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Photokina Shuts Down Due to “Massive Decline in Markets”

30 Nov

The post Photokina Shuts Down Due to “Massive Decline in Markets” appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Photokina, the world’s most prominent photography trade show, will be closing its doors “until further notice.”

Photokina was first launched in 1950, before quickly becoming a biennial fair for exhibitors – including top imaging companies – to show off their latest photography equipment to the public. The event took place in Cologne, Germany, with vendors and visitors (often in the hundreds of thousands) flocking from around the world to view class-leading photography gear.

But enthusiasm for Photokina waned in recent years, with the rise of social media and smartphone photography relegating more traditional, higher-end photography equipment to the sidelines.

While the Photokina organizers sought to combat these problems by increasing the number of events (Photokina was to become a yearly trade show as of 2018) and by broadening the definition of the event so that less traditional vendors could take part, this did little to address Photokina’s fundamental problem: the overall decline of the camera market.

As the organizers explained in the press release announcing the suspension of Photokina:

In view of the further massive decline in markets for imaging products, Koelnmesse has decided to discontinue organizing Photokina at its Cologne location for the time being…The trend in this industry, with which we have always had a close and trusting partnership, is very painful for us to witness. But we are facing the situation with a clear, honest decision against continuing this event, a decision to which, unfortunately, we have no alternative.

They go on to explain that these problems were present long before the market’s COVID-19 downturn, and that “an event held in 2022 could not have met the expectations of the entire imaging community that those efforts were intended to serve.”

Hence the decision to shut down Photokina for the foreseeable future.

While this news is sad, especially for those who attended Photokina frequently in the past, it’s far from unexpected. As indicated by the initial adjustments to Photokina – changes began back in 2014 – the organizers were struggling to maintain interest. Then the 2019 event was dropped, and the 2020 event, scheduled for this past May, was canceled due to COVID-19.

Technically, Photokina could resume at some point in the future. But barring some sudden reversal to the camera market, Photokina is likely gone for good.

Now over to you:

What do you think about this news regarding Photokina’s suspension? Do you think the trade fair will ever come back? And are you worried about what this says regarding the overall decline of the imaging market? Share your thoughts in the comments!

The post Photokina Shuts Down Due to “Massive Decline in Markets” appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Photokina is cancelled indefinitely

27 Nov

Photokina has announced it will be indefinitely suspending its Cologne-based event due to ‘decreases in the imaging market’ that have ‘force[d] a hard cut.’

In a press release promoted on the Photokina homepage, Gerald Böse, President and Chief Executive Officer of Koelnmesse (the organizing company behind Photokina) says:

‘Unfortunately, at present, the framework conditions in the industry do not provide a viable basis for the leading international trade fair for photography, video and imaging […] This hard cut after a 70-year shared history was very difficult for us. The trend in this industry, with which we have always had a close and trusting partnership, is very painful for us to witness. But we are facing the situation with a clear, honest decision against continuing this event, a decision to which, unfortunately, we have no alternative.’

The press release goes on to explain that even without the global COVID-19 pandemic, ‘the imaging market was already subject to strong upheaval, with annual declines in the double digits.’ Despite efforts to diversify the tradeshow with ‘new exhibitor and visitor segments,’ these changes didn’t ‘fundamentally improve the situation of the event,’ according to Koelnmesse Management Board member and Chief Operating Officer, Oliver Frese. Frese goes on to say:

’While there are more photographs taken today than ever before, the integration of smartphone photography and videography, together with image-based communication, e.g. via social media, was not able to cushion the elimination of large segments of the classic market. As a result, the overall situation is not compatible with the quality standards of photokina as a globally renowned brand representing the highest quality and professionalism in the international imaging market.’

Ultimately, the decision fo indefinitely suspend Photokina was made by Koelnmesse ‘in close coordination’ with the German Photo Industry Association.

While the title of the press release — ’Photokina will be suspended until further notice’ — it’s clear this is a fairwell for the annual photo show, which has been taking place in Cologne, Germany since 1950.

Articles: Digital Photography Review (dpreview.com)

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Photokina 2020 is cancelled due to COVID-19, but is set for a May 2022 return

19 Mar

It’s confirmed—just three weeks after announcing everything was set to go on as scheduled, Photokina 2020 has been canceled. In an email sent to DPReview, Koelnmesse GmbH, the organizers of the international trade show, announced the event won’t be taking place this year, due to ongoing concerns and restrictions put in place due to the COVID-19 pandemic, as well as other factors.

While the writing was on the wall for Photokina 2020, with CP+ being canceled and The Photography Show being postponed, Koelnmesse notes the recent restrictions put in place by the German federal government to shut down trade fairs and exhibitions amidst the COVID-19 pandemic sealed its fate. Koelnmesse says the next iteration of Photokina will take place in May 2022 and lists the following factors as the rationale for canceling this year’s event:

‘Even before the appearance of the coronavirus, the imaging market was already subject to strongly dynamic movements. This trend will now gain momentum and must be factored into plans for the upcoming photokina. Added to this is the fact that our customers’ resources are already under heavy strain in 2021 – as a result of general economic trends as well as rescheduled events on the global trade fair calendar. The orientation towards 2022 gives everyone involved time enough to design the next photokina with an eye to the needs of the market, and of our exhibitors and visitors.’

Below is the full statement from Koelnmesse GmbH:

Photokina 2020 is cancelled

After intensive consultation, Koelnmesse GmbH has decided to cancel photokina 2020, originally planned to be held 27 to 30 May 2020. The next instalment of the leading international trade fair for photography, video and imaging will be presented from 18 to 21 May 2022. The Imaging Innovation Conference will not be celebrating its première in 2020 as originally planned; a new date will be coordinated.

In general the management team of Koelnmesse has decided not to organise any own events on the part of Koelnmesse until the end of June 2020. This decision is supported by the crisis management team of the City of Cologne, which also recommended in its meeting on 18.03.2020 to cancel the trade fairs during this period.

This also happens against the background of the agreement reached on 16.03.2020 between the German federal government and the governments of the German states – laying down common guidelines for dealing with the coronavirus epidemic and explicitly including the general closure of trade fairs and exhibitions. This impairs the planning security for Koelnmesse and the participants of the trade fairs in Cologne far beyond the scope of the current scenarios. With this early announcement, Koelnmesse wants to give its exhibitors and visitors planning security.

The decision not to host the next edition of photokina until May 2022 was made with in view of several factors: Even before the appearance of the coronavirus, the imaging market was already subject to strongly dynamic movements. This trend will now gain momentum and must be factored into plans for the upcoming photokina. Added to this is the fact that our customers’ resources are already under heavy strain in 2021 – as a result of general economic trends as well as rescheduled events on the global trade fair calendar. The orientation towards 2022 gives everyone involved time enough to design the next photokina with an eye to the needs of the market, and of our exhibitors and visitors.

Kai Hillebrandt, Chairman of the Photo Industry Association [Photoindustrie-Verband e.V. (PIV)]: “It goes without saying that PIV completely stands behind the decision taken by Koelnmesse to cancel photokina 2020. The health of exhibitors and visitors is top priority at the moment. As the conceptual sponsor of photokina, we will do our utmost to assist the Koelnmesse with the planning of the next edition of photokina.”

Koelnmesse – Global Competence in Digital Media, Entertainment and Mobility: Koelnmesse is an international leader in organising trade fairs in the Digital Media, Entertainment and Mobility segments. Trade fairs like photokina, DMEXCO, gamescom, gamescom asia, INTERMOT and THE TIRE COLOGNE are established as leading international trade fairs. Koelnmesse not only organises trade fairs in these areas in Cologne, but also in other growth markets like, for example, China, Singapore and Thailand, which have different areas of focus and content. These global activities offer customers of Koelnmesse tailor-made events in different markets, which guarantee sustainable and international business.

Note for editorial offices:
photokina photos are available in our image database on the Internet at www.photokina.com in the “News” section. Press information is available at: www.photokina.com/Pressinformation

Articles: Digital Photography Review (dpreview.com)

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Organizers say Photokina 2020 is still set to go according to schedule, despite growing COVID-19 concerns

29 Feb

This week, representatives from Koelnmesse, the organization behind Photokina 2020, sat down for a press conference in Cologne, Germany to address, amongst other details, concerns surrounding whether or not Photokina 2020 will take place as cases of COVID-19 continues to spread across the globe.

At the press conference, Koelnmesse Vice President, Christoph Werner, said ‘At this time, there is no reason to halt a large-scale event like [Photokina 2020],’ according to translated text from DC Watch. This statement was made even after consulting with the World Health Organization (WHO), the German Federal Ministry of Health and local authorities, according to Werner.

‘At this time, there is no reason to halt a large-scale event like [Photokina 2020]’

Kai Hillebrand, Chairman of the German Association of Photography, further elaborated at the press conference, saying ‘As long as the health authorities do not announce that trade fairs should be stopped in Europe, [the decision to participate] will be at the discretion of the exhibitors.’

In mid-September, well before the rise of the COVID-19 virus, Leica, Nikon and Olympus were confirmed to have dropped out of the tradeshow. Three months later, on December 6, Photokina confirmed Canon, Panasonic and Sony would be present for the 2020 event. No more than ten days later it was confirmed by PetaPixel that Fujifilm, too, would be absent from the show.

Between the departure of four major brands and the ongoing Coronavirus concerns, it doesn’t look promising for the Photokina 2020, despite being three months out. That said, until further notice, it seems as though everything is still set to go according to schedule, even as WHO raises the global risk of COVID-19 from ‘high’ to ‘very high’

Articles: Digital Photography Review (dpreview.com)

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Meyer Optik Görlitz will return once again, this time at Photokina 2020

29 Feb

OPC OPTICS announced on Tuesday that it will revive the Meyer Optik Görlitz brand it acquired in late 2018 with a debut at Photokina 2020 in Germany later this year. The company will bring half a dozen new lenses with it, including the Trioplan 100, Trioplan 50, Trioplan 35, Primoplan 75, Primoplan 58 and the Lydith 30.

The Meyer Optik Görlitz saga is a long one. The brand returned from the dead in 2014 when it was acquired by Net SE, which revived the lenses by using Kickstarter campaigns. Fast-forward to 2018 and Net SE was revealed to be insolvent; Kickstarter backers didn’t get their lenses and weren’t able to get refunds, either.

That led to the brand’s acquisition by OPC Optics in late 2018, something that soon resulted in a frustrating revelation: Meyer Optik Görlitz Nocturnus and Somnium lenses produced under Net SE were modified versions of Chinese and Russian lenses. OPC Optics disclosed the findings, saying that it would temporarily discontinue both of those ranges.

In the company’s most recent announcement this week, OPC Optics Managing Director Timo Heinze discussed the upcoming Photokina plans and the lenses that will premiere there, saying:

‘All lenses are completely developed and manufactured in Germany with the utmost care and attention to detail. The exclusive image design features of Meyer Optik Görlitz lenses enable the user to stand out from the crowd with an individual image language. We are proud of the high-quality realization of our product developments, but even more proud of all the impressive and unique results that photographers have created so far and will create with the new versions of Meyer Optik Görlitz’s lenses.’

Each lens will be presented at Photokina 2020 alongside 10 large format prints captured with the product. As of the latest report, the trade show is still set to go and will take place in Cologne, Germany, from May 27 to May 30.

Articles: Digital Photography Review (dpreview.com)

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Photokina confirms Canon, Panasonic and Sony will be at 2020 expo

07 Dec

Photokina has shared a press release confirming Canon, Panasonic and Sony will be attending the 2020 expo in Japan and ensures the manufacturers ‘once again promise a fireworks display of new products at Photokina.’

The press release, titled “Photokina 2020: A Visit to the Motherland of Imaging,” comes three months after Photokina confirmed Leica, Nikon and Olympus won’t be attending the trade-show and reads as a rebuttal of sorts to remind the photography industry that Photokina is far from over, despite three main players dropping out.

The release of the press release follows a trip to Tokyo wherein delegation from the City of Cologne, Koelnmesse (the trade fair organizer responsible for Photokina) and the association of the photo industry (PIV) met with Canon executives, as well as other ambassadors and ‘high-ranking company representatives’ from Japan.

After briefly talking about the meeting in the introduction, Photokina follows with statements from Canon, Panasonic and Sony executives, which we’ve gathered below.

Canon Chief Executive Officer Image Communication Business Operations, Go Tokura, says:

‘As the imaging industry is at a significant turning point, we expect Photokina to be a leading show of the worldwide photo and imaging industry. Canon is eager to introduce new products and concept products at Photokina, thereby contributing to the industry’s success.’

Panasonic Director of Smart Life Network Business Division, Yosuke Yamane, says:

‘For many years, Photokina has been the ideal platform for us to present our product innovations. The Imaging industry is facing big changes and challenges these days. In 2020, we will also be coming to Cologne with big expectations in the new Photokina format and are looking forward to contributing with great innovations.’

Sony Senior General Manager of the Marketing Division at Sony Imaging Products & Solutions, Yosuke Aoki, says:

‘Sony is very glad to be part of Photokina again next year. Photokina 2020 gives us the opportunity to present our latest innovations and to maintain a direct dialog with all Digital Imaging Lovers. Sony is looking forward to seeing you all in Cologne.’

The press release wraps up with statements from Koelnmesse President and Chief Executive Officer Gerald Böse and Chairman of the photo industry association (PIV), Kai Hillebrandt.

The press release isn’t necessarily unusual when viewed in a vacuum, as using quotes from the exhibitors to promote the expo is nothing new or out of the ordinary. But when looked at in context of Leica, Nikon and Olympus dropping out just three months ago, it does seem as though the press release and statements are a mutual pact to at least give the illusion of Photokina being no different than before, if not better.

Press release:

Photokina 2020: A visit to the motherland of imaging

The twinning arrangement between Cologne and Kyoto has been in place since 1963. It is characterised by an active exchange ranging from sports to art and culture. The economic relations are also close: the state of North Rhine-Westphalia, with Cologne as its largest metropolis, has long been one of the most important locations in Europe for Japan. More than 600 companies have settled here. Photokina is also an integral component of the good connection with Japan. A delegation of the City of Cologne, Koelnmesse and the association of the photo industry (PIV) once again strengthened this bond during a visit to Tokyo.

The Mayor of Cologne, Henriette Reker, the President and Chief Executive Officer of Koelnmesse, Gerald Böse, and the Chairman of the PIV, Kai Hillebrandt, were warmly welcomed at a celebratory reception in the German Embassy in Tokyo by Ambassador Ina Lepel and high-ranking company representatives. Also among the guests were many representatives of the Japanese imaging industry, which can look forward to a big year in 2020: the Olympic Games are taking place in Tokyo and, thanks to outstanding photo and film technology, people around the world can experience these up close. Many millions of snapshots and selfies by spectators and athletes will travel around the world in the social media. This is made possible by the achievements of imaging, the latest developments of which can be seen shortly before the start of the Olympic Games at Photokina in Cologne.

Articles: Digital Photography Review (dpreview.com)

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Confirmed: Leica, Nikon and Olympus won’t be attending Photokina 2020

19 Sep

In a press release on its website, Photokina has confirmed that Nikon, Leica and Olympus have all opted out of attention the 2020 trade show.

The press release, titled ‘Photokina 2020: An Industry in Transformation, a Decisive Chance for the Future,‘ buries the lede by first elaborating on the current state of the camera market and following it up with the significance of a trade show such as Photokina. The press release starts out saying:

‘The imaging industry is currently undergoing massive changes, which also have an impact on Photokina as the industry’s leading trade fair – and this in a dimension never seen before. While on the one hand the classic camera market reports strongly declining sales and turnover figures, the enjoyment of photography continues to grow – with a positive effect on the demand for pictures.’

Gerald Böse, President and Chief Executive Officer of Koelnmesse GmbH, goes on to say that Photokina ‘represents a unique opportunity’ and notes that ‘[Photokina is] relying on the major players of the industry to make the greatest possible use of this opportunity.’

It’s not until two paragraphs later the press release confirms three ‘major players’ won’t be attending the trade show after first expressing gratitude to multiple other manufacturers for attending:

‘”We look forward to strong demand and applications from both the new and the classic segments of companies like Canon, CEWE, GoPro, Sony, Panasonic, Kodak Alaris, Sigma, Tamron, Carl Zeiss, Hasselblad, Hahnemühle, Arri, Rode Mikrophones, DJI and Insta360,” says Christoph Werner, Vice President of Koelnmesse. These are contrasted by cancellations, including from Leica, Nikon and Olympus.’

The press release goes on to say these cancellations change nothing for Photokina 2020 and ensures that the show will go on, but losing three major manufacturers in a single year is never a good sign. We saw this happen with PMA years ago and once a few left the expo, the rest quickly followed.

Articles: Digital Photography Review (dpreview.com)

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Photokina 2019 gets postponed, will become an annual event starting May 2020

04 Dec

In 2017, Photokina’s organizers announced the world’s largest trade fair would ‘reposition’ itself an annual event starting in 2018 and subsequently announced that after this year’s Photokina, which took place in September, the event would be moved to the month of May going forward.

Naturally, it was expected the next Photokina event would take place in May 2019, but plans have changed. According to the German Photo Industry Association (PIV), conceptual sponsor of the trade fair, and Koelnmesse, the event’s organizer, the 2019 Photokina event has been postponed a year, meaning the next Photokina event will take place from Wednesday May 27th, 2020 through May 30th, 2020.

‘The decision to postpone the start of the announced annual cycle by one year is intended to give all participants the opportunity to further develop the new concept for Photokina and to tap into new target groups among exhibitors and visitors in order to heighten the status of the trade fair as a global platform for the photography and imaging industry,’ reads the announcement press release.

From left to right: Gerald Böse, President and Chief Executive Officer Koelnmesse GmbH, Rainer Führes, CEO of Canon Deutschland GmbH and Chairman of the Photoindustrie-Verband – The Imaging Association, Jürgen Roters, Mayor of Cologne

PIV CEO Rainer Führes is quoted in the press release saying Photokina 2018 ‘clearly exceeded our already optimistic expectations with groundbreaking innovations and 180,000 visitors from 127 countries.’ He goes on to say that Photokina 2018 ‘set the bar very high for the next event.’

“It is therefore unlikely that, in May 2019 after just over seven months, we will once again be able to create the same enthusiastic atmosphere that characterized Photokina 2018 […] This is why we have decided to start the planned annual cycle in 2020.’

Considering the quick turn-around time from the last Photokina — not to mention its proximity to CP+ in March and NAB in April — it was a big ask of Photokina and its organizers to expect exhibitors, media, and attendees to bounce back with enough updates, products, and cash to fill the floors.

Articles: Digital Photography Review (dpreview.com)

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Photokina 2018: Tamron interview – “We have standard three-business-day turnaround for repairs”

01 Dec

Stacie Errera is VP of Marketing and Communications for Tamron USA.

We met with Tamron’s Stacie Errera at Photokina 2018 in Cologne, Germany where we discussed the brand’s unique identity, product development prioritization, future lens plans and the importance of user feedback.

How is Tamron different from other lens manufacturers?

Our focus on customer service at all aspects of the users’ experience makes us different. We’re very focused on education – we like keeping our customers up on the latest techniques to create great photography. So whether it’s in-person workshops, working with our local authorized dealer base to bring workshops to stores, our magazine or our newsletter, we’re very focused on education. We’re also focused on support – all of our products have a six-year warranty. We have standard three-business-day turnaround for repairs with no extra charge for every customer – it doesn’t matter who you are. If you have a lens and you need a repair, you send it in and you get it back within three days. That’s the best in the industry.

We have standard three-business-day turnaround for repairs with no extra charge for every customer

Is Tamron’s three-day repair turnaround for US customers only?

It’s worldwide. Almost all markets now have that. Any place we have a subsidiary, it’s three days and anywhere we have a distributor, it’s mostly three days. This policy actually came as a mandate from our president to increase confidence in Tamron lenses and Tamron customer service.

And our overall philosophy or feeling we want customers to have – which extends into the lens design itself – is a ‘human touch quality’. We want that to extend beyond the product. We strive really hard to work closely with our customers. We hear what they have to say and work with them on social media and in person to give them good service. So I think it sets us apart a little bit, how closely we try to listen to and help motivate and mentor our customers.

The Tamron 28-75mm F2.8 Di III RXD is the most compact F2.8 zoom available for Sony E-mount. Also important: It’s very sharp.

How do customer needs and feedback play into the design and development of new lenses?

We do a few customer surveys a year where we find out what people are looking for. Also any feedback that my tech team or sales team might get is fed to me and then it goes up through the chain. With our subsidiaries, we sit down several times a year and put together our thoughts and make recommendations – these are based off of what people are asking for, what they feel they need and what they feel might be missing from a current lens line. Sometimes people bring up technologies and maybe you’ll think the idea is crazy, but we still pass it on. So we definitely try to pass all that information up to our headquarters.

Who do you see as Tamron’s user base? Is it pros, enthusiast, or a combo of both?

It’s a combo of both. We do several professional tradeshows a year and have very busy booths and a lot of customers there. As we put together our VIP program we’re seeing all the customers who own multiple lenses, so we do have a lot of pros out there. I’d say we’re maybe 60% enthusiast, 40% pro.

We want to make it affordable so [photographers] can have four, five, or six lenses in their bag without going broke

Our enthusiasts, they run the gamut from first entry-level DSLR / ILC users up to serious enthusiast that have been using cameras for 20+ years, many of whom came out of the film days. We really have a wide range of users. And again, just looking at our database with the VIP program – how many people own multiple lenses – we know our users really are gear-intensive customers. They’re into getting new lenses; many update their cameras, then get new lenses to match.

Tell me more about Tamron’s VIP program.

Any customer that registers their Tamron USA lenses purchased after 2011 are eligible for Tamron USA’s VIP program. If they have four lenses, five lenses or six+ lenses there’s silver, gold and platinum VIP.

We just had all our platinum members out at a VIP summit in Santa Fe for four days of seminars and field workshops. They brought their lenses and it’s amazing to see these customers that have lots of gear but continue to get new lenses to make sure they have the right tool for the job. We want to make it affordable for them so they can have four, five, or six lenses in their bag without going broke.

The new Tamron SP 15-30mm F2.8 Di VC USD G2 is the only stabilized F2.8 wide zoom for full-frame DSLRs. It’s also, you guessed it, very sharp.

How important is affordability to your long-term growth and vision for Tamron?

It’s definitely high up there. Our goal is to number one, make sure the lens is high quality. The second goal for us, depending on the category of the lens, is definitely size and weight. So looking at the Sony FE and E-mount, for example, we’re definitely looking at compactness and lightweight designs as key features of those products.

But we also do look to keep the price in an affordable range for the customer. One of the philosophies of the company is we want to make photography accessible for everyone. By having tools that can be more affordable for the photographer, we can expand their bag and make sure they have the right tool for the types of photography they like to do.

One of the philosophies of the company is we want to make photography accessible for everyone

What about for DSLRs, is size and weight still a high consideration?

For both mirrorless and DSLR size and weight are a consideration. For example, the 17-35mm F2.8-4 for DSLRs, it is the lightest and most compact in its class of lenses that are F4 or faster. If you look at the 15-30 F2.8 for DSLR, while it’s definitely a large lens with it’s constant 2.8 aperture, it is still the only lens in the category with stabilization. So it’s not compact, but within the category it still has advantages.

How important a consideration is video when Tamron develops lenses?

It’s a high consideration. We are trying to make sure the motors in our lenses are as silent as they can be. However, depending on who the videographer is and what they’re filming, they may be using manual focus anyway. The new 28-75 F2.8 for Sony FE has a rapid extra-silent drive (RXD) and it is definitely geared toward video because we know people are using Sony full-frame to shoot video more so than on some other systems.

A sample photo shot with the Tamron SP 15-30mm F2.8 Di VC USD G2.

The 28-75 F2.8 for Sony FE is one of our favorite lens available for full-frame E-mount. How this lens been received by customers and will we see other full-frame Sony E-mount lenses soon?

That lens has definitely been very well-accepted by Sony shooters worldwide. Right now we’re still in a very heavy demand situation. Supply is catching up, though. I think it’s really the first lens that seems to fit the form factor of the camera itself. That balance and that lightweight design without compromising performance, everything about it fits the form factor and goal for what that system is all about. So definitely, with the acceptance of this, we’ll see more from Tamron for Sony mirrorless cameras.

We’ll see more from Tamron for Sony mirrorless cameras

Tamron now makes lenses for Sony FE, E, A, Nikon F, Canon EF, M, Micro Four Thirds, Pentax K-mounts. With all these mounts, how does Tamron prioritize what lenses they are going to make?

We look at the market and see where there are gaps – what’s moving, what’s not moving.

Really the past few years have been dedicated to analyzing the mirrorless portion of the market. With all the recent introductions to mirrorless I think it’s very evident that the market is swiftly moving toward mirrorless dominance. But that’s not to say full-frame DSLRs are not still strong. My opinion is that people will continue, for at least the next few years, using multiple formats. I have my DSLR I use for some situations and I have my mirrorless I use for other situations – I have my smartphone that I use still for others. So I think we’re in a place where each consumer is a multi-format user. Obviously there are people that are mirrorless-only, DSLR-only. And obviously there are pros not ready to make the jump to mirrorless yet. But overall, it’s a fun time to be making lenses.

Really the past few years have been dedicated to analyzing the mirrorless portion of the market

Do you have any prediction for how much of your business will be represented by mirrorless lenses rather than SLR lenses?

Right now we have a couple of mirrorless lenses plus the recent introduction of the full-frame Sony mirrorless. I think we’ll move along with the market. The US market is swiftly catching up to some other markets in the world. And I think we’ll see some changes worldwide for Tamron over the next few years. But it’s hard for me to attach a number or percentage to that at this point. But we’re definitely moving with the market.

All-in-one zooms for DSLRs are still a crucial part of Tamron’s portfolio. The Tamron 100-400mm F4.5-6.3 Di VC USD for APS-C – which this photo was shot with – offers a good balance of quality and affordability.

We now have two new full frame mounts, Canon R and Nikon Z, as well as the announcement of the Panasonic/Leica/Sigma L-mount alliance. Is there talk about making lenses for these mounts?

I think we need to get those cameras into our engineers’ hands and analyze them and see what they’re all about and make determinations from there. I think that we’re keenly looking at all these different mounts and I think it’s an important part of the market today. I’m not involved in the talks over in Japan, but I would assume there is definitely a strong interest in these.

I think we’ll see some changes worldwide for Tamron over the next few years

Sigma, Panasonic and Leica announced their L-mount partnership at Photokina. Has Tamron considered making partnerships with other brands in similar fashion?

At this point in time, there’s none I’m aware of. That doesn’t mean there won’t be partnerships in the future.

What’s the immediate future hold for Tamron?

I think we’ll continue expanding our lineup. We’ll be continuing our G2-series, the 15-30 F2.8 G2 now completes the SP (Superior Performance) trio of fast, image-stabilized zooms. It was very important for us to complete that trio. We’ll also be filling in the full-frame arena and raising the bar for all-in-ones, an area of the market where we are the leader. It’s just a progression of filling and finding areas of need as the market changes.

Editors’ note: Dan Bracaglia

Tamron is a brand increasingly putting out lenses I want to get my hands on, from their outstanding, stabilized SP 15-30mm F2.8 Di G2 to their perfectly sized 28-75mm F2.8 Di III RXD – my favorite lens for Sony FE without question. Both of these lenses represent unique designs within their chosen mounts.

2018 is an exciting time for third-party lens brands

2018 is an exciting time for third-party lens brands, but with the number of mirrorless mounts growing, it’s as important as ever for these companies to carefully consider what they prioritize. Tamron seems to understand this though – lens development boils down to a careful mix of user feedback and market analysis.

Though all-in-one zooms for DSLRs have long been the brand’s bread-and-butter, here’s hoping we’ll even see other well-sized, constant-aperture mirrorless zooms in the near future given the market success of the 28-75mm F2.8 Di III RXD and Stacie’s mention of ‘changes worldwide for Tamron over the next few years.’

…with Tamron’s new commitment to three-day repair turnarounds, their lenses are looking more desirable than ever

Speaking of mirrorless, Stacie wouldn’t give me any indication what plans the company has for the new Nikon Z and Canon RF-mounts. This isn’t terribly surprising given how new they are, but it will be interesting to see whether existing mirrorless models eventually become available for these new mirrorless mounts.

At the end of the day, I’m thankful that brands like Tamron and Sigma exist. Though they take very different approaches to lens development, both are going to great lengths to ensure that there are a lot of cool lens choices on the market. And with Tamron’s new commitment to three-day repair turnarounds, their lenses are looking more desirable than ever.

Articles: Digital Photography Review (dpreview.com)

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Photokina 2018: Leica, Sigma and Panasonic talk L-mount Alliance

26 Nov

Autumn 2018 saw the launch of two new full-frame systems and one full-frame alliance. A month or so after Canon and Nikon launched their RF and Z mount systems respectively, Leica, Sigma and Panasonic announced that they would be partnering to develop new cameras and lenses around a shared standard: the L-mount.

The so-called L mount alliance was announced at the Photokina tradeshow in Cologne, Germany. We were there, and the following interview is an edited transcript of a group interview conducted with Stephen Schultz and Dr. Andreas Kaufmann of Leica, Junichiro Kitagawa of Panasonic, and Kazuto Yamaki of Sigma. The following interview contains questions from various members of the photo press, and has been edited for clarity and flow.

Since the announcement of the alliance, have you been approached by any other companies interested in licensing the L mount?

Leica: Not yet. But it’s only been a short time since we made the announcement. Leica has been collaborating with Panasonic since 2001, and three years ago we met with Yamaki-san [of Sigma], and since then we’ve been [developing our partnership].

How will you make this work? Three different companies, three different backgrounds…

Leica: We are going to have regular meetings in order to keep the standard up to date, and to ensure that all products work smoothly and seamlessly with each other. We share a long history of collaboration with Panasonic, and we have had very close connections on a development level for many years. This is not new for us.

Sigma: Since the beginning of Four Thirds we’ve been working with Panasonic on the development of the Four Thirds and Micro Four Thirds systems.

‘Collaboration is necessary to make sure that all three companies are making products at the same level’ – Leica

Is there a timeline mapped out for future product development within the L mount standard?

Sigma: We have agreed to work on products using the same platform, but regarding products from each of the three companies, we’re working independently. We’re not exchanging [that kind of] information. Each company is working on its own roadmap. We have our own strategy and our own customers, so we’re just trying to bring high quality products to the market at the right price.

Leica: It’s a little bit like Android, the mobile standard. We make our own [separate] products but we use the same standard. Collaboration is necessary to make sure that all three companies are making products at the same level, for the [shared] standard. And that’s it.

We work in an alliance at a high level, but Leica is the licensor of the L mount standard. We developed the L mount brand: it’s a Leica brand, and Sigma and Panasonic are licensees. But in our daily work, we are all part of this alliance.

Panasonic: Each companies has its own responsibilities and its own obligations. To [preserve] the standard is really important.

‘Technically the L mount is a very good standard. A wide lens mount diameter and a short flange back – there are no technical drawbacks’ – Sigma

What made the L mount the preferred choice of mount for Sigma and Panasonic?

Sigma: Technically the L mount is a very good standard. A wide lens mount diameter and a short flange back: there are no technical drawbacks. At the beginning we were planning to develop our own full frame mirrorless system, but we concluded eventually that it was more beneficial to our customers to enter a partnership. The customer can use a wider variety of cameras and lenses.

Panasonic: Panasonic’s customer coverage [at present] is maybe more high-level amateurs, not professionals. The new [customer segment] of videographers appreciates what we’ve introduced for movie making, but still there are customer segments that we cannot reach. So the L mount gives us a chance to challenge in these top-end segments. I hope that the L mount gives us a chance to complete our lineup, [by] supporting our current Micro Four Thirds business.

The GH5S is a video-focused Micro Four Thirds camera which has been received by a constituent of video professionals, but Panasonic does not offer a full-frame rival to Sony’s a7S-series. Could the company fill this gap with a future L-mount camera?

How much room for future growth is built into the L mount standard?

Leica: Regarding functionality, we think that the standard will cover everything that we can anticipate, at the moment. We think that the standard is sufficient [for the foreseeable future]. The mount was developed very thoroughly in order to have enough space to make the biggest and fastest lenses for full frame, while also being as compact as possible to make attractive APS-C cameras as well. We think this is a big benefit of the L mount.

The flange back distance could be shorter, but if someone wants to make a professional L mount video camera for example, its better to have a little more room, for filters [built into the camera body] and so on. With 20mm, that’s fine. If you go closer, it becomes very difficult.

Do Sigma and Panasonic see the L mount as an APS-C mount as well? Are you planning on developing APS-C lenses for L?

Sigma: Yes, we have a plan to develop APS-C lenses for L mount, but the main focus is full-frame.

Panasonic: No. We will only develop [L mount products] for full-frame sensors.

The forthcoming Panasonic Lumix DC-S1/R are advanced mirrorless interchangeable lens cameras, built around the full-frame L mount standard. The S1R (pictured) will be Panasonic’s high-resolution stills flagship when it’s released next spring.

Do you see the Panasonic Lumix DC S1 and S1R as companion cameras to the Leica SL or as competitive cameras?

Leica: They’re an addition to the market, and they’re also competition. We’re three independent companies. From our point of view, [the S1/R] will bring customers into the L mount system. A Leica price-point will always be a Leica price point. That has to do with how we do things, and how we develop products. So if someone wants to [shoot with] a different body, but using Leica lenses, we’re OK with that.

Is any money changing hands, or are you just bound by a common agreement?

Leica: We cannot comment on that, but think of it as a very friendly agreement.

As licensor, does Leica maintain any kind of design approval over lens designs from Sigma and Panasonic for the L mount?

Leica: We host all of the information relating to the L mount standard, but there is no more exchange than that. Regarding products that we may [all, separately] be developing, it’s actually not allowed [due to anti-trust legislation]. Leica does not have design approval.

‘This alliance is like marriage. The previous arrangement [with Olympus] was more like we were just living together’ – Panasonic

One thing that we saw happen in the Micro Four Thirds market it is that over time there was a divergence between Panasonic and Olympus technologies. Will this alliance avoid that kind of issue?

Leica: We plan to have regular committees to define the standard, and to get common agreements about changes and updates to the technology, in order to avoid that situation.

Panasonic: The difference, maybe, is that this alliance is like marriage. The previous arrangement [with Olympus] was more like we were just living together. So the obligation [now] is a little more high-level.

Are the L mount partners working on a unified solution for service?

Panasonic: At the very least we have to exchange all of the necessary information, in advance. And if a situation arises in future [where a customer requires service to L mount products of two brands] we need to find a way of responding. For example if [in future] a customer brings a Panasonic camera to one of our service centers with a Leica lens, we need to work out how to deal with things like that.

‘When it comes to products, there’s a distinct firewall between the three companies’ – Sigma

Leica: Let’s see what the future may bring. Leica has a unique business model, and maybe we can add some [insight] based on our experiences, but it hasn’t been discussed yet. But by creating a shared technical platform, that’s a great step in this industry. Because normally this industry works more like several little ‘boxes’ [of separate technologies].

Panasonic: In 2020, on the 24th of July the Tokyo Olympic Games will open. And there we will see many professionals and advanced amateur photographers, and I hope that we will see many L mount products [being used]. So we will need to provide service facilities for professional photographers from all over the world. We’re starting now to think about how we will do that.

The Leica SL is still going strong, several years after announcement. Even in its dotage however, it is still priced out of reach for most photographers. The addition of cameras from Panasonic and Leica should make the L mount standard more accessible.

Are you each developing your own sensors, separately from one another?

Leica: From the point of view of the alliance, again, we’re completely different companies. This will continue and we’re not going to disclose where we get components from, and I suspect that Panasonic and Sigma won’t either.

Sigma: When it comes to products, there’s a distinct firewall between the three companies but we work together as a technical committee just to maintain compatibility between products.

Leica: The standard needs to provide for seamless compatibility between products from all three manufacturers. For Leica, our business model is very different [to other manufacturers]. We own most of our distribution, and also retail. It’s a different concept. Here, [with the L mount alliance] we’re talking about a technical platform.

Sigma is one of many third party lens manufacturers. What made Sigma your choice of partner?

Leica: It’s a great company. And it’s family owned. That means that certain decisions can be reached in a very effective way.

Editors’ note: Barnaby Britton

The L-mount isn’t a new system, but the addition of two new manufacturers to the standard is potentially very significant. Leica’s L-mount cameras have been good products for the most part, but as Dr Kaufmann said, ‘a Leica price-point will always be a Leica price-point’. And as such, cameras like the Leica SL and TL/CL are completely ignored by the vast majority of the camera-buying public, who don’t understand why they cost so much. While entirely understandable, this is a shame, if only because many of Leica’s L-mount lenses are so good.

It seems unlikely that Panasonic’s upcoming Lumix S1 and S1R will be cheap, but it’s a safe bet that in terms of price per line of spec, they’ll be a hell of a lot more reasonably priced than anything Leica will come out with in the near future. It’s anyone’s guess what Canon and Nikon will do next with their new RF and Z mounts, but for now it looks like the S1R could be the most ‘pro’ of all the new crop of full-frame mirrorless cameras when it becomes available next spring. It could, in fact end up being one of the most compelling options in the entire full-frame space.

I bet that Panasonic is itching to knock Sony off its perch as king of full-frame mirrorless video

The lower-resolution Lumix S1 looks set to be more of an all-rounder, which we’re expecting to offer a very compelling video feature set. And speaking of video, Stephan Schultz’s passing comment about a hypothetical ‘professional L mount video camera’ is intriguing. I doubt whether Leica would ever attempt such a thing (although you never know, with Leica) but I bet that Panasonic is itching to fill the troublesome hole in its product lineup between cameras like the GH5/S and cinema-focused offerings like the Varicam – and knock Sony off its perch as king of full-frame mirrorless video in the process.

That hole, between consumer video and professional cine cameras, is where we expect to see a lot of growth over the next few years since it represents the growing emerging production market. Given Panasonic’s history in video, this fertile ‘middle market’ seems to represent an obvious opportunity for the company.

More products means more competition, which is almost always good for consumers

Sigma meanwhile, although best known as a lens manufacturer, has been quietly developing a range of quirky, high-quality cameras for years. The move away from its SA mount might prove painful for a small number of loyal Merillites, but I suspect it will prove to be a very smart move in the long run. More products means more competition, which is almost always good for consumers. Arguably, friendly competition – where manufacturers compete for the same customers with rival but cross-compatible products – is even better, assuming it’s sustainable for the manufacturers involved.

One of the questions raised in the group interview session was whether the three companies in the L mount alliance will work to avoid the kind of technological divergence which we saw emerge over time between Panasonic and Olympus’s rival Micro Four Thirds systems. Mr Kitagawa of Panasonic replied with an unusually candid metaphor about cohabitation versus marriage. The new alliance, it seems, is more serious than his company’s previous partnership with Olympus. I hope it works out.

Articles: Digital Photography Review (dpreview.com)

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