Olympus E-520 Digital SLR Camera

Olympus launch E-520 - Olympus launch E-520 DSLR with 10.0Mp sensor and built-in image stabilisation and Live View.
The perfect moment doesn’t wait. That’s why serious photographers need serious equipment so that they are ready for whatever comes. With its pro features and top image quality, the new Olympus E-520 D-SLR fits the bill perfectly. The successor to the EISA Award-winning E-500 series incorporates a built-in image stabiliser to ensure blur-free shots irrespective of the lens attached – no matter if wide-angle or ultra-tele and without the need for a tripod. Matched with the Supersonic Wave Filter dust protection system and improved Live View capabilities, the freedom to frame and take great, crystal-clear photos is virtually limitless. Based upon the forward-looking designed for digital Four Thirds Standard, the 10.0Mp E-520 with Live View ensures uncompromising D-SLR quality.

Flexibility is the name of the game
The E-520 relegates blurred photos to a thing of the past. Its built-in image stabiliser ensures subjects are captured in ultimate sharpness, shot after shot – no matter if shooting from the back of a motorbike on rough terrain or capturing a spontaneous stolen moment out of the hand in a market square. Because the stabiliser is located in the camera body and not in individual lenses, photographers can shoot with confidence regardless of which lens is attached: from wide-angle models like the soon-to-be-released Zuiko Digital ED 9-18mm 1:4.0-5.6 to high-performance zooms such as the new Zuiko Digital ED 70-300mm 1:4.0-5.6 (equiv. to 140-600mm in a 35mm format).

Sequential shooting at 3.5f/p/s with up to eight images in RAW buffer captures every moment. Matched with fast processing speeds and the exceptionally low noise performance that’s attributable to the TruePic III image processor, high-speed action becomes your friend. Broad-ranging sensitivity from ISO 100-1600 adds versatility, and the bracketing function let series of shots to be taken with varying adjustments of exposure, focus or white balance, allowing the best of the shots to be selected.

For low-light shooting situations photographers can select the built-in flash or choose an optional external unit. Wireless flash control is also possible with this model, making customised lighting set ups an easy reality.

As with all cameras in the Olympus E-System line-up, the E-520 incorporates the Supersonic Wave Filter to protect against the effects of dust, which can enter the camera during lens changes or otherwise result from normal operation. Photographers therefore enjoy blemish-free pictures at all times.

Complex features – designed for easy usage
Despite being the powerhouse it is, the Four Thirds System-based E-520 remains a pleasure to use. Its ergonomic body houses the capabilities that not only advance image quality but also enrich the complete photo-taking experience. Live View has been enhanced to boost user friendliness. In addition to allowing depth of field previews, providing the facility to control exposure compensation and white balance on-screen, it is also possible to see the effects of Face Detection and Shadow Adjustment Technology in real time on the 6.9cm/2.7in HyperCrystal II LCD. In addition, autofocus changes can now also be seen directly on the display. This has been made possible by implementing a contrast AF system* in addition to the customary phase difference detection AF system, which means that the mirror needn’t move to the down position for AF measurements to be made and previewed in Live View.

The LCD boasts viewing angles of 176° and has a field of view that covers 100% of the frame. Live View is also ideal to support the needs of macro photographers wishing to focus visually, as sections of the subject can be enlarged by a factor seven or 10 to aid manual focus adjustments.

The E-520 includes a total of 32 user-friendly shooting modes to make shooting easy no matter the situation: whether at a candlelight dinner, taking a portrait or shooting under water. Operabilition is a cinch too: users can choose on-screen menus in up to 10 languages – and many more are also available for download. A long-life rechargeable battery ensures extended shooting. Dual CompactFlash and xD-Picture Card slots enable excellent storage flexibility, and the downloading of files is fast thanks to USB Hi-Speed 2.0.

A complete system for photographic creativity
As part of the Olympus E-System, the E-520 is compatible with virtually all system accessories. This embraces numerous flash units including the wireless FL-36R and FL-50R to take advantage of the camera’s remote flash control capabilities. More than 20 Zuiko Digital lenses – all featuring near telecentric construction – are available, covering a focal length range of 14-600mm (35mm equivalents). Among the latest Zuiko Digital lenses are the ED 9-18mm 1:4.0-5.6 (18-36mm),
ED 14-35mm 1:2.0 SWD (28-70mm), ED 70-300mm 1:4.0-5.6 (140-600mm), and 25mm 1:2.8 (50mm) Pancake lens. Beyond this, thanks to the one-of-a-kind compatibility the Four Thirds System provides, photographers can also use lenses from other manufacturers adhering to the standard.

Further enhancing shooting opportunities, a special underwater case will also become available for the E-520. Waterproof to a depth of up to 40m, it opens up an entirely new realm of creative photography.

Satisfying demands for pro results and remaining surprisingly compact, the Olympus E-520 makes sure every photo comes out razor-sharp thanks to its built-in image stabiliser.

Further enhancing shooting opportunities, a special underwater case will also become available for the E-520. Waterproof to a depth of up to 40m, it opens up an entirely new realm of creative photography.

Satisfying demands for pro results and remaining surprisingly compact, the Olympus E-520 makes sure every photo comes out razor-sharp thanks to its built-in image stabiliser.

Olympus E-520 digital SLR – main features:
Built-in image stabiliser for all lenses
Autofocus Live View
Excellent dust reduction system
100% D-SLR quality
Face Detection and Shadow Adjustment Technology
6.9cm/2.7in HyperCrystal II LCD
10Mp Live MOS sensor
3.5f/p/s with up to eight images in RAW buffer
Built-in flash and wireless flash control
32 shooting modes
Optional underwater case available
Four Thirds Standard
Compact and ergonomic design
Bracketing functions
ISO 100-1600
AF/ AE lock functionality
Depth of field preview
Anti-shock (mirror lock) function
One-touch white balance
Perfect Shot Preview
100% field of view via LCD
TruePic III image processor
Detailed playback info screen with histogram
Hi-Speed USB 2.0

The Olympus E-520 will be available in the following configurations from June 2008:
*Olympus E-520 (body only) - £479.99
*Olympus E-520 Lens Kit - £529.99
(E-520 body with Zuiko Digital ED 14-42mm 1:3.5-5.6 lens)
*Olympus E-520 Double Zoom Kit - £629.99
(E-520 body with Zuiko Digital ED 14-42mm 1:3.5-5.6 and Zuiko Digital ED 40-150mm 1:4.0-5.6 lenses)
*Olympus E-520 Tele Double Zoom Kit - £759.99
(E-520 body with Zuiko Digital ED 14-42mm 1:3.5-5.6 and Zuiko Digital ED 70-300mm 1:4.0-5.6 lenses)

Taken from http://www.ephotozine.com

So what is a digital SLR, anyway?

The term digital SLR is short for digital single lens reflex, so named because these types of cameras use a mirror positioned behind the camera lens to direct light toward the viewfinder when you're composing a photo. When you release the shutter, the mirror swings quickly out of the way, letting light from the lens travel straight to the sensor and momentarily blacking out the viewfinder. The viewfinder in an SLR incorporates a prism--usually a pentaprism--that flips the incoming image around so that you can see it right side up and bounces it onto the focusing screen where you see it.

The SLR design allows one camera to accommodate a very wide range of lens focal lengths, and that's the biggest reason that SLRs dominate serious photography. The explanation? With a non-SLR camera, you have to match the angle of view of the "taking" lens with that of the "viewing" lens. That's easy with a fixed lens or a short-range zoom, but it requires increasingly complex and expensive viewfinder mechanisms as you try to cover a wider range of focal lengths. With an SLR, you avoid this problem because the taking and viewing lens are one and the same.

Most dSLR models beyond entry-level models incorporate a Live View mode, which allows the photographer to use the LCD to compose shots the same way they can with a snapshot camera. The most basic implementations generally lock up the mirror, with the prism diverting the image to a small sensor that feeds through to the LCD rather than to the capture sensor. This does tend to hurt performance, however. Early versions required that you focus manually when in Live View mode, but current models use contrast autofocus.

Types of digital SLRs

• Interchangeable-lens full system digital SLR

Nikon D300
These are what most people mean when they say "digital SLR," and they are the primary focus of this buying guide. As the name implies, the ability to remove one lens and replace it with another--to go from, say, ultra-wide-angle to supertelephoto--is what sets these cameras apart.
Examples: Almost all of the digital SLRs available today are of this type. Here you'll find reviews of the prosumer and professional models that we like best.

• Fixed-lens digital SLR

Olympus E-20N
The lenses on these cameras can't be removed, which limits their versatility. The best known of these models use a semitransparent, nonmoving mirror to bounce some light to the viewfinder while letting most through to the sensor, which means you can use their LCDs for composing.

• SLR-like or SLR-style
  

Canon PowerShot S5 IS
These are standard digicams that use an electronic viewfinder (EVF)--just a small LCD--in place of an SLR's pentaprism or a point-and-shoot's optical finder. They can't truly be considered SLRs because they have no mirror, and we've yet to see an EVF that approaches the image quality of a decent pentaprism viewfinder. Most cameras of the type have extremely long zoom lenses and cameras are sometimes referred to as ZLRs or megazooms.
Examples: Megazoom, SLR-style cameras

Taken from http://reviews.cnet.com

Getting more for the buck with the Olympus Evolt E510 digital SLR

By: Jacob Georgeson

Digital camera prices vary from cheap to very expensive from $100 to thousands and more. Digital SLR cameras start at $500 and usually when fully accessorized reach four digit prices. The Olympus Evolt E510 supports features found in four digit priced cameras in under $650.
The Olympus Evolt E510 for a price of less than $650 has two features that are usually just found in high end cameras. The Olympus Evolt E510 sports an image stabilizer and live LCD view. Image stabilization allows taking photos in situation where camera movements are unavoidable. The camera uses a special electro-mechanical mechanism that compensates for camera movements and provides a stable projection of the photo on the camera CCD sensor. When taking photos using high zoom lenses every camera movement ends up in a blurry photo. In such cases the photographer can greatly benefit from having an image stabilizer enabled digital camera like the Olympus Evolt E510.

Digital cameras implement image stabilization in two ways. Most cameras use an electro-mechanical mechanism in the shape of a gyro and a floating optical element installed inside the lens. The gyro follows camera movements and moves the floating optical element in such a way to compensate for every movement. Another way to implement image stabilization is simply called IS and is implemented inside the camera body. An electro-mechanical mechanism moves the cameras CCD sensor to compensate for any camera movement. There are pros and cons for each method however when considering pricing the in-body image stabilization system has a big advantage. Since it is implemented in the camera body and not embedded in the lens it can work with any lens that is mounted on the camera. This means that every simple lens turns into an image stabilization enabled lens at no additional cost.

Another feature found in the Olympus Evolt E510 is live LCD viewing. SLR cameras us a single lens reflex mechanism. In other words with digital SLR cameras a small mirror controls the path that light coming through the lens travels.

The mirror has two positions one sends the light to the viewfinder and the other sends the light to the CCD photo sensor. The light is sent to the CCD sensor when the shutter is squeezed.
This single mirror design results in digital SLR cameras not having the ability to display live photo on its LCD screen. In other words in order to take a photo the photographer must user the viewfinder and can not use the LCD screen. Although in many cases this is ok sometimes using the LCD is better for example to take overhead photos holding the digital camera overhead looking at the LCD. The Olympus Evolt E510 does allow live LCD viewing. The Olympus Evolt E510 uses technology with which light traveling through the lens is split two ways a small portion goes to the CCD for live LCD view and the rest goes to the regular optical view finder for traditional usage. Having the option to use the LCD to take photos allows taking digital photos without being close to the camera and composing in situation where the viewfinder is useless.
The Olympus Evolt E510 has many other features making digital photography easier. Such features include powerful dust reduction system that cleans the camera sensors by emitting an ultra sonic wave, a quick focusing system and 10 megapixels image CCD sensor.

Taken from http://www.articlecat.com

Nikon D40 vs Nikon D50

Both are 6-megapixel cameras that shoot a speedy two and a half frames per second, and use only SD memory cards. Both come with lenses (for $100 more, the D50 also comes with an 18-55mm starter zoom lens). Both are compatible with many of Nikon's pricier pro lenses as well. The D50 has two LCD screens. One is a two-inch, 130,000-pixel, color display for reviewing shots and viewing menu options. The other is a little always-on monochrome display that shares quick facts, like your flash setting or the number of shots remaining on your memory card. The D40 has just one LCD, a larger 2.5-inch, 230,000-pixel screen. For a seasoned shooter, the D50's extra screen is a benefit, because it means he or she can make on-the-fly adjustments without firing up the bright main LCD. The fact that the D40 doesn't have the extra screen is just the first indication that it really is geared toward novices, far more than its predecessor.

The D40 is a teacher. One of its most fascinating attributes is the Info screen, which appears at the touch of a button, appropriately marked "Info." The screen contains all sorts of data, mostly photographic mumbo jumbo. But the screen also has a visual representation of that mumbo jumbo, so you can figure out what it means. For instance, as the number next to the letter "F" goes up, the image of the camera's aperture gets tighter. It doesn't take long to sort out, then, that the higher the "f-stop," the more closed the camera's aperture. Beginners will appreciate the fact that the D40 has a knob of preset modes, not just my favorite "auto" mode but "portrait," "sports" and more. What's cool is that, when you change modes, the screen shows the changed settings. Little by little, the notions will start to sink in: what the camera is trying to do to shoot action, what it needs to take a portrait at night, etc.

The D40 is also an editor. Once, I was shooting at a high-school graduation, and I realized halfway through that a setting was making my pictures too dim. When I got home, I had to adjust them in Photoshop Elements. If I make the same blunder on the D40, I could lighten up the shots right on the camera, which saves the edited image as a separate file, in case you don't like the fix. This is helpful not just when you're clumsy, as I was, but when you say, shoot in low light and want to edit out the yellowish cast that always appears, or if you shoot something wide and think it would look better cropped.

To top it all off, the D40 is smaller than the other Nikons. There's still no chance you'll be able to stick it in your pocket, removable zoom lens or not, but it isn't as much bulk when you're on safari. Shooting wise, I would not be able to tell the difference between it and the D50. The only downside is, once the D40 has revealed to you the secrets of photography and made you a master shutterbug, you might wish you had that little second LCD screen for quick aperture and shutter-speed adjustments.

Taken from http://www.time.com

Data Recovery Is Never Expected - Be Prepared!

Encountering data recovery is not unusual. If you have never experienced a data recovery situation before, keep reading because it could happen to you. Even when the proper precautions are taken, the odds are stacked against you. Anything from accidentally emptying the recycle bin or hitting the shift+delete function on a file you had no intention of erasing can make data recovery a reality for you.

You can handle hard disk recovery in a couple of ways: as a preventative measure or as a corrective solution once the data is actually lost. You are probably wondering how to begin recovering your own lost data. To start, we can explore some situations to help you retrieve your files.

Software programs

Who wouldn't like free data recovery software? If you're feeling financially challenged, this can sound like a pretty good option. There are lots of free data recovery utilities available on the Internet that makes all sorts of promises just to get you to click through. There are lots of free data recovery utilities available on the Internet that makes all sorts of promises just to get you to click through.

Sure the idea of being able to recover your data for free sounds great, but the truth is you will end up with exactly what you pay for. Ask yourself: You don't want to repeat this process more than once? It's no day at the beach. The bottom line is nothing worth having is going to be free.

Your next best bet is finding cheap data recovery programs. Software is considered a discounted solution compared with other recovery services. You can recover your deleted files for the same price as a lunch out on the low end. More advanced programs can cost upwards of a hundred dollars. Each of these solutions is considered a real deal.

Expert services

Choosing the services of a professional data recovery specialist means you are serious about file recovery. This says you must mean business because you are willing to fork out the much higher expense. Data recovery service prices range from five hundred to a couple of thousand US dollars, depending on your problem.

Your quick review

The greatest way to data recovery is to avoid it all together with some quality file backup system. But, when they flop or you really don't have that choice at this moment, turning to the remaining file recovery options is the only logical choice. This means, you may want to give one of the data recovery service companies a hollar. If your on a strict budget, and you want to give the least expensive choices a try, go straight to file recovery software. If that doesn't pan out, then give the local guy a jungle.

Last but not least, you will be lucky if you get to choose your starting point and in most cases, your hard drive will tell you where to start. A file recovery product may do the job. when it doesn't you need to contact a data recovery technician.

The data recovery industry formed about two decades ago. Ken was there - and still is - creating tools and helping people know that they can recover lost data. When in need of additional data recovery information please go to his comanies website.

Article Source: http://EzineArticles.com/?expert=Ken_Roberts

The Importance Of A Backup Data Recovery Process

In this fast paced, computerized world, having backup recovery data in the case of a computer emergency can be extremely important. Whether it is cherished family photos, important legal documents or just general information, having a backup recovery system in place will help recover lost data.

With all of the systems out there today to protect our files, there is no reason to be unprepared. Taking the time to backup important info is your best recovery tool.

There are several ways to store backup data and the best option is to store it in a separate place away from the computer. If the computer containing the original data is stolen, in a flood, damaged in a fire or the HD (hard drive) simply crashes, then the recovery backup data will not be in the same predicament.

Now, as for ways to store the backup data, there are a few options. One option would be putting it onto a floppy disk, although floppies are rarely used anymore. Another option would be the floppy disc's replacement, the CD.

You can store all of your information onto a CD. Or there is the more current USB flash drive, which is portable, has more storage capacity and faster to download because it is recognized by the computer system as merely an additional drive. Transferring the data to the USB flash drive is like copying it to its own internal hard drive. There is also the external USB which is like the USB flash drive but you can use it to back up much larger amounts of information.

Most external USB drives are portable but not as compact as the USB flash drive. Another recovery data backup solution that is growing more and more popular are the online data and backup recovery services. This is where you send your backup data to an online location where it is kept incase of an emergency.

Before you start putting your backup recovery data system into place, try making a list of all of the files that you consider irreplaceable. This list will help you keep up with all of the files that you have and will also provide a reference if you ever need to recover data that has been lost.

If you add to your files regularly, then it will be important to update your backed up files regularly too. This will ensure that you have the most up-to-date and accurate copy of your data carefully stored away in case the files are ever deleted or lost.

Having a good backup recovery data process is important in case you ever suffer computer issues that result in lost data. As well as computer issues, you might find yourself losing data to plain human error. Whatever the reason, you need to protect your files.

If you are unsure of how to do this, then use a professional data recovery service. You will be happy knowing that you took the steps to safe guard your files.

Mike Selvon's portal will expand your knowledge on the backup recovery data. Visit us and leave a comment at our emergency data recovery blog where a free gift awaits you.

Article Source: http://EzineArticles.com/?expert=Mike_Selvon

Data Recovery Tips On How To Prevent Your Computer From Virus

In as much as you connect to the internet, download or use floppy and flash drives your computer is exposed to the risk of being infected with a virus. Some of the don'ts are

1. Purchase virus protection software, install it on your system and use. When you download a virus software from the internet you will automatically be linked to the vendor's site and download detection code for the newest viruses. Or you can check their site from time to time to make sure your software is up to date.

2. Do not open email attachments from people you do not know. This is very important because many newer viruses spread by opening infected files over the internet as e-mail attachments. However people you know may unintentionally pass an infected file to you. It is important to note that simply opening an email with an infected attachment will not introduce the virus into your system.

3. Never download from the internet unless you have virus protection. Be careful about the site you want to download from. Consider whether it is a company with its reputation at stake or an unknown individual? Consider disabling your browser's ability to handle pages that contain javascript, java code or active X controls. With this you would be able to view the page while you would be protected from the parts that contain active X controls and java/java script. You can always reset your browser to handle those components when you need to.

4. If you do not want to disable your browser for active X, java and javascript confirm the source before entering a site. If you know nothing about the site be watchful before entering it. There are a lot of website created by people who are idle and have nothing at stake.

5. In as much as you work with vital information on your computer keep up with relevant information so as to know when major outbreaks are reported nationally and locally on the news, in newspapers and on the web in relevant sites such as www.cnet.com.

5. Backup your data regularly. Viruses are scary but not backing up your data regularly is scarier. Circumstance beyond your control such as flood, fire, power surges, vibration could destroy data on your hard disk unexpectedly. Backing up regularly is more important than keeping up to date on the latest virus software.

For more information and questions on this topic please visit http://www.recovering-your-data.com

Lolade Ademo

Article Source: http://EzineArticles.com/?expert=Lolade_Ademo

How Cameras Work

­ Photography is undoubtedly one of the most important inventions in history -- it has truly transformed how people conceive of the world. Now we can "see" all sorts of things that are actually many miles -- and years -- away from us. Photography lets us capture moments in time and preserve them for years to come.

The basic technology that makes all of this possible is fairly simple. A still film camera is made of three basic elements: an optical element (the lens), a chemical element (the film) and a mechanical element (the camera body itself). As we'll see, the only trick to photography is calibrating and combining these elements in such a way that they record a crisp, recognizable image.

There are many different ways of bringing everything together. In this article, we'll look at a manual single-lens-reflex (SLR) camera. This is a camera where the photographer sees exactly the same image that is exposed to the film and can adjust everything by turning dials and clicking buttons. Since it doesn't need any electricity to take a picture, a manual SLR camera provides an excellent illustration of the fundamental processes of photography.

The optical component of the camera is the lens. At its simplest, a lens is just a curved piece of glass or plastic. Its job is to take the beams of light bouncing off of an object and redirect them so they come together to form a real image -- an image that looks just like the scene in front of the lens.

But how can a piece of glass do this? The process is actually very simple. As light travels from one medium to another, it changes speed. Light travels more quickly through air than it does through glass, so a lens slows it down.

When light waves enter a piece of glass at an angle, one part of the wave will reach the glass before another and so will start slowing down first. This is something like pushing a shopping cart from pavement to grass, at an angle. The right wheel hits the grass first and so slows down while the left wheel is still on the pavement. Because the left wheel is briefly moving more quickly than the right wheel, the shopping cart turns to the right as it moves onto the grass.

The effect on light is the same -- as it enters the glass at an angle, it bends in one direction. It bends again when it exits the glass because parts of the light wave enter the air and speed up before other parts of the wave. In a standard converging, or convex lens, one or both sides of the glass curves out. This means rays of light passing through will bend toward the center of the lens on entry. In a double convex lens, such as a magnifying glass, the light will bend when it exits as well as when it enters.

This effectively reverses the path of light from an object. A light source -- say a candle -- emits light in all directions. The rays of light all start at the same point -- the candle's flame -- and then are constantly diverging. A converging lens takes those rays and redirects them so they are all converging back to one point. At the point where the rays converge, you get a real image of the candle. In the next couple of sections, we'll look at some of the variables that determine how this real image is formed.

Taken from http://www.howstuffworks.com

Restore Your Deleted Files

If however you have emptied the recycle bin or have deleted the file using some other application bypassing the recycle bin, you still have a chance to recover the files. That is if the file was deleted only a short time ago.

What has happens is, initially windows has removed the reference to the file but has not as yet removed the file from the hard drive. The section on the hard drive where the file is located has now been made available to be overwritten, but Windows does not use this space immediately. Therefore if the deletion was recent it is in fact still there and available to be recovered. But the longer the computer is used after the file was deleted the greater the chances are that the file has been partially or completely overwritten.

Unfortunately tools that can help you recover deleted files that are not in the recycle bin are not provided as standard with the Windows operating system. This being the case you will have to use a third party software to restore the files. This software understands the internals of the system used to store files on a disk, and can locate clues to the whereabouts of the disk space a lost file occupied. This software can read the unallocated space on the hard drive. This is now where the deleted files will be located.

You can also use this software to restore files on flash memory drives, digital cameras and certain mp3 players.

Amongst the file types that can be recovered are:
• Documents.
• Images.
• Music.
• Video.
• Compressed.

If you have defragmented your hard drive since deleting the file, then all the pointers to the location of the deleted data will have been lost, and your file will probably have been overwritten.

The best way to avoid this problem in the future will be to back up your files. Perhaps to a second hard drive or partition, a removable hard drive, a rewriteable cd/dvd or even a flash drive.

Unfortunately very few people take the time to back up their files until disaster strikes. Will you back up your files?

I hope this article was of help to you.
For more information Please visit my lens at
http://www.squidoo.com/how-to-recover-deleted-files
Thank you
Martin S Young

Article Source: http://EzineArticles.com/?expert=Martin_S_Young

Get some accessories

by Philip Greenspun; revised April 2007

Big digital SLR cameras take not-so-very-compact Compact Flash (CF) memory cards. Often the camera body does not come with a CF card or the supplied card will only hold a handful of images. A RAW photo from an 8-megapixel digital SLR occupies roughly 10 MB of space on the card, which means that a 2 GB card will hold approximately 200 images. The RAW files from the Canon EOS-5D are approximately 13 MB in size, which means that you can get 300 images on a 4 GB card. In addition to the size of the card, it is worth looking at the maximum writing speed. A card labeled "60X", for example, can theoretically read or write 9 MB per second or one RAW 8-megapixel image per second (folks who've measured the write times of various cards in real cameras never get more than 6 MB per second, even from cards that are supposed to support 20 MB per second). The camera has a memory buffer allowing you to capture 20 or more images in rapid sequence, and then it writes them to disk as fast as the card allows. Even with a large buffer, however, you want a fast card so that the camera is responsive to requests to review recently captured images. You don't want to leave your subjects standing around for two minutes while the camera writes to the card and then you figure out whether you've gotten the images that you need. The SanDisk Ultra II cards are nearly as fast as the fastest available cards and nearly as cheap as the cheapest available cards. Don't pay extra for Lexar "write-acceleration" cards if you're using a Canon body; Canon doesn't support whatever these cards need to write faster. You can buy Sandisk cards at Amazon.com: 8 GB; 4 GB; 2 GB; 1 GB. Serious photographers don't generally use cases for SLRs. If you're out taking pictures, you want the camera available for immediate use. If you're not taking pictures, you can stuff the camera anywhere. If you are going to be taking the camera out in the rain, however, or tossing it into a backpack with a lot of rocks, I like the Zing neoprene "action covers".

A "UV haze" filter, appropriately sized to fit the front of your lens, can be useful if you're taking pictures in a dusty or wet environment or if you're lending your camera to a careless person. For maximum contrast and image quality, however, don't leave the filter on the lens when doing a project in a clean environment.

As far as cleaning accessories go, the most useful is a microfiber cloth. Remember to drip the cleaning fluid onto the cloth and then wipe the lens; do not drip cleaning fluid directly onto a lens. Also never try to clean an SLR mirror yourself. Dust on the mirror will not appear on your images and it is very easy to damage the mirror surface. Zeiss makes some good lens cleaning products (buy a kit from amazon), including their pre-moistened wipes.

Where to Buy

In the old days you saved a lot of money by buying camera equipment from one of the big New York City retailers. These days, however, prices for digital cameras are about the same all over the Web. You'll get about as good a deal at amazon.com as anywhere else, sometimes better. The main problem with buying digital SLR cameras and digital camera lenses at a non-specialty store is that they won't have the serious lenses. You'll be able to get the cheap popular zooms but not the prime lenses, the professional-quality zooms, or unusual accessories.

Get some knowledge

Please take a moment to read this article on photographic light (written for the film era but still valuable). Read the owner's manual that came with your camera a couple of times.

Taken from http://photo.net

Backup Software - Discover Why You Need Online Data Recovery

There has recently been an incredibly large amount of growth in the technology sector. So many new gadgets and devices are being invented every day that it is hard to just keep up! While this is all great and we should be thankful for all our smart scientists out there creating new toys for us for play with, there are problems with our technology that everyone should be aware of. Data loss is probably the biggest problem of them all. Data loss is exactly that. It's when you lose your important data due to some unforeseen circumstances. Most people are not prepared for data loss which is why it can be so devastating, especially to computer users who aren't very tech savvy.

Data loss can happen in a couple different ways. One way that tends to happen pretty easily is that data on a computer hard drive gets corrupted because the hard drive screws up for some reason. Technology is never perfect and this a perfect example of that. Hard drives can make errors when they try and save data. Usually this only affects the files it was trying to save but sometimes this can destroy the entire drive. This is obviously a very bad thing if you didn't have a backup of all the data on the drive somewhere. This happens to many individuals and businesses every single day.

Another way data can be ruined is if the device where it is saved is physically damaged. This would be like dropping a phone on the ground or something. Things can go wrong inside and mess up important things. If you drop a laptop, there is a good chance something will break. It is really unfortunate to trip when carrying your laptop, have it smash into the ground, and break. This prevents you from accessing anything that was saved on the laptop's hard drive. You really want to avoid this, but can you really? It is hard to avoid the unforeseen. This is why you must backup your data before something like this happens.

If you backup your important data, then you won't have to worry about it as much. I mean, you may still drop your laptop, or your hard drive might make a mistake but then you can just replace it. It is impossible to replace lost data. This is why it is actual more important to protect your data then your actual physical devices, because data can't be replaced. The company you bought your phone from may want you to buy insurance for your phone in case in gets damaged, but they can't bring back your list of contacts, or the pictures you had on your phone, or the music. You have to backup your data, especially your computer data, if you want to be secure.

Protect yourself today from dreadful data loss. Download a free, no obligation, 30 day trial of BackUpDataToday.com's online backup software. Protect all of your important files on their servers, which are online 24 hours a day, 7 days a week. You don't know what could happen if you are not prepared for unsuspected data loss.

Article Source: http://EzineArticles.com/?expert=Nnamdi_Iregbulem

Which big lenses/small sensor digital SLR to buy?

by Philip Greenspun; revised April 2007

Canon is the strongest competitor in the digital SLR market. Their current (2006) big lenses/small sensor options include the following cameras:

• Canon Digital Rebel XTi, $520 (review); 485g; called "Canon EOS 400D" outside the U.S.; introduced fall 2006
• Canon EOS 30D, $760 (review); 700g; introduced May 2006

These bodies are very similar in performance with sensors that are about the same size and 8-megapixels in resolution. The 30D offers better performance in low light, more responsive operation, and a rear control wheel that makes for faster operation in manual or limited-automation modes. The Digital Rebel is lighter and less bulky.

If you have a substantial investment in Nikon-mount lenses you might wish to stick with the Nikon system when buying a digital SLR. At many points in time Canon makes slightly more advanced bodies, but in virtually every photographic situation you'd end up taking the same picture with either the Canon or Nikon big lenses/small sensor body. Nikon's current (2007) options include the following:

• Nikon D40, 18-55mm kit, $429 (review)
• Nikon D80, $1000 (review); 600g; introduced fall 2006 but based on the D70, which was introduced in early 2004
• Nikon D200, $1289 (review); introduced in March 2006
• Nikon D2Xs, $4300 (review); 1070g; introduced early 2005;

All of Nikon's digital SLR cameras use the same size 16x24mm sensor, which multiplies lens magnification by 1.5. The D2Xs is the heavy professional 12-megapixel model. The D200 is the advanced amateur 10-megapixel model. The D80 is the mid-range 10-megapixel model, much lighter in weight due to its plastic body. The D40 is a delightful light compact 6 MP camera with an intuitive user interface. The D40 is the only SLR camera that shows example photos to illustrate the appropriate use of different settings.

Before you consider buying anything other than Canon or Nikon, remember that a 300/2.8 telephoto lens, the standard tool of sports and wildlife photographers, will cost around $4500 to buy and $50 to rent for a weekend. You can rent lenses for Canon and Nikon, or a backup body, in any larger city.

Get a body and normal lens

Lenses are specified by focal length in millimeters and aperture, a ratio between the diameter of the lens and its length. The longer the lens, the greater the magnification. A 50mm lens gives approximately the same perspective as normal human vision. A 400mm lens gives a view like looking through 8X binoculars and a 20mm lens is a dramatically wide angle lens. Lens apertures or f-stops have the following full steps: 1.4, 2.0, 2.8, 4, 5.6, 8, 11, 16, 22. Each step represents half as much light being admitted to the sensor. "50/1.4" is shorthand for a lens that is 50mm long and has a maximum aperture of f/1.4. Zoom lenses are specified with the focal length range followed by the aperture range, e.g., "24-105/2.8-4" is a lens that goes from a wide 24mm perspective to a telephoto 105mm perspective while the maximum aperture available goes from f/2.8 at the 24mm end to f/4.0 at the 105mm end. A "fast" lens is one with a wide maximum aperture, e.g., f/2.0. A "slow" lens is one with a physically small (though numerically large) maximum aperture, e.g., f/5.6. The slow lens will require a more brightly lit scene in order to deliver adequate illumination to the sensor.

You've bought, or rented, a digital camera.

It is rather unsatisfying to fool around with a camera unless you can form images on the sensor and therefore you need a lens. The cheap zoom lenses that come packaged with a Canon Digital Rebel or Nikon D50 kit are poor tools for building photography skills or making compelling images. The novice photographer who starts with a zoom lens typically uses it in lieu of backing up or stepping forward. An experienced photographer visualizes the scene first, chooses a focal length, then gets into the appropriate position to capture the scene with that focal length. It is much better to get a lens with a fixed focal length, learn to recognize scenes where that lens can be used effectively, and then add additional lenses once that focal length has been mastered. So even if you have the $1000+ to buy a high quality zoom and the muscles to lug it around it is probably a poor choice of first lens.

The $100-200 lightweight zoom lenses that come bundled with digital SLR bodies have some additional limitations. Being a good photographer starts with the ability to recognize a scene that looks attractive under its current lighting conditions. You need a lens with a wide enough maximum aperture, typically f/2.0 or f/1.4, to capture that scene even when the lighting is fairly dim, as it will be indoors or near the end of the day. An inexpensive zoom lenses will have a maximum aperture of between f/4.0 and f/5.6. At an aperture of f/5.6 you will need 8 times as much light to take a picture as you do at an aperture of f/2.0. Thus the cheap zoom will force you to use the on-camera flash, which casts an ugly flat light and in any case will render the scene completely different than it looked to your naked eye. Flash can be useful, especially with multiple strobes in the studio or as a fill-in light to reduce contrast outdoors, but mastering flash photography is a separate challenge.

The final problem with a cheap zoom lens is image quality. There is no free lunch in this world and when an optical engineer cuts cost and weight the sharpness and contrast are reduced. In fact, you might get a better quality photo with a point-and-shoot digicam than with a heavy expensive digital SLR with a cheap light zoom lens attached.

What you want for a starter digital camera lens is a high-quality "prime" lens with a fixed focal length. You want a "normal" perspective so that the relative sizes of objects in the image will be roughly what you experience with your normal vision. For a 35mm film camera or a full-frame digital SLR (Canon EOS-1Ds; Canon EOS-5D), the normal focal length is 50mm. For a Canon Digital Rebel or similar "big lenses/small sensor" camera the normal perspective is afforded by a 35mm lens. For a Four Thirds camera such as the Olympus E1, the normal lens is 25mm.

In the Canon system there are two kinds of autofocus motors available in the various lenses. The best kind of autofocus motor is ultrasonic, denoted by the "USM" designation on a lens. With USM the pure autofocus will be faster and it is also easier to let the camera do most of the focus work but manually change the point of focus if desired. For the EOS-1Ds or EOS-5D, I recommend the Canon 50/1.4 because it has the USM motor, unlike the cheaper Canon 50/1.8.

For the Canon small sensor DSLRs, e.g., the EOS 30D and Digital Rebel XTi, the Canon 35/2 lens is an economical lightweight choice, but sadly it lacks a USM motor. Canon makes a very fine 35/1.4L USM that lets you work in light only half as bright as the 35/2 (the "L" designation means that it is part of Canon's expensive lineup of lenses and will have superb optical performance and mechanical construction). This lens costs more than $1000, however, and, at 580 grams, is heavy. Generally speaking, "third party" lenses such as those made by Sigma, Tamron, and Tokina, are not worth considering compared to Canon-brand lenses. The remarkably cheap wide-range third-party zooms deliver terrible image quality. The high quality third-party prime lenses or fast zooms aren't much less expensive than high quality Canon- or Nikon-brand lenses. Sigma's 30/1.4 digital-only lens is an exception. Because it does not cast an image large enough to cover a 24x36mm film frame, the lens is much lighter (422g) than the Canon 35/1.4 and less than half the price (check it on Amazon now). It has an ultrasonic motor, denoted "HSM" by Sigma, and has delivered superb optical performance in magazine tests.

With Nikon, your choices are simple. Nikon doesn't make any full-frame digital SLRs, and they only make one 35mm prime autofocus lens, a 35/2. The Sigma 30mm f/1.4 EX DC for Nikon, $395 is probably a better choice due to its extra f-stop of light gathering capability and ultrasonic motor.

Olympus makes very few prime lenses and none with a 25mm "normal" perspective. Olympus does offer a choice of three zooms, however. The best image quality and fastest aperture is a 14-35/2.0. The "reasonably good" mid-range zoom is the 14-54/2.8-3.5. The cheapest Olympus zoom for the Four Thirds system is the 14-45/3.5-5.6, only suitable for sunny days due to its small maximum apertures.

As noted previously, expensive digital camera bodies are often sold in kits with cheap slow zoom lenses that sell separately for a maximum of $100. If the kit is the same price as the body alone, by all means get the kit and put the included lens aside until you are letting a clumsy child experiment with your camera system. But also shop for a high quality lens of some sort.

Distilled shopping advice:

• cheapest possible system: Nikon D40, 18-55mm kit, $429 (review)
• basic family camera system: Canon Digital Rebel XTi and Sigma 30/1.4 lens (buy it from amazon.com: body; lens)
• transitioning film photographer: Canon EOS-30D and Sigma 30/1.4 lens (buy it from amazon.com: body; lens)
• technophile: Canon EOS-5D and Canon 50/1.4 lens (buy it from amazon.com: body; lens)

Taken from http://photo.net

An Overview on Data Recovery

One of the biggest fears for computer users today is probably losing the information that is stored on their machines, therefore perpetuating the need for data recovery. This is a fear that is likely shared by Palm Pilot users and anyone else who stores files and information on any type of computerized device.

After all, if that is where your information is stored, then what happens if it is lost or deleted? As well, since these gadgets are "mechanical devices" they are at risk of breaking down at some point.

Data recovery is the process in which data or information that has been deleted, has failed, is corrupt or is inaccessible from the main storage location, is salvaged or retrieved. This process is a lifesaver for some faithful computer users.

There are many explanations for how and why you can experience lost data. It can be as simple as accidentally hitting the delete button or having a power surge. You risk losing data any time your computer's hard drive is jeopardized.

That can happen in numerous ways. For example, if your computer is hit by lightening in an electrical storm, then it can wipe out your hard drive causing you to lose valuable information. Water damage, computer viruses, corrupt files, and the age of your hardware are all issues that can affect and/or damage your hard drive.

If your HD is damaged, then you could lose all data. Today, with the ever expanding technological advances, there are many ways to help you recover data. However, if done incorrectly, then you could risk damaging the hard drive even further or overwriting what you are trying to retrieve.

It is a good idea to backup any information that is important to you, whether it is from a personal or business standpoint. However, most programs, files and operating systems have data recovery software available to reverse the process of lost data.

The type of data recovery used to retrieve the lost information will likely depend on the operating system being used. Although data can often be retrieved to some degree with "recovery programs," it is wise to consult a professional before attempting to recover lost data.

Many of the programs available overwrite the "corrupt files" which may cause you to lose what was contained in that file. So, though it is possible to recover data, it can be a very sensitive and even tedious process and should be done by a professional or someone who knows exactly what they are doing. Otherwise, you could risk losing all of the jeopardized files.

Mike Selvon's portal will expand your knowledge on data recovery. Visit us and leave a comment at our emergency data recovery blog where a free gift awaits you.

Article Source: http://EzineArticles.com/?expert=Mike_Selvon

XPS M1330 Tech Specs

Processors

Intel^® Core^TM 2 Duo T5450 (2MB cache/1.66GHz/667Mhz FSB)

Intel^® Core^TM 2 Duo T5550 (2MB cache/1.83GHz/667Mhz FSB)

Intel^® Core^TM 2 Duo T7250 (2.0GHz/800Mhz FSB, 2MB Cache)

Intel^® Core^TM 2 Duo T8300 (2.4GHz/800Mhz FSB/3MB cache)

Intel^® Core^TM 2 Duo T9300 (2.5GHz/800Mhz FSB/6MB cache)

Intel^® Core^TM 2 Duo T9500 (2.6GHz/800Mhz FSB/6MB cache)

Operating System

Genuine Windows Vista^® Ultimate

Genuine Windows Vista^® Home Premium

Genuine Windows Vista^® Ultimate (PRODUCT) RED available on select (PRODUCT) RED systems

Memory

Up to 4GB shared Dual Channel 667MHz DDR2 SDRAM. DDR2 dual channel memory offers excellent performance and bandwidth. This memory architecture is designed to help improve overall system performance and reduce power consumption. As demands from processors, graphics and networking increase, DDR2 is the standard in laptop memory.

Graphics

Standard: Intel® Integrated Graphics Media Accelerator X3100 Optional: NVIDIA GeForceTM Go 8400M GS with 128MB dedicated DDR3 graphics memory

Screen

Standard: 13.3" UltraSharpTM WXGA (1280 x 800) display with TrueLifeTM (available with 2.0 MP camera) Optional: LED - backlit 13.3" UltraSharpTM WXGA display with TrueLifeTM (includes 0.3 MP camera) With optional WLED Display: (w) 12.5, (d) 9.4, (h) 0.87 to 1.33 inches; (w) 31.8, (d) 23.8, (h) 2.21 to 3.38cm; With CCFL Display: (w) 12.5, (d) 9.4, (h) 0.97 to 1.43 inches; (w) 31.8, (d) 23.8, (h) 2.46 to 3.63cm

Hard Drive

Up to 200GB with 7200 RPM SATA hard drive.

Up to 160GB with 5400 RPM SATA hard drive.

Up to 64GB with a Solid State hard drive.

Optical Storage

Integrated Slot-Load CD/DVD+/-RW Drive

Color Options

Alpine White Tuxedo Black Crimson Red Flamingo Pink

Weight and Dimension

Weight: Starting at 3.97 lbs (1.8 kg) Width: 31.8cm Height: 2.31cm – 3.38cm Depth: 23.8cm

I/O Ports

2 USB 2.0 compliant 4-pin connectors

IEEE 1394a

RJ45 Ethernet port (10/100)

Video: VGA

Video: HDMI

ExpressCard 54 mm slot

8-in-1 removable memory card reader

Audio jacks: Stereo in & headphone/speaker out (x2) dual digital array mics

Taken from http://www.dell.com

Digital Photo Recovery

Digital photographs are becoming the standard media for photography. Our pictures are very important to us, usually because the events only happen once in a lifetime. That first baby step, a family portrait, or summer vacation pictures are all cherished events that no one wants to lose. Capturing the pictures make them so important to us, but it can be equally frustrating or traumatic if you lose those pictures.

If you are using a digital camera that is malfunctioning, don't lose all hope. There are ways to recover your digital photographs, even though you might not be aware of it. For instance, most digital cameras use smart cards to store the pictures. Many times there is an option to store on the camera itself or the smart card - always choose the smart card. Once they are on the smart card you can transfer them to your computer and then back them up on CD or DVD.

If you already have pictures on your computer, they may have been moved to the recycle bin without you realizing it. Before you click on "empty" be sure to double check exactly what is in your recycle bin. If you have pictures there, you can highlight the ones that got mistakenly sent there and click on restore to put them back to their original locations.

Sometimes you'll run into issues where the digital photos aren't so easy to recover. If the smart card has become corrupted or if the camera is having hardware issues, it may not be so easy to recover your pictures. If you have to, you can always have a professional look at the camera and see if they can recover your pictures. It's a costly option, but if all else fails it is better than losing the pictures forever.

Many services and software packages can recover almost all of the files that you have on your camera, from the individual picture files to video files. Most people will unload their camera after they have taken a group of pictures. Once those pictures are on your hard drive they can be recovered using data recovery software. If you don't transfer to your computer, you will probably have to take it to a professional, so be sure to keep your smart card clean.

Almost everyone has a digital camera today, and the quality of the photos just keeps getting better. The moment that you capture in a picture can never be replaced, so be sure to back up your pictures and data frequently, including transferring files from your smart card to your PC. Unfortunately mistakes happen, and sometimes things happen beyond your control. Fortunately, you should be able to recover all of your digital pictures with the right data recovery software.

Rob RodenParker is an IT professional that has helped hundreds of people to have more secure PCs to protect their information and data. To read more about other ways to secure your data and recover it successfully, please visit http://infowebcentral.com

Article Source: http://ezinearticles.com

Who makes digital SLR cameras?

by Philip Greenspun; revised April 2007

The same companies that made 35mm film SLRs make digital SLRs. If you have a lot of Canon EOS lenses from your days as a film photographer, for example, you will probably want to buy a Canon EOS digital camera, because those lenses from the 1990s will work just fine on the new digital camera.

The market leader in the professional/advanced amateur photography world is Canon. If you don't have a major investment in lenses you will probably want to buy a Canon digital SLR. The number two spot is occupied by Nikon, which is also a reasonable choice. Fuji and Kodak have made digital SLRs that accept Canon- and Nikon-mount lenses. Once you get beyond Nikon and Canon it becomes very difficult to rent lenses and the companies that make the more obscure systems don't have a large enough market share to invest enough money to build competitive bodies. Leica, Minolta, Olympus, Pentax, and Sigma are the small vendors in the digital SLR market. Unless you have an enormous investment in lenses for one of these brands the only one of these worth considering for purchase is Olympus, due to its innovative Four-Thirds system, discussed below.

What kinds of digital SLRs are available?

There are three kinds of digital SLR systems being made as of September 2005:

1. big lenses, big sensor
2. big lenses, small sensor
3. small lenses, small sensor

We will discuss each in turn.

Big lenses, big sensor. Canon and Kodak have taken the most obvious approach to the challenge of transitioning from film to digital: build a digital sensor exactly the same size as one frame of 35mm film. The result is a chunk of silicon 24x36mm in size, which is vast compared to the sensor in a point-and-shoot digicam. The benefit of this vast sensor is reduced noise, which looks like grain, in low light/high-ISO situations. The drawback of a vast sensor is that manufacturing a flawless piece of silicon this big is very expensive. The only consumer-priced camera in this category is the 13-megapixel Canon EOS-5D ($2950; check amazon.com for the latest price). If you have a strong back and an unlimited budget, the 16-megapixel Canon EOS-1Ds Mark II ($7000; available at amazon), is a great choice. It is probably the best digital camera made and produces image quality that rivals medium format film (e.g., 6x6cm Hasselblad).

The only other full-frame digital SLRs made were the discontinued Kodak DCS Pro SLR/n and SLR/c bodies. The Kodaks were cheaper than the Canon, but not quite as functional and the fact that they were discontinued is a good illustration of why you want to buy a digital SLR from a market leader. I own a 5D and have written a full review of the Canon EOS 5D.

Big lenses, small sensor. In order to keep the cost of the body within a range of $700-1500 and allow photographers to use their old 35mm system lenses most digital SLRs fall into this category. The front of the body has the same lens mount as an old film SLR. The back of the body has a sensor that is smaller than the 24x36mm standard frame of an old film SLR. The result is a camera that looks the same as the old film camera but multiplies the magnification of all the lenses. Having a smaller sensor is like cutting the center out of a drugstore proof print. You don't capture all the information on the left and right and top and bottom of the frame. It is as though you took the picture with a telephoto lens. The viewfinder has been adjusted so that what you see optically is what is captured in the digital file. If you're coming from the film world you will need to do a mental adjustment. A 50mm normal perspective lens on a big lens/small sensor camera behaves like an 80mm telephoto lens on a film camera. A 20mm ultra wide-angle lens behaves like a 30-32mm slightly wide angle lens on a film camera. Nearly all the popular digital SLRs fall into this category and their various merits will be discussed below.

Small lenses, small sensor. The biggest problem with the "big lens, small sensor" situation is that photographers are forced to cart around lenses that are much larger, heavier, and, theoretically, more expensive, than they need to be. A big heavy Canon telephoto lens is big and heavy mostly because it is built to cast an image circle large enough to cover a 24x36mm frame but the Canon EOS 30D body's sensor is only 15x22mm in size. Any engineer would look at this "big lens, small sensor" situation and say "Why not come up with a standard reasonable sensor size and then make lenses that are just large enough to cover that sensor with an image?" That's precisely what the Four Thirds consortium did. Olympus and Kodak seem to be the originators of the standard but Fuji, Panasonic, Sanyo, and Sigma have signed on as well according to www.four-thirds.org. This seemed like a great idea at the time (2002) but four years later only three Four Thirds system bodies have been built, all by Olympus, and only a handful of lenses, all from Olympus and Sigma.

If you have a a robust checking account and/or a lot of Canon EOS film camera lenses an unlimited budget the "full-frame" Canon EOS-5D (big lenses/big sensor; medium weight; $2900) is the obvious choice. If you don't need state-of-the-art performance and value compactness above all, the Olympus E System is a reasonable choice (see my review of the Olympus E1 for more detail; the current best buy is a complete starter kit with the E-500 for $630 from amazon). More than 90 percent of photographers, however, will find that the engineering compromise of "big lenses/small sensor" fits their budget and needs. This has led to the introduction of lenses that have the big lens mount for a 35mm film camera but optically cover only the small sensor of a mid-range digital SLR. These are sold as "digital-only lenses" or "digital camera lenses" but in fact they won't work on a full-frame digital SLR--the corners of the image would be black. Canon denotes these lenses as "EF-S", Nikon as "DX".

Taken from http://photo.net

DELL ULTRASHARP 3008WFP - 30-inch Widescreen Flat Panel Monitor

At a Glance

High-Definition 30" Panel – Offers ultra-high resolution and superb color for content-creators, designers, video, gaming and entertainment. 2560 x 1600 Native Resolution – Offers up to 77% more content compared to Dell 24-inch monitors. 3000:1 Dynamic Contrast Ratio – Produces darker blacks for sharper images, crisp text, better color saturation and greater detail for HD entertainment. TrueHD 1080 - Supports higher definition than HD Television and comes with an integrated HDMI connection. Dell TrueColor Technology – 117% of NTSC color gamut for rich, life-like imagery that has accurate color representation better tones and hues, and can support up to Adobe 98 color standard. Extensive Connectivity – Seven connection options: VGA, DVI-D with HDCP, HDMI, S-Video, Component, Composite and DisplayPort give you a wide range of connection options. State-of-the-Art Design – With its brushed aluminum housing, glass stand base, and Dell-patented cantilever arm, the Dell 3008WFP looks as beautiful from the back and side as from the front.

Overview

Super large 30-inch display with amazing 2560 x 1600 native resolution, TrueColor Technology producing 117% of the NTSC color gamut for superb color reproduction and extensive connection options put this monitor in a class all by itself. The fast 8 ms response time (grey-to-grey) typical, and incredible 3000:1 dynamic contrast ratio lets you view images, documents, graphics and video with extreme detail, vivid color and fluid motion.

Pure, Natural Color

The UltraSharp 3008WFP features Dell TrueColor Technology supporting 117% of the NTSC color gamut for superb color representation resulting in deeper, more vibrant reds, greens and blues. Moreover, the UltraSharp 3008WFP can support up to Adobe98 color standard which is widely used in desktop publishing. Combined with a dynamic contrast ratio of 3000:1, blacks are darker and vibrant colors pop off the screen for life-like movies, photos and games.

State-of-the-Art Design

With its brushed aluminum housing, glass stand base, Dell patented cantilever arm and unique cable management system, the Dell 3008WFP looks as beautiful from the back and side as from the front. The monitor head is fully detachable so that it can be wall-mounted. The design ensures easy and comprehensive flexibility in height adjustability, swivel and tilt to enhance the viewing experience.

Ultra High Definition Performance

The UltraSharp 3008WFP supports higher definition than HD Television and comes with an integrated HDMI (High-Definition Multimedia Interface) connection. HDMI delivers crystal-clear, all-digital audio and video via a single cable, dramatically simplifying cabling and helps provide the highest quality home theater experience.

Extensive Connectivity Extensive connectivity options enhance the HD experience allowing you to connect entertainment devices such as DVD/DVD recorders, PS3, and Blu-Ray/HD DVD consoles. Integrated HDMI and DisplayPort, the next standard of digital interfaces for connecting LCD displays to computers, ensure that your monitor can connect using today’s standards and the standards of the future. DisplayPort is the new industry-standard digital interface replacing DVI and VGA long term. The benefits of DisplayPort include: Twice the performance of DVI for higher resolutions, color depths and refresh rates Smaller connector and thinner cable than DVI Longer plug & play cable support than DVI HDCP (High Definition Content Protection) DisplayPort on the Dell UltraSharp 3008WFP will enable you to take advantage of advanced graphics cards and systems as they become available. The UltraSharp Advantage UltraSharp monitors are designed to fit just about any situation and give you a comfortable viewing experience. Adjust the height, tilt the panel forward and backward, and swivel it left-to-right. The UltraSharp 3008WFP adjusts to fit your optimal viewing position. Convenient USB 2.0 Hi-Speed ports and 9-in-2 media card reader help you avoid the hassle of running out of USB ports on your PC or reaching around the back to access them. The Dell Advantage Dell monitors are sleek, with ultra-thin bezels so they look great in any environment. More than just a pretty face, Dell monitors are designed and built to our highest standards, providing the quality and reliability you expect when you see the Dell logo. Each has been exhaustively tested and comes backed by a Dell Limited Warranty, so you can rest assured your investment is protected. The performance of the UltraSharp 3008WFP is one more reason why Dell is the world’s number one source for flat-panel monitors.

The Premium Panel Guarantee Dell monitors are designed and built to our highest standards, providing the quality and reliability you expect when you see the Dell logo. Each has been exhaustively tested and comes backed by a Dell Limited Warranty. Unyielding commitment to quality and the satisfaction of our customers has driven Dell to offer a Premium Panel Guarantee ensuring replacement of UltraSharp series monitors with zero bright pixels. Even if only one bright pixel is found, a free panel exchange is guaranteed during the limited warranty period, so you can rest assured your investment is protected. Taken from http://www.dell.com

What is a single-lens reflex (SLR)?

by Philip Greenspun; revised April 2007

The single lens reflex (SLR) is most folks' idea of a serious camera. "SLR" means that the same lens is used for viewing and taking pictures. A mirror in the body directs the light from the lens up into a prism for viewing, then flips up out of the way just before an exposure is made. The standard photojournalist's Nikon from the 1960s or 1970s was an SLR with a roll of 35mm film behind the mirror. When the mirror came up the light passed through to the shutter, which opened to expose one frame of film for perhaps 1/60th of a second. A Canon Digital Rebel or Nikon D80 looks very similar and works in almost the same way. The only difference is that instead of a piece of film behind the shutter there is an electronic sensor.

The mirror and optical viewfinder are what enable a photographer to frame images more quickly and accurately than with a point-and-shoot camera. Regardless of what lens or filters you have attached to the camera you see what the sensor will see. The same can be said for the LCD displays on the back of a $200 point-and-shoot camera but those displays are difficult to interpret in sunlight. The typical digital SLR camera viewfinder offers additional information underneath the image, including all the most important camera settings.

The SLR is much larger and heavier than the point-and-shoot camera. If you are leaving the house to socialize and want a camera to keep in your pocket just in case an interesting photo presents itself, the SLR will seem cumbersome. If you are heading out specifically with a photographic project in mind you will appreciate how the SLR and its controls fit into your hands.

Because digital SLRs are more expensive than point-and-shoot cameras the manufacturers typically put in faster computers and better autofocus systems. This makes the cameras more responsive and you are more likely to catch the "decisive moment" as the baby's face lights up with a smile, the soccer ball leaves the player's foot, or the dog catches the frisbee.

A digital SLR may offer the same number of megapixels, individual image elements, as a high-end point-and-shoot. Not all pixels are created equal, however. Resolution is important if you intend to make large prints but dynamic range, the ability to capture detail within bright highlights and dark shadows, is more critical in many situations. The sensors in digital SLRs are typically much larger than those found in point-and-shoot cameras. The main advantage of a larger sensor is better performance in dim light. If there are 8 megapixels spread out over a sensor that is 4 times larger than the sensor in a point-and-shoot camera that means more photons of light will fall on any given pixel. If during an exposure 50 photons would fall on the small sensor then 200 photons would fall on the big sensor. If there is a small change in the light from one part of the scene to another the sensor in the point and shoot camera is trying to notice a single extra photon; the electronics in the camera with the big sensor have four extra photons that are much easier to detect.

First-time consumers of digital SLR cameras focus on the body. Long-time photographers, however, look at the system. An SLR system includes a body, multiple lenses, flash units, and various connecting cords. For most photographers the investment in lenses will come to dwarf the cost of a body. It is thus important to choose a system whose manufacturer makes the lenses that you need for all of your potential projects and, ideally, whose system is popular enough that you can rent special-purpose lenses for uncommon situations. Each camera system has its own lens mount design and a lens that works on, say, a Nikon camera cannot be attached to a Canon body.

Taken from http://photo.net

Building a digital SLR system: Looking at the Canon Digital Rebel XTi, Nikon D40, Nikon D80, and EOS 5D cameras

by Philip Greenspun; revised April 2007

Digital single-lens reflex (SLR) cameras are the standard tool for serious photographers. With the introduction of cameras such as the Nikon D40 and the Canon Digital Rebel XTi the market for digital SLR cameras has expanded tremendously. A point-and-shoot compact digital camera can offer reasonably good image quality, but a digital SLR, which usually looks a lot like an old standard 35mm film camera and may use the same lenses, offers the following advantages:

• accurate, large, and bright optical viewfinder
• fast operation and large controls
• excellent image quality in low "available" light situations when it is necessary to use higher ISO speeds
• interchangeable lenses
  

With the digital SLR you have a good idea of what you're going to capture by looking through the viewfinder. When you press the shutter release the camera captures the image immediately. If you need to zoom or focus manually there are large rings that you can operate quickly by feel. If you see a beautifully-lit scene you can capture that beauty instead of using an on-camera flash to blast everything with harsh white light. If you need to make a specialized photo, you can buy or rent a specialized lens and attach it to the camera.

This article explains the different kinds of digital SLR cameras available, how to choose the right one for you, and what to do once you get it home from the shop. A digital SLR camera system, complete with lenses and accessories, can cost anywhere from $600 to $10,000. This article shows you how to choose and buy the basic items first and the more expensive and hard-to-use components later.

[If you don't want to read this article and are impatient to get started immediately, get a Canon Digital Rebel XTi, $520 (review) and Sigma 30mm f/1.4 EX DC for Canon, $379; if you must have a zoom, the Canon EF-S 17-55 f/2.8 IS USM, $1000 (review) is a good choice.]

Taken from http://photo.net

Canon EOS Digital Rebel XT

Specification

Type
Type	Digital AF/AE SLR
Recording Medium	CF card Type I and II
Image Format	0.87 x 0.58 in./22.2 x 14.8mm
Compatible Lenses	Canon EF Lenses including EF-S Lenses (Focal length conversion factor: Equivalent to approx. 1.6x indicated focal length compared to 35mm format)
Lens Mount	Canon EF mount

Image Sensor
Type	High-sensitivity, high-resolution, single-plate color CMOS sensor
Pixels	Approx. 8.0 Megapixels
Total Pixels	Approx. 8.2 Megapixels
Aspect Ratio	2:3 (Vertical:Horizontal)
Color Filter System	RGB primary color filter
Low-pass Filter	Fixed position in front of the image sensor

Recording System
Recording Format	Design rule for Camera File System 2.0
Image Format	JPEG, RAW (12bit) Simultaneous Recording: Possible
File Size	JPEG: (1) Large/Fine: Approx. 3.3 MB (3456 x 2304), (2) Large/Normal: Approx. 1.7 MB (3456 x 2304), (3) Medium/Fine: Approx. 2.0 MB (2496 x 1664), (4) Medium/Normal Approx. 1.0 MB (2496 x 1664), (5) Small/Fine: Approx. 1.2 MB (1728 x 1152), (6) Small/Normal: Approx. 0.6 MB (1728 x 1152); RAW: Approx. 8.3 MB (3456 x 2304)
Folders	Automatic setting
File Numbering	(1) Continuous numbering, (2) Auto reset
Image-processing Parameters	Standard parameters plus up to three custom processing parameter sets and monochrome can be set
Interface	USB 2.0 Hi-Speed

White Balance
Settings	Auto, Preset (Daylight, Shade, Cloudy/Twilight/Sunset, Tungsten light, White fluorescent light, Flash), Manual (Custom: read off photo quality gray card or white subject)

Viewfinder
Type	Eye-level SLR (with fixed pentamirror)
Coverage	Approx. 95% vertically and horizontally (against JPEG Large)
Magnification	0.8x (-1 diopter with 50mm lens at infinity)
Eyepoint	21mm
Dioptric Adjustment Correction	-3.0 - +1.0 diopters
Focusing Screen	Fixed
Mirror	Quick-return half mirror (Transmittance: reflection ratio of 40:60, no mirror cut-off with lenses up to EF 600mm f/4)
Viewfinder Information	AF points, AE lock, FE lock, AEB in progress, Flash ready, Improper FE lock warning, High-speed Sync, Flash exposure compensation, Red-Eye reduction, Shutter speed, Bulb, FE lock, Processing data, Built-in flash recycling, Aperture, Exposure level display (Exposure compensation, Manual exposure level, AEB level, Flash exposure compensation, Red-Eye Reduction lamp on time display), Max burst during continuous shooting, AF/MF focus confirmation, CF card full, CF card error, no CF card
Depth-of-Field Preview	Enabled with depth-of-field preview button
Eyepiece Shutter	None (provided on strap)

Autofocus
Type	TTL-CT-SIR with AF-dedicated CMOS sensor
AF Points	7
AF Working Range	EV 0.5 - 18 (at ISO 100)
Focusing Modes	One-Shot AF, Predictive AI Servo AF, AI Focus AF (Automatically selects One-Shot AF or AI Servo AF selected according to shooting mode), Manual Focusing (MF)
AF Point Selection	Automatic selection, manual selection
Selected AF Point Display	Superimposed in viewfinder and indicated on LCD panel
AF-assist Beam	Intermittent firing of built-in flash, effective range: approx. 13.1 ft./4m at center, approx. 11.5 ft./3.5m at periphery

Exposure Control
Metering Modes	Max. aperture TTL metering with 35-zone SPC. (1) Evaluative metering, (2) Partial metering at center (approx. 9% of viewfinder), (3) Center-weighted average metering
Metering Range	EV 1-20 (at 68° F/20° C with 50mm f/1.4 lens at ISO 100)
Exposure Control Systems	Program AE (shiftable), Shutter-priority AE, Aperture-priority AE, Automatic Depth-of Field AE, Full Auto, Programmed Image Control modes (Portrait, Landscape, Close-up, Sports, Night Portrait, Flash Off), E-TTL II Autoflash Program AE, and Manual
ISO Speed Range	Equivalent to ISO 100-1600
Exposure Compensation	Up to +/-2 stops in 1/2- or 1/3-stop increments (1) Manual exposure compensation (2) AEB (Auto Exposure Bracketing)
AE Lock	Auto: Operates in One-Shot AF mode evaluative metering when focus is achieved; Manual: Enabled with AE lock button (No AE lock in Basic Zone modes)

Shutter
Type	Vertical-travel, mechanical, focal-plane shutter with all speeds electronically-controlled
Shutter Speeds	1/4000 to 30 sec. in 1/2- or 1/3-stop increments, bulb, X-Sync at 1/200 sec.
Shutter Release	Soft-touch electromagnetic release
Noise Reduction for Long Exposure	Set with C. Fn-02
Self-timer	10-sec. delay
Remote Control	Remote control with RS-60E3 Terminal or Wireless remote controllers RC-1/RC-5

Built-in Flash
Type	Auto pop-up, retractable, built-in flash in the pentaprism
Guide Number	13 (at ISO 100 in meters)
Recycling Time	Approx. 3 sec.
Flash-ready Indicator	Flash-ready indicator lights on in viewfinder
Flash Coverage	Up to 17mm focal length (equivalent to 27mm in 35mm format)

External Speedlite
EOS External Flash or Dedicated Speedlites	E-TTL II autoflash

Drive System
Drive Modes	(1) Single, (2) Continuous, (3) Self-timer/Remote Control
Continuous Shooting Speed	Approx. 3.0 fps (with Battery Pack NB-2LH, at Tv=1/250 sec. for all recording qualities)
Max. Burst During Continuous Shooting	14 shots (Large/Fine)

LCD Monitor
Type	TFT color LCD monitor
Screen Monitor size	1.8 inches
Pixels	Approx. 115,000 pixels (Displayed pixels)
Coverage	Approx. 100% (for JPEG images)
Brightness Control	5 levels (settable with menu's "LCD brightness")

Playback
Image Display Format	(1) Single image, (2) 9-image Index, (3) Magnified Zoom, (4) Auto Play, (5) Auto Play right after shooting
Highlight Alert	In the single image with information display mode, the highlighted portions containing no image information with blink

Image Protection and Erase
Protection	A single image can be protected or unprotected
Erase	A single image or all images stored in a CompactFlash card can be erased if they are unprotected

Menus
Menu Categories	(1) Shooting 1 [6 items], (2) Shooting 2 [7 items], (3) Playback [5 items], (4) Setup 1 [7 items], (5) Setup 2 [7 items]
LCD Monitor Language	Any of the following 15 languages can be selected: English, German, French, Dutch, Danish, Italian, Finnish, Norwegian, Swedish, Spanish, Simplified/Traditional Chinese, Korean, Russian, and Japanese
Firmware Update	Enabled by the user

Power Source
Battery	Battery Pack NB-2LH (x1)

Dimensions and Weight
Dimensions (W x H x D)	4.98 x 3.71 x 2.63 in./126.5 x 94.2 x 64mm
Weight	17.1 oz./485g

Operating Environment
Operating Temperature Range	32-104° F/0-40° C
Operating Humidity Range	85% or less

Taken from http://www.usa.canon.com