But what can we expect from Nikon? Even if they have acquired RED, does it mean we will see some drastic improvements in the world of cinematography, codecs, and everything else? Let’s analyze these things one by one. There’s curiosity about what improvements Nikon’s acquisition of RED might bring to photography and related technology
RED’s Technological Advancements:
Before we dive into all these details, we first need to look at RED itself and where the technology has reached by the end of 2022, according to its latest updates. Their latest release was the Komodo-X, capable of shooting impressive 4K videos at up to 120 frames per second in 12-bit RAW. Additionally, in their recent update, they have enabled a face detection autofocus system via their app, which many RED camera owners have tested and found to work well. This app can be installed on your iPad, and with its help, you can enable the face detection autofocus system.
RED with Active RF-Mount, Face Detect AF
However, it’s important to note that RED’s KOMODO-X face detection autofocus system is active via Canon’s RF mount. Now that Nikon has acquired RED, any ongoing partnership with Canon will likely be phased out as soon as possible. Shortly, we can expect upcoming RED Komodo-X variants, with Z-Mount.
Partnership with TowerJazz:
RED partnered with TowerJazz for their cameras’ 20-megapixel global shutter Super 35mm sensors, offering advanced video capabilities. This partnership helped RED stay ahead of other consumer and mid-level cameras.
RED’s R&D teams worked for many years to achieve their current level of perfection. Now, with Nikon’s acquisition, it’s easier for Nikon to transfer these technologies and allow their Z-Mount R&D division to benefit from them. At the same time, Nikon will also share their advanced autofocus algorithms with RED, aiding in the development of active Z-Mount-based cinema cameras in the near future.
By the transfer of RED camera technologies, Nikon can also use the 20 MP Global shutter sensor in near future products to introduce their dedicated cinema consumer-level mirrorless camera.
Nikon and TowerJazz Collaboration isn’t new, Nikon and TowerJazz have a long-standing relationship, with TowerJazz relying on Nikon for equipment and Nikon using TowerJazz sensors in their DSLRs and mirrorless cameras. This collaboration is evident from the companies’ shared presentation materials.
Initially, Nikon helped tower Jazz with two systems: the NSR-2205i14E2 i-line stepper and the NSR-S204B scanner system for Tower’s 0.18-micron pilot line. As Tower ramps up capacity in Fab 2 in the second half of 2002, Nikon will provide it with models NSR-S205C scanning steppers and NSR-2205i14E2 i-line steppers and/or NSR-SF110 wide-field steppers. The total value of the agreement is expected to reach or exceed $150 million over the next four years.
Potential Release of KOMODO Z:
A RED camera with Nikon’s Z-mount. We can expect upcoming RED Komodo-X variants, like Komodo Z to feature ACTIVE Z-mount support. Since the face detection system is already enabled with the Canon RF mount, if Nikon introduces a Z-mount, we can be sure that the face detection autofocus system will be enabled either via an app or directly in the camera.
What to Expect
So in the future, we will see 12-bit internal video recording capabilities and global shutter sensors coming to Nikon Z-mount mirrorless cameras. At the same time, upcoming RED cameras will feature an active Z-mount with full-time autofocus support.
Nikon’s president, in an interview, confirmed that they will focus more on the video quality of their upcoming products. Thanks to RED Corporation, the quality of professional cinema cameras will be brought down to Nikon consumer-level cameras. Who knows, shortly, Nikon may also announce a new range of cameras that will feature both RED and Nikon branding.
Take a look at he said
Nikon President Yoshiaki Tokunari said in an interview that “video performance is required in recent years” regarding the company’s main camera business, and expressed his intention to expand market share by incorporating video technology from a US movie camera company that Nikon acquired this spring. Regarding recent sales trends, he said, “We are seeing signs of recovery in interchangeable lens cameras.” By region, he explained, “China has grown to the same level as Europe, and the growth rate is large in emerging countries such as South Asia.” Semiconductor exposure equipment, which Nikon and Canon handle, is an industrial machine that burns circuits onto silicon plates. Plans for new semiconductor factory construction across the country are a tailwind, and Tokunari expressed his enthusiasm for expanding sales, saying, “There are business opportunities.
This is very good news, as Nikon is now open to many new possibilities. They already have an open mount, allowing for a wide range of lenses, and now they are focusing more on improving the video capabilities of their consumer-level cameras. Last year, they saw a 1.5% growth in overall operating profit, and experts predict they will achieve at least 1.5% to 2% growth in the future.
Hasselblad’s new zoom lens is coming according to X handle how to fly,. as well as Tamron is also cooking something new, let’s see the source details
CameraInsider reports that two new lenses will be announced soon:
Hasselblad zoom lens
Tamron big zoom lens
From past two years, Hasselblad X2D 100C has been one of the best-selling cameras of all time and even today. The actual reason behind this popularity is the reasonable price they are asking for the body and the lenses. (although still bit costly from fuji GFX systems). However, for both brands’ medium format cameras, the lens lineup still needs to be enriched (although many can be adapted, the original ones are still the best and the performance is the most matched). Of course, Hasselblad has also recently released some new XCD lenses, such as the XCD 2,5/25V released some time ago. There is also a 35-75mm F3.5-4.5 zoom lens. So if Hasselblad releases another new zoom lens, would you prefer a telephoto or wide-angle zoom?”
Again for Tamron, we have to wait and see what comes next. Possibly a zoom lens for E-mount cameras.
Okay, we have the Canon Global Sales Report [2023-24 financial year] published in July 2024 by Japan’s Nikki News Magazine [source], and these are the details we have from that particular report.
The second report is from the previous year [2022-23 financial year], sourced from the website Statistica.com. [source]
Both reports are from reputable sources. Now we have also added a third year of Global sales stats[2021-22 financial year] to make the entire report more perfect and more accurate
However, the top 5 and the market share, are shown in the table below: source cameraprism.com
Position
Brand
Market Share 2021
Market Share 2022
Change
1
Canon
47.9%
46.5%
↓ 1.4%
2
Sony
22.1%
26.1%
↑ 4.0%
3
Nikon
13.7%
11.7%
↓ 2.0%
4
FUJIFILM
5.6%
5.8%
↑ 0.2%
5
Panasonic
4.4%
4.2%
↓ 0.2%
We have asked AI to predict the future sales report based on our existing reports for 2021-22, 22-23 and 2023-24[FY] of the global camera manufacturer market share, take a look at the results we have
We have added Three Years of sales Data to the report, and then this report has been generated
Creating a prediction report for the next 10 years based on the provided market share data from 2021 to 2023 involves identifying trends in the market shares of each company and projecting these trends forward. Here’s a simplified approach to predict the market shares:
Identify the trend for each company: Calculate the average annual change in market share for each company based on the provided data.
Project the trend forward: Apply the average annual change to project the market shares for the next 10 years.
Let’s start by calculating the average annual change for each company from 2021 to 2023:
Calculation of Annual Change
Canon:
2021 to 2022: 46.5% – 47.9% = -1.4%
2022 to 2023: 41.2% – 46.5% = -5.3%
Average annual change: (-1.4% + -5.3%) / 2 = -3.35%
Sony:
2021 to 2022: 26.1% – 22.1% = +4.0%
2022 to 2023: 32.1% – 26.1% = +6.0%
Average annual change: (+4.0% + +6.0%) / 2 = +5.0%
Nikon:
2021 to 2022: 11.7% – 13.7% = -2.0%
2022 to 2023: 13.2% – 11.7% = +1.5%
Average annual change: (-2.0% + +1.5%) / 2 = -0.25%
Fuji:
2021 to 2022: 5.8% – 5.6% = +0.2%
2022 to 2023: 8.1% – 5.8% = +2.3%
Average annual change: (+0.2% + +2.3%) / 2 = +1.25%
Panasonic:
2021 to 2022: 4.3% – 4.4% = -0.1%
2022 to 2023: 4.5% – 4.3% = +0.2%
Average annual change: (-0.1% + +0.2%) / 2 = +0.05%
Others:
2021 to 2022: 5.6% – 5.5% = +0.1%
2022 to 2023: 5.2% – 5.6% = -0.4%
Average annual change: (+0.1% + -0.4%) / 2 = -0.15%
Projections for 2024 to 2033
Following this method, we can project the market shares for the next 10 years. Here is the complete projection:
FINAL RESULT – complete projection BASED on the Sales report
Year
Canon
Sony
Nikon
Fuji
Panasonic
Others
2024
37.85%
37.1%
12.95%
9.35%
4.55%
5.05%
2025
34.50%
42.10%
12.70%
10.60%
4.60%
4.90%
2026
31.15%
47.10%
12.45%
11.85%
4.65%
4.75%
2027
27.80%
52.10%
12.20%
13.10%
4.70%
4.60%
2028
24.45%
57.10%
11.95%
14.35%
4.75%
4.45%
2029
21.10%
62.10%
11.70%
15.60%
4.80%
4.30%
2030
17.75%
67.10%
11.45%
16.85%
4.85%
4.15%
2031
14.40%
72.10%
11.20%
18.10%
4.90%
4.00%
2032
11.05%
77.10%
10.95%
19.35%
4.95%
3.85%
2033
7.70%
82.10%
10.70%
20.60%
5.00%
3.70%
Final Observations | Conclusion and VERDICT
If the observed trends continue, Canon’s market share will significantly decrease, reaching Less than 10% by 2033.
PS: even if we use the past three years of the Global sales report, it doesn’t seem Canon is doing any good.
Sony’s market share will see a substantial increase, reaching over 80% by 2034.
Nikon, Fuji and Panasonic will continue to grow steadily
Note that these predictions are based on a linear trend and real-world factors of the 202-2023 and 2023-2024 global sales report, . Changes in technology, market dynamics, new entrants, and other external factors could influence these trends.
TNC exclusive: Edititors space
This report should not be taken seriously in any context since these are analyses done by AI, the artificial intelligence. At the same time, the details of these analyses are generated based on the past two years of global sales reports, which may fluctuate based on the offers from camera makers to their consumers. For example, if Canon opens their lens mount, we may see a significant increase in the global sales share percentage of Canon cameras as well as their lenses. Similarly, if any other brand like Nikon or Sony introduces a new line of cinema cameras or dedicated cameras for content creators, they may raise their own market share. Therefore, these predictions are not always accurate when based on limited data, especially when there are many factors involved. Consider this report just as a reference.
Let’s talk about the best camera and lenses for the recently announced Nikon Z6 Mark III camera, we have selected some of the best lenses available for the Nikon Z6 Mark III camera from the Native Nikon Z Mount as well as from Tamron and Sigma. Now, let’s enjoy the list, and don’t forget about the cup of coffee we need for writing the next article
What are the Best lenses for Nikon Z6 III in 2024?
Best lenses for Nikon Z6 III Camera start now, I have selected some of the best lenses for the Nikon Z8 camera for wedding photography, cinematography, Best lenses for wildlife and sports as well as Nikon Z6 III best lenses for shooting content.
Nikon 24-70 mm F2.8 – The best allrounder lens for the Nikon Z6 III camera is the Nikon 24-70mm f/2.8 S. The first recommendation is the Nikon 24-70mm f/2.8 S. This lens features a constant f/2.8 aperture throughout the zoom range and delivers amazingly sharp output throughout the focal range with creamy bokeh, one of the most sharp and versatile lenses present to date, this lens will cover your 99% requirements.
If you are a wedding photographer and cinematographer, or a travel shooter, street and fashion portrait photographer, this versatile lens is highly recommended, once you have this lens on your camera you won’t need any other lens. The biggest reason for recommending this lens is that you can shoot almost anything with it, from wide-angle landscapes to longer focal-length portraits. This is one of the most versatile and sharpest lenses Nikon has ever made for full-frame cameras.
Nikon 24-70mm F2.8 user Review
Build Quality (5/5): The moment you pick up the NIKKOR Z 24-70mm f/2.8 S, you can feel the build quality and attention to detail. It’s robust, weather-sealed, and exudes a sense of durability. The lens mount is solid, and it pairs perfectly with Z series cameras.
Image Quality (5/5): This lens produces incredibly sharp and detailed images throughout the zoom range. The f/2.8 aperture is perfect for low-light situations, and the nine-blade aperture diaphragm creates beautiful, creamy bokeh. It’s versatile, whether you’re shooting landscapes, portraits, or events.
Autofocus (4.5/5): The autofocus system is lightning fast and remarkably accurate. It’s perfect for capturing fast-moving subjects or achieving precise focus in challenging conditions. The stepper motor ensures quiet and smooth focus transitions, making it an ideal choice for videographers as well.
Versatility (5/5): The 24-70mm focal length range is incredibly versatile and covers most photography situations. It’s a lens you can trust whether you’re shooting wide-angle landscapes, tight portraits, or anything in between. The lens is also relatively compact and lightweight, which makes it perfect for all-day shooting.
Handling (5/5): The ergonomic design of this lens is a joy to work with. The customizable control ring is a great addition, allowing you to adjust settings like aperture, ISO, or exposure compensation quickly. The zoom and focus rings are smooth, and the overall balance feels perfect in your hand.
Price (4/5): While this lens is an investment, its quality and performance justify the cost. It’s worth noting that you get what you pay for, and the NIKKOR Z 24-70mm f/2.8 S is a premium piece of glass that will serve you well for years to come.
Chromatic aberration is also very well-controlled. We didn’t find it to be an issue, and frankly such purple and green fringing in front of, and behind, the focus plane wasn’t an issue. The autofocus performance is also top-notch. The lens uses 2 AF drive units synchronized to deliver speedy and accurate AF results – even when you are using your camera at 120 frames per second or when you are using it at 20 frames per second. This lens is bound to give perfect results when paired with ZF or Z6 III.
Conclusion – Highly Recommended if budget allows
What we like
What we don’t
Very lightweight and quite compact for its class
Comprehensive weather-sealing
Very sharp and free of most offensive optical defects
The Tamron 28-75mm F2.8 lens is one of the best budget alternatives to the more expensive 24-70mm F2.8 lens. Users of the Tamron 28-75mm F2.8 appreciate its balanced features, including a constant F2.8 aperture throughout the zoom range. The optical performance of this lens is also excellent. It is designed for Nikon cameras to extract the maximum possible quality from a given scene
What users say
This is a great lens. Great for photos. Im use mine with my new Z8. What a great pair. Super light and f2/8. Will be using it in the fall for basketball.
The lens features a hybrid stepping drive autofocus motor, making it perfectly suitable for both still and video photography. The best part of this lens is its internal focus design, which allows you to capture your subjects even in adverse weather conditions, thanks to its advanced weather sealing.
If you are a wedding photographer or cinematographer and are unable to afford the Nikon 24-70mm F2.8 lens due to budget constraints, then the next lens you should consider is the Tamron 28-75mm F2.8. This lens is an excellent value for your money and is highly recommended for wedding, travel, fashion, and portrait photography.
Conclusion: Highly recommended
What we like
What we don’t
Best Pro Budget Lens for Nikon
Comprehensive weather-sealing
Very Sharp at the center
Excellent macro performance
Works well for video too
Less coverage at the wider end compared to 24-70mm F2.8
The Nikon 70-200mm f2.8s lens produces incredibly sharp pictures and extracts the maximum amount of detail in your images. It is one of the best lenses to pair up with your Nikon Z6 III camera. Practically no color fringing or chromatic aberration is visible in this lens. The lens is distortion-free and lens vignetting is also very minimal and can be easily corrected in post-processing.
Should you buy this lens?
If you are a wedding photographer who wants to capture life-size portraits of your clients in a cinematic style, or if you want to capture distant candid images in a unique fashion, then this lens could be a good choice for you. Additionally, if you are into sports and wildlife photography, this lens is a must-have in your arsenal. However, the final decision should be based on your specific needs and budget. It’s always a good idea to research and compare different lenses before making a purchase.
The build quality of this lens is superb and made up of a metal body covered with rubberized material. It is extensively weather-sealed and able to deliver quality equal to its price tag. The LCD screen of the lens is not that much usable since we don’t have the habit of looking at the lens LCD. Maybe that’s one of the reasons I find the display not that much usable for me. Overall, the lens is worth every penny.
Finally, let’s talk about autofocusing performance. When paired up with a Nikon Z8 or Nikon Z9 camera which uses deep learning algorithms, the lens’s autofocusing system will improve with time. At the same time, the Z8 is capable of doing 120 AF calculations per second and supports burst speed up to 120 frames, and your lens is fully capable of synchronizing the AF performance even when shooting at max burst speed.
What our users say
As expected, this is a superb performing, ultra-sharp lens. It is built to professional standards, with a solid feel internal zoom, and smooth rotating tripod collar. The only reason I will cut a few marks is somewhat hefty weight. It is almost as heavy (within a few ounces) as the F-mount SLR equivalent, which would be another reason to consider the lighter 70-180. Sony and Canon both made their mirrorless 70-200 f2.8 lenses significantly lighter than the SLR equivalents, so why can’t Nikon do the same?
The image stabilization of this lens is highly reliable and you can shoot amazing pics handheld without any noticeable blur even at very slow shutter speeds when shooting at 200mm.
Although the price of this lens is approximately $2600, the worst thing about this lens since it costs even more than the Nikon Z6 III camera.
Let’s discuss the best budget alternative to the 70-200mm F2.8 VR lens. The Tamron 70-180mm F2.8 VXD lens is a great option. If your budget allows, then without a doubt, you should buy the Nikon 70-200mm F2.8 lens. However, if your budget doesn’t permit and you wish to have output similar to the 70-200mm lens, then you should consider buying the Tamron 70-180mm F2.8 lens. It’s always important to choose a lens that fits your specific needs and budget.
What professionals say about this lens
Added this for events rather than 70-200 when shooting all day. Excellent results. I wanted to trim my kit in weight so this was a no-brainer. The tiny differences in IQ are not noticeable unless you’re a pixel peeper at 200%. The fact that it doesn’t float my image after each shot is a HUGE bonus.
The 14 to 24 mm f/2.8 lens is the best lens for landscape and architecture photography, as well as for advanced cinematographers and content creators.
Usage of the Lens ?: If you are a pro content creator and mostly you create daily lifestyle vlogs then for sure this one is a must-have lens for you, the other most applicable regions for this lens are indoor/outdoor architecture photography and corporate videos. This lens is also very usable for landscape shooters.
The 14 to 24 mm lens in Nikon is a part of a holy trinity lens which includes the 24 to 70 mm f/2.8 and the 70 to 200 mm f/2.8. This lens is the sharpest wide-angle zoom lens at this focal length in Nikon’s lineup, The image quality of this lens is super impressive even at 14 mm wide, and covers approximately 115 degrees of view.
So if your budget allows and you want to have an ultra-wide zoom lens, then you should go with this. The only issue that I have faced with this lens is finding its proper filters since it has a very large thread of 112 mm.
Now, if you have a limited budget, then do not buy the 14-30mm F4 lens. The best alternative to that is the Tamron 70-28mm F2.8 lens. For Daily Life Vloggers/content creators, it’s highly recommended that they should buy this lens. Even for those who shoot indoors, like indoor architecture photography or corporate-style videos where sometimes u need a wide-angle zoom lens the best option will be the Tamron 17–28mm F2.8 RXD. Now, for those who shoot nature and landscape images or those who shoot outdoors architecture where light isn’t a big issue, AND if you are not able to buy the Nikon 14-24mm F2.8, then you can go with the 14-30mm F4 in that specific case.
The Nikon 24-120mm F4 lens is a multipurpose zoom lens with a constant F4 aperture throughout the zoom range. It is highly recommended for daytime travelers or for those who want an all-rounder lens and mostly work in light, not in dark situations or at night time. This particular lens is highly usable as it covers a very broad range from 24-120mm and features an F4 aperture with a VR unit inside.
For those concerned about low light performance, or those who know they will be working mostly in uncontrolled light environments or they didn’t carry any professional lights with them all the time, in those very specific scenarios, it’s recommended to buy a bright aperture-based zoom lens if possible. For that, I would highly recommend the Tamron 28-75mm F2.8 lens. Otherwise, you may feel sometimes that the F4 aperture is blocking a lot of light, whereas an F2.8 lens will help you to capture a clear picture
8. Best Wildlife and Sports – Nikon 180-600mm F5.6-6.3 VR
If you are interested in sports and wildlife photography and have a good budget, then I have a lens recommendation for you. The lens is the 180-600mm lens which covers a remarkable range. The lens construction is rock solid and weather-sealed, and it has different types of VR as well as programmable modes for its easy function during the shoot. The quality of optics used by Sigma Japan just amazing, capturing sharp images throughout the zoom range. When capturing at 600mm or 180mm, you will be surprised by the amount of detail present in the image, even when paired with a Z9 camera’s 45.7-megapixel sensor. The lens’s resolving capability is exceptional. This lens could be a great addition to your photography gear.
What users say about Nikon 180-600mm F5.6-6.3 VR
I finally got this lens that is replacing my Nikon 200-500 and, I have to say, it is superior in every way. It’s sharper, has interior movement, goes from 180 to 600 in a flick of the wrist, it’s water resistant and has a 4-button programmable ring. I use it on my Z9 camera-great combination. I could not be more pleased with it. It has noticeably upped my wildlife shooting game.
The Nikon Z 180-600mm f5.6-6.3 VR lens’s sharpness is phenomenal and delivers tack-sharp images across the full frame at all focal lengths. As I have said if budget allows this is the best lens you can buy for your Nikon Z6 III camera. The lens pairs beautifully with the Z TC-1.4x without any issues and boasts a speedy and dependable autofocus. The Lens handles color aberrations, coma, focus-breathing, and distortions with aplomb. Plus, it’s got effective optical image stabilization and produces a creamy bokeh. Weighing in at a relatively high 2kg and packed with features, this lens offers great value for its price. If you’re looking for a lens that delivers on performance, the Nikon Z 180-600mm f5.6-6.3 VR lens comes highly recommended!
Conclusion – 180-600mm Lens Highly Recommended for sports and wildlife shooters
What we like
What we don’t
Best Lens for Wildlife | Sports
Cover up to 600mm
Hybrid USM AF Motor
Hybrid IS
Dust Proof design
Heavy approx 2kg, will need monopod support for smooth capture
See the budget alternative is only when you don’t have the budget to buy the 182600 MM lens. Otherwise, the 180 to 600 MM lens produces very sad images at the tele compared to 150 to 500 mm and the darkest part is Damron 150 to 500 mm has a slower aperture at 500 mm compared to the Nikon 182 800 MM lens whose maximum aperture goes up to 6
We recommend you to go with Nikon 180-600 mm and only if the budget does not allow then you go with the 150 to 500
Conclusion
If you prioritize features and image quality and are willing to pay more for a longer reach and better low-light performance, the Nikon Z 180-600mm is the better choice.
If you are on a budget and prefer a more compact and portable lens, the Tamron 150-500mm is a great option that still offers excellent image quality.
If you’re a professional portrait, fashion, or wedding photographer looking for the perfect portrait prime lens, then without a doubt, the 85mm F1.8 S is the best lens you can have for your Nikon Z camera.
This lens is a portrait lover’s dream. It’s highly recommended for portrait photography. Its wide f/1.8 aperture throws the background into dreamy softness, making your subject the star. Whether it’s a romantic candlelit dinner or a child’s infectious laughter, or ur capturing pre-wedding candids, capture those expressions with stunning detail and depth.
Low-Light Luminary: Don’t let darkness dim your creativity. The f/1.8 aperture gobbles up light, letting you shoot stunning photos in dimly lit cafes, concert halls, or even under the starry sky. Capture the mood, the emotion, and the beauty of those fleeting moments, even when the sun sets.
If your budget allows, you must have this lens for your Nikon Z camera. It’s the best portrait prime lens ever built by Nikon for its Z system mirrorless camera.
What users say about this lens
As I transitioned from DSLR (D850) to Z7 this lens replaced my 85 1.4G. Pleasantly surprised. Light, fast focus, and extremely sharp. Even if or when Nikon produces a 1.4 version, I wouldn’t upgrade.
The construction is very solid, the focus ring is very comfortable and has a smooth action. The autofocus is very fast and silent. And the optical performance is excellent. Razor sharp at the center, even at maximum aperture. AF works perfectly. Eye AF works great no complaints. The focus ring is vary smooth. It came with the latest firmware installed. For the price, you can’t ask for anything more.
Nikon 85mm F1.8 OR Should you buy the more affordable Viltrox 85mm F1.8 Lens instead of Nikon 85mm F1.8, let’s find out
Conclusion
What we like Nikon 85mm F1.8
What we don’t
Superior build quality: Weather-sealed construction makes it ideal for harsh conditions.
Superb bokeh: Creamy and smooth background blur for exceptional portraiture.
More consistent autofocus: Highly reliable even in low-light situations.
Higher price: Significantly more expensive than the Viltrox.
Bulky and heavier: Not as comfortable for long outings or travel.
Autofocus speed: Slightly slower than the Viltrox in some situations.
Budget alternative: Viltrox 85mm F1.8
Should you buy the more affordable Viltrox 85mm F1.8 Lens instead of the Nikon 85mm F1.8, let’s find out
What we like
What we don’t
Significantly cheaper: This is a major advantage for budget-conscious photographers.
Compact and lightweight: Easier to carry around and travel with.
Fast autofocus: Great for capturing fleeting moments and fast-moving subjects.
Good image quality: Sharpness and color rendition are generally excellent, especially for the price.
Build quality: Not as weather-sealed or robust as the Nikon.
Bokeh: May not be as smooth or creamy as the Nikon at wider apertures.
slow AF in low-light compared to Nikon
Which one is better?
Picture this: you’re staring down two magical wands, each promising to conjure up dreamy portraits and captivating close-ups. One wand sings a budget-friendly tune, while the other whispers promises of pro-grade performance. So, which one unleashes your inner photography wizard?
The Viltrox: This wand is for budget-conscious photographers and cinematographers. It’s lighter, easier to sling on your back, and won’t break the bank. Its autofocus is quick as a wink, capturing fleeting moments like a charm. Sure, it might get a little cranky sometimes in dim light, and its build isn’t quite as tough as a dragon’s scales, but the photos it conjures are sharp and stunning. Think of it as your sidekick for budget-friendly street stories and travel escapades.
The Nikon: This Lens is made for the perfectionist who craves control. It’s built like a fortress, ready to weather any storm and keep your focus razor-sharp even in the deepest shadows. Its bokeh (that’s the fancy word for blurry backgrounds) is like a creamy dream, making your subject the star of the show. But be warned, this wand demands a hefty investment. Think of it as your ultimate ally for crafting flawless portraits and capturing fleeting moments with professional precision.
Fuji X-T50 has become the best-selling camera in Japan according to the Map Camera ranking of June 2024. The Fuji X-T50 has topped the ranking, and surprisingly, the second place has been gained by the Panasonic S9 camera. The third place has been assigned to the Sony A7 C2. Unfortunately, only one Canon camera is present in the list at the 9th place, the Canon R6 Mark II.
1st place FUJIFILM X-T50,
2nd place Panasonic LUMIX S9,
3rd place SONY α7C II,
4th place Nikon Z f,
5th place FUJIFILM X100VI
, 6th place Nikon Z8
, 7th place SONY α7IV
, 8th place SONY α7RV,
9th place Canon EOS R6 Mark II,
10th place FUJIFILM GFX 100S I
Let’s count the number of cameras by each brand:
FUJIFILM:
1st place: X-T50
5th place: X100VI
10th place: GFX 100S I
Total: 3 cameras
Panasonic:
2nd place: LUMIX S9
Total: 1 camera
SONY:
3rd place: α7C II
7th place: α7IV
8th place: α7RV
Total: 3 cameras
Nikon:
4th place: Z f
6th place: Z8
Total: 2 cameras
Canon:
9th place: EOS R6 Mark II
Total: 1 camera
Here is the total number of cameras by each brand:
FUJIFILM: 3 cameras
Panasonic: 1 camera
SONY: 3 cameras
Nikon: 2 cameras
Canon: 1 camera
Why Canon is in the LAST position with ONLY 1 camera, let me know ur thoughts on this
Retractable to approximately 1.25 inches when powered off
Lightweight: approximately 3.8 oz. (107 grams)
Built-in optical stabilization
Supports in-body breathing compensation
The Newest APS-C Camera in Sony’s ZV Series Brings Highly Requested Features and Updates to the Top-Selling Mirrorless Camera
SAN DIEGO, July 10, 2024. Sony Electronics launches the ZV-E10 II, the second generation of the top-selling mirrorless ZV-E10 camerai. The original ZV-E10 is a staple APS-C camera in Sony’s ZV content creation camera series, designed to provide an easy, compact, and versatile tool for content creators of any level. The new ZV-E10 II maintains all the features creators love about the original, such as Creative Looks, Product Showcase Setting, Background Defocus function, and the vari-angle flip screen – and builds on it to increase sophistication and ease of use.
The ZV-E10 II’s internal hardware has been improved from its predecessor with an upgraded 26-megapixel (MP) (approx. effective) Exmor R™ CMOS sensor and adoption of Sony’s latest BIONZ XR™ image processing engine. A few additional updates to this model include improved autofocus and video capturing capabilities: Cinematic Vlog Settingii, a new vertical format user interface (UI), an upgraded large-capacity Sony Z battery for improved stamina and improved connectivity for easy live streaming and data transfer. Staying true to the ethos of the ZV Series, this camera has been redesigned to streamline the content creation process even further, enabling creators to focus less on camera settings and more on their art and creativity. It is compact and lightweight and fits into a creator’s hand with ease, weighing in at approximately 377 gramsiii.
In addition, the E PZ 16-50mm F3.5-5.6 OSS II (SEL1650/2) is announced, a compact APS-C power zoom lens which will be available separately or as part of the ZV-E10 II’s camera kit. The upgraded kit lens is lightweight and offers improved autofocus (AF) and video performance compared to the first-generation model.
“From the beginning, the goal of the Sony ZV line was to create cameras that produced high-quality results while being extremely easy to use. Today, the ZV line continues to uphold that standard, but we’re taking it a step further,” says Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “Our aim with the advancements of the ZV-E10 II is to inspire creators to develop or recreate their own unique style through features like personalized Creative Looks and Cinematic Vlog Setting. We are continually evolving our technology to help creators of all skill levels bring their visions to life.”
Create Your Own Photo and Video Aesthetic
The ZV-E10 II features two key functions designed to produce premium-looking content straight from the camera, Creative Looks and Cinematic Vlog Setting. When shooting both stills and videos, users can instantly enhance their images by selecting any of the ten Creative Look options: Standard (ST), Portrait (PT), Neutral (NT), Vivid (VV), Vivid 2 (VV2), Film (FL), Instant (IN), Soft Highkey (SH), Black & White (BW), and Sepia (SE). Each of these looks are further customizable and can be edited through eight different parameters, allowing creators to fine-tune their content. Once customized, creators can save up to six custom styles directly in the camera for easy access and reuse.
The ZV-E10 II allows creators to produce premium, cinematic video content with a single touch using the Cinematic Vlog Setting. This feature automatically adjusts the aspect ratio, frame rate, and AF transition speed to optimal settings for cinematic video capture. Additionally, creators can enhance their footage by selecting from five “Looks”, such as S-Cinetone™ that enhances skin tones, and applying one of four “Moods”iv, that emphasize specific colors, offering extensive options to maximize creative expression.
Key Camera Specifications
759-point Focal Plane Phase-detection AFv with Real-time Eye AF for Human/Animal/Bird and Real-time Tracking
Backside illuminated 26MP Exmor R CMOS sensor offering an ideal combination of high sensitivity and low noise with an ISO range from 100 to 32000vi
APS-C interchangeable lens camera compatible with over 70 Sony E-mount lenses
High-speed readout, 5.6K oversampling compresses a vast amount of information into stunning 4K footage at up to 60pvii
Active Modeviii electronic image stabilization employs a precision gyroscope and advanced algorithm to accurately measure and compensate for camera shake, providing highly effective stabilization without sacrificing mobility, even when shooting 4K
Upgraded large-capacity Z battery (NP-FZ100), allowing continuous movie recordingix for up to 195 minutes per charge
Additional Features to Streamline Content Creation
New Vertical User Interface (UI) that auto rotates from horizontal to vertical orientation to streamline vertical content creation. When paired with the vari-angle LCD monitor, users can create and view their content from any angle
With 4K 60p capture and up to 120p capture in clear XAVC-S Full HD quality, the user can record stunning motion sequences using the S&Q modex at 5x slow motion (24p playback)
Product Showcase Setting which delivers convenient shooting of product review videos with smooth focus transitions from your face to the item being highlighted
Background Defocus Function to adjust the depth of field and create bokeh within the background with a single touch
Face Priority Auto-Exposure immediately detects faces and adjusts the exposure to optimize facial brightness, even while actively recording in changing lighting scenarios
Soft Skin Effect smooths the appearance and reduces blemishes on the subject’s skin
Stress-free connectivity with the USB 3.2 Type-C® (SuperSpeed USB 5 Gbps) port also allows high-speed wired transfer to a compatible smartphone or PC through the Creators App for easy post-production and sharing on social mediaxi
Time-lapse sequencesxii can be created in-camera and the exposure interval can be set from 1 second to 60 secondsxiii
Advanced, onboard 3-capsule microphone with selectable directivity (previously debuted in the ZV-E1) for capturing clear, high-quality audio. Users can select “Auto” or choose from “Front”, “Rear”, or “All Directions” for the audio directivity depending on the environment and recording scenario settings
Supplied with the camera, is a windscreen to reduce noise when shooting in windy conditions
Multi-interface (MI) shoe allows for simple connection to an external microphone for additional audio options, if needed
Livestream through the support of 5 GHzxiv Wi-Fi connectivity
Sony’s Screen Reader functionxv, which reads menus and video playback screens aloud to assist operations, and a menu Magnify Display function are included to provide accessibility solutions
Designed with Environmentally Friendly Principles in Mind
The ZV-E10 II camera body is made from recycled materials, including SORPLAS™ xvi, reducing environmental impact without sacrificing functionality. The individual packaging is made from Sony’s unique recycled paper “Original Blended Material” that uses materials such as bamboo, sugar cane fiber, and recycled paper collected from the market. Over the past 11 years, Sony has replaced approximately 395 tonsxvii of virgin plastic with recycled plastic in digital cameras and digital video cameras.
Main Features of the Versatile E PZ 16-50mm F3.5-5.6 OSS II
The E PZ 16-50mm F3.5-5.6 OSS II is Sony’s 75th E-mount lens and an ideal kit lens solution for the new ZV-E10 II due to its compact size and versatile range (35 mm full-frame equivalent focal length: 24-75 mm). High-resolution performance is achieved by four aspherical elements and one ED (Extra low Dispersion) element in an effective optical design. With a minimum focusing distance of 9.8 inch (0.25 m) (wide)/ 11.8 inch (0.30 m) (tele) and maximum magnification of 0.215x, the E PZ 16-50mm F3.5-5.6 OSS II offers versatile close-up performance to capture details. It retracts to a total length of approximately 1.25 inches (31.3 mm) when camera power is turned off. Due to its diminutive size and low weight of approximately 3.8 oz. (107 grams) it is a portable lens that can support day-to-day shooting.
Smooth, useful power zoom is ideal for movie shooting, and AF is available even while zooming. Built-in optical stabilization works with in-body stabilizationxviii, including Active Mode, to minimize blur in movies. The E PZ 16-50mm F3.5-5.6 OSS II supports in-body breathing compensationxix to minimize shifts in angle of view while focusing for smooth, stable footage.
Pricing and Availability
The ZV-E10 II will be available at the end of July 2024 for a suggested retail price of $999 USD ($1,399 CAD) for the camera body only, and $1,099 USD ($1,499 CAD) for the kit. The E PZ 16-50mm F3.5-5.6 OSS II in black will be available in August 2024 for a suggested retail price of $299 USD ($399 CAD). They will be sold directly through Sony.com and other Sony authorized dealers throughout North America.
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