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How Joe Biden’s drone light show came together — and what it could mean for the industry

12 Nov
A composite of two of the formations seen in the drone show Saturday, following the announcement that Joe Biden was projected to become the next president of the United States.

This past Saturday, major news outlets announced former Vice President Joe Biden and his running mate and senator Kamala Harris as the projected winners of the 2020 presidential election. Biden and Harris addressed the world later that evening with speeches that concluded with a drone and fireworks light show.

The drone show especially excited many in the rapidly-growing industry, after years of negative media coverage and concerns about overregulation. Numerous unconfirmed sightings of drones near airports and aircraft, in addition to rulemaking proposed for Remote ID, reportedly set to be decided by year’s end, are a clear indicator that drones continue to be controversial.

That’s why it’s such a big deal that a formation of drones was used on Saturday night, so close to two people about to become among the most powerful (and most closely-guarded) in the world. After a bit of sleuthing, we were able to confirm that the company responsible for the light show was Verge Aero, based in Pennsylvania.

‘This event is certainly a first on many fronts,’ Nils Thorjussen, Verge Aero’s CEO, tells DPReview. ‘While I’m unable discuss the event in detail, there were many unique challenges we’ve never faced before, as you can imagine.’

Drone light shows have been around for several years, but they don’t come cheap. It takes anywhere from fifty to tens of thousands of drones to form illuminated shapes in the sky, and when the cost of setup, plus travel and accommodation for a staff of trained professionals is factored in, they’re typically very expensive.

Mass light shows with hundreds of drones might be beyond the means of most of us, but, says Thorjussen, ‘we’re developing the tools to make drone light shows more accessible.’

He predicts that ‘soon enough, as with other technologies in the past, they’ll become more affordable and mainstream.’ Good news for an industry that all too often is on the wrong side of the headlines.

To learn more about all the components that go into a drone light show, head over to Verge Aero’s blog.

Articles: Digital Photography Review (dpreview.com)

 
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Japan offers $2.2B to help domestic companies move production from China, but will it help the imaging industry?

14 Apr
Fujifilm X-Pro2 cameras being moved along the production process inside Fujifilm’s Sendai, Japan factory.

Last week, South China Morning Post (SCMP) reported that Japan is planning to set aside $ 2.2 billion of its $ 993 billion emergency COVID-19 stimulus package to help Japanese companies move production out of China, a move with potential ramifications for numerous Japanese camera and lens manufacturers.

According to the report, the $ 2.2 billion would be split into two different funds. Roughly $ 2 billion will go towards assisting Japanese companies move operations back to Japan, while the remaining $ 200M will help companies move production into other countries, in what is likely an effort to help diversify supply chains that aren’t domestic.

Rather than purely speculating on the matters, we decided to contact executives at a few Japanese camera and lens manufacturers to find out what their thoughts are on this facet of the emergency stimulus package.

General Manager of Fujifilm’s Optical Device and Electronic Imaging Products Division, Toshihisa Iida, had the following to say when asked about the SCMP article and its potential impact on Fujifilm’s operations:

‘Manufacturing in China has changed a lot over the years. It faces many challenges such as parts and labor availability, increase in overall cost, [the] US-China trade issue, and most recently, COVID-19. We still depend heavily on China to source electronic and mechanical components, but we started sourcing from alternative vendors from outside China as well.

[Business continuity planning] is always a very important agenda in our business strategy. We learned from disasters such as earthquakes and floods in the past, and keep our eyes open to prepare for any situations to secure the supply chain. COVID-19 is no exception.’

As for its current production operations, Mr. Iida says ‘Fujifilm already owns factories outside China (e.g. Japan and the Philippines)’ and has also subcontracted factories. ‘Production quality in all of the factories [is] being monitored to achieve the same standard,’ he says. ‘We look at all the important elements for production, such as capacity, cost, lead time, and [allocation of] the products to the aforementioned factories in order to deliver the products efficiently.’

Here, finished X-Pro2 bodies manufactured inside its Sendai, Japan factory await final checks before being boxed up for shipping.

Despite the Japanese government’s record stimulus package, Mr. Iida remains unsure of its impact on Fujifilm’s production, saying ‘It’s too early to say whether we will move our production from China, and if we do, how much will be shifted to Japan or elsewhere, but we will continue to monitor the situation and take action if and when necessary.’

All in all, it seems the production shift initiative might not have as much of an impact on the photography industry as some might’ve hoped. Aside from not being heavily publicized, the state of the industry even before the COVID-19 pandemic wasn’t great and investing in a contracting market isn’t exactly assuring, even with a convincing stimulus opportunity to make use of.

Articles: Digital Photography Review (dpreview.com)

 
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Camera Industry Hit Hard by Coronavirus, Causing Production Delays

09 Mar

The post Camera Industry Hit Hard by Coronavirus, Causing Production Delays appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Camera Industry Hit Hard by Coronavirus, Causing Production Delays

Over the past month, the coronavirus outbreak has rocked the world.

And now it’s making its way into the camera industry.

The three biggest imaging companies, Canon, Nikon, and Sony, have found themselves affected by coronavirus outbreaks.

First, Sony Alpha Rumors published a tip from an unnamed source, which said:

“We can expect product [launches] to be very delayed along with much lower capacity in production volumes for many of [Sony’s] current imaging products.”

While we can’t know exactly what product launches Sony Alpha is referring to, fans have been eagerly anticipating the announcement of the Sony a7s III, as well as the Sony a7 IV.

Around the same time, the CP+2020 expo, which was due to be hosted in Japan, was canceled, with the organizers citing “no effective treatment or containment measures to deal with the novel coronavirus.” Organizers went on to explain that the “event attracts around 70,000 unspecified visitors and therefore we cannot completely eliminate the risk of infection.”

Then, only weeks later, Canon Rumors says this:

“Canon…will suspend operations at its five offices in Kyushu, which produce cameras and related products, for about two weeks from March 2 to 13. The supply of parts from China may become unstable due to the effects of the new coronavirus.”

While Canon Rumors goes on to say that, “At the moment, no employees have been infected,” the message is clear: Coronavirus, directly or indirectly, is taking its toll on Canon’s camera business.

And finally, a report by Nikon Rumors, and further corroborated by PetaPixel, indicates that Nikon’s new AF-S 120-300mm f/2.8 lens would not ship as initially announced. Instead, you can expect the lens in late March, at least according to Amazon’s shipping date.

As explained in a statement from Nikon, “The U.S. availability for the AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR will be announced at a later date as we determine the global impact of the novel coronavirus outbreak. We will communicate updates on timing as they become available.”

At present, it’s difficult to say what all this means; will Canon, Sony, and Nikon recover swiftly from the effects of the coronavirus? Or will the virus’s impact be more long-lasting? These closures may be just the beginning.

Here’s one concern: Nikon hasn’t reported good financial numbers in recent months. If the coronavirus continues to affect production, Nikon may see a significant drop in sales, something that could further impact the imaging company over the next year (and beyond).

And similar worries are undoubtedly plaguing companies such as Olympus, which recently weathered rumors of a camera division shutdown.

What do you think? How will things play out regarding the coronavirus and the camera industry? Is this as bad as it will get, or will things become worse?

Let me know in the comments!

The post Camera Industry Hit Hard by Coronavirus, Causing Production Delays appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Coronavirus: Whatever happens next, COVID-19 is already having an effect on the photo industry

03 Mar

Coronaviruses are a large family of viruses that cause illnesses ranging from the common cold to severe acute respiratory illnesses such as Middle East Respiratory Syndrome (MERS-CoV) and Severe Acute Respiratory Syndrome (SARS-CoV).

In December 2019, doctors in Wuhan, China, started to identify cases of what looked like a new form of coronavirus, called SARS-CoV-2. The disease caused by SARS-CoV-2 has since been given the official name COVID-19. Local quarantines were put into place, but you know what happened next: COVID-19 has spread across the globe, with more than 87,000 confirmed cases as of Monday March 2nd, 2020.

So why is a new illness – which has killed far fewer people than normal strains of flu in an average year – being taken so seriously?

‘An economic pandemic’

The medical risks of COVID-19 are still being assessed, and are beyond the scope of this article, but inevitably, much of COVID-19’s impact so far has been economic.

The economic impact is here, and it’s very real. Recent record falls in stock markets all over the world are a clear indicator of what one analyst called an ‘economic pandemic’,1 which reflects a growing worry that markets could be badly hit by the consequences of what is now a global problem.

Last month, as a result of COVID-19, Chinese manufacturing fell to a record low

But first, to China – because China is important. In 2018, China accounted for about 16% of the global economy, and about 28% of global manufacturing output. And last month, as a result of a loss of output caused by COVID-19, Chinese manufacturing fell to a record low.2

A disruption to iPhone production in China was enough for Apple to issue warnings about revenue this quarter.

‘Chinese manufacturing’ encompasses everything from cars to smartphones, not to mention the myriad of tiny components that end up inside virtually all consumer electronic devices. So when factories in China shut down, that creates a problem. Around five million jobs in China rely on Apple device manufacturing alone, and the company has already warned that it will miss revenue goals as a result of the outbreak.3 It is estimated that up to 760 million people in China are currently subject to some kind of travel restriction. For context, that’s more than double the entire population of the USA.

Effect of disruption in China on consumer digital imaging industry

It makes sense that a major drop in production of iPhones would affect Apple’s bottom line. The company’s Zhengdou facility is estimated to churn out up to 500,000 of them a day,4 and the company sells about one hundred times that number in a good quarter. That’s a rate of production – not to mention sales – far in excess of any digital camera, but in the photo industry, too, the effect of the COVID-19 outbreak is being felt.

To take just one example, after closing completely for a time, Fujifilm’s facility in China re-opened in mid-February but has been operating at reduced capacity since then. This has caused disruption to the production of its popular X-T30 and X-T3 models, and the company cannot confirm when it will be able to ship the new X-T4.

It’s not just Fujifilm. Most consumer digital imaging (DI) companies manufacture some of their products in China, and are now feeling the effects of industrial disruption inside the country.

With the ever-changing situation on the ground […] it has proven difficult for head offices in Japan to get a clear picture of what’s actually going on in China

In private conversations with representatives from several imaging companies (who asked not to be quoted directly) the words I’m hearing most often are all the ‘un’s – ‘unknown’, ‘uncertain’, and perhaps most frequently, ‘unclear’.

Right now, it seems that some, if not all of those camera and lens companies that rely on Chinese factories do not even know for certain how much manufacturing capacity they currently have at their disposal. With the ever-changing situation on the ground, rolling quarantines and restrictions on local travel within the country, it has proven difficult for head offices in Japan to get a clear picture of what’s actually going on in China.

Everyone that I spoke to expressed the same hope: that the long-term impact will be limited, and things will become clearer in the coming weeks. But more than two months after the virus was first reported, it’s obvious that even to those on the inside, a lot is still unknown, much is uncertain, and many things remain unclear.

The X-T4 is Fujifilm’s newest high-end mirrorless ILC. Manufactured in factories in China and Japan, it is due to ship next month, but this may change.

Japanese outsourcing to China

Japanese companies started moving manufacturing to China en masse starting in the late 1980s. The first trigger for this change was the so-called ‘Plaza Accord’ of 1985. The Plaza Accord was an agreement between France, West Germany, Japan, the United States and the United Kingdom to deprecate the US Dollar against the Japanese Yen and the German Deutsche Mark. This had the desired effect of making US exports cheaper, and created a period of growth in Japan known as the ‘Bubble Economy’.

Unfortunately, following government attempts to cool the economy down, the bubble burst and in the 90s Japan entered a protracted period of deflation and economic stagnation, known as the ‘Lost Decade’. A series of subsequent domestic economic crises, culminating in the global financial crash of 2008, led many Japanese companies to move factories to China during this time period, where production costs were lower.

Some camera brands actually don’t have a presence in China at all

By the early 2010s however, China’s economy was starting to grow rapidly and the cost of producing goods in China went up, making outsourced manufacturing less attractive.

This led to Japanese companies adopting what was called a ‘China plus one’ strategy, opening additional factories in Southeast Asia, where production was cheaper. To take Fujifilm again as an example, it has facilities in China and Japan, but in recent years has also opened sites in the Philippines. Similarly, Canon and Nikon also operate factories in Southeast Asia, in addition to China and Japan.

Some camera brands actually don’t have a significant presence in China at all. For example, Olympus’s main manufacturing base these days is in Vietnam.

The problem with global supply chains

You might assume that as a result, these manufacturers should be insulated. However, even companies with facilities all over the world may still be affected by the closure of Chinese factories and the disruption of regular trade between China to Japan. That’s because China is the world’s biggest exporter, and the source of so many ‘intermediate goods’ – component parts or sub-assemblies which go into finished products.5

With an estimated 3 million+ shipping containers currently stuck in China, not going anywhere, a lot of companies who rely on the products and components inside them are bound to be affected.

As I was preparing this article, Canon announced that it is suspending operation at five of its factories in Japan, making SLR cameras, lenses and surveillance equipment, due to a shortage of parts from China. Ricoh has delayed the planned re-opening of some of its Japanese manufacturing lines for the same reason.6

Chances are, most products labeled ‘made in Japan’ still contain plenty of parts and sub-assemblies that weren’t. As Roger Cicala of Lensrentals told me in conversation this weekend, with only a couple of exceptions ‘there really is no “made in…” anywhere, anymore’.

Sigma makes all of its cameras and lenses in Japan, but some of its Japanese suppliers still source components from China. See our recent Sigma factory tour

One of those exceptions is Sigma. As readers of our regular in-depth interviews will know, Sigma is unusual among Japanese DI companies in that it makes all of its products inside Japan. As such, according to CEO Kazuto Yamaki, issues in China are expected to have ‘relatively little impact’ on its business ‘for the time being’. However, some of Sigma’s Japanese suppliers do have factories in China, from which some component parts originate. Mr. Yamaki told me that his team is currently investigating alternative sources for these parts if it becomes necessary, and hopes that the situation will become clearer ‘in one to two weeks’.

The hope is that things improve, capacity recovers soon, and existing stockpiles of components will be adequate to avoid disruption

It’s impossible to tell what the long-term effect of continued interruption to Chinese industrial output to the camera industry will be. It’s estimated that if Chinese manufacturing capacity remains significantly reduced for another month, through the first quarter of 2020, Japanese firms (along with those in South Korea) will be hit hard.7

The hope of course is that things improve, capacity recovers soon, and existing stockpiles of components will be adequate to avoid too much disruption in the meantime. Of course there remains the risk that if COVID-19 continues to spread to other countries – particularly in Southeast Asia – we may yet see factory closures elsewhere in the world.

Wherever it happens, an interruption in the supply chain for consumer goods is not the only potential consequence of COVID-19 in the short to medium-term. Another worry (in fact the main worry for some of the representatives I spoke to) is the long-term effect of the outbreak on the global economy, and in the short term on the Chinese economy – and Chinese consumer spending in particular.

What happens when Chinese consumers stop buying cameras?

Manufacturing represents around 30% of China’s total economic output, and as we’ve seen, manufacturing is down. This presents a major risk to the country’s economy, which happens to be very bad news for Japan. In recent years, following a series of reforms, China has become a major consumer of goods and services. The growth of China’s middle class has increased the country’s appetite for high-end consumer and industrial goods from Japan – helped by a relatively weak Yen.8

By 2012 Japan was China’s largest trading partner in terms of exports, and in 2018, 9.2% of imports (by value in US dollars) into China came from Japan. As such, Japan’s economy is particularly vulnerable to events in China.9

Even before the emergence of COVID-19, Japanese firms were already under stress from the effects of US tariffs on China. A representative of Mitsubishi UFJ Financial Group described the US-China trade war last year as “the biggest risk to Japan’s economy” 10, and nine months on, the virus certainly isn’t helping. In January 2020, the total value of Japan’s exports to China dropped sharply, by 36%.

The loss of revenue from sales within China, and from Chinese tourists shopping in camera stores around the world, will be felt hard

China is a major market these days for high-end cameras and lenses. In an industry where growth is scarce, China is one of the few places around the world where manufacturers have seen a significant increase in sales. We know that it’s a particularly important market for Fujifilm’s high-end GFX line for example, and also for Leica (second to the US), but the Chinese market is important to every manufacturer, across the whole industry. The loss of revenue from sales within China, and from Chinese tourists shopping in camera stores around the world, will be felt hard.

According to one senior industry figure I spoke to, the hope among manufacturers is that matters improve by June, which is ‘peak season’ in the Chinese market. Meanwhile, partially as a result of restrictions on travel for Chinese attendees, several major international trade shows have been canceled, including CP+, which was scheduled to take place last week in Yokohama. That’s where I was meant to be right now, but instead I’m at my desk at home in Seattle, writing this article.

The CP+ trade show takes place every spring in Yokohama, Japan. This year, days before it was meant to open, organizers canceled the show citing concerns over public health in the midst of the COVID-19 outbreak.

What next?

So what happens next? Unfortunately, we don’t know. At the very least, it’s reasonable to expect that some planned releases may be delayed, backorders might pile up for some products, and we may see shipping dates slip for others. Hopefully that’ll be the worst of it.

Update: It’s already happening. Several lighting and bag manufacturers with factories in China have alerted customers to expected delays in order fulfillment, and this weekend Peak Design emailed backers of its new travel tripod to warn that shipping is likely to slip to ‘early to mid-April’.

Whatever happens from here on out, everyone I spoke to for this article stressed that right now the situation is being monitored very closely and taken very seriously. Plans are being put in place, and everyone’s first priority is the health and safety of their employees across the world. Roger Cicala told me that Lensrentals, based in Tennessee, is taking steps to get key employees set up to work from home, just in case of a local outbreak. I’m sure that similar plans are being made across the industry, and across the world.

Crises like these serve as a reminder of how small the world is

It’s worth remembering that the camera industry has proven remarkably resilient. None of us will soon forget the horror of the 2011 earthquake and tsunami, for example, which disrupted production in Japan for many months (despite an incredible collective act of self-sacrifice on the part of workers, which saw many damaged factories returned to limited operation within days). If nothing else, crises like these serve as a reminder of how small the world is, how lucky we are when things go right, and how much we rely on our friends and partners all over the globe when they go wrong. We are all in this together.

A note on sources, and thanks

While researching this article I spoke to representatives of several major manufacturers in the consumer digital imaging space, both in Japan and the US. Most preferred not to be quoted directly, in order that they could speak freely. I would like to thank all of them, but especially Kazuto Yamaki of Sigma and Roger Cicala of Lensrentals.


  1. PBS: ‘Why the economic impact of COVID-19 might outlast the outbreak’
  2. BBC News: ‘Chinese manufacturing hits record low amid coronavirus outbreak’
  3. AXIOS: ‘Apple will miss quarterly earnings estimates due to coronavirus’
  4. The New York Times: ‘An iPhone’s Journey, From the Factory Floor to the Retail Store’
  5. Carnegieendowment.com: ‘The Economic Fallout of the Coronavirus in Southeast Asia’
  6. Nikkei.com: ‘Canon suspends production at five Kyushu plants with new Corona’ (in Japanese)
  7. See 5, above
  8. 9., 10., The New York Times: ‘Japan Stumbles as China’s Growth Engine Slows’

Articles: Digital Photography Review (dpreview.com)

 
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CIPA’s 2019 numbers detail worst year of the decade for the camera industry

04 Feb

Camera & Imaging Products Association, more commonly referred to as CIPA, has released its December report, which not only provides the details for the final month of the year, but also gives us a complete picture of the camera industry in 2019.

For anyone paying attention, it shouldn’t come as a surprise that the news isn’t great. In fact, it’s downright terrible if we’re only looking at the numbers and not contextualizing the industry as a whole as it continues the transition from DSLR to mirrorless cameras. But, even then, it’s not a pretty sight.

According to CIPA’s data, digital still camera sales decreased by approximately 14 percent year-over-year. DSLR unit sales dropped almost 34 percent, while their value dropped roughly 28 percent. Meanwhile, mirrorless unit sales dropped by 10 percent, but the value of mirrorless camera sales increased by almost 6 percent, suggesting more advanced mirrorless cameras are increasing in popularity. Fixed-lens cameras saw a unit sale decline of 23 percent, while value dropped 12 percent.

As a whole, these numbers define what’s easily been the most dramatic year-over-year decline in the past decade; and most camera company’s don’t seem too confident the market will improve much next year if we’re to consider their financial projections as any indication.

However, as noted by CIPA’s mirrorless numbers, it does appear as though mid-to-high-end mirrorless cameras are providing more revenue year-over-year, and with both Canon and Nikon expected to ship more advanced mirrorless models in the coming year, that number will likely only go up, even as DSLR and fixed-lens sales continue to decline.

Articles: Digital Photography Review (dpreview.com)

 
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2010-2019: The decade in review – the camera industry

31 Dec
Officially launched in 2010, I had a feeling that the Fujifilm X100 would be a hit from the first moment we saw a mockup. A small number of journalists worked closely with Fujifilm during the final stages of the X100’s development (and afterwards) to mold what turned out to be a really significant camera for the company.

My career as a photography writer spans 13 years, ten of which I’ve spent at DPReview. Ominously (as if 13 years wasn’t ominous enough), I started my career the year before Apple released the very first iPhone. In many ways, Apple (and other smartphone manufacturers – Samsung, Google, Huawei and the rest) have provided the mood music for everything that has happened since.

But I’m skipping ahead. In this article I want to look back at some of the biggest themes of ‘my’ decade in the industry. Not ‘mine’ in the sense that I had any significant impact on or influence over it (I didn’t) but from an insider’s point of view. The industry has gone through a lot of changes during my time, some of them very painful, but I suspect that before too long, we’ll will look back on the 2010s and realize that in many ways photographers, and those of us who write about cameras, never had it so good.

Here’s why.

From my perspective both as a photographer and photography writer, the 2010s was the decade during which consumer digital imaging really came of age. Consider that in 2010, the only mirrorless cameras you could buy offered Four Thirds format sensors, with (by modern standards) laggy and low-resolution electronic viewfinders.

A sample image from one of my first reviews for DPReview, of the Nikon D3S. Featuring highly advanced autofocus and fast continuous shooting from a full-frame sensor, the D3S offered specs which were a world away from most DSLRs and ILCs at the time.

By the end of the decade, features like advanced focus tracking, 10+fps shooting and high-quality video (the D3S offered 720p) would be commonplace in much cheaper cameras.

Most ILCs sold were DSLRs, and while full-frame was definitely a thing by 2010 (Canon’s EOS 5D-series was on to its second-generation by that point, and both Nikon and Sony had sub $ 3000 FFs), if you wanted a really fast, really tough, really capable camera, there weren’t that many full-frame options available. The 12 MP Nikon D3S that I used professionally at that time was miles ahead of any APS-C format ILC then on the market, but unsurprisingly, it was priced to match.

Fast-forward to 2019’s pre-Christmas sales and you could have picked up a factory-fresh Nikon D750 for under $ 1,000 if you were quick off the mark. The fact that a five year-old camera could be found at a good price isn’t in itself particularly surprising, but the fact that I’d still recommend a friend should get online and buy it goes to show how different the second decade of this century was from the first.

The 2010s was the decade during which consumer digital imaging really came of age

The D750 was released five years after the D3S but offered twice the pixel count, a superior autofocus system, much better live view / video and in a smaller, lighter body. The point is that those kinds of specs just don’t go out of date.

It’s wrong to say that camera technology plateaued during this time, but it definitely matured. Spare a thought for those of us who have to write about such things: no longer can we confidently declare a camera to be ‘best’. Instead we have to add endless caveats: best for landscapes, best for portraits, or – horror of horrors – best for the maddeningly-indistinct “you”.

We’re not arguing about sensor formats anymore

In 2019, just like 2010, we have three main interchangeable lens formats. Four Thirds (the original mirrorless format), APS-C (the original mainstream DSLR format) and full-frame (the primary SLR format). Back in 2010 we might have put those in order: Good, better, best. I don’t think we’d do that any more. We wouldn’t even necessarily call today’s 44 x 33mm medium-format sensors ‘best’ except in heavily-qualified terms. They’re just different – just another option.

I was among those in the photo media who expected that once affordable full-frame cameras came onto the market, APS-C and Micro Four Thirds would just sort of wither away. I’m happy to say that it hasn’t happened. While there’s definitely less growth in that market segment now than there was (and less compared to full-frame), high-end APS-C and Micro Four Thirds cameras are still alive and well. In a way, I think companies like Olympus and (especially) Fujifilm may have benefited from a bit of distance opening up between the formats, because it has allowed them to carve out their own distinct spaces.

If you’re buying a camera in 2019, the chances are it’s made by one of the same companies you would have been buying from ten years ago

As we all know, the 2010s were a tough decade for the industry. But amazingly, there have been very few casualties. Casio stopped making digital cameras, Samsung came and went, Pentax kind of sort of doesn’t exist anymore, but that’s about it. There’s been plenty of restructuring, but for the most part, if you’re buying a camera in 2019, the chances are it’s made by one of the same companies you would have been buying from ten years ago.

Rumors of Olympus leaving the camera business have been floating around for as long as I’ve been writing about them, but as you may have noticed, it’s is still in business. In part that’s down to a concerted effort on the company’s part to differentiate, and to pick its competitive battles.

The original Olympus OM-D E-M5 was a perfect expression of the promise of a small-sensor ILC. It was very compact and lightweight, but fast and powerful, featuring effective in-camera image stabilization, in 5 axes.

Perhaps the best example is the OM-D series. With the launch of the original OM-D E-M5 back in 2013, Olympus used the undoubted benefits of a small sensor to reinvigorate the spirit of its iconic OM-series film cameras, and create a range of products which didn’t look like anything else which existed at the time. Meanwhile Panasonic has doubled-down on video in more specialized M43 options like the GH line.

Fujifilm’s X-series, which debuted in 2012, is a great argument for the unique benefits of a small-sensor system: genuinely compact cameras and lenses, without a huge penalty in image quality. But while I knew that the X100 would be a hit from the first time I saw a mockup, I will admit that I was a little concerned that Fujifilm might have missed the window of opportunity by the time it created the X-mount. I needn’t have worried: since its inception, the X-series has generated a large, and very loyal audience of fans.

Likewise Sony’s a6000-series, which offer incredible speed and class-leading autofocus, in bodies which cost a third of the price of similarly-fast full-frame options.

And then there’s medium format. After deciding not to bother with full-frame at all, Fujifilm decided – like Pentax before them – to explore the market for a series of consumer cameras built around an even larger sensor. While this year’s $ 10,000 GFX 100 is beyond the means of most of us, the GFX 50S and 50R have proven very popular, especially with studio and landscape photographers.

Technology, technology, technology

The past ten years has seen a lot of technological development in the field of photography – not least in the smartphone arena. But in the camera industry, two companies really made the running at the beginning: Samsung and Sony. Arguably, no other manufacturer did as much as either of these players in the first half of the decade to shift our expectations of what digital cameras could do.

I remember as far back as 2007, even before I joined the team at DPReview, being invited to focus-group sessions with Samsung in London to give notes and feedback on prototype cameras and concept drawings. Samsung was really serious about making a difference in the photography space, and its ambitions culminated in the NX1: one of the most capable mirrorless ILCs ever made. Throughout the process of developing the NX-series, Samsung was perhaps the most proactive of all the manufacturers in seeking feedback from industry journalists and incorporating our notes and suggestions in new firmware versions.

That feeling of collaboration, especially around the development of the NX1, remains one of the highlights of my career, even if it did make the NX1 a very difficult camera to review, since Samsung kept on making changes to it!

Sadly, Samsung left the field before the full potential of its NX system could be realized (one of the few great ‘what ifs?’ of the photo world) but it was very clear that Sony, on the other hand, was in it for the long-haul.

What we might call the ‘democratization’ of full-frame and larger sensors started in the 2000s, but it was in the past decade when really good larger-sensor cameras became really affordable. High-resolution stalwarts like Nikon’s D800-series, and Canon’s slowly-evolving 5D-series (including the sometimes overlooked super high-res 5DS/R) and less costly ‘entry-level’ options like the Canon EOS 6D and Nikon D600-series, all helped put full-frame into the hands of more photographers than ever before. I remember the original 36MP Nikon D800 being something of a wonder, at a time when 24MP was still considered more resolution than most people really needed. Resolution was one thing, but the dynamic range benefits of Sony’s dual-gain sensors actually changed the way I shoot, permanently.

In the five years it took Canon and Nikon to create full-frame mirrorless mounts, Sony had released seven a7 and a9-series ILCs

Which brings us to Sony: arguably the most important manufacturer of the entire decade, in this industry. When it was still evolving what had been the Minolta A-mount, Sony had made a handful of full-frame DSLRs alongside a range of innovative ‘SLT’ cameras, which were sort of a halfway point between traditional SLRs and a pure digital experience. It took quite a while before this experimentation paid off in significant market share, but in the 2010s, with the launch of the mirrorless E-mount, things really took off.

Sony was first to market with a full-frame mirrorless lineup, and – probably more than any of the other major players – really created the expectation that mirrorless could be a viable alternative to DSLR. In the five years it took Canon and Nikon to create full-frame mirrorless mounts, Sony had released nine a7 and a9-series ILCs, and in that time had taken a considerable technological lead in many key areas, including on-sensor autofocus. It’s also worth noting that many of the digital ILCs, and the majority of the compact cameras sold today contain Sony-made sensors – something that has actually been true across the whole of the last decade.

As a technology journalist, I will always be grateful to Sony for keeping us busy and injecting some energy into the industry at a time when we were resigned to cautious, incremental releases from most other manufacturers.

Summing-up

A lot has happened in the world of photography since 2010. The past decade didn’t see quite the same breathless pace of camera development (and heady sales) that characterized the first ten years of the 21st Century, but there’s been plenty of progress, and the digital photography landscape in 2019 is certainly radically different how compared to how it was 2010.

In some ways of course it’s a poorer and more frightening place: certainly for camera manufacturers. The decade began in the shadow of the worst global economic crisis since the 1930s, and in 2012, a devastating earthquake and tsunami caused enormous loss of life and considerable disruption to manufacturing centers in Japan.

Meanwhile, as apps like Instagram and Snapchat turned photographs into units of social exchange, a whole generation stopped buying dedicated cameras. Ironic, perhaps, but totally logical, given that the cameras in smartphones make that process easier, and they keep on getting better, and better, and better. Looking ahead, it seems inevitable that the next ‘revolution’ in digital imaging will be courtesy of so-called ‘computational photography’. That’s a pretty easy prediction to make, given that it’s already underway.

As apps like Instagram and Snapchat turned photographs into units of social exchange, a whole generation stopped buying dedicated cameras.

So that was my decade in digital photography. A period which spanned disasters (both natural and man-made) major technological advances and upheavals, and some major personal upheavals too: a move to the US in 2010 being chief among them. My colleague Richard (another 10+ year veteran of DPReview) will be penning his own look back in Part 2 of our 2010s retrospective, focusing on developments in autofocus and video, so keep an eye on our homepage for that.

While the industry we’re reporting on now is quite different to the industry we joined way back in 2006 / 7 (my three years at Amateur Photographer Magazine in London overlapped with Richard’s first couple of years at DPReview), I truly believe that there’s never been a better time to be an enthusiast photographer. Thanks for joining us on the journey, and I hope you’ll join me in raising a glass to the next ten years.

Articles: Digital Photography Review (dpreview.com)

 
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Sony Is Now Beating Nikon in Camera Sales. What Does This Mean for the Industry?

03 Dec

The post Sony Is Now Beating Nikon in Camera Sales. What Does This Mean for the Industry? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Sony-beating-Nikon

According to Nikkei, Nikon has now dropped behind Sony on overall camera sales, leaving the market with these adjusted rankings:

Canon, #1.

Sony, #2.

And Nikon, #3.

This hardly comes as a surprise, given recent market trends in digital camera sales, along with Nikon’s recently forecasted loss in imaging products (instead of an originally predicted profit).

The truth is that digital camera sales are bleeding across the board, not just for Nikon. In recent years, sales have dropped for Canon, Nikon, and Sony, but Nikon’s poor performance has allowed Sony to creep past them in the rankings.

Note that Sony was already leading the industry in full-frame camera market share, and was also leading Nikon in interchangeable lens camera sales.

In other words: Sony’s success is simply another step on the road to its digital camera dominance.

For Nikon shooters, this is far from good news. As of right now, Nikon’s full-frame mirrorless lineup is in its early stages, with only two cameras and a handful of lenses. But if Nikon decides that its imaging business is costing too much money, the leadership may decide to head into the safer waters of its precision equipment business (where Nikon is performing well and profits are steadier).

If this happens, we could see a decline in both the number and quality of Nikon products.

And then, assuming that digital camera sales continue in the downward direction, and assuming that Canon and Sony continue to push for market dominance, we might see the end of Nikon’s imaging business, period.

Is speculating about the end of Nikon cameras a bit alarmist?

Maybe.

But reports regarding camera sales have been nothing but alarming in recent years, defying expectations and suggesting that things are changing faster than anyone could have predicted. And with recent speculation about Olympus’s camera business shutting down, well, it’s hard not to wonder.

So what do you think? Will Nikon remain competitive in the camera industry? Or will the company decide to focus on other areas and drop its image business entirely?

Let me know your thoughts in the comments!

The post Sony Is Now Beating Nikon in Camera Sales. What Does This Mean for the Industry? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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How to Make Friends and Collaborate in the Photography Industry

11 Jun

The post How to Make Friends and Collaborate in the Photography Industry appeared first on Digital Photography School. It was authored by Karthika Gupta.

Have you ever seen or been a part of a photography conference? Or even just walked into a camera store and spent some time observing people interacting in the store? It is as if we photographers speak another language, live in another world, or even belong to a cult. Of course, I mean this without any form of disrespect. Photographers and photography enthusiasts are a class apart. We all get excited about new lens and gear, talk in F-stops and ISO settings, and some of us save for years and years to buy a particular brand of camera or lens!

Ballet inspired styled shoot collaboration with other wedding vendors Karthika Gupta

The photography industry is growing in leaps and bounds – not only in technology but also in the number of people who are aspiring photographers or even hobbyists. With easier access to gear and a wealth of free education around, photography is a career choice for almost any generation. However, it also means that many people are doing the same or similar things. Most photographers, at some point or another, think about industry competition to get ahead of the curve in the kind of money and work they think they need to get ahead.

I want to assure you that making a living is possible in this space. There is more than enough work to go around. Your peers and colleagues are not out to ‘get you’ or ‘steal work from you.’ Let go of that scarcity mindset and instead think of how you can collaborate with your competition in ways that can become a win-win for both of you.

Often times, the colleges and friends you make in the industry do more for you than you could imagine. They send their overflow work your way, and you make genuine friendships with people who speak the same language as you. You also get to collaborate on creative projects that improve your own skill as an artist.

There are several ways you can make friends and collaborate in the photography industry.

1. Attend conferences and photography related events

There is nothing quite like getting a bunch of photographers in a room to talk shop and discuss the latest and greatest gear and techniques. The energy and the learnings at such events are incredible. Most conferences and events get the best speakers and teachers, so this is a great way to increase your skill set and also meet some of your mentors and peers.

As someone who has started to speak and teach at conferences and events, I am just as nervous to get up on stage as you might be to come to an event! However, I am so happy to meet and mingle with my people – folks who love photography as much as I do.

So go with an open mind and be willing to put yourself out there to make genuine connections and friends.

Food styling and food photography workshop Collaborate with other photographers Karthika Gupta

I had the opportunity to attend a conference and took some food styling and food photography classes. While there, I made some amazing friends who, to date, have been very supportive of each other’s work.

2. Join local groups

If traveling for a conference or an event is not your thing, thanks to apps like Meetup and Eventbrite, there are plenty of local chapters and groups that are photography specific. Some groups routinely go out and photograph. Others have workshops and classes where members exchange ideas and knowledge. Find what works for you and be open to give as much or more than what you receive.

3. Connect with photographers who you admire

I have to admit; this one is one of my favorite ways to connect with others in the photography space. Most photographers are on social media because it is such a great visual tool to showcase your work. So I find it easy to find photographers whose work I admire on social and engage with them regularly. Sometimes it is a ‘like,’ other times it is a comment or a direct message (DM). Nothing crazy or weird, I just say hello and compliment them on something that I find enjoyable. This is not a place to ask favors or ask for work. Instead, this is a place to connect and be social. The more you engage, the more you become a familiar face. Then when the time comes to collaborate or work together, let that organically happen.

Don’t ask open-ended questions or ask to pick their brain. Instead, do your research and ask intelligent questions. Ask about their motivation or inspiration or an accomplishment that they are proud of. Perhaps you could ask how they get over a creative slump…anything that humanizes you and them.

Collaborate with other photographers Karthika Gupta

I collaborated with another photographer who I met online. I stayed at her house for the weekend and created some amazing work that I am most proud of to date.

4. Be friendly and cordial

Always be friendly and cordial. No matter the stage of business you are at, always remember you too started at the bottom of the ladder too. Just because you have ‘achieved’ success doesn’t mean you have to be rude. On the flip side, to the person who is reaching out to other photographers, do the same. We are all in this together. You will make genuine friends when you are honest and genuine yourself. You will just put people off when you are insincere.

5. Offer something of value – no, it’s not always money

I am of the school of thought that money is not the ultimate form of success. Yes, we need money to survive – to put food on the table, pay the rent and other necessities like that – but there are many people out there who are motivated by something other than money.

Find your passion and find what feeds your soul. The money is sure to follow.

When working with others, offer something of value. When you are collaborating with other creatives, put your best foot forward so that the collaborative effort is worth its weight in gold. That way, it is a win for everyone included.

Styled shoot and portfolio building Karthika Gupta

I conducted a styled shoot for new wedding photographers, and as a result, collaborated with many vendors who got photos in exchange for products and services – a win-win for all.

6. Pre and post follow through is important and essential

When collaborating with other creatives, communication about expectations and outcomes is critical. It is important everyone is on the same page so that each party knows what they need to put in and what they are going to get out of it.

Communication can be as formal or as informal as you all agree. Typically everyone pitches in or brings something of value (time, talent, props) to the table. After the collaboration, people share each other’s work, give critique and sometimes even share images for each other’s portfolios.

No matter what process you use, make sure everyone agrees.

It is also important to do a debrief on the collaboration. Figure out what worked and what didn’t. How can you all make it better next time? Make sure to address any issues so you can all walk away with a positive experience.

Collaboration isn’t just with other photographers. It can also include vendors and businesses in your area of specialty. You can make a trade of goods and services in exchange for photos. Here pre and post-follow-up are critical so that all expectations are met.

Collaborate with vendors and businesses not just other photographers.

Collaboration, when done properly, should be a mutually beneficial arrangement. By collaborating with others, you get to learn, improve yourself, and help others as well. It is a very healthy and creative way to inspire and be inspired while working on something atypical.

Have you collaborated on some great projects? Share your experiences with the dPS community in the comments below.

 

The post How to Make Friends and Collaborate in the Photography Industry appeared first on Digital Photography School. It was authored by Karthika Gupta.


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Panasonic interview – ‘We are targeting the very highest level of durability in the industry’

03 Jan
Yosuke Yamane, President of Panasonic’s Imaging Network Business Division.

With the official launch of Panasonic’s new full-frame S1 and S1R getting close, we’re looking back to Photokina 2018, where we sat down with Yosuke Yamane, President of Panasonic’s Imaging Network Business Division. In our interview, Mr. Yamane discusses his hopes for the future, why Panasonic decided to go full-frame, and the challenges facing his industry.


Why did Panasonic make the decision to move into full-frame?

Five years ago, full-frame mirrorless cameras entered the market, and the trend [since then] has been moving towards full-frame mirrorless cameras. But at that time, we were not ready. Both in terms of technology, and also service and support, and so on. But now the time has come when our technology is ready to go.

As you know, since we joined the camera business, we have introduced several worlds first technologies. [Full-frame] is a new challenge for us as an innovator. We believe that we can provide value in the full-frame camera market.

You’ve said that the ’S’ stands for specialized – what are these cameras specialized for?

They’re specialized for professionals. That is a core target for us but we’re also targeting high-end amateurs and enthusiasts.

“Operability without compromise”

What is your strategy for attracting professionals?

Everything without compromise. Image quality, build quality, operability and performance. It takes all of our effort. As for image quality, we’re using newly developed 47 and 24MP full-frame sensors, and also a new processing engine, plus a high-quality lens lineup. And 4K 60p video. Fast, and very accurate autofocus, which is a combination of high-speed contrast detection autofocus and DFD technology. And this also includes deep learning Ai. Plus dual image stabilization and a high-precision, high-speed shutter.

Also a very high resolution viewfinder – the highest-precision finder in the industry. Dual card slots, SD and XQD, which is essential for professionals, and a 3-axis tilting LCD. Operability without compromise.

Our designers ran a lot of simulations and made a lot of prototypes of the grip, for example, to fit the needs of professional photographers. Also optimal button layout, for intuitive controls.

Four mockups of the S1/R’s grip, which went through several rounds of refinement based on feedback from professional photographers.

Is there a technical reason for the unusually large body size of the S1 and S1R?

DSLRs incorporate mirror boxes, but we have double card slots, an in-body stabilization system and high-quality movie features. So the body obviously gets bigger because of those features. We didn’t want to compromise on features for the sake of body size. Maybe some customers think that mirrorless cameras should be small, but we think that as a professional tool, this body size is appropriate.

The advice from professionals is that they place more importance on performance, not size

We have made this camera with our Lumix ambassadors. We got a lot of feedback from them and most of the professionals don’t feel that [these cameras are] ‘big’. They feel that they are a very appropriate size.

The advice from professionals is that they place more importance on performance, not size. For example the shutter. Most competitive cameras are guaranteed to 200,000 actuations. Our camera will be tested for more. That’s the kind of thing that we prioritize, for professional use.

Is it your intention that the S1 and S1R will be the most durable cameras on the market, when they’re released?

Yes. We are targeting the very highest level of durability in the industry. [The S1/R] are 100% sealed against dust and water, and operate in very low temperatures – even exceeding the limits of the GH5. The GH5 actually went to the South Pole in minus 40 degrees C, and worked perfectly. Such kinds of ‘no compromise’ features are all incorporated [in the S1/R].

There are a lot of photographers taking landscapes, sports, and nature, and we’re gathering feedback from all of them. The cameras need to work in all kinds of conditions from very warm to very cold. So we focus on all of the requests from consumers with the intention of making [these cameras] without any compromise.

Panasonic claims that the S1 and S1R will offer the highest standard of durability in the industry, while offering professional-oriented feature sets and a very DSLR-like handling experience.

Do you think that over time, your L mount lineup will grow to include entry-level products, or do you see it purely as a high-end system?

The first generation will be specialized for professionals but in the future, of course we’re also aiming to attract entry-level users. In that eventually, we’ll study the question of performance versus size. But our image to professional users is very important. That’s why we’re attacking this segment [initially].

We decided that it was better to collaborate, than to create our own standalone mount

What is the strategic value of the L mount alliance, to Panasonic?

We’ve had a good relationship with Leica for a long time – 17 years. Four years ago we renewed our contract. That contract included a technical collaboration, with our digital technology and their optical technology. There will be a convergence. In that contract we discussed a lot of things relating to the shared mount.

Sigma produces very reliable high quality lenses, [and we knew that] in order to get into the new business, we needed a lineup of lenses. So we decided to collaborate with Sigma to make a big impact. I have a good relationship with Mr Yamaki, CEO of Sigma, I trust him and I respect his aggressiveness towards the market. This collaboration provides a lot of value for us, entering into a new market and becoming competitive in full-frame.

Considering value for customers, we decided that it was better to collaborate, than to create our own standalone mount. This way we can provide lots of choices for lenses, and Sigma already has a large fanbase. Obviously Leica with its 100 year history also has a good base of users.

The Leica L mount lineup includes APS-C products as well as full-frame. Is Panasonic interested in APS-C?

No. We have our own Micro Four Thirds system and we think that [because of the greater difference in size between full-frame and M43] this is the best balance. We have no plans to develop APS-C products.

In M43, we prioritize compactness. But in full-frame we set higher targets, to meet professional specifications

Is designing lenses for full-frame easier or more difficult than designing for Micro Four Thirds?

It’s more difficult. In the case of M43, we prioritize compactness. But in full-frame we set higher targets, to meet professional specifications. This camera [the S1R] incorporates a 47MP sensor, but to be futureproof, lenses should be capable of resolving more resolution than that. So we set very high specification targets for our full-frame lenses. We will develop our lenses without compromise. Other important factors are build-quality, and bokeh. These are both very important when it comes to creating photographs.

Do you think Panasonic’s L-mount lineup could evolve in future to include products like the GH5S, which are optimized for video?

One of our assets is our experience of professional video, over more than 40 years. This is one of the areas where we contribute to the market, so in the future it’s possible that [our L-mount lineup] will expand to include such products. But even the S1 has very good video capabilities. We cannot disclose the exact specification beyond saying that it will be capable of 4K/60p video but you can expect more. Even the S1 will be used, we believe, by professional videographers.

The 24MP and 47MP sensors inside the S1 and S1R will be capable of high-quality 4K video capture as well as stills shooting.

The sensors inside the S1 and S1R are described as ‘newly developed’. Are they fabricated by Panasonic?

We cannot disclose that. I would love to tell you but I can’t – you’ll just have to imagine! Obviously we have sensor-manufacturing experience, but I can’t disclose anything. Even if we outsourced [sensor fabrication] the design would still be to our specifications. Picture quality is not only determined by the sensor. There’s also lens design, and processing technology.

Can you explain how Panasonic and Leica work together in terms of lens design?

Mainly, optical technologies and manufacturing technologies come from Leica. We provide our digital technology and interface technology to them. For the full-frame lenses, we designed them by ourselves, but the DNA of Leica is incorporated – of course.

Is there any Panasonic DNA in Leica products?

I don’t know if they would admit that, but we do provide it! All of the Leica-branded lenses for our Micro Four Thirds system are checked according to Leica’s standards, and we have learned a lot through that process.

What are the biggest challenges facing Panasonic?

As you know, in the camera industry we don’t have a large market share compared to the likes of Canon and Nikon. They have much more history compared to ours – we’ve only been in the industry for 17 years. Our brand recognition is also not so high. However, a paradigm change has finally arrived. Canon and Nikon are creating new mirrorless systems, and we’re entering a new world thanks to the L mount alliance. This is a new start for the camera industry.

Our slogan is ‘changing photography’. We want to create a new photo culture for the digital generation. In the full-frame world, I think that customers will appreciate our contribution. Rather than competing with Canon and Nikon we’re focused on conveying that message to the customer.

We want to create a new photo culture for the digital generation

When it comes to product planning, we have to anticipate how customers behavior will change in the future. These models [the S1 and S1R] are focused on professionals. We have to anticipate how professional photography and videography will change, and we’re constantly looking at those trends, and anticipating how professional behavior will change. And as professionals change, customers at the entry and mid-levels will change, too. We have to watch this very carefully, and we always plan our products in line with changing customer trends.

What do you think are the biggest opportunities for Panasonic?

The Olympic Games in 2020 will be a very big opportunity to showcase Panasonic’s technologies. I was born in 1964, which was the year of the last Tokyo Olympics. We will use the 2020 games as an opportunity to enhance our video technologies and photo technologies. After the Olympics, we will create a new generation of 8K video cameras, which are currently in development.


Editors’ note: Barnaby Britton

Panasonic is one of the most interesting companies in the photo industry. Although it enjoys only a modest share of the market compared to ‘giants’ like Canon and Nikon, Panasonic has consistently surprised us with its energy and innovation – particularly in the high-end video/stills space. Arguably, Panasonic is the only company that could have created the powerful GH5, and it’s hard to imagine another company having the confidence to make the even more narrowly-specialized GH5S.

When it comes to high-end video capture in mirrorless cameras, Panasonic has been (along with Sony) a driving force in the industry, and that’s thanks to the company’s long experience in the video realm. While Lumix as a brand is less than 20 years old, Panasonic has been involved in video, in some way or another, for more than twice that long.

The fact that Panasonic’s forthcoming S1 and S1R mirrorless ILCs will both offer powerful 4K video feature sets is not a surprise. What’s interesting is that they’re built around full-frame sensors. I’m inclined to think that moving into full-frame is a good decision for Panasonic, but it’s risky. I agree with Mr. Yamate that moving forward in partnership with Leica and Sigma will add more value to the market for enthusiast and professional photographers than creating yet another new lens mount, while also mitigating the potential risks of going it alone.

Promising the highest level of durability in the industry and plenty of advanced features, the S-system has the potential to seriously challenge the ‘giants’

While there are plenty of full-frame mirrorless systems available in late 2018, there is a conspicuous gap in the market when it comes to full-frame video systems. It is doubtful whether Nikon will try (or even feel the need to try) to create a video-oriented ILC in the near future, and Sony seems to have (probably only temporarily) paused the development of its a7S lineup.

Panasonic, with its decades of experience making video cameras, must be keen to put a product into that gap. If the company’s intention is to lead the way in full frame video, similar to what it did with the GH series for Micro Four Thirds, it has the potential to disrupt the full frame market more than its current industry share might suggest. Joining the L-mount alliance is a great first step.

But that’s the future. For now, Mr. Yamane’s company is dedicated to making the S1 and S1R as attractive as possible to professional photographers.

Articles: Digital Photography Review (dpreview.com)

 
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Video: What is DX encoding and how did it become an industry standard in the analog age?

10 Dec

Have you ever wondered what those silver rectangles on the side of film cassettes are? They’re called Camera Auto Sensing (CAS) codes and they’re part of DX encoding, an industry standard first announced by Kodak in March 1983.

While DX encoding might be common knowledge for some DPReview readers, others — particularly the younger crowd — might not know what DX encoding is, how it works and what it took to become an industry standard.

These exact questions and more are answered and explained by Azriel Knight of the YouTube channel This Old Camera. In the six minute video, the first in a new series he’s calling This Old Camera Xtra, he explains how Kodak introduced DX encoding, the purpose of the individual rectangles and how it became an ANSI and I3A standard that nearly all of the photography industry adopted, even though certain companies were a little hesitant to adopt.

You can find more of Azriel’s videos by subscribing to his YouTube channel or following him on Twitter and Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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