Camera july

TIPA AWARDS 2013 – THE HOTTEST IMAGING PRODUCTS OF THE YEAR REVEALED! ED!

HOW DOES NIKON MAKE THE 24.7 MP D5200 SO AFFORDABLE?

PHOTOGENIC PLACES

THE SECRETS OF WA’S EXMOUTH REVEALED BUYING A COMPACT SYSTEM CAMERA?

Comprehensive Model Guide Inside

MINI MARVEL CANON SHRINKS THE D-SLR JULY/AUGUST 2013 $7.95

NZ $9.99

AWA R D S

TIPA AWARDS

2013

The member magazines of the Technical Image Press Association group met in Hong Kong this year to select the best imaging products launched in the last 12 months up to April this year. Editor Paul Burrows was again there to represent Camera among the 28 other titles from around the world. ou might think that when 26 highlyopinionated editors of photo magazines sit down in one room to decide the best imaging products in 40 categories it would be a recipe for total disaster. Throw in the characteristics of nationalities from around the world – Spanish, French, German, Dutch, Chinese, Canadian, American, Italian and British, to name a selection – and it’s surprising that agreement is reached on the time of day, let alone major awards. Yet TIPA’s judging session for its prestigious annual imaging product awards runs like a well-oiled machine. Of course, there’s been plenty of time for efficient systems to evolve, but when you actually have that many people – some of them more vocal than others – throwing in their thoughts, it could so easily be horribly derailed.

This year we all met in Hong Kong and the judging room was on the 21st floor of our hotel with commanding views across Kowloon to Hong Kong Island. Not surprisingly, a bit of time was wasted as we all crowded in front of the picture windows, snapping away at the panorama created by one of the world’s most impressivelooking cities. Then it was down to business. A lot of the ground work is done by TIPA’s diligent Technical Committee which creates a shortlist for each award category that’s subsequently circulated to all the member editors beforehand for comment and, if necessary, amendment.

This certainly makes things easier on the day, although nothing is entirely set in concrete and changes are made if enough members think it

Y

16

TIPA AWARDS 2013 CATEGORY WINNERS

is warranted (and it does happen). The voting system is a simple show of hands, but first you have the opportunity to state your case if you feel particularly strongly about one finalist over another. This will often happen if there are two very competitive products such as happened this year with the Best Expert D-SLR category in which the finalists were, logically, the Canon EOS 6D and Nikon D600. Some spirited debate ensued because both are truly excellent cameras and the vote was close with the 6D getting over the line in the end. In some categories the winner essentially picks itself – both the Fujifilm X20 and X-E1 romped home this year – and in others it’s a case of minutely analysing all the pros and cons.

As I noted last year, the most enjoyable part of the whole process is inter-acting with other photo magazine editors from around the world, listening to their ideas and opinions, and learning about the dynamics of their particular markets (for example, how the Greek, Spanish and Italian have been dealing with difficult economic conditions in these countries). However, what we all have in common is a love of photography, cameras and magazines (the printed variety which, contrary to some assertions, is still going strong and much preferred by readers than any other method of delivering content).

More broadly, this contact with other magazine editors around the world is, for me, the most rewarding aspect of being part of the TIPA family. Otherwise, given the smallness of the

Australian market, it can be a lonely old road to hoe. And talking of market sizes, TIPA has a new member magazine after we voted this year to accept India’s Better Photography into the fold… it currently has a circulation of 135,000 readers! India is, of course, very much an emerging market for many consumer goods and photography is being enthusiastically embraced as that huge circulation figure attests. TIPA now comprises 28 imaging magazines from 15 countries across five continents.

Incidentally, I’ve joined a small sub-committee within TIPA to consider the terminology we currently all use to describe digital cameras, lenses and imaging equipment, with the objective of coming up with something more meaningful, especially to newcomers. The sizes of sensors, for example, is often a source of great confusion (including the on-going use of the completely incorrect ‘full frame’ to describe 35mm-sized imagers). If you have any good ideas here, I’d love to hear them.

In the meantime, using the ‘old school’ descriptions, here are all the winners in the 2013 TIPA Awards and we’ve featured the 30 that are most relevant to the Australian market. Edited judges’ citations are provided in the captions for the products illustrated on these pages. The full citations can be found on the TIPA Website at www.tipa.com Note that all the sensor resolutions quoted here are for the effective pixels, not the total number (which we usually quote in this magazine).

BEST D-SLR ENTRY-LEVEL

BEST D-SLR EXPERT

BEST CSC ENTRY-LEVEL

Canon EOS 100D

Canon EOS 6D

Olympus Digital PEN E-PL5

BEST D-SLR ADVANCED

BEST D-SLR PROFESSIONAL

BEST CSC ADVANCED

Nikon D7100

Leica M (Typ 240)

Samsung NX300

AWA R D S

Nikon D7100 Best Advanced D-SLR, TIPA Awards 2013.

Canon EOS 100D Best Entry-Level D-SLR, TIPA Awards 2013.

“The Canon EOS 100D challenges the assumption that D-SLRs need to be bulky, and creates an attractive alternative to smaller CSC models for anybody who wants D-SLR handling, viewing and, of course, access to the entire range of Canon EF and EF-S lenses in a very portable and lightweight body.”

“The DX format Nikon D7100 has a new 24.1 MP CMOS sensor, a 51-point AF system which includes 15 crosstype sensors, and it can record up to six frames per second at full resolution.

Its advanced photo features, a durable magnesium alloy bodyshell and a 150,000 cycles shutter easily elevate this camera to the advanced class.”

Canon EOS 6D

Leica M (Typ 240)

Best Expert D-SLR, TIPA Awards 2013.

Best Professional Camera, TIPA Awards 2013.

“The EOS 6D melds consumer-oriented features with a very advanced set of photo options. It has a 20.2 MP 325mm-size CMOS sensor which delivers excellent quality at its highest ‘native’ sensitivity setting of ISO 25,600 and beyond. A ‘Q’ button accesses a screen menu with the most-used controls that, with other dedicated buttons and an eight-way toggle control, makes for a very pleasing and fast shooting experience.”

“The 24 MP full frame CMOS sensor in the Leica M allows for live view shooting and Full HD video recording, a sensitivity of up to ISO 6400, and works in co-ordination with the same image processor found in the company’s larger format S camera.”

Olympus Digital PEN E-PL5

Samsung NX300

Best Entry-Level CSC (Compact System Camera), TIPA Awards 2013.

Best Advanced CSC, TIPA Awards 2013.

“Able to deliver up to eight frames per second shooting, the E-PL5 offers a full range of user controls as well as 12 ‘Art Filters’ and seven ‘Art Effects’. Its fast AF system has 35 separate focus points spread over nearly the entire image area, with selectable 3x3 focusing groups.”

“Samsung’s NX300 has a brand new 20.3 MP CMOS sensor with a sensitivity range of ISO 100 to 25,600 and a fast hybrid AF system.

Wi-Fi connectivity is available with the downloadable Samsung ‘Smart Camera’ app, and which also allows for remote viewfinder capability. There are 14 different ‘Smart Mode’ subject/scene settings and many of the camera’s functions can be set using the innovative ‘i-Function’ button located on the lens barrels.”

BEST CSC EXPERT

BEST EASY COMPACT CAMERA

BEST SUPERZOOM CAMERA

BEST PREMIUM CAMERA

Fujifilm X-E1

Nikon Coolpix S01

Nikon Coolpix P520

Sony Cyber-shot DSC-RX1

BEST CSC PROFESSIONAL

BEST EXPERT COMPACT CAMERA

BEST RUGGED COMPACT CAMERA

BEST CSC ENTRY-LEVEL LENS

Panasonic Lumix GH3

Fujifilm X20

Panasonic Lumix FT5

Nikon 1 Nikkor 11-27.5mm f3.5-5.6 ED-IF

17

AWA R D S

Fujifilm X-E1 Best Expert CSC, TIPA Awards 2013.

“The Fujifilm XE-1 harkens back to analog design and handling with, for example, actual engraved dials for selecting shutter speeds and exposure compensation. Inside the magnesium diecast body is a sophisticated ‘X-Trans’ CMOS sensor with the ability to record up to ISO 6400, with a two-stop ‘push’. One of the most impressive features is the brilliant 2.36 million-dot OLED electronic viewfinder.”

Panasonic Lumix GH3 Best Professional CSC, TIPA Awards 2013.

“The 16 MP ‘Live MOS’ sensor in the GH3 boasts sensitivity up to ISO 12,800 with a one-stop ‘push’. Sophisticated noise filtration and suppression, and a newly-designed lowpass filter provides further enhancement of the low light shooting performance.”

Nikon Coolpix P520 Best Superzoom Camera, TIPA Awards 2013.

“The 42x fixed Nikkor all-glass zoom lens in the Coolpix P520 delivers a huge maximum focal length of 1000mm and with Nikon’s VR optical image stabilisation. Its 18.1 MP sensor has a sensitivity range of ISO 80 to 3200, with ‘push’ settings available in some shooting modes. There are numerous scene and creative modes plus close-up focusing begins at 50 cm and includes a super macro setting of just one centimetre. This is a hugely capable camera in a very compact package.”

Fujifilm X20 Best Expert Compact Camera, TIPA Awards 2013.

“The X20 features a 2/3-inch 12 MP CMOS sensor with sensitivity up to ISO 12,800. The camera’s 4.0x Fujinon 4X zoom (equivalent to 28-112mm) starts at a fast f2.0 and only loses one stop to f2.8 at its maximum focal length. It also allows for focus as close as one centimetre. The X20’s hybrid AF system is fast and reliable plus there’s a Focus Peak Highlight function to assist with manual focusing.”

Sony Cyber-shot RX1 Best Premium Camera, TIPA Awards 2013.

“The impressive 24.3 MP Sony RX1 comes with a 35mm-sized CMOS sensor and a high-quality fixed Carl Zeiss Sonnar T* 35mm f2.0 prime lens in a compact and well-constructed body. With full manual controls and ISO 50 to 25,600 sensitivity, the RX1 can record Full HD video clips and offers numerous shooting modes, including multi-shot HDR capture. It has a bright, 1.22 million dot LCD-type monitor screen and OLED-type EVF is available as an option.”

Panasonic Lumix FT5 Best Rugged Compact Camera, TIPA Awards 2013.

“Waterproof to a depth of 13 metres, shockproof from a height of two metres, able to withstand 100 kg of pressure and freeze-proofed to -10 degrees Celsius, Panasonic FT5 is an excellent example of today’s breed of ruggedised digital compact cameras. The Leica-designed DC Vario-Elmar zoom lens (equivalent to 28-128mm) delivers high-quality results. Keeping up with the current ‘connectivity’ trends, the FT5 has ‘One Touch Easy’ connection to Wi-Fi that allows for remote capture using the ‘Panasonic Image App’. This also allows for tagging images using GPS functionality.”

18

BEST CSC EXPERT LENS

BEST ENTRY-LEVEL D-SLR LENS

BEST EXPERT D-SLR LENS

BEST EXPERT PHOTO PRINTER

Sony E 10-18mm f4.0 OSS

Sigma 17-70mm f2.8-4.0 II DC Macro OS HSM

Sigma 35mm f1.4 DG HSM

Canon PIXMA PRO-10

BEST CSC PRIME LENS

Fujinon XF 14mm f2.8 R12mm f2.0

BEST PROFESSIONAL D-SLR LENS

Canon EF 24-70mm f2.8L II USM

Sony SEL 10-18mm f4.0 OSS

AWA R D S

Best CSC Expert Lens, TIPA Awards 2013.

Nikon 1 Nikkor 11-27.5mm f3.5-5.6 ED-IF Best CSC Entry-Level Lens, TIPA Awards 2013.

“Compatible with all the Nikon 1 Compact System Cameras, the equally compact Nikkor 11-27.5mm zoom (equivalent to 30-74mm) measures a mere 57.5x31.0 mm and weighs only 80 grams. The eight-element optical construction includes one ED and one aspherical type to provide a high level of correction.

Also featuring internal focusing, this lens adds little to the camera’s weight or size, making it an ideal companion lens when absolute portability is a priority.”

Fujinon XF 14mm f2.8 R

Sigma 17-70mm f2.8-4.0 II DC Macro OS HSM

Best CSC Prime Lens, TIPA Awards 2013.

Best Entry-Level D-SLR Lens, TIPA Awards 2013.

“With equivalent focal length of 21mm, the Fujinon XF 14mm f2.8 R has a tenelement optical construction which includes two aspherical and three extra-low dispersion types to provide a high level of correction for both distortion and chromatic aberrations.

The lens’s short back focus design helps eliminate vignetting and delivers a bright, high-resolution image from centre-to-corner. The lens barrel has both distance and depth-of-field scales to aid in pre-focusing and establishing the hyperfocal distance.”

“Available in a variety of ‘APS-C’ format D-SLR mounts, Sigma’s 17-70mm standard zoom offers a very useful focal range equivalent to 25.5-105mm. Plus it has close-up focusing down to 22 cm. The incorporation of a smaller ‘OS’ image stabilisation unit makes for a more compact design while extending its hand-held shooting capability. The optical construction comprises 16 elements, including two FLD types, one SLD type and three aspherical glass types for enhanced image quality. A seven-blade diaphragm, Sigma’s ‘HyperSonic Motor’ AF drive, a solid brass bayonet mount, and compatibility with Sigma’s USB dock (for firmware updates) round out the impressive feature set.”

Sigma 35mm f1.4 DG HSM

Canon EF 24-70mm f2.8L II USM

Best Expert D-SLR Lens, TIPA Awards 2013.

Best Professional D-SLR Lens, TIPA Awards 2013.

“This fast prime lens covers 35mm-size sensors and incorporates Sigma’s ‘Hyper Sonic Motor’ (HSM) AF drive, a floating internal focusing system, and both SLD and FLD glass elements which correct for both axial and chromatic aberration.

The HSM drive delivers quiet, high-speed autofocusing while the floating focusing system allows for superior optical performance with subjects at the closer shooting distances (down to 30 cm). The large f1.4 maximum aperture makes Sigma’s 35mm excellent for low light work, and it is compatible with the new Sigma USB dock and Optimisation Pro software which allows for the adjusting and fine-tuning of focusing parameters via firmware upgrades.”

20

“Sony’s E-mount 10-18mm wide-angle zoom has a constant aperture of f4.0 and its focal range is equivalent to a useful 15-27mm. Weighing only 225 grams, the 10-18mm has a tenelement construction which includes three aspherical types and employs Super Extra-Low dispersion glass for the near complete elimination of chromatic aberrations, even at the widest focal length. ‘Optical Steady Shot’ image stabilisation adds significant versatility to this lens and maximizes its impressive performance when shooting both stills and video, even in low light situations.

An internal focusing system and circular shutter blades round out the impressive specifications.”

“This new version of Canon’s popular constant-aperture 24-70mm zoom has an 18-element construction which includes one ‘Super UD’ type and two ‘UD’ (ultra-low dispersion) types. Additionally, two types of aspherical elements are combined to reduce spherical aberrations over the entire image area and across the full zooming range. The lens has a nine-bladed circular diaphragm, Canon’s proven ring-type USM AF drive and a high-speed CPU with revised AF algorithms to enable silent and faster autofocusing. The external construction has improved dust sealing and water resistance along with special fluorine coatings on both the front and rear lens surfaces to minimise the adherence of dust and moisture.”

BEST MULTI-FUNCTION

BEST INKJET PHOTO PAPER

BEST PHOTO SOFTWARE

BEST PHOTO ACCESSORY

PHOTO PRINTER

Ilford Galerie Prestige Mono Silk

DxO Optics Pro 8

Metabones Speed Booster

Epson Expression Photo XP Series

BEST PHOTO TV

BEST MOBILE PHOTO APP

BEST DIGITAL ACCESSORY

Samsung F8000 Smart LED 2D/3D

Tiffen Photo fx Ultra

CamRanger

Epson Expression Photo XP Series “The Epson Expression Photo XP-850 and XP-750 are ideal all-in-one printers for photo enthusiasts. Both models include the Epson Connect feature that allows users to print wirelessly from smartphones and tablets using Epson’s iPrint. Using Epson’s six-colour Claria Photo HD inkset, these printers can produce a 4x6-inch print in as little as ten seconds. Users can also print onto heavyweight photo paper and card using the speciality media feed at the rear.”

AWA R D S

Best Multifunction Photo Printer, TIPA Awards, 2013.

Canon PIXMA PRO-10 Best Expert Photo Printer, TIPA Awards 2013.

“The PIXMA PRO-10 is a wireless and ‘AirPrint’ capable printer that utilises Canon’s new ten-colour Lucia pigmented inks, plus it incorporates a ‘Chroma Optimiser’ cartridge which helps eliminate bronzing and metameric failure effects with gloss media. Utilising 7680 four-picolitre-size nozzles, the unit can deliver up to 4800x2400 dpi resolution in both colour and monochrome images in sizes up to A3+ size.”

Ilford Galerie Prestige Mono Silk

DxO Optics Pro 8

Best Inkjet Photo Paper, TIPA Awards 2013.

Best Photo Software, TIPA Awards 2013.

“When you combine the expertise of DxO Labs in image quality with a fullfeatured RAW converter and image processor, photographers will discover a powerful software tool for image enhancement in one workspace. Work modules include ‘DxO Smart Lighting’ which automatically lightens dark areas and retains details in highlights without increasing contrast, selective tone controls, an automatic tool for retaining texture in highly-saturated colour areas, RAW conversion that takes camera profiles into account, live preview in the image browser; and automatic optical corrections based on lens profiles, including a unique lens softness correction. Version 8 also has been updated to take full advantage of Retina displays.”

“Designed specifically for printing monochrome images (although certainly capable of receiving colour), this acid- and lignin-free fibre-based, 270 gsm inkjet paper is available in both sheet and roll stock and can be used with both pigment and dye-based inkjet printers. As befitting an inkjet paper aimed at monochrome printmakers, Mono Silk has a high DMax value for reproducing rich blacks, and low DMin values for exploiting the potential of highkey images and helping the user obtain rich, textured highlights in their prints. In all, these characteristics have the potential to bring out a rich, vibrant tonal range and transition in black and white prints.”

Panasonic SDHC Gold/Silver/Blue Series

Canon EOS-1D C

Best Image Storage Media, TIPA Awards 2013.

Best Video D-SLR, TIPA Awards 2013.

“Panasonic’s Gold, Silver and Blue range of SDHC memory cards offers users the ability to exactly match their budget and camera with their memory card usage and needs. For example, the Gold SDHC series is available with up to 32 GB and are rated at Speed Class 10 with maximum data transfer rates of 90 MB/second read and 45 MB/second write. The Silver series SDHC cards are available with storage capacities of up to 32 GB and are also Speed Class 10 with 20 MB/ second data transfer capability. The Blue series cards are Speed Class 4 rated with a 15 MB/second read speed, and are available in sizes up to 16 GB.”

“As the first Canon ‘hybrid’ D-SLR, the EOS-1D C has an 18 MP 35mm-size CMOS sensor which can record video at the 4K resolution of 4096x2160 pixels or Full HD video as well as still images as JPEGs or RAW files. Geared towards film and TV production, the 4K video recording can be done at 24p or 25p, and the HD recording at frames rates up to 60p. The EOS-1D C also has all the features of a pro-level D-SLR for still recording, making it an extremely versatile camera for today’s professionals in either videography or photography.”

BEST TRIPOD

memory cards

BEST VIDEO CAMERA

BEST PROFESSIONAL LIGHTING

Vanguard ABEO PRO Kit 283 CGH

BEST VIDEO D-SLR

Sony NEX-VG900

SYSTEM

BEST IMAGING STORAGE MEDIA

Canon EOS-1D C

BEST MOBILE IMAGING DEVICE

Profoto Pro-B4 1000 Air

Panasonic SDHC Gold/Silver/Blue series

Samsung Galaxy Camera

21

Sony NEX-VG900

AWA R D S

Best Video Camera, TIPA Awards 2013.

“Utilizing a 35mm-sized 24.3 MP ‘Exmor HD’ CMOS sensor, the NEX-VG900 can record in Full HD with 50p, 50i, 25p and 24p frame rates (PAL standard), plus an uncompressed video feed is available via its HDMI connection. Capable of accepting both Sony’s E-mount and A-mount lenses (the latter via an LA-EA3 adapter), the VG900 has an impressive XGA OLED electronic viewfinder (2.36 megadots resolution) which displays camera adjustments in real time.

An integrated Quad Capsule Spatial Array 5.1 channel surround microphone captures brilliant sound and the optional XLR adapter facilitates the use of professional microphones. The design also includes dials and buttons for full manual control of iris, gain and shutter.”

Profoto Pro-B4 1000 Air Best Professional Lighting System, TIPA Awards 2013.

“The Profoto Pro-B4 1000 Air is designed to handle the toughest shoots and its exceptional features include extremely short flash durations of just 1/25,000 second, fast recycling to full power in one second, and the delivery of up to 30 flashes per second at the lower power settings. These are all features which expand a photographer’s creative freedom”.

GoPro Hero 3

22

Best Action Cam, TIPA Awards 2013.

Vanguard ABEO PRO Kit 283CGH

“The Wi-Fi enabled Hero 3 is wearable and ‘gear-mountable’, waterproof down to 60 metres (with the supplied housing) and can record video clips with a wide range of frame rates plus 12 MP stills at up to 30 fps. The video options allow the user to record in slow motion or in higher resolutions, if desired. The fixed lens can be set at ultra-wide, medium and narrow fields-of-view. The new (and free) GoPro App allows for video remote via a smartphone or tablet. There is an extensive line up of mounting accessories – from helmet to headband to bicycle handlebars – which enables the Hero 3 to capture dynamic imagery in many sports and extreme action situations.”

Best Tripod, TIPA Awards 2013.

“The carbonfibre Vanguard ABEO Pro Kit (model 283CGH) includes the company’s GH-300T pistolgrip head with a built-in remote shutter release control. The head features dual panning axes with a 72-click-point panning base. The tripod’s multi-angle centre column allows users to move the column from zero to 180 degrees, both vertically and horizontally, plus it has an easily set-and-release locking system. The legs feature quick-flip locks and variable-angle settings (from 25 to 80 degree1s), plus ‘3-in-1’ all-terrain feet with angled rubber, spiked and sand/ snowshoe options.”

Samsung Galaxy Camera,

Samsung F8000 Smart LED 2D/3D

Best Mobile Imaging Device, TIPA Awards 2013.

Best Photo TV, TIPA Awards 2013.

“The 16 MP Samsung Galaxy Camera redefines the idea of the ‘connected’ camera. It’s a hybrid camera/tablet which enables easy access to sharing sites, social media and Web connections. Its impressive 12 cm HD LCD monitor screen dominates the back of the camera and allows for the easy viewing of all the apps a user may want (including those pre-installed and those available from the Google and Samsung app stores). The Galaxy Camera also features a built-in ‘Auto Cloud Backup’ function which sends images – as they are taken – to the Samsung cloud service. In addition, the Galaxy Camera can be programmed to respond to various voice commands.”

“Viewing photographs and video clips on a TV is not something new, but what is new is the ability to use the TV as a way to interact with images, share them on social networks, work with apps, and use the TV as an ‘image hub’ with numerous devices. With models capable of 2D and 3D still and video display, Samsung has approached this integration by insuring that all its devices, including the Smart phones and tablets can (or will be soon) part of a total imaging infrastructure.

Samsung’s Smart TVs also feature an ‘Evolution Kit’ to enable the downloading of future firmware upgrades.”

BEST PORTABLE LIGHTING SYSTEM

BEST PHOTO BAG

BEST ACTION CAM

BEST DESIGN

Nissin MG8000 Extreme

Vanguard Quovio 41

GoPro Hero3

GIOTTOS SILK ROAD YLT SERIES TRIPODS

BEST PHOTO MONITOR

BEST PHOTO SERVICE

BEST IMAGING INNOVATION

LG IPS ColorPrime 27EA83

WhiteWall

Samsung 45mm f1.8 2D/3D lens

AWA R D S LG IPS ColorPrime 27EA83

CamRanger

Best Photo Monitor, TIPA Awards 2013.

Best Digital Accessory TIPA Awards 2013.

“The LG ColorPrime EA83 delivers 99 percent coverage of the Adobe RGB colour space and 100 percent of sRGB colour space in a 10-bit native colour display.

Hardware calibration is via LG’s ‘TrueColor Pro’ and an optional ‘External Calibrator’ is available. Viewing is enhanced with the company’s WQHD (Wide Quad High Definition) technology which delivers high-resolution images, while workflow is improved with the ability to display up to four windows in eight different screen ratios.”

“A wireless tethering system that is compatible with numerous digital cameras, CamRanger allows users to view and transfer images directly to an Apple iPad, iPhone, Mac or Windows computer or, in the future, Android devices. It also allows for remote operation and camera adjustments from iOS devices. Features include a double-tap image zoom, full resolution viewing, tagging and rating, and the ability to control camera settings and the shutter release directly from iOS devices.”

Vanguard Quovio 41

Samsung 45mm f1.8 2D/3D lens

Best Photo Bag, TIPA Awards 2013.

Best Imaging Innovation, TIPA Awards 2013.

“Designed for both the working pro and enthusiast, Vanguard’s Quovio 41 shoulder bag is a wellpadded carrier which features a ‘Quick Access’ main opening to enable ready access to gear by pulling on its large handle.

It can hold a semi-pro camcorder as well as a pro-level D-SLR camera kit, with configurable sections and a dual built-in tripod holder. The bag has a water-resistant base with ‘Anti-Shock Feet’, a rain cover and incorporates a compartment for up to a 14-inch laptop.”

“The first 3D one-lens system for a consumer camera, the Samsung 45mm f1.8 3D lens can also be set for 2D capture. To capture 3D images, the user activates the 3D switch and a secondary lens group comes into play, which then sends two separate images to the sensor (similar to the stereo adapters of old for film cameras).

A dual-shutter mechanism in the lens barrel switches back and forth during exposure to create the left/ right parallax effect with both still photography and video recording.

When capturing, the lens projects the entire image onto the full sensor each time. The image processor in the camera handles the rest.”

Metabones Speed Booster Best Photo Accessory , TIPA Awards 2013.

“As sensor formats proliferate, photographers need ways to adapt lenses from one system to another. The Metabones Speed Booster – jointly developed by Metabones and Caldwell Photographic – not only creates an adapter mount between an ‘APS-C’ mirrorless camera and a D-SLR with a 35mm-sized sensor, but also increases the maximum aperture by a full stop and multiplies the focal length by 0.71x. For example, an 85mm f1.2 lens becomes a 59mm f0.9 lens on an ‘APS-C’ mirrorless model. The first such adapter is for Canon EF lenses and Sony NEX bodies; other adapters for various lens/bodies combinations are promised in the future.”

Nikon Coolpix S01 Best Easy Compact Camera, TIPA Awards 2013.

“The diminutive 10.1 megapixels S01 has a 3.0x Nikkor glass zoom lens with a focal range equivalent to 29-87mm (35mm format).

Weighing in at a mere 96 grams and measuring 51.2x 77.0x17.2 mm, the S01 redefines the concept of a pocket-sized camera yet it is still very highly featured. It offers a long list of scene modes and in-camera special effects.”

24

BEST PHOTO MONITOR

BEST PHOTO BAG, TIPA AWARDS 2013.

BEST IMAGING INNOVATION

BEST PHOTO ACCESSORY

LG IPS ColorPrime 27EA83

Vanguard Quovio 41

Samsung 45mm f1.8 2D/3D lens

Metabones Speed Booster

BEST DIGITAL ACCESSORY

BEST EASY COMPACT CAMERA

CamRanger

Nikon Coolpix S01

ON TRIAL

NIKON D5200

4, D800/800E, D600, D3200, D5200 and the most recent new arrival, the D7100. It’s an imposing line-up of D-SLR heavy hitters that’s revitalised Nikon’s fortunes in this market and no doubt given the product planners over at arch-rival Canon something to think about.

Sensors are very much at the heart of what Nikon has been doing with its new generation of D-SLRs from entry-level to professional.

The D800 with its 36.8 megapixels 35mm-sized imager is the most spectacular in this department, but the 24.7 MP D600 isn’t far behind and Nikon has been pumping up the pixels across the range so the D3200, D5200 and the D7100 all have 24.7 megapixels on tap, albeit with an ‘APS-C’ size sensor, a.k.a. the DX format.

As it happens, even if the total pixel count is the same, all three models also use different sensors, and the D5200’s is sourced from Toshiba. Of course, most of the serious leg work is done by Nikon’s ‘Expeed 3’ processor, and the D5200 isn’t just about having more pixels than its rivals, it has more of a lot of things as both its autofocusing and metering systems have migrated down from the next level as the D7000 is replaced.

Consequently, the compact D5200 packs some ‘big camera’ specs, giving it broad appeal from entrylevel to enthusiast. Converts are probably also going to like the colour of our test camera, which is a metallic-look red finish that’s actually very classy in a similar way to the Pentax K-30’s blue. The alternatives are the standard black and a bronze colour that also looks quite smart, but is more subdued than the red.

D

TAKING CONTROL

POWER TOOL 26

Nikon continues to roll out new D-SLRs with impressive specifications, and the D5200 joins a growing list of models which are redefining expectations in their various categories.

Report by Paul Burrows.

The D5200 basically follows the Nikon template for its compact entry-level D-SLRs so there’s a main mode dial, but no top deck LCD read-out panel.

The main controls are a rear input wheel and a four-way navigator keypad, supported by a smattering of buttons – those related to capture located atop the handgrip and those related to playback situated on the rear panel. The viewfinder is a penta-mirror design with the pop-up flash built around it. The 7.62 cm LCD monitor screen has tilt and swivel adjustments, and a resolution of 921,600 pixels. There are no touch controls. The camera’s single memory card slot supports

CONTROL SYSTEMS

the D5200 does engage auto scene selection in its full auto mode, using data derived from its metering and autofocusing systems.

There are a total of 16 subject/ scene modes with the five standard ones (i.e. portrait, landscape, sports, etc) selectable via positions on the main mode dial, while the rest of them are accessed via the ‘Scene’ position. These are shown in the LCD monitor screen as sample images and selection is made via the rear input wheel.

The shutter has a speed range of 30-1/4000 second with flash sync up to 1/200 second. The D5200’s i-TTL flash metering is based on the 2016-pixel sensor – with Scene Recognition also at work – to enhance the accuracy with situations such as balancing daylight and flash. The built-in flash has a metric guide number of 12 (at ISO 100) and can be operated in a manual mode which allows the power output to be reduced to 1/32.

Alternatively, flash compensation is available over a range of -3.0 to +1.0 EV, again in either 1/3 or ½ stop increments. However, unlike on the next model up, the built-in flash can’t operate as the commander for a wireless TTL flash set-up.

The RGB metering sensor is also used to measure colour balance and the auto correction mode is supplemented by a total

Exposure control is based on the 2016-pixels RGB sensor which is also inherited from the D7000, but is still used in the D7100. The alternative measuring methods are a centre-weighted average pattern with a fixed centre zone diameter (unlike the D7100’s variable one) and a spot meter which is 3.5 mm in diameter and so represents 2.5 percent of the frame area.

The standard ‘PASM’ control modes are backed by program shift, an AE lock, up to +/5.0 EV of compensation and auto bracketing which operates over three frames with correction of up to +/-2.0 EV per frame. All the exposure-related settings can be made in either one-third or half stop increments, preselected in the camera’s custom menu.

Nikon’s ‘Scene Recognition System’ is operating behind the scenes all the time – based on an extensive built-in database of image scenarios – to optimise the exposure, focusing, white balance and flash control. It needs to be understood that this isn’t automatic scene mode selection, merely analysis and optimisation. However,

“The D5200 isn’t just about having more pixels than its rivals, it has more of a lot of things, as both its autofocusing and metering systems have migrated down from the next level.”

NIKON

D5200

ON TRIAL

the SD format, including SDXC and UHS-I speed data transfer. Like the rest of the compact Nikon D-SLRs, the D5200 doesn’t have a bodyintegrated autofocusing motor so it requires the motorised AF-S Nikkor lenses for AF operations. Given the step up in its overall capabilities, that the D5200 still lacks a depth-offield preview facility seems a bit like unnecessary penny-pinching.

As noted earlier, the D5200 inherits the ‘Multi-CAM4800DX’ AF module from the D7000, but it doesn’t offer quite the same level of controllability. However, it still employs 39 focusing points, nine of which are cross-type arrays located near the centre of the frame. The 12-15-12 point pattern provides pretty wide subject coverage, but there’s also a provision for reducing the number of active points to just 11 primarily for more selective focusing. Switching between the single-shot and continuous modes can be done manually or automatically (but there isn’t an external control for this), and there’s the choice of manual or auto AF point selection. Points can also be selected in groups of nine or 21, and ‘3D Tracking’ operates in the continuous AF mode, switching the points as the subject travels across the frame.

The D5200’s main mode dial is used to access the camera’s seven special effects. The five standard subject modes have their own positions while the remaining 11 are accessed by turning the dial to ‘Scene’.

The lever located alongside the main mode dial is used to activate the live view function, and from here video recording is commenced via a dedicated start/stop button adjacent to the shutter release (out of shot here).

All the curves and sweeping lines evident in this image of the rear control panel give a good impression of how classy the red finish really is. For once, we’d select this colour over the basic black any time.

Although it isn’t weatherproofed, the D5200’s polycarbonate bodyshell looks and feels very strong.

27

IN THE PROCESS The new CMOS sensor has an imaging area of 15.6x23.5 mm and a native sensitivity range equivalent to ISO 100 to 6400 with a two-stop ‘push’ to ISO 25,600. The maximum image size is 6000x4000 pixels with the choice of two smaller sizes and three levels of JPEG compression, labelled ‘Fine’, ‘Normal’ and ‘Basic’ (respectively, 1:4, 1:8 and 1:16).

RAW files can be captured at 14-bit per RGB channel and RAW+JPEG capture can be configured to any of the JPEG compression settings, but only with the largest image size.

The image processing options start with Nikon’s standard set of six ‘Picture Control’ presets – five for colour and one for B&W. The colour presets are called Standard, Neutral, Vivid, Portrait and Landscape, and have adjustable parameters for sharpness, contrast, brightness, colour saturation and hue. Each of these can be manually fined-tuned either separately or collectively via a ‘Quick Adjust’ function. The Monochrome ‘Picture Control’ has adjustments for sharpness and contrast plus a set of contrast control filters (yellow, orange, red and green) and a selection of toning effects – nine colours in all, each with seven levels of intensity.

The modified ‘Picture Controls’ can be saved and, if desired, renamed, plus there is a provision for saving one customised preset.

It’s also possible to download new presets to the camera (via a memory card) and these are created in either Nikon’s View NX2 software (which is supplied with the camera) or Capture NX2.

The D5200 also has a set of special effects which are applied at

NIKON

D5200

the point of capture and selected in the same way as the subject/scene modes. There are seven of them, namely Night Vision, Colour Sketch, Miniature Effect, Selective Colour, Silhouette, High Key and Low Key. Selective Colour, Colour Sketch and Miniature Effect have to be first configured in the live view mode.

Interestingly, Night Vision captures an image at ISO 102,400, albeit only in B&W. With all the other effects the exposure control, ISO and white balance setting are locked to automatic, so it’s likely many users will opt to use the effects available in the D5200’s ‘Retouch Menu’, particularly as doing it this way retains the original image file unmolested. The ‘Retouch Menu’ has been growing steadily over the years, and on the D5200 it now comprises 18 items (19 if Edit Movie is included). This list includes Colour Outline, Colour Sketch, Miniature Effect, Selective Colour and Fisheye, plus a choice of filter effects, including Soft, Cross Screen and Skylight. There are corrective functions such as Straighten, Distortion Control, Perspective Control, Colour Balance and Red Eye Correction. These provide manually adjustable corrections, and most of the special effects and filters are also adjustable.

Both in-camera B&W conversion and RAW-to-JPEG processing are available in this menu – the former with the option of sepia or cyanotype toning, and the latter with adjustments for image size/quality, white balance, exposure compensation, the ‘Picture Control’ preset, the colour space, high ISO noise reduction and D-Lighting correction.

Nikon’s ‘D-Lighting’ dynamic range expansion processing can also be applied post-capture as an alternative to the ‘Active’ at-capture function. ADL analyses the image for brightness and contrast with the choice of automatic correction or four manual settings – Low, Normal, High and Extra High. Underexposure is applied to preserve more detail in the highlights while the shadows are selectively brightened. There’s also an ADL bracketing function which captures one frame with ADL at work (at the set level) and one without. When the ‘Active D-Lighting’ processing is engaged, both the contrast and brightness adjustments in the ‘Picture Control’ presets are disabled. Importantly, Active D-Lighting can be switched off as the extra image processing required will slow the camera down.

ON TRIAL

of 12 presets, of which seven are for different types of fluorescent lighting. One custom measurement can be made and stored, and all the presets can be fine-tuned in both the blue-to-amber and green-tomagenta colour ranges. There’s also a white balance bracketing function, again operating over three frames with an adjustment in the blue-toamber range of up to plus/minus three steps. However, there is no provision for manually setting the colour temperature.

The maximum continuous shooting speed is 5.0 fps – up from 4.0 fps – with the option of a slow speed setting which operates at 3.0 fps. The self-timer is programmable for both the delay time (between two and 20 seconds) and the number of frames (up to nine).

The single SD format memory card slot supports the SDHX and SDXC types as well as UHS-I high speed data transfer and Wi-Fi-enabled devices.

The connection bay includes a stereo audio input for connecting an external microphone and an HDMI terminal which can output a ‘clean’ uncompressed video feed.

29

The D5200’s LCD monitor screen is adjustable for tilt and swing which enables it to be folded away faceplate first.

ON TRIAL The updated ‘Graphic’ user interface now includes three symbolic displays for the shutter speed (which rotates when a change is made), aperture and the ISO. This last graphic briefly converts to a virtual main mode dial when selecting a shooting mode using the real control.

The live view screen includes a set of capture-related icons along its upper edge.

Among the review screens is one which includes a full set of brightness and RGB channel histograms.

The alternative screen shows a brightness histogram along with a set of capture data.

30

The D5200 also has a doubleshot HDR capture function which can be set to either auto exposure adjustment or one of four manual settings – Low, Normal, High and Extra High.

Active at-capture processing is also available for lens distortion with compatible Nikkor optics, and the D5200 has a multiple exposure facility which can be set to either two or three shots with the option of auto exposure correction.

GoInG To The MovIes Video clips are recorded at the Full HD resolution of 1920x1080 pixels at 50 fps interlaced – which is new on the D5200 – or either 25 or 24 fps progressive. Interestingly, the interlaced framing is matched to the sensor’s framing rate. Something that hasn’t had much fuss made about it so far is that, like the D600 and D800, the D5200 can deliver an uncompressed video output (YCbCr 4:2:2, 8-bit) to its HDMI connection which can then be fed to an external recorder or an external monitor.

Nikon continues to use the MPEG4 AVC format and H.264 codec. Video can also be recorded at 720p/50 fps and in standard definition at the VGA resolution.

There are also ‘High’ and ‘Normal’ quality settings for each movie mode. The D5200 steps up to stereo microphones, which are located just in front of the hotshoe, and it retains a 3.5 mm stereo audio input for connecting an external mic. Usefully, the audio recording levels can be manually set over a range of 20 steps.

The maximum clip duration is 30 minutes or a maximum file size of 4.0 GB, whichever comes first.

The image stabiliser in a VR lens is automatically activated during movie recording.

The level of video functionality is reasonably good, with a ‘Manual Movie Settings’ control enabling the manual adjustment of shutter speeds and sensitivity. Continuous

“Something that hasn’t had much fuss made about it so far is that, like the D600 and D800, the d5200 can deliver an uncompressed video output (YCbCr 4:2:2, 8-bit) to its HDMI connection.”

autofocusing is available, but speed issues (as well as noise) mean that manual control is generally the better option. The special effects, the ‘Picture Control’ presets (with any fine-tuning adjustments), the white balance settings and the ‘Active D-lighting’ processing can all be preselected.

As on the D7000 and the D5100, however, the anomaly continues that whatever aperture is set at the time the camera is switched to live view mode is the aperture that will be used when shooting video, regardless of whether it’s subsequently changed or not.

There’s a dedicated movie start/stop button, and the D5200 is switched to live view operations via a lever set next to the main mode dial.

The image review options comprise the standard Nikon fare of three pages of shooting data, a highlight warning and a thumbnail accompanied by either image data and a brightness histogram or, alternatively, a full set of RGB histograms. This is configured in the playback menu and each element is selectable separately. During review or replay, the navigator pad’s up/down actions cycle through the review screens.

The playback modes include 4/9/72 thumbnail pages, thumbnail calendar display, a zooming function which magnifies the image by up to a massive 38x and a slide show function with adjustable image display times.

In The hand As on the D5100, the monitor screen is used as the main information display, and has provisions for making adjustments to a wide selection of capturerelated settings. Pressing the ‘i’ button – which is located on the back panel adjacent to the viewfinder eyepiece – switches the display from passive to active.

There’s a choice of ‘Classic’ or ‘Graphic’ display styles and three background colours for each (blue, black or white). The main difference is that the ‘Graphic’ display includes visual representations of a lens diaphragm (which opens and closes according to the aperture setting), a shutter speed dial (which ‘turns’) and an ISO selector which is also circular (and briefly converts into a virtual main mode dial when the shooting mode is being changed).

Each shows the actual setting within their circular graphics.

Additionally, the display can be

separately configured for when the camera is in the ‘PASM’ modes or the Auto/Scene/Effects modes.

Both displays provide ‘plain English’ warnings – for example, “Subject is too dark” – and have a help function which either expands on these warnings or provides an explanation when a setting adjustment is selected on-screen.

Additionally, the sub-menus for these settings are accompanied by illustrative images which mostly change to reflect the adjustment (for example, darkening or brightening with exposure compensation).

Both displays also have two strips of tiles which serve as an interactive control panel that’s activated when the ‘i’ button is pressed. These include adjustments for the image quality and size, white balance, ADL processing, ‘Picture Control’ preset, metering method, the autofocusing settings, flash modes and exposure compensation.

Navigation is via the key pad or input wheel which highlights a selected tile and then pressing the ‘OK’ brings up the relevant submenu which, again, is accompanied by illustrative images. It’s not as efficient as some control screens, but still quicker than trawling through the menu system. That said, Nikon’s D-SLR menus are pretty logical in both their layout and navigation… progressive right-clicks access the submenus and settings, with the ‘OK’ button sealing the deal. Backtracking is via the ‘Menu’ button which, as on the D5100, is located all on its own on the left-hand side of the viewfinder eyepiece where it isn’t entirely convenient in terms of access. In terms of image capture there are dedicated buttons for the drive modes (including the selftimer), exposure compensation, flash compensation and the AE/AF lock plus an ‘Fn’ button that can be assigned one of 14 functions, including (importantly) the ISO, white balance, ADL, auto bracketing, AF area mode and image quality/size.

Overall though, the D5200 is comfortable to handle and generally comfortable to operate. The restyled polycarbonate body feels strong and looks to be exceptionally well screwed together for this level of D-SLR, although it isn’t weatherised. However, the lens mount is stainless steel.

speed and perforMance It’s easy to forget in this age of super fast shooting speeds that

THE VERDICT The D5200 continues Nikon’s sparkling form in D-SLRs and is yet another model offering a high level of capabilities at a very attractive price. While there are a few niggling omissions, the D5200 definitely doesn’t give the impression it’s been built to a price and, in reality, there’s nothing really serious missing from its long list of features. On the plus side are its compact dimensions, excellent ergonomics – helped along by the improved user interface – and strong imaging performance.

In essence, the D5200 may just be a remixing of a number of existing Nikon ingredients, but this new recipe undoubtedly produces a very appetising result.

NIKON

D5200

Type: Fully automatic digital SLR with Nikon F bayonet lens mount (AF-S and AF-I lenses fully supported, all others with manual focusing only).

Focusing: Automatic 39-point wide-area system using phasedetection type CCD sensor arrays (nine cross-type arrays). Focus points may be selected manually or automatically by the camera with auto tracking. Auto or manual switching between one-shot and continuous AF modes, the latter with a predictive function. Face priority and auto tracking.

Sensitivity range is EV -1 - 19 (ISO 100). AF assist provided by built-in illuminator.

Metering: 2016-point ‘3D Colour Matrix II’, centre-weighted average, spot (3.5mm/2.5%) and i-TTL flash. Metering range is EV 0 to 20 (ISO 100/f1.4). Spot metering range is EV 2 to 20.

Exposure Modes: Continuouslyvariable program with shift, shutterpriority auto, aperture-priority auto, metered manual, i-TTL auto flash and TTL flash. Plus 16 subject/ scene modes.

Shutter: Electronic, vertical travel, metal blades, 30-1/4000 second plus B. Flash sync to 1/200 second. Exposure compensation up to +/-5.0 EV in 1/3 or ½ increments.

Viewfinder: Coverage = 95% vertical/horizontal. Magnification = 0.78x (50mm lens at infinity).

LCD display and LED focus point indicators. Fixed focusing screen. Eyepiece strength adjustment built-in.

Flash: Built-in pop-up unit with GN 12 power (ISO 100). Auto, fill-in, red-eye reduction, front/rear sync and slow speed sync modes.

External flash units connect via hotshoe. Flash compensation range of -3.0 to +1.0 EV in 1/3 or ½ stop increments. Manual control down to 1/32 of full power.

Additional Features: AE lock, auto exposure bracketing (over three frames), multiple exposure facility (up to three frames with auto exposure adjustment), ‘Classic’ or ‘Graphic’ display styles (with a choice of three colour schemes), multi-mode self-timer (2 to 20 second delays, one to nine exposures), intervalometer, wireless remote triggering, wired remote triggering, quiet shutter release, audible signals, auto power-off, 22 custom settings. Nikon’s VR-equipped lenses have built-in optical image stabilisation.

DIGITAL SECTION Sensor: 24.71 million (total) pixels CMOS with 23.5x15.6 mm imaging area and 3:2 aspect ratio.

Sensitivity equivalent to ISO 1006400 (extendable to ISO 25,600).

Focal Length Magnification: 1.5x.

Formats/Resolution: Three JPEG compression settings, RAW output (lossless compression) plus RAW+JPEG capture. Three resolution settings; 6000x4000, 4496x3000 and 2992x2000 pixels.

24-bit RGB colour for JPEGs, 42-bit RGB colour for RAW files.

Video Recording: Full HD = 1920x1080 pixels at 50 fps interlaced and 16:9 aspect ratio. Full HD = 1920x1080 pixels at 25 fps progressive and 16:9 aspect ratio. HD = 1280x720 pixels at 50 fps and 16:9 aspect ratio. SD = 640x424 pixels at 25 fps and 3:2. High and Normal quality modes. MPEG 4 (H.264) AVC format. Clip length of up to 30 minutes in duration or 4.0 GB in file size. Built-in stereo microphones with stereo audio input.

Recording Media: SD/SDHC/SDXC memory cards with UHS-I speed support.

Burst Rate: Up to 35 frames at 5.0 fps in JPEG/large/fine mode, up to eight frames in RAW mode (14-bit, lossless compressed). Low speed continuous shooting mode operates at 3.0 fps.

White Balance: TTL measurements using the 2016-pixels RGB metering sensor. Auto/manual control with 12 presets and one custom setting. White balance fine-tuning available for AWB and all presets.

White balance bracketing (up to three frames).

Interfaces: USB 2.0, mini HDMI, NTSC/PAL video output, 3.5mm stereo audio input.

Additional Digital Features: Live view with contrast detection AF, built-in sensor cleaning (active and passive measures), variable-angle 7.62 cm LCD monitor (921,600 pixels), Adobe RGB and sRGB colour spaces, long exposure noise reduction (On, Off), high ISO noise reduction (Off, Low, Normal, High), seven special effects modes (Night Vision, Colour Sketch, Miniature Effect, Selective Colour, Silhouette, High Key and Low Key), six ‘Picture Control’ modes (Standard, Neutral, Vivid, Monochrome, Portrait and Landscape), adjustable picture parameters (contrast, sharpness, colour saturation and colour hue with ‘Quick Adjust’ option), nine

custom ‘Picture Controls’, B&W contrast filters and toning effects (nine colours/seven levels), ‘Active D-Lighting’ processing (Off, Low, Normal, High, Extra High, Auto), ADL bracketing (two frames), multiple exposure HDR capture (Off, Low, Normal, High, Extra High, Auto), ‘Auto Distortion Control’ (On, Off), luminance/RGB histogram displays, highlight alert, adjustable image display time, auto image rotation, in-camera editing functions (D-Lighting, Red-Eye Correction, Trim, Monochrome/ Sepia/Cyanotype, Colour Balance, Image Overlay, RAW Processing, Resize, Quick Retouch, Straighten, Distortion Control, Fisheye, Colour Outline, Colour Sketch, Perspective Control, Miniature Effect, Selective Colour, Edit Movie,), adjustable filter effects (Skylight, Warm, Red Intensifier, Green Intensifier, Blue Intensifier, Cross Screen, Soft), 4/9/72 thumbnail displays, thumbnail calendar display, zoom playback (up to 38x), slide show with variable image display time, DPOF support, PictBridge support. May be fitted with the optional WR-R10 Wireless Remote transceiver, WR-T10 Wireless Remote transmitter, the WU-1a Wireless Mobile Adapter and the GP-1 GPS receiver.

Power: One 7.4 volt/1030 mAh rechargeable lithium-ion battery pack (EN-EL14 type).

Dimensions (WxHxD): body only = 129.0x98.0x78.0 mm.

Weight: body only = 505 grams (without battery pack or memory card).

Price: $949 body only. $1069 with AF-S DX Nikkor 18-55mm f3.5-5.6G VR zoom. Estimated street prices.

Available in black, red or bronze body colours.

Distributor: Nikon Australia Pty Ltd, telephone 1300 366 499 or visit www.nikon.com.au

* with Nikkor AF-S 18-55mm VR zoom lens.

Estimated street price.

ON TRIAL

NIKON D5200 $1069*

5.0 fps is still pretty respectable for a sub-$1000 D-SLR. Loaded with our Panasonic 16 GB Class 10 Gold-series SDHC reference memory card, the D5200 fired off a sequence of 15 JPEG/large/ fine frames in 3.034 seconds. This represents a shooting speed of 4.94 fps, which is as close to the quoted rate as makes no difference.

The typical file size was 13 MB. The 39-point AF is already proven in the D7000 and is both fast and unerringly reliable. The 2016-pixel ‘3D Colour Matrix II’ metering is also exceptionally reliable, even in challenging situations where an extreme contrast range would confound lesser systems. That both these systems are now available on a very affordable D-SLR is an indication of how far D-SLR design has come over recent years. So is having 24.7 megapixels on tap, and the D5200 uses them well, delivering beautifully crisp-looking images that are rich in well-defined fine details, accurate colour reproduction and nicely smooth tonal gradations.

The ‘Picture Control’ presets provide plenty of scope for tweaking images if more colour saturation, sharpness and contrast are desired. Noise levels are negligible up to ISO 1600, minimal at ISO 3200 and acceptable at ISO 6400. Both the expanded sensitivity settings exhibit enough noise to compromise both the colour saturation and the sharpness, but aren’t entirely unusable provided big enlargements aren’t required.

The dynamic range is reasonably good without any expansion processing, although ADL does make a small, but noticeable difference to the highlights.

31

reWArd For eFFort

PHOTOGENIC PLACES

A PhotogrAPher’s guide to exmouth, WA

70

One of the entry statements you’ll see as you arrive in Exmouth.

It may not be ‘just down the road’ for the majority of Australians, but Exmouth in north western Australia has plenty to offer the photographer keen to put in the miles to get there. simon duggan outlines some of the many highlights.

Sturt Desert Pea in the Cape Range National Park.

TurTle Time Despite there being a number of protected areas (called Sanctuary Zones) in the Ningaloo Marine Park, there are still plenty of areas where you can fish if you want to wet a line. I can tell you first hand that the fishing is spectacular and includes Red Emperor, Mangrove Jack and Sailfish. You are spoilt for choice as to whether to fish from the beach or from a boat. Don’t forget to bring an underwater camera or a marine housing for your D-SLR or compact. There are numerous things to see underwater and the clear conditions are very conducive to photography.

Not only is the fishing great, the wildlife in general is impressive too. We were lucky enough to witness the turtle egg-laying season.

It is quite awe-inspiring to see 30 to 40 large brown lumps on the beach, only to realise that, upon closer inspection, they are turtles slowly

making their way up the beach to lay their eggs.

Most of this activity happens at night and it can take quite some time as these female Green Turtles – weighing at least 150 kilograms – haul themselves up the beach, into the sand dunes and then proceed to dig a pit to bury around 100 eggs. This process can take over three hours, but is a privilege to be able to witness something like this.

The majority of the wildlife in this area, particularly in the Cape Range National Park, seems to be generally accepting of people being around. On one occasion, after a brief rain shower, kangaroos emerged from the scrub to drink from the pools of water that had just formed on the road. As we inched our way down the road towards them, they nonchalantly looked up and then loped towards the edge of the road, waited for us to pass and then immediately hopped back to continue drinking.

The other half of Australia’s coat of arms is also ever present, although emus mostly keep to themselves and are quite harmless. However, I did find out they are quite partial to apples… even if you are still eating them! It is not uncommon to find them walking purposely down the roads with or without their chicks in tow.

There is flora that is endemic to this region of Australia and, depending on the timing of spring rains, can make for a spectacular sight along the west coast of the Cape Range National Park.

PHOTOGENIC PLACES

espite laying claim to the Ningaloo Marine Park and the Cape Range National Park, Exmouth still remains as one of those less travelled destinations, an untapped jewel of nature and, consequently, a great place for photography.

The apparent remoteness of this area would certainly have something to do with this. During the winter months (April to September) – when the average temperature is around 25 degrees Celsius – the town’s population swells from its base of 2400 to around 6000. As the weather starts to heat up around October, the tourists, retirees and backpackers all head south, and the town quietens down. Late October is the time I most like to head to this part of the world. With most places around this country, the changing seasons gives you opportunities to see and photograph things you wouldn’t normally see in this area, both on land and on the water.

Exmouth is no different.

Exmouth is 1300 kilometres north of Perth, the capital of Western Australia, and is an easy two-and-a-half hours flight. Alternatively, you can spend a leisurely couple of days driving from Perth, giving you the opportunity to take in the sights and towns on the way. Exmouth was originally established in 1964 as a support town for the United States Naval Communications Station. However, due to the close proximity of the coral reef and a proliferation of both whale sharks and turtles, it is now better known as a popular tourist destination.

World Heritage listed in 2011, the Ningaloo Marine Park coastline stretches 260 kilometres down the north west cape. At the closest point, the reef is within 100 metres of the shore. The Ningaloo coast comprises 300 species of corals, 700 species of reef fish, 650 species of molluscs and over 1000 species of algae. It’s not hard to see why this is a snorkelers’ paradise too! There are numerous beach access points down the west coast of the National Park, with the most visited one being Turquoise Bay. The natural contours and prevailing current of this bay allow you to drift for a few hundred metres over the coral reef running parallel with the shore before nearly depositing you back at the waters edge.

It’s one of the easier snorkeling expeditions I have done.

D

“The Ningaloo coast comprises 300 species of corals, 700 species of reef fish, 650 species of molluscs and over 1000 species of algae.”

71

Daytime at the WWII air warning radar station.

Night time at the Exmouth Lighthouse and a replica WWII air warning radar station.

Sunrise over Galena Bridge (on the road to Exmouth).

A male emu with eight chicks.

Kangaroos drinking from pools on the road into Cape Range National Park.

Looking out over one of the many beach accesses in the Cape Range National Park.

Late afternoon fishing near the tip of the North West Cape.

Turtles making their way up the beach under the cover of night to lay their eggs. Oil and gas exploration platforms can be seen in the distance.

Success – a female turtle heads back to the ocean after a night of laying eggs.

Underwater at Turquoise Bay. Yellowtail Blue fish.

The Sturt Desert Pea pictured in the Cape Range National Park.

The warm evenings not only enable turtle watching, but with the lack of pollution in the air, it’s a perfect opportunity to experiment with some long exposure night photography. There is a little light pollution around with the US naval base – as it’s perched on the tip of the north west cape – but you can easily escape this.

Picking an evening with no more than a crescent moon for light presents the potential for some great photographs. I connected my laptop to the camera and watched the sky and stars come alive on my screen as I was experimenting with exposure times of eight, 20 and 60 seconds.

All photographers know that the best light for great photographs is either early morning or late evening. Sunrises and sunsets are common ingredients when taking pictures of the ocean, and Exmouth is one of those few places in Australia where you can capture the sun rising (over the Exmouth Gulf) and setting (over the Indian Ocean).

Exmouth is definitely not ‘just down the road’ for most Australians, but if you are in Western Australia, then you should really make a point of setting some time aside to visit this beautifully unspoiled piece of the country.

PHOTOGENIC PLACES

THE RIGHT LIGHT

For more information on Exmouth, please visit www.exmouthwa.com.au Essential Information • Flights – Qantas, Virgin and Skywest fly to Exmouth (Learmonth) from various starting points around Australia. Check their Websites for up-to-date schedules.

• Car hire – Both the national (Budget, Avis, Europcar and Hertz) and local car hire companies have a range of vehicles available.

• Accommodation – There is a wide variety of accommodation to suit all budgets (from unpowered camp sites to five star hotels).

A local (a hermit crab) trying to get home.

BEING THERE Do you have a favourite place in Australia for photography? We’d love to hear about it. We need between ten and 12 good quality images and around 1500 to 1200 words describing the region, the best spots for photography, how to get around and a few tips for visiting photographers (with regard to weather, seasonal changes, road conditions, available services, etc.).

So, if you fancy yourself as a travel writer, here’s your chance (and, yes, you will get paid). Images can be in any

All photographs by Simon Duggan, copyright 2013.

form, either film or digital files, but the latter need to be of sufficient quality for magazine reproduction (i.e. at 300 dpi resolution and at least 15x20 cm in size).

Please also remember to add the text file to the disc… a number of submissions have turned out to be pictures only.

Send your submission to Camera Magazine, Next Media Pty Ltd, Locked Bag 5555, St. Leonards, NSW 1590. If you want to discuss a possible location, send a brief outline via email to pburrows@nextmedia.com.au

SUBMISSIONS UPDATE For readers interested in contributing to ‘Photogenic Places’, below is a list of the locations that have been covered by articles submitted so far, but not yet published.

Check here to avoid doubling up. As a rough guide, we’re now suggesting you concentrate on a smaller area rather than providing a regional overview, perhaps with a more detailed description of what’s available to see and photograph.

• Benalla (Victoria)

73