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CAMERA BUYER’S CHECKLISTS
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RE-CONCEIVED PERCEPTIONS
MARCH/APRIL 2021 Some of the product testing I’ve been can stay at home as well. OK, so viewfinding can
doing for this issue has challenged be pretty tricky (especially with the 800mm) and
Future Publishing Australia accepted wisdom, and that’s a good thing. you’ll start working the ISO settings like never
PO Box 1077 Mount Street, In any pursuit, it’s easy to get locked into before, but this is the digital-era solution to the
North Sydney, NSW 2059 certain thoughts and practices that can actually end fixed aperture… especially on the latest-generation
Tel: 02 9955 2677 Fax: 02 9955 2688 up being restrictive, preventing you from thinking mirrorless cameras.
Email: [email protected] outside the box.
Web: www.digitalcameraworld.com/australiancamera Which brings me to the Sony A7S III. So it’s a
Firstly, there was Canon’s fixed-aperture 600mm video-centric full-frame mirrorless camera with a
Subscription enquiries: and 800mm supertelephotos for its RF mount modest 12 megapixels to work with, right? Yes, but,
Please call CRM on (02) 8227 6486 full-frame mirrorless camera system. Wouldn’t you conventional wisdom up-ended, neither of these
have liked to be a fly on the wall at that product things diminish its potential as a stills camera. It
Editorial planning meeting? You think we should do what? is, in practice, a truly superb stills camera and,
Editor: Paul Burrows Are you mad? Photographers will never go for it. despite all the allure of the A7R IV, the A7 III or
the A9 II, right now it’s my absolute favourite Sony
[email protected] These are legitimate concerns because we
really are conditioned to having control over Alpha camera. Why? Because each of those
Art Director: Kristian Hagen the setting of apertures – not just to 12 million pixels is really, really big and that
[email protected] manage exposures, but translates into superlative image quality
to play with depth-of- thanks to the much higher signal-
Sub-editor: Sharmishta Sarkar field. Unless you’ve to-noise ratio. I call it the “big
[email protected] regularly used a pixel look” because there’s a
mirror lens, not smoothness and linearity to
Contributors being able to adjust the tonality that’s unmatched…
Bruce Usher, Trevern Dawes, Stephen Dawson, the aperture feels and the detailing is still super
Alison Stieven-Taylor. very alien indeed. crisp. Definition isn’t just about
For starters, shutter- resolution. It’s also about
Photography priority auto exposure having a wider dynamic range
All copyrights and trademarks are recognised control doesn’t really and a significantly increased
and respected. work anymore – you sensitivity, so noise – or, more
might as well be using precisely, the effect of noise
Advertising the manual mode – and reduction processing – doesn’t
Advertising Director: Jim Preece working the light involves just that… become an issue until you’re well
work. You can’t just sit back and let the into the upper end of the ISO range,
[email protected] camera sort it all out because the fixed like ISO 51,200. The Sony’s ISO 409,600
Advertising Manager: Lewis Preece f/11 has already throttled back the exposure
even before you get to grips with just how much highest extension setting is still pie-in-the-
[email protected] light is available… or not. And then, of course, what sky, but this camera is unmatched in the range
Advertising Liaison: Diane Preece are you generally shooting with a supertelephoto? of ISO 1600 to 25,600 which has many practical
Yup, stuff that moves, usually fast. This means implications not just for low-light photography, but
[email protected] higher shutter speeds and, of course, optical image when you need to use very fast shutter speeds
stabilisation won’t help you here because it’s only or, not surprisingly, if you have a supertelephoto
Management designed to help you out when shooting at slower lens with a fixed aperture of f/11. RF to FE mount
Managing Director: Neville Daniels speeds. You can start to see why nobody has gone adapter anybody (yes, there is one)?
down this path before, can’t you? What’s made it
Printed by IVE GROUP worth considering optically is the mirrorless camera The biggest irony with the A7S III though is,
configuration, and Canon has then decided to go that while it’s undoubtedly primarily designed as a
Distributed in Australia and NZ by Ovato ovato.com.au further and thrown in added affordability by ditching pro-level video camera (and it’s definitely brilliant
ISSN 1449-0137 the diaphragm. So you get a 600mm that weighs in here too), it’s the purist’s still camera, and that’s
at under a kilo and easily fits into a standard photo because it’s also the purist’s video camera. Looking
We are committed to only using magazine paper which is derived from backpack thanks to a collapsible barrel design. The at it this way then, it’s arguably the most hybrid of
ȸƺɀȵȒȇɀǣƫǼɵ ȅƏȇƏǕƺƳً ƬƺȸɎǣˡ ƺƳ ǔȒȸƺɀɎȸɵ ƏȇƳ ƬǝǼȒȸǣȇƺٮǔȸƺƺ ȅƏȇɖǔƏƬɎɖȸƺِ Áǝƺ 800mm is only marginally longer and heavier, and the current hybrid mirrorless cameras.
paper in this magazine was sourced and produced from sustainable managed both lenses cost a fraction of the conventional
forests, conforming to strict environmental and socioeconomic standards. The equivalents. Better still, they work brilliantly – Here’s to more challenges to the many long-held
manufacturing paper mill holds full FSC (Forest Stewardship Council) or PEFC handheld shooting is a breeze and the optical pre-conceptions in photography.
ƬƺȸɎǣˡ ƬƏɎǣȒȇ ƏȇƳ ƏƬƬȸƺƳǣɎƏɎǣȒȇ performance is sensational. If you want some extra
support – which you might with the 800mm – a
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Future plc is a public Chief executive Zillah Byng-Thorne OUR FRONT COVER Camera magazine is a
company quoted on the Non-executive chairman Richard Huntingford member of the Technical
London Stock Exchange Starring on this issue’s cover is Sony’s A7S III, which has proved to be full Image Press Association.
(symbol: FUTR) !ǝǣƺǔ ˡ ȇƏȇƬǣƏǼ Ȓǔˡ Ƭƺȸ Penny Ladkin-Brand of surprises. It’s primarily designed for video-makers, but turns out to be Visit www.tipa.com
www.futureplc.com a superb stills camera too. Find out why by turning to page 62.
Tel +44 (0)1225 442 244 03
CONTENTS Image © Bruce Usher
AUSTRALIAN CAMERA MAGAZINE /// MARCH/APRIL 2021
56
BOOKS
BRUCE USHER;
COAST
TREE STREET
04
REGULARS 28 PROFILE Fujifilm X-S10 – P 32
ANTHONY GORDON
6 WHAT’S NEW AND NOTHIN’ BUT SHORTS ON TRIAL
INTERNATIONAL
2021 is already starting to shape up as a big 32 ON TRIAL
year for important new cameras with the arrival A successful filmmaker and enthusiastic FUJIFILM X-S10
of Sony’s Alpha 1 mirrorless flagship, Fujifilm’s photographer, Anthony Gordon has combined
more compact (and affordable) 102MP his passion for imagery with his passion for On paper, Fujifilm’s X-S10 looks like a curious
GFX 100S, and Leica’s multi-talented SL2-S… people to create an internationally successful mixture of higher-end functionality with a few
and there’s plenty more to come. Also making video production company. lower-end design elements but, in practice,
news in this issue is a new line of mirrorless it all comes together very effectively…
prime lenses from Sigma, the 39th FE mount 40 THE NAME BEHIND and affordably.
lens from Sony (a 35mm f/1.4 wide-angle) and THE CAMERA
Fujifilm’s latest X-E series camera body. VICTOR HASSELBLAD 46 ON TRIAL
CANON RF 600mm f/11
26 LIGHT WORK He started out designing his dream camera AND 800mm f/11
for photographing birds and ended up being
These pictorial features are designed to help the name behind some of the most historically In politics, a move like this would be called
you better appreciate how photographers significant photographs ever taken. Victor “courageous”, but Canon’s fixed-aperture f/11
deal with subjects and situations, including Hasselblad was a keen photographer from a supertelephotos look to be more inspired than
some useful tricks of the trade. In this issue, young age, and this passion eventually took his anything else. Yes, they demand a different
landscape photographer Trevern Dawes explains innovative cameras all the way to the Moon. way of working, but a handheld 800mm for full
how to use ‘intentional camera movements’ – frame? C’mon!
yes, it’s a thing – to create dramatic abstracts. 56 BOOKS
BRUCE USHER AND 52 ON TRIAL
78 FUJIFILM SHOWCASE 2020 COAST TREE STREET CANON RF 100-500mm
f/4.5-7.1L IS USM
With each round, there’s the chance to win Australian Camera contributor Bruce Usher has
a year’s subscription to Australian Camera distilled his long and illustrious photography Canon has really got its teeth into designing
magazine, so get those entries in.by sending career into a superb book that covers the three lenses that make the most of the mirrorless
digital files to us on either a DVD or USB drive, main subjects that have always motivated him camera configuration. The RF 100-500mm
or enter online at [email protected]. to pick up the camera. telezoom packs a lot of focal range into a
very manageable lens that’s consequently
80 CAMERA BUYER’S 70 CLASSICS hugely versatile.
CHECKLISTS DSLRS AND THE RISE AND FALL
MIRRORLESS CAMERAS OF THE COMPACT CAMERA 62 ON TRIAL
SONY A7S III
We’re not very long into 2021 and already Through the 1970s, ’80s and ’90s the compact
there’s plenty of exciting new cameras to tempt 35mm film camera reigned supreme and By making its third-generation A7S the purist’s
you. If you’re ready for a change, here’s where ranged from cheapie snappers to sophisticated hybrid video camera, Sony has also made it
to start. Where the camera companies don’t high-end models. The concept survived into the the purist’s still camera. Don’t worry about
provide RRPs, we’ve worked out an average digital era… for a while. But then along came the 12 megapixels res – it’s enough for many
‘street price’ based on what we’ve seen quoted the smartphone. Here’s the story behind the applications – but check out the dynamic range
by the leading Australian photo retailers over most popular category of camera ever. and the low-light performance, which is nothing
the last few weeks. . short of epic.
FEATURES
18 FAREWELL TO PHOTOKINA
After 70 years, the world’s biggest camera fair
is no more. Covid-19 was probably the final
nail in the coffin, but Photokina had been in
decline for a while. Paul Burrows looks back at
the exhibition’s heyday and considers the wider
implications of its demise.
05
WHAT’S NEW COMMENT
INSEAWPFOUCJKIFEITLMROXC-KE4ET ABOUT TIME
FUJIFILM CONTINUES TO million dots. The X-E4 has a single AT THIS POINT in time there’s a good chance quite a few of you
fine-tune its X-mount camera line- memory card slot for the SD will be starting to think about replacing your DSLRs. Believe it or
up, and the X-E series has been format, but UHS-I speed only. not, it’s now been at least four years since the activity in new model
given a reset with the much more The feature set includes 18 Film DSLRs started to decline, so there’s probably plenty of you with
compact X-E4. The X-E cameras Simulation profiles, multi-shot HDR cameras now coming up to five years old or maybe even longer in
have rangefinder-like styling, but capture, an intervalometer, focus the tooth. Of course, if everything is going swimmingly and you’re
the X-E4 is actually closer to the bracketing and a selection of eight completely happy with what you’ve got, there’s no law that says you
X-A series in size while still having a Advanced Filter special effects. have to replace or upgrade. But, hey, this is photography and part of
built-in EVF and tilt-adjustable LCD the fun is buying new gear. Plus, in digital imaging technology terms,
monitor. Just 32.7mm in thickness On the video side, the X-E4 can five years is a long time.
(without a lens) and weighing 364g, record 4K DCI and 4K UHD video at
the X-E4 is slim enough to be easily 24, 25 or 30fps, oversampled from In the good old days you’d have simply checked out the latest
carried in a jacket pocket. 6K. Internally, it records 8-bit 4:2:0 DSLR offerings from your favourite camera maker, done the deal and
colour, but 10-bit 4:2:2 sampling is happily gone on shooting. No really big decisions to make and limited
The X-E4 also steps up to the available externally via HDMI. Full financial pain. If you look at the DSLR page in our Camera Buyer’s
current-generation 26.1 megapixels HD can be recorded at up to 240fps Check Lists, you’ll note that there’s still a reasonable selection of
X-Trans CMOS 4 BSI sensor and for super-slow-mo effects when models available to buy new. But look closer and you’ll realise that
the X Processor 4 engine. With the output at 24fps. not many are actually new… in fact, quite a number of them are five
newer sensor, the X-E4 inherits a or six years old. Unless you want more of the same, just with fewer
425-point hybrid phase/contrast- Fujifilm has also announced clicks on the clock, the choice of more current DSLRs is actually
detection autofocusing system that two new XF lenses – a new pretty limited – Canon EOS 90D and Nikon D780 if you’re looking
gives virtually full-frame coverage version of the 27mm f/2.8 mid-range; EOS-1D X Mark III or D6 if you’ve got the budget for a
and is sensitive down to EV -7.0 ‘pancake’ prime and a 70-300mm pro-spec body.
(albeit with the super-fast 50mm f/4.0-5.6 telezoom. The updated
f/1.0 prime lens only). Subject 27mm (equivalent to 40mm) has What this means is that, like it or not, you’re essentially being
tracking is enhanced by Fujifilm’s weather sealing and a manual herded into the mirrorless pen where the choice continues to expand
latest upgrades to its face/eye aperture collar. It’s just 23mm in (currently at 70 models from eight brands) and ranges from entry-
detection algorithms. Continuous lengths and weighs 84g. The new level to pro. There really isn’t any reason not to like the mirrorless
shooting is possible at up to 20fps XF 70-300mm f/4.0-5.6 R LM OIS concept – it brings quite a few performance advantages – but making
using the camera’s electronic WR also has a weather sealed the switch isn’t entirely straightforward. The electronic viewfinder
shutter or up to 30fps with a construction and is equivalent to makes for a different user experience and, I suspect, is at the top of
1.25x crop (giving an image size of 107-457mm. It has optical image the list why many DSLR users want to hang onto their reflex mirrors.
16.6MP). The X-E4 also has a ‘Pre- stabilisation of up to 5.5 stops of But EVFs continue to get better and better, so it’s a case of taking a
Shot’ function that commences correction for camera shake. deep breath and moving on. Arguably the biggest issue is lenses and
continuous capture as soon as the the fact that, just as we found out during the transition from film to
shutter release button is at the The XE-4 is available locally now digital, anything other than dedicated optics is a compromise. OK,
halfway position. priced at $1,399 for the body only mount adapters work fine, but you don’t get any of the benefits of
or $1,799 when packaged with the the lens that’s been specifically designed to make the most of the
The EVF uses a 1cm OLED new XF 27mm f/2.8 prime lens. mirrorless camera configuration.
panel with a resolution of 2.36 Separately, this lens sells for $699
million dots and magnification of while the XF 70-300mm f/4.0-5.6 So you’re gonna need new lenses and, that being the case, is
0.62x (35mm equivalent). The rear zoom is priced at $1,449. now the time to switch brands, change sensor size or both?
screen can be tilted through a full For more information visit Decisions, decisions. We feel your pain.
180 degrees and has touch www.fujifilm.com.au.
controls. The resolution is 1.62 It would seem to make sensor to stick with the brand you’ve been
using, which means Canon, Nikon or Pentax, but it’s hard to ignore
what’s on offer from Fujifilm, Panasonic, Olympus or Sony given all
now have much bigger mirrorless lens systems thanks to getting
started a whole lot earlier. And do you make it a gradual transition
(i.e. keep using a few DSLR lenses with adapters) or do you bite the
bullet and do a full system switch lock, stock and barrel? Don’t forget
you’ll need to think about all the accessories too… battery grips, flash
guns and filters (although some fittings may be the same).
I’m probably not telling you anything you don’t already know here,
but let me assure you of one inescapable fact – this is a decision you
will have to make sooner or later. The DSLR’s days are numbered
because neither Canon nor Nikon have the resources to keep
developing them when clearly the main game is now mirrorless. Both
are working overtime to get up to speed and, of course, to keep you
in the fold.
The good news is that time is on your side – the mirrorless
systems are only going to get bigger and better – so you don’t need
to rush. Do your research, consider all the realistic options, and
carefully analyse the pros and cons. Having been through the
exercise myself about 18 months ago (and after over 40 years of
shooting with reflex cameras), the one thing I can promise you is that
you won’t look back.
- PAUL BURROWS, Editor.
06
AT T E N T I O N TO
Elevate your images into a realm of unprecedented realism with sharp detail from corner to corner. The new Z 7II and
revolutionary NIKKOR Z 50mm f/1.2 S will further unleash your creative potential. With intuitive operation, accurate AF and
Dual EXPEED 6 image-processing engines, this Z system evolution lets you make high-resolution 45.7-megapixel files at your
own uninterrupted shooting rhythm. Explore your creativity without worrying about your gear, even in the harsh nature.
A stunning moment that stands still forever: immerse yourself in it.
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ń ĝ İıĘ ĺĻĝ
İ ı ĝ
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WHAT’S NEW
HSOANSY50AMLPPHWA IFTLHA3G0SFHPIPS allow for faster delivery of sports and
news pics.
SONY CONTINUES ON its merry way to Sony is claiming a dynamic range of 15 stops for
what must surely be eventual dominance of the both stills and video. All the number crunching is The Alpha 1 has in-body image stabilisation
interchangeable lens camera (ILC) market. As if done by Sony’s latest generation Bionz XR chip of up to 5.5 stops of correction for camera shake
the A7R IV, A9 II and A7S III didn’t already hit all that enables the 30fps stills shooting and video and five-axis movement when combined with
the right spots, here’s the Alpha 1 which, as you at 8K/30p or 4K/120p. A large buffer memory optically stabilised lenses. An ‘Active Mode’
can probably tell from the emphatic model enables a burst length of up to 165 best-quality adds electronic stabilisation to enable smoother
designation, is the alpha male in Sony’s full- JPEGs or 155 compressed RAW files. Like the handheld video shooting. Sensor shifting is also
frame mirrorless line-up (now numbering nine). A7S III, the Alpha 1 has dual ‘multi slot’ memory used to deliver ‘Pixel Shift Multi Shooting’, which
card compartments that support CFexpress Type generates 16 images that merge into one with a
You pretty much get the best of all three of A and UHS-II speed SDHC/XC. For the first time resolution of, ahem, 199 megapixels.
the aforementioned cameras wrapped up in the on a Sony A-series camera there’s the option of a
Alpha I, which has a 50.1MP sensor, but can also lossless compressed RAW capture mode, There’s a new mechanical shutter with
shoot at 30fps and, like the A7S III, delivers 4K joining the lossy compressed carbonfibre blades and a dual drive system
UHD video at 120fps with 10-bit 4:2:2 colour. and uncompressed modes. employing both a spring and electromagnetic
Unlike the A7S III though, it can also shoot 8K In addition to JPEGs, the actuator for both lightness and durability. Flash
video internally at 30fps with 10-bit 4:2:0 colour Alpha I can also record 10- sync is possible up to 1/400 second. Further-
sampling. Take that, Canon! The Alpha 1 also has bit HEIF images with more, with the electronic shutter (specifically
the fabulous 1.6cm and 9.44-million dot OLED higher definition and the ‘electronic first curtain shutter’) flash sync
EVF from the A7S III, but souped up further a wide colour is now at up to 1/200 second. The mechanical
with a refresh rate of 240fps – a world first. And gamut. There’s a shutter automatically closes when the camera
even at 30fps you still get full AF/AE adjustment new ‘Light’ is switched off, so the sensor is protected when
(carried out at 120 calculations per second), with compression the lens is removed. Autofocusing is the same
a no-blackout viewfinder too. Is there any key setting for updated hybrid system as was introduced with
spec anywhere that Sony hasn’t trumped with both JPEGs the A7S III, using 759 phase-detection points
the Alpha 1? and HEIFs and 425 contrast-detection to give 92% frame
for a coverage and EV -6.0 low-light sensitivity. The AI-
The sensor is a brand new Exmor RS CMOS, smaller based object-recognition tracking now has a new
which means it combines both backside- file mode for birds, in addition to the existing ones
illuminated and stacked design elements to size for humans and animals.
optimise sensitivity and speed. The native to
sensitivity range is equivalent to ISO 100 to Needless to note, the Alpha 1 has a fully
32,000 with extensions to ISO 50 and 102,400. weather-sealed magnesium alloy body, but it
also employs the same passive heat sink
arrangement as the A7S III to enable video
recording at high bit rates for durations of up
to an hour. It also has this camera’s 16-bit RAW
video output (at 4K/60p) over HDMI, which is
again a full-size Type A connector. Wi-Fi
connectivity supports both the 2.4 and 5.0 GHz
bands (the latter with 2x2 MIMO support), and
there’s also a built-in 1000BASE-T LAN
connector. The camera’s USB Type C connector
allows tethered shooting and in-camera battery
recharging. The Alpha 1 again uses the higher-
capacity NP-FZ100 lithium-ion pack and can be
fitted with the optional VG-C4EM battery grip.
Not surprisingly, all this comes at a price and
Sony Alpha 1 body will set you back $10,499.
It’s available in Australia now and for more
information visit www.sony.com.au.
08
“The perfect Accompaniment for the
New Canon R5 & R6”
AF 14mm F2.8 RF
AF 85mm F1.4 RF
WHAT’S NEW
F1AM0UFS2JMMBIFOPAILDLIMLNYETPROACKS a maximum image size of 11,648x8736 pixels the famed Film Simulation profiles, and the GFX
with the option of capturing 14- or 16-bit RAW 100S gets a new one – bringing the total to 19
THE FOURTH DIGITAL medium format files. JPEGs can be captured at one of three – called Nostalgic Neg. According to the Fujifilm
mirrorless camera from Fujifilm, the GFX 100S compression levels and with a choice of three press release, here’s what it does: “Its unique
combines the 102MP sensor from the GFX 100 image sizes. For the record, the sensor size tonality adds an amber tone to highlights for a
with a more compact and lighter body similar of 43.8x32.9mm is 1.7x bigger than full-35mm softer look and boosts saturations to shadows,
to that of the GFX 50S. In fact, the GFX 100S and 4x bigger than APS-C. The sensitivity range while preserving details, to give a lyrical feel
weighs in at a modest 900g (500g lighter than spans ISO 100 to 12,800 with extensions to to images”. In a nutshell, what you’re getting is
the GFX 100) and measures a very manageable ISO 50 and 102,400. The sensor has 3.76 million 1970s colour repro.
150x104x87 mm (WxHxD) – yet it still PDAF pixels as part of the camera’s hybrid
incorporates in-body image stabilisation, a 3-inch autofocusing system which employs 425 Released along with the GFX 100S is a
rear screen with three-way tilt adjustments, and measuring points to give close to 100% new and faster GF mount standard lens, the
full weather protection including for shooting in frame coverage. 80mm f/1.7 R WR (equivalent to 63mm in the
subzero temperatures down to -10 degrees 35mm format). This is the fastest GF mount
Celsius. Notably too, the GFX 100S brings in and UHD resolutions at 30 or lens and also the first medium format system
100MP resolution at under $10,000 – nearly 25fps with a bit rate of up to lens to combine autofocusing with such a fast
$500 under – and, consequently, is cheaper than 400 Mbps. There’s also F-Log maximum aperture. It has a compact design
Sony’s new full-frame Alpha 1. and HLG recording with (the weight is just 795g) with a weather-sealed
10-bit 4:2:2 colour to the construction. The weather protection allows
The all-new IBIS module has five-axis HDMI output and 10-bit for shooting at sub-zero temperatures and also
movements and gives correction for camera 4:2:0 internally. includes a fluorine coating on the exposed
shake of up to six stops. The LCD monitor has Additionally, 16-bit RAW surface of the front element. The optical design
a resolution of 2.36 million dots and has full video is available via HDMI comprises 12 elements in nine groups which
touchscreen controls. Unlike the GFX 50S, the for recording to the latest includes two with extra-low dispersion
GFX 100S has a fixed electronic viewfinder that Atomos Ninja V recorder. characteristics and one aspherical type.
uses an OLED panel with a resolution of 3.68 There’s also the choice of
million dots and a magnification of 0.77x (35mm H.264 or H.265 encoding and The GFX 100S is available in Australia now
equivalent). either All-Intra or Long GOP and priced at $9,499 body only. The new GF
compression. There's dual 80mm f/1.7 is also available now, priced at
The sensor is a backside-illuminated (BSI) memory card slots for the SD $3,499. For more information visit
type CMOS with dual-gain circuitry and delivers www.fujfilm.com.au.
10
PRODUCTS AND SERVICES THAT DISPLAY THE TIPA
LOGO IS YOUR ASSURANCE OF THEIR OUTSTANDING
QUALITY, DESIGN AND PERFORMANCE
Every year since 1991 TIPA awards have been given to the best photo, video
and imaging products. The TIPA logo is awarded by a large group of respected
editors of technical magazines and websites from around the world including the
Camera Journal Press Club of Japan.
www.tipa.com
www.facebook.com/Technical.Image.Press.Association/
twitter.com/TIPAAwards
www.instagram.com/tipa_world_awards/
WHAT’S NEW
LMGNEOEOIWOCRDAESIEAVLSDIDBDTEOOSODY BSI-type CMOS that goes without a low-pass 60fps externally via HDMI (the full-size Type A
filter and has a sensitivity range equivalent to connector, incidentally). Leica L-Log recording is
ESSENTIALLY A REPLACEMENT for the ISO 50 to 100,000. As with the SL2, in-body available with LUTs coming via firmware upgrade
original 24MP Leica SL, the new SL2-S shares image stabilisation is provided via sensor shifting coming sometime in the first half of this year.
the same more compact body as the and operates over five axes to give up to 5.5 This will add the option of the more efficient
existing SL2, but has an all-new 24MP sensor stops of correction for camera shake (depending HEVC H.265 codec, as well as the Long GOP
and significantly enhanced video capabilities. on the lens focal length). Sensor shifting enables interframe compression as an alternative to
The SL2-S joins a growing line-up of L-mount full- a ‘Multi-Shot’ high resolution mode that will
frame mirrorless camera bodies which includes capture eight frames – with ALL-Intra. The upgrade will also add a wave-
four from Panasonic and one from Sigma. The half-pixel shifts – to give form monitor, colour bars, time code support
body construction is the same as that of the SL2 96MP resolution. and a tally lamp. There's no time limit on
with the top and bottom plates machined from video clips.
blocks of aluminium, and weather protection to Leica’s latest Maestro III The SL2-S has dual memory card slots
IP54 standards for sealing against the intrusion processor does the number for SD, both with UHS II speed support. It
of moisture and dust. It’s also insulated to enable crunching, which includes inherits the same 5.76-million dots OLED
shooting in subzero temperatures down to -10 continuous shooting at 25fps EVF from the SL2, and a fixed 3-inch LED-
degrees Celsius. The main differences externally when using the sensor-based backlit monitor with 2.1 million dots
are a nameplate picked out in gloss black rather electronic shutter and 9fps resolution and touch controls. It also has the
than white, and the inclusion of a small with the mechanical shutter. same user interface as the SL2 with
sensor that measure exposures when M-mount A 4GB buffer memory gives
lenses are fitted (for the sole reason of creating limitless burst lengths at dedicated ‘Photo’ or ‘Video’ main displays that
useable metadata since this isn’t available from 25fps for JPEG capture and adjust the read-outs accordingly. With the latter,
the lens). up to 50 RAW frames (which there’s the option of a Cine-orientated display so
are again in the Adobe DNG ISO becomes ASA, the shutter speed is marked
On the inside, the new sensor is a 24.6MP format). On the video in degrees (as it would be with a rotary disk
side, the SL2-S can shutter) and f-stops are replaced by T-stops. As
record both 4K UHD we noted with the SL2, autofocusing appears to
and Cinema 4K at be a version of Panasonic’s Depth-From-Defocus
25 or 30fps with (DFD) methodology using contrast-detection
10-bit 4:2:2 colour measurements and 225 points. Eye detection
internally, and at 50 or focusing and tracking will be added with the
firmware upgrade.
The SL2-S allows for tethered shooting with
the latest Capture One 21 software,
and other features include an
intervalometer, multiple exposure
facility and auto exposure
bracketing. Otherwise, like the
SL2, the SL2-S avoids any
unnecessary frills.
The Leica SL2-S is available
in Australia now priced at $7,500
body only. For more information
visit https://au.leica-camera.
com.
TCORALAYMMNESPRFUAESRBCUOSMINPELSESTES tinue to make Olympus-branded OM-D a wholly-owned subsidiary of OM Digital
and Pen mirrorless Micro Four Thirds cameras, Solutions Corporation – which remains headquar-
OM DIGITAL SOLUTIONS Corporation is the full range of M.Zuiko Digital lenses, camera tered in Macquarie Park, Sydney.
the new name of the operation set up by Japan accessories, Tough series ruggedised compact
Industrial Partners Inc to continue the manufac- cameras, and binoculars. The new company has In a press release, OM Digital Solutions
ture, marketing and sales of Olympus camera also taken over the production and distribution Corporation stated, “The launch of this new
products. The transfer of the camera business of Olympus’s compact digital audio recorders. company brings together a more focused and
from Olympus Corporation to JIP was completed Manufacturing will remain at the factory in the flexible organisational structure. Moving forward,
at the start of 2021, and it will be business as Dong Nai province of Vietnam that Olympus this will allow the freedom to explore new
usual for OM Digital Solutions, which will con- established in 2008. business opportunities, enabling us to contribute
to society with more passion than ever”.
Australian operations have been taken over
by OM Digital Solutions Australia Pty Ltd – as Product details and company information can
be found at https://www.olympus.com.au.
12
The best of both worlds
Combines photo and video
in one travel size tripod
with the foldable Manfrotto
3-Way Fluid Head
MKBFRLA4BK-3W Befree 3-Way Live Advanced Kit Photo by Philip Thurston
Fluid Drag System Up to 6kg payload Professional yet compact manfrotto.com/au-en
for smooth pan and in a portable solution in a 40cm foldable travel size
tilt movements
WHAT’S NEW uniformity of corner-to-corner sharpness and ensure fast, smooth and near-silent operation.
brightness. High-performance glass-moulded The Sigma I series lenses are available now,
NOMSIFEIGRWCMROOALMIRNLPLAEEAUSCNSTCLHEENSSES aspherical elements are used in both the 24mm
and 35mm models, and these help correct for distributed by C.R. Kennedy & Co. The 24mm
MAKING THE MOST of what can be achieved spherical and comatic aberrations, and also f/3.5 DG DN Contemporary is priced at $726 for
in designing lenses for mirrorless cameras, distortion. All three new I series lenses Sony FE and $699 for L mount, the 35mm f/2.0
Sigma has introduced a new line of compact employ elements with super-low dispersion DG DN Contemporary at $924 (both FE and L
premium primes in the Sony FE mount and the (SLD) characteristics to correct for a variety of mounts) and the 65mm f/2.0 DG DN
L mount (which it shares with Leica and aberrations, including axial chromatic. Contemporary at $1,045 (both FE and L mounts).
Panasonic). Designated the I series, there are Autofocusing is performed via stepper motors to
three new lenses joining an existing model, the For more information visit https://
45mm f/2.8 DG DN, that now becomes an I sigmaphoto.com.au.
series lens. All four are part of Sigma’s
Contemporary line – one of the three ‘Global
Vision’ classifications that the lens maker uses
to primarily signify the application (the other two
are Art and Sports).
The three new I series lenses are a 24mm
f/3.5 DG DN, a 35mm f/2.0 DG DN and a 65mm
f/2.0 DG DN. All three have all-metal barrel
constructions with weather sealing, manual
aperture collars and a classical ribbed pattern on
the control rings and the lens hoods. A new
feature is magnetic mounts for the quick
attaching and removal of lens caps.
The optical designs utilise the size
reductions made possible by the shorter flange
back distance of mirrorless cameras, while also
optimising performance aspects such as
PHOTOGRAPHY Check with the individual venues finalists and winners from the 2020 Visit https://www.sydney.edu.au/
EXHIBITIONS for which exhibitions are open for competition. At Grafton (9 April – 30 museum for more information.
& EVENTS physical visits and any changes to May 2021). Visit www.portrait.gov.au
normal opening hours. for full details. Exhibition currently 14-15 August: Aperture Australia
Due to the social distancing available to view online. Photography Conference 2021
requirements demanded by the Current to 25 April: Exhibition. (rescheduled from August 2020).
on-going COVID-19 pandemic, Photos 1440, press photography Current to August: Exhibition. The Presenters include Anne Geddes,
galleries, many exhibition spaces from the last decade by the Business Of Photography –The 19th Frans Lanting,Tim Page, Chris
and museums are only allowing photographers of The Sydney Century Studio In NSW. Documents Rainer and David Oliver. Hosted
limited admission or are open for Morning Herald newspaper. At the the early days of photography in byTV personality and journalist
shorter times, depending on the local Exhibition Galleries in the State Australia with an emphasis on the Ray Martin. Single day and
situation. However, many are still Library of NSW, Macquarie Street, studios of the first professional weekend tickets are available. At
staging online events or virtual tours. Sydney, NSW 2000. Exhibition photographers in NSW. Exhibition the Melbourne Convention And
hours 10.00am to 5.00pm daily (but includes photographs and early Exhibition Centre, 1 Convention
10.00am to 8.00pm on Wednesday cameras. AtThe Photography Centre Place, South Wharf, Victoria
andThursday until 21 March). Gallery, Level 1, Chau Chak Wing 3006. For program information
Entry is free of charge. For more Museum, Sydney University, and ticket purchases visit https://
information call (02) 9273 1414 or University Place, Camperdown, NSW apertureaustralia.com.au.
visit www.sl.nsw.gov.au. 2006. Exhibition hours 10.00am to
5.00pm weekdays (to 9.00pm on
Current to 30 May: Exhibition. Thursday) and 12.00pm to 4.00pm
National Photographic Portrait Prize on weekends. Entry is free of charge
2020 touring exhibition.The 48 and pre-booking is not required.
14
WHAT’S NEW
TAFHO7RE0-EPYNHEDOATROOFEKRINAA states the organisation. “This hard cut after a in May 2019, just eight months after the 2018
70-year shared history was very difficult for us. exhibition, ran into resistance from many of the
FIRST STAGED IN 1950 – when Germany The trend in this industry, with which we have photo industry’s major brands due to the very
was at the centre of the camera industry – the always had a close and trusting partnership, is short turnaround time, and so the next dates set
Photokina trade exhibition has been officially put very painful for us to witness. But we are facing were for May 2020. Covid-19 forced the
on hold “until further notice” and, consequently, the situation with a clear, honest decision against cancellation of Photokina 2020, so it had been
is unlikely to be held again, at least not at its continuing this event, a decision to which, rescheduled not for 2021, but for 2022 – most
traditional location in Cologne. unfortunately, we have no alternative.” likely a sign that the projected participation
numbers were too low to sustain it.
The event’s organiser – Köln Messe – says Prior to the 2018 exhibition – which now turns
that the “massive” decline in the market for out to be have been the last – it was announced Over the decades, Photokina has been the
imaging products has made staging Photokina that Photokina would return to being an annual venue for many of the most significant new
unviable. “Unfortunately, at present the event (it had been biennial since 1966) and move camera unveilings or launches, including the
framework conditions in the industry do not from its traditional dates in September to earlier Leica M3 and Hasselblad 1000F in 1954, the
provide a viable basis for the leading international in the year in May. This was undoubtedly mostly Pentax Spotmatic in 1960, the Olympus OM-1
trade fair for photography, video and imaging,” motivated by the desire to avoid the clash with in 1972 and, in 1988, the world’s first true digital
the giant EFA consumer electronics show held in compact camera, the Fujifilm DS-1P.
Berlin in September and which had been
increasingly attracting imaging companies (with Elsewhere in this issue, editor Paul Burrows
obvious crossovers for the likes of Panasonic reflects on what the demise of Photokina means
and Sony). The plan to hold the first annual event to the photography world.
STWHOIEDNEYF-AAMSNATGS3LT5EEMRMS provide the high thrust efficiency needed for
precise subject tracking while also minimising
THE NEWEST ADDITION to Sony’s growing vibration and noise. Sony says that new control
line-up of premium G Master lenses for the FE algorithms optimise the XD drive’s speed and
mount is the FE 35mm f/1.4 GM. It’s the 39th FE precision. The minimum focusing distance is
mount lens, giving Sony’s full-frame mirrorless 27cm, giving a maximum reproduction ratio of
camera system the most extensive line-up of 1:4.3. An 11-blade diaphragm gives an almost
dedicated lenses. It features a compact and light circular aperture to create very smooth-looking
weight design that’s just 96mm in length and out-of-focus effects. The screwthread filter fitting
tips the scales at 524g. is 67mm.
The optical construction comprises 14 The new FE 35mm f/1.4 GM has a click-
elements in 10 groups, including two XA (Ex- stopped aperture collar that can be switched to
treme Aspherical) types to optimise centre-to- seamless adjustment when shooting video. It
corner sharpness, and one ED (Extra-Low also features an AF/MF switch and focus hold
Dispersion) type to counter chromatic button that can be assigned other functions as
aberrations. Sony’s advanced Nano AR Coating required. The barrel tubes are magnesium alloy
II is employed to minimise internal reflections to and the lens is fully weather sealed, plus it has
reduce ghosting and flare. A pair of ‘XD Linear a fluorine coating on the exposed surface of
Motors’ (Extreme Dynamic) drive autofocus and the front element to better repel moisture
and grease.
The Sony FE 35mm f/1.4 GM is available in
Australia now priced at $2,449. For more
information visit www.sony.com.au.
15
WHAT’S NEW
FNLEAOIMCCTAOIULRUSEXVILVEENSS
THE LATEST ADDITION to Leica’s Classics sought-after collector’s item. of ‘LEICA’), and is presented in packaging that
range of M-mount lenses is a reprise of one of The black anodised variant of the new bears an even closer resemblance to the original.
its most famous. The new Noctilux-M 50mm
f/1.2 ASPH is a re-issue of the original Noctilux-M Noctilux-M 50mm f/1.2 ASPH. with aluminium The Noctilux-M 50mm f/1.2 ASPH joins the
50mm f1/1.2, which was made between 1966 lens barrel is available at specialist retailers as of previous re-issues of the Summaron-M 28mm
and 1975, and was the world’s first now. The lens comes in packaging inspired by the f/5.6 (from 1955), and the Thambar-M 90mm
interchangeable camera lens to employ original box, and is complemented by the same f/2.2 (from 1935).
aspherical elements. And, of course, at that time, lens container that was provided with the original
aspherical elements had to be cut and then Noctilux 50mm f/1.2 for safe keeping. The silver The black anodised version is priced at
polished by hand, a process that took in the chrome variant is limited edition of just 100 units. $11,100 in Australia.
order of 40 hours. In fact, this is the way Leica This model has a brass lens barrel, a front ring
still makes its aspherical lens elements. engraving which reads ‘LEITZ WETZLAR’ (instead For more information visit https://
leica-store.com.au.
Essentially replicating the original optical
design, the new Noctilux-M 50mm f/1.2 ASPH is
available in two versions. Before the introduction
of the original Noctilux in 1966, silver was the
customary colour for M mount lenses – with the
exception of a few special-edition models aimed
at photojournalists that were given a discreet
black finish. The Noctilux marked the start of the
company’s transition to black-anodised lenses.
Prior to releasing the Noctilux on the market,
Leica produced just five silver-finish prototypes.
They now count among the most coveted and
highly-prized M lenses in existence. And only
1,757 examples of the serial production, black
Noctilux 50mm f/1.2 were produced. As a result,
any well maintained model is also a very highly
POCHAPEMONTEOSRASSPTYORDRONEEY been an obvious choice for a number of years to “Suppliers have been thrilled too,” Jesse adds.
expand outside of our home in Queensland, we “They’ve been watching our customer-focused
A VOTE OF confidence in photo retailing, have been working to get some key business model grow in Queensland and constantly
CameraPro has opened a new camera store in offerings right before we roll them out into other questioned us about when we’d be replicating
Sydney which, it says, is a direct result of a markets. Recent additions to our offering brought into other markets. On one hand, perhaps Covid
Covid-related expansion of its business. The on during Covid – such as video shopping and looks like a counter-intuitive time to start a new
store is located in the inner-Sydney suburb of education/learning delivered digitally – has venture, but we believe it’s never been a better
Surry Hills, and conveniently right on the supported rather than detracted from what we time to set the foundation for future business
light-rail stop at the corner of Crown and see as a need to match this with a fantastic growth and servicing the needs of creators all
Devonshire Streets. retail experience.” around Australia.”
Founded in 2007 in Queensland, CameraPro
is a leading, independent photographic retailer
and caters for both professionals and
enthusiasts, selling a high-end range of
photography and video products both in-store
and online. Over the years, CameraPro has
become known as the go-to destination in
Queensland for photographers and creatives,
“For a number of years our business in
NSW via the web has continued to grow and
now makes up for a sizeable share of our total
national business,” explains managing director
Jesse Hunter. “After looking at our demographics
and customer base, the Surry Hills district looked
to be the ideal first start for our growing national
footprint of retail experience centres. While it’s
16
TO PFHAORTEOWKEINLAL
With the demise of Photokina,
the global photography
community has lost a lot
more than just its premier
international trade show,
contends Paul Burrows.
18
The south entrance to the
revamped Köln Messe,
pictured here in 2014.
My first Photokina toys. To support these shows, based press kits and you had to entrance, but this was still quicker
was in 1986 and it and the tens of thousands of go and pick them up individually than walking and well worth every
was quite a shock. visitors who travelled from all from each exhibitor’s stand, which pfennig. Alternatively, well, you’d
Nothing could over the world to attend them, meant a lot of walking… a lot of just have to walk.
prepare you for Cologne has hundreds of hotels, walking. Strategic planning was
the sheer size of restaurants and bars… many of required to plot the most efficient Crowd Scenes
the thing and the physical effort which have no doubt been victims routes through the halls, mostly in
required to cover everything to of the Covid-19 pandemic and relation to the press centre, which In 1986, Photokina was still a
ensure a comprehensive report the resulting cancellation of trade was a welcome refuge after a trade-only show, but the hall
for the magazine. I’d joined shows all around the world. As good few hours pounding concrete aisles were still very crowded, so
Camera back in 1982 and so had far as Photokina is concerned, floors. The catalogues were progress on foot would be painfully
covered a couple of Australia’s Covid-19 is more the straw that weighty tomes routinely running slow (partly also because, after the
own photographic trade shows broke the camel’s back than the to over 500 pages, and even came first day, you’d have sore feet). In
but, size-wise, these were broom main reason for the decision to with a pull-out potted version in 1988, the show was opened to the
cupboards compared to the end it permanently. case you didn’t want to lug the public for the last couple of days,
multiple halls of the sprawling main thing around (which I most so you simply had to get all your
Köln Messe exhibition complex. Back in 1986 though, the 19th definitely didn’t). legwork done earlier as it became
Quite a number of German Photokina – subtitled the World’s
cities have a messe – it translates Fair Of Imaging (or Weltmesse In between trawling for press At the height of
into English as 'trade fair' – des Bildes in German) – was kits, there were press conferences film’s popularity,
with year-long programs of big thriving and attracted over 1,300 in one of the Messe’s congress Kodak, Agfa, Fujifilm
international trade shows, a exhibitors from 37 countries who halls and whatever interviews and Polaroid all
tradition rooted in the country’s occupied all of Köln Messe’s or product previews you’d occupied either their
status as a global manufacturing 14 exhibition halls. In fact, Halls organised before leaving Australia. own halls or entire
powerhouse. In addition to the 13 and 14 were dedicated to Inevitably though, consecutive floors at Photokina.”
biennial Photokina, the Cologne “professional media”, which mostly press conferences would be at
complex was also the venue for meant cinematography and video opposite ends of the complex… 19
major exhibitions of motorcycles, products, including lighting and you might've been lucky to snag a
stamps, model trains, art, food, audio. So the show really did span vacant taxi that would do a big loop
furniture, sporting goods and the whole gamut of image-making. around the outside of the Messe
These were the days of paper- to deposit you at the nearest
Top: The main entrance to the
Köln Messe pictured at the
opening of the 1952 Photokina.
Note the queue waiting to get in.
This was a common occurrence
right up to the last decade or so.
Middle left: Leica’s revolutionary
M3 was launched at the 1954
Photokina. This oversized model
is still in the Leica Camera
archives.
Middle right: Binoculars
being given a try-out at the
1956 Photokina.
Bottom: The main halls in
1960, celebrating 10 years
of Photokina. Known as the
Rhienhallen – the Rhine Halls –
this part of the Köln Messe
dates back to the early 1920s
and remained in use until 2005.
The first trade fair here was in
May 1924.
20
impossible to move around easily, the likes of Canon, Nikon, Minolta, Quite a number of the exhibition S The big brands always had big
at least in what became known Pentax and Olympus built big and halls had two levels and, in the stands – Olympus in 2010, Nikon
as the “amateur halls”. If there elaborate stands in those days. glory days, the vacant spaces in 2004, Fujifilm in 2014 and Canon
had been a significant product At the height of film’s popularity, between them – and also the in 2012.
announcement, the crowds would Kodak, Agfa, Fujifilm and Polaroid interconnecting walkways – would
be 10 deep or more around that all occupied either their own halls all be taken up with photography the Messe has its own railway
particular company’s stand… and or entire floors at Photokina. exhibitions. In fact, there were station). River cruise ships were
photo exhibitions all over Cologne also brought in to serve as floating
When the program In later years, no doubt in during Photokina and, for that hotels moored on the Rhine. For
of supporting response to complaints from week or so in September, the city my first three Photokinas, this was
photography events footsore journalists, the press seemed to eat, sleep and breathe my accommodation and, really,
was wound down, centre introduced shuttle buses photography. Well, the sleeping the only thing going for it was the
Photokina lost an to get you between the halls, but bit could be a problem because location as the Köln Messe was
essential ingredient.” quite often these wouldn’t be despite the huge number of hotels just on the other side of the river.
where you’d want them to be, big and small, Cologne always Today’s European river cruisers are
so you’d end up walking anyway. ran out of beds for Photokina. luxurious vessels with suites but,
Needless to note, having the right Many visitors ended up staying in back then, they were fairly basic
footwear was essential, especially nearby cities such as Düsseldorf or and designed for short trips. In
as you’d become increasingly Bonn and travelled into the show 1986 I stayed on a Dutch vessel
loaded down with press kits as the each day by train (conveniently called the Jan Elshout – it’s seared
day progressed.
21
W VW Kombi-based photo booth
at Photokina 2018.
S Photokina 2014 had the slogan prints presented in heavy-duty travel clock, the Paterson (the not only because it was always
“World Of Imaging”. folders – any movement became darkroom company) jeweller’s a lavish affair, but because pretty
increasingly restricted. An end- screwdriver kit, the Nikon glass much anybody who was anyone
into my memory – and my tiny of-Photokina ritual was stripping paperweight and the Leica tin of in the world’s photo media would
single cabin was on the waterline the press packs down to the bare little lollies (although, of course, be there, as well as Kodak’s big
near the engine room. I suspect essentials for transporting back the lollies are long gone). wigs from the president down,
that when the ship was actually to Australia, but no matter how along with a smattering of ‘big
cruising, this was crew quarters. It ruthless I was, I always seemed Night Life name’ photographers. Also a big
was barely big enough for me and to end up with an excess baggage deal was Agfa’s dinner held at its
my suitcase, but once the press charge. Of course, this could have The nights were just as busy as Leverkusen HQ – taken over by the
kits started to mount up at the end something to do with the many the days with both formal dinners Nazis during the Second World War
of each day – and we’re talking and varied promotional giveaways and informal get-togethers. The – and which always ended with a
maybe up to 100 very substantial that I simply couldn’t bear to part highlight was the Kodak spectacular fireworks display
packs of paper and photo with… so I still have the Kodak International Press Dinner for accompanied by Handel’s Music
which invites were highly prized, For The Royal Fireworks.
22
If you hadn’t already made plans
to meet at some bar or restaurant,
you’d inevitably run into other
members of the Australian photo
industry at some point during any
night of Photokina week. Partying
to the wee small hours was a
common occurrence… except, of
course, if you were a hard-working
journalist with an early start in the
morning (well, later that morning).
All joking aside, it were these
human interactions that also
made Photokina so important. It
was truly a global gathering and,
from a journalist’s point-of-view,
provided the opportunities to talk
with senior company executives,
exchange ideas and opinions
with members of the media
from all over the world, cement
relationships with PR people and,
more generally, simply take the
pulse of the industry. It might
have been physically exhausting
(some of it self-inflicted I’ll
confess), but I always returned
from a Photokina with renewed
enthusiasm for photography and all
that it encompassed. Even before
Australian Camera joined TIPA in
2010 – making us part of a global
family of photography magazines
– the Photokina press centre was
the meeting place for editors and
journalists from all over the world.
Many of the contacts made here
have been lasting, and nowhere
else provided the opportunity
for a relatively small group of
people who do a very specific
and specialised job to gather for
a few glorious days of discussion,
debate, argument and gossip.
Binning Paper
Of course, with successive shows,
things got easier for the hard-
working journalist (that’s me, by
the way). From 1992, I managed to
move onto dry land and into a hotel
room which, to be honest, wasn’t
Top left: Used Leica 35mm SLRs in
the window of the famous camera
shop Foto Lambertin on the side of
Cologne Cathedral. Yes, a camera
shop attached to a cathedral.
Top right: The traditional Photokina
press centre lunch – würst and
kölsch (the locally brewed pale
beer), and not forgetting the
mandatory senf (mustard).
Middle left: An outdoor area
dedicated to binoculars and
spotting scopes also included
flying displays of birds of prey – a
popular attraction. This image was
taken at Photokina 2006.
Middle right: Any old excuse…
Porsche 911 GT3 Cup racer on the
Sigma stand at Photokina 2010.
Bottom: Queues waiting to get into
Photokina 2004 on the opening day.
The Rheinhallen were traditionally
the ‘amateur halls’ and home to
Canon, Nikon, Minolta, Pentax,
Olympus, et al.
much bigger than a ship’s cabin,
but at least it didn’t move around
and make chugging sounds. The
press kits quickly transitioned from
paper to CDs and DVDs, then to
USB drives and, finally, to direct
downloads. Reports could be filed
on the spot from the press centre,
and the organisers finally got
around to having a proper press
day before the show opened.
This ensured most of the major
press conferences were done and
dusted by the end of the first open
day, leaving much more time to
scour the show for the oddities
and the unusual. Except that, by
now, it was evident that Photokina
was steadily becoming smaller.
During the mid-2000s, the
Köln Messe was significantly
remodelled. The big set of halls
closest to the Rhine were sold off
and redeveloped into TV studios,
only keeping the original facades
that dated back to the 1920s. New
halls were built at the northern end
of the complex to help consolidate
the site and also modernised it
in terms of access, security and
facilities (including a smart new
press centre). The current 11 halls
provide over 284,000 square
metres of exhibition space. The
2006 edition of Photokina was the
first to occupy the new space and
took up 10 of the 11 halls but, from
then on, it’s been shrinking and, in
2018 – which now turns out was
the last one – it was down to five.
The whole of the northern end of
23
The north entrance, pictured during
the 2014 Photokina. The black
Mercedes van is one of the free
shuttle buses provided for the press.
the complex was closed off, which Rolleiflex SL66 (1966), Olympus in the 1980s through to the mid- and an international photography
included that shiny new press M-1 (1972, and subsequently 2000s was also of the extensive exhibition. With the sizzle gone,
centre. A temporary one was set rebadged OM-1), Rolleiflex SL66 city-wide program of exhibitions, all that was left was the steak
up closer to the action and the (1974), Fujifilm DS-1P (1988), Kodak workshops and seminars, latterly and, in the digital era, this had
whole thing had a feeling of gloom DCS 100 (1990, although you had under the banner of Internationale also lost some of its tastiness…
about it (even if, product-wise, to know who to talk to, as it was Photoszene Köln. The catalogue for pixels being rather more clinical
it was actually the most exciting still essentially under wraps), these events was also almost as than crystals. To be fair, there
Photokina in many years). A Canon EOS 5D Mark II (2008), weighty as that of the equipment were a few attempts to refocus
number of my German colleagues Panasonic Lumix G1 (2008) and expo. The 2006 edition, for on the image and what the new
in TIPA were already predicting that Fujifilm X100 (2010). example, listed over 70 venues imaging technologies could
the end was nigh even before the hosting photography events of one achieve – rather than just the
ill-conceived May 2019 show The traditional trade show has sort or another. Just about technologies themselves – but
was cancelled. been declining in importance as anywhere you went in central a lot of this was left to the
a marketing tool essentially since Cologne during Photokina week, individual exhibitors and it lacked
Milestones the Internet made the distribution you’d see photography on display. the variety, scope and depth of a
of news and product information It also meant that many well- comprehensive and complimentary
The first Photokina was held in so much more immediate. A known photographers made the photography festival. From being a
May 1950 when the German global audience can be reached biennial pilgrimage to Photokina, complete celebration of all things
camera industry was still in an instant. Photokina is no either to exhibit themselves or photographic, over the last decade
thriving and was keen, post WW2, different, but with the added simply to see what everybody else Photokina declined into essentially
to promote itself to the world. It impact of just how dramatically was doing (and, of course, also to just another equipment expo.
was an annual event for the first the digital imaging technologies look at new gear).
three years and then moved to have changed every element of So there will be no more
the biennial frequency, although photographic practice. A particular highlight was Photokinas and, as a result, the
the dates moved around a lot until the outdoor exhibition in 2000 global photography industry has
the mid-1960s when was fixed at Quite a number of the that featured all 1,000 images lost its market square… the place
autumn, a very pleasant time to be traditional photo brands have from Owe Ommer’s massive where we all met to trade, to talk
in Cologne. It had been gradually gone and there’s been increased 1000 Families project. The large and to take stock of where we’d
taking on a more international convergence with the consumer weather-proofed print panels come from and where we were
flavour virtually right from the start electronics and computer sectors. were displayed from the cathedral going next. This communication
and obviously that continued as Photokina never really succeeding square all the way across the and interaction, both professional
the Japanese took over as the in attracting the likes of Apple, Hohenzollernbrücke – the railway and social, was the true value of
world’s leading makers of cameras Adobe, Microsoft or the major bridge over the Rhine – to the Köln Photokina, even in the latter years,
and lenses. computer brands despite them Messe. As well as representing a when working photographers
now being an integral part of physical link between the city and mostly stopped going. It certainly
As the show increased in size digital imaging post-camera. And, the main event across the river, it helped that Cologne is such a
– in terms of both exhibitors and of course, the smartphone has was also a symbolic one between congenial and comfortable city,
visitor numbers – it became an decimated the lower end of the the picture and the process. which made Photokina even more
important launching pad for new camera market, all but wiping out of an immersive experience. For
products and there have been the point-and-shoot compact. When the program of those of us who were fortunate
some very notable ones, including supporting events was wound enough to experience many
the Leica M3 (1954), Hasselblad Essential Ingredient down (2010 was the last), Photokinas – my tally is 17 –
1000F and SWA (1954 too), Asahi Photokina lost an essential there’s a fund of great memories...
Pentax prototype (1954), Pentax In many ways in the digital era, the ingredient. Indeed, right from time has even put a gloss on the
Spotmatic prototype (1960), emphasis has subtlety shifted from the start in 1950, it was always sleepless nights and blistered feet.
the camera to the image, although intended that Photokina would be
The global of course, the two still go hand-in- both a showcase for camera gear
photography hand. My experience of Photokina
industry has lost its
market square… the
place where we all
met to trade, to talk
and to take stock of
where we’d come
from and where we
were going next.”
24
Speed for
the sharpest
shooters
Capture natural beauty at up to
10fps and 61MP with silent shutter.
Photographer: Craig Parry Camera: Alpha 7R IV
Location: Chobe National Park, Botswana Lens: SONY FE 600mm F4 GM OSS
Settings: ISO 400 / F4 / 1/2500s
sony.com.au/resolution
MANODTIOTINME
The Picture 1900 by kicking their tripods Canon EF-S 18-135mm f/3.5-5.6 camera may be handheld or set
during long exposures. IS USM zoom lens fitted with a up on a tripod, the latter method
It can be quite a challenge to protective 67mm UV filter and a ensuring straight line movement.
achieve effective images from The Photographer lens hood. Aperture-priority auto A standard or telephoto
deliberate camera movement. exposure control set to f/10 to perspective is recommended to
Many photographers like to Trevern Dawes has the rare allow 1.6 seconds exposure at avoid distortion.
try their hand, if only as a mild distinction of being a contributor ISO 100. Manual focus.
diversion from main pursuits. to the very first issue of this How It Was Done
In fact, the practice now has magazine when it was launched The Technique
a name – ICM or ‘intentional back in June 1979. He is still as The general idea is to move
camera movements’. This passionate about photography In order to achieve a slow shutter the camera ‘in tune’ with the
particular study was taken in now as he was then, and speed, it is necessary to lower subject. Upright items such as
the Weddin Mountains National continues to write about many the ISO rating, work in low-light trees or buildings deserve an
Park, not far from Grenfell in areas of image-making and taking conditions or add neutral density up-and-down camera movement.
central-west New South Wales. pictures for both books and (ND) filters. Usually shutter Zooming during exposure,
There is actually nothing new magazine articles. speeds of one to two seconds panning moving objects, tracing
about this technique… in fact, suffice, but it does require some in circles or taking the camera
photographers were making The Equipment experimentation according to for a walk down a city street
these impressions well before the subject and lighting. The or bush track are just a few
A Canon EOS 7D paired with the
26
Photograph by Trevern Dawes, copyright 2021.
and the site was familiar. Even
so, what was on offer still
needed to be landed in the
camera. By general standards,
the result is highly successful
and warrants a maximum rating,
but let’s slip back a point to allow
for other attempts in different
locations.
Can You Try This
At Home?
Of course. What we consider
to be rather ordinary photo
circumstances on the home front
can take on a whole new world
of possibilities when deliberate
camera movement concepts
are applied. All it takes is some
imagination and willingness
to experiment. For plenty of
inspiration have a look at the
ICM websites on the Internet.
PRESENTED BY
suggestions amongst a host of gained by trial-and-error to the right amount of movement www.ilford.com
possibilities. Maintaining one recognise potential good among a complimentary blend
type of movement direction targets. Although the exact of colour. All ICM results Ph: (03) 9823 1555
is recommended as generally outcome cannot be predicted, are unique with fine-tuning for more information
shaking the camera could take there is a certain amount and minor camera variations
hundreds, if not thousands, of of visualisation involved in becoming part of the personal 27
frames to fluke a decent result. translating the scene into an process.
The camera should be on the ICM rendition. Trees blackened
move before and after the by fire are a good example; Image adjustments in
exposure is made, otherwise but the surrounding colour, the likes of Photoshop are
smoothness is spoilt by a fixed the number of trees framed equally important and equally
and/or ending point. and their separation are also subjective. Consider such
important. elements as tonal relationships,
Tricks Of The Trade saturation and local area control
If there is any guideline by ‘dodging and burning’.
Successful camera movement to the success of a camera
photography is based on having movement image as an item (DOeugtreoef 1O0f)Difficulty
a suitable subject in the first worth framing, it would be that
place, and the experience it is ‘easy on the eye’ with just All the elements were present
PROFILE
TELLING STORIES
ANTHONY GORDON AND NOTHIN’ BUT SHORTS INTERNATIONAL
Filmmaker Anthony
“We are all about the management of Gordon was in a and returned to Earth, dropping
motion,” says Anthony Gordon of his film remote part of South into the Woomera Prohibited
production company, which is prepared Australia when Camera Area about 500 kilometres north-
to take on any challenge anywhere in caught up with him. west of Adelaide.
the pursuit of a compelling story. He was there to
document the recovery of It’s not an everyday
Hayabusa 2, a Japanese satellite assignment and Anthony is there
because of his vast experience
filming from helicopters, not
INTERVIEW BY PAUL BURROWS. that successfully landed on an to mention his vast experience
asteroid, scooped up some dust shooting documentaries and
28
It is the stories and narrative of although I still wonder at the power and always exploring ways to find
people of all races, religions and of the still image. So photography new and exciting stories. This is an
creeds that fuels my creativity. is a passion and filmmaking my incredible driver, and it’s what
The imagery that goes with it is life.” motivates me to get out of bed in
simply the icing on the cake.” the morning, no matter how early.”
After dropping out of a
psychology degree, Anthony Content Driven
decided to follow the dream of
photography and eventually moved Today, Anthony Gordon is the
into film and documentary making. driving force behind Nothin’
But Shorts, an Australian film
Creative Fuel production company specialising in
– as he puts it – “telling stories”.
“It all started back in the 1980s
when, as a small lad, I dreamed “Taking an idea and
of capturing the images that I saw transforming it into a form that
in National Geographic magazine, pleases the eye and excites the
though little did I know that one mind is the driving force behind my
day, many years later, I would be philosophy. We’re about looking at
doing just that. a concept and then developing a
unique way of looking at it.”
“However, I’m really not sure
where my visual awareness came Perhaps not surprisingly, in light
from. My grandfather was a of his core philosophy, Anthony
scientist and an artist, so maybe places a lot more emphasis on the
it’s in the genes. I’ve always been creative than the technical.
fascinated in the natural world
and, in particular, people. It is the “I believe there’s an over-
stories and narrative of people of saturation of equipment now. I’ve
all races, religions and creeds that seen so many crews miss opportu-
fuels my creativity. The imagery nities as they spend so much time
that goes with it is simply the icing sorting kit and carrying loads of
on the cake.” bags. Of course, there are certain
styles that require
All photographs by Anthony Gordon, copyright 2021. commercials in all sorts of a big part in his success. Flexibility is also clearly another specialised kit although, in all
challenging locations. For a man “My greatest passion is attribute for the documentary honesty, I believe that the story
on a very particular mission, he’s filmmaker, and Anthony says the comes first and should not be
very laid back, happy to chat, people,” he confirms. “Everyone assignment for JAXA (Japanese dictated by the equipment.”
and sorts out all the material for has a story to tell and it has Aerospace Exploration Agency)
this article in 48 hours… been a passion of mine over the involved multiple days of 11pm Anthony has been steadily
presumably by remote control last 25 years to develop these starts through to 11pm the refining his filming kit to make it
from deepest, darkest South stories into lessons and following day. lightweight and portable, but still
Australia. You immediately get inspirations for others. I like to flexible and efficient.
the sense that his people skills say that my goal is to change “From my experience, the best
and can-do attitude have played the world one story at a time. stories never happen between nine “What I want is a minimal kit
99%of my work is filmmaking, to five. To be honest, I’m never that suits a purpose and is
satisfied with what I’ve captured exceptionally reliable. Reliability
and consistency are the number
29
one requirements. For this reason, I
have used and tested thousands of
variables in relation to my kit in order to
make storytelling in remote locations as
efficient as possible with the best
quality results.
“I use the Canon EOS-1D X Mark
II and III DSLRs for all my filming. For
those who say you cannot make films
with a DSLR… well, I have over 39
films on Amazon Prime, circulating
globally that are all shot on Canon
DSLRs. I use a range of Canon prime
lenses, although the majority of my
shooting is actually on the
100-400mm zoom.
From my experience,
the best stories never
happen between nine
to five. To be honest,
I’m never satisfied with
what I have captured
and always exploring
ways to find new and
exciting stories.”
30
“Of course, I also use GoPros and durability are unparalleled. pandemic has had a significant “Regardless what the
and DJI drones to compliment my Then they also back it up with their impact on Anthony’s activities, equipment or platform it may be,
angles. Of late, the Hero9 and service and support, the not just in terms of many events the great storytellers will always
Mavic Mini 2 – in conjunction with importance of which I think too being cancelled around the world, stand out. The equipment and
the old Phantom 4 Pro – are next many people underestimate, and but also the restrictions on travel. platform never make the story or
level and, importantly, match with which sets Zoom apart from other Nevertheless, he’s been able to content engaging, simple as that.
the colour space of the Canons brands. The support and service is find new opportunities.
without any post grading. in line with the product quality. “For me, almost everyone can
“Having people accessible as most likely create better shortform
“In terms of sound, there’s “I seldom do interviews to they are all at home means it has content of a minute or less for
no question that the Zoom audio camera anymore as I feel that been an amazing time for social. Where I’ve stood out is with
products have been the glue to the dialogue needs to be strong opportunities,” he says. “I have medium- and long-format content
my stories for years now. I use a enough without you having to look never been busier as I take that’s driven by the short form. This
few F1s recorders with the SSH-6 at the person speaking. It gives advantage of whatever situation is the real art of storytelling.”
shotgun microphone for 100% of the imagery more space to roll and is presented. I have been able to
my interviews and sound recording makes a far deeper and better cover more domestic projects, Anthony Gordon also believes
in the field. The quality, consistency quality film. So the Zoom F1 as being on the road travelling so there’s another key element to
really comes into its own here, due much often meant I didn’t have the telling stories in a compelling and
to its reliability and portability. It’s possibility to chase and cover local engaging way.
been my favourite – and most used stories and projects. It has also
– piece of Zoom gear for a long changed the dynamic of content “Whenever I get commissioned
time, but that said, I’m very keen given that there is a far greater or invited to film a project, I believe
to get my hands on the new F2.” acceptance for online and sharing I’ve been given a very privileged
of remotely shot content by way of and important responsibility. Well
New Opportunities me providing cameras to clients to after the event, situation or scene
upload their content for me to edit. is finished, all that people have left
Not surprisingly, the Covid-19 is my stories on video or stills to
“So, from building and covering remember and share their
All photographs by Anthony Gordon, copyright 2021. a Virtual Race Across America film experiences by. You need to
and project through to following respect this position and give
some amazing local stories, the it more than you feel you have,
Covid time has been a journey in 100% of the time. Storytellers
itself. I tend to thrive in times of create the memories.”
adversity as I’ve spent most of my
career dealing with remoteness… To see more of Anthony Gordon’s
so now it’s just a new kind.” work visit www.nothinbutshorts.
com.au.
Similarly to photographers,
professional filmmakers are 31
coming up against legions of keen
amateurs who, armed with the
latest digital cameras or smart-
phones, are able to create good
quality footage and easily show it
via social media. Again, Anthony
believes it’s the creativity of the
content that matters most.
ON TRIAL
Fujifilm says that the X-S10 represents
the start of a new category of X-mount
APS-C mirrorless camera, although
essentially only what’s on the outside
is significantly different.
CHANGING SPOTS very curious mix of the high-end
To give it more mainstream appeal, Fujifilm has and the low-end.
dumped the classic dials, but the X-S10 still has
plenty of X-mount system goodness… and is easily In essence, it’s a lot of the X-T4
the best-value model in the current line-up. repackaged in an X-T30 size body
with a new control layout that’s
hat’s going on that’s nobody asked. Fujifilm says left now – who are ready to go more conventional than Fujifilm’s
it essentially represents a new mirrorless. Of course, just about usual traditional fare. So, gone are
W here then? It’s a category of X-mount camera with a everybody is chasing this market the classic dials for shutter speed,
Fujifilm X-mount key objective, apparently, to make – Canon and Nikon included – with ISO and exposure compensation,
camera, Jim, but it more approachable for the users an emphasis on selling them up replaced by a ‘PASM’ main mode
of Canon and Nikon APS-C format to the bigger full-frame sensor. dial and a smattering of function
not as we know DSLRs – essentially all that’s Nevertheless, the X-S10 is still a buttons. There’s still a couple of
other dials – one serves as the
it. Initially, the X-S10 looks a bit rear input control and the other
is multi-functional – but there’s
like the answer to a question nothing here to scare the horses.
Dedicated X-mount camera
users will no doubt consider this
sacrilegious, but the reality is
that the 1970s-style operation
for exposure control isn’t to
32
ONTRIAL FUJIFILM X-S10
everybody’s taste. A MORE the signal level), which results in can see what’s happening outside
The styling is still fairly classic CONVENTIONAL some reduction of the dynamic the 1.25x crop’s frame – just like
CONTROL LAYOUT range (at the highlights end), but the optical finder in a rangefinder
with a magnesium alloy main IS A DELIBERATE reduced noise in the shadows. camera – to help anticipate how
casing, but like the X-T30, no PLOY TO ATTRACT Perhaps more importantly though, the action will unfold.
weather sealing. The rear screen NEW USERS TO the dual base ISOs mean that the
adopts conventional tilt/swing THE FUJIFILM X noise characteristics at the higher The in-body image stabilisation
articulation, and the compartment MOUNT SYSTEM, sensitivity settings are essentially uses a new module that’s 30%
for the memory card is in the base IN PARTICULAR 2.5 stops better than would more compact and lighter than
with the battery, although both ANYBODY READY TO normally be the case. The native the X-T4’s, but it works in a similar
are in the handgrip and so are MAKE THE SWITCH sensitivity range is equivalent to fashion by using electromagnetic
still accessible when the X-S10 FROM A DSLR. ISO 160-12,800, with extensions fields to apply the shifts and
is on a tripod. The battery is the down to ISO 80 and 100, and up to provides five-axis movements in
NP-W126S pack that Fujifilm’s this imager also uses a ‘dual gain’ ISO 25,600 and 51,200. conjunction with the optically-
uses extensively across its current design with two base ISOs – in stabilised Fujinon XF lenses.
X-mount line-up (although not this case, set at ISO 160 and 800. Continuous shooting is at up to Depending on the lens focal
in the X-T4), and there’s just the 8fps when using the mechanical lengths, there’s up to six stops of
single memory card slot for UHS-I The low ISO circuit optimises shutter – which is the same as correction for camera shake, which
speed SD devices. dynamic range and the high ISO the X-T30 – but switching to is only marginally less than the
circuit optimises sensitivity (i.e. the electronic shutter allows for X-T4’s 6.5 stops.
You can maybe start to see 20fps, and even 30fps if you’re
the ‘swings and roundabouts’ happy with a 1.25x crop (giving MORE WITH FOUR
approach to the X-S10’s packaging 16.6MP resolution). The X-S10 also
becoming evident. It’s even more has the ‘Pre-Shot’ function that The X-S10 inherits all the same
apparent when you know that commences continuous capture as capture settings as the X-T4,
it has the X-T4’s autofocusing, soon as the shutter release button so 14-bit RGB RAW files can
upgraded video capabilities, a is at the halfway position (i.e. for be compressed, losslessly
new and more compact in-body metering and autofocusing), so compressed, or uncompressed.
image stabilisation module, and you’re even less likely to miss a JPEGs are captured at either Fine
pretty well the full suite of Fujifilm shot. Pre-Shot can be set to 30, 20 or Normal compression levels
X-mount in-camera processing or 10fps with capturing 10 frames in one of three image sizes, the
functions. But in addition to the prior to actual shutter release maximum being 6240x4160 pixels.
single memory card slot, there’s followed by 12, 22 or 68 frames Additionally, there’s a choice of
the smaller and lower-res EVF respectively. The EVF can also be three aspect ratios at 3:2, 16:9
from the X-T30 and the same switched to ‘Sports Finder’ so you and 1:1. In-camera RAW-to-JPEG
basic monitor specs. These may conversion is possible with a total
be more of an issue for video
shooters who will be seduced by 6. Comprehensive info display includes a real-time
the offer of Cinema 4K recording, brightness histogram and focus point/zone indicator.
a 10-bit 4:2:2 colour HDMI output,
F-Log and more, but then have 4
their enthusiasm dampened by
some of these physical limitations, 2
although the S10 is still streets
ahead of the T30 here (see the 1
Making Movie panels for more). 3
The price differences may help to
put things into perspective – the 56
X-S10 is around $900 cheaper than
the X-T4, but maybe only a couple 1. The main body 2. Rear 3. Rear control 4. EVF is the 5. Rear
of hundred dollars more expensive cover is still a input panel sticks to same 1cm OLED screen
than the X-T30, depending on sturdy magnesium wheel the basics, with panel that’s used is fully
how heavily the latter is being alloy component, takes the the joystick in the X-T30, articulated
discounted. Consequently, the but the X-S10 form of a controller doing with a resolution for tilt and
high-value factor really helps doesn’t have substantial most of the of 2.36 million swing.
smooth over a few of the weather sealing. dial. work. dots.
X-S10’s ‘wrinkles’.
KEEPING THE NOISE
DOWN
This is even more the case when
you look at how many of the X-T4’s
goodies are in this camera, starting
with the backside-illuminated (BSI)
version of the 26.1MP X-Trans
CMOS 4 sensor. The BSI
architecture frees up some space
on the front of the sensor which
essentially benefits sensitivity, but
33
FUJIFILM X-S10 43
5 21
of 20 processing parameters.
Also carried over pretty much 1. Wot, no classical 2. Traditional 3. Shutter 4. Built-in flash 5. A total of
dials? New control main mode release is has a spring- 35 operations
lock, stock and barrel from the layout is designed to dial is a first conventional loaded pop-up are available
X-T4 are the in-camera image have more mainstream on a Fujifilm button activation. to assign to
processing functions, including appeal and, in X-mount with no Metric guide the function
the current complement of 18 particular, attract camera. screwthread number is dial.
Film Simulation profiles. These converts from DSLRs. socket for a just seven
include Eterna Bleach Bypass, cable release. at ISO 200.
which was introduced on the
X-T4, and is an alternative to
the original Eterna (the name of
Fujifilm’s cine film stock). The
new variation gives more muted
colour saturation while maintaining
a higher contrast that replicates
the look of the bleach bypass film
processing technique. Compared
to the X-T30, the X-S10 also
has the Classic Neg profile that
reproduces the ‘vintage’ tonality
and colour saturation of a print
made using Fujicolor Superia
100 colour negative film. It’s
worth noting again that the Film
Simulation profiles can be applied
to RAW files in post-production.
New is the availability of an auto
Film Simulation function when
shooting in the point-and-shoot
‘Auto’ and subject modes. It will
select Velvia/Vivid, Provia/Standard
or Astia/Soft settings, depending
on the characteristics of the scene.
Incidentally, RAW capture is now
also available with these auto-only
S Live view screen allows for extensive customisation of the display including individual function S Main menu design and navigation is
icons and settings, guide grids, level indicator, focusing scale and real-time histogram. unchanged from the X-T series cameras.
S Review/replay screen options include a set of overlaid histograms or thumbnail displays S The X-S10 inherits the X-T4’s hybrid
accompanied by an extensive amount of capture data (including lens details), a highlight warning, autofocusing system which includes the AF-C
a brightness histogram and the focus point or zone used. Custom menu for fine-tuning tracking to better
match the type of subject movement.
34
shooting modes. “IN TERMS OF IMAGE ON TRIAL FUJIFILM X-S10
Additional processing – QUALITY, THE GOOD
NEWS IS THAT THE highlights and shadows. There You also get an intervalometer,
designed to be complimentary to X-S10 STILL HAS ALL are three settings – Auto, Weak a multiple exposure facility,
the Film Simulation profiles – is OF FUJIFILM’S COLOUR and Strong – with the latter two in-camera panoramas and flicker
available via Grain Effect, Colour SCIENCE KNOW-HOW, based on the dynamic range detection/correction. As per the
Chrome Effect and Colour Chrome SO THE OUT-OF- expansion setting, which means last couple of X-T series cameras,
Effect Blue, each of which have CAMERA JPEGS the minimum ISO is also raised the multiple exposure facility now
the choice of Weak or Strong LOOK SUPERB.” (to ISO 320 and 640 respectively) allows for a total of nine frames
level settings. Grain Effect is to give more ‘headroom’ for to be combined – rather than just
obviously self-explanatory, while that Fujifilm actually sets up as adjustments. The Auto setting two, which was the case for a long
Colour Chrome Effect increases separate Film Simulation settings). selects either one or the other, time – with the choice of Additive,
the range of tones within highly- There’s the usual choice of eight depending on the contrast range Average, Bright or Dark exposure
saturated colours, particularly Advanced Filter special effects. presented by the prevailing lighting management options. The
when shooting in high contrast conditions. Another way to expand intervalometer has a setting for
situations. Not surprisingly, There are various options the dynamic range is to use the unlimited frames or, alternatively,
Colour Chrome Effect Blue does for dealing with dynamic range. multi-shot HDR capture mode a specific count of up to 999.
the same thing, but only to the Fujifilm’s standard expansion which records three frames with
blue tone tones. Also provided processing offers either auto the options of auto exposure As you can see, Fujifilm hasn’t
are adjustment parameters for correction or one of three manual adjustment or one of four manual skimped here and the X-S10 is
Highlight and Shadow Tone Curves, settings (labelled 100%, 200% and settings designated HDR200, definitely more X-T4 than X-T30
Colour (i.e. saturation), Sharpness 400%). There’s also a Dynamic HDR400, HDR800 and Plus. You which, for example, doesn’t have
and Clarity. This last parameter Range Priority function designed can also bracket for dynamic range, multi-shot HDR capture or the full
adjusts definition by increasing or to adjust the contrast to give as well as for exposure, Film multiple exposure capability.
decreasing the mid-tone contrast increased detailing in both the Simulation profiles, focus, ISO and
while leaving the highlights and white balance. The Film Simulation LIGHT AND COLOUR
shadows alone. bracket is quite handy as it allows
for three versions of an image to As far as the camera control
A Monochromatic Colour be captured simultaneously, for systems are concerned, the X-S10
adjustment is provided for the example, Velvia, Acros and Classic is essentially ‘pure’ X-T4, starting
two B&W profiles and this tints Chrome. The focus bracketing can with its hybrid phase/contrast
in either the warm-to-cool or be set for up to 999 frames, with detection autofocusing with the
magenta-to-green ranges (plus intervals of up to 10 seconds and latest control algorithm for
there are the usual contrast control the focus shift adjusted between enhanced face/eye tracking.
filters in yellow, red and green one to 10 steps. There’s a total of 425 measuring
points – arranged in a 25x17
pattern – using 2.16 million pixels
Fujifilm clearly also has video- with the Cinema 4K resolution of are also enhanced. There’s also a allows for a number of recording
makers in its sight as potential 4096x2160 pixels (4K DCI) and at headphones volume control. functions to be operated via the
users of the X-S10 which offers 30, 25 or 24fps. The compression touchscreen. In terms of video
plenty to keep them happy. is fixed at LongGOP (and As with the X-T30, 4K video functionality, there’s the full set
In essence, it’s same suite of interframe regime), but you can with 10-bit 4:2:2 colour can be of Film Simulation settings, all
capabilities as the X-T30, but with adjust the bit-rate to either 200 or recorded externally via the HDMI the adjustable picture parameters
extras such as proper 3.5mm 100 Mbps. UHD 4K clips can also output along with simultaneous (including the B&W warm/cool
stereo audio input and a supplied be recorded at 30, 25 or 24fps and 4K internal recording but with 8-bit adjustments), dynamic range
dongle to convert the USB-C port either 100 or 200 Mbps. Better 4:2:0 colour. The F-log gamma expansion processing and high
into a 3.5mm stereo audio output. still, the 4K video is oversampled profile is available for both external ISO noise reduction. Continuous
More importantly perhaps, is the at 6K by using the full width of the and internal recording to give an autofocusing is available with face/
in-body image stabilisation that can sensor (so there’s no additional extended dynamic range, and eye tracking and the range limiter.
be supplemented with electronic focal length increase either) which usefully, there’s an F-Log View Conveniently, the Quick Menu
stabilisation which shifts the image gives enhanced image quality, Assist display option. Alternatively, automatically switches to video
on the sensor (resulting in a small especially detailing and definition. there are the dedicated Eterna mode, enabling direct access to
1.1x crop). and Eterna Bleach By-Pass Film the key recording functions.
Full HD footage can be Simulation profiles that enable
Again, it’s the value proposition recorded with either the 16:9 or easier post-camera grading of In comparison with the X-T4,
that’s likely to win buyers over 17:9 aspect ratio and at 60, 50, 30, exposure and colour. The clip the X-S10 lacks 10-bit internal
more than anything else, although 25 or 24fps with the bit rate set to lengths are pegged at just a recording and the 50/60p frame
many here will also like the less 50, 100 or 200 Mbps. There’s also fraction under 30 minutes, and rates for 4K, but otherwise it’s up
idiosyncratic control arrangement. an increased choice of frame rates Fujifilm says that the magnesium there with Fujifilm’s X-mount video
for high-speed Full HD recording alloy front panel is designed to act star, and it certainly matches it for
The X-S10 shoots 4K video in – 100, 120, 200 or 240fps – giving as a heat sink… something that’s performance. Given the sensor
the cinematic 17:9 aspect ratio more options for slow-mo effects. easier to do with a camera body size isn’t an issue for video (it isn’t
that isn’t weather sealed. for photography either, but here
The audio features include it really doesn’t matter at all), the
manually adjustable levels, an The X-S10 also ticks the X-S10 is brilliant value, and more
attenuator, a wind-cut filter and boxes for zebra patterns (with an than capable of attracting new
a low-cut filter. Additionally, like adjustable brightness threshold), converts to Fujifilm’s X-mount
the X-T30, the X-S10 records 24- time-coding (either rec-run or free- system.
bit sound at 48kHz, so both the run with a drop-frame correction)
audio dynamic range and definition and Movie Silent Control that
35
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36
ONTRIAL FUJIFILM X-S10
on the sensor, giving virtually full The X-S10 also gets the AF ISO 80 ISO 160
frame coverage both vertically and Range Limiter function from the ISO 200
horizontally. Sensitivity can extend X-T4 (and X-Pro3) which provides ISO 800 ISO 400
all the way down to EV -7.0 at three modes for presetting ISO 3200
ISO 100 if you’re lucky enough the focusing range primarily to ISO 12800 ISO 1600
to have Fujifilm’s super-fast f/1.0 enhance speed. There are two ISO 51200
50mm prime, but at f/2.8 the AF preset ranges – from 2.0 or 5.0 ISO 6400
will still work at EV -4.0. metres to infinity – plus a custom
setting that can be configured ISO 25600
In the single-shot AF mode, the as desired, for example, for the
area modes extend from Single- distance between two subjects. The sensor’s dual-gain circuitry
Point (selectable in six sizes), to means that the X-S10 has two base
Zone (in 7x7, 5x5 or 3x3 point A standard feature of Fujifilm’s ISOs – set at 160 and 800 – and so
clusters, selected from a grid of X-mount cameras is the extended noise is markedly reduced at the
117 points) and Wide. There’s also choice of assists for manual higher sensitivity settings. The full
an ‘All’ setting that lets you to cycle focusing. The usual image native ISO range is useable, and
through these three modes via the magnification and focus peaking the image quality remains good at
rear input wheel. With continuous displays are supplemented by a the extension settings too. All these
AF operation, the area modes are couple of additional devices called images taken in aperture-priority
Single-Point, Zone and Tracking Digital Split Image and Digital auto mode with the aperture set
with the option of Face/Eye Microprism. The first iteration of to f/11, and the exposure time
Detection, plus Face Selection for the Digital Split Image was more varied to compensate for the ISO
situations where there are multiple gimmick than a genuine aid, but adjustments.
faces. The upgraded eye-detection over subsequent generations of
will stay locked-on even if the X-mount cameras, it’s evolved 37
subject isn’t looking straight at the into something that works pretty
camera or turns away. Additionally, well. Both features hark back to
detection can be set to either the the manual focusing aids in 35mm
left or right eye. SLRs, so it’s good to see they’ve
been retained in the X-S10 even if
To fine-tune the tracking the classic control dials are gone.
to better match the type of Anyone new to the system – which
subject movement, there’s is this camera’s chief targets – will
the AF-C Custom menu with likely find them handy.
its five scenarios, each with
three adjustable parameters For exposure control, there’s
for Tracking Sensitivity, Speed the standard Fujifilm fare of
Tracking Sensitivity and Zone on-sensor TTL metering with 256
Area Switching. The five scenarios measuring points and a choice
are called Multi Purpose, Ignore of multi-zone, centre-weighted
Obstacles & Continue To Track average, fully averaged or spot
Subject, For Accelerating/ patterns. This drives the ‘PASM’
Decelerating Subject, For Suddenly modes, and the S10 also has a
Appearing Subject and For set of 14 subject/scene modes
Erratically Moving & Accel/Decel accessed via the ‘SP’ on the main
Subject. A sixth setting provides mode dial. Alternatively, auto
for a customised focus tracking scene selection is performed when
scheme created using the three the camera is the ‘Auto’ mode,
adjustable parameters. and here there’s a selection of 12
modes selected on the basis of
“AFTER LOOKING analysing data from the AF, AE
LIKE A BIT OF A and white balance systems.
MASH-UP AT THE
START, THE X-S10 The mechanical shutter has
TURNS OUT TO BE a speed range of 15 minutes to
A REAL WINNER.” 1/4000 second, with flash sync
up to 1/180 second and a bulb
timer with a 60-minute limit. There
are obviously variations from
mode to mode, and switching
to the camera’s sensor-based
electronic shutter enables a top
speed of 1/32,000 second, which
is also available when using the
hybrid electronic first curtain
shutter. This makes the exposure
with the sensor, but finishes it
conventionally with the mechanical
shutter’s second set of blades.
FUJIFILM X-S10
This arrangement isn’t totally X Memory card and battery share The live view display is also SPEED AND
silent, but still reduces both noise the same compartment in the base extensively customisable, so you PERFORMANCE
and vibrations compared to the of the handgrip. can add guide grids (either 3x3
mechanical shutter and, compared or 4x6), a real-time histogram, Using a Sony 64GB SDXC UHS-I
to the full sensor shutter, allows for The number of function tiles can a level indicator and a highlight video speed 3 memory card and
the use of flash. be set to four, eight, 12 or 16, and warning, plus whatever read-outs the mechanical shutter, the X-S10
you can have up to four different and indicators you select from four captured a burst of 85 JPEG/large/
The X-S10’s white balance panels via the C1 to C4 custom menu pages of items. Additionally, fine frames in 10.561 seconds,
control options include the camera setups. The touchscreen you can increase the size of representing a continuous shoot-
expanded choice of auto correction implementation extends to the selected icons and also adjust ing speed of 8.05fps. With the
modes that were introduced Quick Menu, autofocusing (with the display contrast to enhance electronic shutter, it recorded 70
with the X-T4. In addition to the the option of auto shutter release), legibility in different lighting frames in 3.604 seconds, giving a
standard auto mode, there are various replay functions, and a conditions. The review/replay shooting speed of 19.42fps. The
White Priority and Ambience ‘touchpad’ function so you can screen options include an overlaid test file sizes were around 16.1MB
Priority auto settings These are still touch focus when using the set of histograms or two thumbnail on average.
designed for shooting under EVF. The main menus still have displays accompanied by an
incandescent (a.k.a. tungsten) to be conventionally navigated – extensive amount of capture data We have, of course, already
lighting and either correct for, although using the joystick greatly (including lens details), a highlight seen the latest-generation Fujifilm
or preserve, the warmer tones. enhances efficiency – and their warning, a brightness histogram hybrid AF at work on the X-T4, and
Alternatively, there’s a choice design is unchanged from the rest and the focus point or zone used, here it’s been tweaked further to
of seven presets (including of the X-mount fleet. Besides, which is very useful. Pressing the primarily improve the performance
one for underwater), and up to the straightforward right-click joystick instantly zooms in on this and reliability in the full auto and
three custom measurements navigational routes from chapter point so you can quickly check scene modes. Overall, it’s fast
can be created and stored. As to page to sub-menu or settings the focus. and accurate with good tracking
noted earlier, auto white balance work logically enough. reliability even with subjects that
bracketing is available along with are moving erratically. The low-light
fine-tuning and manual colour As noted earlier, the X-S10
temperature setting over a range has the same EVF as the X-T30,
of 2,500 to 10,000 Kelvin. a 1cm OLED panel with a
resolution of 2.36 million dots and
IN THE HAND a magnification of 0.62x (35mm
equivalent). This is now really
Here is where the X-S10 is sig- a base-level spec, but it’s still
nificantly different from all its X-T acceptable even if most of the
series cousins. As noted at the competition now offer higher-res
start of this review, it has a more displays. In the camera’s ‘Boost’
conventional control layout that’s a mode, the refresh rate is increased
deliberate ploy to attract new users to 100fps which essentially
to the Fujifilm X-mount system, in eliminates lag when shooting
particular anybody ready to make continuously. Incidentally, the
the switch from a DSLR. ‘Boost’ mode also increases the
Consequently, there’s also the AF speed, but uses more battery
biggest handgrip we’ve seen on an power. Both the EVF and rear
X-mount body so far, significantly LCD are adjustable for brightness,
enhancing the handling. The main saturation and colour balance.
mode dial is obviously something
that just about everybody will be
familiar with, and the rest of the
control layout is straightforward
with clearly marked function
buttons for things like ISO setting
and the AE lock.
The customisation options are
probably a little less daunting than
is the case with some mirrorless
cameras, but nonetheless still
extensive, covering seven physical
controls and four Touch Function
Gestures. The six multi-functional
buttons can be assigned from a
list of over 60 operations, while
there’s 35 available for the function
dial which can be useful for things
like quick access to the Film
Simulation profiles. The Touch
Functions are assigned to the up,
down, left and right swipes of
the touchscreen. The Quick Menu
control panel is also customisable.
38
ONTRIAL FUJIFILM X-S10
sensitivity is still excellent with the makes its Film Simulation profiles small reduction in dynamic range. low-res EVF, single card slot and
more commonly-used XF lenses, superior to anything else. The RAWs are also exceptionally slower continuous shooting with
which is the reality for anybody flexible, giving lots of latitude the mechanical shutter… all of
who doesn’t have the super-fast Not surprisingly, the X-S10’s with exposure so images can be which many users will be able
50mm f/1.0. Face/eye detection high-ISO performance is on a par brightened by two or three stops to happily live with. It’s nowhere
works very well too, capably with the X-T4’s. The sensor’s ‘dual without unduly increasing noise, near as involving – or as much
dealing with varying head angles gain’ circuitry – with a second, particularly in the shadows. of an experience – as the more
or when the subject is fairly small higher base ISO being at 800 – classical X-T bodies, but this isn’t
in the frame. means increased sensitivity at In all, it’s a commanding going to matter to newcomers to
the even higher settings, and performance. the X-mount system. And, in many
In terms of image quality, the with lower noise. Subsequently, ways, the more conventional layout
good news is that the X-S10 still less noise reduction processing THE VERDICT gets you to where you want to be
has all of Fujifilm’s colour science is required, so the image quality much more easily. And you still get
know-how, so the out-of-camera – in terms of definition and colour So what have we got here? After the same brilliant results as the
JPEGs look superb, even before saturation – holds together well looking like a bit of a mash-up at X-mount flagship. In fact, Fujifilm
you start to play around with the all the way up to ISO 12,800. the start, the X-S10 turns out to be may just have been a bit too
Film Simulation profiles and the Even above this, the X-S10 still a real winner. In terms of camera generous with the X-S10 – it’s
various other in-camera processing balances sharpness and noise systems, it’s really just the X-T4 in almost unbeatable on value,
options such as Grain Effect. As reduction very well. Theoretically, a more fashionable frock – same so grab one before they change
we’ve noted on many occasions, the image quality at ISO 12,000 sensor, same processor, same their minds.
Fujifilm’s balancing of colorimetric is pretty much the same as it is AF and largely the same feature
colour – or ‘real’ colour – with at ISO 800 (the upper limit of set. It’s massively more afford-
expected or ‘memorised’ colour, the low ISO circuit), albeit with a able though, and the cost-cutting
is mostly accounted for by the
VITAL STATISTICS FUJIFILM X-S10 $1,749 Body only. Recommended retail
Type: Enthusiast-level digital mirrorless camera and monitor adjustable for brightness, colour for USB C provided. Clip lengths limited to 29 Scene (SP) modes, ‘Grain Effect’ (Strong,
with Fujifilm X bayonet lens mount. saturation and colour balance. minutes and 59 seconds (4K and 2K). Weak, Off), ‘Colour Chrome Effect’ (Strong,
Focusing: TTL automatic hybrid system using Flash: Built-in flash pop-up flash with GN 7.0 Video Features: 4K and 2K video output (10-bit, Weak, Off), ‘Colour Chrome Effects Blue’
phase-difference detection and contrast- power (ISO 200). Auto, red-eye reduction, 4:2:2 colour) via the HDMI connection (with (Strong, Weak, Off), eight ‘Advanced Filter’
detection measurements. 425 measuring fill-in, slow sync, first/second curtain sync, simultaneous 8-bit 4:2:0 colour internal record- effects (Toy Camera, Miniature, Pop Colour,
points (in 25x17 or 13x9 patterns). Single-point and commander modes. Manual control down ing), F-Log gamma profile (for 4:2:2 colour High-Key, Low-Key, Dynamic Tone, Soft Focus
(six sizes), zone (7x7, 5x5 or 3x3 point clusters to 1/64. Up to +/-2.0 EV flash compensation. via HDMI), HDMI rec control, focus peaking and Partial Colour [Red/Orange/Yellow/
selected from 91 points) and wide/tracking External flash units connect via hotshoe. display, zebra patterns with adjustable bright- Green/Blue/Purple]), flicker detection and
modes. Five AF-C Custom settings for optimis- Additional Features: Magnesium alloy and ness threshold, time code (free run or rec run, correction, pixel mapping, Lens Modulation
ing tracking plus a user-definable setting for GRP bodyshell, AE/AF lock, auto exposure drop frame correction), silent operation via Optimiser (LMO) processing, intervalometer
Tracking Sensitivity, Speed Tracking Sensitivity bracketing (up to +/-3.0 EV over two, three, touchscreen. (up to 999 frames), dynamic range expansion
and Zone Area Switching. Face/eye detection five, seven or nine frames), multiple exposure Recording Media: Single memory card slot for (Auto, 100%, 200%, 400%), Dynamic Range
with left/right priority. Focus frame adjust- function (two shots), multi-mode self-timer (2 SD, SDHC and SDXC with UHS-I support. Priority processing (Auto, Strong, Weak), multi-
able to five sizes. Range is 10cm to infinity and 10 second delays), audible signals, auto Continuous Shooting: Up to 32 JPEG/large/fine shot HDR capture (Auto, HDR200, HDR400,
(Auto Macro mode). Focus range limiter. Face/ power-off, cable release connection, wired frames at up to 20fps or 17 RAW (compressed) HDR800, Plus), multiple exposure facility (up to
eye detection with left/right priority. Manual remote trigger. frames using the sensor shutter. Up to 105 nine frames with Additive. Average, Bright or
switching between one-shot and continuous JPEG/large/fine frames at 8fps or 18 RAW Dark exposure adjustment), adjustable image
AF modes. AF+MF mode. Low-light assist via DIGITAL SECTION (compressed) frames using the mechanical parameters (Tone Curve, Colour Saturation,
built-in illuminator. Manual focus assist via Sensor: 26.1 million (effective) pixels X-Trans shutter. Low speed continuous mode captures Sharpness, Clarity), Monochromatic Colour
magnified image, Digital Split Image display CMOS 4 (BSI-CMOS) with 23.5x15.6 mm at 5fps with continuous AF/AE adjustment. (warm-to-cool or green-to-magenta), Quick
(colour or B&W), Digital Microprism display, or imaging area and 3:2 aspect ratio. Sensitivity Up to 29 JPEG/large/fine frames at 30fps or Menu control screen, real-time histogram
focus peaking display (white, red or blue; low equivalent to ISO 160-12,800, extendable to 17 RAW (losslessly compressed) frames using display, dual-axis level display, grid displays
or high levels). Sensitivity range is EV -7.0 to ISO 80, 100, 25,600 and 51,200. the sensor shutter with a 1.25x crop. Pre-Shot (choice of two), guidance displays, in-camera
18 (f/1.0 at ISO 100). Focal Length Magnification: 1.5x. capature available when using the electronic panoramas (120 or 180 degrees), bracket-
Metering: 256-point multi-zone, centre- Formats/Resolution: Two JPEG compression shutter. ing functions (AE, Film Simulation, Dynamic
weighted average, full average, spot and TTL settings, RAW output (lossless compressed, White Balance: TTL measurement. Three auto Range, ISO, White Balance, Focus), high ISO
flash. Metering range is EV -4.0 to 20 (ISO 100 compressed or uncompressed) and RAW+JPEG modes, seven presets and three custom set- noise reduction (plus/minus four levels), long
at f/2.0). Spot metering can be locked to AF capture. Three resolution settings at 3:2 aspect tings. White balance compensation (amber-to- exposure noise reduction (On/Off), sRGB and
point/zone. ratio; 6240x4160, 4416x2944 and 3120x2080 blue and/or green-to-magenta) in all presets, Adobe RGB colour space settings, in-camera
Exposure Modes: Continuously-variable pro- pixels. Three resolution settings at 16:9 aspect and white balance bracketing. Manual colour editing functions (RAW Conversion [20 adjust-
gram with shift, shutter-priority auto, aperture- ratio; 6420x3512, 4416x2488 and 3120x1760 temperature setting from 2500 to 10,000 able parameters], Erase, Crop, Resize, Protect,
priority auto and metered manual. 14 subject/ pixels. Three resolution settings at 1:1 aspect Kelvin. Auto White Priority maintains whites Image Rotate, Red-Eye Removal, Copy,
scene modes. Automatic subject/scene mode ratio; 4160x4160, 2944x2944 and 2080x2080 under incandescent lighting. Auto Ambience PhotoBook Assist), slide show, multi-image
selection (12 possible settings) in Auto mode. pixels. 24-bit RGB colour for JPEGs, 42-bit RGB Priority maintains warmer hues under incan- playback, 9/100 thumbnail displays, zoom
Shutter: Electronic, vertical travel, metal colour for RAW files. descent lighting. playback, silent mode, Instax print, customis-
blades, 900-1/4000 second plus ‘B’ (up to Video Recording: MOV format; MPEG 4 Interfaces: USB 3.1 (Type C), micro HDMI (Type able My Menu (16 items), seven custom Quick
60 minutes). Flash sync up to 1/180 second. AVC/H.264 coding (LongGOP compression) – D), 3.5mm stereo audio input/remote trigger Menu settings banks, copyright info, Wi-Fi and
Sensor shutter has a speed range of 900- 4K DCI at 4096x2160 pixels; 30, 25 or 24fps connector. Bluetooth LE wireless connectivity, PicBridge
1/32,000 second. Exposure compensation up to (200 or 100 Mbps) and 17:9 aspect ratio. 4K Additional Digital Features: In-body image sta- and DPOF support.
+/-5.0 EV in 1/3-stop increments. UHD at 3840x2160 pixels; 30, 25 or 24fps (200 bilisation via sensor shift with five-axis correc- Power: One 7.2 volt/1260mAh rechargeable
Viewfinder: 1cm OLED-type EVF with 2.36 or 100 Mbps) and 16:9 aspect ratio. Full HD at tion (and up to six stops), sensor cleaning, 18 lithium-ion battery pack (NP-W126S type).
milion dots resolution, 100% vertical/horizon- 1920x1080 pixels; 60, 50, 30, 25 or 24fps (200, Film Simulation modes (Standard/Provia, Vivid/ Dimensions (WxHxD): body only =
tal scene coverage and 0.62x magnification 100 or 50 Mbps) and 16:9 or 17:9 aspect ratio. Velvia, Soft/Astia, Classic Chrome, Pro Neg 126.0x85.1x65.4 mm.
(35mm equivalent). ‘Boost’ mode gives 100fps At 1920x1080 pixels; 120 or 100fps (200 Mbps) High, Pro Neg Standard, Classic Neg, ACROS, Weight: 415 grams body only (without battery
refresh rate. Automatic/manual switching and 16:9 aspect ratio. Slow-mo frame rates at ACROS+Yellow, ACROS+Red, ACROS+Green, or memory card).
between the EVF and the LCD screen. Eyepiece 100, 120, 200 and 240fps. Stereo microphones Monochrome, Monochrome+Yellow, Price: $1,749 body only. Choice of silver or
strength adjustment built-in. 7.62cm LCD moni- with auto/manual levels adjustment, limiter, Monochrome+Red, Monochrome+Green, black finishes.
tor (1.04 million dots) with tilt/swing adjust- wind filter and low-cut filter. Stereo audio Sepia, Eterna/Cinema, Eterna Bleach Bypass), Distributor: Fujifilm Australia, telephone (02)
ments and touchscreen controls. Both EVF input provided and stereo audio output adapter auto Film Simulation selection in Auto and 9466 2600 or visit www.fujifilm.com.au
39
VHIACSTSOELRBLADTHE NAME BEHIND THE CAMERA
40
You know the brand name and you probably know some of the history behind it,
but what about the people who made it happen? In this series, we look at the
personalities who, through often courageous decisions, got us to where we are in
photography today. In this article, we look at the life of the teenager who was a
passionate birdwatcher and became the creator of ‘The Swedish Dream Camera’.
Fritz Victor Hasselblad than finishing school. The teenager Sweden to work in the family 19. The two remained happily
was born in the Swedish was also sent to Dresden in business that had now expanded married until Victor’s death in 1978,
port city of Gothenburg Germany to learn more about the to a chain of photography stores but there were no children. There
(Göteborg) on 8 March, camera business. He worked for across Sweden. He purchased were, however, plenty of dogs,
1906. The Hasselblad ICA-Werken – which later became a Husqvarna motorcycle that he including one called Leica. Erna
family were successful Zeiss Ikon – learning much about used to travel around the country – died in 1983, aged 68.
merchants who, since 1841, had the workings of cameras and and then further afield to Denmark
mostly specialised in textiles and lenses and, in the process, also and the Netherlands – on his many In 1935, Victor had a book
clothing, but in 1885, branched becoming fluent in German. Now bird-watching expeditions. He had published called Flyttfågelstråk
out into the fledgling medium aged 20, Victor subsequently brought back an 8x10.5cm format – The Flight Of Migratory Birds
of photography. In 1888, F.W. moved to Paris where he worked Graflex camera from the USA, – which he both wrote and
Hasselblad & Co became the in the Kodak-Pathe shop on the but was starting to learn about its photographed. It was a reasonable
exclusive Swedish distributor Avenue de l’Opera and learned limitations in the field, especially success, but it came at a cost as
of Eastman Kodak products. A French (he also became fluent in when photographing small, fast- the long absences from the family
couple of years after Victor was Dutch and, of course, English). moving subjects. He started also business had further tested an
born, in 1908, the family company shooting with Leica and Contax already strained relationship with
established a new division called Wherever he was in the world, 35mm rangefinder cameras, his father. Eventually Karl Erik
Hasselblads Fotografiska AB – he continued to pursue his twin which he greatly admired, but he ran out of patience and, in 1937,
Hasselblad Photographic Limited passions for ornithology and considered the small negative size dismissed his son. The two would
– which created a chain of retail photography. In 1926, Victor moved to be a restriction when it came to never speak again. No doubt to
outlets and photo processing to the USA and worked for Kodak making large-sized prints. prove a point, but also because he
facilities all over Sweden. at its headquarters in Rochester. badly needed an income, Victor
Not surprisingly, the young While there, he came to the In 1934, Victor married Mary decided to start his own company
Victor developed a keen interest attention of the company’s founder, Erna Ingeborg Nathorst – known – Victor Hasselblad AB – and
in photography from an early age, George Eastman, who invited him as Erna – in the Seglora Church at opened a shop called Victor Foto
along with a great enthusiasm to dinner on quite a few occasions. Skansen, an open-air museum in – located on one of Gothenburg’s
for anything to do with nature, Eventually, Victor returned to Stockholm. He was 27, she was main city squares – which
but in particular birds. These two
hobbies would eventually come
together to help change the course
of camera design. Victor was so
keen on being in the field that his
school studies suffered, although
he excelled at biology and botany.
Eventually his father, Karl Erik, an
engineer by profession, decided
an apprenticeship in the family
business would be more beneficial
X The original headquarters of
F.W. Hasselblad & Co. in central
Gothenburg became the Hasselblad
camera factory in 1951 and was
expanded, first in 1952 and then
again in the 1960s, as the company
continued to grow. It remained
in use until late 2002 when the
operation moved to a smart new
custom-built facility (subsequently,
as it happens, deemed impractical
and vacated in 2005). The building
with the tower (at the left of this
picture) dates from the mid-1880s
and was built by Victor Hasselblad’s
great-grandfather. Today the
building is luxury apartments.
41
PROFILE
combined a photography business the moment of exposure, though He recalled, “I received an the evenings, with the help of his
with a camera repair workshop. that possibility is often an illusion inquiry – can you make a camera car mechanic, Gustaf Tranefors
Ironically, Victor Foto was just when photographing quarry that like this? And they showed me and Tranefors’s brother Åke, Victor
around the corner from the old is running towards you because if the captured German camera. I began reverse engineering the
family business’s main office. one can see the animal clearly in inspected it closely, and saw that German camera and improving
the mirror, it still has time to move it wasn’t anything very special. So both the design and the
Taking Flight an appreciable amount during I replied truthfully, ‘No, I cannot construction. The result was the
those moments from the time make one like that, but I can make very first Hasselblad camera, called
While spending long hours in hides when the mirror is raised to the one better’.” the HK-7, although it was actually
watching birds, Victor had begun point where the focal plane shutter badged as ‘ROSS Aktiebolag’.
to dream up his ideal camera. It is released”. The Air Force promptly ordered However, the prototype was
needed to be a reflex design. It a prototype. If Victor Hasselblad rushed and it consequently failed
had to allow for quick adjustments. Through his skilled work at his realised the enormity of the on its first demonstration, but
It had to have interchangeable camera repair shop, Victor became challenge now facing him, he didn’t Victor was undeterred and quickly
lenses. It needed to be smaller and known for his technical prowess let it daunt him and quickly set came up with a revised design,
lighter than the Graflex, but have a and so, after the Second World about the design work, sourcing which did work. The Swedish
bigger negative size than 35mm. War started, he was approached the necessary tooling and setting Air Force ordered enough for
This was to allow for much greater by the Royal Swedish Air Force in up the production facilities (under production to commence so,
enlargements while preserving early 1940 to design a handheld a separate company called Ross within a few months, the fledgling
very fine details such as feathers. aerial camera. The Swedes had AB). This first workshop was in a company had a proper factory
captured an intact German-made spare shed on the premises of the with 20 workers. The HK-7 was
Initially though, Victor wasn’t aerial camera from a downed garage where Victor had his car a handheld, aluminium-bodied
entirely certain about the SLR Luftwaffe reconnaissance aircraft serviced. Nearby was a junkyard camera capable of recording
configuration. He wrote at the and brought it to Victor with the where he began regularly raiding 7x9cm images on 80mm film and
time, “It is true that with such a expectation he would be able to for raw materials that were already had interchangeble lenses.
design, one has the possibility of replicate it. in short supply due to the war. In
controlling the settings right up to
Hasselblad developed a special camera for
lunar photography called the Hasselblad Electric
Data Camera or HEDC. Based on the 500EL, it
was used on all the Apollo Moon missions, the
camera bodies and lenses being left behind to
save weight. The HEC space camera – which was
designed for photography from the lunar lander –
was also jettisoned after each mission.
42
SThe first camera designed and was Hasselblad’s emphasis on directly downwards – to take high- in New York on 6 October, 1948.
built by Victor Hasselblad, the mechanical precision, reliability resolution reconnaissance images The New York Herald Tribune
Ross HK-7 was a handheld aerial and durability. As an aside, Åke automatically at intervals with an newspaper subsequently reported
camera commissioned by the Royal Tranefors went on to work for overlap to enable stereoscopic on the event under the headline,
Swedish Air Force during Hasselblad for the next 40 years. photo interpretation. It’s estimated “European Maker Beats U.S.
the Second World War. that 70 Ska4 cameras were build. Camera Firms Again”.
Victor’s next aerial camera, In 1943, Ross also began making a
Ross AB built everything, the SKa4, represented another camera specifically for the Swedish The Hasselblad 1600F –
including the leaf shutter evolutionary step towards the first Army, called the MK80, which was although this model designation
assemblies, but the Hasselblad consumer camera – 7x12cm in format and could be wasn’t actually adopted until later
interchangeable lenses were Victor’s ideal camera – as it used fitted with a periscope attachment – was notable for its fully modular
sourced from Zeiss, Schneider a square format (albeit a much for photographing from behind design that allowed for the
and Meyer-Görlitz. larger image size of 12x12cm) walls or other structures. interchanging of not just lenses,
and now also had interchangeable but also viewfinders and film
A total of 240 HK-7s were built, film magazines. These magazines Back In The Fold magazines. The horizontal box-form
and some elements of the first housed specially-made, double- SLR design promoted comfortable
civilian Hasselblad camera can perforated film in 13cm wide rolls. In May 1942, Victor’s father died handling, fast operations (such
be seen in the design, including Unlike the handheld HK-7, the SKa4 and the way was opened for him as film winding) and also
the adoption of a leaf shutter. was designed to be mounted in to not only return to the family comparatively compact dimensions
Also evident right from the start the belly of an aircraft – pointing business, but to acquire it outright. given the frame size of two-and-
Over at Ross, he was already a-quarter-square inches or 6x6cm.
instructing his employees to start Appropriately, it earned the tag of
thinking beyond the war, and so ‘The Swedish Dream Camera’.
the groundwork was laid for the
creation of a non-military camera However, while the essential
based loosely on the HK-7. At that design of the 1600F may have
stage, it was simply called the been inspired, technically the
“civilian camera”. camera was more of a nightmare.
Most problematic was its focal
By 1945, a number of rough plane (mechanical) shutter which,
prototypes had been built, but theoretically, had a top speed
Victor realised that he was going of 1/1600 second, but in reality
to need something a bit more was rather slower… or didn’t
refined for the civilian market. As work at all, such was the fragility
it happened, his company was derived from the need to make
also manufacturing some precision the curtains as lightweight as
components for aircraft-maker possible and the demand on the
Saab, and this brought Victor into mechanism in order to deliver the
contact with the great Swedish necessary rate of acceleration.
designer Sixten Sason whom he
subsequently commissioned to When deliveries began in early
style his camera. Sason went on to 1949, most of the early cameras
design Saab’s first car, the 92, and failed and Hasselblad sent an
the streamlined Elektrolux (later engineer to the USA specifically
called Electrolux) Z 70 vacuum to deal with the problem.
cleaner. Despite being very Nevertheless, interest in the new
different products, all three share camera continued to grow and a
quite similar design elements. major coup was its early adoption
by Ansel Adams who described it
Hasselblad’s good relationship as “revolutionary in a number of
with Kodak enabled him to important ways”. Adams went on
convince the Americans to design to have a long relationship with
and build the interchangeable Victor Hasselblad and his cameras,
lenses for his new camera. Four and was frequently involved in the
models were initially ordered – field testing of new products.
an Ektar 80mm f/2.8 standard
lens, an Ektar 55mm f/6.3 wide- “Hasselblad’s good
angle, an Ektar 135mm f/3.5 short relationship with
telephoto and an Ektar 254mm Kodak enabled
f/5.6 long telephoto. him to convince
the Americans to
All he now needed was a name design and build
and, after considering both Ross the interchangeable
and Victor, one of his friends at lenses for his new
Kodak asked, “Why not call it camera.”
Hasselblad?”
43
Failures… And Success
No doubt with a shrewd eye
on the huge potential of the
American market, the launch of
Victor Hasselblad’s grand design
took place at the Athletic Club
Above: Victor Hasselblad held An updated ‘Series 2’ 1600F which was mated to a dedicated used on the Moon, and two black
a competition for employees to model was introduced in 1950. non-reflex body to create the SWA HECs for photography from the
come up a working design for the It improved overall reliability, (Super Wide Angle) camera. The command module and the lunar
company’s first consumer camera. but the fragile shutter remained company took both these new lander. When Victor Hasselblad
Famed Swedish designer Sixten problematic. In 1953, the new models to the 1954 Photokina in was dreaming up his perfect
Sason – best known for styling a 1000F was released with a more Cologne where they created a camera for bird photography, it’s
string of Saab cars from the 92 to achievable top shutter speed of great deal of interest. Hasselblad, very unlikely he had any idea of
the 99 – eventually finished the job. 1/1000 second and significantly maker of fine medium format the heights to which they would
better reliability. With the arrival of cameras, had arrived. eventually soar.
Below: The first Hasselblad the 1000F, the previous model was
consumer camera, the 1600F then christened the 1600F. By now, New Leaf Apart from being specially built
(although initially it was just called Hasselblad also switched to Zeiss for the application using ‘dry’
‘the Hasselblad’), was plagued by for its lenses and these included While the 1000F was a reasonable lubricants and materials that didn’t
shutter–related problems, but this the 38mm f/4.5 Biogon ultra-wide, success, Victor eventually shed particles, the Hasselblad
didn’t stop the ‘The Swedish Dream decided to abandon the focal space cameras were fitted with
Camera’ from gaining popularity. plane shutter altogether and a bulk 70mm film back (for up to
adopt in-lens leaf shutters which, 200 frames) and a simple wire-
44 although they had a slower top type sports finder. They also had
speed of 1/500 second, allowed a special 60mm f/5.6 Biogon lens.
flash sync at all speeds. In 1957, To save weight, only the film
the 500C was launched (the ‘C’ magazines came back to earth, so
stands for Compur, the shutter’s 12 very valuable Hasselblads are
manufacturer) and thus began a still up there (although there may
line of film cameras that continued be one less as it now looks like the
until 2013. What’s more, the last-of- Apollo 17 crew may have brought
the-line 503CW was fundamentally two cameras back).
the same camera as the original
500C – a fully mechanical 6x6cm From the Gemini program
SLR with interchangeable leaf- onward, Hasselblad took over
shutter lenses, viewfinders and the modification of NASA’s space
film magazines. cameras using a dedicated group
of engineers based in Gothenburg.
There were, of course, a
lot of refinements along the Celebrity Status
way, although the 500C stayed
unchanged until 1970. In that In 1970, Hasselblad introduced the
period Hasselblad also devised model that became the backbone
a motorised version, the 500EL, of so many professional camera
which was launched in 1965, while systems over the next three
the SWA became the SWC in 1959 decades. The 500C/M introduced
(the key upgrade was the linking a number of fairly minor revisions,
of the film advance and shutter but the most important upgrade
recocking functions). was that the focusing screens
were now interchangeable by the
Hasselblad’s long association user as well. This feature was also
with NASA began in 1962 with simultaneously made available in
the 500C that astronaut Walter M. the motor-driven 500EL/M.
Schirra used aboard the Mercury
space craft Sigma 7 when it By now Hasselblad was a
orbited the globe six times on hugely successful company that
3 October. Schirra owned his own had diversified into a number of
500C and showed it to NASA’s other areas, including operating
engineers who then bought one a paper mill to make packaging
from a camera store and modified products. In 1965, the original
it for operation in a weightless
environment. The subsequent “When Victor
Gemini missions also used the Hasselblad was
500C, but it was the motorised dreaming up his
500EL that interested NASA perfect camera for
the most and it was two special bird photography,
versions of this camera – called the it’s very unlikely
Hasselblad Electric Data Camera he had any idea
(HEDC) and the Hasselblad Electric of the heights to
Camera (HEC) – that were aboard which they would
Apollo 11 to record the historic eventually soar.”
landing of the first men on the
Moon. Victor and Erna were
present at the Kennedy Space
Centre in Florida on 16 July, 1969
to watch the launch of the Saturn
V rocket carrying Apollo 11, its
crew and three Hasselblads – one
silver-painted HEDC that would be
W The statue of Victor Hasselblad obsession with reliability – he
located in the square in front never wanted to repeat the 1600F
of the Hasselblad Centre in experience – and so it was well
Gothenburg. It was unveiled in over two decades after his death
March 2006 to commemorate the that the company finally created
100th anniversary of his birth. The a new from-the-ground-up camera
Centre is part of Gothenburg’s system – the 6x4.5cm format
Museum Of Art and a space autofocus H1 was launched
specifically dedicated to exhibiting in 2002.
photography.
Rare Bird
family company was sold to Kodak
and, after the paper mill was sold, With more time on their hands, in
Victor Hasselblad became one early 1978 Victor and Erna travelled
of the richest men in Sweden to the Galápagos Islands, a place
and also something of a national that he’d wanted to visit for a long
celebrity. The story is told about time… not for the famous marine
a customs officer who looked at iguanas, but a rare bird, the Lava
his passport, then looks up Gull. It was while on this trip that
at its owner and says, “You have he exhibited the first symptoms
the same name as the famous of an undisclosed illness that
camera”. To which Victor is said subsequently ended his life on 5
to have replied, “Yes, I am the August, 1978. He was aged 72 and
camera”. willed that his vast fortune be used
to establish the Erna And Victor
He was 60, and now devoted Hasselblad Foundation which,
all his energies to his camera today, operates as the Hasselblad
company. However, he continued Foundation in Gothenburg
to actively pursue his passion for to promote many aspects of
bird photography and a number education in both photography
of major exhibitions of this work and the natural sciences.
were staged during the 1970s. At
one of these – in Oslo in 1975 – all While the digital imaging
the exhibition prints were sold on revolution began with high-end
the first day and Victor donated capture backs designed to fit
the entire proceeds to the World medium format SLRs, the camera
Wildlife Fund. makers themselves mostly all
struggled with the transition,
In 1976 he sold his own and there were quite a few
company, Victor Hasselblad AB, casualties. Bronica, Contax and
to a Swedish investment firm. Rollei disappeared altogether,
The last camera that Victor was while both Pentax and Fujifilm
directly involved with saw a return stopped making medium format
to a focal plane shutter, although film cameras. Obviously Fujifilm
the 2000FC could also be used has since returned to this market
with the ‘C’ series leaf shutter with its GFX mirrorless cameras,
lenses as well. It was launched, and Pentax revived its system with
along with five ‘F’ lenses without a digital camera body in 2010. The
built-in shutters in 1977, and the other long-term survivors have
sole concession to modern camera been Mamiya (now owned by
design was the electronically- Phase One) and Hasselblad, which
controlled titanium shutter that now has Chinese drone-maker
could, finally, achieve a top speed DJI as its majority shareholder.
of 1/2000 second… something However, Hasselblad is still making
that had been Victor’s goal right cameras in Gothenburg and today’s
from the very start. H6D digital camera system can
trace its roots – at least in terms of
Again, the 2000FC was a fully its basic modular configuration – all
manual camera with TTL metering the way back to the original 1600F.
via the CdS-based Meter Prism While the future is undoubtedly
Finder, an additional purchase. mirrorless cameras, such as the
An accessory autowinder wouldn’t X1D II and the 907X, their concept
become available until 1984 of compactness, combined with
with the 2000FCW model. In fast operation and the promise of
comparison, the Rolleiflex SLX, very high quality results is exactly
launched in 1976, had a motorised what Victor Hasselblad originally
film transport and TTL metering – dreamed up back in his bird-
using dual SPDs – with the option watching hide.
of shutter-priority auto exposure
control. 45
Hasselblad’s conservative
approach to adopting new
technologies was rooted in Victor’s
ON TRIAL
Both lenses feature a
collapsible design to make
them as compact as possible
for carriage and storage. The
extension doesn’t upset either
the handling or the balance on
a tripod.
You get ultra-long focal lengths in an affordable and of $16,000 and Canon’s rival EF-
hand-holdable lens, but it comes at a price. How mount 600mm f/4.0L IS III USM is
well do Canon’s fixed-aperture superteles work in going to cost you around another
practice? three grand.
S upertelephoto supertelephoto focal lengths – body is a DSLR or mirrorless. What about an 800mm
primes have always essentially anything longer than How expensive? Well, Sony’s supertele? Nikon’s AF-S 800mm
been specialty 300mm – but even these lenses f/5.6E FL ED VR is priced at
lenses. Unless can still be quite expensive, 400mm f/2.8 GM OSS for the FE around $27,000 and the Canon
especially the faster primes. As mount will set you back just under EF 800mm f/5.6L IS USM is a bit
you were regularly with 35mm film, supertelephotos $20,000 and the FE 600mm f/4.0 more ‘affordable’ at a little under
for full frame sensors are big, GM OSS is yours for $22,000. $19,000. Sigma’s 800mm f/5.6
shooting sports or wildlife, it was heavy and very expensive Nikon will happily sell you the F APO EX DG HSM – a real snip
regardless of whether the camera mount AF-S 600mm f/4.0G ED at around $9,500 – has recently
virtually impossible to justify the VR for somewhere in the region been discontinued. But like all the
lenses we’ve just mentioned, it
cost. Of course, a smaller sensor was still big and heavy. The Canon
EF-mount 800mm, for example, is
size makes it easier to get to the 46cm in length and weighs 4.5kg.
So, even though it has optical
image stabilisation, you won’t be
doing any handheld shooting with
that beast.
No doubt all of this was in the
46
ON TRIAL CANON
minds of Canon’s lens designers “IN THE DIGITAL to be easily fitted to a tripod when effectively a 600mm.
when they dreamt up the idea of CAMERA ERA, THE needed. The main drawback is that In the digital camera era,
a pair of RF-mount supertelephoto ABILITY TO CHANGE switching to vertical framing has
primes with a fixed aperture of THE ISO FROM to be done with the tripod head, the ability to change the ISO
f/11. In truth, the long telephoto SHOT TO SHOT, which often isn’t as easy as simply from shot to shot, and the
isn’t overly complex optically, and AND THE STEADY rotating the camera through a steady improvement in high ISO
much of the cost is related to IMPROVEMENT mounting collar. A ball-type head performance (the R6, for example,
them being built to withstand the IN HIGH ISO will be the best option here. delivers very acceptable results at
wear and tear of hard professional PERFORMANCE, ISO 51,200 or even ISO 102,400)
use. Removing the diaphragm MAKE IT EASIER TO IN THE FIELD make it easier to work around
assembly alone isn’t going to make WORK AROUND A a fixed aperture. Additionally,
a massive difference to the bottom FIXED APERTURE.” So what does a fixed aperture Canon’s Dual Pixel CMOS AF
line. So Canon has completely mean in practice? We’ve been autofocusing still operates at f/11,
rethought the supertelephoto to to venture down to 1/50 second. here before, when the mirror – but obviously not using all the
come up with a 600mm and an With the 600mm, the five stops of or catadioptric – lens was once available measuring points (the
800mm that are smaller, lighter correction means that you might employed as a means of creating small ‘aperture’ means that the AF
and way more affordable than be able to get away with shooting a more compact telephoto lens. area is reduced to roughly 40%
anything we’ve seen before for at shutter speeds as slow as 1/15 As the name suggests, the mirror horizontal and 60% vertical).
35mm/full frame. second. It certainly helps that lens used a set of shaped mirrors
neither lens is particularly heavy to reflect the light rays back and If you need to use faster shutter
Apart from not having an and they’re both very comfortable forwards within the barrel as a speed to freeze subject movement
adjustable diaphragm – the to hold. There’s no tripod mounting means of achieving a longer focal then adjusting the ISO is really the
f/11 aperture is dictated by the collar – presumably to save on length. A couple of conventional only control available for dealing
internal structure – they feature both weight and cost – but there lens elements then perform final with changing light conditions,
a collapsible barrel design that is a simple foot with a standard focusing. The mirrors prevent and if there’s a bit more noise in
makes them even more compact 3/8-inch threaded socket. You could the fitting of a diaphragm, so the the image, so be it. It’s only likely
when not in use. A beefy locking leave a quick-release plate attached aperture in the centre of doughnut- to be an issue if you’re planning
ring is twisted a short way to this, which will allow and lens shaped back mirror – which allows to make really big prints and, with
clockwise, so the front of the lens light to pass through to the film or most of the likely applications for
– which contains all the optics – sensor – served as the fixed f-stop. these lenses, this probably won’t
can be extended to achieve the This was certainly much more be an objective. Conveniently, the
long focal length. The locking ring restrictive in the days of film when multi-functional Control Ring – a
is then twisted back and you’re you couldn’t vary the ISO to assist feature of all RF mount lenses –
ready to go. Simple, but effective. with exposure control, and it’s the can be assigned to adjusting the
Collapsed, the RF 800mm f/11 is a main reason mirror lenses were ISO (as well as shutter speeds or
shade over 28cm long and, ready never really very popular, although exposure compensation settings).
for action, it’s around 35cm. It many systems included a model… Alternatively, switching to auto ISO
weighs 1.26kg (compared to the probably the most famous being control means the camera will set
EF lens’s 4.5kg), while the 600mm Nikon’s Reflex-Nikkor 1000mm f/11. the sensitivity as required and, of
actually gets in at under a kilo and As an aside, Samyang still offers an
just 930g. ultra-compact 300mm f/6.3 mirror TThe main barrel tubes are
lens for the crop-sensor mounts… GRP plastic and neither lens has
Both lenses have optical so with M43, for example, it’s weather sealing, but they’re still
image stabilisation, so handheld pretty solidly constructed.
shooting is quite feasible even
with the 800mm. The OIS in the 47
600mm gives up to five stops
of correction for camera shake,
while the 800mm has four stops.
However, for reasons that aren’t
entirely clear, the f/11 superteles
don’t have Canon’s ‘Co-ordinated
Control IS’ where the OIS and the
IBIS (in-body image stabilisation)
in the EOS R5 and R6 join forces
to extend the correction range and
also compensate for movements
in three additional planes to the
standard pitch and yaw. As far as
we can see, IBIS is effectively
de-activated when these lenses
are fitted to either the R5 or R6.
Applying the one-divided-
by-focal-length law to establish
the slowest ‘safe’ shutter speed
for handheld photography, the
800mm’s starting point is 1/800
second and the four stops of OIS
correction theoretically allows you
T This is the 600mm f/11 shown in
the extended position on the EOS
R body. In terms of handling and
balance, it’s a lot less unwieldy
than it might look.
Externally, the f/11 RF superteles cutting measure, but possibly will be valuable too. “OPTICALLY BOTH
are quite different from what we’d problematic with lenses that will LENSES ARE SUPERB,
usually expect from Canon. For mostly only be used outdoors and THE SUPER POWERS WITH EXCELLENT
starters, they’re finished in black probably in a variety of weather OF ‘DO’ SHARPNESS ACROSS
rather than off-white and the front conditions too. Another cost-saving THE FRAME – AS
has a textured leatherette-look condition is the lack of a lens hood The optical constructions comprise YOU’D EXPECT AT F/11
covering, presumably to provide – if you want one, you’ll have to 10 elements in seven groups for – AND NEGLIGIBLE
a secure grip when extending the buy it separately. the 600mm, and 11 elements in VIGNETTING OR
barrels to the shooting positions. eight groups for the 800mm. Both BRIGHTNESS
The Control Ring is picked out in Both lenses are very employ a multi-layer Diffractive FALL-OFF.”
silver and has a knurled grip while, comfortable to hold and felt well- Optical (DO) element specifically
immediately behind, is the manual balanced on the EOS R body we designed to counter the diffraction
focusing ring which, unsurprisingly, were using for testing. The 600mm effect of very small apertures. A
is fly-by-wire. Both lenses have the really is no effort at all to carry and micron-precise diffraction grating
same on-barrel control panel use, while the 800mm is a little – which essentially works on the
comprising the AF/MF selector, more demanding because of its same principle as a fresnel screen
a focus limiter and the image extra length and weight. In some – corrects for the extreme
stabiliser on/off switch. situations, you might want to use bending of the light rays caused
a monopod for additional support, by a smaller aperture, thereby
Also not surprisingly, the especially if you want stay targeted reducing the blurring that ordinarily
construction is almost entirely of on a subject for any period of results from this amount of
S Hefty locking ring twists to S Multi-function Control Ring S To save weight and cost a
release the barrel extension and can be set to adjust shutter proper tripod-mounting collar is
is then twisted back to lock it in speeds, ISO settings or exposure replaced by a simple foot.
place. The camera will warn you if compensation, but obviously
it’s not properly secured, but you there’s no need for a manual X On-barrel controls are for AF/MF
actually can’t go wrong. aperture control. switching, setting the focus limiter
and activating optical image
48 stabilisation.
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