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Interview: Fujifilm X100V – ‘We decided we could change more in the fifth generation’

24 Feb

From left, Shinichiro Udono, Senior Manager of Fujifilm’s Optical Device & Electronic Imaging Products Division and Maszumi Imai, Design Manager of Fujifilm’s Design Center are pictured here at the launch of the Fujifilm X100V in London earlier this month.

Earlier this month we attended the launch of the Fujifilm X100V in London, where we had the opportunity to sit down with two senior figures within the company: Chief Designer Maszumi Imai and Senior Manager Shinichiro Udono.

In a conversation primarily focused on the X100-Series, we discussed the evolution of the X100 line and the challenges of updating a ‘signature’ model.

Note: This interview is broadly split into two parts: The first part is a strategy-focused conversation with Mr. Udono about the development of the X100V in the context of the continuing evolution of the X100 line. The second part is a discussion with Mr. Imai about the design process of the X100V and previous models in the line, and more broadly, his background and influences as a designer.

This interview has been edited lightly for clarity and length.

How important is the X100 line to Fujifilm?

(S.U.) It was where we started. It was our first high-end camera. In 2010-11 our main camera business was in small-sensor compacts. The X100 established the concept of dial-controlled operation, which is found now across the X-Series. We have the same concept across the X-T1, X-Pro 1, and so on.

So the X100 established the Fujifilm shooting style, and then we extended this concept to the entire X-Series.

So when you’re discussing a new X100, are you more careful about changes to this model because it’s so important?

(S.U.) We’re always careful to maintain the camera concept, the style, and the size. But we also really want to provide the latest technology to our customers. Quicker autofocus, better resolution, better image quality, color reproduction and so on. That’s very important. So while we don’t want to change the camera’s style – how it looks – we’re always thinking about how we can deliver the best performance, and the best functions to our customers.

The X100V is unmistakably a member of the X100 line, but several subtle changes have been made to its physical design and ergonomics.

How have sales of the different X100 models compared over the past few years?

(S.U.) The sales of each generation were fairly similar, however the latest model X100F had the most success. With that in mind and with the new features, I expect the X100V to sell more than the previous four models.

What were your biggest priorities when planning the development of the X100V?

(S.U.) The first and most important point is the hybrid viewfinder. Next, the lens, the single focal length. We knew we had to keep that concept. And then we considered what sensor and processor we should put inside the camera. So we start with the concept, and with the basic form factor, and then we think about what goes inside.

What was the number one request from X100F customers?

(S.U.) Weather resistance. And also image stabilization. After we launched the X-T3, a lot of customers [also] wanted the latest sensor and processor.

We thought it would break the basic concept of the X100V. So we didn’t pursue stabilization in this model

The X100V does not offer image stabilization – why not?

(S.U.) Simply, size. There are two ways we could add stabilization – one is optically, in the lens, and the other is IBIS. We made some rough studies of both possibilities, but in both cases the camera would have become bigger. We thought it would break the basic concept of the X100V. So we didn’t pursue stabilization in this model.

How long does it typically take to develop a new X100 model?

(S.U.) Well with the X100V we redesigned the lens, so it took around two years. A little longer than normal. If we only made changes to the body, it would have been a shorter process.

The X100V’s 23mm F2 lens has the same specifications, and physical dimensions as the lenses used on previous models in the X100 line but it employs an additional aspherical element, for better sharpness at close distances, and in the corners of the frame.

Where do you see most sales of the X100 line, globally?

(S.U.) With the first generation, Japan was the biggest market. Later on, the USA became the biggest. Because it’s not an interchangeable lens model, it can reach a wider market of photo enthusiasts. There’s a big market in the US for photo enthusiasts, especially people who know about the history of film cameras. Those customers really like the X100 line.

How will the X100-series evolve in future?

(S.U.) In terms of technology, maybe we can add image stabilization, if we can develop it. But in the longer term, I don’t think we’ll change the style. We’ll probably keep this style and design even for another ten years. But we may have totally different technology, which I don’t know about at the moment. Different style sensor, or Ai technology. We’ll keep adding new technology into the X100 line but we’ll keep the basic design concept.

If you did add IBIS to the X100, would it require a totally new mechanism?

(S.U.) Probably, yes. We’d have to develop it from scratch. We’d need a very small IBIS unit.

Do you tend to find that these cameras are most popular with a certain age-group, or demographic?

(S.U.) The biggest audience is slightly older people, who remember film cameras. But we also see a lot of young people, especially in Japan, buying X100 models. It’s a fashionable camera. Those people take pictures, of course, but they also like the design.

We felt that a more classic design would be a good fit for our new brand

What was the original idea behind the X100?

(M.I.) In 2009, we started to consider how to make our next high-end digital camera. At that time we only made FinePix small-sensor compacts at that time. Other companies had their own interchangeable lens cameras, but we didn’t. So we were a challenger in that space – we could have done anything. But we wanted to create our own brand.

We designed a lot of concepts for cameras, which were a completely different shape to the original X100. For example we had a square concept, and a vertical style one, and one that was designed for the perfect grip – things like that. And then we decided that we were inspired by classic-styled cameras. We felt that a more classic design would be a good fit for our new brand. So at that time I started designing around the concept of purity – a classic camera design.

The film-era Fujifilm Klasse is cited as one of the design inspirations for the X100 line. Photo by David Narbecki, from an article originally posted on 35mmc.com. Used with permission.

(S.U.) Some background to why we reached for the classic style design, when Fujifilm made film cameras we made cameras which shared a similar shooting style to the X100. Cameras like the TX-series, the Klasse, and so on. They offered a similar shooting experience. In our digital camera division there were several people who came from the film camera division. We asked ourselves ‘what would be the best camera for the Fujifilm brand?’ At that time there were many good cameras from other brands, but we wanted to show what it meant to be a Fujfilm camera.

(M.I.) The first-generation X100 was created according to a set of tenets: The best quality, a good user experience, and styling that would tell photographers at a glance that this was a serious camera. That was a big reason why we chose this kind of classic style.

From the very beginning of the design process was about two years. We started the X100 project in 2009 and launched in 2011.

The innovative ‘hybrid’ viewfinder introduced in the original X100 was created about halfway through the development process of the camera itself. The X100 was originally envisaged as having a simple optical finder.

Was there any particular model or style of camera that you were particularly inspired by?

(M.I.) During the design planning process, around halfway through the project, our engineering team invented the hybrid viewfinder. So we decided that we should go with a rangefinder-style camera, not DSLR-style. Originally the X100 was intended to just have an optical viewfinder.

We looked at most of the legendary film-era cameras for inspiration. The Leica M3, of course, and others, including our own designs. The X100 was a homage to traditional film cameras.

What was your background as a designer, before you joined Fujifilm?

(M.I.) I worked at Minolta, in Osaka. At that time the main market was film cameras. When I was a student, my professor told me that camera design was one of the most difficult branches of industrial design. So he said if you go to a camera company, you’ll acquire the most useful skills. So I decided to go to Minolta.

What are your biggest design influences outside of photography?

(M.I.) Vehicles. Especially cars, but also airplanes. When I was a child, supercars were very popular in Japan. Lamborghinis, Ferraris, those were our dream cars. Airplanes like the F4 Phantom, the F15, and the F14 too. Very popular and stylish airplanes.

When I was five years old, my dad took to me to the cinema for the first time, to see Star Wars. So cars, planes and science fiction were a big influence.

We’ve talked about the physical engineering challenges of putting stabilization into the X100, and last year we saw some of the early modular GFX concepts – how often do engineering considerations restrict your vision as a designer?

(M.I.) Taking the X100 first, I know the basic size and the basic [details of] construction. First of all, we make an actual-size image-mockup. Sometimes these mockups can lead us to make the camera better. For example if I [deliberately] make a mockup thinner, maybe people will react well to it, and then we’d realize we should aim for this kind of size [in future]. Inspiration, and first impressions are very important when we make a product.

We take are two different approaches to design at Fujifilm. One is just the daily work of knowing ‘OK, we need to make a new X100’, where we consider all the technical limitations, and the R&D side will prepare some rough designs, [based on] of the lens, battery, the LCD, things like that. And these decide the final size of the camera.

That’s the standard approach. But once a year we also conduct a study where we think about the future without considering the current technical limitations. Like a vision exercise. And we create more visionary image mockups. And in a few years, some elements of those image-mockups might end up in final cameras.

Mr. Imai’s team makes ‘image mockups’ for internal discussion, to highlight possible directions for future products. This one, of a proposed medium-format rangefinder-style camera (which eventually evolved into the GFX 50R) features the ‘hidden’ rear LCD that finally made it into the X-Pro 3.

You were the lead designer on the X100, and after that you supervised the teams working on the S, the T and the F, and now you’re lead designer again on the V. Was this because the V is considered to be particularly important, to you or the brand?

(M.I.) Both, actually. The X100F had a great reputation, so it was hard to think about what we could add, to make something new. That was a big concern. With a ‘signature’ model like this it’s hard to make a successor, so I was appointed as the designer of the next model.

This is the fifth generation, and as I’ve already explained we have these tenets about the X100-series. Nine years have passed, the world has changed, and the X100 brand is familiar in the market, and has grown in reputation. So we decided we could change more in the fifth generation, in terms of concept and design. It’s still based on the X100 core concept, but this time I had freedom to explore more possibilities.

How do you balance the concept of simplicity against demands for more control and customization?

(M.I.) It’s very difficult to find a way to do that. We see a lot of comments from people who prefer the simplicity [of the original X100]. At the beginning of this project I made a mockup which looked almost the same as the original X100. I also made a mockup that looked almost the same as the production model of the X100V, which gained everyone’s approval. In the end we were able to make something that satisfied all of our goals.

The original X100 featured a simple twin-dial interface and limited number of external controls. Subsequent X100-Series cameras have become more complex, but immensely more powerful.

If you didn’t have any engineering or technical restraints, or any need to be true to the designs of previous models – if you could do whatever you wanted – what kind of camera would you make?

(M.I.) Right now I want to make the simplest, purest camera. Simple, and sharp in style. The X-Series cameras are based on classic styling, but I think that this kind of classic style, if it were to meet with an extremely modern style, we could create something new. I want to try. Simple, sharp, but solid design.

Could a future X100 camera have a simpler interface?

(M.I.) Maybe. But ‘simple’ doesn’t necessarily mean fewer dials or buttons.

Sometimes I think about musical instruments, versus using software like Garage Band […] It’s the same thing with shooting using a camera

Being intuitive in operation for photographers is the most important thing. A smartphone doesn’t have any buttons or dials, but it’s not necessarily the most intuitive interface for shooting photos. So we need to keep a balance.

When the original X100 was being planned, smartphone photography was in its infancy. How has the development of the smartphone, and changing customer behavior that resulted, influenced how you design cameras?

(M.I.) Maybe in the future we’ll invent brain-controlled cameras! But I wouldn’t want that. This (indicating the interface of the X100V) is the best way to shoot, to create an expression of creativity through photography. And this style of camera is completely different from a smartphone. Sometimes I think about musical instruments, versus using software like Garage Band. I like using Garage Band, but it’s completely different to playing an instrument. Playing something by hand is fun, and comfortable. It’s the same thing with shooting using a camera.

We always look at new technologies, like Ai, and we carefully choose the best way [to implement them]. We could create a haptic touch interface for buttons and dials and things like that, but it wouldn’t be a good fit for the X-series. That’s why we keep the buttons and dials, and the classic style.

Do you have any particular designers or artists that inspire you?

(M.I.) There are a lot of very good designers in the world, and a lot of them have inspired me. Every kind of industry has its masterpieces. It’s difficult to choose one, but I’d like to choose [industrial designer and Blade Runner concept artist] Syd Mead, who passed away recently.

Editor’s note: Barnaby Britton

The launch of the X100V in London recently provided a good opportunity to have an unusually tightly focused conversation with two of the figures most responsible for its development. Mr. Udono and Mr. Imai are key members of the team that has shepherded the X-Series (and later the GF line) from an idea, ten years ago, to the broad lineup of products that are available today.

From previous conversations with Fujifilm executives, we knew that of all the products in the company’s lineup, the X100 line is the one over which the most care is taken to update only the right things, and only in the right way. The X100 line is sometimes referred to by Fujifilm representatives as a ‘signature’ product line and for good reason: as Mr. Udono says, the X100 was ‘where we started’.

This small, quirky, retro-styled camera was a hit with enthusiast photographers almost from the word go, and subsequent generations have been embraced by photographers of all types, and all ages, all over the world. The X100F has proven the most popular iteration of all, which of course means that it was always going to be among the hardest to replace.

The X100 could have been launched (and was apparently originally planned to have been launched) with a simple fixed optical finder

Mr. Imai has been working at Fujifilm for a long time, and before that Minolta. As lead designer on the original X100, he has had a key role in the evolution of the X100 line and took full control over the design of the X100V. It was interesting to speak to him about the process of the original X100’s development, from mockups to a final product.

I didn’t know, for example, that the creation of the signature ‘hybrid’ viewfinder only happened around halfway through the development process of the camera. The X100 could have been launched (and was apparently originally planned to have been launched) with a simple fixed optical finder. Would it still have been a hit? I’m not sure. It’s certainly hard to imagine an X100 without the option for a hybrid finder, but I know a lot of X100-series owners claim that they rarely or never engage the EVF.

The message that came out of my conversation with Mr. Udono and Mr. Imai most clearly is that when it comes to the development of the X100 line, it’s almost more important for photographers to understand what Fujifilm can’t or won’t change than what they will. A lot of X100 fans want some kind of stabilization for example, but the simple fact is that adding it would be impossible without the dimensions of the camera changing.

With the current state of Fujifilm’s technology, Mr. Udono claims that adding an IBIS unit into the camera body would increase the body size, while an optical stabilization system would force (another) redesign of the lens and would inevitably also add bulk. The X100V is slightly larger than the X100F, but only very slightly (which is impressive, considering that it has a tilting screen – another long-standing request from some customers). Notably, the X100V can still use the same hood and filter adapter – and even the same converter lenses – that were released for the original X100.

As a fan of the series, with a drawer full of caps and adapters that I’ve picked up over the years, I personally appreciate this commitment to what Mr. Udono calls the key ‘tenets’ (Mr. Imai also referred to a design ‘law’) of the X100, as laid down almost a decade ago.

I always enjoy talking to artists and designers, partly because of my own background, but mostly because I’m always interested in what – and who – they cite as influences. Mr. Imai was no exception. During our conversation he mentioned such diverse influences as Star Wars and the F4 Phantom, but I shouldn’t have been surprised that as his main inspiration he cited the late Syd Mead.

A lot has happened since the original X100 was launched, and despite looking similar, the X100V is a different beast

Mead was a famed futurist, known for his work on 2001: A Space Odyssey and Star Wars, among many others. He is credited for visualizing what George Lucas described as the ‘used future’. This was a concept which arguably evolved into (or at least informed) the emergent retrofuturism of the late 1970s and 1980s, wherein nostalgic styling is melded with modern technology. In the world of digital photography, it’s hard to think of a better example of this aesthetic than the X100.

That being said, a lot has happened since the original X100 was launched, and despite looking similar, the X100V is a different beast. More versatile, sure, and definitely more powerful. But with a total of seven dials, an articulating screen, and the need to support serious video capture, it’s an altogether more complicated, less streamlined camera than its early ancestors. Mr. Imai admits as much, and it was interesting to hear him speak about his ‘dream’ camera: one that melds classic styling with modern simplicity. How this dream ends up being manifested in Fujifilm’s future camera lineup remains to be seen, but it’s something to look forward to.

Rumor: Canon’s next mirrorless camera could have 45MP sensor with IBIS and possible 8K/30p video

29 Jan

Yesterday, Canon Rumors posted an interesting list of rumored specifications for a Canon mirrorless camera it believes will be called the EOS R5. Today, additional details have emerged, painting a picture of what would be an impressive mirrorless camera if the rumored specifications hold true.

According to Canon Rumors’ report, which was created with information shared via multiple, unrelated anonymous sources, the camera could feature a 45-megapixel sensor with in-body image stabilization and still frame rates up to 20 frames per second. Specifically, Canon Rumors claims the IBIS will offer five stops of image stabilization on its own and up to 7–8 stops when used with in-lens stabilization as well. The still frame rates are still up in the air, as the sources are apparently offering conflicting information, but it appears as though it could be 14 fps and 20 fps for mechanical and electronic shutter, respectively.

According to Canon Rumors, the camera will offer 4K video at 120 fps and could offer 8K Raw at up to 30 fps, although it is noted that the 4K / 120 fps could be a crop mode to control heat and the 8K Raw could refer to a special timelapse mode in the camera.

Those specs are enticing, but it’s the rumored video features that are really interesting. According to Canon Rumors, the camera could offer 4K video at 120 fps and could offer 8K Raw at up to 30 fps, although it is noted that the 4K / 120 fps could be a crop mode to control heat and the 8K Raw could refer to a special timelapse mode in the camera.

Other details rumored include the addition of a scroll wheel, the removal of the touchbar, a larger-capacity battery that looks similar to the LP-E6/N batteries currently used by Canon, and an announcement date ‘ahead of CP+ next month.’

Canon users have long been asking for an R-series camera body worthy of Canon’s growing lineup of RF-mount lenses and if these rumors indeed come to fruition, it’s safe to say there won’t be much room left to complain. However, these specifications are just that: a rumor, so there’s also the possibility these are little more than hearsay or misleading fragments cobbled together from multiple other rumors.

In light of these rumored specifications, let us take a second to ask you, the reader, how you would like to see Canon evolve its R-series lineup going forward?

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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Ultra-thin lenses could eliminate the need for smartphone camera bumps

12 Oct

Protruding camera bumps like on the iPhone 11 Pro Max could soon be a thing of the past.

Smartphone cameras have been improved a lot over recent years and while many improvements are down to software and image processing, hardware also plays a big part. Sensor sizes have been increased, lenses have become faster and optical tele lenses offer better zoom performance.

However, there’s also a drawback to these developments. Due to the laws of physics, faster and longer lenses, especially when combined with larger sensors, take up more space in a device. Combined with the device designers’ obsession with ultra-thin bodies this resulted in many devices coming with unsightly ‘camera bumps’ that protrude from otherwise perfectly smooth smartphone housings.

Those bumps could soon be a thing of the past, though. A research team at the University of Utah has developed a super-thin camera lens that would easily fit even in the thinnest smartphone body.

Current lenses are, depending on lens type and sensor size of the camera, a few millimeters thick. The new lens type is only a few microns thick, that’s about a thousand times thinner than current smartphone lenses. They are also one hundred times lighter.

Flat lens developed by researchers at the University of Utah, photo: Dan Hixson/University of Utah College of Engineering

The method the researchers have used to make this possible has been detailed in a research paper published in the Proceedings of the National Academy of Sciences. The new lenses are flat and consist of a large number of microstructures, each bending the light towards the sensor rather than just one single piece. As part of the project the team also developed a fabrication process using a new type of polymer and algorithms than can calculate the exact geometry required for these microstructures.

‘You can think of these microstructures as very small pixels of a lens,’ says Rajesh Menon, one of the co-authors of the project, ‘They’re not a lens by themselves but all working together to act as a lens.’

According to the scientists, the new lens type could also help give smartphones thermal imaging capabilities as well as design more lightweight military drones that could fly longer and lighter night vision cameras for soldiers in the field.

Articles: Digital Photography Review (dpreview.com)

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Trump’s New Tariffs Could Drive Up the Prices of Cameras and Lenses

08 Aug

The post Trump’s New Tariffs Could Drive Up the Prices of Cameras and Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

President Donald Trump made waves last week when he announced new tariffs on Chinese goods via Twitter.

Trump writes:

“Our representatives have just returned from China where they had constructive talks having to do with a future Trade Deal…Trade talks are continuing.”

Trump goes on to explain that “the US will start, on September 1st, putting a small additional Tariff of 10% on the remaining 300 Billion Dollars of goods and products coming from China into our Country.”

…during the talks the U.S. will start, on September 1st, putting a small additional Tariff of 10% on the remaining 300 Billion Dollars of goods and products coming from China into our Country. This does not include the 250 Billion Dollars already Tariffed at 25%…

— Donald J. Trump (@realDonaldTrump) 1 August 2019

In other words, certain goods will be taxed before arriving in the US.

For photographers, this is an especially painful blow.

Up to this point, photography equipment had largely managed to avoid any import taxes. But the new 10% tariff will be largely levied on electronics, including computers, phones, and camera gear. And it may cause serious consequences for American consumers of photo equipment.

lucas Favre

You see, prices of camera products exist in a delicate balance. When the cost to import the gear goes up, prices go up with it, in order to offset the cost paid by resellers. This cost is often felt by consumers.

While companies like Canon, Nikon, and Sony are based in Japan, a significant number of their imaging products are made in China. It’s these products that will be hit by the tariffs, and it’s these products consumers should be worried about.

Trump does promise that his administration will work toward a trade deal with China. However, you should note that these new tariffs follow on the heels of previous tariffs, which left camera gear largely untouched. If the trend continues, things are likely to get worse before they get better.

Of course, this news is only relevant to American readers. Prices in countries other than the US will remain unaffected. But for photography-lovers in America, you may want to purchase any China-made camera gear now, while you can still get it for cheap.

President Trump’s tweet indicates that the new tariffs will come into effect on September 1st.

So pretty soon, prices will be on the rise.

What do you think about the tariffs? Will they stop you buying new camera gear? Let me know in the comments!

The post Trump’s New Tariffs Could Drive Up the Prices of Cameras and Lenses appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Adobe informs users that using old versions of CC apps could lead to lawsuits from third parties

15 May

Last week, Adobe informed Creative Cloud subscribers that programs older than the two most recent version releases would no longer be available to download. Now, Adobe has sent out an email warning subscribers that continuing to use older software could put them at risk of getting sued by third parties.

Below is a transcription of the text sent to a number of Creative Cloud subscribers:

Dear Valued Creative Cloud Customer,

We have an update to share with you regarding Creative Cloud version download availability. For customers who have not yet updated to the latest version of Creative Cloud, please note that you are no longer licensed to use certain older versions of the applications or deploy packages containing these older versions. We ask that your organization discontinues all usage of the unauthorized products listed in the table below, and instead update to the authorized versions provided. You will continue to receive all the value that Creative Cloud has to offer, but with more advanced features, capabilities and security. Please be aware that if you continue to use or deploy the older, unauthorized versions of Creative Cloud, you will not have third-party claim coverage pursuant to your contract with Adobe. Should you continue to use or deploy these unauthorized versions, you may be at risk of potential claims of infringement by third parties.

Here’s what to do next:

• If your users have self-service access to Creative Cloud via the CC Desktop App, you should encourage them to upgrade their software.
• If you package and deploy products to your users, then you should go to the Adobe Admin Console and create new packages from the versions available
• If you are still licensing with a serial number, you should continue to create packages using Creative Cloud Packager
• Finally, we advise that you un-install unauthorized versions and delete pre-existing packages to prevent future accidental deployments.

Adobe’s Customer Support organization is available to answer any questions about upgrading your Creative Cloud software. Please contact them directly should you have any questions. We apologize for any inconvenience that this may cause and thank you in advance for your cooperation.

Sincerely,
The Adobe Team

Below is a list of the unauthorized versions of software addressed in the message:

Photoshop: CC 18.1.6 and prior, CC 17, CC 16, CC 15, CC 14, 13
InDesign: CC 9, 8
Premiere Pro: CC 11, CC 10, CC 9, CC 8, CC 7, 6
Media Encoder: CC 11, CC 10, CC 9, CC 8, CC 7, 6
After Effects: CC 14, CC 13, CC 12, CC 11
Animate: CC 16, CC 15, CC 14, CC 13, 12
Audition: CC 6, CC 5, CC 4
Lightroom Classic: CC 6, CC 5, CC 4
Bridge: CC 7, CC 6
Prelude: CC 6, CC 5, CC4, CC 3, CC 2, 1
SpeedGrade (has been discontinued): CC 9, CC 8, CC 7, 6
Captivate: Captivate 2017 (10.0.0)

Based on the information provided in the email, as well as previous complaints filed by third parties, it sounds as though the licensing agreement Adobe had for technologies inside select Creative Cloud programs has run out with whatever entities it was licensing it from.

It’s unknown at this time what specific technologies were licensed and who they were licensed from, but as Apple Insider has noted, Dolby may very well be one of the companies, as it sued Adobe last year for copyright infringement. Specifically, Dolby’s complaint claimed Adobe was under-reporting how many Creative Cloud subscribers it had, which affected revenue from the licensing fee it negotiated and agreed upon with Adobe for its audio encoders and other software technologies.

DPReview contacted Adobe for comment on the message that was sent out as well as more details on the matter and below is the response we received:

Adobe recently discontinued certain older versions of Creative Cloud applications. Customers using those versions have been notified that they are no longer licensed to use them and were provided guidance on how to upgrade to the latest authorized versions. Unfortunately, customers who continue to use or deploy older, unauthorized versions of Creative Cloud may face potential claims of infringement by third parties.

Articles: Digital Photography Review (dpreview.com)

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The FAA predicts the commercial drone market could triple in size by 2023

08 May

The Federal Aviation Administration (FAA) recently released its two-decade Aerospace Forecast for fiscal years 2019-2039. While they’ve successfully predicted steady growth in the drone industry over the past five years, this latest annual update reveals that they’ve underestimated the phenomenal rate of adoption for unmanned aerial vehicles.

‘A comparison of last year’s data with this year’s (2018) shows that the annual growth rate to be around 13 percent,’ reads the report. ‘This continues to be substantial growth as anticipated from the introduction of drones as a recreation activity facilitated by falling equipment prices and improved technology, such as built-in cameras and relatively easy maneuvering.’

Last year, predictions put roughly 452,000 commercial (non-model) drones in the sky by 2022. Now it appears that the industry will reach that landmark around the beginning of next year. According to the latest data collected, if trends continue, the FAA foresees market growth tripling in size over the next five years, topping off at 835,000 drones by 2023 – an average annual growth rate of 24.7 percent.

The FAA has registered more than 116,000 remote pilots through the end of 2018. Officials expect that number to reach roughly 350,000 pilots with Part 107 certification by 2023.

The FAA has registered more than 116,000 remote pilots through the end of 2018. Officials expect that number to reach roughly 350,000 pilots with Part 107 certification by 2023. In this category, “the pace of monthly registration, almost 15,000, is nearly 3-times higher than the pace at which non-model aircraft owners registered their craft during the same time last year.”

Despite the significant growth, the FAA acknowledged that as with all technologies, model aircraft (non-commercial drone) sales will inevitably slow as ‘the pace of falling prices diminishes and the early adopters begin to experience limits in their experiments or simply eagerness plateaus.’

Since the FAA’s online registration system went into effect on Dec. 21, 2015, more than 900,000 owners have registered their drones through September 2018. The agency estimates 1.25 million drones are currently in use across the U.S. with growth projected to reach 1.4 million by 2023. Monthly owner registration for model aircraft averaged around 8,000 – 9,000 per month from January – December, 2018. The overall pace of registration has decreased to about half compared to the same period the year before.

As the commercial industry continues to grow, new sectors and uses for drone technology will continue to emerge. Google’s Wing recently received permission to deliver small commercial goods to consumers, a first for the FAA to grant any company. A kidney was transported, via drone, to a transplant patient this past week.

Articles: Digital Photography Review (dpreview.com)

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Field Test: Could the Nikon 200-500mm f/5.6 be the Most Versatile Wildlife Lens?

06 May

The post Field Test: Could the Nikon 200-500mm f/5.6 be the Most Versatile Wildlife Lens? appeared first on Digital Photography School. It was authored by Shreyas Yadav.

Wildlife photography is exciting as well as challenging. Imagine you are photographing a Tiger at a distance and suddenly the Tiger attacks a deer! Alternatively, imagine you are in an African savanna where you are photographing a grazing herd of Elephants at a distance, and right after that, you see a beautiful Eagle on the nearby tree. To photograph these type of objects, you need to have a wide range of zoom lenses. You may have experienced this while on a Jungle Safari. Changing a lens while in the field can be difficult.

Nikon 200-500 f/5.6 lens mounted on a camera, zoomed to 500mm

It looks like Nikon has considered the needs of Wildlife photographers and produced a versatile, fixed-aperture telephoto lens at a quite reasonable price; the Nikon 200-500mm f/5.6.

The Nikon 200-500 f/5.6 lens, priced at around US$ 1400, weighs about 2300g (81.02oz). The best part is the lens has a fixed maximum aperture of f/5.6. In addition to a fixed aperture, there are three extra-low dispersion glass elements (ED), powerful vibration reduction (VR) – making this lens optically superb – and it also comes with a tripod collar. The lens is stable when mounted on a tripod, and it comes with HB-71 lens hood. The lens also works great with both full-frame (FX) and crop-sensor (DX) Nikon cameras. The telephoto zoom range and beautiful optics make this lens perfect for birds, nature and wildlife photography.

This field review of the Nikon 200-500 f/5.6 lens, looks at how the lens performs from the perspective of a nature and wildlife photographer. It examines how this lens performs in the wild, as well as looking at the lens controls and ergonomics. This is important, especially if the lens has to be used from dawn to dusk in the wilderness.

This lens is versatile for photographing wildlife, mainly because of it’s:

Capability to photograph small and large objects
Convenience to capture both nearest and farthest objects, thanks to the zoom range!
Excellent compatibility with full-frame (FX) and crop-sensor (D) cameras, which means you can use the same lens on either of your camera bodies
Compatibility with the latest Mirrorless cameras (requires an FTZ lens adapter)
Travel-friendly size
Excellent vibration reduction
Convenient grip when you hold the lens collar

Specifications

Focal Length

The focal length of the lens is from 200mm to 500mm. Being FX lens, effective focal length on FX bodies is 200mm to 500mm. On DX Nikon bodies, the effective focal length is approximately 300mm to 750mm.

The lens is capable of photographing small objects such as this Ground orchid (at focal length of 310mm)

Image of large-sized Elephant approaching from a distance of around 300ft (110 yards) at a focal length of 200mm.

Image of large Elephant approached closer at a focal length of 500mm.

Small sized Oriental white-eye bird photographed at a close distance of 8ft at a focal length of 500mm.

Aperture

The maximum aperture is f/5.6, and the minimum aperture is f/32. The Nikon 200-500 f/5.6 is an E-type lens (Electromagnetic diaphragm mechanism). It provides better control on the aperture blade as compared to mechanical linkages. This feature is compatible with newer cameras; however, with older DSLR cameras, an aperture is fixed to f/5.6.

Extra-low dispersion glass elements

The lens has 3 ED glass elements. ED glass element helps in reducing chromatic aberrations and offers overall better image quality.

Minimum focusing distance

This is the minimum distance between the lens and an object at which the lens focuses. The Nikon 200-500 f/5.6 has a minimum focusing distance of 2.2m (7.2ft). For wildlife and bird photography, this is a perfect minimum distance. With a minimum focusing distance of 7.2ft, the lens acquires perfect focus in most cases.

Autofocus

Thanks to Silent Wave Motors (SWM), the lens focuses quietly and with accuracy. The lens indicates this feature as AF-S. While you autofocus, you can instantly override autofocus by manual focus and vice versa (M/A). The lens can be focussed manually (M) as well.

Teleconverter support

The Nikon 200-500 f/5.6 is compatible with TC-14E III (1.4X) series teleconverters when used with DSLR cameras which can autofocus up to f/8. During low-light conditions, autofocus performance of the lens along with TC-14E III is satisfactory and usable. With the TC-17E (1.7X) and TC-20E (2X), aperture goes beyond f/8, hence autofocus is not possible. For this reason, it is not recommended you use the Nikon 200-500 lens with TC-17E and TC-20E teleconverters.

Camera compatibility

Full-frame (FX) cameras, crop-sensor ( DX ) DSLR cameras and Nikon mirrorless cameras (Optional FTZ mount adapter required) are compatible with the lens. This E-type lens (Electronic diaphragm) will work with the following cameras (you can change the lens aperture on these camera bodies): D5,D500, D4,D4S, D3, D3s , Df, D850, D810, D810A, D800, D750, D700, D610, D600, D300, D7500, D7200, D7100, D7000, D5600, D5500, D5300, D5200, D5100, D5000, D3400, D3300, D3200, D3100.

On older versions of cameras, such as Nikon D200, you cannot change the aperture. The aperture will be fixed to f/5.6.

Filters (Optional)

The Nikon 200-500 f/5.6 accepts 95mm screw-on filters. When carrying this lens into the wilderness, I recommend you have a filter. It protects the front glass element from dust, mild drizzle and minor scratches. I use the filter while photographing and do not see any significant loss in image quality. However, make sure you use a high-quality lens filter to ensure minimal loss in quality.

Vibration reduction

This lens has excellent vibration reduction performance. I have achieved sharp images at 1/30th during low light conditions. Nikon claims to have the benefit of 4½ stops. I always keep the VR “ON.”

There are two VR Modes – Normal and Sports. Normal mode works fine for me while hand-holding the lens on the ground, and also in the safari vehicle. I tend to keep it set to Normal mode.

Image of Warbler bird with Vibration Reduction OFF. Feathers are not clearly visible Exif: 500mm f/5.6 1/400s ISO 2000, VR OFF

Image as it is from a camera with Vibration Reduction ON. Feathers are sharp. The lens is a handheld. Exif: 500mm f/5.6 1/400th ISO 2000, VR ON

Weight

Weighing in at approximately 2300g (81.2 oz), the lens initially feels somewhat heavy. However, as you start hand-holding this lens regularly, you get used to the weight. I am now able to handhold this lens for two to three hours without any issue.

Lens Hood (included)

The HB-71 Lens hood is a plastic hood. It is a decent hood but slightly big to fit in the bag. However, I do use a hood on the lens mainly to protect the front glass element of the lens from minor bumps, tree twigs, and rain.

Lens Size

The lens Diameter is 4.2inches (108 mm), and the length is 10.5 inches (267.5 mm) at 200 mm zoom. The lens fits perfectly in mid-sized camera bags such as Lowepro Flipside 400 with the body attached. You can invert and fit the lens hood as well.

Controls and ergonomics

Controls

Lens controls

The Nikon 200-500mm f/4.5 has five controls:

M/A – M

M/A means while autofocusing you can override it with manual focus if required.

M is a full-manual focus.

Full/Infinity – 6m

Full allows the lens to focus on the entire focusing range. I use Full all the time and have never missed the focus.

Infinity – 6m option limits the focusing range of the lens. The lens will focus from 6m to infinity. Any object which is closer than 6m won’t be in focus. I recommend using the Full option.

VR ON – OFF

Vibration reduction(VR) ON-OFF. Set this to ON. I set it to ON even when mounted on a tripod.

NORMAL-SPORTS

Set the VR type to NORMAL. For wildlife and birds, NORMAL mode works great. NORMAL mode works great while I am hand holding the lens and even in the safari jeep.

LOCK 200

The Lock 200 button locks the lens to 200mm. You cannot zoom the lens if it is locked. The lock switch is perfect for when you are traveling, and your lens is packed. It avoids unintended zooming during travel.

Ergonomics

The lens is a bit heavy, but as you continue to use it, you will be able to easily handhold it. I found when hand holding the lens, removing the lens collar or rotating it upwards made it easier to hand hold. However, hiking with this lens can be hard due to its weight, especially carrying it up the mountains.

The zoom ring is smooth with an excellent rubber grip. The zooming feels smooth and is precise. However, the manual focus ring feels slightly loose. But, I do find the quality of manual focus to be excellent.

The Nikon 200-500 f/5.6 fits in a mid-sized camera bag. However, to accommodate the lens and camera, a larger bag is required. The only awkward part is the lens hood. Either you can invert the lens hood and keep in the bag or use a slightly bigger bag. I use this lens with Lowepro Flipside 300 (only lens), and the Lowepro Flipside 400 when the camera is attached.

Weather sealing

The weather sealing of this lens is quite decent, and I have used this lens in a moderately dusty forest and some drizzle. The lens offered good weather sealing. Make sure you clean the lens after using in dust and drizzle. I clean the front element, outer lens barrel, and mount. I use a Nikon Lenspen Pro kit for cleaning which is easy to use and travel-friendly.

The overall construction of the lens is good. It can handle minor bumps. However, some parts are made up of plastic, making the lens construction not as rock-solid as pro-grade lenses.

Qualities of the lens from the perspective of nature and wildlife photographer

Focusing speed

Wildlife actions happen in a few seconds. Focusing speed is most critical for wildlife photography. The speed of focus with Nikon 200-500 f/5.6 is good. When the light conditions are good – such as morning and early evening – this lens focuses fast and accurately. I use back button autofocus. I have used this lens in forest, safari, grasslands, and drizzle. Here is how this lens exactly performs in the field –

The lens focuses superbly in the following light conditions and scenarios:

Bright light such as morning and evening light
Drizzle and normal dusty environment
Birds in flight (moving at a pace of slow to medium and not fast)
Animals and birds behind a tree or grass (behind clutter)
Animals in action (moving at a pace of slow, medium and fast)
Smaller birds and wildlife such as sunbirds, frogs, and grasshoppers (when they are slow moving or stationary)

Hawk cuckoo bird in the rain. Low light image and photographed from a safari vehicle.

Flight of fast-diving paradise flycatcher. Lens focussed on this fast-moving bird in good light conditions.

This bird was behind the grass. There was significant clutter in front of it and the lens focussed accurately on the bird.

Focus performance of the lens is average in following light conditions and scenarios:

Early morning or late evening light – this is the time when action happens for leopards, tigers, owls and nocturnal creatures. You may need an external light such as flashlights or headlights (not camera flash)
When the weather is rainy or dusty the lens focus performance is satisfactory
If the wildlife action is very fast, such as a Kingfisher bird diving for fish or a swallow bird flying over water
If wildlife is very small in sizes such as sunbird, crab or bees and moving

Average focus performance when photographing small objects such as a flying kingfisher at a distance.

A Peacock photographed when it was raining. The lens managed to autofocus decently during low light and rainy conditions.

Focus performance of the lens is poor in following light conditions and scenarios:

When the light conditions are poor such as night and heavy rain.
When birds in flight are at a very long distance against the plain and cluttered background – Lens struggles to focus in this case. This type of focus hunt I have experienced while photographing birds in flight against blue sky at longer distances.

Crested Hawk Eagle chasing Heron. The birds were at a longer distance and photographed during very low light conditions. Lens focus performance is a bit on the poor side.

The River Tern was flying at a long distance against a plain blue background. In this type of scenario, the lens struggles to focus on the main object.

Low light performance

This is a tricky one! As it depends also on how your camera performs in low light and how you photograph. Many of the latest cameras by Nikon are good enough to shoot in low light. Hence there are only two things which have an impact on the final image: lens low light performance and your shooting style.

All-in-all, lens performance is somewhere between good to average in low light. But if you follow the below techniques, you will be stunned with your images. It is so good! I have followed these techniques and achieved awesome images in low light :

Use a bean bag or tripod
Use aperture f/5.6
Since there is no external light source (such as flash) use shutter speeds from 1/30th to 1/60th of a second
If the lens is struggling to autofocus quickly, focus manually
Shoot in raw so that you can recover and process images effectively
Shoot at a reasonably high ISO (depends on your camera) but generally ISO 2000 to 4000 can provide a great balance between image quality and noise.

Here is an image I shot in almost darkness during a late winter evening. I used a bean bag, the aperture was set to f/5.6 and shutter speed 1/30s. The ISO was around 2500.

A Leopard during a late winter evening. Focus performance was decent during low light. Exif: 480mm f/5.6 1/30th ISO 2500

This type of performance I was able to repeat multiple times.

In short, in very low light scenarios the lens performance is average. But if you master it using the above-mentioned techniques, you can achieve stunning images.

A range of focal lengths

The Nikon 200-500mm captured the market aggressively in a short time. Its focal length is one of the prime reasons. This range is optimum for wildlife photography and is also a great focal length range on both full-frame and crop-sensor cameras. 500mm is a great range for birds, while the 200 to 400 focal length is great for large and smaller size wildlife.

If you are using a full-frame camera, you will get a focal length of 200mm to 500mm. If you are DX shooter, the effective focal length you will be getting is around 300mm to 750mm. 750mm is superb for bird photography. 300mm is great for animals and other wildlife. I use Nikon 200-500 f/5.6 on crop-sensor ( DX format ) body. When I am on a safari with the effective focal length of 300mm to 750mm, I can easily photograph eagles, woodpeckers, small forest birds, tigers, elephants, and snakes.

A Rat snake appeared in the bushes which were very close to me. I zoomed out the lens to capture this beautiful snake. Focal length: 200mm.

Flamingos are very sensitive to a boat. Hence, I have to keep a good amount of distance from them. I captured this image from a long distance while I was in a boat. The long zoom range helped to photograph this distant yet beautiful scene. Focal length: 480mm

The one caveat is you can’t capture wildlife when they approach close to your safari gypsy or boat. I needed to switch to the smaller telephoto lens such as Nikon 80-200 f/2.8 in this scenario.

Tigress in the dusty grassland. Lens managed to focus in a dusty environment. This image is captured with Nikon 200-500 f/5.6

As the Tigress approached very close, I switched to the 80-200 f/2.8 lens, as it was a close encounter.

Best aperture, image sharpness, and colors

When the lens is wide open, the aperture is f/5.6 from 200mm to 500mm. At 200mm, the f/5.6 aperture is a bit slow, but at 500mm f/5.6 is excellent. This is where you are going to use it the most.

I use the lens wide open 70% of the time. I use the lens wide open for slow-moving birds and wildlife. If the objects are relatively close, I get sharp images using f/5.6.

In some of the instances, such as birds in flight, fast-moving wildlife, and wildlife at distance, I stop down the lens to f/7.1 or f/8. This is mainly to extend the depth of field.

Shoveler in flight photographed at f/8 – sharp flight.

Shoveler bird captured at f/5.6, sharpness at this aperture is great

If the objects are at a shorter distance and not moving very fast, aperture f/5.6 produces nice colors and sharpness. If the objects are moving fast, use f/8 to achieve sharp images. While you adjust your aperture for image sharpness also ensure you have enough shutter speed to freeze the action.

Here are the techniques to get sharp images with this lens every time. I have used these techniques in the wild and repeatedly produced a sharp image:

Set lens aperture to f/5.6 or f/8 depending on the subject
Set the shutter speed to at least 2x times the focal length (for example, if you are at 500mm, use a shutter speed at least as a 1/1000s )
In case you are not able to use a high shutter speed because of low light, either use Vibration Reduction along with stable support such as a tripod or bean bag (shutter speeds can be as low as 1/30th)
Use continuous autofocus with focus areas as a d9 (AF-C + d9) or Single autofocus with focus area as S (center point) ( AF-S )
In case required to increase the ISO values. ISO values ranging from ISO 2000 to ISO 4000 (This depends on how well your camera can handle the noise). But for most of the latest Nikon cameras, this is a sweet spot

These are the main aperture values useful in wildlife and nature photography. I have found f/5.6 to f/11 the most versatile. But don’t limit yourself to these numbers. Try different aperture values based on the creative signature you want to make with your image.

Manual focus override

Manual focus override (M/A button) is useful when the lens struggles to autofocus. Usually, this happens if there is clutter in front of the main object. Examples are grass or leaves in front of birds and animals. In this case, use the manual focus ring to focus. The manual focus ring feels a bit loose, but the quality and precision of manual focus are good.

Manual focus override is also useful in low light conditions. In fact, I highly recommend when there is low light or if wildlife is in clutter, use manual focus override. You will end up getting perfectly focussed images every time.

Place Image 26: Image of a jackal. Initially, I tried using autofocus. Since there was much clutter in front of Jackal, I used the manual focus override. The transition was smooth, and the precision of the manual focus worked well.

Vibration reduction

The Vibration Reduction on the Nikon 200-500 f/5.6 is great. I achieved great results when handholding this lens at a shutter speed of 1/30th in low light. When you are in a safari or hiking, this type of great VR is good to have so you can make sharp images while hand holding the lens.

Place Image 27: Barking deer photographed at 1/30 s shutter speed from the safari vehicle. (Exif: at 360 mm, f/5.6, 1/30s, ISO 1600 )

Recommendations

Pros:

Maximum aperture of f/5.6 for entire zoom range
Excellent Vibration reduction performance
Focal length is perfect for wildlife and nature photography
Good focusing speed and image quality
Most affordable price for a super telephoto lens

Cons:

Hood size is big to fit in the small bag
Some people may find this lens a bit heavy
Bigger filter (95mm) – it adds some price. If you don’t want to use a filter, then you can skip it.

Conclusion

The Nikon 200-500 f/5.6E VR is a beautiful all-around lens. It is perfect for animals and birds. If you are looking for the most versatile lens for wildlife and nature, the Nikon 200-500 f/5.6 E VR is for you! Especially with the price of $ 1400, no other lens comes close.

It is compatible with all current Nikon DSLR and mirrorless cameras. Nikon 200-500 f/5.6E VR is your best friend in the wilderness. You will purely enjoy photographing the wildlife with Nikon 200-500 f/5.6E VR. Good luck!

Which telephoto lens do you use? What do you think about Nikon 200-500 f/5.6 lens? Please do let us know in the comments below.

The post Field Test: Could the Nikon 200-500mm f/5.6 be the Most Versatile Wildlife Lens? appeared first on Digital Photography School. It was authored by Shreyas Yadav.

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Canon could put continuous LED lights inside pop-up flash units according to patent application

15 Apr

Canon is looking into putting continuous LED lights into the pop-up flash of its cameras, according a recent patent application.

Japanese patent application 2019-056787 (translated) details how Canon could put continuous LED lights inside the pop-up flash alongside the conventional xenon tubes used for still photography. This combo would not only provide a modeling light function, but also serve as a continuous lighting source for video.

An illustration from the patent application highlights the LED lights (part 15) attached to the heat-dissipating substrate (part 16a), which would then be reflected off the aluminum substrate (part 14) through the fresnel lens (part 11) at the front of the flash unit.

According to the patent text, the LED array would lay flat at the bottom part of the flash housing with the diodes facing upwards. When turned on, the LED light is then reflected off a specialized aluminum substrate through the fresnel lens on the front of the flash unit. This arrangement not only allows space for the standard Xenon tube to operate, but also helps to dissipate the intense heat the LEDs will put out when used for extended periods of time. Canon does note, however, that the exact arrangement is still ‘flexible’ to account for any overheating and alignment issues.

A profile shot of the flash unit showing the LED lights (part 15) attached to the heat-dissipating substrate (part 16), which would then be reflected off the aluminum substrate (part 14) through the fresnel lens (part 11, 11a) at the front of the flash unit.

Canon also addresses the spread of light from the LED units, saying it can narrow or widen the spread of light through alteration of the fresnel lens and limiting the throw of the LEDs, but notes it also has to balance the throw of the xenon tube as well.

An illustration showing the pop-up unit open (left) and closed (right). Note the illustration shows a DSLR, not a mirrorless camera, although that could be because Canon hadn’t yet launched the EOS R at the time of this patent application’s development and didn’t want to give away any hints.

As with all patent applications and patents, there’s no way of knowing whether or not this technology will make it into future cameras, but it’s interesting to see what Canon is cooking up behind the scenes regardless.

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Review: Yongnuo 50mm f/1.8 lens for Canon – At just US$50 could this be the most affordable “nifty fifty”?

18 Mar

The post Review: Yongnuo 50mm f/1.8 lens for Canon – At just US$ 50 could this be the most affordable “nifty fifty”? appeared first on Digital Photography School. It was authored by Kunal Malhotra.

The 50mm f/1.8 lens, or as we call it, the ‘Nifty Fifty,’ is one of the most widely used lenses in the market. This is usually the first lens a modern digital camera owner desires to purchase after the kit lenses.

The reasons why this is the most popular lens are fairly simple – the first being affordability, and the second, the ability to produce pleasing bokeh.

In terms of affordability, the Yongnuo 50mm f/1.8 lens is ideally the cheapest Nifty Fifty. Priced at less than US$ 50, this is less than half of the Canon variant and works on APS-C as well as full-frame cameras.

However, the Yongnuo lens for Nikon costs around US$ 70 as it includes the focus motor. I recently bought one for my Canon 5D Mark iii, so I thought of sharing my views about this lens.

Build quality and ergonomics

The Yongnuo 50mm f/1.8 lens looks exactly like the Canon 50mm f/1.8 lens (discontinued version). The plastic used in the Yongnuo lens feels a bit cheaper though. Surprisingly, the rubber grip is smooth, and the ‘AF and MF’ switch is similar to Canon.

The construction of the lens consists of 6 elements in 5 groups and has 7 diaphragm blades – the same as the Canon variant. This Yongnuo lens is light to carry as it weighs only 120g – 40g lighter than its competitor. Overall the lens looks and feels good at this price point.

Focus speed and accuracy

I have been using this for almost a month now, during the day as well as night time. The focus speed is a bit slow as the lens hunts for focus, especially in low light conditions. If you are shooting stationary subjects, then it is fine, but if you want to nail the focus swiftly, then you might be disappointed.

Though the focus speed is not that fast, the accuracy is fairly good. It takes time to focus but when it does the focus is accurate. I would not recommend this lens for video shooters as it messes a lot with the focus. However, if you are a hobbyist and casually shoot portraits or still objects, this lens can do the job.

Sharpness and Image Quality

Before clicking photos using the Yongnuo 50mm f/1.8, I had much less expectation from this lens. To my surprise, this lens produced amazing sharpness and image quality. I did not compare it side by side with its competitor lens, but I am sure it is on par with it.

The few image samples that you see are all shot at an event during the sunset/evening time. The images are tad sharp, and the colors also look natural. I had done a test on vignetting performance, and at f/4 it was almost gone. This lens worked for me when I was shooting stationary subjects as well as when shooting performing artists at an event.

For me, the bokeh shape was a bit unpleasant at f/1.8, and I’m not sure exactly why. I used this lens at f/2.8 and achieved sharp and crisp images with minimum vignetting and shallow depth of field effect.

Conclusion

This lens by Yongnuo is for someone who has just started with photography or has a tight budget but still wants to achieve the f/1.8 look at 50mm. The focus speed is something that might irritate you, but once it focuses the image quality is quite impressive. I would suggest this lens to someone who shoots still subjects or portraits without much movement. If you are a wedding, event or a professional portrait photographer, you might be disappointed.

Have you used this lens? What are your thoughts?

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