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25 years of DPReview: The rise and fall of the compact camera

DPReview is 25 and and goes down the memory lane with The rise and fall of the compact camera.

Apple introduced the iPhone in 2007, and, along with some help from Samsung and other manufacturers, it would change photography forever. However, iPhone sales didn’t really take off until around 2012, and, what do you know, that’s when the compact camera crash began.

The author isn’t enthusiastic on point and shoot cameras making a comeback. Charts show the very steep decline in the number of models released and the steep rise (and mostly plateau-ed) number of smartphones sold.

As I previously linked manufacturers were unprepared for the point and shoot camera revival when some demand for advanced compact camera came following some influencers, and it might be that we’ll only get these more costly compact camera. The Fujifilm X100VI is basically unobtainium and the already few years old Canon G7X MkIII is even worse. The Ricoh GR III availability is trending that way too, while Leica has the D-Lux 8, a rebadged Panasonic that cost as much as the Fujifilm. As for Sony, it seems that their focus seems to be on the ZV series that are geared towards video, this being stripped down version of the RX100 that hasn’t an update for a while. The only not too pricey segment that seems to exist is the rugged cameras, combination of tough and underwater resistance for which both Ricoh and Olympus have updated model.

Link: Manufacturers Were Unprepared for the Point And Shoot Camera Revival

Petapixel, back in August: Manufacturers Were Unprepared for the Point And Shoot Camera Revival

As a result, 2019 saw the last major point-and-shoot releases from Canon, Nikon, and Panasonic. While Sony’s latest photography-first point-and-shoot, the RX100 VII, also released in 2019, newer pocket-sized models like the ZV-1 II and ZV-1F have shifted towards focusing on vlogging and content creation.

I have been complaining about the lack of availability of both the Fujifilm X100VI that is literally unobtainium and something to replace my defective G7X MkII (Canon is out of stock everywhere and whoever answers the Canon forums gaslight readers by telling them to check their retailers, while they can’t even replace camera they refuse to repair).

I really don’t enjoy smart phone as camera. In the beginning it was the quality, then at one point it ended being good enough, and I enjoyed it for a bit. But I’m over this. Don’t get me wrong the best camera is the one I have with me, and likely I have a phone, but that doesn’t mean I enjoy using it or that it inspires me. Also now with “computational photography” they add plenty of software to make them look better, sometime just turning the photo to goop like I have seen on some cheap Android smartphones.

We’ll see what the future brings.

The future of the elusive 65:24 format

Jonas Dyhr Rask talks about The future of the elusive 65:24 format.

65x24mm is the panoramic format of the Fujifilm TX-1 / Hasselblad X-Pan film camera. It is a very wide aspect ratio which can be made to work to stunning results.

But can we do that with a modern digital camera?

Also A look at/through the X-Pan which show us genuine shots with the TX-1 / X-Pan.

Here is an attempt with a casual shot with my Ricoh GR Digital II. The ground and the sky are cropped out to letterbox the 65:24 aspect ratio in post from the DNG file (Darktable has the aspect ratio in its presets).

A wide shot of a commercial parking lot. To left is an A&W, to the right a thrift store. The wide format crop is meant to illustrate the 65:24 aspect ratio.
Parking Lot, Montréal – Shot with a Ricoh Digital GR II, cropped

Previously: Fujifilm TX-1 long term review, Hasselblad X-Pan

Link: Pakon F235

Dante Stella tell us about the Kodak / Pakon F235 Plus high-speed film scanner:

First, it is designed for speed. An F235 Plus, for example, will do 800 frames an hour at 3000×2000 resolution (yes, that’s 33 rolls per hour, or a roll or 24 frames about every two minutes). With Digital ICE turned on, it still does 400 frames an hour.

Color correction. Kodak basically owns the world of color correction, and this machine nails the colors 99.5% of the time.

In sum, this is an exiting piece of equipment made accessible, sadly, by the collapse of commercial film processing.

I mentioned this previously as an alternative to the Frontier. Fujifilm vs Kodak. It’s sad nobody produce these and that the know how has disappeared, but then would they exist new at $2000 a piece? The used refurbished market from these seems to be the way to buy what cost much more initially.

The 2017 followup article: The Kodak/Pakon F235 Plus, revisited.

Previously: The magic of Fuji Frontier SP-3000

Link: Fujifilm TX-1 long term review

Gale Lee wrote a Fujifilm TX-1 long term review for Casual Photophile.

The Fujifilm TX-1 (also known as the Hasselblad XPan) is a camera defined by a single design directive: take true panoramic images using 35mm film without wasting a millimeter of material, and everything about it— from its design to its physical engineering— flows from that goal.

and

The Fujifilm TX-1 (also known as the Hasselblad XPan) is a camera defined by a single design directive: take true panoramic images using 35mm film without wasting a millimeter of material, and everything about it— from its design to its physical engineering— flows from that goal.

Last year, I linked about the Hasselblad X-Pan which is the rebadged version of the Fujifilm, and talked about rangefinders. The Fujifilm TX-1 remains on top of my list of camera to try, this is why each time somebody write about it I wished I had one.

And what Gale tells us is that this camera is a tool a tool that may work for you, but maybe not. What make the TX-1 is the 1:2.70 aspect ratio and the fact that this is camera that you can shoot hand held, like street photography, but not only. It can be challenging to use but, once you are able to control, the results are… wow.

Back in the early 2000s I considered getting one, but its price, and the fact that the 24x65mm frame would be difficult (read expensive) to scan, I sort of chickened out. I’m pretty sure it’s more expensive now than it was back then.

This made me think on what kind of specs would I need to have similar quality panoramic format camera, but digital. Cropping is easy but in that aspect ratio the loss of pixels is significant. And then there is framing, I don’t know which camera allow setting a custom aspect ratio; back when I used an Olympus E-P1, I shot a lot in 16:9 aspect ratio. This scale down on the 12 megapixel.

News: Kodak photo businesses sold to private equity

DPReview: Kodak photo businesses sold to private equity

Well….

This is not good news. Private equity are the corporate looters. And this one is the one that removed “Co-op” from “Mountain Equipment Co-op”…

I don’t expect Kodak film product to be developing. Maybe it’s time to stock up. And when some Fujifilm are suspected to just be Kodak, I wonder about the broader impact.

Link: When Fred Herzog Saw in Black and White

The Tyee reminds us of When Fred Herzog Saw in Black and White.

Celebrated as a master of colour, the Vancouver photographer had a different side, now on display.

New a new book show the work he was less known for: black and white. Work published posthumously as Fred Herzog passed away in 2019. This last article shows you a good sample of his colour work, and also relate of the difficulty of shooting in colour.

I discovered Fred Herzog through one of his books at a barber shop in Vancouver when I lived there. What fascinated me was the colour photography of Vancouver, from a time where black & white was the dominant form of photography, mostly due to technology and cost. Pictures of an ever changing city, where heavy transformations make large parts of a city disappear, to be replaced. It showed us the city as it was, and the colour offered us a more realistic feel.

It inspired me.