When you buy a camera, you'll be pelted with specs from a salesperson, many of which are confusing, and even misleading. You will cower, and may cover your head for protection. He will keep pelting. And really, he has to—spec sheets and jargon are integral to camera marketing, at least for now. Here's what it all means, in one handy cheat sheet.

Types of Cameras

Before you set out to buy a new camera, or even just to get to know yours a little better, you've got to know the difference between the different types or cameras. Here are the ones you're likely to come across.

Point-and-Shoots: Also known as compact cameras. If you don't know what kind of camera you're looking for, or what kind your have, it's probably one of these. They're the smallest style of camera, typically—at least in the last few years—trending toward a boxy, mostly featureless shape. The lens is non-removable. The flash unit is built in. They have LCD screens on the back, not just for reviewing photos, but to use as a viewfinder as well. When you press the shutter button on a point-and-shoot, there is a slight delay before the photo is actually recorded. Many new point and shoot cameras will take video, and some even manage to record in HD.

Bridge/Superzoom Cameras: These cameras often look like DSLRs, but don't be fooled: They're just juiced-up point-and-shoots. They will typically come with longer lenses and slightly more impressive specs than your average P&S, and will give you a bit more photographic flexibility to play with. Sadly, they suffer from the same picture-taking delay, or "shutter lag," as point and shoots. The problem with bridge cameras, especially now, is that in order to get a decent one you have to spend at least a few hundreds dollars, at which point you may as well get a...

DSLRs: This unwieldy acronym stands for Digital Single Lens Reflex. Narrowly, this means that the camera has a mirror mechanism which allows photographers to see through the camera's lens while setting up a shot, and which flips up, exposing the image sensor (the equivalent to film in a digital camera). Widely, this means that the camera will have interchangeable lenses, a larger sensor than a point and shoot, and to an extent, more image controls. When you press the shutter button on a DSLR, it takes the photo instantly—no lag, like in a point-and-shoot. Many new DSLRs at mid-to-high price points shoot HD video; some manage 720p, some manage 1080p, but all turn out impressive results, if simply because of the cameras' lenses. That said, they're not really ready to replace proper video cameras yet, because amongother things, no DSLR to date has got the autofocus during video thing right.

These are the cameras that photographers, or people who call themselves photographers, use. They're also the ones that are capable of taking the best photos.

As a rule, DSLRs are more expensive than point and shoots. But they're getting cheaper. Much, much cheaper. Olympus, Nikon, Pentax and Sony all have DSLRs that can be had for under $500—and these are real cameras—rendering the entire category of bridge cameras kind of pointless.

Micro Four Thirds/Digital Rangefinder: Micro Four Thirds cameras are interchangeable-lens cameras, minus the straight-through-the lens viewfinder that defines a DSLR. In other words, they have larger sensors like DSLRs, have swappable glass like DSLRs, but use an LCD screen as viewfinderlike a point-and-shoot. This saves space inside the camera, meaning that—at least this is the theory—it can be more portable than an equivalent DSLR, while maintaining the same versatility and image quality. Most of them record video, too, and they're pretty good at it: They don't have the complex viewfinder/mirror system of a DSLR, so it's technically simpler to record video. Some of these cameras are styled like DSLRs, like the Panasonic Lumix DMC-G1, while some are styled more like portable cameras, like the Olympus EP-1.

This is a small category for now, and accordingly, prices are still high, starting at about $750. Panasonic and Olympus are basically the only game in town.

Sensors

The sensor is the part of the camera that actually records the image. In other words, it is your camera.

Megapixels, and image resolution: Megapixels have been central to digital camera marketing since the beginning (it just sounds like a 90s term, doesn't it?). A megapixel, quite simply, is one million pixels. If a one-megapixel image (or sensor) was perfectly square, it would be 1000x1000 pixels. They're usually rectangular, at 4:3 or 3:2 ratios, which means their resolutions look more like this: 2048x1536 pixels for a 3-megapixel camera; 3264x2448 pixels for an 8-megapixel camera, and so on.

As digital cameras mature, this number means less and less—it's easy to cram megapixels in a camera, but without good optics and light sensitivity, it doesn't mean that it's going to turn out an honest, clean, high-quality images at such a high resolution. My cellphone shoots at five megapixels, but the images look like screenshots from some kind of ghosthunting show. My DSLR shoots at 10.1 megpixels, but turns out images more than twice as clean and clear as my phone. My point-and-shoot is rated at 12.1 megapixels, but on close examination, its images are effectively blurrier than those from the DSLR.

If you're planning on making huge prints, or need to crop your images a lot, a high megapixel count is necessary, but beyond a certain point, the returns are minimal. You'll read a lot of guidance from camera manufacturers about how many megapixels you need to print different sized photos, which you can ignore, because they seem to change with every generation of cameras. Unless you're printing billboards or in magazine or something, don't sweat it too much.

Aside from indicating how many dots a camera is capable of capturing, megapixels can be a helpful indicator of how old a camera's guts may be. Megapixel count has been increasing fairly steadily over the years, so within a given manufacturer's camera line, increased megapixels could correlate to newer sensors, which could, along with high resolution, take richer, less noisy pictures.

ISO: This indicates how fast your camera's sensor collects light—the higher your ISO, the more sensitive your camera is to light, the less light you need to take a picture. And while high-ISO capability is most useful in low light, it also comes in handy when you're shooting extremely fast exposures in the daytime, like at a sports game. With higher ISOs, though, comes more noise—some point-and-shoot cameras advertise extremely high ISOs, on the order of 6400. Shots at this sensitivity will invariably look like ass. DSLRs, which have larger sensors that are better at gathering light, can sometimes shoot at 6400 ISO and higher without too much noise.

It might help to think of it like this: ISO ratings are actually a callback to the days of film. You used to have to anticipate how you'd be shooting, and buy film based on how sensitive it was, as expressed in an ISO or ASA rating. The ratings got carried over to digital cameras, despite film getting replaced with sensors.

Anyway, don't buy a camera for its ISO rating alone, because there's a good chance its top two to three settings will be useless.

CCD and CMOS: From our previous Giz Explains on the subject:

There are two major types of image sensors for digital cameras and camcorders: CCD (charged-couple device) and CMOS (complementary metal-oxide-semiconductor, sometimes also known as active pixel sensor). We're not going to get into the really geeky differences, because you don't really need to know or care. What you should know is that higher-end digital SLRs (the big cameras with a removable lens) use CMOS because it's easier to make bigger CMOS sensors; and mobile phones do because CMOS uses less power. That said, most point-and-shoot cameras and most camcorders use the more common CCD sensor.

Things are a little different now, and CCDs are common in DSLRs nowadays. The difference for consumers is minimal—don't be alarmed to see either on your camera's spec sheet. UPDATE: As some commenters have pointed out, this isn't quite right: DSLRs are still trending more towards CMOS sensors, including most of the latest/greatest cameras. Anyway: still more of a curiosity than a purchasing point, for most people.

White Balance: Have you ever seen a set of indoor pictures that's totally, inexplicably orange? That's a white balance problem. Your camera can adjust to compensate for different light temperatures—tungsten lights have that orange hue, and sunlight will turn your photos kind of blue—and correct your image's color accordingly. Virtually all cameras let you adjust white balance with presets, though it's best if you can adjust it manually, too.

Sensor size, and crop factor: Some cameras have sensors that are roughly the same size as 35mm film, at 36x24mm. These are called full frame cameras. They tend to be more expensive—like Canon's 5D and 1D series, or Nikon's D3s—and their bodies tend to be a bit bigger. Semi-pro to pro equipment, basically.

APS-C sensors, on the other hand, are what almost all consumer DSLRs ship with. These sensors are about 22x15mm, which is significantly smaller than a full frame's sensor. Why does this matter? Larger sensors provide more room for each pixel, which makes them better at picking up light. (A bucket analogy is useful here.) More importantly for APS-C users, though, is crop factor. A smaller sensor will pick up a smaller section of what's coming through a lens, so: A 200mm lens on a full frame DSLR becomes a 300m lens on an APS-C camera, a 50mm becomes a 75mm, etc. Of course, camera manufacturers make APS-C -specific lenses which are designed for the smaller sensors, but the listed focal lengths aren't adjusted—they're still 35mm-equivalent numbers. Just be aware the any given lens will shoot differently from one type of camera to another.

Optics

The optics are the the parts through which your camera sees. They're the eyeballs, basically.

Swappable lenses: There are two kinds of swappable lenses, generally speaking. Ones that zoom in and out, which are called "zoom" lenses, and ones that don't move. These are called "primes." They're all classified by focal length. Strictly speaking, focal length refers to the distance required for a lens system to focus light. In real terms, focal length roughly correlates to physical lens length, and helps indicate how much a lens magnifies an image. 18mm focal length on a DSLR is considered wide, 200mm or more would be considered a telephoto lens.

Point-and-Shoot Lenses, and the X Factor: The second most prominently featured number on your point-and-shoot's obnoxious feature sticker is the zoom rating. It'll be expressed as a number, with an x: 5x, 10x, etc. You'll also see a printed range, something like 5.0-25mm, which describes the focal length of the lens. Here's a trick: Divide the larger focal length measurement by the smaller one. The result should match your "x" zoom rating, because, well, that's all it is: the quotient of the maximum lens length and the minimum lens length.

This is misleading labeling. Mounted on the same camera, a lens that zooms from 50mm to 100mm would be called a 2X lens, while a lens that zooms from 18mm to 42mm would be called a 3X lens, even though at the longest, it doesn't zoom in as far as the 50-100mm lens does at its shortest. Take this equation into account when comparing point-and-shoots, but most of all, try them. You'll see the difference.

Shutter, shutter speed, and shutter lag: You shutter is the little door that opens up between your lens and your sensor, allowing for photographic exposure. Shutter speed ranges are advertised with the intention of implying that the camera will be useful at both ends: from the 10-second long exposure to the 1/4000th-second high-speed shot. Keep in mind, for both numbers, that shutter speed alone doesn't guarantee anything. If your camera can shoot at 1/4000th of a second, but it's got a small aperture and low ISO rating, your shots will probably be too dark.

Shutter lag is something else entirely. You know how on a point and shoot, there's a frustrating gap between when you press the button and when your shot actually takes? That's it. The lower the shutter lag, the better, though many camera manufacturers don't even bother to advertise this.

Aperture: This is the hole through which light passes after its been through part of your lens, and before it hits your sensor. The bigger the hole, the more light gets in. The smaller the hole, the less light gets in. Larger apertures allow you to take pictures in lower light situations, but only allow you to focus on a thin plane—either your background or your foreground will be out of focus. Smaller apertures let you keep more of a scene in focus but they let less light through, and require longer exposure times. Apertures are described by f-numbers—these are the ration between the width of an aperture and the focal length of a lens. The smaller the number, the larger the aperture.

Optical vs Digital Zoom: Another scourge of the camera buyer is digital zoom. Optical is magnification by your lens—in other words, it's true zoom. Digital zoom is just your camera taking the optically zoomed image and blowing it up, like you'd do in Photoshop. It's only useful for framing shots and sometimes helping your camera focus properly. Otherwise, it's a gimmick: Ignore it, shoot wide and crop your shots later.

IS, or Antishake: Image stabilization is fast becoming a standard feature on even the cheapest cameras, though you'll find some sub-$150 point-and-shoots without it. The point of image stabilization is to correct for camera movements during an exposure, which cause blurry shots.

There are two types: Digital IS, which you'll find mostly in point-and-shoots, corrects the image with software, and can be somewhat effective, though the results are often passable, not perfect. Optical image stabilization physically moves some part of the camera to counteract shaking. In some cameras, like Nikons and Canons, the moving parts are in the lens. In most other other manufacturers' DSLRs, it's the sensor that actually moves to stabilize the image. Optical IS almost always works better, but it's not magic—you won't be able to shoot a freehand four-second exposure just because it's on, but you might be able to keep things together for a half-second or more.

Software

"Modes," Face Detection, Smile Detection: Your camera's modes are assistive tools,, not hard features. They're generally just collected presets for settings that you can adjust yourself, like equalizer presets on your iPod. They can be useful, though you'll be a better photographer if you manage settings yourself.

Face and smile detection, again, are like crutches. Face detection guesses when there's a human in the photo so the camera can adjust exposure, white balance and focus to make sure that said human doesn't end up blurry. Smile detection is a crude algorithm that measures facial features, and won't take a photo until the subjects are judged to be SUFFICIENTLY CONTENTED, by which I mean they have vaguely crescent-shaped mouth holes. It's a good way to ensure that nobody is ruining a photo with a grimace. Also, to ensure that none of your photos are ever interesting.

Image formats: You digital camera doesn't have film, but your photos have to go somewhere. In today's cameras, the digitally stored photos are either JPEGs or RAW files. JPEG files are compressed, which means that they are encoded in such a way that they don't take up much space, but lose a small amount of quality. This is how point-and-shoot cameras almost always store images, and how DSLRs store images by default, generally.

If JPEGs are like photo prints (they're not, really, but bear with me) then RAW files are like the digital negatives. (In fact, one popular RAW format, .DNG, crudely stands for "digital negative"). Raw files contain almost exactly what your sensor has recorded, which means you can change values like exposure, white balance and coloration after taking the photo, to a surprisingly high degree. It feels like cheating! There is a downside: larger image files. And, depending on the type of RAW file—different camera manufacturers have different ones—you may need special software to view and edit your photos. Shoot in RAW if you can, and buy a camera that'll let you. This is a huge feature.

As a bonus, most cameras that shoot RAW will also let you shoot RAW and JPEG files simultaneously, so you have a lightweight, ready-to-print-or-upload file right away, as well as the RAW source, for later editing. It takes up a ton of space, but hey, space is cheap nowadays. Spend a few bucks on a bigger memory card, and live your life.

Video: Most new cameras, including some DSLRs, shoot video. But just because your camera shoots stills at 10 megapixels doesn't mean that it'll shoot anywhere near that kind of resolution in motion. The standard resolution for most point-and-shoot cameras is VGA—that's just 640x480 pixels of video, which is good enough for YouTube—while DSLRs, and some nicer point-and-shoots, record in either 720p or 1080p, which are HD resolutions, which translate to 1280x720 pixels and 1920×1080 pixels, respectively.

Storage

Point and shoot cameras usually come with a small amount of onboard storage. This, I'm about 100% sure, is there so that the camera technically works when you buy it, making your inevitable extra storage purchase seem more like a choice, and less like a mandatory camera tax. Anyway, with any camera, you're going to need to buy some memory, or storage.

There are a few peripheral memory card formats still kicking around (Sony, can you please just put Memory Stick Pro out of its misery? Thanks!) but there are only two that matter.

SD: Also seen as SDHC, or SDXC, these little guys are the card of choice for point-and-shoot and bridge cameras, and some newer DSLRs. They're small, they works fine, and they're available in just about any capacity you could ever want. Almost: Most cameras are only SDHC-compatible, a standard which maxes out at 32GB. SDXC, the next evolution of the SD standard, maxes out at a theoretical 2TB, though almost no cameras support it yet.

Compact Flash: These cards are chunkier, can be faster, and are more durable, and anecdotally less prone to temperature and weather damage. These are what you'll find in DSLRs.

Speed ratings: Memory cards come in different speeds. These are advertised in a variety of different ways, for no good reason. You'll see a couple of numbers on most cards, in the "133x" syntax. Ignore them—they are inflated, unregulated and therefore, basically meaningless. What you're looking for on SD cards is a Class rating, from 1-6. The official SD Association chart:
For Compact Flash cards, your best bet is to look for an actual transfer speed on the card, expressed in MB/s.

Further Reading

Reviews: One gadget blog, try as we may, can't cover the hundreds of cameras that come out every year. We'll leave that to the obsessives. See:

• DPReview

• The Photography Bay

• Photography Review

• Photo.net

You really shouldn't buy a camera without consulting these guys first. They have a habit of lapsing into jargon at times, but hey, if you've read this far, you'll be able to get by.

Taking Photos: So now you've got your new piece of neck candy, and you feel awfully cool. You know what would make you cooler? Learning how to shoot, for god's sake. A few of out recent guides:

• The Basics: Your new camera has been removed from the box. It has been fiddled with. You cat has been photographed multiple times. Now what?

• When Not to Use Flash: The answer: Pretty much always.

• How To Shoot HDR: Taking hyperreal photos by combining multiple exposures, without, as we call it, the "clown vomit."

• For general advice, Photo.net's comically extensive set of photography guides provides instructions for virtually any scenario. Need to shoot some, say, nudes? In, say, Namibia's uniquely harsh sunlight? They've got you covered.

And although broad guides are useful, I've learned more about photography and cameras from Flickr than any other resource. Join the Flickr group for your camera, and spend some time on the message boards. You'll learn clever tricks for getting the most out of your hardware, but in doing so, with the help of a gracious community, you'll learn just as much about photography as a whole.

Still something you wanna know? Send questions about DSLRs, P&Ses, B&Bs or BBQs here, with "Giz Explains" in the subject line.

The Olympus E-P2 is less a sequel to the E-P1 micro four thirds camera and more a refinement of the original idea. It's basically the same size as the E-P1 (a hair taller, actually), and snaps shots with the same 12.3MP sensor. There's still no integrated flash, and the retro stainless steel body has been coated with black paint (not having seen the E-P2 in person, I still think I may prefer the original) much like the similar Panasonic GF1.

What's new is an accessory that will come standard in every kit configuration—an articulating VF-2 electronic viewfinder that attaches to the hot shoe mount. It takes advantage of a new, still-unnamed accessory/data port, meaning it's incompatible with the E-P1.

This accessory port also allows for a new stereo microphone mount that will move sound capture a bit away from the camera's body.

Maybe the biggest real improvement, however, is a Continuous Autofocus (C-AF) Tracking System that follows subjects through the frame, hopefully addressing one of the E-P1's greatest weaknesses, its long focus times.

The E-P2 will be available this January in two equally priced kits.
E-P2 Body with ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens and EVF: $1100
E-P2 Body with 17mm f2.8 Zuiko Digital Zoom Lens and EVF: $1100

With the E-P1 already going for about $750 with a lens, and with the E-P2 taking what's expected to be near-identical shots for hundreds more (though including an EVF standard), we'll let you do the math.

Olympus has also announced two new micro four thirds lenses on their way, a super wide 9-18mm f4.0-5.6 lens (18-36mm equivalent) and a super zoomy 14-150mm f4.0-5.6 lens (28-300mm equivalent). It is good to see the company supporting their own standard with more enticing native lenses.

THE PEN IS NOW MIGHTIER: OLYMPUS EXPANDS THE POWER AND PERFORMANCE OF THE E-P1 WITH THE NEW E-P2

New Electronic Viewfinder, External Audio Port, Autofocus Tracking and More Creative Control All in a Retro Black Metal Body – Looks as Good as it Performs

CENTER VALLEY, Pa., November 5, 2009 – Less than six months after launching the groundbreaking PEN E-P1 Micro Four Thirds camera, Olympus proves that evolutionary change can happen incredibly fast by releasing the E-P2 with even more power and performance. The new PEN, like the E-P1, is the world's smallest 12.3-megapixel interchangeable lens system with In-body Image Stabilization. It blends the high-quality still images like that of a DSLR with High Definition (HD) video, stereo Linear PCM audio recording and In-Camera Creativity inside an ultra-portable body. Along with several new features, and eight in-camera Art Filters that can be applied to still images and HD videos, the result is mighty powerful and creative.

The innovative E-P2 offers more of what photo enthusiasts have been asking for:

* A stylish retro black metal body reminiscent of a traditional PEN camera;
* Accessory port to accommodate the included detachable VF-2 Electronic View Finder (EVF) or optional external microphone adapter EMA-1;
* A newly-developed Continuous Autofocus (C-AF) Tracking System tracks the subject across or back-and-forward through the frame;
* Two new art filters: Diorama & Cross Process for greater creative expression in your still images and HD videos;
* iEnhance to automatically adjust color and contrast for a more dramatic effect;
* Full Manual Control of shutter/aperture in Movie Mode; and
* HDMI Control of camera's playback functions using the TV Remote when the camera is connected to an HDTV.

"The high demand for the E-P1 demonstrates that today's photo enthusiasts and consumers want the high-quality imaging like that of DSLRs in a compact retro design. The fact that it also offers HD video, creative functions and high-end stereo sound makes it even more desirable," said John Knaur, senior marketing manager, Digital SLR, Olympus Imaging America Inc. "The new PEN builds on the success of the E-P1 by adding many of the features that were on enthusiasts' wish list for the second generation: an EVF for composing with your eye close to the camera, the ability to add an external microphone, C-AF tracking, and a black metal body. With each new PEN, Olympus continues to enhance the line, and the future looks very bright."

The E-P2 comes with either the small and lightweight Olympus M. ZUIKO Micro Four Thirds lenses: 14-42mm f3.5-5.6 (28-84mm equivalent) or 17mm f2.8 (34mm equivalent). The camera adds to the new category created by the E-P1: Not a P&S. Not an SLR. It's a PEN.

Accessorize: Everything Goes with Basic Black

The E-P2 incorporates a new port for connecting new accessories including an optional EMA-1 Microphone adapter and the VF-2 live-finder, a detachable electronic viewfinder that comes with the E-P2. The live-finder easily slides onto the camera's accessory port and hot shoe when needed to provide 1.15x magnification, a 100% field of view with amazing resolution, brightness and contrast. The viewfinder refreshes quickly to minimize image ghosting on fast-moving subjects.

The VF-2 rotates up to 90 degrees to enable photographers to look down into it, which is useful when shooting subjects from challenging angles. The built-in diopter adjustment and high magnification offer easy viewing with and without glasses.

For those who want to capture enhanced audio, the new EMA-1 external microphone connector can be plugged into the new camera's external accessory port. The connector will accept the optional Olympus ME-51S stereo microphone or any microphone of their choice.

Olympus has a variety of other accessories to maximize the functionality of the new PEN, including the previously released 14-42mm and 17mm Micro Four Thirds lenses. The MMF-1 Four Thirds System Lens Adapter makes E-P2 compatible with all Olympus ZUIKO Digital SpecificTM lenses and other Four Thirds System lenses from Sigma, Panasonic and Leica.

Olympus OM film-based lenses can be attached to the E-P2 with the MF-2 OM Lens Adapter. Additionally, an optional FL-14 flash unit, suitably small for the camera, adds more lighting versatility to your shots.

Stay focused on Your Targets Wherever They Roam

Sometimes it can be hard enough to keep up with kids, let alone take pictures of them. The E-P2's new C-AF Tracking and AF Target Registration locks your subject into focus, and constantly adjusts focus and brightness whether you or your subject is moving. With this mode, a simple push of the shutter release enables you to keep fast-moving and unpredictable subjects in focus – tracking subjects from left to right and from front to back – within the frame, automatically ensuring that even active subjects are captured clearly.

Even More Ways to Create

Olympus pioneered easy-to-use in-camera art filters for still images captured inside its E-System DSLRs. It was the first company to offer the ability to apply art filters to High Definition video recordings captured with the E-P1. Now, the E-P2 continues this tradition of innovation with eight in-camera art filters, including two new filters: the Diorama and Cross Process. The Diorama art filter gives users a miniature model photo feeling by narrowing the depth of focus and enhancing color and contrast. The selective focus that this filter offers lends intimacy to images of even the largest subjects like canyons or cityscapes.

The Cross Process art filter offers an unexpected look to images and videos by changing the color and contrast of subjects on the fly. Using this mode can result in surreal other-worldly images. Whether you're a videographer, documentarian or established director – or just want to shoot like one – Art Filters set your images and videos apart from the pack. Since they're built into the camera, you can achieve dramatic results on the go without needing a computer or editing software. These new filters are a welcome addition to the Pop Art, Soft Focus, Pale & Light Color, Light Tone, Grainy Film and Pin Hole filters previously available on the E-P1.

Because the PEN is an interchangable lens system camera, you also have more creative options for video capture. You can attach any one of the new super-compact Micro Four Thirds lenses or, because the camera can accept many of the other Four Thirds Format lenses with an available MMF-1 Four Thirds System Lens Adapter, you can add anything from an extreme wide-angle fisheye lens to a super telephoto lens for a wide range of expressive options. All the while you will have more DSLR-like control over depth of field, focus, white balance and ISO. It begs the question, "What will you create?"

iEnhance for Radiant Colors

The E-P2 includes a new picture mode called iEnhance, which analyzes colors and brightness. The new mode mimics what the naked eye sees. For example, a beautiful sunset looks awesome in person and generally seems to fade when captured in an image. With iEnhance, the warm yellow and orange colors are heightened to be brilliant and closer to the actual scene. The result is exceptionally clear imaging with a dramatically lifelike color. iEnhance can be used in any shooting mode – from program to manual – and automatically engages when in iAuto.

HDMI Control from Your HDTV Remote

The new PEN makes sharing your content easier than ever. Just connect the E-P2 to your HDTV with an optional HDMI cable and use your HDTV's remote to control playback functions and navigate the camera's menus from the comfort of your favorite couch or chair.

Manual in Movie Mode

The E-P2's manual movie mode allows for independent control of aperture and shutter for expanded exposure and creative control. Now you can adjust the shutter to control the depth of focus while using the aperture to set the overall brightness of the video. This level of control allows you to express your vision exactly how you want in your HD videos.

Make a Design Statement

The E-P2's high-end, stainless-steel all-black body is easy to handle and carry, and has the styling and refinement of a precision chronometer. Its retro-chic look turns heads, from tech-aficionados and camera buffs to the style-conscious and everyday point-and-shooter. Built rock solid, it fits comfortably in a jacket pocket or a handbag for impromptu street-shooting or any spontaneous adventure. The E-P2 lets you do more and go more places while capturing your life, thanks to its compact size – 4.74"(W) x 2.75" (H) x 1.37" (D) – and light 11.1-ounce body. Attention to detail is visible in every aspect of the PEN's design, including the currently available small and lightweight 14-42mm and 17mm M. ZUIKO DIGITAL lenses as well as the newly announced 9-18mm f4.0-5.6 (18-36mm equivalent) and 14-150mm f4.0-5.6 (28-300mm equivalent) M. ZUIKO DIGITAL lenses.

Ultra-Compact Body Delivers Superior Image Quality

The E-P2 has everything you need to produce vibrant DSLR-quality images: a large 12.3-megapixel imager, In-body Image Stabilization, fast Imager Autofocus, the proven Olympus Dust Reduction System and the new TruePic™ V Image Processor.

As the second Micro Four Thirds camera from Olympus, the E-P2 provides the same image quality as current Four Thirds format E-System cameras because it has the same image sensor size as the E-30 and E-620 DSLR models, but in a much smaller body. This high-performance 12.3-megapixel Live MOS image sensor delivers excellent dynamic range, accurate color fidelity, and a state-of-the-art amplifier circuit to reduce noise and capture fine image details in both highlight and shadow areas.

The E-P2's Live MOS image sensor is complemented by Olympus' TruePic™ V Image Processor, which produces clear and colorful photos using all the pixel information for each image to provide the best digital images possible. The image processor is noted for accurate natural color, true-to-life flesh tones, brilliant blue skies and precise tonal expression; it also lowers image noise in photos shot at higher ISO settings (ISO 100 to ISO 6400), enabling great results in low-light situations.

Be a Mover, Not a Shaker

Any lens attached to the E-P2 will deliver blur-free images thanks to three modes of In-body Image Stabilization that compensate for up to four steps EV (exposure value). Mechanical Image Stabilization automatically compensates for camera shake in low light or when shooting without a tripod. Since the PEN is the world's smallest interchangeable lens camera with In-body Image Stabilization, you'll feel comfortable taking it on the road with you to capture the action. As an added advantage, the built-in image stabilization works not only with the M. Zuiko lenses but all Four Thirds lenses and even older OM film-based lenses when used with the appropriate adapter for the E-P2.

Small Real Estate with an Amazing 3-Inch LCD View

Consumers accustomed to composing and focusing using a point-and-shoot camera's LCD will appreciate the E-P2's 100 percent accurate, 3-inch full color HyperCrystal LCD, which gives them the same easy, seamless experience when shooting still images or videos. The camera's Live Control function makes it easy to compose, edit and shoot pictures or videos without stopping to access various menus. The E-P2's fast Imager Autofocus in Live View also enables you to compose, focus and capture the shot quickly and easily without ever taking your eyes off the large LCD.

The LCD displays 230,000 pixels in vivid color and includes HyperCrystal technology, which offers many times the contrast of conventional LCD monitors for easier viewing in both preview and playback. It also provides a wide viewing angle of 176 degrees, which ensures that images can be composed from even the most obscure angles.

This Camera Leaves Others in the Dust

You don't have to waste precious time worrying about dust ruining the perfect image; instead, spend more of that time shooting with the E-P2. The proven Olympus Dust Reduction System produces spot-free photos with the exclusive Supersonic Wave Filter™, a patented ultrasonic technology that vibrates to remove dust and other particles from the front of the image sensor, capturing it on a special adhesive membrane every time the camera is turned on.

What You See Is What You Get

When viewing the LCD in Live View, Art Filter effects and settings like white balance and exposure are viewable right on the LCD, and their impact is seen instantly on the display. Real-time monitoring offers amazing versatility and creative control, and users who apply a setting have instant gratification because what they see on the camera's LCD is what they've captured. For musicians used to applying audio effects like reverb to their instruments before recording them, the concept of setting the E-P2 to capture precisely the kind of image they want before they press the shutter makes perfect sense. For imaging purists who want to shoot without filters, and apply them to images inside the camera later, or just edit images back at their computers, the E-P2 provides these options and opens more in-the-field creative possibilities.

Mix It Up with Multiple Exposure

With the E-P2's Multiple Exposure function available for still image capture, you are free to tell a visual story your way, whether in a portrait, a landscape or a combination of both. The image capture options allow you to shoot one shot, then another and combine them in real time, or capture both shots separately and combine them in the camera later. Overlay your face on top of your pet's face. Create an "identical twin" of yourself. Put the moon in the sky at noon. Your ability to manipulate space and time makes this new creative multimedia device a veritable time machine.

Frame Your Works of Art Inside the PEN

You can often achieve greater photographic expression by framing a scene in a unique way. The E-P2 provides four aspect ratios that serve as masks to frame your image to the desired proportions, including: the standard 4:3 aspect ratio that is suited to an 8 x 10-inch enlargement; the 16:9 aspect ratio that will display your images beautifully on a widescreen television; and other popular aspect ratios such as 3:2 and 6:6. The Multi-Aspect Shooting further expresses your creative vision when combined with Art Filters and multiple exposures. What will you create?

Stereo Audio Sounds As Good As the PEN Images Look

Like the innovative Olympus LS-11 portable audio recording device that puts the power of a recording studio in your pocket, the E-P2 features uncompressed CD-quality 16 bit/44.1kHz Linear PCM stereo recording capability to capture the rich sound quality of your scene. When you shoot with the E-P2, it's like having a sound technician built into your camera to capture the nuances of the audio happening all around you. It has the versatility to record and play back in the WAV format and can record with its built-in stereo microphone. Whether recording audio while shooting a video or adding audio by recording a narration to your still images, the E-P2's audio sounds as great as its images look. Now, with the new stereo microphone adapter, there is new freedom in audio capture with the PEN.

Create Your Own Multimedia Slideshows with Stills, Video and Audio Inside E-P2

Content is king, and with the E-P2 you have your own portable kingdom of still images, HD video, and audio to remix at your command. In playback mode you can seamlessly mix stills and movies inside the camera to create a multimedia slideshow; dub in one of five built-in dramatic background music options to provide a soundtrack for your cinematic creation. Plug the E-P2 into any HD television with an HDMI cable and show off your masterpieces to your audience before your DVD arrives in stores!

As Easy to Use as a Point-and-Shoot with SLR-Quality Technologies

The E-P2 is equipped with 19 scene-select modes for effortless picture taking. Standard scene modes like Night-Scene, Portrait and Landscape are easy-to-use solutions for everyday shooting. Capturing beautiful portraits is easy with the new ePortrait Mode. It enables you to smooth your subject's skin – all in the camera and before capture! Additionally, edits can be made post-capture using the ePortrait mode.

Shooting scenes with both highlights and shadows can often be a challenge because of the extreme contrast between dark and bright areas. The E-P2 addresses this challenge with Shadow Adjustment Technology that adjusts for extreme light variations and maintains visible detail in both the shadow and highlight areas of the scene. Now users can see and preview the gradation on the Live View LCD and capture images showing the shadow detail they saw. This feature is also accessible in the Edit menu after the shot has been taken.

The E-P2's Face Detection reduces the chance of blurred subjects in images by recognizing up to eight people's faces and the background, tracking the faces within the image area, even if people are moving, and automatically focusing and optimizing exposure for sharp, brilliant portrait pictures (ideal for large family or party group photos).

Don't like changing camera settings for each shooting situation? The E-P2's Intelligent Auto Mode automatically identifies what you're shooting (Portrait, Landscape, Night + Portrait, Macro, Sports) and adjusts settings to capture the best result depending on the situation. First-time users will enjoy this quick and hassle-free feature, which does the thinking for them and produces incredible images like a pro.

The E-P2 offers ease-of-use and flexibility to meet your shooting style. Choose the Live Control technology, an advanced control panel system that incorporates the use of the sub dial and enables you to see the image and the menu controls all at the same time on the LCD. As a result, you can use the main and sub dials to select modes and adjust settings without having to take your eyes off the subject. Or if you prefer, shoot with the Super Control Panel, which is familiar to any serious shooter. These options along with the camera's intuitive button layout make the camera simple to use. The E-P2 records to SDHC media cards to accommodate large files including videos with In-Camera Creative Features and uncompressed audio.

Digital Leveler

The E-P2 is equipped with an internal Digital Level Sensor that detects the camera's pitch and roll and indicates it on the control panel. This Digital Leveler is a tremendous benefit when capturing architecture and landscapes. Level the perfect coastline shot on your next tropical vacation without being tethered to a computer and editing software.

Magnified Focus Assist

The E-P2 provides two optional methods to help the user focus: a Magnified Focus (MF) Assist Function and Magnification Display. When using manual focus, the MF Assist feature aids with critical focus by allowing you to zoom in on part of the image by simply turning the focusing ring on the front of the lens. The Magnification Display enables you to selectively enlarge the image on the LCD at the touch of a button. This mode works for both autofocus and manual focus. Both MF Assist methods provide up to a 10x magnification of a single point of the image for critical focus; perfect for macro or still-life photography.

18x18 Metering Modes

This mode divides the image area into an 18 x 18 grid, metering each of the 324 separate cells to obtain optimum exposure. In addition to 324-division ESP metering, center-weighted metering and spot metering modes are also available.

OLYMPUS Master 2 Software

Use the included OLYMPUS Master 2 software (Mac and PC) to easily download images and videos from the camera or other external device, such as a USB drive, and automatically organize them into albums and groups and by date. Develop high-quality RAW images, apply Art Filter effects, edit and print images. Also, apply the most common editing functions to your HD videos. Update camera and lens firmware through the software and download additional menu languages. A direct link makes uploading your images and videos to YouTube™ easier than ever.

OLYMPUS Studio 2 (Trial Edition Included)

Extend the capability of Olympus Master 2 with Olympus Studio 2. In addition to the functions of OLYMPUS Master 2, this software includes a lightbox mode and selection marks for comparing and sorting multiple images. RAW processing is enhanced with additional controls for finer adjustments. The trial edition can be used for 30 days after installation. After the trial period has expired, a license key is required for further use.

Availability

The Olympus E-P2 will be available in December 2009. It includes E-P2 Body, VF-2 Electronic View Finder, ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens or 17mm f2.8 Zuiko Digital Zoom Lens, USB Cable, Video Cable, Li-Ion Battery Pack (BLS-1), Li-Ion Battery Charger (BCS-1), Shoulder Strap, OLYMPUS Master 2 Software CD-ROM, Manuals and Registration card.

U.S. Pricing / Product Configurations

E-P2 Body with ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens and Electronic View Finder

Estimated Street Price: $1099.99

E-P2 Body with 17mm f2.8 Zuiko Digital Zoom Lens and Electronic View Finder

Estimated Street Price: $1099.99

Mark's a micro four thirds convert, though he preferred Panasonic's new GF1 to Olympus's retro-sexy EP-1, which lacks features like a viewfinder and flash. Olympus might fix that tonight by announcing the EP-2, if the signs are to be believed. If so, I hope it looks just as good as the original. [Photo Rumors, 43 Rumors]

What the &*^@ is Micro Four Thirds?

Olympus and Panasonic co-developed what's called the Micro Four Thirds standard just last year. The biggest difference to the eye is the smaller-than-SLR lens mount that incompatible with SLRs unless you deploy an adapter. Internally, the standard ditches the mirrors used in SLRs and uses a four thirds CMOS (not micro four thirds chip!) to capture the image straight from the lens (just like a point and shoot). That sensor is roughly 30% smaller than that found in your average dSLR but 9 times bigger than what's in your average point and shoot. The result is a camera ever so slightly smaller than a dSLR that should give you a similar end image quality.

The end camera is just a tad smaller than a baseline dSLR:

But it's still way bigger than your average point and shoot:

The big not-so-secret

There are only four products on the market at this point (Panasonic G1, its video-centric brother, the GH1, Olympus E-P1 and, of course, the Panasonic GF1), and they all have the exact same 13MP Panasonic sensor. But only the latest two, the GF1 and the E-P1, have taken advantage of the smaller technology to create design-forward cameras.

The spoiler

However, if you're going to buy one of these cameras, you probably want the GF1 ($900 with 14-45mm lens). It couples all the good stuff from Panasonic's existing line with a retro body that's eerily similar to the Olympus E-P1.

The build

The GF1 is too big, and it's too heavy. The Panasonic GF1 is indeed smaller than my Canon XTi, but it still won't fit in your pocket.

Yet I love carrying it around. Why? The body feels solid, as if it's from another era, a Utopian time when men were men and companies built hardware to last—before we valued sissy silver painted plastic more than the metal it was emulating.

The GF1 (and the Olympus E-P1 for that matter) feels like a small tank in your hands, an element of war that won't give up after being tossed in a bag recklessly. If dropped on an iPod from over 3 feet, the iPod would certainly be crushed.
There are neither too many buttons nor too few. A familiar circle rotates between shooting modes naturally and burst and timer modes share a switch right in front of it. A d-pad toggles functions like ISO while a clever clicking dial allows you to adjust shutter speed and f-stops.
A few buttons earn their very own functions, like focusing mode, exposure lock and, maybe most cleverly, video. Hitting this little button to the right of the shutter release switches you to video no matter what mode you're in.

Given the almost retro-style build, however, it was tough for me to lose an optical viewfinder (though a digital optical add-on is available). It's a heavy camera to hold outstretched while framing shots on the viewfinder. But luckily, the 3-inch LCD's 460,000 pixels mean you can just manage to find critical focus, thanks to the screen auto-zooming to your subject during manual focusing, though it can be tough to be sure you've really nailed it.

That screen resolution is below a premium dSLR, but it's about twice as sharp as the E-P1—and you'll notice.
And then there's the flash. Unlike the E-P1, the GF1 has one of these bad boys, and Panasonic has celebrated that fact by designing what must be the most complicatedly mechanical flash on the market. Watching it snap from the camera body is both impressive and worrisome. Can these little struts really hold up? Regardless, it's handy to have, even though a perk of buying such a big, expensive camera is avoiding flash photography.

The pictures

Check out all of my GF1 test shots on Flickr, untouched JPEGs pulled right off the GF1. Or see compressed versions in our embedded gallery.

Honestly, there's not much we can say about the quality of the GF1's sensor that hasn't been said (by us, even.) The biggest particular problem is ISO noise, as you can see in the gallery below. Bottom line: the GF1 supports ISOs up to 3200, but you probably don't want to reach beyond 800.
However, with that disclosure out of the way, I'd like to make a few points.

1. Shooting on the GF1 feels like shooting on an SLR. I'm not just talking about the ease of tweaking advanced controls. I mean, you pull the trigger, the camera takes a shot RIGHT THEN. For dSLR owners, that's nothing new. For P&S owners, that's a revelation.

2. There is undoubtedly more noise with Panasonic's sensor in high ISOs than you could find in dSLRs for a similar price. But, the image quality you can achieve—I mean that intangible mix of sensor size and great glass that makes your photos feel professional—is undoubtedly beyond the realm of point and shoots, well in the SLR ballpark.

The BEST shot I was able to recreate of that watch above on my Canon P&S?
Needless to say, pretty gross stuff.

3. The Live View system features what's, hands down, the best function I've ever see on any Live View system yet. Holding a Shutter Mode Effect button previews the motion blur you can expect in your final shot—saving you the heartache of the perfect preview and horrible blurry-faced end product we've all experience on point and shoots.
The only catch? The system didn't work well in daylight, when you might want to use Live View to preview sports motion blur. Note that this car didn't blur at all in my preview, nor did about 20 similar test shots I took in identical conditions.
However, low light tests worked fine.

The 720P video I'd describe as solid but not extraordinary. The AVCHD (or motion JPEG) video, while inherently better than P&S systems or Mino HDs, is not razor sharp. Without side by side comparisons or the wonderful popping colors you get with a bit of sunlight (it rained through my entire testing period), I can't make any definitive statements. But what I've seen from the T1i seems better (richer colors, sharper figures), and not just because it's 1080P.

Versus the EP-1

There are definitely a few key advantages to buying a GF1 instead of Olympus' E-P1. They include:

• Sharper screen
• Faster autofocus (I'd estimate about 3x faster—it's noticeable)
• Built-in flash (the Olympus requires an optional mount)

But it should be noted, the E-P1 has its image stabilization inside its body while Panasonic relies on its IS kit lens. In other words, every lens the Olympus uses will have inherent image stabilization. Also, Olympus allows autofocusing on all Micro Four Thirds and Four Thirds lenses. The GF1 can accept these lenses, but it only retains autofocus on its own brand. So lens fanatics may find the E-P1 the better bet. And if you find one or the other on some super sale, well, it's a toss-up.

Confession

The real reason I enjoyed shooting on the GF1, and the real reason you're interested in Micro Four Thirds if you are indeed interested, has nothing to do with practicality.

I just feel cool using it.
I like walking around Chicago with the GF1 on my shoulder. It gives me that feeling of Leica superiority without the expense. The Micro Four Thirds system may have originated in Japan, but the romance of shooting on the latest systems is purely European. For the first time in a long time, a piece of electronics has made me long for an era and a place that I never knew.

Every soccer mom tourist in Chicago has a dSLR. They may take prettier photos than I do, but damn do I long to be different once in a while. And I'm here to say that, if you crave a Micro Four Thirds for the same reason, it's my opinion that the GF1 works well enough that, well, that's OK. I'm just not trading my dSLR for one.

Incredibly solid build

Best screen in class

Unique shutter blur preview

General stylishness and badassery

Video is good, not great

Same CMOS found in earlier version/competition

IS in kit lens, not camera

Besides the size and shape, the Lumix GF1 is very similar to the E-P1: Same 12.1 MP sensor, same 720p video and HDMI-out and same $900 kit price. But it does bring a handful of improvements, most notably the addition of a built-in flash. For the E-P1, the flash is a $200 attachment that hikes up the price and lowers the portability, so some people will be pleased to see it integrated in the GF1.

The other big refinements over the E-P1 is the LCD. Since there's no optical viewfinder—or even a high-res digital one like on the G1 and GH1, it's important to get all the dots you can on the 3" LCD itself. The E-P1's has a paltry 230,000 dots, while the GF1's has 460,000 dots.

The lenses Panasonic is offering in the kits also look great, though of course we can't make a definitive judgment until we try them out. One kit has the Lumix G 20mm f1.7 "pancake" lens, which seems better, on paper, than the E-P1's 17mm f2.8 kit lens. The other kit includes the LUMIX G VARIO 14-45mm f3.5-5.6 zoom lens. Both kits should retail for $900 when they're released in early October.

PANASONIC INTRODUCES ITS LATEST LUMIX G SERIES DIGITAL CAMERA – THE LUMIX DMC-GF1

The LUMIX GF1, the world's smallest and lightest system digital camera with built-in flash*, packs powerful DSLR and HD video capabilities into a sleek and easy-to-use compact body

Secaucus, NJ (September 2, 2009) – Today, Panasonic announced the new LUMIX DMC-GF1, the latest addition to the award-winning LUMIX G Series, which debuts as the world's smallest and lightest system digital camera with a built-in flash*. The LUMIX DMC-GF1 distinguishes itself from previous models with its elegant, compact design reminiscent of classic film cameras, yet builds on Panasonic's success with the revolutionary LUMIX G Series of digital interchangeable lens system cameras based on the Micro Four Thirds system standard. With its compact size, user-friendly design and ability to record High Definition (HD) video and take professional-quality photos, the LUMIX GF1 continues to redefine digital photography standards.

"Panasonic changed the digital camera industry with the world's first Micro Four Thirds digital camera, the LUMIX G1 – a compact "DSLR-like" digital camera that produces exceptional image quality. Then, as we continued to raise the innovation bar, Panasonic launched the LUMIX GH1, adding full High Definition 1080p video recording with continuous auto focus," said David Briganti, Senior Product Manager, Imaging, Panasonic Consumer Electronics Company. "The new LUMIX GF1 continues the evolution and is the perfect addition to our LUMIX G Series, as its sophisticated, small body makes it easier and more convenient to carry. The GF1 is ideal for point-and-shoot consumers looking to step-up to DSLR-quality or for current DSLR users who want greater convenience without compromising performance quality or creative flexibility."

With its lightweight body, the LUMIX GF1 provides experienced photographers with the ideal digital camera to carry with them at all times. Like its predecessors in the LUMIX G Series, the LUMIX GF1 eliminates the pentaprism found in traditional interchangeable lens cameras. Thus, this mirror-free structure allows Panasonic to dramatically reduce both size and weight.

Though small in size, the LUMIX GF1 does not compromise in advanced features. The LUMIX GF1 thoroughly optimizes the advantages of a system camera to ensure high performance, whether capturing photos or HD video. The LUMIX DMC-GF1 can record 1280 x 720 High Definition video in AVCHD Lite, a format that enables longer recording times. With a dedicated video record button, capturing video is convenient and easy. The LUMIX GF1 can also record HD Motion JPEG in 1280 x 720 and other video recording formats include: QVGA, VGA and WVGA. The LUMIX GF1 has a unique Movie Program Mode that allows consumers to adjust the depth-of-field while shooting in HD video, so background and foreground can be blurred to give creative effects – something typically only possible with expensive professional camcorders.

The LUMIX DMC-GF1 includes the new My Color mode, which includes seven preset effects – Expressive, Retro, Pure, Elegant, Monochrome, Dynamic Art, Silhouette and Custom – all which let users manually set the color, brightness and saturation levels. With the Live View function, users can see how these settings will effect the photo before they shoot, making it easier to capture the exact mood or atmosphere desired. For even more elaborate effects, users can choose from a total of nine Film modes, and set the contrast, sharpness and saturation levels for each. A custom function lets users store their favorite settings in memory. Furthermore, the exposure meter can be displayed in other shooting modes and the correlation between shutter speed and aperture is shown, with a color-coded warning that alerts users when the settings are not in the proper range.

For those users not quite comfortable with extensive manual and creative controls, the LUMIX GF1 provides a user-friendly setting that can address a beginner's comfort level, while helping them evolve their photography skills. For instance, Panasonic's new Scene mode, Peripheral Defocus, lets users take a photo where the foreground is in focus and background is blurred – or vice versa. This popular effect can be intimidating for a beginner, but in the Peripheral Defocus mode, by simply selecting the objects to be blurred and focused using the camera's keypad, it is simple for photographers of any level.

Also, helping to make the LUMIX GF1 more approachable, Panasonic's popular iA (Intelligent Auto) mode, a system of technologies that engage automatically – no setting changes needed – allows for intuitive use when shooting still or video images. While shooting video, iA activates Panasonic's O.I.S. (Optical Image Stabilization), which helps reduce video-blurring due to handshake. In addition, Face Detection automatically detects a face in the frame and adjusts focus, exposure, contrast, and skin complexion on it so it always turns out beautifully. Intelligent Exposure continually checks the ambient light level and adjusts the exposure setting as conditions change to prevent blown highlights and blocked shadows. For still photos, the iA system encompasses: Face Recognition (up to six faces can be registered); Auto Focus (AF) Tracking; Mega O.I.S.; Intelligent ISO; Intelligent Exposure; and Intelligent Scene Selector.

The LUMIX GF1 also comes fully-equipped with a built-in flash and a large, 3.0-inch Intelligent LCD with a wide viewing angle and a 460,000-dot resolution. The Intelligent LCD offers automatic backlight control, which when combined with its high-resolution, helps improve visibility in all light environments – from sunny outdoors to low-light interior settings. New for the LUMIX G Series, the LUMIX GF1 is compatible with an optional Live View Finder (DMW-LVF1), which provides the full-time live view function boasting 100% field of view regardless of the attached lens. To further expand the LUMIX G Series system, Panasonic Micro Four Thirds digital cameras can be used with Four Thirds System interchangeable lenses via an optional mount adaptor DMW-MA1 and with the prestigious Leica M/R lenses using Panasonic's DMW-MA2M DMW-MA3R. These adapters give the user access to the unlimited number of lens properties.

The LUMIX GF1's sensor technology offers the best of both worlds - the superior image quality of a CCD sensor, and the low-power consumption of a CMOS sensor. Advanced technology makes it possible to read four channels of data simultaneously, helping the LUMIX GF1 deliver 60 frames-per-second full-time Live View images, while maintaining fine detail and rich gradation. The LUMIX GF1's Venus Engine HD records stunning high-resolution 12-megapixel images using its advanced Live MOS Sensor. This sophisticated LSI circuit separates chromatic noise from luminance noise and applies the optimal noise reduction to each, helping to capture clear and beautiful images even when shooting at high ISO levels.

The contrast AF system adopted in the LUMIX GF1 is not only accurate, but also very quick – approximately 0.3 seconds with the LUMIX G H-FS014045 lens. Users can choose from a wide-range of AF modes, including multiple-area AF with up to 23 focus areas; 1-area AF with a selectable focus area; Face Detection; and AF Tracking. The LUMIX GF1 also has a Quick AF function that begins focusing as soon as the user aims the camera - without pressing the shutter button halfway.

As with all Panasonic LUMIX G Series digital cameras, the LUMIX GF1 is equipped with a highly-effective Dust Reduction system. Thus, if dust gets inside the camera (when changing lenses), Panasonic's Dust Reduction system addresses this problem by placing a supersonic wave filter in front of the Live MOS sensor which vertically vibrates around 50,000 times per second, thus repelling the dust.

The content captured on the LUMIX GF1 can easily be viewed on a Panasonic VIERA® HDTV by simply inserting the SD/SDCH Memory Card into the VIERA's SD/SDHC Memory Card slot or into a Panasonic DIGA Blu-ray Disc Player. Alternatively, an optional mini HDMI cable can be used to output still and motion images recorded with the LUMIX DMC-GF1 directly to the TV for easy VIERA Link™ operation, with control of playback functions, such as slideshows, managed from the VIERA HDTV's remote control.

The Panasonic LUMIX DMC-GF1 will be available in early October 2009 with the option of two kits – both with a suggested retail price (SRP) of $899.95. One kit option includes the newly-announced LUMIX G 20mm/F1.7 ASPH, a compact and lightweight "pancake" lens, while the other kit features the LUMIX G VARIO 14-45mm/F3.5-5.6 ASPH/MEGA O.I.S. The optional Live View Finder DMW-LVF1 has an SRP of $199.95; while the DMW-MA2M and DMW-MA3R both have an SRP of $249.95. All new accessories will also be available in early October.

For more information about Panasonic and its LUMIX G System cameras and accessories, please visit www.panasonic.com/lumix.

Above, you see Olympus' "The PEN Story," a charming collection of some 9600 prints strung together in stop motion animation. From the video's YouTube description:

This is the PEN Story in stop motion. We shot 60.000 pictures, developed 9.600 prints and shot over 1.800 pictures again. No post production! Thanks to all the stop motion artists who inspired us. We hope you enjoy :-) Song & Lyrics by Johannes Stankowski
Produced and Arranged by Michael Kadelbach.

Thanks all around! Thanks for everyone! Now watch this, posted months before the E-P1 was even announced:


That's "Stop motion with wolf and pig," a video made by this Japanese fellow. The aesthetic similarities are obvious, but forgivable. The conceptual similarities? Not so much. Our tipster:

From the beginning with opening envelope, to the stairs, trains, swimming, the whole thing is a complete rip off. Kind of crosses the line between inspiration and theft. Unless they hired him to do it, which seems unlikely.

That Olympus didn't directly thank Mr. Wolf 'n Pig doesn't take away from the fact that their video is equally—if not more—technically impressive than the one that inspired it, but it couldn't hurt to at least acknowledge the poor kid's work a little more directly. [Thanks, Nick B! <— (see, that wasn't so bad!)]

Camera Be Still
When it comes to still shooting, there is no difference between the GH1 and the G1 that Mahoney reviewed last November. It has a digital viewfinder instead of an optical one, which takes some getting used to but tends to work. It's got a huge number of manual and automatic options, as well as some uniquely digital settings, like "film mode" where you can manually adjust the color balance, saturation, contrast and noise reduction of the "film" you're using. Because the sensor is 4:3 (hence the format's name), you can change the aspect ratio to 16:9 for a wider view, but of course you sacrifice some pixels in the process. Update: Reader Ben tells me that no pixels are lost in the aspect ratio switch.

The camera has many of these novel options to keep track of, but it doesn't pay a huge dividend to those who do. As Mahoney said in the original piece, its high-ISO shots are a bit more noisy than most DSLRs, and the lens selection is paltry compared to Canon and Nikon. As someone who carries mainly entry-level DSLRs (and generally wants for nothing more), I found myself simultaneously overwhelmed and unimpressed, though I did manage to eek out a few halfway decent shots, which I've stuck in the gallery below.

All of the above features and capabilities can be found on the $800 DMC-G1. What I tested, though, was the $1500 GH1, with an "H" for "Highdefinitionvideo."

It's Got an H In It
The H makes a big big difference, as David Pogue mentioned, and as Mahoney lamented.

The 1080p video is, in fact, astonishingly good, when you're shooting in the right light with a decent lens. I used two lenses, the highly functional 14-140mm kit lens, and a playful 7-14mm wide angle lens with a touch of the fisheye.

The video comes in AVCHD format, which some people don't like. I don't mind it, though when I previewed it in VLC, it appeared to have a painful amount of compression artifacts. I was going to condemn the camera for that, until I wrangled the video in VisualHub, and found that all of the playback artifacts disappeared in conversion, and probably wouldn't appear in other software. (Panasonic sent me GH1 software, but it was for PCs only, and I didn't have a chance to check it out; some of you already know what to do with AVCHD vid anyway, so I wouldn't make a big deal out of the included software either way.) As you can see in this quick up-close video of Wynona—dropped from 1080p to 500x280 and converted to FLV for your consumption—you can certainly get a lot done:

The rustling you hear is me playing with the camera strap to attract an otherwise lethargic cat's attention; over the weekend, when I shot video of my family, the stereo mic array worked well, as long as I kept my own stinkin' trap shut. Its placement, facing upwards, on top of the flash, means that the shooter's voice is far louder than that of his or her subjects.

Video certainly is the GH1's coup de grace, as others have proclaimed. Practically speaking, it's a damn sight better than the video from the Canon T1i and the Nikon D5000, which are fine for quick snips but lack the autofocus necessary for a nice fluid continuous shot (Touch of Evil opener, anyone?). The GH1 dynamically refocuses well enough, though as you can see in the Wynona video, it can't go super-macro with that 7-14mm lens.

Stupid Money
Still, we're back to the same dilemma here: If moderately video capable DSLRs are selling for MSRPs around $900 (also with decent kit lenses), how can this baby be worth $600 extra? Still-only DSLRs cost in the $600 range—how can the GH1 be $900 more than those?

It's a powerful camera, but I certainly didn't feel as comfortable shooting with it as I do with Canon and Nikon DSLRs, and the video is, after all, video. The argument for video on other DSLRs is their compatibility with all kinds of lenses; here, it's more like a decent video camera without a huge number of lenses. As Mahoney mentioned in the G1 review, you can get a lens adapter and use some nice Leica lenses, but do you really want to go to all that trouble? We'd be better suited for some a handful of interesting, made-for-micro-four-thirds primes.

Even if we get all that, though, the price remains prohibitive. If you are tempted by the video capability of this camera, you are still better suited to buying a nice DSLR and a true HD camcorder of your choosing from Panasonic or Sony or Canon. I wish I could say that the excellent 1080p video tips the scales, but it doesn't. [Product Page]

In Brief:
HD video performance is exceptional for a high-end still camera, and notably better than "competing" DSLRs

Lots of manual digital manipulation means a lot to read up on and remember—it's not easily hidden from the beginner, but in the hands of an undaunted shooter, there's a lot of potential

The camera's entry cost is far too high to justify when it's not a big winner in still shooting, and when HD camcorder prices are dropping

We get a good look at the interchangeable lenses, the rig itself, as well as a shot of the pretty pedestrian box. As we've said before, it's what's inside that counts with this sexy beast. [Recently Reviewed via Engadget]

DPReview has posted a selection of 14 clips (not embeddable), putting the sexy rangefinder-esque camera through its paces, in a selection of shooting conditions. They used a Panasonic 14-140mm lens on the Micro Four Thirds cam and shot most of the 720p footage in Aperture Priority mode.

First impressions are that the E-P1 could give some of the HD-shooting DSLRs a run for their money, especially once you put some better glass on it, since these were shot using the 14-140mm kit Lens from the Panasonic GH1. [DPReview]

In addition to wielding a 12.3 megapixel Live MOS sensor (the same 4/3 style as found in many mini-DSLRs) the retro-styled E-P1 "Digital Pen" has a three-inch LCD, in-body image stabilization, a dust reduction system and 19 automatic scene modes. It can also record HD video in 720p/30fps and includes a HDMI TV-out for direct playback.

There will be two Micro Four Thirds lenses available along with the camera for US release in July, a 17mm 1:2.8 Pancake and a 14-42mm 1:3.5-5.6. Price-wise it comes in better than expected at $749 for body only, or $799 with the 14-42mm lens. My personal choice, though, would be the body with the 17mm for $899. [Akihabaranews]

According to 43rumors, the E-P1 will shoot 720p video, and retail for just under $1000:

SD storage
13MP RAW, JPEG, and RAW+JPEG modes
1280×720 video for 7 minutes at a time (presumably due to sensor heat)
640×480 video for 14 minutes
3" LCD with Liveview
ISO 200-6400
Shutter speed 60sec-1/4000sec

All we know for sure is, the styling is a bit more retro-sexy than expected, thankfully, and an official (Japanese) announcement is due tomorrow. [43Rumors, Akihabara]

We've been pining for a Micro Four Thirds camera that breaks the mold since the system was announced, and this is exactly what we had in mind—classic rangefinder looks (even though this is an SLR) in a small package. Please?

Oh, and if you're in Japan, you can go to a museum celebrating the 50 year anniversary. Japanese like to have museums for things. [Digicam Watch]

According to Impress, the GH1 will be available April 24 at an estimated cost of ¥150,000. That's a dissapointing price, since ConvertBot-ed over to dollars, that's an ugly $1,500. Regardless, that doesn't mean we won't get it cheaper over here, but it's not the most comforting detail.

The other thing to keep in mind, though, is that the GH1's video capture mode (which is basically the only differentiation from its $800 predecessor, the G1) does things the others from Nikon and Canon can't: that is, the cinema-friendly 24fps framerate at 1080p (60fps at 720p), as well as continuous contrast-based autofocus with an especially silent-focusing lens. [Impress]

We couldn't pull any video off the cam—it is a prototype, after all—but we did notice while playing around with it that even on its dinky LCD screen, the video produced by its 60 frame-per-second 720p mode is noticeably smoother and less jerky with fast motion than 24fps 1080p mode, so it's what you're gonna wanna shoot your kids' soccer games or your home sex movies with.

Besides video, the camera is otherwise identical to the G1, a Panny rep confirmed—even the screen is the same. And the electronic viewfinder still sucks. =( It should theoretically, he said, have slightly better noise reduction, but that's about it for other differences.

They're being stingy with the price and release date. All the rep would venture is by summer, and for under $1500, neither of which is very helpful—-it better be out by summer, and it better be under $1500, by god. But for now, it will be the cheapest DSLR still camera with swappable lenses to shoot 1080p HD video, which counts for something.

PMA is an annual show where we get to see tomorrow's digital cameras—the ones that'll be populating pockets and purses for the rest of the year. We'll be here for the next couple of days.

In fact, it looks as though allthe GH1's changes revolve around that single new feature, which was sorely missed in the G1. But first, about that HD: the camera will record full, 1080p video at 24fps in the relatively common AVCHD format, or 720p content at an buttery 60fps, framed through either the new digital viewfinder or a flip-out, 3-inch LCD screen.

Checking out some of the video they're demoing, it's definitely impressive and—other than the depth of field control for sharp subjects and soft backgrounds—indistinguishable from any other 1080p camcorder, at least in daylight—they're not showing any night footage though.To bolster video performance, Panasonic is bundling the GH1 with a video-optimized 14-140mm/F4.0-5.8 lens. What qualifies the lens as "optimized", apparently, is the autofocus system: the smooth, continuous AF is driven by a silenced motor to minimize sound pollution during video sessions. To round out the video capabilities, Panasonic has included a "Creative Mode", which provides aperture and exposure control during video recording—a capability that is conspicuously absent from some pricier video-enabled DSLRs.

As far as still shooting goes, the GH1 isn't meaningfully differentiated from its predecessor, so you can get an idea of what to expect in our G1 review. Check the presser below for full details.

PMA is an annual show where we get to see tomorrow's digital cameras—the ones that'll be populating pockets and purses for the rest of the year. We'll be here for the next couple of days. [Panasonic]

The Panasonic LUMIX DMC-GH1, a Creative HD Hybrid, Offers Professional-Level Still Photos and HD Video Performance Yet is Easy Enough for Entry-Level DSLR Consumers

Las Vegas, NV (March 3, 2009) – Panasonic today introduced the DMC-GH1, the newest member of the company's revolutionary LUMIX G Micro System – a new digital interchangeable lens camera system that delivers professional-level features and performance in a compact and easy-to-use camera body.

Compatible with the Micro Four Thirds System standard, the new LUMIX GH1 features advanced video photography functions, such as the ability to record High Definition (HD) AVCHD 1080p/24p video.* In addition, the new LUMIX GH1 comes with a newly developed long-zoom interchangeable lens – the LUMIX G VARIO HD 14-140mm/F4.0-5.8 ASPH./MEGA O.I.S. This lens was specifically designed to support HD movie recording and features a silent motor and continuous auto focusing (AF) capability; two features which distinguish the LUMIX GH1 from DSLRs that offer HD video recording capabilities.

"Photographers of all levels – professionals, amateurs and beginners – will be stunned by the range of creative possibilities that the LUMIX GH1 creates in the world of high-quality photography and HD video. Users will be equally amazed by the camera's easy-to-use design and small size," said David Briganti, National Marketing Manager, Imaging, Panasonic Consumer Electronics Company. "Beyond its creative potential, the LUMIX GH1, a sister product to the award-winning LUMIX G1, is also innovative and differentiates itself from the pack by recording High Definition video with continuous AF, an indispensable feature for practical video recording."

In late 2008, Panasonic redefined the traditional DSLR category with its launch of the Panasonic LUMIX G1 – a digital, interchangeable lens camera system that takes the radical step of eliminating the large, internal mirror structure that is currently contained in all traditional DSLR cameras. This innovation allows for dramatically smaller camera body and lens sizes and permits many new, advanced consumer features such as LUMIX G1 "Live View Finder". With its 2008 launch, the LUMIX G1 achieved several honors, including:
World's first entry into the Micro Four Thirds Standard system camera segment
World's first interchangeable lens camera to offer colored body options to consumers
Winner, 2008 Camera of the Year (Popular Photography & Imaging magazine)

The new LUMIX GH1 provides cutting-edge video recording features, including the ability to record high-resolution full HD (1920 x 1080) video at 24 fps or smooth HD video (1280 x 720) movie at 60 fps using an AVCHD format (MPEG-4/H.264). The AVCHD format provides the important benefit of doubling the HD quality recording time compared with Motion JPEG. The LUMIX GH1 hosts a dedicated video record button on the back of the camera which lets users instantly start recording videos, even while shooting still photos – removing the fear of potentially missing a must-see video moment. The LUMIX GH1 also records video in high-quality stereo sound via Dolby Digital Stereo Creator, the global standard of audio recording. An optional stereo microphone (DMW-MS1) is also available to achieve a more intensive sound recording experience. Finally, a convenient Wind Cut function is provided to help to block out distracting video background noise.

Like the LUMIX G1, the LUMIX GH1 features the Live View Finder system which enables something that simply is not possible with conventional DSLR cameras – the ability to preview the effects of camera settings (e.g., exposure, aperture, shutter speed) before taking the photo. This helps take the guesswork out of the camera setting process and helps users ensure that every photo they capture comes out exactly as they envisioned.

The brilliant 1,440,000-dot equivalent Live View Finder system can also display information settings that a user can see without removing their eyes from the subject. Furthermore, a built-in eye sensor automatically switches on the viewfinder when the user looks into it, then switches it off and turns on the swivel 3.0-inch large 460,000-dot high-resolution LCD when the user looks away from the viewfinder. The 60-frames-per-second Live View is made possible by the Live MOS sensor, which takes real-time signals directly from the image sensor and sends them continuously to the LCD. Both the Live View Finder and LCD provide a 100% field of view – allowing the user to accurately frame and compose a shot from most any position.

The LUMIX GH1 kit lens – the LUMIX G VARIO HD 14-140mm/F4.0-5.8 ASPH./MEGA O.I.S. –provides a broad focal length range of 28-280mm (35mm camera equivalent) and supports continuous AF using the contrast AF system for both photo and movie capture. The low-noise lens design also seamlessly supports video recording by minimizing the mechanical sound generated by AF/AE actions.

At the core of the LUMIX GH1 lies a newly developed 12.1-megapixel high speed Live MOS sensor and Venus Engine HD, which features twin CPUs for outstanding processing capabilities. The Live MOS sensor is capable of high-speed readout over four channels to be compatible with full-HD movie recording. This sensor is also advantageous for photo recording with a high signal-to-noise ratio thanks to the new circuit structure that is unaffected by the noise generated in each of the circuits. This results in crisp photos – even those taken at high ISO levels. The multi-aspect type sensor allows users to take photos in 4:3, 3:2 or 16:9 aspect ratios with the same angle of view. The Venus Engine HD is also energy efficient, supporting long periods of AVCHD video recording on a single battery charge.

In addition to the digital camera's HD video recording capability, the DMC-GH1 features the LUMIX Creative Movie mode which lets the user manually set the shutter speed and aperture, making their videos more creative and representative of their own personal video style preference. Changing the shutter speed gives the videos a special look, particularly suitable for shooting fast-moving subjects. Controlling the aperture is convenient when there are several subjects at varying distances, so the user can focus on the foreground and blur the background – or vice versa.

While the LUMIX DMC-GH1 has cutting-edge still image and video capture features, the LUMIX GH1 is also incredibly easy-to-use, thanks to Panasonic's iA (Intelligent Auto) mode** – a user-friendly setting made popular in the LUMIX line of digital point-and-shoot camera products. Panasonic's iA mode is a suite of technologies which engage automatically (no settings needed). The latest addition to the iA suite of features is Face Recognition, a feature that directs the camera to prioritize focus and exposure on a specific face that that the user had previously registered in the camera.*** This invaluable function makes it especially easy to take sharp and beautifully exposed images of things the user values most in their photos – the user's friends and family.

Panasonic's iA mode offers other innovative features which help deliver consistently outstanding photos: O.I.S. (Optical Image Stabilization) to help reduce blurring from hand-shake; Intelligent ISO Control to help limit motion blur by adjusting the ISO sensitivity if the subject moves as the shot is taken; AF Tracking that lets the camera lock onto any subject and keep it in focus even if it moves; Intelligent Exposure which optimizes the exposure for each part of an image, preventing blocked shadows and blown highlights, and helps ensure that gradation and details are reproduced beautifully; and Intelligent Scene Selector which automatically detects the five most common shooting situations - Portrait, Night Portrait, Scenery, Night Scenery and Close-up - and switches to the appropriate Scene mode.

Best of all, the benefits of Panasonic's iA mode extend to motion image recording on the DMC-GH1. For example, the LUMIX GH1 motion iA includes O.I.S. and Face Detection, which automatically detects a face in the frame and adjusts focus, exposure, contrast, and skin complexion. Intelligent Exposure continually checks the ambient light level and adjusts the exposure setting as conditions change to prevent blown highlights and blocked shadows. Intelligent Scene Selector automatically switches between Normal, Portrait, Close-up, Scenery, and Low Light modes according to the environment.

The Contrast AF system adopted by the LUMIX GH1 is accurate, easy-to-use and fast. Users can choose from a wide range of AF modes, including multiple-area AF with up to 23 focus areas, 1-area AF with a selectable focus area, Face Detection, and AF Tracking. To help keep the images free of spots from dust and particles, the Supersonic Wave Filter dust reduction system helps prevent foreign contaminants from adhering to the image sensor.

After users capture their images using the LUMIX GH1, it's easy for them to enjoy their photos or HD videos immediately on a large-screen Panasonic VIERA® high-definition television. All that is required is to remove the SD Memory Card from the LUMIX GH1 and insert it into the VIERA Image Viewer (SDHC/SD Memory Card slot) located in the VIERA HDTV or in the Panasonic Blu-ray disc player. Alternatively, an optional mini HDMI™ cable is available to output the images from the LUMIX GH1 directly to the Panasonic HDTV via VIERA Link™. Then, using the VIERA HDTV's remote control, users can take advantage of the LUMIX GH1's advanced playback and slideshow features.

In addition to the new LUMIX G lenses, the DMC-GH1 and LUMIX G Micro System is compatible with any interchangeable lens that complies with the Four Thirds standard.**** This gives users access to the entire range of Four Thirds lenses. Additional Micro Four Thirds lenses will be announced in the future, giving users a large, diverse line of high-performance lenses to add to their photographic toolboxes. With the LUMIX G Micro System and the growing assortment of lenses becoming available, the creative possibilities are endless.

The LUMIX DMC-GH1 is a system camera with a wide variety of options to choose from to match a wide range of shooting situations and styles. Accessories compatible with the LUMIX G Micro System include: External Flash: DMW-FL220(GN22) / DMW-FL360(GN36) / DMW-FL500(GN50); PL Filter: DMW-LPL62; ND Filter: DMW-LND62 (New); MC Protector: DMW-LMCH62; Mount Adapter: DMW-MA1; Stereo Microphone: DMW-MS1 (New); Battery Pack: DMW-BLB13; DC Cable: DMW-DCC3; Soft Cases: DMW-CG1, DMW-CG2 (New); Soft Bag: DMW-BAG1; Shoulder Strap (Stylish) DMW-SSTG1-A/C/R/K(New); Shoulder Strap (Woven) DMW-SSTG2-W; Shoulder Strap (Leather) DMW-SSTG3-T; Remote Shutter: DMW-RSL1.

For more information about the DMC-GH1 and all of Panasonic's LUMIX G Micro System accessories, please visit http://www.panasonic.com/lumix

The announcement is short on details, but here's the pitch: the NX series is a hybrid system, meaning that it doesn't have a mirror box or a physical through-the-lens viewfinder, but retains a DSLR-sized APS-C imaging sensor and interchangeable lens capability. In other words, it's conceptually similar to Micro Four Thirds cameras such as the Panasonic Lumix DMC G1, though it doesn't share their mounts.

What makes the NX particularly interesting, though, is its build—it's pretty thin. Our biggest issue with the DMC G1 was its bulk, as it was only slightly more compact than some of the smaller entry-level DSLRs like the Nikon D40, despite its shorter flange-back and lack of a pentaprism. Samsung seems to have stolen and embraced the spirit (though unfortunately, not the lenses) of Micro Four Thirds, making this truly slim for a camera of its abilities. As for those lenses, it remains to be seen if Samsung will use the Pentax mount, as they have historically, or if they've got a new standard in mind.

The release is set for the second half of '09, and specs will probably be fleshed out at PMA, which starts tomorrow. You can read the full, teasing release below:

SEOUL, KOREA – March 2, 2009 – Samsung Digital Imaging Co., Ltd. used PMA 2009 as the global launching pad for the NX Series, the company's revolutionary new family of hybrid digital cameras. A new concept digital camera, the NX Series offers the performance and image quality of a DSLR and the portability and convenience of a compact point-and-shoot. With the NX Series, Samsung will become a global leader in the new hybrid market.

Samsung's new NX Series bridges the gap between a DSLR and compact point-and-shoot digital camera by combining the benefits of both in one new model. Like conventional DSLRs, the NX Series utilizes an APS‑C sized image sensor providing a much larger surface area to gather light and produce higher-quality images than comparable digital camera systems. Unlike a DSLR, the NX Series does not feature a mirror box and employs an ultra-precise Electronic Viewfinder (EVF). The use of an EVF has allowed Samsung engineers to significantly reduce the size and weight of the new camera system by decreasing the distance between the lens and image sensor (flange back) by approximately 60% compared to traditional DSLRs. In addition to utilizing the EVF, consumers can also take advantage of the camera's Live View functionality to frame their shots on the NX Series' high‑resolution screen.

Samsung has recently intensified its focus on the digital imaging market and established a separate company dedicated exclusively to digital imaging in Samsung Digital Imaging Company. The new company was formed to focus on the development of its digital still cameras around world's first and best in class features, design, and easy-to-use interfaces, and will work towards achieving the company's stated goal of becoming the world's leading digital imaging company.

"We estimate that the hybrid digital camera market will be over 20% of the global digital still camera market by 2012," said Sang-jin Park, CEO of Samsung Digital Imaging Company. "With the release of the NX Series, a digital camera that combines the strengths of a DSLR and compact digital camera, Samsung Digital Imaging will become a global leader in the new hybrid digital camera market and achieve the company's goal to become the global leader in the digital camera market by 2012."

Samsung Digital Imaging Company also creates a much more efficient vertical alignment between related Samsung affiliate business units including semiconductor, LCD panel and consumer electronics. This new vertical alignment will create competitive advantages for Samsung by fostering greater collaboration between Samsung affiliate business units and allowing the company to develop and deliver highly-innovative digital imaging products that set the standard for the industry, including the newly unveiled NX Series.

The first model of NX Series will be available in the second-half of 2009.

Pairing a Micro 4/3 body with loads of vintage lenses is one of the things that could set it apart as a nice, compact alternative to a DSLR, should the price come down for Micro 4/3 bodies. The FD adapter appears to be done DIY style by a Japanese guy with pretty awesome circa-1995 web skills: you can buy for ¥147,000 (~$160), and he also makes a Leica M-Mount adapter as well. Impress took it for a spin with a variety of different old school FD lenses—check out their test shots for a closer look. [Product Page (Translated) via Impress Digicam Watch (translated)]