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CP+ 2017: the weird, wonderful, and everything in between

01 Mar

Best of CP+ 2017 in Japan

While there weren’t a lot of new announcements at CP+, the theme of the show seemed to be glass: Sigma launched four new lenses, Tamron showed off two, Pentax announced the development of two full-frame primes, Fujifilm showcased a line of affordable cinema primes for Sony E-mount users and a ton of third-party brands had their latest glass creations on display.

So take a peek through our gallery for a rundown of the best of CP+ 2017… and some other stuff we found along the way.

Fujifilm GFX 50S

While not newly announced, CP+ 2017 was the first time we were able to shoot with a final production Fujifilm GFX 50S medium-format digital camera. As you might expect, it’s an absolute peach to use. Barney and I spent most of the time in Japan fighting over who’d get to use it, which should tell you all you need to know. Simply put, we both found its form factor to be fabulous (it’s surprisingly light), and as for image quality – well, take a look for yourself.

Sigma 14mm F1.8 DG HSM

Sigma announced four new lenses at CP+, three of which join the growing ‘Art’ series. They include a 24-70mm F2.8, a 135mm F1.8 and the one we are most excited for: a 14mm F1.8. In addition, the company also launched a 100-400mm F5-6.3 DG OS HSM lens which is part of the company’s more modestly-priced ‘Contemporary’ series.

But back to the 14mm F1.8. It’s the fastest 14mm in existence, yet despite its wide angle of view, distortion appears almost non-existent. It also appears to be crazy sharp! We’re hoping to be able to post some sample images very soon to prove it.

Nikon D5 100 Year Anniversary Strap

Nikon didn’t launch any new products at CP+, but as part of its continuing 100th year anniversary celebration, it did unveil several special edition 100 year anniversary items including this swanky leather strap (and a gunmetal grey edition D5 and D500). We have no idea if these straps will eventually be for sale, or if acquiring one also means buying a D5/D500, but we’d hang them round our necks.

HandeVision Iberit 75mm F2.4

We stumbled on a bunch of cool mirrorless lenses from HandeVision, including this matte grey Iberit 75mm F2.4 (shipping versions will be finished in chrome or black). Build quality seems good, and at just over $ 700, it’s a semi-affordable option for mirrorless (and Leica M) manual focus shooters. On crop sensor bodies it gives a 112mm effective field of view. Check out the other lenses HandeVision had on display.

Sigma 135mm F1.8 DG HSM

In addition to the 14mm F1.8, Sigma also dropped a 135mm F1.8 at this year’s show. It’s pretty large, and a little heavy, but it sure is pretty, especially that big front element. The lens mount also has a rubber gasket to keep dust and water out, something not offered in previously released Sigma’s ‘Art’ series lenses. And a 9-blade aperture should ensure attractive bokeh (as much as you can expect at 14mm, anyway) and hopefully nice sunstars, too. Simply put, we’re pretty jazzed to get it in the office and getting shooting.

Exploded gear/gear cut in half

There was a lot of bisected and exploded gear at this year’s show (as always). As has become tradition, we made this gallery to highlight some of the best examples.

Ricoh Pentax D FA* 50mm F1.4

Ricoh added two new full-frame prime lenses to its lens lineup this year, including this 50mm F1.4 as well as an 85mm F1.4. The 85mm wasn’t on display, but we were able to lay eyes (and our cameras) on a mockup of the new 50mm, tucked inside a very reflective and very secure plastic case. Details about the lens are forthcoming, but it’s certainly large.

Canon EOS 77D

We didn’t get our hands on Canon’s new EOS 77D at the show, mainly because of the sizable crowds in the Canon booth, but we’d already seen it a few weeks ago back in the US. The EOS 77D is built around a 24MP APS-C sensor, Digic 7 processor and 45-point AF system. Take a look at our hands-on for more info.

Sigma 24-70mm F2.8 DG OS HSM Art

We’ve included all three new Sigma Art lenses in this gallery because frankly, they’re all really enticing. The 24-70mm F2.8 is impressively small and light weight (for an Art-series prime). And like the 135mm it has a rubber gasket at the base to keep dust and moisture out. Even more impressive: it’s stabilized. Check out our hands-on for more.

Pigeon camera

Every year, in the back corner of CP+ is a small camera museum exhibit. And one of my absolute favorite cameras on display was the Michel Pigeon Camera, which is exactly what it sounds like. Though the pigeon is no longer with us (we assume – it could just be very well-trained), the camera still looks pretty functional. You can read more about the Michel Pigeon Camera here.

Used camera fair

Another fixture of CP+ is the used camera fair, which takes place upstairs. A great place to find weird old rangefinder lenses, camera cases, obscure film compact cameras. As such, a great place to spend money. We were disappointed when we missed the end of the fair when we returned on Sunday, but to be honest, it was probably for the best.

Voigtländer Macro APO-Lanthar 65mm F2

Voigtländer unveiled three new manual focus Sony E-mount lenses at CP+ including this 65mm F2 macro. The build quality on these lenses, as you might expect, is marvelous. And unlike older Voigtländers, these lenses have electronic contacts, so they’ll communicate with the camera body to which they are attached. the 65mm F2 offers a 1:2 max magnification. Take a look at the other two lenses Voigtländer announced in our hands-on slideshow.

Canon EOS Rebel T7i

Canon’s flagship Rebel, the T7i is the first in the series to incorporate Canon’s Dual Pixel AF. Take a look through our previously-published hands-on to find out more.

Ricoh Pentax KP

We were able to get closer look at the insides of Pentax’s latest APS-C DSLR. How cool is it to see the pentaprism cut right down the middle? In many respects a miniature Pentax K-1, the KP is well-featured, and weather sealed (when it hasn’t been cut in half). Also in the Pentax booth was a pretty cool demo showing off the company’s image stabilization. You can find a short video of that here. And for more on the Pentax KP, check out our hands-on.

Tamron SP 70-200mm F2.8 Di VC USD G2

There’s a lot of buzz surrounding Tamron’s 2nd generation SP 70-200mm F2.8 lens and we were pretty excited to check it out in person. Compared to its predecessor, Tamron promises faster autofocus and better stabilization. It also offers a completely overhauled optical and mechanical design. Available in Canon, Nikon and Sony mounts, this high-end telezoom will only set you back $ 1500, making it a bargain compared to it’s non-third party counterparts.

Tamron was also showing off its new 10-24mm F3.5-4.5 Di II VC HLD. You can read more about both lenses here.

This poor man

It was freaking hot on the tradeshow floor! And this poor man had to spend all four days dressed in what seemed like fairly un-breathable getup all while posing with anyone who passed by and wanted to get a photo. Did he lose a bet? We have no idea.

Fujifilm MK cinema lens series

Fujifilm is entering the affordable cine lens market with the launch of the MK series for Sony E-mount (and X mount, coming later). These lens are an affordable alternative to much more expensive cinema lenses and cover a Super 35 or APS-C imaging area. The lenses include an 18-55mm T2.9, and a 50-135mm T2.9.

We recently made a short video using the MK18-55 T2.9. Take a look.

Sony a7S rig for the International Space Station

Did you know that the International Space station has a Sony a7S mounted on it for low-light photography? Here’s a copy of the rig it sits in, in while flying around the Earth at 17,150 miles per hour.

Mini space station

And just for reference, here’s a full-size model of the ISS. It’s smaller than you expect.

Articles: Digital Photography Review (dpreview.com)

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CP+ 2017: HandeVision shows off prime lenses for mirrorless and Leica M

01 Mar

CP+ 2017: HandeVision shows off prime lenses for mirrorless and Leica M

Originally announced in late 2015, German-Chinese company HandeVision’s collection of Leica-inspired, full-frame ‘Iberit’ prime lenses is on display at this year’s CP+ tradeshow in Yokohama, Japan.

HandeVision is a brand created through cooperation between German lens manufacturer IB/E Optics and the Chinese company Shanghai Transvision Photographic Equipment Co – the company behind the Kipon brand. Reportedly, the brand name came about because the first three letters – ‘Han’ signify ‘China’ in Mandarin, while the following two letters ‘De’ represent the first two letters of ‘Deutschland’.

All of the Iberit series are available in Leica M, Leica T, Sony E and Fujifilm X mount, and the Iberit 50mm F2.4 will cost ¥82,000 (~$ 730).

CP+ 2017: HandeVision shows off prime lenses for mirrorless and Leica M

Here’s the Iberit 75mm F2.4, in a matte gray finish. At ¥79,800 (~$ 712) this is a relatively affordable prime lens for mirrorless manual-focus fans, and covers an effective focal length of 112mm on APS-C formats.

CP+ 2017: HandeVision shows off prime lenses for mirrorless and Leica M

Shown here in a chrome finish, the Iberit 24mm F2.4 is the most recent addition to the lineup. This compact wideangle prime and will be available for ¥92,000 (~820).

CP+ 2017: HandeVision shows off prime lenses for mirrorless and Leica M

Here’s the most compact lens in the Iberit lineup, the 35mm F2.4. Like all of the other Iberit lenses, the¥88,900 (~$ 790) 35mm is made in China, from anodized aluminum, brass and stainless steel.

CP+ 2017: HandeVision shows off prime lenses for mirrorless and Leica M

The Ibelux 40mm F0.85 is a different beast altogether, The world’s fastest commercially-produced lens, the Ibelux is available in Sony E, Canon EF and M43 mounts, and weighs in at a hefty 2.6 pounds (1.2kg). As you can see, it looks more like a short telephoto prime than a 40mm. Costing around $ 2000, the Ibelux might be of some interest to filmmakers, but we’d think twice before buying it for stills shooting.

Articles: Digital Photography Review (dpreview.com)

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These are the four cameras that won Oscars in 2017

01 Mar

Four Oscar winning cameras of 2017

Before things got really confusing at the 89th Academy Awards last night, we got an overview of the Oscars given out earlier in the month at the Scientific and Technical Awards. Notably, four cameras earned recognition for helping to usher in the digital age of filmmaking.

So, which cameras were Oscar winners? And the award goes to…

1. Arri Alexa

ARRI was honored ‘for the pioneering design and engineering of the Super 35 format Alexa digital camera system.’

Arri Alexa cameras were used on the nominated and award winning films Arrival, Moonlight, Lion, Hell or High Water, and Manchester by the Sea.

2. RED Epic

RED Digital Cinema received an award for the the RED Epic thanks to its upgradeable full-frame sensors. The RED Epic Dragon was used on the award-nominated films Hacksaw Ridge and Hidden Figures.

3. Sony F65 CineAlta

The Academy recognized Sony for the development of the F65 CineAlta camera with its unique sensor design and ‘true’ Raw recording capability.

4. Panavision Genesis

Finally, Panavision and Sony were recognized for the design of the Genesis digital motion picture camera, which allowed for it to become one of the most widely adopted digital cameras for cinematography.

Articles: Digital Photography Review (dpreview.com)

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CP+ 2017 Canon interview: ‘We want to be number one in the overall ILC market’

28 Feb

Mr. Mizoguchi and Mr. Tokura took the time at CP+ 2017 to discuss Canon’s future with us.

Just prior to CP+ 2017, Canon announced three new consumer cameras in the mirrorless EOS M6, the DSLR EOS 77D and EOS Rebel T7i . We had the chance to catch up with Canon while in Japan covering CP+ and discussed the company’s current state of affairs, as well as its future (in relation to mirrorless).

Specifically, we spoke with Go Tokura, Executive Officer and Chief Executive for Image Communication Business Operation and Yoshiyuki Mizoguchi, Group Executive of ICB Products Group, Image Communication Business Operation.

Please note that this interview was conducted through an interpreter, and has been edited slightly for clarity and flow.

What is Canon’s main strategic focus going forward into the next product cycle?

We can break down our focus into two areas: improving our network connectivity and video. We still have a lot of room to grow in the video area in terms of what we can offer. And in terms of customer strategy, we want to continue to build new users, specifically enticing more entry-level users.

Where do you see most demand for 4K, and are you beginning to see beginners ask for 4K video?

Whether you’re a professional or at the entry-level, you likely want high-quality video. And we think there is potential for the entry-level to grow. So we will obviously be looking at introducing our 4K technologies down to the entry-levels at some point.

But introducing 4K to the entry-level is linked to the 4K TV market. How quickly that takes off and penetrates will tell us how and when we should introduce 4K to more affordable cameras.

Looking at 4K TV saturation, what kind of time-frame does that suggest and when do you think it will be necessary to have 4K in every part of your product line?

We obviously have to look at the technical feasibility of it, cost-wise, as well as [the challenge of power consumption]. Those factors will tell us how we will introduce 4K technologies going forward.

We will continue to challenge and overcome these technical hurdles that we are seeing at moment in introducing 4K into our entire product lineup. But it is important to keep in mind that we don’t want to harm the original inherent concept of these products. 4K should compliment, rather than hinder.

The Canon EOS Rebel T7i was announced earlier this month. It shoots 1080/60p. Will we ever see a Rebel with 4K video? Probably, it’s just a matter of when.

Does Canon have any ambitions to become a manufacturer of high quality monitor displays for enthusiasts and consumers?

We don’t have any plans to enter the consumer display panel market.

We’ve seen companies creating affordable cine lenses for mirrorless videographers. Do you see an opportunity in that market segment?

The Cinema Lens market, including for mirrorless, is a great market. When it comes to cinema lenses you have demand for everything from the professional to the affordable. Overall we’d like to increase the breadth of our share of the market on the affordable end. So we will continue to spend our efforts on that.

The EOS M series continues to expand. What is the long term goal of the M series in terms of market share?

That is a difficult question to respond to with a simple answer because we don’t have a particular number set in terms of getting the market share for the mirrorless market. This is because we are a company that produces [both mirrorless and DSLR], as a total package.

Our intention is to become number one in the overall ILC market: mirrorless and SLR. Different regions would have different penetration and different market share of mirrorless products.

The EOS M5 is Canon’s flagship mirrorless camera.

Specifically, which markets are leaning more toward mirrorless and which more toward SLR?

In the Southeast Asian market we’re seeing a real high demand for mirrorless, while the US has the least mirrorless penetration. In terms of the Japanese market we’re seeing a slight majority [of] mirrorless at this time. But having said that, compared to two years ago we’re now seeing a slowing down of mirrorless taking over. We were expecting to see more mirrorless taking off, keeping that momentum, but that has not happened.

Do you think there could be a professional-level EOS M model sometime in the future?

Obviously we think it could be possible, there is a potential, but we do not want to put a time frame on that.

Do you think in a similar way, we may begin to see the L-series lens line expand into EF-M?

The demand for that is still quite limited and so we won’t be able to say. But obviously as people start to look for more professional-level quality and performance, we will extend our lens line to respond to what the customer is looking for.

Canon has yet to introduce a Dual I.S. system into its mirrorless cameras for fear the stabilized sensor will increase the size and weight.

If the EOS M series begins to eat away at sales of Rebel DSLRs, do you regard that as a good thing or a bad thing, or is it just inevitable?

We’re letting the customer, market and demand tell us how we should go about approaching different regions. Because if you’re looking at a market with a high level of mirrorless penetration, we would obviously look to push forward with the EOS M series in that region. And we will watch and see: are Rebel users moving on to the EOS M? Frankly, if that becomes inevitable, it is something we will support. Having said that, overall we are looking to simply be number one the combined SLR and mirrorless market, offering a total package.

Has there been any demand from customers to introduce something like Dual IS into Canon’s mirrorless cameras?

We do get customers saying they want more and better IS. However, in the mirrorless market for us, it’s all about satisfying the desire for a small, light-weight camera. In terms of introducing sensor-based stabilization into our EOS-M series, I think it will add weight, which might deter some of our mirrorless customers. Which is why we think optical IS is the way to go for us.

That said, we are aware that our competitors have already introduced this style of sensor-based stabilization. And we do see the merits of having optical and sensor based IS working together. What we’re looking at is trying to evolve ourselves in terms of developing technology so that we can downsize and reduce the weight of a sensor-based IS system.

You’d mentioned Wi-Fi capability being an area of focus in the future. Is that a result of user feedback? If so, what kind of feedback have users given?

Yes that is the result of direct user feedback, like that from our customer service centers. Most responses are regarding “how to use” Wi-Fi, which implies that many customers find it difficult to use. Overall, we can summarize what customers are looking for, regarding connectivity, is overall ease-of-use. To respond to that demand, we’re working to make connecting simpler and have incorporated Bluetooth technology into some of our cameras.

Do you have any plans to enter the VR or 360 markets?

We’re always looking to see what sorts of new visual means of expression we can offer to our customers, 360 imaging included. So, yes, we are considering how we can leverage 360 technology.

That said, we’re already seeing a lot of 360 cameras out there in the market. There are many players at the moment, but none have actually achieved big, great success. I think that’s telling, [and suggests that] that there is something lacking. In other words, if we were to come out with a Canon 360 camera, we would need to have Canon-like added value, ideas and concepts. Unless we do that I think there’s no meaning.

Do you think 360 is going to become the next 3D, where people talk about it for a few years, then it just goes away?

There is a lot of hype at the moment. But in terms of new visual expression, I think there is a value 360 technology adds to the visual world. i don’t think it will die out as 3D did.

Another way to look at it is 360 technology is not just about taking the photo, or the satisfaction of making an image , but how to display it, and how to leverage what you’ve actually taken. I think there has to be a total package for 360 technology to advance into the future.

Will Canon introduce a VR camera like Nikon did with the KeyMission 360? Only if they see it adding value to the market.

We’ve seen several brands put out retro-style cameras in recent years. Canon has a long history in the analog camera market. Has there been any talk of launching a product that is a throwback to Canon’s film heritage?

I can’t give a detailed answer to this question, but we do have these customer demands and we’re hearing them. But it’s not to say we’ll be shifting a lot of focus onto such a product, but its rather we are feeling out of what the customer is looking for at the moment.

However I don’t think making such a camera is just about the retro design, it’s about having a retro look and feel, but with the evolution of features Canon currently has to offer.

Tokyo Olympics are coming up in 2020, obviously we’ll see Canon and Nikon DSLR lenses on the sidelines. but how long do you think it will be before we see mirrorless cameras shooting major sporting events?

It’s difficult to project into the future. Looking at mirrorless and it’s current state at the moment, and the timeframe between now and 2020, I don’t think I can envisage mirrorless at the Olympic games.

People [like Reuters, AP etc.] who come as press to something like the Olympics and bring their own gear, obviously they can’t make mistakes – its a once in lifetime opportunity. So my guess is the majority will still be using the cameras they are used to for the time being. In other words, DSLRs.

Film sales are up in 2017. Has there been any talk of perhaps introducing a new Canon film camera? Like an EOS 1V Mark II?

I can say in terms of new products: doubtful. But there are people who still love film and we still offer the EOS-1v from our existing line of film cameras.

Editor’s note:

We’ve interviewed Mr Tokura on several previous occasions, and we were pleasantly surprised with the responses what we received to a lot of questions.

Specifically, it is encouraging to hear just how much Canon values the feedback of its customers. It seems like a lot of decisions about the future are based, at least in part, on customer feedback. All the more reason to be a vocal consumer!

On the same point, it’s exciting to hear that Canon is beginning to regard 4K video capture as something that perhaps it needs to offer in all ILC products, regardless of price. I just hope it makes its way to the Rebel series soon.

Canon’s response to our question about a potential entry in the VR realm was interesting. Essentially, they feel that it is something they will only commit to if they truly feel like they can launch a 360 product that will do right by their customers.

On a similar note, though we may never see an a digital reincarnation of the AE-1, it’s pretty cool to hear that Canon is aware of a customer desire for a retro-designed Canon camera, but (unsurprisingly) won’t make one unless it marries current tech with old-school design principles.

That said, we were a little disappointed to see Canon continue to view mirrorless as a consumer technology and not as something with a potential, in the near future, to be something pro sports and photojournalists reach for.

Canon is a brand with a strong identity, and while we at DPReview may feel like perhaps they entered the mirrorless market a little on the late side, Canon’s caution into jumping into industry trends too quickly doesn’t seem to have done the company any obvious harm. But please, give us 4K at the consumer level.

Articles: Digital Photography Review (dpreview.com)

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CP+ 2017 – Sigma interview: ‘We’ve learned that some customers require exceptional lens performance’

27 Feb

Kazuto Yamaki, CEO of Sigma Corporation, pictured at CP+ 2017, with Sigma’s new 14mm F1.8.

Sigma released four lenses at this year’s CP+ show in Yokohama – the 14mm F1.8 DG HSM Art, 24-70mm F2.8 DG OS HSM Art, 135mm F1.8 DG HSM Art and 100-400mm F5-6.3 DG OS HSM. We’re at the show, where we made time to sit down with Kazuto Yamaki, CEO of Sigma, to find our more about the new lenses.

You’ve told me previously that you really want Sigma to make more wideangle lenses. Do you think you’re achieving that goal with the 12-24mm and new 14mm?

Yes, but I’m still not satisfied. I think we need to make more wide-angle lenses. A fast 14mm was one of the lenses that our customers were asking for. Most existing 14mm lenses are F2.8, so F1.8 was a challenge.

The new Sigma 14mm F1.8 is the fastest lens of its kind, and according to Sigma, should outperform competitive, slower designs from other manufacturers.

What have you learned, from making the Art series?

We’ve learned that some customers require exceptional lens performance. We believe that our mission is to make products that other manufacturers don’t have. If we just released similarly-specified lenses to existing models, we wouldn’t be contributing to the industry, or benefiting customers. So our Art series is meant to provide the best performance.

They’re bulky and heavy, it’s true, but our customers like them because of the performance. That’s what we learned.

Hands-on with Sigma MC-11 (CP+ 2016)

You now make a mount adapter for Sony E-mount, but are you planning native support for the Sony E-mount in the future?

Yes, that’s our plan. Our plan is to develop full-frame lenses for Sony E mount, and in the future we will have more E mount lenses. But it takes time. Normally it takes about two years to develop one lens, sometimes three. So even if I start the process now, the lens might come out in two years time.

Sigma’s new Art-series lenses have a degree of weather-sealing – why now?

It’s based on customer demand. Some of our customers said that rain and snow sometimes got into the lens mount, so they wanted sealing. And the other reason is that it’s becoming a trend. Other manufacturers are offering sealed mounts.

Does that make the design process more complex?

No, not really. The only seal is around the lens mount. It’s not a perfect weather-proofing like our Sports series. The 150-600mm for instance has sealing everywhere, on the focus ring and zoom ring.

Of the lenses in the Global Vision line, which were the most complex to bring to market?

Our 12-24mm zoom. Because that lenses uses a very large aspherical element, and at the time, no other company was producing an element of this kind, and there were no machines capable of producing it. So we designed a custom machine to make that element. But as a result of developing that technology, we were able to create this new 14mm F1.8.

The Sigma 12-24mm ultra-wide zoom is a complex design, containing a very large aspherical (front) element.

The Global Vision line is almost five years old. What are you most proud of?

Firstly, I’m still not satisfied. We need to do more. But these days, I’m pretty happy that people regard Sigma as a high-quality company. In the past, some people regarded Sigma as just another third-party lens manufacturer, and maybe even as a cheap, low-quality lens supplier. But people’s perception has been changing, gradually, and I’m very happy about that.

One of the things that professional Canon and Nikon photographers rely on is the support networks for service, like CPS and NPS. Is a professional service support system something that Sigma is interested in creating?

I think we’ll have to. In Japan we’ve already started a pro support project, and I hope we can create a global professional support system very soon.

In the past you’ve expressed concern that you don’t want Sigma to grow too much, too quickly, because this might threaten some the magic of being a small company. Is this something that you’re still worried about?

Growing too fast is not good. We need to grow, but we should grow gradually. We need to develop our capability to produce higher-quality products. That’s the priority. Then turnover, and sales, and profit will follow. We do not prioritize making the company bigger. We focus on product quality, and technology.

Over the past five years, we’ve actually been making fewer lenses, because we decreased the number of cheaper lenses we were producing. But we’ve expanded our manufacturing capacity, because the higher-end lenses use more glass. Cheaper lenses might use 10-15 elements, but these higher quality lenses use 15-20, sometimes even more elements. So more capacity is needed to make a single lens. We’ve actually invested massively in the past five years.

Sigma and Fujifilm have recently introduced lineups of cine lenses. How much growth do you see in this segment?

We don’t know. Even before I decided to get into the cine lens market, I tried to collect market data, but there’s no data out there. It’s not available. It’s only anecdotal. But we guessed that this segment will grow in the future.

Video has lower resolution demands than stills, but we’ve been designing lenses for 36+ megapixel sensors for several years. That is equivalent to 8K, in video terms. A lot of traditional cine lenses aren’t that high resolution. Our lenses might be more affordable, but they’re top quality.

The Sigma Cine lens range includes a geared version of the company’s 18-35mm F1.8, now known as the 18-35mm T2. The lens covers the Super 35 format and requires a roughly 350 degree rotation to zoom from 18-35mm, allowing very precise control.

Do you have a market share target for your cine lenses?

No, we’re waiting to see how the market develops. We can dream, but it’s not the same thing!

Editors’ note:

We always enjoy speaking to Mr Yamaki, partly because on the occasions when we get the opportunity to do so, it’s usually because he’s just unveiled something really interesting. Mostly though, we enjoy speaking to Sigma’s CEO because he’s a nice guy. Open, honest, and candid about Sigma’s plans and ambitions, Mr Yamaki is well-liked in the photography industry, even by his competitors.

Speaking of competitors, I get the feeling that Mr Yamaki was compelled to deliver the new 14mm F1.8 partly out of a general disappointment with the available options for photographers. Sigma has a strong history of innovating in the wide and ultra-wide market, and the new 14mm, alongside the previously-released 12-24mm certainly look like a confident statement of intent. If the 14mm is as good as Mr Yamaki claims (and we are rarely disappointed by the optical performance of Sigma’s Art series) it looks set to be a reference lens for landscape, architectural and astrophotographers. We’re hoping to be able to post a gallery of samples very soon – watch this space.

Also interesting, is another statement of intent – Sigma’s move into affordable cine lenses. While the company is not competing (yet) with the Arris of this world, or with Canon’s Cinema EOS optics, Sigma (like Fujifilm) sees an opportunity to cater to a newer generation of videographers who are working with mirrorless systems. Optically, Sigma’s cine lenses should be top notch, although being based on existing stills lens designs, we’re told that some qualities, such as focus breathing, might cause issues for professional broadcast and film cinematographers. There is a reason, after all, that high-end professional cine lenses can cost tens of thousands of dollars.

So what next for Sigma? We wouldn’t be surprised if Mr Yamaki is working on more wideangle lenses, and following the new 24-70mm F2.8, it seems likely that the company will refresh its 70-200mm F2.8 in the near future, too. More Sony E-mount optics are also on the way, we’re told, which will be welcome news to Sony a7-series users.

Articles: Digital Photography Review (dpreview.com)

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Things we found at CP+ 2017 which had been cut in half

26 Feb

Things we found at CP+ 2017 which had been cut in half

We’ll be honest – the past year has been pretty rough. It’s hard to find much good news out there, and it seems like the world is more divided than ever. With so much uncertainty in so many areas of our lives, it’s important to hold on firmly to the important things. Friends, family, lifebelts, and amusing-looking 19th century cameras (snigger snigger) but most of all, traditions.

Here at DPReview we take tradition seriously. Every new years eve, Rishi drinks a pint of beer*. Every Easter, Carey gets a haircut. And every February, at CP+, we post a gallery of things we found at the show which have been cut in half.

So dim the lights, put on some Enya and settle in, because it’s that time again.

* Most of a pint of beer.

Things we found at CP+ 2017 which had been cut in half

First up is the recently announced Pentax KP, a weather-sealed 24MP APS-C DSLR which features a lot of the same technology as the full-frame K-1. We know what you’re thinking – this KP might have its innards exposed for all the world to see, but it hasn’t been cut in half! How am I supposed to trust DPReview? It hasn’t been the same since Phil left! Where is the Leica M9 review???

Things we found at CP+ 2017 which had been cut in half

Not so fast. Don’t worry – we know what you came here to see, and we would never disappoint you (unless you really are still waiting for the M9 review, in which case we’re definitely going to disappoint you).

Here’s a KP without any weather sealing at all, because it’s been cut in half. It’s positively begging for dust and moisture incursion.

Things we found at CP+ 2017 which had been cut in half

Also distinctly vulnerable to the elements is this Canon EF Canon EF 200-400mm f/4L IS USM. A regular on the ‘things that have been cut in half’, trade show circuit, Canon seems to really enjoy taking these 200-400mm lenses apart and showing off their insides.

We’re starting to worry, to be honest.

Things we found at CP+ 2017 which had been cut in half

It’s just gratuitous, at this point.

Things we found at CP+ 2017 which had been cut in half

We have to admit though, when it comes to showing off lens components, Canon does a good job. These are aspherical lenses, from (L-R) the company’s 14mm F2.8 II, 85mm F1.2 II, 17-40mm F4, 16-35mm F2.8 II (last generation) and EF-S 15-55mm F2.8, respectively.

We were hoping to see the new 16-35mm F2.8 III represented in this display, but no such luck. If you really want to see an impressive aspherical element though, check out the 10-24mm F4, on display at CP+ 2015.

Things we found at CP+ 2017 which had been cut in half

The 16-35mm F2.8 III might have been missing from Canon’s aspherical mushroom farm, but Canon didn’t let us down – here it is, in another display case, with all of its many elements on show. This latest version of the 16-35mm is favorite of landscape photographers and a stellar performer, outperforming its predecessors in every respect.

Good luck getting nice-looking sunstars out of this one, though. It’s been cut in half.

Things we found at CP+ 2017 which had been cut in half

Tamron’s new 70-200mm F2.8 ‘G2’ has been completely redesigned, with a new optical design consisting of 23 elements in 17 groups. These include extra low dispersion and low dispersion elements to reduce chromatic aberrations. Stabilization has been improved too, and now offers up to five stops of compensation.

This lens is 50% lighter than shipping samples, so in theory, it should be even more hand-holdable.

Things we found at CP+ 2017 which had been cut in half

Not to be outdone, Nikon is showing off a another high-tech, multi-element 70-200mm of its own – the new, and very nice 70-200mm F2.8E.

We’ve been impressed by the performance of this new telezoom, both optically and in terms of image stabilization, but we won’t be getting on the waiting list for this 100th anniversary special addition. It looks like Nikon got a bit carried away with the weight-saving.

Things we found at CP+ 2017 which had been cut in half

Speaking of lightweight, Panasonic’s DC GH5 is a modestly-sized powerhouse, combining an advanced video feature set with impressive speed, resolution and autofocus performance for stills photography. We’re currently working on an in-depth review but we’re glad that Panasonic didn’t send us this one. It seems to have exploded.

Things we found at CP+ 2017 which had been cut in half

Voigtlander really outdid itself this year, when it came to things that had been cut in half. Here’s the Nokton F1.1 for Leica M mount. Normally a useful lens for extreme low light imaging on film and digital rangefinders, we’d recommend passing on this one if you see it on Ebay.

It’s decentered.

Things we found at CP+ 2017 which had been cut in half

Another Voigtlander – the 10mm F5.6 Heliar Ultra-Wide. The second native E-Mount lens made by Voigtlander and at the time of its release, the widest rectilinear lens ever produced, this one has been put together using even more aspherical elements than normal.

Things we found at CP+ 2017 which had been cut in half

Another 15mm, this is the LAOWA 15mm F4 Wide Angle 1:1 Macro – an impressive, inexpensive but undeniably niche optic, we’d describe this lens’s internal construction as ‘industrial’. Or ‘industrial accident’, in the case of this example, which has been partly – but not entirely – cut in half.

Things we found at CP+ 2017 which had been cut in half

Sony can always be relied upon for some high-quality tradeshow bisection, and this year was no different. It’s easy to forget that despite its size and form-factor, the SLT-A99 II does not contain a pentaprism, and seeing it cut in half (here with a 24-70mm F2.8 attached) reveals a surprising amount of empty space above the fixed mirror.

Admittedly, this one has 50% as much empty space inside it as a regular A99 II, because as you can see, it has been cut in half.

Things we found at CP+ 2017 which had been cut in half

That’s it for another year – thanks for reading, and we hope you’ve enjoyed our show content from CP+. It’s time for lunch. Or breakfast. Quite honestly we’re still a bit confused about what timezone we’re in.

Until next time – keep it demi.

Articles: Digital Photography Review (dpreview.com)

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CP+ 2017: Not special enough for you? Nikon shows off 100th Anniversary D5 and D500

25 Feb

CP+ 2017: Nikon shows off 100th Anniversary D5 and D500

Nikon is celebrating its 100th anniversary this year, and as part of the celebrations, the company has unveiled special editions of its professional D5 and D500, alongside the ‘holy trinity’ of F2.8 zooms.

Here’s the D5, in its special gunmetal finish and special gunmetal flight case, with special body cap, special shoulder strap and special booklet, full (presumably) of special information.

CP+ 2017: Nikon shows off 100th Anniversary D5 and D500

As special editions go, this one is admirably restrained.

CP+ 2017: Nikon shows off 100th Anniversary D5 and D500

Here’s a boring old normal D5 (yawn) pictured with the special 100th anniversary strap. Nikon has released precisely zero information about any of these special editions and accessories as far as we can tell, so it’s unclear whether this strap will be available for general sale.

CP+ 2017: Nikon shows off 100th Anniversary D5 and D500

Not to be left out, here’s the D5’s baby brother, the D500 in a matching gunmetal finish, inside a matching, but slightly smaller gunmetal flight case. So special. So limited.

CP+ 2017: Nikon shows off 100th Anniversary D5 and D500

Bow down before the ‘holy trinity’. Here are the 14-24mm F2.8, 24-70mm F2.8 and new 70-200mm F2.8E, in matching special finishes, in a matching special flight case. Even the hoods look like they’ve been given a lighter finish, but its very hard to tell from behind the glass display case. At any rate, it’s special. There’s absolutely no doubt about that.

CP+ 2017: Nikon shows off 100th Anniversary D5 and D500

Again, we have no idea whether this exploded 70-200mm F2.8E will be available to purchase as a collectable item, and if so how much you’ll pay. We’d hope it will cost considerably less than the regular lens though, because this very special anniversary edition is entirely useless for photography. Why? Because it’s been cut in…

Sorry, wrong article.

CP+ 2017: Nikon shows off 100th Anniversary D5 and D500

As part of its 100th anniversary, Nikon is (literally) showcasing some key products from the past 100 years. The original Nikon F is in there, alongside an F4 and a Nikonos, and of course the D1. Also included is a Df. Maybe by the time Nikon’s 200th anniversary comes around they’ll have released a Df2.

Articles: Digital Photography Review (dpreview.com)

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CP+ 2017: Hands-on with Sigma’s newest lenses

25 Feb

Hands on with Sigma’s four new lenses

Sigma announced a whopping four new lenses just prior to CP+ 2017, in Yokohama, Japan. As soon as the show opened to the press, we headed straight to the Sigma booth for some hands on time. Three of the lenses announced are part of Sigma’s high-end ‘Art’ series including the 24-70mm F2.8 you see above, as well as a 135mm F1.8 and a 14mm F1.8.

Sigma also announced a 100-400mm F5-6.3 DG OS HSM lens which is part of the company’s more modestly-priced ‘Contemporary’ series.

Click through the gallery for hands on photos of each lens and some initial impressions of build quality, size and weight.

Sigma 24-70mm F2.8 DG OS HSM Art

The Sigma 24-70mm F2.8 is surprisingly lightweight (for an Art-series lens) and reasonably compact. Here it is shown with the focal length set to 24mm. Build quality seems excellent and the 24-70mm F2.8 is weather and dust-sealed, with rubber gaskets visible on the mount. It is constructed from metal and ‘thermally stable composite’, which we can only assume is even better than metal, because it sounds fancier.

Sigma 24-70mm F2.8 DG OS HSM Art

The lenses extends a couple of inches when zoomed in to 70mm. Here you can see some of the switches on the lens barrel including the manual/AF toggle as well as a switch to engage and disengage the image stabilization.

Sigma 24-70mm F2.8 DG OS HSM Art

The 24-70 F2.8 Art has a minimum focus distance of 0.37 meters (1.2 feet). It also feature a 9-blade circular aperture. Optical construction includes three SLD and four aspherical elements.

Sigma 135mm F1.8 DG HSM

Sigma also announced a new telephoto prime lens. Like the 85mm F1.4, the 135mm F1.8 DG HSM is a big lens, and pretty heavy too – weighing in at 1130g/40.2oz.

Sigma 135mm F1.8 DG HSM

The 135mm F1.8 offers a minimum focus distance of 0.875 meters (2.9 feet). It uses a hypersonic motor to focus, which Sigma says should result in fast and ‘exceptionally stable’ AF. And a acceleration sensor ‘detects the orientation of the lens’ so the AF system can respond to ‘varying loads on the focusing group due to gravity.’ In laymen’s terms, this means that autofocus should be just as fast, and just as accurate in both portrait and landscape orientations.

Sigma 135mm F1.8 DG HSM

Mounted on a Canon 5D Mark III you can get a sense of the physical size of the 135mm F1.8. Again, it features a dust and splash-proof construction. Of all the new Sigma lenses we handled, this one has the heftiest feel to it. It also features a 9-blade rounded aperture.

Sigma14mm F1.8 DG HSM

Moving to the wide end of the lineup, the new 14mm F1.8 has a few of us on staff (especially those of us who like shooting in very low light) extremely excited. Fast, high quality wide-angle lenses for full-frame are pretty rare, and we suspect the 14mm F1.8 will appeal to more than just low light shooters.

Sigma14mm F1.8 DG HSM

As you might expect, the 14mm F2.8 has a bulbous front element with a built-in lens hood. There’s no filter thread, which is pretty standard for wide, fast primes. Optical construction is comprised of 16 elements, of which three are FLD (low dispersion) and four are SLD (super-low-dispersion).

Sigma14mm F1.8 DG HSM

Mounted on a Canon 5D Mark III, this image gives you an idea of how big this prime lens is. Like the other two new ‘Art’ lenses it features a 9-blade circular aperture, however it does not appear to be dust and weather sealed. It features a minimum focus distance of 0.27m (~10 inches) and uses a ring-type ultrasonic (HSM) focus motor.

Sigma 100-400mm F5-6.3 DG OS HSM lens

Last but not least is Sigma’s new variable-aperture telezoom, the 100-400mm F5-6.4 DG OS HSM. Although reasonably long, it is impressively light considering the focal range. The lens weighs 1160g and measures 182mm in length. It features a dust and splash proof construction as well as optical image stabilization. The lens is shown here zoomed out to 100mm.

Sigma 100-400mm F5-6.3 DG OS HSM lens

When zoomed all the way in the lens barrel does extend considerably, which is common for lenses of this class. The lens can be zoomed in and out by either twisting the zoom ring or physically pulling the front of the lens outward and inward.

Sigma 100-400mm F5-6.3 DG OS HSM lens

The 100-400mm has a minimum focal distance of 1.8 meters and features a maximum magnification ratio of 1:3.8. It is built around a total of 21 elements arranged into 15 groups. It features four SLD (Special Low Dispersion) elements and focuses via hypersonic motor.

Pricing an availability on all these lenses is forthcoming.

Articles: Digital Photography Review (dpreview.com)

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Get your pictures in front a NASA photo editor by entering Astronomy Photographer of the Year 2017

24 Feb

The Insight Astronomy Photographer of the Year 2017 competition is set to open next week offering space photographers the chance to have their work judged by a picture editor from NASA as well as to win the top prize of £10,000. The competition is open to professional and amateur photographers who can choose from nine categories in which to enter their images. Entry is free but restricted to ten images in total all of which need to have been taken since January 1st 2016.

The winner of each category will receive a £1500 prize while those in runner-up positions get £500 and Commended images win £250. There are an additional two special awards for The Sir Patrick Moore Award Best Newcomer and for Robotic Scope Image of the Year – both of which earn the photographer £750.

Joining the judging panel this year is photographer Rebecca Roth, the Image Coordinator and Social Media Specialist at NASA’s Goddard Space Flight Center in Maryland. She will judge alongside a collection of astronomers and astro-photographers as well as presenters from the BBC Sky at Night TV program. Photographer Wolfgang Tillmans is also on the judging panel.

The competition is open for entries from Monday February 27th and closes on Friday April 7th. It is run by the Royal Observatory Greenwich in the UK along with the BBC’s Sky at Night magazine. The Royal Observatory is a charitable organization and has some terms regarding additional uses beyond the realms of the competition that entrants should acquaint themselves with before submitting their work.

For more information see the Royal Museums Greenwich website and the terms and conditions page.

Press release

INSIGHT ASTRONOMY PHOTOGRAPHER OF THE YEAR 2017 ANNOUNCES COMPETITION DATES AND WELCOMES REBECCA ROTH OF NASA TO THE JUDGING PANEL

The Royal Observatory Greenwich, in association with Insight Investment and BBC Sky at Night Magazine, announces the dates for the Insight Astronomy Photographer of the Year 2017 competition – its annual global search for the most beautiful and spectacular visions of the cosmos, whether they are striking pictures of vast galaxies millions of light years away, or dramatic images of the night sky much closer to home.

Now in its ninth year, the hugely popular competition will open to entrants on Monday 27 February giving them a chance of taking home the grand prize of £10,000. Entrants will have until Friday 7 April to enter up to ten images into the various categories of the competition via www.rmg.co.uk/astrophoto.

The competition also welcomes Rebecca Roth of NASA to the judging panel. Based in Washington D.C. Rebecca is a photographer, photo editor and social media specialist, currently working as the Image Coordinator and Social Media Specialist at NASA’s Goddard Space Flight Center. Rebecca has worked at NASA for nearly 8 years and is charged with sharing amazing images of our universe with the media and with the public through channels such as Instagram, Twitter and Facebook. Prior to working at NASA, Rebecca worked as a photojournalist and photo editor for outlets including National Geographic Television & Film, Roll Call Newspaper, and USA Weekend Magazine. Of her latest role as a judge for the Insight Astronomy Photographer of the Year 2017, Rebecca has said, “At NASA Goddard, we build spacecraft and instruments, and invent new technology to study the Earth, the sun, our solar system, and the universe – a favorite part of my job is sharing images of these spacecraft and the images they produce with the public. This will be an exciting and unique opportunity to see the spectacular images of space captured by the public themselves and discovering their photographic interpretations of the night sky and beyond.”

Insight Astronomy Photographer of the Year 2017 has nine main categories:

– Skyscapes: Landscape and cityscape images of twilight and the night sky featuring the Milky Way, star trails, meteor showers, comets, conjunctions, constellation rises, halos and noctilucent clouds alongside elements of earthly scenery.

– Aurorae: Photographs featuring auroral activity.

– People and Space: Photographs of the night sky including people or a human interest element.

– Our Sun: Solar images including solar eclipses and transits.

– Our Moon: Lunar images including lunar eclipses and occultation of planets.

– Planets, Comets and Asteroids: Everything else in our solar system, including planets and their satellites, comets, asteroids and other forms of zodiacal debris.

– Stars and Nebulae: Deep space objects within the Milky Way galaxy, including stars, star clusters, supernova remnants, nebulae and other intergalactic phenomena.

– Galaxies: Deep space objects beyond the Milky Way galaxy, including galaxies, galaxy clusters, and stellar associations.

– Young Astronomy Photographer of the Year: Pictures taken by budding astronomers under the age of 16 years old.

There are also two special prizes: The Sir Patrick Moore Prize for Best Newcomer is awarded to the best photo by an amateur astrophotographer who has taken up the hobby in the last year and who has not entered an image into the competition before, and Robotic Scope, acknowledges the best photo taken using one of the increasing number of computer-controlled telescopes at prime observing sites around the world which can be accessed over the internet by members of the public.

Entries to the competition must be submitted by 7 April 2017, and the winning images will be showcased in the annual free exhibition at the Royal Observatory Greenwich from 14 September 2017.

Photographers can enter online by visiting www.rmg.co.uk/astrophoto and each entrant may submit up to ten images to the competition.

Articles: Digital Photography Review (dpreview.com)

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CP+ 2017 – Fujifilm Interview: ‘We hope that the GFX will change how people view medium format’

24 Feb

Toshihisa Iida, General Manager of Fujifilm’s Optical Device and Electronic Imaging Products Division, posing with the new medium-format GFX 50S.

We’re at the CP+ 2017 show, in Yokohama Japan where Fujifilm is preparing to ship its long-awaited medium format GFX 50S.

We sat down with three Fujifilm executives, Toshihisa Iida, (general manager of Fujifilm’s Optical Device and Electronic Imaging Products Division), Makoto Oishi, (manager of Fujifilm’s Sales and Marketing Group, Optical Device and Electronic Imaging Products division), and Shinichiro Udono, (Senior Manager for the Sales and Marketing Group of the Optical Device and Electronic Imaging Division), to learn more about the GFX, some of the challenges of creating a medium-format system, and future plans for GX and X series development.

Now that the GFX is ready, and about to ship, this must be quite exciting for you.

Yes, absolutely. For the past four or five years we’ve been concentrating on the APS-C format, and a lot of people were asking us when we’d enter the larger format market. Once some time had passed, and we’d produced a good number of APS-C lenses, we started to look more seriously at large format to attract more customers. That was about two years ago.

The GFX 50S is a mirrorless medium-format camera built around a 43.8 X 32.9mm CMOS sensor. Although the camera borrows a lot of design cues from its smaller X Series cousins, the GFX offers a very different handling experience. Despite being based around such a large sensor, the combination of camera and 63mm prime lens is surprisingly lightweight and very well-balanced.

Since the development announcement at Photokina we’ve received a lot of positive feedback from photographers. We started a program called the ‘GFX Challenge’, where we loaned GFX cameras to photographers from various fields, in order to get feedback. Based on that feedback we refined the camera’s software. Now that we’re almost ready to ship, I can’t wait to get feedback from customers.

What kind of changes resulted from the Challenge feedback?

Most feedback was more or less as we’d expected. Photographers were surprised by how small and light the camera was. We made a few changes on the firmware side, mostly small refinements, like how the dials work, for example, to make it less likely that you’ll make an accidental control input (etc.)

What were the biggest technical challenges that you faced when moving from APS-C to medium format?

The sensor size is 4X as large, so speed and responsiveness were two major challenges. Readout speed, processing and autofocus.

Makoto Oishi shows off the 50MP medium-format sensor used in the GFX 50S.

The GFX does not offer phase-detection – are the lenses designed to support this in the future?

Yes, definitely.

You’re joining Ricoh in the medium format market, and some long-established brands like Hasselblad and Phase One. Are you expecting other manufacturers to enter this market too?

We don’t know. Obviously, the other brands are focusing on full-frame at the moment. Obviously though we’d welcome any brand that joins this category, because it will increase awareness, and help the category as a whole.

When you were planning a product like the GFX, did you come up with any predictions about the growth of the medium-format market?

At the moment we’re just focusing on making the best product we can. We hope that the GFX will change how people view medium format, and this will help to grow the entire category.

What’s your medium-term strategy for growth in this product line? Will there be longer product cycles, for instance?

Obviously the sales volume will be lower, so the product life cycle will probably be longer. But whenever we have the right combination of the right hardware, the right sensor and the right processor, we’ll introduce a new camera.

When you were planning the GFX, what kind of photographers did you have in mind?

After our experience with the GFX challenge, we actually see a much wider potential audience than we’d originally thought. It will depend on what kinds of lenses we introduce. For example, we didn’t think that street photographers would use medium format much, but [based on feedback] we hope that we can reach a broader audience.

You have a six-lens roadmap for GFX right now – how will this lineup evolve?

After the announcement of the GFX we started to get a lot of requests from photographers about other lenses. For example a lot of photographers are asking us for telephoto lenses, in the 200-300mm range. Nature photographers for example. Also people are asking for a wide-angle, like a 15mm equivalent, and an equivalent to the 70-200mm on full-frame.

Fujifilm’s recently updated lens roadmap for the APS-C X Series, including new lenses coming next year. We’re told that ultra-wide and fast tele lenses have been requested for the GFX platform, too.

If you do develop those kinds of longer lenses, aimed at wildlife photographers, presumably the autofocus system will need to be able to keep up?

The autofocus algorithm in the GFX is the same as in the X Series, but performance is different. The readout speed of the sensor is critical, and that’s not the same. Compared to the X Series, the speed is more limited.

Is this something you’ll be working on in the future?

Yes absolutely.

When you started coming up with the concept for a medium format camera, did you ever consider using a non-mirrorless design?

When we started studying the possible design, we were aware that some of our customers wanted a rangefinder-style camera. ‘It’s a Fujifilm medium-format, it has to be a rangefinder!’ However, at least in our first-generation camera, we wanted to reach a wider audience. We concluded that a mirrorless design would be much more versatile. Mirrorless gives us more freedom, and more flexibility.

The GFX’s 50MP sensor is 4X larger than the APS-C sensors in Fujifilm’s X Series cameras. This entails a lot of extra processing power, which is one of the reasons why the GFX sensor has a conventional bayer pattern filter array.

Was it easier, ultimately, to design around a mirrorless concept?

There are fewer mechanical parts, which is simpler. No mirror or pentaprism also means smaller size and weight.

Did you design this camera with the intention that customers could use adapted lenses from other systems?

Yes of course. We made the flange-back distance short enough to accommodate mount adapters for legacy lenses. We are making two adapters, one for H (Hasselblad) mount, and one for view cameras.

When will we begin to see mirrorless cameras take over the professional market?

There are several things that mirrorless manufacturers need to focus on. Number one is speed, still, to attract sports photographers. Also viewfinder blackout, we need to innovate there. Maybe one more processor and sensor generation should be enough to make mirrorless beat DSLRs in every respect.

By the time of the Tokyo 2020 olympics, will there be mirrorless cameras on the sidelines?

I think so, yes.

From Fujifilm?

Hopefully!

Can you tell us about the new Fujinon cine lenses that you’ve released?

Yesterday we announced new Fujinon cine lenses, in what we’re calling the ‘MK series. Fully manual zooms, and manual focus. Initially we’re introducing them in E-Mount versions, but X mount will follow. They’re designed to cover Super 35. The flange-back distance of E and X mount are very similar, so we can use the same optics.

The new Fujinon MK18-55mm T2.9 and 50-135mm T2.9 cover the Super 35 imaging area (~APS-C) and are being released in Sony E and Fujifilm X mount.

We have an optical devices division, which markets broadcast and cinema lenses, and I really want to maximize synergies between the broadcast and photography divisions.

Fujinon is well-known in cinema lenses, but until now, the lenses have been very big and very expensive. But now we’re looking at a new kind of video customer, who’s getting into the market via mirrorless. Mostly they’re using SLR lenses, which aren’t perfect. So a lot of those customers are looking for more affordable cinema lenses.

Do you see most potential in the E-mount, for video?

Yes, we think so. But obviously we’re releasing these lenses in X-mount too, and increasing movie quality in the X Series is very important. Traditionally, Fujifilm has been more of a stills company, but when we introduced the X-T2, we had a lot of good feedback about the 4K video, especially about color. Of course we need to do more, and we need to develop more technology, but I think there’s a lot of potential.

For now, Fujifilm tells us that they see most potential in videographers using Sony’s E-mount mirrorless cameras, but the company has ambitious plans to expand the video functionality of its X Series range.

Moving on to the X100F – what was the main feedback from X100T users, in terms of things that they wanted changed?

A lot of customers wanted improved one-handed operability. So we moved all the buttons to the right of the LCD, like the X-Pro 2. And the integrated ISO and shutter speed dial, for instance.

The lens remains unchanged – why is this?

We looked into whether we should change it, but it would have affected the size of the camera, and we concluded that the form-factor is one of the most important selling-points of the X100 series. Of course we evaluated the image quality, with the new 24MP sensor, but concluded that it was still good.

If it ain’t broke, don’t fix it. The X100F features the same 23mm F2 lens as its predecessors, but Fujifilm ran the numbers and saw no reason to update the lens for 24MP. We do wish there was a 28mm version, though.

Do your customers ask you for an X100-series camera with a 28mm lens?

Yes, of course. That’s why we have the 28mm wide converter for the X100, and the X70. And there’s potential to expand the fixed-lens APS-C camera range more.

Will X-Trans continue in the next generation of APS-C sensors?

For APS-C, definitely. For the GFX format, we’ll probably continue with the conventional bayer pattern. If you try to put X-Trans into medium format, the processing gets complicated, and the benefit isn’t very big.

How big is the extra processing requirement for X-Trans compared to bayer?

X-Trans is a 6×6 filter arrangement, not 4×4, it’s something like a 20-30% increase in processing requirement.

Editor’s note:

It’s exciting to pick up and use a production-quality GFX 50S, after writing about it for so many months, and Fujifilm’s senior executives are understandably keen to get the camera in the hands of photographers. Due to ship in just a few days, the GFX looks like a hugely impressive product,. We’ll have to wait for Raw support to take a really detailed look at what the camera can do, but our early shooting suggests that image quality really is superb.

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It was interesting to learn a little about the feedback process, by which Fujifilm gathered notes, impressions, and suggestions from professional photographers after the launch of the GFX last year. The end result is a very nicely balanced camera, both literally (it’s surprisingly lightweight) and figuratively. Although obviously very different to the X series APS-C models, the GFX is simple to figure out, and easy to shoot with. When Mr Iida says that he hopes that ‘the GFX will change how people view medium format’, part of this comes down to handling.

It was also interesting to hear that Fujifilm considered other types of design for the GFX. Are there concept renderings somewhere of an SLR design, or a rangefinder? Probably. Will we ever see a medium-format SLR or mirrorless from Fujifilm? Personally, I wouldn’t be surprised if the company releases a rangefinder styled medium-format mirrorless. An X-Pro 2-style camera with a medium-format sensor and a hybrid viewfinder? Yes please.

For now though, the GFX is quite enough camera to be getting on with. Beyond medium-format, indeed beyond still imaging, Fujifilm is eyeing the video market. While Fujinon cine lenses have been popular in the film industry for decades, Mr Iida has his eye on a new generation of videographers, who are growing up using mirrorless cameras like Sony’s a7S and a7R-series. This makes sense, but it’s interesting that the new Fujinon zooms will also be manufactured in X mount versions. This level of confidence from Fujifilm in its X series’ video capabilities is good to see, and bodes well for future product development.

Articles: Digital Photography Review (dpreview.com)

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