My name is Anthony Maddaloni and I’m going
to talk about how to compare digital cameras. One of the main factors in comparing or looking
at a digital camera is how many megapixels is this digital camera compared to another
digital camera. Now I have a pretty, I have an interesting take on the megapixel situation
with cameras. Its really what you want to do with your camera. Megapixels, I mean a
lot of megapixels, most cameras right now that are on the market that are let’s say
mid-level are between 8 maybe all the way up to 16. But I don’t know, I mean I always
think what would someone who’s really just into photography need with 16 or 24 megapixels?
That’s a lot. That’s almost enough to make a poster, a wall sized poster. Its sort of
overkill to me. So when I’m looking at cameras for some of my students, I like to look at
how easy a camera is to use. How does the camera feel in your hand? That’s one thing
that you want to compare with digital cameras. Does this camera just feel heavier? Maybe
heavier is good sometimes, it feels like the processor in the camera is really working
as compared to other cameras where it feels almost like a toy, but maybe you like that,
maybe its a lighter camera. You want to look at the screen on the back. Some of the newer
video cameras, excuse me, some of the newer digital cameras have a nice big screen on
the back. I like that personally. Some of them have what’s called live view where you
can look constantly through the camera and take a still image. Some people really like
that. I don’t, I find it distracting but some of colleagues love it. And in some instances
I can see how it is really handy. So these are all these things you want to look at.
Can I use my older lenses with my SLR camera? My film camera on my digital camera? Some
of the newer models of Canon and Nikon, you can and I think that’s pretty cool. You’re
going to save some money there. That’s an interesting, a pretty interesting factor for
me when I’m buying a digital camera. Its kind of, it is, its very time consuming when you’re
looking at all this stuff, its somewhat confusing. So those are some of the tips that I can give
to people on how to compare digital cameras.
So to put this in perspective for you, a lot
of the cameras out there are touting this has 12.5 megapixels but it’s $500 dollars.
Where this was a $200 dollar camera which I’m really impressed that it already has 7.1.
So to put this in perspective 2 megapixel camera can actually print a really decent
4×6 image. So if all you are ever going to print is a 4×6 image you don’t need to buy
anything more than a 2 megapixel camera. Now 3 megapixels you can make a pretty good 5×7,
6 to 8 megapixels will get you very good 8×10’s or if you really want to go all the way up
to 16×22 then you are going to need a 24 megapixel camera and that is definitely professional
level, none of the point and shoots have 24 megapixels yet. So the other reason that you
need to have high resolution is sometimes when you take that picture you’re going to
want to do some cropping, so maybe your subject isn’t in the right place or you want to really
just get into their head and their shoulders, so if you buy a camera like for instance this
one is 7.1 so I can easily do an 8×10 which means I could very easily crop out a very
small part of that picture and do a very good 4×6. So just keep that in mind when you’re
out there shopping, that more megapixels doesn’t necessarily mean better for you.
Right now you are
looking at the new Nikon. This is the Coolpix S630. Now, this is the top of the line
digital camera in the new S series, and it has so many features.
Starting off with a 12 Megapixel camera. You have a 7x optical zoom,
with a NIKKOR glass lens, so you can shoot with
a wide angle at 37mm, or also a 260 super telephoto lens
as well. You have the EXPEED processor,
which is their new processor. So you’re going to get super
and incredible quality images. You’re going to get a faster response,
and really natural looking pictures. You have four-way vibration reduction
image stabilization, I know it sounds like a long phrase,
but we’re going to break that down for you when we take a closer look at the camera. You also have a 2.7 inch
high resolution LCD screen. You have scene auto selector. You have sports continuous mode,
that’s a new mode on this camera, face detection,
up to 12 faces. You have red-eye fix
already built into the camera. Smile mode.
You also have this new thing called blink proof mode,
which we’ll show you later, you have D-lighting, which is going
to improve the brightness in dark images. 44 MB of internal memory,
but also you have SD and SDHC capabilities, so you can have all the
pictures you need. 18 scene modes,
including panorama mode, you also got movie mode on here,
and that’s at resolution 640 X 480, or if you want a smaller movie
you also have 320 X 240. And, last but definitely not least,
you have a rechargeable battery, so don’t have to worry about
getting those AAs in here. Okay, so let’s take a closer look
around the camera. Again, you have your
NIKKOR glass lens, you have a 7x optical zoom,
which we’re going to show you now, put this power back on,
we were in standby mode, okay, so we’re going
to go tight, it’s a nice looking zoom. Really really great
if your shooting objects far away. Okay, so you have your power
on and off button right here. Again your wide and your tight
for your zoom up here. Turn it around, you have a
nice little spot, right here, it’s a groove for your thumb,
so you can really hold this camera, get a firm grip on it easily.
You have a play back button. Your mode selection button.
Now you have your selector wheel right here. It actually spins.
And you have a dedicated flash button here. Or, dedicated timer,
here’s your flash, and down below is your macro mode.
You also have your trash/delete button, and your menu button.
Turning over to the side, right here, open you up,
and hidden in this port can you see it?
There we go. There is your USB port
to plug into your PC. And, underneath you’ll see
you have your tri-pod holder, right here, and open this slot up
for your rechargeable battery, and this is where your
SD or SDHC card goes. Okay? So there you have it.
So there’s your little tour. Now, I’m sure your wondering,
how do I get to all these features? Show me around the camera. And that is exactly what
I’m going to do right now. Okay, so I’m going to turn it over
so you can see what’s going on. And, we’ll go and I’ll show you
all the different shooting modes, and you can get to your shooting modes
by clicking this green button right here. So you have auto mode.
So auto mode the camera is going to do a lot of the work for you.
You don’t have to worry about setting, you know, different exposures,
or anything like that. So if you use your wheel
you can go down. Now this is scene auto selector. Okay?
Scene auto selector, right here, with the heart above it,
and the camera is going to change the settings automatically
according to the scene. Now, you can also set the scene yourself.
You have 18 different scene modes; portrait, landscape,
fireworks, cuisine, and you can see them all as
we scroll through right now. And, if you get to this shape right here,
this is the panorama assist, if you want a 360 view, what it
does is takes a bunch of different shots, and it pastes them together so
you have this full, you know, landscape view of wherever you are. It’s definitely a panorama.
You know. Remember we had to make panoramas
in middle school? I remember that.
Umm, okay, so you have voice recording
righ there. So, let’s say you take a shot
and there’s a special memory you want to remember with that shot,
you can just enlist your voice recording. Okay, so we’ll go back up.
Scrolling down, you can choose between smile mode,
right here, I’m sure you’ve seen smile mode before. Basically what you do is you
hold the camera out, and I’m going to show you right now,
I’m going to select it, you hold the camera out in front of you and it automatically detects when
you’re smiling and it takes the picture. Okay, we have to zoom out first.
There we go. Alright, can you see?
Okay? Alright it’s going to take two. Okay, now, you’re probably wondering
why it took two. Because when you’re in smile mode
you automatically have this new feature called blink proof built in.
So the camera is going to take two pictures and it’s going to save the best one,
where your eyes aren’t closed. It’s blink proof.
It’s a cool feature. Okay, so let’s get out of here.
If you zoom back in, there you go, you hit your mode selection button again,
and we’re in smile mode, but if we want to get out of smile mode
we can be in sport continuous mode. And what this mode does is it
shoots 11 frames per second, and it’s for fast action.
Alright? So if you are at a sporting event,
and you don’t want to miss the shot definitely, you know,
use sport continuous mode and you wont have a problem. Again, high ISO.
You have ISO capabilities on this thing up to 6400.
That’s the highest I’ve seen in a point and shoot camera. It’s essential
if you’re shooting in low light. And it will really really come in handy. Okay, so let’s get out of here. Okay, now we’re going to scroll down to
movie mode. Now you have two options here, you can set your
resolution to 640 X 480 or if you want a smaller movie you’ve got
that 320 X 240 option as well, for uploading to Facebook
or YouTube. And, of you go into your menu,
like so, you’ll see you have
even more options. And, again you’ll see this
electronic VR, which stands for
vibration reduction. Now, let me just take a second
and tell you what vibration reduction is. because this camera comes with
four-way vibration reduction. First of all, it’s going to
compensate for shaky hands by moving the image sensor.
Okay. So you don’t have to worry about that. Second of all, you have
high ISO capabilities, that’s the 6400, okay, that’s also going to help
prevent blurry images. You also have this thing called
best shot selector, what best shot selector does is it
takes, automatically, it takes 10 shots in a row, and it will save
the sharpest image. Okay. So you have those three things.
And last but not least, you have motion detection. What motion detection does is it’s
going to adjust your shutter speed according to the moving
object in the frame. So, those four things make up your four-way vibration reduction
image stabilization. Alright, it’s really, bottom line,
it’s going to help you get crystal clear shots. Okay, so, moving on,
now that you now what VR stands for, we’re going to get out
of movie mode, by clicking menu,
and we’re going to go into play back mode. So when you’re in playback mode
you can scroll through your images, there’s one I took earlier,
another one I took earlier, and if you hit menu,
you have a couple different options, quick retouch,
if you go into quick retouch it will show you, you know,
what you can do in a matter of one click. The camera automatically detects
what needs to be improved with the photo and it does it itself. Alright, so we’re going to go back, D-lighting, okay,
we told you about this earlier. Let’s go back.
D-lighting, now, what D-lighting does is it’s going to
improve the brightness in dark images. You can also print your images,
you can create a slide-show. You can rotate your image,
you can resize your image. Again, you can set a voice memo,
voice recording, copy your image,
and you’re back up to the top. Now, like I said,
this is a top of the line camera. It’s part of the new S series
that Nikon came out with. And, it’s really got incredible
features on here. You’re not going to take
a bad picture with this camera. It’s a great Nikon,
and you have that NIKKOR lens. And, the lens is very important
to get incredible quality, crystal clear images. And that’s exactly
what you’re going to get with this camera. Okay, so that’s all we have
right now. This is the Nikon Coolpix.
This is the S630. Hope you enjoy it,
and we’ll see you next time. For more information on the
Nikon Coolpix S630 digital camera, just visit any of these major retailers
and type in, N13-4504
into the search box. For Computer TV,
I’m Sam. (C) 2008 SYX Services, Inc. All Rights Reserved
Hey you know Conon has come out with a whole bunch of really really cool new digital cameras, and these are just some of them, but I wanted to give you a look at them. The Canon PowerShot E1. This is sort of one of their more entry level point and shoot cameras, not a whole lot of advanced features, but they are really really nice, and they take really really great pictures. This thing is 10 Megapixels, it’s got a nice 4x zoom, and a 4x digital zoom. Now, you’re going to notice, especially since the resolution is so high on this, the 10 Megapixels, you can actually get away with using the digital zoom on this thing, pretty well. It’s not going to degrade your image quality quite as much as it would on a camera with a lower pixel density. But it also has a 2.5 inch LCD, right here on the back. One of the very very nice looking LCD on this camera actually, it comes with a 32 MB memory card, now that’s not very much memory, for a camera that does 10 Megapixels. So you’re going to want to look into making sure you have a larger card. I’d recommend at least a Gig, maybe two, they’re like 5 dollars now. So, you know, it’s Ok. It does 640 by 480 Movie Mode, 30 frames per second so you can get full full resolution, full frame rate video on this camera it features the Canon DIGIC III Processor. Now, the DIGIC III Processor, is not their newest one that you find in all of the really high end Canon cameras, but it is extraordinarily capable and it’s very very good, at taking great… At making sure your pictures have great color, great clarity, and look really really nice. It’s got Optical Image Stabilization. Which is something you’re going to find is incredibly useful. You may have a camera now, where you notice when you’re in low light situations you get a lot of blur. You get a lot of streaking in your pictures you’re having a hard time getting nice clear photos, in low light, or when using zoom on your camera. The Optical Image Stabilization built in to this is going to take care of that. It’s going to make sure that all of your pictures look rock solid, and nice and clear, even when you’re using the zoom, and even in low light situations. It has Face Detection technology, built in to it. In fact, you can sort of see this here I think. If we give this a shot, let me turn on the screen. When I push this, you see it highlights my face, and will focus on the faces in the scene. So it makes… Getting your auto focus taken care of, very very simple. It also does Red Eye Correction, ISO all the way up to 1600, so you’ll be able to get really clear pictures, even in low light situations, and it’s all very very easy to operate. Just a few simple buttons on this thing. On the top you’re going to find your “On” and “Off” button located right here. You have your selection wheel. Now this is going to allow you to scoot through some of the various modes that this camera offers you. Right now it’s in the fully Automatic Mode, which is a mode you’ll probably not going to have to deviate from very often. Because that DIGIC III Processor in this makes sure, that all your pictures are going to look really really nice. But it also has modes for things like lan… For talking pictures of landscapes, for doing portraits. You also have Easy Mode, this is the one that disables all of the other features on the camera, so you don’t have to worry about grandma getting all confused when she tries to take a picture. A whole bunch of different Scene Modes actually located in this camera as well. From everything… From giant landscapes to color correction, to indoor, to birthday parties, you’re going to find that all, in the Scene Modes on this camera. You also have very easy adjustments, available right here. You do have macro, normal focus and Infinity Mode for shooting, sort of getting everything in a scene when you have those big sweeping landscapes. Usually a camera can figure out what it needs for you actually. You can manually set your ISO right here, you can turn your flash Auto, On, Off, and it also handles, like I said, Red Eye Correction right there within the camera. There are a few sort of basic setting you are going to find in here, for setting up your auto focus, for setting up your self timer, all very very simple, very very easy to use, and really it’s very slick. It’s very very easy to take really really nice pictures with the Canon E1 PowerShot, and it’s got incredibly high resolution, it’s got a very very nice lens on, that’s going to take very very nice pictures. And it’s also available in a number of colors and these aren’t sort of your basic colors that you usually see cameras come in. I mean we’ve got like this cool sort of… Looks like something you’d find in a nursery, doesn’t it? It’s like, what do you call it? Baby Blue? Alright, Baby Blue. And look, Baby Pink. Did they ever call it Baby Pink? What is it? Is it just pink? It’s just pink? It’s just pink. So yeah, these are really really solid, point and shoot camera. If you’re looking for something very very simple features, that’s going to take really really nice pictures, and you’re still going to have the ability to tweak and hone your settings a little bit if you really really want to. This is a good one to have a look at. The Canon PowerShot E1 10 Megapixel camera. Very very solid little point and shoot. To grab more information on the Canon PowerShot E1 available in white pink or blue, go to any of the retailers listed here, and type in Canon PowerShot E1. For Computer TV, I’m Bauer. (C) 2008 SYX Services, Inc. All Rights Reserved
Hi this is Phil from Make Tech Easier and
welcome to this review of the Fujifilm X-A3 digital mirrorless camera. Of course
many cameras don’t have mirrors in them using either an optical or LCD
viewfinder but the word mirrorless describes a certain class of cameras,
those which have a decent sensor, of the kind you would find in a DSLR, and
interchangeable lenses. Mirrorless cameras tend to be a lot smaller than
their DSLR counterparts and as such have found favor amongst street and travel
photographers where weight and size of equipment are a definite issue. Anyway
that’s enough preamble let’s get into it! Introducing the Fujifilm X-A3.
The Fuji film X-A3 is a capable little everyday carry camera, with quality glass
and enough megapixels to satisfy even the most picky specification nerd. It’s
easy to use right out of the box and simple to get started taking pictures
but it also has hidden depths that make it grow with the user from full auto to
full manual and also has a range of lightly concealed modern features to
ensure that you use it all the time and for a long time. Plus it’s really pretty,
smooth aluminium body with either black brown or pink leatherette. The initial
impression of the camera is of how small it is. If you’re used to handling a DSLR
it feels small but not tiny. Those of you with big hands might be afraid that a
compact camera no matter how professional and capable might be lost
in your hands. But you never get the feeling it’s tiny,
just small. This is brought about by the very well-placed grips on the body that
fit the fingers and thumb of your right hand as you grip the case. The perfectly
placed controls (especially the feature wheels that operate under and over
exposure and aperture and shutter speed) fall right under your fingers even when
you’re not looking at the camera and it doesn’t take long before you can even
find them without looking or even in the dark. As a photographer you want to
know for creative control that you can adjust the exposure a little under or over,
especially with the camera that runs mostly on automatic. The big silver wheel
on the top of the camera takes care of this allowing you to select a few stops
over and under when you’re shooting into or away from the light. This makes sure
that you can not only capture a well exposed shot but you can fine-tune it on
the fly to really bring out the lighting of the scene that you see with the naked
eye. This is what makes the difference between a snapshot camera and a
photographer’s camera. Then clearly this is intended as a camera from people who
love photography but don’t want to lug a lot of gear. The kit lens provided with
the camera is an X mount 16-50mm lens in a smooth silky silver
finish. This is in keeping with the retro styling of the camera which mimics the
look of gorgeous old vintage rangefinder cameras of the 20th century. Fujifilm
were very good at this. It’s a good all-round lens and copes well with
landscapes and portraits equally well. It also has a very nice macro focus as
close as 7cm in wide-angle mode which makes for some very intimate
and close-up shots. The wide-angle is suitably wide and the
telephoto zooms in quite far to help you frame shots. Obviously this is not meant
to be a one-size-fits-all lens and like all kit lenses compromises have to be
made. If you need to get closer or take advantage of the artistic benefits of
telephoto lenses like flattened perspective and shallow depth of focus you’ll have
to get a longer lens but for most workaday photography the kit lens is
fine! It’s a lovely sharp little lens and the autofocus snaps in really nice and
fast. Obviously in low-light you have some
issues with this not being an especially fast lens and by that we mean it’s
aperture range is f3.5-f5.6, about average for kit lenses. Low light
means longer exposures so you need to brace the camera on something or put it
on a tripod in low light. Again if you want better low-light
performance you’ll need to get a faster lens like an f1.4 prime (or non-zoom). For
more information about camera lenses check out our upcoming beginner’s guide
to photo lenses. So yes you should if you can afford it buy some prime lenses in
the Fujifilm x mount range to go with your lovely new X-A3.
But you can if cost is a problem buy X-mount adapters which enable you to fit
lenses from other makers onto the camera. Okay so the autofocus won’t work but if
you’re fitting classic lenses then you’re in the realm of manual
photography anyway and god bless you for that. There is also a built in interval
timer which is a fantastic feature to have. What this means is that you can
set up the camera on a tripod and tell it to take a photo every 3 seconds for a
total of say 150 frames. Then if you combine those frames to an animation you
have a gorgeous 24 megapixel time-lapse video. Obviously you’ll have to crush it
down to video resolutions but wow, what a great feature. What else?
The LCD angles outwards tilting both up and down for easy viewing at odd angles.
In fact it’s so clever it’s even articulated on little arms so it can
flip up right up to face front so that you can take selfies whilst looking at
the viewfinder. The camera also has a bang up-to-date
face and eye tracking so it will keep your face in focus as you film.
Wi-Fi comes as standard, so you can get your pictures off the camera into your
phone or tablet without plugging it in you can also print pictures wirelessly
to the Fujifilm Instax printer which also kind of makes it a retro instant
camera – how very sociable! Also there’s a carefully concealed built-in flash which
pops up when you put a lever at the side. Stowing it away involves gently pressing
it back into place, although you have to be super careful about not leaving it
out and bending the delicate arms which pop it out. The lever which releases the
flash is very hard to activate accidentally so as long as you remember
to stow it away after you use it it should last you a long
time. It’s surprising powerful for a little flash too. Another thoroughly modern
feature is the LCD is a touchscreen, meaning you can touch for focus, touch
to zoom and even touch to take a picture. Luckily you can set these modes
in the menus because having the touchscreen active all the time might
take a lot of accidental pictures which would be a bit of a pain. Also down in
menus there’s a film simulation mode giving you access to some gorgeous Fujifilm looks which mimic actual film. You can get classic film looks like print
film or reversal film and monochrome, but also monochrome with colored filters, a
classic real film technique for manipulating
tonal curves. All the looks are lovely and happen in real time so they show you
what you’re going to get right there in the viewfinder.
There are also some amazing special effects filters for toy camera (like
their classic plastic Chinese and Russian cameras), miniature (which makes
scenes look like tiny little models), dynamic tones and simulated fisheye lens
effect. There’s also a soft focus filter on what we’d call a starburst filter. But
best of all are the partial color filters which pick out a single color
and the rest of the picture is monochrome very cool. Conclusion. Okay
that’s about everything . . . well not everything but as much as we can cram
into this video anyway. So bottom line what do we think? The Fujifilm X-A3 is a
fabulous addition to the X-series, a gorgeously retro looking camera but with
smart 21st century features and materials. It has a great APS-C sensor, of
the kind you find in DSLRs, and 24 megapixels which gives you a huge
detailed image. The color rendition on the default settings is lovely and there
are lots of options as we say for you to tailor the image quality and color to
your liking. It’s easy to get into with the default feature set right out of the
box and yet it has plenty of deep features if you drop down into the menus.
The interval timer is a great feature for you YouTubers to get creative “b-roll”
footage and the reversible LCD and smooth stabilization makes it a perfect choice
for a vlogging camera. There aren’t many downsides to this camera as far as we
can see, only things you’d miss if your use for it was very specific.
For example the flash is quite sturdy and packs away quite
neatly but it is a little bit delicate looking. It’s not really an issue as
there is also a hot shoe (something missing from a lot of small cameras) so
you can add proper flash if you need it. There’s also no external mic input so
for video you have to go with onboard sound or use a separate recorder. In fact
in general we found the movie mode lacked a few features we’d really want
in a movie camera although it’s possible you could solve these problems
by setting everything manually. Here’s the thing though, this is not meant to be
a pro movie camera or a pro stills camera. It’s not a specific tool it’s a
really great general use camera with a lot of features; the still photos are
sparkling and detailed, the videos pretty steady and sharp and let’s face it . . . it’s
really pretty. 🙂 And unlike a lot of good-looking cameras which usually
sacrifice looks for features it’s really not just a pretty face. It’s a stylish
addition to anyone’s camera bag and if you’re a photographer, this would be the
one you take on holiday with you when all the more Pro gear gets left behind.
Ok that’s it! As always thanks for watching and if you liked this video
please feel free to like, subscribe and leave your comments and questions below.
See you next time!
Takashi Ueno has a penchant for old things A vintage Ferrari, and in particular, mechanical gears and wheels. It took awhile for him to reveal it. But here is the truth. I am digital camera creator so I can’t say officially I don’t like digital camera, I shouldn’t say so. The attraction of film camera is totally different from digital. Mechanical gears reflect developers’ ideas or philosophy. Mechanical gears have a functional beauty. Design, the feeling, and shutter sound All these I can in love But digital camera, I am not in love. Of course I like digital camera, but not in love. If you thought that confession was shocking, meet Kunio Aoyama, the rebel. Second of triplets to emerge from his mother’s womb and a man who swears by wife’s drip coffee every morning, Kunio almost joined a car company. But something genius that day swayed his decision to Fujifilm. That changed the X-series forever. Sometimes foreigners call me a kind of samurai. But for me, the samurai is an officer. Boss say ‘do’ or something, and just follows him. This is samurai, not a strong person. Typical officer, employee for the Shogun Not radical guys I don’t want to be samurai, such an employee. Boring I use my boss, use him for myself. But if we cannot share our vision, I don’t do. Toshi Hisa Iida is Kunio’s boss. A man devoted to one wife, one daughter and one company. I am probably married with Fuji. Maybe I work so hard, I work too hard maybe. I’m not the boss who is ordering or telling what to do. I give more flexibility or freedom to my staff, they’re thinking hard what they should do, the most important thing is to set the common goal, that’s very important. What to do is very clear. I will set up the goal, which is what to do. How to do? I leave to my staff. I trust my staff that they can achieve individual goals, I think. Yuichi Fujimura. He has spent months refining the push and feel of the new trigger. For my preference, he reduced its depth by 2 millimetres. What is mechanical designs? It is to layout the devices, It is the form factor of the camera. And to put control units on it Then to design the exterior to hold the devices We put a lot of effort into realising the tactile feeling of the shutter button Because, the shutter button is the entrance door for shooting and for photography. When you touch it once, you experience what I did. Who am I? My name is Mindy Tan. I am an X-photographer. In marketing words, sometimes we call them X-series ambassadors or the photographer to show Fujifilm quality to the market. But I think X-photographers are more than that. I think X-Photographers especially through their photographs, they show the camera concept, or the cameras spirit The team at Fujifilm have granted me special access into their lives and their work. I am the insider, the photographer privileged enough to ask classified questions. Now let us have a ceremony of “Kagami Biraki” “Kagagmi” means the mirror So, Kagami Biraki represents the Mirrorless Revolution 13th March 2019 20 cameras, 39 lenses, 250 firmware updates and counting. Omiya is where Fujifilm’s X-series cameras come together. From drawing board to mass production, the X-Pro3 shall be expected in a year. After last night’s round of high-balls and edamame, the people from the bar are in the office, sharp as tack, on time. Today is the finalisation meeting. Today is crunch time. We call it decision-making group meeting for product development. My name is Toshi Hisa Ilda. My role is General Manager for Optical Devices and Electronic Imaging Products division Abit long, right? My first name is long and my division name is long. OD means Optical Device, we are manufacturing and supplying all kinds of industrial lenses, including broadcast lens, cine lens, security lens, projector lens, even automotive lenses, this is all included in the Optical Device division. It used to be Fujinon, it was a separate company, that we now merged together. EIectronic Imaging is our X-series and GFX and the lens division. Basically I take care of two umbrellas – camera division and lens division. This meeting was for particularly for X-Pro3 We discussed everything including product design, features, manufacturing place, the financial models, and intensively discussed the colours. So now, X-Pro3, we decided to go with 3 colours. So all kinds of things were discussed with all responsible people not only from marketing but also from R&D, manufacturing side, quality assurance side, Everybody discussed, everybody get the consensus, make the go for X-Pro3. The Manufacturing side are responsible for the quality and cost, as well as all the product designers wants to have a beautiful product but sometimes we need to get the right balance, between the cost, the design, the features. Consensus is very important for making any project happen successfully. Without consensus, we don’t get good results. It’s not a compromise, but consensus is very important. In 2006 or 2007, the smartphone was launched to the market. We think in the near future, people won’t need point and shoot cameras So we have to change our camera line-up from entry-level digital cameras to high-end professional cameras. If we don’t do so, maybe we have to kill our business. We entered the high-end camera market last among the old digital camera brands, There is no camera in the world which had traditional design, so I decided to make X-series a traditional-style camera. The word of “X” usually includes unknown or eXperimental. We want to develop very impressive cameras that other companies don’t have. I am the product planner of X-Pro3 I am joining this project Especially the first draft idea, organising the team, and producing the developing and delivery. I am responsible for X-T3 and X-H1, also entry cameras like X-A5 and X-T100. I’m in charge of every GFX system cameras, like 50S, 50R, and 100 megapixels, and also the middle range of the X-series, like X-T30, X-E3, and all other compact, X100 and so on My image of the job of product planning, is like a conductor of the orchestra. I have a new idea, I share the idea, then I conduct to our teammates. We are members of the product-planning team, so we decide on a concept, target users and also price point, and any specifications, features, and to discuss with the R&D team. We have a weekly meeting and also regularly we have product meeting. At the product decision meeting, each product planner presents their own product. What for X-T series? What for GFX series? What for Pro series? Because we have totally different products. I think the 3 of us are like brothers, like a family. We have parents – the bosses. Sometimes I feel like the 3 of us are like friends in battlefield, we have difficult situations, I respect and trust these two guys. So my feeling is we can win this difficult situation So this relationship is very important for me. Yes, it’s a better expression, like an army, We have a mission. Or maybe some sports team. It’s very serious, now we are in some championship of the world. Everybody has own opinions, but our aim is the same, to win. I can see Kunio behind the X-Pro and also the photographers as well. And Kunio’s always talking with them. Kunio is the link between the X-Pro and photographers Makoto’s product, X100 is like the brother, a talented musical instrument. For me, X100 is very artistic, actor or something. Strong, passion, this is the only product in the world, GFX100, and he is very confident about the quality, image quality, he has a lot of knowledge about photography and technology. Actually, he (Jun) started the X-T series. He is the product planner of the X-T1, T2, T3 I can see Jun at the back side of the X-T. I know him, I know X-T, and I know Jun, so it’s always the same. He is very silent person but a very strong person, he has confidence of his decisions. Before X-T series, we just had a rangefinder-style camera, nobody has any doubt of such decision But he’s thinking: “why do we only make rangefinder-style camera?” So he started it. Practical. Jun’s X-T series is the very educated brother, like MIT or Harvard. Everything he can do. I am jealous. Like an artist, like an intelligent artist, genius! So what should I do? This is my question. This is my mission. In a nutshell, Jun Watanabe, Makoto Ooishi and Kunio Aoyama are the 3 musketeers leading the creation of Fujifilm’s X-series cameras. 2019 is Kunio’s year. The man in-charge of producing events now leads the concept behind the X-Pro3, the rangefinder series that defines the Fujifilm brand. X-Pro1 had begun the history of the X of Interchangeable Lens Camera (ILC) As a brand new FUJIFILM’s ILC digital camera I thought it should be unique and special For the theme, my idea was the masterpiece for snap-shooters The characters of it is to be discreet with high end quality which can satisfy even professionals Shooting with X-Pro is like a jam session played by a photographer with street objects In my mind, A snap-shooter camera must not be flashy A flashy camera will easily be noticed in the street The natural environment is important in such an occasion The priority is to be a part of the environment, and to capture the precious moment. That is all. To design a discreet camera I would not do something complex Generally speaking, design is thought of as emphasising or decorating something But it is not the essence of design. Designing is to brush up a product, not to dress it up. So, my approach was to draw as few lines as possible and create the best proportions. As a result, the character of the X-Pro can be visible. It is difficult to explain with words. One more thing, let me share it I struggled to realise better operability. Especially the operation of the dials. I targetted the operation for blind control, ‘Blind’ means to control the camera without taking a glance. While looking at the subject, the shooter can adjust the camera settings. It does not interrupt the subject, It does not reveal the motion of shooting, My design was for such a concept My story started 7 years ago. At the time, I was in charge of marketing to sell more X-Pro1’s. The X-Pro1 was the first model of X-series. Sales result was not so positive unfortunately. There were so many problems. It had big potential, but it was still just potential. The perfection was quite low-level, auto-focus was very slow. But at the time, I believed I loved the X-Pro series. Sales was not so good but I believed the potential could be realised. The body size of mirrorless camera is very small but we have to have the viewfinder. In the case of rangefinder-style and mirrorless camera we have to install very big ocular glass to the small body, So it’s very difficult. In the X-Pro series we have to install very complicated system and parts. that’s the reason X-pro series price is a little bit higher compared to the X-T series. We want to create a camera which can be used without a manual when people first buy our X-series camera Of course, as I already said, I prefer analogue camera compared to digital camera. But this age is a digital age, so I can’t develop film cameras anymore. But of course I can create a digital camera like an analogue camera. At that time, I wanted to unveil the potential of the X-Pro line from X-Pro1 to X-Pro2, 4 years. During these 4 years, I became friends with many X-Photographers. And many X-Photographers told me, “I love X-Pro1” It is a very, very troublesome camera, but still, I love it. This is my motivation. I think this is my mission. So that is the reason I raised my hand to be the product planner of the X-Pro2. For me, X-Pro series is especially, X-Pro2 is a special creation 100% of my effort and passion 100% of my knowledge about cameras and photography my design skills too The X-Pro2 was created from those elements. When the X-Pro2 was released I and Mr. Ueno, sorry, and also Mr. Aoyama had the same impression, that we could produce the camera we wanted We were proud of the X-Pro2. Though it sounds strange We love analogue cameras too much, so we could not see digital cameras in the same way as the cameras we loved. There was a difference about analogue cameras, We thought the analogue cameras were real cameras, but digital cameras were not the same. But after X-Pro2, we changed that mindset. And now 3 years has passed. The time of the X-Pro3 has come. It is November 2018, exactly a year to the official release of the X-Pro3. Serious discussions are taking place in Omiya. In 12 record-breaking months, as the team works its way from concept-brainstorming to 3D mock-up and finally to a mass production stage, this imaginary camera shall be in the hands of photographers. Most particularly, street photographers. So I hope that the next X-Pro3 will be without buttons. I remember when I told them, ok , no button, no screen, nothing, nothing! They were…? We had this meeting in Japan, it was wonderful, it was amazing with engineers and designers, and it was a pleasure, how could I imagine me, French little photographer to be invited by Fuji in Japan, in a very nice place, wonderful hotel, very simple, but very… you know the design in Japan. How to do simple things with quality. It was just fabulous. Two days of brainstorming with all these people. How could I imagine me, Eric Bouvet, to be a very, very little part of the next X-Pro3? I was very, very happy, I enjoyed it, and I was a little bit proud about that. I’m pretty sure they will not keep (my suggestions)… not so much about what I’m expecting too So, anyway… a little advice about what we need and what we love. And they must give the photographer the camera who helps them to do better pictures. When you have camera in your hand, it’s precious. If you love your camera, you will do better pictures, definitely. Okay, I can do a picture with a smartphone or with alot of different cameras, But, if you have a nice camera, a camera you love, the lens you love, it’s logical, it’s a way, you will do better. Its a prolongation of your arm, your hand, your eye, yourself. You know, for example, what photography means? In Greek, it means writing with the light. Photography, it’s writing with the light In French, a camera, it’s l’appareil l’appareil means to préparer, to prepare In latin, it’s preparing your photography We are in the logical way, you know… So this camera, if it’s a nice one, it’s a wonderful one it’s a camera and you love it, of course you will do better pictures. You have no choice. In the beginning phase I had 3 ideas. Change the finder, change exterior material and install tiltable LCD. But in the beginning phase I didn’t have idea to install sub-LCD here, original idea was here Through long, long interviews with X-Photographers, my X-Photographers requested me, ‘please install the indicator of how many shots this camera can do’ like a film indicator so we tried to install it here, but there is no such LCD parts. Some of our R&D team showed me a colour device. (He said) “I cannot install a LCD this size, but it shows colour information”. At the timing I got the idea “Wow, the size is same as film package” I asked him, “Can you install it here? Try.” That was already end of last year, 28th December. 28th December, and 29th was the last working day of last year. On the last day, he showed me “Kunio-san, it can be realised.” That is the story. You know Takashi and I love classical bicycles made of stainless, made of chromolybdenum For such a guy, Titanium is a dream material. Several times we tried to use Titanium, now is the time. Titanium is a very functional material. Very strong, very durable and very stable. Last year, we got the connection to the factory to realise a special coating for Titanium, this is also one of the reasons to choose Titanium, because we want to prepare a very special material for my lovely X-pro. These 10 or 20 years among digital cameras, just one or two models choosed Titanium, but it was compact camera, not a professional camera. or such a interchangeable cameras Our lovely X-pro needs special body like armour for the fighter. The experience of shooting through the finder is precious. The hidden LCD leads users to the finder. The vision through the finder charms the shooter It’s a message from Fujifilm Shoot and check, then shoot and check. as a result… Playback action disturbs the rhythm of the shooting, Theres no need to check back after each shot, just like analogue shooting. It is a different experience to shooting on smartphones The shooting experience with X-Series starts with the finder, which makes the shooter change their mindsets to shooting That is the reason. What is the question? We had so many struggles, internally. Actually some salespersons challenged us several times at product meetings and sales meetings They also understand it is very cool but not so popular. But after the meeting, at the bar over the beer, I asked “Honestly speaking, you don’t like this camera?” They said “Personally, I love it” That’s the reason I didn’t want to change my mind. From a marketing point of view, we couldn’t make this decision. But this is a product of hobby. No logic. From heart. The heart makes the decision. That’s the reason. If personally, they didn’t like this idea, I might not have made this choice. But most of my colleagues love it personally. X-pro3 is not tribute to analog camera, Just a new camera with respect to analog cameras, because the digital camera age has forgotten the passion of photography. In the analog camera era, most users didn’t care about specifications Most users care about the feeling and passion to the shooting, So what I mean with respect, is to recover the passion for photography. to bring back the passion to digital cameras. My X-pro series is very fusion – digital and analogue. First of all we are producing the camera that photographers and users want to use. In addition, X-Pro3 must go even further. It is a prestige presence, even when it is just being put on the table. The practical tools like outdoor gears knives and guns such items would give me inspiration to design the X-Pro3 Before designing, we share the specifications and limitations, also target users These considerations designs the camera roughly but logically, But, my mission is to inject a special idea into it. Of course it depends on the product. And, to realise something illogical and something indescribable such as the lines of product design. In my thoughts the gender does not matter for designing the product the personality is more dominant than the gender. My personality… It’s easy for me to design with my inspirations, but not as much from logic. But staffs of R&D needs reason and logic. So I try to explain my thoughts logically to R&D. With the product planner, from the planning the concept of the camera, and considering the usage of it, I create the design for the camera. Not only the shapes, but also the usability and the portability, I also care about My final goal is to agree with R&D, designers and product planners. Through the product developing, I make the mock-up. Share the mock-up We share the impressions and the consensus Then, each staff start to realise it And, for the next phase, the working sample is coming. Seeing the working camera which has the exterior designed by me To see the working sample is the most exciting portion for designers. What’s more, it can take photographs. The process leading up to mass production Now I very much see it. This is very exiting. Input from the product planners and product designers are very abstract. my mission is to transform it into something specific. It is really hard work. Even if I do my best Product planners and designers request “more, more and more”. I think their mission is to demand more, so I won’t challenge them. But Indeed, it is very tough work. The difficulty is to balance the request from the product planners, designers, and specifications. Really, tough and difficult My mission is to uphold the quality, cost and delivery of the product. We conduct investigations on the specifications and make the developing schedule, then produce the prototype samples Everyday, we face these kinds of troubles but my mission is to solve them one by one. And, to realise the QCD (Quality-Cost-Delivery) of the product development. We are not good friends with each other. But we share to achieve the same target. So we don’t make a compromise. If there is any compromise, we cannot achieve our target. Though discussions, we have to make an agreement, to realise what we want. We are not friends, but we don’t dislike each other. Around the world, Fujifilm has over 500 camera ambassadors called X-Photographers. Believe it or not, it was never a programme deliberately created by Fujifilm. I remember initially when I first got it, I was so thrilled about X100. I got it the week it came out of Canada The first few days it was a foreign object, and I actually thought maybe I made a mistake here… Once I got passed that, obviously, everything changed. I got into the Fujifilm cameras and the cameras gave me this incentive to start telling stories and doing visual essays It was a very… I’m looking for the right word here. It’s not frenzy… it was a very buoyant era, when those camera came on the scene.. and everyone was, you know there was this huge community basically created overnight around those things. I’ve started having conversations with photographers online of creating stories and visual essays Fuji had come out with this new camera, I think they came up with the X100 series, the very first one in 2011? The question was; where does it fit in the market, and nobody was sure. It looked really cool ’cause it looked like an old camera. It was kind of, what do you use it for? Then X-Pro1 came in 2012, first interchangeable lens body, came out with the good old 35mm – right here straight from 2012, and I think the 18mm as well? Then it was suddenly a camera with a little more flexibility. I think Fuji was just intrigued with people who used it in a commercial setting. I bought my X-Pro1, there is no store, not even Fuji here in Philippines, so I needed to buy it online. I only played with JPEG and I’m so happy with the output of the camera That’s the time I kept posting on my Facebook After a week or two, somebody emailed me, it’s from Tokyo “Can we use your images on our upcoming website?” I said yes. They would later invite four other photographers to Japan. Fujifilm were hungry for feedback and curious to know what images, in the hands of photographers, could be created. These first initiations was the beginning of many gatherings with photographers. It was the beginning of a community. X-photographers? They are lovely, sometimes crazy people. When it started?… I think… it’s not Fujifilm who said we started a X-ambassador’s programme. We didn’t do that. It’s more the photographers who loved the original X100, X1 and basically started happening maybe seven years ago without us asking, they became, I think they almost volunteered ambassadors, yeah. We always invite X-photographers coming to Omiya or we go to Tokyo, and we have some discussions, over dinner. Through that communication I think our staff get some global feeling or emotion. Our relationship, I think, is very, very close to each X-Photographer. we talk alot, discuss a lot. Sometimes we have some opinions where we actually don’t agree with the photographer, but it’s ok, it’s a discussion. I was privileged enough to meet Masa-san who is the original designer of the X100 at a Fujifilm conference recently. And to some people it might seem odd having a camera signed. But for me it’s the same as having a book signed, or an album signed it’s a sign of respect for the designer, it’s a sign of respect for the camera, and it’s also a sign of thanks for being able to create these little cameras that have undoubtedly changed the way I’ve progressed as photographer, moved forward. I think it’s fair to say that if Masa-san had not designed these cameras in the first place and Fujifilm would not have the confidence to bring it to market, I probably wouldn’t be a photographer now. and I certainly wouldn’t have all of the pictures and the nostalgia that we would have of my own family in the future I went Japan last year for first time in my life. So just coming there from street photographer’s point of view was amazing. And to experience the hospitality of the peope from Fujifilm was equally amazing, I’ve been talking to them for so long about coming to visit them, again on a very personal level, I’d like to think, more than the business level. I was there for the meetings but also socialising afterwards. It’s always fun, ya! Drinking, eating, singing karaoke, stuff like that is very, very fun. The X-photographers community to me is something that I feel is very, very special to the Fujifilm brand. I know that all other camera brands have ambassadors but it’s never had that kind of family feeling. My relationship with Fuji has really developed over past 5 years. At the beginning, alot of the employees within Fujifilm were just employees to me, but now I do consider alot of them as my friends. Definitely. Also because I do this on a hobby basis. It’s not my job. And I’m much more prone to want that, the personal relationship instead of the business relationship. I try to involve myself personally with the people that I meet along this journey with Fujifilm I often hope that I get the same in return and I often do. We’re not linked by blood but it’s as if we have something in common. We use the same cameras, we use the same film simulations, and we talk about the same colour language, the same ergonomic language It’s something that we are all passionate about and coming together is sort of like old friends coming together. Fujifilm has released a new camera I would say every half a year? So that release means that X-photographers like us will be given a project to test out the cameras and to go out and take photographs and they use it in turn for their launch. I feel like its my chance to do personal work. It’s made me work harder, It’s sort of forced me to develop my personal work because I have a chance to. I’ve been energised knowing that a huge organisation is behind me, and supporting that endeavour. Fujifilm understands photography and photographers. They know that we go through our ups and downs, our depressions. And they look at photography. They don’t just make cameras. I know for sure they look at the guys from Magnum and VII, they look at history, the famous photographers, and what it means to go out on the street, what it means to be dark and depressive. Sometimes they amaze me because they never question what content I would put out. I feel free to create my art. I’m not afraid of showing my true self or being judged or having to produce a picture perfect landscape. I understand that they can accept a different kind of photography. Globally I’ve been sent to workshops, and to give lectures, to give talks about the work that I’ve done using Fujfilm cameras. That is where huge events like Photokina or Fujikina, where we get to know about each other more as friends. That’s where the relationship turns into more friendship than just a client-customer relationship. I think it’s energy of their team that affects me as an individual. It’s the photographer’s choice. We’re just providing the tool for photographers to shoot photographs and also to show their emotion or passion to their audience. This is not a digital device. This is a camera. We always think of certain photographers or certain customers, then we decide to create, even the one by one button layout, we have a story how photographer uses the camera. As a marketing word, we say street photography But once X-photographer shoots the photo, it’s more than that. It’s not just a word like: street photography. X-Photographers using X-Pro series taught us what is important point to shoot snap-shooting. Also they taught us how to use the camera, what size is best, what operation way is the better compared to other cameras. All of those things, they taught us. There seems to be a lot of respect which goes both ways. A very important part of the way these cameras have evolved has been through discussions wth photographers, as opposed to accountants, that makes a huge difference in how the entire line has been shaped. It’s probably made a huge impact in terms of the speed at which it all evolved. I think having the feedback has shaped the entire line very, very quickly. 2011, the X100 came out, and now. Everything we have now, including GFX100 is just staggering how fast this ecosystem has basically been created out of thin air I think that’s obvious with the way Fujifilm update their firmware very regularly. When you compare Fujifilm to other brands, it’s very clear to photographers in the industry that there are people in Fujifilm that are passionate about photography and they listen to the people who use their cameras. So I’ve never really worked with a manufacturer. I would like a product, I would buy the product and that was it. Working with Fujifilm was the first time I’ve ever enjoyed the product and then met the people who made the product. And now working with Fuji for the past 7 or 8 years now off and on, I’ve met the guy… who like… this is the guy who designed the camera this is the person who works on the lenses and these two guys do the film simulation and they’ve been with the company for 40 years and they’ve worked on the film side and now they’re doing digital and you sit down and have a meal with them, and you say “Oh I love this part about the camera, but…” You know, they take so much feedback, I’ve gone to them before and said, I wish this button did it this way instead of this way, and then the next camera, that button changed. I was at dinner last night with the crew from Fuji, and I was like, okay, who’s in charge of firmware? Oh, he’s in charge of firmware. So we go and we have a talk. and I’m like ‘there’s this one little thing that I wish would happen” and they all have a discussion and it’s all Japanese Zack-san, Zack-san oh very easy to do, we’ll look into. You know, like they listen, and they’ll have a discussion And say ‘We’re gonna look into that.” And it’s cool to meet someone and then 6 months later, it shows up as a menu item. That’s pretty awesome I’ve never had that kind of experience before. As I remember when we were in Tokyo in the headquarters, it was the first time we go up in their office, it’s a closed door, and engineers came inside. They asked us what you don’t like with the camera. It sounds weird because we’re normally ready for what we like with the camera. I guess they really need improvement from us, what next lens do you want? what type of body you like? That’s the thing with Fuji, they listen to photographers. Staying power is absolutely a part of evolution. Relationships are very much of a part of evolution. If you can’t be counted on to give good feedback, If you can’t be counted on to deliver, then trust can’t be built. And Fuji builds alot of their products on trust. A very important thing is the feedback from our X-photographers because feedback is the seed of improvement of a new product. So to make the next product, I check all of the opinions from the photographers I categorise, I list, a visual image of operability improvements. For every single model, I make about 10 operability improvements for each model. Firmware updates are also important, but hardware improvement is more important for me. To make the next models, one input from our X-Photographers like you, for example but improvement like autofocus or video capability. The other is from technology side, like new device and software improvement, then I combine ideas together, Then I make a new direction. A lot of information. In the beginning, our performance wasn’t so good so we made every kind of improvement, but now it’s a bit changing, so we can propose more features In this spring we will update X-T3 firmware even after six months of launch. New autofocus algorithm, face detection, eye detection… Improvement never stopped Our engineers always thinking make it better. The new models have new features that we can share even with older models. Even for lesser-sales products, we will share them for the customer. That’s one branding of the X-series. Even the small sales camera, if the customer loves our product, We should respect them as well, so we should provide firmware upgrade. I never in my wildest dream imagine that I would have this close a relationship with a camera company on the other side of the planet. I never, ever could have imagined that I could sit down with engineers and designers and give my input and see some of that come to fruition. I never thought I get here… from here… People like us… we’re hard to kill. We think the most, we see the most, And when we hurt, we bleed the most. If you are one of us, you’ll recognise the intensity, whether you are a photographer or a camera-maker. Our work is not for us. It’s for tomorrow. I really believe in the future of pictures. And although wedding photography is where I make my income but a vast majority of the pictures that I take are of my own family, personal pictures. street photography and general things that are happening around me. and… I have this… a vision if you like of my kids and perhaps their own kids looking at these pictures in the future. And that’s the power of those pictures that nostalgia will really hit them then. I have this firm believe that a mundane picture today will always become more powerful the older that picture gets. While I was not from a particular family where there was a camera kicking around all the time. Really the only pictures we had from my own childhood are Christmas… on a holiday, that kind of thing. And… when I look at those pictures now, I now understand the power of the candid picture. It’s the ones at Christmas opening the wrapping paper, all that kind of stuff They are the ones that when I look at those pictures now, they take me instantly back to those moments in time. I’ve been to weddings where I have seen the most lavish, absolutely the most lavish things happen I’ve been to weddings in chateaus in France where every single one of the guests have been flown in from America by the clients hundreds of thousands of Euros spent on those weddings But equally I’ve been to weddings where it’s been upstairs in a pub, in Camden, and it’s a very low-cost wedding, but the people are just as happy, just as fun But more importantly just as exciting for me to photograph those, as it is to photograph the high-end weddings. I think in the 10 years I’ve been photographing weddings, things have been very good for me. I’ve had incredible times, I’ve had some very lucky breaks, I’ve photographed celebrity weddings I’ve had the opportunity to travel I’ve been to Argentina, I’ve been to Japan, I’ve been to North America, I’ve been all over Europe, And… It often… Beggars believe with me that people will sit there and listen to me talk about my work. How on earth has this happened? When I left school I was going off to do IT and be computer programmer. Here I am now, I’ve just been to the photography show, There was 400 people listening to me talk about my work. The biggest achievement was living out in the desert, and working on a project for eight years called “Conversations with the Mob”. It was in Western Australia, living with the Martu aboriginal people. I was working for the Australian newspapers at that time, I had been working for Reuters international news agency, and then I was working for The Australian based in Perth, and I was flying all around the place covering national stories and international stories In the media we fly in all the time, and then we fly out. Whatever story we do, we have to cover what’s happening then, and we don’t ever look in depth to it. So I gave up the comfortable bed, the secure income and drove to the desert which I thought was for six months, but I ended up living full-time, nearly for three years with them. Overall it was an eight year project. And it wasn’t just photo-taking. I was looking after sick people, I was in the hospitals it was all at my own expense, no one paid for it. And.. that… leaves a long lasting impact on life. Because it means that I don’t own a home, the only thing I own is a car, but I have had enormous experiences. To me it was never about the money, It’s about making a difference. What you have to do is that you do what that feels right and put it out there. While I’m photographing, I try not to involve myself but if it means that something or somebody needs help while I’m doing that and I’m able to do it, then I use my abilities. Again it’s not separate, its all part of the whole. Photography to me is a vehicle to open doors and windows to worlds that not everyone else gets to see People pay attention, and they invite you in And they trust you which comes with an enormous sense of responsibility. Who is Patrick La Roque, that’s hardest question you can ever ask. I kinda hate categories, So I do some commercial photography, I also do some portraiture, I do some editorial stuff, I write I get to speak to photographers as well, I do talks, and… just think about photography. And do my own thing as well. When I decided to switch full-time to photography, I was actually doing soundtracks from music in a more professional way and actually earning money from it, It just felt like something I had to do. So I jumped in. It was just physical, basically like I would see the camera, and I had to pick up the camera And I had to shoot a couple of shots in the morning, It was just like a really strong pull to actually… and it didn’t matter, it wasn’t the subject that was driving me, It was idea of connecting with what was around me through that device. There is this quote… what is it… Richard Avedon had this quote that I think that sums it up perfectly, he says If a day goes by without anything photographic, it’s like something’s missing, like not eating, or not drinking, or whatever. That’s not the exact quote but that’s the gist of it. and that’s pretty much it actually. It’s a very personal thing, it’s just about expressing what needs to be expressed. I’m not a full-time photographer, I’m a full-time doctor. But I think if I count the hours I might be closing in on becoming a full-time photographer Because I spend a lot of time doing it. At the beginning I define myself a street photographer but I think I quickly learn that was quite limiting term for me for what I do photographically. Since I don’t really feel that I should let a genre define what kind of photographer I am. I became the product photographer for Fujifilm by shooting the X70 series when that launched. I was one of the two or three testers of it, and I shot some images of it and when I sent my sample images to Fujifilm, I sent the product shots with it. And they liked it, and now they’ve been using it ever since. It was just that spring after the X70 had launched, they shipped over all of the products, And they had a big web design refresh thing So they sent over all the products and wanted me to photograph each and every one of it for their website, for the banner images, And ever since, they’ve kept that kind of styling that I’ve provided them with. Because my product images are always shot on a very dark surface so they have like a unique look to them. that they’ve caught on to, and used. I think my product photography is very personal in that I look at the products as little persons, it sounds weird, but I look at them as little personalities. So when I photograph, I try to pull out the personalities So for instance, if I shoot a fun little product, I try to do it in a fun way. If I shoot the bigger cameras, the more muscular cameras. choose other camera angles to best bring out that That could be the reason why. I don’t think I could live a single day without photography any more. If I were to set-back time four years, I probably could but it’s become such an intergral part of me now that, like I carry camera with me everywhere, I carry it with me when I go outside in our own garden, I sometimes bring it to the toilet, I’m not doing anything with the camera when I’m in the toilet but I’m bringing it just because it’s in integral part of me like wearing a wrist watch. I wear the camera all the time. You can say I’ve got wanderlust in my blood I am officially a photographer for an organization called Preemptive Love coalition I’ve just hit my five and a bit month mark in Iraq. My organisation serves refugees and displaced Iraqis, there are well over a million displaced Iraqis in Iraq right now we do emergency aid because that’s always critical when war is going on, at this point we are also doing a lot of community building. I come from a street photography background so it’s a very, very different way of working. There is none of this stealth thing, we always ask for permission always. Respect. You ask and you don’t take unless it’s given. I think it’s confronting seeing war, which for me, until I moved to Iraq has always been something that happens on the other side of the screen and I’m seeing its effects, if not the war itself, but its effects first-hand that makes you rethink alot of your life. Many years ago I took workshops, a Magnum workshop with Antoine d’Agata. During that workshop, there were 12 of us in his class and he sat with each person and asked them why do you photograph, he would not let you go until you gave him an answer that he felt it was your truth. Anybody. Anybody can put work out into the world Good, bad, ugly, whatever What I put out into the world is just a particular way I see the world, it’s a particular way I feel of the world, and its a voice, it’s a mode of expression. But importantly it’s also being seen. As somebody who’s a minority in most parts of the world, particularly where photography is prevalent. Being seen and having your work validated by others who will say ‘Thank you for sharing’ “I would not have known this about Singapore, about Kurdistan, about Denmark’, about wherever I’ve been, if not for your pictures.” I arrived to Gamma agency in 1982, and I stayed in Gamma agency until the 90’s I took very quickly the plane everywhere in the world, It was a crazy time, it was the golden age of photojournalism It was marvellous. We were always just a dozen of photographers to make everything, what’s happening in the world. I was always in assignment for TIME magazine, for Newsweek, for Life magazine. for Stern magazine in Germany, for the Standard Times magazine in London or Pour l’Image, Le Figaro Magazine in France So… it was… world-wrecking, and it was a marvellous time. What is my brain about all these wars I’ve covered? Do you think you can come back safely after war? Nobody can come back safely. Nobody. You keep all the trouble in your head and your stomach, and you must live with that. But you know, nobody obliged me to go. so I have no complains If I have trouble in my brain, that’s my problem. I don’t have to… say… this is the fault of a magazine.. or… someone… No, no, it’s me who decided to go, it’s me who was there for my own… volunteer. On the spot, yes, a few times I totally lost my mind, but I don’t want to let them make me more crazy than I am. I don’t think about the trouble I saw on the field, in Chechnya, in Afghanistan, or…wherever or… My trouble in my head now, for years and years, it’s about my kids. I’m afraid about them, about.. that they could die. That’s the bad side about covering war It’s a transposition in fact It’s about what I saw, what I lived, and it’s on my kids. They are all well, everything goes well, I’m happy for that. But everyday I have a flash. And so, I put if off very quickly because I know it’s not real. So, it’s ok Look I’m smiling I really love photography even if now is very difficult period for the photographer. Digital arrived 20 years ago and give the possibility to everybody to do photography and somewhere, that’s marvellous, it’s wonderful because you can be on other side of world, you can send pictures by internet, you can be directly connected with your family. It could be in a magazine so fast. The bad side is… the problem is… it’s coming like consumerism. They look, they shoot alot, because it’s free now, I can make a thousand of pictures Problem is, it’s not the thousands of pictures that’s interesting. What is interesting? It is one, the picture. When I was young in the 60s, with people in the family you make some pictures, and on the same roll of 36 views Remember we got 24 views, and also 12 views on the film and on this film you could have all year long, the anniversary, the birthday, the holidays, Christmas, on the same film, on 36 views you have all year long. and every picture was good because people took care about what they did That’s the problem of today, people with digital they don’t take care. They just push the button. About photography, I love it so much that for me, this is an investment and much more, it’s an engagement. Engagement of my life my family of course, but about this work, this is very, very important. It’s not just to do photography and forget it, no, no, no It’s the work of everyday, It’s the work of my life. For almost 6 years I was able to go around the Philippines, from north all the way down south to Mindanao. I enjoy my days with Fujifilm because I get to travel, seeing more of our country, to learn more of our culture, and meeting new people. I was so passionate about it, I was so happy with the camera, And maybe I just wanted to help Fujifilm If you go back to history of photography in the Philippines, everybody goes to weddings, because it’s where the money is Street photography exists already, now it’s famous because Fuji came and I was there as well, we have so many events for street compared to any other genre. I started the photowalk with Fujifilm. Maeda-san came, it was my first time to see an expat on the streets with me, and he even treated us for lunch, that’s the start of my photowalk journey with Fujifilm, it became bigger and bigger Now we’re coming up with the nation-wide photowalk, hundreds n thousands of participants already. We started with just.. you can count by hands. Nationwide I think we are close to 4000 already We only had X100, and only had X-pro with 1 lens or 2 lenses. Nothing more, nothing less. We just walk and shoot. They’re all enthusiasts, not even a professional. That’s why Maeda was so happy to see them and they go out of their own way just to meet us. It’s such a family thing, not really like a brand and user thing. It’s really like a family thing That’s the Fuji-love that I’m telling you. I give, yes, I give so much for the photowalk. So much of my time, for the love of photography, the love of sharing I guess. I’m happy if somebody will tell me, ‘Sir Rommel, thank you, I learnt something.’ It’s very fulfilling as for me as a photographer The bulk of my work has got to do with people. I started out as a newspaper journalist. Because I constantly had to deal with people who were underprivileged, I find myself drawn towards people in a need of a voice, people who have sort of gone under, people caught in-between. That’s not statistical, things that you can’t find on the surface. I’m always, constantly trying to go inside of what it means to a person in their hearts and in their minds In a way, you can say that my photography is on an emotional level. Happiness or sadness is a universal language. It tries to understand the environments that each one of us live in, regardless of where we are in the world. Photography is everything and nothing to me. I need it in order to stay alive, in a way that, even without a camera, nothing can stop me from seeing the moments, composing the photos, keeping my thoughts beautiful. Photography is a gift and I’m responsible to share the stories entrusted to me. In the same way, a camera creator must have a conviction about photography. He has been entrusted with the power to influence photography through cameras. My first hobby was photography, it was probably back in 1980 when I went to junior high school I was 13 years old I think At that time my father told me, “Now you have passed your exam, what do you want?” “I want a camera.” My father generously bought me the Nikon SLR. My pocket money was not enough So with my friend in junior high school, we bought a long roll of film and we cut and put into the canister and we shared. And we managed to save our money. 10 years later, I joined Fujifilm. My first job was exporting photographic film all over the world, That was 1991. So, 28 years have past and I am still in charge of photography, and the cameras. Fortunately or unfortunately, I stayed, still in the photographic business. I lived in the UK 7.5 years, my daughter was two years until nine years old, so I took a lot of pictures. It was before digital cameras I still keep a lot of films and negatives and prints. We still couldn’t take enough pictures after I came back to Japan, So I’m still looking for some opportunities to take my daughter’s picture before she gets married, I hope. Things were less rosy a decade ago. The rapid decline in photographic film demand from 2005-2010, meant Fujifilm lost almost 60% of its core business. There was an urgency for massive reforms and diversification to other businesses to save the company from death. Bold and courageous moves were necessary. The camera department was halved. 10 years ago, the team was not so good, always a bit fighting. Our sales was very tough because we don’t have enough line-up at that time. Unfortunately some of our cameras performance especially autofocus, was not enough for high-end users. 2012, we had a restructuring. We had a separate product planning team and product marketing team, we combined. The situation was very serious, the sales were down, so we began discussing more. We shared the same thinking together more deeply. So day-by-day, step-by-step we got to know each other, so now we have a very good relationship, just like one strong team. It’s been almost a year in the making, Will the design work? Will the public find affinity? Instinct. Decisions. The power of thinking without thinking. Let’s remember that as a company culture, Fujifilm is no stranger to taking risks. If we ask 10 photographers, or 10 customers, we have 10 different opinion, so how to get all the opinion into one camera? It’s quite difficult. Sometimes rather than just listening or asking the customers, sometimes we have to make the decision. so this is the way our X-Pro series should go. I think that this LCD is a classic example if we keep asking, we couldn’t have reached the LCD solution I think that this is witness, or passion and the challenge for new things You are not here to make pictures.. No no no… This is photography. You make X-Pro3, you must change, The line is very nice but you want to say “Wow” Break things! And disturb people It’s like my photography I’m not here to make pleasure to people. I’m not a nice photographer. I’m here for the people to ask themselves questions about photography about what they see, about what’s happening there I’m not here for you to like my picture I’m here for you, ask yourself questions about who, or what’s happening there and why? Why do they do that? I never want to say my picture will change the world. Definitely I know that it will not change, but its good that people ask themselves questions, Or we can perhaps do something else to change, or to help or… disturb. So this new camera must disturb us! When I pick it up I start to look for the image on the back and you realise you can’t and it’s putting the brain back into that space, of actually, really utilising your ability as a photographer and not being able to see what you’re doing unless you really want to. If you’re new to photography, you will learn from the camera, but if you are old to photography, you will love this camera. It’s very nostalgic, it’s very analogue-type The way I use it is the way like I’m using film. very traditional, very analogue Fujis, they call it the camera with a soul For me personally I’ve seen the whole developmental journey of the X-Pro3, so I’ve seen the struggles of the team, and the history, the previous prototypes that they’ve put out that haven’t gone through. All the questions they’ve asked and how hard they’ve pushed themselves within this timeline to have this product. It’s not just the embodiment, it’s not just having a camera. This is… taking around my friends with me. This Fujifilm family. This spirit. This group of people who have such drive and passion. It’s different when you own something like that. It’s not an accident. It’s a deliberate design it’s gone through debate through the eyes of professional photographers and also purists – people who love photography and saying this is what I want to see in a camera, this is how we want to feel about a camera. Like Kunio. Kunio who was pushing certain elements. There is a whole element of punk-rockiness of Kunio, the product manager, that’s gone into this camera I can literally see this character coming out through here. There is that individualism. Like let’s cover the flip screen, let’s bring back the true essence of photography. We’ve gone through these debates for months. And here it is. Here it is in our hands, the final product. Product planning does not need democracy. Sometimes we become very selfish persons. So listen, listen, listen, everytime we listen to voices and requests, but later we ignore. 99% we ignore the voices What I want to make is what photography wants to make I want to make the great camera which can shoot great photography Great photography taken by great photographer. My products can be best friend to you. I don’t know what he can do but he can be closest friend, yes. Buddy. What truly matters, what I value the most, is to make honest photographs. Our lives are limited, but our perspectives, through photos, can live beyond. This is not about endorsement, approvals, or likes. This is not a game, This is you and I, laying claim to our existence.