Nikon Coolpix E100

My Nikon Coolpix E100 camera.

Since this is the last entry for January, which for my blog is dedicated as "digital month, "I thought I'd write about one of the earlier digital cameras I have in my collection, the Coolpix E100, which was introduced in 1996 and released to the public in 1997. Understanding its place in digital photography history helps collectors and history buffs appreciate how far technology has come.

 It was Nikon's first consumer-based digital camera, soon after Apple's QuickTake, Kodak's DC40, Casio's QV-11, and Sony's Cyber-Shot, which came out between 1994 and 1996. At the time, one of the selling points of the Coolpix E100 was that it worked easily with home computers of that era. This is where I had difficulty writing the article; let me explain.

 I purchased the Nikon Coolpix E100 about 10 years ago for a reasonable price from a Nikon collector who had bought it new when it was released. At the time, he was reluctant to part with the camera since it was Nikon's first foray into consumer digital cameras. I remember receiving the camera, thinking it was very odd and quirky-looking, but it held a special place in my collection as a piece of digital photography history, and it was in good working condition from what I could tell. It also came with the original Nikon Neoprene case, with slots on the back for attaching it to a belt, making it a tangible link to the early days of digital photography.

 The Nikon Coolpix E100 has two specific parts: the bottom of the camera, which houses the batteries, and the top portion, or main part of the camera, which has the lens, shutter, and memory, including a built-in PCMCIA card, which at the time was new technology. I'll go into more detail about the camera below in the "My Camera" section.

Closer view of Nikon Coolpix E100

 On the side of the camera are clips that you press in, and the top portion pulls out of the bottom section, allowing the photographer to insert the PCMCIA portion into the computers of the time, which had a PCMCIA slot. Since the camera powered on and showed it was taking a photo, I needed to transfer the images to my computer to view them, so I purchased a PCMCIA card reader for my Mac. Unfortunately, the PCMCIA readers only read newer PCMCIA cards with ATA, not older ones.

 With my frustrations growing, I decided to visit some local used computer shops and either borrow a computer for a day or two or purchase one cheaply. None of the stores had something this old, but a good friend said he had one he'd give to me. When he showed it to me, it appeared to have a PCMCIA slot, but when I plugged it in, it wasn't as it appeared: it was an Express slot, not a PCMCIA slot, which is what I needed.

 Now I was at the point where I either gave up or pursued it until I found what was needed. I was taught as a young child to have "stick-to-itiveness", so looking on eBay, I think I found what I needed, and purchased a computer, hoping it was correct, but it didn't have a power supply. I purchased a variable-voltage power supply, so when the computer arrived, I'd have a working computer with a working PCMCIA slot to download the images from.

 The computer arrived, I powered it up, and to my gleeful surprise, it worked. The one other thing I needed to navigate was using a 25-year-old PC, but my PC memory bank refreshed. I slipped the PCMCIA portion of the camera into the slot, and the "camera" showed up as another disk drive, and the images were there too, WOOHOO!!!

 I downloaded the images onto a thumb drive so I could transfer them to my MAC to look at them, and to my surprise, these images were tiny. The largest file taken was only 49kb. All this trouble for images that are so tiny compared to what we have today.

 I had initially planned to write about the Nikon Coolpix E100 as the first camera for "digital month." Still, the difficulty of finding a working computer from that era was the main reason I had to push the article off until the final week.

Nikon Digital History:

 While Nikon dominated the professional film era with its "F" mount system, its digital evolution was defined by early collaborations, a brief period of playing catch-up, and eventually, the reclamation of its professional pedigree.

French Brochure for Nikon Coolpix E100 camera

 Nikon's digital roots actually trace back to the mid-80s with "Still Video" prototypes, but the true journey began through partnerships. In the early 1990s, Nikon collaborated with Kodak to produce the DCS (Digital Camera System) series. These were essentially Nikon F3 or F5 bodies modified with massive, tethered Kodak digital backs.

 In 1995, Nikon partnered with Fujifilm to create the E-series, specifically the E2 and E2s. These used a unique optical system to shrink a full-frame image onto a tiny 2/3-inch sensor, maintaining the field of view of Nikon lenses. While innovative, these were bulky and expensive, serving as a bridge to the true digital revolution.

 The Coolpix E100 was Nikon's attempt to bring its optical expertise to the burgeoning consumer electronics space. It was a pocketable (by 1997 standards) silver-bodied camera that signaled a major shift in Nikon's business strategy: making digital technology accessible to everyday users.

 What made the E100 particularly significant in Nikon's history was its storage and connectivity. It utilized PCMCIA (PC Card) Type II cards. At a time when many competitors were struggling with slow serial cables or proprietary storage, the E100's card could be plugged directly into a laptop's PC card slot. This allowed for (then) rapid image transfers, a workflow convenience that Nikon would continue to prioritize in its later professional lines.

 Everything changed in 1999 with the release of the Nikon D1. Before the D1, professional digital cameras cost upwards of $20,000. Nikon shocked the industry by releasing a fully integrated digital SLR for under $6,000. It used the D5's film-body ergonomics and featured a 2.7-megapixel APS-C (DX-format) sensor. This camera proved that digital was no longer a specialized tool for news agencies—it was the future of professional photography.

 As the industry shifted toward mirrorless technology, Nikon launched the Z-mount system in 2018 with the Z6 and Z7. The new mount featured a much larger diameter and a shorter flange distance, allowing for optical designs that were physically impossible on the old F-mount. This culminated in the Z9 (2021), a flagship that famously ditched the mechanical shutter entirely, signaling Nikon's total commitment to a digital-first, mirrorless future.

My Camera:

 The Nikon Coolpix E100 is a long, slim camera, measuring 6" long by 2 3/8" wide by 1 3/8" deep from the front of the lens to the rear of the camera, and weighs 5.8 ounces without the four "AA" batteries which power the camera. The camera has a 6.2mm (equivalent to a 52mm on 35mm film) F/4 fixed focus lens, along with macro capability which can focus between 5.5 "-9". 

The camera has a 1/3" CCD chip with 330,000 square pixels (0.33 megapixel) with a maximum resolution of 512x480 dots, which writes to an internal 1 mb PCMCIA card in the body of the camera. The Nikon Coolpix E100 has a shutter speed range of 1/45 to 1/10,000 on a charge-coupled device (CCD) electronic shutter. I found the Nikon Coolpix E100 manual on the Nikon website.

 One of the more interesting features of the camera is that, as mentioned previously, it separates into two sections. By pressing two buttons on the side of the camera, the top portion, which houses the memory card, lens, shutter system, flash, etc., separates from the lower portion, which holds the shutter release and the four "AA" batteries that power the camera. To add the batteries, the front of the battery cover has rows you slide down to show where the batteries are placed.

Looking at the top of the camera, on the left side is the On/Off switch, which you press down to activate or deactivate the camera's power. Once the camera is "on", at the very top is a small LCD screen that lets the photographer choose different functions. 

 The first function you can set on the camera is the Date and time function. If you hold the "Quality" button while turning the camera "on" on the LCD, you can see the M/D/Y functions, and pressing the "Mode" button lets you set and change the different settings. Once the Date is set, you can use the same function to turn off the camera, then back on while holding the "Quality" button to do the same for the time function.

 In the top left is a "Mode" button that lets the photographer pick 10 sec. self-timer on the camera, along with red-eye reduction. Below the "Mode" is the thunderbolt for flash settings. These settings are On, Off, or Auto.

In the upper-right corner of the LCD is the "Quality" button, which you can set to "Fine" or "Normal". On the empty PCMCIA card, Normal mode allows you to take 36 images, and Fine mode allows 18 before the card is full. There is also an "Erase" button in the lower-right corner that lets you delete the last photo taken.

 On the back side of the camera is the viewfinder. Looking inside the viewfinder, there are outer lines used for the normal settings, and internal lines for when you're shooting in "macro" mode. Under the viewfinder is a "ready" light that turns green when you depress the shutter button halfway, indicating that the camera's light meter and flash are ready for you to take a photo. On the right side of the camera is a switch to switch the camera to "macro" shooting mode.

Once you've taken the photos and want to see them, you'll need to separate the camera and slide the PCMCIA card into your computer. Make sure you press the card firmly into the slot so the computer recognizes it as a new drive, and the images appear on it. From there, you can view them in your favorite imaging software, as they are saved in JPG format.

My Images:

 I went around and took both Normal and Fine images around my office. The quality of the images compared to today's is poor, as you can see in the posted images and in Photoshop screenshots showing image sizes and resolution.

Conclusion:

 Holding the camera vertically and having the shutter release on the front make it simple to use, and looking through the viewfinder to frame your photo is easy because the frame lines are bright and easy to see.

 I'm certainly happy to have this camera in my collection, as it's an odd and quirky example of early Nikon consumer-based cameras. The most frustrating part was the hassle of having to look at the poor-quality images the camera produces. 

 The one positive thing that came out of this process is that I now have a working PC from the late 1990s, and I did get to see the images the camera produces. It may be time to invest in other early digital cameras, as they might be the next goldmine for collectors, and I'll have a working computer that people can use to see their images, too.

 Thank you for taking some time to hear about my escapades in procuring a computer to view the images the Nikon Coolpix E100 produced. I hope you learned a bit about the camera in the process.

 Here's a link to my other Camera Reviews.

 I also have an online eBay store, Cuny's Cameras and Photo, where I sell the cameras I've reviewed, along with other camera oddities. If you find something you like, send me a note, and I'm happy to offer a discount.

 Until next week, please be safe.

Lumiere LuxBox (Ver. 2)

My Lumiere LuxBox camera.

I was drawn to the Lumiere LuxBox, a camera I bought at a Paris flea market 20 years ago. Among other simple cameras, its unique shape and brown color caught my eye.

 When I picked up the camera, I saw it was in great shape. The two-speed shutter worked, there were two aperture settings on the lens, and the crinkle-finished metal body looked nice. I liked the lens pattern and the riveted nameplate on the front. The design reminded me of Ferrania Rondine cameras from Italy. You can unlock the film insert and remove it from the body from the side, unlike many other box cameras. The solid metal body was another thing I liked.

 After a short negotiation with the vendor, we agreed on a price. I paid, put the camera in my backpack, and moved on to the next tables at the market. Other than a group of fabulous glass negatives taken in the French countryside during the 1920s, the Lumiere LuxBox was the only camera purchased at the Paris flea market on this day.

 About 20 years later, and just a few weeks ago, I was searching for a camera to write about. The Lumiere LuxBox caught my attention again. I was somewhat familiar with the French Photographic Company, Lumiere, as I have previously written about another one of their wonderful miniature camera, the Super ELJY camera.

 Although I thought last week’s blog would be my final post of the year, its simplicity inspired me to shoot a roll of film and share a short article. So here I am, telling you about this relatively simple, ordinary, oddly shaped box camera from France, made in the early 1950s.

History:

 To give some background, Lumière was a pioneering French camera company founded by Charles-Antoine Lumière in Lyon in the late 19th century. The company became best known for the achievements of Auguste and Louis Lumière. Their innovations in motion-picture technology and color photography helped define early cinema and modern photographic materials.

Lumiere Advertisment

 The Lumière enterprise began as a manufacturer of photographic plates. Louis Lumière invented a highly sensitive "blue label" dry plate at the age of 17. This plate enabled much shorter exposure times and quickly became a commercial success. The company soon built a large factory in Lyon's Monplaisir district and became one of Europe’s major suppliers of photographic materials by the mid‑1890s.

 After their father saw Edison’s Kinetoscope in Paris, Auguste and Louis developed the Cinématographe, a lightweight device that could record, print, and project movies. Patented in 1895, it used perforated film and a claw mechanism, making it more practical than other systems. This led to the first public film screenings, including “Workers Leaving the Lumière Factory.” Imagine how exciting that was for photography fans then.

 By the early 1900s, Lumière stopped making films and focused on photographic technology, especially color processes. In 1903, they patented Autochrome Lumière, a color plate process that used dyed potato-starch grains. It was introduced in 1907 and became the first major color system widely used through the 1930s. Learning about these innovations makes me appreciate their cameras even more.

 Lumière began manufacturing cameras in the late 1920s and produced various models until about 1961. The company was purchased by Swiss firm Ciba in 1961 and later became part of Ilford France. For collectors like me, the Lumière name still stands out in early photography and cinema. sures 4.5 inches tall (including the eye-level finder), 4.25 inches deep, and 3 inches wide (including the film advance knob). It weighs 14.2 ounces without film loaded. 

My Camera:

 The LuxBox was introduced in 1933 and discontinued in 1937. It’s a classic box-style camera that takes 6x9cm photos on 120 film. The camera has shutter speeds from 1/75 to 1/25, plus "T" and "B" settings. It also has a focusable lens and was considered the most advanced box camera of its time.

The LuxBox was reissued from 1952 to 1954, which is when mine was made. It’s an all-metal camera without a leather covering, with a frosted Havana-colored paint finish. There is a small vertical eye-level finder on top for composing your shot. This version takes 6x9cm negatives with 620 film, which is very similar to 120 film but uses a different spool size.

The camera has a simple lens and shutter unit. The shutter provides two speeds: 1/75 (fast) and 1/25 (slow), plus a "B" (bulb) setting for manual exposure holding. There are two fixed-aperture settings at the 4:00 position (when facing the lens): "2" (wider opening for brighter images) and "1" (smaller opening for greater depth of field and less light). A PC flash port at 2:00 allows flash connection. There’s no cable socket for time exposures, so you must hold the shutter release manually for long exposures. The bottom of the camera has a standard tripod socket for stability.

To load film, find the locking button on the left. Slide it up to unlock, then pull the right side away from the body. Load film as with other box cameras.

 Move the empty take-up spool from the bottom compartment to the top so it can collect the unspooled film. Place the new roll of film into the bottom compartment, ensuring the ends of the spool fit securely into the peg slots. Pull the leader paper over the guide wheels and insert it into the empty spool’s slot. Turn the winding knob until the word "start" appears on the backing paper. Slide the film chamber back into the camera body and lock it in place with the button. Then, open the red window cover on the camera's back and turn the winding knob until the number "1" appears, indicating that the first exposure is ready.

This camera has a few technical settings.

 Let’s load film and see what results we get.

 

My Results:

 I loaded the camera with a roll of 100 ISO 620 film I keep for cameras like this. I probably should have used 400 ISO film, since it was overcast, though the sun peeked through at times. We took our daughter’s dog to the local dog park for exercise and photos.

 Here are some of the results from our walk at the Dog Park:

Conclusion:

 The camera is fun to use thanks to its extra shutter controls. As someone who likes the 6x9 cm format, I enjoy capturing a larger area in each photo.

 The main downside for me was the tiny viewfinder window. A standard waist-level finder would have made the camera easier to use and more like the original 1930s model.

 I think this model was brought back in the early 1950s to cut costs but still offer decent image quality. Although I may not use it again, testing it for this article let me revisit why it stood out to me in Paris, and now it has a place on the shelf among my other colored cameras.

 Feel free to check out my other camera reviews.

 If you’re interested in any of the cameras I’ve reviewed, you might find them in my eBay store, Cuny’s Cameras and Photos. I have lots of odd and unusual photo items for sale.

 Thanks for taking a few minutes to read about this mid-century French camera made after WWII.

 Until my next review, take care.

Voigtlander Prominent 35mm

My father-in laws Voigtlander Prominent

I'm unsure if I'll be able to get another posting out before the beginning of 2026, since Christmas and New Year's fall on the day I generally publish my reviews. Since this might be the final post for 2025, I wanted to make it a special review. 

 Special in the sense that, while the Voigtländer Prominent is an outstanding camera, what makes this camera especially special to me is that my father-in-law owned it, so it holds an even greater, much more cherished place in my collection.

 Let me tell you a bit about my father-in-law. He was the oldest of seven children living in a very small town named Sugar Creek, MO, just outside Independence. They were not a wealthy family, as the father worked at the local refinery. I was told that the house was so small that some of the children had to sleep in closets. At 18, he married my mother-in-law, who was only 17 at the time. By the time he was 22 and my mother-in-law was 21, they had three children.

 Soon after they were married, he joined the Army, where they were stationed in Augusta, GA, where my wife and the third child were born.  When my wife was only 6 months old, my father-in-law and the family were transferred to Naples, Italy. With his wife and three young children, my wife moved to Italy.

My father-in-law always had a passion for photography and, from what I'm told, purchased the Voigtländer Prominent while stationed overseas. After their time in Italy,  the family moved back to the USA. At this point, my father-in-law found a local camera store back near Kansas City, where he honed his photographic skills using the Voigtländer Prominent he purchased overseas.

Voigtlander logo and Prominent name on top of the camera.

 After the camera store, he was hired by Procter & Gamble to sell Duncan Hines cake mixes. He climbed the corporate ladder, moving his family with each promotion due to his outstanding managerial and sales skills. All the while, he still had a passion for photography. He was always taking photos of the family and eventually ended his career as a top executive at some of the largest Fortune 500 companies.

 This article is not only about a truly amazing camera, but also an ode to my father-in-law. Someone I looked up to in my career helped me in so many ways and was a warm, loving, generous, and caring individual. He passed away way too early from an auto accident, almost 30 years ago. We still have his Voigtländer Prominent, which he used, and it's in remarkable condition. For the final post, I wanted to write about this truly excellent camera, which means so much to all the family members.

 I've had the opportunity to purchase other Voigtländer prominent cameras, both the original and the Prominent II, with the standard Ultron and Heliar lenses, along with many different lenses and accessories for their cameras. Still, the camera from my father-in-law is off-limits. It will stay in my collection until I'm no longer around.

 I've reviewed other Voigtländer cameras, so I've written about their history in the past. Let me focus on the history of Voigtländer in a specific timeframe: after World War II, when they rebuilt a fantastic camera brand.

Voigtlander Post World War II:

 Voigtländer emerged from the Second World War with its Braunschweig factory largely intact and quickly resumed work under British military oversight, initially dedicating much of its output to Allied reparations until the new West German currency was introduced in 1949. This relatively undamaged industrial base, combined with a strong pre‑war optical tradition, allowed the firm to re‑establish itself rapidly as a key player in the post‑war German camera industry.​

 In the immediate post‑war years, Voigtländer revived and modernized pre‑war designs, adding new anti‑reflection coatings to lenses and continuing large‑format and medium‑format lens production. The company remained under the ownership of the chemicals and photographic‑paper firm Schering AG, which had acquired it in the 1920s, providing financial stability in a challenging economic climate.​

From Voigtlander Catalog Credit: Pacific Rim Camera

 The 1950s became Voigtländer's golden decade, marked by a broad range of high‑quality cameras and lenses that cemented its international reputation. Compact 35mm lines such as the Vito and the more sophisticated Vitessa appeared alongside the professional Prominent 35mm rangefinder. At the same time, optics like the Ultron, Nokton, Apo‑Lanthar, and Heliar established the brand as a leader in lens design. In 1952, Voigtländer introduced the Apo‑Lanthar 105 mm f/4.5, and in 1959, it launched the 36–82 mm f/2.8 Zoomar, one of the first interchangeable zoom lenses for 35mm still photography.​

 In 1956, Schering sold Voigtländer to the Carl Zeiss Foundation, bringing it into the same corporate orbit as Zeiss Ikon while initially keeping manufacturing and sales structures separate. Throughout the late 1950s and early 1960s, Voigtländer expanded into leaf‑shutter SLRs and advanced models such as the Bessamatic and Ultramatic, but the cameras were complex and costly to build. As Japanese manufacturers increased efficiency and undercut prices, Voigtländer's high production costs and conservative designs became major competitive disadvantages.​

 In 1965, Zeiss‑Ikon and Voigtländer's sales operations were combined, but falling sales led to the decision to cease camera production and close the Braunschweig factory on 4 August 1971, affecting over 2,000 employees. The physical works were reorganized as Optische Werke Voigtländer, with shared ownership between Zeiss, Rollei, and the state of Lower Saxony. By 1974, Rollei had taken complete control, continuing to produce lenses and cameras under the Voigtländer brand until its own financial collapse in the early 1980s.

 The trademark then passed through German photo retailers and, from 1999, has been licensed to Cosina in Japan, which uses the historic name on modern manual‑focus lenses and niche film cameras, giving Voigtländer a new life in the era of digital photography.

My Camera:

 My Voigtländer Prominent comes with the standard Ultron 50mm f/2.0 lens. The camera body serial # B 46551, and lens serial # 3782651. With this camera, there is a Voigtländer UV filter that I generally leave on the camera, along with a yellow filter for black-and-white photography, a rectangular metal lens hood, and the fitted brown camera case. The camera is 5.5" wide by 3.5" tall by 3.5" deep, and weighs 2 pounds, 0.8 ounces without film.

 The Voigtländer Prominent has some weight to it, and for me, it feels very comfortable in my hands. Maybe because it resembles an SLR more, like what most people are used to with rangefinder cameras. The camera has a somewhat peculiar layout and is something you'll need to get used to.

When you put the camera to your eye, the viewfinder is on the right side of the camera, which, for many, is different. The majority of cameras have the viewfinder either centered or more to the left than to the right. The focusing ring isn't on the lens, but located on the rewind knob. As you turn the outside of the rewind knob, generally used to rewind the film in the film cassette when you're done with the roll, on the Voigtländer Prominent, it focuses the lens. 

Looking through the viewfinder, the rangefinder is bright, with the yellowed area in the center clearly visible. With your left hand, turn the outer ring of the rewind knob to focus on your subject. Once the image is in focus, take your photo. Under the focus distance is the camera's depth of field guide for the aperture used. 

To take a photo, on the right-hand side of the camera is the film advance lever; wind it clockwise to advance the film. The same motion that advances the film also moves an internal bar that cocks the shutter. The shutter speed dial on the Syncro-Compur shutter is set by turning a ring just in front of the shutter cocking lever. The shutter speeds on this camera go from 1/500 to 1 sec, with "B" for timed exposures. According to the Voigtländer Prominent camera manual, it's best to set the 1/500 shutter speed before winding the camera, which cocks the shutter. You can set any shutter speed once the camera's shutter is cocked, but 1/500's not recommended.

If you want to use the camera's self-timer, it can be manually set by pulling down on the shutter's cocking lever once the camera is cocked. This sets the camera's self-timer to approximately 10 seconds when the shutter release is depressed. The camera's shutter release is the larger button on the top of the camera, just to the left of the film transport knob. Behind the shutter release is the cable release socket for timed exposures.

Top view of Voigtlander Prominent camera

Looking at the lens, the aperture is set by turning the aperture ring in the direction that produces a properly exposed image. On the Ultron 50mm lens, the aperture goes from F/2.0 to F/16. To remove the lens from the body, on the bottom of the lens is a large button you press in; interestingly, you can remove the lens by turning it left or right. Likewise, to put the lens onto the camera body, make sure the large button is on the bottom. You can mount the lens either to the right or left as long as the button end is on the bottom.

 Since the camera utilizes a leaf-style shutter as opposed to the standard focal plane shutter, the flash will sync at any shutter speed, which allows the photographer the ability to control the ambient light with flash much better, and this makes film cameras such as Hasselblad and Rolleiflex cameras ideal for weddings, portraiture, and commercial studio work. On the front of the camera, at the 11:00 position, is the PC sync for flash, along with the flash settings: "X" for electronic flash or "M" for flash bulbs.

To load film into the Voigtländer Prominent camera, on the left side of the camera are two buttons you press to open the camera's back door. Once open, you load the 35mm film just as you would any other 35mm camera. Push up the rewind shaft, drop in the 35mm cassette, and bring the leader over to the camera's take-up spool. Thread the leader into the take-up spool slot and wind the film advance. Make sure the film's sprocket holes are in the drive gears and take up the slack. Before closing the back of the film door, I like to turn the rewind knob to take up the slack in the film cassette, so when I close the back and wind to the first frame, I watch the rewind knob turn to make sure the film is actually moving within the camera.

 Once you close the back door, the frame counter needs to be set manually. To do this, lift up on the winding knob, then turn the camera's frame counter to "F" to give you a couple of turns on the film advance until you get to frame number 1.

When you're done with the roll of film, you'll need to rewind it into the film cassette. The rewind knob has an arrow pointing outward. Push the button outwards, and the rewind handle will pop up. Just below the cable release socket is a small button labeled "R". Press the "R" button to disengage the transport gear, then turn the rewind knob clockwise to rewind the film into the film cassette. Once the film is rewound, open the camera back, process the film, and reload the camera with more film. 

 

My Results:

 I loaded the Voigtländer Prominent with a roll of 200-speed film and took one of our dogs to the local dog park to get the pooch some exercise, taking photos of a different area than walking through the neighborhood as I usually do.

 Here are some photos from the local dog park and the shadows on my back patio on a beautifully sunny day in the Portland Area in December. It wasn't a typical December day in this area, so I wanted to make the most of it.

Conclusion:

 I really love this camera. The images are incredibly sharp, and this camera gives Leica and Contax a run for their money. It's exceptionally well-built, the lenses are tremendous, and I like the camera's size and weight.

 The system's weakest link is its lack of lenses, and for many, the camera's focus is a drawback. I've read that people don't like having the viewfinder on the right side, which makes it more challenging for them to use the camera. I don't find it annoying, as others do.

 Here's a link to my other Camera Reviews.

 If you're looking for a camera, lens, or other photo oddity, please stop by my eBay store, Cuny's Cameras and Photo. If there's something that interests you, mention my blog, and I'll offer you a discount.

 Thank you for taking a few minutes from your day to read about this excellent camera with extremely sharp lenses. If I don't post another review before the end of the year, please have a Happy Holiday and a fabulous New Year.

 Until next time, please be safe.