So you’ve finally decided to pony up the money and make the transition from your trusty point-and-shoot to a shiny new DSLR. Sure, those point-and-shoot photos look fine on Facebook, but if you’re going to make the transition to Flickr, you’ll want something with a little bit more versatility. Of course, DSLRs have automatic settings too, but hey, you spent all this money on a fancy camera, might as well learn to use the damn thing. But here’s the kicker, now you’ve got to contend with figuring out how to set the aperture, shutter speed, ISO and focus exactly right to get the optimal picture. It can be confusing enough to make the most confident snapper cower away to the automatic settings (not that we’ve ever been there or anything…).
A new website called CameraSim, however, seeks to quell those concerns with a simulated guide to shooting photos with a DSLR. The simple interface offers a viewfinder that mimics that of a typical camera, with the portrait of a young girl in a park holding a spinning pinwheel. The portrait includes a lot of bright colors that would be perfect for a vibrant photograph. The simple settings let the user play around with the lighting, distance, focal length and of course the ISO, aperture and shutter speed. By divesting the settings from the case of the camera, it lets users more comfortably toy with them while getting a larger representation of what the photo would look like after it’s been snapped. It defaults to shutter priority and also allows for aperture priority and manual, letting novices ween themselves from the automatic settings one frame at a time.
The website also includes a guide to each of the important settings and clearly defines them, making it accessible for photographers of any level.
The Spider-Man franchise re-boot The Amazing Spider-Man is the first movie to use the TS-5 Handheld Beamsplitter Rig from 3ality Digital. 3ality Digital’s camera platforms and stereo image processors were developed to enable both scripted and live entertainment. The camera systems automatically align and correct mechanical and optical imperfections, using artificial intelligence and image processing. The systems feature semi-automatic setup and alignment, as well as S3D metadata output.
"We tested virtually every product on the market and chose 3ality Digital because we were impressed by the compact size of the TS-5," said Spider-Man director of photography John Schwartzman. "You don't get the unwanted shadowing effects during shots that sometimes appear using other 3D rigs, and the lens changes only take a few minutes," he added. "We wanted a rig that would not only deliver the best quality and performance but also one that wouldn't delay the production, so we have all the benefits of a 3D picture and we're shooting to a 2D schedule."
The CEO and founder of 3ality Digital, Steve Schklair, explains that the advantage of 3ality’s TS-5 cameras is that the business case for shooting in 3D works when studios can film on the same timing schedule as when shooting in regular 2D. As a result, 3ality is now attracting interest from the television industry for shooting episodic TV shows in 3D. A one-hour TV show can be shot in the usual 2D schedule of nine days with a 3ality Digital rig, giving it a significant advantage over its competitors.
The Amazing Spider-Man is due for release in 2012. [viaThe Hollywood Reporter]
A German group has developed software that can make actors appear thinner, fatter, taller and even more muscular on screen.
In what could be a massive breakthrough in movie making, or a step towards the decline of Western society, researchers at Germany’s Max Planck Institute have developed MovieReshape, a software program that can alter the images of people on the film in order to change their body type.
The software will be able to take an existing image and manipulate the image already filmed. So, if a person is on film without a shirt, the software could make that actor appear far more muscular, or make them taller, shorter or even heavier. It could also change the physical features of a person’s face to create an age effect, similar to what the special effects technicians did with Brad Pitt in The Curious Case of Benjamin Button.
The software is still in development, and will not be officially debuted until Siggraph, the computer graphics conference in Seoul, South Korea that takes place in December.
“What would take days using conventional SFX software our model can do in a matter of hours.” Christian Theobalt said in an interview with the Hollywood Reporter.
Theobalt also claimed that the software will save costs in any instance where special effects can be employed, including in commercials, where one ad could be filmed, then the actor’s body-type could be manipulated to meet local “standards of beauty”.
The researchers have not yet reached any deals with private companies, but that is sure to follow. The software opens up several interesting possibilities. It could offer roles to people that would otherwise be overlooked because of a physical difference between the actor and the character. On the other hand, it could also lead to impossible standards of physical beauty. Time will tell.
You don’t need to take out a second mortgage for a DSLR to take great photos. Here are our favorite cameras that will do it for under $300.
While it would it would great spending $500 or more for a digital camera, getting the most bank for buck makes at lot of sense today—or anytime. What follows are 10 digicams that go for less than $300 online or in stores–and take great photographs. You won’t find any barebones sub-$100 cameras here simply because, for the most part, they’re not worth it even at the low price. Spend a bit more for a solid camera and you’ll have photographic payoff that’ll last for years.
This model proves you don’t have to bust your budget for a solid digicam. Available for less than $199, the 10-megapixel SX120 IS has a powerful 10x zoom meaning you can take nice people shots and great close-ups–the range is 36mm to a whopping 360mm. Running on easy-to-find AA batteries, the SX120 IS is as simple to operate as you’d like but also offers advanced options such as aperture- and shutter–priority modes as well as manual, features not typically found on such affordable cameras. Optical image stabilization helps you capture tack-sharp images and the 3-inch LCD makes framing shots a breeze. The only real drawback is the lack of HD video but you can still take 640×480 VGA clips.
Casio is known for its ultra-thin point-and-shoots but they’ve broken new ground with their latest line-up of high-speed cameras. In the case of the EX-FH100 (around $289) that means you can shoot action subjects such as kids playing soccer at 40 frames per second—light speeds faster than typical compacts. The camera uses a new 10-megapixel CMOS sensor to make this magic happen. It also has a 24-240mm 10x optical zoom, a 3-inch LCD screen and takes good quality DVD-level videos.
One of DigitalTrends.com’s favorite new camera features is Sony’s Sweep Panorama. To grab beautiful vistas you simply press the shutter while “sweeping” across the scene. There’s no need for extensive post-processing on your computer—the panorama is stitched together in your camera. The feature first appeared in expensive models (naturally) but now it’s available in the very affordable ($179) 14-megapixel W350. Along with Sweep Panorama, the digicam has a 4x zoom (26-105mm), high-quality optical image stabilization, a 9-point auto focus system and a 2.7-inch LCD screen.
DigitalTrends.com reviewed this camera and liked it a lot. We found that for around $299, the S8000 is a very good, lightweight 14MP camera that takes high-quality stills. It’s extremely simple to use and has a versatile 10x focal length of 30-300mm, making it a good choice for vacationers or anyone who wants a solid digicam at hand. Unfortunately its HD video quality is very low-definition but if you’re looking for a quality camera—i.e. a device for capturing photographs–keep the S8000 in mind.
The soon-to-be-introduced Z800EXR is the replacement for the Z700EXR. While it has similar features, it’s actually $50 less than last year’s model ($229 MSRP). We’re big fans of trends like this. What we like about the Z800EXR is its extremely compact size (.8-inches thin) that easily fits in your jeans or handbag. Slide down the front panel and the 3.5-inch touchscreen LCD comes to life. The 12-megapixel camera has a solid 5x optical zoom and takes 720p HD videos. It’s available in red, gold, black and pink so it really stands out.
The 14.1-megapixel SD3500 IS (around $289) has a huge 3.5-inch wide LCD touchscreen that’s among the best we’ve used (Sony is on a par). You can customize your photo settings by simply dragging icons to preferred on-screen locations, then use “taps” to switch between images during playback. A 24mm ultra-wide angle lens with 5x optical zoom gets more in each shot such as big family gatherings or dramatic landscapes while optical image stabilization helps eliminate the shakes from your photos. Along with 14.1-megapixel stills the camera also takes HD quality videos. It’s available in three color variations– black, silver and pink—to fit your style.
Although we’re big boosters of DSLRs, changing lenses can be a burden and a hassle. That’s why mega zoom cameras—with extreme focal lengths—are very popular. One of the most potent is the 14-megapixel $289 SP-800 with a built-in 30x zoom, the widest range available (28-840mm!). You can easily capture nice landscapes then zoom into a tree branch on a faraway mountaintop. Two types of image stabilization help eliminate blur, an important feature given the extreme telephoto range.
For around $229, the 12.1-megapixel ZS5 is a solid, take anywhere camera. Not only does it have a very wide-angle lens (25mm) for dramatic land- and cityscapes, it reaches 300mm, thanks to the 12x zoom. The package is nice and compact, making it a real plus for vacationers or anyone who want good photos. The ZS5 has Panasonic’s well-respected optical image stabilization system, a 2.7-inch LCD and takes 720p high-definition videos.
It’s great taking your camera anywhere—especially on an outdoors adventure. You can take the $249 12.1-megapixel W90 snorkeling (down to 20 feet), drop it from your hand (from 4 feet), even take it out during a snowstorm. Another cool feature? The camera has special LED lighting so you can take great macro close-ups. The W90 also has a 5x optical zoom, a 2.7-inch screen, takes 720p HD videos and is available in orange, black or green to match your backpack.
Samsung really broke the digicam mold with its DualView line-up. The cameras have the typical large LCD on the back to frame and review your shots. The surprise is a 1.5-inch screen on the front that makes it incredibly simple to take properly-framed self portraits. It can even act as a “watch the birdie” trick for kids since it shows animations to get their attention. Along with this unique feature, the TL225 is a solid 12.2-megapixel camera with a 4.6x zoom (27-124mm) plus is has a beautiful 3.5-inch touchscreen LCD (around $215).
Don't fear the water. These tough, waterproof digital cameras are built to capture your summer adventures.
Technology and water don't mix. Delicate circuitry doesn't like to get wet, but it's summer and photo ops abound. If you want to capture photos or video of your outdoor adventures, a rugged, waterproof digital camera could be for you.
A fairly new product category, many point-and-shoot camera manufacturers are only on their first or second waterproof, ruggedized model. While they continue to get better with each iteration, you'll often have to pay more and make some sacrifices for a camera you can swim with. Our Editors Choice, the practically bulletproof Panasonic Lumix DMC-TS2, for example, is a leaps-and-bounds improvement over its predecessor, last year's DMC-TS1, which had image-quality issues and problems with its waterproof casing. This year's model captures top-notch still images and HD video, but it'll cost you $400.
Rugged, waterproof cameras can also be bulky. Canon's first entrant in this category, the $300 PowerShot D10, takes beautiful pictures, but it's almost twice as thick as most of its competitors. The $230 Casio Exilim G EX-G1, on the other hand, is the slimmest waterproof camera we've seen, but it suffers in the image-quality department.
All of the models here can capture still images and video in up to 10 feet of water. Some of them, like the PowerShot D10 and the Lumix TS2 can go as deep as 33 feet below, so you can even scuba dive with them. And they're rugged. The $400 Olympus Stylus Tough-8010, for one, can survive drops of up to 6.6 feet and withstand temperatures as low as 14 degrees Fahrenheit. Also, innovative controls let you operate the camera by tapping on its sides while you're wearing gloves, so the Tough-8010 is a good choice if you want to shoot winter outdoor sports too.
Finally, If you're more focused on video than still images, the $150 Kodak Playsport Video Camera records up to full 1080p HD video in up to 10 feet of water. You can then easily upload your footage right to YouTube or Facebook without having to convert it. The pocket-size Playsport also grabs 5-megapixel stills.
Canon PowerShot D10 $299.99 current list Canon's cute and curvy PowerShot D10 is waterproof, freeze-proof, and shock-proof, and it pumps out great-looking images, but if you're looking for a slim camera, this isn't it.
Casio Exilim G EX-G1 $229.99 list The Casio Exilim G EX-G1 offers a ruggedized build in a surprisingly slim, compact body, but image quality isn't this shooter's strong suit.
Fujifilm FinePix Z33WP $179.95 list The Fujifilm FinePix Z33WP may be the least-expensive underwater still camera you can find, but with poor image quality and a lackluster interface, you get what you pay for.
Kodak Playsport Video Camera $149.95 direct The $150 Kodak Playsport Video Camera fits in your pocket, captures 1080p footage and 5-megapixel still images—and you can take it in the pool.
Olympus Stylus Tough-8010 $399.99 list With its tap-enabled interface, the Olympus Stylus Tough-8010 is a good fit for those who want a top-of-the-line rugged build, HD video capture, and a camera that's easy to operate while using gloves.
Panasonic Lumix DMC-TS2 $399.99 list With top-notch image quality and an unrivaled HD video capture experience, the Panasonic Lumix DMC-TS2 is one of the best ruggedized cameras you can buy.
Pentax Optio W80 $249.95 current list The rugged and waterproof Pentax Optio W80 can shoot great pictures in bright conditions, but images captured at ISO 200 and above are noisier than average.
Here's what you need to know to capture the excitement of a summer fireworks display.
Dave Johnson, PC World
For the photographer, winter certainly has its share of iconic subjects, such as Christmas trees, snowmen, and icicles hanging from a roof. But there's nothing quite like the excitement of shooting summertime fireworks. Done right, fireworks photos are dynamic and colorful, and they convey a sense of action better than almost any other kind of still image. Read on to learn how to capture some exciting fireworks photos of your own this summer.
Though photos of fireworks look impressive, you don't need specialized gear to get good results. You can use almost any digital camera to capture fireworks, as long as it offers either some degree of manual exposure control (so that you can dial in the right ISO, aperture, and shutter speed settings) or a fireworks scene mode designed to do the work for you.
Even compact digital cameras can meet the challenge. The Fujifilm Finepix F200 EXR shown here, for example, hits the sweet spot for portability and simplicity--it's a superb compact point-and-shoot that, when set to fireworks mode and stabilized to minimize image shake, can take some excellent fireworks shots.
...But a Digital SLR Is Best
Compact cameras eschew features for portability, however. If you like to tinker with your exposure settings, consider an advanced point-and-shoot like the Canon PowerShot SX10 IS. It has a convenient swiveling LCD for shooting unusual angles, such as over the top of a crowd or low down on the ground. A wealth of exposure options let you dial in the one-touch fireworks mode or take more control with shutter priority, aperture priority, and manual exposure settings.
If you have a choice, though, I recommend enlisting a true digital SLR. Digital SLRs tend to generate less noise in the lengthy exposures you'll need to capture fireworks, and they have advanced features such as manual exposure control and external shutter release to minimize shake when you're taking the photo. The Nikon D90 (pictured here), for example, is a favorite not just because it was the first digital SLR to incorporate high-definition video recording, but also because it provides excellent image quality, Live View mode, and face detection for those times when you’re not shooting fireworks.
Stabilize Your Camera
The most important rule for shooting fireworks: Use a slow shutter speed so that you can record those dramatic, colorful light trails as they explode through the sky. But no matter whether you're using a point-and-shoot or a high-end digital SLR, you'll need some sort of support to capture a sharp image, free from the blur that results when you hold a camera in your hands.
A simple, inexpensive, and lightweight tripod is all you need. Keep the tripod head loose so that you can quickly move it around to frame the exploding fireworks, while the tripod legs prevent jiggling.
If you don't want to haul even a compact tripod around, consider using a monopod--since it has just one leg instead of three, it won't be as steady as a tripod, but it can be a reasonable compromise. You could also prop your camera on a solid surface. Some photographers like gadgets such as The Pod (essentially a bean bag with a tripod mount in the top) for steadying the camera on rocks, fences, and other platforms.
Hands Off
You should also avoid touching the camera when the exposure starts, so you don't jiggle it and blur the photo. You could try to use the camera's self-timer to trigger the exposure, but you would have to trigger your exposure in advance to anticipate the best fireworks moment. A better solution is to invest in a wireless remote or a shutter release cable, both of which let you take the photo without touching the camera.
Go Automatic
If your compact camera or advanced point-and-shoot has a fireworks mode, enable it. This mode automatically adjusts the camera's settings for a nighttime exposure. Want to know what's going on behind the scenes? On most cameras, the fireworks mode will turn the flash off, set focus to infinity, disable exposure compensation, and lower the ISO. For the most part, I find that a preset fireworks mode achieves good results for simple shots.
No Fireworks Mode? No Problem
Some point-and-shoots that lack a fireworks mode may still permit you to adjust the settings. Here are some good settings to try, if your camera allows.
Low ISO: Set the camera to its lowest ISO setting to minimize digital noise.
Focus on infinity: Turn off automatic focus and set the camera's focus to infinity so that it doesn't search helplessly for a subject in the dark. Don't have a manual focus control? Use the camera's landscape mode, which also sets the focus to infinity; the low light will encourage the camera to shoot at a slow shutter speed and capture the light trails.
Set the aperture: Dial in an f/stop somewhere between f/8 and f/16. That will help prevent overexposing the scene and avoid light "blooms" coming from the explosions in the sky.
Slow down the shutter: Pick a value between 1 second and 16 seconds for your shutter speed. The longer the exposure, the more fireworks you'll capture in the same frame, and the longer your light trails will be. For really long exposures try covering the lens with your hand or the lens cap between bursts to avoid overexposing the picture.
If you have a digital SLR, you'll have an easier time--and more options--when setting up your camera for fireworks.
In a nutshell, you'll want to dial in the lowest ISO, throw the camera into full manual mode, choose a small aperture opening (try starting at f/8), and pick a slow shutter speed with an exposure time of between 1 and 4 seconds. After you take your first few pictures, review them to see if you're getting realistic color. If the bright blue, orange, and red fireworks all look kind of white, you should use the same exposure time but close the aperture a bit and try again. That means changing your f/8 setting to f/11 or perhaps f/16. If the fireworks are too dim, open the aperture to f/5.6 or f/4.
Most SLRs have a bulb mode that leaves the shutter open for as long as you hold down the shutter release, giving you total control over the exposure. When the fireworks launch, press the shutter release to start the exposure. Hold the button down until after the fireworks have bloomed, several seconds later. If you go for superlong exposures, you should cover the lens between fireworks.
While you might be tempted to zoom in to get close-ups of the action, I recommend that you use the wider end of your lens's range--or, if you're using a digital SLR, switch to your wide-angle lens. You'll be able to capture more fireworks in a shot and even frame the action against a skyline or other recognizable objects in the foreground.
Of course, you can experiment by changing your zoom range throughout the evening. Just remember that if you zoom in too tightly, you'll have trouble knowing exactly when and where the fireworks are going to do their thing, and you'll end up missing the action.
As you prepare for summer fireworks, remember that capturing the action is often more art than science. Experiment with a range of shutter speeds and aperture settings over the course of the event. If the weather is uncooperative, take advantage by incorporating umbrella-covered spectators into the scene. And don't forget that your photo editing program's cropping tool can sometimes bring a distant fireworks blast front and center, turning a mediocre shot into a keeper.
(For more expert advice on digital photography, cameras, and image editing, see our Digital Focus blog.)
LAS VEGAS (AP) -- A strange little ritual used to go along with Polaroid cameras. The shooter would grab the print as it came out of the camera and wave it in the air, as if that would stimulate the chemicals and make the picture appear faster. It didn't. Yet it felt dumb to just stand there, waiting for the picture to develop.
Polaroid stopped making film packs last year, so this little piece of tech culture will soon be just a memory. But just as the film-based Polaroid camera is fading away, along comes its digital replacement.
That's right: Polaroid was set to announce Thursday at the International Consumer Electronics Show that it is introducing a digital camera that produces prints right on the spot. You can even call them "instant" prints, but they take nearly a minute to appear, so they're only as "instant" as the old film prints.
Essentially, the $200 PoGo is a camera that contains a built-in color printer. It produces 2-by-3 inch photos by selectively heating spots on specially treated paper. It has nothing to do with the old chemical Polaroid process, but the prints convey some of the same Pop Art charm: They're grainy and the colors are slightly off, with faces tending toward a deathly blue-green.
The camera is a successor to a standalone printer Polaroid put out last summer, designed to connect to camera phones and digital cameras. When I reviewed it, I noted that if Polaroid combined the printer with an image sensor and an LCD screen, it would be a resurrection of the instant camera. It turns out that's exactly what Polaroid was working on.
Unfortunately, you'll have to wait to get your hands on the camera: Polaroid says it will go on sale in late March or early April.
The camera is a fun product, and people who have been lamenting the death of the Polaroid will find solace in it. Its prints can be peeled apart to reveal a sticky back, which makes them easy to paste on fridges, doors, books, computers, cell phones and other surfaces you want to personalize. For a colleague's going-away party, I took a photo of him, printed out a couple of copies and pasted them on soda cans for an instant "commemorative edition."
The PoGo also has crucial advantages over the old film cameras. You can look at what you shot on the LCD screen, then choose whether you want to print it. You can produce multiple prints of an image, or print something you shot some time ago.
The standalone printer and the new camera use the same paper, which costs $5 for a 10-pack, or $13 for a 30-pack. It's expensive compared to inkjet paper, but about a third of the price of Polaroid film (there are still stocks in stores). No ink or toner is needed.
Despite its high points, The PoGo has the feel of a first-generation product, with noteworthy shortcomings.
As a camera, it's primitive. It doesn't have auto-focus, just a switch for infinity or close-up shots. The resolution is five megapixels, far below that of cheaper compact cameras. Neither of these things matter much for the quality of the prints, which are small and of low resolution anyway, but they do matter if you want to use the digital captures for other purposes.
Like some other cheap digital cameras, there's a substantial lag from the time you press the shutter to when the picture actually is taken, making it nearly impossible to capture action or fleeting expressions.
The prints are narrower than the image captured by the sensor, so you can't print the exact image you see on the screen. Substantial slices are trimmed from the top and bottom of the image to produce the print. In the default shooting mode, the camera doesn't warn you about this effect. You can crop images you've shot, zooming in on parts of them, but there is no way to reduce the size of the image to fit it all on the print.
The life of the rechargeable battery is limited, because of the energy needed to heat up the prints. You can get a bit more than 20 prints on one charge if you do them in one sitting. If you make a print only now and then, you'll get fewer on a charge, because the camera will need to heat up the print head every time. (The old Polaroid cameras didn't have battery problems, because most of them had batteries built into the film packs - a brilliant design. But enough nostalgia.)
None of these flaws are fatal. If you don't like the way the PoGo works as a camera, you can shoot pictures with another camera that uses an SD memory card, then move the card over to the PoGo and print the pictures. But if that's what you plan to use the camera for, you might as well buy the $100 PoGo Instant Mobile Printer, which is slightly smaller. It doesn't take memory cards, but will connect to other cameras with a USB cable.
The camera is much simpler to use than the printer, and it fits the bill for those who want to recapture the simple, spontaneous spirit of Polaroid shooting. Sadly, Polaroid declared bankruptcy in December because of troubles at its parent company. That puts the future supply of PoGo printer paper in question, but Polaroid is still operating, and it appears it will continue for the foreseeable future. In any case, it's likely the portable printing technology will live on, because what it does is unique.
The SD Association has announced a new card spec dubbed SDXC (eXtended Capacity) that can support memory capacities up to 2TB with read/write speeds to 104MB per second.
According to their calculations, that would mean you could store 100 high-def movies, 60 hours of HD recording, or 17,000 fine-mode photos on a portable device. Again, keep in mind that this is spec at this point—not an actual product. But we could see something based on it as early as next year. Obviously, there aren't many devices out there that could make full use of it right now, but a card with this kind of capacity and bus speeds could pull the industry forward.
SDXC SIGNALS NEW GENERATION OF REMOVABLE MEMORY WITH UP TO 2 TERABYTES OF STORAGE
SDXC Memory Cards Provide Consumers with Massive Storage, Incredible Speed in Familiar, De Facto Standard
LAS VEGAS – CES Booth South 3 #31277 – Jan. 7, 2009 – The next-generation SDXC (eXtended Capacity) memory card specification, announced today at the 2009 International CES, dramatically improves consumers' digital lifestyles by providing the portable storage and speed needed to store weeks of high-definition video, years of photo collections and months of music to mobile phones, cameras and camcorders, and other consumer electronic devices. The new SDXC specification provides up to 2 terabytes storage capacity and accelerates SD interface read/write speeds to 104 megabytes per second this year, with a road map to 300 megabytes per second.
The SDXC specification, developed by the SD Association, leapfrogs memory card interface speeds while retaining the world-leading SD interface. Specifications for the open standard will be released in the first quarter of 2009. SDHC, Embedded SD and SDIO specifications will also benefit from the new SD interface speeds.
"SDXC combines a higher capacity roadmap with faster transfer speeds as a means to exploit NAND flash memory technology as a compelling choice for portable memory storage and interoperability," said Joseph Unsworth, research director, NAND Flash Semiconductors, at Gartner. "With industry support, SDXC presents manufacturers with the opportunity to kindle consumer demand for more advanced handset features and functionality in consumer electronics behind the ubiquitous SD interface."
Turning mobile phones into media centers SDXC allows users to enjoy more from their mobile phones. Larger capacity and faster transfer speeds allow for expanded entertainment and data storage. A 2TB SDXC memory card can store 100 HD movies, 60 hours of HD recording or 17,000 fine-grade photos.
"With SDXC, consumers can quickly download higher quality content to their phones, including games, video and music – giving consumers a richer media and content experience," said James Taylor, president of the SD Association. "The SD interface already has proven itself valuable in mobile phones. Now, SDXC memory card capabilities will spur further handset sophistication and boost consumer content demand."
Shooting pictures at the speed of life SDXC is also the first memory card specification to provide 2TB storage without hindering the high-speed performance necessary for high-end photography. It will provide maximum speeds even when the SDXC specification achieves its maximum 2TB storage capacity.
"SDXC is a large-capacity card that can store more than 4,000 RAW images, which is the uncompressed mode professionals use, and 17,000 of the fine-mode most consumers use. That capacity, combined with the exFAT file system, increases movie recording time and reduces starting time to improve photo-capturing opportunities," said Shigeto Kanda, general manager at Canon. "Improvements in interface speed allow further increases in continuous shooting speed and higher resolution movie recordings. As a memory card well suited to small-sized user-friendly digital cameras, the SDXC specification will help consumers realize the full potential of our cameras."
SDXC will enable camcorders to provide longer, professional level HD video recording with a small form factor.
The SDXC specification uses Microsoft's exFAT file system to support its large capacity and interoperability in a broad range of PCs, consumer electronics and mobile phones. The exFAT system was designed for increased compatibility with flash media, from portability of data to interoperability with multiple platforms and devices on removable media.
"The SD Association is committed to answering and anticipating consumer demand for easy-to-use memory card storage that is interoperable in any device with a matching SD slot," Taylor said. "The SDXC card gives consumers a new, yet familiar, high-performance card that will be used in hundreds of manufacturers' device offerings."
SD Association The SD Association is a global ecosystem of more than 1,100 technology companies charged with setting interoperable SD standards. The association encourages the development of consumer electronic, wireless communication, digital imaging and networking products that utilize market-leading SD technology. The SD standard is the number one choice for consumers and has earned nearly 80 percent of the memory card market with its reliable interoperability and its easy-to-use format. Today, mobile phones, Blu-ray players, HDTVs, audio players, automotive multimedia systems, handheld PCs, cameras and camcorders feature SD interoperability. For more information about SDA or to join, please visit the association's web site, www.sdcard.org.
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All you art collectors out there. Here is a chance to get a Giclee copy of some of Ian M Sherwin work. Ian is planning on doing a whole series of Marblehead, Massachusetts paintings. His work is amazing.
The SD Association has announced a new card spec dubbed SDXC (eXtended Capacity) that can support memory capacities up to 2TB with read/write speeds to 104MB per second.
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