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At its ‘X Summit’ in London, Fujifilm announced that the X-T4 will be unveiled later this month, on February 26th. And that’s all we know at this point, so check back then for all of the details.
What features are you hoping to see on the X-T4? Let us know in the comments below.
Articles: Digital Photography Review (dpreview.com)
The wait for the Fujifilm X100V is over! We’ll take you through everything you need to know about this new camera, including its new lens, weather sealing, control changes and more. TL;DR: according to Chris and Jordan, it’s really good.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
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Articles: Digital Photography Review (dpreview.com)
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Ricoh has announced its latest ultra-rugged compact camera, the WG-70. Nearly identical in design to its predecessors, the compact camera is specifically made for trying environments and features dedicated shooting modes for underwater and macro photography.
At the center of the WG-70 is a 16 Megapixel 1/2.3” backside-illuminated CMOS sensor with a maximum sensitivity of ISO 6400. In addition to stills, the camera captures 1080p (Full HD) video. The onboard lens features a 28–140mm 35mm-equivalent focal length, has an aperture range of F3.5-F5.5 depending on the focal length and is constructed of 11 elements in 9 groups. In addition to the optical zoom, the camera also offers an additional 7.5x zoom when using the onboard ‘Intelligent Zoom’ feature (which is limited to 7 Megapixel).
Composing and reviewing media is done on the 2.7-inch ‘outdoor-friendly’ LCD display that has an anti-reflective coating. A ring of six LEDs around the lens of the camera offers a unique means of capturing macro images. To make the most of the unique LED array, Ricoh has included a new ‘Digital Microscope’ mode that enlarges the subject being captured. A standard Macro mode is also included, in addition to the underwater shooting mode, which compensates for the color shift that happens when snapping underwater shots.
The WG-70 is waterproof down to 14m (46ft), shockproof from falls up to 1.6m (5ft) and freezeproof down to -10ºC (14ºF). The WG-70 works with Ricoh’s lineup of WG-series mount accessories, which allow you to mount the camera much like you would an action camera.
The Ricoh WG-70 will be available in mid-March at participating retailers for $ 280.
Press release:
RICOH WG-70 features advanced shooting modes for underwater and macro photography, high-definition video
PARSIPPANY, NJ, February 4, 2020 ? Ricoh Imaging Americas Corporation today announced the RICOH WG-70, a durable, lightweight and waterproof compact digital camera that produces super-high resolution photos and high-definition (HD) video. Equipped with a 5x optical zoom lens with 28mm wide-angle coverage and a large, outdoor-friendly wide-frame LCD monitor, the new model in the rugged WG series makes it easy to capture a range of images – from eye-catching close-ups to sweeping landscapes – in extreme conditions, both on land and under the sea.
The RICOH WG-70 adds a number of newly designed features including a digital microscope mode that, when coupled with the use of the camera’s six-LED macro lights, enables the user to clearly see a magnified view of the microscopic world and effortlessly capture eye-catching close-up images. It also features an advanced underwater shooting mode that optimizes color, contrast and white balance to deliver sharp, true-to-life images. Ricoh has also added a new digital Cross Processing effect option, allowing the user to give an artistic, altered color finish to images, similar to result of cross-processing film images.
The RICOH WG-70 camera’s back-illuminated CMOS image sensor with approximately 16 effective megapixels and a high-performance imaging engine delivers super-high-resolution still images and HD video clips. It features triple anti-shake protection to prevent blurred images and videos in all applications.
The RICOH WG-70 is waterproof to a depth of 46 feet (14 meters), shockproof against a fall from a height of five feet (1.6 meters) and freeze-proof in temperatures as low as 14°F (-10°C). It also comes equipped with an outdoor-friendly LCD monitor with a brightness level that can be instantly adjusted to the lighting level of a shooting situation. The camera is 4.8 inches wide by 2.4 inches high by 1.2 inches deep and weighs approximately 6.8 ounces (including battery and SD memory card).
Articles: Digital Photography Review (dpreview.com)
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In amongst the X100V hullabaloo in London today, Fujifilm also discussed three new lenses spread across their two interchangeable lens camera systems. Unfortunately, we have neither press releases nor full specifications for these lenses, but you can get a sense for their size and how they handle from our hands-on photos with the mockups.
The first lens is the Fujifilm XF 50mm F1.0. We’ve covered this lens before; it was originally going to be a 35mm F1.0 lens (52.5mm equivalent focal length), but Fujifilm pivoted to a 50mm F1.0 (75mm equivalent) design due to size, weight and autofocus speed considerations. As you can see, it’s still a big lens when mounted on an X-T3 and comes with a 77mm filter thread and carries a ‘WR’ label for weather resistance, but manages to weigh in under a kilo. Judging from the aperture ring, the lens is capable of a minimum aperture of F16.
Next up is the GF 30mm F3.5 for the company’s medium-format GFX system. This lens has a roughly 24mm equivalent field of view, a common moderate-wide focal length that’s handy for everything from architecture to reportage as well as video shooting. With a relatively small 58mm filter thread, we expect it to handle well on all GFX bodies thus far released, and like all GFX lenses, also comes with a ‘WR’ label for weather resistance. The 30mm F3.5 will stop down as far as F32.
Lastly we have the GF 80mm F1.7. While more substantial-looking than the 30mm, it doesn’t look out of place on the (admittedly, fairly large) GFX 100. Its F1.7 aperture makes it the fastest lens yet for the GFX system, and it offers an equivalent focal length of 63mm. It comes with a minimum aperture of F22, has a 77mm filter thread, and of course, a ‘WR’ rating for weather-resistance.
Let us know what you make of Fujifilm’s latest lenses in the comments.
Articles: Digital Photography Review (dpreview.com)
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Fujifilm just updated one of its most important – and most-loved – product lines, with the X100V.
That’s ‘V’ pronounced ‘vee’, but obviously also ‘V’ as in ‘Fifth’ (what did the Romans ever do for us?). The X100V is, of course, the fifth in the X100 line, and to Fujifilm’s credit, it still looks a lot like (and works a lot like) the (F)fourth one, which in turn looked a lot like the original X100, released way back in 2011 after a late 2010 announcement.
As you’d expect though, after almost a decade of development, some things have changed. The X100V is an altogether faster, more capable camera than its original ancestor, even though Fujifilm hasn’t meddled too much with the basic recipe that has made the X100 series so successful.
Click through this article for a closer look at the new Fujifilm X100V.
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While the increase in megapixels is modest, the switch from Fujifilm’s last-generation 24MP chip to the new 26MP ‘X-Trans CMOS 4’ sensor used in the X-T3/30 and X-Pro 3 should mean a slight bump in resolution and improved image quality, especially in JPEGs shot at higher ISOs.
It also means that data can be read-out faster, to the tune of an additional three frames per second of continuous shooting. The X100F was no slouch, topping out at 8 fps, but the X100V offers 11fps with the mechanical shutter; switching to the electronic shutter gets you 20 fps with the full sensor, and 30 fps with a 1.25x crop. These aren’t necessarily settings that we suspect many X100V users will activate often, but it’s nice to know they’re there.
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More useful is an overhauled autofocus system, which in Fujifilm’s words offers ‘vastly improved’ performance compared to previous generations of X100-series cameras. While we haven’t tested it yet in depth, there does appear to be a difference in autofocus speed and responsiveness compared to the X100F, which was itself a major improvement over earlier models. Fujifilm claims that the new AF system works down to –5EV, which should constitute a major improvement in low light conditions over previous X100-series cameras.
The difference is most noticeable in face/eye-detection mode, and in continuous tracking. While the X100V is no sports camera (despite its highest frame-rate) it’s nice to have a genuinely usable AF-C mode for candid portraiture at wide apertures. As with the X100F, the active autofocus point can be positioned automatically, or manually using the dedicated rear AF joystick.
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While the X100V’s 23mm F2, eight element lens might look very similar to that of its predecessors, it has an additional aspherical element in the middle of the design, which according to Fujifilm should give it greater edge resolution and better closeup performance. The previous lens was designed for the 12MP of the original X100, and even on that camera, it didn’t look great in the closeup range. With the ever-increasing resolution of the X100-series, Fujifilm really needed to update its lens, and our initial shooting suggests that the company succeeded. We’ll be doing detailed side-by-side tests as soon as we can.
The X100V has the same threaded filter / converter ring as all previous X100-series cameras, which means it’s compatible with the same wide and tele converters that Fujifilm has been selling for almost a decade. Newer versions (WCL-X100 II and TCL-X100 II) have electrical contacts which tell the camera that a converter is attached, but older (non-II) converters will mount just fine, and are optically identical.
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Controversy! We know for a fact that Fujifilm agonized over this one. Should they listen to those loyal X100-series owners who really wanted a tilting and/or touch-sensitive screen, or should they hold firm and honor the purists who didn’t want any additional complexity and wanted to keep the camera nice and slim?
In the end, the company tried to do it all, and largely succeeded. The X100V is slightly thicker than the X100F, but not so you’d notice unless you held both in your hand, and even then it’s subtle. But room has been made for a proper tilting and touch-sensitive LCD. If you don’t need the tilt, that’s fine: the unusually thin (4.4mm) LCD panel sits flush to the back of the camera in its ‘normal’ position.
Resolution-wise, the 3″ LCD has been upgraded from the 1.04M dots of the X100F to 1.62M dots. It’s a 25% resolution increase in each dimension, and both images and menus do look slightly crisper.
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I’ve said it before, and I’ll say it again: the X100F was a camera with too many dials. An aperture dial, a shutter speed dial, exposure compensation dial and ISO dial on the top, a push-in control dial on the front, another on the back and control dial around the lens. That’s seven dials. Seven dials is too many dials. Right?
Well, clearly I represent the minority view on this issue, since the X100V still has seven dials. What it no longer has, compared to the X100F, is seven customizable buttons. The X100V dispenses with all but two true custom buttons (leaving the one at the hub of the viewfinder mode switch on the front of the camera, and the one to the right of the shutter button on the top) but six additional control points can still be customized. Functions can also be assigned to up/down/left/right swipes of the touch-sensitive LCD.
Still too many dials though.
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Now that you can assign actions to swiping movements, place AF point by touch, and scroll through captured images by swiping, Fujifilm clearly thought that the old 4-way controller on the rear of the X100F was no longer necessary. As a consequence, the rear of the X100V is now cleaner and less cluttered than its predecessor, but whether the loss of the controller ends up bothering us is something we want to establish as we use the camera more over the coming weeks.
A smaller, but potentially significant change is that the ‘Q’ button on the right edge of the X100V is now almost flush to the rear of the camera, rather than being raised. This makes it harder to press accidentally, but also potentially harder to press deliberately: especially when wearing gloves. The rearrangements on the rear of the camera have allowed Fujifilm’s designers to add a subtle ridge along its right-hand edge, which serves as a modest thumbgrip.
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It’s another a small thing, but whereas in the X100F the ISO dial ring was spring-loaded, so it had to be raised and held there for the ISO dial to be rotated. On the X100V the ring pops up, and must be pushed down again to switch back to shutter speed control. It also gains subtle clicking detents as you select your ISO setting, meaning you have some tactile feedback if you’re manipulating the dial with the camera to your eye.
Better? Worse? Let us know in the comments. (We think it’s better.)
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Another feature that Fujifilm claims has been ‘vastly’ improved, the X100V’s optical viewfinder is practically the same as that used in the X-Pro 3. The magnification is essentially the same (~0.52x) and there’s the same small EVF ‘tab’ option for a more detailed view of exactly what’s under your focus point.
The biggest difference from a practical point of view is how Fujifilm has dealt with the issue of parallax. In the X100F, in OVF mode you’ll see two center AF reticules, one solid, representing where the selected AF point will fall at infinity, and one with broken edges, to its lower right, which indicates where this point will fall at minimum focus. When AF is acquired you’ll see a third box, in green, appear on a line somewhere between these two points (depending on your subject distance).
In the X100V, Fujifilm has simplified this indication, and the infinity reticule is replaced by the ‘active’ AF point indicator as soon as AF is initiated. As such, if your subject is closer than infinity, it will change position (on a track down and to the right) once focus is acquired. As in the X100F, the main frame lines will also move to indicate accurate framing.
Whether you find this new ‘improved’ way of dealing with parallax any easier to get your head around probably depends mostly on how you felt about the old way of doing things. It’ll take some getting used to, either way.
The EVF has also been upgraded, to a 3.69m-dot OLED capable of up to 100fps display. The difference between the X100F and X100V EVF experience is fairly subtle, but the panel is more responsive and offers a much greater contrast ratio, which is noticeable in some shooting situations.
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With the X100F, Fujifilm turned the X100 lineup into a halfway-convincing option for videographers, and with the X100V, the company has finished the other half. Offering 4K video at up to 30p, with 10-bit 4:2:2 output over HDMI, and the ‘Eterna’ cine film profile, the X100V is a much more capable video camera than most buyers will ever need it to be.
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The X100V is a nicely-built camera, with top and bottom plates milled from single pieces of aluminum. It was not uncommon to hear complaints from X100-series owners that over time, dust would get into their cameras’ viewfinders and sometimes even onto the sensor. The X100V offers improved sealing, to the point that with a filter attached to the lens using the optional AR-X100 adapter ring, Fujifilm is confident calling it ‘weather-sealed’.
You will need to add that filter, though. Straight out of the box, the X100V may be vulnerable to dust and water incursion, at least around the edges of the lens.
We’re told that the main reason that Fujifilm opted not to include a filter adapter in the box (above cost) is that since this is the fifth model in the X100 line, the company is expecting it to be purchased by a lot of photographers upgrading from previous models. As such, a great many of these people will most likely already own the adapter.
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The X100V features the same NP-W126S battery as the X100V, and it’s good for up to 420 shots using the optical viewfinder and 350 using the EVF (per CIPA). The battery is accessed via a door on the base of the camera, and shares space with a single SD card slot, which supports UHS-I media (but not UHS-II).
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If you’re worried about battery life on the go, the X100V offers a USB C interface that supports in-camera charging. It’s a USB 3.2 Gen 1 interface (formerly known as USB 3.1 Gen 1 and before that as USB 3.0). The interface does triple duty in fact: charging, data transfer, and audio monitoring using headphones. It sits alongside an HDMI port and a 2.5mm microphone/remote socket.
So that’s the Fujifilm X100V, coming soon to a retailer near you for $ 1,399 (a $ 100 premium over older versions). What do you make of it? Let us know.
Articles: Digital Photography Review (dpreview.com)
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The X100V is Fujifilm’s fifth X100-series camera since the original model debuted almost a full decade ago. Through each successive iteration, Fujifilm has made its large-sensor, prime-lens compact camera more and more capable, and this latest model (officially pronounced Ex One Hundred Vee) takes the core bits of Fujifilm’s high-end interchangeable-lens X-Pro3 and slips them into a much smaller package.
This means you get the company’s latest 26MP X-Trans APS-C sensor and processor combo, the promise of much-improved autofocus and the best video feature set we’ve seen on a prime-lens compact camera. But they didn’t stop there: the lens has been redesigned, the ergonomics refined, the viewfinder revisited, and a whole lot more.
The X100-series has always been a favorite among the DPReview staff, and for some good reasons; these cameras produce wonderful images, are beautifully designed and are engaging to use. For those that have been eyeing some or other version of X100 over the years but never taken the plunge, this latest model is arguably the one to get. But for owners of previous X100 models, should the V tempt you to upgrade? Let’s find out.
The X100V is expected to be available in late February 2020 at a suggested retail price of $ 1399, £1299 (inc VAT) or $ 1799 CAD.
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The X100V comes with some significant changes, but still follows the basic formula its predecessors have followed for the last decade. Read more |
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Out with the 4-way controller, in with the touchscreen. This and more have the potential to change the way you take control over the X100V. Read more |
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If Reviews Editor Carey Rose had the previous X100F, he’s not sure he’d upgrade – but he’s not sure he’d not upgrade, either. Read more |
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It’s a dark, gray, wet January in Seattle, but we did try to take advantage of a couple of sunny days to see what our pre-production X100V can do. Read more |
Articles: Digital Photography Review (dpreview.com)
The post Canon EOS R5 on the Way, With a 45 MP Body and 20 FPS Electronic Shooting appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
After months of vague rumors regarding upcoming Canon mirrorless bodies, we now have specifics on a camera, right down to the name:
The Canon EOS R5.
While still unconfirmed by Canon, the EOS R5 is shaping up to be a powerhouse of a mirrorless camera, sporting a 45-megapixel full-frame sensor, in-body image stabilization (potentially 5 stops, and 7-8 stops with a combined IS lens), and 20 frames-per-second continuous shooting with the electronic shutter (12 frames-per-second with the mechanical shutter).
In fact, the EOS R5 appears to correct most (if not all) of the faults of Canon’s first full-frame mirrorless body, the EOS R:
First, instead of a single card slot, we’re on track to see dual slots in the R5. This is a necessity for pretty much any photographer who requires redundancy in their work, such as professional wedding shooters (after all, you can’t reshoot that big day if your card fails!), as well as professional sports photographers.
The programmable touch bar on the back of the EOS R, which received significant criticism following the R’s release, will be replaced by a scroll wheel.
And, as mentioned above, we should see some impressive IBIS, something which the EOS R left out, and which plenty of shooters see as a key trait in mirrorless bodies.
Astonishingly, the EOS R5 is reported to shoot 8K video at 30 fps and 4K video at 120 fps. While the details of these specs aren’t certain, 8K video of any kind would be a significant upgrade from the Canon EOS R, which offers 4K video at 30p.
So who is the EOS R5 for?
From the specs listed above, it’s clear that the EOS R5 will be aimed at professional shooters. The dual card slots and high continuous shooting rate suggest a body designed for serious sports photographers, wildlife photographers, and some wedding photographers. And while no details on the autofocus system have been released, I suspect that we’ll see something impressive, even compared to the excellent AF offered by the EOS R.
As far as the release date goes, the Canon EOS R5 will supposedly be announced in mid-February, several weeks prior to the late February CP+ show. The camera will likely ship in July.
The post Canon EOS R5 on the Way, With a 45 MP Body and 20 FPS Electronic Shooting appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post 4 Tips to Choose the Right Lens for your Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.
A few years ago, I came across the term ‘gear lust.’ Suddenly all those feelings of wanting, dreaming, and lusting over the latest and greatest lens and cameras that I would see in glossy magazines and catalogs were categorized as a known condition. How could I choose the right lens to use and buy for my photography when there were so many options out there?
Did I really need to choose? Couldn’t I just buy everything and make myself a happy camper?
Pretty soon, I came crashing down to earth and realized that buying every single lens out there was not practical and near impossible given my finances and photography budget.
So, I learned fairly quickly how to understand my photographic needs and choose a lens that best fits that need – from a usability, functionality and budget perspective.
Here are some tips on how you can choose the right lens that works for you, based on your photography style, needs, and budget. Remember, these are all very individualistic, so make sure you are honest when answering these questions.
When we are starting out as photographers, there is a need to master everything. And rightfully so.
The early stages of learning any art form is one of exploration, and we should try everything out there.
When I first started, I was exploring different genres and editing styles. I explored moody to black and white, to light and airy, and everything in between.
I soon found myself gravitating towards a light bright airy style. This meant photographing wide open and using a lot of natural light in my photos. I realized that my lens needed to be fast to focus and let me photograph wide open at apertures of around f/1.2 through f/2.
These needs saw me gravitating towards prime lenses. I found that they worked well for me in post-processing for the style that I wanted to focus on too.
So I invested in the Canon 50mm f/1.2 L and a Canon 24-70mm f/2.8 L. Now, 9 years later, I still have both of these lenses and use them consistently.
Even though my genre and specialization have changed slightly, my photography style has remained fairly consistent. So these lenses have served me well.
Taken with my beloved 50mm f/1.2
So, take the time to understand what photography style works for you and then try out different lenses. Do you prefer working with zoom lens, or are primes more your style?
You will find that choosing the right lens for your style of photography becomes much easier when you take the time to understand what your photography style is rather than buying something and then adjusting your style to match the gear you have.
My 24-70mm f/2.8 lives on my camera 80% of the time. This is the lens I choose in a giffy because I know it gives me what I am looking for.
When I first started photography, I considered myself a family and lifestyle photographer. Soon I added newborn and weddings into the mix.
I quickly realized that while I love kids, I just could not handle newborn photos. Newborn shoots take a lot of time and a lot of patience, waiting on babies to be cooperative.
However, I found my sweet spot with weddings and lifestyle photos.
As I tried out different lenses for this type of work, I quickly realized that speed and wide angles were important for family photos and weddings. With weddings, I often found myself in the back of the room, taking photos of the couple at the altar or interacting with family and loved ones. As I did not want to intrude on these special moments, I found that a lens with a good zoom was pertinent.
With this realization, I invested in the Canon 70-200mm f/2.8 because this lens had everything I was looking for – the zoom and speed.
Taken with the 70-200mm f/2.8 shot – I will love this lens till the day I die!
Choosing the right lens sometimes is like choosing your favorite child! You cannot voice it publicly but you know which one is the favorite!
I also found myself renting the Canon 35mm f/1.4 for larger weddings to take wide-angle photos. My second shooter would use this lens to get a different angle as we photographed side-by-side.
So, take the time to understand your photography needs. Do you want to focus on close-up portraits or do you want wide-angle photos of architecture? Perhaps you want to experiment with street photography? Do you want to do more macro or wildlife photos?
Choosing the right lens will become a breeze when you really narrow down what your photography needs are.
If you have to pick only one lens because of your budget, understand that it is perfectly okay, and even the top photographers do that occasionally. The amount of gear you own does not equate to skill and proficiency.
For my very first photoshoot, I rented a Canon EF 50mm f/1.4 lens and used that with my Canon 24-70mm f/2.8. I had no idea what I was doing other than the fact that I had read that the nifty-fifty was the best thing since sliced bread!
I hated that lens and couldn’t wait to return it. Fast forward a few years, and once I had the understanding and the budget, I invested in the L version of the 50mm. It is now my favorite lens for portraits of any kind. The bokeh from this lens is pure magic!
My 24-70mm f/2.8 is almost 9 years old. It has been readjusted multiple times by Canon Professional Services, but I will never get rid of it. It delivers day-in and day-out!
You can get creative with what you have.
Change up your angle. Change up the focal length by moving closer or backing out.
No matter what the limitations, for the most part, you can make it work.
This is the million-dollar question, isn’t it? With so many choices out there, what lens should you choose, and when? Investing in camera gear should always be a healthy balance between need, wants, and budget. The last thing you want is a closet full of gear that you never use.
Rent or borrow a lens that interests you so you can test it out for yourself first before outlaying a big amount of money on something that may not suit your needs.
An example of this is the Sigma 135mm f1.8 I was interested in buying. It is an incredible lens. I was so tempted to buy it having heard about its awesomeness from all my photographer friends. However, when I had a chance to test it out, I realized that I get a lot of the same results from my 70-200mm f2.8 for the way I was using it. So it would have been an unnecessary addition to my gear.
Selling off your unwanted gear is always an option, but it’s better to get it right to start with. Remember, needs and styles constantly change, and that is fairly common among photographers. That way, if you find yourself needing the same lens down the road, you can always keep using what you have or upgrade to a newer version.
As I slowly move away from weddings and more towards travel and culture, my needs have changed. I want to travel light and wanted the most bang for the gear I lug halfway around the world. Hence, I choose lenses that fit that need.
I’ve been lucky, because the lenses I chose for my initial needs, still suit my new needs. My go-to lenses are the 24-70mm f/2.8, 50mm f/1.2 and 70-200mm f/2.8. I find that this combination works the best for travel portraits, wide-angle landscapes as well as the occasional wildlife photos.
Good gear is essential for a good photographer, but expensive gear does not make a good photographer.
If you only have a kit lens and cannot afford anything else, that’s perfectly okay. Master your craft with what you have, and when the time is right, choose the right lens based on what you need and what you can afford, not on what is the latest/coolest gadget on the market.
You may also like:
Photography Gear You Will Need for Different Types of Photo Shoots
Do you have any other tips to choose the right lens for your photography? If so, please share in the comments section.
The post 4 Tips to Choose the Right Lens for your Photography appeared first on Digital Photography School. It was authored by Karthika Gupta.
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Camera & Imaging Products Association, more commonly referred to as CIPA, has released its December report, which not only provides the details for the final month of the year, but also gives us a complete picture of the camera industry in 2019.
For anyone paying attention, it shouldn’t come as a surprise that the news isn’t great. In fact, it’s downright terrible if we’re only looking at the numbers and not contextualizing the industry as a whole as it continues the transition from DSLR to mirrorless cameras. But, even then, it’s not a pretty sight.
According to CIPA’s data, digital still camera sales decreased by approximately 14 percent year-over-year. DSLR unit sales dropped almost 34 percent, while their value dropped roughly 28 percent. Meanwhile, mirrorless unit sales dropped by 10 percent, but the value of mirrorless camera sales increased by almost 6 percent, suggesting more advanced mirrorless cameras are increasing in popularity. Fixed-lens cameras saw a unit sale decline of 23 percent, while value dropped 12 percent.
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As a whole, these numbers define what’s easily been the most dramatic year-over-year decline in the past decade; and most camera company’s don’t seem too confident the market will improve much next year if we’re to consider their financial projections as any indication.
However, as noted by CIPA’s mirrorless numbers, it does appear as though mid-to-high-end mirrorless cameras are providing more revenue year-over-year, and with both Canon and Nikon expected to ship more advanced mirrorless models in the coming year, that number will likely only go up, even as DSLR and fixed-lens sales continue to decline.
Articles: Digital Photography Review (dpreview.com)
Jessica Whitaker is a professional photographer and founder of the popular online community Build + Bloom where she teaches photography. Join Jessica and her model Chelsea as they document their trip to the Basque region of Spain, using the Canon PowerShot G7 X Mark III.
Starting in the vibrant city of Bilbao, known for its mix of modern architecture and traditional Basque culture, they drove east along the coast to San-Sebastian, capturing photos and video of the culturally unique region along the way.
See more of Jessica’s work at her website and on Instagram
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Articles: Digital Photography Review (dpreview.com)
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