A lightweight digicam with an optically-stabilised 18x optical zoom lens, RAW+JPEG support and a full range of adjustments.Successor to the successful FZ8 model, Panasonic’s latest long-zoom digicam, the DMC-FZ18 sports an 8-megapixel imager and a massive 18x Leica DC Vario-Elmarit lens that covers an equivalent focal length range from 28mm to 504mm. Otherwise the two models are superficially quite similar, although the FZ18’s image stabiliser is accessed via the menu instead of through a dedicated button. Internally some sigificant changes have been made in the newer model.
A capable advanced digicam with a 24x zoom lens and support for Full HD video recording with stereo soundtracks.The Lumix DMC-FZ100 takes its place at the top of Panasonic’s FZ series of digicams, which are designed for photo enthusiasts and support raw file capture. Slotting in above the FZ35 (which we reviewed in November, 2009), it extends the zoom range and adds Full HD recording with stereophonic soundtracks.
A compact, lightweight digicams with an advanced set of functions, touch screen control and above-average performance.The 10.1-megapixel Lumix DMC-FX520 is Panasonic’s first digital camera with a 3-inch touch-screen LCD and a very compact camera for its advanced range of functions. While the touch screen may excite some buyers, photographers are more likely to be attracted by the P, A, S and M shooting modes and the wide-angle Leica DC lens, which supports 5x optical zoom and covers a focal length range of 25mm to 125mm (35mm equivalent).
An advanced digicam with a fast, 18x zoom lens plus support for raw file capture and AVCHD Lite HD video recording capability.Panasonic’s new DMC-FZ35 Lumix camera replaces the popular FZ28 at the top of the super-zoom line-up and offers P, A, S and M shooting modes to please photo enthusiasts, along with AVCHD Lite HD video recording. This ‘First Look’ is based upon a pre-production unit supplied by Panasonic Australia; it will be updated with Imatest results and sample images once a production unit has been supplied.
A compact, rangefinder-style digicam with a fast, wide-zoom lens and support for raw file capture.Successor to the popular DMC-LX2 model, the Panasonic DMC-LX3 represents a significant upgrade to its predecessor. Panasonic claims to have improved ‘every component’ to deliver a camera that will appeal to DSLR photographers who want a capable compact camera with all the necessary features and functions as a complement to their main camera.
Photography news highlights from 2008.
Photographers Trent Parke and Narelle Autio were living in a Cairns caravan park when the good news arrived. They’d been there for weeks, after writing off their four-wheel drive when they bogged it in a crocodile-infested saltwater creek. The loss of their vehicle appeared to have brought to an abrupt end a year-long photographic expedition into the outback. It was a trip they’d spent years saving for and their sojourn in the caravan park was, in part, an attempt to trim sail financially while they looked around for a way to raise the necessary cash to carry on.
Asked if he’d describe himself as a photojournalist, Roger Garwood hesitates for an instant – but only an instant. ‘Yes I would.’ he says. ‘It’s a word I always found rather pretentious. Frankly, these days there are lots of people out there calling themselves photojournalists, some of them can barely read or write. But I’m a little less cautious about using the term now. It’s become more acceptable, whereas years ago it was one of those trendy things to call yourself.’
Location: Bondi, NSW My Favourite Websites: www.obscuragallery.com www.acp.org.au www.artgallery.nsw.gov.au www.arthere.com.au www.visualarts.net.auwww.artshub.com.au My Gear: Nikon FG20 Canon IXUS 70 (image shot …
Sometimes things don’t work out quite the way you plan. Originally I’d intended to interview Geoffrey Simpson about his work as a cinematographer, with the idea of exploring the intersection between his craft and the art of photographic composition. Although he is an extremely busy fellow, we managed to conduct the interview. Unfortunately, it turned out to be difficult to organise the high resolution images from his films we’d need for publication in the magazine. Ownership and copyright issues that arise from such a highly collaborative art form, it seems, are extremely complex.