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  • Ibis Switzerland hotels offer social media pros to manage guests’ Instagram accounts

    Ibis hotels in Switzerland are offering guests a new service called Social Media Sitter. With this, customers can use “Instagram professionals” provided by the hotel to manage their Instagram profile while on vacation, enabling guests to “enjoy the city without a smartphone in front of the face,” the company explains on its website.

    The Social Media Sitter service is now available at Ibis hotels in Zurich and Geneva. The company lists several “Instagram professionals” on its site who specialize in categories that include fashion, travel, beauty, culture, art, and more.

    The Instagram sitter shares “the best posts” on the guest’s profile, though it’s unclear how the service works. Presumably the Social Media Sitter is provided with the customer’s username and password; the company’s video suggests the sitter will follow the guests to capture candid shots and will manage the account’s comments and likes on the user’s behalf.

    It’s unclear whether Ibis plans to launch its Social Media Sitter option at its other hotels. The new service appears popular, though, as Ibis’s Geneva and Zurich locations both show their Instagram professionals having been fully booked each weekend throughout November.

    Articles: Digital Photography Review (dpreview.com)

  • Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained

    The post Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained appeared first on Digital Photography School. It was authored by Kunal Malhotra.

    1 - Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained

    ‘DSLR Camera, Full-Frame, Crop Sensor’- Just 3 terms which are prevalent in virtually every discussion involving photography. The two terms in use to classify sensor sizes of a DSLR camera are ‘Full-Frame’ and ‘Crop-Sensor.’ A Full-Frame camera contains a sensor size equivalent to a 35mm film format whereas a Crop-Sensor camera has a sensor size smaller than a full-frame sensor or a 35mm film format.

    Micro-Four-Thirds (4/3) is a relatively new format (and term). First introduced around 2008, this sensor is slightly smaller and compact in nature. However, owing to a variety of factors, this format is now considered almost equal to, if not better than, the Crop Sensor format.

    Apart from the physical size difference, there are several other points of difference between a full-frame sensor, a crop-sensor, and a micro-four-thirds sensor. Let’s take a look at a comparison between them under the following characteristics, to get an accurate understanding of their differences.

    Crop Factor

    As mentioned above, a full-frame camera has a 35mm sensor based on the old film-format concept. Whereas, a crop-sensor (also called APS-C) has a crop factor of 1.5x (Nikon) or 1.6x (Canon). Micro-Four-Thirds are even smaller sensors having a crop factor of 2x.

    This crop factor also directly affects our field of view. Simply put, an APS-C sensor would show us a cropped (tighter) view of the same frame as compared to a full-frame sensor, and a Micro-Four-Thirds sensor would show an even tighter (more cropped) output of the same frame.

    2 - Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained

    LEFT: Photo clicked using a Full-Frame camera. CENTER: Photo clicked using a Crop-Sensor camera. RIGHT: Photo clicked using a Micro-Four-Thirds camera.

    Focal Length

    The focal length obtained by different sensors is also directly associated with crop-factor. The focal length measurement of any given lens is based on the standard 35mm film format. Whenever we use any crop-sensor camera, its sensor crops out the edges of the frame, which effectively increases the focal length. However, this is not the case with any full-frame sensor, as there is no cropping involved with a full-frame field of view.

    For example, in the Nikon eco-system, a crop-sensor camera such as the D5600 has a ‘multiplier factor’ of 1.5x. Thus, if I mount a 35mm f/1.8 lens on my Nikon D5600, it would multiply the focal length by 1.5x, thus effectively giving me a focal length output of around 52.5mm. If you mount the same lens on a full-frame Nikon body such as the D850, it gives an output of 35mm.

    Similarly, if you mount a 35mm lens on a Micro-Four-Thirds sensor, which has a crop factor of 2x, it effectively doubles the focal length obtained to around 70mm.

    3 - Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained

    LEFT: Photo clicked at 35mm on a Full-Frame camera. CENTER: Photo clicked at 35mm on a Crop-Sensor camera. RIGHT: Photo clicked at 35mm on a Micro-Four-Thirds camera.

    Depth of Field

    Similar to focal length, the aperture or f-stop measurement of a lens is based on the full-frame 35mm format. Similar to focal length, a ‘multiplier effect’ gets applied to the f-stop when using crop-sensors. As we know, the f-stop or aperture is the singular most important factor that affects the Depth of Field.

    Thus, a Micro-Four-Thirds camera gives us less (shallow) Depth of Field at similar focal lengths when compared with a full-frame camera. For example, an image shot at f/1.8 on a Micro-Four-Thirds camera would give an output similar to an image shot at f/3.6 on a full-frame camera, and f/2.7 on a crop sensor camera. This is assuming that the effective focal length, and other shooting conditions, are the same.

    Low Light Performance

    Generally, full-frame cameras provide not only better low light & high ISO performance, but a better dynamic range. These factors combined eventually produces a much better image output than any crop-sensor camera can achieve.

    Full-frame cameras are capable of capturing the most light and will almost always out-perform an APS-C or Micro-Four-Thirds camera body under low-light conditions. Micro-Four-Thirds sensors don’t perform well under low-light conditions where the ISO needs to be cranked up to say, above 2000.

    For these reasons, despite full-frame camera kits being expensive, bulky and heavy to carry around, they are still industry-standard and the preferred cameras for virtually all professional photography work.

    Conclusion

    Thus, while full-frame DSLR’s remaining the industry standard even today, we cannot ignore the undeniable advantages of the Micro-Four-Thirds cameras. Micro-Four-Third cameras, such as the Olympus EP-5 & the Panasonic GH5, are affordable and easy to carry around. Thus, enabling a much larger group of people (who are hobbyists and enthusiasts but not professionals) to have access to DSLR-like shooting conditions at a fraction of the price.

    Ultimately, factors such as your budget, use and other criteria define whether you choose either Full-Frame, Crop-Sensor, or Micro-Four-Thirds cameras.

    Read more info on sensors here.

    The post Full Frame VS Crop Sensor VS Micro Four Thirds: Camera Sensors Explained appeared first on Digital Photography School. It was authored by Kunal Malhotra.


    Digital Photography School

  • iPhone XS: How does the variable bokeh effect compare to a real lens?

    One of the key new features of Apple’s latest iPhones is the ability to adjust the ‘bokeh effect’ on portrait images, after they’ve been taken. But, as well as letting you adjust the intensity of the effect, the function has been enhanced to more accurately represent the bokeh characteristics of a real lens, rather than just trying to blur the background.

    Every time you shoot an image using the 56mm-equivalent F2.4 portrait camera on the iPhone XS you have the choice of editing the bokeh effect. This brings up a scale marked in F-numbers. This may sound like Apple just borrowing an interface from the real-world (a process called skeuomorphism), but it goes beyond this: the company says it’s modeled the bokeh characteristics to mimic the behavior of a Zeiss lens.

    We thought we’d put this to the test: how convincingly does the iPhone XS resemble a real-world lens? Is the F-number scale anything more than a pastiche? To find out, we shot the XS alongside the Nikkor 58mm F1.4, mounted on a full frame camera.

    iPhone XS vs Nikon 58mm at F1.4

    iPhone XS image processed as ‘F1.4’ Nikkor 58mm at F1.4

    Scaling the Nikon image down to the same width, you can see the bokeh is around the right size:

    Then, when you look at the bokeh off-center, you’ll see it develops an elongated ‘cat-eye’ effect.

    iPhone XS vs Nikon 58mm at F8

    iPhone XS image processed as ‘F8’ Nikkor 58mm at F8

    Just as with the real lens, the cat-eye effect diminishes as you ‘stop down.’ And Apple has given its bokeh a smooth, fairly gaussian look, rather than the slightly bright-edged bokeh that Nikon has produced, being constrained by the limitations of things such as glass and physics.

    Unlike the ‘real’ camera, the iPhone’s sharpness doesn’t always drop-off smoothly: for instance it’s blurred both shoulders and the subject’s scarf, despite the nearer being in a similar plane to the face.

    However, while this doesn’t always looks natural, the phone is intentionally ensuring that the subject’s face remains entirely in focus, which is usually a good thing. And, unlike the $ 1600 Nikkor lens, it doesn’t become a little soft and dreamy when set to ‘F1.4.’

    Equally, because the iPhone isn’t actually changing its aperture, you don’t find yourself with less light if you want more depth of field (the iPhone portrait camera’s actual depth of field is F15 equivalent, so there’s plenty that’s in focus in the underlying ‘native’ image), so you don’t have to worry so much about camera shake or subject movement.

    The end result isn’t going to convince anyone if they look too closely (the processing has cut-off some of the fine hairs, for instance), but for social media use, it’s hard to deny that the effect is impressive. And we have to assume this technology will only get smarter and more powerful in future generations.

    Articles: Digital Photography Review (dpreview.com)

  • Have your say! 2018 Readers’ Choice Awards open for voting

    It’s that time again! This is your opportunity to make your voice heard by voting for your favorite photography products of the year. Polls are currently open in six categories but don’t deliberate too long – they close December 17th.

    Articles: Digital Photography Review (dpreview.com)

  • Dual-screen Vivo NEX 2 expected to ditch front camera

    Chinese smartphone manufacturer Vivo has been teasing its upcoming Vivo NEX 2 flagship model on its own website and Youtube and it looks like the new model will introduce an interesting new concept that – if widely adopted – could make smartphone front cameras a thing of the past: Dual screens.

    The teasers are in line with previous rumors and indicate that the NEX 2 will come with a smaller secondary display on the rear of the device. From a camera point of view this means that the need for a front camera has been eliminated as the rear main camera can be used to capture selfie portraits or video, and record footage for video calls.

    No front camera likely also means no display “notch”, allowing the main display to occupy the entire front of the device. Other rumored specs include an option with 10GB RAM and 128 GB storage, Snapdragon 845 chipset and AMOLED display technology.

    Judging by one of the teaser animations, the main camera will likely combine three sensors and lenses in a circular module that is surrounded by a circle of flash LEDs.

    We’ll know more on December 11 when the new model is expected to officially launch but if rumors and teasers are anything to go by it already looks like the Vivo NEX 2 could be one of the most innovative new smartphones of 2018.

    Articles: Digital Photography Review (dpreview.com)

  • Samsung Malaysia caught using DSLR image to advertise Galaxy A8 Star ‘Portrait Mode’ feature

    Samsung has again been caught using an image captured with a DSLR to advertise its mobile camera capabilities. The discovery was recently detailed on DIY Photography by writer and photographer Dunja Djudjic, who took the image and made it available for sale on EyeEm.

    After receiving an alert that the image had been sold, Djudjic used a reverse image search and found the image on Samsung Malaysia’s website, where it features a different background and is used to advertise the Galaxy A8 Star’s Portrait Mode feature.

    Samsung Malaysia displays two iterations of the image on its website, one with a sharp background replacing the original, another with a blurred background supposedly demonstrating the handset’s Portrait Mode capabilities.

    Djudjic contacted EyeEm in an attempt to confirm whether Samsung purchased the image, but the company hadn’t yet received the sales data and was unable to confirm the buyer. Getty, which is partnered with EyeEm, was also contacted to determine whether the sale took place through its platform, but didn’t respond to the inquiry.

    Djudjic attempted to contact Samsung Malaysia and Samsung Global, but was unable to get a response about the image’s use.

    This isn’t the first time Samsung has been caught passing off stock images to advertise its mobile camera capabilities. In August, Samsung Brazil’s Twitter account tweeted two stock images advertising its Galaxy A8 camera capabilities, but later removed them after being called out.

    Competitor Huawei was also previously caught using images captured with a DSLR to advertise its mobile camera capabilities. In 2016, the company used an image captured with a Canon 5D Mark III to advertise its P9 smartphone’s camera. Later in August 2018, the company published a video with images seemingly taken by the nova 3 and nova 3i, but that were later revealed to have been captured with a Canon DSLR.

    In addition to EyeEm, Djudjic’s work can be found on Flickr and Behance.

    Articles: Digital Photography Review (dpreview.com)

  • Photokina 2019 gets postponed, will become an annual event starting May 2020

    In 2017, Photokina’s organizers announced the world’s largest trade fair would ‘reposition’ itself an annual event starting in 2018 and subsequently announced that after this year’s Photokina, which took place in September, the event would be moved to the month of May going forward.

    Naturally, it was expected the next Photokina event would take place in May 2019, but plans have changed. According to the German Photo Industry Association (PIV), conceptual sponsor of the trade fair, and Koelnmesse, the event’s organizer, the 2019 Photokina event has been postponed a year, meaning the next Photokina event will take place from Wednesday May 27th, 2020 through May 30th, 2020.

    ‘The decision to postpone the start of the announced annual cycle by one year is intended to give all participants the opportunity to further develop the new concept for Photokina and to tap into new target groups among exhibitors and visitors in order to heighten the status of the trade fair as a global platform for the photography and imaging industry,’ reads the announcement press release.

    From left to right: Gerald Böse, President and Chief Executive Officer Koelnmesse GmbH, Rainer Führes, CEO of Canon Deutschland GmbH and Chairman of the Photoindustrie-Verband – The Imaging Association, Jürgen Roters, Mayor of Cologne

    PIV CEO Rainer Führes is quoted in the press release saying Photokina 2018 ‘clearly exceeded our already optimistic expectations with groundbreaking innovations and 180,000 visitors from 127 countries.’ He goes on to say that Photokina 2018 ‘set the bar very high for the next event.’

    “It is therefore unlikely that, in May 2019 after just over seven months, we will once again be able to create the same enthusiastic atmosphere that characterized Photokina 2018 […] This is why we have decided to start the planned annual cycle in 2020.’

    Considering the quick turn-around time from the last Photokina — not to mention its proximity to CP+ in March and NAB in April — it was a big ask of Photokina and its organizers to expect exhibitors, media, and attendees to bounce back with enough updates, products, and cash to fill the floors.

    Articles: Digital Photography Review (dpreview.com)

  • 5 Ways to Light Your Christmas Tree Portraits This Festive Season

    The post 5 Ways to Light Your Christmas Tree Portraits This Festive Season appeared first on Digital Photography School. It was authored by Mat Coker.

    You want to snap a picture of the kids around the Christmas tree. But after finally getting a photo where they’re all looking happy, you’re disappointed with how it turns out.

    In this scene both the tree and the people are nicely illuminated.

    Why is it so dim? Where’s the ambiance? Why can’t I capture what I’m seeing with my eye?

    The classic Christmas tree portrait can be problematic. And many of those problems have to do with light. So today I’m going to walk you through the five major lighting solutions for better Christmas tree portraits.

    I want you to be able to set up a quick shot in front of the tree and have it turn out well. And to do that you need to light the people in the photo without ruining the mood of the Christmas tree lights.

    Nighttime vs Daytime Tree Photos

    There’s a big difference between taking a Christmas tree portrait at night and taking one during the day. What’s the difference? Light. During the day you can make use of natural window light. However, at night you have to create your own light, which means you’re often taking your tree portrait in a dimly lit room.

    So let’s cover nighttime tree photos first, then daylight. Because shooting photos in daylight is easy.

    1. Ambient Light by Accident

    Ambient light simply refers to the light already present in the scene – the light from your tree, whatever other bulbs you have on in the room, and maybe some lamps or an overhead light.

    Many people prefer using ambient light to their camera flash because the flash often ruins the mood of the scene. Working in ambient light can be wonderful providing you’re intentional about it. You can’t just turn on the tree lights and hope for the best.

    This was our first ever family photo around the Christmas tree. Like most families, I propped up the camera and set the ten-second timer. But clearly, it didn’t work. Even though the tree is glowing nicely, we’re not lit at all.

    2. Ambient Light on Purpose

    If you’re going to rely on ambient light for your photos (rather than using your camera flash), you need to get extra light on the people without it spilling onto the Christmas tree. You don’t want to spoil the mood and glow of the tree lights, but you still want the people to be lit nicely.

    Try moving some lamps around. Don’t just turn them on to get more light. Move them closer to the people.

    This portrait was taken using only the tree lights and a small lamp. Because of the way they diffuse light, lamps create soft light.

    3. Pop-Up Flash

    Sometimes the ambient light just doesn’t work. So how else can you light the scene? By using the pop-up flash on your camera.

    I can hear you groaning. “But I hate the look of flash.” Me too. But there are things you can do to make it look better. And what you rather have – a photo lit as well as possible with flash or no photo at all?

    Remember, the idea is to light the people without ruining the mood of the tree lights.

    Here’s how to do it:

    1. Move the people in your photo away from the tree a little (three feet or more).
    2. Get as close to the people as you can.

    Why do it like this? Because when you’re closer to the people, the flash sends out a smaller burst of light. Once it reaches the people in your photo it fades out quickly, which means it won’t light up the tree too much.

    In this photo the pop-up flash has lit the entire scene, ruining the ambient light of the Christmas tree. I need to bring her away from the tree and closer to the camera so the flash lights her but not the tree.

     

    While I also used the pop-up flash in this photo, this time she’s further away from the tree. Now she is lit nicely by the flash, while the tree remains untouched by the flash.

    4. External Flash

    If you don’t like your pop-up flash blasting light directly at your subject, you could try using an external flash instead. It still attaches to your camera, but you can aim it at the ceiling or a wall to bounce the light off that surface and onto your subject.

    I used an external flash for both of these photos. For the photo on the left, I pointed the flash at the wall so the light bounced back to light her up. In the photo on the right, I pointed the flash at the ceiling.

    Bouncing light can be tricky when it comes to color. As well as the light, it will also reflect the color of the wall or ceiling it bounces off. (Direct flash is a much cleaner light than bounced flash.) As you can see, the photos I took with the external flash look much warmer. But I can adjust that with a program such as Lightroom.

    Notice how her eyes are a little dark in this photo? The light is being bounced off the ceiling above her and isn’t lighting up her eyes. To avoid that, back up a little farther so the light bounces back in front of her and not just above.

    Tip: If your flash seems too bright, turn down the power with flash exposure compensation.

    I turned the flash power down all the way in order to add just a little bit of light to the scene.

    5. Window Light

    Window light is is my favorite form of natural ambient light. It’s bright and soft, and illuminates people wonderfully for photos.

    This works best when the tree is tucked into a corner out of the window light so it still has some glow for the photo.

    Here the tree is tucked into a dim corner so the lights can glow. The kids will sit on the stool and be lit by the window.

    Have the light from the window lighting people from the side to create some dimension in the photo through shadow.

    The window light provides soft light with just a hint of contrast from the soft shadow. Notice that her left cheek is just a little bit darker than her right.

    Notice the glow of the tree and the nice soft light illuminating the portrait.

    However, try not to get split light. Have them look toward the window slightly.

    Because she’s turned away from the window, a shadow is now dividing her face. Even though it’s still a soft shadow, the light on her face isn’t as pleasing.

    In this group portrait, you can even see catch lights in their eyes.

    They are turned ever so slightly toward the window, ensuring their faces are nicely illuminated.

     

    Even though I had no idea what I was doing at the time, this is a good example of a glowing Christmas tree combined with window light. There’s a small window illuminating his face, and a larger one creating edge light around his arm and head.

    Practice Makes Perfect

    Remember, your goal is to set up a quick shot in front of the tree where you’re lighting the people without ruining the glow of the tree lights.

    Practice using both flash and window light so you’re prepared for anything. Feel free to share examples of your christmas tree portraits that you’ve taken and how you lit them in the comments.

    The post 5 Ways to Light Your Christmas Tree Portraits This Festive Season appeared first on Digital Photography School. It was authored by Mat Coker.


    Digital Photography School

  • 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

    The post 6 Ways to Capture Coastal Scenes to add Impact to Your Photos appeared first on Digital Photography School. It was authored by Jeremy Flint.

    1 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

    Myrtos beach, Kefalonia. © Jeremy Flint

    Coastal photography is a popular genre and provides a plethora of photographic opportunities. At the same time, it is an enjoyable experience being by the sea. Whether you are visiting the seaside on a day trip or as part of a holiday, or are lucky enough to live near the coast, the fresh sea air is a refreshing draw while the coastline can be incredibly scenic.

    Here are 6 tips to help you capture coastal scenes with impact and take your photos to the next level:

    1. Colors of the Seashore

    You don’t need to be taking a vacation on a paradise island to capture a beautiful beach shot. Light and water always make an inspiring subject. Captured in the right light, which may only last minutes, a pebbly or sandy beach can become transformed into a strikingly colorful image. With careful framing and the right conditions, a color in the sea in good light and with waves can add impact to your images.

    Look at the beach in different ways. Close-ups of vibrant textures in the sand or sea make for great abstract pictures. Alternatively, add contrast to a scene. You can achieve contrast by adding another element such as the sky or white foam in the water.

    2 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

    © Jeremy Flint

    2. Crashing Waves

    Have you ever been on the coast and enjoyed seeing the dramatic effects of a rough sea and crashing waves? Capture one of the cycles of waves when the next big swell hits. It may take a few attempts to get a picture that is pleasing.

    3 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

    Dunseverick Falls, County Antrim, Northern Ireland © Jeremy Flint.

    Be careful to position yourself in an area that is out of danger, so you don’t end up wet. Some coastlines can produce unusually large waves so stay at a safe distance. Use a zoom lens to capture the action and avoid being too close to the sea if the conditions are hazardous.

    3. Fast-Flowing Water – Sea Shot

    Fast-flowing water can be a challenge to photograph well. There is often a sharp contrast between the dark shadows and the brightness of the water. In bright sunlight, there is the added disparity of light and shade. Take some test shots and adjust the shutter times for creative effects. If you want to record sharper images of the moving sea water, use shorter shutter speeds, or use a longer exposure to give a milky effect. Try different settings and see which effect you prefer.

    4 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

    La Digue, the Seychelles © Jeremy Flint.

    4. A Tranquil Scene

    Idyllic, peaceful seascapes are great subjects to photograph by the coast.

    So how do you capture a tranquil scene well? Some things you should consider are location, tone, and color. Select a suitable location, use gradients of tone to draw the eye into the picture and use color to suggest movement. Capturing a serene and calming scene can be very inspiring and great for the soul.

    5 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

    The Giants Causeway, Antrim Coast, Northern Ireland © Jeremy Flint.

    5. The Colors of Sunset

    Who doesn’t love witnessing a spectacular sunset by the sea? Photographs of this spectacle can often be underwhelming but vastly improve when vivid skies shine brightly overhead. Aim to arrive early to capture the sunset and be in a position to capture the last rays of light on the ocean.

    6 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

    © Jeremy Flint

    Don’t forget to turn around and capture the sky and landscape opposite the sunset which gets bathed in beautiful light.

    Take in and photograph the warm yellows and deep blues as the sun reaches the horizon before dipping below.

    For subtle or dramatic tones, shoot the palette of colors left in the sky after the sun sets.

    7 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

    © Jeremy Flint

    6. Cloud Formations

    Magnificent cloud formations are always worth photographing and help take your coastal images to the next level. If you look up from the shoreline, you can see clouds change constantly. They often take on wonderful shapes and patterns that encompass great colors interacting with the seascape.

    You can create a fabulous picture of cloudy seascapes just by capturing these changes and shifts of light.

    Watch for low clouds in the sky too, which can produce a magical spectacle.

    8 - 6 Ways to Capture Coastal Scenes to add Impact to Your Photos

    Durdledoor, Jurassic coast, Dorset © Jeremy Flint.

    Conclusion

    In summary, photographing the coast can be a great experience and a brilliant opportunity to capture coastal scenes beautifully. Crashing waves, fast-flowing water, tranquil scenes, clouds, and colors can all be utilized to create images with impact. Once you capture coastal scenes near you, please share your images with us below.

    The post 6 Ways to Capture Coastal Scenes to add Impact to Your Photos appeared first on Digital Photography School. It was authored by Jeremy Flint.


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

    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)