心理是一门科学。开心最重要。

纯粹心理作用~~~

无奈,刚从CA搞了个L1,小金库空了.

结婚了吗？搞小金库的后果很惨的。 － －建议收入公开化。

俺那朋友最不擅长的就是砍价.网站上标价1199澳刀,他搞不好能1300买回来,然后说商店送的手提袋是多么的beautifull.
您当时还砍了不少啊!牛!!
估计要在春节前去澳洲玩,搞小金库中......

记得要和销售小姐磨一磨。要不继续砍掉零头，要不就要额外的保养，或者送CF卡，或者。。。。。。
利益要最大化。

好像中国只保一年，还是国外的好啊

谢谢楼主分享,在找澳洲的朋友呢,看看能不能搞一台.

LZ蛮有感觉的。顶一哈。

初入手感受是：

读卡没有D200快，但是也不是网友说的那么慢，建议用高速CF卡。
高ISO和白平衡比D200好。
软件设计不如尼康，毕竟尼康的人性化设计出名的好。

最好的是Made in Japan。呵呵，别砸我，这东西日本制造比泰国制造舒服。

不知比D200好多少，有何优势？谢谢！

很好，很精彩！

http://www.teds.com.au/www/6/1001102/displayproduct/fuji-finepix-s5-pro-body--2075302_enthusiast-digital-slr--2189988_.html

Here you go!

can you offer the link of the website pls?

打开箱子来张照片。

改天上些它拍的照片。

Fuji Finepix S5 Pro Body

Product Code:   90913
Unit:   Each
Pixels:   12MP

On Special

Handling Charge Per Item: $0.00

$0.00 Was $1,799.95
Now On Sale $1,199.95 (inc. GST)

我最后是1120买下来的，同时送了额外的2年质保。

This item is not currently available
Out of stock
Qty     


Fuji Finepix S5 Pro Body Only

The Fujifilm FinePix S5 Pro stands apart from the crowd by combining the much sought-after picture quality of Fujifilm’s Super CCD SR sensor with a fully digital and durable professional metal alloy body. With this superior combination of truly professional handling and image quality, Fujifilm expects the FinePix S5 Pro to appeal to an even broader range of professional photographers.

Fujifilm’s ultimate goal in development of its DSLR cameras has been to maximise image quality through constant research and development into its sensor technology. With the introduction six years ago of its acclaimed Super CCD, Fujifilm moved away from increasing the pixel density of its sensors in favour of image quality developments that increase the overall performance of the sensor. The FinePix S5 Pro will see the refinement of a winning formula – Fujifilm’s Super CCD SR II will be updated to the new Super CCD SR Pro. Using a unique layout of twelve million paired photodiodes (6.17 million larger ‘S’ photodiodes for main image information, combined with 6.17 million smaller ‘R’ photodiodes for bright area information), the S5 Pro will deliver improvements in noise, dynamic range, colour and tonality. Further improving the capability of the sensor, a new, improved low-pass filter will ensure that moiré and noise are kept to an absolute minimum. Fujifilm believes improvements in these key areas will be of more true value to professional photographers – the challenge is quality of information, not quantity of information.

The redesigned Super CCD SR Pro sensor will be at the centre of the camera’s performance. However the new Real Photo Processor Pro will ensure that the information is handled in such a way to produce images that are beautifully vibrant, with colour recorded as the human eye sees it. The processor’s two stages of noise reduction will deliver an impeccably clean image, and also permit light sensitivity up to ISO 3200 whilst achieving sharp, low-noise images. A new dark noise reduction process, subtracting the residual, ambient noise on the sensor from the actual exposure, helps the camera produce smooth, clean images when long shutter speeds are used.

The FinePix S5 Pro will also introduce one particularly sought-after feature; the ability to record jpeg and RAW files simultaneously to the card. This will enable photographers to view and distribute smaller-sized jpegs, whilst retaining the ability to work on the larger RAW files later on a PC or Mac. This dual option is available with a variety of image sizes, giving the option to store either a small, emailable file size, or a larger, more detailed jpeg.

With its predecessor achieving recognition for its excellent ergonomics, the FinePix S5 Pro will take the system into a different league, using a tough, professional magnesium alloy shell. With weatherproof seals, and first-rate design, the S5 Pro will be a camera truly deserving of the term ‘workhorse’, equally at home in the studio as on a nature assignment in a humid rainforest. The camera’s shutter mechanism will be testament to its durability, as it has been tested to exceed the key benchmark of 100,000 cycles.

The FinePix S5 Pro will also afford the user much greater control over the unique image parameters that its technology provides. Six stepped dynamic range settings between 100% (normal dynamic range) and 400% (dynamic range expanded by two stops) will enable the photographer to achieve exactly the tonal feel to their images that they want. In addition, three distinct settings for the ‘negative film’ preset option will further enhance the customisable nature of the camera, giving portrait photographers precisely the ‘look’ that they have in their mind’s eye.

Other camera functions and features

Nikon F-mount compatibility for all functionality with all Nikkor AF-D/G and the latest AF-S optics
RAW+ jpeg (4,256 x 2,848 pixels, 3,024 x 2,016 pixels, 2,304 x 1,536 pixels) dual-save mode
Mac and PC supported tethered shooting mode via USB 2.0 port and optional Hyper Utility software
Robust lightweight magnesium-alloy body with moisture- and dust-proof seals
Durable shutter unit stands up to approximately 100,000 cycles
Adoption of high-precision i-TTL flash control
11-point AF sensor with faster autofocusing than the FinePix S3 Pro
Supports 1/3, 1/2, and 1 stop lens aperture control
Shutter speed 30 sec. to 1/8000 sec, maximum flash sync speed of 1/250 sec.
3 levels of custom function locking with password protection
2.5 inch LCD with 235,000 pixels, gives 100% frame coverage. Colour and monochromatic 30 seconds live view function to check focusing
Li-ion rechargeable battery
Compact Flash ä (CF) Card (Type I/II) and Microdrive ä compatible
Face Detection Technology for post image verification

Uniquely developed Face Detection Technology LSI is under development for the FinePix S5 Pro. With one press of a button, the camera detects up to ten faces almost instantly after each image is captured. After shooting and during playback, the photographer can easily and quickly zoom in and check facial details such as closed eyes, focus and exposure on the LCD monitor.
Fujifilm S5 Pro specifications



Body material Magnesium alloy  
Sensor • Fujifilm SuperCCD SR II
• 23.0 x 15.5 mm
• 2 photodiodes per photosite (one S and one R)
• RGB color filter array
• 14 bit A/D converter
Effective pixels  • 12.34 million
• S-pixel: 6.17 million
• R-pixel: 6.17 million
Image sizes *  • 4256 x 2848 (12.1 million)
• 3024 x 2016 (6.1 million)
• 2304 x 1536 (3.5 million)
Image formats • JPEG (EXIF 2.2) - 2 levels (Fine, Normal)
• CCD-RAW (14 bit) - S only mode
• CCD-RAW (14 bit x2) - S+R mode

Lens mount Nikon F mount (with AF coupling & AF contacts)
Usable lenses  • Type DX AF Nikkor: All functions supported
• Type G or D AF Nikkor (IX Nikkor lenses can not be used): All functions supported
• Micro Nikkor 85 mm f/2.8D:All functions supported except autofocus and some exposure modes
• Other AF Nikkor (excluding lenses for F3AF): All functions supported expect 3D color matrix metering II and 3D multi-sensor balanced fill-flash for digital SLR
• AI-P Nikkor: All functions supported except 3D color matrix metering II,3D multi-sensor balanced fill-flash for digital SLR, and autofocus
• Non-CPU: Can be used in exposure modes A and M; electronic range finder can be used if maximum aperture is f/5.6 or faster; colour matrix metering, multi-sensor balanced fill-flash for digital SLR, and aperture value display supported if user provides lens data

FOV crop  1.5x
Focusing *  • 11/7-area AF
• TTL phase detection
• Nikon Multi-CAM 1000 autofocus module
• Detection range: EV -1 to EV 19 (ISO 100, 20°C/68°F)
• Single / Dynamic Area AF (inc. Closest Subject Priority)
Lens servo *  • Single Servo AF [S]
• Continuous Servo AF [C]
• Manual focus [M]
Focus Tracking automatically activated by subject's status in [S] or [C] AF
AF area mode *  • Single Area AF
• Dynamic AF with Focus Tracking and Lock-on
• Group Dynamic AF
• Closest Subject Priority Dynamic AF
AF assist Yes, white lamp  
Shooting modes • Programmed AE Mode (with program shift)
• Shutter-Priority AE
• Aperture-Priority AE
• Metered Manual
Metering system / range  • 1,005-pixel CCD
• Matrix: 0 - 21 EV
• Center-Weighted Average: 0 - 21 EV
• Spot: 3 - 21 EV
(Normal temperature with F1.4 lens)
Metering modes  • 3D Color Matrix Metering II
• Center-Weighted
• Spot (3 mm circle)  
Meter Coupling CPU and AI
AE Lock • Dedicated button
• Half-press shutter release
Exposure compensation *  • +/- 5 EV
• 1/3, 1/2 or 1 EV steps
Exposure steps  0.5 EV  
AE Bracketing • 2 or 3 frames
• 0.5, 1.0, 1.5 or 2.0 EV steps  
Sensitivity • ISO 100
• ISO 160
• ISO 200
• ISO 400
• ISO 800
• ISO 1600
• ISO 3200
Shutter Electronically controlled vertical-travel focal-plane shutter
Shutter speed *  • 30 sec - 1/8000 sec
• Bulb  
Flash X-sync *  1/250 sec  
Aperture values  Depends on lens (1/3, 1/2 or 1 EV steps)  
DOF preview Button, stops-down lens aperture
Exposure moes  • Program Auto [P] - flexible program possible
• Shutter-Priority Auto [S]
• Aperture-Priority Auto [A]
• Manual [M]
Drive modes • Single frame
• Continuous shooting
• Self-timer mode (2, 5, 10 or 20 sec)  
Continuous shooting
Yes, details unknown  
Built-in flash  • Pop-up (manual)
• Guide no. 12 (ISO 100)
• Max shutter speed: 1/250 sec  
Flash control  • TTL: TTL flash control by 1,005-pixel RGB sensor.
• Built-in Speedlight: i-TTL balanced fill-flash or standard i-TTL flash (spot metering or mode dial set to [M])
• SB-800 or 600: i-TTL balanced fill-flash for digital SLR and standard i-TTL flash for digital SLR.
• Auto aperture: Available with SB-800 with CPU lens
• Non-TTL Auto: Available with Speedlights such as SB-800, 80DX, 28DX, 28, 27, and 22s
• Range-priority manual; available with SB-800
External flash  • X-contact hot-shoe (with i-TTL support)
• PC sync terminal
Viewfinder *  • Fixed eye-level pentaprism
• Built-in diopter adjustment
• Coverage: Approx. 95%
• Magnification: 0.94x  
White balance *  • Auto
• Fine
• Shade
• Fluorescent
• Incandescent
• Flash
• Preset
• Color temperature  
Film simulation *  • F1
• F1a
• F1b
• F1c
• F2  
Color space • sRGB
• Adobe RGB  
Dynamic range *  • Auto
• 100% (Std)
• 130%
• 170%
• 230% (W1)
• 300%
• 400% (W2)  
Storage *  Compact Flash Type I/II
LCD monitor *  • 2.5" TFT LCD
• 235,000 pixels
Connectivity * • USB 2.0 (Hi-Speed)
• Video out
• Wired remote
• DC in
• PC Sync terminal  
Power *  • Lithium-Ion battery
• Optional AC adapter  
Dimensions *  170 x 113 x 74 mm (6.7 x 4.4 x 2.9 in)

快来看啊，澳币掉的这么厉害，用中国的信用卡买比香港水货还便宜哇。还有3年质保。

期待发帖分享。

谢谢抬举

多谢鼓励。烧器材是爱好之一，不过我也希望能够在摄影上有进步。

准备年底去利用非工作时间去上个课。Advanced Diploma in Photography。看明年能不能有进步。

这些广角高感夜景拍得很到位，没有常见的高感偏暖的现象，景深也可以，拍摄选项和拍摄参数应该恰到好处，非常不错

[ideaarchitect 编辑于 2008-10-09 07:31]

偶在长沙长大的

实话实说片子不错！尤其城市和夜景，真不像才玩半年阿！悟性！

多年前公干去过湖南玩了一把，楚地留下印象很深。我一个最好的朋友也是星城人，哈哈长得还有点像楼主，看来都是标准长沙人！

另：没空拍点澳洲自然风光吗？

顶两张湘江边拍的

墨尔本著名的购物街，我碰到过澳洲鱼雷－索普。

牛肉。

同事的女儿。
iso1600的表现。

澳币大跌，同时Ted's特价。想买Fujifilm FinePix S5 Pro的澳洲朋友可以动手了。

我周五也准备去败一台，现在澳洲行货的价格和香港水货一样了，但是保修服务就好多了。

用中国的信用卡刷的话，现在是最划得来的时机了。下面是cnet Australia对S5 Pro的评价。收藏一下，做个烧器材的纪录。

It's no secret that Fujifilm models its dSLRs on Nikon bodies, but its latest model, called the Fujifilm FinePix S5 Pro, may as well be a clone of the Nikon D200 -- from the outside at least. Inside, Fujifilm swaps out the Nikon guts for its own array of electronic imaging machinery. Chief among that array is the company's Super CCD SR Pro imaging sensor, which combines two photodetectors per pixel in an attempt to create a wider dynamic range than you'd get from a normal sensor. Fuji also offers an 11-point AF system (up from 5 in the S3 Pro), as well as a 2.5-inch LCD and a nifty face-detection system in playback mode, which can come in handy when checking focus on the faces of your subjects. Considering that the S5 Pro commands a price premium over the D200 and is, in some ways, inferior to that Nikon, you'll have to decide if this Fuji's slightly extended dynamic range and array of features not found in the D200 are essential to your shooting style and thus worth the added cash.

Design

Trade out Fuji's branding and the face-detection button on the camera's back, and this camera would look exactly like Nikon's D200. Of course, that's a very good thing since the D200 has a really nice body design. Its well-formed grip is covered in textured rubber, while the back side of the grip has a contoured ridge that gives your thumb a solid yet natural-feeling place to rest. At the same time, the ridge provides ample leverage when trying to maneuver the camera, which can come in handy when using larger, pro-level lenses.

If you're not used to Nikon's controls, you may find yourself looking for a shooting mode dial but you won't find one. Instead, hold down the mode button while turning the rear thumbwheel to change shooting modes. Most standard shooting settings, such as white balance, ISO, metering, and AF modes -- and more -- can be controlled by the buttons, dials, and wheels on the camera body. That means once you learn the camera's layout, you won't need to delve into the menus much while shooting. However, you should expect to use two hands while changing settings, since you often have to hold down one button with your left hand while turning the thumbwheel with your right.

Features

Another advantage of Fuji using Nikon's body is that the S5 Pro employs the Nikon F-Mount lens mount and can use some Nikon accessories. According to Fuji, the camera is compatible with most Nikon CPU lenses (except for IX_Nikkor lenses and a few other exceptions listed in the manual) as well as Nikon's SB-800 and SB-600 i-TTL flash units. It can also trigger those units, as well as the SB-R200, when set to its wireless commander mode; the S5 includes a remote terminal as well as a sync terminal. You can't use a Nikon D200 battery in the S5 Pro, however, since Nikon's batteries include a special computer chip to prevent the use of third-party batteries. Nikon's MB-D200 vertical-grip/extra battery pack works with the S5 Pro, but Fuji won't guarantee that it'll work properly if you opt for the AA battery holder in the grip; you're better off sticking with the proprietary batteries if you go for the grip.

In addition to an abundant amount of custom options, such as a variable center-weighting for the metering system and ample user-assignable buttons, the S5 Pro includes a handful of film-simulation modes. The modes attempt to mimic various types of film and thus vary the contrast and tonal range of your images. As we did with the S3 Pro, we liked the F1 setting for portraits. While there is a live LCD preview mode, you have to delve into the menus to activate it, requiring three button presses for each live-view frame shot. Since it lasts for only 30 seconds at a time, this function is best suited for the occasional studio situation.

One of the stranger features of the S5 Pro is its bar code reader compatibility. When turned on, you can connect a bar code reader to the camera and it will store bar code information in an image's EXIF data. (We're not sure why you'd want to do that, but you can.) A similar but more practical feature is the camera's ability to automatically store GPS information as EXIF data. To use either of these features, you need to buy Nikon's MC-35 GPS adapter cord and attach it to the S5 Pro's remote terminal, then activate the feature in the camera's menu system.

Fuji's Super CCD SR Pro imaging sensor dedicates two photodetectors to each captured pixel. In the S5 Pro, there are 6.17 million of what Fuji calls "S-pixels," which are larger than their corresponding R-pixels and have a higher sensitivity to light. There are also 6.17 million R-pixels, which have a lower sensitivity to light and are better suited to record highlights. Data from both types of pixel is combined during image processing to extend the dynamic range -- the range of brightness values in your scene, from the brightest highlight to the darkest shadow, that you can capture with discernable detail in your image. Most of the benefit of Fuji's sensor can be seen in increased highlight detail. To the untrained eye, the difference will be subtle, but if you've been annoyed by blown highlights in the past, this may help you. As with the live preview, studio shooters will likely appreciate this more than most sports shooters would. There are five levels of dynamic range expansion available in the S5 Pro. If you turn expansion off, the camera turns off the R-pixels and uses only the S-pixels to capture images.

Some retailers like to tout the S5 Pro as a 12-megapixel camera, but you shouldn't expect the equivalent resolution of a standard 12-megapixel imaging sensor. Fuji claims that the honeycomb-shaped photodetector layout captures more information than a typical checkerboard-pattern 6-megapixel sensor would. In our images this seemed true, but it seems to fall nearer to 6 megapixels than to 12.

Performance

Previous Fujifilm dSLRs have been painfully slow to use, but the S5 Pro shows marked improvements over its predecessors. The S5 Pro takes 0.5 second to start up and capture its first JPEG. Subsequent JPEGs take 0.82 second between shots with the flash turned off and 0.86 second with the built-in flash turned on. When capturing raw images, the S5 also took 0.84 second between shots. Shutter lag measured a decent 0.4 second in our high-contrast test, which mimics bright shooting conditions, but slowed to a disappointing 1.2 seconds in our test that replicates dim shooting conditions. When capturing JPEGs in continuous-shooting mode, we were able to capture an average of 1.9 frames per second, regardless of image size. That's nowhere near the 4.1fps you can get from the D200 or the 3.2fps you can get from the Pentax K10D.

Image quality

Image quality was impressive, but the S5 Pro's resolving power just can't match the Nikon D200. Colours are generally accurate, and the automatic white balance does a respectable job of neutralising colours in most normal lighting situations. Studio shooters should note that, as one would expect, our unusually warm tungsten hot lights confounded the S5 Pro's auto white balance. We don't hold that against it, however, since this is the case with many cameras. However, if you have tungsten lights that are near the 3,200K colour-temperature range as ours are, you'll need to use the tungsten or manual settings, both of which did an effective job of neutralising colours with those unusual lights.

The S5 Pro does an outstanding job of keeping noise under control. Our test images were nearly noise-free all the way out to ISO 400. Even at ISO 800, we saw only the tiniest traces of noise on our monitors when viewed at 100 percent; it didn't show up in prints at all. Noise crept up a little at ISO 1,600 but was still very well tamed and didn't adversely affect prints. At ISO 3,200 noise grew some, but it never took on the annoying, larger, off-colour blob-like look that some cameras exhibit; instead it remained as tiny speckles. At this highest setting, images do lose some shadow detail. Fuji's noise-reduction processing robs a minor amount of fine detail, but overall, the noise profile looks more like what we'd expect at ISO 800 or ISO 1,600 in other cameras. Noise, or more accurately the lack thereof, was one of the most impressive and surprising things about the S5 Pro.

Ultimately, the Fujifilm FinePix S5 Pro feels more like a studio camera than anything else. Its unique sensor gives the camera an edge with its extended dynamic range but also translates into bloated, pseudo-12-megapixel files that can fill up your memory card quicker than 8- or 10-megapixel files would. This becomes especially noticeable when shooting in raw, or even worse, raw-plus-JPEG mode. Also, if you're not shooting in a studio, the Nikon's blazingly fast AF system will most likely be more useful to you than this camera's dynamic range or fancy features. While this Fuji definitely is a nice camera, we'd have to opt for the D200 or Canon's EOS 5D, considering their higher effective resolutions and that my personal shooting habits tend as much toward the outdoors as to the studio. Of course, the D200's lower price also helps.

继续关注D3x的动态。

Nikon D3X 24.4 megapixel sensor leak

USERS of the Nikon D3 downloading the latest firmware update have found information strings referring to the D3X and listing the file sizes the forthcoming camera will produce. The sizes match the pixel count of the Sony full-frame CMOS sensor due to be used in the ‘Alpha 900′ Sony full-frame body.

This string (and others) appears in the firmware file - 6048 x 4032; 24.4 M 4544 x 3024; 13.7 M 3024 x 2016; 6.1 M 5056 x 4032; 20.4 M 3792 x 3024; 11.5 M 2528 x 2016; 5.1 M 3968 x 2640; 10.5 M 2976 x 1976; 5.9 M 1984 x 1320; 2.6 M.

The Sony sensor is said to be 24.8 megapixels but this probably refers to the overall pixel count, with 24.4 active final image megapixels a very likely figure. The smaller filesize options are interesting because they could indicate two different types of reduced resolution. The first series - 13.7 megapixels at 4544 x 3024 and 6.1 megapixels at 3024 x 2016 - looks very much a 1.4X and 2X window mode teleconverter, similar to the D2X 2X crop mode. This would fit in with the D*X philosophy and Sony’s design for the sensor, which allows windowed (cropped) output.

The second series of 5056 x 4032, 3792 x 3024, 2528 x 2016 are a 5×4 aspect ratio window; and the third series of 3968 x 2640, 2976 x 1976 and 1984 x 1320 look more like reduced overall filesize JPEG options, either for full frame, or relative to the full and cropped windows. There is no sign of an HD 16:9 ratio, which the Sony sensor will almost certainly offer as a windowed crop.

It is also possible that Nikon has developed a sensor of their own with a similar pixel count, or that the Nikon version of the Sony sensor will feature a different level of quality control and on-board features such as multi channel readout or modified A-to-D converters. With the firmware string for the D3X appearing in the D3 update, a similar processing engine to the D3 can be assumed, and it is thought that several modified D3s fitted with the new sensor will already be out on field trial. They will not need elaborate disguises!

Suggestions that a slight difference in pixel dimensions for the final file means Nikon’s sensor is entirely different can be discounted, as we have already seen different final pixel counts emerging from many cameras using identical sensors. 6096 (Sony) versus 6048 (Nikon) is in line with the relative differences found between makes using the same OEM sensors in the past.

This news poses some interesting questions for Alpha system owners, mainly about price. Assuming the new sensor can not match the 25,600 ISO boost of the D3’s 12-megapixel Nikon CMOS and is limited to a more conventional range such as 100-3200 with 6400 boost, Nikon could reasonably sell a D3X at exactly the same price as the D3, though higher pixel count usually means a higher price. With the D3 currently selling for around £2500 plus tax in the UK ($5000) it is unlikely that the D3X will be anything less, and it’s more likely to be a notch higher - say $6000 (UK).

This makes the putative, rumoured price of $3000 for the Sony ‘Alpha 900′ body seem too low.

Pentax found themselves embarrassed in the UK when Samsung allegedly released a price for their GX20 - the equivalent of the Pentax K20D - some £300, or 40 per cent, lower than their sensor-partner’s retail. Pentax lowered prices slightly and Samsung increased prices and delayed their launch. At least, that’s what the insider talk in the industry says, and it sounds plausible enough. The final difference is more like 20%.

Assuming Nikon’s agreements with Sony preclude them undercutting the D3X by 50% without raising a storm from Nikon national distributors in most markets, we can expect a price more like $4000-4500 for the Sony body. There is a possibility that Nikon, a year after launching the D3, will assault the market by dropping the D3 price when the D3X arrives, and allow the D3X in at a more competitive price like $4500 (UK) in which case the ‘Alpha 900′ might just hit the $3500 mark.

However, by this time - photokina - we will all be paying £1 for the cheapest loaf of bread (currently £0.39-0.55), £1.20 a litre for petrol, and China will have bought all Argentina’s 16oz steaks in return for sending out 16GB SD cards…