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Posts Tagged ‘Manufacturers’

Nikkei report says Japanese camera manufacturers are in for a ‘shake-up’ following Olympus sale

24 Jul

Nikkei Asian Review Deputy Editor, Masamichi Hoshi, has written an article that outlines a grim picture for the future of the Japanese camera business in the aftermath of Olympus’ recent sale to private equity firm, Japan Industrial Partners (JIP).

The usual suspects are mentioned in Masamichi’s overview: the rise of smartphones and the ongoing COVID-19 pandemic. ‘Japan’s digital camera industry was once considered on par with the country’s auto sector in terms of international competitiveness,’ says Masamichi. ‘But smartphones have driven camera makers to the brink of extinction, and this year the novel coronavirus slammed the already hobbled industry.’

More fundamentally, Masamichi believes the camera industry itself is to blame, as ‘excessive competition’ has created a fast-moving, unsustainable market that will inevitably lead to camera manufacturers paying the ultimate price:

‘Smartphones are not the only reason Japanese camera makers, who had established an oligopoly nearly everywhere around the world, have come to this point. Japanese industry, which has a penchant for competing against its own products, can also blame itself.’

Masamichi references an unsourced quote he says was shared 11 years ago by Hiroshi Hamada, the former Chief Operating Officer of Hoya, who had acquired Pentax around the time of his tenure:

‘Digital camera companies intend to strangle their rivals through excessive competition, but in the end they’ll strangle themselves’

A Canon assembly line Meister (her badge tells us she’s been a Meister for 17 years) works on the front assembly of a telephoto prime lens inside Canon’s Utsunomiya lens factory.

Pricing and shortened product cycles, in particular, are to blame, according to Masamichi. While the near-annual 10% price drops in camera products (roughly a decade ago) and shortened product cycles due to fast-paced technological advancements were beneficial to consumers, Masamichi says it also ‘reduces manufacturers’ investment capacity.’ As a result, the ability to invest in research and development — as well as the ability to stash away savings for dire times — has decreased dramatically. Or, at the very least, started to affect the bottom-line of Japanese camera manufacturers.

Citing Camera and Imaging Products Association (CIPA) figures, Masamichi highlights that 2020 camera sales are on track to be roughly 1/10th what they were back in 2010, when digital camera sales peaked at 121 million units.’

As dire as the numbers are and outlook is, there’s no hope in only dwelling on the negatives of the inevitable. Instead, Masamichi asks ‘where do these iconic brands go from here?’

Lens testing taking place at Panasonic’s Yamagata lens factory.

There is no one-size-fits-all solution, but Masamichi quotes a senior executive at an unnamed investment bank as well as unnamed analysts, who all seem to agree that reform and restructuring is going to be necessary if the Japanese camera industry is to survive:

‘With the market shrinking at such speed, companies are at great risk of falling into a fixed-costs crisis1. Some analysts believe the entire industry will collapse unless companies undertake major reforms, like splitting design and development from manufacturing, and consolidating production.’

The aforementioned investment banker executive specifically said ‘a camera foundry model is one option,’ suggesting the outsourcing of parts and components to third-party factories could help cut manufacturing costs. This method is currently seen in the imaging sensor side of photography, as multiple manufacturers use Sony sensors in their cameras, but further outsourcing of production could help cut overhead even more.

There is likely to be much change ahead; whether it be acquisitions of smaller manufacturers or outright departures from the market, there could be other casualties beyond Olympus. But, if the transition from film to digital taught us anything, it’s that people will keep on taking pictures, and as long as there are photographers out there still in need of a camera and lens, there will be manufacturers vying for their money.

1 Fixed costs in this context are the expenses that companies have incurred throughout the ongoing pandemic, which – as sales have slowed around the world – have not been offset by revenue.

Articles: Digital Photography Review (dpreview.com)

 
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Report: Google looking to stop smartphone manufacturers from adding built-in ‘beauty’ modes

21 Jul

According to a report from XDA Developers, Google might be making changes to its Camera API in Android 11 that will prevent them from using algorithms to smooth skin, change skin color or alter the facial geometry of subjects.

Sharp-eyed XDA Developers Editor-in-Chief, Mishaal Rahman, noticed in Google’s Android 11 Compatibility Definition Document that the company is banning equipment manufacturers from ‘implementing facial tweaking algorithms during image processing.’ Although the relevant section — [C-0–12] in particular — has been removed from the documentation, the below screenshot from Rahman shows it said the ‘facial appearance [can] NOT [be] altered including but not limited to altering facial geometry, facial skin tone or facial smoothing.’

This stipulation targets smartphone manufacturers who are suspected of adding these types of ‘beauty filters’ to the first-party camera app, even after turning off specific ‘Beauty’ modes, such as the one found on the Vivo X50 Pro.

Based on the wording of the documentation, it appears as though third-party apps that offer these kinds of ‘beauty’ features and filters won’t be affected — only the manufacturer’s first-party app. However, that hasn’t been confirmed at this point.

Articles: Digital Photography Review (dpreview.com)

 
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2019 camera and lens manufacturers’ New Year’s resolutions

31 Dec

New Year’s resolutions

There’s plenty in this world that we’re not sure about (Peas in guacamole? The resurgence of 90’s fashion trends? Pineapple on pizza??) but one thing we’re certain of: a few companies, many of which are headquartered in Japan, will produce new cameras, lenses and photographic accessories in 2019. And just like every year, some will be great, some will be OK, and one or two will be crushingly dull.

Thanks to some early product development announcements we already know a little of what the next year holds in store, but much remains a mystery. We can only guess what the next 12 months will bring – guess, hope, and play backseat camera engineer.

In the spirit of New Years’ resolutions, we got together as a team and talked about what we’d like the major manufacturers to do next year. Things we want to see fixed, directions we’d like to see taken (plus some we’d like to see reversed…) and products we’d like to be released. So without further ado, here are our collected New Years’ resolutions, on behalf of the manufacturers, courtesy of DPReview. Call it wishful thinking.

Feel free to play along at home via the comments.

Canon

Oh, Canon – where should we start? You’re one of the biggest camera manufacturers in the industry, but you’re still among the most conservative. This year you’ve teased us with a range of superb new RF lenses, but we’re really hoping that 2019 brings a slightly higher-end camera to shoot them with. But even as you build out the RF lineup, we hope you don’t neglect EF-M. An M50 successor with un-cropped 4K would be lovely – pretty please?

Canon – in 2019 we wish you would…

  • Add IBIS to the RF lineup and update your sensors (or buy Sony’s).
  • Make the RF mount an open standard.
  • Reclaim your ILC video crown – no more cropped 4K!
  • Dump the MFn bar…
  • Make the 5D Mark V a true digital EOS 3.
  • Think different – embrace computational photography.

Fujifilm

Fujifilm, you’re the darling of camera reviewers everywhere. You’re one of the few brands that, from time to time, still makes products which are better than they need to be in order to be competitive. The X-T2 was a great camera, and you didn’t need to replace it, but you went and did it anyway! The X-T3 was one of our favorite cameras of 2018. It almost made up for the ‘4K capable’ X-A5… But we’re still hoping for more in 2019.

Fujifilm – in 2019 we wish you would…

  • Make a full-frame X100 / monochrome X100 / 28mm-equiv X100. (We really like the X100).
  • Continue improving your face and eye-detection autofocus. The X-T3 was a great start.
  • Make a proper X70 successor. The XF10 doesn’t count.
  • Refresh your F1.4 primes.
  • Don’t try to palm us off with 15fps ‘4K video’ ever again. For shame.

Leica

Let’s be honest, Leica – this is pointless. It doesn’t matter what we want, or what we say, or what anyone wants or says, you’re Leica! You’ll just continue to do whatever you want, and there’s every chance that in a few weeks’ time we’ll find ourselves reviewing a limited edition ping-pong-bat-rubber-clad Melania Trump signature-edition M10. And that’s why we love you.

Leica – in 2019 we wish you would…

  • Stop with the special editions already – this isn’t the 90s.
  • Make a Q2 – maybe even with a 35mm lens…
  • Say goodbye to 1950s technology and make an M-mount camera with an EVF.
  • Give your customers their moneys’ worth and turn camera repairs around in days, not months. It’s not impossible – everyone else can do it.

Nikon

Nikon, you’re getting there. You launched the Z-mount with a bang in 2018, but despite its high-end pricing you must have known that the flagship Z7 wouldn’t be quite enough to tempt professionals and enthusiasts away from their D850 and D5 bodies. Don’t let the haters get you down, though. Keep up the pace and turn the Z mount into the professional system that we know it can be. We’re rooting for you.

Nikon – in 2019 we wish you would…

  • Keep developing that Z-series lens roadmap.
  • Bring 3D AF Tracking to the Z-series – in fact, bring all of your industry-leading AF area modes to the Z-series.
  • Make an FTZ adapter with a built-in AF motor. Carey’s got a 105mm F2 DC he really wants to shoot with.
  • Make the Z mount an open standard.

Olympus

Olympus – we feel for you. You were among the first manufacturers to create a modern mirrorless camera, and now, a decade on, you’re the only brand that doesn’t (or isn’t preparing to) offer its customers a full-frame sensor. We know that it’s been a tough few years for you guys over in the camera division but we’ve got a few ideas for how you can disrupt things in 2019 and beyond.

Olympus – in 2019 we wish you would…

  • Start making small cameras again. Maybe an updated PEN-F?
  • Update the OM-D E-M5 II.
  • Simplify your cameras’ menu systems, please!
  • Add PDAF to your lower-end PEN and OM-D cameras.
  • Add a large sensor to the TOUGH range. You already make the best rugged cameras, why not go one step further?

Panasonic

As you prepare to enter the full-frame market in a few months, we can only imagine that things are pretty hectic in your Osaka headquarters right now. Hopefully you’re not working the engineers too hard, and they get a little downtime to read DPReview, because we’ve got some suggestions that we think might really help Panasonic out in 2019.

Panasonic – in 2019 we wish you would…

  • Ditch field-sequential EVFs, for good.
  • Either fix DFD for video, or use PDAF instead.
  • Now that you’re in the L mount alliance, how about making a full-frame 4K video camera?

Ricoh / Pentax

Pentax, we need to be careful what we say here…

We admire your loyal customer base, and we respect the way that many of them react to anything short of uncritically gushing praise for their favorite camera maker with… let’s say… passion. But we’re also terrified of them. For the record, we like a lot of your products! And we want you to succeed just as much as your customers do. Here are some suggestions.

Ricoh – in 2019 we wish you would

  • Make a true successor to the K-1.
  • Reissue the K-01 – just kidding! Give your fans a proper mirrorless camera – maybe the L-mount alliance has room for another member?
  • Make a full-frame GR to compete with the Leica Q and Sony RX1R II.

Sigma

Sigma, we hardly recognize you. Over the past decade you’ve gone from being a respected but midrange third-party lens maker (and a quietly prolific OEM manufacturer) to becoming a force to be reckoned with in the high-end optics market. You’re making some of the finest lenses available, while still undercutting the ‘big’ brands, often by a considerable margin. How do you do that?

We love what you’ve become, but sometimes love is about being honest. Here are some ideas for 2019 and beyond.

Sigma – in 2019 we wish you would…

  • Calm down a bit with the ‘biggest, heaviest and fastest’ primes thing and create a range of compact F2 lenses.
  • Try again with the 24-70mm F2.8 Art.
  • Follow Tamron’s example and develop some native Sony FE lenses.
  • Reverse-engineer the Canon RF and Nikon Z mounts and show them how it’s done.
  • Create a range of full-frame Merrill compacts.

Sony

Oh, Sony, we can’t keep up! At your current rate of product announcements, you’ll have released at least one new RX100-series compact, a GM lens or two and an a7 IV by the time we’ve finished writing this sentence. That’s fine, but in 2019 we’d like to see you taking a bit of a break, making some time to reflect, and maybe reprioritizing a little.

Sony – in 2019 we wish you would…

  • Create a Cyber-shot RX1R III (with a real battery, not that joke-shop one from last time).
  • Throw your a6000-series customers a bone and make some new APS-C lenses.
  • Make your video and stills AF experience consistent.
  • Speaking of 35mm, make an FE 35mm F1.8. Your non-pro and pro customers will thank you.
  • Focus on user experience, as well as technology. We get it, you’re smart!

Tamron

Tamron, you dark horse. You’ve been quietly adding some really impressive lenses to your lineup over the past year, including the first ever zoom lens designed natively for a full-frame mirrorless system. Not as prolific as Sigma, or as niche as the likes of Laowa or Zeiss, you’re a good, solid, photographer-friendly company that we think deserves to succeed in 2019. And here’s how we think you should do that.

Tamron – in 2019 we wish you would…

  • Continue developing full-frame E-mount lenses.
  • Reverse-engineer the Canon RF and Nikon Z mounts as soon as possible.
  • Resist the temptation to create large, heavy F1.4 glass – F1.8 is fine!

Articles: Digital Photography Review (dpreview.com)

 
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Sony interview: ‘If cameras are going to develop, manufacturers have to develop mirrorless technologies’

16 Mar
Kenji Tanaka, Senior General Manager of Sony’s Digital Imaging Business Group, pictured in Yokohama for the 2018 CP+ show.

At the recent CP+ show in Yokohama, we sat down with executives from several major camera and lens manufacturers. Among them was Kenji Tanaka, of Sony. In our interview we discussed the new a7 III, as well as Sony’s plans to attract more professional users, without ignoring entry-level and APS-C customers.

The following interview has been edited slightly for clarity and flow.

What is your target customer for the new Alpha a7 III?

We describe it as a basic model but maybe our definition is different [to other manufacturers]. What we mean is that any customer can use this model. Many professionals could use the a7 III, I think. I hope that many kinds of customer will be happy with this model, so we’re not strictly defining a target customer for the a7R III.

The new Sony Alpha a7 III is ostensibly an entry-level model in Sony’s a7-series lineup but despite its relative affordability, it’s packed with features.

Sony had a very busy year last year – what are your priorities going into 2018 and beyond?

We’re displaying the 400mm F2.8 [at CP+] – of course many articles are written about the a7 III, but as well as the camera bodies, the lenses are very important. Especially lenses like the 400mmm F2.8 – sports photographers are a new category for us.

One of the most important lenses for sports photographers is the 400mm F2.8

Last year we launched the a9 and some sports photographers are already using the a9, for example at the Olympics, but one of the most important lenses for sports photographers is the 400mm F2.8. The weight is very light. Usually sports photographers use monopods because the lenses are very heavy, but the weight of our 400mm F2.8 is very light, and you can use it handheld, which makes it easy to create different kinds of photographs. We already announced the development of this lens, and the launch is scheduled for this summer.

How important is feedback from sports photographers?

It’s very important. Not only when it comes to quality, but also durability. The winter Olympics for example, with the low temperatures, whether a product works in those tough conditions is very important. Whether or not we will launch a new product, the proof of concept is very important.

For a product aimed at a hobbyist, maybe it’s less important but for the 400mm F2.8 we’re really dedicated to create a ‘monster’ lens.

Sony was showing a prototype of its forthcoming 400mm F2.8 at CP+, which Mr. Tanaka sees as an essential weapon in Sony’s arsenal of lenses if the company is going to attract professional sports photographers to the brand.

There have been questions about the weather sealing of a7-series and a9 cameras. Is this something you want to address?

In really bad conditions, in really heavy rain, will photographers keep on taking pictures [for long periods of time?] I don’t think so. In those conditions, most photographers will use some kind of rain cover. But of course durability is very important. Photographers should be able to shoot [in poor weather]. We have an internal ‘weather test’ and for each kind of customer we will aim to produce products with adequate durability.

For a professional camera, the requirement for durability is higher

Is that something that your professional users are asking for?

Yes. But we need a balance between durability, and size and weight. For a professional camera, the requirement for durability is higher, but for hobbyist kinds of camera, the priority is smaller size and lower weight.

Tamron and Sigma are now creating lenses for Sony FE – is this a good thing for Sony?

Yes, it’s a good thing. The E-mount is an open standard – anyone can create a lens for the E-mount system. Of course there are criteria for compatibility, but because we think that the E-mount is a good technology, we think that the open format is good for the market and good for customers.

Tamron’s first lens for full-frame Sony mirrorless cameras will be the upcoming 28-75mm F2.8 zoom. Sigma is planning its own range of native E-Mount primes and zooms, too.

How long will it be before Canon and Nikon join Sony and mirrorless full-frame becomes the norm?

This is just my personal opinion, but I think that maybe by next year’s CP+ you’ll see full-frame mirrorless cameras from Canon and Nikon. I think [by then] they will be participating in this market.

If cameras are going to develop, manufacturers have to develop mirrorless technologies

Just look at our technologies, like eye focus. All of those are made possible because of data from image sensors. In DSLRs, the data comes from separate sensors. The main imaging sensor is blacked out, 90% of the time by the mirror. The sensor is turned off. But the imaging sensor is very important. So if cameras are going to develop, and be able to capture the moment [more effectively], manufacturers have to develop mirrorless technologies. So within one year, I think.

Do you think we’ll see mostly mirrorless cameras at the 2020 Olympic Games in Tokyo?

Yes.

How many of those cameras do you want to be made by Sony?

Many! But the professional market is very conservative, so we’re taking it step by step. We saw some photographers using the Alpha 9 at this year’s winter Olympics but of course the majority was Canon and Nikon. But the number of Sony photographers is increasing.

The Sony Alpha a9’s innovative wide-coverage autofocus system makes it a powerful tool in the hands of an experienced sports photographer.

A lot of our readers want more Sony APS-C lenses…

We know that some people think we’ve neglected the APS-C market, but it’s just an issue of prioritization. A couple of years ago we introduced the a6500. Then the next year we introduced the a9, and the a7R III. But we think that the APS-C market, and APS-C customers are both very important, because the majority of the market is APS-C, and we’re developing many kinds of APS-C products, so please be patient – we will never ignore APS-C.

Some of your competitors keep flagship products up to date over time with firmware updates. This seems like the opposite strategy to Sony. Is this something that might change?

We’re still in the early stages of challenging the market with our products, and the new model cycle is relatively rapid, compared to our competitors. But the next step is to increase our market share. And if we want to reach new customers, we need [to make] new types of cameras.

We’re still in the early stages of challenging the market with our products, and the new model cycle is relatively rapid

Sony makes a lot of key devices, for example image sensors and processors. I’m originally an engineer. Engineers always want to provide the latest sensor, the latest processor, and so on. Maybe this is one of the reasons our product release cycle is faster than some of our competitors. [But] user-upgradable software is very important. Our new model cycle is speedy, however I think that firmware updates are something we should offer.

Editor’s note:

Our conversation with Mr. Tanaka was candid and interesting, coming in the middle of a very busy period for Sony. The company has released a lot of high-end products over the past 18 months, and shows no signs of slowing down. We don’t know how far out the new 400mm F2.8 sports lens is, but given recent sightings of at least one working prototype ‘in the wild’ at the winter Olympics, it could be pretty imminent.

Mr. Tanaka knows that Sony won’t have the full-frame mirrorless field to itself for much longer, and welcomes the competition

Mostly I came away from this interview with the strong sense that Sony isn’t planning on resting on its laurels. Mr. Tanaka knows that his company won’t have the full-frame mirrorless field to itself for much longer, and welcomes the inevitable competition from established DSLR manufacturers like Canon and Nikon, as well as third-party lens manufacturers like Sigma and Tamron. As he correctly points out, some of the most useful features to emerge in the photography market in recent years could only have been possible thanks to mirrorless technologies, and Sony deserves enormous credit for developing and perfecting many of these technologies faster than any other manufacturer.

Sony will not ignore either APS-C users, or entry-level full-frame customers

It was very reassuring to hear Mr. Tanaka stress the importance of durability, as well as technology in Sony’s high-end cameras. Concerns have been raised about the ability of some of its products to withstand use in wet conditions, but clearly this is something that the company is mindful of – especially in cameras and lenses designed for professional use.

That’s not to say that Sony is focused entirely on breaking into the professional market. Mr. Tanaka was at pains to reassure us that Sony will not ignore either APS-C users, or entry-level full-frame customers. The new a7 III is proof of the latter point – a ‘basic’ model in Sony’s terminology, but one that I suspect will satisfy the needs of many enthusiasts and even professionals.

Previous Sony interviews:

CP+ 2017 – Sony interview: ‘We need to offer new imaging experiences’

‘We want to make lenses that can be used forever’: Sony engineer discusses G Master lenses

Interview: Kimio Maki of Sony – ‘the customer’s voice is the most important data for me’

Articles: Digital Photography Review (dpreview.com)

 
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Photojournalists and documentary filmmakers ask camera manufacturers for encryption

15 Dec
Photo via UNclimatechange on Flickr. Used under Creative Commons license

Over 150 photojournalists, filmmakers and media professionals have signed an open letter addressed to major camera manufacturers, asking them to add encryption to their products. While many of the storage devices and computers photographers use to store files offer encryption, the cameras themselves do not. 

The letter points out that when a photojournalist’s camera or memory card is stolen or confiscated, which happens regularly, their footage and images are left exposed and vulnerable, potentially putting the photographer and their sources in real danger. Encryption is commonplace in smartphones, messaging apps and many operating systems, but not in image capture devices or memory cards.

The letter is addressed to Canon, but the Freedom of the Press Foundation says they’ve sent similar copies to Nikon, Fujifilm, Sony and Olympus. You can see the body of the letter below; head to Freedom of the Press Foundation’s website to see the full list of signees. 

Dear Canon,

We, the undersigned documentary filmmakers and photojournalists, are writing to urge your company to build encryption features into your still photo and video camera products. These features, which are currently missing from all commercial cameras on the market, are needed to protect our safety and security, as well as that of our sources and subjects worldwide.

Without encryption capabilities, photographs and footage that we take can be examined and searched by the police, military, and border agents in countries where we operate and travel, and the consequences can be dire.

We work in some of the most dangerous parts of the world, often attempting to uncover wrongdoing in the interests of justice. On countless occasions, filmmakers and photojournalists have seen their footage seized by authoritarian governments or criminals all over the world. Because the contents of their cameras are not and cannot be encrypted, there is no way to protect any of the footage once it has been taken. This puts ourselves, our sources, and our work at risk.

Many technology companies have in recent years embraced encryption technology, often including it in their products and enabling it by default. Indeed, encryption has, in some sectors, become an industry-best practice. Apple’s iPhones encrypt all data stored on them by default, as do many phones running Google’s Android operating system; text messages and voice calls made with WhatsApp, iMessage, FaceTime, and Signal are all protected using end-to-end encryption technology; and laptops and desktop computers running modern versions of Microsoft Windows and macOS encrypt all data stored by default too.

However, we face a critical gap between the moment we shoot our footage and the first opportunity to get that footage onto more secure devices.

As filmmakers and photojournalists who value our own safety and the safety of our sources and subjects, we would seek out and buy cameras that come with built-in encryption. Adding these data security features to your product line would give your company a significant competitive advantage over other camera manufacturers, none of whom currently offer this feature.

Beyond the commercial motivation for adding encryption features, we know your company has commendably committed to corporate social responsibility. Building encryption into your products is not just about helping the filmmakers and photojournalists who buy them, but about making the world a better place. As filmmakers and photojournalists, we use our lenses to hold powerful people to account — and ultimately to change society for the better. Encryption features will allow us to continue to tell the most important stories, from some of the most dangerous places in the world.

You can help us reach that goal by starting to work towards building encryption into your camera products.

Thank you for your consideration.

Signed,

Over 150 Filmmakers, Photographers, and Media Workers Around the World

Articles: Digital Photography Review (dpreview.com)

 
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27 October, 2010 – An Open Letter to Major Camera Manufacturers

27 Oct

When you use a fast lens wide open on your DSLR and you set the ISO to a desired speed, is your camera giving you what you ask for? Or, is the camera increasing the ISO without reporting what it’s doing?

Indeed – does it even make sense to use fast lenses on a CMOS sensor DSLR when you could get better quality, along with smaller size and lower weight with a slower lens to start with?

The Luminous Landscape‘s Mark Dubovoy, using data kindly provided by DxO Labs, has been investigating this issue and today publishes An Open Letter to Major Camera Makers. 

Publication of my First Impressions report on the Panasonic GH2 and two new lenses has been delayed until Friday.

 

…
The Luminous Landscape – What’s New

 
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