Camera
Nikon interview: “State-of-the-art technology needs to be embedded in our products”
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Yusuke Adachi Section Manager, UX Strategy Section, UX Planning Department, Imaging Business Unit Photo: Dale Baskin |
“State-of-the-art technology needs to be embedded in our products because that’s what customers expect.” says Yusuke Adachi, Nikon’s Section Manager for UX Strategy and Planning at Nikon’s Imaging Business Unit.
Adachi was speaking to us at Nikon headquarters in Tokyo, Japan, shortly after this year’s CP+ Expo. In an exclusive interview, he addressed a range of topics, including the current state of the camera market, the impact of AI on photography, and the importance of video.
State of the market
“The 2023 global market for digital cameras has been back in the recovery phase from the pandemic,” Adachi tells us. “This has allowed more people to go out and enjoy taking photos. During this period, more younger users chose Nikon as their creative work. So, all these contributed to an increase in shipments of our products, and it’s almost coming back to the same level as pre-covid.”
He calls out two specific product areas that are driving this growth. “Specifically, we have seen success with the Z8, which we rolled out last year. On top of that, Nikkor Z lenses have performed very well. When it comes to the lens lineup, the large-diameter lens mount and lenses like the Plena and super telephoto lenses have been received very well.”
Looking to the future, we ask Adachi what types of customers he expects will have the most significant influence on the camera market over the next five years.
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| Adachi credits the Z8 for helping drive Nikon’s recent success, along with strong performance from Z-mount lenses. |
“I believe there are two types of customers,” he says. “The first is small groups or individual content or image creators. Often, these customers operate and shoot videos of themselves or with a small team. They want to have downsized, compact systems or cameras. These customers have become very discerning thanks to video streaming platforms such as Netflix or Amazon Prime, where they see beautiful content and want to live up to that high level of expectation. Such customers want to have better capability to create high-quality and impressive imaging.”
“The second type,” he explains, “is the younger generation. Those people are not only looking for quality but also for design capability. They would like to capture images in a more emotional way and are looking for a camera that enables them to do that. For us, these are cameras like the Zf and Z fc. This lineup is considered the heritage of the company, and we would like to have customers who can relate themselves to our heritage.”
“Customers have become very discerning thanks to video streaming platforms such as Netflix or Amazon Prime, where they see beautiful content and want to live up to that high level…”
Are there customers who are being underserved by the industry today? we ask.
“Yes, of course. We have been expanding our lineup of high-spec cameras and lenses for customers who are seeking to pursue imaging expression. But maybe one underserved group is first-time camera purchasers. Maybe we haven’t been able to offer the [right] options to them. We can’t share information about our product development, but one of the factors we consider very important for this underserved but significant group of people is connectivity.”
AI in photography
As our conversation shifts toward other market changes, we wanted to know what Mr Adachi thinks was the most important trend in imaging over the past year.
“The key word would be generative AI,” he says. “We believe that generative AI can leave a positive impact on both cameras and the industry as a whole, but at the same time, it’s been causing issues such as fake images or fraudulent use of images, which leads to the issue of credibility and confidence. So, in order to grapple with these issues, we’ve been working on technology to record histories of captured images [ie Content Authenticity Initiative]. Right now, we’re in the demonstration phase to verify and validate the efficacy of these functions we’re trying to deploy together with AFP (Agence France-Presse).”
Continuing down the AI path, we discuss the importance of AI and machine learning in camera development. Mr Adachi believes customers are pleased with the advancements these technologies have delivered, particularly for subject recognition and tracking, but tells us there are more opportunities ahead.
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| Adachi cites the Auto Capture feature on the Z9 (and Z8) as an example of leveraging AI and machine learning technologies to deliver more benefits to customers. |
“I believe there is further room for improvement or evolution using AI or computer vision. The point is that, of course, state-of-the-art technology needs to be embedded in our products because that’s what customers expect. For us, it’s very important to consider what benefit we can provide to our customers and what expectations they place on us.”
He cites the Auto Capture feature on the Z8 and Z9, which can take a photo or video when one or more specified criteria, such as distance, motion and subject detection, are met, as one example of a benefit Nikon can provide through technology.
“That means that if you’re a solo photographer at a scene, you can set a remote, fixed camera somewhere else. So, if you’re a solo photographer, you can capture one scene from multiple angles, which could lead to new types of imaging experiences for our audience. AI machine learning has been the enabler for us to make the auto-identification of objects or subjects or the auto-identification of scenes themselves.”
Smartphones and computational photography
Photographers frequently ask about the possibility of porting computational photography features, like those found on smartphones, to cameras. We ask Mr Adachi if that’s the right question or if the role of computational photography is different on a device where a photographer wants complete control of the creative process.
“When it comes to computational photography, smartphones and cameras are different in terms of the applications of this technology. I can’t share the details of the development we’re doing right now, but maybe what I could say is that we are actively engaged in technology development to not only prevent customers from making mistakes but also to expand the possibilities of expression in latest imaging, such as Nikon Creates.”
“When it comes to the latest in imaging, what the camera can render is very different from smartphone rendering using computational photography technology.”
“When it comes to the latest in imaging, what the camera can render is very different from smartphone rendering using computational photography technology.”
Of course, virtually every camera user is also a smartphone user, and consumers have come to expect integration between the two devices. What, we wonder, are the workflow challenges that need to be addressed to allow better integration between these devices?
“There are actually several factors,” Adachi explains. “One of the pain points for customers is the workflow of sharing a photo they take with a camera and loading it onto their social media accounts. There are multiple steps that a customer needs to go through: taking a photo, sending it to the smartphone, and then handing it off to a social media account are too many steps for them.”
“That’s the area where we can actually make an improvement and where we should make an improvement. And that’s just one example of a pain point customers have. We should really think about how we can improve the customer’s experience based on such use cases and identify what needs they have.”
The importance of video
When we interviewed Nikon executives in 2023, they told us video was vital to the company’s future, so we asked Mr Adachi about how this might impact the continued evolution of mirrorless cameras.
“When we interviewed Nikon executives in 2023, they told us video was vital to the company’s future.”
“When we talk about video, there are so many different types of customers – the Z30 for vlog and general customers, but the Z9 has been very well received even by broadcast stations. So, our customer base is really broad, and we should be able to appeal to a wide range of customers while incorporating the necessary evolution on the product side to catch up with the needs of this broader range of customers.”
“What kind of impact will video have on the camera itself? It’s hard to comment on that, but video has had a significant impact on still image functions like high-speed capture and high frame rates, so video functions can be leveraged for imaging solutions.”
As he points out, there is a wide range of video users, some of whom rely heavily on smartphones for video today. He identifies one improvement mirrorless camera makers could make to encourage more people to use their cameras for video.
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| Just a few days after our interview, Nikon announced its acquisition of RED Digital Cinema, reinforcing the importance of video to the company’s future.* |
“We often receive feedback from customers who say that video takes more time for them to edit compared to pictures. So, we should make the entire video editing procedure much easier and a more casual thing for them. Otherwise, people won’t use their cameras for video.”
He also acknowledges that smartphones play a valuable role for video, albeit with limitations. “One of the major reasons for using smartphone video is to record everyday life,” he says. “But there is another reason for people to shoot video, and that is to render something creative through filming. If they want to do that, the smartphone has limitations. So, that’s the place where we can go further with a camera. What we can do is open up and expand our customer base and focus on customers who have a desire to pursue imaging expression so that people can render something unique and impressive with a mirrorless solution.”
*Editors note: This interview occurred a few days before Nikon announced its acquisition of RED Digital Cinema, a leading manufacturer of professional cinema cameras. We look forward to asking Nikon representatives more about this significant development in a future interview.
| Image: Panasonic |
Panasonic has released the Lumix DC-FZ80D, an updated version of its 60x superzoom from 2017. It will be sold as the FZ82D in Europe and the FZ85D in Japan.
The ‘D’ variants get a USB-C socket (with charging) to bring them into line with European regulations, and see the panels in both the rear screen and viewfinder brought up to more modern specifications. The fixed rear screen moves from 1.04M dots to 1.84M, meaning a resolution jump from 720 x 480px to 960 x 640px.
More intriguingly, the viewfinder moves from a 1.17M dot equivalent field sequential panel with 0.46x magnification to a 2.36M dot OLED display with 0.74x magnification. That’s much larger, much higher resolution and won’t exhibit the rainbow effect that field-sequential displays are prone to. The thing that makes it interesting is that those are the same specs as the finder that’s been added to the new Leica D-Lux 8. We haven’t been able to find an eyepoint figure for the Panasonic but the resolution, magnification and degree of dioptre adjustment are all match, strongly suggesting it’s the same unit.
The FZ80D is still built around the same 18MP Type 1/2.3 (6.2 x 4.6 mm) sensor and 3.58-215mm F2.8-5.9 zoom, giving 20-1200mm equivalent angles of view. It will be available at a recommended price of $479, up from the $399 of its predecessor.
The Leica D-Lux 8 is an updated 17MP enthusiast zoom compact camera that uses a series of crops of a Four Thirds sized sensor to give multiple aspect ratios. It’s a gentle update of the D-Lux 7 with refreshed look, revised interface and a much-improved viewfinder.
Key Specifications
- Up to 17MP images from a 22MP Four Thirds (17.3 x 13mm) CMOS sensor
- 24-75mm equiv. 10.9-34mm F1.7-2.8 stabilized lens
- 2fps shooting with AF, 17fps without
- Captures DNG Raw files
- Larger, 2.36M dot OLED viewfinder
- 1.84M dot rear touchscreen
- Updated user interface
- UHS-II card compatibility
- 5Gbps USB-C port
The D-Lux 8 is one of the only enthusiast compacts on the market, but follows on from some of the best of their type. It combines a relatively large sensor, a bright F1.7-2.8 zoom and a high level of direct control for shutter speed, aperture value and ISO or exposure compensation. In many respects it’s conceptually similar to Fujifilm’s X100 series, but with a zoom.
The Leica D-Lux8 is available from July 2 at a recommended price of $1595, a $400 premium over the previous model.
{BuyBoxes:leica_dlux8}
Index:
What’s new
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The D-Lux8 is a relatively subtle update of the 2018 D-Lux 7, with much of the underlying hardware unchanged. The body has been redesigned and there are some changes to the controls and interface but the sensor and lens are the same as those used in the D-Lux7 and the Panasonic LX100 II.
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4:3 |
3:2 |
16:9 |
1:1 |
This sees it use the same arrangement by which the entire sensor region is never used but instead a choice of three aspect ratios that have the same diagonal angle-of-view is offered. So you can switch between 4:3, 3:2 or 16:9 and maintain the same 24mm equiv. widest angle from the lens. The 1:1 setting is handled more like the majority of cameras and simply crops in from the default sensor region.
OLED viewfinder
The most significant change is the use of a standard OLED viewfinder. Previous models used field-sequential displays that would display their red, green and blue components one after the other. For some users this can give distracting red/green/blue fringing artefacts when their eye moves around the frame or they engage the menus because they become aware that the three colors haven’t updated to the same degree.
So although the viewfinder spec looks like a downgrade on paper, in practice its 2.36M dots (1024 x 768 px) can give a more pleasant experience than the 2.76M dot-equivalent finder in the D-Lux 7.
The D-Lux 8’s finder is also larger, with a magnification equivalent to 0.74x, rather than 0.7x in the previous camera. Again it sounds like a small change but it results in a much nicer experience.
The rear screen also sees a resolution boost, moving to 1.84M dots (960 x 640 px), rather than the 1.24M (∼786 x 524px) of the older model.
DNG capture
The other significant specification change in the D-Lux8 is that it can now capture its Raw data in the standard DNG format, rather than Panasonic’s RW2 files that the D-Lux 7 shot.
The D-Lux 8 also adopts a USB-C connector, rather than the Micro B type connection on the previous model. Likewise the camera’s Bluetooth capabilities have been brought up to the newer 5.0 LE standard, rather than 4.2, but the Wi-Fi is still a relatively basic 2.4Mhz connection.
Beyond this, much of what sets the D-Lux 8 apart from its predecessor is its revised body and interface. Leica has made an effort to bring it into line with the Q3 full-sensor fixed lens camera, generally for the better.
How it compares
As mentioned at the start of the article, the D-Lux 8 enters a much-reduced enthusiast compact space, compared with the one its predecessor competed in. But there are still small cameras offering good image quality and photographer-friendly levels of direct control, even as most of the market retreats to the higher profit margins of interchangeable lens cameras.
Sony’s RX100 Va is still a current model, offering a similar short, bright zoom and, of course, there’s perhaps the most visible small camera for photographers, the Fujifilm X100 VI.
| Leica D-Lux 8 | Sony DSC-RX100 VA | Fujifilm X100 VI | Ricoh GR III | |
|---|---|---|---|---|
| MSRP | $1595 | $999 | $1599 | $899 |
| Sensor size (Crop factor) |
183mm² (2.21x) |
115mm² (2.74x) |
369mm² (1.53x) |
367mm² (1.53x) |
| Resolution | 17MP (4:3) | 20MP | 40MP | 24MP |
| Zoom range (FF Equiv) |
24-75mm | 24-70mm | 35mm | 24mm |
| Max aperture (Equivalent range) |
F1.7-2.8 (F3.8-6.2) |
F1.8-2.8 (F4.9-7.7) |
F2 (F3.1) |
F2.8 (F4.3) |
| Viewfinder | OLED 3.69M dots 0.74x mag |
Pop-up OLED 2.36M dots 0.59x mag |
Hybrid Optical/Electronic 2.39M dots 0.66x mag |
None |
| Rear screen | 1.86M dot fixed | 1.22M dot tilting | 1.62M dot tilting | 1.04M dot fixed |
| File formats | ||||
| USB connection | USB-C 5 Gbps |
USB-B (Micro) 480 MBPS |
USB-C 10 Gbps |
USB-C 5 Gbps |
| Mic / Headphone socket | Yes / No | Yes / No | Yes / via adapter | No / No |
| Memory card type | UHS-II | UHS-I SD Memory Stick |
UHS-I | UHS-I |
| Weight | 397g | 299g | 521g | 257g |
The updates to the D-Lux 8 means it has one of the best viewfinders in the class, and becomes one of the only options to use the faster UHS-II SD cards (not that these stills-focused cameras especially need it). Its sensor size means it’s a larger camera than the Sony but can offer a zoom, whereas you need to move to a prime lens if you want a larger sensor in a compact camera.
Body and Handling
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The D-Lux 8 has a significantly simplified body and interface compared with the D-Lux 7.
The top plate of the camera now has a power button, rather than the on-off switch of its predecessor. The dedicated exposure comp dial has been replaced by a command dial with a custom button at its center, which itself replaces the ‘A’ button that was present on the D-Lux 7.
This custom button and the two just below the shutter speed dial and the button at the center of the four-way controller can be configured to control any of 38 options, from Exposure Comp and ISO Shutter Speed Limit to switching between the video and stills modes. You can reconfigure the function of a button by simply holding the button down for two seconds.
The command dial on the corner of the camera has four possible settings: Exposure Comp, ISO, Off or Auto. The Auto setting sees the dial’s function change depending on the position of the aperture ring and shutter speed dial.
| Shutter speed dial | Aperture ring setting | Exposure mode | Command dial function (Auto) |
|---|---|---|---|
| A | F-no | Aperture priority | Exposure Comp. |
| Time value | A | Shutter priority | 1/3EV shutter adj |
| A | A | Flexible Program | F-no |
| Time value | F-no | Manual Exposure | 1/3EV shutter adj |
Interface
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There have been big changes to the D-Lux’s interface, too, giving it a close resemblance to that of the Q3 (it hasn’t gained the red/yellow indication for stills/video shooting that we saw on the SL3).
Pressing the menu button takes you to a settings panel screen, from which you can adjust any exposure value that isn’t being set by the specific position of one of the dials (you can’t over-rule the aperture or shutter speed controls). Below this are a series of icons that can be tapped or navigated to, to change various camera settings.
To get to the main menu you need to press the menu button a second time or tap the icon with three lines at the lower right of the settings panel. This takes you into a five page, 29-option menu.
Within the menu, scrolling up and down also scrolls between its five pages. Pressing right changes the current option or takes you into a sub-menu, where required. Pressing left takes you back out of the sub-menus and back up to the main menu level.
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There is one minor oddity, though: pressing left from the top level of the menu jumps you one page to the left. But you press the Menu button to jump a page to the right. This is slightly unusual behavior as it’s more common for left/right or up/down button combinations to deliver opposing actions. The left/Menu combination requires a little more conscious thought.
Most of key options are in the settings screen, and the ability to quickly reconfigure the camera’s four customizable buttons means you can gain quick or semi-quick access to all the photographic parameters you’re likely to need. Like the Q3 and other recent Leica cameras, the D-Lux 8 ends up being an impressively photo-focused camera: you have direct access to shutter speed, aperture and either exposure comp or ISO, and then quick access to the other. Everything else is somewhat secondary to this, meaning you can focus on your photos, not the camera’s other functions.
Battery
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The D-Lux 8 uses the same BP-DC15 battery as its predecessor. This is a benefit in terms of compatibility with wide availability. But it also means it’s still dependent on a relatively small 7.4Wh battery. Leica doesn’t specify a CIPA-standard battery figure but we’d guess at a number somewhere in the sub-300 shot-per-charge region. It’s certainly small enough that you’ll want to keep track of where your USB-C lead is.
Initial impressions
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| Side-by-side with the Panasonic LX100 II you can see the camera has grown a little larger but exhibits a much cleaner, more focused design. |
The D-Lux 8 is, in many respects, a D-Lux 7 with a belated facelift and a 2024 price tag to match. In spite of this, I found myself rather liking it.
For a start, I’m delighted to see anyone still committed to making enthusiast compacts. The D-Lux 8 is pricey but if any manufacturer knows how to survive in a niche market, I’d be inclined not to bet against Leica. And the D-Lux 8 is a genuinely better camera than the 7, even if many of the updates simply bring the connections and card compatibility up to more recent standards.
I found the move to a conventional OLED viewfinder made a big difference, as I’m generally rather sensitive to the rainbow tearing effect seen in field-sequential displays. The D-Lux 7’s finder refreshed quickly enough that it wasn’t too distracting, but eliminating the effect entirely is certainly welcome. The 8’s autofocus is also improved, with the AF tracking showing impressive tenacity, which again makes the camera nicer to use.
But it’s the move to the new, stripped-down interface that impressed me most. The D-Lux 8 puts the key photographic parameters right at my fingertips such that I could just focus on photography, rather than thinking about what bells and whistles the camera might contain.
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Even after a week with the camera I found it difficult to adapt to the combination of the left and Menu buttons to move left and right through the menu tabs, but thankfully it’s not necessary to delve into the main menu very often.
At the end of my week with the camera, I found myself hit with an enthusiast-camera conundrum: ‘given the similarity of its control layout, why didn’t I enjoy it as much as I do the X100 models?’ And I’m genuinely not certain. In many respects the Leica has a more focused interface than the latest Fujifilms, which is definitely a bonus. It’s also appreciably more compact, which is a plus for a small camera. So why doesn’t it feel as special?
I have three theories: is it that the motor-driven zoom induces a lag, and being a zoom requires a little more thought about the framing options in front of me? Is it that I know the D-Lux 8 won’t quite deliver the image quality that the larger sensor and prime lens of an X100 can? Or is it, as a insightful friend suggested, that it doesn’t share the Fujifilm’s attractive color modes, such that the EVF doesn’t hold the same promise that its photos will look really good?
I don’t know for sure. But I liked the D-Lux 8 enough that I can’t wait to get hold of one again to see if it will find a similar place in my heart.
{BuyBoxes:leica_dlux8}
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| Image: Sony |
Sony’s PDT-FP1 tethered 5G transmitter module is available now at a price of $1095. It was originally announced in early 2024 but was announced with an availability date of “Summer 2024.”
Conceptually the Portable Data Transmitter is essentially a 5G Xperia phone that can only send and receive data, rather than making phone calls. In practice it’s a little more complex than that: adding direct HDMI and LAN inputs and dual USB-C sockets so that it can stream data and video directly from cameras to the internet using its 5G cellular connection.
With compatible cameras it will automatically launch the correct Sony app and make a wired connection, avoiding the need to launch and configure a connectivity app.
The PDT-FP1 also has a fan, meaning it can keep operating for long periods, even in warm environments. Its dual USB-C sockets mean it can be connected to a power source at the same time as using the other socket to receive data. Sony stresses that the unit, which has a more substantial case than a typical smartphone, has “optimized antenna” for reliable 5G connection and the option of automatic switching between its nano SIM and eSIM to allow it to constantly connect to the strongest available network.
The PDT-FP1 is designed for use in professional environments with the company’s pro-focused stills and video cameras.
Now Available: Sony Electronics’ PDT-FP1 5G Portable Data Transmitter
New Device Supports Sustained High-Speed Still and Video Transmission from Sony Cameras, Providing a Competitive Advantage for Live Event Photographers and Broadcast Professionals
SAN DIEGO – July 1, 2024 – Sony Electronics is furthering its commitment to live content creators with today’s launch of the PDT-FP1 portable data transmitter. The previously announced device, which enables high-speed, stable still image and video transport over 5G networks, provides efficiencies for news agencies, photojournalists, corporate and event photographers, and broadcast professionals, among others. It is now available to purchase for a suggested price of $1,099.99 USD: https://electronics.sony.com/mobile/5g-iot-devices/portable-data-transmitter/p/pdtfp1.
Highlights of the new PDT-FP1 include the ability to capture and transmit content from virtually anywhere; simple operation; optimized battery efficiency; reliable heat dissipation; wireless livestreaming capabilities; versatile input interfaces; support for broadcasting high-quality, low-latency video; and real-time, off-site network monitoring during data transfer.
The PDT-FP1 has already been tested for precise, real-time photo and video transmission by broadcasters and individuals, benefiting a range of high-profile events and clients. Award-winning photographer and photojournalist Nick Didlick used the new device for his worldwide travels and provided critical input that helped shape its usability. He called the PDT-FP1 “one of the most significant developments in mobile communications in the last decade,” and noted its agility and cost-effectiveness. Didlick added, “The PDT-FP1 allows me to transmit from where I am shooting rather than having to return to a media center. It worked flawlessly, allowing me to connect and upload images in real-time from various venues.”
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