Commercial photographer Chase Jarvis has been sharing at least one iPhone photograph daily via Twitter and Facebook. He uploads them directly from the iPhone, using only iPhone software for postprocessing.

Many of us focus our attention on advanced cameras and the technical quality of images. Jarvis' iPhone work is a powerful reminder that serious photography is possible with even the most basic of cameras.

Links:
Chase Jarvis Photography - iPhone as Art
Chase Jarvis Blog - 5 Tips For Making Great iPhone Photos

Read More......

Shot to shot time in RAW is just under 3 seconds. Also, the LCD does not freeze, and it is possible to change settings during the period that one cannot yet shoot. Both are significant improvements from the DP1.

Source: DPReview forums

Regarding AF performance, Carl Rytterfalk had the following to say:

Also all above shots are taken using auto focus, I needed to see if I could trust it, and it seams to work very nice. And I must add that even if I feel that the DP2 is faster than the DP1 - it’s not a huge step forward. I would like it to be much faster still.

Source: Carl Rytterfalk Photography

Read More......

Number 1 on the list is a tie between the Leica D-LUX 4 and the Panasonic DMC-LX3.

Panasonic created a stir when they announced the LX3.  Much of the media attention centered around Panasonic's "brave" decision not to increase the megapixel count despite the fact that they were nominally increasing sensor size.  In fact, the LX3 has the same 2.0 micron sensor pixel pitch as the LX2, with advances in sensor technology contributing to relatively modest improvements in noise performance and dynamic range. 

The LX3 truly broke new ground by incorporating a brand new f//2-2.8 wide zoom lens starting at 24mm equivalent.  Only Ricoh had previously brought forth a lens this wide in a compact, and not since 2006 had we seen a zoom this fast in a fixed lens camera.  Yet unlike the fast zooms on digital cameras of the past, the LX3 zoom manages a remarkably compact size.  How did Panasonic manage to make such a fast zoom lens so compact?  First, they limited the zoom range to the 24-60mm equivalent. Second, they made more efficient use of the imaging circle. A third factor which likely contributed to their ability to keep the lens small is that they chose to address lens flaws, namely color fringing and distortion, using in-camera processing and RAW conversion software.

The result is the camera with the fastest lens in its class coupled to a sensor with noise performance in line with its Canon peer and dynamic range which is slightly ahead, second only to the Sigma DP1.  Add to that the ability to go very wide, change aspect ratios while maintaining angle of view coverage, and greater pocketability than the G10, and you have a camera which appeals to a great many photographers looking for an advanced compact camera.

There are a couple minor downsides to the LX3 and its Leica sibling. First, build quality isn't quite up to the level of the Ricoh compacts and the G10. Switches, buttons, and covers don't have that same robust feel. Second, the lens cover is clumsy compared to an integrated cover like the one on the G10 and GRD. Yet the LX3 lens cover provides greater protection than does the integrated approach.

One significant drawback to the LX3 lens design is that there is severe barrel distortion on the wide end.  Here you can see the G10 barrel distortion compared to the LX3 barrel distortion at 28mm equivalent (Note: It's worse at 24mm  equivalent):
The issue isn't necessarily the barrel distortion itself. The in-camera processor does a nice job of removing this, and the RAW software distributed with both the Panasonic and Leica cameras will automatically correct it. The problem is that when you correct that much barrel distortion in software, you are throwing away quite a bit of resolution. In my own unpublished tests I've found that an LX3 RAW converted in Iridient Software's Raw Developer, which doesn't address the barrel distortion, will approach the overall detail of a Canon G10 file in the center and exceed it at the edges and corners (with both cameras at 28mm equivalent, 4:3 aspect ratio, and comparing equal size large prints). In contrast, an LX3 file which has had barrel distortion fixed is a clear step below the G10 in overall detail rendered.

However, resolution isn't everything, and the LX3 is finding its place in the pockets of many talented photographers. It is selling out of stock more than any camera in class. The controls and ergonomics of the Ricohs put them at the top of the list for many "street" photographers, but I consider the LX3 to be the compact of choice for most people photography. With a moderate but significant lens speed advantage on the Canon, Ricoh, and Nikon competitors (roughly 2/3 stop at any given angle of view versus the Canon), it is certainly the best with moving subjects when light challenged.

A few words specifically about the Leica D-LUX 4: The mention of this camera always seems to incur general annoyance if not venom. Some among the Leica crowd get genuinely upset at the suggestion that this is a Leica camera, and there is always someone around to state that "buying the D-LUX is stupid because the LX3 is the same camera for much less money." I listed both cameras as a tie here, because I think the D-LUX 4 is every bit as legitimate as the LX3. Leica likes it enough to refer to it as the "Son of M8", so regardless of who designed the lens (Panasonic) or who makes it (Panasonic), it is a Leica. Let's look at it another way. The typical price of a D-LUX 4 these days, given current promotions, is about $650. Meanwhile, the LX3 sells for about $430 new. That's $220 extra for the Leica. In a few years, the D-LUX will probably resell for ~$300, the LX for ~$200 (based on my experience selling Leica and Panasonic compacts). At that point, one will have paid net $120 extra for the Leica. What one gets for that $120: 1) Fashion and branding which make some people want to use the camera more; 2) Longer warranty (2 years vs 1); 3) Capture One software ($100 value if purchased separately). Whether that is worth it to the individual is a personal decision, but it certainly isn't "stupid" to go one way or the other.

----------------------------------------------

Disclosure: I have purchased and owned all the cameras on this list other than numbers 4 (GX200), 6 (Rebel XS), and 7 (GRD II). I currently own only numbers 5 (Olympus XA) and 8 (Fuji F200EXR). I have used all cameras on the list enough to get to know them with the exception of the GX200, as I indicated when I listed it.

Read More......

Number 2 is the Canon Powershot G10.

The Canon Powershot G7 was brought forth in 2006 as the long-awaited replacement for the G6. Yet, in several key ways, the G7 broke ranks with the models which preceded it. Gone was RAW, the articulated LCD, and the fast, f/2.0-3.0 (35-140mm equivalent) lens from the G3, G5, and G6. Rather than a follow-up to the G6, the G7 was the heir to the Powershot S80.

Canon G fans protested loudly, but with the exception of reintroducing RAW with the G9, Canon has stuck to its path. The days of the chunkier G are gone, and Canon has continued to refine the model it brought forth with the G7. With the G10, it seems as though they have come very close to perfecting the formula.

Here's a quick look at some of what the G10 offers:

• 28-140mm (equivalent) f/2.8-4.5 lens with excellent sharpness across the frame
• Relatively low distortion
  
• Best in class resolution
• Excellent noise performance
  
• Best lens speed amongst current compact telephoto offerings
• Amongst the best available controls in a compact with easy to use menus and dials for ISO and exposure compensation
• Responsive performance
• RAW
  
• Best in class image stabilization (based on my subjective impression)
• Best in class LCD quality
• Useful optical viewfinder
• Hot shoe
• Great build quality and ergonomics
• Good battery life
• Large feature set
  

There is little to fault with the G10.  Two things to consider are that it is less pocketable than some of the alternatives and that it has average dynamic range for class.

Overall, I believe that the Canon G10 is perhaps the single best choice for the majority of photographers seeking an advanced compact camera for general use.

The Canon G10 currently sells for $440 at Amazon

Number 1 tomorrow. Preview: There is a tie for #1.

Read More......

Number 3 is the Sigma DP1.

In my own print comparisons, the Sigma DP1 has the best image quality of any digital compact camera. "Best" may not be the optimal word since there are those who prefer the coarse rendering of small sensors or want the highest resolution possible, which the DP1 does not offer. However, the exceedingly clean DP1 files - with their smooth tonal transitions, high dynamic range, open shadows, and resilience during tone mapping - have the best image quality as far as I am concerned.

The lens, too, is amazing. One may not like the bokeh rendition (I do), and one may find the lens range (28mm equivalent, fixed) or speed (f/4) to be a non-starter. However, this is a lens which is beautifully sharp wide open with even performance across the frame, improving only very slightly (from great to outstanding) in the extreme corners when stopped down from there.

The DP1 hasn't fared well on the big review sites though, and from my perspective, the grilling hasn't been quite fair. For starters, there is too much attention placed on whether the DP1 has 14MP or 4.6MP. There is plenty of detail in the files for medium sized prints, comparable to that of a usual 8-10MP DSLR or advanced small sensor compact.

Where the DP1 really gets hammered in the reviews and discussion forums is for its operability and responsiveness. Here, in my humble opinion, the "experts" mostly have it flat out wrong. Certainly there is nothing "extra" to be found in the DP1 features. No smile recognition or even scene modes. Sigma is clear about the design philosophy and target market for this camera. It is meant to be a return to basics. In this regard, the operability is fairly successful. An optional external viewfinder of high quality and low cost compared to the market allows one to photograph without LCD lag. Controls for all basic image making parameters - aperture, shutter speed, ISO, and manual focus - are quickly and easily alterable. Firmware updates improved further still on these controls. Here is where the reviews really got it wrong though: they assert that the DP1 is unresponsive due to a long shutter lag.

Shutter lag? Really?? When I read the statement, as I have in several reviews, that the DP1 has a "big shutter lag", I have to question the competence of the reviewer. It is striking to me that some of these same reviewers supposedly come from a "street photography" background. As James Vornov once commented on this blog, "No one is trying to capture the decisive moment while changing exposure and getting the rangefinder images to overlap. The camera has been manually set to the right focus and metering and the trick is picking the moment and timing the shutter." The same is absolutely true for the DP1. If one has chosen the focus and the exposure, the camera responds essentially the instant the shutter release is triggered.

Functionally, there are four places where the DP1 falls down. From biggest problem to least, they are: 1) The LCD freezes for a short while and the camera goes unresponsive, unable to change settings, for about five seconds after each shot whether in JPEG or RAW mode; 2) Autofocus is slow compared to most other cameras; 4) There is no image stabilization; and 3) The LCD is of relatively poor quality.

In terms of image quality, there are three issues: 1) High ISO, low light color results are poor (though high ISO, low light B&W results are quite good); 2) Luminance aliasing can be an issue, though on the balance not as much as some try to make it; and 3) A red "sunburst" artifact reliably occurs with very bright lights such as the sun in the frame.

If those operational and imaging issues are acceptable and one is willing to live at 28mm, the DP1 is an amazing tool and easily deserves it's place near the top of this list.

The Sigma DP1 is currently selling for $450 at Amazon.

Read More......

With the recent Ritz Camera closings, I've been thinking more about the future for local camera stores. For the past 6-7 years, my typical practice was to buy online from B&H, Adorama, Norman Camera, or Amazon. Earlier this year, however, I was looking to rent some compacts for review, specifically the Canon G10 and Leica D-LUX 4. I tried at B&H and Adorama but no luck. To my surprise, one of the responses on this blog came from someone who worked in a photography store in my city. The store is called Service Photo and has been serving photographers in Baltimore for over 50 years! I'm embarrassed to admit this, but until that comment on the blog, I never realized that they existed.

Service Photo agreed to rent me those two cameras for a very reasonable price, and I headed on over. Until that day, my local photography experience was with Ritz/Wolf. I don't want to say anything bad about the customer service at those places because I'm sure it varies, but their prices were simply not competitive with online pricing, and the inventory was extremely limited.

The experience at Service Photo was a revelation. The selection of bags, cameras, lenses, tripods, film, and accessories at Service photo was excellent. Few if any brick and mortar store can match the vast inventory of an online store, but a real store makes up for that by allowing one to try the gear, ask questions about it, and bring it home the same day. The five or six workers who greeted me were very courteous and knowledgeable. However, the real shock came when I asked about prices. Specifically, the prices for new gear were extremely competitive with online pricing, and the used gear prices were overall better than what I was seeing in the usual places (KEH, Ebay, Fred Miranda).

Since that time late last year, I've purchased two new Nikon lenses, one used lens, two bags, and a lot of film at Service Photo. I returned the used lens today after it didn't live up to expectations, and they took it back for a full refund with zero hassle. I tried out a Nikon D60 kit, discussed the features, and then asked about price. They beat the Amazon price even taking into account Maryland tax, which I wouldn't have to pay at Amazon. I now know better than to be surprised by that.

Still, how can they do it? Specifically, how can they have several available, helpful, knowledgeable workers, pay overhead, charge tax, and still beat the Amazon price? I have no idea. Sure, they don't always beat the best online price, but they always come close, and I'm certainly willing to pay a bit extra for the great customer service. In the long run, I just don't know whether such a business can last with sales increasingly going to the online sellers. However, I'm glad there's a store like Service Photo in my city and would love to hear from others who have a similar store in theirs.

Read More......

As I approach the end of this list, it is increasingly more difficult to choose an order. Any of the top four cameras could easily be #1. It goes without saying that the order chosen represents a personal point of view.

Number 4 on the list is the Ricoh GX200.

The Ricoh GX200 is the sole camera on this list which I have not used extensively. I have handled the GX200 but my recommendation, in this case, is largely based on my experience with its predecessor, the Caplio GX100, along with the insights and photographs of Wouter Brandsma and Cristian Sorega.

Ricoh led the resurgence of "serious compacts" in the market following the death of the "bridge camera". While the GR Digital (GRD) best embodies the essence of the advanced Ricoh compact, the GX200 is the better tool for most photographers.

Like the GRD, the GX200 has class leading operability. Build and handling are superb. Key features include full manual controls, RAW (DNG), and the availability of an optional external electronic viewfinder.

The 24-72mm equivalent, sharp zoom lens is perfect for the wide angle enthusiast, and optional conversion lenses extend the range to 19mm wide and 135mm tele equivalents. The lens speed is good (f/2.5) at the wide end and average (f/4.4) at tele.

To learn more about the Ricoh GX200, I recommend reading Wouter Brandsma's impressions and the detailed review by Cristian Sorega.

Read More......

Number 5 on the list is the Olympus XA.

Photo by Alf Sigaro, modified and used under Creative Commons license

The Olympus XA is the second film camera and the only film "compact" on this list. Unlike the larger, far heavier Canonet, the XA is easily pocketable. As far as I am aware, it is the tiniest rangefinder camera ever created for the 35mm format and is certainly the most compact to offer aperture priority automatic exposure.

The design of the XA is very clever. With the clamshell cover closed, the camera is off with the electronic shutter locked and a small cover protecting the rangefinder window. Sliding the clamshell open unlocks the shutter release and exposes the lens while the rangefinder window is also uncovered. The camera is immediately ready for action. Remarkably, the tiny 35mm f/2.8 Zuiko lens does not extend at all for use.

Pressing the shutter release was a real surprise for me when I first got the XA. It is a real hair trigger with no vertical travel to speak of. A gentle tick is audible as the photo is made. I wish all of my cameras would make such restrained noises. The XA is about as unobtrusive as a camera can be.  My only complaint is that it is incredibly easy to trigger the release by accident while handling the camera.  In fact, I just exposed the seventh frame on a roll of XP2 while examining the camera to write this blog post!

The little Zuiko lens is a high performer. There is some vignetting at and near wide open. Peak performance seems to be around f/8. If I recall correctly, this was taken at ~f/11:

Click the photo for a larger version or click here if you really want to dye cloud peep.

The controls layout is compact and logical.  A sliding lever on the front controls the f-stop, adjustable from f/2.8 to f/22 in full stop increments.  Pushing the lever past f/2.8 activates the flash, if the flash is attached.  One thing I really like about the XA is that, unlike its later autofocus counterpart the Stylus Epic (Myu II), there is no chance of unintentionally firing the flash.  Under the camera is a switch to engage the self timer, check the battery, or set a +1.5 stop exposure compensation for backlit scenes.  Alternately one can set exposure compensation by changing the film speed, adjustable from ISO 25 to 800 in 1/3 stops using a tiny, fingernail controlled switch directly beneath the lens.

The control for rangefinder adjustment is a tabbed dial, also beneath the lens.  The rangefinder base is very short.  Going from minimum focus of just under a meter to infinity takes just about 1/2 an inch of travel.  Despite this, I find that it is relatively easy to obtain proper focus.  A distance window is shown above the lens, clearly visible during use.  f/5.6 on the aperture scale and 8 feet on the distance window are each marked in orange to remind the user that these settings used together make a useful combination for zone focusing during street photography.

The viewfinder is large and bright for such a tiny camera.  The 35mm framelines are easy to see while wearing glasses.  The shutter speed is indicated by a needle on the left and can be hard to see in tricky lighting.  The rangefinder on my XA has dimmed over the years but is still quite usable.

The selling price for the XA varies widely.  I picked up mine for $35 on Craigslist.  The previous owner bought it used in the early 1980s and used it regularly until switching to a digital compact last year.  Overall, it has held up very well to nearly three decades of non-pampered use.  As is common with these cameras, the foam seals are gone, but that is an easy fix.  It takes great pictures as is, so I haven't bothered.

Read More......

Sigma photographer Carl Rytterfalk has posted his initial impressions of the Sigma DP2 along with nine full size samples.

Have a look: Carl Rytterfalk Photography - “Initial DP2 review with full size shots..”

To me, these look like DP1 files. Even the ISO 3200 B&W file looks like an ISO 800 DP1 file which has been deliberately underexposed and pushed two stops. All of this is as expected. The new bit is Carl's impression that the DP2 is faster in operation with "much improved" shot to shot time. When pushed for details, Carl wrote the following:

Hi Stills, Actually my initial response was that it felt very much the same as the DP1 - on daily basis you don’t normally think of the Dp1’s speed as an issue.

But in the studio where I tried the DP2 the other day I know that DP1 was problematic and the DP2 shot to shot speed didn’t feel like an issue at all. I’ll get back to this with timing as I did none what so ever.

Also the startup time is a bit improved.

Read More......

Number six on our list is the Canon Rebel XS (1000D).

No DSLR is a compact per se, but I wanted to include one compact DSLR on this list. My thoughts immediately went to Olympus, who recently announced the E-620, easily the most fully featured small DSLR available today. The E-620 packs in-body image stabilization, a fully articulated LCD, seven point autofocus (5points cross AF sensor / 7 points twin AF sensor), and more into a body which is slightly smaller and lighter than the competition. Nikon, Sony, and Pentax also make fine "entry level" DSLRs.

Any of the those would be a great choice, but my personal pick would be the Rebel XS for the following reasons:

• Costs just $510 including a sharp, image stabilized standard zoom lens.
• Can use an inexpensive, well performing, compact, light, and fast autofocus prime at the 35mm equivalent focal length (EF 24/2.8).  Combine that lens with the even lighter, less expensive and faster EF 50/1.8, and one has a terrific two prime kit covering the traditional 35mm and 85mm views.
  
• Offers good noise performance, dynamic range, and viewfinder size compared to the competition

With the Rebel XS, Canon released a model which is slightly underspecified in nearly every way compared to its sibling, the Rebel XSi. Where the XSi has 12MP (and now the Rebel T1i announced with 15MP), the XS has 10MP. Other features cut include spot metering, viewfinder magnification (.81x vs .87x), highlight tone priority mode, ability to take a wireless remote, and burst speed in RAW (1.5fps vs 3.5fps). Importantly, the Rebel XS also sheds a full $200. The XSi kit costs a full 40% more than the XS kit (same lens) at the time of this writing.

Other than a slow burst mode in RAW (1.5fps) and lack of spot metering (both of which I can personally live with), the Rebel XS has all the basics covered very well.  At $510 including the EF-S 18-55mm IS, it is a bargain and my current pick amongst the small DSLRs.

Read More......

As I mentioned at the outset, the idea for this list came from an ongoing list of recommended cameras by Mike Johnston at The Online Photographer.  I didn't anticipate that a list of "serious compacts" would have much in common with a list of ten recommended cameras (compact or otherwise) at T.O.P.

Mike is five cameras deep into his list, and if any of you haven't been following over there (and you ought to be), guess how many of those cameras can be considered to be compact?  From my standpoint, the answer is all five of them.  In fact, I had considered each and every one of those cameras for the list on this site!  I still plan to cover the same list I had in mind despite some possible overlap, but I thought I should explain myself to make it clear that I had no intention to copy anything beyond the idea of putting forth a list of recommended cameras.  I can't help the apparent fact that the smaller cameras tend to be the most recommendable amongst all cameras! 

Now back to our list. Number 7 is the Ricoh GR Digital II.

I struggled with which GRD to put on the list and where. Either one of those cameras could easily be number one on the list depending on the needs of the photographer seeking a recommendation. However, neither is likely to be the best choice for the majority of users seeking an advanced compact.

The original GRD is sometimes available for much lower prices than the GRD II on the used market, but even if priced equally, there are those who would prefer the original. In-camera JPEGs from the original GRD have a unique, almost gritty character, and signature colors. To see what I mean, browse GRD photos using the Flickr camera finder (link). By comparison, the in-camera JPEGs from the GRD II look watered down, particularly at high ISO. Yet the GRD II is superior for the RAW shooter, offering a RAW buffer to diminish shot-to-shot time in RAW, as well as overall better sensor technology for cleaner files. For that reason, I decided on the newer model for inclusion on this list.

The GRD II has a sharp, very low distortion, flare resistant 28mm equivalent prime lens. It is a very compact, extremely well made camera thats feel terrific in the hand and offers class leading controls. As I suggested in the full review, this is a camera that compels you to go make photographs.

Ricoh GR Digital II - $540 from Adorama via Amazon

Read More......

Number 8 on the list is the Fujifilm FinePix F200EXR.

• No RAW mode
• No optical viewfinder
• Relatively slow f/3.3-5.1 5x zoom
• Below average battery life
• Limited aperture control (choice between two aperture settings)
• Confusing menu settings
  

However, in the larger scheme, I have to recognize what Fuji is doing with the Super CCD EXR sensor technology.  Traditionally, small sensor cameras have three major limitations: 1) Poor performance in low light, handheld photography in cases where a deep DOF isn't required; 2) Poor dynamic range (DR); and 3) Inability to use a shallow depth of field (DOF) outside of macro and telephoto applications.  Consistent with their history of innovation in recent years, Fuji seems to be taking on all three of these limitations.  The F200EXR is an attempt to deal with the first two of those, namely noise and DR.  Fuji's 3D technology (dual lens/sensor units) has the potential to achieve shallow DOF, but that is beyond the scope of this blog post.

In recent years, compacts from Canon, Pansonic, Fuji, and others have implemented in-camera underexposure and "push" tonemapping to increase the apparent DR of resulting in-camera JPEGs.  This process, made possible by the increased power of modern in-camera processors, has largely been successful.  However, Fuji takes things a step further with Super CCD EXR.  This sensor gives one the option to allot half of the pixels to one exposure, and the other half to a different exposure.  The two resulting images are then combined to form an image of reduced dimensions but increased dynamic range.

My own experience with the F200EXR is that the process works.  One gets more gentle highlight transitions to clipping without the increased shadow and midtone noise which characterizes the underexpose and push approach.  Colors retain good tonal separation.  The results are not miraculous but represent a step forward for small sensors.


The Super CCD EXR sensor arrangement also offers theoretical color benefits when binning pixels for low megapixel output in low light, high ISO settings.  With the F10/F30, Fuji led the way in small sensor performance at high ISO.  The F200EXR is the first compact with which Fuji has exceeded the F30/31 in high ISO sensor performance.  The 6MP output in EXR S/N mode is slightly noisier but significantly more detailed than the output from the F31.  Overall, I find the character of the F200EXR high ISO output to be more pleasing, and one can always apply subsequent noise reduction if desired.

Unfortunately the F200EXR camera settings are confusing.  When one chooses 400% DR in EXR DR priority mode, one is limited to 6MP output since only half the pixels are used at each exposure.  Yet one can choose 400% DR with 12MP output in some of the other modes.  How is that possible?  It seems that Fuji is using the "old" F100fd underexpose and push method in those modes.

I keep it simple with the F200EXR settings.  In good light, I use EXR DR priority with 400% DR.  In low light, I use EXR S/N priority.  Rarely, in low contrast settings, I'll switch to EXR resolution priority mode, which gives the full 12MP output.

I thought long and hard about buying the F200EXR.  No RAW is generally a dealbreaker for me, and I value the presence of an optical viewfinder.  Also, at $390, the F200EXR is priced in line with much more fully featured compacts.  Finally, this is first generation technology.  In the end, curiosity got the better of me and I had to see whether the implemented hardware DR approach would really be a step forward for small sensor compacts.  Having used the F200EXR for now just over a month, I believe that it is.

Link: Fujifilm FinePix F200EXR at Amazon

I fell behind a day on this list, so later today I'll also get to Number 7.

Read More......

1001 Noisy Cameras just broke the news of across the board Olympus DSLR price drops. I thought this would be of interest to many readers of this blog given that the Olympus E-420 is significantly lighter and more compact than any other current DSLR, and now at $405 including kit lens is priced squarely within the ranks of advanced small sensor compacts.  The body only ($314) and body + pancake lens kit ($500) prices are also outrageously low. I can only imagine what the used prices are going to be!

Here are a couple photos showing the E-420 (pictured with 25mm f/2.8 lens) size relative to other cameras, first the Sigma DP1 and second the Canon 5D:

Links to Amazon:
E-420 and 14-42mm kit lens for $405
E-420 Body Only for $314
E420 and 25mm f/2.8 Pancake Lens for $500

In case anyone is interested, I posted a bokeh comparison between the E-420 / ZD 25 pancake and Canon 5D / 50mm f/1.4 last June (link)

Read More......

Over the years, I have participated in the forums at DPReview, Photo.net, POTN, Fred Miranda, GetDPI, Zuiko mailing list, and elsewhere.  Some months ago I had the idea that I could build a better photography forum and launched the Camera Work forums.  Those forums gained a handful of great members and then fizzled.  Looking back, I think that the software platform for that site was too feature limited to offer a significant improvement on what one would find elsewhere.

I'm now excited to reintroduce Camera Work.  I think it has great potential and hope some of you who read this blog will help it get off to a good start.

Here are some of the reasons why Camera Work will be a great place to share photographs and discuss all things photography related:

1. Unlike our current discussion group (which is full of fantastic, talented folks), Camera Work does not require a Flickr membership, nor is it limited by the Flickr platform (single forum per group, need to use html, etc)
2. Unlike all other forums I've used, Camera Work allows members to use html codes for embedding images and links.  BB code is also supported, but the ability to use html makes it really easy for Flickr users to copy and paste code provided by Flickr to put their photos in our forums with a link back to their respective Flickr page.
3. Camera Work provides a ton of free image file hosting for members.  You can upload as many albums as you like using the easy to use software.  Each album can contain up to 50 photos.  Each photo can be up to 1MB in size and up to 1024px in greatest dimension.  Compare that to any of the other photography sites, many of which ask you to pay for lesser file hosting.
4. In addition to uploading albums, you can attach files to any forum post.  A very cool lightbox functionality is implemented to display multiple attached photos in sequence.  All members can upload attachments of up to 1MB each without a limit on total number of attachments.  Based on post count, members may become eligible to upload zip attachments of up to 50MB each (for sharing RAW files, etc).
5. Camera Work puts a randomly selected assortment of public member images at the top of the homepage to remind everyone why we're there and to give everyone exposure.  If you don't want certain images there, just designate those albums as private.  If you don't like to see the photos on the main page, just click to collapse that row, and it will remember your preferences unless you click again to expand it.
6. There are no forum distinctions for sharing photos versus discussing gear, nor are there distinctions based on brand preference.  I don't see any purpose in those constraints.
7. Camera Work will be carefully moderated to be free of personal attacks which are so common in the larger forums, yet members will be absolutely free to link to and promote external sites and interests provided that they don't do so by spamming.
8. Camera Work has integrated blogging software, so if you want a free blog which is as easy to use as a typical forum post, you can do so there.
9. The "Buy and Sell" forum is and always will be free to use for all registered members.  Again, some other sites will make you pay.
10. I am very, very open to adapting the forum to member feedback.  This includes adaptations that cost me money like the lightbox functionality and the blogging software add-on.
    

Regardless of functionality, a forum doesn't come alive until a critical mass of members and discussions occur.  I think there are enough of us to get off to a great start, but it will take some time.

The following URLs will take you to Camera Work:

• www.cameraworkforums.com (easy to remember)
• www.camwk.com (easy to type)

If you think this forum is worthwhile and want to see it succeed, please take a minute register at Camera Work and post something there.  Upload an album.  Introduce yourself.  Ask a question.  Request a feature.  Comment on your favorite or latest gear.  Recommend a book.  Better yet, do all of those things :-).  You may not see much of a response initially, but I'm confident that before long we can build a better photography forum.

Read More......

Want a great serious compact for $125?

Number 9 on the list is the Canon Powershot A590IS.

While much of the attention is on the sleek, compact ELPHs (now SD series), Canon has a long history of providing great functionality in the A series. For example, the A640 had the same sensor and lens as the G9, and in some ways more features, for significantly less money.

Let's see what the A590IS has to offer:

• Full PSAM (program, shutter priority, aperture priority, manual exposure modes)
• Manual focus mode
  
• RAW capability with the freely available CHDK hack 
• Pocketable, lightweight, and tough
• Optical viewfinder, albeit small with terribly inaccurate framing, eliminates LCD lag, saves battery life, and for me provides a more stable holding position
  
• Good LCD, relatively readable in both bright sunlight and dim lighting
• Sharp, fast lens (f/2.6 at 35mm equivalent) with effective image stabilization (IS)
  
• 35-140mm equivalent coverage with available Canon wide and tele adapters to expand coverage
• Uses just two AA batteries with excellent battery life using rechargeables and average battery life (~200 shots) with off the shelf batteries

Controls and menus are standard Canon fare, which I happen to like.  It's no Ricoh, but everything is accessed easily enough.

What's not to like?

• Moderate barrel distortion at the wide end
• Average lens performance in the far corners of the frame
• Average speed (slow) at telephoto (f/5.6)
• Small sensor (1/2.5") with average dynamic range (though better than average ISO 400 noise handling)
  

The fact that the lens starts at 35mm equivalent rather than 28mm or 24mm will also be considered a downside to many readers of this blog.  I happen to love shooting at 35mm equivalent, so that negative is balanced by two positives for me: 1) As soon as I power on, it's at my preferred focal length; and 2) It's f/2.6 at 35mm.  A typical compact which offers f/2.8 max speed at 28mm equivalent will be f/3.2 max at 35mm, meaning 1/2 stop slower than the A590IS.

Overall, the A590IS is a tremendous value.  Image quality is great in good light, and thanks to a fast lens, effective IS, and good-for-size sensor technology, it's not bad in low light.  With full manual controls, an optical viewfinder, and added functionality (RAW and more) available through CHDK, the A590IS is a very serious compact for a bargain of a price.

The A590IS is currently selling for $125 at Amazon - A590IS at Amazon

The currently featured seller at Amazon is Adorama, from whom I have had good experiences buying.

Read More......

Inspired by The Online Photographer, who have begun a countdown of their T.O.P. Ten Recommended Cameras, I thought I'd offer a list of ten recommended compact cameras.

My search for the perfect compact has taken me back and forth between digital and film. In terms of size, I've used everything that could be considered compact, from the smallest of subcompacts to the most compact of DSLRs.

For the next 10 days beginning today, I'll be listing one recommended compact daily. Other than as noted, I've extensively used every camera on this list. Remember that this list is a personal one in every respect, and I haven't quite tried every compact there is to try, so don't take it to heart if your favorite compact doesn't "make it"!

#10 on my list is the Canonet QL17 GIII, shown here in the uncommon black finish next to a modern counterpart, the Canon G7:

The QL17 GIII, introduced in 1972, is a compact 35mm film rangefinder camera with a fixed 40mm f/1.7 lens. According to Steven Gandy of CameraQuest, over 1.2 million of these were sold between 1972 and 1982.

If you are looking for your first rangefinder camera experience, I can strongly recommend these inexpensive, sturdy little cameras. Notice that I didn't say light. On the contrary, these Canonets have suprising heft. They are built to last, usually requiring little more than a fresh set of batteries and light seals to function properly after decades of use.

The 40mm lens on the QL17 GIII is very sharp, even wide open. Bokeh can be harsh with the lens wide open, something that holds true for most fast lenses, but tames nicely after stopping down even slightly.

The QL17 GIII has a nice clear, bright viewfinder and reasonably crisp rangefinder patch. Those who have grown up with the niceties of digital automation will find comfort in the shutter priority auto exposure capability of the the QL17 GIII. It does not have an aperture priority mode.

The one negative to this camera is that it made to use the PX625 mercury battery, no longer available in the US. I used mine with the PX625A alkaline battery, and although this can throw off the exposure a bit, I found it worked very well overall. Alternately one can buy a camera which has been properly adjusted for the slightly different batteries.

I recommend hink2u on Ebay as a reseller of restored Canonets for a reasonable price.

More information on the Canonet QL17 GIII:
Stephen Gandy's CameraQuest
Camerapedia.org

Read More......

By Kirk Tuck, The Visual Science Lab

I'm hardly clandestine about it but I thought it was high time I professed my fascination with what are commonly called "point and shoot" digital cameras. I find them irresistible. Lately I've been snapping up the Canon G series, starting with the G10. Small and dense, this little 14 megapixel camera pulls my attention like gravity...

READ ON at visualsciencelab.blogspot.com

Kirk Tuck is the author of the following highly regarded books:
Minimalist Lighting: Professional Techniques for Studio Photography (2009)
Minimalist Lighting: Professional Techniques for Location Photography (2008)

Read More......

I came across Byron Edwards' outstanding work in our Serious Compacts Flickr Group, which now has greater than 1,200 photographers.

Byron states in his Flickr profile: "I'm an ex-pro photographer turned web developer, but having bought a Ricoh GRD I'm having fun taking 'snaps' again."


Byron's work mostly falls into the category of street photography, most recently in Japan. To see more, check out www.byronedwards.com, his Flickr stream, or follow Byron on Twitter.

Read More......

I have a growing addiction to the Camera Deals blog at www.NoisyDeals.com. I have no commercial affiliation, though the blog was started by a friend who writes the 1001 Noisy Cameras blog.

Camera Deals basically monitors the latest photography gear deals the same way that sites like Techbargains monitor the latest tech deals. For example, a couple days ago they had the scoop on $399 E-520 kits from Newegg.

Very useful site if you don't have the time to monitor all the primary sources!

Camera Deals URLs:
http://cameradeals.1001noisycameras.com/
Easier to remember: www.noisydeals.com

Read More......

The Sigma DP1 is in stock and available from Amazon for $400. This is the price for today only, and only while supplies last, so move fast if you've been waiting for a great price on this camera.

Link: Sigma DP1 for $400 at Amazon

[Thanks Will P]

4/10/09 Update: The deal is now over. Today the low price on Amazon is $499, with All About Electronics as the seller. I don't know anything about All About Electronics and cannot recommend them. The current price with Amazon as the seller is $665.81.

Read More......