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Canon Q2 financial results: Camera division still profiting, but down 93.9% year-over-year

31 Jul

Canon has published its second-quarter (Q2) financial results, which covers from the beginning April 2020 through the end of June 2020, and, as you would expect in these difficult times, the camera division isn’t looking all that great.

Canon made it clear in its first quarter (Q1) results that things would get worse before they got better; and Q2 numbers are the first concrete evidence of just how much the COVID-19 pandemic has hurt the camera division in an already-declining market.

Across all of its divisions, Canon reported a loss of ¥8.8 billion ($ 83.3M), marking the first time in its 82 year history the company has been in the red on a quarterly basis. Canon says in its investor presentation that the ‘impact of global economic stagnation [due to the COVID-19 pandemic] was inevitable as we faced rapid drops in actual demand in various businesses and were confronted with limited business activity.’

As for the imaging division, Canon reported net sales of ¥141.7B ($ 1.35B) and an operating profit of just ¥800M ($ 7.65M). While seeing any operating profit is good news in this environment, the numbers are still a stark contrast to Q2 2019. Net sales were down 30.8% and operating profit was down 93.9% year-over-year (YoY).

In the Imaging System breakdown, Canon attributes the decline in net sales to there being ‘fewer image capturing opportunities, such as travel and other events.’ due to COVID-19. Canon says it ‘will take time for sales to recover as cameras are considered a luxury item,’ but it’s projecting the entire market to be down 40% to just 5.4M units and its own unit sales down by the same proportion, to 2.5M.

In addition to Canon elaborating on its cameras being used as webcams for video conferencing and communication, Canon also says it plans to ‘enhance’ its concept camera initiative, with new models expected to be out before the end of the year.

Despite the big fall in Q2, Canon is expecting operating profit to only fall 66% for the full year, and sales by value only 20%. This suggests it expects models such as the R5 and R6 to make up for some of the poor Q2 performance. The company says these models and the RF lenses will ‘solidify our position in the full-frame camera market.’

Compared to Canon’s end-of-2019 projections, which anticipated total sales of ¥787B and an operating profit of ¥53.7 for the 2020 fiscal year, its new Q2 2020 projection for total sales of ¥643.9B and operating profit of ¥16.1B is a drop of 19% and 70%, respectively.

As for how it intends to handle the direction of its camera division post-COVID-19, Canon says it will ‘accelerate measures to streamline operations’ and ‘expand business areas that utilize optical technology.’ Specifically, Canon says it will ‘work to facilitate our aim of switching business domains, leveraging the optical technology we have cultivated so far, and reallocating resources to new fields such as automobiles and industrial-use sensors.’

Although acknowledging that the camera market has declined faster than anticipated (pre-COVID-19), Canon emphasizes that its position – that ‘sooner or later the market will settle down and consist solely of users that are particular about imaging’– has not changed.

Summed up, the numbers are down across the board, but they aren’t all that surprising considering the current state of the camera (and global) market. Canon expects to further expand the use of its sensor and optics technology to industrial and automotive use, but still plans to streamline its operations to make the most of its ILC and compact camera products.

You can read all of the financial results by visiting Canon’s investor relations webpage.

Articles: Digital Photography Review (dpreview.com)

 
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Pentax’s new ‘Brand Vision’ shows it’s doubling down on SLR camera systems

17 Jul

While the rest of the photography world is determined to double down on mirrorless camera systems, Pentax has announced its dedication to SLR cameras. In the above video a new microsite dedicated to the new ‘Pentax Brand Vision,’ the Japanese manufacturer emphasizes its dedication to ‘the future of SLR Photography.’

A product photo of Pentax’s upcoming APS-C DSLR, which is yet to be named.

‘When you take a picture with a single-lens reflex (SLR) camera, the light passes through the lens, and in turn the optical viewfinder,’ reads a manifesto of sorts on the microsite. ‘You view the image directly with your eyes, and feel it with your heart.’

The microsite notes Pentax was the first Japanese manufacturer to build an SLR and says the company ‘is committed to the future of SLR photography through the continued development of camera technology, making it more fun and exciting than ever before for all PENTAX users.’ From there, under numerous headlines, Pentax explains a number of benefits it believes SLR cameras offer over other camera systems.

Pentax ends its SLR tribute page with ‘The Five Principles of Pentax,’ seen in the screenshot below:

Pentax has also shared a 30-minute video wherein Ricoh Imaging President, Shinobu Takahashi, explains the company’s vision and what it values most in future camera releases:

This kind of dedication to SLR cameras is surprising in a market that’s hellbent on ridding the photography world of mirrors, but it doesn’t necessarily come as a surprise considering how much effort Pentax put into emphasizing its optical viewfinder technology during the development livestream of its forthcoming APS-C DSLR.

Articles: Digital Photography Review (dpreview.com)

 
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World Press Photo Managing Director, Lars Boering, steps down suddenly as the foundation pivots due to COVID-19

03 Jul

The head of the World Press Photo Foundation has stepped down after five years in the role. Dutchman Lars Boering joined the foundation in 2015 but left without much explanation from either him or the WPP. In an official statement, Boering said ‘It was a tough decision to leave this beautiful organization, especially given the timing’ but doesn’t go on to give his reasons other than to say ‘it is time for me to pursue other opportunities’.

The organization only says ‘Today, the World Press Photo Foundation announces that Managing Director Lars Boering will be leaving the organization’ and goes on to say it is ‘appreciative of Lars’ leadership over the past five years. In this time, major talent programs and grants were developed, digital reach saw substantial growth, and a new format was established to announce contest nominees and winners, to further spotlight the stories that matter.’

Since the announcement, DPReview has spoken with Boering, independently, who said he left the foundation because so much of what he had planned for the future has changed since the coronavirus pandemic:

‘Some of the programs and some of the activities are on hold or will never come back in the same way. I believe we will not see many festivals or events return in the near future, and its doubtful whether many of our ideas will get funding to make them happen. COVID has changed everything and so I have brought my departure forward. My strength is in growth and re-imagining things. It is very clear to me and the Supervisory board that World Press Photo foundation will be better off with a Director that can steer it through, in a calm and steady way, the challenging landscape that Covid19 has unveiled.’

The organization says it is heading towards a ‘new phase’ that will help it to ‘future-proof the business model and ways of working’ as it explores ‘new digital avenues and establishing a new International Advisory Board’.

Boering adds a slightly clearer dimension to the part of the statement that mentions future-proofing the foundation, saying:

‘Over the next two years World Press Photo will be working carefully and steady to keep going, and we now know 2020 and 2021 will be okay for the foundation. I never intended to stay much longer than 7 or so years, and with the changing times now is the right moment to hand it over. WPP now reaches an audience of 300 million when we announce the winners and our reach on social media is growing ever faster. The challenge now is to monetize this value in the right way, in a way that is fits with the values of WPP and visual journalism. That has a great future and will be a wonderful challenge for my successor.’

Boerings departure leaves the foundation looking for a new head while an interim business director, Arnoud van Dommele, steps in for the time being. The organization will also establish an international advisory board by the end of this year, which will ‘provide strategic advice to the Supervisory Board and Executive Board of WPPF.’

Boering tells DPReview that he’s enjoyed his time at WPP and is proud of what he has achieved in his five and a half years:

‘I have steered the foundation toward becoming an organization devoted to progressive values and ethics, and one with a set of advocacy agendas. Programs like the African Photojournalism Database, the 6×6 talent program and various global workshops, are initiatives by WPP to provide more opportunities to photographers of different backgrounds. I’m taking some time off for a small sabbatical and will choose my new path carefully. Many offers and initiatives are already coming my way, and to continue my work in the creative industries will be a pleasure.’

‘The future of visual storytelling is very bright and more money is available than ever before,’ he promises.

You can read more about Lars Boering in an article on Australia’s Inside Imaging, and the statement on the matter on the World Press Photo website.

Press release:

The World Press Photo Foundation enters new phase

The World Press Photo Foundation enters new phase for connecting the world to the stories that matter

Managing Director Lars Boering leaves the organization after 5 years; establishment of an International Advisory Board announced

Today, the World Press Photo Foundation announces that Managing Director Lars Boering will be leaving the organization. As a result, the Supervisory Board will start the search for a new Executive Director. This coincides with the preparations of a broader approach for “connecting the world to the stories that matter” required for the changed world that has presented itself in recent months.

Guido van Nispen, Chairman of the Supervisory Board: “We see the pandemic having an immense impact on everyone and everything. The collateral damage is huge, and the World Press Photo Foundation has also been impacted, which depends partially on a model that organizes physical exhibitions all over the world.

The organization is appreciative of Lars’ leadership over the past five years. In this time, major talent programs and grants were developed, digital reach saw substantial growth, and a new format was established to announce contest nominees and winners, to further spotlight the stories that matter.

A new phase for World Press Photo begins. A phase that builds on a strong foundation, and also leads to opportunities to future-proof the business model and ways of working. This includes exploring new digital avenues and establishing a new International Advisory Board. Press freedom, freedom of expression and the support of visual journalism are more important than ever, and as a leading organization that plays a crucial role for visual storytellers, the World Press Photo Foundation, with the great support of its people and partners, will keep on innovating to deliver on that promise.”

Lars Boering, Managing Director: “It was a tough decision to leave this beautiful organization, especially given the timing. It has been an amazing time and I am incredibly proud of the organization and the impact it has achieved. In these interesting and challenging times the World Press Photo Foundation, and the work it does, is more relevant now than ever before. The admiration I have for visual storytellers has grown and I hope my efforts have contributed to improving their work and position. Personally, it is time for me to pursue other opportunities, but I am confident about the future path for the organization, and am sure a successor can be identified soon.”

Lars Boering will hand over his work to Arnoud van Dommele, who has served as interim business director since March, while the Supervisory Board starts the search for a new Executive Director.

The International Advisory Board will consist of approximately 12 global experts and will be established before the end of 2020. The International Advisory Board will provide strategic advice to the Supervisory Board and Executive Board of WPPF.

About the World Press Photo Foundation

Connecting the world to the stories that matter.

We are a global platform connecting professionals and audiences through trustworthy visual journalism and storytelling, founded in 1955 when a group of Dutch photographers organized a contest (“World Press Photo”) to expose their work to an international audience. Since then, the contest has grown into the world’s most prestigious photography competition, and through our successful worldwide exhibition program, we present to millions of people the stories that matter.

World Press Photo Foundation is a creative, independent, nonprofit organization, based in Amsterdam, the Netherlands. We appreciate the support of our global partner, the Dutch Postcode Lottery, and our partners, PwC and Aegon.

Articles: Digital Photography Review (dpreview.com)

 
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Editing down a portfolio with Don Giannatti and yours truly – LIVE Webcast

05 Jun

This Sunday 8/4/2010 at 9pm EST (6pm pacific) Don Giannatti has been kind enough to do a live portfolio review with me on the air.  We’ll be talking about making the final cut of images, and finalizing a portfolio.  Maybe a bit about design and branding and style as well.  Should be fun – tune in at:

http://www.vokle.com/events/4284-editing-a-portfolio-with-don-giannatti-and-ed-zawadzki

see y’all there!

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CIPA’s April report shows digital camera production, shipments are down 56.4%, 63.7%, respectively, YoY

03 Jun
Total shipments of digital cameras (DSCs) worldwide for the month of April 2020 (Orange) compared to 2019 (Black) and 2018 (Blue).

Japan’s Camera & Imaging Products Association — better known as CIPA — has released its latest numbers, showing what camera shipments looked like for the major manufacturers through the end of April 2020. As is to be expected in these turbulent times, the numbers are down across the board.

As a whole, shipments of digital cameras in April 2020 were down to 550,000 units, a decrease of 63.7% year-over-year (YoY) compared to April 2019. Interchangeable lens and built-in-lens camera shipments for April 2020 were at 300,000 units and 252,000 units, respectively, a YoY decrease (compared to April 2019) of 63.7% for both unit types. Further split up, CIPA’s numbers reveal DSLR and mirrorless sales were down 60.8% and 67.0, respectively, YoY for the month of April.

Total shipments of interchangeable lens cameras (both DSLR and mirrorless cameras) worldwide for the month of April 2020 (Orange) compared to 2019 (Black) and 2018 (Blue).

While these decreases are alarming without context, they shouldn’t be surprising considering the current state of the industry (and world as a whole through this COVID-19 pandemic). In addition to slower sales due to COVID-19, the pandemic also all but froze supply chains and production for many camera manufacturers. CIPA’s numbers reveal production for April 2020 was down 56.4% for all digital camera units compared to April 2019.

Nearly every camera manufacturer has made it clear in some form or another that things will get worse before they get better and CIPA’s April numbers further confirm those sentiments. It remains to be seen how much the market recovers as more of the world opens up following the COVID-19 pandemic, but with more countries easing stay-at-home orders and quarantine restrictions, there’s a chance we’ll start to see some semblance of a recovery, even if it takes a few months to show in the numbers.

You can find CIPA’s graph and detailed breakdown on its report page.

Articles: Digital Photography Review (dpreview.com)

 
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April data shows mirrorless camera sales in Japan were down 75% compared to 2019

19 May
An illustration from BCN Retail showing the unit sales%age, by manufacturer, of Canon (Blue), Olympus (Green) and Sony (Red) from February 3 (far-left) to April 20 (far-right).

BCN Retail, an analyst firm that collects daily sales data of mirrorless interchangeable lens cameras from online and in-person points of sales in Japan, has released its figures for April 2020 that show just how much the COVID-19 pandemic has continued to decimate the camera market.

Last month we shared BCN Retail’s March report, which showed a 50% drop year-over-year Unfortunately, it seems that was just the beginning. April 2020 numbers from BCN Retail show MILC sales are just 26.1% what they were April 2019 and down nearly half (49.5%) from the already abysmal March sales numbers.

While the decrease in sales is alarming, it’s not unexpected. Canon reported in its recent financial statements that it expected things to get worse before they get better and Nikon is expecting a dramatic decrease in sales as well due to the ongoing pandemic.

Unlike last month’s report, which covered March, BCN Retail doesn’t note whether or not Fujifilm is still on the rise (it was the sole company to increase its market share year-over-year), but BCN Retail’s April stats do show Canon, Olympus and Sony are still battling it out for market share in the Japanese market with only eight or so percentage points separating the three as of April 20, 2020.

A chart showing the top-selling camera models in April, based on BCN Retail’s data.

The market share of individual camera models also remains largely unchanged with more affordable crop-sensor cameras taking the top ten spots. As has more or less been the case for the past few months, the Canon EOS M50 takes the top spot, with the Sony a6400, Olympus Pen E-PL9, Olympus OM-D E-M10 Mark III and Canon EOS M100 rounding out the top five. One newcomer is the Fujifilm X-T100, which managed to sneak in at the ten spot.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down Nikon’s $10,000 Nikkor AF-S 120-300mm F2.8 lens

15 May
Aaron of Lensrentals uses his new, specialized driver to carefully remove screws from the Nikkor AF-S 120-300mm F2.8 FL ED SR VR lens.

Roger and Aaron at Lensrentals are back again with another lens teardown; this time, the Nikkor AF-S 120–300mm F2.8 FL ED SR VR lens.

While no reason is needed to take apart another lens to see what goodies lurk within, Roger specifically notes he chose this lens because he wanted to see if the new modern design of Nikon’s Z-mount lenses is being carried over to newer F-mount lenses as well. In the introduction paragraph of his teardown post, Roger says:

‘We were interested to see if newer F lenses would pick that up, or if they would continue in ‘classic’ format. While it’s pure speculation on my part, I thought that if F lenses were starting to pick up Z characteristics, it would, perhaps, signify a unified approach going forward. If not, maybe then Nikon is maintaining separation of the Z and F design teams.’

Roger notes Lensrentals only has ‘a few of these,’ almost all of which have been rented out. However, one came in with dust inside and although it wouldn’t affect the image quality of the lens, Roger thought it’d be a perfect opportunity to do a teardown. Plus, ’t customers like to receive really sparkly clean lenses, and we didn’t want to deal with the inevitable “I can’t believe there’s dust in this $ 10,000 lens” complaint,’ he says.

The disassembly started in the front, as that’s where the dust was located. The first notable observation is that Nikon has made the front filter barrel fairly easy to remove—and therefore replace—as it slides out after removing half a dozen screws and a bit of tape.

From there, it was onto removing the first group of lenses, which Roger believes consists of 3–4 elements (Nikon is yet to publish an optical diagram for this lens yet). After a brief moment of concern that the dust was lodged between these elements, he and Aaron discovered the dust was instead on the next group of lenses—the optical zoom group. As you might expect for a 120–300mm F2.8 lens, this group has quite a bit of travel in it.

Upon diving further into the lens, Roger found the answer to the initial question he had for this teardown. When looking underneath the rubber grip of the zoom optical group, he saw an aluminum cover; a discovery that made him ‘sad.’ He elaborates:

Note the clear plastic tape and aluminum shielding beneath the zoom ring rubber.

[The aluminum covers are] what Nikon uses to cover old-time position-sensor brushes, which means this lens has ‘classic’ brush position sensors, not newfangled optical sensors. They work just fine, don’t get me wrong, but this is a strong hint we’re not going to find new ‘Z- style’ electronics inside this lens.

At this point, no further assembly could be done from the front of the lens, so he and Aaron turned it around and started taking off the rear bayonet mount, which was ‘thoroughly weather resistant with both hard rubber and foamed rubber gaskets.’

From there, Roger and Aaron break it down all the way to the aperture assembly, carefully maneuvering through a messy array of soldered wires, ribbon cables and enough glue that it might just give Roger nightmares. In wrapping up the teardown, Roger says:

‘We had seen what we most wanted to see. The lens is well built in the old, classic Nikon F way. Obviously, we don’t think that’s pretty, and it’s not fun to work on. But it’s been an effective method of manufacturing for decades. The moving parts are solid, the chassis and assembly are solid, the weather resistance is as good as anything, maybe better.’

While the teardown was done, Roger also ran an optical test on the lens to see how this copy performed. He notes ‘there will be better or worse copies’ out there ‘but given the price of the lens, I assumed it should be clearly better than the Sigma 120–300mm F2.8 lens.’

His assumption ended up being correct, with the MTF curves looking much cleaner than the Sigma (which he notes is a great lens in its own right) and ‘at least as good as, perhaps better than’ Nikon’s own 300mm F2.8 lens.

Nikon AF-S Nikkor 300mm F2.8G ED VR II Average MTF vs Nikkor 120-300mm F2.8 FL ED (@300mm) Average MTF Sigma 120-300mm F2.8 DG OS HSM Sport (@300mm) Average MTF vs Nikkor 120-300mm F2.8 FL ED (@300mm) Average MTF

When all was said and done, Roger concludes that ‘Roger’s Law,’ which states ‘that Zooms Are Never as Good as Primes has at least one very expensive exception. At one of its focal lengths. This zoom is ‘prime good’ at 300mm.’ Other lessons learned include that the 120–300mm F2.8 is incredibly well-build and ‘spectacularly good optically, particularly at the long end.’

You can see more images and read a more detailed breakdown of Roger’s thoughts over on the Lensrental blog post.

Articles: Digital Photography Review (dpreview.com)

 
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Canon’s Q1 financial report shows Imaging Systems net sales and profits are down 13.9%, 80.6% YoY

24 Apr

Canon has released its first-quarter (Q1) financial report, revealing just how bad the COVID-19 pandemic has affected its bottom line and suggesting it’s only going to get worse before it gets better.

The report starts off by stating on its ‘Key Message’ summary page that the COVID-19 pandemic has ‘completely [changed the] global economic landscape’ with the following bullet point saying the ‘global economy faces worst recession since the Great Depression’ due to the ongoing pandemic.

Across the board, Canon saw a 9.5% drop in net sales and an 18.7% decline in operating profit for Q1 (January 1 through April 23), year-over-year (YoY). But even those numbers look great in comparison to those found within Canon’s Imaging Systems division, which accounts for camera and inkjet printer sales.

The report shows net sales and operating profit for Q1 within the Imaging System division is down 13.9% and 80.6%, respectively, YoY. Further split up, Canon states its net sales are down 24.8% YoY specifically for cameras, while its inkjet printer net sales were actually up 7.3%. Despite the current situation, Canon hasn’t changed its projections which currently have net sales and operating profits down 2.5% and up 11.5%, respectively for the entire 2020 fiscal year.

That may very well change though, as Canon expects its second quarter (Q2) to be even worse, as Canon’s current downward trajectory didn’t even start until mid-way through Q1. Combined with the uncertainty of when the COVID-19 pandemic will begin to subside, Canon says it’s difficult to provide accurate estimates of future financials and even clarifies that once the global economy is back on the rise, it’s unlikely cameras will see an immediate return to normal sales.

In addition to the impact on supply, sales of interchangeable-lens cameras were also greatly affected. One after another, live events were canceled or postponed and chances to use cameras decreased. In addition to this, we believe it will take time to see a recovery in the demand for cameras, which are considered luxury items, even after the global economic turmoil has subsided.’

Whatever happens, it seems Canon has little intent on slowing down. In its summary of the results, Canon says it ‘will steadily push forward [its] strategy that focuses on models for professionals and advanced-amateurs to maintain medium- to longterm profitability,’ an obvious nod to the forthcoming EOS R5 camera, as well as new RF lenses on the horizon.

Something worth keeping in mind, as with all financial reports, is that numbers alone don’t tell the whole story. There is plenty going on behind-the-scenes and there is a lot of grey area within the net sales and operating profits within any given division.

For this particular Q1 report, a standout example of this is in the dramatic discrepancy between the net sales and operating profit within Canon’s Imaging Systems division. While we obviously can’t confirm this to be the case, the 80.6% decline in operating profit could very well be due, at least in part, to the research, development and marketing expenses of the EOS R5 and other professional and ‘advanced amateur’ camera systems Canon plans to release in the near future. It’s shaping up to be an industry-shaking camera based on the currently-known specs and actively developing such a system doesn’t come cheap.

You can read through all of the Q1 financial documents on Canon’s investor relations website.

Articles: Digital Photography Review (dpreview.com)

 
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Roger Cicala breaks down the do’s (and don’ts) of cleaning your camera gear and workspace

20 Mar

Roger Cicala, founder and owner of Lensrentals, is best known in these parts for tearing down, repairing and reviewing lenses. But not long ago (relatively speaking), it wasn’t just lenses Roger was mending; he was also a physician. As such, his experience in these two fields makes him uniquely qualified to talk about something we should all be mindful of — how to keep yourself and your camera gear disinfected through proper care and treatment of your equipment and workspace.

In the thorough blog post, Roger breaks down what cleaning supplies you should (and shouldn’t) use and what practices will help to ensure you’re being as safe as you can be during the ongoing COVID-19 pandemic (and beyond). From basic gear cleansing tips to advice for keeping your studio or office as clean as possible, he covers it all.

You can read the full blog post yourself over on the Lensrentals blog. If we’re lucky, Roger might even make an appearance in the comments below for those of you who have any additional questions.


Image credits: photos used with kind permission from Lensrentals.

Articles: Digital Photography Review (dpreview.com)

 
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iFixit tears down a Galaxy S20 Ultra to show off the ridiculous camera array

05 Mar

Repair site iFixit has published its in-depth teardown of Samsung’s new flagship smartphone, the Galaxy S20 Ultra. In addition to the video above, iFixit also shared a detailed account of the autopsy, including close-up shots of the impressive camera array Samsung has packed inside this monster.

The motherboard assembly, which includes the camera array, is carefully removed from the Galaxy S20 Ultra unit.

As a quick refresher, the Galaxy S20 Ultra features a camera array consisting of three individual modules: a 12-megapixel F2.2 ultra-wide camera module, a 108-megapixel F1.8 wide-angle camera module and a 48-megapixel F3.5 telephoto camera module, the last of which offers up to 100x zoom through a combination of optical and digital zoom with a little AI and software trickery for good measure. On the front of the S20 Ultra is a ridiculous 40-megapixel front-facing camera as well.

The 108-megapixel sensor inside the Galaxy S20 Ultra (top) shown alongside the 12-megapixel primary sensor inside Apple’s iPhone 11 Pro.

First up on the docket was the 108-megapixel (9.5mm x 7.3mm) wide-angle camera, powered by Samsung’s ISOCELL Bright HM1 ‘Nonacell’ image sensor. As iFixit points out, this massive sensor features roughly double the surface area compared to the iPhone 11 Pro’s 12-megapixel primary sensor and uses Samsung’s Nonacell pixel-binning technology to bring the final image down to approximately 12-megapixels.The 12-megapixel F2.2 ultra-wide camera module was glossed over in the teardown, but given a nod in the video as it’s removed from the main camera assembly.

From there, iFixit took a closer look at the 48-megapixel F3.5 telephoto camera module, which is responsible for the 100x ‘Space Zoom’ advertised on the outside of the camera bump. Similar to other periscope-style zoom lenses seen in past smartphones, Samsung uses an array of zoom lenses behind an optically-stablized prism (which is used to redirect the light 90-degrees) to get up to 4x zoom capability. As noted above, the 100x ‘Space Zoom’ is achieved through a combination of sensor cropping, digital zoom and software.

The prism (top) redirects the light 90-degrees through the lenses housed within the assembly (black box, above where the tweezers are positioned), which slides back and forth within the guides to offer up to 4x optical zoom.

Other components onboard the Galaxy S20 Ultra include the 6.9-inch Quad HD+ Dynamic AMOLED Infinity-O Display (3200 x 1440 pixel, 511ppi, up to 120Hz refresh), a Snapdragon 865 processor, up to 16GB of LPDDR5 RAM and a 5,000mAh battery. As you might expect for a smartphone that manages to pack that much tech inside its frame, the device doesn’t score too well on iFixit’s repairability chart. When all was said and done, iFixit gave the Galaxy S20 Ultra a three out of ten.

You can find more images and read peruse through the entire teardown over on iFixit’s website.


Image credits: Photos via iFixit, used with permission

Articles: Digital Photography Review (dpreview.com)

 
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