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‘We’re confident that they can deliver’: We talk to AP’s Director of Photography about switch to Sony

24 Jul

J. David Ake, Director of Photography at The Associated Press.

One of the world’s largest and oldest news agencies, The Associated Press, has just announced that it is switching to Sony for all of its photography and videography equipment. We spoke to AP’s Director of Photography, J. David Ake, about why the agency decided to make the switch, why it chose Sony, and what it means for AP staff photographers and videographers.

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

Thanks for joining us, David – what do you do at AP?

I’m the Director of Photography at The Associated Press, I’m responsible for stills photo reporting worldwide. That’s a team of a few hundred staff photographers, fifty or so photo editors, and we produce about 3,000 images a day from around the globe. I’ve been at the AP for 20 years, and previously I was a photographer for UPI, Agence France-Presse, and Reuters.

Is it a coincidence that this announcement coincides with what would have been the opening week of the planned 2020 Olympic Games in Tokyo?

Actually, yes, this just happened to be when we could get the dotted line signed! COVID-19 slowed things down a little bit, we were actually hoping to do this a little bit earlier.

How long have you been working with Sony on this project?

The AP has been thinking about switching to mirrorless on the stills side for a couple of years. We like the advantages [like silent shooting] which means we can be whisper-quiet in places where a DSLR shutter sound is disturbing. We like the super-fast autofocus and we like the light weight of the cameras.

We tested cameras from several manufacturers in really harsh zones from the Arctic to the rainforest, to hostile environments, to hurricanes. The overwhelming response from the photographers was that they really liked the Sony equipment: the way it worked, the way it felt, and the image quality.

The Sony Alpha a9 Mark II is a camera that Sony says was made specifically to meet the needs of professional photographers in demanding environments, and at major sporting events. The relatively few major hardware updates from the a9 were almost all intended to cater to this demographic.

Then we started talking to our video colleagues who were about ready to do a change-up of their gear too, and we started thinking “well if we went to Sony for video and stills, what would that do for our visual storytelling?” We liked the idea of having the color quality and the image quality being close to the same between stills and video equipment. So if a stills photographer helped out a video colleague with a little filming, or B-roll, it would fit in the edit. And if we were to pull a frame grab from a 4K video camera it would have the same basic feel as a photograph from a stills camera.

And the lens mounts are the same, so if a videographer was working with a stills photographer, he or she could borrow a 600mm f4, or a stills photographer could try a cine lens to get a certain look. It just gives us some unique opportunities.

Up to now, has AP been using a mixture of different platforms, from different manufacturers?

Yes, we have. We used one manufacturer for stills, and a different manufacturer for video. And we’ve been happy with those brands, we’ve used them for years, and they’ve supported us with their equipment. It was really the thought that we wanted to go mirrorless that took us down this path, and then we found that the synergy between video and stills could be really good, and Sony could support both of those at the level that we needed. And maybe that could open up some opportunities for visual storytelling in future that we hadn’t previously recognized.

It’s probably going to take us a little over a year to complete this switch

I’m excited, because both teams now can really work together well.

How many photographers and videographers will start using Sony equipment?

We have a few hundred staff photographers around the world, and about that many video cameras [in our equipment pool]. And probably into the thousands of freelancers, regular and occasional. This switch to Sony applies only to the staff photographers and videographers.

The freelancers are independent contractors, what they use is up to them.

Can you give us an idea of the scale of this investment, in terms of camera bodies and lenses?

Well if we’re kitting each photographer and videographer out with four or five lenses and a couple of camera bodies, that’s a large investment. It’s probably going to take us a little over a year, maybe a year and a half, to complete this switch worldwide. We’ve got photographers in some places that are very difficult to get gear to!

Sony is currently the only manufacturer to offer native mirrorless long-telephoto prime lenses. Lenses of this kind are a prerequisite for professional sports, although Canon and Nikon’s latest mirrorless cameras can accept EF and F-mount lenses via adapters.

Do you have a sense of the ratio of a9-series to a7-series cameras that you’re going to be onboarding?

The vast majority of the stills photographers will get a9 Mark IIs. We will get some a7R IVs for the videographers, and a couple for some of our entertainment shooters who do a lot of portraits. But the standard kit will be an a9 Mark II.

On the video side there are six different cameras that might become part of the kit, from broadcast cine cameras all the way down to small palm-sized cameras, depending on the assignment. But we have six cameras spec’d-out on the video side.

What convinced you that Sony could provide that level of support your photographers and videographers might need at major events?

Well Sony has committed to us that it will. And we have done some tests, we’ve done events where they did provide the level of support that we needed. This is not new for Sony. On the video side, Sony has been supporting its cameras in the field for a really long time. They’ve shown us that they’re committed to doing it, and so far we’ve been happy with the level of commitment.

The proof is in the pudding of course, once we’ve got this all rolled-out, but we’re confident that they can deliver.

Tokyo 2020 never happened, but by this time next year, AP photographers and videographers in Japan will be shooting the proceedings on Sony equipment.

You mentioned the logistical challenge of replacing all of your stills and video equipment, are you planning to introduce a training program for your staff?

Yes. Our goal is to get photographers together, collect their old gear, issue them with new gear, and give them a day or so with Sony technicians to run through the menus, how to clean the sensors, how the cameras work and so on, before we put them out in the field.

What are the first big events that you expect AP photographers will be covering with Sony equipment?

The US elections in November, followed by the Olympic Games.

What’s the biggest shift you’ve seen during your career in photography?

For me personally it was film to digital. I got one of the very first digital cameras in 1995. It was a huge shift, and very enlightening – there was a sense of freedom. It changed the world for photojournalism. And I think mirrorless is going to turn out to be a really big change, too. The fact that these cameras are very fast, very quiet and very light will allow us to go places and do things that we haven’t done before.

Editors’ note: Barnaby Britton

The news that The Associated Press – one of the world’s oldest and best well-known news agencies – is switching to Sony is highly significant.

For decades, whether or not a brand could be considered ‘professional’ has been defined in part by whether organizations like AP purchased its cameras and lenses for their staff photographers. While the number of salaried photojournalists working in agencies around the world today is relatively small, it’s hard to overstate the PR value for any brand of having its cameras and lenses appear in the hands of pros on the sidelines at events like The Olympic Games, watched by millions of people all over the world.

For at least forty years, Canon and Nikon have owned the sidelines, and along the way, both companies have developed a sophisticated systems to support professional photographers at major sporting events. Can Sony compete with these well-established companies when it comes to service and pro support (not to mention reliability)? Apparently AP is pretty confident in Sony’s (and its gear’s) performance so far, but as Mr Ake says, ‘the proof is in the pudding’.

Sony is still the only company to offer both a truly photojournalism-oriented mirrorless camera and a range of native mirrorless fast telephoto prime lenses

There is no doubt, however, that Sony is very serious about competing in the professional market. The a9 Mark II is arguably the best sports camera in the world right now, and two years after Canon and Nikon joined the full-frame mirrorless party, Sony is still the only company to offer both a truly photojournalism-oriented mirrorless camera and a range of native mirrorless fast telephoto prime lenses. Apparently, for AP, the cross-compatibility of E-mount lenses between a large number of Sony’s stills and video cameras was another point in the company’s favor.

From a sales and revenue standpoint, the fact that Sony just sold a few hundred cameras and lenses is probably not all that significant. But the AP contract is a huge vote of confidence in the brand from an agency synonymous with professional photojournalism, and one that Sony has been working for years to earn. Canon and Nikon just got put on notice.

Articles: Digital Photography Review (dpreview.com)

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Let’s talk about Dorothea Lange

08 Mar

Dorothea Lange at work in California, 1936. Library of Congress, Prints & Photographs Division, Farm Security Administration/Office of War Information Black-and-White Negatives.

If you don’t know Dorothea Lange by name, you know ‘Migrant Mother’. It’s an image that’s practically synonymous with the Dust Bowl, a period of devastating drought in the North American plains that displaced hundreds of thousands. If you’ve opened an American history textbook or watched a Great Depression documentary on PBS, you’ve probably seen Lange’s classic photo.

it’s time to get better acquainted with Dorothea Lange and recognize her for who she was: a complete and utter boss

The work was part of a major project run by the Farm Security Administration, which involved multiple photographers including Walker Evans. Lange played a major role, and is best known for this Depression-era work, while other images like her photos of Japanese American internment and incarceration have only relatively recently gained wider recognition. And it probably comes as no surprise that behind this legacy was an incredibly resilient, hardworking woman whose body of work is as moving and relevant today as it was decades ago.

So just in case you haven’t already, it’s time to get better acquainted with Dorothea Lange and recognize her for who she was: a complete and utter boss.

She knew she was a photographer before she ever picked up a camera

On graduating school and being asked what career she’d like to pursue, Lange’s response was quick: a photographer. She’d never actually held a camera before, but that didn’t stop her. She walked into a well-known portrait photographer’s studio one day and asked for any job he could give her. Thus her career was born – she learned the trade and acquired her first camera.

She didn’t let trivial setbacks – like having all of her money stolen – hold her back

Born on the East Coast, Lange launched her career in San Francisco and many of her best-known works were made in western states. So how did she end up settling on the other side of the country? Funny story!

After graduating school she and a friend embarked on what was meant to be a trip around the world with her best friend. They only got as far as San Francisco when they encountered a minor setback: all of their money was stolen. Did they ask their parents for help? Admit defeat and go back home? Heck no, they just got jobs and decided to live there. Lange went on to establish a successful portrait photography business.

Her less well-known photos of Japanese American internment are as poignant and raw today as they were nearly 80 years ago

Well into her professional career she was hired by the federal government to take photos of Japanese Americans during internment and incarceration. Many websites (this one included) have reported in the past few years that the photos she took were hidden for decades from the public by officials, deeming them too biased against the government’s actions.

That’s not the case. While it’s true that the images were withheld for the duration of World War II, they’ve been available to the public ever since. Either way, the photos and the humanity that Lange captured are as poignant today as ever.

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Even with mobility limitations, she never slowed down

Throughout her life, Lange walked with a limp – an effect of surviving polio in childhood. Toward the end of her career the lingering effects of the disease took a severe toll on her body, and when she couldn’t work through the physical pain any longer, began photographing subjects close to home. She worked right up until her death in 1965, planning her MoMA retrospective – the first for any female photographer.

Dorothea Lange Exhibition at the Museum of Modern Art, New York City, 1966. Photo by Rolf R. Petersen.

Her approach to documentary photography remains exemplary today – even if she didn’t always get it right

Lange considered her portrait subjects collaborators and is quoted as saying “I never steal a photograph.” While many of today’s working photographers share that philosophy, every now and again the debate re-surfaces around street photography and photography in third-world countries when a photo feels less like a collaboration and more like exploitation.

Nobody’s perfect of course. Lange admits that she did not ask for the name of her ‘Migrant Mother’ portrait subject, Florence Owens Thompson, who was embarrassed by the photo and didn’t want to be publicly identified when it began to gain recognition. Despite it being one of the works that solidified Lange’s legacy, Thompson received no benefit from it – financial or otherwise – until her family asked for help supporting her medical care at the very end of Thompson’s life.

However, Lange’s limited interaction with Thompson has been attributed to the photographer’s exhaustion after a long trip, and certainly appears to be a deviation from her standard approach of getting to know her subjects. As photographers – and human beings, really – that’s a philosophy we can still learn a lot from.

Articles: Digital Photography Review (dpreview.com)

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Interview: Understanding RF, DS and DO – we talk to Canon about its latest lenses

03 Apr

Left to right: Yoichi Sato, Manabu Kato and Shogo Yamaguchi

At the launch of the Canon EOS RP in February we had the chance to sit down with a selection of senior engineers and planners to discuss the R series and its lenses. They talked to us about the RP and the six lenses whose development was announced alongside it, but also gave some insight into where the R series is heading.

Manabu Kato – Head of EF + RF mount R&D
Yoichi Sato – EOS camera electronics R&D
Shogo Yamaguchi – Optical planning specialist

What’s the biggest challenge for Canon over the coming years?

One of the challenges from the lens side is that, obviously we switched mount: we added the RF mount. We’ve kept the same mount for over 30 years, that was really big, and we kept lens compatibility for a long time. But when we started the new mount had to start from scratch and prepare a lot of new lenses, so that’s been a big challenge for us. Of course, it’s very exciting that the new mount opens up whole new possibilities in lens design and expand the boundary of image capture.

How do you prioritize which lenses to develop?

So the idea for the initial four lenses was we wanted to deliver the surprise factor, so we decided to deliver the 28-70mm, as well as the 50mm F1.2, with stunning resolution. That was the concept behind these two lenses.

With 24-105mm we thought it would be the best match as a standard zoom lens to the EOS R camera, and the 35mm F1.8 was supposed to be an affordable and compact travel companion. Those were the concepts behind the four initial lenses.

With the six additional lenses that we introduced as development announcements this time, we believe we will be able to deliver more surprise factors, for some models compactness. These two concepts with the addition of these models.

How have you made the 70-200mm so small?

Canon’s RF 70-200mm F2.8 L mockup, alongside the EF version. Although it’s not clear from this mockup, we expect the RF version to extend on zooming.

We were actually surprised as we started developing this particular product. The idea is that, with the introduction of the large diameter mount with the shorter back-focus distance, we were expecting it to be more suitable for designing wider-angle lenses, but it turned out to be very effective for designing this telephoto lens.

So this is largely due to the fact we have this new mount: it has become a really big contribution to designing this really compact telephoto zoom lens. So we hope we were able to give more of a ‘wow’ factor with the introduction of this telephoto zoom lens.

I apologize that this is all we can talk about, as of now, but we hope to talk more about it as we make an official announcement of this product.

It doesn’t use a Diffractive Optics design, then?

We decided not to use Diffractive Optics with this lens, this time, but we are working on this particular technology and we are experimenting with different designs and so forth, to see how we can use this DO technology in future.

Can you give any insight into the DS technology?

With lens such as the 85mm F1.2 bokeh is a really important factor, because it’s a portrait lens. We really wanted to deliver something that was not possible with the conventional lenses, so we decided to develop this technology of defocus smoothing.

There will be two versions of the RF 85mm F1.2L USM: a ‘DS’ variant will feature ‘defocus smoothing’ technology.

The fact with our DS technology is that it’s a coating technology, so it’s relatively easy to apply this technology to a range of different lenses. This is all we can say at this moment.

There are going to be two versions, does this imply the DS technology is quite expensive?

There’s a price factor but, with the DS element it’s not the case that it’s superior in every way. There’s some differences: some challenge in maintaining the illuminance. With transmittance, we lose some light as it goes through the DS element, so that is one difference of having the DS technology. So it’s not like one version is obviously better than the other.

That sounds like an apodization effect.

Yes

Some lenses designed to match the EOS R and others designed to impress and surprise, what lenses do you imagine EOS RP users buying?

At this moment, the best match would be the 35mm F1.8 and we believe the 24-240mm lens that we announced will be a good companion to the EOS RP body.

We were able to mount the 24-240mm mockup on an EOS RP body, to give some idea of the size.

One thing that’s important about our system is that you can adapt a lot of lenses. Truly a variety of lenses: you can adapt some of the really compact EF lenses, that’s an option too.

Obviously we’re working on a lot of really compact lenses in the future, so I hope you’ll stay tuned to hearing from us.

The pro-level ‘L’ series lineup looking impressive: how far into the future are you planning?

I’m sorry, the roadmap is all we can say for now. We have a full lineup of what there should be: a full lineup of the RF lenses. And what we do among those lenses we choose which to prioritize, that’s the concept of how we decide what to work on next.

With this many professional lenses being announced in 2019, does that mean a body isn’t far behind?

All we can say is that we’re working on a lot of different types of cameras. I can’t pinpoint when a specific camera will come. We understand that expectations are really high.

What are the advantages of the faster communication between lens and body that the RF mount allows?

A good example is that we are working on a combination of optical and body stabilization, working together to give enhanced IS. That would be a good example of being high speed communication system in RF.

We are working on a combination of optical and body stabilization, working together to give enhanced IS

There are numerous things that we will be able to deliver, through the introduction of the new communication system. The combination of RF lens and body, the Dynamic Lens Optimizer (DLO) data can be transferred automatically to the body. So users will be able to use in-camera DLO for new lenses without needing to download an update from their computer.

We’ve previously talked about how we’re looking another 30 years into the future. We have to think about what might be possible with another 30 year in mind, we have to think that far into the future. So at first glance this communication system might be too much for what’s been made possible, as of now. But we have to look so far into the future that this system has to have a lot of potential.

I think most people now understand how forward-thinking the EF mount was for 1987

Looking back after 30 years of EF lens and mount, we can’t help but thank our predecessors for being so forward-thinking: delivering a fully electronic mount at that time in history. We hope we were able to deliver the type of communication system that our future generations of designers, thirty years down the road will be thankful us for being so forward-thinking.

Is there anything else you’d like to tell our readers?

So in terms of the six lenses, once we’ve launched these we’ll have ten RF lens models. I hope we can convince our users we’re serious about this mount, serious about this system.

We hope your readers will understand each of these designs are unique, and are impressive in every way, in terms of the specifications, in terms of the size. I hope your readers understand the potential of the system.

Please don’t forget the pro-level camera that you’re expecting is on the way

We hope that with the introduction of the RP, the main purpose is we hope we’re making full frame more accessible to more people. That’s what we’re trying to do with this camera. We hope that a lot of beginners in photography will be able to enjoy what is possible with the full frame sensor and we hope to expand the market of full-frame camera, overall.

Please don’t forget the pro-level camera that you’re expecting is on the way.

Also important, we see people speculating that we’re terminating the DSLR or the M-series development. What we can say is that we’re developing, simultaneously, multiple DSLR, M-series and R-series models. Our approach is to leverage our lineup strategy but at the same time, we’d like to listen to our customers’ feedback and make decisions based on this.

Should we expect to see more lenses like the EF-M 32mm then?

The Canon EF-M 32mm F1.4 is one of the few photographically ambitious lenses available for the EOS-M system.

The reason we launched the 32mm for EF-M came from closely listening to users and what the market was asking for. So we were really happy that we were able to deliver something that a lot of users will be able to enjoy and we’re really confident about the performance of this lens.

One of the goals of the EOS RP was meant to be a good step-up for current APS-C users. We hope it’s possible for APS-C users to step up to the FF camera market.

Editor’s note: Richard Butler

We conducted this interview a few hours after Canon revealed the six RF-mount lenses it plans to launch in 2019 and, although they wouldn’t be drawn on specifics, we did uncover a few interesting details.

The confirmation that the 70-200mm F2.8 won’t use diffractive optics was interesting (a Canon patent for an extending 70-200 has subsequently come to light), as was the confirmation that the 85mm DS will use an apodization filter effect to smooth the edges of its bokeh.

Canon has only released a mid-level and entry-level R-series camera so far, but its lineup is awash with pro-focused ‘L’ lenses.

On the cameras side of things, the interview confirmed what we believed about the RP: that it’s a concerted attempt to expand the market to reach a new type of user that wouldn’t have previously considered a full-frame camera (and, as a result, a different type of user than the one Sony has already been targeting with its a7 models).

It was interesting to hear Canon confirm that there will be a pro-level camera: something that can be easily deduced from the company’s lens lineup, but still good to have confirmed. But it was the statement that Canon is working on a combined in-body and in-lens image stabilization system that most stood out.

Many of these are themes that we took up with Canon when we met them at CP+ in Yokohama. There’ll be further insights coming in that interview, tomorrow.

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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Greater freedom: Canon’s engineers talk about the EOS R project

22 Oct

The launch of Canon’s EOS R gave us a chance to talk to a group of the engineers involved in the project. The company put forward an engineer from each of the main parts of the development process: physical design, optical design, UI design and overall product design. They talked of being given more freedom than ever before but also of the need to build on the EOS system’s strengths.

Left to right:
Koji Yoshida – Lead Engineer/Architect, Integrated Design Department 232
Manabu Kato – Deputy Senior General Manager, ICD Optical Product Development Center
Shintaro Oshima – General Manager, ICB Product Development Div 1.
Hironori Oishi – Lead Specialist, Product Design Div 1.

A new, short and wide mount

Canon has been consistent across its launch, when it’s said that the important announcement isn’t the EOS R, specifically, or the fact that there’s no mirror, but in what the RF mount allows them to do.

Manabu Kato sums up the freedom they’ve gained in terms of optical design: “people who’ve been working on lenses for a really long time have, with this new system, been able to make lenses like the 28-70mm F2 comparably easily, compared to how they had so many challenges in the past.”

“By having [more] data being transferred between the camera and lens…you can improve the autofocus, metering and image stabilization performance”

As well as allowing more ambitious optical designs, the RF mount also adds data bandwidth, moving from eight communication channels to twelve. “During shooting there’s a massive amount of data going between the lens and the camera, so making sure that was smooth was another challenge,” says Kato. “By having that huge amount of data being transferred between the camera and lens, you can improve the general performance in relation to autofocus, metering and image stabilization. And you can also add features such as the control rings on the lenses.”

The RF 28-70mm F2 lens, combined with pupil detection AF is a powerful combination. ISO 100 | 1/5000sec | F2 | Canon RF 28-70mm F2 @ 70mm (Pre-Production lens)

“You can also use DLO without any problems,” he said. Digital Lens Optimizer – Canon’s name for digital lens corrections – previously required that the camera look up the data in a database, meaning that camera firmware needed to be updated to accommodate new lenses. It’s now supplied in real time by the lens itself, so there’s no need for a look-up step.

Video, as well as stills

This real-time data flow allows the use of Digital Lens Optimizer and distortion correction in video for the first time. And it’s clear that, despite the EOS R’s comparatively modest specs in that area, Canon has done a lot of thinking about the needs of video shooters.

“Getting rid of [the mode dial] was a big decision that required a lot of consideration”

“In relation to the optical system, we gave consideration to focus breathing*, and also aperture control: you can change the aperture in 1/8th stops,” says Kato. “also the Nano USM, it’s very quiet and quick: the first time in an L lens.”

Difficult decisions

Trying to accommodate the needs of video shooters ended up leading the removal of the camera’s mode dial, says Koji Yoshida: “if you have a mode dial then the [exposure] settings will be the same for both stills and movies.”

The decision not to offer a mode dial on the EOS R was not taken lightly.

“We consulted with a lot of different people and talked about this a lot, and decided to have different settings this time,” he says. But it’s clear this isn’t a decision made lightly: “[The mode dial] is a function that’s been common in the past, so getting rid of that was a big decision that required a lot of consideration,” said Shintaro Oshima. “There was a lot of internal discussion about this point,” concurs Yoshida.

The challenge of legacy

This tension between novelty and legacy is a constant theme of our conversation. “Our aim was to carry on the traditional parts of EOS but then bring in new innovation at the same time,” says Hironori Oishi: “our biggest challenge was making this look like an EOS camera with just a single glance, you can see that it’s an EOS camera, based on the traditional styling of the EOS cameras. And also the feeling, when you hold the camera – as soon as you hold it in your hand, you know it’s an EOS.”

The M-Fn button is one of the most obvious ways in which the EOS R introduces new thinking to the EOS experience. It’s fair to say we’re not convinced by the way it currently works.

This extended to the user interface, says Yoshida: “the challenge we faced in terms of the software or the interface was making sure that it’s got the same basic controls as an EOS: to carry on that operability that EOS users are used to, then also implementing new elements into that design at the same time.”

The answer was to blend features from Canon’s existing live view and DSLR experience:, he says: “We used the mirrorless AF modes but we also also included features from the 5D Mark IV AF, like Expand AF area and large zone AF: this is the first time this has been introduced in a live view camera from Canon.”

Opportunity for innovation

The solution to these tensions seems to have been to look for opportunities to innovate while maintaining continuity: something made clear in the challenges of maintaining EF lens compatibility. Despite the EF mount already being fully electronic, Kato says: “it was difficult ensuring that compatibility. But we think that’s a big plus for the system.”

Whatever we might think of the rest of the EOS R experience, we love the idea of adding a control dial or filter mount in the EF-to-RF adapters.

Tellingly, the team looked for ways to add new features. “We also achieved the control ring adapter which brings additional value to EOS lens users,” says Kato: “The same applies to the drop-in filter adapter: it gives added value to those who already have EF lenses. We wanted to make sure that we looked after our current users of our EF lens system.”

“The control ring adapter brings additional value to EOS lens users…the same applies to the drop-in filter adapter”

Oshima stresses that the need for continuity didn’t hold the new camera back, though: “another focus was the low light limit performance. That’s a point of evolution from the EOS cameras.”

“Another focus was the low light [autofocus] limit performance”

This eye for an opportunity to innovate is perhaps most clearly seen in the way the EOS R, unlike any other mirrorless camera, closes its mechanical shutter when shut down. “we wanted to protect the sensor as much as possible from dust and light hitting the sensor,” explains Oshima: “The light coming through the lens affects the sensor in the long term. The color filter array and microlenses and also the photodiodes can all be damaged by light [if the sensor is always exposed].”

Another bright idea: Canon’s engineers worked out that if you stop-down the lens aperture blades, it reduces the risk of damaging the shutter blades, at which point you can close them to keep light and dust off the sensor.

To then protect the shutter blades, the camera stops its lens down and displays a warning not to leave it facing towards the sun, without a lens cap. “The aperture cannot be closed completely, so that message is kind of a safeguard,” explains Kato: “We’re kind of proud of the fact that with a simple idea, we’ve been able to increase value for customers.”

Just the beginning

As usual, no one was able to discuss future products. When asked whether there was any chance of an APS-C RF-mount camera, Oishi was suitably non-committal: “we’re thinking about it, but we can’t answer in detail,” he says. But the individual engineers did all discuss what they were looking forward to.

“We want to surprise and astonish you, so please expect big things”

“It gives more structural freedom in terms of design, because it doesn’t have a pentamirror”, says Oishi. “I’m excited about improvements in Digic image processor and functions that create more value and make easier to use,” says Yoshida. But it’s optics specialist Kato who seems most enthused: “This is just the start of the system,” he says, talking about F2.8 zooms and other possibilities, before settling on a broader-reaching point: “We want to surprise and astonish you, so please expect big things.”

Editor’s note: Richard Butler

Nearly ten years ago I wrote a blog post suggesting camera makers should go back and take a ‘blank sheet of paper’ approach to the way their cameras operate. Simply suggesting it is the easy bit. Actually doing it, and having to find clever solutions is quite a different matter.

Throughout our conversation, it was obvious that Canon had given its engineers more freedom than usual in this project but that there’s still a careful balancing act to avoid confusing or alienating your existing users. The nods of recognition around the table as Mr. Oshima spoke about the difficulty of decision to eliminate the mode dial said a lot about how seriously these decisions were taken.

It’s difficult to talk to people who’ve worked so hard to make a great camera and then have to publicly report that it doesn’t work as well as they’d intended. But that’s the reality of our experiences with the EOS R so far, across the DPReview team.

If nothing else, though, the team’s responses show how seriously Canon is taking the RF system as a chance to improve and innovate.I really hope we’ll see that reflected in updates to the EOS R and future products in the system.

* A change in field-of-view as the lens focuses – a minor concern for stills shooting, but potentially distracting in video [Return to text]

Articles: Digital Photography Review (dpreview.com)

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Join us on Facebook Live to talk about the Sony a9

24 May

Join us on Facebook Live for a first look at the new Sony a9!

The new Sony a9 landed in our office a few days ago, and we’ve been using it non-stop. Join editors Rishi Sanyal and Carey Rose on Facebook Live to see what they think of it so far, as well as to ask them any questions you might have.

Date: Wednesday, May 23

Time: 9:30 AM Pacific (12:30 PM Eastern, 16:30 UTC, 17:30 BST, 18:30 CEST)

Visit our Facebook page to watch live or ask questions about the a9

Articles: Digital Photography Review (dpreview.com)

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DPReview and the TWiT Network team-up to talk cameras

31 Jan

On Saturday, DPReview made a guest appearance on The New Screen Savers, a popular show from the TWiT Network (named after its flagship show, This Week in Tech) hosted by technology guru Leo Laporte and guest co-host Andy Ihnatko of the Chicago Sun-Times.

In this episode, DPReview editor Dale Baskin joins Leo and Andy to discuss the resurgence of analog technologies like film and instant prints.

What topics would you like to see us discuss in the future? Let us know in the comments!

Articles: Digital Photography Review (dpreview.com)

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Adapted Lens Talk: Readers’ Showcase and new forum!

28 Dec

Adapted Lens Talk

With the ever-growing popularity of using mirrorless cameras with lens adapters, we are pleased to announce the opening of a new forum: Adapted Lens Talk. Thanks to the proposal and volunteer work of its moderator, Tom Caldwell, the forum has taken off dramatically and is full of vintage lens deliciousness.

The forum also features discussions on experiences with different adaptors, focal reducers, strange mounts, and anything else one might run in to when trying to make a non-native piece of glass play nice with their shiny new mirrorless. Enjoy this slideshow of images and commentary generously provided by members of the Adapted Lens Talk forum, all taken with adapted glass. Check it out, and if you’ve fit grandpa’s old lens to your digital camera, be sure to share your shots and experiences!

Adapted Lens Talk

Jupiter 37A (135mm f/3.5), with generic M42 to EF adapter plus Mitakon Lens Turbo II EF-FX focal reducer. Shot with Fujifilm X-E1. 1/250 sec., f/5.6, ISO 1000.

Photographed by Helga Birkenstock:

‘The lens used for this particular image is the Jupiter-37A. It’s a 135mm f/3.5 lens built in the Soviet Union during the Cold War era. My copy was built in 1982 but I’ve only had it for two months; I purchased it on eBay for $ 61 including postage. I usually use it with a focal reducer on an APS-C camera (Fuji XE-1) to get the full image circle projected onto the sensor. This effectively changes the lens properties to 98mm f/2.5. The advantages of this lens is that it’s all metal construction is still very light (362g) and balances well with my small mirrorless camera. Best of all, it has 12 aperture blades so you have beautifully round bokeh at any aperture. My (limited) experience is that it’s not as sharp and has poorer contrast compared to modern lenses so images need more work in post production. Images convert to black and white quite well and have an old world image feel.

This image was taken as part of a “monochrome garden” project that I’m doing. I chose this lens because I could stop down the lens and still get round “bokeh balls”. However, focus becomes more difficult when stopped down because focus peaking works best when the lens is wide open, but I use the distance scale on the lens and the wider depth of field to mitigate these challenges.

I love the sharpness and autofocus of modern lenses but there is something to be said about slowing down the process through manual focus and the unique character in the images from adapting old lenses.’

Adapted Lens Talk

Contax G 90mm, with Kipon Contax G to Sony E adaptor. Shot with Sony NEX 5N. 1/1000 sec., f/8, ISO 400.

Photographed by Tim Zhou:

‘I took my little Sony mirrorless camera and the longest lens I had – 20 years old Contax G 90mm f2.8 hoping to take some shots during an air show in Swansea, UK this Summer. After having found a vintage point, I set the camera on aperture priority mode, the aperture to f8 and focused to infinity. As Contax G lenses do not have own focusing rings (they require a helicoid adaptor to focus), so I used camera’s magnify focus to make sure the focus was spot on. The rest of job was just press the shutter button.

My mirrorless camera has a little longer shutter lag compared to my previous DSLR, so I did need to anticipate and press a little early. Generally speaking, I find using adapted lenses far more rewarding, not only do I now have access to a large number of excellent legacy lenses, such as my Contax G, but also I have learnt to have more control over the process of capturing images.’

Adapted Lens Talk

SMC Pentax 28mm f/3.5K, with Fotodiox Pentax K to Sony E adapter. Shot with Sony a7R. 1/60s, f/16, ISO 100.

Photographed by Timothy S. Devine:

‘This photograph was taken with a SMC Pentax 28mm f/3.5 K mount lens, not the Takumar that came before it, or the Pentax M version that came after (both are of different designs.) It was only produced for two years (1976-1977), and is my favorite 28mm lens for landscape shooting. I’ve tried quite a few other 28mm primes over the past couple, but I find the Pentax has the best mix of qualities that I look for. From great color and contrast, to low CA and an amazing ability to fight off diffraction when stopping down, it holds up amazingly well on today’s modern digital sensors. I’ve tried a few copies of this lens, and while they were all sharp, some of them exhibited increased depth of field in the foreground, I assume due to towards the camera field curvature. This particular copy exhibits this behavior, and I often take advantage of this behavior in my shooting.

For this particular photograph I chose a perspective of Pemaquid Point Light that I had shot many times over the years. But I have to say that on this trip everything really came together. The sky was absolutely incredible, and I used a circular polarizer to help accentuate it. The Pentax was very much up to the task, and I think it showcases the strengths I mentioned above. For those that have handled true manual focus lenses, the Pentax doesn’t disappoint. As with many older lenses, it is built like a tank and the focus ring is very well dampened. Many landscape shooters use live view and focus manually with autofocus lenses anyway, so manual focus with this lens doesn’t bother me… In fact I have to say I probably prefer it.’

Adapted Lens Talk

Porst 50mm f/1.2 with Raynox DCR 150 macro conversion lens, with Fuji X to Sony E mount adapter. Shot with Sony a6000. 1/800 sec., f/1.2, ISO 2000.

Photographed by Scott Hills:

‘This is my first 50mm f/1.2, and a bargain too. This is actually the same as the Fuji 50mm f/1.2 EBC, just a rebranded porst. The quality is excellent, and this shot was one of the first I’d taken with it. It’s not easy to work with the tiny DOF an f/1.2 gives you, but it does open up interesting possibilities since it just dissolves backgrounds.

I added a raynox DCR 150 for this shot to get a bit closer and really allowed me to interrogate the flower and fill the frame with it. The colour rendering from this lens is stunning, I’ve been very impressed with it and for £130 including an adapter you can’t go wrong, I mean where else will you find a 50mm f1.2 for that price!?!’

Adapted Lens Talk

Nikon 24mm f/2.8 AIS with Fotasy Nikon G to Sony E adapter. Shot with Sony a7. 30 sec., f/16, ISO 100.

Photographed by Matt Parvin Photography:

‘Oak Island NC, October 2015. I’m fortunate that this pier and beach are about 5 blocks from my office. I’ve shot it plenty over the past couple of years and this is one of my two or three favorites. This was shot with a 10 Stop ND Filter. Having a proper aperture ring is great with these filters, at f/2.8 you get enough light to focus even with the filter mounted. Stop it down to f/16 and you get a 30 second exposure at sunset.

I really started in photography with Nikon Series E 50mm & 100mm lenses on a D40. Manually focusing is much, much easier on mirrorless bodies, and using these old primes is even more enjoyable. I really think it makes you a better photographer as well, since it forces you to slow down and see what you can create an image out of, rather than just snapping away with an AF zoom.’

Adapted Lens Talk

Pentax Super-Takumar 85mm f/1.9 with Fotodiox M42 to Micro Four-Thirds adapter. Shot with Panasonic G3. 1/160 sec., f/1.9, ISO 1600.

Photographed by K. A. Rodriguez:

‘The Super-Takumar 85mm f/1.9, not being one of the Super-Multi-Coated (SMC) lenses, doesn’t always get its due, but it can produce rich imagery as seen here. With five elements in four groups, six aperture diaphragm blades, a 58mm filter diameter, and weighing in at 12 oz (340g), it weighs as much as or more than current pro level m43 lenses, and that doesn’t include the metal adapter! Nonetheless this solid metal lens fits nicely on the Panasonic G3 and does not feel out of balance.

The lens focuses down to 2.75 feet, however the throw from infinity to closest focus is very long, almost an entire revolution of the focus ring! Using it with the large magnified EVF on the G3 is a dream. With the lens wide open and the magnifier turned on, it is very easy to focus, once the ring has been turned enough! (I probably should estimate the distance first, then pre-focus using the distance scale before putting it up to my eye…) The aperture dial has settings from f/1.9 to f/22, even one for f/2 which is at a surprising distance from 1.9.

I normally like to stop down for greater sharpness but the problem of poor lighting on stage and the limits of pushing the ISO in a m43 camera made me keep the lens open, probably at f/1.9. With m43 in particular, it is essential to shoot the full frame and not rely on cropping later. The 85mm length (in effect 170mm on m43) is a good length for shooting from onstage without being right on top of the performers, while still being able to fill the frame. Surprisingly, currently there are no native m43 lenses made in this length (Samyang/Rokinon 85s are much larger FF lenses modified to fit m43), and none of the available zooms are this fast, so adaption is the only way to go. Fortunately this lens, which I originally bought sometime in the 70s, sold to my dad in the 80s, and after his death had boomerang back to me in the 10s, has found purpose again.’

Adapted Lens Talk

Canon FD 500mm f/4.5L, with generic Canon EF to Micro Four-Thirds adapter. Shot with Olympus OM-D E-M10. 1/2500 sec., ISO 320. Photgraphed by Danny Young:

‘This is the “Sacred Kingfisher” taken in New Zealand doing a small crab toss. The staple diet at the main estuary I like to shoot Kingfisher in is small crabs and there are plenty of them. Beautiful little bird I’ve spent nearly 3 years getting closer to. They are fast and deadly accurate on a dive into water or sand for a small meal.

Lens used is the 30 year old manual focus Canon FD 500 F/4.5L which is the favorite lens mounted on my Olympus E-M10. The 500 F/4.5L is always hand held and shot wide open at F/4.5. It has smooth internal focus that only needs a slight shift to focus. The 800 F/5.6L is my only lens that goes on a tripod.

Mirrorless was picked to use the MF lenses so I can use the magnifying function in the EVF on a static bird. For birds in flight I use the old technique of focusing backward or forward slightly when you find the bird in the EVF. It’s an old technique that has always been used and still works for me.

Personally manual focus just simply feels right and somehow it makes me feel more connected to the image in a way. With the right lenses with internal focus it may be easier than some people think.’

Adapted Lens Talk

Contax/Yashica Carl Zeiss Disatgon 18mm f/4, with Contax/Yashica to Sony E adaptor. Shot with Sony a7. 1/1000 sec., f/8, ISO 200.

Photographed by Timur Haracic:

‘This lens, the Contax/Yashica CZ Distagon 4/18 is my favourite wide angle lens for its very low distortion, classic/painterly rendition, and because it is great for architecture; cityscapes and dramatic low angle shots like this one. I’m mostly taking pictures low from the ground or so called ‘frog perspective.’ It’s optical design I believe goes back to 60’s. It’s been used for Contarex cameras. Old adapted lenses are great when perfection is not needed, you want to achieve some special look or when you have no other options.’

Adapted Lens Talk

Reverse mounted Canon FD 50mm f/1.8 with Canon FD Autobellows and Fotodiox Canon FD to Canon EOS adapter. Shot with Canon EOS 5D Mark II. 90 sec., f/8, ISO 100.

Photographed by Alexander Olshansky:

‘In this image, as is the case with all of my photographs, I try to touch the viewer emotionally without using any visually recognizable anchors. I have discovered a while ago that macro photography allows me to easily abstract and to remove all of the visually recognizable elements from my photographs.

A lens is a means to that end. I’ve adapted my Canon FD Autobellows along with the FD 50mm f1.8 lens to my Canon EOS 5D MkII because this combination allows me the versatility I need and the quality I demand.

I am able to achieve magnifications far beyond anything that’s available to me in the Canon EOS native format by switching lenses as needed. Greater magnification means greater flexibility and greater abstraction. I am able to preset my aperture and then focus with the aperture wide open and close it right before taking a shot with the help of the Canon Macro Auto Ring and a cable release. This set up also allows me to easily perform stopped down metering for ambient light and then take a flash reading and calculate the flash exposure compensation based on my magnification.

As time and technology march forward, sometimes it’s the old tools that make things possible.’

Adapted Lens Talk

Voigtlander 75mm f/2.5 Color-Heliar (LTM) with 39 to M and Novoflex M to Sony E adapter. Shot with Sony a7II. 1/160 sec., f/2.5, ISO 500.

Photographed by Tom aka. tommiejeep:

‘I started in photography in late 60’s with a Nikkormat while I was in Vietnam (68-72). Shot mostly documentary in B&W. Shot various Nikons through ’79 (also a Pentax Spotmatic and Olympus OM-1). Left SLRs and used a number of P&S film cameras until 2007. Decided to get back into photography in 2007 and used the DPR forums to decide where to go. I went with a D200. I have been shooting mostly Nikon. Primarily sports, birds, documentary and street. Bought an Olympus EM5 when it came out then EM1 and a second EM1. I recently bought the Sony a7II primarily to use adapted lenses. I use old Nikkors on the Df and started to re-learn manual focus. Fun.

The image was shot in the crowded Friday Market in Goa. Very hot and crowded. I only took 2 shots for this one and had to wait for the guy on the left to clear before I could get the two women.

The Silver CV 75 f2.5 Color-Heliar (LTM) is a joy to use. Very quick to MF, more than sharp enough and good colours. A very small, light lens. I have not noticed any weakness but have not really tried to use flare (or noticed Flare to be a problem). I paid approx. $ 375 for it with 39-M adapter. I use the Voigtlander M-NEX adapter.

I tend to take Candids at a bit of distance so that they are candid. I shoot many events and prefer not to be part of the image. Too many people see a camera (any camera) and start posing. There are times when interaction with the subjects is fun and desirable. Then I will shoot a 25mm, 35mm up to a 105mm.’

Adapted Lens Talk

Minolta 50mm Macro with Fotasy Minolta to Micro Four Thirds adapter. Shot with Olympus OM-D E-M10. 1/640 sec., ISO 200.

Photographed by Bruce Reiger:

‘This is a picture of a mimosa tree in bloom taken with a Minolta MC Macro 50mm f/3.5 lens adapted to an Olympus E-M10 camera. As I’ve practiced, I’ve come to enjoy manual focusing and this is my go to lens for anything up close. I’ve found that manual focusing isn’t that difficult to do with the tools that the camera provides: focus peaking and/or magnification and image stabilization. It comes with a matching extension tube (not used with this image) for very small subjects.’

Adapted Lens Talk

Yashica ML 50mm f/1.4 with Contax/Yashica to Sony E mount adapter. Shot with Sony NEX 5R. 1/2500 sec., f/2.8, ISO 100.

Photographed by Scott Hills:

‘The Yashica ML f1.4 was my first f1.4 lens, I found it attached to an old Yashica SLR in a junk shop, it was in immaculate condition and only £25. It’s on another level in terms of IQ to any of my native E mount lenses and I always carried it in my camera bag. I often look for this sort of shot and like to play with shadows from above, I spied this guy from a multi story Car park and the sun was at the perfect angle to give his shadow a good shape, I’m glad I had the Yashica for this shot as it resolved so much detail.’

Adapted Lens Talk

Minolta M-Rokkor 40mm f/2 (pictured in headline image) with Vello M to Sony E adapter. Shot on Sony a7II. 1/400 sec., f/8, ISO 640. Photographed by DPReview staff writer Dan Bracaglia.

Articles: Digital Photography Review (dpreview.com)

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Editorial: Why I want a Leica Q (in which I mostly don’t talk about the Leica Q)

11 Jun

The Leica Q offers classic M-series styling in combination with a thoroughly modern feature set including a full-frame 24MP sensor and a 28mm F1.7 lens. After a bruising experience with previous digital Leicas, DPReview’s Editor Barnaby Britton has been very impressed by the Q. Click through to read why

Articles: Digital Photography Review (dpreview.com)

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Sites to Browse – DVDs – Movies – Learn to Talk like Yoda

15 Apr

Talk like Yoda, you should read this tip about how you can.

“With scissors never run. Bookmark the MalekTips webpage, you should. Of the Force beware the Dark side.”

Advice like this can only be provided by the Jedi Master, Yoda. While it is doubtful you will ever learn how to wield a lightsaber like him, you can at least talk like him with the “Yoda-Speak Generator”. Simply type your comment into the box and press the “Convert to Yoda-Speak” button, and presto. Appear as if Yoda spoke it himself, your text will. Yes, hmmm….

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