Olympus’ speedy autofocus system from the PEN E-P3 has been brought over, though with a speed boost, and there’s 9fps burst shooting in Single AF mode. 3D autofocus tracking can keep a fix on subjects as they move not only up and down in the frame, but further away or closer to the camera.

There’s the usual Full HD 1080i video capture (though not 1080p, it seems), together with ISO support up to 25,600 and weatherproofing of the body itself, which is ruggedized against water, sand and low temperatures. However Olympus has also given the E-M5 the world’s first 5-axis image stabilization system, which promises to smooth out horizontal shift, vertical shift, rotary motion, yaw and pitch even if the photographer is running. Operational during both still and video recording, it’s integrated into the camera body itself so that any lens can take advantage of it.

On the subject of lenses, Olympus has stuck with the Micro Four Thirds system and has prepared a duo of new options for the E-M5. The M.ZUIKO DIGITAL ED 12-50 mm f3.5-6.3 EZ lens is dustproof and splashproof as well, and there’s a cheaper M.ZUIKO DIGITAL 14-42 mm f3.5-5.6 II R lens option too. Other accessories include separate flashes for use with the powered hot-shoe, and a MMF-3 Four Thirds mount adapter.

On the back, there’s a tilting 3-inch OLED touchscreen, with touch shutter-release along with touch-focus and easier control over tone settings. Most users will be more excited by the EVF, however, which has a 120fps refresh rate, a 100-percent field of view, maximum 1.15x magnification and an eye point of 18mm. It can show not only a view of what the camera sees, but all the relevant exposure, Art Filter effects and other settings.

Retro design and high-tech functionality come at a cost, however. The Olympus OM-D E-M5 will be priced at $999.99 body-only when it arrives in April, in either black or silver, while a bundle with the black M.ZUIKO DIGITAL 14-42 mm f3.5-5.6 II R lens will be $1,099.99. Expect to pay $1,299.99 for the E-M5 with the black M.ZUIKO Digital ED 12-50 mm f3.5-6.3 EZ lens.

While the press blurb on the image itself has plenty of hyperbole, we do know some rumored specs about the camera too. It’s tipped to have a magnesium, weather-sealed body weighing in at around 373g without a lens, while inside is believed to be a 16-megapixel sensor. That’s said to be  optimized for High Dynamic Range photography, with speedy AF, 3D tracking and a five-axis image stabilizer.

ISO 200 to 25,600 is expected, along with an integrated 1.44m dot digital viewfinder paired with a 3-inch 610k dot OLED screen that can tilt. Pricing is said to be in the region of $1,300, though that’s based on a roughly 100,000 yen figure in Japan, where the yen is notoriously strong.

We won’t have to wait long to find out, though. The Olympus OM-D is rumored to launch on February 8.

According to the Wells Fargo post, which cited Kyodo News International, the Olympus OM-D will be the company’s top digital mirrorless interchangeable lens camera series, resembling the OM-1 film camera but equipped with high-speed auto focus, image stabilization, and a 16-megapixel sensor.

It will be the first digital version of the company’s legendary OM series single-lens reflex film cameras, which have been popular since the 1970s thanks to its small size and durability. The new digital OM-D will be available this spring in the US, Europe, and some Asian countries as a top-tier model selling for more than 100,000 yen in Japan, or about $1,300 USD. The camera is expected to be unveiled at an event scheduled for February 8.

[via Pocket-lint]

The OM-D is expected to feature a magnesium, weather-sealed body that weighs 373 grams for just te body. It will sport a 16-megapixel sensor optimized for High Dynamic Range, FAST AF, 3D tracking, and a five-axis image stabilizer inside the body. It offers ISO options of 200 up to 25,600, a built-in digital viewfinder with 1.44 million dots resolution, and a 3-inch 610,000 pixel OLED tilting preview screen.

The camera will likely be unveiled at Olympus’ February 8 press event. Olympus recently trademarked the OM-D name and launched an ad campaign highlighting the letters “O” and “M.” The company also has placed a “coming soon” teaser on its website.

[via 43Rumors]

There’s a redesigned grip and casing, with improved texture for easier grip, while Panasonic is also pretty proud of its customization options, including two user-configurable settings options on the mode dial, two buttons and two menu tabs that can be preset to each photographer’s most commonly used features. 12800 ISO and touch-autofocus is supported, along with the ability of the camera to reconfigure a focus-lock if the subject moves while the shutter release is half depressed.

A built-in flash is present and an optional external viewfinder supported – the tilt-shift Live View Finder DMW-LVF2, (approximately 1.4x and 1,440,000-dot equivalent, 100-percent field of view) - while a dust removal system promises to keep your lens clean. An integrated level and 11-percent longer battery life than the LUMIX G3 round out the key specs.

Both black and silver versions of the Panasonic LUMIX DMC-GX1 will go up for grabs in mid-December, with the body-only option priced at $699.99. There’ll also be a range of kits, including the DMC-GX1-X with the LUMIX G X VARIO PZ 14-42mm / F3.5-5.6 ASPH. / POWER O.I.S (H-PS14042) lens for $949.99, while the DMC-GX1-K with the 14-42 standard zoom will be $799.99.

The catch for Canon micro four thirds camera users is that even if they had a lens on with aperture control, the aperture settings didn’t work. The lenses need power to make the aperture function. If you are, a user that is in this boat the new LiveLens adapter will bring your aperture control back. The adapter snaps on the front of your camera and you can mount the lenses directly to it.

You can then control the aperture using a little screen on the adapter. The downside is that you lose your automatic focus capability. The adapter is for video shooters where you are using manual focus so that loss isn’t such a big deal. The adapter is expensive at $488 but if you have a bunch of lenses you want to use this may be the best route to go.

[via Wired]

Olympus reckons the PEN E-P3 has sub-60ms shutter response time, while there’s also 1080i HD video recording of AVCHD or AVI movies of up to 29 minutes and with a choice of CD-quality or AC3 Dolby Digital Audio sound recording. The new TruePic VI Image Processing Engine is onboard, and there’s in-camera image stabilization.

All three get various in-camera filters and effects, like Art Filters and in-camera editing, along with a special 3D Photo mode which, by shooting off two frames as you slightly pan the camera, puts together a 3D image despite only having one lens.

There are also two new lenses, a M.Zuiko Digital ED 12m f2.0 lens for landscape shots and M.Zuiko Digital ED 45mm f1.8 lens with a particularly shallow depth of field, together with the FL-300R Compact Flash. Olympus will be offering all three new PEN models with a choice of the M.ZUIKO DIGITAL 14-42mm II R f3.5/5.6 II R zoom lens (28mm-84mm equivalent) or the M.ZUIKO DIGITAL 17mm f2.8 prime lens, though only the E-P3 has been priced so far: $899.99 for either kit.

There’s also support for 1080i 60fps video recording, and a new autofocus system that’s faster than what we’ve seen on previous PEN range cameras. A pop-up flash is visible in the top section, while on the back is a touchscreen LCD display which apparently packs over 600k dots.

Olympus has reworked its interface, with a rethink on buttons and menus, and there’s an additional pre-set filter too. We can spy a useful little thumb-scroll wheel on the rear of the EP-3 in the upper right, as well as what looks to be a scroll ring further down for navigating through menus.

Talk of the new Olympus camera has been rumbling for the past few months, with the new model being referred to as the “PEN Pro.” However, rumors also suggested that there would be an integrated electronic viewfinder (EVF) whereas from these images it seems Olympus has instead provided a port to hook up an external EVF.

The EP-3 is expected to launch alongside the E-PM1 and a new E-PL3 model.

LUMIX GF series lovers had already seen one iteration of arguably unwelcome changes in the transition from the original GF1 – which had a manual mode dial, non-touch display and plenty of physical buttons – to its successor, the GF2. That ditched many of the buttons for a 3-inch touchscreen, allowing Panasonic to make the camera even smaller.

As a result, we found the GF2 to be even more approachable for entry-level users in our review, though requiring more menu-digging than proficient photographers might find comfortable. The GF3 has gone one step further, however, with no hot-shoe that means Panasonic’s official electronic viewfinder (EVF) and aftermarket flash units can’t be mounted.

According to Kitao, while there’s no public timescale for the release of the enthusiasts’ GF camera, Panasonic will also be working on an updated EVF to go with it. The company hopes to address some of the common criticisms of such units and make them more popular; many photographers have found that EVFs preview less than 100-percent of the full frame, and run at too low a resolution to be entirely useful. Kitao says Panasonic is working with Epson to improve both resolution and refresh rate.

However, Panasonic’s priority right now is a replacement for the LUMIX GH2, which dates back to September 2010. The GH series is the company’s “premier camera line” he suggests, and Panasonic is looking to keep it competitive against the larger sensors in APS-C format cameras.

In fact the only thing you do lose is the hot-shoe – the flash has shuffled across to replace it atop the lens – and so there’ll be no playing with Panasonic’s external viewfinder. Still, the GF3 is intended more as a step-up from your old point-and-shoot, with ISO 160 to 6400 support, a 0.18 second Contrast AF system and an even faster 0.1 second Light Speed AF system that boosts the sensor’s drive speed to 120fps. For macro shots, a Pinpoint AF system uses the touchscreen for easier focal-point selection.

There’s also AF Tracking, user-adjustable autofocus area, a virtual mode dial, continuous autofocus while video recording, integrated effects like Miniature Effect (for faux tilt-shift shots) and HDR, and the boosted iA Plus system which not only preconfigures the basic settings to the most likely preference for the current scene, but throws in defocussing around subject’s faces, exposure compensation and other arty tweaks.

The Panasonic LUMIX GF3 will go on sale in July, in black, white, red or brown, as a kit with the 14mm lens for $699.99. It’ll be followed in August as a kit with the 14-42mm lens, for $599.99.

Press Release:

Panasonic Unveils the LUMIX GF3, the Company’s Smallest and Lightest Digital Interchangeable Lens System Camera With a Built-In Flash*

The LUMIX GF3 Body Weighs Just 7.83oz and Produces High-Quality Photos, Full-HD Video Recording Capabilities and Smart Touch-Screen Controls

SECAUCUS, N.J., June 13, 2011 /PRNewswire/ — Panasonic today announces its latest compact system camera (CSC), the mirror-free Panasonic LUMIX DMC-GF3 is the company’s smallest and lightest digital interchangeable lens camera with a built-in flash(*1), with its body size comparable to that of a smartphone and weighing just 7.83oz (body only), less than a standard 8oz cup of coffee. The Panasonic’s LUMIX GF3 realizes all the features desired from a traditional DSLR interchangeable lens camera, only it accomplishes them in an ultra-compact body that is lightweight and simple to master.

This remarkable reduction in size and weight is thanks to advancements in new mirror-free camera technology, and large DSLR format sensors that are more compatible with a new class of compact Micro Four Thirds (MFT) System lenses. This new class of Compact System Cameras offers a weight and compactness not seen in traditional DSLRs, yielding greater portability and creative control. The DMC-GF3′s image quality comes from a large DSLR-sized 12.1-megapixel sensor and newly advanced image processing technologies.
The LUMIX GF3 digital camera is based on the Micro Four Thirds standard of lenses, which includes Panasonic’s 3D lens, thus the LUMIX GF3 not only provides outstanding still photos, full-High Definition 1080/60i video, but is also capable of shooting 3D still photos.
The Panasonic LUMIX GF3 produces high-quality photos with true-to-life details, thanks to excellent resolution, image rendering and color reproduction; high-grade lens options; and extremely precise Auto Focus (AF). Plus, the LUMIX GF3 creates the right balance between resolution and noise reduction, thus producing life-like images with accurate auto exposure and white balance, creating rich colors. Taking a page from the renowned LUMIX GH2′s image quality, the LUMIX GF3 boasts full sized DSLR like Image quality thanks the same Venus Engine FHD image processor. The Venus Engine FHD image processor makes impressive low noise images from its 12.1-megapixel Live MOS sensor. Notably, images shot in low-lit situations at high ISO sensitivity setting, are stunningly clear with extremely sharp resolution. The image processor also excels in energy consumption by extending the battery life, despite its smaller size.
Thanks to a new mount, the LUMIX GF3 is approximately 16.7% smaller and 16.2% lighter than its predecessor, the LUMIX GF2. Despite its small size and unlike many CSC cameras in this class, the LUMIX GF3 still maintains a built-in flash and features a new pop-up mechanism that helps prevent the vignetting effect due to short distances between the flash unit and the interchangeable lens. With a newly-designed aluminum body that incorporates an ergonomic grip, and a well-designed control dial combined with a 3-inch touch enabled screen, the LUMIX GF3 is extremely intuitive and easy to use.
“The Panasonic GF3 compact system camera is extremely small and its newly-designed rounded body is quite attractive, which we expect to be popular among those users wanting to step-up from a point-and-shoot, yet who view traditional DSLRs as bulky and overly complex,” said Darin Pepple, Senior Product Manager, Imaging, Panasonic Consumer Electronics Company. “While the size and weight of the GF3 has been greatly reduced, Panasonic does not compromise what is at the core of every LUMIX, which is exceptional photo and video quality with an easy-to-use interface.”
All models in Panasonic’s LUMIX G Series of digital cameras feature Contrast AF for their focus system, as opposed to phase-difference AF systems, used in traditional DSLRs, which is susceptible to a mechanical margin of focus errors at wide apertures. With a Contrast AF system, focusing is controlled by the image sensor so that mechanical margin of error is reduced to achieve precise focusing, thus boosting higher number of in focus shots, especially when shooting in low light with wide open lens aperture. As a result, when the LUMIX GF3 is used with Panasonic’s new wide aperture interchangeable lens, the LEICA DG SUMMILUX 25mm / F1.4 ASPH, also announced today, the performance of the Contrast AF system is optimally maximized.
The Panasonic LUMIX GF3 features a high-speed and extremely precise Contrast AF system that locks in approximately 0.18 seconds. Taking further advantage of Contrast AF, the LUMIX GF3 incorporates full-area focusing which makes it possible to set focus on any point in the field- of-view. The LUMIX GF3 also features Light Speed AF, an extremely fast AF which measures at approximately 0.1 seconds(*2), which is achieved by reducing the detection time for focusing by doubling the sensors drive speed from 60 fps to 120 fps. With the combination of touch-control shooting, focusing on close up macro or still life objects is evermore quick and accurate thanks to the newly adopted Pinpoint AF that unlike a DSLR, offers near pixel level touch control focusing.
Manual control over focus is available in the DMC-GF3 and now features a quick 4x magnification feature. By simply touching the subject, that subject is then enlarged in a small window, allowing you to keep the rest of the image in view as a framing reference. Beyond 4x, that small window fills the monitor so even more control over focus fine-tuning can be achieved. This handy feature is available from both the MF (Manual Focus) Assist and AF + MF focus modes.
At the heart of the LUMIX GF3′s simplified functionality is a large 3.0-inch touch enabled LCD (460k- dot) that allows for intuitive touch control of menus and most shooting, focusing, playback and effects controls. Menus can be customized using simple drag-and-drop actions similar to those on some touch-enabled smartphones. This allows for a custom user interface, giving Quick Menu access to functions that can be tailored to any user’s expertise level. Users can also release the shutter using the touch-screen. Once locked onto a subject, the LUMIX GF3 tracks the subject with the AF Tracking feature and another touch allows the user to select the size of the AF area. In addition, Pinpoint AF function allows even more precise focus setting by further enlarging the focusing area. With increased customization, users can set the touch shutter and touch AF ON/OFF based on their preference. Touch-control also makes playback of photos and videos easy to flip through like pages in a book.
For those who miss the tactile feel of a traditional DSLR mode dial, the DMC-GF3 offers an innovative mode thumb wheel that quickly cycles though all available modes with visual feedback provided on the large 3” touch-enabled LCD.
The LUMIX GF3 records 1920 x 1080 full-HD video in the AVCHD format, which features almost twice the recording time in HD quality than the conventional Motion JPEG. A dedicated video record button on the top lets users instantly start recording video, without having to hassle with any menu settings. The LUMIX GF3 allows for Touch AF in video recording, enabling professional-like features, such as rack focusing. For instance, by touching the subject on the screen, the focus is shifted to the subject.
Contributing to its ease-of-use, the LUMIX GF3 features Panasonic’s acclaimed iA(*3) (Intelligent Auto) mode – and the new advanced iA Plus mode – are automatically engaged once the iA button is pressed, helping to make shooting video and photos with the LUMIX GF3 extremely simple – even to users new to compact system cameras. Panasonic’s iA features include MEGA O.I.S. (included in several lenses), Intelligent ISO Control, and Intelligent Scene Selector, Face Detection, AF Tracking, Intelligent D-range Control and Intelligent Resolution. With the new iA Plus mode, the LUMIX GF3 easily enables commonly desired manual enhancements not available from standard camera auto modes such as peripheries defocusing around faces, exposure compensation, and color balance adjustments which are visually adjusted by moving an on screen slider with the user’s finger or the thumb wheel.
The LUMIX GF3, like all CSCs in the Panasonic LUMIX G Series, is equipped with a highly-efficient Dust Reduction System. In some system cameras, if dust or other foreign matter gets inside the digital camera while the lenses are being changed, it’s possible that the debris could cling to the image sensor and show up as a spot in your photos. However, the Panasonic Dust Reduction System helps to eliminate this problem by placing a supersonic wave filter in front of the Live MOS sensor that vibrates vertically approximately 50,000 times per second – thus repelling dust and other particles from the LUMIX GF3′s sensor.
Two modes – Photo Style and Creative Control – let users at any skill level get creative with their photos. With Creative Control, the user can choose the most-frequently-used color modes (Expressive, Retro, High Key, Sepia, High Dynamic and newly added Miniature Effect(*4) mode) with easy access. In Miniature Effect mode, the peripherals are defocused while saturation and contrast is emphasized so the photos look like a diorama. The Photo Style mode revitalizes the conventional film mode with settings in Standard, Vivid, Natural, Monochrome, Scenery, Portrait presets while enabling finer adjustment of contrast, sharpness, saturation and noise reduction.
The LUMIX GF3, like all the CSC in the LUMIX G Series of digital cameras, is compatible with other Micro Four Thirds lenses and the full sized Four Thirds System standard via an optional mount adaptor. Other accessories available to the LUMIX G Series include external flashes, PL and ND filters, leather cases, straps, and more. The Panasonic LUMIX GF3 will be available in black, white, red and brown bodies for a suggested retail prices of $699.99 with the 14mm lens kit system starting in July 2011, and $599.99 with the 14-42mm lens kit system starting in late August 2011; and. For more information on Panasonic LUMIX G Series compact system cameras, please visit www.panasonic.com/lumix.
*1 For an interchangeable lens system camera with a built-in flash as of June 13, 2011
*2 Approximately 0.1 sec with LUMIX G VARIO HD 14-140mm / F4.0-5.8 ASPH. / MEGA O.I.S., approx. 0.18 sec with LUMIX G 14mm / F2.5 ASPH. and with LUMIX G VARIO 14-42mm / F3.5-5.6 ASPH. / MEGA O.I.S..
*3 Some functions in iA mode may be unavailable depending on the lens that is mounted
*4 Sound will not be recorded with [MINIATURE EFFECT] in Creative Control Mode and approximately 1/10 of the time period is recorded. (If you record for 10 minutes, the resulting motion picture recording will be approximately 1 minute long).
Design and specifications are subject to change without notice.
* Four Thirds and Micro Four Thirds and Four Thirds and Micro Four Thirds Logo marks are trademarks or registered trademarks of Olympus Imaging Corporation, in Japan, the United States, the European Union and other countries.
* The “AVCHD” is a high definition (HD) digital video recording / playback format jointly established by Panasonic Corporation and Sony Corporation.
* All other company and product names are trademarks of their respective corporations.
* This unit is compatible with both SD/SDHC/SDXC Memory Cards. You can only use SDHC Memory Cards on devices that are compatible with them.

It certainly looks like Panasonic has shrunk the its third-gen GF series camera down even more, with the standard micro-4/3 mount now being taller than the body of the camera itself. The GF2 ditched 19-percent of its predecessor’s bulk, and it seems even that has gone on a diet to create the GF3.

Control is via touchscreen, as Panasonic sheers away more physical controls, and there’s no hotshoe since it apparently can’t be accommodated by the curved top of the camera. That presumably means no compatibility with Panasonic’s digital viewfinder accessory, as the company attempts to push the GF3 further into the consumer range and take on generic point-and-shoots.

The sensor itself is believed to be the same 16-megapixel unit as in the Panasonic G3, though other specifications are unknown. We’ll have to wait until June 13, apparently Panasonic’s launch date for the Lumix GF3, to find out more.

[via Gizmodo]

The latest rumor claims that Olympus won’t be buying some of the shelf image sensor for the PEN Pro. Olympus will supposedly be rolling its own sensor. Previously, the Olympus cameras were restrained by an agreement with Panasonic that held them to second-generation sensors for their micro four-thirds line. Apparently, that agreement is over, at least according to the rumor, because Olympus is said to be making its own sensor. This will be the first micro four-thirds sensor designed by Olympus.

The source of the rumor claims that the sensor will be a low megapixel offering with high dynamic range and better image quality than any other current sensor for micro four-thirds offerings. Another interesting tidbit is that the PEN Pro is tipped to have an electronic viewfinder. Wrap those two features together and if the rumors are true the new PEN Pro will be a very interesting digital camera indeed. The camera is still expected to be officially announced in June.

[via 43rumors]

While Fuehres would not rule out a Canon mirrorless camera in the future, he was clear that it would be more than just following rivals into the segment. “The idea of the compact system camera is nothing to do with whether the camera has a mirror or not, but about creating a small and more portable system” he said, “If Canon does take part I hope we won’t introduce just a me-too product, but we’ll use the opportunity to do something different.”

As for what that difference might be, all the outspoken exec would say is that “for Canon it would be about connectivity and providing high image quality in a small form.” Amateur Photographer theorizes that a retro-themed rangefinder – in the manner of the Canon P or Canon 7 – might make more sense, given the surprise popularity of Fuji’s X100.

[Image via Wikipedia]

Another vague rumor has surfaced today that comes from sources of 43rumors.com. According to these sources after the G3 lands, we will see another new micro four thirds offering coming in August from Panasonic. The big catch with this rumor is that there are no tidbits about what the camera will offer spec wise.

All the source offers is information on what the new camera won’t be. The cam due in August will not be a GH and will not be a GS according to the sources. The site also offers a tidbit about the G3. According to its sources, the G3 has a new sensor and can shoot full HD video, but not at 24mbit/s like the GH2 camera can.

[via 43rumors]

The M9 has an 18.5-megapixel Kodak KAF-18500 Full Frame CCD image sensor, larger than the sensors Panasonic and others use in their Micro Four Thirds cameras. A smaller sensor might allow Leica to produce a more compact version than the M9 – which measures in at 139 x 80 x 37 mm, versus the Panasonic LUMIX GF2‘s 112.8 x 67.8 x 32.8 mm body – but with a concurrent reduction in image quality.

The source has already correctly predicted the announcements of the Olympus SZ-10, the VG-110, and the 3D VR-330 on February 8th. The source also wrote in the same message to expect another Olympus announcement on the 2nd of March.

This coincides with three new model design patents that Forum Olympus France has discovered. These could be the new models Olympus will unveil next week. Hopefully this rumor turns out to be correct as well.

[via 43 Rumors]

The first example from the company will apparently be a 28mm f/2.8 model with a 4-group/5-lens design. Unsurprisingly, given the estimated pricing, it appears to be a manual rather than an auto-focus lens, but Zhongyi Optics has said it intends to make versions for Sony’s NEX range of interchangeable lens cameras as well.

[via 43Rumors]

Hardware

Side by side with the GF1 and it’s clear that the new GF2 is an evolutionary design. The family resemblance is obvious, but Panasonic has also followed the trend in Micro Four Thirds cameras to shrink down the chassis: in fact, the GF2 is supposedly 19-percent smaller and 7-percent lighter, while still accommodating the 12.1-megapixel 17.3 x 13 mm sensor.

The innovative dual-hinge pop-up flash is still in place, triggered by a button on the rear panel, and there’s a hot-shoe with a port for the optional electronic viewfinder accessory (the same model as for the GF1). Storage is via SD/SDHC/SDXC card, while ports include mini HDMI and either USB 2.0 or AV Out via included adapter cables. A stereo microphone is on the top panel, just to the right of the hot-shoe, but there’s no external microphone input and the GF1′s remote release socket has been removed.

We’ll go into controls in the next section, but most obvious is the new 3-inch touchscreen on the rear of the GF2, which is used for operating the bulk of the camera’s functionality. It’s fixed, rather than angle-adjustable as on Sony’s NEX range, but has a new anti-reflective coating which makes for easier outdoor viewing than the screen of the GF1.

Inside there’s a new version of Panasonic’s Venus Engine FHD for image processing, together with an extended ISO range that now tops out at ISO 6400. Video recording has been boosted, with the GF1′s 720p 60fps mode joined by a new 1080i 60fps mode. The older camera only recorded mono sound, as well, which has been upgraded to stereo on the GF2, and the recording volume itself can be adjusted in the settings.

Two GF2 SKUs are available, following the example of the GF1, with the camera body paired with either a 14-42mm lens or a 14mm prime lens. Also carried over is the lack of in-body optical image stabilization, which is instead offered by certain lenses in Panasonic’s range. The 14-42mm lens supports it, but the much smaller pancake lens does not.

While we’re generally in favor of size-reduction, one unfortunate consequence is that the GF2′s battery is smaller than that of the GF1. That means fewer photos per full charge, Panasonic estimating 300 to 320 shots depending on which lens you’re using. We can’t argue with the GF2′s speed, however. Start-up is less than a second, auto-focus is one of the fastest we’ve seen on a Micro Four Thirds camera, and back-to-back shots are possible in around 1 second intervals. Alternatively there’s a burst mode for 3.2 frames/sec; it will grab up to 7 frames if you’re trying to save RAW files, or can shoot JPEGs indefinitely.

Controls

The biggest change is the new 3-inch touchscreen on the back of the GF2, a 460k dot 3:2 aspect TFT LCD which, while requiring a reasonably firm press, is responsive and straightforward. Physical control lovers may find the new LUMIX a step backward, however, since Panasonic has used the touchscreen to retire several of the hardware controls that stud the GF1.

Most notable is the mode dial, previously to be found up next to the shutter release, and the functionality of which has been subsumed into the touchscreen menus. Only a single function shortcut remains, a one-press button to toggle the GF2 into Intelligent Auto (iAuto) mode, which is backlit in blue when active. The power switch and video record button are still present, but the new stereo microphone is where the burst/timer shot switch used to be.

Rear panel controls have also slimmed down. The thumb-dial is still present – though we’d still prefer it to be slightly easier to turn and to protrude from the chassis a little more – as is the four-way control, playback button and quick-menu/function button, but others have been lost in the refresh. The AF/MF toggle and AF/AE Lock buttons are particularly missed.

Panasonic’s menu UI isn’t the most intuitive we’ve used, though after a while we grew familiar with its nuances. It’s possible to pull out shortcuts to the most commonly used controls and pin them to the quick menu for more straightforward access; you can also flick through the menus using the directional controls rather than reaching over to swipe at the touchscreen.

We’re left in two minds about the GF2′s controls. Coming from a GF1 there’s an obvious learning hurdle to get past, and as touchscreen smartphones have shown us, there’s a lot of flexibility on offer when you make buttons virtual rather than physical. Nonetheless, it’s arguably more immediate to twist a mode dial or quickly thumb a manual focus button when you’re in the midst of shooting frames, an immediacy that’s somewhat lost when you have to stab through various layers of menus. The touchscreen will probably make things easier for first-time users, but perhaps also encourage them to leave the GF2 in iAuto mode rather than experiment with the various manual modes on offer.

Image Quality

That reluctance to experiment would be a shame, because the GF2 is capable of some highly impressive photos and a fair degree of manual control. Obviously there’s RAW as well as JPEG output – as well as a hybrid mode which stores both formats – but the Panasonic’s JPEG system does a decent job on its own.

Given the GF1 struggled with visible noise at ISO 800 and above, the GF2′s new ISO 6400 mode is only really useful to impress on the spec sheet. In the more normal range of ISO 100 to 400, however, the LUMIX does far better, especially if you take the extra time to tweak the RAW files in post-production. The pop-up flash isn’t going to win any awards for strength – it’s rated at 6m at ISO 100 – but there’s little in the way of red eye.

As for more out of the ordinary shots, the GF2 supports a maximum shutter speed of 60 seconds, and there are various My Color Modes for tweaking the final picture. As well as eight presets – which work for stills and in movie mode – including Expressive, Retro, Pure, Elegant, Cinema, Monochrome, Dynamic Art and Silhouette, there’s a custom mode for your own balance of color, brightness, saturation and contrast.

The GF2′s contrast AF system offers face detection, AF tracking, 1-area and 23-area focusing modes, as well as touch-to-focus using the touchscreen. You can set the Fn button to lock the auto-focus, though that does then mean you lose the Q.Menu shortcut. As for AE, that uses a 144-zone system with a range of automatic or manual settings; the GF2 showed a tendency to over-expose frames, but you can easily notch that down with the thumb-dial.

Video Quality

Though there are plenty of arguments over whether 720p HD is in fact preferable to 1080i, and while we’d have liked to have seen 1080p on offer, in the end the GF2 offers a choice between the progressive and interlaced modes and users can take their pick. Footage is recorded in AVCHD format or Motion JPEG, and can be played back on a display from the LUMIX itself thanks to the HDMI output; you’ll need to supply your own HDMI cable, however, since that’s no longer bundled.

One of the benefits of Micro Four Thirds cameras over traditional DSLRs is the flexibility available during video recording, and the GF2 is no different. As in the still mode, there’s tap to focus support using the touchscreen, and while they’re not the quickest transitions we’ve seen the overall affect can be quite visually pleasing. There’s also less focus hunting than on some rivals.

Actual footage is crisp and sharp, though with the pancake lens it can be jumpy at times thanks to the absence of optical image stabilization. Mount the GF2 onto a tripod, however, and it’s far more successful. Audio can be hit and miss, however, and with no microphone input there’s no way around that. We’re hoping Panasonic release a microphone adapter for the hot-shoe for some extra flexibility.

Wrap-Up

The GF1 didn’t just count the SlashGear team among its admirers; in fact it was one of the most loved Micro Four Thirds models around. That leaves the LUMIX GF2 with plenty to live up to. Panasonic has clearly decided to shift the GF2′s positioning to target the consumer crowd, with a greater focus on the iAuto mode and the relegation of more complex – and often intimidating – manual controls into the new touchscreen menu structure. Those manual options are still there, of course, but they’re arguably harder to access on the fly than the various physical buttons of the GF1.

Still, there’s plenty on offer to make up for the changes, not least the physical decrease in weight and bulk. Based on the premise that the best camera is the one you have on you, the shrunken GF2 and its slimline pancake lens stand an even greater chance of slipping into a coat pocket than its predecessor, while still offering solid image quality. Sony’s NEX line is smaller again, but chubby lenses and the absence of an integrated flash have their own drawbacks.

GF1 users, then, are unlikely to see the GF2 as a sensible upgrade path, but for those looking to step away from compact cameras Panasonic have created a very legitimate option. While we’d hope such users would at least occasionally stray from the iAuto mode, the truth is that the GF2 does a decent job at managing its settings when left to its own devices, leaving the manual modes for more challenging scenes such as low-light or nighttime. At $699.95 (with the 14mm pancake lens) it’s not cheap, but it opens the door to flexible lens options and a solid core unit with plenty going for it.

It would be safe to assume that Zeiss will be offering normal lenses for cameras, not just video lenses. The official PR from Olympus and Zeiss stated, “Now, as Carl Zeiss AG joins the Micro Four Thirds System group, ZEISS HD Video lenses will be available to users of Micro Four Thirds cameras, contributing to a vastly expanded product line and enhancing the joys of digital imaging with the Micro Four Thirds System.”

There is no word on pricing or availability of Zeiss micro four thirds lenses at this time. I would expect these lenses to be among the more expensive offerings considering the premium nature of the Zeiss brand.

Micro-4/3 “offers an excellent opportunity for the industry as a whole, as well as for us as a lens manufacturer” he suggests, though the company is yet to reveal what sort of lenses they’re actually working on. Still, given the platform’s cross-manufacturer compatibility, this is good news for anybody looking to add to their camera kit-bag.

[via 43rumors]

Press Release:

SCHNEIDER KREUZNACH now a member of the “Micro Four Thirds System Standard Group”

BAD KREUZNACH, 4 February 2011. Schneider-Kreuznach has joined the “Micro Four Thirds System Standard Group” – a consortium of companies with the objective of improving the possibilities and quality of compact digital cameras. Developed by Olympus and Panasonic, “Micro Four Thirds” is a standard for lens mounts that is tailored to digital system cameras. “This standard has great potential. It simplifies and improves the options for compact digital cameras and offers an excellent opportunity for the industry as a whole, as well as for us as a lens manufacturer. We are working intensively on a corresponding series of lenses,” says Dr. Josef Staub, CEO of the Schneider Group.

The standard defines the sensor size, the lens mount together with the communication protocol, the aspect ratio and the flange back distance, as well as the optical requirements for production and construction. The industry standard has been developed deliberately without taking into account conventional lenses, cameras or sensor sizes. In this way, compatibility problems with older components are avoided as is the need to compromise when designing new components.

The forum standard policy means that any member company can make and distribute accessories for the system that meet the standard. It is therefore possible to combine components from different manufacturers.

About the Schneider Group: The Schneider Group specializes in developing and producing high-performance photographic lenses, cinema projection lenses, as well as industrial optics and precision mechanics. The group comprises Jos. Schneider Optische Werke, founded in Bad Kreuznach in 1913, and its subsidiaries Pentacon (Dresden), Schneider Kreuznach Isco Division (Göttingen), Schneider-Optics (New York, Los Angeles), Schneider Bando (Seoul), Schneider Asia Pacific (Hong Kong) and Schneider Optical Technologies (Shenzhen). The company’s main brand is “Schneider-Kreuznach”. It has around 620 employees worldwide, with 330 based in its German headquarters. For years now the group has been a world market leader in the area of high-performance lenses.

The GF2 is compatible with Panasonic’s 3D interchangeable lens, the LUMIX G 12.5mm/F12, which be $249.95 on its own. Meanwhile there’s also pricing for the full camcorder and point-and-shoot digital camera ranges announced at CES 2011, which you can find in the press releases below.

Press Release:

PANASONIC ANNOUNCES PRICING FOR NEW LUMIX GF2, THE COMPANY’S SMALLEST AND LIGHTEST DIGITAL INTERCHANGABLE LENS SYSTEM CAMERA WITH FLASH

Panasonic LUMIX GF2 Digital Camera Available in Mid- February 2011
SECAUCUS, NJ (February 1, 2011) – Panasonic today announces pricing for the LUMIX GF2 – the latest addition to the company’s compact system camera (CSC) lineup. The LUMIX DMC-GF2 will be available in mid-February 2011 and will come in black, silver, red, and white models. The LUMIX GF2 (body-only) will have a suggested retail price (SRP) of $499.95.

The Panasonic LUMIX DMC-GF2 is Panasonic’s smallest and lightest interchangeable lens system camera – complete with a built-in flash. The LUMIX GF2 is compatible with lenses from the Micro Four Thirds standard, meaning the system is small and compact, while not compromising ease of operation or image quality. The LUMIX GF2 is also compatible with Panasonic’s new 3D interchangeable lens, the LUMIX G 12.5mm / F12, so users can take their own 3D photos anywhere.

The LUMIX GF2K (14-42mm) lens will have an SRP of $599.95 while the GF2C (14mm) lens will have an SRP of $699.95. Also available is Panasonic’s new 3D interchangeable lens, the LUMIX G 12.5mm/F12, which will have an SRP of $249.95.

For more information on the Panasonic LUMIX GF2 and all its accessories, please visit: www.panasonic.com/lumix.

PANASONIC ANNOUNCES PRICING FOR 2011 LINE OF CAMCORDERS, INCLUDING 3D-CAPABLE, FULL HD MODELS

SECAUCUS, NJ (February 1, 2011) – Panasonic today announces pricing for its 2011 line of full-High Definition (HD) 3MOS models, the HDC-TM900, HDC-HS900 and HDC-SD800; as well as its Full-High Definition 1MOS models, the HDC-TM90, HDC-SD90, HDC-TM80, HDC-HS80, HDC-SD80, HDC-SD40 and HDC-TM40; and the standard definition models, HDC-H100, HDC-T70 and HDC-S70. All 13 models, in addition to a new optional 3D conversion lens (VW-CLT1), will be available in March 2011.
The Panasonic Full-HD camcorders will be available for suggested retail prices (SRP) of $1,399.95 for the HDC-HS900; $1099.99 for the HDC-TM900 and $849.99 for the HDC-SD800. The new Full-HD camcorders feature 1920 x 1080 resolution with 1080/60p recording to create crisp, detailed videos, and can also shoot 3D videos when used with Panasonic’s optional 3D conversion lens (VW-CLT1). The 3D conversion lens has an SRP of $349.99 and can capture vivid 3D imagery, which can be played back on a Panasonic VIERA 3D TV* or AVCHD-compatible player/recorder. The HDC-TM900 and HDC-HS900 both feature a manual ring for increased creativity, a 20x zoom and an intuitive 3.5” touch-screen LCD. All three models can record to SDXC/SDHC/SD Memory Cards, while the HDC-TM900 has 32GB** of internal memory and the HDC-HS900 has a hard disk drive that holds up to 220GB.
Panasonic’s Full-HD camcorders with a 1MOS sensor will have SRPs of $599.99 for the HDC-TM90 and HDC-HS80; $549.99 for the HDC-SD90; $499.99 for the HDC-TM80; $449.95 for the HDC-SD80; $399.99 for the HDC-TM40 and $349.99 for the HDC-SD40. These camcorders have 1920 x 1080 resolution with wide-angle lenses. The HDC-TM90 and HDC-SD90 are capable of shooting Full-HD video with 1080/60p recording and can also record 3D video with the optional 3D conversion lens. The HDC-TM80 and HDC-HS80 both feature exceptional zooming power with a 42x Intelligent Zoom. The HDC-TM40 and HDC-SD40 are Panasonic’s lightest Full-HD camcorders, weighing approximately 0.39lbs. All seven models can record to SDXC/SDHC/SD Memory Cards, while the HDC-TM90, HDC-TM80 and HDC-TM50 also have 16GB of internal memory, and the HDC-HS80 has a 120GB hard disk drive.
Panasonic’s standard definition cameras will have SRPs of $349.99 for the SDR-H100; $269.99 for the SDR-T70 and $249.99 for the SDR-S70. These camcorders pack advanced features including a 33mm wide-angle*** and a powerful Enhanced Optical Zoom of 78x. Like the HD camcorder models, all three models can record to SDXC/SDHC/SD Memory Cards, while the SDR-H100 has an 80GB hard disk drive and the SDR-T70 has 4GB of built-in memory.
For more information on all Panasonic camcorder models, please visit www.panasonic.com/dvc.

PANASONIC ANNOUNCES PRICING FOR LUMIX POINT-AND-SHOOT MODELS INTRODUCED AT 2011 CES

SECAUCUS, NJ (February 1, 2011) – Panasonic today announces pricing for the eight LUMIX digital camera models the company introduced last month at the 2011 International Consumer Electronics Show, which includes the LUMIX DMC-PF7, LUMIX DMC-FP5, the LUMIX DMC-FH27, LUMIX DMC-FH25, LUMIX DMC-FH5, LUMIX DMC-FH2, LUMIX DMC-S3, and the LUMIX DMC-S1. All eight digital camera models, available in March 2011, feature Optical Image Stabilization, High Definition video recording capabilities and Panasonic’s iA mode, which makes them extremely easy-to-use to help take high-quality photos.

Panasonic’s ultra-slim LUMIX and fashionable FP-Series will have a suggested retail price (SRP) of $229.99 for the LUMIX FP7 and $199.99 for the LUMIX FP5. Both models maintain their slim profiles by incorporating an ultra-thin 4x optical zoom lens with folded optics. The LUMIX FP7 features a new 3.5-inch 16:9 touch-screen LCD.

The Panasonic LUMIX FH-Series are sleek and stylish digital cameras that feature a 28mm-wide-angle lenses. The LUMIX FH27 has a 3-inch touch-screen LCD with an SRP of $229.99 while the LUMIX FH25 has an SRP of $199.99. Both the LUMIX FH27 and LUMIX FH25 also feature an 8x optical zoom. The 16.1-megapixel LUMIX FH5 (SRP: $149.99) and the 14.1-megapixel LUMIX FH2 (SRP $139.99) feature a 4x optical zoom with a new retractable lens.

Finally, the company’s entry-level digital camera models, the LUMIX S-Series, are extremely easy to use, making them ideal for consumers wanting an extremely intuitive experience. The 14.1-megapixel LUMIX S3 has an SRP of $129.99 and the 12.1-megapixel LUMIX S1 has an SRP of $119.99. Both models have a 28mm* wide-angle 4x optical zoom lens.

The Auto 110 was an interchangeable lens camera that used a frame size very similar in scale to those current Micro Four Thirds cameras rely on, though there’s no indication in the rumors that Pentax plan to release a micro-4/3 model at this time. Similarly unknown is whether original Auto 110 lenses will work with the new, digital version.

As for the second mirrorless system, that’s expected to use an APS-C sized sensor and be announced in late 2011. Pentax enthusiasts are already arguing at the relative sense of the company developing a pair of new mirrorless systems and whether it would be practical or cost-effective; we’ll likely find out in the next few months.

There’s also an HDMI output, while optional accessories include the PENPal Bluetooth dongle which stores up to 2,600 images and can send them wirelessly to Bluetooth devices, and the Macro Arm Light (MAL-1) with twin flexible LED lights for close-up photography. Storage is via SDHC/SDXC card, and Olympus will be offering a range of conversion lenses for wide-angle, fish-eye and other shots.

The Olympus PEN E-PL2 will be available this month, in a kit with an M. ZUIKO MSC DIGITAL ED m14-42mm f3.5/5.6 zoom lens, for $599.99.

Press Release:

POWERFULLY SIMPLE OLYMPUS PEN® SYSTEM GROWS WITH INTELLIGENT ENHANCEMENTS AND BLUETOOTH® CAPABILITY: THE OLYMPUS PEN E-PL2 CAMERA

Enhance Your High Definition Videos and Stills with Movie and Still Compatible Lens Technology, New Live Guide II, More Robust Art Filter Effects and a New Range of Accessories

CENTER VALLEY, Pa., January 5, 2011 – Today Olympus announces the new powerfully simple PEN E-PL2, the fourth generation of the award-winning and pioneering Olympus PEN family of compact interchangeable lens digital cameras. Known for pro quality, point-and-shoot simplicity and high-definition video, the PEN E-PL2 continues the PEN family’s legacy of simple design, intuitive interface and Digital Single Lens Reflex (DSLR) image quality. The new camera also expands your creative potential with Live Guide II, new in-camera creative features, new auxiliary lenses, a new Close-Up Spotlight accessory (MAL-1) and the new Olympus PENPal™ Bluetooth accessory. Capturing amazing still images and HD video just got a lot more fun. Further proof that Olympus lets you capture it all.

Outstanding Features:
• MSC Lens – the new Movie & Still Compatible (MSC) ED m14-42mm f3.5/5.6 zoom lens (28mm-84mm equivalent) features a high-speed, silent autofocus during still shooting and high definition (HD) video capture;
• New 3″ 460,000 dot LCD – for bright and easy image composition;
• Live Guide II – preview HD video and still image effects on the E-PL2′s high-resolution LCD screen to achieve the perfect result effortlessly;
• Art Filter Variations and Enhancements — choose from different art filter looks to expand your creative horizons or overlay different art filters to create something new, now with full manual control;
• ISO 6400 – take great low-light photos with the camera’s increased ISO sensitivity;
• New Ergonomic Body Design – shoot stills and videos comfortably with a more ergonomic grip and updated button placement and functionality for ease of use; and
Face Detection with iDetect – an amazing new function makes it easier to capture the spirit of your subject, automatically making a person’s eye the focus point of the image. The E-PL2 further reduces the chance of blurred subjects in images by recognizing up to eight faces, tracking them within the image area, and automatically focusing and optimizing exposure for sharp portraits.

At an affordable $599.99 with the new MSC ED m14-42mm f3.5/5.6 zoom lens (28mm-84mm equiv.), the 12.3 megapixel ergonomically-designed E-PL2 is perfect for everyone from beginners, who want to expand their creative horizons, to experienced photographers who desire high-quality results without the size and weight of a traditional DSLR.

“The innovative PEN E-PL2 is designed to go with you and grow with you – it’s the total compact multimedia package,” said Katie Roseman, product manager, Olympus Imaging America Inc. “We’ve expanded everything but the size of the camera. Live Guide II, new art filter variations and enhancements for instant gratification, three converter lenses and MAL-1 close-up spotlight will all help grow your creative potential, while the Olympus PENPal lets you send images straight from the camera to your smart phone for social sharing.”

New Lens Optimized for Video and Image Stabilization for Every Lens
The E-PL2 comes with the new Movie & Still Compatible (MSC) ED m14-42mm f3.5/5.6 zoom lens. This new kit lens has a smooth, silent and uses a quick inner focus mechanism to make it exceptionally fast and nearly silent when recording high-definition movie. The M.Zuiko Digital MICRO Four Thirds® lenses are designed to be more compact and portable, just like the E-PL2 itself. In addition to the kit lens, choose from the ED m17mm f2.8 lens (34mm equivalent), the super wide-angle zoom ED m9-18mm f4.0-5.6 lens (18-36mm equivalent), the high-power wide to telephoto zoom ED m14-150mm f4.0-5.6 lens (28-300mm equivalent), the wide zoom ED m40-150mm F4.0-5.6, or the super telephoto ED m75-300mm f4.8-5.6 (35mm equivalent 150–600mm).

If you’re looking for even more options, the MMF-2 Four Thirds™ System Lens Adapter makes the E-PL2 compatible with all Olympus Zuiko® Digital Specific lenses and other Four Thirds System lenses from Sigma, Panasonic and Leica. Olympus OM film-based lenses can be attached to the E-PL2 with the MF-2 OM Lens Adapter, and third-party adapters have been developed for lenses from most other manufacturers.

New Live Guide II for Stills and Movies
The PEN E-PL2′s Live Guide II takes the E-PL1′s popular Live Guide interface for stills and expands it to preview effects for HD videos. Live Guide takes the guesswork out of great photography and videography by previewing effects at the touch of a button. Want more vivid or muted color in your shot? Want warmer or cooler color? Want a brighter or darker subject, or a sharper or softer background? Or maybe you want to capture the fast-moving action of your subject with a little artistic blur, or perhaps freeze the action? Simply select Live Guide and turn the wheel on the back of the camera to slide through numerous photographic and videographic effects. Make adjustments and watch the LCD as the effects are made live – before the image is captured! Don’t worry about learning technical things like f-stops, shutter speed and white balance; jump right in by composing, adjusting exposure and more before the shot is taken.

Seeing the results before snapping the image or shooting a video ensures you are getting the results you want, and it will change the way you use your camera. Shooting Tips are also available with Live Guide, so you can leave the manual at home.

Limitless Creativity with New Art Filter Variations and Enhancements
Olympus pioneered easy-to-use in-camera art filters for still images captured inside its E-System DSLRs and was the first company to offer the ability to apply art filters to HD video recordings captured with the PEN E-P1 camera. The E-PL2 features six art filters: Pop Art, Soft Focus, Grainy Film, Pin Hole, Diorama, and Dramatic Tone. For the first time, the E-PL2 also features art filter variations and enhancements to maximize your creativity and expand the potential results. Give your images a different look by choosing from six art filters. Overlay an art effect over an original image with or without an art filter. Shoot a sunset with Pop Art and then add the Pin Hole Effect. Take a portrait in Grainy Film and then add a funky art frame. The possibilities are limitless.

Whatever you create, it will be easy to display on the big screen. When you’re ready to share your work, just plug the E-PL2′s camera into any high definition television (HDTV) using the camera’s HDMI output with an optional HDMI cable (sold separately) and show it off from the comfort of your living room.

HD Videos and HDMI Control for a Home Theater Experience
The E-PL2 shoots gorgeous 720p HD video, so you’ll always capture the moments you cherish in clear, crisp high-definition at the touch of a button. With HDMI Control, playback is also a breeze. You’ll be the hit of the party or any family event when you proudly display your brilliant images and movies on HDTVs. Simply connect the camera to an HDTV with an optional HDMI cable. With HDMI Control, you can use your HDTV’s remote to control playback functions and navigate the camera’s menus from the comfort of your couch.

New Optional Accessories for Every Shooting Challenge
Along with the E-PL2, Olympus unveils five new accessories to further expand what you can do with PEN cameras.

• Add-on Conversion Lenses – Olympus has three new affordable and compact conversion lenses that mount on the new MSC ED m14-42mm f3.5/5.6 zoom lens to further expand what you can do with the E-PL2:
o Fish-eye Lens Converter (FCON-37): captures a distorted hemispherical image covering 120° – to generate dramatic shots and edges that wrap around the frame of your image;
o Wide-angle Lens Converter (WCON-37): enables the user to capture a broader shot, for example, to include more people in a photograph. It dramatically alters the proportions of close and distant subjects. Subjects close to the lens appear much larger, while subjects in the background appear smaller – creating a dynamic sense of depth; and
o Macro Lens Converter (MCON-58): Enables the user to capture fascinating close-ups from as little as 24cm. away from the subject (depending upon the lens in use). The MCON-58 is also compatible with the ED m14-150mm f4.0-5.6 lens (28-300mm equivalent), ED m40-150mm F4.0-5.6, and ED m75-300mm f4.8-5.6 (35mm equivalent 150–600mm) for close focusing shots.
• Macro Arm Light (MAL-1) – Not one, but two bright LED lights – each on the end of its own fully flexible metal arm and powered by the camera. Both arms extend up to 17cm. from a sleek and slender unit mounted on the camera’s Accessory Port. For macro shots or attractive close-ups of small items or for online auctions, the MAL-1 is ideal for getting the lighting just right.
• PENPal – A sleek communication unit for storing up to 2600 images and transferring them via wireless Bluetooth to other Bluetooth-enabled devices, such as a mobile phone, PC or even another PENPal-equipped camera. From there it’s easy to share them with friends in online communities or via e-mail.

In addition to these accessories, the E-PL2 is compatible with the optional VF-2 detachable electronic viewfinder, which provides 1.15x magnification and a 100 percent field of view with sharp resolution, brightness and contrast, and the optional SEMA-1 external microphone adapter set for those who want to capture enhanced audio with any microphone that has a 3.5mm plug. These optional accessories easily slide into the camera’s accessory port and hot shoe.

In-camera Image Stabilization that Supports a Wide Range of Lenses
Olympus has Image Stabilization built right into the body of the E-PL2. This means that any lens (MICRO Four Thirds, Four Thirds and any third-party lens) attached to the E-PL2 will deliver blur-free images thanks to three modes of in-body Image Stabilization that automatically compensate for camera shake, including in low-light situations or when shooting without a tripod.

Achieve More with Automatic Features Including New iDetect
The E-PL2 features Face Detection with a new Eye Detection function called iDetect to make it easier to capture the spirit of your subject. This feature automatically makes a person’s eye the focus point of the image. The E-PL2 further reduces the chance of blurred subjects in images by recognizing up to eight faces, tracking them within the image area, and automatically focusing and optimizing exposure for sharp portraits. In addition, the E-PL2 has a variety of automated technologies to free you up to focus on your subject instead of the camera settings.

• 22 Scene-Select Modes — from portraits to sunset shots, the E-PL2 is equipped with 22 Scene-Select modes for effortless picture taking, including Fireworks, Sunset, Children, Macro and Panorama, to name a few. Capturing beautiful portraits is easy with the ePortrait mode that enables you to smooth your subject’s complexion. There are even three scene modes that are specific to shooting with the new conversion lenses to optimize the performance of those lenses;
• Intelligent Auto (iAuto) Mode — when you don’t want to use the scene-select modes, the iAuto mode automatically identifies what you’re shooting and adjusts settings to ensure you capture the best result for each situation you encounter;
• In-Camera Panorama — capture three images and stitch them together to create one amazing, seamless panoramic picture. Or use the included OLYMPUS [ib] software to stitch up to 10 images together for the ultimate panorama; and
• iEnhance — with this mode the warm yellow and orange colors of a sunset are heightened to a dramatically lifelike color that’s truer to what you see with the naked eye. iEnhance is available in any mode, and automatically engages when using iAuto to enrich color in any subject.

Large Sensor for Excellent Image Quality
The E-PL2 features a large image sensor similar to the one inside the top of the line Olympus E-System cameras. The only difference between this sensor and what the pros use is that this big sensor is inside the much smaller body of the E-PL2. This high-performance 12.3-megapixel Live MOS Sensor (eight times larger than the average point-and-shoot camera sensor) delivers excellent dynamic range, accurate color fidelity, and a state-of-the-art amplifier circuit to reduce noise and capture fine image details in both highlight and shadow areas.

True-to-Life Color
The E-PL2′s Live MOS image sensor is complemented by Olympus’ TruePic™ V Image Processor, which produces clear and colorful photos using all the pixel information for each image to provide the best digital images possible. The image processor is noted for accurate natural color, true-to-life flesh tones, brilliant blue skies and precise tonal expression; it also offers a maximum ISO sensitivity of 6400, to reduce image noise in photos shot at higher ISO settings, enabling great results in low-light situations.

World-renowned Dust Reduction System
The Olympus dust reduction system is an industry first and a proven technology. You don’t have to worry about dust spots on your sensor ruining the perfect image every time you change lenses. Spend more time shooting with the E-PL2 and less time worrying about dust with the superior dust reduction system producing spot-free photos with the exclusive Supersonic Wave Filter, a patented ultrasonic technology that silently vibrates to remove dust and other particles from the front of the image sensor. Dust will no longer get between you and a great shot.

Flash Alternatives for Everyone
For low-light shooting situations photographers can select the built-in flash or choose an optional external unit. Wireless flash control is also possible with the E-PL2, making customized lighting set-ups an easy reality.

Underwater Housing for Aquatic Adventures
The new camera’s compact design makes it the perfect companion for all of your dive trips. Olympus has designed a custom underwater case for the PEN E-PL2, the PT-EP03, which is waterproof to a depth of 40 meters (approximately 130 feet). With its durable, high-quality polycarbonate construction, this Olympus housing protects the camera from water while also cushioning it from knocks and bumps on land. The housing enables viewing from either the camera’s LCD screen or an optional electronic viewfinder. Use up to two UFL-2 underwater flash units via fiber optic cable with the case’s flash connectors. A non-removable front lens port accommodates multiple MICRO Four Thirds lenses.

Availability
The Olympus E-PL2 Kit will be available in January 2011. It includes the E-PL2 Body, M. ZUIKO MSC DIGITAL ED m14-42mm f3.5/5.6 Zoom, USB Cable, Video Cable, Li-Ion Battery Pack (BLS-5), Li-Ion Battery Charger (BCS-1), Shoulder Strap, OLYMPUS [ib] software CD-ROM, Manuals and Registration card.

U.S. Pricing / Product Configurations
E-PL2 Body with MSC M. ZUIKO DIGITAL ED m14-42mm f3.5/5.6 Zoom Lens
Estimated Street Price: $599.99

Power is taken from the hot-shoe itself, so there’s no extra battery to worry about, and each LED is apparently individually adjustable for brightness. The intention is obviously to make close-up photography more straightforward, in situations where the E-PL2′s regular pop-up flash would over-saturate closely-positioned subjects.

What remains to be seen is if Olympus release a suitably macro-centric dedicated lens for the PEN E-PL2, as well as what sort of pricing they’re asking for the Medusa-style lighting accessory. It’s something you could probably whip up yourself with a couple of LED penlights and some spare time.

Once there, they can be automatically published to online galleries such as Flickr or Facebook. To help you look your social-network best there’s a new “Dramatic Tone” art filter, and up to ISO 6400 is supported. The sensor itself is the same as in the PEN E-PL1 we reviewed back in July.

A direct movie record button, as on the Panasonic LUMIX micro-4/3 range, rounds out the main changes, though we imagine there’ll be plenty more detail once Olympus officially announce the camera next week. It’ll supposedly hit the market in February 2011, pricing tba.

[Thanks Tony!]

Onboard are stereo microphones, but the AF100 also has two mic/lines and twin XLR inputs with phantom power. Other ports include an uncompressed 4:2:2, 8 Bit HD-SDI output, HDMI out and USB 2.0. It’ll shoot for up to 4hrs on a single charge.

Not cheap, then, but considering all you’re getting we’re not surprised that pro and prosumer cinematographers are excited at what the AF100 brings to the table. It’ll have to be good, too; Sony recently unveiled its 3D pro camcorder, which promises similar lens flexibility sometime in 2011.

Press Release:

Panasonic Delivers AG-AF100, the Affordable Large Imager Cinema Camera

Advanced, Custom-Designed 4/3” Sensor Delivers Depth of Field and Field of View Similar to a 35mm Movie Camera; Camcorder Uses Low-Cost Still Camera and Film-Style Lenses

SECAUCUS, N.J.–(BUSINESS WIRE)–Fulfilling the holiday wishes of filmmakers worldwide, Panasonic Solutions Company today begins deliveries of the AG-AF100, the industry’s first professional micro 4/3-inch video camcorder optimized for high-definition video recording. Available now at a suggested list price of $4,995, the AF100 offers a new level of affordability for HD motion image quality.

Targeted at the film and video production communities, the AF100 delivers film-like shallow depth of field and the wider field of view of a large imager, with the flexibility and cost advantages of a growing line of professional quality, industry-standard micro 4/3-inch lenses, filters, and adapters. The full HD 1080/720 production camera offers superior video handling, native 1080/24p recording, variable frame rates, professional audio capabilities, and compatibility with SDHC and SDXC media.

“The design of the AF100’s advanced, custom-designed 4/3-inch sensor affords depth of field and field of view similar to that of 35mm movie cameras in a more affordable camera,” said Jan Crittenden Livingston, Product Line Business Manager, Panasonic Solutions Company. “What’s more, Panasonic engineering ingenuity has resolved the aliasing and moiré that has haunted the DSLR shooter. In fact, the AF100 was based on what we heard from and saw customers doing: purchasing DSLR cameras because they liked the look of the image, but then agonizing over all of the workarounds required to achieve an acceptable high definition recording.”

The AF100 incorporates a large 4/3-inch, 16:9 MOS imager (with an imaging area just slightly smaller than 35mm cinema film) that minimizes skew with fast imager scanning, and incorporates an optical low pass filter for elimination of aliasing and moiré. The camcorder records 1080 at 60i, 50i, 30P, 25P (Native) and 24P (Native), and 720 at 60p, 50p, 30p, 25p and 24p native in AVCHD’s highest-quality PH mode (maximum 24Mbps). The AF100 also records in AVCCAM’s HA (17Mbps) and HE (6Mbps) modes, 1080i only. Ready for global production standards, the camcorder is 60Hz and 50Hz switchable. Equipped with an interchangeable micro 4/3-inch lens mount, the AF100 can utilize an array of low-cost, widely-available still camera lenses as well as film-style lenses with fixed focal lengths and primes.

Variable frame rates (VFR) are available in 1080p, selectable in 20 steps from 12p to 60p at 60Hz and 20 steps from 12p to 50p at 50Hz. The camcorder has a built-in stereo microphone and features two mic/lines, switchable XLR inputs with +48V Phantom Power capability. It can record 48-kHz/16-bit two-channel digital audio (in PH mode only) and supports LPCM/Dolby-AC3 in any of the modes.

This newest Panasonic AVCCAM camcorder is the first to enjoy the benefits of advanced SDXC media card compatibility in addition to existing SDHC card support. SDXC is the newest SD memory card specification that supports memory capacities above 32GB and up to 2TB. With two SD slots for continuous recording, the AF100 can record up to 12 hours on two 64GB SDXC cards in PH mode, with automatic clip spanning across the two cards. The AF100 offers still image capture as two megapixel (1920 x 1080) still images.

The AF100 features switchable FILM CAM and VIDEO CAM modes, with VFR operable in FILM CAM. The camcorder has a wide ISO gain setting range that allows sensitivity to be set between ISO 200 and ISO 3200 (in FILM CAM), or gain adjusted between 18 dB and-6 dB (in VIDEO CAM). It also offers a focus assist that can be used while recording, which is color-on peaking and a focus bar; area focus and area iris functions that facilitate recording when the subject is off-center; two sets of adjustable zebras; two manual black and white balance choices, and preset White Balance at 3200K, 5600K or variable; and a waveform monitor and vectorscope for more accurate monitoring of broadcast safe levels.

Weighing only 3.5 pounds (without lens or battery), the AF100 is packed with high-end features including Dynamic Range Stretch in all modes and frame rates; six built-in, customizable scene files that are exchangeable for quick and easy matching between multiple cameras; seven built-in gamma curves with four selectable color matrices; a built-in optical ND filter; adjustable shutter speed and Syncro-scan function; and a high-resolution, variable angle color LCD monitor and tiltable viewfinder.

Standard professional interfaces include uncompressed 4:2:2, 8 Bit HD-SDI out, HDMI out and USB 2.0. The AF100 records SMPTE timecode and is able to perform timecode synchronizing via the video output seeing timecode in, and has an internal down-converter facilitating output of SD (480/576) signals.

Other essential features include a wealth of solid-state recording modes (clip thumbnail display, pre-record, intervalometer function that can be set for up to 24 hours); three User Buttons that can be programmed with up to 14 functions each; a Smart Battery interface for recording up to four hours with a 5800mA battery (model VW-VBG6PPK); metadata recording; and a wireless infrared remote controller.

Panasonic will support the AG-AF100 with a three-year limited warranty (one year plus two extra years upon registration) upon registration of the camera with the PASS customer support program.

There are also three color options – white, red and black – but otherwise this is the same camera as before. That means you get a 12.3-megapixel sensor, SDHC memory card slot, built-in image stabilization and a 2.7-inch, 230k dot rear preview display; an external viewfinder is an optional accessory.

There are sample shots with the new lens here, and more specifications here. Olympus expect the new PEN Lite E-PL1s to go on sale in Japan come December 4, price tbd.

[Thanks Paul!]

On the back there’s a 3-inch touchscreen for control and navigation with the new Touch Q user menu (that includes things like icon-based scene selection), and users can lock the auto-focus with a touch and then use the camera’s AF tracking.  There’s a new contrast AF system, compatibility with Panasonic’s own 3D lens for MFT cameras, and a new dust removal system.

Impressive stuff, considering Panasonic still squeeze in a flash.  The LUMIX GF2 will go on sale in January 2011, pricing to be announced later, in black, silver, white, and red models with the following kit options: DMC-GF2C – 14mm F2.5 Lens Kit and DMC-GF2K – 14-42mm Zoom Lens Kit.  Which? managed to get their hands on the LUMIX GF2 and shot the following video:

Press Release:

PANASONIC INTRODUCES COMPANY’S SMALLEST AND LIGHTEST DIGITAL INTERCHANGEABLE LENS SYSTEM CAMERA WITH FLASH

New Panasonic LUMIX GF2 Features Touch-Screen Operation, Full HD Video Recording Capability and Compatible with Panasonic’s Interchangeable 3D Lens

SECAUCUS, NJ (November 4, 2010) – Panasonic today announced the LUMIX DMC-GF2, the latest of the company’s DSL Micro (DSLM) compact mirrorless cameras, which is Panasonic’s smallest and lightest interchangeable lens system camera – complete with a built-in flash. The LUMIX GF2 is compatible with lenses from the Micro Four Thirds standard, meaning the system is small and compact, while not compromising ease of operation or image quality. Even more, the LUMIX GF2 is compatible with Panasonic’s new 3D interchangeable lens, the LUMIX G 12.5mm / F12, so users can take 3D photos.

“The LUMIX GF2 is key in the Panasonic DSL Micro line-up, as it’s the smallest and lightest model we offer, while still offering superb image quality, which our consumers have come to expect from LUMIX. Compared to the GF1, its predecessor, the GF2 has been reduced approximately 19% in size and approximately 7% in weight yet is still retains its signature built-in flash,” said Darin Pepple, Senior Product Manager, Imaging, Panasonic Consumer Electronics Company. “We expect the LUMIX GF2 to be an attractive model for consumers who want to step up to a more powerful camera that is easy to use, and a camera that is ‘future-proof’ with its 3D capabilities.”

The LUMIX GF2 is extremely easy to operate for consumers at any level, thanks to a newly- designed user interface, which allows for the focus to be set, or shutter released, by simply touching the large 3-inch touch-screen LCD. The touch-screen LCD with a 460,000-dot-resolution makes taking great photos intuitive. Once a user locks on a subject by touch, the LUMIX GF2 tracks the subject with the AF tracking function, even if the subject moves – making it easy to take photos of moving subjects, like children playing. The contrast AF system adopted by the LUMIX DMC-GF2 is not only accurate and easy to use, but also very fast. Users can choose from a wide range of AF (Auto Focus) modes, including multiple-area AF with up to 23 focus areas, 1-area AF with a selectable focus area, Face Detection, and AF Tracking.

The touch operation also dramatically shortens the time spent navigating the menus. With the LUMIX GF2’s newly-designed Touch Q-menu, the user can customize the camera’s shortcuts with the most commonly used settings. Together with the simple button components, including dedicated buttons for video recording and iA (Intelligent Auto) mode which lights in-use, users can operate the camera intuitively with ease.

With the Intelligent Scene Selector in the iA mode, the camera automatically switches to the appropriate mode according to the subject touched. For example, a touch on a human face switches to the portrait mode and a touch on the background or scenery switches to the scenery mode, while a touch on the subject close to the camera switches to the close-up mode. With the MF assist mode for manual focusing, users can enlarge the subject by just a touch to select 1x, 5x or 10x and smoothly move the subject by dragging it on the screen. In iA mode and the Peripheral Defocus mode, the range of defocus can be adjusted by just moving the slider with a finger, something not possible with larger more complicated DSLR cameras that don’t feature touch control.

While achieving breakthroughs in compactness of design and outstanding photo and video quality, the Panasonic LUMIX GF2 can contribute its professional-level imaging performance to well-balanced engine and sensor technologies. For the image processor, the Venus Engine FHD is incorporated, featuring exceptionally high performance signal processing capabilities in both photo and movie recording. With the advanced noise reduction system employing the 3D NR and CNR (Chromatic Noise Reduction), users can capture clear, naturally-balanced images even when shooting at high ISO sensitivity levels to help prevent the color bleeding.

Panasonic’s Venus Engine FHD enables Intelligent Resolution technology, which means that three areas – outlines, detailed texture areas and soft gradation – are automatically detected. Then, the outline parts are enhanced effectively to give edges more clearness while giving a moderate accentuation to the texture areas to look more finely detailed. To the soft gradation part, noise reduction system is applied to make it smoother. Apart from the uniform enhancement of sharpness, the innovative technology Intelligent Resolution precisely performs signal processing pixel by pixel, resulting in images that are naturally clear and crisp in both video and photos. The 12.1-megapixel Live MOS sensor featured in the LUMIX GF2 offers the best of both worlds – the superb image quality of a CCD sensor, plus the lower power consumption of a CMOS sensor.

All of Panasonic’s LUMIX G-Series DSLM cameras are equipped with the highly-efficient Dust Reduction System. If dust gets inside the camera when the user changes lenses, it could cling to the image sensor and show up as a spot in photos. The Dust Reduction System helps to reduce this risk by placing a supersonic wave filter in front of the Live MOS sensor. Vibrating vertically around 50,000 times per second, the filter repels dust and other particles.

The LUMIX GF2 shoots professional-quality full High Definition (HD) videos as well as handling still photography. The LUMIX GF2 can record 1920 x 1080 videos at 60i or smooth HD 1280 x 720 movies at 60p in AVCHD. For those looking for better compatibility with computers, the LUMIX GF2 can also record HD Motion JPEG in 1280 x 720 and QVGA, VGA and WVGA. A dedicated video record button makes it easy to start shooting videos, and high quality sound is recorded with the stereo microphone for Dolby® Digital Stereo Creator. Panasonic’s iA mode extends to video recording, with the following features: Optical Image Stabilizer, Face Detection, Intelligent D-range Control and Intelligent Scene Selector.

The Panasonic LUMIX GF2 is artistic not only in form, but also in function, as it provides an array of features that lets users capture true-to-life images while also creating their own expressive, beautiful images. The LUMIX GF2 features My Color mode which is integrated with the conventional Film mode. My Color mode offers a total of eight preset effects — Expressive, Retro, Pure, Elegant, Cinema, Monochrome, Dynamic Art, Silhouette, plus Custom mode, which lets users manually set the color, brightness, saturation and contrast levels. Also, with the Full-time Live View function, users can see how these settings will affect the images before they shoot, which makes it easier to capture the exact effect desired. The LUMIX GF2 has 17 Scene modes, most which can be used during video shooting, too. The exposure meter can be displayed in the P/A/S/M shooting modes for entry-level users to visually learn the correlation between shutter speed and aperture to enhance their photography skills.

The Panasonic LUMIX DMC-GF2, with a quality and solid aluminum body, will be available in black, silver, white, and red models with the following kit options: DMC-GF2C – 14mm F2.5 Lens Kit and DMC-GF2K – 14-42mm Zoom Lens Kit. The LUMIX GF2 will be available in January 2011 and pricing will be announced approximately 30 days prior to shipment.

Hardware specs are still unconfirmed, but the LUMIX GF2 is believed to have the 12-megapixel sensor from the Panasonic G2, and be capable of recording Full HD video.  It’s paired with a new imagine processor, while control of the camera is shifted to a new touchscreen display.

It’s a comprehensive 3.5lb package, too, with a 4/3-inch,16:9 MOS imager paired with low pass filters that Panasonic reckons eliminates the aliasing and moiré DSLRs usually suffer from when shooting video.  There’s also an integrated optical ND filter, a built-in stereo microphone and two mic/line, switchable XLR inputs with +48V Phantom Power.  Other connectivity includes uncompressed 4:2:2, 8 Bit HD-SDI out, HDMI out and USB 2.0.

Supported recording modes include 1080 at 60i, 50i, 30P, 25P (Native) and 24P (Native), and 720 at 60p, 50p, 30p, 25p and 24p native, in AVCHD’s highest-quality PH mode (maximum 24Mbps). The AF100 also records in AVCCAM’s HA (17 Mbps) and HE (6Mbps) modes, 1080i only.  Dual memory card slots mean the AF100 can record up to 12 hours on two 64GB SDXC cards in PH mode, with automatic clip spanning across the two cards.

Press Release:

Panasonic Announces December Delivery, Pricing For AG-AF100 4/3” Professional High-Definition Camcorder

Best-in-Class 4/3” Sensor Delivers Depth of Field and Field of View Similar to that of 35mm Movie Camera; Camcorder Uses Low-Cost Still Camera and Film-Style Lenses

SECAUCUS, N.J.–(BUSINESS WIRE)–Panasonic Solutions Company today announced that the AG-AF100, the industry’s first professional micro 4/3-inch video camcorder optimized for high-definition video recording, will start shipping on December 27th at a suggested list price of $4,995. Highly anticipated since its introduction at NAB earlier this year, the AF100 is poised to set new benchmarks in digital cinematography.

“The design of the AF100’s best-in-class 4/3-inch sensor affords depth of field and field of view similar to that of 35mm movie cameras in a more affordable camera body”
Targeted at the video and film production communities, the AF100 delivers the shallow depth of field and wider field of view of a large imager, with the flexibility and cost advantages of a growing line of professional quality, industry-standard micro 4/3-inch lenses, filters, and adapters. The full HD 1080 and 720 production camera offers superior video handling, native 1080/24p recording, variable frame rates, professional audio capabilities, and compatibility with SDHC and SDXC media.

“The design of the AF100’s best-in-class 4/3-inch sensor affords depth of field and field of view similar to that of 35mm movie cameras in a more affordable camera body,” said Jan Crittenden Livingston, Product Line Business Manager, Panasonic Solutions Company. “What’s more, Panasonic engineering ingenuity has resolved the aliasing and moiré that has haunted the DSLR shooter. Indeed, the proof of concept of the AF100 was based on what we heard from and saw customers doing: purchasing DSLR cameras because they liked the look of the image, but then agonized over all of the workarounds required to come out with an acceptable high definition recording.”

The AF100 incorporates a large 4/3-inch,16:9 MOS imager that minimizes skew with fast imager scanning, and incorporates low pass filters for elimination of aliasing and moiré. Additionally, it has a built-in optical ND filter. The camcorder records 1080 at 60i, 50i, 30P, 25P (Native) and 24P (Native), and 720 at 60p, 50p, 30p, 25p and 24p native,in AVCHD’s highest-quality PH mode (maximum 24Mbps). The AF100 also records in AVCCAM’s HA (17 Mbps) and HE (6Mbps) modes, 1080i only. Ready for global production standards, the camcorder is 60Hz and 50Hz switchable. Equipped with an interchangeable micro 4/3-inch lens mount, the AF100 can utilize an array of low-cost, widely-available still camera lenses as well as film-style lenses with fixed focal lengths and primes.

Variable frame rates are available in 1080p, selectable in 20 steps from 12p to 60p at 60Hz and 20 steps from 12p to 50p at 50Hz. Standard professional interfaces include uncompressed 4:2:2, 8 Bit HD-SDI out; HDMI out; and USB 2.0. It records SMPTE timecode and is able to perform timecode synchronizing via the video output seeing timecode in. It has a built-in stereo microphone and features two mic/line, switchable XLR inputs with +48V Phantom Power capability. The camera can record 48-kHz/16-bit two-channel digital audio recording (in PH mode only) and supports LPCM/Dolby-AC3 in any of the modes.

This newest Panasonic AVCCAM camcorder is the first to enjoy the benefits of advanced SDXC media card compatibility in addition to existing SDHC card support. SDXC is the newest SD memory card specification that supports memory capacities above 32GB and up to 2TB. With two SD slots for continuous recording, the AF100 can record up to 12 hours on two 64GB SDXC cards in PH mode, with automatic clip spanning across the two cards.

Weighing only 3.5 pounds (without lens or battery), the AF100 is packed with high-end features including Dynamic Range Stretch in all modes and frame rates; six built-in, customizable scene files that are exchangeable for quick and easy matching between multiple cameras; seven built-in gamma curves with four selectable color matrices; Syncro-scan shutter; and a high-resolution LCD and viewfinder.

It also offers a focus assist that can be used while recording, which is color-on peaking and a focus bar; two sets of adjustable zebras; two manual black and white balance choices, and preset White Balance at 3200K, 5600K or variable; a waveform monitor and vectorscope for more accurate monitoring of broadcast safe levels. Other essential features include pre-record; an intervalometer function that can be set for up to 24 hours, programmable User Buttons; a Smart Battery interface for recording up to four hours with a 5400mA battery; metadata recording; and a wireless infrared remote controller.

Panasonic will support the AF100 with a three-year limited warranty (one year plus two extra years upon registration).

Olympus also intends to look at moving Micro Four Thirds up the food-chain, and launch professional or semi-pro versions.  Meanwhile low-end DSLR owners could use adapters to fit their existing lenses to Micro Four Thirds models, or alternatively – and, we imagine, to Olympus’ greatest satisfaction – upgrade to the E-5.

Terada confirmed that “most” of Olympus’ resources are directed to Micro Four Thirds development.  The company has a new compact camera in the works with a fixed lens but which will apparently be able to use select accessories such as the detachable viewfinder.

[via Electronista]

The camera also has a variable movie mode where the frame rate can be tweaked to 80%, 160%, 200%, and 3000% for slowing down scenes of speeding them up. The camera also uses touch auto focus where the user can touch the rear LCD and the camera will focus on the spot touched.

The image sensor in the camera is a 16.05MP multi-aspect LIVE MOS sensor and it can shoot bursts at five frames per seconds in full resolution with a mechanical shutter. The rear touch screen is 3-inches and has a resolution of 460K dots. The screen rotates 180-degrees side to side and 270-degrees up and down. The GH2 will come in black or silver colors and will ship in early December. The body only will sell for $899.99, the body with a Lumix G Vario 14-42mm lens will be $999.95, and the body with a Lumix G Vario HD 14-140mm lens will sell for $1499.95.

That range includes a 5mm F4 fisheye, 8-25mm F4 wide-angle zoom, 14mm F2 pancake, 25mm F1.2 pancake, 45mm F1.5 pancake and 65mm F2.0 Macro, while Canon are supposedly preparing two kits, one pairing the camera with a 12-75 f2.8-4.0 IS Macro lens and the other with a 75-300 f3.5-5.6 IS lens.  A 100-6400 ISO range, touchscreen LCD, dual-SD card slots (that we’re guessing will be SDHC/SDXC compliant) and an EF lens adapter round out the leaked specs.

[via Gizmodo; image via DSLR Photo]

There’s also XLR audio inputs, an HD-SDI output, USB 2.0 and a remote control port, together with a stereo microphone, HDMI and three different audio outputs.  Both a viewfinder and a flip-out LCD display are fitted, and there are a choice of optional grip handles.

Unfortunately Panasonic’s VW-CLT1 3D lens won’t be supported, according to the company’s press release.  Still, with their focus on 3D tech, we wouldn’t be surprised to see a Micro Four Thirds 3D lens alternative for the AF100/AF105 sometime soon.  The camcorder is expected to drop in December 2010, priced at 837,900 yen ($9,967).

[via Engadget]

There’s also 6fps burst shooting, support for 720p HD video at 30fps, and a mono microphone built-in; an input allows for an external stereo microphone.  Interestingly, the E-5 can apparently also record sound clips accompanying still images.  There’s a 3-inch 920k dot LCD, 11-point full-twin cross AF sensor with a phase-difference detection system, and 11 area multiple AF using contrast detection.

Both SD and CF card slots are tipped, and a built-in wireless flash.  It’s unclear right now whether the Olympus E-5 uses the same 12.1MP sensor as the PEN range, but we shouldn’t have long to wait before we find out: the new micro four thirds camera is expected to make its official debut on September 14th, next Tuesday.

[via Electronista]

Unfortunately, the still image quality doesn’t live up to the DSLR the camera apes, though that’s probably not going to stop potential buyers who don’t want the extra bulk of a “proper” camera.  In contrast, the NX100 is expected to measure in at 4.74 x 2.8 x 1.36 inches and weigh a mere 9.95 oz, though you don’t get an integrated viewfinder and instead have to make do with the 921k resolution AMOLED.

Samsung are expected to offer an external, 201k resolution EVF for those suitably desperate, together with an external GPS attachment for geotagging shots.  The NX100′s official unveil is expected to take place at Photokina later this month.

The NX100 will be Samsung’s smallest mirrorless interchangeable camera, but it will be wide enough for you to notice in your grip. The press shots came courtesy of a forum poster over at DPReview, and they point out that the lens features just 2.5X zoom. As for the other features, there’s still a lot of speculation — especially considering Samsung hasn’t officially announced the camera yet.

Some believe that, much like the NX10 (also by Samsung), the NX100 will feature a 14.6MP APS-C sensor. And there won’t be a built-in flash, as Samsung will apparently rely on a hot shoe to have you add it later, if you see fit. As for anything else important, like pricing and availability, that will have to wait until Photokina, where Samsung is believed to make the official announcement. So, stay tuned.

[via Electronista]

First up is the pricy M.ZUIKO® DIGITAL ED 75-300 MM F4.8-6.7, which will carry a $899 tag and promises to be the world’s smallest and lightest 600mm super telephoto lens.  It’s accompanied by the M.ZUIKO DIGITAL ED 40-150MM F4.0-5.6, far cheaper at $299, and is a 35mm equivalent to 80-300mm.

The 40-150mm lens will drop in November, while the 75-300 lens will follow on in December.  Both will be available in either black or silver.

[via Gizmodo]

Press Release:

Olympus PEN® E-P2: Back In Black

CENTER VALLEY, Pa., August 31, 2010 – In the past year, the Olympus PEN family has won a series of high profile awards, including the CEA CES Innovations Award, the EISA Best European Camera and the Red Dot Design Award. Today, meet the newest member of the world-renowned family: the Olympus PEN E-P2 black-on-black kit. For the first time, the PEN E-P2′s stylish retro black metal body is complemented by a black M.ZUIKO DIGITAL ED 17mm lens and a black FL-14 flash in an exclusive, limited availability kit.

Look what you can do with a PEN E-P2 kit. Just like the original, it blends high-quality still images like those taken with a Digital Single Lens Reflex (DSLR) with High Definition (HD) video, stereo linear PCM audio recording and In-Camera Creativity inside an ultra-portable body.

“The PEN E-P2 kit’s edgy black styling gives the camera a discreet, more professional look. Perfect for photographers who want to capture the action without being a distraction,” said Katie Roseman, product manager, Olympus Imaging America Inc. “Photo enthusiasts will appreciate the camera for its excellent image quality, HD video, creative functions and high-end stereo sound, while design aficionados will relish its sleek black profile.”

The powerfully simple PEN E-P2 is compatible with an array of Micro Four Thirds lenses, including the newly announced M.ZUIKO DIGITAL ED 75-300 MM F4.8-6.7 and M.ZUIKO DIGITAL ED 40-150MM F4.0-5.6, which feature a high-speed, silent autofocus during still shooting and HD movie capture. It is part of a new generation of system cameras.

The black Olympus PEN E-P2 kit will cost $999.99 and will be available at select photo specialty stores beginning in October, 2010. The kit includes the PEN E-P2 Body, black M.ZUIKO DIGITAL ED 17mm lens, black FL-14 flash, USB Cable, Video Cable, Li-Ion Battery Pack, Li-Ion Battery Charger, Shoulder Strap, OLYMPUS [ib] software CD-ROM, Manuals and Registration card.

Press Release:

CENTER VALLEY, Pa., August 31, 2010 – Olympus today announces two new lenses to its Micro Four Thirds lens family: the M.ZUIKO® DIGITAL ED 75-300 MM F4.8-6.7 and M.ZUIKO DIGITAL ED 40-150MM F4.0-5.6. Both lenses feature a high-speed, silent autofocus during still shooting and high definition (HD) movie capture. They are the ultimate lenses for zooming in on sporting events, beautiful wildlife and faces from a distance, and because they make barely a whisper when focusing, they won’t call attention to photographer or add unwanted noise to movie recordings. Look what you can do.
Strong Zooms

The M.ZUIKO DIGITAL ED 75-300mm f4.8-6.7 with a 35 mm equivalent of 150-600mm is the world’s smallest and lightest 600mm super telephoto lens. Weighing merely 15.17 ounces and measuring 2.76 by 4.57 inches, this lightweight lens delivers excellent portability and outstanding image quality when paired with the award-winning Olympus PEN® cameras. Previous lenses offering 600mm or more have been too large and heavy for most users to enjoy super telephoto shooting. This lens is smaller and lighter than the comparable ZUIKO DIGITAL ED 70-300mm f4.8-6.7.

The M.ZUIKO DIGITAL ED 40-150mm f4.0-5.6 is extremely light, weighing only 6.7 ounces. With a wide zoom range with a 35mm equivalent to 80-300mm, this lens offers versatility and portability. It’s an affordable complement to the powerfully simple 3x wide-angle zoom lens (M.ZUIKO DIGITAL ED 14-42 f3.5-5.6) that comes standard with the PEN kit.

Olympus’ M.ZUIKO DIGITAL ED 75-300mm f4.8-6.7 lens. Photo provided by Olympus Imaging America Inc. Click for a bigger picture! Olympus’ M.ZUIKO DIGITAL ED 75-300mm f4.8-6.7 lens mounted on an E-PL1 camera body. Photo provided by Olympus Imaging America Inc. Click for a bigger picture!
Olympus’ M.ZUIKO DIGITAL ED 75-300mm f4.8-6.7 lens.

Silent Operation
The M.ZUIKO DIGITAL ED 75-300mm f4.8-6.7′s rear focusing mechanism is comprised of a single-element unit, to enable remarkably fast and nearly silent HD movie recordings with sound. The M.ZUIKO DIGITAL ED 40-150mm f4.0-5.6 has two lens elements in the rear focusing mechanism. The manual focusing mechanism is designed to deliver quiet and precise auto focus operation, for an affordable, high quality means to capture your life in still images or HD videos.

The new lenses are made with ED (extra-low dispersion) glass to maximize the performance of the Micro Four Thirds System. The Micro Four Thirds System standard meets the telecentric requirements of dedicated digital design. Light rays strike the imaging element nearly head-on for optimum edge-to-edge image reproduction. It also enables much more compact design than the Four Thirds System standard (or other interchangeable lens systems) because it reduces the outer diameter of the lens mount by 6mm, and the distance from the lens mount to the sensor (the flange back distance) by approximately half. As a result, M.ZUIKO DIGITAL Micro Four Thirds System lenses offer uncompromising professional quality for capturing both still images and HD videos, and the lenses are exceptionally compact to make capturing life more fun.

The Micro Four Thirds System’s design, compact size, low weight and amazing image quality with the new lenses extend the photographic potential of the system by adding more options. The new lenses are compatible with all Micro Four Thirds System Olympus PEN cameras, and all other current and future cameras that comply with the Micro Four Thirds System standard. When mounted on an Olympus PEN camera, the lenses are stabilized thanks to the camera’s in-body Image Stabilization system and offer effective shake compensation at all focal lengths.

Olympus’ M.ZUIKO DIGITAL ED 40-150mm f4.0-5.6 lens. Photo provided by Olympus Imaging America Inc. Click for a bigger picture! Olympus’ M.ZUIKO DIGITAL ED 40-150mm f4.0-5.6 lens mounted on an E-PL1 camera body. Photo provided by Olympus Imaging America Inc. Click for a bigger picture!
Olympus’ M.ZUIKO DIGITAL ED 40-150mm f4.0-5.6 lens.

AVAILABILITY
The M.ZUIKO DIGITAL ED 75-300mm f4.8-6.7 will be available in December 2010, while the M.ZUIKO DIGITAL ED 40-150mm f4.0-5.6 will be available in November 2010. Both lenses will be available in black and silver.

U.S. Pricing / Product Configurations
M.ZUIKO DIGITAL ED 75-300mm f4.8-6.7 Estimated Street Price: $899.99
M.ZUIKO DIGITAL ED 40-150mm f4.0-5.6 Estimated Street Price: $299.99

The E-5 will apparently use Olympus’ TruePic 5 engine and have 11-point autofocus, various art filters, a 3-inch, 920k LCD and a microphone jack.  It’ll also be able to record 720p 30fps HD video.

As for the two new lenses, due for announcement tomorrow, the first is the M.Zuiko ED 75-300mm f/4.8-6.7 tipped as the world’s smallest 600mm zoom, just 11.6cm long and allowing for “nearly silent” HD movie recording; that’ll be $899.99 when it goes on sale in December.  Second is the M.Zuiko ED 40-150mm f/4.0-5.6, shown below, which will arrive in November for $299.99.

The best guess so far is that Samsung are making the rumored NX100 official, their newest Micro Four Thirds model which was spotted in a promotional video earlier this month.  Actual specifications for the NX100 are unknown, though the compact snapper was pictured next to various unannounced lenses which would presumably debut with it.