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- #SAMSUNG NX300 ILAUNCHER HOW TO#
- #SAMSUNG NX300 ILAUNCHER FULL#
- #SAMSUNG NX300 ILAUNCHER ISO#
- #SAMSUNG NX300 ILAUNCHER PROFESSIONAL#
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This is impressive, as I’d have expected to see noise affecting the overall clarity of the image at far lower sensitivities, which makes the NX300 a highly versatile performer, and good for working in lower light conditions without resorting to longer exposures or digging out the bundled bolt-on flash. Areas of flat colour start to show some grain at 1600 ISO, but fine detail such as the writing on a spirit miniature bottle remains clear as far as 6400 ISO.
#SAMSUNG NX300 ILAUNCHER ISO#
Naturally there’s no evidence of grain or interference at the lowest end of the scale – 100 ISO – and you can safely push it up to 800 ISO before you start to notice any loss of detail in the darker parts of the image. Likewise, when you’re pushed for time the smart modes for shooting blurred water, streaking headlights and the like will save you a lot of experimentation or calculating the exposure with a light meter.
#SAMSUNG NX300 ILAUNCHER PROFESSIONAL#
For less confident users, though, it will ease the process of achieving a professional result without understanding the mechanics or the reason why, and even for the less green-fingered it’s a speedy way to make significant changes without much thought. In effect, you’re playing with the aperture, widening it to shorten the depth of field and vice versa. This makes use of the i-Function button on the lens barrel to call up a screen overlay that lets you either twist the end of the barrel or directly drag a slider on the screen to blur or sharpen the parts of the frame surrounding your focused subject.
#SAMSUNG NX300 ILAUNCHER FULL#
The regular aperture and shutter priority modes are supplemented not only by full auto, but also a new lens priority setting.
#SAMSUNG NX300 ILAUNCHER HOW TO#
Samsung has clearly thought carefully about how to make what is, at heart, a professional camera, appealing and easy to use for the novice. This is a boon when using the hybrid control screen, on which you can directly drag settings such as aperture, shutter speed and sensitivity to their required position. It’s bright enough to use in full sunlight, tilts up and down, and is touch-sensitive, so you can largely disregard the hardware buttons. Turn to the rear and you’ll find a 3.3in AMOLED screen. There are innovations on just about every surface of the NX300. In all, Samsung’s compatible lens lineup now stretches to nine units, along with a new 3D lens that works exclusively on the NX300 for both movies and stills. The payoff, though, is that in doing so you’ll be trimming the zoom range from just over 3x, to 2.5x, ultimately reducing reach and field of view. If you need something smaller, you can opt instead for the 20-50mm lens bundle, and save yourself around £30 in the process. If you’ve not come across one, it’s roughly the same length as a regular 18-55mm DSLR lens from Nikon or Canon, so protrudes a fair way from the already quite chunky body.
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The lens isn’t small when compared to rival lenses from Nikon’s 1-series and Panasonic’s powered kit lens for its Micro Four Thirds system cameras. However, out in the field these imperfections were impossible to spot in my regular test shots, and overall the images appeared sharp, with a high level of detail across the frame. There was slight chromatic aberration, with a turquoise fringe along the edge of some sharp contrasts towards the outer portions of the frame. There was also a fall-off in the level of focus towards the very extreme corners and edges. It put in a good performance throughout my tests, although there was some fairly obvious barrel distortion in the RAW files that was very effectively corrected in-camera on the accompanying JPEG files. The lens on my review sample was Samsung’s 18-55mm kit lens (equivalent to 27.7-84.7mm on a 35mm camera). Edges were sharp and colour rendition was spot on with the recorded samples accurately capturing each original subject. It had no trouble at all focusing on the speeding cars, and whether I was panning with the action on a slower shutter speed, or keeping the camera static as the car passed in front, the hit rate for freezing the action was impressively high, and more often than not, any misses were more down to operator error.Īway from the track, it resolved detail extremely well throughout my tests, with fine elements such as hair, fur, lichen and flaking paint clearly and cleanly recorded. This easily proved itself in my tests, when I took it to a rallycross track.