photo machine

Panasonic Lumix DMC-L1 Conclusion


Panasonic Lumix DMC L1 digital reflexcamera
Panasonic show they are realistic. They know they will not instantly become a market leader. After all, the market will need to get used to them, and Panasonic will in turn have to learn a thing or two about this "new market". This strategy of building things up slowly and unhurriedly is something I can certainly appreciate. It indicates Panasonic intend to take things seriously, and are keen to go for the long-term run. They know the L1 will not be an instant sales hit, but that isn't the concept of this type of product in the first place. Their decision to start off with an almost high-end model is thus a wise choice. The statement is clear: Panasonic have made their entrée, and this is their business card!

Panasonic DMC-L1 - Solid D-SLR camera
There is much to be said about the looks of the Panasonic Lumix DMC-L1. I too am not yet entirely sure whether I find the camera attractive or a little peculiar. Either way, the combination of the camera and the standard lens proves to be an imposing presence. It simply radiates solidity, and we must say that is exactly the impression one gets from holding the camera. Despite the lack of a genuine prism housing, the Panasonic has a rather classic appearance. Both the lens and the shutter speed ring clearly contribute to this. It should be obvious that this camera does not prioritize design; the Panasonic Lumix L1 is all about photography! In fact, it is rather odd to perceive, something I not often encounter with a technical product. It seems as if the photographer and the L1 gradually explore each another, before becoming inseparable partners, remarkable!

Panasonic Lumix L1 - Pleasant operation
The operation of the Panasonic L1 is very pleasant indeed. I am particularly charmed by the ease with which the shutter speed and aperture can be adjusted, and the way you can simply switch back to P. It is similar to working with a classic camera, which is a rather welcome addition in a time where it is often become impossible to decipher the exact meaning or use of certain features or ********s. The Panasonic Lumix L1 is therefore likely to appeal to the more traditional photographer. Perhaps this type of photographer will also be less troubled by the fact that the L1 isn't exactly the fastest available camera. The focussing is without question sufficient, yet far from the fastest as far as DSLR cameras are concerned. Then again, it never hurts to take things easy in this world where everything seems hectic, and in a way it even suits the camera.

Panasonic Lumix DMC-L1 - Live View
Although I had my doubts about the use of Live View, I find Panasonic's approach increasingly appealing. It is the use of Live View when setting the white balance in particular that I consider to be a true gem. It is exactly as one would like it to be. It clearly shows what will happen, and even enables you to capture a decent photo in advance. Everything that has to be done afterwards always takes more time, and sometimes even affects the actual quality, especially when photographing in JPEG. A pity, however, that the histogram cannot be consulted when setting an exposure correction in Live View. That would truly make things perfect.

Panasonic L1 - Various image ratios
Panasonic also make clever use of Live View to enable various image ratios, without having to design a very pricey viewfinder. The fact that a DSLR camera offers you the option to work with three different ratios is both unique and fun. You can quickly capture a widescreen shot, which instantly results in a slightly different photo than usual. Granted, it can also be done afterwards by cropping the image, but it is easier if done at the moment of capturing. Moreover, this will prompt you to really think about how you want your photo to turn out.

Panasonic Lumix L1 SLR - Viewfinder
As far as I'm concerned, the viewfinder of the Panasonic Lumix DMC-L1 is a bit of a downside. It is simply a tad too small, which can make it tricky to see what you're doing. One would consider using Live View even for that alone, had it not been for the fact that the operation will then slow down somewhat. You will need to wait briefly until the focussing has taken place, and the mirror has flipped back, before the mirror flips up again and the shutter can open. Not exactly ideal for action. However, Live View does prove perfect for manual focussing. It is the enlargement in particular that allows you to achieve a very accurate focus. Something that would certainly be trickier to accomplish through that small viewfinder.

Panasonic L1 digitale SLR - Many setting options
In addition to the Live View options, the Panasonic L1 features many more settings. The cover of the user manual reads 'Please read all of these instructions before use". It has to be said it would indeed be wise to do so if you really want to get to know the camera. In fact, you will likely have to read through it several times at least in order to get the best results out of the Panasonic Lumix DMC-L1. Needless to say this isn't a camera for the novice or impatient photographer. One could say it is a camera which you will need to grow into. It offers such a staggering amount of options that finding the summit of your photographic abilities will be an interesting challenge for any photographer. The Panasonic L1 certainly isn't a camera that merely wants to promote the simple AUTO mode. However, I am convinced this approach will know exactly how to stimulate this target group in the right way.

Panasonic L1 digital SLR - Excellent image quality
Once you have gotten acquainted with the camera, the Panasonic L1 will allow you to capture striking, well-balanced shots. The image quality is excellent, even though the sensor remains a tad on the small side. The colour rendition proves a little too saturated, but this can easily be fixed when shooting in RAW. Up to and including ISO 400, noise does not play a part, although it quickly increases with higher values. Fortunately, MEGA O.I.S. enables extensive hand-held shooting, so that you do not easily end up above ISO 400.

Panasonic DMC L1 - Recommended DSLR camera
All in all, I took quite a liking to the Panasonic Lumix DMC-L1. It certainly is a cheeky camera with a number of equally cheeky quirks. If Panasonic manage to deal with these small issues, they will without question have a winner in hands. The challenge that Panasonic face is that they are yet to build their reputation as a DSLR manufacturer. However, the combination of the Panasonic L1 and the superior standard lens provides Panasonic with an impressive business card, which is always a great starting point. We have certainly gotten a taste for more!

Kodak EasyShare V705 Conclusion

Kodak EasyShare V705 Test conclusion
Having a second lens is still an attractive concept. No one else is making such extreme wide-angle in the compact camera segment, so the Kodak EasyShare V705 camera is bound to be popular with landscape photographers. To be honest, I can imagine them having the Kodak V705 as an extra digital camera. When Kodak's first dual lens system camera was introduced, it was met by surprised and positive reactions. People are still positive about the dual lens system, especially when it comes with extreme wide-angle.

Kodak Dual lens system
I still got the feeling that Kodak is only doing things by half, especially if I compare the Kodak EasyShare V705 with its dual lens system predecessors. Apart from the application of this innovative system, Kodak neglected a lot of things. Take ISO quality, especially at 400 ISO and higher. Kodak can't get away with this without attracting some comments. The noise ratio is too much and this means that the Kodak V705 camera performs below average in dusky and evening shots. These conditions come up often, in living rooms or cafes when you are on holiday. An optical image stabilizer would help with this problem, if only there was one. Kodak is forgetting important things and does not seem to have taken criticism of the previous models into account when designing the Kodak EasyShare V705.

Kodak EasyShare colour reproduction
The colour reproduction is good and the Kodak EasyShare V705 camera is no longer exaggerating reproduction. The automatic white balance is not perfect, but a slight adjustment for the sort of light source filters the colour cast out of the picture adequately. The pictures are nice and sharp. The effects of the extreme wide-angle, especially the deviations were captured well by the software in the camera. Corrections are made accurately.

Snap-shot digital compact camera
Another strength is the cameras' simple operation. This is a real plus point and the same as its predecessor. The Kodak EasyShare V705 is not an advanced compact camera for experienced photographers who want to be creative. It's a snap-shoot digital compact camera. The pre-programmed settings give beginners a taste of the endless possibilities offered by digital photography. Although everything is spoon fed, I can imagine that the Kodak V705 can inspire some people to try a more advanced model. The panorama ******** is particularly good. It's a strong trump card for the Kodak EasyShare V705 when combined with the 23 mm wide-angle lens.

Kodak EasyShare V705 review - Verdict
To conclude, I can only say that I had mixed feelings about the Kodak EasyShare V750. I enjoyed using it. The operation is fine and straightforward and the compact format will entice you into carrying the camera around with you. The 23 mm wide-angle lens is also extremely tempting for anyone who is into landscape or architectural photography. I couldn't get rid of the feeling that this camera wasn't quite up to scratch. By this, I don't mean the disappointing ISO quality, but more the lack of progress and improvements to the dual lens concept. The idea is good - it's even daring and innovative, but the competition has not been standing still. The lack of an optical image stabilizer to compensate for the high ISO was a drawback, and that's putting it mildly. What is good, however, is its user friendliness, good picture quality, and extreme wide-angle and panorama shots. It's also a handy camera to have on you. However, I very much doubt if this is enough to enable this camera to keep up with the competition.

Canon PowerShot A640 Conclusion

Canon PowerShot A640 Conclusion
I think that Canon's success with its digital camera range is set to continue thanks to the excellent quality of the Canon PowerShot A640. I really liked this camera when I tried it out. The handy format with good grip, and more importantly, the settings options gave me lots of freedom to take a successful picture. This camera certainly contributes to Canon's continuing success as a camera manufacturer. The Canon A640 is a typical camera from the PowerShot A series and is currently the top model in this camera segment. The ten Megapixel resolution is not really an improvement on its predecessor. It just gives you slightly bigger enlargements, but this is hardly worth the trouble. The 10 Megapixels are more like a logical next step in the Megapixel race. It's up to you whether you want to join it or not. The result is in any case, enough to be able to wallpaper a room with posters or post process a picture yourself to create your own digital masterpiece. What I want to say is that it all doesn't matter so much. The quality of the pixel and way in which the internal image processing achieves its final result is much more important. The Canon A640 manages to do this just fine. The quality of the optical zoom lens is excellent and can match the high resolution.

Canon PowerShot A640 - Points to approve
There are still some things that could be improved upon. Take the noise ratio at 400 ISO and higher ISO settings. They are good for a ten Megapixel camera, but not totally clean. The competition (aka Fujifilm) has shown that they can achieve great results in regard to reducing noise at high ISO settings with the Super CCD sensor. Not only Canon could learn a thing or two from them but most manufacturers should chuck a considerable portion of their research budget in this direction. I also thought that the way in which Canon adjusts the white balance in pictures taken in artificial light went too far. Admitted, you keep more or less the same atmosphere during the picture, but they should have filtered out more. Some other features also lost out to the concept, such as the long time it took the internal flash to recharge (approximately 5 seconds) before the next picture could be taken, but some were just to cut back on costs. Take the rather low resolution of the otherwise very handy fold out screen. With just a bit more resolution, it would have been easier to see in direct sunlight. A small disadvantage was the accuracy of the optical zoom. Enlarging from 35 - 140mm took 7 steps, which sometimes made it difficult to make an accurate composition.

Canon PowerShot A640 Review
The extensive manual and automatic setting options offered by a camera from the PowerShot A-series are a surprise every time. What stood out was the generous zoom range of 4x, the possibility to extend the focal range via an optional converter, the energy efficient character and the speed with which large files can be processed. The Canon PowerShot A640 also has excellent colour reproduction that is more than sharp enough. One thing is clear; when you focus on the good points, you will soon forget all about the down sides. Its predecessor already had a great reputation and the Canon PowerShot A640 is continuing the success story. You could still argue over the lack of certain speed keys for, e.g. ISO, but in this regard, the concept comes very close to its big brother, the Canon PowerShot G7. A visible difference must remain and as far as I'm concerned, Canon has drawn up the right boundaries. The Canon PowerShot A640 is an excellent digital compact camera that can be used by beginners, but which will also give them the opportunity to learn and maybe take the next step to a digital reflex camera. A great camera, really excellent!

Lens lock button is located just below the bayonet dock. Just the other side of bayonet, there is a switch for choosing focusing mode: AF-S (Single Auto Focus), AF-C (Continuous Auto Focus) and MF (Manual Focus). Just above this switch, there is a dedicated RAW button. It can be used to shoot RAW without the need for entering onscreen menus.

On the right side there are e-dials, which can be used for shutter speed and exposure compensation (the ********s of these dials can be customized in various ways).

Above these dials, there is the shutter button, on-off / preview dial and tiny green button. (This tiny button can make offer auto aperture and shutter speed in M mode)

Quta Photo-Machine, c.1904 - 11 

 Quta Camera & Plate Company, New York 

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   Does this marketing slogan sound familiar? Maybe more so than you think. A little over forty years before Edwin Land's landmark announcement of a camera that made "A Finished Picture in 60 Seconds," a new style of camera - the tintype street camera - was rapidly changing how people viewed and accepted photography. For a new breed of itinerant photographers, gallery quality images were not the desired goal. Instead, the objective was to make money by making pictures. The allure and excitement of being handed an image mere moments after the picture was taken, regardless of the image quality, kept people coming back for more.

A secret to the rapid acceptance and success of tintype street photography was the adaptation of "dry" plate technology for tintypes. Unlike the earlier "wet" tintype process, "dry" photography did not require photographers to carry a darkroom. The "dry" process also gave builders the freedom to design smaller cameras that made it easier for photographers get closer to prospective customers.

As the market for inexpensive tintypes exploded, a staggering diversity of tintype camera designs suddenly appeared; black leatherette boxes, cases with drop fronts and bellows, all metal "cannon" shaped apparatus, cameras with internal baths, cameras with external cylindrical shaped baths, simple to elaborate polished wood styles and so on. 

 Quta Model A, c.1906
French polished Spanish mahogany body  

 The rarely seen Quta Photo Machine is a fascinating example of one of the more unusual tintype street camera designs - actually "bizarre" is a better word to describe this ruggedly built little camera that made 2 x 2½-inch images. The earliest reference for the camera is a 1902 U.S. patent (697,624) filed by Herbert E. Hickox of Great Yarmouth, England. The patent illustrates a two-part body design, similar to the pictured camera, but a simpler one-piece body was also offered. It is also believed that the "Popular" Automatic Ferrotype Camera (one-piece body) appearing in Jonathon Fallowfield (England) catalogues was a Quta camera.

Although the actual production run is unknown, advertisements and pamphlets issued by the Quta Camera and Plate Company (New York) date from 1904 to 1907. These references indicate that the camera was primarily marketed and sold as a means to make money. A 1904-05 Gennert catalogue listing states that, "The Quta Photo machine or instantaneous tin-type camera is a thoroughly practical and economical machine for seaside and picnic work. It is extremely simple to operate, and as the finished photos can be delivered as fast as the sittings are made, it is naturally a cash proposition and a money-maker." The reference also mentions that finished images could "readily be sold for 15 to 25 cents each."  

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   Left Quta positioned for making landscape images.

Below Closeup of the German silver tank. The tank has two chambers. One for developing and a second for fixing.  

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 More than one model of the Quta was eventually offered. In a 1906 booklet issued by the Quta Camera and Plate Company, two polished wood cameras were listed. Model A ($40.00) was made of French polished Spanish mahogany with plated brass fittings and equipped with a portrait (petzval formula) lens mounted in an automatic shutter, and a German silver bath. The less expensive Model B ($25.00) was built from polished Honduras mahogany with brass fittings and came with a German silver bath, portrait lens and flap shutter. G. Gennert's 1906-07 catalogue advertised another version of the Model B camera for $30.00. It was a leather-covered black walnut camera with brass fittings that included a German silver tank, and portrait lens mounted in an automatic shutter. A "Quta" Lens Attachment ($6.00) for making four button pictures on one plate was also listed in the catalogues.

Essentially, the two-piece design had a camera in the upper portion the body and storage for a developing bath and spare magazine of plates in the lower part. Unhooking the upper half of the body (camera) allowed it to be rotated to an upright position for "landscape" images.

To operate, a pre-loaded magazine with 36 tintype plates was placed inside a chamber located to one side of the lens. After composing a picture on the amber colored ground glass, a wood panel (with the ground glass) at the rear of the camera was slid sideways. In one smooth action, a fresh tintype was pushed into a recess in the wood panel and positioned behind the lens. The plate was then dropped into a developing bath located in the lower part of the camera by pulling open a metal trap door.

Speed, portability and simplicity were common advertising themes. "If there is one desire more than another which everybody has nowadays, it is the wish to go faster. Railways are increasing the speed of their trains, the steamboat lines are trying to hasten their steamers, and the same tendency is manifest in all other directions. The world is on the rush today. In photography, the "QUTA" is speed's top note." (Source: 1906 pamphlet)

Prospective Quta owners were also enticed by learning that the camera's portable size was ideal "for use at the seaside and other places of public resort, such as Fairs, Summer Resorts, Excursions, Lawn Parties, Exhibitions, Bazaars, etc." As far as operational simplicity; "A child can learn to operate it in two lessons, no previous knowledge whatever of photography being required."

It's unknown if the Quta Photo Machine lived up to the advertising hype. But regardless of its success or failure, this camera and others like it evoked feelings of excitement and anticipation while waiting to see a picture in less than 60 seconds; the same feelings we get today when using a Polaroid or digital camera.