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Archive for May, 2020

Nikon’s FY2020 financial results: ¥225.8B in revenue, ¥17.1B loss in operating profit for Imaging Products Business

29 May

As it promised when it initially pushed back the release date, Nikon has released the financial results today for its 2020 fiscal year (FY2020), ending March 31, 2020, as well as its forecast for its 2021 fiscal year (FY2021).

Overall, Nikon Corporation recorded ¥591B in revenue and ¥6.7B in operating profit. These numbers align with what Nikon’s updated forecast suspected and are a decrease of ¥117.6B and ¥75.9B, respectively, year-over-year (YOY).

An overview of Nikon’s revenue, operating profit and more for FY2020.

Interestingly, Nikon attempts to quantify the impact of the COVID-19 pandemic, with its report saying it believes the pandemic has caused 10 billion yen in operating profit losses. Specifically, Nikon attributes ‘approximately 4 billion yen’ of that loss to its Imaging Products division ‘Due to product mix change by [the] suspension of distributors mainly selling mid- and high-end cameras, and delay of launch in main products including professional use products by stagnation of the supply chain.’

Diving specifically into its Imaging Products Business, Nikon recorded ¥225.8B in revenue and a loss of ¥17.1B in operating profit. These numbers are both worse than Nikon’s February 2020 forecast and are a decrease of ¥70.3B and ¥39.1B, respectively. The documents reveal Nikon sold 1.62 million interchangeable lens camera (ILC) units and 2.65 million interchangeable lens units, with just 840,000 compact digital cameras sold. These unit numbers are a decrease of 21.4%, 16.4% and 47.5%, respectively, YOY.

Nikon’s breakdown of the FY2020 results for its Imaging Products Business.

In notes on the revenue of its Imaging Products Business, Nikon says revenues were ‘progressing mostly in line with previous forecasts until the middle of February,’ when the COVID-19 started to wreak havoc on the supply chain and retailers. Nikon again reiterates that it’s had to delay new product launches ‘such as high-end DSLR cameras and [mirrorless lenses]’ due to the impact of the COVID-19 pandemic. This is referencing the delay of Nikon D6 shipments and suggests the Nikkor Z 70-200mm F2.8 VR S zoom delay back in January could’ve been due to COVID-19 complications as well, even though at the time Nikon said it was caused by ‘production reasons.’ Nikon also notes sales of its Z-series mirrorless cameras and Z-series lenses have increased, and that the volume/sales ratio of mid-range and high-end cameras ‘improved steadily’ YOY.

Additional comments under the ‘Operating Profit’ headline note Nikon incurred ¥2.7B in restructuring costs and posted ¥6.6B in fixed asset impairment losses, which were detailed in its statement earlier this month.

As for FY2021, Nikon doesn’t share too much information, saying performance forecast details will ‘be disclosed once reasonable estimation can be given as the impact of COVID-19 is uncertain.’ Numbers aside, Nikon notes sales for its imaging Products Business ‘decreased significantly YOY’ in April and May of this year and notes that ‘the business of luxury goods is expected to continue in a severe business environment for the time being, and the deficit for the second consecutive fiscal year is inevitable.’

The executive summary section of the report details how Nikon plans to approach its various divisions in the upcoming year.

Under the executive headline, Nikon says its strategy for the Imaging Products Business is to ‘rebuild business with an understanding of accelerating market shrinkige [and] aim to achieve early profitability.’ In other words, Nikon plans to optimize its Imaging Products Division to get ahead of the quickly-shrinking camera market by restricting and minimizing costs.

You can find all of the latest financial results and presentation materials referenced above on Nikon’s investor relations website.

Articles: Digital Photography Review (dpreview.com)

 
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12 Things Not To Do When Buying Your First Film Camera

29 May

12 Things Not To Do When Buying Your First Film Camera

You’ve got your flannel and your beanie and you’re ready to buy your first film camera. So… now what? I can’t tell you exactly what to do, because then you’d risk turning into me, which means drowning in an ever-deepening lake of 35mm SLRs, but I can tell you a few things to avoid. Here are a dozen things you should try not to do when buying your first film camera.

Images by Dan Bracaglia except where noted

1. Don’t worry about buying ‘the best’ camera

Here’s a tidbit that’s a bit of a mind-bender for some digital photographers: When it comes to film photography, the camera body itself has very little bearing on image quality. In the digital world, an entry-level Nikon D40 simply cannot achieve the same image quality as a high-end Nikon D5, but with film, a low-end Nikon N55 really can make just as good a picture as a pro-level Nikon F6. It’s the lens and film choice that really impact the technical quality of your pictures.

Find a good working camera that you like, because with film, good is good enough

All a film camera does is hold the film in place and facilitate its exposure. More advanced cameras give you more options for doing this, but they don’t necessarily do the job any better, to the point that few people can tell the difference between a photograph made with a $ 5,000 Leica and one made with a $ 50 Minolta. As long as the camera has a decent lens—and most lenses made by camera manufacturers are pretty decent—the capability for an image of good technical quality is there. (Good composition is up to you.) So don’t get caught up in trying to find the best camera—just find a good working camera that you like, because with film, good is good enough.

Photo: Nikon

2. Don’t assume a more expensive camera is a better camera

Used film camera prices are subject to all sorts of forces, including nostalgia. As a result, popular ‘student’ cameras like the Pentax K1000 and Canon AE-1 often command prices out of line with their feature set. In fact, in the topsy-turvy world of used film cameras, some of the most advanced cameras are among the cheapest. The N8008, Nikon’s top-of-the-line ‘prosumer’ camera in the late 80s, was priced three times higher than the entry-level Pentax K1000 when both were new. Today it’s the K1000 that costs three (or more) times as much.

Used film camera prices are subject to all sorts of forces, including nostalgia

Brand reputation also plays a big (and sometimes outsized) role. The Nikon FE, a magnificent manual-focus SLR with an aperture-priority automatic mode, sells in the $ 75 to $ 150 range, a good deal for a Nikon of that era. But the Ricoh KR-10 offers most of the same features, and you can easily find one for $ 35 or less. I own both cameras, and while the Ricoh is less refined, it makes equally good photos. (How do you find out what a camera can do? Camera-wiki.org is a great resource for looking up specs and features.)

Photo: John Nuttall

3. Don’t be afraid of electronic cameras

There are a lot of mechanical camera snobs out there; I’m one of them. But some of the arguments for going all-mechanical aren’t relevant to all film shooters (Sure, they work if the batteries fail, but their light meters won’t). Mechanical cameras like the Nikon FM, Olympus OM-1 and Pentax MX are robust but expensive. Cameras with electronically timed shutters (which need a battery for the shutter to work) usually sell for less, and many all-electronic autofocus cameras are even cheaper.

It’s sometimes more cost effective to replace a broken electronic camera than to fix a mechanical camera

Electronic cameras do have some key advantages over mechanical cameras, particularly for first-timers. They have fewer moving parts and are less prone to going out of adjustment than mechanical cameras. That means that if they work, they probably work correctly, with accurate metering and shutter timing (which is why camera manufacturers switched over to electronics in the first place). Repairs can be dicey because they often rely on ‘donor’ cameras for electronic parts, which are subject to the same age-related issues. But because they are so cheap, it’s sometimes more cost effective to replace a broken electronic camera than to fix a mechanical camera.

Photo: John Nuttall

4. Don’t buy a camera without researching lenses

The obsession with lens optics is the film equivalent of pixel-peeping. In truth, few people can look at a photo and tell if it was shot with a Nikkor, a Rokkor or a Takumar. The differences in quality between the camera manufacturers’ lenses* is narrow, but the price differences can be massive. (It’s a different story with third-party lenses, which vary in quality.) Remember, an inexpensive camera isn’t inexpensive if it locks you into pricey lenses.

An inexpensive camera isn’t inexpensive if it locks you into pricey lenses

The general wisdom is that manual-focus cameras are best paired with prime (fixed focal length) lenses, as the optical quality of zooms from that era wasn’t great. Also, primes tend to have larger maximum apertures for low light. Zoom technology improved in the mid-to-late 80s, so they’re a safer bet for autofocus cameras. You’ll need to do some research on lens compatibility (which can get confusing—for example, Nikon has used the same lens mount for decades, but not all lenses are fully functional with all cameras). Don’t know where to start? For 35mm SLRs, a 50mm lens with a max aperture between F2 and F1.4 is a good first lens, and for autofocus cameras, a zoom in the neighborhood of 28-85mm works nicely. Or you can just buy a rangefinder, compact or bridge camera with a non-detachable lens.

* Some camera manufacturers used different brand names for their lenses. Nikkor = Nikon, Rokkor = Minolta, Takumar = Pentax, Zuiko = Olympus, and Rikenon = Ricoh.

5. Don’t get a camera that’s too automatic… or too manual

Film cameras have different levels of automation. Some only have manual exposure control, requiring the photographer to set both aperture and shutter speed. Some require you to pick one (usually aperture) and will set the other for you. Still others have ‘program’ modes that do everything. Focusing and winding can be manual or automatic as well.

A manual-focus camera with both manual and automatic exposure modes is a great way to start

I recommend avoiding automatic-exposure-only cameras as a first-time buy. While they take great pictures, it’s nice to have the option to set your exposure manually and really take control of the process. On the other hand, an all-manual camera can be frustrating if you’re used to digital-era automation. A manual focus camera with both manual and automatic exposure modes is a great way to start. You can shoot in automatic as you get the hang of focusing and winding (which takes more getting used to than you might think), then switch to manual when you’re ready. Some good examples of these cameras include the Nikon FE2, Minolta X-700 and Canon AE-1. If you buy an autofocus SLR, look for one that has a manual mode.

6. Don’t buy a camera that hasn’t been tested

If you’re buying on an auction site, check the description and see if the camera has been tested. If it doesn’t say, ask. Working, for a film camera, means that the light meter turns on, the shutter fires at all speeds, the film and battery doors latch shut, the film advance moves freely, and autofocus, auto-wind, and self-timer functions, if present, are operational. Not every seller knows this, but you do, and if the seller says the camera works and it doesn’t, you have grounds for a refund. ‘Not tested’ or ‘parts’ cameras are a crapshoot. If you’re squeamish, shop at a local camera store or an established dealer like KEH. You’ll pay a bit more, but you’ll know what you’re getting.

Shop at a local camera store or an established dealer like KEH. You’ll pay a bit more, but you’ll know what you’re getting

Should you buy a non-working camera? Probably not for your first one, but don’t rule it out. Most issues with mechanical cameras, and some better-made electronic cameras, can be fixed as part of a CLA (cleaning, lubrication and adjustment) service, which generally costs $ 100 and up, and this may be worthwhile for a more valuable camera or a model you really want. Once CLA’d, a camera should work for years without needing further attention. Find a good film camera repair shop and get their opinion on whether a given camera is worth fixing.

Photo: Gerry Lauzon

7. Don’t buy a camera that doesn’t focus

If you’re looking at compact point-and-shoot cameras, you should be aware of the difference between autofocus and focus-free. Autofocus is exactly what you think it is. Focus-free cameras have a small lens aperture and rely on depth-of-field to get your shot in focus. These cameras often don’t have much in the way of exposure control, either; they rely on the built-in flexibility of the color print film process to get good pictures out of close-enough exposures.

If the camera is a cheap plastic affair with a name you’ve never heard of, there’s a good chance it’s focus-free

Believe it or not, there were focus-free cameras made by big-name brands like Olympus, Minolta and Kodak as well as cheap-camera purveyors like Vivitar, Argus and Keystone. Most of these will say ‘Focus Free’ on the body. If the camera is a cheap plastic affair with a name you’ve never heard of, there’s a good chance it’s focus-free.

Photo: E Magnuson

8. Don’t buy a used ‘pro’ 35mm camera

When you see a legendary top-of-the-line camera like a Nikon F4 or Canon EOS-1n come up on eBay for a fraction of its original price, it can be tempting to slam that ‘BUY NOW’ button. These cameras were the best of the best in their day, listing for upwards of $ 2,000, and the idea of buying one for a couple hundred bucks is pretty darn tasty. Resist! Resist!

Better to stick to high-end ‘advanced amateur’ cameras, which have similar features to the pro cams but usually led easier lives

Here’s the problem: A lot of these cameras were purchased by working professional photographers, which means they were used often and hard. Like DSLRs, film cameras with electronic shutters have finite shutter lives, and even mechanical shutters can wear out. An avid shutterbug averaging two 35mm rolls a week will take around 3,800 pictures per year, but a busy wedding or news photographer can take that many snaps in a month. If the shutter goes south, replacing it can cost more than the camera is worth. Better to stick to high-end ‘advanced amateur’ cameras, which have similar features to the pro cams but usually led easier lives.

Photo: ShikikanZero

9. Don’t buy a medium-format camera (yet)

Medium format cameras produce big, beautiful negatives that can be enlarged to ridiculous sizes. But the bigger the image, the more money you’ll spend, both for cameras* and film. If you’re just starting out in film, 35mm offers you a lot more camera and lens choices at a lower price point. If you find you’re in love with film, you can always move up to medium format later.

If you find you’re in love with film, you can always move up to medium format later

* Okay, not always. Plastic cameras like the Holga and the Diana (sometimes called ‘toy’ cameras) are inexpensive, but they have imperfect plastic lenses and the occasional light leak, which injects a random element into one’s photography. Some people like that look (I think it’s pretty darn cool), but they aren’t a real alternative to a professional-quality cameras from Mamiya, Rolleiflex, Hasselblad or Pentax. Another exception: Older twin-lens reflex (TLR) cameras, which were popular with snap-shooters before the rise of smaller film formats. They offer limited creative control but can make beautiful photos.

Photo: Classic-Photographic

10. Don’t start out with good film

Buying a used camera always carries an element of risk, and I can imagine few things that will turn off a first-time film photographer more than spending a lot of money on film and processing and getting back a roll of unusable negatives. Save that Ektar, Portra or Cinestill film for later. The first film you shoot in any new-to-you camera should be a 24-exposure roll of the cheapest freshest (not expired) print (not slide) film you can buy.

The first film you shoot in any new-to-you camera should be a 24-exposure roll of the cheapest freshest film you can buy

Fire off a quick few exposures close to home. Try to include a variety of subjects of different textures and brightness, and shoot at different distances. If possible, use a variety of apertures and shutter speeds. Get the film processed and check the negatives carefully. If you don’t have experience evaluating negatives, your lab can help you find signs of light leaks or improper exposure, as can your friends on the DPReview film forum. Once you’re sure your new camera works, you can confidently load up the good stuff.

11. Don’t buy just one camera

Back in The Day, it was common to carry two cameras in your gear bag. Unlike digital, a film camera can’t change ISO on the fly or switch seamlessly between color and black-and-white, at least not without unloading and reloading. A second camera gives you options: You can shoot the same scene in color and B&W, or you can run faster film if the clouds roll in or the action moves indoors. And it’s nice to have a backup in case your primary camera craps out.

A $ 35 Pentax MG makes a great backup for a $ 350 Pentax LX

If you use an interchangeable-lens camera, owning two compatible camera bodies means less gear to carry. They needn’t even be the same model: A $ 35 Pentax MG makes a great backup for a $ 350 Pentax LX (or a Nikon EM + FM2). I wouldn’t necessarily buy two cameras right off the bat, but if you find a camera and a set of lenses you like, a second compatible camera body is a smart investment.

12. Don’t spend too much money just yet

I think film photography is wonderful, but it’s not for everyone. You might get some film experience under your belt and decide you prefer digital, and that can be a real tragedy if you’ve spent $ 500 on gear. There are plenty of good cameras available for $ 100 or less (often a lot less), so start with something more modest.

Cameras hold their value well, so if you decide you’re just not a film shooter, you can sell your gear at a minimal loss

Cameras hold their value well, so if you decide you’re just not a film shooter, you can sell your gear at a minimal loss—or give it to someone else who wants to try film. If you do fall in love, as so many of us have, you can always buy something more expensive, though I can all but guarantee that your first film camera will always have a special place in your heart.

Ready to start the hunt for your first film camera? Here are some of our all-time favorite analog gems, most of which are affordable and easy to find in good working order (though not all follow the advice of this article!):

Analog gems: 20 film cameras worth buying right now

Articles: Digital Photography Review (dpreview.com)

 
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Sony ZV-1 sample gallery (DPReview TV)

29 May

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Check out our first sample gallery from the Sony ZV-1, shot by our team at DPReview TV. Their full review of the ZV-1 is coming to a YouTube channel near you soon!

Articles: Digital Photography Review (dpreview.com)

 
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Samyang announces its AF 85mm F1.4 lens is now available for Canon RF mount

29 May

Last year, Samyang1 released the AF 85mm F1.4 FE prime lens for Sony full-frame mirrorless cameras. Now, the lens has been updated with a Canon RF mount to work with Canon’s line of full-frame mirrorless cameras, too.

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Aside from the new mount, the lens remains unchanged from its Sony FE predecessor. The lens is constructed of 11 elements in 8 groups, including one Extra-Low Dispersion (ED) element and four High Refractive Index (HRI) elements to help minimize chromatic aberration. The optical elements also use Samyang’s Ultra Multi Coating (UMC) to keep flares and ghosting under control.

Autofocus is driven by Samyang’s Dual Linear Sonic Motor (DLSM) and the sole button on the lens is the AF/MF button for switching between auto and manual focus. The lens features weather-sealing, a nine-blade aperture diaphragm and a 77mm front filter thread. Below is a sample photo, provided by Samyang:

The Samyang AF 85mm F1.4 RF is expected to ship in June for $ 800, with pre-orders opening up before then. The RF version comes in at $ 100 more than the Sony FE version was launched at and $ 200 more than what the Sony FE is currently selling for. We will update this page when pre-orders become available.

1 Samyang is also sold under the Rokinon and Bowens brand names, depending on your region and the retailer you purchase from.

Articles: Digital Photography Review (dpreview.com)

 
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DJI scores a victory in the latest round of a patent battle with Autel

29 May
DJI’s Mavic 2 Pro is one of the products that could potentially become unavailable in the U.S., as early as July, on account of Autel’s claims.

With close to an 80% share in the U.S. consumer drone market, DJI holds a substantial lead over its competitors. News arose, several weeks ago, that some of its best-selling models plus accessories could be banned from being sold and imported into the U.S., as early as July, on account of a preliminary Autel Robotics victory.

DJI and its law firm, Finnegan, recently responded to Autel’s claims and secured their own victory in the latest round of an ongoing, years-long patent battle. For perspective, DJI filed a patent infringement complaint against Autel, who currently holds an 0.8% share of the U.S. drone manufacturers market, back in 2016. DJI alleged that Autel copied the ‘look and feel’ of its Phantom UAVs with its X-Star Premium drone.

DJI filed a patent infringement complaint. They claim the Autel X-Star Premium copies the ‘look and feel’ of their Phantom series.

On August 30, 2018, Autel mounted its own offense by requesting the International Trade Commission (ITC) investigate DJI, pursuant to Section 337, for selling drones infringing on Autel’s US Patent No. 9, 260,184. Months later, on October 2nd, the ITC set its investigation in motion based on Autel’s assertion of the following 3 patents:

  • ’174 patent – obstacle avoidance
  • ’184 patent – rotor blades
  • ’013 patent – batteries that clamp onto the drones

The ITC’s chief administrative law judge (CALJ) issued a favorable initial determination (ID) to DJI on March 2nd of this year, according to Finnegan. CAL Judge Bullock found that ’174 patent claims, involving obstacle avoidance technology, were not infringed as they were not practiced by any domestic industry product and therefore invalid under 35 U.S.C. § 101. He declared that many of the accused DJI products also did not infringe on the ‘184 patent involving rotor blades. The ‘013 patent claim on batteries that clamp into the drone was also declared invalid.

‘Ultimately the Commission may decide that Autel deserves no remedy at all, but at a minimum, the Commission is unlikely to enforce any exclusion order or cease-and-desist order based on the three invalid patents.’

Finnegan’s post also claims a win for DJI with the Patent Trial and Appeals Board (PTAB). On May 13th – 21st of this year, the PTAB found all 3 patents (‘174, ‘184, ‘013) declared in Autel’s ITC proceeding unpatentable. ‘The Commission is currently deciding whether to review the CALJ’s ID. Ultimately the Commission may decide that Autel deserves no remedy at all, but at a minimum, the Commission is unlikely to enforce any exclusion order or cease-and-desist order based on the three invalid patents. DJI’s sales in the U.S., therefore, will not be affected by Autel’s claims,’ DJI’s legal team concludes.

The entire IP update from DJI’s law firm can be viewed here. Representatives from the drone manufacturer declined to comment.

Articles: Digital Photography Review (dpreview.com)

 
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Tamron teases new zoom lens for full-frame Sony E-mount cameras

29 May

Tamron already has six full-frame Sony E-mount lenses in its lineup, but there’s another on the way. In a video shared on its YouTube channel earlier today, Tamron teased a new full-frame E-mount lens that appears to be a mid-range zoom lens.

The 18-second clip, embedded below, doesn’t divulge any additional details about the lens, but it does link to Tamron’s E-mount lens lineup page that shows how the forthcoming lens will stack up in size compared to the six current full-frame E-mount lenses — three primes and three zooms.

You can also see in the lineup photo the new lens will have what appears to be a focus locking switch sandwiched between the focus and zoom rings. Tamron’s 70–180mm F2.8 Di III VXD lens is the only current full-frame E-mount lens in the lineup to offer this switch.

We’ll keep you up to date, but you can also keep an eye on Tamron’s website for more information. There’s also Tamron Japan’s website, which sometimes posts press releases ahead of the U.S. site.

Articles: Digital Photography Review (dpreview.com)

 
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Loupedeck CT Review – Could This Be The Best Editing Tool?

28 May

The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.

dps-loupedeck-ct-review

If you’ve read my previous review of the Loupedeck+, you’ll know I am a massive fan and it is now a firm part of my editing routine. As I said in that review, it was something that I was honestly wary of before trying it, but something I do edit without now. So when I got the chance to do the new Loupedeck CT review, I jumped at it. 

The Loupedeck CT is a completely new editing station. Loupedeck has marked this as their professional tool, designed to deliver a premium editing experience. Along with the dials and buttons familiar to those who have used the Loupedeck+, the Loupedeck CT features a touchscreen interface system of virtual buttons, that you can fully customize to your editing needs.

Loupedeck CT wrapped in a cable

Compatibility

The CT is compatible with a wide range of software right out of the box. And it has the ability to add even more software via an ever-growing library of custom profiles.

Here is a list of compatible software out of the box (takes deep breath):

  • Abelton live
  • After Effects
  • Audition
  • Capture One
  • Final Cut Pro
  • Adobe Illustrator
  • Adobe Lightroom Classic
  • Adobe Photoshop
  • Premiere Pro
  • System (Windows & Mac)

Profiles exist for many more programs, including Davinci Resolve, Photomechanic, and Logic Pro X, amongst others. This is a serious list of professional software, and the ability to customize the Loupedeck CT means that there is an almost limitless opportunity to create your very own tailored workspace.

A Loupdeck CT with the unit in action for colour grading

Design and build quality

The Loupedeck CT is very different from the Loupdeck+. It is much more compact in its footprint. The size is about the same as two mobile phones placed side by side. This smaller footprint not only makes having the CT on a smaller desk much easier, but it also means it is simple to add to your bag when editing on the road or on location. 

The packaging looks and feels premium. It reminded me of an Apple device in the way that the quality oozes out before you even see the product.

Jet black packaging with an embossed and foiled logo on the side really does make this product feel luxurious. It may sound silly, but when packaging is this good, I feel that it shows the importance of attention to detail to the company.

Once the Loupedeck CT is removed from the packaging and those, oh so satisfying, clear plastic covers get removed, the quality of the Loupedeck CT shines through.

A photo of the box of a Loupedeck CT against a black background

The build quality on this device is excellent, with the device itself comprised of an aluminum top plate (save the virtual buttons workspace) with a solid plastic underside. All buttons and dials are all reassuringly firm, with the dials having a tactile click when turning, whilst the virtual buttons have haptic feedback, which you turn on or off.

The center dial is used as a touch screen interface for some adjustments, and again, it works perfectly. It is responsive and has worked flawlessly during my time with the unit.

This is a very well-made piece of equipment that is another step forward in quality from the already well-made Loupedeck+.

The Loupedeck CT also has a Bluetooth chip, which will eventually, via an update, make the unit connect wirelessly.

It also comes with 8GB of storage, which mounts as an external drive when you connect the Loupedeck CT. This storage allows you to save all settings and preferences within the device. So, when you transport the product, all your settings travel with you. This is great for those that travel regularly or use different computers for different projects.

Ergonomically, the unit is made for one-handed operation. This is not to underestimate the amount of editing this thing can do on its own. Whilst the Loupedeck+ feels like something that is aimed to replace your keyboard, the CT feels like an addition to your keyboard and mouse. It is an incredibly powerful enhancement to your workflow.

A closeup of the Loupedeck showing the different LED button colours.

Buttons on the Loupedeck CT are backlit in a way that aids your use of the device. The buttons’ color shows how it is mapped at a glance. The three colors are green, purple, and blue.

Green buttons are assigned to workspaces (of which you can have multiple per application). The purple buttons are assigned to actions (such as applying a preset or creating a copy of the image, etc.). Finally, the blue buttons are there to take you into page-based layouts. This allows you to create sub-menus within a workspace, such as a page dedicated to your image presets, without the need to change the entire workspace.

Installing the Loupedeck CT

Installing the Loupedeck CT is a simple affair. You just download and install the software from the Loupedeck website, then connect the Loupedeck.

The Loupedeck itself is USB-C, which helps future-proof the product. However, it comes packaged with a USB-C to USB-A braided cable, which will be welcomed by a lot of people. The cable itself is of high quality, reinforcing the attention to detail that Loupedeck has put into this product. 

The step Screen for the Loupdeck CT showing Lightroom Classic Settings
The installation and setup is easy. But you will need to spend some time with the software to set the Loupedeck CT to your preferences.

Learning curve

The learning curve is the part of Loupedeck CT that is the thing that you will find hardest. It’s not that the CT is hard to use, in fact, it is the total opposite of that. It is more about remembering which button is where, how you have your dials set, and moving your hands away from existing workflows.

With the Loupedeck+ everything is set and you quickly become accustomed to where everything is. However, whilst the flexibility of the Loupedeck CT is its strongest feature, it does mean you have a larger learning curve. As an example, when moving from Lightroom to Photoshop, the button layout changes, so it takes more time to become a power user across multiple software. 

The initial setting up of custom workspaces will take time and effort from the user. However, this is the step that is essential for those looking to get the most out of this device.

The software makes it simple to set up, but you need to customize the layout of the deck for your specific editing style. You will then need to do this on a software-by-software basis. This process may take a few hours, but it is so worth it. The profiles supplied by Loupedeck are great and get you started instantly, but every editing workflow is different and the Loupedeck profiles are unlikely to match your specific workflow.

A view of the Loupdeck CT editing console in video editing mode
As with the Loupdeck+, the CT makes using software easier. It does have a learning curve though, one for each software you use it with.

The Loupdeck CT in use

The first thing I noticed about the Loupedeck CT was its software awareness. Switching over to Photoshop from Lightroom, the Loupedeck instantly changed to its Photoshop workspace. There was no lag or waiting. It was ready to go. This smoothness is the same for every software. You can even set it up to control your Spotify, so you can keep your hands on the Loupedeck whilst you decide what music you want to  listen to whilst you edit. 

This key feature makes the Loupedeck CT amazing for those who work in several different pieces of software. It really does make this device a huge step up from the Loupedeck+.

I know when I reviewed the Loupedeck+, I said that video editing wasn’t great. With the CT, it really performs.

Moving to Premiere Pro, you get the tools you use the most right at your fingertips. As someone who isn’t a huge video editor, it makes editing easier for me. I have also been experimenting with Final Cut Pro, and again, the Loupedeck saves me having to search through menus when I am looking for a tool.

I am sure that in the hands of a more capable editor, this tool will be huge in speeding up workflow. For an amateur like me, it makes things easier and encourages me to dig deeper.

This is also true of Adobe Illustrator and Adobe Audition, which I profess to be completely lacking in in-depth knowledge. However, I can see how this, in the right hands, will be incredibly useful.

A person using a Loupedeck to edit colour in a photograph
The centre wheel is one of the highlights of the CT. Being able to use it for things such as colour grading is so intuitive.

Moving on to photography (the reason I am sure most of you are reading this), to sum it up, it is amazing. If the Loupedeck+ is a high-quality, off-the-peg suit, the CT is a custom-tailored suit from Saville Row; every button and dial customized to fit your editing needs. 

In Lightroom Classic, it performs beautifully. Editing is effortless and the Loupedeck makes the whole process quicker, easier, and more tactile. The ability to customize a setup to be exactly how you want is something that gives this an advantage over the Loupedeck+ for those who use more advanced features regularly. This is shown in the ease of adding your own presets to buttons. Simply create the preset, then ask Lightroom Classic to update, and instantly, it is available to add to your layout. 

It is when you move to Photoshop that the Loupedeck CT really shines. The ability to customize your button layout combined with size means using this with a mouse or graphics tablet is a joy. Also, the ability to use the touchscreen center button makes working in color an amazing experience. The Loupedeck CT is a much more enhanced experience than the Loupdeck+ when it comes to Photoshop.

The integration with Adobe products is still deeper than with other software, though. Switching to Capture One Pro, the experience is simply not quite as fluid. Capture One is in Beta mode even though it comes pre-installed. In use, it lacks the level of integration found in Lightroom and can’t offer the same functionality. 

This is due to Loupedeck relying on keyboard shortcuts rather than the software API. Loupedeck has released an enhanced plugin profile, which allows greater integration for Capture One users. This does help, but it relies on you having to set your keyboard to the US setting, which as a UK user, is an annoyance.

I know discussions have taken place with Phase One on fully integrating the Loupedeck CT, and for many professionals who use Capture One, this would be a game-changer. Until that happens, the best way to describe the Capture One experience is good, but not as good as Lightroom.

A closeup of the Loupedeck CT showing Adobe software symbols

What I love

There is a lot to love about this product. The main things for me are:

  • Size
  • Look and build quality
  • Unlimited customization options
  • Multi-software usage 

What could be better 

  • Integration with non-Adobe products
  • No wireless option (although this may be coming)

Is it worth it?

This is the big question. This Loupedeck CT is not cheap. It currently retails at £469.

It warrants that money to those who spend a lot of time editing and those who use a variety of software daily. It is much more suitable for a wider variety of programs than the Loupedeck+. If you use Adobe products, it is pretty much flawless.

However, if you mainly edit in Lightroom, you will possibly be better served with the Loupedeck+. It has all the features you need and comes at a lesser cost. 

The other question is whether it is better to invest in the Loupedeck CT or a graphics tablet. Again, this depends on your usage and editing style. Personally, I would make more use of the Loupedeck CT. However, you may not. 

The Loupedeck CT is aimed at a certain group of people. To those that will get the most out of this product, the £469 price tag is easily justified in the time saving and workflow enhancements the CT will give them. The Loupedeck CT is no mere editing gadget – it is a tool that takes your editing workflow to another level.

I really suggest you try a Loupedeck before dismissing it out of hand. Be warned though, you will probably fall in love.

The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.


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Canon brings its EOS Webcam Utility Beta to macOS

28 May

Last month, Canon released the EOS Webcam Utility Beta for Windows that enabled PC owners to turn their compatible EOS and PowerShot cameras into webcams for use in video conferencing apps such as Skype and Zoom.

Now, Canon has announced the same utility is now available for macOS users, bringing the functionality to Apple owners wanting to up their video conferencing game. According to Canon, ‘tens of thousands’ of downloads were made for the Windows version and the most-requested feature was support for macOS computers.

A list of cameras currently compatible with the EOS Webcam Utility Beta for macOS and Windows computers.

The macOS version works identical to the Windows version and requires little more than one of the above compatible cameras and a USB cable for your specific camera model. Canon is requesting feedback on its forums if you encounter any problems or have a feature request.

If you’re wondering how well the EOS Webcam Utility Beta works, check out our rather unnecessary and absolutely overkill of a test went. You can download both the macOS and Windows versions on Canon’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Ricoh introduces HD Pentax-D FA* 85mm F1.4 lens

28 May

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Just two weeks after Ricoh revealed more details of its long-teased portrait prime, the HD Pentax-D FA* 85mm F1.4 ED SDM AW has officially been released. The new lens offers numerous special elements, a new AF motor and the build quality we’ve come to expect from high-end Pentax lenses.

The 85mm F1.4 contains a total of 12 elements, including ‘Super ED’ and aspherical glass. An HD coating is used to reduce flare and ghosting. The lens has a new ring-type SDM lens motor to drive the focusing elements, which delivers 1.3x more torque than the motor on the 50mm F1.4, according to Ricoh. The lens has a nine-blade aperture that is electronically controlled.

Minimum focus distance is 0.85m (2.8ft) and the maximum magnification is 0.12x. It’s sealed against dust and moisture in eight places (that’s the ‘AW’ designation – standing for ‘All Weather’) and can be used in tough conditions when paired with a weather-resistant Pentax camera.

The FA* 85mm F1.4 will be available in mid-June for $ 1899.

Press release:

Ricoh announces HD PENTAX-D FA?85mm F1.4ED SDM AW for K-mount digital SLR cameras

Second fixed focal-length model added to next-generation, high-performance Star lens series

PARSIPPANY, NJ, May 27, 2020 ? Ricoh Imaging Americas Corporation today announced the HD PENTAX-D FA?85mm F1.4ED SDM AW lens, the second fixed focal-length lens in the new-generation PENTAX Star (?) lens series. Designed for use with PENTAX K-mount digital SLR cameras, Star-series lenses boast the highest imaging performance of all PENTAX lens lineups.

PENTAX developed a new, ring-type SDM (Supersonic Direct-drive Motor) exclusively for this new lens to enable flawless, high-speed autofocus operation, with an exterior design that assures a firm grip for manual-focus operation. The HD PENTAX-D FA?85mm F1.4ED SDM AW lens is designed not only to assure the highest imaging power currently possible, but also to optimize the joy of picture-taking.

The new lens incorporates three Super ED (Extra-low Dispersion) glass optical elements to effectively minimize chromatic aberration, and a glass-molded aspherical optical element to effectively compensate for spherical and chromatic aberrations and field curvature to deliver extra-clear, high-contrast images with edge-to-edge sharpness, even at open aperture. This design also reduces distortion to nearly zero at a focusing distance of four meters to deliver well-defined, distortion-free images over the entire focusing range, from the minimum focusing distance to infinity.

The HD PENTAX-D FA?85mm F1.4ED SDM AW lens boasts an F1.4 maximum aperture, useful with many different subjects in a range of applications, including portraiture with an effectively defocused background, handheld shooting of indoor scenes and scenic photography. The extra-large aperture produces a bright, clear viewfinder image that will surely inspire photographic creativity and imagination.

Developed as an AW (All Weather) model, the new lens features dustproof, weather-resistant construction with eight special seals to prevent the intrusion of water into the lens barrel. When paired with a dustproof, weather-resistant PENTAX digital SLR camera body, it assures a durable, reliable digital imaging system that performs superbly in demanding shooting settings — even in rain or mist, or at locations prone to water splashes or spray.

| Pricing and Availability |

The HD PENTAX-D FA?85mm F1.4ED SDM AW lens will be available in mid-June at www.us.ricoh-imaging.com as well as at Ricoh Imaging-authorized retail outlets for a manufacturer’s suggested retail price of $ 1899.95.

Main Features of the new HD PENTAX-D FA?85mm F1.4ED SDM AW

1. New-generation, high-performance Star-series lens to deliver ideal image quality

Anticipating the further advancement of SLR camera bodies in the future, PENTAX has designed this lens to deliver extra-clear, high-contrast images with edge-to-edge sharpness by compensating various aberrations to a minimum, while greatly enhancing resolving power — two factors absolutely essential in the next-generation Star series. It provides exceptionally high imaging performance even at open aperture, a beautiful bokeh (defocus) effect and outstanding image rendition at close ranges — all reasons why it produces high-quality, well-defined images. It also boasts an extra-large F1.4 maximum aperture, useful with many different subjects in a range of applications, including portraiture with an effectively defocused background, handheld shooting of indoor scenes and scenic photography. It helps the camera to produce a bright, clear viewfinder image that will inspire the photographer’s creativity and imagination.

2. State-of-the-art optical technology

This lens incorporates three Super ED (Extra-low Dispersion) glass optical elements to effectively minimize chromatic aberration, and a glass-molded aspherical optical element to effectively compensate for spherical and chromatic aberrations and field curvature to deliver extra-clear, high-contrast images with edge-to-edge sharpness, even at open aperture. It also reduces distortion to nearly zero at a focusing distance of four meters to deliver well-defined, distortion-free images over the entire focusing range, from the minimum focusing distance to infinity. This lens is also treated with high-grade, multi-layer High-Definition (HD) Coating, which reduces average reflectance in the visible ray spectrum to less than 50% of conventional multi-layer coatings, effectively reducing flare and ghost images to a minimum even in demanding lighting conditions such as backlighting.

3. Newly designed, large ring-type SDM

To deliver the highest image quality possible over the entire focusing range — from the minimum focusing distance to infinity — this lens features a newly designed, large ring-type SDM to efficiently drive the focusing mechanism, which consists of a larger number of optical elements than ordinary lenses, and is required to shift heavy rear-optical-element groups in unison. Generating a torque approximately 1.3 times that of the unit installed in the HD PENTAX-D FA?50mm f1.4 SDM AW, this new SDM assures flawless, high-speed autofocus operation.

4. Dustproof, weather-resistant construction

Developed as an AW (All Weather) model, this lens features a dependable dustproof, weather-resistant construction with eight special seals to prevent the intrusion of water into the lens barrel. When paired with a dustproof, weather-resistant PENTAX digital SLR camera body, it assures a durable, reliable digital imaging system that performs superbly in demanding shooting conditions — even in rain or mist, or at locations prone to water splashes or spray.

5. Other features

  • Nine-blade, round-shaped diaphragm to produce a natural, beautiful bokeh (defocus) effect up to the F2.8 aperture setting, while minimizing the streaking effect of point light sources
  • Exterior design that facilitates focus-ring operation in manual-focus shooting and provides a firm hold
  • Electromagnetic diaphragm-control mechanism** for flawless, high-precision exposure control during video recording
  • SP (Super Protect) coating to keep the front surface free of dust and spots

** This mechanism is available when the lens is mounted on a K-1 Mark II, K-1, K-3 II, K-3, KP,
K-70, K-50, K-S2 or K-S1 camera body.

HD Pentax-D FA* 85mm F1.4 ED SDM AW specifications

Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 85 mm
Image stabilization No
Lens mount Pentax KAF4
Aperture
Maximum aperture F1.4
Minimum aperture F16
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 12
Groups 10
Special elements / coatings 1 aspherical + 3 Super ED elements, HD coating
Focus
Minimum focus 0.85 m (33.46″)
Maximum magnification 0.12×
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Physical
Weight 1255 g (2.77 lb)
Diameter 95 mm (3.74″)
Length 124 mm (4.88″)
Sealing Yes
Colour Black
Filter thread 82 mm
Hood supplied Yes

Articles: Digital Photography Review (dpreview.com)

 
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Shutterstock announces new earnings structure and contributors are anything but happy

28 May

Stock photography company Shutterstock is taking heat after announcing in a post on its contributor forum that it’s putting a new earnings structure in place starting June 1, 2020.

Under the new structure, photographers and videographers will get compensated via a percentage of the sales price based on the ‘level’ their photo and/or video are rated, with the level being determined by the number of times their content is licensed. Previously, there were lifetime earnings tiers, which took into account total sales made during the lifetime of the contributor, but Shutterstock will do away with that and instead reset all contributors to ‘level 1’ for both images and videos every year on January 1.

Shutterstock breaks down what the various levels consist of in the two graphics below — one for photos and one for video, each of which are calculated independently of one another:

This effectively means that no matter how many sales a contributor has made, on January 1 each year, said contributor will always be demoted back to ‘Tier 1’ wherein they only receive a 15% commission on sales.

Shutterstock says it’s ‘making this adjustment in order to reflect changes in the market for creative content, help to create fair opportunities for all our contributors, and reward performance with greater earnings potential.’ But contributors aren’t convinced and are voicing their concerns and frustrations in the announcement forum post; especially members who have been long-time contributors with massive lifetime earnings numbers, as they will be most affected by this change.

Shutterstock member Richard Whitcombe, who’s been a member since 2010 and has posted more than 3,200 pieces of content, replied to the announcement post saying, ‘Just when you think Shutterstock couldn’t completely and utterly screw the contributors more you’ve gone and done it.’ He continues, ‘Effectively with a January reset everybody gets a cut of 20% or more of earnings to a new laughably tiny amount and it’ll take months to claw back the level they’ve been earning previously. So most people are going to go most of the year for half or less than they currently get.’

He shared in a later post that a Shutterstock team member sent him a private message suggesting they will be moderating his posts for his feedback. The private message read:

‘Hi Richard,

I know you have a lot of questions and you’re fighting for clarity. But you are refuting and questioning everything I post today, and not very constructively.

I’m going to start hiding your posts.

Thanks,

[Shutterstock team member]’

Other members have also chimed in on the changes, echoing Whitcombe’s concern and disbelief about the new earnings structure. As of publishing this article, there are 66 pages of replies to the original forum post, few of which are positive.

Articles: Digital Photography Review (dpreview.com)

 
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