There is only one super-wide lens I know of that can remain perfectly sharp into the image corners with a full open aperture, and that is the Nikon 14-24mm f/2.8. A super wide angle zoom is a tough optical design to compute and gets extremely expensive when done right, if it can be done at all. With that in mind, Fuji was facing an uphill battle against the odds with its new XF 10-24mm f/4 zoom lens. Admittedly, it is a fixed f/4 and not f/2.8, but even so Fuji has been raising the bar with each new XF lens it produces. Question is: Can they do it again?

The Fuji XF 10-24mm f/4 zoom lens mounted on an X-E2 with an XF 14mm f/2.8 lens next to it.

As you will see from the sample images below, there is no rectilinear distortion with this lens.  This means you get a true focal length. Why? In the digital photography age rectilinear distortion, such as barrel and pincushion, is easily corrected in post processing, but in order to do so you need to crop the image. This may mean that the 14mm lens you bought becomes something like a 16mm lens due to the cropping necessary to correct the distortion. The Nikkon 14-24mm I mentioned earlier suffers from this, for instance.

The other thing I noticed with some of my first test shots was the absence of any vignetting -- very unusual, particularly for such a wide angle lens, and a zoom at that.

The 10-24mm is image stabilized, whereas the 14mm is not. Of course you are going to need at least one stop of image stabilization to make up for the difference between using f/4 and f/2.8 hand held in low light.

The 10-24mm zoom on the left compared  to the 14mm f/2.8 on the right. There is a big difference in size and weight. 

The test image below has no corrections applied. It was taken at 10mm and f/4 with the focus point placed in the center at the very bottom. You can download a high res version of the f/4 and f/5.6 files. At f/4 the lens shows only minimal softening at the bottom corners and is quite acceptable. As the lens zoomed in most of the corners sharpened also.

At f/5.6 there is literally a jump in sharpness that is astounding. I'm used to lenses getting a bit better as the aperture is stopped down one stop at a time. With the Fuji 10-24mm them move from f/4 to f/5.6 produces a jump in sharpness that is absolutely astounding and will probably have all of us putting tape on our apertures to fix them to either f/5.6 or f/8.

I did this test because it is a similar situation to shooting landscapes where the focus is on a sweeping foreground. Here the focus point was placed as low as possible in the center of the frame. Download the high res sample images below.

Download the f/4 high res image by clicking here.

Download the f/5.6 high res image by clicking here.

You can tell from the test photo above that there is virtually no vignetting or rectilinear distortion. Achromatic distorting was almost non-existent also.

How does the 10-24mm zoom compare to a fixed focal length wide angle lens like the Fuji 14mm? In tests I did with the two lenses where the 10-24mm zoom was set to 14mm and f/4 it appears to deliver the same image sharpness right into the corners, as the 14mm lens at f/4, which is to say it is very sharp.

The Flatiron Building in NYC, one of my favorite test subjects for resolution because of the detailed mosaic work over the surface. Shot at f/4 at 15mm, it is tack sharp everywhere.  Click here to download a high res version.

Shot into the bright afternoon sun at 14mm and f/11 with the sun off towards the frame edge to cause maximum flaring.

An intentionally blurred 19mm tunnel shot hand held at 1.2 sec and f/7.1 taken with the X-E2.

Photographed at an ideal aperture of f/8 and 16mm focal length, it really doesn't get much better than this. Click here to download the high res file.

Other side of the Washington Square monument into the sun at 16mm and f/8.

A new art installation listing the names of 392,486 artists is located along the Hudson River. It is part of the Whitney 2014 Bienal, and titled "Artists Monument" by Tony Tasset. 

10mm at f/16. Things don't get any sharper than this. 

Conclusion:

I went into this test expecting many of the typical disappointments associated with super-wide angle zoom lenses -- corner softness, rectilinear distortion, heavy vignetting. Instead I came away with even more respect for the folks at Fujifilm for making such an excellent lens with virtually none of the aberrations that usually plague this breed of zoom. This truly is one of the best super-wide angle zooms I have even used, and well worth its modest price of $999.99.

An aperture of f/4 may not be ideal, but with the added feature of image stabilization allowing you to hand hold it at one shutter speed lower than usual, you pretty much regain the stop anyway. Plus for the type of work a lens like this will usually do it will be often on a tripod and stopped down.

When compared to the Fuji 14mm fixed focal length lens, the 10-24mm seems quite large. It did not seem to feel that way, however, even though I was using it on the smaller X-E2 camera. The package of camera and lens was quite comfortably balanced.

I am not sure I would own both the 10-24mm zoom and the 14mm lens. One or the other should be sufficient to cover the range. Nonetheless, it is nice to have the choice as the Fuji lens lineup continues to expand, and it is also nice to be able to make the choice based on size, price, and comfort rather than upon quality. Both lenses are equally superb, and literally best of breed at what they deliver.

With the X-E2 in 16:9 crop mode, this photo of the Flatiron Building was taken at 19mm and an exposure of 4.5 seconds in order to create the blurred lights of passing traffic.

If you are planning on purchasing this lens, you can help support this site at no extra cost to you by purchasing from one of our affiliate sellers listed below -- and thanks for your support.

The Fujifilm XF 10-24mm f/4 Lens can be ordered from :   Amazon

The Fujifilm XF 14mm f/2.8 Lens can be ordered from :   Amazon

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Other Items on amazon :

 

  Fujifilm XF 23mm F1.4 R Wide-Angle Lens

 

  Fujifilm XF 27mm F2.8 Compact Prime Lens

 

 Fujifilm XF 55-200mm F3.5-4.8 Zoom Lens

 

  Fujifilm XF 14mm F2.8 Lens Wide Angle Lens

 

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New saving in October,$150 off Canon EOS Rebel T5i Digital SLR with 18-55mm STM Lens.

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The Canon EOS 700D / Rebel T5i is the company's latest addition to its novice-oriented 'Rebel' series. With more than two decades of continuous success in its film and digital incarnations, these little SLRs have been improved and refined to the point that Canon's biggest challenge seems to be finding new ways to distinguish its updated models. Place the new EOS 700D / Rebel T5i alongside its predecessor the EOS 650D and the differences are so minimal to be of little real importance.

Differences compared to EOS 650D

• Real-time preview of Creative Filters in Live View mode
• Redesigned new mode dial that turns 360 degrees
• New 'upmarket' textured body finish.

As such, we're not going to waste much time in this review discussing the 700D alongside the 650D. As noted above, much of the substance of this review is adapted from our earlier coverage of its predecessor anyway. The EOS 700D replaces the short-lived EOS 650D but the EOS 600D lives on in the overall lineup, to effectively drop down a notch to the position currently occupied by the EOS 550D / Rebel T2i, which will be discontinued. So long, EOS 650D. We hardly knew you. We've known fruit flies live longer.

Canon EOS 700D / Rebel T5i key features

• 18MP APS-C 'Hybrid CMOS' sensor
• Phase detection AF from imaging sensor for Live View and Video
• Continuous autofocus in movie mode with subject tracking
• 14-bit DIGIC 5 processor
• ISO 100-12800 standard, 25600 expanded
• 5 fps continuous shooting
• 9 point AF system, all sensors cross type, central sensor F2.8 (from 60D)
• 63 zone iFCL metering
• 1080p30 video recording with built-in stereo mics

1.04m dot 3:2 touch-sensitive vari-angle ClearView II LCD (capacitive type, multi-touch support)

The 700D's headline specifications - 18MP CMOS sensor, 9-point AF sensor, 3:2 flip-out 1.04m dot screen are all familiar from the EOS 600D / Rebel T3i. Look a bit closer, however, and improvements have been made in each of these areas, with an eye both to more seasoned users who demand SLR performance and compact camera upgraders who want a familiar feeling interface.

It is largely because of the rise of large sensor mirrorless models that in today's market an entry-level DSLR must offer more than just high image quality to entice compact camera upgraders. In the age of YouTube, quick and easy access to video recording capability is a must. And for users that are far more familiar with composing via an LCD screen than a viewfinder, live view performance is of no small concern. Of course the camera must still offer users a path to a more traditional DSLR-like experience, without which, they would be hard pressed to resist the temptation of a physically smaller 'mirrorless' camera.

The EOS 650D was Canon's attempt to meet these challenges head on, with features aimed at improving its live view and video performance, which have been carried into the EOS 700D. One of the most noteworthy of these is the ability to offer continuous AF tracking while recording movies.

This is made possible by Canon's 'Hybrid CMOS' sensor that includes pixels dedicated to phase detection autofocus. The Hybrid AF system uses these to quickly set the lens to roughly the correct distance, then uses contrast detection AF to fine-tune focus. In theory, this should provide faster and more certain focusing for live view and video shooting compared to Canon models which rely on CDAF alone.

The Canon EOS Rebel T5i also features a touchscreen. This is of the capacitive (contact sensitive) rather than resistive (pressure sensitive) type, behaving like that of a typical smartphone. In Live View and Movie modes the screen can be used to specify the point of focus and (optionally) release the shutter. It also supports iPhone-like multi-touch and gestures. The rear screen has been redesigned with no air gap between the display and cover glass in an attempt to reduce reflections and improve visibility in bright light. There's also an anti-smudge coating which aims to reduce the impact of its newfound touch-sensitivity.

Other features of note

The Canon EOS Rebel T5i uses Canon's DIGIC 5 processor (as seen in the S100 and G1 X compacts), which allows it to shoot at a maximum ISO sensitivity of 12,800 (25,600 extended), and allows lens-specific corrections for chromatic aberration and vignetting in the camera's JPEG processing. The 'conventional' autofocus system for eye-level shooting is borrowed from the EOS 60D, and uses nine focus points which are now all cross-type, with the center point offering additional accuracy with fast lenses.

The camera also has a built-in stereo microphone to provide sound for video, while retaining an external microphone input. The 'HDR Backlight' and 'Handheld Night Scene', modes combine multiple exposures to give a final processed image. A four-exposure 'Multi Shot Noise Reduction' setting is also available in the PASM modes.

Canon EF-S 18-55mm f/3.5-5.6 IS STM lens

Announced alongside the Canon EOS 700D is the EF-S 18-55mm F3.5-5.6 IS STM kit lens. With the camera itself offering little to distinguish itself from the EOS 650D, the option to buy the Canon EOS Rebel T5i with the new, stepper-motor-driven 18-55mm STM lens stands out as its main attraction. The lens offers better movie focusing and up to four stops of image stabilization, along with a close focusing distance of 0.25m and a circular seven-bladed aperture. An internal focus design means the lens does not extend when focusing. Optical performance remains essentially on par with its non-STM EF-S 18-55mm f/3.5-5.6 IS II cousin, however, as you can see in our lens comparison tool.

The STM designation is of particular interest to video shooters as it has the potential for quiet autofocus and improved AF speed. Those familiar with using just about any camcorder are accustomed to smooth and reasonably accurate autofocus, while the average SLR focuses slowly (indeed previous Rebels only focused when prompted by the user). Because an SLR can't use its phase-detect sensor while in Live View and video modes, the camera is usually left to struggle with contrast-detect autofocus. And, because non-STM lenses aren't designed with this focus method or for this purpose, the results were often jerky shifts in focus with focus motor noise audible on the video's sound track. Older Rebels were even known to gain up exposure during video if you asked them to focus.

The Panasonic Lumix DMC-FZ1000 is the first bridge camera to deliver the new ultra HD 4K video format thanks to the inclusion of an impressive 1in, 20.1MP CMOS sensor.

The Panasonic LUMIX DMC-FZ1000 Digital Camera is a bridge-style point-and-shoot camera featuring a large 20.1MP 1" High Sensitivity MOS sensor and Venus Engine image processor to enable high-resolution 4K QFHD video recording and rich still shooting up to 50 fps. The image sensor affords notable sensitivity, to an expandable ISO 25600, with a high signal-to-noise ratio for a cleaner image quality with reduced image noise. Designed for effective hybrid photo and video recording performance, the 4K output can also be used to permit in-camera 8MP screen grabs from video files for simplified multimedia output.

Complementing the imaging performance is a long-reaching 16x Leica DC Vario-Elmarit zoom lens, which provides a 35mm-equivalent focal length range of 25-400mm. Covering wide-angle to telephoto perspectives, this f/2.8-4 lens incorporates aspherical and extra-low dispersion elements within its construction to realize a sharp, clear image quality with minimal chromatic aberration and distortion. HYBRID O.I.S. image stabilization further benefits working in difficult lighting conditions by minimizing the appearance of camera shake across five distinct axes. The lens also utilizes a linear AF motor, that is benefitted by LUMIX Depth From Defocus technology to achieve fast focusing performance throughout the zoom range.

The bridge-style design of this camera features both an electronic viewfinder and rear LCD monitor for easier viewing in an array of working situations. The 0.39" 2,359k-dot OLED Live View Finder provides 100% frame coverage with 35mm-equivalent 0.7x magnification while the 3.0" 921k-dot LCD monitor features a free-angle, articulating design to facilitate working from high and low angles. Additionally, the camera also features built-in Wi-Fi connectivity to support direct image transfer to, as well as remote control and monitoring capabilities from, linked smartphones and tablets.

Read our Panasonic Lumix DMC-FZ1000 review

This camera Rocks in many ways! What an improvement to the Panasonic line! I have shot at close quarters and far away, and am totally impressed with this camera. I could care less about all the extra features and glitter. What means a lot to me is the picture quality and the noise, or lack of it. This camera smashes it out of the park in those two respects and I am very happy with it. The Sony RX10 is also a great camera and some may go in that direction, but I went with the Panasonic as it has longer reach and I have Panasonic accessories from other Panasonic cameras so it is a no brainier for me.

Here are the facts on this camera:

1. It has a tiny sensor of only 8.8mm when compared to 24.0mm (Canon EOS-1D C); 23.9mm (Nikon D4s); 13.0mm (GH4).
2. It's F4.0 at 96 percent of the time while the ATG/Sony DSC-RX10 has a ATG/Carl T* 24-200/2.0. It has a constant F2.0,which is Two Stops faster.
3. Shooting 4K, the IS doesn't work at all. So good luck holding it still beyond 250mm.
4. Good luck trying to get software to work with 4K. Even your best Apple laptop will have a hard time seeing 4K.
5. This is great for children to use & you do not have to worry when they break the camera.
   This is nice for struggling photographers that are competing with beginners taking over their clients.
   This is nice to use if you have back /or knee problems.
   This is nice for doing short video clips on Vimeo and Youtube.
   This is nice when are lazy or scare to approach close to your subjects.
   This is nice to showoff the still images & videos from your laptop to friends.
   But you will surely be surprised when you need a flash for this camera.
   It's the world's most expensive speedlite flash that can not do wireless radio TTL like the failed Canon 600EX-RT.
   This is nice if you still don't know how to clean the bandpass filter. Too many are calling, "Cleaning my dirty sensor".
6. The battery life is just as bad as all Sony SLT series & A7 series.
7. Using the 4K much will kill the camera.
   Why did you think that they shut it down at 29'?
   Companies & pros DO NOT want you to play with the big boys & girls using beginner cameras. And all beginner cameras are branded as "Prosumer cameras".
8. Can not shoot tethered to a computer.
9. Has no tethered shooting software for Mac & Windows.
10. No supports from Adobe Lightroom & no tethered shooting & no live-view tethered.
11. Has no PC Sync or 3.5mm Sync Socket which the ATG/Sony DSC-RX10 has both.
12. No touch screen when so many cell phones have them.
13. NFC is a total joke beyond 4 feet

Panasonic Lumix DMC-FZ1000 4K QFHD/HD 16X Long Zoom Digital Camera



When you set the camera timer for 2 or 10 seconds, it stays on as long as the selector is in the timer mode on the dial on the left side of the camera. Compared to all the other Panys, this is awesome! I so hated to set the timer with each and every shot with all the past cameras.

The Panasonic FZ1000 works great with a teleconverter like the Olympus TCON-17/B300. All you need is a 62mm to 55mm step down adapter. Is the camera strong enough to support that weight on the end of the lens. Well, the lens is pretty robust, so supporting the tele by hand or with a bracket will work if you want to support it. Why Panasonic did not make the adapter for the teleconverter lenses I don't know. The bracket I use.

Photos taken at high ISOs look fantastic with very little noise. ISO 3200 photos are very good and ISO 6400 photos look acceptable as well. The big thing about this is the camera is now very good in low light situations. Very good and better than the FZ200 is, in my opinion.

The camera has two types of Macro Zoom, found by pushing the bottom button on the 4 way controller. Both are good and I was able to take some very detailed photos of some of my wife's flowers with this feature. I found it best to put the camera in the first setting (Auto Focus Macro), zoom in, and back up till the photo is in focus. The target will fill the frame and the distance will be about 3 to 4 feet. This works incredibly well without having to be too close to the target, so the insect or target is not spooked.

The camera has a 62mm front thread, so filters can be added. I personally recommend a UV filter. Some don't like them, but it reminds me of the time that I did not have a UV filter on my camera and checked the lens and there was what appeared to be a scratch on the lens. I used a lens rag and some cleaner and fortunately the scratch or whatever it was rubbed out, but I still remember the feeling of thinking my lens was scratched and the panic mode that put me into. Now, I use the UV filter and if there are fingerprints on it, I clean the lens. If there are scratches on it, I throw it away and get another one.

The camera is quite a bit bigger than the FZ200 camera is, but the grip is fantastic and it feels good in the hands. Someone asked me if I could hold the camera with one hand and take a picture with that hand. I tried it and it is a piece of cake. No problem doing that at all. The grip is very big and comfortable.

It is very obvious that Panasonic went to extreme means to make this a great camera.

Manual Focus Peaking works very well. What it does is provide a color (3 to choose from) on the edges of a photo and the more color there is the better the shot is focused. I learned how to use this feature on a Sony Nex 6 and it works very well.

The high resolution, articulated, BIG LCD display is a huge improvement over the antique-looking FZ50's LCD, and very good even outdoors in bright daylight (though still tough to see when washed direct sunlight). No touchscreen here, but I've never felt the need for that other than swiping and pinching while reviewing photos. But the electronic viewfinder is a treat, with nearly indistinguishable pixels and no noteworthy lag -- I can even see the shimmer of rising heat waves off distant hot asphalt using this display, it's just one step away from looking like an optical viewfinder. Really, the best of both worlds.

The menu is full of options, including a host of choices that might be considered gimmicks. One I had high hopes for are the dynamic shooting exposure modes. Alas, these are turning out to be merely in-camera HDR in disguise (I'm generally not a fan), and the results appear subtly overprocessed. But the 50+ FPS shooting mode is one to keep in the back pocket for the right subjects.

Always a fan of remote controls, the WiFi options surpass any IR remote I've owned with any previous camera. Linked to my Android (Motorola Droid Maxx), I'm able to compose and shoot with a "live" (actually slightly delayed) viewfinder, and retrieve my shots for quick uploading to Facebook or email -- or G+, Flikr, Instagram, etc. Geotagging is accomplished via the Panasonic app and the phone's location services; alas, there is no GPS built in to the camera.

I'm very happy with the battery life. Panasonic is listing 360 shots -- I'm not counting, but just keeping an eye the battery gauge -- like with my LX cameras, it's looking like I won't need to carry around a spare (unlike with my FZ50). First charge was at just shy of 500 shots, with one bar left on the battery display, and that's with quite a bit of "new toy" futzing.

You'll want to pick up a U3 (aka UHS-II) SD card, which the camera absolutely takes advantage of (required for 4K video, and cuts memory write times by 75% vs. a standard Class 10 card). I've long had good luck with memory from Transcend, and am successfully using their Transcend 128 GB High Speed 10 UHS-3 in this camera.

Camera Raw is fantastic. It is supported in Lightroom and Photoshop, but if you can't afford those programs, it is also supported in FastStone, which is free. Just Google it. The only downside in Raw is the camera will not zoom past 400mm.

The FZ1000 zoom in JPG. The camera will zoom to 400mm (Optical Zoom). With I-Zoom turned on the camera will zoom to 800mm (35mm equivalent). Set to a smaller picture size, the camera will zoom more. With I-Zoom turned OFF and the camera set to the 10mp picture size, it will zoom to 560mm. If you turn Digital Zoom On, the camera will zoom to 2240mm. If the picture size is set to 5mp the camera will zoom to 800mm and with Digital Zoom On will zoom to 3200mm. What is the big deal? Normally I never use any form of Digital Zoom as it destroys the picture quality. Not on this camera! I took some shots with the camera set to the 10mp picture size and Digital Zoom On, which gave me 2240mm. On top of that I used an Olympus B300 1.7X teleconverter with total zoom at 3808mm, and the photos look fantastic! Look in comment number 1 for those links to those pictures and look for yourself.

There are 5 FN presets and you can set those presets for just about anything you want. There are tons of selections in that mode, and they FN Presets can be found in the camera Menu at the Wrench C (Custom) menu, which is the third one down. It is located on page 7 of 8 and it is the second one down, called Fn Button Set. You can make any of the Fn buttons whatever you like. For me it works that Fn 1 is Focus Area Set. With the camera not in IA, it allows you to set the focus area and the dial on the back of the camera sets the size of the focus area box. I set it to the smallest size box and what is amazing is if the camera is turned off and back on, the camera remembers the focus setting and retains the small box. That really rocks!

There is a digital readout of the zoom at all times in the EVF (Electronic View Finder) or the LCD. Even when the camera is in Digital or I-Zoom, the reading is accurate.

The auto focus on this camera is very very fast. It is almost instant! The camera itself is very fast too. Start up time is less than a second and once the shutter button is pushed it reacts almost instantly. In JPG, the camera will take stills as fast as you can press the shutter button. In High Speed Burst at 12 frames per second in JPG, the camera will just keep taking photos at that rate for at least 40 shots before slowing down. At the 7 fps auto focus rate the camera focuses on the target between each shot. In that mode the EVF or LCD is in Live View and what you are seeing is what is happening. Very impressive!

It says the camera needs a U3 card for 4k video, but I have some SanDisk Extreme 45mb/sec cards that work fine in that mode and those cards are cheaper.

The FZ1000 comes with a lens hood, and the hood can be installed on the camera backwards like it is on several other Panasonic cameras. I like storing the hood this way as it is not in the way of anything and you have instant access to it.

Camera Bracketing. This is one awesome feature. The camera can be set to take 3, 5, or 7 bracketed frames for making a HDR shot in photo software. I set mine to 5 frames at 1EV, and the camera takes 5 photos at 0,-1,-2, +1, and +2. The camera bracketing mode must be activated by turning the dial on the left side of the camera top to Bracketing. It will take 5 photos in very fast succession if the shutter is held down.

The FZ1000 has a shutter speed of 60 seconds to 1/16,000 second. It also has a Bulb mode in which the shutter is held down for up to 120 seconds. Once the shutter is released the camera will process the shot. In this mode I would encourage the use of a remote shutter cord.

The camera has a jack for a microphone and a remote shutter. It can also be controlled with a Smart Phone or a tablet. I have not used this as yet, but have been told that the tablet can control just about any aspect of the shot, such as shutter speed or aperture or whatever. It will also upload the photos shot to the tablet. A very cool feature!

The zoom on the shutter button is very fast. The zoom on the camera lens is not as fast and the shutter button zoom lever is much better.

I have found that the picture quality of Digital Zoom and Extra Optical Zoom to be very close, and can't pick a winner there. Digital Zoom on this camera is also very good.

In the Movie Mode, in Shutter Priority, the shutter can be changed while video recording and that is cool. If the video speed is not fast enough, you can speed it up without stopping while recording the video. On playback, a 8mp still photo can be pulled from the video. Just play the video back in the camera and stop it at the point you want the still and press the button in the center of the 4 way controller and it asks if you want to Save and click Yes and it will save that shot. You can move forward or backward in video to get the exact shot you want by pressing and holding the Forward button or the Reverse button on the 4 way controller for many frame movement or push the forward or reverse button one time for one frame. Once you get to the sweet spot, just press the middle button on the 4 way controller and say Yes to Save. Done.

The still photos in the video are good quality but not as good as the camera normally takes, but they are good for snapshots. I would not look at those kinds of photos at high magnification like you do other stills. They are good but not great.

If the camera is in IA, and the switch on the lens is set to Focus, and the focus selector above the LCD is set to Manual, the camera can be manually focused while in the Automatic (iA) mode. Someone told me about that and I just checked and it does work! Fantastic!

The camera's stabilization system works great! I accidentally left the camera stability Power OIS switch in ON when on a tripod and the photos came out fine. I meant to turn it off, but forgot.

The Panoramic Mode works great and you can go from Left to Right, or Right to Left, or Up to Down, or Down to Up. The key to getting good panoramic shots is to turn steady and at the right speed. There is a speed indicator in the camera and it works well, but most of the time when it did not work for me, I found that I was turning too slow. It takes a few tries to get the speed right.

The Rear Dial has clicks for feedback and I really like that.

This camera is really great when it comes to Time Lapse Photography. In that mode the camera will take a shot, shut down for a time set by you, and then come back on, take another shot, and shut down again. To use Time Lapse Mode, set the Dial on the left side of the camera to Time Lapse, which is the far left setting. At that time you can select the Start Time, which can be as long as 23 hours and 59 minutes away, then the Shooting Interval and Image Count can be set. The Shooting Interval can be as little as 1 second to 99 minutes and 59 seconds, and the count can be from 1 to 9999 pictures. That my friend is awesome! Now you are thinking, darn I need software to process all of those images into a time lapse video. NOT! Once the pictures have been taken, the camera will turn them into a video! How about that! So Cool!

When the camera is on Auto Focus and the lever is turned to Manual Focus, The focus stays at the Auto Focus setting. I have been told the FZ200 would not do that and would move the focus when that setting was changed.

In video, the ISO is automatic and not adjustable. That sucks, but that is how the camera works. Added.. I have been told that the ISO is completely controllable in the Creative Video Mode.

One thing you will notice is Bokeh (the out of focus soft background) on this camera is very very good. The flower or whatever you are shooting will be in focus and the background will be out of focus with a soft pleasing effect. This happens when in one of the priority modes and low aperture is used as well as lots of zoom.

I have read that the X-Sync speed in Remote Control mode is up to 1/3200 second. That is great!

The camera will convert a Raw image to a JPG with processing in the camera, and your controls of that processing are many, such as saturation or exposure and the like.

The EVF (Electronic View Finder) has 2.4 million pixels and is very good quality. The details in the EVF are outstanding, and the camera senses when you are looking through the EVF and will turn it on automatically.

In Shutter Priority, if you look at the Red Band on the camera LCD or EVF, it shows what speeds the camera can be set to in order to get a properly exposed shot. If the camera setting is in the Red Band, the photo will be too bright or too dark, depending on which side the Red Band is. Also, the shutter speed and the aperture will start flashing red when this is the case.

The camera has a silent mode and when turned on, the camera is totally silent when taking photos. That can come in really handy when taking a shot and someone is near. They have no idea a shot was taken.

Summing up:

If you are looking for very good image quality, maximum control and real convenience, choose the FZ1000. If you want the nth degree of quality and particularly if you want to take a lot of close-ups then you might want to spend another grand plus the price of a macro lens on a luggable, interchangeable lens camera. For a little less quality my wife's Canon consumer camera, that is about the size of a deck of cards does great close ups.

Ultra slim and compact, the Canon EF-M 22mm f/2 STM is the EOS M Digital Camera’s moderate wide-angle lens that’s small and light enough to carry everywhere. Its bright f/2.0 lens aperture works well with the EOS M Digital Camera’s large sensor to provide exceptional low-light performance, as well as create beautiful background blur in portraits. An aspheric lens element delivers high resolution and high contrast. 

For moviemakers, the EF-M 22mm f/2 STM utilizes a built-in stepping motor to provide smooth and quiet continuous autofocus when shooting video with the Canon EOS M Digital Camera. A circular aperture (7 blades) delivers soft-focus backgrounds and a short minimum focusing distance of only 5.9 inches (0.15 meters) allows you to get closer to your subjects.

Specifications EF-M 22mm f/2 STM

Focal Length & Maximum Aperture	22mm, 1:2
Lens Construction	7 elements in 6 groups
Diagonal Angle of View	63°30'
Focus Adjustment	Inner Focusing System
Closest Focusing Distance	0.49 ft. / 0.15m
Filter Size	43mm
Max. Diameter x Length, Weight	2.4 x 0.9 inch, 3.7 oz. / 60.9 x 23.7mm, 105g

List Price: $249.00

Price: $114.60 & FREE Shipping.

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	Canon EF-M 22mm f2 STM Compact System Lens	Canon EF 50mm f/1.8 II Camera Lens	Canon EF 40mm f/2.8 STM Lens	Canon EF-M 18-55mm f3.5-5.6 IS STM Compact System Lens
Customer Rating
Price	$114.60	$125.00	$199.00	$199.00
Lens Type	Prime lens	Prime lens	Prime lens	Zoom lens
Max Sensor Size Compatibility	APS-C / DX	35mm FF	35mm FF	APS-C / DX
Max Aperture Range	F2.0	F1.8	F2.8	F3.5 - F5.6
Min Aperture	22	22	22	38
Photo Filter Thread Size	43 millimeters	52 millimeters	52 millimeters	52 millimeters
Min Focus Distance	0.15 meters	0.45 meters	0.3 meters	0.25 meters
Weight	0.2 pounds	0.3 pounds	0.3 pounds	0.5 pounds
Dimension	2.5 x 2.5 x 1.5 inches	41.0 x 68.0 x 2.7 inches	0.9 x 2.7 x 0.2 inches	2.5 x 2.5 x 2.5 inches
	See specs & latest price	See specs & latest price	See specs & latest price	See specs & latest price

The HX-X1000 is a new entry into Panasonic's camcorder to complement the talents of the excellent Lumix GH4. This professional and semi-professional camcorder shoots 4K at 60fps at up to 150Mbps, has a built-in 20x optical zoom lens with optical stabilisation and can shoot in both Ultra HD (3,840 x 2,160) and Cinema 4K (4,096 x 2,160).

Features Experience Amazing 4K Ultra HD in 24p Cinema or 60p Video Quality High Bit Rate Quality (4K-150Mbps / 2K-200Mbps) Built-in XLR Professional Audio Terminal 20X Leica Lens with Lens Mounted Control Rings Record Night Scenes Confidently with 0 Lux

List Price: $3,499.99 & FREE Shipping. Details This item will be released on October 22, 2014.

The camera shoots and records cinema 4K at a true 24p, and UHD at broadcast compatible frame rates, so it fits smoothly into your existing broadcast workflow.

The Panasonic HC-X1000 features a 1/2.3" MOS sensor that is always shooting at 4K resolution, and uses its two built-in Venus processing engines to scale the 4K image for Full HD delivery.

The built-in 20x Leica Dicomar lens features four lens groups, and electronically linked geared iris rings for manual control. The camera supports two optical image stabilization modes, one for 4K, and a different mode when shooting in HD, Two viewfinders provide you a choice when operating the camera with either a traditional tilt up color EVF, or a pull out LCD high resolution touch screen. The LCD touchscreen is positioned above the lens for a more natural viewing experience when shooting handheld.

The camera records in .mp4, .mov, or AVCHD codecs, and features dual SD media card slots. Please note that Panasonic recommends using SDXC cards rated as UHS-1 U3 for recording at the highest bit rates. The camera incorporates two SD card slots, allowing you to use relay recording, simultaneous recording and when recording HD you can use Panasonic's background recording mode.

• In 4K recording mode the camera utilizes Power O.I.S., checking and compensating for handshake up to four thousand times a second. In HD mode the camera employs 5-axis hybrid O.I.S. compensating for side-to-side, up-down, forward-back handheld shake.
• The HC-X1000 features electronically linked zoom, focus, and iris rings on the lens. The rings are textured for better tactile feel, and the movement and control of the rings simulate the feel of mechanically linked lenses.
• The camera features built-in selectable physical filters, a clear, 1/4, 1/16, and 1/64th ND for exposure control when shooting outdoors.
• The camera records in either MP4, MOV or AVCHD Progressive. It will only record in 4K/UHD using the mp4 codec, however, all codecs support recording in full HD. MP4 & MOV recording support a 200 Mb/s all intra frame codec, which requires less computing power to playback.
• A built-in IR emitter and IR recording mode allow you to shoot at 4K, and HD, in complete darkness without any visible light, although your images will have that familiar greenish IR look to them.
• An illuminated ring lets your subject know when you are recording by changing from blue to red. Although this is pleasant in appearance, this feature can be disabled in the camera's menu. 
• Camera Assist Functions:
  • Histogram: Displays the image as a brightness graph.
    
  • Zebra: indicates areas of overexposure by overlaying a striped pattern on the overexposed portion of the image.
    
  • The built-in electronic color bars allow you to calibrate your monitors, and can be recorded for playback.
    
  • You can activate a level indicator overlay, which can be useful to check the camera is level when shooting handheld or with a stabilizer.
    
  • Intelligent Auto: Two modes, iA and iA Plus allow the camera to select the appropriate scene mode for the scene you are shooting. In iA Plus mode you can adjust the brightness and color, while allowing the camera to control the other settings.
• The camera incorporates a built in microphone, and two 3-pin XLR audio inputs for line or mic level input. Manual adjustments are via dials set into the side of the camera so you can adjust the levels during the shot without having to pull up a menu function. The dials are inset, making it less likely to accidentally change the settings.
  
• Control and monitor the HC-X1000 in real time from a distance by using the Panasonic Image App on a smartphone or tablet device. With the camera's NFC capabilities you can easily connect to your NFC enabled smartphone or tablet. If your smartphone or tablet is not NFC enabled, you can use QR codes to make the connection.
  
• The 4K images that are taken by the HC-X1000 are compatible with a wide variety of nonlinear editing software, such as Apple Final Cut Pro X, that are available separately. Plus, the included HD-Writer XE2.0 software also supports the 4K video files for editing and file management, and is available for download.
  
  

Source: B&H

The Contour ROAM3 picks up where its predecessor left off, delivering nice-looking video—above or below the water—at the slide of a switch. Roam3’s rugged, aluminum body lets you take the cleanest footage even when you’re 30 feet or 10 meters under water - still without a housing.

Key features:

• Waterproof up to 30 ft. without a case. With the Contour ROAM3 you can swim, bike, dive and fly without worrying if your camera gets wet.
• Quick photo mode - No need to un-mount and change settings on your camera. By holding down the status button it will take you into photo mode. It's never been easier to switch between filming great action footage and capturing stills.
• Locking Instant On-Record Switch. Slide the record switch forward into its locking position and you are recording. It's that simple.

List Price: $199.99 and eligible for FREE Two-Day Shipping

The Contour ROAM3 have a low-profile design so they fit closer to your helmet.

The lens rotates 270 degrees (180 degrees to the left and 90 degrees to the right), which gives you more positioning options and no need to mess with settings or flip the video with editing software.

The Status button also lights up some LEDs on top of the camera to give you a rough idea of the remaining battery power and storage amount. This button now works as a shutter release for snapping off photos, too. Just press and hold the button for a few seconds and it will switch on the camera, then press it again to take a picture. The photos have a 4:3 aspect ratio, though, which means you'll have to crop them if you want to drop them in with your videos and match their 16:9 aspect ratio.

Above the lens is a laser level. Since the ROAM3 has no screen or built-in Wi-Fi or Bluetooth to connect to a mobile device, the laser helps you set up your shot, so it's not crooked. Just push the Status button on the back and it kicks on for 15 seconds.

If your main need is to share clips online, the results from the Roam3 are definitely pleasing, with nice color and detail. The 1080p video is recorded at a variable bit rate between 14 and 16Mbps, which is good for its price range, and it results in better detail than you'd get from lower-end models.

You definitely lose some detail when you record at lower resolutions, but when viewing at small sizes you likely won't notice that too much and, again, the results are overall very nice-looking.

Audio quality is OK and sounds a little muffled, likely because of the camera's waterproofing. Basically, it's good enough to record someone talking at a normal volume a couple feet from the camera. I found it handled wind noise reasonably well, but chances are you're going to want to throw some music over the video.

Photo quality isn't anything special, but if the Roam3 is the only camera you have handy, it'll do. As I mentioned earlier, it captures 5-megapixel shots, but they're in a 4:3 aspect ratio, so if your plans are to drop them into your full-HD movies, you'll probably want to crop them to 16:9.

The Good

The Contour Roam3 is waterproof down to 30 feet (10m) without a housing; it has a rotating lens with laser alignment so your video is straight; it has Contour's Trail mount as well as a standard tripod mount; and the big slider gets you recording without fiddling with buttons.

The Bad

Though its battery can last up to 3.5 hours, it's not removable and a full charge takes about 3 hours. It has no screen or option for a screen, and without Wi-Fi or Bluetooth you can't wirelessly preview or view video on a mobile device.

The Bottom Line

All the features that make Contour's action cams excellent are here in its entry-level ROAM3. While it's not loaded with extras, it's one of the best you'll find for its price.

Review by C|Net