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Moment Pro Camera for Android discontinued over platform difficulties

03 Mar

Moment has revealed it’s discontinued the Android version of its Pro Camera mobile app. The reason, according to a statement shared on Moment’s help website, is the difficulty involved in supporting a wide variety of Android devices from different manufacturers, otherwise referred to as fragmentation.

A number of issues compelled Moment to discontinue Pro Camera for Android, the company said in a statement. ‘The short is that phone makers like to create their own flavor of Android, each with different amounts of access to select camera features,’ Moment said. ‘The result has been a random compatibility list where each phone has different features in the app by phone model.’

Moment explains that it repeatedly asked phone manufacturers to make their camera features available to the developer and to share the list of the changes they made to the devices. On top of that, each new Android update released by these companies ‘breaks these custom modifications,’ making things more difficult for developers.

Ultimately, Moment says that it does not have ‘the engineering bandwidth’ to continue supporting this app, but that it will continue to make it available in the Google Play Store, where it is sold for $ 4. The app currently has a low rating of 2.4 out of 5 stars, with users complaining about bugs and missing features.

Articles: Digital Photography Review (dpreview.com)

 
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Coronavirus: Whatever happens next, COVID-19 is already having an effect on the photo industry

03 Mar

Coronaviruses are a large family of viruses that cause illnesses ranging from the common cold to severe acute respiratory illnesses such as Middle East Respiratory Syndrome (MERS-CoV) and Severe Acute Respiratory Syndrome (SARS-CoV).

In December 2019, doctors in Wuhan, China, started to identify cases of what looked like a new form of coronavirus, called SARS-CoV-2. The disease caused by SARS-CoV-2 has since been given the official name COVID-19. Local quarantines were put into place, but you know what happened next: COVID-19 has spread across the globe, with more than 87,000 confirmed cases as of Monday March 2nd, 2020.

So why is a new illness – which has killed far fewer people than normal strains of flu in an average year – being taken so seriously?

‘An economic pandemic’

The medical risks of COVID-19 are still being assessed, and are beyond the scope of this article, but inevitably, much of COVID-19’s impact so far has been economic.

The economic impact is here, and it’s very real. Recent record falls in stock markets all over the world are a clear indicator of what one analyst called an ‘economic pandemic’,1 which reflects a growing worry that markets could be badly hit by the consequences of what is now a global problem.

Last month, as a result of COVID-19, Chinese manufacturing fell to a record low

But first, to China – because China is important. In 2018, China accounted for about 16% of the global economy, and about 28% of global manufacturing output. And last month, as a result of a loss of output caused by COVID-19, Chinese manufacturing fell to a record low.2

A disruption to iPhone production in China was enough for Apple to issue warnings about revenue this quarter.

‘Chinese manufacturing’ encompasses everything from cars to smartphones, not to mention the myriad of tiny components that end up inside virtually all consumer electronic devices. So when factories in China shut down, that creates a problem. Around five million jobs in China rely on Apple device manufacturing alone, and the company has already warned that it will miss revenue goals as a result of the outbreak.3 It is estimated that up to 760 million people in China are currently subject to some kind of travel restriction. For context, that’s more than double the entire population of the USA.

Effect of disruption in China on consumer digital imaging industry

It makes sense that a major drop in production of iPhones would affect Apple’s bottom line. The company’s Zhengdou facility is estimated to churn out up to 500,000 of them a day,4 and the company sells about one hundred times that number in a good quarter. That’s a rate of production – not to mention sales – far in excess of any digital camera, but in the photo industry, too, the effect of the COVID-19 outbreak is being felt.

To take just one example, after closing completely for a time, Fujifilm’s facility in China re-opened in mid-February but has been operating at reduced capacity since then. This has caused disruption to the production of its popular X-T30 and X-T3 models, and the company cannot confirm when it will be able to ship the new X-T4.

It’s not just Fujifilm. Most consumer digital imaging (DI) companies manufacture some of their products in China, and are now feeling the effects of industrial disruption inside the country.

With the ever-changing situation on the ground […] it has proven difficult for head offices in Japan to get a clear picture of what’s actually going on in China

In private conversations with representatives from several imaging companies (who asked not to be quoted directly) the words I’m hearing most often are all the ‘un’s – ‘unknown’, ‘uncertain’, and perhaps most frequently, ‘unclear’.

Right now, it seems that some, if not all of those camera and lens companies that rely on Chinese factories do not even know for certain how much manufacturing capacity they currently have at their disposal. With the ever-changing situation on the ground, rolling quarantines and restrictions on local travel within the country, it has proven difficult for head offices in Japan to get a clear picture of what’s actually going on in China.

Everyone that I spoke to expressed the same hope: that the long-term impact will be limited, and things will become clearer in the coming weeks. But more than two months after the virus was first reported, it’s obvious that even to those on the inside, a lot is still unknown, much is uncertain, and many things remain unclear.

The X-T4 is Fujifilm’s newest high-end mirrorless ILC. Manufactured in factories in China and Japan, it is due to ship next month, but this may change.

Japanese outsourcing to China

Japanese companies started moving manufacturing to China en masse starting in the late 1980s. The first trigger for this change was the so-called ‘Plaza Accord’ of 1985. The Plaza Accord was an agreement between France, West Germany, Japan, the United States and the United Kingdom to deprecate the US Dollar against the Japanese Yen and the German Deutsche Mark. This had the desired effect of making US exports cheaper, and created a period of growth in Japan known as the ‘Bubble Economy’.

Unfortunately, following government attempts to cool the economy down, the bubble burst and in the 90s Japan entered a protracted period of deflation and economic stagnation, known as the ‘Lost Decade’. A series of subsequent domestic economic crises, culminating in the global financial crash of 2008, led many Japanese companies to move factories to China during this time period, where production costs were lower.

Some camera brands actually don’t have a presence in China at all

By the early 2010s however, China’s economy was starting to grow rapidly and the cost of producing goods in China went up, making outsourced manufacturing less attractive.

This led to Japanese companies adopting what was called a ‘China plus one’ strategy, opening additional factories in Southeast Asia, where production was cheaper. To take Fujifilm again as an example, it has facilities in China and Japan, but in recent years has also opened sites in the Philippines. Similarly, Canon and Nikon also operate factories in Southeast Asia, in addition to China and Japan.

Some camera brands actually don’t have a significant presence in China at all. For example, Olympus’s main manufacturing base these days is in Vietnam.

The problem with global supply chains

You might assume that as a result, these manufacturers should be insulated. However, even companies with facilities all over the world may still be affected by the closure of Chinese factories and the disruption of regular trade between China to Japan. That’s because China is the world’s biggest exporter, and the source of so many ‘intermediate goods’ – component parts or sub-assemblies which go into finished products.5

With an estimated 3 million+ shipping containers currently stuck in China, not going anywhere, a lot of companies who rely on the products and components inside them are bound to be affected.

As I was preparing this article, Canon announced that it is suspending operation at five of its factories in Japan, making SLR cameras, lenses and surveillance equipment, due to a shortage of parts from China. Ricoh has delayed the planned re-opening of some of its Japanese manufacturing lines for the same reason.6

Chances are, most products labeled ‘made in Japan’ still contain plenty of parts and sub-assemblies that weren’t. As Roger Cicala of Lensrentals told me in conversation this weekend, with only a couple of exceptions ‘there really is no “made in…” anywhere, anymore’.

Sigma makes all of its cameras and lenses in Japan, but some of its Japanese suppliers still source components from China. See our recent Sigma factory tour

One of those exceptions is Sigma. As readers of our regular in-depth interviews will know, Sigma is unusual among Japanese DI companies in that it makes all of its products inside Japan. As such, according to CEO Kazuto Yamaki, issues in China are expected to have ‘relatively little impact’ on its business ‘for the time being’. However, some of Sigma’s Japanese suppliers do have factories in China, from which some component parts originate. Mr. Yamaki told me that his team is currently investigating alternative sources for these parts if it becomes necessary, and hopes that the situation will become clearer ‘in one to two weeks’.

The hope is that things improve, capacity recovers soon, and existing stockpiles of components will be adequate to avoid disruption

It’s impossible to tell what the long-term effect of continued interruption to Chinese industrial output to the camera industry will be. It’s estimated that if Chinese manufacturing capacity remains significantly reduced for another month, through the first quarter of 2020, Japanese firms (along with those in South Korea) will be hit hard.7

The hope of course is that things improve, capacity recovers soon, and existing stockpiles of components will be adequate to avoid too much disruption in the meantime. Of course there remains the risk that if COVID-19 continues to spread to other countries – particularly in Southeast Asia – we may yet see factory closures elsewhere in the world.

Wherever it happens, an interruption in the supply chain for consumer goods is not the only potential consequence of COVID-19 in the short to medium-term. Another worry (in fact the main worry for some of the representatives I spoke to) is the long-term effect of the outbreak on the global economy, and in the short term on the Chinese economy – and Chinese consumer spending in particular.

What happens when Chinese consumers stop buying cameras?

Manufacturing represents around 30% of China’s total economic output, and as we’ve seen, manufacturing is down. This presents a major risk to the country’s economy, which happens to be very bad news for Japan. In recent years, following a series of reforms, China has become a major consumer of goods and services. The growth of China’s middle class has increased the country’s appetite for high-end consumer and industrial goods from Japan – helped by a relatively weak Yen.8

By 2012 Japan was China’s largest trading partner in terms of exports, and in 2018, 9.2% of imports (by value in US dollars) into China came from Japan. As such, Japan’s economy is particularly vulnerable to events in China.9

Even before the emergence of COVID-19, Japanese firms were already under stress from the effects of US tariffs on China. A representative of Mitsubishi UFJ Financial Group described the US-China trade war last year as “the biggest risk to Japan’s economy” 10, and nine months on, the virus certainly isn’t helping. In January 2020, the total value of Japan’s exports to China dropped sharply, by 36%.

The loss of revenue from sales within China, and from Chinese tourists shopping in camera stores around the world, will be felt hard

China is a major market these days for high-end cameras and lenses. In an industry where growth is scarce, China is one of the few places around the world where manufacturers have seen a significant increase in sales. We know that it’s a particularly important market for Fujifilm’s high-end GFX line for example, and also for Leica (second to the US), but the Chinese market is important to every manufacturer, across the whole industry. The loss of revenue from sales within China, and from Chinese tourists shopping in camera stores around the world, will be felt hard.

According to one senior industry figure I spoke to, the hope among manufacturers is that matters improve by June, which is ‘peak season’ in the Chinese market. Meanwhile, partially as a result of restrictions on travel for Chinese attendees, several major international trade shows have been canceled, including CP+, which was scheduled to take place last week in Yokohama. That’s where I was meant to be right now, but instead I’m at my desk at home in Seattle, writing this article.

The CP+ trade show takes place every spring in Yokohama, Japan. This year, days before it was meant to open, organizers canceled the show citing concerns over public health in the midst of the COVID-19 outbreak.

What next?

So what happens next? Unfortunately, we don’t know. At the very least, it’s reasonable to expect that some planned releases may be delayed, backorders might pile up for some products, and we may see shipping dates slip for others. Hopefully that’ll be the worst of it.

Update: It’s already happening. Several lighting and bag manufacturers with factories in China have alerted customers to expected delays in order fulfillment, and this weekend Peak Design emailed backers of its new travel tripod to warn that shipping is likely to slip to ‘early to mid-April’.

Whatever happens from here on out, everyone I spoke to for this article stressed that right now the situation is being monitored very closely and taken very seriously. Plans are being put in place, and everyone’s first priority is the health and safety of their employees across the world. Roger Cicala told me that Lensrentals, based in Tennessee, is taking steps to get key employees set up to work from home, just in case of a local outbreak. I’m sure that similar plans are being made across the industry, and across the world.

Crises like these serve as a reminder of how small the world is

It’s worth remembering that the camera industry has proven remarkably resilient. None of us will soon forget the horror of the 2011 earthquake and tsunami, for example, which disrupted production in Japan for many months (despite an incredible collective act of self-sacrifice on the part of workers, which saw many damaged factories returned to limited operation within days). If nothing else, crises like these serve as a reminder of how small the world is, how lucky we are when things go right, and how much we rely on our friends and partners all over the globe when they go wrong. We are all in this together.

A note on sources, and thanks

While researching this article I spoke to representatives of several major manufacturers in the consumer digital imaging space, both in Japan and the US. Most preferred not to be quoted directly, in order that they could speak freely. I would like to thank all of them, but especially Kazuto Yamaki of Sigma and Roger Cicala of Lensrentals.


  1. PBS: ‘Why the economic impact of COVID-19 might outlast the outbreak’
  2. BBC News: ‘Chinese manufacturing hits record low amid coronavirus outbreak’
  3. AXIOS: ‘Apple will miss quarterly earnings estimates due to coronavirus’
  4. The New York Times: ‘An iPhone’s Journey, From the Factory Floor to the Retail Store’
  5. Carnegieendowment.com: ‘The Economic Fallout of the Coronavirus in Southeast Asia’
  6. Nikkei.com: ‘Canon suspends production at five Kyushu plants with new Corona’ (in Japanese)
  7. See 5, above
  8. 9., 10., The New York Times: ‘Japan Stumbles as China’s Growth Engine Slows’

Articles: Digital Photography Review (dpreview.com)

 
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Video: Lensrentals announces it’s hit the 1,000,000 order milestone, shares the history of the company

03 Mar

Lensrentals has announced it’s shipped its one millionth order, an incredible feat that took just 13 years to achieve after Lensrentals founder, Roger Cicala, decided to rent out gear to sustain his photography hobby.

To celebrate the occasion, Lensrentals shared the above video, an accompanying blog post and shared a 45-minute podcast episode (Apple Podcasts, Spotify, Google Podcasts, YouTube) that goes into the history of the company and the work it took to hit the monumental milestone.

If you can find the time, be sure to read, watch and listen to the history of Lensrentals to see how Roger and his team have crafted an incredible success story in an industry that continues to struggle. And, of course, from all of us here at DPReview, congratulations to Roger and team for the monumental achievement. We look forward to many more humor-riddled teardowns.

Articles: Digital Photography Review (dpreview.com)

 
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JOBY launches new lineup of accessories for mobile content creators

03 Mar

JOBY has launched a new line of accessories for mobile content creators, including products for the latest Pixel and iPhone smartphones. The lineup features six new products, including variants for different mobile phone models, with prices ranging from $ 40 to $ 200.

The most notable of the new products is the GorillaPod Mobile Vlogging Kit, a bundle that includes three products: the Beamo Mini LED with Bluetooth control, GorillaPod Mobile Rig and Wavo Mobile microphone. The kit includes a GripTight PRO 2 smartphone mount for shooting in portrait and landscape modes. The bundle is available now for $ 200.

The Beamo Mini LED, a compact and portable 1,000 lumens LED light, is available as a standalone accessory for $ 69.95; it includes double cold shoe mounts, plus it is rugged and waterproof. Joining this is the Beamo LED, which is brighter with 1,500 lumens and more expensive at $ 89.95.

Likewise, creators can order the Wavo Mobile, a portable, lightweight microphone designed for use with mirrorless cameras and smartphones. This model features a cold shoe mount, Rycote shock mount and included TRS and TRRS cables. The model is available now for $ 39.95. Joining the Wavo Mobile is the Wavo, a model with a wider frequency response, larger size and more durable construction. This model is available now for $ 79.95.

Finally, JOBY’s new lineup features StandPoint, a smartphone case with three built-in tripod legs connected with a hinge. When not in use, these legs can be folded into the case; when needed, the user can unfold them to prop up the phone for filming or quickly capturing shots. The model is available for the Pixel 4, Pixel 4 XL, iPhone 11 and iPhone 11 Pro for $ 39.95 each.

Articles: Digital Photography Review (dpreview.com)

 
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Slideshow: International Landscape Photographer of the Year winners and finalists

02 Mar

Slideshow: International Landscape Photographer of the Year winners and finalists

Nearly 1,000 professional and amateur photographers from around the world submitted over 3,400 images to the 6th annual International Landscape Photographer of the Year (ILPOTY) competition. From that pool of entries, 101 were recognized as Top Photographs. Oleg Ershov from Moscow, Russia, is the overall winner.

Ershov started out shooting multi-row, HDR, and vertical panoramas. Inspired by prominent landscape photographers he met, including Joe Cornish, David Ward, Rafael Rojas, and Bruce Percy, he began experimenting more. ‘I didn’t try to copy their styles, rather I took from them what I liked the best and then gradually, I felt that my skills were improving and that my work was becoming more serious.’

He now enjoys vertical landscapes, as evidenced in all of his winning photographs of Iceland and England. Ershov’s series impressed the panel of judges the most. ‘My passion for landscape photography is based on a love of nature, especially in places where human intervention is not yet visible. Just being on location at dawn and watching the start of a new day gives me tremendous vitality,’ says Ershov, an amateur photographer whose work at a food distribution company funds his passion.

Competition organizers chose the overall winner based on at least four strong photographs rather than a single image. This way, they could determine if a photographer’s vision and skills were consistent. ‘Each year, the Awards have two main prizes. The Photograph of the Year is awarded to the best single landscape photograph, while to be named International Landscape Photographer of the Year requires a set of four images. This is our main prize, acknowledging the additional skill and artistry required to produce a portfolio of landscape photographs,’ says Pete Eastway – the Chairman of Judges.

All the details of the Top 101 photographs can be viewed by visiting the ILPOTY website and download the free eBook embedded halfway down the main page.

ILPOTY, 2019 — First Place: ‘Fleswick Bay, England’ by Oleg Ershov (Russian Federation)/International Landscape Photographer of the Year

Location: Fleswick Bay, England

About starting out: ‘My interest for photography began in 2007 when I bought my first DSLR camera and signed up for a photo tour to the Southwest USA. I was struck by the tremendous variety of landscapes, colors and textures found in nature. Since then, I spend all my free time improving my skills and knowledge in landscape photography. I usually spend six weeks a year on photo trips, sometimes in groups, often on my own.’

About this photo: A lone pebble sits in the sand along the popular ‘smugglers cove’ in Fleswick Bay.

ILPOTY, 2019 — First Place: ‘Bláfellsá, Iceland’ by Oleg Ershov (Russian Federation)/International Landscape Photographer of the Year

Location: Bláfellsá, Iceland

About the equipment: ‘I have always used full-frame Canon EOS 5D-series cameras. Currently it is the Canon EOS 5DSR because the high number of megapixels is very important for landscape photography and for me personally.

‘Regarding lenses, I started with the holy trinity of Canon zooms (16-35mm, 24-70mm and 70-200mm). They were convenient, universal and generally accepted. Then there was a period when I was fascinated with tilt-shift lenses (Canon’s 17mm and 24mm and Schneider- Kreuznach’s 50mm and 90mm), which required much more time to build a frame, but this was compensated by the sharpness and geometry of the image.

‘Today, I use two Canon zooms (24-70mm and 100-400mm) for versatility and three Zeiss Otus prime lenses (28mm, 55mm and 85 mm) due to their unsurpassed quality. Of course, it can be challenging to carry 1.5 kg lenses, but “good glass is heavy glass”.’

About this photo: Ershov captured the textured patterns of a stream in the Southern region of Iceland.

ILPOTY, 2019 — First Place: ‘Kerlingarfjöll, Iceland’ by Oleg Ershov (Russian Federation)/International Landscape Photographer of the Year

Location: Kerlingarfjöll, Iceland

About his inspiration: Oleg’s favorite destinations for landscape photography are Iceland, Scotland and the USA’s Southwest. ‘I always return to my favorite places because this allows me to get to know the country better and to find new scenes and places to shoot. When I immerse myself in a familiar environment and slow down the pace, my productivity increases many times over. For example, I have been to Iceland 15 times and it took me 10 years to make my first photo book, but the second book only required two visits in 2019 and it turned out even better than the first!’

About this photo: Mist surrounds this tall mountain located in the Highlands of Iceland.

ILPOTY, 2019 — First Place: ‘Háifoss, Iceland’ by Oleg Ershov (Russian Federation)/International Landscape Photographer of the Year

Location: Háifoss, Iceland

About his workflow: Oleg says that a photo is only good when it’s on a wall and so his workflow is focused on creating large prints. ‘I make the prints myself on an Epson SC-7000, so megapixels and attention to details are important to me.’

About this photo: Háifoss or ‘high waterfall,’ located in Southern Iceland, is the third tallest on the island.

ILPOTY, 2019 — Second Place: ‘Badain Jaran Desert, China’ by Yang Guang (China)/International Landscape Photographer of the Year

Location: Badain Jaran Desert, China

About this photo: A single white cloud is the focal point of this photo captured in China’s third largest desert. Guang won second place for a set of four landscape photos captured in this region.

ILPOTY, 2019 — Third Place: ‘Grizzly Lake, Yukon, Canada’ by Blake Randall (Canada)/International Landscape Photographer of the Year

Location: Yukon, Canada

About this photo: Randall calls this ‘Grizzly’s Fang’ about his photo of his stormy hike in the Tombstone range of Northern Canada.

ILPOTY Photograph of the Year, 2019 — First Place: ‘The Harvest of Road Salt’ by Magali Chesnel (France)/International Landscape Photographer of the Year

Location: Gruissan, France

About this photo: Chesnel, a self-taught photographer and executive assistant, captured this top-down with a DJI Mavic 2 Pro. ‘I thought it would create an amazing abstract aerial photo, with the white of the salt contrasting against the bright pink colors, thanks to the proliferation of a red alga, the Dunaliella salina. From the ground, this scene doesn’t look glamorous at all, but from a bird’s eye view, it becomes unexpected, beautiful and like a painting.’

ILPOTY Photograph of the Year, 2019 — Second Place: ‘Bonaire, Dutch Caribbean’ by Sander Grefte (Netherlands)/International Landscape Photographer of the Year

Location: Venezuela

About this photo: Says Grefte of his second place winner: ‘One of the eye-catchers on Bonaire (Dutch Caribbean) is the salty lakes and mountains. When the salt concentration is too high for most bacteria, one survives giving the water a pink color. When composed with a dark blue sky and white ‘mountains’ (17 meters high) you get a surreal landscape.’

ILPOTY, 2019 — The Lone Tree Award: ‘Madeira, Portugal’ by Anke Butawitsch (Germany)/International Landscape Photographer of the Year

Location: Madeira Natural Park, Portugal

About this photo: Butawitsch focused on a single tree in the vast natural reserve known for its endemic flora and fauna.

ILPOTY, 2019 —The Heavenly Cloud Award: ‘SpaceX rocket exhaust plume, Sierra Nevada, California, USA’ by Brandon Yoshizawa (United States)/International Landscape Photographer of the Year

Location: Sierra Nevada, California

About this photo: Yoshizawa captured a ‘once in a lifetime kind of shot’ of this exhaust plume, from a Space X rocket launch, that was visible over the Sierra Nevada mountains.

ILPOTY, 2019 — Top 101 Photo: ‘Page, Arizona’ by Craig Bill (United States)/International Landscape Photographer of the Year

Location: Page, Arizona

About this photo: ‘I have seen Antelope Canyon several times in the popular daytime – complete with crowds and noise. In fact, this magical slot canyon is well known for its mid-day shafts of light that creatively penetrate through the curvy sandstone. I had always wondered what this place would be like at night. And when I had a last minute chance to go the first time, I jumped! Although the first night was super clouded and windy, I was allowed to try the next night before my time ran out exploring this desert domain around Page, Arizona. I was lucky, however, to find the next night lacking clouds or wind,’ explains Bill on his website.

‘Finally, there I was, standing in the dark cracks in the earth with the stars peering in from above – no crowds or sounds at all. It was so different at night compared to the day. Here, star and moonlight ricocheted softly around the Navajo sandstone.

In this adventure of a completely dark area of Upper Antelope slot canyon, I softly light painted strategic areas of the canyon with small red LED lights. The red color of the LEDs forced the camera’s color balance to expose the sky with a vivid blue. Along with experimental multi-positioning, long 15 second exposing and light painting, a surreal image of the night sky revealing itself light years above the canyon walls was created.

Even though I was focused on tweaking the camera’s settings and position, I was warned to watch my standing area and the canyon walls for huge Brown Recluse spiders (as one ran under my tripod). Now this sounds like a place in hell for most people, but I couldn’t be more grateful for the night hikes experience into Antelope Canyon.’

ILPOTY, 2019 — Top 101 Photo: ‘North East Greenland National Park, Greenland’ by Craig McGowan (Australia)/International Landscape Photographer of the Year

Location: North East Greenland National Park

About this photo: A lone iceberg reflects against the landscape of the world’s largest national park.

ILPOTY, 2019 — Top 101 Photo: ‘Vestrahorn, Iceland’ by Nico Rinaldi (Italy)/International Landscape Photographer of the Year

Location: Vestrahorn, Iceland

About this photo: Northern lights illuminate Vestrahorn mountain and the Stokksnes beach shoreline.

Articles: Digital Photography Review (dpreview.com)

 
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Canon is temporarily shutting down five of its factories due to supply shortages caused by COVID-19

02 Mar
A factory worker inside Canon’s Utsunomiya factory (not one affected by these closures) works on a telephoto prime lens.

Canon has announced it will be suspending operations at five of its plants on Japan’s Kyushu island due to supply shortages from China caused by COVID-19 (Coronavirus).

The five factories, located in the Oita, Miyazaki and Nagasaki prefectures, produce cameras and other photographic gear. The manufacturing facilities will shut down from March 2 to March 13, with Nikkei (translated) reporting these missed production days will be made up at a later time in the year when the supply of parts is more stable.

DPReview has contacted Canon for more details on what products these closures will affect. We will update this article accordingly if we receive a response.

Articles: Digital Photography Review (dpreview.com)

 
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Some Galaxy S20 Ultra smartphone reviewers report multiple camera issues

02 Mar

The Galaxy S20 Ultra, the highest-end model in Samsung’s newly unveiled S20 smartphone family, features multiple cameras, including a 108MP sensor, forming what the company refers to as a ‘groundbreaking’ mobile camera system. The phone is only available for preorder at this time, but a number of units have been shipped to tech reviewers, some of whom are reporting various camera issues ranging from autofocus problems to excessive skin smoothing.

The Verge and PC Mag are among the reviewers to describe some issues with the Galaxy S20 Ultra’s camera system, including times where it hunts for autofocus, sometimes failing to lock on to the subject. As well, the camera is said to excessively soften skin and faces, producing a heavily processed appearance. PC Mag in particular reports that the Ultra’s 100x zoom ‘isn’t that usable’ due to producing a tight and shaky picture with focus issues.

Android Central‘s Hayato Huseman shared a video recorded with the Ultra, which shows it struggling to focus for around the first five seconds of the recording:

In response to complaints, Samsung told The Verge that as part of its effort to ‘optimize performance to deliver the best experience,’ it is ‘working on a future update to improve the camera experience’ offered by the S20 Ultra. That statement is quite vague, however, raising questions over whether these problems will be fixed before the phone arrives for consumers.

Michael Fisher of Mr. Mobile argued in a recent tweet thread that S20 Ultra reviews should proceed despite the promised update because, among other things, Samsung didn’t specify what its update will fix and when it will be made available. He also points out that the S20 Ultra is quite expensive (it costs $ 1400) and that ‘consumers deserve to know whether it’s worth that premium.’

Articles: Digital Photography Review (dpreview.com)

 
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Find great cameras for less money in our updated ‘best bargains’ buying guide

02 Mar

We’ve updated our ‘best bargains’ buying guide, which features both newer cameras that we think are great values, as well a few older models that are inexpensive yet still very capable.

Articles: Digital Photography Review (dpreview.com)

 
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Is the Nikon D780 right for you?

02 Mar

Is the D780 right for you?

Everyone has different requirements for cameras; what might be perfect for one person could be unworkable for another. With this in mind, we’ve taken a look at some common photographic use-cases to see how well we think the Nikon D780 will work for them. From travel to portraits, check out our handy guide to see how Nikon’s latest DSLR could stack up for the types of photography you enjoy.

All images taken by Dan Bracaglia

Travel

Image: Processed from Raw | ISO 100 | 1/250 sec | F2.8 | Nikon AF-D 50mm F1.8

Life on the road leaves little room for error when it comes to gear, so it’s best to have a reliable camera at your side. With a rugged, weather-sealed body, solid battery life and the addition of USB charging, the D780 should make for a trusty companion. It produces great JPEGs right out of camera, and sharing them right away is easy thanks to the camera’s Bluetooth and Wi-Fi connectivity.

We’ll admit though, there are smaller options out there, including Nikon’s own Z6 mirrorless camera, and there are even smaller options yet if you don’t need a full-frame sensor. But overall, the D780 is a great travel camera, especially when paired with one of many compact-yet-excellent F-mount lenses.

Video

The D780 makes a strong case for itself as a video camera. It comes with high-quality, oversampled 4K footage and great video autofocus, slow-motion Full HD capture, and retains separate settings for both stills and video – especially handy for shooters that dabble in both disciplines. There’s plenty of room for both headphone and microphone sockets, and the camera can output a 10-bit Log signal to an external recorder over HDMI. There’s focus peaking if you don’t want to rely on autofocus, and zebra warnings will help you control your exposure.

Perhaps the biggest knock against the D780 is simply due to its DSLR design. There’s no electronic viewfinder option, and since the mirror has to flip up to shoot video, you cannot use the optical viewfinder either. There’s also no in-body image stabilization, but a stabilized lens or enabling the camera’s electronic stabilization can smooth your footage out. Lastly, the tilting screen mechanism isn’t as versatile as a fully articulating one for those who want to start vlogging.

In the end, DSLR cameras face stiff competition in general from mirrorless cameras when it comes to video. But for users who have a good collection of F-mount glass, or those who want to use older AF-D lenses for video and get good autofocus, the D780 is your best bet.

Family and moments

Image: Out-of-camera JPEG | ISO 5000 | 1/160 sec | F2.8 | Nikon 35mm F2 D

Capturing fleeting moments of those you hold most dear can be a tricky task; the camera in question has to just work. Thankfully, the D780 has two great autofocus systems that aren’t likely to let you down. You get face-detection through the optical viewfinder and eye detection when you’re using the rear screen. Finally, nice JPEGs and easy sharing mean you can send that keeper of Aunt Betty laughing uncontrollably to her phone while the tears are still streaming down her face.

There’s not much to count against the D780 in this situation, though we’d recommend you dial down the high ISO noise reduction on the camera a bit. And there’s no denying that smaller, lighter options are available on the market that you may be more willing to bring along with you, wherever you go.

Landscape

Image: Processed from Raw | ISO 5600 | 1/160 sec | F5.6| Nikon 35mm F2 D

The D780’s 24-megapixel chip isn’t the highest resolution around, but it offers excellent dynamic range and solid detail capture if you’re not printing wall-sized posters. For hardcore wilderness photographers, the D780’s weather-sealing could be handy if inclement weather strikes, and the abundant controls should be pretty easy to operate with gloves. Excellent battery life means that you basically don’t have to worry about running out of juice, but if you do want to worry about it, remember you can top up with the camera’s USB-C port.

Unlike some competitors, the D780 doesn’t have any sort of resolution-boosting sensor-shift mode, but there’s a built-in focus stacking feature that could be handy. The tilting screen will make it easy to work from a tripod, and you can rely on the autofocus in pretty much any lighting conditions. There is some risk of shutter shock with longer lenses and slower shutter speeds, so be sure to enable the ‘Quiet’ shutter-release mode and the electronic front-curtain shutter in the menus if you find it to be a problem.

Portraits

Image: Converted from Raw | ISO 100 | 1/320 sec | F5.6 | Nikon 50mm F1.8 D

The D780 is an excellent choice of camera to capture the essence of others. There are tons of great lenses to choose from, and the JPEG engine does a great job capturing skin tones. The camera’s updated autofocus should also be accurate whether you’re using either the optical finder or the rear screen, but be aware that you only get eye detect on the latter and you could need to calibrate your lenses for the former to get the best results.

Keep in mind that, being a DSLR, the D780 is fairly sizable and could look ‘professional’ to some subjects and intimidating to others. High-end studio portraitists may also wish for more resolution, but we think the D780’s 24 megapixels will serve most users just fine indeed.

Lifestyle and people

Image: Converted from Raw | ISO 3200 | 1/250 sec | F1.4 | Tamron 35mm F1.4

For users looking to up their Instagram game, a good lifestyle camera needs to offer abundantly better image quality than a smartphone – broadly speaking, the D780 absolutely does. If you want real bokeh, baby, you got real bokeh, baby. On the other hand, a lifestyle camera should be easy to have on you at all times. In this regard, the D780 is a pretty chunky option for those used to only carrying a smartphone. And, though we think it’s a handsomely designed camera, the retro-chic appearance of some competitors may be more attractive to you.

But back to image quality – the D780’s excellent JPEGs are great for immediate social sharing with Nikon’s solid Snapbridge app, though you can also tweak Raw files in-camera to get even better results. Excellent autofocus, especially in poor light, will only serve to broaden the situations in which you can get just the right shot. If you’re not against carrying a full-frame DSLR around with you, the D780 is a solid option for this type of photography.

Candid and street

Image: Converted from Raw | ISO 250 | 1/160 sec | F2.5 | Nikon 35mm F1.8G

Ah, street photographers – those who cherish the quiet, the discreet, the cool. It’s obvious that the D780 isn’t the most subtle, blend-in-to-the-background sort of camera around. But that doesn’t mean it hasn’t got plenty going for it in terms of capability.

The D780 is super responsive, so you can quickly adapt to changing situations with ease (and check your settings on the top LCD). The tilting touchscreen makes it easy to shoot from the hip, and if you’re the type of person who likes to share your photos with those you’ve just photographed, the Snapbridge app makes it easy to send off the camera’s excellent JPEGs right away.

If you do want to try to make the D780 as unobtrusive as possible, you can enable the ‘Quiet’ shutter (which is only slightly quieter), or if you’re not worried about rolling shutter artifacts, you can shoot using a fully silent electronic shutter in live view mode.

Sport, action and wildlife

Image: Converted from Raw | ISO 25600 | 1/640 sec | F2.8 | Nikon 70-200mm F2.8

When it comes to capturing sports and action, the D780 has a lot going for it. This isn’t too much of a surprise – the D700-series has historically been pretty well-suited for this sort of work, provided you don’t need super-fast burst speeds. The fact is, 7 fps through the viewfinder is fast enough for a lot of different sports, and the D780 has a deep, 100-frame buffer which clears quickly thanks to dual UHS-II memory cards. In other words, it’s rare that you’ll find yourself waiting for the camera. Supporting all this is great image quality in both JPEG and Raw and a deep catalog of F-mount telephoto glass.

This brings us to the autofocus system – the 51-point viewfinder system is absolutely excellent in terms of reliability, but there’s no getting around the fact that the spread across the frame is pretty limiting these days.

Many competing mirrorless cameras have as near-as-makes-no-difference 100% autofocus coverage in their electronic viewfinders, which can be compositionally freeing. You can get a similar type of system on the D780 if you use the rear screen, but that can make for an unwieldy setup with large or heavy lenses. Ergonomically, we’d also love to see an AF joystick for moving the AF point around in the viewfinder – the eight-way directional pad is serviceable, but not ideal.

Weddings and events

Image: Out-of-camera JPEG | ISO 14400 | 1/320 sec | F2.8 | Nikon 85mm F1.8G

Being a very well-rounded camera, the D780 is a great choice for a wedding and event photographer. It’s got solid image quality in all lighting conditions, its 24MP of resolution tends to be plenty without eating up all your drive space, it’s rugged, has great battery life and dual card slots for instant backup of those irreplaceable moments.

The viewfinder autofocus system also works extremely well in low light, and though the eye-detection option in live view shooting is great, it’s not available in the viewfinder and live view tracking in general isn’t super reliable as light levels drop. But really, we’re nitpicking here. The D750 was already a camera long-favored by wedding and event shooters; the D780 should perform even better.

Is the D780 right for you?

There we have it – the D780 is an incredibly well-rounded camera that, if not the absolute best camera for any one of these use-cases, will at least perform very well across most photographic disciplines.

But what do you think? Is there a specific type of photography you dabble in that we don’t mention here? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Hands-on with the latest Nikon Z lenses, AF-S 120-300mm F2.8

29 Feb

Hands-on with the Nikkor Z 20mm F1.8S

The Nikon booth at WPPI is bustling with visitors hoping to listen to a free educational session or get their hands on some of the latest Nikon gear – we’ve at least done the latter, and taken some photos to share with you. Nikon announced these two Z lenses earlier this month and the 120-300mm F2.8E telephoto zoom last month, and this is our first change to get up-close and personal with them.

Let’s start off with the Nikon Z 20mm F1.8S, pictured here on a Z7 camera body. The 20mm F1.8S looks right at home in Nikon’s growing lineup of S-series prime lenses for its mirrorless system, with solid construction and a large, well-damped manual focus ring. The silver ring near the base is indicative of its ‘S’ designation.

Hands-on with the Nikkor Z 20mm F1.8S

A peek at the front of the lens reveals – well first of all, some dust – but also that the Z 20mm F1.8S uses a 77mm filter thread. The optical construction comprises 14 elements in 11 groups, with three ED and three aspherical elements. It also employs Nikon’s nano-crystal coating to combat flare.

The Z 20mm F1.8S can focus down to 20cm (7.87″) for a maximum magnification of 0.19x.

Hands-on with the Nikkor Z 20mm F1.8S

At the rear of the lens, we can see a rubberized gasket surrounding the large metal Z-mount. Like all of Nikon’s S-series primes, the 20mm F1.8S is sealed against dust and moisture. You can also get a glimpse of the lens’ nine aperture blades, which should produce some brilliant sunstars (we’ll investigate further when we get a copy to evaluate).

Hands-on with the Nikkor Z 20mm F1.8S

On the side is the sole control point on the Nikkor Z 20mm F1.8S aside from the focus ring – an autofocus A/M switch. The Z 20mm F1.8S balances very well on the current Z6 and Z7 bodies, and should be a particularly useful lens for astrophotography and video. Or, place it on a Z50 and get a 30mm-equivalent field of view on Nikon’s APS-C Z-mount offering.

The Nikkor Z 20mm F1.8S is expected to be available next month, March 2020 for a suggested retail price of $ 1049.95 USD.

Hands-on with the Nikkor Z 24-200mm F4-6.3

Next up, we have the Nikkor Z 24-200mm F4-6.3 lens. It’s intended as a do-it-all travel zoom, complementing the existing Z 24-70mm F4S and 24-70mm F2.8S lenses Nikon has already released for the Z system, and offering the greatest zoom range of any Z-series lens to date.

Hands-on with the Nikkor Z 24-200mm F4-6.3

Here it is at full zoom; its length nearly doubles, but thanks to a reasonable 570g (1.26lb) weight, it doesn’t become ungainly or off-balance on full-frame Z-series cameras. Also visible in this image is a ‘Lock’ button that keeps the lens locked into the wide-angle position for travel, to help combat ‘zoom creep’ from the occasional bump or jostle while you wander around. There’s also a slim but customizable and well-damped manual focus ring near the base of the lens as well.

Hands-on with the Nikkor Z 24-200mm F4-6.3

From the front of the lens, we can see that the Z 24-200mm takes 67mm filters. This lens has a complex optical formula of 19 elements in 15 groups, and uses a special Arneo coating to reduce flare. The minimum focus distance is 50cm (19.69″), giving a maximum magnification of 0.28x. A total of seven aperture blades should produce some pretty nice sunstars on this lens as well.

Hands-on with the Nikkor Z 24-200mm F4-6.3

A rear gasket on the Z 24-200mm F4-6.3 is physical proof of Nikon’s claims of ‘drip and dust resistance,’ which is always a nice touch on a lens that is really designed to travel with you wherever you go, for just about any focal length you might need.

This lens also comes with built-in stabilization, which Nikon says works in tandem with the in-body stabilizers on the Z6 and Z7 cameras. If you want to use this on a Z50 which doesn’t have an in-body stabilizer, you can still expect up to 5 stops of compensation. This will definitely come in handy when you get to the maximum 300mm equivalent reach on an APS-C sensor.

Nikon has said that the 24-200mm F4-6.3 will be available starting in April 2020 for a suggested retail price of $ 899.95 USD.

Hands-on with the AF-S Nikkor 120-300mm F2.8E

First announced back in September, then with a release date given in January, we’ve finally gotten a chance to see the Nikon AF-S 120-300mm F2.8E FL ED SR VR in the flesh metal. No surprise, it’s a pricey optic at $ 9499.95 USD, but one that we expect will be put to good use by a variety of sports, action and wildlife photographers. Those letters in the name stand for electromagnetic diaphragm, fluorite elements, extra-low dispersion elements, short-wavelength refracting element and vibration reduction. Oh, and there’s Arneo coating to combat chromatic aberrations as well as flare. In other words, there’s a lot of optical technology in this lens.

Here, you can see the lens mounted to the company’s latest sports DSLR flagship, the D6.

Hands-on with the AF-S Nikkor 120-300mm F2.8E

In this view, you can see the name plate, serial number and a window displaying focus distance on the top of the lens. There’s also a customizable ‘Memory Set’ button on the side.

But speaking of focus distance, the lens can focus down to 2m (78.74″) at all focal lengths, for a maximum magnification of 0.16x.

Hands-on with the AF-S Nikkor 120-300mm F2.8E

Around the side are all of the control options on this lens. There’s an autofocus mode switch, a focus limiter, vibration reduction switch, a memory recall switch and a switch for the focus confirmation beep. Mounted right on the tripod collar are also lugs to which you can attach neck straps; Nikon is touting this lens as one you could use handheld if needed.

Being able to use a lens like this handheld is always a plus – but bear in mind, it weighs 3.25kg (7.17lb) so a monopod is probably still a good bet for extended shooting.

Hands-on with the AF-S Nikkor 120-300mm F2.8E

Around the front, we have a massive front element with fluorine coating to help repel moisture and oil. The filter thread is pretty sizable at 112mm, but many users will simply keep the lens hood on, which somewhat tempers the need for protective filters.

The AF-S Nikkor 120-300mm F2.8E has an optical formula of 25 elements in 19 groups, and a nine-bladed diaphragm. Nikon claims a high degree of weather-sealing as you’d expect from a lens of this caliber.

That’s a wrap

And that’s a wrap from the Nikon booth at WPPI 2020 in Las Vegas. If you missed it, we also have a dedicated hands-on look at the Nikon D6, pictured above. Let us know what you think of Nikon’s latest lenses and cameras in the comments below.

Articles: Digital Photography Review (dpreview.com)

 
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