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This is the first time I see the new Yasuhara Anthy 35mm f/1.8 FE lens mounted on the Sony. Image samples shot with this lens can be seen at DC.watch. I have still no idea where you can buy this…
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Out of the Way
Nearly three hundred years ago, Elena Anosova’s ancestors journeyed from their small settlement in the Nizhnyaya Tunguska river, in the extreme north of Russia, to the taiga—the forest of the subarctic region found in the heart of Siberia. Hunters by trade, they came to colonize Serbia and soon assimilated with the Evenks, one of the indigenous peoples of the Russian North, founding a small village in the taiga. Shaped by a harsh climate and a remote geographical location, the village developed a unique way of life, grounded in a bond between man and nature—one that continues to thrive. Life in the village has barely changed in centuries.
Having grown up in a big city, Anosova’s encounters with her heritage happened mostly through stories and summer visits from her family. ‘Out of the Way’ marks her discovery of the village, its distinct myths and traditions and the 100-odd people who live there—all of whom are distant relatives of the photographer. Documenting the day-to-day of village life and the harsh and beautiful landscape that it unfolds in, Anosova builds a portrait of a strong community that has managed to hold on tightly to its identity as the world around it changes rapidly.
In this interview for LensCulture, Anosova speaks about ‘writing’ her family story, the connection between humans and nature central to village life and what keeps microcosms like this alive in the age of globalization.
LC: Out of the Way seems to be one of the most personal projects out of your work. How and when did the project start? Did it grow out of any previous projects?
Elena Anosova: To be honest I wouldn’t say that this is the most personal project of mine. It is less personal than Section, in which I explored the lives of women in closed institutions, a familiar traumatic experience. After I had finished Section, I went to the village for a break and to feel close to my routes. In the tungus language, the name of the settlement means ‘The Isle’. After spending some time there, I decided that I need to go back.
In the village’s culture, the dog really is man’s best friend. More than a trusty companion, the dog plays an important role: protecting families from dangerous wild animals. From the series ‘Out of the Way’ © Elena Anosova
LC: What drew you to start exploring this village and your family there? Do you have a close relationship with the place already or did the project mark the beginnings of your relationship with it?
EA: I had never visited it before 2015 but I had seen pictures and read books about the place. There is a famous book with a movie adaptation called Ugryum-Reka (roughly translated as Ugryum River). It is a family saga, set in Nizhnyaya Tunguska against the backdrop of the Siberian Gold Rush. I also listened to many stories from my relatives, and from my dad in particular—he was born and raised there. After spending some time there, I felt the desire to ‘write down’ the story of my family, and the place, in some way. There is a tiny local museum in ‘The Isle’ and in the beginning, I decided to collect archival pictures from locals for the museum. While doing that I understood that this story is universally relevant, making us question who we are and where we come from.
LC: What is your relationship between your close family and these relatives?
EA: I grew up in Irkutsk. It is a big city by Lake Baikal, around 1000 km away from The Isle— which is relatively close in Russian terms. Our relatives from the village would visit us every summer, to see a dentist, for example, and do some shopping. Many decided to stay in Irkutsk later. In Soviet times these summer trips were more affordable than now, which is why they could visit. My cousins would make fun of me, because I was a ‘city girl’ and had never seen a bear in my life.
LC: The distinct atmosphere of the region is very striking in your photographs. Can you give me a sketch of the geographical location of where you were working, and tell me a bit about the history of the region and how this has moulded the kind of place it is.
EA: These places are hard to access and are underpopulated. The nearest small towns are around 300km away by a ‘winter’ road—one that is available just 3 months a year, from December to March. It is a mix of mud and ice. In the summertime, access is only possible with a helicopter. The village was founded by the Tungus people, more than 300 years ago. Later, the Russians arrived and assimilated into the village. They started to grow wheat along the river banks and hunt.
During Soviet times, there was a collective farm in the village and all the inhabitants had to work for the government. People from neighboring villages had to move to ours, to work in the collective farm, abandoning their own. We still sail up the river to these places to look after our ancestor’s graves. Also, at that time, geologists had been searching for natural resources in the area. They found diamonds in Yakutia, which is nearby. Today, gas and oil are produced in the region, which is slowly destroying the fragile ecosystem. So basically the village is inhabited by descendants of the Tungus people, Russians, and geologists.
LC: How do the extreme weather conditions shape the daily routines and culture of the region’s inhabitants?
EA: We say that a Siberian is not someone who doesn’t feel cold, but someone who is dressed properly. Life in these extreme weather conditions requires constant movement, so everyone keeps busy all the time. It means hunting, fishing, agriculture—using greenhouses with heating inside. Preserving food for winter is quite an activity. Dumplings, pirogi, sour cabbage. People also collect mushrooms and berries. One can make home ice cream. It is quite an easy recipe when it’s between minus 30-45 degrees celsius outside.
LC: How did you try to capture this specific way of life in your images? What kind of story did you want to build?
EA: Using family archetypes in my work, I hope to create interest around other people’s family histories, archives and look into these questions: Who are we? Where do we come from? How can micro-communities like this one survive without globalization? There are only a few places in the world like this. Perhaps they can keep their identity because they are so far away, difficult to access and don’t welcome strangers?
LC: Tell us a bit about the cultural make-up of the region.
EA: Most of us have mixed blood. Some have more of visible Tungus DNA, and some less. For example, I am the first one in my family who has blond hair and fair skin. There are a lot of mixed marriages that happened throughout generations and they are accepted without prejudice.
LC: Animals seem to have a very important position in the project. Can you tell me a bit more about the different roles they play in the region.
EA: The dog is seen as the best friend, a family member and a partner. There are a lot of wild and dangerous animals in the area. They have become more dangerous as their natural habitat is disrupted by the production of oil and gas and their behavior is unpredictable at times. Wolves and bears can attack people and domestic animals. The dog will protect and help no matter what. They are specially bred and trained for that. If someone gets lost in Taiga, the snow forest, the dog knows how to bring them home. It is a tragedy if the dog dies. When there are no roads during summer, fall and spring, people use horses, to get to the hunting lands, for example. Our family’s land is 70km away, farther in the taiga. If we are talking about wild animals, the region survives by hunting the elk for food, and sable for fur.
LC: There are about 100 adults living in the village. What kind of work do they do?
EA: There is a school, a kindergarten, a paramedic, a ranger, a fireman and a post office—and also a tiny diesel electricity station. All the buildings need to be heated twice a day hence everyone is constantly busy producing wood. And most of the men in the village are hunters. In terms of leisure, there is a local community center, a museum, and a library. Locals produce their own shows in the club.
LC: What happens to the youth of the region? Do many people move elsewhere or is it custom to stay and settle within the community?
EA: After finishing school, by the age 15, many leave the village to go study either in the towns around or Irkutsk. After finishing their education some do come back and teach at the local school, for example. The ones who do are really attached to the place and the lifestyle and they sincerely love it. In how many schools around the world can you get skiing classes, or learn to study the traces of animals?
LC: You mention the myths of the region are almost a stronger influence than modern life. Can you tell me a bit more about this relationship? What is the interaction between this small community and the way the world is developing technologically, politically, socially?
EA: They really are. In fact, it is enough material on that for a whole book that I am working on now. But to give you just one example, according to the legend that is especially important to my family, the wolves are scared of fire. The modern interpretation of this myth is expressed by putting a scarlet ribbon on the dogs in case they might be attacked by wolves. When I wondered about this and asked my uncle why he does it, he told me that this is what our grandfathers used to do and it worked. Why question it? I get scared sometimes that it all might change with new technology. They now have internet and social media. But, the usage is limited, from 8 a.m. until 12 p.m. and the speed is very slow—hopefully not enough to get addicted.
LC: Your project also contains archival images. Can you tell me a bit about those?
EA: I started my project by collecting the archival images from locals, so I have quite a collection. I have a set of amateur photos of hunters that cover several generations—just men posing with rifles in the snow. But one of my personal favorites is the image I discovered from the family archive of my dad’s classmate that depicts my super distant relatives relocating from the neighboring village to ours by literally moving their whole house on a floating boat. I love this image so much.
LC: The project is ongoing, and you’ve been working on it for quite some time. Have you witnessed any changes in the community over the period you’ve been working there?
EA: Not really. Two newborns and two funerals.
Editor’s Note: This body of work is on view at Schilt Publish & Gallery in Amsterdam until the 15th of December.
Enjoy more great photography:
- The Pharmacy of the Third World
- Women of Vrindavan
- The Transformative Power of Photography & Text
- For Birds’ Sake
- In Pursuit of Myself
It might have a complicated name but the 01Tech Quickrane QKC 703 looks like a very easy to use and portable (well, as portable as 5m cranes go!) crane for large cameras. The actual pieces that make up the crane are made out of carbon fiber and they have been manufactured so that they insert … Continued
DJI is working on a direct drone-to-phone, Wi-Fi based solution to remotely identify airborne drones. This will make it easy for anyone with a smartphone to monitor nearby drones. DJI’s remote identification solution has been developed in collaboration with industry stakeholders and regulators. It is able to broadcast information from drones directly to any mobile … Continued
In this weeks episode Seamus talks to us about the one shot in atonement. How was it achieved? What challenges did he face? What makes a good one shot?
Cooke Optics TV
Thank you to the British Society of Cinematographers (BSC). http://www.bscine.com/
Filmed with a Sony FS5 and Cooke Mini S4/i Lenses.
Produced by ImageNova. http://www.imagenova.co.uk.
Email email@example.com for enquires or leave a comment!
You can now preorder the new Sigma 24-70mm FE lens at BHphoto, Adorama, FocusCamera. The price is very low hurray!
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Tokina has announced the new atx-i 100mm f/2.8 FF Macro lens in Nikon F & Canon EF mount. This is the second lens in the new atx-i series of lenses. This new lens follows on from the 100mm f/2.8 AT-X M100 AF Pro D macro lens and just like the updated atx-i 11-16mm f/2.8, features … Continued
At Interbee 2019, Vocas was showing their new Microphone holder with shock absorber for 15mm rails. This product was designed specifically for Sony FS7/FS7M2 and FX9 users. The standard microphone holder on the FS7/FS7MS and FX9 is far from ideal. They are not very well made and a lot of users end up breaking the … Continued
The post Vocas Microphone holder with shock absorber for 15mm rails appeared first on Newsshooter.
The Lightstar LUXED-4 is a bi-color spacelite 720W lamphead. The LUXED-4 is a multi-purpose LED spotlight that combines 4 LUXED-S fixtures. It can be used as a space light and hung from above, or it can also be used as spot light when fixed on stand with the yoke. The light has been around for … Continued
The Dallas Area Rapid Transit system (DART) has agreed to pay blogger and photojournalist Avi Adelman $345,000 to settle a lawsuit in which Adelman alleged that he was illegally arrested for taking photos of someone being treated for an overdose.
The incident in question took place over three years ago, in February of 2016, when Adelman rushed to the scene of an overdose that was taking place on DART property. Adelman was documenting the victim as he was being treated by paramedics, when a DART officer approached him and demanded that he stop taking pictures and leave.
After refusing to stop and leave the scene several times, officer Stephanie Branch arrested him for criminal trespass (i.e. not having a transit pass). The entire interaction was captured by the officer’s Sony recorder:
The charge was dropped a week later and Officer Branch was disciplined for the arrest, but Adelman chose to sue both DART and Branch for infringing on his first, fourth and fourteenth amendment rights.
Despite both defendants trying to get the case thrown out multiple times—arguing, in part, that Branch believed Adelman was violating HIPPA medical privacy laws by photographing the victim while getting treatment—a federal judge in Dallas and the Fifth Circuit Court of Appeals both sided with Adelman, allowing the civil rights case to go forward.
All of this back and forth finally ended this week, when the DART board of directors decided to pay Adelman the requested settlement of $345,000 by a vote of 14-1.
“I was arrested – and spent a day in jail – on a bogus ‘throw-down’ charge of criminal trespass for one reason only: To stop me from taking photographs of paramedics treating a patient in public view on public property, which is a lawful activity and not a HIPAA violation,” said Adelman in a press release published earlier this week. “The subjective personal opinions of LEO personnel should never be allowed to interfere with lawful and protected First Amendment activities.”
In light of this settlement, he will be donating $2,500 to the NPPA’s advocacy efforts, another $2,500 to the Freedom of Information Foundation of Texas, and has promised to “work with, and support, First Amendment advocacy groups to make sure arrests like this never happen again, and to defend the photographer vigorously when it does happen.”
Finally, lest this three-year-long case between Adelman and a law enforcement officer give anybody the impression that Adleman is anti-police, he also wanted to make clear that the majority of officers he has interacted with have allowed him to do his job unencumbered.
“Ninety percent of the officers I encounter at police scenes just ignore the camera or cellphones. Five percent are asking, ‘Can you Photoshop my gut to a better size?’” says Adelman. “The last five percent are just pure ——-, and sadly, I keep running into those guys.”
Image credits: All photos by Avi Adelman, CC BY 2.0.
Canon is slowly filling out its mirrorless line, but there are still some cameras and lenses that photographers are waiting to complete their kits or to justify switching. The good news is that Canon seems to be planning a lot of releases for their mirrorless line in the first half of 2020.
Leica is back with another special edition product, this one featuring its Leica CL model launched in collaboration with British designer Paul Smith. The new Leica CL ‘Edition Paul Smith’ model’s tech specs are identical to that of the regular production model. Unique to the special edition, however, are ‘one-of-a-kind’ design elements inspired by Smith’s work.
According to Leica, this is the second special edition camera launched in collaboration with Smith. The designer’s handwriting is used as the font for the phrase ‘Look and see’ located on the back of the special edition camera, joining a ‘bold blue’ top plate and the use of ‘vibrant accent colors’ on the top buttons.
Rounding out the special design is a large eye illustration on the viewfinder and stripes along the camera’s bottom edge. Leica has limited the production of its Edition Paul Smith variant to 900 sets globally; they’re shipped with the Elmarit-TL 18mm F2.8 ASPH lens and a neon rope strap featuring both Leica and Smith branding.
The Leica CL ‘Edition Paul Smith’ set can be purchased from Paul Smith retailers, Leica Stores, and Boutiques for $3,995 USD.
The Trump impeachment hearings began yesterday, and as you would expect, there was a veritable throng of press coverage. But in the past few years, the camera landscape has changed quite a bit, and it is quite interesting to see the sort of cameras being used by press photographers there.
It’s no surprise the camera market is in a decline, earmarked by continuously-decreasing unit sales, revenue and operating income. It seems as though no company is safe from the impact of both smartphones and the general decline in demand for DSLRs, but while the numbers are indeed in a freefall, the reality is the actual macro-level outlook is far more nuanced than catchy headlines alone can tell.
To take a more overhead view of the camera industry, we’re dug into the industry-wide numbers from CIPA and broken down the most recent results from Canon, Nikon and Sony to compare them year-over-year (Y/Y) to see how things are shaping up.
CIPA provides an overarching view of how the camera industry is doing through the participation of nearly a dozen camera companies that report their production and unit shipments to CIPA on a monthly basis. Since we’re only looking at the last two quarters from Canon, Nikon and Sony, we’re only going to dive into the numbers for the corresponding months of CIPA’s data.
|CIPA’s September graph showing interchangeable lens camera unit sales over the past three years.|
From April 2019 to September 2019 (the latest statistical data CIPA has made available), CIPA reports 8M total digital camera shipments: 4.4 million interchangeable lens cameras and 3.6 million cameras with built-in or fixed lenses. This is an overall decrease of 22-percent Y/Y with a 23-percent decrease for interchangeable lens cameras and a 20-percent decrease in cameras with built-in or fixed lenses.
|CIPA’s September graph showing interchangeable lens unit sales over the past three years.|
These decreases are concerning, but still less dramatic than the Y/Y change from 2017 to 2018. This change could be due to a few factors, but the most obvious one is that both Canon and Nikon introduced their full-frame mirrorless systems in late 2018, which likely helped to slow down the declining market as consumers hopped onboard the newer systems. However, it’s clear from the following numbers that neither Canon nor Nikon saw their full-frame mirrorless options replace the declining sales of DSLRs as both companies had assumed.
For its FY2019 Q2 and Q3 numbers, Canon reported 2.06 million unit sales for interchangeable lens cameras and 1.36 million compact camera sales during its FY2019 second and third quarters, a decrease of 16-percent and 13-percent respectively Y/Y for the same time period.
|A breakdown from Canon’s Q3 financial presentation that highlights the units sold in Q3 as well as the net sales and operating income of its Imaging Systems division.|
This 16-percent decrease is less than the industry-wide 22% decrease as noted in CIPA’s data, but these two quarters last year were before Canon’s EOS R (and EOS RP) was announced and it’s likely DSLR sales were depressed in expectation of the new cameras being around the corner. So, while the numbers are better than the market in general, with all of the development and marketing that went into making its new RF-series gear, it’s merely softened the blow rather than boost unit sales.
In regards to finances, Canon has reported ¥394B ($3.6M) in revenue and ¥23B in operating profit over the past two quarters, a decrease of 19-percent and 59-percent, respectively. It’s worth noting the drop also includes the loss of revenue and profit from the broadcasting and cinema gear that was included in last year’s numbers and has since been moved elsewhere within Canon’s business structure.
|A breakdown of the net sales and operating income of Canon’s respective business divisions for its third quarter.|
Throughout its presentation for investors, Canon specifically references the ‘deterioration of [the] macro-environment,’ which is more or less investor spin for the camera market is in decline—a fact backed up by CIPA numbers, as well as numbers from other camera manufacturers during the same time period. Canon also echos the sentiment that you’ll see in Nikon and Sony’s report below, saying there is ‘intensifying price competition.’ Interestingly though, Canon isn’t downgrading its forecast for the remainder of the year—something Nikon has done for two straight quarters now as you’ll see below.
Canon also notes that it’s working to lower inventory before the end of FY2019. Based on numbers provided, Canon has ¥157B worth of inventory as of the end of FY2019 Q3; less than it had this time last year (¥174B), but still higher than previous FY2019 quarters.
|A breakdown from Canon’s Q3 financial presentation that discloses current inventory levels compared to previous quarters and last year.|
Something always worth keeping in mind is that Canon’s Imaging Systems business accounts for a relatively small percentage of its overall income. Based on the numbers from FY2018, Canon’s Imaging Systems division represents 25-percent of its overall revenue and 37-percent of its operating profit.
Also, Canon’s FY2019 numbers are skewed when looked at Y/Y, as it moved its broadcasting equipment and cinema-use video cameras from its Imaging System division to its Industry & Others division.
Moving onto Nikon, the numbers don’t get any prettier. In its most recent financial statements covering the past two quarters, Nikon says it’s sold 800K interchangeable lens cameras, 1.3M interchangeable lenses and 500K compact cameras. These numbers are down 25-percent, 21-percent and 41-percent Y/Y, respectively.
|Revenue, Operating income and unit sales broken down in Nikon’s Q2 financial presentation.|
In its financial presentation for investors, Nikon has updated its forecast for how my units it expects to ship this coming fiscal year, as well as the number of units it expects the digital camera market as a whole to bear. Nikon believes it will sell 1.5M interchangeable lens cameras, 2.5 million interchangeable lenses and 900K compact cameras, down 100K units across the board compared to its previous forecast from August 2019 and down 28-percent Y/Y.
Comparing Nikon’s numbers to Canon show the situation is far more dire for Nikon. Canon’s EOS R and EOS RP haven’t done as well as Canon expected, but Canon is forecasting unit sales to drop 17-percent Y/Y whereas Nikon’s forecasting nearly double that at 28-percent. This means Canon is expecting a decline less than the market as a whole according to CIPA’s numbers whereas Nikon is six percentage points worse than what CIPA is reporting.
|A chart from Nikon’s Q2 financial presentation that breaks down the sales of its ILCs, interchangeable lenses and compact camera unit sales.|
In addition to unit sales, Nikon’s revenue and operating income aren’t cheery either. Over the first half of its FY2020, Nikon reported 119B yen in revenue and an operating profit of just 2B yen. Compared to the first half of its FY2019, those numbers are a 21-percent and 85-percent decrease, respectively.
Much like Canon with its RF-series, the cost Nikon has sunk into its Z-mount system and accompanying lenses has likely contributed to the massive decrease in operating profit. It’s not cheap to develop new systems and lenses, especially considering the amount of capital required to get new factories and fabrication up and running at full scale.
|A chart from Nikon’s Q2 financial presentation showing revenue, operating income and unit sales figures compared to last year, as well as the forecast for the remainder of this fiscal year.|
Nikon specifically calls out its Imaging Products Business in the presentation, saying it was the only division that wasn’t ‘mostly in line’ with its estimates. The materials specifically say the camera market ‘has deteriorated further as market shrinkage accelerates and competition intensifies.’ It also cites the increased cost of its Z-mount system lineup expansion as ‘a burden’ to its operating profit and notes it overestimated the sales forecast of its Z-series cameras.
For a company that’s stated in the past that its Z-series is more or less the future of the company, continually low numbers isn’t the best look, especially considering how much Nikon relies on its camera division compared to the likes of Canon and Sony. Nikon goes so far as to say it hopes to ‘fundamentally transform’ its Imaging Products Business to ‘generate enough profits to justify [the Imaging Products Business] existence as a business unit.’
Of all the financial results we look at, Sony’s has consistently been one of the most challenging to gain details insights on. Due to how they structure their business segments, we can’t really delve into the figures in detail as we can with Canon and Nikon. However, Sony didn’t specifically mention anything too positive or negative about its camera division, which hints that there wasn’t anything too notable about its latest quarters.
|A breakdown of sales and operating income for Sony’s Electronics Products & Solutions division. This division includes Sony’s camera sales, as well as mobile devices, televisions and other electronics.|
According to Sony’s current Q2 and Q3 reports, its Electronics Products & Solutions EP&S segment — which includes digital cameras amongst other electronic products — pulled in 977.4B yen in revenue and 66.5B yen in operating profit. This is a decrease of 13-percent and an increase of 35-percent Y/Y, respectively. Sony doesn’t elaborate much on the sales of camera gear, aside from saying that overall unit sales have decreased year over year.
|A breakdown in sales and operating income for Sony’s Imaging & Sensing Solutions division, which is responsible for the manufacturing of its imaging sensors.|
Moving onto Sony’s Imaging & Sensing Solutions (I&SS) segment, which is a separate — but related — business responsible for making its image sensors, the latest reports put its cumulative Q2 and Q3 earnings at 541B yen and 126B yen. This is an increase of 18-percent and 64-percent, respectively. Sony says a ‘significance increase in sales of image sensors for mobile products,’ mostly due to smartphone manufacturers now putting multiple camera units in their devices, as the main reason for such dramatic growth Y/Y in both revenue and operating profit
All in all, there’s plenty to take away from the latest numbers and results. The digital camera market continues to shrink and although full-frame mirrorless cameras from Canon and Nikon are somewhat picking up the slack in sales, they’re not entirely canceling out the decrease in DSLR shipments—especially for Nikon.
Furthermore, the cost of research and development (not to mention marketing and promotional material) that goes into launching cameras and lenses with new mounts has dramatically impacted the operating profits of the imaging divisions. As Canon and Nikon continue to pump money into their newer systems, operating profit will likely stay low until economy of scales kicks in and the new fabrication components are paid off. But declining DSLR and compact sales without corresponding growth in the mirrorless market isn’t going to make the transitions any easier to get through.
The market appears to be dropping at a slower rate than it has in past years, but it’s still not great news. At what point it will stabilize remains to be seen, but with an Olympic year next year and more mirrorless developments in the work across the entire industry, it’ll likely be a while until we find out.
It’s been a decade since The Fantastic Mr. Fox was released and our appreciation has only grown deeper over time.
Wes Anderson is known for his cunning dialogue and whimsical visuals within the live-action realm, but when he announced he was making a stop motion movie, it felt like an ancient prophecy was being fulfilled. Years of hard work resulted in The Fantastic Mr. Fox, a star-studded film that took on a children’s book and added the snark and heart that made it a classic.
Now, ten years later, we look back at this quiet masterpiece and appreciate things we might have missed at the time.
Check out this video from the Royal Ocean Society and let’s talk after the jump.
It’s crazy to think about, but in 2009, Wes Anderson was on a downward turn.
Darjeeling Limited was not a critical darling and The Life Aquatic failed hard at the box office.
Sony Japan has issued a service advisory for a limited number of 16-35mm f/2.8 G Master lenses, which are apparently causing cameras to malfunction when attached. If your lens is affected, Sony will inspect and repair it free of charge.
The advisory, which has only appeared in Japan thus far, warns that certain Sony FE 16-35mm f/2.8 GM lenses cause your camera to malfunction when attached to a full-frame mirrorless Sony alpha system camera. The issues identified by the advisory (and translated by Google Translate) are:
- Camera does not accept operation when this lens is attached
- Camera screen does not display properly when this lens is attached
Serial numbers between 1800502 and 1823192 are affected.
If your lens’ serial number falls into that range, the advisory page includes a form where you can input your serial and see if your specific 16-35 is affected by this recall. If it is, Sony is offering to inspect and repair it free of charge any time between now and March 31st, 2023.
It’s worth noting once again that this particular product advisory has only been posted to the Sony Japan website, and does not appear on the English language support page for the 16-35mm f/2.8 GM. We’ve reached out to Sony to find out if this issue is limited to lenses sold only in Japan, and will update this post if and when we hear back.
(via Sony Addict)