Underexposed

This cross section shows two rings of light-sensitive semiconductor material in the fiber. The eight thicker parts are electrodes to carry signals.

(Credit: Massachusetts Institute of Technology)

And you thought it was a problem when folks went into the locker room toting cell phones with cameras.

Researchers at the Massachusetts Institute of Technology have developed a fabric made of a mesh of light-sensitive fibers that collectively act like a rudimentary camera. The fibers, which each can detect two frequencies of light, produced signals that when amplified and processed by a computer reproduced an image of a smiley face near the mesh.

"This is the first time that anybody has demonstrated that a single plane of fibers, or 'fabric,' can collect images just like a camera but without a lens," said Yoel Fink, an associate professor of materials science, who along with colleagues described the approach in a the journal Nano Letters.

MIT suggested that the technology, if developed further, could give a soldier a uniform that would help him see threats in all directions. Optical fiber webs, by distributing the chore across a large area, would be less susceptible to damage in one area.

The technology uses fibers less than a millimeter in diameter, stretched into thin form from a thicker cylinder. Within the fibers are two cylindrical shells of semiconductor material, each connected to the outside world with four built-in metal electrodes.

A new tremor on Thursday traversed a photography world already shaken up by the arrival of digital technology as Phase One, a Copenhagen-based company that caters to professional photographers, announced a plan to acquire some high-end photography assets from Eastman Kodak.

To nobody's surprise, Kodak wound down its 35mm Kodachrome film product on Monday. In the rarefied realm of medium-format photography, where film sizes are much larger, and the demand for quality is much higher, the change to the digital era has been equally jarring.

Phase One, though, was digital from the outset, and it's become a force for consolidation in the digital medium-format photography market. The company announced its plan to acquire technology and hire employees from Kodak's Leaf medium-format brand just months after taking control of Japanese medium-format camera maker Mamiya.

Leaf sells medium-format cameras, digital-sensor camera backs, and Leaf Capture photography software. The latter two products, but not necessarily the first, will live on under Phase One management.

(Credit: Leaf)

The vast majority of cameras sold today are either all-in-one compact models or higher-end single-lens reflex (SLR) cameras with interchangeable lenses and larger, better image sensor chips. Medium-format cameras are another step up the ladder, costing tens of thousands of dollars for digital models, employing even larger sensors with more megapixels, catering to professionals almost exclusively, and offering not just interchangeable lenses but also sometimes interchangeable viewfinders and "backs," too, where image sensors or film packs are mounted.

Once the Leaf deal closes in about two weeks, Phase One Chief Executive Henrik O. Hakonsson said in an interview, Phase One will continue to develop and sell Leaf's digital backs and photography software through a new Israel-based company, Leaf Imaging. The new company will sell products that use Phase One's image sensor chip technology but that maintain Leaf's user interface approach, he said.

"We do not believe you can box everything together and serve all the pro photographers' needs," Hakonsson said. "One main thing we can get from Leaf is the ability to serve this market through a broader range of solutions than our own current design and engineering is able to offer. Another is, we need to be able to have more critical mass" in designing and manufacturing high-end image sensors.

Terms of the deal weren't disclosed.

The changes illustrate just how complicated the digital transformation is for the high-end photography market, populated by the likes of high-priced photographers who shoot Vogue fashion ads and close-ups of jewelry and watches.

Back in the film era, it wasn't much more expensive to produce larger frames of film for these more demanding photographers than the 35mm film size used by mainstream folks. But in the digital era, with the constraints of processor manufacturing, it's vastly more expensive to produce larger image sensors than small ones. Phase One's top-end camera, the 60-megapixel P65+, costs about $40,000.

That economic reality is behind much of the medium-format market turmoil. Phase One, though, has grown each of the last seven years. "I don't think there's a simple recipe. I think it's equal parts hard work, good thinking, and a little bit of luck," Hakonsson said.

Phase One faces plenty of challenges, though--notably Canon's 21-megapixel, $7,000 1Ds Mark III and Nikon's newer $8,000 D3X. These models benefit from those companies' deep engineering, manufacturing, and marketing experience and from their broad customer bases. Both those companies are aiming their cameras at studio photographers with medium-format expertise.

Will Leaf's camera survive?
Leaf offers both Aptus-branded digital backs and AFi-branded digital cameras. While Phase One has rights to sell both those lines, it has committed so far only to sell the digital backs, Hakonsson said.

That means that Phase One's move will likely reassure Leaf digital-back customers, but those using the AFi camera still face an uncertain future. The Leaf AFi was developed in partnership with two other medium-format brands, Franke and Heidecke's Rollei and Jenoptik's Sinar, which sell their own versions of the camera, but Phase One declined to join that partnership earlier.

That camera partnership's future already is under a dark cloud. Franke and Heidecke, which manufactures the camera system for the trio, filed for bankruptcy protection earlier this year.

Phase One will conduct a "thorough investigation of the product concept," Hakonsson said, "but there is no guarantee that Leaf or Phase One will support the system. We do have product rights to it and are able to do it, but it has to come down to a business decision whether it makes sense to revive the system."

The allies behind the system have made some progress since its inception, but Phase One remains concerned about issues with optics, durability, and service, Hakonsson said.

Digital-back business
Digital backs, on the other hand, are a better business for the company. They can be used with a range of medium-format cameras and with other more exotic models, such as large-format cameras and view cameras--the kind with the collapsing bellows most people associate with 19th-century photography but that still are in use.

In this segment of the market, where photographers are more set in their ways, older camera designs can last a long time. Just selling backs means the image sensor component of the camera can be changed relatively often to keep up with technology, but the rest of the system, which changes more slowly, can be used for longer.

"Six years ago, Contax discontinued production, but we've never sold as many Contax digital backs as we do today," Hakonsson said.

The other major power in the medium-format realm is Hasselblad, whose recent designs such as the H3D-II have favored integrated camera designs rather than interchangeable backs. That integration move deprived Phase One of a lot of potential digital back business and provided motivation for the Mamiya and Leaf deals.

Phase One has about 100 employees of its own and another 150 through Mamiya. The Leaf group is in the process of hiring about 25 employees who lost their Kodak jobs, he said.

Phase One has primarily used Kodak's image sensors, but its more recent models, including the high-scoring P65+, are built by Canadian manufacturer Dalsa. "For maybe the last 18 months, Dalsa has been ahead," he said.

Updated 5:01 p.m. PDT with further details on Phase One competition.

Canon's Rebel T1i

(Credit: CNET)

Apple released a software update Thursday to let its Aperture 2, iPhoto '08, and iPhoto '09 photo-editing software handle raw images from three newer SLRs, Canon's Rebel T1i, Nikon's D5000, and Olympus' E-30.

Higher-end cameras offer raw image formats that provide more flexibility and quality than JPEG, but the raw file formats are proprietary, vary from one camera model to another, and require companies such as Apple and Adobe Systems to release a constant stream of updates. Microsoft relies on camera manufacturers to supply software for Windows that can interpret the raw data, which is taken directly from camera image sensors without in-camera processing.

Camera makers typically supply their own software for handling raw images, but many people prefer their own photo software.

Further detail on Apple's support is available on Apple's raw camera support page.

Medium-format digital cameras, which have larger sensors and higher price tags than even high-end SLRs, didn't fare so well in earlier tests of sensor quality by measurement firm DxO Labs, but Phase One's newly tested top-end technology has risen to the top of the DxOMark Sensor test.

Phase One now rules the DxOMark Sensor roost.

(Credit: DxO Labs)

Phase One's 60-megapixel P65+ camera scored 89.1 on the test, edging out the Nikon D3X, which scored 88, according to data released Thursday. In addition, the 51.7-megapixel Hasselblad H3DII 50, an older model than Phase One's, scored 78.2. Click here to compare the two models and Nikon's D3X.

The DxOMark sensor test measures a camera sensor's dynamic range, color depth, and low-light performance. DxO Labs cautions that differences of less than 5 points aren't really distinguishable, and of course many other factors including price, lens quality, autofocus, and resolution factor into overall camera quality.

The P65+ features the best color performance yet, but DxO Labs said its comparatively good performance in low-light conditions helped it carry the day.

Phase One, a Copenhagen-based maker of professional-grade digital camera technology, has invested in and assumed some control over Japanese camera maker Mamiya.

(Credit: Phase One)

Phase One and Mamiya already had a partnership for one medium-format camera through a partnership begun in 2006, but now the alliance is much tighter, with Phase One in the driver's seat for some key areas, Phase One said Wednesday.

"Phase One is making a significant financial investment in Mamiya Digital Imaging, thus becoming a major shareholder in the company behind the Mamiya brand of medium-format cameras and lenses," Phase One said in a statement. "To ensure clarity of brand positioning and minimize product overlap, in close cooperation with Mamiya top management, Phase One will take on strategic leadership for the companies' research and development, marketing, and distribution management."

Medium-format cameras feature a sensor that's much larger and therefore more expensive to manufacture than those even in high-end $8,000 SLRs from Canon and Nikon, but that offer more megapixels for large, high-quality printing demands.

Toshio Midorikawa, president of Mamiya Digital Imaging, argued that the companies bring complementary abilities: "Together, Phase One and Mamiya Digital Imaging own all competencies required for developing superior, innovative medium-format camera systems. Our combined expertise comprises digitalization, camera fine mechanics, optics design and production, and broad ranges of software and firmware capabilities," he said. "And as a result of our close collaboration, new products are just around the corner. We plan to introduce both new leaf shutter lenses and even more super lightweight focal plane shutter lenses in 2009. We aim to offer the world's widest range of medium format lenses for Mamiya and Phase One camera platforms."

Medium-format cameras are used chiefly by professional studio photographers; Phase One's P65+ image sensor back offers 60 megapixel resolution on a sensor measuring 53.9mm by 40.4mm, much larger than the 36x24mm sensors in high-end conventional SLRs from Canon, Nikon, and Sony. Phase One and Mamiya competitors include Hasselblad, Sinar and Leaf.

Bruce Livingstone, founder and leader of microstock pioneer iStockphoto, is leaving the company he sold to Getty Images three years ago.

iStockphoto founder and former CEO Bruce Livingstone

(Credit: Stephen Shankland/CNET)

Livingstone, who launched the low-cost photo-licensing company nine years ago, said he's leaving of his own volition, according to a forum posting from iStock COO Kelly Thompson, who is taking over Livingstone's duties.

"This is my last communication as CEO of iStockphoto and SVP Consumer at Getty Images. It's been a difficult decision, but it's the right moment to move on," Livingstone said. "I need more time with my family, and time to figure out what I'm going to do next. Anybody who knows me, knows I'm a bit of a workaholic. So I'm finally going to make some time for myself and the people in my life."

Thompson will lead iStockphoto and report directly to Getty CEO Jonathan Klein, the company said. iStockphoto got its start licensing royalty-free images for relatively low prices, and over the years expanded into video, Flash animations, illustrations, and, most recently, audio.

Livingstone's departure was unrelated to 110 layoffs at Getty Images reported last week by Photo District News, the company said.

"Bruce's departure was a personal decision and has been planned for some time, with a potential April 1 announcement date, which is within the wry character of Bruce," Thompson said in a statement to CNET News. "But due to the inherent difficulty in keeping something like this contained, we felt it prudent to move the announcement up."

Livingstone said he'll continue with some involvement at iStockphoto. "Don't think for a minute that I'm going away, though. I'm still a photographer after all, and I'll finally have time to take pictures now," he said in the forum posting.

DxO Labs added scores for three Sony SLRs to its site for image sensor tests. (Click to enlarge.)

(Credit: DxO Labs)

Three midrange Sony SLRs now are included in DxO Labs' measurements of image sensor performance, and the Alpha A700 proves to be reasonably competitive.

Sony's A700, which costs about $1,100 with an 18-70mm lens, has a score of 66.3 on the test, which calculates how well the sensor handles color, a range brightness and darkness, and low-light shooting. That puts it behind the top-scoring camera with a comparably sized sensor, the Nikon D90, almost ties it with the Pentax K10D and Nikon D300, and gives it a a few points' lead over Canon's 40D and 50D.

Meanwhile, the A200 scores 62.9 and the A300 an even 64, according to the DxOMark Sensor test results that were updated Tuesday. A five-point difference makes a difference of about 1/3 stop in exposure, DxO says, meaning that a higher-scoring camera can attain the same raw image quality as a rival even though the higher-scoring camera is using a faster exposure or higher ISO.

DxO Labs, a French company, makes a business of measuring camera image quality, developing technology for image-processing hardware and software, and selling software to convert the raw files produced by higher-end cameras into less flexible but more convenient formats such as JPEG. The DxOMark score measures sensor performance based on the raw file, a foundation for overall image quality but only a facet of a camera's overall performance.

A correction has been made to this story. See below for details.

LAS VEGAS--Olympus has declared an end to the megapixel race.

"Twelve megapixels is, I think, enough for covering most applications most customers need," said Akira Watanabe, manager of Olympus Imaging's SLR planning department, in an interview here at the Photo Marketing Association (PMA). "We have no intention to compete in the megapixel wars for E-System," Olympus' line of SLR cameras, he said.

Instead, Olympus will focus on other characteristics such as dynamic range, color reproduction, and a better ISO range for low-light shooting, he said.

Increasing the number of megapixels on cameras is an easy selling point for camera makers, in part because it's a simple concept for people to understand. Even though having more megapixels can enable larger prints and enlargement of subject matter through cropping, adding megapixels comes with some drawbacks.

For one thing, smaller pixels can mean more noisy speckles at the pixel level and can reduce the dynamic range, so brighter areas wash out and darker areas become swaths of black. For another, images take more room on memory cards, hard drives, and Web servers, and cameras need more powerful image processors to handle them. And yesteryear's cameras already had plenty of pixels for making 8x10-inch prints, a size few people exceed.

The SensorKlear Loupe magnifies and illuminates a digital SLR's sensor, and a window on the side lets it be cleaned.

(Credit: Stephen Shankland/CNET)

LAS VEGAS--Camera cleaning accessory maker LensPen announced a new product to help remove dust, hairs, specks, and other detritus that sticks to digital SLR sensors.

The $59.95 SensorKlear Loupe, announced here at the Photo Marketing Association (PMA) show, is a magnifying glass that attaches to a camera's lens mount. Its four battery-powered LEDs illuminate the sensor, and unlike rival products such as VisibleDust's Sensor Loupe, a gap in the side allows you to clean off the sensor.

Unsurprisingly, the company recommends use of LensPen SensorKlear II to actually clean off the schmutz. The pen and loupe together cost $69.95.

Newer SLRs are equipped with a small motor that can shake the sensor or its cover to help rid it of debris, but sensors still have problems with dust flecks even when combined with new coatings not as prone to attracting flecks in the first place. Larger specks, especially when shooting with narrow apertures, can produce dark blemishes on photos.