The last iteration of Canon’s compact rangefinder-esque series of cameras, the G12, wasn’t particularly compelling to me. It barely stood up to its opposite number at Nikon, on paper at least, and the superb S95 seemed like a better deal to most people who opted to go Canon at that price. Today they’ve unveiled the G1X, however, which addresses most of the sticking points of the previous device, though it also raises the price considerably.

It’s been upgraded with a new 1.5″ (18.7 x 14mm) sensor, which is a bit smaller than an APS-C sensor like you’d find in their consumer DSLRs but significantly larger than a micro four-thirds one. And at 14 megapixels, they’re not trying to pack too many pixels on there.

They’ve also upgraded the LCD: the inferior 480×320 one on the G12 has had its pixel count doubled, giving a nice sharp 640×480. It’s also a little bit bigger: 3″ versus 2.8″ on the last one. You can see some other changes in DPReview’s quick preview; I like the chunky design of this camera better than its predecessor.

The lens, unfortunately, isn’t going to win any awards. A 28-112mm equivalent (4x) zoom that goes from F/2.8 on the short end to F/5.6 on the long end — sounds a bit more like a mid-range point and shoot than an enthusiast’s compact. Compared with the likes of the Fujifilm X10 and even last year’s Olympus XZ-1, this isn’t very special glass.

And at $800, it’s a steeper asking price. At the previous $500 price this would be more than a steal, but at $800 you have that X10, a number of devices from Sony and Samsung, and then the many M4/3 devices from the likes of Panasonic and Olympus. We’ll wait and see how it actually performs, but it has its work cut out for it.

In this evening of dueling announcements (RED announced their compact high-res camera system tonight as well), Canon has shown that it’s serious in the area of digital cinema with its new Cinema EOS system. The first camera in the line is the C300, a compact camera that, contrary to expectations, doesn’t produce a 4K image. They’ve instead focused on maximizing the performance of a Super 35-sized sensor producing 1080p footage.

To many this resolution will be a disappointment, but Canon has something for that crowd as well (though now quite in complete form): a DSLR “concept” which they stopped short of calling the 5D Mk III, but which seems to fill that role, complete with 4K recording:

It’s a new focus on pro but not super-pro cinema (i.e. not $100k cameras) using the EOS branding and EF mount, and it builds on Canon’s existing reputation in that area. I noted the issues with DSLR sensors years ago, and it looks like Canon is aiming at keeping the strengths while mitigating the weaknesses.

While the DSLR is less than real at this point (though it likely just lacks final design and manufacturing), the C300 is as real as it gets.

It records 1920×1080 images of the red and blue channels, and 1920×2160 for the greens, in semi-traditional RGBG style, for a 1080p stream at up to 24fps and 50mbps. As far as the numbers go, it’s a far cry from RED’s scarlet, which at half the price offers four times the resolution and eight times the datarate. But specs aren’t everything and what matters is how well these perform in real life situations.

The C300, in PL and EF mount versions, will be available in January and March of 2012 respectively for around $20,000.

At a media even in the Big Apple, Canon today announced its latest flagship photo printer, the Pixma Pro-1. According to Canon, the Pixma Pro-1 is the world’s first A3+ printer to boast 12 separate inks.

Along with Photo and Matte black inks, there are three grey inks — dark grey, grey, and light grey — and six color inks, including Cyan, Photo Cyan, Magenta, Photo Magenta, Yellow and Red. The printer also comes with a Chroma Optimizer, which is meant to add richness to blacks and add uniformity to glossiness.

Compared to older Pixma models, the Pixma Pro-1 sports 2.5x larger ink tanks to allow for less ink cartridge replacements. The printer features front-opening panels for easy access, and a rear paper tray which takes up to 20 sheets of photo paper. The manual feed slot can handle heavier artsy papers up to 14-inches wide.

Canon has also doubled its input resolution compared to previous models, with 1200 DPI. The printer will feature Canon’s Easy-PhotoPrint Pro software, which can work as its own tool or as a Photoshop plug-in.

The Pixma Pro-1 photo printer will go for $999.

Canon has just announced the next version of their flagship 1D series of professional DSLRs, the EOS-1D X. It’s faster and better in just about every way, and few of you will be lucky enough to use one, since it goes for just under seven grand. But for the people who have used the 1D Mk III and Mk IV for the last few years, it’s looking like a worthy upgrade.

Pretty much every aspect of the camera has been improved. Perhaps the most modest upgrade is the megapixel count. At 18 megapixels in a full frame sensor, it’s got a bit more than the Mk IV but fewer than Canon’s other full-frame cameras. Canon says the new sensor that is says produces less noise than ever, and uses larger pixel wells than the Mk IV or 5D Mk II. These go through a set of three DIGIC 5+ image processors, which I assume is a small upgrade to the existing 5 series. It can fire 14 frames per second in JPEG mode or 12 when you’re writing RAWs.

ISO goes from 100 to 51200, and can be expanded to 204,800. That’s monstrous, though you probably wouldn’t want to frame the results. It also has a new 61-point AF system, and AF configuration tools like those on the 7D.

One of the image processors is dedicated to determine exposure, tracking a ton of different zones and hopefully producing faster and more accurate exposure. There is also a multiple exposure mode for doing what people think of as HDR, or just for capturing a photo in tricky light conditions. You can expose up to nine times for a single image, assuming, I suppose, the subject stays still.

Video has been improved quite a bit. The formats are the usual HD ones at the usual framerates, but they’ve made concessions to the filmmaking crowd, with whom the 5D Mk II has been such a hit. Canon has revamped the encoding method so you can choose between all i-frames and normal compression. Timecodes are also better, and audio levels can be adjusted on the fly. And now you can do longer continuous takes, up to half an hour of video, though it will still split it up into 4GB chunks due to file system restrictions.

Lastly, there are a few ergonomic improvements and a redesigned shutter and mirror mechanism. It has built in LAN connector instead of wireless, which is a little weird. There’s a wireless accessory you can buy, naturally, and a GPS thing, too.

The whole thing will set you back $6800. Yes, it’s a lot of money — these are mainly going to sports and nature photographers, people who need every possible advantage to get the shot. Taking snaps of the kids? This thing probably isn’t necessary. But I think low budget filmmakers might find it a compelling alternative to the 5D Mk II, assuming the claims of superior low light performance and reduced moire are substantiated.

The full press release can be found here. Unfortunately, I don’t think I’ll be reviewing this thing. I’d be too afraid I’d drop it.

If you’ve been in photography for more than ten years, you probably remember the way things used to be on old film cameras. There was no electronic interconnect between the lens and the body, so lens-related functions (focus, zoom, aperture) were on the lens and body-related functions (ASA, shutter speed) were on the body. That changed as autofocus and auto-exposure, particularly on digital cameras, necessitated a data connection between the lens and the body. While we never did away with the focus and zoom rings, aperture went right out the window and was electronically controlled.

A few nice cameras have aperture rings now — the X100, for instance — but generally speaking you can’t find one except on professional cinema gear these days. But Canon may be looking to change that.

A recent patent detailed at Photography Bay shows a system for controlling the functions of a lens using three on-lens rings (or two on a prime, presumably), the hindmost of which controls a diaphragm, which we can take to mean the iris. Old-school photographers will be overjoyed.

Newer camera systems have attempted to modernize the ring system by having one ring stand in for all three, its active function chosen by a switch or setting. A reasonable attempt but (I suspect) unsatisfying for many photographers.

One point that isn’t clear is whether the ring will be stepped or stepless. Traditionally, aperture rings have moved in mechanically-separated 1/3-stop steps, which aids in keeping exposures consistent and prevents an aperture equivalent to zoom creep. But the stepped exposure dial is a pain for motion video, where the steps are easily perceived as they change. There’s no reason why the iris shouldn’t be able to move smoothly from open to shut and stop anywhere along the way (perhaps rounded off to the nearest third), and it may be that this is a feature planned for Canon’s next big announcement in November.

No announcements have been made, of course, but the patent was interesting to warrant a post anyway.

AirPrint allows for iOS printing on a select number of HP printers. Well, that list just got a little more competitive thanks to a Canon. This marks the first non-HP option for AirPrint. Previously, users had the choose of HP laser printers or HP all-in-ones or, you know, HP photo printers. Now, the PIXMA MG8220, MG6220 or MG5320 all support wireless iOS printing, which makes the world a better place.

Canon also announced that from here on out, AirPrint will be supported on the majority of PIXMA inkjet printers. This follows Epson’s release stating that its Printers would be AirPlay-friendly in the near future as well.

Next up, hopefully, is universal wireless print support for Android devices. Hopefully. Maybe. Probably not.

Canon took the wire this morning to announce two new significant point & shoot cameras. The PowerShot S100 replaces the much-loved S95 while the PowerShot SX40 HS becomes the company’s latest mega zoom shooter. Both hit at respectable price points and bring impressive new features including the DiGiC 5 processor that promises better low capture, improved color accuracy and even less digital noise — you know, overall better performance than the previous version.

The S100 has big, but if you will, physically small, shoes to fill. This little shooter may look like any ol’ pocket type, but it actually packs an impressive feature set and will hopefully follow the same trail to photographic stardom as its predecessor, the S95. You see, the S95 is almost universially loved for its impressive low light ability and great f2.0 lens. However, battery life is poor and the video capture is limited to 720p. The S100 should solve both of those issues.

A CMOS sensor rests ehind a f2.0 lens that’s slightly wider and longer than used in the S95. Gone is the CCD chip used in the previous model, but this new sensor allows for 1080p video capture and an ISO of 6400, twice that of the S95. The camera also features the new DiGiC 5 processor that among the aforementioned abilities allows for an impressive burst mode dubbed Highspeed Burst HQ that captures 8 frames at full resolution at a rate of 9.6 photos per second. This burst mode, also featured on the SX40 below, is Canon’s first full resolution mode as previous incarnations dropped the resolution down to 2MP.

The S100 is housed in an even smaller casing than the already-pocket friendly S95 despite retaining the multi-function lens ring, 3-inch rear LCD panel and the new integrated GPS chip. Expect the S100 sometime in early November for $429.

Ths SX40 HS replaces the aging SX30 IS. It hits at the same $429 price point as the old version but packs the same 12.1 MP sensor and DiGiC processor used in the S100. This allows for 1080p recording and high speed burst capture, but through the eyes of the same 35x IS lens used in the SX30 IS. This massive 150.5mm, f2.7 lens requires an equally as massive camera housing and it seems as if Canon also employed the old housing as well. But still, the new sensor powered by the new image processor, likely makes the SX40 a worthy successor.

Nothing goes better with back-to-school clothes than a nice little point-and-shoot. Thus, Canon’s timing couldn’t be any better. Today the new PowerShot digital cameras are making their debut, and from the looks of it, Canon has its bases covered.

We have three new models: the PowerShot SX150 IS, PowerShot Elph 510 HS, and the PowerShot Elph 310 HS. Most impressive by a mile is the Elph 510 HS, which Canon is describing as “the thinnest digital camera in the world (with 12x optical zoom and a 28mm wide-angle lens).” A bold statement, but the 510 HS seems to be bringing it.

Features shared by all three shooters:

• Intelligent IS: an image stabilization system that automatically determines the proper shooting mode based on conditions
• Smart Auto: automatically selects the correct setting based on 32 predetermined shooting scenes (only 21 for video capture)
• Speaking of… All three cameras record HD video
• iFrame compatability

These bad boys range between $250 and $350, come in all shapes and sizes, and color options galore (at least for the little guy.) Let’s take a look, shall we?

Canon PowerShot ELPH 510 HS

This is undoubtedly the looker of the trio: a super slim design, touchscreen LCD display, and 1080p video capture. Yep, all the bells and whistles accounted for. Here are the full specs:

• 12.1 CMOS sensor with 12x optical zoom
• 28mm wide-angle lens
• Canon’s HS System: combines a 12.1-megapixel CMOS sensor and a DIGIC 4 Image processor to maintain high quality photos in low-light settings (also on the 310 HS)
• 1080p HD video capture
• High-Speed Burst mode: 7.8 fps
• 3.2-inch LCD touch display
• Touch Shutter: tap to focus, release to snap a pic
• Colors: Black, Red, and Silver
• MSRP: $349.99
• Available in “the beginning of October”

Canon PowerShot ELPH 310 HS

Next up, we have the 510 HS’s little brother, the Elph 310 HS. This is the cheaper of the Elph models and with the color options, I’m betting it’ll end up in the hands of many a teenager. Full specs:

• 12.1-megapixel CMOS sensor with 8x optical zoom
• 28mm wide-angle lens
• Canon’s HS System
• 1080p Full HD video capture
• High-Speed Burst mode: 8.7 fps
• 3-inch LCD
• Colors galore: Purple, Blue, Pink, Green, and Silver
• MRSP: $259.99
• Available “in the beginning of October”

Canon PowerShot SX150 IS

Last, but not least (but also kind of least because it’s the cheapest of the three), we have the PowerShot SX 150 IS. Take a look at the specs:

• 12x optical zoom
• 28mm wide-angle lens
• 720p HD
• Manual-shooting capabilities (aperture and shutter priority)
• 3-inch LCD screen
• Colors: Black and Red
• MSRP: $249.99
• Available “in the beginning of September”

Lens-related ephemera seems to be a soft spot of mine. Canon thermoses, Canon mugs, Nikon Mugs, Nikon bracelets — the fun never stops. Or, alternatively, it never starts, if you’re a Pentax user. All you get is great cameras and an amazing lens selection.

For the photographer who likes a tipple now and then, or just loves things that look like lenses, consider these twee 24-105mm zoom shot glasses. I can’t vouch for the image stabilization, but you can’t fault them for their size.

Their capacity is 1.5oz (i.e. a normal shot glass), they’re made of sturdy glazed ceramic, and they cost $18 for a set of three over at Photojojo.

[via OhGizmo]

With HD video recording, great image quality, and a solid selection of lenses, the Nikon D5100 and Canon T3i are on the top of a lot of wish lists out there. For people already in the Canon or Nikon camp (full disclosure: I’m a Canon man), the choice is obvious if an upgrade is in their future, but for the less dogmatic and new recruits to the DSLR crowd, it’s not nearly as clear-cut. $800 buys you a lot of camera either way.

Pixel peepers will want to check out the reliable and exhaustive reviews at DP Review (here and here) and other photography-centric sites where systematic checks on image quality are conducted, but I wanted to just put these two worthy devices head to head and see not just how they compare technically but in everyday use.

Before I get into my anecdotal review, let’s just review the major specs on the two cameras.

So, nothing decisive. Nikon has an edge in its autofocus system and (ostensibly) ISO capability, and Canon has a couple more megapixels and a slightly better LCD. But they’re close enough that it’s no way to determine which to get.

Yet one of these must be the better camera, or at least certain types of shooters might reasonably prefer one or the other. I’m going to look at a few of the major differentiating points that you wouldn’t really think about unless you had the camera in your hands. Note that these points are not necessarily new with these cameras! The primary change in these two models is the addition of an articulating LCD. Otherwise they’re very similar to their predecessors. But since these are the newest models and are likely to make the prospective DSLR-buyer lose some sleep (as they are both excellent values), a straight comparison seems in order. This is a practical comparison focusing on things consumer commonly care about.

Both cameras were tested using their kit lenses and processed in Adobe Lightroom. And the lenses form as good a place to start as any, as a large amount of first-time DSLR buyers stick with the kit lens at least for the starting period.

Update: My mistake. I was under the impression Canon had upped its kit lens to the 18-135, but in fact the kit lens is in fact still the EF-S 18-55mm f/3.5-5.6 IS. I’ve used the lens and I would amend the following review to the effect that the Nikon actually does come with a better lens (the Nikon kit lens, while not great, is better built and possibly better optically) – so wherever I mention an advantage due to the lens, please disregard that. I’ve also updated the conclusion. That said, my advice to prospective DSLR owners is to get the body only and spend the money you’ve saved on a cheap prime. They’re more fun to experiment with and cheap zooms are incredibly easy to come by later if you want one.

Kit lens

The T3i comes with an 18-135 F/3.5-5.6. The D5100 has an 18-55 F/3.5-5.6. Both have optical image stabilization, which helps keep longer exposures sharp (I wouldn’t trust it below 1/20th of a second) but can’t really help in really bad light.

The Canon lens is the more practical choice here. While neither one is any great shakes optically and you lose light really quick when zooming in, the Canon has two advantages over the Nikon: first, that extra bit on the long end is really handy if you only have the one lens. It’s quite a decent telephoto length, suitable for getting wildlife, birds, and so on at middle distance. The same object at the end of the Nikon focal length would have less clarity in most situations. Second, the Canon lens, while somewhat larger, has all internal elements — meaning nothing on the outside moves except the switches and rings. The Nikon, on the other hand, has a telescoping front element that moves in and out with both focus and zoom, and manual focusing spins the whole barrel. It feels a bit chintzy, like it couldn’t handle a good ding on a doorframe, and it’s poking out of the front all day long.

For what it’s worth, though, my brief tests showed the Nikon lens performed better optically. At 100%, the Canon shots showed significantly more fringing in bright light. Not something you’d notice if you were to shrink the pictures by a bit, but certainly worth mentioning.

Something that would have been nice to have on both lenses would be maximum aperture indicators on the zoom dial, but that’s uncommon anyway and the in-viewfinder info is sufficient.

Viewfinder

Both viewfinders are run-of-the-mill pentamirror, so neither has a major advantage over the other. But they’re not identical. The rubber eye rest is slightly different but comfortable on both. Neither sticks out far so you’ll be rubbing your nose on the screen no matter what.

The Nikon’s viewfinder shows more of the image than the Canon — that is, given the same focal length on the lens, the Nikon shows more of what will actually be captured. It’s only perhaps 3% more (by my estimate) but it’s noticeable if you’re looking for it.

That said, I like the readout in the Canon viewfinder better; it seems to me to be brighter and more readable. The autofocus points are much more visible on the Canon viewfinder, which is a matter of taste really. The Canon has a circle for showing where center-weighted exposure will limit itself to, which is handy.

LCD

Canon’s LCD is the same size but slightly higher-resolution (720×480 instead of 640×480), and has the advantage of being natively 3:2. I find this makes images a little nicer to review, but both screens are way better than the 480×320 screens we had just a couple years ago. The Canon’s also seems to me to look ever so slightly sharper; I could read the title of a book ten feet from me at 18mm on the Canon just barely, but on the Nikon I couldn’t make it out.

Both screens articulate out to the left and then spin 270 degrees vertically. Action on both is smooth and they booth seem about as sturdy as a built-in articulating LCD should. Both lock down securely with either the LCD or plastic back outwards. However, the Canon’s has a cutout “handle” on the right, and the Nikon has two small grips on the top and bottom. Canon’s works best for grabbing with your thumb, and I found it more convenient than the two-finger pinching grab for the Nikon. That’s another matter of taste but I definitely preferred the thumb grip.

Controls

Apart from the normal differences in Canon/Nikon layouts, the latest Canons have in addition a sculpted shape and are nearly flush with the body. The D5100′s buttons are all circular, though of various “depths.” Both have a mix of clicking and non-clicking buttons, and the general rule seems to be that any buttons that directly affect the photo don’t click.

The Canon’s buttons were more consistent in their feel, but they’re so nearly flush that some can be difficult to identify in the dark or without taking your eye from the viewfinder. Its directional buttons are certainly better, though: Nikon’s circular D-pad feels soft. I prefer Nikon’s silvered, more vertical shutter button, though, and that’s certainly the button you’ll be using the most.

As a Canon user, I’ve grown used to the jog dial being under my index finger, but whether you like it better there than under your thumb is something for you to figure out on your own. Canon’s mode dial is far larger, which I find helpful, though it stops at A-Dep (why not manual?) and mode, and Nikon’s just keeps spinning. Knowing the position of the dial relative to the ends can be a time saver.

One thing the T3i has that the D5100 doesn’t is a dedicated ISO control button. On the D5100, you have to go one step into the menu to select a different ISO, while on the T3i it’s just one button press. This is strange to me because Nikon has a finer grain of control on the ISO and you’d think they’d want to have that out there. I’d trade the “info” button for ISO in a second.

As for the interface on the screen: Nikon’s graphical representation and primary-stats-central look is attractive and nice for people who aren’t used to SLR controls — but it seems a bit flashy and secondary information isn’t quite as clearly ascertained at a quick glance.

Live view

The D5100 has a great little snappy lever that switches you in and out of LV. The Canon has a dedicated (circular) button. The D5100 gets into LV much more quickly, too — I’d say a quarter of a second, while the Canon takes a half. It doesn’t sound like much, but it’s truly noticeable and may affect your usage of that mode.

Once in LV, both cameras are sluggish on autofocus. The Nikon seemed to make its mind up more quickly, though, while the Canon took several extra steps, making a labored clicking noise. Manual focus is still probably your best option, but they’re getting better and Nikon is certainly the winner here.

Body

The T3i is an ounce lighter than the Nikon, but it’s also larger and much more aggressively sculpted on the right side (though it’s difficult to tell from the pictures). Those with larger hands will appreciate this, as it provides more real estate in general, but neither camera is big enough for big hands. I’ve got good-sized hands and I’ve been shooting on a Rebel for years, but it’s not for everyone. Nikon has a bigger lip poking out under the shutter but overall Canon has more going on.

Canon also put more sculpting into the right rear and left front sides. The T3i has a texture, grippy material in both places and a sort of valley that your thumb goes in while holding the camera normally.

The flaps and doors covering the ports and such aren’t exactly leagues apart quality-wise, but the Nikon’s SD door springs up, and all its ports are under a single flap, both of which I think give it an edge.

Movie mode

Canon has a dedicated movie mode on the mode dial, while Nikon has you record using a separate button while in Live View. There are merits to both of these (especially considering how fast Nikon jumps into LV), but being able to boot straight into video-shooting mode is handy if you’re doing primarily video content.

As for formats, it’s a toss-up. In 1080p the cameras have the same framerates but Nikon has the advantage of two quality settings. Both produce quite huge files. At 720p, Nikon uses the more common 24 or 30 frames as options, while Canon has 50 and 60fps. On one hand, the Nikon formats are more easy to use for normal shooting, while on the other, 60fps works as a sort of poor man’s slow motion, slowing things down by a half or more depending on how you display it. But then Nikon goes and messes things up by having the low-quality option be 640×424 instead of the standard (and 4:3) 640×480. That’s 3:2 more or less, but 16:9 and 4:3 are much more commonly used for video.

Nikon has some in-camera effects like “miniature” and “Night Vision,” but to be perfectly honest I think if you’re shooting video with your DSLR you’re far less likely to want in-camera effects. At the very least a new amateur video editor will put things in iMovie or the like, where these effects are better, more adjustable, and don’t bog down the camera (as some of them do). That said, being able to see the scene in black and white could be handy.

Image quality

While DP Review’s charts will tell you far more about this than my little dabblings here, it can’t hurt to have a few real-world comparison shots you can pore over if you like. The cameras were set to the exact same exposure settings and set to go straight to large JPEG (no RAW performance data for you). I do want to mention, though, that on “manual” mode, the Nikon kept changing the exposure I’d set it to. I really don’t know why in manual mode it would change anything at all.

Here you have the ideal lighting situation: nothing moving, nice fast shutter and medium aperture. I set both cameras to 1/500th at f/9 and 200 ISO. If you download the 100% one you can really see the differences in CA.

T3i (left) – D5100 (right)

Next, in the same bright circumstances, a shot using the most automatic mode. Again I think the win goes to Nikon, due to some excessive processing on Canon’s part.

T3i

D5100

And here’s a low-light situation, at ISO 3200. The Canon warms up quite a bit, but in the end the fine details are retained better.

Check out the full size shots in this Flickr set.

Conclusion

I can’t tell you which of these cameras will feel better to shoot. But let’s just run down the cameras’ strengths really quick. Some of these are just my opinion, obviously, but I think it’s legit to say when something seemed truly preferable to me.

Canon T3i

• Somewhat sharper, more convenient LCD
• Aggressive shape more suitable for larger hands
• Controls more ergonomic
• More all-purpose kit lens
• 60fps video recording and 4:3 VGA mode
• More convenient as an primary video device
• Supports more in-production lenses

Nikon D5100

• More compact, definitely feels smaller
• Better viewfinder coverage
• Faster entry and better performance in Live View
• Single flap for I/O ports
• Scene modes and quality control in video
• Higher ISOs available (though not necessarily practical)
• Quick setting of single autofocus points

Look at those lists and see if anything catches your eye. Because these are both excellent cameras and either way you’re going to get a lot for your money. If I had to choose, I’d say that the Canon is a better buy: the kit lens, more versatile video, and a more serious-feeling body. That said, the Nikon is definitely more compact, and for some, its video options may be better.

Update: Adjusting for my mistake regarding the kit lens makes this choice even more difficult. Personally I would still go with the T3i because I never use in-camera scene modes, I shoot primarily in low ISO, and rarely use Live View or in-LV focus (I’m just more of an old-fashioned photographer). For a beginner, the D5100 may be more user-friendly, while someone who knows what they want (like me) might very easily choose the T3i over it. As always, the best choice may be to visit your local camera store and give them both a look.

Note: if you decide to go with the T3i, consider whether you could go with the T2i. The articulating screen is really the only major feature missing (the D5100 is more of a step up from its kid brother), so you could save quite a bit of money on getting a T2i body-only and use it to pick up a nicer lens. Just an idea.

Product page: Canon T3i
Product page: Nikon D5100

All-in-one. That’s my golden word. If you want to sell me something, make sure it can do ten completely random never-would-have-expected-it-to tasks, and I’m in. Three-in-one is only slightly less enticing, but still worth a good inspection. Canon today introduced its X Mark I Mouse Lite — a three-in-one calculator, keypad and laser mouse designed by the Canon camera team.

This would be a nice addition to any office, and it doesn’t look half bad either. With three mouse buttons, including a scroll wheel, the Canon mouse has support for Bluetooth 2.01. The Canon X Mark I Mouse Lite comes in both black and white, and is compatible with both Windows and Mac OS X. The mouse also sports a little low battery indicator to make sure you stay charged.

Canon is selling this alongside its X Mark I Keypad that doubles as a 10-digit semi-calculator. Both will go for an MSRP of $59.99. However, the X Mark I Mouse Lite will be available in August, whereas the keypad won’t show up until September.

Yes, Canon’s entry-level DSLR now comes in three new and surprisingly tasteful colors. Sober grey, espresso brown, and wine red are added to the plain black version, though there are no lenses to match. They cost the same with the kit lens ($600), though right now the Canon store has them for $50 off. You can find it online for less, but it’s worth mentioning.

With 12 megapixels, a 4x zoom, and a 2.7-inch screen, it’s not breaking any records, but you can trust it to take decent pictures (or make a great gift).

[via PetaPixel]

Elcomsoft, however, claims to have demonstrated that the key can be re-written, and therefore fake images be made “authentic” according to Nikon’s tools. They have informed Nikon of the problem, but have received no response… so up it goes on the internet. The actual method isn’t disclosed, but a few sample photos (obviously doctored) are provided that should pass the Nikon authentication system.

The same company found a few months ago that Canon’s system to the same effect can also be compromised. What’s the take-away here? Well, for legal and professional purposes, making sure an image is “real” just got a bit more difficult — if you assume there are people out there who know the method Elcomsoft is describing.

[via PC World]

It’s an acknowledged weakness in DSLR workflows, so it makes sense to get some high-level color help from perhaps the most recognized name in color. Technicolor is lending their name and expertise to a new setting called CineStyle, which through mechanisms unknown, retains more information for colorists and cinematographers to adjust.

It’ll be shown off at NAB in a few days — perhaps more details will emerge then as to which cameras will be getting the new setting.

Carl Zeiss just announced a bundle of prime lenses for both Canon and Nikon DSLRs. The bundle includes five prime lenses ranging from a 21mm f2.8 to a 85mm f1.4. All the lenses fit conveniently in a waterproof case, custom fitted for the lenses. These would be great for filmmakers and photographers or anyone with a spare $6000 lying around.

Press Release

Last year, we heard Canon was vaguely planning on getting into the M4/3 camera market. More recently Canon Europe’s head of consumer imaging, Rainer Fuehres, said that Canon has no need to enter the mirrorless compact system (CSC) segment.

Canon Europe head of consumer imaging Rainer Fuehres says “The idea of the compact system camera is nothing to do with whether the camera has a mirror or not, but about creating a small and more portable system. If Canon does take part I hope we won’t introduce just a me-too product, but we’ll use the opportunity to do something different. For Canon it would be about connectivity and providing high image quality in a small form.”

It hasn’t been ruled out that Canon will introduce a CSC. Fuehres indicated that if it were to happen it would only be because Canon could do it in a different manner.

[via electronista]

Three from James Miller on Vimeo.

James Miller wanted to transfer this old Super 8 movie shot in 1979 to digital. Instead of, you know, using ready-made gear or services, he attached a mask to a Canon 5DMK2 and ran the film a frame at a time past the sensor, syncing the frames with the camera’s recording capabilities. The results are impressive, to be sure, but according to Miller the build took two years to complete.

Here’s his complete process:

The Projector – 8mm Direct to 5Dmk2 from James Miller on Vimeo.

via Giz