This year's Photokina international photographic show, held every other year in Cologne Germany during the fall, was like no other. Thanks to the internet, information on virtually every important new camera, lens and software had been pre-announced to the media but embargoed until Photokina opening day. Then the floodgates opened on all internet-only sites plus photo magazine internet sites so there was little additionally new for writers and editors attending Photokina to report.
Largely relieved of the onerous duty of scribbling equipment specifications on site, attendees had the opportunity of talking to the engineers, technicians and executives of the manufacturers to find out what was happening in the photo, (excuse me), imaging industry.
They finally did it but you can't buy it. "What" is the smallest (5 1/8 x 3 1/16 x 2 1/8 inches), lightest (13.2 ounces) digital DSLR that Olympus promised as a possibility at the very inception of the 4/3 system in 2003. "Why you can't buy it" is because it (the 10 megapixel Olympus E-400) is for sale in Europe only. No official explanation was given for its European sales exclusivity.
I suspect like many new camera models, E-400 production couldn't provide adequate quantities for distribution worldwide at initial introduction. Photokina being primarily a German photo dealer show, it would be sensible to make Olympus 4/3 hay while the German industry sun was shining, as it were.
It's the first DSLR I would call "cute." In England, the E-400 with a new tiny 14-42mm f/3.5-5.6 Zuiko lens (35mm equivalent 28-84mm) is selling for about $1100. When will it get here? I suspect following the Photo Marketing Association convention in Las Vegas, March 8-11.
Not too surprisingly, DSLR cameras are dividing primarily into two camps, amateur and professionals. Amateur SLRs will be further simplified with more and more software image manipulation built into some camera brands themselves, bypassing the need for such in the printer and computer. Low end DSLR prices will continue to plunge, bottoming out at just about the equivalent of 35mm SLR counterparts. Pro cameras will probably remain just about where they are.
More camera designers were interested in providing Olympus style live color previews on DSLR LCD screens prior to exposure, but thought they could create simpler optical systems with brighter and greater magnification viewfinder images. However, besides stressing live view technical advantages, some camera engineers think color preview screens might make it easier for digital point-and-shooters accustomed to live LCD to switch to DSLRs.
With Sony Super SteadyShot image stabilization and Pentax Shake Reduction digital SLRs starting to chew an increasing hole in Canon-Nikon DSLR dominance, independent lens makers are being given increasing optical headaches. As you may have noted, when any independent lens maker--Tamron, Tokina or Sigma--introduces a new lens, the lens is first available in Canon-Nikon mount. In old Konica-Minolta and Pentax days, independents would wait to see whether there would be sufficient sales of these SLR camera brands to make lenses for these cameras financially practical. Sometimes it was yes; others no. Now it's yes, yes.
But it's no secret that sooner rather than later, the independents will have many major lenses available with image stabilization, call it what what they may. What about Pentax and Sony DSLRs? They will need specially computed optics without image stabilization. Watch with fascination as Canon-Nikon lens stabilized systems battle Pentax-Sony body stabilized systems as to which provides the most stabilization. It will be fought out in f/stops and and shutter speeds saved--anything from the equivalent of 2 to 4 ½ stops, depending on the system, focal length of the lens and your own ability to hold the camera steady. Next probably on the DSLR technical improvement agenda: subject movement blur reduction.
Success of Canon's EOS-1 Ds Mark II full frame DSLR has turned both Nikon and Pentax from "we're always examining all possibilities" statements to a more positive " we're looking into it" mindset. One reason…
…The need for medium format digital SLR is not yet settled. Could a full frame 24 x 36mm sensor do it or is the Mamiya ZD's 36x 48mm needed? Or would photographers go for an interchangeable 36 x 48mm Leaf Aptus back in a Sinar AF modular camera with interchangeable backs? What about the 37 x 49mm Hasselblad H3D with 39 megapixels? Who'll make the decision? Pro photographers. Meanwhile…
…Pentax is still hesitating about producing their previously announced medium format DSLR. The Pentax 645 film SLR would not be too difficult to rework into a digital SLR, but Pentax is still wondering whether the market needs it. The moderately priced Mamiya ZD is undergoing rigorous testing of camera and software in the US prior to being put on sale. The luxurious, far more expensive Hasselblad H3D has been developed around a brand new digital camera engine but there will be upgrade kits for the H1D nd H2D.
In the film camera department, Cosina's spring 2007 plans for the Bessa rangefinder line call for two new wide-angle models with projected frames for 21/35mm, 28mm and 25/50mm lenses. The Bessa R3A has an electronic shutter and auto exposure while the R3M will be a manual camera. Both are near identical to the Bessa R2A introduced at Photokina in 2004 which had viewfinder frames for wide, normal and short tele lenses.
Cosina is planning a special new Bessa to mark the 10th anniversary of the modern Bessa line in 2009, features yet to be decided upon.
Carl Zeiss will be adding new single focal length manual focus lenses for Canon and Nikon 35mm SLRs and DSLRs, autofocus lenses for Sony Alpha DSLRs, manual classic lenses with Prontor shutters for the Hasselblad 6x6 503CWD and earlier SLRs.
We may have to wait until after PMA or even until the next Photokina for the big electronic manufacturers to get their acts together to venture forth boldly where no SLR or DSLR has so far gone and really produce DSLRs that are more their own creation.
The Sony Alpha 100 is indeed a clever reengineering of the Konica Minolta 5D but a top of the line Alpha pro based on the Konica Minolta 7D plus more Sony input might yield something sensational to give the pro Canon-Nikon pro cameras some competition. Will Panasonic's Lumix camera brand part company with the Olympus E-Volt camera body and do its own thing? Will Samsung cease rebadging the Pentax D and its lenses or will we have Samsung Pentax DSLRs? And when shall we see the promised pro Pentax DSLR? Ah, the best may yet to come.
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