Lumix DMC-FZ38 (2009), A Look Back

CCD Resurgence: A look back at images with a Panasonic Lumix DMC-FZ38, a legacy tech (vintage digital camera) prized by retro enthusiasts for its classic CCD sensor look and nostalgic 2000s bridge-camera design.

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Vintage CCD enthusiasts looking for a low-investment DSLR‑style camera with a fixed (non-interchangeable) long zoom should not miss out on the Panasonic Lumix DMC-FZ38 (DMC-FZ35 in North America) as an option to look at. The highly regarded camera, launched in 2009, is a superzoom digital bridge camera with a 12.1MP CCD sensor and an 18x optical zoom lens (equivalent to a 27-486mm zoom lens on a full-frame camera).

The camera, installed with a new Venus Engine HD image processor, updates the DMC FZ-28, launched earlier in 2008, with improvements that include Face Recognition, an AF system twice as fast as the preceding model, AVCHD Lite HD video recording, and Power O.I.S (Optical Image Stabilization).

Features include a fast f/2.8 to f/8 lens, a 201,000 dots EVF (Electronic Viewfinder), a set of stereo microphones and a monaural speaker, a 2.7-inch 230,000 dots TFT LCD, a shutter speed range from 60 to 1/2000 second, ISO sensitivity from 80 to 1600 (ISO 6400 in High Sensitivity mode), and a pop-up flash. The camera measures 118 x 76 x 89mm and weighs 414 grams with card and battery.

Exposure selection include iA (Intelligent Auto) with Scene Detection, Face Recognition, and AF tracking for automated shooting, P (Program AE), A (Aperture Priority), S (Shutter Priority), and M (Manual Exposure) modes; My Color Mode, which allows for artistic color adjustments; Scenes for settings such for Portrait, Scenery, Sports, Night Portrait, and Close-up; and Scene Modes for Panorama Assist, Party, Candle Light, Baby 1, Baby 2, Pets, and a host of other selectable options. 

While the camera is not exactly pocketable, its compact size fits well with smallish hands, and with its robust build, it should do well as a carry-around for family outings and occasional travel, and is equally competent as a very well-featured digital bridge for learning photography with manual controls.

A good start for less experienced photographers to capture well-exposed images is to shoot in the iA (Intelligent Auto) mode, which allows the camera to select the most suitable settings for Portrait, Landscape, Macro, Night Portrait, or Night Scenery. Beyond that, the camera is packed with enough features and options to keep you occupied with its well-endowed functions and capabilities to enhance your photography skills.

In the image quality department, the Lumix DMC-FZ38 is acclaimed for its ability to deliver excellent images consistent with its class as a 2009‑era CCD camera, especially at lower ISOs and in good light. Images, at higher sensitivities and longer zoom reach, however, may be slightly soft. and seen with visible noise.

Lumix DMC-FZ38

The FZ38/FZ35 was updated to the Lumix DMC-FZ40/FZ45 in 2010, launched alongside the FZ100. The camera features a 25-600mm equivalent lens, similar to the FZ100, with a 14.1MP CCD sensor and a 230K dot 3.0-inch fixed LCD. The FZ40 also offers AVCHD Lite 720p HD video recording, manual shooting modes, and Panasonic's Sonic Speed auto-focus system that offers the industry's fastest focus times.

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Nikon D200, AF Zoom-Nikkor 24-50mm f/3.3-4.5s

CCD Resurgence: Images with a Nikon D200, with an AF Zoom-Nikkor 24-50mm f/3.3-4.5s, a classic and ideal wide-angle to short zoom (36-75mm full-frame equivalent) APS-C digital SLR camera setup.

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The AF Zoom-Nikkor 24-50mm f/3.3-4.5s (most often mentioned just as a "f/3.3-4.5") is a wide-angle to standard zoom lens introduced by Nikon in 1987 (to 1995) as part of the initial wave of autofocus lenses for Nikon F-mount camera bodies. The lens is notable for being Nikon's widest autofocus zoom lens at the time of its release, and serves well as an affordable, lightweight walk-around zoom. Even without modern coatings as found on lenses today, the 24-50mm f/3.3-4.5s is often praised for its classic rendering and, in some cases, surprising sharpness.

The lens was introduced as an update to the earlier Zoom-Nikkor 25-50mm f/4 Ai-S (1981 to 1985). Construction is a simple 9-element in 9 group design with a variable aperture, 7 rounded aperture blades with a rotating zoom design, a distance scale display window, and a manual focusing ring at its furthest end. It has a minimum focusing distance of 0.6 meters, measures 68mm in diameter x 41mm in length, takes 62mm filters, and weighs 375 grams.

The front rotates when focusing, which can be inconvenient when using polarizer filters, and on some units, the zoom barrel can feel a bit wobbly.

The lens, as well as others from the series, are classic non-SWM (Silent Wave Motor) lens, where autofocusing is dependent on the internal focus motor from inside the camera body. They are, however, compatible with higher-end Nikon DSLR cameras, including the D7000-series, D200, D300, D500, and D850.

The f/3.3-4.5s was later replaced by the AF Nikkor 24-50mm f/3.3-4.5D (1995-2006), an improved version of the non-D model featuring a physical aperture ring and a chip to transmit focus distance information for enhanced 3D Matrix Metering.

On the Nikon D200, the lens is equivalent to a 36-75mm zoom on a full-frame camera, a very versatile standard or mid-range zoom with focal lengths from wide-angle to portrait telephoto. The lens is equally versatile for all-day shooting, crops and close-ups, street photography, travel, and environmental portraits.

Images, on the Nikon D200, are almost filmic, vibrant, with punchy colors and strong greens and reds, especially at low ISOs. With the AF Zoom-Nikkor 24-50mm f/3.3-4.5s, center sharpness is acceptable wide open, with the images improving significantly when stopped down to f/5.6 or f/8.

Nikon D200, AF Zoom-Nikkor 24-50mm f/3.3-4.5s

The Nikon D200, a 10.2MP DSLR released in 2005, is renowned for its robust, professional-grade magnesium alloy body and the unique, film-like color rendering of its CCD sensor. While the camera lacks modern features as found on its modern counterparts, its excellent ergonomics, a robust die-cast magnesium alloy chassis that provides exceptional rigidity and durability, and user-friendliness make it a great, affordable model for learning photography and for vintage enthusiasts.

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Pentax K-m, Takumar-A 28mm f/2.8

CCD Resurgence: Images with a 10.2MP CCD Pentax K-m, with a Takumar-A 28mm f/2.8, an ideal 42mm full-frame equivalent manual-focus setup that mimics the natural perspective of the human eye.

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A very bright sunny day session with a legacy Takumar-A 28mm f/2.8, from a series of budget-friendly manual focus lenses manufactured for Pentax K-mount SLR cameras between 1984 and 1988, mounted on an equally vintage Pentax APS-C digital SLR camera, Pentax K-m (K2000 in the US), released in 2008.

Takumar-A lenses, acknowledged with excellent build quality, sharp image rendering, and unique 'character', are a simplified version of older Takumar lenses with lighter build quality and less elaborate coatings, and carry the 'A' designation to indicate that they can be used in full aperture- and shutter-priority, program, and manual exposure modes on compatible cameras.

The 7-element in 7 group lens, featuring a 5-blade automatic diaphragm, shares the same optical formula as the SMC Pentax-A 28mm f/2.8, except without the Super-Multi-Coating (SMC) option. The lens has a 49 mm filter thread, a minimum focus distance of 0.3 m, measures 63 × 37 mm, and weighs 180 grams.

On the Pentax K-m, the Takumar-A 28mm f/2.8 is equivalent to a 42mm prime on a 35mm full-frame camera, a focal length still considered as the "sweet-spot lens for photography," with images that offer natural perspective, minimal distortion, and high versatility for street, portrait, and travel. The lens enjoys a Sharpness rating of 8.5, an Aberrations rating of 8.8, a Bokeh rating of 7.8, a Handling rating of 8.8, and a Value rating of 9.8 on PentaxForums.

Despite lacking SMC, the Takumar‑A 28 mm f/2.8 controls flare and ghosting better than many older designs, with contrast holding up reasonably well even when shooting into the sun. Saturation and color are typically described as neutral‑to‑slightly warm, with a pleasant vintage look that doesn’t turn gaudy on modern sensors.

Though considered a budget option series, Takumar-A lenses are still comparable in performance to the others and should do well for manual focus users and enthusiasts who work both in manual and auto exposure modes. These lenses are compatible with modern digital Pentax DSLRs as well, and as they are often listed at lower prices, they are the non-SMC alternative with similar performance. The lenses were also sold as Cosmicar and Takumar Bayonet in some markets.

The Pentax K-m (K2000), on which the Takumar-A 28mm f/2.8 was mounted for this bright sunny day run, is a compact, entry-level 10.2-megapixel APS-C DSLR designed for beginners, and comes with features including an in-body Shake Reduction system, a 2.7-inch LCD, and a 3.5 fps continuous shooting rate. The camera is lauded for its small size, user-friendliness, and compatibility with numerous K-mount lenses, and runs on 4x AA batteries.

Pentax K-m/K2000, Takumar-A 28mm f/2.8

Compared to the K200D (2008), the camera on which the K-m (K2000) was based, the K-m is a smaller, lighter, and is the faster-shooting successor. While both share the same 10.2MP CCD sensor, the K-m (K2000) is not weather sealed, has no top LCD panel, and has no dedicated RAW button.

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Nikon D200, AF Nikkor 50mm f/1.8D

CCD Resurgence: Images with a 10MP CCD Nikon D200, and an AF Nikkor 50mm f/1.8D, is a legendary nifty-fifty kit, sharp and versatile for portraits, street photography, and low-lights.

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Early impression images with the classic, or rather, a "modern vintage" AF Nikkor 50mm f/1.8D, a compact, lightweight, and highly affordable "normal" prime lens, mounted on a truly vintage Nikon D200. While the AF Nikkor was introduced as a lens for 35mm film SLRs in 1986 (and updated with 'D' technology in 2002), the D200, fitted with a 10.2MP CCD sensor, was introduced in 2005.

The D200 is a professional-grade digital SLR camera appreciated for its rich, film-like, nostalgic aesthetic colors that photographers seek.

Both the camera and lens have stood the test of time and remain relevant today, with the AF Nikkor 50mm f/1.8D, the renowned "nifty fifty," as a compact, budget-friendly prime known for its exceptional sharpness, bright aperture, and versatile focal length; while the Nikon D200, with its magnesium-alloy chassis, weather-sealed body, and workhorse robustness, remains a cult favorite.

While technology has advanced far beyond the D200's capabilities, collectors and enthusiasts still use the D200 as a favorite for the way the camera interprets color, which is uniquely vibrant with skin tones and organic hues straight out of the camera. The lack of modern conveniences, which the camera is not equipped with, compels users to slow down and use the camera as a tool to re-establish the fundamentals of their photography skills.

The camera, however, features a built-in autofocus motor, which can autofocus older, highly affordable Nikon AF/AF-D lenses as well as communicate metering with manual focus (AI-S) lenses with its 11-point AF system. While the Nikon D200 produces sharp and detailed images at lower ISO settings (ISO 100 to 400), images at higher ISOs may have significant digital noise.

The Nikon AF Nikkor 50mm f/1.8D, a FX (full-frame) format design, features an optical design of 6 elements in 5 groups with 7 rounded aperture blades, an aperture range from f/1.8 to f/22, a minimum focusing distance of 0.45 meters, measures approximately 63.5 x 39mm, takes 52mm filters, and weighs 155 grams. The lens relies on the mechanical autofocus screw drive built into the camera body.

On the Nikon D200, which introduces a 1.5x crop factor to the lens, the Nikon AF Nikkor 50mm f/1.8D is equivalent to a 75mm short telephoto lens on a full-frame camera, an ideal and flattering focal length for head-and-shoulders portraits.

With its wide f/1.8 aperture, the lens is equally adept for events, concerts, or dimly lit rooms without flash, and for candid street shooting with the camera at non-intrusive distances from subjects.

Nikon D200, AF Nikkor 50mm f/1.8D

The combination of the Nikon D200, with the Nikon AF Nikkor 50mm f/1.8D mounted properly and the lens aperture control set to its smallest aperture and locked in place for the camera to control the aperture electronically, is the favored setup for capturing vivid outdoor scenes and moody everyday photography.

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Nikon D200, Vivitar (Kiron 22xxxxxx) 28mm f/2.5

CCD Resurgence: Images with a 10MP CCD Nikon D200, and a vintage legacy wide-angle Vivitar 28mm f/2.5, a lens produced by various manufacturers, most notably Kiron, which carries serial numbers that start with #22.

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The Vivitar 28mm f/2.5, a lens from the late 1960s/early 1970s, is well known for its compact and solid metal build, providing a highly favoured field-of-view equivalent of a 42mm lens on an APS-C digital SLR camera with 1.5x crop sensors, or 44.8mm on Canon APS-C DSLRs. The lens is well regarded as a “hidden gem” manual‑focus wide‑angle lens for vintage SLRs.

Lenses with serial numbers starting "22xxxxxx" were manufactured by Kiron, which distinguishes itself from versions by Tokina or others.

The 40 to 45mm focal range, or near equivalents, are very versatile and are often favoured for their natural, eye-like perspective. The focal length is ideal for capturing authentic scenes without the distortion of wider-angle lenses, just wide enough to include the surroundings while being tight enough to bring focus to subjects.

The focal range is equally adaptable for street and travel photography for natural views of authentic scenes without the distortion of wide-angle lenses, general purpose and everyday shooting for capturing life as it happens, for flattering, classic portraits, close-up and product photography for excellent, high-magnification shots for flowers, jewelry, or other small items.

As for the lens itself, it already has excellent center sharpness even at f/2.5, which goes on to be razor-sharp by f/5.6. Images, as in this case, enhanced by the 10.2MP CCD sensor of the Nikon D200, have the tendency to be raunchy, with rich colors, and a 3D pop effect.

Bokeh is smooth with minimal fringing by f/4, though corners are soft with noticeable vignetting when wide open. Chromatic aberration is well-controlled, with flare being the weak point. The lens is prone to veiling or rainbow patterns against bright light, but contrast holds up decently, though.

As a value collectible, the solid all-metal and glass manual focus with automatic diaphragm is an 8-element in 7 groups lens, with 6 to 8 aperture blades (varies by source/batch), and a 0.3 meters minimum focusing distance. The lens is praised for its joy-to-use ergonomics for vintage glass, ideal and easily adaptable to modern digital SLR cameras.

Nikon D200, Vivitar (Kiron 22xxxxxx) 28mm f/2.5

The Nikon D200, a prosumer DSLR launched in November 2005, features a 10.2MP Nikon DX‑format CCD sensor with a weather‑sealed magnesium‑alloy body. While the CCD sensor is praised for its gentle, analog‑like tonality and smooth color rendition, especially in daylight and studio settings, the D200 remains a Nikon-centric classic with an optical viewfinder and comprehensive manual controls, with neither video nor Wi‑Fi.

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