Latest Posts

Photoshop CS6 beta – download now!

Posted on March 22, 2012 By David Kilpatrick

LONDON, UK. — March 22, 2012 — Adobe Systems Incorporated (Nasdaq:ADBE) today announced Adobe® Photoshop® CS6 beta, a preview of what’s to come in the next release of the industry standard in digital imaging, is available as a free download from Adobe Labs. Customers can download the beta, try out the experience and provide feedback to the product team. Packed with groundbreaking new innovations, features and incredible performance enhancements, Photoshop CS6 beta is available for the Mac OS and Microsoft® Windows® platforms. The final release is expected in the first half of 2012.

“Photoshop CS6 will be a milestone release that pushes the boundaries of imaging innovation with incredible speed and performance,” said Winston Hendrickson, vice president products, Creative Media Solutions, Adobe. “We couldn’t wait to share this beta of Photoshop CS6 with our customers and are looking forward to hearing from them and seeing the ways they are incorporating the beta into their daily creative workflows.”

New Features in Photoshop CS6 Beta

Photoshop CS6 beta demonstrates Adobe’s focus on huge performance enhancements, imaging magic and creativity tools that offer customers a new experience in digital imaging. Key features include new additions to the Content-Aware tools: Content-Aware Patch allows greater control by letting users select and duplicate an area of an image to fill in or “patch” another, and Content-Aware Move lets users select and magically move an object to a new place in the image.

Customers will experience incredible performance, powered by the new Adobe Mercury Graphics Engine*, enabling near-instant results from popular editing tools including Liquify, Puppet Warp, Transform and Lighting Effects; and a refined, modern interface featuring dark UI options to make images pop. New and re-engineered design tools make creating designs faster and more efficient. Vector layers allow users to apply dashed lines and gradient strokes, searchable layers quickly zero in on any layer, and new type styles let designers swiftly apply type treatments to their designs.

In addition, the Photoshop CS6 beta offers all the features of Adobe Photoshop CS6 and Adobe Photoshop CS6 Extended, such as new 3D editing features and quantitative imaging analysis capabilities. These features will be included in the shipping version of Photoshop CS6 Extended when it becomes available.

Pricing and Availability

The Photoshop CS6 beta is available immediately as a free download in English and Japanese. At installation, users will be required to provide an Adobe ID to complete a one-time login and online product activation. For information on how to install Photoshop CS6 beta, visit www.adobe.com/go/photoshopcs6. Customers can submit feedback via the Photoshop CS6 beta forum. Users can also connect with the Photoshop team via the community-powered site; on Facebook; YouTube; Photoshop.com blog; or via Twitter.

News, Software Reviews

Amazon – possible SanDisk UHS-1 card bargain

Posted on March 21, 2012 By David Kilpatrick

Yesterday we received two SanDisk 30MB/s 16GB SDHC cards from Amazon UK – £15.99 each, a couple of pounds more than regular Class 10 cards like the Transcends we normally use on all current Alpha and NEX models. You must have faster than 15MB/s for cameras such as the A55, A580 or NEX-5n not because of video issues, or even because you want to shoot raw bursts – you need it to be sure that shooting sweep panoramas or 3D panoramas will not a) fail b) corrupt your card and lock you out of shooting in the process.

This is what happened to us when using a SanDisk Ultra 15MB/s card which had been fine for all other work. Fortunately we had a spare card, the corrupted card was removed and its file contents recovered using SanDisk’s free program.

The SanDisk 30MB/s card labelled for ‘HD video’ is of course not limited to video and is ideal for any similar use which includes sweep pans, multishot noise reduction, HDR and 12fps bursts (etc). It is labelled slightly differently:

At £15.99 in the offer linked to here (click the image of card or this link) it’s a very good value fast reliable card from a premium maker. Admittedly, we are now seeing the Transcend brand falling to £12-13 for Class 10 which despite their info saying Class 6 or faster (etc) is the minimum you should aim for with Alpha and NEX current generation models. SEE COMMENTS – Amazon changed this offer a couple of days later to the less desirable 20MB/s but there was still a good price on 32GB 30MB/s.

We ordered two of the 16GBs and what actually arrived the next day was a pair of these:

These cards – 300X, 45MB/s, UHS-1 Class 10 – are not listed for sale under the Extreme branding but can be found as the last generation of Extreme Pro, priced at £43.50. Clearly SanDisk is repositioning the prices and labelling of the card range. So, we were apparently sent the latest version of something they’ve still got on sale for £43.50 but we paid £15.99.

March 24th update: can’t vouch for the vendor, the above were from Amazon themselves, but there’s one seller with the 45MB/s cards genuinely offered at under £20.

It gets more interesting as the real speed demon – the 95MB/s 16GB Extreme Pro which was selling for £80 or so recently – has dropped in price to be BELOW the price of the 45MB/s version which is now marked as having a ‘newer’ version. You can buy the 95MB/s card for only £38.10. We’ve ordered and received one of these, no errors or substitutions.

There is no guarantee that if you order the bargain HD Video 30MB/s card you will get the same switched product as we did with a March 18th order, delivered March 20th, UK. Even if you don’t it is a great price for a card which should guarantee the correct operation of NEX-7, Alpha 77, Alpha 65. The 95MB/s version is one of the fastest SD cards yet made, and will go beyond correct operation to ensure the fastest clearing of the camera’s buffer, fastest image playback or review, and the highest number of consecutive shots when shooting continuous sequences.

Disclaimer: Amazon prices can change on a daily basis, and Amazon USA or other regions may differ.

– DK

Accessories - 3rd party, Cameras (DSLR), HD Video, NEX System

A57 – no GPS

Posted on March 13, 2012 By David Kilpatrick

A57 announced today does what was needed and updates the A55 to have a decent EVF, plus a few bells and whistles. It’s got a 77-style microphone, and also a mic input socket for external mic moved to a better position than the A55. It has full 1080/50p video capability, 12 fps burst mode (with the usual restrictions and more*), a 15-point 3-cross AF sensor like the A65.

This camera is not an A55 body revision – it uses the NP-FM500H battery, the larger size found in the earlier A5xx-series Alphas and the A77/65. This should give it far more shots (well, OK, 550) per charge than the smaller ’50’ size battery used by the NEX and A55/33/35 etc. Sony’s new accessories include an LED video light, HVL-LE1. The rear screen is similar to the 55, reversible to the body (one of the major points missing from the NEX-7, which cries out to be configurable that way but can’t be).

Exposure bracketing remains limited to the inexplicable and disappointing 1/3 or 2/3 (0.7EV) steps and just three frames, so for HDR you are obliged to work manually or use the camera’s JPEG-only function.

*You only get 12fps in the ‘tele-zoom’ mode which is effectively a 2X crop to a mere 4 megapixel image, optimistically interpolated up by Sony in-camera to create a redundantly oversized not quite sharp enough JPEG in ‘tele-zoom’ mode. Otherwise, you get the usual and impressive 8fps regular and 10fps ‘advance priority’ modes, plus a 3fps Lo speed.

But they have dropped GPS, unless someone has managed to miss it out from the specs. Oh well. Not that interested now. Disappointing. Potentially much improved travel camera – one I would prefer to the Alpha 77 for size, weight, and sensor – turned into a family camera with some neat joke functions like automatically cropping portraits and then blowing up the cropped area to 16 megapixels. This uses face recognition, a variation of the tele-zoom kludge, and what could be a very annoying Rule of Thirds composition adjustment – at least it also saves the original file with the face/s placed where you intended. The best thing about features like these is that you can turn then off, the worst thing is that Sony probably think this is more useful than GPS.

Available end of April, and we shall be rushing out to avoid this model and wait for the next bus to arrive. Everyone has been saying – we’d love an A77 or even an A65 with the 16 megapixel sensor. Or we’d love an A55 upgraded with the better viewfinder. So what do Sony deliver? Neither…

Hopefully I should have put ‘yet?’ after that last remark.

– DK

Cameras (DSLR), DK's ramblings, News

The EVF future

Posted on March 12, 2012 By David Kilpatrick

At photokina 2010, Paul Genge from Sony pretty much told me that Sony’s future lay in the EVF (translucent mirror or otherwise, Electronic View Finder) models. He was not able to say anything firm. Since then, I’ve spoken to him on several occasions and he has repeated that Sony left all options open but the EVF design was likely to be the way ahead. What he has not said directly to me is that conventional SLR design – Optical View Finder – was off the roadmap.

EVF does away with the need for the finder to be positioned anywhere near the optical axis. Noses can safely hit thin air not a rear screen. Unless you are left eyed. NEX-7 with ocular surround fitted.

Although Sony did not attend Focus on Imaging 2012, the UK website TechRadar secured an interview statement during Focus week, in which Paul appears to have confirmed without ambiguity that the future was EVF-only, and that the forthcoming full frame successor to the Alpha 900 would be an SLT-EVF design. At the same time, we learn that the 70-200mm SSM G and 70–400mm SSM G lens are to be revised for 2013.

We know, from several sources, that Sony is not currently making all its lenses – even the high end ones – in one facility, or in its own workshops. I believe the 70-400mm SSM G is a contracted-out design and that the 70-300mm SSM G has always been made by a third party lensmaker. This is nothing new; the Minolta 100-400mm APO was patented by Tokina and sold to Minolta as an exclusive (no-one else got the lens) and the same company made some if not all the 100-300mm APO lenses. Using different sources means that various types of coating are appearing; traditional Minolta style – the multi achromatic coating, Carl Zeiss T*, Tamron’s BBAR-derived coatings, some Sony multicoatings of unknown pedigree on Chinese SAM lenses, and a new water and oil resistant coating due to be used for the revised 70-200mm and 70-400mm.

This coating is nearly always combined with weather or splash proof design, and companies which have the ability to apply it include Hoya (Tokina, Kenko, Marumi, Pentax), Olympus, Canon, Nikon, and Sigma. Sigma is very significant as they have installed new coating lines recently and they are going through a bit of a subcontracting boom. Their facilities are all in Japan, they are on high ground and were slightly affected by the earthquake but not by the tsunami. They have a long history of building lenses and cameras for Leica, Carl Zeiss, Panasonic, Olympus, Canon/Kodak and interchangeable lenses for nearly all the major names.

If the high end tele zooms are to be revised, weatherproofing and the new coating will certainly arrive along with a synchronisation of lens appearance and finish. But I’m willing to bet something else is involved. The SSM focus system is only partially suitable for contrast-detect operation. It works, on static subjects, but unless some major advance is made in CD-AF it’s lacking the refinement and speed of the AF found in SEL (native Sony NEX) lenses. I’ve tested the 70-400mm on the LA-EA1 with NEX-7, I can work with the lens comfortably on most subjects and the camera is very good at refusing to take the shot until focus is 100% locked.

All that just to get 2X the magnification – NEX-7 with LA-EA1 and 70-400mm SSM G (an operational kit, if not fast) compared to Tamron 18-200mm NEX lens with the correct type of contrast-detection friendly focus motor and protocols.

What Sony must surely want to do is dispose of the SLT (‘translucent’) pellicle mirror and the Phase Detection AF module. It makes most sense to focus, meter, view and expose from one single sensor. In order to do so, lens focus motors need a slightly different control protocol. SSM lenses are already CD-AF compatible, as are SAM onboard focus motor lenses, but they don’t match the NEX system SEL lenses. Sigma HSM and Tamron USD Alpha mount lenses are not CD-AF compatible and do not work correctly on the LA-EA1 adaptor. Upgrading matters most with tele lenses, and they are also most likely to be used in adverse weather for wildlife, news or sports. So my guess is that the upgrade to these lenses will be comprehensive and that it will look forward to possible Sony Alpha bodies with either no SLT mirror, or a movable SLT mirror and choice between PD-AF and CD-AF.

As for the EVF itself, it’s one stage away from being better than a very good optical finder on balance of qualities. Unlike optical finders, the EVF is not susceptible to user eyesight error (incorrect dioptre correction, combined with eye focusing accommodation) and presents the user with a low resolution but otherwise very accurate view of the image focused on the sensor. It can do this at light levels where optical finders become difficult to use, while also presenting a review of the captured image if desired – ‘shot success’ confirmation.

Differences between the ‘identical’ EVF of the NEX-5n accessory finder FDA-EV1S and the NEX-7 fixed built-in version are mostly down to the difference between the 16 megapixel generation 2 sensor, and the 24 megapixel. Response speed, low light noise, quality of colour and contrast are all influenced more by the two very different sensors. User observations that one is better or worse than the other will nearly always be down to this, and variations in settings between the two cameras compared.

There are things you can do on an EVF, such as magnifying a focus point well away from the centre, which simply can’t be done at all with an optical finder and may not always be convenient to do on a rear screen. The fact that EVFs permit eye-level video shooting, and that video is now a permanent feature of the Alpha class of camera from entry to semiprofessional, makes the EVF design change more inevitable.

Paul Genge had a short exchange of information with me when I was considering selling my Alpha 900 and all my frame Alpha lenses (after starting to use the A77). He said I’d regret selling my good full frame lenses when I replaced my Alpha 900 with a full frame model I would just not believe. His message was ‘you wait – you’ll not regret it’. So, I sold my old Minolta-era full frame lenses and bought myself a brand new 28-75mm f/2.8 SAM, Sony 50mm f/1.4 (replacing Minolta vintage), a 24mm f/2 Carl Zeiss SSM, and a 70-400mm SSM G. I kept the Alpha 900 and a few lenses I like which are unique in their function, such as the Samyang 85mm f/1.4 manual, the Sigma 70mm f/2.8 Macro, the Sigma 12-24mm and an old 16mm f/2.8 full frame fisheye. Instead of getting out of full frame, I re-invested in it.

I’m expecting the Alpha 900 replacement to be either an SLT design like a scaled-up A77 with 36 megapixels, or a second generation hybrid SLT design with a mirror you can raise to use CD-AF or manual live focusing. I’m hoping that it will appear with a new 28-75mm, 24-70mm or better midrange f/2.8 with improved SSM, weatherproofing and new coatings like the 16-50mm f/2.8 DT.

– David Kilpatrick

Cameras (DSLR), DK's ramblings, NEX System

Creep no more! The LensBand.

Posted on March 11, 2012 By David Kilpatrick

Though their website shows a very different way of using this theme park wristband repurposed – the LensBand anti zoom creep device – it just happens to fit many Sony zooms perfectly without stretching it into position to lock barrel to collar.

By fitting the LensBand exactly over the joint between the zoom ring and static lens barrel, you can create a much smoother damped zoom action and prevent the zoom from tromboning when carried, or creeping during long exposures when the camera is angled up or down. This issue is not tackled by stabilisation and very small amounts of zoom creep can affect exposures as short as 1/30th without your realising. You don’t get why the zoom appears to be not so sharp – that’s because you do not realise you, or gravity, have caused a tiny shift in focal length during the exposure.

These silicone rubber bands are not expensive, and they can also be used to provide extra grip on zoom or focusing rings. We chose two colours as the best for Sony Alpha – orange and black! At the end of this article you’ll find a link to our associates at The Photostore (Adrian, for a decade the manager of the Minolta Club) who have both these wonderful rubbery colours in stock.

Here’s Mr Orange fitted to a very first batch 16-80mm CZ zoom which has become slack enough to extend itself when strapdangled. By positioning the band centrally over the seam, leaving the focal lengths just visible and the focusing window clear, the lens is transformed. The zoom action becomes super-smooth and the lens does not shift at all. The elasticity of the LensBand is 100% perfect for this zoom. You can yank it over the back of the zoom ring closer to the camera, at one side, to increase the lock effect but in practice this position works full time. It locks, and prevents creep, and also radically improves the feel of the lens zoom.

As you can see, it also looks pretty funky and matches the orange lens not-a-seal-just-a-decoration bit on the Alpha 55 mount.

But for a Sigma 70-300mm Apo Macro – one of our favourite lenses despite past histories of stripped gears, since no other lens does the same thing in terms of focus range and pure sharpness – the black band looked better. This time, the fit is a little tighter but the band forms a cone shape gripping between zoomring and barrel. It prevents the rather slack zoom of a brand new 70-300mm Siggy from causing havoc. Between 150 and 250mm, this zoom will tend to self-extend if aimed downward (or collapse back when tracking those same old BIFs and airshow targets beloved of dPreview boringphoto posters!).

You can see that this new band collected dust and skinbits instantly – it really doesn’t matter if you have just spent 15 minutes in a bath, the human body sheds a couple of million sensor dust specks every hour and your fingers are a magnet for silicone rubber. Black always looks worse – the orange band stands up to our macro lens photography a bit better.

The band bridges a fatter zoom ring to a narrow diameter lens barrel. This still works. By moving the band just 1mm either way, the tension or damping effect on the zoom can be controlled precisely. This particular lens was improved 200% in feel by fitting the band. It was also made usable on a tripod when aimed down or up.

Well, there it is. Could not really be a simpler concept (we’ve done it with fat rubber bands – one Photoclubalpha member reports using a band found holding together a bunch of broccoli). But these robust, one-size-fits-all-except-tiny-microfourthirds LensBand alternatives are clearly a better choice.

No, they don’t fit the 70-400mm SSM G. For that you need the inner tube of a hobbit bicycle tyre, or perhaps a couple of sand eels knotted together. Or one big one in the fashion of the Worm Orobouros. One day, we’ll tackle that; at the moment, our 70-400mm SSM G is solid enough not to slip. Another really rocksolid lens seems to the 16-105mm Sony SAL zoom, lovely firm action; and the Tamron 18-200mm E for NEX feels like it won’t get loose for years.

You find the LensBand for sale all over the place, but in UK, for orange and black, visit:

www.photostore-uk.com

Adrian Paul also has loads of small accessories and he can get almost ANY Sony Alpha part or product to order – faster than most retailers. He is an authorised Sony Alpha supplier and has 25 years plus in-depth knowledge of the system.

For worldwide orders, B&H in the USA stocks all the colours, even the ugly ones which look nice on Canon lenses!

Accessories - 3rd party, DK's ramblings, Equipment Reviews

Nikon to sell direct to consumer in Europe

Posted on February 28, 2012 By David Kilpatrick

Following the lead of Sony Style – the direct selling mechanism which allows Sony to retail direct to on-line customers – Nikon is to roll out a brand new on-line dealing platform, with a channel for retailers ordering Nikon gear but also a direct shop for consumers.

The company has signed a deal with hybris, a supplier of multichannel vendor software, to install hybris Multichannel Commerce Suite for Nikon Europe (www.europe-nikon.com).

Nikon made the following statements through a press release issued by hybris (www.hybris.com)

Laurent Christen, Head of Direct Sales at Nikon Europe, explained, “This is our first official pan-European-driven direct sales initiative. It’s a strategic tenet of Nikon’s commercial strategy that enables our loyal dealers to purchase Nikon gear online, provides our assortment of imaging products directly to consumers across the Continent, and supports better our nationally based distributors. This is a truly multichannel scheme – not only does it underpin our online B2C and B2B businesses, it also includes sales over the phone and our internal Nikon store which provides merchandising and PoS materials to our multiple European geographies. For a multichannel program on this scale, hybris was the ideal technology partner for us to help facilitate this.”

‘Nikon DealerNet’ provides dealers across Europe with their own personal B2B purchasing solution fully equipped with critical product and personal pricing information in real-time. In addition to the eCommerce solution, ‘Nikon DealerNet’ also offers dealers a new streamlined ordering process and enables them to see and manage orders, track shipments and invoices. The ‘Nikon Store’ is a series of online stores for consumers enabling them to purchase Nikon’s high quality imaging and sport optics equipment directly from the Company. Working in fair alignment with Nikon’s commitment to its business partners, these stores offer a response to consumers seeking direct interaction with the Nikon brand. It provides an additional choice for consumers to order their favorite gear, accessories, software or merchandise products.

Nikon has also confirmed, today, that the company will be at Focus on Imaging and will for the first time concentrate entirely on professional equipment, showcasing the D4 and D800 and new lenses. Focus has previously been seen as a 50/50 consumer and pro show.

News

41Mp compact – from Nokia!

Posted on February 27, 2012 By Richard Kilpatrick

Once, Nokia were the largest camera manufacturer in the world. Pioneering the combined camera and smartphone market with for the time, sophisticated Symbian-based phones with Zeiss lenses. Such a short time ago, relatively, is an epoch in the technology industry and Android, combined with the sales success of Apple’s iPhone, has eroded the early gains made by Nokia and Sony with their camera-focused models. As such, in recent years Nokia has struggled to find a clear identity and sales – losing the iconic Communicator ranges, seemingly sidelining their own Symbian OS, and diversifying to the point where selecting a clear Nokia device can be hard.

This is set to change, with a pioneering new cameraphone. The 808 PureView carries a digital-camera threatening 41Mp sensor.

Continue reading »

Uncategorized

Sony DT 16-50mm f/2.8 SSM

Posted on February 14, 2012 By David Kilpatrick

I’m about to offend myself. I own this lens, and I know how upset owners of brand new lenses get when someone says it’s not perfect. Well, the 16-50mm SSM is far from perfect and if you know how to check out lenses, you’ll agree should you be lucky enough to own one. It’s a compromise. But I love it.

Here’s the problem; this lens has such soft corners and complex distortion at 16mm and f/2.8 that it makes the NEX’s legendarily reviled* 16mm pancake look like a Super Angulon in disguise. It’s got a curved field at 50mm and stopping down does not always bring distant scenes into perfect focus across the frame. It suffers from rampant chromatic aberration which just becomes a dead-sharp fringe on stopping down. *Not by me!

This shot was taken on a preproduction A77 and 16-50mm. I was not supposed ever to show it. But I know there is no fault with the shot, the pre-release gear was just fine. And I really like the minimum focus, at 50mm, at f/2.8!

Yet it also has exceptionally high central sharpness, great colour and contrast, and a lovely quality to its differential focus. That’s the old traditional English-language term for the context in which people over-use the term ‘bokeh’, and deserves to be revived. With f/2.8 to play with across the entire zoom range, you can use differential focus creatively. At medium settings, 24-35mm, the distortion disappears and the sharpness extends corner to corner wide open. You have to set it to 50mm to lose the edge.

More than this, the 16-50mm SSM is a video-tuned lens. Its natural host camera, the Alpha 77, crops the frame considerably when shooting HD video. The soft corners and even most of the distortion don’t get a look in, they are outside the video area. The standard and 3D pan modes of the A77 also crop out the problems. The focus action and silent supersonic motor of the 16-50mm are ideal for A77 video shooting with active AF (if you want it) during takes. The f/2.8 aperture allows the lens to be stopped down to the optimum f/3.5 used for movies and also for high speed (12fps) mode, and have no issues with aperture shifts if the focal length is changed.

The Carl Zeiss 16-80mm, left, is smaller than the Sony 16-50mm SSM.

After testing the lens, I decided to keep my 16-80mm CZ which is now five years old. It’s not just the different quality of image produced by the CZ coatings and design, or the very slighter better close-up ability (you can’t get quite as close but at 80mm the subject scale is a touch bigger on the CZ – the 16-50mm wins at 16mm, where getting two and half inches closer to the subject makes a real difference). The CZ is lighter, takes 62mm filters rather than 72mm, and is considerably smaller with lens hood size adding to the difference. Working in the field, it is a lens which can easily be held in the hand with fingers free to operate the lens-mount release button, hold a rear cap, or even another lens – the usual juggling of two lenses which photographers get used to.

With lens hoods fitted, the overall relative sizes become more obvious. The SSM lens has an attractive metal front ring, a new trademark of higher-end Sony lenses, shared with the 70-400mm G.

The 16-50mm is at the limit of diameter, shape, balance and weight to be safely gripped with another lens in the same hand, even briefly during the process of swapping over. That’s not to say it is cumbersome, just that the 16-80mm is faster and more secure to work with because it’s that little bit smaller and lighter.

Once on the camera, I have to say I like the overall balance created by the 16-50mm. It tends to help the A77 hang lens-down, a position I prefer with the camera under my left arm and the strap over my shoulder. The zoom action is super-smooth and well damped, and also has a lock which operates at 16mm to prevent gravity-fed creep, and keep the action firm in future.

No creepy zooming – thanks to Royal Mail, and their neat Sony-coloured rubber bands which are a perfect fit to go on the CZ 16-80 and make the zoom action super-smooth and stay put!

My CZ is now well used and over-free in action. A rubber band to go over the front end of the zoom ring is the cure! You can get proper broad Alpha-ish orange silicone rubber ones from Lens Band as well as the free orangey-red ones used in the UK to hold our postal deliveries together. My way of using a rubber band is not quite the same as Lens Band’s method, it goes over the flush seam between zoom ring and lens barrel on the 16-80mm and it doesn’t just hold the zoom, it smooths the zoom action.

The zoom lock on the 16-50mm was missed from the 16-80mm… missed by all owners, that is. The 16-50mm has a type of raised moulded marking. Durable? Maybe not. The similar raised ‘P’ on my A77 mode dial is now a ‘D’ having lost its stalk.

The best shots I’ve got from the 16-50mm are as good as the best from the 16-80mm, but I can trust the CZ more in the 35-80mm range. From 35-50mm the SSM becomes increasingly soft and sharpness towards the edges of the frame can be poor. At first I thought this was only at full aperture, but shots at apertures like f/5 and f/7.1 were affected. I compared my own lens with two pre-production Sony samples I had used months earlier; we were told not to release images taken with these. The degree and type of sharpness loss was identical, enough for me to conclude this is a characteristic of the lens and not a coincidental case of rogue lenses.

Major plus points for the 16-50mm include focus accuracy, which is much better than the 16-80mm on most Alpha bodies. The f/2.8 aperture activates higher accuracy sensors, such as the Alpha 700’s central point and the extended range of the 11 cross sensors of the Alpha 77. When used on the Alpha 580 for live view pre-shot AF, or on the NEX models with the original LA-EA1 contrast-detect AF adaptor, both focus speed and accuracy are optimum.

The SSM lens has an AF/MF switch but no on-lens button control. Direct Manual Focus is supported and unlike SAM (conventional in-lens motor) lenses, the supersonic drive is not damaged by moving the focus ring without engaging MF.

Despite the large area of glass, the 16-50mm is no more prone to flare than the 16-80mm. The new Sony coatings used for this lens (water and oil/dirt resistant, very hard, similar to Nikon’s NanoCrystal) do a great job. And, of course, they are part of the final reason I am keeping this objective. It’s weatherproofed to some degree, as is the Alpha 77 body. Reports vary between dowsing with a bucket of water without harm, to reluctant use in slight drizzle. I think I’ll get myself a Sigma EX DG filter for my lens, as these have the same coating now and they are about the best slim-mount UV filters made for optical quality without paying Hoya Pro1 Digital prices.

Also, with the 72mm filter thread, there seems to be less need for a super-slim filter. The CZ lens suffers from very strong mechanical vignetting at both ends of the scale, producing dark corners at 16mm or 80mm alike. At 16mm, depending on the position of the SSS/AS sensor-based stabilisation, a dark corner can be well enough defined to need cloning out or the image cropping. The 16-50mm SSM has no such issues. Not only is optical vignetting well-controlled, the mount does not create any dark corners.

These dark corners are created by adding vignetting and grads in raw processing. The 16-50mm, at 24mm, turns in great shadow to highlight detail without a hint of flare; 1/50th at f/9, ISO 100, hand-held with SSS – mid-January in the Scottish Borders. When I pulled up to shoot this, a car with two camouflage-kitted big Nikon and Canon multi lens ‘serious enthusiast’ shooters pulled in alongside. They were still struggling with tripods, a kissing-gate, a stone wall, lenses and car by the time I’d got the sunray shot (which disappeared in seconds) and left. I just carry my Alpha 77 – but then, I’m not a ‘serious enthusiast’ and my ideal camera would be invisible and with me all the time. I’m a panda – sees shoots and leaves.

Though Sony owners may be reluctant to admit it, the SSS mechanism can decentre the sensor and if the lens coverage is so tight it barely covers the corners of the frame (16-80mm and 16-105mm both guilty) you can get the occasional asymmetric dark corner. I’ve never seen this yet from the 16-50mm. But when I check the 16-80mm against the 16-50mm using the Alpha 900 full frame finder to examine the image circles, if anything the 16-80mm has more apparent clearance round the extremes of APS-C, with a softer gradation. The 16-50mm has a tight exact circle.

I have also checked the way the 16-80mm and 16-50mm focus as you zoom. Though the CZ is not perfectly parfocal. That term describes a zoom which retains exactly the same focus point, as you zoom. Video and TV camera lenses are parfocal, otherwise, the focus might ‘go off’ during a zoom. The CZ is nearly parfocal, just a touch varifocal. That’s the opposite term, and means a zoom which changes the focus as you change focal length. At one time, varifocal lenses were not actually called zooms; they date back to the 1920s, and J H Dallmeyer’s adjustable telephoto lenses. Konica made a famous 35-100mm f/2.8 Varifocal in the 1970s.

Silent focus, silent A77 camera (almost), 16mm and ISO 800 at f/3.2 – with ACR profile correction. Café society, Hawick.

The 16-50mm is either a perfect parfocal zoom, or so close you will never know. It is possible to focus at 16mm, and zoom in to the subject. This can only happen with very accurate focus, and a parfocal zoom. Try it with the 16-80mm CZ and you will see the image go out of focus, not to mention clicks and jumps in brightness changing as the aperture adjusts (that’s because the CZ is a variable maximum aperture lens, f/3.5-4.5). The 16-50mm can zoom during video, in or out, without losing the original focus point and without any brightness change or aperture adjustment.

Now you may understand why I want to keep this lens even though – unlike some enthusiastic new owners – I find that its sharpness across the field is not actually as consistent as the CZ. It is a far better overall match to the Alpha 77 especially for video work. But in January, I chose the CZ in preference for a week abroad, and I would most likely do so again.

The Alpha 77 (and 65) include built-in correction profiles for this lens. They are so effective that when I first saw JPEGs from it, I thought the geometry was perfect. If you intend to use the lens for JPEG and movie shooting, any criticisms can be moderated. The correction profile can not improve sharpness, and it does change the effective focal length slightly so than you don’t get a true 16mm.

This is a straight-on shot of the Adobe chart used (not this way, shot nine times per full frame) for profile creation and it shows how very bendy the 16mm f/2.8 setting is at this range, the target is A2 size. Click image to see full size.

This is the same, but JPEG with the in-camera correction enabled.

This is the same, with the Adobe Lens Profile I have created and sent to Adobe, applied in raw conversion of the first example. Please note that the Adobe profile applies to shots taken at three times this distance or more – these profiles, like the in-camera profile, are never much good at rigorous correction of geometric targets shot a couple of feet from the lens.

For Adobe Camera Raw, I have made a profile for the lens which covers three apertures (f/2.8, f/5.6, f/11) and three focal length settings (16mm, 24mm, 50mm) between all of which ACR will interpolate correction values. Because the extreme corners of the image go so much out of focus when shooting the target (refocusing ruins the profiling process) I don’t think this profile handles chromatic aberration as well as it could. The profiling program needs a sharp image of the RGB colour channels to work out their relative scale, which is how CA is corrected. Applying 150% CA correction, instead of the default 100%, seems to improve the conversion.

Here is an uncorrected real-life shot on the 16-50 and 16mm, 1/125th at f/9, ISO 200 (click image for full size 24 megapixel view, and note the chromatic aberration at the left end of the shot especially).

This is the same raw file processed using the Adobe Lens Profile I have produced for the lens.

You can dowload from here the 16-50mmA77rawAdobeLensProfile, hopefully it will also become available from Adobe’s user-created download area. Unzip the file to extract the .lcp file, and place this in your Application Support/Adobe/CameraRaw/LensProfiles/1.0/Sony directory. You require Photoshop CS5 to use the profile.

So what is my conclusion? I do not agree with some of the over-the-top reviews including one to be found on the Sony store USA site claiming it’s the best zoom of this range and aperture for any system. It is not, you get more than you pay for (much less than a lens of this specification might cost from others) but not an optical miracle. You get a very well designed optical compromise housed in a particularly good mechanical design. I would compare it favourably with Olympus’s waterproof ‘Top Pro’ range fast lenses for 4/3rds. I think it can claim to match Canon’s 17-55mm f/2.8 and Nikon’s similar lens, I’ve used both and the Sony is rather neater. It’s probably a little better than the Pentax/Tokina 16-50mm f/2.8, which it most resembles but definitely is not related to.

It’s different from the CZ 16-80mm, not better or worse; it has a different mix of good qualities and failings. The obvious competitors are Sigma’s 17-50mm f/2.8 OS and the Tamron 17-50mm f/2.8. The Sigma offers Optical Stabilisation. The Tamron is now an older design, replaced by a new VC stabilised version for other mounts, but still issued without stabilisation at about 60% of the price of their VC versions, for Alpha. It is the lowest-cost option in this range.

The Sony Alpha SSM 16-50mm f/2.8 DT lens is supplied with rear cap, 72mm lens cap, and bayonet petal hood. It does not come with a case or pouch. My lens was purchased ‘white boxed’ – that is, split off from an Alpha 77+16-50mm kit by a dealer and priced accordingly. The lens is only available with the A77, or as a separate item; it is not currently offered as a kit option with the Alpha 65 or other models.

– David Kilpatrick

Check the current price from B&H Photo Video – remember, B&H ship worldwide and for the UK buyers, offer a UK service.

Technical Data (Sony information) amended to remove nonsense

Lens Type : Standard Zoom
Focal Length 16-50mm (35mm equivalent 24-75mm)
Lens Mount Type : Sony A-mount, SSM in-lens supersonic motor focusing, electronic coupling
Aperture (Max.) : f/2.8
Aperture (Min.) : f/22
Filter Diameter : 72mm
Lens Groups-Elements : 13 groups, 16 elements
Minimum Focus Distance : 12″ (30cm)
Distance Encoder : Yes
Distance Scale: Yes
Angle of View: 83°-32°
Non-rotating Filter Thread : Yes
Aperture : 7 blades (Circular aperture)
Lens Weight : 20.4 oz (577g)
Maximum Magnification : 0.2x
Dimensions (Approx.) : 3-1/4 x 3-1/2” (81 x 88mm)

Compare the 16-80mm Carl Zeiss technical data:

Lens Type : Standard Zoom
Focal Length 16-80mm (35mm equivalent 24 – 120mm)
Lens Mount Type: Sony A-mount, in-body motor focusing via mechanical drive coupling
Aperture (Max.) : f/3.5 – 4.5
Aperture (Min.) : f/22 – 29
Filter Diameter : 62mm
Lens Groups-Elements : 10 groups, 14 elements
Minimum Focus Distance : 14.4” (36cm)
Aspheric Elements : 2 aspheric
Distance Encoder : Yes
Distance Scale : Yes
Angle of View: 83°-20°
Non-rotating Filter Thread : Yes
Aperture : 7 blades (Circular aperture)
Lens Weight : 15.7 oz (445g)
Magnification : x 0.24
Dimensions (Approx.) : 2 7/8 x 3 3/8” (72 x 83mm)

Equipment Reviews, Lenses - Alpha Mount

Using Adobe Bridge/ACR for ‘film looks’ controlled by your Alpha

Posted on February 5, 2012 By David Kilpatrick

It’s now easy enough to find camera profiles – image looks created by independent photographers, as Adobe and Sony do not provide any – which make a big difference to raw processing using Adobe Camera Raw or Lightroom. There are also many fine adjustments you can make within these programs, able to customise the image output so that it either looks just like an in-camera JPEG of a chosen picture style, or like nothing you can produce in-camera.

Many users wonder, sometimes, why their raw pictures viewed in Adobe Bridge look different from in-camera JPEGs. Sometimes they look identical but then after working for a while and fine-tuning your preferences, you see big differences between the two if you shoot RAW+JPEG. This is in addition to differences which can happen if you set the camera to shoot in sRGB (useful for the JPEG) but your computer to save as AdobeRGB (superior in many ways for raw conversions intended to be printed).

In ACR/Bridge, you can choose as a Preference whether to build fast thumbnails or high quality, and whether to build full screen previews or accept whatever is embedded in the file. If you do not set the preference to build high quality previews and thumbs, what you see in the thumbnails is normally an embedded JPEG which is part of the raw file and an exact match to an in-camera JPEG even if you don’t save one of these. What you see in the larger preview pane will depend on your screen size, the camera, and the type of raw but for nearly all modern DSLRs on laptops the basic quality option will show the embedded JPEG and you will even be able to zoom it without interpreting the raw data.

If, on the other hand, you set your Bridge prefs to large size and high quality previews using a large screen such as an iMac 27″, and you have ACR/PS/CS5/Elements installed, Bridge will access the ACR engine behind the scenes and will render your raw files. It creates a ‘cache’ of full screen size JPEG files (which will eventually use a lot of disk space) which exactly reflect the settings for any given camera/ISO default. You have the choice, in Preferences, between having a single Default for each camera or a different Default for every single ISO increment on each camera. If you set the ISO specific Default, the conversion used to build the preview/thumb will be exactly the settings you have saved for that ISO. See below where I repeat this all again for emphasis.

The 100% and full screen fast forward keystrokes

Bridge/ACR will render the full sized 100% view of the raw using saved default settings if you used the Loupe (a small section only) or the very useful sequence of: press space bar = show the full screen preview; mouse-click with the cursor at any point on this to zoom in to 100%; scroll round using controls/mouse; magnify 200%, 400%, or 800% using scroll-wheel or Apple Magic Mouse finger-touch; return to Bridge browsing using space bar. Be warned that even with a fast machine, Bridge builds the sharpness of your enlarged view (normally 100%) in stages.

What you first see may look a bit soft, wait two seconds and it will get sharper, another two seconds and it will be transformed to pixel-perfect rendering. Never judge a Bridge/ACR 100% or loupe view the instant you access it. Bridge/ACR is clever enough for you to be able to go to the magnified view with one shot, and using your arrow keys move to exactly the same position in your other shots at the same view. You can, by this means, compare sharpness in a set of shots. Once each has rendered for that point in the shot, the cache makes sure you can go back and forth between images faster, they do not need to render again.

But it’s Bridge Camera Raw Preferences which hides the great feature I’m telling you about here – a tip which can enable to you use the lower, manual-only set ISO values of some Alpha cameras like the new 77 to ‘load’ different ‘raw’ films just by changing the ISO setting. Or indeed, other camera makes which have similar ISO control.

Different raw conversions can be made specific to exact ISO settings, so that if you select a given setting, its unique conversion will automatically be used and its effect will be shown in the preview and thumbnail created.

This would be a disaster for Auto ISO – but the Alpha 77 has six different ISO settings between 50 and 160 which are NEVER used by Auto ISO, and can safely be used for my tip here. Also, there’s really not a great deal of difference between the noise, sharpness, and dynamic range of ISO setting with this low range. They are all very good.

ISO-specific default magic

So, I have an Alpha 77 with ISO settings 50, 64, 80, 100, 125, 160 all of which are very low noise and good quality. In Bridge/ACR, I can decide that ISO 50 will be used the Vivid camera profile, strong contrast curve, a certain degree of capture sharpening, a certain black point and so on. I can adjust all this until I think that ISO 50 looks just like Velvia film. Then I save the new default.

Taking a frame set to ISO 64, I can make a default which I think looks like Kodachrome 64 perhaps using the Landscape profile. For 80, I might decide to make a fake infra-red process default with added grain, monochrome conversion and contrast effects. For ISO 100, a default which is standard and looks like a good neutral colour slide. For 125, maybe an FP4 in acutance developer printed on G4 paper mono; for 160, a Portrait profile combined with no sharpening, to imitate Vericolor Type S or Fujicolor 160N.

The examples below do not use different ISOs, I have used one raw file to show the differences, of course!

‘Standard’ – this is the colour, contrast and profile used when Adobe Standard is set as ‘Camera Raw Default’ in Bridge on the Alpha 77. This default includes WB As Shot, Exposure as shot (0), no Recovery, no Fill, Black point 5, Brightness 50, Contrast 25, Clarity/Saturation/Vibrance all at 0, Medium tone curve.

This is the same overall conversion, using a profile called ‘Neutral’ designed to be similar to the camera’s Neutral JPEG setting.

This is a profile called ‘Vivid’, again with no other adjustments.

This is an interesting custom profile called ‘Positive Film’ which clearly has some major adjustments.

This is ‘Standard’ (not the Adobe Standard) but with multiple adjustments saved in the Default – Brightness to 75, Clarity to 25, Saturation and Vibrance both to 20, Strong contrast curve. This Default is a custom one which I prefer for many shots where good saturation and midtone brightness is needed. In fact, many Alpha 77 users advise changing the ACR default Brightness from 50 to 75 permanently as the 50 figure used by Adobe appears to make the images flat and dark.

This custom high contrast ‘red filtered’ mono conversion includes strong lens vignetting added (by moving correction sliders to zero) and a greyscale rendering controlled using the Hue/Saturation/Luminance control tab for colour balance. Blue, Aqua and Purple values have been lowered and Red and Orange values raised to imitate a camera filter on panchromatic film.

If you have not found and installed any third-party profiles, you can instead make detailed adjustments including contrast and saturation for much the same effects.

I am fully aware of the ‘well I can do all this in Photoshop‘ response, the point is that all these and other far more complex processes (including any of the raw conversion Presets found in popular styling packages by Marcus Bell, onOne and others) can be effectively assigned to one chosen ISO setting in the ‘protected from Auto’ range 50-160 on the Alpha 77.

Now, when I open my folder of raw of images in Bridge set to create High Quality thumbs and large previews, they can all get exactly my customised process treatment for the thumbnails depending on the ISO I have set. One image might appear with the b/w process above and the next with colour. I will be able to preselect a different Bridge preview and a different startpoint ACR process just by selecting a different ISO on the camera. I can leave ACR’s default settings in place from 200 and up, so I will never get Auto ISO producing strange differences from one frame to the next due to Bridge/ACR presets. Yes, I did once set some different conversions for specific ISOs in the Auto range and it really messed up by image selection – I found I had increased brightness for 320 but not for 400 (etc) so my exposures seemed to go all over the place when Auto ISO chanced to pick small changes from one shot to the next.

You can apply more NR and sharpening control to ISO 200 to 12800 as needed – and again, this will automatically be applied according to the ISO, to the preview and thumb as well as the opened raw for conversion. But it won’t look odd as the exposure, colour and contrast will remain constant.

Pros and cons

If you want to revert to a standard single process for all ISO settings, you’ll lose the customisation of Bridge/ACR but you can save each setting as a Camera Raw Default process (named) and restore the settings at any time. Or, you can just reserve one careful combo for a single ISO setting such as 80 and only set this when the specific result is wanted, leaving every other setting at factory default.

It only applies to one camera body at a time, you would need to set up the same defaults for every different similar body you use – and not all Alpha bodies offer the useful 1/3rd step ISO increments and low ISO range which make the idea practical. But, this is also an advantage, because if you process files from another camera of the same exact model it will be unaffected unless you set it up. Camera Raw Defaults can be set as specific to each serial numbered body, and each different ISO, so there is never any need for someone else’s raw files to be accidentally altered by your own personal setup.

Profiles

I use a set of Alpha profiles I have assembled from as many sources as possible, but mainly from Maurizio Piraccini’s development for every KM/Sony Alpha camera:

http://www.piraccini.net/2011/02/profili-colore-sony-a900-per-adobe-lr.html

These are also linked to via a Photoclubalpha Forum thread:

http://www.photoclubalpha.com/forum/viewtopic.php?f=6&p=66090#p66090

To read a Forum thread about ‘Deep’ profiles (which is mainly about noise levels, not about the image looks themselves, but includes instructions on how to install all similar profiles) go to:

http://www.photoclubalpha.com/forum/viewtopic.php?f=32&t=5786&p=60905

These threads contain links to profiles provided or sourced by Agorabasta as a forum contributor including some for most makes.

If you have any sources for other sets of created profiles, for any Alpha models, please add a Comment at the end of this post, and provide the link (crediting the source or the author if you have that information).

You read it here first – and you’ll never forget how this can be used. Lightroom offers the same functions and preferences. Other programs may follow suit. Now you can use your manual ISO settings for raw files just the same way you can apply picture styles to in-camera JPEGs, and get the results in ACR/Lightroom – no need to be restricted to Sony Image Data Converter to read tags.

– David Kilpatrick

Cameras (DSLR), DK's ramblings, Photo Techniques

The end of Kodak? Shades of Minolta…

Posted on January 20, 2012 By David Kilpatrick

Having written this piece tonight, I find myself deciding to put it on Photoclubalpha although it’s not Sony or Minolta related. The websites I run for professionals are seen by very few people, this is seen by 40,000 in a decent month. Therefore, you have a truly diverted article (with pictures taken on Sony and Minolta) – David Kilpatrick

————————————–

Those who say ‘Kodak is dead’ are reacting a little prematurely. The US Chapter 11 filing for protection from bankruptcy has no equivalent in Britain, and allows time for revenues to be garnered which can save the core of a corporation rather than leave the corpse.

Kodak’s patent battles are not over. While most companies making digital cameras or smartphones have signed royalty agreements accepting that they needed to use patents legitimately, some including their biggest rival Fuji have resisted.

One possibility is that patents – including a portfolio which will bring in substantial earnings for several years to come – will be sold. If a major disputed patent infringer is the buyer, they become the owners of patents which otherwise put a question mark over their balance sheet. As long as a case is in court, any corporation may see its capital value reduced (with its share price) by the amount of the possible liability.

That could make Fuji, Apple or Samsung potential buyers for Kodak. Who has the money to buy Kodak? American, and therefore likely to get permission and support? Apple…

Kodak’s brand has big value worldwide. Control of corporate identity may be limited to providing tins of yellow and red paint, but it works! Karnak, Egypt ©DK

Unfortunately, it does not work the other way round. Pursuing an action for billions does not necessarily convince the market that this is a hidden asset. So while Kodak has aggressively launched several new patent infringement claims in the last few weeks, they had at best a temporary effect on the company’s value, more than matched by reversals.

However, at a time when all stocks have been artificially depressed and the entire market worth a quarter of what was once its stable value, it becomes very difficult to judge the long-term situation. Kodak has a massive theoretical value as a brand, and nearly 5,000 patents still extant from the digital era (the last quarter-century) though all patents do eventually expire. What does not expire is the backdated royalty claim which can be made against a company proven to have infringed patents over a long period.

That’s why Kodak buying some time in Chapter 11 (accompanied by a $950m loan to keep the business running) is significant. If the corporation can avoid being wound up or taken over for long enough to win a patent case, it may rise again. In January, suits were launched against Samsung, Apple and Fuji claiming patent infringement.

Smartphones and pads now do what the excellent little Kodak Z-series pocket video cameras offered in 2008 when the Zi-6 was launched. Ahead of its time, with YouTube connectivity branding, it doesn’t use all the patents Kodak is now defending – which cover wifi, automatic email and network address image uploading, and related photo sharing concepts. ©DK

Think back twenty years. Honeywell had filed actions against many companies for infringement of their autofocus patents, most settled and added to Honeywell’s revenue stream. Minolta, pioneers of autofocus and makers of the first AF SLR system, allowed the case to go to court instead of settling. Though the Minolta photographic division was to survive 15 more years, the huge award in Honeywell’s favour destroyed their reserves and ultimately was the root of their decline and eventual absorption by Sony. That’s what is at stake with claims like this, the patent owner having the chance to grab a huge chunk of a rival’s assets, capital or future revenues.

Kodak did manage to do things within the digital world, from their 1994 Chinon-based first consumer camera to the demise of the DCS Pro 14 megapixel full-frame Canon and Nikon bodies a little over twenty years later. On the consumer front, they made one of the best bridge cameras – the only one that really matched the Konica Minolta Dimage A2. But the P880 was slow, late, ugly and arrived just when bridge cameras were departing this life.

For partly sentimental reasons, I bought a few Kodak shares in late 2011 when the signs of doom could be seen. Kodak has been worth tens of thousands to me over the last 40 years, helping from my first days as a photographic journalist. It was in Kodak’s London offices we held our editorial meetings in the 1970s, and twenty years later Kodak’s Gold Awards defined the ultimate professional standard. I may win, I may lose on a handful of shares but I have been able to follow their fluctuations daily.

Abandoning the professional

My 40-year ride with Kodak has not been all good. In 1982, I still had a Kodak direct account as a professional photographer and a Kodak rep would call in monthly. From that catalogue we could buy anything from a pack of lens cleaning tissue to a complete 5 x 4″ monorail camera. All kids of studio equipment, darkroom equipment and sundries joined the vital supplies of film, chemicals and paper in the price list. We became customers for such things as Kodatrace graphic arts foil, grey cards and colour targets.

Then Kodak took the first of the great bad decisions; they closed all direct professional photographer accounts. The reasons given in private, by their executives, were that professional photographers were a huge risk – bad and late payers, takers of excessive credit, unreliable and prone to going bankrupt (hmmm…).

I will agree that the 1980s encouraged businesses to hang on each rung of the turnover ladder by their fingertips, with credit costing a fortune in interest rates, and a tax régime which punished the smaller operation. My own business, however well it did, was always struggling to pay tax bills and when you look at the advance cashflow we had to cover, it is no wonder. Our clients in turn struggled to pay us, but we were charging them a sum for one day’s photography which would pay one month’s average wages.

Back then our business was like a salmon fighting upstream through the rapids to the spawning-grounds. Now it’s like a frog sitting on a lilypad and occasionally flicking out a tongue to catch passing flies. Wonder if the same process, quietly, happened to the Big Yellow Box?

The latitude, colour and tonal quality of Fujichrome 50 exploited in the mid-1980s with a reportage shot of a great antique shop in Martin, Lincolnshire, using Hasselblad SWC. ©DK

Kodak passed their business to trade counters and labs, and took the reps off the road. The trade counters and labs promptly offered rival products alongside Kodak. Within months, we had switched entirely to using Fuji reversal film as their E6 Fujichrome – introduced by our new suppliers – had far superior colours to Ektachrome. The difference was great that in 1983 we were able to open a commercial studio in Nottingham city centre, and grab tens of thousands in business from one long-established rival just because our Fujichrome test shots outshone their Kodak output on the lightbox.

Konica offered us a direct account, and did the same for the local minilab which did much of our machine processing and printing. We bought in Konica for our hand printing, and started using Konica colour negative stock. Then we sealed a deal with the local National Trust region to supply the first film counter dispensers for their shops, and the film supplied was Konica. Ilford Limited, Kodak’s old honourable rival, sourced exactly the same Konica stock and rebranded it as new Ilfocolor and Ilfochrome 100.

Where Kodak discontinued materials, Konica wanted to have more. For many years, Icon’s magazines participated in the annual special order to get infrared film made – something we persuaded Konica to do through PHOTOpro (not the US one, or the current UK magazine, they both nicked our 1989 magazine title).

Kodachrome said fare-thee-well in June, 2009, vanquished by digital media. See that DX coding? Minolta and Kodak worked together on that and Minolta had some of the first cameras with automatically set ISO when you loaded the film. Contrary to many statements, Kodachrome was not especially permanent, undeveloped image life was minimal, processing was highly variable and it didn’t scan well… but photographers still loved it. See baby above. ©DK

From the 1980s on, almost every major Kodak decision was a contraction or a withdrawal when seen from the perspective of a UK photographic business. Kodak film manufacture in Britain ended in 2005 when the last equipment from the Annesley film plant was sold off, but long before this so many excellent members of the professional division staff, so many activities and ambitions had been curtailed. The loss of the Kodak Gold Awards was a body-blow. The end of the Kodak Wedding and Portrait Awards, a knockout punch. Ultimately, Kodak gave up autonomous distribution even to the trade; it all goes through a distributor (Photologic) before it reaches a trade counter or lab.

A Kodak Express outlet in Leith Ocean Terminal, just on the day of opening in 2008, with shelves awaiting stock. It’s still going strong. This is the closest I get to seeing Kodak as a business now – and it is, basically, just a very good franchise operation. ©DK

Where once, every respectable pro photographic studio or small photo shop was a direct Kodak customer and talked to Kodak daily, photographers are now two or three steps removed. There is no longer a connection and it’s unlikely there will be again.

Photographers still do buy Kodak materials – photographic and inkjet papers alike – and the public buys Kodak printers for their honest approach to ink costs. Plenty of clever and excellent digital cameras are bought every day, and Kodak Express shops occupy small but good positions in busy shopping malls. User-operated printing systems turn digital snaps into Kodak prints.

Using Kodak media-card digital printing touch screen systems at photokina 2008. These dye-sublimation printers are actually very affordable for store counters, but there’s no film processing, no film sales, no chemical sales and no silver imaging paper involved. ©DK

It is not yet the time to say R.I.P., Kodak but it’s long past the time that the profession said au revoir, Kodak. It does not have to be adieu, yet. Hasta la vista!

DK's ramblings, News

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