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Posts Tagged ‘Canon’

Mount any Canon EF lens to Fujifilm’s GFX cameras with Metabones new EF-GFX Smart Expander adapters

19 Nov

Metabones has announced the release of the EF-GFX Smart Expander, a new adapter that makes it possible to use every Canon EF mount lens on Fujifilm GFX camera systems.

The adapter uses an optical design consisting of five elements in three groups to multiply the focal length and F-stop of Canon EF-mount lenses by 1.26x to match the image circle of EF lenses to Fujifilm’s GFX cameras while retaining the same diagonal field-of-view.

A front and back view of the EF-GFX 1.26x Smart Expander adapter.

The EF-GFX Smart Expander offers electronic integration, including support for phase-detection autofocus (PDAF), in-body image stabilization (IBIS), optical image stabilization on stabilized lenses and smooth iris on lenses that support it. The adapter features a physical toggle that can switch between auto aperture (for use with Program and shutter priority shooting modes) and manual aperture (for use with aperture priority or manual exposure). If an entirely manual lens is attached, the button will bring up the manual lens selection option on the GFX camera system being used so you can manually enter the focal length to account for IBIS operation and EXIF data.

As you would expect for such an all-encompassing adapter, there are some limitations in place. Below are a number of issues Metabones is aware of as of the initial release of the adapter:

  • In some rare cases lens hoods designed for 3:2 may need to be removed for 4:3 use with Smart Expander.
  • Each lens needs to go through a calibration procedure when first used. Refer to the online user manual on Metabones’ web site for instructions.
  • Autofocus may have unsatisfactory performance and may not work at all with some lenses
  • For video autofocus, increasing FOCUS SENSITIVITY and decreasing AF SPEED are required under the AF-C CUSTOM SETTING (MOVIE) menu.
  • AF+MF and lens aberration correction are not supported.
  • Some film-era lenses may not be able to achieve the sufficient AF accuracy required for digital cameras. Worn lenses with faulty sensors may lead to AF problems on a mirrorless camera even though the lens may appear to function normally on a DSLR.
  • Aperture diaphragm makes frequent noises with older lenses. Use aperture priority and manual exposure modes, or use a lens which supports smooth iris.
  • With IS/OS/VC lenses the IS MODE setting is ignored and both SHOOTING ONLY and CONTINUOUS modes behave in the same way which is similar to a Canon camera but different from what Fujifilm OIS lenses do. This is done to maximize IS effectiveness. A negative consequence of this is that there may be no OIS during focus check.
  • MF Distance Display does not work (although AF Distance Display does if the lens transmits distance information).

Metabones has included a Micro USB port on the adapter so future firmware updates, some of which may address the above issues, can be installed via its macOS and Windows Metabones app.

A front and back view of the optics-free version of the EF-GFX Smart Expander adapter.

The Metabones EF-GFX Smart Expander 1.26x is available now for $ 729 through its online shop and authorized Metabones retailers. An optics-free version of the EF-GFX Smart Adapter is also available for $ 439.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Battle of the 70-200mm F2.8 zooms (Canon, Nikon, Sony, Panasonic)

14 Nov

Who makes the best 70-200mm F2.8 zoom lens for full-frame? We tested the latest models to find out: the Canon RF 70-200mm F2.8L IS USM, Nikon Nikkor Z 70-200mm F2.8 VR S, Sony FE 70-200mm F2.8 GM OSS and the Panasonic Lumix S Pro 70-200 F2.8 O.I.S.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • The competitors
  • Size and weight
  • Livin' La Bokeh LoCA
  • Autofocus
  • Sharpness
  • Video performance
  • Final rankings

Canon RF 70-200mm F2.8 sample gallery

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Nikon Z 70-200mm F2.8 sample gallery

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Sony FE 70-200mm F2.8 sample gallery

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Panasonic S Pro 70-200mm F2.8 sample gallery

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Articles: Digital Photography Review (dpreview.com)

 
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The Canon EOS R6 is the best camera for around $2000

13 Nov

The Canon EOS R6 is the most well-rounded camera in its class, and it’s our top pick if you’re looking to spend around $ 2000. For a budget-friendlier option, the also-excellent Fujifilm X-T4 is our recommendation.

Articles: Digital Photography Review (dpreview.com)

 
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Canon brings its macOS EOS Webcam Utility out of beta and updates Windows version to 1.1

13 Nov

Canon has announced a full production version (1.0) of its EOS Webcam Utility software for macOS and a version 1.1 update for Windows computers.

Less than a week after Nikon announced its webcam utility was out of beta, Canon has done the same. Canon says its beta program has been downloaded more than one million times around the world and with this new update comes new support for a total of 43 compatible EOS interchangeable lens and PowerShot cameras. Below is a complete list of the cameras currently supported:

  • EOS 1DX Mark III
  • EOS 1DX Mark II
  • EOS 1DX
  • EOS 1D C
  • EOS 5DS R
  • EOS 5DS
  • EOS 5D Mark IV
  • EOS 5D Mark III
  • EOS 5D Mark II
  • EOS 6D
  • EOS 7D Mark II
  • EOS 7D
  • EOS 90D
  • EOS 80D
  • EOS 77D
  • EOS 70D
  • EOS 60D
  • EOS Rebel T8i
  • EOS Rebel T7i
  • EOS Rebel T6s
  • EOS Rebel T6i
  • EOS Rebel T5i
  • EOS Rebel T3i
  • EOS Revel SL3
  • EOS Rebel SL2
  • EOS Rebel SL1
  • EOS Rebel T7
  • EOS Rebel T6
  • EOS Rebel T3
  • EOS Rebel T100
  • EOS R5
  • EOS R6
  • EOS R1
  • EOS R
  • EOS RP
  • EOS M6 Mark II
  • EOS M50 Mark II
  • EOS M50
  • EOS M200
  • PowerShot G5X Mark II
  • PowerShot G7X Mark III
  • PowerShot SX70 HS

Canon has also improved compatibility with third-party videoconferencing and streaming programs. Canon says its EOS Webcam Utility has been tested and confirmed to work with the following programs:

  • Apple Facetime
  • Cisco Webex
  • Discord
  • Facebook Live
  • Facebook Messenger
  • Google Hangouts
  • Google Hangouts Meet
  • Microsoft Teams
  • OBS
  • Skype
  • Slack
  • Streamlabs OBS
  • YouTube Live
  • Zoom

Below are two guides from Canon on how to get started with using your Canon camera as a webcam input on macOS and Windows computers:

Canon says it will ‘continue to lean on customers [and] listen to the market’ to improve the utility going forward. You can download EOS Webcam Utility version 1.0 for macOS and version 1.1 for Windows computer on Canon’s website. If you have questions, comments or complaints, Canon has opened up a new forum specifically for discussing its webcam utility.

Articles: Digital Photography Review (dpreview.com)

 
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Firmware v1.1.1 makes the Canon R6’s video much more usable

05 Nov

Alongside DPReviewTV’s re-assessment of the Canon EOS R6, we conducted some simple side-by-side testing of the latest firmware, in comparison to the original version. Our original tests showed that the R6 would deliver the promised amount of recording time in fairly challenging conditions, but that it would then struggle to recover.

Over the following weeks, diligent testing by users revealed Canon was factoring-in the initial temperature of the camera when determining how long to let it record for, but then was calculating recovery times without much consideration of internal or ambient temperature. This meant that the camera would take a long time to recover its recording capability and there was nothing you could do to speed up the process.

This could all be side-stepped if your shooting allows the use of an external recorder, but this somewhat undermines the convenience of the R6 as a stills-and-video tool.

Key takeaways:

  • The new firmware allows the EOS R6 to record for longer periods
  • An EOS R6 will require less cool-down time than before to recover recording times
  • Ambient temperature is likely to play a more significant role in recovery times

At the time of release, Canon’s description of this firmware update was:

  • Temperature detection and shooting time control in video shooting have been improved. In addition, the total shooting time when the short-time recording and power-on/off are performed repeatedly at room temperature is improved.

Our more recent testing supports this claim. A camera running firmware v1.1.1 was able to record for longer and, most critically, recover recording time faster than the example running firmware v1.0.

This makes the R6 a much more usable camera for stop/start video capture.

Of course the downside of the camera taking ambient and internal temperature into account to a greater degree is that its behavior is now more temperature sensitive and hence less predictable. However, this is much more consistent with how most other cameras work.

Testing two R6’s side-by-side, one with the previous firmware, one with the latest.

The original firmware was very dependable: you’d tend to get 40 minutes of 4K/24, 25 or 30p, as promised, but with dependably long recovery times. This meant that you were much more likely to hit that 40 minute limit than with other cameras that, on paper, promised less recording time (because they’d do a better job of recovering between clips).

With the latest firmware, in moderate and room-temperature shooting at least, the R6 is much better at recovering, which means you hit the temperature limit much less readily, particularly if you shoot clips of video and have some time between each one.

The R6 is generally a more usable camera for anyone shooting sequences of multi-minute clips

However, given we’re experiencing an early cold snap in Seattle, we can’t comment on how the camera will do when the summer comes.

Of course none of this is much help for, say, wedding photographers, for whom it may not be possible to turn a camera off for several minutes between clips, but it means the R6 is a much more usable camera for anyone shooting sequences of multi-minute clips.

Articles: Digital Photography Review (dpreview.com)

 
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Canon introduces compact RF 70-200mm F4L and 50mm F1.8 STM lenses

05 Nov

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Canon has introduced a pair of lenses for its EOS R system.

First up is the RF 70-200mm F4L IS USM, which is 32% shorter (at wide-angle) and 11% lighter than its popular EF counterpart. The lens is just 119mm (4.7″) long and weighs in at a 695g (1.5lbs), yet it retains the build quality and weather-sealing of other L-series lenses. Unlike those lenses, this 70-200 does not support teleconverter or offer a tripod mount.

The lens’s image stabilizer can reduce shake by up to five stops, and when attached to an EOS R5 or R6, can reach 7.5 stops by working in conjunction with in-body image stabilization. The 70-200 features 16 elements, four of which are ‘UD’ (ultra low dispersion) glass that help control chromatic aberration. Canon’s Air Sphere Coating reduces flare and ghosting. The lens’s minimum focus distance is 0.6m (2ft), regardless of focal length. The focus elements are driven by a pair of Nano USM motors for fast and silent autofocus.

The 70-200mm F4L IS USM will be available in early December for $ 1599.

Along with the 70-200 comes the tiny RF 50mm F1.8 STM lens. The lens weights only 160g (5.6oz) and is 41mm (1.6″) long. It contains a total of six elements (one being aspherical) and can focus as close as 0.3m (0.98ft). Its control ring can be used for manual focus, by default, or other functions including aperture and exposure compensation, depending on your needs. Focus elements are driven by a stepping motor. The RF 50mm F1.8 STM will hit store shelves in mid-December for $ 199.

Go hands-on with the new Canon RF lenses

Press release

CANON ADDS TWO RF LENSES AND PIXMA PRO PRINTER IDEAL FOR THE ENTHUSIAST PHOTOGRAPHER

MELVILLE, N.Y., November 3, 2020 – Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to introduce the compact and lightweight RF70-200mm F4 L IS USM and the RF50mm F1.8 STM, two completely re-designed RF mount lenses with bloodlines to immensely popular EF models that feature new lens formulas and enhanced elements. Canon is also introducing the PIXMA PRO-200 printer, which is ideal for photography students and graphic designers.

“As Canon began to further build out the company’s RF lens portfolio, the goal in mind was to create advanced lenses, for a variety of experience levels, that also featured a sense of familiarity for longtime Canon users,” said Tatsuro “Tony” Kano, executive vice president and general manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “Canon prides itself on being able to uniquely offer both input and output solutions to our customers. We are equally excited to see the images captured with the new lenses, and the prints that are to be created with the new PIXMA PRO-200 printer.”

Canon RF70-200mm F4 L IS USM Lens

The Canon RF70-200mm F4 L IS USM lens is ideal for photography enthusiasts ranging from advanced amateur to professional skill levels. The compact and lightweight nature of the lens makes it Canon’s shortest and lightest 70-200mm F4 zoom lens to date. This RF lens is approximately 32 percent shorter and 11 percent lighter than its EF counterpart with a large portion of the lens element arrangement closer to the camera body. This arrangement is designed to provide photographers with a more balanced feel and experience even at the zoom range’s telephoto end. Additionally, the shorter and lighter design allows the lens to more easily be stowed away in a camera bag when not in use.

The RF70-200mm F4 L IS USM features two independent Nano USM motors, providing an even greater level of high-speed autofocus for still image shooting as well as quiet and smooth autofocus for video shooting. The lens also incorporates a floating focus control that drives the two lens groups individually while using the two aforementioned Nano USM motors. The floating focus lens element shortens the focusing distance and helps reduce breathing, providing users with fast, consistent and reliable performance.

Additional Features of The Canon RF70-200mm F4 L IS USM Lens Include:

  • 16 lens elements in 11 groups, including four UD lenses, that help to reduce chromatic aberration
  • Optical Image Stabilizer with up to 5 Stops[i] of shake correction
  • Up to 7.5 stops[ii] of shake correction with coordinated control of Optical Image Stabilizer and In-Body Image Stabilizer
  • Three stabilizer modes
  • Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture, or ISO
  • 12-pin communication system
  • L-Series dust and weather-resistant build with a fluorine coating
  • Minimum focusing distance of 1.97 feet and a maximum magnification of 0.28x
  • Air Sphere Coating (ASC) that helps minimize lens flare and ghosting

Canon RF50mm F1.8 STM Lens

Creatives love using a 50mm lens because that focal length is similar to the natural viewpoint of the human field of vision. This perspective allows for the lens to be used in a wide variety of shooting situations, including portraits, landscapes and food photography. What’s more, Canon 50mm f/1.8 lenses have long been a popular tool for both photographers and creators due to their budget-friendly price point, extremely compact and lightweight form factor, and versatility.

The tradition continues with the RF50mm F1.8 STM that, in many ways, is improved over its EF counterpart. The first visually noticeable improvement is the customizable control ring that has become synonymous with RF lenses. The control ring allows photographers to adjust exposure compensation, shutter speed, aperture, or ISO and with a flip of the side switch can adjust focus. The inclusion of a PMo aspherical lens helps to reduce chromatic aberration and provides high-image quality even at the periphery of the image. Additionally, the combination of the lens shape and Super Spectra Coating (SSC) helps to minimize ghosting and flaring.

Additional Features of The Canon RF50mm F1.8 STM Lens Include:

  • Six lens elements in five groups
  • 12-pin communication system
  • Minimum focusing distance of 0.98ft and a maximum magnification of 0.25x
  • Up to 7 stops[iii] of Shake Correction with EOS R Series cameras with In-Body Image Stabilizer

Canon PIXMA PRO-200 Printer

Continuing a long history of high-quality input to output digital imaging equipment, the PIXMA PRO-200 printer is 15% smaller than its predecessor, the PIXMA PRO-100. With the ability to print up to 13 inches x 19 inches and featuring improved ChromaLife 100+ dye-based ink, the latest PRO printer helps to create prints that are more representative of the original digital file. A helpful tool of the trade for photographers who print work for themselves and graphic artists or photography students working on their portfolios from their homes, the PIXMA PRO-200 printer also features:

  • A new 3-inch LCD screen to help users set up the printer, connect to WiFi, monitor ink and paper levels for an improved user experience
  • New Skew Correction feature, which automatically corrects shifts the paper may encounter during printing
  • Professional print and layout software, which can work as a stand-alone program, or integrated into Adobe® Lightroom® or Photoshop® as a plugin to work within a photographer’s workflow, to help take the guesswork out of making great prints
  • Vast media support to print on a variety of surfaces such as Canon Photo Paper Pro Luster and Premium Fine Art Rough, as well as the ability to print longer panoramic images in comparison to previous models

Pricing and Availability

The Canon RF70-200mm F4 L IS USM, and RF50mm F1.8 STM lenses are scheduled to be available in early and mid-December 2020 for a suggested retail price of $ 1,599.00 and $ 199.99, respectively*.

The PIXMA PRO-200 printer is scheduled to be available later in November for a suggested retail price of $ 599.99*.

For more information, please visit cusa.canon.com.

[i] Based on CIPA (Camera & Imaging Products Association) standards. Testing performed at a focal length of 200mm using the EOS R camera.

[ii] Based on CIPA (Camera & Imaging Products Association) standards. Testing performed at a focal length of 200mm using the EOS R5 camera.

[iii] Based on CIPA (Camera & Imaging Products Association) standards. Testing performed at a focal length of 50mm using the EOS R5 camera.

Canon RF 70-200 F4L IS USM / RF 50mm F1.8 STM specifications

  Canon RF 70-200 F4L IS USM Canon RF 50mm F1.8 STM
Principal specifications
Lens type Zoom lens Prime lens
Max Format size 35mm FF
Focal length 70–200 mm 50 mm
Image stabilization Yes No
CIPA Image stabilization rating 5 stop(s)
Lens mount Canon RF
Aperture
Maximum aperture F4 F1.8
Minimum aperture F32 F22
Aperture ring No
Number of diaphragm blades 9 7
Optics
Elements 16 6
Groups 11 5
Special elements / coatings 4 UD elements + Air Sphere coating 1 aspherical element + Super Spectra Coating
Focus
Minimum focus 0.60 m (23.62) 0.30 m (11.81)
Maximum magnification 0.28× 0.25×
Autofocus Yes
Motor type Nano ultrasonic Stepper motor
Full time manual Yes No
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter Yes
Physical
Weight 695 g (1.53 lb) 160 g (0.35 lb)
Diameter 84 mm (3.31) 69 mm (2.72)
Length 119 mm (4.69) 41 mm (1.61)
Materials Magnesium alloy
Sealing Yes No
Colour White Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock Yes
Filter thread 77 mm 43 mm
Hood supplied Yes No
Hood product code ES-65B
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Iconic scenes in The Mandalorian were filmed using a Canon 5D Mark III and Nikon lens

31 Oct

The second season of the hit Disney+ series The Mandalorian premiered today and there is fascinating photography associated with the production of the Star Wars spinoff show. For starters, some scenes in the show were shot using the Canon EOS 5D Mark III DSLR camera.

As Digital Camera World points out, not only were scenes shot using the Canon 5D Mark III, but an adapted Nikon 28mm lens was used and the camera operator was John Knoll, co-creator of Photoshop and current effects supervisor and chief creative officer at Industrial Light and Magic (ILM).

If you watched the first season of The Mandalorian and felt like scenes were reminiscent in overall appearance to the original trilogy of Star Wars movies, there’s a good reason for that. While modern technology and computer-generated imagery plays a large role in the production of The Mandalorian, showrunner and series creator Jon Favreau wanted to retain the look and feel of classic Star Wars films. As fans of the franchise are likely aware, the original Star Wars trilogy relied heavily upon physical models to film many of its iconic scenes.

Here you can see the Canon 5D Mark III camera mounted on a rail toward the right edge of the frame. The model of the Razor Crest ship is surrounded by foam board and desert imagery is being projected onto the board.

To recapture the spirit of the older Star Wars movies with The Mandalorian, Industrial Light and Magic created the titular character’s spacecraft, the Razor Crest, in its studio. John Goodson, a longtime ILM model maker created the ship using a 3D printer and tinfoil and Knoll built a 50-foot motion control rig.

In the video above, you can follow along with the team at ILM as they created the Razor Crest ship. This includes its beginnings as concept art to it being physically built and filmed as a practical miniature. We also see Knoll at work filming the first motion control shots at ILM in 15 years. It’s a fascinating look at how iconic objects, such as a protagonist’s ship in a Star Wars series, are created and brought to life.

Of creating the Razor Crest model for filming as a practical miniature, Knoll says that it’s important to strike a balance with the size of the model. You want it large enough that its details hold up when close to the camera, but not so large that it’s difficult to create a dynamic motion shot when running it along a rigged track. Ultimately, the team settled on a model around 24″ long.

The team used a Nikon 28mm lens on the Canon camera. And the man behind the controls? The creator of Photoshop. The production is a blend of photographic history.

Goodson remarked that one of the biggest differences between scenes shot using computer generated graphics versus a scene shot using miniatures is that when using a physical model, you are limited by the availability of mounting points for objects. There are certain angles and shots you simply can’t achieve when using models. However, that look and certain types of motion are also ingrained in people’s memories of older Star Wars movies. The team at ILM worked very hard to make sure that shots of the Razor Crest model evoked that same look as old shots. From the perspective of this Star Wars fan, they nailed it.

(Via Digital Camera World)

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Canon EOS R6 firmware update 1.1.1 – Did they fix the overheating?

29 Oct

Canon recently announced an EOS R6 firmware update to address overheating issues. Does firmware 1.1.1 improve the camera’s video performance? Quite a bit, it turns out.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Our previous R6 experience
  • Continuous recording test
  • The 'ice pack' test
  • Intermittent recording test
  • Key takeaways
  • Our real fake promotion!

Articles: Digital Photography Review (dpreview.com)

 
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BCN Retail shows Canon catching Sony in the Japanese full-frame MILC market, Nikon stagnant — for now

27 Oct

BCN Retail, a Japanese analyst firm that collects daily sales data of mirrorless interchangeable lens cameras from online and in-person points of sale in Japan, has published (translated) its latest numbers, showing the breakdown of Japanese domestic market share in the full-frame mirrorless interchangeable lens camera (MILC) market.

BCN Retail starts its report with partially encouraging news, noting the camera market, at least in Japan, has almost entirely recovered from the pandemic drop, with unit sales in the month of September being down just 2% and revenue from those sales down just 10% year-over-year (YoY). Lower numbers YoY is never a good thing, but considering the state of the camera market even pre-pandemic, these drops aren’t terrible.

According to BCN Retail’s latest numbers, Canon and Panasonic have seen a rise in market share over the past few months, while Nikon has more or less stayed even. Meanwhile, both Sony and Sigma have seen their market shares drop over the past few months.

Full-frame mirrorless market share numbers: Brown (Sony), Red (Canon), Yellow (Nikon), Blue (Panasonic), Grey (Sigma). The dark blue and red bars at the bottom show unit sales and revenue (as a percentage of overall interchangeable lens camera (ILC) camera sales), respectively.

BCN Retail says Canon’s rise in market share — now 34.7% — can be attributed to the release of its R5 and R6 mirrorless cameras, while Panasonic’s rise — now 5.8% — is attributed to the launch of its S5. Nikon’s market share saw a small increase in July, which could likely be attributed to the release of its entry-level Z5, but since August its market share has more or less stayed stagnant, sitting at roughly 13%. It’s possible its forthcoming Z6 II and Z7 II mirrorless cameras could give the company a boost, though.

Meanwhile, Sony has seen its market share drop from roughly 60% back in May to now just 43.9%, only 9% ahead of Canon who, at the start of the year, had just 15% of the market share. Sigma, too, has seen its market share drop to just 2.6% after once being ahead of both Nikon and Panasonic back in May when the FP sales were hot.

The Canon EOS R5 was the most popular full-frame mirrorless interchangeable lens camera (MILC) of September, according to BCN Retail.

It’s worth noting these market share numbers are specific to the Japanese market and greatly impacted by new cameras launched within a given month or quarter.

Back in the summer of 2018, Sony effectively had 100% of the full-frame MILC market share, as there were no other competitors. Within six months of both Canon and Nikon introducing their respective full-frame mirrorless cameras, Sony’s market share was effectively halved and since then, it’s been further chipped away at by Canon.

This doesn’t necessarily mean Canon or Nikon were eating into Sony sales at the beginning when the two first entered the market, as you can see unit volume also rose when Canon and Nikon introduced their mirrorless cameras, but now that sales have more or less returned to their pre-pandemic volume and Sony is further dropping in market share, it is possible we’re starting to see Canon starting to pull away some of Sony’s customers a bit.

Canon EOS RP (left), Nikon Z5 (right).

What should be interesting to see is whether Nikon’s new Z6 II and Z7 II take more market share from Canon or Sony or is simply converting more DSLR users and therefore adding to the sales volume rather than taking from elsewhere in the full-frame MILC market. In the past, it seems Canon’s numbers are more affected by the rise and fall of Nikon’s market share, whereas Sony’s are more affected by the rise and fall of Canon’s market share, but even with the charts, it’s difficult to get the full picture without knowing the precise number of units being sold and the price at which they’re selling for—two numbers that prove challenging to extrapolate from BCN Retail’s numbers or even CIPA.

BCN Retail also notes that full-frame sales have hit 10.7% of the overall interchangeable lens camera (ILC) market, marking the first time it’s been in double-digits. Revenue from full-frame MILC, as a percentage of the overall ILC market, also saw a dramatic jump to 25%. These are both the highest-ever numbers for the full-frame market, but BCN Retail does note this is because the average cost of a full-frame MILC tends to be 2.3x as much as a crop sensor ILC —¥230,000 (~$ 2,200) to ¥100,000 ($ 955), respectively.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Best entry-level full frame mirrorless – Nikon Z5 vs. Canon EOS RP

24 Oct

What’s the best entry-level full frame mirrorless camera? We compare the Nikon Z5 to the Canon EOS RP to find out.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Best handling
  • Best displays
  • Best image quality
  • Best lens lineup
  • Best autofocus
  • Our subscriber challenge!
  • Best video
  • Best price
  • Best overall

Articles: Digital Photography Review (dpreview.com)

 
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