Author: matt buchanan

In 1975, the first digital camera took 23 seconds to record a 100-line black-and-white photo onto cassette tape. Today, a Nikon D3s takes photos with 12 million pixels at 1/8000 of a second. And it can see in the dark.

The conventional wisdom is that the romp-stomp-stomp of progress in digital imaging has proceeded on the mostly one-way track of ballooning pixel counts. Which wasn’t always a pointless enterprise. I mean, 1.3-megapixel images, like you could take in 1991, aren’t very big. The Nikon D1, introduced in 1999, was the digital camera that “replaced film at forward-looking newspapers.” It was $5,000 and shot 2.7 megapixel images using a CCD sensor, large enough for many print applications. But still, there was room to grow, and so it did. Now pretty much every (non-phone) camera shoots at least 10-megapixel pictures, with 14 megapixels common even in baseline point-and-shoots. Cheap DSLRs from Canon are now scratching 18MP as standard. Megapixels were an easy-to-swallow specification to pitch in marketing, and became the way normal people assessed camera quality.

The now-common geek contrarianism is that more megapixels ain’t more better. The new go-to standard for folks who consider themselves savvy is low-light performance. Arguably, this revamped arms race was kickstarted by the D3, Nikon’s flagship DSLR that forsook megapixels for ISO. (Rumor had it that the D3 and D300 led Canon to shitcan their original, middling update to the 5D, pushing full-steam-ahead for a year to bring us the incredible 5D Mark II.) However it began, “amazing low-light performance” is now a standard bullet point for any camera that costs more than $300 (even if it’s not true). Nikon and Canon’s latest DSLRs have ISO speeds of over 100,000. Welcome to the new image war.

How a Camera Sees

The name of the game, as you’ve probably gathered by now, is collecting light. And in fact, the way a digital camera “sees” actually isn’t all that different from the way our eyeballs do, at one level. Light, which is made up of photons, enters through a lens, and hits the image sensor (that boring looking rectangle above) which converts it into an electrical signal, sorta like it enters through an eye’s lens and strikes the retina, where it’s also converted into an electrical signal. If nothing else after this makes sense, keep this in mind: The more light an image sensor can collect, the better.

When a camera is spec’d at 10 megapixels, it’s not just telling you that its biggest photos will contain about 10 million pixels. Generally, it’s also telling you the number of photosites, or photodiodes on the image sensor; confusingly, these are also often referred to as pixels. Photodiodes are the part of the sensor that’s actually sensitive to light, and if you remember your science, a photodiode converts light (photons) into electricity (electrons). The standard trope for explaining photosites is that they’re tiny buckets left out in a downpour of photons, collecting the light particles as they rain down. As you might expect, the bigger the photosite, the more photons it can collect at the moment when it’s exposed (i.e., when you press the shutter button).

Image sensors come in a range of sizes, as you can see in this helpful diagram from Wikipedia. A bigger sensor, like the full-frame slab used in the Canon 5D or Nikon D3, has more space for photosites than the thumbnail-sized sensor that fits in little point-and-shoots. So, if they’re both 12-megapixels, that is, they both have 12 million photosites, the bigger sensor can obviously collect a lot more light per pixel, since the pixels are bigger.

If you’re grasping for a specification to look for, the distance between photosites is referred to as pixel pitch, which roughly tells you how big the photosite, or pixel, is. For instance, a Nikon D3 with a 36mm x 23.9mm sensor has a pixel pitch of 8.45 microns, while a Canon S90 point-and-shoot with a 7.60 mm x 5.70 mm sensor has a pitch of 2 microns. To put that in less math-y terms, if you got the same amount of light to hit the image sensors the D3 and the S90—you know, you took the exact same exposure—the bigger pixels in the D3 would be able to collect and hold on to more of the light. When you’re looking for low-light performance, it’s immediately obvious why that’s a good thing.

Catch More Light, Faster, Faster

Okay, so that’s easy enough: As an axiom, larger photodiodes result in more light sensitivity. (So with the 1D Mark IV, Canon kept the same photodiode size, but the shrunk the rest of the pixel to fit more of them on the same-size chip as its predecessor). There’s more to an image sensor than simply photosites, though, which is why I called up Dr. Peter B. Catrysse from the Department of Electrical Engineering at Stanford University. The “ideal pixel,” he says, is flat—just an area that collects light—nearly bare silicon. But even at a basic level, a photodiode sits below layers of other stuff: a micro lens (which directs light onto the photodiode), a color filter (necessary, ’cause image sensors are in fact color blind) and then a layer of gunk, like wiring. So one way manufacturers are improving sensors is by trying to make all of that as thin as possible—we’re talking hundreds of nanometers—so more light gets through.

One major way that’s happening, he says, is with back-illuminated sensors, which move the wiring to the back-side of the silicon substrate, as illustrated in this diagram by Sony. It’s currently still more expensive to make sensors this way, but since more light’s getting through, you can use smaller pixels (and have more of them).

In your basic image sensor construction, there’s an array of microlenses sitting above the photosites to direct light into them. Previously, you had gaps between the microlenses, which meant you had light falling through that wasn’t being directed onto the actually light-sensitive parts of the sensor. Canon and Nikon have created gapless microlenses, so more of the light falling onto the sensor is directed into the diode, and not wasted. If you must persist with the bucket metaphor, think of it as putting a larger funnel over the bucket, one that can grab more because it has a wider mouth. Here’s a shot of gapless microlens architecture:

A chief reason to gather as much light as possible is to bring up your signal-to-noise ratio, which is the province of true digital imaging nerds. Anyways, there are several different sources and kinds of noise. Worth knowing is “photon shot” or just “shot” noise, which occurs because the stream of photons hitting the image sensor aren’t perfectly consistent in their timing; there’s “read” noise, which is inherent to image sensors; and “dark current” noise, which is basically stray electrons striking the sensor that aren’t generated by visible light—they’re often caused by heat.

Taken with a Nikon D3s at ISO 102,400
Back in the day, when people shot photographs on this stuff called film, they actually bought it according to its light sensitivity, expressed as an ISO speed. (A standard set by the International Organization for Standardization, confusingly aka ISO. The film speed standard is ISO 5800:1987.) With digital cameras, you also can tell your camera how sensitive to light it should be using ISO, which is supposed to be equivalent to the film standard.

The thing is, whether you’re shooting at ISO 100 or ISO 1600, the same number of photons hit your sensor—you’re just boosting the signal from the sensor, and along with it, all the noise that was picked up on the way. If you’ve got more signal to work with—like in a camera whose sensor has some fat photon-collecting pixels, you get a higher signal-to-noise ratio when you crank it up, which is one reason a photo taken D3 at ISO 6400 looks way better than one from a teeny point-and-shoot, and why a 1D Mark IV or D3s can even think about shooting at an ISO of over 100,000, like the photo above. (Another reason is that a 1D Mark IV-level camera possesses vastly superior image processing, with faster processors that can crunch complex algorithms to help reduce noise.)

Sensor Shake and Bake

There are two kinds of image sensors that most digital cameras use today: CCD (charged-couple device) sensors and CMOS (complementary metal-oxide-semiconductor) sensors, which are actually a kind of active-pixel sensor, but the way they’re made have become a shorthand name. “Fundamentally, at least physics-wise, they work exactly the same,” says Dr. Catrysse, so one’s not intrinsically more awesome than the other. CCD sensors are the more mature imaging tech, so for a long time, they tended to be better, but now CMOS sensors are taking over, having almost completely crowded them out of cellphones and high-end DSLRs (Leica’s M9 is an exception)—and Dr. Catrysse suspects the last place for CCD sensors is going to be in niche scientific applications.

A “CMOS sensor” is one that’s made using the CMOS process, the way you make all kinds of integrated circuits—you know, stuff like CPUs, GPUs and RAM—so they’re actually cheaper to make than CCD sensors. (The cheap-to-make aspect is why they’ve been the sensor of choice in cameraphones, and conversely, DSLRs with huge chips.) And, unlike a CCD sensor, which has to move all of the electrons off of the chip to run them through an analog-to-digital converter, with a CMOS sensor, all of that happens on the same integrated chip. So they’re faster, and they use less power. Something to think about as well: Because they’re made pretty much the same way as any other semiconductor, CMOS sensors progress along with advances in semiconductor manufacturing. Smaller transistors allow for more circuits in a pixel and the potential to remove more noise at the source, says Dr. Catrysse, bringing us closer to fundamental physical limits, like photon noise. And then we’re talking about controlling light at the nanoscale.

The Point

We’ve reached, in many ways, a point of megapixel fatigue: They’re not as valuable, or even as buzzy as they used to be. Not many of us print billboard-sized images. But the technology continues to progress—more refined sensors, smarter image processors, sharper glass—and the camera industry needs something to sell us every year.

But that’s not entirely a bad thing. Our friend and badass war photographer Teru Kuwayama says that while “increasing megapixel counts are mostly just a pain in the ass, unless you happen to be in the hard drive or memory card business, skyrocketing ISOs on the other hand, are a quantum leap, opening up a time-space dimension that didn’t exist for previous generations of photographers. I’d happily trade half the megapixels for twice the light sensitivity.”

Better images, not just bigger images. That’s the promise of this massive shift. The clouds to this silver lining are that by next year, ISO speeds will likely be the headline, easy-to-digest spec for consumers. And like any other spec, just because the ISO ratings go higher doesn’t mean low-light performance will be better. Remember, “more” isn’t more better.

Still something you wanna know? Send questions about ISO, isometric exercise or isolation here with “Giz Explains” in the subject line.

Google Buzz is slightly more insane on Android phones and iPhone than the desktop: There’s a revamped, Buzzier Google homepage; you can post entirely using your voice; and a new version of Google Maps eats Yelp’s lunch. Update: Hands on!

How Do I Get This Party Started?

First, a disclaimer: Right now, Buzz on the mobiles is working intermittently at best, and may very well be broke as shit. But it’s better than it was right after launch. (Digression: If Google can’t launch an internet service correctly, can anyone?) Also, iPhones and Android phones only. You might probably just wanna stick with Wi-Fi for now, too.

1. Sign into your Google account on yer phone, then go to google.com/buzz.

2. Your homescreen should look something like this. Let’s follow some people! Click “following zero people,” where you’ll be prompted to stalk some of your friends.

3. Type someone’s name to start searching: It’ll give highest priority to your existing contacts. I just followed Herrman here.

4. Now let’s see what’s going on nearby. Oh hey, it’s Herrman. Creepy! I’m going to comment and Like his status. He’s at B-Cup Cafe, which I think kind of sucks. You can see it on the map here. Popping over to the listing, you can see these reviewers are deluded. The dumb thing in the interface so far is there’s no good way to get back from the listing to the buzz.

5. Okay, let’s post something. If it can’t find your location, like it can’t find me, you can search for where you are at. It’s limited right now to places in Google’s database, so you can’t Buzz from your apartment. Nobody’s said anything about Ninth St. Espresso yet, so I’m going to right now. Make sure the blue location box in the bottom of your post—sometimes it doesn’t follow through, which happened one of my earlier buzzes. Oh, an easy way to post is to use the voice search in the iPhone or Android Google app, starting your phrase with “post buzz.” It works, to the extent that Google’s able to normally understand you.

6. Now let’s check out the Buzz Map, which shows me all of the Buzz going on around. The overlayed text on top looks terrible, but it works surprisingly smoothly, with responsive pinch-to-zoom. Buzzes, or whatever they’re called, are the little chat bubbles you seeing hanging around me. Oh hey, Herrman again. And these other people. The easiest way to see what’s going on, ironically, is to stick with the list view, which presents nearby Buzzes as a stream.

Overall, it’s not very useful right now since not many people are using it, or at least saying anything worthwhile, but that’ll change. Ease-of-use and the interface, especially in maps, when there’s a million bubbles, needs to be massively improved, and at least on the iPhone it screams for a real app, not a web app—there’s a few times it’s made me wanna kill myself it was being so goddamn slow. One thing it could definitely use is a way to easily post photos from your phone. Also, could be annoying to get an email every time somebody comments on one of your buzzes.

Right now, mobile Buzz isn’t an essential service. It’s noise. That could change, just give it some time.

Previous Coverage

There’s three components to mobile: A new mobile Google homepage with automatic geo-location and Buzz integration; a web app for Android phones and iPhone located here with full, incredible speech-to-text powers (especially with Android, which uses the built-in search widget); and a new version of Google Maps that tightly bundles location with Buzz.

In fact, location is the true killer feature here. While it lacks the gaming component of Foursquare, it’s central to the mobile version of Buzz. Whenever you post buzz from your phone, it’s (optionally) geo-tagged, and Buzz tries to figure out where you’re at, offering a list of nearby locations it thinks you’re at, and then embeds a map in your buzz showing your location. With nearby view, you can see what people are talking about around you, even people you’re not following. From there, you can jump directly into a Google Places listing with reviews and comments. It’s also another data layer in the new version of Maps, for you to see what’s up nearby.

If there’s anything it has as a one-up on Twitter, it’s location. Because it’s deep, and contextual, thanks to all of the services Google has, like Maps and Places.

A shocking revelation from the Warner Bros. earnings call this morning: Since they bumped prices on a bunch of iTunes tracks, digital sales growth has slowed down! It grew 10 percent in the fall quarter, but now it’s slowed to growing just 5 percent this past quarter, which means they’re piling up less money—digital revenue grew less than half as much, 8 percent, versus 20 percent a year ago.

The prudent point in this for book publishers, as Peter Kafka notes, is that raising prices like they wish might slow growth down more than they think. The price difference between a $10 book and a $15 book is a gaping maw, so I wouldn’t be surprised to see people react that much more vehemently. But we’ll see—maybe people will pay more for fancy ebooks. [MediaMemo]

Most of the gamers I knew stuck with XP during the Vista’s time because it drained precious CPU cycles, but that’s not the case here: Steam’s released their latest stats on Windows usage, Windows 7 has already blown past Vista.

The stats break down this away: 42.78 percent on XP, 28.53 percent on Windows 7, and 27.91 percent on Vista. Consider that Vista’s been out 3 years, and Windows 7’s been out for 3 months. Also worth pointing out is that Windows 7 installs are 64-bit by a 2-to-1 margin, which as Ars notes, is now the most popular flavor of Windows on Steam short of XP 32-bit.

The gaming population on Steam isn’t necessarily representative of Moms and Dads buying computers, but the fact that the deeply suspicious PC gaming community has picked up Windows 7 in droves does say something. [Steam via Ars, Neowin]

The good news first: Adobe’s promising Flash 10.1 is going to hit smartphones—Android, WebOS, Windows Mobile—and desktops in the “first half” of this year, a slightly less squishy date. And it’ll come over the air. The bad part?

Well it’s bad for Android, anyway: You’re gonna need Android 2.1. At least. Because it provides some access Adobe needs to make the Flash magic happen. So, sorry everything but the Droid and Nexus One, at least for the moment. The “over the air” thing is also kind of “up in the air” as to what that means: It could come from your carrier, it could come from your phonemaker, or failing all else, it could come from Adobe. Which means, Flash isn’t necessarily going to hit your phone at the same time as everybody else’s. Depends on your phone. But, they’re betting that over half of smartphones—53 percent—will have Flash Player by 2012. Not surprisingly, Adobe says Flash 10.1 is going to be all over some tablets, too, with accelerated performance on Nvidia’s Tegra 2, Qualcomm’s Snapdragon (like what’s in the Nexus One), and Freescale’s i.MX515.

Lastly, Adobe would like you to know that this whole Adobe vs. HTML5 thing is silly, since they totally support HTML5, like all web standards. They love them some web standards, they say. But! They would also like you to note that HTML5 standardization is years away, and Flash works right now. And the reason you notice crappier performance on the Mac is sorta the Mac’s fault, they say, because they need more access to APIs and they get half-assed crash reports. Plus, Adobe claims, apps tend to run faster in Windows than OS X generally, because performance is about 20 percent worse using OS X’s GCC compiler, not to mention performance varies even within an OS, since Flash runs 20 percent faster in IE8 than Firefox, for instance. Either way, performance will be better on Mac with Flash 10.1, since it’s shifting over to using CoreAnimation.

Okay, you can resume your “death to Flash!” chants now (even though it’s not going anywhere for a while, people!). [Adobe]

The vision of ebooks Google has presented to publishers: allowing people to print copies, cut and paste portions, and paying publishers 63 percent of the revenue. The vision the publishers presented in return: Go eff yourself.

That’s right, Google’s finally getting around to opening an ebook store too—called Google Editions, and it’s been in the works for a while—the idea being that people will be able to read the books on any internet-connected device.

What’s incredible is how the Times says negotiations are now proceeding. Now that Apple and Amazon are fighting over publishers and their books—imagine how oh-so-hotly desired they must suddenly feel—publishers have real power to negotiate, and it comes with wondrous effects, like getting an information monolith like Google to actually back down. There will be no printing, no cutting and pasting. And 70 percent, like what Apple and Amazon are now offering, is apparently starting to sound dandier to Google. Another point Google gave in on, surprisingly, is search. Previously, they planned to make up to 20 percent of every book they sold through the store searchable, but that wasn’t kosher with some of the publishing execs, so now they can choose to opt out of search.

Google finally jumping into selling ebooks, with the idea of being the ebook seller to everyone—or at least, everyone not toting a special reading device, just your average thing with a screen and internet access—could definitely shake things up even more than they already are. And you know, a Chrome OS tablet with an ebook store would be slightly more interesting as a cheaper iPad rival.

Publishers should enjoy the attention, and power, while it lasts. Because it won’t. [NYT]

A curious tidbit from VentureBeat: The A4 chip that Apple’s pimping hardcore in iPad promos might not’ve been done by their PA Semi team (which Apple acquired for $278 million). Their source says it was designed by Apple’s existing VLSI team, who made custom chips like northbridges for the old G5 Macs.

Sounds possible, since there likely isn’t a whole lot “custom” going in the A4’s actual design, which by all appearances is an ARM Cortex A9 wrapped up with a PowerVR graphics core and some other parts in a custom SoC. So, new question, if it’s true: What’s PA Semi, which Apple said would be working on chips for iPhones actually working on? A more customized chip would be interesting, since PA Semi’s true talent was in designing chips with ridiculous power efficiencies. [VentureBeat]

Android 2.1 for the Droid is making its way through the Verizon test gauntlet, and apparently inside is multitouch for the browser (like Maps 3.4), Google Goggles, and fancy news and weather widgets. Not coming over from the Nexus One?

Live backgrounds—those swishy animated wallpapers—and that new 3D grid of app icons aren’t part of the package. Instead, the same static backgrounds and the classic Android pop-up app shelf stick around.

Hate to say it, but this feels like even more Android fragmentation. Is anything—even the damn OS—ever gonna be the same between two phones again? Jeez. [Engadget]

Facebook might be the new Gmail, but now Gmail is the new Facebook, bitches: They’re rolling out an update that makes it “easier and faster to share media and status updates with friends,” in a new module that shows a stream of status updates. And it’ll integrate YouTube and Picasa, somehow. Say it with me now: FacemailGtwitbook. That is the future. [WSJ]

Hey, that Nook reader thing? From Barnes & Noble? You can actually buy one now. At least, starting this week. Probably! You can check here starting Wed. to see if your local store’s got it.

BTW, I do know for a fact they’ve shipped at least two, since that’s how many I’ve seen in the wild.

Barnes & Noble Launches Exclusive In-Store Content and Promotions

Barnes & Noble, Inc., the world’s largest bookseller, announced that its popular nook eBook reader — the ultimate gift for book lovers — is in stock online at nook.com and will be rolling out in the majority of Barnes & Noble stores beginning mid-week, just in time for Valentine’s Day. While in-store, nook customers will enjoy exclusive holiday-themed online content, kicking off this month.

Barnes & Noble quickly sold out of nook stock online over the holidays due to unprecedented customer demand. Since then the company has ramped up production and is shipping stock to the majority of its stores, beginning this week. Customers can visit the Barnes & Noble nook In-Store Locator at www.bn.com/nook/instore, updated daily beginning February 10, to find local stores with devices in-stock.

Enhanced in-store connectivity allows nook customers to seamlessly access fast, free Wi-Fi in Barnes & Noble stores. There, they can browse the extensive library of more than a million eBooks, magazines and newspapers and enjoy exclusive “More In Store” content and promotional offers, officially launching in February, which include:

— A short story by bestselling favorite Adriana Trigiani featuring characters from her newest blockbuster, Brava, Valentine.

— A Valentine’s Day recipe for red velvet cupcakes from Anne Byrn, the Cake Mix Doctor.

— “Read Between the Wines,” a regular feature by renowned wine expert Kevin Zraly, guides readers and wine lovers through the mystery of pairing books with the perfect vintage.

“nook is the perfect Valentine’s Day gift for anyone who loves reading. Demand for nook continues to be very high, and we’re pleased our customers will be able to try and buy nook in our stores and online and enjoy it in time for the holiday,” said William J. Lynch, President of Barnes & Noble.com. “In Barnes & Noble stores, nook owners will enjoy exciting nook-only content from their favorite authors and other valuable offers, along with fast and free in-store Wi-Fi, which nook customers have been accessing in droves over the last few weeks.”

New Barnes & Noble in-store content will be updated weekly and available for a four-week period. nook users can stay apprised of upcoming exclusive More In Store content at www.bn.com/nook/moreinstore. Also in February, nook users in Barnes & Noble stores can enjoy 10 percent off any CD. nook customers need only show the special offer on their nook to the cashier to redeem.

Barnes & Noble has continued to optimize nook software for an improved reading experience with the newly updated nook v1.2. Automatic over the air (OTA) updates, which do not require any action from nook customers, are underway and will be conducted seamlessly through this week. nook customers currently using the previous version can also immediately download v1.2 at www.nook.com/support, where additional update and technical support information is available.

nook marries innovative technology and sleek minimalist design with access to the Barnes & Noble’s digital store of over one million eBooks, newspapers and magazines. nook’s color touch screen for navigation along with a best-in-class E Ink display offer an immersive, enjoyable e-reading experience. It offers both 3G wireless and Wi-Fi access and is the first to offer digital lending for a wide selection of eBooks through its LendMe(TM) technology.

To learn more and experience nook, visit www.nook.com. Follow our eBooks and other updates on www.bn.com/twitter. To learn more about the free Barnes & Noble eReader software and Barnes & Noble eBookstore apps, visit www.barnesandnoble.com/ebooks.

[Barnes & Noble]

After buying that little multitouch company Touchco last week and merging it with Lab126—their Kindle division—Amazon’s now got job listings looking for a Hardware Display manager that knows LCDs, and a Wi-Fi specialist. You do the math.

Okay! I’ll add some calculus of my own. Like Ammunition’s Robert Brunner, who helped Barnes & Noble create the Nook, told Bits, I don’t think it’s crazy to expect Amazon to have two types of Kindles: An E-Ink and full-color multitouch version, since they can’t abandon the E-Ink train, not yet.

If the Super Kindle grows into a sorta-computerish thing that runs apps, also not crazy, given what it’s trying to compete against, I sorta kinda hope it doesn’t use Android, ’cause it’d be too much like some other readers out there, and I hate sameness. [Lab126 via Bits]

The SX210 is the standout of Canon’s four new PowerShots point-and-shoots, shooting 14MP stills and 720p video (with stereo sound and optical zoom while shooting), with a crazy long 14x 28mm wide-angle zoom lens for $350.

The SD3500 is their touch camera, also 14MP and 720p, but it’s got a 5x 24mm wide-angle lens, and it’s strikingly devoid of buttonage, because it’s entirely touch-based, unlike their last, kinda awkward touchcam. Like the SX210, Canon’s stressing its compatibility with Eye-Fi wireless SD cards. It’s $330.

And then you’ve got the SD1400 and SD1300, their tiniest point-and-shoots. The $250 SD1400, surprise, also 14MP and 720p video, but with a 4x zoom lens, while the cheaper SD1300 shoots 12MP and sadly, no 720p video for $200.

I’m a little skeptical of 14 megapixels crammed into such tiny cameras—I especially wanna compare the higher-end SX210 to the S90, since I know the kind of pictures 50 extra bucks will get you. But we’ll see.

New PowerShot SX210 IS and ELPH Cameras Offer Improved Features For Increased Image Capture Control

LAKE SUCCESS, N.Y., February 8, 2010 – Canon U.S.A., Inc., a leader in digital imaging, today announced the addition of four new PowerShot Digital cameras, the PowerShot SX210 IS, PowerShot SD3500 IS, PowerShot SD1400 IS and PowerShot SD1300 IS, offering today’s photographer a compelling blend of cutting-edge photo capture technology and superior styling. The new PowerShot cameras offer increased shooting flexibility in a number of settings through advancements to the Smart Auto mode while offering greater photo personalization and enhanced creativity with new Scene Modes and Image effects. The addition of Fish-eye and Miniature Effect modes help photographers add a creative element or lend a humorous look and feel when capturing images of their favorite household pet or landscape scene.

From untimely blinks and awkward smirks to hard to shoot back-lit situations, the compact PowerShot SX210 IS, PowerShot SD3500 IS and PowerShot SD1400 IS cameras offer a variety of technologies to secure the best pictures under the most challenging conditions. In addition to the Face Detection self-timer, the new Smart Shutter scene mode now has Smile and Wink self-timers where the camera looks for a wink or smile which will act as the trigger and release the camera’s shutter.

The advances to Canon’s Smart Auto mode increases the number of shooting scenarios where each PowerShot camera can automatically adjust to different lighting or movement levels to obtain the best image possible. In addition, Canon’s Smart FE (Flash Exposure) function improves image quality by automatically adding the optimum level of flash illumination, aperture, ISO and shutter speed while the Low Light Mode features a wide ISO range (up to 6400), allowing more light to be captured creating sharper more vivid images and further enhancing the overall quality.

“The new Canon PowerShot Digital cameras are designed for consumers seeking a blend of eye-catching style and advanced image capture technology in a compact, easy-to-use form,” said Yuichi Ishizuka, executive vice president and general manager, Consumer Imaging Group, Canon U.S.A. “Offering a unique blend of features and functionality including new Scene Modes, Smart FE and Smart Shutter, Canon once again brings image-taking and personal photography expression to new levels.”

For users interested in expanding beyond still images, three of the four new PowerShot cameras announced today have the ability to shoot 720p High Definition (HD) video offering extraordinary resolution and clarity when capturing moments such as a child’s dance recital or the latest trip to the local zoo. Also, the built-in HDMI mini-connector allows play-back of video and photos on an HDTV. With the camera tethered to a computer and the included software, movies can be uploaded directly to YouTube via the Camera Window. To further enhance a users ability to capture images and video, all of the new Canon PowerShot Digital cameras will support the high-spec SDXC memory cards with a maximum storage capacity of two terabytes (TB) in SDA standard.

Canon PowerShot SX210 IS Digital Camera:
The Canon PowerShot SX210 IS is designed for the photographer seeking HD video and brilliant image quality in a stylish, compact camera. Featuring a 28mm wide-angle lens with 14x Optical Zoom and Optical Image Stabilization, the PowerShot SX210 IS allows users to capture dramatic close-ups or broad landscapes with ease, while the 14.1-Megapixel resolution ensures stunning image quality. Available in three bold color variations, black, purple and gold, additional features include a 3.0-inch wide LCD screen for improved visibility and glare reduction with enhanced Control Dial with Hints and Tips. For shooting video, the PowerShot SX210 IS has the ability to zoom optically, shoot in stereo sound and has Dynamic Mode Image Stabilization for improved image clarity. Users embracing the freedom of wireless data transfer can connect directly to PCs through Eye-Fi memory cards1. The PowerShot SX210 IS is scheduled to be available in late March for an estimated retail price of $349.99.

Canon PowerShot SD3500 IS Digital Camera:
The Canon PowerShot SD3500 IS represents a significant milestone in the evolution of the ELPH series through the combination of superior image capture functionality and Canon’s touch screen technology. The camera’s large 3.5-inch wide LCD touch screen enables intuitive operation as users can customize their photo settings by simply dragging icons to their preferred on-screen location, then utilizing “tap” operations to switch between images during playback. A 24mm ultra-wide angle lens with 5x Optical Zoom gets more in your shot, like that family vacation at the Grand Canyon or the Empire State Building while Optical Image Stabilization ensure blur free images at full telephoto. The 14.1-Megapixel resolution delivers stunning images and the HD quality video further adds to the overall allure of this new PowerShot Digital camera. Available in three elegant color variations, black, silver and pink, the PowerShot SD3500 IS is also compatible with Eye-Fi memory cards for wireless transfer of video and photo files to PCs1. The PowerShot SD3500 IS is scheduled to be available in late February for an estimated retail price of $329.99.

Canon PowerShot SD1400 IS Digital Camera:
The Canon PowerShot SD1400 IS is the ideal choice for the on-the-go, spontaneous photographer seeking outstanding performance in a super-slim camera. Measuring less than one inch in thickness, the sleek PowerShot SD1400 IS features a 28mm wide-angle lens with 4x Optical Zoom lens and Optical Image Stabilization and 14.1-Megapixel resolution for outstanding photo and HD video quality. Available in four vibrant color variations, pink, orange, silver and black, the PowerShot SD1400 IS is scheduled to be available in late February for an estimated retail price of $249.99.

Canon PowerShot SD1300 IS Digital Camera:
The Canon PowerShot SD1300 IS delivers outstanding value for the consumer seeking a stylish, highly functional digital camera. The PowerShot SD1300 IS features a 28mm wide angle lens with 4x Optical Zoom lens and Optical Image Stabilization, 12.1-Megapixel resolution, and enlarged 2.7 -inch PureColor System LCD screen offering superior visibility. Available in five color variations, silver, pink, green, blue and brown, the PowerShot SD1300 IS is scheduled to be available in late February for an estimated retail price of $199.99.

For more information about the new Canon PowerShot cameras, go to www.usa.canon.com/powershot.

The T1i’s not even a year old, and Canon’s knocking it down: The Rebel T2i pulls from the 7D, delivering 18 megapixels and legit 1080p video (24, 25 or 30fps) for $900.

The T2i pulls from the higher-end 7D almost the same way the T1i pulled from the 50D, though it has its own sensor that simply borrows the gapless microlens tech from the 7D, which was supposedly why it could cram 18MP onto an APS-C-sized chip without noise the size of boulders. (We’ll see if that’s the case.) The main thing you do lose from the 7D is that you only get a 4-channel readout with this sensor, vs. the 7D’s 8-channel, and it’s only got one DIGIC IV processor, not two.

It shoots at 18.1 megappixels, with an ISO range of 100-6400 (extended up to 12,800), with a 9-point AF (only the center point is cross-type though) and the 7D’s IFCL 63-layer dual-zone metering system, but adapted for the 9 AF points. Oh, and it shoots at 3.7FPS in bursts of up to 34 JPEG or six RAW.

The 1080p video isn’t gimped like the T1i, either, with fully select framerates (30, 24 or 25fps) and manual exposure (+/- 5 stops), plus the codec’s H.264. Sound’s mono, but you can jack in a stereo mic. Cutting it down to the 720p or standard def nets you 50 or 60fps. Also, there’s a new “movie crop” mode that effectively zooms in 7x by only using the center part of the sensor, though you only get standard def video out of it.

The interface, ergonomics and controls and more like the 7D’s as well, with a dedicated movie button and quick info screen, though you can’t customize the controls quite as extensively. The body’s not quite as durable, swapping metal for polycarbonite (one of the things the extra $1000 for the 7D gets you). The screen sounds impressive: 1.2-million dots should pop out of the 3-inch display. Lastly, for memory you’ve got your choice of SDHC of SDXC.

The Rebel’s getting shuffled a bit: The T1i is sliding down to be the new mid-entry-level, while the XSi is going away, and the XS sticks around as the bottom of the barrel DSLR.

At $899 for the kit with a pretty standard 18-55mm lens, or $799 body only, this, people, is the new entry-level camera to get when it hits in March. (At least on paper.)

THE NEW CANON REBEL T2i DIGITAL SLR TAKES ASPIRING PHOTOGRAPHERS BEYOND THE STILL WITH ADVANCED VIDEO FEATURES

The Family Camera is Back, Introducing the EOS Rebel T2i Featuring a Large 18-Megapixel
CMOS Sensor and Full HD Video Recording with Selectable Frame Rates up to 30 fps

LAKE SUCCESS, N.Y., February 8, 2010 – Canon U.S.A., Inc., a leader in digital imaging, today introduced the new flagship model for the Company’s highly popular Rebel DSLR line: the Canon EOS Rebel T2i Digital SLR camera. Today’s photo enthusiast is looking for a camera that will grow with them as they learn, and that is a perfect description of the new EOS Rebel T2i Digital SLR camera. Retaining all of the traditional characteristics that have made the EOS Rebel series beloved by entry-level photographers and an industry best-seller, the new Rebel T2i succeeds in bridging the gap between an entry-level camera and a true pro-sumer camera.

The Rebel T2i Digital SLR camera includes a variety of new features for photographic assignments as varied as grabbing that action shot from the sidelines or creating memorable family portraits, including: 3.7 fps shooting, an ISO range of 100-6400 (expandable to 12,800), a 63-zone Dual Layer Metering System, and Canon’s DIGIC 4 Imaging Processor. There are some moments in our lives where video helps capture the moment better than a still image, and the Rebel T2i offers the best of both worlds with Full HD 1080p video as well as 18-megapixel still images. The Rebel T2i DSLR continues Canon’s industry-leading trend in Full HD DSLR video capture with manual exposure control, selectable frame rates and a new external microphone input. There is also a new feature for standard definition recording, Movie Crop, which provides an approximate 7x additional zoom with no loss of image quality when shooting SD quality video.

“There is no question that HD video is the biggest trend in DSLR technology and because of this we are seeing the creativity of still photographers transferring to the moving image. Still photographers are using the various lenses and accessories they are already familiar with to create amazing video footage,” stated Yuichi Ishizuka, executive vice president and general manager, Consumer Imaging Group, Canon U.S.A. “Taking that HD video quality and putting it in the hands of entry-level photographers with cameras like our new EOS Rebel T2i, we are seeing a new generation of creative digital artists emerge.”

Lights, Rebel, Action – EOS HD Video
Canon’s EOS HD video capture has helped spark a major movement in digital imaging, empowering still photographers with the ability to experiment, learn and capture stunning high-definition video through a variety of creative lenses. Continuing this imaging revolution, the new EOS Rebel T2i puts entry-level photographers on the frontline equipped with all the latest EOS HD video features including full HD video at 1920×1080 resolution, selectable frame rates, full manual exposure control and the visual options of interchangeable lenses. Manual video exposure control provides novice filmmakers with the image control they are accustomed to in a still camera, all while shooting professional-level cinematic video. Professional photographers utilize creative lighting, adjustable depth-of-field and a variety of lenses to create powerful still images and video footage, and these are exactly the tools that the new Rebel T2i gives to budding photo and video enthusiasts. Adding a new professional-level feature for EOS cameras, the Rebel T2i includes an Auto ISO function that works in all Creative Zone exposure modes including Manual where users can set a limit to the highest ISO the camera will use, enabling them to retain the lighting and look they desire for a scene. By setting an Auto ISO range, videographers can retain dark shadow areas and avoid blowing out highlight areas in a scene while still retaining the benefit of automatic ISO adjustments. The Rebel T2i DSLR captures video in both NTSC (National Television System Committee) and PAL (Phase Altering Line) standards at selectable frame rates including Full HD 1920 x 1080 at 30 (29.97), 25 or 24 (23.976) fps, and HD 1280 x 720 or Standard Definition 640 x 480 quality video, at 60 (59.94) or 50 fps.

For easier video recording operation and familiar functionality for beginners, the Rebel T2i’s autofocus can be operated before or during video recording by pressing the shutter button half-way down in video mode. Another feature debuting in the Rebel T2i is Canon’s new Movie Crop mode, where the user can achieve 7x magnification when shooting SD video for a significantly increased “telephoto” effect. Unlike the digital zoom feature found in many compact digital cameras, Canon’s new Movie Crop mode actually crops the image directly from the CMOS sensor at full SD resolution to preserve maximum image quality and provide additional zoom power. The new Movie Crop feature is especially helpful for achieving extra full resolution zoom power when filming youth sports, such as a child running to the furthest end of a field. For better sound quality when shooting video, the Rebel T2i DSLR includes an external stereo microphone jack, a first for an EOS Rebel model, in addition to its built-in monaural microphone. These audio and video features supplement a tremendous range of additional must-have video features in an entry-level Digital SLR camera.

For enhanced viewing pleasure and easy video sharing at home, the HDMI video-out capability of the Rebel T2i DSLR includes a new Consumer Electronics Control (CEC) compatibility which allows users to play back still or video files on a CEC-compliant HDTV, using the TV remote to control the camera when connected via HDMI interface.

Camera Feature Set
The EOS Rebel T2i DSLR features a newly developed 18-million-pixel Canon CMOS imaging sensor providing outstanding resolution and light sensitivity for amazing poster-sized prints with fine detail and stunning color. The camera exhibits exceptional low-noise performance incorporating many of the same technologies used to reduce noise in professional cameras such as the EOS 7D. The Rebel T2i camera’s basic ISO range is an amazing 100~6400, and via a Custom Function, it can be extended to ISO 12,800. The outstanding ISO range combined with its noise reduction technology allows the Rebel T2i to capture outstanding low-light pictures at events such as candlelit birthday celebrations or recitals where flash photography may be prohibited.

The camera provides 3.7 fps continuous shooting for still photos, making it the fastest shooting Rebel model to date and enabling users to capture that great image of a little leaguer’s first swing. The camera features Canon’s proprietary iFCL 63-zone dual-layer metering system offering intelligent Evaluative metering with much finer segmentation than any previous EOS Rebel model. The new Rebel T2i also has an expanded ± 5 EV exposure compensation range allowing for much more versatility when shooting in extremely bright or dark environments; or when shooting HDR (high dynamic range) images.

The Rebel T2i DSLR includes a number of professional-level user-selectable Canon image processing features to enhance the image quality of in-camera JPEG files, and to tag RAW images for processing later through Canon’s Digital Photo Professional software (included with the camera). These features include Canon’s Auto Lighting Optimizer to enhance shadow detail and add contrast to “flat” scenes, Highlight Tone Priority adding up to one stop of detail in bright highlight areas, Peripheral Illumination Correction for automatic correction of vignetting, High ISO Noise Reduction with four user-selectable settings, and Long Exposure Noise Reduction applied to exposures one second or longer. These Canon image enhancements provide new photographers with professional quality automatic image correction on JPEG files right out of the camera.

The EOS Rebel T2i digital camera includes a new enhanced 3-inch LCD monitor featuring 1.04 million dots with a wide 3:2 aspect ratio, wider than previous EOS models. The Rebel T2i camera’s LCD monitor can display a full-screen video image utilizing the entire screen during playback. For maximum storage capacity the new EOS Rebel T2i Digital SLR camera is the first EOS model to support SDXC memory cards. With all the new and exciting features of the EOS Rebel T2i, the Rebel series continues to provide great Canon features such as Live View, a built-in pop-up flash, and the EOS integrated cleaning system, as well as compatibility with Canon EX-series Speedlites and Canon EF and EF-S lenses allowing users to fully explore multiple creative photographic possibilities. The new EOS Rebel T2i Digital SLR camera is also compatible with Canon’s new BG-E8 battery grip and new RC-6 wireless remote control for both still images and video capture.

Pricing and Availability
The Canon EOS Rebel T2i Digital SLR camera is scheduled to be delivered to U.S. dealers in early March, and will be sold in a body-only configuration at an estimated retail price of $799.99. It will also be offered in a kit version with Canon’s EF-S 18-55mm f/3.5-5.6 IS zoom lens at an estimated retail price of $899.99.

About Canon U.S.A., Inc.
Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. Its parent company, Canon Inc. (NYSE:CAJ), a top patent holder of technology, ranked fourth overall in the U.S. in 2009†, with global revenues of US $35 billion, is listed as number four in the computer industry on Fortune Magazine’s World’s Most Admired Companies 2009 list, and is on the 2009 BusinessWeek list of “100 Best Global Brands.” Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. At Canon, we care because caring is essential to living together in harmony. Founded upon a corporate philosophy of Kyosei – “all people, regardless of race, religion or culture, harmoniously living and working together into the future” – Canon U.S.A. supports a number of social, youth, educational and other programs, including environmental and recycling initiatives. Additional information about these programs can be found at www.usa.canon.com/kyosei. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss.

There’s a pretty gnarly GeekBench result running around which appears to be for a new model MacBook Pro—6,1 to be exact—running a crazyfast 2.66GHz Intel Core i7 620M, one of the Arrandale chips Intel announced at CES.

MacBook Pros are definitely in need of fresh guts, and the obvious choice for chips are from the fresh batch of Arrandale processors Intel announced last month. The Core i7 620M would definitely fit the bill—it’s a fast dual-core chip, and its TDP is in line with what’s in the currently shipping MBPs. The GeekBench score is 5260, which MacRumors notes handily bests the current-gen 2.6GHz MBPs, which typically hit around 3700-4000. Not answered by the Geekbench results is what’s up with the MacBook Pro’s graphics situation.

In case you’re not familiar with the way model numbers work at Apple, like the MacBook Pro 6,1 here, the first number in the set designates a major revision, and the second number indicates a smaller subset—the first unibody MacBook Pros were 5,1 for instance. And it’s not unheard of for new hardware to come with a slightly custom build of OS X, like the 10C3067 seen here.

Results posted to GeekBench aren’t the most credible evidence of new, gutsier MacBook Pros for obvious reasons, but if even they aren’t real, it seems safe to assume we’re due for some fresh Core i7 silicon sometime soon. I hope so, anyway. [Geekbench via MacRumors – Thanks OberCFS and Jack!]

Amazon’s restored the entire book catalog for Macmillan, the first publisher to play hard ball with them—and have its entire catalog promptly pulled from the site.

The details of the deal aren’t public, but the NYT specu-reports that Amazon probably “demanded that no other e-book vendors, such as Apple, get preferential access to new titles, or any kind of pricing advantages” and maybe asked for the ability of Kindle users to lend out ebooks, which would be awesome. Though Amazon’s still the loser in this aboutface, ultimately. [Bits]

Publishers joining Apple’s iBooks store are turning their back on Amazon and its vision of the flat $9.99 ebook. Apple forced the music industry to charge 99 cents per song, so why are they helping publishers set their own prices?

To screw Amazon.

The difference between Amazon and Apple is this: Amazon is very much in the ebook business to sell ebooks. They want you attached to their platform. That’s why the Kindle Reader is on both PC and iPhone, as well as the eponymous e-ink device. Ebooks are huge for them. They sell six ebooks for every 10 physical books. That’s why they want to own the market. Apple, on the other hand, sells content in order to sell hardware. The iTunes Store, the App Store and the brand-new iBooks Store exist so you’ll buy iPods, iPhones and iPads, which is where Apple really makes money. iTunes revenue is just a bonus, though an ever fatter one with the explosion of the App Store.

You can see that the two companies place far different values on the content they sell. A more illustrative example: Amazon has been selling books at a loss—paying $15 for a hardcover bestseller, only to turn around and sell it for $10 on the Kindle. Apple would never, ever sell content at a loss. They make a decent bit of change, but apps and music are really just a way to fill up your iPhone.

Do you remember three years ago, when Apple was battling with the record labels for control over (legal) digital music? Apple still owns 69 percent of the market and sell 1 out of every 4 songs, period—in other words, they owned the market, which deeply frightened the labels, who were afraid of losing control. Universal, the biggest label, flipped out, and even tried to build the anti-iTunes. That failed, so the music business bit the bullet (or the poison pill) and went DRM-free, not with Apple at first, but with Amazon. It became a (sorta) credible competitor to the iTunes monster, long enough to give the labels just enough extra negotiating power. When iTunes music downloads went DRM free, many of them—particularly hit singles—suddenly cost $1.29.

The situation is remarkably similar, except this time, Amazon’s wearing the market-maker pants. Some estimate Amazon’s share of the ebook market to be 90 percent, but I’ve heard from people in the publishing industry say it’s closer to 80 percent. But that’s nitpicking. At this moment, Amazon owns ebooks. The book publishers’ fears are the same as the record labels with iTunes: They’re paranoid about losing control over pricing, and their own digital destiny. They’re worried that books are being undervalued, and that once people have the mindset that the price of an ebook is $9.99, and not a penny more, they’re doomed. They needed an insurgent player: Apple.

Apple has advantages that Amazon didn’t have with music: Scale and technology. iTunes has just moved 3 billion iPhone apps. Apple’s sold over 250 million iPods. By contrast, Amazon’s sold an estimate 2.5-3 million Kindles since it debuted 2 years ago. Analysts predict Apple will sell twice as many iPads this year alone.

In terms of technology, e-Ink looks old and busted and slow next to the iPad’s bright, color display. (Even the fact that the written word is much easier to stare at for long periods of time when presented on e-ink won’t save the current Kindle.) An iPad can do more than books: Beautiful digital magazines, interactive textbooks, a dynamic newspaper. Oh, and it’s a computer that does video, apps, music. Amazon’s scrambling now to make a multitouch full color Kindle after betting on E-Ink, but that kind of development takes at least a year. Even if they churn out a full color reader that is somehow better than the iPad, it likely won’t matter: It would just be a very nice reader to iPad’s everything else, and it would be 9 months too late.

The print industry is swirling down the toilet, and apocalypse-era publishers minds’ dance with hallucinations of digital salvation via iTunes for print. It’s the iPod for books. What Amazon was supposed to deliver, but now maybe never will.

With that contrast in mind, all the publishers needed was a little push. All Apple had to whisper was, “Hey, we’ll let you set your own prices for books. You should control your own destiny. We’d love to have you. You know, $12.99 is a really good price for a beautiful color version of your amazing books. BTW, why are you letting Amazon undersell you?” It doesn’t matter that publishers make less absolute money through the agency model used by Apple—Amazon might’ve given them $15 for a book it sold for $10, but under the agency model, the seller takes 30 percent off the top. They wanted to feel in control, and that their books are worth something more. Steve gave them that, even as he’s probably got his fingers crossed behind his back.

Amazon knew what it was doing by insisting on $9.99 as the price for ebooks. A flat, easy-to-understand rate—one that’s notably cheaper than its analog counterparters—is a paradigm that works, especially when you’re trying to essentially build a whole new market. It plays into the part of our brains that like easy things. That likes the number 9. (No really, 9 is a psychologically satisfying number.) Amazon believed in it so strongly, as I said before, they sold books at a loss to keep it up. (I’m not suggesting, BTW, that Amazon would be any more benevolent to the industry than Apple. They wouldn’t.)

Price would’ve been Amazon’s major advantage over Apple too—being able to undercut Apple by setting whatever price they needed to compete would’ve been its ace in the hole against the iPad’s flashy color screen, and everything else it can do. And now that’s poofed. Apple will be able to sell you ebooks for the exact same price as Amazon. By turning the publishers against Amazon, they’ve effectively dicked the Kindle over. Why? To fill out another bullet point as to why you should buy an iPad. The real question is how long it’ll take publishers to realize that’s all they are to Apple: one little bullet point.

It’s an iBook G4 case recycled into a clock, with an Apple mouse for the working pendulum. Some nerd’s heart just exploded. And it’s surprisingly cheap, at $75. [Etsy via The Daily What]