Cinema5D writes: During Johnnie’s latest visit to Japan he was lucky enough to be the first journalist who was allowed to independently film at SIGMA’s Art and cinema zoom lenses production line. Hope you will enjoy this short video, as he was trying to make you guys feel as if you were visiting the factory […]
Pictured is Mr. Takashi Arai, one of several Ricoh executives we sat down with. Mr. Arai represents the Product Planning Department, within the Product Development Center of Ricoh’s Smart Vision Business Group.
Recently we visited the 2018 CP+ show in Yokohama, Japan and booked an in-depth interview with several executives from Ricoh. Among the topics covered were the company’s new K-1 Mark II, as well as the future of both the GR series and 360 imaging with the Theta line.
The following interview has been edited slightly for clarity and flow.
What is your ILC strategy for your next generation of products?
We have lots of requests for lenses, especially from K-1 users. They want more lenses that match the higher resolution of the K-1, so that’s one objective which we would like to implement.
The K-1 Mark II, pictured here with the not-yet-released D FA* 50mm F1.4.
As you may know, we will be releasing the 50mm F1.4 SDM AW this Spring, although we cannot specify the exact date. We also have the new 11-18mm F2.8 lens for APS-C, so we’re not only focusing on full-frame. We want to enlarge [the lens selection for] both formats.
What kind of customers are buying the K1/II and KP?
Especially for the K-1, customers who are looking for higher resolution in the field of landscape photography and [appreciate] our tough body construction and weather and dust resistance. Lots of customers who really use this camera in the field are very fond of the new K-1 series.
Will we ever see another Ricoh / Pentax mirrorless camera, such as the K-01?
The Pentax K-01 was a mirrorless camera that used the full-depth Pentax K-mount, allowing full compatibility with existing → continue…
Japan’s national public broadcasting organization NHK is developing an 8K slow-motion camera capable of recording ultra-high-definition content at 240fps. The technology was announced in a press release (partially translated here), and will be showcased at NAB 2018 in Las Vegas next week. Though 8K monitors and televisions are still in their infancy, the broadcaster is pioneering 8K technologies in anticipation of future demand.
To that end, NHK also plans to showcase a new 8K VR display during NAB 2018. The display is designed to eliminate the pixelated look common to current VR headsets.
NHK’s 8K 240fps camera
Finally, future 8K broadcasts may benefit from the NHK’s new transmitter technology, which reduces an 8K broadcast from a huge 40Gbps to a more manageable (but still huge) 8Gbps. The transmitter then converts the content into an IP-based signal for live broadcasting, a process that allegedly happens in “tens of microseconds.”
According to AV Watch, NHK anticipates using its new 8K technology for sports broadcasts (think Tokyo 2020 Olympics) and other content featuring fast-moving objects starting later this year. Unlike existing solutions, the NHK system is said to offer better compression and transmission for a very low delay while maintaining 8K quality for live shows.
Taken in Kyoto, this is one of my favorite pictures from our recent visit to Japan, and one that I don’t think would work in black and white. My challenge on the trip was to start seeing – and creating – pictures that would.
Leica M10, 35mm @ F1.4, ISO 1250
Let me begin this article by explaining what it isn’t. This isn’t a review of the Leica Monochrom (specifically the Typ 246 but henceforth referred to simply as ‘Monochrom’ since life is short). We all know that the Monochrom is a strange and unique camera,1 priced and positioned in a way that puts it out of reach for most photographers, myself included. But that’s why it’s so fascinating, and why when I got the opportunity to borrow one for a recent trip to Japan, I jumped at the chance.2
Over the years, my ‘no black and white’ rule for personal work has become pretty firm
My relationship with black and white imaging is complicated. I started out in the late 90s shooting black and white film, but since switching to digital in the early 2000s I’ve worked entirely in color. Very rarely – if ever – do I convert an image into monochrome unless at the request of one of my friends who wants to class-up their online dating profile. Over the years, my ‘no black and white’ rule for personal work has become pretty firm.
This display case is full of urns of earth, collected from WW2 cemeteries across the world. The colors of the flags have faded almost to the point where this scene is monochromatic.
Leica Monochrom, 28mm @ F2.8, ISO 6400
Why such a rigid personal policy? Catch me on an especially bumptious day → continue…
Recently we visited the 2018 CP+ show in Yokohama, Japan and booked an in-depth interview with Panasonic. Among the topics covered were the company’s new twin flagships, the Lumix GH5S and G9, as well as how Panasonic hopes to grow their appeal to professional and advanced amateur stills photographers.
The following interview has been edited slightly for clarity and flow.
Why did you feel that the GH5S was necessary, when the updated GH5 is in many ways so competitive?
The Panasonic Lumix GH5S comes with an oversized 10MP sensor that forgoes a stabilizer, but allows for shooting in multiple aspect ratios without cropping the field of view.
For the GH5, we aimed for hybrid users shooting both photos and video. We thought that we needed 20MP for stills, and that was kind of a compromise for video users. With the GH5S, we had a lot of video users who wanted more video capability, but with the conventional [20MP] sensor, it was quite difficult to shoot in low light situations because of [hardware and software] limitations.
Professional shooters will prefer a multi-aspect sensor versus IBIS
So we developed a video-centric camera to open up more freedom for video users by having a 10MP sensor, which is good for low light. Also, we incorporated multi-aspect ratios, which many people prefer to have. For example, professional shooters will prefer a multi-aspect sensor versus IBIS.
Is there a technical reason why the G9 and GH5-series continue to rely on contrast-detect autofocus with depth-from defocus technology in preference to a hybrid/PDAF system?
Shigemi Sugimoto, Head of Olympus’s imaging business unit. Pictured at the CP+ show in Yokohama, Japan.
At last month’s CP+ show in Yokohama, we met up with Shigemi Sugimoto, Head of Olympus’s imaging business unit. During our interview, Mr. Sugimoto explained where he sees the most opportunity for Olympus, and how his company will continue to differentiate itself from the competition.
This interview (which was conducted through an interpreter) has been edited for clarity and flow.
You’re relatively new in your role as head of the imaging business unit. How will your leadership change the company?
We’ve gone through a painful period, in the past. We had to shrink the size of the business, and that was reflected in our product lineup – especially the compact cameras. But now it’s time to enhance [and grow] the imaging business and catch up in terms of market share. Part of this will be enhancing our lineup.
How long have you been with Olympus?
I joined Olympus 32 years ago, initially in the accounting department. I’ve been with the imaging division for ten years. In 1997-2002 I worked in Hong Kong, where I established our factory in China.
What was your first Olympus camera?
A compact, at first but I replaced it with a PEN E-P1.
Our first priority is what we call system mobility – not just the size of our camera bodies, but the entire system
What are your ambitions for Olympus’ range of photography products going forward?
We’re focused on the mirrorless ILC category, because we’re concentrating on portability and reliability. This is our value in the market. Our first priority is what we call system mobility – not just the size of our camera bodies, but the entire system, such as our telephoto lenses. Because of the benefit of the 2X crop factor → continue…