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ISO-100; F=7 mm; F/6.7; 1/380 s. Focused at infinity. |
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ISO-100; F=21 mm; F/8; 1/280 s. Focused at infinity. |
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ISO-50; F=21 mm; F/5.6; 1/125 s. |
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ISO-100; F=7 mm; F/5.6; 1/175 s. |
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ISO-100; F=10 mm; F/4.8; 1/100 s. Focus – macro. |
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ISO-50; F=7 mm; F/5.6; 1 s. Focused at infinity. |
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ISO-100; F=21 mm; F/4.7; 1/140 s. Focused at infinity. |
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The last photo can be compared with the photos taken by various cameras and published in the article MICROTEK ArtixScan 120 tf |
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This camera can be considered a model of industrial standard. If you see it in the street, you will easily guess that it's a camera, but you won't know what name is written on it. Digital point-and-shoot cameras are hardly different from their film counterparts in quality and price. The largest manufacturers of photo paper mastered printing from digital sources. An increasing number of labs offer this service. If an amateur prints photos in studios on 10x15 postcards, it makes no difference what camera (digital or film) he or she owns. Paper plant capacities will not stand idle either even if all people switch to digital cameras. To my opinion, the service life of cameras of this generation will depend on their technical reliability. Obsolescence factor stops playing the deciding role. Though some companies install 8 Mp CCD into this case, the resulting cameras have no real advantages over 5 Mp cameras. Moreover, the adjustment scatter will play the determinant role, and there will be 5 Mp cameras of a better quality than 8 Mp ones. But most importantly, for printing 10x15 photos the only advantage of matrices higher than 3 Mp is that the circle of confusion covers several sensor elements with different filters. So if you convert an 8 Mp photo into 3 Mp, each point will boast of true brightness and true color. We'll get an original counterpart of cameras with Foveon matrices, which have 3 million point frames formed by 9 million sensor elements.
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