An electronic viewfinder is a camera viewfinder where the image captured by the lens is projected electronically onto a miniature display. The image on this display is used to assist in aiming the camera at the scene to be photographed, it differs from a live preview screen in being shaded from ambient light. The sensor records the view through the lens, the view is processed, projected on a miniature display, viewable through the eyepiece. Electronic viewfinders are used in video cameras; some cameras have an automatic eye sensor which switches the display from screen to EVF when the viewfinder is near the eye. More modest cameras use a button to switch the display; some have no button at all. Like the live preview screen, electronic viewfinders can show additional information, such as an image histogram, focal ratio, camera settings, battery charge, remaining storage space; some have a focus peaking feature. They are in several ways more accurate than an optical viewfinder: Show the scene from the same viewpoint as the camera lens, without parallax.
Cope with high zoom-ratio lenses, without needing a bulky reflex mirror. Show how the scene will look under the chosen exposure, including white balance, effects etc. Show a low-light scene brighter than it would appear with a OVF, just like the final image will look like. Show 100% coverage of the final image, it is possible to review taken images on the EVF. This might be helpful in bright sunlight; the EVF can be used in video mode Uses less power than the big LCD screen. Electronic viewfinders have the following limitations: There may be a noticeable lag between the changes in the scene and the electronic viewfinder display. A few EVFs do not have automatic gain control and become blank in low-light conditions. EVFs of compact and bridge cameras with smaller sensors have difficulty operating in darker environments and tend to lag severely. Electronic viewfinders have been in use with bridge cameras for some years but with limited resolution and image quality, they are used in most mirrorless modern system cameras.
Many professional photographers and advanced amateurs prefer DSLR cameras that have a true optical through-the-lens viewfinder. From 2006 some DSLR camera models provide both through-the-lens viewing and a "live preview" on the LCD; these include, but are not limited to, the Olympus E-330, E-410, E-510 and E-3, the Panasonic Lumix DMC-L1 and DMC-L10, the Leica Digilux 3, the Canon EOS 40D, EOS 50D, EOS 60D, EOS 7D and EOS-1D Mark III, the Nikon D3, D300 and D90. To get the advantage of both optical and electronic viewfinders some cameras have hybrid viewfinders; these display the image in an optical eyepiece viewfinder, or electronically on an LCD screen. Examples include some Fujifilm X-series cameras. Digital photography Zoom-lens reflex camera
Panasonic Lumix DMC-FZ18
The Panasonic Lumix DMC-FZ18 is a superzoom bridge digital camera that features: 8.1 megapixel resolution Fast f/2.8 Leica-branded zoom lens with super 18x zoom range Mega O. I. S. in the lens, reducing blurring by compensating for hand shake Intelligent ISO Control 4x Digital Zoom Multiple modes of operation, including manual modes Optional Raw image format VGA movie mode in both normal and wide aspect ratio Compact size and light weightAs with most Panasonic Lumix cameras it uses a Venus Engine, in this case the Venus Engine III. The camera has a 2.5" color LCD display and a color electronic viewfinder, is available in two colors and silver. The DMC-FZ18 became available in the United States in July 2007; the successor to the FZ18 is the FZ28. The range of digital superzoom cameras include models like the Nikon Coolpix P90. Product info from Panasonic. Http://www.steves-digicams.com/camera-reviews/panasonic/lumix-dmc-fz1/panasonic-lumix-dmc-fz1-review.html http://www.digitalcamerareview.com/camerareview/panasonic-lumix-dmc-fz18-review/ http://www.dcviews.com/reviews/Panasonic-FZ18/Panasonic-FZ18-review.htm http://www.photoxels.com/panasonic-fz18-review.html http://www.trustedreviews.com/Panasonic-Lumix-DMC-FZ18-review https://web.archive.org/web/20081206173339/http://blog.wired.com/gadgets/2007/08/review-panaso-1.html http://gadgets.fosfor.se/panasonic-lumix-fz18-review/ http://www.imaging-resource.com/PRODS/FZ18/FZ18A.
HTM http://www.dpreview.com/articles/9332056286/panasonicfz18 http://gizmodo.com/281632/panasonic-intros-18x-optical-zoom-powerhouse-lumix-dmc-fz18 http://digicamreview.com/panasonic_lumix_dmc_fz18_review.htm http://www.tlc-systems.com/artzen2-0037.htm
Panasonic Lumix DMC-FZ7
The Panasonic Lumix DMC-FZ7 is a six megapixel superzoom bridge digital camera that utilizes Panasonic's Venus II Engine. It features several modes of operation, it was replaced in 2007 by the DMC-FZ8 The main improvement over its predecessor, the FZ5, is a thumb joystick that can be used for manual focusing and for changing the exposure for a full manual shot. The lens is manufactured by the German company Leica Camera. An optical image stabilization system is embedded in the lens, reducing blurring by compensating for camera shake. Video recording is available at either 10 frames per second or 30 frame/s in VGA, QVGA or wide-screen 16:9 resolutions; the image can be directly made output to a TV via a provided RCA cable. The camera was awarded Editor's Choice; the camera won a Gold award in 2006 from DIWA. The features are comparable to the ones offered among other cameras. Among the main disadvantages is high noise in low-light conditions. Official website Joinson, Simon. "Panasonic Lumix DMC-FZ7 Review".
Digital Photography Review. Retrieved February 26, 2008. Camera review. Havlik, Dave. "Panasonic Lumix DMC-FZ7 - Full Review". Imaging Resource. Retrieved February 26, 2008. Camera review. Keller, Jeff. "DCRP Review: Panasonic Lumix DMC-FZ7". Digital Camera Resource Page. Retrieved February 26, 2008. - Camera review. Updated February 5, 2008. Nikitas, Theano. "Panasonic Lumix DMC-FZ7K". CNET Reviews. Retrieved February 26, 2008. - Camera review from CNET Reviews. David, Elrich. "Panasonic Lumix DMC-FZ7". Digital Trends. Archived from the original on October 11, 2008. Retrieved February 26, 2008. "New Panasonic Digital Camera Features Optical Image Stabilization And 12X Optical Zoom". Shutterbug Magazine. March 28, 2006
Image stabilization is a family of techniques that reduce blurring associated with the motion of a camera or other imaging device during exposure. It compensates for pan and tilt of the imaging device, though electronic image stabilization can compensate for rotation, it is used in image-stabilized binoculars and video cameras, astronomical telescopes, smartphones the high-end. With still cameras, camera shake is a particular problem at slow shutter speeds or with long focal length lenses. With video cameras, camera shake causes visible frame-to-frame jitter in the recorded video. In astronomy, the problem of lens-shake is amplified by variation in the atmosphere, which changes the apparent positions of objects over time. In photography, image stabilization can facilitate shutter speeds 2 to 4.5 stops slower, slower effective speeds have been reported. The rule of thumb to determine the slowest shutter speed possible for hand-holding without noticeable blur due to camera shake is to take the reciprocal of the 35 mm equivalent focal length of the lens known as the "1/mm rule".
For example, at a focal length of 125 mm on a 35 mm camera, vibration or camera shake could affect sharpness if the shutter speed is slower than 1⁄125 second. As a result of the 2-to-4.5-stops slower shutter speeds allowed by IS, an image taken at 1⁄125 second speed with an ordinary lens could be taken at 1⁄15 or 1⁄8 second with an IS-equipped lens and produce the same quality. The sharpness obtainable at a given speed can increase dramatically; when calculating the effective focal length, it is important to take into account the image format a camera uses. For example, many digital SLR cameras use an image sensor, 2⁄3, 5⁄8, or 1⁄2 the size of a 35 mm film frame; this means that the 35 mm frame is 1.6, or 2 times the size of the digital sensor. The latter values are referred to as the crop factor, field-of-view crop factor, focal-length multiplier, or format factor. On a 2× crop factor camera, for instance, a 50 mm lens produces the same field of view as a 100 mm lens used on a 35 mm film camera, can be handheld at 1⁄100 second.
However, image stabilization does not prevent motion blur caused by the movement of the subject or by extreme movements of the camera. Image stabilization is only designed for and capable of reducing blur that results from normal, minute shaking of a lens due to hand-held shooting; some lenses and camera bodies include a secondary panning mode or a more aggressive'active mode', both described in greater detail below under optical image stabilization. Image-stabilization features can be a benefit in astrophotography, when the camera is technically—but not effectively—fixed in place; the Pentax K-5 and K-r can use their sensor-shift capability to reduce star trails in reasonable exposure times, when equipped with the O-GPS1 GPS accessory for position data. In effect, the stabilization compensates. There are two types of implementation -- body-based stabilization; these refer to. Both have their disadvantages. An optical image stabilizer abbreviated OIS, IS, or OS, is a mechanism used in a still camera or video camera that stabilizes the recorded image by varying the optical path to the sensor.
This technology is implemented in the lens itself, as distinct from in-body image stabilization, which operates by moving the sensor as the final element in the optical path. The key element of all optical stabilization systems is that they stabilize the image projected on the sensor before the sensor converts the image into digital information. Different companies have different names for the OIS technology, for example: Vibration Reduction – Nikon Image Stabilizer – Canon introduced the EF 75–300 mm f/4–5.6 IS USM) in 1995. In 2009, they introduced their first lens to use a four-axis Hybrid IS.) Anti-Shake – Minolta and Konica Minolta IBIS - In Body Image Stabilisation – Olympus Optical SteadyShot – Sony MegaOIS, PowerOIS – Panasonic and Leica SteadyShot, Super SteadyShot, SteadyShot INSIDE – Sony Optical Stabilization – Sigma Vibration Compensation – Tamron Shake Reduction – Pentax PureView – Nokia UltraPixel – HTC Most high-end smartphones as of late 2014 use optical image stabilization for photos and videos.
In Nikon and Canon's implementation, it works by using a floating lens element, moved orthogonally to the optical axis of the lens using electromagnets. Vibration is detected using two piezoelectric angular velocity sensors, one to detect horizontal movement and the other to detect vertical movement; as a result, this kind of image stabilizer corrects only for pitch and yaw axis rotations, cannot correct for rotation around the optical axis. Some lenses have a secondary mode. This
Panasonic Lumix DMC-G1
The Panasonic Lumix DMC-G1 was the first digital mirrorless interchangeable-lens camera adhering to the Micro Four Thirds system design standard. The G1 camera is similar to the larger Four Thirds system format DSLR cameras, but replaces the complex optical path needed for the optical viewfinder with an electronic viewfinder EVF displaying a live view image directly from the sensor. Eliminating the mirror box and optical viewfinder allows for smaller and lighter camera bodies, while the less complex optical path allows for smaller, lighter lens designs; the DMC-G1 was displayed for the first time at photokina 2008. The Micro Four Thirds system standard uses the same sized sensor as the original Four Thirds system. One advantage of the smaller MFT system sensor is the ability to engineer smaller and lighter lenses since the smaller sensor allows for a reduced image circle; the G1 camera and its lenses are smaller than competing DSLRs. It uses a sophisticated projection system to achieve a clearer, smoother image in its electronic viewfinder than in compact camera EVFs.
As it lacks a separate autofocus sensor, the G1 uses contrast-detect autofocus, utilizing the readout from the main sensor. The performance of this AF system is comparable to the phase-detect systems in conventional DSLRs; the G1 was packaged with a 14–45 mm ƒ/3.5–5.6 kit lens and can use all native Micro Four Thirds System lenses regardless of manufacturer. Four Thirds System lenses can be used with an adapter, although response time focus response, can be slower. Legacy lenses from nearly every major manual focus camera mount, such as Leica M, Leica R, Olympus OM, Nikon F, Canon FD, Minolta SR, M42 Screw Mount, Contax/Yashica Mount and others can be mounted and used in manual mode. Canon EF mount lenses can be used with an adapter, but native EF lenses are electronically controlled, will therefore not have aperture control or autofocus; the Micro Four Thirds system specification supports lenses with optical image stabilization. In many ways, the G1 was considered a landmark camera, kicking off a new market for mirrorless interchangeable lens system cameras.
The camera was available in three colors: black and blue. Upon introduction the United States, MSRP for body and kit lens was set at USD 800.00 The G1's successor model is the Panasonic Lumix DMC-G2, announced in March 2010. The third model in the "G" line, the Panasonic Lumix DMC-G3, was announced in May 2011. Panasonic DMC-G1 Press Release Panasonic Lumix DMC-G1 Photos Panasonic Lumix DMC-G1 Review – Digital Camera Resource Page Panasonic Lumix DMC-G1 Review – Digital Photography Review Panasonic Lumix DMC-G1 Review – Imaging Resource Media related to Panasonic Lumix DMC-G1 at Wikimedia Commons