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Editorial: ‘The world is ending, why are you still writing about cameras?’

18 Mar

Office mascot and all-round Good Boy, Belvedere. Pictured in October, before we all had to pack up and work from home. Good times.

Well, here we are. It seems like a year ago that I was pulling alarming statistics together about the economic impact of the novel coronavirus outbreak, but in fact it’s only been two weeks.

Back then we were still working from our main office here in Seattle, and still mostly going about our normal lives. One of us was on vacation in New York, and one of us was preparing for a short holiday outside of the country. One of us was planning a wedding, in May. I can’t remember what I was doing, but I’m sure it was trivial – it normally is.

At the risk of adding more mud to the landslide of hyperbole that has so far characterized 2020, all of that now feels like a different world.

A couple of weeks ago, I was writing about how – whatever the long-term health impacts of COVID-19 on the global population turned out to be – the virus was ‘already’ having a devastating economic impact. On the photography industry specifically, but across the board. Things have moved quickly. With countries around the globe counting the human cost in terms of suspected cases, confirmed cases, and (sadly – inevitably) deaths, it’s obvious that we’re living in a changed reality.

Here on the west coast, we have the unwelcome distinction of being right in the middle of things in the USA at the moment. As a team, we’ve been working from home and for about two weeks now we’ve been virtually self-isolating. We’re following the guidance of WA state officials and our parent company, keeping ourselves to ourselves, and updating the site remotely from laptops and home computers.

You can expect to see current events reflected in our editorial coverage to some extent, but we’re not going to be plastering our homepage with articles about infection rates

We’re very lucky. We’re not among the thousands of hourly employees in the catering, travel and hospitality industries who are looking at multiple weeks stretching ahead without an income. We review cameras, not ocean cruises. But of course we all have friends and family who are out of work, and others that are employed in health and social care. Still others who are caring for vulnerable relatives. All of them are making sacrifices right now that hopefully the lucky ones among us will never have to fully understand.

We’re working. We can afford to pay our freelance writers, we’re still having the usual daily meetings, and thanks to the impressively high-resolution cameras in our computers and phones (they’re the future, if you hadn’t heard…) we all know a lot more about the state of each others’ respective ‘home offices’ than we’d probably like to. We’re writing, and editing, moderating comments and taking photos. Just like always. As I said, we’re lucky.

We’re doing these things because that’s what you expect us to do. Unlike many ‘tech’ sites, we have a fairly focused editorial remit. You can expect to see current events reflected in our editorial coverage to some extent, as they pertain to the world of photography, but we’re not going to be plastering our homepage with multiple articles about infection rates, death rates, emergency measures or vaccine research. It’s not what we’re good at, and it’s not why you come to our site. It’s not what we do.

Life will get back to normal, eventually, for most of us. Until it does (and with any luck long after it does) we’ll keep on working to bring you the best and most relevant news, analysis, opinion and of course in-depth reviews that we can. Without our daily readers, we wouldn’t be able to do what we’re doing. We need you, and we’re going to make sure that whatever else is going on, there will be plenty to distract you (and yes – if you must – plenty to argue about) on DPReview.

Stay safe, and stay in touch.

Barnaby Britton, Senior Editor, DPReview.com

On behalf of every member of the DPReview team:

Editorial:

Allison
Barney
Carey
Dan
Dale
Gannon
Jeff
Richard (B)
Rishi

DPRTV:

Chris
Jordan

Development:

Ram
Richard (L)
Vlad

Business:

Eugene
Scott

And of course, Belvedere.

Articles: Digital Photography Review (dpreview.com)

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Film Fridays: Thinking about spending a stack of cash on a film camera? Read this first!

14 Mar

We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing an article from our film friends over at 35mmc on Fridays. This week’s article addresses the ever-inflating second-hand film camera market and the realities of what you get for your hard-earned cash. So don’t drop $ 300 on an Olympus MJU II before reading this first!

Thinking about spending a stack of cash on a film camera? Read this!

Articles: Digital Photography Review (dpreview.com)

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Opinion: Stop worrying about new cameras and love the one(s) you’ve got

13 Mar

I’ve recently found myself in the following situation: Over the course of just a couple months, the two main digital cameras I shoot with have both been replaced by new models. This includes my everyday, ‘personal’ camera in the Fujifilm X100F and my ‘gig’ camera in the Nikon D750.

With the announcement of the X100V and D780, in the blink of an eye my kit suddenly went from feeling fresh to feeling like last night’s leftovers. But the more I dig into the differences between these modern generations of cameras and the generation which I own, the more I feel relieved. If you’re in a similar situation, let me assure you, it gets easier. Here’s why.

Pixel counts are leveling out

The megapixel wars have largely wound down and most brands aren’t fixating on increasing the number of pixels in a camera with each subsequent generation, as they have in the past. This is a trend we’re starting to see across the board from multiple brands. Case in point: my D750 has the same number of pixels as the D780, and the X100V offers only a modest 2MP gain over my X100F.

This is not to say neither brand has improved the image quality in these updated models. Indeed the D780 has far nicer JPEGs than the D750. That’s an important improvement, but not one that necessarily matters to me as a Raw shooter.

With the Fujifilm, I tend to stick to JPEG shooting and there’s no real difference between the two cameras there. The only real image quality difference comes down to the lenses: the X100V’s updated lens should provide better corner sharpness and close focus. I certainly can appreciate both of those improvements, the latter especially for portraiture. But then again doesn’t that just mean my X100F’s lens has more ‘character’ by comparison? I can live with that.

Double exposure shot in-camera on the Fujifilm X100F and edited in Adobe Photoshop.
ISO 2000 |1/125 sec | F2

New features are nice but perhaps not necessary

So if camera companies aren’t making huge strides in image quality with the current generations coming out, where are they concentrating their efforts? The answers lie in usability refinements, autofocus improvements and video/feature additions. These are nice-to-haves, but for me, not need-to-haves.

Both my cameras have signs of a life well-lived. But they’re still as capable as ever – in fact more thanks to firmware updates – even if they’re not as beautiful as they once were. Just like me.

Sure, a tilting touchscreen would be a nice addition to my X100 camera, especially for street candids. But then again, I’ve already trained myself to shoot from the hip, while zone focusing with my X100F, so do I really need a tilting screen? The same goes for touch capability; yes, a touchscreen is handy for quick point placement, but the AF joystick on the X100F is also rather speedy.

Similarly, am I tempted by the D780’s excellent live view mode? Heck yes I am. But is it enough to make me want to replace my D750? No. The same goes for video. As a primarily stills shooter who dabbles, I’d definitely appreciate the D780’s movie-making features. But not enough to trade up.

Shot on the Nikon D750 and edited in Adobe Camera Raw.
ISO 12,800 | 1/250 sec | F2.2 | Nikon 20mm F1.8G

Simpler can sometimes be better

I’m not trying to get all philosophical here, but when it comes to getting creative, simplicity can often be refreshing. Because even though my D750 and X100F offer limited usability compared to their updated counterparts, specifically when shooting with the rear LCD, those limiting factors streamline how I use these cameras.

Moreover, other comparative limitations just mean I’ll have to come up with creative workarounds, not unlike learning to shoot from the hip blindly due to the lack of a flip-out LCD. And creative workarounds spawn even more creative thinking – the secret sauce of good photography.

‘Shiny and new’ is overrated

We’ve all brought home a shiny new gadget, whether it be a camera, a smartphone or some other device, and babied it like we’d birthed it ourselves. But shiny new things aren’t meant to stay shiny and new forever – a fact that can take a while to sink in.

On the other hand, there’s something to be said for the comfort of time-tested, worn-out gear. Both my cameras show signs of a life well lived, complete with love and some hard knocks. But they’re still as capable as ever – in fact more so thanks to firmware updates – even if they’re not as beautiful as they once were. Just like me. Which means I don’t hesitate to grab my X100F to tag along for a night on the town, out of fear it may sustain some sort damage. But with a brand new X100V, I might be more cautious.

Shot on the X100F and edited in Adobe Lightroom.
ISO 400 | 1/1600 sec | F5.6

Happiness is accepting the inevitable

Aging is inevitable: just as a new car loses its value once driven off the lot and your camera’s shutter starts to wear after the first shot, we too begin to age the moment we are born. That may sound depressing, but it’s not! Here’s a lyric by the folk singer Jeffrey Lewis to explain why…

‘Time is going to take so much away, but there’s a way that you can offer time a trade. Because your looks are gonna leave you. And your city’s gonna change too. And your shoes are gonna wear through. So you gotta do something that you can get smarter at, you gotta do something you might just be a starter at. You better do something that you can get better at, because that’s the thing that time will leave you with.’

So don’t worry about having last generation’s model, instead invest that energy in your own photographic passion and betterment. Because just as your camera will inevitably fall out of vogue, your time behind it too will one day come to an end. Get out there and shoot!

Articles: Digital Photography Review (dpreview.com)

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What does the EOS R5 tell us about Canon’s mirrorless plans?

08 Mar

A prototype of the forthcoming Canon EOS R5, on display at the recent WPPI trade show

If it wasn’t obvious at the time, it should be clear now that the EOS R and RP don’t represent Canon’s full ambitions for full-frame mirrorless. Following the initial surge of those releases, there’s been an apparent lull while the real work continued. Now that Canon has started to release details of the forthcoming EOS R5, the bigger picture is becoming clearer.

This is not to downplay the role of those first two cameras. The RP in particular seems to be turning into the camera we thought it might: a competent and aggressively priced first-time full-framer, pitched below the 6D level to entice people into the system.

But it was very apparent that the R and RP weren’t at the center of Canon’s plans for the RF-mount and we’ve had to wait until now, to see more of Canon’s longer-term strategy.

The RF lenses have already set out the game plan though. That triumvirate of F2.8 L zooms is clearly not primarily aimed at RP or even R users. The prices and the performance that they’ve shown, along with the use of the widely respected ‘L’ designation, should make that clear.

Neither the ‘holy trinity’ of F2.8 L zooms, nor the 50 and 85mm F1.2 prime lenses will have been developed primarily for EOS R or RP shooters.

These lenses are laying the groundwork for a camera designed to appeal to the dedicated enthusiast and professional user.

The R5 will be a mirrorless 5D

One thing that’s certain, now that we’ve seen the prototype cameras, is that the inclusion of the number ‘5’ in the R5’s name is no coincidence.

The 5D line has been important for the company, both in terms of sales and in terms of reputation. The 5D DSLRs help cement the company’s image as the maker of aspirational products for enthusiasts and dependable cameras for working professionals, then extended that to create the first high-end stills/video hybrid camera. Like the ‘L’ designation, Canon is unlikely to risk undermining the values associated with that branding by casually applying it to something less ambitious.

Canon is unlikely to risk the 5-series branding by applying it to something less ambitious

The prototype units Canon has put on show also help to make clear that it’s this 5D-using crowd it’s targeting with the R5: the styling cues of the body might come from the EOS R but the control layout is reassuringly 5D-like. Wedding shooters, along with everyone else who got really anxious about such things when the EOS R was launched, will be reassured to hear the R5 will have twin card slots.

There are certainly plenty of design cues from the EOS R, including that square status panel and the mode button set inside the rear shoulder dial…

Canon was determined to get it right

The lag between the announcement of the system and the arrival of its key camera model suggests there was still work that needed to be done.

Given how much of a head start Sony had already established in full-frame mirrorless with its progressively better a7 cameras, there must have been a temptation for Canon to quickly establish a presence in such a key part of the market. But, rather than launching a rival to the Sony a7R III at the same time Nikon launched its Z7, Canon has kept its powder dry.

…but that rear-plate scroll wheel, that big, traditional joystick and the arrangement of the two buttons on the right shoulder have much more in common with Canon’s DSLR design.

This strongly suggests it’s been continuing to work on the technologies underpinning the R5. Whereas the R and RP placed sensors from existing models (the EOS 5D IV and EOS 6D II respectively), in less-expensive bodies, it’s now clear that the R5 will include a series of all-new technologies. And we’d guess at a price tag around the $ 3500 territory that EOS 5D models have been launched at.

It will feature new-to-Canon technologies

Canon confirmed to us over a year ago that it was developing an in-body stabilization system for a ‘pro-level’ RF camera, and this is likely to be one of the things still being perfected.

There’s scope for some misunderstanding in translation, of course, but the senior figures we interviewed seemed to suggest a system that would combine the efforts of in-body and in-lens stabilization, like Panasonic and Olympus do, rather than sharing the work by letting in-lens stabilization take over some of the work from the in-body mechanism, per Sony and Nikon.

Canon has a history of launching new systems by starting with the middle model. The launch model of the EF mount, the EOS 650, wasn’t an especially high-end offering.

While Canon has decades of experience of in-lens stabilization, it doesn’t have any prior experience of combining lens and sensor-shift IS. This is clearly a technology Canon wanted to get absolutely right before launching a 5D-level camera, rather than delivering a standalone IBIS system and then using the promise of combined IS to entice people to upgrade to an R5 Mark II.

It will push video capabilities forward

The EOS 5D II established the idea of the DSLR as a video device. It wasn’t quite the first video DSLR but with its Full HD capability and full-frame sensor, it was the one that ended up in the hands of would-be videographers the world over. The Mark III added a little polish to this but didn’t really push things forward.

But one of the undeniable advantages mirrorless offers over DSLRs is that you don’t have a mirror that needs to be moved out of the way before you can start recording. This, in turn, helps give a more coherent stills and video shooting experience, making it easier for photographers to adapt to shooting sequences of moving pictures, rather than just stills.

So a 5D-level mirrorless camera would be the perfect time to make a spiritual successor to the 5D Mark II and Canon is talking in terms of 8K capture.

The potential benefits of 8K apply to people watching in 4K, just as there were benefits to 4K capture before widespread adoption of 4K displays

You may not think you need 8K, if that’s what the camera ends up outputting. It’s true that the limits of human vision at sensible viewing distances take us into the realms of diminishing returns, but many of the potential benefits of 8K apply to people watching in 4K, just as there were benefits to 4K capture before widespread adoption of 4K displays.

The first is the ability to crop in, giving scope for adding panning or zooming movement into locked-off shots. This is hugely useful in terms of giving flexibility at the edit stage, particularly for single camera setups that an R5 is likely to be used for.

But the other option is to capture at 8K and output it as perfectly oversampled 4K, since you need to capture twice the resolution to accurately describe all the detail that a 4K video can show. It may be that this is what Canon is referring to 8K capture with 4K output, but even this would be an impressive step forward.

I won’t call it a flagship

So what we know from the announced details and what we can deduce from the RF lenses that have been launched is that the 5R will aim to be a ‘Super 5D’: with the addition of in-body IS and advanced video making it perhaps the biggest generational leap forward for ‘5’ level cameras since the introduction of Full HD video capture.

The EOS R5 promises to match the 1D X III in terms of its 20fps frame rate, but it’s still the 1D series that’s the real flagship in Canon’s lineup.

But I’m still loath to call it a flagship. 5D cameras are important to Canon and certainly help set public perception of the brand, but it’s the 1D-series that has entrenched the company’s position on the sidelines of sports across the world.

The R5 is likely to include some of the AI-trained autofocus know-how developed for the EOS-1D X Mark III, and it’s likely to be the top dog in the RF lineup for the foreseeable future. But the sheer amount of power offered by the 1D X III in mirrorless mode suggests we may be only a single generation away from an RF-mount 1D.

Articles: Digital Photography Review (dpreview.com)

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Let’s talk about Dorothea Lange

08 Mar

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

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

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

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

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

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

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

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

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

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

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

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

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

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Even with mobility limitations, she never slowed down

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

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

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

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

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

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

Articles: Digital Photography Review (dpreview.com)

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Canon EOS R5 Is Being Developed, But Don’t Forget About the R1

27 Feb

The post Canon EOS R5 Is Being Developed, But Don’t Forget About the R1 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The Canon EOS R5 hasn’t yet hit the shelves, but the rumors keep coming regarding Canon’s full-frame mirrorless line.

Rumors which promise something even more exciting (for those of us who can be patient, that is!).

Now, the Canon EOS R5 is plenty thrilling in its own right. It was officially announced by Canon earlier this month and is positioned to correct a number of the much-criticized flaws of the Canon EOS R and EOS RP, Canon’s two major full-frame mirrorless offerings.

In particular, the R5 promises to feature some form of in-body image stabilization, which is considered by many to be a defining aspect of mirrorless technology.

The R5 will also offer dual card slots, 20 frames-per-second continuous shooting with the electronic shutter (this drops to 12 frames per second with the mechanical shutter), and an incredible 8K video recording capability. The R5 is rumored to begin shipping sometime this July.

Canon is calling the R5 its “most advanced full-frame mirrorless camera ever,” and they’re undoubtedly right, though some might claim the EOS R/RP duo set a low bar.

That said, Canon seems determined to push their mirrorless lineups to greater heights. According to Canon Rumors, the R5 is “definitely not the ‘professional’ EOS R mirrorless camera” that Canon is developing, in reference to an action-focused mirrorless camera teased by Canon, one that would potentially rival the Sony a9 Mark II, as well as the Nikon D6 and the Canon 1D X Mark III.

Canon Rumors states that the “professional” camera, dubbed the “EOS R1,” should appear in 2021, and suggests that there may be a reveal in the final months of 2020.

In a sense, this Canon EOS R1 is only interesting as a marvel of innovation. We all want to see Canon push its mirrorless development to the next level (though advanced features do have a tendency to trickle down to lower models). But the EOS R1 will almost certainly be prohibitively expensive, and it won’t be the type of camera the average photographer wants or needs. Instead, it’ll be like its potential competitors, the 1D X Mark III, and the D6: interesting in concept, but relevant only for a niche audience.

The EOS R5, on the other hand, may be positioned much like the Canon 5D Mark IV. The 5D Mark IV is an impressive camera, and while it’s not Canon’s “true” professional option, it’s a body used by plenty of professionals. Many of these photographers hoped to see an upgrade in the form of the Canon EOS R and were disappointed by its lack of IBIS and single card slot.

So maybe, with the EOS R5, Canon will finally produce what was hoped for over a year ago.

What do you think? Are you excited about the EOS R5? How about the R1? If so, why? Let me know in the comments!

The post Canon EOS R5 Is Being Developed, But Don’t Forget About the R1 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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‘It should cost…’ The three main ways you’re wrong about camera prices

22 Jan

Every time a camera is launched, our comment section is flooded with comments saying ‘it’s too expensive,’ irrespective of what the price is set at. Are all the camera makers utterly out-of-touch with reality, or is there something else going on?

I’m going to explain the three main misunderstandings that I see prompting these comments. I’m not advocating for higher prices, nor trying to suggest that manufacturers never get it wrong, but just trying to highlight why cameras are priced the way they are.

A new model is always going to cost more than the outgoing one

Prices decline with time. No matter what your pricing strategy, an older product (particularly in a fairly fast-moving marking like electronics) cannot demand as high a price at the end of their lifecycle as they can at the beginning.

This may sound obvious, but the consequence is that a new model will always look expensive compared with the model it replaces.

The D780 was launched at the same price as the D750, so is cheaper in real terms. But heavy discounting of the D750 makes the new camera look very pricey.

This is the error we most often see: ‘How can they charge $ 2200, when I can buy the old model for $ 1400?’

To which the response is: ‘How can they not?’ If you offer your new model at the price of the outgoing one, then what does its price look like, at end-of-life? Do you then have to match that price with the next generation model? That approach would end up with you giving cameras away within a couple of product generations, which isn’t exactly a winning strategy in an already contracting industry.


Prices decline with time, so new cameras tend to be released at around the same cost that the old one was launched at.	The alternative (launching to match the current market prices) is a pell-mell race to the bottom.

So cameras tend to be released at around the same prices that the preceding model was launched at. After all, camera makers are companies: they exist to make as much profit as they can. Their job is to maximize the amount of money they generate from each product.

The main exception to matching the previous model’s launch price is if the new model has been stripped-down to hit a lower price point or re-positioned to attract a different audience.

Case study: The stripped-down mass-market special

Sony’s a6000 was launched for $ 799 with a kit zoom: around $ 200 lower than the existing NEX-6 model. It gained a couple of additional features and updates but also saw a drop in viewfinder resolution and had less substantial feeling construction: distinct hints that it wasn’t a like-for-like replacement model.

Sony’s insistence on assigning similar names to all its models doesn’t help, but the pricing alone makes it easier to recognize the a6300 as more of an NEX-6 replacement than an a6000 update. Sure enough, both the a6000 and a6300 continued alongside one another for the next few years: one targeting the ‘price conscious’ consumer, the other offering better build, an NEX-6 level viewfinder and 4K video, for people who were comfortable to spend a bit more.

Manufacturers will occasional try to re-position a particular model, making it cheaper or more expensive, perhaps trying to make room for a new model.

Case study: two models in the place of one

Panasonic’s GX8 had a significantly higher spec and was launched for $ 200 more than the preceding GX7. This created the space for a less expensive GX85 to sit underneath. Looking at the launch prices suggests that Panasonic thought there were two different types of customer buying the GX7: some that wanted a small, mid-priced model and some who wanted something more ambitious, and were willing to pay for it.

However, the next model refresh saw the GX9 launched back at the same price as the GX7 (and called the GX7 III in some markets). ‘This isn’t a GX8 replacement at all’ complained some would-be buyers. The pricing indicated that they were probably partly right.

The lesson in all of this is that you can better interpret a manufacturer’s intentions by comparing the price of a new model to the launch price of the outgoing model, not its depressed end-of-life price.

Case study: getting the price wrong

Manufacturers don’t always get their pricing right, of course. Nikon entered the prime-lens APS-C compact market in 2013 with the Coolpix A, an attractive camera with a 28mm equivalent F2.8 lens. Perhaps emboldened by Fujifilm’s success selling its X100 models for $ 1299, Nikon priced its camera at $ 1099.

Around a month later, Ricoh launched an APS-C version of its much-loved GR, also with a 28mm equiv F2.8 lens, for $ 799. The Coolpix A was a pretty good camera (though we preferred the GR), but without the retro appeal, hybrid viewfinder and burgeoning reputation of the Fujifilm, or the establish fan-base of the GR, that $ 1099 price tag looked awkward.

Without access to sales data, we can’t know for certain how many units were sold at full price but by the second half of 2014, the price had collapsed to just $ 580. A lot of people got a bargain at that discounted price, but it’s noticeable that Nikon hasn’t shown any further interest in that niche.

Of course, sometimes manufacturers will keep old models on the market at a newly lowered price (the Sony a7 II and a7R II, for instance). This makes life a little more complex but should really just focus your attention on what really matters: ‘does the new model offer enough compelling improvements to overlook the older model?’

Your country probably isn’t being ripped-off, even if the US launch price seems cheaper

The RX100 VI was launched for $ 1298 in the US and the equivalent of $ 1450 in Europe. But that’s not the whole story.

The other complaint we regularly see is that the launch price in country ‘X’ is higher than a direct conversion of the US dollar price. There are two main reasons for this.

The first is that US prices tend to be quoted without sales tax, whereas most other countries tend to include sales tax/VAT/GST in consumer-facing communications. As a results, US prices tend to look less expensive simply because the price quoted isn’t the price most people are legally expected to pay. Your local tax level may be more expensive, but that’s more likely to do with your country’s history, style of government and degree of healthcare provision and social support: none of which can be blamed on camera makers.

The second factor is that price competition varies greatly between countries. US prices tend to stay at or near the Manufacturer’s Recommended Sales Price until the manufacturer chooses to adjust it. Countries with more competition between retailers tend to see prices quickly fall away from the initial asking price: early adopters end up paying full price, but anyone buying a few months (or sometimes weeks) later, will get a much better deal.

Case study: why are cameras more expensive in Europe?

Sony’s RX100 VI had an initial MSRP of $ 1298 in the US and €1299 in Europe. This looks bad: €1299 was worth $ 1450 in July 2019. Outrageous, right?

But, if I went to buy one today, I’d end up paying $ 1429 after tax in the US ($ 1298 plus my 10.1% local sales tax rate). If I lived in Germany and bought the same model from a large internet retailer, I’d have to pay €1180, including VAT, which is equivalent to $ 1315.

So, although the launch price in your country may look outrageous, compared with the US price, that doesn’t mean you’ll get ripped-off. The last two times I’ve looked at buying cameras in the US and UK, I found the year-old model I was shopping for to be less expensive in the UK, even with higher local taxes. I’ll concede that this was before the pound plummeted following the Brexit vote: but again, that’s not really the fault of camera makers.

Some things are supposed to look expensive

Marketers have all manner of theories about how to price their goods, and different strategies for maximizing the amount of profit they can make from a specific product. Very few of these have much to do with the costs involved in developing, manufacturing, distributing and supporting that product. Most strategies set the price high enough to make this money back, but there are exceptions even to that.

So there’s little point looking at a product and saying ‘they’ve removed ‘x,’ so it should be cheaper,’ or expecting the price to relate in any way to your estimation of the costs involved.

For instance, a premium pricing strategy holds that it’s sometimes beneficial to price your goods so highly that you end up selling fewer than you could, but at greater profit: the high price and resulting scarcity in itself contributes to the perceived value of the product.

A premium pricing strategy holds that the high price in itself contributes to the perceived value of the product

‘That’s silly,’ you might think: ‘that wouldn’t work on me.’ But it does. Like it or not, you respond to pricing. Read through the comment section of the launch of any Leica product: you’ll see an audience dramatically polarized between ‘it’s not worth that’ and ‘if you could afford it, you’d understand.’ The same goes for luxury items, whether they be Range Rovers or Rolex watches: if they weren’t expensive, they wouldn’t have the same cachet.

This discussion is almost entirely divorced from whether the products themselves are any good (to the degree that any assessment can be entirely rational and dispassionate), it’s primarily a reflection of differing personal responses to the price.

Perceived value is entirely personal and both responses are equally right and wrong: a premium product isn’t worth its exaggerated price to the person who doesn’t care about prestige, scarcity, brand history and reputation or the degree to which something is hand-built, but it is worth it for someone to whom those factors contribute to the item feeling special, or more meaningful.

Is it worth it?

Which ultimately brings us to the question that’s really at stake: not ‘is it too expensive?’ but ‘does it appear to represent good value to me?‘

Again, manufacturers are for-profit companies. They aren’t aiming to offer the product you want at a price you want to pay: they’re trying to price it at the maximum amount you’re willing to pay.

In other words: it’s always going to be a bit more expensive than you’d like.

Articles: Digital Photography Review (dpreview.com)

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Opinion: Why I’m excited about the D780 and what it means for the future of Nikon

07 Jan

As a Nikon D750 owner who’s been using the camera for 5+ years, I’ll admit I’m excited about the D780. The refreshed model is, essentially, a DSLR version of the Nikon Z6 and I fully expect it’ll be relevant for another 5+ years.

I’m also excited because the D780 proves Nikon is still committed to DSLRs in 2020. And it might point to a continuing strategy, at least for now, of releasing ‘companion’ DSLR/mirrorless products, like the D850 and Z7 or the Canon EOS 90D and closely related 6D Mark II.

A proper replacement for the D750 provides the perfect stepping stone for folks interested in the Z6 or Z7, but who are still not ready to fully commit to a new system

A proper replacement for the D750 – which the D780 looks to be – also provides the perfect stepping stone for folks like me, interested in the Z6 or Z7, but still not ready to fully commit to a new system. That said, in another three to five years I very well may be ready to make the jump: especially if replacements for the Z6/Z7 fill in the gaps where Nikon’s DSLRs are still superior, like autofocus.

Why does the D750 continue to be such an excellent stills camera for the money? Because it offers still-competitive dynamic range/image quality (this image was pushed 2.25-stops), highly reliable autofocus (with great tracking ) and great ergonomics in a well built, small/lightweight DSLR body. Which is all to say, the D780 has some big shoes to fill.

ISO 3600 | 1/320 sec | F2.2 | Shot on Nikon D750 + Nikon 35mm F2 D

Nikon’s 3D Tracking autofocus in the company’s DSLRs is still better implemented and more reliable than the tracking in Z-series cameras, even with recent firmware updates. And though the number of AF points is unchanged from the D750 to D780, the new model inherits the AF algorithms of the flagship D5, so users should expect further improvement to what is already (and still) a top performing AF system.

Nikon’s 3D Tracking autofocus in the company’s DSLRs is still better-implemented and more reliable than the tracking in Z-series cameras

I have no doubt in my mind Nikon will continue to dial in the reliability of AF tracking in Z-series cameras (and fix the clunky implementation). And for enthusiast photographers curious about mirrorless, the Z6 is a sensible camera to consider as-is. But for folks like me who rely on their camera for freelance work, or for those entirely making a living behind the lens (bless your souls), sticking with something that has a proven track record is a no-brainer. Not to mention, the D780 offers dual card slots, something many professionals insist on. The Z6 does not.

While I would’ve appreciated a small bump in sensor resolution in the D780, no increase means I don’t have to worry about the camera out-resolving my aging collection of AF-D lenses.

ISO 6400 | 1/500 sec | F3.2 | Shot on Nikon D750 + Nikon 85mm F1.8 D

Still, the camera does fall short of my hopes in a few areas, most notably the continued lack of an AF joystick and/or a touchpad AF implementation (the latter is offered in the mid-range D5600). I also would have liked to see some bump in resolution, though the updated sensor (likely the same as the Z6’s) does offer some image quality improvements. Still, I’m jazzed as heck for 4K video (with usable video autofocus!), a touchscreen, faster burst shooting and better AF, even if Nikon did remove my precious pop-up flash (truly handy as a fill for back-lit portraits).

By giving the D780 the same live view implementation as the Z-series, Nikon is gradually guiding traditional DSLR users to appreciate its virtues

Ultimately, I know there will likely come a day semi-professional DSLRs are phased out completely. Thankfully the D780 is proof Nikon is taking its time and not forcing users to switch too quickly. By giving the camera the same live view implementation and performance as the Z-series, Nikon is gradually guiding traditional DSLR users to accept and appreciate the virtues of a good live view experience, something current D750 users know nothing about. All while allowing us to keep our familiar DSLR form factor and precious optical viewfinder.

At the end of the day, this is a hugely important camera series for Nikon, having successfully straddled the line between professional and enthusiast cameras ever since the D700 debuted more than ten years ago. There’s a reason these cameras are so popular and find their way into the hands of so many photographers: they offer good reliability and good bang-for-the-buck in the long run. Heck, I still use my D700 from time-to-time. With the D780, the legacy of this series continues on. And if the days of the DSLR are truly numbered and this is the final chapter in the D700-saga, it seems to be a proper finale… unlike ‘The Rise of Skywalker’.

The Nikon D750 has and continues to serve me well.

ISO 3200 | 1/500 sec | F10 | Shot on Nikon D750 + Nikon 35mm F2 D

Articles: Digital Photography Review (dpreview.com)

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What you need to know about the Mavic Mini and drone regulations

13 Dec

DJI’s Mavic Mini weighs 249 grams, making it exempt for registration in the US and other countries with similar regulations.

DJI’s new Mavic Mini recently started shipping out to customers. When it was initially announced the Internet was ablaze with excitement about a drone that weighed under 250 grams, exempting it from registration with the Federal Aviation Administration (FAA) and government agencies in other countries where similar laws apply. Comments flooded into drone forums immediately, and a few were concerning.

Some people stated they felt there was no need to abide by airspace regulations and were free to fly anywhere, over people, and at night without a waiver amongst other violations. This, unfortunately, couldn’t be further from the truth. I called upon two of my respected friends and colleagues, one 30-year veteran, and one current employee of the FAA, and referenced a post from an industry expert, to help clear up any misconceptions.

What does ‘no registration’ really mean?

“Of course, sUAS under .55 lbs. (250 grams) do not require registration. However, if the sUAS is being used for commercial work in an effort to be compensated, the aircraft must be registered and FAA Part 107 regulations must be followed by the RPIC (Remote Pilot-in-Command),” said Samuel Nelson, who made it clear he wasn’t speaking on behalf of the FAA and was, instead, giving his personal opinion based on his understanding as the Boston regional FaastTeam STEAM (Science, Technology, Engineering, Applied Mathematics) Pro.

Some people stated they felt there was no need to abide by airspace regulations and were free to fly anywhere… this couldn’t be further from the truth.

Nelson adds “If flying as a hobbyist, you can avoid registration. However (remote pilots) still must abide to by FAA AC 91-57B AND Title 49 of the United States Code (49 U.S.C) § 44809. People must also remember DJI AeroScope systems can detect drones under .55 lbs. and the serial [number] can be identified to allow for a subpoena to identify the legal owner of the aircraft.”

Ryan LaTourette, who runs That Drone Blog and is and admin on the UAV Legal News & Discussion Facebook group pointed out the obvious: “The lesser weight does not negate that the Mavic Mini is still in the eyes of the FAA a drone, an aircraft… Mavic Mini operators are not given a free pass to fly wherever and whenever they wish. The only change at this point is the need to pay $ 5 to the FAA for a certificate of aircraft registration.”

Drones small enough to fit in the palm of your hand aren’t necessarily toys. They have a lot of beneficial uses.

What does this mean? A remote pilot flying recreationally must adhere to the following guidelines, including but not limited to:

The aircraft is flown within the visual line of sight of the person operating the aircraft or a visual observer co-located and in direct communication with the operator.
The aircraft is operated in a manner that does not interfere with and gives way to any manned aircraft.
In Class B, Class C, or Class D airspace or within the lateral boundaries of the surface area of Class E airspace designated for an airport, the operator obtains prior authorization from the Administrator or designee before operating and complies with all airspace restrictions and prohibitions.
In Class G airspace, the aircraft is flown from the surface to not more than 400 feet above ground level and complies with all airspace restrictions and prohibitions.

Commercial use

While others, including myself, didn’t feel the Mavic Mini was appropriate for commercial use, LaTourette pointed out that people shouldn’t be so narrow minded. He explains that drones even smaller than the Mini, such as Verity’s Lucie micro drone, have been used in professional scenarios for the past few years. Ryze’s Tello drone has been an instrumental tool in getting folks, especially children, excited about STEAM education. Intel drones, weighing in at 68 grams, are responsible for putting on the world’s most elaborate fireworks displays.

Verity drones weigh a mere 50 grams and have completed over 150,000 autonomous flights safely over people at rock concerts and other live events.

If you plan on using the Mavic Mini for commercial purposes in the United States, meaning you plan to receive compensation for work conducted with your drone, you will need to register the drone plus have your Part 107 certification. I personally recommend Remote Pilot 101 for straightforward, affordable training. There is, of course, a conundrum that comes with following the rules.

Loretta Alkalay, an aviation attorney who spent 30+ years with the FAA as Regional Counsel, had the following to say: “As far as the weight issue, the FAA’s drone laws are not rationally related to the potential safety impact of very small drones. That results in people either intentionally ignoring the laws because they are overly restrictive or failing to even realize that laws apply. Coupled with the lack of FAA enforcement, the people most penalized are those who do know the regulations and choose to comply with them. Of course, those who violate the regulations and get caught could face serious consequences, depending on the violation and circumstances.”

The people most penalized are those who do know the regulations and choose to comply with them.

Speaking of impact, lower weight gives potential to the criteria for the FAA’s latest NPRM on easement of the §107.39 regulation for flight over people. Flying over people is currently prohibited under the §107.39 regulation. No one may operate a drone over people unless they are directly participating in the operation or are shielded under a covered structure such as a car.

So why make a lightweight drone?

DJI is certainly proud of themselves for fitting some of their most advanced features into a drone that weighs 249 grams upon takeoff. So why stuff all those features into a tiny package? Safety and the impending ruling for allowing flight over people are two top reasons.

According to a DJI Hub article that was shared by the company’s Vice President of Policy & Legal Affairs, Brendan Schulman, “regulators in the United States, Canada, the United Kingdom, continental Europe, Australia, and other regions have agreed that drones weighing less than 250 grams (0.55 pounds) are virtually harmless. In a fall or a collision, a sub-250g drone is just not going to cause the same kind of damage as a heavier drone.”

The Mavic Mini is tiny compared to other compact drones like the Mavic 2 Pro, but you still need to follow the normal rules when flying it.

In spite of negative media coverage, drones have been proven to be safe while providing many benefits to numerous industries including healthcare, construction, mining, agriculture and more. As Samuel Nelson pointed out earlier, the Mavic Mini is also equipped with AeroScope for Remote Identification which allows safety and security officials to detect, identify, and locate the drone and its pilot during flight if necessary. Going lighter and more compact, to ensure safety when performing complex operations, is a logical trend that is taking hold of the industry.

To find out if a Mavic Mini is an ideal purchase for you, check out our comprehensive review.

Articles: Digital Photography Review (dpreview.com)

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11 Great Songs About Photography (includes link to playlist!)

11 Nov

The post 11 Great Songs About Photography (includes link to playlist!) appeared first on Digital Photography School. It was authored by Megan Kennedy.

As a symbol of memory, art, time and technology, the theme of photography has inspired musicians for decades. Need some photography-based tunes to listen to? Here are 11 great songs about photography – or at least, that feature photographic themes.

11-great-songs-about-photography

1. Kodachrome – Paul Simon

As the lead single from Paul Simon’s third studio album There Goes Rhymin’ Simon (1973), Kodachrome is titled after Kodak’s 35mm film format introduced by Eastman Kodak in 1935.

Referring to the characteristics of the Kodak film and its effect on visual culture, Simon sings “they give us those nice bright colors, they give us the greens of summers.”

Interestingly, although the album version of Kodachrome states that “…everything looks worse in black and white,” Simon later went on to perform the song live with the lyrics “…everything looks better in black and white“.

In an interview with Daniel Levitin for Grammy Magazine in 1997, Simon stated, “I can’t remember which way I originally wrote it, better or worse, but I always change it.”

2. Picture This – Blondie

“All I want is a photo in my wallet, a small remembrance of something more solid…”

Blondie’s Picture This touches on the driving force behind a considerable amount of photography – the desire to preserve memory.

Blondie’s first two albums were hits in many parts of the world. However, they still hadn’t garnered much attention in America.

As the band’s first overseas single in 1978, Picture This became Blondie’s breakthrough track in the U.S.

3. This is not a Photograph – Mission of Burma

11 Great Songs About Photography (includes link to playlist!)

Short and to the point, This is Not a Photograph by Mission of Burma is probably a reference to La Trahison des Images (The Treachery of Images) by surrealist René Magritte.

Magritte’s painting, which pairs the image of a pipe with the phrase “Ceci n’est pas une pipe” (this is not a pipe) illustrates the duality of the artistically-rendered subject matter.

In addition, the artwork speaks to the intention and power of the artist.

As the lyrics declare, Mission of Burma’s This is not a Photograph is clearly not a photograph, but it maintains photographic qualities in that it is a marker of a specific moment in time.

4. Camera – R.E.M

Pioneers of alternative rock, R.E.M. is known for hits including Losing My Religion, Everybody Hurts, Man on the Moon and The One I Love.

But before their breakthrough stardom, songs like Camera established the distinctive lyrics and jangly riffs that would mark R.E.M.’s influential approach to music.

Featured on the 1984 album Reckoning, Camera was written about the death of photographer friend Carol Levy.

The lyrics “will you be remembered? Will she be remembered?” Refers to memory, and perhaps the power of the camera to still time.

R.E.M. also has a track titled Photograph – a collaboration with Natalie Merchant.

The little gem speculates on the story of a photograph found “In stacks between the old joist walls/In a place where time is lost“.

5. Swap Meet – Nirvana

11 Great Songs About Photography (includes link to playlist!)

Forming in 1987, American grunge band Nirvana rose to fame with the success of Smells Like Teen Spirit, About a Girl and Come as You Are.

Featured on their 1989 album Bleach, Swap Meet paints a moody picture of a couple that “make a living off of arts and crafts“.

The song’s chorus illustrates the entanglement of keeping cigarettes (addiction), photographs (memory) and bitterness close to the heart.

6. Distant Camera – Neil Young

Released in 2000, Silver & Gold is the 23rd studio album by Neil Young.

For a Reprise Records promotional piece, Young wrote a comment about each song on the album.

For Distant Camera, Young wrote “there was one thing I let go on this album. It’s on this song and it still bothers me. There was a misplaced beat and nobody liked it but me and I wanted to leave it in because that’s just the way it had happened originally. But I took it out and to this day, whenever I hear this song I think about that kick drum. And I probably always will. That’s just the way my mind works.”

Despite Young’s dissatisfaction, Distant Camera is a touching song about love, change, memory and time.

7. Kamera – Wilco

11-great-songs-about-photography

Featured on the 2001 album Yankee Hotel Foxtrot, Kamera is a song by Chicago-based band Wilco.

In the lyrics, the subject of the song appears to view the camera as a tool to remind them of “which lies I have been hiding, which echoes belong“.

The camera is presented as a revealer of truths, a property that has been explored extensively over the history of photography.

8. Seventeen – Ladytron

Seventeen features on Ladytron’s 2002 album Light & Magic.

The song itself is made up of a single verse repeated throughout the song;

“They only want you when you’re seventeen/ when you’re 21, you’re no fun/ they take a Polaroid and let you go/ say they’ll let you know, so come on”.

Paired with a robotic musical score and voice modulators, Seventeen could well be about the exploitative, youth-obsessed culture of the entertainment and fashion business.

“They take a Polaroid and let you go” indicates the process undertaken by industry selectors, but it could also refer to a part of a person’s psyche being robbed by the industry itself.

9. Paparazzi – Lady Gaga

11 Great Songs About Photography (includes link to playlist!)

In 2008 Lady Gaga dropped her debut studio album The Fame.

Released as the album’s fifth and final single, Paparazzi reached top-ten in music charts across the globe.

On the song, Lady Gaga has said “…there are a few different interpretations…It’s a love song for the cameras, but it’s also a love song about fame or love — can you have both, or can you only have one?”

Paparazzi alludes to the camera as a tool that drives the trajectory of fame.

10. Itchin’ on a Photograph – Grouplove

American alternative rock band Grouplove, formed in 2009 and released their debut album Never Trust a Happy Song in September 2011.

As the third single off the album, Itchin’ on a Photograph reached number 43 on Australian national radio station Triple J’s Hottest 100.

The song also reached number 10 in 2012 on Billboard’s Alternative Songs and number 30 on Billboard’s Hot Rock Songs.

Itchin’ on a Photograph delves into the emotional and physical experience of dwelling on the past.

Building on a central theme of memory, the photograph itself represents a source of discomfort, but also a stepping stone from which the subject alights.

11. Taro – alt-J

11-great-songs-about-photography

Taro is written by English indie rock band alt-J and features on the 2012 album An Awesome Wave.

The song is about war photojournalist couple Robert Capa and Gerda Taro.

In 1934 Endre Erno Friedman met Gerda Pohorylle, a German Jewish refugee. In Paris, the pair invented the name and image of Robert Capa.

For a while, Friedman and Pohorylle both published their photographic work under the Robert Capa name.

Pohorylle then took the name Gerda Taro, becoming successful in her own right while Friedman retained the Capa identity.

Sadly, both Taro and Capa died during conflict.

In 1937 Taro was killed covering the Republican army retreat at the Battle of Brunete. In 1954, Capa died when he stepped on a land mine in Thai Binh in Indochina.

Alt-j’s song Taro describes the lives of the two pioneering photographers and their reunification in the afterlife.

Conclusion

Photography and music are similar in many ways. Perhaps that’s why the meeting of photographic themes and music creates such compelling listening.

If you’d like to treat your ears to these songs about photography and many more, you can check out my Photography Songs Spotify playlist here.

And if I’ve missed your favorite photography-based song, share it in the comments!

Happy listening!

The post 11 Great Songs About Photography (includes link to playlist!) appeared first on Digital Photography School. It was authored by Megan Kennedy.

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