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Rangefinder
Magazine Digital Photography: by John Rettie I’ve been trying out several new cameras and reading reviews on numerous web sites in the past few weeks. I’m rapidly coming to the conclusion that we’ve reached a plateau in image quality. Don’t misunderstand—I don’t believe we’ve reached the ultimate level of image quality by any stretch of the imagination. I think that is still some ways off.
What I’m finding is that each new prosumer digital camera only delivers an incremental improvement in quality. What I’m hearing more and more is people saying that a 6-megapixel image capture device provides enough resolution for the majority of photographers and that the properties and size of the pixel count more than the number of pixels. Although I haven’t yet tried any of the 8-megapixel consumer cameras, none of them have garnered rave reviews from those who have experienced them. I believe in the next few years we’ll see an improvement in the features on cameras, and perhaps more importantly, an attention to the quality of the lens, which is becoming a critical element in image quality. Kind of ironic, as it has always been lenses that have been more important than bodies in terms of image quality. Another area where more improvements will be made is in ergonomics and the operation of a camera. We’re going to see faster operating cameras—maybe even entry-level models will be as fast as the Canon EOS-1D Mark II and Nikon D2H. We’ll definitely have better LCD screens—they are already appearing on Kodak consumer cameras. We’ll see increasingly more image capture devices delivering different looks—akin to different types of film. If we’re lucky, we might even see pro cameras getting smaller and lighter—but please not too small or too light! It’s my belief that what is really going to revolutionize the way we take photos are new features and capabilities that are totally different from what we’re used to. Features that will require “out of the box” thinking on the part of photographers. How about a viewfinder that is placed in a small overhead display located in a pair of glasses with the image being seen by the camera projected directly into the user’s eye by low-powered laser beams? Imagine being able to hold the camera anywhere and seeing precisely what the image is going to look like before and after capture. Oh, and of course camera information and histograms can easily be overlaid on the display as well. A dream? No. It’ll be here sooner than you think. Honda has started deploying a working system using a head up display module called Nomad, made by Microvision. It allows a technician to see diagrams and tech information about a car displayed right into his eyes so he or she does not have to look away to view a computer screen or read a manual. Initial tests show that the time required to perform a range of maintenance tasks can be lowered by up to 40 percent. It’s the commercial development of head up displays that have been used in the military for some time. According to a Microvision media release, Canon has been working since last year with various prototypes to develop displays using the same system for video and still digital cameras. Just think how great it would be to have a wireless remote viewfinder on your camera. Okay studio and video photographers already have the ability using a computer monitor, but a display right on the retina of your eye is something totally different in terms of practicality. We’ve already heard about companies developing image capture devices where each pixel can be independently “controlled” allowing for different “exposures” in different parts of an image. Once an imaging device such as this appears, it’ll allow us to get perfect exposures in almost all situations, however bad the lighting is. Ironically, aside from the head up display for cameras, Microvision is working on a digital camera that captures images one pixel at a time. Imagine, if you will, that instead of all 14 million pixels on a Kodak Pro SLR capturing information simultaneously, each one were to capture light individually, one at a time. There would have to be 14 million individual exposures performed at an incredible speed in order to produce a usable image. Microvision has prototype cameras that project a laser beam onto an object and capture the information for each pixel in a 40-billionth of a second. Consequently, it can take 30 pictures in one second with a resolution equivalent to a computer screen. Initial applications will be for medical use such as endoscopies. But don’t discount the possibility that this development could lead to laser beams replacing flash lighting in the future. Think outside the box—there’s a possibility some scientist or engineer somewhere may already be working on the idea for your future camera. Enough of the future. Back to reality.
Sony LCD Monitor The bad news is that prices have not been dropping nearly as fast as predicted. In fact, they have become stuck at the same level for over a year, and there are no signs of any imminent price drops. There’s no doubt that up until last year Apple’s range of Cinema Display LCD monitors were the best on the scene. However, other companies have caught up, and there are several on the market that deliver stunning displays. Rumors have been around for months that Apple would up the ante again with new monitors, but at the time of writing this article, none were on the horizon. For the past month I have been using one of Sony’s newest LCD monitors, the SDM-S204. It is a 20-inch model with a 1600x1200 resolution, which compares favorably with the 1680x1050 resolution of Apple’s 20-inch Cinema Display. What’s more the Sony is priced at $1199, making it a hundred bucks less expensive. Personally, I like the thin black edge trim on the Sony more than the wide frame surrounding the Apple display. From a Mac user’s point of view the one shortcoming on the Sony is the lack of the versatile ADC port, which is unique to modern Macs. However the Sony does have two regular analog ports and a digital DVI cable, so with the right adaptors it’s still possible to run two monitors off a graphics card such as the ATI Radeon 9000 Pro. From a PC user’s point of view, the Sony lacks versatility, as it cannot be turned 90 degrees for portrait usage. However, it can be removed from its base and wall mounted as all the cables in the rear come down flat with the back of the monitor. As far as performance goes, the quality is good. It’s not as good as the much more expensive Eizo monitor I tried a few months ago (Eizo ColorEdge CG21 LCD, reviewed in Rangefinder, Feb. 2004), and it does not seem as good as the Apple Cinema Display, although I could not view them side by side. At first I found the display too bright even though I adjusted it using the calibration method built in to Apple’s operating system. Fortunately, I recently received a Monaco Optix monitor calibrator for review, and as soon as I calibrated the monitor, it provided a much more pleasing image that I am happy with. I’d add the Sony SDM-S204 LCD monitor to my short list of LCD monitor suitable for photographic use.
Monaco
Optix XR Monitor Calibrator There’s certainly no excuse with the Monaco Optix XR calibrator. It costs just $299 to buy the calibrator and software, and it works on a Mac or PC and can be used on a dual monitor setup. Once I had created a profile for the LCD screen, it made me aware how inaccurate the colors were on my second monitor, which is a Hitachi 19-inch CRT monitor I purchased several years ago.
Creating a profile is easy and takes only a few minutes. The colorimeter hangs over the top of the monitor and does not require suction cups so it can be used on fragile LCD monitors as well as CRT monitors. The software guides the user through adjusting the monitor for maximum and minimum brightness, and then it reads various shades of gray and different colors to create a specific and unique profile. Like all color management systems, one is advised to run a check regularly, and it will do just that with a pop-up warning that can be set by the operator. I’ve got mine set to remind me every 14 days. In addition to creating profiles for the monitor, one can also get EZcolor software for creating profiles of scanners and printers. Monaco DC color will create profiles for digital cameras. I plan to try that in the near future and I’ll report on my findings.
Quick Book Review: Photographers know this only too well as we’ve been tackling the subject for years when making color prints the old fashioned way. What better to have a book on color management for the digital photographer written by a photographer who understands both subjects? Tim Grey has written a comprehensive book (Color Confidence, published by Sybex, 254 pages, $44.99) on the subject. He covers all aspects of color management—from theory through controlling color in a camera, on a scanner, monitor through to output on a printer. He explains, in an easy-to-read format, how to manage the workflow and create profiles to help produce color-accurate images for final output from the web to printed books. He also explains how to correct problems with poor print quality without messing up the image on a monitor. John Rettie is a photojournalist who resides in Santa Barbara, CA. He has been using a camera as a professional for 34 years, a computer for 24 years, and has combined his knowledge of both for the past 11 years. Readers can contact him by e-mail at john@johnrettie.com or by snail-mail c/o Rangefinder.
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