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  • Opinion: Film photography has found its feet again

    Photo: Hamish Gill

    Film photography is not what it used to be. It’s changed – or more, it’s evolved. For the better, too. But I bet there are a lot of people who haven’t even noticed!

    Photography just seems to be one of those pastimes that has the potential to get under people’s skin. There are so many ways to take part that it’s no wonder we find ourselves in camps, adopting one or a couple of methodologies, approaches, processes or even brands, and taking ownership of them as if they belong to us.

    In doing so though, it’s all too easy to fall into the trap of forgetting that our approaches and whims are just a product of our own choices, and therefore simply right for us. Instead, it appears to me that a large majority of photographers get into the habit of thinking they have made the ‘best’ choices and that everyone else who doesn’t follow suit is somehow wrong, deficient or missing out.

    Film photography in 2020 is what it is – not because of a battle with digital, but because of how it has integrated with and into it

    Unfortunately, in our world of social media and websites and forums and blogs and YouTube and ‘influencers’, it feels a little bit like the views and opinions held by the majority can leave little room for the views and opinions held by everyone else.

    So what’s all this got to do with my opening gambit?

    Well, it’s my view that because of all this, many photographers who have committed wholly to digital photography might not have noticed a real change in the film photography landscape.

    The pixl-latr is a product I launched on Kickstarter as a low cost and effective solution for digitizing negatives.
    Photo: Joe Handley

    Now, please don’t think I’m about to start waffling on about growth in film sales and increased interest in more traditional photography mediums as a whole. It is true that there has been quite significant growth, but to my mind, the growth is at least in part a byproduct of a change in attitudes toward film photography. Attitudes that I have seen perpetuated through some of the hundreds of thousands of words I’ve published by the many photographers who have written for my website, 35mmc.

    It’s true that I still see the occasional ‘film vs. digital – which is better?’ YouTube video pop up, but it has long been my view that these conversations are behind the curve. It actually strikes me that this argument is dead, and this seems to be an opinion shared by an increasing amount of people. Not because one side won or lost, but because the sides have joined forces.

    Film photography in 2020 is what it is – not because of a battle with digital, but because of how it has integrated with and into it. Digital has changed film photography for the better, and I feel quite strongly that the opposite is true too.

    The FIlmomat is an updated automatic film processor, launching soon!
    Photo: Lukas Fritz

    To begin with, the simple way people are using digital cameras and the advancements in both software and hardware for the digitization of film are examples of how the technology has advanced in favor or supporting film photography. But digital has also helped democratize film photography. The barriers to entry are less, and not just when it comes to amateur-level kit.

    Film photography has influenced digital technology too. As most readers here will be aware, some of the bigger brands have taken inspiration from film cameras. Fujifilm is probably the most notable with their retro-aesthetic digital cameras and built-in film simulations. The way film looks, or at least the way people think film looks has – for better or worse – influenced digital photographic styles.

    The ways photographers approach image creation seems to have been cross-fertilized between the worlds of film and digital

    And that’s all even before we consider people’s workflows and attitudes toward creating images. The creative ways photographers approach image creation as a whole seems to have been cross-fertilized between the worlds of film and digital. So for example, in the last few years, we’ve seen a huge increase in the use of ‘vintage’ lenses – something that I’m pretty certain is attributable to an increase in photographers seeking something of a more film-era-like ‘feel’ to their work. And then there’s how digital workflows such as the use of Lightroom has for some people sped up or aided in the process of using film and other traditional mediums as a starting point to a final image.

    The Cameradactyl OG is an affordable 3D-printed 4×5 camera.
    by John Whitmore

    In short, film and digital workflows, technologies and creative approaches have merged. The narratives around which is ‘better’ have – for many at least – fallen by the wayside. The questions of how they can be combined for the benefit of an increased range of possibility and potential have come to the surface instead.

    But, while all this is true, there’s no drama in a draw – neither side won the battle, so the story has had few attention-grabbing headlines. There’s less of an angle to hang opinion off in the gray area. Nuanced opinions, fence-sitting and happy mediums don’t get clicks, views, upvotes, likes or shares so readily.

    Film and digital workflows, technologies and creative approaches have merged

    I had to pose a combative opening gambit just to get a lot of you to read this article, I’m sure. But really, I didn’t want to… well, if I’m honest, I sort of did, because I quite enjoy the argument. But my argument is not one of trying to convince people to think one way or another about how to create or take part in photography. I prefer instead to try and highlight the fact that the arguments themselves are often quite pointless.

    In short, there is no one true path! In fact, one of the most beautiful things about photography is in the wealth of choices it provides us with.

    Which is ultimately why film photography has found its feet again. Not as I say because it’s won any battles, but instead, that for all the objective differences and subjective reasons why people might choose to shoot it; despite what the majority might think and say about it, it’s still an option that’s available to people. And moreover, in 2020 it’s an option that quite readily fits into our modern digital world if and when required or desired.


    Hamish Gill is the publisher of 35mmc.com and a moderator in our Film Photography forum.

    Articles: Digital Photography Review (dpreview.com)

  • Tiffen is now shipping their DJI Mavic Mini ND filter kits

    At the end of 2019, Tiffen, a leading manufacturer of imaging accessories, announced 2 neutral density (ND) Filter Kits for the DJI Mavic Mini drone. Originally forecast for January 2020, the company revealed that their 3 filter and 6 filter kits of ND and ND polarizers are now shipping.

    The Mavic Mini Filter Kits, which include a compact carrying case, are:

    3 Filter Kit – $ 59.99

    ND4/PL, ND8/PL, ND16/PL

    6 Filter Kit – $ 89.99

    ND4, ND8, ND16, ND4/PL, ND8/PL, ND16/PL

    Each filter features multilayer and hydrophobic coating. Surfaces are waterproof and boast scratch prevention technology, according to Tiffen. The company states that beginners and professionals, alike, will be able to capture higher-quality in-flight content.

    The 3 Filter and 6 Filter Kits are now available on tiffen.com and through their network of authorized retailers. Tiffen filter kits are also available for the DJI Mavic 2 Pro, Mavic 2 Zoom, Inspire 2, and Phantom 4 Pro.

    Articles: Digital Photography Review (dpreview.com)

  • 5 Ways to Shoot Architecture More Creatively

    The post 5 Ways to Shoot Architecture More Creatively appeared first on Digital Photography School. It was authored by Jeremy Flint.

    ways-to-shoot-architecture-more-creatively

    Architecture photography is an enjoyable genre of photography that can be photographed almost anywhere. With the expansion of the built environment globally, opportunities for photographing urban scenes have increased significantly. This makes architecture photography an attractive proposition. Buildings can make very rewarding photography subjects, especially as they are generally designed to be attractive to the eye. As buildings are a permanent part of our urban landscapes, you have as much time as you like to photograph the architecture. So, it is just a case of finding different ways to shoot architecture more creatively.

    Read on to discover some useful techniques to help you with your architecture photography.

    1. Shoot from afar

    A popular choice for shooting architecture is from directly in front of it. Once you have captured architecture from nearby, try and find another viewpoint further away.

    Shooting from afar is one of the best ways to shoot architecture more creatively. If you position yourself at a distance from the building, you will be able to get more of the structure in your scene and some of the surroundings. Is the building near a waterfront? If so, capture the reflection of the building in the water or take photos of the boats going by the building.

    Alternatively, you may want to capture the bustle of the crowds around the building too.

    You can capture an epic angle from a distance just by walking a bit further away and changing your perspective.

    ways to shoot architecture more creatively

    2. Find a higher vantage point

    When looking for other ways to shoot architecture more creatively, try finding a higher vantage point for an alternative point of view. Buildings can look great shot from above.

    Climbing up a flight of stairs or jumping in a lift can lead to other great vantage points to photograph structures from. From up high, buildings can look fascinating where you can be innovative with your shots and do justice to the people who designed the building.

    Aim to fill the frame with your chosen subject and reveal some of its details. Alternatively, capture the structure as part of the wider cityscape.

    5 Ways to Shoot Architecture More Creatively

    3. Go inside

    Not only is architecture designed to look beautiful on the outside, but their structures can also be just as great on the inside.

    There are places all over the world that have great interior structures. Places like castles, cathedrals or famous landmarks can look great on the inside. Windsor Castle, Westminster Abbey and the Tower of London in England, for example. Other structures can have attractive stairwells, whilst some will house ornate rooms with decorative features.

    The lighting inside buildings can also add to the drama of a place. This can either be from lanterns placed inside a building, interior lights or external light shining through providing shadows that transform the area.

    You may need to learn more about capturing ambient lighting. See an article here.

    ways to shoot architecture more creatively

    4. Look for interesting patterns

    Another brilliant way to shoot architecture more creatively is to explore the different aspects of a building and look for interesting patterns.

    Look for leading lines, geometry, structures, and shapes. Walk around and change your viewpoint to convey the various features and reveal something different.

    Shooting centerpieces or components on a wall are great ways to shoot architecture more creatively. Try to find a good angle from which to present the building and show it in a unique way that is not the same as the familiar-looking, regularly-captured shots.

    5 Ways to Shoot Architecture More Creatively

    5. Shoot the old and new

    Whether you like to capture the latest structural designs or traditional buildings, both modern and ancient architecture can be beautiful.

    To create an interesting image of a modern masterpiece or an ancient structure, you will need to interpret the building pleasingly.

    You can achieve this with a good composition that draws on your own creative vision. Look up and capture its expanse, for example, to photograph the building uniquely.

    Alternatively, look out for appealing surfaces and take a photo of something unusual. Original structures can be more rustic-looking, whilst newer buildings provide more modern and decorative aspects of architecture.

    ways to shoot architecture more creatively

    Photographing old and new architecture on bright sunny days is one of the best ways to shoot architecture more creatively. The play of light can be great for photographing strong shadows and deep contrasts.

    The intensified shapes that result from the contrasting light are ideal for showing up form, bringing out texture and giving strong color. Sunlight can, therefore, enliven an image and make it more impressive.

    Conclusion

    In summary, architecture photography is becoming a popular genre of photography especially with the expansion of urban developments.

    Some of the best ways to shoot architecture more creatively include photographing from afar, shooting inside as well as outside and capturing interesting patterns such as unusual geometry and shapes.

    Finally, shoot old and new structures in an interesting way with your unique vision.

    Do you have any further suggestions to shoot architecture more creatively? Share your comments and pictures with us below.

    The post 5 Ways to Shoot Architecture More Creatively appeared first on Digital Photography School. It was authored by Jeremy Flint.


    Digital Photography School

  • Capture One Pro 20 update adds support for 7 new camera bodies, 6 new lenses

    Capture One has announced an update that adds support for seven new camera bodies from Fujifilm, Nikon, Canon and Olympus as well as six new lenses from Sony, Nikon and Pentax. A handful of bugs have also been squashed along the way.

    As for new camera body support, Capture One version 20.0.3 now supports the Fujifilm X-T4, Fujifilm X100V, Nikon D780, Nikon D3500, Canon EOS M100, Canon EOS M200 and the Olympus TG-6. Capture One emphasizes in its press release (embedded below) the new support for the Fujfilm X-T4, saying it is the first company to offer ‘official support’ for Fujifilm’s newest APS-C camera system.

    Below is a list of the lenses the update adds support for:

    • Sony FE 24mm F1.4 GM (SEL24F14GM)
    • Sony FE 600mm F4 GM OSS (SEL600F40GM) + 1.4X Teleconverter (SEL14TC)
    • Sony FE 600mm F4 GM OSS (SEL600F40GM) + 2X Teleconverter (SEL20TC)
    • Nikon AF NIKKOR 24mm f/2.8D
    • Nikon AF-S DX Micro-NIKKOR 40mm f/2.8G
    • Pentax D FA 150–450mm F4.5–5.6 ED DC AW

    In addition to new camera and lens support, Capture Pro One 20 also addresses a number of smaller bug fixes across both the macOS and WIndows versions. You can find a full list of the fixes within Capture One’s release notes.

    Capture One version 20.0.3 for macOS and Windows is now available in multiple versions. Capture One Pro 20 can be purchased with a perpetual license for $ 299 or as a subscription starting at $ 20.99 per month. Capture One Pro (for Sony) and Capture One Pro Fujifilm are available to purchase with a perpetual license for $ 129 or as a subscription starting at $ 9.99 per month.

    Capture One has a complete list of supported cameras and lenses on its website. You can download a free 30-day trial of any version of Capture One Pro if you want to take it for a spin before buying or subscribing.

    Capture One update brings first Fujifilm X-T4 support

    Fujifilm’s newest flagship APS-C camera is now officially supported by Capture One 20 in a release that also brings further fixes & hardware support

    COPENHAGEN, March 3rd, 2020: Capture One, the leading name in photo editing software, celebrates the release of Capture One version 20.0.3 which sees the company offer the first official support to the Fujifilm X-T4 – plus support for additional new cameras and lenses from other brands. Since 2018, Capture One and Fujifilm have enjoyed a unique collaborative relationship; working together to further develop the software, and to enable Fujifilm users to get the most out of the X-Trans sensors. This service release also includes bug fixes for Capture One 20.

    Capture One offers Fujifilm photographers a suite of tools unmatched by other photo editing software, including the ability to utilize Fujifilm’s critically acclaimed and globally beloved Film Simulations such as Acros, Provia, and Classic Chrome. With Capture One, these Film Simulations are not restricted to JPEGs, but can be used with RAW files, allowing for the most powerful and flexible image processing ability, and one that is distinctly Fujifilm.

    The collaboration also allows Capture One and Fujifilm to support the photographic community by providing full tailored support to Fujifilm’s newest cameras upon launch. From the moment it is released, X-T4 owners can rely on Capture One 20’s industry-leading image quality, tethering, and precise lens correction.

    Unlike other RAW processors, Capture One’s camera profiles are individually measured, a process that requires the use of the camera in and out of the controlled lab in Copenhagen, where a team of specialists engage the camera in numerous different scenarios. The team then evaluates performance parameters such as color, sharpness, and noise across hundreds of images and uses that data and experience to provide a truly tailored profile, ultimately providing the best post-processing experience possible, and one that is distinctly Fujifilm.

    New camera and lens support

    New camera support:

        • Fujifilm X-T4
        • Fujifilm X100V
        • Nikon D780
        • Nikon D3500
        • Canon EOS M100
        • Canon EOS M200
        • Olympus TG-6

    New lens support:

        • Sony FE 24mm F1.4 GM (SEL24F14GM)
        • Sony FE 600mm F4 GM OSS (SEL600F40GM) + 1.4X Teleconverter (SEL14TC)
        • Sony FE 600mm F4 GM OSS (SEL600F40GM) + 2X Teleconverter (SEL20TC)
        • Nikon AF NIKKOR 24mm f/2.8D
        • Nikon AF-S DX Micro-NIKKOR 40mm f/2.8G
        • Pentax D FA 150-450mm F4.5-5.6 ED DC AW

    For a complete list supported cameras, please go to: www.captureone.com/features/supported-cameras

    Pricing and Availability

    Capture One 20.0.3 for Mac and Windows is now available in several versions and free to current Capture One Pro 20 customers.

    For new customers Capture One is committed to providing customers a choice when it comes to how they acquire their software, so Capture One Pro 20 is available for purchase, or via subscription. The perpetual license for Capture One Pro 20 is available for $ 299, with upgrade pricing from previous versions starting at [add correct price]. Capture One Pro (for Sony) and Capture One Pro Fujifilm are available for $ 129.

    For those who prefer subscription models, Capture One Pro 20 is available for plans as low as $ 20.99 per month, and Capture One Pro (for Sony) and Capture One Pro Fujifilm subscription plans start at $ 9.99 a month.

    For a complete list of all products and licensing options, please visit: www.captureone.com/store to learn more.

    A 30-day fully-featured free trial of Capture One 20 is available. Download the trial here: www.captureone.com/download

    Articles: Digital Photography Review (dpreview.com)

  • The Sigma fp will get new features, functionality in major 2.0 firmware update due out ‘Summer 2020’

    Sigma has announced it will be publishing a major firmware update for the Sigma fp in ‘Summer 2020’ that will bring along a number of new features and functionality.

    According to the announcement, the update will add CinemaDNG 120/100 fps (FHD 8-bit) shooting, cinemagraph functionality, still capture during live view and movie shooting in Cine mode, HDR shooting, a Director’s Viewfinder recording function and Sigma’s software development kit (SDK), which should open up a realm of possibilities for developers to access certain functions of the camera.

    In the meantime, Sigma says it’s also developing firmware version 1.02 (the latest firmware currently available for the Sigma fp is version 1.01), which will correct card errors when using specific SD cards and adds in-camera lens aberration correction processing. Firmware version 1.02 will be released on March 18, 2020, according to Sigma.

    The current version 1.01 firmware and future firmware releases can be downloaded from the Sigma fp support page.

    Articles: Digital Photography Review (dpreview.com)

  • Canon May Release an R APS-C Mirrorless Camera (Plus APS-C RF Lenses)

    The post Canon May Release an R APS-C Mirrorless Camera (Plus APS-C RF Lenses) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

    canon-release-rumors

    According to Canon Watch, a new rumor suggests that Canon may be developing a new R-series camera:

    A body with an APS-C sensor.

    As Canon fans will know, Canon currently offers two mirrorless camera lines:

    1. The EOS M series, with options such as the Canon EOS M50, the Canon EOS M6 Mark II, and the Canon EOS M5, uses only APS-C sensors;
    2. and the EOS R series, which currently only features the Canon EOS R, the Canon EOS RP, and the Canon EOS Ra, has thus far been composed of full-frame bodies.

    Note that a fourth Canon EOS R body, the R5, is also on the way, and will continue the full-frame tradition.

    But it seems that Canon’s lineups may be changing.

    According to Canon Watch, the rumor indicates that the new APS-C camera (dubbed the EOS R7) will debut in 2021, along with three APS-C RF lenses.

    And Canon Watch goes on to discuss the possibility that the EOS R7 will be a successor to the much-loved Canon 7D Mark II, which dropped way back in 2014. Interestingly, the Canon 7D Mark II is only slightly overdue for an upgrade, given that it was announced five years after its predecessor, the Canon 7D.

    If the Canon EOS R7 were a spiritual successor to the 7D Mark II, then we could expect a camera designed for sports and wildlife shooters, packing a fast continuous shooting rate and a top-of-the-line AF system.

    But the question remains:

    Is Canon even interested in creating an APS-C R camera?

    There are reasons to think that Canon might be considering this possibility. For one, the success of Fujifilm’s X-series, as well as Sony’s higher-end a6000 offerings, suggests that there’s a real market for higher-level mirrorless APS-C cameras.

    That said, you do have to wonder whether a 7D Mark III would make sense as Canon’s first EOS R APS-C camera, especially when plenty of action shooters are going for a Canon 1D X Mark III over alternatives such as the Sony a9 Mark II due to the perceived inadequacy of mirrorless cameras. Sure, the 7D Mark II is due an update, but I’m not sure that mirrorless technology (and viewfinders in particular) have matured enough to fully convert the 7D Mark III’s intended audience.

    Regardless, Canon has been focusing heavily on its RF lenses and R-series lineup, and this is a trend that should continue over 2020. It’s plausible that Canon will decide to consolidate its mirrorless systems for the sake of efficient development, especially as Canon also continues to produce DSLR cameras.

    So keep an eye out for more news regarding this APS-C camera; if there is any truth to this rumor, there will undoubtedly be more talk down the line.

    The post Canon May Release an R APS-C Mirrorless Camera (Plus APS-C RF Lenses) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


    Digital Photography School

  • Moment Pro Camera for Android discontinued over platform difficulties

    Moment has revealed it’s discontinued the Android version of its Pro Camera mobile app. The reason, according to a statement shared on Moment’s help website, is the difficulty involved in supporting a wide variety of Android devices from different manufacturers, otherwise referred to as fragmentation.

    A number of issues compelled Moment to discontinue Pro Camera for Android, the company said in a statement. ‘The short is that phone makers like to create their own flavor of Android, each with different amounts of access to select camera features,’ Moment said. ‘The result has been a random compatibility list where each phone has different features in the app by phone model.’

    Moment explains that it repeatedly asked phone manufacturers to make their camera features available to the developer and to share the list of the changes they made to the devices. On top of that, each new Android update released by these companies ‘breaks these custom modifications,’ making things more difficult for developers.

    Ultimately, Moment says that it does not have ‘the engineering bandwidth’ to continue supporting this app, but that it will continue to make it available in the Google Play Store, where it is sold for $ 4. The app currently has a low rating of 2.4 out of 5 stars, with users complaining about bugs and missing features.

    Articles: Digital Photography Review (dpreview.com)

  • Coronavirus: Whatever happens next, COVID-19 is already having an effect on the photo industry

    Coronaviruses are a large family of viruses that cause illnesses ranging from the common cold to severe acute respiratory illnesses such as Middle East Respiratory Syndrome (MERS-CoV) and Severe Acute Respiratory Syndrome (SARS-CoV).

    In December 2019, doctors in Wuhan, China, started to identify cases of what looked like a new form of coronavirus, called SARS-CoV-2. The disease caused by SARS-CoV-2 has since been given the official name COVID-19. Local quarantines were put into place, but you know what happened next: COVID-19 has spread across the globe, with more than 87,000 confirmed cases as of Monday March 2nd, 2020.

    So why is a new illness – which has killed far fewer people than normal strains of flu in an average year – being taken so seriously?

    ‘An economic pandemic’

    The medical risks of COVID-19 are still being assessed, and are beyond the scope of this article, but inevitably, much of COVID-19’s impact so far has been economic.

    The economic impact is here, and it’s very real. Recent record falls in stock markets all over the world are a clear indicator of what one analyst called an ‘economic pandemic’,1 which reflects a growing worry that markets could be badly hit by the consequences of what is now a global problem.

    Last month, as a result of COVID-19, Chinese manufacturing fell to a record low

    But first, to China – because China is important. In 2018, China accounted for about 16% of the global economy, and about 28% of global manufacturing output. And last month, as a result of a loss of output caused by COVID-19, Chinese manufacturing fell to a record low.2

    A disruption to iPhone production in China was enough for Apple to issue warnings about revenue this quarter.

    ‘Chinese manufacturing’ encompasses everything from cars to smartphones, not to mention the myriad of tiny components that end up inside virtually all consumer electronic devices. So when factories in China shut down, that creates a problem. Around five million jobs in China rely on Apple device manufacturing alone, and the company has already warned that it will miss revenue goals as a result of the outbreak.3 It is estimated that up to 760 million people in China are currently subject to some kind of travel restriction. For context, that’s more than double the entire population of the USA.

    Effect of disruption in China on consumer digital imaging industry

    It makes sense that a major drop in production of iPhones would affect Apple’s bottom line. The company’s Zhengdou facility is estimated to churn out up to 500,000 of them a day,4 and the company sells about one hundred times that number in a good quarter. That’s a rate of production – not to mention sales – far in excess of any digital camera, but in the photo industry, too, the effect of the COVID-19 outbreak is being felt.

    To take just one example, after closing completely for a time, Fujifilm’s facility in China re-opened in mid-February but has been operating at reduced capacity since then. This has caused disruption to the production of its popular X-T30 and X-T3 models, and the company cannot confirm when it will be able to ship the new X-T4.

    It’s not just Fujifilm. Most consumer digital imaging (DI) companies manufacture some of their products in China, and are now feeling the effects of industrial disruption inside the country.

    With the ever-changing situation on the ground […] it has proven difficult for head offices in Japan to get a clear picture of what’s actually going on in China

    In private conversations with representatives from several imaging companies (who asked not to be quoted directly) the words I’m hearing most often are all the ‘un’s – ‘unknown’, ‘uncertain’, and perhaps most frequently, ‘unclear’.

    Right now, it seems that some, if not all of those camera and lens companies that rely on Chinese factories do not even know for certain how much manufacturing capacity they currently have at their disposal. With the ever-changing situation on the ground, rolling quarantines and restrictions on local travel within the country, it has proven difficult for head offices in Japan to get a clear picture of what’s actually going on in China.

    Everyone that I spoke to expressed the same hope: that the long-term impact will be limited, and things will become clearer in the coming weeks. But more than two months after the virus was first reported, it’s obvious that even to those on the inside, a lot is still unknown, much is uncertain, and many things remain unclear.

    The X-T4 is Fujifilm’s newest high-end mirrorless ILC. Manufactured in factories in China and Japan, it is due to ship next month, but this may change.

    Japanese outsourcing to China

    Japanese companies started moving manufacturing to China en masse starting in the late 1980s. The first trigger for this change was the so-called ‘Plaza Accord’ of 1985. The Plaza Accord was an agreement between France, West Germany, Japan, the United States and the United Kingdom to deprecate the US Dollar against the Japanese Yen and the German Deutsche Mark. This had the desired effect of making US exports cheaper, and created a period of growth in Japan known as the ‘Bubble Economy’.

    Unfortunately, following government attempts to cool the economy down, the bubble burst and in the 90s Japan entered a protracted period of deflation and economic stagnation, known as the ‘Lost Decade’. A series of subsequent domestic economic crises, culminating in the global financial crash of 2008, led many Japanese companies to move factories to China during this time period, where production costs were lower.

    Some camera brands actually don’t have a presence in China at all

    By the early 2010s however, China’s economy was starting to grow rapidly and the cost of producing goods in China went up, making outsourced manufacturing less attractive.

    This led to Japanese companies adopting what was called a ‘China plus one’ strategy, opening additional factories in Southeast Asia, where production was cheaper. To take Fujifilm again as an example, it has facilities in China and Japan, but in recent years has also opened sites in the Philippines. Similarly, Canon and Nikon also operate factories in Southeast Asia, in addition to China and Japan.

    Some camera brands actually don’t have a significant presence in China at all. For example, Olympus’s main manufacturing base these days is in Vietnam.

    The problem with global supply chains

    You might assume that as a result, these manufacturers should be insulated. However, even companies with facilities all over the world may still be affected by the closure of Chinese factories and the disruption of regular trade between China to Japan. That’s because China is the world’s biggest exporter, and the source of so many ‘intermediate goods’ – component parts or sub-assemblies which go into finished products.5

    With an estimated 3 million+ shipping containers currently stuck in China, not going anywhere, a lot of companies who rely on the products and components inside them are bound to be affected.

    As I was preparing this article, Canon announced that it is suspending operation at five of its factories in Japan, making SLR cameras, lenses and surveillance equipment, due to a shortage of parts from China. Ricoh has delayed the planned re-opening of some of its Japanese manufacturing lines for the same reason.6

    Chances are, most products labeled ‘made in Japan’ still contain plenty of parts and sub-assemblies that weren’t. As Roger Cicala of Lensrentals told me in conversation this weekend, with only a couple of exceptions ‘there really is no “made in…” anywhere, anymore’.

    Sigma makes all of its cameras and lenses in Japan, but some of its Japanese suppliers still source components from China. See our recent Sigma factory tour

    One of those exceptions is Sigma. As readers of our regular in-depth interviews will know, Sigma is unusual among Japanese DI companies in that it makes all of its products inside Japan. As such, according to CEO Kazuto Yamaki, issues in China are expected to have ‘relatively little impact’ on its business ‘for the time being’. However, some of Sigma’s Japanese suppliers do have factories in China, from which some component parts originate. Mr. Yamaki told me that his team is currently investigating alternative sources for these parts if it becomes necessary, and hopes that the situation will become clearer ‘in one to two weeks’.

    The hope is that things improve, capacity recovers soon, and existing stockpiles of components will be adequate to avoid disruption

    It’s impossible to tell what the long-term effect of continued interruption to Chinese industrial output to the camera industry will be. It’s estimated that if Chinese manufacturing capacity remains significantly reduced for another month, through the first quarter of 2020, Japanese firms (along with those in South Korea) will be hit hard.7

    The hope of course is that things improve, capacity recovers soon, and existing stockpiles of components will be adequate to avoid too much disruption in the meantime. Of course there remains the risk that if COVID-19 continues to spread to other countries – particularly in Southeast Asia – we may yet see factory closures elsewhere in the world.

    Wherever it happens, an interruption in the supply chain for consumer goods is not the only potential consequence of COVID-19 in the short to medium-term. Another worry (in fact the main worry for some of the representatives I spoke to) is the long-term effect of the outbreak on the global economy, and in the short term on the Chinese economy – and Chinese consumer spending in particular.

    What happens when Chinese consumers stop buying cameras?

    Manufacturing represents around 30% of China’s total economic output, and as we’ve seen, manufacturing is down. This presents a major risk to the country’s economy, which happens to be very bad news for Japan. In recent years, following a series of reforms, China has become a major consumer of goods and services. The growth of China’s middle class has increased the country’s appetite for high-end consumer and industrial goods from Japan – helped by a relatively weak Yen.8

    By 2012 Japan was China’s largest trading partner in terms of exports, and in 2018, 9.2% of imports (by value in US dollars) into China came from Japan. As such, Japan’s economy is particularly vulnerable to events in China.9

    Even before the emergence of COVID-19, Japanese firms were already under stress from the effects of US tariffs on China. A representative of Mitsubishi UFJ Financial Group described the US-China trade war last year as “the biggest risk to Japan’s economy” 10, and nine months on, the virus certainly isn’t helping. In January 2020, the total value of Japan’s exports to China dropped sharply, by 36%.

    The loss of revenue from sales within China, and from Chinese tourists shopping in camera stores around the world, will be felt hard

    China is a major market these days for high-end cameras and lenses. In an industry where growth is scarce, China is one of the few places around the world where manufacturers have seen a significant increase in sales. We know that it’s a particularly important market for Fujifilm’s high-end GFX line for example, and also for Leica (second to the US), but the Chinese market is important to every manufacturer, across the whole industry. The loss of revenue from sales within China, and from Chinese tourists shopping in camera stores around the world, will be felt hard.

    According to one senior industry figure I spoke to, the hope among manufacturers is that matters improve by June, which is ‘peak season’ in the Chinese market. Meanwhile, partially as a result of restrictions on travel for Chinese attendees, several major international trade shows have been canceled, including CP+, which was scheduled to take place last week in Yokohama. That’s where I was meant to be right now, but instead I’m at my desk at home in Seattle, writing this article.

    The CP+ trade show takes place every spring in Yokohama, Japan. This year, days before it was meant to open, organizers canceled the show citing concerns over public health in the midst of the COVID-19 outbreak.

    What next?

    So what happens next? Unfortunately, we don’t know. At the very least, it’s reasonable to expect that some planned releases may be delayed, backorders might pile up for some products, and we may see shipping dates slip for others. Hopefully that’ll be the worst of it.

    Update: It’s already happening. Several lighting and bag manufacturers with factories in China have alerted customers to expected delays in order fulfillment, and this weekend Peak Design emailed backers of its new travel tripod to warn that shipping is likely to slip to ‘early to mid-April’.

    Whatever happens from here on out, everyone I spoke to for this article stressed that right now the situation is being monitored very closely and taken very seriously. Plans are being put in place, and everyone’s first priority is the health and safety of their employees across the world. Roger Cicala told me that Lensrentals, based in Tennessee, is taking steps to get key employees set up to work from home, just in case of a local outbreak. I’m sure that similar plans are being made across the industry, and across the world.

    Crises like these serve as a reminder of how small the world is

    It’s worth remembering that the camera industry has proven remarkably resilient. None of us will soon forget the horror of the 2011 earthquake and tsunami, for example, which disrupted production in Japan for many months (despite an incredible collective act of self-sacrifice on the part of workers, which saw many damaged factories returned to limited operation within days). If nothing else, crises like these serve as a reminder of how small the world is, how lucky we are when things go right, and how much we rely on our friends and partners all over the globe when they go wrong. We are all in this together.

    A note on sources, and thanks

    While researching this article I spoke to representatives of several major manufacturers in the consumer digital imaging space, both in Japan and the US. Most preferred not to be quoted directly, in order that they could speak freely. I would like to thank all of them, but especially Kazuto Yamaki of Sigma and Roger Cicala of Lensrentals.


    1. PBS: ‘Why the economic impact of COVID-19 might outlast the outbreak’
    2. BBC News: ‘Chinese manufacturing hits record low amid coronavirus outbreak’
    3. AXIOS: ‘Apple will miss quarterly earnings estimates due to coronavirus’
    4. The New York Times: ‘An iPhone’s Journey, From the Factory Floor to the Retail Store’
    5. Carnegieendowment.com: ‘The Economic Fallout of the Coronavirus in Southeast Asia’
    6. Nikkei.com: ‘Canon suspends production at five Kyushu plants with new Corona’ (in Japanese)
    7. See 5, above
    8. 9., 10., The New York Times: ‘Japan Stumbles as China’s Growth Engine Slows’

    Articles: Digital Photography Review (dpreview.com)

  • Video: Lensrentals announces it’s hit the 1,000,000 order milestone, shares the history of the company

    Lensrentals has announced it’s shipped its one millionth order, an incredible feat that took just 13 years to achieve after Lensrentals founder, Roger Cicala, decided to rent out gear to sustain his photography hobby.

    To celebrate the occasion, Lensrentals shared the above video, an accompanying blog post and shared a 45-minute podcast episode (Apple Podcasts, Spotify, Google Podcasts, YouTube) that goes into the history of the company and the work it took to hit the monumental milestone.

    If you can find the time, be sure to read, watch and listen to the history of Lensrentals to see how Roger and his team have crafted an incredible success story in an industry that continues to struggle. And, of course, from all of us here at DPReview, congratulations to Roger and team for the monumental achievement. We look forward to many more humor-riddled teardowns.

    Articles: Digital Photography Review (dpreview.com)

  • JOBY launches new lineup of accessories for mobile content creators

    JOBY has launched a new line of accessories for mobile content creators, including products for the latest Pixel and iPhone smartphones. The lineup features six new products, including variants for different mobile phone models, with prices ranging from $ 40 to $ 200.

    The most notable of the new products is the GorillaPod Mobile Vlogging Kit, a bundle that includes three products: the Beamo Mini LED with Bluetooth control, GorillaPod Mobile Rig and Wavo Mobile microphone. The kit includes a GripTight PRO 2 smartphone mount for shooting in portrait and landscape modes. The bundle is available now for $ 200.

    The Beamo Mini LED, a compact and portable 1,000 lumens LED light, is available as a standalone accessory for $ 69.95; it includes double cold shoe mounts, plus it is rugged and waterproof. Joining this is the Beamo LED, which is brighter with 1,500 lumens and more expensive at $ 89.95.

    Likewise, creators can order the Wavo Mobile, a portable, lightweight microphone designed for use with mirrorless cameras and smartphones. This model features a cold shoe mount, Rycote shock mount and included TRS and TRRS cables. The model is available now for $ 39.95. Joining the Wavo Mobile is the Wavo, a model with a wider frequency response, larger size and more durable construction. This model is available now for $ 79.95.

    Finally, JOBY’s new lineup features StandPoint, a smartphone case with three built-in tripod legs connected with a hinge. When not in use, these legs can be folded into the case; when needed, the user can unfold them to prop up the phone for filming or quickly capturing shots. The model is available for the Pixel 4, Pixel 4 XL, iPhone 11 and iPhone 11 Pro for $ 39.95 each.

    Articles: Digital Photography Review (dpreview.com)