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THE SOMME; A NEW BOOK AND A NEW TITLE SERIES

2016-09-23T18:03:00.000+01:00

The Somme - exploring a war-torn landscape, first in the new Ajax Editions Viewfinder Series books (scroll down for more details.).

I'm a great fan of books; printed ones, not the crappy e-versions that by default glue the reader to a cumbersome non-relaxing technology and which in my opinion never does justice, in particular, to illustrated works.

I have a modest library of photo-books; some large format, some small. Relaxing with one on a sofa or laying it out on a table (for the really large ones.) with a mug of tea to hand is how I enjoy them. Often, some of these books are just left lying around at the last page they were opened at for days, sometimes weeks. Being able to go back to where I left off, to inwardly digest each image in a relaxed and leisurely way is part of the fun and enjoyment I get from owning them. The feel of the paper, its texture, the smell of ink, the sheen and depth of it across the image, the binding and the feel of its cloth cover; it's a tactile thing you can't get from a computer screen.

It's oft been said that everyone has a book in them. I've been fortunate in having had published more than a dozen titles during what is turning out to be a lengthy run in photography and journalism. A few of these titles have been published by my Ajax Editions imprint; handy small format photographic handbooks focusing mainly on Leica film cameras.

As with most things in the world, little stays the same for long. There are still plenty of film cameras around but technology moves on, so to adjust to the fall-out I began looking around for another type of book vehicle that would allow some diversification away from pure camera handbooks to something more esoteric. More image orientated, more about what one sees through a viewfinder.

Today's software applications have enabled a huge growth in independent book publishing linked to appropriate e-commerce facilities which seems to work great for many; it's a step-up as well as a step-away from the more traditional forms of self-publishing stigmatised by its vanity handle and where in most cases, authors got fleeced and the book went nowhere.

Most of the web-sites with book printing services appear to offer a range of basic page templates and cover options. The user lines up his/her content in an off-browser folder and simply uploads each image and chunk of text to each page. Choose a cover option and that's it; job done. I've used one of these sites often, but just for making up a handful of dummies for each title project. For full-scale commercial production, the templates are too style limited and overall, when we are talking about production cost, too expensive for the several hundred of units I might want to print.

In my mind's eye, I had a vague idea of how the new title series would look. A few pencilled sketches fixed the format and a rough layout design, font styles and sizes. In the past, my earlier books had been laid out with industry printer standard software. Good but clunky. And since I had laid them out over a decade before, new computers would no longer run that stuff.

Step forward digital print, which has advanced in quality by leaps and bounds over the same time scale (and which is the technology used by the majority of printer sites referred to above.) and which uses the humble .pdf (portable document file.) from which to print. To lay-out and design a reasonably sophisticated .pdf document, the more traditional (and expensive) industry standard applications are effectively redundant. I found a solution with something at http://www.istudiopublisher.com , an inexpensive application that does most of what is needed easily.

So while the in-house practical issues were effectively solved, the last hurdle, finding a locally based commercial printer with the right gear, was the final step.

I got lucky. After viewing mediocre samples from previous suppliers and a couple of new ones in distant parts, I landed on L&S Printing. After a tour of their factory which included running sample pages on their new HP digital presses, I had no doubts digital print would meet the quality bench-marks I needed for the first of the Ajax Editions Viewfinder Series titles.

The subject for this new work rested on a personal passion which has nothing to do with my normal activities centred on the marine world or street and social photography. Simply put, The Somme - exploring a war-torn landscape is my attempt to come to grips with a conflict that took place far-back in history and when first confronted, I found incomprehensible in both scale and destruction. Yet even now, after dozens of visits to the old battlefield regions spread across the Somme and a far better understanding of what went on there, there is still much more to be learned.

While other aspects of the Battle of The Somme may become projects for future titles in this new series, photographic subjects ranging from historic image collections to contemporary hardware related topics are planned for future publication.

Earlier publications including Leica - M7 Handbook and Leica - MP-MP Questions & Answers are still available direct from Ajax Editions. Please email order requests for these and the new title, details of which please find below, to picturedesk@ajaxnetphoto.com

The Somme - exploring a war-torn landscape

Jonathan Eastland.

ISBN: 978-0-9536241-7-1

Format: A5

Extent: 128pp, full colour throughout, soft back.

125 colour & b+w photographs.

Publisher: Ajax Editions.

Publication date: June 2016.

Published Price: £19.95

2016 marked the 100th anniversary of the start of the Battle of the Somme which cost the lives of 20,000 British and Commonwealth soldiers by the end of its first day on July 1st, 1916.

Photojournalist Jonathan Eastland's new book The Somme - exploring a war-torn landscape is the result of his many visits to the old 1916 battlefield region of northern France made through all seasons over the past 15 years.

The 1916 Battle of the Somme is engraved forever in the British and Commonwealth psyche as Verdun is to the people of France. In this new work, the author takes the reader on a road-trip over the beautiful undulating Somme countryside in an attempt to connect the present-day landscape with the past and the diversionary offensive supposed to last a few days but which became instead, a battle of attrition lasting months. The book is unique in its concept amongst the plethora of Battle of the Somme literature and is the first of several titles in the new Ajax Editions Viewfinder Series.

Above; sample pages from The Somme - exploring a war-torn landscape.

This new book comes in a handy 128 page A5 soft back format, with 125 full-colour and b+w photographs, including several dating from 1917 never before published. Explanatory photo captions and short texts provide a comprehensive insight to the battle in relation to present day surroundings. It's a must-have easy to read illustrated guide for anyone planning a visit to the old battlefield. And if you are already there, visit the spectacular Musée-Somme 1916 in the town of Albert where you will be able to purchase this new book in the museum's shop.

Preview and download this .pdf review from the Worthing Herald;

https://app.box.com/s/ioj9yn9cvfej3790cjpww9z41ihri0ad

Jonathan Eastland is an award winning photojournalist and the author of several books on maritime and photographic subjects including the Leica-M Compendium, Great Yachts & Their Designers and Camera at Sea.

This is a new ex-print-factory book. It will be dispatched post-free to all inland United Kingdom destinations in a protective carton.

Order and pay through PayPal. (No PP account needed.). The Somme - exploring a war-torn landscape is priced at £19.95 inclusive of shipping costs to all UK inland destinations. For ROW destinations please enquire by email to picturedesk@ajaxnetphoto.com. This and our other titles may also be ordered through all booksellers quoting the relevant ISBN.

Leica MP-MP Questions & Answers Price £9.95 post-free to inland UK destinations. Order via PayPal or through most booksellers.

Leica M7 Handbook Price £23.95 post-free to inland UK destinations. Order via PayPal or through most booksellers.

A bit about Ajax Editions

Ajax Editions is a small independent U.K. based publisher of illustrated photographic books. None of its titles are sponsored by or financially supported in any way by any third party organisation. The publishing imprint founder is the photojournalist Jonathan Eastland who has freelanced in the media industry for 50 years; a specialist in maritime affairs and with a passion for street photography, his work has been published widely around the world in newspapers, magazines and books.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
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RICOH IMAGING to exhibit a reference product at CP+2015 camera and imaging show

2015-02-04T22:07:00.000+00:00

PRESS RELEASE

from Ricoh-Imaging.co.uk

RICOH IMAGING COMPANY, LTD. is pleased to announce the exhibition of a reference product — a digital SLR camera currently under development — at CP+ 2015, one of the largest and most comprehensive camera and imaging shows in Asia. This annual event will be held from February 12 to 15 at the PACIFICO Yokohama convention centre in Japan.

Reference Product
Digital SLR camera
Product name: to be decided
・K-mount digital SLR camera with a large, 35mm full-frame image sensor
・Compatible with DA-series interchangeable lenses, using an image-cropping function
・Currently under development for market launch by the end of 2015
Note: The specifications and exterior design of this product are yet to be finalized.

Shades of the past; Concept illustration supplied by Ricoh Imaging co.uk of the new camera to be announced at CP+2015.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2015.
www.ajaxnetphoto.com 2015.
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FULL FRAME, WATER, DUST, SHOCK AND WEATHER PROOF; THE REAL TOUGH COMPACT CAMERA

2015-01-13T17:19:00.001+00:00

by Jonathan Eastland.

I was first introduced to Nikon's Nikonos 35mm film camera in the 1960s.

A middle aged and smartly dressed magazine editor I first met around that time, wore a Nikonos II around his neck over a tie and blue blazer; attire that rarely changed for almost any assignment over the next decade and a half before he retired.

For him, the Nikonos was an appropriate piece of kit. Covering yachting events was probably the nearest he ever got to being close to the sea and he knew only too well, the damage that element could do to a fine mechanical instrument.

Unlike cameras designed primarily for use on terra firma (or the moon..) which could be used underwater with a special - and usually, cumbersome - housing, the Nikonos was designed from the ground up as an amphibious, water, dust, shock and weatherproof full frame compact 35mm film camera produced by the French offshore machinery development company La Spirotechnique.

Founded in 1943 by well known explorer, film maker and underwater experts Jacques Cousteau and Emille Gagnan, Spirotechnique first worked up a 'Spiro' prototype camera designed jointly by Cousteau and crew member of his converted minesweeper exploration ship Calypso, Belgian engineer Jean de Wouters d'Oplinter.

Some years elapsed, until the first Calypso camera (named after Cousteau's ship.) sporting a Som Berthiot 35mm f/3.5 lens was launched. A truly amphibious and compact tough watertight camera of modular design, it became a huge success amongst the diving fraternity.

Enter Nikon,

who had been contacted by La Spirotechnique through Teikoku Sanso KK with a view to large scale manufacture and marketing.

Nikon had already developed an underwater housing for its 35mm Nikon S rangefinder cameras enabling use of their highly regarded W-Nikkor 35mm f/2.5 lens but saw the huge potential the more compact Calypso offered. The company subsequently acquired exclusive production and sales rights for the camera outside of France and the European Common Market as it then was in 1962.

Moss green Nikonos V

Thus began a long production history of the amphibious all-weather 'O' ring sealed Nikonos camera. In its early years, it sold at a rate only second in line to the venerable Nikon F 35mm single-lens-reflex (SLR).

Early models I through III were basic mechanical cameras with an Albada type full frame 35mm AOV viewfinder. By the early 1980s Nikonos IV-A incorporated the electronics of a Nikon EM SLR camera to bring auto aperture-priority exposure control to underwater shooting, followed in 1984 by the Nikonos V using Nikon FG SLR electronics to add manual exposure control override for those who had asked for it. Both models incorporated improved film winding/rewinding and inverted Galilean Albada viewfinders, now with suspended bright-line frames and LED exposure information. The V camera also introduced TTL flash control with its special Speedlight electronic flash units and like the IV-A, its vertical travel metal bladed shutter is one of the quietest to be found, muffled as it is, by the camera's hefty metal body housing.

Cross section through a Nikonos V fitted with W-Nikkor 35mm f/2.5 lens. Auto-exposure measurments are obtained with an SPD cell reading off the shutter curtain.

Ergonomically, various aspects of functionality changed as Nikonos models were incrementally modified until the major shape change unveiled with the IV-A. One thing that was maintained through its history from the earliest French made Calypso model however, are the two rotating knobs either side of interchangeable objectives; one controls aperture setting, the other distance. In or out of water, the genius of this functional simplicity, its instant visibility and ease of use is one of the many things I like about using a Nikonos. The lens face diaphragm and distance settings combine with a moving depth-of-field gauge similar to red arrow devices found on some other marque lenses such as early C type Zeiss Hasselblad.

Simple top-deck layout with rotating shutter time and mode setting dial under film advance lever;note rotating aperture and distance setting lens knobs.

Lens face distance measurement scale with self adjusting depth-of-field arrow pointers in red.

The last of the true viewfinder type Nikonos cameras stayed in production for 17 years, finally coming to a halt in 2001. Nothing since, in the way of digital compact all-weather cameras, has been able to replicate or replace the functionality or utility of a Nikonos V, in my opinion.

It's waterproof down to a depth of 50 meters (150+ feet.) and pressure tested to 6kg/cm2 (85 lb/in2.). It's built like a tank, die-cast in copper silumin oxidised aluminium with a hard surface treatment coating called 'alumite', yet not much larger than a Leica rangefinder camera.

Nikonos V silumin oxidised aluminium body parts

The use of greased rubber 'O' ring tubes originally developed for the aviation industry are the secret of its compact design and watertightness. Open it up and the inside looks like that of a regular Nikon FG film camera.

W-Nikkor 35mm f/2.5 lens is a 60+ year old design, upgraded here in its Nikonos configuration with NIC coating.

6 bladed lens diaphragm

The standard W-Nikkor 35mm f/2.5 lens is now a 60+ year old optical design first produced for the Nikon S Rangefinder* camera models, but don't let that fool you; it is capable of stellar performance and in it's later Nikonos iterations, was upgraded with Nikon's Integrated Coating (NIC) and is far superior to Spirotechnique's original Som Berthiot lens. The W-Nikkor is a symmetrical 6 element design (7 elements in the Nikonos V including front protective glass.) in 5 groups, housed, like other objectives in the Nikonos family, in a pressure tested double barrel construction. It delivers excellent detail resolution and contrast even when used wide open.

Nikon Nikonos V optional interchangeable objectives and viewfinders for use on land or underwater illustrated in the camera brochure.

A special damp/moisture proof 28mm f/2.8 LW-Nikkor lens based on the optical design of the Nikon-E series lens was also introduced for use with the Nikonos in 1983. It looks like a a regular 28mm Nikkor Ai-S wide-angle lens but it won't jam if you're caught in a thunderstorm or go surfing (centre right under orange camera in the picture above.).

What can you use a camera like this for?

Schooner Vera Mary; The Nikonos is happy in or out of water. Prints are available.

I use it almost anytime I know I might encounter inclement weather or an environment that puts ordinary tools at risk; use it on the street, at the beach, in the sea, in the desert, in the rain, in the muck and mud, under a dust cloud, in fact, anywhere where a bit of rough and tumble will likely damage more conventional kit.

Wish you were here! Happy Nikonos Days.....

Or here....take a Nikonos anywhere!

Availability;

Mint+ examples are becoming harder to find with prices trending in the range £160 - £250; about half what I paid for a new Nikonos V in 1987. There are many well hammered examples out there - Nikon sold a lot of these cameras. Things to watch out for in particular; jammed shutter release in IV-A and V models, often caused by a rusting or dry bent wire exterior/interior release connector (Hidden under the grip casing.). Dry/brittle rubber 'O' rings; remove carefully, clean and re-grease. Replacement ex-factory kits occasionally appear on internet auction sites. My orange '87 model is still going strong, backed up by a pristine Moss Green sample just in case the former fails me.

Nikonos 'O' ring kit

Just one thing; very few cameras could survive the fierce fire and explosions this Nikonos V was caught in (see below). A luxury yacht's propane gas store used to power its hot-air balloon exploded and trashed the ship (and the camera.) in the fire that followed.

*The Complete Nikon Rangefinder System by Robert J Rotolini (pub: Hove Foto Books, Newpro UK Ltd. 2007. ISBN: 13:978 1 87403 177 2) available from Camera Books.com

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
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www.ajaxnetphoto 2015.
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The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

RICOH GXR

2014-07-10T21:36:00.000+01:00

SOMETIMES 'WANT IT NOW' HAS TO WAIT

To use an old fashioned expression, 'press photographers' of long ago cynically described any image adorning the pages of newsprint as a 'smudge'. The word came into use largely because very often, the ink on newsprint hot off the printing press having not had time to fully dry, easily smeared. This derogatory description could be applied to any image, whether aesthetically good or bad, and often was.

Print on the page quality has long since dramatically improved. Combined with technological advances in image origination, newsprint repro quality is streets ahead of where it once was 40 years back. Today's image reproduction on glossy magazine or quality 'coffee table' book pages would have had some old editors now long since departed this world, groaning in envy at the advances made.

This was all brought home for the umpteenth time recently while searching through my files for an old picture I needed for the front cover of a new book project, and which despite turning the archives upside down, still eludes me.

As more and more frustration set in - I could see the picture in question clearly in my head, I turned to boxes of thousands of tear sheets in a final effort to locate something I could use to re-create the original.

Scanning an old smudge isn't the best solution, but it's better than nothing at all; with modern software most of the halftone screen can be removed effectively and so long as the new repro isn't too large, the image on the page will probably look better than it did when first printed.

This lengthy search process also provided much time for ruminating on another old chestnut. In truth, a fairer and more accurate description of that process would be 'head banging'. As a long time user of silver halide film and a relative newcomer (well, more than two decades.) to the convenience of digital capture, I remain indecisive; stuck on the fence, vacillating between the two media.

A recent smudge on the front cover of the NUJ's Journalist magazine depicting events during the 1980s coal miner's strike brought home an aspect of working with film that simply cannot be replicated with digital capture.

Several have tried, but not even the repros I've seen from Salgado's latest work Genesis have impressed. Digital and film have inherently different aesthetic states which may be difficult to describe but which are evident nonetheless on the printed page.

Doubtless, it would be easy to persuade oneself for a variety of reasons, why one process is better than the other and just get on with it. But I don't find it so simple. Different is what it's about, not better.

Ricoh GXR with S10 lens/sensor unit and EVF. ISO 400.

For most of what I do, digital works. Where I find it doesn't is when I'm on the street comme le flaneur. Here, film, or to be more precise, the tools I prefer that use film, remain unequalled for ease of use, focus accuracy and what they ultimately deliver.

But there are often things I see out there which would make useful stock that doesn't need a film interpretation. To this end, a small and efficient compact digital camera is ideal. As mentioned in previous blogs, I carry a Ricoh GR much of the time for just such occasions.

While these small cameras have proved to be excellent performers, I was persuaded some years back image quality obtained from one lens/sensor unit of the Ricoh GXR system came closer to what I hoped for from digital than the fixed lens compacts.

Ricoh GXR with A12M sensor module fitted with Leitz SA 21mm f/3.4. Optical finder is a Ricoh GRD 28mm AOV accessory, not perfect, but close enough to 32mm AOV for street work and smaller the the GXR EVF.

The Ricoh GXR digital system camera is a compact harking back to the modular concept philosophy of Victor Hasselblad's 500 series medium format film cameras, enabling simple switching between modules featuring fixed and or zoom lenses and different sensor sizes.

For many, this innovative system hardly made any sense, to the extent that now, the GXR has been discontinued more than a year.

I reviewed the GXR at length when it was launched in 2009 and again later as new lens/sensor modules were introduced and while very taken with both functionality - very similar to the GRD cameras - and image quality, I felt the system was overpriced.

Not having one to hand however, especially after the introduction of the A12M Leica-M (Leica M6TTL Handbook is currently out of print.) lens mount, niggled its way into my mind. While preparing the reviews, I found the S10 short zoom unit combined with the camera's EVF more practicable in some respects than a GRD and at that time, compared with a GR II, the S10 delivered excellent IQ using the same sized sensor as its counterpart. Like earlier GX 100 and GX 200 models, the S10 unit appeared to utilise the same lens and sensor with a slightly improved A/D image processor.

GXR A12M sensor lens mount unit with integral shutter (right) and Leica Elmar-M 50mm f/2.8 (left), handy when using a Leica-M film camera, and when not, both easily carried in a pocket.

That same sensor also seemed to deliver marginally better quality than the later and current GR IV, though it's much harder to distinguish. Tests made with many different Leica-M lenses were also encouraging and showed beyond any reasonable doubt large prints could be obtained from both the small and larger sensored modules approaching the kind of aesthetic I expected from film. So yes, noise was (is) an issue, but one manifest agreeably in the right aesthetic direction.

Paris. GXR and S10 zoom lens sensor module with EVF.

As time passed, a few images from the GXR test period turned up on magazine pages. The repros were good enough to keep me thinking I should bite the bullet and buy one; the more pragmatic me however, continued to sideline the issue on the grounds of cost. I had everything I needed.

Until, well, how can I put this..? Along came an offer I couldn't refuse.

A year after it was unofficially discontinued in Europe, SRS Microsystems got their hands on a consignment of boxed GXR bodies with S10 modules, what's known as new-old-stock in the trade.Then the same company unearthed a cache of A12M units.

Wait long enough, and destiny will deliver what you deserve at the right price.

Ricoh GXR and P10 zoom lens/sensor module; focal length 5.4mm (28mm AOV equivalent).

Several weeks down the line of GXR ownership, I find myself re-visiting those old reviews. In some respects, the camera is a bit of an enigma; it stops short of being something it could have been. A fully articulating rear LCD screen like the one found on the Panasonic G1 models would have considerably improved versatility. A solid state HDD module was an obvious omission from the outset; a simple, small and reliable back-up file storage system is exactly what is needed when days are long out in the field. The A12M APS/DX sized sensor was probably a mistake; if not full frame, it should have at least been the same size as a Leica M8 sensor. But all of this would have added considerably to an already expensive piece of kit as it was originally.

I can see where Ricoh were hoping to go with the GXR, but unfortunately for them, the concept was riddled with conflict in trying to merge the excellent functionality of its compact fixed lens sibling (GRD) into a modular system that fell short of true versatility and the possibility of really useful expansion. GXR developers might have done better to study Victor Hasselblad's classic or Yoshihisa Maitani's modular 35mm prototype in much more detail.

Top; Full Frame using GXR S10 lens sensor module at the wide end focal length range; bottom, 100% crop from top image.

However, limitations notwithstanding, I now find I carry the GXR almost everywhere. The S10 unit is more versatile than the GRIV and having the A12M unit stuffed in a pocket has proved useful when also carrying a Leica-M and a couple of lenses. The articulating EVF gets a lot of use, but it's vulnerable to knocks and regularly needs taping in place.

Top; full frame using GXR A12M mount fitted with an old Leitz 5cm Summarit f/1.5 against the light with no hood at maximum aperture. Some light flare is evident top left of the image. At maximum aperture, micro detail is soft in the image centre and decidedly blurred on the periphery. (click on image for a larger view.) Best operating aperture range for general shooting is between f/5.6 and f/8: Here, 100% crop of centre and right target was made at f/6.3.

As modern mirrorless, interchangeable lens compacts go, the GXR still packs a hefty punch. Like a lot of now 'obsolete' digital camera models, IQ performance more than satisfies my smudge-on-a-page bench mark; what I want in the future is not more megapixels and machine-gun rate of fire - for that I can use a movie camera - but better build quality, improved operational functionality and greater electronic reliability.

ends.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2014.
www.ajaxnetphoto.com 2014.
This content may NOT be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

RICOH GR - APS

2014-07-04T19:15:00.000+01:00

RICOH GR - APS

by

Jonathan Eastland.

The late and great French photographer Willy Ronis was in his mid 80s when he began jumping out of aeroplanes and para-skiing down snowy mountain slopes armed with a Minox compact camera. While David Bailey extolled the virtues of the Olympus XA clamshell rangefinder in a series of tv ads, American taxi driver and artist David Bradford was just beginning to make the images for his masterpiece work, Drive-by Shootings (pub.2000, Konemann; ISBN; 3-8290-2891-1), shot entirely on a pocket Yashica T4.

Almost since the beginning of photographic time, manufacturers have been churning out compact camera designs in one form or another; but not all make the grade. In this day and age, whether design by individual or committee, it seems to me the underlying remit of functionality begins with an LCD monitor, touch screen or deep menu control and a notion the outstretched arm can efficiently combine with technology to produce tools that work in every situation demanded of them.

I correlate the manipulation of modern digital image capture devices closely to that of using an old Kodak Brownie box camera. Hold it at waist level, carefully compose using the tiny landscape or portrait viewfinder, release shutter smoothly when ready. If users were proficient, they got a frame that was sharp. Today's auto-focus and multiple choice auto exposure modes may have increased acceptable frame rate alongside a seemingly infinite capacity for increased image production, but as the old adage goes, more is not necessarily better.

Something else.

My natural instinct when manipulating a camera is to bring it to eye level in order to see more clearly the reality of the unfolding event and the image I want. A more or less simultaneous calculation sets object distance, which on any manually focused camera, I will have instinctively set prior to or during engagement on the lens.

Auto focus systems on Dslr cameras are quick and accurate, but contrast based AF detection systems used in modern compact devices are, in my estimate, considerably less so. And it remains the case. There is no guarantee that what you hoped to capture is what you will get, especially when the subject is moving rapidly.

This observation notwithstanding, I rarely leave base without my Ricoh GR compact. Over the years since the first model was launched, the tool has been useful for grabbing the odd stock frame or increasing assignment image choices. With each new model launched, some incremental progress has been achieved by the maker improving image quality until it was possible with the GR4, to be moderately satisfied with an A3 spread.

Satisfaction however, being entirely dependent on the subjective notions of individual demand and effect, was always going to be compromised, no matter how clever the camera image processor, by the very small 1/1.7 inch image sensor used in these cameras. After continued harassing by many users, Ricoh launched a GR compact in 2012 fitted with a 16.2 mp CMOS APS-C sized sensor, simultaneously taking some of the steam out of the launch of the Nikon A. While In almost all other respects, the GR (V) mimics both design and functionality of its earlier siblings, it also closely matches both lens and sensor specifications of the Nikon.

TWEAKS

Squeezing a substantially larger sensor into the magnesium alloy shell of a GR required a marginal increase in body size, adding an extra centimetre in length and a millimetre or two to handgrip thickness, compared to the GR4. While the new model seems to benefit ergonomically, affording more button space to the rear panel, the main control dial in the front grip seems pinched by the grip's slight extra thickness at its top edge.

The rear control panel has gained an extra AEL/AFL and C-AF switch with central press button enabling near instant focus for the whole distance range covered including macro. Selective pin-point focus is also assisted ably by moving the focus target with options to magnify a screen portion. These are practically useful features which help to improve focus accuracy and speed of capture. The playback button normally found here, is re-located under the zoom rocker switch. An effects button has been added to the left side of the body and can be programmed using the menu. I used it as an additional function button for rapid format changes between the full frame 28mm and optional 35mm focal length AOV image cropping feature. Keeping the button held down also jump starts a depth-of-field preview, enabling the user to see the range of motif sharpness and out of focus effect. Useful, but for that purpose it might have better been placed on the camera front.

An extra TAv exposure mode option (shutter and aperture priority AE) and symbol change adorns the new model's mode selection dial, the more comprehensive menu adding a neutral density filter enabling wider exposure control. Wi-Fi connection with appropriate SD cards and in-camera RAW processing also feature alongside a new processor, the GR Engine V. Outwardly however, the GR camera remains pretty much the same as its predecessors, replicating the original design and size of the 35mm GR1 film camera launched in 1994. Like that tool, consecutive digital iterations of the model have gained a substantial cult following with enthusiasts and some pros.

WHY?

On the face of it, image quality from earlier smaller sensored GR cameras was not significantly better than anything else with comparable specifications. At default settings, images out of the box featured a warm colour palette, marked even at low ISO settings, by a slightly filmic appearance - the effect of image noise distributed more randomly over the frame than in some other models. Users shooting the GR in b+w mode at higher sensitivities produced an iconic Tri-x'y look which, when combined with the camera's functionality and near perfect ergonomic design, soon caught on.

And it is ergonomics which may play a bigger part in tool selection today than it used to when choosing a film camera. While I particularly liked the look of images out of the new Nikon A, points it scored for handling were at the low end of the scale, despite having a dial that could be used for shutter time control located in exactly the right place. It's sleek appearance, enhanced by an optional silver chrome finish, is certainly attractive, but like the slinky Sigma DP (pre Quattro.) series, it lacked the instantly positive feel the utilitarian Ricoh endows to the user straight out of the box.

OPTICS

An 18.3mm focal length multicoated 7 element (including 2 of aspherical design in combination with extra low dispersion and high refractive index glasses.) in 5 group lens with aperture range of f/2.8 - f/16 delivers an equivalent 28mm AOV in 135 format. The lens is fitted with a 9 blade diaphragm delivering naturally rendered out-of-focus objects while an optional 0.75X wide conversion lens with petal shaped rubber hood can be quickly attached to the camera with its bayonet adapter to widen AOV to replicate the 21mm focal length.

Like the GR (V) itself, Ricoh accessories are very well built and the wide angle converter is no exception, being a hefty glass construction in a metal barrel. Standard sized 62mm threaded filters can be fitted to protect the vulnerable front end and are recommended as the supplied rubber hood has a habit of slipping if not taped securely in place.

The lens is matched to a Sony sourced CMOS sensor, similar but not identical to that used in the Nikon A and like the latter, lacks an anti-aliasing filter. With an ISO sensitivity range of 100 - 25600, out of the box Jpegs in 3:2 picture ratio have a pixel measurement of 4928 X 3264, plenty enough for large prints at 300ppi as well as ruthless image cropping when needed.

ON ASSIGNMENT

A useful tool in confined spaces

Pre-focus on the sign helped get the swinging arm sharp

An opportunity for a bit of flying with the Royal Navy coincided with delivery of the GR review sample, its size ideally suited to the kind of cramped head banging environment in which larger cameras frequently come off the worse for wear.

As is often the case with military PR facilities, time is of the essence; schedules have to be met, so while an hour's flying time may seem sufficient, using the untried GR also meant replicating almost every shot with regular tools. One has to work fast, hoping the technology will do its bit.

Halfway through my second flight, the GR locked up. This was like a Mac PC frustratingly going into hang mode for no apparent good reason. Back on terra firma, the only way to unlock the camera was by removing the battery, which was almost too hot to handle, and let it cool down.

Two things became apparent. When left powered on continuously for more than fifteen to twenty minutes, camera grip temperature rises dramatically, perhaps indicating a problem with interior heat dissipation or, as has been widely reported elsewhere on the subject of lithium batteries, a technology issue. Either way, continuing to leave the review sample GR powered on, eventually locked it up.

The second issue was the discovery that Ricoh's DB-60 batteries used in earlier generations of its compact cameras, don't fit the new model. They look the same except for a small indentation on one corner. DB-65s are the answer; they fit both new and older models.

RESULT

Since the launch of the GR (V), debate has run high on the merits of its lens compared to that fitted to its more expensive and nearest rival, the Nikon A. Comparison of MTF charts may give the nod to the Ricoh, but I would venture to say, such study is an irrelevance. Being mindful that today's computerised lens designs rarely deliver the kind of poor performance lemons occasionally seen in decades past, image analyses of many motifs captured under a variety of lighting conditions provides more useful information.

There's no doubt the Ricoh delivers extremely sharp and highly resolved images straight out of the box at all default settings. As a long time Ricoh GR user, they are what I expect; sharp edge to edge with more clarity (less noise) than images from earlier small sensored models, endowed with excellent characteristic colouring.

The Nikon A is a different animal with its own strong image personality, and so far in my subjective estimate, unmatched by other models of comparable specification. High contrast dominates, the lens design drawing the viewer more toward the centre of the image as rendition fluffs slightly toward the periphery in a typical old Nikkor glass way; a tendency to vignette at mid to maximum apertures, aiding the effect.

Where Ricoh's colour palette for everyday shooting has always worked best (for me) with white balance set to shade, cloudy or outdoors, Nikon's AWB hits the right mark every time; hues appear sublimely matched to reality, needing little or no colour balance correction in post.

From a purely technical perspective, the Ricoh gains marks for overall image IQ; the Nikon moving ahead slightly for IQ character. But not all users will appreciate that and when combined with the ergonomic versatility of the GR and its options to tweak image character, the money may be on the Ricoh.

ends….

(An edited version of this review first appeared in print in the September 2013 issue of the BJP.)

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Nissin announces MG 8000 & PS 8 Power Pack Bundle deal

2013-06-30T14:34:00.000+01:00

Nissin announces MG 8000 & PS 8 Power Pack Bundle deal

Official Press Release

Release Date: Friday June 28, 2013

Kenro, the official UK distributors of Nissin Flash Guns, are offering photographers
an exclusive deal when purchasing the Nissin MG 8000 Extreme Flash Gun together with
the PS 8 Power Pack. This new bundle deal represents a substantial saving compared
to buying them separately.

Explained Paul Kench, managing director of Kenro: "These two products combined make
the ultimate 'power couple' and the saving made is sure to be attractive. Having
just been awarded 'Best Portable Lighting System for 2013' in the prestigious TIPA
Awards, the MG 8000 has proved its might in the industry, and the PS 8 Power Pack
comes equipped with a range of innovative features to ensure your flash goes the
distance."

As the MG 8000 keeps its cool under pressure, it can maintain its guide number
meaning no more underexposed images caused by over-heating. When tested, the Nissin
MG 8000 can produce over 1000 full flashes without any fear of overheating; that's
three times more than a general flash.

The unit, which features the world's highest "Machine Gun" strobe, boasts an
impressive recycle time of just three seconds for the first 200 shots, and then five
to seven seconds for subsequent frames, making it ideal for photographers who work
fast and furiously. The Nissin MG 8000 is compatible with the E-TTL, E-TTL II
(Canon) and i-TTL (Nikon) SLR cameras.

Compatible with Canon, Nikon and Sony digital SLR cameras, the core boosting circuit
of Nissin Power Pack PS 8 has been redesigned to reduce the heat produced. It now
uses a high-strength plastic instead of a metal housing for the body. The
sophisticated design of the new PS 8 now includes a USB charging socket which
supports DC 5V output to provide maximum charging solutions for the photographer
on-the-go.

The Nissin MG 8000 and PS 8 Power Pack bundle deal is available now and has a
suggested retail price of £570 (incl VAT), in comparison to an SRP of £621 combined
(incl VAT) when purchasing both items separately.

Visit the Kenro website to find your nearest Nissin Stockist to ensure you don't
miss out on this excellent offer.

Ends

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2013-06-25T14:25:00.001+01:00

Official Press Release
Tuesday June 25, 2013

Marumi widens choice by adding new sizes to filter range

Kenro has announced the launch of several new filter sizes to Marumi's respected range of photographic accessories.

Each Marumi Filter uses a specifically developed ultra-low reflection coating to minimise internal reflection off the camera's built-in CCD and CMOS Sensors. Other anti-reflect features include a special slim frame with satin smooth finish and a black ink process on the glass edge to eliminate flare.

Now available in four new sizes between 37mm-46mm, the Marumi DHG Light Control ND Filter has been designed to improve the results of landscape photography along with other images captured in scenic environments. Best used in the golden hours of dawn and dusk, these filters work by reducing light volume, allowing the photographer to use slower shutter speeds under bright conditions, resulting in greater control and creativity.

Photographers can now pick up one of Marumi's DHG Circular Polarising range in the newly added sizes of 86mm and 95mm. An ideal accessory for capturing water and other highly-reflective surfaces, Marumi DHG Circular Polarising Filters can be rotated to reduce reflection and also increase colour saturation under bright conditions, meaning photographers can create a more accurate depiction of the shooting environment.

The two new sizes can also be seen in the DHG Super Circular Polarising range which incorporates the same features as the Digital High Grade range but with two added benefits; they feature water and oil repellent coating and also include increased protection even with heavy duty use.

New 86mm and 95mm sizes are now also available within the Marumi DHG Lens Protect and Super Lens Protect Filter range. These colourless lens protection filters featuring a special ultra-low reflection coating are designed to minimise flare and ghosting on CCD and CMOS sensors.

Thin mounts found on the filters have been made to prevent vignetting when used with a wide angle digital lens. Paul Kench, managing director of Kenro, made this comment:

"Marumi are renowned for their expertise in constructing filters that provide greater creative opportunities, so we are delighted to see the increase in their already successful lines with additional sizes. There really is something for everyone in Marumi's range of filters that enable the photographer to get the very best out of their work."

Other products in Marumi's range of photographic accessories include lens hoods and converters.

See www.kenro.co.uk for details of your nearest stockist, or call Kenro on 01793 615836 for more details. The new Marumi filters sizes are available now.

Ends

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AJAXNETPHOTO IMAGE ARCHIVES - JULY 2017

2012-04-20T19:53:00.001+01:00

AJAXNETPHOTO IMAGE ARCHIVES - JULY 2017 UPDATE

The links to Ajax News & Feature Service and AjaxNetPhoto image archives have changed for all image categories. We use the Alamy platform; it offers a fast, efficient and cost effective service. No subscription is necessary; reproduction licences for personal, presentations, business, editorial, advertising and other uses are available at the click of a button. Search through our image archives here; or click on the link below or copy and paste into a new browser URL box.

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Enter appropriate keyword(s) or tags in the search box, e.g.,

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Medium format film scanner from Reflecta

2011-10-21T13:35:00.000+01:00

Official Press Release
Tuesday October 11, 2011

New Reflecta Midformat Scan MF5000

Photographers can now digitise positive and negative medium format films quickly, easily and to a professional quality high resolution thanks to the introduction of the new Reflecta Midformat Scan MF5000.

The scanner, available now through Kenro, is described as a "state-of-the-art CCD scanner with fast image processing" and features a 3-line CCD image sensor allowing for scans of 3200 x 3200 dpi optical resolution and 3.6 Dmax optical density.

The Midformat Scan MF5000's scan speed:
A colour scan at 3200 dpi and 24 bit colour depth takes only 200 seconds, very fast for a colour CCD scanner means that top quality scanning is no longer the time consuming exercise it used to be, while the Magic Touch feature, which automatically removes dust and scratches via an infrared sensor, helps ensure that the final scan is perfect first time.

Mains powered, the scanner is connected via USB 2.0 to a computer (either MAC or PC). It weighs around 5.6kg and measures 320mm x 165mm x 160mm and will scan the whole range of 120 and 220 films, including 6x4.5, 6x6, 6x7, 6x8, 6x9 and 6x12cm formats. Holders for four framed slides up to 3.2mm thickness, film strips with up to six frames and for one or two medium format film frames are included.

Kenro's managing director, Paul Kench made this comment on the release: "The MF5000 enables photographers to produce professional quality scans time-after-time, quickly and simply. It's the perfect piece of kit for a serious photographer who wants to digitise their archive of medium format films."

Technical data:
Optical resolution: 3200 dpi
Scanning speed: 3200 dpi, 24 Bit = 200 Sec.
Colour depth: 48 Bit
Contrast: >3,6 Dmax
Image sensor: 3-line CCD-Sensor
Lamp: whit LEDs and infrared LEDs
Scanning area -max: 24.3 x 36.5mm / 118 x 56.9mm
PC interface: USB 2.0
MAGIC TOUCH Technology

The Midformat Scan MF5000 comes complete with power adapter, Cyberview X scan software, Adobe Photoshop Elements 9, holder for four framed slides, holder for film strips with up to six frames, medium format holder and full user instructions.

The scanner is available now with an RRP of £2,250. For details of your nearest stockist please visit www.kenro.co.uk - alternatively call Kenro's head office on 01793 615836 for further information.

ENDS

Kenro Ltd
Greenbridge Road
Swindon
SN3 3LH
Tel: 01793 615836
Fax: 01793 530108
E-mail: sales@kenro.co.uk
Web: www.kenro.co.uk

Note: This news release is issued by Newsfeed UK on behalf of the above client.

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www.ajaxnetphoto.blogspot.com 2011.
www.ajaxnetphoto.com 2011.
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RICOH TO GO! - THE RISE AND RISE OF THE CULT - GR IV ANNOUNCED

2011-09-15T15:01:00.000+01:00

September15, 2011

Ricoh announces the GR DIGITAL IV

The new Ricoh GR IV

A digital camera offering enhanced Quick Shooting capability and  image quality with a Hybrid AF System and GR ENGINE IV

Tokyo, Japan, September 15, 2011—Ricoh Co., Ltd. (President and CEO: Shiro Kondo) today announces the development and release of the GR DIGITAL IV digital camera, the successor model to the GR DIGITAL III, which offers enhanced Quick Shooting capability and image quality.

The GR DIGITAL III (released in August 2009) was a compact digital camera with high image quality that came with a 28mm/F1.9 GR Lens, the GR ENGINE III, and a high-sensitivity CCD that continued the evolution of the concepts originally introduced in the first GR DIGITAL model (released in October 2005). In the two years since its release, it has been enthusiastically received by a broad range of customers including professional and amateur photographers.

The new GR DIGITAL IV, featuring a new image engine and a refined optical filter, exceeds the GR DIGITAL III and achieves the highest level of image quality in the history of the GR series.

Rear of the new GR IV

Additionally, for the advancement of the Quick Shooting capabilities required to make sure you never miss a shot when out shooting, Ricoh has introduced a Hybrid AF System and an Image-sensor-shift Image Stabilization Function, which makes use of Ricoh's independently developed external AF sensor, and a 3-inch, approximately 1.23 million-dot VGA LCD monitor for heightened outdoor visibility. The addition of an electronic level that can detect inclination in the tilt direction, as well as the conventional horizontal direction also improves operability. Moreover, the inclusion of Dynamic Range Compensation makes it possible to shoot subjects in backlit or high-contrast scenes in the way the eye sees them, and Interval Composite, which can combine images shot at a certain shooting interval, advances the camera's expressive capabilities.

Ricoh will also continue to provide the highly praised function-expansion firmware.

Pricing:

GR Digital IV Black   £499.99
GR Digital IV White   £499.99
Hand Strap GS2      £17.90
Metal Lens Cap GL1   £17.90

Main Features of the GR DIGITAL IV

Improved AF speed and accuracy due to the introduction of the Hybrid AF system

The camera comes newly equipped with Ricoh's independently developed external AF sensor, which has a maximum of 190 AF points. Through the Hybrid AF System, which is used in parallel with the conventional CCD contrast AF, Ricoh has realized an AF focusing time as short as 0.2 seconds, as much as half that of the GR DIGITAL III.   Also, algorithm refinements have led to improvements in the AF speed for macro shots that are taken using only the CCD contrast AF method for a maximum reduction of half the time of the previous model.  

In shooting with a single press of the shutter-release button, the high focusing accuracy required for snapshot shooting has been added to the camera's Quick Shooting capabilities by performing the metering with only the external AF sensor. The metering information from the external AF sensor can be displayed on the LCD monitor as necessary.  

Even higher image quality achieved

Through refinements to the optical filter and optimization of the image processing from the previous model, the GR DIGITAL III, the SFR* characteristics have been improved.

With the new image processing engine, the GR ENGINE IV, color reproduction enhancement and color noise reductions are achieved when taking high-sensitivity photographs.

Ricoh's signature 28mm/F1.9 GR lens demonstrates its high resolution while suppressing chromatic aberration and distortion. The approximately 10 million-pixel, 1/1.7-inch CCD shows off its high-sensitivity characteristics. These are the elements through which the GR DIGITAL IV achieves the highest image quality in GR DIGITAL history.   *Spatial Frequency Response (SFR): One of the indicators of a digital camera's resolution characteristics, including everything from the optical system to the image processing.  
Comes with the first image-sensor shift image stabilization function in the GR DIGITAL series
With the image-sensor shift image stabilization function, the GR DIGITAL IV achieves a stabilization effect equivalent to a shutter speed increase of a maximum of 3.2 stops*, which combined with the fast F1.9 GR lens further increases the camera's ability to capture dark scenes.

*Measured using RICOH measurement methods. 
Introduction of a new, high-brightness LCD monitor and the addition of an automatic brightness adjustment function
Through the introduction of the new 3-inch, approximately 1.23 million-dot VGA LCD monitor, which adds white pixels to the RGB ones, the GR DIGITAL IV secures a maximum brightness of approximately 1.7 times that of the GR DIGITAL III, improving its visibility when outdoors.
A function in which the camera automatically adjusts the luminance to match the brightness of the subject has been added, which minimizes decreases in visibility due to changes in the shooting environment.  
Shooting functions that heighten the photographer's expressive ability and enhanced scene modes
Comes with dynamic range compensation to minimize the effects of blown highlights in bright areas and crushed blacks in dark ones. For backlit or high-contrast scenes where exposure compensation alone is not enough, compensation is performed for each area, enabling the photographer to take pictures at a brightness that closely matches how the subject looked.
The Auto Bracket function has been enhanced. In addition to the conventional Exposure and White Balance, Contrast Bracket Setting and Dynamic Range Compensation bracketing have been newly added, of which any two can be selected for addition to the image settings to record a sequence of three shots with Image Setting Bracket.
Comes with an Interval Composite mode that will replace and combine only the high-brightness pixel data in images of the night sky taken at fixed intervals. This makes it possible to shoot distinctive landscape pictures that show the trails of light left by the stars.
Positive Film and Bleach Bypass, which lowers saturation and increases contrast, have been added to the image settings. Along with settings like the existing High Contrast B&W and Cross Process, these can be used in each of the shooting modes (Auto/P/A/S/M).
Multiple exposure shooting, which makes it possible to shoot up to five overlapping shots, and bulb exposure functions have also been included. 
Already high operability heightened even further
Included since the GR DIGITAL II, the electronic level function has been enhanced. Now it can detect inclination in not only the horizontal direction, but also the tilt direction as well.
The function combinations that can be used with the Fn1/Fn2 buttons have been expanded to four settings that can be registered with the Fn Button Pair Setting. Because the user can switch between functions registered in the Fn Button Pair Setting without going into the menu screens, they serve as an easy shortcut, making it possible to change functions in an instant to match the scene being shot.
The My Settings function, which enables the user to register their preferred camera settings, have been expanded from types to 12 types. Better still, because the settings can be registered on an SD card, users can share their favorite settings amongst themselves.
Includes a function for working with Eye-Fi cards. Images taken can be wirelessly transferred to a computer or uploaded to a photo-sharing site. When these functions are in use, the transmission information will be displayed on the shooting and playback screens. 

An even broader range of expandability with new options
A genuine leather hand strap for excellent portability and handling and a metal lens cap that works with the lock function of the power button will be available as new options. 

Implementation of function expansions through firmware
The provision of function-expansion firmware, which has been highly praised from the GR DIGITAL to the GR DIGITAL III models, will continue with the GR DIGITAL IV. By updating the firmware, the camera can always use the latest functions.

Customize service

For those who purchase the GR Digital IV, the following customizing services are available.
Grip replacement service
You can change the grip to one of your own choosing by paying a fee; options include wood grain, carbon, and leather-styled grips (all synthetic resin products).
*This service is only available in some areas, with a limited supply of replacement grips.
Information on when the service will become available as well as the countries and regions where it will be available will be announced on Ricoh’s web site.

   Product             Model
・Hood and adapter        GH-2
・Wide conversion lens         GW-2 *2
・External TTL flash        GF-1
・External viewfinder        GV-1
・External mini viewfinder        GV-2
・Cable switch            CA-2 *1
・Soft case             GC-3
・Soft case (GV-2 compatible)    GC-4
・Neck strap (GR DIGITAL logo)    GS-1
・Neck strap (Ricoh logo)        ST-2
・AC adapter            AC-4c
・Rechargeable battery        DB-65
・Battery charger            BJ-6
・Metal lens cap
(with function for locking the power button)　 GL-1*1,3
・Hand strap (genuine leather, with GR logo)　　GS-2*1
・HDMI cable            　　HC-1
GR DIGITAL/GR DIGITAL II options GH-1, GW-1, GT-1, GC-1, and GC-2 cannot be used.
*1　Newly introduced option.
*2　Hood and adapter is required when using wide conversion lens.
When the wide-angle conversion lens is mounted, only the CCD contrast AF method will be used.
*3 When the metal lens cap is mounted, the GC-3/GC-4 cannot be used.

GR DIGITAL IV – Major Specifications
No. of Effective Pixels (Camera):
Approximately 10.00 million pixels

Image Sensor:
1/1.7-inch CCD (total pixels: approx. 10.40 million pixels)
Lens:
Focal length: f=6.0 mm (equivalent to 28 mm for 35 mm ﬁlm cameras)  F-aperture: F1.9 – F9 (exposure control with both aperture and ND filter when F8.0-F11 displays in auto shooting mode) Shooting Distance (from the front of the lens): Approx. 30 cm - infinity; Macro (from the front of the lens): Approx. 1 cm – infinity
Lens Construction: 8 elements in 6 groups (aspheric lens: 2 elements and 2 surfaces)

Digital Zoom Magniﬁcation:
Digital Zoom: Approx. 4.0x; Auto Resize Zoom: Approx. 5.7x (VGA images)
Focus Mode:
Multi AF (Hybrid AF) / Spot AF (Hybrid AF) /Subj. Tracking/ Manual Focus / Snap / Infinity (Focus lock and AF auxiliary light available. For Multi AF and Spot AF, full-press snap and pre-AF are possible.)
Blur reduction：
Image sensor shift-type image stabilization function
Shutter Speed: *1
Still image: Bulb, Time ,180, 120, 60, 30, 15, 13, 10, 8, 6, 5, 4, 3.2, 2.5, 2, 1.6, 1.3, 1 - 1/2000 sec. (maximum and minimum shutter speeds vary depending on shooting mode and flash mode) Movie: 1/30 - 1/2000 sec.

Continuous shooting:
Continuous shooting speed*11     Approximately 1.54 frames/second
Maximum continuous shots    999

Exposure Control:
Exposure Metering Mode: Multi (256 segments), Centre Weighted Light Metering, Spot Metering (TTL-CCD metering method, AE lock possible)  Exposure Modes: Program shift AE/Aperture priority AE/ Manual Exposure /Shutter priority AE  Exposure Compensation: Manual Exposure Compensation +/-2.0EV (1/3EV Steps), Auto Bracket Function (-0.5EV, ±0, +0.5EV / -0.3EV, ±0, +0.3EV)

ISO Sensitivity (Standard Output Sensitivity):
AUTO, AUTO-HI, ISO80 – 3200 (1EV, 1/3EV, selectable steps)
White Balance Mode:
AUTO / Multi-Pattern AUTO / Outdoors / Cloudy / Incandescent / Fluorescent 1 / Fluorescent 2 / Manual / Detail, White Balance Bracket Function
Flash:
Built-in ﬂash mode: Flash On, Auto, Red-eye-Reduction, Flash On, Slow Synchro, Manual Flash, Flash Off  Built-in ﬂash range: Approx. 20 cm - 3.0 m (ISO Auto) Flash compensation: +/-2.0EV (1/3EV Steps)
Charging time*12: Approximately 5 seconds
Monitor:
3.0-inch Transparent LCD (approx. 1,230,000 dots)
Shooting Mode:
Auto Shooting Mode / Program Shift Mode / Aperture Priority Mode / Shutter Speed Priority Mode / Manual Exposure Mode / Scene Modes (Dynamic Range / Movie / Skew Correction / Interval Composite) / My Settings Mode
Image settings:
Vivid, Standard, Setting1/Setting2, B&W, B&W (TE), High Contrast B&W, Cross Process, Positive Film, Bleach Bypass

Picture Quality Mode: *2
F (Fine) / N (Normal) / RAW (DNG file format) *3
No. of Pixels Recorded:
Still image: 3648×2736, 3648×2432, 2736×2736, 3648×2048, 3264×2448, 2592×1944, 2048×1536, 1280×960, 640×480  Movie: 640x480, 320x240 
Recording Media:
SD memory card, SDHC memory card, Internal memory (approx. 40MB)
Eye-Fi cards (X2 series) can be used
Storage Capacity (Pictures/Time):*4 (internal memory approx.40MB)
Still image: 3648×2736 (RAW: 2, F: 10, N: 17) / 3648×2432 (RAW: 2, F: 11, N: 19) / 2736×2736 (RAW: 2, F: 13, N: 23) / 3648×2048 (RAW: 2, F: 13, N: 23 ) /3264×2448 (F: 12) / 2592×1944 (F: 15) / 2048×1536 (F: 24) / 1280×960 (F:43) / 640×480 (F: 158)
Movie*5: 640×480: 30 frames/sec. (22 sec.), 640×480: 15 frames/sec. (43 sec.), 320×240: 30 frames/sec. (54 sec.), 320×240: 15 frames/sec. (1 min. 38 sec.)

Recording File Format:
Still Image: JPEG (Exif ver. 2.3) *6 , RAW (DNG) Movie: AVI (Open DML Motion JPEG Format compliant)
Compression method: JPEG Baseline method compliant (still images, movies)

Other Major Shooting Functions:
Continuous / AF-Cont / S-Cont / M-Cont / Self-Timer (operation time: approx. 2 sec. / custom) / Interval Shooting (shooting interval: 5 sec. to 1 hour, in 5-second increments)*7 / Image Setting Bracket / Dynamic Range Compensation Bracketing / Contrast Bracketing / Color Space Setting / AE/AF Target Movement / Camera Shake Correction / Dynamic Range Compensation / Multiple Exposure Shooting / Noise Reduction / Histogram / Grid Guide / Depth of Field / Electronic Level / Hot Shoe
Other Major Playback Functions:
Auto Rotate / Grid View / Enlarged Display (maximum 16x) / Slideshow / Resize / Trim / DPOF settings
Interface:
USB and AV output terminal: USB 2.0 compliant, mass storage compliant*8 / HDMI micro output terminal: Type D
Video Signal Format:
NTSC, PAL switchable
Power Supply:
Rechargeable Battery: DB-65 (3.6V) x1, AAA Dry Alkaline Battery x2, AAA Nickel-Metal Hydride Battery x 2, AC adapter (AC-4c option) 3.8V
Battery Consumption: *9
Based on CIPA Standard: Using the DB-65, approx. 390 pictures / Using AAA Dry Alkaline Battery x2, approx. 30 pictures*10
External Dimensions:
108.6 mm (W) x 59.8 mm (H) x 32.5mm (D) (CIPA-conformant)
Weight:
Approx. 190 g (excluding battery, SD memory card, strap), Accessories approx. 30 g (battery, strap)
Operating Temperature Range:
0ºC-40ºC
*1. Shutter speed upper and lower limits vary depending on Shooting Mode and Flash Mode.  *2. The picture quality modes which can be set vary depending on the image size. *3. The DNG file format is a RAW image file format and is the standard format of Adobe Systems. *4. Estimated number of still images it is possible to record and estimated amount of movie recording time.
*5. The maximum length for one instance of movie recording is 29 minutes or the ﬁle size upper limit of 4GB.
*6. Compatible with DCF and DPOF. DCF is the abbreviation of the JEITA standard “Design rule for Camera
File system.” (Full compatibility with other devices is not guaranteed.)
*7. With ﬂash off.
*8. Mass storage driver is compatible with Windows (R) XP, Windows Vista(R), Windows(R) 7; Mac OS X 10.4 -10.6.7.
*9. Shooting capacity was measured using CIPA-standard parameters. This is only an estimate, and
performance may vary according to usage conditions.
*10. Using Panasonic AAA alkaline batteries.
*11. Measurement values obtained under Ricoh measurement conditions using Panasonic Pro High Speed 2G Class 6 cards. Results may differ depending on the speed and/or number of continuous shots, shooting conditions, and recording media, or on the condition of the recording media.
*12. When using rechargeable batteries

・Windows and Windows Vista are registered trademarks or trademarks of Microsoft Corporation in the U.S.A. and other countries.
・Mac OS is a registered trademark of Apple Inc. in the U.S.A. and other countries.
・Eye-Fi, Eye-Fi connected, and the Eye-Fi logo are registered trademarks of Eye-Fi Japan Co., Ltd.

September 15, 2011

GR DIGITAL IV Limited Edition Color Model

Announcing the GR DIGITAL White Edition

White Limited Edition Ricoh GR IV - 10,000 units worldwide

Tokyo, Japan, September 15, 2011—Ricoh Co., Ltd (President and CEO: Shiro Kondo) today announces the release of a limited-edition color model, the GR DIGITAL IV White Edition, along with the announcement of the new GR DIGITAL IV. The details are as follows:

Product Name
GR DIGITAL IV White Edition
Limited sales volume
10,000 units worldwide
* Accessories include a rechargeable battery, a battery charger, a USB cable, a genuine leather hand strap, a hand strap, and a metal lens cap.

The GR DIGITAL IV White Edition offers the same performance as the GR DIGITAL IV in a white-colored body. A total of 10,000 units will be sold worldwide. The metal lens cap (which has a function for locking the power button) and genuine leather hand strap included in the package are also white. The package design also has a unified white finish befitting the name GR DIGITAL IV White Edition.

GR IV Limited Edition White - top

* The camera specifications are the same as those for the GR DIGITAL IV. Please see the release announcement for the GR DIGITAL IV for details.

Contact Information:
Alpha Digital Services Ltd : UK Exclusive Distributor

01189 337000
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www.ajaxnetphoto.blogspot.com 2011.
www.ajaxnetphoto.com 2011.
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InVisage Unveils QuantumFilm Image Sensors

2010-03-22T22:07:00.000+00:00

Press Release: 22nd March, 2010.

PALM DESERT, Calif, USA.

Quantum Dot Material Replaces Silicon; Enables Stunning Image Quality  on Mobile Handsets

PALM DESERT, Calif., March 22, 2010, DEMO Spring 2010 –

Ushering in a new era of high-performance image sensors, InVisage Technologies, Inc. – a venture-backed start-up that is revolutionizing the way light is captured – today announced QuantumFilm. Harnessing the power of custom-designed semiconductor materials, QuantumFilm image sensors are the world’s first commercial quantum dot-based image sensors, replacing silicon. InVisage delivers 4x higher performance, 2x higher dynamic range and professional camera features not yet found in mobile image sensors. The first QuantumFilm-enabled product, due out later this year, solves the crucial challenge of capturing stunning images using mobile handset cameras.

(l-r) typical camera phone pixel light gathering efficiency compared with pixel using Quantum Film

QuantumFilm was developed by InVisage after years of research under the guidance of notable scientist and InVisage CTO Ted Sargent. The technology is based on quantum dots – semiconductors with unique light-capture properties. QuantumFilm works by capturing an imprint of a light image, and then employing the silicon beneath it to read out the image and turn it into versatile digital signals. InVisage spent three years engineering the quantum dot material to produce highly-sensitive image sensors that integrate with standard CMOS manufacturing processes. The first application of QuantumFilm will enable high pixel count and high performance in tiny form factors, breaking silicon's inherent performance-resolution tradeoff.

“It is becoming increasingly difficult and expensive to develop next-generation image sensors using silicon; essentially, silicon has hit a wall,” says Jess Lee, InVisage President and C.E.O.

“The fundamental problem is that silicon cannot capture light efficiently, but until now it has been the only option. The disruptive nature of QuantumFilm builds on silicon's success in electronics, and elevates its function using new materials that are engineered from the ground up for light capture.”

Silicon-based image sensors – the technology used today for all digital cameras including handheld, professional, mobile phone, security and automotive cameras – capture on average a mere 25 percent of light. QuantumFilm captures between 90-95 percent, enabling better pictures in even the most challenging lighting conditions. This increase in efficiency will deliver improvements across the entire imaging market, allowing QuantumFilm to be the de-facto next generation camera platform. The first target market for QuantumFilm is mobile handsets, where there is the greatest demand for small, high performance image sensors.

Quantum Film enhanced imaging sensor

Just nanometers in size, the quantum dot-based material is deposited directly on top of the wafer during manufacturing. And unlike silicon-based image sensor technologies such as BSI (back-side illumination) and FSI (front-side illumination), QuantumFilm covers 100 percent of each pixel. The material is added as a final wafer-level process, which allows for easy integration into standard semiconductor foundries. The process - akin to coating a layer of photoresist onto a standard wafer - adds minimal cost on top of the standard layers of silicon processes.

“It is safe to say that the industry spends an average of $1 billion for each new generation of pixel technology, all to achieve a single-digit percentage improvement in image quality,” says Tetsuo Omori, senior analyst, Techno Systems Research Co.

“The future of imaging is in new materials like QuantumFilm, which will change the competitive landscape and possibly re-ignite the pixel race.”

InVisage was founded in 2006 and is led by industry veterans from the image sensor and advanced semiconductor materials industry. It employs 30 people at its Menlo Park headquarters and has received more than $30 million in funding from RockPort Capital, Charles River Ventures, InterWest Partners and OnPoint Technologies. Its technology is protected by 21 patents and patents pending.

QuantumFilm is ideal for a wide range of image-sensing technologies including security cameras, automotive cameras and military applications. The first QuantumFilm image sensors, targeting high-end mobile handsets and smartphones, will sample in Q4 of 2010.

For more information on InVisage Technologies, please visit its newly-launched web site at www.invisageinc.com. InVisage will be demonstrating its new technology at DEMO Spring 2010 in Palm Desert, Calif., on March 22 and 23. InVisage will also be giving a talk about its technology at Image Sensors Europe 2010 on March 24 in London.

About InVisage Technologies. Inc. InVisage Technologies, Inc. is a venture-backed fabless semiconductor company based in Menlo Park, Calif. that is developing QuantumFilm, a breakthrough imaging-sensing technology that will replace silicon. Its first product enables the high-fidelity, high resolution images from handheld devices like camera phones and PDAs. Founded in 2006, InVisage Technologies is venture funded by RockPort Capital, Charles River Ventures, InterWest Partners, and OnPoint Technologies. More information is available at www.invisageinc.com.

About DEMO.  Produced by the IDG Enterprise events group, the worldwide DEMO conferences focus on emerging technologies and new products innovations, which are hand selected from across the spectrum of the technology marketplace. The DEMO conferences have earned their reputation for consistently identifying cutting-edge technologies and helping entrepreneurs secure venture funding and establish critical business. For more information on the DEMO conferences, visit http://www.demo.com/.

For more information, please contact : Tara Sims  Silicon PR for InVisage Inc.  tara.sims@siliconpr.com  415 310 5779

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2010.
www.ajaxnetphoto.com 2010.

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The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

World First - Interchangeable Lens Digital Camera with Touch-Screen Control

2010-03-07T14:40:00.004+00:00

Press Release. 7th March, 2010.

The DMC-G2 - LUMIX G Micro System

Part of the highly commended Lumix G Micro System of digital still cameras, the 12.1 megapixel DMC-G2 is stylish, sophisticated and packed with features – whilst remaining committed to ease of use even for beginners. Standing out from the crowd, the new DMC-G2 is the world’s first interchangeable lens system camera with touch-control shooting1, offering consumers an entirely new kind of system camera shooting.

With a feature set to be proud of – including a 12.1 megapixel Live MOS sensor, the new Venus Engine HD II processor, double Live-View function, AVCHS Lite high definition movie recording, popular My Colour Mode and iA (Intelligent Auto) mode – to name but a few, the DMC-G2 offers revolutionary shooting ease and comfort.

The intuitive touch-control shooting- world’s first in an interchangeable lens system camera 1

Continuing to push the boundaries, Panasonic’s new DMC-G2 adopts touch-control shooting for the first time in an interchangeable lens system camera. AF is immediately set to the subject by just touching it on the large, 460,000-dot LCD. You can even release the shutter using a single touch.

Once you lock on the subject by touch, the camera tracks the subject even if it moves with the AF tracking function. Just one touch on the screen lets you select the part and size of the AF area with the 1-area AF. The 1-area AF in Face Detection even allows you to set finer focus on the persons eye while capturing a great portrait.. The Multi-area AF allows users to set a group of AF point according to the composition. With the Intelligent Scene Selector in the iA mode, the camera automatically switches to the appropriate mode according to the subject touched, for example, a touch on a human face switches to the portrait mode and the a touch on the background or a scenery to the scenery mode while a touch on the subject close to the camera to the macro mode. In the manual focusing, you can enlarge the key part of the subject by just a touch to select 1x, 5x or 10x zoom. The touch operation dramatically reduces the time of changing settings in the menu, too.

The touch-screen operation excels not only for shooting but also for playing back images with outstanding visibility. You can play back the image you want by touching on the one in the thumbnail. To play back images one by one in order, you can drag the image across the screen with a finger to browse the collection of photos as you flip over the pages of the book. Max.16x of enlargement is also easy with touches.

The large, high resolution LCD with wide viewing angle rotates 180° from side to and tilts 270° up and down offers approx.100% of field of view. The free-angle LCD with a touch-screen operation makes both monitoring and touching at any physical position.

The double Live-View function offered by the large and bright 3.0-inch 460,000-dot free-angle Intelligent LCD and 1,440,000-dot 1.4x (0.7x[2]) Live View Finder makes it possible to see how settings results in the picture in advance to the shooting. The 12.1-megapixel Live MOS sensor and the new Venus Engine HD II integrating Intelligent Resolution technology assure high image quality in both photo and movie recording.

Despite the incorporation of the high-performance LCD, the DMC-G2 remains small and light to offer excellent portability.

Superb Image Quality

While achieving breakthroughs in advanced functions and compactness of design, Panasonic also refined its comprehensive digital imaging technologies for every cameras of LUMIX G Micro System to raise the level of image quality that rivals or even surpasses D-SLR cameras. The 4/3-type 12.1-megapixel Live MOS sensor featured in the DMC-G2 offers the best of both worlds -- the superior image quality of a CCD sensor, and the lower power consumption of a CMOS sensor. Advanced technology that makes it possible to read 4 channels of data simultaneously also helps the G2 deliver 60 frames-per-second Full-time Live View images, while faithfully reproducing high-resolution images with fine detail and rich gradation.

The new Venus Engine HD II features exceptionally advanced signal processing capabilities. This sophisticated LSI separates chromatic noise from luminance noise and applies the optimal noise reduction to each, so you capture clear and beautiful images even when shooting at high ISO sensitivity levels. The Venus Engine HD II also provides independent gradation control for each of the R, G and B colours, so even delicate colour nuances are reproduced faithfully. Linking smoothly with the Live MOS sensor, the Venus Engine HD II records stunning high-resolution 12.1-megapixel images with exceptional accuracy. Signals containing a large amount of image data are sent from the Live MOS sensor to the Live View Finder at 60 fps, resulting in clear, smooth live view.

The high-speed, high-performance Venus Engine HD has been re-engineered to compile the new image processing technology "Intelligent Resolution". It enables the recording of beautiful photo and high-definition movie with higher quality signal processing. With the Intelligent Resolution technology, 3 areas — outlines, detailed texture areas and soft gradation areas are automatically detected. The outline parts are enhanced effectively to give edges more clearness while giving a moderate accentuation to the texture areas to look more finely detailed. To the soft gradation part, superior noise reduction system of the Venus Engine HD II is applied to make it smoother. Apart from the uniform enhancement of sharpness, the innovative technology Intelligent Resolution precisely performs signal processing pixel by pixel in the most effective way for it. As a result, images are naturally clear and crisp in both photo and movie recording.

Cameras of LUMIX G Micro System are equipped with a highly efficient Dust Reduction System. If dust or other foreign matter gets inside the camera when you're changing lenses, it could cling to the image sensor and show up as a spot in your photos. The Dust Reduction System in the G2 helps eliminate this possibility by placing a supersonic wave filter in front of the Live MOS sensor. Vibrating vertically around 50,000 times per second, the filter repels dust and other particles effectively.

HD Movies with Ease Thanks to AVCHD Lite

The DMC-G2 can record 1280 x 720 high-definition motion picture[3] in AVCHD Lite that features long recording time and high compatibility with audio-visual equipments. Users can enjoy recording HD motion images taking maximum advantage of the large sensor size and the interchangeable lenses. The action starts at a single press of a dedicated button on the top while most of the settings for photo recording are succeeded, which is convenient when you record the same subject at the same situation in both photo and movie. HD Motion JPEG in 1280 x 720 can also be selected as an alternative movie recording format in addition to QVGA, VGA and WVGA, which is more compatible with PCs. High quality sound can be recorded with Dolby Digital Creator and optional accessory Stereo Microphone (DMW-MS1) can be attach ed to the G2. A Wind Cut function is also available to block out most of the noise from background wind.

Even video beginners can record excellent movies with DMC-G2 because the popular iA (Intelligent Auto) is also available in motion image recording. Optical Image Stabilizer (O.I.S.) helps prevent handshake when using high-powered zoom. Face Detection automatically detects a face in the frame and adjusts focus, exposure, contrast, and skin complexion on it so it always turns out beautifully. Intelligent Exposure continually checks the ambient light level and adjusts the exposure setting as conditions change to prevent blown highlights and blocked shadows. And Intelligent Scene Selector automatically switches between Portrait, Scenery, Close-up and Low Light modes according to the situation to optimize visual quality.

The G2 also provides a My Colour mode, Film mode and carries over a variety of scene modes from photo scene modes in movie recording. Motion picture P mode that lets you change the aperture for more creative HD movie recording. You can try professional-like movie recording with these variety of options like you do with photo recording.

Now the DMC-G2 can take photo while recording movie by just pressing a shutter button. Plus you can save a frame of movie as photo during playback. Newly added Video Divide function lets you split a video into two at the point you desire. This makes it possible to delete the unwanted part by cutting it off.

Creativity for Photographers

The DMC-G2 is artistic not only in form, but also in function. It provides an array of features that lets users either capture precisely true-to-life images or create their own beautifully expressive images. The G2 features My Colour mode with a total of seven preset effects - Expressive, Retro, Pure, Elegant, Monochrome, Dynamic Art, and Silhouette - while inheriting the previous Custom mode, which lets users manually set the colour, brightness and saturation levels. With the Full-time Live View function, users can see how these settings will affect the images before they shoot, making it easier to capture the exact mood or atmosphere desired. For even more elaborate effects, users can choose from a total of nine Film modes, and set the contrast, sharpness and saturation levels for each. A custom function lets users store their favorite settings in memory. The G2 also provides a total of 26 Scene modes inclu ding the Peripheral Defocus mode. Most of these modes can be used when shooting motion images too, letting users create movies with dramatic, theatrical effects without having to edit after they shoot.

The exposure meter can be displayed in the P/A/S/M shooting modes. The correlation between shutter speed and aperture is shown, with a colour-coded warning that alerts users when the settings are not in the proper range. For newcomers to system camera photography, this makes it easy to learn proper settings both visually and logically, enhancing their photography skills.

iA (Intelligent Auto) mode for Great Shots Every Time

The DMC-G10 is ideal for compact camera owners who want to step up to higher-quality photos and advanced functions that are easy to use. Panasonic achieved this superb ease of use by continuing to improve the iA (Intelligent Auto) mode - with its shooting assist functions that have proven extremely popular in LUMIX compact cameras - and adding it to the LUMIX G Micro System's advanced imaging technologies. iA mode is available not only in photo but also movie recording.

With AF Tracking, the G2 can lock onto any subject and keep it in focus even if it moves - making it easy to get beautiful, clear shots when a great photo opportunity suddenly arises. Simply aim, lock, and shoot. The Face Recognition[4] function remembers registered faces to give an appropriate AF/AE on the people. In playback, you can choose to display only photos that contain a specific registered face using Category Playback.

In addition to the advanced functions mentioned above, the iA mode inherits fundamental functions users need in a good digital still camera. These include MEGA O.I.S., which helps prevent blurring from hand-shake, and Intelligent ISO Control, which reduces motion blur by adjusting the ISO sensitivity if the subject moves as the shot is taken. Intelligent Exposure optimizes the exposure for each part of an image, preventing blocked shadows and blown highlights and helping ensure that gradation and details are reproduced beautifully. It also features an automatic backlight compensation function that activates whenever the camera detects the subject is in backlight. Intelligent Scene Selector automatically detects the most common shooting situations - Portrait, Night Portrait, Scenery, Night Scenery, Close-up and Sunset - and switches to the appropriate Scene mode.

The user can activate all of these useful, convenient shooting-assist functions by simply selecting iA mode.

•Some functions in iA mode may not be available depending on the lens that is mounted.

Enjoy watching high quality photos and movies on a HDTV with VIERA Link networking

Both still images and motion images in AVCHD Lite recorded on SD Memory Cards are easy to view on a Panasonic VIERA TV with dynamic HD resolution. The user simply inserts the card into the VIERA Image Viewer (SD Memory Card slot) on a VIERA TV or DIGA Blu-ray Disc Player[5] to play the content. Alternatively, an optional mini HDMI cable can be used to output still and motion images recorded with the DMC-G2 directly to the TV for easy VIERA Link operation. This makes it possible to take maximum advantage of the camera's playback functions, including slideshows in which both still and motion images are played sequentially, or calendar displays and so on. All control is possible using only the TV's remote control.

In addition, with the included software PHOTOfunSTUDIO 5.0 HD Edition, it is easy to view and edit your recorded contents. You may also choose to upload your videos to YouTube or burn them to a DVD disc for archiving.

An Expanding System

The Micro Four Thirds System products are joining today's Four Thirds System products to provide customers with even higher levels of performance in a digital interchangeable lens camera. In addition to LUMIX G lenses, the LUMIX DMC-G2 and LUMIX G Micro System can use any interchangeable lens that complies with the Four Thirds standard via an optional mount adaptor DMW-MA1 and with the prestigious Leica M/R Lenses via DMW-MA2M or MA3R. This gives the user access to the unlimited number of lens properties.

With the LUMIX G Micro System and the growing assortment of lenses becoming available, the expressive possibilities are unlimited. The LUMIX DMC-G2 system camera offers a wide variety of options to choose from to match every shooting situation and shooting style.

The DMC-G2 with HD movie recording capability offers an abundance of advanced funtions with an unprecedented ease of use realized by an innovative touch control. A new-generation system camera that gives you both stunning images and super-easy operation – Panasonic’s new DMC-G2 will be available from June 2010.

Some functions may not be available depending on the lens that is mounted.
· These are standard times taken at a temperature of 23ºC (73.4ºF) and a humidity of 50%. •The time available for recording varies depending on the environment, the interval between recordings, and the manner of use. •Actual recordable time is the time available for recording when repeating actions such as switching the power supply [ON]/[OFF], starting/stopping recording, zoom operation etc. *The length of recording time depends on the capacity of the SDHC/SD Memory Card. (Up to the equivalent of 2 GB per motion-picture recording.)
· Shooting conditions: 23 °C with 50% humidity; LCD on; Using a Panasonic SD Memory Card (512 MB); Using the supplied battery; Using the supplied lens; Starting recording 30 seconds after the camera is turned on (When the optical image stabilizer is set to [Mode1]); Recording once every 30 seconds with full flash every second recording; Turning the camera off every 10 recordings; The number of recordable images decreases in Auto Power LCD mode or Power LCD mode. CIPA is an abbreviation of "Camera & Imaging Products Association".
· ·Four Thirds and Micro Four Thirds, and Four Thirds and Micro Four Thirds Logo marks are trademarks or registered trademarks of Olympus Imaging Corporation, in Japan, the United States, the European Union and other countries
· ·The "AVCHD" is a high definition (HD) digital video recording / playback format jointly established by Panasonic Corporation and Sony Corporation. The "AVCHD Lite" is a subset of the "AVCHD format" for HD digital video cameras with HD video recording restricted to 720P. The new "AVCHD Lite" Logo and the "AVCHD Lite" License are restricted to devices within the AVCHD Video Camera category. Digital cameras have been added to the AVCHD Video Camera category.
· ·The "AVCHD Lite" and the "AVCHD Lite" logo are trademarks of Panasonic Corporation and Sony Corporation.
· AVCHD Lite motion images recorded onto an SD Memory Card or a DVD disc cannot be played on a device that does not support the AVCHD standard.
· Contrast AF can be used with Micro Four Thirds lenses or with Four Thirds lenses compatible with contrast AF attached via the Mount Adaptor (DMW-MA1). Only manual focusing can be used with some Four Thirds lenses.
· Dolby and the double-D symbol are trademarks of Dolby Laboratories.
· YouTube is a trademark of Google Inc.
· The SDXC/SDHC Memory Card can be used only if their logos are indicated on the equipment or in the operation manual. It cannot be used with equipment that supports only the SD Memory Card.
· Some functions may not work when lenses other than the included lens are used. Please refer to Panasonic's website etc., for the latest information.
· The use of recorded or printed materials that are protected by copyright for any purpose other than personal enjoyment is prohibited, as it would infringe upon the rights of the copyright holder.
· Weight and dimensions shown are approximate.
· Design, functions, and specifications are subject to change without notice.

[1] For an interchangeable lens system camera as of March 7, 2010

[2] 35mm camera equivalent

[3] Use a card with SD Speed Class with "Class 4" or higher when recording motion pictures in [AVCHD Lite]. Also, use a card with SD Speed Class with "Class 6" or higher when recording motion pictures in [MOTION JPEG].

*SD Speed Class is the speed standard regarding continuous writing.

·Motion pictures can be recorded continuously for up to 29 minutes 59 seconds in some countries.

·Continuous recording exceeding 2 GB is not possible when recording motion JPEG.

Remaining time for continuous recording is displayed on the screen.

·AVCHD Lite motion images recorded onto an SD Memory Card or a DVD disc cannot be played on a device that does not support the AVCHD standard.

[4] Turn Face Recognition item ON and register the person with full-face portrait on the shooting menu in advance.

[5] AVCHD Lite motion images recorded onto an SD Memory Card or a DVD cannot be played on a device that does not support the AVCHD standard.

–ends-

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2010.
www.ajaxnetphoto.com 2010.

This content may be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

Ricoh announces the CX3

2010-02-07T14:03:00.008+00:00

Press Release

Tokyo, Japan, February 3, 2010

Ricoh CX3 with 28-300 mm High-Magnification Wide-Angle Digital Camera and Back-Illuminated CMOS Image Sensor for Greater Sensitivity

Ricoh Co., Ltd. (president and CEO: Shiro Kondo) today announced the development and release of the CX3, a new digital camera featuring a high magnification 10.7x (28-300 mm) optical wide-angle zoom lens, a back-illuminated CMOS sensor, and an enhanced noise reduction function.

With a back-illuminated CMOS sensor and a noise reduction function incorporating the algorithm used on the GR DIGITAL III (introduced August 2009), the new CX3 has dramatically improved image quality performance when shooting low-light scenes.

When the camera is pointed at the subject, the new "scene auto mode" will switch to the optimum scene mode. Since the camera automatically changes to the optimum shooting settings, you can enjoy easy shooting of beautiful photographs.

Shooting has never been more enjoyable. With many other function enhancements, such as the addition of a 1280 × 720 pixel HD movie function, the addition of high & low luminance priority settings for "dynamic range double shot mode" dynamic range expansion effects, and the addition of the "pets" scene mode. The CX3 compact digital camera takes another step forward in realizing the Ricoh design concept "A tool you will want to use every day."

1. Greater image quality in low-light scenes possible with a back-illuminated CMOS sensor and a new noise reduction function

The back-illuminated 10 megapixel CMOS sensor significantly increases shooting performance in low-light scenes.
The CX3 uses the noise reduction algorithm introduced on the GR DIGITAL III. Performing noise reduction processing on the signal immediately after it is output by the CMOS sensor makes it possible to reduce noise while maintaining resolution, tone characteristics, and saturation.
The noise reduction level can be specified as Off, Auto, Weak, Strong, or MAX. By specifying MAX, it is possible to do sophisticated variance-estimation type noise reduction processing in which the sensor image data's noise variance is analyzed and the optimum processing is done for each region.

2. The 28-300 mm 10.7x optical zoom is mounted on a body that is both easy to operate and easy to carry

Ricoh's original retracting lens system made it possible to fit the high magnification 10.7x optical wide-angle zoom lens in a compact 29.4 mm body.
With 28 mm wide-angle to 300 mm telephoto coverage, this high magnification zoom lens can handle a wide range of shooting situations, including powerful telephoto shots as well as wide-angle shooting of both expansive landscapes and interior scenes with limited distance between camera and subject.

3. By just pointing the camera at the subject, "scene auto mode" will switch to the optimum shooting settings

With "scene auto mode," the camera identifies the type of scene being photographed (portrait, sports, night portrait, landscape, nightscape, macro mode, etc.) and automatically switches to the optimum shooting settings. Enjoy quick and easy photography of people, landscapes, nightscapes, close-ups, and much else.

4. Get the shot you want with high-speed continuous shooting functions capable of high image quality

It is possible to do high-speed continuous shooting at approximately 5 frames/second for still images with the maximum number of pixels.
* Continuous shooting speed will vary depending on shooting conditions, card type, card condition, etc.
For the M-continuous plus shooting function, which saves consecutive images shot before the finger is removed from the shutter release button, there is a mode that makes it possible to shoot at the maximum number of pixels. To fit the scene being photographed, you can select from two modes: M-Continuous Plus (10M) for 15 images taken in as little as three seconds and M-Continuous Plus (2M) for 26 images taken in about 0.9 seconds.
* M-Continuous Plus (10M) image size is fixed at 10M 4:3N.
* M-Continuous Plus (2M) image size is fixed at 2M 4:3N.
* The consecutively shot images are recorded as a single MP file (a file format with multiple still images in a single file).
With ultra-high-speed continuous shooting, the CX3 shoots 120 images (120 frames/sec.) during an interval of about one second after the shutter release button is pushed, or 120 images (60 frames/sec.) during an interval of about two seconds.
* Image size is fixed at VGA 4:3N.
* The consecutively shot images are recorded as a single MP file (a file format with multiple still images in a single file).

5. High image quality that will expand your range of expression

Dynamic range double shot mode makes it possible to record images with an almost naked-eye impression, and new detailed settings have been added to control the dynamic range expansion effect. It is now possible to choose the tone range to be given priority using the following options: highlights, shadows, and off.
Residing on a customized circuit of the image processing engine Smooth Imaging Engine IV, the pixel output interpolation algorithm reduces whiteout in high-contrast situations, thereby recreating beauty as seen.
Multi-pattern auto white balance makes it possible to recreate natural as-seen colors even in people-photography scenes that were difficult to shoot with past auto white balance functions, such as scenes with both shadow and sunlight and scenes mixing flash and natural light (or fluorescent light, etc.).

6. New modes to stimulate creative photography

The new "pets mode" turns off the flash, AF auxiliary light, and operation sounds to avoid startling the pet. You can easily capture the antics of your cute pet. This mode also gives priority in focusing for a cat's face when one is detected.
The 13 scene modes includes two popular modes introduced on the CX2: "miniaturize mode" makes it possible to shoot actual scenes but record images that recreate the impression given when photographing miniatures; "high-contrast B&W mode" makes it possible to record images with a grainy feel such as that created by using ultra-high-sensitivity film in a film camera or by push processing film at the development stage.

7. High-definition 3.0-inch 920,000-dot VGA LCD monitor

The large, high-resolution LCD monitor has a wide viewing angle and high contrast. The screen has a fluorine coat to prevent soiling, a hard coat to prevent scratches, and an anti-reflection coat to give excellent visibility even outdoors in bright sunshine.
With sRGB comparison of 100% for colour reproduction range, the monitor vividly reproduces image colours.

8. A wide range of functions inspired by the "A tool you will want to use every day" concept

It is now possible to shoot 1280 × 720 pixel HD movies.
With the macro photography functions you can get as close to the subject as 1 cm for wide angle* and 28 cm for telephoto. *Equivalent to 31 mm focal length for 35 mm cameras
There is a function for shooting aspect ratio 16:9 still images.
In playback, it is now possible to display images in date of recording sequence.

Product
Model

Rechargeable battery
DB-100*

Battery charger
BJ-10*

Soft case (black)
SC-90BK

Soft case (brown)
SC-90BN

Neck strap
ST-2

Cable switch
CA-1

*New options.

The CX3 will be available at SRP £299.99 inc

*All of the focal lengths in this release are converted to the equivalent values for a 35 mm film camera.
*The term "MP file" used in this document refers to "Extended MP files" conforming to the "multi-picture format" standardized by the CIPA. (The file extension is MPO.) With MP file images recorded by the CX3, a selected frame can be extracted and saved as an individual JPEG image within the camera.

CX3 – Major Specifications:
No. of Effective Pixels (Camera):
Approximately 10.00 million pixels

Image Sensor:
1/2.3-inch CMOS (total pixels: approx. 10.60 million pixels)

Lens:
Focal length: f=4.9-52.5 mm
(Equivalent to 28-300 mm for 35 mm ﬁlm cameras. With Step Zoom set, focal lengths can be fixed at eight steps: 28 mm, 35 mm, 50 mm, 85 mm, 105 mm, 135 mm, 200 mm, and 300 mm)
F-aperture: F3.5 (Wide) - F5.6 (Telephoto)
Shooting Distance: Normal shooting: Approx. 30 cm - infinity (Wide), approx. 1.5 m - infinity
(Telephoto) (from the front of the lens)
Macro: Approx. 1 cm - infinity (Wide), approx. 28 cm - infinity (Telephoto), approx. 1 cm -infinity (Zoom Macro) (from the front of the lens)
Lens Construction: 10 elements in 7 groups (aspheric lens: 4 elements and 5 surfaces)

Zoom Magnification:
Optical: 10.7x zoom (equivalent to 28-300 mm focal length for 35 mm cameras)
Digital: 4.8x up to 51.4x (equivalent to 1440 mm) when used with optical zoom  Auto Resize: 5.7x*1 up to 61.0x*1 (equivalent to 1710 mm) when used with optical zoom

Focus Modes:
Multi AF (Contrast AF method) / Spot AF (Contrast AF method) / Face-Priority
AF / Continuous AF / Multi-target AF / MF / Snap / ∞ (with AF Auxiliary Light)

Motion Blur Reduction:
Image sensor shift method image stabilizer

Shutter Speed: *2
Still image: 8, 4, 2, 1 - 1/2000 sec. / Movie: 1/30 - 1/2000 sec.
Continuous Shooting:
Continuous shooting speed: *3 approx. 5 frames/sec. (10M 4:3F shooting time; shooting speed after 12 pictures is approx. 3 frames/sec.)
Continuous shooting capacity: 999 pictures

Exposure Control:
Exposure Metering Mode: Multi Light Metering (256 segments) / Centre-weighted Light Metering / Spot Metering
Exposure Mode: Program AE
Exposure Compensation: Manual Exposure Compensation +/-2.0EV (1/3EV Steps), Auto Bracket Function (-0.5EV, ±0, +0.5EV)

ISO Sensitivity (Standard Output Sensitivity):
AUTO, ISO80 / ISO100 / ISO200 / ISO400 / ISO800 / ISO1600 / ISO3200

White Balance Mode:
Auto / Multi-pattern Auto / Outdoors / Cloudy / Incandescent Lamp / Incandescent Lamp 2 / Fluorescent Lamp / Manual Settings, White balance bracket function

Flash:
Flash Mode: Auto flash (fires automatically in low-light conditions and when the subject is backlit) / Red-eye Flash / Flash On / Flash Synchro. / Flash Off
Built-in ﬂash range: Approx. 20 cm - 4.0 m (Wide), approx. 28 cm - 4.0 m (Telephoto) (ISO Auto/ISO1600, from the front of the lens)  Flash compensation: +/-2.0EV (1/3EV Steps)
Monitor:
3.0-inch Transparent LCD (approx. 920,000 dots)

Shooting Mode:
Auto shooting mode / Scene auto mode / Dynamic range double shot mode / Continuous mode /Scene mode (Portrait / Sports / Pets /Night. Port. / Nightscape / Miniaturize / Landscape / High Sens / High Contrast B&W / Discreet Mode / Zoom Macro / Text Mode / Skew Correct Mode) / My settings mode / Movie mode

Picture Quality Mode: *4
F(Fine) / N(Normal)

No. of Pixels Recorded:
Still image/multi-picture: 3648 x 2736, 3648 x 2432, 2736 x 2736, 3648 x 2048, 2592 x 1944, 2048 x 1536, 1728 x 1296 (multi-picture only), 1280 x 960, 640 x 480 Movie: 1280 x 720, 640 x 480, 320 x 240
Text: 3648 x 2736, 2048 x 1536

Recording Media:
SD memory card
SDHC memory card (up to 32 GB), Internal memory (approx. 88 MB)

Storage Capacity (Pictures/Time): *5 (internal memory approx. 88MB):
Still image/multi-picture: 3648 x 2736 (F: 22, N: 38), 3648 x 2432 (F: 25), 2736 x 2736 (F: 30), 3648 x 2048 (F: 30), 2592 x 1944 (F: 34), 2048 x 1536 (F: 54), 1728×1296 (N: 133) (M-Cont Plus), 1280 x 960 (F: 98), 640 x 480 (F: 402), 640 x 480 (N: 705)(Speed Cont)
Movie:*6 1280 x 720 (17 sec.), 640 x 480 (50 sec.), 320 × 240 (2 min. 1 sec.)

Recording File Format:
Still Image: JPEG (Exif ver. 2.21) *7
Multi-picture: CIPA DC-007-2009 Multi-Picture Format
Movie: AVI (Open DML Motion JPEG Format compliant)
Compression method: JPEG Baseline method compliant

Other Major Shooting Functions:
Continuous, Self-Timer (operation time: approx. 10 sec. / approx. 2 sec. / custom self-timer), Interval Timer (Shooting interval: 5 sec. - 1 hour (5 sec. steps), Color Bracket function, Focus Bracket function, AE/AF Target Shift, Histogram, Grid Guide, Electronic Level

Other Major Playback Functions:
Grid View, Enlarged Display (maximum 16x), Resize, Level Compensation, White Balance Compensation, Trim, Flag, Slideshow, DPOF Setting

Interface:
USB 2.0 (High-Speed USB) Mini-B, Mass storage compatible*8 / AV Out 1.0Vp-p (75Ω)
Video Signal Format:
NTSC, PAL switchable

Power Supply:
Rechargeable Battery: DB-100 x1
Battery Consumption: *9
Based on CIPA Standard: Using the DB-100, approx. 310 pictures (when LCD Dim is on) *10
External Dimensions:
101.5 mm (W) x 58.3 mm (H) x 29.4 mm (D) (according to CIPA guidelines)
Weight:
Approx. 206 g (including the supplied battery and SD memory card)
Approx. 185 g (body only)

Operating Temperature Range:
0ºC-40ºC

*1. VGA image size
*2. Shutter speed upper and lower limits vary depending on Shooting Mode and Flash Mode.
*3. Values measured under Ricoh measurement conditions using a Panasonic PRO HIGH SPEED 8GB SDHC memory card. The continuous shooting speed and number of pictures will vary depending on the shooting conditions, the type of recording media used, the condition of the recording media, etc.
*4. The picture quality modes which can be set vary depending on the image size.
*5. Estimated number of still images it is possible to record and estimated amount of movie recording time.
*6. The maximum length for one instance of movie recording is 29 minutes.
*7. Compatible with DCF and DPOF. DCF is the abbreviation of the JEITA standard “Design rule for Camera File system.” (Full compatibility with other devices is not guaranteed.)
*8. Mass storage driver is compatible with Windows 2000, Windows XP, Windows Vista, Windows 7, Mac OS9.0-9.2.2, and Mac OSX10.1.2-10.6.1
*9 Shooting capacity was measured using CIPA-standard parameters. This is only an estimate, and performance may vary according to usage conditions.
*10 When LCD Auto Dim is off: approx. 290 pictures

* Windows is a registered trademark or trademark of Microsoft Corporation in the U.S.A. and other countries.
* Mac OS is a registered trademark of Apple Inc. in the U.S.A. and other countries.

Sales Enquiries:
Alpha Digital Services Limited
Tel 01189 337000
Web HYPERLINK www.alphadigitalservices.co.uk www.alphadigitalservices.co.uk

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New Extending Handle for the Ezybox Hotshoe

2010-01-29T23:39:00.008+00:00

Press Release

The new handle extends from 73cm to 221cm (2ft 5” to 7ft 3”) and weighs only 700g. Featuring two sponge grips for an extra firm hold, the extending handle offers an even greater reach for an extra firm hold, the extending handle offers an even greater reach for the photographer when positioning their off camera light source. The top of the handle includes a standard spigot connector making it easy to fit the Ezybox hotshoe, the tilthead hotshoe, the tilthead spigot or the TriFlash brackets.

The new handle (2435) will be offered in addition to two smaller handles already available from Lastolite: 24cm – 48cm (2400) and 65cm (2413).

JP Code - 192304 LAS Code - 2435 SRP - £45.00 Come visit us at Focus On Imaging on Stand B1 to see the new Lastolite range. For more information please contact JP Distribution: Tel: 01782 753300 Email: info@johnsons-photopia.co.uk

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www.ajaxnetphoto.com 2010.
http://archive.ajaxnetphoto.com
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New Tilthead Bracket with Locking Shoe Mount

2009-11-25T22:43:00.004+00:00

Press release:
24th November, 2009.
KL Associates,Northampton.

JP Distribution is pleased to announce the new Tilthead Bracket with Locking Shoe Mount from award winning manufacturer Lastolite.

The Tilthead Shoe Lock features an adjustable ‘screw locking’ shoe mount, which offers an additional locking mechanism to work alongside the built in method used on the flashgun.

The dimensions of the hotshoe on the bottom of each flashgun can vary from one gun to the other. However, the Tilthead Shoe Lock can comfortably accommodate these variances, including the Nikon SB900.

This new bracket (LAS2422) will be offered alongside the original Tilthead bracket (LAS2402).

Availability

The new Tilthead Bracket with Locking Shoe Mount is available as of 1st November 2009.

Pricing

SRP £22.99 Inc vat / JP Code: 192302

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New telephoto and wide angle converters from Kenro

2009-10-22T16:28:00.003+01:00

Press Release: 22 October 2009

Kenro has announced the UK release of a new range of telephoto and wide angle converters from Marumi.

The converters are auxiliary lenses designed to attach onto the front of a cameras existing built in lens and enhance its telephoto or wide angle capability. 2 X magnification telephoto converters are available in 37mm, 52mm, 55mm and 58mm filter thread sizes. Marumi wide angle converters are 0.45X in 37mm filter threads and 0.5X in 52mm, 55mm and 58mm sizes.

Both the telephoto converters and the wide angle converter lenses range start with an RRP of £47.15 for the 37mm thread model, rising to £105.63 for the 58mm version.
The converters can be fitted directly to camcorder lenses depending on the filter size and can also be used with digital compact cameras by using the appropriate adaptor. These adaptors are available to fit Olympus, Nikon, Canon and Fujifilm cameras and range in price from £10.29 to £13.34.

"Now everyone can extend their telephoto and wide angle lens range for just a small outlay." says Kenro managing director, Paul Kench. "These are great for both digital compact cameras and camcorders and fit a wide range of sizes and manufacturer's models."

Kenro is the official UK distributors for the range of Marumi photographic accessories, including filters, lens hoods and flash guns. See www.kenro.co.uk for details of your nearest stockist, or call Kenro on 01793 615836 for more details.

ENDS

Kenro Ltd
Greenbridge Road
Swindon
SN3 3LH
Tel: 01793 615836
Fax: 01793 530108
E-mail: sales@kenro.co.uk
Web: www.kenro.co.uk

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Panasonic DMC-LX3 Firmware Update

2009-10-21T22:46:00.002+01:00

Panasonic Updates Firmware of DMC-LX3 for Further Improvement in Functions and Performance

A new firmware update is released for Panasonic’s premium manual compact camera DMC-LX3. Firmware version 2.1* supports several new functions and improves various performances to elevate shooting convenience and fun. The firmware also rectifies several minor issues to enhance operation.

The adoption of new algorithm makes it possible to speed up the AF time by reducing it approx.20% to 0.50 sec at wide-end. Now the 1:1 aspect ratio recording mode is added as a shooting option in addition to the conventional 4:3, 3:2 and 16:9. The white balance bracket shot is available. The new scene mode High Dynamic is newly incorporated in the scene mode, which helps to capture a scene with moderate exposure even though the scene contains both bright and dark area together. You can select either of 3 options, Standard, Art, or B/W, depending on the desired effect and personal taste to make the photo look natural to artistic. The white balance adjustment performance is greatly improved especially under fluorescent lights, daytime sunlight and low light.

As well as those mentioned above, the new firmware incorporates attractive advancements for enthusiastic photographers. The exposure compensation range as well as its bracket setting is widened. The fixed composition guidelines are now movable to the intended position with the control of cursor or joystick for free framing. Over exposure part of the picture is shown not only in the preview but also in the playback mode. The lens position of zooming and manual focusing is memorized and resume at the position.

The photographer’s name can be embedded to the EXIF information of the picture and it can be confirmed via the updated PHOTOfunSTUDIO ver.2.1.

Panasonic invites all users of DMC-LX3 to apply the updated firmware. The new firmware will be available worldwide at http://panasonic.jp/support/global/cs/dsc/, from 21st of October, 2009.

*The ver.2.1 is the corrected version of the firmware previously released as ver.2.0.

-ends-

Reader enquiry number: 0844 844 3852
For further editorial information, please contact:
Tanya Frost
E-mail: tanya.frost@eu.panasonic.com
Tel: 01344 853552
Fax: 01344 853081
Panasonic UK, Panasonic House, Willoughby Road, Bracknell Berks RG12 8FP

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New wireless flash kits from Kenro

2009-07-28T21:10:00.002+01:00

News Release from Kenro Ltd - Date: 28 July 2009

Kenro has announced the UK release of a new range of wireless transmitter and receiver kits designed to trigger studio lighting flash heads.

These new additions to Kenro's wide range of photographic equipment feature either mains or battery powered units. Each system comes with a radio signal transmitter and receiver that offer effective triggering of flash heads up to distances of 30m. The kits consist of a sender module which operates from a camera hot shoe or synch cable. They are available in four channel or eight channel kits.

"Our new flash triggers are ideal for photographers looking for a cost effective way to reduce the wiring in their studio or when on location. Due to the multi channel function, they are particularly suited to the event or wedding photographer who wants to avoid external flashes triggering the studio lights." says Kenro managing director, Paul Kench.

The four channel battery version has the product code, FERF604D and carries an RRP of £63.50 and the mains system is available for £58.50 with a product code FERF604.
The eight channel battery version has the product code, FERF608D and carries an RRP of £66.75 and the mains system is available for £67.50 with a product code FERF608.
Spare receivers are also available, with the four channel battery model costing £21.50 and the mains version £19.95. The eight channel battery model costing £23.50 and the mains version £21.50. All Prices quoted are plus Vat.

See www.kenro.co.uk for details of your nearest stockist, or call Kenro on 01793 615836 for more details.

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Kodak Retires KODACHROME Film

2009-06-22T23:50:00.002+01:00

LONDON UK, June 22, 2009

Eastman Kodak Company announced today that it will retire KODACHROME colour film this year, concluding its 74-year run as a photography icon.

Sales of KODACHROME Film, which became the world’s first commercially successful colour film in 1935, have declined dramatically in recent years as photographers turned to other, newer KODAK films or to the digital imaging technologies that Kodak pioneered. Today, KODACHROME Film represents just a fraction of one percent of Kodak’s total sales of still-picture films.

“KODACHROME Film is an iconic product and a testament to Kodak’s long and continuing leadership in imaging technology,” said Mary Jane Hellyar, President of Kodak’s Film, Photofinishing and Entertainment Group. "It was certainly a difficult decision to retire it, given its rich history. However, the majority of today's photographers have voiced their preference to capture images with newer technology – both film and digital. Kodak remains committed to providing the highest-performing products – both film and digital – to meet those needs."

While Kodak now derives about 70% of its revenues from commercial and consumer digital businesses, it is the global leader in the film business. Kodak has continued to bring innovative new film products to market, including seven new professional still films and several new VISION2 and VISION3 motion picture films in the last three years. These new still film products are among those that have become the dominant choice for those professional and advanced amateur photographers who use KODAK Films.

Among the well-known professional photographers who used KODACHROME Film is Steve McCurry, whose picture of a young Afghan girl captured the hearts of millions of people around the world as she peered hauntingly from the cover of National Geographic Magazine in 1985.

As part of a tribute to KODACHROME Film, Kodak will donate the last rolls of the film to George Eastman House International Museum of Photography and Film in Rochester, N.Y., which houses the world’s largest collection of cameras and related artifacts. McCurry will shoot one of those last rolls and the images will be donated to Eastman House.

“The early part of my career was dominated by KODACHROME Film, and I reached for that film to shoot some of my most memorable images,” said McCurry. “While KODACHROME Film was very good to me, I have since moved on to other films and digital to create my images. In fact, when I returned to shoot the ‘Afghan Girl’ 17 years later, I used KODAK PROFESSIONAL EKTACHROME Film E100VS to create that image, rather than KODACHROME Film as with the original.”

For all of its magic, KODACHROME is a complex film to manufacture and an even more complex film to process. There is only one remaining photofinishing lab in the world – Dwayne’s Photo in Parsons, Kansas – that processes KODACHROME Film, precisely because of the difficulty of processing. This lack of widespread processing availability, as well as the features of newer films introduced by Kodak over the years, has accelerated the decline of demand for KODACHROME Film.

During its run, KODACHROME Film filled a special niche in the annals of the imaging world. It was used to capture some of the best-known photographs in history, while also being the film of choice for family slide shows of the Baby Boom generation.

To celebrate the film’s storied history, Kodak has created a gallery of iconic images, including the Afghan girl and other McCurry photos, as well as others from professional photographers Eric Meola and Peter Guttman on its website: www.kodak.com/go/kodachrometribute. Special podcasts featuring McCurry and Guttman will also be featured on the website.

Kodak estimates that current supplies of KODACHROME Film will last until early this autumn at the current sales pace. Dwayne’s Photo has indicated it will continue to offer processing for the film through 2010. Current KODACHROME Film users are encouraged to try other KODAK Films, such as KODAK PROFESSIONAL EKTACHROME E100G and EKTAR 100 Film. These films both feature extremely fine grain. For more information, please visit www.kodak.com/go/professional.

About Kodak
As the world's foremost imaging innovator, Kodak helps consumers, businesses, and creative professionals unleash the power of pictures and printing to enrich their lives.

To learn more, visit http://www.kodak.com and follow our blogs and more at http://www.kodak.com/go/followus.

More than 70 million people worldwide manage, share and create photo gifts online at KODAK Gallery --join for free today at www.kodakgallery.com

(Kodak, Kodachrome, Kodak Professional, Ektachrome and Ektar are trademarks.)

2009

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Pushing the envelope

2009-06-15T22:39:00.015+01:00

Panasonic's development of the four-thirds sensor format (17x13mm approx.) continues apace with the DMC -G1 and its HD video endowed sibling, the GH1. Both cameras are fitted with the latest LIVEMos sensor developed by Panasonic in partnership with Olympus Optical Co Ltd.

1. The new Olympus Micro Four Thirds camera E-P1. The company promises further developments for this format and one can hope there might be an all black version, preferably in Urushi lacquer.

Thus far, products from both companies deliver an extraordinary level of equipment and image sophistication for their sensor size, although it is apparent that both also arrive at visibly different levels of image aesthetic and technical quality.

2. This was made on the Panasonic G1 at approximately four times life size using an old Visoflex mirror box, a set of M bellows and the lens head from of an Elmarit f/2.8 90mm (first launched in 1959.). The image is exceptionally micro-detailed and sharp right in the centre of the full size image.

I have limited experience of exploring files from Olympus kit. It includes hands-on an OM e400 and subsequent screen use and printing from that model; handling and inspection of large scale prints (A2) out of an e3 and whenever possible, assessing mechanical print reproduction of OM digital files from the earliest days of the e10 through e1 to the present time. Much more hands-on experience has been gained from reviewing all the models produced by Panasonic.

Each of the 4/3rds models so far produced by this company, the L1, L10 (as well as the rebadged Leica Digilux versions.) and now the G series, have some attractive features. These include - for the L1 and L10 - the excellent performance of the 25mm f/1.4 Summilux designed for use on those two models and more recently, high marks for the new Micro four-thirds 7-14mm Lumix Vario f4.

3. Arrival of a new warship on a really crap sea-misty morning. G1 with Lumix 14-45mm kit lens at ISO 200 captured in highest quality Jpeg mode. The image is sharp all over but small details are compromised by compression when enlarged. Noise levels at this ISO are also noticeably higher and far patchier than for equivalent ISO rated frames made on an APS-C/DX sensor.

4. Detail of a section of the side of the ship (5) when viewed at 100%. The noise patchiness is more apparent. In reproduction on the page, the effect is visible.

Another attraction of the L1 is its unique styling and very high build quality. A pity the designer and engineers decided not to incorporate weather proof sealing for the tough magnesium alloy body; I think that would have made the model more attractive for professional use. As ever however, retail cost was already high compared with some other similarly specified products and sealing the L1 would have just pushed the numbers over the edge.

The L10 didn't grab the attention in the same way and while it produces a high level of image quality, I felt it lacked substance. Then along came the G1; Panasonic's first attempt at the Micro 4/3rds lens mount concept with integral electronic viewfinder.

Smaller still than the L10 and lacking a mirror box and opto-mechanical viewing system, the G1 is a compact with interchangeable lens facility. It is very well engineered using an outer magnesium alloy shell but still lacking the all-weather sealing which can be found on some Dslrs. Despite this, it's a real joy to use, although some buttons and dials could do with a little ergonomic improvement.

As it stands, the G1 might almost fit the perfect shape and size requirement of many users. Together with the appropriate downsizing of lenses made for it, the current full kit offering 7mm - 200mm focal length coverage spread between three objectives seems lost in a medium sized gadget bag.

For some, these relatively lightweight Lumix lenses will cover all their needs. The super wide angle zoom is a particularly interesting piece of kit capable of returning exceptional image results. However, not content to let it rest there, Panasonic engineers have beavered away to produce a set of three lens adapters to enable the mounting of regular 4/3rds and Leica M and R type objectives on the camera which, in the case of the latter two, also retain the G1's 'manual focus assist' feature; a device which enlarges a small central segment of the screen image and upon which it is possible to refine focus whenever the focus ring of an appropriate lens is touched.

With these three adapters, the facility to employ a wide range of objectives of different brands is already in place. Further internet investigation reveals dozens more mechanical lens adapters which may also be used in combination with Panasonic's own to allow the mounting of a vast range of glass of many different focal lengths and marque. Users with armouries of Canon, Nikon, Pentax, Minolta, not to mention many independent brands, can all enjoy the benefits now offered.

I have found this to be a fascinating experience and during two lengthy review periods, explored the possibilities offered by my own collection of Leica glass mounted on the G1 using a cheap but well made adapter from China for the R type lenses and the VM adapter from Voigtlander for the Leica M glass. Some of these lenses produced outstanding results; others less so, proving yet again that all digital capture devices need prime cuts of glass for the technology to perform at its highest level.

Not suprisingly perhaps, the performance obtained from some older Leica R telephoto lenses was lacking. In particular, the 1970 Telyt-R 250mm f/4, while capable of obtaining wonderfully smooth toned medium contrast images on 35mm Kodachrome, has such a high level of chromatic aberration, nothing obtained with it on the G1's 4/3rds sensor looked good enough for use beyond half a page on glossy magazine paper. The Telyt-R 400mm f/6.8 on the other hand, produced a usable result wide open; on 4/3rds format, the focal length equates to 800mm.

So far, good results have been obtained with a Summicron-R (1976)50mm f/2, the 1975 Apo-Telyt-R 180mm f/3.4, Summicron 90mm f/2 (for M) and Summicron-M 35mm f/2 ASPH, although the earlier version also produced a nicely rounded quality when stopped down to f/4.0. The Summilux-R 80mm f/1.4 struggled to get anything sharp except right in the centre of the image but stopping it down to f/2-2.8 brought improvements. The large aperture of this lens is useful in low light situations but for sheer handiness, the extra reach it offers and good image quality mark, the 90mm-M f/2 (and later ASPH version.) makes a useful 180mm.

When I mention 'good' in respect of image results I refer to a quality, which, in my subjective analyses of both screen and print reproductions, visibly exceeds results of similar motifs obtained with the designed-for-the-chip lenses of similar focal length. Using the Leica lenses brings an increased tonal range and with it an increase in the visibility of subtle colour hues. Sharpness of small objects in the frame is high at the point of focus and the shape and construction of the multibladed diaphragms of Leica mechanical objectives lends a more rounded shape to out-of-focus objects.

The longer Panasonic zoom lenses do produce a good high contrast result but it is not the same as from some old primes mentioned above. On the other hand, the Lumix G-Vario 7-14mm f/4 zoom gave such a fine performance, I have yet to be persuaded there is a prime lens of equivalent focal length (when used on 4/3rds.) designed for use on 35mm capable of exceeding it.

Files out of the G1 made in Fine Jpeg mode are recorded at 180ppi default resolution at 22.5 inches on the longest side. Print industry standard resolution requirement for mechanical reproduction is 300ppi despite the fact that the majority of photographs supplied for newspaper use are at 200ppi. For the purposes of magazine repro, I supply files at 300ppi, and so far the number of printed samples seen used up to DPS (A3), or an equivalent size, have pretty much matched the high expectation of them first seen on screen.

But, some problems remain.

Where motifs incorporate large areas of single or similar colour from files made at an ISO 200 - 360, noise (grain) artifacts are visibly patchy in print. This effect was not commented on by viewers I showed examples to, so for them at least, the problem was not an issue. More disturbing perhaps, are the moire effects seen in a series of motifs obtained with a G1.

5. Again, shot with the kit lens in a moment of boredom but after I had discovered the fault in 7. The moire effect discussed in the text is clearly seen here.

6. And this is it (5) as seen at a 1:1 screen level. Panasonic claims it can't be fixed.

The cause, according to Panasonic's DSC product development department, is that of the resolution of certain uniform pattern areas in the recorded motif exceeding the capacity of the camera's anti-aliasing filter to prevent moire. According to them, the filter is set at the theoretical limit of sensor resolution and lowering it would have affected the delineation and appearance of image micro detail.

This is where Olympus and Panasonic products differ. Results from the former have always struck me as being a little soft, not quite as sharp as one would like or is used to, as if a layer of something transparent has been added to the image. Small details are clearly seen but the overall effect lacks the more sharply edged appearance of large scale prints from the latter. An analogy might be the effect on print appearance similar to the one manifest by diffuser and condenser enlargers.

The trade-off in attempting to squeeze so much out of such a small sensor vacillates between these effects. One gives a very acceptable and smooth visual appearance while the other obtains a harsher (and noisier) but apparently sharper result when images from both are reproduced to the same size.

7. I made this frame out of a coach window (again, boredom.) and looked at it several times before spotting the moire effect (see red box.) caused by the even pattern and resolution of the netting. The frame wasn't made with this in mind, I was more interested in the distant ship at the time. The moire problem is one to watch out for as it could easily be manifest by any number of motif situations. Again, Panasonic were not keen to offer a solution.

8. And just in case you missed it first time around, here's the enlarged section. Frankly, if I had spent the money on this product, I'd be really pissed off by this problem. It doesn't happen with a Leica loaded with film.

When post processing is applied with care, G1 large Jpeg files can just about nudge my A3 benchmark; not with the clarity or tonal creaminess of files from a D300 or D700, nor with the more filmic edginess of what can be squeezed from a D1X. The two formats give a different image appearance. GH1 image quality differs slightly as the sensor in this model is a modified version of the G1 sensor. RAW image files from the GH are on a par with those obtained from its older sibling, but Jpeg quality is down slightly compared with the G1, and further down in comparison with similar files captured on APS formats - the result of a/d signal processing attempts to better control noise artifacts.

The G1/GH1 compact design concept offers outstanding versatility with large scale repro image quality pegged at a considerably higher level than that obtainable from much smaller sensors found in pocket compacts like the Ricoh GRII, GX and Panasonic LX models. The new Olympus Micro 4/3rds EP-1 (lead picture.) may offer improved pocketability, compared with the G1/GH, but it is again very different from those models.

Larger APS-C/DX format sensors produce excellent results for the purpose of most editorial reproduction and there can be little doubt that full frame 35mm ( equivalent) sensors are not now capable of emulating 6X4.5cm medium film format quality. Yet sophisticated small cameras have their own attractions and when these devices incorporate the technology required to deliver a good level of image quality, they invite inspection. It's how the Leica rangefinder became the tool of choice for generations of photojournalists. Perhaps now, will mark a similar beginning for micro four-thirds in the digital world.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
Copyright; Jonathan Eastland.
www.ajaxnetphoto.blogspot.com 2009.
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Tiananmen Anniversary

2009-06-09T20:37:00.002+01:00

TANK MAN DEJA VU - COLLECTS DART AWARD.

Associated Press photographer Jeff Widener's image of a lone man halting a row of military tanks in Tiananmen Square in June 1989 has become one of the few iconic news images of the 20th Century. Following the student pro-democracy uprising that was so brutally quashed by the Chinese Government, Widener's photograph made the front page of thousands of newspapers world wide.

Recently, he was invited by the BBC to return to Beijing for an anniversary interview about his experiences there two decades earlier.

"I felt a sinking sensation in my stomach when the BBC offered to fly me back. I had almost lost my life from a stray rock as demonstraters cornered a burning armored car, " said Jeff in an exclusive interview, " but a Nikon I was using absorbed the blow."

"I was rather shocked that my Chinese visa had been approved. I thought they must surely know who I am? My picture had caused the Chinese government more embarrassment than just about anything else in the last 20 years. I was concerned."

At the Jianguo Hotel where Widener and a group of other journalists had stayed in 1989, Jeff recalled events.

"The view was nothing like 1989. There were so many large office buildings and where were all the bicycles? Looking over the balcony I couldn't quite line up the same view with a 400mm lens. It looked like flag poles had been installed. Still, I could not help feeling an overwhelming sense of deja vous."

After leaving the Ap, Widener freelanced from the US mainland before joining the Honoloulou Advertiser newspaper as a staff photographer. He was recently honoured for his photographic contribution to the newspaper's seven-part investigative series telling the stories of native Hawai’ian women whose lives were forever changed by domestic violence. 'Crossing the line: Abuse in Hawai'i Homes' collected The Dart Awards for Excellence in Coverage of Trauma.

The awards recognize exemplary journalism on the impact of violence, crime, disaster and other traumatic events on individuals, families or communities and are team prizes, reflecting all the elements shaping an entry and contributing to its strength.

The Dart Center is a global network of journalists, journalism educators and health professionals dedicated to improving media coverage of trauma, conflict and tragedy.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
Copyright; Jonathan Eastland
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Olympus PEN Fifty years on

2009-06-04T21:38:00.003+01:00

THE BEAUTY OF BIC

The best thing about the ubiquitous biro is its simplicity.

In France, Bic is the generic name of all such writing instruments. Flip the cap off a slender yellow plastic stalk and apply to paper. Usually, it works.

In 1959, the Olympus Optical Co Ltd., launched the Pen camera; a product designed for writing with light conceived around the principle of functional simplicity in a compact but elegant package. It worked and the company made and sold hundreds of thousands of the many different models of the Pen and Pen F half frame cameras produced over the next 20 odd years.

But half frame was nothing new. Other companies, in an effort to woo more customers to the miniature 35mm film format by marketing the advantage of economy to be gained from obtaining 72 frames from a single cassette instead of the normal 36, had launched similar products. Mostly, until Olympus launched the Pen series, half frame models were built around regular full frame cameras with the film gate and viewfinder masked off to the appropriate 18X24mm format.

Two factors point to reasons why the Pen series were so successful; the cameras were simple to operate and the D type Zuiko lenses were specially designed for the task of maximising image quality from such a small area of film.

Olympus had developed new D type objectives for its earlier medium format cameras and it continued to refine this technology as it researched new products in the early post-war decades. The whole concept of compact elegance and superb functionality would probably not have worked for Yoshihisa Maitani's 1970s Olympus OM system had it not been for the company's parallel development of new compact lenses designed for that system.

Now, Olympus hope to do it all over again.

Fifty years after launching the first Pen half frame model, the company's first Micro four-thirds digital camera is about to be unveiled. A steady stream of full page advertisements featuring the 1959 Pen camera and what appears to be a box covered in red silk or velvet have already appeared in print. Some readers, no doubt, may be struggling to retain composure in the face of such taunts. You will not have long to wait; June 25th has been slated as unveiling date.

The wind-up to this event promises something extra special. I don't want or mean to be a Killjoy, but the mathematical facts point more in the direction of something coming down the tube which will not be significantly better than the Panasonic G1/GH1, the company with whom Olympus are the development partner of the LIVEMos 4/3rds format sensor.

What aficionados of the Olympus brand can probably be sure of however, is that the company's new micro four-thirds camera will be blessed with a styling 'wow' factor. Will it be close to or mimic the revolutionary products like the Pen of 1959 or the Pen F launched in 1963?

The more I think about this aspect and the maths, the more I deviate away from the whole half frame (digital four-thirds.) concept. The Panasonic G1 styling is appealing for lots of reasons, not least of which is that the camera fits snugly and firmly in the hand. From an operational perspective however, the placement and size of certain function buttons compromises its aim to be small,compact, appealing and efficient.

What I would like to have seen coming from Olympus is a replica OM body into which has been shoehorned the electronic gubbins. Maitani's thinking produced a device that was approximately 30% smaller than a regular 1970s slr but the functionality of it was not impaired by its size or shape. If anything, it was enhanced. A Bic in another world.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
Copyright; Jonathan Eastland
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Compact Companions - Part IV

2009-05-31T15:09:00.014+01:00

POTATOES, LAMPBLACK AND TWO TAXI - CABS.

I had hoped to come back to this subject long before now, but other projects and a slow down on the technology front connived to postpone attempts to tackle any remaining issues.

To sum up briefly, it is reasonably clear from reproductions seen in mechanical print to date that derivatives of the compact digital camera models discussed previously, i.e. Ricoh GRII, GX200 and Panasonic LX3 (aka Leica D-Lux 4) are all capable of producing excellent image file quality for repro to a moderate size.

In particular, the LX3 with built in firmware for the correction of lens distortion, chromatic and spherical aberration, does an excellent job, only let down by comparison with the other two, by its weaker ergonomic features. In that department, both Ricoh cameras stand head and shoulders above the rest as well as, the Sigma DP1 which I will come to shortly.

REPRO QUALITY

I have mentioned in a previous post that when my own history of reproductions is analysed, by far the highest number appear on the page at up to half page size - roughly A5 or, as is often the case these days, a lot smaller. The reasons for this are numerous but a general observation often points toward the page layout person having to grapple with the compromise of balancing headlines, standfirsts and text on the page. The latter has to go in, a picture doesn't and if it does, usually its purpose is illustrative rather than because of any artistic merit.

(1) GX200_PIER.

This is the whole frame made with the Ricoh GX200 at ISO 100 in fine Jpeg mode at 10.9mm focal length on the zoom lens.

(2) GX200_DET_1.

Section cropped from the original image (1) upscaled to 18ins (45cms) on the longest side.

(3) GX200_DET_2.

Second section from image (1) at the same dimension as in (2). Neither crop shows any particular fragging or mashing to small details which would show up in repro yet the smallest details are lacking in clarity and sharpness. Noise is plainly visible in the larger areas of single toned hues.

In Sweden last year, I covered a story for one magazine with a Dslr and two lenses, a prime standard and a wide angle. I also carried a Leica film camera fitted with a 50mm standard and took along the Ricoh GRII.

The Leica never got used and the majority of shots required for two four page issues were obtained with the Nikon or the Ricoh. When the first issue appeared in print, it opened with a full page pick-up shot captured underwater with an Olympus compact in a housing. I couldn't really fault the quality for sharpness or contrast, and other than wondering what Hans and Lotte Hass would have made of it all, flipped to the remaining pages. The editor had chosen half page images from the Ricoh while a few files from the Nikon were dropped in as small inserts. A similar approach was used in the follow-up issue; nothing of mine was used larger than half a page and even with a lupe on the stuff from the compact, differentiating between the far higher quality obtained from the Nikon's larger sensor and the diminutive Ricoh sensor was a tough call.

(4) GRD2 VISBY

The whole scene as captured with the Ricoh GRII at ISO 100, focal length fixed 28mm, exposure aperture f/5.6.

(5) GRD2 DET 1.

Cropped section from bottom right of the whole frame enlarged to 18ins (45cms) on the longest side (suitable for A3 repro.).

(6) GRD2 DET 2.

Second cropped section taken from top left of image. There is less apparent noise overall in this image but the window frames and plank seams are beginning to take on the typical mashed appearance of a Jpeg pushed a little too far, though only really noticeable in the lighter parts of the image. The original frames will reproduce very nicely at half a page with a 133-155 screen and will hold together up to 1 1/4 A4 pages. Beyond this, image structure falls apart, leaving little room in the original for cropping unless the crop is to be used small.

Only in a later issue of the same magazine did it become apparent that it was perhaps unwise to supply image files from the Ricoh intended to be used as a double page (A3) spread. At this level of upscaling, an image originally captured in fine Jpeg mode and then cropped by about 30% was pushing things to the limit. From a little more than the normal reading distance (10 inches/ 25 cms), the smallish details in the reproduced image were well mashed; from double this reading distance, the smudge was just about passable, but no where near as clear, sharp or detailed as it really needed to be.

I have since found another way (not new software) to upscale these tiny jpeg image files which brings a slight improvement to the reproduced quality. Also, upscaled RAW files obtained with the LX3 fair rather better than those from the Ricoh and on a much earlier occasion a cropped Jpeg file from an LX2 used across two pages, probably proved beyond any doubt that as good as the Ricoh files are, the Panasonic A/D conversion process is better.

So now, the conundrum for me comes down to ergonomics and in this repsect, both Ricohs win. So much so, that I find the GRII lives on a string around my neck much of the time. I rarely leave base without it.

But, as is often said in the field of some sports, 'it's not over 'til it's over.'.

A ten day assignment in France last year gave me the opportunity to thrash the newly launched Sigma DP1 with its fixed 16.6mm (28mm in 35mm format equivalent.) f/4 lens, and since, I have seen some of the results in print.

The camera uses Sigma's own Foveon X3 CMOS sensor (20.7mmX13.8mm) housed in a device approximately the same size as the Ricoh GRII. The DP1 is a very well made piece of kit with an all metal outer casing. However, users will need some time to adjust to its slinky feel and I cannot say the designer put ergonomics at the top of the list when coming to draw this tool. A pity, as it just needs more pronounced features on one end to improve the hand holding. I also had some minor issues with function controls, but it seems patience is what is really required to set the thing up properly in the first place.

While slotting perfectly in to the 'compact' bracket, the DP1 is really in a different league from the brands mentioned; it is also at a different (higher) price level.

The three layer CMOS sensor is not quite the same size as the APS-C type found in many Dslrs, but it is much larger - 7-12 times - than sensors in the majority of small compact digital cameras, including those already mentioned. In Jpeg mode, the camera produces a file size of approximately 13mb, 14.6 inches on its longest side at a native resolution of 180ppi. The aspect ratio is 3:2 which is a little narrow for my taste compared with the more pleasing proportions of the 4:3 of the Ricoh.

(7) DP1 SD10148 1

The whole scene captured on the Sigma DP1 at ISO 100 and aperture f/5.6 in fine Jpeg mode with fixed 16.6mm (28mm equivalent in 35mm format.) lens producing a different aspect ratio to the Ricoh models (see text.).

(8) DP1 DETAIL 2.

This, like previous crops, is from a section of the original image upscaled to 18ins (45cms) on the longest side. Small details are easily identified with no visible evidence of edge mashing or fragging; large areas of single hued tone are even and clear.

(9) DP1 DETAIL 1.

In this second crop there is very slight evidence of a fall off in sharpness toward the edge of the frame. Using a smaller f/stop would have improved depth of field marginally but this might not be noticed in print. Overall image quality is excellent for a Jpeg file and can be improved further using Sigma's X3F RAW capture mode.

At first glance the file size hardly seems practicable, but upscaling an image in Photoshop to DPS maintains a high quality level of small detail, overall sharpness and smooth tonality across the image. Viewed at 100% on screen, these upscaled images are four times larger than they are likely to appear in print, but apart from almost imperceptible fragging to the edges of some small details, objects maintain a clarity which the smaller compact sensors cannot match. There is no evidence of mashing. Reduced down to their real life size, none of these faults in the DP1 files are visible and noise levels are well controlled at all but the highest sensitivity settings.

This is a camera one needs to get to know well to extract the best it is capable of producing. Operationally, it is not quick, as I found on occasion during my ten day jaunt and I reiterate that more than the usual degree of patience is required at times. Being a lazy so and so, I rarely shoot anything in RAW mode, but since using the DP1 I have been persuaded by the quality of its reproduced Jpeg files - up to 3/4 page - that a still higher quality level can be obtained and for certain stock material which has the potential of advertising use or larger than A3 repro, RAW capture and the extra processing time involved is a necessary evil.

The much larger sensor area of the DP1 has one other effect on the image.

The tiny sensors used in the majority of compact cameras permit the use of extreme wide angle objectives with a short back focal length, i.e. the distance from the rear element of the lens cell to the imaging plane, the sensor in this case. This shorter distance effectively increases depth of field at any given distance setting - the range over which objects in the frame are in apparently sharp focus. It's the reason why it is quite difficult at times to separate the main subject in the motif from the background with small sensor cameras. The DP1's much larger sensor and 28mm equivalent lens combination is manifest in a shorter depth of field characteristic, enabling the user with more control through selective use of aperture setting to capture appropriate out of focus backgrounds when required. The effect produces images which look more as if they might have been made on a medium format film camera, helping to concentrate the viewer's focus on the intended image subject.

(10) DP1 VENDOME 1.

This is the whole frame captured at ISO 100 at aperture f/10 in fine Jpeg mode.

(11) DP1 VENDOME 2.

And this is a 100% crop from a section of the image in (10) enlarged to 24ins (60cms) on the longest side in a straight upscale in Photoshop with no unsharp mask applied. The level of detail retained in the image speaks for itself.

Some observers have complained that Sigma's remit for this camera should have included a faster maximum lens aperture; f/4 being considered slow in comparison to the wider f/2.8 or f/2.4 of lenses in other compacts. Considering the sensor size of the DP1, a larger maximum aperture for the 16.6mm lens would have required a far larger physical size of lens, thus eliminating any prospect of the camera being called a compact. In practice, I didn't find f/4 especially restrictive, but it does mean that if you want to shoot black cats in a coal hole, some form of camera support will probably be necessary to obtain shake free images. The old Leitz table top tripod folds neatly into one of Lowepro's Sideline Shooter bags.

In due course later this year, Sigma plans to launch the DP2, a camera similar in size and features to the DP1 but fitted instead with a 40mm (35mm equivalent.) f/2 lens. To be sure of being covered for most focal length eventualities (aside from the really long stuff.), having both cameras to hand would be necessary. Which brings me in its roundabout way to the title of this piece and its meaning.

Potato starch is what the Lumiere brothers used in the manufacture of their wonderfully subtle Autochrome colour plates back around the turn of the 20th century, the backs of which were coated with lampblack to fill in the gaps between particles of dyed starch. 105 years ago, the process represented state-of-the-art technology for capturing colour images in bulky hand and often tripod mounted wooden cameras. Large scale reproductions from Autochromes were not impossible but in terms of technical quality, the pointillist painter Seurat probably achieved better results.

Then we come to equipment size. The nearest comparison of purpose I can make to Sigma's handy compact-high-image-quality philosophy stretches back to the heyday of the Rolleiflex twin lens reflex. Beautiful but big and bulky medium format film cameras with a choice of fixed standard, wide and telephoto lenses. Carrying all three on any assignment needed muscle as well as a determination to see it through for the sake of quality and the slim chance of a double page spread.

More than two decades past, I was sent on assignment to a little place at the top end of the Baltic Sea to cover a championship yachting event. My camera kit was packed in three cases and included, amongst the several lenses, a 500mm telephoto which alone weighed almost 4 kilos in its box. But this was nothing compared with the kit needed to set up a darkroom in the local paper offices in Lulea for an event that was to last almost three weeks; enlarger, processing tanks, film drying cabinet (!), a mini Durst paper processor, stacks of printing paper, what seemed like a ton of chemicals, laptop computer and printer and two print transmitters. All of this and the two personnel who would use it had to hire two cabs from the local station to the paper on arrival.

Now?

On returning to Sweden last year, everything, except the Nikon and its 80-200 zoom, was crammed into a small shoulder bag; I hand carried the Nikon. Bizarrely, the cab sent to collect me at Visby airport was a stretched limmo Volvo. All that stuff carried to Lulea years before would have fitted in it but sprawled out in the car's cavernous interior, I was really glad I didn't need any of it. Hanging around my neck was a tool smaller than an average cigar pack and weighing about as much. From its image files, repro print quality is better than we ever got from a 10 x 8ins colour print pinged down a piece of copper wire. I'm not waiting for the next generation. The Sigma will do it.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
Copyright; Jonathan Eastland
www.ajaxnetphoto.blogspot.com 2009.
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New Lumix mount adaptors from Panasonic

2009-05-22T00:14:00.004+01:00

Press release: Panasonic

Panasonic is pleased to announce two new mount adaptors, the M Mount Adaptor DMW-MA2M and R Mount Adaptor DMW-MA3R, to further enhance the photographic experience with cameras from the Lumix G Micro System.

The M Mount Adaptor and R Mount Adaptor are developed under support of Leica Camera AG, making it possible to attach Leica M lenses (DMW-MA2M) or R lenses (DMW-MA3R) on DMC-G1 and DMC-GH1. Users can enjoy outstanding image rendering offered by the combination of high quality Leica lenses and Lumix G cameras that are full of Panasonic's cutting edge digital technologies. These adaptors also allow users to use the movable MF assist function, which enlarges the selected area when focusing manually.

The compatibility information of Leica M/R lenses are on http://panasonic.jp/support/global/cs/dsc/

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Kenro appoints Sales Office Manager

2009-04-16T08:34:00.002+01:00

Release Date: 15 April 2009 Kenro Ltd

Kenro, one of the leading suppliers of photographic accessories to UK retailers, has appointed Simon East to the newly created role of Sales Office Manager.

Simon joins the company with a solid photo industry CV. He began his career with Camera Exchange's Cotswold group of stores in 1988 prior to their re-unification with the London Camera Exchange Group. Following his relocation to Scotland in 1995, Simon was appointed manager of the J.Lizars Ltd (now Black & Lizars) Edinburgh store's photographic dept. During this time he developed exhibition and field events experiences as well as in-store retailing skills.

In 1997 Simon joined the field sales team at Leica Camera Ltd and for a decade managed the southern territory for photographic, sport optics and projection products.

Simon is looking forward to his new role at Kenro: "I am really excited to be joining a company with such a strong reputation within the imaging industry. I have already met many people from the company and the team at Kenro have great strength in depth, this demonstrates to me why the business remains such a competitive outfit after almost four decades of trading."

He continued: "I will be assisting the company in its plans to continue modernising its technical operations, drive efficiencies, develop provisions for e-commerce, improve technical support as well as manage its customer relationship strategy, I know I am joining a future-focussed, growing business."

Kenro managing director, Paul Kench, feels Simon's appointment is a positive move for the company: "Everyone at Kenro is determined to continue our expansion and build on the strengths of our key brands; Tokina lenses, Nissin flash, Marumi accessories, our own ranges of studio lighting, frames and albums, plus the selection of Kenair products. Simon's arrival at the company will help us to not just consolidate, but increase our standing in the photographic trade."

Simon can be contacted on the main Kenro switchboard, 01793 615836 or via email, simon@kenro.co.uk

ENDS

Kenro Ltd
Greenbridge Road
Swindon
SN3 3LH
Tel: 01793 615836
Fax: 01793 530108
E-mail: sales@kenro.co.uk
Web: www.kenro.co.uk

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