The bellows is a flexible, accordion-pleated box, which encloses the space between the lens and film, and has the ability to flex to accommodate the movements of the standards.

The front standard is a board at the front of the camera which holds the lens and, usually, a shutter.

At the other end of the bellows, the rear standard is a frame which holds a ground glass, used for focusing and composing the image before exposure, which is replaced by a holder containing the light-sensitive film, plate, or image sensor for exposure. The front and rear standards can move in various ways relative to each other, unlike most other types of camera, giving control over focus, depth of field and perspective.

The camera must have some means of support, usually provision for mounting it on a tripod.

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Types of view camera

There are several types of view camera for different purposes and allowing different degrees of movement and portability. They include:

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• Monorail camera – This is the most common type of studio view camera, with the front and rear standards being mounted to a single rail that is fixed to a camera support. This design allows the greatest range of movements and flexibility, with both front and rear standards able to tilt, shift, rise, fall and swing in similar proportion. These are generally made of metal with leather or synthetic bellows, and are difficult to pack for travel. Sinar and Toyo are popular manufacturers of monorail view camera systems. ARCA-Swiss produces monorail cameras for field use in addition to models for the more conventional studio applications. Many manufacturers also offer monorail extensions, which permit the front or rear standards to move further away from each other, allowing for focus on very close objects (macrophotography).
• Field camera – These have the front and rear standard mounted on sliding rails fixed to a hinged flat bed that is fixed to a camera support (tripod, etc.). These cameras are usually made of wood, or sometimes lightweight and strong composites such as carbon fiber. When the bellows are fully retracted the flat bed can be folded up, reducing the camera to a relatively small, light, and portable box. The price for this portability is that the standards are not as mobile or as adjustable as those of a monorail design; the rear standard, in particular, may be fixed and offer no movement. These large format but transportable cameras are popular with landscape photographers. Tachihara and Wisner are examples of modern field cameras at opposite ends of the price scale.
  • Extremely large field cameras using 11×14 film and larger, or panoramic film sizes such as 4×10 or 8×20, are sometimes referred to as banquet cameras, and were used to photograph large, posed groups of people to mark an occasion, such as a banquet or a wedding.
  • Studio and salon cameras are similar to field cameras, but do not fold up for portability.
• Press and technical cameras are true view cameras, as almost all of them have a ground glass integral to the film-holder mechanism that allows critical focus and full use of the sometimes limited movements. More expensive examples had a wide array of movements, as well as focusing and compositing aids like rangefinders and viewfinders. They are most often made of metal, designed to fold up quickly for portability, used by press photographers before and during the second world war.
• A more modern development is the highly portable Sinar arTec view camera which fails to fit within any of the above criteria and was designed primarily to be used by architectural photographers. It has the novel ability to take panoramic stitched images by means of built in step and repeat mechanism.

View cameras use large format sheet film, using one sheet per photograph. Standard sizes in inches are: 4×5, 5×7, 4×10, 5×12, 8×10, 11×14, 7×17, 8×20, 12×20, and 20×24. (It is usual to list the short side first in the Americas, and the long side in many other countries, thus 4×5 is the same as 5×4). A similar, but not identical, range of metric sizes is used in many countries; thus 9×12 cm is similar to, but not interchangeable with, 4×5 inches. The most widely used format is 4×5, followed by 8×10.

A few rollfilm cameras have movements that make them as versatile as a sheet film view camera. Rollfilm and instant film backs are available to use in place of a sheetfilm holder on a single-film camera.

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My Wish For You

Happiness deep down within.
Serenity with each sunrise.
Success in each facet of your life.
Family beside you.
Close and caring friends.
Health, inside you.
Love that never ends.
Special memories of all the yesterdays.
A bright today with much to be thankful for.
A path that leads to beautiful tomorrows.
Dreams that do their best to come true.
Appreciation of all the wonderful things about you.

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Versatile optical 26x zoom lens to accommodate a range of subjects
With a compact, lightweight body, the Pentax X90 features a high-magnification optical 26x zoom lens offering a focal-length coverage between 26mm wide angle to 676mm super telephoto (in the 35mm format). Combined with a Macro mode to capture images of subjects less than an inch away, the X90 captures images near and far. The X90 also features an Intelligent Zoom function, which extends the zoom coverage to approximately 162.5 times (for a focal length of an 4225mm in the 35mm format) without compromising the optical performance of the zoom lens.

Dependable shake-reduction system for sharp, blur-free images
The X90 incorporates the Pentax-original CCD-shift-type SR (Shake Reduction) system to assure sharply focused, blur-free images even under demanding photographic conditions prone to camera shake, such as when using the zoom lens’s super-telephoto range or when shooting a sunset or indoor scene with natural light only. By accurately detecting the amount of camera shake using a high-performance gyro sensor and shifting the CCD image sensor vertically and horizontally at high speed, the X90 offers an outstanding camera-shake compensation effect, equivalent to approximately three shutter steps.
** The degree of shake-reduction effect may vary, depending on the photographic conditions.

Extra-powerful battery for extended shooting sessions
With a large-capacity lithium-ion battery, the X90’s battery life has improved by 50 percent over the previous Pentax megazoom. The camera records approximately 255 images* on a full battery charge.
* Based on measurement conditions conforming to CIPA specifications using the exclusive D-LI106 Lithium-ion Battery.

Electronic viewfinder with diopter adjustment
The X90 comes equipped with an electronic viewfinder with a diopter adjustment mechanism for clear views of subject and electronic indicators.

Eye-Fi wireless SD memory card connectivity
Eye-Fi SD memory cards store media and offer built-in Wi-Fi capability that accesses an assigned wireless network to effortlessly transfer photos and videos from the camera to a computer and online sharing site such as Picasaweb, Flickr, Facebook and YouTube. Equipped with an Eye-Fi Card, the Pentax X90 allows users to enable/disable the Eye-Fi Card’s Wi-Fi connectivity via the camera menu and provides an on-screen card activity indicator. (Eye-fi cards sold separately.)

Movie shooting in high-definition TV image quality, with anti-shake protection
The X90 captures high-quality movie clips, equivalent in image quality to high-definition TV (1280 x 720 pixels). The camera features Movie SR (Shake Reduction) mode* to minimize camera shake during movie shooting through the use of exclusive software. As a result, the photographer enjoys high-quality, blur-free movie shooting with minimal effort. An HDMI micro terminal for audio/video signal output supports high-resolution movie viewing on a high-definition TV monitor.
* When the Movie SR mode is selected, the angle of view becomes narrower than normal shooting.

Multi-mode exposure system to accommodate different applications
In addition to the advanced Programmed AE mode, which automatically selects the optimal combination of aperture and shutter speed for a given subject, the X90 offers Aperture-Priority AE, Shutter-Priority AE and Metered Manual modes.

High image quality
With 12.1 effective megapixels, a sophisticated imaging engine and a high-quality Pentax zoom lens, the X90 delivers super-clear, high-quality images with a Bright, Natural or Monotone finishing touch option.

Auto Picture mode for hands-off selection of seven different shooting modes
The X90 features the advanced Auto Picture mode, which selects the most appropriate shooting mode for a given subject or scene by detecting the subject’s lighting and other conditions. This user-friendly feature selects the best mode from a choice of Landscape, Portrait, Night Scene, Night Scene Portrait, Flower, Sport or Standard modes and features an Auto Macro mode, which automatically switches the camera’s focus range to macro in close-range applications.

Face Detection AF & AE function
Feauring an upgraded Face Detection AF & AE function, the X90 automatically detects up to 32 faces in the image field in a mere 0.03 seconds and captures each with precision, even when the faces are tilted or turned sideways. In addition, the X90 offers other user-friendly functions designed to produce beautiful portraits with ease: the Smile Capture function, which automatically releases the shutter the instant it detects the subject’s smile; and the Blinking Detection function, which warns the photographer when the subject’s eyes close at the time of shutter release.

High-sensitivity anti-shake mode to minimize camera/subject shake
The X90 comes equipped with the advanced High-Sensitivity anti-shake (Digital SR) mode,* which allows the photographer to use higher shutter speeds in dimly lit locations by automatically shifting the sensitivity level to as high as ISO 6400 based on the subject’s lighting condition. By coupling this function with the dependable CCD-shift-type SR system, the photographer can effectively minimize adverse effects of camera shake and subject shake, even when shooting at such demanding locations as concert halls and indoor sports arenas.

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+ Excellent price. Obviously, getting this kind of technology for less than $200 is a rare find. Fuji somehow keeps prices at the low end of the spectrum, while managing to maintain quality.

+ Good construction. This thing feels solid, and fits nicely in the hands. I don’t have any qualms about apparent quality or cheapness; for $200, you’d be hard-pressed to find something with comparable materials and build quality.

+ Large feature set. The feature set really is as expansive as the description says. As mentioned before, some of them aren’t quite as good as they sound, but that will be discussed next. I’m not a even nearly a professional photographer, and I’m certainly still learning, but the upgrade from a ‘normal’ point-and-shoot is significant. Shutter and aperture priority modes are excellent, as is the full-manual mode. Automatic modes are just your normal automatic modes, with the exception of the SP ’scene selection’ mode, which offers some nice settings if you find yourself in a hurry to get a shot or are unsure of how to compose a picture yourself. Fortunately, with the versatile manual modes, you’ll find yourself using automatic modes less and less as you become more comfortable with the settings.

+ The zoom is great, as is the stabilization system. 12x zoom is more than enough for most realistic applications- if you need any more than that on a regular basis, you should really be looking at an SLR system anyways. When you get up to the 8x-12x range, you’ll likely need a small tripod or something to set the camera on, or a very fast shutter speed, but that’s pretty standard- no amount of stabilization can accommodate fully for a 12x zoom.

+ Super-macro mode takes some astounding close-ups. By far, this is my favorite mode.

+ Image quality, for $200, is superior. Although I have seen sharper images, they are usually coming from highly sophisticated SLR systems- not exactly what you’d call comparable.

+Speed, although not great, is good enough to keep up with demands from normal photographers. There’s a small, but noticeable, amount of shutter lag- nothing that will detract from your photographic endeavors. Time between shots seems to be on par with most other digital cameras of the class. With the right settings, you’ll be able to capture most images with reasonable success.

The negatives:
-Autofocus. This can be sloppy sometimes, failing to focus or focusing incorrectly. Although this might be due to my inexperience, I often find myself wishing for a manual focus. Then again, that’s just something you have to deal with when you forego spending thousands of dollars on an SLR system.

-Lens. Although it’s normally fine, I sometimes find myself wishing for a larger aperture and/or shutter speed range. The shutter speed range of 8-1/2000 seconds is usually more than fast enough, but I do find myself sometimes unable to compose a shot correctly because of a lack of aperture range. 99% of the time this has no relevance outside of extreme low-light or high-light imagine that as I become more competent with the settings, this issue will become less pronounced.

-Unusable features. This is one of my biggest peeves with the camera. Sure, it’s great to offer ISO 6400, but why bother when any pictures taken in that mode inevitably end up as nothing more than a noisy mess? I appreciate the attempt on Fuji’s part, but I would have rather had them dedicate the resources to extra shooting modes, a faster lens, a better lens cover, or any number of other, more practical aspects. Don’t get me wrong- most of the features are fine. Just don’t try to shoot anything above ISO 800, and don’t expect high-quality video.

Overall, despite a few downfalls, this is an exceedingly pleasing camera, and one that I feel is often overlooked in the Mega-Zoom discussion solely because of the Fuji name. Nonetheless, this camera can easily compete with almost any other camera of the `SLR-like’ class, regardless of brand- and the price is certainly right. Invest the $200 in this wonderful little package of technology, and you won’t be sorry.

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I normally have a problem with a bit of camera shake and don’t use a tripod. I just shot 400 pics and not one bit of camera shake! I was surprised to find out that I didn’t even have Image stablization enabled. It is very easy to hold this camera steady. The lens and the viewfinder are crystal clear. I stongly suggest that you get the fastest CF card you can to record your pictures, and at least 4GB. I should tell you though, that I am shooting in both raw and fine jpeg format. This typically takes longer to write. The xd cards are too slow when shooting raw and fine jpeg. Another thing to make yourself aware of: Liveview does not seem perfected in any camera yet. It may take some time, but it is a bit bothersome, because there is a wait between recording photos when using Liveview. If you don’t mind using the viewfinder,or waiting about 2 seconds between pictures, it’s not a problem. Also, my battery compartment door seems to stick a bit. May need broken in, or it’s just tight.

On the plus side: I have only had this camera 36 hours and already feel totally comfortable with it. I have heard people say that it’s not user-friendly. I disagree with that statement IF: you have previously owned and used Olympus cameras. This camera isn’t that foreign when coming from Olympus. Yes, it takes getting used to the buttons a bit, and my thumb does accidentally hit a button, but heck, I haven’t even had the camera a couple of days. I also suggest that you buy the telephoto lens. Unless you shoot all wide-angle pictures, you will not be satisfied with this lens package. Regarding the Olympus lenses … Primo, very good quality for a zoom/package deal. Much better quality than I expected. I like my pictures to be as crisp as possible, with the lowest noise (who doesn’t?), so I have experimented with shutting noise reduction off and using software to reduce noise. The results were good in my test results. The scene modes of the camera are good. I haven’t used them all yet (I had to put the camera down and get some sleep sometime in the past 36 hours), but am impressed with face detection on, macro, night modes. The flash is fairly strong. I have never had a built in flash, which doesn’t give some type of red eye or blue eyes in dogs, this has not happened yet with the 520. Impressive, but I would suggest if doing closeup, that you diffuse the flash, or stand back a bit and zoom on the subject. REVISION: If you use the Macro nature mode, it seems to adjust the flash a bit. Also, if you like to experiment, play withe the “Vivid mode” a bit. I’m usually not a fan of modes, but in bright sunlight, my colors came out exactly as they should be.

If you are considering buying a more expensive camera and are NOT doing professional studio work, I would say; don’t waste your money. Get this camera, because you will be impressed. If you are doing studio work, I would still tell you to get this camera, but get a better lens. After all, it’s not always about the camera, but it is always about the lens. Anyone who has ever bought a no-name, camera-store “pushed on you” lens, knows what I am talking about.

When my next lens arrives, I will post more information under the “40-150mm Olympus zoom lens”. Highly recommend this camera!

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Battery life — Great battery life. I should say, AMAZING battery life. I have taken over 5000 photos and I have only had to charge the battery twice.

Live View — LiveView is not for beginners. It is not a replacement for your Point-and-Shoot. You can’t use it in the AUTO mode (Green Square). This isn’t that big of a deal for me, I prefer full manual myself, but the whole point of this feature, I thought, was to make it more user friendly for the Point-and-Shoot photographer. My wife can’t use Live View in it’s current form (I specifically bought a DSLR with a live view function so she could still use the camera). So, if Live View is a big selling point for you, You may want to look at some others (If it isn’t that big of a deal to you, then this is still an amazing camera — added 4-23-2008). If you do studio work, though, you can hook the camera up to your PC and use it as a remote viewer. But it is not a point-and-shoot camera in Live View. In my earlier review, I said that it would be nice if Canon fixed some of the Live View issues with a firmware update, I was mistaken. Live View is a nice feature once you figure out it is not meant for beginners. Studio and landscape photographers will find Live View a great tool.

Image Quality — I have had some great success shooting in a studio setting as well as some great outdoor shots. In the studio, I used tungsten “hot” lights with the subjuect against a white background. The photos turned out great. Skin tones are perfect and there is very little, if any, chromatic abberation at the edges. It shoots great outdoor shots as well. We just got into beekeeping and I was able to get some AMAZING shots of our bees up-close outdoors. The bees looked dirty and not very interesting from a distance, but the macro photos I got up close are beautiful and full of wonderfully crisp details. The lens is a little short, the image quality you get from it is pretty good considering it only costs $100. I do plan on buying a longer lens in the near future.

Overall, the camera is solid and feels nice in the hand. It isn’t too heavy, yet still feels sturdy. If you can afford the higher price, I don’t think you will be disappointed. If you can’t, the XTi is still a great camera. And if you can afford to wait a few months for the price to drop a little (LIKE IT ALREADY HAS!!) I would. I was able to work a few extra weekends so I could afford to get this, and I can tell you, I don’t mind it a bit, because the quality of photos I am getting has been totally worth it.

Once you learn the layout of the camera and you load the MyMenu with the tools you use most often, the camera becomes an absolute delight to use. I have taken over 5000 photos with it so far and now I need an extra hard drive to put them all on.

I was able to rent a Canon EF 24-105 IS L lens and a 580 EX II Speedlite for my sister’s wedding. WOW! What great photos. The camera interfaced with the flash flawlessly and I am more convinced than ever that much of the quality of your photos comes from the glass you use and not as much from the camera itself (I think it is about 65% lens to 35% camera body give or take a few points– I know there will be those who disagree, but that is my take on it, and I am sure if I had a 1Ds MkIII I would think that there wasn’t a peice of glass good enough for my camera).

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