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Posts Tagged ‘dominate’

Sony overtakes Canon and Nikon to dominate the full-frame camera market in Japan

03 Dec

Sony has overtaken Canon and Nikon to claim the top slot for full-frame camera market share in Japan, according to BCN Ranking. Sony showed growth in the overall full-frame, APS-C and fixed-lens digital camera categories from November 2018 to October 2019, as well.

Ultimately, Sony saw its total full-frame camera market share in Japan increase from 31.6% to 38%, while Canon was bumped down to second place at 36% market share compared to last year’s 37.8%. Nikon came in at 24% of the full-frame market, a decrease from last year’s 29.1%.

As the figure below shows, Sony dominated both unit sales (dark blue) and total value sales (light blue) across all three camera categories. Canon and Nikon were down across the board with the exception of a slight 6.6% full-frame unit sales increase from Canon over the past year.

Nikon saw the most severe decreases in unit and value sales across the board, experiencing more than a 30% drop in value sales in the APS-C market, among other things. In comparison, Sony experienced a more than 44% increase in value sales in the same category over the past year.

BCN notes full-frame mirrorless and DSLR sales comprise of just 10% of the overall camera market, which is largely dominated by APS-C mirrorless and DSLR cameras.

The company also notes that Canon and Nikon’s slow move into the full-frame mirrorless market has given Sony a headstart; only time will tell whether the company manages to hold its lead as competition heats up.

In 2018, Sony stated intentions of becoming the ‘top brand in the overall camera market,’ a goal it has made considerable progress in achieving. As DPReview reported in May, Sony took the #2 spot from Nikon in the interchangeable lens camera market last year with 23% of the market share (based on revenue).

Sony said at the time that it had claimed 24% of the overall global still camera market in its fiscal year 2018, an increase of 4% compared to its global market share in 2017. Meanwhile, Nikon’s struggles were reflected in its most recent quarterly financial report; the company revised down its Imaging Products revenue outlook for the fiscal year ending in March 2020 due to shrinking sales.

Articles: Digital Photography Review (dpreview.com)

 
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Canon and Sony dominate Lensrentals’ most rented gear of 2017 list

28 Dec

Lensrentals has released its most rented gear of 2017 list, and the results are very interesting. You can check out the full list here, but we thought we’d point out the three things that immediately caught our eye.

1. Sony’s claim that it’s beaten Nikon to take the #2 position in sales of full-frame interchangeable lens cameras (ILCs) is backed up by the rental data. According to Lensrentals, for the first year ever, Sony has out-rented Nikon and “is slowly closing the gap to Canon.”

2. That said, Sony’s top renting piece of gear—the Sony a7S II—only reached the number five spot behind four Canon products; the Canon 24-70mm F2.8L II, Canon 70-200 F2.8L IS II, Canon EOS 5D Mark III, and Canon EOS 5D Mark IV took the numbers one, two, three, and four spots, respectively. Canon may not have released anything overly exciting this year, but there’s no doubt it’s still the best-selling camera brand in the world.

3. Finally, the last bit that caught our eye is that a battery—Sony’s NP-FW50, which was recently replaced the the NP-FZ100 that our own Richard Butler loves so much—took the number 6 spot, beating out some seriously popular gear like the Canon 50mm F1.2L and Canon 6D. This just foes to show: upgrading the Sony a9 and a7RIII to the much bigger FZ100 battery was an absolute necessity.

To see the full list and breakdown, or dive into a few other categories like last year’s most-rented list or the most popular new equipment rented in 2017, head over to the Lensrentals blog.

Articles: Digital Photography Review (dpreview.com)

 
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Brutalist Victory: Concrete Skylines Dominate Radical Retro-Future Cities

13 Jun

[ By WebUrbanist in Architecture & Cities & Urbanism. ]

Architectural trends come and go, but some visions are more persistent than others, and Brutalism could have been among them. This artist asks and answers the question: what if concrete monstrosities of the 1960s and 70s had somehow won the war against the steel-and-glass towers that dominate contemporary skylines?

German digital artist Clemens Gritl has built a virtual world around this retro-futuristic vision, dubbed “A Future City from the Past”, populated with extreme forms of concrete idealism. His “super-brutalist” metropolis extrapolates the revolutionary aesthetic of this harsh material, seen for a time as representing social progress and democratic ideals in architectural form.

Through 3D modeling (exhibited as black-and-white 2D images), this series presents something that could have been seen as utopian but inevitably, with Brutalism in hindsight, feels oppressive and dystopian. His renditions are meant to look like products of a past time, capturing Modernist-worthy views of these giant-sized Brutalist creations.

“All buildings and structures are homogenic,” says the artist. “The differentiations of architectural styles and eras are eliminated and replaced by geometric structures, repetition and absolute materiality.”

“Ballard’s novel paints a dark dystopian picture — the architecture of a single residential tower becomes the driving force for mysterious changes of the tenants behaviour. Can the presence of a high-rise structure truly create such a threatening atmosphere and social tension, culminating in murder, decay, destruction and even anarchy?”

Individually, various structures recall Modernist greats as well, like a towering residential complex arrayed on piloti (columns) as envisioned and realized by Le Corbusier. But, like Corbu’s masonry towers for his idyllic cities, the results do not look particularly livable. Perhaps the portrayal is also a little unfair — after all, Corbu at least envisioned these things surrounded by green landscapes.

Concrete Wonders: 13 Brutalist Buildings in the USA & Britain

While the most theatrical Brutalist buildings remain in the former USSR, there are plenty more of these controversial concrete complexes around the world, and they draw both admiration and ire in …

Brutalist Reality: Tower Blocks Can Be Dystopia For Real-Life Residents

Architecture enthusiasts might love the cold, harsh lines of Brutalist buildings, but for the people who actually live in the iconic London tower blocks and other modernist complexes for …

Cities of Bone: Organic Future Skyscrapers Free of Concrete & Steel

Our cities have grown up thanks to concrete and steel, but these materials are far from sustainable, leading architects and researchers to explore new (and old) materials, from wood to eggshell …

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[ By WebUrbanist in Architecture & Cities & Urbanism. ]

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Canon and Sony dominate EISA awards for photographic equipment

16 Aug

The European Imaging and Sound Association (EISA) has awarded Canon and Sony four titles each from the 19-strong list of photography products it has held up as the best of the year. The European DSLR Camera award, which is the main photography title, went to the Canon EOS 80D, while the EOS-1D X Mark ll won the European Professional DSLR category. Canon also picked up awards for its EF 35mm F1.4L II USM lens (Professional Lens of the Year) and for its imagePROGRAF Pro-1000 printer.

Sony’s awards came in the Premium Compact  for the Cyber-shot RX1R II, Professional Compact System Lens for the FE 85mm F1.4 GM, Prosumer Compact System Camera  for the a6300 and Photo & Video Camera for the a7S II categories.

Sigma collected the DSLR Zoom Lens title for its 50-100mm F1.8 DC HSM Art lens, while Tamron won the overall DSLR Lens award for the recent SP 85mm F1.8 Di VC USD. Other notable awards are Prosumer DSLR of the Year for the Nikon D500 and Fujifilm’s X-Pro2 collecting the Professional Compact System Camera title. The Photo Innovation award went to Panasonic’s DUAL IS system as demonstrated in the GX80.

The EISA Awards have been running since 1982 when the only title was Camera of the Year – which went to the Minolta X700. Today’s awards are decided by the 14 editors of the Photography Experts group who represent weekly, monthly and bi-monthly photography magazines from 14 countries across Europe.

For more information visit the EISA website. 

Articles: Digital Photography Review (dpreview.com)

 
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