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Medium format film scanner from Reflecta

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

Official Press Release
Tuesday October 11, 2011

New Reflecta Midformat Scan MF5000

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

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

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

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

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

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

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

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

ENDS

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

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

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2011.
www.ajaxnetphoto.com 2011.
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The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

RICOH TO GO! - THE RISE AND RISE OF THE CULT - GR IV ANNOUNCED

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

September15, 2011

Ricoh announces the GR DIGITAL IV

The new Ricoh GR IV

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

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

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

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

Rear of the new GR IV

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

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

Pricing:

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

Main Features of the GR DIGITAL IV

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

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

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

Even higher image quality achieved

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

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

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

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

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

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

Customize service

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

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

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

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

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

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

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

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

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

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

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

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

September 15, 2011

GR DIGITAL IV Limited Edition Color Model

Announcing the GR DIGITAL White Edition

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

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

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

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

GR IV Limited Edition White - top

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

Contact Information:
Alpha Digital Services Ltd : UK Exclusive Distributor

01189 337000
Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2011.
www.ajaxnetphoto.com 2011.
This content may NOT be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

InVisage Unveils QuantumFilm Image Sensors

2010-03-22T22:07:00.000Z

Press Release: 22nd March, 2010.

PALM DESERT, Calif, USA.

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

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

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

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

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

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

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

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

Quantum Film enhanced imaging sensor

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

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

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

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

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

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

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

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

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

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

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

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

2010-03-07T14:40:00.004Z

Press Release. 7th March, 2010.

The DMC-G2 - LUMIX G Micro System

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

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

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

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

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

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

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

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

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

Superb Image Quality

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

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

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

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

HD Movies with Ease Thanks to AVCHD Lite

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

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

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

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

Creativity for Photographers

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

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

iA (Intelligent Auto) mode for Great Shots Every Time

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

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

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

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

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

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

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

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

An Expanding System

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

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

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

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

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

[2] 35mm camera equivalent

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

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

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

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

Remaining time for continuous recording is displayed on the screen.

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

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

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

–ends-

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

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

Ricoh announces the CX3

2010-02-07T14:03:00.008Z

Press Release

Tokyo, Japan, February 3, 2010

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

6. New modes to stimulate creative photography

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

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

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

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

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

Product
Model

Rechargeable battery
DB-100*

Battery charger
BJ-10*

Soft case (black)
SC-90BK

Soft case (brown)
SC-90BN

Neck strap
ST-2

Cable switch
CA-1

*New options.

The CX3 will be available at SRP £299.99 inc

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

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

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

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

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

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

Motion Blur Reduction:
Image sensor shift method image stabilizer

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Operating Temperature Range:
0ºC-40ºC

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

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

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

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

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

New Extending Handle for the Ezybox Hotshoe

2010-01-29T23:39:00.008Z

Press Release

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

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

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

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2010.
www.ajaxnetphoto.com 2010.
http://archive.ajaxnetphoto.com
This content may be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

New Tilthead Bracket with Locking Shoe Mount

2009-11-25T22:43:00.004Z

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

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

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

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

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

Availability

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

Pricing

SRP £22.99 Inc vat / JP Code: 192302

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2009.
www.ajaxnetphoto.com 2009.
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New telephoto and wide angle converters from Kenro

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

Press Release: 22 October 2009

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

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

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

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

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

ENDS

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

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Panasonic DMC-LX3 Firmware Update

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

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

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

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

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

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

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

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

-ends-

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

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New wireless flash kits from Kenro

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

News Release from Kenro Ltd - Date: 28 July 2009

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

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

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

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

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

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
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Kodak Retires KODACHROME Film

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

LONDON UK, June 22, 2009

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2009

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Pushing the envelope

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

But, some problems remain.

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

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

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

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

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

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

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

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

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

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

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

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

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

TANK MAN DEJA VU - COLLECTS DART AWARD.

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

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

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

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

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

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

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

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

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

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

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

THE BEAUTY OF BIC

The best thing about the ubiquitous biro is its simplicity.

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

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

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

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

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

Now, Olympus hope to do it all over again.

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

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

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

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

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

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

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

POTATOES, LAMPBLACK AND TWO TAXI - CABS.

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

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

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

REPRO QUALITY

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

(1) GX200_PIER.

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

(2) GX200_DET_1.

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

(3) GX200_DET_2.

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

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

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

(4) GRD2 VISBY

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

(5) GRD2 DET 1.

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

(6) GRD2 DET 2.

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

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

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

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

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

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

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

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

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

(7) DP1 SD10148 1

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

(8) DP1 DETAIL 2.

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

(9) DP1 DETAIL 1.

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

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

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

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

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

(10) DP1 VENDOME 1.

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

(11) DP1 VENDOME 2.

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

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

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

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

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

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

Now?

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

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

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

Press release: Panasonic

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

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

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

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Kenro appoints Sales Office Manager

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

Release Date: 15 April 2009 Kenro Ltd

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

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

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

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

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

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

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

ENDS

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

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Data Robotics unveils DroboPro

2009-04-08T22:40:00.004+01:00

London, UK – 7th April, 2009 –

THE FIRST SMB DATA STORAGE SYSTEM THAT MANAGES ITSELF

Scalable BeyondRAID Platform Eliminates Capacity Over-Provisioning and RAID Lock-In

Data Robotics, the company that is changing the way the world stores and protects digital content, today introduced DroboPro, the first business class storage array that manages itself. DroboPro delivers a radically simplified storage experience enhanced by advanced self-monitoring and self-healing functionality that enables small and medium businesses (SMBs) to maintain uptime in the face of constant data growth. Built on the company’s award-winning BeyondRAID™ virtualised storage platform, DroboPro provides enterprise-level business continuity features – including protection against multiple concurrent drive failures and no-downtime capacity expansion with thin provisioning – while eliminating the lock-in of traditional RAID configurations.

DroboPro with BeyondRAID offers IT managers the unprecedented flexibility to replace failed disks, upsize the capacity of disks, and with one click switch between single and dual disk redundancy without costly downtime. Providing the most straightforward user experience ever designed for business class storage, DroboPro enables companies to devote more resources to business growth and significantly less time and money to managing their storage. With DroboPro IT managers no longer have to make difficult and confining choices upfront about how to provision capacity for the future.

“At many businesses, IT managers are responsible for much more than just storage, let alone having to predict the future of their company’s business and dynamic storage needs,” said David Reinsel, group vice president, storage and semiconductors, at industry analyst firm IDC. “A forward-thinking approach to flexible and highly available data storage, like Data Robotics’ DroboPro, not only should save IT managers capital and administrative costs, but also should provide them more time to focus on managing their front-end applications, such as Microsoft Small Business Server and Microsoft Exchange.”

“It’s critical that our company’s data is always accessible. Devoting time and resources to manage our storage is challenging, especially as our data continues to grow each year. The ability to survive two drive failures and DroboPro’s high-speed iSCSI interface make it the ideal primary storage for our mission-critical applications server,” said Wayne Titus, owner, AMDG Financial. “Because DroboPro manages the RAID levels automatically, we no longer need to buy more storage than we need today in anticipation of estimated future requirements. As our business grows, DroboPro grows with us. We can add additional drives as needed, and the new capacity is instantly available. With DroboPro, we have a high-performance storage solution our business can afford, with the features, functionality, and ease of use that are ideal for any small business.”

DroboPro Features and Benefits

Up to 8 Disks for Instant Expansion to 16TB and Beyond

Customers can grow storage in line with their data capacity needs with minimal effort. To add capacity, customers simply insert a new hard disk or replace the smallest disk with a larger one, even when all eight disk bays are full. Unlike traditional RAID systems, the BeyondRAID technology found in DroboPro enables IT managers to efficiently mix and match disk brands, capacities and speeds, enabling continuous expansion as disk capacities grow. With DroboPro expansion is automatic and instantaneous, and access to data is always maintained.

No Headache Dual Disk Redundancy

The DroboPro Dual Disk Redundancy option protects against the simultaneous failure of up to two hard disks. Customers can engage this option with a single click, without ever losing access to their data. When it runs out of capacity, customers can switch DroboPro back to single disk redundancy with a click. Unlike moving between RAID 5 and RAID 6, there’s no need to reformat or migrate data off of the array, potentially saving hours or days.

The Virtues of Smart Volumes

Smart Volumes allow customers to create new volumes in seconds and manage 16TB volumes over time with ease. The timesaving Smart Volume management technology integrated into DroboPro allows volumes to pull storage from the common pool of disks rather than a specific physical disk allocation. The labour of resizing and migrating volumes is replaced with the simplicity of intelligent engineering.

Triple Interface Featuring iSCSI

DroboPro attaches directly to a server or workstation that requires storage, or to a shared server or workstation on a network that can provide access to multiple clients. Interface options include iSCSI (using Gigabit Ethernet), FireWire 800, and USB 2.0. DroboPro reduces the complexity of iSCSI by introducing zero configuration connection establishment for both Windows and Mac OS X.

Rack Mount Ready, Desktop Quiet

DroboPro fits into a rack mount environment or can sit on a desktop. Dual smart fans automatically manage their speed to optimise both cooling and operating noise. (DroboPro rack-mount sold separately.)

“DroboPro was built on the belief that there is no reason that storage should be complex or expensive in order to be effective. We’ve taken storage to a level that is truly simple and straightforward without losing the necessary features that businesses need,” said Dr. Geoff Barrall, CEO and founder of Data Robotics. “Leveraging the capabilities that are built into DroboPro, businesses can quickly take advantage of this robust, cost-effective storage solution to ease the burden of nonstop data growth.”

Price and Availability

DroboPro is currently available starting at an entry price of £1,099 MSRP with multiple configurations to £3,299 MSRP for a 16TB rack-mountable solution. DroboPro is available now from authorised partners worldwide. For a list of partners or to learn more about DroboPro, please visit www.drobo.com/drobopro.

About Data Robotics

Data Robotics, the company that is changing the way the world stores digital content, develops automated storage products designed to ensure data is always protected, accessible and simple to manage. The award-winning Drobo ® storage arrays are the first to provide the protection of traditional RAID without the complexity. The revolutionary BeyondRAID technology frees users from making the difficult and confining choice of “Which RAID level to deploy?” by providing an unprecedented combination of advanced features and automation, including single and dual disk redundancy, instant expansion, self-monitoring, data awareness, self-healing, and an easy-to-understand visual status and alert panel. For more information, visit Data Robotics at www.datarobotics.com.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2009.
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KODACHROME, EKTACHROME and TAKUMAR Lenses

2009-04-06T20:17:00.009+01:00

Another recent rummage through the shelves of used bookshops - which, incidentally, seem to be diminishing in number around these parts - turned up another collection of Cowboy pictures; that's if you can call a few pages devoted to the subject a collection.

This notwithstanding, the book in which they feature was something of a find for several reasons.

Entitled, America, I love You, the author, the Swiss dentist and amateur photographer Milan Schijatschky, takes the reader on an extravagent pictorial tour of the USA; a selection of photographs edited from his several trips by car, coach and train criss crossing North America over several years.

Another great find! Milan Schijatschky's America, I Love You.

The book is in landscape format, about A3 plus in size. That means a double page spread is A2. Printed and published in 1988 with film separations and litho work on semi gloss paper in Germany, the book showcases some excellent repro becoming available at the time.

Just a few pages, but worth a look. The 50mm SMC Pentax lens has been added to give an idea of page size.

But more fascinating perhaps for some, will be the fact that a high proportion, or possibly all, of the images featured in this tome were originally shot on Pentax cameras and lenses using Kodachrome, Ektachrome and Tri-X film. The author is not specific about which Pentax models were used, although it seems fairly certain from close examination of the reproductions, the original images were exposed on 35mm film. One or two suffer a little from shake, but those which are free of it used across two pages show beyond any reasonable doubt what great lenses Asahi Pentax used to turn out and how well Milan used some of them.

All the colour pictures in this book were shot on Kodachrome or Ektachrome film stock; the few b+w images on Kodak Tri-X.

Pentax aficionados might be able to throw more light on the following, but I recall reading somewhere many years ago the company decided on the name Takumar for their lenses in honour of a great Japanese watercolour painter. They were not wrong in their assimilation and I have always thought their early glass computations held the promise of something special. It is epitomised in this book where the characteristic Takumar colour rendering is very well portrayed. The large scale reproductions are also a terrific example of the magical effect film lends to the image aesthetic, a synthetic version of which I have only seen so far on a small number of dslrs.

It looks straightforward, but exposure timing for this frame was spot on. Just shows what can be done with a great eye, simple kit and Pentax lenses. The spread is very sharp so I'd speculate the lens used might have been the SMC Takumar 24mm f/3.5.

Having reviewed and tested several of the modern digitally compatible Pentax objectives, I remain to be convinced they are all as good as some of the older mechanical lenses. A recent simple test using a 20 year old 50mm f/1.7 SMC Pentax-A lens on a Pentax K10D body completely rubbished the fine detail resolving ability of a modern standard Pentax SMC DA 18-55 f/3.5 - 5.6 AL zoom kit lens while the newer SMC PENTAX -DA* 1:2.8 16-50mm ED AL(IF) SDM faired only marginally better at the 50mm setting. It will be interesting to see how both the modern and older designs fare on the Pentax K20D with it's higher resolution.

And it's not just scenics. Seems Milan could turn his hand to just about anything. The Jazz and Gospel sections are a mix of colour and b+w, probably Kodak Ektachrome for the colour, but he doesn't specify.

America, I Love You by Milan Schijatschky, was published in 1988 by Edition Q, Berlin and printed by Industrie und Presseklischee, Berlin. ISBN 3 9801163 4 4.

Other works previously mentioned on this blog include,

Vanishing Breed - Photographs of The Cowboy and The West by William Albert Allard was published in 1982 by the New York Graphic Society, Little Brown & Co., Boston and printed by Arnoldo Mondadori Editore, Italy. ISBN 0 8212 1505 1.

Cowboys - A Vanishing World, photographs by Jon Nicholson, was published in 2001 by Macmillan, an imprint of Pan Macmillan Ltd, London and printed by The Bath Press in the UK. ISBN 0 333 90208 4.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
Copyright; Jonathan Eastland
www.ajaxnetphoto.blogspot.com 2009.
www.ajaxnetphoto.com 2009.
This content may NOT be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

Ricoh announce the launch of the CX1

2009-03-31T22:55:00.003+01:00

The Ricoh CX1 features the highly evolved image processing engine Smooth Imaging Engine IV together with a CMOS sensor that enables high-speed image processing. The CX1's expanded dynamic range of 12 EV equivalent makes it possible to capture high-contrast scenes in a way not possible with earlier models.

New Features:

1. Enhanced high-speed continuous shooting functions. Smooth continuous shooting. High-speed continuous shooting at approx. 4 frames/sec. Continuous shooting at overwhelming speed. 120 frame/sec. Ultra-high-speed continuous shooting. The M-continuous plus shooting function does continuous shooting that saves the 30 images (30 frames/sec.) taken during the one second or so before the finger is removed from the shutter release button or the 30 images (15 frames/sec.) taken during the two seconds before.
2. Dynamic Range Double Shot Mode - Decisive reduction of overexposure/underexposure.
3. Multi-Pattern Auto White Balance - A dramatic transformation for people photography.
4. Multi-Target Auto Focus - Shoot seven images with different focal distances.
5. Smooth Imaging Engine IV＋CMOS sensor - superb image quality.

Price and Availability:
The CX1 will be available in the UK from 13th March at £299.99 inc VAT

More about Ricoh cameras

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Tamron Develops new 'Life Size Macro Lens'

2009-03-26T21:15:00.005Z

Press release 24th March 2009

Tamron Develops SP AF60mm F/2.0 Di II MACRO 1:1
–Life-size macro lens designed exclusively for digital SLR cameras with APS-C size image sensors* that features a fast maximum aperture of F/2

Tamron Co., Ltd (Mr. Morio Ono, President), a comprehensive manufacturer of optical products with its head office in Saitama City, announced the development of the SP AF60mm F/2.0 Di II LD (IF) MACRO 1:1 (Model G005), a life-size macro lens designed exclusively for digital SLR cameras with APS-C size image sensors* that offers a fast maximum aperture of F/2.0.

The SP AF60mm F/2.0 Di II LD (IF) MACRO 1:1 (Model G005), covering an equivalent angle of view of 93mm when converted to the 35mm format* and boasting a maximum aperture of F/2.0—one stop faster than the F/2.8 maximum aperture found on conventional macro lenses in the same class—is a fast life-size macro lens that delivers dramatically attractive blurred background effects.
The new life-size macro lens from Tamron is expected to be made available in mounts for Canon, Nikon (with built-in AF motor) and Sony.
Price and launch dates will be announced at a later date.

Notes:
* Tamron’s conversion value is 1.55X.
* Di II lenses are designed exclusively for use with digital SLR cameras equipped with APS-C size image sensors and employ an optical system optimized for the characteristics of those digital cameras. Di II lenses are not designed for use with 35mm film cameras or digital SLR cameras with image sensors larger than 24 x 16mm.
* The special note “APS-C size equivalent” is hereinafter omitted.

DEVELOPMENT CONCEPT
Tamron’s macro lenses (SP AF90mm F/2.8 Di MACRO 1:1 (Model 272E), SP AF180mm F/3.5 Di MACRO 1:1 (Model B01) are world renowned for their outstanding optical performance. Particularly, the Tamron SP AF90mm macro lens first introduced in 1979 and subsequently upgraded and renewed seven times since has been highly evaluated by many photographers as a lens that delivers not only attractive out-of-focus effects and sharp descriptive performance in macro photography with its easy-to-use focal length, but also as a lens ideal for portraiture.

Amid the growing popularity of APS-C size DSLRs, Tamron recognizes that there are many photographers who wish to enjoy macro photography with a focal length that provides an angle of view equivalent to 90mm. Tamron therefore developed the SP AF60mm medium telephoto macro lens to meet the desire of those users and goes a step further by providing the extremely fast and desirable maximum aperture of F/2.0. The SP AF60mm is a high performance and versatile lens that is suitable not only for macro photography of textiles, small creatures, flora and more, but also for portraiture by making good use of its easy-to-use focal length, fast maximum aperture and high optical quality even in low-lit conditions.

OPTICAL FEATURES
1. Medium telephoto 1:1 life-size macro lens featuring a fast maximum aperture of F/2.0 that strikes a fine balance between attractive out-of-focus effects and sharpness
The SP AF60mm is a medium telephoto macro lens designed for APS-C size digital SLR cameras that realizes the fast maximum aperture of F/2.0 for the first time in the world 1. Using an optical design approach that attaches methodical importance to optical quality, Tamron’s optical designers have successfully controlled complex movements of respective lens groups in order to restrain the increase in aberration changes due to the fast maximum aperture, thus achieving outstanding depictive performance that is uniformly sharp from the center to the periphery. Since the maximum aperture of F/2.0 provides a depth-of-field that is shallower than that of conventional F/2.8 lenses, the new lens enables the user to expand the range of the macro photographic expression. The SP AF60mm developed by combining Tamron’s accumulated macro lens design know-how is an attractive lens that maintains a well-balanced relationship between sharp image performance and beautiful out-of-focus background effects.

2. Employment of special low-dispersion glass elements
The lens employs two large LD (low dispersion) glass elements in its first group to thoroughly compensate for various aberrations and attain high optical quality.

3. Working distance of 100mm, the longest distance among lenses in this class 2
Tamron has realized the long working distance of 100mm from the front element of the lens to the subject in 1:1 life-size macro photography. The long working distance allows the user to take macro shots while maintaining a sufficient distance from such subjects like timid insects that are likely to escape if you move in too close. Also, with this longer working distance, you can prevent capturing the shadow of the lens barrel as is often the case with conventional macro lenses with insufficient working distances.

1 As of February 1, 2009, according to our research of 50-60mm life-size macro lenses
2 As of February 1, 2009, according to our research of 50-60mm life-size macro lenses

4. Meticulous countermeasures against ghosting and flare
Tamron employed new BBAR (Broad-Band Anti-Reflection) multi-layer coatings in order to ensure optimum performance in all photographic situations. The new BBAR coatings enhance the light transmission factors in both the short and long wavelength ranges, a condition that was thought incompatible with conventional anti-reflection coating technology. In addition, Tamron employs internal surface coatings (coatings on cemented surfaces of lens elements) for sharpness, high colour reproduction performance and superior colour balance.

MECHANICAL FEATURES
1. Lightweight and compact macro lens boasts F/2.0 fast maximum aperture
In order to prevent the lens from becoming bulky due to the fast F/2.0 maximum aperture, Tamron’s mechanical engineers thoroughly reviewed the internal constructions of conventional macro lenses and improved the accuracy of precision components by combining Tamron’s accumulated mechanical engineering techniques. Through the employment of precision injection-molded engineering plastic parts with high reliability, Tamron realized a compact body that measures only 73mm ( 2.9in.) in its maximum diameter and weighs a mere 400g (14.1oz.).

2. Internal focusing system for enhanced ease of use
The lens employs an internal focusing (IF) system without changing the overall length of the lens due to focusing. Since the front group of the lens does not extend, the lens is particularly easy to use in close focusing ranges. Tamron has realized the working distance of 100mm, the longest distance among lenses in this class 4. The internal focusing system combined with new optical solutions to realize this longer working distance allows the user to enjoy macro photography comfortably while maintaining an adequate distance from subjects.
4 As of February 1, 2009, according to our research of 50-60mm life-size macro lenses

3. Full-time manual control mechanism
Delicate focusing control is essential in macro photography. The lens incorporates a full-time manual control mechanism that enables the user to manually adjust focus without engaging the AF/MF switchover button, even when in the auto-focus mode. In addition, the lens employs a large focus control ring to ensure a solid grip and precise control when manually focusing.

4. Simple and attractive outer design
The lens employs a new outer design that is more refined and smoother in its overall contours by minimizing concavity, convexity and variations in its profile to match various digital SLR cameras. The lens barrel features a delicate matte finish, which enhances the high quality appearance of the lens.

SPECIFICATIONS
Focal Length : 60mm
Maximum Aperture : F/2.0
Angle of View (diagonal) : 26 degrees and 35 minutes (APS-C size equivalent)
Optical Construction : 14 elements in 10 groups
Minimum Focusing Distance : 0.23m (9.1in.)
Max. Magnification Ratio : 1:1
Minimum Working Distance : 100mm (3.94in.)
Filter Diameter : 55mm
Overall Length : 80mm (3.15in.)*
Maximum Diameter : 73mm (2.9in.)
Weight : 400g (14.1oz.) *
Diaphragm Blade Number : 7
Minimum Aperture : F/22
Standard Accessory : Lens Hood
Compatible Mounts : For Canon, Nikon (with built-in AF motor) and Sony

* The values given are the lens for Nikon.
* The cosmetic design, specifications and performance are subject to change without notice.

Nikon cameras

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New Kodak Z980, Zx1 and Kodak easyshare M380

2009-01-12T21:40:00.005Z

New introductions from Kodak deliver brilliant images, unique ways to create and easy ways to connect

Pocket-sized HD Digital Video Camera and 24x Ultra-Zoom Digital Camera highlight Kodak launches at 2009 International Consumer Electronics Show

London, January 5, 2009 – Eastman Kodak Company (NYSE:EK) today introduced new products and services that make it easier than ever for consumers to make the most of life’s moments, from go-anywhere High Definition video recording to simple, automatic capture of brilliant images.

Kodak’s latest innovations are on display at Kodak’s booth at the 2009 International Consumer Electronics Show in Las Vegas (booth 31400, South Hall).

“These new products deliver great performance but are still so easy to use that you’ll never miss a memorable or important moment,” said Matthew Yarrow, Country Business Manager, for the Consumer Digital Imaging Group (CDG) and the Film & Photofinishing Systems Group (FPG), UK and Ireland, Eastman Kodak Company. “With these new products consumers can count on Kodak to help them capture brilliant images and video, easily share them with friends and family, and create a wealth of lasting memories.”

Leading the introductions is the new KODAK Z980 Digital Camera, featuring a wealth of power and versatility, including a 26 mm wide angle, professional quality, 24X image stabilised optical zoom lens and a vertical shutter release with detachable vertical grip.

“Photographers looking for more from their digital camera will find it in the Z980,” Matthew Yarrow said. “Our innovative Smart Capture feature makes camera adjustments automatically, delivering brilliant images automatically in virtually any setting.”

The new KODAK Z980 Digital Camera offers:
Kodak’s exclusive Smart Capture feature, which analyses scenes and adjusts camera settings to deliver beautiful pictures more often;
26 mm wide angle/24X SCHNEIDER-KREUZNACH VARIOGON Image Stabilised Optical Zoom Lens;
HD picture and video capture;
Vertical shutter release and detachable vertical grip, for greater comfort and control when shooting scenes vertically;
Hot shoe for optional KODAK P20 zoom flash;
Pricing and availability TBC

Kodak also introduced new models to its M-Series Digital Camera line, led by the KODAK EASYSHARE M380 Digital Camera. A sleek but powerful digital camera for style-savvy consumers, the M380 delivers an innovative feature package led by Kodak’s Smart Capture feature. The new camera’s compact design also boasts a 10MP sensor, 5X optical zoom, and 2.7” LCD. The M380 will be available in black, red and teal with pricing and availability TBC.

Kodak expands its line of video cameras with the new KODAK Zx1 Digital Video Camera, a compact and weather-resistant device that enables “go-anywhere” High Definition recording.

The Zx1 allows users to shoot and share high-quality video quickly and simply, with 720p HD video capture – at 60 or 30 fps – a vibrant 2.0-inch LCD screen, and built-in software for easy editing and sharing of content to YouTube™ and other social media and networking websites.

"The Zx1 is a fun and interactive way to engage in ‘on-the-go’ storytelling, and enables consumers to quickly and easily share their adventures online,” said Matthew Yarrow.

The new camera’s feature set includes:
Pocketable 720p HD video capture at 60 fps;
Weather-resistant design that stands up to splashes, dirt and more;
High-quality video capture in bright light or low light - from the beach, to the nightclub;
Easy editing, personalisation, and uploading to YouTube™ or other Internet sites with built-in video software, ArcSoft Media Impressions for Kodak;
Expandable SD/SDHC Card slot for memory cards up to 32 GB, that can record up to 10 hours of HD video*;
Available in five colours: black, red, pink, blue and yellow**;
Pricing and availability TBC

Kodak also unveiled new accessory offerings, including KODAK SDHC Video Memory Cards, customized for faster video transfer and available in 4, 8 and 16 GB capacities to capture and store more HD video.

*Record approximately 20 minutes per 1GB at HD 30fps.
** Colour availability may vary.

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

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

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

© 2009. KODAK and EASYSHARE are trademarks of Kodak.

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Fujifilm's i2 software is a money maker for School Pictures International

2009-01-12T21:26:00.003Z

PRESS RELEASE from Fujifilm UK - Photofinishing Division
Release Date: 7 January 2009

Leading UK school's lab, School Pictures International (SPI), has halved the number of sub-standard images that need to be re-printed following the installation of Fujifilm's Image Intelligence Portrait (i2 Portrait) workflow software.

SPI, based in Mansfield, print around 2 million school's photographs per year and have a reputation as being one of Britain's most quality conscious package processing labs. Managing Director, Cy Yardley, explained how i2 Portrait helps his company: "The key thing about i2 Portrait is that it saves us money, it dramatically cuts down on the need to do things twice. It may sound a cliché, but time is money. As any business will tell you, labour costs are crucial to the success or otherwise of a business, and anything that can reduce my overheads, whilst not adversely affecting quality, is good for me."

Cy continued: "Our business succeeds because, first and foremost, we concentrate on the quality of our products. Delivering excellent results consistently, time after time after time, requires great staff and great equipment. We're very lucky to have such a dedicated team at SPI and in Fujifilm we've got a supplier that matches our continued striving for excellence."

As a trial SPI installed i2 Portrait on one of their four processing lines and the results were so emphatically successful that the company purchased another three versions for the remaining lines. Each line at SPI is configured to a group of customers who all have similar requirements. A dedicated team works on each line to ensure consistent results.

i2 Portrait has a host of features designed to help the operator, Cy explained more: "Within any set of files from a school's shoot there will be a wide range of skin tones and hair colours, plus the lighting may be inconsistent on some images. Manual correction of these files would be impractical, but i2 Portrait helps us to bring all the images up to our high standard quickly and easily. When we were dealing with film we would need to re-print around 25% of all photographs, this figure reduced to around 6% following our switch to digital three years ago. The software has further reduced the need for re-prints to just 2.75%. This means we create less paper waste and our staff are more effective, they now do more work in less time - this benefits the company, our photographers and their customers. We now have a service time of a maximum of five days, no matter how big the order is."

"In the past, some jobs that were taken on film would have required a complete re-shoot because they weren't of acceptable quality. A similar standard would now be saleable - all thanks to i2 Portrait."

SPI welcomes all photographers to their premises and are happy to give a guided tour of the lab. In addition to the processing lines, the building has studios that photographers can use for training purposes or seminars. For more information on SPI contact David Dorner on 01623 657777 or visit www.schoolpictures.net

To find out more about i2 Portrait or any of Fujifilm's wide range of photofinishing solutions contact the Photofinishing sales team on minilabs@fuji.co.uk or 01234 572144.

Ends.

Fujifilm (UK) Ltd
Unit 10A
St Martins Business Centre
St Martins Way
Bedfordshire MK42 0LF
Tel: 01234 572144
E-mail: minilabs@fuji.co.uk
Web: www.fujifilm.co.uk/minilabs

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DALSA launches new 200mm MEMS line

2009-01-10T22:45:00.002Z

DALSA Enjoys Continued MEMS Success, Launches First Phase of New 200mm MEMS Line

Waterloo, Ontario, January 7, 2008 - DALSA Semiconductor, a premier supplier of specialized and custom wafer foundry services and a division of DALSA Corporation (TSX: DSA), announced today the launch of the first phase of a 200mm MEMS (micro electro mechanical systems) manufacturing line at its semiconductor wafer foundry in Bromont, Quebec, Canada. The announcement closely follows several new MEMS supply contracts the Company has recently received for delivery of product in 2009 and for new product development.

The larger 200mm MEMS wafer size will allow DALSA, one of the world's leading pure-play MEMS foundries, to increase its production capacity and meet the growing demand from its customers to manufacture next generation MEMS chips that feature increased functionality, smaller package sizes, and lower costs. The increase in demand for MEMS accelerometers, gyros, microphones, and radio frequency devices is being driven largely by the explosive growth in consumer electronics devices including cell phones, PDAs, and game controllers.

"Adding 200mm MEMS capability at Bromont is a natural step forward to meet the production needs of our customers," commented Brian Doody, CEO of DALSA Corporation. "As we begin to produce 200mm MEMS products, we will continue to focus on the smooth, high-volume operation of our existing 150mm MEMS lines. We have strong ongoing demand from our customers as MEMS devices become an ever greater part of our everyday lives."

About DALSA Semiconductor
Located in Bromont, Quebec, Canada, DALSA's award winning semiconductor wafer foundry has a proud history of innovation in specialties such as MEMS, CCDs, and high voltage CMOS. As a pure-play foundry, our goal is to deliver innovative foundry capabilities as a manufacturing partner to fabless and fab-lite semiconductor companies to help them succeed with their advanced MEMS or IC designs.

About DALSA Corporation
DALSA is an international leader in high performance digital imaging and semiconductors with approximately 1000 employees world-wide. Established in 1980, the company designs, develops, manufactures, and markets digital imaging products and solutions, in addition to providing semiconductor products and services. DALSA's core competencies are in specialized integrated circuit and electronics technology, software, and highly engineered semiconductor wafer processing. Products and services include image sensor components (CCD and CMOS); electronic digital cameras; vision processors; image processing software; and semiconductor wafer foundry services for use in MEMS, high-voltage semiconductors, image sensors and mixed-signal CMOS chips. DALSA is listed on the Toronto Stock Exchange under the symbol "DSA" and has its corporate offices in Waterloo, Ontario, Canada.

For more information, please contact:

Media Relations:
Kumi Verma
Internet Marketing & MarCom Mgr., Intl.
DALSA Corporation
514-333-1301, ext. 227
Email: kumi.verma@dalsa.com

Investor Relations:
Patrick Myles
Vice-President, Corporate Communications
DALSA Corporations
519-886-6001, ext. 2177
Email: patrick.myles@dalsa.com

Some of the statements in this press release, including those relating to the company's strategies and other statements that are predictive in nature, that depend upon or refer to future events or conditions, or that include words such as "expects", "anticipates", "intends", "plans", "believes", "estimates", or similar expressions, are forward-looking statements within the meaning of securities law. Actual results may differ materially from those currently anticipated. Investors are cautioned that such forward-looking statements involve risks and uncertainties. Important factors that could cause actual results to differ materially from those expressed or implied by such forward looking statements are detailed from time to time in DALSA's periodic reports filed with the Ontario Securities Commission and other regulatory authorities. Investors should read review the Business Risks and Prospects sections of the DALSA 2007 annual Management's Discussion and Analysis ("MD&A") to understand the assumptions, risks and uncertainties inherent in forward looking information or statements. DALSA has no intention or obligation to update or revise any forward-looking statements, whether as a result of new information, future events or otherwise.

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Relegation be Damned

2008-12-24T23:15:00.005Z

by
Jonathan Eastland.

The dearth of features, news and articles pertaining to the use of film cameras in the photo press well illustrates the popularity of digital technology across a broad spectrum of enthusiasts; or is it simply that advertising rules the roost? (no answer needed.) Only one, the British Journal of Photography, regularly continues to uphold the values of film for both its reviews of new materials and portfolios by shooters still enamoured by the silver halide.

Just recently, I completed a review of Rollei's ATP 1.1 film - the new(ish) flagship Technical Pan - according to the maker Maco for the Journal. Over a period of several weeks, I exposed rolls on the streets of Paris, Versailles and back home on local UK hunting grounds in a Leica M6.

After a traumatic processing experience, the negatives were scanned on an Epson F3200 at the maximum optical resolution. The results lived up to almost every one of Rollei's claims - except ease of processing in small tanks with stainless spools - and I immediately put in a request for a sample of the 120 medium format version announced at this year's photokina.

ATP 1.1 captures an astonishing amount of fine detail; negatives are virtually grain free, although it is there and visible in large scale prints. Image appearance reminded me of early Kodachrome II sans colour. The joy of course, is that digital post processing tools lend an easy hand here to obtaining the near perfect file ready for printing on a variety of substrates.

This experience also reminded me it had been some time since I developed my own b+w films. I still have a refrigerator full of Kodak Tri-X and other stock, but I shifted to using Kodak's T400CN chromagenic film some years ago, both for the sake of processing convenience (C-41) and the fact that it produces very good fine grain scans. Nearly everything I have shot in b+w in the past few years has been on this stock and I have not been persuaded to return to old favourites yet.

Carrying out the strict procedures necessary for quality development of conventional silver halide emulsions also allows - when one is familiar with the process - time for reflection on other aspects of photography.

On this occasion, one which came back to niggle concerned the reason why, as a working editorial freelance, I need to be using anything but digital capture. At this juncture towards the end of 2008, there is no more argument about which medium appears to produce the better quality image in mechanical print. Digital technology has reached a point where only a few smaller format film emulsions - Rollei's ATP 1.1 is one - capture more noticeable fine detail which remains readable in large scale reproductions. ( I have made a brief review of Kodak's new Ektar colour neg in 35mm fomat which also appears to be endowed with some special characteristics - it is certainly, as the maker claims, very fined grained.) Larger film formats ( 5X4 inch and up) still enable better looking and possibly finer detailed images when the material is laser scanned. For the most part however, full frame digital Nikon, Canon, Sony and the larger format sensors of Hasselblad, Leaf et al, obtain the clean,sharp and highly detailed result most image buyers and stock agencies want. And, as I am not engaged in making prints for exhibition, A3 is about as large as most of what I shoot is ever likely to be reproduced.

There are various threads as to how these thoughts get kick-started. One was Cosina's announcement at photokina of a 6X7cm medium format folding bellows rangefinder camera - the Voigtlander Bessa III. There's no question in my mind about whether or not I need this tool. I will have to have it, if and when it eventually materialises. In the meantime, I continue to run the odd roll of 120 through a pair of sixty year old Balda Super Baldax cameras.

Another is the emotionally charged notion that somehow, my life as a photographer would simply not remain visually connected to the chaos of ordinary life without the mechanical extension of the mind's eye used in attempts to capture slices of it. My film Leica's are the tools of choice and they continue to be used for the purpose.

Yet circumstance and opportunity to shoot prolificly with a Leica M6 has not presented itself so far this year, although at least one body and a couple of lenses has been in the bag on a variety of assignments. The last of these was to Sweden at the end of August where the task to document marine archaeologists was up against a short deadline; digital got the job done on time.

So, I hear the cry, why not use an M8?

I have already made my position on this model clear in previous blogs and nothing so far, leads me to believe this will change any time soon. Indeed, what I think about that tool is partly a result of where Leica Camera AG has been heading for the past couple of years. Company philosophy seems aimed unwaveringly at the digital convert with a basket of products designed to appeal specificly to that market. They may say that film still forms a part of their on-going activities, but I have not seen or heard much evidence of that in recent weeks. Indeed, reading between the translated lines of what has been said, I am inclined to believe the M film camera is quietly but deliberately being sidelined by the company in favour of an all out effort to establish the Leica S system as a digital force to be reckoned with. In other words, there will come a time in the forseeable future when the Leica M camera may only be available 'a la carte' to special order.

In the meantime, the mark II version of the M8 is still not the digital Leica rangefinder I wanted and until they get rid of its motor and replace it with a thumb lever wind and make a digital camera the same dimensions as the M , I will not be interested. Of course, it could easily be argued that for decades the Leica M has been used by enthusiasts with a Motor Winder attached. That device makes more racket than the current M8 but at least it could be removed from the camera body when conditions demanded. And then there is the issue of the camera's ability to produce high quality jpeg files without first capturing an image in RAW. For the money, you could purchase three current entry level Dslrs which do the job far better.

Still, even with a mechanical thumb lever wind, I know the experience of using a digital rangefinder is not the same as using a film camera. I carry an Epson RD1 alongside M cameras, but it gets less use than the latter. I like the RD1 colour space and the camera doesn't feel much different in the hand from an M, but the mystique attached to each frame exposure, the smell and process of inserting or extracting a roll of film from a Leica endows the user with a unique emotional experience far removed from the seemingly clinical and objective process involved in digital capture.

The economy of using digital in the past couple of years has led me temptingly down the route towards wanting more of it at times and there are things I like about some digital camera colour spaces - in particular the hybrid digital/film look manifest by the Nikon D2H. Yet each time I come to process a film image, I am transported back to an era of photography that was truly magical. This isn't about being a luddite, it's about recognising there are things both systems do well and how different the end result obtained is. For some motifs, Kodachrome, Tri-X, Ilford HP5, adds an aesthetic visual appeal to a photograph which tugs at nostalgic emotions giving it an extra dimension. Often, and depending on image content, that extra dimension may seem inexplicable, but I know that it's there. For other motifs, the digital image obtains a quick and efficient result; a loveless, matter of fact representation of reality which lacks the transparent veil of mystique manifest by film.

For the most part, it is only [some] photographers who think about these things. Carrying out limited research amongst friends and acquaintances who are not shooters to see if they can spot differences between film or digitally captured images leads one down a blind alley. It's not a topic which concerns them or one they ever think about and mostly I have found, they can't see the difference when it is pointed out. And what nearly all seem to say when confronted with a selection of b+w pages is how much they 'love' that medium.

So my choice to carry on using film for some projects isn't driven by any fanciful notion that viewers of my work might benefit visually or emotionally one way or another; it's driven more by the artisan in me that says simply, this tool and its medium is the one I prefer for this or that job.

In the case of the Leica-M it has to do with how the tool feels in the hand, the noise it makes (or doesn't) when the shutter is released, the act of inching the lever wind over for another frame, the second nature way it seems to have of being easily manipulated surreptitiously, deftly and quickly to capture a moment observed, the way in which it is not seen or heard by most at whom it is aimed. There are many other reasons I could cite. In the end, I guess, it's about the comfort factor; how a particular tool does not make one think about a lot of bad baggage associated with some other tools, about how one special tool can make an individual feel good about what they want to do with it and how that will affect the end result.

Got to get out and shoot some film.

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Copyright; Jonathan Eastland
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
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New instant film from Fujifilm

2008-12-18T21:34:00.000Z

Release Date: 18 December 2008

Fujifilm Professional has added a new film to its range. FP-3000B is a fine grain, high speed, black and white, peel apart instant film.

This 3000 ISO film was initially designed to be used in the scientific and medical industries. FP-3000B is also now a popular choice for cinematographers and creative photographers. It is easy to use and has a very short development time of just 15-30 seconds.

The film offers exceptional image quality plus superb tonal range with improved highlights. FP-3000B incorporates Fujifilm's own Sigma Crystal emulsion and a new physical development accelerator for the shortened development times, and fine-grain and smooth image quality enhancements.

"We have noticed a significant rise in interest in our range of professional instant films since the discontinuation of Polaroid's instant film products," commented Fujifilm Professional's Jerry Deeney, "The release of FP-3000B further bolsters our range of instant stock which also includes FP-100C Gloss, FP-100C Silk, FP-100B and FP-100C 4" x 5". The 4" x 5" 10-sheet pack film fits into a Fujifilm PA-45 back or a Polaroid 550 pack back.

FP-3000B comes in packs of 10, with each sheet sized at 3.25" x 4.25" and fits into a standard Polaroid 3.25" x 4.25" back. It is available to buy now from www.fujilab.co.uk or all Fujifilm recommended UK photographic distributors and retailers.

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DALSA to licence Alchimer's eG ViaCoat™ technology

2008-12-15T23:13:00.000Z

DALSA Semiconductor to license Alchimer's eG ViaCoat™ technology for MEMS processes with copper through-silicon vias

Bromont, Canada and Massy, France -- DALSA Semiconductor, a premier supplier of specialized and custom wafer foundry services and a division of DALSA Corporation (TSX: DSA), is pleased to announce successful tests in creating conformal copper seed layers on through-silicon via structures (TSVs) using the eG ViaCoat™ process from Alchimer S.A. (Massy, France), a leader in nanometric metallization. As a result of these successful tests, DALSA intends to license Alchimer's technology to enhance its MEMS production capabilities.

"For years, DALSA Semiconductor has fabricated low cost MEMS products using via-first TSV for its 3D integration technologies," commented Luc Ouellet, VP of Technology Development at DALSA Semiconductor. "With Alchimer's copper-based eG ViaCoat approach we can support consumer MEMS products with faster operating frequencies and higher power density with even lower resistance and higher thermal dissipation through TSV. Alchimer's approach for TSV is a strategic technology allowing us to mass produce MEMS devices in cost-sensitive markets."

Alchimer's eG ViaCoat is an electrochemical coating process for the copper seed metallization of TSVs used in advanced 3D packaging applications. eG ViaCoat enables over 50% reduction in cost of ownership compared to dry vacuum processes. eG ViaCoat won the "Best of the West Award" at Semicon West 2008.

In order to secure the license agreement with DALSA, Alchimer successfully demonstrated the coverage performance of its product on deep reentrant TSVs. A reentrant TSV is one whose diameter is narrower at the surface of the substrate than at the bottom; it is a characteristic shape produced by faster Bosch deep reactive ion etching (DRIE) processes. Since eG ViaCoat is able to demonstrate excellent step coverage on reentrant structures, it allows high etch rate Bosch processes to be used, cutting the costs of DRIE steps by up to 50%. These cost savings in the faster DRIE steps are in addition to the cost savings made in the copper seed metallization step. Alchimer also successfully demonstrated the subsequent void-free copper fill on these deep reentrant TSV structures.

Steve Lerner, CEO of Alchimer, added, "We are very excited to be working with DALSA, who is not only a leader in the MEMS foundry business, but also a company committed to creating innovative technologies and quality products."

About Alchimer
Alchimer develops and markets innovative chemical formulations, processes and IP for the electrochemical deposition of nanometric films to create copper interconnects in semiconductor wafers and through silicon vias for 3D packaging. The company is a spin-off from the Commissariat à l'Energie Atomique. Founded in 2001, it won the First National Award for the Creation of High Tech Companies from the French Minister of Research and Industry and is a Red Herring Top 100 European Company. For more information, visit: www.alchimer.com.

About DALSA Corporation
DALSA is an international leader in high performance digital imaging and semiconductors with approximately 1000 employees world-wide. Established in 1980, the company designs, develops, manufactures, and markets digital imaging products and solutions, in addition to providing semiconductor products and services. DALSA's core competencies are in specialized integrated circuit and electronics technology, software, and highly engineered semiconductor wafer processing. Products and services include image sensor components (CCD and CMOS); electronic digital cameras; vision processors; image processing software; and semiconductor wafer foundry services for use in MEMS, high-voltage semiconductors, image sensors and mixed-signal CMOS chips. DALSA is listed on the Toronto Stock Exchange under the symbol "DSA" and has its corporate offices in Waterloo, Ontario, Canada.

For more information, please contact:

Patrick Myles
Vice President, Corporate Communications
DALSA Corporation
Tel: (519) 886-6001 Ext. 2177
Fax: (519) 886-3972
E-mail: patrick.myles@dalsa.com
Web: www.dalsa.com

Emmanuel Guidotti
Alchimer S.A., 15 rue du Buisson aux Fraises, F-91300 Massy, France
E-mail: emmanuel.guidotti@alchimer.com
Tel: +33 1 69 75 43 43
Fax: +33 1 60 11 07 52
Web: www.alchimer.com

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www.ajaxnetphoto.blogspot.com 2008.
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British Journal of Photography's - Vision 2008

2008-11-04T00:10:00.001Z

Just three days to go before Vision 2008 – British Journal of Photography’s annual event for aspiring pro photographers

More than a thousand visitors are expected at Islington's Business Design Centre on Friday 07 November as BJP opens the doors to Vision, its annual event for aspiring pro photographers. Vision 2008 offers young professionals the chance to get their portfolios reviewed by experts from across the industry, take advantage of one-day only deals on the latest photographic kit and hear top photographers speak about their careers.

Attendees will hear a speech by Jacob Aue Sobol, one of Magnum Photos' rising stars and the subject of this week's cover story. He won the Leica European Publishers’ Award for his I, Tokyo project, which will be published by Dewi Lewi next month and which he’ll present at Vision. He’ll also present images from his first, celebrated, book, Sabine, which documents life in an isolated Greenland community.

Simon Roberts will also give the first public viewing of his latest photo series, We English - a follow-up Motherland, his acclaimed book exploring Russian identity. This time he's focused on ideas of nationhood closer to home, taking to the road in a motorhome for six months with his wife and daughter, 'documenting landscapes where groups of people congregate for a common purpose and shared experience'.

Another keynote speaker will be photojournalist Sam Faulkner, who gained wider attention for his Cocaine Wars project in July this year after winning BJP's first Project Assistance Award, sponsored by Nikon. Having documented the cocaine business for more than seven years - work that has already taken him to Colombia, Haiti, Peru, Bolivia and Brazil - he took a further trip to Mexico, funded by the award's £5000 prize.

Last, but not least, acclaimed photographer Simon Norfolk will speak about his work. Best known for his stunning large format images exploring the socio-economic effects of militarism, Norfolk has been acclaimed as the leading British photographer of his generation. He'll talk about the ethos behind his work, the ideas behind his latest series, Full Spectrum Dominance, and how he's built a career shooting challenging subjects sold in some of the world's leading fine art photo galleries.

Vision will also feature its usual mix of portfolio reviews, seminars, career advice and product demonstrations. Confirmed guests at this year's event include Canon, Nikon and Sony, as well as Apple, the British Institute of Professional Photographers, Blurb, Direct Lighting, Epson, Hasselblad, Hewlett Packard, Magnum Photos, The Photographers’ Gallery, Profoto, Rapid Group, Spectrum, the Association Of Photographers and Vice Magazine.

This year Vision is at the Business Design Centre in Islington, London. Tickets cost £10. For more information and to pay online, visit bjp-online.com/vision.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
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New high definition line of filters from Hoya

2008-10-21T23:21:00.000+01:00

Press release

Hoya have just unveiled a new range of HD – High Definition – filters, available in Protector, UV and Circular Polariser in sizes from 52mm through to 82mm.

These new HD filters feature 99.35% light transmission from an 8-layer anti-reflective, multi-coating which help reduce reflections off the surface of the glass, allowing you to capture more light in your photos. This HD coating also keeps the filter both water and oil repellent and scratch & stain Resistant.

Technical Specifications:

HARDENED GLASS
HD filters feature hardened optical glass that has 4 times the breaking strength in ANSI standardised testing (ANSI Z80.3 : 2001) where steel balls of varying size and weight were dropped from a height of 50 inches onto the glass.

HIGH TRANSPARENCY POLARISING FILM
The same polarising film used in the latest high definition LCD TV screens. It has 25% higher light transmission than standard polarising film used in current photographic filters.

HARDENED 8 LAYER WATERPROOF MULTI-COATING THAT IS SCRATCH & STAIN RESISTANT
Newly developed industry leading 8-layer multi-coating yields an average light transmission rate of 99.35% between 400 and 700nm (visible spectrum).

------------------------------------------------------------------------------------------------------------------------------------
Hoya HD filters are available immediately in:
Protector, UV and CIR-PL in standard sizes from 52mm to 82mm.
Suggested Retail Prices from £32.99 for 52mm Protector.
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For review samples please contact Jane Nicholson at
jane@intro2020.co.uk
Intro 2020 Limited. Priors Way, Maidenhead. Berkshire SL6 2HR
Tel: 01628 674411

www.intro2020.co.uk

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may NOT be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

Diluted, Uncharted Waters

2008-09-29T19:04:00.002+01:00

Stock photography; rights managed picture libraries, royalty free and micro stock agencies.

by
Jonathan Eastland

Stock photographers are creative people. Those who survive do so on a mixture of imaginative visual interpretation and business acumen accrued over time. The longer they can stay in the game, the more creative (and or obsessed) they become and the more acumen (business experience) they acquire. Some get rich on it; most toddle along and are intermittently in and out of the game.

It isn't an easy game to stay in and prosper from. The individual hoping to do so will need gallons of stamina, dreams and aspirations beyond normal sensibility, a colossal network of contacts, and the visual and mental ability to be able to turn the ordinary into something special, and, be able to continue to do all of this on a regular basis for decades. It's hard but wonderful work; a privileged position if one can pull it off.

One of the major problems for would-be stock photographers however, is that they often lack the business acumen and or contacts needed to sell their work and today, they lack the knowledge required to build and script internet web sites which would enable them to do so. Hence, the plethora of service sites (e.g. Clickpic, AmazingInternet.) with ready made template driven web pages aligned to e-commerce picture sales and back office admin tools. For a monthly subscription fee, individuals can enter the game, uploading a few images to basic sites. From there, it's dream on. Photographers don't make real money from these portals but it does give those without the aforementioned web building skills a simple route to the world wide window display. All the individual has to do now, is wait for a punter to spot the picture he/she just cannot live without.

So let me tell you a true story before we go further into this minefield.

More than forty years ago, a very young would-be photographer began to carve out the beginnings of a new career in the visual world. The Writers & Artists Year Book, Willings Press Guide, a monthly private subscription journal, the Photojournalist, membership of the fledgling Bureau of Freelance Photographers and a book entitled How to Freelance in Photography provided the much needed inside information on how photographs were sold to the press and publishing world. Very early on, the young would-be photographer began submitting b+w prints to Barnaby's Picture Library and from them, received many enthusiastic notes of encouragement for the high standard of interesting submissions the agency was sure would sell soon.

A few short years down the line, the now independent, barely established would-be and mostly impecunious photographer with a very young family knocked on the door of an international press agency with a demand that it hire the young visitor and send same off to war torn foreign parts. The request was turned down flat and countered with an alternative offer which at first seemed desperately unattractive to the photographer. It was that, specialists in a particular field would always be needed and the applicant in question had some skills which others lacked.

The applicant was me. The skills learned from an earlier, and what had seemed, promising career, had been picked up from childhood while messing about in boats and later, in the Merchant Navy. For reasons I will not go into now, the sea did not figure in any of my plans to be a photographer. The whole idea of it was anathema to my dreams and aspirations of becoming a top news, fashion, sports, war or whatever photo-journalist.

But when times are hard and you have run out of childhood train sets to sell to pay the rent and you desperately want to keep on doing what you know and love most, you have to think again. Thus was dug the foundation of a long and lasting relationship with that news agency, the establishment of my own news and feature service and the setting in place of bricks that would ultimately lead to the building of a specialist picture library.

In the years which followed, I was able to do the thing I most enjoyed far beyond any horizon I had dreamed of when the decision to do it was first made on the sandy shore of Lake Maracaibo. These were wonderful years filled with travel and the excitement of meeting new people in new places, of covering events and producing results my knowledge of the sea had enabled. My own agency did well. Publishers from all over the world came or called to request pictures and stories. The bank manager who had once suggested I give it all up was more than happy to advance capital whenever I needed it, no questions asked. Sub-prime? It's as old as the hills.

But then, things changed. I also changed. And these two moments more or less collided.

First, along came cheap magazine colour reproduction. The b+w images which were the mainstay of agency and library work at the time and which could be easily and cheaply replicated for distribution, were suddenly no longer in demand. Clients wanted colour and they wanted originals and they mostly wanted them exclusively. I kept up the coverage of events and mimicked what was happening with the technology in the international news agencies; Shoot on colour neg and service the clients with colour prints or film positives. My clients didn't like the change. They did not have the technology or the know-how to obtain good quality repro from this material. In house pre-press operators got better results, they said, from reversal materials on new laser drum scanners their bosses had invested hundreds of thousands of pounds into, so the call for trannies came thick and fast. If I could avoid it, I refused to hand over originals. A costly duplication system was set up but more or less at the same time, many magazine clients had reduced the number of news pages so they could fill them with more feature material and allocate more advertising pages. It eat into revenue returns which in turn meant one had to take a longer and harder look at the calendar of events to be covered which would turn a decent profit.

A lot of other incidental changes also took place throughout the late 1980s and early 90s and not least of these was that I no longer had the desire to go chasing around the world to cover the sort of events I had been attending for the best part of 25 years. There were many other things I now wanted to do photographically but it wasn't easy to fit these into a slimmer operating budget. And then there was that other thing.

Digital.

In 1975, I had been shown the skeletal outline of the technology which would revolutionise the way things were done and which now rules the roost. Closely watching the electronic changes taking place through the years at the Associated Press had, in a small way, enabled me to maintain some enthusiasm for the future, as well as, to keep going when things looked really bad for the rest of the world. My picture library had grown and the only way to administer it efficiently was to appoint a manager. Now we had computers they could be used to create a database. Filing was more efficient and requests more reliably serviced. This was crucial as I had learned years before that when a picture researcher made an enquiry for images, there was usually, no deadline. They wanted the images then and there. Same or next day delivery was a given. And people would not come back for another bite if, the first time around, you made them wait a week.

And suddenly it seemed, the phone went dead. The enquiries dried up. Analogue images lay dormant in metal filing cabinets. I survived on day to day events coverage and producing features for a handful of clients still willing to pay good money for my expertise. I started a small book publishing division with dreams and aspirations really beyond my financial capability, but which nonetheless and to this day, keeps a fire in the grate. Like many others, I had underestimated the power of the fledgling world wide web to march rough shod over personal client relations as well as its potential as a tool for efficient distribution.

New experts and service businesses offering opportunites to get on board www sprang up. For the lone entrepreneur, the cost was high. Digitalising thousands of film images and buying into a full blown e-commerce database driven system with all the associated security necessary to protect intellectual property rights required a down payment of several hundred thousand dollars. Today, it's a fifth of that figure, but still eighty grand on the table. Only big players with deep pockets, such as Mark Getty, who reportedly once made the analogy that images would be the oil of the 21st century, would make the technology work. For the rest, how long they might survive in an increasingly competitive world without substantial electronic infrastructure to deliver the goods, was anyone's guess.

Medium and small generalist picture libraries without proper e-commerce web systems would find the going tough in the short term. The lucky ones got bought by Getty, Corbis or Jupiter and their collections amalgamated into the larger stock holdings. Growing content was the thing. The unlucky or obstinate libraries struggled on and if you follow industry performance month by month as I do, you will know that some of the better known names in this small arena continue to go pear shaped. Bankrupted by the times we live in.

And for the independent lone wolf stock photographer, it is the times we live in which should ring alarm bells on the awareness agenda.

There are more printed journals and magazines out there than ever before: More specialist low circulation journals and more up-market glossies than one can keep track of. They all want and demand images to fill their pages. From where I stand however, it seems to me more and more of these, whatever they are, want more and more images at lower and lower cost; or better still, for northing. In the newsprint sector, diminishing advertising revenues force down picture fees and there is now clear evidence of papers regularly using royalty free micro-stock.

Ah! Micro-stock. Stock imagery that is sold for peanuts in a variety of sizes by the likes of iStockphoto.com, a division of Getty Images and which now has a stock content of 5.9m pictures. It's a mere splash in the ocean compared with Getty's colossal 75million plus archive. But there are many others in the micro-stock business with large collections which are added to daily ranging in size from, 10,000 to 1m. I have trouble keeping tabs on the few thousand digital images already uploaded to our own site, never mind the 70 odd year workload worth of analogue images in the library still awaiting digitalisation.

Add to these figures the trillions of free images which now circulate on the internet and one can easily begin to see the real problems facing the many photographers who want to earn a living from what they do best. And it is no longer a question of who can produce the best picture of a dandelion; it seems to me from looking at a lot of stuff that gets into print, any old picture of a dandelion will do. An appreciative culture for great images is as old fashioned as a bakelite telephone handset or a valve radio. We are back to the smudge on the page. If it's colourful and the right shape to fit the slot, it will do. Thus, accountants and business managers dictate to picture researchers the places they must go to find stock.

The largest, cheapest suppliers will do. In the trade, such suppliers are called a 'preferred vendor'. Get a good subscription deal from Getty, Corbis or iStockphoto and clients can pretty much download anything needed from the most obscure to the most popular types of image for a few dollars or less. The magazine or newspaper reader doesn't seem to care one iota about aesthetic image quality content so long as the pages are filled with stuff. The hands of picture buyers are tied to management directives. Result? A world of print in which a plethora of mostly cheap, junk images dominate.

It comes as no surprise then, to learn that PhotoShelter's year long battle to make inroads into the stock photography business failed and they are pulling out. I see their plight in the same light as any other picture agency which has recently gone down the pan. And there are more than enough of those biting the dust almost daily. PhotoShelter couldn't make enough sales to maintain forward momentum and as their CEO Allen Murabayashi said in his blog on the subject, "Licensing a photo is not a simple proposition. It is not like selling a widget." He says he remains defiantly stubborn on the micro-stock front in spite of PhotoShelter's recent experiences, but as Alamy has shown, micro-stock and royalty free is a burgeoning commercial force to be reckoned with whether you like it or not. Even big players have had to find smart ways to deal with that advancing threat and they are no where over the hill with it yet. Save for a handful of enterprises with unique image collections, micro-stock will ultimately win through. Why?

It's a simple business case primary school pupils could easily work out. For too long, photographers and picture agencies, have relied upon a notion of their market place being a closed shop. Closed that is, to a relatively small group of relatively high paying customers. The facts today are very different and blatantly shouting in the face of non believers.

For every modest to high paying print client, there are at least 10,000 individual customers looking for images to use on blogs, newsletters, small town adverts, booklets, cards to send to Grandma and what have you. Those customers never could afford the kind of reproduction fees working stock photographers or their agents might have asked of them in the past, nor did they want to pay those fees, especially when, as many often did and some still believe, they could take a picture 'just as good'. But this market is not afraid to stuff pride in its pocket. Royalty free micro-stock availability saves time and trouble; customers recognise the difference between a picture they could take which might do the job and was adequate, is now complimented by a vast raft of material that is so much better. A couple of dollars spent on one image for Grandma's homemade card saves the time, hassle and costs of doing it yourself. There is therefore, as businesses like iStockphoto have successfully shown, the potential to make millions of dollars from millions of customers rather than a handful of high payers. As Google gears up with a plan to bring the underdeveloped world into this scenario, customer volumes will grow, far outstripping the traditional market place for picture sales. And it will happen soon.

For the enthusiastic stock photographer, or for that matter, any photographer hoping to maintain some sort of a lifestyle based on the ability to press a button, the foregoing may paint a dismally depressing picture ..no pun intended. But the fact is nothing much has changed since I submitted my first images to Barnaby's all those years ago. In ten years, that picture library never sold a single picture of mine that I know of and in the end, I asked for them all back. Within a few weeks I had begun to sell them myself. It taught me a lesson early on. Dross can sell when you find a market for it. Note, I said when, not 'if'.

So what are the real differences between then and now? Today's library content volumes are far higher than 40 years back and the market place is colossal in comparison to its size in those times. The market continues to grow while smaller generalist libraries stand still or fall by the wayside. Then, you knew mostly, who comprised the market. Now, you cannot be sure who is looking or, at what they are looking; and the control of who the stuff is sold to is out of the hands of the photographer.

The demand for all kinds of images continues to grow; stock I would have binned a few years back ticks over earning pennies here and there; others (not mine!) are rocket powered and click with the public imagination, being downloaded thousands of times and earning for their authors, large sums; probably far higher than the same image would have done placed exclusively with a rights managed agency. The best thing about this however is the fact that one no longer needs to spend time and money marketing these images. All energy can be focused on producing the goods; finding new ways to photograph the dandelion. As manufacturers sell more computers and more owners sign up to an ISP, so the chances of another download increase.

What is the next phase?

There is no room for more business models like PhotoShelter hoping to build a different aesthetic genre of stock content. Some photographers will argue that what they do is so different it deserves special attention and higher remuneration. So be it. I think that argument is crap even if a handful of photographers do very nicely thank you for the moment. There isn't anything out there or coming down the tube which has not already been done and in a way, I am on the side of the guy who wins a contract to photograph an event but has to give away the copyright in the images to the client. There is an analogy there between shooting stuff you make available for stock and realising its worth is how many times it can be downloaded. The more the better, but if you place a rights managed restriction on it because you think it is worth more than the next guy's picture, the chances are it will not sell in today's climate.

To understand this clearly, you need to think more about what you are shooting, why and how. A body of work about something of enduring interest to a lot of people and which remains exclusive because of your exclusive access to it, retains some value a long time into the future. A body of work which is essentially a collection of images the subject of which anyone could access to shoot at any time and is of little or no interest to a broad audience, is potentially worthless. But of course, this idea may be endlessly dissected and apportioned its degree of worth relative to opportunity and circumstance; right time, right place, etc., Out of the thousands of pictures in my own library, I probably have no more than a handful I could honestly say are unrepeatable. For the rest, someone else was there, the idea has been copied, it's a very similar subject/interpretation and so on. Most are not unique in that context.

So we are back to numbers. Volume versus worth; quantity versus quality. And I am not talking here about technical quality, even if that is a high priority on an agency list of submission terms and conditions. I'm talking about the kind of aesthetic content quality which differentiates the wood from the trees; the kind of bell ringing stuff that stops people dead in their tracks and makes them look twice. It's a tough nut to crack on a regular basis but it should nonetheless be the aim of photographers who must then go out and explain and demonstrate the same lore to professional picture buyers.

Achieving this aim will not increase the number of big agencies through which images can be sold for high fees; the ones which are already established will remain and none of them are being complacent about their positions; they are constantly looking for new ways to move more stuff more quickly than they already do - one image on average, downloaded from iStockphoto every three seconds...!

I do believe however, in spite of this dire scenario and perhaps because I am an optimist by nature, there is enough apple pie out there for everyone who wants a slice. It may be tough to get, but the fact is that the pie is now very, very large.

These days, I find myself constantly thinking about how to develop the thread of an idea into something of substance capable of earning a penny or two. Such are the tiny returns of micro, I can only think about capturing those ideas on digital, and the closer to home that can happen, the better. Less expense, more profit. But making use of the thousands of dormant analogue images in the library is also a work in progress.

To this end, I long ago dismissed so called expert advice that advocated negatives and trannies needed special high quality scanning to make them usable in print or on screen. Proof is in the print pudding where the micro differences between a negative scanned on a supermarket mini-lab for fractions of a penny and the same image scanned on a drum by a specialist lab for several pounds, is neither here nor there. Yes, there is a difference. The higher cost scan reproduces marginally better in everyday repro, yet for most uses, that margin makes no significant difference to the end result. Customers still buy or subscribe to the magazines and they rarely if ever complain about today's high standards of image reproduction.

Nowadays, I scan the trannies myself, but if supermarkets had the software to do this, I would hand the job over to them just as I do now for colour negatives. Frame for frame, it is the most cost effective and quickest way to get the job done for thousands of frames. A rights managed only agency partner in Europe does well with them, bringing in a reasonable revenue contribution from specialist selections. Frames of general subjects are also distributed through a variety of micro agencies, which, as I have mentioned, are downloaded periodically. But there's no real rhyme or reason why some of those agencies take grainy film images in preference to perfectly clean, and newer digital ones. I'm not wasting time on trying to figure it out either, any more than I am wondering why one image was taken and another six rejected. One day selection seems arbitrary, the next vaguely rational and the next, well, you just wonder which side of the bed the monitor fell out of.

Apart from news and sport coverage which appears in some quarters to be threatened by citizen journalism and the advance of video technology, the current demand for quality still pictures from advertising and editorial sectors remains high. Second guessing the futures market is another matter, but I think on the back of what is known, continuing internet expansion will increase server and delivery capacity exponentially; this is bound to create a further dilution for more expensive rights managed content; for micro agencies it's a different scenario. They rely on a continuous contribution stream from individuals so content here will grow massively too. Some big players currently dominate in this field but the software technology to power similar businesses is out there and available to anyone with money to invest. The waters to the east of Suez remain uncharted, but there are already signs of other players sitting eagerly on the sidelines.

ends.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may NOT be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

New: RICOH GR Digital II Creative Set

2008-09-18T23:59:00.000+01:00

Press Release
London, 11th September 2008

With the GR DIGITAL II Creative Set Ricoh presents a comprehensive solution for photographers wishing to employ to the full the high performance range of professional cameras in the digital compact class.

September 11th 2008 – RICOH INTERNATIONAL B.V. launches the new “GR DIGITAL II Creative Set” thus emphasising once again the exceptional properties of this compact digital camera system. Along with the GR DIGITAL II the Creative Set includes the wide angle converter 0.75x (GW-1), the lens hood with adapter (GH-1), the new external viewﬁnder (GV-1) and strap (ST-2).

Like its multi-award winning predecessor, the GR DIGITAL, the GR DIGITAL II impresses with its uncompromising image quality and professional performance. Supported by the image processor GR Engine II, the newly developed CCD sensor with a resolution of 10.01 million pixels stands for extremely detailed resolution, natural colour and tonal value reproduction as well as a drastic reduction in noise even with high ISO sensitivity.

The GR DIGITAL II is highly esteemed by both committed hobby photographers and professional users especially because of its light-intensive 2.4/5.9 mm GR lens (35mm equivalent: 28mm). Due to the extreme sharpness of its image and its minimal distortion value, this lens exploits to the full the performance range of this top class digital camera.
The classic body which is only 25mm thick and is constructed from a magnesium alloy is robust and ergonomically designed to support conﬁdent handling in any photographic situation. The new functions of the GR DIGITAL II are practice-oriented, e.g. the electronic alignment aid for landscape and portrait shots or the three photo formats (4:3, 3:2 and 1:1) to chose from, all of which all enable storage in RAW mode.

The versatility of the GR DIGITAL II, however, is especially enhanced by the accessories included in the exclusive GR DIGITAL II Creative Set. Thus the wide angle converter perfectly complements the GR high-performance lens with its focal length of 28mm. It reduces the focal distance by a factor of 0.75x to the super-wide angle focal distance of 21mm and is therefore especially suitable for photos of sweeping landscapes, city perspectives or shots of large groups of people. Needless to say, the wide angle converter is perfectly adjusted to suit the performance of the GR lens. The main strength of the compact optical viewﬁnder GV-1 is its ability to capture a motif quickly even under difficult lighting conditions which makes it possible to hold the camera in a way analogous to 35mm cameras.

GR DIGITAL II Creative Set – the professional camera system for extreme quality requirements. Available for £599.99 inc Vat

Contents of the GR Digital II Creative Set:
Camera GR DIGITAL II, Rechargeable lithium-ion battery (DB-60), Battery charger (BJ-6), Wide angle converter (GW-1), External viewﬁnder (GV-1), Lens hood & adapter (GH-1), Leather case (GC-1) and Strap (ST-2)

Accessories included:
USB Cable / AV Cable / Handstrap / Software CD-ROM / Instruction Manuals

GR Digital II Creative Set is available now.

Ricoh UK LTD. (PMMC UK)
Ricoh House, 1 Plane Tree Crescent, Feltham, Middlesex, TW13 7HG United Kingdom
 Contact UK: KL Associates
5 Hall Drive, Long Buckby, Northants, NN6 7QU United Kingdom 
TEL : +44 (0)1327 844 880
Mrs. Kathryn Lamb
E-mail: kathryn@klassociates.com 

To buy prints and see stunning rights protected photo images of our maritime world, art, travel, street, life and special photography collections.
Visit the AjaxNetPhoto Picture Archive Gallery

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may NOT be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

Future Perfect

2008-09-04T19:33:00.003+01:00

by
Jonathan Eastland

Photokina 2008 is almost upon us once more and there is much talk in the wings of how silly some manufacturers who have invested heavily in recent times into the production of special glass for the smaller APS-C type sensors are beginning to look now that Nikon is ramping up its full frame programme.

It hardly seems likely a company like Nikon is about to dump its DX line and focus all attention on FX. Enthusiasts and many pros are more than satisfied with the image quality the smaller sensor delivers and many also prefer the slightly less bulky hardware designs of the DX systems. With new models for this format being introduced now (D90), the speculative scenario seems way off track.

What I find more curious is the recent announcement from Olympus and Panasonic concerning their micro-four thirds system aimed, it seems, squarely at capturing a segment of the market that does not want to be encumbered by hardware that will not fit into a handbag. The companies involved are going down this road because they can and no doubt the tactic will, in the short to medium term, jack up additional and much needed sales.

In the past, I have been sorely tempted on occasion by the innovative design of Panasonic's L1 camera (aka Leica Digilux 3) and although in the several tests I made of both models the 25mm f/1.4 Leica designed lens used produced very good image results, I have not so far been convinced of 4/3rds format ability to better what I can get out of a battered Nikon D1X when the image is scaled up to A3+. And with a D2X, D300 and now D3 or D700 there's no argument.

Indeed, in just about every large scale magazine page repro I have seen from the 4/3rds format, including those from an Olympus E3, the images look soft. Exhibition prints larger than this made from similar sources appear to suffer the same degradation; prints I have inspected made for promotions on Olympus trade fair and exhibition stands lack the micro detail punch one looks for.

For run-of-the-mill, day-to-day newsprint, magazine or book repro quality for a wide range of subjects, how an image looks on the page for a lot of photographers is not an issue and even less so for the majority of readers. But for some shooters it is and always has been. For them, quality repro is the name of the game.

Thus, within the camera manufacturing arena, a lot of soul searching is going on. Some icy cold, heart tugging decisions are being made which will eventually redraw the roadmap depicting just who is at the top of a very skinny tree and who those are hidden in the undergrowth.

For the masses of Dslr users, Nikon and Canon will continue their skirmishing for pole position. Pentax is a rising star, but it will become bogged down again soon unless it launches a full frame sensor Dslr. Sony wants to be a player and a full frame model is an imminent expectation from their stable. Perhaps, with the addition of high performance glass from Zeiss, Sony will carve a niche for itself but it will never be much of a threat to the players at the top of the tree. They face the same public relations problem Minolta endured for years. Great kit, but not a lot of pro users.

For the rest, Photokina 2008 may mark the beginning of the end for some companies who until now, have enjoyed a certain success built on small format analogue reputations.

Foremost among them is Leica who, apart from profits made on the back of bijou digital products of late, have been fighting for survival in a world now dominated by digital imagery. Currently, the only hi-end product the company has in this line is rangefinder based and while there is probably a large enough market out there to keep production and sales of it on tick-over short term, I cannot for the life of me see how it will keep the company afloat in the more difficult times coming. Apart from anything else, the M8 needs a serious make-over to bring its Jpeg image specs up to scratch.

Just recently, working on the streets of the City of Birmingham with Tiananmen tank-man photographer Jeff Widener, I was reminded of just how quiet the shutter of an M7 is. I know that it is quiet, but when working with that camera or any other analogue Leica-M, the level of quietness is not as apparent as when someone else is using one only a few feet away. You simply cannot hear the shutter above the kerfuffle of ordinary street noise on a slow day! The M8, on the other hand, according to my Mac sound recordings, is little different from a Nikon without mirror slap and it's definately noisier than the old motor driven Konica Hexar. A modification to the shutter noise levels which also reduces the fastest shutter time of the M8 has been available for a few months, but the minuscule difference this makes in practice has to be questioned for the price charged. The camera needs a serious revamp and an M8.2 isn't it.

For quite a lot of users of the M8, I have the impression the current unavailability of large to very large maximum aperture lenses of focal lengths appropriate for in-your-face reportage is another issue. Leica have the know-how to resolve this problem, which might, with the same stroke, were exotic wide angle focal length objectives to be offered, also help solve some of the image noise issues of the M8 by enabling coal-hole events to be documented without the need to crank up ISO settings. Bearing in mind the past 50+ year history of f/0.95 lenses and their cost in relative terms, don't expect anything of this nature from Solms, should it come, to be cheap.

Satisfying a handful of digital rangefinder shooters is one thing. The next thing is, if you're a company that wants to stay in the limelight of quality precision miniature mechanical and optical engineering, what to do with the stuff that made the company in the first place; the analogue cameras which still offer discerning users a dream-like photography experience unobtainable with anything else?

The Leica MP and the M7, according to insiders in Solms, are steady sellers. There is still - if internet auction sites were the only places one could go to obtain statistics - a healthy market for the sale of film and, perhaps more importantly, an incrementally expanding market for used rangefinder cameras. Thus, it may be safe to say in spite of the writing on the wall, the MP and the M7 will continue to be produced at Solms or in Wetzlar, but their off-the-shelf retail price is bound to see a hefty jump in the coming months. That said, I do have a dark niggling suspicion that once current stock of these serial products has vanished from dealer shelves, buying a new one may only be possible to special order.

This still leaves Leica pretty much where it is; sidelined in a corner of the market place. What people who love them want to know is, where is the digital R camera? Some do, but most don't want to use their wonderful R type lenses on a 4/3rds dlsr camera made in the Far East. They want the real thing and preferably with a full frame sensor.

Leica have kept about as quiet as any company could be on this issue. There are still no significant rumours, but a conversation I had with both the CEO of Jenoptik and executives at Sinar last year provoked some heavy discussion about where Leica might go with this topic.

Looking at the picture objectively, it's obvious to me the market for small and miniature format Dslrs - i.e. 4/3rds, APS-C type and Full Frame - is pretty well sewn up. There is enough variety of hardware out there to satisfy the needs of the majority of users who have little or no need to pursue bill board sized reproduction (and if they did want to, can easily do so with the current crop of tools.). Bringing in a new full frame Dslr doesn't, in my opinion, add much advantage to the existing basket of goodies or, perhaps more importantly for Leica, enable the company to stay healthy. Yes, they would get a few thousand sales, but Leica's market is finite in this area. Leica glass matched to a sensor capable of producing higher image quality; not just a little bit better than already obtainable from a D3 or an EOS 1D but closer to Hasselblad or Sinar, is probably their only way forward.

Leica are no strangers to the production of glass for larger than 35mm formats. Company history is littered with examples of weird and wonderfully exotic pieces made for surveillance and medical use mounted on cameras most of us have never seen or heard of (Leitz KE28A 6X6). Match this opto mechanical expertise to the kind of electronic technology capable of being produced by a company like Jenoptik and you have the potential to produce something special for a small but elite market place.

What photographers with major advertising clients want is the kind of digital image quality which only very high capital investment can currently purchase. There are enough of these shooters and enough clients with burgeoning advertising budgets to warrant a manufacturer of specialised tools to think carefully before hastily endeavouring to follow the crowd. Leica tried that (with the Digital Modul-R) and it didn't work. They almost certainly will not adopt the Panasonic L10 4/3rds dslr and sell it with an adapter to pacify R type lens owners. I think it is more likely Leica will come to Photokina 2008 with a new digital reflex camera.

Why do I think this? It would make economic sense for a company of Leica's size and expertise in a field where competition to sell digital variations of the traditionally based 35mm sized product is cut-throat to the extent of becoming a massacre. Leica's long silence on the subject of the future of its R-type reflex is another indicator they have been giving the whole subject deep thought though I am not convinced they are yet ready to dump the R line. From a business point of view it would make sense because even if the company is only able to satisfy a couple of thousand orders a year, they will initially be able to charge a premium for the product, its accessories and associated services, just as the competition in the medium format field is already doing.

But it's unlikely I would put my money on such a tool. What I would like from Leica is a digital version of the MP or M7 and I don't mind if that comes with a small crop factor just so long as it doesn't have an electric shutter arming motor. I don't want a rangefinder camera to which I have to add a grip or some other thummy device which gets hooked in clothing and helicopter door frames. I just want the original M design - plain, quiet and simple.

As having this wish fulfilled anytime soon seems so remote, I have looked closely at Sigma's DP1 compact with its full sized Foveon sensor and fixed 28mm f/4 lens. Suffice to say that of all the hi-end compacts currently available featuring a fixed wide angle or short zoom lens, the image quality obtained from the Sigma has them all beat by a wide margin. What the tool does not have is the ergonomic and functional layout of the Ricoh GR2 or GX200 or their comparatively rapid reacting auto-focus. And one other thing; I do much prefer the aesthetic of the 4:3 format ratio of the Ricoh to the near wide screen ratio of the Sigma.

Nonetheless, it seems to me after several weeks of use at home and abroad, the DP1 has plenty to offer. Attempting to use the tool as one might a point and shoot will get you nowhere. One should take the more measured handling approach, learning its little AF foibles or trusting its manual focus system. If there is any kind of analogy at all, using the DP1 is like using an old film folder where object distance has to be guessed and set on the lens with some reference to depth of field and therefore, the setting of an appropriate f/stop, and then, to remember to wind on after each shot using a red frame number window. It isn't quite this mentally demanding, but it's close.

Of the hundreds of frames made with this camera, probably 60% were technically excellent; the remainder faulted by my own haste to bag the frame and forgetting momentarily that the tool simply doesn't have the AF muscle of some other products. It is not a camera I would be using for grab shots at a wedding. There has been talk of Sigma producing a similar sized model with a longer lens but I don't see the point. The DP1 might benefit from an extra half stop maximum aperture but as it is, the 28mm glass turns in a result as good as most users could want, even in low light with the ISO notched up to 400. I've had no hesitation in scaling jpeg images up to full DPS with the resulting repro appearance being far better than any equivalent obtained with a GRD II. Another major benefit is that the Sigma lens is, for all practical purposes, virtually distortion free.

As mentioned previously, smaller cameras with hi-end capability are the name of the game for several manufacturers. Olympus have been on this road for some years. I don't think the legacy of Maitani's Pen F system has ever really been buried and now Micro-Four Thirds is on the cards, there is an expectation abroad of some really exciting products to come. Will they be small enough to worry Ricoh or Sigma? I don't know and it probably doesn't matter, but you'd have trouble fitting a Pen F in a shirt pocket.

© Ajaxnetphoto.com 2008.
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Alternative lens hoods available for Canon lenses

2008-08-29T08:01:00.000+01:00

Press Release: 28 August 2008

Purchasers of Canon lenses have previously had little option other than to purchase the manufacturers own brand of lens hoods.

However there is now an alternative cost-effective solution from Kenro in the form of Marumi Lens Hoods available in a range of Canon Bayonet Mounts. This is useful if you have damaged or miss-placed your original hood from Canon. These hoods are of quality black plastic construction and have bayonet fittings that can also be reversed over the lens for storage when not in use.

The range covers:

MA919029 ET-65111 Marumi Lens Hood Canon EF85/1.8, 100/2.0, 135/2.8
MA919036 ET-65B Marumi Lens Hood Canon EF70-300/4.5-5.6 DO IS USM
MA919043 ET-67 Marumi Lens Hood Canon EF100/2.8 Macro USM
MA919067 EW-63B Marumi Lens Hood Canon EF28-105/4-5.6 USM
MA919074 EW-73B Marumi Lens Hood Canon EF-S17-85/4-5.6 IS USM
MA919081 EW-78B11 Marumi Lens Hood Canon EF28-135/3.5-5.6 IS USM
MA919098 EW-83E Marumi Lens Hood Canon EF16-35/2.8L, EF17-40/4L
MA919104 ET-67B Marumi Lens Hood Canon EF-S60/2.8 Macro USM
MA919111 EW-83J Marumi Lens Hood Canon EF-S17-55/2.8 IS USM
MA919128 EW-7311 Marumi Lens Hood Canon EF 24-85/3.5-4.5 USM
MA919135 EW-60CD Marumi Lens Hood Canon EF28-90/4-5.6 II USM EF-S

Prices range from: £9.99 RRP Inc. VAT to £24.99 RRP Inc. VAT.

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

ENDS

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Fujifilm New Online Shop - (Choose-Film.com Offer)

2008-08-25T14:10:00.000+01:00

** 5% discount for Choose-Film.com customers **

The new Fujifilm Online Shop is now open for business and as a special opening offer we're giving Choose-Film.com customers a 5% discount on all orders for a limited time (cannot be used with any other offer).

You can now purchase Fuji film direct in any available format and quantity, all stocked with long expiry dates, and fridge-fresh.

Visit www.fujilab.co.uk now to see our full range. Once you've made your choices simply enter this code - G6PTTH - to qualify for your 5% discount (discount expires 30.09.08).

We've deliberately kept shipping costs as low as possible and there's no minimum or maximum order. In addition to that, we'll endeavour to dispatch all orders on the same day as long as they are received before 12.00 Noon (excludes weekends and bank holidays).

** Only available to UK residents at this time. ** (We'll be introducing overseas shipping soon)

Fujifilm UK Ltd.

The Fujifilm Online Shop is operated by 2000net.com Ltd, Fujifilm UK Ltd's web agency.

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Two new studio light tables from Kenro

2008-08-20T00:17:00.000+01:00

Release Date: 19 August 2008

Kenro has announced the UK release of two new studio light tables with built-in light stands.

These new additions to Kenro's wide range of studio lighting equipment are ideal for product shots and close-up photography where shadow-free reproduction is required.

The units feature three arms designed for the attachment of flash or continuous heads. The direction of the light source can easily be adjusted from all directions as the arms allow for over and under product illumination.

Each table features a curved acrylic board that creates the illusion of an endless horizon; this means the subject appears to float against the background. One side of the board is glossy and the other side has a matt finish to allow for different effects. Coloured foils or velvets can easily be attached to the board to create a more unusual backdrop.

The tables are available in two sizes, 122cm x 183cm (4 x 6ft) or 76cm x 128cm (2.5 x 4ft). Both the large and small tables are available on their own or as part of a kit. Each kit comprises of a table, including 3 arms, plus three Kenro Slim Light 300 Heads.

Paul Kench, Kenro's managing director, says: "These products extend our range of quality Light Tables for the pro and semi-pro photographer. If you are thinking of earning money from small object, table-top photography, then this is a professional and yet cost-effective way to get into this lucrative market. Plus you have the benefit of not having to use separate light stands, therefore saving valuable studio floor space. This kit can stay set up in the corner of your work area, ready to use at any time, making your product shots quick and easy to set up and shoot."

The large table has a RRP of £581.63 Inc. VAT or £1,039.88 Inc. VAT for the kit version. The small table is priced at £440.63 Inc. VAT or £904.75 Inc. VAT for the kit version.

Product code for the large table: TFST040L and for the kit: TFST040L/KIT.
Product code for the small table: TFST040S and for the kit: TFST040S/KIT.

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

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

ENDS

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Carl Zeiss announces new 18mm super wide angle lens for SLR cameras

2008-06-29T23:16:00.001+01:00

OBERKOCHEN/Germany, 25.06.2008.

Distagon T* 3,5/18: the super wide angle lens for dramatic perspectives

Carl Zeiss expands its range of SLR lenses with the addition of the Distagon T* 3.5/18 super wide angle lens. With an impressive field of view of 99°, this new, rectilinear lens provides dramatic perspectives for architectural, landscape and close-range photography for photographers utilizing full-frame DSLRs or film-based cameras. The Distagon T* 3.5/18 is a derivative of the ZEISS designs for the Contax RTS series of cameras, but utilizing all modern materials and eco-friendly glass materials.

The Distagon T* 3.5/18 is designed with a floating lens element in the rear lens assembly, which results in impressive image quality from infinity to the closest focus range. Utilizing the superior ZEISS T* anti-reflective coating and critically designed interior elements, the lens is remarkably free from stray light artifacts and internal reflections. Images are brilliantly rendered, with extremely crisp resolution right to the edges – even at wide-open apertures under the most difficult lighting conditions. Like all Carl Zeiss SLR lenses, the Distagon T* 3.5/18 uses the ZEISS ‘color matching technology’, which provides homogeneous color rendition across all focal lengths in the product range. The front filter diameter of 82 mm allows for use of standard screw-in filters when combined with the included lens shade.

In addition to the outstanding optical qualities, the special hallmarks of all ZEISS lenses are designed into the Distagon T* 3.5/18. This includes an all-metal mount for secure mounting to the camera, extreme robustness for professional applications in a wide range of conditions and precision workmanship, which result in a ‘silky’ smooth focus rotation.

The Distagon T* 3.5/18 ZF for F-mount cameras is scheduled for delivery beginning July 2008 through authorized Carl Zeiss photo dealers. The Distagon T* 3.5/18 ZK for K-mount cameras will be available within Q3/2008. The suggested list price is 960,00 Euro (without VAT) and includes the standard lens shade. For more information about this new lens, please visit:
www.zeiss.com/photo.

Distagon T* 3,5/18 ZF Technical Specifications
Focal length: 18 mm
Aperture range: f/3.5 - f/22 (1/2 stop intervals)
Number of elements/groups: 13/11
Focusing range: 0.3 m (0.98 ft) - inf.
Angular field* (diag./horiz./vert.): 99/90/67 °
Coverage at close range: 44 x 29 cm (1.7 x 1.1")
Image ratio at close range: 1:12
Filter-thread: M 82 x 0.75
Length (with caps)**: 84 mm (3.3")
Diameter**: 87 mm (3.4")
Weight**: 470 g (16 oz.)
Camera mounts: ZF (F bayonet), ZK (K bayonet)
Scope of delivery: Lens Shade included

* referring to 35 mm format
** dimensions and weight may vary according to the camera mount

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Kodak appoint Matthew Yarrow as Country Business Manager

2008-05-21T22:57:00.000+01:00

London, May 19th, 2008

Kodak Announces the Appointment of Matthew Yarrow as Country Business Manager, Consumer Digital and Film and Photofinishing Groups, UK and Ireland

Kodak, the world’s foremost imaging innovator, today announces the appointment of Matthew Yarrow as Country Business Manager, for the Consumer Digital Imaging Group (CDG) and the Film & Photofinishing Systems Group (FPG), UK and Ireland. Mr. Yarrow will be responsible for leading and managing the consumer business in the UK and Ireland, continuing to strengthen Kodak’s position as a leader in the imaging field.

Mr. Yarrow joins Kodak from Lexmark, Inc, where he was General Manager for the Consumer Division. Prior to this he served as General Sales Manager for Mattel Inc, and served as Director of Sales at Black and Decker Ltd.

Mr. Yarrow’s strong background in sales and business management will be key in driving Kodak’s continuing growth track to ensure sustained and profitable growth through 2008 and beyond.

“Mr. Yarrow brings great leadership skills and an outstanding business perspective to the role of Country Business Manger. I am confident that he will do a great job in his new role, building on previous success and embracing new challenges”, said John O'Grady, Managing Director, Europe, Africa and Middle East, and Vice President, Eastman Kodak Company.

For more information on Kodak digital cameras and accessories, visit www.kodak.co.uk

- ends -

About Kodak

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

To learn more, visit http://www.kodak.com, and our blogs: 1000words.kodak.com, and PluggedIn.kodak.com.

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Fujifilm - Free Film Offer

2008-05-03T17:37:00.000+01:00

Fujifilm Professional has joined forces with innovative London lab, The Printspace, to offer customers free Fujicolor Pro Series film.

Hire a Hasselblad Flextight film scanner at The Printspace for one hour and receive a free 5 roll pack of Fujicolor PRO Series 120 film. Photographers can choose from PRO160S, PRO160C and PRO400H film.

Launched in October 2007, The Printspace occupies two floors of a 4000sq foot area comprising of retouching booths, film scanners, walk-in print stations, large format digital C-type on Fujicolor Crystal Archive paper, Epson Giclée printers and an exhibition space. The Printspace’s ‘DIY’ concept gives photographers the ability to produce their own professional prints on the highest specification equipment with a user-oriented, creative approach to print production.

The Printspace is located at 74 Kingsland Road, London E2 8DL. For directions and further information, visit www.theprintspace.com call 020 7739 1060 or email info@theprintspace.com

All films in the Fujicolor PRO Series have been optimised for digital scanning, and give excellent performance when used for digitally printed images. The whole range offers fine grain and a wide exposure latitude. The PRO160S is a low contrast film, PRO160C is high contrast and the PRO400H is low contrast at a higher speed. They are ideal for photographers who want to combine the exceptional image quality of film with the flexibility that a digital workflow can offer.

For further information on Fujifilm’s range of professional films, visit www.fujifilm.co.uk/professional or email Jerry Deeney on jdeeney@fuji.co.uk

This offer is open from 1st May 2008 and will be available only while stocks last. One free 5 roll pack of Fujicolor PRO Series 120 film to be claimed with the hire of a Hasselblad Flextight film scanner at The Printspace, London. This offer is limited to one pack of free film per person, per day.

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Lumix DMC-FX500 awarded Best Compact Digital Camera in Europe 2008

2008-04-27T20:21:00.001+01:00

Panasonic is pleased to announce that the Lumix DMC-FX500 digital still camera has received the prestigious TIPA (Technical Image Press Association) Award for the Best Compact Digital Camera in Europe 2008.

TIPA (Technical Image Press Association) is an independent association of photo and imaging expert editors, representing 12 countries across Europe. The eminent TIPA Award is presented honouring the product for its superiority in quality, performance and value to distinguish the best in each classified category.

The DMC-FX500 features intuitive touch-screen operation on a large, 3.0-inch LCD to provide an advanced hybrid control system with both touch-screen and joystick control. In addition to the 25mm ultra-wide angle Leica DC lens with 5x optical zoom, manual operation controllability give users great creative freedom. A variety of advanced functions, including Intelligent Auto mode, HD motion picture recording and HD component output, together with slideshows enhanced with music, further enrich the camera and user experience. The official TIPA comment is as below.

“The FX500 is the first of a new family of compact cameras with a 5x, image-stabilized zoom that covers the 25 to 125mm range – ideal for any subject from wide-angle landscapes to telephoto portraits. The images captured by the 10.1 megapixel sensor are processed by the new Venus Engine IV, and ISO sensitivity ranges from 100 to 1600, and from 1600 to 6400 in High Sensitivity mode. The 3-inch touch-screen LCD offers an easy image composition and review. For the more advanced photographer, the FX500 offers a full manual control with an innovative MASP dial solution via the touch-screen.”

For further editorial information please contact:

Tanya Frost
Tel: 01344 853552
Tanya.frost@eu.panasonic.com

Stephanie Jell
Tel: 01344 853550
Stephanie.jell@eu.panasonic.com

Panasonic UK, Panasonic House, Willoughby Road, Bracknell, Berks, RG12 8FP

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New: Water and dust resistant RICOH G600

2008-04-22T22:27:00.001+01:00

Press Release
London, 22nd April 2008

New: RICOH G600

A compact, lightweight, water and dust-resistant, wide-angle, 5x zoom digital camera featuring enhanced shock resistance for outdoor use.

Ricoh Co., Ltd. (president and CEO: Shiro Kondo) has launched the G600, a new water and dust-resistant digital camera which will now be available along with the popular Caplio 500G Wide (launched in May 2006).
The G600 is smaller and lighter yet it still passes Ricoh‘s shock resistance test for a 1.5 m fall, a test that conforms to US Department of Defense standards. In addition to the 5x optical wide-angle zoom lens (equivalent to 28-140 mm for a 35 mm camera), the G600 continues to provide the same strong set of features as previous models, such as a 1 cm macro function and a ﬂash range of 10 m. It is perfect for customers who want to take pictures in a variety of outdoor activities, such as marine sports, mountain climbing, and ﬁshing.

Available: May 2008 at £ 349,99 inc vat.

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Lastolite Launch New Video Demonstrations

2008-04-20T14:30:00.000+01:00

New to the Lastolite website are a host of video demonstrations by the respected photographer Mark Cleghorn showing how a pro photographer uses their products. Many of the innovative Lastolite products demonstrated include the HiLite, Ezybox Hotshoe and Superwhite Vinyl Background.

Please visit www.lastolite.com and look out for their Top Tips logo.

For more information on Lastolite products please contact JP Distribution.

JP Distribution,
Hempstalls Lane,
Newcastle under Lyme,
Staffordshire, ST5 0SW
Tel: 01782 753300 Fax: 01782 753399
Email: info@johnsons-photopia.co.uk
Web: www.johnsons-photopia.co.uk

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Kodak introduce improved Portra 400 Films

2008-04-16T22:36:00.000+01:00

Kodak Introduce Improved Versions of its KODAK PROFESSIONAL PORTRA 400-Speed Colour Negative Films

Technology innovations result in finer grain and better scanning

In a move that underscores its ongoing support of the professional photography market, Eastman Kodak Company (NYSE:EK) has announced improved versions of its KODAK PROFESSIONAL PORTRA 400NC and 400VC films. The latest enhancements to the award winning KODAK PROFESSIONAL PORTRA colour negative film family build on the successful introduction of improved PORTRA films in 2006. The finer grain of the PORTRA 400NC and 400VC films, combined with the spectacular skin tone of the entire portfolio, enable professional photographers to create striking, breathtaking photographs.

“In the past 18 months, since we introduced the new generation of PORTRA film, we’ve sought ways to refine and improve the films to provide even better options for professional photographers,” said Mary Jane Hellyar, president, Film Products Group and executive vice president, Eastman Kodak Company. “These new 400NC and 400VC films, with their even finer grain, will enable photographers to create stunning images with spectacular skin tones and, in addition, provide improved scanning performance for greater enlargement capability.”

The new films offer:

- Finer Grain: Extended use of antenna dye technology enables PORTRA 400NC and 400VC films to deliver finer grain than ever before.
- Outstanding Scanning Results: With finer grain and an emulsion overcoat specially designed for scanners, PORTRA 400 films reproduce beautifully, with either optical or digital output.
- Spectacular Skin Tones: The new PORTRA 400 films continue to deliver smooth, natural reproduction of skin tones.

Kodak introduced the new KODAK PROFESSIONAL PORTRA film family in 2006. Since that time, the films have received numerous industry awards. This year, readers of Studio Photography named PORTRA film as the “Reader’s Choice,” for the second year in a row. In addition to the Studio Photography award, the PORTRA family of films has received:

- American Photo “Editor’s Choice Award” – American Photo’s annual guide to photography’s best new products awarded PORTRA Film the Editor’s Choice for Imaging Essentials.
- Technical Image Press Association (TIPA) – Best Film in Europe 2007: The award, voted for by TIPA members, recognises the fine grain, excellent resolving power and superb colour precision offered to professional photographers by Kodak’s four colour negative professional films: PORTRA 160NC, 160VC, 400NC and 400VC.
- Professional Photographer’s 2007 Hot One Award - Colour Negative Films: The Professional Photographer Hot One Awards, chosen by a panel of 15 practicing professional photographers, honour the photography industry’s best new products for professional application. The panel chose PORTRA film for the colour negative film category.

The new KODAK PROFESSIONAL PORTRA films will be available worldwide on a stock-turnover basis from 2008.

- Ends -

About Kodak

As the world's foremost imaging innovator, Kodak helps consumers, businesses, and creative professionals unleash the power of pictures and printing to enrich their lives. To learn more, visit www.kodak.com, and blogs: 1000words.kodak.com, and 1000nerds.kodak.com.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

The famous world known Vermont Photo Guide Handbook

2008-04-13T20:18:00.000+01:00

"HOW TO FIND AND PHOTOGRAPH THE PHOTOS-SCENICS IN VERMONT”

The Famous 75 page, Yellow Covered, Vermont Photo-Scenic Guide Handbook, written by Arnold John Kaplan, APSA-AFIAP, who has been photographing in Vermont for the past 40 years. He wrote this famous photo guide to help other photographers, artists and tourists find these beautiful scenes because they are so hard to find on your own. You could drive right by many of them without even recognizing them, as the angle and composition from the roadside is incorrect. Photographers, artists and tourists from all over the world have requested this scenic guidebook before going to Vermont.

DON'T GO TO VERMONT WITHOUT IT:
You will save time, gasoline and money by knowing exactly where to find the Famous Vermont Photo Scenes as they are off the beaten track.. This Guide tells you the best time of day to be at each scene for the best lighting conditions and where to place your tripod or easel for the best composition. Also what photo equipment, clothing and supplies you will need,

SPECIAL FEATURES:
There is a description and bird’s–eye view drawing of each Photo-Scenic with the exclusive "Tri-Pod Hole" diagrams to show you exactly where to place your tripod for the best composition for each scene -- Complete detailed road maps and directions-- The best time of year t o go - - The best time of day for the best lighting conditions at each scene -- Hints and tips on each scene to get the best images- Plans your photo day to save time and have you at the right Photo-Scenic at the right time of day for the best photo conditions -- Tells you about the necessary photo equipment and clothing needed to insure a successful and comfortable artistic adventure

NOTE:
There are no photographs in this scenic guide book. It will take you to the Famous scenes, but YOU have to take and make your own original creative images. However, I send along an insert of photos to show you some of the beautiful photo-scenics.

SPECIAL ROAD MAPS:
Detailed road maps, to one-tenth of a mile, will lead you to each Photo-Scenic. The directions are mile-by-mile, turn-by-turn, like a GPS, to make it easy for you to find each scene.

PHOTO SCENES LISTED IN GUIDE:
The Jenne Farm, Placey Farm, Hillside Acres Farm, Sherbourne Farm, L ee Far m , The Gray Farm, Pomfret Highland Farm, Queechee Barns, The Sugarhouse, East Corinth, Vt., East Topsham, Vt., East Orange, Vt., Peacham, Vt., Waits River, Vt., and many more.

E-MAIL ADDRESS: arnkap@comcast.net

HOW TO ORDER YOUR COPY:

USA ONLY: Special Internet price $16.95 each. Includes postage and shipped by First Class Mail. (US Dollars Only)

Payment by personal check or money order, made out to: Arnold Kaplan and send it with your name and address to: Arnold Kaplan, 236 Nottingham Drive, Centerville, MA 02632, USA. I also accept PAYPAL – My ID is: arnkap@comcast.net

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

Lastolite HiLite Bottletop Covers

2008-03-27T07:53:00.000Z

JP Distribution is pleased to announce the arrival of a line of new HiLite Bottletop covers to enhance the ever popular HiLite range.

Simply slip the elasticated bottletop cover over the HiLite background to produce an instant change of colour. They also come complete with a train!

There are four new colours available for the 5’ x 7’ and 6’ x 7’ range:

HiLite Bottletop Cover with Train 5’ x 7’
Black – LAS 8702 SRP £54.99 Inc vat
Grey - LAS 8770 SRP £54.99 Inc vat
Chromakey Blue – LAS 8788 SRP £54.99 Inc vat
Chromakey Green – LAS 8781 SRP £54.99 Inc vat

HiLite Bottletop Cover with Train 6’ x 7’
Black – LAS 8802 SRP £64.99 Inc vat
Grey - LAS 8870 SRP £64.99 Inc vat
Chromakey Blue – LAS 8888 SRP £64.99 Inc vat
Chromakey Green – LAS 8881 SRP £64.99 Inc vat

For more information on Lastolite products please visit:

www.lastolite.com or Tel. 01782 753304

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

Sekonic launch Prodigi Colour C500 and C500R

2008-03-23T16:43:00.000Z

JP Distribution is pleased to announce the Sekonic Prodigi Colour C-500 & C-500R, the world’s first colour meters designed for digital and film colour control.

Main Features:

Four built in sensors that measure colour temperature
Wireless triggering feature compatible with the PocketWizard® (only in C-500R)
Digital and Film compatible
Illuminance measurement
Measured and indicated values
Preset white balance/colour compensation function
Memory function
User friendly design

Pricing:

Sekonic C500 SRP £699.99 Inc vat JP Code: 651116
Sekonic C500R SRP £799.99 Inc vat JP Code: 651117

For any additional information on Sekonic, please visit www.sekonic.co.uk
or
Telephone: 01782 753300 Fax: 01782 753377

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

Richard Edson at L.A. Center for Digital Art

2008-03-09T21:52:00.000Z

Los Angeles Center for Digital Art presents:

Richard Edson "Beyond the Valley of the Micro-Bops "

March 13-April 5, 2008
Reception Thursday, March 13, 7-9pm
(in conjunction with the Downtown Art Walk)

Richard Edson's toy figures are meticulously shot at an intensely close range under very specialized lighting conditions to emphasize their shape, color, "toyness" and their relationship to a monochromatic or multi-chromatic background. Since the figures are so small and shot with a macro lens (with an elaborate series of tube expanders) the focal plane is extremely narrow, allowing only a tight area where part of the figure is in focus. This creates an odd and not unpleasant sense of space, displacement and fission. The effect brings the tiny objects into a larger than life existence, where dynamic worlds are elicited full of what the artist calls "dreams, visions, or solutions to problems not yet even imagined."

Looking at these simple figures as photographed through the macro lens one is impressed by the their depth and humanity, and the more one looks the greater the illusion becomes. What were once crude postures and expressions "factory carved" in plastic are now repositories of secret emotion and (often humorous) feelings that surprise us with their mournful outstretched arms, plaintive gazes and sometimes fierce aggression. The contrast between the cartoon-like quality of the figurines and the seriousness of their respective "dramas" has to make one smile a little, and in this way the artist brings a welcome comic relief to the timeless human narratives he captures in these 'micro-iconic' images.

Los Angeles Center For Digital Art is dedicated to the propagation of all forms of digital art, supporting local, international, emerging and established artists in our gallery. We have an ongoing schedule of exhibits and competitions, and produce editions of wide format archival prints.

Los Angeles Center For Digital Art
107 West Fifth Street
Los Angeles, CA 90013
http://www.lacda.com

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
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The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

New Ricoh R8

2008-03-03T18:45:00.000Z

Slim 7.1x Optical Wide-Angle Zoom Digital Camera with 10 Megapixel CCD and Enhanced Photography Functions

The new R8 is the successor model to the R7 which also had a slim body and 7.1x optical wide-angle zoom lens (28–200 mm in 35 mm focal length).

By combining a new 10 megapixel CCD with the earlier model's popular Smooth Imaging Engine III image processing engine, the R8 takes high-definition photography to a higher level.

This new model combines ease of use and technical specification in a body that is contemporary and stylish and has been designed based on the concept " A tool you will want to use every day".

The R8 will be available in March SRP ￡249.99 inc

Ricoh UK LTD. (PMMC UK)
Ricoh House, 1 Plane Tree Crescent
Feltham
Middlesex, TW13 7HG
United Kingdom

Contact UK: KL Associates
5 Hall Drive
Long Buckby
Northants, NN6 7QU
United Kingdom
TEL : +44 (0)1327 844 880
Mrs. Kathryn Lamb
E-mail: kathryn@klassociates.com

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may NOT be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

Panasonic DMC-L10/SD Card Offer

2008-02-24T19:44:00.000Z

Press Release: February 2007

Panasonic Include a Complimentary 16GB, Pro High Speed, SD card with the DMC-L10 DSLR

Panasonic is pleased to announce that when purchasing a DMC-L10 before the end of April 2008 consumers will also receive a Panasonic16GB Pro High Speed SD card (RP-SDV16GE1K*). This promotion is offered via participating retailers only – the perfect partner for your DSLR.

Panasonic’s second SLR, the DMC-L10, has continued to push the boundaries with an advanced 2.5 inch free angle LCD to full time view offering 270 degree rotation and a versatile shooting style. For a limited period, Panasonic is pleased to include one of its high capacity 16GB SD cards with the L10** When purchased before the end of April 2008 for consumer’s ultimate convenience.

Enabling over 6000 still images to be captured*** The number of images may vary depending on file size the16GB high data storage capacity is ideal for making the most of the DMC-L10. Consumers can enjoy full performance of consecutive shooting on their L10 without worrying about overflow of buffer memory. Add to this a fast data transfer speed of up to 20MB/S and users can easily upload high quality images taken with the DMC-L10 onto their PC. A further benefit is that the Panasonic 16GB card is perfect for RAW shooting.

With the DMC-L10 and SD card in unison, consumers can not only capture beautiful images, but also view them at their leisure. Simply slot the 16GB SD card into one of Panasonic’s new Viera flat panel televisions**** excluding TX-32-LXD8 and TX-26LXD8 and users can view their pictures whenever they feel like it.

Reader enquiry number: 0844 844 3852

* This promotion is offered via participating retailers only
** When purchased before the end of April 2008
*** The number of images may vary depending on file size
**** excluding TX-32-LXD8 and TX-26LXD8

For further editorial information please contact:

Tanya Frost
Tel: 01344 853552
Tanya.frost@eu.panasonic.com

Stephanie Jell
Tel: 01344 853550
Stephanie.jell@eu.panasonic.com

Panasonic UK, Panasonic House, Willoughby Road, Bracknell, Berks, RG12 8FP

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

New Panasonic Lumix DMC-TZ5/4

2008-02-16T12:09:00.000Z

Press release, Panasonic, Jan 2008

Panasonic introduces the 9.1-Megapixel DMC-TZ5 and 8.1-Megapixel DMC-TZ4, two new Compact Digital Cameras, achieving 28mm Wide Angle and 10x Optical Zoom* and featuring advanced Intelligent Auto Mode
*35mm film camera equivalent: 28-280mm

Panasonic is pleased to introduce two new Lumix digital cameras, the 9.1-megapixel DMC-TZ5 and 8.1-megapixel DMC-TZ4, each featuring a 28mm wide-angle 10x optical zoom Leica DC lens (equivalent to 28-280mm on a 35mm film camera). The 28mm wide angle lens can capture the subject or scene wider at the same standpoint than a normal 35mm camera, zooming in or out with the 10x powerful optical zoom.

The DMC-TZ5 and DMC-TZ4 are the latest members of the Lumix TZ family, which is renowned for packaging a remarkable 28mm wide angle 10x optical zoom lens in a compact body. The new DMC-TZ5 newly integrates recording capabilities for 720p HD (high-definition) motion pictures, together with its direct output function as a stills camera, allowing users to enjoy watching both still and motion images in impressive HD quality on a large-screen HDTV via an optional component cable.*

The DMC-TZ5 and DMC-TZ4 boast Intelligent LCD function, which detects lighting conditions and controls brightness levels of the LCD in 11 steps, to offer a display with the clearest image in any situation with newly developed 460,000-dot high resolution in 3.0-inch (TZ5) and 230,000-dot in 2.5-inch (TZ4).

Panasonic’s Intelligent Auto mode, comprising various shooting-assist functions, has been developed further for the DMC-TZ5 and DMC-TZ4. New Intelligent Exposure feature and Digital Red-eye Correction** are included in addition to the conventional Mega O.I.S., Intelligent ISO Control, Intelligent Scene Selector, Face Detection and Quick AF functions. Mega O.I.S. to suppress unsteady hand-shaking and Intelligent ISO Control to prevent motion blur. Intelligent Scene Selector sets the appropriate scene mode by automatically selecting it from the most frequently used scene modes such as Portrait, Scenery, Macro, Night Portrait and Night Scenery. Face Detection system detects human faces to set the focus and appropriate exposure for them automatically within a potential shot. Unwanted red-eye effects caused by the use of flashes can be digitally corrected** now and the newly added Intelligent Exposure function automatically controls the ISO sensitivity partially to increase the exposure of only darkened areas in shot due to backlighting or insufficient flash lighting to capture the scene as you see it, by suppressing extreme brightness and darkness in the picture. Continuous AF system allows the camera to keep focus on a subject without having to press the shutter button halfway, to achieve the best result out of a potential shot by minimizing the AF time. Once entering iA mode, these multi-capable functions happen automatically to ensure users can shoot without the hassle of adjusting settings every time conditions in the shooting environment change, guaranteeing simple, trouble-free shooting for a range of environments.

The high-performance image-processing LSI has entered a new fourth generation, reborn as Venus Engine IV. This assures higher-quality images with an advanced signal processing system.

The slideshow format now offers a musical effect to match the mood of a screening for audiences so users can personalise pictures for emotional impact.

Integrating high performance, multi-capable lens and a host of unique, easy-to-use functions in a compact body, the DMC-TZ5 and DMC-TZ4 are the ideally built for travel. Clad in stainless steel, the DMC-TZ5 and DMC-TZ4 will be available in silver and black .***

* 720p HD(high definition) motion image recording capability comes with DMC-TZ5 only.
** Digital red-eye correction comes with DMC-TZ5 only.
*** Availability of models and colors may vary depending on the sales area.

28mm Wide-angle* 10x optical zoom Leica DC lens and 9.1-megapixel CCD (TZ5) / 8.1-megapixel (TZ4) CCD in a compact Body

The 9.1-megapixel DMC-TZ5 and 8.1-megapixel DMC-TZ4 condense a 28mm wide-angle**** LEICA DC VARIO-ELMAR lens with 10x optical zoom into a compact body. Comprising 11 elements in 9 groups, including an ED (extra-low dispersion) lens and 3 aspherical lenses, this advanced lens unit surpasses Leica's exceptional standards and delivers an outstanding optical performance. The 28mm wide-angle lens makes capturing dynamic wide-perspective shots of a sweeping landscape or large architectural structure as well as fitting a whole group of people into a group shotindoors easy. In 3-megapixel resolution mode the Extra Optical Zoom function provides additional magnification, extending zoom power to 16.9x (TZ5) or 15.9x (TZ4) by using the centre part of the CCD. Using this feature in combination with the 4x digital zoom provides a total zoom factor of up to 67.5x (TZ5) or 63.8x (TZ4). This powerful zoom also works during motion picture recording.

The CCD in DMC-TZ5 can reproduce images shot with the lens set from 28mm to 280mm in any of three aspect ratios – 4:3, 3:2 or 16:9 – ensuring you can always capture dynamic, richly expressive shots with a wide perspective. New Multi Aspect mode***** allows the camera to take an image in all three aspect ratios simultaneously and allows the photographer to choose the one that best takes the advantage of the scene after shooting.

**** When the picture size is set to 3 megapixels or larger, the photo is automatically resized to 3 megapixels. When the lens is shifted back to the wide-end, the picture size is set to the original size automatically. The original size is maintained for photos smaller than 3 megapixels.
***** In standard compression format only.

Great Photography is not only for Professional Photographers Anymore -- Intelligent Auto Mode

Panasonic has incorporated Intelligent Auto mode in pursuit of ultimate simplicity in operation and reduction of misshots. This mode is further advanced with the inclusion of Intelligent Exposure feature for DMC-TZ5 and DMC-TZ4.

Mega O.I.S. (Optical Image Stabilizer) which compensates for hand-shake and Intelligent ISO Control to detect and suppress motion blur, are built into all Lumix cameras as the industry’s most advanced measures to counteract blurring. Both image stabilizing technologies have been enhanced in terms of detection accuracy and correction effect thanks to new image-processing LSI, the Venus Engine IV. In addition to these anti-blurring technologies, Panasonic continues pursuing the ideal that anyone at any technical level of photography should aim for, being the ability to take beautiful pictures with ease and this can be aspired to by incorporating the new Intelligent Auto mode.

Increasing the number of scene modes is one step, but taking advantage of them is another, and that’s where the Intelligent Scene Selector comes in. This function automatically sets the appropriate scene mode according to the scene you’re going to take from among the most frequently used scene modes, such as Portrait, Scenery, Macro, Night Scenery and Night Portrait mode. The Face Detection System helps the camera to recognize human faces and sets the to focus and exposure automatically in relation to these, with up to 15 faces being located, plus with the DMC-TZ5 red-eye effects can be digitally corrected.

The Continuous AF system allows the camera to keep focus on the subject while the camera is in recording mode even before without pressing a shutter button halfway, to get best result out of a shutter chance because the focus is always near the subject and the AF time is minimised.

New Intelligent Exposure function increases exposure only in the under-exposed areas by detecting the brightness level part-by-part in the picture. For example if the background of an image includes the sky, both cameras automatically adjusts the aperture and shutter speed to keep the setting slightly under-exposed. This prevents a washed-out, dullness common with some cameras, as it brightens the darkened area by only increasing the ISO in that area. If the background of an indoor portrait receives insufficient lighting from a flash and becomes dark, the ISO sensitivity is raised in only the low-lit area to make the image brighter without causing graininess in the subject's face resulting in a well balanced picture.
These multi-capable functions are automatic and allow for shooting, without the bother of adjusting the settings every time conditions change as the Powerful Intelligent Auto mode does all the work.

Exciting options to expand the fun of photography in the High-Definition Era

All Lumix cameras have the abiity to take 1920x1080 pixel HD (high-definition) quality photos that perfectly fit a wide-screen (16:9) HDTV for full-screen viewing. The new DMC-TZ5 records dynamic HD motion pictures in 1280 x 720p at a smooth 30 fps, in addition to WVGA (848 x 480) and normal VGA (640 x 480). The powerful zoom of the DMC-TZ5 and DMC-TZ4 also works with the recording function to capture the distant subject up close, allowing for more dynamic movie making. With newly added HD component output capability, users can enjoy watching their stunning stills and motion pictures by simply connecting the camera to the HDTV via an optional component cable (DMW-HDC2).******

The DMC-TZ5 and DMC-TZ4 provide new slideshow capability complete with additional music option. By simply selecting the pictures users want to showcase and choosing the mood that best matches the selection from natural, slow, urban or swing, users can inject personality and emotion into a slideshow alongside a variety of slide change effects. If the slideshow is compiled with HD photos in 1920 x 1080 pixels, you can also enjoy watching an impressive HD slideshow with music on a large-screen HDTV by using the optional component cable.

****** 720p HD(high definition) motion image recording capability comes with DMC-TZ5 only

3-inch 460,000-dot super high resolution (TZ5) / 2.5-inch 230,000-dot (TZ4) Intelligent LCD Assuring Clear View for easy shooting and playback

The DMC-TZ5 incorporates new easy-to-see 3-inch 460,000-dot super high resolution (2.5-inch and 230,000-dot for DMC-TZ4) LCD for comfortable viewing while monitoring shots in detail and playing back results, even in thumbnails as tiny as 30-split. Intelligent LCD function detects light conditions and automatically boosts the LCD backlighting (by maximum of 40% when shooting outdoors in bright sunshine and adjusts the frame rate when shooting in low-lit situations) in addition to using the pixel mixed readout method to ensure the clearest possible image is captured. Detecting the precise lighting condition and automatically controlling the brightness with a total of 11 steps, this function gives the display the clearest possible image in any situation without using extra energy.

The High Angle mode makes the LCD screen extremely easy to view when the camera is held high, for example when shooting over a crowd.

High-Speed, High-Quality Image-Processing LSI Further Evolves into the Venus Engine IV

New image-processing LSI, the Venus Engine IV, features more advanced signal processing technology for rendering even higher-quality images.

Parallel noise reduction in both luminance signal and chromatic signal processing systems, a technology established by the preceding Venus Engine III, has been further advanced. The luminance noise is two-dimensionally separated and only the low-frequency noise is eliminated without affecting the high-frequency noise that greatly influences resolution. The information of the change point between colours is minutely stored for precise determination of edges dramatically reducing colour bleeding. This not only produces a clearer image in high ISO sensitivity recording, but also accurately reproduces details in low-lit areas of pictures taken at low ISO sensitivity.

The Venus Engine IV also elevates the detection accuracy and corrective effect in both Mega O.I.S., which prevents hand-shake, and Intelligent ISO Control, which minimises motion blurring. These new cameras feature the multi-task image-processing engine, Venus Engine IV which supports an incredibly fast response time. The shutter release time lag is a very quick 0.008 seconds enabling users to capture those spur-of-the-moment shots easily. In burst shooting mode, 2.5 (TZ5) / 3 (TZ4) shots can be snapped per second at full resolution.******* In High-Speed Burst shooting mode,******** an incredible 6 (TZ5) / 7 (TZ4) shots per second can be captured, with unlimited consecutive shooting ability,********* allowing users to keep shooting until the memory card is full.

The Venus Engine IV also supports a High Sensitivity mode that lets the DMC-TZ5 and DMC-TZ4 record up to ISO 6400, sensitive enough to capture subjects in near-total darkness without using a flash.**********

******* Max. 5 (TZ5)/ 7 (TZ4) images in standard mode, 3 (TZ5) / 4 (TZ4) images in fine mode.
******** In 2-megapixel(4:3), 2.5-megapixel(3:2), 2-megapixel(16:9) recording
********* The consecutive shooting speed varies with the memory card, image size, and image compression mode. The number of shots depends on the memory card size, battery life, image size and image compression mode.
********** In 3-megapixel(4:3), 2.5-megapixel(3:2), 2-megapixel(16:9) recording

Other Features

The new DMC-TZ5 and DMC-TZ4 feature a variety of functions to provide solutions and experimental fun for users to enjoy whilst capturing beautiful images.

The energy-efficient Venus Engine IV imaging engine contributes to the long battery life to shoot around 300 (TZ5) / 330 (TZ4) shots despite their large, bright LCD on a single battery charge.*********** A total of 22(TZ5) / 21(TZ4) scene modes help users to take more beautiful pictures in a wide range of situations and environments. New Multi Aspect mode featured on the DMC-TZ5, allows the camera to take images in all three aspect ratios simultaneously giving users the ability to choose the one that best takes the advantage of the scene after shooting.************

Additionally new Title Edit function, allows text to be input as additional information to accompany the picture, such as the names of children and pets as well as travel places which can be particularly useful when compiling a photo album for example. A Text Stamp function allows this text to be added to photos and printed off. Around 50 MB of internal memory is built-in to back up the SDHC/SD Memory Card recording and copying.

All new Lumix cameras incorporate a REC/PLAYBACK mode switch, which helps users switch instantly between recording and playback modes, while always knowing which mode the camera is in. The GUI (Graphic User Interface) has been upgraded with a more futuristic design and colour while maintaining the visibility of characters.

The major features mentioned above can be quickly understood with the newly installed slideshow program called Demo mode.

The DMC-TZ5 and DMC-TZ4 are compatible with optional marine case (DMW-MCTZ5) enabling users to shoot underwater, for example while scuba diving.

*********** Based on the CIPA standard
************ In standard compression format only.
-ends-

For further editorial information, please contact:
Tanya Frost
tanya.frost@eu.panasonic.com
Tel: 01344 853552
Stephanie Jell
Stephanie.jell@eu.panasonic.com
Tel: 01344 853550
Panasonic UK, Panasonic House, Willoughby Road, Bracknell Berks RG12 8FP

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

New Hi-Res CMOS Image sensor from Kodak

2008-02-15T08:26:00.000Z

London, February 5, 2008

Industry’s First 1.4 Micron, 5 Megapixel, High-ISO CMOS Sensor Combines Two New KODAK Technologies for Better Pictures from a Smaller Sensor

Eastman Kodak Company (NYSE:EK) is enabling a new level of performance in consumer imaging devices by redesigning the basic building blocks used to collect light and incorporating that technology into a brand-new sensor.

The company has combined its recently announced Colour Filter Pattern technology with a new CMOS pixel to create the KODAK KAC-05020 Image Sensor, the world’s first 1.4 micron, 5 megapixel device. Designed for mass-consumer camera applications such as mobile phones, Kodak’s new sensor enables a new level of resolution in small optical formats, using significantly smaller pixels. But unlike other small-pixel sensors which can produce poor images, especially under low light conditions, the 1.4 micron pixel used in the KAC-05020 Image Sensor changes this convention, providing image quality that can equal or surpass what is available from current devices using larger, 1.75 micron pixel CMOS designs.

“Camera phones and other small-pixel consumer imaging devices often suffer from poor performance, especially under low light conditions. To manufacture sensors that utilise these very small pixels – only two to three times the wavelength of visible light – we needed to challenge everything we knew about pixel and sensor design,” said Chris McNiffe, General Manager of Kodak’s Image Sensor Solutions business. “By completely rethinking the design of the CMOS pixel and leveraging our work with high sensitivity colour filter patterns and algorithms, Kodak was able to develop this remarkable new sensor that will enable a level of imaging performance previously unavailable from CMOS devices.”

Key to the performance of this new sensor is the KODAK TRUESENSE CMOS Pixel, a re-engineering of the fundamental design and architecture of traditional CMOS pixels. In a standard CMOS pixel, signal is measured by detecting electrons that are generated when light interacts with surface of the sensor. As more light strikes the sensor, more electrons are generated, resulting in a higher signal at each pixel. In the KODAK TRUESENSE CMOS Pixel, however, the underlying “polarity” of the silicon is reversed, so that the absence of electrons is used to detect a signal. This change enabled a series of improvements to the design and structure of the pixel that ultimately results in CMOS imaging performance that rivals that available from CCD image sensors.

Light sensitivity in the new sensor is enhanced through the use of the recently announced KODAK TRUESENSE Colour Filter Pattern, which adds panchromatic, or “clear,” pixels to the red, green and blue pixels already on the sensor. Since these pixels are sensitive to all wavelengths of visible light, they collect a significantly higher proportion of the light striking the sensor. This provides a 2x to 4x increase in sensitivity to light (from one to two photographic stops) compared to current sensor designs, improving performance in low light and reducing motion blur in action shots.

At 5 million pixels, the KAC-05020 provides the highest resolution available in the popular ¼” optical format, and enables imagery up to ISO 3200 and support for full 720p video at 30 fps. The sensor is also supported by the Texas Instruments’ OMAP
TM and OMAP-DM solutions, enabling a host of KODAK Image Processing and Enhancement Features (such as digital image stabilization, rapid auto-focus, red-eye reduction, and facial recognition) that provide digital camera-like performance in a camera phone.

“For consumers today, high resolution is required but no longer sufficient,” said Fas Mosleh, Worldwide Director of CIS Marketing and Business Development for Kodak’s Image Sensor Solutions business. “Smaller and thinner camera phones, high performance under low light, and superior video performance are the types of features that will enable the next generation of consumer imaging devices. And with this new Kodak sensor, camera designers can now put those features directly into the hands of their customers.”

The new sensor expands Kodak’s portfolio of CMOS and CCD image sensors for consumer and applied imaging applications, and positions the company to take advantage of the growing demand for high-quality image capture in a variety of devices, regardless of size.

The KAC-05020 will be demonstrated by Kodak at the GSMA Mobile World Congress held Feb 11 – 14 in Barcelona, Spain. Samples of the KAC-05020 are scheduled to be available in Q2 2008.

For additional information, please contact Image Sensor Solutions, Eastman Kodak Company at +1 (585) 722-4385 or by email at imagers@kodak.com. For more information on Kodak’s entire image sensor product line, please visit www.kodak.com/go/imagers.

About Eastman Kodak Company

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

To learn more, visit www.kodak.com, and our blogs: 1000words.kodak.com, and 1000nerds.kodak.com.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
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The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

DALSA Semiconductor Announces 5V / Mid Voltage / 650V CMOS/DMOS Process

2008-02-12T23:01:00.000Z

Press Release - DALSA Quebec, Canada.

Manufacturers of handheld device chargers and switched mode power supplies for DVD players, set-top boxes etc., will benefit from the capability of integrating 5V mixed signal CMOS with mid-voltage and 650V transistors in the same circuit.

DALSA Semiconductor, a division of DALSA Corporation (TSX:DSA), an international high performance semiconductor and electronics company, announced today the availability of its new CMOS/DMOS high voltage process with 650V breakdown voltage.

The C12K process is a CMOS/DMOS technology integrating low (3V to 5V), mid-voltage (20V to 32V) and high voltage components (450V-650V) on the same chip. "The use of junction isolation provides a significant cost advantage compared to dielectrically isolated processes with equivalent breakdown voltage" said Marc Faucher, director of HV Technology Development. "The addition of mid-voltage devices provides greater noise immunity and the capability to drive external power MOSFETS, and is in direct response to requirements from customers who are using our process technologies in increasingly demanding applications."

The technology addresses applications such as display and printhead drivers, and power management interfacing to 120V or 230V mains, including LED drivers, ballast control, and chargers for hand held devices.

The C12K two layer metal process is available in two versions: single poly for 5V/650V operation, or two poly for the addition of mid-voltage transistors and high value (5kOhm/sq) and low TCR polysilicon resistors. A process design kit (PDK) is available with a range of predefined high voltage transistors and scalable low and mid-voltage transistors. Specialised engineering support is available to accelerate high voltage design and product development.

For more information visit www.dalsasemi.com or contact DALSA Semiconductor by e-mail at sales@dalsasemi.com or by telephone on 800-718-9701.

About DALSA Corporation

DALSA is an international leader in high performance digital imaging and semiconductors with approximately 1000 employees world-wide. Established in 1980, the company designs, develops, manufactures, and markets digital imaging products and solutions, in addition to providing semiconductor products and services. DALSA's core competencies are in specialized integrated circuit and electronics technology, software, and highly engineered semiconductor wafer processing. Products and services include image sensor components (CCD and CMOS); electronic digital cameras; vision processors; image processing software; and semiconductor wafer foundry services for use in MEMS, high-voltage semiconductors, image sensors and mixed-signal CMOS chips. DALSA is listed on the Toronto Stock Exchange under the symbol "DSA" and has its corporate offices in Waterloo, Ontario, Canada.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
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New from Panasonic the Lumix DMC-FX35

2008-02-11T22:53:00.000Z

Press release, Panasonic, Jan 2008

Panasonic announces the Lumix DMC-FX35 Camera with 10.1 mega pixels, 25mm Ultra Wide-Angle Lens Featuring Advanced Intelligent Auto Mode
*35mm film camera equivalent: 25-100mm*

Panasonic is pleased to introduce the new Lumix DMC-FX35, its first 10.1-megapixel camera with astonishing 25mm ultra-wide-angle LEICA DC lens and 4x optical zoom (equivalent to 25mm to 100mm on a 35mm film camera). Capturing almost double the viewing space at the same shooting distance compared to ordinary 35mm cameras, the DMC-FX35 records remarkable images with unprecedented width and depth.

The new DMC-FX35 integrates 720p HD (high-definition) recording capabilities for capturing motion pictures alongside its primary function as a stills camera, allowing users to watch both still and motion images in impressive HD quality. The DMC-FX35 comprises a variety of additional shoot-assist functions on top of Panasonic’s Intelligent Auto Mode with conventional Mega O.I.S which suppresses hand-shaking, and its Intelligent ISO Control prevents motion blur. New Intelligent Scene Selector Function chooses the appropriate scene mode by automatically selecting the most frequently used setting from modes Portrait, Scenery, Macro, Night Portrait and Night Scenery. New Face Detection System automatically detects human faces to set the focus of potential shots and insure the best possible exposure. Unwanted red-eye effects caused by the flash can now be digitally corrected, and newly added Intelligent Exposure Function controls ISO sensitivity to partially increase the exposure of darkened areas in shot, allowing users to capture scenes suppressing extreme brightness or darkness in images.

Quick AF System allows the DMC-FX35 to pre-determine focus on a subject without pressing the shutter button halfway, to maximize results for every shooting opportunity. In IA Mode the multi-capable functions of the DMC-FX35 adapts to changes in a variety of shooting environments allowing users to capture images automatically without the need to adjust settings every time conditions alter. This allows for simple, accurate image reproduction in any situation with the reassurance of capturing clear, beautiful stills.

High-performance image-processing LSI has entered its fourth generation, to be reborn as Venus Engine IV, assuring higher-quality images with an advanced Signal Processing System. The DMC-FX35 boasts a 230,000-dot high-resolution LCD with Intelligent LCD function introducing control of light detection and brightness levels in 11 steps, to ensure the clearest possible images are achieved.

Slideshows of captured images now offer a background music option so users can enjoy watching pictures with a musical accompaniment to enhance the mood of a screening.

The DMC-FX35 will be available in silver and black, each with a distinctive finish or texture according to its colour.*

* Availability of models and colours may vary depending on the sales area.

1. 25mm Ultra-Wide-Angle 4x Optical Zoom (25-100mm) f2.8 High-Quality Leica DC Lens and 10.1-Megapixel CCD
The 10.1-megapixel DMC-FX35 boasts a 25mm Leica DC VARIO-ELMARIT high-quality lens with 4x optical zoom, offering f2.8 brightness. Comprising 7 elements in 6 groups, including 4 aspherical lenses with 6 aspherical surfaces, this advanced lens unit surpasses Leica's stringent standards and delivers exceptional optical performance. Newly developed unevenly thick concave meniscus aspherical lens with high refractive index, allows the 25mm ultra-wide-angle to achieve high optical performance, encompassed in a slim design and lens unit. The 25mm ultra-wide-angle lens records almost double the viewing space at the same shooting distance compared to other ordinary 35mm cameras and in 3-megapixel resolution mode, the Extra Optical Zoom function provides additional magnification, extending the zoom capacity to 7.1x by using the central part of the CCD.

The Easy Zoom** feature shifts the lens instantly to full 4x optical zoom power at the touch of a dedicated button, and with a second touch, the zoom ratio is further extended to 7.1x by activating the Extra Optical Zoom function.

** When the picture size is set to 3 megapixels or larger, the photo is automatically resized to 3 megapixels. When the lens is shifted back to the wide-end, the picture size is set to the original size automatically. The original size is maintained for photos smaller than 3 megapixels.

2. Great photography is not only for Professional Photographers anymore -- Intelligent Auto Mode
Panasonic has incorporated its Intelligent Auto mode into this model in pursuit of easy operation and more accurate shooting,,further enhanced by an Intelligent Exposure feature and digital red-eye correction function. Mega O.I.S. (Optical Image Stabilizer) compensating for unsteady captures and Intelligent ISO Control to detect and suppress motion blur are built into all Lumix cameras, and lead the way as the industry’s most advanced technology to counteract blurring. Image stabilizing has been further advanced in the DMC-FX35 by detecting accuracy and correcting misdemeanors thanks to new image-processing LSI, the Venus Engine IV.

In addition to these two anti-blurring technologies, Panasonic continues pursuing the ideals that anyone at any technical level of photography would strive to achieve, the ability to take beautiful pictures with ease. This is what incorporating the DMC-FX35’s Intelligent Auto mode aspires to. Increasing the number of scene modes is one step and taking advantage of them is another, but the DMC-FX35’s Intelligent Scene Selector develops this further. This function automatically sets the appropriate scene mode from the most frequently used scene modes, such as Portrait, Scenery, Macro, Night Scenery and Night Portrait mode.

Face Detection System helps the camera to recognize human faces and sets the focus and exposure automatically in relation to these, with up to 15 faces being located simultaneously and red-eye effects can be digitally corrected.

The Quick AF system allows the camera to keep focusing on the subject without users having to press the shutter button halfway, to get the best results from any potential shooting opportunity by minimizing the AF time.

Newly incorporated Intelligent Exposure Function increases exposure only in under-exposed areas by detecting the brightness level part-by-part in the picture. For example if the background of an image includes sky, the DMC-FX35 automatically adjusts the aperture and shutter speed to keep the setting slightly under-exposed. This prevents a washed-out,dullness common with some cameras, as it brightens the area by only increasing the ISO in that area. If the background of an indoor portrait receives insufficient lighting from a flash and becomes dark, the ISO sensitivity is raised only in the low-lit area to make the image brighter without causing graininess in the subject's face, resulting in a well balanced picture.

The multi-capable functions are automatic and allow for shooting without the bother of adjusting the settings every time conditions change as the powerful Intelligent Auto Mode does all the work.

3. Exciting Options to Expand the Fun of Photography in the High-Definition Era
All Lumix cameras have the ability to take 1920x1080 pixel HD (high-definition) photos that perfectly fit a wide-screen (16:9) HDTV for full-screen viewing. The new DMC-FX35 even records dynamic HD motion images in 1280 x 720p at a smooth 30 fps, in addition to WVGA (848 x 480) and normal VGA (640 x 480). With newly added HD component output capability,, users can enjoy watching still and motion images in stunning HD quality by simply connecting the camera to a TV via an optional component cable (DMW-HDC2).

The DMC-FX35 allows for slideshows to be formatted complete with music. This brand new function allows users to choose pictures and match music that best suits the selection from natural, slow, urban or swing and upload in a simple fashion. By doing so users have the ability to enhance tone and add personality and uniqueness to their slideshow with a variety of slide change effects. If compiled with HD photos in 1920 x 1080 pixels, users can watch these on a large-screen HDTV aided by an optional component cable.

4. High-Speed, High-Quality Image-Processing LSI further evolves into the Venus Engine IV
New image-processing LSI, Venus Engine IV, features more advanced signal processing technology for rendering even higher-quality images. Parallel noise reduction in both luminance signal and chromatic signal processing systems, a technology established by the previous Venus Engine III, is more sophisticated in the DMC-FX35. The luminance noise is two-dimensionally separated and only the low-frequency noise is eliminated without affecting the high-frequency noise that greatly influences resolution. Colour information regarding the change point between colours is minutely stored for precise determination of edges, thus colour bleeding is dramatically reduced. This improvement not only produces clearer images in high ISO sensitivity recording, but also accurately reproduces details in low-lit areas of pictures taken at low ISO sensitivity. The Venus Engine IV also elevates the detection accuracy and corrective effect in both Mega O.I.S., preventing hand-shake, and Intelligent ISO Control, which suppresses motion blur.

The DMC-FX35’s multi-task image-processing engine, the Venus Engine IV, supports an incredibly fast response time. The shutter release time lag is an incredibly fast 0.005 seconds at its quickest and such a quick response time makes it easier to capture those sudden, spur-of-the-moment photo opportunities. In burst shooting mode the DMC-FX35 can snap 2.5 shots per second at full resolution.*** In High-Speed Burst shooting mode,**** it fires off an incredible 6 shots per second but users can also get unlimited consecutive shooting,***** which allows for continuous image capture until the memory card is full.

The Venus Engine IV also supports a High Sensitivity mode that allows the DMC-FX35 to record at a setting of up to ISO 6400, sensitive enough to capture subjects in near-total darkness without using a flash.******

*** Max. 5 images in standard mode/ 3 images in fine mode.
**** In 2-megapixel (4:3), 2.5-megapixel (3:2), 2-megapixel (16:9) recording.
***** The consecutive shooting speed varies with the memory card, image size, and image compression mode. The number of shots depends on the memory card size, battery life, image size and image compression mode.
****** In 3-megapixel (4:3), 2.5-megapixel (3:2), 2-megapixel (16:9) recording

5. Advanced 2.5-inch large intelligent LCD with 230,000-dot high resolution for easy shooting and playback
The DMC-FX35 incorporates a large 2.5-inch, 230,000-dot high-resolution LCD screen for clear playback of shots and footage. Intelligent LCD function detects light conditions and automatically adjusts LCD backlighting (a maximum of 40% when shooting outdoors in bright sunshine and by adjusting frame rates when shooting in low-lit situations) as well as using the pixel mixed readout method to ensure the clearest possible image is captured. Detecting precise lighting conditions and automatically controlling brightness levels with a total of 11 steps, allows this function to produce the clearest possible image in any situation.

The High Angle mode makes the LCD screen extremely easy to view when the camera is held high, for example when shooting over a crowd.

6. Other Features
The DMC-FX35 features a variety of functions to provide convenient solutions and experimental fun for users to enjoy whilst capturing beautiful images.

The energy-efficient Venus Engine IV contributes to the long battery life of the DMC-FX35, making it possible to shoot around 290 shots on a single battery charge******* despite the large, bright LCD. A total of 21 scene modes help users to take more beautiful pictures in a wide range of situations and environments.

The Title Edit function which allows text to be input as additional information to accompany images such as the names of children and pets, as well as travel places can be useful when compiling a photo album for example. A Text Stamp function allows this text to be added to photos and printed off. Around 50 MB of internal memory is built-in to back up SDHC/SD Memory Card recording and copying.

All new Lumix cameras incorporate a REC/PLAYBACK mode switch which helps photographers to switch instantly between recording and playback modes, while always knowing which mode the camera is in. The GUI (Graphic User Interface) has been upgraded with a more futuristic design and colour while maintaining the visibility of characters.

The major features mentioned above can be quickly understood with the newly installed slideshow program called Demo mode.

The DMC-FX35 is compatible with an optional marine case (DMW-MCFX35) enabling users to shoot underwater for example whilst scuba diving,
******* Based on the CIPA standard
-ends-

For further editorial information, please contact:
Tanya Frost
tanya.frost@eu.panasonic.com
Tel: 01344 853552
Stephanie Jell
Stephanie.jell@eu.panasonic.com
Tel: 01344 853550
Panasonic UK, Panasonic House, Willoughby Road, Bracknell Berks RG12 8FP

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

Portable Studio Flash kit for under £400 from Kenro

2008-01-22T22:40:00.000Z

Kenro Press Release

For digital photographers who aspire to shoot studio pictures like a true professional, Kenro has put together a portable flash kit that won't break the bank!

Comprising two powerful 300w mains or battery operated flash heads, lighting stands and umbrellas, the Kenro Compact 300 Flash kit is the ideal solution for any photographer looking for quality, durability and flexibility in a portable studio lighting kit.

With a suggested retail price of £395 excluding VAT, the kit even comes complete with its own carry cases.

Features include power control range of 6 f-stops, from 1-32 to full power plus dual power input, so the units can either be mains operated or work from an optional rechargeable Battery Pack. This provides a highly flexible solution to shoot outdoors or in areas where there is limited mains supply.

The ultra-compact flash heads are a new 'flat' concept of design and can be triggered by a synch cord, radio or infra-red device, giving them the flexibility of many high-end professional units.

In addition, the 'daylight' LED modelling lamp is dimmed according to the proportion of the flash power selected, so that you'll be able to see the kind of effect the flash will give; very useful when visually assessing the lighting ratios when multiple light sources are used.

The heads have a very usable Guide number of 22m (ISO100), recycling time 1.2 secs on full power, and the three section stands extend to a maximum of 244 cm.

Optional extras you may also consider are the Kenro Wireless Flash Transmitter MkII (SRP £34.66 inc VAT) and the Kenro Flash Meter (SRP £59.93 inc VAT), plus Kenro supply a good range of portable backgrounds, stands and reflectors.

Visit the website at www.kenro.co.uk for full product details and how to locate your nearest stockist, or call Kenro on 01793 615836 for more details.

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may NOT be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

New from Panasonic the Lumix DMC-LS80

2008-01-22T08:08:00.000Z

Press Release, Panasonic, Jan 2008

A Slim, Compact Digital Still Camera with Super Easy Operation

Panasonic introduces a new Lumix digital camera, the DMC-LS80, that combines easy-to-use advanced functions and AA-battery operation convenience. A newly developed Lumix DC VARIO lens system with 3x optical zoom (equivalent to 33-100mm on a 35mm film camera) fits into its compact body and gives a clear, sharp clear image right to the edge of the picture. The CCD has been upgraded to 8.1-megapixel high resolution, so even after cropping, you will still have a high resolution picture. Both the external and internal design has been revised throughout to enhance the ease of operation.

At the heart of the DMC-LS80's super-easy operation is a comprehensive Intelligent mode that combines four distinct features aimed at making it easy to capture perfect images. First is the Mega O.I.S. (Optical Image Stabilizer), a system that helps eliminate blurring due to hand-shake. Second is the Intelligent ISO Control, a system that fights motion blur by detecting if the subject moves and adjusting the ISO sensitivity and shutter speed setting according to the degree of motion and light conditions. Thirdly, is the Auto Macro mode. The camera automatically switches to the Macro mode according to its shooting distance with the subject. The Quick AF system allows the camera to start focusing on the subject even without pressing a shutter button halfway, as the camera is continually detecting and focusing. All these functions act automatically, so you don't have to think about them each time conditions change. You enjoy effortless, trouble-free shooting in any situation, as well as the satisfaction that comes with capturing beautiful photos.

The DMC-LS80 also offers a range of features that enhance usability. The Intelligent LCD function comes with a 230,000-dot high resolution monitor, which detects lighting conditions and controls the brightness level of the LCD allowing you to effortlessly capture and playback your pictures in any lighting situation. The Easy Zoom feature shifts the lens instantly to full zoom at the touch of a dedicated button, whilst the High Sensitivity mode offers recording at max. ISO 6400* thanks to the Venus Engine III. It also carries an internal memory of 24 MB (approx.) and is compatible with large-capacity SDHC memory cards, giving users more flexibility in recording.

The DMC-LS80, available in silver and pink**, offers entry-level users an easy to use compact camera, for shooting beautiful pictures.
*In 3-megapixel(4:3), 2.5-megapixel(3:2), 2-megapixel(16:9) recording
**Availability of models and colours may vary depending on the sales area.

Bright, superb f2.8 Lumix DC VARIO lens with Extra Optical Zoom function

The 8.1-megapixel DMC-LS80 integrates a superb LUMIX DC VARIO lens with 3x optical zoom (35mm film camera equivalent: 33-100mm) into a compact body. A crystallization of Panasonic’s advanced lens technologies, the LUMIX DC VARIO lens comprises 6 elements in 5 groups, including 3 aspherical lenses with 4 aspherical surfaces, delivering outstanding optical performance. Furthermore, in 3-megapixel resolution mode, the Extra Optical Zoom function provides additional magnification, extending the zoom power to 4.8x by using the centre part of the CCD.

The Easy Zoom feature shifts the lens instantly to full 3x optical zoom power at a touch of a dedicated button, and with a second touch, the zoom ratio is further extended to 4.8x by activating the Extra Optical Zoom function*.
*When the picture size is set to 3-megapixel or larger, the photo is automatically resized to 3-megapixel. When the lens is shifted back to the wide-end, the picture size is set to the original size automatically. The original size is maintained for photos smaller than 3-megapixel.

Making every user a photographer with Intelligent mode

Panasonic incorporates both MEGA O.I.S.(Optical Image Stabilizer) to compensate for hand-shake and Intelligent ISO Control system to detect and suppress motion blur into all Lumix cameras, which are the industry’s most advanced countermeasures against blurring.

Whilst hand-shake is the single biggest cause of blurry images, it is not the only one. Another problem is the motion blur that can occur when a subject moves as the shot is being snapped. Incorporating Panasonic's Intelligent ISO Control, Lumix cameras are the first in the world to fight motion blur. This system detects whether or not the subject is moving. If it is, the system automatically raises the ISO setting accordingly, allowing the camera to shoot at a higher shutter speed. If the subject is not moving, the camera shoots at a low ISO setting and captures beautiful, natural-looking images. Intelligent ISO Control is included as one of the corrections in certain scene modes where the subjects are often moving, such as Sports, Baby and the Pet mode. Simply select the mode that best suits the subject, and Intelligent ISO Control provides the optimal corrections, making it easy to capture crisp, clear photos.

One more convenient function is the Auto Macro mode which automatically switches the camera in and out of macro mode by measuring the focusing distance.

The Quick AF system allows the camera to keep focus on the subject even without pressing a shutter button halfway, as the camera is continually detecting and focusing.

All these intelligent functions act automatically, requiring no additional setting so the photographer can concentrate on taking the spur-of-the-moment, beautiful pictures..

High-quality, high-performance image processing LSI: the Venus Engine III

With its multi-task image processing capability, the Venus Engine III boasts outstanding response time. Shutter release time lag is as short as 0.005 second*. In the consecutive shooting mode, it is possible to shoot at 2.5 frames per second in full resolution**. And in High-Speed Burst shooting mode***, it fires off an incredible 5.5 shots per second. You also get unlimited consecutive shooting which lets you keep snapping until the memory card is full ****.

The Venus Engine III also supports a new High Sensitivity mode that lets the DMC-LS80 record at a setting of up to ISO 6400, sensitive enough to capture subjects in near-total darkness without using a flash*****.
*Not including the time for AF.
**Max. 7 images in standard mode / 4 images in fine mode.
*** In 2-megapixel(4:3), 2.5-megapixel(3:2), 2-megapixel(16:9) recording
**** The speed of the consecutive shooting varies depending on the memory card. The number of recordable pictures depends on the memory card size, battery life, picture size and image compression.
***** In 3-megapixel(4:3), 2.5-megapixel(3:2), 2-megapixel(16:9) recording

2.5-inch large, 230,000-dot high-resolution Intelligent LCD for easy shooting and playback

The DMC-LS80 incorporates an easy-to-see 2.5-inch large Intelligent LCD for comfortable viewing during both shooting and playback. The resolution has been doubled compared to the predecessor DMC-LS75, to boast 230,000-dot high resolution. The Intelligent LCD function detects the light condition and automatically boosts the LCD backlighting by max. 40% when shooting outdoors under bright sunlight, and boosts signals by the pixel-mixed readout method when shooting under low-lit conditions. Detecting the lighting condition precisely and automatically controls the brightness at a total of 12 steps, allowing you to effortlessly capture and playback your pictures in any lighting situation without using extra energy.

The High Angle mode, which can be accessed quickly and easily in Quick Menu, makes the LCD screen extremely easy to view when the camera is held high, such as to shoot over a crowd.

Viewing in various styles; HD photo and wide-aspect motion pictures

With TV screens getting bigger and picture definition becoming higher, consumers want to be able to view higher-quality still images and motion pictures. Panasonic has long focused on making photography more enjoyable by letting people view their images easily on Panasonic’s Viera TVs, with their internal SD card slot. With the DMC-LS80, you can shoot high-definition 1920 x 1080 pixel photos that are ideal for full-screen viewing on a wide-screen (16:9) TV. Panasonic also offers the DMW-SDP1 HDTV Photo Player, which makes it easy to view a slideshow of Lumix photos in 1080i high-definition quality.

In addition to recording standard VGA (640 x 480), the DMC-LS80 can record WVGA (848 x 480) motion pictures at 30 frames per second. Fitting a wide-screen TV perfectly, these wide aspect motion images make for extremely impressive viewing, plus a microphone has been added to allow recording motion picture with voice. *

*Connect the camera to TV using AV cable (supplied) to playback audio on TV. You can also playback the motion picture with audio on PC.

Other features

The DMC-LS80 runs on two AA[LR6] batteries, which are easily available, so you don't have to worry about battery life wherever you go. The DMC-LS80 shoots 180 images with the included Alkaline batteries and 470 images with optional Ni-MH rechargeable batteries (Typical capacity:2600mAh / Minimum capacity:2450mAh)*.

All new Lumix cameras incorporate a REC/PLAYBACK mode switch. This helps the photographer to instantly switch between recording mode and playback mode. The GUI (Graphic User Interface) has been upgraded to look more futuristic in terms of design and colour. The view screen also looks wider and clearer because all icons have been relocated to the sides.

A total of 20 scene modes assist you to take more beautiful picture in a wide range of situations. Around 24 MB of internal memory is built-in to back up the SDHC/SD Memory Card recording and copying.

*Based on a CIPA standard.

For further editorial information, please contact:
Tanya Frost
tanya.frost@eu.panasonic.com
Tel: 01344 853552
Jane Hinton
jane.hinton@eu.panasonic.com
Tel: 01344 853551
Panasonic UK, Panasonic House, Willoughby Road, Bracknell Berks RG12 8FP

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.

New Pentax K200D and Samsung GX20

2008-01-16T22:48:00.000Z

New Digital Single Lens Reflex camera's from Pentax and Samsung on the way soon.

On the left, possible version of the Pentax K200D.
On the right, Samsung GX20 supposedly a variation of the 14mp Pentax K20D.
Both due to be announced Jan 24th 2008

Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
www.ajaxnetphoto.blogspot.com 2008.
www.ajaxnetphoto.com 2008.
This content may NOT be used in any media made available for commercial resale.
The products and companies named in this website content are trademarks , registered trademarks or servicemarks of their respective owners or licensed user.