Lanski: I don't want to be a ____ about this but it's a little disappointing that as soon as it's a woman holding the camera we start getting comments specifically relating to her hands (at least one has since been deleted). Surely we're better than that?
I like Allison with her female approach to the subject of this website!
sderdiarian: Barney, do you know if it will be available with a silver top of body like the X100T? I think this would sell well.
Yes, there is a silver body version of the LX100. You can see it in the video: "Photokina 2014 interview: The Panasonic Lumix DMC - LX100". The camera looks great IMO, solid and serious (at least as long as the lens isn't protruding).
Cal22: The LX100 aims at people who want an all-in-one solution. And the camera has a lot to like. I like especially the full manual control with control dials on the top plate for your right hand and a ring at the lens' mount for your left. And the camera body is big enough to making it not fiddly.
What I don't like: The camera has no tilting rear screen and no tilting EVF either. How to shoot from ground level? And a bundled flash should come up with more options than a built-in flash can provide; whether Panasonic will deliver in this respect, we may doubt until now.
The lens' zoom range is a little limited. Let's hope the image quality lives up to the name Leica!
As to a tilting EVF/screen: It depends on your kind of shooting. Running around and doing snapshots is not my kind. When photographing landscapes I have often used a tilting VF for composing from low angle (albeit rarely from ground level) or with the camera on my tripod. Looking for the right perspective can be an essential part of photographers doing - not less important than looking for the 'decisive moment'!
The LX100 aims at people who want an all-in-one solution. And the camera has a lot to like. I like especially the full manual control with control dials on the top plate for your right hand and a ring at the lens' mount for your left. And the camera body is big enough to making it not fiddly.
munro harrap: There will be stillife studio and landscapes types who will love it, but it is impractical for reportage-completely.When do we get the choice of an EVF? The image quality from the DP2 is wonderful, but is the DP1Quattro's lens a vast improvement on the DP1 Merrills, because it was not at all a good lensI would need to know how many hours I can leave the battery running before it dies.I returned a Merrill 16MP compact a few months ago because the answer to that was about 40 minutes. By the time I had set up the camera and taken a few test shots, the battery was exhausted. You needed to run it off the mains!!
Since the DP1 Quattro has a new lens we may expect it to be an improvement, although with the DP1 Merrill you could shoot wonderful photos, as Paul Thacker has done on a ranch. I've seen his photos on Sigma's website a while ago, but now I couldn't find them anymore. The Loupe isn't a bad thing; I had thought of a Hoodloupe already in case of I would buy me a Quattro. But an EVF would certainly make more sense in our days of digital photography. The loupe is somewhat anachronistic especially when used outdoors. An EVF however needs battery power from the camera; maybe that's why Sigma decided against it.
If only Sigma had given their Quattro cameras a hotshoe for an add-on tiltable EVF! The loupe is certainly a helpful device but it's also bulky and not tiltable.
Sigma should redesign the Quattro series and eliminate a bad mistake as soon as possible! Then a Quattro camera with a super wide angle ought to attract new and serious attention to Sigma's unique sensor!
The Otus line lenses are not made for the mass market (as a Bugatti Veyron is either). They are proof of what the lensmaker Zeiss is capable of. Otus lenses make the brandname Zeiss shine.
It's fun to view the MTF lines you can download from the Zeiss' website!
Cal22: The solid build and wonderful look are certainly promising especially to photographers who are longing for responsive prime lenses.
As to whining about the price tag: Take into account that Loxia lenses represent high (maybe highest) standard in lens making. Manual focus isn't a shortage, but - in terms of build - an even bigger challenge. Moreover, when it came to pricing maybe nostalgia ("good old MF-times") has come into play - and, of course, the brandname Zeiss.
In case camera and MF-lens work well together and are capable of top IQ the price tag might be justified to some.
white shadow: I researched the internet now and learned that the classical optical design has been improved over the years keeping the performance up to date. The 50mm/f2 is a "razor sharp lens" that comes close to leading Leica lenses 50mm (pcmag.com).
So, the prices being asked might be justified, some might even say it's a bargain.
The solid build and wonderful look are certainly promising especially to photographers who are longing for responsive prime lenses.
If I'd go for an MFT camera I'd go for Olympus and I'd likely prefer the PL7 over the M10. Both of them are compact and capable of providing good IQ because of a comparatively big sensor. The M10 moreover has a built-in VF which is certainly welcomed by many a photographer. And yet - if you really like picture composing with a VF, you want the PL7 with the additional VF! The VF-4 is said to be great, and attached to the PL7 it's most likely a comfortable way to shoot with a compact. (Not only the left-eyers don't like pressing the face onto the rear screen of the M10 all the time)
Since the PL7 is more than a restyled PL5, it seems to be a package that's worth its price.
Yes, it looks like a new (tele-) lens is on the horizon.
But what about a call for photographers to participate in a photokina project?
Two little explorers in the woods ...
... and a photographer with a message: Why still carrying a bulky DSLR when you're with your family? Take a Nikon 1 V3!
Cal22: Leutenegger mentions "Turner" (amongst others) as someone who inspired her. Does she speak of the painter William Turner or the photographer Pete Turner? In any case both of them might inspire with their distinctive approach to colors. However is there any impact of "Turner" in Leutenegger's photos? May I use this opportunity and point especially to Turner's water colors to all of you who rejoice in color composings? (You can find a lot of them in the internet. And Pete Turner might be interesting because of his striking usage of color film)
As to Leuteneggers photos: Maybe her book can transport her works better than this website can do. You could also think that one day people will be celebrating her photos as great evidence of a world long ago as has happened here quite recently with "1939: England in Color".
straleno: You might be right inasmuch as a lot of digital data will likely be lost (maybe mainly for technical reasons: corrupted hard-drives, new digital formats ..). But even if more than 95% of the vast amount of data should have disappeared in let's say 50 vears, there will still be a mass of data and by far more than any epoch in the predigital past has provided.
Something else should be worrying us more, in my view: Remember "The Name Of The Rose"? It's more than just a crime film (or novel) playing in a time long ago. The author tells us of those in power (the Church) and their dealing with knowledge: They use it as a means to control the thinking of people by preserving and supplying knowledge or holding it back. The modern world is full of digital data, and those in power are keen on them. They want to storage, use, misuse or even falsify them. Controlling the data is controlling the world. We have to stop the trend, lest digital data will prove a bane to all of us.
OK, Dennis Hopper photographed before he became a famous figure in the movie world. Do the images tell anything more than that?
Marty: I agree with you! One day historians will face a flood of images that began in our time. This flood has an impact on our perception of photos. You can say, when images are rare they are more meaningful. It's the same with texts: In former cultures when magical thinking ruled and there was no printing of books and no reproducing of photos, images and texts were very meaningful to the people, had often magical significance and were refering to higher powers. The major religions we know of nowadays are based on old Scriptures, the words of which are given magical significance by the faithful.
In their early days books and photos had still great importance but the more they were reproduced the more they were trivialized. Therefore we can say, the demystification of the world is typical for our time. When we praise old photos for their historical value and because they are relatively rare, it's our attitude that dominates our perception. The quality we see comes out of our mind.
Leutenegger mentions "Turner" (amongst others) as someone who inspired her. Does she speak of the painter William Turner or the photographer Pete Turner? In any case both of them might inspire with their distinctive approach to colors. However is there any impact of "Turner" in Leutenegger's photos? May I use this opportunity and point especially to Turner's water colors to all of you who rejoice in color composings? (You can find a lot of them in the internet. And Pete Turner might be interesting because of his striking usage of color film)
Clyde Thomas: Contax and Rollie both produced exotic vacuum back cameras to keep the film perfectly flat. Precision German engineering made a really big deal about that back when.
Is Sony throwing us a curve or shooting straight here?
Clyde Thomas:Contax cameras were developed and produced by Yashica, Japan (and not by German engineers).
mikiev:Yes, film needed to be flat, but the 35mm film was small and stiff and only when having been loaded in a camera and then not used for quite a while, the first shot or two shots - with a 1,4 lens wide open - might have produced slightly decreased sharpness. No problem, really! Unlike the comparative large film sheets in large format cameras: In order to absorb insufficient flatness the photographer had to stop down to f/22, at least. Here a vacuum film back could have made sense, which was a bulky and cumbersome installation, thought for studio works.
Very British, indeed!
Well done, Barney!
What a surprise: Bauhaus in Seattle now? ;-)
You know that Bauhaus was a famous center for arts (architecture, design..) and crafts in Germany? One of its directors was Mies van der Rohe, who emigrated to the States where he became celebrated for designing scyscrapers.
ISO 10 000? WOW!