Archive for June, 2009

Pentax Introduces Rugged Optio W80

Friday, June 26th, 2009

Pentax Canada just announced the Option W80, an ultra-compact digital camera featuring 12 megapixels a 5X wide-angle optical zoom (28-140mm equivalent).  This latest addition to the W-series of waterproof camera can be submerged down to 5m (15′) for up to two hours. In addition to beingaterproof, this digital camera is dustproof, coldproof and shockproof performance to falls from a height of 1m (3′). The Optio W80 should be available in July 2009 for a retail price of $379 CDN.

The W80 can also record 720p HD video, making it one of only three water-proof cameras to record HD video. Its exceptional non-protruding lens can take macros as close as 1cm from the lens, making it the closest-focusing waterproof camera, which is ideal for underwater macro-photography. The lens is protected by a specially formulated coating that repels water and grease, to keep it easily clean. Another trick up its sleave is automatic stitching of 2 images, called Digital Wide function by Pentax, to obtain a combined 21mm-equivalent angle of view. A number of new, optional special-purpose accessory are available with the W80, inclusing a floating wrist-strap to keep the camera floating and protector-jacket to shield the camera from scratches.

Compact Micro Four-Thirds – Olympus E-P1

Monday, June 22nd, 2009

Olympus is presently launching their first Micro Four-Thirds camera. Depending on which part of the world you are in, they either have launched the product already or will launch it soon. Thanks to Internet access, you probably heard about the E-P1 already from Olympus or another news source. One day events like the launching of a new camera will have a single worldwide date for all to enjoy at once!

The new E-P1 is more about launching a new class of camera than about megapixels and frame-rates. The Olympus E-P1 is primarily a compact camera with interchangeable lenses and a sensor comparable in size to that of a DSLR. Actually, exactly the same size when compared to DSLR cameras from Olympus and Panasonic. One can argue about how this is not as high quality as a larger sensor, such as those used by  - well – everyone else in the DSLR market, but this is not important. The E-P1 brings unprecendented image quality for a camera that small. The compromise, when compared to most DSLRs, is the lack of a viewfinder and reliance on live-preview and having to hold the camera at arm’s length. It also lacks a built-in flash. This not only keeps the camera compact but lets Olympus publish far better battery-life number using the CIPA standard since using the flash every other shot is not required.

As the primary complaint of DSLR cameras is their size and the primary complaint of compact cameras is their image quality, we expect the Olympus E-P1 to be very well received and quite a hot item as soon as it becomes available later this summer. As a Micro Four-Thirds camera, the E-P1 can use one of the relatively small lenses launched with it by Olympus, like the 14-42mm F3.5-5.6 and 17mm F2.8, or it can use – via an adapter – any of the excellent and some unique Four-Thirds lenses already available. The great thing is that Olympus produces several bright lenses such as the 14-35 F2 and 35-100 F2 zooms which give an extra-stop compared to similar offerings from other manufacturers. The Olympus E-P1 also features built-in stabilization to the advantage of all lenses.

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MS ICE – Easy Panoramas

Monday, June 8th, 2009

Panoramas can be stunning. Their wide, or possibly tall, perspective allow to frame differently and provide an expansive view. There are two approaches to producing panoramas with a digital camera: cropping or stitching. Cropping is absolutely easy but limits the maximum angle-of-view to a single lens’ view and reduces the final image resolution. Stitching involves composing a final panoramic image from multiple digital photographs using specialized or general purpose imaging software.

Specialized software used to be rather tedious to use, until Autostitch was introduced. There are now many other automatic stitching programs, several built on the same technology as Autostitch. The output of Autostich can be excellent but mileage varies depending on the circumstance and technique used. Images taken at incremental angles with a good overlap from a level tripod are best. Recently Microsoft introduced ICE, the Image Composite Editor, which functions similarly to Autostitch.

Using MS ICE begins by dropping a number of images onto the user interface. Then, only a few parameters can be controlled using a clearly laid out interface. ICE provides reasonable defaults for most scenarios, so dropping images followed by clicking on Export works. There are two things which ICE does particularly well: It is quite memory efficient, thus running out of memory much less often than Autostitch; and it allows the panorama center and tilt to be defined. This saved the panorama below which was taken at a slant because it was too dark to see the tripod’s bubble level. Yes, I should have brought a flashlight!

Bonsecour Market Panorama

Stitching is a computationally expensive operation, so even ICE keeps most computers busy for a while but it seems to segment its images well enough to limit the total amount of memory needed. Output option include a scaling factor and choice of image formats: JPEG, TIFF, Adobe Photoshop (PSD), HD View Tileset, Deep Zoom Tileset, Windows Bitmap, PNG, HD Photo Image. Even having worked for years in digital imaging, there are a number of formats supported which I have never seen. Needless to say JPEG, PNG and TIFF are the safest and most compatible option. For web-use though, stay with JPG and PNG.

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Calibrate Your Display, Not Your Video Card!

Tuesday, June 2nd, 2009

Sadly, not much information can be found about this important subject. It truly deserves a long discussion but – until somone writes up something longer – you will have to settle for this blog post!

Color-calibration is important to see accurate image colors and to best visualise photographs. Often, we get comments from people who notice that their images have different colors on different monitors. This happens because monitors are not all capable of showing the same colors and because not all monitors show the same color for the same input – even for the colors which they can display. The former problem is determined by the color gamut of a display, while the latter is controlled by color-calibration, or lack thereof.

The simple solution is to tell people to calibrate their monitors. So, a lot of users search the net and find ways to calibrate their video cards! Unfortuntaly, these are not equivalent, although most online articles refer to both as Display Calibration. The difference is subtle but quite important for users of LCD displays. For those lucky enough to still use a high-quality CRT, it is much less important.

Calibration works by translating the color-value of each image-pixel into the color-value used to display it on the monitor so that it appears as its intended color or so. Given an sRGB image and a perfect sRGB display, the translation should not change any values. However, since displays are generally not perfect, some translation is often necesary. Image pixels are represented as tripplets of numbers, one for each of the red (R), green (G) and blue (B) additive color primaries. In most cases, these numbers are 8-bit values running from 0 to 255. All but two current LCD displays only accept 8-bit values as well. This is a limitation of the DVI-D connection which carries in its protocol at most 8-bits per color-component. Analog signals used by CRT monitors do not have this limitation and neither does the new DisplayPort connector, which supports up to 16-bits-per-component, but only if the display can accept it.

The difference between calibrating a display and a video card comes from these numbers. Since almost every LCD on the planet can only accept 8 bits-per-component, calibration of the video card can only send 8-bit values to the display. This gives rise to precision problems since a translation from 8-bits-per-component to 8-bits-per-component has to create gaps and overlaps in its output. For example, say the red component is 1/4 too bright, red image values 7 and 8 will be both transalted to 6 for the display. Such precision problems will appear as banding on the display. The opposite – posterization – is also possible when the translation does not use all possible display values.

Display calibration avoids this problem to a large extent by doing higher-precision translation after the signal is sent to the display. In this case, image pixel color-values are sent unchanged from the computer to the display. All 8-bits-per-components are used, so banding and posterization are not introduced in the signal. Instead, the display translates from the 8-bits-per-component signal to a 10, 12 or 14-bit precision using an internal calibration table. To set this table one must calibrate the display and not the video-card. This requires a calibration device which plugs into the monitor directly and usually model-specific software to control it.

The catch is that not all monitors are capable of doing this. It used to be the case that only expensive high-end monitors had this ability but this is no longer the case. The cheapest calibratable LCD available now retails for $499 USD or $585 CDN. That would be the NEC Multisync P221W which has 10-bit internal tables.