ixiyizi

2011-05-10T11:02:00.003-07:00

photo, originally uploaded by pincolatino.

2011-05-10T11:02:00.001-07:00

photo, originally uploaded by pincolatino.

2011-05-10T10:58:00.001-07:00

photo, originally uploaded by pincolatino.

2011-05-10T10:57:00.005-07:00

photo, originally uploaded by pincolatino.

2011-05-10T10:57:00.003-07:00

photo, originally uploaded by pincolatino.

2011-05-10T10:57:00.001-07:00

photo, originally uploaded by pincolatino.

Nikon D300s

2010-03-17T14:23:00.001-07:00

100% crop 24mm AFD 1/15 f5 iso 1600 sharpened

Dual card SD/CF slot

The function of the second card can be defined by user

second card can also be allocated to video clips (in video menu)

In Quiet mode the shutter is not rearmed until pressure is removed from the shutter button

Mike plug

To get matrix metering with most manual lenses

Info menu

Virtual horizon from menu or in Live view

Samsung EX-1/TL-500

2010-03-03T09:57:00.001-08:00

This camera is heavily benchmarked on the the Lumix LX-3, a sign of the soundness of the concept developed by Panasonic: a bigger small sensor coupled with a wide fast lens (and IS).

By sporting a fully rotating LCD, Samsung may also try to lure G10/11 owners looking for a more compact camera with wider and faster lens but retaining high degree of control.

Feature highlights

A f/ stop to max 1.8
The zoom reaches a little bit over 70mm
The major plus is the screen which is high def, AMOLED and movable (Canon Powershot G style)
Has a rubber grip
Some more control options, incl.

A selector control index wheel in front
two mode dials which are flush with top cover
A click wheel on back (similar to Canon and Olympus EP-1)

The minuses are that camera dimensions do not make it exactly compact and it is roughly the same size of the Lumix (actually a couple of mm bigger here and there).

The lens has a rubber ring but it is not a custom control ring as in the Canon S90, rather it covers the ring for attaching optional lens complements that can enlarge the lens angle of view to a 18mm equivalent.

And the lens cap is separate and can be attached to the camera via a piece of string (same as lamented by almost every single LX-3 user - or is it another piece of retro design…?).

Main characteristics

10 Megapixels
3x zoom / ultra-wide 24mm f/1.8 lens Schneider Kreuznach
3.0” swiveling AMOLED high def LCD screen
RAW mode
11,4 x 6,3 x 2,9 cm

While interesting the Samsung offering will probably not have LX3/D-Lux-4 owners rushing to switch/upgrade.

Also with Panasonic possibly upgrading the LX-3 this year, and the S90 around, the EX-1 will need to demonstrate some serious advance in term of image quality compared to its direct competitors or, as usual to out cheap them.

The f/1.8 advantage is partly annulled by the size of the 1.7” sensor which has much more depth of field than a bigger sensor. So if someone hopes to use this camera for super defocus (bokeh) rendition, they may have to lower their expectations. Although, the fast lens may actually come handy in shooting in low light situations.

In terms of camera body design also improvements could be made. While this is not Sigma-sort of “East-Germany was fun” style, the shape is still a bit bulky and lines a bit too complicated (in an attempts to lightens the ensemble perhaps).

Also don’t like blue light around power switch when camera is on.

The rubber grip, while probably functional, does not match very well the dark polished metal front, in my opinion.

Exist in black or gun metal color finish.

Finally, the marketing Dept is lagging behind in promoting the new camera – still nothing (so far) on their global site.

From the conceptual point of view, Samsung basically took the LX-3 and simply added a movable LCD screen (I am oversimplifying). Now LCD screens are certainly one of Samsung’s strong points. But the more I think about it the more I wonder whether it was not a mistake to include a fully articulated screen in such a compact camera. For the following reasons: first the AMOLED screen has already an better angle of view, second, it makes the camera bulkier and compromises pocketability, third it is more a video cam sort of option and here apparently video is not really the priority (no HD).

Or maybe Samsung’s idea is actually to position the EX-1/TL-500 between the LX-3 and the G-11.

They could have made such a better product by building on the Lumix concept and improving its weak points (high iso performance, lens cap, controls, pocketability, etc…) and then price it lower to attract a larger audience, basically those tired of lugging DSLR around and that are looking for good image quality in a compact package for everyday situations.

To be released in May 2010 for 450 Eur/$

Nikon Picture Control

2010-02-10T07:15:00.001-08:00

NPC is an utility which is now part of View NX (1.5.2.), and allows to modify and apply a set of image styles to NEF/Raw pictures.

It can be used for editing the profiles included in cameras with Picture control (D3/700/300(s)/90/5000/3000).

See Nikons answer on how to modify Picture control.

Some interesting information can be found here or here

What I think is interesting is the ability offered by View NX utility to correct color fringes, to apply D-lighting or D2x styles

D2XMODE1
This optional Picture Control simulates color reproduction at a D2X/D2XS Color mode setting of I.
Skin tones and gradations are reproduced naturally with rich reproduction of tones.

D2XMODE2
This optional Picture Control simulates color reproduction at a D2X/D2XS Color mode setting of II.
This optional Picture Control is suited to images that will be extensively processed or retouched.

D2XMODE3
This optional Picture Control simulates color reproduction at a D2X/D2XS Color mode setting of III.
Choose for nature or landscape shots. Greens and blues are vividly reproduced.

*To achieve a level of brightness similar to that of images captured with the D2X/D2XS, set Picture Control Brightness to -1. Color reproduction precisely the same as that achieved with D2X/D2XS Color mode settings I, II, and III is not guaranteed with the three D2XMODE1, D2XMODE2, and D2XMODE3 optional Picture Controls.

*D2XMODE1-3 optional Picture Controls must be registered with the camera before custom Picture Controls, based on D2XMODE1-3, can be created using Capture NX or ViewNX and registered with the camera.

A whole set of presets simulating classic film rendition (Velvia, Sensia, Kodachrome, etc.) can be found here.

New Nikon 16-35 f4 AFS VR

2010-02-09T05:30:00.001-08:00

Here is a quick comparison with its predecessor the 17-35 AFS

Focal length	17-35	16-35
Max aperture	f/2.8	f/4
Min aperture	f/22	f/22
Lens construction	13 elements/ 10 groups	17 elements/12 groups
Lens Features	IF 2ED 3Asphs	IF 2ED 3Asphs N Coat
Angle	104° - 62°	107° - 60°
Diaphragm	9 blades rounded	9 blades rounded
Closest focus	0.28	0.28
Filter size	77	77
Diameter x length	82.5 x 106 mm	82.5 x 125 mm
Weight	745	680
Price	$1759.00/£1347.45/€1529.00	$1259.95/£1049.99/€1249.00

Remarks

The new zoom is slower, cheaper but there are little savings in terms of weight and dimensions, it’s actually longer.

While many features are comparable, the optical formula is different. The lower max f aperture and the fact that there are actually more lenses would point to a highly corrected formula to reduce distortion. This result in some weight saving but not much. There is no diaphragm ring on the lens.

Of course the new wide zoom has VR and last generation lens coating (Nano chrystal). Let’s also hope that the AFS is also a bit more nervous.

So If you are tired of carrying around the 14-24 and 24-70 combo, go for this zoom plus a 50/1.4 AFS.

	16-35mm

Lumix LX3 - Handling

2010-02-08T10:32:00.001-08:00

These are my personal considerations after using the camera (and enjoying it) for over a year.

Points that could be improved

Mechanically while it’s good to have dedicated buttons, including the partially programmable Fn button, the controls and buttons should be reinforced. Without going to Nikon’s length (in its SLRs) of securing all switches, the mode dial is often pointed as a command that moves out of position too easily. The same could be said to a lesser extend for the AF selector on the side of the camera.

The aspect ratio selector on the top of the lens is in my experience less prone to misplacement. Concerning this command, while useful, I feel that it could be better used for something else. At the beginning I was playing a lot with it changing format but I quickly realized that if your aim is to make prints the 3/2 format is all you need. The lens is quite wide already and can be complemented with an additional wide angle lens. So you can frame your shot as large as possible and then crop if needed during post production phase.

Instead I think that one area that could be improved would be the zoom controls to allow user to choose exactly which lens setting they would like to use. The S90 allows this though its lens ring. Maybe the lens aspect ratio switch could be made reconfigurable so that it could at least mark the most common intermediate focal lengths (28, 35 and 50) 24 and 60 are already given by the zoom extremes.

Continuing on the lens, the lens cap is often mentioned as an issue as most people would prefer to have a retractable system. A solution is using the Ricoh cap (see video).

Frankly for me this is a lesser problem that having to remove the lens ring cover every time I attach the wide converter. Also Panasonic may have had its priorities wrong in this area as the cover is metal and the screw on the lens is plastic. The screw should be metal. It should be possible to mount the lens cap when the filter ring is exposed (like in any lens). Or was this done on purpose to avoid having people putting filters directly on the lens that would block the zoom functioning…

For any future model, I would invite engineers to spend some time on the lens casing area.

In any case I have developed a reflex (no pun intended) when I switch on the camera I systematically check that the mode selector and the lens switches are in the desired position.

Use of wide lenses complement

Selecting the lens conversion option in the REC menu freezes the lens in its widest position so you are stuck with a fixed wide lens. I never use this function as I prefer to continue using the zoom at the price of increased distortion, which I can possibly try to correct in Photoshop later, if at all needed. Of course, I try not the use the wide conversion lens when I want no distortion at all such as for portraits. For buildings, while I sometimes like to use the wide exaggerated perspective on purpose, most of times I try to use the center of the image to allow to compensate for lens distortion and subsequent cropping in post production.

In any case to shoot architecture correctly, one should use a tilt-shift lens with another camera. Interestingly, a for micro 4/3 an adaptor ring has been produced by a third party company that allows to mount many different lenses and tilt and shift them to some extend (see this site)

Instead I set the “ext.viewfinder” option in the menu to ON as this allows to switch off the display. Frankly, while this makes sense in principle, in the next revision of the firmware they could get rid of this, just allow users to switch off the LCD when they want.

Lumix converter (x 0,75 = 18mm equiv.) I have not tried as I consider it too expensive (200$). However this is the only lens complement that can be corrected in camera by selecting lens conversion in the REC menu. But that freezes the lens in its widest position so you are stuck with an 18mm equivalent lens albeit corrected. Of course you can choose not the use the electronic correction and benefit from the flexibility of the zoom but then you can use another cheaper conversion lens.

Nikon WC-E68 (x 0,68, approx 16mm equiv.) distorts more at edges so try to allow margin to crop. Image quality at center is good. The lens is heavy (relatively speaking). Turns the camera lens into a 16-40mm lens.

Other Third Party (Raydiox and other on Ebay) I have one that is no brand (glass make) intended for video. It has a 0.45x enlargement which makes for approx 11mm equiv. has lot of distortion but turns the camera into an 11-27 mm zoom f2-2.8 (difficult to beat…)

What I like

- The lens: for its reach. let’s not forget this was the first compact camera with a max 24/2 zoom lens. For its resolution/contrast compromise close to Leica classic lenses, colors are natural and pleasantly saturated. With this lens the camera is a killer in low contrast situations. In high contrast scenes, the sensor tends to burn the highlights…

- The LCD screen, better than those found on many DSLR and nearly all compact with just a handful of exceptions (most Lumix upscale compacts e.g. TZ7, S90 and G11, and…that’s it).

- The customization menus, (especially after the addition included in firmware release 2.1.) notably the choice of 4 aspects ratios, white balance bracketing, which in turns may make the camera a bit complicate at first and for beginners.

- Automatic (IA) mode gets great exposures – it’s the only mode in this camera that nearly never burns the highlights. New High-Dynamic scene mode is also great.

- I-Exposure mode, which can be configured on the Fn button has three positions. Does not apply to raw images but cannot be used if shooting raw + jpeg, as it probably it would reduce frame rate. On Jpegs it increases noise significantly. Images taken that way (in most cases) can easily be treated with noise reduction software in post production, which mean that probably a noise treatment could be done onboard possibly

- Macro capacity: this camera has an impressive macro capacity with minimum focusing distance of 1cm (0.03 feet) in wide position, good macro AF performance.

Desired features in future product updates/iterations

Contrary to many users, I don’t mind if a camera with these potentials in terms of image and controls gets bigger and bulkier. Even bigger than EP/GF 1, which by the way inherit many aspects of the LX3, one being the lack of view-finder...

Ideally, LX3’s successor would mainly have to improve the sensor’s dynamic range, by incorporating new developments like backside illuminated image sensor and maybe better definition HD video. And possibly extending the zoom tele range to 75 to 85mm to allow for a real portrait capability, especially if max aperture remains f2.8.

But Panasonic may also consider enlarging its Lumix range toward bigger model in the rangefinder format which could take the following form:

Reviving the Porro prism rangefinder design (reviving the DMC-L1/E-330 chassis) with a 4/3 lens mount updating the electronic a big 3,5”/931k LCD screen, redundant and customizable controls, including click wheel on the back, joystick selector, double processor, ideally one only dedicated to image processing and one for AF, exposure and other camera controls.

[Incidentally 43rumors is asking today “Why not copy the L1 design to create a "rangefinder" styled MFT camera?” …]

A fixed zoom similar to the lens of the LX3 possibly redesigned for a bigger sensor micro 4/3 or even APS sized, with EVF finder on side, such a camera could be also sold by Leica. I think I would buy that camera if remain below 1000$ price tag. Maybe a little more, if really great lens and double core.

- As in many cameras (M9 anyone?), just put two processors

- Tripod socket off center – requires adapter

Shooting with one hand is of course possible and easier when using a compact camera. With your right hand you can control

Shutter release,
Zooming switch
Mode selector
Focus button and
Joystick with your thumb to access quick menu

It is difficult if not impossible for me to hold the camera safely and operate the other buttons on the back – which makes accessing the menu while holding the camera with my right hand quite impossible.

The AF selector is not reachable. Although I understand that it is position on the left side to avoid inadvertent operation, I think it could be placed on right side, given that it can get misplaced during manipulation of the camera anyway.

Overall, I think I would welcome a bigger hand-grip….

Lumix LX3 – shooting raw

2010-02-08T09:27:00.001-08:00

The possibility offered by the camera to shoot Raw, with the further option to have the JPEG in various formats, is a BIG plus. This in conjunction with the Leica lens makes it a killer camera, although to achieve the full potential in terms of image quality it inevitably requires some post-processing.

Much has been written about Panasonic RW2 format. That it applies some lens correction that goes missing if using other programmes than Silkpix. That it applies some degree of noise reduction. Etc. etc.

C-net Asia suggests that setting the Jpeg noise reduction and sharpening to minimum in the mode menu would also allow better post-processing for the RW2 files.

1.1. Codecs and conversions

Anyway it took some time for the RW2 format used by the LX3 to become supported by the main photo editing software programmes ~~and it remain unsupported by Mac OS (although Silkpix and Photoshop for Mac function with RW2)~~.

For Mac OS users you ~~have~~ can to use Jpegs or convert RW2 to DNG or TIFF.

[Update 02/10/2010 Apple add compatibility for LX3 and D-Lux4Digital Camera RAW Compatibility Update 3.0]

For Windows to display RW2 images on Windows Vista and 7 get the LUMIX RAW Codec 1.0 here

For other Windows WIC enabled OS, you may use WIC RAW Codec pack

Windows live photo gallery can convert RW2 into Jpegs, MS own format WMP or HD photo as well as TIFF. (go to FILE>Make a copy> save as type)

Similar approaches can be found in other free photo viewer programmes (such as Irfan, Fastone, etc.).

DNG conversion can be done through Adobe photo manipulation software. Adobe stand-alone and free DNG converter can be found here also for Mac OS.

Arcsoft raw viewer for WIN also allows to display raw files under WIN OS but does not cover Panasonic RW2

1.2. Example of workflow

Shoot raw (or if you need immediate results and have space also JPEG better quality)

Use any programme that you like. Converting RW2 to JPEG, DNG or Tiff is now fairly common place.

Normally if I shoot both Raw and Jpeg, I would use the jpeg for all practical purposes such as small prints, internet posting, emailing etc.

For this purposes I would intervene little or not at all on the image relying on properly exposed shot. For small format: a bit of contrast and sharpening and some cropping may be necessary, some noise reduction also.

Basically I would convert to jpeg only at end of processing or not at all, as my main aim is to use this longer but more qualitative method to execute my own prints.

Before that I would typically adjust exposure, contrast, and remedy blown highlights as much as possible (which inevitably with this sensor is what I spend on more time than I would wish).

With Lightroom, I use some handy presets notably for Black and White conversion. I find free presets useful especially when they are already organized into a workflow structure (for WB, Tone, highlight/Shadows, midtones, etc.). Then I would adjust perspective and crop through Photoshop. Noise reduction can be done possibly using external programmes such as Noiseware or Noiseninja.

Nikon CMOS based DX DSLR

2010-02-04T10:57:00.000-08:00

The current line up of Nikon cropped sensor DSLR (DX) is based around a 12.3 mpix CMOS sensor coupled with a new 14 bits processor (Expeed in Nikon terminology).

This sensor/processor combination has been implanted first in the D300 released in 2007 alongside the similar technology full frame CMOS sensor camera the D3. It was used as a basis for the expert model D90 (2008) and the entry-amateur model d5000 (2009). The D300s constitute an update of the 2007 model, which include video capture and some other minor improvements.

The D300-based series described above constitute a substantial upgrade compared to its predecessor based on the sensor/processor combination initiated on the D200. Please note that D80 and d3000 are also based on this architecture.

Main differences between D300 and D200

	D200	D300

sensor	CCD 10.2 mpix	CMOS 12.3 mpix
processor	12 bits	14 bits
LCD	low res 2.5”/230k	high res 3”/920k
AF areas	11	51
max fps	5	7 (8 wt grip)
meter	same	same
live view	No	Yes
sensor cleaning	No	Yes
D-lighting	No	Yes
max iso	100-3200	100-6400
max usable iso	800	1600
viewfinder	95x	94x

Substantial improvements include

Better low ISO and dynamic range performance

Better, bigger and higher res LCD (3”/920k) for D300/300s/90, smaller res but movable LCD for d5000

Better battery performances (with for most model same type of battery EN-EL 3e for D200/300/300s/90)

In camera corrections like Dynamic Range optimization (D-lighting) or for lens defect like lateral fringes

Introduces live view and video capability (except D300)

The three main models currently available with the 12.3 Cmos sensor differ mainly in built and mechanical aspects which affect price and weight, the image quality is largely comparable.

These are the main differences

D300S

Same as D300 plus

HD Video capture (720p/24fps), stereo input,
Dual card slot (CF+SD)
Live view with dedicated button and artificial horizon

D300

Main differences vs D90/D5000

Bigger viewfinder
More dedicated buttons
More sophisticated metering sensor
Can matrix meter manual lenses
Heavier and more weather resistant mostly metal body
High speed operation and frame rate
Faster and more precise AF (51 points)

D90

Main differences with D300

Smaller and lighter plastic body – not sealed
Smaller finder
But same LCD screen
Slight advantage in high ISO performance
Cannot meter with manual (non-chipped) lenses
Less precise 11 areas AF system
Retains two control wheels (thumb and index) controls
Uses SD card

D5000

Main differences with D300/D90

Lower res LCD movable
No AF motor in body, AF only AFS lenses
Just one control wheel

Main differences between D300/D90 and D5000

	D300	D90	D5000
Body
finder	94x/100%	94x/96%	78x/95%
AF	51	11	11
LCD	high res 3”/920k	high res 3”/920k	2.7”/230k moving
Meter	1005-pixel RGB	420-pixel RGB	420-pixel RGB
meter Ai/Ais	Y	N	N
Weight empty	840g	620g	560g
Price	1200-1500	700-900	500-700

Please note that D200 and D300 share a similar chassis based on F100. D80 and D90 share similar chassis based on F80.

source wikipedia

Images DPreview, DxO

Some Notable Compact

2009-12-22T04:31:00.000-08:00

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

2009-12-01T11:18:00.001-08:00

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

2009-10-19T07:21:00.000-07:00

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

2009-06-16T03:32:00.000-07:00

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

2009-06-02T13:43:00.000-07:00

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

2009-05-28T02:53:00.000-07:00

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

2009-05-28T02:51:00.001-07:00

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

2009-05-17T08:51:00.001-07:00

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

2009-05-17T03:51:00.000-07:00

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

2009-05-17T02:09:00.001-07:00

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

2009-05-11T11:54:00.001-07:00

As seen at NY Motor Show 2009

Based on Alfa 8C chassis

Custom Scion tC

2009-05-11T11:39:00.001-07:00

As seen at NY motor show 2009

Vivitar 24mm f2.8

2009-05-11T10:08:00.001-07:00

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

2009-04-28T14:41:00.000-07:00

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

D5000 video

2009-04-14T08:13:00.000-07:00

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

2009-04-14T06:35:00.000-07:00

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

2009-03-27T09:45:00.000-07:00

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

2009-03-27T06:56:00.000-07:00

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

2009-03-20T08:07:00.000-07:00

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

2009-03-18T05:06:00.000-07:00

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

2009-03-03T10:13:00.000-08:00

(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

2009-03-03T07:49:00.002-08:00

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

2009-03-02T10:16:00.000-08:00

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

2009-02-27T03:30:00.001-08:00

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

2009-02-24T13:56:00.000-08:00

The Secret Machines - "Atomic Heels"

Voigtlander Color Skopar 20mm F3.5 SL II Aspherical

2009-02-23T09:44:00.001-08:00

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

2009-02-20T07:28:00.000-08:00

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

2009-02-18T11:00:00.000-08:00

Assembly

Driving

New Nikon 35mm AFS

2009-02-09T07:08:00.001-08:00

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

2009-02-03T08:13:00.000-08:00

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.

Franz Ferdinand New Album "Tonight"

2009-02-01T10:18:00.000-08:00

Check out FF virtua pick up (incl. built in static...)

Franz Ferdinand "Tonight":

Humm... FF trying to go mainstream.

The record took some time to be completed basically the songs were written already some time ago but FF seem to have spent some time trying to invent some sort of new direction for their sound. Probably conscious of the risk of repeating their previous songs. Possibly the intention has been to bank on their success as star indie rock band to go more in the direction of dance pop music.

They did so through the collaboration with producers which had worked with Kylie Minogue, Sugarbabes, Girlsaloud, etc. In the end it took three successive producers to complete the album. FF members themselves are credited as producers for an unspecified proportion of the album. In addition, another producer who worked more with bands like AC/DC and Metallica was brought in to mix half of the album songs.

The record is presented as a concept album about a night out and the morning after.

Reviews point that the album is very electronic and danceable. Kapranos stated that the album was aimed at the dancefloors.

Also the appearance of band like Vampire Weekend, Hotchips, MGMT has created some competion for FF dancey rock style.

However, in an attempt either to build-up buzz and expectations or simply to confuse the public, in the wake of the release of the album FF have made statements pointing in various directions.

They said the album was influenced by African music and even played a gig with some African musicians.

Then the influence of Jamaica reggae dub was quoted, but apparently all the material that has resulted from this has been put aside on the separate limited edition bonus disc which includes the dub mix of the whole album.

Ulysses

Everybody is questioning the choice of Ulysses as first single. However, I actually quite like it.

FF all seem pretty pissed in the video which seems to mean that a band touring is like Ulysses endless peregrination and that sometimes they despair returning home.

Check out 2 alternate release of the 7" single of Ulysses with different B-side tracks ("Anyone in love" and "You Never Go Out Anymore" on 7"x) and slightly different covers. The b-side on the CD version of the single is also different ("New Kind of Thrill").

The single has been remixed on a 12" vinyl disc, with (good) mixes by Beyond The Wizards, SleeveDisco Bloodbath, Mickey Moonlight and Max Tundra. The bud version of the song found on the special edition bonus disc of the album is also included. It does not include the regular version of the song. The CD version, which apparently exists in promo version only, but does include the original version.

The album is released on regular CD and limited double CD pack including a bonus disc with a dub version of the album called Blood.

A 2xLP vinyl version of the regular album was resealed at the same time.

Album is also released in special edition vinyl set where all songs are on 7" format for a total of 6 discs. The box set that goes for 50 pounds in the UK include a DVD, the album on CD plus the bonus limited CD with the dub version of the album and a booklet.

The special editions of the album are only available in Europe.

Most of the album is composed of songs which could have been used as b-sides for FF hits from their two previous albums.

The most interesting track is "Lucid Dreams" which is basically a built-in remix, with a four-minute jam crescendo which is actually the best part of it. The track is included in a different version in the soundtrack of the 2009 version of the NFL Madden videogame.

The song "No You Girls" is a sort of a parody of ballad (intentional or not) which some in fact may find chauvinistic. Alledgedly, this track uses a human skeleton for percussion.

In the end, the album while pleasing and interesting for some of the new approaches that FF have attempted, is not as captivating as the two previous albums.

Possibly FF moment has passed as the energic neo post-punk trend of the mid of the decade is overtaken by band more influenced by electro-pop and in the end more outright aimed to clubs.

Eggleston @ Whitney

2009-01-22T06:06:00.000-08:00

William Eggleston: Democratic Camera, Photographs and Video, 1961-2008

The exhibition covers various periods of the artist's production. It presents a selection of works from his main projects/exhibitions/books, including early black and white works and video.

Overall, the exhibition constitutes an interesting retrospective of Eggleston work which consist mainly of color photography.

Eggleston and his contemporaries from the 70', such as Stephen Shore and Joel Meyerowitz, contributed to make color photography recognized as a legitimate artistic medium. Still the pictures are not examples of experimentation into the use of color. Probably the photographers of the period were saved by fellows artists who used color to explore abstraction.

Instead, color is used to portray aspects of reality as the photography of that period dwelved quasi obsessively into the dire realism of scenes such parking lots and gas stations, motel rooms, broken toys, etc.

Color became a medium of choice also probably due to its convenience and ability to capture immediacy. For instance, the exhibition include some vintage drug store prints, which are great. Most of the show prints are dye transfer, which like Cibachrome prints, deliver images of popping color and are resistant to fade. The best are the vintage prints included in the "14 pictures" serie which open the show. Modern prints while interesting are less striking. Also very nice are the occasional exhibition prints as well as some inkjet prints, notably from the "5x7" series of portraits.

The exhibition most of all shows Eggleston ease and sophisticated composition skills.

The texts is well written, factual and informative. The relationship between the author and the American south and Memphis in particular is explained in great length.

The early B/W pix and the videos are skipable. In general I would advise against including videos altogether at shows as I find these exhibits noisy and distracting.

Among the series on show

Graceland: Illustrates Elvis kitsch. WE commercial work. Text states WE didn't care much about Elvis.

Election eve: WE to cover Carters election campaign, instead portrays aspects of decaying south, such as old barns. From show/catalogue text

Just before the election of 1976, Eggleston received a commission from Rolling Stone magazine to photograph presidential candidate Jimmy Carter, his family, and their hometown of Plains, Georgia. Carter was away campaigning while Eggleston was there photographing, however, so none of the images show the politician. Although the magazine never printed the photographs, the following year Election Eve was published in two volumes containing one hundred chromogenic prints, taken in Plains and the surrounding area.

The publication’s format was based on Alexander Gardner’s 1865 two-volume Gardner’s Photographic Sketch Book of the Civil War, which contained original albumen prints of sites, scenes, and people associated with the Civil War. More than a century later, Eggleston’s Election Eve presents the South as a place of flat fields, grand old trees, and dilapidated wooden structures interspersed with some signs of modernity, like oil tanks, or plastic flags blowing in the wind. Bypassing any overt references either to the violent war that divided the country or to the important southern Democrat, Eggleston’s images of the land tell their own story of past and present.

Los Alamos: result of several trips WE took in the late 60' and early 70', most spontaneous work, predates "Guide", never published, great example of travel photography.

WE Guide/MoMA 1976: classic stuff

Black Keys Live

2009-01-22T05:49:00.000-08:00

Recorded in Amsterdam in 2006

Just to remind how it was supposed to sound before the "mickey mouse experience"...

Check out Dan Auerbach solo album "Keep It Hid" (Nonesuch),

To be released February 10.

Note that Vinyl LP version contains one 180g vinyl LP in a gatefold jacket which also includes the CD in a paper sleeve and free MP3 download.

¡Feliz Año 2009!

2008-12-31T08:42:00.000-08:00

Nikon lenses on Canon EOS

2008-12-16T11:00:00.000-08:00

It is possible to mount Nikon lenses on Canon EOS bodies with a simple adapter ring that can be found online. All Nikon lenses become mechanically compatible. Only Nikon G lenses are less practical to use as they have no diaphragm ring (not to mention Nikon S rangefinder lenses). Apart from that all Nikon lenses can be mount bot those with F ring (uncut) and AI/AIS/AF/AFD.

Nikkor S auto 50mm f1.4 on Canon EOS 50D

Of course, you have to focus manually and contrary to Nikon bodies, Canon does not provide focus confirmation. However it provides metering. Lenses focus beyond infinity. So overall, this require a bit of attention and is not as carefree as leaving the AF kit zoom all the time. Results may vary in terms of quality of the images produced depending on the lens used.

With 50D, being a cropped sensor camera, the lenses that are most interesting to use are Macros or fixed tele (200 f4). On 5D, being a full frame camera, one can use nikon wides, 50/1.4, vintage 85/1.4, etc. One interesting feature of EOS 50D/5DmkII is the hability to use live view function for fine tuning the focus (not for action photography). Another approach is to use hyperfocal and rely on auto-ISO function given the good high ISO performances of the cameras.

F-35B - USMC Trials

2008-12-05T02:01:00.000-08:00

So DoD finally came around to the idea of getting the original Yak 38...

F-35B land VTOL trial

YK-38 sea deployment

YK-36 Trials

LUMIX G1

2008-12-01T07:49:00.001-08:00

Ok by now everybody has seen or at least heard about this camera.

It's cool (it comes in red if you want it), compact and delivers good images.

So where is the catch?

No optical view finder - replaced by a electronic one

No prism means no glass - lighter body and less costs

First impressions

Its an improvement compared to bridge cameras but still if you have a nice LCD on the back (which is movable) maybe you don't need at all the viewfinder.

Size - I like the compact camera body and the design, but frankly I hold it with my three fingers (not that I have particularly large hands). In general, I favors using additional battery grips which provide better handling especially with large lenses. For using the G1, I would immediately look for the grip - which btw is not foreseen.

The G1 is aimed at being used with compact lenses, but still despite appearances, the camera is not that compact. Canon G10 is more compact - but it has a built in lens which cannot be replaced, so its not an SLR. But 450D and even its lighter version the 1000D have more resolution has an optical view finder with mirrors and everything (ok don't expect High Point) and sells for less. Pentax KM is also an interesting camera and holds better in the hand.

In fact, probably in this league of cameras, the rangefinder type (such as G10 which is the grand nephew of the Canonet) seems better suited for descreet, available light, quality lens photography. The Lumix is rather based on a video camera design, hence electronic view finder, movable screen, and contrast detection autofocus.

The funny thing is that it does NOT have (yet) video capacity. Panasonic displayed a prototype of an HD capable G1 which will be available in 2009. A full HD version may not be available before 2010. Even then, it will remain to be seen which functionalities the lens will retain when shooting video.

The only "concessions" to SLR design are the use of a mechanical shutter and the use of interchangeable lenses, which with the adoption of the new micro four/thirds format are more compact than ever.

First conclusions

Its a novel design which builds on the bridge cameras legacy of combining features from videocam and SLRs.

The camera seem to deliver, according to various commentators, a good level of image quality which position it above the average compact digital camera and among the medium high level of the most recent consumer DSLRs.

Strong points

Image quality

compactness

Live view and in lens Image Stabilisation

LCD panel is large and moving

More questionable points

Has a lot of videocam genes but... no video

Price - you can get a D60 with double lens kit for the price

New lens (sub?) system

Not that compact compared to G10, 450D or Pentax KM

LUMIX G-1 Lenses

2008-12-01T06:16:00.001-08:00

G1 and any other Micro Four Thirds camera can also take any regular size Four Thirds lens through the use of the DMW-MA1APP adapter (see photo enclosed).

However, most of the functionalities of other 4/3 lenses will not work on G1.

Panasonic is not such a big producer of photo lenses, maybe they are even made by others. Therefore I don't know what is the rationale for creating a new range of lenses which is not compatible, given shorter back focus distance, with other cameras using the same bayonet.

However, some nice combinations are possible...

G1 with Leica 25mm lens 4/3 mount + micro 4/3 adapter

Leica R 100mm f2.8 macro Elmarit on G1 with R to 4/3 adapter and micro 4/3 adapter

Panasonic plan to release at least three more lenses in 2009; a 14-140mm f/4-f.5.6 OIS, a 7-14mm f/4 and a 20mm f/1.7 (see prototype on display at Photokina).

The lenses like all 4/3 lenses have a x2 crop factor - so the 20 is a 40mm slightly lower than a normal lens.

Who said pancake?!

Photo Books

2008-11-28T01:45:00.000-08:00

Here is a selection of the most recent and interesting books:

- Nori - La Photographie en France

- Alvarez Bravo - photo poetry

- Depardon - Terre des paysans

- Salgado - Africa

- Mora - la Photographie americaine 58-81

- Frank - Americans (republish)

- Frank - Paris

- Atget - Paris (taschen)

- Stephen Shore - Phaidon monography

-Eggleston - guide

DSLR Cinema 1

2008-11-26T01:53:00.000-08:00

Canon 5D mark II is the first Digital SLR to have full HD (1080p) video capacity.

This is a major breakthrough - see article about HD DSLR

See trial videos

video shot in Japan,

Chicago video

or this one (check out the night helicopter shot)

Nikon D90 is the first Nikon DSLR to have video capacity although in 720p, no AF (VR on VR lenses?) but great low light sensibility (by the look of it).

See video tests here. Video in Paris (cool music...)

Look like people have watched Collateral heavily... (which btw is the first movie to be shot HD )

The idea I guess is that in both cases you can attach a wide range of great lenses , notably fast f1.4 like lenses which allows better control on focus/defocus areas.

Accessories are already available to turn these cameras into movie cameras.

Nikon D400 full HD?

2008-11-26T01:16:00.000-08:00

[UPDATE 1 Dec: Its the D3x! - D400 for PMA ?]

D3X: 24MP full frame - 35 mm sensor (FX in Nikon terminology)

Remark:

D3 is a great camera with unmatched low light/high ISO sensibility. The body is all magnesium and sealed. Its basically an F7 (which never existed of course), that is an F6 with the battery pack welded F5 style, designed by Giugiaro.

However, the pixel count (12MP) is lower than competition for whatever reason. Either Nikon engineers were careful for their first full frame sensor which is also their first CMOS apparently designed inhouse or that they wanted to preserve a comfortable growth margin or they simply wanted to milk the market (D3 release price above 5000$)...

Anyway the direct competition now are Canon 5D Mark II (21MP) and Sony Alpha A900 (24MP) both full frame DSLR.

Nikon also introduced video capacity in its recent D90, hence the perceived necessity for Nikon to release updates of its top cameras D3/D300 to increase pixel count and include video.

So the idea now is that, given the successful parallel launch of launch D3/D300 couple a year ago, a second camera body successor to D300 could be also announced in the future in order to counter the Canon 5DII/50D couple. See interesting posting here.

In any case, here are the most likely expectations:

Minimum or no modification to both chassis. Body, LCD res., prism great, buttons ergonomic are great. Nikon only misses the Canon click wheel on the back - but ok that's a long debate.

Introduction of full HD capacity (1080p), Canon 5DmkII has it

New sensors 16 MP for D400 and 24 for D3x - Origin Sony FF CMOS, cropped for D400. Question if Nikon going back to cooperation with Sony, what about the Nikon sensor developing capacity? Remember that Canon sensors are all developed in house.

Sensor cleaning (at least for D3x)

Image processor to be updated to handle higher resolutions. D3 is 12 channel (4 for each color), with a 14 bit A/D converter and D3 uses 16-bit data transmission throughout the image-processing pipeline. Should these figures increase ?

Italics - Palazzo Grassi

2008-11-25T00:25:00.000-08:00

PALAZZO GRASSI, VENICE

'ITALICS. ITALIAN ART BETWEEN TRADITION AND REVOLUTION, 1968-2008'

from 27/09/2008 to 22/03/2009

Covers a time span of over forty years, Italics is one of the most important exhibitions dedicated to contemporary Italian Art ever organized. Bringing together 250 works by 107 artists.

Curator Francesco Bonami

Exhibition will show in Chicago in 2009 after a stop in Asia (to be confirmed)

Check out !

Cool flash site

Catalogue

Shots

Video1; video2 ; video3

report1 ; report2; report3; report4; report 5;

Exihibitions in Paris

2008-11-24T11:05:00.000-08:00

Picasso and Masters - Grand Palais (book in advance)

Picasso - Manet @ Orsay

Centre Pompidou: Ron Arad, Sottstass, Futurism in Paris

Kristallnacht @ Shoah Memorial

Mantegna @ Louvre

Jeff Koons @ Versailles

Raoul Dufy @ Palais Tokyo

Van Dyck @ Jacquemart-Andre

Gainsbourg @ Cite de la Musique (Villette)

And a little piece of Quai Branly

Mois de la Photo

2008-11-24T10:59:00.000-08:00

The complete programme can be found here.

As always there is a lot to see. Here is a little (personal) selection:

Jeu de Paume: Lee Miller (@ Concorde) hot... as a model and as a reporter, Erich Solomon (@ Sully) snap-shot taken at the international conferences of the 30', I find it great.

Centre Pompidou: Photographic Experiments in Europe (assembled from its collections)

Bibliotheque Nationale: American Photography in the Seventies (check out the video)

Musee d'art Moderne de la Ville de Paris: Dusseldorf - neue objectivitet (Becher & co)

Fondation Cartier-Bresson: Cartier-Bresson/Walker Evans Photographing America, 1929-1947, an excuse to show HCB and Evans pictures again

Maison Europeenne de la Photo: McDermott & McGough vintage style photography - funny but nothing special (150 pix!); Sabine Weiss - Photo humaniste less prominent member

Other interesting minor exibitions: Werner Bischof, Post-War; Pierre Verger Spain; Robert mcCabe Greece; Erwin Blumenfeld

Italians at Mois de la Photo: Basilico Moskow, Jodice , Collezzione Reggio-Emilia (Ghirri's)

Remarks on Mois de la Photo Programme

2008-11-24T10:47:00.000-08:00

- There is no blockbuster exhibition

- Lee Miller's Ok but not such a big name

- HCB in America hardly his best work (maybe also loosely related to MdlP)

- Sarah Moon - somebody explain why this is considered one of MdlP top exhibitions

- Many exhibitions hardly correspond to the theme "European photography tradition and transformation", actually rather to American Photography (BNF, Evans, Miller)

- I don't really see anything major or really representing the status of the European cultural production - except for the Dusseldorf gang, who are really establishment now. Add to this a small selection (4) of "Helsinki school" representatives

- The foreign countries cultural center's fare is a bit of a sideshow - maybe the most interesting is the Slovak one

- The MdlP has been trapped by the concomitant French EU Presidency. Hence desperate attempts to link the programme to vague concepts of changing European identities and frontiers disappearing

- The rest is commercial photography with the usual array of minor photo reporters, publicity and fashion photographers or government sponsored

- BNF 70's- nice and well presented, draws from BNF collection and is assembled to illustrate some themes like street photo, snapshot, etc. Also Beaubourg's on experimental photography draws from its collections

- Crypto/sub theme 1 - the 30's-40's (Miller's war works, Solomon, Bishof, parts of BDIC at Invalides, 30's satirical photomontages, maybe also the Kristallnacht exhibition at the Shoah memorial)

- Crypto/sub theme 2 - travel and landscape photography

- Crypto/sub theme 3 - Cityscapes and urbanism

Avant-garde russe au Musée Maillol

2008-11-24T06:39:00.001-08:00

Une grande exposition titrée “L’avant-garde russe dans la collection Costakis” est accueilli par le musée Maillol à Paris du 13 novembre au 2 mars 2009 couvrant la période de l’art russe depuis la fin du 19^e siècle jusqu’aux années 1930. La prestigieuse collection Costakis, comptant 1300 œuvres, est la plus importante au monde consacrée à l’abstraction russe et sera présentée pour la première fois en France. A travers plus de 200 œuvres, essentiellement des peintures à l'huile, des aquarelles, des gouaches et des dessins, le Musée Maillol présentera l'essentiel et le plus surprenant de cette collection, tant les œuvres des artistes les plus célèbres tels Rodchenko, Lissitzky, Tatline, Popova, que les œuvres d'artistes méconnus, tels Kudriashev, Redko, Anders, Nikritin. Cette collection privée, aujourd'hui conservée au Musée d'Art Contemporain de Thessalonique et à la Galerie Tretyakov à Moscou, a été patiemment rassemblée par Georges Costakis, chauffeur de l’ambassade de Grèce à Moscou, amateur éclairé et passionné de l’art.

(source: Press release Musee Maillol)

Join the Imperial Star Fleet

2008-11-24T03:35:00.000-08:00

Uncle Darth wants You !!!

Courtesy http://digitaleargasm.blogspot.com/

Leica D-Lux 4

2008-11-18T07:30:00.000-08:00

Image quality

Many reviewers indicate that Leica's processing algorithm is different than Lumix's to provide cleaner and smoother images with a "Leica look". Some say that there are differences in term of the color output. Maybe if difference there are these apply only to Jpeg default presets. You can find a comparison of the Jpeg output of the two cameras here and make your own conclusions. However, I spoke with a Leica representative at Leica Stand at Photokina and he told me that image processing is the same.

In the Lumix LX-3, JPEG images look fine, but appear overprocessed even at lower ISO and especially in shadows. This provides for JPEG images to appear soft. The lens may contribute to this as it is not particularly contrasty although things improve by f8.

Both cameras’ RAW files look the same. To process Lumix picture taken in raw mode you have to use the Silkypix software provided with the camera. (UPDATE: Now raw format is recognized by Lightroom or Camera Raw.)

Leica provides Phase One Capture One 4 raw software instead of Silkypix. Neither cameras produce universal DNG format files.

There seem to be a difference between raw images processed through Silkypix (Panasonic) and Capture One (Leica). The latter providing better results.

Dlux-4 and Lx-3 Differences

Pending confirmation whether there are differences in image treatment, the two cameras appear identical except for the following features:

- Body is the same, except the Lumix has a smaller built-in grip while the Leica body is rounded and allow you to use an accessory grip (which looks like a smaller Leica M grip) which provides better handling. The grip is not needed nor compatible with the Lumix.

- Color: both come in black finish but the Lumix can also be bought in silver finish.

- Leica price is 50% higher than the Lumix.

- The Leica comes with a 3 years guarantee.

- Leica accessories, external viewfinder and camera bag, are a bit more luxurious and expensive.

- Dedicated flash unit LEICA CF 22 is also available for the LEICA D-LUX 4.

MTA signs and memorabilia

2008-11-16T10:21:00.000-08:00

Signs use the helvetica type designed by Massimo Vignelli back in the 1970's.

Small signs are comparable to enamel plates in terms of what can be done with them - basically hanging on the wall... Bigger station signs are of course bigger and hence more problematic to accommodate in your living room. Also I doubt that many people dream to turn their living room, when they are fortunate enough to have one, into a subway station.

Original signs can be found in flea markets around town and can be found in different sizes and related to different subway lines. I got this in Brooklyn.

In any case you can follow MTA's regular sales of collectible materiel.

Records stores in NYC

2008-11-13T00:28:00.000-08:00

Please note these are tested, mostly have Vinyls, focus on alternative and electronica.

J&R - Park row - has record annex with vinyl new at decent price

Virgin Union Square has stuff also vinyl - CD on sale often new alternative stuff

Generation records 210 Thomson st - Below Washington square - has a lot - vinyl downstairs

Rebel Rebel - 319 Bleeker st - small but the guy knows everything - for collectors

- In the East village

Other Music 15 E 4th st - lot of stuff - alternative - sell concert tickets

- At St Marks Place

Mondo Kim (6 St Marks) recently everything (CD, video, LPs, new, old etc) on sale 30% off

Next door is Sound - more second hand CD and recent stuff at 10$

Etherea - good selection CD/LP - 66 AV A - Alphabet city

Academy LPs - 415 E 12th - second hand vinyl - you have to dig - some new/reissues

- Brooklyn - Williamsburg - Bedford av subway

Academy annex in Brooklyn - even bigger great for spending a day digging

Earwax also in Williamsburg - new and 2nd hand

Olympus E-30 4/3 system Digital SLR

2008-11-12T03:16:00.000-08:00

Finally a decent camera from Olympus!

Pluses

Bright prism (98%, 1/1 magnification - 1,02)

Image stabilization in camera body

Decent resolution (12 Mpix)

Metering system: 49 zones multipattern - choice of highligh or shadows spot - sound good

Movable videocam style LCD

Good announced shooting rate (5 fps)

Shadow adjustment - Olympus dynamic range optimiser seems limited to shadows brigthening

Built in level, live view, sonic anti-dust system etc.

Also can vary aspect ratios that include: 16:9, 3:2, 7:5, 4:3, 5:4, 6:5, 7:6, 7:5 and 6:6. This would be interesting if you can shoot the same picture in various formats.

Doesn't weight a ton (655g empty no battery)

Question marks:

Price tag - hope lower than competition , if not what's the point?

Movie mode - where is it ?

High ISO performance - if same sensor as Lumix G1 don't be too optimistic

Raw 14 bits ?

Not so convincing:

Multiple exposure (any camera from 40 years ago does that);

So called "art styles", not sure why this is number one marketing argument for Olympus. Ok like I am going to spend around 1000 $/Eur price to take pictures in low quality pinhole mode everyday...

Body is stated "Glass fibre reinforced plastics", humm... this doesn't sound as good as say... "Titanium".

Remarks

I actually like this camera looks and ergonomics.

It offer a lot of controls either directly through dedicated function buttons on the back or through the menu. Viewfinder and movable LCD are clear pluses. The body rigidity and solidity seem to have been sacrificed in the overall equation.

4/3 sensor is always going to be noiser than other sensors as it packs its pixels over a smaller surface. It is interesting in an approach that aims to achieve compactness and smaller lenses. The Lumix G1 carry this principle even further by adopting the micro 4/3 format. However, in a full blown SLR this may lead to compromises in terms of optical/mechanical facilities (prism, bayonet, shutter and chassis).

Therefore, if the image quality is not there, especially at higher ISOs, then one may wonder why choose this camera over similar or more capable ones from the Sony/Pentax/ikon/Canon competition.

The camera gives you access to a wide range of 4/3 system lenses, including a specially made Leica 25mm f1.4 auto focus. In addition via special adapter rings you can mount M42 screw lenses, old (but good!!!) Olympus Zuiko lenses, Pentax K, Leica R lenses and even Nikon AIS/AFD lenses - of course with limitations: no AF for sure, no metering and no infinite, depending on type of adapter ring, but you may actually benefit from image stabilisation which is in camera. Of course apply crop factor x2 - so great with tele lenses less with wideangles (20mm is a normal), but you will be using the center of the image which will provide better definition.

So the challenge for Olympus is to propose a well designed (although not as tought) body with a convincing image quality. If priced competitively, it may be a winner for Olympus if not maybe wait for a possible next generation E-40.

Panasonic Lumix DMC LX3 - some remarks

2008-11-11T00:43:00.000-08:00

The Lumix LX3 is a very compact, reactive camera with good LCD and 24 mm wide angle lens.

However, the camera tends to overexpose, metering in general requires attention, grain is there in shadows at lower ISOs, at 800 its all over the place (I wouldn't go beyond that), jpeg images are soft by default, battery life not so great in my view.

It's W-I-D-E!!!!

With a wide optical complement you can reach up to 18mm equivalent (f2 !!!!!) which coupled with panoramic 16/9 aspect ratio provides even more leeway. Add to that the excellent grid display which can be selected (with live histogram) on the LCD.

Exposure

It overexposes like crazy, on average exposure compensation -2/3 EV is required. If portions of sky appear in shot you need to go above -1 EV to avoid blowing highlights.

It is my experience that in many situations (except very low contrast ones) you may wish to underexpose you image. You can achieve this by one or, in more complex situations, a combination of the following methods:

exposure compensation button
metering for highlights (sometimes required even with EV compensation)
keeping histogram to the left and avoid touching the right of the scale (unless for inevitable specular highlights and reflections)
using i-exposure mode
use polariser or graduated Neutral Density filter to darken sky

Dynamic range

Please note also that "dynamic range extender" method, called "intelligent exposure adjustment" or i-exposure in the manual, seems to work by actually brightening shadows. The contrary i.e. recovering details in overexposed or blown areas would be pretty complicate. Other manufacturers, like Pentax have a high dynamic range mode that underexposes and digitally processes the image in the same way by working on the shadows to bring back detail. In the LX3 case, you can only count on the image engine processor to carry out the last part of the process. Therefore if you are using this function, you need pay some attention on how you expose your image. Overall i-exposure in my opinion works quite well if it has enough margin to work upon, although don't expect miracles.

Son of M

Another remark, while the metering issue may constitute a problem in some cases, it is possible that the aim of Panasonic (with a strong influence from Leica people probably) was to optimise the camera for low light and contrast situations. Hence, the f2 lens, the tendency to overexpose, and the rather soft image default settings.

If the camera is set to low beeps, no AF assist ight, no LCD screen and a external optical viewfinder is used, you can achieve a sort of stealth mode, which coupled with the camera's short shutter lag, can get you something close to Leica M discrete street photography experience.

Autonomy

Panasonic and independent reviews state that batteries have excellent performances by CIPA standards. My experience is that if you work on just one battery you will run out of energy in two-three hours of continous shooting. And I am hardly using the flash. This is due to energy hungry features like the zooming motor, big screen, extensive controls that need to be reached more frequently by the menus, powerful image engine, etc.

Extra autonomy may be achieved if you don't use flash, shut down LCD, use external view finder instead to compose, avoid frequent zooming (leave at 24mm as if fixed lens - let's call it the Summicron option, which btw has no parallel in the M range) and keep camera to Program, avoid fidling with advanced functions like film mode optimisation, exposure compensation, raw+jpeg recording, etc.

However, to be on the safe side my advice is to bring along not just one but 2 or even 3 extra batteries. The problem is also that the battery charger provided, which is compact with folding sockets, is also quite slow: it can take up to an hour and a half for a full charge. Multiply by the number of batteries and you can get stuck for quite a while.

24mm f2 ultra wide-angle LEICA DC VARIO-SUMMICRON lens

the Lens is clearly one a the best selling point of the camera. Both in terms of wideness (24mm) and brighteness (f2). It is aimed at wide angle photography and I wouldn't certainly complain about that.

The lens sport the typical Leica rendition: sharp while being less contrasty than say... Nikon.

Lens is good but I have impression that noise reduction tends in most cases to destroy the details resolved by lens (can't substantiate but this point would need to be verified).

Lens flares when pointed directly to a light source and with additional lens it's even worse. On the other hand it does not vignette even with the extra lens on. It appears quite consistent center to corner. Distortion is typical of wide angles.

General Recommendations about Buying a New Digital SLR

2008-11-03T04:10:00.000-08:00

Establish your needs and how much you are willing to pay.

- Do you need a camera with high resolution, ISO performance and burst rate and you are willing to pay more and carry heavier load (maybe also as a consequence spend more on higher end lenses to benefit fully from higher resolution). Also, you want to shoot RAW most of the time and want to spend time post processing on you PC. You want to pay between 1500$ and 2500$ for you camera and lens kit. if Yes then go for Canon 50D, Nikon D300 or maybe if you can afford it go directly to Full Frame bodies such as Nikon D700, Sony Alpha 900, Canon 5D mkII.

- Or you want a cheaper (below 1000$) and lighter to carry around camera and are ready to accept less features then you can start with a medium-entry body such as Canon 450D, Pentax K200D, Sony Alpha 300/350 with a double kit 18-70 plus 70-300 or a all-in-one 18-200.

- Intermediate choice which means more money (1000$ and 2000$) and performance, most of times better finders/LCDs screens to be coupled with better lenses - the choice is detailed below and consist mostly Canon 40D, Nikon D90, Pentax K20D, Sony Alpha A700.

Before buying compare bodies and handling to get your own impression (you can go to big department stores that have most cameras on display).

Check offers - most of the lens which are bundled with cameras are less qualitative than better zooms and primes (often plastic body and bayonet) but sometimes the camera is bundled with interesting kit lens e.g. Pentax K20D wt 16-80 f4, also Nikon 18-200 is cheaper when bundled with camera body

Take into account additional costs for: extra battery, UV filters, camera case or bag, memory cards and possibly extra camera grip.

Buy in legitimate stores.

Finally take a look at lens range of each manufacturer. Do you see primes or special lenses that you think you may need in the future to upgrade your system. Is it possible to mount them on on the camera body that you are considering to buy without losing metering or getting cropped images (manual/AF, APS-C/Full Frame)? Whether you already own some lens of the same manufacturer may also dictate your choice of camera body.

Canon 50D compared to its competitors

2008-11-03T03:43:00.000-08:00

Canon 50D is a great camera - strong points high resolution 15 megapixel - high def 3'' LCD screen - quick processing - raw processing 14 bits (which is great if you want to squeeze more dynamic range from your pix - although means more time post-processing) - high ISO capacity reach 1600 without problems after that noise kicks in.

Minuses - costly and heavy, not a solid body as Nikon D300 - high resolution on small captor does not allow high ISO performances to match competition, although processor keeps things under control but 1600 is really the frontier. Overall performances not exceptionally different than 40D.

Suggested Canon lens 17-85 IS, 10-22, some primes (remember cropping factor) 20mm is a 35mm more/less. Ideal choice (but costly) 17-55 f2.8.

An 18-200 IS has been released in conjunction with 50D, which is a convenient all-in-one, but don't expect miracles. Price is around 600$ which is 100 more than 17-85.

Concerning Canon 40D, it still sells for 500$ less than 50D. It has less resolution (10 Mpix), LCD screen has less definition, older image processor. But performances in terms of definition and higher ISO sharpness are good taking into account that it has less pixels than its successor. But for same price you can get Nikon new mid range camera, the D90.

Nikon D90: 12 megapixels - better exposure and AF - HD LCD - great high ISO performance reaches 3200-6400 with slight loss in image quality.

Basically same optical electronics as D300 in lighter, more compact and cheaper body with HD video added as a bonus.

Shortfall - lighter (polycarbonate) body that D300, cannot meter with older manual lenses (which can still be mounted and exposed by "trial and error"), no 14bit raw.

Suggested Nikon lens: 16-85 VR, 18-70 (no stabilized but sharp can be used at high ISO - discontinued but can still be found around), 18-200 VR all-rounder, 18-55 VR (cheap and stabilized), 24mm AFD (Nikon classic get you a 35mm equivalent fixed lens), 70-300mm f/4.5-5.6G VR.

Less interesting in my view - 18-135 (range but not stabilized, plastic bayonet) and 18-105 VR (stabilized, plastic bayonet), third party lenses.

Nikon D300: great solid body, LCD, optical viewfinder, great Nikon exposure and AF, can mount and meter Nikon AI manual lenses, great ISO performances.

Minuses - heavy, expensive.

Other options, Pentax K20D - resolution 15 megapixel, solid body, good viewfinder and ergonomics, in camera image stabilization (on sensor), good price/performance ratio

Goes less confidently above 800 ISO, metering, AF, LCD and shooting rate slightly inferior to competition.

Recommended lens: 16-45mm AF f/4.0 ED AL, plus primes such as DA AL 21mm F3.2 Limited pancake. DA AL 35mm 2.8 macro.

Sony A700 - great body, LCD screen and great optical viewfinder, good price, mechanical stabilization in camera works for nearly most lenses.

But no live view, heavy noise reduction applied by default, good lenses expensive (Zeiss).

Suggested: DT 16-105mm F3.5-5.6. Sony kit lens or Zeiss for Sony-Minolta 16-80 Vario-Sonnar.

Pentax 15mm f4 DA Limited

2008-10-29T06:42:00.001-07:00

Pentax 15mm f4 DA Limited, originally uploaded by pincolatino.

Pentax 15mm f4 DA Limited.

Prototype on display at Pentax stand at Photokina.

It should be available in Spring 2009.

Being a DA lens, this lens may vignette seriously when used on a 35 mm SLR or Full frame sensor whenever Pentax decides to manufacture one.

Pentax has a good 14mm f2.8 lens in the DA range with Extra-low Dispersion (ED) glass and Quick-Shift from AF to MF. It correspond to a 21mm and costs around 600$.

Pentax KM

2008-10-29T03:14:00.000-07:00

Pentax KM + DA Limited lenses

At Photokina, Pentax displayed the new KM digital SLR amateur camera. This is an interesting and compact new body.

It basically has the same specs of the K10, K200 in terms of resolution - 10 Mpix CCD (Sony made?) and a Pentax K bayonet.

So it is compact like a bridge camera, although it offers full SLR features and the possibility to mount almost any Pentax K lens (K, KA, KAF, KAF2); screw-mount M42 lens with an adapter ring; and 645- and 67-system lenses with an adapter.

Add as a bonus the on-sensor stabilization that helps to gain a couple of stops on any lens.

The processor managed dynamic-range expansion function avoids washed out areas in high contrast scenes and generally a wider range of exposure.

Ok, don't expect a super bright and large viewfinder but certainly a better one than the electronic view finders found in bridge cameras. In this regards, it would be interesting to compare viewfinder performances with the Lumix G1 which sports an HD electronic viewfinder to compensate for doing without a mechanical reflex mechanism and prism. I would suspect that optical reflex will always be better.

You can't use the 2.7-inch LCD monitor to compose because believe it or not there is no live view function.

Using KM with Pentax Limited lenses

The KM will be available in November as a kit only package with a simpler (ie plastic bayonet) version of the 18-55 DA zoom.

The great thing is that you can use the Pentax limited fixed lenses on this camera, although the sensor multiplication factor (x1.5) should be taken into account. So for instance, a 50mm equivalent on KM would be roughly a 33 mm lens. While the 21mm lens becomes a 31mm and so on.

The lenses in this Limited range are all beautifully made (especially the first series), they are auto focus lenses, very compact and reasonably priced for what they offer.

The KM is just perfect with Pentax Limited lenses. You can achieve a compact and high quality kit for a relatively good price. The ideal is a KM with 21mm combo for wide angle street/travel photography, as you end up with slightly less than a 35mm, ok at f3.2 this is no Summilux.

The KM with 40mm f2.8 is also a compact and lightweight combo although as a 60mm equivalent it may be less useful everyday. But the use of K bayonet allows a wide range of possibilities, although I don't know if I would like to mount 645 lenses on it.

Pentax KM with 40mm f2,8 DA Limited

SMC FA Limited Lenses

You should note that the existing smc FA limited lenses are in principle not optimized for digital. But given that they are good lenses and the sensor would use only the center of the image, avoiding any light fall off or softness at corners, you may of course use them. The trade-off may be purple fringing. Also, the fact that taking into account sensor multiplication factor you end up with a range of moderate tele lenses (50-65- 115).

On KM 31mm while representing an interesting option, is a bit bulky for what it is (345g) and uses 58mm filters (no problem if you are a Canon user). Also while it has a very nice silver finish, it may not look that good on KM's black body.

The 77mm may also be considered for portraits given its f1.8 aperture although on KM you end up with the equivalent of a 115mm which is in between a 90-105 range for head/shoulder shot and 135mm which is better for head shots. It is compact and lightweight (270g) so maybe you can get closer to your model. Filter is Pentax standard 49mm and it is available in black. Availability of this lens may not be as wide as others.

SMC DA Limited Lenses

Pentax has has issued a new range of Limited lenses for DA that is optimized for digital cameras.

They are on average slightly less bright than the FA series (average 2.8 compared to 1.8 in the previous series). This is a full stop more on average although this may be in part compensated by the KM's shake reduction system in terms of speed but you loose in terms of out of focus (bokeh) areas (which is also diminished by the digital sensor crop factor.) So for portraits with beautiful out of focus backgrounds you have to look somewhere else. On the other side if hyper focal is what you need this may be the good combination.

At Photokina, Pentax had also two other lenses from the Limited range on display: a 15mm f4 DA Limited and a 35mm Macro lens which is new and should be already available.

Pentax KM + DA Limited lenses clockwise from top 21/3.2; 35/2.8 macro; 70/2.4; 21/3.2

Canon Powershot SX1 - cutaway

2008-10-28T07:59:00.001-07:00

DSC_7528-2, originally uploaded by pincolatino.

10 Mpixels - HD video - Digic IV - CMOS

Powershot G10 accessories display at Photokina

2008-10-28T07:57:00.001-07:00

DSC_7522-2, originally uploaded by pincolatino.

Powershot SX1 IS and G10 Lenses compared

2008-10-28T07:56:00.001-07:00

DSC_7525, originally uploaded by pincolatino.

Canon Powershot G10 IS

2008-10-28T07:29:00.000-07:00

OK so last Photokina it was G7 which was a disappointment although built around a completely new chassis, as it lost Raw mode, max f2 lens and movable screen.

Instead it added 10 megapixels, optical stabilisation, more tele range up to 210 (35mm eqiv.), DIGIC III and gained a lot of plastic. I don't know the numbers but it seems to me that it may have not been such a hit. So much that a G8 was never released. Instead the G9 was released a year later which further increased pixel count to 12.1, a wide and better 3.0” LCD .

Now the G10 sports wider lens at 28mm f2.8, DIGIC IV and uses a CCD with 14.7 million pixels.

Interestingly, the SX1 features a 10 Mpixels CMOS. It is the first compact camera to use this type of sensor. Although this is a smaller sensor than those used by Canon 400D - 450D SLRs.

It may be expected that, unless Canon engineers manage to stretch the 1/1.7” CCD pixel density (mind this is a relatively big sensor), the next move could be integrating CMOS into the G series. CMOS is considered as less noisy at higher ISO setting.

Using inversion ring on Nikon SLR

2008-10-28T06:32:00.000-07:00

It's pretty simple use a ring with F bayonet on one side and adequate thread on the other for instance BR2 for lenses with 52mm filter ring and BR2A for those with a 62mm ring (most recent macros).

But then the back of the lens remains exposed, so I would suggest to use a BR3 extension ring to which can be attached a normal UV filter and shade.

This way your normal lens is re-engineered into a macro lens.

Exposure need to be stopped down for metering as diaphragm does not have any connection with the camera body.