Camera
Panasonic Interview: ‘We will strengthen both full frame and M43’
| Yosuke Yamane, director of Panasonic’s Imaging Division. |
In the latest in our series of socially distanced interviews with senior executives in the digital photography industry, we sat down (virtually) with Yosuke Yamane, director of Panasonic’s Imaging Division. Among the topics discussed were Panasonic’s approach to developing cameras for both photographers and videographers, upcoming improvements to autofocus, and the future of Micro Four Thirds.
Please note that this interview was conducted over email and has been edited for grammar, clarity and flow.
With much of Panasonic’s recent efforts focused on full-frame camera systems, what does the future of Micro Four Thirds look like?
We will strengthen our product lineup in both full-frame and Micro Four Thirds in order to support all shooting opportunities for creators. We have full-frame for creators who want more power to capture images and videos with a shallow depth of field, and M43 for creators who want compactness, light weight, mobility, and an adequate depth of field. The product group consists of two systems with different characteristics, which supports various shooting scenes and demonstrates the creator’s imagination.
Many creators have high expectations for new M43 products [and] we will continue to strengthen the lineup from this year onwards
Last year, we introduced the Lumix DC-S5, which has a compact and lightweight body and high performance in both still images and videos. On the other hand, in M43, in addition to the GH5, GH5S, and G9 we introduced the Lumix DC-G100, which is highly portable and allows you to enjoy vlogging, and the box-style camera the Lumix DC-BGH1, which increases flexibility in video production and has excellent video performance and customizability. M43 has a wide range of uses, and many creators have high expectations for new M43 products. We will continue to strengthen the lineup from this year onwards.
In terms of lenses, how are Panasonic’s efforts allocated between its full-frame and four thirds systems?
Since the launch of the S series, we have focused on developing full-frame lenses with the highest priority given to the early enhancement of the lineup. First of all, for professionals who are the target of the S series, we will enhance the S Pro lens range to deliver high performance that covers a wide range of focal lengths. And after the release of S5 last year, we enhanced the range of lenses by achieving both compactness and light weight and high performance with an affordable price, with our series of F1.8 primes covering 20-60mm.
As for M43 lenses, we now offer 31 lenses, which are useful for various scenes, and in the future, we are planning to develop more lenses that meet the needs of creators regardless of whether they shoot M43 or full-frame.
Are you working on improving DFD to make it more competitive with phase-detection AF from other brands?
Autofocus is a technology that is constantly advancing. With the recently released Lumix DC-S5, we have evolved the DFD algorithm based on the needs and feedback of creators, and we have received a positive response from the market following the release. However, we recognize that there are still issues that need to be improved to reach perfection when it comes to AF. We are currently considering further improvements, such as improving the processing capacity with new hardware and improving the accuracy with new software algorithms. Please look forward to the evolution of our AF in the future.
Faster sensor readout would improve rolling shutter and help you further improve DFD. Will Micro Four Thirds always offer this kind of speed advantage over full-frame?
Compared to full-frame sensors, M43 sensors are easier to read out quickly, and they consume less power. This is one of the reasons why we have been able to keep our video features one step ahead. The higher the speed, the better the high-speed shooting performance, the less rolling shutter distortion, and the more potential for autofocus performance improvements. We would like to take advantage of [the potential for higher-speed sensor readout in M43] and continue to take advantage of the unique features of M43 to create attractive products that will please our end users.
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| The Panasonic Lumix DC-BGH1 is a Micro four Thirds ‘box camera’ designed to be used as a module in various types of rig, including potentially mounted to a drone. Compared to full-frame, Four Third sensors have the potential for greater speed and lower power consumption, making them ideal for some kinds of applications, including video. |
Panasonic has already shown an interest in computational imaging in its consumer photography products. What has the market response to these features been, and can we expect to see further development and innovation along these lines?
We have announced cameras with Post-Focus, which allows you to select the focus position after shooting, and Focus Stacking, which allows you to adjust the depth by combining photos with different focus positions. And these were appreciated by end-users. In addition, a high-resolution mode enables G9, S1 series, and S5 users to capture high-resolution images (S1/S1H/S5: 96MP, S1R: 180MP) by synthesizing multiple photos. This has been valued by users who capture landscape and architecture.
If we can utilize computational methods while improving the quality of videos, we have the potential to create even more value
Smartphones have been implementing similar functionalities recently. We believe that realizing these consumer trends in cameras will bring even deeper value to customers and we will continue to evolve them.
Can we expect to see computational methods applied to video? (For example, to decouple motion blur from shutter angle, or other clever techniques?)
We do not deny that as a possibility. As an example, our camcorders are already equipped with functions such as generating HDR images based on multiple images with different exposure times. On the other hand, in these days when mirrorless cameras are used for high-end video production, I think the point is whether we can meet the quality required by the market or not, so careful research is required. If we can utilize computational methods while improving the quality of videos, we have the potential to create even more value.
Is it possible that we’ll see internal Raw video capture in Panasonic cameras in the near future?
We cannot answer about future products. But of course, we feel that demand for Raw recording is increasing, and we need to develop products with that in consideration.
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| The Lumix DC-S5 (pictured above) and the S1H both use twin SD card slots, but the S1 and S1R offer dual SD and XQD/CFexpress slots. According to Mr Yamane, it’s the heat buildup of current CFe interfaces which makes that media problematic for long-duration video shooting, but efficiencies in future developments of CFe can be expected to mitigate the issue. |
We’ve seen the adoption of CFexpress take off, but other devices are starting to plug directly to SSDs. Which makes most sense for video?
It is interesting question, and both have their strengths. There is no doubt that the mobility of a mirrorless camera is maximized by small, in-camera storage. CFexpress is valuable in that aspect. On the other hand, the current CFexpress consumes a lot of power during high-speed writing. This is no problem with still images, but with videos it can cause the camera to heat up, and there is a concern that it will limit the recording time. As the bit rate gets higher, the risk of that happening will be higher as well.
We believe that the ideal solution is in-camera storage like CFexpress for video recording
Recording to an external SSD is one solution to the heat issue caused by internal recording. Connections with USB cables however would be a problem for those who need mobility. Even if a cartridge type is used, the whole setup will be huge. We therefore believe that the ideal solution is in-camera storage like CFexpress for video recording. It is expected that innovations will happen in future around lower power consumption of CFexpress, especially for long time video shooting.
Who do you see as the main audience for your video products? Consumers learning video, or professionals using them alongside Varicam models?
The main targets of video are both professional videographers and general consumers who personally enjoy capturing video. Our flagship full-frame video camera, the DC-S1H, has been approved by Netflix, and is already utilized on many video production projects including movies, dramas, and commercials. In addition, the GH series – our flagship M43 video cameras – are being used by many YouTubers. Furthermore, the box-type M43 video camera BGH1 has also been approved by Netflix, and we are approaching a wide range of end-users by supporting scenarios such as multi-angle shooting, live streaming, and drone shooting. We will continue to develop new products that can be used for various video shooting needs by a variety of customers.
We are approaching a wide range of end-users by supporting scenarios such as multi-angle shooting, live streaming, and drone shooting
We recently announced several major firmware updates on March 17th. We added enhanced video functions to the Lumix DC-S1 such as 6K/C4K/4K60P, 10-bit/4K anamorphic video recording, and we also added RAW video output functionality via HDMI (with additional functions via the DMW-SFU2 Filmmaker Upgrade Software Key). The S1H supports Raw data output via HDMI to Blackmagic Design recorders, and the BGH1 supports IP streaming output and video Raw data output via HDMI. We are looking forward to seeing the videos shot with these advanced features!
What are the main features and improvements that your customers are asking for from your video products?
We cannot answer in detail, but we believe that our GH series and S1H have been highly rated for their functions / performance, such as unlimited video recording time and various shooting assist functions. We have been able to obtain a lot of feedback from customers who are using Lumix products in various ways. We will continue to listen to the customers who use our products, and solve any problems that they may have. In the future, we will continue to refine our features, lead the industry with technologies that expand video expression such as high bit rate and high frame rate, and continue to create cameras that please our customers.
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| The Lumix DC-G100 is a compact Micro Four Thirds camera aimed at video and stills creators and vloggers. |
What trends do you see in the market, over recent years? Is there still a market for compact cameras, for instance?
The global digital camera market has been damaged by COVID-19, but the current trend is improving. However, the market for compact cameras is shrinking. On the other hand, demand for mirrorless cameras has grown steadily, especially for video production and live streaming, and demands are diversified. Under these circumstances, the role of mirrorless cameras will expand.
To respond to this, we will strengthen both full-frame and M43. In 2020, we responded to growing and diversifying demands with the Lumix DC-S5, which offers functions recognized by professionals in a compact and lightweight full-frame body, the M43 G100 for vloggers, the BGH1 box camera, and firmware updates to speedily respond to the market.
How do you plan to get your cameras into the hands of younger, smartphone-first customers?
We live in an era where people all over the world have smartphones, take photos and videos, and share them. Although the camera performance of smartphones has been improved, there are limits to what smartphones can do. With digital cameras you can take expressive videos and stills that are clearly different from smartphones.
The key to survival for the camera market in the future is responding to diversifying needs quickly
Video production by young people is increasing, and low price and easy-to-use mirrorless cameras are attracting attention. In addition, creators want to shoot images that are more advanced and unique. By catering to this need, and strengthening the affinity between our cameras and smartphones, we hope that young people will also take digital cameras in their hands. The key to survival for the camera market in the future is responding to diversifying needs quickly.
The Panasonic S1 and S1R launched just over two years ago, how have they been received?
The S1R and S1 are products developed for professional photographers and hybrid users without compromise in all aspects. In the market, they have been highly valued for their performance, operability, robustness, and other points required as tools for professional work. In terms of image quality, the color reproduction is particularly appreciated. On the other hand, we received many requests for improvements to AF performance. We have made updates in the S5 with regard to AF tracking, and we expanded these improvements to the S1R and S1 November last year via firmware.
Panasonic makes some of the largest, toughest-built mirrorless full-frame cameras on the market, do you see this as a major differentiator between you and your competition?
We think one of the major differences between the S series, which was developed for professionals, and [options from] other companies is their durability and robustness, exemplified by the continuous shooting time of videos. In addition, we are also focused on the accuracy of image stabilization and shutter accuracy in actual shooting. Furthermore, the UI was created through interviews with many professionals, so it offers excellent usability.
Editor’s note: Barnaby Britton
The two main takeaways from this interview with Mr. Yamane are a recognition of where his company needs to improve (specifically around AF performance in mirrorless bodies) and a commitment to do so, coupled with a concurrent commitment to Micro Four Thirds. This should come as good news to virtually all Panasonic shooters, regardless of which system (or which side of the video/stills divide) they’re invested in.
Some of the most innovative and pioneering cameras in the early history of consumer digital imaging were launched under Panasonic’s Lumix brand. While in recent years more of the most obvious innovations (but by no means all: Panasonic was talking about machine learning before Olympus or Sony) have been in terms of video performance, the company is still releasing excellent enthusiast stills and ‘hybrid’ cameras. The Lumix DC-S5 is a good example of a camera that takes many of the powerful video features introduced in more expensive models, but packages them in a smaller, more accessible body, aimed more at stills-focused and multimedia shooters.
Micro Four Thirds has a lot of advantages for hybrid stills/video use, and high-end video
Where Panasonic still tends to fall down a little compared to competitors is autofocus performance. Mr. Yamane is refreshingly honest about this, and about the need to improve. He wouldn’t be drawn on the long-term future of Panasonic’s DFD (depth-from-defocus) technology but his commitment as expressed in this interview to ‘improving processing capacity with new hardware and improving the accuracy with new software algorithms’ is encouraging.
Also encouraging, in this bad-news-biased echo-chamber where dire rumors are constantly circulating about this or that company, or this and that class of cameras being ‘dead’ is his commitment to Micro Four Thirds.
While it seems likely that, long-term, Panasonic will focus its stills photography energies more on full-frame, M43 has a lot of advantages for hybrid stills/video use, and high-end video. Chief among these is an ability to keep the physical size of the body and lens combinations small, and the potential for greater sensor readout speed compared to larger full-frame chips. The boxy, tiny and powerful BGH1 is a good example of a camera that could only exist with a sub full-frame sensor inside it, and it’s a safe bet that it won’t be a one-off. With Olympus / OM Digital Solutions primarily still focused on stills photographers, and Sony pushing full-frame in its enthusiast and professional video cameras, it seems likely that Panasonic will explore the ‘small sensor hybrid camera’ niche further in future.
2024 In Review
2024 is just about over, so we thought it’d be a good time to look back and identify some trends that started emerging or kept going strong throughout the year. This isn’t a recap of all the news that happened – we’ll be releasing one of those soon enough – but rather a broad look at the direction the industry is going, which may give us an idea of what to expect throughout 2025.
Global Shutter
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Photo: Richard Butler
It’s hard to say that global shutter was a trend in 2024; in terms of consumer mirrorless cameras, there was only one with the tech, the Sony a9 III. Given the benefits it brings, though – the ability to sync with full-power flash at almost any speed, the ability to shoot stills at 120fps, and to use shutter speeds up to 1/80,000 sec to capture the fastest subjects without any blur – we fully expect to see it come to more high-end sports / action cameras.
That’s not to say that the a9 III’s sensor is perfect. Compared to its rolling shutter counterparts, it takes a hit to absolute image quality with its 250 base ISO, which means it has about a stop more noise than most of its competitors.
However, if you need the performance a global shutter offers, it’s likely none of those caveats will be deal breakers. We just mention them to say that we don’t expect to see global shutters in cameras that are focused on image quality above all else, such as the Sony a7R series or a follow-up to the Nikon Z8 – at least not in 2025 or even 2026.
Physical color mode controls
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Photo: Mitchell Clark
This year, it felt like every other camera had a physical control for color modes. Fujifilm’s Film Simulation dial, included on the X-T50 and X-M5, feels like the obvious example, but it was far from the only one: Panasonic put a LUT button on the creator-focused S9 – and then gave its users the option to backport one onto other cameras – and Nikon included a button to bring up its Picture Control menu on the Z50II.
Physical color mode controls aren’t a brand-new thing. We saw one on the Olympus Pen-F in 2016. But this is the year they definitively became a trend.
Only time will tell if they stick around. Camera manufacturers will likely be paying very close attention to whether consumers actually value being able to easily change the look of their photos and videos using a physical button or dial. If it turns out they do, this year’s crop of cameras likely won’t be the last we see with a color mode control.
APS-C shooters have more options than ever
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Image: Sigma
2024 was the year that Canon and Nikon started allowing more and more third-party APS-C lenses onto their systems. At the beginning of the year, you only had a handful of options if you wanted a third-party autofocus lens for RF or Z-mount. Now, you have significantly more.
The change came from some of the usual suspects, as well as some smaller companies. Sigma and Tamron were the first to announce they’d be bringing their lenses to RF mount, but Samyang slid in under the wire with an announcement that it, too, would start producing lenses for the system.
Most of Sigma’s DC DN primes have been available on Z-mount since early 2023, but this year, we’ve seen a slew of autofocus primes become available for the system from brands like Siuri and Viltrox.
There are still holes in the lineup for each brand, though – neither has a great telephoto option, and there aren’t any fast zoom Z-mount lenses – which is why we’d like to see this trend continue into 2025. If we’re really dreaming, maybe Canon and Nikon will allow more third-party full-frame glass, but we’ll save our fantasies for a different article.
The rise of smaller full-frame lenses
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Image: Sony
Speaking of full-frame glass, this year we’ve also seen a trend of smaller, lighter full-frame lenses. Panasonic’s 18-40mm F4.5-6.3 for L-mount is the most obvious example – the company says it’s the “smallest and lightest interchangeable zoom with autofocus for full-frame mirrorless cameras” – but Sony’s FE 24-50mm F2.8 is also a great, compact new lens that makes a ton of sense on smaller bodies like the a7CR.
Even the big lenses have been getting smaller – Sigma’s second-gen 24-70 F2.8 is 10% lighter than its predecessor, a difference that’ll definitely be noticeable in hour eight of shooting a wedding. Sony’s 85mm F1.4 GM II also boasts a 20% weight reduction compared to the original.
Again, this trend isn’t exactly new. We’ve seen a few lenses that have been largely defined by their size; Canon’s original RF 70-200mm F2.8 from 2019 and Sony’s 70-200mm F2.8 GM II from 2022 come to mind. But with further advances in optics and manufacturing techniques, we hope to see even more full-frame lenses come out that are smaller and lighter than the ones that came before… even if they still won’t be able to out-compact Fujifilm’s XF 16-55mm F2.8 R LM WR II.
The AI age
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Logos: Open AI, Midjourney, Meta, Stability.ai, Google
Pretty much every industry has had its own deluge of AI-related news in 2024, and photography is no exception. The continued proliferation of AI-generated images and text has sparked near-endless debates about what place, if any, the technology has in photography, with some people even taking the extreme position that the ubiquitous ability to generate images will destroy the art form altogether (assuming those comments too, aren’t AI-generated).
It’s not all existential doom and gloom, though, as some companies have used AI to try and improve the experience of photography rather than replace it. For instance, the new Canon EOS R1 and R5 II have Action Priority AF modes, which use machine learning-based algorithms to determine which subject to focus on during key moments in certain sports. It could be thought of as context recognition, rather than the subject recognition that’s become table stakes for most cameras. The EOS R1 and R5 II also have built-in AI-derived noise-reduction and upscaling functions, should you choose to use them.
AI-powered denoising and upscaling are also making their way into photo editing software, such as Lightroom or the apps from companies like Topaz Labs. And while Adobe has added plenty of generative AI features to Photoshop, we’ve also seen other AI-powered improvements, such as its distraction removal mode and Adobe Camera Raw’s new Adaptive profile and reflection removal feature.
However you feel about the technology, it’s almost certainly here to stay. The good news is that another facet of the AI trend this year has been companies working on improving transparency around AI, creating tools to prove a photo’s authenticity or show exactly how it’s been manipulated, either by AI or through more conventional means. The tech is far from ubiquitous, but it seems likely that we’ll see it spread to more and more platforms as AI becomes even more prevalent.
Have your say: Best gear of 2024
For the past few weeks, readers have been voting on their favorite cameras and lenses released in 2024. Now that the first round of voting is over, it’s time to reveal the winners.
Remember, though, it isn’t over just yet! Now it’s time to pick an overall winner. Make sure to cast your ballot for the 2024 Reader’s Choice Product of the Year – this one’s for all the bragging rights.
Best prime lens runner-up: Nikon Z 50mm F1.4
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First up is the 2024 runner-up for best prime lens, the Nikon Z 50mm F1.4, a fast prime that retails for less than Nikon’s own 50mm F1.8 S model. The tradeoff? Although it’s faster than the 50mm F1.8 S, it trades some of the clinical sharpness of that lens for more ‘character’, and you’ll likely see more vignetting and longitudinal chromatic aberration at some apertures. However, it gets you a fast prime at a popular focal length for under $500.
In our poll, the Z 50mm F1.4 barely edged out its sibling, the Nikon Z 35mm F1.4, effectively splitting the vote, suggesting that Nikon’s new F1.4 optics have struck a chord with enthusiast photographers.
Best prime lens winner: Sony 85mm F1.4 GM II
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The 2024 Reader’s Choice Award for the best prime lens goes to the Sony 85mm F1.4 GM II, the same lens we named as the best prime lens of the year in our 2024 DPReview Annual Awards. It’s not a fancy, exotic lens, but it’s a solid workhorse that gets the job done and delivers great image quality. It’s also lighter, sharper, and has faster and smoother focus than its predecessor. As we said in our Annual Awards announcement, the Sony 85mm F1.4 GM II delivers “consistent excellence you simply take for granted.”
Best zoom lens runner-up: Nikon Z 28-400mm F4-8 VR
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Placing in the runner-up position for best zoom lens is the Nikon Z 28-400mm F4-8 VR, which covers a huge range of focal lengths in a single lens. This lens remains relatively compact in its retracted state, making it an option for travel or a one-lens setup for general use. It’s even dust- and drip-resistant if you get caught in the rain on vacation.
Although the lens’ maximum aperture of F8 at the long end might seem a little restrictive, you can’t beat physics; however, Nikon’s Vibration Reduction technology – along with in-body image stabilization in many camera models – can assist at slower shutter speeds. It may not be as flashy as some of the faster zooms that were on the list, but the Nikon Z 28-400mm F4-8 VR provides a lot of versatility in a single lens, which is probably why it did so well in our poll.
Best zoom lens winner: Sony 28-70mm F2 GM
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The 2024 Reader’s Choice Award for best zoom lens goes to the Sony FE 28-70mm F2 GM. While it doesn’t go as wide as the popular 24-70mm zoom range, the FE 28-70mm proves it’s possible to maintain a relatively compact size while sporting a fast, F2 aperture, all with an internal focusing design. Its four linear motors even allow the FE 28-70mm F2 to focus when shooting at 120fps on Sony’s fastest camera.
We had a blast shooting this lens in 2024, so we appreciate why you collectively chose it as the top zoom lens of the year. If you’d like to see this lens in action, check out our video of Richard Butler using it to shoot portraits in New York City, along with a sample gallery that includes many of the portraits featured in the video. Congrats, Sony!
Best camera runner-up: Canon EOS R5 Mark II
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Grabbing the runner-up position for best camera is the Canon EOS R5 Mark II. It may deliver the same 45MP resolution as its predecessor, but just about everything else has changed.
The camera’s stacked sensor brings performance improvements to both stills and video, while Eye Control AF, Action Priority AF, and improved subject recognition AF are standout features that we hope to see percolate down to other Canon models. The R5 II also highlights Canon’s efforts to unify its mirrorless cameras with its Cinema EOS line, including codecs, gamma profiles, HDR video technology, and video tools. It’s hard to imagine many things this camera can’t do.
Best camera winner: Nikon Z6III
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The 2024 Reader’s Choice Award for best camera goes to the Nikon Z6III, making Nikon the People’s Choice winner in this category for the second year in a row.
The third generation of the Z6 series kicks things up a level. It features what Nikon calls a “Partially Stacked” sensor to deliver some of the benefits of a Stacked CMOS sensor but at a lower cost, delivering improved performance and autofocus while retaining the Z6’s reputation for excellent ergonomics. It also features significant video upgrades with higher quality output and a useful video tool set, reinforcing Nikon’s intent to be a player in the video market.
In our 2024 Annual Awards, the Z6III walked away with two trophies: Best Enthusiast Camera and our 2024 Product of the Year. It looks like it may be trying to make a clean sweep of the Reader’s Choice Awards as well.
Have your say – vote for Product of the Year!
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You helped determine the winners in the individual categories, so now’s the time to cast your vote in one last poll! Choose your favorite product from this list of winners and runners-up between now and Thursday, January 2nd. Watch for an announcement of the winning products shortly after the poll closes.
As always, thanks for casting your votes and being a part of our community throughout the year.
Please note that for the best experience, we recommend voting on our desktop site.
Poll Rules:
This poll is meant to be a bit of fun. It’s not sponsored, promoted, or paid for in any way, and DPReview doesn’t care how you vote. Our Reader’s polls are run on the basis of trust. As such, we ask that you only vote once from a single account.
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Pedestrians with umbrellas wander down a rainy alley in Yokohama’s Chinatown.
Panasonic S5IIX + Panasonic S 28-200mm F4-7.1 | F7 | 1/125 sec | ISO 1600 |
Japan is one of my favorite places to travel. I’m captivated by its culture, cuisine, and the warmth of its people. It’s also a photographer’s paradise, offering endless possibilities, from serene temples and bustling markets to breathtaking landscapes.
My favorite type of photography when traveling in Japan is street photography, especially at night. I never tire of exploring the vibrant cityscapes, from the iconic Shibuya Crossing in Tokyo to the atmospheric alleys of Yokohama’s Chinatown.
However, there’s a twist: I seek out rainy conditions. While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical. The umbrellas emerge, the city lights reflect off the wet pavement, and colors take on a vibrant intensity.
I was fortunate to visit Japan twice this year, and it rained both times. What some might consider lousy weather, I welcome as luck. Both my camera and I were thoroughly drenched during several nights of shooting, underscoring the value of weather-sealed equipment. (For the record, despite being so wet they were dripping with water, neither camera nor lens ever missed a beat.)
“While most travelers might not embrace a downpour, I find that rain transforms nighttime street photography into something magical.”
Unsurprisingly, some of my most memorable photos of 2024 were captured during these rain-soaked adventures. It’s challenging to select just one favorite because, as many of you will surely understand, how we remember the value of an image is often intertwined with the experience of capturing it.
The photo at the top of this page is one of my favorites from these trips, captured in Yokohama’s Chinatown. Off the main street, the area is full of narrow alleys, many decorated with traditional lanterns, creating small, intimate spaces. I spied these two pedestrians with similar coats and umbrellas turn into one of these alleys and instantly knew there was a potential photo around the corner.
I managed to fire off two shots before the scene lost its magic, but that’s all I needed. I love that you can’t see the main subjects’ faces. They remain anonymous, allowing the viewer to focus on the place rather than the person.
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