According to Photography Blog's early review, the $300ish S70's somewhat low resolution OLED wasn't found to be much better than an LCD for viewing images, especially in direct sunlight when it's still not bright enough. As for the photos themselves, they were only of "average quality," with a particularly noisy ISO even at conservative settings. Too bad. [Photography Blog via Engadget]

Baby's First DSLR: Nikon D3000

The D3000 is cheap. We're talking a full kit (i.e., it comes with a lens) for just $460, making it the cheapest DSLR kit around. But what really makes it stand out for beginners is a built-in tutorial system that explains how to get certain kinds of shots—like shallow depth of field—in plain English.

Amateur Hour: Canon T1i

The next step up is Canon's T1i. What we like is that it packs a bigger boy's image sensor—it's got the same 15-megapixel sensor as the pricier mid-range 50D—and 1080p video into a camera that's $720 with kit lens. Also, for the money, it edges out Nikon's D5000 on a few points, namely superior video handling and Live View.

Bigger Britches: Nikon D90

Nikon's D90 was the first ever DSLR to shoot 720p video with manual controls, but that's only part of the reason we like it. It's got the awesome image sensor from the semi-pro D300, in a package that's just over $1000. And at that price, it's $100 cheaper than Canon's competing 50D, which has the same image sensor as the cheaper T1i above, but none of the video benefits of either camera.

The Budding Auteur: Canon 7D

The only camera on this list that's more expensive than its competition—the D300s—the 7D overwhelms with DSLR video that's superior to every camera but Canon's very pro 1D Mark IV (which costs $5000). It shoots in 1080p, with full manual controls, and it's amazing what it can do in low light. Besides that, Canon's somehow cheated physics with an 18-megapixel sensor that doesn't explode with noise at high ISO settings, all while cramming a whole bunch of new features, and an actually good autofocus system. It's $1900 with a kit lens.

Beyond here, honestly, you should already have a pretty idea of what you're gonna buy without our help. And if you've got your own opinions about what's best in every price range, let's hear 'em in the comments.

BTW, if you hate the gallery format as much as the Grinch hated Christmas, click here.

Crumpler Industry Disgrace neckstrap Fancy cameras, especially German ones, are heavy. Fancy lenses bolted to fancy cameras? It's like lugging around a (fancy) dump truck. Normal camera straps are thin and cut into your neck. Crumpler's Industry Disgrace neckstrap is fat, super padded and breathable. And, they come in patterns. $30-$40. [Link]

Lensbaby optics Crazy lenses for DSLRs, like tilt-shifts and fisheyes, can be ridiculously expensive, way too expensive for a starving artiste who must save their pennies for vintage boots. Enter Lens Baby, which produces cheap, quick and dirty single-effect lenses and adapters for DSLRs. While their quality isn't exactly bulletproof, they do deliver the special effect shots Flickr whores crave. The core lenses do variations on the whole small area of focus, lots of blurriness surrounding it, while the optics system lets you swap out inserts for different effects, like fisheye or pinhole. $95-$300. [Link]

A 50mm prime lens Back in the day, a 50mm prime lens is what photogs cut their teeth on. No zoom, no wide-angle, no image stabilization to fiddle with. Just sharp focus. Meaning it's pure composition on the photographer's part. If you're buying for a DSLR that's not full-frame—basically anything other than Canon 5D Mark II or D700—you're gonna wanna grab a 35mm lens (with the crop factor, it becomes about 50mm, give or take). They get pricier as they get faster, but you can score a cheap 50mm for about a hundred bucks, and a cheap(ish) 35mm for between $200 and $300. $90-$320 [Nikon 50mm, Canon 50mm, Nikon 35mm, Canon 35mm]

Joby GorillaPod A cheap tripod that'll fit in a hipster messenger bag, for long exposure shots. $30-$50 [Link]

Crumpler camera bags Most camera bags aren't very befitting of actually cool photographers. They're boring. Corporate. Ugly. Crumpler's 5 Million Home holds a DSLR, an extra lens and flash and is sunny sky blue. Stepping up a model, the 8 Million Dollar Home has more space for more stuff, if needed. $80-$170. [Link, Link]

Diana F+ CMYK lomo camera Real artsy photographers shoot with cheap lomo film cameras to produce vintage-y lo-fi photos, with crazy saturation, exposures and optical effects, perfect for Vice Magazine. Don't think, just shoot. And the super bright CMYK paint job? You know what it is. $105 [Link]

Leica M9: The ultimate photographer gift. Picking up a Leica camera instantly turns anybody into a Photographer. While holding a Leica, it is impossible not to shoot perfect, artsy photos. Even if you try. The M9 is the latest, most exquisite piece of German photographic craftsmanship yet, with an 18-megapixel, full-frame sensor that delivers the most amazing photos of all time. $7000 and worth every penny. [Link]

Superzoom Cameras: They're not DSLRs, they're not pocketable point-and-shoots, and they're definitely not artsy. They're for tourists, and for the money, you could easily get a way better cheap DSLR or vintage film camera.

All Giz Wants is our annual round-up of favorite gift ideas, including amazing attainable objects and a few far-out fantasies. We'll be popping guides catered to different interests several times per day for the next week, so keep checking back.

In case you missed the news, the S1000pj is an utterly unexciting point and shoot camera from Nikon, except for one minor detail: it's got a projector—like a real, don't-look-straight-into-it lamp projector—built right into its face. This is why it's funny, why it's interesting, and why we're writing about it. Moreover, it's why this camera exists in the first place: as a sort of high-profile tech demo for Nikon.

But first!

And for that matter, foremost! This is a standard point and shoot camera, with generally standard point and shoot camera specs. Nowadays, that equates to 12.1 megapixel photo resolution, a 5x lens that's 25mm equivalent on the wide end, built-in vibration reduction and SD storage. A/V connections are served by a single microUSB slot, and the rechargeable battery juices up on a separate charger.

Taking photos on the S1000pj is extremely simple, almost to a fault: ISO and white balance controls, for example, are hidden behind two layers of menus. But for lack of a better word, the point of a point and shoot is to make taking OK pictures as easy as possible, which the S1000pj certainly does.

As you can see in the sample gallery, the shots are never spectacular, but never terrible. The Nikon rarely finds a situation where it can't return a decent shot in auto mode, be it in a dark room, a sunbleached roof or a tungsten-lit kitchen. High ISO performance was a pleasant surprise as well, since Nikon opted for the S1000pj's sensor to automatically draw down to three megapixels during ISO 6400 shooting, which keeps the results from being too spectacularly bad. In fact, ISO 800 shots are clean enough to print, while ISO 400 returns crystal-clear photos, even during longer exposures.

That said, this is still a point and shoot, and not even a very high-end one. The lens isn't spectacularly sharp, and the colors are particularly vivid. The VGA video is dull and mostly lifeless. Button-press-to-shoot time is quick, but still not quite instant. That's the biggest problem for this camera: It'd be a perfectly acceptable—even above average—point and shoot for, say, $250. It costs a good deal more than that, becauuuuuuuuuuse:

Yes, It's Got a Projector

My love affair with the S1000pj didn't start until the day after I got it. It was early evening so my room was dim, and I'd only taken a few photos with camera the day before, as I was unboxing and summarily dismissing the camera in a well-lit office. "This projector looks like ass," I believe I said. "Human ass."

But when I flicked the little projector button this time—it's a dedicated switch on top, next to the projector's manual focus slider—I was stunned. It looked fine. I shut the windows. I backed up, stretching the image to about 40 inches. Now it looked great. This dinky little projector, and hacky and ridiculous as it looks and sounds, is legitimately useful.

It's an instant wow-piece for anyone who uses it, and a great way to show off photos (and yes, videos—though sadly not external inputs) in a bind. And by bind, I mean any time you don't want to ask everyone where you are to crowd around a computer screen and awkwardly watch while you import photos. Now, you just tell them to dim the lights. That'll do fine.

Oh, But You Probably Shouldn't Buy It

It was a tough call not to recommend this outright, but I really can't, unless you've got a wad of cash burning a hole in your pocket, or don't mind paying a $150 (rough) premium for the projector. Yes, the camera itself is capable enough. And yes, the projector concept isn't nearly as ridiculous as most people make it out to be. What's so appealing about this camera is that it's nailed what will be, if not a universal feature, something we'll come to expect in a certain class of camera before too long.

But that makes this product admirable, not buyable. For the Nikon to be a worthy purchase, we'll need to see a change: Either the photographic experience itself gets a little closer to what you'd expect for $430—about how much you're going to end up spending on this now—or the camera drops significantly in price.

Nikon is charging a classic early adopter tax, and you won't just be paying for it in dollars: battery life is predictably bad when using the projector (I could easily lose a quarter of my charge just showing off a set of photos to friends). And this thing isn't particularly svelte, considering the specs. But if you know what you're getting into—and now you do—it's your call.

You will have fun with the Nikon s1000pj, even through the pangs of buyer's remorse.

The projector is surprisingly decent in low light

Chunky design

Adequate photography

Battery drains very quickly when projecting

Hefty early adopter tax

The Nikon Festival has the theme "A Day Through Your Lens," and asks budding filmmakers to upload digital films with that theme, of length less than 140 seconds, to their website. The contest is six weeks long, starting right now. Festival judges include Rainn Wilson (Dwight Schrute of The Office fame), photographer Chase Jarvis, and some girl unfortunately described as an "Internet Personality" with the even more unfortunate name of iJustine. But guys, Rainn Wilson!

Oh yeah, and Ashton Kutcher will be sharing his own entry, partly because he has an advertising deal with Nikon and partly because this contest is tangentially related to Twitter. That '70s Show was a long time ago, you know, and now Twitter is his job—and Ashton Kutcher is nothing if not dedicated to his job.

The winning filmmaker will get $100,000 and some sweet Nikon gear, and there'll also be an audience favorite award worth $25,000, in case iJustine is out of touch with modern independent filmmaking. [Nikon Festival]

First Place
8 Bigmacs. Two SB-800 speedlights and on-camera flash (nikon CLS kicks ass) Nikon D80 I think at 1/125 f/5.6. Fast enough to shoot hand-held before it would tip over. The macs are skewered with two wooden kebab skewers to a piece of plasticine (unfortunately visible). Some photoshop curves and black and white mixing. -Zach Slootsky

Second Place
The Coburg Cafe's monster burger. Regular sized burger on top for size reference; 1 lb. hamburger, ham, bacon, swiss & american, on an 8" bun w/all the fixins' -Trask Blueribbon [Ed note: remember to tell us your camera/settings!]

Third Place
This photo was taken at my son's school cafeteria. We had lunch together. It was abysmal. Jello was good though. I snapped this photo with my Verizon HTC Touch. Basic settings. My technique was to hold back the vomit before I barfed on my phone. -Robbie Amburgey

Thanks for the entries, and look for a more classic Shooting Challenge topic next Monday—something more along the lines of photography for photography's sake. (Not that I don't love watching you poison yourselves in the name of art.)

I had around two hours to shoot with a pre-production model of the tank-like D3s at New York's Big Apple Circus, hence all of the scary clowns and very flexible folks. Since low-light performance is what you're probably most interested in, I've broken down the sample shots into galleries by ISO speed. Overall, shots at ISO 6400 are the cleanest I've ever seen at that ISO rating—just think about that for a second—and ISO 12,800 photos are unquestionably usable for even large web photos (like 1000x1000 pixels). Of course, the pictures at ISO 102,400 have ridiculous grain and you'd never use them for anything but novelty, but consider that we really are talking light sensitivity on the order of night vision. It's a remarkable achievement for achievement's sake.

All of the photos here are from JPEGs straight out of a pre-production D3s, with no retouches. They were resized, but I've included shots of 100 percent zoom close-ups above the galleries.

These two series are shot at the exact same shutter speed, adjusting only the ISO, so you can get a sense of how much extra light the cranked ISO absorbs.

I've also cut together some of the 720p video I shot. The video mode's a little confusing to use at first, since the "shutter speed" is how adjust exposure in video mode, but the results are nice, even if they're not in 1080p. The clip was always shot at an ISO rating of at least 3200 (I was fiddling with the ISO throughout), and the second half makes use of a boom mic for stereo.

The D3s's sensor is an evolved form of the original D3's 12.1MP full-frame sensor, using a different structure to improve the signal-to-noise ratio while shooting at higher ISO ratings, along with new algorithms for better image processing. The normal ISO range is 200-12,800, going up to ISO 102,400 at the top end of the expanded range.

God only knows what kind of photos it's going to turn out cranked to that ridiculous setting. Even if you aren't shooting anything with an ISO approaching the size of small lotto winnings, the lower level ISO settings, like around ISO 6400, should look even better than same setting on the D3. Nikon stressed that ISO 6400 and up to 12,800 would be "comfortable" to shoot at, so they are setting up some not-exactly-moderate expectations.

The disappointing news is that it shoots 720p video, not 1080, as previously rumored. (Nikon says it's because the cam's for photojournalists, who don't want or need 1080p.) But video does take advantage of the D3S's hunger for light, so the dynamic range is wide as hell with High Sensitivity Movie mode, and the D3S's video mode is overall more capable than Nikon's previous video-shooting DSLRs with full aperture control, faster AF in live view and a stereo input. A new algorithm also alleviates some of the weird video problems Nikon's had before, supposedly.

Other improvements over the D3 include a bigger buffer for 2x bigger continuous bursts, automatic image sensor cleaning and faster startup and autofocus. The crop mode is changed slightly, to a 1.2x crop, instead of a full DX crop (1.3x1.5x). The body, battery, AF system and all of that stuff is pretty much the same: It's the D3 evolved, after all, not reinvented.

It's out in November for $5200, which is a $200 premium over what the D3 itself debuted at. It's hard to judge where it'll stand in the market in some regard, because Canon's flagship pro systems are ancient at this point, making the D3s virtually uncontested for now. But we'll see.

THE IMAGING EVOLUTION CONTINUES: THE NIKON D3S ILLUMINATES NEW LEVELS OF POWER AND PERFORMANCE FOR PROFESSIONAL PHOTOGRAPHERS

Nikon Once Again Redefines Possibilities with D-SLR Photography with Six-Figure ISO Sensitivity for Stills and Video While Enhancing Overall Performance

MELVILLE, N.Y. (Oct. 14, 2009) – Today, Nikon Inc. announced the FX-format D3S D-SLR, providing professional photographers with a powerful tool that redefines the boundaries of digital SLR versatility, while maintaining the strength of superior image quality and high speed performance inherited from the ground breaking D3. The D3S enables not only new opportunities in low-light photography, but also provides photographers with added shutter speed and aperture freedom with a base ISO sensitivity range from ISO 200 to a remarkable 12,800. Additionally, expanded ISO equivalent settings up to a staggering 102,400 are available, enabling photographers to create images previously thought impossible.

The Nikon D3S builds upon the success of the Nikon D3-the professional digital SLR that set new standards for D-SLR performance and utilizes a newly designed, Nikon original 12.1-megapixel FX-format CMOS sensor that also integrates its amazing low-light ability to High Definition (HD) video, creating a uniquely capable multi-media tool to meet the needs of a changing imaging landscape.

"When the Nikon D3 was released, it ushered in a new era of professional digital imaging. Today, the D3S will further reinforce Nikon's leadership role in the photographic industry as a pioneer in performance-driven technologies that will again break once-rigid picture-taking barriers," said Edward Fasano, general manager for Marketing, SLR Systems Products at Nikon Inc. "The ruggedly constructed D3S was engineered to address the real-world needs of professional photographers and provides them with a tool that, when combined with their skills, delivers stunning images in a broad range of shooting conditions and assignment requirements."

Creative Vision Beyond the Human Eye
The Nikon D3S, with a base ISO sensitivity from ISO 200 to 12,800 makes it possible to capture previously impossible images-image opportunities which were often ignored because of low light levels. Now, in even more demanding lighting conditions, photographers can select expanded sensitivity settings of ISO equivalent 25,600, ISO equivalent 51,200 and an incredible ISO equivalent sensitivity of 102,400 which reveals detail in extreme low-light environments that challenge even the human eye's ability to discern subject content. In addition, a setting of ISO equivalent 100 is provided.

This industry-first, groundbreaking ISO sensitivity range will make the D3S the camera of choice for photographers who typically face extreme lighting challenges, such as indoor or nighttime sports, spot news, wedding receptions and ambitious nature photography. This broad ISO sensitivity also affords the ability to shoot at faster, action-stopping shutter speeds. D3S shooters will enjoy a major advantage in any situation where light is limited and the use of supplemental lighting is not an option. For the photojournalist, even the highest ISO setting delivers image quality to satisfy the needs of offset printing.

Big Pixels Equal Greater ISO Capabilities
The amazing low-light ability of the D3S, as well as its astounding image quality can be attributed in large part to the engineering behind the newly designed, Nikon original 12.1-megapixel FX-format CMOS sensor, which measures 36x23.9mm. While the pixel size and count that served the D3 were maintained to deliver the pinnacle of image quality, dynamic range, phenomenal tonal gradation and outstanding color, other aspects were engineered to add versatility through broader low-noise ISO sensitivity. Individual pixels measure a large 8.45 microns, which support enhanced sensitivity to light and other qualities leading to superior image fidelity. The D3S captures light and renders images in a way that no other Nikon camera has yet to achieve, with a higher signal-to-noise ratio and an unmatched dynamic range for both stills and HD video throughout its broadened ISO range.

D3S adds the extra benefit of an Image Sensor Cleaning function to reduce instances of image degradation resulting from dust accumulation on the optical low pass filter (OLPF) in front of the image sensor. The OLPF oscillates at four specific frequencies to release particles that would disrupt image quality. Sensor Cleaning can be set by the user to cycle automatically when the camera is powered on, turned off, or on demand.

Share the Vision with D-Movie Creativity
Whether on the frontlines or sidelines, the amazing ISO range of the D3S can also be applied while recording HD video clips to give unprecedented low-light ability for movie clips. The refined D-Movie mode for the FX-format offers smooth 1280x720 video at a cinematic 24fps, with a new algorithm that severely reduces the phenomenon of "rolling shutter" typical to D-SLRs while panning. The motion JPEG codec allows for easy extraction of single frames from a video clip and the ability to save it as a JPEG file, while the 720p HD format eases storage, provides faster wireless transfers, and offers video files that are generally easier to use in the field. Photographers can also trim movie clips on the fly by revising the start and end points, and save the edited clip as a copy while maintaining the original. Additionally, the D3S features a built-in monaural microphone, augmented by a stereo microphone input, which is perfect for hot-shoe microphone mounting or the use of wireless microphones for interviews or spot news.

Photographers and film makers alike will appreciate the full aperture control from a wide f/1.4 to f/16, as the FX-format sensor renders low-noise movie clips with outstanding clarity, aided by the large selection of renowned NIKKOR lenses to produce a dramatic depth of field. High Sensitivity Movie Mode allows the utilization of the entire ISO range to capture otherwise hidden details in challenging lighting conditions, more effectively than cameras with smaller sensors. Now, users can benefit from available natural light for applications such as telling a story in a journalistic style in the field or to create a gritty film noir masterpiece without CGI post production. While recording, users also have the ability to control exposure, and will enjoy the added benefits of improved contrast-detect type AF while in Tripod Live View mode.

Performance and Features Defining Versatility
The emergence of the D3 in 2007 provided photographers with a unique fusion of ruggedness, speed, versatility and image quality-characteristics which the D3S now takes even further. Photographers are able to capture images at 9 frames per second (fps) in the FX-format or at up to 11 fps in the DX crop mode, while data is transferred through a 16-bit pipeline for optimal processing speed. Additionally, the buffer has been increased, enabling continuous bursts approximately twice that of the D3 in the JPEG, TIFF or NEF (RAW) formats. Files can also be captured in either 12- or 14-bit compressed or uncompressed formats to maintain the images data integrity. Photographers can also select the new 1.2x crop mode for a modest telephoto effect, while minimally impacting resolution, as photos are captured at approximately 8.4 megapixels (9 fps).

The D3S digital SLR also features two UDMA compatible CompactFlash™ card slots that can be used for consecutive recording (overflow), simultaneous recording (backup), separating recording of RAW and JPEG files or even copying pictures between the two cards. One or both can also be designated for data-heavy D-Movie recording. Images can be displayed directly from the camera to a High Definition monitor using the camera's HDMI port and an optional cable.

The D3S features Nikon's exclusive Multi-CAM 3500FX focus module, with 51 AF points, 15 cross type sensors and 36 horizontal sensors that easily track and lock onto moving subjects, delivering the same fast and accurate AF performance that helped make the D3 immediately successful. Users can select any of the AF points, making it easy to consistently attain accurate focus, frame after frame. Additionally, three AF-area modes – Single point, Dynamic-area AF and Auto-area AF – are available to maximize the use of the 51 focus points by selecting the most suitable one to match subject conditions. AF is also available in one of two Live View modes optimized for the studio, including a phase detection handheld mode and a tripod mode. While in Live View, the graphic indication of a virtual horizon is also available, making it easier than ever to confirm camera orientation.

To alleviate another kind of noise, the D3S also features a Quiet Shutter Mode which substantially reduces the sound of the camera's mirror-down cycle, which is perfect for shooting in sensitive environments, such as movie sets, meetings, ceremonies, or while photographing wildlife.

Technologies Engineered for Professionals
The D3S digital SLR's speed and performance is the culmination of many Nikon core technologies including the latest generation of the EXPEED™ Image Processing System. The latest iteration of this system is specially designed to keep pace with the D3S' blazing performance to provide amazing image quality, faster processing speeds and lower power consumption. This advanced system is able to achieve extremely precise color reproduction for a broad spectrum of hues, in addition to vivid saturation and smooth gradation. Nikon's advanced noise processing function is engineered to minimize noise at all sensitivities and operate seamlessly without interfering with other image color parameters.

The D3S' accelerated Scene Recognition System analyzes information from the 1,005-pixel RGB light sensor for use in auto exposure, auto white balance detection and autofocus calculations. The Scene Recognition System also assists autofocus by tracking subject position and automatically shifts the AF points used to match the subject's movement within the frame.

Nikon's exclusive 3D Color Matrix Metering II assists in ensuring accurate exposures, even in the most challenging lighting conditions. Instantly evaluating each scene before capture, input data from the system's sensor is automatically referenced against an internal database of more than 30,000 images derived from actual photographs to calculate correct exposure values. Active D-Lighting (ADL), used in combination with 3D Matrix Metering II helps to determine proper exposure, and creates realistic contrast while compensating for lost shadows and highlights. Photographers can also use ADL bracketing for up to five frames of ADL compensation.

To further enhance each photographer's expression of personal style, Nikon's Picture Control System allows selection of Picture Control settings including Standard, Neutral, Vivid and Monochrome. Additionally, adjustment can be made to Picture Controls to image sharpening, contrast, brightness, saturation, hue and more. Photographers then have the flexibility to save up to nine personalized Picture Controls on camera and 99 additional Picture Controls externally.

Ready for Work
Engineered for real-world functionality, the D3S is ruggedly constructed with moisture, dust and shock resistance that has become a hallmark of flagship Nikon D-SLRs, while preserving the usability and ergonomics that allow the camera to remain an extension of the photographer's vision. Attention to detail goes so far as to include a self-diagnostic shutter system that is tested to 300,000 cycles for maximum accuracy and longevity. Rigid and precise magnesium alloy construction and the familiar form factor of the D3 extend consistent Nikon system synergy.

A bright and accurate viewfinder provides 100-percent coverage with 0.7x magnification. The body also houses Nikon's acclaimed 921,000-dot, 3.0-inch super density LCD monitor which is viewable up to 170 degrees, and is safeguarded by a tempered glass cover. Thanks to incredibly efficient internal circuitry, the D3S can capture up to 4200* shots per single charge of the camera's Lithium-ion battery.

System Strength Withstands the Test of Time
The D3S is fully compatible with Nikon's Creative Lighting System (CLS) affording photographers a mobile lighting solution that is easy to manage. D3S is also compatible with Nikon's GP-1 GPS receiver to gather information such as latitude, longitude, altitude and (satellite) date of shooting. Photographers can shoot tethered via USB, or use the WT-4A wireless transmitter to send images wirelessly when speed and mobility are essential. D3S users will also enjoy the system strength bolstered by a comprehensive selection of NIKKOR interchangeable lenses-long heralded for their optical superiority.

Price and Availability
The Nikon D3S digital SLR is scheduled to be available at Nikon Authorized dealers beginning in late November 2009 at an estimated selling price of $5,199.95**. For more information, please visit www.nikonusa.com. Users can see the new D3S, along with Nikon's entire line of photographic, optical and digital imaging solutions, including the recently announced new AF-S DX Micro NIKKOR 85mm f/3.5G ED VR lens, on display at the Nikon booth (#501) at the PhotoPlus Expo in New York, from Oct. 22 to Oct. 24, 2009.

The author only mentions video recording at 720p/24 fps, no talk of 1080p at all. What's worse is that the article pegs the D3s, body only, at £4,200. For comparison, since we only have British pricing for the moment, the 1080p-capable Canon 5D Mk II retails for £2,300.

The D3s supposedly features amazing high ISO abilities, but the lack of 1080p video recording would still be a huge bummer. Hopefully, either the BJP left out some crucial details, or Nikon has some surprises in store for us. [British Journal of Photography via Nikon Rumors]

Rumored D3s specs follow thusly

* Nikon D3s with ISO 200-12800 (D3 was with ISO 200-6400)
* New ISO range HI-3 at 102,400 ISO
* 12.1 mp FX sensor (same as the D3, but tweaked)
* 14fps
* D-movie with 24 fps/1080p

Don't hold your breath on that ISO, but the rest is very possible. It'd make sense that a D3s would be their first DSLR to make the jump to 1080p video (we'll honestly cry if it has 720p).

The other possible camera, which might just have us more excited is a compact with a DSLR-sized sensor inside, sorta like Leica's X1. We'll be waiting for Oct. 14 with bated breath, that's for sure. [Nikon Rumors]

A major problem was the heat put off by the projector, which was fashioned into an L-shaped module so it'd fit inside the case. They wound up having to move the CCD image sensor to a different part of the camera to isolate it from the heat, while also figuring out a way to focus scattered light emitted by the LED powering the projector. The result is that the camera doesn't burn the crap out of your hand, even though there's a full-fledged projector inside of it (which was surprisingly bright when I checked it out the other day).

It's still absolutely bonkers. [TechOn via About Projectors via Engadget]

Same Ol' Same Ol'

The D300s remains a capable, even impressive camera. I mean, it's not like it got worse: The D300 retains the same sensor, excellent 51-point autofocus system, fantastic chassis build quality and ergonomics—just about the same everything—as the D300, and it still holds up 2 years later, mostly.

Low-light performance is solid, as you can see in the giant sample gallery here that walks through ISO ranges. We're talking fairly good-looking stuff up through ISO1600, though noise starts to creep in there, finally getting oogly around ISO3200. It's no 5D Mark II or D700, but it still stands up. Color saturation remains top-notch, and it seemed to handle white balance even a bit better than 5DMkII we shot alongside it at Giz Gallery last week. Bottom line, though, you're getting the same D300 performance. (Which means D300 reviews are still worth reading.)

So What's New?

• 720p video recording
• Extra SDHC slot
• More Active-D Lighting controls
• Tweaked button layout

Oh Hey, Video

What's majorly new in the D300s is video, and even it's not a whole lot different than what you saw with the D90, which also shot 720p video (and had a similar 12.3MP sensor). But, there's stereo input, and you can autofocus during recording—it's god-awful slow, so you're better off doing it your own damn self. Not to mention movies are capped at 5 measly minutes. And if you're still in live view, you can't actually watch the stuff you've just shot, since the playback button is how you adjust the display's brightness in live view mode.

The video quality itself is good, generally, but pushing past ISO1600, it starts getting a little dicey (Brian's shirt makes my eyes and ears hurt it's so noisy in this clip): Beyond video, my favorite new addition to the D300s are the dual memory card slots, which were formerly a super pro feature. The extra slot holds an SDHC card, which you can use a number of different ways—continuing the storage over from the CF card, duping whatever goes to the CF card, or to save JPEGs from RAW+JPEG shooting. (Handy, since OS X and Aperture don't support D300s RAW files yet.)

And of course, one of the best things about Nikon cameras is that since the lens mount for their SLRs hasn't changed in about 50 years, you can use seriously vintage lenses (and save money), which is something we definitely took advantage of while shooting.

The Value Shopper's Verdict

Here's the thing about the D300s: It's a great camera, no doubt. The problem is two-fold: At $1800, it costs the exact same as the D300 did when it was released two years ago, but beyond video, delivers no major advancements. There's no new pixel-squeezing camera tech here. The other part is that the very shortly forthcoming 7D from Canon is their first direct competitor to Nikon's D_00 semi-pro cameras, and it may make the value proposition look even less fantastic with what appears to be the most advanced video features of any DSLR yet. As it stands, the D300s is a tough purchase call (you can pick up a D300 for $150 less if you don't need video), and certainly not a necessary upgrade. But we hope to head-to-head the 7D and D300s very soon to figure out the best camera you can buy for about $1800.

If only Nikon had just given us the D400 like we'd wanted.

Some Giz posts shot w/ D300s:
• Sprint Hero Gallery
• How Do You Install a 900-Pound TV?
• Equivocation w/ HD
• The Mighty Chew-box-a

Dual memory card slots are a huge win
Good low-light performance, awesome color saturation
Two-year-old sensor costs this year's money
DSLR video still has a long way to go

Topping the list of expected features and improvements are 14fps and 1080p video, as well as a Nikon AF-S Nikkor 16-35mm f/4G ED VR lens.

Things I probably don't need to remind you of but will say anyway: This is an "anonymous tip" at a web site with the word "rumors" in the title—to say you should remain dubious until more concrete info surfaces is an understatement.

Editor's Note: Pictured is the Nikon D3x. [Nikon Rumors]

• The Nikon S100pj, sure to be the weapon of choice for embarrassing relatives, is now available. OK, so the Lumière brothers might have had the same idea for a hybrid camera/projector back in the late 19th century, but Nikon's latest point-and-shoot is the first to adapt the concept to digital photography. Assuming the projector performs as advertised, the S1000pj's 40" projection screen could be the perfect way to expose helpless onlookers to your collection of MySpace self pics. Ships today for $430. [CrunchGear]

• Seagate Barracuda XT 6Gbps SATA 3.0 Hard Drive

• The Coolpix S70 Nikon announced last month is now available. The main draw here in the 3.5" capacitive OLED touchscreen that of course comes with obligatory touch features like tap-to-focus. Besides the touchscreen, it's a pretty standard 12.1MP point-and-shoot with the ability to record 720p video. Now shipping for $370. [OLED Info]



• Dell released two new 24" monitors today, the Ultrasharp U2410 and ST2410.

• JVC's GZ-HM400 Camcorder

Wittnauer was actually a famous jeweler of all things, and the expensive Cine-Twin was only sold in jewelry stores. Ultimately, the novelty wasn't enough to overcome practical concerns like price, huge D-cell batteries, and a delicate and expensive glass bulb.

Interesting extra: Even before the Cine-Twin, the Cinématographe film camera/projector/developer was invented by French inventor, Léon Bouly, back in 1892. It wasn't like you could just go and pick one up, though.

The more things change, the more they stay the same, right? [Retro Thing via OhGizmo!]

The headline seems so sexy and interesting: "Nikon patents mirrorless camera!" But then we realize that DSLRs are the only cameras with mirrors to begin with, so we look at the source more closely. Turns out this story is based on one image from a patent filed in late 2008 for an entirely different idea: A system to protect the sensor when you change the lens of non-DLSR camera, like a range finder. [Nikon Rumors]

Ah, a rumor of an 8GB iPhone 3GS to replace the $99 8GB iPhone 3G! Sounds like we might be getting a faster, current gen $99 iPhone, right? Well, we're not ruling it out, but we just can't trust this report as our basis for printing that rumor. First, it's Canada-only, and Canada is unlikely to receive a new iPhone model before we here in the States do. Second, it's a screenshot of an internal Rogers document. Rogers, a major Canadian carrier, is also known for totally unreliable rumors, and we're just not sure we trust them on iPhone rumors. [BGR]

I would have been impressed with the fact that Toshiba's new 43nm SSDs are now shipping in 64, 128, 256 and 512 GB capacities except for one thing—Intel beat them to the punch with their fancy new 34nm drives. BAM! Take that, Toshiba! But don't feel too bad for Toshiba, since they won't have to recall their SSDs due to some pesky data corruption bug...for now, at least. [Electronista]

The 480 million-year-old Luray Caverns in Virginia are home to the world's largest musical instrument: An organ that taps giant stalactites (from the ceiling; stalagmites are from the floor and evidently are musically useless) to get each tone. It's pretty badass, really, even if it's probably environmentally questionable to file down ancient cave structures to get perfect pitch, but it's also been a tourist destination for decades, so it ends up here in Remainders. Still, enjoy the deliciously dated video from Ripley's here. [via MAKE]