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Posts Tagged ‘Tour’

From the T90 to the EOS R3 – a visual tour of Canon’s high-end cameras (photo gallery)

25 Sep

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Canon was a pioneer of electronic, multi-mode cameras, and some of the design decisions that the company made way back in the 1980s persist even now, in its high-end EF and RF cameras. From the T90 to the new EOS R3, high-end Canon cameras share a remarkable amount of DNA.

In this gallery, we’re taking a closer look at several Canon cameras, from the 1980s to the present day, to explore how the company’s approach to ergonomics has evolved (and when it hasn’t) over the years.

Articles: Digital Photography Review (dpreview.com)

 
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Slideshow: 2020 Underwater Tour Awards Winners

11 Aug

2020 Underwater Tour Awards Winners

The Underwater Tour Awards recently announced the winners of its inaugural photography competition. Hundreds of images were submitted from around the world. Winning entries were selected by a panel of judges led by 6-time winner of the AIPP Professional Nature Photographer of the Year competition, Darren Jew.

The Guru Award, bestowed on the photographer who submitted at least 5 images, and had the best collection, went to Chelsea Haebich. An accompanying Q&A session is included with the 5 Guru images on display below. ‘I am still a few inches off the ground. I genuinely did not think I was in for a chance as I watched all the other amazing shots winning categories!’ exclaimed Haebich. ‘Winning this award might make me stop doubting myself and have a bit more faith in my abilities. Something I struggle with for sure.’

‘Moving forward I hope it can put my work out there further and bring people and connections into my life that will help me grow as a photographer and further share this astounding world with more people,’ Haebich continued. ‘I love seeing people’s curiosity and hearing their questions about the Underwater World. If winning lets me share that more, grow more and impact more people then that would be wonderful and very fulfilling.’

The next Underwater Tour and photography competition is set to commence May 13th, 2021.

Winner, Guru Award: Chelsea Haebich (Adelaide, Australia)

UTA: What was it that inspired you to take up nature photography?

CH: I came to diving somewhat later in life than most people and had never picked up a camera, but that first dive, nine years ago, under the Jetty at Rapid Bay in South Australia just blew my mind. I was inspired by the colors and the creatures. The variety and energy just astounded me.

I was so excited about what I saw and wanted to share it with anyone who would listen, but I found it so hard to convey what I was experiencing in words, so I grabbed a camera and never looked back! A little Panasonic point and shoot. Loved it. My long held fear of cameras went out the window pretty fast from there on, apart from Instructing, I hardly ever enter the water without a camera.

I feel compelled to capture what I see and feel, from the tiniest Clingfish, to the towering pylons of our local Jetties. I have always loved nature and animal interactions and now I feel inspired daily to capture that in images as best I can.

Winner, Guru Award: Chelsea Haebich (Adelaide, Australia)

UTA: How will winning the Underwater Tour Award help you moving forward?

CH: Personally, winning this award might make me stop doubting myself and have a bit more faith in my abilities. Something I struggle with for sure! Moving forward I hope it can put my work out there further and bring people and connections into my life that will help me grow as a photographer and further share this astounding world with more people.

I love seeing peoples curiosity and hearing their questions about the Underwater World. If winning lets me share that more, grow more and impact more people then that would be wonderful and very fulfilling.

Winner, Guru Award: Chelsea Haebich (Adelaide, Australia)

UTA: What do you consider your own challenges when taking photos?

CH: What do I consider my own challenges when taking photos (I was going to say something about the challenge of a permanently empty bank account, but I don’t think that is what you are looking for here in this question). Seriously, though, my challenges when taking photos is getting out of my comfort zone and experimenting more. I work a regular job full time and don’t get to dive as often as I like, so I want bang for my buck when I do.

I love to come home with new images to edit and explore and sometimes I don’t think I push myself and risk a card full of learning errors because I need to come home with something! So time would be the other challenge. I really have to push everything else aside to get the dive time I want, often neglecting other important life matters…which of course I can TOTALLY justify at the time.

Winner, Guru Award: Chelsea Haebich (Adelaide, Australia)

UTA: What is your aim when you’re taking images?

CH: My aim when taking images is to capture something about the animal or moment that makes people keep looking. With tiny creatures I love to capture the detail that often can’t see until I’m home looking at it on my computer. This draws me back to images to keep seeing detail. I really like to capture character and humor as well. Right or wrong I find many of the behaviors and habits of Marine creatures very comical and endearing. I love to capture character as it gives people something to relate to when they look at an image.

The image of the Australian Sea Lion is an example of that. The look it’s giving the camera conjures up images of peoples own puppies at home. Marine life is so often seen as cold and glassy eyed. I try and capture those personalities, or at least the personalities I see! I want people to connect and find something they love in a world they could never image themselves entering. I believe people will protect and look after things they love and understand better. So I guess my aim is connection, both for myself in the moment and for others when viewing the images.

Winner, Guru Award: Chelsea Haebich (Adelaide, Australia)

UTA: Do you have any preferred underwater subject or concept?

CH: I don’t have a preferred underwater subject or concept when I dive. Sometimes I have a goal or a shot in mind, but on the day I really like to just see what is presenting itself when I am down there. I don’t like to turn down opportunities with a critter or a shot just because I have a set goal. I really like to just let the world pass me by while I am down there and see what my eye picks up on.

I dive and set up my camera to the conditions we have here in South Australia and try to make the most of the day. Sometimes wide angle happens, but macro is more reliable here in SA. I don’t set out with any very set ideas. It’s part of what I love. I never know what I am going to come back with. It does mean you have to be on your toes with your settings and sometimes completely rethink what you are doing, but that all part of it for me. It helps me switch off.

Winner, Underwater Scenes: Pavlos Evangelidis (Brussels, Belgium)

Artist Statement: Leru Cut in Solomon Islands is one of my favorite dive sites. It goes under the island for about 100 meters at a depth up to 23 meters. It really comes alive when the sun is out and the sunrays break through the cracks but photography here can be challenging because of the extreme light conditions and the deep shadows.

Winner, Underwater Characters: Simone Caprodossi (Byron Bay, Australia)

Artist Statement: Northern Gannets fighting for a fish in Shetland Island UK.

Winner, Aquatic Abstracts: Louise Nott (Lane Cove, Australia)

Artist Statement: Pineapple Swirl, Sydney Harbour NSW.

Winner, Topside Scenes: Yung Sen Wu (Keelung City, Taiwan)

Artist Statement: These Pacific species of salmon will come to the west coast of Canada from the distant sea every autumn, return to the birthplace of the inland river through the estuary, and look for the estuary of the estuary, the temperature of the river, and the environment.

Winner, Underwater Black and White: Richard Condlyffe (Battle Creek, USA)

Artist Statement: Two Spotted Dolphins look as though they’re communicating and watching something out of shot. Bimini, Bahamas.

Winner, People’s Choice Awards: Pierre-Laurent Pablo (Nimes Languedoc, Philippines)

Artist Statement: Frog Fish hanging at Southern Leyte in Philippines.

Articles: Digital Photography Review (dpreview.com)

 
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A 40-minute video tour through the history of photography

26 Jul

Chemist, educator and photography enthusiast Andrew Szydlo recently gave an excellent video tour through the history of photography for Britain’s Royal Institution. While some of the topics may be well-worn territory for many of our readers, there should still be the opportunity to learn. Of course, if you’re a beginner, it’s a great watch for all 40-plus minutes.

With his own vintage camera collection on display, Szydlo takes us back in time to the first photographs and cameras. To understand how people tried to record their history and the world around them, we must first discuss the concept of the pinhole camera and the camera obscura effect.

Szydlo then discusses the first photographs and cameras, talks about the importance of famed photographer Henri Cartier Bresson, the advent of SLR cameras and talks about different interesting cameras in his collection. The final 10 or so minutes of the video are dedicated to Szydlo demonstrating his chemical expertise by making a photogram.

If you would like to watch Szydlo discuss a specific topic, you can click on the topics from the list below, which are timestamped links in chronological order.

  • Introduction
  • Pinhole cameras
  • The first photograph
  • The first cameras
  • Henri Cartier Bresson
  • SLR cameras
  • Other interesting cameras
  • Digital cameras
  • Demonstrating the chemistry of photograms

The above video is the first part of a two-part series from Andrew Szydlo. Next week, the Royal Institution will publish a video all about the chemistry of photography.

If you’d like to try your own hand at making a photogram at home, which is simply the art of using photosensitive materials to make a photograph without a camera, you can refer to this guide from BBC.

Articles: Digital Photography Review (dpreview.com)

 
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Go on a 4K video tour of Mars with images captured by NASA’s Mars rovers

23 Jul

ElderFox Documentaries has compiled a 4K UHD video tour of Mars using ultra-high resolution images and photo mosaics captured by NASA’s Mars rovers. It’s a stunning look at the Martian landscape and a great way to view another world nearly 34 million miles away.

The video is technically a slideshow, as there are massive technical constraints limiting NASA’s ability to record and transmit high-resolution video from Mars to earth. As NASA points out, it can take about 20 hours to transmit 250 megabits directly back to earth. There is an eight-minute window during each Martian day (sol) in which the rover can send the same 250 megabits of data to the Mars Reconnaissance Orbiter as it passes overhead. As ElderFox Documentaries notes, at those transmission speeds and considering that ‘nothing really moves on Mars,’ it makes more sense to send images back home rather than video files.

In the video above, we see images captured by three different NASA Mars rovers: Spirit, Opportunity and Curiosity. In the bottom left corner of the video tour, ElderFox has noted the Mars rover used to capture the images and the location on Mars in which they were captured.

If you want to see more of Mars, we have a lot more to show you. In March, NASA shared the highest-resolution panoramic image of Mars ever captured by its Curiosity rover. You can see a video NASA published below. In July 2017, Curiosity captured images of clouds above the Martian landscape. Earlier that year, space enthusiast Jan Fröjdman turned NASA anaglyph images into a simulated flight video using 33,000 reference points and NASA’s own depth information. You see that incredible video here.

Articles: Digital Photography Review (dpreview.com)

 
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Video: Three types of photographers, illustrated by the ‘The Grand Tour’ trio

28 Feb

During an episode in season three of The Grand Tour, hosts Jeremy Clarkson, Richard Hammond and James May take a moment to sit down and discuss the photography equipment they plan to bring to photograph wildlife in Columbia.

The exchange from the trio is right on course with what you’d expect from Jeremy, Richard and James, if you know them from their Top Gear days; the guys poke fun at three different kinds of photographers and the gear they bring along for photoshoots in a way only they can.

Richard opts for the full suite of Canon prime lenses and camera bodies, complete with strobes, filters, a ThinkTank photo belt and BlackRapid camera strap to carry it all. Jeremy, on the other hand, keeps it simple with what appears to be a Canon 5DS R attached to an EF 600mm f/4L IS II. James eschews the weight and debate by further streamlining his gear with a single Canon PowerShot G9 X Mark II.

All in all, the two-minute segment makes for a few good laughs.

Articles: Digital Photography Review (dpreview.com)

 
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Photographer Jean Fruth captures Grassroots baseball in Route 66 Tour

25 Oct

The Grassroots Baseball project aims to shine a light on the game of baseball as it is played in yards, streets, and small community fields. Away from the bright lights and huge stadiums of the major league game, the project’s co-founder, photographer and Sony Artisan Jean Fruth, has been documenting all levels of the amateur game in the US and around the world.

This summer, Jean and her team embarked on the ‘Route 66’ tour, taking in historical sights from Chicago to Santa Monica. We joined Jean as she worked with Sony’s Alpha a9, photographing the people and communities that keep grassroots baseball alive.

Grassroots Baseball – pictures by Jean Fruth

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Articles: Digital Photography Review (dpreview.com)

 
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10 Questions to Ask a Tour Operator Before Signing up for a Photography Tour

14 Jun

The post 10 Questions to Ask a Tour Operator Before Signing up for a Photography Tour appeared first on Digital Photography School. It was authored by Peter West Carey.

The company has an entrancing website and bedazzling photos. The itinerary looks all-encompassing and the testimonials seem positive. You’re excited and have your credit card ready for the deposit.

Slow down, partner.

Before you hand over your money, it’s a good idea to ask a number of questions of the photography tour operator.

Asking questions before paying for a photography tour is all about setting expectations – both yours and the operators. It’s also a chance to learn about the professionalism of the person or company you are signing up with.

Here then are 10 key questions to help you with your tour choice.

1. Do they have insurance? And what will it cover?

Protecting yourself is important with any tour, and it’s important to know what your tour operator has in place before you sign up. With the proliferation of photographers jumping to offering tours, it’s possible not all have put serious thought into insurance matters.

At the least, your operator should have insurance covering accidents during the trip – both ones they cause and ones out of their control.

The reason operators may skimp on insurance is simple – it’s expensive. And that cuts into profits. It’s also often the reason two operators who offer roughly the same itinerary will differ in price by 10-20%. Make sure you are covered before paying your deposit.

2. What is their guest to instructor ratio?

Everyone has their own ideal when it comes to instructor-to-guest ratios. Some enjoy one-on-one instruction all the time, and others prefer a small group of maybe five or six. Still, others may love the anonymity of a large 15-person group so they can do their own thing without interference.

I prefer groups no larger than six guests per instructor. This allows for some hands-on, one-on-one time. It also ensures the instructor is not being asked 5,000 questions while you wait for your chance.

Also, realize that an instructor may have a low ratio, but the over-group size might be larger, meaning they may bring in other instructors to help out. This is usually not a problem, but if you are hoping to hear directly from the lead instructor who attracted you to the tour, be aware you might not get the amount of facetime you’re expecting.

3. Is this a tour or workshop?

What’s the difference between a workshop and a photo tour? Susan Portnoy has a good comparison on her site, The Insatiable Traveler.

A tour is a chance to be guided through an area typically rich in photographic content. There is less direct hands-on instruction, moment to moment, and the subject matter can cover a large spectrum.

A workshop, by contrast, is usually more hands-on and directed to a specific goal. An example of this is a one day workshop on street photography. Your instructor will be close at hand to make all those small course corrections and critiques needed for improvement.

4. Do they have any other assignments during this trip or is this their only gig?

I’ve run across this myself while taking a tour. The instructors brought us to a scenic overlook and then POOF! Gone.

It turned out they had an assignment in that area. While they only headed off five minutes away, it was rather disconcerting to think I, and the other guests, were less important for that hour of ‘other work.’

It’s important to also realize that having other work isn’t necessarily horrible for you. However, it’s important to know about it up front, and then you can decide if it is acceptable. Most of us are okay with some deviation if we know about it in advance.

5. Will there be daily opportunities to review work?

Some people love to have constant feedback and need that on their tour. While others could not care less because their art is a personal endeavor.

If you want regular feedback, ask about it. Again, it’s about setting expectations, so you’re not disappointed when your needs aren’t being met.

Sometimes the reviews are just back-of-camera check-ins to see what you’re seeing and offer correction or encouragement. Or maybe you want an hour of the instructor’s time every three nights in front of a laptop so you can get more in-depth critiques. Either way, know before you go.

6. Why do they run tours to this location?

This is a big question that should be easy for any operator to answer. I believe the best answer is, “Because I love the area/region/country!” Often, the answer in the background is, “Because it is highly profitable or super popular.”

There’s nothing wrong with making a profit or leading tours to popular spots, but I feel it is important to know why the operator is running the tours they run. If it’s for the love of an area, you’re more likely to get hard-to-acquire information, background details, and unique locations. Experience certainly matters in the photography tour business for access to hidden experiences.

7. What is their cancelation policy?

This item is pretty straightforward. You should ask this for tours, workshops or any time you are plopping down a large sum of cash for a service. Do they offer full refunds? What is the deadline for canceling without a fee? Do they offer to reschedule if extenuating circumstances or family health are involved?

What about the operator canceling a tour? Will they try to rebook you with another, similar operator? How quickly will they offer a return of all funds?

8. What is a typical day like?

The advertisements and website you researched looked incredible! Beautiful images and exotic locations abound in that slick presentation.

But what will it really be like when you’re on the tour? Sure, no two days will be the same if you’re traveling all around. However, it is important to understand if you’ll be on a bus for five hours each day or if dinner is planned without thought to sunset timing each night. It’s often the difference between a photo tour and a regular tour.

In my mind, a photo tour should be a balance of exposure to opportunities with time to reflect and take a break. Food is also very important to keep energy up for shooting all day. If you’re always on the move, you won’t have time for photos. If your itinerary covers too much ground, you’ll see a lot of things through car or bus windows without many opportunities.

Pacing can be essential during a week or two-week long tour. If every day is packed with 18 hours of photography and instruction, you’re going to be exhausted by Day 3. Flexibility is also important so that one event taking extra time doesn’t make the rest of the day’s itinerary crumble.

9. How much instruction can you expect?

This question is also a chance to make your expectations known. If you want hand-holding the whole time, and have barely touched a camera, let the operator know so they can decide if the trip will be a good fit.

Perhaps you have a particular skill set you want to develop. Letting the operator know early will help them prepare, and both of you can work on a simple plan to help you improve during the tour. Everyone on your trip will have different aspects of photography they want to improve. Expressing your desires will help all involved.

10. Do they handle all logistics or work with local operators?

This is another question that has no right or wrong answer, but it’s important to know in setting your expectations. Some operators, to increase profits or because they desire more control, will want to book all the hotels, events, admissions, etc., themselves. This can also lead to a lower cost for guests. But it can also lead to the operator taking more time away from instructing.

On the other hand, an operator who hires a local guide or tour company should have more time for instructing. It can also help to have a local when things go sideways, and a deep understanding of local customs and protocol is essential. It allows for a division of labor; the local guide can go ahead and check the group into a hotel and have rooms ready while the group continues to soak up a particularly beautiful sunset.

Conclusion

Many of the questions I posed here have no right or wrong answer. However, I feel they are all important to ask in setting expectations before investing time and money in a tour. Asking them can also help expose a guide who is not organized or ready to take a group on a trip due to lack of diligence.

Can you think of other important questions to ask? We’d love to hear them in the comments section below.

 

photography tour questions

The post 10 Questions to Ask a Tour Operator Before Signing up for a Photography Tour appeared first on Digital Photography School. It was authored by Peter West Carey.


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CP+ 2019: We tour Panasonic’s Yamagata lens factory

09 Apr

Yamagata: a long way from Osaka

Left to Right; Kiyokazu Ishiyama, Kuniko Katagiri, Kimihiro Wakamizu, Toshiaki Takano and Takemi Oketa

The city of Tend? sits on a wide plain in the Yamagata prefecture of North Eastern Japan. It’s a city of just 61,000 people and, with snow-topped peaks visible in nearly every direction, feels even more distant from Panasonic’s headquarters in industrial Osaka than the 600km (370 miles) that actually separate them.

But this quiet spot, hemmed-in by the Iide, ?u and Asahi mountain ranges, plays an essential role in the company’s camera business, as it’s home to Panasonic’s Yamagata lens factory.

It makes other things, too, but we visited because it’s responsible for lens units for compact cameras, interchangeable lenses, and lens elements for both Panasonic and other (un-named) customers. The factory was founded in 1982 and has been making lenses since 1987, giving it 35 years of experience in the field. But, the company maintains, it’s still constantly looking for ways to improve.

All of the images in this article were supplied by Panasonic and are used with permission.

All the usual processes

Lens elements about to be coated by vapor deposition

The factory can take rough glass blanks or the raw materials for plastic elements in at one end and do all the processing and assembly needed to make a complete lens.

This sees glass elements ground and polished to shape. These elements then have their edges ground off, with careful attention given to ensuring the optical center of the lens is perfectly central within the element. The lenses are then coated, by vapor deposition, to give them the anti-reflective and water/oil resistant coating they might need, before having their edges blacked, to prevent internal reflections.

These lenses are then either installed into lens barrels (also made at the factory) or sent elsewhere. Although the factory can build a lens from start to finish, it also creates individual lens elements that are sent off to other manufacturers, both for Panasonic and other companies’ products.

Precision construction and checking

Some lenses have alignment adjusted by machine, others are fine-tuned manually

For the lenses that are made in Yamagata, the assembly process is pretty involved. The word that came up most often during my visit was the word ‘precision,’ and Panasonic is clearly proud of its ability both to assemble lenses with high precision and to measure and confirm that precision.

The example I was shown was the Panasonic Leica DG Vario-Elmar 100-400mm F4.0-6.3 ASPH Power OIS. It’s a fairly complex lens with 20 elements in five groups. The different groups are assembled and then introduced into the lens barrel.

Every group has to be made and positioned with high precision, but it’s impossible to make the entire lens with perfect precision. As a result, the lens is designed so that the groups that are most sensitive to tilt and centering (the ones that have the biggest effect on image quality) are adjustable.

Adjusting the 100-400mm F4.0-6.3

Three of the five groups that make up the 100-400mm F4.0-6.3 ASPH are adjusted during the manufacturing process

In the case of the 100-400mm, there are three groups that are designed to be adjusted.

The third group is adjusted for tilt and for centering within the barrel. With this done, the rest of the lens is assembled and spacing between groups one and two is adjusted. Finally, the first group is adjusted for tilt and centering.

The company says the lenses are designed to be centered to within 5?m, but the factory actually achieves less than 3?m. Tilt is supposed to be corrected to within 3/60th of a degree but the accuracy actually achieved is less than 1/60th of a degree.

Individual checks

Each lens is checked for any unexpected mechanical noise

Every lens is then adjusted for back-focus and tracking, then subjected to MTF measurements. Each unit is also checked to ensure its gyro sensors are correctly calibrated and that there’s nothing generating any unexpected mechanical noise.

Every single lens is checked, they say, and lenses are then picked at random for more extensive testing as part of the quality control process.

Aspherical expertise

Aspherical elements are used to offer different optical corrections at different points across its surface

But the site’s main area of expertise, and the reason other brands come to it for lenses and elements, relates to aspherical lens elements. Aspherical lenses are those whose surfaces vary in shape across their surface, such that they can’t be described by a sections of a sphere.

They’re are used to correct a phenomenon known as ‘spherical aberration,’ where rays of light passing through the edge of a lens are effectively focused at a different distance to those passing through the center of the lens. Adding aspherical lenses to a design can replace the need for multiple elements, which can help make the lens as a whole smaller, lighter, cheaper or simply better optically corrected.

The role of the die: too important to be left to chance

Aspheric lenses, whether plastic or glass, need to be re-shaped using precision dies or molds

The key to creating an aspherical lens element, whether its glass or plastic, is the ability to precisely form the complex shape of the element. And a key part of this is creating a die: the shaped tool that presses the plastic or glass into the correct shape. The precision of the shape of these dies is essential to ensure the resulting lens element has the correct optical properties.

The factory has capacity to make around 400 dies per month, working 24 hours in two shifts. These are made from very hard metal and require high pressures for shaping them.

The molds for glass elements can be used to shape between 500 and 1500 units before they need replacing. The molds for injection-molded plastics lenses will last for around 10,000 elements before it needs replacing. The company says it takes around five weeks to go from a design to having a working mold, while the molds for glass take around 8 weeks.

Expertise + experience

Even the relatively modest 14-45mm F3.5-5.6mm Micro Four Thirds kit zoom uses an aspherical element in its design (one of a pair of elements cemented together near the very right of this image)

This expertise has been developed over the company’s many years experience of making aspherics. For instance, its work making both glass and plastic lenses means this knowledge can be worked-in at the design stage.

Panasonic says having these expertise within the company is central to the development of new products: the factory communicates with the design team on a regular basis. During the product development process, the factory will recommend materials and manufacturing processes that the design team then takes into account when coming up with a final design. This sharing of knowledge ensures the products can take full advantage of what it’s possible to repeatably produce, using its molding technology, assembly and high-precision evaluation.

The factory once received a request for a very small compact camera, which required a very thin lens. The factory worked with designers and engineers to achieve a lens element with 0.3mm thickness: the thinnest aspherical lens element in the market at that time.

Process improvement

Panasonic’s expert polishers can refine the surface of a molding die from a roughness of 50nm down to 20nm

But, in addition to building up experience, Panasonic also takes the Kaizen approach to continuous process improvement: constantly looking, and looking to its staff, for ways to improve the way it works.

This focus on improvement has helped it refine the production quality of its aspherical lenses.

Press releases regularly talk about the number of aperture blades and their shape as the way of ensuring better bokeh, but all they do is define how circular the bokeh is. The smoothness of the lens elements also has a vital role to play: any imperfections in the lens surface can result in an onion-ring pattern appearing in the bokeh.

Panasonic found surface smoothness of the final lenses could be improved if the dies used to shape them are coated by vapor deposition (the same process used to coat lenses).

Meanwhile, the dies used for glass molding (which are subjected to much greater temperatures and forces), can be improved by hand-polishing. The factory’s ten trained polishers can take a die with 50nm roughness and take it to 20nm, again, improving the bokeh performance.

In perfect shape

Panasonic has developed its own machine to assess the shape of the lens to within 100nm

A machine developed in-house, known as the UA3P (Ultra accurate 3D profilometer) checks the shape: the shape of the lens can be created to within 100nm of the intended shape.

The company says that making the small, high-resolving-power lens elements for compact cameras was very valuable for developing the facilities, technologies and skills needed to build lenses for larger cameras (Micro Four Thirds and full frame). However, some of the specific challenges are different: temperature control becomes even more critical when building lenses at larger scales.

The lens has to be cooled very evenly, to ensure both its shape and the optical properties of its glass remain consistent across the element. This requires the development of a new machine with more precise temperature control.

Looking beyond lenses, and beyond Panasonic

The factory has invested in new machines to deal with the challenges of making elements for its S-series lenses

The factor I found most interesting was how it’s responding to a changing market. The factory was first established to make magnetic tape heads for video recorders: something that’s much less in demand than it was in 1982.

Now, as the camera market declines, Yamagata is looking for ways to adapt to market demand again, and has started making lens modules for automotive sensors and the complex mirrors needed to project a head-up display (HUD) image onto a car’s windscreen.

Even on the lens side, the demands of supporting Panasonic’s interchangeable lens business is very different to creating vast numbers of the complex lenses needed for its travel zoom compacts.

Not all Panasonic lenses are made at Yamagata and not all lenses made at Yamagata are for Panasonic

The move to making fewer, but more challenging lenses has prompted a lot of investment in new machinery. Where previously the factory had a few machines performing the same process thousands of times, it now has large numbers of machines designed to create fewer elements but with even higher precision. Interestingly, although the factory can manufacture most of the components for a complete lens, not all of the company’s lenses are built in Yamagata.

Having been rushed through the factory, there was one area we weren’t allowed to visit. This is essentially a mirror-image of the areas I was shown, but all working for another, unspecified client. Something to consider, next time you see the phrase ‘Made in Japan’ on a lens you weren’t expecting to see it on.

Articles: Digital Photography Review (dpreview.com)

 
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From F to Z: we tour Nikon’s Sendai factory

23 Sep

We tour Nikon’s Sendai factory

Covering almost 27,000 square meters of floor space, Nikon’s Sendai factory in the T?hoku region North of Japan has been churning out cameras and lenses since 1971. I had the opportunity recently to visit Sendai during events to mark the launch of Nikon’s new Z mount.

This was my second visit to the Sendai facility, and while much has changed since my first trip back in 2007, Nikon’s commitment to security at the factory has not. None of the journalists present on our tour were permitted to take photographs or notes of any kind, and all of the images in this article were supplied – without captions – by Nikon.

As such, you might find that my descriptions of the processes shown in these images are less specific than some of our previous factory tours, but I hope you find this article interesting and illuminating nonetheless.

We tour Nikon’s Sendai factory

Nikon’s Sendai factory opened in 1971, and aside from a brief three-week interruption caused by the earthquake of 2011, it has been operational ever since. Currently home to 352 employees, this facility is where Nikon’s pro-grade D5 is made, along with the new Z7 and the F6: Nikon’s professional film SLR.

We tour Nikon’s Sendai factory

At the heart of any interchangeable lens camera is the mount. Nikon makes body and lens flanges for both the F and Z mount at Sendai, from brass and stainless steel. While professional-grade ILCs (D5/D850/Z7) utilize stainless steel for their mounts for maximum strength, Nikon’s enthusiast range (D500 and below) use brass. Brass is softer and easier to machine than steel, but deforms more easily. This makes it risky for the Z mount, with its short flange-back distance of only 16mm.

On the lens side, Nikon’s low-end consumer zooms use plastic mounts, and all of the rest employ brass.

We tour Nikon’s Sendai factory

After being drilled and milled by automated CNC machines, the mounts are checked. This image shows a new stainless steel Z mount, which features a 55mm inner diameter – much wider than the 1950s-era F-mount, and more able to accommodate ultra wide-aperture lenses. Despite the arrival of the Z-mount, Nikon is at pains to stress that the F-mount isn’t going anywhere, with one executive describing F and Z to me as “two wheels running our business”.

We tour Nikon’s Sendai factory

These are the rear shells of Nikon’s new Z7 – Nikon’s first high-end mirrorless interchangeable lens camera, which is being manufactured here alongside the D5. The Z6 is a little bit further out, and when I visited Sendai last month it had not yet entered mass-production.

We tour Nikon’s Sendai factory

New technologies call for new manufacturing processes, and while much inside the Sendai facility line looked familiar from my last visit, the Z7’s assembly line is very different from the traditional ‘cell’ manufacturing layout of the past.

Previously, an individual worker might complete a limited number of steps (or sometimes just a single step) before passing the camera along to the next of many ‘stations’. These days, a single technician might work on a single component or camera chassis for some time, performing a series of complex steps in parallel with their co-workers before passing it on down the line.

We tour Nikon’s Sendai factory

The technicians’ lives are made easier by new custom jigs, which hold the Z7 chassis securely and allow the camera to be quickly rotated in order for sub-assemblies to be attached to either side. This is quicker (and probably considerably more comfortable over hundreds of actions) than the worker having to rotate the camera in her hands.

Anyone familiar with ‘kaisen’ concepts of continuous process optimization will recognize this focus on improving ergonomics as a way of increasing productivity and consistency.

We tour Nikon’s Sendai factory

Not shown in these pictures is a very neat automatic screw-dispenser, which guides technicians through the type and number of screws required for each step, and the order in which they should be attached. The screws are dispensed from a series of overhead trays and grabbed by the technician using magnetic screwdrivers. LED displays count down the required screws for each sub-process, so that there’s no risk of missing a step.

We tour Nikon’s Sendai factory

This is a stack of printed circuit boards, awaiting incorporation into Z7 bodies. Not shown in any of these images is one of the most visually interesting element of the Z7’s assembly line: large ‘CARL’ (pronounced ‘Carol’) assembly robots, which take care of a lot of the ultra high-precision assembly steps inside sealed assembly units.

CARL stands for ‘computer automated robotic assembly’ and the CARLs themselves look like scaled-down versions of the large robotic arms used in modern car manufacturing. Capable of swapping their own tool heads multiple times when working on a single assembly, the CARLs move quickly and with extraordinary precision – which is precisely the point.

We tour Nikon’s Sendai factory

Inside the Z7 is a newly-developed, Nikon-designed BSI-CMOS sensor that is closely related to the 47MP chip used in the D850. We didn’t see this stage of assembly – presumably because of the more stringent environmental hygiene requirements of any space in which sensor components are processed.

We tour Nikon’s Sendai factory

A sensor and VR unit destined for the Z7, combined on a custom jig.

We tour Nikon’s Sendai factory

The Z7’s shutters are manufactured in-house, and each shutter unit is tested and adjusted individually prior to being incorporated into the camera bodies. Nikon’s shutter testing procedure is an evolution of processes originally designed for the high-precision shutter used in the F4, released thirty years ago.

We tour Nikon’s Sendai factory

The Z7’s high-resolution viewfinder wasn’t even dreamt of when the F4 was released. Here, several EVF units sit in a tray awaiting incorporation into Z7 camera bodies.

We tour Nikon’s Sendai factory

The Z7’s EVF is excellent, thanks in part to the unusual complexity of its optics. The optical unit contains multiple lenses including an aspherical element, and the viewfinder assembly, centering and checking processes that I saw in Sendai were extremely similar to those I’ve seen in modern lens factories.

We tour Nikon’s Sendai factory

Here, physically complete Z7 bodies sit on a carousel awaiting final QC. Once firmware is loaded into the physically-complete cameras, technicians check test images and video footage on every Z7 using the ‘load settings interface’, to make sure that everything plays back as it should on-screen and over HDMI.

Some checks – like that one – are performed on every single Z7 that leaves Sendai, while others (such as environmental or durability tests which might involve deliberately testing parts to destruction) are performed on random samples from the line. Nikon told us that each Z7 is checked more than 100 times during assembly.

We tour Nikon’s Sendai factory

A completed Z7 undergoes a manual check, prior to final testing. As you may have gathered, a lot of manual tests and checks are carried out at Sendai but roughly 76% of the Z7’s manufacturing is automated, compared to 55% for the D5.

We tour Nikon’s Sendai factory

The final testing process (which again, unfortunately, we can’t show you) is one of the most space-age looking parts of the entire Z7 manufacturing line. Finished cameras are placed in carrier frames and ingested into a very large, long, sealed case inside of which are several (Dave Etchells counted 16 and I have no reason to doubt him) mounts on a large panel.

Robotic arms pick up Z7 bodies and present them to the mounts, after which an unspecified number of tests are run, for undisclosed reasons – possibly color response calibration and/or exposure meter baselining. Once the tests are complete, the robotic arms pluck the Z7s from the mounts and out they come, ready to be boxed and shipped.

We tour Nikon’s Sendai factory

I wish I could show you a little more of Nikon’s Sendai factory, but Nikon is understandably very protective over the proprietary processes involved in manufacturing its high-end cameras and lenses. I’m more than happy to respect the company’s wishes here, in exchange for a rare chance to once more see inside the facility.

When I last visited Nikon in Sendai 11 years ago the then-new D3 and D300 were coming off the production lines, but the Z7 is a different beast altogether, and requires a different approach to manufacturing. Despite the increased amount of automation involved in creating the Z7, I was impressed by the sheer number of QC steps that Nikon has inserted into the camera’s assembly. Anyone contemplating investing thousands of dollars into a new camera must be reassured to know that it’s been checked more than 100 times before even making it out of the factory.

For another, very detailed description of our visit to Nikon’s Sendai facilities, I recommend Dave Etchells’ writeup over at imaging-resource.com.

Check out our other recent factory tour articles

Articles: Digital Photography Review (dpreview.com)

 
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NYC photo tour helicopter crashes in the East River, claiming five lives

13 Mar

A photo tour helicopter crashed into New York City’s East River on Sunday, claiming the lives of the five passengers who were onboard. The helicopter was owned and operated by New Jersey-based Liberty Helicopters as part of a doors-off photo tour that allows passengers to take aerial images of the city.

According to the New York Times, the tragedy was caused by engine failure. The helicopter’s pilot, Richard Vance, made an emergency call shortly after taking off, later telling investigators that the fuel shut-off switch may have been accidentally hit by a passenger or some onboard equipment.

Vance reportedly aimed toward the river as an emergency landing site to avoid crashing in Manhattan; however, after hitting the water, the helicopter’s inflatable pontoons were unable to keep the chopper upright. The helicopter quickly capsized, and though Vance was able to escape and scream for help, the passengers were unable to cut themselves loose from the heavy-duty harnesses that are used as part of these doors-off tour.

Firefighter and police divers worked as quickly as they could against 5 mph currents to try and free the passengers, but they were not able to rescue any of them in time.

The tragedy highlights concerns about marketing helicopter photo tours to tourists. These doors-off tours require strapping passengers into the helicopter using heavy-duty harnesses, equipping them with only a knife to cut themselves free in the event of a crash. And while all passengers must watch a short safety video, this is hardly adequate training to deal with an actual emergency.

According to the Times, the passengers on this helicopter tour were shown a 10-minute safety video about using the knife to escape the harnesses; however, the video didn’t include instructions on cutting through nylon ties during a water landing. Critics have long called on officials to restrict helicopter traffic over Manhattan, but the latest incident has also called into question whether the doors-off photo tourism industry should face greater regulation.

An investigation into the crash, including why the helicopter’s inflatable pontoons failed to prevent the vehicle from sinking, is still underway.

Articles: Digital Photography Review (dpreview.com)

 
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