Technology Tales

A retrograde way to keep an old scanner going?

For making a copy of a document for official purposes, I needed to get my scanner going with the new workstation. The device is an Epson Perfection 4490 Photo that I acquired in 2007 after its Canon predecessor, a CanoScan 5000F, began to malfunction. It has served me well since then, though digital photography has meant that scanning images is not something that I do very often these days, the last time being in early 2022 to get larger images into my online photo gallery.

The age means that software support is an issue, more particularly for Windows 11. However, Linux can leave old devices behind it too. It does not help that there is little incentive for Epson to update its drivers either. Thus, Linux Mint's move from LIBSANE to LIBSANE1 makes things less straightforward when the Epson software needs the former.

While you can take apart a DEB file, re-edit its components before creating a new version, that sounds tricky to me. Nevertheless, it may be the way to go for others. Instead, I downloaded a DEB file for LIBSANE from Ubuntu and installed that instead. With that installed, the Epson software installed fully, allowing VueScan to work as I needed. Thus, the document got copied as I needed, and the rest then could happen as required.

When I went looking up solutions to my conundrum on Perplexity, it kept telling me that it was not the best way to go. However, I still took the chance, knowing that I could roll things back if needed. Computers never know you that well without a multitude of data, so the safety first approach has its merits, even if it can be overly cautious in some cases.

If I ever do need to replace the scanner, I probably would replace the printer with a multi-function device at the same time. The move would save some desk space, and I have had a good experience with such a device elsewhere. For now, though, such a move is on the long finger; securing a new freelance contract is higher up any to-do list.

Pandemic camera

Back at the end of 2019, I acquired a Canon EOS 90D, possibly the swansong for mid-range Canon SLR cameras. Much effort is going into mirrorless cameras, yet I retain affection for SLR cameras because of their optical viewfinders. That may have been part of the reason for the acquisition, when I already had an ageing Pentax K5 Mark II. Buying SLR cameras is one way to keep them in production.

Little did I know what lay ahead in 2020 at that stage. Until recently, this was not to be a camera that travelled widely, such were the restrictions. Nevertheless, battery life is superb and handling is good too. The only absence is not having a level in the viewfinder like the Pentax K3 Mark III or maybe any mirrorless camera.

The newer file type of CR3 caught me out at first until I adjusted my command line tooling to deal with that. File sizes were larger as well, which has an impact on storage. Otherwise, there was little to change in my workflow. That would take other technological changes, like the increasing amount of AI being built into Adobe software.

Outdoor photography is my mainstay, and it excelled at that. The autofocus works well on its 24 to 135 mm zoom lens, except perhaps from focussing on skyscapes at times. Metering produced acceptable results, though it differed from the Pentax output to which I had become accustomed. All in all, it slipped into a role like other cameras that I had.

Throughout 2020 and 2021, it provided the required service alongside other cameras that I had. The aforementioned Pentax remained in use, like an Olympus and another Canon. Overseas travel curtailed horizons, so it was around local counties like Cheshire, Derbyshire, Staffordshire and Shropshire. In September 2020, it travelled to Llandudno in North Wales, an exception to the general trend of English hikes and cycles.

Since then, it has been superseded, though. A Pentax K3 Mark III made it into my possession to become my main camera, returning me near enough to my pre-2020 practice. Curiosity about Canon mirrorless options added a Canon EOS RP and a 24 to 240 mm zoom lens. That has shorter battery life than is ideal, and its level is not as helpful as that on the Pentax K3 Mark III or the aforementioned Olympus. If anything, it may get replaced while the EOS 90D remains. My getting a new base in Ireland means that it has gone there to save me carrying a camera there from England. That should give it a new lease of life.

EVF or OVF?

In photography, some developments are temporary fads, while others create enduring changes. Special effects filters and high dynamic range techniques generated excitement before their usage became more restrained. The same applies to most image processing techniques, as good taste eventually prevails. Some developments, however, signal more substantial shifts.

The biggest example of the latter is the move away from film photography to digital image capture. There still are film photographers who largely depend on older cameras, since very few are made any more. While my own transition came later than others, I hardly use film any more, and a lack of replacement parts for cameras that are more than fifteen years old only helps to keep things that way. Another truth is that digital photography makes me look at my images more critically, which helps me improve.

Also, mobile phone cameras have become so capable that the compact camera market has shrunk dramatically. In fact, I gave away my Canon PowerShot G11 earlier this year because there was little justification in hanging onto it. After all, it dated back to 2010 and a phone would do now what it once did, though the G11 did more for me than I might have expected. Until 2017, my only photos of Swedish locations were made with that camera. If I ever was emotional at its departure, and I doubt that I was, that is not felt now.

If you read photography magazines, you get the sense that mirrorless cameras have captured a lot of the limelight, and that especially is the case with the introduction of full frame models. Some writers even are writing off the chances of SLR's remaining in production, though available model ranges remain extensive despite the new interlopers. Whatever about the departure of film, the possible loss of SLR's with their bright optical viewfinders (OVF's) does make me a little emotional since they were the cameras that, so many like me aspired to owning during my younger years and the type has served me well over the decades.

Even so, I too have used mirrorless cameras and an Olympus PEN E-PL5 came into my possession in 2013. However, I found that using the screen on the back of a camera was not to my liking and the quality of mobile phone cameras is such that I no longer need any added portability. However, it needs to be remembered that using a Tamron 14 to 150 mm zoom lens with the body cannot have helped either. Wishing to sample a counterpart with an electronic view finder, I replaced it with an Olympus OM-D E-M10 Mark III earlier this year and have been getting on fine with that.

The camera body is compact, yet handles like an SLR. I turned off the automatic switching between viewfinder and screen because I found it distracting. I prefer to switch between them manually. Getting used to the electronic viewfinder (EVF) took some time, but adding a spirit level overlay proved both useful and educational. The camera produces images with strong greens and blues, which suits me since I like both colours. The 16.1 megapixel sensor creates smaller files that upload quickly to back-up services. My Tamron lens works flawlessly, and keeping this lens was a key reason I stayed with Olympus despite a shutter failure on my previous camera. The repair was done efficiently and at a reasonable price.

Despite the quality of the new Olympus, it has not replaced my Canon EOS 5D Mark II and Pentax K5 II SLRs. The Olympus has a much smaller frame. In January, I bought a new Sigma 24 to 105 mm zoom lens for the Canon after my older lens developed a fault that could not be fixed. The new lens performs well and produces impressively sharp images. However, the full frame Canon setup is heavy, even when used handheld. This is why the Pentax remains my choice for travelling abroad. Both the Canon and Pentax offer brighter viewfinders, which I value. Therefore, the OM-D complements rather than replaces my other cameras.

Although I can work with electronic viewfinders (EVF's) if single-lens reflex cameras (SLRs) become obsolete, I plan to use mainly SLRs for now. Canon recently launched a new enthusiast model, indicating ongoing interest in SLRs. Canon appears to envision a hybrid approach where using the screen on the back of the camera might provide faster autofocus or other functions, while the optical viewfinder (OVF) allows traditional operation. This makes me wonder if future cameras might include viewfinders that switch between EVF and OVF modes. This idea might be both far-fetched and fascinating, but other unforeseen possibilities might exist. One thing is certain: we live in a time of rapid change.

A Look at a Compact System Camera

In August, I acquired an Olympus Pen E-PL5, and I'm still getting used to it. Its main appeal was combining SLR functionality with compact camera size. This was an upgrade from my Canon PowerShot G11 without the bulk of a larger camera.

When I considered Canon's EOS M before choosing the E-PL5, I was put off by its slow autofocus. The lack of a mode dial was another concern, though its APS-C sensor and price of around £399 were attractive (and I liked Canon's tendency to overexpose when examining images from an old Canon EOS 10D). After seeing a camera comparison in Practical Photography, I bought that issue. They preferred the similarly priced Olympus Pen E-PM2 over the Canon. Though a Panasonic won the test, I was interested enough in the Olympus to research further. Unlike the E-PM2 and EOS M, the E-PL5 has both a mode dial and extra grip, so I chose it despite the higher price. I had noticed discounted Olympus Pen models before, but this purchase was a more deliberate investment.

Breaking my usual preference for black cameras for variety's sake, I chose the silver E-PL5 from the three available colours (black, silver and white). The body is very compact, with the lens taking up most of the bulk. The standard 14-42 mm zoom means this isn't a shirt-pocket camera, so I bought a black Lowepro Apex 100 AW case. The case fits the camera snugly, making me wonder if I should have chosen a larger one, but it's working well. To protect the lens during outings, I also added a 37 mm Hoya HMC UV filter. The lens's plastic construction extends further than I expected and doesn't fully retract into its housing like some of my Sigma lenses.

On my first test run, I needed to work out how to hold the camera. My Canon PowerShot G11's powered zoom and autofocus made it more intuitive to hold, as was true for any SLR I've used. Holding the small body while adjusting the zoom lens was awkward at first. Eventually, I learned to steady the body with my right thumb (the curved thumb grip on the back holds a thumb vertically) while freely adjusting the lens with my left hand. An electronic viewfinder instead of the screen would have made things easier, but they're expensive, and I had already spent enough.

After learning to hold the camera, I needed to adjust to its exposure characteristics. From my experience, it tends to overexpose. Though I set it to store raw (ORF) files that can be fixed later, I prefer more control during capture. Also, I haven't found a spot or partial metering button like those on my SLR or G11. This means either using exposure compensation with aperture priority mode or switching to fully manual exposure. Other familiar modes are available (shutter priority, program, automatic, etc.). While getting familiar with the camera, I'm using bracketing after setting ISO to 400, increasing screen brightness and adding histograms to playback views. As my grip becomes more secure, I'm using the dial to adjust settings like aperture (f/16 remains my favourite despite what others think about micro four thirds sensor size) and compensation, keeping scenes consistent to test the camera's response to changes.

Though I'm still learning, I'm seeing pleasing results that encourage me to continue; some remind me of my Pentax K10D. The E-PL5 is slower to use than the G11, but that's often beneficial for photography. Being forced to slow down in our hectic world is another advantage. The G11 is seeing less use now, with sunny days offering chances for more experimentation and familiarisation. My introduction to compact system cameras has shown they're very different from compact fixed lens cameras or SLRs. Neither type is truly replaced; instead, a new category has emerged.

A display of brand loyalty

Since 2007, I've used a Pentax K10D DSLR as my main camera. It has travelled with me extensively, capturing over 15,000 images and serving reliably. Though its autofocus isn't the fastest, this doesn't matter for my typical subjects: landscapes, architecture, flora and transport (stationary buses and trains, for instance). Any slight underexposure in photos can be easily fixed since I shoot in DNG format, which preserves all raw image data. The camera has performed so well that I've found it difficult to justify buying a new SLR.

Lately, I have been looking at processed photos and asking myself if time has moved along for what is not far from being a six-year-old camera. At various times, I have been looking at higher members of the Pentax while wondering if an upgrade would be a good idea. First, there was the K7 and then the K5 before the K5 II got launched. Even though its predecessor is still to be found on sale, it was the newer model that became my choice.

My move to Pentax in 2007 was a case of brand disloyalty, since I had been a Canon user from when I acquired my first SLR, an EOS 300. Even now, I still have a PowerShot G11 that finds itself slipped into a pocket on many a time. Nevertheless, I find that Canon images feel a little washed out before post-processing, and that hasn't been the case with the K10D. In fact, I have been hearing good things about Nikon cameras delivering punchy results, so one of them would be a contender were it not for how well the Pentax performed.

So, what has my new K5 II body gained me that I didn't have before? For one thing, the autofocus is a major improvement on that in the K10D. It may not stop me persevering with manual focusing for most of the time, but there are occasions the option of solid autofocus is good to have. Other advances include a 16.3 megapixel sensor with a much larger ISO range. The advances in sensor technology since when the K10D appeared may give me better quality photos, and noise is something that my eyes may have begun to detect in K10D photos even at my usual ISO of 400.

Some features will not get used, though. While I rely on Live View with my PowerShot G11 due to its poor optical viewfinder, I rarely use it on the K5 II with its bright, sharp viewfinder, especially after noticing unreliable autofocus when using it (though manual focusing should work fine). By default, the screen stays on constantly, which irritated me as an optical viewfinder user, so I consulted the manual to turn it off. Similarly, I quickly abandoned the image level display. However, I've kept the horizon autocorrection feature enabled, as it helps fix the crooked horizons that often result from handheld shooting.

The K5 II may have a 3" screen on its back, but it has done nothing to increase the size of the camera. If anything, it is smaller than the K10D, and that usefully means that I am not on the lookout for a new camera holster. Not having a bigger body also means there is little change in how the much camera feels in the hand compared with the older one.

In many ways, the K5 II works very like the K10D once I took control over settings that didn't suit me. Both have Shake Reduction in their camera bodies, though the setting has been moved into the settings menu in the new camera, when the older one had a separate switch on its body. Since I'd be inclined to leave it on all the time and prefer not to have it knocked off accidentally, this is not an issue.  Otherwise, many of the various switches are in the same places, so it's not that difficult to find my way around them.

The K5 II includes other changes, like a mode dial lock, but I'm familiar with this feature from Canon EOS cameras, so it doesn't feel like a downgrade. The exposure compensation button has been relocated to the top of the camera, making it easier to find and use; I'm using it more than I did on the K10D. Since I also use this feature on my G11, I'm applying similar experimentation to the K5 II. Next to it is a new ISO button, which I plan to test to see how it performs.

My main criticism of the K5 II is its cluttered menu system. The K10D's long scrollable lists have been replaced with multiple tabs that eliminate on-screen scrolling. However, I think this fragments the interface too much and makes navigating settings more intimidating for less technical users. Essential settings remain accessible; I continue using RAW DNG files as usual, though JPEG and Pentax's proprietary RAW format are also available. After initially forgetting to set the date, I quickly fixed this. Similarly, I disabled the default setting that stores files in date-based folders, instead directing everything to a single PENTX directory to match my workflow. Recently, I discovered the option to add photographer and copyright information to image file metadata. This seems particularly useful given proposed U.K. legislation that would weaken automatic copyright protections, even though most photographers oppose these legal changes.

A camera's true value lies in the quality of its images, and I'm pleased with what the K5 II produces. The larger file sizes mean fewer images fit on a memory card, though increased SDHC capacities help offset this, even as I avoid excessive shooting. While using the camera, I was surprised to find apertures like F/14 and F/18, as I was used to values like F/11, F/13, F/16, F/19, and F/22. Most traditional values remain available, so there's not a complete departure from convention. Similarly with shutter speeds, I noticed 1/100 and 1/160 where I expected only 1/90, 1/125, and 1/250. These additional options provide more flexibility and potentially make achieving correct exposures easier, though what constitutes "correct" should be determined by the photographer, not the camera's algorithms. So far, I've mostly used ISO 400, except for some evening woodland testing shortly after getting the camera.

While I've been meaning to share my thoughts on the K5 II since acquiring it a few months ago, I needed time to organize my ideas. Initially, I felt overwhelmed by how much there was to say, even more than what you've read here. There are still features to explore, like white balance adjustments and their effect on image quality. After discovering its shake reduction was switched off, I'm also reconsidering my K10D, especially since this might explain the quality issues I mentioned earlier. Using my tripod more consistently would be another improvement. Clearly, I have many more photographic explorations ahead.

Dispensing with temptation

Many manufacturers followed Olympus into the compact system camera market. Nikon joined late last year, though Canon hasn't yet entered. Olympus E-PL1 kits with 14-42mm zoom lenses tempted me at around £250. After researching competitors, my shortlist included the Samsung NX-11, Sony NEX-C3, and its higher-end model, the NEX-5N.

What eventually countered the allure of shiny objects was the question as to why I needed such an item. After all, I already possess a Pentax K10D DSLR and a Canon PowerShot G11, and these have been satisfying my photographic needs for a while now. While the DSLR may date from 2007, it is still working well for me and, if it ever needed replacing, I'd be going for another Pentax with the K-5 being a strong contender. The Canon is doing what's asked of it, so the recent launching of the G1 X isn't so tempting either.

The whole dalliance has me wondering about how photographic equipment changeovers come about. After all, it was around a decade ago with the DSLR revolution was in the offing if not in progress. Until then, film photography was predominant, but it looks as if it got as far as it could from a technological point of view when I look back at what happened. The digital photography area was new and untapped, so moving there offered new possibilities and purchases more easily justified. The end result is that very few film cameras are being made nowadays. Ironically, it's film photography that now is untrammelled terrain for many, and it is holding its own too in an era when digital photography predominates.

The same sort of newness that came with digital photography also applies to CSC's to a certain extent. From the heritage of half-frame 35 mm film photography, Olympus has fashioned a different type of digital camera: essentially a compact with interchangeable lenses. Was it the fact that I have no CSC that caused me to be tempted and has it happened to others too? Also, is that what got digital photography going in the first place?

It almost feels as if camera manufacturers have to keep bringing to market new models and new types of camera to stay in business. After all, Minolta had to sell its camera division to Sony when they failed to get going in the DSLR market quickly enough. The same thing might have happened to Pentax too, with the marque passing to first to Hoya, and then to Ricoh after the firm lost its independence.

What doesn't help is the lack of longevity of camera models. The coming of digital photography has exacerbated this situation, with models being launched at a frenetic rate. In the days of film photography, a model could last on the market for a few years and there was once a time when a twenty-year lifetime wouldn't have looked so ridiculous, though there were incremental improvements made over that time too. For instance, a Pentax K1000 wouldn't be the same at the end of its production run as it was at the start, though the model number may be the same. That world is gone.

SLR design has endured for about 50 years, but mirrorless technology now presents unprecedented competition. Even compact cameras offer live through-the-lens viewing. Olympus revived its film heritage by creating the E-P1 with interchangeable lenses. These descendants of the original half-frame 35mm PEN cameras appropriately use smaller micro four thirds sensors. Sony has developed translucent mirror technology that eliminates moving parts found in traditional SLRs. Canon experimented with this in the 1980's with film cameras but abandoned it. Meanwhile, Samsung and Panasonic produce mirrorless SLR-style cameras with live viewing and electronic viewfinders, suggesting full-size equivalents may be coming. Olympus's current teaser campaign has sparked speculation about a possible OM-D release.

In parallel with all this, Sony is making a good impression with their CSC's, the NEX series. These have APS-C sized sensors like many DSLR's and in compact bodies as well. However, the feel very much is that of a compact camera and some have complained of a like of buttons on them, even if the photographic quality is excellent. Samsung have gone for the same sensor size in their NX-11, while they have gone for SLR styling. That may be more suitable for some than having to find settings buried in menus.

We're living in an exciting yet unsettling period of camera technology evolution. Cameras are becoming smaller, and traditional still cameras now shoot videos too, though filmmaking remains a time-intensive hobby that doesn't interest me. Recent legal developments complicate original work, as shown by a successful copyright case based on Photoshop image processing. With countless images being created daily and potential changes allowing intellectual property claims in small claims courts, avoiding infringement becomes harder. Film photography seems appealing in contrast and remains viable despite Kodak's financial struggles. As tastes shift and film becomes novel again, the future is uncertain. Perhaps investing in a DSLR body makes sense before Compact System Cameras completely replace them. Camera technology has become interesting once more.

An avalanche of innovation?

It seems that, almost despite the uncertain times or maybe because of them, it feels like an era of change on the technology front. Computing is the domain of many of the postings on this website, and a hell of a lot seems to be going mobile at the moment. For a good while, I managed to stay clear of the attractions of smartphones until a change of job convinced me that having a BlackBerry was a good idea. Though the small size of the thing really places limitations on the sort of web surfing experience that you can have with it, you can keep an eye on the weather, news, traffic, bus and train times so long as the website in question is built for mobile browsing. Otherwise, it's more of a nuisance than a patchy phone network (in the U.K., T-Mobile could do better on this score, as I have discovered for myself; thankfully, a merger with the Orange network is coming next month).

Speaking of mobile websites, it almost feels as if a free for all has recurred for web designers. Just when the desktop or laptop computing situation had more or less stabilised, along came a whole pile of mobile phone platforms to make things interesting again. Familiar names like Opera, Safari, Firefox and even Internet Explorer are to be found popping up on handheld devices these days along with less familiar ones like Web 'n' Walk or BOLT. The operating system choices vary too, with iOS, Android, Symbian, Windows and others all competing for attention. It is the sort of flowering of innovation that makes one wonder if a time will come when things begin to consolidate, but it doesn't look like that at the moment.

The transformation of mobile phones into handheld computers isn't the only big change in computing, with the traditional formats of desktop and laptop PC's being flexed in all sorts of ways. First, there's the appearance of netbooks, and I have succumbed to the idea of owning an Asus Eee. Though you realise that these are not full size laptops, it still didn't hit me how small these were until I owned one.  They are undeniably portable, while tablets look even more interesting in the aftermath of Apple's iPad. Though you may call them over-sized mobile photo frames, the idea of making a touchscreen do the work for you has made the concept fly for many. Even so, I cannot say that I'm overly tempted, though I have said that before about other things.

Another area of interest for me is photography, and it is around this time of year that all sorts of innovations are revealed to the public. It's a long way from what, we thought, was the digital photography revolution when digital imaging sensors started to take the place of camera film in otherwise conventional compact and SLR cameras, making the former far more versatile than they used to be. Now, we have SLD cameras from Olympus, Panasonic, Samsung and Sony that eschew the reflex mirror and prism arrangement of an SLR using digital sensor and electronic viewfinders while offering the possibility of lens interchangeability and better quality than might be expected from such small cameras. Lately, Sony has offered SLR-style cameras with translucent mirror technology instead of the conventional mirror that is flipped out of the way when a photographic image is captured.  Change doesn't end there, with movie making capabilities being part of the tool set of many a newly launched compact, SLD and SLR camera. The pixel race also seems to have ended though increases still happen as with the Pentax K-5 and Canon EOS 60D (both otherwise conventional offerings that have caught my eye, though so much comes on the market at this time of year that waiting is better for the bank balance).

The mention of digital photography brings to mind the subject of digital image processing and Adobe Photoshop Elements 9 is just announced after Photoshop CS5 appeared earlier this year. It almost feels as if a new version of Photoshop or its consumer cousin is released every year, causing me to skip releases when I don't see the point. Elements 6 and 8 were such versions for me, so I'll be in no hurry to upgrade to 9 yet either, even if the prospect of using content aware filling to eradicate unwanted objects from images is tempting. Nevertheless, that shouldn't stop anyone trying to exclude them in the first place. In fact, I may need to reduce the overall number of images that I collect in favour of coming away with only the better ones. The outstanding question on this is: can I slow down and calm my eagerness to bring at least one good image away from an outing by capturing anything that seems promising at the time? Some experimentation but being a little more choosy can save work later on.

While back on the subject of software, I'll voyage in to the world of the web before bringing these meanderings to a close. It almost feels as if there are web-based applications following web-based applications these days, when Twitter and Facebook nearly have become household names and cloud computing is a phrase that turns up all over the place.  In fact, the former seems to have encouraged a whole swathe of applications all of itself. Applications written using technologies well-used on the web must stuff many a mobile phone app store too and that brings me full circle for it is these that put so much functionality on our handsets with Java seemingly powering those I use on my BlackBerry. Then there's the spat between Apple and Adobe regarding the former's support for Flash.

To close this mental amble, there may be technologies that didn't come to mind while I was pondering this piece, but they doubtless enliven the technological landscape too. However, what I have described is enough to take me back more than ten years ago, when desktop computing and the world of the web were a lot more nascent than is the case today. Then, the changes that were ongoing felt a little exciting now that I look back on them, and it does feel as if the same sort of thing is recurring though with things like phones creating the interest in place of new developments in desktop computing such as a new version of Window (though 7 was anticipated after Vista). Web designers may complain about a lack of standardisation, and they're not wrong, yet this may be an era of technological change that in time may be remembered with its own fondness too.

A tendency for overexposure?

A recent trip to Sweden saw my Canon PowerShot G11 being put to rather more use than was expected. If I had known what might have been coming my way, I may even have eschewed the principle of lightweight packing to bring along my Pentax DSLR. Nevertheless, the little Canon did whatever was asked of it when light was plentiful.

Once thing that I have noticed in comparison with the Pentax is the Canon's tendency to overexpose a scene. To a point, this can be explained by the former having proper spot-metering and the latter having the less specific partial metering. In fact, that might explain why a Canon EOS 10D SLR in my possession has the same tendency. Maybe it's time to make more use of the Sekonic light meter that I have, but that adds bulk that doesn't fit in with the idea of carrying a compact camera around with you.

That leaves getting more practice with exposure corrections at processing time (I do capture all my photos in raw format). Going further, I am finding that the same consideration appears to apply to image sharpening too. It's almost as if you need to develop a feeling for the results produced by a camera before satisfaction with any acquired photos will follow. Having decent lighting at capture time and not having muck on the sensor helps too, as I have discovered with the photos made used my Pentax K10D on a recent visit to Arran and Argyll. The state of the sensor needs sorting (even if it has an anti-dust system on board) but I sometimes wonder if my judgement of lighting is what it used to be or whether my aspirations have gone too high. Maybe I need to slow down a little to set aside time for working on getting better results and with the right light, a quantity that should come with autumn and winter. Meanwhile, I'll stick with making the best of the British summer.

Why the manual step?

One of the consequences of buying a new camera is that your current photo processing software may not be fully equipped for the job of handling the images that it creates. This especially manifests itself with raw image files; Adobe Photoshop Elements 5 was unable to completely handle DNG files made with my Pentax K10D until I upgraded to version 7.

As things stood, Elements 7 was unable to import CR2 files from my Canon PowerShot G11 into the Organiser, so it was off to the appropriate page on the Adobe website for a Camera Raw updater. Thus, I picked up the latest release of Camera Raw (5.6 at the time of writing) even though it was found in the Elements 8 category (don't be put by this because release notes address the version compatibility question more extensively).

Strangely, the updater doesn't complete everything because you still need to copy Camera Raw.8bi from the zip archive and backup the original. Quite why this couldn't have been more automated, even with user prompts for file names and locations, is beyond me, yet that is how it is. However, once all was in place, CR2 files were handled by Elements without missing a beat.

A new acquisition

Back in the early days of this blog, I mulled over the idea of having a high-end digital compact camera to complement a DSLR that then was delivering very dusty images; that Canon EOS 10D was cleaned since then and comes in for occasional use to this day. That was nearly three years ago, and a first generation Ricoh GR Digital was the item that then was catching my eye. At the time, I failed to justify spending that much money on such a thing and ended up acquiring a new Pentax K10D DSLR instead. The question that rattled about my head was this: what was the point of spending DSLR money on a compact camera? It is one that never really went away and comes to mind when you see the prices of interchangeable lens compacts like Olympus' Pen and equivalent offerings from Panasonic and Ricoh (there, it's interchangeable lens units rather than actual lenses).

The strongest counterpoint to the cost conundrum is the little matter of size. SLR (film or digital) cameras are sizeable things, and there is a place for having something that drops into a pocket. It is that which has propelled me into taking delivery of a Canon PowerShot G11. It may need a good-sized pocket but, unless you are going out with no jacket, it shouldn't be a problem most of the time. For those shorter sorties when I don't fancy bringing an SLR out, it is well-built and looks the business, though some acclimatisation is to make the best of the knobs, buttons and menus. Nevertheless, the included manual will help with this process (there's a paper quick start guide and more detailed documentation on CD).

The camera hasn't seen extensive use just yet, so here are a few early impressions. Firstly, there's the matter of size: it's even smaller than the first camera that I ever bought (more than fifteen years ago) and that was a Ricoh 35 mm compact film camera. That comparison is even more striking when you consider the feature sets. The Ricoh was a fixed 35 mm lens affair with things like date and time stamping, ISO choice and a nod towards scenic mode selection. In contrast, the much newer Canon is loaded with the sorts of things that normally are found almost exclusively on SLR's, starting with its effective 28-140 mm focal length range.

Exposure modes such as manual, aperture priority and shutter priority complement scene-based modes and another for movies (not a concern of mine, it has to be said). As if that weren't enough, there's exposure compensation too. It came as a surprise to me to find a form of manual focussing included, though it is not as convenient as turning a focussing ring on a lens. While you can see the inbuilt flash above, there's also a hot shoe and a place to attach a tripod too. Settings like white balance and file format are accessed using the Function/Set button, with the lever underneath the shutter release button controlling the focal length of the lens. In addition, there's also image stabilisation, and that's important when you're using live view to compose a photo. Spot metering and focal point selection are other things that find their way into the package. Some may be excited by other things, but exposure and focussing are essential for any photographic efforts.

An optical viewfinder is included, and it has diopter settings too, but my first impressions are that live view through the rear screen trumps it and I see no need for such things on SLR's. That also flips out from the camera body and can be rotated either for self-portraiture or for folding back in on the camera body for use like a non-articulated screen. Another use is with those occasions when the subject means holding the camera in positions that would be impossible with a conventional screen; holding the camera over your head or down low on the ground are the sorts of situations that come to mind.

Of course, there's more there than those features that I have listed, and the specifications on the Canon website are as good a place to start as any. So far, my only testing has taken the form of cursory checks and to make sure that the thing works properly. Still, this has given me more of a feel for the camera and how it operates. As you'd expect, high ISO settings are noisy, only for a bigger surprise to be that the smallest aperture setting is f/8. Being used to SLR's, I was expecting to get the likes of f/16 on there, but a spot of internet investigation indicated that I should have been taking the size of the sensor into account with my expectations. Any trials so far have been in dull weather, so I'd need to use it in a wider variety of conditions before giving it the sort of wider appraisal that you'd find in the likes of Outdoor Photography (who liked it, it has to be said). For what it's worth, I have found no major criticism so far, though I cannot see it usurping my SLR's not as if that ever was the intention anyway.