News/Views
The Thing About SKUs
A comment on another site coupled with the upcoming holiday buying season led to this “explainer.”
SKU is the abbreviation for Stocking Keeping Units, a shorthand for the number of physically different boxes you might find at a retailer for a brand, or more importantly, a product line. The was a time when the camera makers were overly prolific with producing SKUs. You’d find Camera X body, Camera X + Y lens, Camera X + Z lens, Camera X + Y + Z lens, and more. These days, many camera makers have backed off from that kind of box proliferation. However, Nikon just extended their product line with the Z5IIC and Sony with the FX5. In Nikon’s case they added four SKUs for one camera launch. That's more SKUs a camera dealer has to deal with.
MBA programs—I went through one at the IU Kelley School of Business—teach the nuances of SKUs, and it’s important to understand them, as they do have some consequence to the eventual customer (that would be you).
First, dealers have a love/hate relationship with SKUs. A camera dealer, like most retail businesses, survives and perhaps thrives on what are called turns. A turn is basically how many times a particular SKU comes in and goes out (gets sold), typically measured monthly, quarterly, or annually. So if a dealer only sold one SKU, they’d need a huge number of turns to be profitable. On the other hand, if a dealer stocks hundreds of SKUs, as long as they manage their inventory well, a product that has two turns a year is still probably viable. But that’s only true if they can manage to keep from piling up inventory of various SKUs.
Which gets us to the love/hate relationship: camera makers constantly try to push more inventory into the retailers; Tokyo is relentless about that. But camera makers these days also don’t tend to generate near as much “pull” (consumer demand) for a product, so a camera dealer who is turning 2 SKUs of a product a month who is forced by the maker to take 3 units a month, is quickly in trouble. It used to be that there were very active “pull” programs at each of the camera makers. You probably remember newspapers and local camera dealer ads. Those were cooperative programs partly paid for by camera makers to generate pull. Every camera dealer I have known was using those ads to get people in their door, and they all lament the level of support they get on that today.
But let’s get to the complaint that’s come up multiple times about the Nikon Z5IIC (“it’s not for me, why did they make that and not X?”). Nikon added an SKU (technically, four). Why would they do that?
MBA programs would say:
- A dense (more complete) product line takes up more physical shelf space in stores, potentially reducing space for competition.
- More variations allow you to capture customers that have different preferences.
- A bigger product line offers more cross-selling and upselling opportunities.
- More variations provide more granular sales data, allowing you to understand better what things most drive revenue.
- Customers can enter a product line at or near the bottom and know they can move upwards in the lineup later should their needs increase or change.
In the case of the Nikon Z5IIC, #2, #3, and #5 are highly relevant. The Z5IIC is another variation. You can upsell a Z5IIC customer to a Z5II or ZR. The Z5IIC is the lowest performance product in the lineup, but there are six other “better” ones you could upgrade to later.
#1 is no longer much of a factor, as camera dealers have to lock up inventory in caged, safe back rooms these days. #4 might be of use to the bean counters in Tokyo, particularly the black versus silver decision, but that wouldn’t have been the primary or even secondary driver of creating a whole new set of SKUs.
To be complete, I should note the following: in terms of actual boxes shipped to dealers, Nikon created four SKUs for the Z5IIC (silver and black, plus body only and kit lens). They also created four more virtual SKUs (silver/black body with either 26mm f/2.8 prime or 24-105mm f/4-7.1 zoom). Dealers serve the virtual SKUs by stocking body-only boxes as well as additional lens boxes. So technically, a dealer has six SKUs that involve the Z5IIC. I’ll be curious to see how that all plays out. Some of those SKUs will have higher turns than the others (I’d bet on silver body over black, for instance, though how many of each Nikon actually delivers to dealers will influence that; I’d also bet that Nikon gets the balance wrong, as silver will be preferred over black more than they think).
Customers (you) don’t think in terms of SKUs, which is one reason why you see so many comments in the fora that don’t take product line extension and its implications into account. With perhaps the exceptions of Ricoh and Sigma, all the camera makers are using MBA-type logic in trying to figure out how and where to upgrade products versus extend product lines. Too many SKUs can be a problem, but not enough SKUs can be a worse problem.
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Bonus: For those that watch the camera industry and try to understand trends and patterns, SKUs are a key element to pay attention to, particularly in times when we know that there are parts and supply chain limitations of significance. SKUs are a bit of a canary in the coalmine, in that when a company is reducing them, that’s typically a sign of overextension and lack of confidence of their position in the market. When a company increases their SKUs significantly, they’re either trying to improve their overall position, broaden their customer base, or are using #4 to try to figure out what they should be producing.
Fun task: Ask your local camera dealer how many SKUs they have ;~).
The Nikon Z5IIC Week
LEDE ON
As you probably know, I teach photo workshops outside the US, and I talk to other photographers doing the same, as well as travel agencies trying to get my attention. I’m now hearing from others that 2027 bookings are not currently as full as would be expected at this point in time (my one workshop for the year is full, though). This seems to be due to a combination of factors, but the whatever-it-is happening in Iran seems to be a primary one. When gas prices go up, so do airfares. Travel from the US through Middle East hubs is disrupted. Fear that inflation and interest rates are going to keep rising also has many getting conservative with their commitments to future spending.
This is what I call a tipping point indicator. When those with clear disposable income—which defines the International travel and photo workshop crowd—start pulling back on future travel, that means a lion is entering the coal mine and the canary better watch out.
No, I’m not predicting a recession (yet). But I’d judge the US and world economies to be significantly out of balance at the moment. Things are positive in some key areas, negative in others. It’s impossible to predict exactly how or when balance might get back to a more expected level, as both resolution of conflicts and whether or not the AI scene has gotten too close to the sun are not easily predicted. But the trend has been clear: we’re closer to economic lapses than we were. Those may be regional or industry specific.
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News
Nikon goes casual
The big news of the past week was Nikon’s announcement of the US$1399 full frame Z5IIC. I cover that in detail on the zsystemuser.com site, but I’ll add a couple of extra tidbits here.
First, the dealers I’ve talked to so far (three) all seem pleased. While they’re not going to sell out of what they can get at the moment, they all were surprised at all how many people got in line for one the first day. Not a stampede, for sure, just a small, orderly line. This doesn’t surprise me, as I’ve seen the demand for a more full-time-carry-around full-frame camera for awhile now among my readers. With the right lens, the Z5IIC comes mighty close to what those folk wanted (it’s still a bit heavier than they wanted, though).
So what’s the right lens? My preference would be for something that doesn’t stick out past the hand grip, as that makes it easier to get in and out of (large) pockets and small bags. As I wrote, I used the Nikon 26mm f/2.8 on the camera in my pre-launch session. That’s near perfect. Other autofocus full-frame lenses that fit this same basic sizing model (no more than 2” long) are: 7Artisans 40mm f/2.5 Lite, 7Artisans 50mm f/1.8 Lite, SG-Image 35mm f/2.2, TTArtisans 32mm f/2.8, TTArtisans 35mm f/1.8 II, TTArtisans 40mm f/2, Viltrox 26mm f/2.8 EVO, and Viltrox 28mm f/4.5. Quite a few other lenses are just outside the 2” boundary I set, including the Viltrox 50mm f/2 Air (2.3”). So if you’re a prime user, there’s a simple way to make a Z5IIC into your compact camera: buy a small prime. (The zsystemuser.com site has a full database of lenses for the Z-mount, including manual focus ones, if you’re so inclined. Just drill down into the NIKKOR or Third-Party lens sections.)
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Commentary
Nikon goes casual but Internet goes rebellious
It seems that Fro and Fstoppers both saw the Nikon Z5IIC announcement as a way to go viral by presenting a faux argument: real cameras are for photographers and must have a viewfinder. That borders on Luddite. Meanwhile, others on the Internet are getting all riled up over a camera that isn’t actually targeted at them. Many with seemingly strong opinions haven’t even seen the camera, let alone used it.
Would I have made the Z5IIC differently? Yes, but not in the ways that everyone is suddenly arguing about. I’m not a fan of offset viewfinders (e.g. rangefinder position), as they introduce a stability issue, particularly with people stabbing the shutter release on the other side of the camera, where its unbraced (you get rotation, which may or may not be helped by stabilization). I would have probably gone for a brighter, tilting Rear LCD with more resolution. I would have considered dropping most connectors and drawing the body size down some. I wouldn’t have dropped the thumb stick. But all those things have costs, and the reality is that Nikon is attempting to make the Z5IIC an affordable entry camera, and the days of a US$1000 entry point are now gone due to inflation and parts supply issues. I long ago learned that sometimes you have to make do with what you’ve got available. To a large degree, the Z5IIC is what I’ve long called a parts-bin camera, meaning that it had little direct R&D cost, but rather simply borrowed from things already done. The only significant engineering cost was redesigning the body’s top plate.
I need to take on some of the statements being made and give them more scrutiny. For instance, Fro’s insistence that you need an EVF in a camera that someone can grow into. I understand where he’s coming from with that statement, but I’m not sure that it applies any more (or ever). (See my article on Composing on zsystemuser.com). One thing I note more and more is that when younger folk use a camera, they do so socially. Hiding your face behind a box is anti-social. Occasionally looking at a screen isn’t. The whole “look through a viewfinder” thing is voyeuristic at worst, journalistic at best. Viewing through a hole means that photographs can only be done by detaching yourself away from what’s happening in front of you, and that’s a contention I dispute. And didn’t photography start by looking at large screens? Also: if a viewfinder is an absolute requirement for taking photos, does that mean camera makers can drop the Rear LCD completely? After all, you can see the menus and do photo review in the viewfinder now.
Meanwhile, Burn’s headline in fstoppers was “Nikon has Forgotten the Photographer.” I’m going to make you a bet that he eats his words soon. Yes, Nikon is diversifying its portfolio of products and the RED acquisition was part of that. However, Nikon has most definitely not forgotten the photographer. I’m 100% sure of that.
Deeper in Burn’s article was the explicit contention that hybrid (photo/video) is bad and that somehow photo-only was better. The camera he uses to illustrate that is a Leica M10. Sorry, but I can take better photos with my (hybrid) Z8. Not only that, but do so with faster response, more control, more directness, and better results. Burn seems to want a mechanical shutter, a metal body, and dials, but then says it’s okay to modernize that with “an excellent electronic viewfinder.” Hmm. So viewfinder blackout is okay, and non-continguous autofocus is okay, too. Yeah, we’ve been there. It’s called a Nikon D850, and I’d rather have my Z8. Why? Because there are no momentary gaps in my photographic decisions and performance while I wait for a shutter.
Once again we have people—not just Burn—asking to leave off video. I’m of a different opinion. Given the fact that modern cameras are using video streams from the image sensor for some very useful purposes now, all I want is for the still and video functions to be more separated in use. For example, if the Live View switch on my Z is on stills, why do I have to even navigate past the VIDEO RECORDING menu or see items that only apply to video? On cameras with Mode dials, the U# settings should be solely for stills when I’m taking stills; the same U# positions should have completely different settings when the Live View switch is on video. These parts of the dislike of hybrid I get, but that doesn’t mean we should simply drop their hybrid nature entirely. We’ll still be using all that video sensor capability, so I’m perfectly fine with it being in a camera I mostly use for stills, as long as it gets fully out of the way when I’m taking photographs (likewise, the still photography things should get out of the way when I’m recording video).
As someone who pioneered the “criticize Nikon” writing on the Internet (dates back to 1994), I try to be careful to make sure my criticisms are directed at real issues, real problems, and real needs that aren’t being addressed. It seems that we’re now in an era where it’s just a fun game to find reasons to criticize Nikon, yet not critically think through your arguments. The wierd thing is this: Nikon seems to be the primary company that gets targeted with such uncritical criticisms, while I see the other makers generally skating free of the same type of writing, despite making similar products.
I want Nikon to be “a better Nikon.” When I get around to publishing my review of the Z5IIC, you can expect that I won’t hold back my criticisms. But they will be carefully considered criticisms, not pre-biased assertions that have a Luddite base and little open-minded analysis.
The Z5IIC is what it is. It extends Nikon’s Z lineup. Not by a lot and perhaps not where you want the lineup extended. So get over it and move along. Dealers tell me there are indeed some customers lining up for the Z5IIC, it’s just not for you (or Fro or Burn). Should we deny Nikon those customers because your needs are something else? I don’t think so.
\rant off
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Advice
Buying SSDs and Cards
Over the past twelve months storage costs have basically doubled in price. Particularly for state of the art ones (e.g. UHS-II, CFExpress, USB-2 3.2 or Thunderbolt). I started warning about this in December 2025, and what I was predicting has basically come true.
So here we are in late 2026. What should you do? Basically this: wait for sales. What I see happening is that storage makers are managing inventory and incoming cash closely. If they start seeing overstock to demand or they need some additional cash, they’ll take a margin hit and put a product on sale briefly. This seems particularly true for the older-leading edge products, in other words, the first UHS-II or earlier CFExpress cards they were making, not so much the most recent additions to their lineup. That’s fine, as UHS-II and pretty much any CFExpress card is more than you need (exception: you’re recording 8K video or high quality raw video). Likewise, most people don’t need faster than 1050MB/s on an SSD, and every now and then I see one of these older devices pop up on sale.
If you want to be state of the art, beware: the price for a 4TB SSD with both fast write and transfer is now over US$1100 and still rising.
The good news is this: the rise in storage costs reduced demand. That old MBA-school price/demand curve seems to be working. That means that we’re not seeing “out of stock” on these products very often, we’re just seeing high prices.
I expect to see storage sales during the holidays. But it’s likely to follow the above: more on older inventory than new-to-dealer stock.
I’m in my bi-annual storage updating cycle here at Oficina byThom. Ouch. Oof. Who stole my wallet?
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Advice
macOS Golden Gate
A fair amount of software (and printer drivers) have not yet been updated for macOS Golden Gate, but the number one issue I’m seeing is that many of the compatibility problems being triggered are actually due to something else: Golden Gate doesn’t install Rosetta 2. So any app or driver that includes or relies upon Intel code is going to fail until you install Rosetta 2 manually. How do you do that? In Terminal (Applications/Utilities/Terminal) type:
softwareupdate --install-rosetta --agree-to-license
This simple command installs the necessary middle-man to deal with Intel code.
Just a warning though: Golden Gate will be the last major macOS version to include Rosetta. Thus, an app or driver that doesn’t update to all Apple Silicon code in the next twelve months is going to not work on the next major version of the macOS. Major macOS releases get announced in June of each year, and typically deliver final versions sometime in September or October, when they become the “current” macOS.
Note that macOS Golden Gate won’t run on an Intel-based Mac, only Apple Silicon ones. So if you’re still on an Intel-based Mac the clock has started ticking on how long you’ll get security updates for macOS Tahoe. That moment will likely expire in sometime in fall 2028. If you’re on macOS Sequoia, your expiration date is in fall 2027. If you’re on any earlier version, you’re no longer getting macOS security updates, which is becoming dangerous in these days of AI. If you’re holding out on updating your macOS, don’t. The current macOS Tahoe is very stable, as is Sequoia.
If you’re holding out because an older program you like or rely upon won’t run on the newer macOS versions, you really should think about virtualization. It’s a pain in the butt to set up (even using a commercial product, such as Parallels), however once done, you’ll find your application works fine (if it requires a driver that’s no longer updated, that’s a big problem there might not be an answer for, though). The M5 Mac I’m typing this on is running macOS Tahoe, but both macOS Monterey and Windows 11 in virtualization. Old program problem solved (hint: I moved the Monterey dock to the left and the Tahoe dock to the right (Windows is on bottom and more obvious) so that I have a reminder of which OS I’m working with.)
The Problem With Announcing Alone
All the feedback I’ve gotten from readers about recent camera launches, particularly Nikon’s Z5IIC one, made me realize that the camera makers haven’t figured something out yet.
Basically, it’s this: there have been so few new camera launches this year that each one stands out in isolation. All the various brand loyalists have nothing to do until their maker finally announces something, so they pile on to announcements of products that they have no interest in. What this produces is viral negativity.
Yet even when a brand does launch something for its brand loyalists, the problem persists, because the likelihood that the one product announced is for someone already using the brand is low to start with, and even lower if the new product enters below what they’re already using (e.g. Canon R8II, Nikon Z5IIC). A similar thing happens with products that are far outside the target range of the brand loyalist (e.g. Sony FX5).
The negativity that’s spreading across the Internet right now about new camera products is thus not just brand loyalist sniping, but also whining about “when are they going to announce something for me?” For those in the latter category, don’t worry, from what I know of product plans at multiple companies, many of you will get your update at some point in the not too distant future.
Two problems lie at the bottom of all the complaints I keep hearing: (1) so few releases spread out over a long period of time; and (2) the inability of any brand to actually market themselves as a brand. Specifically, as a brand that’s working to stay consistent and broaden their offerings and appeal. Moreover, there’s another issue that’s working against them, especially when they introduce lower-end models, and that’s (3) inflationary price creep.
You can see those last two things with Canon’s R8II and Nikon’s Z5IIC announcements. Both are trying to reinforce the bottom end of their full-frame lineup with models that get people into their system. Both are fighting price points that are getting too high for that effort. Imagine if the R8II was US$1399 (implying eventual discounts down close to US$1000) or the Z5IIC was US$1199 (implying the eventual return of the US$1000 entry full frame camera). The way the camera companies generally handle this is to discount the previous generation—the current R8 is US$1449, not the US$1899 of the coming camera—but parts supply issues are making that difficult to prolong. If you only have X number of parts, you’re going to want to put it in the higher priced, new product, not the product you’re discounting to provide a tantalizing price.
That’s #3. But #2 isn’t getting enough attention, either. The thing that struck me most about the Nikon Z5IIC is that they took virtually no Z9-generation feature out. Auto capture is missing, but that’s a hugely sophisticated feature—also not marketed well by Nikon—that few understand or use. But things like Pre-release capture, Pixel shift shooting, and Focus shift shooting are in this “beginner’s, casual camera.” Holy shutter release, Imageman, that means that everything I learn to do with a Z5IIC pretty much applies to every Nikon camera up through the Z9, should I ever need (1) a better body build, (2) an EVF, (3) more pixels, or (4) more performance. Where is that message in Nikon’s marketing? (Canon and Sony aren’t getting it right, either.)
But it’s #1 that’s causing the most issues. Every release is now coming in isolation. It’ll be the only new product the significant photographic community will have to talk about that week (maybe even that month). That means you’ll either go virally negative as everyone weighs in on “why this is the wrong product for me” or virally positive as everyone discovers “wow, I wasn’t expecting that.” Have we had a virally positive moment this year? I’m not so sure we have.
A Little More Gets Announced
LEDE ON
The lede seems to never change now: expect price increases and product shortages for the foreseeable future. Camera company executives are becoming fairly frank about that with dealers, and it’s only a matter of time before we see them have to say the same thing to customers. Meanwhile, multiple card and drive companies are telling me that they see no change in their ability to get more parts and a continued upward pressure on prices.
All of which is going to make for a messy holiday season. I was surprised when one dealer said that not being flooded with inventory this year might actually out better for them. Fewer sales at or near full price without hanging inventory or constant restocking is a side benefit, I guess.
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News
Canon R8 Mark II Arrives
Canon has updated their entry level, full frame, mirrorless camera, though perhaps more modestly than some expected after a three-and-a-half year run for the original. No, it’s not a legacy body design (unless you consider the original R8 legacy ;~). No, it doesn’t have more pixels. A lot of the rumors that popped up as the R8 aged out simply didn’t pan out.
What did show up is sensor-based stabilization (7.5 stops CIPA), a half-second of pre-capture at 20 fps, and an updated autofocus system, all in a more squared up body that now has a thumb stick on the back. Canon also joins Fujifilm, Nikon, and Panasonic in directly downloadable color profiles. Things that will probably get criticized are that Canon stuck with the smaller LP-E17 battery and a single card SD card slot (though the card is now more accessible with a side door). The body-only price is now US$1899.
Overall, Canon has done the same thing with the R8 as Nikon did with the Z5: bring it more in alignment with the rest of their lineup, and making sure that it has a full set of baseline features coupled with a few performance enhancements.
I’m sure the R8 will get a fair amount of press, as it’s only the four mirrorless camera to appear this year (R6V and A7RVI appeared in May, OMDS OM-Pen arrived this past week).
Meanwhile, Canon also showed that Japanese haven’t quite ceded the flash market to the Chinese yet by also introducing the US$380 Speedlite EL-5 (version 2). The new version is mostly a performance upgrade, which improves wireless distance. The trick? Version 2 requires a Canon multi-function hot shoe (the one with the extra pins at the front). The added communication this provides—currently beyond the reverse-engineering of the Chinese—allows for Canon’s Camera Connect app to communicate with the EL-5 (version 2), among other things.
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News
Sony Takes on Nikon
Sony added two lightweight telephoto lenses to their lineup, the 400mm f/4.5GM OSS (see above), and the 600mm f/6.3GM OSS, both of which fairly clearly target Nikon’s lenses with the same focal length and aperture.
These new lenses use dual XD linear motors for fast focusing, get the full array of function ring and buttons, have Nano AR coating, and come in a dust and moisture-resistant body. The 400mm f/4.5GM OSS weighs 35.1 ounces (994g) and only nicks US$2699 from your credit card, while the 600mm f/6.3GM OSS also tips the scales at 35.1 ounces (995g) and requires a one-time US$3699 tithe to Tokyo. Both lenses feature apertures that go to f/20, support continuous autofocus up to 120 fps, and have a built-in, rotating tripod collar. Both lenses focus down to 98 inches (8.2ft, or 2.5m).
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News
The X System Has a Baby
Fujifilm finally tied their two viral trends together—Instax and X-legacy design—into the Instax Pal 2, a compact compact camera that, at least in panda form (silver over black), looks like the progeny of a Fujifilm X100 mating with a Kodak Charmera. The baby is a bit chubby, but still cute:
The base is essentially a 10mp camera with a 28mm (equivalent) f/2.2 lens in something that seems to have a fair number of kitchen sink features added to it. For instance, there’s an offset optical viewfinder if you don’t want to frame using the look-down 1” LCD. On the front is a small mirror should you decide to create selfies and want to see how you’re framed. Up top is a simplified two dial, one lever, four button set of controls that allow you make your image style choices, one of which includes a 10-frame slow burst that’ll be made into a GIF. Also up front is a small, low-powered flash.
While the Instax Pal 2 has a microSD card slot, it’s really designed to slide out the male USB-C connector and plug into your smartphone for simple, direct, and convenient image transfer to Fujifilm’s app. You can also use Bluetooth, but I’m not sure why you’d opt for that complication. The wireless communication on the Instax Pal 2 is best used to communicate to an Instax printer, for that (near) Polaroid type experience.
From a design standpoint I’m impressed with what Fujifilm did here. First, that viral retro look the X series cameras have popularized is in full force here, and even though the controls are doing different things, they look retro. Second, the user experience seems to have been carefully considered, and fairly completely covered with the options that are built in. Third, we still get the direct-to-Instax printer capability, but now we get a very direct plug-into-smartphone capability, as well. This is going to be a popular camera with the young, and probably the party camera of all-time (think about the implications in weddings of passing a few of these around, having a printer available, and allowing people to grab off images to their phone pretty simply).
But more than anything else, this seems like the most complete Instax instantiation yet. Remember that GIF feature? Turns out you can have the printer put a QR on the print, which lets recipients of the print scan and get the full GIF experience. I’s dotted, T’s crossed. Well-done, Fujifilm.
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News
Panasonic 20mm f/2.5
Panasonic announced a new compact prime lens—what I call muffin size, though it’s a small muffin—in the L-mount. At 142g and only sticking out 1.6” (41cm) from the mount, this is a nice little wide-angle full frame option that surprisingly doesn’t exist in the RF, Z, or even FE mounts. Even the Chinese f/2.8 lenses I see at this focal length are bigger, so bravo, Panasonic, for finding a niche and building your nest there first.
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byThom News
Filmbodies is now locked and loaded
The new filmbodies.com site has been available for awhile, though there were still a lot of little odds and ends that needed to be dealt with behind the scenes. I’ve now taken the time to get (most of) that all cleaned up, and the site now should be very consistent in appearance and function across all its pages. I still have two other background tasks to do, but I should get to them soon. Meanwhile, I’m in progress of creating two new reviews for the site (and bringing two older ones back), all centered on scanning your film images. Obviously, Nikon isn’t creating any new film SLR bodies, so I’m trying to refocus on questions that site visitors have been asking me, and one of the big ones is “how do I scan my images?” The answer, my friends, is blowing in the office fan… As Pournelle used to write: Real Soon Now.
Cameras and Lenses Appear (or Not)
LEDE ON
The announce-arrive cycle appears to be getting longer. It used to be that new product announcements meant the product was already on its way to, if not already in the backrooms of, retail stores. In the late teens, that transitioned to be more announce, then ship within a month. With the Sony FX5, we’re now in the announce, then more than two months later it’ll show up era. Moreover, coupled with the fact that almost every new camera product of any note in the past five years has produced the notorious “demand is higher than expected” notice out of some sushi bar in Tokyo, I’d say that we’re fully in an era of Announce Disconnection. One has to wonder whether the industry is becoming so irrelevant that they have to send out smoke signals every once in awhile to remind folk gathered elsewhere that they’re still around. Nikon has managed three smoke signals so far this year. Pentax (see below) has taken up sending premature smoke signals.
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News
OMDS Announces New Entry Camera
OMDS designers finally picked up their pens and designed a new camera. The OM System PEN is something between the older E-P7 and the original Olympus Pen-F, though it enters towards the bottom of the lineup at US$1000 (US$1300 with two lens kit).
Many of the external attributes of the new camera appear to be a modernization of the E-P7 using the OM-5 II innards, though there are four significant changes: (1) the new body is weather sealed (IPX1 rating); (2) there’s now a rangefinder-style integrated 2.36m dot viewfinder; (3) the Rear LCD is now articulating instead of tilting; and (4) a new BLS-7 battery that produces 410 images (CIPA). At US$1000, the OM System PEN also bumps up in price from the E-P7 it appears to be replacing.
Inside we have a 20mp image sensor and TruePic IX (again, the OM-5 II versions). Stylistically, the new design does evoke some legacy look to it, particularly in the panda version of the camera. There’s a cleaner look to this camera than many previous OMs, and the slight bump grip on the right side is part of that. Personally, I don’t like the position of the ON/ViewMode switch, as that knob is in a place where it’s going to get accidentally triggered. I really don’t understand why the Japanese continue to make this type of design error, though it does keep the the controls all to the right and leaves the rest of the top plate clean.
The price places the OM System PEN well above the OM-D E-M10 Mark IV that’s still being sold, and well below the OM-3. My guess is that the E-M10 Mark IV has seen its last Mark. It never got the OM branding, and now it’s in a zone that would make it very difficult for a low-volume producer such as OMDS to make profits from.
It is interesting that this new camera also seems to indicate a shift in branding for the company. It’s not Olympus. It’s not OMDS the company, but cameras and lenses are now labeled as "OM System”. Some of this has to do with what trademarks OMDS inherited on the split from Olympus, but I’m surprised it took them this long to actually recognize the value in the OM portion and promote it to “system” status.
A couple of further thoughts…
First, I’m sure the PEN will sell quite well, particularly in Asia where the E-P models have done well. We’ll likely see a bump in OMDS unit volume again. But it essentially undercuts the OM-5 II, so I’d guess that we’re mostly going to see a shift of volume from one model to another, not a huge spike. The camera OMDS really needed is what I’ve been saying they should make for a decade now: a compact m4/3; Pen-styled, small, loaded with that computational tech provided by TruePic. That would have done more for their bottom line than the PEN we got.
I mention the OM-5II for a reason: it’s not much different in size (mostly the small viewfinder hump and bigger front grip), and uses the same technology. However, the OM-5II does sport some key differences: IPX53 rating, one-stop better IS, UHS-II support, 1/8000 mechanical shutter, and a slightly faster maximum frame rate. What it doesn’t have that the PEN has is the new battery, a new subject detection function, and a second Custom setting on the Mode dial. I’d rather have the OM-5II than the PEN, I think.
Second, the current omsystem.com Web site page for the PEN has a lot of images on it that feel crunchy or uncompelling to me. The redhead, for instance, has blown skin on one side of her face and overly pink skin on the other. Focus is on her teeth, not her eyes. It’s just not a portrait I’d be highlighting. But other images on that page seem dull or incorrect, as well, and skin tones are all over the place. Perhaps OMDS thinks they’ll illustrating Profile Control, but if that’s what the results are, why would I want it?
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News
A Week Full of Lenses
Besides Nikon’s Development Announcement of nine Z CINEMA lenses, one of which (50mm t/1.9) was on display at IBC (International Broadcasting Convention) this week, we also got a number of literal lens launches:
- OMDS introduced another new (third) version of the 14-42mm f/3.5-5.6 R kit lens with the PEN, now moving to the OM Syystem branding from the original Olympus one. In addition, the lens is now IPX1 rated, and can focus down to 5” (13cm), which gives it a maximum magnification just under 1:4.
- Sigma announced the much-leaked 85mm f/1.2 Art lens, as well as surprise 20-60mm f/2.8-4 Contemporary lens. Both lenses show up for the Sony E as well as the L-mount. The 85mm sells for a reasonable US$1600, and has all the features you’d expect from an upscale portrait lens. Up front you’ll need 82mm filters, though. The 20-60mm f/2.8-4 clocks in at US$850, and the MTF values show why it’s at that price and labeled Contemporary, as it fits more of a consumer than prosumer spec. It’s a reasonably compact lens
- Sony announced the FE-mount’s first fisheye zoom, the 8-14mm f/3.5G (US$1600). Very similar to the Nikon F-mount 8-15mm, this lens produces full frame circular fisheye effects at 8mm, and full frame 180° diagonal coverage at 14mm. Filters are done via a rear gel filter holder, as the front optic is a bit bulgy for filters. The most intriguing part of the press release was the photo that shows two Sony full frame box cameras mounted side-by-side, each with an 8-14mm out front. The implication here is for some sort of 3D virtual reality capture, though I don’t know how you’d get them exactly paired in terms of focus/focal length except perhaps at extreme ends of the focal range (and using the Zoom Lock buttons) and hoping the focus is close enough.
- TLS joined the “re-house NIKKOR AI/AI-S lens” crowd with nine lenses that use the original NIKKOR glass, but puts them in new precise and video-friendly casing (0.8 MOD rings, big bright lettering, along with an Arri or PL mount). So we get 15mm t/3.9, 20mm t/3, 24mm t/2.2, 28mm t/2.2, 35mm t/1.5, 50mm 5/1.3, 55mm 5/1.3, 58mm t/1.2, 85mm t/1.5, 105mm t/1.9, and 135mm t/2.1 options. You can have your own lens re-housed for £3950 or just buy a fully done set for US$50,000 should you not have a set of old NIKKORS laying around.
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News
Pentax Stops Making DSLRs to Make DSLRs?
In a 100% confusing official announcement, Pentax (Ricoh) announced that the current K-mount camera lineup is ending. To be replaced by a “new SLR concept” that will support the K-mount that will “take time” to develop. A lot of non-specifics in that statement.
The announcement has all kinds of head scratchers in it, some I’m sure intentional, some not. For instance, rather than using the term DSLR, they use the term digital SLR. I suspect that’s because what comes next is mirrorless, and the term they use is sloppy enough to include both DSLR and mirrorless. Then comes the confusion caused by “RICOH IMAGING will continue…” versus “next stage of PENTAX…” I sense a rebranding coming, perhaps similar to the OM System Pen, e.g. Ricoh Pentax or maybe even just Ricoh K.
The K-mount itself is confusing in the announcement. That the future cameras not yet designed “...will leverage the K-mount legacy...” is different than saying “we’ll continue to use the K-mount.” As for “allow more people to enjoy the process of photography itself,” in several places the press release alludes to “an entirely new concept,” whatever that might be. FWIW, most other sites are claiming that the press release says that Ricoh is developing new Pentax DSLRs. That’s not the way I read it. Indeed the headline is “PENTAX Digital SLR Cameras Aim for a New Stage.” The word usage is specifically vague enough that what appears next may not be what we’d call a DSLR.
As for the discontinuation of current Pentax DSLRs—or should I say DSLR, as only the K1- Mark II still seems to be available—no specific time was given for that, either: “we will discontinue…” doesn’t indicate that they have already done so, as some sites are reporting.
In essence, Ricoh/Pentax has basically said they’re going on a sabbatical to do some thinking and tinkering and try to reimagine themselves. Don’t bother to contact them, they’ll send you a postcard or two while they’re away.
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News
Apple Introduced Their New Cameras Phones
Seems everyone was ready to get back to work after the Labor Day holiday. Apple introduced the iPhone 18 Pro (and Pro Max) with one of the big features being an f/1.48 lens on the main camera (24/48mm) with a user-controllable aperture diaphragm (down to f/4), new “pro controls,” additional photo styles, true subject focus tracking, 4K timelapse, front-and-back simlutaneous capture, and, not really played up in their announcement stream: reference image, Apple’s authenticity capability (only on the main camera).
Actual focal lengths (not the computed ones) are 13mm, 24mm, 48mm, 100mm, and 200mm in full frame equivalent values, though only the 24/48mm lens is fast aperture, using a larger image sensor (2.44 micron quad-pixel versus 1.4 micron quad-pixel). Apple outlines this as .5x, 1x, 2x, 4x, and 8x zoom, keying off 24mm (effective) being the focal length that’s based upon. Note that only the main (24/48mm) camera has changed from the iPhone 17 in terms of sensor and lens, the rest remains the same as on the iPhone 17 Max. Surprisingly, both the 18 Pro and 18 Pro Max versions have the identical new camera module, which was not what was rumored. The primary differences between those two phone models comes only in screen size (6.3 or 6.9”) and battery capacity.
The new iPhone Duo, which is Apple’s new foldable smartphone, runs just main and ultra wide camera modules to provide 13-48mm (effective), or 2x in Apple’s rounding. One thing the Duo has that the 18 Pro models don’t is “Smart Take,” where the phone determines when to take snaps while you’re away from the camera posing. Think of it as Smarter Self-Time mode, where the image isn’t taken at a specific time interval, but rather when the phone’s analysis says that the scene in front of it has stabilized. The other camera difference in the Duo is that it features an under-display camera for FaceTime calls when using the larger, folded out display.
It’s of course difficult to assess exactly how much, if any, image quality may have improved with this generation of iPhone without actually getting one and putting it to a real test, which I intend to do.
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Explainer
What is LOFIC?
You may have seen that acronym appear recently in some articles about smartphones. Honor, Huawei, and Xiaomi have all introduced products with that technology in the image sensor, and Apple is rumored to be next (iPhone to be introduced in 2028). Current smartphones appear to be using Sony’s LYT-838 (50mp) or LYT-910 (200mp) sensors, but Apple’s own design may end up being produced by Samsung. Moreover, Apple’s design is a stacked image sensor that is said to incorporate image processing and noise reduction in the added layer.
The acronym stands for Lateral Overflow Integration Capacitor and is the long-awaited fill-the-photosite-and-then-fill-it-again technology some have been wanting for years. In essence, each photosite has two storage capacitors, a small one that keeps filling, and a larger one that collects what the smaller one keeps obtaining. Ironically, the overall full well capacity of a photosite goes up by using this approach, even though the initial storage well may be smaller (to make sure that it is fully used and gain can be kept low). The values of both capacitors need to be read, so you also need some sort of gain blending going on downstream.
Note that the real benefit being gained is typically more highlight detail. When you see reports of expanded dynamic range attributed to LOFIC, the noise floor is not really changing in the current chips. What is changing in the current implementations is the saturation point of the image sensor is being raised.
Currently, the only available LOFIC image sensors are all four adjacent pixels of the same color, though these are arrayed in a Bayer-type pattern. Moreover, these sensors cost more to produce and use more power than the simpler single-capacitor design. But the real potential here lies in getting HDR-like results without resorting to additional images, and the ability to handle high contrast scenes without blowing out the pixel data.
So this applies to large-sensor cameras, too, right? I’m not convinced of that, certainly not in the short term. Our large sensor cameras have very large full well capacities compared to the chips being used in smartphones. If you’ve tried HEIF in your camera and clicked on Adobe’s HDR button while viewing on a Retina display (HDR-capable), you may have been surprised to find that you already have a huge amount of highlight information that isn’t being used effectively in 8-bit JPEG images (between one and two stops, typically). Fundamentally, though, we still have the problem of fitting large capture dynamic range into displays/prints that are lowest common denominator. We still face the issue of where do we put any extra dynamic range and how do we display it, and the algorithms for doing that can produce results anywhere from crude (obvious) to decent (not obvious).
The real issue behind extended dynamic range is this: are you displaying your photos in ways that will use it? All of Apple’s current devices and displays can show more dynamic range than a JPEG can really show. Your 4K television probably can, too, as almost all recent ones are HDR-capable.
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Commentary
Right Thumb On/Off
I’m suddenly seeing cameras that are turned on by something on the back right-top deck of the camera. The OM System PEN (above) is one of those, but more have and will appear. I get the design impulse: the user brings the camera up to their face and it’s off, the right thumb is in a position to quickly trigger it on. But it’s also in a position to quickly trigger it off accidentally.
Sure, at least one of those that I’ve used has a very stiff switch that’s not easy to move, but that switch will get used a lot, and generally the level of switches Tokyo has been using get less stiff with use.
There’s no perfect place to put on/off. On the Nikon’s its done with a ring around the shutter release, and I have on rare occasions managed to trigger that off when I didn’t want to. On many smaller cameras it’s instead a small power button near the shutter release, and often not recessed enough or distinguishable enough from other buttons; at least on the Nikon ZR the button is way over on the side of the top plate where I’m not interacting with anything.
The fact that Tokyo keeps experimenting with new controls and locations for on/off indicates that they know that we users have sometimes accidentally triggered a camera off just when we wanted to take a picture, or stuffing the camera in the bag turns the camera on and uses battery while we’re not using it. It’s a really tough design issue, as I’m not sure we’ve yet seen the “perfect” approach. But this does speak to those that keep switching cameras and brands: you’re not likely to build an on/off skill that becomes second nature, which means some day you’ll miss a photo or exhaust a battery or have settings changed accidentally because the camera was on when it was being roughly handled.