User talk:Mickeyhun

The rule of thirds states than an image is most pleasing when its subjects or regions are composed along imaginary lines which divide the image into thirds -- both vertically and horizontally:

Rule of Thirds Composition	Region Divided Into Thirds It is actually quite amazing that a rule so seemingly mathematical can be applied to something as varied and subjective as a photograph. But it works, and surprisingly well. The rule of thirds is all about creating the right aesthetic trade-offs. It often creates a sense of balance -- without making the image appear too static -- and a sense of complexity -- without making the image look too busy.

OK, perhaps you can see its usefulness by now -- but the previous example was simple and highly geometric. How does the rule of thirds fare with more abstract subjects? See if you can spot the lines in the photo below:

Original Photo	Show Rule of Thirds Note how the tallest rock formation (a tufa) aligns with the rightmost third of the image, and how the horizon aligns with the topmost third. The darker foreground tufa also aligns with both the bottommost and leftmost thirds of the photo. Even in an apparently abstract photo, there can still be a reasonable amount of order and organization.

Does this mean that you need to worry about perfectly aligning everything with the thirds of an image? Not necessarily -- it's just a rough guideline. What's usually most important is that your main subject or region isn't always in the direct middle of the photograph. For landscapes, this usually means having the horizon align with the upper or lower third of the image. For subjects, this usually means photographing them to either side of the photo. This can make landscape compositions much more dynamic, and give subjects a sense of direction.

Off-Center Subjects Can Give a Sense of Direction In the examples above, the biker was placed more or less along the leftmost third since he was traveling to the right. Similarly, the bird is off-center to give the impression that it can take off to the right at any moment. Off-center composition is a powerful way to convey or imply motion.

Thus far we've looked at examples that have satisfied the rule -- but what if they hadn't? Wouldn't they have still appeared just fine? Perhaps, but usually not. The next set of examples shows situations where cropping to enforce the rule yields a clear improvement. It is often quite amazing how you can resurrect an old photo and give it new life with something as simple as cropping it.

Uncropped Original (horizon in direct middle)	Cropped Version (horizon now along upper third of image) In the example above, part of the empty sky was cropped off so that the horizon aligned with the upper third of the image -- adding emphasis to the foreground and mountains.

But what if there's simply nothing in the image to apply the rule of thirds to? Although rare, this might be the case for extremely abstract compositions. However, the "spirit of the rule" may still apply: giving the photo a sense of balance without making the subject appear too static and unchanging.

In the example to the right, there's not even a single line or subject that can be aligned with the thirds of the image. Perhaps the C-shaped region of light can be grouped into an upper, middle and lower thirds region, but that's probably pushing it. Regardless, the image is on average brighter to the left compared to its right -- effectively creating an off-center composition.

Example of beneficial symmetry By now, the free-spirited and creative artist that you are is probably feeling a bit cramped by the seeming rigidity of this rule. However, all rules are bound to be broken sooner or later -- and this one's no exception. It's time to unleash that inner rebel. That is, as long as it is for a good cause. A central tenet of the rule of thirds is that it's not ideal to place a subject in the center of a photograph. But what if you wanted to emphasize the subject's symmetry? The example to the left does just that.

Similarly, there's many other situations where it might be better to ignore the rule of thirds than to use it. You might want to make your subject look more confronting, for example. Alternatively, you might want to knock things out of balance.

It's important to ask yourself: what is special about this subject, and what do I want to emphasize? What mood do I want to convey? If the rule of thirds helps you achieve any of these goals, then use it. If not, then don't let it get in the way of your composition.

FZ8 REVIew

anasonic Lumix FZ8 design and build quality

The Panasonic Lumix FZ8 shares the DSLR styling of its predecessor the FZ7, and like that model it’s much smaller than it looks. In the photo below we’ve placed it alongside Sony’s Cyber-shot DSC-H9 and Canon’s ESO 400D / XTi, and it’s clearly dwarfed by both models.

The grip is obviously a scaled-down version of what you’d find on a real DSLR, or even most other super-zooms, but with it and the ridge for your thumb on the rear, it’s possible to hold the FZ8 quite securely – and many will also find it easier to hold with one hand than, say, Panasonic’s own TZ3 super-zoom compact. If you have large hands though, we’d advise picking it up in person, as it may be a little too small to hold comfortably.

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It’s interesting to compare these two Panasonic models side by side as the metal-cased TZ3 feels like a much more substantial camera, while the FZ8 comes across as quite plasticky in comparison. The FZ8 is also much lighter than you’d imagine, but while it doesn’t feel as solid as the TZ3, the overall build quality remains to a high standard. The materials and joins are smooth, well-assembled and there’s certainly no creaks to worry about.

The FZ8’s controls are concentrated between the top right side and the area to the right of the screen. The top surface is home to the main command dial offering the traditional Program, Manual, Aperture and Shutter Priority modes, along with additional positions for Movie, Print, Scene Presets, fully automatic (indicated by a heart icon), Playback and Panasonic’s Intelligent ISO mode. The latter is new to Panasonic’s current range of cameras and we’ll describe it along with the full exposure details in our Features pages.

The shutter release button is housed within a circular zoom rocker and alongside are buttons to adjust the Optical Image Stabilisation and focusing modes. The on off switch is on the rear of the camera alongside a button to switch between the screen and electronic viewfinder, EVF. To the left of the EVF is a button which manually pops open the flash.

The rest of the controls are concentrated in the lower right corner on the back of the camera. Like most Panasonic models, four buttons arranged like a joypad are used to navigate menu options, scroll across images during magnified playback, or select various options during shooting. A button in the middle of the four brings up the main menu system or confirms settings.

Pressing the top of the four buttons while shooting presents the exposure compensation settings, offering the traditional +/-2EV range for darkening or brightening exposures; there’s also an option for exposure bracketing. Pressing the bottom button shows the last image taken (or viewed during playback), and like playback mode, you can magnify using the zoom lever.

Pressing the left button lets you choose between a 10 or two second self-timer, along with a neat option which after a 10 second countdown takes three photos at two second intervals just to make sure.

Pressing the right button cycles through the options for the built-in flash once it’s been manually popped-up: Auto, Auto with red-eye reduction, Forced on (with optional red-eye reduction if you’re using the Party or Candle Light scene presets), and Slow sync with red-eye reduction. If you don’t want the flash to fire, simply don’t pop it up.

Two further buttons to the left of this main group switch the display mode and either delete images or adjust the continuous shooting options. Most important of all though is a small joystick just by the top right corner of the screen. Pushing this in presents the FZ8’s dropdown menu system which gives you very quick and easy access to a wide variety of settings including ISO, White Balance and image quality. It’s one of the best user interfaces around and we’ll explain how it works in our Features pages – we also have a demonstration in our FZ8 video tour.

Connectivity and battery

A door on the left side of the body opens to reveal DC-in and a combined USB / video out port; the DC-in port works with the optional DMW-AC7G AC adapter, but it won’t charge the battery inside the camera. A larger door under the grip side of the body houses the battery and SD memory card slot.

The Lumix FZ8 is powered by a CGR-S006E 710mAh Lithium Ion battery pack and the camera is supplied with a mains recharger. Thanks to the FZ8’s latest power-saving Venus III image processor, Panasonic claims each charge is now good for 380 shots under CIPA conditions, but that’s a best-case scenario. If you end up composing mostly with the screen and with optical stabilisation activated, the battery drains much faster, so investing in a spare would be advisable.

anasonic Lumix DMC-FZ8 lens coverage

The Panasonic Lumix FZ8 is equipped with a Leica DC Vario-Elmarit 12x optical zoom delivering an equivalent range of 36-432mm and a focal ratio of f2.8-3.3; the actual focal length is 6-72mm and the closest focusing distance is 5cm in Macro mode with the lens zoomed all the way out.

Upon power-up the lens barrel extends by 21mm in about two seconds, and by only a further 3mm when fully zoomed-in. Unlike many cameras which lurch from one focal length to another, the FZ8 boasts extremely fine increments as you explore its range – we found it virtually impossible to count discrete steps, but you’re looking at over 60. The FZ8 also offers two different zooming speeds, depending on how far you push the zoom rocker.

The FZ8’s focal range is certainly impressive and the fine zoom increments welcomed, but it’s lacking the wide angle coverage of several rivals. The Sony Cyber-shot DSC-H9 and Olympus SP-550UZ boast equivalent focal lengths starting at 31 and 28mm respectively, which are both comfortably wider than the FZ8’s 36mm.

To be fair, Panasonic’s own Lumix FZ50 isn’t much better than the FZ8 with its equivalent range of 35-420mm, but both FZ models could do with something wider, especially in the current market. We’d certainly be surprised not to find it in the FZ8 and FZ50’s successors given Panasonic’s adoption (and considerable promotion) of 28mm wide angle across pretty much all its latest models. For instance, the 28-280mm equivalent range of the Lumix TZ3 compact arguably allows more creative shots.

To illustrate the Lumix FZ8’s coverage in practice we mounted it on a tripod and took photos with the lens fully zoomed-out, then fully zoomed-in. For comparison we then mounted a Sony Cyber-shot DSC-H9 in the same position and again took shots at the short and long end of its focal range.

Panasonic Lumix FZ8 coverage wide Sony Cyber-shot DSC-H9 coverage wide

6-72mm at 6mm (36mm equivalent) 5.2-78mm at 5.2mm (31mm equivalent)

The photos above clearly show the FZ8’s optical weak point: the lack of true wide angle coverage. The Sony H9 may only zoom-out to an equivalent of 31mm, but it’s clearly capturing a noticeably larger field of view, and this is very useful whether you’re shooting a big landscape, building or interior, or even just a big group of people. Compare it to the coverage of the Panasonic Lumix TZ3 which gets even wider at an equivalent of 28mm. On its page we compared it against the Fujifilm F30, which shares the same 36mm wide angle equivalent to the Lumix FZ8, and the difference between 36 and 28mm is clear.

Panasonic Lumix FZ8 coverage tele Sony Cyber-shot DSC-H9 coverage tele

6-72mm at 72mm (432mm equivalent) 5.2-78mm at 78mm (465mm equivalent)

Where the FZ8 really scores though is zoomed-in. 12 times 36mm gives you a considerable 432mm, which gets you seriously close to your subject. Admittedly the Sony H9 and Olympus SP-550UZ can get a little closer still, but since they both start at a wider angle, they need their broader 15x and 18x optical ranges respectively to get closer at the long end. These longer ranges ultimately sound more desirable, but can result in optical compromises, so while the FZ8 may not get as wide or long, it does maintain pretty impressive optical quality throughout.

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If the FZ8’s range really isn’t sufficiently short or long, you can fit optional converter lenses: the DMW-LW55 multiplies the range by 0.7x giving a new wide angle equivalent of 25mm, while the DMW-LT55 multiplies it by 1.7x, giving you a whopping equivalent of 734mm. There’s also an optional DMW-LC55 lens which improves close-up capabilities. All three converters require the optional DMW-LA2 adapter for mounting.

We’re pleased to see Panasonic supply the FZ8 with a lens hood which mounts onto a screw-on filter ring; also supplied. Once you have the accessory ring and lens hood attached, the FZ8 inevitably looks much bigger, but it’s nowhere in the same league as the monster which Sony supplies with the H9. We have demonstrations of both in our Sony H9 and Panasonic FZ8 videos.

The FZ8’s lens hood can also be reversed and slipped back over the lens barrel for storage and transportation. This is handy, but the hood must also be rotated 90 degrees from its working angle for the petals to fit on the barrel when pointing backwards.

This isn’t a problem, but you must remember to rotate it back by 90 degrees again when refitting it for use – we’ve noticed a worrying number of people using the FZ8 with the lens hood incorrectly turned by 90 degrees and therefore suffering from vignetting at the sides of their images at wide angle. It’s an easy mistake to make, so beware. Panasonic Lumix FZ8 features

Lenses / Screen and menus / Sensor and processing / anti-shake

Panasonic Lumix DMC-FZ8 vs Sony Cyber-shot DSC-H9 outdoor scene

To compare real-life performance we shot the same scene with the Panasonic Lumix DMC-FZ8 and Sony Cyber-shot DSC-H9 within a few moments using their lowest ISO settings.

The zoom lenses of each camera were adjusted to deliver the same field of view; the FZ8 crops show a slightly larger field due to its slightly lower resolution.

The image left was taken with the Panasonic Lumix DMC-FZ8 at 7mm f5.6 and with a sensitivity of 100 ISO; the original JPEG measured 3.3MB. The crops are taken from the top left, centre and lower right areas.

The Panasonic FZ8 may have one less Megapixel than the Sony H9, but the crops below reveal a great deal about the actual differences between the cameras in real-life. The first row shows the H9 suffering from quite obvious coloured fringing, while the third row shows the H9 exhibiting considerable smearing through noise reduction, even at 80 ISO.

So while the FZ8 is far from perfect, and indeed shows noise speckles at 100 ISO, it still delivers superior image quality to the Sony H9 under ideal conditions like these - and it's comfortably cheaper too.

For RAW results with the FZ8, check further down this page. For more outdoor results against the Sony H9, check our FZ8 Outdoor noise page.

Panasonic Lumix FZ8 Sony Cyber-shot H9

f5.6, 100 ISO f5.6, 80 ISO

f5.6, 100 ISO f5.6, 80 ISO

f5.6, 100 ISO f5.6, 80 ISO

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Panasonic Lumix DMC-FZ8 JPEG versus RAW comparison

To evaluate the effect of the FZ8’s in-camera processing and compression, we recorded a best-quality JPEG followed by a RAW version of the same scene immediately afterwards. The JPEG and RAW files measured 3.3MB and 11MB respectively.

The FZ8's RAW files are supported by Adobe Camera RAW 4.x, so we converted the file in Photoshop CS3 using the default settings and 'as-shot' White Balance, before exporting the image as a 16-bit TIFF. We then opened the file in CS3, converted it to 8-bit, then cropped and saved the image using the same JPEG settings as above.

Panasonic Lumix DMC-FZ8 JPEG versus RAW

JPEG, f5.6, 100 ISO RAW conversion, f5.6, 100 ISO

The crop from the RAW conversion on the right reveals a great deal about the JPEG processing of the FZ8. There's clearly less sharpness, lower contrast and greater evidence of noise. Of course the RAW file gives you the opportunity to apply your own levels of sharpening, contrast and noise reduction using more sophisticated tools, and while it's a concern to find such obvious noise at 100 ISO, we greatly appreciate having a RAW option on the FZ8. Of course as always, different source material, not to mention different RAW converters may deliver different results.

Panasonic Lumix DMC-FZ8 results continued...

Outdoor / Resolution / Noise / Noise 2 / Corner sharpness / Fringe & macro / Distortion / Vignetting

Panasonic Lumix DMC-FZ8 Verdict

The Panasonic Lumix FZ8 is one of the best value super-zoom cameras around right now, boasting a range of features comparable to models costing comfortably more. On the plus side you get a good quality 12x optical zoom with stabilisation, composition using either a great-looking 2.5in screen or decent electronic viewfinder, quick and easy control over all settings, and even RAW recording facilities, all in small, light and affordable form factor.

There are of course downsides. The FZ8’s optical range while huge, doesn’t zoom as wide as some other models, and the screen, while very sharp and bright, is fixed in position. The biggest problem facing the FZ8 though is one we’re sadly all too familiar with: noise and noise reduction.

Panasonic claims to have improved both with its latest Venus III processor, but there’s still some serious issues when you look closely at images. Viewed at 100%, the FZ8 exhibits smearing of fine detail even at its lowest sensitivities – and with the with noise reduction turned down. It’s certainly not the camera for someone who likes to examine images on-screen at 100%, but to be fair, this is becoming par for the course for non-DSLRs and we’ve actually seen worse examples. And in the FZ8’s favour, its support for RAW gives you some degree of flexibility at the post-processing stage. So before wrapping up, how does the FZ8 compare against its biggest super-zoom rivals?

Compared to Panasonic Lumix DMC-TZ3

For pretty much the same money as the FZ8, you could alternatively buy Panasonic’s own Lumix DMC-TZ3. As you may expect from its styling, the TZ3 doesn’t have anywhere the same manual control as the FZ8, but it does have several key advantages. First the lens, while ‘only’ offering a 10x range, starts at an equivalent of 28mm. This gives it proper wide angle capabilities and what you lose at the long end is more than made up for when zoomed-out. The TZ3’s sensor also allows it to maintain the full 28mm coverage even when set to wider 3:2 or 16:9 aspect ratios.

The TZ3’s screen is also much bigger at 3in (although there’s no electronic viewfinder) and the metallic body feels more substantial. Ultimately if you can live without manual exposure control, an electronic viewfinder or a grip to hold onto, then the TZ3 is arguably a better choice. See our Panasonic TZ3 review for more details.

Compared to Panasonic Lumix DMC-FZ50

The Lumix FZ50 is Panasonic’s flagship super-zoom and costing around 50% more than the FZ8, it offers a number of higher-end features. Most notably the 12x stabilised lens doesn’t physically extend and the zoom control is a tactile manual ring like a DSLR. The screen may be a little smaller, but it flips out and twists to any angle. The build quality is also superior, and it’s the only camera on this page to feature a proper flash hotshoe. Finally, with 10 Megapixels, it’s the highest resolution model here.

These are all worthy features, but in practice the resolution doesn’t make a massive difference and if you can live without the hotshoe, flip-out screen and manual zoom ring, then the FZ8 represents better value. If however these particular features are important to you then the FZ50 is hard to beat. See our Panasonic FZ50 review for more details.

Compared to Olympus SP-550UZ

The Olympus SP-550UZ also costs around 50% more than the FZ8, but offers a different proposition to the FZ50. It doesn’t have the FZ50’s flash hotshoe, flip-out screen or manual zoom ring, but it does have the biggest optical zoom range of all the cameras here: a whopping 18x range, which starts at a useful wide-angle equivalent of 28mm but still manages to zoom-in slightly closer than its rivals. This makes it optically much more flexible than either the FZ8 or FZ50, and we also felt the SP-550UZ’s build quality was more solid than the FZ8.

On the downside images from the SP-550UZ can be soft particularly when zoomed-in and there’s visible coloured fringing, again especially at the maximum focal length. The massive zoom range in a compact but solid body remains a compelling option though. See our Olympus SP-550UZ review for more details.

Compared to Sony Cyber-shot DSC-H9

Like the Panasonic FZ50 and Olympus SP-550UZ, the Sony H9 costs around 50% more than the FZ8, and again offers a unique selection of features. On the upside it features a longer 15x optical range which is both wider and longer than the FZ8, although by not quite as much as the Olympus. Sony’s whopping 3in screen has no rivals though and offers great flexibility by tilting up or down. The H9’s focusing speed is also unparalleled for a non-DSLR.

While every model on this page suffers from overly-aggressive noise reduction though, the Sony H9 takes the biscuit. The smearing watercolour effect plagues images even at 100 ISO, and bizarrely there’s no option to adjust the compression, let alone support a RAW mode. These are serious omissions for the Sony, but if you can live with its quality issues, the lens, screen and handling are all very seductive. See our Sony H9 review for more details.

Panasonic Lumix DMC-FZ8 final verdict

It’s revealing three-quarters of the cameras we’ve compared the FZ8 against here all cost around 50% more. The simple fact is there’s no real competition for the FZ8 at its price range other than Panasonic’s own Lumix TZ3, which as discussed above is aimed at a different kind of market. In short the FZ8 represents excellent value for money and while it’s understandably missing some of the sophistication of these higher-end models, it really can compete – and in some respects even beat them.

Smearing at low sensitivities remains the biggest problem facing the FZ8, but it’s one which applies to almost any non-DSLR in today’s market – and as we’ve mentioned, models like the Sony H9 actually have it worse. So this aspect of image quality aside, there really wasn’t much we didn’t like about the FZ8.

Ultimately we’d have preferred better wide angle capabilities and a flip-out screen, but the latter is unlikely to make it onto the FZ8 line given it’s a key up-seller for the FZ50. 28mm wide angle capabilities though are something we’d expect to find in a successor given Panasonic’s almost global adoption of the feature and heavy marketing across its range.

Assuming flip-out screens are reserved for the flagship model and there’s nothing they can do about image quality, our only fair complaint against the FZ8 is lack of true wide angle. That’s really about it.

So if you’re seriously considering the FZ8, you need to ask yourself two questions: are you the kind of person who likes studying images on-screen at 100%, and will you find the 36mm wide angle restrictive? If you answer yes to either, then you’ll probably be disappointed by the FZ8, but if the answer to both is no, then the FZ8 offers a highly compelling proposition and almost unbeatable value. As such we can confidently award it our Highly Recommended rating and rank it as the best affordable super-zoom camera around. For a full demonstration, check out our FZ8 video tour.

Good points 12x optical zoom with OIS. Decent quality 2.5in screen. Quick access to settings. Good manual control and RAW mode.

Bad points Noise becomes a problem above 200 ISO. Wide angle coverage 'only' 36mm. No flip-out screen. May be too small and light for some.

Scores (relative to 2007 superzooms)

Build quality: Image quality: Handling: Specification: Value:

Overall:

16 / 20 15 / 20 16 / 20 17 / 20 20 / 20

84%