tag:ajaxnetphoto.blog.co.uk,2009-11-13:/Information & news about the Ajax News & Feature Service web site MokoFeed2009-11-13T07:48:01+01:00tag:ajaxnetphoto.blog.co.uk,2006-11-22:/2006/11/22/flat_bed_scanner_fustrations~1359152/ajaxnetphoto2006-11-22T23:49:00+01:002006-11-22T23:49:00+01:00 Digital solutions for film lovers <br>A question I am frequently asked - 'what flat bed scanner do you recommend I should buy?'</p> <p>This is a nightmare of a question and one which is not easily answered without first responding with the question 'what do you know about image post processing and pre-press?', followed, usually in my case, by the whole book preamble on the history of photography. It serves little purpose. Most individuals in my experience of this subject, are impulse buyers who have swallowed the manufacturer carrot and purchase on the basis of product appearance and little understanding of the mechanics or specification. By the time I have gotten to Niepce, listeners are already bored stiff. You know the glazed eye look... <a href="http://ajaxnetphoto.blogspot.com/2006/11/digital-solutions-for-film-lovers-flat.html">more......</a></p> <p>Read the full post at <a href="http://ajaxnetphoto.blogspot.com/2006/11/digital-solutions-for-film-lovers-flat.html"><a href="http://ajaxnetphoto.blogspot.com/2006/11/digital-solutions-for-film-lovers-flat.html">http://ajaxnetphoto.blogspot.com/2006/11/digital-solutions-for-film-lovers-flat.html</a></a></p> <p><a href="http://www.ajaxnetphoto.com/">AjaxNetPhoto</a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/11/22/flat_bed_scanner_fustrations~1359152/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-11-13:/2006/11/13/times_they_are_a_changing~1327092/ajaxnetphoto2006-11-13T22:27:04+01:002006-11-13T22:27:04+01:00 <p> The November/December issue of the NUJ Journalist carries several stories of interest to independent freelance photographers.</p> <p>Ajax has reported in a previous post (<a href="http://ajaxnetphoto.blogspot.com/2006/09/coming-to-wide-screen-near-you-soon.html"><span>6.9.06</span></a>) on the trend by news gathering agencies and newspaper publishers to shift day to day operations from traditional still image production for newsprint to video footage for their multi-media operations, which include, print, internet, and podcasts. The English national, The Daily Telegraph, is one of the heavy-weight papers at the forefront of the move to video content gathering which it says will be well advanced by 2007. The Press Association has been operating a voluntary video footage gathering operation for some time, but it cannot be long before this becomes part of the job description for all photographers. And in the USA, these programmes are already pretty well advanced. <a href="http://ajaxnetphoto.blogspot.com/2006/11/times-they-are-changing.html">more.....</a></p> <p>Read the full post at <a href="http://ajaxnetphoto.blogspot.com/2006/11/times-they-are-changing.html"><a href="http://ajaxnetphoto.blogspot.com/2006/11/times-they-are-changing.html">http://ajaxnetphoto.blogspot.com/2006/11/times-they-are-changing.html</a></a></p> <p><a href="http://www.ajaxnetphoto.com/">AjaxNetPhoto</a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/11/13/times_they_are_a_changing~1327092/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-11-02:/2006/11/02/darkroom_day_dreams~1290039/ajaxnetphoto2006-11-02T22:53:46+01:002006-11-02T22:53:46+01:00 <p>I have had plenty of time since dismantling the darkroom more than a decade back to mull over the pros and cons of its modern technology replacement. </p> <p>They are pretty much as you might imagine; faster turnarounds, the convenience of instantly being able to see what you are doing, improved image archive management (though not necessarIly the same level of archive permanence.), and of course, speed of delivery to the client. This is without mentioning substantial cost savings on film, paper and chemicals and which in my case, are not substituted with ink or dye sub materials. I simply have no need of them. In a purely objective world, the only prints I need are the ones I have already made in a different technological era. </p> <p>But....... </p> <p>.......Read the full posting at <a href="http://ajaxnetphoto.blogspot.com/2006/10/darkroom-day-dreams.html"><a href="http://ajaxnetphoto.blogspot.com/2006/10/darkroom-day-dreams.html">http://ajaxnetphoto.blogspot.com/2006/10/darkroom-day-dreams.html</a></a></p> <p><a href="http://www.ajaxnetphoto.com/">AjaxNetPhoto</a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/11/02/darkroom_day_dreams~1290039/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-10-11:/2006/10/11/archiving_problems~1210535/ajaxnetphoto2006-10-11T18:48:50+02:002006-10-15T19:38:29+02:00 <p>The on going issue of safe image storage.</p> <p>A .pdf prepared from material originally published in Master Digital Photography magazine in 2003 is available as a download on the <a href="http://www.ajaxnetphoto.com/">AjaxNetPhoto.com</a> site.</p> <p> - <a href="http://www.ajaxnetphoto.com/MDP_archive1_2003.pdf">Download PDF.</a>( 2.2MB )</p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/10/11/archiving_problems~1210535/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-10-10:/2006/10/10/rollei_35rf_review~1207459/ajaxnetphoto2006-10-10T20:15:38+02:002006-10-10T20:15:38+02:00 <p>A review of this camera and the f/2.8, 40mm Sonnar HFT lens originally published in Freelance Photographer magazine is now available as a 12 page .pdf with added illustrations. <p> It's available as a .pdf download on the <a href="http://www.ajaxnetphoto.com/">AjaxNetPhoto.com</a> site.</p> <p> - <a href="http://www.ajaxnetphoto.com/Rollei_35RF_review.pdf">Download PDF.</a>( 5.5MB )</p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/10/10/rollei_35rf_review~1207459/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-10-03:/2006/10/03/sales_under_way_of_leica_lenses_for_dslr~1185673/ajaxnetphoto2006-10-03T23:49:55+02:002006-10-03T23:49:55+02:00 <p><span>Panasonic Press Release</span><br><span>Release Date: October 2006</span></p> <p><span>Sales Under Way of the First Two Leica Lenses Designed</span><br><span>Specifically for the Digital SLR Camera</p> <p></span>LEICA D VARIO-ELMARIT 14-50mm/F2.8-3.5 ASPH.<br>LEICA D SUMMILUX 25mm/F1.4 ASPH.</p> <p>Panasonic is pleased to introduce two new interchangeable lenses designed specifically for the DMC-L1 digital SLR camera. Both the LEICA D VARIO-ELMARIT 14-50mm/F2.8-3.5 ASPH. and the LEICA D SUMMILUX 25mm/F1.4 ASPH. comply with the Four Thirds System.<a href="http://www.ajaxnetphoto.blogspot.com/"> more .....</a> <p>Read the full posting at <a href="http://www.ajaxnetphoto.blogspot.com/">www.ajaxnetphoto.blogspot.com</a>.</p> <p><a href="http://www.ajaxnetphoto.com/">AjaxNetPhoto </a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/10/03/sales_under_way_of_leica_lenses_for_dslr~1185673/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-09-17:/2006/09/17/show_stealers~1135646/ajaxnetphoto2006-09-17T22:21:31+02:002006-09-17T22:21:31+02:00 <p><a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=827148"><img src="http://data2.blog.de/media/148/827148_f1a3baafcb_m.jpeg" alt="ROLLEI SHOW" title="ROLLEI SHOW" hspace="5" vspace="5"></a><br>Within a few hours of the official release of news of Leica's M8, the camera was being billed by many as 2006 photokina's show stealer; the digital gizmo which will send the company on a fiscal lunar trajectory. Shareholders will no doubt be wetting themselves in anticipation of this possibility after the recent years of Leica Camera Ag's dire straits experience.</p> <p>There is another company which might have enjoyed a similar success, if only it had re-invented itself in the digital world.<a href="http://www.ajaxnetphoto.blogspot.com/"> more .....</a> <p>Read the full posting at <a href="http://www.ajaxnetphoto.blogspot.com/">www.ajaxnetphoto.blogspot.com</a>.</p> <p><a href="http://www.ajaxnetphoto.com/">AjaxNetPhoto </a> </p> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/09/17/show_stealers~1135646/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-09-14:/2006/09/15/leica_s_new_baby_m8_part~1127176/ajaxnetphoto2006-09-15T00:58:36+02:002006-09-15T00:58:36+02:00 <p>Six-bit lens coding, customised CCD sensor micro lens configuration and camera image processing software combine to produce a high level of image quality delivered by the Leica M8, according to the manufacturer. I have not had an opportunity to test this claim yet, but I have seen cartloads of images shot in real life indoor and outdoor situations (see Briish Journal of Photography next week 20/09/06 issue) using a prototype M8.<a href="http://www.ajaxnetphoto.blogspot.com/">more .....</a> <p>Read the full posting at <a href="http://www.ajaxnetphoto.blogspot.com/">www.ajaxnetphoto.blogspot.com</a>.</p> <p><a href="http://www.ajaxnetphoto.com/">AjaxNetPhoto </a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/09/15/leica_s_new_baby_m8_part~1127176/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-09-14:/2006/09/15/leica_s_new_baby_m8~1127116/ajaxnetphoto2006-09-15T00:05:26+02:002006-09-15T00:05:26+02:00 <p>The new digital capture Leica rangefinder M8 camera is officially announced to-day and will be a main attraction at the Leica Camera AG stand later this month at photokina in Cologne.<a href="http://www.ajaxnetphoto.blogspot.com/">  more .....</a> <p>Read the full posting at <a href="http://www.ajaxnetphoto.blogspot.com/">www.ajaxnetphoto.blogspot.com</a>.</p> <p><a href="http://www.ajaxnetphoto.com/">AjaxNetPhoto </a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/09/15/leica_s_new_baby_m8~1127116/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-09-13:/2006/09/13/epsonr_and_panasonic_recognise_importanc~1123616/ajaxnetphoto2006-09-13T20:52:20+02:002006-09-13T20:52:20+02:00 <p>From a press release dated 11th September 2006.</p> <p>As 16:9 ratio (see previous Ajaxnetphoto post <a href="http://ajaxnetphoto.blogspot.com/2006/09/coming-to-wide-screen-near-you-soon.html">6.9.06</a> 'Coming to a Wide screen near you'.) has become the international standard of HDTV, a new photo culture is emerging, raising the demand for true 16:9 format cameras, printers and photo paper. At the forefront are Epson and Panasonic with new products to meet the needs of photographers who want to shoot, view and print in 16:9 format which brings wider breadth and deeper perspective into the picture. Panasonic has introduced its LUMIX LX2 digital camera to feature a 16:9 CCD sensor and LCD screen. Epson is launching Premium Glossy Photo Paper 16:9 (101.60mm x 180.60mm). It features a smooth, bright white resin-coated layer for a vibrant high-gloss finish and is compatible with a range of Epson printers including the new Epson Stylus Photo R360 and Stylus Photo RX560.</p> <p>As an introductory offer Epson and Panasonic are joining together to provide a trial sample of the new 16:9 Premium Glossy Photo Paper with every purchase of the Panasonic DMC-LX2.<a href="http://www.ajaxnetphoto.blogspot.com/">  more .....</a> <p>Read the full posting at <a href="http://www.ajaxnetphoto.blogspot.com/">www.ajaxnetphoto.blogspot.com</a>.</p> <p><a href="http://www.ajaxnetphoto.com/">AjaxNetPhoto </a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/09/13/epsonr_and_panasonic_recognise_importanc~1123616/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-09-12:/2006/09/12/zeiss_ikon_super_wide~1120378/ajaxnetphoto2006-09-12T20:30:39+02:002006-09-12T20:30:39+02:00 <p>If you've never had the pleasure of shooting with a 6X6cm Hasselblad SWC - Super Wide Camera (now 905CF) - on the street and hand held, the simple joy of using the new Zeiss Ikon SW in the same way may seem odd.</p> <p>Neither camera has a built-in viewfinder or a rangefinder measuring device. The user must estimate the camera to object distance and manually set this on the lens focus ring, using depth-of-field or hyperfocal distance ranges to cover anomalies of the guessing game. However, aside from the advantage of the SWC's larger frame size, that camera's objective is fixed. The SW can be fitted with whatever ZM or Leica M bayonet (as well as screw thread types with appropriate bayonet adapter.) is needed along with accessory slip-in the-hot-shoe viewfinder. It endows this new model with a great deal of versatility. Using wide angle lenses in the focal length range 15mm - 28mm in normal outdoor daylight situations, apertures in the range of f/5.6 - f/8 (or smaller), marginal errors of distance estimating when the desired object is in the 2-4m range will be covered. More accuracy is required for closer objects, especially in low light situations when maximum apertures are the only choices.</p> <p>But this kind of extreme visual liberation is not to everyone's liking.<a href="http://www.ajaxnetphoto.blogspot.com/"> more .....</a> <p>Read the full posting at <a href="http://www.ajaxnetphoto.blogspot.com/">www.ajaxnetphoto.blogspot.com</a>.</p> <p><a href="http://www.ajaxnetphoto.com/">AjaxNetPhoto </a> </p> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/09/12/zeiss_ikon_super_wide~1120378/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-09-10:/2006/09/10/shoebox_mentality~1112844/ajaxnetphoto2006-09-10T12:47:00+02:002006-09-10T12:47:00+02:00 <p>As well as being an active photographer endowed with all the day-to-day logistical nightmares of safely storing and archiving my own work, I have acquired over the years, some large photo collections from other sources. There is no possible way, mathematically, I will ever have enough time to scan and digitally archive it. I don't have enough time to manage my own output. </p> <p>However, come the day I am no longer around to point people who might want to see any of this stuff in the right direction, they will (hopefully) not find access to the material too difficult. It's labelled and stored in a sort of orderly fashion. At least, this is the scenario for 90% of the analogue material, the negatives, prints and transparencies. </p> <p>The same is not true of the digital analogue archives or of the more recently acquired digitally captured material. This is stored on a variety of recordable media, including metal oxide and optical. </p> <p>Assuming all the hardware necessary to access these files is frequently upgraded and the files themselves are frequently transferred to new recording media, anyone so inclined will be able to access the images. </p> <p>A lot of time, far too much in fact, is already devoted to duplicating master CDs, Zip and MO discs and backing up hard drives, but I see nothing looming on the horizon of this year's photokina in the way of hardware or media which is going to make this task less demanding or less frustrating. What happened to Hitachi's 3d recording technology? What happened to Maxell's impending launch a year ago of their new holographic based technology? What happened to the self propogating crystal flourite technology I wrote about almost four years ago that would save archivists from an early death? <a href="http://www.ajaxnetphoto.blogspot.com/">more .....</a> <p>Read the full posting at <a href="http://www.ajaxnetphoto.blogspot.com/">www.ajaxnetphoto.blogspot.com</a>.</p> <p><a href="http://www.ajaxnetphoto.com/">AjaxNetPhoto </a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/09/10/shoebox_mentality~1112844/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-09-09:/2006/09/09/fabulous_folders~1111548/ajaxnetphoto2006-09-09T20:15:41+02:002006-09-09T20:15:41+02:00 <p>In less than a decade, Cosina has launched several classicly styled 35mm film products, doing stuff some would argue, Leica should have done long ago. There is more mileage yet in the format but it would not surprise me to see something distinctly more retro coming from this corner. My experiences with the Super Baldax ( see post - Super Baldax 2.5.06) set me thinking it would not be difficult to modify the basic concept and fit a modern rangefinder viewing system with an integral ttl meter. It would not be the first time in recent years this has been done but I think Mr Kobayashi could probably do it better. I suspect however, that if this idea is on his agenda at all, it will not be the Super Baldax at which he is looking for inspiration but a Zeiss Super Ikonta IV. Pity, the Baldax is more compact. <a href="http://www.ajaxnetphoto.blogspot.com">more .....</a></p> <p>Read the full posting at <a href="http://www.ajaxnetphoto.blogspot.com">www.ajaxnetphoto.blogspot.com</a>.</p> <p><a href="http://www.ajaxnetphoto.com">AjaxNetPhoto </a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/09/09/fabulous_folders~1111548/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-09-08:/2006/09/08/ilford_galerie_fb_digital~1108741/ajaxnetphoto2006-09-08T18:08:23+02:002006-09-08T18:08:23+02:00 <p><strong>From a recently issued press release.</strong></p> <p>Having long established its reputation for the production of market-leading black-and-white photographic paper, ILFORD Photo has now taken the whole genre onto a new level of archival and presentational excellence with the fusion of modern digital technology and true silver gelatine printing. </p> <p>ILFORD Photo has announced the addition of a new paper to its range of specialist black-and-white photo products, which not only represents a major step forward in the production of high quality images, but also utilises the latest advances in digital processing. <a href="http://www.ajaxnetphoto.blogspot.com">more.......</a></p> <p>Read the full posting at <a href="http://www.ajaxnetphoto.blogspot.com">www.ajaxnetphoto.blogspot.com.</a></p> <p><a href="http://www.ajaxnetphoto.com">AjaxNetPhoto</a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/09/08/ilford_galerie_fb_digital~1108741/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-09-07:/2006/09/07/nikon~1106599/ajaxnetphoto2006-09-07T22:54:36+02:002006-09-07T22:54:36+02:00 <p>Yet more speculation surrounds the 'will they won't they' debate fuelling Nikon user demands for a full frame Dslr. Will photokina 2006 become the historic dateline when every Nikon owner has the opportiununity to get well again?<br> <a href="http://www.ajaxnetphoto.blogspot.com">more ........</a></p> <p>Read the full posting at <a href="http://www.ajaxnetphoto.blogspot.com">www.ajaxnetphoto.blogspot.com</a>.</p> <p><a href="http://www.ajaxnetphoto.com">AjaxNetPhoto </a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/09/07/nikon~1106599/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-09-05:/2006/09/05/aesthetics_nostalgia_and_the_new_world_o~1100645/ajaxnetphoto2006-09-05T23:19:19+02:002006-09-05T23:19:19+02:00 <p>I am becoming ever more firmly entrenched in my appreciation of the reproduced digitally captured image lacking a certain aesthetic appeal. What is missing in the digitally captured image isn't easy to describe, but a colleague recently suggested to me that perhaps it can be summed up thus.<br> <a href="http://www.ajaxnetphoto.blogspot.com">more ........</a></p> <p>Read the full posting at <a href="http://www.ajaxnetphoto.blogspot.com">www.ajaxnetphoto.blogspot.com</a>.</p> <p><a href="http://www.ajaxnetphoto.com">AjaxNetPhoto</a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/09/05/aesthetics_nostalgia_and_the_new_world_o~1100645/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-08-29:/2006/08/29/zeiss_ikon_epson_rd1s_and_panasonic_dmc_~1080436/ajaxnetphoto2006-08-29T19:25:31+02:002006-08-29T19:25:31+02:00 <p>Reviews and news of these items as published in F2 Freelance + Digital magazine of April/May 2006 can be downloaded as a .pdf from the <a href="http://www.ajaxnetphoto.com">AjaxNetPhoto.com</a> site at <a href="http://www.ajaxnetphoto.com/Zeis_Ikon_Rev_F2APLMAY06.pdf">www.ajaxnetphoto.com/Zeis_Ikon_Rev_F2APLMAY06.pdf</a><br> (4.3 MB ) </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/08/29/zeiss_ikon_epson_rd1s_and_panasonic_dmc_~1080436/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-08-28:/2006/08/29/introduction_by_stealth~1078057/ajaxnetphoto2006-08-29T00:05:44+02:002006-08-29T00:05:44+02:00 <p>Zeiss recently moved a step closer to securing a firmer position in the 35mm film camera rangefinder market with the Zeiss Ikon brand. The Zeiss Ikon SW has been launched without fanfare. It's an intrigueing decision by the company and will presumeably help to strengthen their belief that film is not dead.</p> <p>Full posting on Zeiss Ikon SW can be found at <a href="http://www.ajaxnetphoto.blogspot.com">www.ajaxnetphoto.blogspot.com.</a></p> <p><a href="http://www.ajaxnetphoto.com">AjaxNetPhoto </a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/08/29/introduction_by_stealth~1078057/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-08-09:/2006/08/09/erich_lessing_exhibition_diary_date~1027023/ajaxnetphoto2006-08-09T21:05:43+02:002006-08-09T21:05:43+02:00 <p>14th Sept - 4th Nov 2006 Leica Gallery New York<br> Full news and information posting about the forthcoming Erich Lessing photography exhibition can be found at <a href="http://www.ajaxnetphoto.blogspot.com">www.ajaxnetphoto.blogspot.com</a>. </p> <p><a href="http://www.ajaxnetphoto.com">AjaxNetPhoto</a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/08/09/erich_lessing_exhibition_diary_date~1027023/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-08-09:/2006/08/09/summary_content_of_future_posts~1026969/ajaxnetphoto2006-08-09T20:53:01+02:002006-08-09T20:53:01+02:00 <p>Future Posts on this Blog will provide summary information only, with full Postings on our alternate Blog site at <a href="http://www.ajaxnetphoto.blogspot.com">www.ajaxnetphoto.blogspot.com</a> </p> <p>Regards</p> <p>Jonathan</p> <p><a href="http://www.ajaxnetphoto.com">AjaxNetPhoto.com</a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/08/09/summary_content_of_future_posts~1026969/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-07-05:/2006/07/05/the_cameras_they_used~935967/ajaxnetphoto2006-07-05T19:35:30+02:002006-07-05T19:35:30+02:00 <p>The book The Great LIFE Photographers published by Thames & Hudson in 2004 with an introduction by John Loengard (ISBN 0-500-54293-7) would, in my opinion, provide a comprehensive introduction into the world of photo reporting, especially for young people and students interested in the history of the craft. </p> <p>The book's six hundred and eight pages showcase short portfolios of the ninety nine LIFE staff photographers who worked for the world's most famous weekly news and current affairs magazine from its launch in 1936 to the end of the last century. Many of the six hundred photos printed in b+w duotone and colour will be familiar to those who knew the mag in its heyday. The pictures are no less powerful for their reshowing in this collection, the Chinese reproduction quality of which is excellent.</p> <p>Each portfolio is accompanied by a short biography and picture of the photographer. Naturally perhaps, almost every one of these portraits shows the shooter with his or her equipment.Having been comprehensively reminded recently of how enthusiasts like to know what equipment great photographers use, I made a quick calculation of the hardware visible in each portrait. Where it could be identified, it is named; where not, it is listed as other or as a format type. </p> <p>Here goes; </p> <p>5X4 inch or other larger than 6X6cm folder type; 18<br>Twin Lens Reflex 6X6cms; 12<br>Nikon Rangefinder S type; 8<br>Nikon F single lens reflex; 17<br>Leica S or M rangefinder; 22<br>Contax rangefinder; 12<br>Other; 22<br>Total; 111</p> <p>There are more than 99 pieces of hardware because some photographers are shown with more than one item. Interestingly 35mm rangefinder cameras top the list with 42 samples, with Leica just tipping the scales over Nikon and Contax.More interesting though is that in many portfolios where the photographer is shown say, holding a Leica, the portfolio pictures were apparently made with a larger format. </p> <p>Today's 35mm type Dslr and Drf cameras may now be capable of producing a very high level of technical image quality, but they are still no match for the image quality obtained from the digital capture backs of medium format cameras and these, in my opinion, still no aesthetic match for the filmed image. </p> <p>No change then in the old adage that a 'big'un' beats a good littl'un.', no matter the capture device.    </p> <p><a href="http://www.ajaxnetphoto.com">AjaxNetPhoto</a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/07/05/the_cameras_they_used~935967/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-06-28:/2006/06/28/the_habit_of_seeing~919559/ajaxnetphoto2006-06-28T23:42:08+02:002006-06-28T23:42:08+02:00 <p>August 1st, 2006 looms large on the horizon. </p> <p>What is the significance of this date? </p> <p>It is the date scheduled by Kodak for the cessation of pre-paid processing for Super 8 Kodachrome cine film stock, announced in a press release in May last year. Users of 16mm Kodachrome, sales of which were discontinued in February this year, have until the end of December 2006 to send exposed stock to Kodak for processing. </p> <p>According to Kim Snyder, general manager and vice president for Image Capture products, Entertainment Imaging at Eastman Kodak Company, 'The rationale to discontinue these specific product lines was entirely driven by marketplace dynamics. In line with the discontinuance, we will also cease to offer processing for those particular films within the year." </p> <p>As a 35mm stills shooter, you may not be at all concerned by any of the above.</p> <p>As a regular user of Kodak's 35mm Kodachrome 64 and 200 film stock, I am however, and I believe that its days are numbered in spite of Kodak's ambiguous work around concerning direct questions from users like myself, as to its future life span. The words ' marketplace dynamics' quoted by K.Snyder above, are key to understanding Kodak's ultimate intent. This film stock, along with other product types, will disappear without sufficient user support; that means buying it now and using it, not thinking about it. </p> <p>However, this is not really what I wanted to write about, although it presents a convenient route into the following dissertation. </p> <p>Before going there however, it may be worth reiterating some previously noted obseravations about Kodachrome. </p> <p>For 35mm shooters with experiences of the rapidly fading colour structures of E-6 type reversal film stock when poorly archived, Kodachrome can provide a solution. Of all colour film stocks whether negative or positive, Kodachrome still has the highest dark storage rating for the maintenance of original brilliance and colour. It may have lost the pole position (to Fuji) in 1990, for the finest grain, but it's unique colour space remains unbeaten in my book, more especially when used in conjunction with Leica objectives. </p> <p><a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=654725"><img src="http://data2.blog.de/media/725/654725_ef625d9af4_m.jpeg" align="" alt="1_tenerife" vspace="5" hspace="5"></a></p> <p>The long term benefits of Kodachrome are numerous, but unfortunately, the down side for many is the length of time it takes for exposed frames to make their way to Renen in Switzerland (for Europeans) and then find their way back to their owner. Allow at least 10 days. This elapsed time can be frustrating and it is understandable why countless shooters turned to other stocks more rapidly and conveniently processed. </p> <p>This convenience factor related specifically to C-41 colour neg and E-6 reversal film stocks has also, I believe, been a driving force in persuading photography enthusiasts to turn to digital capture. The perception, for those who have embraced it, seems to be that there is little significant difference in the aesthetic quality of generic colour spaces offered by digital capture compared to ones inherent in the types of film stocks just mentioned. There may even be an appreciation of digitally captured images having greater clarity, brightness, a smoother tonal range and more saturated colouring when viewed on screen. All of the other perceived conveniences of digital capture also help to outweigh purchase and processing costs of film as well as adding more subliminal benefits. Currently, archiving longevity is not one of them and remains questionable. It's one reason why I still shoot Kodachrome for projects I consider may have a long life. </p> <p>Another reason is this. </p> <p>The habit of seeing is one developed from and through my earliest days of using cameras, from experimenting with the many different formats once commonplace and choosing favourites. In this long process of aesthetic evaluation, one came to see life through the eyes of different lenses; squares or rectangles of very specific size were locked into the subconscious and unlocked when occasion demanded say, a 50mm Summicron or a 10 inch Apo-Lanthar. So second nature is this habit of seeing that often, one is not aware so much, at the time of exposure, of a format having been selected. That process is instinctive, while the conscious side takes charge of motif interpretation; content, composition and lens effect. </p> <p><a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=654728"><img src="http://data2.blog.de/media/728/654728_6c2fd837a0_m.jpeg" align="" alt="2_Concale Jump" vspace="5" hspace="5"></a></p> <p>It may appear, as some correspondents have noted in their mails to me, on the subject of articles I have authored and which have featured in the trade press, that I have 'embraced' digital capture with some enthusiasm. </p> <p>It's true that for some aspects of daily work routines, digital capture provides a more convenient route to meeting client demands than when using silver based technology. There is also the major consideration these days, of the demands of picture buyers. In the past five years, I have noticed an increasing number of missives arriving in the 'wants' box for images 'not originated on film'. The perception amongst younger picture researchers who seem to have had very little experience of looking at transparencies on a light box, is that all film, no matter its size or format, has peculiar and - for them - unsightly pin-prick sized artifacts inherent in its image structure. They are right; it's called grain. </p> <p><a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=654729"><img src="http://data2.blog.de/media/729/654729_49a4b78b09_m.jpeg" align="" alt="3_prop" vspace="5" hspace="5"></a></p> <p>Personally, I like what the effect of grain can add to the aesthetic of a photograph, but again a thorough understanding of how the phenomena works and how it can be used, just like a particualr format size or the characteristics of a special lens, is essential to an appreciation of how the motif might look on the page or in a print. </p> <p>Where I have a particular problem with digital is not so much with image rendition, as with the tool used to make it. Only a couple of 35mm sized Dslrs provide a full 24X36mm frame and I don't use either one. For the rest, users are stuck with a reduced frame size and substantially different effects on the motif from using lenses designed in a pre digital age. Use a modern DX type designed for image circle coverage of an APS-C type sensor and it cannot be used efficiently for full frame. It's as if my whole habit of seeing has been turned on its head; not much that I shoot digitally is the result of the same instinctive aesthetic reaction to the format of choice which has been applied naturally for decades of 'shooting for the frame'.</p> <p><a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=654730"><img src="http://data2.blog.de/media/730/654730_09490f235e_m.jpeg" align="" alt="4_METZ97LEGS" vspace="5" hspace="5"></a></p> <p>In an effort to adjust to and overcome this constraint, I turned to a technique practised in the wire agency news photo business; 'shooting for the crop' helps to resolve format imbalances and the effects of aji and bokeh as seen in the digital APS-C shaped image. This is only partly successful and is due mainly to constraints imposed by the smaller image area of the cut-down viewfinder. It's difficult to subconscioulsy transpose this small image to a hypothetical enlarger baseboard and do the mental crop for a motif in the time usually available for a split second decision, but the process improves with every new assignment. </p> <p>Objectives designed for 35mm rangefinder film cameras place an optical restriction on the development of similar types of camera with digital capture devices. Epson selected an existing off-the-shelf APS-C sized sensor for its RD1 resulting in a 1.5X reduction of the full 35mm frame (see Epson RD-1.pdf); Kodak has developed a special sensor for Leica enabling a more acceptable 1.3X reduction for use in its digital-M camera, but this still will not, in my humble opinion, enable those of us endowed with decades of traditional visual perception to easily change their habit of seeing. </p> <p><a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=654732"><img src="http://data2.blog.de/media/732/654732_010cb894a3_m.jpeg" align="" alt="5_Exeter" vspace="5" hspace="5"></a></p> <p>That digital capture will ultimately replace film seems inevitable when statistics for the photo industry and other forms of digital persuit are analysed. However, while these are the stated aims of some large manufacturers, there will be many customers who will want to continue along the road they know best. That road is lined with hundreds of thousands of individuals with a combined and colossal database of traditional photographic knowledge without peer in the digital world. </p> <p>They know for example, there is no digital capture device yet available matching the simplicity of a Leica rangefinder, no Dslr with a viewfinder as bright and clear as a Leica R, no digital camera of any marque or type without the encumbrance of some operating pitfall; a dead battery, non firing shutter at the critical moment, a flash storage system which inexplicably fails, and not one, yet, in which the sensor is capable of capturing as much well defined micro detail as film.</p> <p><a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=654734"><img src="http://data2.blog.de/media/734/654734_e77a80e33b_m.jpeg" align="" alt="6_CANNES COUPLE" vspace="5" hspace="5"></a></p> <p>This will change of course. Backup systems will improve and yes, it is only a matter of time before sensors exceed the capacity of ordinary film to resolve the finest details. Perhaps camera manufacturers will also get the message that before we all go leaping off the cliff for their new products, the problem of sensor size, viewfinder brightness, area and clarity needs their immediate attention. </p> <p>I don't buy a manufacturers attempts to fob me off with some marketing crap about how convenient large rear screen LCD viewing is. In the field, it may work for landscape artists or natur mort buffs who can spend hours with their digital capture device on a tripod waiting for or arranging the light. I know that when I'm bouncing around on the ocean or in the midst of an event melee, or stalking the streets, only one viewing system works. I need to be able to see the subject clearly, focus accurately first time around and when I release the shutter, know it is going to happen without delay. I don't want to do the mental transposition game that wastes precious split seconds and misses the moment. </p> <p><a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=654735"><img src="http://data2.blog.de/media/735/654735_e72359d50a_m.jpeg" align="" alt="7_Naples" vspace="5" hspace="5"></a></p> <p>My habit of seeing is so ingrained and my awareness of the mechanical and aesthetic pitfalls of digital capture so acute, grasping the opportunity to expose ones favourite film stock on any camera which has come to be a soul mate over the years is a blissful experience; a release from having to endure the grid lock of a technology devised by those who do not know. </p> <p>This essay may be reproduced only in its entirety by any means provided it acknowledges the author and carries the following by-line;<br> The Habit of Seeing by Jonathan Eastland;<br> copyright 2006 Jonathan Eastland<br> <a href="http://www.ajaxnetphoto.com">www.ajaxnetphoto.com</a><br> <a href="http://www.ajaxnetphoto.blogspot.com">www.ajaxnetphoto.blogspot.com</a></p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/06/28/the_habit_of_seeing~919559/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-06-26:/2006/06/26/zeiss_comes_back_with_a_much_loved_class~914127/ajaxnetphoto2006-06-26T22:35:53+02:002006-06-26T22:35:53+02:00 <p>The powerful photojournalist – fast, compact, accurate</p> <p>The C Sonnar T* 1.5/50 ZM lens is the modern technological reincarnation of the classical Sonnar 1.5/50, the fastest standard lens of its time for the Contax II rangefinder camera and now shortly to be available in ZM fit for the Zeiss Ikon and other M mount rangefinder cameras.</p> <p><a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=650149"><img src="http://data2.blog.de/media/149/650149_f68ea84331_m.jpeg" align="" alt="CSonnar_1.5_50_ZM.side.med" vspace="5" hspace="5"></a></p> <p>Technical Specifications<br> Focal length: 50 mm<br> Aperture range: f /1.5 – f/16 (1/3 f-stop)<br> No. of elements/groups: 6/4<br> Focusing range: 0.9 m – infinity<br> Image ratio at close range: 1:15<br> Coverage at close range: 37 x 55 cm<br> Angular field, diag./horiz.: 46°/38°<br> Filter: M 46 x 0.75<br> Weight: 250 g<br> Dimensions: ø 56 mm, length 45 mm</p> <p>The full spec is available from the Zeiss website at this URL</p> <p><a href="http://www.zeiss.com/c12567a8003b58b9/Contents-Frame/efadab346a2cb77dc12571880041b10c"><a href="http://www.zeiss.com/c12567a8003b58b9/Contents-Frame/efadab346a2cb77dc12571880041b10c">http://www.zeiss.com/c12567a8003b58b9/Contents-Frame/efadab346a2cb77dc12571880041b10c</a></a></p> <p><a href="http://www.ajaxnetphoto.com">AjaxNetPhoto</a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/06/26/zeiss_comes_back_with_a_much_loved_class~914127/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-06-23:/2006/06/23/world_s_first_100_million_pixel_ccd~903946/ajaxnetphoto2006-06-23T01:31:45+02:002006-06-23T01:31:45+02:00 <p><strong>DALSA Semiconductor Delivers World’s First 100+ Million Pixel CCD Image Sensor Chip to Semiconductor Technologies Associates (STA)</strong></p> <p><em>Posted 6/19/2006 8:30:00 AM</em></p> <p>STA's 111 megapixel (10560 x 10560) astronomy CCD, fabricated by DALSA Semiconductor, is the first imager to pass the 100 megapixel mark. The sensor's active area (the large square region on the wafer) measures approximately four inches by four inches.<br> <a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=641132"><img src="http://data2.blog.de/media/132/641132_000e8c8b8e_m.jpeg" align="" alt="STA1600_3_1200w" vspace="5" hspace="5"></a></p> <p>DALSA Semiconductor, a division of DALSA Corporation (TSX-DSA), an international high performance semiconductor and electronics company, announced today that it has successfully fabricated and delivered the world’s highest resolution image sensor chip to its customer, Semiconductor Technology Associates (“STA”) of San Juan Capistrano, California. The CCD device, which measures approximately four inches by four inches, has a total resolution of over 111 million pixels (10,560 pixels x 10,560 pixels at 9µm). It is the world’s first imager to break the 100 million pixel barrier. </p> <p>STA developed the record-breaking chip for the Astrometry Department of the U.S. Naval Observatory (“USNO”), funded by the Navy’s Small Business Innovation Research Program. The device will assist USNO in the determination of the positions and motions of stars, solar system objects and the establishment of celestial reference frames. DALSA Semiconductor manufactured the device for STA at its wafer fabrication facility in Bromont, Quebec.</p> <p>"As with past custom image sensor projects, I'm very satisfied with the versatility and capability of DALSA Semiconductor's foundry to collaborate on new process enhancements and to manufacture challenging custom CCD image sensor products such as this," commented STA President, Richard Bredthauer. </p> <p>"I'm very pleased that we were able to deliver, ahead of schedule, this custom CCD image sensor to our long time DALSA foundry customer, STA," added Ralf Brooks, President of DALSA Semiconductor. "Completing this challenging, yet successful, project once again illustrates our strong process technology portfolio and our ability to work closely with our customers to create truly unique products."</p> <p><strong>About DALSA Corporation</strong><br> DALSA is an international high performance semiconductor and electronics company that designs, develops, manufactures, and markets digital imaging products and solutions, in addition to providing semiconductor products and services. DALSA’s core competencies are in specialized integrated circuit and electronics technology, software, and highly engineered semiconductor wafer processing. Products and services include image sensor components; electronic digital cameras; vision processors; image processing software; and semiconductor wafer foundry services for use in MEMS, high-voltage semiconductors, image sensors and mixed-signal CMOS chips. DALSA is listed on the Toronto Stock Exchange under the symbol “DSA”. The Company has its corporate offices in Waterloo, ON and approximately 1000 employees world-wide.</p> <p><strong>About STA Corporation </strong><br> Semiconductor Technology Associates is dedicated to providing the highest quality custom Charge Coupled Devices to the commercial and scientific communities. Our expertise lies in the design, fabrication, packaging and characterization of the finest CCDs available in the world. </p> <p><strong>Note from Jonathan Eastland. </strong></p> <p>DALSA supplied the 22mp CCD sensor for Mamiya's medium format ZD camera, so I asked Patrick Myles, DALSA's Director of Corporate Communications, the following questions. These are shown with his answers below;</p> <p><strong>Q1.JE. </strong>What does this product delivery mean for the the professional and consumer digital still camera industry? Are we likely to see CCD sensors in still cameras with a much higher (than now) megapixel count in the near future?</p> <p><strong>A1. PM.</strong> I'll try to answer it this way. I think we will continue to see pixel counts increase in just about every segment of digital imaging for the foreseeable future (the 111 megapixel chip, which will be used for scientific purposes is certainly no exception). However, other non-resolution performance features, particularly in the digital photography field, are becoming increasingly important. Beyond pixel count users are looking for higher speed of capture (frames per second), greater bit depth (the move from 8 bit to 10 or 12 bit), improved noise performance, lower power consumption (longer battery life in the case of digital still), higher light sensitivity, etc. So, in effect, the future is not only more pixels, but better pixels.</p> <p><strong>Q2. JE.</strong> There has been a long term debate about the quality of digital images versus analog (film) with some observers still noting on tests that current digital sensors of the APS-C format cannot yet match the resolving micro detail capacity of film. What size of pixel on a ccd does the industry have to obtain to equal or exceed film capacity? And what is the smallest size it is currently possible to manufacture economically.</p> <p><strong>A2. PM.</strong> I think the film vs digital debate is pretty much over in consumer and professional photography. We're already there. Over 80% of professional photographers use digital. But interestingly, the strong adoption of digital can only be attributed so much to the quality factor. A greater influence, particularly in pro photography, is the instant feedback and increased turnaround time with digital. No more poloroids, no film processing, and no more film scanning.</p> <p><strong>Q3. JE.</strong> In Dalsa's view, what would be an appropriate CCD size (measured in mp + pixel size) capable of satisfying the most demanding professional stills photographers?</p> <p><strong>A3. PM.</strong> We currently supply the pro market with image sensors that are just less than medium format in size (36mm x 48mm) and have resolutions ranging from 22 megapixel (9µm) to 33 megapixel (7.2µm). With these physical sizes, number of pixels, and pixel sizes, our sensors meet the requirements of most professional digital photographers. Of course, there is always an appetite for more resolution, higher frame rates, and high light sensitivity, etc., and we have a strong product roadmap that will meet the future needs of the pro market.</p> <p><strong>JE. </strong>Thank you Patrick. </p> <p>This item may be downloaded and used for mechanical print reproduction or stored and used as part of electronic content provided this footer stays attached <a href="http://www.ajaxnetphoto.com">www.ajaxnetphoto.com</a><br> <a href="http://www.ajaxnetphoto.blogspot.com">www.ajaxnetphoto.blogspot.com</a></p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/06/23/world_s_first_100_million_pixel_ccd~903946/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-06-20:/2006/06/20/epson_rd1_world_the_book~895599/ajaxnetphoto2006-06-20T01:18:45+02:002006-06-20T01:18:45+02:00 <p>ISBN4-8179-4119-7 Soft back, 128 pages, b+w and full colour illustrations, priced at Yen1900 or thereabouts, text in Japanese with some english language headlines. </p> <p>This large format work was originally published in 2004 to coincide with the launch of the Epson RD1- digital rangefinder camera. The book has an International Standard Book Number, so should be available to order through most good bookshops. For those who prefer, tel 00 + Japan country code + 03-3666-4321 or fax 00 + Japan country code + 03-3666-4322. </p> <p>Even though the bulk of the text is printed in the Japanese language, most of the explanations are easy enough to follow. The book opens with an animated cartoon like amble through some of the better known camera stores in Kyoto and Tokyo, the RD1 featuring as hero - insofar as it can mount just about every screw and Leica-M mount lens known and discovered in these stores. After the next section providing an explanation of different types of image manipulation software available for PCs and Macs, there is a 9 page test report using 13 different 35mm focal length objectives, clearly showing the differences obtained in sample colour pictures. Next comes a 21 page section detailing the dozens of different objectives available to fit the RD1, each of the best performers headlined in red ink. There are also some interesting illustrations in this section for lens enthusiasts, including the hard to find Konica Hexar 21-35mm f/3.4-4. 17 pages are devoted to operating the camera with a detailed explanation of the camera menu options. Another section shows the design development of the RD1 with a breakdown of components. The book wraps up with a 14 page picture portfolio made with different objectives and gives a clear indication of what it is possible to achieve with this camera.</p> <p>Download Jonathan Eastland's reviews of the RD1 published in the Feburary/March 2005 issue of F2 Freelance+Digital magazine from the <a href="http://www.ajaxnetphoto.com">AjaxNetPhoto</a> site at <a href="http://www.ajaxnetphoto.com/R-D1test.pdf">www.ajaxnetphoto.com/R-D1test.pdf</a> and at <a href="http://www.ajaxnetphoto.com/R-D1s_test.pdf">www.ajaxnetphoto.com/R-D1s_test.pdf</a> which details the firmware update features of the new model. </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/06/20/epson_rd1_world_the_book~895599/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-06-19:/2006/06/19/zeiss_distagon_review~894904/ajaxnetphoto2006-06-19T20:10:59+02:002006-06-26T22:25:21+02:00 <p> A review of the new Zeiss Distagon M fit 15mm, f /2.8 ZM is scheduled for publication in the next issue of the BJP on 21st June, 2006. </p> <p><a href="http://www.ajaxnetphot.com">AjaxNetPhoto</a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/06/19/zeiss_distagon_review~894904/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-06-18:/2006/06/18/title~891784/ajaxnetphoto2006-06-18T19:22:28+02:002006-06-18T20:35:38+02:00 <p>This article doesn't tell you how to do it, but calls from a couple of friends anxious to see their work in print in a less ephemeral medium than newsprint, prompted me to dig this out. It's more of an introduction by way of my own experience, to how it can be done and tells part of the story of how some of my <a href="http://www.ajaxnetphoto.com/editions.html">Leica books</a> came to be published. The article originally featured in David Kilpatrick's Freelance Photographer magazine, (now <a href="http://www.f2photo.co.uk">F2 - Freelance+Digital</a>) issue of August-September 2003.<br> The article is available as a pdf download on the <a href="http://www.ajaxnetphoto.com">AjaxNetPhoto</a> site at <a href="http://www.ajaxnetphoto.com/left_on_shelf.pdf">www.ajaxnetphoto.com/left_on_shelf.pdf</a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/06/18/title~891784/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-06-07:/2006/06/07/lumix_l1_review~861740/ajaxnetphoto2006-06-07T23:55:04+02:002006-06-19T18:19:08+02:00 <p><a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=602959"><img src="http://data2.blog.de/media/959/602959_c5ea344c53_m.jpeg" align="" alt="L1_FLAG_451" vspace="5" hspace="5"></a></p> <p>Panasonic say a press release on their new 4/3rds format LUMIX L1 Dslr camera and Leica lens combination will be issued in July. In the meantime, Ajax was recently given exclusive access to a working prototype L1. On an appallingly bad weather May day in central London, several images were captured using the new Leica zoom lens. A full report will be carried in the next issue (June/July 2006) of F2 Freelance + Digital magazine, due for publication at the end of this month (June). A short report on the new Zeiss Nikon-F mount fit 50mm f/1.4 Planar ZF was published recently in the British Journal of Photography (issue 31/05/2006). A review of the new Zeiss Distagon M fit 15mm, f /2.8 ZM is scheduled for publication in the next issue of the BJP on 21st June, 2006. </p> <p>For all friends interested in the future of the Leica-M 35mm rangefinder cameras, we can report a continued healthy and increased demand for all products in the current range. Apparently, interest in these products is not affected by Leica's digital offerings. </p> <p><a href="http://www.ajaxnetphoto.com">AjaxNetPhoto.com</a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/06/07/lumix_l1_review~861740/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-05-25:/2006/05/26/original_f2_mag_rd1_review~829696/ajaxnetphoto2006-05-26T00:12:54+02:002006-05-26T00:12:54+02:00 <p>Read the original F2 Magazine review of the Epson RD1 from Feb/Mar 2005.<br> A link to the review in pdf format is available on the <a href="http://www.ajaxnetphoto.com">AJAX</a> site at <a href="http://www.ajaxnetphoto.com/R-D1test.pdf">www.ajaxnetphoto.com/R-D1test.pdf </a> </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/05/26/original_f2_mag_rd1_review~829696/#comments">Comments</a> </small> </p>tag:ajaxnetphoto.blog.co.uk,2006-05-25:/2006/05/25/epson_rd1_aamp_rd1s~829642/ajaxnetphoto2006-05-25T23:25:56+02:002006-05-25T23:25:56+02:00 <p>We've had a sample of the recently released Epson RD1S on review for a few weeks. The mods are all in the camera firmware with additions such as RAW + JPEG and the added standard RGB colour space. You can read the full report in the British Journal of Photography of 5 April 2006, and the short report contained in F2 Freelance + Digital magazine of April 2006. (<a href="http://www.f2photo.co.uk/">www.f2photo.co.uk</a>).<br> <a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=572887"><img src="http://data1.blog.de/media/887/572887_0b8c6874e8_m.jpeg" align="" alt="EPSON RD1 IN F2 MAG 04_06" vspace="5" hspace="5"></a></p> <p>For the moment, this device is the nearest thing to a Leica digital -M rangefinder, supposedly due to be shown at photokina later this year. </p> <p><a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=572871"><img src="http://data1.blog.de/media/871/572871_39e8539a0e_m.jpeg" align="" alt="RD1_CUTAWAY" vspace="5" hspace="5"></a></p> <p>The question is, will Leica announce two new digital cameras at this show? They are almost certain to display a Leica badged version of the new Panasonic 4/3rds L1 slr camera, which is, according to Panasonic, targeted squarely at 'rangefinder camera users such as Leica -M', and which will come on production shortly.</p> <p><a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=572873"><img src="http://data1.blog.de/media/873/572873_02be004da1_m.jpeg" align="" alt="(C)RD1_STREET_51903_26" vspace="5" hspace="5"></a></p> <p>I recently had an opportunity to try the L1 out. A full report is scheduled to appear in F2 magazine at the end of June 2006, (<a href="http://www.f2photo.co.uk/">www.f2photo.co.uk</a>) but here are some initial impressions. From photographs we posted on this site a while back, the camera looks heavier than it really is. The Leica badged zoom lens is large, but the whole kit fits comfortably in the hand in landscape mode; operation is uncomplicated and intuitive, a bit like the LC1. We still have to examine the image quality obtained from a very quick shoot under inclement conditions; initial reaction is that the colouring is very Venus Engine III tweaked. It doesn't have that warmly embracing subtle feel obtained from the Epson RD1. </p> <p><a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=572874"><img src="http://data1.blog.de/media/874/572874_dccb8f3acc_m.jpeg" align="" alt="(C)RD1S_RGB_62103_13" vspace="5" hspace="5"></a></p> <p>And of course, while the L1 has a certain aesthetic design appeal, it is not a Leica-M.<br> <a href="http://www.blog.co.uk/srv/media/media_item.php?item_ID=572877"><img src="http://data1.blog.de/media/877/572877_31da220df5_m.jpeg" align="" alt="LEICA MP & MP6" vspace="5" hspace="5"></a></p> <p>(<a href="http://www.ajaxnetphoto.com/editions.html">For Leica books see - Ajax Editions.</a>)</p> <p>Visit <a href="http://www.epson.com">www.epson.com</a> for updates on RD1s availability and pricing in the UK. </p> <p> <small> <a href="http://ajaxnetphoto.blog.co.uk/2006/05/25/epson_rd1_aamp_rd1s~829642/#comments">Comments</a> </small> </p>