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Posts Tagged ‘down’

RED founder Jim Jannard announces retirement, shuts down Hydrogen phone project

26 Oct

RED founder Jim Jannard, who just celebrated his 70th birthday, has announced that he is retiring, citing health issues simply saying that “it is now time.” He also announced that with his departure from the company the Hydrogen phone project will be shut down:

I have spent the past 45 years building “inventions wrapped in art”.

Just now turning 70 and having a few health issues, it is now time for me to retire.

I will be shutting down the HYDROGEN project, ending a career that has included Oakley, RED Digital Cinema and HYDROGEN. I am very proud to have worked with many great people over the years who have signed on to the vision.

RED Digital Cinema will continue stronger than ever with Jarred, Tommy and Jamin at the controls. Komodo is about to be launched… and the HYDROGEN One will continue to be supported in the future.

I want to thank everyone for the support I have felt over the years…

Jim Jannard, RED Founder

So the Hydrogen One remains the first and only model ever launched in RED’s Hydrogen smartphone line. When it arrived last year, after several delays, it came with innovative technologies including a ‘4V’ holographic display, but received lukewarm reviews and ultimate could not convince customers to pay a $ 1,295 premium price.

Film makers and photographers had also been looking forward to the launch of an attachable camera module for the device but, like several other planned modules, it never got to see the light of day.

The good news is that existing Hydrogen One users will continue to receive support, at least for the time being, and RED Digital Cinema is still operating with Jarred Land as its president and will hopefully soon release the Komodo camera system which was teased earlier this year.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon shares D6 development teasers on social media before taking them down

04 Sep
A screenshot from Nikon Rumors showing the Facebook post and accompanying video.

Earlier today, Nikon Europe published a number of posts to social media teasing the development of its D6 camera, the not-yet-official next generation flagship DSLR from Nikon.

The posts, which were shared on Nikon Europe’s official Twitter and a Facebook account called ‘NikonLifeEU’, all teased the arrival of the D6 in text and included an attached video as well. As seen in the screenshots, shared with permission from Nikon Rumors, the two Twitter posts read:

The newly announced #D6 development will reinforce Nikon DSLR’s advantage in #sports#photojournalism.

The Facebook post also shared a video, but read:

The newly announced #D6 development will reinforce Nikon’s DSLR’s advantage in sports photo journalism. Top Pro and #D5 user Joel Maryland talks about how Nikon’s cutting edge technology has helped him stay ahead of the game. Stay tuned for more from #Nikon!

As noted by Nikon Rumors reader br0xibear, the video posted alongside the text wasn’t new footage, but a video of Nikon Europe ambassador Joel Marklund talking about shooting with the Nikon D5 at the Olympics. So, while there was no explicit mention of the D6 in the video, the text is very clear a Nikon D6 DSLR is on the way.

We have contacted Nikon to confirm whether or not the ‘NikonLifeEU’ Facebook page is its official account, but considering it too removed the development teasers and the rest of its post history mirrors the official Nikon Europe Twitter account, it seems likely to be the case.

Articles: Digital Photography Review (dpreview.com)

 
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Polaroid Originals launches ‘Upside Down’ Stranger Things OneStep 2 camera, I-Type film

06 May

In honor of Season 3, Stranger Things has teamed up with Polaroid Originals to release an ‘Upside Down’ Polaroid OneStep 2 and accompanying Stranger Things-branded film.

Officially named the ‘Polaroid Originals OneStep 2: Stranger Things Edition,’ there’s nothing notably unique about the OneStep 2, aside from its unique colorway and upside down branding, a nod to the ‘Upside Down’ realm in the Stranger Things universe.

Polaroid Originals says the camera features a fixed-focus lens, a built-in flash, USB charging and a self-timer. The battery life is rated for up to 60 days and the lens has a focusing range from two feet to infinity. It works with Polaroid Originals i-Type film as well as 600 instant films.

Speaking of films, Polaroid Originals is also selling a special edition film. The color I-Type film comes in packs of 8 and features 16 different designs inspired by various locations throughout Hawkins, the town where Stranger Things takes place.

The Color I-Type Film Stranger Things Edition is sold individually or in packs of three for $ 16.99 and $ 48.00, respectively. The Polaroid Originals OneStep 2: Stranger Things Edition is sold on its own for $ 109.99 or with a three-pack of film as a ‘Starter Set’ for $ 157.99.

Articles: Digital Photography Review (dpreview.com)

 
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NASCAR teams up with DroneShield to bring down unwanted drones at racing events

18 Mar

It’s not just countries and federal agencies getting tough on drones, unruly or otherwise. According to a report from TechCrunch, NASCAR, the sanctioning body of multiple stock-car racing series in the United States and abroad, has struck a deal with anti-drone technology company DroneShield to help shoot down rogue drones at specific venues.

According to the report, DroneShield will be present at NASCAR-sanctioned events held at Texas Motor Speedway in Fort Worth, Texas. This includes events for the Monster Energy NASCAR Cup Series and other feeder stock-car series throughout the 2019 season. Below is a promotional video captured and shared by DroneShield showing off its new DroneGun product:

In an email announcing the news, DroneShield CEO said ‘We are proud to be able to assist a high-profile event like this […] We also believe that this is significant for DroneShield in that this is the first known live operational use of all three of our key products – DroneSentinel, DroneSentry and DroneGun – by U.S. law enforcement.’

DroneShield Sentry (left), DroneShield Sentinel (right).

Despite being the first time its trifecta of products are being used, this isn’t the first time DroneShield has been used at major sporting events. DroneShield technology was used at the 2018 Winter Olympics in PyeongChang, South Korea, as well as at the Commonwealth Games in Brisbane, Australia most recently.

Articles: Digital Photography Review (dpreview.com)

 
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Facebook, Instagram goes down for select users around the world

14 Mar

Facebook and its accompanying platform of applications — including Instagram — have been and continue to be down for a number of users around the globe today.

Both Facebook and Instagram load normally for users, but neither platform appears to be updating feeds properly and also won’t allow users to post. DPReview tested its accounts and can confirm both Facebook and Instagram were having issues at the time of writing and posting this article.

Facebook has addressed the issue, ironically enough, on Twitter, saying:

While there have been rumors the attack is due to a DDoS attack, Facebook has said that isn’t the case.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down the Sony 400mm F2.8 G lens to its magnesium alloy skeleton

04 Jan
Photos kindly provided by Lensrentals

The week before Christmas, Roger Cicala and his team at Lensrentals tore apart Canon’s recently announced 400mm F2.8L IS III lens. While the Canon teardown was fantastic in its own right, it was only the first step of the process. As promised, Cicala and Aaron Closz have returned with a similar teardown of Sony’s 400mm F2.8 G lens to see just how well Sony did with its first attempt at a 400mm F2.8 super-telephoto lens.

Starting out with the basic optical formula, Roger noted that both Canon and Sony have opted to take a similar approach in how they arrange the individual elements inside the lens. That is, smaller elements have been placed at the rear of the lens.

Roger notes that Sony uses three flourite elements while Canon’s 400mm F2.8 uses only two. This little tidbit piqued his interest though. ‘That does beg the interesting question about where Sony sourced their fluorite elements. Sony doesn’t make fluorite glass, and Canon has long been the one lens company that grows and polishes large fluorite in-house,’ says Roger in the full teardown. ‘There are other manufacturers of fluorite lenses, but they have generally been limited to small lenses, such as in microscopes and telescope viewfinders.’

As he did with the Canon 400mm F2.8, Roger starts with the tripod ring before diving into the back of the lens. Throughout the deconstruction process, Roger notes how many ‘robust’ seals Sony has opted to use throughout the 400mm F2.8 lens, from the mount plate to the switch panel.

A large, robust rubber seal is seen behind the lens mount.

From there, it was a few hex bolts later before the rear barrel assembly could be removed. Roger says that while he’s ‘not a metallurgist […] the magnesium alloy looks and feels the same [as that used in the Canon 400mm F2.8.’

Inside the focusing mechanism Roger notes that Sony has decided to use nylon gears. ‘ If you’ve read much of my stuff you know I’m generally not a nylon gear fan,’ he says. ‘but these have almost no pressure on them so they shouldn’t wear out.’

One notable detail Roger points out is how well designed the flex/ribbon cables are throughout the lens. Nearly every cable wraps neatly around the magnesium alloy body of the lens and is secured by both double sided tape, as well as screws where needed.

Moving on, Roger and Aaron made it to the focusing module, which houses Sony’s linear motor and plenty of glass. He notes ‘As we would expect for what is now a 4th generation or so linear motor, designed to move that big beast of a lens, this is larger looks more robust than [linear motors] we’ve seen in the past.’

Roger and Aaron eventually wrap it up with their final thoughts, which you can read in their entirety on the full teardown blog post.

‘I’ll call this one a draw, and a draw is a win for Sony,’ says Roger in the conclusion. ‘Canon has been doing this for a long, long time; this is, I think they’re 8th generation of 400mm f/2.8 lens. It’s Sony’s first and to have made a product equal to the gold standard of engineering is an amazing feat.’

Articles: Digital Photography Review (dpreview.com)

 
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What to do When the Light’s Down Low

03 Jan

The post What to do When the Light’s Down Low appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Cameras create images using reflected light. When there’s not much light reflecting off your subject, the camera is challenged. You need to learn the methods of controlling your camera when you are photographing in low light situations.

What to do When the Lights Down Low Bronze Crucible

© Kevin Landwer-Johan

Our cameras and our eyes ‘see’ in different ways. When the light is low, our eyes often do not see color so vividly. When we are photographing in low light we can make adjustments to our camera exposure settings. This enables them to make photos our eyes never see naturally.

Light streaks from passing vehicle lights or blurred movement of flames in a fire are never things our eyes see naturally. These are only the result of using a slow shutter speed on your camera.

Opening up your lens aperture will produce a shallow depth of field beyond what your eyes will see. Doing this allows more light to affect the sensor and can produce some surreal results in low light.

What to do When the Lights Down Low Silhouettes in a Passageway

© Kevin Landwer-Johan

Setting your ISO very high, especially on newer cameras, makes it possible to take photographs in near darkness.

Visualize the look you want

Starting out with an idea in your mind about with the look and feel you want your photo to have makes it easier to achieve. This will lead to more creative development in your photography.

What to do When the Lights Down Low Istanbul

© Kevin Landwer-Johan

Starting out this may be a challenge for some, but it is a great thing to learn as it pushes you to learn how to use your camera more flexibly.

Consider if you want a sharp image, or if you want to embrace the blur of slow shutter speed if there’s movement in your subject. Think about how a wide aperture setting will affect how much of your photo is in focus. Is this the look you want?

How do I know which settings to adjust?

I can give you some guidelines but you will only truly know through experimenting with the settings yourself. I can’t tell you the precise settings to use because every situation you will photograph contains many variables.

What to do When the Lights Down Low Merlion Park, Singapore

© Kevin Landwer-Johan

You could set your camera to Program Mode on Auto ISO and let the camera make choices for you. Alternatively, choose one of the night scene modes your camera may have.

Both these options are very helpful when you first begin to experiment with low light photography. Both, however, will produce rather generic looking results.

Automatic settings are best when you use them to get you started and then analyze the EXIF data they contain. Having in mind the way you want your photo to look means you can then study the aperture, shutter speed and ISO information contained in the EXIF.

Asian New Year Lanterns

© Kevin Landwer-Johan

Once you have done this, switch your camera to Manual Mode using the same three exposure settings. Now adjust the ones you think will begin to give your desired effect. Continue to make small adjustments, one at a time, tweaking them until you are happy with what you see.

As you practice this and become more familiar with your camera settings and lighting conditions you will no longer need to use an auto mode to help get you started.

What to do When the Lights Down Low Fire 1

© Kevin Landwer-Johan

In this photo I was aiming to have my subjects relatively sharp. The lens I used on my Nikon D800 was the 35mm f1.4. The ISO was set to 4000, aperture to f/1.4 and the shutter speed was for 1/10th of a second. I did not use a flash.

What to do When the Lights Down Low Fire 2

© Kevin Landwer-Johan

An 8 second exposure time was used in this photo to allow for some motion blur in the people and the fire. My ISO was set at 1600 and my aperture was f/7.1

The varying amount of light from the flames meant I had to carefully watch my exposure settings and adjust them as necessary.

Adding an external light

Flash and LED light added to a scene when the light is low will influence your photograph. You need to control these lights carefully to be able to obtain the most natural looking results.

Too much extra light will cause unsightly shadows and possibly harsh highlights. With not enough additional light, you may not be able to see the effect at all. Again, when you are first starting out, experimentation is the key.

What to do When the Lights Down Low Tuktuk

© Kevin Landwer-Johan

Test the various flash settings to determine which one will give you the best look. Try TTL or auto settings first. Depending on your camera and flash these settings in any situation the results will be better or worse.

If you are not satisfied, switch your flash to Manual Mode. Start with the power set to half and take a photo. Adjust the setting higher or lower and gradually taking a series of photos until you are happy with the result you see on your monitor.

Create RAW files and post process them

Low light being challenging, you will obtain the best results only after some post-processing. Camera technology continues to improve, but is not yet ideal, especially when the light is low.

What to do When the Lights Down Low Loi Krathong

© Kevin Landwer-Johan

Making RAW images allows you greater flexibility to post process and retain a higher quality. Most commonly you will want to reduce the amount of digital noise which occurs at higher ISO settings.

Color and contrast can both become flat and dull at higher ISO settings. Boosting contrast and saturation will make your photo look crisper.

Keep focused

Many cameras will struggle to autofocus in low light conditions. The lens may search for some time before it finds a focus point. Even then, it may not choose the point you want it to focus on if your camera is set to multi-point focus. In more extreme circumstances it may not be able to focus at all.

What to do When the Lights Down Low Dancer

© Kevin Landwer-Johan

Manually focusing may be the best option. But this is also more challenging in low light. Using an external light source, like a flashlight, aimed at the area of your composition you wish to focus on can help. Once your lens is focused turn your flashlight off if you do not want it to affect your exposure.

Conclusion

Practice and experimentation will lead to the best results. The more you photograph in low light the more familiar you will become with the variables different settings will produce.

Start with easy subjects when you have ample time. Learning to take great photos in low light is not something that will happen overnight.

The post What to do When the Light’s Down Low appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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Lensrentals tears down the Canon 400mm F2.8L IS III

20 Dec
Photographs kindly provided by Lensrentals

Roger Cicala, founder of Lensrentals, has torn apart the 400mm F2.8L IS III to see what Canon has done to remove 2.2lbs of weight from the third-generation super telephoto lens.

It’s only been a few weeks since Cicala shared Lensrentals 50mm F1.2L RF lens teardown, but as he hinted at in that teardown, it’s time for Canon’s much larger larger lens to get the signature treatment.

‘We tend to not publish tear-downs of super-telephoto lenses. They’re big and heavy, always well made and well engineered, like you would expect in something that costs as much as a used car,’ says Cicala in the teardown post. ‘But when the new 400mm f/2.8 lenses were released we decided it was finally time to publish a teardown of one. Largely, because they are amazingly light (you see what I did there? largely light?) and we were really interested in how they did that.’

Cicala also says he’s interested in doing a direct comparison between Canon’s latest 400mm F2.8 lens and its Sony counterpart. So it’s safe to say a Sony 400mm F2.8 teardown is just around the corner as well.

The small spring-loaded mechanism used to help lock the lens in place while rotating inside its collar.

The first order of business for Cicala and team was to remove the lens collar. While it might seem like a small detail for such a massive — and expensive — lens, the collar itself is quite complicated in its own right and often one of the first things that can break, due to an internal clicking mechanism that helps lock the lens into place at 90-degree intervals while rotating it on a tripod. As expected, the tripod collar assembly was solid and fairly straightforward — good news for photographers who prefer a more DIY approach to fixing smaller issues like a stuck collar tripod.

From there, it was onto the drop-in filter, which was probably the easiest part of the lens to remove. Cicala says ‘we really, really, really like [the drop-in filter] Because instead of being a proprietary $ 200 filter, it’s a holder that you can attach any 52mm filter to.’

With the easy stuff out of the way, now it was onto the lens itself. Without giving away all of Lensrentals findings, it’s worth pointing out a few details discovered during the teardown.

One of the adjustable screws can be seen in the internal structure of the lens (surrounded by red)

Starting with build quality, Cicala says that despite being light, the ‘inner, weight-bearing barrel is very sturdy magnesium alloy.’ It was at this point in the teardown Cicala noticed two adjustable elements integrated into the lens. The first is a set of screws found just in front of the rear element group, while the other was a set of adjustable collars where the two halves of the lens are joined together.

Regarding the image above, Cicala says ‘a couple of interesting things are in this image […] First, you see the two barrel halves are joined without shimming and held tightly together with 12 large screws – it’s a very strong joint with interlocking pieces. Also, as we saw with the RF 50mm f1.2 teardown, there are springs going down to the focusing ring, we assumed to put tension on a ball bearing ring for a smooth focusing feel in this electronically focused lens. We assumed wrong.’

A little deeper into the build, Cicala and team come across the image stabilization unit. Cicala notes the unit is roughly 2cm thick and full of various electromagnets, springs, sensor inputs and optical elements.

A look inside the intricate image stabilization unit.

In his 50mm F1.2L RF teardown, Cicala said the USM motor used by Canon in its fast prime is the exact same one used in the 400mm F2.8L IS III. Sure enough, that’s been confirmed again with this teardown, complete with the tension spring that continues to leave Cicala and team bamboozled.

A profile view of the ultrasonic motor in all its glory.

‘This is really interesting information, that the same motor and electronic focusing system is used in both lenses,’ says Cicala in the blog post. ‘Obviously, there is a business advantage in using the same subsystem in several lenses. But putting the same electronic focusing system in this EF lens makes me think that going forward Canon lenses may have a lot of internal similarity in either RF or EF mount. Converting the Canon 400mm f/2.8 to an RF wouldn’t be quite as simple as a different rear element and an RF bayonet mount, of course. The additional electronics for the RF Control Ring would have to be stuffed in here and probably some optical tweaks made, but the core structure could be very similar.’

Further disassembly of the USM section also revealed it’s the section of the lens that contains the aperture assembly. From there, it was onto the front optical elements of the lens, some of which were held in place by another adjustable element, which included screws to account for centering and tilting.

The aperture assembly shows all nine aperture blades in action.

After a little more work, the focus ring comes off and bears the various springs and more adjustable components. Cicala and team come up with a theory or two as to why the tension spring is there and what it does, but a definitive purpose is still unknown. Cicala says ‘one day we’ll spend 4 or 5 hours playing with them and figure it out. But don’t tell Canon that; they get aggravated when we do void-the-warranty stuff.’

In the conclusion section titled “So What Did We Learn Today,’ Cicala shares a few of his final thoughts regarding the teardown. The first thing Cicala mentions is the movement of the optical elements inside the glass. Canon said when it announced the 400mm F2.8L IS III that it had moved elements more towards the mount of the lens to create a better center of gravity and that proved to be the case. Also, Cicala says that ‘Despite being far lighter, it’s still very solidly built with a very strong frame, tons of big screws holding everything together, and no weak joints that we can see […] It’s what we expected; Canon’s been building super telephotos for a long time.’

The USM is also elaborated on. Cicala says it’s a very likely possibility Canon will continue to use this motor for all electrically focused lenses, or at least in lenses with a hefty amount of glass in the focusing element.

Overall, it appears as though the 400mm F2.8L IS III is roughly what Cicala was expecting from Canon. A well-built lens with plenty of adjustments in a tightly packaged frame. As interesting of a teardown as this was though, Cicala says the more interesting teardown will be the Sony 400mm F2.8 G lens. ‘Hopefully, it is awesome and for once the Sonyfans* won’t line up 6 deep to explain how what I find is wrong again.’

To see the full teardown in all its glory (and to discover the footnotes on what Sonyfans* means), head over to the Lensrentals blog and take in every bit of detail.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals tears down Canon’s 50mm F1.2 RF lens to reveal new optics, tech and surprises

13 Dec
Photo kindly provided by Lensrentals

For the latest edition of LensRentals gets down and dirty with camera equipment, Lensrentals founder Roger Cicala tore down Canon’s new 50mm F1.2L RF lens to reveal what tech and construction is lurking inside.

‘Usually, I start tear down posts with a joke about “those of you who are following along by disassembling your own lens at home”,’ reads one of the introductory paragraphs of Cicala’s teardown blog post. ‘Well, no joke today; this is not a home disassembly project. I’m not really sure it’s even a Lensrentals disassembly project. But we got out tools out and boldly went where we probably shouldn’t have gone.’

The unusual screw arrangement is seen tucked inside the front barrel assembly of the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

Right off the bat, Cicala came across something he had never seen in a lens before — a unique screw arrangement on the front part of the lens barrel. Figuring the unique arrangement ‘was some kind of binary code for “Do Not Enter”,’ Cicala instead flipped the lens over and started to disassemble it from the rear.

With each new layer peeled back, new surprises awaited Cicala. There was wiring, rather than simple ribbon cables (which Canon has almost always preferred), a denser PCB, and a little extra electrical shielding.

Cicala noted the denser PCB and wiring (visible bottom-right) inside the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

The teardown also confirmed Canon is using the same USM motor for the 50mm F1.2L RF as it is for its much, much larger 400mm F2.8L IS III lens, which Cicala teases as Lensrentals’ next teardown. Near the USM motor, Cicala noticed an interesting tensioning spring, but it remains unknown what purpose it serves.

Photo provided kindly by Lensrentals

Eventually, Cicala turned the lens back over and removed the front lens barrel. After a little work, what he ended up with was the stripped down optical core of Canon’s 50mm F1.2L RF lens. ‘Like a shaved cat, it’s always kind of shocking how small the core of the thing is,’ says Cicala.

The stripped-down optical core of the Canon 50mm F1.2L RF lens — photo kindly provided by Lensrentals

Other details revealed in the teardown include a piece of electrical discharge tape that seemingly leads to nowhere, additional sealing felt and a collection of springs that serve an unknown purpose.

Photo kindly provided by Lensrentals

All in all, Cicala was impressed with the lens, going so far as to say that this lens, and this lens alone, makes him lust for Canon’s EOS R system. Cicala concludes his assessment saying ‘One thing that is very clear […] Canon has invested very heavily into developing the lenses of the R system. This level of engineering didn’t all happen in the last year, they’ve been working on this for quite a while.’

To read and see the entire teardown, head over to the Lensrental blog and set aside a good ten minutes or so.

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals breaks down the numbers behind the most popular cameras and lenses of the year

04 Dec
Image provided by Lensrentals

As it does every year, Lensrentals has released the numbers behind the most popular gear it saw rented out through 2018. In a blog post on its website, Lensrentals details nearly every category and subcategory imaginable, showing what cameras, lenses, and formats reign supreme in the world of online rentals.

In Lensrental’s own words, ‘This barometer of equipment rental patterns is useful for the industry to gauge trends in adoption of new technology, camera and lens formats and change in brand share of the market.’

Starting with cameras, Canon still leads, with Sony and Nikon trailing, respectively. Year-over-year though, Canon is down from 44.90% in 2017 to 41.57% in 2018, while Sony and Nikon both increased from 24.67% to 26.31% and 15.06% to 15.28%, respectively. Although the data for this analysis was gathered before the general availability of both Canon and Nikon’s full-frame mirrorless offerings, Lensrentals says early data suggests Canon’s EOS R system is roughly twice as popular as Nikon’s Z6 and Z7 cameras.

The top ILC camera brands, based on percentage of total rentals, according to Lensrentals.

The Canon 5D Mark IV and 5D Mark III take the top two spots, respectively, with the Sony a7s II, Sony a7 III, and Panasonic GH5 rounding out the top five. The Sony a7 III is the only new camera (released in 2018) to make it into the top five.

While on the topic of CaNikon, Lensrentals data shows Canon’s overall camera usage has decreased slightly, going from 44.90% to 41.57% year-over-year, as Nikon’s increased from 15.06% to 15.28% year over year. Lensrentals notes this is possibly due to the release of the D850 late in 2017, which gave Nikon momentum going into the new year. Other camera brands saw growth as well in 2018, filling the void left behind by Canon.

Below is a list of the top ten cameras rented out by Lensrental users:

1. Canon 5D Mark IV
2. Canon 5D Mark III
3. Sony Alpha a7S II
4. Sony Alpha a7 III
5. Panasonic GH5
6. Sony Alpha a7R III
7. Nikon D750
8. Canon 6D Mark II
9. Nikon D850
10. Canon 6D

On the lens front, not much has changed at the top. Canon, Sony, Sigma, and Nikon take the top four spots, with 37.17%, 14.58%, 12.96%, and 9.62% of rentals, respectively. After that, the numbers drop dramatically, as seen in the below chart.

The top lens brands, based on percentage of total rentals, according to Lensrentals. Other includes: Metabones, Olympus, Rokinon, Voigtlander, Leica, Tokina, Fujinon, Pentax, Veydra, Lensbaby, Venus Optics, Hasselblad, Angenieux, Wooden Camera, SLR Magic and Schneider.

Canon’s second-generation 24-70mm F2.8 and 70-200mm F2.8 have proven to be the most popular lenses yet again. However, Sony has found its way into the top three with its own 24-70mm F2.8 and Sony lens rentals have increased approximately 60%, growth mostly driven from new lens releases. Lensrentals says the following lenses ‘drove the most growth’ for Sony:

  • Sony FE 24-105mm f/4 OSS
  • Sony FE 16-35mm f/2.8 GM
  • Sony FE 100-400mm f/4.5-5.6 GM OSS

Panasonic also saw growth, driven exclusively by three lenses as well:

  • Panasonic 12-35mm f/2.8 X Power OIS II
  • Panasonic 35-100mm f/2.8 X Power OIS II
  • Panasonic/Leica 8-18mm f/2.8-4 ASPH

Both Sigma and Tamron saw a slow, but steady increase in popularity, as both have been rolling out new and improved lenses across their respective lineups. Below is a list of the top ten lenses, according to Lensrentals:

1. Canon 24-70mm f/2.8L II
2. Canon 70-200mm f/2.8L IS II
3. Sony FE 24-70mm f/2.8 GM
4. Canon 35mm f/1.4L II
5. Canon 50mm f/1.2L
6. Sony FE 70-200mm f/2.8 GM OSS
7. Canon 70-200mm f/2.8L
8. Canon 100mm f/2.8L IS Macro
9. Canon 16-35mm f/2.8L III
10. Canon 100-400mm f/4.5-5.6L IS II

Overall, there isn’t too much change across the board, aside from a few notable exceptions mentioned above. Again though, this data was pulled before Canon and Nikon’s respective full-frame mirrorless cameras became available to the general public. With the cameras now available leading into the next year, there could be dramatic changes, both in the DSLR and mirrorless market as manufacturers battle it out for the top spot.

To see a more detailed analysis of the gear rented out and numbers behind the scenes, head over to Lensrentals’ blog post.

Articles: Digital Photography Review (dpreview.com)

 
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