Pixelcount Feb March 98

7/27/2019 Pixelcount Feb March 98

1/21


2/21

Ask any professional photographer aboutquality digital photography and Nikonwill probably be the immediate response.Ask about professional service orselection and that answer will be Penn Camera.

Professional equipment likeNikon scanners. Legendaryfor unsurpassed precision,reliability and performance.Now, that same bench markquality is available from

Nikons full line of affordable personalscanners. Expert results with superior Nikon features like precision

autofocus, internal drive-bay mounting, slide and negativescanning, and high 2700-dpi optical resolution.Professional or personal Nikon is the leader in superiorvalue for quality scanning.

Selections like the Nikon E2N Series DigitalStill Cameras. As easy to handle as 35mm SLRs.Superior quality digital images, quickly andsimply. The Nikon E2N the choice of imageprofessionals around the world.

Penn Camera is an

authorized dealer for

Nikon electronic

im aging products.All products include

the Nikon Inc.

limited w arranty.

the p ro f e s s i o n a l

s o u rce fo r d i g i ta le q u i p m e n t

For a superior selection of Nikon products and lotsof accessories come see us. Penn Camera. The

professional source for Nikon digital equipment


3/21

1A pixelcount special edition: the Kodak DCS520/Canon EOS D2000 digital camera unveiled

by Rob Galbraith, [email protected] February 7, 1998

The blackout tape w asnt fooling any o f the new spaper and w ire service photo graph ers in attend ance a t

SuperBow l. Even with its name plates ma sked, most shoote rs knew the ca mera tha t the Kodak folks weretoting around w as the wo rst-kept secret of 1997, the DCS 520. If you w ere amon g t he few pro shoote rs

there tha t didnt know, all you had t o do w as pick up a Kodak baseba ll cap - the one w ith DCS 520

emblazoned on the back!

All text and images in this documentare copyright 1998 Rob Galbrait h(unless otherwi se marked). Reprintpermission is granted only if t hematerial is distributed for free, it isdistributed in it s entirety, and themat erial is credited to me. To contactthe aut hor, please send an email tordg@robga lbrai th.com. Thisdocument was updated Mar 10/98.

Two weeks later, Kodak took the wraps off th e DCS 520 for real, anno uncing t he new camera February

2nd. Canon, who partnered w ith Kodak in the development, simultan eously anno unced t he DCS 520s

tw in, the EOS D2000 (Canon a nd Kodak will compet e to ge t the camera into the ha nds of vend ors once

its released ). This ed ition o f pixelcount offers some imp ressions of the DCS 520/D2000 ba sed on working

with a pre-production unit for the past t hree weeks. Ive had an o pportunity to put it throug h its paces,

and Im pleased to report t hat it w ill deliver on most o f wha t it promises when it ships in late March.

Cover: Vancouver Canucks BertRobertsson appears almost as excitedas I am about the introducti on of theDCS 520/D2000, durin g t he teamsrecent loss to the Calgar y Flames.Photo was shot at ISO 800, I/500 atf2.8, custom whi te balance off a blankpatch of i ce (no Photoshop colourcorrection whatsoever). Mino rdodging and burning was done onRobertssons helmet and face, and theQuantum Mechanic filter (on a lowsetting) was applied to t he entireimage.

This document provides a breakdow n of the camera, feature by feature:

2 million pixel CCD

Proprieta ry file format

Improved calibration

Anti-aliasing filter

Revamped colour matrices

Improved image quality

Fully-funct ioning TTL fla sh

1.8 inch colo ur TV

3.5 fps burst rat e

WYSIWYG view find er

User-changeable battery

Vertica l shutte r release

Sound recording

IEEE 1394 FireWire int erface

Software

Note:

Throughout this document I compare the DCS520/D2000 with the DCS3, its predecessor. The assess-

ments of the DCS3 apply equal ly to the NC2000e, its Nikon-p lat form counterpart . In other words, for the

purposes of the comparisons being drawn in the pages ahead, consider the NC2000e and the DCS3 to be the

same.

I recall the d ay a local Kod ak rep came to the pap er to sho w o ff the DCS 100, Kod aks new dig ital SLR. It

had some co ol feat ures, including an LCD screen fo r review ing imag es. The o nly problem w as th at the

LCD screen wa s housed in a shoulder ba g-sized pa ck tethered to t he camera, making the w hole rig prett y


4/21

A PIXELCOUNT SPECIAL EDITION: THE KODAK DCS 520/ CANON EOS D2000 DIGITAL CAMERA UNVEILED

A photographers view of the DCS 520 / D20 00 s key features 2

TheDCS 520/D2000digital camera

WYSIWYGviewfinderFull-frame viewin

of CCD image are

Quick ControDial switchEnables/disab les

the Quick Contro

Dial

Quick ControDial (QCD)Use to chang e

aperture,select

menu items and

functions on LCD

monitor (in

conjunction with

Select butt on)

White balanceChoose from Auto,

Daylight, Tungsten,

Fluorescent and

Flash

SelectUsed in

conjunction with

the QCD to select

from and naviga te

through menus on

the LCD monitor

Tag/sound recordPress briefly to ta g a n

image while editing

on LCD monitor;

press and hold

to record a

sound bite

Disp/MenuUsed to select

viewing a nd

folder options,

access the LCDmonitor bright-

ness control

and monitor

menus

Disk/battery doorOpen to insert/remove

PC Card ha rd disk and

user-changeable

battery

Camera information displayIndicates bat tery status, card

inserted/busy,w hite balan ce, frame

remaining,frames shot 1.8 inch LCD monitorNot a colo ur TV - darn

On/offswitch

AE Lock

A photographers view of the DCS520/D2000s key features:


5/21


2 million pixel CCD

3

unappealing to photojournalists. Now, about 7 years later, the LCD screen is back, but this time its carved

nicely into the ba ck of the ca mera, a testa ment t o how far digital photo graphy ha s come in the 90s.

2 million pixel CCD

Like its pred ecessor the DCS3, the DCS520/D2000 is a single-shot CCD. Kod ak dubs it a Full Frame CCD,

referring to its a bility to capture red, green and blue ligh t simultaneously in different layers of th e chip

during a sing le exposure. The process of a cquiring a n imag e into Ph oto shop converts t he CCD infor-

mat ion glean ed a t the time of exposure into a full-colour imag e. Both Kodak and Cano ns web sites

indicate th e camera produces a 6mb fi le, thoug h the file size is actually 5.7mb, derived from multiplying

the actua l pixel dimensions of 1728 x 1152 by the three color cha nnels (red, green and blue), then

converting t he really high numb er that results into mega bytes . At 5.7 mb, file size is up a hea lthy 54%

from the DCS3s 3.7 mb file. Part o f the g ain is on t he edg es - the DCS 520/D2000s CCD has the same 3:2

aspect rat io of a 35 mm frame, compa red to the DCS3s 2.5:2. While the chip is physically wider than t hat

of the DCS3, it is about the sa me he ight. Kodak wa s able to boo st the pixel count from 1.3 to 2 million

pixels primarily by tigh tening up the space b etw een t he pixels on t he CCD. This means tha t lens mag nifi-

cation is still around 1.6x (compa red to 35 mm fi lm photo graphy), the sam e mag nificat ion as the DCS3.

The w ider aspect ratio mea ns wide a ng le lenses will take sign ificant ly more in at t he edges however.

Figure 1 show s the relative frame sizes. Both pho tos w ere shot w ith 300mm f2.8 lenses, from the same

position at abo ut the same moment.

Figure 1: DCS 520/ D2000 version (left); NC2000e version (right)

Note:

The colour in the photos infigure 1is a bit odd because the arena lights were still warming up.

One of Kodaks primary goals w hen designing the DCS 520/D2000 CCD wa s to increase blue cha nnel

response. Users of the DCS3 know tha t one o f the biggest hindrances to imag e quality is blue channel

noise, even at low ISO sett ings. Tha ts because the polysilicon ma terial in tha t cameras senso r sucks up so

much blue light, leaving little to p ass throug h an d reg ister in the CCD. To prod uce a cast-free imag e, then,

the a cquire mod ule gains up the blue chann el to mat ch red and green, boosting t he low-level CCD noise

along w ith it. The result is a noisy, icky blue channel, pa rticularly in shadow area s in low light a t high ISOs.


6/21


Proprietary file format

4

The use o f Indium Tin Oxide (ITO) in the DCS 520/D2000 CCD in place o f po lysilicon h as increa sed the

sensors blue cha nnel sensitivity by ab out 30%. That mean s a cleaner blue channe l, thoug h a s fig ure 2

demonstrates , its still not as clean a s the ot her two chann els.

Figure 2: Green, red and blue channels at ISO 800

Heres a q uick ta ble th at summa rizes ind ividual cha nnel response in the DCS3 and DCS520/D2000:

The g ist of table 2 is this: while blue chann el noise is reduced in the DCS 520/D2000, it is by no mea ns

eliminated. In fact, it is still noticeable throughout the ISO range, and is a limiting factor in using ISO 1600.

The d ifference in red cha nnel noise, how ever, is dramat ic, and contributes to the noticeab ly cleaner look

of RGB imag es, bot h onscreen a nd in print.See Improved image qualit y on page 11for more on how the

channels stack up.ISO range is the same a s the DCS3 by the w ay : 200 - 1600.

Proprietary file format

While it was rumoured that t he new ca mera wo uld produce finished JPEG files that co uld be opened in

Photo shop w ithout a n a cquire plug-in, this did not come to pass. The proprietary fi le structure is similar

to tha t of the DCS3, thoug h not exactly the same. Great er processing oomph in the camera enab led

Koda k to gen erate b oth full colour thumbna ils and compress the hi-resolution fi le using a lossless form of

JPEG compression. Tha ts righ t, lossless JPEG - part of t he JPEG standard is the ab ility t o compress an

image witho ut q uality loss. By comparison, the DCS3 produces grayscale thumb nails and do esnt

compress the high-res ima ge. The DCS 520/D2000s compression scheme do esnt shrink the fi les too

much - most of w hat Ive shot so far ha s shrunk from a n uncomp ressed 4mb (a 2 million pixel raw fi le of

Table 2: Individual channel noise comparison

Channel DCS3 character ist ics DCS 520/D2000 character ist ics

G re e nCle a n a t a lmos t a ny I SO ,

inc lu d ing 1600Cle a n a t a lmos t a ny I SO , inc lu d ing 1600

Re d

S o m e w h a t n o i s y t h r o u g h o u t t h e

I SO ra ng e ; g e t s ha i ry a t I S O 1250-

1600 t y p ic a l l y

In c r e d i b l y sm o o t h r e d c h a n n e l

t h r o u g h o u t t h e I SO ra n g e

Blue

Alwa y s s ome wha t no i s y , e ve n

wh e n p e r f e c t l y s ho t a t I SO 200 ;

n o i s e i n c r e a s e s e x p o n e n t i a l ly

w i t h u nd e re xp os u re ; I S O s e t t ing s

ove r 1000 c a n b e e x t re me ly no i s y

Al w a y s s o m e w h a t n o i s y, e ve n w h e n p e r f e c t l y

s ho t a t I SO 200 ; s l ig h t inc re a s e in no i s e w i t h

u nd e re xp os u re ; no i s e inc re a s e s no t i c e a b ly u p

to ISO 1250; ISO 1600 is only ma rgin a l ly

u s e f u l


7/21



5

12 bit data is 4mb in size) do wn to b etw een 1.6 and 1.8 mb. A similar method of TIFF format t ag ging of

rotation a nd o ther information carries over from t he DCS3.

The same PC Card ha rd disks compa tible w ith the DCS3 are compa tible w ith the DCS 520/D2000. Some

initial odd disk beha viour, experienced by o ther users of pre-production mod els, seems to have b een

cleared up b y new camera firmw are. I tote a round 105mb, 170mb a nd 260mb Intgral Peripherals Viper

cards, and a ll wo rk fine in the DCS 520/D2000. The ca mera cont ains tw o slots for PC Cards now instea d o f

one, but d ont get excited ab out the possibility of st icking t wo Viper cards into th ose slots. That s beca use

a Viper card, or any o ther PC Card ha rd d isk, is a Type III card, which means its thickness blocks off access

to the second slot. The ca mera no w supports the thinner Type II cards, which w ill fit tw o a t a time, but

they offer less storage for a lot mo re money, making t hem a poo r choice. Type II support, how ever, opens

the d oo r for the DCS 520/D2000 to do coo l stuff in the future, like transmit imag es wirelessly from the

camera, no lapto p required. That s one option that s rumoured anywa y.

Because of t he co mpressed fi le format, the numb er of imag es a disk will hold will vary. The count er on t he

back appears to estimate t he number of images remaining based on each image o ccupying 2.2mb of

space, wh en the average is proba bly closer to 1.7 or 1.8mb. Using 1.8mb a s the averag e, table 3 displays

the disk capacity for the DCS 520/D2000 (and t he DCS3 too , for comparison).

Intg ral Peripherals has a nnounced that 540mb a nd 1000mb Viper cards are in the w orks, so expect that

the cam eras somewh at g reater capacity req uirement s should easily be met by disk vendo rs.

Note:

If youve been concerned that the cameras beefier image size will mean longer modem transmissions,

fear not . If your standard procedure is to open a DCS3 image in Photoshop, then JPEG compress it to your hard

drive for sending, youl l be happy to know that DCS 520/D2000 files compress more efficiently, such that

compressed file sizes typically end up w ithin 10% of the size of compressed DCS3 files. Using Photoshop 4 to

save at a qual it y level of 7 (baseline optimized checked on), average DCS3 files drop from 3.7mb to the 300k

range. Simi lar DCS 520/D2000 files drop from 5.7 mb to around 330k, a marginal dif ference. If th is is puzzling

to you, the answer lies in how the JPEG format works. In a nutshell, the degree to which a file can be squeezed is

determined by the amount of colour variation, image detail and digit al noise; the more noise in par ticular, the

larger the compressed file. It fol lows that t he cleaner DCS 520/D2000 files will t rim down proportionat ely more

than DCS3 files. Its true in theory, and in practice.


Not one o f my new spapers 10 NC2000e cameras produces the sam e exposure at t he same exposure

settings as a ny o ther. That s beca use no individua l calibration of NC2000e or DCS3 cameras o ccurs as they

roll off the prod uct ion line. Kod ak has ad dressed this with the DCS 520/D2000 - each unit is calibrated for

white balan ce, exposure and color. That s on top of b ette r-calibrated settings for different lighting

environments. All this should ad d up to more consistent color, contrast a nd b righ tness from camera to

camera, an important facto r for organizations that swap and share cameras among different photogra-

phers.See Revamped colour matrices on page 7

.

Tab le 3: Disk capaci ty

Disk

capaci ty

DCS3

(1.3 mb fixed fi le s ize)

DCS 520/D2000

(1.8mb average fi le s ize)

105m b 76 58

170m b 123 94

260m b 189 144

340m b 248 189


8/21


Anti-aliasing filter

6

An ti-a liasing fi lter

Up until now, one of th e telltale sign s that youre in the p resence of a d igital camera imag e is Christmas

tree a rtifacting in specular highlight s an d a blue/yellow moir pa ttern in ob jects like suit jackets. The

problem is a complicated blend of high-freq uency and low-freq uency wavelengths bo mbarding a n

individua l pixel element simultaneo usly, prevent ing th e pixel from accurate ly rend ering th e color. When

shooting a scene w ith a lot of co ntrast, small deta il or patt erns, a CCD tend s to roll over and p lay dea d,

turning some pixels an ap parently rando m shad e of wha tever colour it feels like. To coun teract t his,

Koda k designed a one-millimetre t hick multi-coat ed ant i-aliasing filter (fig. 3).

Figure 3: Anti-aliasing filter

Theres no doub t t hat its effective at removing virtually all artifact ing a nd moir. The shing led roof of my

neighb ours house in fig ure 4 is a great example. Both it and fig ure 5 were shot a t the sam e aperture, f16,

with the lens zo omed to 70mm. The NC2000e rend ition o f the roof is a blue/yellow mess; the DCS 520/

D2000 imag e is almost e ntirely artifact -free (look closely and youll see a just a hint of ba nding ).

Figure 4: NC2000e image is a moir mess


9/21



7

Figure 5: Anti-aliasing filter eliminates most of the problem in the DCS 520/ D2000 image

Digital red eye is ano ther problem t hat ant i-aliasing virtually eliminates. Figure 6 (an extreme

enlargement) doesnt show the same subject in each side o f the composite phot o, how ever the lighting is

similar: off ca mera po rtab le flash. The NC2000e imag e o n th e left is typical of how the camera reacts

when the scene is lit by contrasty p oint light sources, turning the catchlight s different b righ t colours

when the y should b e w hite. This isnt red eye in the traditiona l sense, beca use the problem isnt ca used b y

light reflecting off th e retina; instea d, it results from the NC2000es inability t o d etermine the colour of th e

catchlight pixel(s) at th e t ime the phot o w as t aken. The DCS 520/D2000 photo on the right show s only a

slight h int of blue artifacting in woma ns righ t eye. It is subtle enough tha t you ha ve to hunt for it.

Figure 6: N C2000e image shows artifacting in catchlights (left); DCS 520/ D2000 image shows little artifacting (right)

Koda k wa s intent on w iping out t he high -frequenc y/low-freq uency problem b efore the light h it the CCD,

and designed a n anti-aliasing fi lter to zap high-freq uencies, the ca use of the w eird stuff show n in fig ure 4

and fig ure 6. In d oing so, they sough t t o a void th e ma in pitfall of the ant i-aliasing filter in the Nikon E2n/s,

which ca uses a significa nt loss of sharpness. Im ha ppy to report tha t Kodak has been largely successful.

While there is a loss of sha rpness, its not signifi can t. Moreover, its easily corrected for printing b y the

unsharp masking function in Photo shop. The fi lter doesnt seem to a ffect the sha rpness of the viewfi nder

image, even tho ugh it sits bet ween th e lens and the mirror. While the ant i-aliasing filter is removab le,

there will be few shooting situations where its benefi ts are outw eighed by its drawb acks. Its also held in a

place by a tiny, fragile screw, so consta ntly removing and replacing it is proba bly not a g ood idea.

The a nti-aliasing filter also limits the amo unt o f infrared reaching the CCD, a key cause o f mag enta casts

in the DCS3.

Revamped colourmatrices

Koda k colour scientists have bee n busy, busy, busy b uilding profiles tha t co ntrol image colour, contrast

and brightness in the DCS 520/D2000, and wo w, has their wo rk ever paid o ff. Gone is the ma ge nta colour

cast th at typifies DCS3 imag es. Gone a re the pink skin tones o f sligh tly overexposed imag es. And g one is


10/21



8

the w eird, wild color in anything o ther than daylight-balanced light. Using a test ta rget pho tog raphed

under d aylight, 3050K tung sten a nd cool w hite fluo rescent, Koda k assembled co lour profiles, called

mat rices, for each light ing environment. These ma trices compensate for shifts in some colours and not

others that na turally occurs at different lighting t emperat ures, as we ll as sensitivity shifts that might

otherwise throw off exposure consistency. The ma trices w ere incorporated into th e ca meras presets for

tung sten, fluorescent, da yligh t a nd flash (da yligh t a nd fla sh are iden tical). The result is remarkably clean,

accurate, pleasing results using the t ungsten and fluorescent presets in particular.

Making use of the presets can be accomp lished t wo different wa ys. First, let the ca mera fi gure out the

light , via its onboa rd sensor (fig. 7). This feature w orks reasona bly w ell as long as t he light striking the

camera is the same a s the light striking your subject. It can be tricked a s well; if I wa ve the a rm of my

green ski jacket in front of the sensor w hile stand ing under a tung sten ligh t, the ca mera w ill briefly sw itch

to the fl uorescent preset every time.

Figure 7: W hite balance sensor (white square)

The presets can b e also be selected ma nually, wh ich is probab ly a go od idea in w eird light o r if you have

long co lourful sleeves that ma y drape o ver the sensor. Figure 8 show s the ca meras rear display in aut o

white ba lance (left) and manua l wh ite balance (right) modes.

Figure 8: Auto white balance - daylight detected (left); manual white balance, fluorescent selected (right)

While the p resets are useful, Daylight in my pre-production ca mera tend s to produce so mew hat coolimage s, even in late afte rnoon light. Ive had th e best results in da ylight or using fla sh by setting a custom

white b alance. If you dont know ho w to do t his, ask a video phot og rapher, beca use the procedure is the

same: shoo t somet hing you know to b e neutral under the same illumination a s your subject, then instruct

the ca mera to set w hite from that . This is old hat for photo graph ers at my new spaper, wh o are

encourag ed t o shoo t the wh ite side o f a Kodak Gray Card for later Click balan cing. I typically do it at the

end of a shoot . To make the best use of t he DCS 520/D2000s custom wh ite ba lance function, you must do

it before instead, because d oing so instructs the camera to apply the w hite balance to all the images you

shoot immediate ly after. This is no big dea l, but it does ta ke some g etting used to, at least for me. Figure 9


11/21



9

demonstrates why the custom white balance function is a b oon in daylight: the photo on the left has

been shot w ith the preset o n da yligh t, resulting in overly cool, blue colour, wh ile the p hoto on t he right

wa s shot after setting the w hite balance off the ba ck of a wh ite assign ment sheet (yes, I sometimes forget

to haul my gray card from the car). The co lour is noticeably mo re accurate, pleasing, and is mo re like I

remembered it to be.

Figure 9: Daylight preset (left); custom white balance (right)

You ma y be thinking tha t fig ure 9 isnt a fair test; afte r all, heavy o vercast ligh t ten ds to b e coo ler tha n

sunny light, and might a ccount fo r the blueness of t he colour. That occurred to me to o. My response to

that is fig ure 10.Both imag es were shot under very hazy, slight ly warm late a fternoo n light . The pho to o n

the left h as a noticeab ly purplish cast t o it, reminiscent of the DCS3 on a b ad day. The pho to o n the right

wa s custom w hite ba lanced o ff a Kodak Gray Card (I remembered to ha ul it out of my car this time),

resulting in colour that w as mo re like I remembered it.


12/21



1 0

Figure 10

: Daylight preset (left); custom white balance (right)

Keep in mind tha t Im w orking w ith a pre-production unit, and tha t this appa rent da yligh t miscalibration

may b e tuned up befo re the came ra is shipped. Ive also ha d some we ird results mixing da yligh t fla sh

with t ungsten an d fl uorescent, but Im prepare to cut Kodak some slack as I know t heyre still tw eaking

many a spects of the co lour, and likely will continue to even as production mo dels are being b oxed and

whisked out the d oor. The custom w hite balance funct ion is go ing to b e importan t to g et to know

regardless, beca use of the many, many lighting environments new s photog raphers find themselves

shooting in. Its also b uried a b it deep for my liking in t he LCD screens plethora of menu items, instead of

being directly accessible via the ca meras white b alance b utton , so expect t hat itll take practice to set a

custom w hite balance q uickly.

Note:

If you shoot w ith an NC2000, NC2000e or DCS3, Ill bet t hat the colour cast and pink skin tone problems

Ive been describing sound haunt ingly familiar. Check out the PixelZone tutorial Gett ing the Best Colour Out of

Your Digi tal Camera Plug-In at , then follow the PixelZone link, for some great

colour cast solutions.

I havent been a ble to p roperly test th e effectiveness of the Click balan ce in v5 of the digita l camera plug-

in used to acq uire DCS 520/D2000 imag es. Still in bet a a s I write this, stability prob lems have made Click

da ngerous to the hea lth of my Mac. That s prevented me from testing o ut the t heory tha t, beca use of the

cameras improved colour qua lity and strength ened infrared fi ltration, wh ite balancing mistakes may b e

corrected in part, or even 100%, afte r the fa ct w ith Click. But noth ing b eat s opening the plug-in and

seeing all the thumb nails display with nea r-perfect colour, which is reason enoug h to try a nd g et the

white balance right a t the shoot.

Anoth er untested t heory is this: the ca meras tungsten a nd fl uorescent presets are so goo d tha t using

tung sten and fluorescent colour matching ge ls over a flash for fill will produce some really great colour in

light ing situations tha t previously scared the pant s off digita l photog raphers. In short, careful technique

with the DCS 520/D2000 should p roduce co lour that cant be touched b y the DCS3.


13/21



1 1

Improved imag equality

The new CCD design , calibration, ant i-aliasing filter, ligh ting p resets and custom w hite ba lance ad d up to

vastly improved image q uality. During a visit to Rocheste r early in the cameras developmen t, I had an

oppo rtunity to see som e sample prints: studio-lit shots of bright ly-coloured ba lls of yarn and tha t kind o f

thing. I wa s immed iately skeptical abo ut the ca meras ability to improve on the image quality of the

current d igital cameras. Not b ecause th e phot os didnt look goo d; in fact, the ba lls of yarn looked g reat.

No, it wa s beca use I dont shoot balls of yarn on the job, and I rarely shoot digita l in the studio. As a news

photo grapher I spend my d ay shoot ing peo ple, sometimes in some pretty to ugh light, so I chose to see

Koda ks balls of yarn test as a sign I should wo rry that the cameras colour migh t someh ow collapse in the

real world. Clearly I didnt ha ve reason t o w orry, given ho w much b ette r it is.

The snappy o nscreen colour holds through to th e printed pag e too.

While only a handful of DCS 520/D2000 imag es have be en printed

in my newspaper to da te, each has looked better than just about

any NC2000e imag e. Perhaps the b est example ha s been Calgary

Flames hockey. The light in Calg ary s Sadd ledo me is opt imized for

TV, mea ning t hat it is reason ab ly bright b ut fl at. It is also b een

ge tting da rker over the pa st couple of sea sons. Overall, the

consensus amo ng Calgary Herald phot og raphers is tha t NC2000e

images from tw o years ago look better than those shot tod ay,

thanks to the deteriorating lighting.

Ente r the DCS 520/D2000. Two third period goa ls in q uick

succession by t he Los Angeles Kings sealed the fate of the Flames

and capped t he night of goa lie Dwa yne Roloson. Confid ent I had

the picture of Roloson sitting dejected ag ainst the goalpost, puck

still in the ne t (I knew I had it beca use I peeked at the cameras LCD

screen), I slipped out of th e game t o the me dia room a nd tran s-

mitted t he phot o. The picture was swa pped o nto t he front of

Sports just a fter fi rst edition d ead line ha d passed (left). The result

was the best reproduction of a Sadd ledome hockey photo in mynew spaper ever.

To b e fa ir, the Calgary Herald converted to digita l for shooting hockey befo re Fuji 800 wa s the rage, so it

still might be possible to surpass t he ima ge quality of the DCS 520/D2000 using colour neg . But loo king

at the Wedn esday, February 4th Sports front, its hard t o imag ine reproduction a t my newspa per ge tting

much better. Figure 11 is a closer look at the same shot. Just like the pho to on t he cover o f this issue, Ive

set a custom w hite balance off the ice and t hats it - no colour twea king w hatsoever has been done in

Photo shop, thoug h I did burn dow n the blue crease area a little.


14/21



1 2

Figure 11: DCS 520/ D2000 hockey, 1/ 500 at f2.8 at ISO 640

I believe th ere are tw o key d ifferences b etw een the DCS3 and the DCS 520/D2000 that make all the

difference shooting in controlled, flat ligh t like the Sadd ledome. First is the cleaner imag e at higher ISO.

The smo oth red cha nnel in particular makes all the d ifference in fig ure 11, since red is the predominan t

colour, and is second only to blue/black for showing off d igital noise.

Eq ually importa nt in the look of this image is someth ing I havent ment ioned to this point: image contrast

and exposure latitude. Thanks to t he response characte ristics of the new CCD, and the wo rk of Kodak

colour scientists, image contrast is noticeably bet ter in two area s: highlight to nality and o pen shad ow

detail. If youve read the PixelZone tutorial on plug-in colour I mentioned earlier, youll know that I think

DCS3 high ligh t ha ndling sucks. Its not th at t he camera cant record a w hopping ly large tona l rang e. In

there, the DCS3 is capable of t aking in 9 stops o f shado w t o high ligh t g ood ness. Yup, you read that

correctly - 9 stops. The reason you ca nt take full advant ag e of the 9 stops of det ail is three-fold: imag e

noise, the curve tha ts applied to the imag e during a cquire, and some inherent limitat ions in the CCD that

prevent cap turing highlight tona lity properly. The CCD design of the DCS 520/D2000 act ually has a

narrower theoretical range than the DCS3, but in reality it h as mo re usable rang e. As I mentioned earlier,

open sha dow area, which tends to block up and/or get noisy in DCS3 photos, remains clean a nd o pen

with the DCS 520/D2000. And h ighlight d eta il show s much smo ot her, more rea listic gradat ions. What th is

mean s is less sensitivity t o overexposure. Slightly overexposed DCS3 imag es have a tend ency t o fl att en

out , turn pink and oversat urate in the high lights. Not so w ith the DCS 520/D2000. As exposure increa ses,

image s simply g et, well, ligh ter. No w ild colour or saturat ion shifts at all.

Figure 12 demonstrates t he difference bet ween the current g eneration ca meras and the DCS 520/D2000.The b righ tness values o f the subjects face, as d isplayed in Phot oshops Info palette, are nearly identical in

the NC2000e image a t left and the DCS 520/D2000 imag e a t right. How the images look, now tha ts

ano ther story. At left is the NC20000e (rememb er, the DCS3 respo nds similarly) at its w orst: pink, oversat-

urated, flat a s a pa ncake skin. At right is the new cameras response to t he same deg ree of overexposure:

face to nes, wh ile too light, display none o f the highlight ba gg ag e of th e NC2000e image. Which imag e

wo uld you rather prepare for printing in Phot oshop?


15/21


Fully-functioning TTL flash

1 3

Figure 12: Overexposed NC2000e photo (left); overexposed DCS 520/ D2000 image (right)

Fully-fu nctioning TTLflash

Flash plays a pivotal role in the life of a d igital camera image. DCS3 users know t hat the 540EZ has to b e

turned do wn -3 stops t ypically to make TTL sort o f wo rk, and even then its only reliab le on Tuesdays

when theres a full moo n. The DCS 520/D2000 solves this problem. Using a Canon E-TTL series Spe ed lite,

flash exposures are excellent at d ifferent distan ces and different apertures with my pre-production unit.The d ow nside is th at only t he mid-range Canon 380EX fla sh suppo rts E-TTL. It is not part icularly pow erful,

doe s not connect to a Dynalite Jackrabbit ba ttery pa ck (I havent checked into Quant um compa tibility),

and is really not inten ded for pro use, as it w as originally built to wo rk with t he Canon Elan II film ca mera.

Rumo ur has it tha t Cano n w ill introduce a rep lacement for the 540EZ (the 540EX, perha ps?), Canons top-

of-the-line Speedlite, w ith an E-TTL-cap ab le mod el later this year. Kodak has a lso indicat ed tha t th e

shipping version of the DCS 520/D2000 will support A-TTL series fl ash es like the 540EZ and 430EZ,

thoug h Ill have to w ait a nd see tha t b efore be lieving it. E-TTL flashes, wh ich dont d epend on b ouncing

light o ff the CCD to de termine exposure, may st ill have an exposure reliab ility edg e over A-TTL series

flashes, but it wo uld be grea t if the camera supported bo th TTL variants.

1 .8 inch colour TV

Okay, I the head ing for this section is a b it of an exagge ration. On long sta keouts, during lulls in slow -

moving hockey games, or w henever The Larry Sand ers show is on, I wish the LCD monitor integ rated into

the ba ck of th e DCS 520/D2000 incorporated a TV tune r. Alas, it does not . It do es, however, include a long

list of features, the b est of w hich will help take the fear out of d igital photo graphy for novice digitog ra-

phers and long -time colour neg shoo ters.

Immed iately after firing the shut ter, a 1.8 inch wide rendition of the ima ge just snapped appea rs on the

LCD monito r (assuming youre in the correct mode of course). The screens tiny size means you w ont be

able t o te ll, for example, if all 10 people in a g roup shot ha ve their eyes open, but you will be ab le to see if

you go t the mo ment yo u were afte r. In other words, o n its own th e screen is only somew hat useful. What

really brings t his feature to life is this: pressing t he Select butto n unveils the images histog ram. If you

know how to read a histog ram you can kiss many routine exposure mistakes go odbye forever. A

histogram is a graph representing the brightn ess values in the image from shadow to high ligh t. Kodak

calls it a n imag e blueprint, and I like tha t w ording, as it conveys the idea of a histograms precise

rendering of imag e to nes in a tw o-dimensional form. Ive hardly used t he met er so far, depending on th e

histog ram to show me the w ay to exposure nirvana. Figure 13 show s the LCD monitor and histogram

funct ion in act ion. The ho ckey phot o should look familiar.


16/21


1.8 inch colour TV

1 4

Figure 13: Just-snapped hockey photo (left) and its accompanying histogram (right)

The histog ram function w orks well, and is one of the b est feat ures of the camera. It does ap pear to have

one fl aw, however. Im mo st familiar w ith the h istogram t hat appears in Photosho ps Levels, and expected

the ca meras histog ram to funct ion the same w ay. In high-contrast or noticeab ly over or underexposed

image s, the ca meras histog ram tend s to fla tten o ut, at t imes appearing like short blad es of grass from

shado w t o high ligh t. Photo shops histog ram shifts its scale from image to imag e, making it easier to

interpret w hen the e xposure or contrast is out of range. Expect tha t this will take some g etting used to.

The screen can a lso be set to have the highlights blink whe n they re blown o ut, but t he threshold seemsto shift with d ifferent color settings. Some phot og raphers will dig the b linking h ighlights feature; I

quickly switched it o ff.

Other LCD monitor feat ures include th e a bility t o d isplay 4-up an d 9-up imag e views, select a folder on

the d isk to place imag es abo ut to b e shot, ad just screen bright ness in different ligh ting con ditions with a

hand y g ray scale, and access a h ost o f camera and disk hand ling features. These include bo th d isk erasing

and forma tt ing, deleting ima ges, sett ing EOS1n-specific and DCS 520/D2000 -specific custom fun ction s,

performing a custom w hite balance, setting the camera d ate a nd time, reload ing or updating fi rmware

from disk and , most importa ntly, playing a g ame o f Pong a ga inst the easiest-to -beat computer opponent

ever. Figure 14 shows the ea rly go ings of wha t turned out to be humiliating loss for the computer (left)

and, on a mo re serious note, the last-chance screen that s presented b efore formatt ing a disk in the

camera (right).

Figure 14: Pong in action

Accessing the funct ions de scribed w ill keep you fl itting ba ck and fo rth from the DISP/MENU and SELECT

but tons on t he left of the screen and Canons Quick Cont rol Dial (QCD) on t he righ t. The QCD wa s uncere-

mon iously stripped from t he DCS3, but is ba ck with a veng eance on the DCS 520/D2000. It not only

enab les quick ad justment of the a perture (unless you set a custom funct ion to have it do someth ing else),

it is used to move th rough a nd select different menu items, and of course it controls the Pong pad dle as

you run up the score ag ainst the h apless computer. Depend ing on the QCD for so many d ifferent

functions has one d rawb ack - its possible to cha nge the a perture by mistake while intending to a ccess a

camera function. At co ntrolled ligh ting events like ho ckey its proba bly be tter to lock the aperture in


17/21


3.5 fps burst rate

1 5

place b y sw itching t he QCD off (it will still control functions on the LCD monitor). Several Superbow l

photo graphers expressed concerns ab out t he LCD screens ability to withsta nd t he rigours of da ily new s

photo graphy, and they re right, its a concern. Only time w ill tell if the clear plastic panel over the screen is

mad e of toug h enoug h stuff to withstand a phot ojournalists thrashing. The same g oes for the butto ns to

the left o f the screen, wh ich could serve as w ate r intake spouts for the ca mera in a rainstorm. Having sa id

that , not o ne of my ne wspa pers NC2000e cameras has ma lfunctioned in the rain, and its back button s are

poo rly sealed. Again, only time w ill tell if all the wh iz-ba ng stuff incorporated into t he DCS 520/D2000 is

go ing to result in reliab ility problems. Based o n how we ll the d igital compo nents in the NC2000e have

fared, Im opt imistic.

While compa ring t he reliab ility of old and new, I should also point out ho w much b ette r the fit a nd fi nish

of th e DCS 520/D2000 is. There w as never any doub t th at the DCS3 was an EOS1n w ith digita l stuff

graft ed o n. Not so no w : the b lending o f the EOS1n with the new ly-crafted d igital compon ents is near-

seamless. So much so that Im scared to t ake it apart, somet hing tha t I considered ma nda tory w hen I was

issued my ow n NC2000e.

3.5 fps burst rate

The comb ination of a 3.5 fps motor drive and a no ticeably more responsive shutter button makes the

DCS 520/D2000 seems a lot zippier. As an NC2000e sho oter for the past tw o a nd a ha lf years, Ive never

been t oo b othered by the 2.25 fps so-called moto r drive; if anything, it forced me t o beco me a b ette r

peak act ion sports pho tog rapher. What has b een troublesome, though, is the shutter delay. An EOS1n

has a shutt er delay of 65 millisecond s; a DCS3 is 90 milliseconds. The DCS 520/D2000 is clearly a lot closer

to t he lag time of th e stock EOS1n, as Ive had to a djust my shooting so as to not co ntinually trip the

shutter early, someth ing Ive never encountered with a n NC2000e. Photo graph ers who sho ot b oth fi lm

and d igital at a sports event w ill find it easier to switch back and forth betw een the tw o mediums as a

result. The DCS 520/D2000 da ta sheets indicates tha t 12 frames in b urst is the maximum possible, but my

unit consistently churns out 13 or 14 in seq uence. Expect th at production mod els will deliver at least 12.

Figure 15: Sequence shooting is almost a reality at 3.5 fps

W YSIW YG Viewfinder

Ive received mo re messag es ab out the DCS 520/D2000 view fin der th an any o ther ca mera a ttribute. So

heres the deal, for the record . While the cameras CCD is smaller tha n a 35mm frame, resulting in ef fect ive

lens mag nificat ion of 1.6x, the view fin der in the DCS 520/D2000 has been m odifi ed so tha t a ll you see is

the imag e ca ptured by the CCD. The viewfin der is truly wha t-you-see-is-wha t-you-get, or WYSIWYG in

computer-speak. DCS3 users will be h appy to hear t hat the viewfinder image is much larger, theres no

longer a rectangle on t he focusing screen that roughly and only somewhat accurately delineates the

edg es of the frame, and t hat the eyepiece is set awa y from the b ody so tha t photog raphers with big and

small noses a like can g et their eye comfort ab ly into place. WYSIWYG viewing is achieved t hroug h a

combination of viewfi nder image mag nification and ma sking of the fi eld of view. By boosting the image

up ab out 15%, then installing a mask for the viewfi nder, Canon solved o ne of the major irritan ts of t he

DCS3 for some phot og raphers, particularly th ose sw itching b ack and forth from an EOS1n to DCS3. The

image looks large, sharp and clear, so it wo uld appe ar tha t Canons solution has d one the t rick. Canon


18/21


User-changeable battery

1 6

chose not to shift the five a utofocus points from the ir position in the EOS1n, wh ich puts the oute r two

point s quite close to the edge of the smaller DCS 520/D2000 frame. Too close, prob ab ly, for mo st

shooting situations.

User-changeablebattery

NC2000e ba ttery life is a da ily concern at my new spaper, particularly during the cold w inter month s, a

prob lem th at s effect ively solved w ith th e DCS 520/D2000. In fa ct, Ive never be en ha ppier to see six AA

NiCads in all my life. Those ce lls form the ba ttery pack tha t slips into the side of the camera, just a bove the

disk. Kodak indicates that each ba ttery pa ck is go od for abo ut 300 frames, but really, generic batte ry life

estimates are not accurate a t the b est of times. There are simply too ma ny facto rs tha t affect ho w q uickly

a b att ery is drained. I will offer this, how ever: On a single da y Ive shot several assignmen ts, then an entire

hockey ga me on a utofocus w ith a Canon 300mm f2.8, and had ba ttery cap acity to spa re. Not much, but

some. Ive also shot fo r two and a ha lf hours in sub zero wea ther witho ut ba ttery fa ilure (the ca mera is

rated for 17 to 95 deg rees Fahrenheit). Kodak is bundling b att eries in a six pack (the camera actua lly ships

witho ut ba tteries - you must purchase them sepa rately), wh ich should be mo re than eno ugh for one unit.

Batteries are no longer charged in the came ra; instead, they use a custom 2-slot cha rger that will top up

one b att ery at a time. Charging t akes about 90 minutes per bat tery if the cells are really spent; because

they re NiCads, they re more susceptible t o memory effect tha n t he NiMh b att ery in th e DCS3, so its

probably good form to run the b attery dow n before charging it. Having lots of batteries and more than

one cha rger around w ill make this easier. The charger also has a mod e to con dition the b att eries so that

the on set of memo ry loss is lessened. In the ba tteries that is; the cha rger cant deal with pho tog rapher

memo ry loss. The cha rger will apparently ship with a n aut omo bile ada pter, wh ich I have no t te sted.

Figure 16: Battery inserted into slot in camera, above empty disk slot (left); battery itself (right)

So far I havent experienced any of t he g eneral flakiness that DCS3 users have come to expect from their

cameras batt ery and ch arging system. The ba ttery indicato r seems to provide an a ccurate ga uge o f

bat tery life, unlike t he DCS3, who se g aug e t ends to be full of surprises. Ive ha d some difficulties acq uiring

image s from the camera via its FireWire interface wh en running off ba ttery. Plugg ing in the supplied

AC adapter mad e the problems go awa y (the ad apter does not charge the b atteries).

Vertical shutter release

The DCS 520/D2000 is abo ut 1.5 inches shorte r than the DCS3, even t hough the camera h as mo re

electronic gizmos inside. The drop in height wa s mad e po ssible in part b y turning t he cam eras diskreader o n its side. That formed t he b asis for the ca meras vertical grip, wh ich incorporates a shut ter

release and AE (auto exposure) lock butto n. The vertical release is a we lcome a dd ition, though several

photo graphers have complained t hat its too small for even average-sized hand s. This is a m inor point, as

its still eminently usable.

Sound recording

The DCS3s ba sic sound a nno ta tion funct ion persists in the DCS520/D2000. Early report s indicat ed tha t a

sound b ite can be a ssociated w ith a phot o simply by scrolling to t he phot o on t he LCD display and

pressing t he record b utton , by t his feature will not be a vailab le at t he time o f the ca meras release, if ever.


19/21


FireWire

1 7

Sound fi les have approximately the same sound q uality as before, with ab out 4 minutes of sound ta king

the eq uivalent disk space of one imag e.

FireW ire

FireWire is Apples mo nicker for the IEEE 1394 specificat ion for high-speed serial da ta transfer tha t it

invented years ag o. When Canon and Kodak drew up plans for the DCS 520/D2000, they expected tha t

FireWire w ould b e a wh ole lot further into the marketplace by n ow. It promises to be more sta ble, reliable

and eventua lly faster tha n SCSI (speed is limited to a Kodak-estimated 1.5 mb per second beca use of

limitations in ea rly implementa tions of FireWire ha rdwa re and softw are). And beca use its been designed

from the g round up t o a llow hot-swapping ,its also possible to co nnect and disconnect FireWire devices

from the computer witho ut fi rst shutting do wn, an irrita nt o f SCSI. FireWire is rea lly cool, and Im glad t o

see it in the DCS 520, but for now FireWire support is through an expansion ca rd only.

Note:

Why not stick wi th the DCS3s SCSI int erface? You wouldnt ask if youve ever been struck by SCSI

Voodoo. You know youre a vict im of SCSI Voodoo when you connect up youre DCS3 to a Mac, as you have

1000 times before, start up the computer, then struggle for the next six hours through random system freezes

or the plug-ins inabil it y to find or communicate with the camera. When the SCSI Gods get really angry they fry

your hard drive in the process. Ive been there, as have all the photographers at my newspaper at one time or

another. As far as Im concerned, SCSI is dead, long live FireWire.

PCI cards for bo th Mac a nd Window s desktop ma chines are relatively inexpensive a nd easy t o install; the

one Im testing dropped into place in a PowerMac 8500 with ease, and provides an easy push in/pull out

connect or for up to three FireWire devices at a time, making it t heoretically possible to have t hree

cameras conn ected simultan eously, tho ugh t his capability w ill proba bly not b e supported at launch. At

the mo ment no Mac Powerbo ok supports an easy FireWire connection, though rumour has it tha t future

mod els, and perhaps the one expect ed t o be released in the March-May timeframe, will support a

tech nology called CardBus, which should enable th e use of a special FireWire PC Card. A big aste risk

should be put next to this information t houg h, since it could turn out to b e tot al rubbish too (such is the

reality o f rumours). If you d ecide t hat you ha ve be able t o co nnect your DCS 520/D2000 to your

Powerbook no ma tter w hat, Mag ma (http://ww w.mag ma.com) intend s to release the $995 Powerboo k

PCI Expansion System fo r the 3400 and G3 somet ime th is month, ena bling PCI FireWire cards to be

connected via an external box.

Fortuna tely, most photo graph ers will be ab le to forego FireWire a ltoge ther, relying instea d o n a n

accessory PC Card read o r the card slot built into most late mod el lapto ps. Updat ing camera firmw are, as

well as erasing and formatt ing disks, can be d one w ithout connecting th e camera to a co mputer. In short,

FireWire can be sa fely igno red by most users.

Software

The ca meras mod ified file format , FireWire, and new features like imag e ta gg ing ha ve mea nt lots o f wo rk

for Kodaks softw are en gineers. Version 5 of t he d igital camera plug-in, the only soft wa re tha t currently

supports the DCS 520/D2000, sport s the same loo k as version 4.05, with a sma ttering o f extra buttons

and controls. The plug-in is still very much in developmen t, and w ill be right up to the release of t he

camera I expect, so for tha t reason Ill reserve judgement o n it w hile Kodak continue to polish up its

complicated code.


20/21


Conclusion

1 8

Figure 17: Version 5 of Kodaks digital camera acquire plug-in (images being accessed by FireWire connection to camera)

I will say this, how ever: If youre planning new computer purchases to a ccompa ny your new DCS 520/

D2000, dont spend any time in t he clearance section. Only the fastest processors atta ched to RAM-filled

moth erboa rds are going to b e adeq uate. G3 Macs and 300mhz Pentium IIs are what yo u wan t.

Conclusion

Koda k and Canon sought the a dvice of photojournalists as they drew up the specifica tions for the DCS

520/D2000, and it a ppears t hey were listening. From improved colour q uality to a user-chang eab le

bat tery, this camera ad dresses almost all of the concerns expressed a bout the current cameras. If the

NC2000e and DCS3 were ab out te sting the d igital wa ters, the new offering is abo ut trying to ge t it righ t.

Even w ith its pre-production q uirks, my DCS 520 tester is a joy to use. It isnt revolutiona ry, as one photog -

rapher described it recently, beca use the d igital revolution ha s been under w ay since the NC2000 was

introduced four years ag o. But the DCS 520/D2000 is the logical next step in th e evolution o f too ls for

digita l photojournalism, too ls tha t make it easier to leverage d igitals speed ad vanta ges while ensuring

great image q uality.

The ca meras failings appe ar to b e few. Still, several pho tographers who have used t he DCS 520/D2000

have suggested t he following:

At 3.5 fps, the cameras 12 frame buffer fills fast. Too fast . Pho tographers must trea d ligh tly on t he

shutter button w hen photog raphing seq uences.

The ca meras 5.7 mb fi le size is still too small to meet a ll the need s of a new spaper, including full

broad sheet pa ge b lowups, tiny crops, etc.

Photog raphers who love shooting with a 20mm lens on their 35mm camera w ill not b e happy with

the effective lens mag nification.

At a street price of $11,500 to $13,000 U.S., the camera is still too expensive for individual pho togra-

phers to purchase.

Theres no Nikon version a t present .


21/21


Conclusion

1 9

Of these, perhaps the only real imped iment to w idespread accep tan ce of the camera is the fact tha t its

Canon on ly. Nikon ha s hinted tha t they have a pro digita l camera coming soon, but really, wh at e lse

wo uld you expect them t o say on th e eve of a new Canon-based d igitals introduct ion? At the very least,

the DCS 520/D2000 is a g reat ca mera for the significant portion o f the p hoto journalism market t hat uses

Canon. Whether it w ill sway Nikon newspa per and wire photo graph ers over to Cano n remains to be seen.

For the fi rst 2-3 months I do ubt t hat either Canon o r Kodak care, since its clear that the fi rst several

hundred ca meras are alread y sold to big n ew spapers, w ire services, and smaller papers wa iting for this

camera t o ma ke the jump to dig ital. Initially, customers probab ly wont have a n oppo rtunity to d ecide

whe ther to p urchase a Kodak or Cano n-branded version, since vendors will be clamo uring for wha tever

stock they can g et. Once the initial frenzy is over, keep in mind th at Cano n and Kodak are going to b e

compet ing to sell their version of the ca mera. And since the ca mera is the same, be sure to w eigh ea ch

offering b ased o n afte r sales service, wa rrant y, the g ood ies shipping with t he camera, and so on.

Price of course should be a fa ctor to o. An informal survey of several U.S. vendo rs of the new camera

sugg ests the p rice rang e w ill be a s outlined ab ove - $11,500 to $13,000 each, depending on ho w many

cameras, disks, ba tteries, chargers and other accessories are purchased. Expect t hat price for t he Cano n

and Koda k version to be about the same.

Additional information is available on both Kodaks and Canons website. Follow the links on my sites

DigiNew s pa ge at .

Rob Galbraith

Pixelcount Feb March 98

Documents

Transcript of Pixelcount Feb March 98