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Photokina 2018: Nikon interview – ‘We love feedback, because it leads to better products’

13 Nov
Two cameras, two lens-mounts, separated by almost six decades. The new Nikon Z7 (left) is the first of a brand-new breed of Z-mount full-frame Nikon cameras, just as the original Nikon F (right) debuted the legendary F mount in the late 1950s.

This interview comprises on-record portions drawn from several conversations with multiple Nikon executives dating back to August, primarily those which took place in Tokyo following the launch of the Z system, and in Cologne, Germany, during the Photokina trade show.

Please note that responses to our questions were provided variously by multiple high-level executives, engineers and marketing specialists. These exchanges happened at different times, and in all cases, our conversations were conducted via an interpreter. As such, since individual attribution is impossible, responses have been combined and anonymized. The following interview has been edited for clarity and flow.

What were the biggest challenges you faced when developing the Z mount?

For the mount, the biggest challenge was to finalize the specifications. This is a new system and we’re looking ahead into the future for our users. We want them to use the Z mount for a long time, so we wanted to make sure that the specifications would [support] use for the long-haul.

For lenses, taking the Z 35mm F1.8 for example, we were determined to exceed the [previous] performance level, which was very challenging. Manufacturing was challenging too because we wanted to exceed [previous] lens specifications and performance.

In the camera bodies, we had to maintain robustness, while making them smaller and lighter. This was a challenge for us.

The Nikon Z mount is intended to be at least as futureproof as the legacy F mount – hopefully, according to Nikon representatives – it will still be current in 100 years’ time.

Nikon Z-mount lenses are designed for cameras that are capable of high resolution video as well as stills – how does this requirement affect the design?

Our optical design had to change. There are five elements that are improved significantly. One, we minimized aberrations, in a very well-balanced manner. Secondly, we improved resolution, towards the edges of the frame – not just the center. Thirdly, we improved point image performance [coma] towards the edges of the frame. Fourth, bokeh is natural, and beautiful. And finally we minimized ghosting and flare effects as much as possible. All of these improvements allow us to render sharp, very ‘real’ images.

Mechanically speaking, we improved focus speed, and focus is very quiet and very smooth in movie recording. That smoothness is really improved, and also movie users can adjust focus speed, from slow to fast.

We’ve tried to maintain the same level of operability between the D850 and the Z7

One of the concerns that we have with the Z6/7 is that their autofocus behavior and user experience is so different to DSLRs like the D850. Why did Nikon make this decision?

The D850 has a dedicated autofocus sensor, but in the Z7 we have on-sensor phase-detection autofocus. Each system has its own distinct features and its own strengths. We looked at the differences between the two, so that we could satisfy our customers’ needs by utilizing the strengths of each system. It’s not a question of which system is better, each has its own strengths.

When we think about usability of the autofocus systems, we’ve tried to maintain the same level of operability between the D850 and the Z7. Our priority is to make sure that our [Z7] customers feel that they have the same level of functionality and usability [as they do with the D850].

The Nikon Z7, pictured here with the 35mm F1.8, one of three compact lenses announced at the debut of the new Z mount, in August.

Do you intend to be more proactive in the Z-series, to respond to feature requests via firmware?

We need to look at our camera models, their features and characteristics, and our customers’ needs. With some models it’s better that we update their functionality more often than others.

But upgrading a camera isn’t easy. Also, as functionality evolves, software becomes even more complicated to design and update. However, the environment is changing rapidly, and due to the accelerated evolution of the functions, maybe we have to accelerate our response. We will make sure that we develop and upgrade [our cameras’] functionalities in order to satisfy our customers’ needs.

Our goal is to become number one in the full-frame market

Do you have an internal target for percentage of sales represented by Nikon mirrorless versus DSLR?

We have internal sales targets for each model, but we cannot disclose the figures. Our goal is to become number one in the full-frame market for both mirrorless and DSLRs.

What is your target timeframe for achieving this goal?

That’s a difficult question to answer – we cannot disclose the specific timeline, but we will make every effort to hit the target of being number one as soon as possible. We believe that we can achieve the number one position maybe quite soon. A lot of manufacturers have launched full-frame mirrorless cameras, but sales of our Z6 and Z7 are really robust, which gives us confidence.

Since DSLR and mirrorless have their own benefits and merits, they can co-exist

How do you expect the Z6 and Z7 to affect sales of Nikon’s DSLRs?

Since we launched the Z6 and Z7, demand for the D850 has remained very robust and stable. Since DSLR and mirrorless have their own benefits and merits, they can co-exist, and they will. However, its unavoidable that the market will shift more and more towards mirrorless. Right now, mirrorless market share is around 40% but by 2020 and afterwards we expect that mirrorless will surpass DSLR. For now we think they can co-exist.

At launch, the Z system is a full-frame system. Could it support DX (APS-C) format cameras in future?

We are not thinking about other formats yet. But we’re monitoring market trends, and we’re not ruling anything out [in future].

From left to right: The Nikon D850, the new Z7 and it’s main competitor, the Sony a7R III.

When you were developing the Z6 and Z7, what were your key benchmarks, and measures for success?

In one word, our benchmark for the Z7 was the D850. We wanted the Z7 to be at least on the same level as the D850. We have a lot of accumulated knowledge from our DSLRs, and we gathered information from our customers to make sure that we really met their needs and their demands. For example a comfortable grip, a good viewfinder experience, and the operational feel of pressing the shutter. We have to make sure that we can match or exceed these qualities [of our DSLRs] before putting a [mirrorless] product on the market. These are the expectations that people have of Nikon as a camera maker.

In-body V.R. is a new concept in the Z6 and Z7, and we set a very strict target for the number of stops of correction. When it comes to lenses, we can’t disclose the exact numerical performance targets, but we’ve already talked about the five ways in which we aimed to improve the lenses, plus operability and user-friendliness. We actually set some very ambitious targets.

These are high-performance cameras and lenses – how long has the system been in development?

We cannot disclose the specific number of years.

How important was it to Nikon to incorporate high-quality video features in the development of the new Z-mount cameras?

An increasing number of customers are looking at stills and video and they want both of them. Therefore we focused on improving video performance, which also affected body and lens design. We wanted to make sure that the new cameras would have very good still and video qualities.

We want to be recognized as a company that provides tools for video professionals

We love feedback, because it leads to better products. We want to be recognized as a company that provides tools for video professionals. If we hear from professionals that now, finally, they can do the kinds of jobs they want to with our products, that would be great. We’ve provided a set of functions, including N-Log, and if any of them can be useful, we’re very happy about that.

We are now starting to communicate with the community of professional videographers because we have really improved the video performance of our cameras and lenses and we’re proud of that, so we want to communicate this to the community.

The Nikon 1 V3 was the last – and arguably best – of the erstwhile 1 System mirrorless camera lineup. Although the 1 System didn’t last, Nikon tells us that a lot of the technologies pioneered in cameras like the V3 was utilized in the development of the full-frame Z mount.

How much technology and experience gleaned from creating the 1-system was brought into the new Z system?

That’s a hard question to answer. There’s a lot we could say, but it’s hard to put into words. The basis of the technology comes from Nikon 1. Especially the technology behind the imaging sensors. Not the [hardware] technology itself but definitely the concept and basic principles.

Of course, the the F system and the 1 system represent the basic foundation of everything that we do, but with the Z system the goal was to go beyond those predecessor products. The larger volume of data being communicated [between camera and lens] is a huge benefit, and that’s one of the biggest improvement between previous models and the new Z-series.

The F system and the 1 system represent the basic foundation of everything that we do, but with the Z system the goal was to go beyond

The concept for the development of the new series, although obviously to some extent they are based on the F and 1 systems that came before it, is to listen to those users and hear what they like and don’t like, and look into the future. People might be happy with what they have right now, but maybe those technologies won’t work in the future. We can’t be myopic about it.

It’s very important to us that our F mount customers can use their lenses with the Z mount, for example. We had to consider that.

Did any of the engineers that worked on the 1 system go on to work on the Z6 and Z7?

Yes – part of the development team from the Nikon 1 was involved in developing the Z6 and Z7.

With the next generation of Z mount cameras, is it more urgent to target professionals, or beginners?

While we are focusing on mid-to-high end models, entry-level users who have never used an interchangeable lens camera are very important to Nikon. Both entry-level and professional users are equally important to us, and we aim to expand the Z mount system lineup to appeal to a wide audience.

The iPhone X/S, and other smartphones of its ilk are small, powerful, water-resistant and take great photographs. According to the Nikon executives that we spoke to, the threat to traditional camera manufacturers from mobile devices, jam-packed with computational photography technology, is acute.

Will future Z series cameras offer optical V.R. in addition to in-body stabilization?

We intend to continue with the development of optical stabilization. If there is a benefit of the functionality, we will continue to employ [optical V.R.] as an option. For telephoto lenses, optical stabilization is very beneficial. When it comes to wide-angle zooms, in some cases it is also beneficial.

What are the biggest challenges facing Nikon in the future?

This is a hard question to answer. Because of the advent of the smartphone, the digital camera has shrunk. However, the mirrorless camera market has been revitalized, and we believe that Nikon can expand this market. Another challenge is that if computational photography technology advances rapidly, maybe smartphones will be be able to produce images that are as good as interchangeable lens cameras. If this happens, it will be a real challenge.

The number of people taking photos is growing, and the number of photos being taken is also growing

However, because of smartphones, the number of people taking photos is growing, and the number of photos being taken is also growing. So maybe we can combine hardware and imaging technologies where we can see a business opportunity to expand into camera, software applications, b to b [etc.] there are many possible opportunities for us.

So many people take photos with their smartphones because they want to post them to Instagram or Facebook, or other social networking services. However, some of these people are not really satisfied by the quality of the photos taken on their phones. This segment of people are looking for a camera which can give them better quality images, but maybe they’ve never used a dedicated camera ever in their lives. I am sure that this segment of the audience is growing and [they represent] a great opportunity.

Will we see fewer DSLRs released by Nikon in future?

Our strategy is to [market] both DSLR and mirrorless. We launched the D3500 [alongside the Z6/7] and we’re planning to launch more DSLR models in the future.

The F mount was Nikon’s premier lens mount for 60 years – how far into the future are you looking for the Z mount? Another 60 years?

At least another 60 years! I was about to say 100. Hopefully it will last indefinitely – that’s why it’s so important for us to look into the future, and why such a high volume of data communication [in the Z mount standard] is so important.

Editors’ note: Barnaby Britton

This has been a big year for Nikon, and I suspect one that Nikon’s engineers and executives have been eagerly awaiting for a long time – to say nothing of their customers. Nikon did a fine job of maintaining and updating the F mount for as long as it did, but the question was never if the company would replace it with a redesigned standard for mirrorless, but when.

The Z mount of course is Nikon’s second mirrorless camera mount, after the 1 mount, designed around the 1″ sensors used in the company’s various 1-series ILCs from 2011 until the discontinuation of the lineup earlier this year. It was interesting when speaking to executives to learn that some of the technologies from Nikon’s 1 System (and in fact some of the engineers that worked on it) were integral to the development of the Z mount.

The resulting mount is a very, very different standard to Nikon 1, and different again to the 60-year old F mount, despite being designed around the same sensor format. Clearly the company is looking ahead – a long way ahead, judging by the ‘100 years’ comment in our interview – and it will be interesting to see how Nikon develops its Z-mount lens lineup in the coming months and years. Unlike Canon, Nikon publishes roadmaps, and I suspect that the Z7 and Z6’s true potential (and that of their inevitable successors) will become clear once lenses like the planned 24-70mm F2.8 start to become available.

The Z7 really is intended to replicate as far as possible, the performance and durability of the D850

So what did we learn from this interview? For one thing, we learned that Nikon wants to be the number one full-frame manufacturer, and it hopes to achieve that position fairly soon. That’s a lofty goal, and a bold statement, but the Z6 and Z7 are bold products. As far as Nikon’s executives are concerned, the Z7 really is intended to replicate as far as possible, the performance and durability of the D850 – a very popular camera which has been backordered almost since the day it was announced.

To the company’s credit, we think that the company has largely succeeded in this goal (although there are some things we’d like to see improved) and that’s no small feat. It’s a bit disingenuous to call the Z6/7 first-generation cameras, but they’re certainly first attempts at something very new for the company, and compared to Canon’s more cautious approach with the EOS R, straight out of the gate they’re powerful, highly competitive ILCs. Whether there is any room for APS-C products in Nikon’s future Z-mount lineup, however, is unclear.

The challenge of building a reputation as a video manufacturer is one that Nikon hasn’t really been faced with tackling up to now

While Nikon has made some overtures towards videographers before now (lest we forget, the D90 was the first DSLR to shoot video and the D850 is a very capable 4K video camera) the challenge of building a reputation as a video manufacturer is one that Nikon hasn’t really been faced with tackling up to now. The Z7 and (especially) the Z6 have a lot to offer these users, and it will be interesting to see how Nikon approaches the challenge of becoming a major player in this space, alongside more experienced competitors like Sony, Canon and Panasonic. It’s reassuring to see that whatever challenges Nikon faces in the future, a lack of confidence doesn’t seem to be one of them.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma releases official pricing for trio of Photokina lenses

03 Nov

Sigma has announced the prices for three of the lenses it announced at the Photokina trade show in September. The 40mm F1.4 DG Art lens for full frame cameras will cost $ 1400 while the 56mm F1.4 DC DN for crop-sensor mirrorless cameras will cost $ 479. The Sony E-mount version of its 105mm F1.4 Art will sell for around $ 1600. All three will be available this month.

The 56mm F1.4 completes a trio of small, comparatively affordable fast primes for Micro Four Thirds and Sony’s E-mount. The 16mm, 30mm and 56mm F1.4s act as a wide, normal and portrait telephoto on APS-C and as a 32, 60 and 112mm equiv on Micro Four Thirds.

FOR IMMEDIATE RELEASE

Sigma Ships Three New Global Vision Lenses

Sigma 105mm F1.4 Art in Sony E-Mount, Sigma 56mm F1.4 Contemporary and Sigma 40mm F1.4 Art are available this November

Ronkonkoma, NY – November 2, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced pricing and availability of two brand new lenses announced at Photokina – Sigma 56mm F1.4 DC DN Contemporary ($ 479 USD) and Sigma 40mm F1.4 DG HSM Art ($ 1399 USD). In addition, Sigma is now shipping the Sony E-mount version of its “Bokeh Master” – Sigma 105 F1.4 DG HSM Art ($ 1599 USD).

Key Features and Benefits

Sigma 56mm F1.4 DC DN Contemporary

This brand new Sigma 56mm F1.4 DC DN Contemporary lens completes the Sigma large-aperture series of portable wide-angle, standard and telephoto prime lenses in Micro Four Thirds and Sony E mounts, including Sigma 16mm F1.4 DC DN Contemporary and 30mm F1.4 DC DN Contemporary. Featuring compact design, light weight and outstanding image quality offered in Sigma’s Contemporary line, this latest lens stuns with a beautiful bokeh effect and the amount of brightness expected from F1.4 lenses even in the mid-telephoto range for cropped sensor cameras. In addition, this lens is characterized by smooth and quiet autofocus ideal for video shooting. Compatible with the Sony E mount Fast Hybrid AF, it also achieves precise AF tracking. By using the face recognition or eye AF functions of the camera, focus will continuously be on the face or the eye even if the subject moves during the shoot.

Sigma 40mm F1.4 DG HSM Art

The brand new 40mm F1.4 DG HSM Art is Sigma’s first lens developed originally to live up to the sought-after angle of view and performance standard for a benchmark cine lens. This lens effectively arranges three FLD (“F” Low Dispersion) glass elements and three SLD (Special Low Dispersion) glass elements to correct axial chromatic aberration and magnification chromatic aberration. Designed for exceptional sharpness at maximum aperture, this lens excels at available light photography. With less than 1% distortion and near non-existent sagittal coma flare, this lens demonstrates consistent optical results featuring both 8K-compatible resolution and a beautiful bokeh. It is available for Sigma, Nikon, Canon and Sony E mount camera systems.

Sigma 105mm F1.4 DG HSM Art in Sony E-Mount

A proven “Bokeh Master,” the Sigma 105mm F1.4 DG HSM Art is the ninth lens in the Sigma F1.4 line-up designed for full-frame cameras. To combine outstanding wide-aperture, mid-telephoto performance with F1.4 brightness at maximum aperture, this lens incorporates 17 optical elements in 12 groups, including three FLD glass elements, two SLD glass elements and one aspherical lens element. This optical setup minimizes axial chromatic aberration to deliver ultra-high resolution along with ample peripheral light volume, which minimizes vignetting. As a result, the area in focus is extremely sharp, while the out-of-focus area features a beautiful bokeh effect with highly natural colors, making this a desired lens for portrait photography. The optical design also minimizes sagittal coma flare, making it an excellent choice for capturing starry skies.

Articles: Digital Photography Review (dpreview.com)

 
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Photokina 2018: Fujifilm interview – ‘we’ll never go full-frame’

23 Oct
Toshihisa Iida, General Manager of Fujifilm’s Optical Device and Electronic Imaging Products Division pictured at the Photokina trade show in Cologne, Germany last month.

At this year’s Photokina show in Cologne, Germany we spoke to senior executives from several major camera and lens manufacturers. Among them was Toshihisa Iida of Fujifilm, who told us about the future of his company’s medium-format lineup, the challenges of 100MP and why Fujifilm will never make a full-frame camera.

Photokina is proving to be an important show for Fujifilm!

Yes. Photokina 2010 was the X100 development announcement, 2012 was the first-generation mirrorless – 2014 I’ve forgotten! [in fact it was the announcement of the X100T and X30] and 2016 was of course the GFX 50S.

Now that all of the legacy DSLR makers except Ricoh have full-frame mirrorless systems, will Fujifilm ever enter the full-frame market?

No, never. Because we don’t have that legacy – luckily or unluckily. We don’t see any point in Fujifilm entering that market, particularly since we have good APS-C and medium format systems. If we entered full-frame [our systems] would just start cannibalizing each other. We’re happy to stay with two completely independent systems.

Fujifilm’s new GFX 50R is a rangefinder-style medium format camera which uses the same 50MP sensor as its direct predecessor the GFX 50S.

Do you see many of your users upgrading from X to GFX?

Not quite yet. Because they’re totally different systems. We started creating our legacy based on the X100. Usability, colors [etc.] and I hope that in near future more X Series customers will step up to GFX.

Can you describe the thinking behind the creation of the 50R?

Shortly after we introduced the 50S we started receiving requests from customers, who remembered the old medium format film cameras. Immediately after we released the 50S they were asking ‘when is a rangefinder style 50S coming?.

Is this a camera you expect to be used more like a field camera? Like the old rangefinders?

Yes. All controls must be reachable with one hand, that was our concept for usability. We wanted the camera to be more suited to street, reportage and portrait photography.

The forthcoming 100MP camera is more SLR style, with a detachable viewfinder, more similar to the 50S, but with an integrated battery grip for greater battery capacity. The sensor and the image stabilization system need more power.

The upcoming 100MP GFX will feature an integrated battery grip and in-body stabilization. Fujifilm also promises a superior electronic viewfinder experience and beefed-up video capabilities.

Was a 100MP camera always in the works?

Yes, it’s why we designed our GF lenses to support 100MP, when that resolution [eventually] became available. We’ve talked about that openly.

You’ve mentioned the need for more battery capacity, what other changes did you face when designing a 100MP camera?

The biggest challenge was image stabilization. The sensor is so sensitive that even the smallest vibration is picked up [in the image]. So we knew we needed in-body stabilization. And you can imagine that it’s quite challenging to stabilize such a big sensor.

Is the system adapted from the IBIS system in the X-H1?

We drew on our experience from the X-H1, yes but it’s more challenging with the larger sensor size.

Will the viewfinder experience of the 100MP camera be better to the current GFX 50S and 50R?

It should be a lot better, yes, because the readout speed of the new sensor is a lot quicker. The sensor and the processor itself are both upgraded. The processor is much more powerful.

The recently-announced Fujifilm X-T3 is a powerful 26MP APS-C camera, which packs impressive still and video-oriented features.

Fujifilm was a little slow to introduce video features, but the current generation are very strong video cameras. What’s your video strategy for future cameras?

The forthcoming 100MP camera will be the first 4K/30p GFX camera, which is the first step. It will be interesting to see what kind of quality we can get from the new sensor. With the X Series we have a plan, for example to extend recording time, and make the menus more usable for still and video shooting. We have more to do, more speed, 4K/60p [etc.] We would really like to attract videographers to the GFX cameras as well.

Do you think that you might create Fujinon cine lenses for GFX in the future?

Let’s wait and see. The first step is 100MP, and then we’ll see how it goes. Of course, developing such lenses is probably technically possible, it’s just a matter of prioritization.

Filmmakers are creative people, always looking for something more

How do you plan to market the 100MP medium format to videographers? Videographers don’t typically think about medium format.

Just today [after the 100MP announcement at the Photokina press conference] I started receiving a lot of questions from videographers. Larger formats are becoming a trend for videography. Filmmakers are creative people, always looking for something more.

100MP and 4K/30p represent a huge amount of data – is SD media still appropriate?

I think that SD media and HDMI output are enough for now.

Tamron’s FE-mount 28-70mm F2.8 was the first third-party attempt at a native Sony FE mount lens. Could Fujifilm open up its XF and GF mounts to other lens developers?

Do you welcome third-party lens manufacturers that want to create lenses for XF and GF?

They’re not open standards as yet, but of course our customers want choice. We’re always considering what would benefit our customers, and more lenses are generally beneficial for customers.

Should we expect to see more smaller, compact lenses for GF mount, like the forthcoming 50mm pancake?

Yes, in the future we’d like to expand our lineup of compact lenses for GF. We need small lenses for the smaller camera, to get the right balance. We’re always thinking about the whole system.

Maybe we need to start from scratch when it comes to future cameras aimed at smartphone upgraders

The competitive marketplace is getting quite crowded. Which competitive products do you take most seriously?

We’re always watching the major brands, to see what they’re doing, but at the same time smartphones. The quality and functionality – we have to watch that segment very carefully, especially considering our entry-level mirrorless cameras.

How will you address the challenge from smartphones?

The first thing is to do more research into what smartphone customers want from cameras. Usability, shooting options and so on. Maybe we need to start from scratch when it comes to future cameras aimed at smartphone [upgraders].

Our biggest potential challenge is from smartphones, not competitor cameras.

Do you see opportunities for more Instax incorporation into your traditional camera lineups?

Yes, Instax are already becoming digital cameras. Maybe we should think about interchangeable lens Instax. One of the biggest features for mirrorless cameras are interchangeable lenses, so Instax is one of our opportunities.

The Pentax Q range (a Q7 is pictured here) was an intriguing but relatively short-lived attempt at an ultra-compact mirrorless interchangeable lens system. As most manufacturers move toward larger cameras and (especially) lenses, the days of such pocketable alternatives might be over.

Do you think that there could be a future for small format interchangeable lens cameras like the Pentax Q, now?

With that product, the sensor size was too small. The image quality was not strong enough to really compete against smartphones. We need a decent sensor size and high quality lens. So again the question is how to balance size, weight and quality.

Camera bodies can be small regardless of sensor size. The big difference is the lens. The size of the lens [is directly related to] sensor format.

In the past we’ve spoken about software corrections for some lenses. Do you see a future where your high-quality lenses could be made smaller using software?

We always prioritize optical quality first, minimizing software correction. That’s our policy at the moment, and I don’t think it will change. That’s why the APS-C format is important to us. We make the lenses as small as possible, without [a lot of] software correction.

What are the challenges of designing fast focusing large-aperture lenses?

A brighter lens means that each element is heavier. So we need to build in more powerful focus actuators, but there’s limited space. So it’s always a tradeoff of lens brightness, focus speed, and how heavy the lens is.

Designed for the more compact GFX 50R, Fujifilm’s forthcoming 50mm F3.5 offers a near-pancake form factor, much smaller than most of the company’s medium-format GF lens lineup.

Now that you’re thinking ahead to high resolution video capture in the GFX series, what impact does this have on lens design?

It’s challenging – how to minimize the weight of focusing units. It’s a task for the lens design team. Maybe they’ll use more aspherical elements, for example. There are technologies which we can use, but it’s a challenge.

Is there potential for Fujifilm to create dedicated video cameras?

Potentially, yes. We don’t have any concrete plans, but we need to understand the requirements of videographers, and how their requests when it comes to usability and menus are different from stills photographers. Especially for stills, operation is more dial-driven, but for video it’s totally different.

Editor’s note: Barnaby Britton

As Mr. Iida mentioned, for the past several years Photokina has been an important show for Fujifilm, serving as an opportunity to showcase its major releases in front of a global audience. Photokina 2018 was no different, with the announcement of two major new cameras – a rangefinder-style GFX 50R and the development of a forthcoming 100MP medium-format model, coming next year.

Both announcements probably serve as tacit answers to the question of whether or not Fujifilm will ever create a full-frame camera, but “no, never” is about as conclusive a response as we’d ever expect to get. A more typical response (of the kind that we get repeatedly whenever we talk to senior executives) is more along the lines of ‘we need to study the market, and we’re not ruling anything out’. The fact that Mr. Iida was so definitive is unusual, but reassuring. Fujifilm has an excellent opportunity to differentiate with medium-format in a way that it couldn’t expect to do with full-frame, especially now that Canon, Nikon and Panasonic have joined the fray.

Fujifilm’s cameras might be getting bigger, but Mr Iida recognizes a need for smaller lenses

The forthcoming 100MP GFX won’t be cheap by full-frame standards, but with features like built-in IBIS and 4K/30p video, it promises to set new technical benchmarks for large-sensor imaging when it is released next year.

Fujifilm’s cameras might be getting bigger, but Mr. Iida recognizes a need for smaller lenses, especially with the somewhat more compact rangefinder-style GFX 50R. A range of compact F3.5-ish primes for GFX would help make the system somewhat more portable, as well as potentially more attractive to first-time medium-format buyers.

We expect to see more – and more powerful – ‘hybrid’ cameras from Fujifilm

Still imaging is only part of the story, of course. In recent generations Fujifilm has made impressive efforts to improve its products’ video capabilities, to the point where the X-H1 and more recent X-T3 are among our favorite cameras for 4K videography. Assuming that it reads out all pixels for 4K video, the forthcoming 100MP medium-format model could actually prove very disruptive for professional filmmaking, thanks to the wide dynamic range of medium format sensors compared to full-frame and super 35 formats.

Could Fujifilm use its long experience of making broadcast and cine lenses to create a dedicated video camera? Mr. Iida isn’t ruling it out, and it’s an intriguing thought. In the short term though, we expect to see more – and more powerful – ‘hybrid’ cameras from Fujifilm, and that’s still an exciting prospect.

Articles: Digital Photography Review (dpreview.com)

 
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Photokina 2018: Sony interview – ‘I don’t care about competitors, I care about customers’

19 Oct
Kenji Tanaka, VP and Senior General Manager of Sony’s Business Unit 1, Digital Imaging Group, pictured at the Photokina trade show in Cologne, Germany last month.

At last month’s Photokina trade show in Cologne, Germany we made time to speak to senior executives from several major manufacturers, including Sony. In a broad-ranging conversation, Kenji Tanaka talked to us about competition in the full-frame mirrorless market, the value of APS-C, and future plans for the a7S lineup.

Is there a customer group that you feel you could reach more effectively?

There are many customers in the field of photography, and we want to create products for all of them. Recently, we launched products for sports photographers. That’s just one example. One by one, we want to expand.

What is Sony doing that’s unique?

We are the world’s largest manufacturer of image sensors, and have developed many unique sensors. Looking at the Alpha 9, the stacked CMOS sensor is a good example of both a unique and innovative product. These kinds of things are a strength compared to our competitors.

But the stacked image sensor in the Alpha 9 is kind of like the engine in a formula 1 car. If you only had the engine, the car wouldn’t work. You also need good tires, a good chassis, and a good driver to control the machine.

Our vision is […] to expand the market

How do new competitive full-frame mirrorless cameras affect your planning?

I welcome the shift in the market. Our vision is not to move the customer [from DSLR to mirrorless], it is to expand the market.

I don’t know what the impact of [Canon and Nikon entering the full-frame mirrrorless market] will be but we remain focused on creating new customers. That is our priority. Honestly speaking, I don’t care about competitors, I care about the customers. If customers need more functionality, or more quality, we’ll try to do it.

The Sony a7 III is a high-performance full-frame mirrorless interchangeable lens camera aimed at enthusiast photographers and videographers. According to Mr Tanaka, Sony is more interested in expanding the market than in responding to what his competitors are doing.

Is there anything that surprised you about the announcements from your competitors?

No, not really. I already predicted that Canon and Nikon would join the market, and even Panasonic. It wasn’t a surprise to me. But thinking about innovation in cameras, every company should join the mirrorless market, as this is where there is the most opportunity to innovate.

There are five fundamentals to mirrorless – lens, image quality, speed, battery life – some of our competitors especially struggle with that one – and compactness and light weight. These are areas that everyone is trying to improve, but right now I think Sony is in a good position.

Do you see any customer demand for sensors larger than full frame?

Right now there are a lot of things still to do with full-frame sensors, so at the moment I don’t have any ideas about starting work on new larger imaging sensors.

Sony’s 24mm F1.4 G Master is an impressively compact, but stunningly sharp full-frame wideangle prime lens. On Sony’s APS-C cameras, it offers an equivalent focal length of 36mm.

We’ve been enjoying using your 24mm F1.4 G Master lens. Do you have plans to create more, smaller, lenses in this lineup?

Of course, yes. Some customers want small size as well as high quality, so that’s one of our targets.

Do you have any plans to release new APS-C lenses?

Yes, APS-C is a big market for us. Recently most of our new lenses have been full frame, but APS-C remains a key target.

What are the advantages of APS-C?

Mobility, and ease of use.

The APS-C market is very important for us, […] but we need to ask customers what kind of models they want.

What is your long-term strategy for APS-C and will we ever see another NEX-7 equivalent camera with dual dials ?

We have to get customer feedback. The dual dial on the NEX-7, some customers appreciated it, but some customers didn’t. The APS-C market is very important for us, so we will create new models in the APS-C market, but we need to ask customers what kind of models they want.

Do you think APS-C could be a professional format for Sony in the future?

Professionals have many cameras. Of course, full-frame is usually their main camera, but for a long time, they’ve also used APS-C as their second camera, so of course, APS-C cameras for professional use must exist.

Will we ever see another ‘professional’ APS-C camera from Sony, in the mold of the erstwhile NEX-7? According to Mr Tanaka, the strengths of APS-C are size and weight, and ease of use. But professionals do use APS-C cameras as ‘second’ bodies.

Do you have a different design approach for APS-C and full-frame lenses?

No. Our strategy is unique – one single mount. For example, future APS-C customers might use our G-Master 24mm F1.4. So our lens design should be consistent for all types of models.

Do a lot of your APS-C customers buy full-frame lenses?

Yes.

Some Sony shooters tell us they want improved weather-sealing. Is that something that you’re working on?

Yes, of course. We’ve heard from many customers. We’re trying.

Someday the a7 III will come down in price and it’ll be easy to buy for anybody

Do you think the price of full-frame mirrorless cameras needs to come down, to make them more accessible?

I can’t speak about pricing strategy, but if we want to increase the number of customers, of course some will accept cameras in the $ 2000-3000 range, but others won’t. Recently, our a7 II was priced at around $ 1000. So I think our customers are pleased with our wide price range in full-frame.

Someday the a7 III will come down in price and it’ll be easy to buy for anybody. A lot of customers want the a7 III, but it will take time.

Why is Sony sticking to SD memory cards?

Memory card performance is related to image processing speed. Right now, processing speed is slower than SD UHS-II, so using SD is OK. But in the future, for example in any camera with 8K/30p video, SD won’t be enough. But for right now, SD is OK. Recently we announced SD ‘tough’ cards, for professionals that need more durability.

Why do your cameras use two card slots?

There are a lot of use cases for dual card slots. For example using one card as backup, or one for JPEG and one for Raw. Dual card slots are very useful to the customer, we think. Some customers are OK with just one card, but from our research we think that many people will want two slots.

The Sony E-mount is ‘open’, to the extent that other lens manufacturers can apply to use the standard. Sigma’s 70mm F2.8 Macro is one of a growing range of lenses from third-party manufacturers that are available in FE mount-compatible versions.

How important are third-party lens manufacturers to your long-term growth?

As you know, the E mount is an open mount. And of course competition will happen. If the customer can choose between many high quality lenses, that is a good thing.

Can you describe your relationship with third-party lens manufacturers?

We have a contract, and if a lens manufacturer wants to create an E-mount lens, they apply to Sony. Then we disclose the specification to that manufacturer. Sony does not approve lens designs, we just disclose the mount specification.

We’re planning a future a7S model right now, but it will take time.

4K is becoming a standard across all categories now, and the a7S II is getting rather old. Are you still interested in this market segment?

Of course, yes. Our a7S II customers want to create many things, and to meet their demands we are thinking about creating a successor model. But the next model should of course be more than they expect. So we’re planning a future S model right now, but it will take time.

What do your existing a7S II customers want to see improved?

They want 4K/60p, 4:2:2 10-bit, and of course more battery power, increased AF accuracy – many things!

The Sony a7S II is aimed at videographers, but in the three years since its release, its capabilities have in some respects been superseded by more conventional a7-series cameras, and the a9. According to Mr Tanaka, an a7S III is on its way, possibly offering 4K/60p, but ‘it will take time’.

Do you think it’s necessary for the a7S II successor to be a hybrid camera, or could it be a dedicated video model?

In my personal experience, the a7S II is a good stills camera. The pixels are very large, so the dynamic range is very wide. There is demand for still camera features I think.

You’ve said that artificial intelligence will play more of a role in future Sony cameras. Can you elaborate on that?

I can’t give you an exact answer, but we feel that AI is useful for many customers. Currently we’re planning upgrades to existing models, and of course future models that will contain new AI features.

Cameras should support creators. Focusing on eyes or focusing on other shapes is a very complex action. Photographers just want to think about composition, or capturing a moment. So I want to remove the need for focus manipulation, or other manipulation. When it comes to autofocus, Sony is very dedicated to developing AI.

Editor’s note: Barnaby Britton

Our meeting with Mr Tanaka last month followed Canon and Nikon’s long-awaited entry into the full-frame mirrorless market, after five years during which Sony effectively had the field to itself. When I spoke to him in Japan earlier this year, Mr Tanaka predicted that both companies would make the leap before the end of the year, and it doesn’t sound like he was surprised to see Panasonic joining in, too. Either way, in his own words, ‘I don’t care about competitors, I care about the customers’.

The a7 III isn’t going to become a poor camera once a future Mark IV version comes out

That should be encouraging news for users of Sony’s well-established a7-series and a9 cameras, who might be justifiably interested in what Canon, Nikon and Panasonic have to offer in the coming years. Also encouraging, for consumers willing to wait a couple of years before buying into new technologies, it seems that Sony will continue its strategy of keeping older models on the market at reduced prices. The last-generation a7 II is a bargain right now, and the a7 III isn’t going to become a poor camera once a future Mark IV version comes out, even if future AI-assisted cameras make photography even easier than it is now.

Speaking of AI, this particular comment is highly significant and worth quoting again in its entirety:

“Cameras should support creators. Focusing on eyes or focusing on other shapes is a very complex action. Photographers just want to think about composition, or capturing a moment. So I want to remove the need for focus manipulation, or other manipulation. When it comes to autofocus, Sony is very dedicated to developing AI“.

Mr Tanaka also had good news for fans of APS-C camera users, and users of the video-oriented a7S II. On the APS-C side, he admits that full-frame has been a major focus recently, but ” APS-C cameras for professional use must exist” and “APS-C remains a key target”.

Mr Tanaka’s list of customer requests serves as a strong hint at features that could make it into an a7S III

The a7S II is a highly specialized camera, intended to satisfy the needs of enthusiast and professional videographers. It’s been due for an upgrade for a little while, and Mr Tanaka’s list of customer requests serves as a strong hint at features that could make it into a Mark III version. Perhaps at next year’s NAB show in spring? Here’s hoping.

Articles: Digital Photography Review (dpreview.com)

 
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Photokina 2018: Sigma interview – ‘There’s no magic to it, we just try to be unique’

14 Oct
Katuto Yamaki, CEO of Sigma, pictured at this year’s Photokina trade show in Cologne Germany, last month.

We spoke to several senior executives last month in Germany at the Photokina trade show. Among them was Sigma CEO Kazuto Yamaki, who shared his thoughts on the photography marketplace in general, and the just-announced L-mount alliance. The following interview has been edited for clarity and flow.

How did the L-mount alliance come about?

I don’t remember exactly when but I think it was two or three years ago. At that time we’d already decided to make a full frame mirrorless camera featuring Foveon technology. We were planning to develop our own short flange back mirrorless system. Actually we already had a design. I don’t remember the exact spec but I think the flange back was about the same [as the L mount], about 20mm, and a similar mount diameter.

And around that time, Panasonic approached us and proposed that we work on it jointly. At around that same time, Panasonic approached Leica, and finally the three companies came together – I think it was about two years ago. And then we agreed to join the L mount system and we discontinued the development of our own original mount system.

Panasonic’s forthcoming Lumix S1R will be a professional-grade full-frame mirrorless camera built around the L-mount. One of the biggest announcements at this year’s Photokina was the alliance between Leica, Sigma and Panasonic – the first fruits of which are expected in spring of next year.

Was there anything about the L mount from a technical point of view that made it particularly attractive?

I would say it’s a well-balanced mount. The flange back is short enough without being too short, and the diameter isn’t too big. It’s a good balance. If the diameter is too big, sometimes it’s difficult to make the camera bodies compact. And if we make a slow lens, like an F2.8 prime or an F3.4-5.6 zoom lens, with a wide diameter mount the shape of the lens will be like this [indicates a funnel shape, tapering from a wide mount to a narrow front element] where the front is slimmer than the back. That doesn’t look great, in my opinion. So the L mount is a well-balanced mount size. 20mm is not too short.

Do you have a timeframe for your own L mount lenses?

I need to check with our engineers, but probably we’ll start shipping our first L mount lenses sometime in the middle of next year.

Will they be L mount versions of your existing designs, or will they be entirely new designs?

Both. We already have the 14 lenses for Sony E-mount, so we’ll make L mount versions of those lenses, and they’ll start shipping next year. We’ll also start shipping brand new L mount lenses.

Canon’s new EOS R debuts the RF mount, which will eventually replace EF as Canon’s main interchangeable lens mount. Alongside the camera, Canon launched a brace of excellent new RF mount L-series lenses, optimized for mirrorless.

Are you in communication with Canon and Nikon around their new mounts?

Around the new systems? No, not at all. We have a great interest in the two new systems but right now I have no plans.

In the past, there could be problems when Canon and Nikon might release new cameras, with slightly changed software, and third-party lenses would stop working properly. Is that a worrying possibility for you?

I can’t deny the potential risks of a similar problem in the future. However, I think such possibilities are significantly lower than before. To be honest, our firmware in the past was not so robust, therefore, we experienced some issues in the compatibility. However, the situation today is quite different.

We’ve worked hard to make the current firmware very robust, and we will continuously enhance the strength of our firmware. Even if we see some minor issues, we’ll upgrade our firmware to make our lenses work perfectly using our USB Dock.

Did Sigma have any influence into the design of the new Panasonic S1/R?

No. Actually, I personally had no idea about the new camera. So at the press conference [at Photokina] I saw the camera for the first time. We do not exchange information [between Sigma, Panasonic and Leica] about our roadmap for products for the new system. It’s a matter of compliance [with antitrust legislation]. We simply cannot do that.

With the announcement of the L-mount alliance, Sigma has confirmed that it will discontinue development of its own SD-series APS-C format cameras, in favor of a new full-frame system built around the L mount.

Now that you’re working on a new full-frame L-mount camera, does this mean that you’ll cease production of your SA mount mirrorless cameras?

We will continue to manufacture and sell our existing SA mount cameras, but we won’t develop any new SA mount cameras in the future.

Will you continue to make lenses in the SA mount?

Yes, as long as we manufacturer lenses for DSLRs, we’ll continue to make lenses in the SA mount. There are still SA mount camera users out there in the world.

Do you expect that the market for M43 lenses will be reduced, following Panasonic’s entry into the full-frame market?

I don’t know, and I might not be the best person to comment, but I’ve seen many journalists using M4/3 system cameras here in Photokina. In my opinion, M4/3 is a great system if you need compactness.

Today we have some second-generation employees and even some third-generation employees.

How will Sigma continue to differentiate its products in the future, from other third-party lens manufacturers?

I don’t believe there’s any magic to it, but we try to be unique and different to other companies. We just invest in the technology, and in the factory, and we improve communication with our customers. We will do everything that we can do, to differentiate from other manufacturers. Also, we have very loyal employees. They’ve worked for us a long time. Today we have some second-generation employees and even some third-generation employees.

It’s different for example from the semiconductor business. When it comes to lenses, the experience and the know-how of the employees makes a big difference. With lenses it’s analog-based technology, where experienced workers are key. And that’s why we [don’t want to] move our factory. If our factory moved, we’d lose our experienced workers.

Sigma’s new 40mm F1.4 Art has been designed as a ‘reference’ prime lens for the Global Vision series, and offers excellent performance, albeit in a relatively large, heavy form factor.

Check out our full gallery of samples here

Why did you decide to create a 40mm Art-series lens?

40mm is a very popular focal length for videographers, so there was a demand from the cine market. Also there were some requests from our own users. Our first DP2 camera was a 40mm equivalent focal length.

Do you have any predictions for the proportion of your lenses that you expect to sell in mirrorless mounts versus DSLR mounts, in the future?

Within three or four years I expect our mirrorless mount lens sales to be much bigger than for DSLR. Maybe 70% to 30%.

What is your opinion of Canon and Nikon’s new lenses for the RF and Z mounts?

I’ve been very impressed by Canon’s new lenses for RF. The 50mm F1.2 and 28-70mm F2. Very impressed – and a little jealous! They’re possible due to the wide diameter and short flange back. Otherwise such lenses would be very difficult or impossible. Having the larger elements at the rear of the optical system makes it easier to achieve good performance at large apertures.

Software can’t create detail, only good optics can do that.

One thing that is an option in mirrorless cameras and not DSLRs is in-camera lens corrections. When you’re designing new lenses for mirrorless do you include software correction into your planning?

Until just a few years ago I was quite negative about software corrections. Software can’t create detail, only good optics can do that. But today, sensors have more resolution, and the correction algorithms are much better than in the past. So I think software correction is a good tool, when it comes to achieving good image quality. That’s why we started to support Canon EOS DSLRs’ lens correction. Software lens correction is a useful tool, but it’s not a good idea to rely on it too much.

How do you prioritize development of which system you’ll develop lenses for?

It’s basically done based on demand. But for example even if demand for our SA mount lenses is very small, we’ll still prioritize it because that’s our own system. Moving forward, now that we have the L mount, we’ll give that priority.

The new ‘S’ class Sigma 70-200mm F2.8 features ten low-dispersion glass elements including nine FLD elements which have very similar properties to fluorite. The FLD elements are indicated in yellow, in this schematic.

The new 70-200mm F2.8 is classified as ‘Sport’. How would an ‘Art’ version of this lens be different?

It’s a sort of a mid-point between Sport and Art. But it’s Art-class glass. This lens uses nine FLD glass elements. FLD glass has almost the exact same optical characteristics as fluorite. To be honest, Canon and Nikon’s 70-200mm F2.8 lenses already represent the highest optical quality for this type of lens. We believe that we can [still] improve on that but the difference is not huge. It’s hard to differentiate just by optical performance.

Are there future technologies that would allow you to take the next step, and move performance forward?

I think so, for example FLD. We didn’t have that before. This is Hoya glass, and we worked together to develop this new glass material, which helps achieve better performance. If a careful photographer checks the amount of longitudinal chromatic aberration and bilateral chromatic aberration, we believe they’ll see this lens is better. But if they just check resolution, they may not see a difference [compared to Canon and Nikon’s current 70-200mm F2.8].

Sigma now supports several mounts, plus the L mount, plus potentially Canon RF and Nikon Z in the future. How will you grow the company to accommodate this scaling-up without losing Sigma’s identity?

I will admit that is quite challenging. But obviously the volume of lenses produced per mount will be reduced, because I don’t think the market will grow like it has in the past. That means we have to produce more kinds of products per month. Which could cause us to lose efficiency, and ultimately drive up production cost. This is very challenging for us. We need to create a new production system to keep our efficiency up, even if we manufacture more products per month.

Kazuto Yamaki, pictured at Sigma’s main assembly plant in Aizu, Japan, during our visit to the site in 2014.

Read our complete factory tour

If we used external suppliers it would be easy – we’d just reduce our purchases from those suppliers, but we do almost everything by ourselves. We’re continuously increasing the size of our factory, and even right now we’re planning to build another facility [at our main site in Aizu] and we’ll continuously invest in new manufacturing over the next few years.

After I took over my father’s business, over the past six years we’ve built new three buildings at Aizu. This will continue.

Will you run out of space?

Yes, this is a problem! Usually manufacturers choose flat ground for their factories, but my father liked to build in the middle of the mountains. His dream was to become a company like Carl Zeiss, and they have a factory in the hills. He thought that flat ground was boring! It’s very challenging.

Editors’ note: Barnaby Britton

In 2018, Sigma is a company in flux. Since the launch of the Global Vision lineup in 2012, Sigma has gone from focusing primarily on just two DSLR lens mounts (plus lower-volume production of Some Sony A, Pentax PK and Sigma SA-compatible lenses) to soon supporting eight, excluding PK but including the L-mount, which will effectively replace the older SA mount in Sigma’s own forthcoming full-frame camera lineup.

That’s a of a lot of work for any company, let alone a relatively small manufacturer but if CEO Kazuto Yamaki is daunted by the prospect, he doesn’t show it. His main concern, expressed in this interview and in previous conversations, seems to be making sure that as it evolves and grows, Sigma doesn’t lose its identity along the way.

In order to maintain efficiency and keep costs manageable, Sigma will need to develop new manufacturing processes

Sigma’s Global Vision lenses are popular for two main reasons: they’re very good, and they’re excellent value for money. Doubling the number of lens mounts that it supports is not an automatic win for Sigma, or even necessarily for its customers. As Mr. Yamaki points out, increasing the number of products in the company’s lineup does not mean that total sales will increase by the same proportion.

In order to maintain efficiency and keep costs manageable, Sigma will need to develop new manufacturing processes – something that Mr. Yamaki freely admits. Add to that the challenge of creating a brand new lineup of full-frame cameras, and the next few years at Aizu promise to be very busy.

Yamaki is confident in his products, proud of his engineers, and trusts their ability to tool up for the new mirrorless mounts

As usual, Mr. Yamaki’s responses to our questions at Photokina were candid and thoughtful. He’s confident in his products, proud of his engineers, and trusts their ability to tool up for the new mirrorless mounts. Despite the challenges ahead he’s genuinely excited by the possibilities presented by Canon and Nikon’s entry into the full-frame mirrorless market, not only for Sigma but for the industry as a whole. We’ve noted before that while many senior executives seem to prefer pretending that competitors don’t exist, Mr. Yamaki’s respect – and praise – of his competitor’s products is unusual.

In return, Sigma’s CEO is widely liked by his peers in the industry. The recently announced L-mount alliance with Panasonic and Leica would quite possibly never have happened if it weren’t for the close relationship between Mr. Yamaki and Panasonic’s Yosuke Yamane. Leica’s majority shareholder Dr. Andreas Kaufmann, in turn, has praised Mr. Yamaki’s leadership of Sigma, which remains a family-owned company.

In Mr. Yamaki’s own words: ‘There’s no magic to it – we just try to be unique’.

Articles: Digital Photography Review (dpreview.com)

 
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Photokina 2018: hands-on with the Leica S3

12 Oct

Hands-on: Leica S3 medium format camera

With all the excitement surrounding full-frame system announcements at Photokina recently, it’s easy to forget the new arrivals in the medium format digital arena. While Fujifilm announced the GFX 50R – the second medium format digital camera in the GFX line – Leica unveiled the S3, an update to the Leica S2 launched in 2008.

A full spec sheet has yet to be released, but we do know the S3 will launch in Spring 2019 and have a 64MP sensor, 3 fps burst rate and 4K video capture using the full width of the sensor. And if its predecessor’s pricing is an indication, it will likely cost somewhere in the vicinity of $ 20k.

Despite the lack of specification details, we did get our hands on an early working version of the camera. Here’s how it handled.

Hands-on: Leica S3 medium format camera

The first thing I noticed when picking up the S3 is that for a medium format digital camera, it really isn’t that large. In fact it feels similar in hand to a Nikon D5 or Canon EOS 1DX II – I had to remind myself it has a larger sensor than both.

It is also quite pleasant to hold. The shutter release is located on the front of the camera and is easy to access. An indentation below the shutter release provides a comfortable place for your other fingers, and also makes the camera feel secure in hand.

As you might expect for a five-figure-camera, the S3 handles like it’s built to last – the magnesium alloy body feels like it could be used to drive a spike into the earth. The rubber material covering much of the exterior is thick and grippy, giving the whole camera a rugged quality.

Hands-on: Leica S3 medium format camera

The second thing I noticed about the S3 is the big beautiful optical finder, among the loveliest I can ever recall looking through. For reference, the S2’s finder has .86x magnification and the S3’s is likely similar.

The back of the camera looks essentially identical to the original Leica S2 as well as the more recent Leica SL. The four buttons surrounding the 3″ LCD are programmable. There’s also a programmable button on the front of the camera near the mount.

Like the S2, the S3 has two different shutters which can be engaged via a three-way controller on the back of the camera: ‘FPS’ stands for focal plane shutter and ‘CS’ stands for center shutter or leaf shutter (available with compatible lenses). I tried both and the leaf shutter is a good bit quieter.

Hands-on: Leica S3 medium format camera

Operationally, the camera felt fast. It was quick to start up and load menus. I also found the idea of dual top plate info LCDs to be kind of cool and definitely unique.

I didn’t get to shoot much with the S3 but I did get to spend a little bit of time focusing around the room with my eye to the finder. Overall, despite being a non-final product, AF acquisition speeds felt surprisingly quick. On the other hand, using the 5-way AF joystick to actually move points felt a tad sluggish.

Hands-on: Leica S3 medium format camera

I mentioned that the S3 will be able to do 4K video with full-sensor readout. To further expand video capabilities the S3 offers audio in/out and HDMI as well as LEMO style ports for USB and remote trigger/flash connectivity. All these connection points have thick rubber covers to protect them from the elements and grime.

Hands-on: Leica S3 medium format camera

Overall, the Leica S3 feels like a utilitarian tool, built for working professionals. It may have the price tag of an expensive museum piece, but it does not handle like one.

Of course, this is a camera that will most likely be purchased by agencies, studios and perhaps some very high-end pros – not every day shooters – making the high price tag seem less cringe-worthy. More importantly, my brief time with the Leica S3 has raised the bar for just how much I can lust over a new digital camera. Nice work, Leica.

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Photokina 2018: Hands-on with Tokina’s Opera 50mm F1.4 premium full-frame lens

30 Sep

Hands-on with the Tokina Opera 50mm F1.4

We first saw a prototype of Tokina’s new 50mm F1.4 Opera lens at the CP+ show in Japan earlier this year. After waiting all summer, we finally gotten hands-on time with a working model at this year’s Photokina in Germany. The Opera series is Tokina’s high-end lens lineup – the equivalent to Sigma’s Art line – and the 50mm F1.4 is the first lens in the series to come into production.

Available in both Nikon and Canon full-frame DSLR mount, the lens is specifically meant to be paired with high-resolution cameras like the Nikon D850 and Canon EOS 5DS R. Set to ship around the end of October, it is priced at $ 950.

Hands-on with the Tokina Opera 50mm F1.4

The build quality of this Opera lens is superb. Weighing 33.5oz / 950g it’s about 4.8oz / 135g heavier than the Sigma 50mm F1.4 Art, but handles well on a Canon EOS 5D Mark IV. It doesn’t feel front heavy.

The large rubberized focus ring matches the directional turn of the mount it’s meant for – turning the ring to the right achieves minimum focus on a Canon and infinity on a Nikon. And the ring continues to turn beyond its minimum and infinity point.

Hands-on with the Tokina Opera 50mm F1.4

The Opera 50mm F1.4 is made of 15 elements arranged in 9 groups. 3 of those elements are super low dispersion elements to compact chromatic aberration – there’s also one aspherical element in the rear focus group. To deal with flaring, the lens is coated with Tokina’s Extremely Low Reflection coating. The front element has a 72mm filter size, smaller than the 77mm filter size of the Sigma’s front element.

Minimum focus distance for this lens is 0.4m / 1.3ft, the same as the Sigma.

Hands-on with the Tokina Opera 50mm F1.4

Autofocus is achieved using an ultrasonic ring-shaped AF motor which is very quiet in operation. There’s also a manual focus decouple switch on the side of the lens barrel.

The lens has 9 rounded aperture blades which we hope will result in very nice bokeh. And this is the first Tokina lens ever to include an electronic diaphragm (specifically for the Nikon version).

Hands-on with the Tokina Opera 50mm F1.4

There are a total of 8 weather sealing points in the construction of the Opera, which should keep water and grime out of the internal construction. There is also a rubber gasket around the lens mount to keep nastiness out of your camera body.

Hands-on with the Tokina Opera 50mm F1.4

Overall we’re excited to get Tokina’s first Opera series lens in and start shooting with it. It’s priced exactly the same as the Sigma Art version and seems to be built to a similar level of physical and optical excellence. Seeing as Sigma’s version is one of our favorite 50mm F1.4s out there, we have high hopes for the Tokina Opera 50mm F1.4. Stay tuned for a sample gallery.

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Photokina 2018: Hands-on with new Voigtländer M and E-mount prime lenses

30 Sep

New Voigtländer lenses for M and E-mount

Voigtländer is one of the oldest names in photography. These days licensed by Japanese lensmaker Cosina, the Voigtländer brand is still going strong. We’re at Photokina, where we got our hands on the company’s newest lenses.

First up is a lens that was quietly released earlier this year for Leica M-mount. The Nokton 50mm F1.2 Asph is a fast standard prime lens designed for high-resolution digital imaging on modern Leica rangefinder cameras.

New Voigtländer lenses for M and E-mount

While at 1,099 Euros ($ 999) it’s not exactly cheap, it’s a good deal more affordable than Leica’s 50mm F0.95 Noctilux. The all-metal Voigtländer doesn’t have quite the same high-quality feel as the Leica, but it’s very nicely built. The focus and aperture dials rotate with a lovely smoothness and crisp clickiness (respectively) that set this lens apart from most of today’s polycarbonate lenses.

New Voigtländer lenses for M and E-mount

Unlike Leica’s own lenses, the Voigtländer doesn’t offer 6-bit coding for Leica’s digital rangefinder bodies.

The Nokton 50mm F1.2 is priced at 1,099 Euros ($ 1,059) and is available now. A companion lens, the medium-wide Nokton 35mm F1.2 Asph II is also available now, for 1,299 Euros ($ 999).

New Voigtländer lenses for M and E-mount

In addition to M-mount lenses, Voigtländer was also showing off its new primes for the Sony E-mount. This is the new 110mm Macro APO-Lanthar, also first announced earlier this year at the CP+ show in Yokohama Japan.

New Voigtländer lenses for M and E-mount

The 110mm offers 1:1 macro capability and a closest focusing distance of 35cm (13.7 in). It uses three floating lens groups for focusing to ensure optimal quality at all distances – according the Cosina – and apochromatic correction to satisfy the resolution requirements of 40MP+ sensors.

Electronic contacts on the mount communicate the lens’s focal length, focus distance and aperture settings to Sony E-mount cameras.

New Voigtländer lenses for M and E-mount

The 110mm is a beautifully-made lens, but at 771g (27 oz) it’s fairly weighty and as you can see in the previous image, it gets fairly long at its minimum focus distance, too. As well as effective macro photography, the APO-Lanthar could provide a useful portrait capability for Sony E-mount shooters.

The 110mm Macro APO-Lanthar will be available soon for 1,199 Euros ($ 1,099).

New Voigtländer lenses for M and E-mount

Voigtländer’s Nokton 40mm F1.2 Asph for Sony E-mount is an E-mount version of the M-mount Nokton that Voigtländer has been selling for many years. It offers a minimum focus setting of .35m (13.7 in) in a body weighing 420g (14.8 oz).

New Voigtländer lenses for M and E-mount

The Nokton 40mm F1.2 features a 58mm filter ring, and a ten-bladed aperture.

New Voigtländer lenses for M and E-mount

Like the 110mm, the 40mm has electronic contacts to communicate lens settings to Sony E-mount cameras. First announced last year, it is available now for 1,099 Euros ($ 1,099).

New Voigtländer lenses for M and E-mount

Voigtländer’s new 21mm F3.5 Color-Skopar is another E-mount prime. The lens is constructed of nine elements, including one aspherical element and one anomalous partial dispersion element, in eight groups.

New Voigtländer lenses for M and E-mount

The 21mm F3.5 Color-Skopar has a minimum focusing distance of 20cm/7.87in and uses a ten-blade aperture diaphragm. The lens will start shipping soon for 749 Euros (US price TBD).

New Voigtländer lenses for M and E-mount

Also on show are two ‘concept’ lenses, which may or may not enter production, depending on feedback from the market. This is the first one, an ultra-compact ‘Ultron’ 35mm F2 for Leica M-mount. Finished in a classic-looking combination of black and chrome, the Ultron could be a very attractive option for users of film and digital rangefinders looking for a compact and lightweight medium-wide prime.

New Voigtländer lenses for M and E-mount

Next up is another 21mm F3.5 Color-Skopar, but again in Leica M-mount. Much smaller than its E-mount equivalent, this tiny prime is almost a pancake lens.

New Voigtländer lenses for M and E-mount

Despite its size, the 21mm F3.5 is very nicely made. It features a large, nicely-machined aperture dial and a pegged focus ring for one-finger focusing.

New Voigtländer lenses for M and E-mount

The third and final concept lens is an E-mount version of the new Nokton 50mm F1.2 Asph.

New Voigtländer lenses for M and E-mount

We believe that optical construction is the same as the M-mount version, but the addition of electronic contacts will ensure that the SteadyShot stabilization systems in Sony’s E-mount cameras work properly with this lens, as opposed to an M-mount version fitted via an adapter.

Articles: Digital Photography Review (dpreview.com)

 
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Photokina 2018: hands-on with eight stylish new bags

29 Sep

Hands-on: New camera bags from Photokina 2018

Photokina 2018 was one heck of a year for new cameras and lens launches, but it also saw the launch of an impressive number of new camera backpacks and bags. We combed the tradeshow floor to get hands-on with some of the more stylish and technically sophisticated packs, from affordable to premium.

Shown above: the new Bristol DayPack 600+ from Cullman.

Hands-on: New camera bags from Photokina 2018

First up is Lowepro’s ProTactic AW II. As the name implies, this is the second iteration of the original ProTactic – version two adds more padding and better protection for your gear, plus more areas to attach stuff. The backpack comes in the larger 450-series, shown above and the smaller 350-series – the former fits a 15″ laptop, the later a 13″. The larger pack has room for two bodies and plenty of lenses, the smaller one should be able to also fit two bodies and a few lenses.

Both packs offer dual side access for gear, two quick straps on the front (with a ‘foot’ to carry a tripod), a waist strap with utility pouch, rain cover and a super comfortable back panel. The ProTactic line represents Lowepro’s most rugged, professional packs and as such, they don’t come at a cheap price. We’re told the 450-series will retail for about $ 270 and the 350-series $ 220.

Hands-on: New camera bags from Photokina 2018

Next up is ThinkTank’s new Retrospective V2.0 bags. Available in a total of six different sizes, these soft camera bags feature classic styling. They’re also coated in polyurethane to protect gear from the elements but ship with an additional rain cover just in case you find yourself in a torrential downpour.

But probably the coolest feature of these bags is the zippered opening under the main flap which offers protection from thieves and pickpockets. Prices vary by bag size, but the Retrospective 7 V2.0, shown above, retails for around $ 165. It fits a DSLR, several lenses and a 13″ laptop.

Hands-on: New camera bags from Photokina 2018

Cullman launched 4 new camera bag lines at Photokina including the stylish Bristol series shown here, which comes in both daypack and shoulder bag varieties. The daypack in particular caught our eye because of its classic look.

It features a side-zippered opening for quick access and an expandable top compartment. There’s also a padded laptop compartment and water bottle holder. This pack is obviously more geared to enthusiast and casual users rather than pros, but it seems as versatile for every day use as it is handsome. No word on pricing just yet.

Hands-on: New camera bags from Photokina 2018

Tamrac launched a new line of hip-looking shoulder packs in the Bushwhick series (yes, like in Brooklyn). They’re available in 3 sizes, with the Buswhick 6 – shown above – being the largest of them. It can hold an average sized DSLR/mirrorless camera with lens attached plus one additional lens and some accessories.

The exterior features metal buckles and weatherized coating to protect from the elements. There’s also a zippered compartment on front for other odds and ends. The Tamrac Bushwhick 6 retails for $ 150.

Hands-on: New camera bags from Photokina 2018

Compagnon is a relatively new bag brand. I hadn’t heard of them prior to Photokina because they are still working out US distribution, but you can find their packs sold by some US retailers. The Explorer pack, shown here, is a collaboration between Compagnon and backpack brand Deuter.

It offers an expandable roll-top section for personal items and a large lower section for camera gear with padded dividers. The bag features a side zipper for easy access, tripod straps, a water resistant construction and a padded back panel that looks extremely comfortable. It’s available in 16 L and 25 L – no word on pricing yet, but if other Compagnon packs are any indication, expect it to cost a pretty penny ($ 500+).

Hands-on: New camera bags from Photokina 2018

Peak Design just finished its Kickstarter campaign for the new 45L Travel backpack. We’ve previously seen a prototype of the bag, but this is the first time we’ve laid eyes on a retail-ready model and it looks very impressive.

The packs offer lots of features like a weatherproof nylon canvas shell, rugged bottom liner, luggage pass-through, rear and side access, laptop compartment, luggage handles and lots of organization pockets. It can also be expanded or contracted to fit 35L or 45L worth of stuff. The backpack is being sold alongside a line of smaller organizational ‘cubes,’ sold separately. The bag itself will be available sometime in November and retail for $ 300.

Hands-on: New camera bags from Photokina 2018

ONA makes some absolutely lovely shoulder bags. For Photokina, the company teamed up with Japan Camera Hunter to release a very limited addition bag called ONA x Japan Camera Hunter Bowery camera bag. Only 230 of which will be made, each with individual numbering on inside. The bag’s main feature is dedicated film pockets on the inside and elastic film holders on the bag strap.

You can read more about this collaborative bag here. And if you feel so inclined, you can pick one up for $ 200 on ONA’s Website.

Articles: Digital Photography Review (dpreview.com)

 
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Photokina 2018: Hands-on with Panasonic Lumix S1R

27 Sep

First look at Panasonic Lumix S1R

One of the most interesting announcements at this year’s Photokina show in Germany was the Panasonic / Leica / Sigma L-mount partnership, the first fruits of which are two upcoming professional-oriented mirrorless ILCs from Panasonic.

We’ve seen non-functional mockups of the S1R already, but earlier today we were lucky enough to get access to a working prototype camera in the VIP area at Panasonic’s booth. Click through for a closer look.

First look at Panasonic Lumix S1R

We couldn’t power the camera up, so for now our impressions are limited to general handling and ergonomics but the S1R certainly feels good in the hand. It’s a large camera, especially for a mirrorless ILC but it doesn’t feel too heavy, and the camera+24-105mm combination shown here is nicely balanced.

Panasonic tells us that every aspect of the camera was decided upon on the basis of detailed customer feedback, including the demand from professional users for large, well-placed controls and a deep grip.

First look at Panasonic Lumix S1R

These blocks of plastic show the evolution of the S1R’s grip shape, over several prototype iterations.

First look at Panasonic Lumix S1R

Apparently what you get when you ask professional photographers what they want is something that looks an awful lot like a traditional DSLR. Resembling an upsized G9, Panasonic claims that ‘no compromise’ has been made in the S1R’s performance, which is intended to satisfy the needs of the most demanding professional photographers.

First look at Panasonic Lumix S1R

While final specs are still to be confirmed, Panasonic tells us that the viewfinder in the S1R will ‘rival human vision’, i.e, a hypothetically perfect optical finder. We’re curious to see for ourselves what this means in practice but judging by the excellent finder in the G9, Panasonic has what it takes to create very high quality, immersive EVFs.

This view shows the S1R’s conventional, button-laden rear control layout which includes an AF positioning joystick and twin rear dials. The grip texture is provisional – final shipping cameras will feature a textured faux leather finish.

First look at Panasonic Lumix S1R

The touch-sensitive rear LCD (specs are again TBD) is articulated, which means you can fold it out….

First look at Panasonic Lumix S1R

…and down, allowing for waist-level shooting in both landscape and portrait orientations.

First look at Panasonic Lumix S1R

Now there’s a thing – twin card slots. The S1R is aimed squarely at professional photographers, and the option of XQD and / or SD should fulfill demands for backup, redundancy, or ‘stills to this card, video to that one’ shooting. Like every point on the S1R’s body, the card door is gasketed to protect against dirt and moisture incursion. Panasonic claims that the S1R should rival the GH5/S for durability in unusually cold, hot or wet environments.

First look at Panasonic Lumix S1R

The S1R we handled was missing a battery, but Panasonic tells us that battery life was a priority in the new models and as such, both will take a new, larger-capacity battery than those found in the company’s M43 cameras.

First look at Panasonic Lumix S1R

This image shows the S1R without a lens attached. The S1R will accept existing Leica L-mount lenses marketed alongside the SL, as well as forthcoming Panasonic-branded lenses and future Sigma alternatives. This view shows off the S1R’s two customizable front-mounted buttons, to the left (as seen from this direction) of the lens mount. In a thoughtful touch the upper button is convex, while the lower is concave for ease of identification by touch.

First look at Panasonic Lumix S1R

The S1 and S1R will be sold alongside four lenses: a 50mm F1.4, 24-105mm, 28-70mm and a 70-200mm F2.8. Final specifications are still to be confirmed, and the lenses shown here are non-functional mockups, displayed under glass.

Learn more about the Panasonic S1/R

Articles: Digital Photography Review (dpreview.com)

 
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