Are you ready for yet another memory card format? Dubbed XQD, the medium was first announced by Sandisk, Sony and Nikon in November 2010. And after the the CompactFlash Association finalized the specifications last month, Sony took the wraps off the world’s first XQD cards today.

Two versions of the card will be available, in addition to an XQD-compatible card reader (USB 3.0) and an ExpressCard Adapter. Here are some details from Sony America:

• QD-H16 card, 16 GB, $129.99
• QD-H32 card, 32 GB, $229.99
• Card Reader, MRW-E80, $44.99
• ExpressCard Adapter, QDA-EX1, $44.99

Sony says that the cards boast data transfer rates of up to 1Gbps/125MB/s write and read. From the press release:

Using the XQD memory cards, XQD compatible high-end DSLR (Digital Single Lens Reflex) camera users can capture up to approximately 100 frames in RAW format in continuous shooting mode. In addition to outstanding high-speed data transfer capability, the new cards are highly reliable to protect users’ data and images.

Sony is planning to roll out the XQD memory cards, the reader, and the adapter next month.

Some specs for Nikon’s next semi-pro camera have surfaced on Japanese camera site Digital Camera Info, and Nikon Rumors seems to think they’re creditable. It’s an interesting move by Nikon but not one that will be appreciated by the bulk of DSLR buyers.

The new D800, they say, will pack 36 megapixels on a full frame FX sensor, and essentially forgo advances in low-light performance in order to produce a medium-cost studio camera instead of a lower-cost prosumer one. The rumored $4000 price puts it out of most enthusiasts’ reach, and the high megapixel count makes it less practical for sports and field photography.

Video will be 1080p/30, though they may add additional framerates. The LCD will be larger and brighter (likely with an improvement in resolution as well), and there will be two CF cards slots and one SD. The four frame per second burst speed won’t wow anyone, but I’m guessing that is a deliberate decision given the reassigned priorities. The release date is rumored to be November 24th, with an announcement on October 26th.

We’ll see how the rumors pan out, but it’s certainly about time for the Dx00 range to get an update. The problem is that this D800 doesn’t seem to replace the D700 so much as add a new entire type to the lineup, below the D3s in size and low light performance and above the D3x in megapixels. What of the D700? Will there be a new model at the $2500-$3000 price, perhaps a D700s with a focus on low light? Very little information on that front, unfortunately.

It’s all speculation, of course, until the information is truly out there. And until the cameras are actually reviewed, the capabilities are merely theoretical. Patience is the word today for Nikon fans.

A new Nikon website has just gone live, the rather curiously-named iamcomings.com. I guess these guys didn’t want to sell. It consists of a lot of yellow, a countdown at around 43 hours as of this writing, and the ominous message “I AM COMING.”

What is coming? Well, we’re guessing it’s Nikon’s mirrorless cameras, the V1 and J1. We saw some leaked specs a while back, and have been seeing patents and rumors for a months.

The cameras are supposed to be quite compact, with 10.1-megapixel sensors an a 2.7x crop factor, with a new “CX” lens system. The higher-end V1 would have an EVF and the cheaper J1 would sport a built-in flash. Both would have a 3-inch LCD on the back and possibly an interesting form of motorized zoom.

A whole new Nikon system could be a major win if they get a quality product out before arch-rival Canon, but it could also be a colossal boondoggle if the devices fail to draw buyers away from the rapidly-improving micro four-thirds standard and others like it. That said, launching a working product is an accomplishment in itself, and if they’re on their second iteration when Canon decides to join the party, that’s worth it whether the camera is a hit or not.

We’ll be watching closely for news and maybe we’ll even find ourselves in a position to handle the new cameras come Wednesday.

This beauty is a Nikon F Photomic T, which first hit the streets all the back in 1965. Aside from being a gorgeous piece of retro tech, it’s also one of several NASA-owned cameras from the estate of collector Arthur Keir that have been put up for auction.

Keir’s NASA collection spans the decades, from the Nikon F you see above, to its successor the Nikon F2 (1978), to a bulky Canon L2 video camera that flew on the Space Shuttle Columbia (1998).

For those less interested in photography, Keir has also amassed quite a bit of NASA effluvia, ranging from a glove bladder to thermal slippers, both of which were meant for extra-vehicular activity.

If this blast from the past has you reaching for your wallet, be warned: prices seem to be a bit on the steep side. Still, some of these pieces could be gifts of a lifetime to the maniacal photographer in your life, so feel free to check out the rest of Keir’s collection. Even if you resist the temptation to buy something, you’re sure to get your daily dose of retro camera porn.

All the cool kids are going mirrorless these days. Micro 4/3 cameras like the E-PL3 and luxury compacts like the X100 are starting to capture market share as the format matures and people see the benefits. But Canon and Nikon, the great warring giants of photography, have yet to announce any plans. After all, their mirror-rich DSLR lines sell a ton. They don’t want to make their move too early. But Nikon may be getting ready to go first.

Nikon Rumors has gotten its hands on what it thinks are fairly legit specs for Nikon’s upcoming mirrorless line. According to their tips, the first two cameras will be called the V1 and J1. The V1 will be the higher-end model, with a high-resolution EVF and a multi-accessory port. The J1 will have a built-in flash instead of the port. Both will be 10.1 megapixels with 3-inch LCD screens, and will be compatible with a new line of lenses, the CX system.

We saw a leaked picture of the sensor, and the 2.7x crop factor mentioned seems to work with that, though indeed that shot may be where they got that information. There have also been some interesting patents over the last year or so. Early on there was a mirrorless system specced and illustrated in cross section, then we saw a patent on a new type of motorized zoom. Supposedly the V1 and J1 will have a feature or two not shared by their competitors, and that zoom may be one of them.

Will people buy into a first-generation Nikon system when M4/3 systems are entering their third generation, and systems like the Sony’s NEX are becoming more and more compelling? The cameras will have to speak for themselves. No word on date just yet.

It’s been a camera-ish day today. Canon released its new Powershot cameras early this morning, Sony just updated its Alpha and NEX lines, and now here we have a bundle of Nikons just coming out. Do they plan it like this, to make things difficult for us bloggers just trying to relax on a warm Tuesday night?

Well, let’s get on with it. I’ll make it quick for you. Some of these are actually quite decent.

First up, we’ve got the P7100, successor to the P7000. This is the top-end compact camera for Nikon, popular among photographers as a quickie back-up.

It’s substantially the same (10.1 megapixels, 7x zoom, 640×480 LCD, 720p video), but adds a few new features. You’ve got an updated image processor, new on-screen interface, and the ability to zoom while recording video. The body has gained a dial on the front, bringing the total dials on this thing up to six, if I’m not mistaken. The LCD also tilts now, but it doesn’t rotate.

It’s an improvement, but not a big one — and that sensor needs a boost. If Canon’s next G-series ups the ante, Nikon’s going to be left behind — the way they left Canon behind last year with the P7000. It’ll cost $500 in September.

Next, the AW100. This is your rugged point and shoot, able to go 33ft underwater, survive a drop of five feet, and resist temperatures down to a “frigid” 14°F. The back-illuminated sensor produces 16 megapixels at up to 3200 ISO, and will record 1080p video. You’ve got a 5x zoom on the front and a 3″ 480×320 LCD on the back. My favorite part: it’ll record movies at 60, 120, or 240fps. That’s some solid slow motion, though I assume it reduces the resolution.

The bad news? This mother will set you back $380 come September. That’s more than any rugged point and shoot I’ve used, though to be fair it does sound better than any rugged point and shoot I’ve used.

Next you have the vast assortment of S-series cameras. I’ll forgo the details (available here) and give you the nicknames I’ve assigned them:

S1200pj

“The one with a projector you’ll never use” – $430 (!)

S100

“The skinny one with the OLED touchscreen, and apparently you hold it vertically?” – $300

S8200

“The rich kid’s camera with the nice screen and 14x zoom” – $330

S6200

“Good enough” – $230

What’s the take-away? These are all a bit expensive, really, but if you have cash to spare, the AW100 strikes me as the best deal for a take-everywhere camera. Plus it does super slow motion, which is even more fun than it sounds. I’d wait for Canon’s response to the P7100 (i.e. the G13) before committing, if you’re okay with that.

More information should be available over at Nikon’s Coolpix site soon.

Update: NikonRumors notes that they are available for preorder.

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

That Nikon and Canon both have mirrorless cameras solutions in the labs seems like a foregone conclusion. It would be silly for them not to at the very least be looking into it. But this is one of the first glances we’ve had at something other than patent illustrations and spec rumors: a picture that is claimed to be of Nikon’s new compact interchangeable lens camera system. The mount and sensor, specifically &mdsah; no body or anything, though the black finish does suggest it’s more than a lab prototype. Right now it’s known as X810.

The dedicated Nikon fans at Nikon Rumors have done a little extrapolating based on the only element that seems reasonable to estimate: the screws. Assuming they’re ~3mm wide, their calculations put the sensor at about a 2.3-2.6x crop, larger than Pentax’s Q system but smaller than the popular micro four-thirds sensor size seen in cameras from (among others) Panasonic and Olympus.

It makes sense considering the size and depth of the camera that this is supposed to be from. The mount is new and the optics unknown, but if you’re not “marrying” a sensor to its lens (a la the Fujifilm X100), miniaturization tends to be the rule and Nikon seems to be taking that to a fairly extreme degree. I have my doubts that this tiny sensor would produce the quality of image people would expect from a Nikon EVIL camera — which I would guess would probably be priced in the $600-800 range.

Whoever shoots first in the Canon/Nikon fight is at a disadvantage, since it’s a long game they’re playing. If Nikon goes for extra small, their arch-enemy will know where to direct its feature set. A sensor like this has various advantages and disadvantages, and while many of the commenters at Nikon Rumors are disappointed, it’s far from over and much depends on the price and lenses.

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]

Still, iFixit did just that for the good of the Internet and posted their traditional how-to guide. Before you grab your buddy’s camera to see what magic is inside, you might want to jump the last step and read notes: 2 out of 10 in the Repairability Score (the iPad 2 scored a 4), there are wires that need to be desoldered, “4 billion screws”, and you need to discharge the flash capacitor. Yeah, that doesn’t sound like fun to me. It’s probably best to leave this one to the pros.

This one was taken on a duck shoot (of the nonviolent kind, where you shoot them with cameras) where it needed to be dragged through mud and water all day long. The photographer, JP Carino, says he was pouring water onto the LCD to keep it clear. And true to its promises, the D3 and its (very expensive Nikkor 500 f/4 VR) lens survived just fine, and he reports there isn’t a speck of dirt on the internals, nor evidence of water leakage.

I’m definitely getting a weather-sealed model for my next camera. Maybe when I see a 7D for under a grand…

[via Nikon Rumors]

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

It’s designed to filter out autofocus noise and wind, and it’s totally powered by the camera. It attaches to the hot shoe, so you won’t be able to put an external monitor or LED rig there, but eh, not that big of a deal. Camera-mounted lighting is a pain anyway.

It’ll cost you $180, which if you ask me is a bit much. You can get some pretty decent gear for under that if you spend a little time trolling the forums and specialty review sites. I’d wait until the ME-1 gets thoroughly tested before trusting it with the audio of your magnum opus.

• 16 megapixel APS-C sensor
• 3″ 640×480 (921k dot) swiveling LCD
• ISO 100-6400 (expandable to 25600)
• HD: 1080/720@24/30p
• In-camera effects on movies
• Available in “Mid-April” for $799.95 or $899.95 with kit lens

Only tests will show performance, of course, but Nikon seems to be leaning on its sensor and image processor pretty hard here, so I’m guessing they’re confident in this model’s capabilities.

The new in-camera effects on movies thing was compelling when I first read it, but that was because I thought it was live. But no, you can only put effects on after shooting. If it were live, that would be killer, but as it is, I don’t really trust cameras to do serious color correction or effects, especially on HD video, where details are so important and cheap effects really stand out.

I would have liked more framerates on the video. I’m not sure how encumbered the various standards are, but it’d be nice to at least have 48 and 60fps available. Incidentally, I’d advise Nikon to remove the “D” branding from its movies, since “D” really isn’t associated with Nikon by many consumers, and anyway it makes the movies sound worse than B-movies.

Then there is the ridiculous “night vision” mode that boosts the ISO to 102,400. I mean really now. That’s four times the maximum boosted ISO in normal mode. If you can’t take a decent shot at 25600, you need to start thinking about your lens and lighting setup. That said, only tests will tell if this mode is a joke or something actually useful.

Here are the full specs, for the curious:

How does it compare to the T3i? Favorably, but it’s not a knockout. The Canon has 18 megapixels, but that really doesn’t matter. Tests will show image quality and ISO differences (I suspect Nikon might jump ahead here), but Canon also offers more framerates in video — the screen is also slightly more high-resolution (720×480). I’ll see if I can get them both sent my way for a real comparison; in the mean time, I’ll keep an eye on the photo-centric sites and update if I see anything interesting.

Not much revealed other than that, but a good catch by NR. If the release is soon, it could steal the Canon T3i’s swivel-thunder. We’ll keep you posted.

We just got word that the Nikon D4 will be the first DSLR to support Thunderbolt. The rumor became known a few weeks ago, but it wasn’t until the other part of the rumor (the new Macbooks) came out that the Nikon rumor appeared more valid.

You see, the rumor was that the Nikon D4 will be getting “Lightpeak” (now Thunderbolt) and that new “Lightpeak” computers were on the way (early 2011 Macbooks). This won’t mean too much for most people; but for those looking to shoot lots of HD DSLR video, especially in movie productions, this will be a nice feature.

It’s strange to think about what might have happened. Personally, I’m guessing Photoshop wouldn’t be what it is today; Adobe was a different kind of incubator and, uninhibited by a completely different primary business, as Nikon was, they could dedicate much more time and energy to the program.

There’s also an account of the interesting QV1000C, a very early electronic camera from 1988 that stored NTSC analog images. Head over to NikonWeb and check out the rest of the story.

[via Pixiq and Petapixel]

Most of the new cameras have 640×480 LCDs, which is great; low-resolution LCDs have always bothered me, especially on perfectly good cameras. The L24 and S3100 don’t have ‘em, I’m afraid.

The P300 is revealed to have a back-illuminated sensor, which helps with low light. Combined with the F/1.8 lens, this could be a pretty decent performer in low light.

The “nice” cameras (P500, P300, S9100, S6100) are coming out in March, the rest should be available later this month.

If you want more info, head over to Nikon’s press site. There are one, two, three press releases for you to read! Ah ah ah!

Update: Official! A little more info at the new post, and I’ve added better pictures.

The P500 ($400) is your DSLR-lookalike megazoom. It has a 36x optical zoom, takes 12.1 megapixel shots, and can do 1080p. It’s got vibration reduction and image stabilization, two different things I guess, both of which you’ll need if you’re planning on taking pictures at 36x zoom.

The P300 ($330) is the luxury point and shoot: F/1.8 4.2x zoom lens, manual settings, 1080p, improved ISO performance (3200), and a nice understated body. I’d buy this one if I had the money. Nice lens. Back-illuminated sensor for better low light.

An alternative to the P300, the S9100 (also $330) is similar but a little more zoomy. It has an 18x zoom, at the cost of maximum aperture.

Another megazoom, the L120 ($280), has a significantly shorter zoom (21x) but takes slightly larger pictures (14.1 megapixels). And its ISO goes to 11. Wait, sorry, misread that. ISO goes to 6400.

The S6100 ($200) is the nicest mid-budget “normal” camera. It’s got 16 megapixels, 7x zoom, a touchscreen display, and… a pet portrait mode. Better not to ask.

The S4100 ($180) is a sort of lower-end version of the S6100. $20 less means less megapixels (14) and less zoom (5x) but the same nice touchscreen on the back.

The S3100 ($140) is like the S4100 but with a smaller (2.7″) non-touchable LCD.

And then there’s the L24.