Lumix DMC-S5, The CCD Sensor, A Refresher

Image making with the 16MP CCD Panasonic Lumix DMC-S5, a refreshed set.

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Merry Christmas 2023 Everybody, Happy Holidays!

A very happy Christmas and Happy Holidays to all, a break for me, and a quick dash out of the door. Am taking this opportunity of this poe-scheduled post for a quick refresher on one of my favorite CCD sensor cameras, the ultra-compact 16MP CCD Panasonic Lumix DMS-S5 that I have been using as a product shoot camera for my sideline hustle. The camera, as you see with these refreshed images, is equally competent as an external use camera, or as the occasional close-up agent.

The choice, though, was not automatic, as I went through a selection of digitals to replace the aging E-520 that I had been using since a few years back. The Panasonic DMC-S5, introduced in 2012, is a follow-up of the DMC-S series which includes the DMC-S1 (2011), DMC-S3 (2011), and DMC-S2. The camera was updated with a new and higher-resolution image sensor, an updated autofocus system, a modest improvement in battery life, a reduction in burst-shooting speed, and an updated software package.

Panasonic Lumix DMC-S5

The lens, as found on the DMC-S# was the same Lumix DC Vario 4x optical zoom with a aperture opening of F3.1~9.0 at the short end, and F6.5~f/20.0 at the other. The camera also features a true optical image stabilization system, a 2.7-inch 230,000 dot resolution LCD display, and a 23-point multi-area autofocus system which includes a single-point focusing mode, and face detection. ISO sensitivity is rated from 100 to 1,600, expandable to 6,400 in High Sensitivity mode. Shutter speeds are from 8 seconds to 1/1,600 seconds.

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FinePix BigJob HD-3W, The CCD Sensor, Close-Ups

Image making with the 6MP CCD Fujifilm FinePix BigJob HD-3W, close-ups in the garden.

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I am still quite taken aback that I am spending a bit more time with the 6MP CCD Fujifilm FinePix BigJob HD-3W, a ruggedized all-weather camera manufactured for the construction and engineering industry. Initially available for the Japanese domestic market, the camera was introduced to the UK and Europe in 2007. The camera's easy-to-use setting and control features include a function to set the camera to macro mode, and macro distances of 2.5, and 5 meters.

Just like its 35mm film predecessor, the Fuji Work Record 35mm film camera series, this digital version is also water, shock, and dustproof, able to stand a drop of up to 0.6 meters. The camera should be equally adaptable, not only for garden close-ups like these but the hard and tough outdoor adventures as well. For insurance and forensic purposes, the camera is fitted with a system to detect manipulation of images, and easy e-mail transfers with 1MP sized images.

Fujifilm FinePix BigJob HD-3W

For whatever reason the camera was used and favored when it was first introduced, my current thought was that this great camera, with its fantastic CCD sensor images, is worth a lot more than just a low-cost auction item that I paid for (just slightly over UK £20). The camera is still growing on me, I just couldn't lay any faults on the CCD images, and I am happy to say that this is one camera I can take practically anywhere in whatever weather condition I am willing to face.

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Canon EF 40mm 1:2.8 STM, Digital Moments, City Green

Image making with a Canon EF 40mm 1:2.8 STM on a Canon EOS 300D, catching the green.

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Had the chance to go down to the city again recently, and took the opportunity to take along the Canon EOS 300D, mounted with the EF 40mm 1:2.8 STM, for the unplanned street shoot. I have had the well-used and slightly beat-up EOS 300D for quite some time now, and have been using it for pot-shots around the house and the adjoining community field. The camera and lens kit was light and compact enough and carrying it around was not really a hassle.

One thing I noticed as I went through with the shots was that the camera was quite heavy on the battery, which was already almost completely exhausted by the time I managed to get the final few shots in. Not too sure what the problem is, could be the age of the camera itself, which is draining a lot more power than it should, or the original battery I was using that is not keeping its charge well. It was an excellent outing anyway, with the shots edited for the frames posted here.

Canon EOS 300D, Canon EF 40mm 1:2.8 STM

The EF 40mm 1:2.8 STM, one of a pair of EFs that I have, is still in its excellent self, a favorite, and has always done well on each and every session that I had it mounted on the 300D. On the ASP-C sensor of the 300D, the 40mm STM is equivalent to a 64mm short tele on a full frame 35mm camera, an excellent focal length that draws in the view into a tighter composition.

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FinePix BigJob HD-3W, The CCD Sensor, Picture Modes

Set I

Picture Mode: FinePix Standard

Picture Mode: FinePix Chrome

Picture Mode: FinePix B&W

Set II

Picture Mode: FinePix Standard

Picture Mode: FinePix Chrome

Picture Mode: FinePix B&W

Looking at the three image emulations the 6MP CCD Fujifilm FinePix BigJob HD-3W can be set to.

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An interesting follow-up to the initial Fujifilm FinePix BigJob HD-3W 6MP CCD, Take I shots I posted earlier. These two sets of images were shot with the simple FinePix Color Picture Modes selection available on the camera. The settings available were for FinePix Standard (first image), FinePix Chrome (second image), and FinePix B&W (third image), with the two later modes listed and displayed on the LCD with film roll icons.

The subtle difference in characteristics between the Standard and Chrome Picture Modes does make it a bit harder on which emulation you would want to choose when preparing for the shoot. If you are for the emphasis on the objects in the image, where the colors and environment are rendered more vividly, the FinePix Chrome setting might be the choice for you.

Fujifilm FinePix BigJob HD-3W

The selection is available through the Shooting Mode menu. To access, press the center button on the Cursor Joystick circle and move down the menu selection list to the last listing, FinePix Color. Next, press the right cursor button and you will have access to the three options - F Standard, F-Chrome, and F B&W. Both the F-Chrome and F-B&W film roll icons which will also be displayed on the LCD screen when selected.

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Olympus SP-500UZ, The CCD Sensor, First Impression

Image-making with a 6MP CCD Olympus SP500UZ, a low-cost entry for CCD camera enthusiasts.

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A low-cost entry for those who are interested in trying their hands on CCD sensor imagery. The Olympus SP-500UZ, launched in 2005 by Olympus, comes with a 6MP CCD sensor, a fast Olympus aspherical glass 1:2.8-3.7 10x optical (+ 5x Optical) zoom lens, a non-adjustable electronic viewfinder, and a 115,000 pixels 2.5 inch LCD with four display option. The focal length of the lens is 6.3–63mm, which works out as equivalent to 38-380mm on 35mm full-frame cameras. The camera runs on 4X AA batteries.

Small, light, and compact, the camera measures 106 x 75 x 71 mm and weighs 285 grams, has a manual pop-up flash, and a lens that extends forward when switched on. Unlike some other long-zoom models, the SP-500UZ does not have in-built image stabilization but compensation for digital camera movement is, however, provided in movie mode. A top-mounted exposure mode dial carries settings for Auto, P, A, S, and M modes, a customizable My Mode setting, a selection of 21 Scene modes, Movie, and Playback.

Olympus SP-500UZ

The SP-500UZ has a rather extensive menu and display options, best learned with the help of the instruction booklet. Pressing the menu button located in the middle of the four-way controller, for example, will bring up the main menu selection. The top, left, and bottom 'shortcuts' can be assigned to almost any setting, and the right arrow takes you to the menu pages. The four tabs are for the camera, picture, card (formatting), and setup settings. The menus have options for virtually every shooting variable, from macro, burst, and drive mode to ISO, white balance, focus mode, sharpness, saturation, and contrast.

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FinePix BigJob HD-3W, The CCD Sensor, First Impression

Image making with a 6MP CCD Fujifilm FinePix BigJob HD-3W, a camera that gives a stranglehold effect over me.

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A camera I am rather excited about now is the 6MP CCD Fujifilm FinePix BigJob HD-3W, an easy and simple-to-use ruggedized digital camera that is encased in a water, shock, and dustproof body. The camera was initially produced for the Japanese domestic market before it was introduced to the UK and Europe in 2007. The camera is fitted with a wide-angle Fujinon 3x 4.7-14.1 (28-84mm equivalent) lens, with ISO 1600 light sensitivity, and a powerful flash that is effective up to 10 meters.

Form-wise, the camera is a rectangular medium-sized body with rubber grips and big buttons camera, capable of withstanding a drop test to 70cm. Just like the previous 35mm film version of the Fuji Work Record OP, the BigJob HD-3W is designed to be used in challenging environments of construction, engineering, health and safety, and manufacturing industries.

Fujifilm FinePix BigJob HD-3W

With its go-anywhere-do-anything look, I am sure that the camera is ever ready for the rough and tough outdoors with image projections that are better than what is seen from the Take I images posted here. Looking forward!

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Canon PowerShot Pro1, The CCD Sensor, A Disappointment

Image-making with the highly regarded 2004 6MP CCD Canon PowerShot Pro1, just couldn't get the hang of it.

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For all the hype, accolades, and promotions on the excellence of the Canon PowerShot Pro1 (a circa 2004 digicam fitted with a 6MP CCD sensor), the camera, to me, is still a disappointment. It could even be my own fault that I acquired a unit with a slight distribution of moss-like fungal infection on the front lens, which makes autofocusing a hit-and-miss, it is the overall sluggishness of the camera appalls me. Took ages for the camera to focus, and longer still to record the images.

The Canon Powershot Pro1, launched by Canon in 2004, comes fitted with the professional 'L' (Luxury) line lens, made for the earlier FD-mount lens series. Canon 'L' lenses are normally identified with a red ring and the letter 'L' engraved on the lens trim. These lenses tend to be more durable, with some incorporating dust and water-resistant rubber seals. On the Pro1, the lens has a zoom range of 7.2 to 50.8mm, equivalent to 28 to 200mm in 35mm full-frame format. The camera has a maximum speed of 1/4,000 second, measures 117.5 x 72 x 90.3mm deep, and weighs 545 grams.

Canon PowerShot Pro1

As posted, I do, however, manage to get a few interesting in-focus shots with the Pro1 on its test run. Images were post-processed on the desktop photo editor, cropped to suit, and tweaked with Tone Cirve, Brightness & Contrast, and Unsharp Mask. While the images were near exhilarating, the lethargicness of autofocusing and image recording remains the sore point, and the tendency to pass this model over to another make and model with faster AF and image recording (from later years production run) is all but there.

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Lumix DMC-FZ45, The CCD Sensor, First Impression

Image image-making with a sticky and uncomfortable-to-use zoom lever on a 14.1 MP CCD Lumix DMC-FZ45.

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The Panasonic Lumix DMC-FZ45 is identical to the FZ40, only in which region it was sold (North America or Europe). The image qualities from these two models are, of course, equally identical. I have both of these cameras, the FZ45 being an earlier buy, but it came with a sticky zoom lever that stays at the position it was pushed to without wanting to center itself. I found this rather uncomfortable to use and decided to use a copy of the FZ40, which works perfectly.

The FZ45/FZ40, launched in 2010, replaces the FZ38/35 launched in 2009. The model has a bigger 24x Optical Image Stabilized Zoom equivalent to a 25-600mm lens on a 35mm full-frame camera, a 14.1 MP CCD sensor (the FZ38/35 had an 18x zoom and a 12.1MP CCD sensor), a 3.0-inch 230,000 pixel LCD screen. The FZ40 also comes with AVCHD Lite 720p HD video recording, and Sonic Speed auto-focus system, the industry's fastest focus times.

Panasonic Lumix DMC-FZ45

The specs of the FZ45/40 were close to that of the FZ100 which had a 14.1MP CMOS sensor, a fully articulated 3.0-inch 460k monitor, and 1920 x 1080 full HD (1080i) video recording in AVCHD format. Another minor but welcome change with the FZ45/40 is the replacement of the Record/Playback slider switch of the FZ38/35 with a simple button to access playback mode. The slider switch is now replaced by a push-and-turn dial for adjusting shutter speed and aperture settings in programmed modes.

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