The Olympus E-P2 is less a sequel to the E-P1 micro four thirds camera and more a refinement of the original idea. It’s basically the same size as the E-P1 (a hair taller, actually), and snaps shots with the same 12.3MP sensor. There’s still no integrated flash, and the retro stainless steel body has been coated with black paint (not having seen the E-P2 in person, I still think I may prefer the original) much like the similar Panasonic GF1.

What’s new is an accessory that will come standard in every kit configuration—an articulating VF-2 electronic viewfinder that attaches to the hot shoe mount. It takes advantage of a new, still-unnamed accessory/data port, meaning it’s incompatible with the E-P1.

This accessory port also allows for a new stereo microphone mount that will move sound capture a bit away from the camera’s body.

Maybe the biggest real improvement, however, is a Continuous Autofocus (C-AF) Tracking System that follows subjects through the frame, hopefully addressing one of the E-P1’s greatest weaknesses, its long focus times.

The E-P2 will be available this January in two equally priced kits.
E-P2 Body with ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens and EVF: $US1100
E-P2 Body with 17mm f2.8 Zuiko Digital Zoom Lens and EVF: $US1100

With the E-P1 already going for about $US750 with a lens, and with the E-P2 taking what’s expected to be near-identical shots for hundreds more (though including an EVF standard), we’ll let you do the math.

Olympus has also announced two new micro four thirds lenses on their way, a super wide 9-18mm f4.0-5.6 lens (18-36mm equivalent) and a super zoomy 14-150mm f4.0-5.6 lens (28-300mm equivalent). It is good to see the company supporting their own standard with more enticing native lenses.

THE PEN IS NOW MIGHTIER: OLYMPUS EXPANDS THE POWER AND PERFORMANCE OF THE E-P1 WITH THE NEW E-P2

New Electronic Viewfinder, External Audio Port, Autofocus Tracking and More Creative Control All in a Retro Black Metal Body – Looks as Good as it Performs

CENTER VALLEY, Pa., November 5, 2009 – Less than six months after launching the groundbreaking PEN E-P1 Micro Four Thirds camera, Olympus proves that evolutionary change can happen incredibly fast by releasing the E-P2 with even more power and performance. The new PEN, like the E-P1, is the world’s smallest 12.3-megapixel interchangeable lens system with In-body Image stabilisation. It blends the high-quality still images like that of a DSLR with High Definition (HD) video, stereo Linear PCM audio recording and In-Camera Creativity inside an ultra-portable body. Along with several new features, and eight in-camera Art Filters that can be applied to still images and HD videos, the result is mighty powerful and creative.

The innovative E-P2 offers more of what photo enthusiasts have been asking for:

* A stylish retro black metal body reminiscent of a traditional PEN camera;
* Accessory port to accommodate the included detachable VF-2 Electronic View Finder (EVF) or optional external microphone adaptor EMA-1;
* A newly-developed Continuous Autofocus (C-AF) Tracking System tracks the subject across or back-and-forward through the frame;
* Two new art filters: Diorama & Cross Process for greater creative expression in your still images and HD videos;
* iEnhance to automatically adjust colour and contrast for a more dramatic effect;
* Full Manual Control of shutter/aperture in Movie Mode; and
* HDMI Control of camera’s playback functions using the TV Remote when the camera is connected to an HDTV.

“The high demand for the E-P1 demonstrates that today’s photo enthusiasts and consumers want the high-quality imaging like that of DSLRs in a compact retro design. The fact that it also offers HD video, creative functions and high-end stereo sound makes it even more desirable,” said John Knaur, senior marketing manager, Digital SLR, Olympus Imaging America Inc. “The new PEN builds on the success of the E-P1 by adding many of the features that were on enthusiasts’ wish list for the second generation: an EVF for composing with your eye close to the camera, the ability to add an external microphone, C-AF tracking, and a black metal body. With each new PEN, Olympus continues to enhance the line, and the future looks very bright.”

The E-P2 comes with either the small and lightweight Olympus M. ZUIKO Micro Four Thirds lenses: 14-42mm f3.5-5.6 (28-84mm equivalent) or 17mm f2.8 (34mm equivalent). The camera adds to the new category created by the E-P1: Not a P&S. Not an SLR. It’s a PEN.

Accessorize: Everything Goes with Basic Black

The E-P2 incorporates a new port for connecting new accessories including an optional EMA-1 Microphone adaptor and the VF-2 live-finder, a detachable electronic viewfinder that comes with the E-P2. The live-finder easily slides onto the camera’s accessory port and hot shoe when needed to provide 1.15x magnification, a 100% field of view with amazing resolution, brightness and contrast. The viewfinder refreshes quickly to minimize image ghosting on fast-moving subjects.

The VF-2 rotates up to 90 degrees to enable photographers to look down into it, which is useful when shooting subjects from challenging angles. The built-in diopter adjustment and high magnification offer easy viewing with and without glasses.

For those who want to capture enhanced audio, the new EMA-1 external microphone connector can be plugged into the new camera’s external accessory port. The connector will accept the optional Olympus ME-51S stereo microphone or any microphone of their choice.

Olympus has a variety of other accessories to maximize the functionality of the new PEN, including the previously released 14-42mm and 17mm Micro Four Thirds lenses. The MMF-1 Four Thirds System Lens adaptor makes E-P2 compatible with all Olympus ZUIKO Digital SpecificTM lenses and other Four Thirds System lenses from Sigma, Panasonic and Leica.

Olympus OM film-based lenses can be attached to the E-P2 with the MF-2 OM Lens adaptor. Additionally, an optional FL-14 flash unit, suitably small for the camera, adds more lighting versatility to your shots.

Stay focused on Your Targets Wherever They Roam

Sometimes it can be hard enough to keep up with kids, let alone take pictures of them. The E-P2’s new C-AF Tracking and AF Target Registration locks your subject into focus, and constantly adjusts focus and brightness whether you or your subject is moving. With this mode, a simple push of the shutter release enables you to keep fast-moving and unpredictable subjects in focus – tracking subjects from left to right and from front to back – within the frame, automatically ensuring that even active subjects are captured clearly.

Even More Ways to Create

Olympus pioneered easy-to-use in-camera art filters for still images captured inside its E-System DSLRs. It was the first company to offer the ability to apply art filters to High Definition video recordings captured with the E-P1. Now, the E-P2 continues this tradition of innovation with eight in-camera art filters, including two new filters: the Diorama and Cross Process. The Diorama art filter gives users a miniature model photo feeling by narrowing the depth of focus and enhancing colour and contrast. The selective focus that this filter offers lends intimacy to images of even the largest subjects like canyons or cityscapes.

The Cross Process art filter offers an unexpected look to images and videos by changing the colour and contrast of subjects on the fly. Using this mode can result in surreal other-worldly images. Whether you’re a videographer, documentarian or established director – or just want to shoot like one – Art Filters set your images and videos apart from the pack. Since they’re built into the camera, you can achieve dramatic results on the go without needing a computer or editing software. These new filters are a welcome addition to the Pop Art, Soft Focus, Pale & Light colour, Light Tone, Grainy Film and Pin Hole filters previously available on the E-P1.

Because the PEN is an interchangable lens system camera, you also have more creative options for video capture. You can attach any one of the new super-compact Micro Four Thirds lenses or, because the camera can accept many of the other Four Thirds Format lenses with an available MMF-1 Four Thirds System Lens adaptor, you can add anything from an extreme wide-angle fisheye lens to a super telephoto lens for a wide range of expressive options. All the while you will have more DSLR-like control over depth of field, focus, white balance and ISO. It begs the question, “What will you create?”

iEnhance for Radiant Colors

The E-P2 includes a new picture mode called iEnhance, which analyzes colours and brightness. The new mode mimics what the naked eye sees. For example, a beautiful sunset looks awesome in person and generally seems to fade when captured in an image. With iEnhance, the warm yellow and orange colours are heightened to be brilliant and closer to the actual scene. The result is exceptionally clear imaging with a dramatically lifelike colour. iEnhance can be used in any shooting mode – from program to manual – and automatically engages when in iAuto.

HDMI Control from Your HDTV Remote

The new PEN makes sharing your content easier than ever. Just connect the E-P2 to your HDTV with an optional HDMI cable and use your HDTV’s remote to control playback functions and navigate the camera’s menus from the comfort of your favourite couch or chair.

Manual in Movie Mode

The E-P2’s manual movie mode allows for independent control of aperture and shutter for expanded exposure and creative control. Now you can adjust the shutter to control the depth of focus while using the aperture to set the overall brightness of the video. This level of control allows you to express your vision exactly how you want in your HD videos.

Make a Design Statement

The E-P2’s high-end, stainless-steel all-black body is easy to handle and carry, and has the styling and refinement of a precision chronometer. Its retro-chic look turns heads, from tech-aficionados and camera buffs to the style-conscious and everyday point-and-shooter. Built rock solid, it fits comfortably in a jacket pocket or a handbag for impromptu street-shooting or any spontaneous adventure. The E-P2 lets you do more and go more places while capturing your life, thanks to its compact size – 4.74″(W) x 2.75″ (H) x 1.37″ (D) – and light 11.1-ounce body. Attention to detail is visible in every aspect of the PEN’s design, including the currently available small and lightweight 14-42mm and 17mm M. ZUIKO DIGITAL lenses as well as the newly announced 9-18mm f4.0-5.6 (18-36mm equivalent) and 14-150mm f4.0-5.6 (28-300mm equivalent) M. ZUIKO DIGITAL lenses.

Ultra-Compact Body Delivers Superior Image Quality

The E-P2 has everything you need to produce vibrant DSLR-quality images: a large 12.3-megapixel imager, In-body Image stabilisation, fast Imager Autofocus, the proven Olympus Dust Reduction System and the new TruePic™ V Image Processor.

As the second Micro Four Thirds camera from Olympus, the E-P2 provides the same image quality as current Four Thirds format E-System cameras because it has the same image sensor size as the E-30 and E-620 DSLR models, but in a much smaller body. This high-performance 12.3-megapixel Live MOS image sensor delivers excellent dynamic range, accurate colour fidelity, and a state-of-the-art amplifier circuit to reduce noise and capture fine image details in both highlight and shadow areas.

The E-P2’s Live MOS image sensor is complemented by Olympus’ TruePic™ V Image Processor, which produces clear and colorful photos using all the pixel information for each image to provide the best digital images possible. The image processor is noted for accurate natural colour, true-to-life flesh tones, brilliant blue skies and precise tonal expression; it also lowers image noise in photos shot at higher ISO settings (ISO 100 to ISO 6400), enabling great results in low-light situations.

Be a Mover, Not a Shaker

Any lens attached to the E-P2 will deliver blur-free images thanks to three modes of In-body Image stabilisation that compensate for up to four steps EV (exposure value). Mechanical Image stabilisation automatically compensates for camera shake in low light or when shooting without a tripod. Since the PEN is the world’s smallest interchangeable lens camera with In-body Image stabilisation, you’ll feel comfortable taking it on the road with you to capture the action. As an added advantage, the built-in image stabilisation works not only with the M. Zuiko lenses but all Four Thirds lenses and even older OM film-based lenses when used with the appropriate adaptor for the E-P2.

Small Real Estate with an Amazing 3-Inch LCD View

Consumers accustomed to composing and focusing using a point-and-shoot camera’s LCD will appreciate the E-P2’s 100 percent accurate, 3-inch full colour HyperCrystal LCD, which gives them the same easy, seamless experience when shooting still images or videos. The camera’s Live Control function makes it easy to compose, edit and shoot pictures or videos without stopping to access various menus. The E-P2’s fast Imager Autofocus in Live View also enables you to compose, focus and capture the shot quickly and easily without ever taking your eyes off the large LCD.

The LCD displays 230,000 pixels in vivid colour and includes HyperCrystal technology, which offers many times the contrast of conventional LCD monitors for easier viewing in both preview and playback. It also provides a wide viewing angle of 176 degrees, which ensures that images can be composed from even the most obscure angles.

This Camera Leaves Others in the Dust

You don’t have to waste precious time worrying about dust ruining the perfect image; instead, spend more of that time shooting with the E-P2. The proven Olympus Dust Reduction System produces spot-free photos with the exclusive Supersonic Wave Filter™, a patented ultrasonic technology that vibrates to remove dust and other particles from the front of the image sensor, capturing it on a special adhesive membrane every time the camera is turned on.

What You See Is What You Get

When viewing the LCD in Live View, Art Filter effects and settings like white balance and exposure are viewable right on the LCD, and their impact is seen instantly on the display. Real-time monitoring offers amazing versatility and creative control, and users who apply a setting have instant gratification because what they see on the camera’s LCD is what they’ve captured. For musicians used to applying audio effects like reverb to their instruments before recording them, the concept of setting the E-P2 to capture precisely the kind of image they want before they press the shutter makes perfect sense. For imaging purists who want to shoot without filters, and apply them to images inside the camera later, or just edit images back at their computers, the E-P2 provides these options and opens more in-the-field creative possibilities.

Mix It Up with Multiple Exposure

With the E-P2’s Multiple Exposure function available for still image capture, you are free to tell a visual story your way, whether in a portrait, a landscape or a combination of both. The image capture options allow you to shoot one shot, then another and combine them in real time, or capture both shots separately and combine them in the camera later. Overlay your face on top of your pet’s face. Create an “identical twin” of yourself. Put the moon in the sky at noon. Your ability to manipulate space and time makes this new creative multimedia device a veritable time machine.

Frame Your Works of Art Inside the PEN

You can often achieve greater photographic expression by framing a scene in a unique way. The E-P2 provides four aspect ratios that serve as masks to frame your image to the desired proportions, including: the standard 4:3 aspect ratio that is suited to an 8 x 10-inch enlargement; the 16:9 aspect ratio that will display your images beautifully on a widescreen television; and other popular aspect ratios such as 3:2 and 6:6. The Multi-Aspect Shooting further expresses your creative vision when combined with Art Filters and multiple exposures. What will you create?

Stereo Audio Sounds As Good As the PEN Images Look

Like the innovative Olympus LS-11 portable audio recording device that puts the power of a recording studio in your pocket, the E-P2 features uncompressed CD-quality 16 bit/44.1kHz Linear PCM stereo recording capability to capture the rich sound quality of your scene. When you shoot with the E-P2, it’s like having a sound technician built into your camera to capture the nuances of the audio happening all around you. It has the versatility to record and play back in the WAV format and can record with its built-in stereo microphone. Whether recording audio while shooting a video or adding audio by recording a narration to your still images, the E-P2’s audio sounds as great as its images look. Now, with the new stereo microphone adaptor, there is new freedom in audio capture with the PEN.

Create Your Own Multimedia Slideshows with Stills, Video and Audio Inside E-P2

Content is king, and with the E-P2 you have your own portable kingdom of still images, HD video, and audio to remix at your command. In playback mode you can seamlessly mix stills and movies inside the camera to create a multimedia slideshow; dub in one of five built-in dramatic background music options to provide a soundtrack for your cinematic creation. Plug the E-P2 into any HD television with an HDMI cable and show off your masterpieces to your audience before your DVD arrives in stores!

As Easy to Use as a Point-and-Shoot with SLR-Quality Technologies

The E-P2 is equipped with 19 scene-select modes for effortless picture taking. Standard scene modes like Night-Scene, Portrait and Landscape are easy-to-use solutions for everyday shooting. Capturing beautiful portraits is easy with the new ePortrait Mode. It enables you to smooth your subject’s skin – all in the camera and before capture! Additionally, edits can be made post-capture using the ePortrait mode.

Shooting scenes with both highlights and shadows can often be a challenge because of the extreme contrast between dark and bright areas. The E-P2 addresses this challenge with Shadow Adjustment Technology that adjusts for extreme light variations and maintains visible detail in both the shadow and highlight areas of the scene. Now users can see and preview the gradation on the Live View LCD and capture images showing the shadow detail they saw. This feature is also accessible in the Edit menu after the shot has been taken.

The E-P2’s Face Detection reduces the chance of blurred subjects in images by recognising up to eight people’s faces and the background, tracking the faces within the image area, even if people are moving, and automatically focusing and optimizing exposure for sharp, brilliant portrait pictures (ideal for large family or party group photos).

Don’t like changing camera settings for each shooting situation? The E-P2’s Intelligent Auto Mode automatically identifies what you’re shooting (Portrait, Landscape, Night + Portrait, Macro, Sports) and adjusts settings to capture the best result depending on the situation. First-time users will enjoy this quick and hassle-free feature, which does the thinking for them and produces incredible images like a pro.

The E-P2 offers ease-of-use and flexibility to meet your shooting style. Choose the Live Control technology, an advanced control panel system that incorporates the use of the sub dial and enables you to see the image and the menu controls all at the same time on the LCD. As a result, you can use the main and sub dials to select modes and adjust settings without having to take your eyes off the subject. Or if you prefer, shoot with the Super Control Panel, which is familiar to any serious shooter. These options along with the camera’s intuitive button layout make the camera simple to use. The E-P2 records to SDHC media cards to accommodate large files including videos with In-Camera Creative Features and uncompressed audio.

Digital Leveler

The E-P2 is equipped with an internal Digital Level Sensor that detects the camera’s pitch and roll and indicates it on the control panel. This Digital Leveler is a tremendous benefit when capturing architecture and landscapes. Level the perfect coastline shot on your next tropical vacation without being tethered to a computer and editing software.

Magnified Focus Assist

The E-P2 provides two optional methods to help the user focus: a Magnified Focus (MF) Assist Function and Magnification Display. When using manual focus, the MF Assist feature aids with critical focus by allowing you to zoom in on part of the image by simply turning the focusing ring on the front of the lens. The Magnification Display enables you to selectively enlarge the image on the LCD at the touch of a button. This mode works for both autofocus and manual focus. Both MF Assist methods provide up to a 10x magnification of a single point of the image for critical focus; perfect for macro or still-life photography.

18×18 Metering Modes

This mode divides the image area into an 18 x 18 grid, metering each of the 324 separate cells to obtain optimum exposure. In addition to 324-division ESP metering, center-weighted metering and spot metering modes are also available.

OLYMPUS Master 2 Software

Use the included OLYMPUS Master 2 software (Mac and PC) to easily download images and videos from the camera or other external device, such as a USB drive, and automatically organize them into albums and groups and by date. Develop high-quality RAW images, apply Art Filter effects, edit and print images. Also, apply the most common editing functions to your HD videos. Update camera and lens firmware through the software and download additional menu languages. A direct link makes uploading your images and videos to YouTube™ easier than ever.

OLYMPUS Studio 2 (Trial Edition Included)

Extend the capability of Olympus Master 2 with Olympus Studio 2. In addition to the functions of OLYMPUS Master 2, this software includes a lightbox mode and selection marks for comparing and sorting multiple images. RAW processing is enhanced with additional controls for finer adjustments. The trial edition can be used for 30 days after installation. After the trial period has expired, a licence key is required for further use.

Availability

The Olympus E-P2 will be available in December 2009. It includes E-P2 Body, VF-2 Electronic View Finder, ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens or 17mm f2.8 Zuiko Digital Zoom Lens, USB Cable, Video Cable, Li-Ion Battery Pack (BLS-1), Li-Ion Battery Charger (BCS-1), Shoulder Strap, OLYMPUS Master 2 Software CD-ROM, Manuals and Registration card.

U.S. Pricing / Product Configurations

E-P2 Body with ED 14-42mm f3.5/5.6 Zuiko Digital Zoom Lens and Electronic View Finder

Estimated Street Price: $US1099.99

E-P2 Body with 17mm f2.8 Zuiko Digital Zoom Lens and Electronic View Finder

Estimated Street Price: $US1099.99

When the US reviewed the beta yesterday, they were a bit harsh on the Zune marketplace. They said: “Not a whole lot to write home about yet besides 1080p streams”. But they come from a country where VOD is commonplace and easy to get — Netflix, Hulu, Roku, Amazon, TiVo… all let you watch your entertainment whenever you want. Here in Australia, we have iTunes, we have TiVo and we have Foxtel, but the truth is that the Zune Video Marketplace is a much easier and superior experience to both of those.

The beta service that I’ve been playing around with isn’t quite the finished product most of you will get to experience next month. For a start, at the moment there are only 102 movies available, a number that MS reckon will grow exponentially when it launches. Secondly, everything I can watch is being streamed or downloaded from the US, so there’s the inherent delays involved with transmitting data over distance. Thirdly, there are a few quirky bugs with the menus and launching the service that will almost definitely be ironed out before launch.

But forgetting all of that for a moment, you quickly realise just how fantastic a service this is. You launch the Zune marketplace from the Video Downloads option on the NXE, and after about five seconds or so, you’re given a screen with the most popular movies available. You can browse through the movie collection in any number of ways, including genre, alphabetical and popularity, plus new releases.

Movie rentals range between the equivalent of $4 for an SD film and $7 for an HD one. You’ve got 14 days to start watching, and 24 hours once you start to finish, which is all pretty standard online movie rental terms.

Where Zune really excels in its versatility. When you select a movie, you’re given the option of downloading the film or streaming it in real time. If you select to stream the film, it will start within moments — it starts off quite pixelated and blocky, and your first thought is to question the quality. But as the movie buffers, the quality ramps up to 1080p HD with 5.1 surround sound.

If however, your connection is like mine and pretty damn dodgy (at least from the router up the back of the house to the TV at the front) the Zune streaming solution will adjust quality on the fly so you don’t end up with the film stopping every time it catches up to the buffer. That means that you’re able to watch the movie from start to finish, with the Xbox automatically adjusting the quality. In my admittedly limited testing of the service overnight, after it got past the initial blockiness, the video quality didn’t drop to unwatchable at any point.

Streaming also means you can start watching a film straight away, without having to wait for it to download. Microsoft have told us that in order to get an HD picture, you need a 3mbps connection, and 4mbps for Full HD.

The one BIG catch with this is the bandwidth though. A two-hour HD movie could be up to 6GB in size. That’s a pretty big chunk of anyone’s download limit, right there. That’s where the download rental option comes in though, so you can download during your off-peak period and watch it when you’re ready within the next 14 days.

But more appealing is switching ISPs. iiNet are still offering unmetered Xbox downloads though, which should incorporate the new movie service. Turns out that movies aren’t part of the iiNet Freezone (Thanks Michael). So you might just have to bump up your download limit…

Even though it’s still in beta, the Zune marketplace has already, one day in, become my preferred video rental option.

To be clear, this is the same device we saw before—a smallish (19.6 x 12.4 x 1.3cm, it turns out) e-reader with two screens, a 6-inch E ink display up top for displaying book text, and a 3.5-inch touchscreen LCD down below for navigation.

Connectivity comes by way of free AT&T 3G as well as 802.11 b/g Wi-Fi, while storage duties fall to the 2GB of internal memory, as well as a microSD expansion slot. Barnes & Noble claims charge time of 3.5 hours—by microUSB, thankfully—which’ll let you read for “up to ten days,” which is a curiously indirect way of describing battery life, and doesn’t really say much about what “reading” means. With constant LCD use? Occasional? None? Audio playback seems limited to MP3s, with a 3.5mm headphones jack taking care of output. Say what you will about the design, but you can’t fault B&N on ports.

Naturally, the main content source is the B&N ebook store, which has a reasonable—though not spectacular—selection of magazines and newspapers too. What the Nook has that other B&N-compatible readers don’t, though, is sharing. As with Amazon’s Kindle iPhone app, the Barnes & Noble’s reader can be synced with the company’s various mobile apps. Even better is the user to user sharing, which sounds an awful lot like the Zune’s old “Squirting” feature, which let people sharing DRM-wrapped songs for a limited time. That said, the sharing terms are pretty generous:

Share favorite eBooks with your friends, family, or book club. Most eBooks can be lent for up to 14 days at a time. Just choose the book you want to share, then send it to your friend’s reader, cell phone, or computer.

Avid readers can easily plow through all kinds of books in 14 days, so this is a pretty sweet deal.

And in a deprecating nod to the Kindle’s notorious durability issues, Barnes & Noble is pushing extended warranties right out of the gate: a $70 protection plan stretches the stock warranty to two years, and throws in accidental damage coverage, meaning you don’t have to worry too much about pulling a Matt, which given that this thing has two freakin’ screens, is a very real worry.

So let’s just get this out of the way. “Hi, I’m Kate, and this is my Nook!” Ha. Ok!

Disregarding my inner 12-year-old for a second, the above video does give a better sense of how the reader’s control scheme works than words ever good, but I’ll give it a go anyway: the only hardware buttons you’ll really use are the right and left page switchers. The rest, from book library navigation to settings menus to book sharing, is managed through a separate menu system on the much more responsive (though from the looks of it, kinda jerky) colour LCD. One one hand it’s a clever workaround for E Ink’s horrendously slow refresh rate; on the other, it’s kind of hilarious. I mean, really? [B&N]

Preorders are live on B&N’s site, and units should hit mailboxes on November 30th.

UPDATE: Err, looks like B&N’s web guys jumped the gun a little bit, and they’ve pulled the site. But ha, not soon enough. Eyes, feast:

What the &*^@ is Micro Four Thirds? Olympus and Panasonic co-developed what’s called the Micro Four Thirds standard just last year. The biggest difference to the eye is the smaller-than-SLR lens mount that incompatible with SLRs unless you deploy an adaptor. Internally, the standard ditches the mirrors used in SLRs and uses a four thirds CMOS (not micro four thirds chip!) to capture the image straight from the lens (just like a point and shoot). That sensor is roughly 30% smaller than that found in your average dSLR but 9 times bigger than what’s in your average point and shoot. The result is a camera ever so slightly smaller than a dSLR that should give you a similar end image quality.

The end camera is just a tad smaller than a baseline dSLR:

But it’s still way bigger than your average point and shoot:

The big not-so-secret
There are only four products on the market at this point (Panasonic G1, its video-centric brother, the GH1, Olympus E-P1 and, of course, the Panasonic GF1), and they all have the exact same 13MP Panasonic sensor. But only the latest two, the GF1 and the E-P1, have taken advantage of the smaller technology to create design-forward cameras.

The spoiler
However, if you’re going to buy one of these cameras, you probably want the GF1 ($900 with 14-45mm lens). It couples all the good stuff from Panasonic’s existing line with a retro body that’s eerily similar to the Olympus E-P1.

The build
The GF1 is too big, and it’s too heavy. The Panasonic GF1 is indeed smaller than my Canon XTi, but it still won’t fit in your pocket.

Yet I love carrying it around. Why? The body feels solid, as if it’s from another era, a Utopian time when men were men and companies built hardware to last—before we valued sissy silver painted plastic more than the metal it was emulating.

The GF1 (and the Olympus E-P1 for that matter) feels like a small tank in your hands, an element of war that won’t give up after being tossed in a bag recklessly. If dropped on an iPod from over 3 feet, the iPod would certainly be crushed.
There are neither too many buttons nor too few. A familiar circle rotates between shooting modes naturally and burst and timer modes share a switch right in front of it. A d-pad toggles functions like ISO while a clever clicking dial allows you to adjust shutter speed and f-stops.
A few buttons earn their very own functions, like focusing mode, exposure lock and, maybe most cleverly, video. Hitting this little button to the right of the shutter release switches you to video no matter what mode you’re in.

Given the almost retro-style build, however, it was tough for me to lose an optical viewfinder (though a digital optical add-on is available). It’s a heavy camera to hold outstretched while framing shots on the viewfinder. But luckily, the 3-inch LCD’s 460,000 pixels mean you can just manage to find critical focus, thanks to the screen auto-zooming to your subject during manual focusing, though it can be tough to be sure you’ve really nailed it.

That screen resolution is below a premium dSLR, but it’s about twice as sharp as the E-P1—and you’ll notice.
And then there’s the flash. Unlike the E-P1, the GF1 has one of these bad boys, and Panasonic has celebrated that fact by designing what must be the most complicatedly mechanical flash on the market. Watching it snap from the camera body is both impressive and worrisome. Can these little struts really hold up? Regardless, it’s handy to have, even though a perk of buying such a big, expensive camera is avoiding flash photography.

The pictures
Check out all of my GF1 test shots on Flickr, untouched JPEGs pulled right off the GF1.

Honestly, there’s not much we can say about the quality of the GF1’s sensor that hasn’t been said (by us, even.) The biggest particular problem is ISO noise, as you can see in the gallery below. Bottom line: the GF1 supports ISOs up to 3200, but you probably don’t want to reach beyond 800.
However, with that disclosure out of the way, I’d like to make a few points.

1. Shooting on the GF1 feels like shooting on an SLR. I’m not just talking about the ease of tweaking advanced controls. I mean, you pull the trigger, the camera takes a shot RIGHT THEN. For dSLR owners, that’s nothing new. For P&S owners, that’s a revelation.

2. There is undoubtedly more noise with Panasonic’s sensor in high ISOs than you could find in dSLRs for a similar price. But, the image quality you can achieve—I mean that intangible mix of sensor size and great glass that makes your photos feel professional—is undoubtedly beyond the realm of point and shoots, well in the SLR ballpark.

The BEST shot I was able to recreate of that watch above on my Canon P&S?
Needless to say, pretty gross stuff.

3. The Live View system features what’s, hands down, the best function I’ve ever see on any Live View system yet. Holding a Shutter Mode Effect button previews the motion blur you can expect in your final shot—saving you the heartache of the perfect preview and horrible blurry-faced end product we’ve all experience on point and shoots.
The only catch? The system didn’t work well in daylight, when you might want to use Live View to preview sports motion blur. Note that this car didn’t blur at all in my preview, nor did about 20 similar test shots I took in identical conditions.
However, low light tests worked fine.

The 720P video I’d describe as solid but not extraordinary. The AVCHD (or motion JPEG) video, while inherently better than P&S systems or Mino HDs, is not razor sharp. Without side by side comparisons or the wonderful popping colours you get with a bit of sunlight (it rained through my entire testing period), I can’t make any definitive statements. But what I’ve seen from the T1i seems better (richer colours, sharper figures), and not just because it’s 1080P.

Versus the EP-1
There are definitely a few key advantages to buying a GF1 instead of Olympus’ E-P1. They include:

• Sharper screen
• Faster autofocus (I’d estimate about 3x faster—it’s noticeable)
• Built-in flash (the Olympus requires an optional mount)

But it should be noted, the E-P1 has its image stabilisation inside its body while Panasonic relies on its IS kit lens. In other words, every lens the Olympus uses will have inherent image stabilisation. Also, Olympus allows autofocusing on all Micro Four Thirds and Four Thirds lenses. The GF1 can accept these lenses, but it only retains autofocus on its own brand. In other words, lens fanatics may find the E-P1 the better bet. And if you find one or the other on some super sale, well, it’s a toss-up.

Confession
The real reason I enjoyed shooting on the GF1, and the real reason you’re interested in Micro Four Thirds if you are indeed interested, has nothing to do with practicality.

I just feel cool using it.
I like walking around Chicago with the GF1 on my shoulder. It gives me that feeling of Leica superiority without the expense. The Micro Four Thirds system may have originated in Japan, but the romance of shooting on the latest systems is purely European. For the first time in a long time, a piece of electronics has made me long for an era and a place that I never knew.

Every soccer mum tourist in Chicago has a dSLR. They may take prettier photos than I do, but damn do I long to be different once in a while. And I’m here to say that, if you crave a Micro Four Thirds for the same reason, it’s my opinion that the GF1 works well enough that, well, that’s OK. I’m just not trading my dSLR for one.

Incredibly solid build

Best screen in class

Unique shutter blur preview

General stylishness and badassery

Video is good, not great

Same CMOS found in earlier version/competition

IS in kit lens, not camera

AU: Looking at $99 for it in Oz.

The strange thing about the Magic Mouse is not how it works. It is that you have different gestures than on a standard Macbook Pro trackpad.

One obvious example: Since you move the cursor by moving the whole mouse with your hand, there’s no point in also using one finger to move the cursor, like on the trackpad. Moving your finger on the surface of the Magic Mouse allows you to scroll in all directions, 360 degrees around.

You can also scroll with two or three fingers, if you move them up and down. But if you swipe them from side to side while using a web browser, your browsing history moves forward or back.

Physically, the mouse is beautiful, and feels nice. The top is made of white polycarbonate that matches the keys on Apple’s keyboards. It is one seamless touch surface, and, logically, there is no Mighty Mouse scroll nipple.

The surface can also simulate the left and right buttons. Unlike in previous Apple’s mice, the two buttons work perfectly. This time they also added physical feedback, so when you click the buttons, you actually get the entire surface to click—like the original clear Apple mouse.

The mouse runs on AA batteries, and Apple claims 4 months of use per set. You can get it with the new iMac or pay $US69 separately.

There was a small thing I noticed, though: the mouse would sometimes move when I tried to scroll — I can maybe get used to this, but it was a thing that happened to me and my presenter who definitely had more time with the mouse. The other reason why Apple went with fewer fingers for swipe and scroll gestures, besides the issue of pointing already being taken care of by the mouse’s table action, was because you need your ring finger to hold the mouse properly or the thing slides on your desk.

Also, the mouse will be software configurable for lefties.

Apple Introduces Magic Mouse—The World’s First Multi-Touch Mouse

SYDNEY, Australia – 21 October 2009 – Apple today introduced the new wireless Magic Mouse, the first mouse to use Apple’s revolutionary Multi-Touch technology. Pioneered on iPhone, iPod touch and Mac notebook trackpads, Multi-Touch allows customers to navigate using intuitive finger gestures. Instead of mechanical buttons, scroll wheels or scroll balls, the entire top of the Magic Mouse is a seamless Multi-Touch surface. Magic Mouse comes standard with the new iMac and will be available as a Mac accessory at just recommended retail price A$99 inc GST.

“Apple is the Multi-Touch leader, pioneering the use of this innovative technology in iPhone, iPod touch and Mac notebook trackpads,” said Philip Schiller, Apple’s senior vice president of Worldwide Product Marketing. “Apple’s Multi-Touch technology allows us to offer an easy to use mouse in a simple and elegant design.”

Magic Mouse features a seamless touch-sensitive enclosure that allows it to be a single or multi-button mouse with advanced gesture support. Using intuitive gestures, users can easily scroll through long documents, pan across large images or swipe to move forward or backward through a collection of web pages or photos. Magic Mouse works for left or right handed users and multi-button or gesture commands can be easily configured from within System Preferences.

The Magic Mouse laser tracking engine provides a smooth, consistent experience across more surfaces than a traditional optical tracking system. Magic Mouse uses Bluetooth wireless capabilities to create a clean, cable-free desktop and its secure wireless connection works from up to 10 metres away. To extend battery performance, Magic Mouse includes an advanced power management system that works with Mac OS X to automatically switch to low power modes during periods of inactivity. The wireless Magic Mouse is powered by two AA batteries which are included.

Pricing & Availability
Magic Mouse comes standard with the new iMac and is available at the end of October through the Apple Store (www.apple.com/au), at Apple’s retail stores and Apple Authorised Resellers for a recommended retail price of A$99 inc GST. Magic Mouse requires Mac OS X Leopard version 10.5.8 or later.

Apple ignited the personal computer revolution in the 1970s with the Apple II and reinvented the personal computer in the 1980s with the Macintosh. Today, Apple continues to lead the industry in innovation with its award-winning computers, OS X operating system and iLife and professional applications. Apple is also spearheading the digital media revolution with its iPod portable music and video players and iTunes online store, and has entered the mobile phone market with its revolutionary iPhone.

MC207LL/A – K84 BEST BTR- USA
MC238LL/A – MAC MINI 2.26/2×1GB/160/SD/AP/BT-USA
MC239LL/A- MAC MINI 2.53/2×2GB/320GB/SD/AP/BT-USA
MC340LL/A – AIRPORT EXTREME (SIM DUALBAND) – USA
MC343LL/A – TIME CAPSULE 1TB (SIM DUALBAND) -USA
MC344LL/A – TIME CAPSULE 2TB (SIM DUALBAND) – USA
MC408LL/A – MAC MINI 2.53/2×2GB/1TB/NO ODD/AP-BT-USA
MC413LL/A – IMAC 21.5″/3.06/2×2GB/1TB/4670-256MB-USA
MC434LL/A – APPLE VESA MOUNT ADAPTER
MC461LL/A – MACBOOK 60W MAGSAFE POWER adaptor – USA

K84 Best BTR? Sounds like a new Bluetooth Keyboard. SIM dualband? Are the AirPort and Time Capsules tying in with cellphones? Apple VESA mount adapter? Since when Apple does that kind of accessory?

The new products will not be earth-shattering material—Apple won’t announce anything wowiezowie without an event—but I’m curious about the whole SIM dualband thing. [AppleInsider]

The assembled Ares I-X was mounted aboard NASA’s sandcrawler at Kennedy’s Vehicle Assembly Building at 1:39 a.m. It arrived at Launch Pad 39B around 7:45 a.m.

The Ares I-X will test the viability of the 100-metre high Ares I, NASA’s tallest, most powerful rocket since the Saturn V. The Saturn V was 10 meters higher than Ares, and remains the biggest, most powerful rocket ever launched.

If everything goes well, Ares I-X will launch on October 27, reaching 40 kilometres up in the air, and sending vital information about its performance. The first stage, solid rocket engine, will return to Earth. The dummy upper stages will fall down to the ocean.

Arex I-X is the first major milestone for the Constellation program, which in theory would take over the shuttle, and also bring humans back to the Moon and Mars. If el Sr. Presidente gives the go ahead, that is. At this point, the Constellation program is being evaluated by the Augustine Commission. Their final report, that will seal its fate, will be handed in to the White House this week.

In other words, enjoy this launch while it lasts.

AU: Aussie pricing is still TBC (what a surprise), with release in December –NB

INTRODUCING THE ULTIMATE MULTIMEDIA IMAGING SOLUTION:
THE NEW CANON EOS-1D MARK IV DIGITAL SLR CAMERA The EOS-1D Mark IV Features a Completely Redesigned 45-Point Autofocus System, Fast 10 fps Continuous Shooting, 16-Megapixel Resolution, Outstanding ISO Sensitivity, and Full HD Video Recording at Selectable Frame Rates

LAKE SUCCESS, N.Y., October 20, 2009 – Canon U.S.A., Inc., a leader in digital imaging, is proud to introduce the next evolution in the EOS 1D series of cameras: the Canon EOS-1D Mark IV Digital SLR camera. The EOS-1D Mark IV is a high-speed multimedia performance monster with a 16-megapixel Canon CMOS sensor, Dual DIGIC 4 Imaging Processors, and 14-bit A/D data conversion, all at 10 frames-per-second (fps), with the widest ISO range Canon has produced to date. This new camera also features 1080p Full High-Definition video capture at selectable frame rates packaged in Canon’s most rugged and durable professional camera body.

The crowning achievement of Canon’s 1D Mark IV Digital SLR is its new autofocus system that starts with 45 AF points including 39 high-precision cross-type focusing points capable of tracking fast moving athletes or wildlife accurately at speeds up to 10 frames per second. With greater subject detection capability than ever before plus a newly redesigned AI Servo II AF predictive focusing algorithm, the Canon EOS-1D Mark IV camera sets new standards for autofocus performance among professional digital SLRs. Whether shooting for the six o’clock news or the front page, the EOS-1D Mark IV Digital SLR is the quintessential camera to freeze fast-moving action with high-speed stills or capture stunning HD video with dynamic colour and image quality. To accompany the new EOS-1D Mark IV Digital SLR camera, Canon is also announcing a new accessory, the WFT-E2 II A wireless file transmitter providing photographers with a wide range of professional digital connectivity options.

“Canon works hard to be the imaging leader in all our business endeavours. This goal has fuelled our innovation and R&D efforts to engineer the most advanced autofocus system Canon has ever produced. We are proud to announce the camera that will deliver the ultimate in imaging quality to professionals working in all areas of multimedia imaging, whether it’s action photography, photojournalism or HD video and cinematography,” stated Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A.

The Canon EOS-1D Mark IV camera will intrigue professional photographers in virtually every category from photojournalism and sports through nature, wedding, portrait and fashion to commercial, industrial and law enforcement. What makes the EOS-1D Mark IV camera different from its predecessors, in addition to numerous focusing system and image quality improvements, is its exceptional Full HD video capture capability. With this new level of functionality, the 1D Mark IV Digital SLR is destined to appeal not only to professional still photographers but also to a diverse market of professional videographers and filmmakers who are looking for exceptional Full HD video quality, amazing low-light performance, outstanding portability and a level of durability unheard of in most HD video cameras in this price range.

New 45-Point Autofocus System
The new EOS-1D Mark IV Digital SLR camera features Canon’s most advanced Autofocus system to date. It is equipped with a newly developed 45-point AF sensor featuring 39 high-precision cross-type AF points, and an all new AI Servo II AF mode that gives still photographers the power and performance to track and focus a fast-moving subject at speeds up to 10 frames per second. With more than twice as many cross-type focusing points as the EOS-1D Mark III and a new AF sensor construction that improves performance in low light and with low contrast subjects, the EOS-1D Mark IV has greater subject detection capabilities than any previous EOS model. To complete the range of AF improvements, Canon has developed a new AI Servo II AF predictive focusing algorithm that significantly improves responsiveness and stability by making better decisions on focus tracking in a variety of shooting conditions.

Amazing High ISO Performance
Wedding and event photographers shooting in low light without the benefit of a flash can take advantage of Canon’s widest ISO range and highest performance ever. The EOS-1D Mark IV camera’s ISO speed settings range from 100 up to 12,800 in 1/3 or 1/2 stop increments with ISO Expansion settings of L: 50 for bright light or H1: 25,600, H2: 51,200, and H3: 102,400 for even the most dimly lit situations. Photographers and documentary filmmakers working in available light will be impressed by the low-noise image quality of the 1D Mark IV, capturing amazing still images and video footage even at speed settings as high as ISO 12,800. High ISO, low light still images are further enhanced by Canon’s adjustable High ISO Noise Reduction feature, now a default setting in the camera.

The EOS-1D Mark IV, EOS HD Video Powerhouse
Over the past year, Canon’s EOS HD Video technology has changed the way users capture 1080p HD video and opened new doors for multimedia journalists and Hollywood cinematographers alike with full manual exposure control, selectable frame rates, and interchangeable lenses on some of the largest and most sensitive image sensors on the market. Canon continues this innovation trend with the new EOS-1D Mark IV Digital SLR with Full HD capture and full manual exposure control, plus selectable frame rates on an all-new
APS-H-sized image sensor that’s similar in size to a Super 35mm motion picture film frame. The large sensor allows filmmakers to achieve shallow depth-of-field just as cinematographers have traditionally done using much higher-cost motion picture equipment.

The more than 50 Canon EF lenses compatible with the EOS-1D Mark IV give videographers incredible creative options, including an impressive selection of large-aperture professional L-series primes as well as zoom lenses, macro, Tilt-Shift and Fisheye optics. The Canon EOS-1D Mark IV allows for three video recording resolutions – 1080p Full HD and 720p HD in a 16:9 aspect ratio and Standard Definition (SD) in a 4:3 aspect ratio. The camera will record Full HD at 1920 x 1080 in selectable frame rates of 24p (23.976), 25p, or 30p (29.97); and 720p HD or SD video recording at either 50p or 60p (59.94). SD video can be recorded in either NTSC or PAL standards. Sound is recorded either through the internal monaural microphone or via optional external microphones connected to the stereo microphone input. The camera also provides an in-camera video editing function allowing users to remove the start or ending of a video clip directly in the camera to eliminate unwanted footage and speed up post-production.

Image Quality and Performance
The heart of the EOS-1D Mark IV camera’s outstanding image quality is a newly developed 16.1-Megapixel CMOS sensor featuring Canon’s latest and most advanced proprietary technologies. These technologies include improved photodiode construction to enhance dynamic range and gapless microlenses that are positioned closer to the photodiodes for improved light gathering efficiency. The transmissive quality of the colour filter array has been enhanced to improve sensitivity. Canon has also upgraded the sensor circuitry to improve noise reduction before the image data is exported from the CMOS sensor to the rest of the image processing chain.

With 60 percent more pixels than the EOS-1D Mark III, the EOS-1D Mark IV Digital SLR employs Dual DIGIC 4 Image Processors with approximately six times the processing power of DIGIC III for full 14-bit A/D conversion at 10 fps. High-speed continuous shooting up to 121 Large JPEGs is possible using a UDMA CF card. This camera also features three RAW shooting modes for versatility with Full RAW (approx. 16 million pixels), M-RAW (approx. nine million pixels), and S-RAW (approx. four million pixels). Three additional JPEG recording formats (M1, M2 and Small) are also available.

The 14-bit per channel conversion facilitated by the dual DIGIC 4 Processors provides smoother tonalities in final images capturing all 16,384 distinct tones in each channel (red, green and blue) at the full 10 fps frame rate. RAW images shot on the new Canon EOS-1D Mark IV use the entire 14-bit space when converted to 16-bit TIFF files in Canon Digital Photo Professional (DPP) software, which is supplied with the camera at no extra charge. The 14-bit A/D conversion is also the foundation for Canon’s Highlight Tone Priority feature that takes maximum advantage of the camera’s extensive dynamic range to preserve detail in highlight areas of the image. Canon’s new EOS-1D Mark IV Digital SLR also features an improved white balance algorithm making colours more accurate when shooting under low colour temperature light sources such as household tungsten lamps.

The EOS-1D Mark IV Digital SLR features Canon’s Peripheral Illumination Correction function which corrects darkening that can occur in the corners of images with most lenses when used at their largest apertures. When activated, it is automatically applied to JPEG images and video clips as they are shot. For RAW images, it can be applied in DPP software.

Other new features include a large three-inch solid structure Clear View II LCD screen with 920,000 dot/VGA resolution and a wide 160-degree viewing angle for enhanced clarity and more precise colour when reviewing images and shooting video. The new in-camera copyright information feature helps professionals secure control over images by setting copyright data directly into the camera and appending that information to each image file in the Exif metadata. Additional features include a fluorine coating on the Low Pass Filter to further repel dust and enhance the EOS Integrated Cleaning System.

Minimize Post-Production with Enhanced Canon Auto Lighting Optimizer
Action photography truly is all about speed, capturing a fast subject with fast focusing and fast frame rates. However, all this speed might be wasted if it is slowed down by lengthy post-production procedures to adjust image quality. The EOS-1D Mark IV Digital SLR helps reduce post-production work with a powerful new Auto Lighting Optimizer (ALO) system. When enabled, Canon’s ALO automatically adjusts the image for optimal brightness and contrast on the fly during in-camera image processing, reducing clipped highlights while keeping shadowed areas as clear and detailed as they actually appear. By optimizing brightness and contrast in-camera, Canon’s ALO system significantly reduces the need for post-production image optimization, and gives photographers image quality they can take directly to press. Demanding professional photographers who tested ALO clearly stated that this one feature will reduce their post-production image optimization process by more than 75 percent. Canon’s ALO works with both RAW[i] and JPEG images as well as video recording.

Rugged Reliability
Canon has taken every measure to ensure that the EOS-1D Mark IV Digital SLR camera has the highest degree of weather resistance in the EOS line. The 1D Mark IV camera incorporates a wide range of design features that enhance its durability and reliability for professional assignments. For example, the 1D Mark IV’s body, chassis and lens mount are completely weather-resistant and 76 gaskets and seals surround all buttons and seams. The body covers and internal chassis, including the mirror box, are constructed with magnesium-alloy, one of the strongest and rigid metals available for its weight. For added strength, the lens mount is constructed with stainless steel. In fact, when used with Canon’s Speedlite 580EX II and/or most current L-series lenses, the entire camera system remains fully weather resistant, so professionals can concentrate on getting the shot instead of worrying about protecting their gear.

New Wireless Connectivity
Canon is announcing the availability of the new WFT-E2 II A* wireless file transmitter exclusively for the EOS-1D Mark IV Digital SLR camera. The WFT-E2 II A wireless transmitter is an extremely small and versatile device that offers professional photographers a wide range of digital connectivity options including IEEE802.11a/b/g and Ethernet, ideal for commercial and studio work. In addition to adding the ability to connect to wireless networks over 802.11a, the new WFT-E2 II A adds a wealth of new professional features to the photographer’s tool kit. The new Camera Linking feature allows a single photographer to simultaneously fire up to 10 cameras remotely; and the updated WFT Server mode lets you remotely use Live View, control settings, and fire the EOS-1D Mark IV over the internet from anywhere in the world using a standard Web browser or many Web-enabled smart phones. Additionally, geotagging is now possible via Bluetooth, using compatible GPS devices to append coordinate data to the images.

Pricing and Availability
The Canon EOS-1D Mark IV Digital SLR camera is scheduled to be delivered to U.S. dealers in late December, and will be sold in a body-only configuration at an estimated retail price of $US4,999.00[ii]. Final pricing and availability for the Canon WFT-E2 II A wireless file transmitter will be available later this year.

[Canon]

Nothing is immune, be it cameras, laptops, game controllers or ebook readers, and the trend is showing no signs of stopping. The consumer electronics industry, it seems, is slowly become on big episode of Pimp My Ride. Anyway, on with the screens.

Every stumble Barnes & Noble’s eReader takes into the limlight reveals something stranger. First, we find out it’ll run Android, a smartphone OS. Then we discover it’s going to have two screens—a traditional E-ink display up top, and a multitouch LCD down below. There’s no denying this makes for some great gadget porn, but we’ll have to wait until tomorrow to find out if it’s, you know, at all a good idea.

An ill-timed half-step in the generational console wars, the Sega Dreamcast is remembered primarily as a failure. But for the purposes of this list, we’ll rosily remember it as the first console to include displays in its controller. Strictly speaking, the “display” was one of the functions of the Visual Memory System cartridges, which each contained its own processor, memory, battery and, of course, 48×32 monochrome display. Despite some genuinely OK uses—keeping certain controls secret during multiplayer games, or displaying FPS stats—the hardware couldn’t really do the concept justice. [Pic via Axess]

When switched off, Samsung’s TL220 and TL225 point-and-shoots look like any other boring camera. Switched on, they still look like any other boring camera, except for an odd-looking, forward-facing second display. Samsung’s advertising angle is all about MySpace-style self-portraiture and making babies smile with horrifying clown animations, but the visual timed shot countdown is the only feature I think I’d ever end up appreciating.

Nintendo’s entire DS pitch was about the second displays, which was intended mainly as a touchscreen control interface. Early reviewers didn’t really know what to make of it. Now, reviewers take Nintendo’s two-screened style for granted.

The Eee Keyboard looks more like a one-off Ben Heck mod than it does a real product—a theory almost supported by its endlessly creeping release date. Today, units are about ready to ship, meaning that you’ll be able to buy a QWERTY keyboard with a full-fledged computer in it, and a secondary touchscreen display crammed into the right-hand side.

Lenovo’s ThinkPad W700ds captures the spirit of the extraneous second screen perfectly. One second you’re just tapping away at your big, bland, work-issued laptop, then BAM. A secret monitor pops out of the side of your main screen. The pitch for this thing over at Lenovo HQ must’ve been utterly spectacular.

Lenovo’s secondary displays are covert; you know, hush hush. Sharp’s, on the other hand, are proudly displayed—in fact, Sharp’s Mebius NJ70A carries its extra pixels proudly, where you’d normally find a trackpad. In fact, this multitouch capacitive displays is the trackpad.

The first generation of OLPC hardware was, despite some interesting flourishes, pure laptop. The first few generations of tablets PCs were nothing more than notebooks with extra hinges. The next take on both, the XO 2 and Microsoft’s Courier, respectively, took everyone by surprise by killing keyboards in favour of displays. Neither is out yet, so the jury is out—way out—on whether or not our future has two screens, or just one.