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T.J.Byford "TJ" (Birmingham, UK)

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Stokowski: Wagner Symphonic Syntheses
Stokowski: Wagner Symphonic Syntheses
Offered by Naxos Direct UK
Price: 5.99

3.0 out of 5 stars But, it isn't Stokowski, 17 Feb 2014
Verified Purchase(What is this?)
I believe my heading for this review says it all.

The only connection this recording has to the great man is it uses his symphonic syntheses. Unfortunately, it doesn't come with the flair of Stokowski as its conductor and therefore lacks that one very important ingredient. Serebrier plays all the right notes, but not in the manner of Stokowski.

I have most, if not all of Stokowsk's stereo recordings, including the very fine Decca releases, and it isn't necessary to get this disc purely on the grounds that it is a fairly modern recording and thus post-dates his earlier issues and must, as a consequence, be superior in sound. It isn't.

This inexpensive recording, however, will be entirely satisfactory to those new to Stokowski's re-working of Wagner's works, but if one wants the real thing, and why wouldn't you, it will pay handsomely to track down the originals to really hear, and appreciate, the difference he brings.

Sony a7 Full Frame Interchangeable Lens Camera Body Only - Black (24.3MP) 3 inch LCD
Sony a7 Full Frame Interchangeable Lens Camera Body Only - Black (24.3MP) 3 inch LCD
Price: 1,135.00

20 of 24 people found the following review helpful
5.0 out of 5 stars Best Sony yet, possibly., 30 Dec 2013
I bought into Sony's Nex system when they launched the Model 5 in 2010. At that time it was the smallest body to house a dslr sized APS-sensor. Unfortunately, the IQ of the sensor was only so-so, but was really improved with the introduction of the 5N in 2011. This model was a significant advance and was able to take the quite superb, although expensive, add-on EVF. For me this transformed how the camera handled.

Although it was often criticised, I never really had any problems with Sony's menu system, but the limitation was the 1.5x crop factor when using legacy 35mm camera lenses. This made trying to get a genuine wide angle view more problematic; even my 24mm Leica lens only behaved as a 35mm with respect to the FoV. So, like many, I dreamt of an affordable FF sensor camera, but I did not want the size and weight of a dslr and its attendant lenses, and Leica M was priced way over budget. Many thought that Sony would eventually come out with such a model, but the idea of it being similar to the Nex range, perhaps an updated Nex 7, was poo-pooed in the press in view of the E mount with its very short back lens flange to sensor distance. Well, Sony proved them all wrong when they released on to an unsuspecting market the A7 and A7R, and at the same time caught all the other camera manufacturers napping. Here, now, was an opportunity to use my prime film camera lenses, but at their native FoV.

Some good news is Sony has not forgotten its legion of Nex users. Whilst the A7 has a FF sensor, E mount lenses intended for the APS-C sensor used in all Nex models can be used with the A7, albeit with a reduced resolution of 10 megapixels. The A7 can be set to detect when an E lens is mounted and will automatically adjust the framing to APS-C size. In this setting, the A7 behaves just like a Nex model and provides exactly the same FoV. You do not see this crop in the v/f or on the screen as these are corrected whilst framing/viewing. Interestingly, the A7 can be set so it does not provide an APS-C crop but leaves the image uncropped to use the image circle of an E lens. When these images are viewed, you will see major vignetting, like looking down a tube, but I found that with my Sigma 30mm lens, the covering circle is marginally wider than the APS-S sensor crop, so cropping in post-editing software can actually get more in than when the A7 itself performs the crop.

This has an advantage I've not seen referred to elsewhere: My Olumpus f1.2/55mm standard lens, for example, with a normal FoV, can very quickly be turned into an f1.2/82mm portrait lens when I select APS-C sensor crop in the menu. If I wish to do this rapidly, I can even allocate the function to one of the programmble buttons. And this will work with all FF frame lenses, so I effectively can double my battery of lenses at the touch of a button.

To those who own a Nex model, Sony has continued the family styling and getting to grips with the A7 (or A7R)will not be too much of a leap. The good news is that the menu structure has had a major make-over and is more user friendly. Also, there are more directly accessed functions on the body itself and which saves having to remember where in the menu structure the function was in the older version.

The A7 doesn't have the plethora of buttons one may find on a professional dslr, but as it has three buttons which can each be customised and assigned a function from upwards of 40 choices, there probably isn't a personalised set-up that an owner can't achieve. On the right of the usual PASM control dial Sony has provided a dial for direct access to + or - 3 stops of exposure override. To the front of the shutter release and at the top of the rear back plate are two dials that make direct setting of aperture and shutter speed in manual mode very easy.

On the rear panel and above what is a fairly standard dial for setting WB, Display for camera settings, shooting mode or DA, and a fourth programmable (bottom position) lies the very useful Fn (Function) button. Pressing this brings up a display at the bottom of the screen, or EVF, of 10 camera settings, and even what you wish to have displayed is programmable. The beauty of the Fn button is that it gives direct access to the displayed settings and which can be set using the dial below the Fn button.

The body is comfortable to hold and has a degree of weatherproofing and dust protection. The EVF is a marvel. It gives a large and very clear view and has the same resolution as the OLED add-on v/f I use on my Nex5N, that is around 2.4m dots, but I was very pleasantly surprised to discover it is of even better imaging quality. The large rubber eyecup and large eye relief makes using the EVF with glasses easy. The 3" main screen can be tilted up or down, but at around 930k dots has far less resolution than the EVF. It is still a good screen but given the high image quality potential of the 24meg sensor something slightly higher would have been welcome for reviewing images. All is not lost, as playback can still be performed using the EVF.

Some users may bemoan the lack of a built-in flash, however small this would be, as flash can only be used on the hotshoe using a proprietary connector. Given the target audience for this camera, though, and its price, it is possibly no great loss. Of some concern is the smallish battery, which is the same as used in the Nex cameras. It would thus be advisable to get in a spare, or two. Inexplicable, Sony have not provided a conventional standalone charger so batteries can be charged independently of the camera. The charger provided is a USB charger and using this batteries can only be charged whilst in the camera, and they will take longer. It does mean you can't charge a spare battery and use the camera at the same time. Fortunately, for me, and other Nex users, the charger provided with those models is compatible.

A bit of a pre-amble so you may get a feel for the camera, but what of the image quality? Well, I have to confess that, initially, I was just a little underwhelmed. Or perhaps I should say not the leap I was expecting over my Nex 5N, which uses a sensor only half the size and just 16 megapixels. I bought the camera body as I intended using high quality prime lenses from my film camera days, mainly Leica and Zeiss, but a couple of super lenses, one from Olympus, their f1.2/55mm, and a lovely Minolta D f1.4/50mm. Not yet tested is an f2/28mm lens from Kiron which I know is a superb performer.

With such quality glass available, what was wrong? Obviously I can't discount that getting used to the foibles of using a new camera could mean it was down to me. But as an experienced camera buff for more decades than I care to recall, there was more to it than that. During my early testing I hadn't yet downloaded Sony's Image Data Converter software, and as I discovered this was a mistake not to.

My first shots were shot in jpeg and RAW. I normally shoot in RAW anyway and this is why I was very disappointed in the jpegs coming from the A7, even though I had set them to Fine, the highest quality. Jpegs just didn't look good at all. RAW was better, but still below what I was anticipating. At this stage I was beginning to think it may not have been a good idea to get the A7, or I was going to have to spend a lot on the latest Zeiss optics to get the best from it. This runs counter to my idea of using my quality 35mm camera lenses on the A7.

My preferred image processing programme, Zoner 16 Pro, surprised me by opening and processing the RAW data file, but not to the quality I have been used to, so I suspect it is not yet optimised for the A7 RAW data. I even converted the Sony RAW files into Adobe's DNG format, but even this didn't quite reach the standard I was hoping for.

It was at this stage I downloaded the Sony software. Clearly, the Sony software is designed to work properly with the A7's RAW files, and what a difference my RAW images now look. A slight downside is with it being new program to me, I am on a learning curve to find out just what it can do. Oddly, this software is not intended to allow much post-editing work on jpegs, even those shot with the A7. In reality it is extremely limited, so purchasers of the A7 will need third party software to work with and get the best from the A7's jpegs. The only settings available, three, are to allow for some degree of correction for vignetting, and oddly, in the image centre as well, and a tone curve. The third setting merely gives information about clipped highlights and shadows, and out of gamut colours.

It would seem the message here from Sony is use RAW!

I think the message to take home about A7 ownership is that it will not automatically give you the quality one may be expecting from a 24meg FF sensor; it is going to require more input from the photographer, invariably this is going to mean shooting RAW, and more post-editing work with jpeg than lesser cameras will demand and where jpeg in-camera optimisation is to a high standard and where jpegs are eminently usable straight out of the camera. With the right optics and, for the present time, using Sony's RAW Data Converter software, the A7 really is capable of stunning quality and the effort you put in will be rewarded.

I've stated that the A7 is the best Sony yet, possibly. This is with the knowledge that its sister model, the A7R, has higher resolution, but falls short of the A7 in some areas. I suspect that if the sharpest image quality is the goal, then the A7R with its 36 megapixels and which dispenses with the anti-aliasing filter will be the model for you, whereas the A7 may be the better "all rounder".

Addendum, 16/01/2014. Something I read about: because the front of the body is a polycarbonate and not the magnesium alloy used in the more expensive A7r it may be possible for the lens mount to be stressed if heavy tele and zoom lenses from the days of film are attached via third party adaptors. Like me, if your intention is to use your older legacy lenses, try and ensure you get an adapter that incorporates a tripod mount.
Comment Comments (4) | Permalink | Most recent comment: Apr 2, 2014 10:46 PM BST

DSTE Full Coded 3.7V 1450mAh CGA-S005E BP-DC4 DMW-BCC12 Li-ion Battery for Panasonic Lumix DMC-FX01 Lumix DMC-FX01-A Lumix DMC-FX01BB Lumix DMC-FX01BS Lumix DMC-FX01EB-K Lumix DMC-FX01EB-S Lumix DMC-FX01EB-W Lumix DMC-FX01EF-A Lumix DMC-FX01EF-K Lumix DMC-FX01EF-S Lumix DMC-FX01EF-W Lumix DMC-FX01EG
DSTE Full Coded 3.7V 1450mAh CGA-S005E BP-DC4 DMW-BCC12 Li-ion Battery for Panasonic Lumix DMC-FX01 Lumix DMC-FX01-A Lumix DMC-FX01BB Lumix DMC-FX01BS Lumix DMC-FX01EB-K Lumix DMC-FX01EB-S Lumix DMC-FX01EB-W Lumix DMC-FX01EF-A Lumix DMC-FX01EF-K Lumix DMC-FX01EF-S Lumix DMC-FX01EF-W Lumix DMC-FX01EG
Offered by DSTE Technology
Price: 5.89

5.0 out of 5 stars Good Value, 26 Nov 2013
Verified Purchase(What is this?)
I suspect that people, like myself, buy generic TP batteries because they are far cheaper than the camera manufacturers' branded product. However, we still expect to get a reasonable service life from our inexpensive purchase.

I bought my Panasonic LX3 at its launch in 2008, and bought two generic spare batteries at the same time. The original Panasonic battery is still going strong, but the generic ones now discharge rapidly, even though they indicate full charge, and so can't be relied upon. For the price I paid, I reckon I got value.

So now I needed to search for replacements and amongst the number of competing listings I chose this one, for the reason of price, which included free p&p, and the seller confirmed the battery was fully coded. Whether they will last and hold charge over the next few years, only time will tell.

When they arrived I was pleasantly surprised indeed to find that each battery came in pukka retail packaging but, more importantly, each had a snap-to plastic case to store the battery in, just like the original design, and which is very useful when carrying the batteries loose with other items in a pocket as it prevents possible short circuiting of the contacts. The seller indicates 1450mAh, although the battery itself says it has a value of 1750mAh, an extremely optimistic value in my opinion, especially as the Panasonic original is rated at 1150mAh. I can't say I notice any difference in performance over the original which is at least a positive sign.

So, whilst it is impossible at this stage to rate on performance, the presentation does lend some confidence in the product. Perhaps I could mention that delivery was very quick from this seller.

Now and Forever...This Is Bert Kaempfert
Now and Forever...This Is Bert Kaempfert
Price: 5.49

1.0 out of 5 stars Avoid, Avoid., 21 Oct 2013
Amazon's track preview alerted me to a major problem with this release.

I have the original STEREO LP which was released in the 1960's by Polydor (Polydor Stereo 104 699) in their "This is.." series to promote their German artists, who were not as well known then in the UK as they were later to become, e.g. Kaempfert and James Last being the two most well known. The series of LP recordings were also issued at a special low introductory price to promote stereo recordings as even in the mid-1960's the majority of British households hadn't made the move to stereo reproduction.

Stereo was taking off then, so why now, in 2013, issue MONO recordings of what had been released as stereo originally? Mono is what you get with this entire release. Quite unbelievable and a big disappointment to me. So unless you must have this particular coupling of tunes, look elsewhere. There is a lot of Bert Kaempfert in superior stereo for you to choose from, and some of it remastered to a very high standard. Kaempfert benefits enormously from stereo as his productions seem to always have been of high quality demonstration class and sound superb on hi-fi equipment.

Ef Ef-s Lens Adapter Ring Mounts to Sony NEX Digital Camera
Ef Ef-s Lens Adapter Ring Mounts to Sony NEX Digital Camera

1 of 1 people found the following review helpful
4.0 out of 5 stars Excellent, but potential compatibility issues., 28 Sep 2013
The Viltrox Canon EF/EF-S to Sony Nex adaptor is well made and finished, and unlike the basic and inexpensive manual lens adapters, it has high quality lens and body mounts.

I have numerous versions of the inexpensive mounts for my Nex 5N for the various legacy 35mm lenses I have, but all these require manual, stop down metering, and manual focusing. Currently, I only have two EF lenses, a standard f1.8/50 Mk II, none USM, and a 28-80mm V.III USM zoom. However, the 28-80 zoom offers a very useful 42-120mm equivalent range with an APS-C sensor and it has better IQ than the Sony kit lens, 18-55, in my experience.

I can only test this adaptor for focusing and exposure, as I don't have any IS version of a Canon lens.

I was disappointed to find my f1.8 lens was incompatible and would not work, but happily this did not apply to the zoom lens. I can only conjecture that the adaptor will only work with USM lenses, as my f1.8 works on its EOS and APSC Advanced bodies, or my Nex 5N is limited in that it can only be updated to firmware V.1.02, and not the latest version. Whatever, this adaptor should be purchased with potential lens incompatibility issues in mind.

In use I was pleased to find the lens worked in all PASM exposure modes, and it did autofocus, but more slowly than native Sony lenses or TP lenses made specifically for Nex cameras. I understand that this is due to the different focusing systems Canon and Sony use. DSLR phase detect focusing, is the fastest and sensor contrast detect is slower. In practise, then, this adaptor/Canon lens combo won't be best suited to action or fast moving subjects, and this is the only reason why I feel it misses out on a full 5 Star rating. But for my style of photography this isn't an issue.

Whereas with a native lens, the 5N snaps into focus fairly quickly, with the adaptor one can see the lens focus past the object, but then it will suddenly snap back to the point the camera deems to be the point of focus. It doesn't "hunt" in both directions around the approximate distance until it finds focus, it is as if it has already determined on its first traverse where the point of focus is and just goes past it slightly before more or less saying "I've got it" and snaps back into focus.

The good thing is once it has determined the point of focus, accuracy is very good. As with all auto-focusing systems, this unit performs better the brighter the conditions.

Obviously, there is no impact on image quality by using this adaptor as it has no additional glass elements, and given it is marrying two different focusing systems it does work and, taken overall, works very well with the only proviso you use it with a compatible Canon lens.

Is it good value for money? This is a judgement call, but given the paucity of reasonably priced quality optics for the Sony Nex range, and given the very wide choice of Canon EF (full frame film camera lenses) and EF-S (specifically for Canon dslr cameras) and it works in all the Nex exposure modes, and when it locks focus, it has it bang on, it must be worth considering.

Oh, nearly forgot, it has a built in tripod mount, very necessary for the heavier lenses, so as not to strain the small Nex tripod socket.

Update 16/01/2014. The adapter works equally as well with the latest full frame Sony A7. The 50mm MkII lens still does not autofocus and using the FF sensor of the A7 with the zoom produces distinct vignetting in the corners from around the 50 setting to the 80. I'm not sure what is causing this as this doesn't happen with the 50mm on the adapter, or with any other lens using simple manual adatpers, so I suspect it could be the rear baffle of the adapter. In other respects the zoom performs well across the whole frame.

Pixel RW-221/L1 Wireless Shutter Remote with RS1 Type Terminal for Panasonic DSLR
Pixel RW-221/L1 Wireless Shutter Remote with RS1 Type Terminal for Panasonic DSLR
Price: 22.79

3 of 3 people found the following review helpful
5.0 out of 5 stars Does what it says it does well, 28 Sep 2013
I recently purchased two cable releases for mine and a friend's FZ200. One worked with mine, but the second unit didn't. It was right I should give my friend the working unit, and I arranged with the seller for a replacement. This was done without quibble, but the replacement unit didn't work either. Although one unit worked with my FZ200, I wasn't going to risk another, even a different branded cable remote, and looked at wireless alternatives. This unit looked very reasonably priced compared to the manufacturer's original.

Although the remote is inexpensive, it doesn't look cheap or shoddy, and came with instructions in understandable English (and Chinese) in a standard sized font which wasn't difficult at all to read. They are, however, not precise in the proper orientation of the connecting cable, although by carefully studying the image it is possible to make out which connector (it is the smaller, rounded straight, three section one) that fits into the receiver unit, with the angled connector going into the camera's remote socket. Nor is it stated what the four small toggle switches are for, save for ensuring that their positions on the transmitter and receiver are the same. They set the units to the transmitting channel. Perm any 4 from 4 (upper and lower settings) and you get 16, which is how many channels the units will respond to. Just ensure that with whichever channel you select the units mirror each other.

Why might you need 16? It enables you to set a channel frequency that will not interfere with another wireless transmitter that may be in the vicinity. If you are the only one, it really doesn't matter which you choose.

In use, I found the remote easy and a joy. The receiver fits into the camera's accessory shoe, and has a lock-nut to secure it, or it can be connected to a tripod auxiliary tripod arm with a screw, or for example, a Gorilla pod wrapped around a tripod leg. You may want to do this if you need to use an external flash or even the built-in flash, as with the unit in the accessory shoe, the internal flash can't be raised and neither can an external flash be mounted.

Only the receiver has an on/off button and when pressed a little light, which can be seen from the top and from the front of the camera, blinks red, and then will blink every couple of seconds to remind you it is on. The transmitter has no on/off switch and this could lead to inadvertent battery drain as it is easy to apply pressure to the two stage button release. There is a four position sliding switch for single, multiple, bulb, and delay. As there is no bulb setting on the FZ200, this setting does nothing. Of the remaining 3 options, only the multi shot setting requires the camera setting to be set. For normal single, and delayed release, the camera may be left in single shot mode.

First pressure on the button sends an instruction to focus, and the small lights on the units both light green, a second press fires the shutter and then the lights turn red to confirm. Keep the button pressed and the camera will continue to take single shots in sequence. For delayed action, the camera does not require being set itself; the delay, approx. 4 seconds, is an electronic delay via the transmitter. The button is quite positive in operation, there is a definite first pressure detent, so there is little likelihood of inadvertent exposure before the camera has focused. But in any case, this can be averted by manual focusing.

Some final thoughts. The beauty of a wireless remote is that the camera can be some distance away, and is much better for when the photographer wishes to be included in the photo. Conventional camera delays are generally around 10 seconds, often too short. And there is absolutely no chance of moving the camera by inadvertent pulling on a cord as could be the case with a corded remote.

Eisenstaedt's Guide to Photography
Eisenstaedt's Guide to Photography
by Alfred Eisenstaedt
Edition: Hardcover

3.0 out of 5 stars Disappointing, 9 Aug 2013
Verified Purchase(What is this?)
The title of this book is somewhat misleading; what the book isn't is a guide to photography. It is a selection of his images, with narrative as to why and how he came to take them. This in itself is interesting but hardly a guide to photography, more an insight to certain images.

My advice, should you be considering this book, would be to buy it as cheaply as possible and if you would like a "proper" guide to photography invest instead in something else. For example, one of Andreas Feininger's excellent publications.

Revo Domino D3 - Network audio player / DAB / FM radio tuner with iPhone / iPod cradle - - Black
Revo Domino D3 - Network audio player / DAB / FM radio tuner with iPhone / iPod cradle - - Black

5.0 out of 5 stars Excellent Value and Functionality, 9 Aug 2013
Apart from the first reviewer, who seems to have had a rogue unit, this Revo Domino 3 garners excellent reviews from everyone else, and it isn't difficult to understand why.

It has been discontinued by Revo and thus at its lower price it now offers excellent value in that it provides the ability to tune into all current forms of radio broadcasting, be it internet, FM or DAB/DAB+, and is compatible with certain Apple products as well. And having DAB+ it is future proofed should the UK drop normal DAB for this improved format.

The main issue with the D3 is the really tiny screen, alluded to by everyone else, and which makes it a pain to use at anything over about 2ft away. This is partly due to its physical small size and the tiny font size used, also it isn't very bright even on its high setting. It can, however, provide a lot of information about a station by scrolling. Looking beyond this one niggle, though, and one discovers a very versatile unit.

Wifi set up was very easy and quick, especially if one's router has a WSP button. To connect just requires this button to be pressed and the D3 set to search for wifi networks. Oddly, it didn't discover my new router first time, but it came up on the second scan. Then just select your chosen network and all the wifi connection is made automatically as it downloads the necessary connection information from the router without even having to input a router password.

There is a good deal of functionality provided by the D3 so a session with the comprehensive instruction manual pays dividends. The manual is a reasonable size but, in keeping with the font size of the units LCD display, Revo have adopted a small font again. The manual could easily cope with a much larger size.

The first thing upon tuning into an internet station that I was familiar with, was the excessive, to my ears, bass sound, and this was a channel playing solo classical guitar. I discovered that this was down to the factory default setting of the equalizer, and which was accentuated by the rear firing port of the unit itself. These ports will be familiar to hifi enthusiasts, where they are used to reinforce and extend bass frequency. Unfortunately, if the unit is placed on a shelf close to a back wall, it can lead to too much bass. Ideally, the unit should not be used too close to a wall. After some judicious use of the bass/treble settings and moving the unit away from the wall, the unit delivered a more balanced sound for my ears. Some broadcasters, and Classic FM is one culprit, enhance the lower region of male voices such that if the EQ is set for music, when the announcer comes on the voice sounds somewhat bass heavy and unnatural. However, by using the loudness control with some bass cut and treble boost, I've established a good compromise between talk channels, such as ROK British Comedy and BBC Radio 4X, and classical music channels. There was a tizz sound coming from the speaker, but this turned out to be the quality of the encoded mp3 music itself and not the speaker.

There is more than enough volume for normal use, however the resolution of the volume control could be finer. Listening late at night whilst in bed I found the jump in volume from 4 to 5 a tad too much.

On my previous internet radio favourite channels were stored or deleted by simply pressing the favourites button on the unit itself whilst playing a station, so it came as a surprise to discover that this was not the case with the D3. To store, or delete a favourite, requires the user to log onto a site and complete a simple registration. Thereafter, all the internet stations available, some 15,000+, can be viewed according to genre and broadcast quality (it is easy to see why some stations sound awful) and each can be easily selected and added to one's favourite channels list. One has the choice of creating one's own folders into which specific genres can be stored. This is very useful as otherwise all favourites, irrespective of genre, would be listed alphabetically and could become somewhat unmanageable. So I have folders for classical, comedy and 60's music, for example.

I live in a good reception area and so DAB reception was excellent with no drop-out, and FM was up to scratch as well.

I don't have any Apple product to check compatibility, but with three means to receive radio broadcasts and replay a conventional mp3 player via a standard cable, this unit offers virtually everything one could need, at a good price, and with decent (once adjusted) sound to boot. Recommended, unless one must have the latest, or the very small LCD could be a problem.

Rollei T.L.R.: The History
Rollei T.L.R.: The History
by Ian Parker
Edition: Hardcover

5.0 out of 5 stars Interesting overview of the Company and Personalities., 9 July 2013
Verified Purchase(What is this?)
This is not the book for you if you want specific information about all the Rollei cameras ever made, this is better covered in Evan's Rollei Collectors' Guide. Cameras are covered, but not so much in depth, technically, concerning the models illustrated.

But this aside, it is a fascinating historical insight into the founding of the company and the personalities behind it, which the Collectors's Guide does not address. It doesn't gloss over why the original company floundered after some questionable management decisions once the original founders released control. It is not often one comes across a volume dealing with a specific make of camera that covers this in such depth, and it is this that makes it a fascinating read. And what connects HM Queen Elizabeth II and Eva Braun? They are both pictured holding a Rollei TLR, at different times, naturally.

Clickfree CA3A10-2CBK9-F1S 1TB USB 3.0 2.5 inch C2 Content Backup Portable Drive
Clickfree CA3A10-2CBK9-F1S 1TB USB 3.0 2.5 inch C2 Content Backup Portable Drive
Price: 110.52

12 of 12 people found the following review helpful
5.0 out of 5 stars Simple backup and very fast, 24 May 2013
This USB3 version of ClickFree's well-known range of automatic back up drives is significantly faster than the USB2 versions and the extra speed is very noticeable.

This is the C2 model, so it backs up only data, photos, music, documents etc, and it can back up to several pc's up to the limit of its capacity. (If you want system back-up in addition to data, then you will need a C6, which is also now in USB3 guise.) Each backed-up pc is shown separately in the home screen.

The first time back-up takes the longest time, and is clearly dependent upon how much it needs to back up, but thereafter back-ups are incremental as it searches for and only adds new files. Subsequent back-ups are not mirror images of the hard drive in that any data files deleted from the pc since the last back-up remain in the ClickFree and will have to be manually deleted. It is helpful, though, as if you delete a file from the pc in error, it will still be on the ClickFree even if a subsequent back-up had been performed.

One oddity I found was TIF images were not backed up to the photos folder on the ClickFree, but to the "Others" folder. I discovered this when I wondered why the "Others" folder, in my case 40GB, was so large.

The User Interface has had a makeover since I bought the earlier USB2 version, and this is a welcome improvement.

It can't be denied that this unit is more expensive than an equivalent sized normal hard drive, and backing up by dragging and dropping is not difficult, but the value is in how easy it makes backing up, and the speed, that there really is no excuse now not to at the end each session.

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