News/Views
My 2026 Workshop Schedule is Now Available
For the summary, see this page. I've previously announced these two new trips to those that are signed up for my workshop newsletter, so if you're interested at all, you don't want to dally, as early signups are already taking most of the available spaces.
I will say that, with workshops that cost this much this far out, you'll also want to budget for trip insurance (Lisa, who you'll register with, can give you details of a plan that we know from experience works well; we've had last minute health issues come up a few times over the decades I've been doing these workshops, and it sucks to be both sick and out of pocket with a big sum at the same time).
I'm excited about these new workshops. One is completely unique and I don't believe has been offered by any other instructor. The other is another refinement of a trip I know works really well, both for first timers as well as returning photographers. It was tough to keep the pricing from going completely bonkers. As I've noted elsewhere, the lodges in Botswana are all trying to make up for the pandemic, and most have raised their prices 200% or more in the past two years (and are still filling their beds). Fortunately, we have long term relationships with the ones we use, and have been able to talk them back to sanity somewhat.
Still, top level product, excellent access, and great guiding is now approaching US$1500/day on the ground in much of Africa. You can get lower cost excursions, but they won't be nearly as good as what we put together. For example, in Khwai this year, at the check-in gate we watched one "budget" tour limp in with two flat tires on their only vehicle, but that wasn't their biggest problem: their camp truck had broken down and they had no camp, nor did they have a backup plan for such situations. My team and I are proud of our long track record in getting you where you need to be with what you need to have when you need to be there. I'm not going to back off of quality trips with solid contingency plans. This year, for instance, we pre-scouted the Kalahari camps and decided two days prior to the trip to move everything, because if we did so we could catch the zebra migration, a very unique thing that people rarely see in Botswana because it happens mostly away from the traditional safari areas.
Yes, I've heard the folks asking for things more local. Mark Comon and I are talking about what we might be able to do about that together (Mark does a lot US workshops), but it's tough putting two schedules together.
More Statistics (Interpret Wisely)
BCN+R just published another of their carefully managed "slices" of information, which tend to get distorted by Internet sites. Here's the graph of this most recent bit of "news":
A bunch of caveats apply that you have to take into account before you make any conclusions about this data:
- Japan market only
- Not really camera shop data, more Big Box/Mom&Pop mix
- June 2024 data only
- Unspecified and unverifiable data (e.g. is this units or dollars?)
- BCN+R tends to promote what it wants to say ;~)
But the bigger problem with this particular data release is that last point. BCN+R used their press release to point out that this is the first time Fujifilm has been in the top four in 24 years (hey, news!). However, this is almost solely due to the fact that Fujifilm had the only new lower end product in June (X-T50). The top five products in June have also been (mostly) in the top five products all year long (ZV-E10, R10, R50, A6400, and Z30).
That product list should tell you something else, too. This relates to a discussion we've been having over on dpreview: Nikon's strategy is different than Canon's. It's not market share oriented, it's gross profit margin oriented. Despite their DX triplets, most of Nikon's success in the past two years has come with the full frame market, and towards the top end of that. This is producing higher profits on lower volume than Canon or Sony can claim.
The very first bullet, above, is also important to note. The central bank in Japan wanted inflation and now has produced it in spades. Wages haven't kept up (overall; they have in some global conglomerates). The overall Japanese gross domestic product has been shrinking, and Japan is now the fourth largest economy in the world, having slipped one spot to fall behind Germany. The relevance of Japanese market share to the global situation is getting disconnected in a meaningful way.
Which leads me to another point: when BCN+R puts out data to the public like this, they invariably don't tie it to historical data in a manner that would indicate real trends. For instance, what's the volume for those first six months of 2024 compared to 2023?
So take what you read about these "statistics" with a grain of salt. They often don't tell us anything useful.
Amateur Statisticians, Again
No sooner did Nikkei publish their mirrorless market share report (chart summarizing that, below), did the amateur statisticians once again whip up their completely wrong analysis, one of whom went to the trouble of asking ChatGTP for help. But garbage in, garbage out.
One problem is that these amateur statisticians have trouble with reading comprehension. The report Nikkei quoted was for mirrorless market share, not complete camera market share. That didn’t stop one site from pulling up full camera share reports for previous years from different sources, and come to the conclusion that Canon is in trouble (if you want a more accurate analysis of what’s happening in the market, see mine).
Taking three sources with no overlap to create a pattern over four years to predict for ten years forward is a big statistical no-no. But no, this particular site then took that multi-sourced and non-conforming data and had AI do the hard work of coming up with projections from it. That led them to the conclusion that Canon will have a 7.7% market share in 2033, and Sony an 82.1% market share.
To add humor, not only did we get that ridiculous projection, but said poster couldn’t even read his own fake table. He wrote “Nikon...will continue to grow steadily.” But his table says 12.95% in 2024 down to 10.7% in 2033, which as you’re probably aware, is not what anyone would call growth. If it is, Nikon has been growing like gangbusters for several years now ;~).
Anyone can do statistics these days. Even political pollsters. The problem is that those are almost never accurate use of statistics, and thus the reliability of all these amateur projections we see these days is essentially zero.
Even for someone like me, whose PhD minor was in statistics, it’s difficult, as the reliability of data has gone down, too. About the only two consistently reliabible data points in cameras that are publicly available now are the CIPA monthly numbers, plus Nikon’s quarterly financial statements. But even those are difficult to square together, because Nikon still reports all ILC while CIPA breaks mirrorless and DSLRs out.
When I made my 2003 projection of peak DSLR being reached sometime in 2011 (I was off by about six months), I did that from four known, reliable data sources. Unfortunately, one of those is now private and another no longer reliable. Moreover, the projection didn’t rely upon the camera market volume directly, but rather home adoption. One of the things I discovered in my PhD work is that future volumes can be predicted by household penetration numbers. I’d point to my long study of this, but I can’t find a copy at the moment.
You might also have noticed this chart making the rounds (again from Nikkei):
Note the hump. This tells us that every home in Japan decided they needed a digital still camera, so household penetration went up; so did camera sales, obviously. But as smartphones started taking over the photo job, Japan has returned to more where they were in terms of number of dedicated cameras in each home.
This is exactly the area I’ve been studying for quite some time. It’s what made me suggest that we’d fall well below 6m unit sales before we did. Unfortunately, the available data to me at the moment is not global and for only a couple of markets, but the suggestion to me is that somewhere in the 4m to 6m range is the nominal long term level of camera sales. I see a little uptick in average ownership among the young recently, but it’s unclear yet whether that’s just faddish or a real new trend that will push the number upward.
If I’m right about a relatively flat overall market long term (or even a slow decline), this makes market share strategies really important. As I note in my sansmirror article, I see everything is upside down right now: one of the smaller market shares is making the highest per unit profit, which usually doesn’t hold for long.
There’s little doubt that Canon is under stress right now. Their long-term strategy of targeting half the market (50% market share) is not likely achievable in the short term without dramatic cost cutting as well as ratcheting up product discounts. By dramatic, I mean more than they’ve already done.
Since everyone else is doing junk statistics, I’ll do a junk prediction here (though partially based upon a broad knowledge of how all this works): within three to five years, Canon’s camera market share will have dropped probably ten points, Nikon will have gained five points, and the Big Three ILC shares will look more like Canon 40%, Sony 30%, Nikon 15%, all ±2. Oh, wait, that’s exactly where we are with the current mirrorless market ;~). Maybe not so junk, after all.
Crippling Your Own Product
Panasonic's recent launch of the S9 reminded me of a complaint I'm finding myself having more and more often: not optimizing for your product design.
In particular, the S9 has the same issue as the Nikon Z30 does: a camera that relies on the Rear LCD doesn't have a display capable of practical use outdoors. TFT displays aren't exactly all that bright to start with, but anyone wearing polarized sunglasses is going to have real problems. The creators Panasonic (and Nikon) are targeting already complain about screen brightness on bright days with 1000 nit brightness smartphones, so why would these companies think that they can get away with 250 to 450 nits? It seems to me that this is just asking for trouble with customers, and likely to provoke returns or "no buys".
Products solve user problems, or at least they should if the designer was paying any attention. But more and more I keep finding that this is being ignored in various ways by the camera companies. The reason for ignoring use cases usually breaks down to "easier to design it that way" or "bean counters told us to use a cheaper part."
Another good example is tripod mounts on long lenses. Canon, Nikon, and Sony all apparently continue to give the job of designing that to a junior intern engineer, who just copies previous designs and thus guarantees failure. First problem: the "handle" portion of these mounts are far too small for most hands, and the best way to carry heavy long lenses without putting too much stress on the mount is via that handle. Oops. Second, no one uses 1/4" screw threads to mount three to eight pound lenses on a tripod any more; we all use Arca-Swiss style plates, which provide a faster and more secure mount as well as doing a better job of making two masses into one, which is what you want for stability.
Tamron has finally started making their tripod mounts with Arca-Swiss plates, so Canikony can no longer claim that they haven't seen any such thing in their home ballpark. In essence, virtually everyone now (1) removes their supplied tripod mount or (2) replaces it with a third-party plate. I don't recommend #1 on lenses over two pounds, as you need a way to carry via the lens, so everyone ends up spending US$50 to US$200 more to buy a part that should have been supplied with the lens. (And let's not talk about the stability of the foot to rotating plate connection...)
Cameras are a Virus
I’ve begun to think of technology advances much the same way I do about viruses: there’s constant on-going evolutionary mutations, mostly mild, with only an occasional outlier that establishes a new species and has any true new abilities.
I’m not alone in this thought. Even the BBC once said “the hi-fi world has become something of a graveyard for bright ideas that come to nothing,” but that the CD was a “real” change.
This idea of failed (tech) “species" with occasional successful new ones is something I’ve both experienced and observed in my long career. Moreover, the way in which some tech species fail varies considerably. I’ve been at companies with products that died because of cash flow issues, licensing arguments, and even the very weird “too successful to continue as a Subchapter S while unable to transition to Subchapter C due to the tax consequence.” It isn’t always lack of sales, poor/wrong product, or economic recession that kills off tech products.
One thing I admire about the Japanese engineering teams is that they're exceptionally good at producing small mutations (iterations) that inch a tech species forward. The thing that everyone admires about Silicon Valley is different: the Valley seems to be able to spontaneously combust a new hardy tech species from out of nowhere.
We need both things to happen to get better cameras. Call it in-box and out-of-box thinking if you want to use the cliched terminology.
Most of the criticism over recent camera introductions is that it's all in-box thinking. Some more pixels, some more attention to focus algorithms, faster movement of data, and so on. What I hear becoming louder in the customer complaints is requests for things that currently aren't being done in our cameras. And, of course, I've been a long time complainer about cameras not yet having really moved into the 21st century in terms of moving data over the airwaves.
One of the biggest requests from users these days has to do with computational computing. Caution: many are conflating what they see that looks okay on a smartphone screen with "computational imaging makes better photos."
Before we go further, let me correct one thought many have: our cameras already have plenty of computational computing. The complaint really has to do with the fact that smartphones seem to be doing more, and are doing it IRT (in real time). Moreover, we've had some computational stuff before that has been removed from later cameras. Remember Nikon's BSS (best shot selection)? That, or a newer mutation of that would be truly handy in a Z9 that pops off 120 frames per second on a pre-shot capture (e.g. "ignore the images of the bird just sitting, and only show me the ones of it taking off and still in frame").
We have two competing changes in final pixel approach going on right now that also need to be better resolved. The first is AI completely making up pixels; the second is computational reconstruction of pixels. In the former, new pixels appear out of nowhere. In the latter, pixels are formed by examining before, during, after pixels and putting the best pixel forward (or combining them to remove quantum shot noise). Perhaps we want both mutations, but I'd also like to have more control over both when and how each of them are used.
This is actually one place where the smartphone and dedicated camera makers can (and should) be different. Smartphones just give you their best guess. No one wants deep menus and lots of buttons to control things on their phones. Smartphones as a camera are a convenience product, not a high quality, high performance tool. Dedicated cameras (mostly) assume an intelligent controller (you) is making intelligent decisions (or overrides of decisions). The difference is important. Not everyone wants the smartphone simplification, but not everyone wants to be stepping in all the time to assert more control. These two groups of users can and should coexist. The question is whether you do both in the same device.
Recent Curiosities
I'm sometimes amazed at the Japanese design decisions. To wit:
- Ricoh WG-8 waterproof/tough camera — Not only can you use it underwater, but you can use it as a Web camera for video conferencing. From the horse's mouth: "Not only for use outdoors, but also in everyday business situations." Uh-huh. And those six LED lights around the lens will give you a real nice ring lighting effect. Sadly, using it as a Web camera requires you to hook up via the USB port, which means you're running on battery power for that conference. Hope it isn't a long one.
- Pentax (Ricoh again) 17 camera — Hey, a new film camera is being made. Hey, it's a half frame camera that takes verticals (when held normally). Guess we know who that's targeted for, but it seems to me that "creator" crowd will quickly balk at the workflow, inconvenience, and cost. Did someone at Pentax actually survey this and discover an unmet demand that will be ongoing? Meanwhile, there is such unmet demand for a sophisticated, modernized film camera. (And an irony: Pentax launched the 17 on June 17th, but due to the Nikon Z6 III hoopla on that date, most sites didn't cover the Pentax until the 18th ;~)
Not that the Chinese are doing better:
- Insta360 GO 3S — In the progression of Insta360 trying to figure out a way to dislodge GoPro (and maybe DJI), the Insta team just continues to try come up with new action camera designs, hoping one will stick. The GO 3S might, because it's magnetic ;~). I suppose I should support them because it's sort of modular—I espoused modular designs back after the turn of the century—and at 1.4 ounces (39g) for the camera only it's the smallest and lightest 4K camera around. But the problem here is the thing is so small that you only get about 30 minutes of recording time and it'll take you another 30 minutes to recharge it completely. So I'd call it an intermittent action camera. Don't get me wrong, there's a lot to like here, it's just that going this small generates real compromise, and it probably won't always work for me.
Do You Know What's Automated and How?
In working with students at workshops for a month, and then also dealing with some big questions that came in via email while I was off the Internet, I noticed a commonality in assumptions that I think I need to tackle directly:
Not everyone realizes that something auto is making decisions for you
Take white balance, for example. Nikon currently has four different automatic white balances: Auto Keep White, Auto Keep Overall, Auto Keep Warm, and Natural Light Auto. Do you know how they differ? Do you know what your raw converter is going to do with each of them? Do you think that "auto" has no other consequences than for white balance?
I'm guessing that you don't.
First of all, artificial light is different than natural light. Natural light is a form of black body radiation, which means that light spectrum is created continuously both in value and time. Most artificial or human-modified light tends to have spectral gaps and peaks, plus they often have a frequency component. I'm a strong believer that if you're outdoors during the day photographing in natural light, you should always use Nikon's Natural Light Auto. If you're indoors (or outdoors at night in a city area with artificial lights present), you can pick one of the other auto white balances, but I'd argue that you need more information and should be using that to perhaps make a different choice.
But beyond just what "auto" is doing to color information, there's the issue of histograms. The in-camera histograms are based upon JPEG settings, including white balance. I keep having people tell me that they photograph in raw and don't need to worry about white balance. They are wrong. Either that or they don't care whether the histograms and highlights displays on their camera have any accuracy whatsoever to what is actually recorded.
But it doesn't stop there. On a Nikon we have Picture Controls (Fujifilm has Film Simulations, and every maker has their own term for their image profiling). The default Picture Control is Auto on a Nikon body out of the box these days. Auto in this context means that the camera can alter contrast, gamma (brightness), saturation, hue, and a host of other controls on its own. Like white balance, this impacts how accurate your in-camera histograms and highlights may be, but on mirrorless cameras these days, it also means what you think you see as "proper exposure" in the viewfinder may actually not be recorded that way in the raw file. Oops.
Even the Nikon Standard Picture Control has some automatic response to it. Neutral and Flat are the best choices to avoid automation decisions on Nikon cameras.
Of course you're using matrix metering, right? Nikon's matrix metering is eerily accurate. But only to a point, and only if you know what things impact it. Matrix metering makes automated decisions based upon a great deal of inputs. Focus point, for instance. Worse still, things may change if a human is detected (Custom Setting #B4: Matrix metering face detection).
A lot of you are using automatic ISO. This function works differently in different exposure modes, so do you know what it does in the exposure mode you use? I keep finding folk who use Auto ISO in Manual exposure mode—the only choice I think makes any real sense—who can't tell me what happens when the exposure gets outside of the parameter range they've set for Auto ISO (maximum ISO and minimum shutter speed). You've asked for "automatic," so something's going to happen ;~).
Recently I had someone tell me that they had changed their Focus Tracking With Lock-on value while they were using 3D-tracking as the AF-area mode. Nope, they didn't. Focus tracking speed is fixed with 3D-tracking, an unannounced and often unseen change that catches people unaware.
I could go on, but I think I've made my point: you need to know what all the automation is doing and whether its going to impact other things you need the camera to do. So:
- Figure out all the settings you use that do automatic things in the background.
- Figure out whether you need that automation or not.
- Figure out what side-impacts the automation may have on your results.
That last bit brings us to post processing.
Adobe and Nikon don't agree on white balance, for instance. While Adobe reads the EXIF data for white balance from your raw files, Lightroom and ACR interpret that information differently than does Nikon. Unfortunately, we don't know exactly how Adobe changes things, but you should note that the color temperature reported by Adobe products is way different than that reported by Nikon NX Studio. Something "automatic" is happening in the background.
I can tell you a bit of that, and it's not the best of stories. Adobe creates their profiles for cameras from two known-light exposures. One in carefully controlled artificial light, one in controlled daylight. Adobe appears to make the assumption that white balance is "linear," thus any temperature between those two known ones should be linearly placed between the exposures they captured. Likewise, if the color temperature is outside those two reference values, things are still assumed to be linear.
Thing is, what do we know about differences in image sensor filtration? It predominately varies in the red and blue filtration. Even within Nikon cameras there are some significant differences. The pro bodies have tended to have slightly higher red response, the consumer bodies slightly blue response. I have to build a UniWB separately for every camera because of this. But technically, you should be profiling more than the two data points Adobe uses if you want to be even close to accurate with color in extreme lighting conditions.
I could write a dissertation on all the "automation" that is undocumented or even mostly unknown that comes into play with both our cameras and our post processing workflows. The "average" user, on the other hand, wants to use automation as much as possible because there are too many variables that should be controlled to make you a perfect craftsperson (or deviant artist).
Personally, I'm tolerant of some automatic bits in my photographic process, as long as I understand that they're there and I have some idea that what they're doing isn't going to contra-impact what I'm doing.
I'm hoping that the camera companies don't think that FSP (fully self photographing) cameras aren't the real design goal in the future. While I know some of you want FSV (fully self-driving vehicles) and Elon Musk has promised you that for over a decade now, photography is personal and should stay personal. You show me your world, and I show you mine. They should not be automated to be the same.