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Design, looks and desire: Olympus does it again
You really can't tell whether a camera is any good just by looking at it. Some people do indeed think that they can, but they will be people who admit quite openly that they know nothing about cameras. To those unfamiliar with the market, and the reasons we need different body shapes, some cameras will simply look more 'professional' than others. And bigger cameras will inevitably be considered much more serious than those whose designers have gone to great lengths to make compact.
Colorful cameras are obviously less credible than ones that have silver bits on them, and infinitely less credible again than ones that come cloaked entirely in matte black. Chrome and silver can make some believe the subject of their gaze is antique, and those that have no fancy knobs or shiny bits may be considered simply old-fashioned.
Our use of Leica rangefinders when I worked as a cruise ship photographer prompted more than one jolly passenger to remark that there seemed to be no relationship between the extortionate prices the company charged for pictures and the state of the old-fashioned equipment we were forced to use. The passengers believed that our featureless, sparkle-less, prism-less, block-shaped cameras, that we had to focus ourselves, were relics of a former era. That indeed we were using M4s in 1991 instead of the M6s of the day is neither here nor there, as they essentially both look as ancient as each other. When we explained that these cameras cost of lot of money the response was generally that perhaps we should take our mother shopping with us to avoid being ripped-off.
It's expected that the uninitiated will make quick decisions about a camera just by the way it looks, and in many cases to base a buying decision on its visual credentials. Serious enthusiasts and professional photographers would never do that of course. That's why all camera brands design their cameras to look plain and unexciting.
I'm just looking, dear
As much as the more sensible of us declare that all their camera equipment purchases are grounded in logic, there are very few of us that cannot be influenced by the way a camera looks. That doesn't mean we have to buy the best looking model, but I think that most of us will at least admire the style of the new Olympus PEN-F.
Those milled dials on the top plate and the neat flared appendage on the port-side forward facing are undeniably attractive. They may even create a twitching credit card in the pockets of those who had no prior idea they were in the market for a new camera. The clunky metallic dials may not represent the practicality of some other ways of working, but they certainly make for a more appetizing visual than a collection of black finger wheels ever could.
Olympus' repurposing of the film rewind post, with its gnarled head, to become the on/off switch, is a clever piece of work that lends the whole design a convincing impression of both heritage and originality, rather than looking like just another retro reproduction.
Creative license
It is ironic perhaps that the design of 2016's PEN-F has very little in common with the original model. That it has a lens and is available with a chrome or black top are about the only similarities. In my opinion, the PEN-F of 1963 was actually less than absolutely gorgeous unless decorated with 'Hollywood' lighting, used in a classy portrait or featured in a period drama.
'the new PEN-F is left looking more like the love-child of the Leica lll than it does anything from the Olympus archive of the early 1960s'
The rather-too-long top plate of the original makes the lens appear off-balanced compared to the central mount and active top plate of the 2016 model. The original also had no dials on the top plate and the action required to rewind a film was achieved with a crank handle rather than a gnarl-headed post. Olympus generally didn't use big top-plate shutter speed dials until the OM series of 35mm SLRs, and it ran out of the gnarl-headed rewind posts after cameras like the 1948 35 1 – the first 35mm camera to be sold in Japan.
So in the new PEN-F what we are looking at is some historical fiction rather than a recreation. But that's OK, history often looks much better with a heavy dose of make-believe – just ask Asterix and Obelix.
While the link between the new and old PEN-F models might not be as strong as it is between the original Leica MP and the 'modern' MP, I don't think anyone is going to lose any sleep over it. The point is that the new model is very good looking, and good looking gets attention from photographers and ultimately helps to sell cameras.
Looks versus logic
|The Fujifilm X100 - massively popular even before it had been tested, and fortunately just as popular afterwards!
Fujifilm might have a fantastic X-Trans sensor in its X-series cameras, but I expect a good many of those X-T1 and X-Pro1 bodies sold because they look so cool. I know there were enormous back orders for the X100 even before it had been tested by anyone, which demonstrates that plenty of people were prepared to put their money down even before they knew if the camera was any good.
The strength of the X series design has even outweighed the widely acknowledged sluggish AF performance of some of the models, and we hear proud owners making excuses as though for a fondly looked on three-legged dog. 'Yeah, I know the AF isn't that great, but it's such a beautiful camera. I love using it.' Like the Sirens of Greek mythology, the intoxicating curves of a well-toned camera body can prove a powerful draw to a normally logical person.
I suppose a company's heritage can reduce the risk of a good looking camera performing badly when you buy before you try, and it's reasonable enough to expect that the PEN-F will operate as well as the OM-D bodies and the top-tier of the current PENs (and our initial impressions have been positive). More importantly perhaps there is no reason for us to think that it will NOT perform at least just as well.
A wolf in wolf's clothing
It will be interesting to see how sales of the PEN-F compare with those of Panasonic's Lumix DMC-GX8. It is after all very similar in terms of key specification – probably the same sensor, enhanced touch functions including touch-pad AF, the same viewfinder position (minus the articulation) and the same lens range to choose from. In fact, the bodies are so astonishingly similar that the PEN-F looks more like a stylish adaptation, or a flattering imitator, than a competitor – but to my eye at least the PEN, with its contours, layers and more rounded feel takes the beauty pageant rosette. The designers have done a great job.
A camera has to perform, of course, and it won't sell well otherwise, but an eye-catching design that appeals to the right audience is an important differentiator and often what gets the product noticed, mentioned in the press, remembered by the public and purchased in a crowded market.
With all things being mostly equal – except that Olympus has more heritage in the camera market, and Panasonic has 4K and a head-start – I suspect that it will be on looks that most people make the choice at the camera counter between the GX8 and PEN-F.
Not for the first time
|The O-Product, from 1988
Olympus has had quite a history of designing original and cool-looking cameras, and I suspect its success over the years has been as much down to the person wielding the drafting pencils as it has the people with the spanners and screw-drivers. Outstanding creations from the archive include the O-Product, the Ecru, the delightful XA and the Mju and Mju-mini digital cameras. My teenage son bought a Trip 35 from an online store that restores and re-covers them, and he thinks it is one of the coolest cameras ever made – to the best of his knowledge, of course. The model he has was likely created 20 years before he was – a better example of enduring design would be hard to find.
Is it OK to buy and love a camera because of the way it looks? Yes and no. If you buy only because of the way it looks you are about to risk your money, but if style and grace sway you from one good product to another that's probably alright. I guess it is a question of why we take pictures and why we are into photography. Some people like their cameras more than they like taking pictures or looking at the pictures they take, while for some the end result is the be-all and end-all of the process and anything beyond pure functionality is extraneous.
Most people can find a balance between the two – we buy the best we can, and can give ourselves permission to enjoy the way our equipment looks. Photographers are supposed to be creative people, and creative people like looking at and using nice things. We can choose to remember that there are many reasons for getting into photography and many for continuing to take pictures, but for most of us it is supposed to be enjoyable. We don't all have to be seduced, but we can allow ourselves to admire some beautiful design, whether for you that's the PEN-F or a Canon Rebel. Either way, Olympus is certainly going to cause a stir with this new design, just as it has done so many times before.
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Olympus certainly wins for the best retro look. Other brands should take note. Whether retro or futuristic, consumers do buy based on looks. Take for example Apple's success.
The first Olympus at the beginning of the article (second photo) is just stunning. I wish I had one of these - it's a pure masterpiece. Definitely something that is distinguishable.
"Olympus' repurposing of the film rewind post, with its gnarled head..."
Oy, Damian - it a "knurled" head!
"Knurling is a manufacturing process, typically conducted on a lathe, whereby a pattern of straight, angled or crossed lines is cut or rolled into the material."
"Gnarled" = "rough and twisted, especially because of old age or no protection from bad weather: e.g. a gnarled tree trunk. "The old man drew a long, gnarled finger across his throat."
Love my X100T, and X100 before that. About the look of the camera:
One thing about the look of the camera that helps, is that it makes people smile. My Nikon SLR? Not so much. I have the silver ones, and they do look like retro range finders. People I don't know say 'cool camera', and friends and acquaintances often ask if it's a 'real' camera or a film camera. Ditto for the quick flash sync. The flash is fast and takes less away from the moment. This could apply to any camera with that look.
AF is OK, and I wish the manual focusing wasn't drive-by wire. Focus highlighting saves it for me. Flash performance is a top feature. Movie mode is useless. I only shoot in JPG, because they include ample detail. White balance and color are very good, SOOC.
I think it looks fantastic, but 4/3 is not enough.
This camera is gorgeous. Wish Nikon would make a DX version of the Df and charge somewhere in the affordable range for it. I would throw coin at them if they would do that.
The silver version looks truly ugly to me (eye of the beholder, etc.). The black looks much better -- but needs black lenses, methinks: http://www.dpreview.com/articles/2513829147/the-mighty-pen-hands-on-with-olympus-pen-f
"Olympus generally didn't use big top-plate shutter speed dials until the OM series of 35mm SLRs"
Wow, DPR factual accuracy... not.
The original OMs like the 1/2/3/4 had the shutter control as a ring around the lens mount.
I honestly don't get why some people call this camera (and others like it) a "fashion statement", or that people are hipsters etc for buying one.
Look at cars (which costs a lot more, well usually..). People have different tastes in cars as well, many people let the look of the car affect their decision. Some people don't care what car they buy, as long as it takes them from A to B, and so on. We often buy not just with out wallet, but also with our eyes.
Personally I really like the retro look of the PEN-F and Fuji cameras. There's nothing wrong with wanting a camera that looks good (to the buyer). It's in the eye of the beholder.
Absolutely agree with you.
I know many Harley-riders. They mostly ride black motorbikes, wear black leather & they usualy say:
"I do not care about bike colour as long it is black!"
Does it reminds of boring CaNikon Co?
Yes Oly makes nice & very good cameras - love them.
From the other side I do not understand others (Sony, Panasonic ..) - the companies which make cameras & they do not care about design. The only exemption was Nikon Df .. but unsuccessful because of the lack of features.
Pentax made some experimetns with colours but did not change usualy design of camera & it was pretty funy . as cameras for kids or simple-minded girls.
Only aliens in movies agree on fashion, and that's why your post Swedish, is refreshing. You say what everyone should admit: We do buy based on looks in many areas, so we shouldn't criticize someone for caring what a camera looks like if we ourselves care what a car looks like, or a coat, boat, breed of dog, tool, etc.
I don't buy cameras based on looks (I need a specific set of specs for what I do), but I still admire these retro cameras. They look great.
The key for taking pictures: to want, to desire, to like the subject and the moment you press the shutter.
Some of us need the "comfort "of a good looking kit, others focus on the technical aspects, other prefer ease of use.
I guess it depends on how and what you shoot. I use a modern Nikon D750 with a prime fixed focus lens, a self-made pinhole, and a self-made 6x17. A folding Graflex too. Different beasts. Each has pro and cons.
Your mood, subject and aimed results do matter.
The right camera should be the tool to get what you were looking for, preferably no (bad) surprises.
You probably take better pictures with the kind camera you like.
So a good looking camera might help. An ugly one as well. It depends.
Initial attraction is just as important. I know because I wouldn't go up and talk to an ugly girl at a bar...unless she offers to buy me drinks.
Photographers love beautiful things; beautiful cameras are catnip where I'm concerned. The most beautiful, functional, affordable, and capable camera would be my ideal choice. But even Canon's look beautiful if you want them to.
Looks are very important to sales. I have personally purchased
for size and looks the Fuji x10 then the olympus system for better
resolution due to sensor size. I had a Sony a55 before small apsc
ok looks and function but I always felt lens quality not the best imo
I was offered a nex with two lenses for free and turned it down. Sony nex
they just don't look like a camera sorry Sony cause the A6000 details
Reportedly are descent. Now I am committed with Olympus 12-40 pro
lens very nice for manual focus and iq works great on even the m10
When iq on future olympus bodies greatly improves I will upgrade.
Maybe a M1 ii
The looks of this camera are terrific but what attracts me more is the apparent ease of use. Having watched a few reviews on YouTube it seems as though the PEN-f is a camera that would become highly useful and intuitive to use without spending a year in avionics training first, like it's been trying to learn the menu system on my EM-1.
I think I could pick up this camera and inside of an hour be out capturing the images my eyes imagination.
I just wish I could find anyone doing a well-executed comprehensive review of all this camera's dial functions! No one, for example, talks about the little dial on the bottom left-hand side of the face. What's it do? And I've only heard scanty discussion about the front/rear dial interaction.
Questions abound. Does it have a Super Menu like the EM-1? Can I make grid lines with it?
I guess I'm going to have to travel a few hundred miles to find out the answers to these and a lot of other questions.
It is "prewiev button" ..
Thank you.
One factor not considered in the Pen F/GX8 comparison is what happens to the prices of those models over their lifetimes. If they follow previous form, the Pen F will probably settle around the £750 mark and the GX8 around £500 (though it will be interesting to see whether the lack of or presence of 4k video affects that trend this time round.)
So if you're like me, and content to buy models at the end of their lifetime, price becomes a much bigger factor in the equation than it does when new models are introduced.
Watching and waiting for the digital camera industry to wind its way back to reality has simply been painful. The film camera industry long ago learned what type of cameras photographers wanted and produced them for decades. Or, at least, until digital schizophrenia became dominate and began creating it's own reality.
Over the past years the development of the digital persona has been truly psychotic. Some early cameras like the Olympus C-2000 were still relevant to the real world, but then came hallucinations like the Sony DSC-F505. It was as though the digital side of the brain had never seen a camera before. There appeared strange looking digital contrivances where viewfinders had vanished, as had accepted forms of self-control. Even, the development of the DSLR was just short of any true return to reality; lost in a mind altering maze of menus to control even basic functions.
So, to many of us it's not a matter of retro appeal, but of a return to sanity.
Hi WGVanDyck ... Very Well said . Those were exactly how i feel all this while ...Thanks for putting it down in words as I am horrible at typing....Cheers!!
Regards ...James.
My Blog : http://jamesmoh.blogspot.com
But look at that new Canon EOS-1D X Mark II and keep in mind that you are not buying just a camera, it is the EOS or "Electro-Optical-System" with well over 30 buttons to play with, and several handed of menu-driven options, and three LCD displays!
So many buttons to push, so little time... for thinking.
In my experience, and those friends I shoot with, you learn the controls/buttons you use (or assign) and never touch the rest of the "features". For instance I've never used any video function on any camera I've ever owned and couldn't care less about it while for others, it's a must have feature. Most camera makers feel the need to include every feature they can possibly think of and (imo) one of the reasons Leica is doing so well.
I totally agree. Menus are only the half of it. Any time you have to perform two actions to make an adjustment you've had to take yourself out of "right brain mode" and go to "left brain mode". The result is disengagement from your subject and "where" it is in time. Auto focus is my pet peeve. Cameras now are designed so that if the focus screen is optimized for MF, it potentially interferes with the AF module, the exposure meter or both. But really, AF is only "useful" for action and maybe very low light situations. Otherwise, MF is fine. All you have to do is twist the lens and look. My Nikons require me to make too many choices. If I want to focus on a particular spot, I have to press the shutter (but not too hard!) then move a feature around on the screen. Then I press the AF-ON button with my thumb. It's insane. Or, I can put it into single 51-point tracking and hope it focuses where I want . I think you get my drift. At that point I've forgotten what I'm doing.
Thanks odpisan,
Well, I'm not 120, but I am your age. It's not an issue of having problems with DSLRs, or the last SLRs (F100, etc.), its a matter of preference. All of my cameras have been button and menu cameras since I sold my F4 to buy a D1. A couple of years ago I bought an old Oly OM2 and realized I missed the simplicity. With the OM2 two clicks of the knob is -2/3 compensation, one click of another is aperture priority, and 4 clicks of the ring is f8. And, I can do this while looking thru an uncluttered viewfinder where I can pay attention to the scene and not reading a display. I can look at the camera and immediately see the settings and change them directly where I see them without having to reach somewhere else to push a button and turn a wheel. How many photographers have taken a few shots and then realized they forgot to reset the camera since its last use? I never experienced that until the advent of the button and menu system. I prefer basic settings to be analog.
@ WG Van Dyck
I ignore most of the dross in my cameras…
scenes, in-camera editing, filters…
You CAN set up your camera to work like a film camera.
Use manual lenses. Activate live view (no chimping!).
Assign one of the dials to adjust shutter speed.
The only other thing you ever need to adjust is ISO.
You don't have to be 120 years old, or collecting social security, to use it that way, either. ;-)
I agree, Jeff, I have been doing that for years. Please understand that I am not anti-digital. I have been shooting digital since the late 90s. I love the vast capabilities that digital offers. And, since most of those capabilities aren't changed from shot to shot the button and menu system works great. My discussion has been in reference to basic settings: shutter, mode, aperture, compensation, ISO. In my experience analog is faster and more intuitive for those basics. Technical complexity is not the issue. I am a retired airline pilot; I thrive on that stuff. But even in the newest, most technologically advanced airliner the most frequently changed inputs are done with an old fashioned, direct control knob. Because, that knob is faster and more intuitive.
I've really enjoyed using the PEN line - I got the first one and as mentioned here, I enjoyed using despite its foibles.
That was until my E-PL5 displayed 'shutter shock' issues so I moved to an E-M10 which is a lovely camera to use, and doesn't have the same IQ problems that the E-PL5 did.
It might be time to return to the PEN line now it has a viewfinder... but also as noted in this piece, I'll be waiting until I know for certain it delivers in terms of picture quality.
It does look awesome though!
One of the features that the Olympus' users value the most about their cameras, at least those over $800, is their weather-sealing. Why on earth didn't they include weather sealing in a premium priced camera like this?
May be that Oly makers KNOW that we are mostly ordinary people & we stay at home when it rains outside, we go away when we see a lot of dust, we usualy do not take pictures in Sahara, Nord Pole or battlegrounds.
How many photgrahers have you seen on the streets in a rainy day in your whole life?
Correct me if there's any evidence out there showing otherwise, but this "weather-sealed function" seems to be largely a marketing tool rather than any specific performance standards.
I do realize that it's not easy to develop a objective measurement of weather resistance since environmental factors are complicated. Still, camera companies can slap on some rubber bands on their cameras, call them weather sealed, then sell them with a couple of hundred dollar premium.
The O product is an abomination in my estimation. Design with no sense. Just to be different.
This camera is so compelling, I'm getting one for those times when it's not raining and I want to go even lighter. This and a few Panasonic/Leica lenses are going to be my always with me outfit.
Call it a guilty pleasure. Many of us got into photography to capture beautiful photographs, so is there anything wrong with admiring a beautiful camera?
Those who got into digital gear to bicker over specs and find flaws... need to listen to their soul more. You know you want something like this, or a Fuji X100, or a Nikon DF, just because they're so cool looking. Can't analyze or quantify that appeal, all you can do is feel it.
A camera without a hand grip is like the proverbial american paper bag without a carrying handle: it's supposed to look cool - until it drops down or you get cramps in your arms (or hand(s)).
A camera with a swivel monitor is as practical as a door knob compared to a door handle - especially when you have to open the door while carrying handleless paper bags hugging them with your arms.
But it looks cool! Man, does it look cool!
The cameras keep getting prettier. The pixel count keeps outrunning the actual image quality.
Come'n man, you don't have to drop a camera because it has no grip. Many photographers, including me can handle a camera a full length day without dropping it, even without a grip.
I don't care about tilting, turning, dancing screens when I have a EVF, but its nice when its there when you want to use it. At this price range it would be a shame not having any tilting screen. Anyway, I think its a nice camera, and when all camera's are having great image quality (and yes,mp don't really matter), looks make a difference.
Why then do some cameras have a grip at all? According to that logic a grip has no function and no grip does have a function: to look cool! I should say c'mon!
About the swiwel monitor - I obviously was not entirely clear: I very much do like to have a monitor I can look at from an angle - but there is no real advantage in a swiwel monitor for a camera that is a photo camera in the first place and not a video camera. Unless you enjoy watching yourself while doinmg selfies and unless you enjoy doing unnecessary extra moves with the monitor and thus also enhancing the risk of damaging it, not to speak that the tilted swiweled (or whatever it is called in English) monitor at the side of my hand is not practical as straight below the EVF and out of the way of my hand(s).
But I really thought I'm gonna get some replies about the paper bags and the door knobs - would be fun to see whether this comparison did strike a chord.
And about dropping the camera: I don't have to drop a camera because it doesn't have a grip - but because it is a camera, an expensive and delicate tool which I don't want to destroy but which I want to use with as much ease as is possible through the application of human ingenuity and not to look at it with idolatrous awe and being prepared to convince myself that it has to be that way when it doesn't have to be that way.
I'm sorry, its not that I don't want a grip, a grip is something that makes it easier to hold it, but I'm not scared of dropping my camera without it (My leica has no grip) and its something that might happen anyway. Camera's are to be used, and might be damaged doing so. Giving us a reason to buy a new one ;)
The screen is fully articulating, something that might come in handy when shooting above crowds or when people are having a hard time to kneel down. And I actually liked the doorknob comparison, and I see your point! But consumers expect a tilting, flipping, dancing screen when they spend over 1k for a retro looking camera that has no red dot.
I wonder how many people who complain about the appearance of this camera go out and buy a really unfashionable car design. Looks sell just about everything.
Looks are very much a thing of the moment and retro is in at present.
I am sure you will find posts by many of the people, whilst criticising the trendy camera's looks, boasting about the flashy noisy sports car they cruise around in.
I suppose for some with cameras now it is fashionable to just be unfashionable and utilitarian. It will not last of course.
Buying cars just for their looks is known to me. It is an expensive and odd hobby, oops, sorry, not hobby, but a way of life. This logic is definitely entering, well, no, has definitely already entered the world of photographic cameras too. And the image quality on dpreview of photos which are depicting photographic products has dropped below the level of "even" photo microsites. So again, this whole industry is not necessarily going towards a better image quality but towards a better photographic experience. Have I passed the test with the last part of the last sentence? Better photographic experience?!?! Crampy hands?! Retro this and retro that!
I wonder what a retro hammer would look like? Or a fashionable retro chainsaw?
A very nice and interesting feature, thank you, with some insightful perspectives.
Dr Watson's AI has established that the most common phrases wrt. the Pen-F in frequency ranking are:
1) "retro"
2) "it reminds"
3) "metal knob".
Hence dr. Watson predicts a total marketing success, followed by an initial decrease in sales for Leica (-3%) and Fuji (-15%), then a general rebounce of +30% for the global retro market.
Pen F is a beautiful camera..but the dials on it are not doing justice for its design.. but still its beautiful.. I have great respect to fuji, olympus and leica.
But I think fuji designs better camera ..especially I love them because of those dials where I can control shutter speed, iso..etc.,
people may moan that "retro" design might die again in few years...but are forgetting that is how a camera should look and used to look..after all in olden days its a camera not a electronic gadget..
another "small sensor-object of desire" camera........ dear Olympus listen to me: is a very, very ,very nice piece of metal, but the advantages of big sensors against m4/3 are obvious... this body (and my pocket) , for that price needs a bigger sensor...
Yes but the big sensor camera really needs an even bigger sensor and then that camera really should have a bigger sensor and then that needs a bigger one still etc. etc. etc............
m43 cameras are m43 cameras and are really none the worst for it and pretty cute. Plenty of alternatives available if you want bigger.
There's little debate about larger sensors and better image quality. However there are certain physical realities that come into play…
Larger sensor means larger lenses.
More bulk. More weight. Less portability.
I don't own a car, travel often and carry everything on my back. Every ounce matters.
If I can get better than "good enough" image quality with less than half the bulk and weight, I'm all for it.
On topic… Like most Olympus cameras, the PEN-F is a pretty camera and loaded with flaws.
.. when olympus will make photos like the (smallest) Ricoh (apsc sensor) or Sony rx1 i'll buy it.... but "physics " tells me that will not happen soon.... i'll wait... i repeat that this is a beautiful piece of metal but m4/3 for that price imho is out of market...
Ages ago, when the comparison was E1 to 5D, the difference in sensor size could be seen in most photos under most circumstances.
Today, with 20mp exceeding what most amateurs can outstrip, with a decent ISO6400 that most of us rarely go beyond, the difference isn't nearly as pronounced.
However, the size difference is still there. And, it's nice, very nice, to be able to carry that sort of capability discreetly, without the gear dominating your day. Not absolutely necessary, but definitely nice.
this is not true.... the smallest Ricoh GRD , recently reviewed on this site is the perfect answer to your comment... and it's what i'm talking about... a beautiful camera like the olympus with apsc sensor or fullframe sensor.... i think that Fujifilm has the answer too... with fuji x200t ... 24mp apsc, 35mm equiv. .... i'll wait...
Tedolf have you ever seen the ricoh grd lens? Have you ever seen the lens of nikon coolpix A? Both have a bigger sensor and both have a smaller lens that retract full in the camera body... so what part of "smaller"and "bigger" don't understand? Have you ever seen a summicron? Have you ever seen the state of the art nikon 28ti's nikkor 28mm ?
this is strange too... i think they have never used a BIG BLACK 500 F4 NiGGor ...
What I want to know is, when is Olympus or Fuji going to make a digital TLR? You just know it would look amazing and think how cool you'd look shooting from the waist!
The Pen-F looks beautiful. I want one, possibly paired with the Olympus 25 1.8. Thank you for an excellent review.
10 years from now this whole 'retro' camera fad will be long gone and we will look back at DPR articles like this one, waxing poetically about silver knobs, and think reviewers must have had some similar bits logged in their prefrontal cortex.
I bought a Fuji because of the amazing low light performance of the x-trans sensor. It has less color noise per pixel than any other camera. The lenses were a major draw. The look was a bonus. The solid feel, the chrome top were a great. When it was time to upgrade, the Fuji x-t1 cost $200 more for the chrome version, and I realized that the people at Fuji were scum, so I bought a Nikon. It's not as much fun to shoot with. It feels less human. But it takes good pictures. All things being equal, I would have bought the retro-looking camera because it feels better, is more fun, and looks cooler. But Fuji made it un-equal. So they lost my business forever. I miss my X-e2 noise performance, and the way it feels in my hands, but I don't miss feeling like a stooge because the camera company banked on me being shallow. I bet you thought I was disagreeing with you at some point. I do hope retro-bodied cameras have a life beyond this. If they make it a selling point, they won't.
You clearly never used these cameras.
Nor its your intention to ever use them.
Therewith you have no idea how the real life shooting experience is with these camera's. Yet you think to know all about them.
Let me tell you these cameras feel like cameras should feel. Like a properly designed photographic tool and not like a plastic toyed computer as most modern cameras feel.
10 years from now, a DSLR design might end up being a retro.
The "retro" thing is a normal human response: reminiscing about the past, as seen through rose-colored glasses.
Just think of it: some people now think that it was easier to shoot with the film cameras in the past (because they were simpler) compared to the digital cameras (because the are too complicated).
No, an attractive looking camera won't improve the capability. It's just icing on the cake.
But, if you're going to have a piece of cake, why not get the piece that has the most icing?
I would rather prefer an efficient camera. If somebody manages to produce an efficient camera which looks retro I am fine with it but up to now looking retro seems more important than efficiency to the vendors. Some designs just do not make sense in the digital age but were necessities 40 years ago. I do not want them to reappear just for the looks and standing in my way when taking pictures.
DSLRs are dead once the last few advantage are accommodated. Five years ago I would have never believed it. As for chrome costing more than black? That's a fact of life. Some materials cost more to produce in the form you want. You expect Fuji (or anyone else - even Leica charged more for chrome, and even more for Safari Green!) to be a charity or non-profit? Please. Use a modicum of logic.
"But, if you're going to have a piece of cake, why not get the piece that has the most icing?"
But what if after picking the piece of cake with the most icing, you find that there is very little cake inside? it's mostly the icing? (That's kind of my problem with the PEN-F: no grip, no WR, no PDAF/DFD. Superior IBIS alone doesn't cut it anymore for me.)
"I'm not an Olympus owner but i don't think any of their primes are WR so one without the other...."
There are no small WR primes because there are no small WR bodies.
There are no small WR bodies because there are no small WR primes.
The depth of the logic is astounding. *rolling eyes*
But it's kind a suck that there is no small WR combo on m43. Especially since now the weather is so unpredictable.
The smallest WR is the E-M5 + 12-50 but the 12-50 is quite long and unhandy lens. Even compared to the Nikon AW1 kit.
And in 20 years time the fashion will yet again be back to what it is now and laughing at and pouring scorn on what was the vogue 10 years ago in exactly the same way as now.
Since most folks don't have a clue, the Pen F was an SLR. And it shot half frame 35mm, the perfect film analog for Four Thirds sensors.
Except that m43 sensor is half the size of half frame. So it's half-half frame, or perhaps quarter frame!
Who would reject a package of IQ, ergonomics, functionality and looks - Fuji X-Pro2 comes to my mind. The premium priced Pen is about looks first. Finger torturing strap logs, a middle finger hurting art filter knob preventing a natural hold and all randomly patched to a grip free soap box shaped body housing a tiny, noisy sensor.
Can I assume that those complains are stemmed from your own first hand experience with Pen-F?
"You really can't tell whether a camera is any good just by looking at it."
You can tell a lot about handling and functionality, to be honest, and this Olympus scores quite miserably. Style over substance. This whole faux retro garbo camera design got old very quickly.
So you have handled new Pen-F and have first hand handling and functionality experience then?
I have and it's surprisingly good, especially with the primes.
The reason I like Fuji gear is because it seems to have been designed by photographers. Using the camera becomes part of the enjoyment, it's like a dog that's always excited to go for a walk and encourages you to pick up the strap. My experience with my current Nikon is not as engaging, I'm always trying to convince myself that the other advantages are worth it, but in truth its just not as enjoyable to use.
Wow! I've been feeling the same thing for soooo long! I've always wanted a Nikon DSLR and having used a D700 for the last three years, I never ever feel the same buzz I get from my Fuji X100. Sure its handling is slower, it's got a fixed lens, but it gives me a sense of joy in use I've never felt for the Nikon I waited for since I was a teenager. Part of that must be the aesthetics, but most of it is in the simplicity of the interaction. Glad I'm not alone, your post makes me feel less shallow!
C'mon, Olympus! It would've been a complete killer if you added an optical viewfinder! It is begging to be there!
It would be impractical, if even possible, to put a useful optical viewfinder on a mirrorless interchangeable lens camera.
Never seen the Fuji X-Pro cameras then?
Desert Rose, there's a picture of X-100 right above in this article.
"That's why all camera brands design their cameras to look plain and unexciting. "
Should that read "[professional] cameras" or is the above sentence attempting humor?
Regarding the tool one uses to accomplish something, looks shouldn't matter so much. It's not a woman in a bikini.
If you want a beautifully designed camera (at an even more beautiful price), check out the Pen EPL2 from a few years ago. Both the black and silver models are stunning examples of camera design (check out the sloping top plate and perfectly thought out hand grip). It is simultaneously retro and modern, and IMO only surpassed aesthetically by the new Pen F. But at $85 for the body -- and $20 for a Minolta 50mm 1.7, trust me -- you would be a very happy photographer.
I bet the Pen-F wasn't designed by Newton.
Okay, Olympus, time to move on from the 60s and get to 1988. Digital O-product, ftw!
Humans are more responsive to analog displays, remember what happened to digital-display wrist watches? Just because modern electronics makes the totally menu-driven controls possible it doesn't mean they are the best. In a complicated, feature-reach system having menus is unavoidable but its extreme implementation is as stupid as removing an aperture ring from modern lenses. Oh, wait; I can go though few levels of menu buttons to select the aperture and then conform my choice on the LCD display. Who would call that a progress?
There is nothing more ugly, uninviting and cheep "plastic-y looking" as a typical modern SLR, they all look like a black, blow-molded milk containers. The mirrorless system is the future; the EVF technology will mature in few years, the mirrorless will surpass the burst capacities of most advanced "pro-level" SLRs, SLR-system will slowly die off. Rest-In-Peace DSLR!
Yes, because most 'enthusiast' cameras require you to hunt through a menu to change aperture... Either than or have some clue about how the camera works, even just a tiny clue.
@M1968 - "And DSLR's can be more rugged than mirrorless cameras."
Sure what you mean is 'some DSLRs are currently more rugged than some mirrorless'
There is nothing inherently more rugged about a DSLR, quite the opposite in fact. 'Bigger' certainly doesn't automatically equate to 'more rugged'.
On viewfinders, optical viewfinder have their problems too, neither are perfect (just some seem to see just the advantages / shortcomings to prove their personal choice).
At this point, DSLR systems have a significant head start in many areas, the autofocus mainly, that will not last for long. The EVF in 3 years will triple the refresh rate, double the pixel count, fix the low light performance and then there is no way to stop it. The burst rate; the limit are in two areas 1. processing/electronics and 2.dynamics/mechanics of the mirrors. My money is on electronics, I am quite sure that flapping that mirror at the double rate (say 30 times per second) is going to be more difficult than doubling the image processing rate.
Also with advancement of a camera's video capabilities (in terms of resolution and IQ) I can see the point at which a camera's burst rate becomes less relevant, does a sport photojournalism need 50 megapixel still files that end up printed in a newspaper or on internet? Maybe? Landscape photography does but sport/action photography? Capture that image from good (4K, 8K) video files instead.
Just heaving fun thinking about it.
To the OP, even if DSLRs will be completely replaced by mirrorless cameras, what makes you think that the form factor will disappear? We've seen plenty of DSLR-looking mirrorless cameras already (Panasonic G and GH series, Samsung NX series, Sony A3000), and it's the most common form factor in the bridge camera segment.
Part 1.
Good point. Currently, perhaps the "mirrorless" is behaving like a younger sibling trying to copy its older, more capable DSLR brother, as does Fuji X-T1. Although Fuji probably decided on creating two distinctively different styles with distinctively different capabilities, hence the rangefinder-style X-PRO-1 and SLR-style X-T1.
The DSLR format morphed into its current bulky monstrosity around the necessity to accommodate the mirror-box and equally bulky pentaprism optics, top it off with space needed for all electronics/battery and perhaps there was no other choice.
The mirrorless has a freedom to explore more options, it can stay with rangefinder body or go SLR-style, in either case it can be significantly smaller, lighter and quieter (no mirror noise at 15 frames per second) .
Part 2.
Now, there is always going to be a "pro-level" cameras, mirrorless packing huge batteries, huge storage and processing power and those will likely end up as large as today's DSLRs, $7K for a body, and that's fine, you need it, get it and get rich making it to work for you. However, there will be wider spectrum of sizes, styles and choices for everyone else. SLR is dead (soon), long live SLR!
How can 9 people have already had the camera when it's not even in the stores yet???
The Olympus E-M5 was my first m43 camera, and one of the things I love/d about it is its looks; it's like a baby 70's/80's SLR, which is likely Olympus' aim. The size is just right for me as an across the shoulder camera, being small and light enough for all day wear but not so small as to be 'dinky'. But I've often thought that a rangefinder style camera in the same size would be even better.
Enter the Pen-F. So much awesomeness in such a neat package. It's like Olympus and Leica had a midnight tryst at Photokina and this is the wild and freespirited child.
Funnily, one of the main reasons why I am holding back from the Pen-F is the image quality. Not that it will be 'bad', per se, but that I greatly prefer the way Panasonic m43 raws play in Lightroom. E-M5 raws have an oddly gritty shadow texture and unpleasant skin tone in Lightroom, whereas Panasonic raws seem smoother and clearer to me. It remains to be seen how the Pen-F raws are in Lightroom.
it's probably normal to long back to good old day's in times where you long back to the good old days. But trying to copy what once was doesn't get us any further. I fuckin hate retro.
Good design pleases the eyes the hands and the mind. Whether it's bleeding edge futuristic, mid-century retro or looks like a f*cking harpsichord, if it works well and gives pleasure then it succeeds. It's not like you're being forced to buy retro, there's plenty of choice out there. Some people like dials over thumb wheels.
A minor correction; you say that "generally big top plate shutter speed files didn't show up until the OM series of 35mm cameras" but that is not true. OM seies cameras had their shutter speed dials at the lens mount and the dial on top was for changing the ASA setting.
|_MG_5100 by tim and jan
from Welcome to the Saloon!
|The Grimm 11 year old by Ryan Gardner
from Trick or Treat
|Heron with fish by APenza
from A Big Year - birds
Read the story behind this gorgeous wedding photo captured at Trolltunga in Norway by husband and wife duo Priscila Valentina Photography. The 14 hour hike in the rain that preceded this shot was TOTALLY worth it.
Go behind the scenes with filmmaker Nick Arcivos, who recently created a beautiful cinematic short film in Paris using only the iPhone X, a couple of gimbals, and a few lights. The results are very impressive.
A Bay Area startup offering a pay-by-the-photo camera service cleverly addresses the pain points photographers experience when they pick up their first DSLR. But can it survive the smartphone?
It's been a big year for software innovations, dual cameras and huge displays. Take a look at our picks for the top smartphone cameras and why we think they stand out.
We're counting down our top 10 most popular sample galleries of 2017. At the #7 spot is the ready-for-any-weather Olympus Tough TG-5.
By combining his skills as a time-lapse filmmaker and an engineer, Julian Tryba created this out-of-this-world creative 'layer-lapse' of New York City that alternates between night and day in time with the music.
Canon Japan's new lineup of novelty camera-themed gifts was just revealed online, including a lens mug and lens thermos, two retro camera-themed USB drives, and a picnic mat.
The Profoto A1 most certainly isn't for everyone [...] But for those who are used to using the Profoto systems, and want something that pairs seamlessly with the strobes you already have, there is no better companion.
Fujifilm has asked a US district court to clear it of any wrongdoing, after allegedly being threatened with trademark litigation by Polaroid.
While a couple of our reviewers are out testing the Sony a7R III in Arizona, back in Seattle we slapped the camera in front of our studio scene to get a close look at its image quality. See how it stacks up against the competition.
We're counting down our top 10 most popular sample galleries of 2017, and the #8 ranking belongs to the Nikon D7500.
B+W has announced a new aluminum filter holder that offers three slots so users can use multiple filters at the same time. The holder goes with the 2mm thick 100mm square filters it launched earlier this year.
8K video is coming a lot faster than you think, and Blackmagic is ready for it. Meet the DeckLink 8K Pro, a new high performance PCI-E capture and playback card built to handle 'real time high resolution 8K workflows.'
"Glass is everywhere in photography. From Eugène Atget's reflective vitrines to Lee Friedlander's sly self-portraiture, photographers have long been in thrall to the visual complications glass can inject into a composition."
Former Apple Aperture lead developer Nik Bhatt has designed an iOS app called RAW Power that lets you edit raw photos from your professional camera using your phone and tablet.... color us intrigued.
Advertising photographer Blair Bunting got his hands on the new Microsoft Surface Book 2, and it blew him away. Bye bye MacBook Pro...
The OnePlus 5T retains many of the 5's features and specs, but comes with an edge-to-edge display and a dual-camera that is optimized for low light.
Sony's recently announced IMX461 backside illuminated medium format sensor will bring 100MP resolution and almost 2x the speed to the next-gen Fuji GFX and Hasselblad X1D.
With the 'Rent a Hasselblad' camera equipment renting program, the camera makers is aiming to give enthusiast and professional photographers easier access to its medium-format photography products.
They say seeing is believing, and that's exactly what happened when one DPR staffer took the Google Pixel 2 out for an afternoon shooting under challenging conditions.
We're counting down our top 10 most popular sample galleries of 2017. At the #9 spot we have the Fujifilm GFX 50S, a medium-format camera that took CP+ 2017 by storm.
Instagram is testing a new feature that lets you follow hashtags in addition to people, making it possible to keep track of your favorite #landscapes or #portraits without leaving your home feed.
Despite the gigantic volume of second hand film bodies in existence, it seems there is still a demand for new 35mm SLRs with a retro feel. The latest is a remake of the Ihagee Elbaflex from the 1960s, but with a Nikon F mount.
The Polaroid Insta-Share Moto Mod straps an instant printer directly to your Moto Z smartphone, so you can print your photos as soon as you've captured them.
The Mitakon Speedmaster 135mm F1.4 lens is being relaunched in 7 different mounts, including: Sony A, Sony E, Canon EF, Nikon F, Fujifilm G, Pentax K, and Leica L. Got an extra three grand lying around?
In January, Kodak announced it would bring back the beloved slide film Ektachrome. The timeline has been pushed back a bit, but Kodak says you can expect to purchase Ektachrome again in 2018.
Instagram popularity is threatening some of the most beautiful landscapes in the US, as hordes of 'nature lovers' trample over the same spots over and over again in search of the same exact shot.
You'd have to be pretty brave to immerse your $50K RED cinema camera underwater. But if you've got the guts, Gates just released a new housing you can be pretty sure won't wreck your unbelievably expensive toy.
Adobe has released a 'Lightroom Downloader' app for Windows 10 and macOS High Sierra that allows you to download all of your images from the Adobe Cloud, all at once.
After releasing a popular 4K action cam and an affordable mirrorless M43 camera, Chinese camera maker YI is diving into yet another market: 360° VR. Meet the YI 360 VR: a powerful little two-lens camera that can shoot and stream in 4K.


text: Feng Xiaogang Daily updated news, gossip, rumors, pictures, videos and more about Feng Xiaogang.TranslationsFrançaisEspañolDeutschItalianoPortuguês中文 Tweeter ABCDEFGHIJKLMNOPQRSTUVWXYZ Feng Xiaogang58-year-old directorFeng Xiaogang is a 58-year-old Chinese director, best known for the movie If You Are the One.Quick FactsName: Feng XiaogangOccupation: directorAge: 58Born: November, 28 1958 in BeijingCitizenship: ChinaSelected Filmography2008: If You Are the OneThe latest Feng Xiaogang newsFeng XiaogangDeath Hoax says "Director Dies at 58"AMP™, 17-11-2017 | Feng Xiaogang was reported as dead earlier this week, causing concern among fans across the world. However, the November 2017 news has now been confirmed as a complete hoax and just the latest in a string of fake celebrity death reports.Read It »Feng XiaogangSplit Rumors: Is the 58-year-old Director Single Again?AMP™, 21-11-2017 | Earlier this week news reports surfaced that Feng Xiaogang, 58, and his partner had split up. Is the Chinese director really single again?Read It »Feng XiaogangDid he just Get Engaged?AMP™, 21-11-2017 | On Sunday morning the Sun-Times reported the 58-year-old director Feng Xiaogang and his girlfriend, to be shopping for engagement rings. Naturally, the article sent the Facebook and Twitter into a frenzy.Read It »Feng Xiaogang'If You Are the One' named Best Film of All TimeAMP™, 21-11-2017 | According to the latest Watch and Listen magazine poll just out yesterday (Monday, November 20), 'If You Are the One' is now considered to be the Greatest Film in the History of Cinema.Read It »Feng XiaogangShocker: Director Nude Photos Leaked OnlineAMP™, 21-11-2017 | Feng Xiaogang has reportedly become the latest celebrity to fall victim to apparent leaked nude photos scandal. Highly personal and private photographs from his mobile phone were posted on several celebrity gossip websites yesterday.See all pictures here »Feng XiaogangFeng Xiaogang named "Sexiest Director Alive"AMP™, 21-11-2017 | Feng Xiaogang, 58, has been dubbed "the Sexiest Director Alive" by Glamour's magazine in its December 2017 issue out this week. For the second year in a row, our gorgeous hottie beat out some other equally hot men for the number one spot!Read It »Feng XiaogangHis Beloved Dog Recovering from SurgeryAMP™, 17-11-2017 | Feng Xiaogang's adored labrador retriever "Spinee" has undergone a risky surgery on Sunday and is luckily beginning the slow process of recovery. The 58-year-old director has received waves and waves and support for Spinee, as he offered his Twitter followers an update on pooch's status regularly.Read It »Feng XiaogangHighest-Paid Director in the WorldAMP™, 21-11-2017 | It's been a rough year for the director, but at least he has his millions of dollars to ease the pain. 58-year-old Feng Xiaogang has taken the No. 1 spot on People With Money's highest-paid celebrity list for 2017.Read It »Feng XiaogangDirector to announce shock retirement, at age 58AMP™, 21-11-2017 | Sad news for Feng fans as speculation had been rife that the Chinese director will announce his retirement from all public activities, at age 58, with immediate effect.Read It »Feng Xiaogang58-year-old Director to Be a Dad?AMP™, 21-11-2017 | Speculation is rampant that Feng Xiaogang is expecting a baby after long-time partner was spotted with a prominent stomach bulge on Monday evening, during romantic dinner date. Is the 58-year-old director about to be a dad to a little boy or girl?Read It »Feng XiaogangTime magazine's Person of the Year for 2017?AMP™, 21-11-2017 | According to a reliable source, Feng Xiaogang is leading the race to become Time magazine's Person of the Year in 2017. But while the director's fans are thrilled with the news, many people hold a very different opinion.Read It »Feng XiaogangFeng Xiaogang goes 'Gangnam Style'AMP™, 21-11-2017 | The 58-year-old director is said to have been secretly practising 'Gangnam Style' steps, after singer PSY has invited him to join in the famous dance earlier this year.Read It »Feng XiaogangDid he get married over the weekend?AMP™, 21-11-2017 | Reports from the Daily News yesterday (November 20, 2017), suggest the 58-year-old director has secretly got hitched to hist long-term relationship. Sorry ladies, Feng Xiaogang seems to be off the market.Read It »

subset: commoncrawl


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About Ruth's Chris Steak House - South Barrington
Looking for a reservation? Call us at (847) 551-3730 and we will do our best to accommodate you.
Ruth's Chris Steak House in South Barrington, IL serves the finest USDA Prime beef available, broiled at 1,800° and served on 500° plates, so your steak stays hot, juicy and delicious from first bite to last. Enjoy our New Orleans-inspired appetizers, USDA Prime steaks, fresh seafood, signature side dishes and homemade desserts. All this while you enjoy our warm, inviting atmosphere and Ruth's Chris' genuine hospitality. So whether you're a regular or have just been wondering what all the buzz is about, Ruth's Chris is the perfect excuse to enjoy the perfect night out. Dinner is served nightly, reservations are suggested and private dining and offsite catering may be arranged.
Suite U-1
South Barrington, IL 60010
Dining Style:
Fine Dining
Steakhouse, Steak, Seafood
Hours of Operation:
Monday - Thursday: 5:00pm - 9:30pm
Friday and Saturday: 5:00pm - 10:00pm
Sunday: 4:00pm - 9:00pm
Cross Street:
Route 59
Dress Code:
Business Casual
Price Range:
$31 to $50
Payment Options
AMEX, Carte Blanche, Diners Club, Discover, JCB, MasterCard, Visa
Phone Number:
(847) 551-3730
Ruth's Catering in South Barrington, IL - Bring the service, expertise and flavor of Ruth's Chris Steak House to the location of your choice! Your Private Event Manager is ready to help attend to every detail of your event, from the menu to the martinis. Ruth's will bring in a team of trained chefs, bartenders and servers to make the most of your experience.
Parking Details:
We offer complimentary valet parking and there is ample self parking available at the restaurant
Executive Chef:
Joel Hassanali
Banquet, Bar Dining, Bar/Lounge, Beer, BYO Wine, Corkage Fee, Counter Seating, Entertainment, Full Bar, Gluten-free Menu, Happy Hour, Non-Smoking, Outdoor dining, Private Room, View, Wheelchair Access, Wine
Restaurant Photos
Ruth's Chris Steak House - South Barrington Ratings and Reviews
Service was great, cocktails & wine were wonderful, the porterhouse for two was amazing, and the escargot appetizer, chopped salad, mashed potatoes and creamed spinach side dishes, and cheesecake dessert we ordered complemented everything perfectly. Highly recommend!
I have always loved Ruth Chris. It has been my favorite steak house for a very long time. This time it was very different. The steak didnt have the great flavor as it had always had and my steak was more tough than usual. The steak always used to melt in my mouth this time not so much. I was a bit disappointed. Everything else was good. But for as expensive the steak is there i was hoping for more than we got.
Ruth's Chris has been our go to special occasion restaurant for years. The food, ambiance and service has always been top notch. We were so happy with our experiences at this restaurant that for the first time we decided to bring another couple with us as it was our friend and my birthdays and we were really excited to share our favorite restaurant with our very special friends. The food was awesome as usual but our service experience was the most disappointing we have ever experienced. The check in up front was totally botched as they never updated the computer to show that we checked in so we were called 45 minutes late. Then the girl proceeded to tell us that she hates Open Table because it doesn't work correctly with their computer system?? Our waitress was totally overwhelmed with too many tables and ended up taking it out on our table. I really don't blame her as she was responsible for many tables and one of them was a table of about 16 people that decided to change their bill to separate checks. She just didn't have enough help to get the job done. The only problem with that is that when you decide to go to an upscale restaurant like Ruth's Chris, you expect to get a upscale experience. We will pick a different restaurant for our special occasions in the future.
A great dinner place or a special time place- and it's in South Barrington ( not downtown Chicago!). Drinks are large, creative and strong. Food is amazing quality. The steaks are smothered in butter (!) on a sizzling plate. Dessert was creamy cheese cake. It was served with class in a room with ambiance. Prices are high- but we expected that. It's worth the investment for the experience. And- if you need a business classy place in the suburbs, put this on your list. We will return.
Dined at the South Barrington location to celebrate my son's admission to college. Everyone we came in contact told him Congratulations, which made him feel very special. The service and food was excellent as well.
I've dined at this location 3-4 times, and this was my best experience yet.
Thanks to the staff for making the evening special for us!
The food was quite good, and the decor is lovely, especially the interesting overhead lighting. A bit darker in there than necessary. I've been to other locations (most recently in Washington, D.C.), and I likely will not dine at a Ruth's Chris again. They're really missing it on the little details that make or break a terrific restaurant. I left disappointed. I shared my concerns with the manager, and he was very pleasant, but I had the sense that he didn't get it. I can spend a lot of money for dinner at many other restaurants in the Chicago area -- there's nothing special drawing me to this place.
Waiter was rude, seemed like he didn't want to be there, when I asked about whisky he immediately retorted "Jameson" but then continued to know nothing about whiskey. He treated us like crap. Fish was over cooked which was HORRIBLE. Ribeye and calamari was amazing. Decor was outdated. Packaging they put leftovers in is an eyesore, plasticy, doesn't keep food without spillage. Will never go back. We paid about $240 for a meal I could have gone to in the city and had it cooked perfect and good service. Miss this place. Dying giant. Still makes me sick to my stomach about horrible experience. Really upset this experience was so negative.
Ruth Chris is known to be a fine dining establishment which typically entails service that is exceptional and customer focused. Our dinner experience at the South Barrington location was less than exceptional... While the staff was mostly pleasant they were not entirely personable... many appeared quite young late twenties and simply did not have the "people" skills to provide exceptional welcoming customer service. The bar staff (all men) were well coiffed and seemed more concerned about their masculine image than truly engaging as a bartender on a personable level. The server was pleasant and down to earth and while experienced was too busy to check on our dining as often as we would have liked. Upon leaving the two employees at the front desk were so engaged in their own conversation about their work schedule than in their awareness of us leaving... they did not have the common sense or courtesy to even say thank you... offer well wishes or even a goodbye or we hope to see you again soon.... Its a shame to see young adults just not grasping exceptional people skills while on the job. Ruth Chris could use a formal training program guiding an expectation of behaviors from their staff. Guests attending a fine dining establishment typically expect an above average level of service that seemed lacking during our Saturday evening dining experience.
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For Brooklyn artist Karin Weiner, the threat that humanity poses to the environment is alarmingly grave. In Clear Cut, her debut exhibition at Elizabeth Leach Gallery, she contrasts images of dense housing that climbs to impossible heights with clear-cut forest floors, as desolate as cemeteries. Though this thematic agenda might lead you to expect her work to be deadly serious, it's just the opposite. Full of light, humor, and visual twists, her work refreshingly addresses an intractable social ill without stooping to brainless sloganeering.
Interestingly, Weiner's work very simply participates in a solution to the problems she identifies. Composed of images from old magazines and books, her collages literally recycle paper products, thereby conserving the shrinking resources she depicts. Likewise, in her installation, "Clear Cut," she creates a logged patch of forest on the gallery floor using reclaimed materials. Wound layers of corrugated cardboard become stumps, while stones and stands of undergrowth are sewn from thrift store fabrics.
The viral spread of civilization may be a grim reality, but Weiner's collages are loaded with enough absurdity to nearly transcend all that doom and gloom. In "Our Fine Feathered Friends Assist with the Relocation," an assortment of birds takes flight on a plane of soft yellow, moving household items. A caned chair loops around a goose's neck; a hummingbird carries a teapot in its beak; and an eagle grips a bicycle in its talons. Notably, many of the items are conspicuously branded, from a Zenith radio to a Nikon camera, suggesting the birds have united to eradicate consumerism.
While Weiner removes these items from their original contexts to create new tableaus, there is also a discernible urge to impose order and stability. Just as dozens of species of birds are crammed into "Our Fine Feathered Friends," elsewhere countless houses—of varying scales and styles—occupy the same cramped spaces. It's as if Weiner is perpetrating some faux scientific categorization, in which images are obsessively collected and grouped for the sheer sake of their likenesses. This compulsive need to create order, even if only within the confines of her artwork, hints that altering the fate of the environment is a more daunting task than her charmingly playful work is ready to admit. JOHN MOTLEY


text:
|Publication number
|Publication type
|Application number
|Publication date
|Sep 13, 2011
|Filing date
|Nov 9, 2007
|Priority date
|Nov 9, 2006
|Fee status
|Also published as
|Publication number
|Jon L. Walker, Eric Wolfe, Jeffery C. Cooper, Stephen R. Watkins, Kevin Kershisnik, Rocky L. Harting
|Original Assignee
|Pertech Resources, Inc.
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (41), Referenced by (6), Classifications (27), Legal Events (5)
|External Links: USPTO, USPTO Assignment, Espacenet
This application claims the benefit of U.S. Provisional Application No. 60/858,003, filed Nov. 9, 2006.
The present invention relates generally to scanning and document verification/authentication and in particular, to a method and apparatus for scanning and verifying/authenticating paper documents such as checks as well as rigid cards such as ID cards, driver licenses, credit cards, etc.
Historically, consumer checks presented to purchase an item(s) in a store, or, other small business required considerable handling. A presented check often required the store owner to be called upon (rather than the clerk) to authenticate. Accepted checks, then, at the end of the day were taken to the bank for deposit.
The present invention provides a new and improved apparatus and method for scanning and/or verifying/authenticating paper documents such as checks as well as rigid cards such as ID cards, driver licenses, credit cards, etc. The illustrated apparatus comprises a compact/stand-alone scanner/imager that can scan both sides of a document in a single pass. The apparatus may also include MICR read capability and/or magnetic stripe read capability. In addition, the apparatus may optionally include an ink stamp mechanism for stamping indicia on the document being scanned to, in effect, "cancel" the document or, in other words, mark it with indicia to indicate that it has been processed. The illustrated apparatus may function in conjunction with a host system and can handle IDs, checks, driver licenses, credit cards and other paper/card based media.
According to a preferred embodiment, the apparatus includes a cover assembly and a base assembly hingedly connected at one end to provide a clam shell type configuration. The base assembly includes at least one motor driven roller for conveying a document to be scanned along a paper path defined between the cover assembly and the base assembly. The cover assembly includes at least one pinch roller associated with the drive roller. When the cover is closed, the pinch roller confrontingly engages the drive roller in order to grip and drive a document along the paper path.
In the preferred and illustrated embodiment, the paper path defines two side-by-side scanning regions, one of which is configured to scan flexible documents such as bank checks, whereas the other of the regions is configured to scan rigid media such as ID cards. A plurality of sensors located in the scan regions are operative to detect the position of the document being scanned whereby movement of the document through a given scan region is controlled.
According to a feature of the invention, the base assembly includes a plurality of concurrently driven drive rollers and the cover assembly includes a plurality of associated pinch rollers. Preferably, the pinch rollers are mounted in a floating deck assembly that is carried by cover structure forming part of the cover assembly and which includes biasing elements such as springs for urging the deck assembly towards the assembly when the cover is closed.
The disclosed apparatus or machine can provide for the remote, automatic, deposit of a check to a bank electronically. Electronic image data can be created from the inserted document(s), and, forwarded for processing, authenticating, printing, etc. Preferably, the machine connects to a host through a USB, or alternatively through an ethernet interface. The host may be an on-line service or the regional office of a franchise, or the bank itself. The apparatus can forward ID and/or check images to the host when requested, or, optionally, it can directly forward data to a hub-connected printer. In addition the apparatus can identify inserted documents, detect and report scan errors, re-scan documents as necessary, store image data, and, return documents to the operator. It is feasible to combine the apparatus electrically and mechanically with an auto-feeder at the front and a document sorter to handle documents in volume. Alternatively, the unit can incorporate through its optional com-ports, peripherals such as a pin-pad, a keypad and/or a signature-pad.
Mechanically, the enclosed mechanism has optional mounting configurations available to the user: in a cradle, mounted on edge, on the wall, and, with alternative independent, paper-paths available. This machine can be a vital part of an improved system to receive presented checks for payment in a store, verify their authenticity, and, then instantly, and electronically deposit the checks in the store's bank. Efficiency is improved; fraud is reduced.
According to another embodiment of the invention, the apparatus may include an ink stamping mechanism for stamping indicia on the document being scanned. For example, the ink stamp mechanism may place a check "canceling" indicia on the check as it is being scanned. This indicia permanently marks the check and indicates to anyone handling the check that it has been processed.
According to another feature of the invention, the machine has an improved exit configuration to accommodate both rigid and semi-rigid documents. When a check is processed by the machine, it is deflected upwardly and discharged into a stacking tray. When rigid media, i.e., ID cards are processed, they are ejected from the machine and are not deflected or bent.
Additional features of the invention will become apparent and a fuller understanding obtained in reading the following detailed description made in connection with the accompanying drawings.
The foregoing and other features of the present invention will become apparent to one skilled in the art to which the present invention relates upon consideration of the following description of the invention with reference to the accompanying drawings, wherein:
Referring first to
The unit 10 includes a base 10 a and a cover assembly 10 b pivotally connected to the base. Referring to
In the illustrated embodiment, the unit define two scan regions. A check 14 is intended to be read in a right-justified region (as viewed in
As seen best in
According to the invention, the unit 10 is capable of scanning both sides of a check or ID card as it is transported between the base 10 a and cover 10 b by a transport mechanism to be described. Referring to
In the preferred and illustrated embodiment, the base 10 a also mounts a MICR reader 44 which is operative to detect and read the magnetic based characters printed along the bottom of a check. These MICR readable characters are indicated schematically by the reference character 46 in
For purposes of explanation, the document read by the right region (as viewed in
According to the invention, both sides of the check 14 or ID card 16 that is inserted into the entry slot 20 is scanned and read in a single pass through the machine. The check/ID card is conveyed through the unit by a transport mechanism shown schematically in
The base 10 b also mounts a pressure roller 70 which presses the check/ID card into scanning contact with the CIS 42 mounted in the cover 10 b. Similarly, the cover 10 b mounts a pressure roller 72 which presses the check/ID card into scanning contact with the CIS 40 mounted in the base.
Referring to
In the illustrated embodiment, the unit 10 also includes a discharge tray 84 for receiving and stacking checks 14 that are conveyed through the unit. As seen in
According to a feature of the invention, a check 14 inserted into the entry slot 20 tends to be automatically aligned so that its longitudinal axis is orthogonal to the drive roller 60. In accordance with this feature, the guide wall 80 a is offset in the range of 0.25� to 3� with respect to the intended direction of movement of the check as it moves through the unit 10. In the illustrated construction, the guide wall 80 a is offset by 0.25�. If the right edge of the check 14 is placed in abutting contact with the guide 80 a as it is inserted into the unit, it has been found that as the check is engaged between the drive roller 60 and the pressure roller 64 (shown in
Turning now to
The deck 91 also mounts the spring biased pressure roller 69 which is used to press a document against the optional MICR sensor 44 (shown in
The cover assembly 10 b includes an outer shell or lid 92 which is attached to an upper frame member 100. The upper frame member 100 rigidly supports the lid 92. The deck 90 is floatingly attached to the upper frame 100. To provide an overall downward bias for the deck 90 when the cover assembly 10 a is closed, a plurality of coil springs 93 are held in associated pockets 104 defined in the deck 90. The coil springs 93 act between the pockets 104 and an underside of the upper frame 100 and apply a force to the deck 90 which urges it towards abutting contact with the lower deck 91 when the cover assembly 10 a is closed. With the disclosed floating arrangement of the upper deck components, a parting or reveal line between the cover assembly 10 b and base 10 a, indicated generally by the reference character 106, remains uniform and constant regardless of the position of the upper deck 90 or the thickness of items conveyed through the unit 10.
Referring in particular to
The cover assembly 10 b is pivotally connected to the base 10 a. In particular, the upper frame member 100 (shown in
According to a feature of the invention, the top cover assembly 10 b can be rotated more than 100� with respect to the base 10 a. Referring to
An ID card, on the other hand, is generally rigid and does not bend easily. Accordingly, an ID card is either discharged through the entry slot by reversing the transport direction or is discharged out the back of the machine through the slot or opening 86 defined by the check stacking tray 84.
Referring to
According to a feature of the invention, the scanner/imager unit 10 may include an ink stamp for "cancelling" or otherwise permanently marking a document that has been scanned to indicate that the document has been processed. Referring to
Referring in particular to
When the solenoid 156 is energized, a plunger 156 a moves downwardly, pulling with it, one end 154 a of the lever arm 154. The opposite end 154 b of the lever arm pivots upwardly, thus causing the ink stamp 150 to move upwardly in order to contact and mark a document located above the ink stamp.
The ink stamp 150 is preferably of the self-inking type so that a separate ink supply is not required. When the ink is depleted, the ink stamp 150 is easily replaced. The ink stamp 150 is mounted for reciprocating movement in a holder 158 forming part of the lower deck 91.
Referring also to
According to a feature of the invention, the signals generated by the continuous image scanners 40, 42 are duplexed or multiplexed. By multiplexing the signals, both surfaces of the check/ID card can be scanned concurrently as the check/ID card moves through the unit. Consequently, only a single pass through the unit is required to fully scan both sides of the item.
The imaging data obtained by the scanners 40, 42 may result in a graphics file such as a "tiff" file. The invention, however, contemplates using software (or hardware) to retrieve text from the imaging data. Specifically, optical character recognition technology (OCR) can be used to recognize and retrieve textual information from the graphical data.
According to a feature of the invention, the scanner/imager 10 may be oriented vertically to, for example, reduce its footprint on a desktop.
Additional features and details of the invention can be found in the appendix attached hereto.
Although the foregoing has been described in conjunction with a preferred embodiment, it is to be appreciated that various modifications may be made without departing from the spirit and scope of the invention as defined by the appended claims.
|Cited Patent
|Filing date
|Publication date
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|International Business Machines Corporation
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|Ricoh Company, Ltd.
|Document scanning apparatus having a stamp and method for controlling the stamping position
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|Citing Patent
|Filing date
|Publication date
|Dec 14, 2010
|Aug 20, 2013
|Canon Kabushiki Kaisha
|Image forming apparatus
|Jun 12, 2013
|Sep 30, 2014
|Canon Kabushiki Kaisha
|Image reading apparatus
|Sep 30, 2013
|Jan 27, 2015
|Brother Kogyo Kabushiki Kaisha
|Image reading apparatus
|Dec 14, 2010
|Jun 23, 2011
|Canon Kabushiki Kaisha
|Image forming apparatus
|Jun 12, 2013
|Dec 26, 2013
|Canon Kabushiki Kaisha
|Image reading apparatus
|Sep 30, 2013
|May 1, 2014
|Brother Kogyo Kabushiki Kaisha
|Image reading apparatus
|U.S. Classification
|358/498, 358/496, 358/400, 358/474
|International Classification
|Cooperative Classification
|European Classification
|Aug 23, 2011
Owner name: PERTECH RESOURCES, INC., WYOMING
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNORS:WALKER, JON L.;WOLFE, ERIC;COOPER, JEFFERY C.;AND OTHERS;SIGNING DATES FROM 20110808 TO 20110811;REEL/FRAME:026791/0432
|Jun 6, 2012
Owner name: PERTECH INDUSTRIES, INC., WYOMING
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNOR:PERTECH RESOURCES, INC.;REEL/FRAME:028330/0743
Effective date: 20120531
|Apr 24, 2015
|Maintenance fee reminder mailed
|Sep 13, 2015
|Lapse for failure to pay maintenance fees
|Nov 3, 2015
|Expired due to failure to pay maintenance fee
Effective date: 20150913


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