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How to Publish a Photography Zine to Promote Your Photography

The post How to Publish a Photography Zine to Promote Your Photography appeared first on Digital Photography School. It was authored by Matt Murray.

Until a couple of years ago, I’d never considered publishing a photography book or zine. Years ago, the self-publishing options weren’t very attractive to me: they were either expensive and complicated or offered templated cookie-cutter style books that didn’t appeal.

In recent times, new publishers specialising in short-run zines have sprung into the marketplace, making it much easier for photographers to get their work into print. Inspired by other photographers producing zines, I have just published my own. Here is my guide on how to publish a photography zine to promote your photography.

What’s a zine?

A zine is a self-published booklet of images and text, often produced in limited edition print runs. The word zine (pronounced zeen) is derived from both the word magazine and also the word fanzine – unofficial publications produced by fans of a particular movement in popular culture. Zines were usually put together by hand, then photocopied and stapled.

Copies of my first film photography zine Every Summer. I also had limited edition art print postcards created to celebrate the launch.

These days the term zine is commonly used to refer to any short-run booklet of photography and/or images. There are so many creative choices that you can make when you publish a photography zine. The look and feel of the final product are up to you, and the lines between a zine and a book are often blurred.

For example, my first photography zine Every Summer is perfect bound, meaning the pages are glued together into the spine without a staple. It’s full-color, printed on uncoated paper, and the cover has a smooth laminate finish. It falls somewhere between the extremes of a do-it-yourself stapled zine and a high-end coffee table book.

So now you know what a zine is, your next question might be, why publish a photography zine? I’ve outlined a few reasons below.

Seeing your images in print is magical

One of the most frequently said things about photography in the digital age is that we’ve ended up with tens of thousands of images on devices and hard drives that are hard to access and view. There’s nothing quite like having an image in your hands – whether it’s an instant photo, a print, or your own book or zine.

Close-up of my first photography zine Every Summer. Holding it in my hands for the first time was magical.

Seeing my first photography zine in print was so much more satisfying than seeing images on a computer screen. Creating a zine also ties together the set of images as a collection, with a single narrative throughout. A zine is a perfect way to showcase your images to others.

Use a zine to promote your photography

Publishing a photography zine is a fantastic way to promote your photography. A zine could be used as an alternative to (or in addition to) your digital offerings.

I recently showed my first zine to a professional photographer friend and he said it was a really interesting concept he’d consider for promoting his wedding photography business.

In this digital age, a zine could be a way of standing out from the crowd by providing something tangible people can hold in their hands that promotes your photography.

Creating a zine as a tool for personal growth

Publishing a zine is such a rewarding project. As a photographer, there are many other skills you’ll potentially need to learn or improve to get your zine into production. Design, editing, writing, printing and marketing: these are just some of the skill sets you’ll use.

Once you create your zine, you can send it to your favorite clients, give it away to leads at events and shows, and, of course, send it as a gift to family and friends. You never know who might end up seeing it.

Blurring the lines between a zine and a book, my first self-published work “Every Summer” is perfect bound.

Creating a zine is also addictive – once you create your first, you’ll no doubt be thinking of your second. So, if you’d like to publish a photography zine, where do you start?

Zine ideas

The concept of most zines or books revolves around an idea. Your zine could be made up of images from a road trip, a wedding, your favorite city, or your neighborhood.

A zine could also show off a photographic style, a personal project, tell a story through images, or be a showcase of your best work. It can also be a combination of all of those things or none of them – it’s up to you.

My first zine is a collection of images that I took on the Isle of Wight in England. When I reviewed the images in the weeks after my holiday, I felt there was a certain magic to them, so I decided to put together a zine.

It’s also becoming increasingly common for photographers to collaborate on zines together, typically with the same subject or style in mind.

Choose your images

Choosing and editing your images is a process in itself.

It’s not necessarily about choosing all the best images but choosing images that work well together and continue a narrative throughout your publication. For example, there were some images that I loved from the Isle of Wight, but there didn’t seem to be a point in the zine where it made sense to include them, so I left them out in favor of other images.

The first 20 pages of my zine Every Summer in a contact sheet view. Choose images that work well together and continue a narrative. Also, note the double-page spread on pages 6-7.

Some people find it beneficial to print out small copies of their images and arrange them on the floor to work out an image order. I tried this approach, but I found that it just left me with a stack of paper to put in the recycling bin. I found it easier to rate images in Lightroom and then drag them onto pages in InDesign, where I could play around with the layout.

To add text or not to add text?

There are two schools of thought around adding words to a photo zine or book. The first is that the photos should do the talking and everything else is a distraction. The second is that well-thought-out text adds context to the images and makes it a more rewarding experience for the reader.

Generally, I fall into the latter school of thought.

I decided to add passages of text to my zine for one simple reason – I wanted to introduce locations by recounting anecdotes from when I visited these places on the Isle of Wight. These passages detailed what attracted me to photograph those locations.

Adding text throughout my zine gave me the opportunity to provide context to the locations I photographed on the Isle of Wight.

Either way, it’s commonplace to write an introduction at the start of your zine or book. This should introduce yourself to the reader and explain your motivation behind producing the zine and your relationship to the images.

For example, in my photography zine Every Summer, I reflected on my relationship with England, my home for over a decade, and how travel photography has influenced the style of images I take. In my introduction, I also added my contact details so readers could send me feedback about the zine.

Zine design

The design of your zine can be as simple or as complex as you like. Some online publishing companies have their own software that makes it as easy as possible for you to choose a layout, drag and drop photos, and add some text.

With other zine publishers, you can create your own design in software programs like Adobe InDesign and then upload them as a PDF for printing. Always make sure you read and understand the instructions your printer gives you about document set-up and exporting your publication – especially with regards to the quality of your images, color space, page bleed, and margins.

Of course, you can also work with the book module in Lightroom too.

Many pages in my zine follow a standard layout. This is broken up by double-page spreads and full-page photos throughout the zine.

Creating your zine in InDesign also gives you the flexibility to produce an electronic PDF version of your zine to distribute to people. You can also do that with the first option, but some online publishing companies charge an extra fee to download a PDF copy of your work. You can also create a PDF version in the Lightroom Book Module too.

Whichever road you go down, remember that simplicity is often at the heart of good design. Try and stick to a standard way of displaying your photos throughout the book, with the occasional breakout from that design for a double-page spread or full-page photograph.

Simplicity should also be front of mind when working out your choice of font. Don’t choose too many fonts to work with and always make sure they’re easy to read. For my photography zine Every Summer, I chose two fonts.

Part of the introduction to my first photography zine. I explained who I was, my motivations for putting the zine together, and my relationship to the subject matter.

For headings, I chose a retro font that captured the spirit of the 1970s. This matched the subject matter of some of my images such as the retro ice-cream van and the seaside pier at Sandown. For body text, I used a typewriter-style font that is easy to read, and also conveys some of that retro charm.

Print vs screen

Looking at images on a screen is not the same as looking at images in print. Digital images are usually in the RGB color space, which has a wider color gamut than the CMYK color space used for printing. Our screens are also back-lit, so often digital images look brighter and more saturated than images exported for print.

At some stage, your publication will be converted to the CMYK format. Some online publishers do this process automatically for you, but if you are uploading a PDF to a printer, they will typically ask you to supply a PDF in the CMYK color space. Always check with your printer on the exact settings to use.

Seeing your images in the CMYK color space for the first time can be a bit of a shock: it has a narrower gamut than RGB, which means that not all colors from the RGB color space can be displayed when printed. This means some colors may look slightly different in the printed version. For example, the vivid blues, yellows, and oranges of the ice-cream van on the front of my zine are not quite that vivid in the print version, but they’re close.

Laying out images and text for my zine in Adobe InDesign. A lot of people shy away from InDesign, but it really isn’t difficult to pick up, especially if you’re familiar with Adobe Photoshop.

Zine format and size

When you publish a photography zine, you will also need to decide on the dimensions of your zine and how many pages it will have. Remember, the more pages your zine has, the more expensive it will be to produce and potentially ship to customers.

For my first zine, I chose a square 210mm by 210mm format (just over 8 inches). I’d seen a friend’s zine using the same dimensions and it felt like a good size to me. Square pages also have an advantage: they suit portrait-orientation images, landscape-orientation images, and square images.

Another consideration is the type and weight of paper you want your zine printed on. There is usually a range of types including satin, gloss, uncoated, and even recycled. Many publishers will send you a sample of their papers for free. This sample pack will also help you decide on the weight (thickness) of different paper stocks.

Many online printers offer a wide range of choices for your publication.

Final review

When you’ve finished your layout and have a zine ready to publish, check everything as many times as you can. After you’ve completed your checks, ask a trusted friend to do the same. I made one small error with my zine and it still annoys me. As it turns out, a couple of people I sold my zine to didn’t even notice it.

If you’ve never printed anything before, you can also get in contact with your printer to ask for their advice on your publication. For example, you could ask them if the images are good enough quality to print, if the layout will work, if you’ve done the page bleed and margins correctly, and if you exported your PDF in the correct color space.

When you’re satisfied that everything is correct, it’s time to print.

If you’re a little nervous about the final product, order the smallest quantity that is financially practical. This will give you the opportunity to check you’re happy with everything before another print run.

After that, it’s time to show your zine to the world! I’ve sold my zine via my website to friends, family, listeners of my podcast, and others in the photography community. For the launch, I even had some art print postcards created featuring three images from the zine as a bonus for my customers.

Exporting my zine from Adobe InDesign. Find out what settings you should be using from your printer for the best results.

Conclusion

I hope this article has been helpful for those wishing to publish a photography zine. Self-publishing can be a lot of work, but ultimately, it’s a very rewarding process. There are so many skills related to photography that you can learn and improve, adding to the creative challenge.

Seeing your images in print for the first time in a publication that you’ve created is very special. I’ve learned so much creating my first photography zine and plan to create another in the coming months.

Whether it’s just for fun, a creative challenge, or to promote your business, learning how to publish a photography zine is a fantastic way to get your images in front of other people and reach a wider audience.

If you have any questions about the zine-making process, please let me know in the comments below.

The post How to Publish a Photography Zine to Promote Your Photography appeared first on Digital Photography School. It was authored by Matt Murray.

Digital Photography School

May 30, 2020
Heaps of Fun Creative Photography Ideas to Keep Your Photography-Juices Flowing
The post Heaps of Fun Creative Photography Ideas to Keep Your Photography-Juices Flowing appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week, I thought I would compile a few videos of creative photography ideas that will get your photography juices flowing.

These videos are from Jordi Koalitic, who shares some of his unique, fun ideas.

Some of these you can do in your own home or out and about. Check them out, try them out, and share some of your photos with us in the comments section!

Still looking for more creative ideas?

Then you may also like:
- 10 Great At-Home Creative Photography Ideas
- Creative Photography Exercises to do at Home (video)
- 10 Creative DIY Photo IDEAS when Stuck at Home (video)
- Creative Abstract Photography with Food Coloring and Milk
- Creative Water Photography – A Step-by-Step Guide to Making Water Monsters
- Creative Photography Exercises: Setting Limitations to Achieve Better Photography
- How to Use a Pinhole Body Cap for Awesome, Creative Photography
The post Heaps of Fun Creative Photography Ideas to Keep Your Photography-Juices Flowing appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School
May 30, 2020
Black and White are Rarely Black or White

The post Black and White are Rarely Black or White appeared first on Digital Photography School. It was authored by Herb Paynter.

There are very few absolutes in this life. Most issues we face fall into more “gray areas” than the purely polar dictionary definitions of actual black and white. We use these terms rather cavalierly when expressing personal opinions even when real-life situations are anything but! This is also true in a number of photography-related issues. Since photography is the topic de jour, I’ll turn the conversation in that direction. I’ll explain to you how black and white are rarely black or white.

Total black and white can lose important detail. Occasionally this is appropriate for drama, but in general, even the darkest areas of an image should contain contrasting tones. f/9, 1/250, ISO 200, 70.0-200.0 mm f/2.8.

The hard facts

Black is the total absence of light, as in a cave at midnight with your eyes closed. Nada, nothing, total emptiness. Nothing is quite as disorienting or scary as total blackness. Blackness is un-relational and unforgiving. Even our sense of balance is affected by our inability to orient ourselves to our environment. What we can’t see, we can’t relate to.

Opening up the darkest channel (unfortunately labeled “Black” in most software) can reveal a depth that otherwise gets buried in the D-max of the photographic medium.

White is at the other end of the light measurement scale, defined as a direct unobstructed blast of light from the Sun at noon. Blinding, blazing, searing, scorching light.

True white light would actually blow the rods out of our eyes and leave us (at least temporarily) blinded. Perhaps it is good that we don’t try to function either physically or psychologically in either of these two extremes.

Dark and light vs black and white

In the photographic film and darkroom world, “D-max” and “D-min” determined the total light range of photographic prints and transparencies. Actual black and white light measurements simply cannot (by definition) be replicated in photographic materials.

D-max refers to the maximum light blocking capacity (density) of a particular film or print. D-max is the point of maximum development for either film or prints in a traditional (chemistry-emulsion) darkroom environment.

D-max for an inkjet printer would be the darkest black that can be achieved by a particular ink on a particular paper (yes, some different inks and papers achieve different results).

D-min would be the highest light-reflective measurement possible from a particular paper with no ink.

In either case, neither “actual” black nor total white is possible. In truth, black and white cannot be expressed in the medium of photography, though we still employ the terms.

Actual original image (left) and adjusted image (right). No kidding. RAW files deliver! f/2.8, 1/250, ISO 1600, 35-100mm, f/2.8.

Real-life vision vs digital interpretation

By contrast, we live our everyday lives in the natural world where we can experience this “actual” extreme range of natural light. We occasionally witness these extreme lighting conditions, and this reference to reality keeps our lives in clear focus.

There exists a broad range of contrast in nature’s lighting that keeps our visual cortex amused and intrigued. We experience the extremes of light and dark almost every day, and our eyes adjust to these dynamics quite naturally. But in the subdued visual expression called photography, we are restricted to using a much more muted palette, which presents our minds with a different challenge.

Our brains insist on detail to help us navigate this world, both visually and rationally. We are a relational species, and we rely on the existence of distinct details in our surroundings in order to relate and negotiate our way through those surroundings. The very same issue determines how we relate to things photographic, which brings me to my point – finally.

Every physical item that we describe as “black” must be distinguished from actual dictionary-definition “black” if it is to be seen as a dimensional object.

Detail is all about contrast

Contrast is the determining factor in detail. Without contrasting tones, there can be no detail.

Our eyes get to experience the full dynamic range of light in real life. However, in photos, our perception is very limited by the whole visual D-max/D-min thing. We must learn to use what range we have to mimic the range that we don’t… get it? Pushing the internal tones around within an image will simulate the full range of tones that we normally see (and often take for granted) in real life.

Another example of extremes. The lighting was good on the female, but the male model was underlit. Some serious internal adjustments were made in one copy of the RAW file, and a masked copy of the correction was placed into the scene. Once again, tonal reproduction is key. f/3.2, 1/250, ISO 1600, 35-100mm, f/2.8.

In a practical sense, the detail is created when a visual relationship is established. The greater the contrast between tones, the sharper the detail becomes.

In order to express detail in a dark area, there must be a distinction between black and “almost black.” Without that distinct separation, there can be no detail.

There is a cardinal rule when printing a photo on a printing press… “there are no absolute blacks and only specular (reflections) pure whites in print.” Even pure white must contain a tonal element to maintain dimension and texture – neither black nor white express detail.

Black must be implied more than stated. Even a black hat or garment must contain tones of dark gray to carry the illusion of detail.

Black is a relative term. Total black loses important detail and dimension. f/4.5, 1/50, ISO 1600, 35-100mm, f/2.8.

Delivering the impression

When a photo lacks internal contrast, it lacks detail. The tension of contrast creates both detail and definition. Of course, even detail is a relative thing. Not all images require the same dynamic appearance. If all pictures contained the same degree of (internal or overall) contrast, the monotony of sameness would probably drive us to boredom.

The point I want to make here is that in order to keep the human mind amused, engaged, and involved, we must learn to use all the tone dynamics at our disposal.

Fortunately, the human mind (and it’s willing accomplice, the visual cortex) provide us with a very forgiving and creative instrument that interprets (and believes) the limited dynamics of printed photos. When this tonal orchestration is successfully accomplished, the result can be breathtaking.

We were designed to be very creative. Start believing that and watch the magic happen.

The post Black and White are Rarely Black or White appeared first on Digital Photography School. It was authored by Herb Paynter.

Digital Photography School

May 30, 2020
DPReview TV: Sony ZV-1 review
The Sony ZV-1 is a modified version of Sony’s RX100 series aimed at vloggers and video enthusiasts. Does Sony have a winner? Chris and Jordan vlog their way through an episode to find out.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
- Introduction
- Design and handling
- Internal microphone
- How it's different from the Sony RX100 VA
- 'Face Priority' exposure
- Intermission: Goslings!
- Improved standard color profile
- 'Background Defocus' mode
- The lens
- 'Product Showcase' mode
- Image stabilization
- Video quality
- Who's it for?
Sample gallery from this episode

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_2967931818″,”galleryId”:”2967931818″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });
Articles: Digital Photography Review (dpreview.com)
May 30, 2020
Weekly Photography Challenge – Trees

The post Weekly Photography Challenge – Trees appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s weekly photography challenge – TREES!

These images of trees I shot while out on walks, and they were just taken with my smartphone. I gave them a warmer tone when editing. © Caz Nowaczyk

If you are still stuck indoors, photograph from your windows, or step out into the garden (if you are lucky enough to have one). Alternatively, go back through your archives and do some brand new edits on your photos, like false-color infrared or black and white.

Use backlight, sunsets, sunrises, intentional camera movement or close-ups of foliage.

The choice is yours! I look forward to seeing what you share

Check out some of the articles below that give you tips on this week’s challenge.

You may decide to look closer at trees like I did with these two shots of these Gum Trees. Again, these were shot with a smartphone. Sometimes the best camera is the one you have with you! © Caz Nowaczyk

Sunset at Merimbula by Caz Nowaczyk. The tree is only a part of this composition, but it helps to frame the sunset.

Sunset over Pambula River Mouth, NSW, Australia by Caz Nowaczyk. Again, simply taken with my smartphone, with no editing at all, but I still like the feel of this image.

Tips for photographing TREES

8 Creative Ways to Photograph Trees

4 Tips for Taking Better Photographs of Trees

Using Backlight in Nature Photography

5 Tips for Gorgeous Nature Photography Lighting

5 Tips for Capturing Nature Across Different Seasons

5 Tips for Taking Beautiful Photos of Nature

How to Take Creative Landscape Shots using Intentional Camera Movement

Simulating False-Color Infrared Photography in Photoshop

Create Powerful Black and White Photos with the Photoshop Gradient Map

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 favorite photo-sharing site and leave the link to them. Show me your best images in this week’s 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 #DPStrees2020 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.

The post Weekly Photography Challenge – Trees appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Digital Photography School

May 30, 2020

DJI’s Mavic Air 2 shoots 8K Hyperlapse – but will you be able to view it?

Want to use the DJI Mavic Air 2’s new 8K hyperlapse feature? This how it will look on most computers right now unless you download a specific video player.

Earlier this month, we reviewed DJI’s latest consumer-grade drone: the Mavic Air 2. The compact machine boasts an array of features normally reserved for higher-end, professional-grade drones. Notably, DJI touted the fact that the Mavic Air 2 now offers users the ability to capture 8K hyperlapse video.

When conducting our initial review, we were only able to test out 1080p hyperlapse, which is also available on the Mavic 2 Pro and Zoom models. The day the Mavic Air 2 was officially made available to the public, DJI released a firmware update that included the ability to capture 8K footage. When trying it out this past week, the process was straightforward enough. However, I found it impossible to view the recorded hyperlapse clips on a computer.

This is what the 8K hyperlapse clip pictured above should look like (screenshot captured using sPlayer software). DJI is currently working on a firmware update to improve compatibility, expected in early June.

At first I thought the files, taken on different memory cards and uploaded to both my MacBook Pro and iMac, outfitted with recent OS updates, were corrupted. As it turns out, the problem wasn’t computer-related.

The Mavic Air 2’s 48MP camera is what makes 8K footage possible. In hyperlapse mode, the drone takes a series of photos and automatically stitches them together to produce a short time-lapse video. 48MP photos consist of four 12MP images stitched together. At this time, half of these photos aren’t showing up. This creates the checkerboard effect seen in the first image when the footage is played back.

It appears that YouTube does handle the Mavic Air 2’s 8K hyperlapse videos correctly. Want to try playing the original video file on your own computer? You can download it here.

8K hyperlapse video clips will successfully playback using sPlayer software, which is free to download and available for both Windows and Mac. DJI tells us that it’s aiming for an early June firmware update that will allow 8K hyperlapse footage to be more widely compatible with other software. Additionally, a 4K hyperlapse update is expected to arrive in ‘late June or early July’, and 2.7K hyperlapse at a later date.

If you’re new to creating hyperlapse videos, keep in mind that recording 1 or 2 clips can take up most of your battery life – depending on the length of your shooting interval and the overall video clip time selected. The Mavic Air 2 battery boasts a maximum of 34 minutes flight time. The minimum interval between shots for 8K hyperlapse is 6 seconds, versus 2 seconds for 1080p. As a result, a 5 second clip at a 6 second intervals will take 12 minutes, 30 seconds to record.

If you’re eager to shoot 8K hyperlapse footage with your Mavic Air 2, you may want to hold off a bit. As of now, you’ll either need to download sPlayer to view it or wait a bit for the next firmware update from DJI.

Articles: Digital Photography Review (dpreview.com)

May 30, 2020

Photographers Unite educational conference hosts 60 top photographers from around the world

The Image Salon, a Montreal-based photography and post-production service, recently produced a global educational conference called Photographers Unite that hosted 60 photographers from around the world. The live event is over, but photographers who missed it the first time around can register and watch the full replay until June 6.

Photographers Unite was a free event that asked attendees to make a charitable donation, though it wasn’t and still isn’t required to view the conference. Each speaker donated their time to participate in the conference, lending their expertise over the duration of 20 minutes, as well as an additional five minutes spent answering questions from the audience.

The live event took place on May 26 and May 27 from 11am to 7pm EST. The replay is available on the Photographers Unite website starting today, May 29, and will remain available until June 6. Interested viewers must register for access, which simply requires a name and email address, as well as the viewer’s photography specialty.

The conference had speakers who specialized in a wide variety of photography, including Two Mann Studios, 37 Frames, Sam Hurd, Susan Stripling, Lindsey Adler, Brandon Wong, Sara Monika, Tyler Wirken, Jide Alakija, Chris Knight and others. A schedule of the speakers with timestamps for each of their sessions is available on the Photographers Unite website. The Image Salon has also published examples of each speaker’s photography on its Instagram account.

Access to the replay is delivered in the form of a link and password that is sent to the email address provided during registration. The educational opportunity is unique in that it is completely free and includes some of the top photographers in the field. Donations from viewers go to Global Giving’s Coronavirus Global Relief Fund, as well as select regional charitable funds.

Articles: Digital Photography Review (dpreview.com)

May 30, 2020
Nikon’s FY2020 financial results: ¥225.8B in revenue, ¥17.1B loss in operating profit for Imaging Products Business

As it promised when it initially pushed back the release date, Nikon has released the financial results today for its 2020 fiscal year (FY2020), ending March 31, 2020, as well as its forecast for its 2021 fiscal year (FY2021).

Overall, Nikon Corporation recorded ¥591B in revenue and ¥6.7B in operating profit. These numbers align with what Nikon’s updated forecast suspected and are a decrease of ¥117.6B and ¥75.9B, respectively, year-over-year (YOY).

An overview of Nikon’s revenue, operating profit and more for FY2020.

Interestingly, Nikon attempts to quantify the impact of the COVID-19 pandemic, with its report saying it believes the pandemic has caused 10 billion yen in operating profit losses. Specifically, Nikon attributes ‘approximately 4 billion yen’ of that loss to its Imaging Products division ‘Due to product mix change by [the] suspension of distributors mainly selling mid- and high-end cameras, and delay of launch in main products including professional use products by stagnation of the supply chain.’

Diving specifically into its Imaging Products Business, Nikon recorded ¥225.8B in revenue and a loss of ¥17.1B in operating profit. These numbers are both worse than Nikon’s February 2020 forecast and are a decrease of ¥70.3B and ¥39.1B, respectively. The documents reveal Nikon sold 1.62 million interchangeable lens camera (ILC) units and 2.65 million interchangeable lens units, with just 840,000 compact digital cameras sold. These unit numbers are a decrease of 21.4%, 16.4% and 47.5%, respectively, YOY.

Nikon’s breakdown of the FY2020 results for its Imaging Products Business.

In notes on the revenue of its Imaging Products Business, Nikon says revenues were ‘progressing mostly in line with previous forecasts until the middle of February,’ when the COVID-19 started to wreak havoc on the supply chain and retailers. Nikon again reiterates that it’s had to delay new product launches ‘such as high-end DSLR cameras and [mirrorless lenses]’ due to the impact of the COVID-19 pandemic. This is referencing the delay of Nikon D6 shipments and suggests the Nikkor Z 70-200mm F2.8 VR S zoom delay back in January could’ve been due to COVID-19 complications as well, even though at the time Nikon said it was caused by ‘production reasons.’ Nikon also notes sales of its Z-series mirrorless cameras and Z-series lenses have increased, and that the volume/sales ratio of mid-range and high-end cameras ‘improved steadily’ YOY.

Additional comments under the ‘Operating Profit’ headline note Nikon incurred ¥2.7B in restructuring costs and posted ¥6.6B in fixed asset impairment losses, which were detailed in its statement earlier this month.

As for FY2021, Nikon doesn’t share too much information, saying performance forecast details will ‘be disclosed once reasonable estimation can be given as the impact of COVID-19 is uncertain.’ Numbers aside, Nikon notes sales for its imaging Products Business ‘decreased significantly YOY’ in April and May of this year and notes that ‘the business of luxury goods is expected to continue in a severe business environment for the time being, and the deficit for the second consecutive fiscal year is inevitable.’

The executive summary section of the report details how Nikon plans to approach its various divisions in the upcoming year.

Under the executive headline, Nikon says its strategy for the Imaging Products Business is to ‘rebuild business with an understanding of accelerating market shrinkige [and] aim to achieve early profitability.’ In other words, Nikon plans to optimize its Imaging Products Division to get ahead of the quickly-shrinking camera market by restricting and minimizing costs.

You can find all of the latest financial results and presentation materials referenced above on Nikon’s investor relations website.

Articles: Digital Photography Review (dpreview.com)

May 29, 2020
12 Things Not To Do When Buying Your First Film Camera

12 Things Not To Do When Buying Your First Film Camera

You’ve got your flannel and your beanie and you’re ready to buy your first film camera. So… now what? I can’t tell you exactly what to do, because then you’d risk turning into me, which means drowning in an ever-deepening lake of 35mm SLRs, but I can tell you a few things to avoid. Here are a dozen things you should try not to do when buying your first film camera.

Images by Dan Bracaglia except where noted

1. Don’t worry about buying ‘the best’ camera

Here’s a tidbit that’s a bit of a mind-bender for some digital photographers: When it comes to film photography, the camera body itself has very little bearing on image quality. In the digital world, an entry-level Nikon D40 simply cannot achieve the same image quality as a high-end Nikon D5, but with film, a low-end Nikon N55 really can make just as good a picture as a pro-level Nikon F6. It’s the lens and film choice that really impact the technical quality of your pictures.

Find a good working camera that you like, because with film, good is good enough

All a film camera does is hold the film in place and facilitate its exposure. More advanced cameras give you more options for doing this, but they don’t necessarily do the job any better, to the point that few people can tell the difference between a photograph made with a $ 5,000 Leica and one made with a $ 50 Minolta. As long as the camera has a decent lens—and most lenses made by camera manufacturers are pretty decent—the capability for an image of good technical quality is there. (Good composition is up to you.) So don’t get caught up in trying to find the best camera—just find a good working camera that you like, because with film, good is good enough.

Photo: Nikon

2. Don’t assume a more expensive camera is a better camera

Used film camera prices are subject to all sorts of forces, including nostalgia. As a result, popular ‘student’ cameras like the Pentax K1000 and Canon AE-1 often command prices out of line with their feature set. In fact, in the topsy-turvy world of used film cameras, some of the most advanced cameras are among the cheapest. The N8008, Nikon’s top-of-the-line ‘prosumer’ camera in the late 80s, was priced three times higher than the entry-level Pentax K1000 when both were new. Today it’s the K1000 that costs three (or more) times as much.

Used film camera prices are subject to all sorts of forces, including nostalgia

Brand reputation also plays a big (and sometimes outsized) role. The Nikon FE, a magnificent manual-focus SLR with an aperture-priority automatic mode, sells in the $ 75 to $ 150 range, a good deal for a Nikon of that era. But the Ricoh KR-10 offers most of the same features, and you can easily find one for $ 35 or less. I own both cameras, and while the Ricoh is less refined, it makes equally good photos. (How do you find out what a camera can do? Camera-wiki.org is a great resource for looking up specs and features.)

Photo: John Nuttall

3. Don’t be afraid of electronic cameras

There are a lot of mechanical camera snobs out there; I’m one of them. But some of the arguments for going all-mechanical aren’t relevant to all film shooters (Sure, they work if the batteries fail, but their light meters won’t). Mechanical cameras like the Nikon FM, Olympus OM-1 and Pentax MX are robust but expensive. Cameras with electronically timed shutters (which need a battery for the shutter to work) usually sell for less, and many all-electronic autofocus cameras are even cheaper.

It’s sometimes more cost effective to replace a broken electronic camera than to fix a mechanical camera

Electronic cameras do have some key advantages over mechanical cameras, particularly for first-timers. They have fewer moving parts and are less prone to going out of adjustment than mechanical cameras. That means that if they work, they probably work correctly, with accurate metering and shutter timing (which is why camera manufacturers switched over to electronics in the first place). Repairs can be dicey because they often rely on ‘donor’ cameras for electronic parts, which are subject to the same age-related issues. But because they are so cheap, it’s sometimes more cost effective to replace a broken electronic camera than to fix a mechanical camera.

Photo: John Nuttall

4. Don’t buy a camera without researching lenses

The obsession with lens optics is the film equivalent of pixel-peeping. In truth, few people can look at a photo and tell if it was shot with a Nikkor, a Rokkor or a Takumar. The differences in quality between the camera manufacturers’ lenses* is narrow, but the price differences can be massive. (It’s a different story with third-party lenses, which vary in quality.) Remember, an inexpensive camera isn’t inexpensive if it locks you into pricey lenses.

An inexpensive camera isn’t inexpensive if it locks you into pricey lenses

The general wisdom is that manual-focus cameras are best paired with prime (fixed focal length) lenses, as the optical quality of zooms from that era wasn’t great. Also, primes tend to have larger maximum apertures for low light. Zoom technology improved in the mid-to-late 80s, so they’re a safer bet for autofocus cameras. You’ll need to do some research on lens compatibility (which can get confusing—for example, Nikon has used the same lens mount for decades, but not all lenses are fully functional with all cameras). Don’t know where to start? For 35mm SLRs, a 50mm lens with a max aperture between F2 and F1.4 is a good first lens, and for autofocus cameras, a zoom in the neighborhood of 28-85mm works nicely. Or you can just buy a rangefinder, compact or bridge camera with a non-detachable lens.

* Some camera manufacturers used different brand names for their lenses. Nikkor = Nikon, Rokkor = Minolta, Takumar = Pentax, Zuiko = Olympus, and Rikenon = Ricoh.

5. Don’t get a camera that’s too automatic… or too manual

Film cameras have different levels of automation. Some only have manual exposure control, requiring the photographer to set both aperture and shutter speed. Some require you to pick one (usually aperture) and will set the other for you. Still others have ‘program’ modes that do everything. Focusing and winding can be manual or automatic as well.

A manual-focus camera with both manual and automatic exposure modes is a great way to start

I recommend avoiding automatic-exposure-only cameras as a first-time buy. While they take great pictures, it’s nice to have the option to set your exposure manually and really take control of the process. On the other hand, an all-manual camera can be frustrating if you’re used to digital-era automation. A manual focus camera with both manual and automatic exposure modes is a great way to start. You can shoot in automatic as you get the hang of focusing and winding (which takes more getting used to than you might think), then switch to manual when you’re ready. Some good examples of these cameras include the Nikon FE2, Minolta X-700 and Canon AE-1. If you buy an autofocus SLR, look for one that has a manual mode.

6. Don’t buy a camera that hasn’t been tested

If you’re buying on an auction site, check the description and see if the camera has been tested. If it doesn’t say, ask. Working, for a film camera, means that the light meter turns on, the shutter fires at all speeds, the film and battery doors latch shut, the film advance moves freely, and autofocus, auto-wind, and self-timer functions, if present, are operational. Not every seller knows this, but you do, and if the seller says the camera works and it doesn’t, you have grounds for a refund. ‘Not tested’ or ‘parts’ cameras are a crapshoot. If you’re squeamish, shop at a local camera store or an established dealer like KEH. You’ll pay a bit more, but you’ll know what you’re getting.

Shop at a local camera store or an established dealer like KEH. You’ll pay a bit more, but you’ll know what you’re getting

Should you buy a non-working camera? Probably not for your first one, but don’t rule it out. Most issues with mechanical cameras, and some better-made electronic cameras, can be fixed as part of a CLA (cleaning, lubrication and adjustment) service, which generally costs $ 100 and up, and this may be worthwhile for a more valuable camera or a model you really want. Once CLA’d, a camera should work for years without needing further attention. Find a good film camera repair shop and get their opinion on whether a given camera is worth fixing.

Photo: Gerry Lauzon

7. Don’t buy a camera that doesn’t focus

If you’re looking at compact point-and-shoot cameras, you should be aware of the difference between autofocus and focus-free. Autofocus is exactly what you think it is. Focus-free cameras have a small lens aperture and rely on depth-of-field to get your shot in focus. These cameras often don’t have much in the way of exposure control, either; they rely on the built-in flexibility of the color print film process to get good pictures out of close-enough exposures.

If the camera is a cheap plastic affair with a name you’ve never heard of, there’s a good chance it’s focus-free

Believe it or not, there were focus-free cameras made by big-name brands like Olympus, Minolta and Kodak as well as cheap-camera purveyors like Vivitar, Argus and Keystone. Most of these will say ‘Focus Free’ on the body. If the camera is a cheap plastic affair with a name you’ve never heard of, there’s a good chance it’s focus-free.

Photo: E Magnuson

8. Don’t buy a used ‘pro’ 35mm camera

When you see a legendary top-of-the-line camera like a Nikon F4 or Canon EOS-1n come up on eBay for a fraction of its original price, it can be tempting to slam that ‘BUY NOW’ button. These cameras were the best of the best in their day, listing for upwards of $ 2,000, and the idea of buying one for a couple hundred bucks is pretty darn tasty. Resist! Resist!

Better to stick to high-end ‘advanced amateur’ cameras, which have similar features to the pro cams but usually led easier lives

Here’s the problem: A lot of these cameras were purchased by working professional photographers, which means they were used often and hard. Like DSLRs, film cameras with electronic shutters have finite shutter lives, and even mechanical shutters can wear out. An avid shutterbug averaging two 35mm rolls a week will take around 3,800 pictures per year, but a busy wedding or news photographer can take that many snaps in a month. If the shutter goes south, replacing it can cost more than the camera is worth. Better to stick to high-end ‘advanced amateur’ cameras, which have similar features to the pro cams but usually led easier lives.

Photo: ShikikanZero

9. Don’t buy a medium-format camera (yet)

Medium format cameras produce big, beautiful negatives that can be enlarged to ridiculous sizes. But the bigger the image, the more money you’ll spend, both for cameras* and film. If you’re just starting out in film, 35mm offers you a lot more camera and lens choices at a lower price point. If you find you’re in love with film, you can always move up to medium format later.

If you find you’re in love with film, you can always move up to medium format later

* Okay, not always. Plastic cameras like the Holga and the Diana (sometimes called ‘toy’ cameras) are inexpensive, but they have imperfect plastic lenses and the occasional light leak, which injects a random element into one’s photography. Some people like that look (I think it’s pretty darn cool), but they aren’t a real alternative to a professional-quality cameras from Mamiya, Rolleiflex, Hasselblad or Pentax. Another exception: Older twin-lens reflex (TLR) cameras, which were popular with snap-shooters before the rise of smaller film formats. They offer limited creative control but can make beautiful photos.

Photo: Classic-Photographic

10. Don’t start out with good film

Buying a used camera always carries an element of risk, and I can imagine few things that will turn off a first-time film photographer more than spending a lot of money on film and processing and getting back a roll of unusable negatives. Save that Ektar, Portra or Cinestill film for later. The first film you shoot in any new-to-you camera should be a 24-exposure roll of the cheapest freshest (not expired) print (not slide) film you can buy.

The first film you shoot in any new-to-you camera should be a 24-exposure roll of the cheapest freshest film you can buy

Fire off a quick few exposures close to home. Try to include a variety of subjects of different textures and brightness, and shoot at different distances. If possible, use a variety of apertures and shutter speeds. Get the film processed and check the negatives carefully. If you don’t have experience evaluating negatives, your lab can help you find signs of light leaks or improper exposure, as can your friends on the DPReview film forum. Once you’re sure your new camera works, you can confidently load up the good stuff.

11. Don’t buy just one camera

Back in The Day, it was common to carry two cameras in your gear bag. Unlike digital, a film camera can’t change ISO on the fly or switch seamlessly between color and black-and-white, at least not without unloading and reloading. A second camera gives you options: You can shoot the same scene in color and B&W, or you can run faster film if the clouds roll in or the action moves indoors. And it’s nice to have a backup in case your primary camera craps out.

A $ 35 Pentax MG makes a great backup for a $ 350 Pentax LX

If you use an interchangeable-lens camera, owning two compatible camera bodies means less gear to carry. They needn’t even be the same model: A $ 35 Pentax MG makes a great backup for a $ 350 Pentax LX (or a Nikon EM + FM2). I wouldn’t necessarily buy two cameras right off the bat, but if you find a camera and a set of lenses you like, a second compatible camera body is a smart investment.

12. Don’t spend too much money just yet

I think film photography is wonderful, but it’s not for everyone. You might get some film experience under your belt and decide you prefer digital, and that can be a real tragedy if you’ve spent $ 500 on gear. There are plenty of good cameras available for $ 100 or less (often a lot less), so start with something more modest.

Cameras hold their value well, so if you decide you’re just not a film shooter, you can sell your gear at a minimal loss

Cameras hold their value well, so if you decide you’re just not a film shooter, you can sell your gear at a minimal loss—or give it to someone else who wants to try film. If you do fall in love, as so many of us have, you can always buy something more expensive, though I can all but guarantee that your first film camera will always have a special place in your heart.

Ready to start the hunt for your first film camera? Here are some of our all-time favorite analog gems, most of which are affordable and easy to find in good working order (though not all follow the advice of this article!):

Analog gems: 20 film cameras worth buying right now

Articles: Digital Photography Review (dpreview.com)

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Sony ZV-1 sample gallery (DPReview TV)

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Check out our first sample gallery from the Sony ZV-1, shot by our team at DPReview TV. Their full review of the ZV-1 is coming to a YouTube channel near you soon!

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