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Ex-Lexar execs have launched a new memory card company, here’s why you should care

24 Feb

ProGrade Digital is a brand new memory card brand founded by former executives of memory maker Lexar.

In June 2017 parent company Micron unexpectedly announced the end of Lexar, but the brand was shortly after acquired by Chinese company Longsys. Now, a group of former executives from both managerial and technical backgrounds has teamed up to produce and market high-quality memory cards, directly competing with Lexar itself and other high-profile storage brands, such as SanDisk.

Initially the new company will offer two lines of cards: The CFast 2.0 cards will be available in 128GB, 256GB, and 512GB capacities for $ 230, $ 350, and $ 700, respectively, and offer transfer speeds up to 550MB/sec. The UHS-II SD-card line comes in 64GB, 128GB, and 256GB capacities for $ 55, $ 95, and $ 190, respectively, delivering speeds of up to 200MB/sec.

ProGrade says the controllers in all cards are optimized for use in professional cameras, and will each be tested from component-level down to individual memory chips before leaving the factory. Add a three year warranty into the mix, and the new cards look like an enticing alternative to the established brands for photographers who demand maximum reliability.

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The brand was officially announced last week, but rather than simply cover the news, we decided to send ProGrade a few questions instead. Specifically, we wanted to know what sets the brand apart, how they expect to compete with the big guys, and why they started the company in the first place.

Mark Lewis, Vice President Marketing for ProGrade Digital, was kind enough to answer these questions:

Do we really need another memory card company?

Yes. With Micron’s sale of the Lexar brand and Western Digital’s purchase of SanDisk, there seems to be a shift in market focus for these two iconic brands and the future is uncertain.

Their decisions to realign product lines and focus solely on higher margin industrial and OEM SKUs opens up an opportunity for a new player—one with laser-focus on the professional market and whose intent it is to fill the void and service this market of professional photo, video and cinema customers. We at ProGrade Digital are that new digital memory card company who will champion their cause.

How will your company be different than the rest?

We bring several competitive advantages to help us stand apart. First, it’s about the people involved. At the executive and engineering level our team brings extensive experience, having worked for numerous years with leading components suppliers and vendors in the design and delivery of precision products specifically for this niche. Our marketing and sales group also has deep roots within the imaging industry, including professionals who not only produce still and motion capture for ProGrade Digital, but who also regularly create for private clients. Plus we acknowledge our growing family of influencers and ambassadors from both the still and motion capture worlds, individuals whom you will soon be reading more about.

The second way that we will stand apart from the competition is our product. I’ve already touched on the fact that, through our past employment, we bring a deep level of experience having built integrity into both the Lexar and SanDisk product lines. Our work here with ProGrade Digital not only lets us expand upon that foundation but, as a smaller firm, we now have the latitude and drive to make even better products specifically for the imaging markets. Two such ProGrade Digital imaging industry firsts include 100 percent in-factory test (to help us sustain a goal of zero percent failure), plus laser-etched serial numbers on each memory card. The serial number enables us to track firmware, controller and memory type. This ability to track a card’s manufacture gives us one more tool for being that much more proactive when it comes to supporting our customer base.

Other product strengths: as executive members of the SD Association and Compact Flash Association (CFA) we work with device manufacturers and other industry leaders on the development of new technologies. ProGrade Digital products are competitively priced, and distribution is limited so that we may preserve quality and control, plus maintain a direct relationship with our customer.

How can a David hope to compete against a Goliath?

If you know the story about David and Goliath you may recall that, despite Goliath’s physical size, level of experience and massive army to back him up, it was a young, small and nimble David who took precise aim and used the right weapon. ProGrade Digital is tightly focusing on a customer that we know, and specifically developing best-in-class products able to meet the needs of the professional imaging market.

What’s the future for card form factors such as SD, CFast, CFexpress and XQD?

The future for all memory cards continues to evolve. It is difficult to predict exactly what will happen to any particular form-factor, but the standards work currently being developed by the two memory card associations will help drive the direction.

Specifically, plans are in the works to move to the PCIe interface; the PCIe interface will allow for speeds to advance beyond some of the limits of the SATA interface. Of particular note are efforts being done by the Compact Flash Association (CFA) on the CFexpress form-factor. Their work has support from the major device manufacturers, and ProGrade Digital is at the forefront of those developments. As new standards gain in popularity, I believe that we will see some current form-factors slowly begin to phase out.

A big thank you to Mark for taking the time to answer these questions. If you want to learn more about this new memory card company or browse through ProGrade’s whole product line, head over to the ProGrade Digital website.

Press Release:

ProGrade Digital Launches New Line of Professional-Quality Memory Cards and Card Readers for Use with Digital Cameras, Camcorders and Cinema Cameras

Former Lexar Executives Start New Company: Pledge to Focus on Developing and Marketing Products of Superior Performance, Quality and Reliability

SAN JOSE, Calif. – Feb 15, 2018 8:00 am EST-ProGrade Digital, anew company founded on a mission to provide the highest quality, professional grade memory cards and workflow solutions available, today announced a new line of products designed to uniquely fill the needs of today’s high-end DLSRs, camcorders and digital cinema cameras. Memory cards will be offered in a variety of formats and industry-leading capacities. The company will also design and market a selection of card readers, starting with a CFast & SD Dual Slot Workflow Reader that boasts a USB 3.0, Gen. 2 transfer protocol. ProGrade Digital’s new memory cards and card readers will become available in the month of February at www.progradedigital.com, Amazon.com and B&H Photo and Video

ProGrade Digital was founded by former executives from Lexar who held management or technical leadership positions at the company recognized as the pioneer in memory card development for digital photography. The team has more than 60 years of combined experience in the design, development and manufacture of memory cards gained while working for Lexar, SanDisk and other firms. Leveraging its experience and industry relationships, the team will focus exclusively on developing and marketing memory cards, card readers and software optimized for use within professional cinema and photography markets.

“Our goal is to be the professional’s source for top performing, professional grade memory cards and workflow solutions,” says Wes Brewer, founder and CEO of ProGrade Digital. “We will be committed to focusing our efforts on the digital imaging pro who is meticulous about his equipment and workflow-delivering the best service, plus best product quality and reliability.”

Memory Card Key Features

  • Professional-level capacities for CFast 2.0 and SDXC UHS-II memory cards
  • Optimized controllers specifically designed for use in professional-grade cameras
  • Rigorous full-card testing with serialized tracking of key components and manufacturing data for the highest quality control
  • Component-level testing down to individual memory chips for optimal quality
  • 3-year warranty

Card Reader Key Features

  • Dual slot reader for CFast 2.0 and SDXC UHS-II card formats
  • USB 3.0 Gen. 2 transfer speed of up to 10Gb/second
  • Supports concurrent full-speed flow of data from cards in each slot
  • Portable and compact
  • Includes two 18? connection cables: one for Type A to Type C and one for Type C to Type C
  • Magnetized reader bottom firmly connects reader to laptop (using included metal mounting plate)
  • 2-year warranty

ProGrade Digital memory cards are designed to provide the highest levels of performance, quality and reliability in high-end DSLRs, camcorders and digital cinema cameras from manufacturers such as Canon, Nikon, Sony and Blackmagic.

ProGrade Digital cards and card readers are available online at www.progradedigital.com, Amazon.com and B&H Photo and Video.

Articles: Digital Photography Review (dpreview.com)

 
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‘Our goal is to satisfy everyone’: an interview with Fujifilm execs

16 Jul

Following the launch of the Fujifilm X-T2 last week, we sat down with senior executives from Fujifilm.

  • Yuji Igarashi, general manager of Fujifilm’s Electronic Imaging Division.
  • Takashi Ueno, manager of Fujifilm’s Electronic Imaging Group Sales and Marketing and Optical Device and Electronic Imaging Products Divisions.
  • Ryouichi Takamoto, Optical Device & Electronic Imaging Products Division, Sales and Marketing Staff.

We talked about the X-T2, Fujifilm’s plans for lenses, and why the company is putting a lot of energy into video. 

The following interview is taken from on-record portions of our conversation, and has been edited slightly for flow and clarity. 

Fujifilm now has two flagship product lines – the X-Pro and the X-T. How do you see these two lines as being distinct?

We think that the character of the two cameras is completely different. The X-Pro series are special cameras for snapshooting, reportage and so on. But the X-T2 is a multipurpose camera, so we’re trying to sell the X-T2 to DSLR users, compact camera users – all photo enthusiasts and professional photographers. That’s the target with the X-T2.

The X-Pro 2 doesn’t have a 4K movie function, because we see the X-Pro 2 as being a stills camera. But the X-T2 needed 4K movie.

The X-T2 is compatible with a new ‘Vertical Power Booster Grip’ which can accomodate two batteries, making a maximum of three in total. This takes the X-T2’s endurance to a CIPA-rated total of 1000 shots.  

Apart from the 4K movie function, what other features differentiate the X-T2?

Durability. And that doesn’t just mean toughness, but also battery consumption. That’s why we made the Power Booster grip for the X-T2. And autofocus performance. We want the X-T2 to be able to capture all subjects. The X-Pro 2 doesn’t need such fast AF, because for snap-shooting and portrait shooting it’s not necessary. But our target users for the X-T series include sports photographers.

If you look at the body shape and balance, we have the booster grip for the X-T2 which works well if you’re using telephoto lenses, whereas with the X-Pro 2 it’s designed to be more discrete, and for use with prime lenses. The body style itself is different.

Some of our readers have expressed disappointment that the X-T2 costs more than the X-T1. Why is this?

It’s a combination of two factors. One is the exchange rate, of course [editor’s note: the value of the yen relative to the dollar fluctuated significantly from 2014-16] and the other is the features included in the camera. We’ve added 4K video, a new 24MP sensor, a new shutter and so on. These factors have resulted in an increase in price.

In the X-T2, is the autofocus system different to the X-Pro 2?

Yes, the algorithm is completely different. But we’re planning to add this [improvement] to the X-Pro 2 in FW 2.0, in October. But the AF-C custom functions will only be available in the X-T2.

 

 The X-T2 offers several Canon-style AF ‘sets’, which allow the camera’s continuous autofocus performance to be tweaked depending on the subject. Although the X-Pro 2’s autofocus will be updated with firmware this autumn, these AF sets will remain unique to the X-T2.

Why did you choose to include 4K video in the X-T2?

The movie function is one of the most important functions of digital cameras. Many of our competitors had offered 4K, but we didn’t. Fujifilm is a popular company in the broadcast industry, because we’ve developed so many lenses for broadcast cameras. So we are familiar with the industry, we just been able to utilize that knowledge [until now].

Video has long been a weak area in the X-series…

Yes. Our X-Trans color filter array is more complicated than that of bayer array, but we have developed a new, very powerful processor – the X Processor Pro. This can read data faster than the processor in previous X-series cameras, which means we could add 4K movie recording to the X-T2. But we don’t think that the X-Pro 2 necessarily needs 4K.

Could 4K movie recording be added to the X-Pro 2 with firmware?

No. Because of hardware issues. We’d need to add a heatsink, which the X-Pro 2 doesn’t have because we wanted to maintain its body size.

Does that explain the slight weight increase from the X-T1 to the X-T2?

Yes.

In adding 4K video to the X-T2, were you responding to existing X-series users’ demands, or to market expectations?

People are taking more movies now. In the past, maybe it was OK for us to release video that was not great, but now, the movie specification is one of the most important reasons why someone might buy a camera. Even if someone takes primarily stills. So the importance of video has grown and grown and we’re trying to make improvements. Hopefully video will be one of our strengths in the future. Every day our X-series photographers are asking us to improve movie quality.

Despite having an articulating rear LCD screen, the X-T2 is limited to physical dial and button-based controls. It seems that touch-sensitivity is still some way off, in high-end X-series cameras.  

Why did you decide not to include a touchscreen on the X-T2?

One reason is that a key feature of the X-series is dial operation. And dial operation and touch operation are completely different, so combining them could be confusing. The typical way of shooting with X-series cameras is with your eye to the viewfinder, and to use a touchscreen you’d have to take your eye away from the finder.

Our priority for the X-T2 for now is to focus on the viewfinder. We’d like the user to use the finder primarily, with dial operation. But the X70 for example we introduced a touch sensitive screen, because that camera doesn’t have a viewfinder.

Will future X-series cameras continue to look much the same, or will you experiment with ergonomic changes?

Dial operation is part of our identity. This concept and style of operation will be maintained in order to distinguish our cameras from competitors. We also think that this design is the most intuitive for general photography.

A lot of our readers continue to be a little disappointed by the AF speed of some of the X-mount lenses. Is this something you’re working on improving?

Lenses like the 35mm F1.4 and 60mm F1.4 use DC coil motors, and the focusing elements are very heavy. For example the weight of the focusing group in the XF 35mm F1.4 is more than 100g. It’s almost unbelievable compared to most current autofocus lenses. On the other hand, in the XF 18-55mm zoom lens, the weight of the focusing group is only around ten grams.

Because of the weight of these groups in this fast prime lenses, we cannot make them focus faster. But that’s why we’re making new F2 lenses. Our 35mm F1.4 is designed for the best image quality, whereas our 35mm F2 – while we also care about image quality – is designed for fast autofocus and lighter overall weight.

Most autofocus lenses have only one focusing element, but our 35mm F1.4 for example, all of the elements in that lens move [to achieve focus].

Still on the topic of lenses, where do you see the biggest gaps in your XF lens lineup, right now?

Long focal length prime lenses, fisheye lenses, and tilt/shift lenses. Of course, the demand for these lenses is very small, and we have to prioritise. Currently we are prioritizing lenses like the 35mm F2, 23mm F2 and 50mm F2.

 Hasselblad’s X1D is a relatively compact medium-format camera. Exactly the same kind of camera, in other words, that Fujifilm used to be known for, back when a roll of Velvia was the memory card of choice for enthusiast photographers.  

Hasselblad just released the X1D – a relatively compact medium format camera. Do you think there is an opportunity for Fujfilm in this market in the future?

We’re keeping our eye on that market, and the full-frame market too, but we’re still focusing on our APS-C range.

Are you interested in attacking the full-frame market in the future?

We’re attacking this market with our X-series. And with X-Trans III, we think that when people actually see what our cameras can deliver, we think there’s a good chance that photographers will use our X-series in the future.

The question of sensor size depends on what the user wants, as an output. If you’re using a medium format camera and you definitely need that for the work you’re doing, maybe APS-C is too small. But for general use, I think our [current] APS-C sensor is comparable to full-frame image quality. I think we can satisfy most people. But in future our goal is to satisfy everyone.

Is Fujfilm committed to the sub-APS-C market anymore, or are you focused now on APS-C?

We still do well with tough cameras. Because smartphones haven’t been able to replace them. So we’ve not completely abandoned that market. As long as there’s opportunity we’ll continue to look into it.

Some manufacturers are moving into virtual reality imaging with products like the Nikon Key Mission, the Samsung Gear and so on. Is this a market segment that Fujifilm is interested in?

At the moment we don’t have anything planned.

When a photographer thinks about Fujifilm as a brand, what kind of qualities do you want them to associate with the company?

Image quality. We are a photography company – not a camera company. That’s what our boss is always saying to us (Toru Takahashi – interviewed in January). That’s very important. We are still a film maker. So image quality and color reproduction. 

Editor’s note:

In many ways, the on-record portions of this interview offer a message consistent with that delivered by Mr Takahashi and Mr Iida when I spoke to them earlier this year. Fujfilm is committing to two flagship APS-C platforms, X-Pro and X-T, and with the release of the X-T2, this strategy has reached a degree of maturity.

The similarities between the two cameras are arguably less interesting than the differences. The X-T2 is the faster of the two, and is designed to appeal to a wider audience. Not necessarily a more professional audience, but perhaps a more commercial one. Several times, the executives I spoke to stressed the importance of satisfying the needs of sports photographers and the inclusion in the X-T2 of Canon-style AF ‘sets’ is clearly intended to ease the hypothetical transition for prospective DSLR defectors. Meanwhile, 4K video (and from what we can tell at present, pretty good 4K video) is of course, a feature that is currently unavailable to most DSLR photographers, regardless of brand.

Whether or not the X-T2 can actually attract these dyed-in-the-wool DSLR shooters is of course another matter altogether. Ironically, I get the sense that it is the rangefinder-style X-Pro and X100-series that have attracted more attention among traditional enthusiasts, possibly because they are so un DSLR-like. Fortunately, the X-T2 is an excellent camera. Both ergonomically and in terms of image quality, the X-T2 continues to impress us in studio and real-world testing, and as we’d expect from a product with this kind of lineage, it’s a pleasure to shoot with. I like how the X-Pro2 looks, but I must say, I greatly prefer how the X-T2 handles.

Publicly, Fujifilm is fully committed to its APS-C system, with its twin flagships, but I’d be very surprised if some of the company’s engineers aren’t looking jealously westward to Sweden, where Hasselblad recently announced the X1D. This, after all, is precisely the kind of medium format camera that Fujifilm used to be known for, back in the film days. Lightweight (ish), easy-to-use, and relatively affordable next to more traditional SLRs.

One of the gentlemen I spoke to last week said that ‘in future our goal is to satisfy everyone’. Only he knows exactly what he meant by that, but it’s fun to speculate. What do you think? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Going Pro: We interview Fujifilm execs in Tokyo

21 Jan

Toru Takahashi, (l) Director, Senior Vice President and General Manager of Fujifilm’s Optical Device & Electronic Imaging Products Divison and Toshihisa Iida, (r) General Manager of the Sales and Marketing Group of Fujifilm’s Optical Device & Electronic Imaging Products Division.

Both men are pictured at Fujifilm’s Tokyo headquarters at the launch of the X-Pro2 and X70.

Last week, Fujifilm announced several new products including two major new cameras – the X-Pro2 and X70. DPReview was at the launch event in Tokyo where we made time to sit down with two senior Fujifilm executives – Mr. Toru Takahashi and Toshihisa Iida. As well as the new cameras, we also spoke about Fujifilm’s long-term ambitions, which cameras sell best in which countries and Samsung’s apparent exit from the camera market.

The following transcript has been edited slightly for clarity.

The X-Pro2 clearly replaces the X-Pro1 but is it the new flagship? Or does it sit alongside the X-T1?

Toru Takahashi (TT): We have two flagships. The X-T1 and the X-Pro2. [Even after] the launch of the X-T1 the X-Pro1 still had a function. We have two different kinds of photographers to cater for.

Can you explain more about these different kinds of photographers as you see them?

TT: When we started the X-series with the X100 we were aiming at street photographers. And the X-Pro1 and now the X-Pro2 are extensions [of that concept]. The X-T1 is for those photographers who like to photograph sports, nature and wildlife. What they like to shoot is different, so we need to provide for two different kinds of photographers.

It has been four years since the X-Pro1 was announced – did you always intend to replace it with the X-Pro2?

TT: Of course. The X-Pro1 was our first mirrorless interchangeable lens camera. We knew it wasn’t perfect. And we’re always pursuing the perfect camera, so we always knew we’d have to improve on the X-Pro1. And now the time has come.

So why did it take so long?

TT: It’s not easy to improve this kind of camera! That’s one reason. The biggest element is the processor. The speed [of the X-Pro2] is much faster, in every respect. So that’s one reason it’s taken so long.

Fujifilm’s X-Pro2 brings several updates compared to the original X-Pro1, including an improved hybrid viewfinder, better autofocus and significantly increased resolution.

Can you tell me approximately how long it took to create the X-Pro2 from the original design concept?

Toshihisa Iida (TI): Since we produced the original X-Pro1 we got a lot of feedback from photographers, and we tried to improve it with various firmware upgrades. After receiving all that feedback we started designing [what became] the X-Pro2. Also we asked for feedback on operability. For example, it’s a small change but all the buttons on the back of the X-Pro1 are on the right side of the LCD, not the left side. This research took one year or so, and then we decided ‘OK this will be the right product’. Of course at the same time we were developing the sensor and the processor. So maybe two years, in total.

Mr. Takahashi – you mentioned in your presentation at the press conference that Fujifilm is not interested in becoming involved in a ‘pointless technical race’. What did you mean by that?

TT: We think that the most important thing is overall image quality. So for example just increasing [pixel count] won’t make a better picture. We [also] need better high ISO image quality. It’s always a tradeoff, and to find the optimal point is very difficult. That’s the reason we why we picked the APS-C image format. A 35mm full-frame sensor is bigger, but it’s difficult to handle and will make the camera bigger. So we’re trying to pursue the optimal [combination of qualities] for photographers.

A lot of photographers still regard full-frame as a better format – do you think in the future that Fujifilm will create a full-frame camera?

TT: First of all, I think you need to understand their thinking. Because of 35mm film, they’re convinced that sensors should be [this format]. But it’s not true. Now, you can shoot detailed images [on the X-Pro2] at ISO 3200. In the film age, the maximum ISO was 400-800. So things are changing, and innovations have occurred but [some photographers’] mentality has not changed. I think we can offer the best picture quality by using the APS-C format.

TI: If we could create a camera of this [X-T1 / X-Pro2] kind of size with a larger format sensor, that would be good, but the lens is analog technology so a bigger format means a bigger size, and weight.

Is there anything that Fujifilm will never compromise on?

TT: As I mentioned before, picture quality. And because we picked the APS-C format, also size and operability.

Historically I know it has been a little more difficult in America to sell cameras which are smaller. There seems to have been a feeling that bigger cameras are more professional. Is this still true, or is this changing?

TT: I think that kind of mentality is gone. Remember at the beginning of the home video age, people had huge cameras for shooting their family occasions, but that was ten, twenty years ago. The mentality has changed – even though [Americans] still have big cars!

TI: I think that the American consumer is very smart. I respect them a lot. Their number one priority I think is actually performance, not size and weight. Asian consumers care more about [smaller] size but for Americans the quality and performance are the priorities. So if big cameras offer much better results, they’ll pick them. But when small camera systems [achieve parity] they’ll start to buy into smaller systems.

Fujifilm’s X-A2 is a budget X-series model aimed at beginners and compact camera upgraders. Although it has not sold well in the USA, we’re told that thousands are sold every month in Thailand, where they are popular with young female photographers.

I learned yesterday that the X-A2 is very successful in some countries – specifically Thailand. Can you give me some idea of how your sales differ globally, from country to country?

TI: At the professional level – so cameras like the X-Pro1, X-T1 and hopefully the X-Pro2 as well – we can sell them across the world. They’re very popular in Japan, Germany and in the USA. But cameras like the X-A2, while they haven’t done as well in the USA, they’re popular in Asian countries.

Young women are buying these cameras, and the primary reason they like them is for their rendition of skin tones. Mirrorless sales are now double compared to DSLRs [in these countries] and we’ve captured a large market share. The latest market data from Thailand for example shows that Fujifilm is number one in terms of value within the total interchangeable lens system.

What are the essential ingredients of the Fujifilm X-series?

TT: Product design is a key point of differentiation. We do this by ourselves. So sensor design, although we don’t make the sensors by ourselves. We design our processors, but of course we do not manufacturer them so we require other companies. But [whether we manufacturer a component or not] we stick to designs that we’ve come up with [in house]. So [the sensor in the X-Pro2] is a good example. This is a 24MP sensor that can produce something like 30-36MP equivalent resolution. Design is our strength I think. And lenses. We have very strong lens design capabilities. Lenses, we have our own technologies, we make lenses by ourselves.

I was pleased to see that apparently, video quality in the X-Pro2 has been improved. Is this a consequence simply of the higher resolution sensor and a difference in sampling, or has the processing been improved?

TT: It’s due to processing.

TI: It’s also due to the sensor readout speed. Because of the copper circuitry the sensor reads out very quickly and the camera’s sensor is powerful enough to process all of this information.

Previous generations of X-Trans had a lot of moiré – what was the cause of that?

TT: It was because of the X-Trans filter pattern. They bayer-pattern is very simple, but we chose X-Trans, which is complicated. And I won’t say that video quality was the number two priority, but the number one priority was still imaging. So we needed to focus on movie image quality, and now thanks to the faster sensor and faster processor [in the X-Pro2] even with the complicated filter pattern we’re able to improve the quality of the video a lot.

In the past you’ve primarily focused on the needs of stills photographers – are you moving into trying to appeal to video shooters too?

TI: Also we have a lot of customers who use Fujinon cine lenses and they’ve made specific requests for these lenses to be useful on our X-series cameras. They want one set of lenses for everything. So we’re listening to feedback from these customers and from our X photographers.

TT: And as you know, still imaging and video are merging anyway…

In your opinion, what is the perfect sensor resolution for all purposes?

TT: We should separate commercial photographers [in this discussion]. I think we can satisfy [most] photographers with the APS-C format, but commercial photography is different. Excluding commercial usage I think 24MP is good enough and more than this I think would require a larger sensor format than APS-C.

TI: The megapixel race means much less in [cameras like the X-series]. Output quality is everything. So at the moment we think that 24MP is maybe not the maximum resolution, but certainly the best. Considering lens resolution, it is the best resolution for APS-C. If we increased to 28 or 30MP there would be more disadvantages than advantages. Of course technology changes and I can’t predict the future, but at the moment 24MP is the best.

The only manufacturer to go above 24MP in the APS-C format is Samsung, which has recently apparently retreated from the mirrorless camera market. How do you react to that?

TT: I am not surprised. I think that their cameras are mechanically good, but something is missing. Heart, or emotion. That’s just my personal opinion.

TI: Samsung’s processing engines are so powerful, as in the NX1. But a camera is more than just a processor. It’s a lens, sensor, processor, ergonomics and operability and also [customer] service and everything.

The slimline X70 boasts a 16MP APS-C sensor and a fixed 28mm equivalent F2.8 lens.

A lot of the X70’s features are taken from the X100T. Do you anticipate the customer base being different for the X70 versus the X100T?

TT: I like both cameras very much. But for me, the X70 is the perfect camera to carry around, and if someone asked me to pick up either camera I’d pick up the X70. It’s more flexible for picture-taking. It is 28mm, and [although] F2.8 is a little dark, it is bright enough. For me, 28mm [is perfect] and it’s smaller than the X100T. Someone who already owns an X100 might buy an X70.

TI: I had a discussion with one photographer who specifically said that he was going to buy the X70 in addition to his X100T. Two cameras, both small cameras, one with a 35mm lens and one with a 28mm. More flexibility.

TT: This is just my personal opinion but 24mm would be even better, but we couldn’t make [the X70] this size if it had a 24mm lens.

Something we’re interested in at DPReview is the emergence of virtual reality imaging. Is this something Fujfilm is looking into?

TT: For the moment we want to work on the basics. Products like GoPro are popular, but the cameras are nothing special. We like to provide our customers with something special and unique so for now, that area is not an are we’re [interested in] pursuing.

What kind of company will Fujifilm’s camera division be in five years’ time?

TT: We’d like to be at least in the top three companies in the camera business by market share.

And how will you achieve that?

TT: As you know, mirrorless cameras have many advantages over DSLRs. That is a fundamental fact. So we pursue this approach, while the other two manufacturers [Canon and Nikon] stay with DSLR. But I don’t think they will stay there forever!

So you think that Canon and Nikon will be forced to move into mirrorless?

TT: They will. For sure. But the question is just how soon.

And the other company of course is Sony…

TT: Sony has a big advantage, they make their own sensors. That is a very big advantage for them, but they are weak in lenses.

TI: And they are weakened by having so many formats. APS-C, full-frame, [across both] DSLR and mirrorless. So their lens division must be under a lot of pressure!

Where are the remaining gaps in the X-series lens lineup?

TT: Customers are requesting more compact lenses. Our 35mm F2 is one example. So we may need to supplement this lens [with others of this kind].

TI: And also photographers are challenging us to make more telephoto primes. And astrophotographers want fisheyes, and also [we have requests] for tilting lenses. So although the volume [of those products] might not be as big, photographers are asking us.

Fujifilm’s new 100-400mm telezoom, pictured under assembly in Fujifilm’s factory in Sendai, northern Japan.

We talk a lot about digital imaging, but Instax is still very popular. Why is that, in your opinion?

TT: Instax is being used by the younger generation. They have never seen prints! So a print popping out the side of a camera is a [novelty] for them. And physical pictures. Exchanging pictures has become a new mode of communication.

Do you think film in general will have a resurgence?

TT: No, I don’t think so. The infrastructure [is no longer in place]. We have to continue to supply film and maintain our labs for another 10-20 years, maybe but I don’t think we can change the [downward] trend.

You mentioned in your presentation that demand for film peaked in 2000. Can you give me a current idea of how that compares to demand today?

TT: We sell less than 1% of that amount now. Across all formats. But we have to supply film to photo enthusiasts. They demand it of us, so we do.

Editor’s note: Barnaby Britton

I’ve spoken to Mr. Iida many times over the past few years, both in interviews and privately. As always, he was candid and thoughtful when I spoke to him in Tokyo most recently. I have not met Mr. Takahashi before, but he impressed me with his candor, humor and obvious enthusiasm for photography. A keen amateur photographer before taking on his current role, Mr. Takahashi is very obviously someone with a clear idea of what makes Fujifilm unique, and a vision for how the company will develop in the future.

It was clear during our conversation that both Mr. Iida and Mr. Takahashi are proud of and pleased with the X-Pro2, and for good reason. As the successor to the original X-series interchangeable lens model it is perhaps the purest expression yet of the original concept behind the system. Fujifilm has yet to convince us that it can truly cater to the modern sports or wildlife photographer (the X-T1 is certainly no slouch but its autofocus system cannot compete with the likes of Nikon’s 3D tracking and as Fujifilm admits, the X-series lacks much in the way of serious long glass) but the X-Pro2 is an easier camera to get right and its appeal is obvious. It’s not too big, it’s not too small, its viewfinder is excellent and let’s be honest – it looks great. In short, it has precisely the same appeal as the original X-Pro1 and X100 but improves upon those models with significantly more resolution, better ergonomics (I love the AF joystick) and – after the passage of four years – a much more mature lens lineup.

And of course, better video. Although we haven’t yet tested the X-Pro2’s video mode in any depth, it certainly seems that the worst of the issues that afflicted previous X-Trans models are gone. Fujifilm’s focus is still primarily on stills shooters but we’re optimistic that the X-Pro2 is at least usable for video, if not entirely optimized for it. I get the feeling that the poor quality video of previous models in the X-series was something of an embarrassment for Fujifilm and it’s good to see the company making an effort to improve this feature. Part of the reason for this improvement is processing, and part of it might also be the increased resolution of the new sensor and a change in how the data is sampled to create a video signal. Regardless, both the new sensor and upgraded processor are good news for stills photographers, too. With significantly more resolution than the previous generation this new 24MP sensor is a big step up for the X-series and our first impressions of image quality are very positive.

I agree with Mr. Iida when he says that for now, pixel counts much beyond 24MP are of limited usefulness on APS-C format sensors, and I very much doubt that Fujifilm will ever create a full-frame camera built around the 35mm film format. However, I would not rule out a move into medium format. Fujifilm has a long history of creating cameras and lenses built around medium format film (and, it is rumored, also around medium format sensors) and with the X-series reaching maturity, I would not be at all surprised if Fujifilm unveiled a new medium format digital system at some point. And don’t forget: 2016 is a Photokina year…

Speculation aside, it is interesting to note that it was me, not Mr. Iida nor Mr. Takahashi that brought up Sony. Mr. Takahashi told me that he wanted Fujifilm to be in the top three camera manufacturers, but it was obvious that he was imagining Canon and Nikon to be the other two brands in that trio. Perhaps he was thinking in terms of competition in the APS-C space (representatives from more than one manufacturer have suggested to me privately that they doubt whether Sony is serious about sub full-frame formats in the long term) or maybe – to Mr. Iida’s point – he thinks that Sony will flounder as a consequence of supporting too many systems.

My personal opinion is that Sony will be fine, and will continue to concentrate on the full-frame space alongside Canon and Nikon, but that Fujifilm will side-step them all by focusing on APS-C and (in the longer term) medium format platforms. What do you think? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with Nokia’s Lumia 925 and exclusive interview with Nokia execs

16 May

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Following Nokia’s launch of the the Lumia 925 in London yesterday, we had a chance to get our hands on the new device, which features a camera with a 6-element lens, try it out and take some pictures. We also spoke to Juha Alarkuu, the head of Nokia’s imaging department in Finland, and Samuli Hanninen, vice president of Software Program Management for Nokia, about the 925’s new imaging technology and what it means for mobile photographers. Click through for the full story on connect.dpreview.com.

News: Digital Photography Review (dpreview.com)

 
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