The Canon G11 review is over. As is standard with point-and-shoots on this website, less time is spent with them than higher end cameras. However, that doesn’t mean that the G11 is terrible. Not at all. In fact, it’s really quite a lovely camera that I may be picking up for myself.

Testing

Day 1: Got a feeling for the camera.

Day 2: Used the camera at a party. Without flash, it floored me with its performance for a point-and-shoot. When the on-camera flash went on, it was a bit disappointing. Using the 430 EX II disappointed me as well because of the fact that it should be able to meter with the camera.

Day 3: Used the camera at a museum with a new form of composition that I’m currently studying. The screen helped me to do this as it is maneuverable.

Day 4: Comparison against the LX-3, D-LUX 4 and EPL-1.

Autofocus

The G11′s autofocus is one of the best I’ve seen and used on a point-and-shoot. I haven’t regularly used a point-and-shoot since the Canon S5 IS and this system trumps the older one by far. While it isn’t as snappy as the GF-1, it will still satisfy the needs of most users. The reason for this is because the focusing system is still very intelligent and can guess what the user wants to take an image of. Like the Nikon D3s, it’s correct most of the time (despite them being two totally different beasts). Most users will be happy with it, but will be thrown off by when the camera says that it hasn’t focused correctly but still focuses on what the user wants it to.

The autofocus was tested with both moving objects (persons, rather) and still people. It worked without flaw most of the time.

For absolute best results, always manually focus. Doing that brings up a magnified version of the focusing point on the screen.

Ergonomics

After using the G11 for a while, it is still big and clunky for a point-and-shoot. If you’re the type that wants sex appeal, it isn’t here. However, the button layout and dials make for easy access to the most important parameters of taking an image. That’s where it really saves itself. Add onto that the rotating screen and you’ve got yourself a nice winner there.

And what’s with the viewfinder? As a constructive criticism, I hope that Canon will make it more useful in the future.

In contrast, one can tell from the image quality that sex appeal wasn’t the main selling point on this camera and that consumers know that when they purchase it.

Image Quality

Very, very good—for a point-and-shoot. In that case, its good enough for most people then. The best results come in steady hands and with the flash off for the CCD to show off all the wonderful colors that are capable of being produced. To be fair though, the best results come out in RAW. At high ISOs and in JPEG mode, you probably won’t be as satisfied.

The on-camera flash makes it look like any other point-and-shoot with the exception of warmer colors in my tests.

When shooting without the flash, keep as still as you can to ensure that you do not capture a blurry photo caused by camera shake.

High ISO Use

For a point-and-shoot it still is very good. It can’t keep up with Micro Four Thirds models but the camera is still capable of doing very great things at high ISOs.

In truth, this is almost negligible now as most software can remove noise very effectively. However, this is true of shooting in RAW. Otherwise, the camera will present problems with noise.

Metering

The metering on this camera is accurate and reliable. Users will appreciate looking at the LCD to get a preview of what their image will look like when they manipulate the aperture and shutter speed. What’s better is that the LCD still works very well in bright light and is still very viewable. Coupled with the back dial and selection button, changing the metering is also fairly simple.

As a point of comparison, I like the dials on the Olympus EP-1 and GF-1 more. Both companies take a slightly different approach that works very well for the tiny cameras.

Conclusions

The Canon G11 is an excellent point-and-shoot. Canon is close to creating the almost perfect small-sensor compact targeted towards higher end users. While the camera has some flaws it still is a good product. However, consumers have been rightfully asking for things like HD video in the camera.

For still images though, you won’t really get much better in the higher-end compact line of cameras. As a tip, try to constantly shoot at the widest aperture, which means not zooming in at all. Therefore, use it as if it has a prime lens.

Chris Gampat is a regular columnist on Blind Photographers. He’s been a photojournalist, events photographers, paparazzi,etc You can find out more about Chris on blog or by following him on twitter.

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Now that the Nikon field review is over, here is a complete listing of postings for the complete review.

The different days were tailored towards the types of photographers that would use the camera. Choose whichever day is best for you.

Day 1: Getting a feel for the camera again.

Vs the 5D Mk II

Day 2: Street sports shooting

Day 3: Candid street photography for photojournalists

Day 4: Used the D300s more

Day 5: Shooting a Pokemon launch party event for event and party photographers

Day 6: Testing the High ISO conditions in St. Patrick’s Cathedral for wedding photographers.

Day 7: Cosplay portraits at PAX East 2010

Day 8: Concert shooting at PAX East along with a video test

Day 9: Celebrity Candids with Adam Sessler

Just some minor add-ons that I forgot to mention before:

* While filming the concert, the sensor overheated. I mean like really hot. I put it over my pocket with my wallet inside and someone’s business card literally melted onto it because of this. No joke.

* The battery was charged once when I started the review. It lasted throughout the entire review and I still never killed the battery.

Chris Gampat is a regular columnist on Blind Photographers. He’s been a photojournalist, events photographers, paparazzi,etc You can find out more about Chris on blog or by following him on twitter.

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The Nikon D300s review has been completed for a while now and so I am not taking my time to type up my complete thoughts on the camera along with post all links in the review diary. My conclusions are after the jump.

Please note that I spent a majority of the time shooting with the D3s and the D300s together. The reason why the D3s was reported on more often was because of the fact that it essentially cannibalizes the D300s.

Day 4 with the 70-200mm F2.8 ED VR II: Test shooting wildlife

Final Day: PAX East was a three day long event and the D300s was a constant companion of mine.

Conclusions

The D300s is a camera that I feel is best suited for students, hobbyists and photojournalists/celebrity photographers that don’t really need or want a full frame sensor body and also want to save money. It is an excellent camera, but I do feel that with the D700, D3s and D3x that Nikon very much so cannibalized their own camera line.

Image quality of this camera is excellent. However, it can be misleading as the back LCD can show you that you have more image noise than you really have.

The Autofocus, though not as great as something like the D3s (and understandably so) is still very snappy and very smart. However, I’m actually finding the 7D’s new system to be better.

What is very nice about the D300s is the quiet shutter. Combined with a long telephoto lens you will be the ultimate fly on the wall with the giant lens getting in to take the photos needed. When used with the correct autofocus settings, you’ll be able to do your job quickly as well.

The ergonomics on this camera are really quite good. The dials, buttons and switches all emphasize the most important features to photographers and will allow users to easily and quickly manipulate the settings to what they need. Students will get great use out of a camera like this as it will force them to learn all of these to be proficient in the field.

The reason for this is because of the fact that all three of these cameras offer you more versatility. All of them are full frame sensor camera that let the user access the cropped area mode, therefore allowing them to shoot in FX, DX, and more. Additionally, the D700 and D300s shoot the same number of frame with their battery grips. The D3s is a speed monster and the D3x shoots 5fps.

The D700, D300s and D3s are all mostly targeted at the same types of photographers: photojournalists, wedding photographers, event photographers, etc. What the full frame cameras have over the D300s is better high ISO abilities and being able to get the full view out of the lenses vs a cropped view.

For what it’s worth, the 7D is being tested and is almost complete at my time of writing this summary. The Canon 7D offers much more versatility and makes a great compliment to a 5D Mk II. The D300s doesn’t exactly compliment a D700 except for the fact that there is a video mode.

Ultimately, you’re best off buying the D3s. Any current Nikon photographer that considers themselves to be at least semi-professionals would greatly benefit from purchasing that camera. While the D300s has a much lighter and more discrete profile, you’re probably better off with the original D300 or the D700. With rumors of a D700s coming out at the time of writing this, you can expect Nikon to start pushing harder with their video output.

Chris Gampat is a regular columnist on Blind Photographers. He’s been a photojournalist, events photographers, paparazzi,etc You can find out more about Chris on blog or by following him on twitter.

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During the reviews of the Nikon D300s, D3s and D3x, the 70-200mm F2.8 ED VR II almost always was around. It is an excellent lens for the Nikon system and users will be very satisfied with the results they get. Conclusions are after the jump.

Used with the Sun Sniper Camera Strap: If you’re going to use this lens, use this strap as well. It connects to the tripod collar and you can reliably keep your camera loose for quick access.

Final Day of the D300s Review: Color renders absolutely wonderfully with this camera and this lens. Combined, they can be the ultimate combo for the fly on the wall.

Nikon D300s Day 4: Shooting wildlife with it was quite fun actually. Though the lens got heavy at times and required me to carry it in my hand rather than around my neck, it still did its job very well.

Vs the Canon 80-200mm F2.8 L: My findings showed that the old L lens still held up well against even the VR in this lens.

Day 3 of the D3s Review: This lens is excellent for shooting portraits as it is sharp, has VR, and is extremely versatile so it isn’t a dedicated portrait lens only.

As a lens on my list of highly recommended wedding equipment, you really can’t go wrong with this lens. Nikon has really done a great job revamping this lens as it was already very good.

The 70-200mm F2.8 ED VR II is a lens that photojournalists swear to. This is all for very good reason. For starters, it is very hard to get a blurry shot with this lens and for the package you have an extremely versatile range available to you. Additionally, when coupled with cameras like the D3s, D3x, and D700, users can choose the sensor area that they shoot with and can shoot in FX, DX and more. You really can’t complain about having options like that as it helps to keep the weight down in your bag.

Color is rendered very well and very vividly with this lens. Once again, sharpness is excellent. It is great at F4-5.6 and gets slightly sharper until F8 where it maxes out. Wide open though it is still very sharp.

Build quality is top of the line. First off, it is an ED lens from Nikon: their top of the line. As a personal preference, when shooting with Nikon’s I only tend to want to stick with Nikkor primes and ED glass. These lenses give best results. Additionally, if users want to take full advantage of the resolution of Nikon’s sensors (actually Sony’s in some cases) then they need the better lenses. This is more of a reason for users to buy it.

If you have the current 70-200mm F2.8 ED VR and are satisfied with it, you may not really have a huge reason to upgrade. My mentor uses one, but I’m not sure if he has upgraded yet.

Autofocusing is very fast with this lens, especially when combined with the systems of the D3s and D3x. It never hesitated. However, it will take some memorizing with using the different focusing and setting switches on the side of the lens.

This lens stayed in my messenger bag at times with a camera on it and it stood up to everyday conditions very well. It also always had the lens hood on: something will intimidate the hell out of those shooting around you with its pointed and jagged edges synonymous to a shark’s mouth.

That’s what great about this lens. Take it out and people know you mean business. It can help you get into events very easily because of the size and looks factor and that is what can greatly aid a photojournalist in their everyday tasks.

Overall, the 70-200mm F2.8 ED VR II is highly recommended and I hope that all of my Nikon readers go buy one and comment here on just how excellent a lens it is. I’d also love to help with any quirks you have with it as well as answer any questions.

Chris Gampat is a regular columnist on Blind Photographers. He’s been a photojournalist, events photographers, paparazzi,etc You can find out more about Chris on blog or by following him on twitter.

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The Field Review of the Canon 7D is now over, and the camera has my personal recommendation for best APS-C sensor camera. As a compliment to the 5D Mk II, it works well due to the cropped sensor, faster frame rates, video options, wireless flash controls, etc. More on all this as well as the compilation and thoughts after the jump.

Night 1- The camera and two prime lenses documented a Jewish Seder during the week of Passover. It performed very well and users of this camera may be asked to actually join a family at dinner and document the happenings as they progress throughout the night.

Day 2- The 7D and 24-105mm F4 L IS went to the giant pillow fight in Union Square. While the FPS kept up, the autofocus couldn’t quite capture the quickly moving combatants at varying distances and at such as fast speed too. But it did withstand the punishment of elbows, heads, shoulders and pillows knocking it about. When the autofocus did work correctly, it captured some wonderful images. If you’re getting into a warzone like this, perhaps you’re better off with a 1D Mk IV.

With the Sun Sniper Camera Strap- This strap has replaced the Canon strap on my 7D as it typically holds my longer lenses during events and it’s also the camera I go to when I need to quickly capture something. Along with the 5D Mk II, I’ve run into nothing that the combined two can’t tackle.

Day 3- Testing at a get-together of NYC gaming journalists at a bar. Autofocus was fine in the dim light and mostly stagnant people. As was the high ISO ability shooting at ISO 3200 and above. All photos were shot in JPEG for truly showing the noise levels.

On the Set of a Podcast- The 7D performed much better in terms of manipulation vs the T2i. Noise levels in movie mode seemed to be the same.

So is the 7D worth buying? Heck yes. Canon realized that the Nikon D300s is a threat to them and though it took them a while to step up to the plate, they were able to get the 7D out. Compared to the Nikon D300s (full review here), it is a faster shooting camera with a less complicated autofocus system but more complicated video system. Adding to the still side of things is that the 7D also now has wireless flash control: a feature that Canon users have been asking for for quite a while.

A personal problem of mine with the camera: like many of you out there I wanted a Full Frame or APS-H sized sensor camera. Many photographers also thought that the APS-C sized sensor combined with 18MP would deliver terrible high ISO results. To be fair, Canon is due for a faster FPS Full Frame or APS-H sized sensor camera in a 5D body.

In truth, we all have different standards. The noise levels, like that of the D300s, are nothing that can’t be corrected with some Photoshopping or Lightroom processing or a straight conversion to Black a white if your clients want that look. Photographers that say that their 7D’s noise is too high perhaps received a faulty unit or have very high standards of how little noise they want in their images.

Coupled with Canon L lenses, the 7D can deliver some very lovely images. However, it baffles me as to why they didn’t couple the camera with the 24-105mm F4 L IS. It just seems like such a perfect combination.

The 7D’s body feels much tougher than the 5D Mk II, but it doesn’t feel as comfortable. Additionally, the button layout takes a bit of getting used to as there are new buttons and switches in different places. For the most part, Canon users will be fine and the muscle memory will come in time as long as you remember which camera you’re using and notice the subtle differences in feel.

The 7D also has an electronic level that is wonderful in Live View mode. It can help in the composition of photos to really ensure that they are straight. This can be a big help to Real Estate photographers using an APS-C camera.

Users of the 40D and 50D are encouraged to upgrade to the 7D due to the above mentioned upgrades. However, it is also recommended that you keep your old body as a back-up or second camera of some sort as they are still very good.

Event photographers, wedding photographers, photojournalists, sports photographers, concert photographers and celebrity photographers will all find a great package in the 7D. On top of all this, cinematographers will be floored by the image quality and selection of lenses that you probably haven’t had access to previously.

Studio photographers will really appreciate the wireless flash functionality with this camera. It will save them loads of money vs spending on other wireless items for headshots, portraits or photoshoots.

Once again, I wish that the mode dial wasn’t so easily turned as when you’re in rough environments the dial can turn as throw all your settings off. Therefore, screwing up your chances of nailing a great shot.

The lock mechanism on the back wheel dial seems not very useful, at least I couldn’t find a great use for it.

For those that want full frame cameras, you’re recommended to go with a 5D Mk II or wait until the 1Ds Mk IV comes out. It’s bound to be released sometime this year.

The 7D receives ThePhoblographer’s camera of choice in the APS-C sensor class.

Chris Gampat is a regular columnist on Blind Photographers. He’s been a photojournalist, events photographers, paparazzi,etc You can find out more about Chris on blog or by following him on twitter.

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Now that we’ve talked about great cameras for summer travel, consider the fact that you may also be taking short trips of some sort. In a case like that, you will probably want something light, compact but won’t skimp on image quality. Here’s the run down of some of the best choices currently available.

Sigma DP2

The Sigma DP2 is a camera that recently received a firmware update to speed up the main problem with an otherwise stellar camera—autofocus. According to new reviews, the camera’s autofocus is now noticeably faster. For those of you in the dark about this camera or are wondering why it is potentially so legendary: the Sigma DP2 takes a Foveon image sensor and puts it into a point-and-shoot body complete with a 41mm F2.8 lens.

On top of Sigma’s years of being a lens maker, the Foveon sensor is something really quite spectacular. For starters, it is larger than the Four Thirds sensor of Olympus and Panasonic but slightly smaller than the APS-C sensor in Canon DSLR cameras. It works like this: there are actually three sensors in the camera—one that processes blue, one for red and one for green. When an image is taken, the sensors work together to create the image. The result is perhaps some of the most spectacular images to ever come from a camera in its price range. The colors, vividness, saturation, and level of depth allowed in editing will provide users with some images that will simply floor you.

If you want a nice point-and-shoot to last you a long time, this is the one.

Canon S90

As perhaps the only small sensor camera I’d ever use, the S90 delivers spectacular image quality for the size and also offers a bagful of great features. Though the sensor is just a bit larger than other point-and-shoots, it is large enough to really matter. Complete with an F2.0 lens at its widest focal length (unzoomed) it will let users take great photos in low-light. Coupled with RAW image output and great high ISO output, it can deliver some great images for almost any occasion and is pocketable.

Outstanding features include the wheel ring around the lens as well as the dial on the back of the camera that allows for ease and quick access to settings.

If you’re looking to get a gift for someone, this could be the camera.

Panasonic GF-1

This is the camera that I’ve seen/tested and quite honestly consider to be the pinnacle of the Micro Four Thirds category. Pick this camera up with a 20mm F1.7 lens and you’ll have the ultimate compact package with great quality. The GF-1 records 720p HD video, has 12MP, a pop-up flash and also offers users the option of a viewfinder if they so want it.

Considered by many reviewers to be second to none in the Micro Four Thirds line of cameras, it is really a camera loved by its users because of the discreteness coupled with excellent image quality.

Olympus EP-1

At 12MP and with all those art filters, the EP-1 rocked the photo world when it came out by being able to offer DSLR image quality in a camera the size of a point-and-shoot. To date, it is still one of my favorite Micro Four Thirds bodies. With the ability to shoot HD video as well, everyone will have fun with this camera and the sleek, sexy, retro look to it.

For the best lenses for your Micro Four Thirds camera, check out my posting on CCTV lenses.

Chris Gampat is a regular columnist on Blind Photographers. He’s been a photojournalist, events photographers, paparazzi,etc You can find out more about Chris on blog or by following him on twitter.

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If you’re shopping for a new lens of some sort, you’ve come to just the right place. As per the results of my recent reader polls, here is a list of the best lenses you can get your hands on without breaking the bank too much.

Canon

Canon 50mm F1.8/F1.4- When I first moved to Canon, I started out with the 50mm F1.8. Though it has some slight quirks to it (autofocus is a bit hard to do at time and can be slow) it is still a wonderful general purpose lens and an excellent lens for when videos need to be shot at something like a concert. Stopped down to F4, it is wonderfully sharp.

If you can afford it, the F1.4 is much better and is one of Canon’s best buys.

Canon 100mm Macro 2.8- Known as one of Canon’s sharpest lenses, users will appreciate the versatility available with using a lens like this. One can go from shooting portraits, to macro products, to the fine details at a wedding, and to even sports shooting when put in a cropped sensor body like a 7D or a 50D (available at a rebate at the time of writing this article.) One really can’t go wrong with a lens like this.

Canon 85mm F1.8- This is my second favorite lens in my camera bag. The 85mm F1.8 allows for super sharp portraits, headshots, and even candid moments when shooting events or a wedding. What’s great is that you have a telephoto reach without having a really large lens that tends to attract attention: therefore making the photographer more discrete and also allowing them not to disturb their subjects.

Canon 35mm F2.0- The 35mm F2.0 is a great lens for events or photojournalism type shooting. This lens is great for capturing environmental portraits, and also for giving a real feel for what the vibe is like at an event. Combined with a flash, it can be great on the dance floor of a party and delivers sharp results with wonderful color.

Nikon

Nikon 50mm F1.8/F1.4- Nikon’s 50mm F1.8 is sharper than Canon’s. In fact, it’s quite a bit sharper and comes with a slightly higher price as well. Nikon’s F1.4 is used widely at concerts and weddings in addition to photographers who capture portraits with cameras like a D300s. Many wedding photographers actually do this and deliver some fantastic and lovely results. I’ve seen some prints from photographers in Brooklyn shooting by the Brooklyn Bridge, and combined with their SB-900 flashes, it does some great work on quite the budget.

Nikon AF-S 35mm F1.8- I’ve tried this lens on the Nikon D3x before. For the price, Nikon photographers get a lens that will stick with them in their bags forever. A lens like this is sharp, focuses surprisingly fast, and can be used for photo shoots, shooting couples, portraits, weddings, etc.

Nikkor 28mm F2.8D- Nikon’s wide angle primes are becoming legendary, and the 28mm F2.8 is quite worth its weight in dollars. A lens like this is great for getting up close and personal with your subjects, like children, dogs, etc. Otherwise, it is great for shooting landscapes and some street photography.

Nikkor 85mm F1.8D- Although it’s not the absolutely gorgeous F1.4, the 85mm F1.8 is a lens that is seen on many Nikon photographers’ cameras. This lens is the essential lens for portrait photographers and those looking to do in studio work. Stopped down to around F2.8 it becomes super sharp. The feel and construction of this lens will also not disappoint.

Panasonic and Olympus Four Thirds/Micro Four Thirds

Panasonic 20mm F1.7- As perhaps the most favorite lens amongst Micro Four Thirds photographers, this lens delivers wonderful results in all types of lighting and also does this in a small pancake type body. Zach Honig over at Tech, Travel Tuna and PCMagazine uses this on his GF-1, which he really loves. Some of the results I’ve seen deliver things I never thought possible on Micro Four Thirds.

Olympus M. Zukio 17mm F2.8- An alternative to the 20mm for those that want a wider field of view, the 17mm is still a great lens for the Micro Four Thirds system due to sharp image quality and wide aperture.

Olympus 25mm F2.8-The Olympus pancake lens for Four Thirds is one of the most beloved lenses in the system. Vincent Pastore uses one (he wrote for this blog previously.) Additionally, most Olympus photographers carry it around when shooting for fun.

Sigma 24mm F1.8- This is a lens that anyone seriously committed to the Four Thirds standard needs to get if they are also on a budget. Though it isn’t the Panasonic 25mm F1.4 that one would sell their soul for, the Sigma will still deliver very pleasing results to users.

Olympus 50mm F2 Macro- A 100mm on Four Thirds, this lens is great for events, macro work, products and portraits. The sharpness offered by this lens is really something to consider when you need a compact telephoto.

What other lenses do you recommend?

Chris Gampat is a regular columnist on Blind Photographers. He’s been a photojournalist, events photographers, paparazzi,etc You can find out more about Chris on blog or by following him on twitter.

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A while ago at the Leica Roadshow in NYC, the S2 was presented to all who attended. The camera, Leica’s main entry into the professional medium format space, is one that surprised all during the seminar. Being a 37.5MP beast of a camera, when one actually holds it they notice that it is actually more elegant that it is a monster. However, it does have a couple of quirks; as do most medium format cameras.

Author’s Note: This article is very, very late to a point which is almost inexcusable. I apologize to the readers and to Leica as site statistics and reader letters have demanded other things from me.

Ergonomics

When the Roadshow was in NYC, I was currently reviewing the D3s, D3X, and D300s so the comparisons were only naturally on my mind. The Leica S2 is a camera that is more comfortable to hold than all three of the previously said cameras. When one reads reviews of it, one may read that it is similar to the D3s in feel. In my hands, it felt smaller and more comfortable. However, the grip on the D3S and D3x did feel better.

When holding the S2, feelings of holding a Canon 5D Mk II actually came to mind. However, one must remember that the S2 is still a bigger camera.

For the main work of a photographer, one can probably not ask for much more. There is a dial to adjust shutter speed on top of the camera and one dial on the back to adjust the aperture. One can see the changes being made on the top LCD or in the viewfinder.

One of the really nice things about this camera is the lens release button. For Canon, Nikon, Olympus and others, the button is on the left. On the S2, it is on the right. While this may be confusing at first, in practice it actually makes quite a bit of sense. For example, say that I am doing headshots for a client in studio and need to quickly swap lenses due to time constraints. To save extra time and because I am holding the camera in my right hand, I can depress the release button, twist off the lens, hand it to an assistant, take the new lens from them, put it on, and get right back to work. It greatly facilitates the work flow and productivity on a set.

The other buttons can be a little hard to master, however. In general, this has been my experience on all medium format cameras; Phase One and Hasselblad not excluded.

Another good point is the fact that the on/off switch is on the back in an area that will not get accidentally touched.

The S2 also has the biggest and brightest viewfinder I’ve ever seen so far on a camera of this type. Part of the reason is the much larger sensor size.

Something that was asked was if there is Live View available. There is no Live View unfortunately.

Menus

They’re long. In fact, they can sometimes be painfully long. This all depends on what one wants to do though. If you want to adjust the white balance in camera you need to go through these menus. If you prefer to do it in post-production, then you can avoid the menu system.

To access the menus, users press one of the four buttons on the back of the camera by the screen. The buttons aren’t labeled though as they do different functions depending on which menu you are in. For example, the play menu offers different features assigned to the buttons than the settings menu does.

Despite their long layout, the menus are quite intuitive once you memorize what settings are located in which subset. As with learning a new camera and system, this just takes a bit of memory and usage. I only had about an hour of time with the camera as a shoot was scheduled afterward.

Image Quality

At this stage of the game, this isn’t really a major factor. First off, Leica lenses are superb and second to none, even with the new system. Additionally, this is medium format. Medium format photographers work with loads of lighting and almost always shoot at lower ISO settings.

At medium format levels, we shouldn’t be nitpicking every single detail and pixel peeping is quite useless.

However, the fact that there is no back for the camera means that image quality cannot be upgraded in the long run. This may hurt Leica in the long run if they do not offer an upgrade program of some sort.

Images are written to a CF card and if wanted, an SD card as well. The latest batch of UDMA cards are supported.

Ruggedness

With weather sealing and a tough body, the S2 seems to be on par with many DSLR cameras. There was one thing that really did amaze me and the other attendees to the point where our jaws dropped. The presenter plugged a FireWire cable into the camera and let the camera dangle from the cable. The port was designed for that type of ruggedness and torture for the clumsy photography that may do that when rushing on set due to high stress.

That’s something not possible with other medium format cameras.

I can actually see this pairing very nicely with the Sun Sniper strap that I reviewed.

Autofocus

There is only one autofocus point and it is in the middle. The nice thing about this is that it doesn’t seem to hunt for your subject the way that previous autofocus systems have. It is very accurate as well.

The one autofocus point works well for medium format photographers. However, I do wish that it had the focus-shift that Hasselblad has for their systems. Once again, this readjusts your focus when you shift your camera back to the original focus distance/point.

Chris Gampat is a regular columnist on Blind Photographers. He’s been a photojournalist, events photographers, paparazzi,etc You can find out more about Chris on blog or by following him on twitter.

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Now that the review of the Canon T2i is over and it has been shipped back to Canon, a complete round-up of postings done in the review diary and further thoughts can be given here. Overall, it is the best Rebel yet.

Day 1: Spent trying to get accustomed and used to the camera as well as citing observations.

Day 2: Tested out while at a party and get-together. All photos shot in RAW mode.

Day 3: Used while exploring Long Island, New York. People that use this camera will surely use it for sightseeing purposes.

On the set of a Podcast: The T2i performed wonderfully on the set of a video podcast for NerdBlerp.com

Recommended Items for the Camera: Those of you that are looking to purchase the camera may perhaps want to take a look at my essential items guide.

Used to shoot photos for the reviews I did over at 2D-x.com here and here.

Conclusions

Autofocus

One of the thorns in Canon’s side has been its autofocus system. However, in the latest generation of DSLRs like the 7D and 1D Mk IV, this has been corrected. It was a major flaw found in the 5D Mk II—but if you understand how it works then it is very manageable.

To be fair, autofocusing was greatly improved when the camera was coupled with a 430 EX II. Because of this, it is highly recommended that it be purchased with this camera. Otherwise, users may be plagued by some of the problems that previous Rebel users have suffered from.

The Canon T2i is essentially a 7D with lower end specifications and technical standards. Judging from this, one can possibly conclude that Canon will perhaps revamp the autofocus system in the successor to the T2i as it will be a huge drive for sales and could possibly really dig into its Micro Four Thirds competitors. According to sales statistics at the time of writing this posting, the T2i and other Rebels really do lead the charts.

Image Quality

Out of camera RAW image quality was stellar. Canon’s new files for the T2i require that users purchase the latest version of Photoshop, Photoshop Elements or Lightroom to edit. Otherwise, the packaged DPP program will convert to JPEG for you. Because of the large image files, write speeds can also slow down and it is recommended that users get a UDMA card with this camera or something like an Eye-Fi Pro card.

Sadly, the same cannot be said for out of camera JPEGs. The quality here is lacking for higher end or professional use. Those just casually taking the photos may be happy with them for their own personal uses. Part of the reason may perhaps be the single DIGIC IV processor coupled with the 18MP APS-C sensor. As the sensor is smaller, image quality can degrade when higher ISO settings are used.

As for movie mode, the image quality is on par with the 7D. If you want to purchase a 7D solely for videography purposes, perhaps you should consider looking at the T2i as it is much more economical.

Ergonomics

On a personal level, I’ve never been too much of a fan of the ergonomics of Canon’s Rebel line. For starters, there isn’t very much room at all between the grip and the lens. Additionally, the button layout at times can be awkward. The T2i was easier to use than previous Rebels though as some of the buttons are bigger and it is easier to manage your settings when shooting in video mode.

Something that I don’t like much is the placement of the mode dial. It should perhaps be on the left side of the camera. As a suggestion to Canon: Look at the Olympus EP-1. Their mode dial doesn’t come out from the camera very much and also allows for ease of use. Copying this standard for the next Rebel could work very well for Canon and will also help to eliminate accidental mode switches due to finger placement.

High ISO ability

Users of the T2i will be very, very pleased with the High ISO abilities in this camera. Able to shoot up to ISO 6400, the files are still very usable and post-processing will take care of most of the image noise problems. If not, editors can always get creative in their editing to use the image noise to their advantage as the files still do retain a lot of detail.

If coupled with the 430 EX II and shooting in extremely dimly lit conditions, one can shoot with ease at ISO 800 and still get very crispy shots while shooting handheld. This will come in handy if users happen to be shooting a party.

As a side note, this is all best done while shooting in RAW mode. Otherwise, the image noise will be harder to eliminate in JPEG mode.

Further, get rid of your kit lens. Shoot with something like a 50mm F1.8 II, 85mm F1.8 II or 24-105mm F4 L IS. And if shooting video, get a Rode Videomic if you need better sound.

Ease of Use

The learning curve for a camera like this is not very long. Users may either shoot in full auto or go for the more manual settings allowed from this class of camera. When importing the images to your computer, it is recommended that you use an SD card reader or the supplied Canon software. Otherwise, Lightrooom’s import feature is very handy in a situation like this.

Who Should Buy It

Party Photographers: as a backup and coupled with the 430 EX II. It could be used as a primary but requires better lenses like those listed above.

Wedding Photographers: I’ve seen lots of weddings shot with Rebels that have delivered fascinating results. Though it isn’t recommended, your 2nd shooter or assistants can probably make good use of it providing that good lenses are in front of the sensor.

Travelers: By all means, this is the camera for you. Just shoot in RAW.

Videographers: If you’re trying to justify the purchase of the costly 7D, look to this instead.

Hobbyists: The Rebel line was meant for you.

Chris Gampat is a regular columnist on Blind Photographers. He’s been a photojournalist, events photographers, paparazzi,etc You can find out more about Chris on blog or by following him on twitter.

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As a Blind Photographer, I’ve found that shooting with a Leica M9 rangefinder allows me to shoot without my glasses. Why is this amazing? Because I’m almost legally blind. The only other cameras that can really allow for these abilities are the Micro Four Thirds cameras, but because of this it is essential that readers understand how a rangefinder focuses and works.

Here’s the jist of it: many of the readers of this blog shoot DSLRs. Think about the center focusing dot in your viewfinder being replaced with a rectangle. Now imagine pointing the lens at someone’s face so that the rectangle is over their nose. What you will immediately see is that the subject’s nose may not be seen through the viewfinder.

This is where focusing comes in. In order to focus the camera on their nose, one must focus the lens. When focusing, you’ll see different parts of reality move in and out of the rectangle. Line the nose up with what you’ll see in reality and you’ve got a perfectly focused lens.

Does this sound confusing? It is in a way, but that’s what actually is so great about it. Of any camera I’ve used or reviewed, the Leica M9 is the one that has the best manual focusing—hands down.

Perhaps this is why Leica toutes “precision” amongst their marketing. For a visually impaired photographer to be able to shoot without glasses on and focus correctly, accurately, and precisely is a big feet that a company should be proud of.

So does this mean it’s the perfect camera? Well, no. Long telephoto lenses don’t usually work well on rangefinders so sports and wildlife shooting can be very tough to do. Add onto this the fact that they can be very costly too. Further, there is no weather sealing for when one wants to go shooting in the rain (a favorite hobby of mine) and high ISO abilities aren’t at the levels of Canon or Nikon’s high end DSLR cameras.

To be fair though, the sheer simplicity of a rangefinder like this can be very appealing to many users. Additionally, they are built like tanks and are used in war zones and by many Magnum photographers.

If you’re going to make an investment into a rangefinder, decide carefully. It is a different type of camera meant for a different type and style of shooting.

The field review is almost finished! Stay tuned!

Author’s note: This is from my blog, ThePhoblographer.com. Go check it out and support the blog please by clicking the links and purchasing the items.

Chris Gampat is a regular columnist on Blind Photographers. He’s been a photojournalist, events photographers, paparazzi,etc You can find out more about Chris on blog or by following him on twitter.

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