Archive for December, 2007
The Decisive Moment May Be A Blur
December 2007
by Beverly Spicer
Digital Journalist, VA
There is one subject that keeps coming up in the digital age, and it is related to McLuhan’s notion that the medium is the message. Well, it is. So what is the message of the digital age? It seems to be an age where anything is possible, and that includes in the field of photography. Depending on the instrument, the vision is vastly different, and there is a lot to choose from now, even for those of us who went dormant as film cameras began to give way to the digital world.
Henri Cartier-Bresson gave us “The Decisive Moment,” and in so naming that moment he defined the goal of photography perhaps for all time, reaching far behind him as well as into an unknowable future. He was an artist who painted too, but for Cartier-Bresson the photographer, that moment was, in his words, “the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms that give that event its proper expression.” When Cartier-Bresson offered his definition, he may not have realized that he also created a philosophy so broad as to be universal, and it would go viral in his world and the next. By the “next,” I am talking about cyberspace. In the digital universe wherein photography is but one medium among many, that may translate to whatever achieves instant communication, be it the still photo, audio soundtrack, video, graphic illustration, cartoon, animation, written or verbal storytelling.
Cartier-Bresson’s 1952 book of the same name is rare indeed and many a library does not even have a copy. However, with miracles at our fingertips, we can find a reproduction on the Internet. All of us can view the book online at any time, night or day, on any day of our choosing. Click on the cover image to go to “e-photobooks dot com” to see a good clean copy of “The Decisive Moment,” which contains not only Cartier-Bresson’s thought-provoking philosophy but also a portfolio of his most stunning and memorable work.
So what is the decisive moment really all about, and what do we think about it in 2007? Like many who fell in love with still photography and took up its quest through photojournalism, I was initially inspired by the work of Cartier-Bresson, the unchallenged father of photojournalism. Anyone looking to express “reality” and who was trying to communicate authenticity found gospel in the idea of candid, unmanipulated shots. Some were hard-liners – I was – and insisted on available light and uncropped images as well. Some of us turned into a nearly extinct breed when digital cameras first became popularized in the ’80s. Until then, I had one camera and one camera only: a manual Nikkormat FT2, and would not consider using anything else. It had a unwaveringly accurate internal light meter and I loved the way the little needle would drift up and down with great sensitivity, appealing to my intuitive decision of how much to open up or shut down the aperture. I remember only one frustration, that the Nikkormat’s image finding eyepiece was only 97% true, because 3% could make an enormous difference in positioning and composition. I eventually learned to compensate for the error, but could never figure out why in such an exotic machine like my fine camera the coordination between the viewfinder and the resulting image could not be 100% exact. Perhaps, and probably, the Leica was better, but it was prohibitively expensive and besides, I had started with Nikkormat and intended to stay in the marriage. In those days, we used to talk about the camera being an extension of your arm, like another appendage, or that we were wedded to it. It was, and I was. Read more about it by clicking on the image
But along came automated cameras, and print technology was changing as well. Suddenly, bafflingly, I couldn’t even take the kinds of photos I wanted with my own camera. The technology literally changed my vision and I had a new set of parameters from my employers. My own failing, perhaps, but what the magazines wanted were the latest in crystal clear, sharp images that were more on the order of set-up studio shots with posed subjects rather than candid images bathed in available light where one captured rather than created an image. I hated it. The new demands spawned by changing technology put a kink in the works of my neural system it seemed. Photographically speaking, it was a tumultuous time. I bought a Nikon F3 (shudder) to continue eking out a living in photography. The market demanded it. I always returned to my Nikkormat, however, the camera that was my true love. I refused to do anything but black-and-white (a self-imposed death sentence), and when several magazines where I freelanced finally died of their own external pressures, so, nearly, did I. Here was my photographic executioner:
With ambitions and even basic equipment threatened, I found myself on the path of many who didn’t want to make the initial leap from manual camera, black-and-white film photography to the digital world of color, snap and technological panache, Events drove me the other way, into drawing and art, still trying to capture something real in my own way. I had already begun keeping an illustrated diary, and so got serious about it, and still do it even to this day. I have just started my 183rd volume, and I need more closet space to accommodate what now amounts to over 12 linear feet of diaries. I could never get photojournalism completely out of my system though I thought it best to try. I did a book in the mid-’90s with black-and-white photos using my same trusty Nikkormat. I went on to do research in academics, thinking I was giving up photography forever, but when I wrote papers and put tons of images with the text, going to the library in search of them became the same thing to me as a photo assignment without jet lag or darkroom time. I learned that we adapt, and the energy we have expresses itself in new ways
Somewhere along the way I still needed to document everything, so when I discovered disposable black-and-white film cameras at some drugstore, I found a new toy and a new friend. I couldn’t do photography with them, exactly, and there were no real decisive moments I could capture with any gratification, but using these throwaways could produce a record. Cheap, recyclable, lightweight, decidedly anti-digital and unobtrusive, these cameras could go with me everywhere, so I hunted for discounts and bought them 40-at-a-time. The worst things about them were that the flash was compulsory and the viewfinder was so inaccurate as to be horrifying – not off by 3% but more like 50%. They were smaller but not even as accurate as a Brownie had been. It was impossible to photograph what I saw, and with no decisive moments, the photographic heart stops beating.
Zombie photography it was, maybe, but it was fun in another way. It was totally unprofessional, off the record and experimental, and though I hated the flash and bizarre non-resonance of the images, I discovered my friends and strangers alike enjoyed having duplicates of images (a drugstore bonanza) captured by my wayward and errant, somewhat cheesy little camera. Cartier-Bresson it was not, in fact one could fairly well say it was HCB at apogee (as far away as you can get), but what the heck, it was a private record not for show. My decisive moments had begun to be elsewhere in a non-visual realm. I couldn’t hope to capture moments of the unseen on film and didn’t try, although every now and then something nice would appear. By surprise.
I must pause to show you something that no low-tech camera could ever hope to capture. An e-mail arrived last week containing a gallery of photos labeled, “Between the Seconds.” We do not know the identity of the photographers, whose beautiful work is zipping around through cyberspace. See it here:
Joseph Campbell once said something like, “what is life but loss, loss, loss?” True enough in all things, and sure enough, Kodak began to phase out precisely the little black-and-white film camera I had incorporated into my daily M.O. I’d grown used to having a pocket camera, and was forced by this turn of events to buy a little digital one to continue what has become an addiction—snapping photos of whomever or whatever, wherever I am. Here comes the “blur” reference that is mentioned in the title.
Dang technology. I bought a Nikon Coolpix S50, a nice, small digital with a huge screen that can be set to black-and-white. I never use the flash because for the most part it has an amazing ability to gather light, and I can still be relatively unobtrusive though it does beam an annoying infra-red light on the subject when it focuses. I can control the relative aperture setting to under- or over-expose as I wish, and it can go macro. It is an interesting device. I love it, sort of, and it’s almost making me begin to think visually again. Somehow, though, it still doesn’t feel like real photography to me. Almost, but not quite. And the reason is the delay between pressing the shutter release and its opening. Whatever moment I saw is long gone by that time, and this technology totally misses it. Though the visual field is an improvement, nearly 100% accurate, the shutter speed is slower than molasses especially because I use available light only. So ridiculously slow, slow, slow is it, the result is often one big blur, like these that I shot recently.
So now I’m coming to the point of this whole article. No one could argue the profundity of seeing a mass of water still undispersed as it drops, or in any of the other time-stopping photos in “Between the Seconds.” They are simply incredible. The split-second images show details contained in reality that normally go unseen but are revealed exquisitely by the technological eye of a lightning-fast, sophisticated state of the art digital camera. But what about the other way around, where time is slowed down, where one moment melts into the next, yielding not a sharp focus of the world but a soft one where nothing stands still? What do we want but to see things as they really are, but on what terms? Do we want a microsecond snapshot or a long, contemplative view?
When I got my little pocket camera, I disliked the fuzzy photos so often full of movement. There is rarely a sharp photo among them. “Dirty” photos they are called. Occasionally – and this is never trying to – this slow shutter speed with almost impossibly good night vision produces something that is interesting, even if it is not calculated. I’ve come to see value there as well, and find there is mystery and inspiration on both ends of the continuum. Said another way, it is interesting to see what you get when you don’t get what you want. Sometimes, a decisive moment may be a blur. Isn’t life like that? And it makes one think about reality in a whole new way.
© Beverly Spicer
Email Beverly Spicer
Beverly Spicer is a writer, photojournalist, and cartoonist, who faithfully chronicled The International Photo Congresses in Rockport, Maine, from 1987 to 1991. Her book, THE KA’BAH: RHYTHMS OF CULTURE, FAITH AND PHYSIOLOGY, was published in 2003 by University Press of America. She lives in Austin.
The links that appear in this column are from World Wide Web. Credit is given where the creator is known, or the image is linked to the site where it was found. The Digital Journalist and the author claim no copyright ownership of any video or photographic materials that appear herein.
December 10th, 2007
Fujifilm Selects Kopin’s CyberEVF 230K for New Ultra-High-Zoom Digital Camera
PR-USA.net (press release), Bulgaria
Kopin® Corporation (NASDAQ: KOPN), the leading provider of microdisplays for mobile consumer electronics, announced today that Fujifilm Corporation, a global leader in the digital camera industry, continued its adoption of Kopin electronic viewfinders (EVFs) by incorporating Kopin’s CyberEVF® 230K into its new FinePix S8000fd SLR-styled camera with 18x optical zoom. It is the second Fujifilm model to use a Kopin EVF module.
“We are delighted about our expanded relationship with Fujifilm,†said Dr. John C.C. Fan, Kopin president and CEO. “Our CyberEVF 230K delivers high-quality images in a tiny package, helping users of Fujifilm’s latest FinePix S8000fd model take superb high-definition pictures. The market demand for SLR-style cameras, which have an attached high-zoom lens, is increasing rapidly because they combine advanced features for excellent-quality pictures, ease of use, and an affordable price. By providing exceptional quality and value to the SLR-style cameras, our compact EVF modules are becoming the EVF of choice among the world’s leading high-zoom digital camera makers.â€
The Kopin CyberEVF 230K delivers brilliant, natural-colored images in virtually any light conditions. For consumers, it ensures that the image seen through the EVF precisely matches the photograph – at any zoom level. For digital camera manufacturers, Kopin’s complete EVF solution provides reduced time to market.
The Fujifilm FinePix S8000fd with 8 megapixels brings wide-angle, long-zoom technology to the consumer market. It features the Company’s latest Dual Image Stabilization for blur-free image, Face Detection technology for superb portrait picture taking, automatic red eye removal, and ISO settings of up to ISO6400 (at 50% resolution) – features normally found only in a high-end SLR digital camera. The FinePix S8000fd is available at a retail price of $399.95.
In June 2007, Kopin announced that Fujifilm had selected the CyberEVF 230K-NF for its new 7-megapixel S700 digital camera.
About Kopin
Kopin Corporation produces lightweight, power-efficient, ultra-small liquid crystal displays and heterojunction bipolar transistors (HBTs) that are revolutionizing the way people around the world see, hear and communicate. Kopin has shipped more than 20 million displays for a range of consumer and military applications including digital cameras, personal video eyewear, camcorders, thermal weapon sights and night vision systems. The Company’s unique HBTs, which help to enhance battery life, talk time and signal clarity, have been integrated into billions of wireless handsets as well as into WiFi, VoIP and high-speed Internet data transmission systems. Kopin’s proprietary display and HBT technologies are protected by more than 200 global patents and patents pending. For more information, please visit Kopin’s website at www.kopin.com.
Kopin, CyberEVF and The NanoSemiconductor Company are trademarks of Kopin Corporation.
Safe Harbor Statement
Statements in this news release about Fujifilm’s selection of CyberEVF 230K in its digital camera may be considered “forward-looking” under the “Safe Harbor” provisions of the Private Securities Litigation Reform Act of 1995. These statements, including the statement that the Company’s compact EVF modules are becoming the EVF of choice among the world’s leading high-zoom digital camera makers, involve a number of risks and uncertainties that could cause actual results to differ materially from those expressed in the forward-looking statements. These statements involve a number of risks and uncertainties that could cause actual results to differ materially from those expressed in the forward-looking statements. Factors that might affect the actual results, performance or achievements include, among other things, competitive products and pricing; the potential that Kopin might be unable to cost-effectively manufacture its CyberEVF 230K; an increase in the price of raw materials used to produce Kopin’s microdisplays; changes in consumer preference for digital cameras, or the emergence of alternative photographic technologies; issues related to the supply or production of non-Kopin components used to manufacture its customers’ digital cameras; the potential consequences surrounding any findings relating to the Company’s special committee’s ongoing internal review of stock option granting practices; uncertainty of results of pending civil litigation related to the Company’s stock option grant practices; the potential for further delays related to the Company’s regulatory filings; general economic and business conditions; and other risk factors and cautionary statements listed in the Company’s periodic reports and registration statements filed with the Securities and Exchange Commission. You should not place undue reliance on any forward-looking statements, which speak only as of the date on which they are made. The Company undertakes no responsibility to update any of these forward-looking statements to reflect events or circumstance occurring after the date of this report.
Kopin – The NanoSemiconductor Company®
December 10th, 2007
Digital Camera Tutorial: Wet Weather Survival
TrustedReviews, UK
If there’s one thing we know about here in England, it’s rain. From November through to May (or August, if next year is anything like last), we’ll be lucky if we get two days in a row when it doesn’t rain at least once. This is a problem for owners of digital cameras, because as with most electronic gadgets, cameras and water don’t mix.
There are some exceptions. Some cameras are waterproof, such as the Pentax W-series or the Olympus mju SW series, while others are at least weatherproof, but the vast majority of digital cameras are best kept out of the rain. This means that for half the year, people living in the wetter areas of the world can’t use their cameras outdoors without the risk of ruining them. Fortunately there are a number of possible options to overcome this difficulty.
December 10th, 2007
Canon Digital IXUS 860 IS | Digital Camera Review | Introduction
LetsGoDigital, NetherlandsÂ
Canon Digital IXUS 860 IS review : Canon decided to introduce their new assortment of digital cameras for the second half of the year in August 2007. A new IXUS was one of the many cameras that got added to the Canon compact camera line; the Canon Digital IXUS 860 IS. There is no stopping the success of the IXUS and Canon know how to continuously and rapidly renew or at least add to the IXUS assortment with improved specifications. The Canon IXUS 860 IS camera is a successor to the IXUS 850 and is more or less a logical upgrade
Canon 860 IS – 3 inch LCD format monitor
The biggest changes compared to its predecessor are obvious in one glance when you take a look at the rear of the camera. The large 3-inch sized monitor covers approx. 70% of the back. The remaining space is used for positioning the few operating elements available on this camera. Although the larger size of the monitor is an advantage for the user, it went at the cost of the optical viewfinder. Compared with their competitors, Canon stuck with the viewfinder a lot longer than other brands. Over the past few years the optical viewfinder got pushed aside more often until nowadays it plays hardly any role at all. The quality of the monitor and its size are the cause of losing the viewfinder.
Canon IXUS 860 IS – 8 Megapixel resolution
Besides offering a larger monitor, the resolution has been increased to 8 Megapixels and some additional settings have been applied. All in all no spectacular improvements but as mentioned before, a logical upgrade in a continuously developing digital camera market. During my EOS Safari trip to Kenya, where I mainly worked with the new EOS 40D and EOS 1Ds Mark III, I was also given the chance to shoot some pictures with the Canon Digital IXUS 860 IS. The compact size and the solid housing make it a good combination to carry along while on the road.
Canon IXUS 860IS digital camera review
Back in the Netherlands the Canon Digital IXUS 860 IS compact camera was in my possession for a while and I was able to test the camera thoroughly. The most striking features of this model are its 3-inch monitor, an optical image stabilizer, the fast DIGIC III processor and face detection, high ISO of 1600 and an extensive range of special preset scenes. There are sufficient interesting specifications to get curious about the camera and to put time into getting acquainted with it. My experiences with this camera can be read in the following Canon Digital IXUS 860 IS review.
December 7th, 2007
Snap up a digital camera
Doncaster Today, UK
THE Doncaster Free Press, the Tesco Superstore on Church View and the Tesco Extra store on Woodfield Plantation, Doncaster, have teamed up to offer three lucky readers the chance to win a brand new digital camera worth £150!
You could be one of three lucky winners who will each receive a Fuji Finepix S5700 digital camera courtesy of Tesco Doncaster. The camera features 7.1 million pixels, a 10x optical zoom lens and approximately 4.8x digital zoom. It’s the ultimate camera for every occasion and perfect for people who always want a camera to hand!
Get into the festive spirit this Christmas and pop down to your local Tesco Store in Doncaster to stock up on sweets and treats for the festive season! And why not treat yourself to a new outfit for that all-important Christmas party!
Both Stores have recently been through a major refresh programme and have new and improved selections of quality food, clothing, home-ware, Tesco Direct desk and lots more! So why not take advantage and grab some great deals all at Tesco low prices and don’t forget to sign up for your Tesco Clubcard and earn points for even more great savings!
For your chance of winning a Fuji Finepix Digital Camera, simply answer the question on the coupon in this week’s Free Press and send your completed entry to: Tesco Competition, Editorial Department, Doncaster Free Press, Sunny Bar, Doncaster, DN1 1NB by no later than first post next Wednesday.
Alternatively click here to e-mail your answer to us at editorial@doncastertoday.co.uk
QUESTION: What is Tesco’s famous slogan?
December 6th, 2007
Hello Kitty digital camera blushes
Popgadget
I don’t know why this Hello Kitty digital camera blushes when the shutter button is pressed, though I suppose the user might blush if she’s over the age of 10. Sanrio Co. just released this new camera with the famous kitty image, with 5-megapixel resolution and handshake correction. The lens is in the center of the red bow, with the strobe right next to it, and Hello Kitty’s image comes up on the screen when the camera is activated.
Priced at 26,040 yen. No word yet on availability in the U.S.
December 5th, 2007
Buying a camera? Here’s help
Rediff, India
December 03, 2007 15:53 IST
With everything that we have taken for granted in life going digital, it’s hardly surprising that the ubiquitous “Kodak Moments” captured by the film cameras of yesteryears are now being replaced rapidly by FaceBook-like pixel-precise photographs taken by digital cameras that are shod with truckloads of features.
If the film camera was a simple elementary affair using the tricks of light and passionate human ingenuity, mainstream consumer digital cameras have a plethora of new features and acronyms like megapixel count, digital zoom, CCD, DPI, USB, Firewire, memory cards etc that is mind-boggling to say the least!
But more importantly what relevance do the above features and acronyms have for the end consumer who wants to shift into the digital domain? A lot. Within a modest budget of sub Rs 10,000, one can get a decently performing digital camera if one knows what to look for. As a prospective new buyer, you need to check on these basic must haves in a digital camera.
Effective pixel count
The effective pixel count is the number of pixels that are actually used when a picture is taken. A few years ago, a digital camera with 6 megapixel (million pixels) would have been high-end professional stuff, but today it is in easy reach. Even mobile phones boast of a 3 megapixel camera these days. For a budget digital camera, anything between 6 and 10 megapixels is good. The more megapixels there are, the larger the prints you can make off the picture. In 99 per cent of usage, that is the sole benefit of a higher megapixel numbers, so don’t get locked in on the megapixel count. At an A3 size image, you cannot tell identical images shot on 5 to 13 megapixel cameras apart.
Optical zoom
Optical zoom involves a zoom lens, just as it would on a traditional camera. A camera with an optical zoom of 3X can actually give you a picture that’s three times closer than the basic, unzoomed image. Digital zoom on the other hand takes a real optical image and “zooms” it by blowing up each pixel. This decreases an image’s clarity and sharpness. The thumb rule is that a bigger zoom range (say 5X) will allow you more latitude.
Movie mode
This is the ability to shoot short movies that are saved in the MPEG format on expandable memory cards. This is a useful feature to have if you want to shoot a short video of your child blowing out the birthday candles and put it on youtube.com. Don’t expect TV quality footage though.
Battery capacity
The flash and the LCD display use a lot of battery power. For this reason most digital cameras need rechargeable batteries. Budget for an extra set of batteries as well. When buying extra rechargeable batteries look for a number suffixed with AMH. The bigger the number, the more powerful that battery is. Aiming for a 2200-2500 AMH battery is a good idea. If your camera uses a proprietary battery format, this option may not be available to you, but those batteries are usually a lot more powerful anyway. Also check the physical size of the charger. No point in a half-pint size camera if the battery charger occupies half your cabin baggage, right?
Ability to address
SD/MMC memory card capacities of more than 2GB are common these days. Usually, today’s crop of digital cameras can support memory cards with capacities of more than 2GB, but don’t forget to verify that. Since prices have fallen down to sub-Rs 3,000 for memory cards with 4GB capacity, cameras should have the ability to use these card’s full capacity. Budget for at least 1GB extra memory.
Let’s take a look at some of the cameras in the market. And remember to check whether the carry case is included in the price or you have to shell out extra cash.
Kodak Easyshare C613 Digital Camera
Price: Rs 7,000
This is a 6 megapixel camera with Kodak-branded 3X optical zoom lens and 2.4″ LCD display. The maximum resolution that this camera can take photographs is at 2848 X 2134 pixel resolution.
Kodak Easyshare M753
Price: Rs 9,000
This is one of the new models and is equipped with a 3X optical zoom lens and 7 megapixel resolution, which allows consumers to print clear, crisp images up to 30″ x 40″ in size.
Sony Cybershot DSC S650
Price: Rs 9,000
This powerful 7.2 megapixel camera delivers stunning digital images. For improved picture quality, clarity and camera response time, Sony’s unique processor decreases shutter lag and improves battery stamina.
Sony Cybershot S700
Price: Rs 9,800
This camera offers 7.2 megapixels, 3X optical zoom lens housed in an elegant metal body and a bright 2.4″ LCD screen. It can capture audio/video clips at a high frame rate of up to 30 frames per second.
Canon Powershot A550 Digital Camera
Price: Rs 9,750
Shod with 7.1 megapixels, 4X optical zoom lens and a two-inch LCD screen, this camera features Canon’s renowned DIGIC II image processor for crisp, vibrant images, responsive performance and low power consumption.
December 4th, 2007
Olympus E-3 Digital SLR Camera
Buy N Shoot, Australia
Olympus Imaging has today announced the new Olympus E-3, which is the flagship of its Digital SLR line and provides the high-precision performance demanded by professional and enthusiastic photographers. It combines speed and weatherproof durability for capturing exceptional images in any situation. Olympus pioneered Full Time Live View and Dust Reduction technologies for digital SLR cameras, leading where others have followed
Now, the new E-3 enhances those technical innovations and raises the performance bar with the fastest autofocus in the world. Body-Integrated Mechanical Image Stabilization to stabilize every lens, a 10-megapixel Live MOS image sensor to capture beautiful images, and a magnesium alloy body for dust-proof and splash-proof durability join the impressive innovations developed for the E-3, including:
* Speed: When coupled with three new ZUIKO DIGITAL Supersonic Wave Driveâ„¢ Lenses (SWD) announced today, like the ED 12-60mm f2.8-4.0 (24-120mm equivalent), the E-3 offers unmatched AF speeds, and the fastest AF speed in the world with that lens. It employs a newly-developed high speed 11-point biaxial cross type AF system, 5 frames-per-second continuous shooting, and 1/8000 second top shutter speed for the quickness required in any shooting situation.
* Superior Image Quality: In-Body Mechanical Image Stabilization with Supersonic Wave Drive technology ensures blur-free images for all lenses attached to the E-3, so now even low-light telephoto shots are clear and sharp when holding the camera in shaky hands. Its 10-megapixel Live MOS Image Sensor delivers high-resolution images for large format print sizes, and TruePic IIIâ„¢ digital processing engine ensures high-speed image processing, accurate color and improved detail with low noise. The camera’s interior components combined with digital-specific lenses offer the edge-to-edge crystal clarity that only 100 percent digital optics can provide.
* Swivel Live View LCD: A dual-axis swivel 2.5-inch Live View LCD covers all the viewing angles from low to high and side to side, to assure accurate composition. Real-time image monitoring of white balance and exposure enables greater creative control of settings to secure the best possible photograph.
* Reliability: The E-3′s large optical viewfinder provides a 100 percent accurate view and its 1.15x magnification makes it one of the largest and most accurate viewfinders for reliable composition. The proven effective built-in Dust Reduction System with the Supersonic Wave Filter eliminates spots from photos. A durable shutter mechanism with the lifespan of 150,000 exposures meets the demands of serious photographers. Also, the E-3′s sealed magnesium alloy chassis is completely splash-proof and dust-proof for use with pro lenses on expeditions to the most extreme environments on the planet.
“Olympus was the first to bring body-integrated Dust Reduction, 100 percent digital-specific lenses and ‘Full Time Live View’ to the digital SLR market,” said John Knaur, senior marketing manager, Digital SLR, Olympus Imaging America Inc. “Olympus continues to innovate by producing cameras of the highest quality with breakthrough technology. The new E-3 will satisfy the pro-level needs of our customers with incredible AF speed, superior image quality due, in part, to In-body Mechanical Image Stabilization that stabilizes all lenses attached to the camera, and a durable body to capture it all.”
World’s Fastest Autofocus
When it comes to measuring camera speed, autofocus is a key factor. If a camera’s AF system does not meet photographers’ demands and lock focus accurately and quickly, they will miss shots regardless of the camera’s shot-to-shot speed or start-up time. The E-3′s new AF system is the world’s fastest in combination with the ZUIKO DIGITAL SWD ED 12-60mm f2.8-4.0 lens, to ensure fast focus for clear, sharp photos. Additionally, every lens attached to the E-3 benefits from faster AF, not just the SWD lenses, so the E-3 can lock focus on a fast-moving subject and capture that once-in-a-lifetime shot.
The secret to the camera’s high-speed focusing is a unique Twin cross type (fully biaxial) 11 point AF sensor, based on proprietary Olympus micro-sensing technologies, that achieves equally effective performance on both the vertical and horizontal axis. With most biaxial sensors, performance on the vertical and horizontal axes is not equal, and there is often a perceived difference in response time when using different lenses. However, unlike systems that respond at nominally lower f-stop values simply by boosting sensitivity, the E-3′s AF sensor features a totally redesigned hounds tooth-pattern phase detection sensor layout that uses micro-lamination technologies to achieve superior real-world performance.
AF accuracy is further ensured by precise alignment of the optical axis from the lens to the AF phase detection sensors, and accurate mounting of the sensors within the AF unit. The AF unit used in the E-3 is made of high-tensile engineering plastic, which is further protected by the camera’s high-rigidity magnesium body. In addition, data from a dedicated temperature sensor is used to compensate for changes in operating temperature.
The 11 AF target points on the E-3 can be selected to work individually or dynamically in combination with adjacent target points. Once a photographer knows the general direction of a moving subject – a Formula One racecar zooming around a track for example – the AF area can be selected based on the anticipated motion to maintain accuracy.
The newly developed Olympus Supersonic Wave Drive (SWD) lenses on the E-3 enable auto focusing at ultra-high speed with precise and quiet operation. Quietness is essential when shooting in a situation where silence is truly golden, such as photographing exotic birds up close in the wild or musicians at a classical music quartet. But this technology truly shines in combination with three new Olympus ZUIKO DIGITAL SWD lenses that employ Supersonic Wave Drive motor technology inside: the ED 12-60mm f2.8-4.0 SWD (24-120mm equivalent); ED 50-200mm f2.8-3.5 SWD (100-400mm equivalent), and the ED 14-35mm f2.0 SWD (28-70mm equivalent). The new ED 50-200mm f2.8-3.5 SWD lens focuses twice as fast as the previous ZUIKO DIGITAL lens with that focal length, and the new ED 14-35mm f2.0 joins the existing 35-100mm f2.0 (70-200mm equivalant) as the brightest lenses in their class. Mechanical focusing is also available for easy and accurate manual focusing by hand.
The E-3 can capture images at the highest image-quality setting at a rate of 5 frames per second. With shutter speeds of up 1/8000 second, it is possible to freeze action when photographing a cheetah in fast pursuit across the plain, or a fastball before it connects with the bat.
Superior Image Quality: Steady As It Goes
To prevent image blur caused by camera shake, which can occur in dim lighting or with longer telephoto lenses, the E-3 employs In-body Mechanical Image Stabilization, which compensates for camera movement up to 5 steps EV and delivers blur-free images taken with any of the ZUIKO DIGITAL lenses available for the camera. Moreover, built-in SWD Image Stabilization offers the advantage of image stabilization for every lens attached to the camera body, so there is no need to purchase image stabilized lenses at a premium price.
At the heart of the built-in image stabilizer unit are the Olympus-exclusive Supersonic Wave Drive motors with excellent responsiveness and control. The motors use information about camera shake gathered by a gyro sensor that detects and analyzes hand vibrations, and move the image sensor with a piezoelectric element.
The E-3′s high-performance Live MOS image sensor delivers excellent dynamic range, accurate color fidelity, and a new state-of-the-art amplifier circuit to eradicate noise and capture fine image details in both highlight and shadow areas.
The camera’s Live MOS image sensor is complemented by Olympus’ TruePic III Image Processor that produces crystal clear photos using all the pixel information for each image to provide the best digital images possible with accurate natural color, true-to-life flesh tones, brilliant blue skies and precise tonal expression in between. TruePic III also lowers image noise in images shot at higher ISO settings, enabling great results in low-light situations.
Swivel Live View LCD: What You See Is What You Get
Olympus Live View empowers users to easily compose their subjects live on the LCD and see precisely how the settings they select impact the image before the shutter is released and the image is captured. By altering settings like white balance and exposure, and visually confirming how these changes affect the final image, this real-time monitoring offers a level of versatility and creative control that cannot be achieved by other digital SLR cameras that only offer an optical viewfinder.
The E-3′s 100 percent accurate swivel Live View HyperCrystalâ„¢ LCD can be rotated freely so photographers can compose with the camera held overhead or down low, enabling them to take shots from angles impossible until now without feeling like a contortionist. Because Live View enables an E-3 photographer to communicate face-to-face with subjects and still have everything in the frame with the camera body out of the way, an encouraging smile or wink of the eye can be used with a shy or nervous subject to get the desired results.
Live View provides an advantage for everyone who enjoys taking extreme close up macro shots, when composing on an optical viewfinder may be awkward, because it provides a magnification of the subject right on the LCD by a factor of 5, 7 or 10 times for sharp, pinpoint focus. The E-3 will also enable photographers to see over barriers because its swiveling LCD panel keeps subjects in view even with the camera held overhead.
The bright 2.5-inch adjustable LCD displays 230,000 pixels in vivid color and includes HyperCrystalâ„¢ technology, which offers many times the contrast of conventional LCD monitors for easier viewing in both preview and playback. It also provides a wide viewing angle of 170 degrees, which ensures images can be composed from even the most obscure angles. The 2.5 inch LCD makes viewing icons and text on the camera’s menu a squint-free process.
Reliability: Built for Adventure
The E-3 employs a large, easy-to-see optical viewfinder with 1.15x magnification and 100 percent accuracy. Photographers can rely on the E-3 to capture exactly what they compose through the optical viewfinder, so they aren’t disappointed when viewing images back at the computer. This optical viewfinder also both reduces eyestrain and makes manual focusing easier.
Olympus’ proven Dust Reduction System produces spot-free photos with the exclusive Supersonic Wave Filterâ„¢. The patented ultrasonic technology physically vibrates to remove dust and other particles from the front of the image sensor, and captures the debris on a special adhesive membrane every time you turn on the camera. It can even remove dust attached by intermolecular force that cannot be removed by physical vibration or by discharging static electricity. These spot-free photos liberate users from hours spent retouching photographs at the computer or sending their cameras back to the manufacturer to remove dust trapped inside.
The E-3 is the ideal combination of strength and mass, and was built with a new casting technology to create a stronger magnesium chassis for greater durability. The camera is also sealed to make it splash-proof and dust-proof, and when used with Pro lenses it is sealed from the elements to perform in the most rugged conditions. Its classic penta-mirror design is portable enough to comfortably shoot with all day, and measures 5.59 inches (142mm) by 4.56 inches (116mm) by 2.93 inches (74.5mm), excluding protrusions, and weighs 28.2 ounces (800 grams) body only. Photographers will experience unparalleled ease of use – from menus that make sense and buttons on the body that are easy to understand and operate for total manual control, to customizable settings for every imaginable situation. Moreover, the camera’s durable shutter mechanism is rated up to 150,000 cycles, so it will withstand heavy day-to-day use.
Accepting both CompactFlash Type I & II, UDMA, Microdrives and xD-Picture Cards, the camera provides a choice of data storage options for enhanced flexibility, and it is possible to transfer image files from one card to the other right inside the camera.
Extending the Power of the E-System with New Accessories
To coincide with the launch of the E-3, Olympus is releasing several new accessories for the E-System. The HLD-4 Power Battery Holder can hold up to two Lithium Ion BLM-1 batteries to extend the performance life of the E-3 and its existing BLM-1 battery. It also enables effortless vertical shooting with its own separate shutter button, two control dials, and dedicated Function and AF target buttons. Like the E-3 body, the battery holder is splash-proof and dust-proof to endure severe climates.
The FL-50R and FL-36R are new wireless electronic flashes designed exclusively for digital photography. Their light emitting and brightness control circuitry achieve uniform illumination in the picture area and high brightness control accuracy. Both flashes have a rotary head that can be rotated in four directions. When these flashes are used in combination with the E-3, which features a commander function incorporated in its built-in flash, wireless multi-flash photography is possible without using an outside commander. The E-3 can control up to three wireless flashing groups independently, and control of multiple flashes is possible even in an environment in which both the FL-50R and FL-36R coexist. In addition, the centralized control/display system makes it possible to enter and check all of the selected items on the E-3′s Super Control Panel LCD. This ensures excellent operability and mobility.
December 3rd, 2007
Ricoh Unveils Caplio RR770 Digital Camera
SDA India Magazine, Singapore
icoh has released the new Ricoh Caplio RR770, a sleek entry level digital compact camera that adds exciting and useful features to its popular Caplio RR750 predecessor.
The Caplio RR770 comes equipped with a 7.16-inch megapixel CC and new crystal-clear 3.0-inch color TFT-LCD monitor that offers easier viewing while capturing images and playback. It also features a 3x optical zoom and 4x digital zoom, for a combined 12x zoom and has the ability to tackle almost any photographic situation with ease. It can also capture videos (320×240 pixels resolution at 30 frames/second).
The Caplio RR770 comes with 32 MB of internal memory giving it the capacity to take many beautiful pictures right out of the box. If additional storage space becomes necessary the Caplio RR770 can be added with an SD Card, a widely used and easily available storage medium.
Having an elegant black body, RR770 works on AA batteries. The digital camera can be hooked up to a computer through a USB cable to transfer photos. It also comes with a software to improve the images and create panoramic images.
This compact camera has been developed for beginners and has all the point-and-shoot freedom. The six scene modes ensure many exciting options for adding a touch of creativity to the digital imagery. In addition, in the mode dial settings of Auto, Program, Portrait, Landscape, Sports, Night Scene as well as Movie mode, you get a wide range of choices and high level of usability.
The Caplio RR770 is the most recent addition to Ricoh’s popular, award-winning range of digital cameras, whose outstanding performance, value for money and stylish designs has won favor with photographers throughout the world.
Bundled with an AV cable, a camera pouch and hand strap, the price and availability of the Ricoh Caplio RR770 digital camera is not yet clear.
December 3rd, 2007
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