The first DJI Mavic 4 rumors are already circulating online for a potential August 1st official announcement:
Public beta tester left his #mavic4 on the streets to be caught on video by a bystander. We see a air 3 like design but with a larger camera we recognize from the Mavic 3 pro. Could this be the widely desired 1 inch? I'll take a long shot: August 1st pic.twitter.com/OikebTGbMK
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The Nikon D1 was the first DSLR developed in-house by a camera maker and the first to generate JPEGs internally.
Photo: Phil Askey
In 1999, you could already buy an F-mount DSLR: Kodak had been selling modified Nikon SLRs since the DCS100 in 1991. But at the turn of the century, its prime offering was still a rather inelegant combination of a Nikon F5 film camera and a bolted-on digital imaging unit called the Kodak Professional DCS-620.
The camera Nikon revealed on June 15th 1999 was arguably the first ground, up digital SLR: still borrowing heavily from the F5 and F100 film models, but clearly designed as a coherent whole. Everything was crammed into a conventional two-grip professional body of the kind that's still made today.
The D1 had a recommended retail price of $5,500, body only, meaning it cost around half as much as the DCS-620. And its APS-C CCD boasted 2.62 megapixels, to the Kodak's 1.99MP. It was also the first DSLR to natively shoot JPEG: another feature that, for better or worse, is still recognizable.
DPReview founder Phil Askey got his hands on an early sample around three months after this announcement, but his (and the site's) move from Singapore to London caused a significant, and understandable, delay in the review.
By the time he was able to complete his write-up, the Nikon had serious competition, not from Kodak but from Canon's $3000 EOS D30 with its 3.2MP CMOS sensor and single grip design, and from the Fujifilm S1 Pro, which was another Frankencamera, grafted into Nikon N60/F60 body but promising 6.13MP images from its 3.07MP Super CCD sensor, at a cost of $4000.
Even before these players entered the market, Phil noted in his review that he'd spoken to Kodak employees who seemed "blasé" about the threat that the D1 represented. Quarter of a century later and Kodak's only presence in photography is via companies licensing its name.
Even in the light of the new contenders released since its launch, DPReview considered the D1, with its "ultra-fast AF," to be "the digital tool for professional photographers." After we'd explained the impact of the APS-C sensor on full-frame lenses.
A new Panasonic Lumix S1H II camera is rumored to be announced in Q4 of 2024. Previous rumors suggested that the next Panasonic Lumix S camera will have a 6oMP sensor similar to the Leica M11/Leica Q3 models. This information now makes complete sense after the Leica SL3 camera announcement:
Nikon USA has added a "Nikon Parts" section to its website, selling components and tools to allow at-home repairs of its products. So far the site only includes the repair manual and parts for the Nikkor Z 28-400mm F4-8 VR lens, but it seems reasonable to assume the company hasn't got to all this effort for a single product. Two laser rangefinders for golfers are also supported.
This is a significant volte-face for the company, which previously stopped selling spare parts to independent service companies, let alone individuals. We've contacted Nikon USA for comment but pending that, have to wonder whether this change of heart has been prompted by European right-to-repair rules, which have recently been adopted to make it easier for consumers to repair their own devices.
Visiting the site requires you to acknowledge the following warning:
"Please note that Nikon does not provide customer support or assistance for how to repair your product.
Please also note that an incorrect repair performed by you or an unauthorized repair provider may affect your product’s limited warranty and/or cause an increase in the fee if you request service from an authorized Nikon service center.
Damages caused by repairs performed by persons other than authorized Nikon service technicians are not covered by any Nikon warranties. Such damage may cause future repairs to be subject to out-of-warranty costs or may render your product ineligible for future repairs by Nikon.
Failure to follow the repair instructions in a Nikon repair manual or use appropriate Nikon parts and tools may damage the product or affect the product’s functionality, and may also cause safety issues and could lead to personal injury, death, or property damage.
Nikon shall not be liable for any damages, injuries or other liabilities to the product, any person, or any property which occurs as a result of repair, diagnosis, maintenance, or modification performed by you or an unauthorized repair provider, including but not limited to, any indirect, incidental, special or consequential damages; any loss of data, privacy, revenue, or profits; or any inability to use, or reduced functionality of, the product."
But, before you get your hopes up about fixing your own gear on the cheap, it's worth noting that the repair manual for the 28-400mm F4-8 VR lists six different types of lubricant as being necessary "tools" for servicing the lens. These lubricants, whose composition is not detailed, cost between $55.12 and $261.20 per bottle (size unspecified). So it still might make more sense to find a local repair house that's already got all the necessary supplies.
Rather than detailing what's new, as we'd typically do in a launch video, here Dale tries to place the GH7 and what it offers in context. This is our first video of this type and we have plans to add more in-person footage for future instances, but please let us know what you think of the concept, and of the GH7, in the comments below.
Insta360 has announced the GO 3S, an updated version of its diminutive GO 3 action camera.
Like the previous version of the camera, the GO3S nests inside an 'Action Pod' that serves as a housing, remote control, and charger for the camera, along with a 2.2" touchscreen. The camera can be used when mounted in the Action Pod or separately.
The camera's primary upgrade is the addition of 4K video, up from 2.7K video on the original GO 3S. There's also a new interval video mode that lets you set the camera to capture clips at custom intervals and lengths. Clips can be automatically downloaded to your smartphone, and the Insta360 app's Auto Edit function will AI combine your clips into a video, complete with music.
Other improvements include a more realistic picture with less distortion and straighter edges, and slow motion at either 200fps (1080p) or 100fps (2.7K). The company describes the camera as "Dolby Vision-Ready" but didn't provide additional details.
Image: Insta360
The GO 3S is also compatible with Apple's 'Find My' feature, ensuring that you can track it down if you misplace the camera with the Find My app. It's waterproof to 10m (33 ft.) compared to its predecessor's 5m rating. You can also use gestures to start and stop video or to take a photo.
The GO 3S ships with several accessories: the Magnetic Pendant allows you to wear the camera for a first-person view, the Easy Clip can clip to a hat or pet collar, the Pivot Stand enables you to mount the camera in a fixed location, and a new lens guard is designed for improved image quality.
The Insta360 GO 3S comes with two storage options: a 64GB model will retail for $399, and a 128GB model will retail for $429. The standard bundle includes the magnet pendant, easy clip, pivot stand and lens guard. The camera is available in two colors, black or white.
Meet Insta360 GO 3S: Capture Every Moment with a Tiny 4K POV Camera
Insta360 is proud to announce a major addition to its tiny mighty GO camera series: Insta360 GO 3S. The thumb-sized camera retains GO 3's form factor while packing in several key upgrades–most notably–stunning 4K video resolution. Other improvements include a new Interval Video mode for fully automatic hands-free shooting, compatibility with the Apple Find My network to locate GO 3S if it gets lost, native waterproofing to 33ft, improved accessories, and much more.
With a rugged, magnetic body that weighs just 1.4oz (39g), wear it to shoot first-person POVs completely hands-free, or mount it anywhere with in-the-box accessories for endless creative angles that are impossible with bigger, bulkier cameras. Whether you're traveling, hitting the trails or hanging with your kids, GO 3S offers a way to capture your life and stay in the moment.
Insta360 GO 3S is available to order worldwide from June 13, 2024, via Insta360.com, Amazon and select retailers, starting at US$399.99.
4K video and major image quality enhancements.
Still tiny, now mightier! GO 3S's 4K30fps capture transforms its image quality, producing videos that are noticeably sharper, clearer, and crisper. Powered by an enhanced chip with 50% more CPU computing power and a new wide-angle lens, it offers double the amount of pixels compared to 2.7K. All your family memories, unforgettable trips, or creative clips, there to cherish forever in lifelike detail.
The image quality out of GO 3S has gone up a level in other areas, too:
New MegaView FOV - Gives a more realistic look with less distortion and straighter, cleaner edges.
Dolby Vision-Ready - Greater dynamic range and enhanced details thanks to this new HDR technology.
Slow Motion Upgrades - Make those highlights ultra smooth with up to 200fps at 1080p or 100fps at 2.7K.
Automatic shooting and AI editing for effortless content creation.
Imagine you could capture moments throughout your day or activity without ever touching the camera—the new Interval Video mode lets you do just that! Simply set how often to shoot and the length of each clip, and GO 3S will automatically power on and shoot a series of clips. You get to live in the moment and have the memories to look back on and share.
Turn on GO 3S's new Instant App Preview (iOS only) and you'll get a notification sent to your phone when you finish shooting, ready to open and start editing with just a tap.
And if you don't like editing or don't have the time, try the Auto Edit function in the Insta360 app and let AI combine your clips into one epic video, on beat to music!
Hands-free POV, creative angles, and more.
Just like GO 3, capturing life with GO 3S really is effortless. The super lightweight camera makes hands-free POVs incredibly easy—simply wear it on your shirt or hat and forget it's even there. This discreet filming setup is also great if you don't feel comfortable using a bigger camera in public or don't want to carry one around all day.
Mounting in classic spots like a helmet, handlebars, or on your backpack is far easier with a camera this size, and the magnetic body opens up a world of creative mounting options and angles.
The Action Pod is unchanged from GO 3 and acts as an all-in-one housing, remote control, and charger for GO 3S. Whether shooting with the camera inside the Action Pod or mounted separately, you can preview your shots on the 2.2" flip touchscreen. The magnetic mounting mechanism fits both the camera and Action Pod, so the same accessories can be used no matter how you shoot.
From the calmest walks in the park to your energetic pups' perspective, Insta360's FlowState Stabilization and Horizon Lock will always keep your footage super smooth and level.
So what else is new?
With a series of useful upgrades, GO 3S offers an even smoother user experience:
Compatible with Apple Find My - Misplaced your camera? Don't sweat it. Track it down using the Apple Find My app so you never lose your awesome footage (or camera!).
Easy Switch - Change the aspect ratio on the fly. Simply twist the camera to go from horizontal to vertical shooting in seconds.
Waterproofing to 33ft - Your tiny diving companion now goes deeper, all the way to 33ft (10m), compared to 16ft with GO 3.
AI Gesture Control - If the camera's mounted out of reach, use hand gestures to start/stop shooting or take a photo for true convenience.
Included accessories and an all-new Quick Reader.
For truly effortless mounting, GO 3S comes with several free accessories to help you get the most from your camera, with some handy upgrades from the GO 3 versions:
Magnet Pendant - Snap on for easy first-person views. Perfect for kids to wear! Now with improved heat dissipation for a more comfortable experience.
Easy Clip - Clip on your cap or your pet's collar for awesome angles and fresh perspectives. Here, we've improved the magnetic strength and even made it compatible to attach to the Magnet Pendant for customized angles.
Pivot Stand - Stick it anywhere and capture unique angles. It now works on slightly curved surfaces, with an attachment to keep the cover and base together so they don't get lost.
Lens Guard - New curved design for better image quality.
The new multi-purpose Quick Reader allows you to rapidly back up your footage to a microSD card while charging the camera at the same time, leaving you with freed up camera memory and a boosted battery to carry on shooting! It also enables direct editing on your phone without downloading the files.
Easy editing.
Time to check out your GO 3S footage? With App Background Downloading, keep using your other phone apps as normal, and you'll get a notification when the files are ready.
From there, access the Insta360 app's powerful AI editing features to automatically edit your best clips into ready-to-share reels, or go manual with a full editing suite.
For runners and riders, try overlaying data like GPS, speed, and power from your Garmin device or Apple Watch in your video, with a choice of interactive stats dashboards.
Available now.
Insta360 GO 3S is available for purchase globally from June 13. The Standard Bundle includes the camera and Action Pod, plus a Magnet Pendant, Easy Clip, Pivot Stand, and Lens Guard. Two storage options are available with a 64GB and 128GB model, priced at US$399.99 and US$429.99 respectively, in a choice of Arctic White and Midnight Black colors.
For GO 3 users looking to upgrade, GO 3S is compatible with the GO 3 Action Pod, and there's the option to purchase GO 3S as a standalone camera (no Action Pod or accessories) for just US$239.99 or US$269.99 (64 or 128GB versions).
You can secure your GO 3S directly from Insta360's official website or via platforms such as Amazon and select authorized retailers.
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Tamron has released the 50-300mm F4.5-6.3 Di III VC VXD, a mid-priced, stabilized telephoto zoom for full-frame Sony E-mount mirrorless cameras.
The 50-300mm is designed to be more flexible than the traditional 70-300mm tele zoom, while remaining reasonably lightweight and compact. The new lens is 150mm (5.9") long and 665g (23.5oz), making it 22% heavier than the company's existing (unstabilized) 70-300mm lens but only 1mm longer. It's almost half the weight of Tamron's more ambitious and expensive 50-400mm lens.
The 50-300mm's design utilizes 19 elements arranged in 14 groups, with two XLD extremely low dispersion elements and two LD low dispersion elements to help control chromatic aberration. The lens uses an internal focus design driven by a voice coil linear motor and offers Tamron's VC image stabilization, though no figure is specified for its effectiveness.
The lens can also be used as a 75-450mm equivalent lens (with consequent increase in depth-of-field and reduction in image-level light capture) on APS-C cameras.
The 50-300mm can focus down to 22cm (8.7") at the wide end of the zoom and 90cm (35.4") at the long end, meaning a reproduction ratio that rises from 1:2 to 1:3.1 as you zoom in.
Price and availability
The 50-300mm is available from June 27th at a recommended price of $799.
TAMRON announces a unique tele lens that zooms from 50mm
A class-leading lightweight 6x telephoto zoom lens 50-300mm F/4.5-6.3 Di III VC VXD (Model A069)
June 6, 2024, Commack, NY – Tamron announces the launch of the 50-300mm F/4.5-6.3 Di III VC VXD (Model A069), a unique 6x telephoto zoom lens, starting at 50mm on the wide end for added versatility, for Sony E-mount full-frame mirrorless cameras on June 27, 2024, at $799 USD / $1099 CAD.
TAMRON's new 50-300mm F4.5-6.3 VC zoom provides a wide 50mm starting option in response to user feedback that “the angle of view is somewhat lacking at the wide end” when using a 70-300mm zoom. Although it extends to 300mm at the telephoto end, the 50-300mm F4.5-6.3 VC features an extremely compact size with a length of just 5.9” (150mm) and a class-leading light weight1 of 23.5 oz (665g). In addition, the expert arrangement of special lens elements effectively controls aberrations and produces high image quality throughout the entire 50-300mm zoom range. The lens is equipped with the VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism that delivers excellent quietness and agile autofocus performance, while the VC (Vibration Compensation) image stabilization mechanism provides powerful support for every aspect of shooting. At the 50mm wide end, the lens attains an MOD (Minimum Object Distance) of 8.7” (0.22m) for a remarkable maximum magnification ratio of 1:2. This provides excellent close-range shooting performance that allows users to fully enjoy the world of half-macro shooting. The 67mm filter size is common to many TAMRON lenses for mirrorless cameras for greater enjoyment and convenience when carrying multiple lenses — or even just one during everyday excursions. The 50-300mm F4.5-6.3 VC is packed with features that support an enriched shooting experience, such as Moisture-Resistant Construction, Fluorine Coating, and the connector port for the dedicated TAMRON Lens UtilityTM software developed in-house by TAMRON. Turn ordinary, everyday events into memorable shots. This Ultra Multi-Focal Length zoom lens empowers users to enjoy serious photography in a user-friendly package and expands the potential for creative expression.
Product features:
1. Unique telephoto lens with 50mm at the wide end
The 50-300mm F4.5-6.3 VC surpasses the conventional wisdom of 300mm-class telephoto zoom lenses in the 70-300mm focal range by expanding the wide end to 50mm. Catering to this focal length expansion at the wide end instantly opens greater possibilities of photographic expression for users needing a wider focal length. Unlike the conventional 70-300mm lens, this lens starts at 50mm at the wide end and is equipped with the VC mechanism, obtains a truly high image quality within its class and maintains the widely appreciated compactness of earlier products achieving a class-leading compact size with a length of just 5.9” (150mm) and weight of 23.5 oz (665g). The compact size also produces outstanding balance when paired with an APS-C camera2, providing exceptional mobility that allows the user to concentrate on shooting.
2. Uncompromised optical performance throughout the entire 50-300mm zoom range
The optical construction of the 50-300mm F4.5-6.3 VC includes 19 elements in 14 groups and is optimized for high image quality across the entire zoom range. The generous and expert arrangement of special lens elements, including two XLD (eXtra Low Dispersion) and two LD (Low Dispersion) lens elements, efficiently controls chromatic and other aberrations. TAMRON's BBAR-G2 (Broad-Band Anti-Reflection Generation 2) Coating has been applied to suppress ghosting and flare, allowing the capture of fine details even in backlit situations. The combination delivers stunning clarity and contrast. Creative expression comes to life with uncompromising high resolution from the center to the corner of every image, while beautifully soft bokeh isolates the subject from the background for a greater dramatic effect.
3. High-speed and high-precision AF with superb subject-tracking performance
The autofocus drive is equipped with TAMRON's VXD linear motor focus mechanism. Users can easily lock in accurate focus from the MOD to infinity thanks to the high-speed and high precision autofocus system. Additionally, focus tracking is extremely precise, allowing users to accurately capture sudden subject movements. The linear motor also suppresses drive noise and vibrations during focusing, making it ideal shooting for both still photos and video in environments that demand quietness.
4. Amazing half-macro shooting with an MOD of 0.22m (8.7”) at the 50mm wide end and a magnification ratio of 1:2
TAMRON's 50-300mm F4.5-6.3 VC is capable of excellent close-range shooting performance. The MOD is 8.7” (0.22m) and the maximum magnification ratio is 1:2 at the 50mm wide end, meaning users can get exceptionally close to a subject to enjoy half-macro shooting. Even at the 300mm wide end, this new zoom attains an MOD of 35.4” (0.9m) with a maximum magnification ratio of 1:3.1. The extraordinary level of versatility lets users highlight the charm of subjects and capture unique compositions only possible with this lens.
5. Equipped with TAMRON’s proprietary VC mechanism
The multitalented new 50-300mm F4.5-6.3 VC is equipped with TAMRON’s proprietary VC mechanism. This effectively suppresses camera shake that tends to occur when shooting in the telephoto range, when capturing moving objects, or during close focusing, enabling stable results overall. When shooting with an APS-C camera, the full-frame equivalent focal length ranges from 75 to 450mm, and the VC mechanism is especially useful when shooting at the telephoto end. The VC also reduces the degradation of picture quality when shooting in conditions prone to camera shake, such as dimly lit interiors or low-light landscapes. Moreover, at focal lengths up to 100mm, AI (Artificial Intelligence) technologies provide additional compensation with videography in mind.
6. Proprietary software tool TAMRON Lens Utility for lens function customization and firmware updates
7. High convenience and operability
67mm filter size, same as most other TAMRON lenses for mirrorless cameras
Focus Set Button for assigning camera function and TAMRON Lens Utility function
Enhanced overall lens design for user-friendly operation
Zoom Lock mechanism
8. Protective features (Moisture-Resistant Construction and Fluorine Coating)
9. Compatible with many camera-onboard features and functions, including Fast Hybrid AF and Eye AF
1 Among full-frame mirrorless compatible 300mm telephoto zoom lenses equipped with vibration compensation (As of May 2024: TAMRON) 2 Zoom range when shooting with an APS-C camera: a full-frame equivalent of 75-450mm
Tamron 50-300mm F4.5-6.3 Di III VC VXD specifications
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Last week's launch of the Panasonic GH7 was exciting for video shooters, with features like 32-bit Float audio and internal ProRes RAW recording making headlines. However, Panasonic also made a parallel announcement that will turn some heads.
The company has partnered with Arri, a leading manufacturer of cinema cameras, to bring Arri's LogC3 profile to the Panasonic GH7 and GH6, which will allow for color matching between those models and Arri's digital cinema cameras. Enabling the feature requires paying a license fee to Arri, so users will have to pay this fee.
As a result, it should be possible to mix the GH7 into a shoot with Arri cameras, potentially offering advantages where a smaller camera is needed, such as on a small gimbal or drone.
Panasonic says LogC3 on the GH7 uses a curve that conforms to the standard sensitivity of ISO 800 on Arri cameras. This is the 'native' ISO of Arri cameras when shooting LogC3, with the curve giving up to 7 2/3 stops of highlights above middle grey and 6 1/3 below. Other ISO settings don't change the gain applied and simply shift the middle grey point, exchanging DR between highlights and shadows. Arri LUTs are typically calibrated to ISO 800.
The GH6 and GH7 do apply differing gain between their ISO settings, meaning the same amount of highlight range is maintained. Panasonic says it has carefully calibrated each ISO setting so that the color and tone response is properly matched back to the LogC3 ISO 800 curve. This means the camera can be used at different ISO settings or in Auto ISO but still deliver footage that works well with Arri LUTs.
The base ISO of the GH7 in LogC3 mode is 320 and you don't need to limit either the GH6 or GH7 to the range in which they can use their twin sensor readouts (DRBoost mode), you simply capture a stop less highlight when operating outside this range.
You can use the Arri Look Library simulator to preview different Arri LUTs that can be downloaded from the Arri Look Library.
This means that Panasonic users will be able to use the Arri Look Library, a library of LUTs that can be used to convert LogC3 footage to one of dozens of Arri's high-quality looks.
Additionally, since the GH7 can store custom LUTs, these Look LUT files can be loaded into the camera. When combined with Panasonic's real-time LUT system, users also have the option to output a specific Arri look straight out of camera, or to proxy files.
LogC3 is an optional $200 upgrade that users can install on their cameras by purchasing Panasonic's DMW-SFU3A software upgrade key. Panasonic notes that the upgrade will also work on the Lumix GH6, though without the added advantage of Panasonic's real-time LUT system.
Panasonic licenses ARRI LogC3 from ARRI for the LUMIX GH7
Newark, N.J. (June 5, 2024) – Panasonic is proud to announce a new Software Upgrade Key DMW-SFU3A (sold separately) on the LUMIX GH7. With this upgrade, ARRI LogC3* is enabled, and seamless color matching with ARRI’s digital cinema cameras can be achieved. The image processing of the ARRI LogC3 curve on LUMIX GH7 has been certified by ARRI for the implementation of this function. The options for Log recording, which provides rich color information and wide dynamic range, have been expanded to include ARRI LogC3 in addition to the conventional V-Log, further improving LUMIX’s workflow compatibility.
*ARRI LogC3 is a Log gamma developed by ARRI and used in ARRI digital cinema cameras. Please note: ALEXA 35 uses ARRI LogC4. *On the LUMIX GH7, ARRI LogC3 can be used for 10bit recording in Creative Video mode.
1. Video production using a wide variety of ARRI Looks
Video data shot with LUMIX GH7 in ARRI LogC3 can easily be converted to your favorite look. The ARRI Look Library contains 87* high-quality ARRI Looks to choose from, and in the ARRI Look Library simulator available online, you can easily check the ARRI Look File that best fits your shooting style and scenario. It is also possible to store the LUT package for 709 conversion (ARRI Look Library LogC3 to Rec709 3D-LUTs) in the LUT Library of the LUMIX GH7 and combine it with the REAL TIME LUT function to capture videos with ARRI LUTs straight out of the camera. *As of June 5th, 2024
2. Production workflow compatible with a variety of viewing devices
Using the ARRI Look Library (log-to-log), you can color grade videos recorded with ARRI LogC3 and apply the desired ARRI Look within the log space. Additionally, by using the LUT package (ARRI_LogC3_v1-2_LUT_Package) you can convert the color space of various display devices, allowing you to output the ARRI Look according to the desired color space in SDR and HDR.
3. Video production combined with ARRI digital cinema cameras
Shooting in ARRI LogC3 on the LUMIX GH7 is a perfect solution for situations that require added flexibility, such as mounting on a gimbal or drone. The LUMIX GH7 can easily match colors in shooting situations where cinema cameras, such as the ARRI ALEXA Mini, are used as the main camera. Furthermore, when DMW-SFU3A is installed, ARRI LogC3 in the LUMIX GH7 employs a curve that conforms to the standard sensitivity of ISO 800 of the ARRI camera. As the gamma curve does not change depending on the ISO sensitivity, users can use the same editing workflow no matter which ISO they shoot at. It also enables recording at ISO Auto, which is unique to mirrorless cameras.
In addition, ARRI LogC3 recording can also be used on the LUMIX GH6 in the same way as the LUMIX GH7 by using the Software Upgrade Key DMW-SFU3A, with the exemption of the REAL TIME LUT function which is not available on this model.
Kitamura Camera has about 600 locations "from Okinawa to Hokkaido" (all over Japan). I visited their stunning flagship store in Shinjuku, located just East of Shinjuku Station. They offer a full range of both new and used photo gear, film and services, including an extensive repair department, even handling Apple repair on the basement level.
Photo: Kitamura Camera
I always extend my business trips to Japan beyond the bare minimum needed for business, because I can never get enough of the country, its people and its culture. Most recently, I stayed on a couple of weeks past the end of the CP+ 2024 photo trade show, using part of the time to explore the world of used cameras in Tokyo. There are used-camera shops spread all across the city, but the largest concentration is in the Shinjuku neighborhood, within blocks of the massive Shinjuku train station.
Shinjuku’s used-camera scene is amazing; a true Mecca for film-camera enthusiasts, with offerings at every price point from a couple of dollars for a 'maybe it will work' point-and-shoot to hundreds of thousands of dollars for ultra-rare collector’s items.
Time permitting, I hope to write another story that will serve as a guide to buying a used camera in Tokyo, which is arguably the best place in the world to do so.
Hiroyuki Mizutani is the Concierge of Kitamura Camera’s vintage-camera business, focusing on collectible Leica bodies and lenses including some incredibly rare and valuable models. The camera he’s holding is one of the extremely rare olive-green "Bundeseigentum" M3 models made for the German government. (Note the black gloves, a hallmark of the Vintage Salon.)
Photo: Azusa Kumei, Kitamura Camera
This story, though, is about my introduction to the world of ultra-rare collector’s items when I visited Kitamura Camera’s flagship store just east of Shinjuku Station, and a conversation I had with the surprisingly young Concierge of that department, Mr. Hiroyuki Mizutani.
Kitamura Camera operates a chain of approximately 600 camera stores all across Japan, from Okinawa to Hokkaido, as the Japanese expression goes. (The phrase is similar to 'from east to west' in the US.) They built a massive and luxurious flagship store in a prime Shinjuku location in 2020, timed for the 2020 Olympics.)
This pair of Leica Summilux 50mm F1.4 lenses was my first hint of what awaited in Kitamura’s Vintage Salon. These were on the more prosaic 4th floor, but at the then-current exchange rate, they were priced at $15,900 and $36,700 respectively. The more expensive model is the original version, produced for only 2 years from 1959-1961 before being supplanted by the other one, which was sold with only cosmetic changes from 1961-2004 when it was finally replaced by the ASPH model.
I was amazed by the range and quality of used cameras they had on display on the 4th floor of the building (they have nearly 3,500 items in their inventory), including what seemed like some very high-priced items. After seeing a Leica 50mm F1.4 lens priced at 5,500,000 ¥ ($36,700 at the time), I remarked to an employee about these prices, and he replied, "Oh, this is nothing; you should see the 6th floor!"
It turns out the 6th floor houses Kitamura Camera’s "Vintage Salon," dedicated to truly rare and valuable collector’s items. I was blown away when I saw an early Leica built for the German Army bearing a price tag of 40,000,000 Yen, or more than $250,000 USD at the then-current all-time high exchange rate. It turned out that wasn’t even the most valuable model on offer.
I asked Mizutani-san if he’d be willing to be interviewed about his experience and the world of ultra-high-end camera collectors, and he agreed.
The "Vintage Salon" on the 6th floor exudes understated elegance. The far wall showcases particularly rare items, and the low flat cases display featured models. A vertical display case and the wall behind it holding larger numbers of less-rare collectibles are off-camera to the left, while the wall off-camera to the right holds more recent models. I wouldn’t venture a guess on the total value of the gear in this one room, but it’s easily in the millions of US dollars.
Mizutani-san was very patient with my lack of Japanese and the resulting inconvenience of passing both sides of the conversation back and forth through our phones. AI transcription software and my hand-tuned translator GPT helped me turn our words into the story below, but the AIs had a lot of difficulty with the choppy dialogue and the repetition in two languages as our phones echoed our words.
As a result, while I’ve written this up as if it were a continuous conversation, it’s, in fact, heavily edited for continuity; I asked Mizutani-san to look over a carefully translated version in Japanese to make sure I didn’t misrepresent anything he said, but any mistakes here are entirely my fault.
It was interesting to hear about Mizutani-san’s journey from a barista at a photo cafe to the "Concierge" of one of the largest vintage camera businesses in Japan. I hope you’ll find it as interesting as I did!
The beginning of the journey
Dave Etchells: How old were you when you first became interested in photography? What sparked your interest? What was your first camera?
Hiroyuki Mizutani: The trigger for my interest in photography really came when I began working here. It was actually after I started working at Kitamura Camera that I became interested in photography itself. If anything, I was initially more interested in the manual, mechanical cameras themselves, and it was because Kitamura Camera dealt with such cameras that I joined the company; from there, I started to engage in photography.
Dave Etchells: Was this your job after college? Did you start part- or full-time?
Hiroyuki Mizutani: I started with a part-time job. It wasn't at a university, but after graduating from high school, I began working at Camera Kitamura while I was attending a vocational school. I think I started in the middle of the school year, I was studying film and theater at the time.
Here’s a lovely pair of Leica Noctilux 50mm F1.2s, highly prized as the first Leica lens to use an aspheric element (a double-sided one at that), and also due to only around 1,700 of them having been produced (volume estimates vary). They were fiendishly difficult to make and Leica had no way of testing them until they were completely assembled, with the result that only about 50% of them ended up good enough to sell. The result is the kind of value you see here; the Spring Sale pricing is $74,400 and $52,800, respectively. (The version with the "feet" scale in red is even more rare, hence the higher value.)
Photo: Azusa Kumei, Kitamura Camera
Dave Etchells: How did you end up selling cameras, what was the connection to Kitamura?
Hiroyuki Mizutani: Before joining Camera Kitamura, I worked for a while at a photo café, where you could order photos while enjoying a coffee. I was working as a barista, on the coffee-making side of things, and someone I met there introduced me to Camera Kitamura. That was the trigger for me ending up at Kitamura.
Dave Etchells: You currently manage the Leica business for Kitamura; how did you initially become involved with Leicas? What was behind your interest in them?
Hiroyuki Mizutani: Originally, I was involved in various aspects, selling many different types of film cameras and even visiting customers' homes for camera purchases, dealing with both sales and acquisition of various cameras. Being acknowledged for these efforts and having a background working with manual and film cameras at Kitamura Camera were both significant factors. Additionally, the previous manager, Maruyama-san, with whom I had worked at the first store, played a part in me being assigned here. It's partly due to these factors – my track record and the connection with Maruyama – that I came to be part of this department.
Kitamura Camera’s two Shinjuku locations are on the east and west sides of the massive, sprawling Shinjuku Station. Shinjuku Station is bewilderingly complex, as hinted at by all the red-tinted areas showing underground passageways and malls. Google Maps suggests the quickest route between the two stores is to pass through the station. Don’t believe it, stick to surface travel! Even Tokyo locals often get lost in Shinjuku station. (If arriving by train, look for signs to the main East or West exits and then navigate to the stores on the surface from there.)
Dave Etchells: So you worked as a kind of apprentice to Maruyama-san, as you learned the business of buying and selling cameras, how to set prices, make offers, etc?
Hiroyuki Mizutani: Actually, it was a little bit different. Kitamura Camera has about 600 stores nationwide, and I worked with film cameras at some of the other stores as well. I lived in Kanagawa Prefecture. Initially, I worked in Shinjuku, then moved to Tachikawa in the west of Tokyo, and after that, I worked in Osaka for several years. I worked together with Mr. Maruyama at the Shinjuku store over by the West Gate. That store is called Camera no Kitamura, the Shinjuku Nishiguchi shop. The store was located at the West Exit. [Nishiguchi means "west entrance"]
[Editor's note: The Camera no Kitagura store still exists, just a block or so from the West Exit of the massive Shinjuku train station. It stocks a full range of photo products, both new and used. Travelers should take note of their 1-hour sensor cleaning service, available for most interchangeable-lens cameras at both locations.]
Dave Etchells: Who was Maruyama-san, was he an owner of the business or just an experienced employee?
Hiroyuki Mizutani: Mr. Maruyama oversees the Leica department at this store. The store we worked at together previously was called Camera no Kitamura. This Shinjuku Kitamura Camera store that we’re in today is the flagship store of the entire nationwide 600-store Kitamura Camera chain.
Tracking the global market
Dave Etchells: How do you manage to keep up with everything that’s going on in the Leica world? I'm sure it’s a global business, and it must be hard to keep track of what products are out there, what prices they’re selling for, etc.
Hiroyuki Mizutani: Yes, that’s right. It's quite difficult. As I’ve been running this store for several years though, customers have told me about a lot of things that the public doesn’t get to hear about, and I’ve managed to gather information from around the world. After doing this for several years now, I feel like I’m finally getting a good picture of what’s really going on in the market vs. just what happens in public auctions.
Loads of Leicas: This is just a small selection of the rare Leicas in the Vintage Salon. There seemed to be four tiers: The most exceptional ones are showcased on the left wall, very rare ones are in these low, flat cases, more ordinary collectibles are in a tall vertical case and wall on the immediate left as you enter, and more modern collectibles displayed along the wall to the right. It’s a must-visit shop for Leica collectors, regardless of their level.
Dave Etchells: Do you spend time online, seeing what's going on in other countries, what the models are … Is there some sort of organization or a group of top-level collectors and dealers you interact with? I'm curious about your sources of information.
Hiroyuki Mizutani: I think there are horizontal connections among customers, but I don't have a good grasp of what those groups are. Nevertheless, we participate in online sales and famous worldwide auctions, and of course, we are watching the auction prices everywhere.
Dave Etchells: So, many cameras at this level are sold around the world, at auctions in different countries?
Hiroyuki Mizutani: Yes, cameras of this level are sold in great numbers at auctions in various countries. That's still the case now; it's challenging. Some items rarely appear or appear only very occasionally, which can make pricing them more difficult.
Lest you think the Vintage Salon stocks only ancient, world-weary cameras and lenses, the wall on your right as you enter the room has a lovely array of newer models in pristine condition.
Finding cameras
Dave Etchells: We’ve talked about auctions. Are there other ways you find the cameras to sell? You mentioned going to people’s homes. Do you hear about them somehow, or do people bring their cameras here at the flagship store because the company is so well known? Perhaps not just big collectors, but ordinary people who happen to own these cameras.
Hiroyuki Mizutani: Yes, we also purchase cameras from people who come directly here. I mentioned earlier that there are about 600 stores in the Kitamura Camera network; all of these shops serve as purchasing points for us. If a local store isn't knowledgeable about a particular model, they can contact us here [at headquarters], and we can tell them the correct price. I think this helps customers feel confident about selling to us.
"I can say for sure that there are a lot of very successful people who are interested in photography. Of course, there are also some celebrities, but again, I can't share any names"
Dave Etchells: I'm curious, who are the collectors who can buy cameras like the ones you have here on the 6th floor? Are they celebrities? Are they business people? Are they investors? What do your customers look like, and what kind of people are they that come through?
Hiroyuki Mizutani: Well, of course, I can’t share any details because that would be private customer information. While I can’t give any specifics, I can say for sure that there are a lot of very successful people who are interested in photography. Of course, there are also some celebrities, but again, I can't share any names.
The two most rare specimens in the main Vintage Salon showroom are this pair of olive-green M3 Bundeseigentum ("federal property") models made for the German government. The one on the left is from the first production batch, and the one on the right is from the third. These green M3s are exceptionally rare, as only 300 or so were manufactured, and it’s estimated that only 142 remain. Prices will vary with the market, but if you're looking for a first-batch Bundeseigentum in good condition, you should have at least $250,000 in your checking account.
Photo: Azusa Kumei, Kitamura Camera
Dave Etchells: I keep coming back to the question of how you decide what prices to put on the cameras. That must be especially challenging in the case of very rare cameras, that don’t appear on the market very often.
Hiroyuki Mizutani: Yes, it’s certainly tricky, but it’s the same basic answer: We monitor auction prices around the world, note what similar cameras have sold for, and adjust the price as appropriate given the direction of the market (which is generally upward). For very rare cameras, they may not change hands very often, so it requires a deep understanding of the market to know how demand might have changed since the last sale of something similar.
One-in-a-million finds
Dave Etchells: I imagine that you have stories about some particularly exciting acquisitions or sales. Can you share any of them?
Hidden away from the main showroom, the Vintage Salon's "VIP room" has the rarest of the rare models on display and locked in cupboards, for exclusive viewing by top-tier collectors. Mizutani-san asked that I not reveal details to the general public, but if $75,000 for a Nocticron 50mm F1.2 or $250,000 for a well-used Bundeseigentum M3 amounts to mere pocket change for you, you might find something more to your taste and budget here.
Hiroyuki Mizutani: Well, I actually think selling every camera is exciting. Especially when customers use the camera to take photos and are pleased with it, that’s when I feel really glad to be doing this job. When they bring photos they’ve taken into the store, taken with a camera that I sold to them and show them to me, that makes me very happy.
Dave Etchells: I can imagine that’s rewarding, feeling that you’ve contributed to someone’s enjoyment of photography. Were there moments when you were surprised by what someone brought in to sell, though?
"I never imagined that something so extremely rare would just show up at one of our stores"
Hiroyuki Mizutani: Oh yes, one time I was very surprised. I got a question from one of our stores about a camera someone had brought in that was extremely rare. It was so rare that I had only ever seen it mentioned in magazines and books, never actually for sale anywhere in the world. I unfortunately can’t name the camera because it became part of a private collection, and the owner requires strict confidentiality, but it was a very rare model indeed. I’m sorry I can’t tell you more about it, but I never imagined that something so extremely rare would just show up at one of our stores. I have also had very rare cameras brought into this store here as well.
Kitamura Camera’s flagship store is a great place to buy a full range of used cameras, both film and digital, with upwards of 3,500 products in stock on their 4th floor. Unlike most used camera stores I visited in Shinjuku, Kitamura offers a full 6-month warranty on the used gear they sell. The prices are a bit higher as a result, but I personally think the assurance is well worth it.
Business is booming
Dave Etchells: How is the used-camera market in general going these days? If you had to guess, how much more used film camera volume is Kitamura Camera seeing now compared to, say, 2019, before the pandemic?
Hiroyuki Mizutani: Comparing the used film camera market to 2019 before the pandemic, basically, the quantity of goods and the number of items available has been decreasing year by year. However, I believe the rarity of these items has been increasing. Absolutely, yes; since I started working, I think the number of people using film cameras has greatly increased, and I find this to be very pleasing.
The Panon Camera Shoko company (very loosely "Panon Camera Specialists") is best known for its line of Widelux 35mm panoramic cameras with rotating lens assemblies. They began with medium-format panoramic models though, starting with the Panon 50A in 1952. This is an AIII model, introduced in 1953; a 50mm lens rotates to capture a total field of view of 140 degrees.
Dave Etchells: What do you see for the future of the collector's market? Is it growing, holding steady or declining? Do you see younger people coming into the Leica market, albeit perhaps not yet customers for the Vintage Salon?
Hiroyuki Mizutani: I think this is an unknown world, even for us. We’re glad to see many different kinds of customers come, including young, affluent ones. I think that many of the young people who are buying used film cameras today are just getting started in their lives. After they have made more money, perhaps some of them will become collectors.
It happens that I'm in charge of this floor, but fundamentally, I've always liked the cameras on the fourth floor as well. Therefore, I introduce them to various people and engage in selling them as well. I think it would be great if I could lead the flow of people in that way, getting them interested in cameras on the 4th floor and then later getting them interested in vintage cameras. I hope that the vintage world will become more and more exciting as time goes on.
Conclusion
Seeing Kitamura Camera's Vintage Salon and talking with Mizutani-san was a fascinating glimpse into the world of ultra-wealthy Leica collectors. Considering the prices new Leica bodies and lenses sell for, I had always assumed that Leica collecting would be a pricey pastime, but I had no idea just how pricey. It's hard for me to wrap my head around the sort of wealth it would take to consider spending the price of a modest house just to fill a gap in your collection of rare cameras.
What really brought it home for me, though, was the sheer number of cameras and lenses that Kitamura Camera has in this category. It seemed that a price tag of $20-30,000 was just the starting point in a room with a hundred or more items on display, and even more valuable ones tucked away and shown only to VIP customers.
Even more than the volume of vintage gear Kitamura Camera themselves have on display, talking with Mizutani-san made me realize just how deep the vintage Leica waters run. For a serious player, it's not just a matter of owning a 50mm F1.2 Noctilux, but whether they have both the red- and yellow-lettered versions in their collection. For some M3 bodies, the difference between having a white or black frame-counter dial can mean another $50,000 - $100,000 on the price, and of course, what collection could be complete without both versions?
"Talking with Mizutani-san made me realize just how deep the vintage Leica waters run"
I was intrigued by Mizutani-san's own story, too, a path that led from pulling espresso shots at a coffee/photo cafe to managing one of the premier vintage camera businesses in Japan and perhaps the world.
Beyond all this, though, Kitamura Camera's flagship store was just a fun place to visit. The Vintage Salon is worth the trip just for the experience of seeing row after row of rare cameras and lenses with stratospheric prices. For me, though, the 4th floor was even more interesting, with its rows of crisp wood and glass showcases filled with old but functioning film cameras of every kind imaginable. (They have a lot of used digital gear, too; it's just that I was more interested in the film side of things.)
For a photo-tourist on a shopping expedition, Kitamura Camera has a lot to offer; their prices for used gear are a bit higher than you'll find in many of the other shops around Shinjuku. However, there's a crucial difference in that Kitamura guarantees its used gear for 6 months, while most of the competing stores work on a consignment basis, which means they famously have "20-20" warrantees (20 seconds or 20 paces, whichever comes first).
As much as I enjoyed visiting Kitamura Camera's flagship store, though, I have to say I'm glad I don't live anywhere near it: My bank account would too quickly turn into piles of old photo gear that were just too interesting to pass up :-)
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Image: Canon
Canon has announced the new RF-S 3.9mm F3.5 STM Dual Fisheye, an APS-C lens for VR (virtual reality) content production.
The compact, stereoscopic lens captures a 144º field of view and is the first non-L series lens to feature Canon's Air Sphere Coating. Its optical formula consists of 11 elements in eight groups, including two UD glass elements. The interpupillary distance (the distance between the left and right lens centers) is 60mm, which approximates human vision.
This is the second VR lens for the RF mount. Canon previously announced the RF 5.2mm F2.8 L Dual Fisheye, a VR mount for full-frame cameras. The new 3.9mm lens appears to be aimed primarily at social media creators, with Canon emphasizing the lens' affordability and usability for creating vlog-style VR content.
The new lens works with the EOS R7, though a firmware update will be required.
Image: Canon
Canon has previously indicated its interest in the VR, AR (augmented reality) and XR (extended reality) markets. In fact, during an exclusive interview earlier this year in Japan, Canon executives told us they believe the company is uniquely positioned to provide production tools for these markets.
The APS-C lens is compatible with the Canon EOS R7 camera, though a firmware update will be required for compatibility with the new lens.
Pricing and availability
The RF-S 3.9mm F3.5 STM Dual Fisheye has a suggested retail price of $1,099 and will be available in June
Press release:
Canon unveils the future of everyday VR content creation with new dual fisheye lens
MELVILLE, NY, June 10, 2024 – Canon U.S.A., Inc., a leader in digital imaging solutions, has announced the new RF-S3.9mm F3.5 STM Dual Fisheye lens, bringing ease, affordability and quality for social media creators interested in exploring VR content creation. The RF-S3.9mm F3.5 STM Dual Fisheye lens is compatible with the EOS R7 camera* and will be available in June 2024.
The new RF-S3.9mm F3.5 STM Dual Fisheye lens makes VR content creation with a mirrorless camera more accessible and efficient than ever. Engineered to empower creators of all types, this lens offers a perfect balance between clarity and usability for vlog-style VR creation. This APS- C Stereoscopic VR lens’ ability to achieve a 144º wide-angle view and utilize equidistant projection makes it ideally suited for every day, virtually hassle-free VR production. Also designed for versatility, this lens permits multiple methods of camera handling, from hand-holding, mounting on a gimbal, or tripod-mounting. Canon’s available EOS VR Utility software (separately available with a paid subscription) is designed for a smooth editing process.
"The RF-S3.9mm F3.5 STM Dual Fisheye lens offers a solution to the growing demand for more affordable and accessible tools in the VR market,” said Brian Mahar, senior vice president and general manager, Canon U.S.A., Inc. “Whether you’re a social creator looking to expand your content into VR, or a filmmaker interested in making the jump from 2D to 3D content, this lens enables creators of all levels to comfortably explore VR content creation and generate amazing content.”
Get to know the RF-S3.9mm F3.5 STM Dual Fisheye lens:
One-shot AF and Left/Right focus Adjustment with Focus ring, helping to create effortless and precise shooting in virtually any environment.
An Air Sphere Coating (ASC) is a first for Canon non-L Series lenses and helps to minimize ghosting and facilitate pristine image quality.
Rear filter holder that accommodates both 30.5mm screw-on filters and sheet-type filters, i.e. gelatin or polyester filters.
Pricing and Availability
The Canon RF-S3.9mm F3.5 STM Dual Fisheye lens is scheduled to be available in June 2024 for an estimated retail price of $1,099.00
Nikon has released a teaser, promoting the upcoming launch of the Nikon Z6 III. A countdown indicates that the new camera will be revealed on Monday 17th June.
The name implies the long-awaited successor to the Z6 II, itself a relatively minor refresh of the company's original mid-level full-frame mirrorless camera.
There are plenty of rumors swirling around, promising impressive specs, particularly on the video side of things, but at least we now know for sure that we've only got a week to wait. We'll bring you all the details as soon as we can.
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