First test shots, posted to the Pentax K-5!

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Preview by Mike Tomkins
Posted: 9/20/2010
With a brand-new 16-megapixel sensor, seven frames per second burst rate, and an unusually wide expanded ISO sensitivity range of 80 to 51,200 equivalents, the Pentax K-5 takes over the flagship position in Pentax's APS-C digital SLR lineup, replacing last year's K-7 model. (Technically, the Pentax K-5 is the company's flagship digital camera in most markets, period, since the attention-grabbing medium format Pentax 645D model has very limited distribution outside of the Japanese market.)
While its nearly identical to its predecessor externally, the Pentax K-5 sports a number of under-the-skin improvements beyond those enabled by its updated CMOS image sensor, some of them seen previously in the recently-announced mid-range Pentax K-r DSLR.
The Pentax K-5 includes the latest generation of Pentax's SAFOX phase-detection autofocus module, which debuted in the 645D. The 11-point SAFOX IX+ module combines features of the SAFOX VIII+ module from the K-7, and the SAFOX IX module from the K-r. It should yield improved low-light focusing, as well as more accurate and stable AF overall.
The Pentax K-5 also inherits the dual-axis level gauge function from the 645D, giving an indication of both tilt and roll, where the K-7 offered only a single-axis roll gauge. Coupled with the sensor shift stabilization system from the K-7, which can correct for rotation around the lens barrel axis, the Pentax K-5 can also automatically correct for slightly tilted horizons at capture time.
Pentax has updated its high dynamic range mode in the K-5, enabling handheld HDR shooting, and providing a greater degree of control over the look of the HDR effect that can be achieved in-camera. Other creative additions include the latest Custom Image and Filter effects from the K-r, such as an overhauled Cross Process function, Bleach Bypass effect, and more.
Also updated is the Pentax K-5's movie recording function, which now captures videos at up to Full HD (1080p) resolution, and the K-5 still includes both an external stereo microphone jack, plus the ability to control the aperture used for video recording. For creative types, the Pentax K-5 now allows use of some of its filter effect functions during movie recording.
The Pentax K-5 uses SD and SDHC memory cards for storage, and a firmware update due shortly after the cameras ship will enable compatibility with SDXC cards as well. All accessories compatible with the K-7, including Pentax's battery / portrait grip, tethered and infrared remotes, and lithium ion battery pack, will also work in the Pentax K-5, making it rather easier for current K-7 owners to justify upgrading to the newer model.
Due to ship in October 2010, the Pentax K-5 comes body-only, or with a weather-sealed 18-55mm kit lens. Body-only pricing is set at around US$1,600, while the 18-55 WR kit will cost about US$1,750.
by Mike Tomkins
The Pentax K-5 refreshes the design of Pentax's previous flagship model, the K-7, with a number of important changes to key subsystems, while retaining much of its predecessor's DNA. As more of an incremental upgrade, the K-5 might not grab headlines for Pentax in quite the same way that the K-7 was able to do -- that camera, after all, marked a significant step forward with a brand-new body, viewfinder, LCD, image sensor, image processor, and metering system, plus updates to the company's autofocus, stabilization, and dust reduction systems, and plenty of other changes throughout. It also heralded the arrival of some truly unusual capabilities, including in-camera HDR, a self-leveling sensor, high-def video capture with aperture control and stereo mic jack, and more besides.

By comparison, the Pentax K-5 takes many of the K-7's best features with small tweaks as needed to improve usability, and focuses on improving performance in a number of specific areas. Key among these are a new image sensor, a refined phase detection autofocus module, improved burst-shooting speed, greatly expanded ISO sensitivity range, and improved high-def movie capture.

Externally, the Pentax K-5 is nearly identical to its predecessor, with just a couple of subtle refinements to controls, including a slightly taller Mode dial, and a Focus Mode switch that's now easier to adjust. Body weight has also been reduced by around ten grams, likely due to the change of image sensor, and the onboard A/D conversion negating the need for some extra components. The Pentax K-5 still includes the rear-facing IR port for shake-free shutter control.

In other respects, the Pentax K-5's rugged, weather-sealed, magnesium alloy body is indistinguishable from that of its predecessor without looking at the model number -- and that's a good thing, because it's a design with that we quickly fell in love with when we reviewed the K-7 a little over a year ago.

One of our favorite features on the K-7 was the RAW button, which drops you into RAW capture mode for one shot, or can be made to act as a toggle between RAW and RAW+JPEG capture. If that's not of interest to you, though, you can convert this button into a Function (Fx) button, activating your choice of Exposure bracketing, Digital preview, Electronic level, and Composition correction.
Sensor. The Pentax K-5 is based around a new 16.3 effective megapixel, APS-C sized (23.7 x 15.7mm), RGB CMOS image sensor, with a total resolution of 16.95 megapixels. The new chip increases linear resolution by a modest 5%, as compared to the 14.6 effective megapixel CMOS sensor that was featured in the K-7. It also has ever so slightly larger surface area, versus the previous 23.4 x 15.6mm chip. The new sensor design features on-chip analog-to-digital conversion, which has helped Pentax to reduce noise levels across the board.
The Pentax K-5 offers a maximum image resolution of 4,928 x 3,264 pixels, in place of the K-7's maximum size of 4,672 x 3,104 pixels. Three lower-resolution options are also available, all unchanged from the K-7 -- 3,936 x 2,624, 3,072 x 2,048, and 1,728 x 1,152 pixels.
Processor. Output from the Pentax K-5's new image sensor is processed by the same PRIME II (PENTAX Real Image Engine II) imaging engine that's previously been featured in the K-7, K-x, and K-r, but the combination offers significant improvements over the K-7 in terms of both sensitivity and burst speed. When it came to high ISO shooting, the K-7 was little changed from Pentax's earlier K20D model, with a standard sensitivity range of ISO 100 to 3,200 equivalents, which could be expanded to reach as high as ISO 6,400 equivalent. The Pentax K-5 provides a significantly wider standard range of ISO 100 to 12,800 equivalents, adjustable in 1/2, 1/2 or 1EV steps. The expanded range goes even further, providing everything from an ISO 80-equivalent minimum to a maximum of ISO 51,200 equivalent.
An interesting feature of the Pentax K-5 is that noise reduction settings can be specified on a per-ISO basis. That is to say, you could for example set one specific ISO sensitivity to use higher noise reduction than those surrounding it, and as you switch between those sensitivities in future, the camera will remember those preferences. This provides a nice level of user control over the tradeoff between noise levels and subject detail across the sensitivity range.
There are a couple of provisos related to Bulb-mode exposures worth noting. For one thing, they're limited to a maximum of ISO 1,600 equivalent. We also understand that bulb mode likely still requires use of dark frame noise subtraction on exposures over 30 seconds in length.
Burst speed. The improvement in burst speed, while perhaps not as big a step forward as that made in terms of sensitivity, is still very worthwhile -- but unfortunately it does come accompanied by a reduction in burst depth. Pentax's previous flagship model, the K-7, offered a maximum of 5.2 frames per second, a figure that was bested a couple of weeks ago with Pentax's announcement that the new mid-range K-r model would offer a class-leading six frames per second. The Pentax K-5 now returns the frame rate crown to the company's new flagship model, with a maximum rate of 7.0 frames per second on offer -- more than one-third faster than the K-7.
At 22 full-resolution Best-quality JPEG frames, the Pentax K5's maximum burst depth has dropped significantly from the K-7's 40 frame limit, and indeed, doesn't quite match the 25-frame limit of the mid-range K-r model. This reduction in depth likely comes as a side effect of the K-5's increased resolution. For raw shooters, the reduction is even more significant, with the Pentax K-5 limited to just 8 raw frames in a Continuous Hi burst -- four less than the K-r, and barely more than half the 15-frame burst depth of the K-7. The harsher penalty in raw shooting is probably further caused by a switch to 14-bit raw files, versus the smaller 12-bit raws created by earlier Pentax DSLRs.
For subjects where a little less speed is required, the K-5's Continuous Lo mode captures Best-quality JPEG images at two frames per second for as long as there's available card space, and can manage 12 Raw frames in a burst. This reduced rate is significantly slower than the 3.3 frames-per-second Continuous Lo burst shooting available in the K-7, and yet is still accompanied by a fair reduction in raw-format burst depth from the K-7's 17 raw frames.
Shake Reduction. Pentax has retained the K-7's in-body stabilization system for its follow-up camera. The K-5's image sensor assembly is mounted on a ball-bearing supported moveable platter, allowing for sensor-shift image stabilization -- which Pentax brands Shake Reduction -- compatible with all Pentax interchangeable lenses produced to date. The Pentax K-5 shares the K-7's unique ability to correct not only for horizontal and vertical motion, but also for rotation around the axis of the lens barrel. One degree of rotational correction on either side of the central position is possible, and Pentax is claiming 2.5 to 4 stops of correction can be derived from its sensor shift system. (Though we'd earlier reported that rotational correction was a feature of Shake Reduction back to the K100D, Pentax later informed us that this was a misunderstanding resulting from a translation error back in 2006).
The drawback to Pentax's Shake Reduction technology is that you can't see its effects as you look through the optical viewfinder, as you can with Canon and Nikon's lens-based stabilization systems. But thanks to the Pentax K5's Live View mode, you can indeed see the effect on the LCD, and SR seems to be pretty solid and effective.
Dust removal. The Pentax K-5 also includes Pentax's DR II dust removal system, which has previously featured in the K-7 and 645D models. Where other Pentax DSLRs rely on the sensor shift mechanism to remove dust from the sensor -- rather ineffectively according to our tests -- the K-5's DR II system includes a piezo-ceramic element to vibrate the low-pass filter. A dust alert system can check for the presence of dust on the low-pass filter, at the user's prompting.
Lens mount. On its front panel, the Pentax K-5 features a KAF2 Lens mount, which is also compatible with KAF3, KAF, and KA mount lenses. Both in-body and in-lens AF mechanisms are supported, as is power zoom with compatible lenses. Pentax K mount lenses can also be attached, as can 35mm screwmount and 645/67 medium format lenses using optional adapters, although there may be restrictions depending on the lens type used.
Lens distortion correction. The Pentax K-5 can correct for lens distortion and lateral chromatic aberration in-camera when using DA and DFA lenses, as well as several of the company's FA Limited lenses. It's a feature that was fairly unusual when the previous K-7 model was introduced, but which is gradually becoming more commonplace. When enabled, these corrections do have a significant negative impact on burst shooting speed.
Autofocus. Pentax has also upgraded the K-5's autofocus system to its latest SAFOX IX-series module, a designation which has only previously been applied to the company's medium format 645D and K-r models. Compared to the previous-generation SAFOX VIII+ system used in the K-7, SAFOX IX+ has the same point count and arrangement, but several important differences. There are a total of eleven points, of which all but two are cross-type, sensitive to both horizontal and vertical detail. The cross-type points are arranged in a three by three grid towards the center of the image frame, while on either side of this grid there's one linear sensor.
The SAFOX IX+ AF module's optics have improved transparency, which should translate to improved performance in low light. The AF module's optics also have better controlled aberration, improving autofocus accuracy. Ambient temperature should also have less of an impact on the SAFOX IX+ module. Sharp-eyed readers will note that the K-5's SAFOX module adds the "+" designation, which has only previously been featured in the 645D and K-7. This hints at one important feature that's included in the prosumer K-5, but not the mid-range K-r. Like the K-7 and 645D models before it, the Pentax K-5's AF system includes a secondary light color sensor dedicated to determining the light source type, which is then taken into account when determining focus, a capability the K-5's more affordable sibling lacks.
Beyond the change of phase detection module, Pentax has made several other important changes to autofocus in the K-5. The K-7's somewhat fiddly focus mode selection dial has been redesigned, and should be easier to adjust without removing your eye from the viewfinder. Pentax has also incorporated the 5-point selection mode from the K-x and K-r models, which mirrors the point arrangement of earlier models such as the K2000 / K-m. Perhaps most importantly, though, Pentax has added the ability to select the priority for single and continuous focus modes. For single AF, K-5 users can opt for either focus priority, which mirrors the K-7's behaviour in requiring an AF lock before the shutter can fire, or shutter-release priority, which starts exposure immediately that the shutter button is fully depressed, even if an AF lock hasn't been achieved. In continuous AF mode, the options are focus priority, or frame rate priority. The former requires an AF lock for each individual frame in the burst, while the latter replicates the K-7's behaviour by emphasising frame rate for each shot in the burst, even if this means a lock can't be achieved for individual frames in the burst.
Metering. Automatic exposure is achieved courtesy of the same 77-segment metering sensor that debuted in the K-7, replacing Pentax's previous 16-segment metering system. Options include Matrix, Center-weighted, and Spot metering, selectable via the switch beneath the Mode dial. A full 5.0EV of exposure compensation is available in either 1/3 or 1/2EV steps.
Exposure Modes. Exposure modes in the Pentax K-7 include Green (fully automatic), Manual, Bulb, Shutter- and Aperture-priority, and a Hyper Program mode which allows shutter and aperture to be simultaneously adjusted around a predetermined Program exposure. There's also Sensitivity Priority, plus Shutter-and-Aperture Priority where the user defines both shutter speed and aperture, and the camera selects an appropriate sensitivity. Finally, a User mode allows settings to be saved for later reuse -- and this has been updated from that in the Pentax K-7. Where previously only one group of settings could be saved, the K-5 will now allow five different settings groups to be notd for future recall. Since there's still only one User position on the Mode dial, the choice of which user preset to apply is made through the K-5's menu system.
Drive Modes. In addition to the previously described 7 frames-per-second Continuous Hi and 2 fps Continuous Lo modes, the Pentax K-5 offers a variety of other drive mode options. These include the ability to bracket multiple exposures with anywhere up to 2.0 EV between each exposure, set in 1/3 or 1/2 EV steps. Where the K-7 allowed either 3 or 5 exposures in each bracketed sequence, the K-5 now also allows two-frame bracketed exposures. The Pentax K-5 also includes a 2 and 12-second self-timer, with self-timer indicator LEDs provided on both the front and back of the camera. Several remote control modes, taking advantage of the optional cabled or infrared remote units. These include standard remote shooting, remote with a three-second delay, and continuous burst remote capture. To prevent vibration issues in long exposures, the Pentax K5 further offers a mirror lockup function that also functions during continuous shooting in Live View mode.
Shutter. Like that in the K-7, the Pentax K-5's shutter unit is capable of a maximum 1/8,000 second shutter speed, and has a rated lifetime of 100,000 cycles. Minimum shutter speed is 30 seconds, and a Bulb position is also available. Note, though, that Bulb exposures are limited to ISO 1,600 max.
White balance. The K-5 offers a wide range of white balance settings: as well as Automatic and Manual modes, there are no less than ten white balance presets (Daylight, Shade, Cloudy, Daylight Color Fluorescent, Daylight White Fluorescent, Cool White Fluorescent, Warm White Fluorescent, Tungsten, Flash, and Color Temperature Enhancement). This last option is used to retain and enhance the lighting tone - for example, to enhance a sunset. Finally, white balance can be measured from a neutral target, either by capturing a new image, or selecting an existing one on the K-5's flash card, and three specific color temperatures can also be manually stored in-camera for later recall.
Flash. As well as a hot shoe and PC socket for external flash and studio lighting connection, the Pentax K-5 includes a built-in popup flash. Rated at 13 meters / ISO 100, the K-5's onboard flash is unchanged from that of the K-7, and offers 28mm coverage plus red-eye removal capability. The K-5 still has X-sync at 1/180 second, offers -2 to +1EV of flash exposure compensation, and can offer both first- and second-curtain flash.
Viewfinder. Pentax has retained the K-7's glass prism-type TTL optical viewfinder unchanged for its new flagship Pentax K-5 model. This viewfinder offers a 100% field of view and 0.92x magnification. Four interchangeable focusing screens are available, with the default being the same Natural-Bright-Matte III screen that came bundled with the K-7. The K5's viewfinder offers -2.5 to +1.5 diopter adjustment to cater for eyeglass wearers, and has an eyepoint of 21.7mm from the eyepiece frame, or 24.5mm from the exit pupil.
LCD. Also carried over unchanged from the K-7's design is the Pentax K5's 3.0-inch LCD display, which offers 921,000 dots of resolution. This equates to roughly 640 x 480 pixels, with each pixel comprising adjacent red, green, and blue dots. The display is an in-plane switching TFT type, which offers wide 170 degree horizontal and vertical viewing angles, and includes an anti-reflective coating. Depth-of-field preview is possible in both the optical viewfinder and on the LCD display.
Live View. The Pentax K-5's live view mode is little-changed from that of the K-7. It offers a choice of either contrast detection AF or phase detection AF, and provides face detection capable of recognizing up to 16 individual faces in a scene when using the former. When in live view mode, the display can be magnified from two to six times if using autofocus, up to a maximum of 10x magnification in manual focus mode. Optional histogram and over / underexposure highlight displays are also available in live view mode. There's also a choice of three grid overlays, two more than in the K-7. Additional grid displays in the Pentax K-5's live view mode include a scale display, and a golden section overlay, useful for precise image alignment.
Movie mode. The Pentax K-5 has several changes to its Movie mode, compared to the K-7. The previous model's non-standard high-definition resolution of 1,536 x 1,024 pixels has been replaced by a standard 1,920 x 1,080 pixel, 25 frames-per-second mode, commonly known as "Full HD" or "1080p". The K-7's alternate 720p (1,280 x 720 pixel) high-def mode is retained, while the non-standard 640 x 416 pixel mode has been replaced with a standard-def VGA (640 x 480 pixel) mode. The 720p and VGA modes both offer a choice of either 25 or 30 frames per second recording. All three types are recorded using Motion JPEG compression, in an AVI container. Maximum clip length is 25 minutes or 4GB, whichever limit is reached first. Like competing DSLRs, the Pentax K-5 also monitors sensor temperature during recording, and will halt capture if the temperature rises beyond a certain threshold.
Like that in the Pentax K-7, the K-5's movie mode doesn't offer autofocus during movie recording. It also lacks manual control of movie exposure, offering only a choice of Program or Aperture-priority exposure modes for movie shooting. It does, however, allow exposure compensation and autoexposure lock, which can be used together with aperture-priority mode to provide some control over the look of videos. The ultimate decision as regards frame rate and ISO sensitivity is always left in the camera's hands, though. Note that in Aperture-priority movie shooting, the aperture is fixed from the start of video recording. Movie audio is recorded either from an internal monaural microphone, or from an external mic via a 3.5mm stereo jack. As with the K-7, the Pentax K-5 offers no manual control over audio levels during recording. Audio capture can, if desired, be disabled altogether.
Like the recently-announced K-r, the Pentax K-5 also now allows use of some of the company's various filter functions when recording movies, including Cross Processing, Toy Camera, Retro, High-Contrast, Extract Color, and Color. We don't currently have details as to which of the filters adversely affect frame rate, but understand this may be the case with certain filters -- not surprisingly, as this is something we've previously noted in some rival cameras, such as Olympus' PEN series single-lens direct view models.
The Pentax K-5 also includes limited in-camera movie editing functionality, something that wasn't present in the K-7 at launch, but was recently made available via a firmware update. It's possible to specify start or end points in a video clip, and then split the file at those points, providing the ability to record for a little longer than necessary so as to be sure you don't miss the action, without then wasting valuable storage space storing the unwanted portions of the video. This is perhaps more important for the K-5 than some competing cameras, given its choice of the relatively less space-efficient Motion JPEG compression.
Dual-axis level gauge. The Pentax K-5's leveling sensor is upgraded from that in the K-7, and matches the capabilities of the medium format Pentax 645D. Instead of the K-7's single-axis roll sensor, the K-5 sports dual-axis roll and tilt sensors, enabling the camera to be leveled on both axes. Like the K-7, the K-5 can display the roll level on both the viewfinder and top panel status displays, as well as the rear LCD panel. Tilt level can only be displayed on the rear panel.
Composition correction. One of the more unusual features of the K-7 is retained for the Pentax K-5, and relies on its sensor-shift image stabilization mechanism. When shooting on a tripod, it is possible to fine-tune your framing by manually controlling the position and rotation of the image sensor. A total of two degrees rotation and three millimeters of horizontal or vertical adjustment (one degree and 1.5mm on either side of the centered position) are available. If the sensor is tilted, the available horizontal / vertical adjustment range may be reduced by as much as 1mm on either side of the centered position, potentially restricting the adjustment range to 2mm total on either axis.
Self-leveling function. Also thanks to the sensor-shift mechanism and internal roll sensor, the K-5 also offers an electronic level function that actually rotates the sensor to a level position when enabled, correcting for errors of one degree in either direction. Like the K7 before it, the Pentax K5 performs this unique trick whether framing portrait or landscape-orientation shots, although the function is automatically disabled if the camera is tilted forwards / backwards beyond a certain threshold.
Connectivity. Interface options in the Pentax K-5 are unchanged since the K-7, and include high definition mini-HDMI video output, standard definition NTSC / PAL switchable composite video output, and USB 2.0 high speed data connectivity. Unfortunately, like the K-7 before it, the Pentax K-5 lacks tethered shooting capability, a feature that was present on the company's earlier flagship models. There's also an 8.3 volt DC input, a terminal for the wired CS-205 cable release, a PC sync terminal for external flash strobes, a 3.5mm stereo microphone jack for recording movie audio from an external microphone, and a proprietary contact on the camera's base for an optional battery / portrait grip. The Pentax K-5 also includes two infrared remote receivers -- one each on the front and rear of the camera body, allowing for the shutter to be released wirelessly from most angles, using the optional Remote Control F, or the waterproof O-RC1 remote.
Power. The Pentax K-5 accepts the exact same D-LI90 lithium ion battery pack as its predecessor, the K-7. The D-LI90 is a 7.2V pack rated at 1,860 mAh / 14Wh. Battery life is rated at 980 shots without flash usage, 740 shots with 50% flash usage, or 440 minutes of playback on a charge -- unchanged from the figures for the K-7 despite the increased resolution and burst rate. For studio shooting, or while offloading data via USB, the K-5 can also draw power from Pentax's K-AC50 AC adapter.
Battery grip. The D-BG4 battery grip for the Pentax K5 is the same model compatible with the K7, and comes with two trays -- one for six AA batteries, and one for a single D-LI90 battery. The K5's battery grip transfers power through a dedicated, proprietary connection, so you can leave a battery in the camera to double the battery life, and needn't fiddle to remove the battery door, as in some competing designs that use a dummy battery. While this design is nice because you don't have to worry about the cumbersome tower that goes up into the battery compartments of other camera designs, you will have to remove the entire grip to change the K7's internal battery. (Of course, you can leave the internal battery compartment empty, and simply place your battery pack in the portrait grip, so this is of little import in real-world use unless you intend to use both battery bays simultaneously.)
The D-BG4 is weather sealed like the camera body, and duplicates several controls from the camera's main interface, including the shutter release, front and rear e-dials, the AE-Lock, and the AF button. It also includes an insert in which to store the protective caps from the body and grip terminals when in use, and the lithum ion battery tray further includes space to store a spare SD card inside the grip. (Sadly, it lacks the space from Pentax's earlier grips in which the tiny Remote Control F could be stored.)
Storage. Similarly to the recently-announced K-r, the Pentax K-5 supports not only Secure Digital and SDHC memory cards, but will also support the latest generation SDXC cards. Although their speed is unchanged, SDXC cards are already available in significantly higher capacities than their other SD brethren. We understand that the Pentax K-5 won't support SDXC cards at launch, but that this capability will follow in a firmware update at some point after the camera is commercially available, providing a level of future proofing in terms of media support. Use of SDHC Class 6 or higher cards is recommended for video capture or shooting high-speed still image bursts. Lower-speed cards can be used, but may reduce the movie clip length or still image buffer depth.
Although dual media slots are becoming somewhat more common these days, the Pentax K-5 only has a single card slot, like its predecessor. One other storage-related change is that the Pentax K-5 now uses 14-bit raw files for both Adobe DNG and Pentax PEF raw formats, rather than the 12-bit files of previous Pentax digital SLRs.
Helpfully, given the lack of tethered shooting capability in the K-5, we understand that it does support Eye-Fi's WiFi-capable Secure Digital cards. While not as fast as a USB 2.0 tether, the feature does at least provide a means to get data off the camera in studio shooting without having to repeatedly swap cards around. Unlike Pentax's current compact cameras, the K-5 isn't an Eye-Fi Connected device, and so doesn't provide the ability to adjust card settings, etc. in-camera. Instead, setup must be done first on your computer -- but once that's been done, the K-5 can transmit JPEG and raw data wirelessly to your PC, either with a backup on the Eye-Fi card, or deleting data from the card when it's been successfully transmitted.
Custom image modes. The majority of other differences between the Pentax K-5 and its predecessor are also found in its firmware functionality. Pentax has added an additional custom image mode to the existing eight found in the latest K-7 firmware, emulating the look of Bleach Bypass images. Even if you've not previously heard the term, it's likely you're familiar with the effect, as bleach bypass has been a popular effect in the movie industry for many years. With film, the effect was achieved by skipping or abbreviating the bleaching stage of processing, leaving some silver in the emulsion alongside the color dyes. The effect is a grainy, high-contrast look with reduced saturation and exposure latitude.
Filters. There are also two new Playback-mode filter functions not found in the K-7, both of which debuted in the recent K-r, and whose effects are self-explanatory. The sketch filter mimics the look of a hand-drawn image, while the posterization filter causes abrupt transitions in tone. The color extraction filter has also been updated, and now allows two color ranges to be highlighted in an image, with colors outside these ranges desaturated.
Cross Process. The Pentax K-5 also inherits an updated version of the cross-process function that debuted in the K-x, which is intended to offer a similar effect to the film processing technique. Cross processing of film involves intentionally using processing chemicals with a film type for which they weren't intended, with unpredictable but sometimes eyecatching effect. In the K-x, the function -- accessed through its own option in the record menu, rather than as a filter or custom image mode -- could only be switched on and off, and yielded a random effect that couldn't be previewed ahead of time. In the Pentax K-5, it's still possible to use the cross process function in this manner, but there are also three preset cross process modes that offer a consistent look from shot to shot. In addition, there's an adjustable user favorite preset, which allows the look to be tailored to the photographer's needs.
HDR. The Pentax K-5 also updates the high dynamic range function that debuted in the K-7, and was retained for the K-x. HDR photography allows capture of images with greater dynamic range than the sensor is capable of detecting, by taking multiple images with varied exposure, and then combining them to produce a single shot with increased dynamic range. Since it involves multiple exposures, it's only useful for relatively static subjects. At the time of the K-7's launch, the feature was unique in the digital SLR market, but it's since been mirrored -- and improved upon -- by rivals.
As in the recent K-r announcement, the K-5's HDR function includes several changes. The most significant of these is that the K-r now microaligns images before combining them, making it possible to shoot handheld HDRs. (Previously, even a slight camera movement would cause artifacts throughout the image, rendering it unusable -- and hence HDR mode was limited to tripod use.) The K-5 now has Auto, Standard, and three Strong effect modes, providing further control over the look of the HDR effect applied.
Time-lapse. Pentax has retained the time lapse mode from the K-7, and the camera can also shoot multiple exposures with an overlay of the previous image on the LCD to assist in alignment.
Copyright. Another K-7 feature retained for the K-5 allows you to specify a copyright holder for storage in the EXIF header of photographs. This is entered via the camera's menu system, rather than setting this via an attached computer.
Software. The Pentax K-5 ships with a newer version of Pentax's software CD than that included with the K-7. Where the previous model included the S-SW90 CD, the K-5 now ships with the S-SW110 disc. The actual software bundle is unchanged, and still includes Pentax's Silkypix-derived Digital Camera Utility 4 package. The newer version of the CD simply includes more current versions of the software with support for the latest Pentax DSLR bodies and lenses
Pricing for the Pentax K-5 is set at approximately US$1,600 for the camera body alone, with availability expected from October 2010. In addition, a kit bundle with the 18-55mm WR lens will also be available, priced at about US$1,750.
New lens. Alongside the launch of the camera, Pentax has also announced another new WR lens, bringing the total number of the company's weather-resistant consumer lenses to four models. The smc PENTAX-DA18-135mm F3.5-5.6 ED AL [IF] DC WR lens has a built-in Direct Current autofocus motor, and a focus ring that doesn't move during AF operation. Pricing for this lens is set at US$530, and it will be available from October 2010.
In addition to its WR lens models, note that all six lenses in Pentax's current DA * lineup are weather-sealed. This means that K-5 owners have a total of ten lenses from which to choose, all including weather sealing matching that of their camera body. (Of course, in most conditions you can also use non-sealed lenses with the K-5 body, but these could potentially allow dust and water to enter the camera body if used in adverse conditions.).

Canon G12 posted a review!

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Review by Mike Pasini and Zig Weidelich
Overview by Mike Tomkins
Review Posted: 11/17/2010
Canon's PowerShot G12 digital camera is the company's latest flagship fixed-lens camera, and a direct successor to last year's PowerShot G11 model. The Canon G12 retains the same ten megapixel CCD sensor resolution as its predecessor, coupled to the same DIGIC 4 image processor that featured in both the G10 and G11. The pairing of sensor and processor has now been giving branding, described as the "HS System," with the initials standing for "High Sensitivity."
The Canon PowerShot G12 retains the same 5x optical zoom lens from the PowerShot G10 and G11, which offers 35mm-equivalent focal lengths ranging from a useful 28mm wide-angle to a 140mm telephoto. And as with its predecessor, the Canon G12 includes true optical image stabilization to help combat blur from camera shake.
Also like its predecessor, the PowerShot G12 has a 2.8-inch tilt/swivel LCD display, with 461,000 dot resolution. Other features retained from the G11 include a high-definition HDMI video output connector with Consumer Electronics Control (HDMI-CEC) compatibility, and the ability to save still images not only as compressed JPEGs, but also as Raw files.
So what's new? There's a new control dial on the front of the camera body, mirroring those on Canon's EOS-series DSLRs, and support for an optional FA-DC58B lens filter adapter which extends along with the lens itself, accepting Canon 58mm-threaded filters. The top-panel ISO dial is also finer-grained, allowing adjustment in 1/3 stop increments, and there's also a new user-configurable Auto ISO function. Another addition is tracking autofocus capability.
The addition of an electronic level function will allow photographers to assure themselves of even horizons. The PowerShot G12 also offers a variety of new aspect ratios, including 4:3 (native), 3:2, 16:9, 1:1, and 4:5.
A Smart Auto function automatically selects the appropriate scene mode from among 28 types, depending on subject matter. The Canon G12 is also now certified as Eye-Fi Connected, meaning it provides access to certain management features of the popular WiFi-capable SD cards in-camera.
The Canon PowerShot G12 further adds a new high-definition 720p movie mode, with stereo sound recording -- a significant update from the G11's standard-def, VGA video with monaural audio. A miniature effect function is available during video shooting in the Canon G12, something we've seen in several of Olympus' digital camera models -- and early indications are that, as in those cameras, this will have an effect on framerate.
There's also a new high dynamic range (HDR) shooting mode, which captures three successive photos with varied exposure, and then combines them in-camera to produce a single image with increased dynamic range. Since the function relies on multiple source images, it's only of use for relatively static scenes. It further requires use of a tripod, and hence can't be used handheld, because the Canon PowerShot G12 can't microalign the source images before merging.
Availability for the Canon PowerShot G12 in the US market began early October 2010. List pricing is set at around US$500, the same as that of its predecessor.
by Mike Pasini

When I last looked at Canon's G Series PowerShot, things were a lot simpler. The G10's competition was Panasonic's LX3 and Nikon's P6000.
This time around, it's the Panasonic LX5 and the Nikon P7000 fighting it out with the Canon G12 as each company's flagship digicam. But there's a lot more competition for your camera dollar. Even from Canon, whose much more compact S95 may make you wonder which model is the flagship PowerShot.
And beyond that, there are the mirrorless cameras from Sony, Panasonic, Olympus, and Samsung that are more compact than a dSLR if larger than a digicam, but offer better image quality than a digicam.
Mouse over to extend lens.
The real debate this year isn't Canon, Nikon or Panasonic. It's more a question of how small you want the box to be and how large you need the sensor to be.
On those counts, the Canon G12 would seem to be disadvantaged with a big body and a small sensor. The S95, like the LX5, has a very desirable small body but a small sensor, and the mirrorless cameras are bigger both in form and sensor.
Look and Feel. So size is an issue. And if you're looking for a very small camera with excellent quality and full features, you might just fall in love with the S95. The Canon G12 is going to look too big to you and feel as heavy as a brick in your bag.
I've complained about the G-series size before. And I take the S95 as Canon's excellent answer to my complaint.
But I have to go a little further this time. I compared the Canon G12 to an Olympus E-PL1 and guess which camera was bigger and heavier? The Micro Four Thirds mirrorless E-PL1.
Neither of these cameras is pocketable. I did carry the Canon G12 in my jacket pocket most of the time, but it really pulled the jacket down on that side. It's much more suited to a small camera bag or purse. Or you can just use the included shoulder strap.
I used a wrist strap rather than the Canon G12's included shoulder strap. Riding public transportation, I prefer not to draw attention.
Compared to the G11, the Canon G12 is nearly identical, but Canon has made a couple of nice physical improvements:
A control dial has been added to the front panel just below the Shutter button. Canon calls it the front dial to distinguish it from the control dial on the four-way navigator.A small thumb grip has been added to the back panelThe speaker grill has also been redesignedISO stops in one-third increments
The Canon G12's grip is the same as the G11's and quite adequate. It's the one thing really missing from the S95.
Also retained is the articulating LCD. This makes it easy to see what you're shooting when holding the Canon G12 above your head or below your waist. But it can also be used for self-portraits because it can face forward, too. You can fold it back against the body like any other digicam for ordinary use and protect it by facing it into the body when you're traveling with it.
There's also an optical viewfinder. Some people insist on it. But they are always (very) inaccurate; in this case, it only shows 78% of the scene at wide-angle, and 79% at telephoto in our tests. The Canon G12's viewfinder image is also very small. A dioptric adjustment sits next to it. But the LCD, on the other hand, is accurate and easily seen in bright sunlight.
The Canon G-Series has always been expandable with a range of accessories including a 1.4x teleconverter lens and 58mm filter adapter. A release button on the front frees the Canon G12's bayonet-mount knurled ring for the adapter that accommodates lenses or filters. For some odd reason, Canon also sells different color rings so you can personalize the camera if you've got nothing else on your mind. The Canon RAK-DC2 Ring Accessory Kit ($27 list) includes three rings, black with a gold accent, black with a blue accent, and silver with what looks like a white accent.
The G Series has also been known for its fast lens and the Canon G12 uses the same glass as the G10 and G11, a 5x 28-140mm f2.8-4.5 zoom. It's extended both by a 4x digital zoom and a hybrid image stabilization system that uses both an angular sensor and an accelerometer to suppress both the blur caused by the angle of the camera and the "shift blur" that happens when the camera moves parallel to a subject.
The angular sensor turns out to be pretty handy. In fact, there's a menu option to calibrate level for the Canon G12. You put the camera on a flat, level surface and calibrate it. Then you can press the Display button in Record mode to display an electronic level to help you level the camera.
I found myself bumping over the 5x optical zoom limit into digital zoom quite a bit, but I've been shooting with 20x zooms lately.
While the Canon G12's manual seems to discourage Eye-Fi use ("This product is not guaranteed to support Eye-Fi card functions," it says), I used an Eye-Fi Pro X2 with it with no problems. And there is even some firmware support for Eye-Fi wireless SD cards.
Controls. As you move up the camera quality chain, you find more and more options have a physical control rather than a menu item. That's a welcome thing in my mind because your fingers can remember where things are, leaving your brain free to focus on shooting.
But it can be unnerving.
I was taking a few practice shots in the car one rainy day and the difference between the outdoor light and the inside light was so dramatic that the dashboard was just too dark.
The simple solution was to overexpose the interior by kicking the Canon G12's EV up a bit. I looked through the menu system but couldn't find EV. I thought it was because of the mode I was shooting in, but I was already in Program. I confess I had to give up, shooting in Manual mode before the light changed.
Okay, so I wasn't familiar with the Canon G12. But later I gave it another shot. I was framing a basketball hoop from below with the blue sky above. The sky again was too bright for the scene, so I wanted to use EV to underexpose the scene.
Knowing EV wasn't in the menu system, I gave the obscure buttons a shot. The asterisk button, the user-defined button. Nothing.
"Maybe you should read the manual," my observant friend suggested.
Actually, the solution was a lot simpler than that. There is an EV dial on the Canon G12's top panel. I don't know how it eluded my search but it was in plain sight. That's why this is a confession.
To save you my embarrassment, let's tour the Canon G12's controls.
Smart Shuffle. In Playback mode, use the arrow keys to select which of the smaller images to show in the center next.
On the front of the Canon G12, the new front dial is conveniently positioned just below the Shutter button. The auto-focus assist/self-timer lamp is just to the upper left of the lens ring. Above it to the right is the viewfinder. And right of that is the flash. It's not a popup flash and it is very close to the lens, promising red-eye. Below and to the right of the bayonet lens ring is the Ring Release button, allowing you to replace the Canon G12's ring with an adapter for either a teleconverter or 58mm filters.
The bottom panel has the Memory Card/Battery compartment protected by a nice, large cover that is easy to open and close. At its hinge is a metal tripod socket about the middle of the panel but not centered under the Canon G12's lens.
On the left side panel where the LCD is hinged, you'll find the speaker grill. And on the opposite side, you'll find the HDMI port, Remote Terminal, A/V port all under a plastic cover with a sharp snap to it.
On the Canon G12's top panel, Canon has loaded the important shooting controls. At the far right are the Shutter button and Zoom lever. The Shutter button is as small as Shutter buttons go (and thankfully not chrome) but worked fine. Zoom was smooth and slow enough to compose with precision.
Behind them is the small Power button with a green LED in the center to indicate status. It's nearly flush to the Canon G12's top panel so you can't easily feel for it, but it's easy enough to find and use once you know where it is.
To the left of them is the ISO Speed dial with the slightly smaller Mode dial on top of it. An orange LED just left of the dials indicates which ISO and which Mode is active. ISO can be set in one-third stops.
On top of the optical viewfinder hump is a hot shoe with five electrical contacts. On either side of the hump and a bit forward are two microphones.
On the left side of the top panel is the EV dial set slightly back so it's easy to dial in a different EV setting.
The back panel holds the Canon G12's 2.8-inch LCD with 461,000 pixels. Above it is the optical viewfinder with two status LEDs on the right and a dioptric adjustment on the left. To the left of the viewfinder is the Short Cut/Direct Print button. To the right about an equal distance from the viewfinder is the Playback button.
In the top right corner is the AE Lock/FE Lock asterisk button. Further down and just to the right of the Canon G12's LCD is the four-way navigator ringed by the Control dial and with a Function/Set button at its center. It's surrounded by four other buttons: the AF Frame Selector/Erase and Light Metering/Jump buttons on top with the Display and Menu buttons below.
The arrow positions on the four-way navigator lead double lives, of course. The Up arrow handles Manual Focus, the Right arrow Flash modes, the Down arrow Self-Timer modes and the Left arrow Macro mode.
Slide Show Options. Simple options, nice transitions, but with HDMI output a little fancier show (with music) would have been appreciated.
When I found the Canon G12's controls, I thought they were a bit stiff and a bit sharply knurled. Slightly unpleasant to actually use, that is. And therefore a disappointment in an otherwise nicely appointed camera. They really aren't up to dSLR standards.
You can register different functions to the Front dial, the Control dial, and the Shortcut button. In Manual mode, for example, the Front dial can set the shutter speed while the Control dial can set the aperture. In Aperture Priority, the Canon G12's Front dial controls the aperture and in Shutter Priority, it controls the shutter speed. A menu option lets you change all that to suit your preference.
A menu option lets you assign any of several functions to the Shortcut key. Those include Unassigned, i-Contrast, White Balance, Custom White Balance 1, Custom White Balance 2, My Colors, Bracketing, Drive Mode, Flash Exposure Compensation/Output, ND Filter, Aspect Ratio, Raw or JPEG, Image Size/Compression, Movie Quality, Servo AF, Red-Eye Correction, AF Lock, Digital Teleconverter, and Display Off.
Lens. The Canon G12's 6.1mm to 30.5mm (28mm to 140mm equivalent), is a 5x optical zoom lens. Focusing ranges from 2.0 inches to infinity at wide-angle and 12 inches to infinity at telephoto. Macro at wide-angle focuses between 0.4 inch and 1.6 feet. At telephoto, Macro focuses from 12 inches to 1.6 feet. You can manually focus the lens from 0.4 inch to infinity.
Corner softness is almost low through the focal length range. Chromatic aberration, more noticeable at wide-angle, is well controlled for a small camera. Barrel distortion is slightly higher than average at wide-angle, noticeably distorting straight lines. But that's not unusual for a 28mm equivalent lens.
Modes. The Canon G12 offers a wide range of shooting modes if nothing quite as ambitious as Casio and Sony have cooked up.
Manual. Front dial controls shutter speed and the Control dial handles the aperture.
No G Series PowerShot is worthy of the name, of course, without full Manual control. Aperture and Shutter Priority are not far behind. And I was glad to see the Canon G12 actually offered some aperture options, ranging from f/2.8 to f/8.0 at wide-angle and f/4.5 to f/8.0 at telephoto. Shutter speeds ranged from 15 seconds to 1/4,000 second.
Program mode is pretty tame on any Canon and so it was with the G12. Program Shift is activated by pressing the AE Lock button in the upper right corner of the Canon G12 and turning the rear Control dial. A graphical representation of the available apertures over the available shutter speeds appears onscreen, sliding left and right as you turn the dial.
Auto mode is actually a Smart Auto. The Canon G12 can recognize several shooting situations, optimizing settings for them while detecting and focusing on faces. Canon doesn't document what situations the G12 can recognize but Macro and Portrait were two.
Low Light uses a small image size of 1,824 x 1,368 pixels with a higher ISO to capture natural light images while minimizing the effects of camera shake and subject blur.
Quick Shot. Everything on one screen.
Quick Shot mode continuously adjusts focus and exposure while turning the LCD into a control panel with rows of settings you can scroll through, using the Front dial to change them quickly. To compose the shot, you use the optical viewfinder. Settings include Shutter Speed, EV, White Balance, My Colors, Histogram, Self-Timer, Aperture, Flash EV, AE Lock, FE Lock, Aspect Ratio, ISO Speed, Flash Mode, i-Contrast, Image Type, Image Quality, Image Size, Drive Mode, Camera Orientation, Image Stabilizer, Recordable Shots, Battery Charge, Red-Eye Correction, Date, Eye-Fi transmission. Anything else can be accessed by pressing the Menu button.
Scene modes on the Canon G12 include Portrait, Landscape, Kids & Pets, Sports, Smart Shutter, Super Vivid, Poster Effect, Color Accent, Color Swap, High Dynamic Range (HDR), Nostalgic, Fisheye Effect, Miniature Effect, Beach, Underwater, Foliage, Snow, Fireworks, and Stitch Assist.
Of those I found HDR particularly interesting when used in low light. It takes three shots and composites them in the camera. In most situations where you'd need it, you'll have to use a tripod with HDR. And Fisheye was a lot of fun, too.
HD movie. 720p24 H.264 format with stereo sound. Optical zoom not supported, but digital zoom is. (Click to download 16.9MB MOV file.)
Movie mode options include 1,280 x 720 at 24 frames per second with 640 x 480 and 320 x 240 both at 30 frames per second. Standard, Miniature Effect, Color Accent, and Color Swap effects are available in Movie mode.
Menu System. The Canon G12's menu system will be familiar to any PowerShot owner with only minor variations reflecting the model's advanced capabilities.
Function Menu. Here the i-Contrast dynamic range correction options are displayed.
If what you need can't be found on a button (or dial), press the Function button in the middle of the Canon G12's four-way navigator. If you need more general behavioral modification, use the Menu button.
The Canon G12's Function button uses a totem pole of icons on the left with options appearing across the bottom. The Menu button uses a tabbed set of options that are easily navigated, although to switch tabs you have to go all the way to the beginning or end of each list of options before the tab option is active again.
My Menu can accommodate up to five frequently used menu options. And you can change their order, too. Very handy.
Storage & Battery. The Canon G12 supports SD/SDHC Memory Cards, SDXC Memory Cards, Eye-Fi Cards, MultiMediaCard, MMC Plus Cards, and HC MMC Plus Cards.
At the highest quality setting and a 4:3 aspect ratio, you can store about 1,471 images on a 4GB card, according to Canon. You can record up to 25 min., 8 seconds of 1,280 x 720 HD video on that same 4GB card. Clip sizes are restricted to 4GB in HD and one hour for 4:3 formats. SD Speed Class 4 or higher memory cards are recommended.
The rather bulky lithium-ion Canon battery (NB-7L) is rated for 7.4 volts and 1,050 mAh, providing 370 shots with the Canon G12's monitor on, or a playback time of seven hours, according to Canon, which used CIPA measurement standards.
The battery cover has a slot you can fit over an arrow printed on the battery to indicate it's charged. A depleted battery can be indicated by turning the cover around so the arrow is covered. Clever and very helpful if you use more than one battery.
The Canon G12's battery charger has a convenient folding plug design. And an AC adapter is available.
I found battery life to be extensive, rarely charging the battery between shoots.
DIGIC 4 Image Processor. Using algorithms developed by Canon, the DIGIC image processor facilitates the high-speed processing of tasks like reducing false colors or moire patterns and canceling noise during long exposures. It also reduces noise for high-speed image capture and provides higher resolution signal output to the Canon G12's LCD.
DIGIC 4 is even faster than its predecessors. It incorporates noise reduction technology and Scene Detection technology, along with improved video functionality, Face Detection technology and Motion Detection technology.
It seemed to me I couldn't take a bad shot with the Canon G12. I particularly liked how well it held shadow and highlight detail with a smooth distribution of midtones, not to mention natural color. Even reds held up well, to my surprise.
And the range of the lens from macro to wide-angle at 28mm was encouraging. I was a bit worried about exceeding optical telephoto but I let it fly after I saw the first results. There was pretty good detail (exceeding what I could see with my eyes) and the color held up well, too.
So I took the Canon G12 everywhere with me for a couple of weeks.
Vehicles. I shot a number of vehicles for some reason, all of them instructive.
The dark interior shots on a rainy day really show off the tonal range of the Canon G12's captures. The seat shot has a very shallow depth of field, but I was actually interested in the seat back, not the raindrops. At 1/32 second I really didn't have much room to negotiate a smaller aperture unless I kicked up the ISO.
The dark dashboard shot was taken in Manual mode because I was still hunting around for the EV control. At least there was a Manual mode there so I could get the shot. But again, what I saw in the car was that lovely gradation of tone and it's there in the shot, too.
The red of the Rumbolino looks pretty good, too. Compare to the metallic red of the flower vase in bright afternoon sunlight, which was also well captured.
The Toyota pickup was a study in fall colors, lets say. I was glad the Canon G12 didn't bump up the ISO despite the overcast sky just as it kept it to ISO 80 on the rainy day. The Canon G12 has an option in Auto ISO to limit how high the ISO is allowed to go, but also to slow or accelerate its rate of change, which leans the bias toward slower shutter speeds and wider apertures to keep the ISO low, or else allows it to change more quickly. Settings are Slow, Standard, and Fast.
Fisheye. When you need a little more room on the bus.
Effects. The first shot of the bus was really just a setup for the Fisheye effect shot that follows it. It's a fun effect that still gives you a full frame, unlike a real fisheye lens.
The white JFK rose shows how well highlight detail is captured. There's just the very slightest red blooming on the edges of the largest petals where they meet the dark green background. You really have to pixel-peep to see it.
For some reason it's more fun shooting monochrome than desaturating a color image at the computer. The Canon G12 lets you shoot black and white (and even sepia), showing you the effect as you compose with the LCD. It's right on the Function menu, too.
I shot my logs on Twin Peaks in both color and black and white. Somehow the black and white shot always looks more interesting. And the Canon G12 held onto the highlights very nicely, even though the wood has been bleached by the sun for months.
The shot of the parking lot shows the Miniature effect, which defocuses the top and bottom of the image to make the subject appear toy-like.
Low Light. The dolls in near darkness show what the Canon G12 can do in low light using HDR, Low Light mode, and a range of ISO settings in Program. HDR was the first shot (it seems to always record as ISO 800), not very successful, because as I mentioned HDR mode requires a tripod.
Color is pretty consistent from ISO 400 to ISO 2,500. ISO 400 at 1/4 second suffers camera motion blur, despite Canon's optical image stabilization, which was on for all of these shots. At ISO 2,500, detail is still sharp on the small doll, although not the best we've seen. Still, none of the other shots were as sharp.
Dynamic Range. I took a series of shots of a fire hydrant in the rain to test i-Contrast, Canon's dynamic range optimization. Settings were Off, Auto, 200 percent, and 400 percent. I was particularly concerned in this series with holding highlight detail without using EV to underexpose.
First, I'll point out that the red blooming we saw just a hint of on the rose is a little more evident here at the edges of the hydrant.
Second, I'll point out that it's hard to attribute any real difference to any of these even with the bright sticker on the top of the hydrant as our highlight test. They're all well exposed with very good color (that red curb is very natural) and excellent detail.
More revealing of dynamic range are all the shots taken together. I shot with i-Contrast set to Auto for the most part and none of the images show blown-out highlights.
The row of logs on Twin Peaks is a good example. The bleached logs still have detail and you can see rocks in the dark shadows they cast. That's really a pretty good job with that scene.
Unfortunately, there isn't an Exif tag to reveal the i-Contrast setting. But fortunately, you can change the i-Contrast setting in Playback. You can select between Auto, Low, Medium, or High.
There is a second set of i-Contrast images of a fig tree at the bottom of the gallery that I did label with the setting. The first (DR0) has i-Contrast turned off. The second (DRA) is Auto, the third (DR1) is 100 percent, and the last (DR2) is 200 percent. That's the full range.
I think it's a good idea to set it on Auto and enjoy the feature.
Street Shooting. Even though the Canon G12 isn't a compact digicam, it's a lot smaller than even a small dSLR, and even more compact than most mirrorless cameras. So when the World Series came to San Francisco, I put the Canon G12 in my pocket for a walk around the stadium before Game One.
It was already crowded hours before the game so having a small camera was a decided advantage. And having a large battery capacity was another advantage I appreciated. In that sense it was a lot like having a dSLR rather than a little camera with a thin wafer of a battery. I left the camera on, protecting the lens as I navigated the crowd.
Because it's a 28mm-equivalent wide-angle, I zoomed all the way back and composed my shots casually, sometimes just taking a flying leap of faith by pointing the camera in the general direction of the subject.
This was another situation where having dials and buttons beat the pants off navigating menus. If I needed to adjust exposure, the EV dial was right there, no fooling around with the LCD. That made a big difference.
So did the Front dial when I slipped into Aperture Priority mode to isolate a statue against the busy background. In this case, I was looking at the LCD to compose the image anyway, but the Front dial made it easy to find the widest aperture.
Some things are just impossible to judge on an LCD. The shot through the fence looked as if the players beyond the fence were sharp, but that isn't the case. Having taken that shot more than once, I knew it required manual focus, but street shooting wasn't going to provide the opportunity. It was really a point-and-shoot event.
Still, the overall effect of the 40 shots I took around the stadium was just what I was looking for. Though misfits and discards individually, they were, like the Giants themselves, winners as a group.
Hiking. Another ticket the Canon G12 filled was as a hiking companion. I took a few hikes with the Canon G12 (in fact, I rarely left the house without it).
One hike along Glen Canyon has always been a challenge photographically. The scenes are dramatic but the pictures tend to be rather bland. But with the Canon G12 I was able to capture the hillside in the Fall light framed by the evergreens along the road. Hard to believe that's in the middle of San Francisco, but there you go.
My usual hike up Twin Peaks for the zoom series of shots was on a particularly brilliant and clear day.
At the full telephoto focal length, I took a shot straight down Market St. You can just about make out the time on the Ferry Building (it may help to know it was 12:37). That's not something you can see with the naked eye.
The shot of the Golden Gate Bridge used digital zoom but you can see how well it held detail by examining the thin vertical cables holding up the roadway.
As the zoom series shows, the Canon G12 has a sufficient reach at 20x with digital zoom, although the 5x optical zoom is a little short for distant landscapes. Digital zoom held up very well, though, in both color and detail, so I didn't hesitate to use it.
Aspect Ratios. But the Canon G12 really shined at wide-angle with 16:9 aspect ratio. I shot mostly 4:3 aspect ratio to the largest file sizes, but I preferred 16:9. The Canon G12 also offers 3:2 and even 1:1 aspect ratios. There's a nice macro shot at 1:1 in the gallery.
But the wide-angle shots of the roadway trailing off into the sky on Twin Peaks are dramatic. As is the row of logs and the staircase. They draw you into the shot. And that's partly the wide-angle lens and partly the aspect ratio. On the Canon G12, you get both to play with.
HDR. The last two shots in the gallery were both taken with the HDR Scene mode. In HDR, the Canon G12 takes three shots at different exposures (I heard different shutter speeds for my still life images), compositing them in the camera.
At 1/4 second (more or less, considering there are three shots), camera blur becomes a problem. And the two HDR shots certainly show that. But I had such great results using Sony's Handheld Twilight mode under the same circumstances, I had to try it. Sony clearly wins this round, thanks to their micro-alignment feature, something the Canon G12 lacks. So as I've said, a tripod is necessary.
Before I packed up the Canon G12, I popped it on a tripod and took a series of garden furniture shots. I thought the shadows and bleached wood would profit from multiple exposures and, with the color options, clearly show the alternate renderings.
Which chair would you sit in?
Raw. The Canon G12, like its predecessors, can store Raw captures and even Raw+JPEG captures. There are two in the gallery. Both are high-contrast images of a plant in bright sunlight.
While it took a second to write the Raw data to the card, performance wasn't as sluggish as it is with some digicams that capture Raw data. It really wasn't suitable for quick action or continuous release, however.
It's worth downloading one of the Raw images to see how much range they have. You'll need Lightroom 3.3 or Camera Raw 6.3 to handle them, at least among Adobe products.
GPS. One final confession. All the gallery images were shot with an Eye-Fi X2 Pro card, which put GPS data into the Exif header based on the router the images passed through on their way to the hard disk. Since this isn't at all accurate, I've simply used Phil Harvey's ExifTool to remove the GPS data.
See the test results summary, along with pro/con and our conclusion below. For more detailed test results, see the Optics, Exposure and Performance tabs.
Sharpness: The wide-angle end of the Canon PowerShot G12's zoom shows moderate blurring in the corners of the frame compared to what we see at center, with the strongest instance in the lower left corner. However, blurring didn't extend very far into the frame. At telephoto, performance is a little better, with only very slight softening in the corners. Good results overall.
Geometric Distortion: There is higher than average barrel distortion at wide-angle (0.9%), and almost no perceptible pincushion distortion (less than one pixel) at telephoto. Pretty good results overall.
Chromatic Aberration: Chromatic aberration at wide-angle is moderate in terms of pixel count, though pixels are fairly bright. The effect extends deep into the frame, though width and intensity decrease. Telephoto, however, shows much less distortion, with faint red and blue pixels just visible.
Macro: The Canon PowerShot G12's Macro mode captures a sharp image with strong detail, though with visible softening in the corners that extends far into the frame (a common limitation among consumer digital cameras in macro mode). Chromatic aberration is also visible. Minimum coverage area is 1.22 x 0.92 inches (31 x 23mm), which is quite good. The camera focuses so closely that the flash is blocked almost entirely by the lens.
Viewfinder Accuracy: The Canon PowerShot G12's optical viewfinder showed about 78% coverage at wide-angle, and about 79% coverage at telephoto, a very poor performance, though no surprise for a non-TTL optical viewfinder. The LCD monitor showed about 100% coverage accuracy at wide-angle and at telephoto, which is excellent.
Color: The Canon PowerShot G12 produced good saturation overall, though strong reds, greens, browns and blues showed mild to moderate oversaturation. Bright yellows, aqua and cyan were actually a little muted. Hue performance showed some shifts in color, such as cyan toward blue, red toward orange, and yellow toward green. Lighter skin tones were close to accurate, though slightly cool, while darker skin tones showed a warmer, yellowish cast.
Incandescent: Manual white balance handled our incandescent lighting best overall, despite a slight cool cast. The Auto setting also turned out well, though it was just a bit magenta. Incandescent mode resulted in a strong magenta cast.
Resolution: Our laboratory resolution chart revealed sharp, distinct line patterns down to about 1,500 lines per picture height horizontally, and to about 1,400 vertically. Extinction of the pattern occurred at around 2,200 lines per picture height.
Flash: Our manufacturer-specified testing (shown at right) showed bright results at wide-angle at the rated 23 feet, despite having to move the camera out of the main lab. (The white doorway, panels and ceiling often fool cameras into underexposing the flash target, but not the G12.) The G12 did however boost ISO to 400 to achieve these results. The telephoto test came out well exposed at the rated 13 feet, with an ISO increase to 320.

Auto flash produced bright results in our indoor portrait scene, thanks to an automatic ISO boost to 250. The slower shutter speed of 1/25 second selected by the camera could result in mild blurring from subject movement, though.
ISO: Noise and Detail: Detail is quite good at ISO 80 up to about 200, though smudging becomes more evident at ISO 400. Yellow and purple chroma (color) noise begins to appear in darker areas at ISO 800, and worsens as sensitivity increases. Stronger noise reduction at the higher ISOs decreases detail as well. However, overall results are still better than average. See Printed results below for more on how this affects prints.
Printed: ISO 80 and 100 shots look good at 16x20 inches, if a little soft. Sharpening improves matters. Color and corners look good, but the red swatch is a little soft at this size and ISO setting. 13x19-inch prints look better straight from the camera.
ISO 200 images have good detail at 13x19 inches, but there is some luminance noise in the shadows.
ISO 400 shots are slightly soft printed at 13x19, though still usable. Shadows show a little more luminance noise. Detail looks much sharper at 11x14 inches.
ISO 800 images are softer at 11x14, but not bad. Reds that were soft at 80 are softer now, but still surprisingly show some detail. Printing at 8x10, though, makes a great print.
ISO 1,600 shots look better at 5x7, and though the red swatch is soft, it still looks good. Shadows at this size look quite normal.
ISO 3,200 shots are also quite good at 5x7.
Overall, a very good performance from the Canon G12. Dark areas deepen slightly as we move up the ISO ladder and down in print size, but color and apparent exposure look pretty consistent. It's also a little better image quality than we saw in the Canon S95.
Shutter Lag: Full autofocus shutter lag is slower than average at wide-angle, at 0.66 second, though about average at 0.75 second at full telephoto. Prefocus shutter lag is 0.076 second, not the fastest out there, but still pretty quick.
Cycle Time: Cycle time is slower than average, capturing a large/fine JPEG frame every 2.4 seconds in single-shot mode. Continuous mode captures JPEG frames at 1.97 frames per second, just a little sluggish for its class. RAW+JPEG continuous mode is slower, at 0.96 frames per second.
Flash Recycle: The Canon PowerShot G12's flash recycles in about 4.1 seconds after a full-power discharge, about average.
Low Light AF: The G12's AF system was able to focus down to the 1/16 foot-candle light level without AF assist enabled, and the camera was able to focus in complete darkness with the AF assist lamp enabled.
USB Transfer Speed: Connected to a computer or printer with USB 2.0, the Canon PowerShot G12's download speeds are moderately fast. We measured 6,433 KBytes/sec.
Shipped with the retail version of the Canon G12 are:
PowerShot G12 Lithium Battery Pack NB-7L Battery Charger CB-2LZ Neck Strap NS-DC9 AV Cable AVC-DC400ST USB Interface Cable IFC-400PCU Digital Camera Solution CD-ROM
Articulated LCD screen helps compose from unusual anglesHigh build qualityGood gripDials for ISO and EVNew Front dial very handyExcellent optics with a 28mm start to the 5x optical zoomExcellent Optical Image StabilizationNew hybrid IS system corrects for both lateral and angular shifts Good MacroSupports Raw (and Raw+JPEG) with less speed penalty than mostVery good low light performanceExcellent, familiar menu systemMy Menu for commonly used settings Custom settings on mode dial Good color accuracy Faster JPEG burst mode than G11 (but still sluggish) 720p HD movies with stereo sound Better than average noise performance Lots of accessories including an underwater housing, ring light, off-camera flash, teleconverter, filter adapterOptical viewfinder (but see Con about accuracy)i-Contrast with highlight and shadow adjustments Variable AF frame size AF-point zoom Tracking AF HDR mode (but requires use of tripod) Good flash rangeDecent flash recycling timeFlash hotshoeExcellent battery lifeFace detection, face self-timerSDXC card support Awkward size: heavy and bulkyControls are stiff and roughSmall Shutter button and Zoom ringMediocre cycle times Poor optical viewfinder coverageHigh barrel distortion at wide-angle Moderately high chromatic aberration at wide-angle (when wide open) Moderate corner blurring at wide-angle (when wide open) Autofocus is slower than average at wide-angle, and on the slow side of average at telephoto No noise reduction options Optical zoom not supported during movies Telephoto doesn't go as long as some of the competition Auto flash can use slow shutter speeds Lacking features some competitors have (no hand-held multi-shot modes, no automatic panorama feature, etc.)
The PowerShot G12 manages to improve on the G11 without taking any backward steps. It represents more a refinement than a revision, but that only reflects what a solid camera the G11 was.
Despite that, the G12 is getting squeezed on one side by its own slimmer and nearly-as-capable PowerShot 95 stablemate. And on the other side, it's getting pushed by a handful of small mirrorless cameras that aren't quite as small, but pack larger sensors. It's simply a different landscape in 2010.
I found myself picking up the Canon G12 rather than the Olympus E-PL2 next to it simply because it was slightly smaller and its image quality was always pleasing. I might just have easily picked up an S95 or a Panasonic LX5 if one of those had been sitting on the table, though.
What's clear in this crowded field is that what used to be the top of the mountain, the flagship among digicams, is now something of a compromise. A pleasant compromise, I hasten to add, but not the slam dunk of years past.
On the other hand, compromise is an art, and Canon has delivered such an artful one that it easily merits a Dave's Pick. It's the best G-series PowerShot I've had my hands on.