Issue 984

2018

ISSUE NO. 984

FUJIFILM LAUNCH:

TH E N E W FL AG S HIP X- H1 CA M E R A

ALSO IN THIS ISSUE: THE LEICA Q ‘SNOW’ | ZEISS LOXIA 25MM NPHOTO

INTERVIEW

|

SONY’S

| GOOGLE GAME

PROTECTS

CHANGING

PHOTOGRAPHERS

SENSOR

&

MORE

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OFF THE NEWS PRESS

WELCOME To Pixel Magazine predicted that Sony and Fujifilm will be the top two.

Food for thought...

Also, keep an eye on your inboxes this month for your official Pixel Awards 2018 invite. Lee Mansfield is sending them personally. We are all very excited for you to see what we have in store.

This month, whilst on a trip to Lisbon with Fujifilm, we got the chance to chat to some of Europe’s most highly regarded press. The topic of where camera brands will be in five years time came up in conversation. Five people from five different countries

Now, go and grab a cup of tea, a pint of beer or a large glass of wine. Sit back, and read this issue of Pixel.

Luke & Mandy, Co.Editor in Chief

SIGMA Announces Development of New Art Lens The SIGMA Corporation is pleased to announce the development of a new ultimate ultra-wide-angle zoom lens, SIGMA 14-24mm F2.8 DG HSM | Art. Now SIGMA is introducing the 14-24mm F2.8 DG HSM | Art as the ultimate ultra-wideangle zoom. While minimizing distortion, this lens offers outstanding F2.8 brightness throughout the zoom range and delivers top-level image quality at every focal length and every shooting distance.

For these reasons, it is the definitive wide-aperture ultrawide-angle zoom lens.

We feel that this lens will be a great addition to SIGMA’s

popular Art line-up and we look forward to testing it upon its release.

Full details available at www.sigma-global.com

INTRO2020 announced as exclusive UK Distributor for tripod brand SIRUI

The Leica Oskar Barnack Award 2018

The prestigious international competition hosted by Leica Camera AG enters its next round. From 1st March to 5th April 2018, professional photographers and up-andcoming photographers aged up to 25 will be able to submit entries for the prestigious Leica Oskar Barnack Award online.

Eligible for submission are series of photographs captured in 2017

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and 2018 or work from longterm projects including at least one photograph made in this period.

Entry forms and the terms and conditions of entry will be available from the competition website at www.leica-oskarbarnack-award.com from 1st March 2018.

Intro2020 is now confirmed as the exclusive UK distributor for tripod brand SIRUI. Speaking on behalf of SIRUI, Hilary Freed commented: “Intro 2020 is one of the most respected and long-standing photo specialists distributor in the UK. We are confident that the SIRUI brand will reach more photographic specialists retailers through their network and help to grow the SIRUI name in 2018.”

SIRUI will join the wide range of photography and imaging brands currently distributed by Intro2020, including Crumpler, Samyang, Tamron and Hoya.

We look forward to seeing how the brand develops under the Intro2020 umbrella this year.

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OFFNEWS THE PRESS

LEICA:

THE LEICA Q ‘SNOW’ BY LOURI PODLADTCHIKOV

The Swiss Olympic gold medallist and dedicated Leica photographer designs a special edition of the iconic Leica Q. As you can see, it’s a stunning piece and fitting of the designers celebrated journey.

L

eica Camera AG presents a new version of its high-performance compact camera with full-frame sensor and fast prime lens: the Leica Q ‘Snow’ by Iouri Podladtchikov. This limited edition has been created in collaboration with Swiss Olympic gold medallist, World Champion snowboarder (halfpipe) Iouri Podladtchikov, whose own ideas inspired the design of the camera.

The Leica Q ‘Snow’ by Louri Podladtchikov is based on the coloured version of the Leica Q with a silver anodised top deck and baseplate and controls on the top deck in silver. The design concept also features a new accessory shoe cover made from aluminium. The highlights of the special edition include the pure white trim in premium real leather that gives it its name.

The edition is also strictly limited to only 300 pieces for the worldwide market, each of which bears a special serial number.

In the words of the dedicated Leica photographer: “As a brand ambassador, it’s a fascinating feeling to have inspired a special edition of a camera, but I also see it as an enormous responsibility”.

Interestingly, his choice of the colour white

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doesn’t just relate to snow – perhaps the obvious choice for a snowboarder: “White, for me, also means ‘carte blanche’ – it’s up to you. It’s time to get creative,” explains Louri Podladtchikov, who has already published two books of his photography and will soon be opening his own studio.

Presentation The Leica Q ‘Snow’ by Iouri Podladtchikov is presented as a set complete with a case in soft white leather and a colour-matched carrying strap and will be available from March 2018 for £4,300 (including VAT).

Specification information The technical specifications of the Leica Q ‘Snow’ are identical to those of standard model of the Leica Q. Thanks to its particularly fast Leica Summilux 28 mm f/1.7 ASPH. lens, the camera is perfect for photography in low light, for street photography, architecture and landscapes. To allow for reliable control of subject composition, the Leica Q also features an integrated viewfinder with

a resolution of 3.68 MP. Even the finest details of every exposure are displayed without any perceptible lag as soon as the camera is brought up to the user’s eye.

All functions of the camera are clearly laid out and logically placed to guarantee perfect ergonomics. It’s clear and logical menu concept provides rapid access to all essential functions and enables users to programme personalised settings.

High level video functionality The Leica Q also delivers video recordings in full-HD quality. Depending on the scene and subject, users can choose between 30 and 60 full frames per second for video recording in MP4 format. The camera also features an integrated Wi-Fi module for wireless transmission of still pictures and video and remote control by WLAN from a smartphone or a tablet with the Leica Q App.

For more information, visit en.leica-camera.com

OFFNEWS THE PRESS

PANASONIC:

THE NEW FLAGSHIP TRAVEL ZOOM CAMERA

Panasonic has announced the LUMIX DMC-TZ200 – its latest flagship model of the “Travel Zoom” TZ series.

With the Travel Zoom market stable, we look to an interesting time with brands competing for the #1 spot.

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ith incredible 15x optical zoom from the new 24mm ultra-wide angle LEICA DC VARIO-ELMAR lens and a 1-inch large High Sensitivity MOS Sensor, the TZ200 offers users the ability to capture incredibly detailed, high-quality pictures.

You can also shoot ultra-high resolution 4K video, all within a compact, pocket-sized camera that’s perfect for travelling.

Sophisticated lens design The LUMIX TZ200 boasts exceptional optical performance with stunning clarity and minimum distortion and flare, thanks to its sophisticated lens design. Its 24mm ultra-wide angle LEICA DC VARIO-ELMAR lens with 5-Axis HYBRID O.I.S.+ (Optical Image Stabiliser Plus) offers a versatile angle of view while suppressing image shake in both photo and video recording. It also enables stunning macro shots as close as 3cm, meaning users can capture extreme close up images with incredible detail.

The TZ200’s 1-inch MOS sensor is incredibly large for such a compact camera, giving photographers the ability to capture high quality images in stunning detail.

Advanced Live View Finder – capture incredible images in all light conditions The Live View Finder (LVF) has been upgraded in this new model, boasting an incredibly high resolution of 2,330K dots, as well as a generous magnification ratio of approximately 1.45x / 0.53x (35mm camera equivalent). The inclusion of a LVF is extremely beneficial to users if they are looking to capture photographs in bright, sunny environments.

In addition to the LVF, the LUMIX TZ200 has a 3-inch rear monitor with touch control system. It boasts 1,240K dots resolution, allowing users to easily set focus on the screen. It’s very simple to enlarge images on the monitor, giving the photographer precise control. The LUMIX TZ200 also boasts a Focus Peaking function that shows the peak of focus in manual focus mode.

High-speed, high-precision auto focus and fast response The LUMIX TZ200 newly integrates a dedicated linear motor into the focus system to achieve ultra-high speed Auto

Focus (AF). In addition, the Light Speed AF is further enhanced with an adoption of Depth From Defocus (DFD) technology which further shortens the time to set focus.

High resolution video unmissable moments

to

capture

The LUMIX TZ200 records stunningly smooth, ultra-high resolution QFHD 4K video in 3840×2160 pixels at 30p / 25p (50Hz Area) or 24p in MP4. Choosing the best shot out of hundreds of frames recorded with 4K PHOTO is now easier than ever before with newly added Auto Marking function. It detects motion or a face, sets a marker and allows you to jump directly to the frame as soon as a situation changes; therefore minimising time spent choosing the best shot.

High Speed Video enables the recording of fast-moving subjects in Full HD at 120 fps (50Hz Area – PAL), while Time Lapse / Stop Motion Animation are also available.

New shooting modes and Monochrome filter – creativity in your pocket As the perfect companion to travel, the TZ200 not only boasts its flexible LEICA zoom lens, but enables you to capture diverse images with a myriad of creative filter options. Popular Lumix Classics such as the High Dynamic, Color Key, Miniature filter, and many more have been joined by a new and classy filter: L.Monochrome, with a specially adjusted gamma setting, it boasts rich gradation resulting in monochrome pictures with deep blacks reminiscent of the classic black and white film.

To complete the creative package, TZ200 is capable of internal RAW development, giving travellers total independence from a PC to edit while they’re away.

The Lumix DC-TZ200 goes on sale in early March and will RRP at £729.

For more information, visit www.panasonic.com

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SONY

OFFNEWS THE PRESS

ZEISS:

MEET THE NEW ADDITION TO THE LOXIA FAMILY

ZEISS have introduced the world to a new member of their beloved Loxia family - the 25mm 2.4. With the 21mm and the 35mm being fan favourites, the 25mm seems like a natural fit for Loxia users that need something in between.

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ith the ZEISS Loxia 2.4/25 compact wide-angle lens, ZEISS is adding a new focal length to its lens family that will benefit both landscape and architectural photographers: “High resolution across the entire image, as well as low distortion, ensure the perfect result,” says Product Manager Christophe Casenave. “The compact lens delivers great images thanks to the new optical design.”

The ZEISS Loxia 2.4/25 also features highquality mechanical parts, and the durable metal housing makes this a reliable lens for photographers on the road.

An all-rounder for photo and video The ZEISS Loxia family comprises five lenses with focal lengths between 21 and 85 millimeters. The lenses with manual focusing are all compact, durable and do not draw too much attention. With these lightweight companions, photographers and filmmakers have the necessary equipment and flexibility they need while on the road. The ZEISS Loxia lenses have the same diameter and enable users to quickly and easily switch between different focal lengths during a shoot. The lenses offer the optimum foundation for capturing photographs and film, both individually and as a set. These strong all-round talents excel at a wide range of uses.

The right companion for years to come

in the ZEISS Loxia family for mirrorless cameras in the Sony Alpha series are particularly well-suited for street and travel photographers. Ideal for those who love being inconspicuous as they capture those special moments, whether in a bustling city or surrounded by the natural world, without the need to carry around lots of equipment. The compact design of the ZEISS Loxia lenses has been specially developed for the mirrorless full-frame Sony E-mount cameras. Used in tandem, the lens and camera enable filmmakers and photographers to achieve a highquality result, while the equipment’s modest dimensions ensure users always have whatever they need with them. “This is a significant advantage for anyone who wants to blend into the background and is also on the road a lot,” says Product Manager Casenave.

Price and availability The ZEISS Loxia 2.4/25 will be available on the ZEISS Online Shop and at authorised ZEISS dealers from March 2018. The RRP of the new ZEISS Loxia 2.4/25 is £1,189.99 (incl.VAT). The lens hood is included in the price. Filmmakers can also look forward to a special offer on a set comprising all five ZEISS Loxia focal lengths ranging from 21 to 85 millimeters.

For more information, visit Small, robust and versatile: the lenses www.zeiss.co.uk/loxia25

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COVER FEATURE

FUJIFILM:

FUJIFILM INTRODUCES FLAGSHIP X-H1

This month, we had the privilege of attending the European launch of the X-H1 in Lisbon, Portugal. Here, we have all the details you need to know about Fujifilm’s new beauty, opinions from renowned photographers and our thoughts...

We arrived in Lisbon extremely excited for the launch of the X-H1. With Fujifilm being among the top innovators in the industry, you know they never fail to disappoint and this release was no exception.

Fujifilm chose to unveil the X-H1 in a stunning location. Walls laced with historic tiling and rooms filled with dazzling artefacts. More on that later though. First, here is Fujifilms official statement and the key things you need to know about the X-H1...

“Combining a robust, durable body with superior image quality and easy operation, the FUJIFILM X-H1 is the first camera in the series to include 5-axis 5.5 stops (*1) in-body image stabilization (IBIS), and the new Eterna Film Simulation feature, for outstanding video reproduction.”

It’s clear that Fujifilm have given the internal design of the X-H1 extreme attention. The forward thinking brand has used a new spring mechanism in the mechanical shutter to reduce microvibrations caused by its movement, which makes it the quietest shutter mechanism of all X-Series cameras. It’s nearly a silent shutter with even being a special feature.

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One of the standout features is that the X-H1’s sensor can move as it’s the first X-Series model to have 5-axis inbody image stabilisation (IBIS). Three axial accelerometers, three axial Gyro sensors, and a dual-processor work together to bring a claimed shutter speed compensation of up to 5.5 stops.

With the XH-1 It’s also possible to shoot using the electronic front curtain shutter or the electronic shutter which minimises vibration. When testing, we were extremely impressed with how sharp images were when putting the camera through tricky conditions.

SPEED AND LOW LIGHT During our introduction to the camera, we were informed that the AF-C system has been greatly improved,which makes the X-H1 a a good choice for shooting wildlife, sports and street photography.

Another positive is the phase detection autofocus (AF) algorithm, which pushes the low-light capability for the X-H1’s phase detection system by around 1.5EV and taking it down to -1EV. It also functions down to f/11 which means it will operate when the XF100-400mmF4.5-5.6

R LM OIS WR is used with the XF2X TC WR teleconverter. Some cameras tend to lack when teleconverters are in use so we’re glad Fujifilm made this work.

BUILT TO LAST There are so many things that impressed us with the build quality of the X-H1.

Again, Fujifilm’s attention to detail has shone through and it’s clear they listen to the consumers and can see that lots of the new generation are extremely adventurous. Having a tough camera is an attractive quality but also a necessity for lots of photographers.

The Fujifilm X-H1’s magnesium alloy body is 25% thicker than the X-T2. The lens mount attachment has been changed to make it lighter and more compact but actually stronger and better when facing impact. Durability is a massive +, especially in 2018. The Fujifilm X-H1 is dust-resistant, water-resistant and freezeresistant down to-10°C. The XH-1 is more scratch resistent than other Fujifilm cameras. This is due to the surface particle size. We will have to test this one when we get hold of one thats been at -20°C!

Image by Luke Woodford, using the Fujifilm X-H1 with 18-55mm XF lens in Lisbon, Portugal.

Cosmetically, in comparison with the X-T2, the XH-1 has a larger grip and a leaf-spring switch for the shutter-release button. We would like to see a dedicated exposure conpensation button but thats personal preference.

Ease of use is something that we do want to praise with the XH-1. This has always been a strong point with Fujifilm and with this new addition they have made some of the buttons larger than on earlier X-Series cameras which makes it easier to operate and hasn’t affected the overall size. The XH-1 also has Fujifilms expected mini joystick which is a favourite with consumers. The touch screen is one of our favourite features.

It’s incredibly responsive and means you can stay completely silent when altering settings if you wish. There are also many short key touch functions which you can incorporate. The touch-panel is 3-inches and 1.04 million dots. Fujifilm has also incorporated one of the GFX highlight features - the 1.28 inch LCD on the top plate which clearly shows your current settings.

VIDEOGRAPHY Fujifilm has upgraded the X-H1’s video capability with C4K shooting (4096×2160) and in-camera F-log recording. Also, there is 200Mbps recording, a 400% dynamic range setting, an external mic port and Time Code.

The X-H1 has a new Film Simulation mode called Eterna that is specifically designed for movies. Already we have seen that this is a very popular addition. Fujifilm say that this replicates the look of cinematic film, with understated colours and better shadow tone. Seeing it live, we can certainly agree.

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COVER FEATURE

WHAT THE PROS SAY “As a photographer and filmmaker, for me it’s important to have a camera that can do everything because sometimes I have jobs where I have to do both stills and record movies, so I don’t want to carry two bodies. I was

really excited to have image stabilisation in a camera which I have here. I choose Fujifilm because I really like the skin tones out of the camera. With other cameras I have to do a lot of work in editing. The new colour profile, ETERNA, is a favourite of mine and works really well with my style.” Pal Laukli “As a photographer and filmmaker, for me it’s important to have a camera that can do everything because sometimes I have jobs where I have to do both stills and record movies, so I don’t want to carry two bodies. I was really excited to have image stabilisation in a camera which I have here. I choose Fujifilm because I really like the skin tones out of the camera. With other cameras I have to do a lot of work in editing. The new colour profile, ETERNA, is a favourite of mine and works really well with my style.” Benjamin Kurtz

Pixel Thoughts...

We’re excited. For now and the future. The XH-1 is a great camera. The image quality straight out of camera really stood out to us. We could talk for days about the features but we thought we would share a couple of the things that we feel will benefit users the most The first being the responsive touch panel. It’s been so well designed and has so much use. You can control what all of your swipe movements do.

We also loved the shutter release.

At first, it’s natural to see this as a negative because it’s really different to what you’re used to.

You can hardly tell you are taking a photo when you press it, but it’s so silent and after a couple of hours you soon get used to it.

Change is good. Lastly, the built in colour profiles and so great for videographers who don’t want to spend lots of time post processing. The battery life is fine. We would like it to be slightly longer but it’s similar to other mirrorless cameras in the market.

The XH-1 is a remarkable camera with a fantastic price point.

The Fujifilm XH-1 is available to pre order from £1,699.00. Fore more information visit www.fujifilm.eu/uk

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NEW FUJIFILM CINEMA LENSES

As well as the incredible XH-1 launch, we also got to see Fujifilm’s two new high-performance cinema lenses for renowned X Series, the FUJINON MKX18-55mmT2.9 and FUJINON MKX50-135mmT2.9, both coming this June.

We had a goo play with both of these lenses, teamed with the XH-1. The build quality seemed to be second to none but they are both also extremely lightweight, an attractive quality for filmmakers of all kinds.

Here is what Fujifilm have to say: “The MKX18-55mm and MKX50-135mm are the first full manual cinema lenses to be compatible with the X Series interchangeable lens lineup. In the 35mm format equivalent, MKX18-55mm covers a focal distance from 27mm to 84mm and MKX50-135mm covers a focal distance

from 76mm to 206mm. Combined with X Series’ unique colour reproduction technology, MKX lenses further enhance the range for professional video shooting.

The rapid growth in popularity of movie and video production shared on the internet has increased the opportunity for shooting relatively small budget movies using digital cameras.

Growth of video production has created a demand among videographers and cinematographers for lenses optimised to shoot. Traditionally, cinema lenses were typically large, heavy and expensive compared with photographic lenses required to meet the needs of videographers. In February 2017, Fujifilm released MK lens for E-mount*2 cameras which have been praised for their ease

of handling thanks to the compact and lightweight design. Despite their affordable price point and lightweight design, the E-mount lenses offer the same optical performance and operability as expensive cinema lenses. The new MKX lenses keep the same design concepts featured on the E-mount MK lenses but are now compatible with Fujifilm’s X Mount cameras within the Fujifilm X Series. The new MKX lenses have an electrical contact to communicate with the camera, which not only corrects the distortion*3 and the colour/brightness shading, but also achieve various colour expressions with Fujifilm’s Film Simulation modes.”

Fujifilm are clearly recognising the need to have quality but affordable cinema lenses. With more professional photographers competing for work than ever before, they are being forced to offer companies as much as possible.

In turn, it’s important for brands to offer as much as possible. We expect more brands to follow suit and cinema lenses to be much more common over the next few years.

Fore more information on these lenses, visit www.fujifilm.eu/uk

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INTERVIEW

NPHOTO:

WE INTERVIEW MICHAEL VINES FROM THE THRIVING PRINT BRAND

This month, we interviewed Michael Vines, UK representative for nPhoto. They talk about the brands latest products, direction for the brand and what we can expect to see at The Photography Show 2018.

Luke Woodford: What attracted you to working with nPhoto as a brand?

Michael Vines: I’d seen nPhoto active at a number of exhibitions in the UK for the previous 3 to 4 years, mainly at The Photography Show and some of the road shows around the country, and I liked the look of their products, they had a good team there and I saw them steadily grow. I thought this was a company to be taken seriously within the industry, they’re a new player, very competitive with fast turn arounds and that’s what initially attracted me to them.

LW: Have you got any exciting recent releases?

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MV: We just launched recently at the SWPP Show our Folio Box, which we think is going to be a best seller particularly for studio photography, and an alternative for the wedding photographer. It’s matted prints in a presentation box, very competitive price and the initial response to it has been very positive.

LW: We know nPhoto is not just a wedding photography brand. Is the studio photography market something you will be exploring a lot more?

MV: That’s a very good point because I do think some people pigeon hole us

as being an album supplier for wedding albums, whereas that isn’t just what we’re about. We’re right through to prints and it makes for a better based business if we can supply more studios, I think it gives us a stronger business model because you’ve got a constant turnover of albums and accessories, whereas you tend to find that the wedding market is crammed from July through to December so you get some slower months earlier on.

LW: Agreed, and I think that studio markets are overlooked a lot because people see wedding albums as big money, but not enough studios are

INTERVIEW getting high quality prints and products.

MV: I think there are three main factors people look at when they evaluate an album supplier is price, quality and then turnaround, but there is also a factor that I think people do ignore sometimes and that’s customer service. I think we have one of the best customer service teams out there. We are still looking to improve on our customer experience, the first time using us is a learning curve, and I believe that’s why sometimes there’s a reluctance for photographers to change their brand or their album supplier, because they don’t want to re-learn things, but if people are prepared to give us a try then I think they will get rewards from that.

MV: An interesting point because I do think that a lot of studios still ignore albums, they don’t see it as something that quite fits into their business model, but once you explain that you can actually get an album for about £35 starting with 5 – 10 spreads it kind of opens up a new potential sell for them. And again, with the Folio Box it’s another option.

We offer canvases as well, but I think it’s almost like guiding and educating photographers in some ways and giving them new opportunities.

LW: And the public as well. I’m convinced that when you get these products in the public eye they’re going to love them. Do you guys plan on expanding into acrylic and aluminium prints?

MV: We are aware that there is a market for that, but it isn’t something we are currently offering. Maybe it’s something for the future. We’ve made a big investment recently with the introduction of two Canon Dream Labo machines, which is high definition ink jet printing at the best, the output from those is astounding and we’re now utilising those for a lot of our prints as well, plus we’ve now got the Dream Book 4k photo book series to offer.

LW: In the wedding market, how are you seeing people buying albums in 2018, because there was a period of time where people weren’t quite as bothered but it seems to be coming back in the last few years. Is that something you experience?

MV: I guess that people’s experience of going to a low-cost photo book producer has kind of backfired a little bit and I think photographers have tried that, as has the public and I think somewhat they are disappointed by the results. I think photographers who have taken shortcuts are recognising that you do still need to go to a professional supplier, and because our price point is highly competitive I think people are perhaps coming back into the fold and buying albums.

LW: I think that’s a major attraction about nPhoto - the attractive price point, blended perfectly with the right quality.

LW: We’ve got the Photography Show coming up, do you find it successful and worth the investment for you?

MV: Definitely, I think the two leading shows in the country are the Photography Show and the SWPP show. From our perspective we deal with the professional photographer and we’re not looking to the end supplier. The one drawback for us perhaps at the Photography Show is that you get a lot of non-commercial photographers and that’s not really our core business, we want to be working with professionals and looking after them, but it’s always a busy show and we always get many new clients from it. It’s also an opportunity to see existing clients and they can see the new products on show.

MV: It really depends on who you speak to. Coming back from the SWPP Show there are some photographers with doom and gloom, however I think it’s about how people do their business. The successful photographers are the ones who hold their prices and they’re the ones with the bookings. People who are cutting their prices, not offering albums, are the people who are missing out. I encourage photographers to offer an album as a part of their package because there is a perceived value of an album is high in the eye of a couple getting married.

LW: There are many options these days where people can just make the albums themselves, how have you gone about attacking that?

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INTERVIEW

LW: I think that in this era that we’re in now, it’s so easy to just advertise online and not engage. I watch brands that don’t engage as much, and I can see that they’re losing touch a bit. I watch the ones that do see the importance of engaging with the customers and photographers and I see that they’re the ones thriving, so it’s good that you see the importance of engaging with people face-to -face.

MV: Absolutely, I think an album, or a product has to be seen and touched, it’s a very tactile sale, and I don’t believe that anybody just looking at a website can appreciate what our albums are about - the quality and the time that’s gone into making them. You have to be there. If nPhoto weren’t there and we didn’t make that investment, we wouldn’t be making the inroads into the UK market that we have done in the last 4-5 years.

LW: You’ve got a massive team in Poland and you’re representing the brand face-to-face here in the UK. Are there plans for the on-ground team to grow in the UK? MV: Well we don’t only operate on the UK market and we have strong business presence in Poland, Germany and Austria and last year we started selling our products across the ocean and also see the demand for our products in the USA. Here in the UK, I don’t have

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any solid information on that, but I think there are possible plans to grow our presence on the ground here... I know we’re looking at potentially running our own road shows and training courses, perhaps where other members of the team come over, and work with small groups of photographers here in the UK, perhaps with certain associations. There are a number of training companies across the country that we could go along to with products and support those photographers, particularly those just entering into the industry. So yes, there is opportunity for us to work more on the ground, perhaps geographically here in the UK, but I don’t know how that’s going to pan out.

LW: Are there any releases you can give us a hint on for the Photography Show or is it all top secret for now?

MV: I think really the Folio Box is such big news and so recent that it will still be our main focus at that show. Plus, we have more of the Complete Album Box ranges, we recently released the Acrylic Prestige Complete Album Box which is going very strongly, and some of the Dream Books series which are printed on the Canon Dream Labo 5000, we now produce those as an album box series with a USB incorporated within the housing, so that will be in the show, but of course there’ll be great offers there. I think I can probably say we’ll be offering a 75% discount at the show for samples, so for anybody who wants

to get samples of our products we’ll be offering that and will be taking pre orders at the show.

Recently we’ve also launched a coffee table book range which we sell on the website as Photo Book Pro range. They are printed on the HP indigo, we’ve invested in a 12000 series press and a 7000 series press, the results of which is 7 colour inkjet printing - really, really good output and we’ve introduced some nice Mohawk papers into that range. Very nice contemporary art book look and feel to it. We’ll have those at the show and I do think it’s something new for a lot of photographers, it’s moving away from traditional lay flat albums into more of a coffee table book style, which is something I think the public will warm to because they want something they can have out on display and people will pick up, and the price point is lower.

LW: Of course, images are made to be seen so the more chances people can get them out on display the better.

MV: It’s something not many companies in the UK offer. They don’t offer an art paper contemporary style printing, so we’ve got high expectations for that, and I’m sure with the success we’ve had already and the great sales team we’ve got we will make inroads with that.

Please contact Michael directly at mvines@nphoto.co.uk or head office at orders@nphoto.co.uk for more information.

FUJIFILM

FUJIFILM:

LEADING THE PRINT WARS

Lawrence Bostock, Head of Design at Glastonburys Somerset Rural Life Museum turns to Fujifilm for major ‘Echoes Of War’ exhibition, showcasing the effects of the First World War.

T

he exhibition hosts an eclectic mix of objects, archive documents, photographs and watercolour paintings.

The paintings are being displayed digitally for the first time and it is absolutely key that they are done right. They also needed strong branding on the walls and this is where Fujifilm’s personal matte wallpaper came in.

Until now, Lawrence and his team were used to outsourcing black and white printed text panels and then overmounting with colour photographs. For the branding, the process traditionally was to paint the walls and apply vinyl. It was time for a change...

When it comes to display, Lawrence is keen to embrace the latest imaging technologies but as with everything, there is always a budget. With so many display options out there and new ones coming all the time, it can be a preverbal minefield to find what’s right for you and your display needs.

Lawrence had come across a printing profile that claimed it could handle digital wallpaper, which he thought would be ideal for this exhibition. The next step in the journey of display was to reach out to Chas Halsey, MD at FocalPoint Imaging in Exeter, who then got in touch with Mark Wade, a senior imaging product specialist at Fujifilm who got a sample sent straight out.

The museum had recently invested in a brand new Epsom SCP20000 64-inchwide large format printer with Fujifilms fantastic ImageHunter RIP software which provides the user with easy cropping, re-sizing and tiling.

Pixel Thoughts...

With budget in mind, Lawrence expressed that he wanted to save money by printing and fitting all the elements in house. Of course, by doing this it makes life easier in many ways, which frees up key time focussing on other areas of the exhibition. It wasn’t long before a sample of Fujifilm’s personal matte wallpaper reached the team for testing and it just worked perfectly. The exhibit used the paper to display their green branding stripes. It looked wonderful and it made everything so easy, just printing everything in one go. Mark really helped with technical support and advice.

In an ever evolving industry, people are always seeking new and innovative printing solutions. Fujifilm not only have the solution, but also make the seeking easy.

With experts on hand to guide you in every relevant area, you can be prepared for your customers’ future needs. Fujifilm’s papers are well suited to exhibitions but also a multitude of other purposes. We can’t help but feel that we’ll see these papers pop-up at exhibitions round the country in the near future.

Boost your print sales in 2018! Get in touch with Peter direct on 01234 572138 or via photoprintservices_UK@ fujifilm.com

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Resolution Master The 42.4MP back-illuminated CMOS sensor with the latest generation image processor captures the finest details, in 10fps high-speed continuous shooting with accurate AF tracking.

The real potential of full-frame is now unleashed.

INTRODUCING THE

FROM SONY

Discover more at: www.sony.co.uk ‘Sony’, ‘ ‘ and their logos are registered trademarks or trademarks of Sony Corporation. All other logos and trademarks are the property of their respective owners.

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STORY

SONY:

OUR VISIT TO SONY EURPE HQ Below are our thoughts on our recent trip to Sony HQ. We’re going to visit the headquarters of as many brands as possible this year. If you would like us to come and see you, just get in touch and we’ll make it happen.

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his month, we visited Sony Europe HQ in Weybridge. What an awesome place. Whilst eagerly anticipating the sight of Sony’s iconic Digital Imaging Room, we couldn’t help but get momentarily distracted by the Gran Turismo VR racing experience.

Being there with photography in mind, you can’t help but be genuinly impressed with the whole Sony brand.

It’s easy to forget just how many different sectors and markets Sony thrive in. Stepping away from the VR and into the DI room, it was now time to listen to Sam Pilling talk us through everything photographic.

As professional photographers, we naturally work with professional cameras. It was good to be reminded of just how good Sony’s non pro cameras really are. The Travel Zooms in particular caught our attention with their design, build and image quality. The market might be flat but it’s consistent. People are still buying these smaller all in one cameras. It would certainly be more if everybody knew exactly how good they are.

One area that Sony sometimes get overlooks in their lens lineup. It’s very extensive. We remember the days when a lot of photographers wouldn’t consider Sony due to the lack of lenses, but those days are long gone for everyone who follows Sony. Are there still lenses to add? Yes, but it’s happening. Notably, the highly anticipated 400mm telephoto lens coming later this year.

The most surprising thing to come out of our visit was the realisation of just how great camcorders are in 2018. Even though Sony has the majority share of the market, we feel the market could and should be much bigger. As technology moves on, with more and more devices being able to shoot video, it’s easy to think of camcorders as a thing of the past. The thing is, they are far, far from it. Camcorders not only have an extreme level of quality but are also convenient with their pick up and shoot style. They are also the easiest type of camera to shoot handheld.

We don’t know when, but we have a hunch that camcorders could make a

comeback in a big way. The signs are there, the general population just need to be aware of how great they truly are.

Stay tuned to Pixel for more HQ visits.

Coming soon...

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IMAGE TAKEN WITH X-H1 BY CHRIS WESTON | WWW.CHRISWESTON.PHOTOGRAPHY

NEVER MISS THE MOMENT With 5-axis in-body image stabilisation and impressive functionality, the FUJIFILM X-H1 is poised and ready for any pro stills or video occasion.

The feather-touch shutter button and touchscreen control keep the action at your fingertips, so you’ll never miss the moment.

5-AXIS IN-BODY IMAGE STABILISATION | 24.3-MEGAPIXEL X-TRANS CMOS III SENSOR ETERNA FILM SIMULATION MODE | 4K VIDEO CAPTURE WITH F-LOG | 3-WAY TILT REAR TOUCHSCREEN

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FUJIFILM-X.COM/X-H1

OFF THE PRESS

GOOGLE:

NEW PROTECTION FOR PHOTOGRAPHERS A big alteration to Google involving images has just been announced. Read below to see how the internet giant is making changes to help protect photographers copyright.

G

oogle has removed the “View Image” button from its Image Search results that had allowed anyone to quickly download the original image file while bypassing the host webpage. This is a step Google is taking to help protect photographers’ copyrights. We feel that this is a step in the right direction for photographers protection which seems to be a constant struggle as technology grows.

Last week, Getty Images announced a new licensing partnership with Google (which Google calls a “settlement”) that put an end to a long legal battle between the two companies over allegations of “anti-competitive” practices — Google’s search made it easy to download highresolution photos from Getty while bypassing the Getty website. This has been a thorn in Getty’s side for a lengthy amount of time.

Google and Getty Images have also come together to address Getty’s concerns, and the search giant agreed to remove the “View Image” button that’s commonly used to directly access image files. That change has now gone live.

Clicking the “Visit” button takes you directly to the webpage that the image is found on. This doesn’t solve the issue of people downloading images completely,

but it does make it for difficult to do.

Google had also agreed to make the copyright notice on copyrighted photos more “prominent” for users, and that’s part of the tweaked design as well — the “Images may be subject to copyright” has been moved from being a tiny gray line of text under the buttons to a more noticeable line right beneath the photo preview.

While this latest change may be celebrated by photographers and other copyright holders, others aren’t as pleased with the move.

“While it’s good to see Google protecting photographers and driving traffic to websites, it’s still hard not to be a little annoyed by the changes,” The Verge writes. “There are plenty of legitimate and legal uses for copyrighted images.

“And while it’s fair to ask users to do their due diligence by making sure they’re properly attributing photos, these changes really seem designed to stop images from being grabbed in the first place.”

If Google wasn’t such a giant and instilled in peoples minds and the only search engine option, this could instigate competition. We feel though, that Google have come to far and this won’t affect their position in the market at all.

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OFF THE PRESS

SONY:

THE GAME CHANGING SENSOR Sony has announced a ground breaking development in the world of camera image sensors: it has created a 1.46-megapixel back-illuminated CMOS sensor that has global shutter.

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his is the first-ever CMOS sensor of over 1MP that has both backillumination and global shutter.

Backside illumination (BSI) is an image sensor design that uses its arrangement of imaging elements to increase the amount of light that’s captured, leading to improved low-light performance.

While this type of design was previously used for things like astro cameras and security cameras, it has become a prominent technology in consumer still photography cameras. Although it may be a while before these sensors are available in consumer products, we can’t help but get excited about this innovation and the possibilities it brings.

In 2015, Sony’s a7R II became the world’s first back-illuminated 35mm full frame camera. Last year, Nikon’s D850 became the first 45+ megapixel BSI sensor.

Those BSI CMOS sensors are all rolling shutters, though, which means the pixels in a photo aren’t all captured

at exactly the same time but are instead captured by scanning across the scene very rapidly row-by-row. While this can produce identical results in most cases, it does cause distortions when the camera or subjects are moving rapidly during exposure.

Sony’s newly developed sensor is a BSI sensor that has a global shutter function, allowing every single pixel in the frame to be captured at exactly the same time. Here’s an excerpt of the company’s technical explanation of its breakthrough design: “The new Sony sensor comes with newly developed low-current, compact A/D converters positioned beneath each pixel.

These A/D converters instantly convert the analog signal from all the simultaneously exposed pixels in parallel to a digital signal to temporarily store it in digital memory.

This architecture eliminates focal plane distortion due to readout time shift, making it possible to provide a Global Shutter function...

To achieve the parallel A/D conversion for all pixels, Sony has developed a technology which makes it possible to include approximately three million CuCu (copper-copper) connections in one sensor. The Cu-Cu connection provides electrical continuity between the pixel and logic substrate, while securing space for implementing as many as 1.46 million A/D converters, the same number as the effective megapixels, as well as the digital memory.”

Right now, we can’t say when we will see this breakthrough CMOS sensor design show up in a consumer camera, but it’s clear that Sony is intent on staying ahead of the game to continue its global dominance of image sensors and keep its digital cameras at the forefront of sensor quality.

Stay tuned to Pixel ad we bring new more on this story as it develops.

NEWS

KEVIN ABOSCH:

CRYPTO-ARTWORK SELLS FOR US $1 MILLION Abosch strikes again with his ability to sell photographic artworks for astronomical prices. What willl he do next?

I

f you haven’t heard of Kevin Abosch, you’ve been working too hard. Kevin is the famous photographer who sold a photo of a potato for over $1,000,000 in 2016. He has now become the photographer behind the world’s most expensive crypto-artwork by selling a photo of a rose on the blockchain for $1,000,000.

CNN reports that the photo, titled Forever Rose, was purchased yesterday on Valentines Day by a group of 10 collectors that included investment funds, an advisory firm, crypto projects, and a leading China-based crypto investor. There were over 150 interested buyers, and the 10 collectors who ended up purchasing the photo split the price (paid in GTO and IAMA tokens) evenly 10 ways. The $1 million is believed to be the highest price ever paid for a cryptocurrency artwork.

“The Forever Rose is an ERC20 token called ROSE on the Ethereum blockchain that is based on Abosch’s photograph of a rose,” Crowdfund Insider reports. “The buyers each receives 1/10 of the ROSE token. The purchasers can decide to sell their partial rose.”

Abosch created Forever Rose in collaboration with GIFTO, a decentralized gifting platform that stores its record of collectibles on the Ethereum blockchain.

The photographer and platform have donated the proceeds from the sale ($1 million worth of Ether) to CoderDojo Foundation, which provides free programming programs for kids aged 7 to 17 years old.

We hope you have enjoyed issue 984. If you have any stories you would like us to cover, get in touch. See you at 985!

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