time to talk about Ilford film, the company’s split, and future plans for Iflord’s products, I never once felt I was being a nag. He explained to me that he and the other managers who bought Ilford film named the company Harman after Alfred Harman who founded the Ilford company in 1879. He told me the story of how hard Ilford is fighting to keep producing its film lines. With regards to their research and development budget, Hopwood joked “we spend our R&D money keeping them the same.” He explains that as materials required for producing film get harder to find, Ilford’s R&D budget goes into the search for materials required to keep films they already have. I laugh and tell him that it is very indicative of their commitment to the film product that they continue working so hard to keep it going. He says that Harman is still in the market of producing products for film, as evidenced by the release of the SFX200 line last summer. He remarks at the timing of the release of this IR-like film and its synchronicity with the demise of Kodak’s IR film at about the same time. Further, he further explains Ilford’s commitment to film by sharing with me their “Defend the Darkroom” project in England. Hopwood believes that the darkroom is being neglected in educational institutions and his “Defend the Darkroom” campaign is designed to restore and educate people on the use of the darkroom. He plans to continue holding classes on darkroom production and usage. I asked him if he considered bringing his Defend the Darkroom program across the pond to the States. He sighed and stated it would be difficult as Harman only has 4 employees working in this country. Still, I was impressed with this man’s passion for film photography and the darkroom and thanked him very much for his time in talking with me.

Fuji
The big news to come out of camp Fuji this year is the production of a pair of prototype hand built 6×7 folding rangefinder cameras. I walked up to a group of Fuji reps working at their booth and asked if they could comment on the rumor of a Fuji rangefinder being built. “It’s not a rumor!” one said amongst a group of smiles, leaning forward and pointing me toward a display box in the center of the walkway. I walked over and gazed in at what was indeed, a pair of folding 6×7 rangefinders. They were intriguing creatures, to say the least. One silver, one black. I took several photos of them and then wandered back to the group of workers. What can you tell me about them?” I asked. “Not much” was the answer. Fuji is being pretty tight-lipped, I was told. Still, I was lead to Christian Fridholm, their film guy, who told me what he knew. Fuji built these 2 prototypes to gauge public interest. And public interest, I was told, at the show was high. That was all he could tell me, it was all he knew.
We moved on to film, and Christian talked to me about Fuji’s line of films. He commented on the recency of Fuji’s films, with many of them having been revamped in the last several years, the Provia line he mentioned specifically. Of particular interest to him and I both however was the recent reintroduction of Velvia 50. Fuji had stopped making their Popular Velvia 50 line and had introduced their new Velvia 100 film, to complement their Velvia 100F. Now, the 50 was back. I looked at samples of Velvia 50, Velvia 100, and 100F side by side on a light table. “Why did they bring back the 50?” I asked. It turns out there was a bit of a story to it all. Just like Ilford’s troubles getting the necessary materials to make their black and white films, Fuji ran into chemistry problems with their Velvia 50. It wasn’t that the film was not popular, it was that for environmental reasons, they could no longer produce it. So out went the Velvia 50, and in came the new 100 Professional. However, though the 50 line went away, demand for Velvia 50 became so great that the head of Fuji film declared “I don’t know care how you do it, make the 50 again!” So the search began for a way to make the Velvia 50 again using all new materials. The result, he assured me, was identical to the old Velvia 50, but using new materials.
I asked about Fuji’s plans for film in the future. Any new changes or offerings? He couldn’t comment, but when I pressed him he guessed, based on his own sales figures, that if anything were to change, we might see the 100F line dropped. This is not official Fuji information, by the way, simply a thought on his part. He stated that the volume simply has not been there for the 100F. I asked him what he would like to see, and he tells me he would like to see their black and white offering, Acros receive the attention he thinks it deserves. I could tell he was passionate about this film from the tone of his voice. I ask again about the future of film at Fuji. He reassures me they are in it for good. “We are committed to the culture of photography” he says.

Kodak
I have become “friends” with Kodak’s film rep, Scott DiSabato. I say that knowing that Scott is a very outgoing guy and probably “friends” with all the press who come to meet with him at PMA every year. Still, I am introduced by him to the other Kodak reps as “the film resurrection guy” after a picture I took of him last year with a mysterious halo around his head. That picture I took, it turns out, has gotten around. A couple of the other reps smile and nod knowingly. I joke about a hint another rep dropped about a new Kodak film coming out this year. Neither of them is willing to comment any further however…
The big news from Kodak this PMA is the redesign of Tmax 400. It has been rebuilt to be the sharpest, finest grained 400 speed film in the world. Scott shows me pictures of the new Tmax 400 compared to its closest rival, a film that goes unnamed. The difference in sharpness, grain and detail is striking. Scott tells me that Kodak also went through the process of revamping its Tmax 100 line. They produced a new Tmax 100, and at the end of the day, chose not to release it. “Why would they do that?” I asked. Because they were listening to the customer, it turns out. See, after their work in revamping the 100 speed Tmax, the differences were subtle. Kodak might have gone ahead with the film release anyway, announcing the new and improved Tmax 100! But they didn’t. And the reason why, Scott tells me, is because photographers have built a culture around this film, people have developed a zone system around it, and Kodak, at the end of the day, decided to think about the photographers out there using their film and left well enough alone. At hearing this, I had to commend Kodak in their commitment not only to film, but the community of film photographers as well. I suddenly saw how connected Kodak was to their community, and more than a film release showed me how committed Kodak is to film.
Of additional note this year are the revamped 400 speed Portra films being introduced in quarter 1 (Portra 400 NC) and quarter 2 (Portra 400 VC.) Scott showed me examples of those films blown up nicely, with little sign of grain given their size. He says Kodak has been gleaning advancements made in its motion picture department and trickling that technology down into it’s still-frame films. The new Portras will be the first to show this influence. Of other note as well this year is the demise of Kodak’s IR film. He tells me that Kodak made the decision following slumping sales of the IR film. He tells me that Kodak made the announcement with plenty of time for the film’s fans to load up before it left.
Scott tells me that Kodak conducted a survey last summer of professional photographers and found that 2/3 were still shooting film. He explained to me that as the volume of film sales has decreased, Kodak’s cost control measures have increased, resulting in a steady line of profits for Kodak and product prices for consumers. He tells me that transparency films have been hit the hardest by the advent of digital. Interestingly, he also tells me that 35mm sales are being outsold by sheet film. This surprised me at first, but then it began to make sense. Those who are in film, are going to stay in film, and I imagine the large format folks are going to be some of the last ones to leave. I leave Scott and the Kodak booth content in knowing the future of sheet films looks good.

Holga
Well, why not? Along the same lines as the exciting new Fuji prototypes and the recent Ilford and Kodak film releases, Holga has expanded their camera line with 4 new models. Three of those new models are 35mm versions of the classic Holga camera, and the 4th new model is a pinhole version of the classic 120 camera. FS Distribution has 3 of the 4 new Holgas on display in their booth. The first is the new Holga 135, simply a 35mm version of their classic camera. Next on the list is the Holga 135PC, a pinhole version of the same 35mm camera. And finally, a camera they did not have available for viewing, the 135 BC, a 35mm Holga with the edges inside the camera rounded to produce the “vignette” look that the Holga is famous for. The “BC” I am told, stands for “black corner.” In true Holga simplicity.

Epson
In the film scanner department, Epson continues to push the envelope with their popular flatbed film scanners. The V750 Pro remains their top-of-the-line flatbed film scanner, capable of scanning at 6400 dpi with wet scanning capacity as well. Of newer interest though is a new technology coming into Epson’s middle-of-the-road scanners. The new V500 is the first Epson flatbed scanner to use LED lights to scan images rather than traditional bulbs. The difference? The LED’s require no warm up time! Scanning is instantaneous with the new V500. This new technology, I am told, will travel upward through the Epson line and most likely be in the replacement for the V750 Pro, which I was told is not likely for several more years. The V500 also utilizes a CCD for scanning, rather than a lens as in the past. By the way, I was told that another reason for Epson’s switch to LED’s was their concern for the environment!

Back in our hotel room, on the last day of my trip to PMA, Photo John asked me what I was most excited about this year at PMA. I thought for a moment. Was it the D3? With its stunning ability to capture images as a resounding iso? Was it Olympus and their ability to anything-proof their compact cameras? Was it the Sigma DP1 and its DSLR-sized sensor? My mind ran over all the latest, coolest gadgets. I even thought about the Fuji rangefinders and how exciting it might be to see them put into production. But I realized it was none of these things. The thing at PMA I was most excited about was the film manufacturers’ commitment to film. Time and time again, I kept seeing their commitment show up. The manufacturers are in it for good, and they are developing new products that show that they are. I saw the look on rep’s faces as they described their favorite film or talked about how they are “defending the darkroom.” I saw the sincerity on their face as they each turned to me and said;

“We’ll be in film as long as there’s a market for it.”

Colored cameras were all over PMA this year. The colored point-and-shoot camera trend began a year or so ago but really exploded this year at the CES (Consumer Electronics Show) and PMA tradeshows. All the camera manufacturers offer brightly colored compact cameras and there appears to be a competition for the most variety and funkiest colors. I haven’t actually counted, but Olympus seemed to be offering the most colors at the show. And even more conservative companies like Nikon and Canon are jumping in with more colors than they have in the past.

There’s more here than meets the eye, though. Colored cameras indicate fierce competition between camera companies in a slowing compact digital camera market. Although compact digital camera sales are still rising, it’s only by a few percentage points. Most of the action is with digital SLRs. And we’re far past the point where camera makers can sell us a new camera just by increasing the number of pixels. So what’s next? Style. The look of the camera is becoming more important. It’s not just colors, either. Point-and-shoot, pocket-sized digital cameras are looking sleeker and cooler than ever. It’s not enough to sell us features and performance (although eliminating shutter-lag would be nice). Now we’re being offered self-expression in the form of camera colors.

Now we all know that the color of your camera won’t make it perform better. But I admit that my last point-and-shoot camera decision was influenced a bit by the cool titanium body. I also like tough-guy black. I’m a traditionalist that way. Plus, I know I take better pictures when I’m feeling cool. I think the bright colors are mostly for the ladies and the kids. And if matching cameras to shoes and skateboards helps sell more cameras, then it’s ok with me. Because more camera sales mean better digital cameras in the long run. And that’s good for all of us.

Olympus Stylus 1030 SW Pro Review >>

Olympus continues to build the most outdoor-worthy compact digital cameras available. There are two new additions to their waterproof, shockproof, crushproof, and freezeproof Stylus SW line – the 8-megapixel Stylus 850 SW and the 10.1-megapixel Olympus Stylus 1030 SW. I reviewed the first Stylus SW model, the 720 SW (see my Olympus Stylus 720 SW review) a couple of years ago and was very impressed. Although the Stylus 770 SW was released last year, the 1030 SW is the first significant performance leap, in my opinion. The original 720 SW had a 7.1-megapixel sensor and image quality was reasonable, but not awesome. The Olympus compact cameras I tested in 2007 had noticeably improved image quality – especially at high ISO settings. So a 10.1-megapixel Stylus SW digital camera is pretty exciting. I spend a lot of time taking pictures in the outdoors, in all conditions and the Stylus SW cameras literally have no competition when it comes to versatility and durability.

Besides increased resolution, the new Olympus Stylus 1030 SW has a wider lens, a larger and improved HyperCrystal II LCD display, and it can now survive a drop from over 6 feet instead of just 5 feet. It continues to be waterproof to 33 feet (10 meters) and includes 4 underwater scene modes for people who want to take it snorkeling or scuba diving. I like the Olympus Stylus SW line because I want a point-and-shoot camera I can take mountain biking and skiing in all conditions. Freezing temperatures, pouring rain, and blowing desert sand are all normal shooting conditions for me. So a camera that is sealed from the elements and made for dropping on rocks is very attractive. The new wide 3.6x optical zoom lens is equivalent to a 28-102mm zoom in the 35mm format. In the past, very few compact digital camera lenses have been wider than 35mm. Having a true wide-angle lens is a big improvement, in my opinion. I’m anxious to get a hold of the new Olympus Stylus 1030 SW and see how it performs and if the image quality has really improved. I am disappointed to note that Olympus still hasn’t added true (mechanical) image stabilization to the Stylus SW line.

Olympus also added three new models to their standard Stylus line of weather-resistant compact digital cameras. The Olympus Stylus 840, 1010, and 1020 digital cameras are weatherproof and have Dual-Image Stabilization to help compensate for camera shake as well as helping to freeze action. All three cameras come in a bunch of colors and the Stylus 1010 and 1020 both feature a 7x optical zoom lens and 10 megapixels of resolution.

Olympus Stylus 1030 SW Pro Review >>

Related Content:
Olympus Stylus 1030 SW Press Release
Olympus Stylus SW 850 Press Release
All Olympus Digital Camera Announcements
Olympus Digital Camera User Reviews
Olympus Stylus 850 SW Pachinko Video
Olympus Stylus 720 SW Pro Review

To oversimplify, last year Canon fired a significant volley in the ongoing image quality (IQ) wars with the Canon 1D Mark III’s Highlight Tone Priority and 14-bit processing. (We’re just talking IQ here, not other features.) Nikon came back–and then some–with the D300/D3 combo. You had to wonder what the other companies were cooking up in their respective R&D labs.

Now we know: the 15.1 MP (14.6 effective MP) APS-C sized Samsung CMOS found in the K20D/GX-20, and Sony’s full-frame ambition (see Photo-John’s Sony report).

Cutting to the chase here regarding Pentax/Samsung, I didn’t get my hands on a working production K20D/GX-20, but I did grab a few shots with a GX-20 on display at Samsung’s booth. But more on that in a moment.

What I wanted to hear at PMA was that the new model had better continuous tone in the highlights and better overall tonal gradation thanks to 14-bit or however many bits they could squeeze into the processing. This means more to me than megapixel counts or frames per second. Well, for whatever reason, there wasn’t any really specific information available on how exactly the new chip’s image processing was going to improve IQ over the previous K10D/GX-10 DSLR models except that “Enhanced Dynamic Range mode gives 200% more dynamic range.” I was unsure about whether this meant “twice the dynamic range from highlight to shadow” (such as you might get via HDR techniques) or whether this meant “twice the dynamic range resolution” between D-max highlights and shadows. My conversations with a tech at Pentax suggests that it’s the latter and that makes sense, but while reading the press release I was hoping for the former. One can dream, right?

Anyway, we can’t know until the production units are available, and that’s something to keep in mind regarding my impressions here of the GX-20’s image quality. Also, the assumption is that the K20D’s IQ will be similar. I made some JPEG test shots at the Samsung booth and my pixel-peeping impressions are as follows (based on ISO 400 and ISO 1600 indoors under fluorescent light):

• Highlights appear controlled and more natural than the previous model; more detail
• Fair bit of luminance noise at ISO 400, may be somewhat of a concern in very shadowy images
• JPEG sharpening seems to balance the sharpness of fine detail with overall smoothness
• ISO 1600 noise is very apparent in continuous tone areas like skin, could be problematic
• As with the K10D, depth of field seems shallow relative to other camera makes (a characteristic I like)
• There is some overall “texture” to the images–not necessarily noise but a certain look to the overall image that may be the result of the JPEG compression. (And to be fair, I see this to a degree with other cameras like the Nikon D300 and Olympus E-3 as well.)

The hope is that the best is yet to come. At least one of my test shots turned out quite nice–one of a black man in a black turtleneck just barely side-lit by the theatrical lights on the other side of the booth. I was impressed by the good detail and tonal smoothness in his face, clothing, and hair.

Finally, the only other thing I could get a sense of at the show was the build quality. The Pentax K20D felt as solid and as well-built as the K10D before it. For whatever reason, the GX-20 did not seem as sturdy and this may have been due to the fact I was using a display model (if you’ve ever seen the display cameras at a big box retailer, you know how abused those units can be). Regarding the slight differences in body design, I prefer the shape of the K20D over the GX-20. The K20D’s protruding buttons should be a bit easier to use with gloves on while it might be a little trickier with the GX-20’s smoother surfaces. However the GX-20’s grip feels more stable in my hand, and the Samsung menu interface is a little less visually cluttered in some menus than the Pentax. In the long run, these are all minor things but they may add up for some users.

Again, just some early impressions from PMA 2008. Take this with a pinch–a big pinch–of salt while we wait for production units.

Casio’s Exilim Pro EX-F1 was introduced at CES, in early January. Popular Mechanics magazine named it as one their top twenty products at that show. But PMA was our first chance to see it. And even though we posted the press release when it was announced, I didn’t really understand what the EX-F1 was about until I saw it in person at PMA. And it’s a very interesting camera, indeed.

Although the Exilim Pro EX-F1 looks like just another superzoom digital camera, it’s not. Casio didn’t want to simply add a new camera to one of the many digital camera categories available. They wanted to create their own niche. And they really did that with the Pro EX-F1.

The basic components of the Casio Exilim Pro EX-F1 are an image-stabilized 6-megapixel CMOS imaging sensor, a high-speed LSI processor, and a 12x optical zoom lens. But what makes the Pro EX-F1 special is speed. The EX-F1 can capture full-resolution images at 60 frames-per-second for one second. It can also shoot up to 1200 frames, per-second in its high-speed movie mode and shoot high-def video at 60 frames-per-second. And if you’re an action photographer like me, you’ll know how cool this is: the EX-F1 can fire the flash for up to 20 frames at 7 frames-per-second. And for more crazy numbers, the EX-F1’s top shutter speed is 1/40,000 second. Note the comma in that number, please. That’s a ridiculously high shutter speed that could be used to freeze water drops, bullets in motion, etc.

Besides the main features and high-speed capabilities mentioned above, the Exilim Pro EX-F1 also has full manual exposure controls, three types of auto-bracketing (ISO, white balance, and AE bracketing), and Face Detection. There are also a couple more innovative features I think are worth pointing out. The EX-F1 has what Casio calls a Function ring. It looks like a manual zoom or focus ring on the lens. But it’s actually programmable and can be used for different functions, including focus, zoom, or adjusting the camera’s continuous shutter speed. Another interesting and useful feature is the Prerecord option in high-speed burst mode. As soon as you depress the shutter release halfway, the camera starts capturing images and storing them in the memory buffer. But it doesn’t save them to the memory card until you press the button all the way down. So if you’re set up to shoot and don’t press the shutter release down in time, as long as you were pre-focused, with the shutter release pressed halfway, you still have the photo. All you do is press the shutter release down immediately after the moment you wanted to catch. At that point the camera saves the images in the buffer to your memory card and you’ve got your photo. It’s like being able to take the picture after the moment happens!

So where does the Casio Exilim Pro EX-F1 digital camera fit into the current camera universe? That’s a good question and I’m not sure I have the answer. When you can buy a 10-megapixel digital SLR kit with a lens for under $900, a $1000 superzoom seems like a hard sell, even if it does have supercamera abilities. That said, I can see this camera being used by small businesses, families, schools, Web sites, and people involved in youth sports. For many people, the compact superzoom body style is less intimidating than a full-size digital SLR. And the Exilim Pro EX-F1 may be one of the best all-purpose digital capture devices available right now. With the 60 FPS still capture rate and high-def video capability it really is an impressive do-it-all camera. And 6 megapixels is plenty of resolution for most people’s needs. Of course, we’ll have to wait and see what the image quality is like. But if it’s good, the camera should be capable of printing good 8×10s and smaller with no problem.

For those who’ve been waiting and speculating about Casio making a digital SLR, keep waiting. But the new Exilim Pro EX-F1 is a very interesting camera and one we’re anxious to test. It’s definitely a niche product. But if it works, and the price comes down a bit, there may be a market for it.

Related Content:
Casio Exilim Pro EX-F1 Press Release
Casio Exilim Pro EX-F1 PMA Video
Casio Digital Camera Reviews
Official Casio Exilim Pro EX-F1 Web Page

Leica is introducing an M8 digital rangefinder upgrade program that will ensure an M8 camera investment remains as current as possible. They’re calling it “an investment in the future.” This new program was introduced at the 2008 PMA tradeshow in Las Vegas, Nevada. The first upgrade upgrades the shutter and the LCD cover. The current M8 shutter will be replaced with a quieter unit that produces less vibration. And the LCD cover will be replaced with a high-end watch-quality scratch-resistant sapphire glass cover. In order to get your M8 upgraded, you register at www.leica-camera.com and purchase an upgrade certificate for 1200 Euros. Limited quantities of the certificates will be available.

Leica’s M8 upgrade program is a creative and interesting approach in a very competitive digital camera market. Part of the appeal of the Leica M-series rangefinder cameras has always been their simple, durable build and traditional style. But in a world where most photographers replace their digital SLRs every 2 to 3 years, the M8 is a tough sell. Leica owners normally buy an M rangefinder for life – and then some. The 10.5-megapixel M8 falls somewhere in between those two camera-buying strategies – until now. In theory, Leica’s new M8 upgrade program means that you can buy your M8 for life and with a reasonable investment, count on Leica to keep it current.

Leica is being vague about what kind of modifications the new program will include. Of course, the sensor will be the most desired upgrade. But they won’t say whether that will happen or not. I’m sure that means that they don’t yet know. But if Leica is able to upgrade and keep the M8 sensor current with other digital cameras, it will be even more desirable than it already is. Right now high-end digital equipment is somewhat disposable. But imagine having a pro-quality digital camera for years or even decades - becoming intimate with the camera body and controls – and being confident that you’ll be able to continue using it for years to come. Imagine your M8 aging gracefully, with beautiful brass accents where your fingers rest and touch the controls. And all the while, Leica continues to care for and upgrade critical internal components, so your M8 remains competitive with the latest from Canon, Sony, Nikon, etc. Sounds pretty good to me.

Related Content:
Leica M8 Pro Review
Write a Leica M8 Review
All Leica Reviews

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