Common sense comes into play. Do you really need to make poster-sized pictures from the fender bender you just visited? Or will a crisp, clear 5×7 with good tonal quality do the job? The difference could mean thousands of dollars per unit, and potentially tens to hundreds of thousands across the enterprise.

“Choosing a camera should be application-based,” said John Knaur, senior product manager of Olympus's digital products. “If all you're going to print are 8x10s, then 2 megapixels is more than adequate.”

According to Knaur, digital camera technology has moved down to consumer price points; $600 will buy a camera with features applicable to the insurance industry. The Olympus D-510 Zoom, which Knaur calls 'very portable and easy to use,' features a 3x zoom, built-in flash, macro technology for up-close shooting, 2 MP resolution, auto connect USB for easy interface with Macs and PCs, and a pocketable size. It sells for about $400.

Perhaps the most useful to insurance folks in the field, according to Knaur, is the Olympus C-211. The camera's features are similar to the D-510 Zoom's, but what sets it apart is it's built in printer. The C-211 (with a street price of about $600) uses Polaroid film in a front-loading printer to output hard copy on the spot. This way the client can have a look at the picture and confirm its accuracy and authenticity. “An adjuster can take a picture of the damage, print the image, and have it signed by the client,” he said. “That means the person is saying 'this is my car, this is the actual damage.' In effect, the signed image backs up the integrity of the digital file should the case go to court.”

Craig McGowan, Eastman Kodak's digital applied imaging product manager, said the differences between $500 and $10,000 digital cameras are all technical. “A $500 camera will often have point and shoot technology, a static lens, and an average of 2 megapixels. A $10,000 camera will have interchangeable lenses, 4 to 6 MP, high tech sensors and power sources, TIFF file output, [IBM] Microdrive memory technology, and more.”

For the average user, McGowan suggests the Kodak DX3600, with 2 megapixels, fixed lens with digital zoom, audio and video capture, and $399 MSRP. That way, adjusters can make notes about each shot, or have the client give brief testimony about the incident. He also recommends Kodak's $599 DC5000. It features a wide-angle lens, 2 MP, and “ruggedized” frame designed for rough handling. And there's an optional add-on authentication solution, which uses Digital Signature Standard (DSS) technology to detect image alteration after capture. Essentially, the camera e-signs the picture as it is taken.

While some of these cameras make use of security and authenticity, both Knaur and McGowan agree that even with e-signing, printing, or digital watermarking, no image can be truly secure-but you can come really, really close.

“I'm not against [watermarking],” said Knaur, “and tamper-proof can pretty much be done, but some people delight in beating the system.”

As McGowan put it, “Camera technology that can detect changes between the save point and send, working in conjunction with a third party such as VeriSign, is required to approach true security.”

Printers, Paper, and Pain

If you have a high quality image file and nowhere to go, there are three mainstream choices available when you're ready to print: inkjet, laser, and dye-sub.

For true photo reproduction, dye sublimation (dye-sub) technology is the standard. The dye-sub printer is unique in that a translucent ribbon with cyan, magenta, and yellow (CMY) inks in it passes over special dye-sub paper three times; each pass superheats the inks. They become vapors that are pulled into the paper at the end of each pass. Dye-sub printing is a dot-free process. There are no dots per inch (DPI) here.
Ink jets and lasers have their place. But if you're looking for longevity and integrity, Knaur said to stick to dye-sub. He said laser printers are good for word processing output; tonal quality and detail fall short in photographs. According to McGowan, ink jet printers can be strong allies, providing they are outfitted with light-stable inks and photo-quality paper. But even then, Knaur explained, spray nozzle technology is not ideal for use on long-term records. He said to expect a few years of print integrity; only paper treated with micro-fine ceramic surfaces (instead of metallic) will maintain vibrant and accurate colors.

The P-400 dye-sub printer from Olympus ($999) will run you just under $2 per 8×10 print, taking into account the cost of ink (a $49 ribbon will print about 50 full-sized prints) and paper (about $20 for 25 sheets). But the best choice for pros in the field, Knaur said, is the P-200 dye-sub. It's portable, battery-powered, prints from storage cards, and outputs postcard-sized pictures. He said prints will last 20-30 years if stored in low light.
McGowan said Kodak's Personal Picture Maker 200 thermal printer, $199 MSRP (not a dye-sub) is a strong pick because it uses Kodak's coated paper with emulsion-like finish. He said to expect at least 30 years of longevity from the photo-like prints.

Like any picture, a photo-quality print's lifespan depends on how you store it. “UV [light] causes inks to oxidize and fade,” said Knaur, “so a high-UV environment will substantially reduce integrity.”

Place the photo in a client's file, tuck the whole thing away in a cabinet, and forget about it. Don't leave it on a windowsill or the dashboard of your car, or under fluorescent lighting. Here endeth another lesson from the “Great Book of Duh.”

Now that your picture is on paper, how can you keep the digital file safe in case you need more prints? Computer Output to Laser Disk (COLD) is the best, according to Knaur, but only practical for big carriers that can afford large media storage. “Using the ISO 9660 standard, and assuming the computer and disks are of good quality, you can expect 100 years of data integrity,” he explained.

For the smaller carrier, McGowan suggests CD-ROM. “Just make sure you're getting CD-ROM technology that will last,” he said.

Of course, digital imaging doesn't apply solely to cameras and printers. For example, if you need to map an entire accident or crime scene, Nikon produces the Automated Investigation Measuring System (AIMS). It was designed to take designated point codes-vehicle locations, intersections-and redraw the scene based on those points. As lines and symbols are drawn, AIMS's default library of terms adds descriptions to scene items. And the software is customizable.

AIMS PC consists of surveying equipment, electronic data collection, and mapping applications. AIMS costs between $10,000 and $18,000, depending on instruments and configuration.

In the future, ease of use will be a hot item. Olympus's Auto Connect USB already makes it easier to hook a camera up to popular platforms. According to Knaur, manufacturers will be focusing on advances in picture accuracy, zoom lenses, and resolution.

McGowan believes wireless will be big. Put the camera down near the computer and watch it transmit the pictures on its own. He also said to watch for more automation-as in 'You push the button, we do the rest.'
Now's the time to deploy digital imaging solutions to your associates. Smaller units, bigger features. Resolution climbs, cost plummets. Just picture it.