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Photokina 2004 by Jason Schneider Amidst the digital domination, a few film surprises Article rating: 6.20

Photokina, the giant biennial photo exposition held in Cologne, Germany since 1950, is still a defining event that encapsulates the state of the imaging industry at a given point in time. While the annual PMA show in the U.S. is undoubtedly more important for U.S. dealers, Photokina is really BIG--a world-class extravaganza that many leading manufacturers target for releasing their most significant new products and technologies. Photokina 2004 was certainly no exception, and judging by the camera introductions alone, it was clearly a vintage year. After walking my feet off traversing over 2,150,000 square feet of exhibition space covering 14 huge halls, and examining a selection of the products shown by 1,600 exhibitors from 145 countries, I’ve gathered some of the highlights likely to appeal to my fellow photo enthusiasts. Whether you’re a digital demon or a film fanatic, I guarantee the items that follow will not fail to fascinate. But before I jump into individual products, let me say a few words about the general trends.

To begin with, Photokina 2004 proves beyond a shadow of a doubt that this is the year of the digital SLR. Indeed, imaging industry gurus predict that about 5 million digital SLRs will be sold in 2005, a figure that far surpasses the just-under-3-million figure for worldwide 35mm SLR sales at the peak of their popularity. As expected, Canon and Nikon unveiled blockbuster high-end pro models at the technological cutting edge, but even more important was the activity in the consumer digital SLR sector.  Konica Minolta’s first D SLR, the Maxxum 7D with built-in anti-shake, Pentax’s engagingly compact *ist DS and Olympus’s distinctive EVOLT E-300 are all clearly aimed at the enthusiast market. Digital ZLRs with non-interchangeable lenses and through-the-lens viewing continue to advance with many of the newest models offering 8-megapixel capture, as well as built in long-range zooms and other advanced features.
       Do you really need a medium-format digital SLR when high-end 35mm-based models offer pro-caliber performance? Two companies giving an emphatic yes answer to that question are Hasselblad and Mamiya. Hasselblad unveiled the H1D, which is basically an H1 with a fully integrated Hasselblad digital back with a 22-megapixel CCD sensor nearly the same size as the 6x4.5cm film format and selling for around $20K. Other Hasselblad 16MP and 22MP digital backs fit the original H1 and there’s even a non-integrated 37x37mm-format back for traditional mechanical Hasselblads like the 503C/W, an adapter that lets you use C-type lenses on the H1, and new 100mm f/2.2, 120mm f/4 Macro,  and 300mm f/4.5 lenses. Mamiya’s response is even more radical—the digital-only Mamiya ZD, which looks and feels like a Texas-size 35mm SLR, and has a 48x36mm, 22-megapixel sensor, central cross-field AF sensor, and 35mm-style mode selection and controls. It looks cool, is comfortable to hold, and will reportedly sell for about $10K. Just to hedge their bets, Mamiya is also offering “interactive” digital backs for the film-or-digital Mamiya 645AFD, and RZ67 Pro II D.

 In the digital point-and-shoot sector, several trends were evident. Many models aimed at photo fans have been upgraded from 4 megapixels to 5MP, and several pocketably compact zoom-lens models offer 6 and 7MP resolution.  LCDs are also getting larger, with many models having 2-inch and several sporting 2-1/2-inch LCDs. Another notable trend, particularly among ultra-compact digital point-and-shoots is an emphasis on style. At a time when many manufacturers can buy the same image sensors, circuitry, etc. from giant electronics firms, having a fashionable form factor is an important means of product differentiation, and motivates consumers. As fashion statements with solid tech behind them I was particularly impressed with the Exilim models from Casio, the teensy Contax i4R and swing-lens U4R, the spiffy hi-tech Panasonic DMC-FX7, the sexy Olympus Verve, the Canon SD-20 Digital ELPH in several delicious colors, and the Pentax Optio  750Z, a 7MP model aimed at serious shooters that manages to look really cool while still resembling a traditional camera.
      If you want clear proof that film ain’t dead despite the overwhelming digital dominance of today’s imaging market, just take a peek at Nikon’s new flagship F6, arguably the most advanced 35mm SLR on the planet. It’s an unregenerate film camera that is (without the big integral battery pack of the F5) smaller, lighter and handier. It also incorporates a built-in databack as well as advances in AF speed, flash flexibility, and metering. Then there’s the Zeiss Ikon rangefinder 35, another film camera, that resembles the great Contax rangefinder cameras of yore, but uses Leica-type M-mount Carl Zeiss lenses, has a long-base rangefinder, and provides aperture-priority metering. Lenses include 21mm f/2.8, 25mm f/2.8, 28mm/2.8, and 35mm f//2 Biogons, a 15mm f/2.8 Distagon, 50mm f/2 Planar, and 85mm f/2 Sonnar. The Zeiss Ikon 35 will be distributed by Hasselblad.

Amid the welter of printers from all the usual suspects, including cool-looking compacts from Olympus and Canon, and impressive high-end offerings from Epson, I was struck by the Canon Selphy line, three dye-subs, and one ink-jet printer, all of which are PictBridge enabled for direct printing and can be connected to a TV set for slide-show viewing and evaluating the image prior to printing. Neat! Speaking of printing, Kodak announced IMAGELINK, a simplified new system that will let novices and snapshooters make 4x6 and 3-1/2x5 prints by inserting the camera into a dock and pressing one button. Other makers who have signed on to the system include Nikon, Konica Minolta, Olympus, Sanyo, Pentax, and Ricoh.  The system, which uses a new small 26-pin connector, will debut in the first quarter of 2005, and aforementioned brands can offer their own IMAGELINK-enabled docks and printers.
     Now that you have a better idea of why Photokina 2004 was an especially exciting show, let’s take a more detailed look at some of the most important new cameras that were unveiled. I’ll try to give you enough tech to satisfy your curiosity, but also to put each item in perspective so you’ll understand why it’s significant, and also why it stood out from the literally thousands of items presented at this most international of photo-imaging expositions.

With a full frame 24x36mm sensor providing “16.7 megapixels of righteous resolution”, the 1D Mark II is ready for action in just 0.3 sec and can shoot up to 32 JPEG or 11 RAW images at four frames per sec. This flagship of the Canon EOS digital line also features 21-zone metering, shutter speeds to 1/8000 sec, 20 built-in custom functions with 65 settings and 27 personal function settings, 5 preset color matrix settings, E-TTL II flash exposure control, two dedicated card slots for CF and SD cards, and much, much more. It’s expected to sell for about $8000.

The Nikon F6 is the latest incarnation of the legendary Nikon F-series, and it’s still built on a die-cast aluminum chassis with magnesium-alloy body covers and top—all rubber gasketed to seal against moisture. Smaller, lighter, and handier than the F5, it also offers a customizable function button, built-in databack, and 41 custom functions as well as a new high precision 1/8000 sec shutter employing DuPont KEVLAR and high-tech aluminum blades for increased reliability, Multi-CAM 200 AF sensor for enhanced speed and precision, and an improved flash system that includes I-TTL Balanced Fill-Flash and Auto FP High-Speed Sync. It’s also beautiful to look at and fits splendidly in your hands. The new F6 gets up to 8 frames-per-sec with optional battery pack, giving pro film shooters a solid, competent alternative to D SLRs. Price: Body only, about $2,200.

Following in the footsteps of the D2H aimed at sports photographers and others requiring rapid framing rates, the professional D2X adds a new Nikon DX-format, 12.4-megapixel CMOS sensor capable of capturing five full-resolution images per sec in JPEG or RAW mode, and delivering eight 6.8-megapixel frames per sec by using the High Speed Cropped function. The D2X also features enhanced image processing for improved tonal response, a 2-1/2 inch LCD monitor, 11-zone AF, support for wireless operation, and compatibility with a wide range of color profiles. Price not announced at press time, but it’s expected to be about $5000. 

Featuring 8-megpixel resolution, a 10X, 8.9-89mm lens (equal to 35-350 in 35mm) with two ED glass elements for superior image quality, and built-in vibration reduction (VR) for clear images when shooting in low light, the Coolpix 8800 offers a versatile and competent alternative to the D SLR. The fact that it looks really cool, is lighter than most D SLRs, and is ergonomic and user-friendly for non-pros are definite plusses.

If there were an award for the prettiest, most engaging D SLR to debut at Photokina 2004, it would probably go to the *ist DS. It looks like a sleek, modern 35mm SLR but  it’s only about 2/3 the size and weight of one! Tipping the scales at 18 ounces, this ultra-compact marvel features a 6.1-megapixel CCD, fast SAFOX II, 11-point AF, 2-inch LCD, innovative Auto Picture mode for novice shooters, and a high-magnification finder. It takes a wide selection of existing Pentax lenses, and will sell for under $1000.

With an ingenious anti-shake system built into the body (it moves the sensor rather than the lens element to counteract camera vibration!), a new 6.1-megapixel CCD sensor, and a high-definition 2.5-inch LCD monitor, the groundbreaking 7D scores on high tech--and the anti-shake system works with all existing Maxxum lenses except for the fisheye and Macro zoom. Other features include central cross AF sensor with 9-point 8-line autofocus array, traditional dial and lever controls, shutter speeds to 1/4000 sec, the ability to shoot 9 frames at up to 3 frames-per sec in RAW or RAW+JPEG modes, and magnesium alloy body. The Maxxum 7D looks and feels great. No price set, it will initially retail at around $1,500.

The EVOLT E-300 is a distinctively styled 8-megapixel digital SLR based on the 4/3 imaging system (with 17.3 by 13mm CCD sensor) pioneered in the professional Olympus E1. Advantages to the 4:3 aspect ratio provided by this system include the ability to make uncropped, borderless enlargements to common paper sizes like 8-1/2x11, and to offer smaller, high-aperture lenses claimed to provide improved definition across the field. With its unique “flat top” design that uses a TTL Optical Porro Finder in place of a conventional pentaprism, the EVOLT, features a high-pop-up flash for reduced redeye, a compact 14-55mm f/3.5-5.6 normal zoom lens (equivalent to 28-90mm in 35mm), a Supersonic Wave Filter designed to eliminate dust on the CCD, three meter patterns, contrast, sharpness, and tone curve controls, a unique side-swing mirror, shutter speeds from 2-1/4000 sec, and a complete range of exposure modes including shiftable program, aperture and shutter plus full manual mode. The innovative EVOLT E-300 is slated to sell for under $1000.

Perhaps the most surprising announcement at Photokina 2004 was the Zeiss Ikon M-mount rangefinder camera which looks (surprise, surprise) quite like a vintage Contax. But Zeiss can’t use the Contax name, which is now owned by Kyocera. Based on a Cosina chassis and Japanese vertical metal-focal-plane shutter like the Voigtlander and Rollei rangefinder 35s, the Zeiss Ikon feels more substantial, has a distinctive appearance, and a newly designed range/viewfinder providing 3/4-lifesize viewing, and a 75mm rangefinder base (even longer than the Leica MP’s!) for improved focusing accuracy with the new line of Carl Zeiss M-mount lenses. Other features: Aperture-priority plus match-diode metering, battery-powered shutter speeds to 1/2000 sec, and a healthy dose of panache. No prices have been set, but the body will be substantially less expensive than a Leica MP or M7, and the lenses are slated to sell for about 2/3 the price of comparable Leica optics. The Zeiss Ikon 35 will be distributed worldwide by Hasselblad except in Japan, where it will be marketed by Cosina.

Looking very much like an oversized 35mm SLR, the Mamiya ZD looks right, feels right and accepts the full line of existing Mamiya 645 AFD lenses. Ergonomically contoured, its controls and modes (P, S, A, M) closely parallel that of a high-end 35mm SLR, and it reportedly has a central cross sensor for enhanced focusing accuracy (it not listed in the official specs). Other features: 22-megapixel, 48x36mm CCD image sensor, 1.5 frame per sec image capture for up to 11 shots, ISO settings 50-400, vertical metal focal-plane shutter with speeds from 30-1/4000 sec and X-sync at 1/125 sec,  built-in removable low-pass filter, two memory card slots, magnesium alloy top cover, and 1.8-inch LCD. The ZD weighs about 42.3 ounces (body only) and will sell four around $10,000.

This high-end medium-format pro camera features a fully integrated digital back with a 22-megapixel 37x49mm sensor that’s twice the size of the 35mm format, and is capable of storing 850 full resolution images on the hard drive. It accepts all Hasselblad HC-series lenses, including the new 110mm f/2, 120mm f/4 Macro (which gets down to 1:1 without extension tubes) and 300mm f/4.5. Other features, including multiple modes, fully automatic operation, shutter speeds to 1/4000 sec, full info LCD, super-bright optical finder, and central cross-field AF sensor are the same as the original Hasselblad H1, which also accepts the new range of Hasselblad digital backs as well as film backs. Based on the European price, the H1D should sell for about $20,000.

Somebody had to bite the bullet and make a beautifully integrated digital back for a classic 35mm SLR and it was Leica,. The Digital-Modul-R blends so seamlessly with the Leica R9 that it’s hard to believe it’s not a ground-up digital SLR design, and unlike the others, you can remove the digital back and shoot film. Because of film gate clearances, the CCD sensor is smaller than full-frame 35mm, but the focal length extension factor is a modest 1.37X. The sensor’s effective image area of 26.4x17.6mm comprises 10 megapixels, and you can set ISOs from 100-1,600. The size of the camera with the Modul-R is about the same as an R8/R9 with the Leica Motor Drive R attached. All R-series Leica lenses can be used—even updated Leicaflex SL/SL2 lenses. It can shoot up to 10 images at 2 frames-per-sec and is compatible with Adobe RGB and sRGB color management. No price has been set, but the Leica Digital Modul-R will be available by year’s end.

With its 7.2 megapixels and a Carl Zeiss Vario-Sonnar lens with 4x optical zoom, Sony's new Cyber-shot DSC-V3 digital still camera puts outstanding image quality, sophisticated controls and a compact ergonomic design in the hands of photo enthusiasts. It will be available in late October for about $700.  Providing all the versatility of a much larger camera, the V3 is a compact, classic rangefinder-style camera featuring a large easy-to-handle grip. The new design incorporates a 2.5-inch LCD viewfinder, providing more room than ever before to see and share images the moment they are captured.  The new camera is powered by Sony's recently introduced Real Imaging Processor circuitry that ensures fast start-up and shot-to-shot times of just over a second, providing increased speed and performance for automatic features like auto focus and auto exposure.

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