Some Notable Compact

Preliminary remark:

Nearly all compact have small 1/2.33'' CCD Sensor that except S90/G11/LX3 which have a 1.6"-1.7" CCD that provide for better image quality and less noise.

The main characteristic that I have taken into account is Image Quality and handling.


- Canon S90 (10MP, 28-105mm, 3"/461k screen, 400-500 Euro/$)

Very compact (pocketable), very good handling (dedicated function rings), highly customizable maybe a bit complicated, possible to shoot raw.

See good review at Enticing the light see also part 2 and part 3.


- Other Canon Ixus (in US Powershot Elph)

All good, very compact, stylish and user friendly.

My favourite is the Canon Digital Ixus 200 IS (in US Powershot SD980 IS Digital ELPH) (12MP/24-120mm/3" TOUCH screen/300E/$) see product tour

The specs similar to S90 but less controls and smaller sensor (= more noise), touchscreen is a plus


- Panasonic Lumix LX3 (10 MP, 24-60 mm, 3"/461k screen, 400-500 Euro/$)

(NB Leica D-lux4 is 95% the same camera)

Not as compact, highly customizable, raw and/or jpeg shooting, not for beginners, complex menus, but very good IA auto mode, very good lens but max tele only 60mm.

Read LX3-S90 comparison (here)

Model to be updated or replaced in 2010?

See video reviews LX3







- Some other Lumix (same chassis = 24mm deep, weight +/- 200gr)

TZ7 (in US Lumix DMC- ZS3) = user-friendly - 10 MP great screen 3"/460k pixels - lens 25-300 / HD video (300 Euro/$)

TZ-6 (in US Lumix DMC- ZS1) = same as above screen 2.7"/230k pixels - (250 Euro/$) - older processor

ZX-1 (in US Lumix DMC- ZR1) = same as above 12 MP lens 25-200, 2.7"/230k pixels - best cost/quality ratio (250 Euro/$) latest processor/ great lens resolution (4 asph)

- Samsung WB1000 (in US TL320) 12MP, 24mm, 3"/OLED screen (super!!) a little less image quality but good (250 Euro/$)

- Sony WX1 (12MP, 24-120mm, 2.7"/230k screen, 300 Euro/$)

Stylish, user friendly, good low light performance, good lens resolution, image quality good but not the best.

- Fuji FinePix F70 EXR (10MP, 27-270mm Lens, 3"/241K screen, 300 E/$)

High dynamic range and good low light performance. I tried it briefly, performances are good but not significantly different from other compact in casual shooting. Possibly would require more tweaks and post processing to deliver full potential.

Nikon angle finder DR-3

What's a good point and shoot digital camera nowaday?

The Attack of the LX3 Clones

Any 4 megapixel camera will do for printed press

Maybe you want camera with wide lens 28mm or even 24mm

In principle, all Canon are good

compact: try new S90 (450$) - very good I want it - check sample pix

A little bigger is the Canon Powershot G11 (600$) - Best all round compact?

Also good Samsung W1000 (TL 320 in US) with 24mm and super OLED screen (cool)




And amazing screen demo




Panasonic TZ7 is a good zoom compact - if you need more zoom reach

If you want cheap (500$) reflex the new Pentax KX is cool - you can get it in any color... in Japan...

Maybe also buy extra flash if shooting a lot indoor (onboard flash never a great solution check camera with flash shoe - G11 has it)

or maybe you can get one of these cameras that can send directly to blog, facebook or email

but you can do the same with a special SD memory card called eye-FI (a bit pricey but how cool is it? - maybe you want the pro version)

Olympus EP-1 Digital Pen

NEW COMPACT CAMERA with INTERCHANGEABLE LENSES

CAN MOUNT LEICA OR NIKON VIA ADAPTER

available 13 July

Price US : 700$ - body only; 800$ - with 14-42 zoom; 900$ - with 17mm f 2.8 prime

Europe : 749 € (avec 14-42mm), 849 € (avec pancake 17mm et viseur optique), 949 € (avec 14-42mm et pancake 17 mm).

NB also Panasonic to release 20mm f 1.7 this autumn.

Press release

http://www.dpreview.com/news/0906/09061601olympusep1.asp


Previews

http://www.dpreview.com/previews/olympusep1/

http://www.dcresource.com/reviews/olympus/e_p1-review


Suggestion

Get EP-1 body + adapter leica M to micro 4/3

Get any wide M-mount lens you can get your hands on, including Voigtlander 12 (screw mount plus screw to M adapter) and 15 mm in M mount

(Please do check that lenses depth is compatible before mounting)

Work with manual lenses probably similar to Panasonic G1: need to select manual lens in menu and then live view zoom on part of scene to facilitate focusing. Focus confirmation.

Pluses

Compact, smart and cute

good resolution 12mpix

Video HD 720p 30 i/s

Sensor based dust shake system doubles as image stabiliser - works with any lens

Can work in permanent live view without any delay

Interchangeable lenses - quicker operation operation, incl. manual manual focus

Digital level

SD card (thank you!)

Good handling (padding in front, selection dial on back, etc.)

Minuses

No optical or electronic viewfinder

need to buy separate optical finder (retro look - but not practical with zoom)

No total black finish

Metal body but not sealed for dust and moisture

Not appealing for wide shooters as X2 sensor magnification factor - 25mm lens is a normal (50mm equivalent)

On other hand using tele is advantaged by image stabilisation and X2 sensor magnification, but composing a tele shot with live view is not that practical

Big LCD 3", but normal resolution 230k compared to latest Nikon/Canon 920k

A. Skywalker 18 Brumaire

Video Games | Star Wars: The Old Republic | E3 09: Jedi vs Sith Cinematic

XBox 360 | Playstation 3 | Nintendo Wii

Video visit to Leica Solms factory

Finishing and checking M7 and MP bodies (basic assembly done in Portugal)

L-Camera TV #1 - Does Leica still make MP and M7? from Andreas Jürgensen on Vimeo.

White M8

275 units worldwide, price: $9,000

See Leica site

All sold out already !!!!

L-Camera TV - Leica M8 White Spotting from Andreas Jürgensen on Vimeo.

Also check out the safari M8.2 - 500 units

D5000D

A quick comparison between Nikon D5000 and Canon 500D.

Overall, apart from pixel count and LCD, the cameras specs are very similar. The 500D is a bit of a paradox: it’s a shrunken 50D plus HD video. Also really need additional investment in terms of good lenses (primes and fast zoom) to make best use of its hi-res sensor. So the question arises, if you don’t need video function and can dish a bit more money why not get the 50D which is more substantial camera with better viewfinder?

Concerning video capture, the EOS boast full HD capability. However, in both cameras the video function is complex and quite limited with no more than 24 images/sec in best case, limited or no focus, etc. Clearly this is still MK I of the integration of this function into DSLR. For the moment (or rather near future), the best compromise between picture quality, video function and handling seems the Lumix GH1.

Both cameras are compact and light to wandering around all day, if you carry only one lens or short zoom. In terms of kit lenses, the Nikon is a bit better although probably would be even better with 16-85VR (costs the same as the camera) or with new 35 AFS DX. The EOS may offer the best image quality for the price if shot in Raw at low to moderate ISO with good lenses. Nikon may be better all-rounder for the price.

Item	D5000	500D
Sensor	12 Mpix CMOS – 12 bits	15 Mpix CMOS –14bits
LCD	Lower res 2.7” vari-angle	High res 3”
Kit lens	18-55 VR - better optic	18-55 IS
Live view	Slightly faster focus dedicated button	dedicated button
AF module	11 points - better	9 points
High ISO*	good - better detail retention above 800	good - reach 12800 (but ok…)
Handling (personal view)	Slightly better	what? no click-wheel!
Extras	some corrections in camera (perspective, Raw, color fringes, etc.)
Battery autonomy CIPA	500 shots	400 shots
Depth of field	no button, via menu	dedicated button
Grip	Not Nikon official	standard BG-E5
Use Nikon lenses	All F lenses, will focus only AFS	All F non-G, through third party adapter ring, manual only
Use Canon Lenses	N/A	EF/EFS
viewfinder	slightly better – wt custom grid	small
Video	720p - no focus	full HD - limited focus
Price with kit (body only) est.	850 (700)	900 (800)

* From Camera labs, note tests with kit lens and standard Jpegs

Black Pink Mountain Tops

Ok It took me a while to figure out, but both albums were released on Jagjaguwar.

The two bands come from Vancouver and are both fronted by Stephen McBean (actually Pink Mountaintop is labeled as a side project).

As you can see the two albums have virtually the same cover....

Death Star Vs Enterprise

Stile Bertone Alfa Romeo B.A.T. 11 Concept

As seen at NY Motor Show 2009

Based on Alfa 8C chassis

    

Custom Scion tC

As seen at NY motor show 2009

  

Vivitar 24mm f2.8

 

This manual focus lens can be found used for very little money today. This sample has Nikon F bayonet without diaphragm coupler of the later AIS type lenses. It can be used with most Nikon cameras (it also has “rabbit ears” for metering on older cameras with pin couplers).  It fits to old F bayonet cameras, new D40/40x/60/5000 digital cameras and surprisingly it also fits, given that there is sufficient space between the bayonet and the f-ring, also to more recent cameras with  fixed diaphragm coupler. It does not provide metering with newer digital cameras although this may be remedied by using live histograms or simply by trial and error in manual mode.

It serial number 377xxxxx indicates that the lens was produced in Japan in the seventies by Tokina on behalf of Vivitar in 1977 (?) (for Vivitar numbering system see here) .

The lens make is all metal. The focusing ring is smooth with diamond head rubber grip. Focus rotate in the opposite direction compared to Nikon’s normal layout.

It has 8 elements in 7 groups, 7 blades diaphragm and weights 250g. Minimum focus distance is 0,25 m and filter diameter is 58mm. The lens came with an original Vivitar polarizing filter.

The lens is sharp when stopped down on digital APS sensor (DX) as only the center of the image is used. Distortion and other optical defects  remain controlled. The images provided by the lens appear less contrasted than Nikon usual type of crisp images.

Users comments often point to poor color rendition. Although this may apply to different production batches, I found that images produced with this lens do have a slight yellow cast. This may be remedied by using filters (in this case polarizer) and/or by playing with the digital camera’s color setting, or even with white balance setting to achieve original results. Color results would need attention possibly in postproduction phase.

The lens should be fitted with any standard 58mm hood and front cap. Standard LF-1 back cap for Nikon mount should be used.

The lens can be used for static and nature subjects given absence of metering and manual focusing. Or with a bit of experience in hyperfocal mode given the generous native depth of field (at f16 everything is in focus from 2m to infinite) which may be amplified by the digital sensor factor.  Maybe I would not recommend its use for low light situation, unless stopped down and at high ISO setting.

So basically, this lens provides a quite useful focal length (equivalent to 35mm on DX format) with above average optical performance (especially for cropped DX sensor users). All this at a bargain if found in good condition used.

sample picture (center crop) color adjusted to vivid

Nikon F viewfinder

Once upon a time in a galaxy far far away…..

D5000 video

Yeah right use it on the beach, great idea

Clearly Nikon want you to buy a lot of cameras...

Also not so sure this is the right camera for kids and preteen, it's fairly complicated and relatively pricey.

Nikon D5000

IT'S OUT !!!! (But D400 not...)

The dark lord ... with a microphone (image Nikon)

D5000 is the update of the D60 entry model DSLR - so it's compact, DX APS-C format and has no auto focus motor, needs lenses with built-in AFS motor basically all DX format lenses in Nikon range are (except 10mm fisheye). Does have vibrating sensor cleaning system plus airflow. Uses SD card. No dedicated grip foreseen by Nikon (possibly a market brand will be available as it is the case for D40/60, although not sure existing one can be used).

It borrows from D90/300 higher range models: CMOS 12 Mpixels image sensor and image processor, so we can expect very good image quality and above average low ISO performance, which I hope will be confirmed in future tests. AF sensor is the 11 point module with focus tracking capacity found in D90, which is clearly an upgrade from D60's 3 sensors AF module.

What's really new: movable screen although lower resolution than D90/D300, Live View but slow AF performance in this mode, movie recording capacity, upgraded battery, new body but with traditional Nikon layout.

Movie mode: 16/9, 720p, 24fps with HDMI output - so no full HD. No autofocus during recording but stablisation functions with VR lenses. Max recoding in high quality 720p format 5 min.

What I consider weak points are rather related to the structure of the camera, where economical imperatives clash with what you would expect in a Nikon camera that is many dedicated buttons, big bright finder to facilitate composition and a sturdy frame. In fact the viewfinder on the D5000 is even smaller than on the D60, there is no rotating selection wheel in front of shutter button, no depth of field preview button, etc. The camera is clearly not weather sealed contrary to what Nikon promotional video seems to imply (see other posting)

Raw capacity: Image processor is 12bit only and Raw mode is compressed - those using Raw intensively will probably turn to more capable upper end cameras.

The positive aspects is that basically you get a D90 image quality (possibly slightly improved by 6 further months of devlopment) plus movable LCD screen (which is always cool) in a compact package.

For manual lenses shooters, the camera while probably unable to meter as there is no metering coupling. This means however that any Nikon lens (with very few exceptions) produced in the past 50 years can be mounted on this camera. And while no auto focus will (ever) be available with manual lenses (obviously...), you can always use the focus confirmation function in the finder.

In addition, all lenses can be used with live view and movable LCD which is interesting in Macro photography. The camera has an automatic function for the correction of lateral chromatic aberration (which is a common problem with older lenses used for digital) and additional cool in camera retouching options like perspective control, D-lighting, etc.

Also, I would be courious to try some older lenses for movies (AF doesn't work with movie mode anyway).

As an interesting note, the D5000 has a dedicated socket to be used with additional GPS module, which will make geotagging simple.

Price is around 700-800 $/Eur body only and 800-900 $/Eur with 18-55 VR kit lens.

The D5000 at first look does not sound like terribly competitive. Frankly at that price I would either spend a little more, forego the movable LCD screen and buy the D90 or use a Canon 500D (possibly with a F/EOS adapter ring) .

But if you want an uptodate Nikon camera in a more compact package, the D5000 is certainly a competent camera.

Good news for wide shooters

The main drawback of Digital is that it kills wide angles.

Let me explain: in APS-C format, given sensor magnification you need to go 12/14mm to get to normal 20mm equivalent. Normal primes are not adapted for digital (deform/cost a lot).

Full frame: normal wides become wides again, but formulas rarely adapted for digital.

Fortunately for APS-C cameras a number of wide zooms have been developed both by camera manufacturer and independent to address these points (reach, digital quality).

Nikon released a 12-24 f4G IF ED to address the requirements of pro shooting with D2X. It has 2 ED glass elements and 3 aspherical lenses.

Roumors have sourfaced recently about the possible release of a new (hopefully cheaper) 10-24 DX f3,5-4,5G.

Canon has a EF-S 10-22mm f/3.5-4.5 USM which has range (16-35mm eqiv.), quality (3 asph lenses) and compactness.

Indipendent manufacturers have provided alternative zooms:

Sigma announced recently a new version of its 10-20mm zoom which is this time is a f3.5 constant aperture.

Tamron also has released a new lens with more range (10-24mm f3.5-4.5) which replace its wide zoom that was limited to 11-18mm range (which is also marketed by Sony).

Tokina has a 12-24mm f4 constant, which has been upgraded with internal motor to be used with entry Nikon model without AF motor. Pentax/Samsung is same lens. It is a quite solidly built lens and zooming and focus ring are pleasantly damped.

Main characteristics of such zooms are:

- relatively heavy - still usable for reportage

- relatively expensive - begs the serious question whether it is really a lens you need every day

- all have distorsions - need to spend time on Photoshop to correct

- all have other optical shortcomings (soft corners, flare, etc.) to various degrees - Nikon/Canon probably being the better corrected

- Not adapted for full frame - although some might be used at upper end settings (18-20mm equiv.) for desperate cases.

- All use big filters (77-82mm) that in most cases need to be slim type to avoid (further) vignetting (add at least 50$ to your budget)

- Lower wide angle setting difficult to cover with most flash.

Probably, the best is to use wides with full frame cameras.

APS-C wide angle zooms offer a compromise and all offer competent packages for around a pound in weight and half a grant in cost (except Nikon and Canon which cost more).

The question remains whether extreme wide-angle zooms can be used hand held. The lens need to be horizontal to avoid perspective deformation which already with primes would recommend for tripod use all the time. The zooms are not so fast and probably not at their best at wide apertures, so usability in low/available light is limited unless used with high ISO proficient cameras such as D300.

The good news is that if you like hyper-focal these lenses have plenty and this is further enhanced by the digital sensor - so it will be hard to work on defocus areas. Also, close focus is often very interesting (around 24cm in most cases).

Finally, if you really need to go for a wide zoom with an APS-C cameras, the choice is made easier by the wider offer on the market and clearly competitors have done a lot of work to challenge the market leaders.

Lumix G1 lens adapters

The G1 is now in stores at around 650$ with 14-45 kit lens.

The camera constitutes an interesting attempt to achieve a compact DSLR mainly by doing without a reflex prism, which is replaced by an electronic viewfinder. This results in a shorter pitch between lens and sensor. The bayonet and lenses can be made more compact also. The new format called micro 4/3, is based on the 4/3 standard achieved by mainly by Panasonic and Olympus. Both provide a x2 lens magnification.

The camera is nice and well designed and has been well received by the press and specialized reviewers. The main plus point noted are the good ergonomic, handling, menu navigation, out of camera image quality, etc. Minuses are small captor and consequent limitations in terms of noise, dynamic range etc. battery consumption the inevitably limited performances of the electronic viewfinder. Also pointed were limitations concerning autofocus with other 4/3 lenses via dedicated adapter, auto white balance performances that were addressed in firmware update.

Lack of video capacity is being addressed by new model Lumix GH1, that Panasonic anounced at PMA. The new model is an HD video capable upgrade of the G1 - it should be available at the end of April.

Competition, Pentax/Samsung have also announced their respective version of a compact so-called hybrid DSLR without optical prism along the lines of the Lumix G1, although with bigger APS-C sensor (comparable to DSLR). (see Samsung NX) (Rumors of Pentax hybrid see link)

So the interesting aspect for me is the possibility to have a high resolution camera which is compact enough to carry around all day. The advantage over other compact bridge superzoom cameras such as Canon Sx1 or Nikon P90 is of course the fact the lens can be changed. Now the dedicated lens for micro 4/3 use are limited for the time being. Of course all 4/3 lenses can be mounted via the dedicated 4/3 to micro 4/3 adapter, although compatibility with autofocus operation is not guaranteed for all 4/3 lenses.

In addtion, a number of other manufacturers lenses can be mounted either via the use of an additional adapter ring on top of the DMW-MA1APP adapter.

A number of dedicated third party lens adapter are now (or will soon be) available. A list have been compiled here (not by me). In many cases these adapters vary in cost and quality. No autofocus function is provided. Points to be checked are whether the following functions are ensured: 1. infinity focus, 2. auto metering is available or need to stop down metering, 3. focus confirmation.

In most cases, the camera need to be set in the menu to "shoot without lens". Then focussing is done using the viewfinder like in manual mode where part of the image is zoomed to aid focussing. Metering is possible by adjusting f-stop on the lens and allowing the meter to choose the correct time of exposure. In fact, it's like using stopped down metering although in this case the viewfinder actually brightens the image to allow composition.

In addition, Panasonic may release dedicated adapters for Leica R and M lenses (see link).

The GH1 and micro 4/3 bayonet offer an interesting basis to mount various types of lenses while benefiting from a compact body, high definition sensor, HD video capture (hope it works with adaptor lens) , tilting LCD screen, RAW mode.

Fundamental shortcomings remain the small sensor and the electronic viewfinder. Would rather prefer a range finder even non coupled with lens or even no finder at all if LCD screen is good.

Choice of lenses will also be limited by the x2 multiplying factor imposed by the sensor: you need a 20or 24 mm to reach normal, shooting with wide angles become really inconvenient. Finally, of course you don't get any Exif information.

What is missing is internal (on sensor) image stabilisation and depth of field preview button. Also a grip for the camera would improve the camera handling and possibly battery performance.

Nikon AFS 35mm f 1.8 G DX - continued

Now that the lens is available in shops, in Europe it was on display already like a month ago.., the first reviews starts to appear.

[Remarks: what D300 can only resolve 1500 lpm???? so why bother - lets simply use the 18-55 kit lens...]

Many say this is a great lens although it's all plastic (except bayonet, and glass.... of course), it has no scale of distance, the AF is not as snappy as expected, and it's DX only...

Optically, it is soft wide open, therefore need to be stopped for sharper results to f5,6 (optimal performance). The problem is that image quality at corners never really picks up. Moreover, as you stop down color fringes appear - some can be corrected by image processor on D300 (not on entry models D40/40x/60 - hope it is addressed in replacement model (D5000?). Also the lens has distortion - apparently more than you would expect from a "normal" lens. Bokeh (out of focus areas) is nothing special.

So the argument in favor of the so-called normal lens (no distortion, fast lens, can be used at wider stops) looses a bit of appeal. Also not sure that the public was starving for having 50mm. equivalent in DX (smaller) format. These lenses were popular in the past given its affordability (unless superfast 1.2), sharpness and compactness. But in the end nobody wondered why there are so many used 50mm around? For one, a zoom is simply more practical in everyday life.

But also normal is simply not wide enough. Some photographers consider it a short tele. It basically provides narrower angle of view, therefore requires that you stand back further from the subject, but without providing the same reach or stand off capacity as a 90mm or a 105mm, for instance.

So basically, if you ask me I am not going to scramble to buy this lens even if it's cheap.

(see DPreview)

Animal Collective Vinyl Discography

Paw Tracks Discography

• 2003 - Here Comes the Indian

Paw Tracks 12" - 1xLP - 7 tracks

• 2004 - Wastered

Paw Tracks 12" - split single wt Black ice

• 2006 - Hollinndagain

Paw Tracks 12" - 1xLP - 7 tracks reissue of 2002 (see below)


FatCat Records Discography

• 2004 - Sung Tongs

FATSP08 2xLP and DMM LTD LP Reissue 2008

• 2004 - Who Could Win A Rabbit

7FAT15 7" - 2 tracks sold out

• 2005 - Prospect Hummer

4 tracks EP - CD release only

• 2005 - Grass

7FAT19 7" sold out

• 2005 - Feels

FATSP11 2xLP and DMM LTD LP Reissue 2008

• 2005 - People

CDFAT060 12" EP sold out


Domino Discography

• 2007 - Peacebone

Domino 12" mix maxi - 3 versions of Peacebone US ed / 10" - 2 tracks Uk ed

• 2007 - Strawberry Jam

Domino 2xLP LTD - 9 tracks - Domino US ed 150 gr

• 2008 - Watercourses

Domino 12" EP - 4 tracks (US/UK ed)

• 2009 - Merriweather Post Pavilion

Domino 2 x LP - 11 tracks - Gatefold Cover (US/UK ed)


ODDITIES

• 2003 - Spirit They're Gone, Spirit They've Vanished/Danse Manatee

FATSP07 CDx2 only compilation

• 2006 - Hollinndagain

Paw Tracks 12" - 1xLP - 7 tracks sold out
nota bene - reissue of 2002 live LP wt different cover
released at 300 copies on St Ives Records - Vinyl only label that is part-owned by Secretly Canadian. 40 min 7 tracks live recording of 2001 US tour

• 2006 - Purple Bottle / Polly

7" white label (covers of S. Wonder and Nirvana)

• 2007 - Fireworks

Domino 10" s/side pink UK ed


Note that Paw Tracks is an off-shoot of Carpark Records established to release AC's and their side projects

Evolution of the Nikon F-mount

(Based on Nikon press release with my comments)

• Introduced on Nikon’s first lens-interchangeable SLR, the Nikon F (1959)

F lenses have indexing system via coupling fork. Lens mount ring is full and it is not possible to mount them on most modern (D)SLRs.

• Auto aperture indexing (AI) enables automatic setting of maximum aperture (1977)

F-mount ring is cut to provide indexing on mount. Certain cameras (FM, FE, Modified F5) allows mounting both F (but without meter coupling) and AI.

• Program auto exposure mode compatibility (1981)

Auto coupling mainly with FA, replaced with CPU on AF lenses.

• Aperture information exchange with the camera body through CPU communication (1983)

First P-series lenses - 3 in 30 years - 45/2.8P, 500/4P and 1200-1700/5.6-8P

Nikon F bayonet

• Autofocus compatibility (1983)

F3AF - AF not implemented properly by Nikon before 1988 with F4 and F-501.

Manual focus lenses can be mounted on AF cameras only if AI standard or if modified. Won't meter except with high end models (FA, F4, F5, F6, F100).

AF lenses lose coupling fork and cannot meter with older cameras (F, F2, Nikkormat etc.)

• Digital SLR cameras compatibility (1995)

Ok D1x is 2001, all lenses focal becomes a 1.5x with smaller than film DX image sensors.

Manual AI standard lenses meter with D200/300/700/3/3x. In addition retain normal focal with full frame (FX) cameras D 700/3/3x. Auto metering capacity restored for manual AI lenses via lens database activated through the menu. Basically you tell the camera which lens is mounted and its minimum f/stop. Works also for matrix metering.

New DSLR entry models (D 40/40x/60) without AF motor get rid of indexing peg. It is possible to mount F lenses (full focus ring) on these cameras. No metering but focus confirmation is available.

F lens converted to AI with official Nikon kit
still compatible with original F mount

For more detail on the evolution of the F-mount see link.

Summary of different versions of manual focus Nikon lenses see link.

Life starts at 50

Many people are anxiously awaiting new cameras from Nikon to be announced at PMA, such as

- D400 - follow on of D300 with 15-16 Mpix and video to match 50D

- D700x - with 24 Mpix as D3x and (?) video

- D5000 or D65 - entry model with D40 chassis, 3" LCD and 12 Mpix D300/90 processor and Image quality, plus live view and video

However, there is no new nikon DSLRs at PMA (Pbay reports).

Instead, Nikon has launched the celebration for the 50th anniversary of the F mount see link.

However, the anniversary falls in June and while certainly a date not to be missed, it is indeed a bit early to celebrate. But they probably didn't want to miss the opportunity at PMA.

What a coincidence, just last week I came across a Nikon F body with FTN finder. It has some marks and scratches but appears in working condition. As with all used mechanical SLR, unless bought with seller's guarantee that the camera has been serviced, it is always safe to check light sealing, exposure times and light meter, etc.



In this case, after replacing the type 625 batteries with a fresh set, the meter has been working on and off. So basically I am still playing with the camera and will soon shoot a roll of film to test it.

It's alive!

Nikon's own definition of the Nikon F

A system oriented, single-lens reflex (SLR) camera with interchangeable viewfinders, finder screens and motor drive capability, and coupled to Nikon F Meter

Talking about system, what I for one would be waiting is a Digital Modul R for Nikon F, like Leica did for the R8/9 model in 2005 (see link). Basically it would be great to be able to mount a digital back on a fine mechanical body such as Nikon's F and F2.

Nikon TC-16A converter

This is a 1.6x teleconverter that provide limited autofocus capacity with manual focus Ai/Ais lenses. It is discontinued but can be found for less than 100$ secondhand. The converter works fully only with certain Nikon cameras. It does not autofocus with DSLR (except D2h/x). The optical quality is very good although you lose up to a stop.

I tried it with the F/N 90 and it works pretty well. It won't autofocus over the whole range of given lens. The process is to focus manually to a given range, such as infinity, mid-range or close range and then activate the autofocus for focus fine tuning by pressing slightly the shutter (as for any AF lens). Focus action is quick and there is little or no hunting.

Clearly the TC/manual lens combination is better suited for for tele lenses. It also work with zooms. I find it particularly useful for portraits as normally the subject moves slightly and focus need to be adjusted constantly. And there is also the focal gain of 1.6x which makes a 50 f1.4 a 80 f2 autofocus.


Here I tried the TC-16A with Voigtkander's 75 mm 2.5 which turns into a 120mm.

(Images: nicovandijk; ixiyizi)

New and noteworthy

Here is my own very personal selection of new bands and records that have been recently/will soon be released and/or that will tour and play in Coachella/Primavera spring festivals in US/Europe.

Franz Ferdinand (see my previous posting)

Yeah Yeah Yeah - new album in April (NME says YYY goes disco)

Animal Collective - new album hailed as instant classic

Beastie Boys - rumored new album first semester 09

Prodigy - new album out now (don't expect much)

Grand Duchy - new Frank Black project with his wife as a singer (expectations neutral....)

Arctic Monkeys recording with Josh Homme of Queen Stone Age in "desert Sessions" studio- expect kick ass (new songs played during NZ tour in January)

The View: new album

Art Brut: something new F. Black to produce

Jay Retard: good songs with high replay value

Alela Diane: new album - repeats previous

U2 - zzzzz

Trail of dead - new album (not sure what to expect) - always great live

Of Montreal - may not listen to their records every single day - but really fun and interesting - on its way to new American classics section (see below)

Interesting bands: Titus Andronicus, Crystal Antler, Deerhunter, Crystal Stilts, School of seven bells, Bat for lashes, Secret Machines, Wavves

Mainstream but good: Shearwater, Last shadow puppets, Glasvegas, Lykke li, Department of Eagles,

Worth checking out - but wouldn't start a hunger strike for them: The Bronx, Pain of being pure at heart, Mae Shi, Vivian girls, Gang Gang Dance, place to bury strangers, the drones,

Electro, DJs etc: Presets, the Bug, Squarepusher, Holy Fuck,

Back from the grave section

Expect the worst but may pull out a competent performance live. Of course new material sucks. Nostalgia trip for bands that never really had a huge fan base but managed to develop a influential reputation. The best recent examples are the Pixies reunion tours 2004-2006. Also the Wire new albums and tours are interesting. Best come back is for me Dinosaur Jr.

In this category: A certain ratio, Throwing Muses, the Buzzcocks, Jesus Lizzard, Throbbing Grissle, the X

Totally unknown but worth checking out: Parts and labor, horse feathers, le chat noir,

Not so hot anymore: Band of horses, Fleet Foxes, Beirut, Peter Bjorn and john,

New american classics: Bloc Party, TV on the Radio, Hold Steady, Cold War kids, King of Leon

Really good: Black Mountain, Black Angels, Decemberist, No Age,

Really suxs: Killers, white lies, Anthony and the Johnsons, the kills, Hercules love affair, Ting Ting,

Praised but don't really dig: Calexico, Connor Oberts, Fucked up, Okervil River, Bonnie Prince Billy

prova

The Secret Machines - "Atomic Heels"

Voigtlander Color Skopar 20mm F3.5 SL II Aspherical

New manual lens from Cosina/Voigtlander, exist in Nikon AIS and Pentax KA mounts.

Cosina Japan announced recently the forthcoming release of this new lens part of the SL lenses series aimed at making available to enthusiasts quality manual lenses in various lens mount (for Nikon, Canon, Pentax).

The main characteristics of these lenses are high built quality and material used, metal hoods (provided with lens or optional), high quality glass including aspheric elements in certain cases, diaphragm with 9 blades for better out of focus background (bokeh) rendition. The most recent releases in the series (SL II) include an electronic chip which allows matrix metering and EXIF recording with more recent digital bodies.

All lenses are totally manual and are for full format cameras, but of course compatible with DX cameras - and you can actually meter with entry level bodies (D40/60). The position of the focusing (front) and aperture (back) rings is compatible with Nikon standards. Cosina finally got rid of the coupling fork - which I personally always found annoying. The lenses cannot meter with older film cameras like the Nikkormat, but probably can still be used with stop down metering.

The Skopar 20mm f3.5 has standard 52mm filter ring. A dedicated hood is also produced and available separately.

Announced Japanese price is 55.000 Yen, which correspond to 460 Eur/550$. However, street price in US should be lower possibly around 400$ or less (estimate). In Europe, comparable SL II series lenses retail at 349 Eur.

So the question is, do we need this lens? In principle you can still get a Nikon 20mm f 2.8 lens new in manual AIS or AFD version. Both lenses are optically identical and only their body construction differs, the AF being plastic to allow focusing motor operation. They have optical correction for close focusing (CRC) with minimum focus distance of 2.5 cm. Glass has normal Nikon coating. Filter is 62mm. AIS version has metal filter threat and can mount metal hood. The AFD version uses a bayonet plastic hood.

The lenses are sharp but have distortion inevitable for such a wide angle. However they retain light and compact features, weighting less than 300 gr. Both lenses can be found new for around 500$ each. The AF version is more plasticky and the AF motor is quite noisy and can be subject to focus hunting (may also depend on camera AF). Frankly for this type of lens I don't see the need for Autofocus mechanism as it has a very high Depth of Field and so it is possible to use it in hyperfocal mode most of the time. Basically, at f8 everything should be in focus from 2 meters to infinity. So the AIS version should be a better choice because it gives you a better Depth of Field scale, and no distraction from focus hunting. Also as it is built more solidly, this version may have more collectable value.

So having two lenses, the Voigtlander and the original Nikon AIS, what can be the respective advantages.

The Cosina is even more compact weighting just 200gr. It uses Nikon standard 52 mm filters. It is one stop slower which many people will consider as a negative point but which in fact allows better corrected glass in general. The fact that it also includes an aspherical element would also lead to think that on paper the Scopar should have better controlled distortion.

On DX, the lens becomes the equivalent of 30mm.

The Nikon AIS is a bit heavy, relatively speaking. You have to carry additional 62mm filters, which BTW should be the pricier slim type as the front lens is quite prominent and you risk vignetting with other filters. Hood is also wide, larger than lens barrel.

Cosina lens appears more compact as the front lens itself is of a smaller diameter which allows mounting the hood in a way that it should not exceed the lens barrel facilitating storage. These features (weight, filter, and hood) make the lens very compact and ideal for travelling. The Depth of Field scale could be more detailed but at least it exists.

For close photography, the Cosina closer focus is 0.2 m although given the CRC correction on the and wider opening on Nikon AIS, the latter would appear better suited.

So overall, this new lens is certainly welcomed and can make an interesting contribution to the serious amateur’s set of equipment. That said like often with Cosina releases of classic design lenses for SLRs (be it under Voigtlander or Zeiss brands and without touching upon the issue of Leica M compatible lenses), these lenses are well built but they don't differ significantly from Nikon's primes.

Also a criticism which is often made by reviewers is the relatively ancient conception of the lens which basically makes it a marginal improvement over classic designs. Because basically, this lens seems inspired by the classic Nikon 20mm AI which existed in f4 and then in f3.5 max aperture version.

The Nikon 3,5 version was actually a more complex design with 11 lenses in 8 groups compared to Cosina's 9 lenses/6 groups. However, Cosina comprises an aspherical element which simplifies lens design. Upgrades of the Cosina over classic 3.5 AIS are inclusion of CPU (although limited use with advanced bodies D200/300/700/3/3x where lens data can be input via menu or programmed Func button) and said Asph lens.

Question marks remain edge performance, distortion, chromatic aberration, coma, resistance to flare etc.

(images: Cosina., photosynhthesis/Roland Vink)

Nikon 35mm 1.8 AFS DX

Following my previous posting, I am coming back to this topic as the lens has been tested by some specialized sites. Among the first to be able to put their hand on this new lens are a couple of eastern European photo sites in Czech Republic and Poland.

Here is a summary with additional comments from their preliminary results and other comments buzzing around on the net and in forums (of course I haven't had the opportunity to test the lens myself).

The release of the new Nikon 35mm lens has been received overall quite favorably, after some questions about the choice of DX format (that I share). This is one of the first prime lens that Nikon has released in a while (without taking into account the 24, 45, and 85 PC), after the recent 50mm AFS. It seems to correspond to consumers' need or want for modern and affordable prime lenses signaling also possibly the fact that they are maturing past the use of limited kit zooms and may not be interested in more sophisticated but also heavier and pricier pro-zooms.

The performances of the lenses following tests is considered satisfying in terms of image quality. The lens provides sharp images. However, the difference in quality between center and corner is noted by reviewers. Image improves by stopping the lens down to f4, with possibly the best performance at f8. Interestingly, while the lens is aimed at DX format, it can be used on full frame (FX) cameras with some (acceptable) vignetting when stopped to f11 - ok use only in desperate cases.

The lens display visible chromatic aberration, although this can be taken care of by the image processors in most recent bodies as D300, or in Photoshop.

The lens angle becomes equivalent to 50mm (52.5mm) but the depth of field remain that of a 35mm, this may be in part compensated by the DX sensor which in returns has less DoF, but nevertheless spoils a bit its use for low DoF photography with blurred backrounds. From sample pictures it appears that the 7 blades diaphragm renders quite a nice bokeh, with rounded specs of light.

Distortion remain present (can be compensated in Photoshop) but normally is much more limited (by definition) if not nonexistent in 50mm lens, the exception apparently is... the new Nikon 50 AFS.

The lens retain its plus points: AFS motor with manual focus override, 7 blades rounded diaphragm, metal bayonet with rubber sealing ring, provided with sunshade, 52mm (plastic) filter ring, resist well to flare, short minimum focus distance (30cm) compact and affordable.

However, the question remains of the advantage of such a lens compared to the existing 35mm f2 in DX format the center would be used providing possibly more uniform image quality. Also, I would like to see the lens compared to zooms such as 18-70 AFS or 16-85 AFS in 35 position. Because frankly at f/11 most lenses are good and the argument of fast aperture lens looses a bit of its relevance, also if distorsion is also taken into account.

The main advantage of the new 35mm AFS remains the possibility to be used with cameras without AF motor D40/40x/60. Then users can achieve a compact and relatively affordable package, although again I think many would have prefered a lens with a wider angle for reportage and street photography.

Alfa Romeo MITO video

Driving

New Nikon 35mm AFS

Yeah baby !!!! 200 dols

wait a minute - It's a DX........

It is the equivalent of the classical 50 f1.8.

Nikon just released a new 50mm f1.4 also AFS/G for full frame cameras (equivalent of 75mm lens in DX).

They could have followed the same path making the new 35mm also a 1.4 aperture and 9 blades.

It is great on the D40 (that is discontinued) and D40X/D60 which are entry level cameras sold with kit lens that stays on 99% of the time.

I think I want a real f2 24, 28 and 35 mm to use on full frame cameras and occasionally with DX - and if they are not G meaning they retain proper f/ stop aperture ring they can be used with... actually all (cut) Nikon F and D bodies, not to mention Canon EOS-D bodies with a Nikon to Canon ring.

Good news

• It's fast: f/1.8,
• SWM motor with internal focus,
• Closest focus 30cm
  
• Filter ring is the classic 52mm and non rotating,
• Diaphragm 7 rounded blades for better renditions of out of focus areas,
• It's light (200g) and cheap (200$), and provided with caps and hood (plastic/bayonet).

Less impressive news: it's a G (no aperture ring) , 7 blades

The lens includes one hybrid aspherical element, whereby the asph part of the lens resin is molded on spherical glass lens.

This method simplify lens design, reduce costs and aberrations. Nikon states that it "delivers superior reproduction capability". But this is also a cost cutting measure to achieve some satisfactory results without using too much glass.

Bottom line

Was this really a priority ? I don't see D40/40x/60 owners crying for this type of lens.

That said this is a lens that may be a bit less qualitative than the 50mm 1.4 AFS/G (7 blades, plastic asph, DX, etc.) but it is also 2/3 lighter and cost nearly half of the price of its bigger brother.

I would expect, given the nature of the lens which is meant for smaller image sensor (DX) , it to be less resolving than the 50 AFS.

It also need to be compared to the regular 35 f2 AFD, which has a bit slower Auto Focus. This is not one of the most loved Nikon lens (also given frequent aperture blades oil leaks - be careful if buying second hand). It has a bit of distortion and corners are not as sharp as center - but less an issue in DX.

Rather, I would have preferred a new improved 35mm lens meant for 35mm system and possibly backward compatible. Please next time use ED glass rather than cheapo asph, and keep 52mm filters.

The main advantage of this 35 AFS is the convenience of quick and silent AF operation, with manual override and use with cameras lacking AF motors.

So we will have to see whether the results are there in term of image quality and whether a 35 f2 AFD (while still more expensive new) is not a better choice.

Nikon to release two bridge cameras

When Nikon goes Camedia

Nikon is going to release two new bridge cameras the P90 and the L100 in mid-march.


The P90 is the more everything (zoom, price and pixels) model and is an upgrade of the P80.

Main specs: 12.1 Mpix, x24 optical Zoom 26-624mm (35mm equiv.)

It has a tilting LCD screen, better ED lenses, proprietary lithium battery and charger. 15FPS. All this for around 400$/350Eur.


The L100 is the top of a new budget L-range. It has a bit less impressive specs but comes cheaper.

Main specs: 10 Mpix, x15 optical Zoom 28-420mm (35mm equiv.)

Fixed LCD, no ED glass, 4AA batteries. 13 FPS -Price around 279$/269Eur.



Both cameras are super-zoom bridges which offer range and speed. If you add the 4x electronic zoom, you can reach the 35mm equivalent of a 2500 mm lens on P90 and approx 1700mm on L100 (expect image degradation but still...)

They have the same 3" LCD screen and use the new Expeed image processor found on the D90 and D300.

Clearly either one of these cameras is a prime choice if you want reach, speed and compactness.

Direct competition include Canon SX1, 10 and 110, Fuji S100fd, Casio FH-20, Olympus SP-565 and the announced SP-590 models.

Interesting features

Minimum focusing distance 50cm also at max zoom range which is great for lenses reaching over 400mm. In macro mode the minimum distance is only 1cm which coupled with zoom tele range opens interesting opportunities. Although we have to seen how far the lens extends physically in max zoom tele position.

Reasonably bright lenses, P90 minimum f starts at f/2.8 and reach f/5 at 624mm. On the L100 the range is f/3.5-5.4.

With batteries and cards (SD) both cameras should weight about a pound, but then that's it you don't need anything else.

Possible concerns

Electronic viewfinder - never really a satisfying option

No RAW mode.

Possibly limited video (no zooming or sound) (tbc)

Vibration reduction on image sensor rather than on lens. The latter in principle offers one or even two additional stops.

Image quality should not be a concern at low ISO although probably given the zoom range there will be substantial distortion. However this may be partially compensated by the image processor which on Nikon top SLR does intervene to lessen distortion, vignetting and fringing.

At higher ISO, both cameras reach 1600 and even boast of higher maximum values, respectively 3200 and 6400 although these are reached only in 3 Mpix picture size, so it certainly not for everyday use.

In any case, given also the sensor size, noise may be apparent also at lower ISO values. This is a common lot for compact consumer cameras where noise reduction tend to kick in at relatively low ISO value to produce images which appear pleasant but retain less details.

Nikon while providing top high ISO performances in its professional DSLR models notably those with full frame 35mm sensors, so far has produced a score of compact consumer cameras which are much less impressive in terms of ISO performances, notably for top of the range models such as the P6000.

Ultimately, my biggest concern with these two cameras as well as with the others that constitute other brands', is whether the tele-zoom end of the lens is truly usable given that lens declining max f/ stop complicates and slows down the auto focus performances. One risks ending in perpetual focus hunting especially in low light situation where high ISO join the party to degrade image quality even further.

The announced price seems reasonable. The zoom range is impressive. So we will have to see if the flexibility offered by these compact cameras will go on par with improved image quality/better ISO performance and reactive auto-focus.