Kodak Easyshare V610 Review
The V610 has just four white balance presets in addition to the auto default; daylight, tungsten, fluorescent and open shade. There is no manual (measured or custom) white balance function, which is frankly inexplicable given it is an option on virtually every other camera these days. Fortunately the TZ1's auto white balance does an excellent job in most natural light situations (and not a bad job with mixed lighting either). Under tungsten (incandescent) light the results have only the slightest warm tone, but fluorescents can cause a serious color cast (no single 'Fluorescent' preset can deal with all the different tube types out there).
|Auto White Balance||Fluo Preset||Auto White Balance||Incandescent preset|
|Fluorescent light - Auto white balance poor, preset white balance average||Incandescent light - Auto white balance good,
Preset white balance excellent
The V610's macro function gets you down to about 5cm (2 inches) at the wide end of the zoom, capturing an area just under 5cm across (47x36mm to be exact), with distortion and corner softness well controlled. At the telephoto (10x) end of the zoom the closest focus is 70cm (2.3 feet), and the area captured is just under 7cm across - pretty impressive for such a big zoom.
As is now the norm on cameras of this type the V610 offers a maximum movie size of 640 x 480 pixels at 30 frames per second.
The movies are recorded using MPEG-4 compression (saved as QuickTime .MOV files), which makes them very small indeed - you can fit over half an hour of VGA (640 x 480 pixel) footage on a 1.0 GB card.
Overall quality is perfectly good, though nowhere near what you can get from the best cameras in this class, as compression artefacts can sometimes be quite obvious. There is also a lot of hunting at the long end of the zoom.
Unusually you can zoom whilst filming (complete with a little jump as the camera swaps lenses), but zooming causes the camera to refocus (often dramatically), as this example shows (caution: large file).
Sample movie: 640 x 480 pixels @ 30 fps
Click on the thumbnail to view the movie
Resolution is surprisingly good in the center of the frame, certainly better than we expected (though not quite up to the standards of the best 'full size' big zoom cameras). The tele lens has marginally better resolution than the wide lens, and the results are a lot cleaner. Both images are slightly soft and show evidence of excessive in-camera sharpening (something you can at least turn down), but there's no doubt the tele lens is the better, optically.
WIDE LENS Crops
|Click here for the full resolution test chart||
resolution 1250 LPH
resolution 1300 LPH
|Click here for the full resolution test chart||
Absolute resolution 1300 LPH
Absolute resolution 1350 LPH
Distortion and other image quality issues
OK, let's get one thing out of the way first; the V610 is not going to win any awards for image quality; the optical compromises involved in squeezing two fairly big zooms into such a tiny body were always going to limit what you could expect, output-wise. The sensor is also pretty noisy at anything but the base ISO.
Distortion is around the class average at the wide end of the wide lens (1.1% barrel distortion - click here for test chart) and fairly low (0.2% pincushion) at the long end of the tele lens (test chart). There i, however, some fairly strong pincushion distortion at the long end of the wide lens (i.e. in the middle of the full 10x range), something you'd never get with a single 10x zoom.
Looking at the image quality overall it's a very mixed bag; on the positive side there's the typical Kodak color, which is rich and deep and makes for very appealing prints. White balance is excellent and exposure generally very accurate. On the downside, the images are soft, over-sharpened (giving visible halos), over-compressed (there are no quality settings) and noisy (with unpleasant noise artefacts at anything over the lowest ISO). If you only ever intend to print at 6x4 inches (or 5x7 at a push) - or view the pictures on a TV screen - you'll probably be perfectly happy, but if you want to produce larger prints (or magnify the images on-screen) the results are disappointing.
Other minor niggles include the usual highlight clipping (not helped by the high contrast) and occasional focus and / or exposure problems, though I should add that none of these are any worse than most of the V610's competitors. One thing that is worse is the V610's habit of claiming it has found focus at the long end of the zoom when the preview screen shows obviously that it's way out of focus. Something to watch out for.
Although neither lens is particularly sharp, the wide zoom has serious fall-off towards the edges and - at the widest zoom setting - has very soft corners indeed. Our sample was particularly soft in the top left corner (as shown below), but there is a visible drop-off in sharpness in all corners. You can see it in 'real world' shots, but how much of an impact it will have will depend on (i) the subject matter and distance and (ii) your tolerance for such things.
|Tele lens||Wide lens|
|38mm equiv., F3.9||100% crop|
With tiny, high pixel count chips noise is always going to be an issue, and to a large degree this is more a test of the effectiveness (both measurable and visible) of a camera's noise reduction system. Designers have to balance the desire to produce smooth, clean results with the need to retain as much detail as possible (if you blur away the noise, you blur away image detail too)
At lower ISO settings (64 and 100) noise - and the visible effect of noise reduction - is fairly low (you can see a little fine grained luminance noise in the shadows, but nothing too serious), but once you hit ISO 200 you don't want to be looking too closely at the images as they suffer from a loss of detail and some fairly unpleasant noise reduction artefacts (not helped at all by the heavy compression). ISO 400 is very soft and ISO 800 is both soft and noisy.
|ISO 64||ISO 100||ISO 200||ISO 400||ISO 800|
Indicated ISO sensitivity is on the horizontal axis of this graph, standard deviation of luminosity is on the vertical axis.
As the graph shows, luminance noise is about average for a 6MP camera at ISO 64 and 100 (though chroma noise at ISO 100 is quite high), but once the noise reduction really kicks in at ISO 200 it flattens out slightly. Despite the fairly harsh noise reduction at ISO 800 the measurable noise is very high.
|Hot Air Balloons Over Bagan by User9320321874|
|Yellow Warbler by LeeS|
from A Big Year - birds
|Waiting for the Parade by tcoker1103|
from - La Vida Loca - (Black and White Street Photography+ A Border)
If you're thinking of using Canon's sports glass on the Sony a9, think again. The ultra-fast camera slows way down when you attach off-brand glass.
The Polish town of Katowice is not known as an area of beauty, but as all photographers know, that doesn't mean that beauty can't be found if you know where to look. Mariusz Pietranek used a drone to look down on the colorful sedimentation tanks at an ironworks.
New York Times video journalist Ben Solomon spent a harrowing three weeks accompanying Iraqi Major Sajjad al-Hour as he and his men fought to retake Mosul from I.S. forces.
The 3D VR camera launched through a crowdfunding campaign in 2015 goes on sale beginning June 26.
Noctilucent clouds, a crescent moon and Venus were visible in the pre-dawn sky over Budapest yesterday. Photographer György Soponyai captured NASA's astronomy picture of the day.
Squirming pets won't sit still for photos? A Kickstarter campaign is looking to help.
Find out how Chris Burkard shifted from editorial photography to his true passions: landscapes, conservation and, of course, surfing.
The updated EyeEm app scans your camera roll and picks images that are composed particularly well, have the best quality, or highest chance of selling on EyeEm Market.
It's three years old but still a solid option for a Micro Four Thirds shooter looking for a high-quality, fast, wide-angle prime. Take a look at how we got along with it.
Tamron has announced the longest all-in-one zoom lens currently available, the 18-400mm F3.5-6.3 Di II VC HLD. Designed for Canon and Nikon crop-sensor cameras, the lens will be available in July.
When you're ready to step-up to full-frame from an entry-level or midrange camera, the choices can be overwhelming. Find out which models came out on top in our $1200-2000 enthusiast ILC roundup.
Just a guy wearing a VR headset, smashing invisible Goombas in Central Park.
NASA's Mars Reconnaissance Orbiter captured this gorgeous aerial photo of the Martian landscape. And if you look really close, you can actually see the Mars Curiosity rover in the very middle.
The city of Laguna Beach, California has provided some clarification around the kinds of photography permits it offers.
Later this year, a VR180 camera will be Joining Yi's Halo and 360 VR cameras, which will offer stereo 3D capture, yet be as easy to use and compact as a 2D camera.
Caltech researchers have developed an 'optical phased array' chip that uses time delays instead of a lens to focus the incoming light.
Pricing and shipping have finally been revealed for two highly anticipated lenses from Sigma, announced in February.
These macro photos of clouds of paint billowing through clear water might look like high-quality CGI, but they're real photographs. And photographer Alberto Seveso told us how they were made.
Facebook is testing a feature that prevents people from saving, sharing, or even taking a screenshot of your profile picture.
We've reshot the Sony a9 in our studio. The short story: it's sharper! The long story... well you can read it all here.
The collection will be officially launched during the Europeana Transcribathon Campus Berlin 2017 crowdsourcing event which will be held on 22 and 23 June at the Berlin State Library.
Light gives us some insight into the preparations for the launch of the pre-order shipments of its much anticipated L16 multi-lens camera.
OnePlus co-founder Carl Pei has confirmed in a tweet that the second lens on the back of the OnePlus 5 uses a 1.6x optical zoom and that digital zoom is used to reach the claimed 2x zoom factor.
Fujifilm recently unveiled the second in its series of affordable cine lenses, the MK50-135mm T2.9. We got our hands on it for a couple days and took it for a spin.
Leica's first attempt at an M-series digital rangefinder was rough around the edges, but set a pattern for all of the cameras that came after it. In this week's Throwback Thursday article, Barney remembers the M8.
No stranger to extreme situations, legendary climber and filmmaker Jimmy Chin talks to Outside Magazine about his career, and the challenge of filming Alex Honnold's rope-free solo climb of El Capitain.
A company backed by Android co-founder Andy Rubin is attempting to make video conferencing less terrible.
Rangefinder magazine asked five professional portrait and wedding photographers about posting on Instagram; no surprise, they got five different answers.
This captivating stop motion film was created by stripping away one layer of wood at a time. It's hard to look away.
It will enable users to simulate the presence of the sun, moon and Milky Way and see how they interact with an area's topography.