The D-SLR market continues to grow
strongly, driven by the arrival of models offering significant incentives to
upgrade while also largely weathering the rise and rise of the compact system
cameras.
Just when it might be expected that D-SLR
sales would start to plateau, along comes a new generation of models which
re-stimulate the market. Right now, it’s the arrival of more affordable models
with 35mm-sized sensors Canon’s EOS 6D, Nikon’s D600 and Sony’s A99 which have
immediate appeal to a wide range of potential users from enthusiasts through
photography students to pros looking for more affordable second or third
back-up bodies. Just what these models mean to the high-end D-SLRs with ‘APS-C’
size sensors remains to be seen, but right now the bigger sensor is the big
deal.
Sony’s
A99 and Nikon’s D600
Of course, it’s already well-established in
the professional sector, where the latest generation of top-end models have,
once again, moved the goal posts in terms of what can be expected from a
35mm-style D-SLR. Imaging performance, shooting speeds and overall capabilities
are again advanced by Canon’s EOS-1D X and both the Nikon D4 and D800/800E. The
latter, in particular, has completely rewritten the rule book as far as imaging
performance is concerned; so much so that many comparison tests have been made
with digital medium format camera systems given it remains the only ‘small
format’ D-SLR with 30+ megapixels of resolution. It’s also worth noting that
with both the D4 and the D800 (plus, it has to be said, the D600), Nikon has
greatly improved the video capabilities of its higher-end D-SLRs, challenging
the dominance of Canon’s EOS 5D series in this sector.
Nikon’s
D600
Into this houthouse steps Sony with its
SLT-A99 which marks the brand’s return to the professional sector after the
discontinuation of the much under rated A900. Sony understands the D-SLR market
today much better than it did a few years ago although there was very little wrong
with the A900 and the A99 is a much better conceived and executed camera. It
employs the company’s ‘Single Lens Translucent’ fixed mirror design, which
gives it a key point of difference compared to Canon and Nikon but which, more
importantly, delivers a number of key performance benefits. Most notable among
these is the maintaining of phase-difference detection autofocusing with both
live view and when recording video. The A99 is different from the EOS 6D and
the D600 in that is primarily designed as a pro-level camera and is featured
accordingly, rather than the repackaging of a 35mm-sized sensor in a more
affordable camera. The A99 is more expensive than either the 6D or D600, but
not by a huge amount. Backed by a growing system of Zeiss-designed lenses, the
A99 is Sony’s best attempt yet at making some inroads into the professional
sector.
Sony’s
A99
In still remains that most professional
photographers are only contemplating a compact system camera as an adjunct to
their D-ALR kits and not as an alternative. In reality, there still only
remains one pro-level CSC Fujifilm’s X-Pro 1 although both the Sony NEX-7 and
Olypus’s E-MS are capable of fulfilling the demands of these users. Olympus is
flagging the possibility of a pro-level OM-D camera, as is Canon, which finally
joined the sector with its EOS M. there is no question that a higher-specced
Canon CSC would find plenty of buyers from among the vast numbers of Canon EOS
D-SLR users.
As we predicted in our mid-year update,
2012 did indeed shape up to be a bumper year for the D-SLR, but 2013 is looking
even brighter, as the many recent new arrivals serve to further emphasise the
many benefits of this design configuration. They confirm that, for many
applications in professional imaging, the D-SLR is still by far the best camera
for the job. Durability, ergonomics, operational efficiencies, lens systems and
accessories all contribute to an unparalleled combination of capabilities,
flexibility and performance.
Prices
It’s becoming more of a challenge to give
you an idea of comparative prices and essential element of a directory like
this. Both Canon Australia and Nikon Australia no longer publish recommended
retail prices as a disincentive for retailers to then immediately undercut them
or buyers to decide it was cheaper to purchase from an overseas-based online
seller.
Of course, there still is a recommended
retail price which is supplied to retailers when they purchase products from
Canon or Nikon, but we and consequently you don’t know what it is. This means
you won’t really know whether you’re being overcharged or getting a bargain
until you’ve done a comprehensive survey of the prices being quoted online or
by on-street retailers. We are doing the same thing, of course, in order to
publish a price that you can work from… we’re calling this the ‘estimated
street price’, but it could be skewed by suppliers discounting aggressively in
the hope that volumes will make up for the lack of profit per unit.
With all due respect, Canon Australia’s
logic here is deeply flawed and will only end up causing confusion among
consumers. There has to be a starting point theoretically the actual value of
the product plus a realistic profit margin and if some retailers choose to sell
at much lower prices (perhaps even at a loss) then that’s their problem. T’was
ever thus. The difference between local and overseas pricing is also a problem
that won’t go away just because a distributor decides not to publish RPPs. If
the price difference is significant enough then some purchasers will be tempted
to take the risk so the challenge is to make the risk less acceptable… or, to
take a more positive stance, make it more attractive to buy from an Australia
supplier. This is already happening with professional-level equipment via the
service and support programs run by both Canon and Nikon. The latter has also
introduced a two-year warranty for all products purchased from an authorized
Australian outlet which, current consumer product laws notwithstanding, is
something that can be considered to have real value. Where possible,
distributors will have to closely examine why there is a large difference
between the local and overseas prices and adjust the former accordingly.
However, the unique dynamics of the Australian market mean that sometimes it
simply won’t be possible to match overseas pricing without creating losses in
the system. As we’ve noted in the past, it would a tragedy if the Australian
photography market ended up being so devalued it becomes little more than a
warehousing operation shifting boxes. If we, as consumers, want more than this,
we may have to be prepared to pay a little more.
In some cases, the prices published here
are still RPPs, but where they aren’t, we’ve worked out an average from
everything we could find online or in retailer catalogues, averaged out to
become the ‘estimated street price’.
