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Nikon’s Future: A Flagship Z Camera, 8K Video, and Affordable Lenses

08 Mar

The post Nikon’s Future: A Flagship Z Camera, 8K Video, and Affordable Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Nikon will be releasing “a flagship Nikon Z-series mirrorless camera…within the year,” said Keiji Oishi, a Department Manager of Nikon’s Imaging Business Unit. The camera “is being developed with the goal of surpassing the D6.”

This comes from a recently published DPReview interview with Oishi, which touches on the past, present, and future of Nikon’s camera business, including new cameras, lenses, Nikon’s mirrorless sales success, and the pursuit of 8K recording.

The development of a flagship mirrorless model is welcome news for Nikon fans; it firmly reinforces Nikon’s commitment to growth and innovation in the face of supply struggles and questions about the company’s viability.

While Oishi didn’t offer many details on Nikon’s upcoming flagship camera, he did claim it “will respond to the advanced needs of professionals” and will “debut a newly developed, high-resolution stacked CMOS sensor.” The term “high-resolution” is a relative one, but this could signal Nikon’s intent to compete with the upcoming Sony a1, an all-around powerhouse packing a 50 MP sensor, class-leading autofocus, and 8K/30p recording.

In other words: Nikon’s flagship model may look to satisfy more than just professional sports photographers. Were the camera to pack 45+ megapixels while offering fast autofocus and shooting speeds in the spirit of the D6, it’d be capable of capturing sports, events, portraits, and even pro-level landscapes.

As for video:

Oishi claims that Nikon’s engineers “are considering powerful video features such as 8K that respond to the needs of all kinds of content creators and professionals.”

So while 8K video isn’t a guarantee, it’ll likely find its way into the upcoming flagship model. With the 2020 arrival of the Canon EOS R5 and the days-away release of the Sony a1, Nikon will soon be the only leading camera manufacturer without an 8K hybrid camera. And while Nikon is ostensibly a stills-centric brand, the 8K bandwagon is one that it won’t want to miss.

So when can we expect this high-resolution, high-performance, 8K powerhouse?

Given the lack of recent leaks, don’t hope for anything before summer 2021, and fall or winter is a realistic possibility. But we’ll definitely see the camera before the year is out, assuming all goes to plan.

A few other interesting tidbits from the interview:

Nikon aims to produce lenses “with a focus on more compactness and affordability” in the hopes of “mak[ing]…lenses more accessible to more people.” This will come alongside an effort to offer an expanded lineup of APS-C Z-mount cameras.

(Currently, Nikon only offers a single APS-C Z-mount model, the Z50.)

Nikon camera sales have “defied expectations” these last few months, especially with the launch of the Z6 II and the Z7 II. As Oishi explains, “In the last quarter, we reported record mirrorless sales, which was helped by strong performance of the Z7 II and Z6 II. We observed strong sales of new products, both mirrorless cameras and lenses.”

Oishi thinks the hot Z6 II and Z7 II sales come from DSLR holdouts; he states that “many loyal Nikon users [were] waiting on the second generation of the Z series,” and that, thanks to “the improvements we put into the second generation,” Nikon DSLR shooters have finally bought into the Z system.

This is all excellent news for Nikon fans, and while the company still has a long way to go, it’s clearly taking steps in the right direction.

Now over to you:

What do you think about Nikon’s upcoming flagship mirrorless camera? Where do you see Nikon headed over the next few years? And what affordable lenses would you like Nikon to produce? Share your thoughts in the comments below!

The post Nikon’s Future: A Flagship Z Camera, 8K Video, and Affordable Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Xiaomi announces retractable lens technology for future smartphones

06 Nov

Xiaomi has introduced its self-developed Retractable Wide-aperture Lens Technology at its annual developer conference. Image credit: Xiaomi

Chinese technology company Xiaomi has officially kicked off its annual Mi Developer Conference (MIDC 2020) in Beijing. During the conference, Xiaomi has showcased numerous new technologies and breakthroughs, including retractable wide-aperture lens technology for smartphone devices.

If you have been following along with new smartphone announcements over the last few years, you’ll have noticed a strong emphasis on improvements in image quality, camera performance and lens quality. Drawing inspiration from traditional camera and lens design, Xiaomi has developed new Retractable Wide-aperture Lens Technology. This advancement in design lodges a compact optical structure in the smartphone, which can be extended when necessary.

Xiaomi promises that this new design will result in a breakthrough in performance. The company states, ‘This design allows the retractable telescopic camera to have a larger aperture to increase the amount of light input by 300%, as well as showcase better performance in portrait photography and night photography compared to currently-used camera structures.’ Further, the design incorporates a new image stabilization technology which ‘offers a larger anti-shake angle’ and increases sharpness by 20%.

The telescoping design has the primary benefit of allowing a camera not in use to be compact and easy to slip into a pocket, while still offering optical zoom when in use and capturing photos. In the case of a smartphone and its camera design, it’s even more critical to consumers that the device remain thin, compact, and lightweight.

Retractable lens designs have most frequently been seen in fixed-lens compact cameras, such as the Sony ZV-1 seen above. By utilizing a retractable lens design, engineers can strike a balance between performance when the camera is in use and a compact form factor when you aren’t capturing images.

Photography advancements from Xiaomi have been fast and furious this year despite the impact of the pandemic. This August, Xiaomi introduced its 3rd-generation under-display camera, which promised a high-quality, hidden camera under the smartphone’s display. This technology relies upon a revised pixel arrangement solution, allowing light to pass through gaps between the sub-pixels in the display.

Xiaomi’s advancements in camera technology don’t exist solely in the future. To celebrate its 10th anniversary this summer, Xiaomi launched the Mi 10 Ultra smartphone. This device incorporates a quad-camera array, including a long telephoto lens which offers a 120mm equivalent focal length and includes a 48MP image sensor. On the wide end of its camera array, there is a 12mm equivalent focal length and 20MP image sensor.

The Xiaomi Mi 10 Ultra smartphone, introduced this August, highlights the company’s fast-paced camera technology advancements with its 12mm and 120mm cameras. Click to enlarge.

It remains to be seen what the real-world performance of a telescoping lens in a smartphone will be, but Xiaomi intends to utilize its new camera technology in upcoming smartphones. The company’s goal is to deliver ‘professional photography to hundreds of millions of smartphone users around the world’ with its expanding portfolio of image technology improvements.

Articles: Digital Photography Review (dpreview.com)

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What might the Z6 II and Z7 II tell us about future pro Nikon mirrorless models?

02 Nov

The Nikon Z6 II and Z7 II are solid updates to the original Z6 and Z7 but neither represents a ‘new’ concept in the Z-series lineup.

With the Z6 II and Z7 II, Nikon has modernized its high-end Z-series full-frame lineup, and made its offerings more competitive against midrange and high-end ILCs from Canon, Panasonic and Sony. But while the Z7 II is the nominal flagship, it’s clearly not a ‘professional’ model in the same sense as the D6 and (arguably) the D850. While new to the market, neither Mark II model represents a new concept. This means that the gap which has existed at the top of the Z-series lineup since 2018 is still there.

So how might Nikon fill it? What can the Z6 II and Z7 II tell us about a future Nikon pro model?

I’m going to go out on a limb and say that instead of a single semi-pro or professional ‘Z8’ we’ll actually see two high-end models from Nikon, probably announced sometime next year, to be available in summer 2021. They will offer extremely similar controls and UI, but will be based around different sensors and intended for different purposes: one for speed and versatility, and one for resolution and maximum image quality.

For the sake of simplicity as you navigate this article, I’ll call them the Z8 and the Z8 S – with the ‘S’ here being my shorthand for ‘speed and sensitivity’.

Nikon Z8 key specifications (hypothetical)

60MP sensor
10 fps continuous shooting
Full-sensor PDAF down to -4EV
Comparable autofocus performance to D850
Expeed 7 processor
D800-level weather sealing
Dual card slots (2X CFe or CFe + SD)
High-res sensor-shift mode/s

Nikon Z8S key specifications (hypothetical)

20-24MP sensor (possibly Sony 24MP stacked-CMOS from a9/II)
Super-high maximum ISO
20 fps+ maximum continuous shooting (unlimited buffer)
High-quality electronic ‘silent’ shooting
Full-sensor PDAF, sensitive down to at least -5EV
Comparable autofocus performance to D5/6
Expeed 7 processor
D800-level weather sealing
Dual card slots (2X CFe)
High-quality 4K video

Both models will feature D850-level build quality and will offer a similar UI, with a button-and-dial logic for switching exposure modes (rather than the Z6/7’s exposure mode dial). They’ll use the same battery pattern as the existing Z6/7-series, keeping the standard bodies relatively small, but both will be compatible with a twin-battery vertical grip, which will add at least one uniquely ‘pro’ expansion feature (a LAN port, maybe? Or a rear OLED sub-display?). Nikon isn’t going to make the ‘only one card slot’ mistake again so expect twin slots, either both CFexpress Type B, or maybe CFe + SD in the case of the resolution-focused Z8.

Expect the Z8 to feature a relatively low-resolution sensor in the 20-24MP range, paired with a new faster processor

The hardest thing to predict is which sensors Nikon will use in its next-generation of high-end full-frame ILCs. Let’s take the hypothetical Z8S first – the high-speed action-focused model. The 24MP sensor used in the current Z6 and Z6 II is excellent, but dated. It’s fast enough for most photography, but likely not fast enough to support super high frame rate shooting, really cutting-edge autofocus, or next-level 4K video.

It’s possible that Nikon might reuse the Toshiba/Sony sensor developed for the D6, or maybe a version of the 24MP stacked-CMOS chip introduced in the Sony a9 (assuming that Sony Semiconductor is willing and able to supply it). Either way, expect the Z8S to feature a relatively low-resolution sensor in the 20-24MP range, paired with a new faster processor called – and I’m going to go out on a limb again – Expeed 7.

The Sony a9 and more recent a9 II have defined what a ‘professional’ sports and action-focused mirrorless camera should be. I expect Nikon will want to put a Z-mount product into this category as soon as possible.

Low-ish resolution will be the tradeoff for what I’d expect to be a very high frame rate and near-unlimited buffer. The 2020 Olympics never ended up happening but assuming the world of sports and events gets back on track in 2021, you can bet that Nikon will want its mirrorless cameras to be visible on the sidelines alongside high-speed pro models from Canon and Sony.

While it’s possible that the Z6 II will remain Nikon’s flagship video/stills hybrid camera for a while longer, I think it’s more likely that a hypothetical Z8S will represent a step up, offering meaningfully different (better) 4K, aimed at satisfying the needs of semi-pro and professional multimedia shooters. If the sensor does end up being in the 20-24MP range, It won’t be able to shoot 8K but maybe that’s not a bad thing…

A continuous shooting rate of 10-12 fps seems reasonable, but the Z8 doesn’t need to be any faster than that

It’s easier to predict the chip which might go into a hypothetical resolution and IQ-focused Z8. While not currently listed as available to third parties, the Sony Semiconductor 3.76µm 61MP sensor currently found in the a7 IV may become an option for Nikon in the coming months. While not a massive step up in terms of effective resolution over the 46MP sensor in the Z7 II, this high-speed BSI-CMOS chip is a solid technological leap forward.

If a version does make its way into one of Nikon’s future high-end ILCs, I’d expect to see it paired with beefed-up IBIS and a sensor-shift high-resolution mode. A continuous shooting rate of 10-12 fps seems reasonable, but a 60MP camera doesn’t need to be any faster than that.

The Nikon D6 and D850 feature backlit controls for comfort during low/no-light shooting. I’d expect that future professional Z-series cameras will do the same. This shot shows a D5, with its top and rear LCD status panels also illuminated (in pale blue). Maybe a future ‘Z8’ could have an optional vertical control grip with a secondary rear status LCD?

As for autofocus, I’d expect the Z8 and Z8S to offer extremely similar systems (at least in terms of how they operate) which get much closer to the experience of the D850 and D6, including a true analog for 3D AF tracking. The Z6 II and Z7 II seem somewhat improved over the original-generation, but Nikon knows it needs to close the pro performance gap with Canon and Sony, and I expect that this will be a major priority (and a major marketing-point) in future high-end Z-series model.

Much of what I wrote above is wishful thinking, but while this is guesswork, it is somewhat informed

As for cosmetics, I wouldn’t be surprised if Nikon takes the opportunity to break from the slightly angular, skinny-feeling Z6/7-series and create somewhat larger, curvier bodies, somewhere between the D780 and D850. Expect a 10-pin remote release socket and flash sync on the front of the body (like the D850 and D6) and a return to DSLR-style rubberized, recessed control dials.

So that’s my article. And I won’t lie, much of what I wrote above is wishful thinking (I guess I just really want a Z8…). Despite the oft-expressed conviction among commenters that DPReview sees product roadmaps years ahead of time, I know no more about what Nikon is planning in 2021 and beyond than you do. But while this is guesswork, it is somewhat informed, both by Nikon’s approach to building out its DSLR lineup, and by the gaps and omissions in the current Z-series lineup compared to its competitors.

What do you think? Feel free to make your predictions in the comments.

Articles: Digital Photography Review (dpreview.com)

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Researchers capture 3,200MP image using future telescope camera

10 Sep

Researchers at the Department of Energy’s SLAC National Accelerator Laboratory have captured 3,200MP images, the largest photos ever captured in a single shot. The camera, an array that contains 189 individual image sensors, will become the future camera of the Legacy Survey of Space and Time (LSST) telescope at the Vera C. Rubin Observatory in Chile. The camera will be used to help shed light on some of the most intriguing mysteries of the universe, including dark matter and dark energy.

The 189 image sensors are charge-coupled devices (CCD) and each capture a 16MP image. To build the image sensor array, nine CCDs and supporting electronics were assembled into square units, called science rafts, by the Department of Energy’s Brookhaven National Laboratory and then shipped to SLAC. Then the team at SLAC inserted 21 of these square units into a grid to hold them in place.

The completion of the image sensor array and focal plane earlier this year took six months and proved to be a difficult task. In order to maximize the imaging area of the array, the gaps between individual image sensors are less than five human hairs wide. If the sensors touch each other during the process, they could easily break. Damaging a sensor or raft would be costly, as the rafts cost up to $ 3M USD a piece. SLAC mechanical engineer Hannah Pollek said of the assembly process, ‘The combination of high stakes and tight tolerances made this project very challenging. But with a versatile team we pretty much nailed it.’

The focal plane features impressive specifications beyond even the 3.2 billion total pixels. The pixels themselves are about 10 microns wide and the focal plane itself has been constructed to exacting standards. The focal plane is nearly perfectly flat, varying by ‘no more than a tenth of the width of a human hair’ across its more than two feet of width. The optics through which light will reach the image sensor array is designed to allow the sensors to identify objects 100 million times dimmer than what the human eye can see. This is equivalent to being able to see a lit candle from thousands of miles away.

The images produced by the 3,200MP camera are so large that you would need nearly 400 4K UHD televisions to display a single image at its full size. The resolving power of the camera would allow you to spot a golf ball from about 15 miles away.

As mentioned, the camera will be installed at the Vera C. Rubin Observatory in Chile. Once it has been installed, it will capture panoramic images of the southern sky every few nights for 10 years.

‘The complete focal plane of the future LSST Camera is more than 2 feet wide and contains 189 individual sensors that will produce 3,200-megapixel images. Crews at SLAC have now taken the first images with it. Explore them in full resolution using the links at the bottom of the press release. (Jacqueline Orrell/SLAC National Accelerator Laboratory)’ Image and caption credit: SLAC

Steven Ritz, project scientists for the LSST Camera at the University of California, Santa Cruz, said, ‘These specifications are just astounding. These unique features will enable the Rubin Observatory’s ambitious science program.’ Over the course of a decade, the camera will capture images of about 20 billion galaxies. Ritz continues, ‘These data will improve our knowledge of how galaxies have evolved over time and will let us test our models of dark matter and dark energy more deeply and precisely than ever.’

Before the focal plane can be used within the Rubin Observatory’s program, it needs to be rigorously tested. This includes capture images of a variety of objects, including a head of Romanesco broccoli. In order to operate normally, the sensors must be cooled to negative 150° Fahrenheit. Without a fully assembled camera, the team at SLAC used a 150-micron pinhole to project images onto the focal plane.

‘Taking the first 3,200-megapixel images was an important first test for the focal plane. To do so without a fully assembled camera, the SLAC team used a 150-micron pinhole to project images onto the focal plane. Left: Schematic of a pinhole projector that projects images of a Romanesco’s detailed texture onto the focal plane. Right: SLAC’s Yousuke Utsumi and Aaron Roodman remove the pinhole projector from the cryostat assembly after projecting the first images onto the focal plane. (Greg Stewart/Jacqueline Orrell/SLAC National Accelerator Laboratory)’ Image and caption credit: SLAC

SLAC’s Aaron Roodman is the scientist responsible for building and testing the LSST Camera. Of the successful test images, he says, ‘Taking these images is a major accomplishment. With the tight specifications, we really pushed the limits of what’s possible to take advantage of every square millimeter of the focal plane and maximize the science we can do with it.’

Despite the successful tests, there is much more work to do. Over the next few months, the team will insert the cryostat used to reduce the temperature of the image sensors along with the focal plane into the camera body and add lenses, including the world’s largest optical lens. The team will then affix a shutter and a filter exchange system so that the camera can be used to capture the night sky in different colors. The team anticipates the SUV-sized camera to be ready for final testing in mid-2021 before it begins its final journey to Chile.

‘Over the next few months, the LSST Camera team will integrate the remaining camera components, including the lenses, a shutter and a filter exchange system. By mid-2021, the SUV-sized camera will be ready for final testing. (Chris Smith/SLAC National Accelerator Laboratory)’ Image and caption credit: SLAC

JoAnne Hewett, chief research officer at SLAC and associate lab director for fundamental physics, says, ‘Nearing completion of the camera is very exciting…It’s a milestone that brings us a big step closer to exploring fundamental questions about the universe in ways we haven’t been able to before.’

As one would expect, we are unable to display 3,200MP images here on the site. However, SLAC has five full-size images taken with the focal plane of the LSST camera which you can view at the links below:

• Head of Romanesco broccoli

• Photo of the Flammarion engraving

• Photo of Vera Rubin, courtesy of the Carnegie Institution for Science, where Vera Rubin spent her career as a scientist

• Collage of LSST Camera team photos

• Collage of logos of institutions involved in the LSST Camera project

Articles: Digital Photography Review (dpreview.com)

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Sigma interview: Smaller, high-quality lenses coming ‘in the near future’

30 Mar

Kazuto Yamaki, CEO of Sigma, pictured in his company’s plant in Aizu, Japan when we visited in 2015.

The photo industry is recovering from the disruption in global supply chains caused by Chinese shutdown, but with the rest of the world still in crisis, companies are preparing for a major drop in customer demand, especially in the US and Europe. Last week I spoke to Kazuto Yamaki of Sigma to get his take on the ongoing situation worldwide, and on Sigma’s strategy for the next generation of cameras and lenses.

Please note that this interview was conducted remotely, and has been edited for clarity and flow.

Mr. Yamaki, I last spoke to you two weeks ago, which feels like a year ago. What has changed in those two weeks?

Two weeks ago I was mainly concerned about the production system, and the supply chain. We make all of our products in Japan and make most of the parts by ourselves or by Japanese local suppliers, but some parts such as electronics are supplied from China, therefore, I was concerned about the supply of parts. But in fact, up to now we haven’t had a serious problem with that. Some parts have been delayed due to confusion in the supply chain but it hasn’t been serious, and we’ve been able to adjust our production planning.

Production and delivery systems in China are starting to normalize

So on the production side, we haven’t had a serious problem. And we don’t expect to have problems in the future, because production and delivery systems in China are starting to normalize.

I was also really concerned about sales in China. At the beginning of March, my worst-case scenario was a halving of sales compared to last year. But in fact our business in China is quite stable, and not too bad, which is a big relief. Sales in China are still doing OK because there’s a very strong online business. Right now the biggest concern is the market situation in Europe and the USA. I had never imagined such a crisis in Europe and America.

How are things in Japan?

It’s not a crisis situation, like in some parts of the US or in Europe. People are walking in the streets, and coming back to stores. It’s not as bad as it is in other countries. But for the photo industry it’s really bad. Since the beginning of March, we’re seeing a decline in sales in the Japanese market, but we will have to wait for a while to get a picture of the full situation.

Sigma’s Aizu factory in northern Japan is still where all of the company’s lenses and cameras are assembled, with a primarily domestic (i.e., Japanese) supply chain. This makes Sigma unusual among modern manufacturers in the consumer digital imaging space.

So to some extent, life is returning to normal in parts of China?

This is what I’ve heard. People are starting to return to the streets, and our staff in China are reporting a positive mood in the towns.

What effect do you think that this crisis will have in the long term?

To be honest I don’t know. Some countries have already decided to lock down cities for weeks, even months, and this will affect our business. I don’t want to be too negative, but the situation may not improve in the short term.

Do you have any idea of what portion of your sales in Europe and the US are online?

It’s a bit too early to say that, but in Europe, it doesn’t look like online business can compensate for the loss of sales from physical stores. Some online retailers are also prioritizing food and sanitary goods because of the high demand, so shipments of cameras and lenses are being de-prioritized.

Sigma’s ‘DC’ trio of native mirrorless lenses (now available for Canon EF-M, Sony E-mount and Micro Four Thirds) has proven a hit, with demand regularly outstripping supply in some markets.

Has this crisis revealed any vulnerabilities in the current structure of the photography industry – for example within the supply chain?

Well, this is not the first time. We had similar problems when the earthquake hit Japan in 2011, and also a flood in Thailand. The global supply chain was thrown into total confusion. I think we’re aware of such risks. Sigma has a relatively short supply chain. As you know, most of our suppliers are located in Japan, and we work with them directly. However, some of those suppliers do outsource certain components to other suppliers, called ‘second-tier’ suppliers.

Most companies have a very complicated structure, with first-tier suppliers, second-tier suppliers, and sometimes even third-tier. But in the case of Sigma, our supply chain is quite simple, so it’s easy to control the situation.

Let’s move on from talking about coronavirus – you recently said that going forward, Sigma would prioritize development of native mirrorless lenses over lenses for DSLR. Can you explain that decision?

It’s simply because we’ve had higher demand for mirrorless lenses. The mirrorless camera market is stable compared to DSLR. If you look at the market statistics you’ll see that the decline in DSLR sales is quite significant. This decline gets steeper every month.

We’re also seeing a decline in sales of our DSLR lenses, so naturally we have to focus our efforts on the development of mirrorless lenses.

Demand for Sigma’s ‘DN’ (Digital Native) range of lenses for mirrorless mounts has outstripped demand for lenses made for traditional DSLR lens mounts. For this reason, Sigma is prioritizing development of native mirrorless lenses.

How have the full-frame ‘DN’ lenses performed in the market since they’ve been released?

They’re doing very well, especially our 24-70mm F2.8. It’s been very well-received. We’re still catching up to demand for that lens. We’ve been enhancing our manufacturing capacity, continuously, but we still can’t meet demand. Even in the current difficult situation, demand for that lens is still very strong.

What portion of your DN sales are L-mount lenses?

It’s tough to say. Most of the lenses we’re shipping of course are for Sony E-mount. It’s too early, and we don’t have a big enough lineup to make our potential customers feel comfortable with the L-mount system. Changing systems is a big decision for the customer. There are a lot of potential customers out there, but I think they’re waiting and seeing how the L-mount system develops. I think we need one or two more years before we have a complete L-mount system. Not only from Sigma but also Panasonic and Leica.

Last year you released your first full-frame camera, the fp. How has it performed in the market?

It sold quite well at the beginning. Early adopters were very interested, and purchased the camera immediately. We’ve received a lot of emails from customers, which I’ve read, and we have a lot of customers who are very happy and satisfied with the fp. We’ve also been monitoring feedback online, through Facebook and Twitter; things like that.

To be honest though, sales have declined considerably [since launch], especially in Europe and America. It’s still selling well in Japan, but overall sales have been lower than expected.

The fp is an ultra-compact full-frame camera aimed at photographers and filmmakers. In order to minimize its size, Sigma designed the fp with a fully electronic shutter. Mr. Yamaki believes that this will act as a model for the ‘camera of the future’.

Why do you think that is?

There are several reasons, I think. First of all, changing systems is a big investment for customers. So even though we have potential customers who are really interested in the camera, I think a lot of them are waiting to see how the L-mount system develops. We don’t have enough compact lenses, suited to the fp. We’re currently developing several lenses of that type. Once we have that kind of lineup, I think a lot of potential customers may decide to buy the camera.

Due to the coronavirus crisis, we had to cancel many events. So we’ve lost an opportunity to let customers try our camera

That’s one thing. The second thing is that in Japan, we’ve found that ‘touch and try’ events have worked really well in convincing customers that the fp is a good camera. After they try it, many of them buy it. We had a plan to conduct many such events, but due to the coronavirus crisis, we had to cancel many events in Japan, in China and in Europe. So we’ve lost an opportunity to let customers try our camera. That’s disappointing, but once things calm down we’ll start again.

So when a show like CP+ or NAB is canceled, what impact does that have on a manufacturer like Sigma?

It’s difficult to evaluate the value of such events, today. But if you take CP+, it’s basically a consumer show. Typically we see people there who are excited by new products, and we can use that excitement to create some momentum. So it’s definitely not a good thing to lose such opportunities.

A typical scene from CP+ 2019, showing the density of the crowd as enthusiasts flock to get their hands on the latest photo gear. This ‘hands-on’ experience is precious when it comes to converting customer interest into sales, and manufacturers are feeling the effect of so many canceled shows in 2020.

Can you talk more about the development of smaller lenses?

Going forward, we will still try to deliver the highest-possible quality products. But we will have two main streams of products. One is for very serious photographers, like our existing ‘Art’ series. But another line will be high quality, premium lenses, but much more compact. And very stylish, like our 45mm F2.8, with metal housings, and high quality aperture and focus rings. We will expand that kind of range for street photographers, or those who need smaller, stylish, high-quality products.

So our readers can look forward to a range of smaller lenses from Sigma, with Art-series optical quality but more modest maximum apertures?

Yes, that’s our goal. You’ll probably see such products in the near future.

Sigma is committed to making more compact lenses, like the 45mm F2.8 ‘Contemporary’ for L and E-mount in future.

Do you think that the fp range will evolve to include things like a mechanical shutter, and viewfinder?

If we made the fp with a mechanical shutter, it would not be so compact. One of the reasons it’s so small is that we eliminated the mechanical shutter. We created the fp as a kind of platform for a ‘future camera’. I think in future, most cameras won’t have a mechanical shutter, because of improvements to the readout speed of sensors. I haven’t made any decisions about future products, but we’ll probably keep that concept.

You recently announced the postponement of your planned Foveon sensor full-frame camera. Can you give us more details about why that project was postponed?

The development of the sensor has been significantly delayed. We are still working on it, but there are still several technical problems we need to overcome. If everything goes well, we should be able to release the camera next year. But if we continue to face technical problems the camera may be delayed further. We haven’t stopped developing the camera, but without the sensor we can’t move very fast.

Are you interested in creating a full-frame alternative to the DP Merrill fixed-lens camera concept?

We don’t have any plans to do that right now. We are researching the market, but it’s difficult to make such a camera really compact. Of course there are cameras like the Sony RX1R II, which is a very small camera, but it’s difficult to make the lens compact. If we wanted to make a really compact lens, our options for focal length and F stop become very limited. Compared to APS-C or M43 cameras with a fixed lens, it’s very challenging, technically.

Our mission is to support as many mounts as possible, but due to limited engineering resources, we have to be selective

Is there anything you can say to our readers about the possible development of Canon RF, Fujifilm XF and and Nikon Z-mount lenses from Sigma?

As a lens manufacturer, we believe that it is our mission to support as many mounts as possible, but due to limited engineering resources, we have to be selective. We are watching the market.

How have your ‘Classic’ cine lenses been received?

Very positively, especially for filmmakers looking for a unique rendering. These lenses create huge ghosting and flare, so they’re not easy to use. Especially if there is a direct light source in the frame. But if you carefully control the lighting, it can create a very nice, soft, ‘retro’ kind of look. High-end filmmakers in Hollywood have received these lenses very positively.

Do you know of any productions that are using these lenses?

It’s still very early, we only started shipping in January and February, so we don’t have that kind of information yet. But we made a film, ourselves, it’s about 30-40 minutes long. We shot the entire thing on the Sigma fp, and we used our regular cine lenses, and in some scenes the ‘Classic’ lenses were used. We need to apply to some film festivals, and after that will release the movie online. Probably in the near future.

Do you think that your DC DN lens lineup will grow? It’s been three lenses now for quite a long time.

Actually, demand for those lenses keeps growing. It’s really surprising. In terms of units, they’re the top seller for Sigma right now. It’s a surprise because in general the market for APS-C cameras and lenses is declining. But sales of those three DC DN lenses keep growing. Most of the sales are for Sony E-mount and Micro Four Thirds [versions], and in peak seasons sometimes we actually can’t keep up with demand.

Do you still see a healthy market for Micro Four Thirds?

Yes, I think Micro Four Thirds is well accepted by filmmakers, and our 16mm is really popular among M43 users. People who need a compact system still love Micro Four Thirds.

Editors’ note: Barnaby Britton

In the two weeks since I spoke to Mr. Yamaki last (for this article) a lot has changed. Only a few days ago, his biggest concern was getting hold of parts from China, and a significant slowdown in Chinese consumer spending. Now, with countries all over the world in virtual lockdown, and US and European governments bracing for a catastrophe in their healthcare systems in the coming days, such worries seem almost quaint.

It remains to seem how quickly – and to what extent – markets will recover, but there are some tentative signs of hope. Mr. Yamaki tells us that the situation in China is stabilizing, and the mood in the country is positive. Japan seems (for now, at least) to have escaped the worst social effects of the COVID19 outbreak, and South Korea has employed pioneering test and trace technologies to address what could have been a catastrophe.

Away from the immediate crisis, Mr. Yamaki tells us that demand remains strong for some of the company’s products, particularly the ‘DN’ range

The same sadly cannot be said of Europe or the US, and with consumers in those territories tightening their belts in the face of economic turmoil, it’s not hard to understand why Mr. Yamaki still characterizes the situation for the photo industry at this early point in the year as ‘really bad’.

There are tough times ahead, without a doubt, for all of us. But away from the immediate crisis, Mr. Yamaki tells us that demand remains strong for some of the company’s products, particularly the ‘DN’ range of native mirrorless lenses. These include the 24-70mm F2.8 DG DN Art, and the trio of ‘DC’ lenses for APS-C. This latter range, in fact, appears to be a genuine success story.

It seems that we’ll have to wait a little longer for Canon RF and Nikon Z support

Support for Canon EF-M has been added to the ‘DC’ range but in the full-frame arena, it seems that we’ll have to wait a little longer for Canon RF and Nikon Z support. As Mr. Yamaki says, he wants to support as many mounts as possible, but his engineers can’t do everything; they have to be selective.

It’s also likely that the communication protocols that make these new mounts work are protected I.P., and need to be licensed. It’s entirely possible therefore that just like their customers, Sigma’s engineers are waiting patiently too: in their case for the original manufacturers to open the protocols up to third parties, before any decisions can be made.

Coming soon though, we’re told, is a range of small, lightweight lenses specifically designed to be a better match for cameras like the fp. A range of more compact, slower maximum aperture lenses but with ‘Art’ series image quality is a longstanding request from Sigma fans, and it’s great to have confirmation from Mr. Yamaki that these are on their way ‘in the near future’ for L and – safe to assume – Sony E mount, too.

Coming soon… is a range of small, lightweight lenses specifically designed to be a better match for cameras like the fp

Meanwhile, Sigma continues to make inroads in the filmmaking community. Sales of the hybrid stills / video fp may be slowing, but Sigma’s range of Cine lenses have proven popular with filmmakers, and Mr. Yamaki tells us that the response from Hollywood to its range of ‘Classic’ cine lenses, designed with minimal coatings to give a retro look to footage, have been received well.

Articles: Digital Photography Review (dpreview.com)

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OnePlus promises major video improvements on its future smartphones

28 Jan

Earlier this month smartphone manufacturer OnePlus hosted on Open Ears Forum, an event designed to gather user feedback, in New York City. This time around the focus was on smartphone videography and attendees included OnePlus users with varying degrees of video experience, from casual users to video shooters that use smartphones as a work tool.

Now OnePlus has published its own comments from the Q&A sessions held at the event and committed to improving video quality and features on its existing products as well as upcoming models. The most important points include exposure and color consistency across all camera modules, LUT options in editing and a video night mode. You can see the full list below:

Exposure / color / white balance shift and consistency across all cameras
Tuning all the cameras to have the identical exposure, white balance is our first priority and main goal.
Auto focus consistency
We weren’t be able to reproduce the issue reported by the OEF attendees in our lab, but an upgrade both on hardware and software for auto focus will come in 2020.
Skin tone consistency
Skin tone improvement is one of our top priorities. It will improve via future system updates.
Sharpness: Sharpness needs improvement across all scenarios
We are trying to find the new balance between sharpness and noise.
Super stabilization: Support for 4K recording; Reducing noise and improving low light quality.
There are hardware limitations, but 4K super stabilization will be supported in some of our future devices.
Dynamic range: Subject is lit but background is too dark
We have been working on video HDR, which will solve these dynamic range problems.
Light flickering
We’ve heard a lot of feedback about this, and we are working on de-flickering solutions to reduce this issue.
Panning shots are not smooth: Improve panning shots stabilization and smoothness
So far, we weren’t be able to reproduce this issue in our lab, but smoothness and video are part of our key improvement points for 2020.
Faster camera
Again, this is one of our main goals in 2020. Faster shutter requires updates from system, application, as well as the animation. It will constantly be improved via future updates.
Lens feature-parity: 1080P and 4K should be supported in all three lenses, allowing to switch between lenses while recording
This is due to a hardware limitation in current devices, but we’re exploring ways to make it possible for future devices.
Limited 4K record length
Having considered overall performance and temperature, we will not change current limit, but will keep working on optimizing this in the future.
Single handed use: Difficult to reach the top bar for features; Single hand zooming
This is very important feedback for us, and we’ve already been discussing solutions with the design team.
Video editing
We plan on completely updating our Gallery app’s video tools, so many of the features requested during the OEF will be supported. For color grading or LUT options, we will have news soon.
Pro video mode
Pro video mode will be put into backlog, since our high priority is improving default video quality and use experience across the board.
Depth of field for tele camera recording (optical)
We have already been researching and working on this feature, and the current quality has not reached our standard to release.
Zoom-in time-lapse
We have some similar ideas for time-lapse as well, they are already in future product plan.
Reverse recording video
Less frequent user scenario, so we’ve put into backlog. Our main focus in video is basic quality and user experience for all users.
Night mode for night video
This is something we believe to be very interesting, we have already been researching and working on it.
AR emoji and stickers recording
We still haven’t found a killer scenario for AR in video. There are some third-party apps that already offer interesting sticker features, so this isn’t a big priority for now.
Social media mode: Directly to twitter, crop ratio for Instagram, etc.
We believe the image quality in third-party apps is of high importance and has a higher priority. We have been working on this, these features are planned after image quality improvement.
Light painting mode
We decide not to follow on light painting effect due to a narrow user scenario.
2 cameras recording at the same time: Wide and ultra-wide; rear and front
This is already supported by current platform and cameras, but we are looking for user scene to fully take advantage of this feature.

It’s a long list and we’ll have to see if the OnePlus engineers will manage to implement all of the features and improvements in it. In any case it’s good to see manufacturers interact this closely with its customers and vowing to make improvements that users are asking for.

Articles: Digital Photography Review (dpreview.com)

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Opinion: Why I’m excited about the D780 and what it means for the future of Nikon

07 Jan

As a Nikon D750 owner who’s been using the camera for 5+ years, I’ll admit I’m excited about the D780. The refreshed model is, essentially, a DSLR version of the Nikon Z6 and I fully expect it’ll be relevant for another 5+ years.

I’m also excited because the D780 proves Nikon is still committed to DSLRs in 2020. And it might point to a continuing strategy, at least for now, of releasing ‘companion’ DSLR/mirrorless products, like the D850 and Z7 or the Canon EOS 90D and closely related 6D Mark II.

A proper replacement for the D750 provides the perfect stepping stone for folks interested in the Z6 or Z7, but who are still not ready to fully commit to a new system

A proper replacement for the D750 – which the D780 looks to be – also provides the perfect stepping stone for folks like me, interested in the Z6 or Z7, but still not ready to fully commit to a new system. That said, in another three to five years I very well may be ready to make the jump: especially if replacements for the Z6/Z7 fill in the gaps where Nikon’s DSLRs are still superior, like autofocus.

Why does the D750 continue to be such an excellent stills camera for the money? Because it offers still-competitive dynamic range/image quality (this image was pushed 2.25-stops), highly reliable autofocus (with great tracking ) and great ergonomics in a well built, small/lightweight DSLR body. Which is all to say, the D780 has some big shoes to fill.

ISO 3600 | 1/320 sec | F2.2 | Shot on Nikon D750 + Nikon 35mm F2 D

Nikon’s 3D Tracking autofocus in the company’s DSLRs is still better implemented and more reliable than the tracking in Z-series cameras, even with recent firmware updates. And though the number of AF points is unchanged from the D750 to D780, the new model inherits the AF algorithms of the flagship D5, so users should expect further improvement to what is already (and still) a top performing AF system.

Nikon’s 3D Tracking autofocus in the company’s DSLRs is still better-implemented and more reliable than the tracking in Z-series cameras

I have no doubt in my mind Nikon will continue to dial in the reliability of AF tracking in Z-series cameras (and fix the clunky implementation). And for enthusiast photographers curious about mirrorless, the Z6 is a sensible camera to consider as-is. But for folks like me who rely on their camera for freelance work, or for those entirely making a living behind the lens (bless your souls), sticking with something that has a proven track record is a no-brainer. Not to mention, the D780 offers dual card slots, something many professionals insist on. The Z6 does not.

While I would’ve appreciated a small bump in sensor resolution in the D780, no increase means I don’t have to worry about the camera out-resolving my aging collection of AF-D lenses.

ISO 6400 | 1/500 sec | F3.2 | Shot on Nikon D750 + Nikon 85mm F1.8 D

Still, the camera does fall short of my hopes in a few areas, most notably the continued lack of an AF joystick and/or a touchpad AF implementation (the latter is offered in the mid-range D5600). I also would have liked to see some bump in resolution, though the updated sensor (likely the same as the Z6’s) does offer some image quality improvements. Still, I’m jazzed as heck for 4K video (with usable video autofocus!), a touchscreen, faster burst shooting and better AF, even if Nikon did remove my precious pop-up flash (truly handy as a fill for back-lit portraits).

By giving the D780 the same live view implementation as the Z-series, Nikon is gradually guiding traditional DSLR users to appreciate its virtues

Ultimately, I know there will likely come a day semi-professional DSLRs are phased out completely. Thankfully the D780 is proof Nikon is taking its time and not forcing users to switch too quickly. By giving the camera the same live view implementation and performance as the Z-series, Nikon is gradually guiding traditional DSLR users to accept and appreciate the virtues of a good live view experience, something current D750 users know nothing about. All while allowing us to keep our familiar DSLR form factor and precious optical viewfinder.

At the end of the day, this is a hugely important camera series for Nikon, having successfully straddled the line between professional and enthusiast cameras ever since the D700 debuted more than ten years ago. There’s a reason these cameras are so popular and find their way into the hands of so many photographers: they offer good reliability and good bang-for-the-buck in the long run. Heck, I still use my D700 from time-to-time. With the D780, the legacy of this series continues on. And if the days of the DSLR are truly numbered and this is the final chapter in the D700-saga, it seems to be a proper finale… unlike ‘The Rise of Skywalker’.

The Nikon D750 has and continues to serve me well.

ISO 3200 | 1/500 sec | F10 | Shot on Nikon D750 + Nikon 35mm F2 D

Articles: Digital Photography Review (dpreview.com)

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Help build the future of DPReview!

27 Nov

We’re looking for a Front End Engineer, Software Development Engineer and a Senior UX Designer to join our team. These roles will all help build the next generation of mobile and web experiences for DPReview readers and community members, shaping the future of the world’s most popular digital camera website.

See all of the details – and links to apply – below.

Front End Engineer

Software Development Engineer

Senior UX Designer

Articles: Digital Photography Review (dpreview.com)

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Adobe lays out future features and functionality coming to Photoshop for iPad

22 Nov

After a long wait, Adobe finally released Photoshop for iPad earlier this month. Just like the desktop software, the iPad version lets you work with Adobe’s .psd files and syncs your work to the Adobe Creative Cloud, allowing for cross-platform editing.

However, compared to Photoshop for Mac or PC the iPad version lacks many features that left users who had been looking to editing on the Apple tablet, disappointed. At launch, Adobe said that more powerful features, such as Select Subject, Refine Edge, canvas rotation and improved brush options would be added over time as the company learns ‘more about how customers use Photoshop on a mobile device.’

Select Subject feature

Now Adobe is providing more detail on timelines and features that are to come in a blog post. By the end of this year Photoshop for iPad users will be able to use the AI-powered Select Subject feature which lets you isolate objects in the scene from the background. In 2020 the Refine Edge brush for making selections of fine detail, such as hair, will be made available.

For now iPad users also have to make do without adjustment layers. At least a curves adjustment layers will also be made available in 2020 but there is no word on other types of adjustment layers yet.

Refine Edges feature

Other features on the schedule for 2020 are the ability to rotate the canvas, brush sensitivity features and Lightroom integration which will allow you to make adjustments to photos in the mobile version of Lightroom and then continue editing in Photoshop.

It still seems like Adobe took the ‘minimum viable product’ approach with Photoshop for iPad as the app is still a long way from the desktop version, making it difficult for creatives to switch between the two.

Articles: Digital Photography Review (dpreview.com)

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News: Could This Sea-Thru Algorithm Be the Future of Underwater Photography?

18 Nov

The post News: Could This Sea-Thru Algorithm Be the Future of Underwater Photography? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Photo by James Thornton via Unsplash.

Underwater photographers may soon have a way of “removing water” from their photos, based on research done by Derya Akkaynak and Tali Treibitz at the University of Haifa (read report here).

As explained by Akkaynak and Treibitz, “An underwater photo is the equivalent of one taken in air, but covered in thick, colored fog.” And while the precise effects of water on images is somewhat technical, it doesn’t take much to recognize that water degrades images, causing a loss of both clarity and accurate color.

Enter Akkaynak’s Sea-thru algorithm, which is designed to remove color casts and other optical problems created by water. In other words, it can be applied to an underwater photo, one that’s blue (with inaccurate colors), and turn it into something that looks like it was taken on land.

For examples, check out the images in the Scientific American video:

How it works

But how was the algorithm actually developed, and how does it work?

Basically, Akkaynak took a series of underwater photos, making sure to place her color chart into the scene for an accurate reference. She ultimately compiled over a thousand images in several environments. From the reference images, Akkaynak and Treibitz developed a model that takes into account the unique ways that light interacts with water in order to correct underwater images for color and light.

Now, Akkaynak and Treibitz had academic purposes in mind when they conducted this research. The algorithm, as presented in the original research paper, is meant to “help boost underwater research at a time when our oceans are increasing stress from pollution, overfishing, and climate change,” by giving researchers better access to visual data from underwater cameras.

But it’s easy to see how the Sea-thru algorithm could be relevant to underwater photographers everywhere. If Sea-thru can make photos become more accurate and (often) more vivid and colorful, might underwater photographers like to use it on their own images?

On the other hand, there’s the question of whether the best underwater photos convey an authentic sense of the (underwater) environment. Without the blue tones of water and the haze that water provides, photos may lose the sense of wonder that comes from doing work under the sea.

So let me ask you: Do you prefer underwater images where the water is much less apparent? Or do you like more authentic underwater photos, color cast and all? Would you be interested in the Sea-thru software?

Share your thoughts in the comments!

The post News: Could This Sea-Thru Algorithm Be the Future of Underwater Photography? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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