Showing posts with label zoom. Show all posts
Showing posts with label zoom. Show all posts

Kodak EasyShare V570 5MP Digital Camera with 5x Optical Zoom Review

Kodak EasyShare V570 5MP Digital Camera with 5x Optical Zoom
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I was feeling a bit lazy and wasn't going to post a review of this camera, however, after reading a few of the other reviews I felt I had to put in my two cents.
First off, a little history. I searched for weeks and weeks to find a nice compact camera to replace my aging Canon S30. I was looking for something very compact in the 5 to 6 megapixel range. I finally settled on the Casio S500. After using the camera for a few weeks I returned it (see my review for my thoughts on that camera). I started searching again and found the pre-release information on the Kodak V570. I was quite interested so I checked out the V570's predecessor the V550. I found this camera to be quite nice and liked it enough assume that the V570 would be a good camera. I've had the V570 now for about two weeks and I must say that I'm quite pleased. Is it the perfect camera? No, of course not, but it is a camera that will meet most of your needs and do it in style.
Following is a list of what I consider to be the camera's pros and cons. I'll address a few of the other reviewers' opinions also.
PROS:
-Large bright LCD screen. The LCD on the V570 is quite bright and very large. The viewing angle on it is quite wide meaning that you can view the LCD from above, below, left, right or straight on and it will not wash out or go substantially dark. This was something that caused me to pass on a few Panasonic models. The LCD is NOT grainy except in very low-light conditions and this is normal with ALL cameras of this genre. The LCD is, after all, only a viewfinder!
-Nice, well designed controls. The Zoom button is NOT hard to use for anyone with normal sized hands. If you have very large hands then possibly it could be a problem, however, most compact point and shoot cameras would have the same problem. Personally, I find the zoom button and all the other buttons to be well placed and easy to use. The menu system is simple to navigate and is NOT slow. It's quite responsive, in fact. I do wish the camera would automatically save your custom settings on power down but I understand why it doesn't. I think there's an easy way to save your settings but I haven't explored that aspect yet.
-23mm wide angle lens. This is the camera's single best feature.I love to use wide angle lenses. They make pictures more dynamic and allow a much greater range of creativity than normal lenses. I do have one word of caution regarding the zoom on the V570. Go into the setup menu and disable the digital zoom. By default the V570 uses digital zoom to bridge the gap between the 23mm lens and the normal zoom lens. Digital zooms are bad! Optical zooms are good! Digital zooms simply crop in on the digital image and enlarge it to fill the same space as the original. As you would expect this destroys image quality. This is not a problem unique to Kodak so don't berate them for it. All camera and camcorder makers use digital zoom as a marketing gimmick. With the digital zoom disabled the camera will indeed "skip" from ultra-wide to normal range. I didn't consider this "strange" in any way. There is an expected amount of pincushion distortion when using the 23mm lens but it's not excessive or distracting. One additional feature when using the 23mm lens that I really find amazing is the camera's ability to take multiple image panoramas and actually stitch them IN the camera. I've played with this a bit and after only three tries I started getting quite nice results with this. The panorama feature isn't one of the things that really figured into my purchase of this camera but it is one of the things that made me say to myself, "very cool", when playing with it.
-Image quality. One of the biggest problems I had with the Casio S500 was image quality. Specifically, the Casio simply couldn't focus reliably in low light and the images were very noisy. The Kodak V570, on the other hand, nails focus each time and the images are high quality. Obviously, when shooting at high ISO settings image quality does go down but is still quite nice.
-Video mode. Most digital point and shoot cameras have a video mode nowadays. This is an awesome feature that might allow you to leave your camcorder at home on occasion. The video quality is excellent and is actually higher resolution than your standard television. You can hear the zoom if you use it when recording, however, most cameras don't allow you to use the zoom at all when in video mode so just accept it. Remember, this isn't designed as a primary video device but as a still camera with the ability to take videos. When you need the best video you can get pull out the camcorder. When you want an occasional video and don't have the camcorder with you...hey!!!...pull out the V570 and record away.
-Internal zoom mechanism. Most point-and-shoot cameras on the market have an external zoom lens mechanism. What I mean by this is that the lens extends out of the camera an inch or more. The V570 has an internal mechanism. What this means to me is that I don't have to worry about mashing the extended lens into something and potentially breaking it. I recall that with the Casio S500 that I had for a bit the owner's manual actually mentions several times to be very careful not to bump the lens into anything. No worries with the Kodak.
-Appearance. I really like the V570's looks. The design is a bit Art Deco. This is, of course, a very subjective thing but I find it attractive.
-Battery life. While not the best camera in regards to battery life, the V570 does just fine. The reviews I read state a life of around 170 pictures and from personal experience this seems accurate. This is an improvement over the V550. While some cameras can do better let's all be realistic here, 170 pictures in a day of shooting for the average amateur is a lot. If this isn't enough simply have an extra battery on hand. After all, Kodak has some of the lowest prices for extra batteries of anyone.
CONS:
-The flash is a bit on the weak side. The Kodak is a bit wimpy here but when you're within range the exposure is very accurate even when using for extreme close-ups. I actually took some close-up photos from a distance of about 2 inches and the flash exposure was right on. I was actually so close that the flash only covered the left side of the picture.
-The SD card door is indeed very poorly designed. I can see that if you intend on removing the SD card a lot you might eventually damage this. I initially planned on transferring images to my computer by pulling the SD card and using a card-reader but I've found that using the camera's dock is just as easy. I'm surprised that Kodak's engineers left this design flaw intact. Do yourself a favor and buy a 1 gig SD card and just leave it in the camera. Use the dock to transfer images and you shouldn't have a problem.
A FEW CLOSING THOUGHTS: I just wanted to address a few things about some of the other reviews I've read here. First off, there is nothing gimmicky about this camera and just exactly how is this a "bait and switch"? Second, this camera doesn't do RAW because it's designed for amateurs and is a point-and-shoot camera. The average person doesn't even know what a RAW format is or what to do with it. Get real people. If I need to shoot in RAW format I'll grab my Canon 5D. When I want to take a small camera out for vacation or just day to day family pictures I'll take the V570 and leave the heavy hardware at home. Third, every single camera I've ever owned or looked at has at least one feature that I would think of as a "design flaw". Whether that feature is enough to keep me away from it is another matter. To say that this camera is a "typical poor American design" is simply rude and inaccurate. My goodness, I almost laughed when I read the comments about not knowing what side was up when pulling the camera out of your pocket. My God man, OPEN YOUR EYES. OK, now that I got that off my chest I can relax. This is a solid camera that I think most people would be happy with.
UPDATE: I just felt the need to update this review to address the comments made by "AJM". Now, I have no problem if people take issue with an item. If the product is poorly designed or doesn't function properly. My problem lies with people that simply make stuff up. When "AJM" says "when you eject the memory card, it will spring and fly across the room" I tend to get a bit angry. This is WRONG. I took my V570 and no matter what I did I couldn't get the card to "spring" more than half way out of the camera. To remove the card you simply depress it with your fingertip and it is spring loaded to pop up enough to remove it. It will not come flying out of the camera. It's obvious that AJM has never owned the camera and is probably just a plant for Canon. As for me, I'm a professional photographer in Wisconsin. I shoot on some pretty high-end equipment for work but when I'm out and about on personal trips I leave the big stuff at home and take a point and shoot. I have no allegiance to any specific brand of camera. In fact, I own both Canon and Kodak point and shoots and have done quite a bit of work on Nikon, Canon and Minolta Pro products too. There are a whole bunch of nice cameras out there. All I want to do is to present a fair review.

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Canon EF 28-200mm f/3.5-5.6 USM Standard Zoom Lens for Canon SLR Cameras Review

Canon EF 28-200mm f/3.5-5.6 USM Standard Zoom Lens for Canon SLR Cameras
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I received my 28-200 yesterday from Amazon. Having read the customer reviews, I immediately put my Rebel XT on a tripod and ran two series of comparison shots with the 28-200 and my Canon 28-135 IS. Three shots each at f-stops 5.6, 11, and 20, one set indoors at ISO 1600 and the other outdoors at ISO 200. Focal length 135 using the same scenes with each camera, highest jpeg setting. After shooting both series, I compared them fresh out of the camera, side by side. Results: the 28-200 was at least as sharp as the 28-135 in both foreground and background in most instances. It was visibly sharper at ISO 200 with f-stops 5.6 and 20, (the 28-135 took the honors at f-stop 10), and at 20, it was visibly sharper in both the foreground and the background. The 28-135 was one-stop faster shutterwise. Both lenses produced pictures which would sharpen nicely in Photoshop. There are the vagaries of autofocus and different shooting conditions to consider; different test scenes conceivably produce different results. My conservative conclusion: the 28-200 is as good as it gets for a super-zoom on your Canon (unless you are going to drop $2200 on the L Series 28-300 IS and carry it), and the 28-135 IS has no clear sharpness advantage. Between these lenses, its a tradeoff---an extra 65 mm of focal length (105 mm after a 1.6 conversion) versus image stabilization and low-light shooting capability. Both lenses focus quickly and silently, and both lenses produce usable shots.

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EOS users looking for an all-purpose lens would do well to select theCanon EF 28-200 f/3.5-5.6 USM. The minimum aperture setting is f/22 at a focallength of 28mm, and the EF 28-200 has a minimum focus distance of 17.7 inches atany focal length. An inner focus ring allows the EF 28-200 to focus withoutrotating the outer half of the lens barrel, which is great for photographers whoutilize filters. The autofocus uses Canon's micro USM drive for smooth and quietoperation.

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Olympus 35-100mm f/2.0 Zuiko Lens for E Series DSLR Cameras Review

Olympus 35-100mm f/2.0 Zuiko Lens for E Series DSLR Cameras
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I have been using a range of Olympus' "High Grade" lenses, including the 50mm Macro, the 14-54mm, 11-22mm, and the 12-60mm. Each of those lenses have been great. Some better than others in either sharpness or color reproduction. But I can't complain about any of them. I've always wondered how much better could Olympus' line of "Super High Grade" lenses possibly be. After a lot of research, some consideration for the focal range I need most, I finally took the dive and bought this lens.
I just can't believe the quality of the shots I'm getting with this lens. Colors are noticeably richer, and sharpness is incredible. I would describe the difference between this lens and the regular "high grade" lenses as being as profound a boost in quality as I experienced when I went from the standard kit lenses to my first "High Grade" lens. Probably even more so. it's like I am shooting with two different cameras. I'm just blown away by the quality of my shots with this lens. Also I love the bokeh I get with this lens (bokeh=out of focus blur behind the subject you're focused on). Between the bokeh, 2.0 aperture and the focal range I'm finally able to get the types of shots that have been escaping me with my other lenses. Focal range is great; 35mm-100mm gives me a nice sweet spot where 35mm isn't too tight to be unusable in some indoor situations, and 100mm gets me close enough. For some types of indoor shooting I found my 50-200mm lense was too tight at the wide end, and while it was nice to get in tight at the long end I found I didn't need to be as close as 200mm got me on the long end. This lens solves problems such as that one. I also love that the aperture is fixed at 2.0. Now I can zoom in without having to worry about sacrificing f-stops.
The lens weighs a ton. It's heavier than my 50-200mm Zuiko. It's also a little bigger. So don't expect to use this as your "walk around lens". Focus is pretty fast, and it also seems to focus fairly quickly in low-light situations. I won't say anything about distortion or abrasion because I haven't seen any so far. Enough said about that.
The lens may seem pricey, but it's a pro-quality lens. You get what you pay for. It's not for the usual hobbyist, and not something you buy your kid for his birthday. If you want/need pro-quality results, this lens is a must-have. Great for portraiture and medium telephoto shooting. If you're what they call a serious/advanced hobbyist I would suggest you consider your needs and think about this lens. Maybe save up for a while and make it the next big purchase you make toward your photography. However if you're shooting with an evolt (e500, e510, etc) I suggest serious/advanced hobbyists upgrade to an E3 before spending money on this lens. You'll find an E3 does more for your all-around shooting than a pro-lens will. But that's up to you.
If you're a pro looking for your next great lens, you've found it. Aside from the quality of the shots coming out of this lens it's also a great performer in terms of controlling CA (again, I've not seen any yet), focus and that oh-so-sweet fixed aperture. This lens is giving me better quality shots than I've seen from the Canon 5d and even the 40d.
Anyway, I don't regret buying this lens at all. In fact I'm most excited about the results and potential of this lens than I've been with any of my past lens purchases. I'm really in love with it!
I'm including a couple of images I took with the lens. You can see for yourself how great it is.

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This high-end, high-performance telephoto lens possesses a fast f2.0 aperture for shooting beautiful low light pictures or impressively capturing subjects with the background out of focus. Four (4) ED glass lenses and one (1) super ED glass lens produce superior optical clarity and contrast from one-edge of the image to the other. This all-digital lens features a built-in CPU that directly communicates with the camera's software for exceptional control and accuracy, and also stands up to the elements with all-metal components and rubber seals to protect against moisture and dust so you can use it practically anywhere. Please note: To use the Zuiko Digital 35-100mm f2.0 Zoom with the EVOLT E-300, the camera body must be upgraded to firmware version 1.3. Older versions of the firmware may have sporadic freezes with this lens Filter Size - 77mm Dimensions - 3.8 D x 8.4 L (96.5mm x 213.5mm) / Weight - 3.64 lbs. (1,650g)

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Sigma 100-300mm f/4 EX DG IF HSM APO Fast Aperture Telephoto Zoom Lens for Canon SLR Cameras Review

Sigma 100-300mm f/4 EX DG IF HSM APO Fast Aperture Telephoto Zoom Lens for Canon SLR Cameras
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I bought this lens to use with my Canon 30D for high school sports (soccer, football, baseball, etc). I already had the Sigma APO 70-200mm f/2.8 EX DG HSM Lens for Canon Digital SLR Cameras and needed more focal length. Like the 70-200 F/2.8, this lens is big, heavy, and built like a tank. The bare lens is about an inch longer than the 70-200, but the 100-300's hood is longer than the 70-200's hood.
The zoom and focus rings are wide and move smoothly with just the right amount of resistance. This lens is sharp wide open. At the overlapping focal lengths, the 70-200 at F/4 is just barely sharper than this lens at F/4 (wide open). At 200mm, this lens is actually sharper (200mm is this lens's sweet spot.) At 300mm, the lens is still sharp wide open, but I like to stop down to F/4.5 just to keep things super-sharp. Up to 250mm, I would not hesitate to use it wide open.
This Sigma lens has HSM which means the focus is fast and quiet. The lens focuses a little slower than the 70-200 F/2.8, but I've found that the 30D is more of a limiting factor in focus speed than the lens is. Servo tracking is very good with this lens, the only time it can't keep up is when track runners are sprinting straight at me (although again, I think the body is the limiting factor here.) For almost every other situation, the focus will definitely keep up.
All in all, this is not an indoor lens by any means, but as an outdoor sports (or wildlife/nature) lens, it is awesome.

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This telephoto zoom lens provides a large f/4 aperture at all focal lengths. The new multi layer lens coating and lens design reduce flare and ghosting while maintains minimal light-fall-off; superior peripheral brightness is ensured. New multi layer coating of this lens gives superb color performance while cutting down flare and ghosting caused by reflections from the digital image sensor. High optical performance is demonstrated throughout the entire zoom range. Two SLD glass elements are used in the front lens group and two in the rear lens group for superior correction of several aberrations for superior image quality throughout the entire zoom range. An inner focusing system eliminates front lens rotation, making the lens particularly suitable for using the petal-type lens hood supplied and circular polarizing filters.Maximum Magnification -1 - 5 Filter Size -Diameter 82mm Dimensions -Diameter 92.4mm X Length 226.5mm, 3.6 x 8.9 inch Weight -51 ounces

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Tamron AF 28-300mm f/3.5-6.3 XR Di LD Aspherical (IF) Macro Ultra Zoom Lens for Canon Digital SLR Cameras Review

Tamron AF 28-300mm f/3.5-6.3 XR Di LD Aspherical (IF) Macro Ultra Zoom Lens for Canon Digital SLR Cameras
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I love taking photos, but I hate carrying lots of equipment when photography is not the focus of my journey, so I looked to find a lens that was light, inexpensive, a useful focal range and decent sharpness given all of the above. I believe the Tamron fits the bill.
Although this lens will not win any points with 'L'-series purists, I found it to be a very useful - and lightweight - lens. Sure, it's slow... Sure - it has a plastic mount... Sure - it's not as sharp as a lot of lenses with smaller zoom ranges and bigger price tags... But for most people who aren't looking for poster-sized enlargements, a lens that won't break your shoulder or your bank account like the Tamron is a good fit. I have used this lens for a few weeks now, and have compared the results to the excellent Tamron 28-75 2.8 XR Di, the Canon 50mm 1.8 (the 'plastic fantastic'), and the kit lens. It does lack the tack-sharpness of the 50mm and the 28-75, but it is still very acceptable. The reach is what will 'wow' you about the lens. Outdoors in decent light you can really pull your subject up close. In a photo taken from the 6th story of a beach hotel, I was able to clearly read a standard beach umbrella-rental sign that was approx. 500 yards away.
Indoors, this lens is just too slow to be useful at full zoom, but does reasonably well between 28-100mm with built-in flash (just be sure to remove the lens hood or it will shadow the lower part of the frame) and even better with an external flash (I use the EX550).
The focus is quick and quiet in decent lighting, but it will hunt in darker scenes.
In short, if you want a lens that offers reasonable sharpness, an incredible focal range, lightness and compactness at an attractive price, then consider this lens. You may find, as I did, that it will let you take that long lens with you instead of leaving your gear behind... I would much rather have a picture that may not be 'as sharp' than the one I did not take because I left the two pound lens behind.

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Tamron AF 28-300mm f/3.5-6.3 XR Di LD Aspherical (IF) Macro Ultra Zoom Lens for Canon Digital SLR Cameras

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Sigma 18-200mm f/3.5-6.3 DC Lens for Canon Digital SLR Cameras Review

Sigma 18-200mm f/3.5-6.3 DC Lens for Canon Digital SLR Cameras
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Reading reviews is a crap shoot. You know nothing about the reviewer or the use of the product. That said, I am assuming you are not a struggling professional trying to shoot a high quality, tight-budget job. You are a user looking for one lens to carry to cover a wide range of service.
I'm a pro. I have a many bodies and L lenses to use.
I carry an XSI with THIS Sigma 18-200mm non OS lens just about everywhere I go. It is a great vacation tool, where most pix are shown in a digital frame or are never going to be more than 4x6.
Yes, the MTF is not great (simply: contrast across the lens), there is some chromatic fringing and watch out! the lens hood will cause vignetting and shadows with a flash at wide angle. I've been using this lens since it was released in early '05.
It's a $300 lens. Does it compare to a $1500 L lens? Yeah - very badly. So what? The first rule of photography is get the picture. Missing the shot while changing lenses is not photography. Is this the preferred lens in my arsenal? No. But for general non-client, daylight, non-sports shooting, it's the one I'll probably be using. I prefer the non-optical stabilzed version - less complexity.
To help you weigh this review: I use five professional (5D, 1D) and several prosumer (40D, 50D, XTI, XSI) bodies and nine L lenses, plus a slew of others.
Photo tip: night shooting of foreground against backround (done a lot with this lens!): typical situation: girl on beach in front of sunset. Manually set exposure to flash shutter speed, aperature & ISO to get background. Turn flash on to expose and meter foreground. You'll get some great "how did you do that?" pix. All the MTF, abberetion and linearity issues will mean nothing, because you got a picture no one else could and th L doesn't really add anything, because you want depth of field here.
Thanks for reading my review.

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Sigma 18-200mm f/3.5-6.3 DC Lens for Canon Digital SLR Cameras

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Sigma 18-250mm f/3.5-6.3 DC OS HSM IF Lens for Nikon Digital SLR Cameras Review

Sigma 18-250mm f/3.5-6.3 DC OS HSM IF Lens for Nikon Digital SLR Cameras
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I would not give much credence to reviewers who compare lenses they have not actually used, or have only used one of them. We bought both This Sigma and the Tamron 18-270 and used them for a week in Mexico. We have a Nikon D70s and a D300, and exchanged the lenses after a few shots at the same time and place. We shot about 75% RAW and examined severe crops of the images on our 30" Apple Cinema Display before and after correction with Photoshop. Here is our opinion:
The Tamron is noticeably sharper. The Sigma is very soft except at the low-medium zoom range, and it's still softer than the Tamron over its best range. The higher distortion of the Tamron is much less noticeable and easily corrected with software. The CA is about the same for both. Image stabilization was clearly more effective with the Tamron, especially at the long end where you really need it.
The Tamron is noticeably slower in focusing than the Sigma, which is very fast for this class of lens. However, the Tamron often was more accurate and we missed several shots when the Sigma balked and did not focus at all. Over 5% of the shots we took with the Sigma were significantly out of focus, but only a few with the Tamron.
With superzooms, you pick the weaknesses that bother you less. It was a close, but fairly easy decision. Though it was sometimes annoying to use, we got obviously better pictures with the Tamron. We both agreed to return the Sigma.

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The SIGMA 18-250mm F3.5-6.3 DC OS HSM incorporates Sigma's original anti-shake compensation function, with a 13.8 times zoom ratio. For the camera have anti-shake function in the camera body, this lens's Hybrid Optical Stabilizer provide not only anti-shake function for the camera body compensation, but also provide the function to compensate the image shaking in the view finder of the camera like anti-shake compensation built in the lens. Incorporating four Special Low Dispersion glass elements and three Aspherical lens elements provides excellent image quality throughout the entire zoom range. This lens has a minimum focusing distance of 45cm (17.7 inches) at all focal lengths and a maximum magnification of 1: 3.4 reproduction ratio, making it ideal for close-up photography. An inner focusing system eliminates front lens rotation, making it suitable for use with circular polarizing filters and the supplied petal-type hood. Incorporating super multi layer coating reduce the ghost in the backlight photography.

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Canon EF-S 18-135mm f/3.5-5.6 IS UD Standard Zoom Lens for Canon Digital SLR Cameras Review

Canon EF-S 18-135mm f/3.5-5.6 IS UD Standard Zoom Lens for Canon Digital SLR Cameras
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I was more than a little apprehensive about purchasing this lens before many official reviews came out, but I'm really glad I did. I have an 18-55 kit, 70-300, 60mm f/2.8 Macro, and 50 prime (all great beginner lenses, BTW) but I needed something I could stick on my camera and forget about when going out around town. As a young lady that likes small purses, this is a constant internal struggle- hang my awesome camera around my neck like an "I'm on a project and shouldn't be hit on" necklace, or stuff it in a big camera bag with my other lenses in a "I don't have kids but I might as well cause this looks like a diaper bag" fashion. I deflect male advances either way. It's just a matter of how light I travel when I do it. And if I can leave some highly-stealable stuff at home, I will.
How does it feel?
This seems to have the same feel as my 70-300. Not a plastic-y light feeling like the 18-55, slightly rubber ridges and hefty, but not heavy, weight to it. I wouldn't use this lens to bludgeon enemies, but it doesn't feel as though it came out of a gum ball machine either.
What's the color like?
We compared this lens to the Canon EF 50mm f1.4 USM Standard & Medium Telephoto Lens for Canon SLR Cameras (took identical photos at same focal length, f-stop, settings, etc.) Both lenses were incredibly sharp at the sweet spots and still great at the edges (when taken at F8) but the colors of the 18-135 were much less washed out. We definitely had the white balance settings locked for both photos, but the 18-135 just showed reds, purples, blues, greens, all colors were more vibrant and true.
Now if you want your family photos to look like they came straight from a comic book with crazier-than-life color explosions, you'll have to look to post-processing for that. Weirdo. All I'm saying is that I won't have to change the color balance to cloudy to experience non-prison looking color in family portraits. Nothing kills the vibe of a party photo montage like grayish Alcatraz hues.
Yeah, but I can get this from an 17-85 or the new 15-85, right?
Good point, friend. But the extra focal length after 85mm is really worth it, especially when shooting things across a street or shooting semi-close wildlife. And if the 15-85 is way more expensive and the 17-85 is about the same price, why not go for the longer length? You could make the same argument for the 18-200, but I don't think that the compromised sharpness (and heavy 21 oz weight, vs the 16.1 oz of the 18-135) is worth the extra focal distance. Also, you get the latest version of the image stabilization system with this one.
But there is no USM, and the 17-85 has USM. I MUST HAVE USM ON ALL MY LENSES!
Calm down there, buddy. True, there is no USM on this lens. But having used both the 17-85 and 18-135, the latter is just as fast to autofocus. It may not have the USM, but you wouldn't notice a big difference. The motor is super fast and doesn't autofocus hunt like my 70-300 USM tends to do. You can hear the motor, but it's not as loud as the Canon 70-300 USM motor. Image stabilization is also great- there were plenty of pictures that have been saved with that feature, especially in low light/no flash situations.
Finally, I want to mention the "The Digital Picture" ISO 12233 Crops (google this; I can't provide a link). This test scared the crud out of me, and is making a lot of people spew hate about this lens. It makes this lens look soft compared to some other lenses. When I started shooting, I thought at first that there was a sharpness issue until I realized that my little brother had changed my ISO to 1600. Thanks, little bro! After that was fixed, everything was as sharp as I could hope for. Having done my own sharpness tests, I realized that the ISO 12233 crops weren't telling the whole story. I don't plan on sticking this sucker on a tripod and shooting tiny black and white lines with it all day (I have more interesting subjects, and they are in color!) I've taken hundreds of pictures with this lens and just don't see any image quality or sharpness difference when compared to my other lenses. So chill, people.
In conclusion, if you love the pictures your DSLR gives you, but hate the lens diaper-bag/bookbag look, this is a great choice. It's not going to make you into a magical Ansel Adams photo spouting machine, but no equipment will do that. This lens takes some pretty nice pictures when you stop worrying about 100% crops and start enjoying life. Shoot and be happy.


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Covering a range from 29mm-216mm in 35mm format, Canon's EF-S 18-135mm f/3.5-5.6 IS offers a winning combination of size, range and features and is a perfect complement to APS-C cameras. With high-quality optics, dedicated image stabilization and more, this new lens promises to be a favorite for EOS users.

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Sony 75-300mm f/4.5-5.6 Compact Super Telephoto Zoom Lens for Sony Alpha Digital SLR Camera Review

Sony 75-300mm f/4.5-5.6 Compact Super Telephoto Zoom Lens for Sony Alpha Digital SLR Camera
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According to a photo magazine, this is a cosmetically re-labelled Konica Minolta 75-300 (D) zoom telephoto, which is a lens that I own (it certainly looks exactly the same as the KM 75-300 lens, but with the 'Sony' name). In which case, I have the following review:
(1) Excellent construction quality, this is a very nicely made lens, excellent finish, not too heavy but solid and without the 'plastic' feel of many medium-priced lenses;
(2) Excellent optical quality, with good sharpness even at the longest 300mm focal length where most zooms begin to show poor quality;
(3) VERY UNUSUAL: near-zero distortion throughout the entire range of focal lengths (very different from some Sigma zooms that I own, which have conspicuously visible pincushion distortion). This may well be the lowest-distortion 75-300 telephoto from any maker.
(4) ONE CAVEAT: AUTOFOCUS IN LOW LIGHT: on my Minolta Maxxum 7 film camera, whose autofocus system is apparently quite similar to the Sony Alpha 100, the camera has difficulty autofocussing the 75-300 lens at the 300 mm setting (where the aperture is only f/5.6) in light weaker than direct sunlight. This is probably the same with any f/5.6 or slower lens. I have found myself switching to manual focus at the 300 mm setting if the subject is not brightly lit.
NOTE: the Konica Minolta 75-300 (D) lens is still available, for about $140, and reportedly will work with Sony Alpha cameras just as well as the similar lens labelled Sony.

Click Here to see more reviews about: Sony 75-300mm f/4.5-5.6 Compact Super Telephoto Zoom Lens for Sony Alpha Digital SLR Camera

Get extremely close to your subjects from a relaxing distance with this Sony 75-300mm super telephoto zoom lens. Great for taking incredibly close-up portraits without making your subject nervous, the compact, lightweight 4x zoom lens is a terrific value and an ideal choice for covering outdoor activities and sports action, even in large stadium locations. The lens offers a wide zoom range of 112.5 to 450mm (35mm equivalent) that handles both middle-ground subjects and portraits from afar, while still capturing intimate details and natural wonders close at hand. In addition, the lens gives light sources a pleasing circular defocused effect in the background, making the subject stand out beautifully.

Focal length: 75-300mm (112.5-450mm 35mm equivalent)
Maximum aperture: f/4.5-5.6
Minimum aperture: f/28-32
Filter diameter: 55mm
Minimum focus distance: 4 feet, 11 inches
Magnification: 0.25x
Lens group elements: 10 groups 13 elements
Distance encoder: Yes
Blades: 7 aperture blades
Asperhic elements: No
Lens type: Telephoto zoom
Dimensions: 2.81 inches in diameter and 4.81 inches long
Weight: 1 pound, 2 ounces


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Panasonic Lumix DMC-ZS10 14.1 MP Digital Camera with 16x Wide Angle Optical Image Stabilized Zoom and Built-In GPS Function (Blue) Review

Panasonic Lumix DMC-ZS10 14.1 MP Digital Camera with 16x Wide Angle Optical Image Stabilized Zoom and Built-In GPS Function (Blue)
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I have owned several Panasonic Lumix cameras in the last 10 years, upgrading periodically when new feature(s) make it economical to buy newer models. I still use my FZ50 professionally, upgraded from an FZ20 to a 35 to the 50. Wanting a point-and-shoot, but something more than snaps, for my personal life, I went to the Lumix. The ZS series has been excellent. For personal work, I don't want to spend a lot of time setting up shots, and I'm more likely to want quick reaction to capture a fleeting moment or motion. No point-and-shoot (p&s) will be excellent at that, but that doesn't mean I can't get one that does well in a majority of situations. My Lumix ZS3 performed exceptionally well for a p&s, and the ZS7 did even better. So looking over the specs of the ZS10, I decided to buy one. While I rarely use the video feature (I was raised on still photography!), much improved in this model, I wanted quality for stills. 16X zoom (to 21 with some kind of electronic extender option) up from 12X, and 14.1 megapixels up from 12.1. Improved antishake (at my age it's very useful), and GPS (which eats battery, can be turned off, but is occasionally useful for verifying sources), and other software I will continue to try out. So far so good, with crisp photos in most situations. Still is only good, not great, in low light; is better at eliminating motion blur (CMOS instead of CCD), and the easy menu help make this a worthy upgrade. Flash is still basic minimal (about 8 feet), typical of a p&s. Uses the same battery as the ZS3, so didn't have to buy new ones. Mini-USB plug (at camera) to standard USB plug is also typical. I invested in SanDisk Ultra cards (Class 6), and they work well. My 8 Gb says it will take 2800 pictures at 12.1 Mp. I don't think I'll ever reach that number, preferring to upload to my computer regularly, but it's nice to have spare capacity. The ZS10 has an SDXC host software, so can take the new BIG cards (48 and 64 Gb), but their high cost makes them uneconomical currently for me. Still, nice to have the capability (NOTE: lots of cautions say NOT to put an SDXC card in an SD/SDHC camera that DOES NOT have an SDXC host software). So instead bought a moderately expensive Extreme Pro SDHC (Class 10) 32 Gb card, and in this camera the irritating lag between pictures (typical in nearly all electronic cameras) was shortened noticeably. That's nice! The ZS10 will run SD, SDHC, and SDXC, so my legacy cards are still fine. From a first day testing perspective, the ZS10 has shown its mettle, an improvement (significant, if not huge) over the ZS3, and in most situations where a personal camera is useful, takes excellent pictures, and has a reasonably useable menu. I like my blue one.

Click Here to see more reviews about: Panasonic Lumix DMC-ZS10 14.1 MP Digital Camera with 16x Wide Angle Optical Image Stabilized Zoom and Built-In GPS Function (Blue)

The Panasonic DMC-ZS10 Digital Camera features high-quality LEICA DC VARIO-ELMAR lens system which is even more versatile with 24mm ultra wide-angle to powerful 16x optical zoom (35mm camera equivalent: 24-384mm). Comprising 12 elements in 10 groups, including an ED lens and 3 aspherical lenses with 6 aspherical surfaces, this advanced lens unit suppresses chromatic aberration which tends to occur in telephoto shooting effectively. It also boasts a short total length of lens unit despite its higher versatility with longer zoom range, which is made possible by a development of new mechanism for a structure of lens barrel. The lens system is also compatible with high shutter speed of min.1/4,000 sec.The 24mm ultra wide-angle lens - rare on a compact camera - gives you a wider range of composition possibilities with approx. 213% larger viewing space compared to that of 35mm camera. The super-high-quality LEICA DC lens minimizes distortion at the wide end. The new 14.1-megapixel MOS sensor integrated in the DMC-ZS10 boasts high speed signal output and high sensitivity image recording for making many advanced features possible. It also enables the camera to record full HD 60i (NTSC) / 50i (PAL) smooth movie. For the effective concentration of light, the newly developed sensor adopts microfabrication technology to achieve even higher sensitivity.FEATURES:Powerful 16x Optical Zoom - The DMC-ZS10 features a powerful 16x optical zoom lens (35mm camera equivalent: 24-384mm). This gives you highly natural expressions from people and animals that you can't get close to.Touch Zoom Function - The touch-screen operation on the DMC-ZS10 makes zooming even easier. To pull your subject in quickly by zooming to maximum magnification, touch the button. To make a more precise angle of view adjustment, use the touch lever.High-speed Consecutive Shooting - The high speed digital signal output technology integrated in the cameras of LUMIX G Micro System is applied rea

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Canon EF 70-300mm f/4-5.6 IS USM Lens for Canon EOS SLR Cameras Review

Canon EF 70-300mm f/4-5.6 IS USM Lens for Canon EOS SLR Cameras
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The short version:
Pros:
The optical quality is great, the speed is terrific, and it compares well to the 70-200mm lens that people like to say blows this out of the water (I believe they are wrong - but we will get into that later) and finally, the price cannot be beaten. Buy it.
Cons:
No hood, extends as it zooms, and the quality of the picture in low light situation lessens a little.
The long version:
I am writing this in simple terms. I found several, several reviews on this lens but they were all in technical terms and leaves you scratching your head a little. So, if you are like me maybe this review will help you.
I bought this lens a couple months ago from US1Photo.com (check these guys out. They regularly have significant sales and terrific customer service). I use this lens with a Canon 40D.
I take several types and styles of pictures so I needed a lens that would do the best job at several things and have a very affordable price (right at or less than $1,000). I looked through new, used, third party (Tamron, Sigma, etc) lenses, and read too many reviews and looked at too many images to count, and spent four hours in a photography store playing with lenses before I decided to spend money and take advantage of this lens. All in all I spent about a week's worth of time in research and testing before I bought this lens.
---
Edit:
Okay, so amazon won't let me put a link here. This is how you find me.
~Go to Flickr
~Then type in a "/" then "photos" then "/" and last type in "gman_five0"
And that should take you there.
---
Test of comment #1:
~The Canon EF 70-300mm f/4-5.6 IS USM does not track moving objects very well and the farther to the end of the zoom the slower the tracking.
(Flickr Gallery page 2)
This, I have found, to be completely wrong. I have used the lens at several sporting events and found that it tracks rather nicely. I was able to track every step of a base-runner from first base to second, slide, and recovery after the play without losing ONE shot.
To see what I am talking about check out my gallery on Flickr. The older ones are NOT done with this lens or camera and taken, actually, several years ago. I will reference the pictures in question.
Safe, Got There By a Mile, Breaking Up That Double Play (please note that as time goes on from the date that this was posted the pictures may have been re-moved). Also, "Safe" was used instead of another shot taken at the same time and angle with a 70-200mm IS lens.
To take these shots I used "AI focus" and the "H" settings on my camera for quicker tracking and the H settings for about 6 frames per second.
Test of Comment #2:
~The 200-300mm range is nice in theory, but a tack-sharp photo from the 70-200mm f/4L at 200mm is going to look better cropped than a 300mm full-frame photo from this lens.
Again, I found this to be wrong. Though I have no actual "full sized" picture for this if you comment back with an email address then we can arrange a viewing of one. Otherwise, take my word for it, I own several lenses and this one stacks up well.
(Ref Flickr Gallery)
The pictures from the Dance Theater and Tashina were all taken at the 200-300mm focus lengths. Again, they are not full sized because of photo pirates, but if you email me we can see about full sized shots.
Test of Comment #3:
~The IS motor is loud
I do not know what these people are talking about, but if you call that loud...
On the other hand, I have heard (once), the sound of the IS motor, but if you are not listening for it you will not even notice it.
Things I have found about the lens:
If you spend some time with the lens will be one of your best friends. It is a great lens especially for people on a budget (like me). To take the best pictures you cannot just twist it on and go to shooting. Take the time to LEARN about the lens (change shutter speeds, ISO settings, aperture, white balances, etc) and it will show you where it shines - just like the L series lenses and the 70-200mm IS.
This lens has a solid make and feels like it will last forever. Then again, as you zoom the lens does extend and is plastic. So, watch out if you are doing sports. You may get it knocked off. It did well for me, though. Extending while zooming makes putting a hood on the lens a bit (very little; so little that you cannot tell) awkward and it looks kinda goofy.
I like the lens because it is not as bulky as the 70-200mm lens and it is extremely mobile. It is as quick as some other lenses, not as quick as some, and quicker than others. It will give you great quality pictures. It does have its limits, however: in low light situations not being able to take it back a couple stops and get a wider aperture will not give you the same shot as a 70-200mm. Then again, like I said, it doesn't drop to that f/2.8 and does not cost all that money. This has been the single drawback for me about the lens.
I use this lens for portraits (Tashina, Samantha), for sports (see gallery), and music (Shawn Pander - See Gallery). So, it's pretty versatile. I have yet to use with it flash, but that is because I simply do not like to use flash. I have yet to use it in a studio setting, but when I do I will amend this review and add a couple of those pictures as well.
This lens comes highly recommended from me. I am not a big time, highly paid, or well known photographer. I just like to shoot and like what I shoot to be of the best quality that I can have AND afford at the time. So, if you are like me and cannot spend the needed $1,500 - $1,700 on a 70-200mm IS lens then spend your money on this lens. You will not be sorry for it.
---
On another note, comments are welcome. This is my first ever review on here so let me know if there anything else that you would like to know about and I will do my best to answer the question in the most plain terms as possible.


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L2) CANON 70-300MM F/4-5.6 IS USM LE

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Nikon Coolpix P7000 10.1 MP Digital Camera with 7.1x Wide Zoom-Nikkor ED Lens and 3-Inch LCD Review

Nikon Coolpix P7000 10.1 MP Digital Camera with 7.1x Wide Zoom-Nikkor ED Lens and 3-Inch LCD
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Let's get the facts out first. I've been a Nikon shooter for several decades, currently with a D300 (haven't made the leap yet to full frame, but that's next). I'm an amateur, but shoot at a pro level. My focus is on music and sports photography, and I like to have a good camera with me when I travel (my last ride-along P&S has been a Lumix DMC-TZ5). I shoot in a variety of conditions, but what I need must a) provides high quality images, b) be really portable (fits in my purse, can get into concerts that ban DSLRs unless you're shooting on assignment) c) have a longer lens option (200mm is 'table stakes') and d) provide the flexibility to twiddle the dials to find the best combo of ISO-aperture-shutter speed for a particular situation. Having HD capability is a nice-to-have.
I've been shopping for a new P&S easily for a year. Got interested and then uninterested in the Canon G11/G12/S95 because the lens is too short (even the extenders don't push it out far enough). Similar higher-end P&S cameras don't have the length I was looking for, or didn't fit the size criteria (ruled out the 'super zooms' largely because of this).
Nikon got my attention first with the P100 - but I read about image quality issues. When I learned about the P7000, I was intrigued. Could Nikon overcome its perceived issues and produce a P&S that makes picky photo people happy?
I made the plunge and bought the P7000. After reading a few more reviews and having a burst of post-purchase cognitive dissonance, the best plan was to just take the new acquisition out and A:B it against my D300 and the Lumix in a variety of conditions.
I'm glad I did. First impression: lots of dials to set and menus to learn, so to make it easy I just left it on the 'green' setting and let the camera make the decisions. Immediately it was clear that the Lumix's photo quality wasn't even in the same class as the P7000 (it looked good until you held it up against the others). The P7000's quality should be compared against the DSLR class.
After carrying a DSLR rig around, the P7000 seemed like a featherweight around the neck. Great build quality - solid metal feel. I don't like the AE-L and AF-L button being next to where you thumb is, but my fingers will learn. (Wish there was a wriststrap option that shipped with the camera too.) LOVE the display, and the ability to see the histogram data. Feels like my D300 in many ways.
Now to the images. Shot with the D300 and the P7000 looking up a tree trunk. Depth of field, image clarity and WB were surprisingly similar. Wow. Tried it again in both indoor and outdoor conditions, and saw little to no difference. In fact I preferred the P7000 images several times to the D300 - they looked better. After several hours of shooting both cameras, my post-purchase cognitive dissonance was gone and I am eager to learn more about my new traveling 'friend'.
I do agree with the reviewers who note that the dials and settings aren't particularly intuitive. The instruction manual is about on the scale of a DSLR. It also - for now - lacks the really long lens capability I'm looking for (I believe that Nikon will be introducing accessories soon, including a telephoto extender). I wish that the lens were faster in the lower end, and I wish that Nikon did a better job of removing high ISO noise (this is a criticism for non-full frame Nikon bodies in general; I'm hoping that RAW and post-processing will clean this up). But the advantages of the camera - DSLR-like photo quality, Nikon fit/finish and build, and a longer lens than comparable high-end P&S - make me believe that Nikon is going in the right direction and that this is a break from its previous P&S cameras.
If you don't have size constraints (as I do), buy a DSLR - you will get more in the long run. If you want DSLR-like performance in a P&S, definitely take a look at the P7000.
-------------------------
UPDATE: I've put about 1,000 shots into the camera over the past week, including one day of a music festival where I shot all but maybe 3 shots with the P7000 (see the photos here -[...]data is on). Net: though I still have not figured out the nuances, you can get really good photos out of the camera, but it does require learning how to use its capabilities. It is slower than the DSLR, but not so bad that it gets in the way of getting the shot. The P7000 has developed an issue where the lens cover will not retract completely, which causes the corners of the frame to be shaded. So, this must be sorted out. This is unfortunately not what I expected from Nikon, even in the first release. I'll report back in based upon what I find out, but for now I'm keeping the 5 star rating.
UPDATE (NOV 2010): The camera returned from Nikon in time to take to SFO. Nikon adjusted the shutter (works fine now) and the white balance. Interestingly the shot count was advanced about another thousand, so I trust they took the time to really check it out. I've finally figured out how to do quick aperture/shutter speed adjustments in manual mode, and am finding as I learn its controls and tricks, it's easier and easier to get great shots. I'm amazed at the 'night' setting - never fails to render something really interesting and usable. White balance in this mode has been most impressive - even in darkened rooms and in street shots at night, the photos come out rendered in the right colors, in focus and with plenty of light. I'm keeping the 5-star rating.
UPDATE (Feb 2011): The shutter has not hung up again but the service guy who looked at it last noted that he thought some of the parts were 'worn'. I still really enjoy the camera, but did purchase a 3 year extended warranty. I would recommend that anyone else do the same if they buy it in the near future, up until the time that the reports of the shutter issue die off. I'm attributing it to the initial release of a very new camera design, and there are often things they will improve upon over time. But in contrast, my new D7000 is working like a champ right out of the box, leading me to surmise that their design and manufacturing standards may be higher for their DSLRs than their P&S cameras. Just an observation - does anyone else have a similar experience?
UPDATE (Mar 2011): Spoke with a Nikon person during SXSW who advised me to make sure I had the firmware updates loaded into the camera. Another reviewer commented that it's still in beta - I would tend to believe that. Still enjoying the camera. I did tell him that I am wishing for them to take a great low-light sensor and put it into a P&S footprint, and he noted that pretty much everyone wants that too. Nikon - where is this on your product roadmap? I'll camp out to buy one of these!

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Nikon Coolpix P7000 10.1 MP Digital Camera with 7.1x Wide Zoom-Nikkor ED Lens and 3-Inch LCD (26233)

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Zoom H4n Handy Portable Digital Recorder Review

Zoom H4n Handy Portable Digital Recorder
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After having done a quick video test for the Kodak Zi8, I decided to do something which would focus more on its audio recording capabilities. I also wanted to test the Zoom H4n, a portable flash recorded I recently purchased... so, here I am, killing two birds with one stone.
I setup the Kodak Zi8 about 5 feet from the sound source, which is an upright piano... that's me noodling on it. The Zi8 is mounted on a tripod.
About 15 feet away from the piano, I've setup the Zoom H4n recorder. This unit has an XY stereo microphone built into it. It also has the ability to record two inputs, in the form of XLR or 1/4-inch. So, we'll be hearing the built in XY microphone on the unit as well as a pair of AKG 414s which I positioned above the piano, pointing into the open lid.
"Kodak Zi8 Internal Microphone"
Here we hear the internal microphone on the Zi8. Mono, a bit noisy and perhaps a little too close to the piano to capture a clean sound. In any case, this does the trick for capturing an idea, but definitely doesn't cut it if you're looking for high-quality audio.
"Zoom H4n XY Microphone"
Here the stereo image opens up suddenly. This XY microphone which is built into the unit is capturing a very natural, coincident stereo sound. It's a very reflective room, so you hear that, as the microphone is about 15 feet from the sound source.
"Zoom H4n Pair AKG 414s"
Here we're hearing the pair of AKG 414 microphones pointing into the piano. Because the microphones are very close to the sound source, there is significantly less "room" sound. This would be more suitable for a studio recording, while the XY sound would be more appropriate in perhaps a classical or field recording.
"Zoom H4n Mix of XY + 414s"
Here we have the best of both worlds. We have a blend of the direct signal from the 414s AND some of the room sound from the XY microphone. I believe this is the best overall option in most scenarios.
Finally we return to the Zi8 internal microphone to hear the major difference when using external audio equipment. At under $200, I believe the Zi8 does a great job capturing the visual and at under $300, the Zoom H4n does a remarkable job with the audio.
[...]

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Zoom H4n is the most sophisticated portable handheld recorder with new features and improved user experience at every level. Among its many new features, Zoom\'s H4n offers superior, built-in X/Y stereo condenser mics that allow variable recording patterns at either 90° or 120°. Higher quality audio capture through its new, digitally controlled, high-quality mic preamp, the ability to use internal and external mics simultaneously for 4 channel recording, a large LCD screen,more intuitive interface and onboard reference speaker will take the user\'s recording experience to the next level.The H4n\'s onboard X/Y stereo condenser mics are arranged with the right and left mics on the same axis. This design ensures that the mics are always equidistant from the sound source for perfect localization with no phase shifting. Frequency response remains uniform throughout your recording. The result is great stereo recording with natural depth and accurate imaging every time.The mics also adjust for variable recording patterns at either 90° or 120°. Our unique design lets you rotate each mic capsule from 90° (standard) to 120° (wide-angle) stereo for the ultimate versatility in any recording situation.Everyone knows that proper miking is essential to making a great recording. The H4n is the only handheld recorder that allows you to record on four channels simultaneously by using its onboard mics with either external mics or direct inputs. You can then use its built-in mixer to blend the channels for perfectly balanced recordings. Now your recordings can be richer than ever before. Or, to get a great recording of a live performance, use the H4n\'s onboard mics to get a room mix while simultaneously recording a stereo mix from the mixing board for a live recording that is easily one of the best you\'ve ever heard.

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