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Posts Tagged ‘Next’

Fujifilm gives X-A7, X-T200 webcam mode via firmware, bringing X Webcam utility to macOS next month

22 Jun

Fujifilm has released firmware updates for its X-17 and X-T200 camera systems that makes it possible to use the mirrorless cameras as webcams without the need for extra software. Additionally, Fujfiilm has announced its X Webcam program will be launched for macOS next month.

Screenshot of the USB webcam option within the Fujifilm menu system.

Firmware version 1.30 for the X-A7 and version 1.10 for the X-T200 adds the option to use the camera as a webcam when connected to a computer via a USB cable. To access this setting, go into the menu, navigate to ‘Connection Setting,’ enter ‘USB Mode’ and plug in the camera to a computer via USB. Once connected, the camera should appear as a camera option on compatible video conferencing and messaging programs, such as Google Meet, Skype and Zoom.

A collection of screenshots showing how cameras should appear as input options for Zoom, Skype and Google Meet.

Fujifilm says this functionality should work on Windows 10 (x64), macOS 10.14 Mojave and macOS 10.15 Catalina. You can download firmware version 1.30 for the X-A7 and version 1.10 for the X-T200 on Fujifilm’s website.

On the topic of macOS, Fujifilm has also announced announced it’s working on bringing its Fujifilm X Webcam utility to macOS. First launched on PC back in May, the utility will allow macOS users to turn their compatible X and GFX cameras into webcams. Fujifilm says the program will be available in mid-July.

Articles: Digital Photography Review (dpreview.com)

 
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How Fujifilm could make its next X-H series camera the class leader for video

11 Jun

Introduction

The X-H1 appeared to be the start of a more video-centric line of cameras from Fujifilm. However, we’ve subsequently seen the release the X-T3 and X-T4, both of which provide similar or better levels of video performance.

Does the X-H series still have a future? In a recent interview with DPReview, Toshihisa Iida, General Manager of Fujifilm’s Optical Device and Electronic Imaging Products Division, confirmed that the company plans to keep the X-H line, stating only that ‘the concept will be very different to the X-T series.’

Assuming Fujifilm intends to keep the series video-focused, we decided to contemplate what features would be required to make the X-H2 the undisputed class-leading camera for video. The APS-C/Super35 format remains very popular among videographers for a variety of reasons: fast readout rates, less rolling shutter and relatively compact lenses among them.

Video scopes

Recent Fujifilm cameras delivered great video quality, but lacked important exposure tools designed for videographers. Histograms are great, but we’d like to see waveforms and vectorscopes.

Waveforms help visualize exposure across the entire frame. They tell you how many pixels have a given brightness value as well as where those pixels exist in the image, useful for judging exposure in a specific area of the frame, such as on a subject’s face. Vectorscopes can be used to assess hue and saturation, particularly important given that most video isn’t recorded in Raw format.

To really impress, Fujifilm could even add false-color overlays, which make it easy to quickly judge exposure anywhere in the frame at a glance. Equally important is a workflow that makes video scopes easy to use – accessible at the tap of a button for evaluating exposure.

Video-centric exposure settings

Exposure settings used for photography work fine for video, but they don’t always represent the best workflow for videographers.

We’d like to see an option to set shutter angle as an alternative to shutter speed. Of course, you can always set your shutter speed to replicate a 180° shutter, but each time you switch frame rates you’ll have to update the shutter speed as well. In contrast, a constant shutter angle means you’ll always get the appropriate shutter speed for the frame rate at which you’re shooting. (The ability to lock shutter angle to prevent accidental changes would also be welcome.)

A bonus would be explicit dual gain states, similar to what’s found on the Panasonic GH5S and S1H. This would allow users to expressly determine whether they want to prioritize the widest dynamic range or use the higher-gain step to reduce shadow noise at the expense of some dynamic range. It might also clear up confusion around ISO values that may appear to change when using different modes (e.g. Standard vs Log gamma) even when the underlying amplification remains the same.

A full suite of ports

Video work often requires cameras to be rigged with external accessories, so connection points are crucial.

We don’t expect the X-H2 to embrace the SDI connectors commonly found on pro video cameras, but do hope for a full size HDMI port. Standard HDMI cables are easy to find, and a full size port is going to hold up better over time than the small micro HDMI ports found on other Fujifilm bodies.

We’d also like to see dedicated 3.5mm microphone and headphone jacks. Recent Fujifilm models have relied on a 3.5mm-to-USB-C adapter for headphones, but on a video-centric camera we’d prefer a standard headphone port. Not only does it eliminate a potential point of failure, but we have some other high hopes for that USB-C port.

XLR microphone adapter

In many cases, a simple hot shoe mic with a 3.5mm connector to the camera is just what you need, but what if you want to record high quality audio, possibly from a couple different sources such as lavalier mics, straight into camera? For that, we may want XLR connections.

Panasonic provides a solution to this in the form of its XLR1 adapter (pictured above), which sits in the camera’s hot shoe and provides two XLR inputs with independent controls. Similarly, Sony has its XLR-KTM adapter for mirrorless cameras. It would be a strong statement to videographers if Fujifilm were to introduce a similar product alongside a future X-H2.

Improved video codec

When introduced, the X-H1 set a new bar for video on a Fujifilm camera, but its maximum resolution of 4K/30p, along with 4:2:0 8-bit color and reliance on the H.264 codec, is dated by today’s standards. In contrast, the newer X-T4 shoots internally up to 4K/30p All-I at 400 Mbps, with 4:2:0 10-bit color, using the H.265 codec. (And even goes to 4K/60p, albeit at a lower 200 Mbps.)

At a minimum, we’re hoping to see the X-H2 capture both 4K/60p and 6K/30p internally, with 4:2:2 10-bit color, a high bit rate, and using the H.265 codec.

There have even been suggestions that Fujiflm might use a rumored 8K-capable, 43MP Sony sensor in the X-H2 that’s capable of capturing video at high bit rates. Is it a stretch? It might be, but if true it would be a major differentiator between the X-H2 and Fujifilm’s other models, not to mention the rest of the APS-C mirrorless camera market.

Raw video options

Thanks to recent firmware updates, some mirrorless cameras support ProRes Raw recording when paired with a Atomos recorder. We would expect to see that on the X-H2 as well, but for truly class leading performance we’d like to see Fujifilm go further.

The often overlooked implication of Raw video is that output resolution should match sensor resolution, otherwise it’s necessary to line or column skip to capture a Bayer-like array of data (as occurs on the Nikon Z6). Raw video with an approximate resolution of 6K would closely match the 24MP or 26MP sensors used on recent Fujifilm bodies. If the rumors of a higher resolution, 43MP sensor turn out to be true, such an approach might be required.

Also, remember the USB-C port we didn’t want to use for headphones? How about using it to write Raw video directly to an attached SSD, similar to the Blackmagic Pocket Cinema Camera or Sigma fp? Design the body with a means to attach it securely and it would fit on a gimbal without fussy rigging.

If Fujifilm wanted to go all-in on video, it could even offer internal Raw recording with selectable compression, similar to the Blackmagic camera. It also raises an interesting question: whether it would make sense to use Apple ProRes Raw or BlackmagicRaw. A popular camera with internal Raw recording could tip the industry in one direction or another.

Improved autofocus

Though videographers often prefer to use manual focus, autofocus is becoming increasingly important. Recent Fujifilm models have demonstrated impressive autofocus capabilities, though important gaps still exist.

In particular, as improved as Fujifilm’s subject tracking is, there’s still no subject tracking in video. To achieve class-leading status, that’s a pretty important feature we’d want to see added. Additionally, the AF interface could use a revamp; the addition of a tap-to-track feature, similar to the the one found on many Canon cameras, would make the system even more useful.

Displays

It’s probably a no-brainer that we’d like to see a fully articulating screen on a video-focused camera. Fortunately, Fujifilm is already doing this on models like the X-T4 and X-A7, so it shouldn’t be a heavy lift to do it on the X-H2. What we’d really like to see is an even more innovative design, maybe along the lines of the one found on the Panasonic S1H, which puts the screen’s articulating hinge on a tilting platform. This allows it to tilt out and avoid interfering with the ports on the side of the camera.

Another upgrade we’d vote for is a move from the 3.69M dot panel found on the X-T4’s EVF to the newer 5.76M dot panel used by several other cameras. The extra resolution would be especially helpful when using tools like video scopes with the camera to your eye.

Improved 5-axis IBIS

Fujifilm introduced in-body image stabilization on the X-H1. While effective for stills, it had some quirks when shooting video. The system had a tendency to overcorrect for intentional movement, and when it hit the limit of its travel would reset in a clumsy way. Fortunately, Fujifilm was able to improve it through firmware.

The 5-axis system in the X-T4 can stabilize video effectively, particularly using its ‘Boost IS’ mode, which provides the maximum correction possible to compensate against any camera movements when taking a static a shot; it works well and can be tripod-like. However, the system still has difficulty distinguishing between intentional and unintentional camera movement, such as pans, resulting in hesitation or jerky video. It’s also noticeably less effective than the sub-full frame video leader, the Panasonic GH5.

We’d like to see a more refined image stabilization algorithm in a future X-H2 for best-in-class handheld video shooting.

Separate menus and settings for stills and video

Separate menus and settings for stills and video is another one of those problems that’s mostly been solved on the X-T4. It even has separate ‘My Menu’ tabs for stills and video. Fujifilm, just port this to the X-H2 and videographers will thank you.

Oh, and throw in a hardware switch between video and stills modes, like the X-T4, while you’re at it. Because it just makes sense.

Unlimited recording time

Wouldn’t it be great if the X-H2 had unlimited recording time?

It would be even greater if you could record continuously while powering the camera via the USB-C port.

Eterna in-camera LUT display

When shooting Log video, Fujifilm’s F-Log View Assist function lets users apply an in-camera F-Log to Rec.709 LUT, which displays an approximation of graded footage while recording in Log.

It would be great to see Fujifilm extend this functionality to include its Eterna film profile. Eterna has proved to be popular among videographers, and Fujifilm has a lovely F-Log to Eterna LUT. Making it available in the View Assist function would be a great addition to the camera.

Anamorphic lens support

Admittedly, we’re getting into niche stuff here. Most people probably won’t be shooting anamorphic lenses, so this is probably a nice-to-have rather than an essential feature. However, if Fujifilm wants to establish itself as a class leader in video, it’s an opportunity.

What does anamorphic support entail? Primarily, the ability to display a desqueezed image in the viewfinder while continuing to record a squeezed anamorphic image in-camera. Anamorphic support would ideally include full-sensor desqueeze, allowing one to use the entire surface area of the sensor when shooting video.

If the camera’s image stabilization could take anamorphic squeeze into account, it would join the Panasonic GH5 and S1H as the only stabilized platforms for anamorphic shooting. As most anamorphics are built for Super35 coverage, this would be a standout feature.

Conclusion

We don’t expect to see all these features on a new X-H2: it’s a pretty big list, and even we’ll admit that some of the items are a bit of a stretch. However, if Fujifilm is serious about putting a stake in the ground with video enthusiasts, this would be a heck of a way to do it.

Of course, it’s entirely possible that Fujifilm has a completely different vision for the X-H series in mind. As we mentioned, there are rumors that a future X-H2 might use a higher resolution (43MP?) sensor. This would allow Fujifilm to significantly differentiate the X-H2 from the rest of its product line for still photography as well, similar to the Nikon Z6/Z7 or Panasonic S1/S1R models. That it might also allow for 8K video would be a significant upside for video enthusiasts.

Anything’s possible, but since the X-H1 had a video bent our gut tells us that, whatever form the camera takes, video will be a significant focus. We’re holding our breath as we wait to find out.

Articles: Digital Photography Review (dpreview.com)

 
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ProRes Raw video capture delayed for Lumix S1H, but firmware v2.0 still set to ship next week

23 May

Videographers waiting to be able to record 5.9K ProRes Raw video footage from the Lumix S1H to their Atomos Ninja V will have to wait a bit longer as statements from both camera and recorder manufacturers have confirmed that while the expected firmware release will go ahead on Monday, May 25, Raw video won’t be included.

Atomos says a technical issue is the cause and that the delay will be ‘slight,’ while Panasonic concentrates on the other new features firmware v2.0 will bring to users. Both companies say they’re working together to rectify the problem.

There’s no indication what the problem is, but only that it cropped up in beta testing and that both companies want to ensure recording quality is at its best before the firmware is released. A new release date for the raw video feature will be announced ‘shortly.’

Firmware V2.0 for the Panasonic S1H adds ProRes Raw video capture capability when paired with an Atomos Ninja V recorder.

While the v2.0 firmware won’t have its headline feature when released on Monday, it will still offer these new features:

LUMIX S1H Firmware Version 2.0 (*RAW video data output function is not included.)

  • Down converted output over HDMI during [6K]/[5.9K]/[5.4K] video recording is available.
  • In Creative Video mode, it is now possible to disable the operation of starting/stopping video recording by pressing a shutter button.
  • In Creative Video mode, it is now possible to set [Rec Quality (My List)] from the control panel.
  • The value of noise reduction in [V-Log] in Photo Style has been expanded to [-1], designed to suppress ghosting or afterimages that could have previously occurred in some situations.
  • It is possible to prevent the enlarged view window of MF Assist to be output over HDMI.
  • There were cases where colour banding appeared in 4:2:0/10-bit video recording in some situations. This bug has been minimised.
  • There were cases where the REC RUN time code did not count up when the video was not recorded on an SD Memory Card but was recorded on an external device over HDMI. This bug has been fixed.
  • It is now possible to set [AF+MF] in AFC mode.
  • It is now possible to assign functions to the lens’ Fn buttons when the Panasonic LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) is mounted.
  • It is now possible to assign function to the Fn buttons of Sigma L-Mount interchangeable lenses.
  • When attaching a lens using the Sigma MC-21 mount converter and [Image Stabilizer] > [Lens] is set to ON , Body I.S. (Image Stabiliser) suppresses roll movement.
  • [Backlight Illumination Period] has been added to the menu of Status LCD. [ON1] prevents the LCD backlight to be turned off.
  • It is now possible to select the card slot to save the JPEG images developed by in-camera RAW processing.
  • [0.5 SEC] has been added for an option of [Duration Time (photo)] in [Auto Review].
  • [Off (Disable Press and Hold)] can be assigned to the Fn button. It disables operation when the button is long-pressed.
  • The Fn button can be used for checking aperture effect while the button is pressed.
  • To prevent improper operation, touch-control is disabled for [Delete All] operation in playback mode. Only cursor buttons can be used for [Delete All] operation.
  • There were rare cases where the camera froze during [Segmented File Recording] or during recording at 400 Mbps under a particular set of conditions including the type of SD Card used. This phenomenon has been improved.
  • Aperture and shutter speed can be controlled using front/rear dials when the rear monitor is set to OFF.
  • There were cases where F stop value control failed depending on the maximum F stop value when non-Panasonic L-Mount lens is mounted. This bug has been fixed.

The new firmware will be downloadable for free via the Panasonic Japan support pages.

Atomos press release:

Atomos Ninja V and LUMIX S1H RAW firmware delay

The firmware updates enabling the much-anticipated Atomos Ninja V and Panasonic LUMIX S1H RAW over HDMI combination have unfortunately been slightly delayed from the original 25th May release schedule, to ensure the highest possible level of RAW recording.

An unforeseen technical issue has come to light in the final rounds of beta testing that needs rectification prior to shipping. The companies are working together to complete the development as soon as possible. We apologise to our mutual customers waiting for the functions this release enables.

Please note that Panasonic will be releasing Ver 2.0 firmware on May 25th with various improvements to camera functions, however will not include the planned RAW HDMI output feature. Atomos will release its Ninja V AtomOS for LUMIX S1H HDMI RAW in-line with Panasonic’s RAW output firmware.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma to Release Canon RF Lenses Next Year

19 May

The post Sigma to Release Canon RF Lenses Next Year appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

sigma canon rf lenses

If you’re a Canon shooter, or you’re thinking about grabbing a Canon body, you’ve probably noticed two big problems with the Canon full-frame (RF) lens lineup.

First, Canon doesn’t offer many RF lenses.

There are around a dozen RF mount options at present, which pales in comparison to the number of lenses offered by mirrorless competitors like Sony, Fujifilm, and Olympus.

And second:

For the RF lenses that Canon does offer, the price tags are huge.

For instance, if you’re a sport, landscape, or event shooter in need of a high-quality 70-200mm zoom, you’re stuck with the Canon RF 70-200mm f/2.8L, which costs over $ 2500 USD.

And if you’re a landscape, travel, or architectural shooter looking for a good ultra-wide lens, the Canon RF 15-35mm f/2.8L is probably the way to go. Unfortunately, it costs just under $ 2300 USD.

So for photographers who want to dedicate themselves to Canon mirrorless bodies but don’t have a huge budget, you’ve got a big problem.

Of course, there’s always the option of using an adapter with Canon EF and EF-S lenses. But this will add bulk and inconvenience to your setup, and it doesn’t take full advantage of the possibilities offered by RF-mount lenses.

Fortunately, it seems that Sigma may be offering another solution.

Because according to Canon Rumors, Sigma may soon come forward with an RF lens announcement.

Sigma has a reputation for producing high-quality glass at excellent prices, which is exactly what Canon full-frame mirrorless shooters are looking for. Even a few Sigma lenses could quickly expand the Canon lens lineup, while also offering some entry-level options for folks who can’t pay thousands of dollars for a single RF mount lens.

While there are not any details on this roadmap as of yet, Sigma is apparently hoping to release lenses starting in 2021. And Canon Rumors’s source suggests that Sigma has sped up its original plans for RF lenses, thanks to the interest generated by the EOS R5 announcement.

The source also revealed that Sigma won’t be modifying their popular ART lenses to fit the Canon RF mount. Instead, Sigma will be developing new glass for Canon shooters.

On the one hand, it’s disappointing to hear that Sigma’s ART lenses won’t make an appearance under the Canon RF label, given how all-around fantastic they’ve turned out to be.

But on the other hand, it’ll be nice to see what Sigma develops.

Now over to you:

What lenses are you hoping that Sigma produces for Canon’s full-frame mirrorless cameras? Share your thoughts in the comments!

The post Sigma to Release Canon RF Lenses Next Year appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Ricoh video details the next flagship Pentax APS-C DSLR

15 May

In a video published on YouTube, Ricoh has announced details of its upcoming flagship Pentax APS-C DSLR. The company was originally going to make tshe announcement at CP+ 2020, but the show was cancelled due to the coronavirus. A prototype of the camera was shown at an event in the Netherlands last fall.

According to Ricoh, the most notable feature on this as-yet-unnamed camera is its entirely new optical viewfinder, which uses a special glass that ‘excels in refraction’. The company is targeting a magnification of 1.05x (0.7x 35mm-equivalent), which is the same as on the full-frame K-1. An eye sensor below the viewfinder automatically dims the LCD panel, and the eye cup protrudes further away from the back of the camera than previous models. The shape of the pentaprism is a bit different, as well.

Ricoh claims that autofocus subject tracking has been improved, without providing further detail.

A battery grip will be available for the camera, which will share the same dials and AF joystick as the body.

Ricoh says that despite the coronavirus delaying the introduction of the camera, the company hopes that it will still ship on schedule by the end of the year.

Articles: Digital Photography Review (dpreview.com)

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

29 Jan

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

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

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

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

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

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

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

Articles: Digital Photography Review (dpreview.com)

 
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Nikon AF-S 120-300mm F2.8E FL ED SR VR arrives next month for $9500

07 Jan

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First announced last September, Nikon’s AF-S Nikkor 120-300 F2.8E FL ED SR VR will be available from next month. The lens, which weighs in at roughly 3.2 kilos (that’s over 7 lbs), has 4 stops of VR. In addition to ED and fluorite elements, it uses a new ‘short wavelength refracting’ (SR) element to reduce chromatic aberrations. The lens can focus down to 2 meters (6.5 feet) at all focal lengths.

As you’d expect from a high-end lens, the 120-300mm is fully weather-sealed and features Nikon’s Arneo and Nano Crystal coatings. The front element has a fluorine coating to repel water and oil.

The lens has switches for AF/MF, focus distance limiter, VR mode, memory recall/AF-L/AF-On and focus confirmation beep.

No surprise – the 120-300 F2.8E won’t come cheap, with a list price of $ 9500.

Official sample photos

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NIKON ASSERTS COMMITMENT TO OPTICAL SUPERIORITY WITH THE ANNOUNCEMENT OF CUTTING-EDGE Z MOUNT, F MOUNT AND COOLPIX PRODUCTS

The New NIKKOR Z 70-200mm f/2.8 VR S Redefines a Quintessential Photographer Favorite for the Z System; The AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR is a Ground-Breaking Pro Super-Telephoto Zoom Lens; The COOLPIX P950 Packs an 83X Optical Zoom to Bring the World Closer

LAS VEGAS – CES BOOTH #14018 (January 6, 2020 at 9:00 P.M. ET / 6:00 P.M. PT) – Today, Nikon Inc. announced three new innovative products that affirms the imaging brand’s commitment to bringing optical excellence to all levels of customers. First, the new NIKKOR Z 70-200mm f/2.8 VR S is the latest in the ever-expanding Z mount lens line, giving users of Nikon Z series mirrorless cameras an indispensable workhorse lens for capturing action and portraits. For professional sports and wildlife photographers, the new AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR is an enticing high-performance, professional super telephoto F mount NIKKOR lens. Finally, the COOLPIX P950 is a powerful new addition to Nikon’s superzoom bridge camera lineup, offering creators a spectacular 83x optical zoom and a myriad of innovative features to take their creativity to new heights.

“Nikon continues to innovate and push the boundaries of what’s possible in imaging and lens technology,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The new NIKKOR Z 70-200mm f/2.8 VR S takes advantage of the next-generation optical system offered by the Nikon Z mount to create a versatile 70-200mm lens with astounding sharpness and clarity, cementing this S-line lens as a staple for those who demand only the best from their lenses.”

The NIKKOR Z 70-200mm f/2.8 VR S – Astonishing Details, Uncompromising Zoom
An essential pro-level telephoto zoom lens re-imagined to take advantage of the optical potential of the Z series, the NIKKOR Z 70-200mm f/2.8 VR S is the latest addition to Nikon’s rapidly growing lineup of mirrorless lenses. The NIKKOR Z 70-200mm f/2.8 represents a pivotal lens for the Z series and a must-have for those shooting action, weddings, events, news, wildlife and portraits. Equipped with a versatile focal range, fast f/2.8 aperture and an impressive 5 stops of built-in optical VR image stabilization1, the NIKKOR Z 70-200mm gives mirrorless shooters the flexibility to capture astoundingly sharp images and videos in a variety of scenarios. Additionally, multimedia and content creators using the lens will appreciate the stepping motor (STM) for extremely quiet autofocus operation and reduced focus breathing.

The NIKKOR Z 70-200mm f/2.8 VR S demonstrates the technological benefits of the Nikon Z mount to reinvent a classic lens, while including new features to make this photographer favorite even more superior for Z series users. Parfocal support maintains focus when zooming, while a reduced minimum focus distance (0.5m wide, 1.0m telephoto) vastly increases versatility for photos and video. When used in combination with the in-body stabilization of the Nikon Z 6 and Z 7, the NIKKOR Z 70-200mm f/2.8 promises unparalleled stability with additional optical stabilization. Like other S line lenses, the NIKKOR Z 70-200mm f/2.8 boasts a premium optical design complete with a 9-blade diaphragm as well as Anti-Reflective Nano Crystal and ARNEO coatings for maximum image quality in any light, with a Fluorine coating that resists dirt and smudges. In addition to a rugged weather sealed design the lens is ready to tackle any assignment with a dedicated Info Panel, two customizable Function buttons and an additional custom control ring.

The new NIKKOR Z 70-200mm f/2.8 VR S and AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR are the first Nikon lenses to feature the newly developed SR (Short-Wavelength Refractive) lens element, a specialized-dispersion glass lens featuring characteristics that greatly refract light with wavelengths shorter than that of blue. By controlling short-wavelength light that is difficult to compensate, the lens can more effectively collect light of various specific wavelengths and achieve highly precise chromatic aberration compensation.

AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR: Impressive Reach, Incredible Speed, Absolute Versatility
The all-new AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR is a versatile, professional lens for the Nikon F mount with a large focal range and fast constant aperture. It’s ideal for sports, wildlife and portrait photographers seeking a bright and fast telephoto lens that offers sharp image quality across a wide range of focal lengths. Thanks to its extensive 120-300mm focal range, the NIKKOR 120-300mm f/2.8 provides users with a pro-level single lens solution, replacing the need to carry multiple lenses. With Nikon’s reliable weather-sealed construction, the NIKKOR 120-300mm f/2.8 is equipped to handle any shooting scenario whether on the sidelines or in the wilderness.

Users will appreciate the constant f/2.8 aperture which offers incredible low-light capability and depth of field that draws emphasis to a subject. The impeccably sharp image quality, beautiful bokeh and enhanced AF performance of the NIKKOR 120-300mm f/2.8 offer speed and sharpness reminiscent of a prime. Engineered with Nikon’s cutting-edge technologies, the AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR is the first NIKKOR F mount lens to adopt Nikon’s new SR lens element as well as Nikon’s anti-reflective ARNEO coat to deliver superior chromatic aberration compensation and effectively reduce ghost and flare. The built-in VR function provides an effect equivalent to a shutter speed 4.0 stops1 and includes a Sport VR mode for rapidly moving subjects.

Ready for professional use, the lens is sealed to resist the elements and is engineered for maximum usability, even when handheld. The zoom ring, focus function buttons, tripod collar ring and controls are all designed to ensure superior operability for more comfortable shooting.

COOLPIX P950: 2,000mm Zoom Power, 4K UHD Video & More
With an unbelievable 83x optical zoom NIKKOR lens, the 16-megapixel COOLPIX P950 is a powerful new addition to Nikon’s superzoom bridge camera lineup, which delivers unprecedented image quality from extreme distances. Beyond the staggering 24-2000mm lens, the COOLPIX P950 packs an advanced feature-set complete with Nikon’s renowned NIKKOR optics and advanced stabilization technology with 5.5 stops of VR image stabilization, allowing stargazers and birdwatchers to capture high-quality photos or 4K UHD videos at extreme distances with ease. Plus, by using the COOLPIX P950’s 166x** Dynamic Fine Zoom for far-away subjects and Macro Shooting capabilities to get as close as 0.4 inches, adventure-seekers can bring the unimaginable closer than ever.

Users can rely on the P950 to photograph life’s most unique subjects with incredible accuracy and focus thanks to its Target Finding AF capabilities, 7 fps continuous shooting and ISO sensitivity up to 6400. A great option for photographers of all skill levels, the COOLPIX P950 features user-friendly controls alongside an intuitive menu system and a 2359k-dot EVF, making it easier to review and capture one-of-a-kind shots. Using dedicated Bird-Watching and Moon Modes, photographers can effortlessly snap photos of their world and beyond. The new P950 also adds RAW (NRW) photo recording, an enhanced high-resolution electronic viewfinder and Nikon SnapBridge2,3,4 to seamlessly share images or remotely control the camera.

The COOLPIX P950 is also equipped with an accessory shoe to enable compatibility with a variety of useful accessories, including the optional DF-M1 Dot Sight, which helps users locate subjects and compose shots from far-away distances.

Pricing and Availability
The new NIKKOR Z 70-200mm f/2.8 VR S lens and COOLPIX P950 will be available in February for suggested retail prices (SRP) of $ 2,599.95* and $ 799.95*, respectively. The AF-S NIKKOR 120-300mm f/2.8E FL ED SR VR lens will also be available in February for a suggested retail price (SRP) of $ 9,499.95*. For more information about Nikon and their latest products, please visit?www.nikonusa.com.

1. Based on CIPA Standard. This value is achieved when attached to an FX-format digital SLR camera, with zoom set at the maximum telephoto position.
2. The camera’s built-in Bluetooth® capability can only be used to connect the camera to a compatible smart device running the SnapBridge app, and to take advantage of SnapBridge features.
3. This camera’s built-in Wi-Fi® capability can only be used with a compatible iPhone®, iPad®, and/or iPod touch® or smart devices running on the Android™ operating system. The Nikon SnapBridge application must be installed on the device before it can be used with this camera.
4. Using the SnapBridge App System Requirements:

a. Android 5.0 or later or 6.0.1 or later
b. A device with Bluetooth 4.0 or later (i.e., a device that supports Bluetooth Smart Ready/Low Energy) is required.
c. The SnapBridge app is available for compatible iPhone®, iPad® and/or iPod touch®, and for smart devices running the AndroidTM operating system. The app can be downloaded free of charge from Apple’s App Store® and GooglePlayTM. SnapBridge can be used only with compatible cameras.

-Android™ and Google Play™ are trademarks of Google Inc.
-Wi-Fi® and the Wi-Fi CERTIFIED logo are registered trademarks of the Wi-Fi Alliance. The N Mark is a trademark or registered trademark of NFC Forum, Inc. in the United States and in other countries. The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Nikon corporation and its Affiliates is under license.

*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.
** At the maximum image size. The maximum zoom ratio varies by image size. Dynamic Fine Zoom magnification is calculated from the maximum wide-angle position of the optical zoom.

Nikon AF-S Nikkor 120-300 F2.8E FL ED SR VR specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 120–300 mm
Image stabilization Yes
CIPA Image stabilization rating 4 stop(s)
Lens mount Nikon F (FX)
Aperture
Maximum aperture F2.8
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 25
Groups 19
Special elements / coatings ED, fluorite and SR elements + Nano Crystal and Arneo coatings
Focus
Minimum focus 2.00 m (78.74)
Maximum magnification 0.16×
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter Yes
Physical
Weight 3250 g (7.17 lb)
Diameter 128 mm (5.04)
Length 304 mm (11.97)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock Yes
Filter thread 112 mm
Hood supplied Yes
Tripod collar Yes

Articles: Digital Photography Review (dpreview.com)

 
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These are the next lenses you should buy for your new Micro Four Thirds camera

28 Dec

From pocket-sized prime lenses to fast zooms designed to weather the elements, there are lenses of all shapes and sizes for Micro Four Thirds shooters. If you’ve recently acquired one of these cameras then we’ve got some ideas for your next lens.

Articles: Digital Photography Review (dpreview.com)

 
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These are the next lenses you should buy for your new Fujifilm mirrorless camera

27 Dec

Maybe you were gifted a Fujifilm X-mount camera like the X-A7 or X-T30, or you treated yourself to an X-T3 for being extra good this year. In either case, we’ve got some suggestions when you’re ready for your next lens purchase.

Articles: Digital Photography Review (dpreview.com)

 
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