Nikon's Newest Advanced Performance COOLPIX Cameras Provide Incredible Quality and Control for Those Serious About Capturing Stunning Images

Nikon COOLPIX A 16.2 MP Digital Camera with 28mm f/2.8 Lens (Black) 

March 4, 2013

Nikon's Newest Advanced Performance COOLPIX Cameras Provide Incredible Quality and Control for Those Serious About Capturing Stunning Images
World Renowned Optics and a Host of Innovative Technologies, Including the Use of a DX-Format Image Sensor, Provide Users with Premier Compacts for Shooting and Sharing
MELVILLE, N.Y. – Today, Nikon Inc. announced two new advanced performance COOLPIX cameras, built for the customer seeking the best image quality possible with the convenience and ease-of-use of a compact camera. The Nikon COOLPIX A is the first COOLPIX to incorporate a DX-format sensor, similar to those found in many of Nikon’s coveted D-SLRs, which provides the highest image quality possible from a compact point-and-shoot. Additionally, the small yet powerful COOLPIX P330 fits comfortably into a shirt pocket, yet gives users the confidence to capture beautiful imagery through amazing optics, low-light capabilities and creative control.

“The introduction of the COOLPIX A, as Nikon’s flagship COOLPIX camera, provides uncompromised image quality and incredibly sharp detail in a compact point-and-shoot camera. As the first COOLPIX to use a DX-format sensor, the COOLPIX A will exceed expectations for its unsurpassed performance,” said Bo Kajiwara, Vice President of Marketing, Planning and Customer Experience, Nikon Inc. “The COOLPIX A, along with the COOLPIX P330, demonstrates the forward-looking direction of the Advanced Performance COOLPIX line, and packs all of the benefits of Nikon’s optical heritage and imaging experience into a compact, yet powerful package.”

Advanced Performance COOLPIX Cameras with Wi-Fi® Connectivity
For those who never settle for second best, this new duo presents the optimal choice to consistently capture high-quality images and HD video with outstanding clarity and detail. Thanks to their exceptional CMOS imaging sensors and world-class NIKKOR lenses, these cameras deliver brilliant photos amidst the action, even in low-light conditions. With compact designs and advanced feature sets that allow users to easily grow and improve their image or video shooting skills, these new COOLPIX cameras provide creative control and connectivity options for the photographer in everyone. These new cameras also join the ultra-zoom COOLPIX P520 and performance powerhouse COOLPIX P7700 in Nikon’s series of COOLPIX Advanced Performance cameras.

Once a still or video has been captured, both cameras let users share images instantly with family and friends when connected using the optional WU-1a Wireless Mobile Adapter1. This accessory pairs with the free downloadable Wireless Mobile Utility application1, which enables users to transfer their images and videos to compatible smart devices and tablets for easy sharing and viewing with others.

The COOLPIX A: Nikon’s First DX-Format COOLPIX Camera
Unlike any other COOLPIX camera, the new COOLPIX A is equipped with a DX-format CMOS sensor that enables users to achieve superior image quality previously only possible with a Nikon D-SLR. The combination of this 16.2-megapixel DX-format sensor and ultra-sharp prime NIKKOR lens firmly positions the COOLPIX A as the reigning flagship camera in the COOLPIX line.

The all-glass 18.5mm (28mm equivalent) prime lens has an f/2.8 aperture, allowing users to shoot with a shallow depth of field to blur backgrounds for professional-looking photos. Even when the sun goes down, the lens offers the ability to turn a fleeting glance into a flattering moonlit portrait with just a press of the shutter. Always ready for the spontaneous moment, the camera’s quick AF performance and 4 frames-per-second (fps) burst help users to consistently capture any moment with outstanding image quality.

For those who want to push their photography skills, the versatile COOLPIX A also offers advanced settings to allow shooters to have complete creative control to master nearly any shooting situation. With multiple Scene Modes, a familiar manual focus ring, full manual exposure controls (P,S,A,M), and the ability to shoot RAW/NEF image files, even a simple snapshot can be transformed into artistic expression.

Additionally, the COOLPIX A offers a variety of accessories to enhance the shooting experience, including the DF-CP1 Optical Viewfinder, the UR-E24 Adapter Ring for attaching lens hoods and filters, and the HN-CP18 metal Lens Hood, which helps protect the surface of the lens and restricts light from passing through without negatively influencing images. The camera also has a full size hot shoe port that makes the camera compatible with various accessories such as Nikon Speedlights.

The COOLPIX P330: Big Performance from a Tiny Camera
The COOLPIX P330 offers a useful 5x wide angle to telephoto (24mm-120mm, 35mm equivalent) zoom and cutting-edge features in a sleek, portable design for exceptional images and HD video. The P330 has a 1/1.7-inch, 12.2-megapixel backside illuminated (BSI) CMOS sensor that offers users the ability to confidently capture vibrant photos with low noise. Additionally, the super-sharp f/1.8 lens is the fastest in the COOLPIX line, rendering photos and Full HD 1080p video with striking clarity in a variety of lighting conditions. The lens also includes Vibration Reduction image stabilization to further reduce the effects of image blur when shooting handheld. Designed for the user who wants a sophisticated camera with the option of an advanced feature set, the COOLPIX P330 includes manual controls (P,S,A,M) and can now capture NRW/RAW images.

The P330 also enables users to enhance their photography with the inclusion of various Scene Modes, as well as Nikon’s Easy Auto Mode for capturing beautiful imagery during scenic vacations, celebrations or everyday moments, all with the convenience of a small, portable size. Additionally, the camera incorporates Full HD Video with stereo sound, engaged with just a simple press of the dedicated video record button.

This high-performance camera also comes with built-in GPS capabilities so photographers can easily log even their most exotic travels by pinpointing the exact latitude and longitude where the image was captured.

Pricing and Availability
The COOLPIX A will be available in March 2013 for a suggested retail price (SRP) of $1099.95* and will be offered in Black and Silver. The DF-CP1 Optical Viewfinder will be available for a suggested retail price of $449.96*, and the UR-E24 Adapter Ring and HN-CP18 Lens Hood will be sold together for a suggested retail price (SRP) of $129.96*; accessories will be available in March 2013. The COOLPIX P330 will also be available in March 2013 for a suggested retail price (SRP) of $379.95* and will be offered in Black and White.

In order to give consumers a more effective way to understand the benefits of each COOLPIX camera and to help users determine the best camera to fit their lifestyle, Nikon has segmented the COOLPIX series into five categories: Advanced Performance, Fun & Innovative, Ultra-Slim Zoom, Comfort Long Zoom and Budget Friendly. For more information about these and other COOLPIX cameras, please visit Nikon at Amazon 

About Nikon
Nikon, At the Heart of the Image™. Nikon Inc. is the world leader in digital imaging, precision optics and photo imaging technology and is globally recognized for setting new standards in product design and performance for its award-winning consumer and professional photographic equipment. Nikon Inc. distributes consumer and professional digital SLR cameras, NIKKOR optics, Speedlights and system accessories; Nikon COOLPIX® compact digital cameras; 35mm film SLR cameras; Nikon software products and Nikon sports and recreational optics as well as the Nikon 1 advanced camera with interchangeable lens system. Nikon Corporation, the parent company of the Nikon Inc., recently celebrated its 80th anniversary of NIKKOR optics, and announced the production of over 75 million NIKKOR lenses in 2012, creating a new milestone in Nikon’s heritage of superior optics.  For more information, dial (800) NIKON-US or visit http://www.nikonusa.com, which links all levels of photographers to the Web's most comprehensive photo learning and sharing communities. Connect with Nikon and other photographers on Facebook at http://www.facebook.com/nikon and get the latest news and information from Twitter by following @NikonUSA.

The Amazing High Speed Bullet Photography of Alexander Augusteijn

The Amazing High Speed Bullet Photography of Alexander Augusteijn
Michael Zhang

If you think shooting fast moving animals is difficult, try shooting bullets slicing water drops. That’s the kind of mind-boggling photography that Alexander Augusteijn does. There’s no tricks or clever Photoshop manipulations involved… just dedication and a whole lotta patience.

Augusteijn tells us,

I am a photographer from the Netherlands, specializing in high speed photography. I use a normal flash to achieve very short illuminations. The most critical parameter in this kind of photography is timing, which is achieved by computer control of shutter, flash, valve, gun or whatever other device is used.These kind of images require a lot of experimentation, dedication, patience and willingness to endlessly clean spill of liquids and debris from objects shot to pieces. Several hundreds of trial shots may be needed to get timing correct. After that, the process is pretty well controlled, and often half of the shots will be usable, with 1 out of 10 really interesting.

To see more of Augusteijn’s amazing work, head on over to his website.
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Image credits: Photographs by Alexander Augusteijn and used with permission

Taken from : Petapixel

The Flesh and the Asphalt, Both Weak

ART REVIEW

The Flesh and the Asphalt, Both Weak

LaToya Ruby Frazier Photography at Brooklyn Museum

Courtesy of LaToya Ruby Frazier and the Brooklyn Museum

“Fifth Street Tavern and UPMC Braddock Hospital on Braddock Avenue” (2011).

By KAREN ROSENBERG

Published: March 28, 2013

Braddock, Pa., is about nine miles southeast of Pittsburgh, hugging the eastern bank of the Monongahela River. But in the photographs of LaToya Ruby Frazier, who grew up in this steel town, its coordinates are not so precise. Braddock is in the bodies of Ms. Frazier’s elder family members, who used to work at the local mills; it’s in the empty foundation of the hospital that used to serve them, before it was closed and demolished. It’s there in every picture Ms. Frazier has taken, and it’s here in her outstanding first New York solo show.

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Brian Harkin for The New York Times

LaToya Ruby Frazier: A Haunted Capital “Momme Silhouettes” is part of this photography show at the Brooklyn Museum.

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Courtesy of LaToya Ruby Frazier and the Brooklyn Museum

LaToya Ruby Frazier, the photographer and subject of “Huxtables, Mom and Me” (2009).

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Courtesy of LaToya Ruby Frazier and the Brooklyn Museum

LaToya Ruby Frazier's "Grandma Ruby and Me" (2005).

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Courtesy of LaToya Ruby Frazier and the Brooklyn Museum

LaToya Ruby Frazier's "Self Portrait In Gramps' Pajamas" (2009).

The exhibition, “LaToya Ruby Frazier: A Haunted Capital” at the Brooklyn Museum, follows her standout appearances in the 2012 Whitney Biennial and in the New Museum’s “Younger Than Jesus” triennial of 2009. It offers further proof of her gifts and a deeper look at her series “The Notion of Family,” initiated in 2002.

This preternaturally mature body of work (Ms. Frazier is just 31) connects bedrooms and streetscapes, the suffering of loved ones and the afflictions of a “distressed municipality” (the state’s official term for Braddock and other ailing Rust Belt towns). Simultaneously introspective and extroverted, it’s composed of arresting black-and-white photographs that sometimes look like studio portraits or social documentaries but aren’t fully at home in either category.

Take “Huxtables, Mom and Me,” in which Ms. Frazier stares at the camera and her mother, reflected in a full-length mirror. She is wearing a faded T-shirt emblazoned with the cast and logo of “The Cosby Show,” a program she recalls having watched “to escape the reality of my dismantled working-class family.” You don’t even need to read that statement, in the wall label, to grasp that this is an image of regression to childhood that’s laced with a very adult sense of disillusionment.

Another photograph shows an elderly woman standing next to a lamppost outside the University of Pittsburgh Medical Center in Braddock. It seems to belong to the genre of street photography — the woman does not make eye contact, and the camera catches a man striding through the intersection — but the main subject is identified as “Grandma Ruby,” and we have already seen her as the frail odalisque of “Grandma Ruby on Her Bed.” A few pictures later we will see her lying in her coffin, attended by her daughter and granddaughter and some dolls from her collection.

We will also see the hospital building, or what remains of it, after it’s been hit by the wrecking ball. Ms. Frazier’s series “Campaign for Braddock Hospital (Save Our Community Hospital),” shown at the Whitney but not included here, fills the narrative gap. In one shot here a tavern sits on the edge of the rubble-strewn lot, looking very much like a ghost-town facade.

The show’s installation, overseen by the museum’s contemporary art managing curator, Eugenie Tsai, with generous input from Ms. Frazier, cuts back and forth between family and community scenes to filmic effect. It’s anchored by wallpaper at both ends of the gallery, an immersive patchwork reproducing Ms. Frazier’s works and found family photographs along with archival images of Braddock and other Rust Belt towns.

The wallpaper, Ms. Frazier says, was inspired by her discovery that a 2008 book on the history of Braddock contained no mention of African-Americans. A corrective to that history, the wallpaper is accompanied by a triptych of raster-etched aluminum plates that positions a childhood snapshot of Ms. Frazier between a biography of her ancestor John Frazier and a portrait of Andrew Carnegie.

Not as pointed, but more poignant, is the self-portrait she took in her grandparents’ old house after their deaths, wearing the pajamas of “Gramps” and looking alarmingly vulnerable in the decrepit interior. (This picture and related ones in the “Homebody” series, taken at the house, aren’t in the show, but this one is tucked into the museum’s fifth-floor collection display, “American Identities.”)

In another self-portrait she wears Grandma Ruby’s satin pajama pants and poses in front of a striped bedsheet (also her grandmother’s), looking haggard. The label tells us that this picture is one of several that document Ms. Frazier’s periodic attacks of lupus, an immune-system disease.

Here and in photographs of her mother and grandmother Ms. Frazier’s candid approach to illness may bring to mind projects like Hannah Wilke’s “Intra-Venus,” an intense photo diary of her terminal cancer.

Elsewhere Ms. Frazier looks at more than her own body. “I view Grandma Ruby, Mom and myself as one entity,” she has said. Ultimately, the photographs comment on the toxins lurking in Braddock and other deindustrialized cities, toxins that may also have sickened her mother and grandmother. (Ms. Frazier learned in 2008 that both had diagnoses of cancer.)

You can’t go home again, as the saying holds. In the photographs that make up “A Haunted Capital” Ms. Frazier is grappling with a different problem: not being able to leave.

“LaToya Ruby Frazier: A Haunted Capital” runs through Aug. 11 at the Brooklyn Museum, 200 Eastern Parkway, at Prospect Park; (718) 638-5000, brooklynmuseum.org.

Taken from New York Times

Ethics in wildlife photography

Ethics in wildlife photography

By Mark Carwardine

As the digital revolution opens up a new world of possibilities, Mark Carwardine considers the rights and wrongs of wildlife photography.

You might have thought that wildlife photography would be a pleasant, harmless and harmonious activity. And, in many ways, it is. It certainly gives a great deal of pleasure to millions of people.

But it’s also a hotbed of controversy, arousing some very strong and opposing views about how it should be done. Is digital manipulation acceptable? Is it OK to photograph animals in zoos? What about hiring an animal model that has been trained to pose for photographers? Is camera trapping a viable technique? There are no easy answers, but hopefully this article will provide some food for thought.

Digital manipulation

Photographers have been manipulating their images since the earliest days of their art. The iconic portrait of US President Abraham Lincoln, taken in 1860, is one of the first cases of serious fakery – it’s actually a composite of Lincoln’s head grafted onto someone else’s body.

Even the great landscape photographer Ansel Adams used to work more than a little magic in his traditional darkroom. He was quite open about it and happy for people to compare a straight print of his famous 1941 photo Moonrise, Hernandez with the heavily ‘dodged’ and ‘burned’, high-contrast prints that he exhibited. He wasn’t trying to trick anyone, of course, but the difference between the two was quite extraordinary.

In those days, there was an assumed truth in photography. People genuinely believed that “the camera never lies” and that what they were seeing was an accurate record.

But then, in 1982, National Geographic catapulted photographic manipulation into the headlines. Its designers famously squeezed together two Egyptian pyramids to make the image suitable for the cover.

The ‘squeeze’ caused an uproar but, far from stopping photographic forgeries, it heralded a new era in which manipulating photographs has become almost routine. What’s changed is the advent of digital photography. The technology is so good these days that it’s easier than ever for photographers and art editors to make significant changes to pictures without most people ever knowing. Indeed, it is actively encouraged by the adverts for some digital manipulation software: one memorable slogan tells us to “Spread Lies”.

Does any of this really matter? After all, most of us assume that fashion, advertising and even paparazzi photos are likely to have been doctored in some way. We live in a world where airbrushed celebrities rule.

Well, many of us in the wildlife photography business do care. We believe that there should be a tacit understanding between photographer and viewer that what you see in a picture represents the truth, the whole truth and nothing but the truth.

Sadly, this isn’t always the case. Some professional photographers will add or remove anything that makes an image more commercial. If they think that a polar bear would look better in a snowstorm, they use computer wizardry to include some falling snow. If two baby gorillas would be better than one, they simply add a second.

What really raises the hackles of most nature photographers is the attempt to pass off heavily manipulated images as genuine. At the very least these photographers could admit that their pictures have been faked by disclosing in the captions that they are digital art and not authentic photographs. But they don’t. The camera itself may never lie but, sadly, some photographers do.

Decency and deception

At this point I ought to stress that creative computer (as opposed to photographic) skills can produce quite beautiful results. And one might also argue that photography is an art, after all, so its aim should be to make pictures as appealing and eye-catching as possible. Nevertheless, lying about images has two serious repercussions.

First, deceitful photographers steal the trust that should be inherent in wildlife images. Once a few cheated photographs have shaken your confidence, you begin to doubt everything you see. In this respect, the culprits do themselves a disservice, too – as far as I’m concerned, all of their images become suspect.

Second, digitally manipulated images raise the bar in wildlife photography to an unnaturally high level. Everyone begins to demand better and better shots based on the artificial ones they’ve seen before. This puts enormous pressure on other photographers to compete, either by slipping into the world of digital manipulation themselves or by pushing their subjects to the limit in a vain attempt to achieve the impossible.

Many experts believe that the answer lies in honest captioning. I agree – but only up to a point. What is the likelihood of mainstream publications telling their readers that a picture isn’t real? It’s certainly something they should be striving for, but they worry that their readers might feel disappointed if they were told that a beautiful image was created largely on the computer rather than in the wild. www.discoverwildlife.com.


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Gull photo wins top wildlife prize

Gull photo wins top wildlife prize

A photo of herring gull taken by Steve
Young has won the top prize at the British
wildlife photography Awards 

news.uk.msn. An image of a herring gull braving the "power, chaos and intensity" of the sea has won the top prize at this year's British Wildlife Photography Awards, it has been announced.

The striking picture by Steve Young, from St Mary's on the Isles of Scilly, scooped the £5,000 prize from among thousands of shots taken by photographers across the UK.

The award for Young British Wildlife Photographer was won by 14-year-old Adam Hawtin, from Packwood, Solihull, for his stunning picture of a blue leaf-beetle.

Winners of other categories in the competition included shots of coots sparring, Canada geese and mallards wandering through the snow, mountain hares, a black and white portrait of frogs and a shot of dragonflies in dew.

A category introduced to mark this year's International Year of Biodiversity was won by Geoff Simpson, from High Peak, Derbyshire, for his shot of a male sand lizard - the rarest lizard in the UK. A special award for a portfolio of pictures was won by Terry Whittaker, from Folkestone, for his photographs documenting a water-vole reintroduction scheme by the Wildwood Trust, Kent.

Competition judge Greg Armfield, from WWF, described the winning picture of the herring gull as "a unique and striking image, one that captures perfectly the power, chaos and intensity of the ocean as it surrounds the majestic gull".

Fellow judge Tom Hind, from Getty Images, said: "I like the defiance in this shot - the gull's refusal to be moved in the face of this crashing wave seems to sum up a peculiarly British stoicism. It's also a great example of how the commonplace can be transformed in a judicious moment."

Poul Christensen, chairman of Natural England, which supported the category marking the International Year of Biodiversity, said the winning images were a great showcase for the wildlife wonders which exist in the UK.

"I'd like to congratulate all of the entrants for the exceptionally high quality of their images - extraordinary pictures of our rarest animals sit alongside uniquely beautiful shots of the wildlife on our doorstep.

"In this, the International Year of Biodiversity, we should take stock of what a precious resource our natural environment provides and remind ourselves just how much it enriches our lives."

by pa.press.net

New for Stunts And Action Work : Canon EOS 5D /mark II + EOS 7D Digital SLR Cameras

Canon EOS 5D Mark II and EOS 7D Digital SLR Cameras of Choice for Stunts and Action Work on Set of "Marvel's The Avengers"

1920 x 1080 HD Recording And 24p Frame Rate Enable Gripping Point-Of-View Shots for Theatrical Filmmaking 

Canon EOS 5D Mark II 

LAKE SUCCESS, N.Y., May 9, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce that its EOS 5D Mark II and 7D Digital SLR cameras have been used on the set of Marvel's latest movie, "Marvel's The Avengers," to capture thrilling point-of-view (POV) action shots that can be seamlessly intercut with footage from the film's principal 35mm and digital cinematography cameras to heighten the film's visual impact. "Marvel's The Avengers" shows an epic confrontation between nightmarish super villains attacking the Earth and the super-heroic team of Iron Man, Captain America, The Incredible Hulk, Thor, Hawkeye, and Black Widow. Directed by Joss Whedon, the film is the latest and most extraordinary Marvel Studios Super Hero movie to date.

With intense action and visual effects captured by the Canon cameras, "Marvel's The Avengers" required close-quarter action work with unrepeatable stunts. "The 5D Mark II and the 7D digital SLR cameras produce excellent, cinema-worthy images. They are great for shooting additional angles that give film editors more options for creating powerfully immersive and kaleidoscopic views of action scenes," explained the film's cinematographer, Seamus McGarvey.

On the set of "Marvel's The Avengers," McGarvey and his crew used five Canon 5D Mark II cameras and two 7D models. Using multiple cameras limited the need to re-shoot complex action scenes, and the affordability and compact size of the cameras enabled the crew to obtain ample coverage by strategically angling them from various vantage points throughout the set. "The cameras' small size was a major advantage to us. We were able to place them in tight locations that were really close to the big stunts, which would be too risky to do with bigger cameras that would require an operator and two assistants," McGarvey said. He was able to slide one of the Canon cameras into a sewer grating, while placing another under a pile of debris for a key shot of a car hurtling toward the lens, flipping through the air on fire.

"We are thrilled that the EOS 5D Mark II and 7D Digital SLR cameras were called to action on the set of 'Marvel's The Avengers.' We designed these cameras with versatility and flexibility in mind, and their ability to record beautiful 1920 x 1080 HD video, coupled with their compact size, make them an ideal fit for filmmakers looking to capture tight action shots," stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies and Communications Group, Canon U.S.A.

Compact, lightweight, and compatible with Canon's wide selection of EF Series lenses, the Canon 5D Mark II and EOS 7D digital SLRcameras are equipped with large Canon CMOS sensors and Canon DIGIC 4 image processors that enable them to record exceptional full 1920 x 1080 HD video at the user-selectable frame rate of 24p (23.976 fps), which is the standard for today's high-end filmmaking. Additionally, the cameras' low-light capabilities were of major importance on the set of "Marvel's the Avengers," as many of the film's scenes were shot at night.

About Canon U.S.A., Inc.

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $45.6 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2011† and is one of Fortune Magazine’s World’s Most Admired Companies in 2012. Canon U.S.A. is committed to the highest levels of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the RSS news feed by visiting http://www.thebestdigitalcamerainfo.blogspot.com/.

About the Movie

Marvel Studios presents "Marvel's The Avengers"-the Super Hero team up of a lifetime, featuring iconic Marvel Super Heroes Iron Man, The Incredible Hulk, Thor, Captain America, Hawkeye and Black Widow. When an unexpected enemy emerges that threatens global safety and security, Nick Fury, Director of the international peacekeeping agency known as S.H.I.E.L.D., finds himself in need of a team to pull the world back from the brink of disaster. Spanning the globe, a daring recruitment effort begins.

Starring Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner and Tom Hiddleston, with Stellan Skarsg†rd and Samuel L. Jackson as Nick Fury, directed by Joss Whedon, from a story by Zak Penn and Joss Whedon with screenplay by Joss Whedon, "Marvel's The Avengers" is based on the ever-popular Marvel comic book series "The Avengers," first published in 1963 and a comics institution ever since. Prepare yourself for an exciting event movie, packed with action and spectacular special effects, when "Marvel's The Avengers" assemble in summer 2012.

"Marvel's The Avengers" is presented by Marvel Studios in association with Paramount Pictures. The film is being produced by Marvel Studios' President Kevin Feige and executive produced by Alan Fine, Jon Favreau, Stan Lee, Louis D'Esposito, Patricia Whitcher, Victoria Alonso and Jeremy Latcham. The film releases May 4, 2012, and is distributed by Walt Disney Studios Motion Pictures.

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* Based on weekly patent counts issued by United States Patent and Trademark Office. All referenced product names, and other marks, are trademarks of their respective owners. Availability and specifications of all products are subject to change without notice.

Sony Cyber-Shot Cameras : DSC-WX150, DSC-W690, DSC-TX66 and DSC-TX20 models.

SONY INTRODUCES VERSATILE NEW LINEUP OF CYBER-SHOT CAMERAS

New Cameras Feature Ultra-thin Body and Lens Designs, Rugged Capabilities

With the ability to deliver impressive, high-resolution images while underwater, outside or inside, during both day and night, Sony’s slim new line of Cyber-shots represent the ultimate in versatility for the compact camera space. Four new models announced today include the DSC-WX150, DSC-W690, DSC-TX66 and  DSC-TX20 models.

The DSC-WX150 and DSC-W690 models are the world’s thinnest 10x optical zoom cameras – slimmer than any other 10x compact cameras currently offered in market (measured at slimmest part excluding lens).  This exceptionally thin design is largely attributed to the new “Advanced Aspherical” lens element, which allows the lens unit to be drastically smaller than those in previous 10x zoom Cyber-shots while still producing very highly detailed, accurate images.

The new TX66 camera features an ultra-slim, front-sliding design and measures about 12.2 mm (excluding lens cover), which is about the thickness of a standard AA size battery.  The similarly thin TX20 camera is Sony’s most “rugged” compact camera offering -- waterproof (up to 5m or 16ft), dustproof, shockproof (up to 1.5m or 5 ft) and freezeproof (up to 14oF).

Each of the new WX150 ,TX66 and TX20 cameras features a high-resolution “Exmor R” CMOS sensor and advanced BIONZ® image processor, enhancing low-light performance, Auto Focus speeds, image stabilization and opening up various multi-shot capabilities including 10 fps burst mode, “Background Defocus” mode, 3D still image shooting and more.  These models also have “Dual Record” functionality for capturing high-resolution still images while shooting video, and “Clear Image Zoom” digital zoom technology, which boosts optical zoom to 2x virtual capability (i.e. 5x optical zoom to 10x virtual zoom) at full camera resolution.

Each of the new models can shoot full HD video (at various resolutions) and offer “Picture Effect” options for creative photography.

Product Specs, Pricing and Availability

The four new Cyber-shot cameras will be available at Sony Associate retail stores and online as well as other authorized retailers throughout the Sony dealer network.  Availability and detailed specs are below:

·  The DSC-WX150 camera will be available in silver, black, red and blue this May for approximately $250. Features include:

Sony Cyber-Shot DSC-WX150

• Effective 18.2 MP “Exmor R” CMOS sensor
• Lightning-fast AF speed of approximately 0.13 second in daylight, 0.20 seconds in low-light (speeds may vary based on shooting conditions)
• 3.0-inch 460k dot LCD screen
• 10x wide-angle optical zoom lens (25-250mm in 35mm format) with 20x digital “Clear Image Zoom” at full resolution; includes newly developed “AA” lens element
• “Extra High Sensitivity” technology enhances low-light shooting capabilities
• Captures 13 MP equivalent still images while shooting video via “Dual-Record”
• Full HD Movie Shooting capability (1920x1080/60i)
• Enhanced Optical SteadyShot reduces hand shake during still and video shooting
• 9 total “Picture Effect” options,  allowing for creative, custom styled photographs

·  The DSC-W690 camera will be available in silver, black, red and blue this May for approximately $180. Features include:

Sony Cyber-shot DSC-W690

• Effective 16.1 MP CCD sensor
• 3.0-inch 230k dot LCD touch screen
• 10x wide-angle optical zoom lens (25-250mm in 35mm format) including newly developed “AA” lens element
• 720p HD Movie Shooting capability
• Enhanced Optical SteadyShot reduces hand shake during video shooting
• 4 total “Picture Effect” options,  allowing for creative, custom styled photographs

·  The DSC-TX66 camera will be available in silver, gold, red, white, purple and pink this March for about $350

Sony Cyber-Shot DSC-TX66

• Effective 18.2 MP “Exmor R” CMOS sensor
• Ultra-thin design measuring at 12.2 mm thick (excluding lens cover)
• Lightning-fast AF speed of approximately 0.13 second in daylight, 0.25 seconds in low-light (speeds may vary based on shooting conditions)
• 5x wide-angle optical zoom lens (26-130mm in 35mm format) with 10x digital “Clear Image Zoom” at full resolution
• “Extra High Sensitivity” technology enhances low-light shooting capabilities
• 3.3-inch  Xtra Fine™ OLED touch-screen
• Captures 13 MP equivalent still images while shooting video via “Dual-Record”
• Full HD Movie Shooting capability (1920x1080/60i)
• Enhanced Optical SteadyShot reduces hand shake during still and video shooting
• “Photo Creativity” interface plus 9 “Picture Effect” options for creating unique, custom-styled photos and video

· The DSC-TX20 camera will be available in orange, green, black, blue and pink this May for about $330.  Features include:

Sony cyber-shot DSC-TX20

• 16.2 MP “Exmor R” CMOS sensor
• 4x wide-angle optical zoom lens (25-100mm in 35mm format) with 8x digital “Clear Image” Zoom at full resolution
• Waterproof (up to 5m,16 feet), dustproof, shockproof (up to 1.5m or 5ft) and freeze-proof (up to 14oF)
• “3.0-inch Xtra Fine LCD touch-screen with 921k dot resolution
• Captures 12 MP equivalent still images while shooting video via “Dual Record”
• Optical SteadyShot Active Mode reduces hand shake during video shooting
• 7 “Picture Effect” options for creating unique, custom-styles photos and video

Source : Sony, February 27, 2012.  "You should follow me on twitter here"