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Canon interview: ‘increased competition allows us to level-up’

18 Mar
Canon executives (L-R) Yoshiyuki Mizoguchi, Group Executive of Imaging Communications Business Group, Go Tokura, Chief Executive Officer of Canon’s Image Communications Products Operation, and Naoya Kaneda, Advisory Director and Group Executive of Canon’s Optical Business Group.

At this year’s CP+ show in Yokohama, we sat down with senior executives from several major manufacturers, including Canon. Topics covered during our conversation with Go Tokura, Yoshiyuki Mizoguchi and Naoya Kaneda included Canon’s ambitions for high-end mirrorless cameras, and the importance of responding to changing definitions of image capture from the smartphone generation.

Answers from the three interviewees have been combined, and this interview (which was conducted through an interpreter) has been edited for clarity and flow.

How important is it for Canon to add higher-end mirrorless products to your lineup?

At Canon we have what’s called a ‘full lineup strategy’. This means that we want to satisfy all of the demands in the market, so we have mirrorless and also DSLR, which combined makes an EOS hierarchy. We want to fill the gaps to satisfy customer demands across the board.

The new M50 is an entry-level model, because that’s where the high-volume sales are. We want to establish ourselves in this market, and then move forward [from there]. In accordance with the full lineup strategy, we will be tackling [the mid-range and high-end mirrorless market] going forward.

The EOS M50 offers 4K video and Dual Pixel CMOS AF, but not at the same time. Is there a technical reason for this limitation?

With the EOS 5D Mark IV, we do offer 4K video and Dual Pixel CMOS autofocus, so technically it is feasible. But given the position of the M50 in the lineup, we can’t include all of the features available in a product like the 5D IV. Given the position of the product, we wanted to achieve the optimal balance [of features] in a camera in that range. We’ve optimized the M50 as best we can [for its market position], and within those parameters, the combination of 4K video and Dual Pixel CMOS autofocus was not possible.

Canon’s new EOS M50 offers limited 4K video capability, making it the first of Canon’s mirrorless cameras to go beyond HD video capture.

Another manufacturer that we spoke to estimated that Canon would have a full-frame mirrorless camera within a year. Is that realistic?

That would be nice, wouldn’t it?

The Tokyo Olympics in 2020 is coming up – when we look at photographers shooting with Canon at Tokyo in two years time, what will we see?

The Tokyo Olympics is a very important opportunity for us. If we look at the professional camera market, we would like to introduce a professional model at that time. Having said that, we take reliability very seriously. So when we talk about [creating] a model for the Olympics, we’re not just talking about performance. We’re also want to make sure that we can achieve the same level of reliability that we’ve always delivered [in our professional DSLRs].

The Tokyo Olympics is a very important opportunity for us

We also want to raise Canon’s presence overall, with camera products and also events and services. We have been instructed [by our senior leadership] to maximize the opportunity!

Canon’s gear room at the 2016 Olympics in Rio. Major sporting events like this have always been a major focus for Canon, and have often served as showcases for new professional cameras and lenses. The next Olympic Games will be held in Tokyo, in 2020 and is sure to be a major event for Canon.

In your opinion, what is the most important quality for an entry-level camera?

We are always looking for speed, ease of use, and maximum resolution. We’re also thinking about how we can deliver better image quality than a smartphone. So it’s about really focusing on speed, ease of use and image quality. Small size and weight comes into [the calculation] as well, and also the GUI.

Looking beyond the entry-level class towards cameras aimed at high-end amateurs like the 5D class, those customers need even better image quality, and they also want to take more control over operation. They want to expand, and express their creativity. Reliability also comes into play.

The Canon EOS 5D Mark IV offers both 4K video capture and Dual Pixel autofocus – not a combination available lower down in Canon’s ILC lineup (for now).

Do you think that 4K video is a more important feature at the entry-level end of the market, or the enthusiast / professional segment?

We believe that 4K video is important for all market segments, and all users. Given that we have a range of products, we always have to think about how best [to implement 4K] in that class of camera. And you can do more with 4K video in a higher-end camera than in an entry-level model.

Why is that?

The cost required to introduce [features like 4K] into cameras dictates the kind of features that we can introduce [in products of different classes]. 4K is important to offer in all market segments, and in the M50 we’ve achieved 4K at 25 fps, and that’s the best we can do at this time. We can’t introduce all of the features [in an entry-level camera] that we could in a higher-end model. Another point is that consumption of 4K footage in terms of devices to view 4K video – the penetration of those devices in the market, and their adoption, was a little faster than we expected.

In the past, you’ve said that you won’t introduce a high-end mirrorless product until there would be no compromises compared to DSLR technology. Are we getting close?

In the EOS hierarchy we have cameras from entry-level to professional with different features. When it comes to mirrorless cameras, we have entry-level models, and we’ve just about started on the mid-range class. What that tells you is that Canon is confident about mirrorless technology within this range of products.

We still believe there’s work to be done before we can achieve the level of satisfaction that our users are looking for before they could confidently move from DSLR to mirrorless

But if you look at the enthusiast and high-end product class, in terms of both autofocus and viewfinder [experience], we still believe there’s some work to be done before we can achieve the level of satisfaction that our users are looking for before they could confidently move from DSLR to mirrorless. That’s where we are right now. We’re still on the path to development.

So far, the EOS M5 is the nearest thing Canon has made to a high-end mirrorless camera. The M5 is a great product, but a far cry from some of the industry-changing cameras that Canon has been responsible for in the past.

Having said that, it’s not like we don’t have the components required to create a mirrorless model that would be on a par with DSLR models. For example Dual Pixel CMOS autofocus, lenses that can focus quickly, and optical components like the EVF. We have the technology required to create a camera that would be satisfactory. It’s just a matter of combining [those components] together. So you can look forward to our developments in the future.

There’s still a perception among our readers that Canon is a little conservative. Where is Canon innovating right now?

Rather than some of the very novel features that some of our competitors have been introducing, we believe that it’s really important to deliver the basics. Speed, ease of use, and good image quality. Dual Pixel CMOS autofocus is representative of that [philosophy]. It’s not only important for stills photography, but also for video. Only Canon is pursuing this area [of development] right now. We also have Dual Pixel Raw, and we’re looking for new ways of applying [this technology] currently.

Canon’s schematic of its Dual Pixel CMOS AF sensor structure. The top layer illustrates the light-gathering micro-lenses and conventional Bayer-type color filter array. The lower layer shows how each pixel is split into two photo-diodes, left and right, which are colored blue and red respectively. (Note that this does not indicate different color sensitivity.)

With lenses, we introduced the EF 70-300mm [EF70-300mm F4-5.6 IS II USM] zoom lens, and the EF-S 18-135mm [EF-S 18-135mm F3.5-5.6 IS USM] which both have Nano USM focus motors. This makes three focus actuators: ring type, stepping motor and Nano USM. This gives us more options when it comes to optical design. For a super wide lens like the 10-24mm L [EF11-24mm F4L USM] for example, we offer ring-type USM, which provides higher torque. Our optical technology is a strength that we’re proud of.

Maybe Canon lenses don’t look that different to our competitors, but in terms of performance, we’re able to create lenses that are superior

We also have a range of [special] optical materials, and methods to process these materials. If you just look at specs, maybe Canon lenses don’t look that different to our competitors, but in terms of performance, we’re able to create lenses that are superior. It’s also about post-purchase support. Durability, reliability, and the ability to withstand extreme temperatures. Our users are able to enjoy this level of performance and they appreciate that.

We also have a new product – our new Speedlite 470EX-AI flash, for automatic bounce photography. So we believe that we can provide innovation across the system of cameras, lenses and accessories. Our customer base is also diversifying, particularly generations ‘Y’ and ‘Z’. They’re looking for new things. We were just at CES in Las Vegas, where we showed some new concept models. We got a lot of feedback, and we want to turn [the concepts] into a marketable product pretty soon.

When we look at trends in mirrorless technology, we’re considering the technical advancements that are possible.

Clearly, the transition to mirrorless will be a big challenge, technically. When you look ahead to further mirrorless development, are you envisaging a new lens system?

It’s been more than 30 years since we launched our EF lens mount, and we’ve sold more than 130 million EF lenses during that time, so we can’t simply ignore that many lenses in the market. At the same time, when we look at trends in mirrorless technology, we’re considering the technical advancements that are possible. It’s a difficult question to answer, but maybe let your imagination suggest some possibilities!

The move from FD to EF in 1987 was bold but also controversial given the legacy of FD lenses and the lack of compatibility between the two platforms. Do you think that situation will happen again?

That’s a difficult question to answer. There was a lot of discussion and debate about that shift, in 1987, and we’re going through the same thing now. We want to nurture and support our [existing] EF customers and we’re in discussion about that at the moment.

Canon’s recently-announced EF 85mm F1.4L, showing the electronic contacts which are a defining element of the EF lens system, first introduced more than 30 years ago to replace the all-mechanical FD lens platform.

In 1987, the shift was from a mechanical interface to an electronic interface. That [precluded cross-compatibility]. Despite that shift, the change provided significantly more value for our customers, which is why we went ahead. If it turns out that [the introduction of mirrorless] will create a similar situation, this might be a decision that we would take [again]. But we’re not sure yet.

Because we’re already using an electronic interface, the shift will be more gradual [than it was in 1987] so [we would better able to] maintain compatibility.

Looking ahead, what is Canon’s main priority?

We want to improve our product lineup, including lenses. We just released an entry-level model (the EOS M50), and because young people are really getting into photography more actively, the entry-level segment is one that we always need to make sure to tackle.

The entire concept of capturing images has changed over the past couple of years

When it comes to maintaining market share and ensuring growth, what is the most difficult challenge that Canon is facing?

We’ve been producing cameras for a long time, but the entire concept of capturing images has changed over the past couple of years, and we need to engage with this new style of capturing images. The first stage is our new concept cameras. It’s important for us to relax and expand our concepts of image capture.

This is of the several concept cameras that Canon has been showing this year – an ‘intelligent compact camera’ designed to automatically capture images, and intelligently learn about the kinds of pictures you want to take.

Now, maybe the camera can be beside you, or maybe even away from you, and still capture the image that you’re looking for. We need to have the technologies to respond to [these new ways of capturing images] in the way that Canon should.

For a very long time, Canon and Nikon dominated the professional market. There’s a lot more competition these days. Is more competition good for Canon?

More players means more activity in the industry, which is a positive thing. Having said that, of course it’s tough.

Does this pressure generate better ideas? More innovation?

Very much so, and it goes both ways. For all players, to be stimulated by increased competition allows us to level-up across the board.

Is it more important for camera manufacturers to design cameras that behave more like smartphones, or that they communicate the benefits of a dedicated camera to smartphone photographers?

I think we have to do both. We have to continue to evolve the traditional benefits that a camera can provide, and at the same time we have to consider the diversification of image capturing tools, including smartphones, and what they have to offer. Our mission is to pursue both approaches.

Editor’s note:

This interview was the fourth time I’ve spoken to Mr. Tokura in recent years, who has become more senior within Canon since we first met back in 2014. Our conversation at CP+ covered some old ground (the perception among some industry-watchers that Canon is a little conservative, increased competition from the likes of Sony, etc.) but this year I really got the sense from talking to him that Mr. Tokura and his team will have some pretty interesting products to show us in the not too distant future.

We know from previous conversations with both Mr. Tokura and his boss Mr. Maeda that increasing the speed of product development has been a priority at Canon in recent years. Since then, we’ve seen some solid refreshes at the top and middle of Canon’s DSLR lineup (along with some truly excellent new lenses), but a lot of the company’s energy seems to have been directed towards the lower-end, especially within the EOS M lineup. This focus on the entry-level segment of the camera market (‘where the sales are’, as Mr. Tokura said in our interview) makes sense, but I’ve expressed my own disappointment in the past about such a ‘slow and steady’ approach in the face of increasingly fast-moving competition.

Canon has the technology for high-end mirrorless – it just has to put all the pieces together

It’s been a long time coming, but in this interview Mr. Tokura came pretty close to at least hinting that higher-end, perhaps even full-frame mirrorless is imminent – and maybe even within the next 12 months. As he said, Canon has the technology – it just has to put all the pieces together.

Possibly even more exciting is the possibility of a professional model to come by 2020. Back in 2016, Mr. Tokura reminded me that Canon likes to launch flagship models in Olympic years, and the fact that the next Olympiad will be held in Tokyo is likely to present an irresistible opportunity. You heard it here first.

Canon has shaken up the photography market several times in the past, and has the potential to do so again.

Speaking of the future, the Canon executives I spoke to at CP+ were very keen to show me the mockups of a range of concept cameras that were first unveiled at this year’s CES show in Las Vegas, in January. While none are finished, marketable products (yet) it’s clear that Canon is keen to explore products that respond to what Mr. Tokura calls ‘a new style of capturing images’.

Canon is sometimes criticized for taking a conservative approach to product development, and in some cases this is true (although it isn’t always a bad thing). It’s important to remember though that Canon has shaken up the photography market several times in the past, and there’s every chance it could do so again.

Previous interviews with Canon executives:

An interview with the heads of Canon’s L lens factory (2017)

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

CP+ 2015: ‘Every day I’m saying ‘speed up!’

Photokina 2014: Mirrorless ‘in the very near future’

CP+ 2014: ‘We don’t see the smartphone as an enemy’

CP+ 2013: Interview with Canon’s Masaya Maeda

Articles: Digital Photography Review (dpreview.com)

 
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Sony interview: ‘If cameras are going to develop, manufacturers have to develop mirrorless technologies’

16 Mar
Kenji Tanaka, Senior General Manager of Sony’s Digital Imaging Business Group, pictured in Yokohama for the 2018 CP+ show.

At the recent CP+ show in Yokohama, we sat down with executives from several major camera and lens manufacturers. Among them was Kenji Tanaka, of Sony. In our interview we discussed the new a7 III, as well as Sony’s plans to attract more professional users, without ignoring entry-level and APS-C customers.

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

What is your target customer for the new Alpha a7 III?

We describe it as a basic model but maybe our definition is different [to other manufacturers]. What we mean is that any customer can use this model. Many professionals could use the a7 III, I think. I hope that many kinds of customer will be happy with this model, so we’re not strictly defining a target customer for the a7R III.

The new Sony Alpha a7 III is ostensibly an entry-level model in Sony’s a7-series lineup but despite its relative affordability, it’s packed with features.

Sony had a very busy year last year – what are your priorities going into 2018 and beyond?

We’re displaying the 400mm F2.8 [at CP+] – of course many articles are written about the a7 III, but as well as the camera bodies, the lenses are very important. Especially lenses like the 400mmm F2.8 – sports photographers are a new category for us.

One of the most important lenses for sports photographers is the 400mm F2.8

Last year we launched the a9 and some sports photographers are already using the a9, for example at the Olympics, but one of the most important lenses for sports photographers is the 400mm F2.8. The weight is very light. Usually sports photographers use monopods because the lenses are very heavy, but the weight of our 400mm F2.8 is very light, and you can use it handheld, which makes it easy to create different kinds of photographs. We already announced the development of this lens, and the launch is scheduled for this summer.

How important is feedback from sports photographers?

It’s very important. Not only when it comes to quality, but also durability. The winter Olympics for example, with the low temperatures, whether a product works in those tough conditions is very important. Whether or not we will launch a new product, the proof of concept is very important.

For a product aimed at a hobbyist, maybe it’s less important but for the 400mm F2.8 we’re really dedicated to create a ‘monster’ lens.

Sony was showing a prototype of its forthcoming 400mm F2.8 at CP+, which Mr. Tanaka sees as an essential weapon in Sony’s arsenal of lenses if the company is going to attract professional sports photographers to the brand.

There have been questions about the weather sealing of a7-series and a9 cameras. Is this something you want to address?

In really bad conditions, in really heavy rain, will photographers keep on taking pictures [for long periods of time?] I don’t think so. In those conditions, most photographers will use some kind of rain cover. But of course durability is very important. Photographers should be able to shoot [in poor weather]. We have an internal ‘weather test’ and for each kind of customer we will aim to produce products with adequate durability.

For a professional camera, the requirement for durability is higher

Is that something that your professional users are asking for?

Yes. But we need a balance between durability, and size and weight. For a professional camera, the requirement for durability is higher, but for hobbyist kinds of camera, the priority is smaller size and lower weight.

Tamron and Sigma are now creating lenses for Sony FE – is this a good thing for Sony?

Yes, it’s a good thing. The E-mount is an open standard – anyone can create a lens for the E-mount system. Of course there are criteria for compatibility, but because we think that the E-mount is a good technology, we think that the open format is good for the market and good for customers.

Tamron’s first lens for full-frame Sony mirrorless cameras will be the upcoming 28-75mm F2.8 zoom. Sigma is planning its own range of native E-Mount primes and zooms, too.

How long will it be before Canon and Nikon join Sony and mirrorless full-frame becomes the norm?

This is just my personal opinion, but I think that maybe by next year’s CP+ you’ll see full-frame mirrorless cameras from Canon and Nikon. I think [by then] they will be participating in this market.

If cameras are going to develop, manufacturers have to develop mirrorless technologies

Just look at our technologies, like eye focus. All of those are made possible because of data from image sensors. In DSLRs, the data comes from separate sensors. The main imaging sensor is blacked out, 90% of the time by the mirror. The sensor is turned off. But the imaging sensor is very important. So if cameras are going to develop, and be able to capture the moment [more effectively], manufacturers have to develop mirrorless technologies. So within one year, I think.

Do you think we’ll see mostly mirrorless cameras at the 2020 Olympic Games in Tokyo?

Yes.

How many of those cameras do you want to be made by Sony?

Many! But the professional market is very conservative, so we’re taking it step by step. We saw some photographers using the Alpha 9 at this year’s winter Olympics but of course the majority was Canon and Nikon. But the number of Sony photographers is increasing.

The Sony Alpha a9’s innovative wide-coverage autofocus system makes it a powerful tool in the hands of an experienced sports photographer.

A lot of our readers want more Sony APS-C lenses…

We know that some people think we’ve neglected the APS-C market, but it’s just an issue of prioritization. A couple of years ago we introduced the a6500. Then the next year we introduced the a9, and the a7R III. But we think that the APS-C market, and APS-C customers are both very important, because the majority of the market is APS-C, and we’re developing many kinds of APS-C products, so please be patient – we will never ignore APS-C.

Some of your competitors keep flagship products up to date over time with firmware updates. This seems like the opposite strategy to Sony. Is this something that might change?

We’re still in the early stages of challenging the market with our products, and the new model cycle is relatively rapid, compared to our competitors. But the next step is to increase our market share. And if we want to reach new customers, we need [to make] new types of cameras.

We’re still in the early stages of challenging the market with our products, and the new model cycle is relatively rapid

Sony makes a lot of key devices, for example image sensors and processors. I’m originally an engineer. Engineers always want to provide the latest sensor, the latest processor, and so on. Maybe this is one of the reasons our product release cycle is faster than some of our competitors. [But] user-upgradable software is very important. Our new model cycle is speedy, however I think that firmware updates are something we should offer.

Editor’s note:

Our conversation with Mr. Tanaka was candid and interesting, coming in the middle of a very busy period for Sony. The company has released a lot of high-end products over the past 18 months, and shows no signs of slowing down. We don’t know how far out the new 400mm F2.8 sports lens is, but given recent sightings of at least one working prototype ‘in the wild’ at the winter Olympics, it could be pretty imminent.

Mr. Tanaka knows that Sony won’t have the full-frame mirrorless field to itself for much longer, and welcomes the competition

Mostly I came away from this interview with the strong sense that Sony isn’t planning on resting on its laurels. Mr. Tanaka knows that his company won’t have the full-frame mirrorless field to itself for much longer, and welcomes the inevitable competition from established DSLR manufacturers like Canon and Nikon, as well as third-party lens manufacturers like Sigma and Tamron. As he correctly points out, some of the most useful features to emerge in the photography market in recent years could only have been possible thanks to mirrorless technologies, and Sony deserves enormous credit for developing and perfecting many of these technologies faster than any other manufacturer.

Sony will not ignore either APS-C users, or entry-level full-frame customers

It was very reassuring to hear Mr. Tanaka stress the importance of durability, as well as technology in Sony’s high-end cameras. Concerns have been raised about the ability of some of its products to withstand use in wet conditions, but clearly this is something that the company is mindful of – especially in cameras and lenses designed for professional use.

That’s not to say that Sony is focused entirely on breaking into the professional market. Mr. Tanaka was at pains to reassure us that Sony will not ignore either APS-C users, or entry-level full-frame customers. The new a7 III is proof of the latter point – a ‘basic’ model in Sony’s terminology, but one that I suspect will satisfy the needs of many enthusiasts and even professionals.

Previous Sony interviews:

CP+ 2017 – Sony interview: ‘We need to offer new imaging experiences’

‘We want to make lenses that can be used forever’: Sony engineer discusses G Master lenses

Interview: Kimio Maki of Sony – ‘the customer’s voice is the most important data for me’

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm interview: ‘We want the X-H1 to be friendly for DSLR users’

21 Feb

Fujifilm’s new X-H1 sits above the X-T2 in the company’s X-series APS-C lineup. As well as offering several enhancements in its core stills photography feature set, the X-H1 also brings high-end 4K video capture with up to 200Mbps capture and 5-axis in-body stabilization.

At the X-H1’s launch in Los Angeles last week, we sat down with the camera’s product manager, Jun Watanabe, to get a detailed look at the new camera. The following interview has been edited for clarity and flow.

Jun Watanabe is the Manager of Product Planning in the Sales & Marketing group of the Optical Device & Electronic Imaging Products Division at Fujifilm.

Fujifilm has stated previously that IBIS would not be possible in X-series cameras because of the small imaging circle of some XF lenses. What changed?

We have spent the past two or three years developing a system where using both hardware and software, we can cover [the necessary] imaging circle. The most important thing is precision. Because a sensor with IBIS is a floating device, it has to be perfectly centered and perfectly flat. We had already achieved a sensor flatness tolerance down to an order of microns, but the challenge was to maintain this precision with IBIS.

A laser measurement device is used during the process of manufacturing the image stabilization unit, and the assembly process also includes inspection and adjustment of each individual camera. For that reason, a micron order level of sensor parallelism is realized even while IBIS is activated.

A chart showing CIPA figures for image stabilization benefit of all compatible XF lenses, when used with the X-H1. As you can see, the least amount of benefit comes when the 10-24mm wideangle zoom is used. Users of the vast majority of XF lenses should see 5 stops of stabilization benefit.

Are there some lenses that will deliver better stabilization than others, as a result of having a larger imaging circle?

Yes. The most effective is the 35mm F1.4. But every XF lens without OIS will benefit from five stops of stabilization.

When you were developing the X-H1, how important was the requirement to add high-end video features?

Many videographers gave us input. A lot of them said they needed in-body stabilization, and F-Log in-camera recording. Those were the top requests from video users.

Compared to the X-T2, the X-H1 is a larger, more DSLR-styled camera which inherits a lot of styling cues from the medium-format GFX 50S. It is also 25% thicker, and better sealed against the elements.

What kind of feedback have you had from videographers since the X-H1 was announced?

Pretty good. We’ve heard from videographers that they really like the 200Mb/s internal recording and 12 stops of dynamic range with the Eterna film simulation. They’ve told us that this combination is the best solution for quick, high-quality video capture.

We wanted to create a more cinematic look, so we studied ‘Eterna’ – one of our cine film emulsions

We received a lot of feedback after we launched the X-T2, from videographers and DPs who said that our film simulation modes in video were unique, but too still photography oriented, with the narrow dynamic range. They wanted a real cinema look. On the product planning side we wanted to create a more cinematic look, so we studied one of our cine film emulsions – ‘Eterna’. That was the starting point.

Velvia is tuned to give you colors as you remembered them. More vivid blue skies, for example. Eterna is tuned in the opposite direction, for moderate saturation, with more cyan and green bias. With Eterna, combined with the X-H1’s dynamic range settings, we have achieved a 12 stop dynamic range.

How did you decide on what video features to include in the camera? Some expected features – like zebra – are missing.

Honestly, we couldn’t add zebra because of hardware constraints. The processor cannot support it. It requires too much processing power. At this time, we’ve achieved the best possible performance for the processor.

The X-H1 (on the left) features a substantially deeper handgrip than the X-T2, which we’re told was a major feature request from existing X-series customers. It also sports a top-plate mounted LCD, which should make it more familiar to photographers coming from using an enthusiast DSLR.

Is 8-bit capture enough, for F-Log recording?

There are 10-bit cameras on the market, but we recommend using Eterna to short-cut the recording process. We think 8-bit is enough for good quality.

Do you think the X-H1 will be bought mostly by stills photographers, or videographers?

We are targeting both. We have greatly upgraded the video performance [compared to the X-T2] but we have upgraded the stills performance too, especially autofocus in low light, and subject tracking. We also added flicker reduction and dynamic range priority, and so on. We are targeting both kinds of professional users.

When it comes to autofocus, minimum low light AF response has been improved from 0.5EV to -1EV. We’ve also introduced a new phase-detection autofocus algorithm and parallel data processing. The X-H1 has the same processor as the X-T2 but the algorithms are new. A single autofocus point in the X-T2 was divided into 5 zones. In the X-H1, this has been increased to 20 zones.

Phase-detection autofocus will be possible with our 100-400mm lens in combination with a 2X teleconverter

Data from each zone is processed in three ways, for horizontal detail, vertical detail, and fine, natural detail like foliage or a bird’s feathers. This processing happens simultaneously, rather than in series, which is a big advantage over the X-T2. We’ve also achieved phase-detection performance down to F11, which means that phase-detection autofocus will be possible with our 100-400mm lens in combination with a 2X teleconverter, with a much higher hit-rate compared to the X-T2.

During shooting, the predictive AF algorithm now generates information from captured images in a sequence, for more reliable subject tracking while zooming.

Now that you have a powerful 4K-capable video camera with IBIS, how will this change how you develop lenses, in the future?

For stills lenses, our approach will stay the same. But we’ve also announced two cinema lenses. These both work with IBIS and the MKX 18-55mm zoom will deliver 5 stops of correction. This is a unique selling point.

We have had requests from some of our professional users for a bigger camera

The X-H1 is considerably larger than its predecessors. Is there a point when the size advantage of APS-C compared to full-frame gets lost?

Professionals are generally more accepting of larger cameras, and [compared to DSLRs] the X-H1 isn’t that big. And we have had requests from some of our professional users for a bigger camera, especially those photographers that use our longer lenses. A bigger grip and more solid body were both requested.

Here’s that deeper handgrip, in action.

When the camera gets bigger, does it make some aspects of design easier? Like heat management?

Yes, the increased camera volume gives us some advantages when it comes to heat and cooling systems. In fact the X-H1’s 4K recording time is 50% longer than the X-T2, thanks to a new cooling system and two large copper heat sinks.

How much technology from the GFX 50S has made it into the X-H1?

Some of the operation and operability improvements have made their way into this camera. We hope that some DSLRs users will come over to the X-series, thanks to things like the top LCD, and twin control dials and so on. We wanted the X-H1 to be ‘friendly’ to photographers who are used to DSLRs.

Editor’s note:

I always enjoy talking to engineers, even with the caveat that some of what they say occasionally goes completely over my head. I was very surprised, for instance, after hearing Mr. Watanabe detail all of the clever ways in which the X-H1 processes AF information, to be told that the new camera has the same processor as the X-T2.

It’s not impossible to imagine that the X-T2 might yet benefit from some of these advances.

Quite how Fujifilm has managed to eke such increased efficiency from essentially the same amount of computing power is beyond my intellect, but if the claimed increase in performance holds up in our testing, the company deserves a lot of credit. And given Fujifilm’s excellent track record of updating older models, it’s not impossible to imagine that the X-T2 might yet benefit from some of these advances.

Apparently there were internal discussions about including a dual, or even a completely new processor in the X-H1, but this would have added to development time, as well as cost. It’s possible too that some of the heat-management benefits of the X-H1’s larger internal volume compared to the X-T2 might have been nullified.

‘Silent control’ in movie shooting allows you to adjust exposure settings by touching the rear LCD – avoiding the noise and vibration of clicky buttons and dials making its way into your footage.

And in these days of 4K video capture, heat matters. The X-H1 isn’t a perfect video camera by any means, but it’s the most convincing X-series model yet. It should compare well against most of its competitors, barring only the more specialized Panasonic GH5/S. In-camera 5-axis stabilization is a big part of that (involving 10,000 calculations per second, if you can believe it), but features like 12EV of video dynamic range (Eterna + DR400%), internal F-log recording and a maximum quality of 200 Mbps are sure to attract the attention of professional, as well as casual videographers.

One of the most requested features from Fujifilm’s X-series customers was a bigger grip

Even for people with little or no interest in video, the X-H1’s enhanced feature set might still be enough to justify the extra cost over the X-T2. And possibly also its ergonomics. According to Mr. Watanabe, one of the most requested features from Fujifilm’s X-series customers was a bigger grip. The X-H1 gets bigger everythings, just about. Obviously this means that the camera is bigger as a result, but Fujifilm is hoping that this will make the X-H1 appeal to more traditional DSLR users.

Will the X-H1 prove a hit? I hope so. It’s an impressive camera, and a bold move by Fujifilm. I can’t see the company creating a dedicated video camera any time soon (and Mr. Watanabe would not be drawn on this question when I asked him) but however it gets there, one thing is clear: Fujifilm really wants to be taken seriously by filmmakers, as well as traditional stills photographers.

Articles: Digital Photography Review (dpreview.com)

 
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Interview with an astronaut: What it’s like shooting photos from space

28 Dec

Jared Polin (aka. Fro Knows Photo) recently scored an interview that has us all extremely jealous here at DPReview. A phone call to NASA to find out if astronauts shoot Raw in space led to an interview with Marine fighter pilot and NASA astronaut Randy Bresnik, who had arrived back to Earth from the International Space Station just three days before Jared spoke with him!

The entire interview is fascinating from first question to last, but first things first: yes, astronauts do shoot Raw in space. Bresnik himself says he shot RAW+JPEG so he could download the JPEGs onto his laptop and see the shots ASAP, but the Raw files are beamed down to Earth where the folks at NASA process them to their full potential.

This is far from the only only topic Polin and Bresnik cover, though. They hit everything from radiation damage, to stabilizing your shots in space, to the glass available, to what it was like switching from Nikon D4 cameras to the brand new D5s that arrived on the ISS in mid-November, and much more.

And all the while, gorgeous photos Bresnik captured while up there scroll across your screen. Photos like the ones below—some of our favorites from Bresnik’s last 2 months on the ISS:

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Editor’s Note: Bresnik also contributed the #oneworldmanyviews hashtag, which paired shots of beautiful locations captured in space with photos of the same spot taken from Earth.

For Polin, the conversation seemed surreal. He tells DPReview that:

For me I was in awe for a lot of the interview. It’s not easy to wrap your head around SPACE and the sheer fact you can transfer the data back to earth. Sure that’s been going on for decades but think about it. 250 miles up in space there’s a station with six astronauts on it, with an entire Nikon setup of D5’s and glass up to an 800 5.6 for god sake. The direct downlinks to NASA transfer data all night long.

Check out the full interview up top, scroll through the gallery above for a bit of awe, and if you want even more, head over to Bresnik’s Twitter account where you can find enough photos, videos, and timelapses to keep you busy until New Years and beyond.

And, since Polin says he may actually get to interview an astronaut who is on the space station when he talks to them, we’re curious: what would you ask an astronaut about photography in space? Drop your suggestions in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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Interview: Sofi Lee is a pro shooting with vintage digital compacts

07 Dec
Portrait of the photographer

Film nostalgia in photography might be all the rage today – it seems a lot of people are hungry for that ‘organic, analog look’ – but for Seattle photographer Sofi Lee, nostalgia for vintage digital compacts is a lot more fun. And it’s the limitations of these cameras that help to set Sofi’s professional work apart from the crowd.

Lee only graduated college two years ago, but in that short time has amassed quite a few clients in the Pacific Northwest by shooting beautiful images that, yes, feature blown highlights, chromatic aberration, rudimentary noise reduction, coma and more.

Tell me about your professional work as a photographer.

I do photography and animated GIFs, mostly for journalistic purposes. My Seattle clients include Seattle Weekly, The Stranger, City Arts and the Weekly Volcano in Tacoma. Nationally I’ve worked for Vice.

Sofi shoots a lot of portrait work for publication in the Pacific Northwest. This image, of the band Pleather, was shot on a Fujifilm FinePix E900. Photo: Sofi Lee

I know you spend a lot of time shooting with digital cameras from the early and mid- 2000’s. Tell me a little bit about your interest in these cameras.

I first got into older point and shoots back in 2014. At the time, the analog revival was really taking off. I was in a commercial photography trade school and watched many of my peers either straight up shooting film or trying to recreate the aesthetics of film in editing. There were definitely a lot of talks in class about photographs looking ‘too digital’ as well as instructions on how to add more of an ‘organic, analog’ feel to your images.

There were definitely a lot of talks in class about photographs looking too ‘digital’ as well as instructions on how to add more of an ‘organic, analog’ feel to your images.

At the time, I observed to myself that the re-emergent fascination with film was probably ephemeral, specific to the current zeitgeist and highly rooted in nostalgia. So I asked myself, ‘What will be the thing people look back to next, after film?’ I started digging through Flickr archives of photos taken on older point and shoot digital cameras, or ‘digicams’ as some people called them, and felt there was something different about them.

They stood out in a way apart from modern digital files: The dynamic range is narrower and the shadows have a character that looks different from those of modern CMOS cameras [due to the lower pixel count and simplistic noise reduction]. That really interested me, so I started spending hours poring over DPReview [laughs] looking for cameras. I made a list of qualities I looked for: cameras with CCD sensors that shot Raw and, initially, were released around 2001.

The Canon PowersShot G2, in hand.

So what was the first camera you settled on?

The camera I ended up settling on was the Canon PowerShot G2. It turned out that Raw was very uncommon for cameras at the time apart from pretty much Canon cameras. I also picked it out because its maximum aperture is F2.0. The body also has a classic look to it, something ineffably iconic of its era. When I saw it, I said to myself, ‘That’s the one.’

The Canon G2 ended up coming with me everywhere I went. I think a lot of photographers find freedom when they shoot film, but I found it here instead.

So I started taking photos and made a Tumblr [blog] album called Summer of G2 to host it. With this gallery, I did street photography, still life and portraits and kind of let loose, departing from the more restrained work I had to do in my commercial photography studies. The G2 ended up coming with me everywhere I went. I think a lot of photographers find freedom when they shoot film, but I found it here instead.

Another portrait shot on the Fujifilm FinePix E900. Photo: Sofi Lee

You mentioned that you appreciate the limited dynamic range and blown highlights that come with these older digicams, specifically ones with CCD sensors. What else do you consider to be part of the vintage digicam look?

This is by no means specific to CCD sensors, but one thing that really stood out to me was chromatic aberration. Obviously, this is something that’s been around as long as glass has, but because of the of the tiny sensors and lenses, CA really stands out. A lot of people hate this, but I think it’s gorgeous. I feel like people look like they’re glowing when they’re surrounded by CA.

Another thing is, well, I basically have a grudge against shallow depth of field and bokeh. It’s something which has a stranglehold on the photo-aesthetic world right now. I get why people like it and why it emerged as ‘looking professional’ when everyone shot with digicams. But on the other hand, I like a deep depth of field a lot. I think there’s a lot of challenges when having to account for everything in the frame being in focus. I have to really stop and think about what I’m shooting before I shoot it.

The Canon S40.

So you started with the Powershot G2 (2001) – did you eventually move on to more modern cameras? if so, tell me a little bit about that journey.

When I first picked up the G2, I also started going to thrift stores almost every day to hunt for interesting cameras. I lived really close to a Goodwill [thrift store] so I’d stop by every time I happened to pass it, say on the way to get groceries. On my free days, I’d travel to the suburbs and hit up every thrift store there.

Soon enough, I amassed a pretty sizable collection. No one was really looking for these cameras at the time, so they were cheap and plentiful. Since then, actually, I’ve seen a lot fewer. I’m curious if other people are starting to get into them as well. That or Goodwill is catching on and just putting them on their online store.

Anyway, the first cameras I started using after the G2 were the PowerShot S series. I got the Canon S40 first and then I came across an S30, brand new in the box with manual and cable and stickers and all.

What did you pay for it, do you remember?

Five bucks, I think. Originally it was a $ 200-300 camera.

Just a small part of Sofi’s ‘digicam’ collection.

Wow.

I honestly picked up so many cameras. Anytime I saw something interesting, I would look it up, see if it had a CCD sensor and if it did and was old enough, I would grab it. Eventually I accumulated too many and had to become more selective.

‘My sweet spot now is between 2008-2011. Cameras from this era have a good resolution for print but still have the digicam look.’

I started keeping a Google Sheets document of every camera that shot Raw on my smartphone. There’s a Wikipedia page that helped a lot. And one by one, I ticked a lot of those cameras off. Actually, a few months ago, my assistant was looking through my collection and was just like, ‘Wow, you have pretty much everything on this list.’

The S30 was $ 5, what was the average price you were spending, and was there a cut off in terms of how high you would go for a camera?

It was all dirt-cheap. I remember one time I picked up a PowerShot G6 for 12 bucks. Some of the higher-end looking ones, like the Olympus E-20, would go for $ 25. Those would be a little out of my range: it depended on how nice it was. I’ve definitely walked away from cameras that were too expensive.

A portrait shot on the Panasonic LX5. Photo: Sofi Lee

CCD sensors were eventually replaced by CMOS sensors in a lot of these premium point and shoots. What year do you consider your cut off when shopping for used compacts?

My sweet spot now is between 2008-2011. I get asked to do professional/commercial work with these cameras and there was a while I’d have art directors telling me, ‘this stuff is great, but can you give it to us in higher resolution?’ [laughs] And I’d have to say, ‘Sorry, this is the highest I have.’ Because of this, I started narrowing down the cameras I was using and stuck with ones that shot higher resolution.

Cameras from this era [2008-2011] have a good resolution for print but still have the digicam look – great optics and Raws that allow me to do what I want. That’s not to say the cameras before that time weren’t any good, but the Raws can be challenging to work with.

You mentioned resolution and I guess in the simplest terms, to what extent does image quality matter to you? And does it matter to you personally, or is it more just the requirements of being a working professional?

I would say it’s mostly requirements. I’m even fine with 5MP cameras – that’s the lower end of what I’ll accept – but as long as it takes a good photo I’m generally happy. I think there’s too much emphasis on megapixels. Maybe that’s just because people like cropping their 42MP images. I don’t like cropping though, I try to get it all in camera if I can.

The Olympus XZ-1.

So what cameras are you currently shooting with? If you were headed out on a shoot after this interview, what would be in your bag?

I always have the Panasonic Lumix DMC-FX150 (2008) on me. It literally lives in my bag and I never leave home without it. I use it more than I use my cell phone camera, actually. I love this one because it’s an ultracompact with a 15MP CCD sensor and also shoots Raw. It keeps a low profile: everyone just thinks you’re an anachronistic tourist when you use it. It’s quite a marvel of engineering; there really isn’t anything else like it. I use it in about 90% of my photos. It also has the unique honor of being DxOMark’s worst camera [laughs].

I always have the Panasonic Lumix DMC-FX150 (2008) on me. It literally lives in my bag and I never leave home without it.

But if I need to do a portrait or something involving a strobe then I have a few different options. I’ll use either the Olympus XZ-1 or the Panasonic Lumix DMC-LX5, which I really like for the aspect ratio options. I also shoot with the Fujifilm E550, an older model – from 2004 I think – that manages to shoot 12MP Raws, higher than most DSLRs at the time. It has the best flash metering I’ve ever seen. It’s also nice and compact, with great ergonomics. I’ve done a number of shoots with it, including band portraits.

A portrait shot on the Olympus X-Z1. Photo: Sofi Lee

Do you run into any issues sourcing batteries or cables for these old cameras?

A lot of that is available through eBay and Amazon stores, actually! So that hasn’t been that big of an issue. The biggest issue is sourcing accessories. I like collecting the original optional accessories as well, such as flash units or cases, and that’s really the more challenging part. This is stuff I really have to hunt for and a lot of the times I only find them if I look up obscure reviews or old manufacturer’s websites in Japanese.

The bigger issue, really, is memory cards. Most of the cameras take CF or SD cards but there are some like the Fujifilm E550 that take XD cards. Those are somewhat uncommon, tend to be expensive for their capacity and a pain to get files off onto my computer. I also have a Fuji that only takes PCMCIA cards. Yeah, that’s no fun.

Sofi’s cable drawer.

So do you have a favorite camera in your collection?

I find myself always coming back to the FX150 and the LX5, but I’ve talked enough about those I think. I have a sentimental connection to the G2. But right now I’m really excited by the Ricoh Caplio GX100 and the Panasonic LX2.

I picked up the GX100 at a thrift store for $ 6: it was in pristine condition and looked just like the GR series. It’s very basic yet basically anything you could want in a camera of that size. The LX2, though, is fun because of the widescreen 16:9 sensor. It’s the same aspect ratio as APS film in APSH mode, so it reminds me of that when I’m shooting with it.

How many digital cameras do you think you own?

Maybe like 50.

Getting back to this current wave of film nostalgia, do you think we will look back at this era, 10, 20 years from now and laugh at ourselves?

Trends always change: I definitely don’t see photography aesthetics being static. If you look at the history of photography we can see how a lot of styles came and went. The obsession with shallow depth of field and bokeh is another thing that will probably go at some point. I’m personally getting tired of seeing one eyelash in focus.

The Panasonic LX2, in hand.

What’s the deal with pixel peepers?

I think there are a lot of different reasons people are into pixels, but I think pixel-peeping as a phenomenon has a lot to do with consumerism. People want the ‘best of the best’ and back it up through a variety of ‘scientific tests.’ Personally, I’m not into technical perfection and feel that falling into pixel-peeping strips photography from a lot of its character. In fact, high-end cameras, once you’re pretty good at shooting, make it too easy to produce an acceptable image. Where’s the fun in that?

That said, I think flipping the complete opposite direction – analogue worship, basically – isn’t good either. This comes from a false dichotomy that film is all character. There’s more than one way to be ‘pro-character’ or ‘against pixel peeping’.

A lot of interviews I read on photography sites end with a sort of adage about the best camera being the one you have with you or how film inspires you to just think and shoot rather than pixel peep. I think photography is more than just capturing an image though; it’s also about imposing your vision on it. The best camera is the one that’s right for the vision, with the right noise profile, lens distortions, etc. Anyway, I’m sort of rambling [laughs].

Check out more of Sofi Lee’s photography and animated GIF work at Sofi.pics, and in the gallery below:

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Interview: Adobe will ‘absolutely continue investing’ in Lightroom Classic

24 Oct

The release of Lightroom CC and Lightroom Classic CC—and the untimely death of Lightroom as a stand-alone product that is available sans subscription—has inspired some very strong reactions within the photo community. But even those of us who aren’t itching to yell profanities at the folks at Adobe are left with some questions about the future of this software.

Enter Dan Watson of Learning Cameras, who recently sat down with Adobe director of product management Tom Hogarty and Lightroom product manager Sharad Mangalick for a deep dive on this major release, how it would impact current Lightroom users who don’t want to switch to a cloud-based workflow, and, most importantly, what the future looks like for Lightroom Classic CC.

In other words: is Lightroom Classic an afterthought that is going to be phased out in a couple of years?

You can check out the full interview at the top of this post—they cover everything from the reason for the name change, to moving images between the two versions, to potential future features, video integration, custom preset, and a lot more—but since everyone has been wondering, here’s the answer to the question above.

No, Lightroom Classic CC isn’t going anywhere.

In fact, Adobe has two separate teams working to build out Lightroom CC and Lightroom Classic CC, so this isn’t some side-project that will quickly be relegated to the back burner.

Some photographers want to work on a hard disk-based desktop workflow, and Adobe has no interest in deserting those users, at least according to Hogarty. Speaking of Lightroom CC, he said:

We don’t want [the name change] to be perceived as a lack of investment, or a lack of effort with that product. It is very good at what it was designed to do, which is manage files and folders on disk. All of those desktop-local workflows that photographers told us about during our first Lightroom Public Beta back in 2006, we are absolutely going to continue investing in. It’s a different team.

To hear more about Lightroom CC and Lightroom Classic CC from the product managers who actually decide where these products go in the future, click play up top. And if you want to hear our thoughts on the product-line split, read two opposing opinions by senior editors here at DPReview below:

RIP Lightroom 6: Death by subscription model

Hello Lightroom CC: Embracing the future

Articles: Digital Photography Review (dpreview.com)

 
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Sony interview: ‘Our focus is to increase the overall market’

18 Apr

On a recent trip to Thailand to visit Sony’s Chonburi factory, where all Sony ILC cameras and lenses are assembled, our tech editor Rishi Sanyal had the honor of sitting down with Kenji Tanaka, who is head of interchangeable lens cameras globally. Also joining the discussion was Daisuke Goh, product manager at Sony, and Matt Parnell, senior marketing communications manager at Sony.

Kenji Tanaka, Senior General Manager, Business Unit 1, Digital Imaging Group, Imaging Products and Solutions Sector. Photo: Rishi Sanyal

We discussed a number of topics, ranging from Sony’s intent to stimulate the market overall as opposed to segmenting it or supplanting any one manufacturer, to future sensor developments we can expect, to the role of computational photography and the internet in future cameras. It was an impressively open and honest discussion, and we thank everyone involved for the opportunity.

Please note that this interview has been edited for clarity and flow.

Thank you so much for this opportunity, Tanaka-san. Your recent market share data is quite impressive. What do you see as your widest user base, and what is your biggest target group?

Kenji Tanaka: Our biggest focus is to increase the [existing] market, not to segment it. The overall market is decreasing, and it’s been a challenge to increase the market, overall. We believe we can do so by targeting professionals and enthusiasts.

‘Our biggest focus is to increase the market, not segment it.’

Amongst professionals and enthusiasts, who do you feel you still need to attract to your products?

KT: There are many types of professionals. Our target for the a7R II are landscape and portrait shooters. The a7S II has been adopted by many professional videographers. Right now we are already reaching these professionals successfully. But as of last year (2016), our products have gained significant capability in terms of speed. Therefore, we would like to target sports shooters and photojournalists by continually improving the speed, performance and usability of our products.

What about wedding and events shooters?

KT: Yes, these professionals have been adopting our products as well, and they’ve particularly appreciated Eye AF and the resolution of our products. However, they require more durability. We are actively working to address their needs.

Matt Parnell: In particular, one piece of feedback we frequently get from all of our wedding photographers is that the low light performance of our products has changed the way they can shoot events.

KT: And wedding videographers particularly in Asian countries have invested in our products.

Technologies like Eye AF depend upon close integration between the imaging sensor, processing pipeline and AF algorithms programmed into the camera. Sony’s close integration between the image sensor and camera divisions allow for quick iteration on such technologies. As photographers, we win: the compositional freedom Eye AF-C affords me for (unpredictable) newborn photography is unparalleled. Even with the pocketable RX100 V. Photo: Rishi Sanyal

Which camera do your users gravitate toward in particular for autofocus capability?

KT: Professionals largely use the a7R II for autofocus ability. a7S II for video.

The form factor of an a7S II and FS7 are very different. Do you see a convergence of these products and, if not, how will you target these user bases separately?

MP: We see many professionals and documentarians that use both the FS7 and a7S II to complement one another. A and B cameras, for example.

Daisuke Goh: But they are very different in terms of ergonomics and features, with Raw recording and high-frame rate being core technologies of the FS7. Those who need these gradually step up to the FS7, often from the a7S II.

You’ve stated your intention to re-stimulate this declining market via innovation. How do you think your competitors should do the same?

KT: I can’t comment on other companies, but I can explain our position. The most important thing is the image sensor. As you know well, every camera function is related to the image sensor. For example, the AF sensor and exposure sensor are all based off the image sensor. So the image sensor is key, and we develop it in-house. This means we can customize our future products with more intention [by having our camera and sensor development teams working together]. This is a differentiator compared to our competitors.

‘Every camera function is related to the image sensor… [which] we develop in-house. This means we can customize our future products with more intention.’

Speaking of sensors, are you interested in lowering ISO sensitivities? Particularly by increasing full-well capacities of pixels to increase dynamic range and achievable signal:noise ratios (a la Nikon D810)? I think many landscape and current medium format shooters would be interested in this.

KT: Both high and low ISO sensitivities are important. In case of low sensitivities, we are working on increasing saturation capacities, or well depth, of pixels. In case of high sensitivities, pixel size matters.

The future is certainly bright for Sony, and photography in general. One thing I’d love to see is extended (lower) base ISO dynamic range via higher saturation capacities of pixels, a la the Nikon D810 at ISO 64. While this a7R II certainly did the job perfectly well capturing this high dynamic range scene on my recent trip to Iceland, a lower base ISO that would have allowed me to give the sensor even more exposure before clipping the highlights to the left, yielding an even cleaner image. Technically speaking, an image with higher overall signal:noise ratio – the reason people love medium format images. It’s great to hear that Sony’s sensor division is fully aware of this need for lower, not just higher, sensitivities. Photo: Rishi Sanyal

But your a7R II, which has very similar low light stills performance to the a7S II, suggests otherwise. Could you elaborate?

KT: Think about 8K video. To get that sort of resolution on a sensor, you need larger sensors, otherwise pixel sizes are too small. To get 8K from a micro four thirds sensor, for example, the sizes of the pixels have to be very small, around 2.3 microns. I think larger sensors are important to maintain image quality as we go to higher resolution video and stills.

Right, it’s more sensor size that is key.

KT: Yes, this is why we choose to concentrate on full-frame.

Is 8K video something you’re already working on?

KT: We can’t comment on future product plans; however, we can confirm that we are paying close attention to all trends in the video marketplace, including 8K.

And you already have products that are sampling 6K: the a6500 oversamples its 4K footage by 2.4-fold yielding extremely crisp footage. Meanwhile we have some professional videographers intent on using high-end pro- 6K and 8K products to get oversampled 4K; yet you offer it in a consumer product. I find that interesting.

KT: Yes, we already have 6K sampling.

Are you also focusing on global shutter?

KT: Yes, that is one technique to remove rolling shutter artifacts. However, there are other choices to remove this artifact, like a mechanical shutter.

Increasingly we’re seeing computational approaches to get better imaging performance from limited hardware.1 When do you feel computational technologies attempting to simulate the effects of larger sensors and optics will truly challenge more traditional approaches?

KT: These approaches work in some occasions, but it’s hard to realize for all scenarios. And a lot of the computational products I’ve seen so far need very large, fixed F-number primes [Editor’s note: presumably to compensate for smaller sensor sizes].

Are you trying to build in any computational approaches into your current cameras today?

KT: No. But speaking of light field, of course we are studying it. But not at a production level.

Do you think that as megapixel counts get higher and higher, it would make sense to devote some of those pixels to light field?

KT: There’s currently too much of a resolution cost. You need to devote at least a 5×5 pixel array just for one output pixel.

Do you benchmark against competitor products when developing your own products?

KT: Of course. We benchmark against the best product for any use-case. We learn from other companies. We must, because we are still beginners. The challengers.

Daisuke Goh, Manager, Product Planning & Business Management, Digital Imaging. Goh-san was product planner on the a7R II, and is pictured here looking out upon the Gulf of Thailand at moonrise during a recent trip to Sony’s Chonburi factory. To say the least, talking directly to these brilliant engineers was a unique opportunity to relay our, and our readers’, feedback for future iterations of Sony products. Photo: Rishi Sanyal

The convenience of the smartphone is a challenge to cameras. I’ll often see friends pick up their smartphone2 instead of the ILC sitting in front of them to snap a photo of their child. What is Sony doing to help the parent, the hobbyist get assets off the camera and into a library accessible from all devices?

KT: We have apps like PlayMemories to make things easier for smartphone users. In the future, we cannot avoid making this process even easier via better integration with internet/cloud services. This is a big topic of discussion and something we are investing in. One issue with direct communication from camera to internet services is that regulation, not technical, issues make this difficult. Everyone already has a smartphone, so we want to use the smartphone.

One thing Sony can’t be blamed for is a lack of caring when it comes to quality. From Betamax to Blu-Ray to LCOS displays, how do you maintain a culture of insistence on quality and innovation across such a large company?

KT: For me, Sony’s founders are incredibly important. They are no longer alive, but the founders’ spirits and will are alive and well.

DG: Have you had a chance to read the founders’ spirits? It’s written. It basically says: ‘Always have a playful mind, and do something that others don’t do.’ This is basically in our blood.

‘Always have a playful mind, and do something that others don’t do.’ This is basically in our blood.

That’s a great philosophy. Thank you for your time!

KT, DG, MP: Thank you!

Editor’s Note:

We nab every opportunity we can get to sit down with engineers at camera companies, and are particularly honored when we get a chance to speak with executives like Tanaka-san, who is head of Interchangeable lens (ILC) products globally, and Daisuke Goh, who was product planner on arguably one of the most exciting cameras we’ve seen in recent times: the a7R II.

Recent data over a two month span show Sony to have pulled ahead from #3 to #2 in full-frame ILC market share, based on revenue. Sony stresses this was no easy task, in particular given the shortages it recently experienced in delivering one of its most popular – and most revenue-generating thanks to its price – products due to the earthquake: the a7R II. It was interesting to hear Sony’s response to this (for them) exciting news: Tanaka-san stressed that the overall goal of Sony Digital Imaging products is to grow the (now declining) market, not segment it or pull ahead at the cost of its competitors. Sony believes it can do so through innovation, which should spur the expansion of the hobbyist segment. By offering imaging experiences and quality far above and beyond what is capable with smartphones, Sony hopes to rekindle interest in cameras and dedicated imaging products.

Given their focus on quality, it’s not surprising that Sony is pouring so much effort into their full frame products. It was only a little over 3 years ago that Sony launched the world’s first full frame mirrorless system, just a short year after launching the world’s first full frame camcorder (NEX-VG900). Since then, Sony has seen a remarkable adoption rate: they claim they are #1 in 4K camcorder sales, and hold over 80% of the mirrorless market share in North America. The largest adoption of full frame products has been in China and the US, and Sony’s projections estimate an additional growth of 30% in the full frame market. While some may argue that is optimistic, Sony cites the general market increase with the release of the Alpha 7R II, showing that innovation drives growth.

And Sony is particularly innovating in the image sensor sector, where they claim they are investing more than most. It’s interesting to note that the smartphone industry – the very one threatening dedicated imaging products – itself helps Sony, since Sony is a major supplier of smartphone camera sensors. So when it comes to image sensors, Sony’s return on investment is multi-fold: technologies like 3-layer stacked CMOS for smartphone cameras that allow 4x faster readout speeds than conventional chips for minimal rolling shutter and 1000 fps video capture will not only make our smartphones better, but will also trickle into ILC products and allow Sony to re-invest resulting earnings in even more exciting sensor technologies. It’s not just Sony that benefits from this – like smartphone manufacturers, other camera manufacturers also benefit from Sony sensor advances. What Sony has to offer though, as stressed by Tanaka-san, is the ability to work closely with the sensor team to develop better products and features around the strengths of those sensor developments. Autofocus and subject recognition improvements, for example.

Technologies like incredibly intelligent AF in 4K video with no hunting, or 24 fps Raw stills capture to nail the decisive moment (shown above), not only help professionals and enthusiasts, but arguably kindle the inner spark of us all to capture the memorable moments of our lives. Sony believes that focusing on innovation will bring more people back into photography and videography.

Sony’s approach certainly appears sound: exciting technologies offering new imaging experiences spark the curiosity of not only enthusiasts and hobbyists, but professionals looking to differentiate their work as well. And many others as well: documenting the fleeting moments of our lives is arguably a very human interest. Devices that allow us to do so more easily, more readily, and in higher quality are certain to appeal even to the amateur mother or father capturing the irreplaceable moments of their little ones’ lives. With the iteration we’ve seen in Sony ILCs and premium compacts in just the last 3 years, it’s no surprise that Sony aims to be the #1 premium imaging company. And we will all benefit from its relentless drive.

Footnotes:

1Lytro for example. More recent approaches include the Light L16, which combines lenses of multiple focal lengths to achieve high-res imagery and a large zoom range. The Google Pixel smartphone uses multi-imaging techniques to get impressive image quality out of a small sensor. iPhone 7 uses two lenses to create a depth map to simulate shallow depth-of-field. Computational approaches of recent are seriously challenging traditional cameras for general users that aren’t too too attentive to the outcome.

2Largely because of the ease of backup, curation, and sharing to services like Google/Apple Photos and Facebook.

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2017: Olympus interview: ‘We chose to be bold’

15 Apr
Masamichi Handa, Executive Officer and Head of the Imaging Business Unit of Olympus Corp, pictured at the CP+ show, in Yokohama, Japan. 

DPReview attended the 2017 CP+ show in Yokohama, a few weeks ago, and during the show we made time to sit down with senior executives from several major manufacturers. One of them was Mr. Masamichi Handa, head of Olympus’s Imaging Business Division. We spoke to Mr. Handa about reaction to the E-M1 Mark II, his ambitions for the future of mirrorless cameras, and the effect of last spring’s earthquake on production.

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

How has reaction been to the E-M1 Mark II?

I was a bit afraid after the earthquake that we’d have to delay launch. Originally we had intended to start sales straight after the launch at Photokina. But we had to delay by a few months. We don’t like doing that, because there’s so much excitement at launch. But we started sales in December, so we’re in the middle of the initial wave of sales now, and feeling quite comfortable.

What was the exact impact of the earthquake?

There was a device shortage, so straight after the event we talked to the device manufacturer, who we had been collaborating with on the E-M1 Mark II’s customized sensor. The shortage lasted until around September, but we had some inventory, so we kept the factory running, and then we increased the volume of production in October.

Some people think the E-M1 Mark II is priced a little high. How do you justify its cost?

We have a target group of customers and a target group of competitor cameras in the APS-C format range. So the current pricing matches that price band. We opted for a price that would allow us to achieve higher performance levels and offer higher value to the customer. We had many discussions, and we chose to be bold and aim for a hit a higher consumer value point.

The Olympus OM-D E-M1 Mark II is a tough, fast Micro Four Thirds camera, aimed at enthusiast and professional photographers that need speed and durability in as small a camera as possible.

Cameras in the $ 1799+ price bracket aren’t aimed at [price-point conscious shoppers], they’re high-value products. Sales and marketing people talk a lot about ‘price points’ but our obligation is to provide a high value product. 

‘we’re mainly a stills business’

When you were planning the E-M1 Mark II, how important was video specification to its concept?

That discussion started around the time the E-M5 Mark II was introduced. We discussed which way we should go – more stills features, or more movie features, or both. We came to the conclusion that we shouldn’t get mixed up. Olympus wants to provide good stills cameras. Of course we should meet demand for movie shooting capabilities, but we’re mainly a stills business. Obviously we added image stabilization technology to the movie function, but it’s mainly supplemental.

It’s really good, for being supplemental!

Of course. The technology is always developing. But we’re mainly focused on the stills business. This is very important to the R&D people too. Once we start to muddle up our direction, that [affects them]. Because they might take 3-5 years for development [of a technology], so if we make a mistake when it comes to direction, they get mixed up.

So the E-M1 Mark II is primarily a stills camera. What are the challenges of integrating video features into a camera like this?

We’re still learning. We listen to various voices when we start to design a product – mainly professional stills-oriented photographers. But when we talk to professionals on the video side, they give us very different requirements, [not all of which we can realize]. But the more information we receive in this way, the more we can [incorporate this feedback in product design]. One important point that we’re incorporating is our image stabilization technology. That’s what we’re good at. This camera is very competent. As far as IS technology is concerned, we’re quite confident. But we need to listen more to comments and ideas from movie professionals.

‘We’ve had some good feedback from videographers’

Technically, the major challenge is heat management. This is a stills-oriented camera, primarily, and that’s one of the reasons why time is limited to 30 minutes. If we wanted to provide a more video-oriented product, we’d have to overcome heat. And image-quality wise, which tone-curve we should choose is completely different between stills and video capture. It’s a different mindset. Our engineers are stills-oriented, and we have a lot to learn from the professional movie camera industry. We’ve had some good feedback from videographers, so we’re on our way.

Do you know how many people are buying the E-M1 Mark II to shoot video?

Right now, we’ve only been shipping for a couple of months so [at present] our main customers are core Olympus users. And they’re mostly stills-oriented.

Do you think that Olympus will ever make a dedicated video camera?

We should never ignore [a potential audience] but right now, we have no plans. Talking about Panasonic, the GH5 is a really nice video camera. The E-M1 Mark II is more of a stills camera. Other video manufacturers make very nice lenses, and 35 manufacturers have now joined the Four Thirds standard. This is a very good thing for users.

Panasonic’s new DC-GH5 is in some respects the closest competitor to the OM-D E-M1 Mark II, but it offers a much more developed video feature set. According to Mr. Handa, Olympus’s main focus remains on satisfying the needs of stills photographers. 

Our R&D team is working about 3 or 4 years ahead. We’ve recently introduced very good autofocus technology, image stabilization technology and new lenses. We can do more – autofocus speed, AF tracking performance and so on – we can always do more. But our R&D people have to work hard. We want to improve image stabilization technology, too, so our users can use longer lenses without needing a tripod, for instance. Which is a lot of work. So [perfecting our existing technologies] is more important than changing direction.

professional support ‘a headache’

The 2020 Olympics isn’t too far away – when do you expect to see mirrorless cameras in the hands of professionals at major sporting events?

Obviously, we get asked this question a lot, and there is a certain expectation. From a business point of view, [if we were represented at Tokyo 2020] not only would we need to [provide products capable of professional shooting] but we would also need to offer professional support. And that’s a headache. You saw at the Rio olympic games, the amount of equipment that Canon took for professional support, and the amount of people for support, and maintenance… it’s not our business model.

We will provide equipment for professional photographers at sporting events, but [we don’t plan on] having a team to support photographers at events like that. It’s not our strength.

Do you have an idea of the demographic breakdown of your audience?

Users of the PEN series are mostly male, and the E-PL series is more female oriented, and they’re younger.

The E-PL series has been popular among female camera buyers, according to Mr. Handa, and attracts a younger customer base than its OM-D products. 

What’s your approach to attracting this kind of market?

Again, these are high-value products, so it’s about design, and supporting selfie functions, and adding Wi-Fi and so on. Our marketing is designed to focus on younger, style-conscious users.

Do you have any sense of how many of your customers use Olympus lenses, as opposed to lenses from Panasonic, or third-parties?

In the early days, our lens lineup was pretty limited, and some of our customers purchased Panasonic lenses. But these days, that number is smaller and smaller.

On Panasonic: ‘we’re essentially competitors’

Do you work with Panasonic to ensure compatibility of technologies across the M43 system, such as Panasonic’s DFD?

We only collaborate on the [Four Thirds] standard. To make sure the standard works perfectly across different lens and camera manufacturers. Sometimes we have to compete with each other, from a technical point of view, but that’s a good engine for developing new technologies. We’re essentially competitors.

Where are the biggest opportunities for Olympus right now, in the camera market?

Right now, the biggest opportunity for our mirrorless camera department is to increase the amount of technology [in the segment], to stimulate demand. The market for conventional DSLRs is shrinking, and the ILC market is going down, the CSC [compact system camera] is doing OK, although there’s still some decline.

Although the OM-D E-M1 Mark II offers a significantly smaller sensor, Olympus sees it as competing against similarly-priced APS-C offerings, and hopes it will attract ‘conservative’ DSLR users as a potential second body.

Current Canon and Nikon users may not switch entirely, because they’ve already got a system, but they might purchase an additional camera for vacations, or for [outdoor recreation], and that could be a good opportunity for us. By continuously developing technology, we hope to stimulate demand and show DSLR users that mirrorless cameras are [equally capable].

How do you get that message across to DSLR users?

Current E-M1 Mark II purchasers are probably 80% existing Olympus users. But after we’ve satisfied this first wave of demand, we want to provide opportunities for new users to touch and try our products. All over the world, those people [DSLR users] are relatively old. They prefer small size, and they prefer light weight. Often it’s only when they touch our cameras that they realize they’re good. So creating touch and try events, globally, is very important. Also we want to talk more to professionals. Some younger people have no trouble going straight to mirrorless, but a majority of professional people might say ‘aaah, we want to stick to Canon and Nikon’. But when they touch and try the cameras, it’s a different story. We have a rental program for professionals in Japan, and almost every rental ends in a purchase. We want to expand this globally.

‘If we can continue to develop this kind of technology, even very conservative DSLR users will notice’

Also, if we continue to make innovative mirrorless products, once they [DSLR users] notice the potential of the technology we’ll [attract more users]. The big benefit of mirrorless is that we can use information read out from the sensor in many ways. Autofocus speed, subject recognition, and so on. If we can continue to develop this kind of technology, even very conservative DSLR users will notice. 

What are the biggest challenges facing Olympus right now in the camera industry?

The market is decreasing. The compact market will continue to decrease in terms of value, but the mid-range and high-end market will remain. We have a challenge in that we want to spend more money on R&D, but we have to control costs, which means we have to select the most important technologies [to develop].

Editors’ note:

Olympus is an interesting company to report on. Despite its relatively small market share, Olympus consistently surprises us. And no product has been more surprising than the OM-D E-M1 Mark II. We knew a Mark II was on the way, but we didn’t expect it to outperform its predecessor so roundly, or be aimed so squarely at pro-grade APS-C and full-frame competitors. The downside, of course, is price. The E-M1 Mark II is a pricey camera considering its format, and as Mr. Handa admits, it’s mostly being purchased (for now) by the company’s existing users. From the point of view of customer retention, this is great, but it’s not how you grow your user-base.

To do that, Mr. Handa needs to tempt ‘conservative’ DSLR users away from their cameras of choice and towards the Olympus M43 system. This won’t happen overnight. As he pointed out, it took Canon years to wrestle back a meaningful portion of the professional market from Nikon, and Olympus is a much smaller, and more resource-limited company, which hasn’t enjoyed a significant share of the professional photography market for decades.

It’s not impossible though. According to Mr. Handa, professional loan programs in Japan have resulted in a lot of professional photographers buying into the OM-D system, even if they don’t switch their allegiance entirely or immediately. This makes sense. There are things that today’s professional DSLRs do that the E-M1 Mark II can’t, and vis-versa. Likewise their manufacturers. Olympus is under no illusions about its inability to provide true professional support, compared to well-established Canon and Nikon networks. For now, like Sony, Olympus simply cannot compete in this regard. As Mr. Handa told us, ‘it’s not our business model’.

So what is Olympus’s business model? It seems that the company is hoping that by marketing as much differentiating technology as it can (in-body stabilization and high frame-rate capture being the most obvious examples), DSLR users will notice, and take interest in the OM-D system. Perhaps they won’t sell their existing gear overnight, but we’ve met professionals that shoot some jobs on the E-M1 Mark II, and take their Canon EOS-1D X Mark II or Nikon D5 kits out for other kinds of work. 

It was interesting, if not entirely surprising, to learn that Olympus continues to regard video as essentially supplementary to its OM-D line. Despite Mr. Handa’s insistence that his engineers are stills-focused, the E-M1 Mark II is a very capable video camera. Whether it achieves widespread adoption among videographers is of course another matter. They should certainly pay attention though – ultra-stabilized 4K footage from the E-M1 Mark II is quite something. 

Articles: Digital Photography Review (dpreview.com)

 
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CP+ 2017 – Sony interview: ‘We need to offer new imaging experiences’

04 Apr
Yasuyuki Nagata – Senior General Manager Business Unit 2, Digital Imaging Group Imaging Products and Solutions Sector, Sony Corporation. Pictured at CP+ 2017 in Yokohama, Japan. 

Earlier this year, we traveled to the CP+ trade show in Yokohama, Japan. At the show, we met with senior executives from several major manufacturers, including Yasuyuki Nagata of Sony. During our interview we discussed the future of the a7-series, Sony’s strategy for growing the 1-inch camera segment, and the new a99II.

Please note that this interview has been edited slightly for clarity and flow.

Nikon recently canceled the DL series, which would have competed with the RX100-series. Is this good or bad for Sony?

It’s both good and bad. If Nikon had achieved a high-quality wide lens camera with a 1 inch sensor, that would have been a very competitive product. So in that sense, it’s good for us. But actually, from the perspective of driving the 1 inch sensor market, we want to stimulate this market and that means multiple manufacturers.

What is your general strategy for FE lenses in the future?

We’re launching products based on customer feedback – especially professionals. When we started the Alpha a7 series we only had three full-frame mirrorless (FE) lenses, but after we launched the a7R II, a lot of professionals started to use it. So their voices [became more important]. For example they wanted a 24-70mm F2.8, which is why we prioritized that model. So basically our strategy is to listen to our customers.

The GM 24-70mm F2.8 was a lens that Sony’s professional full-frame users wanted the company to make, according to Mr Nagata. 

In the past, we’ve heard that Sony wants to create some longer sports optics. is that something that is being planned in the future?

If a lot of professional photographers [want those lenses] we will have to create them. But for now, our main professional user base is portraits and landscape photographers.

Do you aspire to having a base of professional sports photographers in future?

Maybe. Of course it’s not just the lens, it’s the body as well.

The Olympics in Tokyo is three years away – would you like to see Sony lenses in the arenas alongside Canon and Nikon?

Of course, that’s our dream. And we won’t give up on that. But it’s hard to make a specific comment on future products.

How long will it be before mirrorless products represent the majority of cameras at large sporting events?

I don’t know! Historically, I believe it took Canon 7-10 years to become the dominant brand at professional sports events. It’s not easy. But a lot of professional photographers have already switched from DSLR to mirrorless. Maybe in some cases, we are already satisfying the needs of some sports photographers.

The Sony a7R II is a capable stills camera, but fits equally as easily into a professional 4K video workflow. 

Speaking about the a7-series lineup, how does your customer base divide up in terms of stills photographers versus videographers?

We don’t divide our customers in this way. Most of our customers shoot both video and stills, currently. Until a few years ago, video and stills shooters were totally different, but recently, portrait and wedding photographers have started shooting video too.

We always consider both kinds of users at every stage of development.

Moving on to the RX series, there are a lot of products now, and you’re leaving older models in the lineup – what is your aim with this strategy?

It depends on the region. By adding RX100 models 1-5, we expanded the 1 inch sensor market, and in most regions we enjoy #1 market share. The 1 inch sensor market was developed by Sony, and then other competitors started joining us.

[As such] we started with 100% market share, but even now we enjoy 60-70% market share in most regions. And our high-technology models like the RX100V drives some of that, but for the cost of one Mark V, you can buy three of the original RX100. So the cost factor is also important. With both entry-level and high-end RX models, we hope to be able to drive the 1 inch sensor market and remain at number 1.

The Cyber-shot RX100 V packs a lot of features into its pocketable form-factor, but Mr Nagata insists that older RX models still have their place in the market. 

We understand some of the comments we get from dealers, that because of this strategy they have to carry all five models, which might not be efficient for them, but realistically, those dealers ‘cherry pick’ the models they want to carry. Maybe in an area like the US it doesn’t make sense to [sell] all five models, but in developing countries, the Mark I and Mark II are crucial.

The earthquake last May caused a good deal of disruption – what was the effect on the camera division?

From a supply point of view, we had a month or so’s worth of product in stock. So the effect on our supply chain didn’t really kick in until the June, July timeframe, depending on the model. One inch sensors are easier to make than full-frame sensors, which require at least 2 months to manufacture, so the effect was more profound on full-frame sensors than one-inch. But it was all back up and running by the end of 2016.

What kind of feedback do you get from professionals that have switched from DSLRs to mirrorless?

Some professional photographers have said that G Master lenses were a trigger for switching, and also the [new] STF 100mm lens. Thanks to the short flange-back distance, a lot of E mount customers can use their own lenses with a7 cameras. That’s a benefit of the system. And after they’ve switched to an a7 body, people tend to switch over completely and buy Sony lenses.

Smaller body size is a big factor, and silent shooting is important too.

Is the lens attachment rate different from an a6500 to an a7-series camera?

It’s totally different. Even from the a7 to the a7R II, the attachment rate [with the a7R II] is almost double. From the a6000 to the a6500, again it’s completely different.

What are your plans for developing your pro support network?

We’ve started pro support, but we’re still learning. Professional photographers travel all over the world, so how to provide consistent support not just in their home country, but globally is very important for us.

Sony has ambitions to expand and improve its PRO Support network for professional alpha users. 

Was the choice of a smaller, lower-endurance battery in the a7 series made deliberately to keep the camera size small?

We are fully aware of this feedback. Right now, we’re not getting any negative commentary about the size of our a6000-series and a7-series cameras, so there’s probably no need to make them any smaller. There’s a balance between the size of the body and lens, too. So just making the body smaller doesn’t make much sense. And I’m afraid I can’t comment on how we will tackle this issue without commenting on future products, so I can’t say anything more.

Is Sony interested in joining the 360 imaging market?

We already have an action camera lineup, and it’s a similar category. The market itself is kind of shrinking, so instead of having one camera for 360, we’d probably prefer to support professional users, making 360 imaging using our a7-series and a rig. Rather than chasing after the consumer segment.

Do you see more growth in the high-end of the market in general?

I believe so. Which is why pro support is getting more important for us. But of course it cascades down to lower-end models too, and we don’t deny the important of the entry-level segment.

What’s the most important thing that Sony has to do to maintain its position in the next few years?

We need to offer new imaging experiences. We made the NEX series – APS-C mirrorless. That was a new experience. The RX100, the full-frame a7-series, G Master lenses – STF, too. It’s a new imaging experience. Sony is by far the number 1 sensor manufacturer, and the advantage of this is that is allows us to work together with sensor engineers to create the best image sensor for a specific model we are developing. so we’re aware of the sensor development schedule for the next two or three years. So we know what kind of future is coming, in terms of sensors, so we can plan ahead – what kind of bodies will be required, and what kind of lenses will required. We can take advantage of that.

When it comes to core technologies, we’re making lenses sensors, we’re making imaging sensors, we’re making LSIs and we have a software division. Some of our customers couldn’t believe we made an autofocus STF lens. It’s not easy. But we know light travels through lenses, and we know how light is detected on the sensor. So the total combination [of these technologies] means we can make that product.

 

The recently-announced a99 II is proof that the A-mount is still a going concern. According to Mr Nagata, Sony needs to maintain the A mount alongside the E mount. 

In the SLT lineup, development is slower than the a7-series. Where will that line go in the future?

Having options is really important, especially for high-end amateurs and professionals. If we just had the same cameras and lenses [as our competitors] the results would be the same. Some people want A-mount, some want E-mount, and depending on the situation, some customers might want both. Having that variety of bodies and lenses is key.

We need both A mount and E mount. Some people thought that Sony was only developing the E mount, until we introduced the a99 II. You’ve seen it, it’s a serious camera. There is a huge number of lenses for A mount, from Sony and Minolta, and we want to maintain a good relationship with those customers by providing great A mount bodies with no compromises compared to the E mount system. But we can start capturing new customers with the E mount. We we need both.

In the long term, do you want those A mount customers to come over to E mount?

That depends on them.

Will we see more A mount lenses, specifically designed to get the most out of the A99 II’s autofocus technology?

We have to prioritize. It’s not easy developing new lenses. Our customers’ expectations are very high, especially after we launched the G Master series. So we can probably only launch a few lenses a year!

Editors’ note:

It was interesting to speak to Mr Nagata in February. This month he is celebrating his 31st year with Sony, and during the course of three decades he has worked in various divisions, from robotics to Handycams. Clearly, he is not afraid of something that Sony has often been criticized for – having ‘too many’ products in the market. Every product has its place, from the high-end a99 II to the old, but still current, CyberShot RX100 Mark I, and Sony appears intent on introducing even more ‘new imaging experiences’ in the future.

Although understandably cautious about giving anything away, it is possible to glean some insights from Mr Nagata’s responses to certain questions. Firstly, it doesn’t look like the Alpha mount is going anywhere for now, although we would expect the relatively slow pace of development to be a continuing feature of that range, compared to the company’s mirrorless ILCs.

Secondly, reading between the lines, we’re optimistic that bigger batteries are coming to the next generation of Sony’s alpha range of mirrorless cameras. As Mr Nagata pointed out (although not in so many words), there’s not much point making a camera really small if you intend it to be used with large, high-quality lenses. And for videographers especially, the limited endurance of the a7R II and a7S II in some conditions is a real frustration – one that Sony is clearly very aware of. 

Sony is also aware that it needs to get better at catering to the needs of professionals in a more general sense – not only when it comes to the spec sheet of their cameras. Post-sales support for professionals is something that Canon and Nikon have perfected over decades, and is one of the main reasons why major news outlets and picture agencies still generally stick with one or the other. It’s early days for Sony’s PRO Support network, but we’d expect the company to put a lot of energy into improving and expanding it on the run-up to the 2020 Olympics – when all eyes will be on Tokyo, and Sony will be hoping for some professional representation on the world’s biggest stage. 

Articles: Digital Photography Review (dpreview.com)

 
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Behind the scenes: An interview with the heads of Canon’s L lens factory

22 Mar
From left to right, Mr Hayakawa, Mr Okada and Mr Izuki, the three men in charge of development and keeping things running smoothly at Canon’s Utsunomiya lens plant. 

Following the CP+ 2017 show in Japan, we headed to Canon’s Utsunomiya lens factory to take a tour (see what we found) and interview the gentlemen who oversee all operations and development. This included Kenichi Izuki, the Plant Manager, Masato Okada, Deputy Chief Executive of Image Communication and Products Operations and Shingo Hayakawa, Deputy Group Executive of Image Communication and Products Operations.

The Utsunomiya plant is where all Canon’s L series, cinema, and broadcast lenses are produced. It’s also where all Canon lenses are designed. Many of those designs can be attributed to the three men pictured above. In fact just before we started the interview Mr Izuki informed us that he had been lead designer of the EF 35mm F2 IS lens we’d chosen to document the factory tour. So there’s also a pretty good chance you have one of them to thank for your favorite Canon glass!

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

The magic place where all Canon L lenses are born.

What percentage of L lenses are manufactured in the Utsunomiya lens plant?

Because this is the ‘mother’ factory, 100% of L lenses are made here.

How many different lenses can be manufactured simultaneously in this plant?

Basically, we create all lenses every day [including L-series EF, Cinema EOS and broadcast]. The only exception is some of the broadcast lenses.

Which lenses in particular are the most difficult to manufacture and why?

Any large super telephoto lenses because of the size of the glass elements. In terms of skill required for lens assembly: the TV broadcast lenses are most difficult.

How many lenses are produced at this lens plant every year, both in terms of types of lenses and total units?

We do not disclose total production for this plant. That said, Canon has produced a total of 120 million lenses over the years. Of course, many of those are kit lenses, which are not produced here, but in our facility in Taiwan.

Mr Izuki, the plant manager, teaching us about the lens production process. 

Tell us a little bit about the history of the plant.

The facility as a whole has been here for forty years, however prior to 2005, we were located in an older building on the other side of the property. And the land where the current plant sits was initially owned by the Du Pont family. When they returned it to the prefecture, we bought it.

The current lens facility opened in 2005. When we moved in we completely revamped our lens-making machines and devices. Not all, but the majority. This helped to push [us] to a higher standard of quality.

Over the past 40 years, lenses have changed a lot, with autofocus introduced, aspherics, etc., what was the largest paradigm shift in lens technology?

We are reaching the 30th anniversary of the introduction of the EOS line. It was at that time, in 1987, that we moved into autofocus. When we did that, I believe we were the first ones to go fully-electronic mount autofocus. Because the motors were built into the lens we had a significant competitive edge.

As DSLR resolution increases, it can be a challenge to achieve precise focus because AF errors are more noticeable. How do you reduce this risk in the manufacturing and quality control process?

Overall precision is something customers are increasingly requiring. In this factory, we have increased the level of precision of our machines so that lenses have more accurate autofocus.

A lens going through QC testing. Information from the test will be saved on a chip in the lens.

During the tour it was mentioned that Canon lenses now store their quality control test data using on-board memory. Can that data be used to improve autofocus reliability?

We do store data from final lens testing on each unit. I won’t be able to speak in greater detail other than saying, yes, in theory, that data could be used to achieve higher autofocus performance [better AF precision] with a DSLR.

How long does it take a lens like the Canon EF 16-35mm f/2.8L III USM to make its way from start to finish in the assembly line?

From raw material being polished, to the final tested product being boxed: about 24 hours of work, in theory. But the physical production would actually take longer. This is because we are producing parts in batches and there are machines that need to be fitted. These variables aside, if you take the actual time of labor, assembly and packaging, it is about 24 hours.

You mentioned you were looking to hit an 80% automation rate in this facility. What kind of efficiency gain does that represent?

It’s difficult to say in terms of time, but I can say it use to take about 70 people to make a lens like that prior to automation, now we need about 6 or 7.

As production becomes more automated will you require fewer skilled manual workers?

In one sense yes. But it’s not about firing the rest of these people, it’s about allowing them the time to build up their skills. This way they can face challenges and difficulties like increasing precision and performance. So we’ve essentially been able to allocate these workers to a different environment.

A lens in the final assembly process. It can take 25-30 years to become an Assembly Meister at Canon’s Utsunomiya plant. 

Typically how long does someone train before they attain the title of ‘Meister’?

In terms of the level of ‘Lens Meister,’ it would take 30-35 years. For ‘Assembly Meisters”, 25-30 years.

Now that the process for assembly, element polishing and quality control is so automated, we’re curious how many lenses pass QC the first time vs those that have to go back for re-calibration.

In terms of maintaining a level of quality before going into mass production, we do a lot of checking and scenario building [using a super computer] to make sure everything will go right. Once a lens goes into mass production we can safely say that we have seen no lenses returned for further calibration.

What impact did the 2011 have on this facility and how long did it take to recover?

A lot of the ceilings came down. We took a big hit in that regard. But, we were able to come back into operation within about 2 to 3 months.

While not the most exciting photo, if you look very carefully, you might see some minor impressions on the linoleum. This is (subtle) evidence of the 2011 earthquake, which caused some ceilings to collapse. The yellow tape line is used by computerized robots in the factory.

Did you implement any changes as a result of the earthquake?

We have fortified the building, so that it is more earthquake-proof. And the assembly tools we use are put together in such as way that they are shake-proof.

Are there major differences in how you QC test broadcast and cinema lenses vs EF lenses?

The concept for testing is basically the same. But, in terms of broadcast/cinema lenses there are some unique customizations that we offer depending on the particular cameraman or filmmaker. If they want to zoom by hand, for instance, we can accommodate the pressure of the mechanism to their requirements.

A lot of your users use EF lenses for video creation. Has that changed the way you design some EF lenses?

In terms of stills shooter, when it comes to autofocus, the faster the better. On the other hand, videographers tend to require a variance in autofocus speed. Sometimes they want a slow effect. So we had to create a motor that could actually do both fast and slow focus. This is why we introduced Nano-USM. It’s in both the 18-135mm F3.5-5.6 IS USM and the 70-300mm F4-5.6 IS II USM.

Will that kind of autofocus be used more in the future as video becomes more of a requirement for users?

Yes. 

At any given time, how many new lenses are in development at this facility?

I can not give you a number, unfortunately. But I can say that new lenses are in development as we speak. So I hope you look forward to them.

Results of a QC test.

Editors note (by Dan Bracaglia):

Let me begin by saying how grateful I was to be given access to Canon’s lens factory and what an honor and privilege it was to sit down and interview the creators of some of Canon’s most legendary glass. In my six and a half years writing about photography, this was one of my most memorable and rewarding experiences. 

As you might expect, there were nearly endless points of fascination. Some of which are covered in this interview, others in our factory tour slideshow. Something that particularly interested me is the fact that all the information from a lens’ final calibration and quality control check is saved on a chip within the lens itself. The idea here is this information can been used, in theory, when a lens comes back in for cleaning or recalibration. It also means that at some point, perhaps camera bodies will be able to access this information, which could lead to better AF precision. This is solid forward thinking on Canon’s part. 

I was also intrigued to find that Canon manufactures every L lens in the same factory. Not only that but every current lens in the L series is being made every day. As you might imagine, security at the facility is very tight. 

“Canon, it seems, recognizes just how important pushing lens development is”

Also hearing Canon put a concrete number on their automation goals (80%) was interesting. Of course you could read that as Canon displacing workers with machines, but throughout the tour and the interview, our guides made it clear that automation wasn’t about replacing workers, rather dedicating more workers to research and development. Canon, it seems, recognizes just how important pushing lens development is, all while maintaining a high level of quality control. Automation offers just this. 

And I’m not ordinarily one to be starstruck, but when Mr. Izuki told me he designed the Canon EF 35mm F2 IS, my jaw dropped a little. There’s nothing quite like standing of front of the creator of one of your favorite lenses. Speaking of favorites, we also asked Mr. Hayakawa, Mr Okada and Mr Izuki which Canon lens they’ve designed/worked on over the years they are most proud of. We got some great answers. We’ll be posting those in a separate article soon, so stay tuned!

Barney, just prior to entering the factory floor. We also went through a room that blasted us with air. Dust is the enemy in a lens factory. 

 

Articles: Digital Photography Review (dpreview.com)

 
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