Serious Compacts - Photography, News, Discussion, and Reviews of Advanced Compact Cameras

We've Moved

2010-07-05T21:08:00.001-05:00

Hi, you've reached the old SeriousCompacts.com website, which was active from May 2007 to February 2010. For an explanation of the recent inactivity on this site, please see this post.

Click here to visit the new SeriousCompacts.com

Sony Introduces Mirrorless APS-C Camera Concept Design at PMA

2010-02-21T22:05:00.005-05:00

Here's what Sony brought to PMA:

The system, to be introduced later this year, will use a newly-designed Exmor™ APS-C HD CMOS sensor, which provides full AVCHD video capability. Other than that, and what one can guess based on the concept models shown above, details are lacking.

Not too hard to guess that the first lens on the left is a standard zoom, and the second a normal (or possibly wide) prime. What is the monster on the right, I wonder?

Olympus PEN EP-L1 Announced

2010-02-03T11:01:00.002-05:00

Olympus has announced a slightly lighter, significantly less expensive digital PEN, the E-PL1.

Link: http://www.olympusamerica.com/cpg_section/product.asp?product=1501

With an estimated retail price of $599.99, which I assume is for the 14-42mm lens kit, this should be a good seller!

Mu-43.com Facelift and Second Photo Contest

2010-01-02T15:48:00.001-05:00

Our new Micro Four Thirds site mu-43.com got a major makeover today, and we announced our second photo contest with cash prizes. If you're interested in Micro Four Thirds, please have a look!

Link: www.mu-43.com

New Olympus E-P2 Reviews by Kirk Tuck and Steve Huff

2009-12-29T09:12:00.000-05:00

A couple of pros who are excited about small, serious cameras have put the new Olympus E-P2 through its paces:

E-P2 shoot by Kirk Tuck at the Visual Science Lab

E-P2 review by Steve Huff at Steve Huff Photo

I found both of the above at 1001 Noisy Cameras, which really is the site for obsessed camera fans. You can see their full Micro Four Thirds coverage here.

New Micro Four Thirds User Forum and Photo Contest

2009-12-15T14:00:00.001-05:00

Micro Four Thirds is an exciting development in digital photography. With the Panasonic GF1, Mike Johnston of The Online Photographer finally has his DMD. Long overdue. The arrival of the Lumix 20mm f/1.7 and Lumix 7-14mm f/4 signal the maturation of the system. The convergence of still and video capture is inherent, and as a platform, Micro Four Thirds has the potential to implement features which simply aren't possible with the older designs. As Giani Galassi put it, "Micro 4/3 can really be considered as the Third-Millennium Leica" (link).

I think the time is right for a discussion forum specifically for Micro Four Thirds users, and I hope that those of you with an interest in Micro Four Thirds will join me at a brand new forum at http://www.mu-43.com/.

We'll kick things off with a photo contest, open to those who participate in the new forums. The theme is "Cold" (interpret as you will), and modest cash prizes will be offered. I hope this will be the first of a regular forum feature. Contest details are here.

If you register at mu-43.com, please take the time to upload an album. Miscellaneous photos from members' public albums will be featured on the front/main page of the forums. Until others upload albums, a few of my photographs will be shown repeatedly on that front page. This is embarrassing for me, so help me out :-). It's very easy to do.

Those of you who participated in the Camera Work forums will find your login/registration functional at the new site. Hope to see some of you there!

2 Months with the Panasonic GF1

2009-12-11T08:57:00.007-05:00

This content has been moved to the new SeriousCompacts.com.

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'The Worst Cameras of 2009' at Digital Camera HQ

2009-11-25T22:23:00.002-05:00

In a segment dominated by site like DPReview, where "Above Average" means anything but, check out Digital Camera HQ's refreshing post, "The Worst Cameras of 2009".

Link: Digital Camera HQ via 1001 Noisy Cameras

Featured Artist: Stephen Gillette

2009-11-25T10:10:00.001-05:00

Stephen Gillette is a fine art photographer living in Trabuco Canyon, California, located an hour’s drive south of Los Angeles. Much of Stephen's work has been done with small sensor compact cameras. Serious Compacts contributor Eolake Stobblehouse interviewed Stephen in 2007 about his use of compact cameras for serious work (link to interview).

Stephen's recent work, "Big Sur Tondi" (Studies of Light on Moving Water), is currently on exhibition from November 2 - December 11, 2009 at Cypress College, Edouard de Merlier Gallery in Orange County, California. The series consists of prints ranging in size from 11.75 x 8.25”, printed on traditional Japanese mulberry paper, to 48 x 48" Lambda prints.

The project is visually striking, even in web-sized display.

More information:
- "Big Sur Tondi" micro site
- Stephen Gillette's main site

ISO Shootout: Canon S90 vs Ricoh GR Digital III vs Panasonic G1

2009-11-24T18:37:00.015-05:00

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Canon S90 vs Ricoh GR Digital III: Lens Performance

2009-11-22T18:04:00.014-05:00

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Ricoh GXR System

2009-11-09T20:09:00.004-05:00

There is certainly some promise in the ability to vary sensor size and specification according to the lens focal length range, but adding a sensor to each lens has got to significantly increase cost. I'm not sure what to make of this just yet!

Others seem similarly unsure how to react to the leak. Amongst my favorite responses to the Engadget post:

Barry @ Nov 9th 2009 4:55PM
"So Ricoh basically lost their frickin' minds. Interesting."

Macgic @ Nov 9th 2009 5:19PM
"Brilliant idea. You can have a small sensor for your zoom. And a larger sensor for your faster prime. This makes the gxr the smallest interchangable lens digital on the market!"

Bad Beaver @ Nov 9th 2009 5:22PM
"I'm looking forward to seeing reviews. Depending on what they actually put in there, it's either a stroke of genius or just batshit crazy."

lou @ Nov 9th 2009 5:42PM
"Not so suave, Ricoh"

Full coverage at 1001 Noisy Cameras.

Olympus E-P2 and Two New Lenses Announced

2009-11-05T08:03:00.005-05:00

Olympus has announced a new digital PEN camera, the Olympus E-P2 (available for pre-order at Amazon). The major differences from the E-P1 are as follows:

Ability to use a new, high resolution add-on EVF
Black paint color under a glass coat

The Olympus add-on EVF looks to be a good bit larger than the GF1 add-on EVF, but based on specifications and early user reports, the added size comes with significantly improved resolution and quality. Here is a size comparison of the E-P2, GF1, and G1 approximately to scale:

Availability of the E-P2 has been reported as December or January.

Two new lenses were also announced and should be available in the first half of 2010:

M.ZUIKO DIGITAL ED 9-18mm F4.0-5.6
M.ZUIKO DIGITAL ED 14-150mm F4.0-5.6

As noted above, the E-P2 is already available for pre-order at Amazon

Additional images:

Full coverage at 1001 Noisy Cameras.

Adobe Lightroom 3 Beta Noise Reduction

2009-10-26T05:56:00.001-05:00

The default noise reduction implementation in Adobe Lightroom has dramatically changed with the Adobe Lightroom 3 beta. High ISO rendering in the Lightroom 3 beta now resembles that of Raw Developer or Capture One more than it resembles that of Lightroom 2.

Here's an example using two 100% crops from an ISO 1600, 1/4s, f/5.5, 48mm image I took this weekend with the Panasonic GH1 and kit zoom in low light. On the left is the default LR2 conversion, on the right the default LR3 beta conversion:

The change is, to my eye, a significant improvement. For the first time, I am considering Adobe Lightroom as a first line RAW processing application.

'Best Camera' iPhone Application

2009-10-22T19:57:00.001-05:00

Seriously cool iPhone app created by Chase Jarvis:

Serious Use of Compact Camera Images in Graphic Design

2009-10-19T19:04:00.002-05:00

by Mayank Bhatnagar

As a graphic designer, I often design for organizations including non-governmental organizations working in the development sector and frequently receive images from clients for use in communication material as varied as brochures, websites, flyers, annual reports, newsletters, fact sheets and technical documents. I am fond of the imagery the development sector uses and often find it more interesting and natural than the slick, perfect and utopian imagery used by the marketing (fast moving consumer goods) and now information technology sectors.

In the past couple of years, for dozens of design assignments undertaken for development sector clients, I have rarely received 'technically perfect' images shot by professional photographers using high end equipment such as dSLRs. Most images I receive have been shot by clients / volunteers / students using compact cameras. And by compact cameras here I mean the most basic or budget compact cameras running on 'auto' mode. Noise, highlight clipping, channel clipping, colored fringing, blooming of highlights, poor dynamic range, excessive use of flash (and therefore harsh shadows) and color cast are just some of the technical issues I frequently encounter while shortlisting and processing the images for print and/or web publishing.

For a large design assignment, I typically receive an assortment of images (usually about two dozen or more) which are then categorized to match with text / report chapters / sections. Unless the technical quality of a particular image is unacceptable, I am forced to make do with what I have and each relevant image is then optimized for print. Thanks to powerful image processing software, each selected image usually goes through the following process:
- Resizing (usually downsizing), size of technically bad or blurred but important photos is usually reduced greatly, sometimes as small as 2x1 inches, to make them useable and hide some of the flaws. I prefer to convert images to 240 ppi resolution for print purposes.
- Noise reduction (usually applied to full-size images which are later downsized).
- Shadow and highlight recovery (using shadow-highlight sliders in Photoshop), adjustment of levels. Sometimes HDR techniques are used to process different parts of the image separately.
- Correction of color cast.
- Correction of horizontal plane, also barrel distortion and perspective in some cases.
- Correction of skin tones (often flashed faces come out reddish and are not easy to correct)
- Conversion to CMYK (for 4 color printing) or to Greyscale for one or two color printing.
Usually cropping decisions are taken at the page markup stage where I can see the image-text relationship accurately and crop images accordingly.

Images are almost always received as a part of the brief and for most development sector design assignments (with tight budgets), buying stock imagery or getting a professional shoot done is not an option. I think most reasonable :-) graphic designers learn to work under constraints and make do with what they are given.

A report and a newsletter designed for Chintan Environmental Research and Action Group using compact camera images. (Reproduced with permission from Chintan.)

As someone also doing serious and fine art photography with compacts for the past couple of years, this is where I fall into a dilemma. While on one hand I strive to capture technically sound images and am always on the lookout for the next compact that would raise the bar on my images, on the other hand as a designer I make do with images that I would reject outright for technical flaws if taken by me. Images used in important publications, which may be read and used by top national and international organizations, governmental agencies, funding agencies, think tanks and the like, taken with automatic point-and-shoot cameras I would not even look at! Thus I wonder if it is the image (the subject, the moment, the interrelationship of elements, the light, etc.) and the purpose for which it was taken that really matters and that the rest is essentially 'technical' and 'secondary', the bit photographers tend to worry too much about these days! Also, as someone who worked extensively with film / transparency scans uptill 3-4 years back, it feels great to receive compact digital camera images because they are far easier to process than traditional (drum or flatbed) scans and thankfully file sizes are much lighter!

One change I have noticed over the past couple of years with regard to imagery supplied by clients (for use in communication design) is that the 'number' of images coming in has increased dramatically and organizations that could earlier not afford expensive imagery or visual documentation of their projects now have enough 'workable' photos in their database. For this, a lot of credit should probably go to the recent boom in affordable, pocketable and easy-to-use compact cameras, which in my humble opinion, are making a big difference for organizations involved in development work and perhaps indirectly in the lives of people for whom they are working.

__________________________________________________________________________________

Mayank Bhatnagar is a Jaipur and New Delhi (India) based graphic designer, illustrator and photographer.

Sunday Thoughts about Gear Obsession

2009-10-18T09:05:00.002-05:00

Serious Compacts contributer Wouter Brandsma asks:

How come so many photographers are so obsessed with the newest camera, the latest feature? Why does it matter what camera was used for a photograph?

Read Wouter's thoughts and join the conversation at Wouter Brandsma Photography.

Real-life ISO 1600: Panasonic GH1, G1, and Canon S90

2009-10-18T08:03:00.006-05:00

Important note: An astute reader pointed out a significant mistake in the sample files used in this comparison. The S90 was shot at f/2.8, while the G1 and GH1 were at f/2. This means that the S90 sensor was given a stop less light, which invalidates the conclusions. I'll have a better, more controlled comparison up soon. Apologies for the error!

There has been quite a bit of hype about the Canon S90 high ISO noise performance. Some say it is right there with Micro Four Thirds in noise performance. Can it be true?

Reader's of this blog know that it is possible for any camera to have amazing noise performance. Simply pile on noise reduction, and noise will be very low. The real issue is how the detail and noise vary together at a particular shutter speed, f-stop, and ambient light level.

The S90 sensor is less than one fourth the size of a standard Four Thirds sensor as shown to scale below:

As such, we would expect a roughly two stop difference in high ISO detail versus noise between these two systems, similar to the two stop difference seen between Micro Four Thirds and 35mm full frame.

Before considering the Canon file, let's see how the Panasonic G1 and GH1 files differ. It is often said that the GH1 has significantly better noise performance than the G1. Some have put the difference at as much as a stop. Meanwhile, it is said that the GH1 suffers from shadow banding at high ISO, whereas the G1 and GF1 do not. I believe that most of the difference between the GH1 and G1 (and presumably GF1) comes down to the on-chip noise reduction.

There is no question that GH1 high ISO RAWs are "cooked", whereas G1 (and GF1 most likely) RAWs seem to be raw. As has been well documented on the DPReview forums, setting the GH1 film mode to -2 NR at ISO 1600 actually cooks more NR into the RAW file than does setting the film mode to +2 NR. I'm guessing that this on-chip NR makes the banding much more apparent, and that it actually is present but simply obscured by noise in the G1 and GF1 files.

In this example, I set the GH1 and Lumix 20 to ISO 1600, +2 NR (+2 is the least NR one can apply to GH1 high ISO RAW), 1/50s, f/2, and took a snap of my son Philip. The RAW file was processed in Iridient Software's Raw Developer, which adds no further NR or sharpening unless those settings are enabled. For the purposes of this comparison, those settings were disabled. Here's the resulting image (Click for larger version):

Now a snap with the same lens, same settings, same workflow, and G1 substituted for GH1 (bit of fooling with the white balance and black point in Raw Developer to get the picture looking more similar) (Click for larger version):

Here's a 100% crop from the GH1 shot:

Now the G1 crop:

If you look at the full-res version, you'll see banding in the GH1 file.

If you look carefully at the G1 full-res version, there's a bit of banding obscured by noise.

For comparison, I took the same snap with the Canon S90, also at ISO 1600, f/2 and 1/50s. I had to push the resulting RAW file in Digital Photo Professional (Canon's RAW processing app) to get it to the same apparent exposure as the Panasonic files. Like Iridient's Raw Developer, Canon's DPP seems to be an "honest" RAW converter in that it is possible to completely disable NR and sharpening. Here's the resulting resized image (Click for larger version):

The S90 crop:

The full-res S90 image is here.

Click here to download the RAW files used in this comparison.

Unlike the usual comparisons posted on this blog, these were done handheld without a tripod. I took enough snaps with each camera to know that handshake was not a significant factor in the selected representative images.

Canon S90 Barrel Distortion

2009-10-11T18:58:00.000-05:00

It's now a familiar story: Very fast lens, very small package. Where's the catch?

Here you go:

On the left, the RAW (CR2) file processed by Adobe Lightroom 2.5. On the left, the same RAW file processed in Canon's Digital Photo Professional (DPP).

Like the Panasonic LX3 which undoubtedly inspired its design, the Canon S90 has severe barrel distortion at its wide end. Completely expected but nonetheless disappointing.

Canon Powershot S90 IS Initial Impressions: Build Quality

2009-10-11T09:41:00.004-05:00

I admit to having a slight bias against Canon. Maybe it's the New Yorker in me, but I tend to root for the underdog. Despite this slight bias, I've purchased a lot of Canon cameras. More than any other brand. Thing is, Canon knows how to build a serious compact.

I'm impressed with the S90 build quality:

- Battery/SD door is firm and heavy duty
- Dial around lens has a good, smooth resistance with satisfying clicks at each adjustment
- Body is metal with no creaking or play
- Parts are tapered and well fitted without gaps, similar to an Apple laptop
- Flash extends and retracts without any sense of wobble
- Mode dial has the right amount of resistance and feels sturdy
- Buttons are all firm with good action
- On/off button is nicely recessed unlike *many* other compacts
- Good crisp feel, travel, and responsiveness to the shutter release
- Rear dial lacks resistance, but that has not been problematic in any way

Two small issues:

- The dial around the lens is plastic and has a touch of play.
- The LCD on my brand new S90 had a couple extremely fine/subtle scratches on it straight out of the box. This makes me wonder whether it scratches easily. Time will tell!

Did I mention that this camera is very compact? Here it is next to a GRD III. Please excuse the poor picture quality.

Canon S90 Now In Stock at Some Stores

2009-10-10T12:17:00.002-05:00

The new Canon Powershot S90 IS is beginning to show up in stock in some retailers. I was able to pick one up at Best Buy today. Apparently it was the only S90 left in any of the Boston area Best Buy locations. Preliminary impressions coming soon!

The S90 is currently listed as "In Stock" at Butterfly Photo via Amazon, whereas most other retailers are still showing status as "expecting delivery from Manufacturer..."

Link: Canon S90 at Butterfly Photo via Amazon

Illustration: Multi-Aspect Four Thirds Versus Standard Four Thirds

2009-10-08T05:46:00.003-05:00

I've gotten some emails expressing confusion regarding the difference between the multi-aspect ratio Four Thirds sensor in the Panasonic GH1 and the standard Four Thirds sensor found in all other Micro Four Thirds cameras. This illustration ought to clear it up.

On the left (first column), you can see the relative sizes of the GH multi-aspect ratio sensor (top) and the smaller standard Four Thirds sensor (bottom), each represented by white boxes.

In the second column, one can see that the portion of the GH1 sensor used for 4:3 aspect ratio (top) is the same size as the entire standard Four Thirds sensor (bottom). Thus the image captured will be the same when in 4:3 mode, regardless of whether one uses a standard Four Thirds or multi-aspect ratio sensor camera.

In the third and fourth columns, 3:2 and 16:9 respectively, the situation changes. Here, the GH1 uses the larger sensor to keep the lens diagonal angle of view unchanged regardless of aspect-ratio. In contrast, the standard Four Thirds sensor simply crops out a portion of the 4:3 capture to make the 3:2 or 16:9 image. As a result, the diagonal angle of view is less wide, and the megapixel count drops to a greater extent.

Click for larger version

Micro Four Thirds Camera Comparison Table

2009-10-07T10:04:00.000-05:00

There seems to be some confusion about the basic differences amongst the four currently available Micro Four Thirds cameras. I've tried to summarize the major points in the table below. Unique strengths and weaknesses are highlighted.

	Panasonic G1	Olympus E-P1	Panasonic GH1	Panasonic GF1
In-body image stabilization	No	Yes	No	No
Multi-aspect ratio sensor	No	No	Yes	No
Smallest size	No	Yes	No	Yes
Integrated EVF (best in class)	Yes	No	Yes	No
Available kit including OVF	No	Yes	No	No
Available add-on EVF	Not applicable	No	Not applicable	Yes
Autofocus with all standard 4/3 lenses via adapter	No	Yes	No	No
Faster autofocus	Yes	No	Yes	Yes
Articulated LCD	Yes	No	Yes	No
On-board flash	Yes	No	Yes	Yes
High res LCD	Yes	No	Yes	Yes
Video	No	720p Stereo	1080i Stereo	720p Mono
Kit zoom comments	-14-45mm -Larger than Olympus -Stabilized	-14-42mm -Collapsible (small) -Susceptible to blur at medium shutter speeds per Imaging-Resource	-14-140mm -Video optimized -Stabilized	-14-45mm -Larger than Olympus -Stabilized
Kit prime comments	Not available	17mm f/2.8 kit comes with OVF	Not available	20mm f/1.7 lens has strong early reviews
Anti-aliasing filter	Slightly weaker (more aliasing, better resolution)	Slightly stronger (less aliasing, lower resolution)	Slightly weaker (more aliasing, better resolution)	Slightly weaker (more aliasing, better resolution)
Control dials	One	Two	One	One
Art filters	No	Yes	No	No
Price	14-45 kit: $714	-14-42 kit: $800 -17mm kit: $900 (includes OVF)	14-140 kit: $1500	-14-45 kit: $900 -20mm kit: $900

GRD III Impressions / Review at Wouter Brandsma Photography

2009-09-30T17:10:00.000-05:00

Serious Compacts contributor Wouter Brandsma has posted his extended use impressions of the Ricoh GR Digital III over at his personal blog. Be sure to have a read to get his insights about this exciting camera and see some great photographs!

Link: Wouter photoblog - 'My final Ricoh GR Digital III impressions'

Face Detection

2009-09-27T10:27:00.001-05:00

As cameras get progressively loaded with new features, there will naturally be some push back from the old-fashioned types who enjoy the "authentic" photographic experience of manually controlling everything. Face detection may best exemplify the new wave of features which so many of us have smugly dismissed as useless. However, as Björn Utpott recently suggested, it's difficult to argue against the usefulness of face detection when one has experienced a good implementation of it.

Here's a simple example. I mounted the Zuiko 17mm lens on the Panasonic GH1 in 'P' mode and snapped four photos, two in 'Dynamic B&W' mode and two in 'Standard' (color). All were in camera JPEGs with automatic exposure. On the left, you can see the results using face detection. On the right are the results using center point AF to focus on my wife, followed by recomposition.

Sure, the same can be easily accomplished the same without face detection. One can judge the lighting and dial in exposure compensation on just about any camera. Some cameras will allow spot metering, which can accomplish much the same, and still others allow customization in how metering is linked to focus points. However, there is a beautiful simplicity to having the camera automatically properly expose any detected faces in the frame.

I'm not yet sure where features like face detection fit for me. I'll always enjoy the fully manual experience, but new features like face detection have their place. I expect that DVIL (direct view interchangeable lens) cameras will continue to lead the way in implementing these technologies.

Panasonic Lumix 20mm f/1.7 Review at DPReview

2009-09-25T05:57:00.000-05:00

DPReview has published their review of the Lumix 20mm f/1.7, which is arguably one of the most important lens releases ever for any camera system. It is one of DPR's finest lens reviews yet in my opinion. Check it out here.

Featured Photographer: Vern Dewit

2009-09-23T05:27:00.007-05:00

While browsing the 'Buy and Sell' forum at Fred Miranda, I came across a thread which began, "Due to my never ending quest for the perfect hiking / mountaineering camera I am selling my GH1 in anticipation of my new GF1 and the recent acquiring of an Olympus EP1". After seeing the photographs in that thread started by Vern Dewit, I went and had a look at his Zenfolio gallery and asked to feature his work on Serious Compacts.

Vern lives in Calgary, Alberta, Canada, and enjoys spending time outdoors in the Rocky Mountains west of the city. Looking at his photography, it's easy to see why. A few of his recent photographs, all taken with the GH1 (and various Micro Four Thirds kit lenses) are shown below. Click a photo to view a larger version.

You can see more of Vern Dewit's photography at http://verndewit.com. If you'd like to buy his GH1, which was used to make most of the photographs in his '2009 Favorites' collection, see the Fred Miranda thread here.

Sigma DP2 Shootout Supplement: Bokeh

2009-09-23T05:02:00.004-05:00

For bokeh (out-of-focus blur rendering) tests, I usually like to have a second lens for comparison. However, I currently lack another 40mm equivalent lens to compare with the DP2 lens, so I'll just provide some bokeh samples to give an idea of how the DP2 lens renders out-of-focus blurred areas. Unlike lens sharpness, one can get a sense of bokeh from images resized for the web. I'll point out a few other concerns in specific examples.

F/2.8:

While the DP2 lens has decent flare resistance, it flares more than the DP1 lens in my experience. The above photo shows flare with a stong off-axis light source. The hood was employed, and no filter was present. You can also see a blue-green discoloration on the wall in the upper right aspect of the frame.

F/4:

F/2.8:

F/4:

Looking at the right side of the frame, you can see how points of light are rendered sharply as heptagons at this aperture. Some blue-green discoloration is also evident in periphery on the wall.

F/5.6:

There is the occasional doubling of elements, but overall I find the DP2 bokeh to be neutral and generally pleasing.

The issue of blue-green drift in the corners/periphery was present with the DP1 and effectively addressed in a Sigma Photo Pro update. As of yet, the issue persists with DP2 files but is rarely a major issue and can be addressed in postprocessing. A few examples of color in DP2 photos from a recent day out with the family are shown below (click to enlarge).

Sigma DP2 Shootout Pt. 3 - Dynamic Range

2009-09-19T14:19:00.001-05:00

In Part 3 of the shootout, we'll take a look at how the Sigma DP2 dynamic range compares to that of the Panasonic GH1 and M. Zuiko 17mm f/2.8.

Readers of this site may recall that the DP1 showed superior dynamic range in an earlier shootout, but the GH1 arguably features the latest and greatest Four Thirds sensor technology to date. How will they compare?

I chose a nearly impossible scene for the sake of comparison. At noon, without a cloud in the sky, there is probably no digital camera that can fully handle this dynamic range in a single exposure:

For comparison, we'll be looking specifically at the two regions highlighted by the yellow boxes above.

Test conditions:

The GH1 was used in 3:2 aspect ratio.
Subject distance was adjusted to match framing with the two systems.
GH1 files were processed in Lightroom (latest version) and subsequently downsized using Photoshop Bicubic Sharper to match the native dimensions of the DP2 files.
DP2 files were processed in Sigma Photo Pro (latest version).
All settings were left on defaults. White balance was not adjusted to match colors, though I experimented with this and found that doing so did not substantially affect the results.

To begin with, a single RAW file was taken with each camera at ISO 100, f/5.6, and 1/50s.

Here are the crops without any exposure adjustments during RAW processing:

Clearly the DP2 is holding highlights better here. The black points are different, but you can actually see the shadow detail better in the DP2 file. This is evident in the stones under the deck (bottom panel).

Now let's see how much highlight detail can be recovered with a -2EV adjustment during RAW processing:

One possible explanation for the much greater highlight detail in the DP2 file is that what Sigma is calling ISO 100 corresponds to a lower actual ISO than what Panasonic is calling ISO 100. This would result in the DP2 file being underexposed relative to the GH1 file.

If that were the reason for the disparity, we would expect greater usable shadow detail in the GH1 file. Let's see what happens when the same files are pushed to +2EV during RAW conversion:

The greater shadow detail is now even more apparent in the DP2 file.

Conclusion: Under identical circumstances at base ISO, a DP1 RAW file simultaneously delivers greater highlight and greater shadow detail.

Next lets see how the two systems handle the same scene at ISO 400, f/11, 1/50s.

Here are the crops without any exposure adjustments during RAW processing:

The same files after a -2EV adjustment during RAW conversion:

Interesting that the ISO 400 DP2 file with a -2EV adjustment retains more highlight information than the ISO 100 DP2 file with a -2EV adjustment. We saw this in the DP1 shootout as well. It suggests that the high ISO DP files are being (partially or fully) pushed in SPP.

Now the same files after a +2EV adjustment during conversion:

Both files are struggling to produce any usable shadow information here. In the top panel, the DP2 still seems to do better.

The bottom line for ISO 400 is unchanged from the bottom line for ISO 100: better dynamic range from the Sigma.

The RAW files used in this comparison can be downloaded below:

New Site for Micro Four Thirds Reviews

2009-09-17T08:52:00.000-05:00

Many in the Serious Compacts community are excited about the new Micro Four Thirds standard. Now there is a site dedicated to nothing but Micro Four Thirds reviews. Check it out at M43reviews.com.

The End of an Era

2009-09-16T03:04:00.015-05:00

This content has been moved to the new SeriousCompacts.com.

Click here to go to the new location

Sigma DP2 Shootout Pt. 2 - Detailed Scene

2009-09-15T18:51:00.003-05:00

In part 2 of the Sigma DP2 shootout, we'll look at how the DP2 lens performs at a variety of apertures and compare the overall detail captured by the DP2 with that of the Panasonic GH1 and Olympus M. Zuiko 17mm f/2.8 lens.

To begin, I'll explain my choice of RAW processors. The DP2 files were processed using Sigma Photo Pro (latest version) because there are no other RAW processors which demosaic DP2 files at this time. The GH1 files, on the other hand, can be processed using a number of different applications. I chose to use Adobe Lightroom (latest version) because it automatically addresses the considerable barrel distortion of the M. Zuiko lens. In doing so, one loses some resolution, and the blurriest extreme corners of the image get cropped out, but overall I think it gives the fairest comparison to the Sigma DP2.

How much do processing decisions affect apparent detail? Here's an example of an f/2.8 center 100% crop processed with Lightroom (right) compared to the same file processed for maximum apparent detail in Raw Developer (left):

Most of the difference there comes down to sharpening, though I do find that Raw Developer squeezes out a touch more detail. This is true for every camera I have tried to date.

Other testing details:

Subject distance adjusted for roughly the same framing with each camera (greater distance for the longer lens)
GH1 used in 3:2 aspect ratio
DP2 files upsized using Genuine Fractals 5 to match the native GH1 picture dimensions
Tripod, self-timer, base ISO, aperture-priority exposure, good light (high shutter speed)

Even looking at just the resized left half of the scene, there is a clear difference between the DP2 and GH1-17mm files at f/2.8:

Let's look next at the 100% crop comparisons, keeping in mind that the DP2 files have been upsized to match the GH1 file sizes.

f/2.8

Center:

More detail in the GH1 file as would be expected with the higher megapixel sensor.

Near edge:

DP2 outclassing the M. Zuiko here and also showing greater lens contrast. There is some color fringing in the GH1 crop.

Extreme corner:

Impressive wide open performance from the DP2 in the extreme corner of the frame while the M. Zuiko lags far behind. Again there is some color fringing in the GH1 crop.

f/4

Center:

GH1-17mm looking very good here with the lens resolving sufficiently to take advantage of the higher megapixel sensor.

Near edge:

Zuiko has caught up here in peripheral performance.

Extreme corner:

The Zuiko has improved but has a ways to go still.

f/5.6

Center:

As expected, the higher GH1 sensor is still capturing more detail at this aperture.

Near edge:

Still very close in this zone.

Extreme corner:

DP2 still has an edge in the extreme corner.

f/8

Center:

GH1-17mm still has an edge, but diffraction is bring the level of detail down closer to that of the DP2.

Near edge:

DP2 looks the better of the two here.

Extreme corner:

DP2 is clearly better.

Conclusions:

The Sigma DP2 lens has balanced performance across the frame wide open at f/2.8, and by f/4 even the extreme corner peformance is quite good. Anything less would have been a disappointment given the precedent set by the outstanding DP1 lens.
The M. Zuiko 17mm lens leverages the GH1 sensor potential in the center of the frame from f/2.8, puts in a decent peripheral performance stopped down to f/4 or f/5.6, but never quite nails the extreme corner.
Softening due to diffraction is evident at f/8 with the Micro Four Thirds kit and not with the DP2.
There seems to be higher lens contrast with the DP2 although the contribution of processing by Sigma Photo Pro cannot be ascertained. Application of wide-radius unsharp mask to a GH1 file gives it a similar look to that of the DP2 files.

Short Ricoh GR Digital 3 impression

2009-09-14T10:04:00.005-05:00

By Wouter Brandsma

While Amin is working on a Ricoh GR Digital III test sample and comparing it with other cameras I received a test sample from Ricoh Europe. My aim is to come up with a similar written impression of this camera like I did with the GX100 and the GX200. I will post a more lengthly impression of the new Ricoh GR Digital III soon, but I thought it wouldn’t harm to write down some first impressions of this camera.

I always thought that my Ricoh GX200 felt like a quality camera, well to be honest it still is, but the GRD is certainly a step beyond that. The camera has a lovely, quality feel with a nice non-slippery finish as a result of the magnesium body. The camera has the typical Ricoh handgrip and all buttons are logically placed, almost logical in fact, but more about that later.

I have never had any other Ricoh GR Digital camera although I have certainly considered it. Eventually I chose the Ricoh GX100 in 2007, because of the stepped zoom lens. Making it slightly more versatile. I still think I should have followed my heart and should have picked up the GR Digital I though. So remember this! Even though many consider reviews by professional reviewers the bench mark for the scientific proof of the quality of a camera, I have learned to be completely in rational with regard to deciding cameras. In the end you are going to take the pictures with it and you will use and push the camera beyond the brick walls and color charts at different ISO's. Real world is totally different in my opinion.

I still have the original GR camera though, the Ricoh GR1 which became a true cult camera, in particular in Japan. The most distinctive features of the GR series are the lightweight magnesium body, a high class 28mm lens and easy to use handling. And to me, the Ricoh GR Digital III forms no exception.

From the outside the camera hardly differs from the other GR Digitals. It is only a bit larger to host the slightly larger sensor. And on the rear you will notice the larger 3" LCD screen with 920,000 dots. Also this third generation GR Digital has no optical viewfinder. Now some say that we should live with that. A fact of life for small compact cameras, but I much rather prefer a smaller LCD screen and a little increase in camera body height to accommodate a nice bright viewfinder. But I guess I am old school. Therefore I requested Ricoh to supply the camera with an optical viewfinder. I asked for the GV-1 viewfinder which is quite large and not only has the frame lines for 28mm, but also for 21mm to match the view with the GW-2 21mm Wide Conversion Lens. Probably due to huge demand in Japan Ricoh doesn't have the wide conversion lens in stock now, but I hope I will get before I finished testing this camera.

While mentioning the supply difficulties of the GW-2 I should mention too that Ricoh was completely surprised by the pre-sales in Japan. These were much larger than anticipated and was part too of the reason to offset the sale date basically everywhere else. The camera is now on sale pretty much anywhere, although I haven't seen this camera available in the Netherlands, where I live, yet (mid September).

Like Panasonic with the LX3 and Canon with the new G11 Ricoh was able to get a new sensor that has less pixels than the previous version. In combination with the better in-camera image engine and the fast lens, this will improve the low light capabilities and high ISO performance. This is an important change in the market of serious compacts and I hope it will be followed by others. But what makes this camera unlike any other compact camera is the new 28mm lens with a maximum opening of f/1.9. It used to be f/2.4 (thank you Fabian)! An outstanding technical achievement in my opinion.

So, before this short impression ends up being a longer impression I will sum up some of my likes and dislikes with the new Ricoh GR Digital III.

Likes
Overall speaking I really like this camera. The feel and the handling makes it very special. In combination with the large and bright GV-1 viewfinder it is a joy to use. I can fully understand why the pre-sales where so high in Japan. Using this camera reminds me picking up the GR1 for the first time when I got it to replace my SLR. For me it still is a cult camera with all the subjective feelings that contribute for me to that status.

The best of all is the new lens. Such a fast lens is a bonus for low light and with the better high ISO performance I have had no problems using this camera at higher ISO's, even up to ISO 1600. That is something I never did with the GX200, because of all the noise and banding.

Dislikes
There is no perfection in my opinion and also the GRDIII reminds me of that. Quality comes at a price and Amazon prices the GRDIII for $699. That sure is a lot of money in my opinion, but it is a cult camera with superb built quality, top materials, and a stellar lens. While some love the new 3" LCD screen, because they only photograph with the LCD screen. It is just too large for me. To get such a large sensor in the body they had to move the buttons further to the right rear section of the camera. Although they glad fully didn't change the button lay-out I regularly hit the display and macro button with my right thumb. Something that never happens to me with the GX200.

I leave it for here and will continue evaluating this camera for some time. I hope to post my final impressions of this camera by the end of this month. Interested to read more about this camera? You might want to check out the Ricoh site.

All photographs by Wouter Brandsma

2010 Micro Four Thirds Lens Roadmap: What's Missing?

2009-09-13T09:27:00.000-05:00

With any new system, it is impossible to cover all lens needs right away. Thus manufacturers need to prioritize according to commonly used lens types and market demand.

Here's what we have so far for Micro Four Thirds:

Ultra-wide:

Lumix 7-14mm f/4 (difficult to locate in United States)
Lumix 8mm f/3.5 (fisheye, due in 2010)

Wide:

M. Zuiko 17mm f/2.8
Lumix 14mm f/2.8 (due in 2010)

Standard:

Lumix 20mm f/1.7 (due soon)
M. Zuiko 14-42mm f/3.5-5.6
Lumix 14-45mm f/3.5-5.6 O.I.S.
Lumix HD 14-140mm f/4-5.8 O.I.S.

Telephoto:

Lumix 45-200mm f/4-5.6 O.I.S.
Lumix 100-300mm f/4-5.6 O.I.S.
Leica DG Macro-Elmarit 45mm f/2.8 O.I.S. (1:1 macro, due soon)

So what's missing? That depends on who you ask, but I find it curious that neither Four Thirds nor Micro Four Thirds have a standard portrait lens in the lineup. Sure one can use the Zuiko Digital 50mm f/2 macro, but that lens is slow to focus, requires an adapter, and has a smaller maximum aperture than I'd like in a lens which should ideally be suited to indoor situational photography. The recently announced Leica 45/2.8 will also likely be a good portrait lens but again on the slow side. We also have the Sigma 50/1.4, but that too requires an adapter is quite a heavy lens to pair with a Micro Four Thirds camera and standard lens.

What I'd like to see is a high quality optic with the following characteristics:

Fixed focal length between 37.5mm and 67.5mm
At least f/1.8 speed and preferably f/1.4
Quick autofocus

What else is missing from the roadmap? What lens would you like to see for your Micro Four Thirds camera?

Sigma DP2 Shootout Pt. 1 - Form and Function

2009-09-12T14:06:00.002-05:00

Size

Sigma created the category of large-sensor compact camera and presently remain the only company with a fixed lens large-sensor camera on the market. Amongst all current large-sensor cameras, the DP2 is the second most compact, closely following the DP1.

In contrast to any Micro 4/3 camera-lens combo, a DP2 without hood or accessory optical viewfinder (OVF) will fit in a standard pants pocket. However, the DP2 is no shirt pocket camera.

Here's how the DP2 compares in size and shape with an advanced small sensor compact, the Ricoh GR Digital (GRD) III:

Compared to the Panasonic GH1 and M. Zuiko 17mm f/2.8:

Keep in mind that the DP2 sensor is intermediate in size between that of a Micro 4/3 camera and that of a 1.5x crop APS-C camera such as that of Samsung NX or Nikon APS-C.

Lets see how the DP2 compares in size to a small Nikon APS-C rig:

Build quality

The Sigma DP2 is extremely light when compared to any Micro Four Thirds combination and featherweight in comparison to any DSLR gear. This has led a number of observers to state that it feels "cheap". Likely the nondescript looks also contribute to this assessment. In contrast, I appreciate the lack of weight hanging around my neck and don't find anything wanting in the DP2 build quality. There is no give or creak in the DP2 body. Dials, controls, and battery door are all solid. Accessories such as the optional OVF and hood snap are likewise nicely fitted.

Look and sound

With regards to looks, Sigma has chosen a serious and discreet appearance. I'd prefer something with a bit more flair, but many will prefer the staid DP.

Like the DP1, the DP2 makes an unpleasant noise when extending the lens and is a bit noisier than I'd like when autofocusing. The shutter click is very quiet and unlikely to be noticed.

Controls and usability

The DP2 is boxy, but I find it very comfortable to grip and use for an extended period. Controls are well designed though not outstanding. Compare to the recently announced Leica X1 (images carefully resized to proper scale):

To give the DP2 its due, the primary apparent exposure parameters - aperture, shutter speed, and ISO - are all readily available during use of the camera, which is more than I can say for a number of serious compacts. In manual exposure mode, the rocker switch controls shutter speed which the left/right buttons (on the four way controller) determine aperture settings. In aperture priority mode, the rocker controls aperture, and left/right controls exposure compensation. The 'QS' button gives rapid access to ISO control. Simple and effective. One niggle is that auto ISO will select only from ISO 100-400. I would prefer to be able to choose the top ISO as is possible on the GH1 and D5000.

The LCD display, widely criticized with the DP1, remains below average for a camera of this class. It's not a show stopper for me, but a better LCD would be welcome. Here you can see the LCD of the DP1 (left) compared with that of the GRD III (right) with both at their default brightness:

Operational speed

Autofocus remains on the slow side, slower than that of the GH1 with M. Zuiko 17mm lens (which itself doesn't focus as quickly as the G1 kit zoom) and slower also than the GRD III. The DP2 focus also struggles more in low light than those other two cameras. That said, the DP2 focus is accurate and is quicker when one limits the focus range to farther distances by selecting the landscape focus mode. As with the DP1, a focus confirmation light is visible without removing one's eye from the OVF.

Manual focus is well implemented. I prefer the DP2 focus wheel to the manual focus implementation on the GH1 or GRD III because there is a visible, palpable control by which one can reliably scale focus at medium and small aperture settings.

Pressing the 'OK' button (with the latest firmware) gives a magnified view for manual focus. I'd prefer if Sigma would have the display automatically present a magnified view whenever the manual focus dial is turned, as is the case by default with the GH1. However the current DP2 implementation is very good.

The buffer has been improved from that of the DP1. One can now take photos in RAW with a shot-to-shot time of approximately 2.5 seconds, which is short enough for me although a two shot buffer without waiting would be even better.

In Part 2 of this shootout-based review, we'll take a look at lens performance.

Update on the Sigma DP2 - Olympus E-P1 Shootout

2009-09-11T08:46:00.000-05:00

As some of you know, Sigma has been kind enough to loan me a DP2 for some time now. The DP series is truly unique with only the recently announced Leica X1 presenting a similarly specified competitor in this class.

I had hoped to obtain an Olympus E-P1 and 17mm kit for a direct shootout with the Sigma DP2, and Olympus had assured me that I would have a kit available by the end of August. Unfortunately they don't yet have one for us, and I don't want to keep folks waiting any longer. Therefore I'll be doing a shootout based review of the Sigma DP2 using other cameras for comparison, namely the Panasonic GH1 with M. Zuiko 17/2.8, Ricoh GRD III, and Nikon D5000. If I can get an Canon S90 before the GRD III has to go back to Japan, I'll do a separate shootout between those two exciting compacts.

E-P1 - GH1 Size Comparison

2009-09-10T17:52:00.000-05:00

A few days ago, I posted some comparisons between carefully scaled pictures of the GH1 and GF1 which I found helpful in choosing which Micro Four Thirds camera to buy.

Today I went to my local camera store to pick up an Olympus M. Zuiko 17mm f/2.8 (for use on the GH1 in the upcoming Sigma DP2 shootout) and took the opportunity to snap a couple comparison shots of the GH1 and E-P1.

The 17mm Zuiko lens transforms the GH1 into a remarkably small and light camera.

Leica M9 ISO Test at Focus Numerique

2009-09-10T12:26:00.001-05:00

Leica has described the M9 as having about a stop better noise performance than the M8 at high ISO. Focus Numerique has an ISO series, along with the DNG files for download (link).

Those of us who have not used the M8 and are used to today's Canon and Nikon cameras will likely find the M9 high ISO performance wanting (especially for 35mm full frame). Factors which ameliorate this: 1) The M9 has no mirror slap (and thus suffers less handshake blur); 2) Leica offers a lot of amazing, fast glass; ~~3) everything worth shooting can be shot at ISO 640 and below~~ [oops, someone must have snuck in here and typed that last one].

Still, if you are trying hard to find a reason not to drop $6K on this camera (plus $$$ for lenses), consider taking a peek at the ISO 1600 and ISO 2500 files.

Or, if you want to support this blog (big time), you can pre-order one of the new Leicas from Amazon today

Source: Focus Numerique via 1001 Noisy Cameras

Leica X1: A Digital Hexar AF?

2009-09-09T10:36:00.006-05:00

As everyone who follows rumors and leaks expected, the Leica X1 has been announced today alongside the main event, a new full frame Leica M9.

Many of us had hoped for a digital Leica CL, a smaller, cheaper version of the digital M. Does the X1 deliver?

Basic specs:

1.5x 12MP APS-C CMOS sensor: There aren't too many of these around. Hopefully they are using the Sony sensor from the Nikon D5000, which is class leading in my opinion
Fixed 24mm f/2.8 lens (36mm equivalent): Comparable in spec to the Sigma DP1 lens and the Olympus 17/2.8; a bit slower than the Lumix 20/1.7
Small size: Similar to the Sigma DP2 and a touch smaller than the GF1 and E-P1
Quiet shutter: Quieter than a G1 (listen to it here) but louder than a DP2
Optional OVF with no built-in eye-level viewfinder or EVF option
Minimum focusing distance: 30cm (in macro mode)
11-point autofocus
230K pixel LCD

The price: $2000

I never would have guessed that Leica would be first to market with a Bayer-sensor APS-C compact. I think it is perhaps overpriced, but not really by very much. Assuming that the lens, build, and controls are first class, I think $1500 would be about right, and I expect that the price will settle into that range before long.

Looking at the picture of the X1 shown below, I'd have made two design changes: 1) Remove the popup flash and put an ISO dial in its place; 2) Integrate exposure compensation in the shutter speed dial as is done with the Bessa and Ikon ZM. That said, the controls look terrific. I'm hoping that ring around the lens isn't decorative!

Do I want an X1? No doubt. Do I regret my recent GH1 purchase? Not in the least. I enjoy having the ability to change lenses and appreciate the amazing EVF of the Panasonic.

The X1 is no digital CL, but for those of you waiting anxiously for your digital Hexar AF, the day may be here at last.

More coverage of the Leica X1 at 1001 Noisy Cameras, Luminous Landscape, The Online Photographer, and DPReview.

Direct View Interchangeable Lens (DVIL): The Devil's in the Details

2009-09-07T10:40:00.002-05:00

With Leica preparing to announce a (?) fixed-lens APS-C X1 and Samsung preparing an interchangeable lens NX series for late 2009 or early 2010, three giants seemingly slumber. Yet we know that the labs of Canon, Sony, and Nikon must be hard at work developing their respective direct-view interchangeable lens (DVIL) systems.

The choices being made right now will define the fate of each in this new era of camera systems. Consider the Olympus/Kodak decision to go ahead with the Four Thirds platform six years ago. In choosing a smaller sensor size with an aspect ratio that makes more efficient use of the imaging circle, Four Thirds had the potential to achieve a considerably smaller system size than the systems of competitors. Instead, Olympus chose to design a system in which nearly every single lens delivers sharpness, even light, and beautiful color right into the extreme corners of the frame. In other words, Olympus overbuilt their lenses.

With Micro Four Thirds, Olympus and Panasonic have gone in another direction entirely. A short registration distance allows them to build smaller lenses, yet as Leica or Sigma can witness, it brings new design challenges. One need only look at the cyan corners of an early Leica M8 or Sigma DP1 image to understand this. One solution would be for Olympus and Panasonic to once again overbuild their lenses and yield the compact size advantage of their new system. Yet these two companies have come to realize that the way forward lies not with comprehensive optics but rather digital correction. Panasonic, in particular, has pioneered the holistic lens-software approach. Olympus has begrudgingly come along beginning with the ZD 25/2.8, their smallest, least perfect, and still uncorrected Four Thirds lens. The tiny Olympus 17/2.8 confirms their progress, but Panasonic has zipped by with the 1.3-stop faster and equally svelte Lumix 20/1.7, a lens which no doubt leverages the full powers of Venus and Adobe Camera Raw.

What of Canon, Sony, and Nikon? Can they challenge the compact size of Micro Four Thirds while designing lenses for an APS-C imaging circle? A more fundamental is to what mount and format these companies will committ. If Canon builds a compact DVIL lens system around an APS-C standard, what happens when the DVIL market calls for 35mm full frame? My guess is that the Big 3 will move conservatively and each introduce new systems with mounts designed to support both full frame and APS-C sensors. In doing so, will they be able to challenge the compact size of Micro Four Thirds in the DVIL market? A glance at the Leica M9 suggests that they may be able to do just that.

For a given company, lens mounts tend to come around just once in a few decades. 2010 is sure to be an interesting year.

Which Micro Four Thirds: A Personal Rationalization

2009-09-05T20:35:00.007-05:00

For years, many of us have been waiting for small cameras with large sensors. Sigma led the way with the DP1 and continues to have a unique offering with the DP series. Meanwhile, Olympus and Panasonic have given us choice in the direct view interchangeable lens market. Yet not one of the current Micro Four Thirds bodies (G1, GH1, GF1, E-P1) combines the best of all features. One can have fast autofocus (Panasonic) or in-body stabilization (Olympus), but not both. Fast autofocus is important to many of us, but the ability to stabilize any lens, including some very sweet glass from a variety of makes, appeals greatly.

Miscellaneous factors:

Only the G1 and GH1 have fully articulated LCD screens.
Only the GH1 has a multi-aspect ratio sensor, allowing one to shoot in 3:2 or 16:9 without sacrificing diagonal angle of view.
The GH1 sensor has better overall noise performance than the sensors from the other Micro Four Thirds cameras.
The G1 and GH1 EVF is higher quality than the add-on EVF for the GF1.
The G1 and GH1 are shorter than the GF1 plus EVF (see below).

While the G1 or GH1 plus 20/1.7 pancake thickness is greater than the GF1 or E-P1 plus 20/1.7 thickness, the added thickness is mostly made up an articulated LCD and EVF eyecup (see above).
The G1 and GH1 aren't as good looking as the GF1 or E-P1.
The GH1 kit currently costs more than the GF1 and E-P1, which in turn currently cost more than the G1.
The GH1 is hard to find in stock, and the GF1 is impossible to find in stock.
Leica might announce something really cool on September 9 (besides the M9).

All of that went through my mind in the span of a few minutes when I stumbled across the GH1 kit in stock at my local camera dealer, Hunt's Photo in Melrose, MA. I made my choice and came home with the GH1. Those of you picking up a Micro Four Thirds camera, which one and why?

Addendum: Here's a mockup with cameras shown to scale, demonstrating the relative sizes of the GF1 and GH1 compared to one of the smallest DSLR and fast normal prime combinations, the Nikon D5000 and AF-S 35/1.8:

It's Official: Panasonic GF1

2009-09-02T05:44:00.002-05:00

The Panasonic GF1 has been announced, along with the long-awaited Panasonic 20mm f/1.7 and PanaLeica 45mm f/2.8 macro. My only slight disappointment with the announcement is that the GF1 seems to use the same sensor as the G1 and E-P1 rather than the multi-aspect ratio (and higher performing) sensor from the GH1.

Full coverage at 1001 Noisy Cameras.

DPReview has image samples from the long-awaited 20mm f/1.7 lens.

The GF1 is available for pre-order at Amazon in two kits (with 17mm lens or with 14-45mm zoom. Both kits are listed at $899.

I expect this will be available in very limited quantities as the GH1 has been largely out of stock and the Panasonic 7-14mm lens is nowhere to be found. I'm personally torn between pre-ordering now, which may be the only way to get a GF1 soon, and waiting to see what Leica announces on September 9.

I'm convinced that there will be a Leica version of this camera.

GH1 - G1 ISO Comparison, RAW + JPEG Night Scene by Björn Utpott

2009-08-26T10:24:00.000-05:00

Björn Utpott has done a very nice, controlled comparison between the Panasonic GH1 and Panasonic G1 in capturing a night scene. He has also made the RAW files available for those of us who like to play with the files.

Link: GH1 - G1 ISO Comparison, RAW + JPEG Night Scene by Björn Utpott

Powershot S90: Canon Pioneers Free Lunch

2009-08-23T08:44:00.000-05:00

While skimming the early reactions to the new Powershot announcements, one of the first I came across remarked that Canon had completely failed to meet the large sensor compact challenge being issued by Micro Four Thirds and the upcoming Samsung hybrid system. Why put a small sensor in there when Sigma, Olympus, and Panasonic have shown that one can simply stick a large sensor in there?

As readers of this site already know, camera design is a matter of picking a set of compromises.

If you have held an E-P1 with the kit zoom lens mounted, you know that it is functionally closer to a small DSLR in size and feel than it is to a compact like the Panasonic LX3 or the upcoming S90. Zoom range, lens speed, and sensor size each come with increasing camera size.

In fact on the surface, Canon has chosen to sacrifice very little with the S90.

Let's start with the sensor. Canon claims that "Canon’s new Dual Anti-Noise System combines a high sensitivity 10.0 Megapixel image sensor with Canon’s enhanced DIGIC 4 image processing technology to increase image quality and greatly improve noise performance by up to 2 stops (compared to PowerShot G10)". If true, that will be quite a feat, as the G10 had excellent performance in the signal to noise department. My own tests put the G10 just barely behind the LX3 in this respect. Two stops of improvement would bring the sensor noise performance within a stop or so of the best Four Thirds performance.

Yet Canon has a poor track record in this area, having made a similar claim with the EOS 50D compared to the EOS 40D. After all, it's easy to improve JPEG noise performance without improving sensor signal to noise at all. Even one stop of real progress is very unlikely. That said, the S90 is most likely using Sony's new ICX685CQZ sensor, regarding which Sony has written "In the luminance signal, it features a signal-to-noise ratio improved by about one f stop over current devices."

Camera sensor technology surely has progressed more quickly than lens optical design. How does the S90 lens compare to other recent cameras?

With the S90, Canon matched the lens speed of the LX3 at the wide end, albeit with less wide angle range (28mm vs 24mm equivalent), and offers more telephoto range than the LX3 (105mm vs 60mm equivalent) at the expense of telephoto lens speed. Overall, the Canon has a 3.75x zoom with a physical aperture range of 3mm (wide) - 4.6mm (tele), and the Panasonic has a 2.5x zoom with an aperture range of 2.6mm (wide) - 4.6mm (tele). Compared to the GRD III lens, the S90 lens offers similar speed at the wide end plus a zoom range the Ricoh lacks. Compared to the GX200, the Canon doesn't go as wide but offers both more speed and a greater zoom range.

Given those basic parameters of zoom range and physical aperture range, I'd expect the S90 lens to be roughly the same size as the LX3 lens. The LX3 lens itself seemed to be a marvel of engineering when one compared its size to fast zooms of Powershot G6 era. No miracle, Panasonic shrank the fast LX3 lens by taking advantage of software to fix pronounced barrel distortion. Now Canon has created a similarly specified lens with a slimmer profile, dropping the great majority of the LX3 lens "hump". At what price?

New Canons Now Available for Pre-Order

2009-08-19T18:38:00.002-05:00

G11, S90, and the rest of the new Canon compacts are now available for pre-order at Amazon.

Link: New Canon Powershots at Amazon

Canon reveals new prosumer cameras

2009-08-19T16:54:00.010-05:00

Canon’s PowerShot series of cameras gets a new update with a total of six new models. After a year Canon replaces their top compact camera the G10 for the G11. They also reintroduce their older S-series again with the new S90. Two SX superzoom cameras are updated, the SX20is and the SX120is. And finally two SD-cameras, the SD980is and SD940is, are introduced.

The Canon PowerShot G11 gets two distinctive new features. Returned from the ashes is the swivel LCD (2.8”). And they dropped the 14,7 megapixel sensor from the G10 for a 10 megapixel, indicating that the run for more pixels seems ended (or at least with serious compact cameras). They followed the move from Panasonic with their LX3 and Ricoh with the GR Digital III.

Maybe more interesting is the reintroduction of the S90. This camera will also get a 1/1.7” CCD 10 megapixel sensor, like the G11, with the DIGIC 4 image processor.

It will also do RAW and RAW+jpeg, and even full manual mode. Two features on this camera makes this camera probably a more interesting package than the G11. The lens will be a 28-105mm lens starting at f/2.0 at the wide angle (faster than the G11 lens) and their will a control ring attached to the camera body that lets you adjust some camera functions like zoom, ISO, exposure compensation, focus, and white balance.

For more and extensive coverage about these new cameras and the four other cameras, the SX20is, SX120is, SD980is, and the SD940is, make sure to check 1001noisycameras or dpreview.

OT: Tamron AF 60mm f/2.0 SP DI II LD IF 1:1 Macro Samples

2009-08-15T10:33:00.001-05:00

The Nikon D5000 and AF 35mm f/1.8 lens have proven to be a great fit for my needs, but I've been on the lookout for a nice autofocus portrait lens. At 75mm equivalent, the AF 50/1.4G is a touch shorter than I would like. Also, as is the case with the 35/1.8, the 50/1.4G shows noticeable color fringing on out-of-focus background elements (longitudinal chromatic aberration). There's also the Sigma 50/1.4, but in addition to being too short, that lens has too much heft.

I looked at the Nikon 60mm f/2.8 micro (macro), which is just about my ideal length, but that lens is just a bit too slow. The manual focus Voigtlander 58/1.4 SL II was another option, but I'd like to have autofocus.

Along comes the Tamron 60mm f/2 macro, a lens which isn't much larger or heavier than the Canon and Nikon equivalents, yet offers an additional stop of speed plus internal focusing and full-time manual focus override. Being familiar with Tamron lenses (and macro lenses in general), the early reports of slow autofocus with this lens were expected and aren't a deal breaker for me.

I've been holding out for image samples to see if this could serve as both my portrait lens and a nice 1:1 macro, and today I found a second set of samples. Having not seen much discussion of this lens or its samples in the various forums, I thought to share the links here.

Here are the samples:
Canon-board.info (translation)
Fengniao.com (translation)

Although this lens is somewhat off-topic for Serious Compacts, I know I'm not the only one here using a compact DSLR kit. The Tamron 60 macro has the potential to replace two other lenses, such as a 50/1.4 and 60/2.8 macro.

Having reviewed those image samples, I'm pretty much set on buying the Nikon mount version of the Tamron 60 macro as soon as it becomes available. Lucky Canon users out there can pick one up now at Amazon:

Link:Tamron 60mm f/2 macro at Amazon

S.C. Hall of Fame: Canon PowerShot A95

2009-08-09T07:07:00.006-05:00

By Mayank Bhatnagar

The (point and shoot) camera with which I began digital photography way back in August 2005 was Canon PowerShot A95. It wasn’t my choice, but recommended by someone dear to me and after reading reviews on the internet, fell for it! With PSAM modes, a custom mode, optical viewfinder, swing-out LCD display, custom white balance, spot metering, use of handy AA batteries, manual focus, room for conversion lens adaptors (and therefore UV and polarizing filters), good image quality, efficient response and very decent build quality in a pocketable form factor, the A95 seemed to have more than I had asked for.

As someone graduating from fully-manual film SLRs, I was often surprised at A95s comprehensive feature-set which enabled me to ‘enjoy’ (yes, enjoy) digital photography and approach subjects with freedom and ease. The features (in particular PSAM modes, manual focus, flip-out LCD and ability to use polarising filter) also allowed for healthy experimentation and exploration, which IMHO, is necessary for developing photography skills and better understanding of subjects.

My A95 purchase was luckily followed by a few trips to wildlife reserves around Rajasthan, where the camera was used more than generously! After shooting about a thousand images with it in a span of four months, I thought I deserved better and sold it to buy a digital SLR :-(

Four years later, when I look back at the A95, my respect for it seems very much intact (even after having used subsequent and much improved PowerShot models like A620 and A640) and I get struck by a wave of nostalgia for I shared with the camera some truly memorable and beautiful moments, a few of which got frozen in time! I am pleased to share with you some of my favourite images taken with the A95 between August and November 2005, as a small tribute to what I feel was a ‘classic’, serious digital compact camera:

Lovely skies above Tal Chhapar Wildlife Sanctuary, Rajasthan, India

Statue Circle, Jaipur, at Dusk (10 sec. exposure)

Blackbucks at Tal Chhapar Wildlife Sanctuary, Rajasthan

Barren landscape at Tal Chhapar Wildlife Sanctuary, Rajasthan

'The Ripple', Keoladeo National Park, Bharatpur, India

Dusk-scape at Tal Chhapar Wildlife Sanctuary, Rajasthan, India

Datura Abla wildflower. Jaipur, India

Indian Skimmers at Chambal River, India

Painted Storks at Chambal River, India

Standing Together! At Tal Chhapar Wildlife Sanctuary, Rajasthan, India

Sculpturesque trees in lake at dusk. New Delhi, India

Five Reasons I'm Excited About the Rumoured Panasonic GF1

2009-08-09T06:10:00.000-05:00

1. Word on the street is that there is going to be a Leica version. Leica versions may not be any better than Panasonic versions, but Leica tends to rebrand some of the best Panasonic cameras (FZ50, LC1, LX3, etc). Also, the Leica versions are usually better looking :-p.

2. Early reports suggest that the GH1 has the best sensor performance in a Micro Four Thirds camera to date. Seems likely that the GF1 will share this performance.

3. The rumored GF1 was pictured with two lenses and not a zoom in sight. A 40mm equivalent fast pancake and a reasonably small 90mm equivalent macro/portrait lens is a sweet combination.

4. Panasonic has gotten things right with autofocus in the G1/GH1. I'm hopeful that the GF1 will share this performance.

5. The GF1 is likely to have a multi-aspect ratio sensor like the GH1. This alone is reason enough for me to buy the GF1 over an E-P1 if they are otherwise comparable. I prefer 3:2 aspect ratio for most photography, and multi-aspect ratio gives me that without lost angle of view and lost pixels. Also, that 7-14mm Panasonic lens at native 16:9 is going to be wide.

Panasonic GF1

2009-08-06T16:34:00.000-05:00

Now this is exciting!

Look closely. See that 45mm (90mm equivalent) Leica macro lens behind the long-awaited Panasonic 20/1.7?

More info at 1001 Noisy Cameras and Engadget.

'Powershot Love' at Lensist

2009-08-05T11:47:00.004-05:00

By Sam N at Lensist.com:

Recently, I went on a trip to Australia with two great Canons: the much-discussed EOS 5D Mark II , and the often-overlooked PowerShot SD880IS... What the SD series cameras do have, is TRUE pocketability. I've seen forum posters saying they can fit an E-P1 with 17mm pancake lens in their pants pocket. I don't know what kind of MC Hammer pants these people wear, but that sounds silly.

READ ON at Lensist.com

Thoughts and Update on GR Digital III

2009-07-31T06:50:00.000-05:00

Just received word that Ricoh will be sending me a GR Digital III for review. Although the improvements are incremental, I'm very excited about this camera. Improving the lens speed by roughly two thirds of a stop while improving macro performance - and without sacrificing resolution, camera size, or sensor size (in fact the sensor is a touch larger now) - is quite a feat.

The ability to preset the snap focus distance is another very promising feature. With the kind of depth of field associated with using a small sensor coupled to selectable zone snap focus, there should be very little need for ever using autofocus in situational/street/documentary photography.

We tend to use the word "compact" loosely on this site, and many of the cameras we discuss are really small-bag (eg, E-P1) or big-pocket (eg, DP2) cameras. In contrast, the GRD is an any-pocket camera, and a serious one at that.

For anyone interested, my GRD II review is here.

Thoughts About the E-P1

2009-07-30T14:09:00.000-05:00

One thing is certain: the Olympus E-P1 is a divisive camera. I've yet to hear from anyone who has tried it who didn't have pretty strong feelings one way or the other.

DPReview just published their (approximately) 80 page review, and Simon Joinson wrote of the E-P1, "The head says no, the heart says go."

Dante Stella and David Pogue, both of whom were seriously excited about the E-P1, were less kind after actually trying one.

I've not yet had my chance to hold, much less review, the E-P1, but I thought one of Simon Joinson's comments in the DPR forum was interesting. A forumer by the name of pollywogs wrote, "Giving the EP-1 a 'Highly Recommended" rating is watering down the "highly recommended" rating and making it meaningless. It also leaves no room for improvement. Suppose the next generation improves on the screen, the slow focus, the flash situation, etc... Well, it will also receive a 'Highly Recommended' rating. Reminds me of a teacher I work with who gives everyone an 'A' is his class no matter what they do." Simon responded, "No, it's like the teacher giving 'A's to the best students every year rather than saving them because there might be a better student in the future. Besides it's a recommendation, not a score."

I think Simon has it right. If there isn't a better camera for your needs at this time, there isn't a more "recommendable" camera. Still, when I consider the E-P1 for my own personal purchase, I have a tough time opening the wallet. I'm fairly certain that we'll soon see a Micro Four Thirds camera with form similar to the E-P1 but better autofocus and a nicer screen, and I'm not eager to pay the early adopter fee this go around. Besides, experience has taught me that I need one of two focusing methods to greatly enjoy photography: fast and reliable autofocus or a manual focus system which operates on look and feel. By nearly all reports, the E-P1 fails to deliver either of these, and so I'm thinking it won't be a great fit for me.

As an aside, I've come to enjoy the Nikon D5000 and AF-S 35/1.8 so much that I sold my D700, AF 85/1.4, and AF 35/2 Nikkors. While the service recall is a bummer, I think the D5000 represents a real step forward in image quality amongst smallish DSLRs, and the handling is great too. I thought about waiting for the E-P1 before purchasing the Nikon as my "small bag" kit. Glad I didn't.

Ricoh GR Digital III Announced

2009-07-27T05:06:00.002-05:00

Official site: http://www.ricoh.com/r_dc/gr/gr_digital3/

PRESS RELEASE:

July 27, 2009

Ricoh announces the GR DIGITAL III
A milestone in digital camera evolution: Large-aperture F1.9 GR Lens and even greater image quality

Tokyo, Japan, July 27, 2009—Ricoh Co., Ltd. (president and CEO: Shiro Kondo) today announced the development and release of the GR DIGITAL III camera. Successor model to the GR DIGITAL II, it achieves a whole new level of image quality.

Representing the further evolution of concepts introduced with the GR DIGITAL model (October 2005), the GR DIGITAL II (November 2007) achieved superb image quality by packing superior resolution, low noise, and low color aberration performance into a thin, compact body. In the 20 months since its release, it has been very popular with a wide range of customers, especially professional photographers and experienced amateurs.

The new GR DIGITAL III takes the GR line's traditional high image quality to an even higher level with a new image processing engine, a new CCD, and the newly developed 28 mm/F1.9 GR Lens. Performance has also been enhanced in areas such as quick shooting, operability, and power of expression.

In order to fully respond to the needs of our customers, for the GR DIGITAL III Ricoh will continue to offer the customization services (fine tuning of shutter release button sensitivity, AE/AWB, etc.) that we have provided since the introduction of the GR DIGITAL.

＜Main features of the GR DIGITAL III＞

1. Newly developed large-aperture lens.
・The adoption of the new F1.9, f-6.0 mm (equivalent to 28 mm for 35 mm film cameras) lens for the GR DIGITAL III takes compact-body cameras into a new realm of images. This lens makes it possible to shoot with a faster shutter speed than could be used on previous models, or to shoot with the same shutter speed but at a lower setting for ISO sensitivity.
・Despite the large F1.9 aperture, the new lens achieves a resolution level equivalent to that of the F2.4 GR Lens.
・The use of a newly developed lens drive system has made it possible to achieve greater image quality in macro photography.

2. Taking the GR DIGITAL concepts another step forward, the GR DIGITAL III achieves even greater image quality.
・The new image processing engine GR Engine III is installed. Using newly developed noise reduction technology, it enables highly sophisticated noise processing to be done while maintaining superior resolution, tone characteristics, and saturation.
・The new high-sensitivity CCD (1/1.7 inch, approx. 10 megapixels) achieves high-sensitivity properties through the use of a new process. The combination of the newly developed GR Lens and GR Engine III significantly increases shooting performance in low-light scenes.

3. Even faster shooting capabilities for capturing fleeting shutter opportunities.
・Algorithm improvements have reduced focusing time in low-light scenes. With the Pre-AF function, focusing speed is further accelerated by adjusting the focus to match the movement of the subject.
・The new "full-press snap" function shoots at a preset distance for a one-push full-press of the shutter button.
・Up to five RAW images can be recorded in consecutive shooting* and bracketing.
　*When noise reduction is OFF. When it is Weak or Strong, the maximum is four images.

4. Enhanced expression capabilities make good use of GR Lens performance.
・Shutter speed priority AE is now available in addition to aperture priority AE.
・A more extensive range of image settings enables the photographer to control hue and saturation. This makes it easy to create images with a wide variety of coloration.
・When photographing subjects with mixed color temperatures, the multi-pattern auto white balance function makes it possible to achieve optimum color reproduction.

5. Large, high-visibility 3.0-inch VGA LCD monitor.
・The 3.0-inch, 920,000-dot VGA LCD monitor provides high resolution, a wide viewing angle, excellent color reproduction, good visibility outdoors, and a surface that resists soiling. The sRGB comparison for color reproduction range is 100%.
・The micro-thumbnail display function displays 81 thumbnail images on a single screen.

6. Operability further enhanced.
・The My Settings on the mode dial have been expanded to three sets. The number of Fn (function) buttons on the back of the camera body has been expanded to two.
・A function has been added for assigning names to My Settings sets and storing and retrieving them. A maximum of six sets can be defined and stored.

7. Expandability further enhanced with addition of new options.
・The 21 mm wide conversion lens GW-2 and hood and adapter GH-2 will be sold.
・The available soft cases are the GC-3 for the body only and the GC-4 quick-shooting case type compatible with the GV-2 viewfinder.
・ There are also plans to introduce the GF-1 external flash, which can handle TTL flash using auxiliary flash, in the autumn of 2009.

8. Function to be expanded using firmware.
・ Even after the GR DIGITAL III is introduced, we will continue to add new functions through the release of new firmware. By updating their firmware, GR DIGITAL III owners can continue to utilize the latest functions.

＜Customization service＞

(1) Shutter release button adjustment service (suggested retail price: 3,000 yen, consumption tax included: 3,150 yen)
・We fine tune shutter release button sensitivity.

(2) AE/AWB adjustment service (suggested retail price: 4,000 yen, consumption tax included: 4,200 yen)
・For customers with two or more GR DIGITAL III cameras, we fine tune AE/AWB to reduce individual differences.
*It is not possible to adjust differences between a GR DIGITAL III and a GR DIGITAL or GR DIGITAL II model.

(3) Lens name ring replacement service (suggested retail price: 2,000 yen, consumption tax included: 2,100 yen)
・We replace the "GR LENS f=6.0mm 1:1.9" ring on the lens barrel, with one finished all black.
* For customization services, cameras must be brought directly to the Ricoh Ginza Camera Service Center (Ginza), the Digital Camera Service Center (Shin-Yokohama), or the Ricoh Osaka Camera Service Center (Esaka).

＜GR DIGITAL III Option Table＞

Product Model
・Hood and adapter GH-2 *1
・Wide conversion lens *2 GW-2 *1
・External TTL flash GF-1 *3
・External viewfinder GV-1
・External mini viewfinder GV-2
・Cable switch CA-1
・Soft case GC-3 *1
・Soft case (GV-2 compatible) GC-4 *1
・Neck strap (GR DIGITAL logo) GS-1
・Neck strap (Ricoh logo) ST-2
・AC adapter AC-4c
・Rechargeable battery DB-65 *1
・Battery charger BJ-6

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 GH-2 is required when using wide conversion lens GW-2.
*3 This option is to go on sale in autumn 2009.

GR DIGITAL III – 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 (CCD method) / Spot AF (CCD method) / 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.)

Shutter Speed: *1
Still image: 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.

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/Shutter priority AE/Manual exposure
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, ISO64 / 100 / 200 / 400 / 800 / 1600

White Balance Mode:
AUTO / Multi-Pattern AUTO / Outdoors / Cloudy / Incandescent / Fluorescent / Manual / Detail, White Balance Bracket Function

Flash:
Built-in ﬂash mode: Auto (during low light and when the subject is backlit), 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)
Monitor:
3.0-inch Transparent LCD (approx. 920,000 dots)

Shooting Mode:
Auto Shooting Mode / Program Shift Mode / Aperture Priority Mode / Shutter Speed Priority Mode / Manual Exposure Mode / Scene Modes (Text / Movie / Skew Correction / Dynamic Range Double Shot) / My Settings Mode

Picture Quality Mode: *2
F (Fine) / N (Normal) / RAW (DNG file format) *3
No. of Pixels Recorded:
Still image: [4:3]3648×2736, 3264×2448, 2592×1944, 2048×1536, 1280×960, 640×480
[3:2] 3648×2432 [1:1] 2736×2736
Movie: 640x480, 320x240
Text: 3648x2736, 2048x1536

Recording Media:
SD memory card, SDHC memory card, Internal memory (approx. 88MB)

Storage Capacity (Pictures/Time):*4 (internal memory 88MB)
Still image: 3648×2736 (RAW: 4, F: 22, N: 38) / 3648×2432 (RAW: 5, F: 25, N: 43) / 2736×2736 (RAW: 6, F: 29, N: 50) / 3264×2448 (N: 47) / 2592×1944 (N: 72) / 2048×1536 (N: 109) / 1280×960 (N:175) / 640×480 (N: 705) / Text: 3648×2736 (38), 2048×1536 (109)
Movie*5: 640×480: 30 frames/sec. (51 sec.), 640×480: 15 frames/sec. (1 min. 42 sec.), 320×240: 30 frames/sec. (2 min. 12 sec.), 320×240: 15 frames/sec. (4 min. 19 sec.)

Recording File Format:
Still Image: JPEG (Exif ver. 2.21) *6 , RAW (DNG)
Movie: AVI (Open DML Motion JPEG Format compliant)

Other Major Shooting Functions:
Continuous / S-Cont / M-Cont, Self-Timer (operation time: approx. 10 sec. / approx. 2 sec.), Interval Timer (shooting interval: 5 sec. - 1 hour (5 sec. steps) *7, Color Bracket function, B&W (TE), Color Space Setting, Noise Reduction, Histogram, Grid Guide, Depth of Field, Electronic Level, Hot Shoe

Other Major Playback Functions:
Auto Rotate, Grid View, Enlarged Display (maximum 16x), Resize

Interface:
USB 2.0 (High-Speed USB) Mini-B, Mass storage*8 / Audio Out 1.0Vp-p (75Ω)

Video Signal Format:
NTSC, PAL switchable

Power Supply:
Rechargeable Battery: DB-65 (3.7V) 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. 370 pictures / Using AAA Dry Alkaline Battery x2, approx. 25 pictures*10

External Dimensions:
108.6 mm (W) x 59.8 mm (H) x 25.5 mm (D) (excluding projecting parts)

Weight:
Approx. 188 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. A JPEG file in Normal 640 or Fine/Normal mode with the same size as the RAW file is recorded at the same time. 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 90 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) 2000, XP, and Vista; Mac OS9.0-9.2.2 and Mac
OSX10.1.2-10.5.6.
*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.

Have an Olympus E-P1? How do you like it?

2009-07-25T17:49:00.004-05:00

I've been enjoying the Sigma DP2 on loan from Sigma, and I'm looking forward to trying out an E-P1 as well. A shootout between these two remains in the plans, so long as Olympus delivers on their word to provide an E-P1 kit for testing. In the meanwhile, when I can spare a few minutes away from work (new job) and family (new city, new house) duties, it's been interesting to check out some of the reaction to the E-P1. It's easy to keep track of things with the great E-P1 coverage at 1001 Noisy Cameras.

Given positive reviews from online friends, I had been thinking of buying an E-P1; however, the review at The Online Photographer gave me pause. I'd love to hear from anyone in our readership. If you have an E-P1, how do you like it?

Expired: Incredible Price on Panasonic G1 Two-Lens Kit (Updated)

2009-07-07T11:40:00.004-05:00

Sunday, July 12 Update: The deal is off again.

You can currently get a blue Panasonic G1 two-lens kit for $692 shipped at Amazon. That's less than the body only price for the Olympus E-P1! Here's how:

Click here to go to the Amazon page for the blue G1 with 14-42mm lens kit
Scroll down to where you see "Save $250 on the Panasonic 45-200mm Lens when you purchase 1 or more Panasonic G1 Digital SLR offered by Amazon.com" and then click on the associated "Add Both to Cart" button.
Proceed to checkout, and you will see the instant savings applied.

Unfortunately the deal is not currently available with the red or black models, only blue.

Thanks to 1001 Noisy Cameras for emailing me that our readers might be interested in this deal!

Featured comment by Gregory Travis:

You can get the deal with a black body -- I just did. What you need to do is search for Panasonic G1 - when it comes up select the black model and find the offer sold from Amazon itself (which lists a ship date of "1-2 months") and is slightly more expensive than the non-Amazon lowest price of $699 (amazon charges $712.96).

After that, pick the zoom lens. Then proceed to checkout and see that you have a black camera body/standard lens plus the zoom lens plus a $250 credit. My total was $760.65 for the camera, 14-45 lens, AND 45-200mm lens (I chose free shipping). A little more than $672, but still a hell of a deal.

Shipping estimate is August 3-August 18.

DP2 vs G1 vs E-P1 Mini Shootout by Eugene Fratkin

2009-07-07T10:29:00.000-05:00

Photographer Eugene Fratkin has posted a brief shootout between the Sigma DP2, Panasonic G1, and Olympus E-P1.

Link: http://picture.stanford.edu/Photo/Equipment%20Test/DP2_G1_EP1/Compact_DSLR_1.html

[Thanks Prog]

First Olympus E-P1 Kits Shipping at Amazon

2009-07-04T16:14:00.000-05:00

Amazon has the silver Olympus E-P1 and 14-42mm kit listed as "Available July 7", but they have already shipped orders to a few lucky Serious Compacts readers who kindly ordered via our product links. I don't have one yet myself but am excited to read your impressions. I do have a Sigma DP2 in hand (courtesy of Sigma) in anticipation of the shootout. Some preliminary impressions coming soon.

Links:
Olympus E-P1 with 14-42mm lens at Amazon
Sigma DP2 at Amazon

Olympus E-P1 London Launch & Hands-on

2009-06-25T16:57:00.010-05:00

The official UK launch of the highly anticipated and long awaited m4/3 camera from Olympus was today. Olympus chose the Jessops store near Tottenham Court Road in London for the event and has even invited photographer David Bailey for the event.
Judging from the high interest the camera generated in forums and on various photography websites and blogs I expected a lot of people to show up and so it was. The people I spoke to all wanted the same, a compact camera capable of producing dSLR like image quality but also allowing them to swap lenses. The Olympus E-P1 certainly is the first camera to deliver on both counts.

Although it was busy and most people wanted some hands-on with the camera, I managed to try out a few samples and will try to give a quick impression and compare it briefly with the GRD II and Sigma DP2.

The first thing I noticed was that the camera is actually a bit bigger than I expected, especially with the zoom lens attached and if you extend the lens it becomes even bigger. On pictures it always looks relatively small and while it is by far not a big camera, it is not as small as the DP2 and not really close to the GRD II. With the pancake lens it becomes a lot smaller and I would say it is more or less the size of a DP2 with the optional OVF attached. The GRD II feels pretty small compared to it, if yu attach the GV-1 OVF and the lens hood you will get a similar size. Overall it is jacket pocketable but only with the Pancake lens attached and then you need solid pockets as the camera is heavy.

Speaking of the weight, you might have seen the pictures of the all plastic insides posted in various forums recently and while the insides might be plastic it surely weights a lot and the outside is solid metal. It feels very solid and I would say it is as solid as the GRD II and the Olympus dSLRs they had around. The feel of the camera is great, Olympus made sure the camera feels great to hold. There is no comparison at all with the DP2 which feels plasticky and flimsy due to the poor choice of plastic for the buttons and lens barrel. The hand grip is also nice and does make holding it much easier and more secure, a grip should be standard on any serious compact camera if you ask me.
One thing about the build I did not like was the fairly bright green LED around the power button, here I hope Olympus can release a firmware update to turn it off as Ricoh did on the GRD II.

There have been concerns expressed regarding the low resolution of the LCD screen. While the resolution is not really as important in my view as the refresh rate and the viewing angles, I found it perfectly ok. Everything was easy to read and detailed on the screen. Using manual focus with the screen enlargement on was no problem and it was easy to see when the picture was in focus. The viewing angles and refresh rate are comparable with the GRD II screen and so very good, nothing like the poor DP2 screen. It should be easy to use the screen even outdoors from the look of it and take low level shots with the viewing angles.
One issue I found with the screen is if you point it at something black or in very low light it gets very noisy, full of banding and desaturates almost completely. This was very strange as it was fine when you focused and the pictures turned out fine but it seems the signal boost in low light is causing this. I tried different samples and had this problem with all of them.

The controls are all intuitive and work very fast, having two wheels is a good idea although the 4-way navigation pad could be a bit bigger to avoid accidental presses. You can change all important settings without going into the menu, the buttons are all clearly labeled and not black on black as on the Sigma DP2. The GRD II however still has the edge when it comes to controls.

The AF has also been highlighted as a potential problem in a few reviews. I have to say, it is not lightning fast and far from the speed of the Panasonic G1 or a dSLR but it is slightly faster then the AF on the GRD II and also faster than the AF on the DP2. The zoom lens takes also longer to focus than the pancake lens. I also find the zoom lens way too big, if it's full extended it is as big as a normal 4/3 lens. Overall I would rather get the E-P1 kit with the pancake lens as I was not overly impressed with the zoom lens.

I have also tried the OVF and there is one definite issue with using it. On the GRD II there is a small LED next to the hot shoe which will light up once focus is achieved, there is no such LED or visual confirmation on the E-P1 so you have to either use the sounds or guess. I have mentioned this to Olympus and hope a firmware update can maybe have the 'SSWF' or 'Power LED' blinking when focus is achieved and the OVF is used.
Other than this the OVF is ok, not as good quality as the Ricoh OVFs which are produced by CV but better than the Sigma DP1 OVF. Like the Sigma DP1 OVF this is made out of plastic but has a thin aluminium cover, both are not very bright but the frame lines should be seen ok. It feels overall a bit flimsy and if you need a OVF I would recommend getting a CV OVF.

These are my impressions so far, I walked out without buying a E-P1 although I was very tempted. The E-P1 looks and feels like a great camera and I really like the design but it is too early to buy. The camera is a bit too big and I would like to have at least one good wide angle lens available for it.

Sigma Answers the Call! Waiting for Olympus...

2009-06-23T20:55:00.010-05:00

Update: Great news, Olympus will be providing an E-P1 kit for the shootout! Not surprisingly, E-P1 kits are on short supply right now, so it will be a while before we get one. Nevertheless, this will be the most thorough shootout yet, assuredly worth the wait! Many thanks again for the community support, via posts and tweets, without which this likely wouldn't have happened.

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

Thanks to everyone who commented on the previous post. With your help, we got the attention of Sigma, and they have agreed to provide a DP2 (hopefully with VF-21 viewfinder and HA-21 converter) for the shootout. Here they are announcing it on Twitter:

Very cool of Sigma to step to a direct shootout like that! So far, there is no definite commitment from Olympus. Two Olympus representatives on Twitter responded to my request by asking me to direct message them with my contact information. I did so yesterday and am waiting for them to get back to me.

I'm sure that their review units are in short supply so soon after the launch. Hopefully Sigma's willingness will inspire the Olympus folks to provide a test E-P1 and 17mm kit for the shootout. I don't think there is any more well defined market for these cameras than the one we represent.

If anyone would like to help lobby Olympus on Twitter, direct your tweets to @cjleonejr (Olympus PR) and @getolympus while mentioning #seriouscompacts so that I can keep track. Thanks again everyone!

Amin

Interested in Seeing an E-P1 - DP2 Shootout?

2009-06-21T09:46:00.004-05:00

The Olympus E-P1 and Sigma DP2 are two of the more exciting "serious compacts" introduced since I started this blog, and I think the E-P1 and M-Zuiko 17mm f/2.8 kit would make for a fascinating shootout with the DP2.

As a small blog, we generally have to purchase the gear for our tests and shootouts. In many cases, it is our personal gear, for example Wouter's GX100/GX200 and my DP1/G10/D-LUX 4. With a very limited budget, it's going to be tough to raise the money to buy these latest Olympus and Sigma kits. Meanwhile, I think it's in the manufacturers' interest to loan us the gear since the Serious Compacts community is focused on the space these new cameras occupy.

Thanks to your comments in the past, we've been able to forge a relationship with Ricoh, who provided a GRD II for review and will hopefully continue to provide exciting new products for us to test. Here's how you can help us forge a similar relationship with Olympus and Sigma:

Leave a comment in response to this post, indicating your interest in seeing the EP-1 and DP2 tested here. Any suggestions for the shootout are most welcome.
Send a tweet to @getolympus and @Sigma_Photo indicating your interest in the #seriouscompacts #shootout.

Thanks!

Can't Get Enough E-P1?

2009-06-21T06:47:00.002-05:00

If you're ~~obsessed with~~ interested in the E-P1, there is no more comprehensive source of information than 1001 Noisy Cameras.

Olympus 17mm f/2.8 Samples at LensTip.com

2009-06-17T14:44:00.004-05:00

LensTip.com has some telling sample images made with the E-P1 and M-Zuiko 17mm f/2.8 lens.

Link: LensTip.com - Olympus E-P1 + Olympus M.Zuiko Digital 17 mm f/2.8 - sample shots

Olympus E-P1 Thoughts

2009-06-16T14:24:00.011-05:00

Some thoughts about what Olympus seems to have gotten right and wrong with their first Micro Four Thirds camera:

What they got right (in no particular order):

Image stabilization (IS) in the body: Olympus leaves IS out of ~~it’s~~ its smallest DSLRs, so I was concerned they might leave it out of the E-P1. They didn't.
Size: As expected, the E-P1 leverages the compact potential of Micro 4/3 in a way that the Panasonic cameras have not.
Dust reduction: All interchangeable lens digital cameras should have this; unfortunately, not all do, but the E-P1 does.
Looks: Obviously subjective, but the silver and black E-P1 looks great to me. Would be nice to see an all-black version as well.
Image quality: This is a very preliminary impression, obviously, and made without any RAW files to examine. The pre-production sample JPEGs at DPReview and elsewhere look very good and seem to support Olympus' statement regarding the use of a lighter antialiasing filter. High ISO performance also seems to be quite good for this format.
SD/SDHC memory card: Many thought Olympus might have gone the xD card route. Thankfully, they did not.
VF-1 external viewfinder is bundled with the E-P1 + 17mm lens kit (according to the latest press release).
Movie mode allows manual aperture control.
Battery is the same BLS-1 lithium-ion battery used in the Olympus E-620 and ought to provide better than average battery life in this camera.
Shot-to-shot times are short according to DCRP.

Where they could have done better:

Weather sealing/resistance
Multi-aspect ratio sensor like the one in the Panasonic GH1
Optional add-on EVF
Distance indicator or focusing tab for the 17mm lens. Olympus missed a great opportunity here to control their focus-by-wire manual focus system based on focus tab positioning. What a difference that would make for documentary photography!
MP4 (eg, H.264 MP4) would have allowed better video quality/file size. Instead, they opted for M-JPEG (.AVI) format, presumably because this older format is more widely supported.
A faster 17mm pancake lens would have made it much easier for me to pull the trigger on ordering an E-P1 kit. Instead, I am tempted to wait for this lens on the Panasonic road map:

In 35mm photography terms of framing and depth of field (DOF) control, it's the difference between a 34mm f/5.6 lens and a 40mm f/3.4 lens. The Olympus lens should be available sooner and may prove superior, but nearly 1.5 stops more light and greater DOF control is difficult to ignore. That said, one has to wonder what Panasonic is sacrificing to make a lens that fast yet that small. We'll know soon.

What they got wrong:

LCD resolution (230k dot) is below the current standard for high end cameras.

Unknowns:

Autofocus speed: There have been conflicting reports about this in the existing previews. However, most of the reports are not super-encouraging (eg, DCRP).
17mm f/2.8 lens rendering: DPR published a whole series of sample images with this lens, ~~yet the lowest f-stop they used was f/6.3~~. Update: two photos at f/2.8 added here and here. Lenstip.com has published samples here.
Shutter release sound: As the Panasonic G1 shutter sound was disappointingly loud to ~~many~~ some (not me), it will be interesting to learn about the shutter sound of the E-P1. Update: Imaging Resource has a comparison between the Leica M4 and E-P1 shutter sounds (link).

Olympus E-P1 Body Only and Kits Available for Pre-Order at Amazon

2009-06-16T07:09:00.005-05:00

The Olympus E-P1 is available for pre-order at Amazon.

Prices with links to pre-order pages:

E-P1 Body Only - $699.99

E-P1 with 14-42mm Lens - $799.99(White Body/Silver Lens)

E-P1 with 14-42mm Lens (Silver Body/Black Lens) - $799.99

E-P1 with 17mm f/2.8 Lens (Silver) - $899.99

Remember that while Amazon fulfills pre-orders in the order received, you lose your place in the queue if you go back at a later date and change anything in the order (for example the shipping method).

Olympus Implements Software Lens Distortion Correction with E-P1 Lenses

2009-06-16T06:59:00.001-05:00

The E-P1 has been officially released and DPReview has am excellent interview with Akira Watanabe, product planning manager of Olympus's SLR division. One of the many interesting facts Watanabe shared was the fact that Olympus is using automatic lens distortion correction in order to keep Micro Four Thirds lenses as small as possible.

Readers of this blog will know that software correction of lens barrel distortion is what allowed Panasonic to design such a compact and fast wide zoom for the LX3. The similarly compact Olympus ZD 25mm f/2.8 lens for Four Thirds also had a significant degree of barrel distortion; however, this was uncorrected in software.

Although I am excited to see the tiny 17mm f/2.8 lens from Olympus and prototype 20mm f/1.7 lens from Panasonic, both for the Micro Four Thirds system, I do hope that they haven't gone too far in relying on software correction of lens distortion. For one thing, distortion correction comes at a cost in terms of resolution. Another consequence is that third-party RAW support for the distortion correction will likely lag considerably. Wonder why Apple's Aperture still doesn't support the LX3? I don't know the answer, but I suspect it has to do with Apple's failure to address the severe barrel distortion of that lens.

The Watanabe review presents more information about Micro Four Thirds than just the bit about automatic lens distortion correction. I was pleased to learn that Olympus' new image processor has allowed them to use a lighter antialiasing filter.

Link: DPR - More in the Micro Four Thirds pipeline

More news Olympus E-P1

2009-06-15T13:32:00.004-05:00

Although the official announcement of the new Olympus E-P1 will be tomorrow afternoon, June 16th in Tokyo, images and specs have appeared all over the net. The camera will come with a 12.3 mp livemos sensor and a 3" LCD screen with 230,000 pixels. In auto mode the ISO range will be from 200 to 3200 and in manual mode from 100 to 6400. The first sample images can be seen here.

The camera will have the following file formats: 12 bit RAW, jpeg, RAW + jpeg, and AVI motion jpeg. Both sRGB and AdobeRGB are available as color spaces. The camera will be able to capture a maximum of 14 RAW photographs in a burst. It can capture images in the image ratios 4:3, 3:2, 16:9, and 6:6. And when you shoot in RAW the image ratio will recorded in the EXIF data. The first lenses to be released will be a 14-42mm f/3.5-f/5.6 zoom lens and a 17mm f/2.8 prime lens.

The camera will also have a 720p HD movie mode, but there is still no mentioning of the available framerates. Recording will be on SD and SDHC cards with a maximum duration of 7 minutes in HD mode and 14 minutes in SD mode.

More news tomorrow.

'Point and Shoot Cameras (P&S) versus DSLRs' at Thoreau Photography

2009-06-13T18:40:00.001-05:00

What do we gain by using small cameras, and what do we give up in exchange? Lloyd Davis shares his thoughts on the current state of compacts versus DSLRs after taking a walk with the Canon G9 and Olympus E-3.

Link: Thoreau Photography

DP2 Part 1 Review at Reid Reviews

2009-06-10T09:02:00.000-05:00

Sean Reid has published Part 1 of his "rolling review" of the Sigma DP2. Sean's site, Reid Reviews, is a pay site, meaning that one must pay a $32.95 fee yearly to maintain access to the content. There are no advertisements.

Many are used to ad-supported content and averse to paying for content on the web, but Sean's reviews are far higher quality than most if not all of what you'll find elsewhere. The reviews are both photographer-oriented and technical, often pointing out subtle but significant findings which are omitted in reviews done by writers who are not working photographers.

These are just a couple excerpts from the DP2 Part 1 review showing the sort of fine points Sean makes in his reviews (click to view larger):

Again, those are just snippets from an extensive Part 1 review. There is a great deal of useful information in the review. If you are willing to pay a subscription, I highly recommend Reid Reviews.

Also, don't miss these excellent reviews at The Online Photograper:
T.O.P.: Sigma DP2 Review (link)
T.O.P.: The Sigma DP2: A Second Opinion (link)

Sigma DP2 Review by Jim Radcliffe

2009-06-09T09:04:00.000-05:00

I have long admired Jim Radcliffe's photographs made with advanced compacts such as the Leica D-LUX 3, D-LUX 4, Sigma DP1, and Canon G10. I received word from Jim that he had just posted a review of the Sigma DP2. His concise review covers the important aspects of the camera from the standpoint of a photographer and includes numerous sample photos made with the DP2.

Link: Jim Radcliffe - My Photography with the DP2

Olympus E-P1

2009-06-09T07:37:00.001-05:00

By now, most of us have seen the legitimate appearing, leaked photos of the upcoming E-P1 from Olympus:

Some points of interest:

Tiny Olympus 17mm f/2.8 lens; slow by comparison to the similarly unavailable Panasonic 20mm f/1.7, though the Olympus lens appears to be even smaller than the Panasonic
Tiny overall size; based on the hot shoe, this camera and lens combo is sized similarly to the Sigma DP1, Panasonic LX3, and Canon G10. OMuser.com has a useful size comparison is here.
There appears to be a paucity of tactile controls for things like aperture, ISO, and shutter speed, but that remains to be seen.

Best Compact for Street Photography?

2009-06-05T09:51:00.000-05:00

Dennis (dmcguire) asks in our Flickr group discussion section, what is the "best compact for street photography?"

Documentary photography has long been a strength of compact cameras, both film and digital. While portability is less of a factor for most landscape photography, excepting perhaps the mountain climber or hiker who needs to travel light, it is a great advantage for documentary work. Compared with larger cameras, compacts are easier to take everywhere and keep ready for any moment that should arise. Compact cameras are also more discreet than larger cameras. This can be an asset, not necessarily because of stealth, but because a less distracting camera may make it easier to document a moment without affecting its content.

Whether "street" or otherwise, the list of documentary photographers who have put compacts to outstanding use is beyond the scope of this blog post. Here are a few to consider:

Magnum photographer Alex Majoli used Olympus digital compacts for award-winning photojournalism (link).
New York street photographer Markus Hartel makes use of a variety of compacts including the GRD II and Sigma DP1 (link).
Magnum photographer Peter van Agtmael also uses digital compacts including the GRD (in addition to the Leica Digilux 2 and others). See his Lightstalkers gallery with intact EXIF data (link).

Share your thoughts about compact cameras for documentary photography here in the comments or the Flickr discussion thread started by Dennis (link).

Overlooked Serious Compacts

2009-05-26T11:35:00.003-05:00

I received the following message from Bruce McL:

Overlooked serious compacts

What is the smallest camera that has manual exposure controls and RAW?

How about a compact camera that has PASM, IS, 30 mm wide angle (to 150 mm tele) and takes AA batteries?

The first camera is the Panasonic FX150. The second is the Panasonic LZ10. Both cameras are nearing the end of their production lives and can be had for very good prices. It doesn't look like Panasonic will repeat the feature sets of either of these cameras. No other small Panasonic FX or FS camera has RAW, and no other Panasonic camera with AA batteries has manual exposure controls and semi wide angle.

I have the FX150, a neighbor has the LZ10, and I think both are worthy of the name serious compact. You might be doing your readers a favor by calling their attention to these two cameras. They can get into the world of RAW in a very small compact for under $225, and get a serious camera with AA batteries and decent wide angle for $150.

I confess that I didn't know that the FX150 offered RAW capability. It was announced alongside the Panasonic LX3 and thus received less attention than it otherwise may have gotten. Most major review sites (DPReview, Imaging Resource, and DCRP) also seem to have slept on this camera, though Steve's Digicams and PhotographyBLOG have posted reviews.

With a relatively large (by small sensor standards) 1/1.72" sensor, slimmer profile than the LX3, versatile 28-100mm (equivalent) f/2.8-5.6 lens, and RAW, the FX150 offers quite a lot for the money.

Link: Panasonic FX150 (Black) at Amazon

[Thanks Bruce]

Compact DSLRs Just Got More Serious

2009-05-21T09:40:00.000-05:00

Since the days of the original Canon Digital Rebel (300D), DSLR manufacturers have seemed to equate "small" with "entry level" and "cheap". Doubtless there has been improvement over the years in this respect. The Olympus E-620, Nikon D5000, and Canon XSi/T1i are all very fully featured and capable yet small DSLRs. However, there is a list of features which we usually don't get in today's small SLRs:

Weather resistance
100% coverage in the viewfinder
Magnesium-steel alloy construction
Top level autofocus (whatever that may be for a given manufacturer)
Top level metering (whatever that may be for a given manufacturer)

Not only are these features missing in the smallest class of DSLRs (D5000, T1i, E-620, etc), they are also missing in the middle weight class (D90, 50D, E-30, etc).

With the introduction of the new K-7, Pentax has parted ways with this old, restrictive thinking. The K-7 offers all of the above features and does so in a body which is quiet, has in-body stabilization, and remains smallest in class.

Kudos to Pentax for putting their very best into a light-middleweight camera. It's one solid step closer to what I really want to see, which is all of the above features plus a 35mm full frame sensor in the lightweight (D60/E-620) class.

Slightly OT: Nikon AF-S 35mm f/1.8 Compared to AF 35mm f/2D

2009-05-19T21:21:00.000-05:00

Nikon DSLR users looking for the most compact possible kit may be interested in the new and difficult to find AF-S 35mm f/1.8 lens. I've started that lens through some testing against an older, FX (35mm full frame) lens, the Nikon AF 35mm f/2D. Some of the results have surprised me.

To follow the ongoing testing, check out this thread in the Camera Work Forums.

Raising Prices in Response to Limited Supply: Price Gouging or Good Business?

2009-05-14T10:59:00.006-05:00

Example 1: Sigma DP2 has been recently released in small quantity with high demand. Amazon and B&H are sold out at $649.99. 47th St. Photo is selling them on Amazon for an 8% markup ($699.99). Thus if you want one badly enough to pay the premium, you can get one now or simply wait for greater availability at the "normal" street price.

Example 2: Nikon AF-S 35mm f/1.8 has been out for a while now, but no one can keep them in stock for more than a few minutes at the normal price of $199.99. No one can keep them in stock for more than a few hours at a 10-20% markup price. If you're really desperate, Tristate Cameras will sell you a gray market model at 25% markup without a warranty or a US model at a full 50% premium ($299.99 plus shipping).

Example 3: Pavilion Electronics has the black Panasonic LX3 in stock (additional 2-3 day processing time) and is selling on Amazon for only $749.99. Measly 75% markup. Just $50 (plus shipping) more than a black D-LUX 4.

The term frequently applied here is "price gouging", which implies mistreatment of customers. Is this poor behavior from the retailer or just a reasonable business practice when dealing with in-demand items? From a business standpoint, it makes sense to maximize profits unless doing so is going to impact customer loyalty. From a consumer standpoint, would you rather see "Not in Stock" everywhere or have the option to buy at a premium?

June 15th

2009-05-13T15:45:00.002-05:00

June 15, 2009. That's all I have got to say.

More information about June 15th at 1001 Noisy Cameras.

A Note About Pre-Ordering from Amazon

2009-05-08T08:02:00.000-05:00

I just noticed that a few of you have pre-ordered cameras (and one Kindle DX) through the Amazon affiliate links on this site. First, I just want to say, thank you! Ordering from those links doesn't change your price and the bit of money that comes from Amazon helps me fund gear tests and other projects like the Camera Work Forums. The main reason for this post, however, is to share a bit about pre-ordering from Amazon since I have plenty of experience in this area.

Amazon says that they fulfill pre-orders in the order they are received, and this is generally the case. When you pre-order, your order goes into a queue, and Amazon adheres to the sequence of the orders. What is important to know, however, is that any change in your order will move you to the end of the queue. For example, let's say that you pre-order a Panasonic GH1 kit (includes 14-150mm lens) today and choose the "Free Super Saver Shipping" option. Then in two weeks you change your mind and decide overnight shipping would be better. If at that point you call Amazon, the customer service representative will tell you that you can change shipping methods without going to the end of the queue. I know they say this because I've asked them. It isn't correct. Every order placed prior to your change of shipping method will be filled before yours.

With relatively low volume items like GH1, I have had best results pre-ordering early and avoiding any changes to the order. That way one has the best chance of shipping with the first batch received at Amazon.

First Part of Ongoing DP2 Review Posted at Lensist

2009-05-08T07:38:00.001-05:00

Sam Nazarian has started an ongoing review of the Sigma DP2. Part 1 is up, and there is some great information there already. If you're interested in the DP2, have a look.

Link: Lensist Sigma DP2 Review Part 1 - Interface and First Impressions

More Olympus Micro Four Thirds Teasers

2009-05-07T14:35:00.007-05:00

The official Olympus site now states "Ninety Years in the Making. Coming Summer 2009" and offers an opportunity to sign up for the latest news related to Olympus Micro Four Thirds. The same orange striped sardine can concept model we've seen before is also featured.

For my own purposes, systems are classified by size as pocketable (eg Canon SD880IS), "small bag" (eg Canon 1000D & "kit lens"), or "large bag" (eg Nikon D700 & two-three lenses). As an Olympus fan, I had been waiting for Olympus Micro 4/3, hoping that it would be the best small bag solution for me. Today, I got tired of waiting and picked up a Nikon D5000 kit. For Olympus' sake, I hope these teasers are more effective with others than they were with me. Still, I think that Olympus ought to consider disclosing more than they have. A glance at a prototype model may have been enough to keep me waiting whereas a look at a concept model was not.

Link: Olympus Micro Four Thirds (screenshot below)

Serious Compacts Hall of Fame

2009-05-06T17:02:00.007-05:00

The cameras listed alphabetically below have been inducted into our reader generated Serious Compacts Hall of Fame. Click on a name to read the entry written by that individual.

Canon A610/620 - eikona
Canon A95 - Mayank Bhatnagar
Canon G2 - Luc de Schepper (Skippy1958)
Casio EX-P600/P700 - Chris Nutt (chrispynutt)
Fujifilm E900 - JD (dicko6508)
Fujifilm Finepix F11 / F10 - JohnHHill
Panasonic LX1 - Jim (cledry)
Samsung Digimax L85 - Lili (colette_noir)
Sony DSC-V3 - sonomichele

Click here to learn how to add one of your own favorites to our Hall of Fame.

First Sigma DP2 Batch Shipped from Amazon

2009-05-05T22:19:00.000-05:00

The Amazon site is currently showing an estimated 1-3 months until shipping, but the first Sigma DP2 batch from Amazon has shipped. A lucky few have already received their cameras. Meanwhile, as is often the case, the one seller with the DP2 in stock is charging a premium for buyers who don't want to wait any longer.

Link: Sigma DP2 at Amazon

[Thanks Hal B.]

Teaser Tweets Touting Olympus Micro Four Thirds

2009-05-05T18:51:00.007-05:00

A representative for Olympus Imaging America is dropping teasers on Twitter.

Source: @getolympus via 1001 Noisy Cameras

iPhone as Art - The iPhone Photography of Chase Jarvis

2009-04-28T07:08:00.000-05:00

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

Sigma DP2 Performance Improvements

2009-04-26T12:24:00.002-05:00

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

Ten Recommended Compacts: Number 1

2009-04-23T18:39:00.003-05:00

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.

Ten Recommended Compacts: Number 2

2009-04-23T07:07:00.003-05:00

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.

Ten Recommended Compacts: Number 3

2009-04-22T13:50:00.000-05:00

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.

Do You Have a Great Local Camera Store?

2009-04-22T11:53:00.002-05:00

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.

Ten Recommended Compacts: Number 4

2009-04-21T12:15:00.002-05:00

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.

Ten Recommended Compacts: Number 5

2009-04-20T15:28:00.004-05:00

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.

Sigma DP2 Samples at Carl Rytterfalk Photography

2009-04-19T21:06:00.002-05:00

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.

Ten Recommended Compacts: Number 6

2009-04-19T12:58:00.000-05:00

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.

Ten Recommended Compacts: Number 7

2009-04-17T22:21:00.002-05:00

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

Ten Recommended Compacts: Number 8

2009-04-16T10:16:00.001-05:00

Number 8 on the list is the Fujifilm FinePix F200EXR.

To be honest, I wasn't sure whether to put the F200EXR on the list. In a number of ways, this latest expensive subcompact from Fuji is a disappointment:

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.

How Low Can the E-420 Price Go?

2009-04-15T11:35:00.003-05:00

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)

Reintroducing Camera Work

2009-04-14T12:28:00.007-05:00

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:

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)
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.
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.
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).
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.
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.
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.
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.
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.
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.

Ten Recommended Compacts: Number 9

2009-04-14T09:07:00.005-05:00

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.

Ten Recommended Compacts: Number 10

2009-04-13T10:55:00.004-05:00

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:

Photo by Ken Ko, used with permission

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

Easter Confessional about point and shoot cameras...

2009-04-13T09:39:00.001-05:00

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)