Sunday, August 24, 2014

THE 15 YEAR CYCLE IN THE CAMERA INDUSTRY


By Erwin Puts

When you review the development of the camera technology since 1960, one can discern a 15 year cycle. The period of the full mechanical precision engineered camera started around 1950 and ended in 1966 when Konica announced the Auto Reflex. The trend to automation culminated in the Canon A-1 in 1978 and found its peak with the Canon EOS 1 in 1989. The autofocus period started with the Minolta 7000 in 1985 and ended around 2000 with the announcement of the Kodak DCS series in 2002 and the Canon EOS D2000 in 1998.

Around 1985 there was much discussion in the industry about the technological platform reached by the then current engineering and innovation. Cameras were developed to the end of the lifecycle and no more inventions or innovations could improve the state of the art. At that moment the introduction of autofocus saved the industry and again a platform was reached around 2000 when the industry embraced the digital technology (supported by advanced software and electronic components.

Now in 2014/2015 the innovative cycle has ended. One sees a convergence of smart phone technology, conventional camera technology and social media platforms that define a new cycle. The current strategy of the main players is a simple one: add more features and deliver incremental improvements. There is hardly new thinking behind the approach to increase the sensor size or pixel amount and/or decrease the body footprint and to add more AF points or more exposure options. Even the switch from CCD to CMOS is not an element of new thinking.

One sees the current innovation stalemate in the diversion to cinematography and video options in still camera bodies. Video technology is a mature industry and the incorporation of this technique in a still camera body belongs to the marketing department, not the research department.

The recently announced Leica M-P, beautiful as it is, points to the same diagnosis. Leica seems to focus primarily on design and special materials to give the products a special status and appeal. The move from M to M-P is practical identical to the move from M8 to M8.2 or M9 to M9-P. And the special 100-year edition of the Monochrom is basically the standard Monochrom with stainless steel body parts. The special edition Leica M-A is the standard MP without the electronics of the current MP. (Do not confuse the MP with the M-P!).

If there is new thinking behind these products (or perhaps one may call it 'old thinking') is the trend to simplification, enhanced by the addition of elements of 'Manufaktur' and luxury. Again this is simply the revival of the classic Leica Luxus models.
So the next cycle of the camera industry may be defined by two trends: a return to classical values(Leica M style) and/or a shift to smartphone/movie (YouTube) amalgamation. (Leica T style??)

It seems that Leica is betting on both horses, while Nikon and Canon are still imprisoned in the gadget paradigm and are deliberating between mirrorless cameras and dSLR evolution.


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SEBASTÃO SALGADO – MASTER OF THE LEICA



One of the truly great photographers using Leica cameras is without a doubt Sebastão Salgado.  He just finished a new, extensive series of photographs titled “GENESIS.”

The International Center of Photography (ICP) will be the first venue in the US to present "Genesis." It will be on view from Sept. 19, 2014, through January 11, 2015. The exhibition is going to display more than 200 black-and-white photographs.

NBC News reports “Sebastião Salgado has never shied away from ambitious photo assignments.  "Genesis" attempts to show us what the world looked like before humans transformed it. Begun in 2004, its main subjects are sweeping landscapes, wildlife and frequently indigenous people living in harmony with the earth.”

On over 30 trips, traveled on foot, by light aircraft, seagoing vessels, canoes, and even balloons, through extreme heat and cold and in sometimes dangerous conditions – Salgado created a collection of images showing us nature, animals, and indigenous peoples in such shocking and intense beauty it takes our breath away. In GENESIS, one discovers the animal species and volcanoes of the Galápagos; the penguins, sea lions, cormorants, and whales of the South Atlantic; Brazilian alligators and jaguars; and African lions, leopards, and elephants. Through Salgado’s lens, we travel over icebergs in the Antarctic, the volcanoes of Central Africa, the ravines of the Grand Canyon, and the glaciers of Alaska. We encounter the Stone Age Korowai people of West Papua, nomadic Dinka cattle farmers in Sudan, Nenets and their reindeer herds in the Arctic Circle, as well as the Mentawai jungle communities on islands west of Sumatra.

Sebastião Salgado, Large sand dunes between Albrg and Tin Merzouga, Tadrart. South of Djanet. Algeria.  2009. © Sebastião Salgado/Amazonas images-Contact Press Images.

Sebastião Salgado, In the Upper Xingu region of Brazil’s Mato Grosso state, a group of Waura Indians fish in the Puilanga Lake near their village. The Upper Xingu Basin is home to an ethnically-diverse population, with the 2,500 inhabitants of 13 villages speaking languages with distinct Carib, Tupi and Arawak roots. While they occupy different territories and preserve their own cultural identities, they co-exist in peace. Brazil.  2005. © Sebastião Salgado/Amazonas images-Contact Press Images.

Sebastião Salgado, Southern Right whales, drawn to the Valdés Peninsula because of the shelter provided by its two gulfs, the Golfo San José and the Golfo Nuevo, often navigate with their tails upright in the water. When a tail stands immobile for tens of minutes, it is probable that the whale is completely vertical in the water in a kind of resting position; it has also been claimed that the whales use their tails as a sail, allowing the wind to do the work. After close observation, it is possible to predict when a whale will jump: a sudden and swift movement of the tail provides the burst of energy that enables the whale to project its massive body out of the water. Valdés Peninsula, Argentina.  2004. © Sebastião Salgado/Amazonas images-Contact Press Images.

Sebastião Salgado, Chinstrap penguins on icebergs located between Zavodovski and Visokoi islands. South Sandwich Islands.  2009. © Sebastião Salgado/Amazonas images-Contact Press Images.

The images are stunning. Salgado’s style – high contrast black and white images with a seemingly endless depth of field at times – has resulted in tremendous pictures of human labor, joy and suffering for years. Genesis marks his first major effort applying his lens to animals (whales, leopards, penguins and many more) and landscapes, with tremendous results.

Taschen Books has published a huge book with the images.  This Collector’s Edition, designed and edited by Lélia Wanick Salgado, features exquisitely reproduced large-format images arranged not by theme or region but rather conceived as a portfolio that takes beholders on a journey around the globe, immersing them in Salgado’s vision of the Earth’s mesmerizing scale, order, and beauty.

The book has a size of 46.8 x 70 cm (18.4 x 27.6 in.) and is delivered in a wooden cargo box (total weight: 59 kg [130 lb])



The photographer:
Sebastião Salgado began his career as a professional photographer in Paris in 1973 and subsequently worked with the photo agencies Sygma, Gamma and Magnum Photos. In 1994 he and his wife Lélia created Amazonas images, which exclusively handle his work. Salgado’s photographic projects have been featured in many exhibitions as well as books, including Other Americas (1986), Sahel, L'Homme en détresse (1986), Workers (1993), Terra (1997), Migrations (2000), The Children (2000) and Africa (2007).

The editor and author:
Lélia Wanick Salgado studied architecture and urban planning in Paris. Her interest in photography started in 1970. In the 1980s she moved on to conceiving and designing photography books and organizing exhibitions, numerous of them on Sebastião Salgado. Since 1994 Lélia Wanick Salgado has been the director of Amazonas images.


International Center of Photography
1114 Avenue of the Americas at 43rd Street
New York, NY 10036

Taschen Books


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Friday, August 22, 2014

THE MOST POWERFUL TELEPHOTO LENSES IN THE WORLD



A while ago I got into a discussion about the longest telephoto lenses ever made, by Leica but also in general.  Most Leica enthusiast are aware of the awesome 800 mm f/6.3 TelyR, the longest lens after the 560 mm f/6.8 Telyt-R.  But not many are aware that Leica made a lens twice as long, a 1600 mm f/5.6 Apo-Telyt-R.  It was delivered in 2006 on special order to a rich photography aficionado, Sheikh Saud Bin Mohammed Al-Thani of Qatar, at a price of 16 million Hong Kong Dollars - the equivalent of 2,064,500 US dollars. The lens is the only one ever sold, but a another one was on display at the Leica factory showroom in Solms, Germany, and will most likely be shown at the new Leica headquarters in Wetzlar.

Leica 560 mm f/6.8 Telyt-R on Leica M5, Visoflex 3, Bellows2

Leica 800 mm f/6.3 Apo-Telyt-S

Leica 1600 mm f/5.6 Apo-Telyt-R

Unfortunately, little is known about the technical specifications of the lens. It has a bayonet mount for Leica's R-series cameras, is approximately 1.2m long (1.55m with lens hood attached), has a maximum lens barrel diameter of about 42cm, and weighs no less than 60kg.  With a focal length of 1600mm, it covers a diagonal angle of view of merely 1.5 degrees. The lens should be compatible with Leica's 1.4x and 2x APO-teleconverters, increasing the focal length to 1:8/2240mm and 1:11/3200mm respectively.  With the Leica R afapter, it could also be used on the Leica M and Leica M-P.

  
Leica M8 camera sitting inside the lens hood

Getting sharp images from such a behemoth of a lens is a major challenge and requires a very solid tripod. The Danish Leica expert Thorsten Overgaard reported that Sheikh Al-Thani commissioned a specially-equipped Mercedes four wheel drive to carry his expensive lens and move it around.

But this is very little compared to the truly longest and most powerful lenses ever made.  Actually, the word lens is somewhat misleading because I am talking about astronomical telescopes.  People have argued that a telescope is not really a lens, yet I argue it is.  Astronomical telescopes routinely are used to take photographs.  That, in principle, makes them lenses just like any other telephoto; they are just a lot longer and faster.

One of the main aspects of an astronomical telescope is its light gathering power, or speed as we refer to it in photography.  In this regard I have come up with some rather astonishing numbers.

Currently, the largest telescope in operation is the Gran Telescopio Canaris.  Its main mirror has a diameter of 10.4 meter (34.12 foot).  The actual focal length is 16.5 meter which corresponds to a 16,500mm f/1.586 lens.  Similar in size are the Keck 1 and Keck 2 telescopes on Mauna Kea in Hawaii.  They have a diameter of the main mirror of 10 meter (32.8 foot).  Their focal length is 17.5 meter, making them 17,500mm f/1.75 lenses.

 
Gran Telescopio Canaris

 
Keck 1 and 2

 
The segmented mirror of Keck 2

The Large Binocular Telescope at the Mount Graham International Observatory in Arozona consists of two parallel telescopes which can be combined for simultaneous viewing.  It has currently the largest light gathering power of any earthbound telescope with a focal length of 9.6 meter, making it a 9,600mm f/1.142 lens.

 
Large Binocular Telescope

By these figures we can definitely see that there is a correlation between focal length and actual speed.  This becomes especially obvious when considering the BTA-6 telescope of the Special Astrophysical Observatory in Karachay–Cherkessia, Russia.  It has a mirror with a diameter of 6 meter (19.69 foot).  Apparently it has the longest focal length of any telescope currently in use with 26 meter (85.3 foot), effectively making it a 26,000mm f/4 lens.

 
BTA-6
The large structure to the right is a special crane used to service the installation

 
The 6 meter, solid mirror of BTA-6

A European project to build the largest optical telescope on Earth started to be built in fall of 2012, after getting the final approval from the scientific consortium backing the new observatory.

In fall of 2012 construction of the largest telescope in the world began after gaining the final approval by the governing council of the European Southern Observatory (ESO) earlier that year.

The E-ELT will be a 129-foot (39-meter) segmented-mirror telescope sited atop a mountain called Cerro Armazones in northern Chile, close to ESO’s Paranal Observatory. It will be many times more sensitive than any other instrument of its kind, researchers said.

 
An artist rendering of the E-ELT.
Please note the size of the car and the person at the lower left for scale

The huge telescope will collect at least 12 times more light than today's largest optical telescopes, allowing astronomers to probe a variety of high-priority cosmic questions. Scientists will use it to help search for habitable alien planets, for example, and to study the nature and distribution of dark matter and dark energy, the mysterious stuff thought to make up most of our universe but which astronomers have yet to detect directly.

"The telescope is set to revolutionize optical and infrared astronomy," said Isobel Hook of the University of Oxford, the United Kingdom's E-ELT project scientist, in a statement. "Its unique combination of sharp imaging and huge light collecting area will allow us to observe some of the most exciting phenomena in the universe in much better detail."

Building the E-ELT is expected to cost 1.083 billion euros, or roughly $1.46 billion at current exchange rates. ESO officials estimate the telescope becoming operational in early 2020. 

No data regarding the actual speed of the telescope has been published so far.  We do know that the telescope's main mirror has a diameter of 39 meters. With a focal length of 39 meters, that would yield a maximum aperture of f/1. Looking at some of the other large telescopes throughout the world, they all seem to have a focal length under 20 meters. Taking a 20 meter focal length would yield a maximum aperture of f/0.51. Consideration that this telescope is designed to gather at least 12 times more light than the largest optical telescopes currently in operation, this could translate to an aperture of potentially f/0.3.  With other words, this telescope will be amazingly fast, especially if one considers that the fastest production lens for photography is the 50mm f/0.95 Leica Noctilux.

Very impressive instruments indeed.  But for the time being I will stay with my 400 and 800 mm lenses.  They are a lot more portable, although also a lot slower.

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THE FASTEST LENSES LEICA EVER MADE



Leica has always had a very high reputation for making some of the fastest lenses on the market.  The current 50mm f/0.95 Noctilux is the fastest, full frame aspheric production lens available from any manufacturer.  But not only is it very fast, it is also an amazingly well performing lens, even wide open.  The performance at f/0.95 combined with some of the high ISO setting available on the Leica M and new M-P, allows the photographer to shoot under available light conditions that were impossible to take advantage of in the past.

 
Noctilux 50mm f/0.95

The Noctilux f/0.95 replaced the famous Noctilus f/1 which was first introduced in 1975.  It too was an amazingly well performing lens, including the f/1 aperture, and many owners of this lens can consider themselves very lucky indeed.  The Noctily f/1 was one of the crowning achievements of Dr. Mandler, chief lens designer of Leica in the 70s and 80s.  He set out to design a replacement of the original Noctilux 50mm f/1.2 that was not only 50 percent faster but also better in overall performance, all without the aid of aspheric elements.  He succeeded to do so, but not until the Leitz glass laboratory was able to develop a glass that enabled the production of the lens.  To my knowledge, this glass is still of the highest refracting index ever produced and used in actual lens production.  The refracting index was a previously thought of as unattainable ne 1.9005.

 
Noctilux 50mm f/1

The predecessor of this lens was the original Noctilux 50mm f/1.2.  Introduced in 1966, it was the first production lens with aspheric lens surfaces.  At that time, this was an incredibly complicated process that required a fair amount of hand grinding of the elements.  Subsequently the lens was priced accordingly.  Even by today’s standards the lens was an incredible performer.

 

Noctilux 50mm f/1.2

But the Noctilux lines of lenses are not the only extremely fast lenses ever made by Leitz.  There were several others which have come and gone.  These were mostly special application lenses that had only limited use for general photography.

One such lens was the ELCAN 90mm f/1.  ELCAN was the trade name for Ernst Leitz Canada, the Canadian branch established by Leitz in 1952 in Midland, Ontario.  The lens was made for the US Air Force as a special night photography application lens.  Since focusing is very critical at that wide an aperture, and since the lens blocked most of the viewfinder because of its massive size, the lens had no focusing mount.  Instead it came with three focus rings, engraved 50 meters, 100 meters and infinity.

 

ELCAN 90mm f/1 with the infinity focus ring installed and the
50 meter and 100 meter focus rings in the foreground

But there were lenses with even higher speeds like the Leitz-IR 150mm f/0.85 and the Leitz Summar 75mm f/0.85.  Very little is known about these two lenses.  Apparently the 75mm f/0.85 Summar was used for x-ray photography while the 150mm f/0.85, considering the IR designation, appears to have been used specifically for infrared photography.

 
Leitz 15cm (150mm) f/0.85

 
Leitz 7.5 cm (75mm) f/0.85

Finally, the two Leica speed champs were a 65mm f/0.75 and a 50mm f/0.75 lens.  Both appear to have been designed specifically for x-ray photography.  But I have seen regular color photographs made with one of them which looked quite interesting.  They were mostly close ups of flowers, taken wide open.  Needless to say, the depth of field was extremely shallow.  Yet the in-focus areas actually looked quite good.

 
ELCAN 65mm f/0.75

Thus we reached the end of this excursion into the world of super fast Leica lenses.  It is doubtful that we will ever see anything faster than the Noctilux 50mm f/0.95 in the future.  With the ever increasing high ISO capabilities of modern digital cameras, the need for any such lenses is diminishing quickly.  So, if you are interested, get what you can now.  Tomorrow might be too late.

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Thursday, August 21, 2014

JUST ANNOUNCED: NEW LEICA M-P


The following press release by Leica Camera AG reached us this morning:



LEICA M-P THE NEXT GENERATION OF THE LEICA RANGEFINDER CAMERA FOR PROFESSIONAL PHOTOGRAPHERS


Leica-M-P-240-camera-front

Leica Camera AG, Wetzlar, presents a further model in the Leica rangefinder camera segment. Based on the otherwise identical Leica M, the Leica M-P offers all the technical advantages of the Leica M-System and several additional features, for example an enlarged buffer memory. The ‘P’ in the name of this camera indicates the particularly discreet and enduring design concept with which the Leica M-P joins the line of Leica M-Cameras conceived especially to fulfil the needs of professional photographers.

The buffer memory capacity of the Leica M-P has been increased to 2 GB – twice the size of that of the Leica M. This guarantees that the Leica M-P is immediately ready to shoot in almost all situations. This is a particular advantage when shooting pictures in rapid succession, as the image data needs to be buffered directly after the shutter is released, before writing to the SD memory card. This means that users can now react to events with even greater spontaneity to capture the decisive moment in almost every photographic situation.

In terms of design, the Leica M-P is based on the typical characteristics of the Leica rangefinder system and focuses in particular on robustness and a long product lifespan. The use of an extremely scratch-resistant sapphire crystal cover for its LCD monitor is one example of this. This material is so hard that it can only be worked with special diamond cutting tools and is one of the world’s hardest materials. In practical terms, the sapphire glass LCD cover is almost unbreakable and offers resistance to many kinds of wear and stresses, meaning that the camera is ideally equipped for many years of use. Thanks to an anti-reflective coating on both sides of the cover glass, image reviewing is now even better, even in difficult lighting conditions, and allows photographers to assess and check every subject with optimum precision both before and after exposure.

The unobtrusive and minimalistic look of the Leica M-P provides even greater discretion in decisive shooting situations. Many photographers who already use Leica M-Cameras actually tape over the red Leica logo to make their work as unobtrusive as possible. For precisely this reason, this identifying feature has been omitted from the new rangefinder camera. Instead, the top plate of the camera is engraved with a subtle Leica script.


Leica-M-P-240-camera

Leica-M-P-240-silver-chrome

Other new details of the camera include a frame selection lever with which bright-line frames for six different focal lengths can be projected into the viewfinder to simulate subject framing. The corresponding frames are shown in pairs for the focal lengths 28 and 90 mm, 35 and 135 mm or 50 and 75 mm. This avoids the need to change lenses to assess suitable subject framing, offers greater creative freedom and allows photographers to concentrate fully on composing their pictures.

Leica-M-P-240-back-black
The Leica M-P is available now from authorized Leica dealers in two different versions: a black-paint version and a traditional silver chrome version. The Leica M-P complements the Leica M. Both cameras will be marketed together.



Tuesday, August 19, 2014

ANOTHER 100 YEAR ANNIVERSARY



This year’s 100 year anniversary of the Leica camera has been well documented and celebrated, but there is another anniversary, closely connected to Leica, that also celebrates 100 years of service to the photographic industry.

The year 1914 saw the birth of National Camera Exchange in Minneapolis when its founder Herman Liss opened the doors in downtown Minneapolis.  National Camera Exchange (NCE) from the very beginning traded in new as well as used equipment and with his first sale, Herman Liss traded a Graflex camera.


11 South 5th Street

114 South 5th Street
Note Leica being listed

When the Leica appeared on the market in 1925, and with its subsequent success on the world market, Herman Liss took notice.  The result was that NCE became only the sixth Leica franchise in the US.  It is thought that the year was 1929 and NCE has carried Leica products ever since.


Herman Liss, left, Mort Liss right

NCE quickly became a fixture of the photographic industry in the Twin Cities (Minneapolis and St. Paul).  They are to this day and it is much to their credit that they survived as one of only two pure photography stores in the area.  In the 1970s there were at least 10 such stores, but with competition from department stores and other mass marketers, these disappeared one by one.

Herman Liss died in 1949 and his son Mort took over the ownership of NCE.  Mort was especially interested in motion picture cameras.  He designed the Morton Soundmaster 16mm motion picture camera and had it built by the Nord company in 1952.

In 1961 NCE decided to move from downtown Minneapolis to the suburb of Golden Valley where they celebrated their 50th anniversary in 1964.


The first Golden Valley Store

NCE has always been closely connected to the Twin cities community.  For instance, in 1974 they helped out the Kunst brothers, who walked around the world, with a donation of cameras after John Kunst was shot and killed in Afghanistan.

In 1978, Jon Liss, the son of Mort Liss and grandson of NCE founder Herman Liss took over the ownership of NCE.  He soon opend multiple locations for the first time.  He started with a new downtown location in Minneapolis.  Another additional store was in Dinkytown, an area close to the University of Minnesota.  This store was the first to also include a photo lab.


Jon Liss with his granddaughter Luca

In 1985 Jon Liss had the firm of Voda/Desnick design and build a new store, just a few doors down from their first Golden Valley location.  The store is designed to look like a camera and has won awards for this design and unique look.


The main National Camera Exchange store in golden Valley
Photo by Mark Christman

Jon Liss at the main entrance of the Golden Valley Store

Since then NCE has opened several other stores, but also had to close some locations, like the store in Dinkytown because of a massive construction project.

In 1994 City Pages, a local daily newspaper, voted National Camera Exchange the “Best Camera Store” in the Twin Cities and in 2000 they received the “The Integrity Award” from the Better Business Bureau.

National Camera Exchange has always handled new and used equipment.  Their rating system is part of what upholds the stellar reputation of NCE.  As Jon Liss explained, they deliberately are very conservative with their ratings and rather underrate than do the opposite.  Jon went on to say that they want to make sure that a customer, when he unpacks a camera, lens or accessory, is pleasantly surprised by the condition.  “If the customer feels that he got his purchase in better condition than expected, we are doing our job right” Jon said.

I can personally attest to that.  Just recently I ordered a 135mm Elmarit-M for my Leica M8 from a dealer out east.  The lens was listed in excellent shape, with an attractive price of $350.00.  Upon receiving the lens it proved to be in very used condition.  Closer inspection showed the focusing mount to be exceedingly stiff with a noticeable “kink” at a certain distance setting.  In addition, the lens was extremely dirty inside, not just dusty, but there was a large amount of debris, including hairs inside.  I returned the lens for a refund.  Looking for another one, I found the same lens offered by NCE in excellent condition for just $295.00.  I bought it and went to their Golden Valley store to pick it up.  To my surprise, the lens was in like new condition.

This philosophy of good service is one of the reasons why National Camera Exchange has not only survived the onslaught of discount stores, but has allowed them to prosper.  NCE is doing this with competitive prices, but unlike so many mass marketing establishments, they also pride themselves to have a very knowledgeable staff.  A customer can go to them and get real advice as to what the right equipment is for them.  In addition, they guarantee all of their sales, new and used.  If for any reason a new purchase proves to be not what expected, they will take it back without any problems.

NCE also offers a fairly large range of photography and photography related classes.  These are free to customers that have purchase new or used equipment and are also offered at very reasonable prices to the general public.

The philosophy of doing things right is also extended to the employees at NCE.  The stores have a very pleasant working environment which has resulted in several people having worked for NCE for 20, 30 and even 40 years.  The Vice President, Mike Lamont, for instance, started as a sales clerk over 40 years ago.

The 100 year anniversary is currently celebrated with an exhibition at the Minneapolis Photo Center.  It shows a wealth of photographs, documents and photo equipment, covering 100 years of service to the photo industry by National Camera Exchange.


    Rebecca Lawson, curator of the exhibition
    at the Minneapolis Photo Center




Here is to the next 100 years.



For a waiting - order list for the Leica M and Leica T, please contact NCE at the below website or addresses.

The newly designed website of National camera Exchange covers everything from new to used at http://www.natcam.com

In addition you will find them on a regular bases on eBay.

National Camera Exchange Golden Valley
9300 Olson Memorial Highway
Golden Valley, Minnesota 55427
Phone: 763.546.6831
Fax: 763.546.7043

National Camera Exchange Burnsville
14380 Burnhaven Drive
Burnsville, Minnesota 55306
Phone: 952.898.4888
Fax: 952.898.3396

National Camera Exchange Edina
7101 France Avenue South
Edina, Minnesota 55435
Phone: 952.927.9010
Fax: 952.927.9255

National Camera Exchange Maple Grove
12055 Elm Creek Blvd N
Maple Grove, Minnesota 55369
Phone: 763.425.1417
Fax: 763.315.0897

National Camera Exchange Roseville
2401 Fairview Avenue
Roseville, Minnesota 55113
Phone: 651.636.0693
Fax: 651.604.0830

Minneapolis Photo Center
2400 N 2nd St #200, Minneapolis, MN 55411
612) 643-3511
Open today · 11:30 am – 5:30 pm