Digital Cameras: Xmas gift guide

If ever there was a time that you could justify treating yourself or a loved one to some delicious tech gadgetry, it’s Christmas. Here we take a look at some of the best digital cameras that are out there this Yuletide.
Each of the products featured here has been put through its paces in our Test Centre, and we’ve provided links to their full reviews on. This is useful if you want to know more about a particular product or compare it with some similar, perhaps cheaper, alternatives.

Digital Cameras: Christmas gift guide

Canon Ixus 230 HS
£200 inc VAT
Perhaps the most desirable camera in our group of suggested models, the Canon Ixus is as beautiful a compact camera as you’re ever likely to encounter. It comes in black, silver, purple, brown or red and is very slim, given the mechanics inside.
The follow-up model to last year’s popular 220 HS, it’s a 12.1Mp compact with a 28mm wide-angle lens and an 8x optical zoom. Compared with the zoom range of some of the compact cameras we’ve tried, the Canon’s is modest. However, the HS in its name refers to its combination of high speed and high sensitivity – something that wouldn’t work well over a 15x zoom. The 22mm-thick body would be hard-pushed to accommodate a larger lens anyhow.

Controls are geared towards point-and-shoot photography, with a simple dial to adjust the zoom and an onscreen indicator if your hands are shaking. Video can be taken at 720p and has a dedicated record button. A switch that lets you change from automatic to manual operation resides on the righthand side, while flash and macro options can be adjusted via a navipad on the rear. Other settings are changed via the onscreen menu.
As with other HS cameras (Canon offers Ixus and PowerShot models with this feature), the 230 is capable of capturing blur-free photos under challenging low-light conditions, so you can take party shots without blinding everyone with the flash. Canon cites 210 shots before the battery needs to be recharged. Expect around 40 minutes of video footage to deplete the battery.

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Fujifilm FinePix X100
£999 inc VAT

The X100 is expensive, but there are enough committed camera fans out there for Fujifilm to have judged it worthwhile investing development resources in this fixed-lens camera.
The fully manual 12.3Mp camera is built from magnesium-alloy and has an APS-C sensor crammed in. The aperture, shutter speed and exposure compensation settings can all be checked before you switch on the X100. A 2.8in LCD offers an alternative viewing and composition option. There’s also a dedicated RAW button, which lets you switch between uncompressed shooting and processing mode.
The camera weighs 445g and is a chunky 54mm thick, so you won’t want to take it out and about on the off-chance it will get used. It’s anything but a point-and-shoot model, and has plenty of quirks.
Having spent some quality time with this camera this summer, we can attest to the fact that the Fujifilm X100 amply rewards patient use. A less complex (and less expensive) model, the £560 Fujifilm FinePix X10, is also available.

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Lomo La Sardina El Capitan

£89 inc VAT (with flash)
£49 inc VAT (without flash)
A camera doesn’t need to be packed to the gills with fancy electronics in order to take decent photos. Lomo’s La Sardina analogue film cameras deliberately allow you to produce photos containing images laid over each other. In fact, the guide that comes with this 35mm camera suggests creative subjects for multi-exposure photos.
The oversized flash bulb is detachable and is the one concession to electronics. The La Sardina’s flash requires a single CR123A battery.
Coloured filters that fit over the camera lens offer a low-tech means of adding variety to your shot in the absence of zoom, art filters and f-stop adjustments. The La Sardina’s very simplicity allows you to focus on the subject and how they’re framed, rather than the mechanics of taking the shot.

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Kodak EasyShare Touch M5370
£129 inc VAT
Not everyone wants to spend hundreds of pounds on a digital camera. The Kodak EasyShare M5370 packs in plenty for its £129 price tag. You get a 16Mp CCD, video capture, support for direct uploading to a range of photo-sharing sites and social networks, plus in-camera editing to finesse your images.
EasyShare software can automatically recognise that there’s someone in shot that looks a lot like a person in a previous photo and suggest they might be one and the same. If so, the face detection and tagging beloved of Facebook form a formidable alliance and pre-tag your photos ready for uploading. When you next turn on the camera, it’ll group photos in the gallery by subject, making it faster to find the best photo of a particular person.
A 5x optical zoom, image stabilisation and 20 scene presets all feature on this likeable budget camera.

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Olympus PEN Mini
£449 inc VAT
As with the Fujifilm camera on the previous page, Olympus’ PEN range ploughs the retro vein. The Mini is the most stripped-down model in its PEN Micro Four Thirds line-up, offering simple point-and-shoot photography on to which you can put your own stamp thanks to art filters and special effects. Dramatic contrast, fish-eye lens and pop art options make even the most mundane scene stand out. A Live Guide on the preview screen aids composition.
Experiment with what the Mini can do using exposure bracketing, autofocus override and ISO light settings; when you’ve found a setup you like, you can save up to four custom settings as My Mode shortcuts. Scene modes and auto scene-detection are provided, while this capable camera can also shoot 1920x1080i video at 30fps.

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Panasonic Lumix DMC-G2
£360 inc VAT
There’s a very good reason why the Lumix DMC-G2 has dominated our interchangeable-lens camera chart (page 143) for the past six months: it’s a great-value 12.1Mp Micro Four Thirds camera with a tiltable 3in LCD touchscreen for image composition. This makes it easy to specify what you’d like the focal point of your photo to be.
A good range of scene presets and an intelligent Auto setting make for a shallow learning curve, while advanced options span aperture priority – from f3.5 to f5.6 – and adjustments to light levels. ISO settings from 100 up to 6400 are supported. For unusual compositions, in-camera effects can be applied.
The DMC-G2 can record video at 720p to the Blu-ray-compatible AVCHD format. The standard camera kit includes a 14-42mm lens.

While a newer £629 Lumix DMC-G3 model is now available, there’s very little wrong with this high-quality camera at little over half that price.

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Sony Cyber-shot HX9V
£250 inc VAT
The best of the advanced compact cameras crop, the Sony Cyber-shot HX9V eschews manual settings, such as aperture priority and user-controlled shutter speeds, and doesn’t support RAW file formats. Nonetheless, it produces excellent digital photographs – the most important factor in any camera.
The Sony’s 16Mp CCD promises plenty of detail (we don’t advise buying a camera based on megapixel count alone, but this model is a safe bet) and there’s also a 16x optical zoom so you can capture extreme close-ups even from over the road. Dual-image stabilisation helps ensure shots are crisp.
All that zooming in ought to pound the battery, but the CIPA rating for the HX9V is an astounding 410 shots between charges. Really, though, it’s the 3D capabilities of this camera that will astound.
Rounding things off are support for geo-location tagging and some clever in-camera trickery to make the most of your photo artistry.

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Kodak PlaySport Zx5
£90 inc VAT

The PlaySport Zx5 is a pocket-sized video camera that captures 1080p video footage.
Its ruggedised design makes this camcorder ideal for sports fanatics who want to show off their snowboarding escapades, but it’s also a decent 5Mp stills camera.
The Kodak is waterproof to 3m, so daredevils can record their encounters with sharks too.
Previous models in the PlaySport range had a rather cramped button layout, but the Zx5 takes into account the fact you may want to use it while wearing gloves.
Kodak EasyShare software recognises people in a series of shots and tags them before letting you directly upload photos to Flickr, Facebook, the Kodak Gallery and more.

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Canon PowerShot SX150 IS review

Good

• Inexpensive
• Sharp pictures
• Great colours

Bad

• AA batteries
• Some noise in deep blue

In this review

1. Features
2. Shooting stills
3. Shooting video
4. AA batteries
5. Conclusion

This is one of the cheapest digital superzooms you can buy. Just £150 will bag you a 12x zoom and a 14.1-megapixel sensor. Add to that a clutch of creative digital filters and a smart auto-shooting mode, and the plain, chunky PowerShot SX150 IS looks very tempting indeed.

Features

The PowerShot SX150 IS has much in common features-wise with some far more expensive cameras in Canon's current line-up. As well as the regular auto mode in which we performed the majority of our tests, it has eight scene modes. There is a choice of creative filters, including toy camera, monochrome, colour swap and miniature effect, which mimics the results you'd get from using a tilt-shift lens to make your scene look like a model.

The PowerShot SX150 IS shares features in common with more expensive cameras in Canon's range.

What it doesn't have is a back-illuminated charge coupled device (CCD) -- the digital camera's equivalent of film that converts light into electrical charges -- that increases the level of low-light captured in night sky photography, for example. Nor does it have the high-sensitivity features rolling out across the upper-end of the range. This is reflected in the lower price.

Shooting stills

Despite this, it demonstrated excellent dynamic range throughout our tests, balancing images with extremes of both highlight and shadow, minimising the amount of clipped detail at the upper end of the scale and retaining plenty of information at the lower end. This allowed us to apply minor tweaks to the fill light, recovery and exposure levels in post-production to bring out parts of the image that would otherwise have been lost.

The PowerShot SX150 IS maintained an excellent level of detail in demanding lighting conditions, as seen in this image, where detail has been retained in the background despite the frame being dominated by a bright chrome ball (click image to enlarge).

It consistently made good use of available light to avoid either hiking the sensitivity -- and thus increasing noise in the image -- or calling on the flash, which in many situations would not have sufficient throw to illuminate the whole scene.
In complex shots with plenty of detail, such as the flower stall below, it maintained a good depth of field. Despite self-selecting an aperture of f/3.4, the stall remained in focus through three-quarters of the frame. There was no evidence of unduly heavy JPEG compression, which we might have expected to see in more complex areas of the image, such as the grass in the lower left corner.

A good depth of field and sharp detail brought this shot to life (click image to enlarge).

There was, however, some fringing on the white paper price tags where the lens had failed to accurately focus each part of the spectrum on the same part of the sensor. In particular, the '8=' tag in the lower left, '7.50' in the upper-left quarter and '£3' in the centre of the frame all showed evidence of a pink fringe -- known as chromatic aberration -- on their top and left edges.

Examining the shot at close quarters revealed some evidence of minor fringing against strong contrasts.

This effect was evident in other images too, but in all cases it was minor and only visible on close inspection. We would not expect it to impact the quality of a printed image, or indeed any photo used at common web resolutions.
The PowerShot SX150 IS demonstrated excellent colour reproduction right across the visible spectrum. The market stall below features the full gamut of common tones, including man-made blue and red (the bag in the foreground) and natural hues in the vegetables. With white balance left to automatic, the PowerShot SX150 IS rendered each with great clarity, reproducing the colours accurately.

There are plenty of tones in this image that were handled well by the PowerShot SX150 IS (click image to enlarge).

This performance wasn't limited to brightly coloured scenes either. When tasked with capturing a more muted, narrow palette, such as this archway stall, which is predominantly brown and fairly dark, it achieved a good result. It retained plenty of detail in the brickwork with a smooth, controlled transition in the shadow under the archway.

The PowerShot SX150 IS did an excellent job of retaining detail in this darker image despite the limited colour palette (click image to enlarge).

To achieve this it increased its sensivitity to ISO 400 and reduced the shutter speed to 1/30 second. This resulted in a noticeably grainier result when zoomed to 100 per cent. This isn't unexpected at such middling sensitivities, but we were more concerned to see this grain also creeping in at ISO 100 in an otherwise well-lit scene.
In the below image of Southwark Cathedral, the sky exhibits considerable dappling where we would have expected to see a smooth, clean blue. When viewed full-screen rather than zoomed to 100 per cent it's not obvious. Even so, we would have expected to see much clearer, cleaner results.

The below image zoomed to 100 per cent shows some evidence of noise in the deep blues of the sky.

Despite it being exposed at just ISO 100 there was more-than-expected grain in the sky (click image to enlarge).

This effect was much less obvious on lighter skies such as the one seen in the wide-angle shot of our zoom test, below. This was despite the frame having been shot at a higher sensitivity -- ISO 160 -- indicating that the noise is due not so much to the increase in sensitivity as the tone captured. Here, the blue is far less vibrant than the sky surrounding the cathedral.

The PowerShot SX150 IS makes short work of finding the exact framing you're after with a 12x zoom (click image to enlarge).

The PowerShot SX150 IS has a 12x zoom lens, equivalent to 28-336mm on a conventional 35mm camera. Even in a fairly chunky camera such as this it remains impressive and makes for far more versatile shooting. This is helped by a lens shift-based stabilisation system to smooth out the effect of shaking hands at long zooms or in low light, which helped greatly in our above potato stall image -- taken without the aid of a tripod -- despite the muted lighting.
The closest focusing distance is just 1cm, which is great for macro photography. At the same time the aperture range is slightly underwhelming. With the lens fully retracted it tops out at a run-of-the-mill f/3.4, and f/5.6 at full telephoto. Meanwhile, sensitivity runs on a scale of ISO 80 to ISO 1,600, with compensation of +/- 2 EV in 1/3 stop increments. The slowest shutter speed is 15 seconds; the fastest being 1/2,500 second.

Shooting video

The PowerShot SX150 IS has both a dedicated video mode, accessed using the mode selector on the top of the body, and a quick-record feature, courtesy of a recording button on the back of the body. The former, naturally, gives you access to more features, including the ability to apply the same effects filters as you can with stills.
The results are impressive, with sharp images and vibrant colours, as we had come to expect from our experience of shooting stills with the PowerShot SX150 IS. It had no trouble maintaining a fix on the focus as we reframed out shots, and the zoom was quiet enough not to be evident on our soundtrack. However, the rotating cuff around the shutter release, through which it is controlled, did click as we released it on each occasion and this can be heard on the finished video.
The soundtrack was extremely clearly recorded, and we were very impressed by the way that the dual front-facing microphones, positioned on either side of the lens, managed to accurately capture distant sound sources, such as the singing of a busker in a bin (yes, really), or the knocking of punting poles, both of which feature in our test footage.

AA batteries

The PowerShot SX150 IS is the most conventional camera we've tested in a long while. Its curvy swoops make it look about 10 years old, while inside the grip you'll find not a single bespoke battery, but a pair of AA cells.

The curvy swoops of the Canon's conventional design age it by a decade.

That's a shame, as powering a camera, with its illuminated screen and articulated lens array, is a demanding task. It's a job that's often best left to a bespoke battery source designed specifically with that task in mind.
The bundled cells were exhausted after shooting just 65 photos and 3 minutes and 17 seconds of video. While there's much to be said for the ease with which you can buy replacements, that makes this an expensive camera to run. You can, of course, travel with a charger and replacement rechargable AAs, but for our money it's much more convenient -- and preferable -- to use a dedicated camera battery; in our experience they last longer than these did.

Conclusion

The battery issue was our only real complaint where the PowerShot SX150 IS was concerned. However, we do remain a little concerned by the dappled noise introduced when shooting the particular shade of blue that appeared in our shot of the cathedral sky, as it also appeared in a blue sign of a very similar tone.
If you're prepared to invest in a set of rechargable batteries -- even if they're not Canon's optional extras -- and travel with these and a charger, then the PowerShot SX150 IS represents a great, ambitious entry into digital photography. It's a significant step up from a four or five-year-old mid-range shooter.
You're getting an awful lot of camera for £150 here, not only in terms of physical size, but features too.

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Canon PowerShot SX40 HS review

TrustedReviews says

The Canon PowerShot SX40 HS is a brilliantly versatile bridge camera whose key feature, that 35x optical zoom, is made all the more attractive by an excellent image stabilisation system. Picture quality is good and overall speed is much improved over its series precursor, the SX30. If you can live without the picture quality perfection and improved low-light performance of a DSLR, this is a great buy.

Design and Comfort

Getting serious about photography is not a cheap endeavour. Buying a basic DSLR setup isn’t so painful, with decent models like the Nikon D3100 now available for under £400. But once you start adding the cost of the additional lenses needed for anything approaching all-purpose flexibility, you can expect to spend at least double that. If this is beyond your budget, then the Canon SX40 HS could be worth a look. It’s a super zoom bridge camera that gives you a hugely flexible focal range and plenty of potential for manual control – if not quite DSLR-rivalling image quality.

The Canon SX40 HS represents a significant upgrade over its predecessor, the SX30. It offers much faster performance, full HD video recording and improved light sensitivity for improved low-light performance. The effective resolution of the SX40's sensor is lower at 12.1 megapixels (instead of 14.1), but the sensor type has changed to a 1/2.3in CMOS type instead of the CCD type used in the SX30. Fingers crossed, this should result in better image quality. We’ll find out whether it does later.

The build hasn’t changed drastically, however. The Canon SX40 is made of hard matt black plastic, and while it doesn’t feel quite as immaculately constructed as one of Canon’s metal-bodied cameras, like the 60D or G12, it is tough and creak-free.

Some care and attention has gone into making it feel great in-hand too. The front side of the right hand grip has a lightly rubberised finish, giving it greater friction than the rest of the body, which is otherwise very smooth. Although smaller than standard SLR size, this hand grip feels comfortable and gives you a good sense of mastery over the camera’s position for one-handed shooting. It also gives you confidence that you’re not going to drop it.

The flip-up flash mechanism is wholly manual. No springs here.

There’s a thumb rest on the back too that's textured with embossed dots, giving the SX40 a bit of added purchase. If you’re used to handling a compact camera rather than a DSLR, the Canon SX40 will feel pretty chunky - it’s a lot bulkier than a regular compact. In fact, the SX40 is closer in size to the Olympus E-420, a bonafide DSLR, than it is a regular ultracompact. Of course, if you’re happy to carry around your camera in a rucksack rather than a pocket, “man bag” or handbag, then this needn’t be a problem.


On its right edge is a flap covering the miniUSB and mini HDMI ports. The latter is noteworthy because it’s CEC-compatible, meaning you can control your camera using a TV remote using it – all the better to bore your nearest and dearest with.

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Canon confirms cameras hit by Thailand floods (update)

Canon has confirmed that its digital camera production will be hit by the Thailand floods because factories supplying key parts have been damaged in the disaster.

The news comes as two Canon inkjet printer factories in central Thailand remain closed, halting production of the company's flagship Pixma Pro-1 printer that was announced on Monday.

Though Canon has not divulged which cameras will be affected, a spokesperson told Amateur Photographer this afternoon: 'While Canon does not have camera manufacturing facilities in Thailand, our parts suppliers have also sustained damage due to the floods which will affect Canon camera production.'

The spokesperson said the firm has established a 'recovery task force' to minimise the impact on customers.

Last month Canon unveiled its PowerShot S100 digital compact (pictured above), which combines a 'high-sensitivity' 12.1-million-pixel CMOS sensor with a Digic 5 image processor.

Last week Canon unwrapped the EOS-1D X (pictured below), an 18.1MP full-frame DSLR designed to replace the EOS-1D Mark IV and EOS-1Ds, Mark III. It is not due to go on sale until next year.

News of the impact of the floods on Canon's camera output first emerged in the firm's financial results, released yesterday. The firm said 'due to the floods in Thailand in this month, the company anticipates delays in production for select [sic] inkjet printer and digital camera products'.

Earlier this month the floods forced Canon Hi-Tech (Thailand) Ltd to shut down two inkjet plants in Ayutthaya, one in Rojana Industrial Estate and one in the Hi-Tech Industrial Estate.

Meanwhile, Canon yesterday told visitors to its Pro Solutions show in London that it expects the Pro-1 printer to be delayed by the floods.

The Pro-1 was originally due to go on sale in November.

However, visitors were told that availability may be pushed back to the end of November or December.

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Canon EOS-1D X first hands-on

Professional photographers know the drill: every few years, Canon or Nikon announces a game-changing DSLR, often prompting top photogs to unload their complete kits and switch to another system in a never-ending attempt to shoot with the best. This time, Canon is first out of the gate, with its flagship EOS-1D X -- the latest in a series that dates back to 2001 with the EOS-1D. As you've probably noticed, the company's new top model looks virtually identical to its decade-old ancestor, but is otherwise a far cry from that four megapixel CCD sensor-sporting dinosaur. We've been anxiously awaiting an opportunity to check out Canon's new $6,800 18.1 megapixel full-frame model since first getting word of the beastly camera last week, and just had a chance to go hands-on during the company's Pro Solutions event in London. Jump past the break for our impressions and a video walkthrough.

Canon EOS-1D X hands-on

Though Canon's 1D series caters to the entire pro gamut, from sports and news photojournalists to wedding and commercial photographers, those two major demographics were previously split between a parallel set of bodies -- most recently the EOS-1D Mark IV, which offered high-speed shooting and catered to the former group, and the four-year-old EOS-1Ds Mark III, which packed a full-frame sensor and higher megapixel rating, appeasing commercial shooters who prefer higher-res images over high-speed shooting. The X replaces both models, however, providing enough power for both categories.

Like the nearly identically-sized models that came before, the EOS-1D X is massive. If you haven't already gathered from the price tag, this isn't the camera for your next trip to the beach or even a casual African safari -- it's absolutely geared towards pros, who care far more about speed, accuracy and image quality than physical appearance and body size. The X feels very familiar, and since we've shot with every pro model that Canon's released since the 1D, we had no problem picking it up and firing off a few images without taking even a second to get accustomed. It feels heavy -- and does in fact have more heft than the models that came before it -- there's no question that your arm will get quite a workout during a full day of shooting. For photographers that demand quality, however, that trade-off is expected, and quite worthwhile.

Canon says that it's still a few months out from allowing anyone to shoot and save images from its pre-production models, so we weren't able to walk away with samples, unfortunately. We did take a look at a printed shot at the top native ISO of 51,200, which looked quite crisp and clean, though there was a noticeable jump in noise from an identical frame shot at ISO 25,600. We did notice an element of noise with a grid-like pattern in the higher-sensitivity version, which isn't ideal, but the sample we saw had been shot with a pre-production model, so Canon still has some time to work out any kinks before these hit the assembly line. The top extended ISO is 204,000 (!), which is a full stop higher than the 1D Mark IV -- the equivalent of jumping from f/4 to f/2.8, for example -- allowing you to get crisp images in very low light. Canon didn't have any images on hand shot at that sensitivity, however.

The X may be virtually identical in size to every previous model in the 1D series, but its button layout has changed a bit. Canon has added dedicated controls at the bottom of the camera, enabling easy access to additional functions when holding it vertically. The system menu has also been completely redesigned, and is simpler to navigate, as you'll see in the gallery below.

Canon EOS-1D X user interface

We're just as anxious to take home sample images as you are to see them, so we'll be reporting back just as soon as Canon gives us the green light to start shooting. The same goes for 1080 / 30p video -- no samples just yet, but there's no question that the X will be a popular choice among DSLR video shooters as well. Canon U.S. has estimated pricing at $6,800, but currency fluctuations could cause that sticker price to jump between now and the camera's expected March release.

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Canon Pixma PRO-1

Canon today launched its new flagship PIXMA Pro series model, the Pixma PRO-1, which is the world’s first A3+ printer to feature 12 separate inks. This new technology is claimed to “significantly expand” colour gamut “in most areas”. Five monochrome inks produce professional quality black-and-white prints with smooth tonal gradation and suppressed graininess. Front-opening panels enable easy access to the tanks either side of the main printer body, and for efficiency the rear tray takes up to 20 sheets of photo paper, while the manual feed slot accepts photo paper up to 356mm (14”) wide and heavier fine art papers. The Canon Pixma PRO-1 will be available from November 2011, priced at £799/€899.

Canon launches the flagship PIXMA PRO-1 ultimate quality A3+ printer for photographers

United Kingdom, Republic of Ireland, 24th October 2011 – Canon today announced the launch of its new flagship PIXMA Pro series model, the PIXMA PRO-1, which is the world’s first A3+ printer to feature 12 separate inks. Featuring an EOS-inspired design, the stylish model produces the highest possible print quality in colour and monochrome, and is ideal for professional and serious amateur photographers.  Exceptional levels of productivity make it suitable for studio use and commercial exhibitions.

Groundbreaking 12-ink system for superb results

The unique 12-ink system significantly expands colour gamut in most areas and features new Chroma Optimizer for increased black density and uniform glossiness. Five monochrome inks produce professional quality black and white prints with excellent detail in shadow and highlight areas, as well as smooth tonal gradation and suppressed graininess. Next generation LUCIA pigment inks are used for outstanding image permanence, allowing prints to be sold or exhibited with confidence.

Exceptional quality colour and monochrome prints

The PIXMA PRO-1 supports 1200ppi input resolution (double compared to previous generations of PIXMA Pros) to reflect the increasing number of pixels available on professional cameras and produce smoother prints with high resolutions of up to 4800x2400dpi. The new Optimum Image Generating (OIG) system analyses the photo colour and precisely calculates the optimum ink combination and volume of ink droplets, which are then accurately placed on the paper by Canon’s FINE print head with 12,288 nozzles.

The OIG system enhances colour reproduction, natural tonal gradations and uniform glossiness in each print mode and media type, to produce print quality so realistic it almost jumps off the page. Smooth tonal gradations in colour and monochrome prints are achieved through 16-bits per channel printing capability. The new PIXMA PRO-1 also features three colour modes, including the new Photo Colour print mode which reproduces fresh blues and greens to match people’s memory of colours. Linear Tone mode reproduces colours with linear tone curve, while the ICC Profiles mode means users can utilise paper-specific colour profiles or create their own.

Productivity on a commercial scale

The PIXMA PRO-1 can produce a gallery-quality printver.5x larger ink tank capacity compared with the nearest model ensures longer running periods can be maintained between ink changes. Front-opening panels enable easy access to the tanks either side of the main printer body, and for efficiency the rear tray takes up to 20 sheets of photo paper, while the manual feed slot accepts photo paper up to 356mm (14”) wide and heavier fine art papers.

For saleable prints, real-time droplet volume control stabilises colour and ink density ensuring consistency of colour output from print to print. Reliability in a commercial environment is assured through the use of features commonly found on wide format professional printers, including a mist fan with an air circulation system and a tubular ink supply system separate to the print head. An Ethernet connection ensures the PIXMA PRO-1 can be shared easily over a network.

Simplified workflow and professional colour control

The PIXMA PRO-1 comes with Easy-PhotoPrint Pro plug-in software which simplifies printer settings and allows batch printing. Support has now also been expanded to the full Adobe Photoshop® family as well as to the Canon Digital Photo Professional software package. The printer can also automatically select the correct ICC profile for each Canon paper, and an expanded range of ICC profiles is available for Fine Art papers from well known manufacturers.

The Colour Management Tool Pro software, which can be downloaded from [http://software.canon-europe.com] supports x-rite colour management tools, including Colour Munki Photo and Colour Munki Design, and enables users to create custom ICC profiles to ensure the optimum output quality. The PIXMA PRO-1 also includes the Ambient Light Correction feature so that users can select the type of lighting under which a print will be displayed. The print colours are then automatically adjusted to ensure the very best colour reproduction under different viewing conditions.

PIXMA PRO-1 – key features:

The benchmark A3+ printer for photo professionals

Groundbreaking 12-ink system with exceptional colour gamut

Chroma Optimizer for uniform glossiness and crisp, sharp blacks

Optimum Image Generating system enhances colour reproduction

Stunning black and white prints with 5 monochrome inks

New LUCIA pigment inks ensure outstanding photo permanence

Create a gallery-quality A3+ photo in approx. 2 minutes 55 sec

High capacity ink tanks ensure long periods between replacements

Wide range of media support including 356mm (14”) wide and thick media
Easy-PhotoPrint Pro plug-in for efficient printing workflow
Pricing and Availability
The PIXMA PRO-1 will be available from November 2011, priced at £799/€899 RRP Inc VAT.

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Canon EOS-1DX Digital SLR Camera

Canon announced the EOS-1DX, a completely re-designed professional EOS-1D series DSLR camera to replace both the EOS-1Ds Mark III and EOS-1D Mark IV models in Canon's lineup. The EOS-1DX DSLR features an 18-megapixel full-frame Canon CMOS sensor, Dual DIGIC 5+ Imaging Processors, 14-bit A/D data conversion and capable of shooting an incredible 12 frames-per-second (fps).

The Camera With Three Brains
The EOS-1DX features three DIGIC processors, including Dual DIGIC 5+ image processors capable of delivering approximately 17 times more processing speed than DIGIC 4, and a dedicated DIGIC 4 for metering and AF control. In conjunction with the newly developed high-performance 18-megapixel full-frame Canon CMOS image sensor, the Dual DIGIC 5+ processors provide high-speed continuous shooting, lower noise, and a significant increase in data processing speed than previous EOS-1D models. This new level of data processing speed allows the EOS-1DX to perform many functions including chromatic aberration correction for various Canon EF lenses in-camera instead of through post-production software. The DIGIC 4 processor utilizes a new 100,000-pixel RGB Metering Sensor for enhanced exposure accuracy with color and face detection, and works together with the camera's new EOS iTR (Intelligent Tracking and Recognition) AF.

Features a 18-megapixel full-frame CMOS sensor, completely new 61-point Autofocus, fast shooting up to 12 fps and Full HD video recording
The EOS-1DX employs a completely new imaging sensor, producing the lowest noise of any EOS digital camera to date for stunning portraiture and studio work. The new 18-megapixel full-frame CMOS sensor utilizes large pixels -- 1.25 microns larger than those in the EOS-1D Mark IV sensor and .55 microns larger than those in the EOS 5D Mark II sensor -- together with gapless microlenses to achieve enhanced light gathering efficiency, higher sensitivity and less noise at the pixel level. The new sensor has improved on the already very high signal-to-noise ratio of sensor output of earlier EOS models for outstanding image quality, even in extremely low light. When combined with the Dual DIGIC 5+ imaging processors the results are stunning. The images produced with the EOS-1DX camera's new sensor are so clean that files can easily be up-sized if necessary for even the most demanding high-resolution commercial applications. The EOS-1DX will also feature new Ultrasonic Wave Motion Cleaning (UWMC), Canon's second generation self-cleaning sensor unit, which utilizes carrier wave technology to remove smaller dust particles from the sensor and it includes a new fluorine coating on the infrared absorption glass to help repel dust.

The low-light capability of the EOS-1DX is evident in its incredible ISO range and ability to photograph in extremely low-light conditions. Adjustable from ISO 100 to 51,200 within its standard range, the new model offers a low ISO 50 setting for studio and landscape photography and two high settings of 102,400 at H1 and 204,800 at H2, ideal for law enforcement, government or forensic field applications.

New 61-Point High Density Reticular AF
The EOS-1DX includes a brand new 61-Point High Density Reticular AF, the most sophisticated DSLR AF system Canon has ever released. The 21 focusing points in the central area are standard precision cross-type and effective with maximum apertures as small as f/5.6, depending on the lens in use. The center five points are also high-precision diagonal cross-type points for maximum apertures as small as f/2.8. All 61 points are sensitive to horizontal contrast with maximum apertures as small as f/5.6 and 20 of the outer focusing points function as cross-type points with maximum apertures as small as f/4.0. Other innovations of the new 61-point High Density Reticular AF include expanded AF coverage area, superior focusing precision and low light sensitivity, and greater low-contrast subject detection capability compared to earlier EOS AF systems.



All AF functions now have their own menu tab for quick and easy access (formerly AF custom functions in previous EOS models). A new AF Configuration Tool allows for customized setting of tracking sensitivity, the acceleration and deceleration of tracking subjects, and AF point auto switching, all of which are easily accessed and adjusted via the new AF menu tab. A built-in Feature Guide advises photographers on which settings to use according to subject matter.

Similar to the AF point selection options offered in the EOS 7D Digital SLR camera, the EOS-1DX offers six AF point selection modes: Spot, Single Point, Single Point with surrounding four points, Single Point with surrounding eight points, Zone selection and Automatic AF point selection.

EOS iTR AF: Intelligent Tracking and Recognition Enhances AF Performance
The Canon EOS-1DX features incredible new EOS iTR (Intelligent Tracking and Recognition) AF options ideal for wedding and event photography as well as sports and photojournalism. The default AF mode for the EOS-1DX uses phase detection AF information, while a new second option uses Face Detection technology to track recognized faces in addition to color information, ideal when shooting events such as tennis or dancing where facial recognition of the original subject will help keep that person in focus throughout the scene.

Exposure Control
For the first time in a Canon DSLR camera, a DIGIC processor is used exclusively with the metering sensor for fast, accurate exposure control. The Canon DIGIC 4 processor takes advantage of the EOS-1DX's 100,000-pixel RGB Metering Sensor and utilizes 252 zones for general metering or 35 zones for low-light metering to help ensure accurate evaluative ambient or flash exposure. The new subject recognition capabilities enhance nearly all of the camera's automatic functions, helping to adjust exposure, autofocus, Auto Lighting Optimizer and Automatic Picture Style to the scene being captured for enhanced image quality.



Multiple Exposure Modes
The EOS-1DX is the first EOS Digital SLR to feature Multiple Exposure capability. The camera can combine up to nine individual images into a single composite image, with no need for post-processing in a computer. Four different compositing methods are provided for maximum creative control, including Additive, Average, Bright and Dark. Compositing results can be viewed in real time on the camera's LCD monitor, and there is a one-step Undo command that allows photographers to delete an image and try again if desired. The EOS-1DX's Multiple Exposure mode even allows photographers to specify a previously captured RAW image as the starting point for a new Multiple Exposure composite image.

Super High Speed Mode
The Canon EOS-1DX camera breaks new ground in the world of digital SLRs, offering a Super High Speed Mode which increases shooting speeds up to 14 fps at full 18-megapixel resolution in JPEG mode1. The new camera is also capable of shooting RAW, JPEG, or RAW+JPEG at speeds up to 12 fps in One Shot AF or AI Servo AF for enhanced performance in sports photography and other applications requiring high-speed digital capture. This new level of performance is made possible by the combination of the EOS-1DX's 16-channel readout CMOS sensor, Dual DIGIC 5+ image processors, and a completely new reflex mirror mechanism that has been engineered by Canon to combine high-performance with exceptional precision and reliability.

Enhanced EOS HD Video -- New Compressions, Longer Recording
Centered around an all-new full-frame CMOS sensor with larger pixels than those found on the EOS 5D Mark II image sensor, the EOS-1DX utilizes new HD video formats to simplify and speed up post-production work. The two new compression formats offered on the EOS-1DX include intraframe (ALL-i ) compression for an editing-friendly format and interframe (IPB) compression for superior data compression, giving professionals the options they need for their ideal workflow. Answering the requests of cinematographers and filmmakers, the EOS-1DX includes two methods of SMPTE-compliant timecode embedding, Rec Run and Free Run, allowing multiple cameras or separate sound recording to be synced together in post production.



Canon's all new full-frame CMOS sensor ensures that video footage captured on the EOS-1DX will exhibit less moiré than any previous Canon model, resulting in a significant improvement in HD video quality. A desired feature for many documentary filmmakers using Canon DSLRs was to enable recording beyond the four gigabyte (GB) file capacity and the EOS-1DX is the answer. The new camera features automatic splitting of movie files when a single file exceeds 4GB. The new file splitting function allows for continuous video recording up to 29 minutes and 59 seconds across multiple 4GB files; no frames are dropped and the multiple files can be seamlessly connected in post production, providing filmmakers the recording time they want in the same convenient DSLR form factor. The camera records Full HD at 1920 x 1080 in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); and 720p HD or SD video recording at either 50p or 60p (59.94). SD video can be recorded in either NTSC or PAL standards.

The Canon EOS-1DX also includes manual audio level control, adjustable both before and during movie recording, an automatic setting, or it can be turned off entirely. A wind filter is also included. Sound can be recorded either through the internal monaural microphone or via an optional external microphone through the stereo mic input.

Enhanced Ergonomics & Optimized Design
Photographers familiar with Canon's EOS 1D-series of cameras will notice the control configuration of the EOS-1DX takes a different approach to button placement. The re-designed exterior and ergonomic button configuration feels comfortable in your right hand, allowing seamless navigation through menu options. The Live View Button has been conveniently placed near the user's thumb for one-touch switching between Live View and Viewfinder shooting. The Quick Control Button and menu navigation controls will allow users to change camera settings using only their right hand, for fast, simple one-handed control using their thumb on the scroll wheel. The new multi-controller is positioned by the right hand thumb when the camera is held for vertical shooting and enables the same level of control to camera operators when shooting vertically as they have when shooting horizontally. On the front of the camera are four user assignable function buttons, two for vertical shooting and two for horizontal shooting, allowing customizable button control when shooting in either position. The camera also features a level of weather resistance equivalent to earlier professional models such as the EOS-1D Mark IV.

Canon has answered the request of many professional EOS photographers and incorporated Dual Card Slots into the new EOS-1DX DSLR camera. The dual CF card slots will allow photographers to carry only one memory card format and still achieve instant image back-ups and enhanced storage capacity.

This camera also features a new shutter design with even greater durability and precision. Rated to 400,000 cycles, the new carbon fiber shutter blades are more lightweight and durable, allowing the EOS-1D X to achieve over 100,000 cycles more than the shutter of the EOS-1D Mark IV. A new shutter motion and new motor help further reduce vibration in the camera. The EOS-1DX also features an electronic first curtain, new to the EOS-1D series DSLRs, for minimal in-camera vibration during image capture.

Connectivity
For professional photographers who prefer a wired workflow and transfer system, Canon has included a built-in LAN connection in the EOS-1DX DSLR. The built-in LAN connection features a gigabit Ethernet Jack capable of 1000BASE-T transmission speeds, offering photographers a stable wired connection for ultra-fast data transmission. If the network were to go down, the camera will attempt to resend images until the files are sent. The EOS-1DX also features a direct image transfer function whereby images can be selected for transfer, and only sent once a LAN or USB connection is established.



Accessories
Designed exclusively for the EOS-1DX, the new Canon WFT-E6A Wireless File Transmitter* features wireless LAN support for 802.11n network transfer rates providing users with increased communication speed when compared to previous models. With this new dust and weather resistant model, professionals can synchronize clocks on multiple cameras and use the unit to support linked shooting when utilizing multiple cameras. In addition, Bluetooth-compatible equipment can be easily linked to the device as well.

The EOS-1DX also offers an optional Canon GP-E1 GPS Receiver, which can be easily integrated into the camera's body. Powered by the camera, this GPS receiver provides the same weatherproof resistance as the EOS-1DX, even at the connector. With an electronic compass on-board, the GP-E1 will log movement -- latitude, longitude, elevation, and the Universal Time Code -- and allow viewing of camera movement on a PC after shooting. The receiver will also record camera direction when shooting, even when shooting vertically.

Pricing and Availability
The Canon EOS-1DX Digital SLR camera is scheduled for March 2012 availability and will be sold in a body-only configuration for $6,800. The compact, lightweight WFT-E6A Wireless File Transmitter is scheduled to be available in March 2012 for $600. Availability for the GP-E1 GPS receiver is expected in April 2012 for $300.

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