Panasonic Lumix FX80 digital camera
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Slim and Seductively Stylish, the DMC-FX80 with F2. 5 Bright 24mm Ultra Wide Angle LEICA DC Lens – Elegant Design and Crafted Performance. Panasonic is pleased to announce a new addition to its LUMIX FX series of premium compact cameras, which are renowned for their outstanding performance and sophisticated design. The new slim and chic DMC-FX80 is testament to the success of this range and incorporates a high quality LEICA DC VARIO-SUMMARIT lens that boasts excellent brightness of F2.5. Add to this a 24mm ultra wide angle lens, 5 x optical zoom and the ability to record full HD video – and the FX80 is a serious photographic proposition in a tempting wrapping.
The DMC-FX80 incorporates a high quality LEICA DC VARIO-SUMMARIT lens that boasts excellent brightness of F2.5. The F2 .5 lens is approx. 25% brighter than the F2.8 lens which has been previously offered in this class of camera. It allows the use of higher shutter speeds whilst capturing stunningly clear, sharp, blur-free images even in lower lighting situation . Together with the MEGA Optical Image Stabiliser (OIS). In the Intelligent Auto (iA) mode, the DMC-FX80 with battery such as Panasonic CGA-S101A Battery, Olympus Li-10B Battery, Olympus BLM1 Battery, panasonic NV-GS10 battery , panasonic VHS-C Battery, canon EOS 400D Battery, panasonic VW-VBD1E Battery, panasonic VW-VBD1 Battery, Panasonic CGA-S002 Battery, HITACHI DZ-HS300E Battery, Olympus FE-230 Battery, canon MV930 Battery powerfully suppresses blur caused by the movement of subjects – great for portraits at parties or pictures of babies without using flash.
To further add to its appeal, the 24mm (35mm camera equivalent: 24-120mm) ultra-wide-angle lens – rare on a compact camera – gives photographers a wider range of composition possibilities with approx. 213% larger viewing space compared to that of 35mm camera. The super-high-quality LEICA DC VARIO-SUMMARIT lens minimizes distortion at the wide end. The lens especially excels not only in shooting dynamic landscapes with its wide angle of view but also in capturing moving subjects even in low-lit situations such as children indoors or concerts at night with its outstanding brightness.
Comprising of 6 elements in 5 groups with 3 aspherical lenses with 5 aspherical surfaces, the lens unit in the DMC-FX80 realized downsizing of both total length and diameter to fit in the slim, compact body of the camera. This advanced lens unit passes Leica stringent standards and delivers an exceptional optical performance with its minimal distortion and chromatic aberrations while suppressing ghosting and flaring.
The Intelligent Zoom is also available with the DMC-FX80. It is an enhanced zoom function using digital zoom, allowing the subject to be drawn 2x closer than the original optical zoom with minimum deterioration of image quality thanks to the Intelligent Resolution technology. This means the 5x optical can virtually extend to 10x equivalent.
High Speed ??CCD and Venus Engine Assure High Picture Quality
The 12.1-megapixel CCD with superior 2-channel signal output structure allows a higher signal transfer speed for all operations that require high performance and speed such as the incorporated 1,920 x 1,080 full HD video recording and high speed continuous shooting. The picture quality is also improved thanks to the higher sensitivity of the sensor which is made possible by highly efficient light capture using larger on-chip micro lenses.
For the image processor, the Venus Engine FHD is incorporated featuring exceptionally advanced signal processing capabilities via its Intelligent Noise Reduction. The multi-task image-processing engine Venus Engine supports a super-fast response time which makes it easier to capture sudden, spur-of-the-moment photo opportunities together with the Sonic Speed ??AF (Auto Focus) that lets you lock on the subject. The LEICA DC VARIO-SUMMARIT lens, high resolution CCD and the high performance Venus Engine assure high quality image rendering.
Technically highly proficient, yet remaining easy to use, the FX80 features Panasonic popular iA mode which lets users leave everything to the camera to take beautiful photos and videos. Once you enter the iA mode, of these useful, convenient shooting-assist functions – MEGA OIS , AF Tracking, Intelligent ISO Control, Face Detection, Intelligent Scene Selector and Intelligent Exposure – are automatically activated by. Perfect!
A Host of Functions Expand The Fun of Photography with Smart Touch Control
Featuring a 3.0-inch LCD with Smart Touch Screen, complete control is possible with a simple touch. Auto Focus is immediately set to the subject by just touching it on the large LCD and you can even release the shutter. Once you lock on the subject by a touch, the camera tracks the subject with the AF tracking function even if it moves. This makes the DMC-FX80 a great choice for anyone looking for an upgrade to a camera phones image taking but with the same intuitive controls .
Taking advantage of the touch operation, new features such as Defocus Effect are available on the DMC-FX80 that gives a beautifully defocused background to the macro shots to help the subject stand out. Brightness can be changed with exposure and the colour with saturation letting users give different impression to the photo in camera from the original.
Additional features that add more fun include the Creative Control mode that offers a selection of artistic filter effects when recording images; Expressive, Retro, High Dynamic, Sepia, Dynamic Monochrome, High Key, Low Key, Miniature Effect, Toy Effect and Soft Focus. These filters can be applied even after images were shot with the Creative Retouch function.
< br /> Miniature Effect mode in which the edges of images are defocused while saturation and contrast are emphasized to give the image a toy or fantasy like appearance. Simple to use, this mode allows a photograph of a life-size location or object to look like a photograph of a miniature scale model. Now everyone can be a creative photographer! The video recorded in this mode is played back in 10x fast-forwarding making it more comical to watch.
The Beauty Retouch mode makes it possible to virtually cosmetically enhance human faces and make them look more glamorous. This mode is advanced with the addition of Smile Look in addition to the Aesthetic Retouch (Clear Skin, Shine Removal, Whitening of Teeth, Lift Up, Eye Emphasis), Foundation and Make-up Retouch (Lip Colour, Cheek Colour, Eye Shadow). A rich variety of trend colour is available in each cosmetic and the strength of effect can be adjusted individually according to the user intention. On the other hand, One- touch Make Up mode offers 4 patterns of latest trend make-up – Natural, Smokey, Glamour and Cheerful. Both colour selection and make-up effect are supervised by famous cosmetics brand Kanebo COFFRET D R which is especially popular among Japanese women. Furthermore , a new My Beauty setting can memorize 3 patterns of adjusted parameter. Once the favorite pattern of Beauty Retouch is created, users can recall and apply it immediately when they want it. Picture perfect at the touch of a button!
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Battery Type : Li-ion
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The, the Dimension : 36.95 x 30.10 x 12.35 mm
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the Condition. : New, 1 year warranty!
Weight : 28.50 g
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Battery Type : Li-ion
Voltage :
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Capacity : : Black, 940mAh

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The, the Dimension : 40.96 x 36.50 x 6.70 mm
Product Type : Replacement Battery (Brand
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the Condition. : New, 1 year warranty!
Weight : 18.50 g
Ihttp :/ / www.panasonic-battery-charger.co.uk/Camera -Battery/Panasonic/Panasonic-DMW-BCF10E.htmlnventory : the
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See original: http://www.easyarticle.org/accounting/article_81243.html
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A sprawling love-letter to Rome, the eternal city
It well known that Fellini abandoned linear, narrative
filmmaking sometime during 8 ?, though perhaps the seeds were
already being sewn with his two episodic dramas, Nights of Cabiria
and La Dolce Vita. Like those films, Fellini-Roma offers up a
similarly episodic, shambolic and deeply romanticised depiction of
Italy capital. However, unlike those films, there is no central
figure or narrator, like the prostitute Cabiria or Marcello the
playboy journalist, to guide us through Fellini labyrinthine
concoction; only the fevered musings of it director and the
rambling recollections of a series of fanciful weirdoes. Thus, the
film isn a film in the traditional sense, but rather, a fusion of
documentary style-footage and stylised recreations of characters,
places, times and events.
Many have criticised the film (as well as others from the same
era, particularly Juliet of the Spirits, Satyricon,
Fellini-Casanova and The City of Women) as being trivial,
meandering and self-indulgent, all of which are true, but certainly
the element of indulgence and theatrical abstraction (as well as a
penchant for the outrageous and arcane) was always part of
Fellini appeal. Here, the previous hints of free-form
abstraction, is taken further, with all semblance of story removed,
so the film, unlike his previous two films Juliet of the Spirits
and Satyricon, which were abstract and sprawling but still had a
sense of character and plot, Roma instead, wanders along from one
scene to the next, with no real focus on character (although there
are many faces that reoccur throughout) and nothing in the way of
narrative momentum. Now, this will undoubtedly be a problem for
some viewers who require a sense of pace or meaning to their films, < br /> though, for those of us still interested in what Fellini has to
offer, regardless of content (or lack, thereof), it is perhaps best
to think of the film as a collection of scenes to dip in and out of
at random.
As was the case with many later-Fellini, the film has a number of
intoxicating set pieces scattered sporadically throughout, amongst
the most impressive being an epic fashion show replete with the
trademark Fellini grotesques, social and political commentaries and
a fair bit of sniping, sycophantic star-worship. Other standouts,
with the film traversing a number of different time periods,
include a reconstruction of Rome during the reign of Mussolini, a
heated traffic jam on the autostrada and a lengthy documentary-like
scene following a group of archaeologists searching through Rome
labyrinth of subway systems. There are a variety of other set
pieces scattered throughout the film that probably warrant some
sort of mention, but they just didn resonate with me as highly as
they have with certain other viewers.
However, that one of the great things about Fellini-Roma, with
the director stringing together a series of impressionist sketches
that will no doubt conjure different moods and emotions in whoever
watches the film. As was apparent right from the start with
Fellini, was his ability to evoke a certain time and place through
his images, set-construction , sound-design, and overall
iconography … and that certainly evident here. Of course, like
all of the director work from this period, the film won be to
all tastes, with many no doubt despairing of the filmmaker
seeming indulgence, pretension and wanton disregard of character
and narrative. However, if you treat the film more like an episodic
tapestry (or travelogue) to dip in and out of, then you e sure to
get a lot out of Fellini majestic, carefully orchestrated
imagery, bizarre cavalcade of clowns, freaks, geeks and weirdoes
(not to mention the usual barrage of buxom ladies), and a
collection of cameos and in-jokes from a variety of Fellini
regulars.
For my money, this film isn quite as essential as 8 ?,
Amarcord, La Dolce Vita or … And the Ship Sails on, though it does
rank alongside the sentimental La Strada and the similarly episodic
Night of Cabiria (I m not sure whether or not I prefer Casanova
over this … I have to see both films again) and is much better
than the free-form bombardment of Juliet of the Spirits, Satyricon < br /> and The City of Women (36 hours in my opinionOn the Call
at least). Regardless of the comparisons to his previous films,
Fellini -Roma is still an enchanting film with some astounding
moments of visual spectacle to compensate for the overall lack of
plot. Probably a worthwhile purchase for die-hard Fellini fans,
though those new to the director work would be better off
starting elsewhere.

Classic Fellini,
From its Daliesque opening images of pollarded trees, caught in
silhouette like the blasted stumps of an Ypres battlefield, Fellini
plunges the viewer into a world which is both real and surreal,
which is both a living city and an historical allusion … if not
illusion.
Fellini often invokes themes of how we understand the narrative
of our life – our memories, fantasies, dreams all become blended
into some sort of logical whole. Here he explores Rome as a city of
myths and illusions. The Fascists ( who taught him as a child)
presented ancient Rome as an ideal, as the eternal statement of
civilised values. Yet the Rome they venerated was frozen in
alabaster statues and decaying architecture. The Fascists wn
illusion of permanence was to be rapidly swept away, yet they live
on in the child (now the man ) memories as a frozen statue of
Mussolini.
Education for Fellini was regimented by the Fascists and the
Church. The Church, of course, also venerated Rome as the eternal
city, the heart of the Church. Rome, it seems, had eclipsed
Christ .
And Rome dominates so much of popular culture – the cinema still
celebrates gladiatorial epics. Fellini contrasts this with the
popular culture of Roman vaudeville, a lengthy vignette playing on
the bawdiness and vulgarity of the theater going masses so
different from the elegance of high culture theater!
“Roma” is delivered in a series
of vignettes, with us chase girl,
images, flashbacks, sketches which the capture both Fellini
, own memories of the city and some of its classic representations. It
is, we see a living city, but one which Church, State, tourists
and academics are trying to ossify, to reduce to an institution
which can be controlled and used to justify power, history,
politics, culture, religion, life itself.
For Fellini, Rome is a circus – and not the crumbling ruins of
the amphitheatre. It is a living, ever changing circus of real
life, of vivid imagination, of intellectual discovery and popular
culture. It cannot be defined, it cannot be explained. It lives by
day, it lives by night.
We dive beneath the city streets to find engineers tunnelling,
building a new subway system. Every so often they have to stop as
they unearth more archaeology. Every time they stop, the
archaeologists are called up to preserve, to save, to delay and
postpone . Finally, the tunnelling breaks through into a room
resplendent in beautiful Roman wall paintings. As the onlookers
watch, the paintings crumble to dust. Sic transit gloria.
And in the end .. . the city is given over to youth. Late into the
night, the city is taken over by young people on motorbikes. It
fun. It a playground. It is a living international city, not the < br /> dead hand of history. The beauty that was Rome has decayed, as must
we all. Fellini celebrates life, and so does
“Roma”.


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YORK December 27] Sony Ericsson U1 has been the focus of attention, the aircraft to be known to take pictures of the king of the identity of the 12 million pixel camera, with a strength comparable with the digital camera. The aircraft is also equipped with the popular Symbian S60 5th Edition operating system, make the machine a high popularity. In addition, it also supports GPS navigation, wi-fi wireless Internet access, e-mail and other mainstream functions. Aircraft in the price of digital businesses Mai Wo 2380 yuan, like friends consider.


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