Show Notes

Greetings everybody you’re listening to the Liam Photography Podcast, I’m your host Liam Douglas and this is Episode 410 for Thursday July 4th, 2024. To start off today’s episode I wanted to wish all my American listeners a Happy Independence Day and I hope you enjoy some good food, don’t over drink and watch some fireworks! For our Fourth of July we are having a nice brisket with potato salad and some fresh sweet corn on the cob. One of our teenage grandsons, Sean has been down for two weeks helping us with some work around the home, painting our front deck and trim on the house as well as painting our gazebo in the front yard and it has been a HUGE help having him here!

New Pixii Camera

French camera startup Pixii today announced the Pixii Max, a new 24.5-megapixel full-frame digital rangefinder camera that promises to be a “seamless upgrade” for current Pixii owners.

The company’s first full-frame digital rangefinder, the Pixii Max boasts a modern 64-bit platform, native monochrome option, and a true rangefinder optical viewfinder that pairs with Leica M-mount lenses.

Pixii claims the new 24.5-megapixel full-frame sensor delivers “outstanding” image quality with “exceptional” dynamic range that surpasses the company’s previous cameras.

“Photographers will appreciate the familiar feel of the 24×36 sensor paired with their rangefinder lenses of choice,” Pixii says.

The optical viewfinder (OVF) features high-index optical glass and fully multi-coasted anti-reflective surfaces to provide photographers what Pixii describes as unmatched clarity and a wider field of view. The new design features frame lines for 35mm lenses while offering an even wideer field of view up to 28mm. While not noted in the company’s press release, as a true rangefinder, it is expected that optics are coupled to the OVF, and Pixii’s rangefinders have previously featured the “align to focus” style expected of true rangefinders.

On that note, the Max features real-time controls and indicators inside the OVF and indicators on the right side that allow for an immersive photographic experience.

As mentioned, Pixii Max’s operating system is built on a modern 64-bit platform that the company says provides exceptional performance as well as connectivity and seamless over-the-air software upgrades.

The camera also features what Pixii calls “native monochrome.” Pixii says its exclusive feature can capture true black and white digital negatives with a bayer sensor, allowing it to create native monochrome files.

“Pixii Max isn’t just a new camera; it’s also another new upgrade path for existing Pixii camera owners. It packs all the power of Pixii Max into the existing compact form factor, with even a slight reduction in overall depth. The new upgrade confirms Pixii’s commitment to preserving the investment made by photographers in their cameras,” Pixii says.

The company intends to continue to produce its APS-C rangefinder Pixii camera and says that going forward, it will be supporting both formats equally to appeal to photographers with different needs.

The Pixii Max is available in black or “space gray” in two options: 32GB of internal storage or 128GB for 3,999 and 4,249 euros, respectively. US pricing was not announced. Pre-orders for the camera will open on July 5 and an expected delivery date was not provided at this time.

A Tamron 50-200mm F/2.8?

According to patent documents filed in Japan, Tamron is working on a fast lens with a huge zoom range. The proposed 50-200mm f/2.8 would be the first of its kind, offering a massive range with no cost to light gathering capability pro-level 70-200mm lenses provide.

As spotted by Asobinet after being published on Japan’s patent platform, the new lens has been in development since at least 2022, when Tamron applied for the patent. It was only granted this week.

The company says that with the growth of the mirrorless camera market, there is a high demand for a zoom lens that has a large range, does not lose its light gathering capability through that range, and that doesn’t greatly change in its weight distribution and length throughout that range. Tamron also plans to include a host of corrective optics inside the arrangement, providing photographers with few visual aberrations.

The result is a lens that would theoretically perform as well as modern 70-200mm f/2.8 lenses but provide a wider field of view, too.

It’s also important to point out that Tamron intends to have the lens extend only slightly in that massive range, as the diagram of the optical formula above shows, without compromising optical performance at any point. Tamron has done a fabulous job with its modern zoom lenses, but this would be an achievement above and beyond what it has already managed to accomplish. What Tamron is proposing here won’t likely be “small” thanks to the hefty amount of glass it contains, but it is certainly more compact than many might think.

It’s difficult to look at the forumla above and contextualize it, so below are a couple of Tamron’s current lenses that have large zoom ranges but, notably, less complicated optical designs. What should be clear from comparing them is that what Tamron is going for here is not easy.

The closest modern comparison to Tamron’s proposed design is another Tamron lens, the 35-150mm f/2-2.8. That’s already considered a fantastic optic but Tamron seems poised to take modern designs one step further — as shown above, the new patent shows an even more complicated optical structure than the 70-180mm f/2.8 or the 50-300mm f/4.5-6.3, both of which feature at least 19 internal elements.

While the zoom range isn’t as impressive, Canon’s recent 24-105mm f/2.8 is also quite impressive, and it — along with this new Tamron design patent — shows that companies are able to make impressive zoom lenses that are simultaneously far faster and much lighter than they could in the DSLR era — just look at the gargantuan Sigma 200-500mm f/2.8. Ditching the mirror has opened the door to some of the most expansive optics photographers have ever seen, and companies — like Tamron — aren’t done pushing the envelope.

Does Fujifilm Produce Too Few Cameras on Purpose?

In early May, Fujifilm released its latest financial results, which PetaPixel covered at the time. However, while an addendum Q&A segment didn’t warrant focus then, it has gotten considerable attention online in the last few days.

Late last week, Fuji Rumors brought a section of Fujifilm’s financial presentation from May 9, 2024, back into the light.

Before discussing the resulting characterizations of Fujifilm’s financial document, it is worth considering precisely what the company published.

Mr. Shimamoto of Okasan Securities asked the following: “I have another question about the Imaging [business]. Although your company performed well from January to March, there were some companies, such as Canon, whose performance was difficult due to inventory adjustments. In your camera business, is there any change in the inventory adjustment and market for digital cameras and Instax, respectively, this year? I think you have a reasonably strong plan. Can you tell us about your current situation?”

In response, Teiichi Goto, President and CEO, and Representative Director of Fujifilm Holdings, affirmed that Fujifilm’s FY2023 performance was good and touched on the company’s approach to inventory.

“The most important point is how much brand strength to create and how to maintain it. Therefore, it would be quite unfortunate to manufacture too much and lower the price. What Fujifilm has been trying to do for a long time is finally coming true now,” Goto says in a document translated by Fujifilm itself.

“One is a camera with features. The GFX series, for example, is equipped with the world’s largest CMOS and has earned tremendous trust from professional users and advanced amateurs. The price is quite high, but customers are still waiting for back orders. The lenses accompanying them are also selling well,” Goto continues.

As a minor digression, the GFX series doesn’t feature the world’s largest CMOS image sensor.

“We intend to drive the entire imaging business, including Instax, while concentrating on building brand strength and not reducing the value of the properties purchased by our customers,” Goto adds.

“For example, as I say internally, Leica, a well-known German manufacturer, still maintains a very high value for both their old cameras and the cameras they sell now, and this is our goal. Our goal with mirrorless cameras is to fundamentally change the way Fujifilm has sold cameras in the past.”

Shimamoto then asks Goto to confirm that the “inventory situation” is “normal?”

“Yes,” Goto confirms, thus ending the Fujifilm Holdings financial results briefing.

There’s quite a bit to unpack there, and some have concluded, arguably incorrectly, that product shortages are reflective of a marketing ploy.

Using the recent Fujifilm X100VI as an example, it has been difficult to purchase at MSRP since it launched a few months ago. In March, Fujifilm said it would take “months” to fulfill the existing orders, and there is no light at the end of the tunnel yet. The camera remains back ordered at retailers in the United States and elsewhere, with B&H not even letting customers order on the product page, which is unusual.

The shortage of X100VI’s is as easily attributed to production challenges as it is to intention, though. While having excess supply is bad from a financial perspective, so too is not being able to meet existing demand. In an ideal world, Fujifilm would produce precisely as many cameras as the market demands at any given time.

“We are so pleased with the positive reception of X100VI and continue to work hard to ensure that every customer who orders an X100VI gets one. We appreciate our community’s support and patience as we accelerate our production to meet demand,” Fujifilm tells PetaPixel over email.

“Having adequate inventory to sell is part and parcel to our success, and we are committed to meeting the needs of the market,” Fujifilm continues in its statement. “We do not hold excess inventory of these products at this time — they are being made and immediately shipped as quickly as possible.”

The company’s inability to meet demand for some of its most popular cameras, including the X100VI, is not due to a lack of trying. Fujifilm previously confirmed to PetaPixel that it’s making 15,000 units a month, which is a considerable production rate. The company thought the X100VI would be about twice as popular as its predecessor and planned accordingly. However, demand went above and beyond this ambitious target.

Any suggestions that Fujifilm is either happy to not have enough cameras to sell to meet customer demand or that a production shortfall is actually by design are inaccurate, per Fujifilm.

“Regarding X100VI, building off the wildly popular success of its predecessor, X100V, we significantly increased production forecasts and capabilities to accelerate production to meet the anticipated demand. However, even with our advanced production planning and increased capacity, there remains a waiting list for orders. While it will take some time to accelerate production to meet this increased demand, we are committed to delivering all orders to all customers,” Fujifilm tells PetaPixel. “We appreciate our community’s support and patience regarding this matter.”

When asked if Fujifilm considers backorders or insufficient supply as part of its broader marketing strategy, the company replies, “No. Our marketing strategy is to showcase the innovation behind our lineup of digital cameras and lenses to provide creators with a variety of options so they can choose the right tools for their craft.”

As for Goto’s reference to Leica and how that relates to a fundamental change in how Fujifilm sells mirrorless cameras, Fujifilm says its “goal is to create products that have long-term intrinsic value to our users. It’s important for us to create products that last for years, so that they can continue to add value to the lives of the individuals that are using them.”

The objective is not to build prestige through scarcity but to do so through making products that photographers love.

“We are truly grateful and honored that Fujifilm has become the brand of choice for many content creators. We appreciate our community’s support and patience as we accelerate our production to meet demand,” Fujifilm concludes.

Understandably, people are frustrated that they cannot always purchase the Fujifilm cameras and lenses they want from authorized retailers at MSRP. This is a genuine problem that has become common across multiple manufacturers. But rest assured, Fujifilm isn’t maliciously constraining its production capabilities or supply — it just simply cannot make enough products to meet current demand.

Photographer Captures the Suffering Endured by Professional Cyclists

Road cycling is a brutal sport where the physical demands are relentless. Athletes must endure harsh weather, reckless fans, all the while the risk of a massive accident constantly lurks.

For photographer Kristof Ramon, who has been covering cycling for 15 years, he looks for photographic ways to convey the hardships that these men and women put themselves through. He tells PetaPixel that, over time, he became more interested in their journey rather than their victories.

“Covering their suffering became a theme for me” Ramon explains. “And that manifested in many forms. I started to focus on it more and more.”

When the race is live, Ramon is focused on capturing moody action shots of the main contenders. But when the event is finished, he can switch to reportage mode.

“Following riders into their team buses, hotels, or on training rides,” he says. “This approach sparked my fascination with their dedication as they sacrifice so much to become the best endurance athletes.

“I understood quickly that a picture of a post-race-face sometimes shows more of the hardship the riders endure than an action shot from the race.”

Ramon works as an independent photographer and is therefore free of some of the constraints that news agency photographers have when covering cycling. This has resulted in a new book titled The Art of Suffering.

“I have the freedom to shoot what fascinates me. With a (TV) career to fall back on, I didn’t need to compromise and was able to step away from more traditional sports coverage,” he says.

Cycling races can be anything from 100 miles (160 kilometers) long to 200 miles (320 kilometers) long while taking around four to seven hours. Ramon prefers shooting on the roadside where he has more control over the framing of his shot but sitting on the back of a motorbike allows for far greater mobility.

“The motorbike allows me to overtake riders, find shortcuts, and dodge crowds,” Ramon explains. “It’s a bit surreal that as a photographer I am actually working in the race at times, alongside the riders and while overtaking the peloton. I can’t think of any other sport where that’s the case.”

Roman says the back of a motorbike can make it very difficult to capture photos of the riders because of extreme conditions. However, those can often be the most striking shots; he describes the scenario as a “double-edged sword.”

In competitive cycling, there are three Grand Tours with the most famous being the Tour de France which is run over three weeks. For those races, Ramon will use his car to get around the 21 stages.

“It’s less immersive than on the motorbike, but with the 21 stages, you usually get enough material to work with. Plus, I wouldn’t last for three weeks on the back of a moto.”

The incredible access that Ramon gets to the cyclists is one of the main draws for him and also part of the reason why he won’t be attending the Olympics that starts later this month in Paris.

“In some races like the World Championships or the Olympics, media motorbikes aren’t allowed or are heavily restricted,” he says.

“This makes it a lot harder to get around and we are much more restricted about where and when we can cover the race. It’s also one of the main reasons I’m skipping the Olympics; the access to the riders and races is simply too frustrating.”

Ramon’s The Art of Suffering is out now and can be purchased here. More of Ramon’s work can be found on his Instagram.

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Also be sure to join the Liam Photography Podcast Facebook Group https://www.facebook.com/groups/liamphotographypodcast/ You can reach the show by call or text @ 470-294-8191 to leave a comment or request a topic or guest for the show. Additionally you can email the show @ liam@liamphotographypodcast.com and find the show notes at http://www.liamphotographypodcast.com.

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