EX-ZR10 HS is equipped with the Exilim Engine, the latest machine from Casio and carrying the high-sensitivity CMOS sensor 12 megapixels. Features high-speed burst shooting actually improve the performance of a standard camera functions such as taking photos, view results and record video.
EX-ZR10 comes with a wide-angle lens 28 mm 7X optical zoom is capable of delivering up to 14x magnification with Multi SR Zoom, which brings together some of the photographs into the final results are sharp and clear. This camera also has dual-processing circuitry so that the time required in between shots so it is shorter.
Features ultra-high speed burst shooting is able to work so quickly that produces a maximum of 40 images per second! EX-ZR10 camera has so variety of shooting options, including Premium Auto which allows users to take the best photos by simply pressing the shutter button once, and Panorama Slide feature that allows users to take an object 360 degrees.
Meanwhile, the camera also has a complete video recording function. Aside from being able to record 480 fps for slow motion movies, the EX-ZR10 capable of recording Full HD movies. When recording video, users can simultaneously capture an image with optical zoom and a function of burst shooting, he said.
Other new camera, according to Fuji, Casio EX-H20G. This camera offers a range of impressive features include excellent features the latest GPS Hybrid technology, which makes this camera the most perfect camera for traveling.
Hybrid technology offers information GPS location data with high accuracy allowing the user to do geotagging or provide location information to photos and videos made, even when photos or video taken inside the room. EX-H20G can display the current location of natural users of a map which can be viewed on the camera itself.
It says to the camera EX-ZR10 dibandrol hargaRp2, 999 million and camera EX-H20G sold Rp3, 999 million, while the EX-TR100 who won the Best Design at the exhibition in Las Vegas, has not dared to give prices because these products will be present in Indonesia, in June-July 2011. Interested?
SkyCam Photography Technology
Posted in KNOWLEDGE with the terms (tags) skycam sophisticated camera, photography, advanced camera, sky cam, skycam, skycam in Indonesia, spyder cam, skycam photography technology, camera technology, technology skycam, technology spydercam on June 24, 2010 by djiesaka
How to take high-resolution image handling from above? the answer is the sky cam / cam spider.
SkyCam is a trademark of a patented product that can be controlled camera system and move in all directions but remain stable.
SkyCam is controlled by a remote control that can move at speeds of up to 48 km / h through a wire sling mounted on the four corners of the stadium by using the robotic system and propulsion motor support both on camera and on the camera itself.
SkyCam devices that have a weight of about 15 kg was created by Gareth Brown in 1984 and developed until now so as to create a device that is stable and can capture images in all directions with the expertise of the technicians to rotate and zoom the object.
Skycam usually used in sports stadiums to take a different viewpoint. Even so SkyCam is not only used for sporting events, but also can be used in concert music or filmmaking.
phantom v640 specification as follows:
- Maximum Resolution: 2560 x 1600
- Number of Pixels: 4,096,000
- Max. Frame Rate (fps) at Max. Resolution: 10-1500
- Maximum Frame Rate (fps): 300,000
- Pixel Bit Depth: 8 – and 12-bits, selectable
- Pixel Size: 10 microns
- Active Sensor Dimensions (W x H x D): 25.6 mm x 16 mm
- Sensor ISO (12 232): 4000 monochrome, 1000 color
- Minimum Exposure Time: 1 microsecond
and capable of recording with resolution / fps:
- 2560 x 1600: 1.500fps
- 2048 x 1600: 1.800fps
- 2048 x 1024: 2.800fps
- 1920 x 1080: 2.700fps
- 1280 x 800: 5.250fps
- 1280 x 720: 5.850fps
- 800 x 600: 8.250fps
- 640 x 480: 12.500fps
- 512 x 512: 15.000fps
- 512 x 384: 19.800fps
- 256 x 256: 39.500fps
- 128 x 128: 72.000fps
- 128 x 64: 125.000fps
- 128 x 8: 300.000fps
Required (hard drive) of 256 GB to record 3.5 minutes.
Without wishing to sound overly dramatic, choosing a budget camera is a risky business. With high-end cameras costing over £250 there are far fewer problems. Some are better than others, but there are few really bad ones. At the other end of the scale however, cameras costing around £100 or less are a very mixed bunch. There are some genuine bargains, but they are heavily outnumbered by very poor quality cameras, usually from no-name brands, and choosing between the two is something of a nightmare unless you really know what you’re looking at. Even when you do know it can be difficult to tell the difference.
When I opened the box of this Samsung S730, I was initially a bit disappointed. As I mentioned in my review of the Samsung L700
a couple of weeks ago, Samsung’s digital camera range consists of no less than 36 models spread over six different ranges. The S730 is the mid-range model of the 13 camera in the S-series, which rather confusingly includes several models whose designations begin with A or D. It is a low-cost 7.2-megapixel 3x zoom camera powered by two AA batteries, and currently available for around £110. This is a pretty crowded sector of the market, with all of the major manufacturers offering something comparable. In terms of price and specification, its closest matches from the other brands are the Canon PowerShot A550 (£140), Fuji FinePix A800 (£105), HP Photosmart M627 (£160), Kodak EasyShare C653 (£100), Nikon Coolpix L11 (£120), Olympus FE-210 (£95), Panasonic Lumix DMC-LS60 (£95) and the Sony Cyber-shot DSC-S650 (£100)
The design bears a slight family resemblance to Samsung’s excellent NV10, even more so for the black version, but while the NV10 has an all-metal body and cutting edge design, the S730 is all plastic and looks relatively unsophisticated. It’s not a small camera, measuring a chunky 99.8 x 62.8 x 25.7mm, and weighing around 185g with two AA alkaline batteries its no lightweight either, although using lithium batteries would reduce the weight by about 25g. The body design is attractive enough, and is nicely shaped to fit comfortably and securely in the hand, but even a gentle squeeze of the handgrip produces creaks and crackles, and the silver plastic finish marks easily. It may look quite pretty when it’s brand new, but it won’t stay that way for long. The fit of the various controls is quite loose and wobbly, and the card/battery hatch opens at the slightest provocation, allowing the batteries to fall out.
Samsung ES10 : Probably just an average camera for an average photographer, assuming there is one entitled as so. The Samsung ES10 was launched without any whistles. High picture quality is obtained by employing the Samsung ES10 with an 8.1 megapixel 1/2.5″ high resolution CCD sensor. Clear picture quality can be enough resolution for printing up to poster size. A robust mounted image processor allows for rich gradation, fast & quality picture processing. The quick and easy way for a better-looking you The Beauty Shot feature is like having your own make-up artist – right in your camera. It automatically identifies imperfections such as blemishes and dark spots on the face, and retouches them so that faces appear brighter and smooth.
Samsung ES10 digital camera
And with different level settings, you can control the amount of retouching that takes place – it’s that simple! With the Face Detection function, you can now take better portrait pictures with ease. The function is able to distinguish faces from the rest of the background and automatically focus on them. It can then adjust the brightness of the faces so that your portraits come out perfect every time.
Samsung ES10 camera features
Samsung’s advanced Face Detection technology takes the guesswork out of taking portraits – specially your own. With the convenient Self Portrait function, you’ll now be able to easily take perfect self portraits every time. A beeping sound will notify you when your face is properly positioned and it’s time to take the shot. The function can even recognize up to three faces so your friends are never left out. A special red-eye fix algorithm on the camera automatically eliminates red-eye from your pictures. You can remove red-eye during image payback, or for even greater convenience, set the Samsung ES10 camera to automatically detect and eliminate red-eye from your shots as they are take
Leaving aside some linguistics, and returning to the art, without a mirror cameras are bringing us more of a headache for bloggers (a term certainly applies in Spanish ). When referring to the cameras with interchangeable lenses that have decided not to use the mirror reflex, we have many alternatives:
EVIL, English Electronic Viewfinder Interchangeable Lenses: In this case the definition is very clear, and contains the main factors that determine these teams. The problem we find when we think of cameras like the Olympus E-P1 or NEX for Sony, who have no electronic viewfinder or even as an option.
CSC, the English Compact Camera or Camera System Compact System: This option, which is gaining weight over the previous, obviously the viewfinder and focuses on indicate that the camera belongs to a complete system. Although it may be more complete, can be misleading to novices who do not know photography use the word “compact” (which has nothing to do with size), or “system.”
Camera without a mirror: It is perhaps the simplest way to talk about these cameras, but once again can lead to mistakes, and that there are many mirror cameras without falling outside the definition for not having interchangeable lenses (from mobiles to the high-end bridge) or by using other display systems and approach (such as telemetry).
DSL (Digital Single Lens) or DSC (Digital Camera System): A mixture of the above, that arise in the first case of cutting the end DSLR, which defines a digital SLR.
We chose the first of the terms to define the category by being the first to be popular, but here I dare say there is no good solution. CSC perhaps more accurately, but drag the problem that always have brought the compact, that the term refers to the size when they are small is not essential for entering the category.
I hope that this article is a little more clear what is the best way to get to certain parts of our team, but sometimes we have to make some allowance for the rigors of writing. For my part I can assure you that every time I recriminéis to talk about “mm equivalent” I will return a pointer to this post.
For those who write in a blog of photography is vital to know that we speak the same language as you, and are able to transmit the message in the best possible way. When the articles are highly technical, precision sometimes clashes with the rhetoric, and we are forced to find synonyms, paraphrase or take all possible herds not bore you with the same words over and over again.
To avoid repeating over and over again the same arguments (“a lens is a store that sells glasses”, “all forms are complete”, etc..), I wanted to clarify some of the most common questions about nomenclature can be found on our blog, or any other on the same topic.
35mm format, cuts and equivalence
Almost all manufacturers talk about full format when referring to the camera systems that use a sensing element 24 × 36mm, which coincides with the motion picture and photography most commonly used: the famous 35mm reels.
Using this size as a reference, we define the remaining smaller standards (such as APS-C, 1.5 or 1.6 times less) or larger (like medium format, twice the size). Rolling over the definition, it is also commonly used as a basis for comparing objectives, meeting with expressions like “an APS-C 18mm equivalent to 28mm.”
Not dwell on this issue because we have already tried several times, but we can summarize by saying that these “equivalences” are just tricks that help us get a quick idea of what to expect from each team.
In general, we consider therefore that “full frame” is equivalent to “35mm format, and when we speak of” focal equivalent “we mean the focal length in 35mm format, would have the same angle vision, and is obtained by multiplying the “crop factor” having our system.
Hastening further, if it ever escapes us in what format works indicate a goal, and can not be deduced from the context, suppose that we always talk about 35mm sensors.
Does it make sense now classic Lomographic cameras than any digital camera can simulate the effect? What leads a person to shoot with a camera that if anything stands out is its limitations? The video that we present to DigitalRev TV comes to dealing with these questions.
The idea is interesting: Olympus E-face LP2 your host, Kai Wong, using his artistic filters with a Lomo LC-A reel at the hands of Mijonju , a known lomographer Japan.
The end results are quite disparate, with the effects of saturation and vignetting much higher in the Pen in the real Lomo. It is also true that only a filter has been tested specifically with a particular configuration, and other “canned Lomographic effects” can give results closer to the actual experience of the film.
My summary would be that the final results are not important if we want to bring this type of photography, where what matters is the light-hearted approach, proximity, speed, framing risky, and a combination of great intuition and little reflection. In the end, any camera can do lomography as we encourage to do so, and artistic effects or deep vignetting only be useful if you really help us achieve this motivation.