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  • Posing Guide: 21 Sample Poses to Get You Started with Photographing Men

    The post Posing Guide: 21 Sample Poses to Get You Started with Photographing Men appeared first on Digital Photography School. It was authored by Guest Contributor.

    Posing Guide for taking Great Photos of Men

    Previously we’ve created posing guides with suggested sample poses to help you get started posing women (also see part 2 for posing women), posing children, posing couples, posing groups, and posing weddings, so today let’s look at some sample starting poses for photographing men.

    Men are usually less comfortable with being photographed, so it’s important to set them at ease with posing in order to get good results.

    It is always a good idea to prepare before the photoshoot.

    Just one more piece of advice: Involve your subject in the process!

    He will feel more confident knowing the plan, what he has to “do,” and what kind of outcome is expected. Showing this kind of posing cheat sheet to your model is indeed a very good way to prepare your subject for a photoshoot and make him feel more relaxed and confident at the same time.

    So, let’s look at some sample poses for men

    1. Very simple pose for a man’s portrait: An upper body shot with crossed arms.

    Two things to take care of: Shoulders should be pulled back a little, stomach muscles kept in check.

    Posing Guide for taking Great Photos of Men

    2. Crossed arms work very well in full height shots as well. In addition, ask him to cross one leg in front of the other. But make sure the body weight is not supported equally on both legs; otherwise, that would look just awkward!

    Posing Guide for taking Great Photos of Men

    3. A recurring question from your subject might be “Where shall I put my hands?” The solution is actually quite simple. There are four places to keep in mind (mixed in any combination, utilizing both hands).

    #1. Loosely by the side.

    #2. On the hips.

    #3. In the pockets.

    #4. Both hands crossed on the chest.

    And in addition, hands should always be relaxed, which means no muscle pressure, except when you are photographing a bodybuilder.

    Posing Guide for taking Great Photos of Men

    4. A casual pose for a man standing upright. Men indeed have a problem with placing their hands; by keeping them fully or partly in the side pockets, you have a sure way to achieve a natural and relaxed pose.

    Posing Guide for taking Great Photos of Men

    5. Just a slight variation on the previous pose. A piece of clothing over the shoulder, merely a thumb in the pocket, and legs crossed work very well.

    Posing Guide for taking Great Photos of Men

    6. For a sitting pose, putting the ankle of one leg onto the knee of the other looks relaxed and natural. Shoot slightly from above.

    Posing Guide for taking Great Photos of Men

    7. Leaning against a wall is just another variant for upright posing.

    Posing Guide for taking Great Photos of Men

    8. The sideways way of leaning against the same wall. Works very well for both casual and formal shots.

    Posing Guide for taking Great Photos of Men

    9. A very simple pose for a formal portrait. Items held in the hand (e.g. a laptop, books, or even tools) can work as indicators of the subject’s occupation.

    Posing Guide for taking Great Photos of Men

    10. Against common belief, it is absolutely fine to make shots of a man sitting partly on a desk. For formal portraits, such a pose might counteract rigidness.

    posing-men-subjects10.png

    11. A very simple pose for a portrait: A man sitting at a desk. To reveal the subject’s profession, place work-related items on the desk.

    Posing Guide for taking Great Photos of Men

    12. A slight variation of the previous pose. Very appropriate for formal portraits.

    Posing Guide for taking Great Photos of Men

    13. To show the work environment while removing the distance created by a foreground object like a desk, take your shot from the backside. The result will be formal but inviting at the same time.

    Posing Guide for taking Great Photos of Men

    14. A man supporting himself on a desk with arms crossed. Again, you could place work-related items on the desk to point to the subject’s profession.

    Posing Guide for taking Great Photos of Men

    15. Using a chair as a prop can make a portrait more engaging and interesting. Very suitable when introducing creative people in their work environment.

    Posing Guide for taking Great Photos of Men

    16. Sitting comfortably in a chair usually works for corporate and formal portraits.

    Posing Guide for taking Great Photos of Men

    17. An easy and natural pose with a man sitting on the ground. Try different shooting directions and angles.

    Posing Guide for taking Great Photos of Men

    18. Another variant of a man’s pose while sitting on the ground. Suitable for outdoor locations.

    Posing Guide for taking Great Photos of Men

    19. An easy and relaxed-looking pose for a sitting man.

    Posing Guide for taking Great Photos of Men

    20. Informal pose. The man is sitting on the ground resting his back against the wall or some object.

    Posing Guide for taking Great Photos of Men

    21. Finally, let your subject be the protagonist of your picture. Never be afraid to crop tightly around the model’s face.

    Posing Guide for taking Great Photos of Men

    That should offer a starting point. Again, remember that there are no absolutes; each sample pose might and should be adjusted depending on your shooting environment and scenario. There is no need to overdo anything.

    In reality, all you need for good people portraits is simplicity:

    Simple backgrounds, simple clothing, simple poses, and natural expressions.

    Check out our other Posing Guides:

    • Posing Guide: Sample Poses for Photographing Women (Part 1)
    • Posing Guide: Sample Poses for Photographing Women (Part 2)
    • Posing Guide: Sample Poses for Photographing Children
    • Posing Guide: Sample Poses for Photographing Couples
    • Posing Guide: Sample Poses for Photographing Groups of People
    • Posing Guide: Sample Poses for Photographing Weddings

    Grab Our Guide to Portrait Posing

    Kaspars Grinvalds is a photographer working and living in Riga, Latvia. He is the author of Posing App where more poses and tips about people photography are available.

    The post Posing Guide: 21 Sample Poses to Get You Started with Photographing Men appeared first on Digital Photography School. It was authored by Guest Contributor.


    Digital Photography School

  • DPReview TV: Canon EOS R5 review

    The EOS R5 is Canon’s flagship mirrorless camera, and there’s a lot to like. We put it to the test for both stills and video and also address the overheating issues you may have heard about.

    Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

    • Intro
    • Handling
    • Image stabilization
    • Displays
    • Autofocus
    • Badlands sample photos
    • Image quality
    • Video capabilities
    • Who's it for?

    Sample gallery from this episode

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    Articles: Digital Photography Review (dpreview.com)

  • MegaX ultra-slow-motion 4D camera records pulse of light bouncing between mirrors

    Using an ultra-slow-motion camera that records at 24,000 frame-per-second, researchers with the Swiss Federal Institute of Technology in Lausanne (EPLF) were able to capture a pulse of light as it bounced between a series of aligned mirrors.

    According to EPFL School of Engineering’s Advanced Quantum Architecture Laboratory head Edoardo Charbon, the MegaX camera behind this new video is the by-product of around 15 years of single-photon avalanche diodes (SPADs) research.

    Ordinarily speaking, light is not visible during flight, but the photons do shed particles into the air that, using the right hardware and software, can be captured as in the video shown above. The light was recorded using MegaX, a camera that can produce 3D representations and ‘perform in-depth segmentation of those representations,’ EPFL explains.

    The camera likewise has a very fast shutter speed — up to 3.8 nanoseconds — plus it has a very large dynamic range. As well, the pixel size offered by the MegaX is around 10 times larger than a standard digital camera’s pixel size at 9 µm — though the team is working to reduce this size down to 2.2 µm.

    When talking about MegaX earlier this year, Charbon explained that the camera works by converting photons into electrical signals. Of note, this camera is able to measure how long it takes a photon to strike its sensor, giving it distance information; this feature is commonly known as time-of-flight.

    By combining the typical three dimensions with time-of-flight, MegaX is something of a 4D camera, giving it capabilities beyond that of the average camera.

    A new study published on July 18 builds upon this past research, detailing the first time scientists have captured 4D light-in-flight imagery using the time-gated megapixel SPAD camera technology. This is in contrast to 3D light-in-flight capture, which has been achieved using different varieties of camera hardware.

    The study explains that to capture the bouncing pulse of light, a machine learning technique took the place of other functions that may have otherwise been utilized, such as dark noise subtraction and interpolation. The process involved using time-of-flight and trajectory data combined with machine learning algorithms to plot the 3D path of the light.

    Charbon recently explained to Digital Trends that this new study details the use of machine learning and the 4D data to reconstruct the position of the light pulses. Though this may be something of a novelty to the average person, the technology could eventually be utilized in everything from robotic vision to physics and virtual reality systems.

    Of note, the researcher explained that all of the processes involved in capturing the bouncing light pulse were done on the MegaX camera. An abstract of the study is available here; the public can also access the full PDF of the study here.

    Articles: Digital Photography Review (dpreview.com)

  • Canon says ‘first set’ of EOS R5 units shipped out this week, quieting rumors over delays

    Over the past few days, there have been numerous reports Canon is delaying shipments of its EOS R5 camera and that retailers weren’t receiving shipments as expected. While Canon Japan did mention there could be delays due to demand earlier this month, these reports suggested several retailers in the UK and throughout Europe weren’t receiving as many cameras as they had expected.

    Until today, only Canon Australia had issued a statement on the matter to Newsshooter, saying the ‘speculations are untrue.’ Now, Canon U.S.A. has issued its first statement on the matter, confirming EOS R5 units were shipped from its warehouses this week and on the way to photographers.

    In the statement, shared with DPReview through a Canon spokesperson, Canon U.S.A. writes:

    ‘Orders of the EOS R5 are scheduled to be delivered as initially stated at launch. The first set of cameras shipped from our warehouses this week. We eagerly await the content that will be produced by talented creatives using this camera to be shared with the world.’

    Canon U.S.A. specifically mentions the ‘first set of cameras,’ but doesn’t specify the status of the second installment in its statement(according to a few of the rumors, it’s the second installment that could be delayed).

    We have contacted Canon U.S.A. in hopes of receiving further confirmation of future shipments and potential delays involved with its EOS R5 and EOS R6 camera systems. We will update the article accordingly if we receive a response.

    In regards to future shipments, a Canon U.S.A. spokesperson has told DPReview ‘shipping is as scheduled right now, with no delays.’


    Update (July 31, 2020): We updated the article with a statement from a Canon U.S.A. spokesperson regarding future shipments.

    Articles: Digital Photography Review (dpreview.com)

  • Weekly Photography Challenge – ReEdit

    The post Weekly Photography Challenge – ReEdit appeared first on Digital Photography School. It was authored by Sime.

    This week’s weekly photography challenge – ReEdit

    Hey! it’s Simon here, I’m our support guy and I look after the dPS Facebook group. This weekend I’ve slipped in to have a go at the weekly challenge as our ed, Caz, is off having a well-deserved break!

    What I’ve chosen for this week’s theme is ‘Re-Edit’ and by that, I mean going into wherever you keep your photos and re-editing one in Photoshop or Gimp or PSP or whatever you use! Choose a photograph, change it with a re-edit, see what you can make it into and share it! (Details on how and where to share at the end of this post)

    Weekly Photography Challenge – ReEdit
    My Cuban Street Scene – The Original
    Weekly Photography Challenge – ReEdit
    My Cuban Street Scene – The Re-edit

    The photograph can be of anything you desire, and for extra points, you can share the original and the re-edit if you’d like to. By way of example, you can see my original Cuban street scene above, and I’ve gone ahead and re-edited into a grungy black&white, I’ve done the same again with my Melbourne sunset below, and after its re-edit.

    dPS Weekly CHallenge
    Melbourne Skyline – The sunset
    Weekly Photography Challenge – ReEdit
    Melbourne Skyline – The Re-edit

    Great! Where do I upload my photos?

    Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favourite photo-sharing site and leave the link to them. We’re interested to see how you revisit the images that you’ve taken before now in this re-edit challenge!

    Share in the dPS Facebook Group

    You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

    If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSReEdit to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

    Most of all, have fun, check out other people’s photographs and encourage each other! Thanks for having me! — S

    The post Weekly Photography Challenge – ReEdit appeared first on Digital Photography School. It was authored by Sime.


    Digital Photography School

  • MS Optics reveals its latest lens, the Elnomaxim 55mm F1.2 for Leica M-mount cameras

    Miyazaki san of MS Optics fame has released his latest M-mount lens, the Elnomaxim 55mm F1.2.

    Bellamy Hunt over at Japan Camera Hunter is still working to translate the details of the lens, but what is known at this point is that the lens uses a gauss type optical design with an extremely simple formula. Specifically, the lens is Miyazaki san’s take on the Zeiss 50mm F2 Sonnar lens originally designed for the Zeiss Contax I rangefinder.

    The entirely manual lens features an aperture range of F1.2 through F16, has a minimum focusing distance of one meter (3.25ft) and has a 49mm front filter thread. The lens measures in at 50mm diameter, 43mm long and weighs 180g (6.35oz).

    Japan Camera Hunter has shared a few sample photos captured with the lens:

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    As is the case with most MS Optics lenses, this thing isn’t going to win any sharpness contests, but it has character.

    The Elnomaxim 55mm F1.2 lens for M-mount is available in black chrome and silver chrome, and is currently available to order from Japan Camera Hunter for $ 1,200. Units are being produced in small batches, so expect stock to come and go.

    Articles: Digital Photography Review (dpreview.com)

  • Film Fridays: Are premium 35mm compact cameras a waste of money?

    Photo: Dan Bracaglia

    Back in the 1990’s virtually every camera manufacturer produced a line (or multiple lines) of premium autofocusing pocket cameras. Many of these cameras packed excellent optics and great metering into impossibly small, easy-to-use bodies, making them perfect for capturing spontaneous moments.

    These days, with the resurgence of interest in film photography, these premium compacts are fetching high asking prices on the secondhand market. So are these (mostly) fantastic plastic pocket cams worth their asking price? Our pals at Kosmo Foto investigate…

    Read: Are premium 35mm compacts a waste of money?

    About Film Fridays: We recently launched an analog forum and in a continuing effort to promote the fun of the medium, we’ll be sharing film-related content on Fridays, including articles from our friends at KosmoFoto and 35mmc.

    Articles: Digital Photography Review (dpreview.com)

  • 4 Ways of Creating Effective Catchlights in Portraiture

    The post 4 Ways of Creating Effective Catchlights in Portraiture appeared first on Digital Photography School. It was authored by John McIntire.

    Catchlights in portraiture example
    Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/80 sec | f/5.6 | ISO 100

    It is arguable that the most important part of a portrait is your subject’s eyes. While there is a case or two in which this might not be true, for the most part, the eyes are the focal point of portraits. This is because, when we interact with people on a one-to-one basis, it’s the eyes that we use to interact with one another.

    As a photographer, it’s vital that you are able to present your subject’s eyes as the focal point in your images. One key way to do this is through the deliberate use and manipulation of catchlights. Catchlights in portraiture are the reflection(s) of your light source(s) that appear in the eyes. 

    This article will discuss why catchlights are important, how to make use of them, and how to manipulate them to your benefit. It will also discuss several ways to help you to include catchlights in your portraiture.

    What are catchlights?

    catchlights in portraiture types of catchlights
    Catchlights are the reflection of the light source in your subject’s eyes.

    As mentioned above, catchlights are the reflections of your light source as they appear in your subject’s eyes. It doesn’t matter if you are using natural light or flash; if there is light going directly into your subject’s eyes, there will be a catchlight.

    In terms of photography, this is important because the presence of a catchlight in portraiture means that the detail in your subject’s eye will be revealed in the final images. If there is no detail in the eyes, it will be that much more difficult for your viewers to engage with the subject. You’ve probably heard of the term dead-eyes before. That’s what this is referring to. 

    Ensuring you have a catchlight

    catchlights in portraiture
    Making sure that your catchlights are a prominent feature in your subject’s eyes can help you to create more evocative portraits. Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/125 sec | f/5 | ISO 100

    If your goal is to create a catchlight in your portraits, the easiest way to do it is to ensure that your key light is pointed directly into your subject’s eyes. Because your key light will be the brightest light source in your frame, this will help to ensure that the catchlight is as bright as possible, making sure that it stands out. 

    If you are using natural light, or studio lighting with a modeling light, you will be able to see the catchlights in your subject’s eyes before you take the picture. All you have to do to ensure a catchlight is direct your subject’s pose until you can see the catchlight. If you are using a light source without a modeling light, you will have to be more careful. Take a test shot and review it on the back of your camera to see what’s going on, then guide your subject from there. 

    Placement

    catchlights in portraiture
    Ensuring that the main catchlight is at the top of your subject’s eye is a great starting point. This is a natural place for the catchlight to sit and leaves most of the eye unobscured. Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/60 sec | f/5.0 | ISO 100

    To help ensure more natural results, it can help for you to light your subject from above. This has a few effects. The first of these is that it places the catchlight at the top of your subject’s eye, just as it would be if they were outdoors and being lit by the sun. Also, having the catchlight at the top of the eye helps to have more of the eye visible in the frame. 

    If you are using more than one catchlight, the position of the other ones doesn’t matter too much, but putting the main catchlight at the top of the eye is still a good idea. 

    Big vs small

    catchlights in portraiture size of catchlight
    The size of your catchlight is going to depend on your chosen light source and how far away that light source is from your subject.

    The size of the catchlights in your subject’s eye is entirely dependent on the light sources you are using. If you are shooting in the middle of a clear day, the light source will be the naked sun, and it will appear as a small pinprick of a catchlight in your subject’s eye.

    If you are shooting on an overcast day, the entire sky becomes your light source. It is not uncommon for the catchlight to appear massive, as a reflection of everything that appears above the horizon. And if you are in a studio using a large octabox close to your subject, your catchlight will be enormous and take up a large portion of the eye. 

    How big you want your catchlights is entirely up to you. Personally, I prefer them to be somewhere in the middle. Too small and they barely show up in anything wider than a close-up portrait. Too big and they take up far too much of the eye, dominating one of the most important parts of your image. 

    On occasion, you might hear people saying that catchlights should only ever be small. This is not a rule. Use whatever size catchlight you want.

    Bright vs dim

    catchlights in portraiture
    Large light sources close to your subject will result in dimmer catchlights. Smaller light sources will result in brighter catchlights. It doesn’t matter which you choose, but it can help to be aware of it.

    Another aspect of catchlights in portraiture that is dictated by the size of the light source is how bright the catchlights appear. Catchlights made by smaller light sources (such as the sun or small studio modifiers) will appear brighter than those made by large light sources (such as an overcast sky or large studio modifiers). 

    Again, how you use this is entirely up to you. In a close-up portrait where the eyes take up a large portion of the frame, the brightness of the catchlights won’t matter as much. However, in a three-quarter length or full-length shot where the eyes are a much smaller part of the image, you may need catchlights to be brighter so that they stand out more. 

    Of course, you always have the option of brightening up your catchlights with a bit of dodging and burning afterward, but making the choice at the time of capture can help to save you a lot of time behind the computer. 

    Doing more with catchlights in portraiture

    Beyond the basics of simply placing a catchlight in your subject’s eye, looking out for new and intriguing ways to use catchlights in portraiture can be a fun and rewarding pursuit. There are a lot of different things you can do to try and make your catchlights more exciting and visually interesting. This section will outline a few of these. 

    1) Add more lights

    catchlights in portraiture
    Adding more lights (that show in your subject’s eyes) is one simple way of changing up the catchlights in your portraits. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 35mm | 1/125 sec | f/5.6 | ISO 100

    Simply adding an extra light or two is possibly the easiest way to make your catchlights a little more interesting. Any secondary lighting that you use that is in your subject’s line of sight will usually appear as a second catchlight in their eye. 

    catchlights in portraiture
    Here the two fill lights show up as two additional catchlights.

    The thing to look out for here is that you don’t go overboard. Having your subject’s entire eye consumed by multiple large catchlights will probably look more disconcerting to your viewer than clever. By all means, experiment, but don’t be afraid to dial it back a notch if you go too far.

    2) Use a reflector

    catchlights in portraiture
    The humble white reflector is a great way to add a subtle second catchlight that lifts the brightness of your subject’s eyes. Canon 5D Mark III | Canon EF 16-35mm f/4L IS USM | 35mm | 1/125 sec | f/14 | ISO 100

    Adding a simple white reflector as fill can help to lift your subject’s eyes with a catchlight of its own. This will usually result in a subtler effect, but it can lead to much brighter and more vivid eyes in your images. 

    catchlights in portraiture
    Here you can see just how much the reflector is doing.

    3) Try different lighting patterns

    catchlights in portraiture
    Some lighting patterns like clamshell lighting make for really interesting catchlights. Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/100 sec | f/9 | ISO 100

    Using lighting patterns that require multiple light sources can provide interesting catchlights as well. Cross lighting and clamshell lighting are two patterns in particular that can create interesting effects. Both of these patterns only require two lights as well.

    catchlights in portraiture clamshell lighting catchlight example
    Here you can see the effect that clamshell lighting has on the subject’s eyes.

    4) Use novelty light sources

    catchlights in portraiture
    Ring lights and other novelty light sources produce unique catchlights that can be used for visual interest. Canon 5D Mark III | Canon EF 50mm f/2.5 Macro | 50mm | 1/60 sec | f/8 | ISO 1000

    There are fair few interesting lighting options on the market that provide unique catchlights. The most prominent of these is the ring light. Ring lights provide on-axis lighting for your subject as you put your camera through the aperture of the ring. The catchlight appears as a ring in your subject’s eyes.

    These lights, and other lights like them, are fun to use and can help you achieve interesting lighting in your portraits. 

    catchlights in portraiture
    Here, you can see the distinct ring shape of the catchlight made by a continuous ring light.

    One caveat for these novelty light sources: While a lot of people really love the effect they produce, a lot of people really hate it, and are very vocal about how much they hate it. Depending on the purpose and the audience of your images, novelty light sources may not be the right choice. 

    The end

    Taking control of your catchlights can be a great way to help you get the most out of your portrait photography. Hopefully, you see how easy and impactful this can be. It’s also a lot of fun.

    Chasing catchlights in portraiture can lead you to a lot of interesting scenarios and lighting setups that you may not find, or come up with, by other means. 

    The post 4 Ways of Creating Effective Catchlights in Portraiture appeared first on Digital Photography School. It was authored by John McIntire.


    Digital Photography School

  • 6 Things to Learn After Manual Mode

    Now that you know how your camera manual mode works, and you are in control of what it is doing when you take a picture, what’s next? Our brain likes the process of constantly learning something new. That’s why we network with other people, visit conferences, read books and articles, travel, scroll social media feeds, and so on. There are Continue Reading

    The post 6 Things to Learn After Manual Mode appeared first on Photodoto.


    Photodoto

  • Canon Q2 financial results: Camera division still profiting, but down 93.9% year-over-year

    Canon has published its second-quarter (Q2) financial results, which covers from the beginning April 2020 through the end of June 2020, and, as you would expect in these difficult times, the camera division isn’t looking all that great.

    Canon made it clear in its first quarter (Q1) results that things would get worse before they got better; and Q2 numbers are the first concrete evidence of just how much the COVID-19 pandemic has hurt the camera division in an already-declining market.

    Across all of its divisions, Canon reported a loss of ¥8.8 billion ($ 83.3M), marking the first time in its 82 year history the company has been in the red on a quarterly basis. Canon says in its investor presentation that the ‘impact of global economic stagnation [due to the COVID-19 pandemic] was inevitable as we faced rapid drops in actual demand in various businesses and were confronted with limited business activity.’

    As for the imaging division, Canon reported net sales of ¥141.7B ($ 1.35B) and an operating profit of just ¥800M ($ 7.65M). While seeing any operating profit is good news in this environment, the numbers are still a stark contrast to Q2 2019. Net sales were down 30.8% and operating profit was down 93.9% year-over-year (YoY).

    In the Imaging System breakdown, Canon attributes the decline in net sales to there being ‘fewer image capturing opportunities, such as travel and other events.’ due to COVID-19. Canon says it ‘will take time for sales to recover as cameras are considered a luxury item,’ but it’s projecting the entire market to be down 40% to just 5.4M units and its own unit sales down by the same proportion, to 2.5M.

    In addition to Canon elaborating on its cameras being used as webcams for video conferencing and communication, Canon also says it plans to ‘enhance’ its concept camera initiative, with new models expected to be out before the end of the year.

    Despite the big fall in Q2, Canon is expecting operating profit to only fall 66% for the full year, and sales by value only 20%. This suggests it expects models such as the R5 and R6 to make up for some of the poor Q2 performance. The company says these models and the RF lenses will ‘solidify our position in the full-frame camera market.’

    Compared to Canon’s end-of-2019 projections, which anticipated total sales of ¥787B and an operating profit of ¥53.7 for the 2020 fiscal year, its new Q2 2020 projection for total sales of ¥643.9B and operating profit of ¥16.1B is a drop of 19% and 70%, respectively.

    As for how it intends to handle the direction of its camera division post-COVID-19, Canon says it will ‘accelerate measures to streamline operations’ and ‘expand business areas that utilize optical technology.’ Specifically, Canon says it will ‘work to facilitate our aim of switching business domains, leveraging the optical technology we have cultivated so far, and reallocating resources to new fields such as automobiles and industrial-use sensors.’

    Although acknowledging that the camera market has declined faster than anticipated (pre-COVID-19), Canon emphasizes that its position – that ‘sooner or later the market will settle down and consist solely of users that are particular about imaging’– has not changed.

    Summed up, the numbers are down across the board, but they aren’t all that surprising considering the current state of the camera (and global) market. Canon expects to further expand the use of its sensor and optics technology to industrial and automotive use, but still plans to streamline its operations to make the most of its ILC and compact camera products.

    You can read all of the financial results by visiting Canon’s investor relations webpage.

    Articles: Digital Photography Review (dpreview.com)