Nikon DX DSLRs and Lenses Disappearing or Not Being Restocked

Many of Nikon’s crop-sensor DX-format DSLRs and at least one lens are either not being actively restocked or showing as “old product,” which has led some to question the future of the company’s APS-C DSLR support. As noted by Nikon Rumors, most Nikon D3500 and D7500 camera combinations, the D5600, and the D500 are on […]

Nikon DX DSLRs and Lenses Disappearing or Not Being Restocked

Many of Nikon’s crop-sensor DX-format DSLRs and at least one lens are either not being actively restocked or showing as “old product,” which has led some to question the future of the company’s APS-C DSLR support.

As noted , most Nikon D3500 and D7500 camera combinations, the D5600, and the D500 are on backorder. The D500, in particular, has apparently been out of stock “for months.” Additionally, the Nikkor 18-55mm f/3.5-5.6G VR lens is listed as “old product” on the official Nikon website, which is the terminology that Nikon uses for “discontinued” products. As Nikon Rumors notes, this particular lens was the main kit lens for the D3500 and D5600 cameras.

The rumor site notes that the lack of stock of these products combined with Nikon’s closure of factories, reduction in expenses, and staff layoffs means it is unlikely that the company will produce entry-level DX DSLR cameras again, though a DX mirrorless Z-mount camera is still probably in the works.

While these particular crop-sensor cameras and lenses have been out of stock and probably have been for some time, this situation is not out of the ordinary for Nikon in recent months. The company is still struggling to produce enough Z7 II cameras to meet demand, which appear to be on perpetual backorder. While PetaPixel can confirm that the camera is making it to store shelves in some capacity, not nearly enough have been shipped stateside yet to even fulfill pre-orders from last year. As a result, it may still be some time before the camera can be purchased from general inventory.

Last December, Nikon announced that it would be shuttering its domestic Japanese camera production for good and moving it to Taiwan as part of a company-wide initiative to reduce operating costs by 59%. While Nikon intends to cease domestic production of cameras, namely the D6 DSLR, by the end of 2021, this production shortage still seems strange.

Considering that the company reportedly shifted its mirrorless production to Thailand prior to the announcement that it would close its Japanese facilities, seeing the company struggle to release any camera bodies across its lineup to this degree is troubling. Theoretically, the available stock of cameras that Nikon intended to continue selling should not have been affected by this move, so seeing both new mirrorless cameras and old DSLRs not make it to store shelves is likely due to another unknown issue.

Nikon did not immediately respond to the request for comment.

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As a Black and White Photographer, Why Are My Latest Photos in Color?

Some photographers are known for their black and white work (think Ansel Adams, Henrí Cartier-Bresson, Robert Frank, or Sebãstio Salgado) – while others are known for their use of color (think Ernst Haas, Joel Meyerowitz, Martin Paar, or Steve McCurry). Do you have a preference? If so, do you know why? I’ve been thinking about […]

As a Black and White Photographer, Why Are My Latest Photos in Color?

Some photographers are known for their black and white work (think Ansel Adams, Henrí Cartier-Bresson, Robert Frank, or Sebãstio Salgado) – while others are known for their use of color (think Ernst Haas, Joel Meyerowitz, Martin Paar, or Steve McCurry). Do you have a preference? If so, do you know why?

I’ve been thinking about this as I look back across my own creative output over the past 12 months. I am first and foremost a street photographer — Joel Meyerowitz once told me that I was a portrait photographer who uses the street as his studio — but I am also a black and white photographer.

And yet, not completely.

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A post shared by Hugh Brownstone (@hughbrownstone)

In my book “Streets of New York” (first published in March, 2020), 53 of the 69 images in it are indeed black and white. I love black and white photography — but 16 other images I chose to include were in color. Recently, though, that proportion has inverted altogether: 23 of the 35 latest photographs I’ve posted on Instagram have been color.

What’s happening to me? I already know why I love to shoot street, and I know that hasn’t changed.

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Beyond the fact that it is the home of my birth, every single time Claudia and I engage with the denizens of New York City, I am reassured that the world is not a uniformly terrible place. Unlike Bruce Gilden or Mark Cohen, I almost always ask the people I photograph for their permission. Once we get to “yes,” a moment of casual intimacy is created in which we both participate: we create an image together.

I think the pandemic has played a significant role in the changing boundary between my black and white and color work. Like so many of us, it has been a blow to my psyche.

Now, however (at least for some of us; for too many of us not yet), it’s as if the world is slowly exiting a period of darkness and entering the light, and I’m responding in kind, at least metaphorically: it’s much harder to see color in the dark. It is a joy to see it now.

I do wonder if evolutionary biology just might play a role, too, perhaps as a faint genetic memory each of us retains of an actual exit from darkness to the light. After all, many mammals evolved from nocturnal to diurnal creatures after the sudden extinction of the dinosaurs: they could finally wander out during daylight without becoming lunch meat for the apex predators of the era. This is why only 6% of our photoreceptors are cones (what we might think of as color vision) while the rest are the biologically older rods (which are much more sensitive in low light and therefore we might think of as our black and white vision).

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As for why black and white photography in the first place? For me, it’s a function first and foremost of the time in which I grew up, which was the mid-20th century. From the photographers I studied to the cost and speed of color film versus the black and white film I chose instead to shoot, develop, and print in my own darkroom, my sensibilities and how I see were set then. I wonder if black and white will reassert its primacy for me in the months ahead, or if instead, this is a more permanent change.

I wonder: am I evolving?

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About the author: Hugh Brownstone is a photographer, writer, educator, filmmaker, and YouTuber. His book “Streets of New York” was published in 2020. He is the founder and owner of “Three Blind Men and An Elephant Productions” and he and his wife Claudia are the producers of the documentary web series Mariner East and co-lead their Streets of New York workshops. You can learn more about them at here. You can find Hugh on Instagram and YouTube.

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