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February 27, 2006
[ PANASONIC ANNOUNCES the LUMIX DMC-L1 ]
THE PANASONIC LUMIX DMC-L1 has been one of the most eagerly awaited developments in the digital camera business. First, it is the only non-Olympus camera to use the 4/3 system of sensor and lens combination. Second, it is obviously the basis of the first Leica DSLR -- note the Leica lens on the pre-production unit here. And third, it has already inspired Sigma to produce a range of 4/3 lenses.
HERE IS THE PANASONIC NEWS RELEASE FROM 26 FEBRUARY.
LUMIX DMC-L1 Breaks New Ground:
Panasonic's First Digital SLR Camera with Interchangeable Lens
"Panasonic is pleased to announce the development of our first interchangeable-lens digital SLR camera, the LUMIX DMC-L1. State-of-the-art digital and optical technologies developed for our compact digital cameras have been crystallized to make LUMIX a top camera brand while helping establish a new photographic culture for the digital age. Panasonic is drawing on these leading technologies, and the emotional excitement of true-to-life photographic images, as we announced in our entry to the digital SLR market in 2005.
"The DMC-L1 being introduced today is an entirely new kind of digital SLR camera. It is operated much like a traditional film camera but provides a variety of innovative features that increase the fun of shooting photos. While the DMC-L1 is digital, it has a classic design that will remind users of traditional analogue cameras. These characteristics, together with a shutter speed control dial on the camera body and an aperture ring on the LEICA D VARIO-ELMARIT 14-50mm/F2.8-3.5 lens (also being introduced), distinguish the DMC-L1 from conventional digital SLRs in both design and operation.
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"Because it is digital, the DMC-L1 can offer features such as a full-time Live View function through the large 2.5” high-resolution LCD, which offers a shooting style different from conventional digital SLRs that have only an optical viewfinder. The full-time Live View is made possible by the new Live MOS sensor, developed using Panasonic's originalνMaicovicon™ technology. Used in the DMC-L1, the 4/3-type Live MOS sensor with 7.5 million pixels provides both the outstanding image quality of a CCD and the low energy consumption for which CMOS sensors are known. The DMC-L1 also incorporates the Venus Engine III image processing LSI, which teams up with the Live MOS sensor to achieve stunning picture quality and responsive performance, with features such as rapid consecutive shooting.
"The DMC-L1 further incorporates a Supersonic Wave Filter that serves as a dust reduction system, so you don't have to worry about dust entering the camera during lens changes.
"The LUMIX DMC-L1 debuts as a state-of-the-art digital SLR camera that maintains the intuitive control and operability of familiar analogue cameras, unlike digital SLRs that simply offer extended functions and specifications. The DMC-L1 is a finely crafted, truly satisfying camera that makes it easy for people who have never even used a digital single lens reflex camera to take beautiful shots and gives professionals a powerful tool for creating photographic masterpieces that visually express the emotions of their subjects.
"A shutter speed dial on the camera body and an aperture ring on the lens barrel
"To enhance the sense of camera control, the DMC-L1 features a shutter speed dial on top of the camera body. The LEICA D VARIO-ELMARIT 14-50mm/F2.8-3.5 lens (also being introduced today) is equipped with an aperture ring, in addition to a focus ring and zoom ring, for easy, direct aperture setting.
Full-time Live View for a whole new style of digital SLR shooting
"By combining the full-time image output function of the Live MOS sensor and a mirror-up mechanism, the DMC-L1 achieves a full-time Live View function that displays the image on the LCD directly from the sensor signal. This function can be selected in both Auto Focus and Manual Focus modes. In Manual Focus, it allows the user to enlarge an image within the frame and then select the area focusing. This makes it easy to check the focusing condition on the large 2.5-inch, high-resolution, 207,000-pixel LCD. The depth of field can also be easily checked by pressing the Aperture button.
High-image-quality, low-energy-consuming 4/3-type Live MOS sensor with 7.5 million pixels
"The Live MOS sensor used in the DMC-L1 not only makes full-time Live View possible, it also helps capture the beautiful images of a CCD sensor with delicate gradation and a wide dynamic range. And it suppresses energy consumption as only a CMOS sensor can do. Noise is also minimized thanks to a special processing technology that runs on voltage as low as 5 V.
Venus Engine Ill LSI: High image quality, quick response, low energy consumption
"The Venus Engine III is an image processing LSI that was newly developed to maximize the performance of the Live MOS sensor. While inheriting the earlier Venus Engine’s high resolution, superior color reproduction and detailed gradation, the Venus Engine III also reduces noise to the level expected from a digital SLR camera, to help render smooth images. The Venus Engine III improves camera responsiveness too, supporting high-performance consecutive shooting and a short shutter interval. Despite the considerably higher performance, the Venus Engine III consumes only 80% as much power as the Venus Engine II. This combines with the Live MOS sensor’s low energy consumption to provide longer battery life.
Dust reduction system to prevent annoying contaminants
"The most critical and annoying problem with digital SLRs with interchangeable lenses is the possibility of dust getting inside the camera during lens changes, contaminating the image sensor. If this happens, professional cleaning is often required. The DMC-L1 takes care of this problem by incorporating a Supersonic Wave Filter dust reduction system. The system uses supersonic vibration to instantly shake off any dust that might otherwise affect the image."
[The Olympus pedigree is obvious here in the dust removal system and the small supplementary preview LCD, unique on a DSLR]
Posted by terry at 02:47 PM | Comments (0)
February 26, 2006
[ PHOTOREVIEW:27 ]
PHOTOREVIEW:27, Australia's best photography magazine for people interested in both digital and film is now in the newsagents. [$8.95]
In the camera review section the Nikon D200, Canon Powershot S80, Ricoh GRD and the Olympus SP350 are some of the cameras tested and assessed by Margaret Brown.
There is even a nice little compliment to dpexpert tucked away in this issue! Is it any wonder we feel so well-disposed towards the magazine.
There is an interestingly ambiguous assessment of the work of eccentric American photographer Lee Friedlander and some good advice on choosing a RAW converter.
Another excellent issue.
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Posted by terry at 12:25 PM | Comments (0)
[ SONY DSC—N1 preview ]
THE SONY DSC—N1 digicam marks itself out from the crowd by having a large, bright LCD that is also a touch screen through which menus and settings are accessed.
The touch screen is also used to "paint" on the photo -- or, to be more accurate, scribble. And, just what every serious photographer has been waiting for, a set of stamps -- hearts, snowflakes, music notes etc -- that can be stamped onto the picture.
There is a decent camera lurking behind the gimmicks. A full review will appear here shortly.
There are sample photos from the SONY DSC—N1 in the Gallery...
Posted by terry at 11:00 AM | Comments (0)
February 25, 2006
[ A PICTURE A DAY FOR A MONTH ]
JOHN KOONTZ who runs the photo blog SyncSpeed—digital photography for the time challenged is inviting other digisnappers to join him in a Picture a Day for a Month project.
The idea is to take one [at least] picture every day and post it on the web where all the participants can look at each other's photographs.
To take part anyone can create a flickr account and post a picture every day with a 30dayphoto tag to make it easy to find.
Why not join in?
Here's my Day One contribution, taken 24/2/06 at 0915 with Nikon D70 and Micro Nikkor 60mm lens.
*30 Day Photo Challenge dpexpert gallery
Posted by terry at 11:07 AM | Comments (0)
February 23, 2006
[ CANON PIXMA iP6600D inkjet printer ]
Price: $400
Rating: 4 stars
The low-down: The Canon Pixma iP6600D inkjet A4 printer prints at a maximum resolution of 9600 by 2400 dpi, depending on the paper used. It uses 6 Chromalife100 inks, CYMK plus photo magenta and photo cyan.
Canon says the new inks produce prints that will last 100 years, provided they are kept in the dark! Rapid print fade has been a problem with Canon printers so any prolongation of print life is welcome. Unlike Epson, who created a new line of pigment inks to extend print life, Canon has stuck with conventional dyes.
The Pixma prints directly from camera or memory card (CF and SD) and it does double sided printing as well as printing onto CD/DVD blanks. The card reader is also recognised by the computer as an external drive.
There is an 8 cm LCD screen which has a number of uses, including previewing and selecting pictures for printing from a camera or memory card. A computer is not necessary.
The Pixma is reasonably fast. Once it gets started on a batch of postcard prints it churns them out at the rate of one every 46 seconds.
Like this: The output from the Canon Pixma is exemplary. Colours are rich and accurate. The prints are sharp with wonderful detail.
We tried leaving the printer to its own devices to run off 20 prints from an SD memory card. The results, using Canon’s best paper, were as good as we would expect from a photo printing shop. A4 prints on Canon’s Photo Paper Pro are superb.
Dislike that: For some reason we always have a small difficulty installing the printer software for Canon printers. This time the installation stalled while we were forced to hunt around for the Windows XP disc in order to install something called USB Human Interface Device. Why?
Parting shot: We compared the Canon Pixma iP6600D with the Epson R800, which is more expensive. We made a number of identical prints on both printers and came to the conclusion that the Epson probably has the edge in print life and it creates prints with richer, deeper colours. The Canon, on the other hand, produces prints that are sharper and more vivid and it has some extra functions. We could happily live with either and stand amazed that such inexpensive machines can create such astonishing results. The Canon is highly recommended and we love the Epson too!
Posted by terry at 08:52 AM | Comments (4)
February 22, 2006
[ NEW FROM CANON ]
CANON made a global announcement of new digicams, videocams and printers on Tuesday [21st February].
dpexpert went to Sydney to see and touch the new models. We were impressed by most of what we saw.
CANON, unlike most other camera makers are, in fact, making cameras. Their digicam range is blissfully free of pointless gimmickry and most of the cameras being shown have optical viewfinders. The new IXUS wireless compact is, as far as we have seen, the only wireless camera with a viewfinder.
It is a compact 5mp digicam with a 35~105mm [film equivalent] lens. Canon supply an optional wireless receiver that plugs into the Pictbridge port on a printer to receive data direct from the camera without the need of a PC in the transmission chain.
The CANON 20D slr is being replaced with a 30d with a few improvements – some changes to the processing, a larger LCD and, best of all, spot metering.
The POWERSHOT S2 IS long zoom camera with image stabilisation is being replaced with the POWERSHOT S3 IS. The differences are pretty insignificant – a new, more attractive gun metal grey case and a very slightly larger LCD. An already good camera made a little better.
We were given long forward notice of a new printer, a "professional" A3+ unit that uses pigment inks. The printer won't be on sale until September so we presume that the reason for announcing it so far ahead of sale date is to stop would-be Epson buyers in their tracks and get them to wait. This printer will use 10 ink cartridges, including three black inks – black, light black and grey. It is being promoted as the ideal inkjet printer for monochrome printing. Surface materials, controls etc have been designed to match Canon's digital SLR cameras, in particular the range from the 5D up. We saw a pre-production unit and it looks very swish.
CANON also showed a stunning new 85mm f1.2 lens. This, they say, is the portrait lens that wedding photographers will have to have. That is if they have a spare $4000 to spend on a lens. It's when you handle a lens like this that you wish you were rich. Money might not buy happiness but at least it would let you take a damn fine picture of it in low light.
CANON reckons that the pixel competition is over. Their cheapest entry level camera, the POWERSHOT A430 sports 4 megapixels and their superb compact IXUS 800IS has a 6mp sensor. [Note the IS. This could be the beginning of image stabilisation in the compact camera range from the company, an area where Panasonic has been making the running.] The continuing POWERSHOT S80 and PRO1 are 8mp cameras. Canon's contention is that the challenge now is to extract the best possible images from the sensors rather than to add pixels to their tiny surface areas.
It is good to see the company sticking with their easy to use Function Set button across the range. The Function Set gives instant access to all the shooting parameters such as ISO, white balance, image size and resolution, effects, self-timer and exposure compensation. This system is so good that it puts all others to shame.
If CANON's claim to market dominance is based on fact – Panasonic was conceding it last week – then this is encouraging because it means that the average customer is not being seduced by gadgetry or fashion fad but is really looking for a camera: that is, a device for taking photographs!
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Posted by terry at 11:55 AM | Comments (0)
February 17, 2006
[ NEW FROM PANASONIC ]
PANASONIC announced some new cameras on 14/15th February in simultaneous regional "global" launches. Editors and technical writers from the Asia Pacific area were invited to Sydney to get the low down on the new products.
Two of the still cameras, the Lumix FX-01 and the DMC-FZ7 are small evolutionary developments of the FX9 and the FZ5. The FX-01 has an extended zoom range with a 28mm film equivalent at the wide angle end. The FZ7 has added a megapixel to the sensor count and the eye piece for the electronic viewfinder is now in line with the centre of the lens rather than on the far left corner of the camera body.
The Lumix DMC-TZ1 is a new compact camera with a 10x Leica zoom. The extreme range of the lens is contained in a compact body [Panasonic claim it is the world's smallest 10x zoom digital camera] by using folded optics.
Guests at the launch were allowed to use sample cameras but we were warned that they were pre-production models and that we should not reproduce any photos taken with them as some further improvements in image quality may be made before the official release.
All Panasonic cameras now feature the company's "key technologies", meaning the very effective optical image stabilisation and Leica optics. There are different iterations of the company's Venus image processing engine in different models.
Panasonic staff were asked about the imminent announcement of the company's entry into the digital SLR field and no one was saying anything! Except that the camera will be revealed at the PMA show in the US on February 26th. It seems to be common knowledge now that it will be based on the 4/3s system which must be very good news for Olympus which was beginning to look like an orphan company.
The product presentation included a demonstration of a new, small video projector [the PT—P1SD digital SD slide projector] which, believe it or not, is being sold as the slide projector for the 21st century.
The tiny projector puts out a very bright picture and has the niftiest keystone auto-correction function. The idea is that the photographer drops a Secure Digital [SD] memory card into the projector, marks the pictures for showing, selects a transition effect and presses a button on the remote control and bingo! A nice night's entertainment.
We were all too polite to ask if the world really wants a back-to-the-50s slide projector. And it does its job so well and without the fuss of a computer connection that it seems churlish to raise objections. But just look at the picture they are using in their advertising brochure...
This little projector is ideal for PowerPoint presentations. It comes with software for converting PowerPoint files to a portable format and saving them to an SD card by simple drag and drop. Movement of the PP presentation is controlled with the remote control. No more embarrassing mismatches and setup stuff-ups trying to connect a laptop to a projector. Leave the laptop in the office.
To complete the still camera and equipment lineup we were shown a small dye sublimation printer,the PX1 [ similar to those from Kodak and Sony]. The Panasonic version has a trick up its sleeve -- it will make borderless prints in the 16:9 format. Most Panasonic cameras can be switched to the 16:9 aspect ratio and one model, the DSC-LX1,
is native 16:9, so a printer capable of that format is just about obligatory.
It is one of the mysteries of the commercial world that Panasonic should spend huge amounts of money to assemble writers from around the region and not show us the new SLR, which, after all, is only two weeks from launch.
Release dates for most items will be between now [Feb] and April with most going on sale in March.
[ Note: dpexpert aka Terry Lane, travelled to Sydney as a guest of Panasonic. He accepted two gifts from the company -- a 1gb SD memory card and a Panasonic audio player, SV-SD750V. ]
Posted by terry at 04:02 PM | Comments (0)
February 13, 2006
[ REVIEW—CASIO EXILIM EX–S600 digital camera ]
Price: $750
Rating: 3 stars
The low-down: The Casio Exilim EX–S600 is an ultra compact 6 megapixel camera with a 3x optical zoom lens (38–114mm film equivalent). The face area of the camera is slightly larger than a credit card and the thickness is about 17mm.
The Casio has some measure of manual control, mainly through the menu. Miniaturisation has meant that the external control buttons are kept to a minimum. The camera is intended for point and shoot, fully automatic operation but buried away in the layers of the menu there are over rides for metering mode, focusing mode, white balance, ISO speed and so on. Even the exposure compensation is hidden in the menu making instant adjustments to exposure cumbersome.
The Casio has image stabilisation which works well enough. The LCD monitor, the only viewfinder, is bright but seems to lack resolution.
Exposure and focus are generally good but white balance is easily fooled. In a sequence of photos taken with window light the pictures were alternately blue and yellow.
The camera is supplied with a cradle that provides for USB connection to a computer and also connection to a power supply to charge the battery. SD cards are the memory medium.
Like this: The Casio is so small that it could be carried anywhere, ready for the famous decisive moment. The body is nicely made and feels robust. If your need is more for fashion accessory than for a real camera then the Casio will fit the bill. It comes in silver, blue and orange.
Dislike that: No optical viewfinder and a coarse LCD screen make assessment of pictures both before and after shooting difficult. The difficulty of accessing manual settings is frustrating. The user’s manual is totally inadequate -- in 7 languages!
Parting shot: The Casio Exilim EX–s600 is an attractive little camera, ideally suited to taking to a party in a pocket or bag. The Wow factor is high. That so much can be crammed into such a small volume is astonishing. But for anyone with big fingers or ambitions to be the antipodean Ansel Adams this is not the camera. There are slightly larger Casio cameras with excellent optical viewfinders and the EX–S600 is expensive for what you get. Compare before buying.
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Posted by terry at 03:10 PM | Comments (1)
[ THE MATTER OF THE MISSING VIEWFINDER ]
[ Casio EX S600 camera with an old Agfa slide viewer attched — making an ersatz electronic viewfinder ]
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Mr John Varley of Abbotsford writes to Livewire to complain that he has become “quite sick of” the constant lament in the dpexpert camera reviews along the lines of “great camera but pity about the lack of an optical viewfinder.”
Mr Varley is quite right. The line does pop up with tedious regularity in reviews of compact digital cameras. A bit like the recurring refrain in motor car road tests: “Against: space saver spare tyre.” Motoring writers detest those dinky little emergency wheels that just let a driver limp to the nearest tyre shop.
The space saver spare tyre no doubt looks like an acceptable trade off to the motor car manufacturers. They get to boast about more space in the boot and the crumby little steel pseudo-wheel is a lot cheaper to make than a fifth alloy affair. And, generally speaking, the pseudo-wheel will do the job on the rare occasions that it is pressed into use.
Just so with camera makers. Fitting an optical viewfinder to a compact digital camera must add to the cost. The coupling of the zooming mechanism in the viewfinder with the camera zoom must take up valuable space, increasing the volume of the camera which runs counter to the obsession with miniaturisation. Clever engineers and product designers have long since stopped looking on compact digital cameras as photo taking devices. They are now fashion accessories. Who needs to be able to actually see what they are taking? The important thing is not to be taking but to be seen to be taking.
Anyway, Mr Varley goes on to say that he treated the advice he read here with contempt, bought a camera, went off to Cairns for a holiday and returned to report that “it was impossible to see the subject matter with a LCD screen in bright sunlight. My apologies!”
Apologies accepted. Very gracious of you. But the story does not end there.
The other day we were visiting friends and Bob has a Sony digicam with only LCD viewfinder. He finds that he can’t see anything in sunlight or when he is wearing his polarising sunglasses. He has tackled the problem in the dinky di Australian manner by cobbling together a viewing tube from black cardboard. He has made the tube with the same rectangular cross section as the LCD screen and cut it to the length at which his eye best focuses on the image -- a sort of dioptre adjustment by trial and error.
At the eye end of the screen he has plugged in a baffle with a small circular aperture to look through. The whole device is attached to the camera with a combination of Blu Tac and Velcro.
Looking into the matter further it turns out that other frustrated photographers have come up with various solutions to the invisible viewfinder, including the venerable black bag over the head. One has noted that some medium sized LCD screens are roughly the same dimensions as a 35mm slide and that means that a slide viewing loupe with the translucent screen removed will do the job nicely.
We have tried this arrangement and find that it works, but there are a couple of problems. First, adding the loupe adds considerably to the bulk of the camera which defeats the virtues of miniaturisation. And second, the lens in the loupe gives a magnified view of the screen making every pixel individually visible, a bit like using that other abomination, the electronic viewfinder.
It goes without saying that the best and simplest solution to the problem is just to say no when the salesman tries to sell you a camera without an optical viewfinder. That’s not so hard, is it?
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Posted by terry at 02:57 PM | Comments (1)
February 01, 2006
[ REVIEW—Ricoh GR digital wide angle camera ]
Price: $1000
Rating: 4 stars
The low-down: The Ricoh GR is an 8 megapixel compact camera with a fixed focal length, wide angle lens. The lens is the equivalent of a 28mm f2.4 optic on a film camera and there is an optional supplementary lens that shortens the focal length to 21mm.
Yes, you have read this correctly. There is no zoom -- unless you count the 3x digital zoom. As far as we know the Ricoh is unique. There is no other fixed focal length lens in this price bracket on a digital compact camera. So the question is: who is the intended user and what is the intended use?
Ricoh call the GR their “flagship professional compact digital camera”, which gives a clue to its intended user. The black diecast body with the serious retro appearance also suggests special use. It could be the camera that a professional on a landscape or architecture assignment would slip in the pocket.
The GR as tested came with the optional optical viewfinder that fits into the external flash shoe. This is an impressive unit and anyone buying the camera should add the viewfinder to the shopping list. It is large, brilliant and has 100 per cent coverage of the subject.
The LCD screen is large and reasonably bright but no match for the optical viewfinder in bright sunlight. Controls are similar to a digital SLR with either automatic or full manual operation and adjustment wheels front and back. The exposure compensation is particularly well placed for ease of use.
Like this: The Ricoh GR has an outstanding lens that produces wide angle images without distortion. In fact the straight lines near the edge of frame are as perfect as any we have seen from a lens of this focal length. Exposure and colour are good and as we have come to expect from Ricoh there is no shutter lag.
Dislike that: Images straight from the camera are just a little soft but they respond well to a touch of unsharp mask in Photoshop. However picture noise is noticeable at higher ISO settings and this is emphasised by sharpening.
Parting shot: The Ricoh GR is obviously not for everyone. It is a relatively expensive single purpose camera. The one thing that it does it does well. For anyone with an interest in landscape photography or planning to spend a week or two in Venice this would be an ideal camera. It is small and light but feels rugged as though designed for professional abuse. The overall impression of the Ricoh is that it is fun to use. Recommended.
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Posted by terry at 08:30 PM | Comments (5)
[ BLACK AND WHITE ENVY ]
“Why doesn’t my Nikon D70s digital single lens reflex take black and white pictures?” an inquirer asks. After all, just about every digital camera on the market, from the cheapest up, has a monochrome mode selectable in the menu. Why does the superior Nikon not have it? And why does the more expensive, new Nikon D200 come with black and white mode?
The answer to the plaintive question is probably that Nikon thought a monochrome mode unnecessary when the D70s was designed but for some reason -- perhaps customer complaint -- they have included it in the D200.
There is a serious argument amongst digital photographers over the best way to render images in shades of grey. The weight of opinion from the aficionados favours post-camera conversion of the coloured original. In fact there is some haughty contempt for the in-camera black and white image because it is, in fact, an RGB image that has been desaturated in all channels, so you might as well do it yourself.
dpexpert has been playing around with images from the Nikon D200, comparing the in-camera greyscale images with converted colour in Photoshop.
Our preferred conversion method consists of opening the colour image, converting the Image/Mode to Labcolor, selecting the Lightness channel and then changing the mode of the Lightness channel to greyscale. Then create a Duplicate Layer, change the Blend mode to Multiply in the Layers palette and adjust the Opacity slide until the image looks about right.
At that point flatten the layer and tweak the Curves.
A simpler method is to open the Channels and examine the red, green and blue channels individually and choose the channel that seems to have the best tone rendering and convert that to greyscale and tweak with curves. This method can produce good results.
Simpler still is to open Image/Hue & Saturation and desaturate the image completely. This is more or less what the in-camera system does.
The monochrome image straight from the Nikon D200 is a fairly flat, low contrast picture, which is not a bad thing. It has the qualities of a well-exposed and developed negative. Just as a negative with a wide tonal range from black to white is ideal for printing so a similar digital file gives a lot of scope for manipulation in the digital darkroom.
In the end we could not tell much, if any, difference between the in-camera and the converted colour method of getting a monochrome image. The final judgements about black point and white point in the picture and the breadth of the tonal range are subjective anyway and the same end results can be achieved using either approach. The most important thing is to make sure that the original image has detail in both highlights and shadows. If they are not there in the original they cannot be put back later. With film and paper the general rule of thumb was to expose for the darkest area in which you wanted detail preserved (in other words, over-expose) and then develop for the highlights (under-develop). With digital the best approach is to expose for the highlights (underexpose) because digital sensors seem to be better able to preserve shadow detail than highlight detail. And blown highlights are uglier than inky shadows.
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Posted by terry at 08:00 PM | Comments (0)