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  • Poll: What Post-Processing Software Do You Use to Edit Your Photos?

    The post Poll: What Post-Processing Software Do You Use to Edit Your Photos? appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

    Poll: What Post-Processing Software Do You Use to Edit Your Photos?

    Here at dPS, we’d like to know what post-processing software you use to edit your photos so that we can deliver some post-production tutorials that better suit you.

    Let us know below. You can vote for more than one if you use multiple editing platforms. If the software isn’t listed, please let us know what you use in the comments section!

    Note: There is a poll embedded within this post, please visit the site to participate in this post’s poll.

    The post Poll: What Post-Processing Software Do You Use to Edit Your Photos? appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


    Digital Photography School

  • New York court rules website didn’t violate image copyright by embedding Instagram post

    A Manhattan federal court has dismissed professional photojournalist Stephanie Sinclair’s copyright claim against digital media website Mashable, ruling that it did not violate her copyright by embedding one of her Instagram posts on its website. The legal issue arose in 2016 when Mashable published an article on female photographers whose work includes the topic of social justice, putting Sinclair at #9 on its list.

    According to court documents, Mashable contacted Sinclair in March 2016 and offered to pay $ 50 to license one of her images for use in its article on female photographers. Sinclair declined the offer, so Mashable instead embedded an Instagram post of the image that Sinclair had published on her public Instagram account.

    Fast-forward to January 2018 when, according to the court documents, Sinclair contacted Mashable and demanded that they remove the embedded post from the article on the grounds of copyright infringement. Mashable refused to remove the Instagram post and 10 days later, Sinclair filed a copyright lawsuit against the publication and its parent company Ziff Davis, LLC.

    The lawsuit raised questions over Instagram’s Terms of Service, its right to grant sublicenses for images uploaded to its platform, and whether sharing and embedding public social media posts without permission or a direct image license constitutes copyright infringement.

    Instagram states in its Terms of Use that while it does not claim ownership of a user’s images, they grant the company a license to use it when they upload the content to the platform. Instagram says that when a user uploads images to its website…

    ‘…you hereby grant to us a non-exclusive, royalty-free, transferable, sub-licensable, worldwide license to host, use, distribute, modify, run, copy, publicly perform or display, translate, and create derivative works of your content (consistent with your privacy and application settings). You can end this license anytime by deleting your content or account.’

    Mashable argued that based on that Terms of Use, it had a valid sublicense from Instagram that allowed it to embed the image post on its website. The defendant argued, among other things, that:

    ‘…because Plaintiff uploaded the Photograph to Instagram and designated it as “public,” she agreed to allow Mashable, as Instagram’s sublicensee, to embed the Photograph in its website.’

    Sinclair’s legal claim countered this, according to court documents, which cite multiple arguments, including a claim that because Mashable didn’t get a direct image license from the photographer, it shouldn’t have been able to get a sublicense for the content from Instagram. The court disagreed with that argument, however, with U.S. District Court Judge Kimba Wood noting:

    ‘Plaintiff’s right to grant a license directly to Mashable, and Instagram’s right, as Plaintiff’s licensee, to grant a sublicense to Mashable, operate independently. Mashable was within its rights to seek a sublicense from Instagram when Mashable failed to obtain a license directly from Plaintiff—just as Mashable would be within its rights to again seek a license from Plaintiff, perhaps at a higher price, if Plaintiff switched her Instagram account to “private” mode.’

    As well, Sinclair had argued that it is ‘unfair’ that a platform like Instagram is able to force professional photographers to choose between keeping their accounts private or allowing the company to sublicense their publicly shared content because it is ‘one of the most popular public photo-sharing platforms in the world.’

    Judge Wood acknowledges the nature of this issue, but ultimately states that:

    ‘Unquestionably, Instagram’s dominance of photograph- and video-sharing social media, coupled with the expansive transfer of rights that Instagram demands from its users, means that Plaintiff’s dilemma is a real one. But by posting the Photograph to her public Instagram account, Plaintiff made her choice. This Court cannot release her from the agreement she made.’

    The copyright claim was ultimately dismissed, a conclusion that contrasts the ruling from a New York court in early 2018 on the case of an embedded tweet that featured an image of athlete Tom Brady.

    In that case, the court found that embedding such tweets may constitute copyright infringement and the fact they were uploaded to a third-party server like Twitter didn’t change that. The basis of the latest ruling is different, however, focusing on the terms of use the photographer agreed to rather than the ‘server test’ used in the 2018 copyrighted tweet case.

    Both of these legal claims follow a different legal case from 2007 in which the precedent was set for how the Internet of today operates: that a person or company who embeds content hosted by a third-party source like Facebook or Twitter are not in violation of copyright, but rather that the hosting company itself is liable.

    DPReview contacted Mickey Osterreicher, NPPA’s general counsel, for comment. He had the following to say about this New York ruling:

    ‘I have not had an opportunity to review the court’s opinion and order in this case so I do not feel it appropriate for me to comment. I will repeat something that NPPA has stressed for many years – photographers read and understand the terms of service or the terms of use on each and every social media platform before agreeing to them or posting on those sites. They also must continue to vigilantly monitor those terms as they are frequently changed and updated.’

    Articles: Digital Photography Review (dpreview.com)

  • Practice your portrait lighting in lockdown with this virtual studio program

    With many people being off work at the moment it might seem the perfect time to practice our photography – except that in so much of the world we’re not allowed to go out of the house let alone meet up for a portrait shoot. Software company Elixxier claims to have a neat solution in its recently updated set.a.light 3D application that allows us to keep experimenting, perfecting and testing studio set-ups even when we have to stay at home.

    Users of the application can create a virtual studio filled with lights, modifiers, backgrounds as well as a host of models to choose from. Photographers can pose their models and add lights to the scene while previewing exactly how each move and position will change the way the picture looks.

    The program allows us a 3D view of the set-up we are creating so we can view the relationship between models and lights from the side or even above, and users have a choice of manufacturer-specific studio lights, speedlights and continuous light sources. A range of softboxes, snoots, barndoors and grids are available to alter the way the light looks, and colored gels can be added for atmosphere.

    Users are able to shift the position of the lights and alter their intensity while seeing the effect immediately in the camera preview window. There is also a choice of lenses, apertures, shutter speeds and, of course, camera positions that all have an impact on the way the picture looks. You can even select the size of the sensor to match that of your camera so the settings, lens effects and looks can be mirrored in your real-life set-ups with a live sitter.

    Not only can you experiment with your lighting set-ups using set.a.light but the complex range of options allows users to have precise control over the model’s poses. Legs bend and props can be placed under feet to get more shape into a pose, and even individual fingers can be carefully arranged. Models can be dressed, or undressed, the way you want them and glasses can be added for an extra challenge – in a range of colors and styles.

    Once you are happy with the way the model looks you can actually ‘take’ the picture and the result is rendered out as a normal picture file. You can also save the lighting diagram and 3D plan so you can refer to it at a later date when preparing to shoot a person for real. The program is great to allow us to practice during this lock-down, but in normal times it lets us test and experiment at leisure without the cost of studio and model hire, and it should make us more prepared when we arrive at a real shoot.

    The latest version of the program adds a community discussion area where users can share their setups with others and chat about how images could be improved.

    The Basic version of the application costs €79 (approx. $ 90) at the moment, while the Studio version is €154 (approx. $ 170), and company offers a free trial of the full version for 15 days. For more information see the Elixxier website.

    Articles: Digital Photography Review (dpreview.com)

  • Apple announces new $399 iPhone SE model with 4.7-inch display, A13 chip and Portrait mode

    Apple has announced a new version of the iPhone SE, its most affordable iPhone model. The new iPhone SE shares many of the features of the now-discontinued iPhone 8 model, including its glass-backed design and single camera.

    Looking first at how the new second-generation iPhone SE compares to the original iPhone SE model, the new model is larger and now includes a 4.7″ HDR-capable Retina HD display rather than the 4″ Retina display of the original. Apple has upgraded its processors numerous times since the original iPhone SE launched with an A9 processor, and the new SE model comes with Apple’s A13 Bionic chip. Apple states that this chip results in 2.4 times faster CPU performance and 4 times faster GPU performance when compared to the A9.

    Physically, the iPhone SE is very similar to the iPhone 8’s design. It utilizes a glass and aluminum design and is water-resistant to a depth of a meter for up to 30 minutes. The iPhone SE is 138.4mm (5.45″) tall, 67.3mm (2.65″) wide and has a depth of 7.3mm (0.29″). The phone weighs 148 grams (5.2 ounces).

    The True Tone 4.7″ display is LCD and features IPS technology. The resolution is 1334 x 750 pixels at 326 ppi. During typical use, the contrast ratio is 1400:1. The phone can display wide color (P3) and has a maximum brightness of 625 nits.

    Despite featuring a single camera, the iPhone SE (2nd generation) includes Apple’s Portrait mode (Night Mode is notably absent). The rear camera is a single 12MP wide camera, the same as the iPhone SE (1st generation), but the new phone has a faster F1.8 aperture compared to F2.2. The F1.8 lens includes six elements and features a sapphire crystal cover. Further, the new model now includes optical image stabilization, True Tone flash with slow sync and next-generation Smart HDR when capturing photos.

    The iPhone SE (2nd generation) includes six Portrait Lighting effects. In these sample images, we see the Natural, Contour and Stage Mono effects. Image credits: Apple

    The Portrait mode in the new iPhone SE includes advanced bokeh and depth control plus six Portrait Lighting effects: natural, studio, contour, stage, stage mono and high-key mono.

    Additional camera features include panorama capture (up to 63MP), wide color capture, Live Photos, red-eye correction, auto stabilization, burst mode, photo geotagging and HEIF format image capture.

    For video recording, Apple’s latest iPhone SE model can record 4K video at 24 fps, 30 fps or 60 fps, plus Full HD video 30 fps or 60 fps. The phone can also record with an extended dynamic range for video at up to 30 fps and includes optical image stabilization during recording. Full HD video can be recorded at 120 fps or 240 fps. Users can also record QuickTake video and the phone includes stereo recording. If you want to capture time lapse videos, the iPhone SE can do this as well, including with stabilization. Recording is captured in HEVC and H.264 formats.

    The new iPhone SE includes a depth slider when using the Portrait mode. Here we see F1.8 (left) versus F16 (right). Image credit: Apple

    The front camera is vastly improved in the 2nd generation iPhone SE. The megapixel count is up to 7MP from 1.2MP and the aperture is slightly faster at F2.2 compared to F2.4. The front camera includes Retina Flash, Auto HDR and can capture Portrait mode images with the same six effects as the rear camera. Further, you can record 1080p video at up to 30 fps using the front-facing camera.

    In terms of connectivity, the iPhone SE (2nd generation) is much faster than the older iPhone SE. The phone includes Gigabit-class LTE, 802.11ax Wi-Fi 6 with MIMO and Bluetooth 5.0. The new Touch ID should also be faster with the new model. In line with other recent iPhone models, the revised SE forgoes a headphone jack and includes only a Lightning connector.

    Users should expect similar battery life as the iPhone 8. This means that the built-in rechargeable lithium-ion battery will offer up to 13 hours of video playback and up to 40 hours of audio playback. The iPhone SE is now capable of wireless charging and includes fast charge with an 18W adapter (sold separately).

    Image credit: Apple

    Despite sharing many similarities with the iPhone 8, the iPhone SE (2nd generation) does have several differences. In terms of processing power, the iPhone 8 utilized an A11 chip rather than the A13 in the new SE. Further, the iPhone 8 did not include Apple’s Portrait mode or Apple’s latest next-generation Smart HDR image capture. Video features are similar between the two phones, but the iPhone 8 did not include extended dynamic range video capture, QuickTake video nor Stereo recording.

    The iPhone SE is available in black, white and (PRODUCT)RED colorways. Available storage capacities are 64, 128 and 256GB. Pricing starts at $ 399 USD for the 64GB model and increases to $ 549 for the 256GB model. Pre-order begins at 5:00 a.m. PDT on April 17 with availability beginning on April 24. For more information, visit Apple’s iPhone SE product page.

    Articles: Digital Photography Review (dpreview.com)

  • Photo Hacks to Make Your Canvas Print a Showstopper

    The post Photo Hacks to Make Your Canvas Print a Showstopper appeared first on Digital Photography School. It was authored by Gvido Grube.

    Canvas Printing Tips featured image

    Taking perfectly decent photos isn’t rocket science. And once you’ve taken them, it’s also not hard to turn them into perfectly decent photo canvas prints. But what if you’re striving for something more, something exceptional? What if you want your canvas print to be a real showstopper?

    Well, there are a few hacks you can use that should get you instant results. And the photo printing experts at CanvasDiscount.com are here to talk you through these canvas printing tips.

    Read on.

    Stick with the basics of composition

    canvas printing tips - printed canvas sitting on a desk.
    Photo by Roger Erdvig – Unsplash

    It sounds counterintuitive to play it safe when you want your photo to stir things up. But some rules really are best left unbroken. Using the Rule of Thirds, Fibonacci Spiral or Phi Grid might sound basic if you’re a battle-hardened professional. And yet these lie behind pretty much every successful photo ever taken.

    And there’s another factor in play here.

    It’s worth noting that after you print a photo on canvas, the canvas is stretched over a wooden frame and attached at the back. This means that some of the image detail – the very margins of the original photo – appear on the sides of the frame.

    For those “playing it safe,” this shouldn’t have much impact, as the position of the subject, the focal points, and lines of perspective will all stay roughly the same.

    But for those who take risks with the classic conventions of photography, the opposite can be true.

    If your subject, or the center of the “action,” are too close to the edge of your image, there’s a risk that these will be obscured on the finished product.

    Aim for scale and movement

    Drone photography often makes for superb photo canvas prints. And close-up photos of fabric and plant textures can also look fantastic when printed on canvas. In fact, though it might seem paradoxical, there are certain similarities between these two kinds of shots.

    Canvas printing tips – 3 photos with beach scenes framed on a wall
    Photos by Adam Gonzales, Ryan Wilson and Bharath g s – Unsplash

    Both allow you to take certain liberties with the rules of composition, as the focus here is on a sense of scale.

    Repetitive patterns and an emphasis on texture also help to make aerial photos and close-up shots visually effective.

    But there are many other ways to give your prints more impact.

    Use the leading lines cleverly

    Photo Hacks to Make Your Canvas Print a Showstopper
    Photo by Mak – Unsplash

    The most common way to create dynamism in photos is to use the leading lines. These are lines that draw the viewer’s attention to the subject of the photo. Usually produced by lighting conditions (light/shadow relationships) or geometrical patterns in the photo, leading lines can also be formed by the contours of buildings, handrails of a staircase, or any physical object close to the main subject.

    When you’re framing your shot, just make sure these lines lead to your subject.

    Go to the extremes

    Many readers will be familiar with the terms “negative space” and “positive space.” The former denotes the areas surrounding the main subject of your photo, while the latter denotes the main subject/object. Of course, “negative space” shouldn’t be taken as implying any sense of inferiority!

    Canvas printing tips – 5 black and white minimalist images printed on canvas and hanging on a wall
    Photos by Adam Birket, Michel Paz, Trevor Mckinnon – Unsplash; Serhii and Besjunior – Adobe Stock

    Negative space serves to highlight positive space. In fact, you could say that one relies on the other to make an impact. But it’s possible to compose an image so that negative space becomes the main subject of the photo. This can work to amazing artistic effect, challenging traditional ideas about composition.

    Meanwhile, keeping your focus on positive space but taking it to audacious extremes is another example of how you can break the rules and still get great results.

    So what do we mean when we talk about extreme positive space?

    Canvas printing tips – photos of busy urban architecture framed and hanging on a all.
    Photos by Red Ana & Pavel – Unsplash

    A photo with extreme positive space usually features little or no negative space. The whole photo, from top to bottom, is buzzing with noise, movement, lines, and patterns, produced by multiple competing subjects. Done right, this can lead to an appealing sense of artistic chaos.

    Photos of crowds, building blocks, lush woodlands, or mountain ranges lined up one behind the other – these are examples of subjects that can use extreme positive space to great effect.

    And any successful photo using positive space in this way is sure to make for a successful canvas print too.

    Photo Hacks to Make Your Canvas Print a Showstopper
    Photos by Rodion Kutsaev and Janita Sumeiko – Unsplash

    You can try going extreme in negative space too. In fact, extreme negative space often gives photos a sophisticated fine-art appeal. So push minimalism as far as you dare, and there’s every chance your photo will make for a wonderfully striking print on canvas.

    Blur up the background

    Is background clutter distracting from the subjects in the foreground of your photo? Shallow depth of field is a common way to emphasize the subjects in focus, effectively reducing the “noise” in the background. This simple trick works exceptionally well with still-life photos, as it accentuates nuanced details. It also produces the much-valued bokeh effect, as well as some specular reflections and blurred light sources.

    Photo Hacks to Make Your Canvas Print a Showstopper
    Photo by Yeshi Kangrang – Unsplash

    One might argue the effect is somewhat overused these days, but there’s no denying it can look amazing. Frankly, we’d recommend jumping on the bandwagon at this point.

    You can get the effect by using your camera’s macro settings or shooting in aperture priority mode. Choose the former, and you just need to switch to macro mode, turn off flash and zoom in before you shoot.

    For the latter, you’ll need to switch to aperture priority mode and aim for the lowest f-value available – then just zoom in again and take the photo.

    The two methods should give you near-identical results.

    Use layers

    Note that this has nothing to do with manipulations in Adobe Photoshop. Layering is a technique that’s commonly used to give your photo a depth effect. In practice, it means producing a photo composed of multiple layered elements at a range of distances from the lens. Using varying tones and textures will enhance the effect, making the photo appear more immersive.

    Photo Hacks to Make Your Canvas Print a Showstopper
    Photos by Jordan Steranka and Nathan Anderson – Unsplash

    Creative use of these layers can produce a striking three-dimensional effect – which should work just as well once you print the image on canvas.

    To get the best results, try to keep a clear distinction between the foreground, middle ground, and background of your image.

    The many aspects of motion

    Movement is one of the cornerstones of photography. Whether you capture a single instant of action using lightning-fast shutter speed or create motion blur with an epic long-exposure shot, movement creates visual tension. It makes your subject stand out from the background action.

    This hack is not so much about creating a sense of motion as about where to position your moving subject in your photo. Get that part right, and your image can produce a spectacular impact.

    Photo Hacks to Make Your Canvas Print a Showstopper
    Photos by Rémi Jacquaint – Unsplash, Fannyes, and 75tiks – Adobe Stock

    The trick involves leaving a space between the object in motion and the opposite side of the photo. The subject should occupy roughly one-third to two-thirds of the photo, with the remainder taken up by negative space.

    This will suggest a direction in which the subject is heading and make your photo more dynamic.

    Many great sporting photographs owe a lot of their power to this technique.

    Trust your instinct

    While the hacks listed above will help you shoot professional, well-balanced photos, the key to getting exceptional results is to go with your gut feeling. If you remember that not everyone agrees with even the most conventional ideas of beauty, you’ll feel free to do things your way.

    Photo Hacks to Make Your Canvas Print a Showstopper
    Photo by Roger Erdvig – Unsplash

    There’s no universal formula for taking an excellent photo. No image, however highly acclaimed, is going to appeal to everyone. So when in doubt, trust your instinct, and there’s every chance it will lead you to your perfect photo.

    Do you already have a photo with showstopper potential? Think it would look amazing hung on your wall? We can help! In collaboration with CanvasDiscount.com, we’ve prepared a special purchase offer exclusively for the readers of Digital Photography School. Head to CanvasDiscount.com and use the code DIGITALCANVAS15 to get 15% OFF all canvas prints! This is one you don’t want to miss!

    CanvasDiscount is a paid dPS partner.

    The post Photo Hacks to Make Your Canvas Print a Showstopper appeared first on Digital Photography School. It was authored by Gvido Grube.


    Digital Photography School

  • Nikon D750: Answers to Your Real Questions

    Whether you’ve just purchased the Nikon D750 or you’re still in the research phase, you likely already know this is a DSLR with an amazing price point. It’s still one of the top rated cameras, even after more than 5 years on the market. Lightweight and extremely reliable, with excellent dynamic range, the Nikon D750 is a full frame DSLR Continue Reading

    The post Nikon D750: Answers to Your Real Questions appeared first on Photodoto.


    Photodoto

  • DPReview TV: The gear that changed Jordan’s life

    DPReview TV host Jordan Drake tells us about the one piece of photography gear that changed his life. Find out why it may be the reason he’s on the DPReview team today.

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

    • Introduction
    • The video camera that changed Jordan's life (Sony TRV-330)
    • The stills camera that changed Jordan's life (Panasonic GF1)
    • Why the GF1 changed Jordan's life
    • The wrap

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm X-T200 review

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    Product photography by Dan Bracaglia & Jeff Keller

    Silver Award

    82%
    Overall score
    Jump to conclusion

    The Fujifilm X-T200 is an inexpensive mirrorless camera that uses the company’s X-mount. It replaces the X-T100, a camera that seemed promising when it was announced, but whose sluggish performance was a letdown. Thankfully, Fujifilm has put a lot of work into making the X-T200 both more responsive and full-featured.

    Key specifications:

    • 24MP APS-C sensor with Bayer color filter and faster readout speeds
    • Updated hybrid autofocus system with 425 phase-detect points
    • Refined ergonomics, lighter body
    • 3.5″, 16:9 fully articulating LCD with 2.76 million dots
    • Easy-to-use touch menus
    • 2.36M-dot OLED viewfinder with 0.62x magnification
    • 8 fps burst shooting
    • New ‘Clarity’ effect
    • Oversampled 4K video with no crop
    • Audio level controls
    • Microphone and headphone inputs (latter via USB-C adapter)
    • New Digital Gimbal and HDR video options

    The X-T200 is now available for $ 699 body only or $ 799 with the XC 15-45 F3.5-5.6 OIS power zoom lens. This lens has received some cosmetic changes: the black finish is more matte and the zoom/focus dials have been improved, but it’s optically the same as previous models.

    For those looking for an inexpensive prime lens, the new $ 199 XC 35mm F2 might be what your’e after.

    The camera itself comes in what Fujifilm calls dark silver, silver and champagne gold.

    What’s new and how it compares

    While the X-T200’s design has updated, what’s really changed is what’s inside the camera.

    Read more

    Body, controls and handling

    Changes to the design of the camera are both good and bad, but using the X-T200 is a similar experience to that of other Fujifilm cameras.

    Read more

    Is the X-T200 as easy to use as a smartphone?

    The large display and touch-based interface on the X-T200 makes it very smartphone-like. Does that make taking photos as easy as on your phone?

    Read more

    Image quality

    See how well the X-T200’s updated sensor performs against its peers.

    Read more

    Autofocus

    As of early 2020, the X-T200 has Fujifilm’s latest AF system. While we can’t currently fully test the system, we still have plenty of impressions to share.

    Read more

    Video

    Unlike its predecessor, the X-T200 has ‘proper’ 4K video, plus cool features like a ‘digital gimbal’ and HDR movies.

    Read more

    Conclusion

    The X-T200 faces tough competition from Canon and Sony, as well as its big brother, the X-T30. Is it the best choice?

    Read more

    Sample galleries

    Evaluate the X-T200’s image quality with your own eyes in our extensive sample galleries.

    Read more

    Articles: Digital Photography Review (dpreview.com)

  • Mendel Mendlowits, founder of Adorama has passed away

    Photo by Joe McNally, used with permission.

    Mendel Mendlowits, the charismatic founder of camera retail giant Adorama, passed away on the morning of April 8, 2020 at the age of 76. The company he founded in the 1970s announced the news yesterday on its blog.

    ‘If you ever had the honor of speaking with Mendel Mendlowits for any more than five minutes, you weren’t likely to forget him. His piercing, curious eyes stayed riveted on you throughout the conversation. His insatiable curiosity could turn a quick “hello” into an hour-long discussion. It was this curiosity, and his unstoppable drive to do what others thought could not be done, that made Mendel Mendlowits such an influential figure in the photography industry for more than 40 years,’ reads the tribute.

    Mendlowits was born in 1943 and is a Holocaust survivor, along with his sister, who hid him away in a bunker at the Bergen-Belsen concentration camp. Once the Allied forces liberated them in 1945, him and his sister, along with their father, moved to the United States and settled in Williamsburg, New York.

    At 17, he started working for his family’s business. His experience at Brooklyn-based Mazel, a wholesaler of film, batteries, and photo-finishing equipment would inspire him to open his very first Adorma storefront on the 34th Street in Manhattan. Adorama is derived from the Hebrew word ‘ador,’ a tree used to fortify the borders of ancient Israel. He also created a word starting with ‘A’ so it would be listed towards the top of aggregated business indexes.

    Mendlowits immersed himself in the photography community starting in the 70s. He sought to understand every aspect of the craft. Through his connections, he became adept at finding the best products and deals – often advertising them in the top publications of the day such as Shutterbug and Modern Photography. His ability to diversify aspects of his business, combined with his acumen, helped Adorama become a household name that competes directly with other major retailers including Amazon and B&H Photo to this day.

    ‘If you ever had the honor of speaking with Mendel Mendlowits for any more than five minutes, you weren’t likely to forget him. His piercing, curious eyes stayed riveted on you throughout the conversation.’

    In 2014, Mendlowits handed the business over to his son Eugene who will continue its legacy alongside CEO Michael Amkreutz. ‘The entire Mendlowits family, as well as the Adorama family, will continue to honor him and his memory. As we mourn this great loss, our gratitude for Mr. Mendlowits grows. We recognize, during this especially uncertain time, how a strong foundation can uphold an organization.

    We thank the entire community for the outpouring of love and condolences, and we will honor Mendel and his legacy by continuing to dedicate ourselves to Adorama and its very bright future,’ concludes the announcement.

    Articles: Digital Photography Review (dpreview.com)

  • Fujifilm interview: ‘We will get through this crisis together’

    Toshihisa Iida, General Manager of Fujifilm’s Optical Device and Electronic Imaging Products Division pictured at the Photokina trade show in Cologne, Germany in 2018.

    With CP+ canceled and international travel off the agenda for the time being, we’re doing things the old-fashioned way: by telephone. Recently we caught up with Fujifilm’s Toshi Iida, to talk about the X-T4, X100V and, of course, the ongoing impact of the coronavirus epidemic on Fujifilm and the camera industry as a whole.

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

    How are things going in Tokyo?

    We’re not in complete lockdown, we’re still able to work in the office together but this week activities in Tokyo have been restricted. At the moment we’re all safe.

    You’ve been dealing with the COVID-19 situation now for more than two months – what impact has it had on your operations?

    There are three or four aspects to the situation. Firstly on the manufacturing side. Our China factory is our main factory for camera manufacture. [In February] the Chinese government extended the new year holiday, so we couldn’t restart manufacturing until the 10th of February, of course at limited scale. We’re catching up, and […] at the moment we’re almost back to full-scale operations at the factory. Of course, we’re working with the strict health management processes set down by the [Chinese] government.

    So that’s the good news: we have the [manufacturing] volume for the X-T4, so we’re confident we can launch the camera officially at the end of April.

    The next thing is logistics and sales. As you know, the situation in the US and in Europe is getting more serious every day, and this is affecting our warehouses and logistical operations. And also sales operations, because many stores are shut down. So we’ve seen a sudden drop in demand, which was inevitable. On the service side, we can continue to offer after-sales service in both the US and in Europe, for the moment.

    Where will this crisis leave Fujifilm as a whole?

    Fujifilm is very diversified. Our medical and healthcare business is the biggest part of our company. The drug Avigan [currently being investigated for use in treating COVID-19] was developed by Fujifilm’s pharmaceutical division. This current moment is certainly difficult for the imaging part of our business, but I think we are in a good position to weather the present situation.

    It’s important when talking about business not to forget about people’s health

    Of course it’s important when talking about business not to forget about people’s health and safety. We may not be able to predict when this crisis will be over, or when things will return to normal. But eventually we will get through this together, and hopefully demand for our products will come back strong.

    For now, our R&D plan is unchanged. We’ll launch the X-T4 at the end of April and move on to the next project. We’ll keep on focusing on making better projects, and developing better technology.

    What kind of impact will the cancelation of the Olympic Games have on Japan this year?

    It will have a huge impact on the entire Japanese economy. Many people were invested in the games happening this year, so it is a big loss. On the imaging side, obviously the broadcasting and TV coverage is all canceled, and that has impacted our broadcasting business. Broadcasting lenses are one of our key products, and we’ve seen a lot of orders being postponed or canceled.

    Fujifilm’s main factory building near Sendai, in Japan. Fujifilm has been making digital cameras in this facility for a long time (we first visited it way back in 2002). After being badly damaged in the 2011 earthquake, it was reopened in 2018.

    Do you think this will prove more serious than the impact of the 2011 earthquake and tsunami?

    Yes, definitely. The earthquake and tsunami were [limited to] Japan. Of course the logistics of the supply chain were affected, but it didn’t last for a long time. At that time we’d just introduced the original X100, and within two weeks our manufacturing was back to normal. There was a flood in Thailand in 2011, too, which also affected the supply chain, but it only affected [customer] demand in Thailand itself.

    COVID-19 is affecting everything, worldwide.

    Why did you opt for a totally new model name with the X-T4, rather than making it a variant of the very similar X-T3?

    We did have that discussion, and one idea from our team was that we should call it the X-T3 ‘S’. But considering the changes we made in the X-T4, except for the sensor and the processor it’s completely different. New shutter, new IBIS unit, new battery. So we felt that overall it’s different enough from the X-T3 to be called ‘X-T4’.

    The IBIS unit for the GFX100, shown alongside a 100 Yen coin, for scale (for reference, a 100 Yen coin is about the same size as a US quarter, or a British 10p piece). Experience gained in the development of this IBIS unit helped Fujifilm’s engineers create the small, lightweight IBIS mechanism used in the new X-T4.

    How is the X-T4’s IBIS different to that of the X-H1?

    The IBIS unit is completely redesigned. New parts, fewer parts, and it’s more powerful. The components and the structure are completely different. In terms of size, it’s about 30% smaller, and 20% lighter than the mechanism in the X-H1.

    Experience with the X-H1 and the GFX100 helped our R&D team. Without the X-H1 we couldn’t have made the new IBIS unit in the X-T4, and it’s the same with the GFX100. Without that experience and knowledge we couldn’t have developed it.

    Now that the X-T4 exists, with its advanced 4K features and IBIS, how will the XH line develop?

    We’ll keep the X-H line, alongside the X-T series. I can’t share our precise plans, but we will continue to develop that line in future, and we will introduce innovations into that series.

    Will the X-H line continue to be video-centric, in the same way as the X-H1 when it was originally released?

    Possibly. I can’t give details, but the concept will be very different to the X-T series.

    The X-H1 was Fujifilm’s video-centric model when it was first released, but has since been leapfrogged by subsequent XT-series models. Mr. Iida tells us that the XH line will continue to be developed, which hints at even more powerful video features to come.

    Will the X-T3 be updated via firmware to bring its autofocus into line with the X-T4?

    It’s technically possible, because they have the same sensor and the same processor. But it depends on prioritization on the firmware development side. We have many other projects, but in the future we would like to do that for our X-T3 customers.

    Will the X-T3 continue to exist alongside the X-T4 in the lineup?

    Yes. The X-T3 has been on the market for more than a year, but it has a good sensor, and a good processor. It will continue to be available alongside the X-T4.

    The X-100V just started shipping, but do you have a sense of how it’s been received?

    The reception has been very good. Because it was launched in February, the initial shipment volume was very limited. In early February we were still under restrictions on the production side. So we had to decide to launch the silver version only, with the black version later. We are still back-ordered. All of the feedback has been very positive.

    The X100V features a new lens and several ergonomic changes compared to previous X100-series cameras.

    Was it important to you that the X100V offers such advanced 4K video features?

    Everybody knows that for the X100 series, the primary use-case is still photography. We know that not many people are shooting video on the X100 series. But with the X100V we really want even still photographers to enjoy the 4K movie experience. We’re proud of the improvements we’ve made to the quality, and we really want to encourage our customers to try it. And we also want to make the camera future-proof.

    Video is not as important in the X100V as the X-T4, but still, it’s nice to have.

    Speaking of video, the GFX100 has been on the market now for almost a year. How has it performed?

    In terms of sales numbers I can tell you that it’s about 50% more than we originally anticipated. So very positive. We’ve been back-ordered, but we’re finally catching up. So sales numbers have been very good, and all of the feedback, especially around the IBIS and autofocus, it’s all been positive.

    What kind of photographers have been buying it?

    As we predicted, it’s been fashion, commercial and landscape photographers, but now we’re getting interest from more industrial photographers, for example for aerial and archival purposes. It’s been interesting.

    The GFX100 is obviously a very capable video camera. How many of your customers are using it for filmmaking?

    We know some filmmakers are now evaluating the system. As for how many customers are shooting video on the GFX100, we don’t know. But I hope that people are using it for video.

    Fujifilm’s new ‘Premista’ line of cine lenses is designed for larger than full-frame imaging circle. These new lenses could become an option for GFX-series video shooters, via an adapter.

    Is there potential for a range of Fujinon cine lenses for GF?

    We just extended our line of Premista cine glass, which covers an imaging area slightly larger than full-frame. It’s a Vistavision image circle. It may be possible to convert these lenses to the GF mount with an adapter.

    The GF line is now three years old – can you tell us how the cameras will evolve into the future?

    We have the three styles – the 50R, the more rangefinder style, the 50S, the more SLR-style, and the 100, which is integrated. We really want to keep that kind of differentiation [in the lineup]. That’s the way we’d like to go.

    Do you think there’s any potential for a fixed-lens X100-style GF camera?

    At the moment we have no plans for a camera like that. We really want to focus on interchangeable lenses. A fixed lens design would mean that we would have to allocate a dedicated lens development team to that kind of camera. So at the moment our priority is to expand the GF lens lineup.

    What are your priorities when it comes to expanding the GF lens line?

    Our biggest priority is introducing the 80mm F1.7 lens to the lineup. We’re really focused on that kind of lens. But in the future, we’ll continue to listen to what our customers request.

    Fujifilm’s GFX range now includes three lines – ‘S’, ‘R’ (shown here) and ‘100’. Mr. Iida tells us that all three will continue to evolve.

    What kind of changes or improvements do your GFX 50S and 50R customers want in the next generation of their cameras?

    Everybody loves the image quality, the resolution and dynamic range, and compared to traditional medium format cameras they’re easier to use, and easier to carry around. That’s been a lot of the feedback. What they really want us to improve is autofocus speed.

    Will future developments address that requirement?

    It’s at the top of the list of things we want to address. We will continue to focus on how to improve the autofocus.

    Do you see a major difference in where certain types of products sell most, around the world?

    When it comes to mid-range and high-end cameras, the sales are pretty even. The US, Europe, and Japan – it’s almost an even spread. Our medium-format market is also pretty even, but there’s a very strong demand for GFX in China. One exception is entry-level models, like the X-A7 and XT-200. Asia is our major region for those cameras.

    Has the situation in China affected your sales of GF products?

    Yes, because in February all the shops closed. But about 80% of the stores have since reopened. Online sales have remained stable. I don’t know how, but the online channel has been pretty solid.

    What are you doing to encourage the growth of a third-party video accessory ecosystem around your imaging products?

    Our customers need compatibility with third-party accessories, like gimbals, drones, things like that. We’ve opened pretty much all of our specifications to third-party manufacturers.

    So do you actively speak to companies like DJI, Rode, and so on?

    Yes, we’re very proactive about talking to them.

    Do you plan on opening the X-mount up to third-party lens manufacturers?

    Yes. Kenko Tokina actually already announced three lenses for X-mount, with autofocus. Many customers want more lenses, and we want to satisfy that need.

    I know last year you were gathering feedback from users on how to refresh the first generation of XF lenses. Can you give us an update?

    We are fully aware of the need to refresh our older lenses. At the moment our roadmap does not contain any ‘Mark II’ products but we will be working on new versions of many of our ‘key’ lenses. In some cases we may need a new optical design, or maybe just a mechanical redesign.

    How will the XF lens range develop? Will we see more lenses like the XC 35mm F2?

    First we need to see how customers react to the XC 35mm F2. If it’s positive, maybe we can consider more lenses of this type. It’s too early to tell at the moment.

    Editors’ note: Barnaby Britton

    When I spoke to Mr. Iida, it was a few days before Japan declared a state of emergency over the COVID-19 epidemic, when offices in Tokyo were still open and life in the city was still more or less normal. That was a little over a week ago. A lot has changed in the short time since our conversation, which only serves to underline the seriousness of the current crisis.

    Beyond the most immediate and important concerns (the global shutdown, and loss of human lives being chief among them) this is of course the last thing that the photo industry needs. Compared to the 2011 earthquake in Japan, and the flooding in Thailand that took place in the same year, the economic impact caused by COVID-19 is likely to be far more serious. It’s already having a profound effect.

    Because it’s so diversified, Fujifilm is in a pretty good position compared to some companies

    According to Mr. Iida, because it’s so diversified, Fujifilm is in a pretty good position compared to some companies, and the immediate impact of the Chinese shutdown seems to have passed. Less certain – and potentially far more impactful – is the devastating effect on longer-term sales caused by economic disruption in the US, Europe and parts of Asia. If, as seems highly likely, we’re pitched into another global recession, what happens next – after the virus – is anyone’s guess.

    For now, Mr. Iida assures us that Fujifilm’s R&D planning remains on track. This is just one of several encouraging messages from our interview. Others include a strong hint at future firmware for the X-T3, and autofocus improvements in the GF lineup. Speaking of which, it looks like the current trifurcation of the GFX line will continue, with the ‘100’ series remaining distinct as an ‘integral’ solution, while the ‘R’ line will maintain the compact, rangefinder-style approach embodied in the GFX 50R.

    The X-H line will continue to be developed, and the ‘concept’ of future products will be distinct from the X-T series

    Another product line that looks set to continue is X-H. Despite the X-H1’s video capabilities being leapfrogged by the new X-T4, Mr. Iida told me that the X-H line will continue to be developed, and the ‘concept’ of future products will be distinct from the X-T series. It’s unclear exactly what that will look like, but for filmmakers I’m sure this will be welcome news.

    It’s also encouraging to hear that Fujifilm is continuing to communicate ‘proactively’ with third-party manufacturers about supporting its products for video. A big part of how Panasonic and Sony have managed to make such major inroads with filmmakers is the ecosystem of accessories which exists around their cameras, and it seems that Fujifilm understands the importance of such support.

    The news that Tokina’s upcoming XF-mount lenses will offer autofocus (a detail missing in the press release for those products) is also very positive. This means that Fujifilm is making its mount protocols available for licensing from third-parties which (theoretically) opens up the possibility of compatible optics from the likes of Sigma and Tamron, at some point in the future.

    Read more in-depth interviews

    Articles: Digital Photography Review (dpreview.com)