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

Fujifilm's i2 software is a money maker for School Pictures International
PRESS RELEASE from Fujifilm UK - Photofinishing Division
Release Date: 7 January 2009

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

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

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

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

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

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

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

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


Ends.

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


Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
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www.ajaxnetphoto.com 2009.
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Future Of F1 In Doubt As Teams Bolt
The simmering feud between the major Formula 1 teams and the sport’s sanctioning body has erupted into a full-blown civil war, with eight of the 10 teams announcing they are leaving at the end of the season to launch their own race series. The Formula One Teams Association has been at odds with the Federation Internationale [...]
Source: feeds.wired.com

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

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

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



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

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



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

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



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

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



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

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



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

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

Other works previously mentioned on this blog include,

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




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





Visitors, users and viewers of the foregoing content may copy and re-use it in other internet content sites on condition the source of all material so used is acknowledged with the attachment of the following.
Copyright; Jonathan Eastland
www.ajaxnetphoto.blogspot.com 2009.
www.ajaxnetphoto.com 2009.
This content may NOT be used in any media made available for commercial resale.
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Pushing the envelope
Panasonic's development of the four-thirds sensor format (17x13mm approx.) continues apace with the DMC -G1 and its HD video endowed sibling, the GH1. Both cameras are fitted with the latest LIVEMos sensor developed by Panasonic in partnership with Olympus Optical Co Ltd.


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

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


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

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

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


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


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

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

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

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

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

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

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

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

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

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

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

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

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

But, some problems remain.

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


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


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

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

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

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


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


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

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

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

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


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

Source: ajaxnetphoto.blogspot.com

New Kodak Z980, Zx1 and Kodak easyshare M380
New introductions from Kodak deliver brilliant images, unique ways to create and easy ways to connect

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

© 2009. KODAK and EASYSHARE are trademarks of Kodak.


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

Source: ajaxnetphoto.blogspot.com

DeLorean’s Life Would Make a Great Movie. Three, Actually
There are few people in the history of the auto industry quite like John Z. DeLorean. He lived large and dreamed big, and his life story reads like the script of a Hollywood movie. Perhaps that’s why there are not one, but three, films about him in the works. DeLorean was a man of action who [...]
Source: feeds.wired.com

New Lumix mount adaptors from Panasonic
Press release: Panasonic

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

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

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


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

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Personalized Plate Earns Chicago Man 170 Tickets
Talk about bad luck. A Chicago man with the license plate “0″ has received 170 tickets because of a snafu by the city. The unusual plate has been in Tom Foddor’s family since 1971, and for most of that time it wasn’t a problem. But the city’s Department of Revenue had his number - literally. About [...]
Source: feeds.wired.com

Compact Companions - Part IV
POTATOES, LAMPBLACK AND TWO TAXI - CABS.

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

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

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

REPRO QUALITY

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


(1) GX200_PIER.

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


(2) GX200_DET_1.

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


(3) GX200_DET_2.

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

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

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


(4) GRD2 VISBY

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


(5) GRD2 DET 1.

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


(6) GRD2 DET 2.

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

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

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

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

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

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

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

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

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


(7) DP1 SD10148 1

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


(8) DP1 DETAIL 2.

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


(9) DP1 DETAIL 1.

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

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

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

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

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


(10) DP1 VENDOME 1.

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


(11) DP1 VENDOME 2.

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

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

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

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

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

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

Now?

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


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www.ajaxnetphoto.blogspot.com 2009.
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