Reviews (latest): Digital Photography Review (dpreview.com)

Read our EOS R5 II Review

What we like:

Excellent image quality
Fast, dependable autofocus
Good video support tools

What we don't:

Slight reduction in dynamic range in extreme scenarios
Temperamental eye control
Temperature limits in heaviest video modes

Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor.

The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always

The EOS R5 II does a vast range of things, most of them extremely well: it's impressive for action, landscapes, video, you name it.

The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps.

The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right.

It has plenty of video options up to Raw 8K/60p, offering high levels of detail, though it can overheat when shooting in its most impressive modes. Its rolling shutter rates are generally quite good.

The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.

See the EOS R5 II Studio Scene

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Should I still buy the EOS R5?

Short answer: yes. It lacks some of the newer camera's features like eye-controlled subject selection, action priority modes and AI noise reduction, but if those don't matter to you – or aren't worth the $400 MSRP premium of the EOS R5 II – the EOS R5 is still plenty capable in 2026.

Buy now:

Buy w/ 24-105mm f/4 at Amazon.com

Another great option: Nikon Z8

46MP Stacked CMOS sensor | 20fps Raw, 30fps full-size JPEG shooting | 8K/60 and 4K/120 video

The Nikon Z8 delivers just about everything: speed, AF, video and, most importantly of all, image quality.

Photo: Richard Butler

Buy now:

See the Nikon Z8 studio scene

What we like:

Superb autofocus
Fast shooting
Excellent video

What we don't:

Large, heavy body
Relatively low-res (though fast) viewfinder
Not all subject detection modes equally good

The Nikon Z8 is a fast-shooting stills and video-capable mirrorless camera with a 46MP Stacked CMOS sensor. It's an extremely strong competitor compared to the EOS R5 II, but Canon's action sports settings and eye control push it over the edge.

If those things don’t matter much to you, you can pretty much base your decision on whether you prefer Nikon or Canon’s lens lineup. They’re broadly similar, and both brands tightly control which options third-party manufacturers can offer.

The Z8 has a large, comfortable grip with well-placed controls. There's a good level of customizable controls and ergonomics that match the pro-focused Z9. The viewfinder resolution is low but the brightness and lack of lag make it one of best-suited to action.

Video quality is excellent with a choice of Raw and 10-bit gamma/compressed formats with up to 8K/60 or 4K/60 derived from it. There's also a less-detailed 4K/120p option. Tools such as waveforms and dependable AF make it easy to shoot with.

The Nikon Z8 is a hugely capable all-rounder, combining resolution, autofocus performance and video capabilities not seen before at this price. It's not a small or light camera but it makes you feel ready for anything, photographically while you're carrying it.

Read our Nikon Z8 review

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A cheaper option?

At $3300, the Panasonic Lumix S1RII retails for substantially less than the Z8 and EOS R5 II while offering similar resolution, speed and video features. But while we found it to be a quite capable camera, its autofocus UI and performance are a fair bit behind what Canon and Nikon offer, to the point where we'd recommend paying the extra if you think you'll be frequently shooting moving subjects. If you mostly shoot still subjects and/or videos, though, it may well be worth considering for the savings.

Buy now:

High-spec high res: Sony a7R VI

66MP Stacked CMOS sensor | >30fps with e-shutter, 10fps mech | >4K/120p video

Photo: Mitchell Clark

Buy now:

Read our Sony a7R VI review

What we like:

Highest resolution full-frame camera
Excellent dynamic range
Big step forward for video and action, vs the MkV

What we don't:

More rolling shutter than peers in e-shutter mode
Need to use lossy Raw for best action performance
Ergonomics and UI still not our favorites

The Sony a7R VI is a 66.5MP full-frame camera capable of high-speed and high-resolution shooting.

It's a camera that focuses mainly on image quality – something it does better than any other full-frame options – but with a sensor fast enough to stretch to shooting action, wildlife and video if needed. Sony has also been less restrictive with what lenses can be made for its mount, meaning you have plenty of options.

It has a reasonably comfortable grip with extensive, well-placed controls around the body. It lacks the shoulder dial of the a9 and a1 models, but generally lets you gain fast access to the settings you want.

It delivers higher resolution and higher dynamic range, backed with an impressive AF system and best-in-class battery life

The a7R VI's autofocus is very fast and extremely reliable, with very effective tracking and subject recognition. It can shoot at up to 30fps in e-shutter mode, but you'll need to use lossy compressed Raw to maintain the best AF and least distortion at those speeds. Battery life is excellent, thanks to a large new battery.

The Sony a7R VI isn't the same kind of high-res, high-speed allrounder as rivals such as the EOS R5 II or Nikon Z8, despite what its specs imply. But it delivers higher resolution and higher dynamic range, backed with an impressive AF system and best-in-class battery life, making it a formidable photographic tool in all but the most frenetic circumstances.

See the Sony a7R VI studio scene

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Should I still buy a Sony a7R V?

The Sony a7R V isn't as fast, but, unlike the a7R IV before it, has Sony's latest menu system. If you're only planning on shooting landscapes or other slow-moving subjects, and aren't that interested in video, it may be worth going with the older model and rolling the savings into a nice lens or two.

The compact option: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

You can't do much to shrink the lenses, but the a7CR is both the smallest and least expensive camera here.

Photo: Richard Butler

Buy now:

Read our in-depth Sony a7CR review

What we like:

Big camera features in a small body
Outstanding AF performance
Auto Framing video mode

What we don't:

Small, low-res viewfinder
No joystick control
No fully mechanical shutter

The Sony a7CR is a compact, full-frame camera with a 61MP BSI CMOS sensor. Despite its small size, it packs in most of the features found in Sony’s larger bodies while still delivering stunning detail, without sacrificing much performance.

The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much.

"If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat."

The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO.

The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.

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IQ above all else: Fujifilm GFX 100S II

102MP BSI medium format sensor | In-body image stabilization | 5.76M dot viewfinder

Photo: Mitchell Clark

Buy now:

What we like:

Excellent detail capture
Very high tonal quality
Ready-to-go JPEG or malleable Raws

What we don't:

Autofocus not especially fast
Video prone to rolling shutter

The Fujifilm GFX 100S II is a 100MP medium format mirrorless interchangeable lens camera with built-in image stabilization.

This camera is perhaps the most specialized pick on this list: it's not especially fast or versatile but in terms of image quality, it essentially offers the best levels of detail we've ever seen. It's a true step up over even the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good).

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Why you should trust us

This buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.

Camp Snap 2 quick review

Wed, 03 Jun 2026 14:00:00 Z

Photo: Dale Baskin

The original Camp Snap camera was a surprise hit, a minimalist camera that succeeded largely because of what it lacked. Originally marketed as a low-cost, screen-free camera for kids to take to summer camp, where devices with screens are sometimes banned, it found a second audience among adults drawn to its no-frills, toy camera simplicity.

The Camp Snap 2 is built around the same basic hardware, but has a slimmer design that takes cues from classic rangefinder aesthetics, and includes several small but meaningful improvements. It's a likable little camera, though with a sensor much smaller than a typical point-and-shoot, image quality isn't the reason to buy one.

Key features

8MP, Type 1/3.2 image sensor (15.7mm²)
26mm (equivalent) F2 lens
Dual-tone LED flash (6500K cool / 3000K warm)
6 present 'Filters' for different photo looks, changeable in-camera
Screw-lockable door to access memory card and date/time settings
30.5mm filter thread
Tripod socket
4GB microSD card included
USB-C port

The Camp Snap 2 is available in nine colors, including translucent options, and costs $70. It can be ordered directly from Camp Snap.

Buy now:

Buy at Camp Snap

The case for a dedicated summer camp camera

Before diving into the camera, it's worth some context, particularly for those outside North America. Summer camp is a big tradition in the US and Canada, with kids spending anywhere from a few days to a few weeks at outdoor camps. For many kids, it's the highlight of the summer.

I have some personal perspective here: not only did I attend summer camp as a child, but I ran one for several years. Back then, if kids brought cameras, they used film and waited until they got home to see the results.

The Camp Snap 2 camera is designed for kids to take to summer camps with a screen-free policy, but it has found a second audience as a fun toy camera.

Camp Snap 2 camera | F2 | 1/1700 sec | ISO 100
Photo: Dale Baskin

Today, many camps prohibit devices with screens, including smartphones and most digital cameras. They want to keep kids engaged with each other and the outdoors rather than staring at screens or messaging friends at home. That's the scenario the Camp Snap was designed for.

What's new

If you're familiar with the original Camp Snap, here's what's changed.

The most important addition is a dedicated on/off switch. On the original, the shutter button doubled as the power switch, which was awkward and potentially confusing. The Camp Snap 2 also gains an automatic sleep mode, so a forgotten power-off won't drain the battery.

The back of the Camp Snap 2 camera is as simple as it gets. An on/off/flash switch (upper left), a tunnel-style viewfinder, a tiny LCD frame counter, and a button to change the filter style of the images (center right). There's also a speaker that emits shutter sounds when the shutter button is pressed.

Photo: Dale Baskin

Filter presets (color modes) can now be changed in-camera. The original required a computer connection to change modes, and if you wanted to change it, you had to reconnect to the computer. The Camp Snap 2 offers six: Standard, Vintage 1, Vintage 2, Vintage 3, Analog, and Black & White, cycled through using a button to the right of the frame counter. Holding it for 10 seconds locks it, useful if you'd rather your kids not fiddle with the settings.

Like the original, the Camp Snap 2 has a small screw securing the card slot door, and the new model adds a conventional slide-lock so you can remove the screw if you prefer.

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A comparison of the Camp Snap 2's six color modes.

Also new: a 30.5mm filter thread and a tripod socket. I don't anticipate many people will use this camera with screw-on filters, but Camp Snap has strongly hinted that it plans to release some. The tripod socket is of limited utility without a self-timer or a way to remotely trigger the shutter.

In use

The Camp Snap 2 is exceptionally easy to use because there's so little to control. It's the closest thing to a 'plastic fantastic' disposable camera you'll find in the digital world. The only controls are the shutter button, the power switch (which also activates the flash), and the filter button. A tiny LCD on the back displays the shot count and the active filter.

"It's the closest thing to a 'plastic fantastic' disposable camera you'll find in the digital world."

Since there's no LCD screen for composing shots, you frame photos through a simple tunnel-style viewfinder. It's not fancy, but it works, which is all it needs to do.

The camera includes a 4GB microSD card, which Camp Snap says should hold around 2,000 photos. That's plenty for a week at camp, and you can always use a larger card if needed.

The bottom of the Camp Snap 2 houses the USB-C port, tripod socket, and a screw-locked door covering the memory card slot and date/time controls. The screw discourages kids from opening it, but can be removed if you'd prefer

Photo: Dale Baskin

The card lives behind a panel that screws shut, and that's very much by design. From personal experience running a summer camp, I can tell you that kids are remarkably good at losing things. Placing a screw on that door is a meaningful deterrent between a curious kid and the only copy of their photos.

Of course, there's no guarantee they won't lose the entire camera (because: kids), but if they do, it was only $70 to start with.

Camp Snap 2 camera | F2 | 1/2500sec | ISO 100
Photo: Dale Baskin

The flash is an LED type, similar to a smartphone flash, which can produce that same washed-out look. Auto flash mode is gone this time around, which is a minor loss. That said, given the limitations of the LED unit, leaving it off unless it's absolutely needed is probably the right approach anyway.

The camera runs on an internal battery charged via USB-C, which is one less thing for kids to lose. Camp Snap rates it at around 500 shots, which seems reasonable in my experience.

Image quality

It's important to set appropriate expectations for image quality. It's an inexpensive camera that's designed mostly for kids to capture memories, with the idea that it's potentially disposable should disaster happen.

Don't expect the same level of image quality that you would get from a modern smartphone or even a retro point-and-shoot camera, though. The camera's imaging sensor is tiny. In fact, it's smaller than the ones used in most smartphone cameras, and it doesn't benefit from any of the computational photography techniques those devices use to improve image quality.

It's worth illustrating this with some real-world examples. In the table below, you can compare the Camp Snap 2's sensor and lens to other cameras that have lenses with similar focal length, including the Kodak C1, the Olympus Tough TG-5, a rugged camera introduced in 2017, and the iPhone 13, a several-year-old smartphone.

	Camp Snap 2	Kodak C1	Olympus Tough TG-5	iPhone 13 (main camera)
Price	$70	$120	$450	$799
Sensor type	8MP	13MP (BSI)	12MP (BSI)	12MP (BSI)
Sensor area	15.7mm²	15.9mm²	28.1mm²	35.2mm²
Lens*	26mm F2	26mm F2	25-100mm F2-4.9	26mm F1.6
Light captured**	1x	~1x	1.8x	3.5x

*Focal lengths are 35mm equivalent.
**Relative to Camp Snap 2, based on sensor area, aperture, and sensor type (BSI sensors capture more light than conventional sensors of the same size).

In general, the more light a camera gets, the better the image quality, and the numbers on the last line tell a clear story: the Camp Snap 2's sensor captures roughly half the light of the TG-5 and less than a third of what the iPhone 13 captures – and that's before the iPhone's computational wizardry kicks in. The Kodak C1's BSI sensor gives it a slight edge over the Camp Snap 2 despite their similar size, along with a flip-up LCD screen, for just $50 more.

Of course, what none of those cameras can provide is the simplicity and screen-free experience of the Camp Snap 2, and if a screen-free camera is what you need, or simply the experience you're after, it stands out.

The Camp Snap 2 is prone to clipping bright highlights, like clouds.

Camp Snap 2 camera | F2 | 1/1150sec | ISO 100
Photo: Dale Baskin

In most cases, the Camp Snap 2 does a good job of getting exposure correct, but it struggles with strongly back-lit scenes, and while the white balance is generally on target, photos can occasionally exhibit a slight color cast.

The most visible artifacts you're likely to encounter are clipped highlights on bright objects or JPEG compression artifacts, which are obvious if you pixel peep images at magnification.

Verdict

The Camp Snap 2 is a good camera to send to camp with your kids, particularly if there's a no-screens rule. It's incredibly easy to use and lets kids capture memories that last a lifetime. Older kids, or those with some photography experience under their belt, might find it too simplistic and would be better served by something with a bit more control.

However, it has a fun factor, and if you're buying it for your child to take to summer camp – or even for yourself to have some fun – it's up to the task. When I look back at photos I took at summer camp as a kid with a film camera, the image quality leaves a lot to be desired. But adult me doesn't care one bit about that. The purpose of those photos was never to be fine art. It was to capture memories of something that mattered, and they do exactly that. The Camp Snap 2 can do the same.

Best cameras for landscape photography in 2026

Mon, 01 Jun 2026 16:00:00 Z

When you use DPReview links to buy products, the site may earn a commission.

Updated June 1, 2026

Landscape photography is a demanding medium, requiring cameras with high resolution and dynamic range. When considering what cameras should make it on this list, we look at factors like weather-sealing, battery life and operability on a tripod.

We've selected cameras that are most likely to deliver the best possible image quality if you're going to spend hours hiking to the perfect location and waiting for the perfect light. For some picks, we've also considered the best image quality you can get at a certain size and weight of camera body.

Our picks:

Best camera for landscapes: Fujifilm GFX 100S II

102MP BSI medium format sensor | In-body image stabilization | 5.76M dot viewfinder

Photo: Mitchell Clark

Buy now:

What we like:

Excellent detail capture
Very high tonal quality
Ready-to-go JPEG or malleable Raws

What we don't:

Autofocus not especially fast
Video prone to rolling shutter

The GFX 100S II uses the same sensor as the GFX 100 II, but puts it in a body with fewer features – though you do still get essentials like a tilting screen and a stabilized sensor. The result is the only camera with anywhere near this resolution that fits within the price limit of our buying guides, though do keep in mind that you'll also have to budget for medium-format lenses too, which, while excellent, don't come cheap.

The GFX 100S II has improved autofocus and burst rates compared to its predecessor, but its main strength will be landscapes or studio work where it won't have to track dynamic subjects. That makes it slightly less versatile than most of its full-frame competitors, but if you're doing purely landscape photography its image quality will be unparalleled unless you're willing to spend many thousands of dollars more.

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Smaller, less expensive options

While the GFX100S II's image quality is unassailable, it's also relatively large, heavy and expensive. If you mostly shoot landscapes, but don't want quite as much bulk or cost, consider Sony's a7R V and a7CR. The cameras share a 61MP full-frame sensor, are much cheaper than the GFX, and use less expensive full-frame lenses. The a7CR is smaller than the a7R V, but uses a less flexible fully-articulating screen (versus the larger camera's tilting/fully-articulating), has a smaller, lower-res viewfinder, and doesn't have a mechanical front-curtain shutter.

Best camera for landscapes and more: Sony a7R VI

66MP Stacked CMOS sensor | >30fps with e-shutter, 10fps mech | >4K/120p video

Buy now:

Click here to read our initial review of the Sony a7R VI

The Sony a7R VI is a high-resolution full-frame camera with a stabilized 66.8MP stacked CMOS sensor.

Like previous a7Rs, it has strong landscape credentials as the highest resolution full-frame camera on the market, with the ability to read out both of its gain steps to let you exploit the deepest shadows. It's not just limited to static scenery, though; its sensor and autofocus are fast enough that it's capable of shooting faster-moving subjects and video, too.

The a7R VI captures tons of detail and dynamic range, especially when shooting with its mechanical shutter. Its autofocus is also some of the best out there, and is heavily customizable, with the ability to fine-tune the auto subject recognition modes and more. It also offers features like pre-capture and Speed Boost, which lets you temporarily increase or decrease your burst rate, to help make sure you get the shot without filling your memory cards too quickly.

It's a landscape camera that can stretch to other uses

Its electronic shutter modes don’t have the fastest rolling shutter speeds, but they’re controlled enough that you should be able to capture all but the fastest subjects without distortion. This is true in its video modes as well, even the 8K capture, which is oversampled from an 8.2K region.

While other cameras outperform the a7R VI in things like video or action shooting, it’s one of the most capable landscape cameras we’ve seen that can also stretch to those uses without too much effort.

Click here to see the Sony a7R VI studio scene

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Best camera that's also good for landscapes: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

Photo: Richard Butler

Buy now:

Click here to read our review of the Canon EOS R5 II

What we like:

Excellent image quality
Fast, dependable autofocus
Good video support tools

What we don't:

Slight reduction in dynamic range in extreme scenarios
Temperamental eye control
Temperature limits in heaviest video modes

Canon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera, built around a 45MP Stacked CMOS sensor.

If you need a camera that can handle whatever you throw at it, including the occasional landscape photo, the EOS R5 II is the one. Its sensor isn't the highest resolution, but it makes up for it with speed, letting you shoot up to 30fps. It also has the most capable autofocus system on this list, with its dedicated 'Action Priority' modes made specifically for shooting high-speed sports.

The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right.

The EOS R5 II does a vast range of things, most of them extremely well: it's impressive for action, landscapes, video, you name it.

The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps.

The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.

Click here to see the Canon EOS R5 II studio scene

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Also consider: the Nikon Z8

The Nikon Z8 is similalry capable to the EOS R5 II, and its 45.7MP sensor is just as able to take beautiful landscapes, while still handling anything else you throw at it. The two cameras are so evenly matched that the best way to choose between them is by comparing which lenses are available for them, figuring out which system has the ones you want at a price you want to pay, then buying the body to match.

Buy now:

The bargain option: Nikon Z7 II

45.7MP full-frame sensor | In-body image stabilization | 4K/60p video

Photo: Dan Bracaglia

Buy now:

Click here to read our review of the Nikon Z7 II

What we like:

Sensor offers some of the best image quality in its class
Lovely ergonomics
4K/60p (with a minor crop)

What we don't:

Autofocus interface a bit clunky
EVF not as high-res as competitors
Customization a bit limited

Nikon's Z7 II is a 45.7MP full-frame, image-stabilized mirrorless camera that shoots up to 10 fps bursts, 4K/60p video with a small crop, and offers some of the best ergonomics in the business.

The Z7 II is decidedly last-generation at this point, a fact you'll feel most in its autofocus system. It can still produce crisp images, though, and its age is a benefit when it comes to its price: you can routinely find it for around $2,000, a price bracket that generally contains cameras with half the resolution.

The Z7 II's image quality frequently impresses. It'll match its peers in everything except resolution and, in situations where you can use the greater exposure needed for ISO 64, it has an edge in terms of tonal quality. JPEGs are good but we got the best result from the Raw files.

To say the Z7 II is a comfortable camera to hold would be an understatement

The Z7 II provides plenty of well-placed controls and a large handgrip, despite its relatively compact body. The additional option to add a battery grip with duplicate controls is valuable. We'd like more control over what can be applied to custom buttons and we miss the AF mode control from the front of Nikon's DSLRs, though.

\The Z7 II is a capable camera that can produce superb image quality. Its autofocus performance and interface aren't quite up there with modern mid-to-high-end cameras, but overall it's a good, capable camera. The improvements over the original version help expand the range of circumstances in which it performs well.

Click here to see the Nikon Z7 II studio scene

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The compact option: Fujifilm X-T5

Photo: Richard Butler

Buy now:

Click here to read our review of the Fujifilm X-T5

What we like:

Dedicated dial interface shows your settings
Detailed 40MP images
Photo-centric design and feature set

What we don't:

Autofocus prone to false-positives
Significant rolling shutter in e-shutter mode
Smaller buffer, lower-spec video than X-H2

The Fujifilm X-T5 is a classically-styled, photo-focused 40MP enthusiast mirrorless camera, based around an image-stabilized BSI sensor.

If the landscapes you're hoping to capture are far off the beaten path, the X-T5 may be worth a look. While it's marginally smaller and lighter than its full-frame and medium-format counterparts, the real weight savings will come from the lenses you can equip it with. Fujifilm's lineup of APS-C lenses is unmatched and can make for a kit light enough that you won't have to reconsider hiking an extra mile or three to get the shot.

The X-T5 produces highly detailed Raw and JPEG files, with the latter benefiting from Fujifilm's array of attractive 'Film Simulation' color modes. A 40MP APS-C sensor means relatively high pixel-level noise but results that are competitive when viewed at a common output size.

The X-T5 foregoes some of the X-H2's video features to offer a more photo-centric experience with classic styling

The X-T5 features dedicated control dials for ISO, shutter speed and exposure compensation, along with a film-era SLR-style low-profile front grip. Its rear screen tilts up and down but also hinges outward for portrait-orientation shooting.

Having the X-H2 and X-H2S available to meet the needs of videographers allows the X-T5 to fulfill photographers' desires for stills-centric handling and features. For photographers who enjoy Fujifilm's traditional dial-based controls, there's no more capable body than the X-T5.

Click here to see the Fujifilm X-T5 studio scene

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Also consider: the Canon EOS R7

Canon's EOS R7 is a bit heavier than the X-T5, and its APS-C lens selection isn't nearly as robust, but its 32.5MP sensor will be more than capable of capturing detailed landscapes. Its faster burst rates and better autofocus tracking also give the edge over the X-T5 for when you're shooting in the city instead of the wild.

Buy now:

Buy w/ RF-S18-150mm F3.5-6.3 IS STM at Amazon.com

Why should you trust us?

Our Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.

Panasonic L10 initial review

Tue, 26 May 2026 17:00:00 Z

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Product Photos: Mitchell Clark

The Panasonic DC-L10 is an enthusiast compact with a Four Thirds sensor and an optically stabilized 24-75mm equiv. F1.7-2.8 lens with motorized zoom. Like the Panasonic's LX100 and Leica's D-Lux series of cameras, the camera doesn't use its entire sensor, instead letting you preserve the same diagonal angle of view from 4:3, 3:2 and 16:9 crops of it, which use up to 81% or around 183mm² of the sensor.

Key Specifications:

Up to 20.4MP images from a 26.5MP BSI CMOS Four Thirds sensor
10.9 - 34mm (24-75mm equiv.) F1.7-2.8 lens with OIS
2.36M dot OLED viewfinder
1.84M dot 3" fully articulating display
Phase detect autofocus with 6 subject recognition modes
Metal body
5.2K open-gate up to 30p
1x UHS-II SD card slot

The L10 will be available in June, with the black and silver versions costing $1499. There will also be a special edition "Titanium Gold" version for $100 more, which will be available from limited outlets and include a threaded shutter button, leather strap and a color-matched automatically-opening lens cap (the latter accessory will be available to buy separately for the standard editions in silver and black).

Index

Buy now:

What's New?

The LX100 II (left) is a fair bit smaller than the L10 (right).

Panasonic is pitching the L10 as the start of a new line of compacts, rather than a direct successor to the LX100 II from 2018, but the cameras' shared DNA and place in the market make it worth seeing what else the removal of an X and a zero has changed. The biggest difference is, of course, the design, which will be covered in the body and handling section.

Updated sensor

The L10 uses the same 26.5MP Four Thirds (225mm²) sensor that's found in the GH7 and G9 II. This results in images that have better dynamic range and are slightly higher resolution than you could get out of the LX100 II: up to 20.4MP in its 4:3 mode, rather than 17MP.

The L10 continues Panasonic's tradition of cropping in on its sensor to produce a multi-aspect ratio shooting experience, where the different crop modes it offers generally have the same diagonal angle of view.

Graphic: Richard Butler

The bigger improvement, though, is the addition of phase detect autofocus. The L10 has essentially the same autofocus we've seen in all of Panasonic's most recent cameras, with algorithms for recognizing six kinds of subjects (humans, animals, cars, motorcycles/bikes, trains and planes), as well as part priority (e.g., focusing on a rider's helmet, or the cockpit of a plane) derived from machine learning.

New processor

Panasonic has used its latest processor in the L10, the same one found in recent models like the S1RII. The camera runs Panasonic's latest-generation of firmware, so it's compatible with the company's Lumix Lab app and has features like HLG HEIF output, Live View Composite (a multi-exposure mode that shows you the image as it builds up, and lets you stop it when you choose), in-camera processing of focus stacking bursts and the Real-Time LUT system, which lets you bake custom-designed color profiles into your JPEGs and videos.

A cornucopia of colors

While the Real-Time LUT system (for which there's a dedicated button on the rear plate) lets you use custom color modes for your JPEGs, the camera includes a few new built-in color modes too, which Panasonic says are "film‑inspired." These are "L.Classic," which the company says is low-saturation and highlights greens, and "L.ClassicGold," which gives your photos a very warm, amber look.


Standard Color Profile	L.Classic Neo	L.Classic	L.Classic Gold

The decision to include these new modes was apparently based on the popularity of the L.ClassicNeo profile that it's included in its cameras for years. For video shooters (or photographers looking for a video-like look), the camera also includes a suite of "Cinelike" modes designed to give you a pleasingly flat look that, unlike the also-included V-Log, can be used for output, but which also offer some editing flexibility in post.

How it compares

One of the most exciting things about the L10 is that it's a new enthusiast compact camera aimed at photographers, which is something we haven't seen in quite a while. Companies like Canon and Sony still sell the latest entries in the G7X and RX100 lines, but both cameras were introduced in 2019, around 7 years ago.

While it can be tempting to compare the L10 to cameras with fixed prime lenses like the Ricoh GR4 and Fujifilm X100VI, the use of a zoom lens means that it's targeting a different kind of photographer. Likewise, vlogging compacts like Canon's PowerShot V1 and Sony's ZV-1 II are much more focused on pleasing videographers than photographers.

	Panasonic L10	Panasonic LX100 II	Sony RX100 VII	Canon G7X III
MSRP	$1499	$999	$1499	$879
Sensor	26.5MP BSI CMOS Up to 183mm²	21.8MP BSI CMOS Up to 183mm²	20.1MP stacked CMOS 116mm²	20.1MP stacked CMOS 116mm²
Lens (equiv. focal range)	24-75mm	24-75mm	24–200mm	24-100mm
Aperture range (full-frame equiv.)	F1.7-2.8 (F3.8-6.2)	F1.7-2.8 (F3.8-6.2)	F2.8-4.5 (F7.6-12.2)	F1.8-2.8 (F4.9-7.6)
Built-in filter?	No	No	No	3EV ND
Burst rate	11fps mech. (AF-S) / 9fps (AF-C) 30fps e-shutter (AF-C)	11fps mech. (AF-S) 5.5fps (AF-C)	10fps mech. 20fps e-shutter	8fps (C-AF) 20fps e-shutter (S-AF)
AF Subject Recognition	Human Animal Car Motorcycle/Bike Train Airplane	Face/Eye	Face/Eye	Face/Eye
Pre-Capture?	Yes	No	No	No
Display	3" 1.84M dot Fully-articulated	3" 1.24M dot Fixed	3" 921K dot Tilting	3" 1.04M dot Tilting
EVF	2.36M dot OLED 0.74x Fixed	2.76M dot field sequential 0.7x Fixed	2.36M dot OLED 0.59x Pop-up	No
Built-in flash?	No (Hotshoe)	No (external included)	Yes (pop-up)	Yes (pop-up)
Battery life EVF / LCD	410 / 420 shots	270 / 340 shots	240 / 260 shots	- / 235 shots
Video	5.2K/30 Open Gate 4K/120 (full-width) 10-bit	4K/30 (1.34x crop)	4K/30 (1.08x crop)	4K/30 (full-width)
10-bit video	Yes, HLG HDR / Log	No	No	No
Connectivity	USB-C 10Gbps Wi-Fi 5 Bluetooth 5 Mic jack	Micro USB 480Mbps Wi-Fi 3 Bluetooth 4.2 microHDMI	Micro USB 480Mbps Wi-Fi 3 Bluetooth 4.1 Mic jack	USB-C Wi-Fi 3 Bluetooth 4.2 Mic jack microHDMI
Dimensions	127 x 74 x 67mm (5.0 x 2.9 x 2.6")	115 x 66 x 64mm (4.5 x 2.6 x 2.5")	102 x 58 x 43mm (4.0 x 3.3 x 1.7")	105 x 61 x 41mm (4.1 x 2.4 x 1.6")
Weight	508g (17.9oz)	392g (13.8oz)	302g (10.7oz)	304g (10.7oz)

By virtue of being the newest camera on this list by at least seven years, the L10 has the benefit of many modern features we've come to expect: subject recognition for more than just faces, fast wi-fi transfers to a modern app, pre-burst capture, full-width video even at ambitious resolutions and frame rates and more. And while Panasonic typically hasn't matched the autofocus performance of Sony and Canon's latest systems, the systems used by the compacts discussed here are noticeably less advanced.

Body and Handling

The L10 isn't a tiny camera by any means; it's noticeably larger and heavier than its Type-1 competitors, and even the LX100 II, though it's essentially the same size as Fujifilm's ever-popular X100-series. It feels solid, with ample grip and some breathing room for its controls. While the top plate controls aren't the most premium feeling – they're similar to the S9's – they're well-placed for one-handed use.

Controls and customization

The L10 has a wide variety of customizable dials, buttons and switches along almost every surface. While this affords a lot of flexibility to customize the camera how you want – you can easily set it up in a way that lets you largely avoid the main menus while shooting – some of the defaults aren't the most sensible in our view.

As an example, when you're in aperture priority or manual mode, the top plate command dial is set to control aperture... which it won't do unless the dedicated aperture ring is in the 'A' setting. If it's not, turning the wheel does nothing, wasting the camera's single top plate dial. In our view, it'd have made more sense to control exposure compensation by default, at least in aperture priority mode.

Most of what were dedicated controls on the LX100 cameras have become customizable. What was previously a shutter speed dial is now a mode dial, and what was once a marked exposure compensation dial is now a customizable dial with a button in the middle.

Speaking of aperture, though, we appreciate that the ring is clicked, and that it handles the variable aperture in a sensible manner. For example, if you have it set to F1.7, but have the lens at 75mm equiv., it'll set the aperture to F2.8. The aperture setting will stay the same as you rotate it, until you hit F2.8, at which point it'll begin to change.

Behind the aperture ring is a customizable control ring. By default, it's set to control the power zoom (another redundancy; the toggle rocker around the shutter button does that, too), but you can have it control things like exposure compensation, ISO, white balance, AF mode and more.

Switching between the 'A' setting on the lens and the aperture range takes a bit of force – it'd be difficult to accidentally knock it out of your preferred position. Conversely, we found the focus mode switch to be a bit too easy to knock into macro mode.

Finally, there's the four-way switch on the top barrel of the lens. By default, it controls your aspect ratio, and you can customize what the 1, 2 and 3 positions do; the first position hands off control to the body. If you prefer, you can remap the control to do something else, like switching between three color modes, focal lengths or subject recognition settings.

You can also set any of the physical zoom controls to work linearly, smoothly zooming in through the lens' entire range, or to jump between common preset focal lengths (24, 28, 35, 50, 70 and 75mm equiv.). You can also have the camera remember what focal length it was at when you turned it off, and return to it when you start it up again.

EVF and display

The OLED panel in the L10's view finder is bright and high-resolution for a compact. While its eye point is only 20mm, we found it was relatively easy to see, even when wearing glasses. Thankfully, the color tearing of the field sequential displays that Panasonic used in the LX100 series is no longer an issue.

The rear monitor is fully-articulating, offering nearly unlimited flexibility in what angle you shoot from, though not the quickest deployment if you're just trying to shoot from above or below. Panasonic has created a vertical version of its on-screen UI, so if you're shooting in portrait, the details on the screen will be much easier to read, as they'll be in the correct orientation.

Ports

You can have audio input, but you can't monitor due to the lack of a headphone jack.

The L10 doesn't have an immense amount of input and output options. There's a USB-C port for charging and data transfer, which it can do at 10Gbps, and a 3.5mm microphone jack. The camera also has a fully functional hotshoe, which can be used to connect to a flash, digital microphones, and even Panasonic's XLR2 accessory that lets you record four-channel and 32-bit float audio, all but eliminating the risk of clipping.

Battery

The SD card slot gets its own dedicated door, rather than having to share one with the battery.

The L10 uses the same 16Wh BLK22 battery found in many of Panasonic's full-frame mirrorless cameras, providing a CIPA-rated 410 shots per charge when using the EVF, and 420 shots when using the display. It's not unusual to get double those ratings in real-world use, so many users may be able to get through even relatively heavy weekends of shooting without having to recharge.

Autofocus

The L10's autofocus can recognize several types of subjects, not just humans.

Panasonic L10 | 30mm equiv. | F2.1 | 1/60 sec | ISO 800

The L10 has several modes for selecting your autofocus point: the fine-grained pinpoint, a resizable single area, area-plus, a customizable zone, horizontal/vertical zone, full area, and tracking.

It doesn't have an autofocus joystick, so selecting your AF point will require using the touchscreen, or setting up the four-way controller to move it around. You can also set the screen or a portion of it to act as a touchpad to move it when your eye is up to the viewfinder.

Besides pinpoint, all of those modes can be combined with subject detection, which can be set to recognize several different types of subjects. If there are multiple recognized subjects, the camera draws a box around each of them, highlighting which one is selected, and allowing you to switch to another one. In general, it does a good job of respecting your chosen AF point; it won't jump to a recognized subject unless it's quite close to your selected area, letting you leave it on most of the time.

The L10's tracking mode won't fall back to generic tracking if it doesn't recognize a subject

The one exception is if you're a fan of the track to recompose method. Like the S1II-series, the L10's tracking mode won't fall back to generic tracking if it doesn't recognize a subject. The AF point will stay in the same place in the frame, instead of trying to stick to whatever you placed it over. This means you'll have to constantly engage and disengage subject recognition mode depending on what you're shooting, which you can do with a custom button or using the lens's four-way switch.

Video

The L10 has a lot of video capabilities, but cuts down on at least some complexity due to its lack of advanced codecs like ProRes and ProRes Raw (which would likely be too much for an SD card to handle).

While the company mainly pitches it as a stills camera, the L10's use of the GH7's sensor means it has an extremely robust set of video features. In its H.265 mode, it can capture 5.2K 4:3 open gate at up to 30p, and full-width 4K at up to 120p. As we'd expect, there are a lot of other options too; 60 in total, with All-I recording modes, 17:9 aspect ratios and >4K options.

It also incorporates Panasonic's MP4 (Lite), which is designed to produce files that are good enough quality for social media, but that are relatively small and therefore easy to transfer and upload. That codec supports 4:3 open gate at around 4K at 30p, which gives you the flexibility to take both horizontal and vertical crops for different platforms, as well as output-ready UHD 4K and FullHD, but, strangely, only in 60 and 120p.

The L10 mostly continues the tradition of offering every video assist feature

The L10 mostly continues Panasonic's tradition of including every video feature under the sun*. It has Log and HLG recording modes, and view assist tools for them, waveform exposure monitoring, multiple customizable frame guides, the Focus Transition tool that lets you do automated, repeatable focus pulls and more. All of its autofocus subject recognition modes are available in video, even when shooting at high frame rates, and you have a lot of control over which settings are or are not shared between your stills and video modes.

This means that it can be used as both a simple point-and-shoot video option for photographers who occasionally want to just capture something in motion without thinking too hard about it, and as a tool for someone serious about getting good video (though its form-factor comes with plenty of inherent limitations, despite its 43mm thread technically allowing you to attach an ND filter).

* There are a few omissions: unlike other Panasonic cameras, it doesn't offer a false color overlay for judging exposure, nor is there the option to use shutter angle instead of shutter speed.

Initial Impressions

By Mitchell Clark

Since the L10 launched, I've read hundreds of comments about it, a large portion of which focused on what the writers wished it was instead; a Micro Four Thirds interchangeable lens camera, a prime-lens compact, a smaller, more direct successor to the LX100 II, a full-frame follow-up to the S9, the list goes on. And while I understand why people want the cameras of their imaginations, we should set our dreams aside and focus on what it actually is: an enthusiast compact with modern tech.

At a high level, there are a few reasons to get a compact camera: you might want something that's flexible, but still provides an engaging experience without being a burden to carry around. Or you want a step up from your phone to something that's still relatively easy to use, but that has better zoom and subject separation.

I suspect the L10 produces better photos than my iPhone 15 Pro. I know it's more fun to use.

Panasonic L10 @ 33mm equiv. | F2.8 | 1/125 sec | ISO 125

To me, the L10 checks those boxes handily. Having the latest autofocus with several subject recognition types makes it easier to use for beginners, and features like pre-capture and capable video expand the envelope of what an experienced photographer can easily do with it. It lets you easily get the look you want in camera with LUTs and aspect ratios, then offload them to your phone, but doesn't preclude editing in post. And its EVF and copious control points provide an engaging shooting experience, though you might have to spend some time in the customization menus to get a setup you find truly satisfying to use.

While none of this is revolutionary for cameras in general, it's not something you get with many of the other compacts on the market, with the closest competitors to the L10 dating back to 2019 (read: before ubiquitous 5Ghz Wi-Fi and fast USB C).

There are still frustrations with it. While the camera's UI is snappy and responsive, the lens, which is an older design, can be ponderous. It takes around two seconds to extend when booting the camera up (and to retract when shutting it down), and another few beats to make its way through its zoom range. And while I've found the tracking AF performance to be decent so far, there have already been times where it fell down, making me wish I had a direct control for my focusing point. It also doesn't feel quite as premium as the marketing and price tag lead me to expect.

I remain enthusiastic about this compact.

Figuring out how those affect the shooting experience, and if there are any other hidden gotchas, will require a bit more time with it. But at the moment, my dreams of what this camera could be haven't been shattered by actually using it.

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Sony a7R VI review

Wed, 13 May 2026 14:00:00 Z

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The Sony a7R VI is a high res, high speed full-frame mirrorless camera, built around a 66.8MP Stacked CMOS sensor, able to shoot at up to 30 frames per second.

Key specifications

66.8MP Stacked CMOS sensor
Up to 30fps shooting with e-shutter, 10fps mechanical
Adjustable pre-capture and Speed Boost options for action shooting
Up to 8K/30 video with 1.2x crop
Up to 4K/120p video
9.44M dot HDR-capable viewfinder
Improved stabilization rated 8.5EV correction at the center, 7.0 at the edges
New, higher capacity 'SA' battery
Wi-Fi 6E

The a7R VI will be available in June, and will retail for $4499, a $600 increase from the a7R V's launch price, which has since risen to $4199.

Index:

Buy now:

Why the a7R VI isn't a rival to the a1 II

What's new

New sensor

The heart of the a7R VI is a new, 66.8MP Stacked CMOS sensor. Unlike the sensors in Sony's previous high-end bodies, the second layer of the sensor isn't DRAM memory, to buffer the data coming off the sensor, instead it's described as a processing layer.

Noticeably, this means that the full sensor readout speed is slower than in the likes of the sports-focused a1 II; instead, it's able to combine the output of its two conversion gain modes, using both the low noise and high capacity modes to give wider dynamic range.

The net result is a sensor that's much faster than its predecessor (around 5.6x quicker than the a7R V, according to Sony) but with better dynamic range. This should significantly expand the range of photographic situations the a7R VI can lend itself to, without a negative impact on the areas where the a7R V already performed well.

The faster sensor allows the camera to shoot bursts at up to 30 frames per second, using its electronic shutter. This is a huge step forward from its predecessor, which took around 100ms (1/10th sec) to read its sensor in e-shutter mode.

New processor

The a7R VI is built around a "Bionz XR2" processor, similar to the one in the a7 V (though not necessarily identical). This brings features and AF capabilities, including the Auto subject recognition mode, introduced in cameras such as the a9 III, and the ability to recognize subjects from further away, without the need for a dedicated coprocessor for the AI-derived algorithms.

Action-ready functions

The faster shooting is backed up with all of Sony's latest support tools. For a start, the 30fps shooting is blackout-free, to let you follow the action. The camera also offers an adjustable pre-capture mode that starts buffering images when you half-press the shutter or hold down AF-On, then saves up to 1 second's worth of images from before you fully press the shutter. This can be tuned down to as little as 0.03 seconds (ie: a single pre-capture frame, in 30fps mode), so that you can compensate for your reaction times without filling your cards with preemptive nonsense.

The a7R VI is not, nor is it intended to be, a sports camera

However, despite all of this, the a7R VI is not, nor is it intended to be, a sports camera. Sony talks about the camera being well disposed toward wildlife shooting, but doesn't list sports as one of its target applications. Having used it in a sporting setting, we found a significant real-world difference between the a7R VI and the a1 II, despite the superficial similarities.

New battery

Sony is including a dual charger with the a7R VI to help ease the pain of the new battery not being backwards-compatible with the old one.

The a7R VI becomes the first camera to use a new 'SA'-type battery. It's slightly larger than the existing Z-type batteries and delivers a higher voltage. It has a capacity of 20.9Wh, a 27% increase over the capacity of the batteries in previous high-end Sonys.

The new unit isn't much larger than the FP-Z100, with the locationing rails and contacts more tightly integrated into the body so that approximately 30% more cells can be incorporated into the case without increasing the overall size too much.

Expanded video capabilities

The faster sensor also allows for much improved video, even though that's not immediately obvious from looking at the specs. The 8K mode now stretches to 30p, but still comes with a 1.2x crop, much like its predecessor's. However, while the a7R V needed a 1.22x crop to achieve 4K/60, the a7R VI can do full-width 4K/120, provided you activate "Field of View Priority," which comes at the cost of noise reduction.

Improved white balance

Like the a7R V, the VI has visible light and IR sensors designed to help produce more accurate and consistent exposure and white balance. The company says it has upgraded the algorithms that handle both parameters to better interpret things like shaded subjects and light sources, to reduce exposure or WB errors.

Body and handling

New grip

The new, larger battery, which sits longitudinally down the grip, rather than the transverse arrangement of the previous design, means the camera's grip has been reworked. It's a subtle change, but the lip around the top of the handgrip is slightly more prominent and the recess on the mount side of the grip, where your fingertips rest, has been reshaped.

Sony stressed that it's not the same as the a1 II/a9 III design (the shutter button isn't at nearly so steep an angle, for a start), but it seems more comfortable than even the recent a7 V's shape.

Another a9 III feature that's absent from the a7R VI is the C5 function button on the front plate of the camera. This is a shame, as we found it worked well for operating the Speed Boost function that the a7R VI has gained. It's a function we used most often in combination with using AF-On for back-button focus, so the absence of a front button makes it more awkward to find a control point that can be readily used while also using AF-On and the shutter button.

High-brightness viewfinder

While the a7R VI's viewfinder resolution remains the same as its predecessor's, the underlying OLED panel is different. It can go much brighter and offers a wider color gamut than before, making it the first camera we've encountered with a viewfinder bright enough to preview HDR imagery. Sony also says it can achieve this brightness even when you're using both its 120fps refresh and highest quality modes.

Illuminated buttons

Many of the buttons on the back of the a7R VI light up if you press the new illumination button on the top plate. Brightness can be set to low, mid or high, and they can be set to remain lit up.

Another brilliant addition (in the sense of light being emitted) is the provision of back-illuminated buttons. This is a first for Sony and makes a lot of sense for what is its leading landscape camera. A small button on the top plate lights most of the camera's buttons up, though you'll need to learn to locate it by touch, as it's not itself illuminated. This button can be reconfigured if you need, and illumination can be set to always-on, if you prefer this to battery endurance.

The camera uses the same pair of combined CFexpress Type A / UHS II SD slots, letting you choose between fast, warm storage or the better-established, slower, less rugged format.

Fast/slow USB-C

The a7R VI moves to a dual USB-C arrangement, with the upper one offering fast data transfer and the lower one Power Delivery for charging or powering the camera.

The a7R VI's main USB port is a 10Gbps USB-C socket that can be used for data or power. Just below it is a second USB-C port. Despite the new shape, it's essentially a continuation of the USB 2.0 (480Mbps) port used for connecting accessories on previous models. The second port is compliant with the USB Power Delivery standard, though, and utilizes high enough power options that it can be used to charge or power the camera.

Every time you connect a USB cable to the camera, it'll ask you which function you want (eg: Live Steaming, MSC Image Transfer, MTP Image Transfer, etc), and remind you of the data rates of each port, and which port you're connecting to, though you can set the default behavior if you always want a specific mode.

The downside of this change is that any external accessories you have that used the Micro-B 'Multi-interface' socket won't now work, even though the second socket is still a USB 2.0 port at heart.

Battery

The new NP-SA100 has a capacity of 20.9Wh, a 27% increase over its predecessor. This powers the camera to a CIPA-rated endurance of 600 shots per charge if you use the viewfinder and 710 if you use the rear LCD.

Even when you bear in mind that CIPA ratings tend to significantly underestimate most people's real-world experiences – double the rated value isn't unusual, more if you shoot a lot of bursts – these are numbers that are likely to push into the realms of 'beyond needing to worry about it,' for a lot of users, with perhaps only wedding shooters having to make use of the two-battery charger that comes with the camera.

That said, it's worth noting that the charge level will diminish over time if you're just offloading data over the fast USB port: you'll want the PD port connected too for prolonged tethered shooting.

How it compares

The a7R V was a high-resolution studio and landscape camera, but the VI's Stacked CMOS sensor expands its range of capabilities to something much closer to those of Nikon's Z8 and Canon's EOS R5 II, which offer both resolution and speed.

Not included on this chart, but still in the conversation, is the Panasonic S1RII. It targets a similar market of hybrid shooters, with a similar set of stills features and the most complete set of video features. It's not as fast as these rivals but accepts the more widely supported L mount.

We've also left off the Sony a1 II. On paper, it seems very similar to the a7R VI, raising the question of whether Sony has just obsoleted its top-tier sports/action camera. However, the actual shooting experience is quite different on the two cameras, in ways we've covered in more depth in a separate article.

	Sony a7R VI	Canon EOS R5 II	Nikon Z8	Sony a7R V
MSRP (current)	$4499 /	$4399 / £4399	$4299 / £3999	$4199 / £3999
Resolution	66.7MP	44.8MP	45.7MP	61.0 MP
Sensor type	Stacked CMOS	Stacked Dual Pixel CMOS	Stacked CMOS	BSI CMOS
Burst shooting rate	30fps, e-shutter 10fps mech	30fps, e-shutter, 12fps mech	20fps e-shutter (no mec) 30fps JPEG only	7fps e-shutter* 10fps mech*
Pre-burst capture?	Variable, up to 1 sec	Yes, up to 0.5 sec (20 images)	Yes, up to 1 sec JPEG only	No
Viewfinder Res / mag/ eye point	9.44M dot 0.9x 25mm	5.76M dot 0.76x 24mm	3.69M dot 0.8x 23mm	9.44M dot 0.9x 25mm
Rear screen	3.2" 2.1M dot Tilt / articulating	3.2" 2.1M dot Fully articulating	3.2" 2.1M dot Two way tilting	3.2" 2.1M dot Tilt / articulating
Image Stabilization	8.5EV center, 7EV peripheral	8.5EV center, 7.5EV peripheral	5.5EV	8EV
Stills rolling shutter rate (ms)	19.6ms (14.0ms in 12-bit / lossy Raw)	6.3ms	3.7ms	100.5ms
HDR still output	HLG HEIF (no Raw)	HDR PQ HEIF	HLG HEIF	HLG HEIF (no Raw)
Video resolutions	8K/30 (1.2x crop) 4K/120	8K/60 (30 non-Raw) 4K/120	8K/60 (30 non-Raw) 4K/120	8K/30 (1.24x crop) 4K/60 (1.24x crop) 4K/30 full width
Video options	H.265 H.264 (All-I / L-GOP)	Canon Raw H.265 (All-I / L-GOP) H.264	N-Raw ProRes Raw HQ ProRes 422 HQ H.265 H.264	H.265 H.264 (All-I / L-GOP)
Video assist tools	Corrected Log preview Custom LUT preview Auto framing	Waveforms Corrected Log preview False color	Waveforms Corrected Log preview	Corrected Log preview
Media types	2x CFexpress type A/UHS-II SD	1x CFexpress Type B 1x UHS-II SD	1x CFexpress Type B 1x UHS-II SD	2x CFexpress type A/UHS-II SD
Connectivity	1x USB-C 10Gbps 1x USB-C 480Mbps Wi-Fi 6E	1x USB-C 10Gbps Wi-Fi 6E	1x USB-C 10Gbps 1x USB-C 480Mbps Wi-Fi 5	1x USB-C 10Gbps 1x USB-B 480Mbps Wi-Fi 5
Battery life EVF / LCD	600 / 710 shots	250 / 540 shots	330 / 340 shots	440 / 530 shots
Dimensions	133 x 97 x 83mm (5.2 x 3.8 x 3.3")	138 x 98 x 88mm (5.5 x 3.9 x 3.5")	144 x 119 x 83mm (5.7 x 4.7 x 3.3")	131 x 97 x 72mm (5.2 x 3.8 x 2.8")
Weight	713g (25.2oz)	746g (23.6oz)	910g (32.1oz)	723g (25.5oz)

As for autofocus and handling, the differences between the a7R VI, Z8 and EOS R5 II will all come down to your preferences and use cases (eg, whether you like a top-panel display, need illuminated buttons or both). All three cameras will outperform each other in different scenarios, and some people will prefer one camera's way of doing things over the others.

Autofocus was the main area where we found the S1RII fell behind this extremely capable competition, especially in terms of tracking reliability, but it offers a less expensive route to resolution if action isn't a regular feature of your photography.

The one major callout for the a7R VI is its rolling shutter speeds in its e-shutter modes; while it uses a Stacked sensor like the Z8 and EOS R5 II, it's the slowest of the kind we've seen. This means rolling shutter will put an upper limit on how fast the action it can follow is.

Image quality

Our test scene is designed to simulate a variety of textures, colors, and detail types you'll encounter in the real world. It also has two illumination modes, full even light and low directional light, to see the effect of different lighting conditions.

Image Comparison

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We're only able to publish the JPEGs of the test scene at the moment, but hope to be able to follow them up with the converted Raw images very soon. But even if we only look at the JPEGs, we can see that the higher resolution sensor is resolving detail that its predecessor couldn't, putting more of a gap between it and the Canon and Nikon.

The a7R VI's image quality is truly impressive. 66MP offers the best resolution this side of medium format and is backed up by very high dynamic range. In mechanical shutter mode, the camera appears to be combining the low and high-gain readout modes of its dual conversion gain sensor, something that's made explicit as an option in 4K video mode.

The s7R VI's autofocus system is able to consistently deliver 66.7MP's worth of detail.

Sony a7R VI w/ FE 85mm F1.4 GM II | F2.0 | 1/320 sec | ISO 100
Photo: Richard Butler

Sony says the camera captures 14-bit Raws, even at its fastest shooting modes, but doesn't make clear whether the equivalent of the 'Dual Gain Shooting' video function is being applied to e-shutter stills. Our measurements show that electronic shutter images have slightly higher noise levels in the shadows, and a sensor readout rate that's consistent with the 8K video mode (in which the "Dual Gain Shooting" option is not available), suggesting it's not.

The real-world impact of the difference is extremely subtle, though, with the differences really only visible in direct side-by-side comparison. And in charts of DR numbers.

Video

The faster sensor in the a7R VI not only allows it to shoot stills much faster than its predecessor, it also allows much more extensive video capabilities. As usual for Alpha-series cameras, all the options are in the 16:9 aspect ratio, and there are also no options for Raw capture. You can output a Raw stream to an external recorder, if you wish.

Resoluion	Rates	Crop	Compression type			Rolling shutter
Resoluion	Rates	Crop	HS	S	S-I	Standard	Dual Gain
UHD 8K (7680 x 4320)	24, 25, 30	1.22x	Yes			13.7ms
UHD 4K (3840 x 2160)	24	1.00x	Yes	Yes	Yes	7.2ms	15.8ms
	25, 30			Yes	Yes	7.2ms	15.8ms
	50, 60		Yes	Yes	Yes	7.2ms
	100, 120	1.1x / 1.0x	Yes	Yes		5.6 / 6.2ms
Full HD (1920 x 1080)	24, 25, 30, 50, 60			Yes	Yes
Full HD (1920 x 1080)	100, 120			Yes

The most obvious difference is the much-improved rolling shutter rates, but the a7R VI also gains a mode, comparable to Panasonic's DR Boost mode, that combines the low and high gain output of the sensor to deliver much wider dynamic range. As with the Panasonic S1II, this feature is optional, can only be maintained at slower frame rates and approximately doubles the readout times.

Image Comparison

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The 8K footage, taken from an 8.2K region of the sensor, is comfortably the most detailed. All the 4K footage is taken from the full width of the sensor and derived from 5.0K capture, according to Sony. Given the sensor is essentially 10,000 pixels wide, that would neatly correspond to 2:1 sub-sampling. We've looked at high ISO images, where line skipping would make the footage noiser and it remains comparable with the 8K footage. This strongly suggests that one of the benefits of the processing layer of the Stacked sensor is that it can pixel-bin, on sensor.

The rolling shutter numbers for 4K capture are very close to being twice as fast as 8K mode, which would also be consistent with 2:1 subsampling. This number then roughly doubles when Dual Gain Shooting is activated, but the sampling method and detail capture stay the same.

Audio

Like other recent Sony cameras, the a7R VI can record up to four channels of audio, if you connect a mic into the multi interface connectors at the front of the hotshoe.

It can also record, via an optional (and, at $780, quite costly) XLR adapter, 96kHz, 32-bit float audio. This is still relatively rare on hybrid cameras, but the dual analog-to-digital converters needed to exploit the much wider value range of the 32-bit Float notation live in the XLR adapter, so the capability is not built into the camera body.

Even so, the faster rolling shutter rates and the Panasonic-like option to opt for greater dynamic range at the cost of readout speed make the a7R VI a much more credible video camera than its predecessor, again boosting its utility for modern wedding and events shooting.

In-use

The a7R VI is both the most polished camera yet in its series, while also very much being a camera of its series. So the familiar lag when the camera boots up, checks in with the lens, has a bit of a think and then lights up the screen is still present.

Some of the a7R VI's menus and messages feel like the would have benefited from another round of regionalization.

Similarly, the menus, while much more sensibly arranged and easier to navigate, are still creaking under the weight of the complexity of the camera, and aren't helped by overly condensed titles and occasional messages that feel like they've been literally translated from another language, rather than being regionalized into comprehensible phrasing.

This sense is reinforced by little details such as pre-capture, which is one of the default options in the Fn menu, but doesn't work until you first switch from mechanical to electronic shutter mode, then engage continuous shooting. Similarly, the camera offers three multi-shot modes that combine Raw files, two of them have menu settings to select which type of Raw file you want, the third simply defers to the camera's main file type setting. It all feels like it's become too large of a task to ever finish or refine.

Which is odd, because the camera has some lovely details, such as the fact that the e-shutter sound changes with your shutter speed. Rather than it being the exact same sound whether you're shooting at 1/8000 sec or 1/8 sec, it'll simulate changes in pitch, and even the sound of a shutter opening and closing, so that you have an audible cue about exposure time, even when in e-shutter mode.

We found the a7R VI more comfortable to hold than the a7 V.

The camera's grip feels like an improvement over its predecessor, but still isn't as well optimized as Sony's pro-targeting a1 II and a9 III models. For instance, they both have a custom button on the front, which is ideal for engaging the Speed Boost function that raises or lowers the burst rate when held. Without this extra button, the a7R VI has few choices that are easy to hold if you're already using AF-On for back-button focus and have another finger on the shutter.

Pre-capture mode brings a distinct lag and jerkiness to the viewfinder, presumably held back by the camera having to operate in its slower, full-resolution mode while it's buffering images. This is a shame, because the viewfinder is otherwise very good, combining both high resolution and a good refresh rate at most other times.

It's a little disappointing that the first camera to offer an HDR-capable viewfinder is also the only mainstream brand to shoot HDR HEIF images but force you to turn off Raw capture to do so (you can shoot HEIF files with the HLG response curve and Raw, but it you want the camera to include the necessary metadata to display the images as HDR, then it's Raw only).

The first thing that hits you is the camera's seriously impressive image quality, backed up by excellent autofocus

All of which sounds like we disliked the camera, when that's really not the case. There are aspects that we felt would benefit from a little more polish, but the fact that it takes so many words to describe them doesn't mean they're the main things we took away from the experience of shooting with the a7R VI.

Instead, the first thing that hits you is the camera's seriously impressive image quality and the degree to which it's backed up by excellent autofocus. It only takes a single sentence to write it, but that's the thing that matters most.

The a7R V wasn't lacking in resolution, but the VI adds even more.
Sony a7R VI | Sigma 24-70mm F2.8 DG DN II | 41mm | F8 | 1/250 sec | ISO 100

The a7R VI isn't as quick in practice as the Nikon Z8 or Canon EOS R5 II, but instead it offers higher resolution, excellent DR, a very customizable, multi-dial interface and by far the best battery life in class. There are plenty of people for whom that will (and should) matter a whole lot more than some of the menu phrasing needing another round of localization.

Anyone hoping for a cut-price a1 II will find themselves disappointed: you can definitely feel the limitations as you push towards the outer edge of what the camera promises to do. But, then again, it promises to do an awful lot, and it brings its image quality excellence to a much broader range of applications than previous a7R models could.

Impressions Video

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Nikon ZR in-depth review

Tue, 28 Apr 2026 14:19:00 Z

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Product photos: Mitchell Clark

90%

Nikon has announced the ZR, a video-focused camera with Red co-branding. It features the same 24.5MP 'partially Stacked' sensor as the Z6III and inherits many capabilities from the more stills-oriented camera, but gains a new Raw video codec, video-focused UI and internal 32-bit float audio recording – a first in the industry.

Key Specs:

24.5MP full-frame 'partially Stacked' CMOS sensor
Nikon Z-mount
7.5EV IBIS
Up to 6K 60p
R3D (NE) Raw video codec
4" 3.07M dot (1280 x 800px) 1000 nit display
CFexpress Type B / microSD
Autofocus subject detection for people, animals, vehicles and planes
Internal 32-bit float
No mechanical shutter

The ZR retails for $2199 – $500 cheaper than the Z6III, and has been available since October 2025.

Buy now:

N-Raw or R3D NE: how to choose

Index:

What's New

Familiar sensor, new body

While the ZR's heart may be the same as the Z6III, less the mechanical shutter, it's not immediately obvious by looking at it. The camera has a boxy, EVF-less design with a minimal grip, making it easy to mount on a gimbal without having to worry about clearance.

On the back is a massive 4" 3.07M dot display. It's in a video-friendly 16:10 aspect ratio, with a 1280 x 800 pixel resolution. It has a peak brightness of 1000 nits. Nikon says it supports the P3 color gamut, giving you a more accurate preview of what your colors will look like, when working beyond the limits of sRGB.

On the back of the display are the Nikon and Red logos. The ZR is the first camera since Nikon's acquisition of Red to come with both companies' branding (unless you count the Z-mount Raptor's body cap).

R3D (NE) Codec

The ZR includes a new Raw video codec called R3D (NE), alongside Nikon's N-Raw format and ProRes Raw. While it's not exactly the same as the Redcode Raw that Red's cinema cameras shoot, it is made to be cut together with it and uses the same Log curve and color gamut.

Importantly, this means you can use the Look Up Tables, or LUTs, that already exist for Red cameras, making it much easier to cut footage from the ZR and Red's cinema cameras together.

When shooting in R3D (NE), the ZR can capture 6K and DCI 4K at up to 60p, and UHD 4K at up to 120p. These same options are available for N-Raw, though the red-flavored Raw doesn't have any compression settings like the ones available for N-Raw. We'll touch on the differences between the ZR's Raw formats later on in this review, but have covered them in more depth in a separate article.

Cine EI

R3D Raw also comes with a different approach to gain. Instead of applying it in-camera based on your ISO setting, the camera will lock it to either its low (ISO 800) or high (ISO 6400) gain step. If you adjust your ISO, the camera will note it as a metadata tag and adjust its metering to capture a different balance of highlights and shadows, but it won't change the amount of gain added to the footage. This approach is comparable to the Cine EI (exposure index) mode Sony includes on its video-focused cameras, and gives you more control over your video's lightness ("ISO") in post. By contrast, N-Raw is shot with variable gain, just like photo mode, so you can't adjust this after the fact.

Alongside R3D (NE), the ZR supports the two other Raw formats the Z6III could shoot: Nikon's own N-Raw codec, as well as Apple's ProRes Raw. Though, as has been the case in Nikon's previous cameras, the widely-supported ProRes Raw option isn't available at the camera's fastest resolutions and frame rates.

Internal 32-bit float recording

The ZR is the first mirrorless camera to include fully-internal 32-bit float recording for audio. If you're unfamiliar, 32-bit float encodes audio in an entirely different fashion than traditional 16 or 24-bit encoding, allowing it to record a much wider range of values. Typically it's combined with dual gain amplifiers to ensure both quiet and loud sounds can be captured.

The benefit is that you don't need to finely adjust gain and worry about clipping (other than the point at which your mic itself is overwhelmed). While we've seen other cameras, such as the Panasonic GH7, that support 32-bit float recording with an external XLR adapter, the ZR can do it without one, obviating the need for a costly accessory.

What's more, it can be used to record audio from the camera's internal microphone – using OZO directional technology from Nokia – as well as from the 3.5mm microphone jack, meaning you can use it all the time.

Digital hotshoe

While the ZR has a traditional 3.5mm microphone input, it also includes a digital hotshoe with support for audio. Nikon sells a compact microphone that uses it, and Tascam offers an XLR adapter.

Currently, it's unclear what abilities other third party companies have to create accessories for it. For example, some DJI wireless microphone receiver packs can plug directly into the digital hotshoes on Sony's cameras, making it so you don't have to connect them with a 3.5mm cable. Whether they'll make something comparable for Nikon's system remains to be seen.

How it compares

You only need to look at the ZR to recognize that it's a competitor to Sony's FX range of cameras for film makers. Its lack of viewfinder will draw immediate comparison with the FX3 and APS-C/Super35 FX30 models, but the price is more in line with the FX2. However, the Nikon has a sensor much better suited to video than the FX2, which uses the rather slow to read-out chip from the a7 IV.

Despite the apparent similarities (high res 60p Raw capture), it's not quite a like-for-like competitor to Canon's C50, which launched on the same day. That is an unstabilized, actively-cooled camera, rather than a hand-held model. The provision of capabilities such as a timecode socket, desqueeze preview modes for working with anamorphic lenses and the option of bolt-on mount adapters suggests a focus on industry use, rather than beginners and owner-operator outfits.

	Nikon ZR	Sony FX2	Nikon Z6III	Canon C50
MSRP at launch	$2199	$2699	$2699	$3899
Sensor res	24MP	33MP	24MP	32MP
Sensor type	Partially Stacked CMOS	BSI CMOS	Partially Stacked CMOS	CMOS with dual pixel AF
IBIS rating (Center / Periphery)	7.5 /	5.0 / 5.0	8.0 /	N/A
Mechanical shutter	No	No	Yes	No
Media types	CFe B / XQD UHS-I Micro SD	CFe A / UHS-II SD UHS-II SD	CFe B / XQD UHS-II SD	CFe B UHS-II SD
Viewfinder	N/A	3.68M dots 0.7x mag tilting	5.76M dots 0.8x mag	N/A
Rear screen	4.0" 3.07M dots (1280 x 800 px) 1000 nits	3.0" 1.04M dots (720 x 480 px)	3.2" 2.09M dots (1024 x 680 px)	3.0" 1.62M dots
Maximum res/rate	6K/60	DCI 4K/30 60 with 1.5x crop	6K/60	7K/60 7K/30 open-gate
Proxy rec	To same card	Yes	To same card	Yes
Raw options	R3D, N-Raw, ProRes RAW	Output to Atomos Rec	N-Raw, ProRes RAW	Canon Raw Light
Cine EI option?	Yes	Yes	No	No
Audio capabilities	4ch 32-bit float / 24-bit	4ch 24-bit	4ch 24-bit	4ch 24-bit
LUT upload	10 Preview only	12 Preview, Embed, Apply	No	Apply only (Built-in Preview LUTs)
Anamorphic desqueeze	No	Yes (2.0 or 1.3x)	No	Yes (2.0, 1.8, 1,5 1.3x)
Active cooling?	No	Yes	No	Yes
Battery life (CIPA) Actual / Cont	90 / - min	155 / 100 min	100 / - min	Not specified
Dimensions	133 x 81 x 49mm	130 x 78 x 104mm	139 x 102 x 74mm	142 x 88 x 95
Weight	630g	679g	760g	670g

The Nikon ZR looks essentially like one of Sony's small FX models but without their active cooling. And, in the same way that the FX2 and FX3 share much of their hardware with the more photo-focused a7 IV and a7S III bodies, respectively, the ZR is essentially a video-ized Z6III. So, while you lose the viewfinder, photo-friendly body shape and mechanical shutter, you gain more Raw video options, a hotshoe with digital inputs and 32-bit float audio. Despite this, Nikon has brought the ZR in at a price significantly below that of the Z6III.

But, more significant is that it undercuts the price of the FX2, which isn't built around an especially video-adept sensor, and at nearly half the $4100 asking price of the FX3, which has comparable rolling shutter, but captures native 4K, rather than the Nikon's 6K. In most regards, the ZR looks like a bargain.

Body and handling

The ZR is a relatively compact body, immediately bringing to mind the original Sony FX3, but without the prevalence of 1/4-20 mounting points, and without the finned exhaust ports, as the ZR does not feature active cooling.

It's just as much a Z6III shorn of its viewfinder as anything else, and has a similarly solid-feeling build. It uses the same fibre-reinforced plastic that Nikon has been using for some years, which gives a good sense of solidity without adding excessive weight. This is likely to be a benefit if you choose to mount it on a gimbal.

Ports

The ZR has most of the ports you'd expect from a video camera: USB-C, running at 3.2 speeds and 3.5mm headphone and microphone jacks. The one surprise is the presence of micro, rather than full-size, HDMI. It does make sense given the camera's smaller form-factor, but those planning to routinely plug in monitors or external recorders to this camera will likely wish for a more robust connector.

Its storage mediums are also unconventional. While its CFexpress Type B slot is exactly what you'd expect on a high-end video camera, the secondary UHS-I microSD card slot isn't. It's not fast enough to support most of the formats that the camera can, so you can't use it to back up your recordings, nor can it be used to record proxies (though if you're shooting in R3D (NE) or N-Raw, proxy files will be recorded to the main card). Most people, then, will likely just use it for transferring settings and LUTs, or perhaps for shooting stills.

Battery

The Nikon ZR uses the same EN-EL15c battery as the Z6III. It's a 16Wh battery which powers the Z6III to a respectable 390 shots per charge when shooting photos and 100mins of "actual" video shooting, according to CIPA's standardized tests.

Nikon hasn't provided the rated values for the ZR, but they're pretty comparable: good, but not exceptionally so.

Video capabilities

As you might expect, Nikon is putting most emphasis on the ZR's Raw capabilities, but for many people, good 10-bit Log footage offers a less data-intensive workflow with plenty of editing flexibility (there's a much smaller difference in editing flexibility between 10-bit Log and 12-bit linear Raw than between JPEGs and Raw stills).

Encoded options

The ZR offers plenty of gamma-encoded video options, in a choice of All-I ProRes 422, 10- or 8-bit 4:2:0 H.265 or 8-bit, 4:2:0 H.264 MP4s.

As is often the case, the most data-intensive options aren't available in ProRes. And, like the Z6III, the ZR needs to crop in to an APS-C / Super35 region to shoot 4K/120 or 100.

Resolution	Framerates	Region	ProRes 422 10-bit MOV	H.265 (4:2:0) 10 or 8-bit MOV	H.264 (4:2:0) 8-bit MP4
5.4K	60 / 50	Full-width	No	Yes	No
5.4K	30 / 25 / 24	Full-width	Yes	Yes	No
4K (3840 x 2160)	60 / 50 / 30 / 25 / 24	Full-width or 1.5x crop	Yes	Yes	No
4K (3840 x 2160)	120 / 100	1.5x crop	No	Yes	No
Full HD (1920 x 1080)	120 / 100	Full-width or 1.5x crop	Yes	Yes	No
	60 / 50	Full-width or 1.5x crop	Yes	Yes	Yes
	30 / 25 / 24	Full-width or 1.5x crop	No	Yes	Yes
	240 / 200	1.03x crop	No	Yes	No

Raw options

Even if they're not necessarily the easiest options to capture or work with, the ZR's Raw video modes are likely to be the most eye-catching.

The camera can capture either the Red-derived R3D NE Raw or the existing Nikon N-Raw at up to 6K/60. It has to drop to 30p to utilize the more widely-supported ProRes RAW codec.

	Resolution	Region	Frame rates	R3D NE	N-Raw	ProRes RAW HQ
6.0K	6048 x 3402	Full-width	60/ 50	Yes	Yes	No
6.0K	6048 x 3402	Full-width	30/ 25/ 24	Yes	Yes	Yes
4.0K	4030 x 2268	Full-width	60/ 50/ 30/ 25/ 24	Yes	Yes	Yes
	3984 x 2240	1.52x crop	120/100	Yes	Yes	No
	3984 x 2240	1.52x crop	60/ 50/ 30/ 25/ 24	Yes	Yes	Yes

It's worth noting the different ways the R3D and N-Raw modes handle ISO. Currently, most software doesn't support lens corrections for R3D NE, though the format itself does, and they can be added using Red's RedCine-X Pro transcoding software.

Shutter angle

The ZR is the first Nikon camera to let you set exposure in terms of shutter angle, out-of-the-box (it was added to the Z8 and Z6III in firmware, post-launch). This is especially valuable on a camera that can shoot 60 and 50 fps footage as readily as it can 30, 25 or 24p, as it means you can switch frame rates and have the exposure time respond accordingly, avoiding the risk of forgetting, and shooting footage with too high or low a shutter speed, after you switch.

Video image quality

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As with the Z6III, the ZR's compressed footage is very detailed in both 4K and 5.4K. However, Nikon has clearly changed how it processes this footage, and it appears to be applying less, or more subtle, sharpening than the Z6III.

Compared to hybrid stills/video cameras, the ZR has similar levels of detail to the similar-pixel-count Panasonic S1II, as well as to the Canon EOS R6 III's oversampled 4K mode. However, the Canon's 7K open gate footage provides much more detail than the ZR's 5.4K capture, though it will take up more storage and has to be edited before delivery. The highest-resolution footage you can get from the ZR offers more detail than the Sony a7 V's oversampled 4K footage, though some of that is almost certainly aliasing. That's also the case if you compare the cameras' 4K output, with the ZR's having more aliasing, thus not necessarily representing the scene better. It's also worth noting that the ZR comes in at a substantially lower price point than those cameras (though with a corresponding decrease in stills capabilities).

While bumping up to 60p doesn't come with a cost to field of view or detail, if you want to shoot in 120p, the camera will have to crop down to a smaller APS-C region of the sensor. This results in less detail being captured, as is expected given the extra noise coming from using a smaller region of the sensor, and the higher shutter speeds required for shooting at higher frame rates, though it's the same amount as captured by the APS-C 24p mode.

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Crop of 5.3K 10-bit H.265 footage at frame 1 of a recording, and frame 21 (click to see full-resolution frames). LUT applied.
Nikon ZR | 1/320 | F8 | ISO 800

The ZR shares a video IQ quirk with several of Nikon's other cameras, in that, for around the first second of an H.265 recording, the bitrate is substantially lower, resulting in noticeably softer and blockier footage. While it's certainly a ding against a hybrid camera, having to leave a second of lead time on each of your shots is borderline unacceptable for a video-focused camera.

Three flavors of Raw

The Nikon ZR supports internal Raw recording to three different formats: N-Raw, ProRes Raw, and R3D NE, a format currently unique to it. They all have the common caveats associated with Raw recording – using it will require post-processing (often using specific editing software), and the difference between Raw and Log isn't anything like as great as the difference between Raw and JPEG for stills – but for those that need it, it's available.

As you'd expect, the ZR's three flavors of Raw capture comparable amounts of detail at their 6K settings, though their default LUTs offer fairly different foundations to build your own grade on. Despite the similar image quality each version of Raw offers, there are substantial differences between what it's like to shoot them. You can read our in-depth comparison below.

Log isn't just log

The ZR's N-Log mode for H.265 does more than just record in a different gamma; it also has a big impact on the amount of apparent detail in the footage compared to the camera's default H.265 color mode. Even with the LUT applied to roughly match color and lightness, the footage is substantially softer. When shooting in N-Log, the camera doesn't appear to apply any of the "Picture Control" adjustments, including sharpening, which may account for some of the visual differences; rather than doing it in-camera, it seems like Nikon is assuming that those shooting Log will want control over sharpening in post.

Despite sharing a sensor, Log footage recorded in H.265 from the ZR clearly has more noise reduction in the shadows than footage shot on the Z6III with the same settings. This noise reduction isn't applied to Raw footage, but for those who would prefer smaller file sizes will have to give up some control over how sharp the footage is straight out of camera. Given the controversy around the Z6III's relatively noisy and sometimes flickering shadows when recording Log, it's not surprising that Nikon has made some changes.

In use: a photographer's perspective

By Mitchell Clark

The Nikon ZR produces the same level of image quality as the Z6III. But the shooting experience is a world apart.
Nikon ZR | Nikkor Z 24-120 F4 S | 90mm | F5.6 | 1/160 sec | ISO 200
Photo: Mitchell Clark

As with other video-focused cameras, there will be photographers who ignore the ZR's Red branding to focus purely on the sensor and the boxy shape, reminiscent of a rangefinder. If that's you, we implore you: do not buy this camera.

Of course, it can take stills, and it even has a switch on the top to go between its photo and video modes. But its lack of a mechanical shutter essentially rules out flash photography (it can only sync at 1/60 sec), and means you may have to deal with banding when shooting under artificial lighting. And while I'd welcome a rear display this large and bright on a hybrid camera, I still found myself missing an EVF when shooting pictures with the ZR.

While I, like many of you, would love it if Nikon (or anyone, for that matter) released a camera roughly this shape and size aimed at photographers, the ZR isn't it. It's a video camera that can shoot the occasional still when needed, and should be treated as such.

Conclusion

By Mitchell Clark

Pros	Cons
Great video quality across formats (with a few caveats) Large, bright screen makes monitoring easy 32-bit float audio relieves stress of clipping audio Video-specific controls and menus are easy to operate Autofocus generally capable and controllable Wide array of recording options with well-controlled rolling shutter IBIS very capable for vertical shooting	Sensor not the best for Log/Raw workflow Noise reduction reduces peak IQ in H.265 H.265 footage uses very low bitrate for first second Card slots inaccessible when camera's mounted Could use an extra button or two Screen interferes with audio ports Some video tools (zebras, focus peaking) need some work microHDMI and microSD aren't wonderful Open-gate would've been a nice option

As the Nikon ZR is a video camera, we thought it best to present the majority of our conclusion as a video, primarily shot using the ZR and with lots of sample footage.

To briefly summarize: on the vlogging to production workhorse spectrum, the ZR sits far closer to the Sony ZV-E1 and Panasonic S9 at the vlogging side of things, rather than on the S1H and FX3 side. But for those who are looking for that kind of camera, which will likely be the majority of shooters, it's remarkably capable at that job.

The ZR has a few first-gen quibbles, which isn't necessarily a surprise. As it stands, it feels like Nikon was able to incorporate some of Red's expertise as it finished up the ZR, rather than building it from the ground up with that knowledge. What's there is quite good, but it'd be interesting to see what a version of this camera would look like if that production-focused perspective were available earlier in the process.

Nikon also seems to already be taking some of the user feedback to heart. At the time of writing, the company is promising a firmware update to the ZR that will:

Allow users to record using the more sophisticated Log3G10 in H.265, instead of being stuck with N-Log
Bring "general quality improvements" to H.265
Let you use focus peaking and view assist concurrently when shooting in R3D NE
Add a further compressed version of R3D NE, as is available when shooting N-Log (a big help in the time of skyrocketing storage costs)

If all of that comes to fruition, the ZR will be further refined as everyday vlogging/video camera. And while it may not be the best pick if your intent is a multi-operator, budgeted production, its very competitive price certainly makes that easier to accept. This capability, combine with a price that makes the camera punch a fair bit above its weight, earn it our Gold award.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Nikon ZR

Category: Mid Range Full Frame Camera

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The ZR is one of the best vlogging cameras we've seen, providing plenty of headroom for expanding your production values.

Good for

Vloggers and YouTubers Owner/operator video producers

Not so good for

People who care about stills Professional productions

90%

Overall score

Compared to its peers

Compared with Nikon's own Z6III, the ZR is the obvious choice for video-first shooters, thanks to its larger, brighter display with video-focused menu, 32-bit internal float, and the option of using the more sophisticated R3D NE format. By default, the ZR sharpens its footage less, which we find to provide a better starting point for editing, though it also has more aggressive noise reduction, which is especially noticeable when shooting H.265 in Log. That means you lose a touch of detail in the shadows, but we'd consider it a fair trade-off (and one that could be fixed with a firmware update). For anyone intending to regularly shoot stills, though, the Z6III will be a much better option.

Looking at the Panasonic S9, its lack of internal Raw, rock-solid IBIS and ability to burn LUTs into your footage signal its role as a more beginner vlogging camera focused on providing ready-to-output footage. If you do want to edit, though, it also provides open-gate shooting, a feature the ZR lacks. While the S9 is a relatively capable video camera, especially given its price, the ZR is more well-rounded with its faster sensor with better rolling shutter rates and full-width 4K/60, 32-bit float audio and large screen. We also prefer its autofocus and controls, and the fact that it has a headphone jack for monitoring.

While we haven't tested the Sony FX2, we are familiar with its sensor, which has much slower readout speeds and requires a crop to an APS-C region to do 4K/60, which the ZR does not. Unless you have a very specific need for a production-focused camera, the ZR is a much better choice, thanks to its faster sensor, 32-bit float audio, choice of Raw and Log workflows, and larger screen. The FX2 will likely have cleaner footage in the deep shadows, and has a mechanical shutter and EVF for stills, but those qualities can also be had in cameras much better suited to both stills and video than it.

Buy now:

Ricoh GR IV Monochrome review

Mon, 23 Mar 2026 14:24:00 Z

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Product photos: Richard Butler

83%

Ricoh has released a monochrome version of its GR IV enthusiast compact camera. The GR IV Monochrome features the same 26MP BSI CMOS sensor and 28mm equiv F2.8 lens as the color version, but is black-and-white only.

Key specifications

26MP BSI CMOS sensor with no color filter array
On-sensor phase detection
ISO 160-409,600
In-lens shutter allows flash sync to 1/4000th sec
E-shutter allows use of F2.8 at up to 1/16,000 sec
Built-in red filter, giving punchier blues.
53GB of internal memory
250 shot-per-charge battery rating
UHS-I Micro SD memory card slot

The GR IV Monochrome sells for a recommended price of $2199. This is a 46% premium over the list price of the standard GR IV, suggesting Ricoh feels that the mono version will have a smaller audience to foot the development costs. The MSRP in the UK is £1599, which is only a 33% mark-up over the standard version's original list price.

Index

Buy now:

What is it?

As the name implies, the Ricoh GR IV Monochrome is a black-and-white only variant of the GR IV.

You get all the usual benefits and costs of a mono-only sensor: a higher base ISO, because less light is being lost to a color filter array (a 2/3 of a stop increase, in this instance), and much sharper detail, as there's no demosaicing taking place.

You also get better noise performance at any given ISO: again because there's no color filter sapping any light, but with that advantage disappearing if the color version can use its lower base ISO.

However, with only a single color channel, there's a lot less flexibility to the Raw files: once the image appears to be clipped, there's no way to approximate highlight data from unclipped channels.

The electronic shutter can deliver exposures down as low as 1/16,000 sec, letting you use the maximum aperture even in good light

To prevent overexposure when shooting at F2.8, the GR IV Monochrome lets you switch from its in-lens shutter to an e-shutter. The electronic shutter can deliver exposures down as low as 1/16,000 sec, letting you use the maximum aperture, even in good light, despite the camera not having an built-in ND filter. As with the regular GR IV, the mechanical shutter has an upper limit of 1/2500 sec at F2.8: you need to stop down to F5.6 to achieve the 1/4000 sec maximum.

Interestingly, Ricoh says the GR IV Monochrome's autofocus is the same as that on the GR IV, which means it has on-sensor phase detection. This would imply that, unlike the Leica Q3 Monochrom, it has to do some degree of interpolation during processing, to hide any disparity from the output of those phase-detection pixels. We've not seen any negative impact from this in our tests, even when trying to induce flare to highlight any issues.

The company also says that the sensor is not the same one used in the K-3 III Monochrome, though it wasn't specific about how the two differ.

Red Filter

Other than the lack of color filter array, the other difference is that the GR IV Monochrome has a slot-in red filter, rather than the neutral density filter in the color version. This selectively lowers the impact of blue and green light on the sensor, which gives more dramatic skies and higher contrast, generally.

The filter in the GR IV Monochrome reduces the overall light to the camera by around 3 stops, for a neutral subject (it's around a 4 stop cut for blues, 3.5 for greens and closer to a single stop for reds).

Body and handling

As you might expect, the GR IV Monochrome looks and handles exactly like the regular GR IV: it's a tiny camera for having such a big sensor and yet it manages to put a lot of control at your fingertips without seeming too cramped. The control logic is well worked through, as you'd expect for the eighth generation of a design (prior to 2013's GR, with its APS-C sensor, there were four iterations of GR Digital, which used a much smaller Type 1/1.7 sensor in a very similar body).

By default, the front and rear top-panel dials allow you to control exposure parameters, with the -/+ rocker acting as exposure compensation if you have any automatically-controlled settings (including Auto ISO in manual mode). In practice, this layout makes it easy to make changes one-handed, without having to adjust your grip too much. The multi-directional controller is also easy to reach, giving you either access to four customizable functions or direct AF point control.

The Adj. menu gives you one-handed control over your most important settings, without taking you out of the moment by forcing you to dive into a full-screen menu. You can choose up to five parameters and arrange them in the order of your preference.

This ethos goes beyond adjusting exposure, though. Click in on the rear dial, marked Adj., and it opens up a function menu which can be navigated using touch, the multi-directional controller, or the two command dials. You can use it to adjust settings such as autofocus mode, aspect ratio, flash settings, drive and self timer modes, etc. It has five banks that you can fill with the parameters that are most important to you, in the order you want them, giving you near-instant access to them without having to dive into the main menu.

The finish of the camera is also a little different, with a less textured matte black finish. The shutter button is also black and the GR logo on the front is a very dark grey, rather than white. The green LED ring around the power button is also white, to keep with the monochrome theme. Sadly, Ricoh has not borrowed the beautiful 'Monochrome' typography from its Pentax K-3 III Monochrome DSLR.

Despite its size, the GR IV's magnesium alloy body makes it feel very solid, without being overly weighty. And, unlike almost all other modern cameras, it will sensibly fit in a pocket.

Ricoh says the GR IV's lens was specifically designed to reduce the risk of dust ingress, but that they had to make the choice between the small form factor that a retractable lens makes possible and complete weather sealing, so there are no promises around the level of sealing.

Image Quality

Image Comparison

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Like its color sibling, the GR IV Monochrome's 26MP BSI CMOS captures a very good level of detail in its Raws. However, thanks to the lack of demosaicing, the black and white images look noticably sharper, even compared to the files from the higher-resolution Fujifilm X100VI.

The Monochrome doesn't have a noise advantage if you compare its base ISO performance to that of the color version, but its base ISO is 2/3EV higher, so it's delivering a comparable result despite being exposed to less light. Once you bump up to ISO 200, and give the two versions the same exposure though, the difference starts to become apparent: the GR IV Monochrome has less noise than its APS-C counterparts, and comes much closer to full-frame cameras.

This continues to be the case through mid to high ISOs, and the GR IV Monochrome continues to produce passable images well into ranges that we wouldn't bother with on a color camera; in addition to not losing light to any color filters, it probably helps that luma noise won't be as distracting as chroma noise to most viewers. Ricoh lets you go all the way up to a ludicrous ISO 409,600, though by that point the image has, unsurprisingly, truly fallen apart.

As we saw with the GR IV, Ricoh's JPEG engine doesn't quite manage to include all the detail that the camera's Raws do, though the results are still very nice to look at. At higher ISOs, though, the effects of noise reduction on the Monochrome's images are less noticeable; the JPEGs show more detail than their color counterparts, even if you compare images that received a stop less light".

This is typically where we'd discuss the JPEG colors but, of course, the GR IV Monochrome doesn't capture any. There is a cost for the extra detail and improved noise, after all.

Like the standard GR IV, the Monochrome offers excellent dynamic range performance with relatively low read noise, giving you room to boost shadows, or to shoot at ISO 160 for maximum dynamic range and brighten to your preferred lightness in post without introducing too much additional noise.

With that said, it's worth remembering that once your highlights are clipped on a monochrome camera, they're gone. With a color camera, you have the chance of pulling back at least some detail from one of the three color channels, but that's not an option with the Monochrome.

If you want to go into more detail on the 28mm equiv. F2.8 lens that this camera shares with the original GR IV, you can check out our review of that camera. The short version, though, is that it's impressively sharp edge-to-edge given its size, even wide open, though it has a fair amount of vignetting throughout its aperture range.

Autofocus

You have several autofocus area settings, and can easily access them from the Adj. menu.

The GR IV Monochrome has essentially the same autofocus system as the color version. There are four single-focus modes: whole area, where the camera decides what to focus on, zone select, with a single, non-resizable zone, and then two single-point modes, one more precise than the other. It has two continuous modes, too: one with a mid-size selection point, and a tracking mode where the point attempts to stick to whatever you placed it over.

You can control where the focus point is by tapping on the screen or by using the multi-directional control; whether you first have to press a button to use the latter or not is up to you.

Face/eye detection works in the single-focus modes, and if you have it on and the camera recognizes a face in your frame, it will override your chosen focus point to select the face. (If there are multiple faces, it highlights them, and you can pick between them to choose which one to focus on.) You can then choose to move the focus point elsewhere in the scene if you want, but it can be jarring to have the focus point suddenly move without you asking it to, and it means you'll want to think about whether you want to leave it on all the time. There is, however, an option to only use face/eye detection in the auto-area AF mode. Regardless of your settings, face/eye detection isn't available in the tracking or continuous AF modes.

The tracking autofocus mode only gives you a single selection option, which turns green when it's locked onto a subject, or red if it fails to start tracking (something that wasn't rare in our tests).

The GR IV Monochrome's autofocus system isn't particularly flexible, as there's no customization for how large your zones are, and you can't use continuous tracking with a variety of selection point sizes. However, the camera has particularly powerful manual focusing tools; the magnification assist is quite clear, and it's one of the few compacts that will retain the same focus distance even if you turn it off.

There's also the Snap Focus feature, which is highly touted by some of the GR faithful. When using it, the camera will focus to a pre-chosen distance as soon as you press the shutter. While some people may use the camera exclusively in this mode, gaining a sense for how far away things are and keeping their camera at a preset shooting distance, it can also be used with autofocus: you can configure the camera to autofocus if you half-press the shutter, but to snap to a certain distance if you immediately fully press the shutter. This can be a lightning-quick way to shoot, once you're used to it.

Autofocus performance

In single focus modes, the GR IV Monochrome is generally quick and accurate, though it occasionally misses the mark by a touch or has to hunt for a second or two, especially (but not exclusively) in dark or low-contrast conditions.

Its continuous autofocus mode is less confidence-inspiring, hunting relatively frequently and sometimes failing to figure out the correct focus. The tracking autofocus is also off-the-pace compared to its contemporaries. In good conditions, it can do a good job of sticking to your selected subject, but it will frequently wander away from the subject or fail to keep up with it if it's moving. Generally, it's not particularly easy to trust, which makes us hesitant to use it.

Compared to the standard GR IV, the GR IV Monochrome's autofocus appears to perform quite similarly. While it's nice that it's able to reach the same bar – you aren't giving anything up by going black and white – it certainly isn't the highest performer. Some of that may be down to the fact that it has a unit focus lens, which trades responsiveness for edge-to-edge sharpness in a compact form. It's also, arguably, less essential for a camera designed for street photography with a fixed wide-angle lens to have cutting-edge autofocus tracking, but fans of the track-and-recompose method will likely find themselves having to get used to this camera's limitations if they're coming from another system.

In use

By Mitchell Clark

I'll try to avoid reiterating everything I said in the standard GR IV's "In use" section (though it all still applies), but one thing bears repeating: the control scheme is really enjoyable to use. Having direct control of all your exposure parameters via the two top-plate command dials and the + / - rocker switch, and the ability to quickly access and change the settings that are most important to you with the Adj. menu makes the GR IV Monochrome one of the easiest cameras to use one-handed that I've ever encountered.

Given that this is a camera that's designed to focus on the absolute essentials of photography, I also think it makes sense to praise the little touches that Ricoh adds to the GR series. Things like it telling you how many photos you've taken today and overall, when you turn it off, and the absolutely obscene level of customization you can do. Want to use the shutter button as a "confirm and close this menu" button? There's a setting for that. Picky about which dial does what? You can set them to almost any configuration. Don't like the default level UI (despite it being very good)? There are literally two other options that look completely different.

You can gain access to up to five settings in the Adj menu, or strip it down to the few parameters you care about the most.

None of this is specific to the Monochrome in particular, but when you're considering paying a premium for a photography-first experience with a focused device, these are the kind of small things that make a difference. It's not just a do-it-all mirrorless crammed into a small, fixed-lens body.

In lieu of the standard GR IV's built-in ND filter, the Monochrome's new electronic shutter mode allows for shooting in bright sunlight. However, its moderate rolling shutter rate means you might get some distortion on fast-moving subjects, or banding under artificial lighting (not that there are too many shooting scenarios where you'll need to shoot over 1/4000 sec without the aid of the sun).

The Monochrome's new electronic shutter mode allows for shooting in bright sunlight

The good news is that using it isn't a matter of selecting mechanical shutter or e-shutter mode; with it enabled, the camera will use the mechanical shutter up to its max speed, and the e-shutter if it still needs to tamp down on exposure. The red filter can also be used to cut down on some light hitting the sensor, but it can dramatically change the look of your image depending on the color of the subject you're shooting.

When I reviewed the GR IV, I thought its rear display was fine, but nothing to write home about. However, when trying to compose a black and white image, I found it that bit more difficult to work with at off-axis angles. It doesn't lose much brightness when you're not viewing it straight-on, but the lack of color means there are fewer hints about where the edges of your frame are, and distractions are harder to catch in the moment if they're shades of dark gray near the black bezels of the display.

Conclusion

By Mitchell Clark

Pros	Cons
Excellent image quality Great built-in lens (for fans of 28mm) Unbeatable size Well-judged control layout Highly customizable Ample built-in storage IBIS works well in low-light Integrated red filter is fun to play with	Very niche, and therefore very pricey Face/eye detection overrides selected AF point Autofocus performance isn't the strongest, especially in tracking Screen isn't great for off-axis shooting Battery life is just okay

I often find myself saying "not everything is for everyone," but it's rarely as applicable as it is in the case of the GR IV Monochrome. It's an extremely niche proposition because of how focused it is: when you're shooting with it, you have to see the world at 28mm, and in black and white: the camera doesn't allow you to capture it any other way.

Many (most?) won't see the appeal in a camera so inflexible, but the GR IV Monochrome makes a strong argument for why you should want to. Its image quality is the best you'll find in a camera this small (though there's the obvious caveat that its color performance is very poor), and the controls, customizability and UI all do a great job of getting out of your way and letting you get into the groove. And it's worth saying outright: if this is a style of shooting you enjoy, there's essentially nothing else out there that provides the exact same experience.

However, there are still parts of that experience that could use some improvement. We wish the JPEGs got the absolute most out of the detail available in the Raws (though it still captures more than most color cameras of a similar resolution), and that the autofocus was at least closer to comparable with what we expect from modern systems. And while the black and white being a hardware decision rather than a software one forces a discipline you can't get from a standard GR IV set to a monochrome profile, the premium Ricoh is charging means you'll have to really consider how much you personally value that.

If the answer is "a lot," the GR IV Monochrome is easy to recommend, because it mostly does what it does really well. However, the autofocus performance and inaccessibility to the achromatic-curious make it hard to give it our highest award. But if you're truly devoted to the style of photography this camera provides, consider it a gold, captured in monochrome.

Buy now:

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Ricoh GR IV Monochrome

Category: Enthusiast Large Sensor Compact Camera

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Optics

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The GR IV Monochrome fills a very specific niche, but does so very well with excellent image quality and controls.

Good for

Monochrome street photography enthusiasts People looking for a unique second camera

Not so good for

Photographers only looking to dabble in black and white

83%

Overall score

Compared to its peers

There are very few cameras that truly compare to the GR IV Monochrome. There is, of course, the standard GR IV, which is essentially identical except for the fact that it shoots color. It's a fundamental difference, and has some impact on IQ – the color filter array eats up around 2/3EV – but depending on your disposition using that camera in a black and white color mode may get you close to having the same experience (while giving you a bit of room to fall back if you shoot something that needs color, or if you overexpose a touch).

The Leica Q3 Monochrom comes the closest to being a like-for-like comparison with its truly monochrome sensor and 28mm lens. However, while its full-frame sensor, tilting screen, and EVF might thrill some people who wish the GR series included such features, they also make the Q3 a much bigger and heavier option; it's almost three times as heavy as the GR IV, and you couldn't fit it into most pockets. And if you thought the GR IV Monochrome was hard to bear, bad news: the Monochrom's price tag has over three times the heft, too.

Sample Gallery

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The 9 Best mirrorless cameras in 2026

Thu, 05 Mar 2026 15:44:00 Z

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Updated March 5th, 2026

Well over a decade after Panasonic introduced the first mirrorless camera, it's a design that now dominates the interchangeable lens camera market. They include cameras designed for a wide range of photo and video pursuits and models at everything from budget to professional price points.

We've used and tested just about every current mirrorless camera on the market and picked out what we think are the stand-out models. We'll start with the most affordable models, then work our way up from there. In general terms, as you move up the price ladder, you'll see larger sensors with better image quality, higher resolution, faster burst rates, and more capable video specs. We'll explain why we've chosen each camera and try to explain the advantages and disadvantages of each choice.

Our picks:

Best affordable kit: Sony a6100

24MP APS-C sensor | Hybrid AF with Real-time Tracking | 4K video capture

Photo: Richard Butler

Buy now:

$598 at B&H Photo

Read our Sony a6100 review

What we like:

Excellent autofocus system
4K/30p video recording
Tilting touchscreen LCD

What we don't:

Less robust build quality
Rolling shutter 'jello effect' present in 4K video
Crop when recording 4K/30p video

The Sony a6100 is an entry-level APS-C mirrorless camera. While it's one of the older cameras still available, its 24MP sensor, touchscreen for easy focus placement and Sony's excellent autofocus tracking, which especially excels at focusing on people and pets, still make it an excellent value for its price.

It's happiest if you prefer to point-and-shoot in an auto mode. The wide range of lenses available for it provide room to grow if you find yourself catching the photography bug and, if you shop smart, you can get the body and a lens for around $1000 (though we'd recommend staying away from Sony's default 16-50mm F3.5-5.6 II kit option).

The a6100 is the most basic model in the a6000-series and doesn't feel quite as robust as its step-up siblings. It offers a lower-resolution electronic viewfinder, and twin control dials that are both thumb-operated. Its touchscreen flips upward 180-degrees for easy selfie framing and vlogging.

Sony's autofocus system has been trained to recognize people and pets as subjects, and will follow them flawlessly throughout the frame. Coupled with the ability to touch the screen to place a focus point, it's a system that will serve beginner users very well, whatever they're shooting.

"The a6100's autofocus can effortlessly track whatever you point it at"

The a6100 makes it easy to record 4K footage or slow-motion 1080 video. There's a socket to connect an external mic but no way to connect headphones for monitoring. It can be set up for tap-to-track autofocus in video, too. There's significant 'jello-effect' distortion in the 4K footage though, especially in 24p mode.

The a6100 is a good entry-level camera with a very powerful, easy-to-use autofocus system. We're not huge fans of the kit zoom and the interface isn't especially welcoming, but with a few settings changes, it can help you get excellent shots, easily.

See the Sony a6100 studio scene

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Best value around $1000 - Nikon Z50II

20.9MP APS-C sensor | Subject recognition AF | Full-width 4K video up to 30p

Photo: Richard Butler

Buy now:

Read our full Nikon Z50II review

What we like:

Twin command dials
Simple tracking AF w/ subject recognition
Strong video specs

What we don't:

Weak battery life
Limited zoom lens selection
Non-stabilized sensor limits video

The Nikon Z50II is an entry-level APS-C mirrorless camera, built around a 21MP CMOS sensor. It features Nikon's '3D tracking' autofocus system, and can recognize nine subject types.

It represents a step up over the a6100, offering similarly powerful autofocus (though with more autofocus subject recognition types) and much more welcoming controls for when you want to be more involved in the photo-taking process. Nikon places some restrictions on what lenses third parties can make, but there are increasingly more sensible options; if the ones you want are available for it, the Z50II is the best option at this price point.

It has a solid grip, twin top-plate control dials, and a wide variety of customizable buttons, including one that, by default, controls color mode. Focusing is handled using the touchscreen or four-way controller.

Autofocus is very good with subject detection being especially good. However, human detection doesn't seem as sticky and 3D Tracking isn't as dependable as on Nikon's higher-end models. Otherwise, the camera is snappy and can even do 30fps pre-capture, though it's JPEG only.

The Z50II delivers on the basics without breaking the bank.

The Z50II can shoot Log or HLG video and has a waveform monitor to help set correct exposure. A headphone socket helps maintain audio quality but the lack of in-body stabilization counts against its use for video.

The Z50II is a solid hybrid camera, with several features from Nikon's higher-end cameras. The lack of a stabilized sensor is the one mark against what are otherwise very good video specs, and you may find the lens selection limited if you want a camera to grow with you.

See the Nikon Z50II studio scene

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Best APS-C mirrorless camera: Fujifilm X-T5

Photo: Richard Butler

Buy now:

Read our full Fujifilm X-T5 review

What we like:

Dedicated dial interface shows your settings
Detailed 40MP images
Photo-centric design and feature set

What we don't:

Autofocus prone to false-positives
Significant rolling shutter in e-shutter mode
Smaller buffer, lower-spec video than X-H2

The Fujifilm X-T5 is an enthusiast-level APS-C mirrorless camera built around a stabilized, 40MP BSI CMOS sensor with the company's X-Trans color filter array. It has plenty of features for both photo and video shooters.

What really lands it on this list, though, is how lovely it is to use. There are physical controls for all your exposure settings alongside configurable top-plate command dials, a big, bright EVF, and its JPEG colors are especially pleasing with a wide range of sensible (and more out-there) "Film Simulation" color modes. Though there are more technically capable APS-C cameras on the market, for a lot of photography, we'd give up a bit of AF tracking performance and speed for the X-T5's user experience.

The X-T5 can detect a variety of subjects from animals to vehicles, and tracking performance is quite good with these. Tracking for unrecognized subjects is less dependable and eye detection is prone to false positives. Buffer depth while shooting at 15fps is reasonable.

The X-T5 foregoes some of the X-H2's video features to offer a more photo-centric experience with classic styling

Video performance can be either full width but less detailed, or oversampled from a crop of the sensor. The use of SD cards means it doesn't share the X-H2's high-data-rate ProRes options. There's no headphone jack but audio can be monitored through the USB port with an included adapter.

See the Fujifilm X-T5 studio scene

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What are my other APS-C options?

The Sony a6700 is the most capable APS-C camera on the market, with extremely strong autofocus performance, image quality and video capabilities. Sony's E-mount also has the most complete array of APS-C lenses after Fujifilm's, largely thanks to support from third parties. However, we don't find it as pleasurable to use as the X-T5 – its viewfinder is smaller and lower-res, and the lack of an AF joystick makes picking a focus point a bit more of a chore – but if technical prowess is what you seek, the a6700 is your best bet.

Buy now:

$1398 at Amazon.com

$1398 at B&H Photo

Canon also builds some decent APS-C competitors that rival Sony's performance, but while you can now get several decent third-party fast zooms for them, the company still restricts what lenses can exist on RF-mount.

Fujifilm's X-T50 is also worth considering if you're looking at APS-C cameras

Photo: Richard Butler

Finally, if you were enticed by the X-T5 but are on a budget, we'd suggest considering the Fujifilm X-T50. It packs the same sensor and processor into a smaller, lighter design. While the viewfinder isn't as nice, and the controls are a little more fiddly, in return, you get the film simulation dial, which encourages you to play with different looks. It can also be kitted with the excellent 16-50mm F2.8-4.8 OIS zoom, which is significantly better than the lenses bundled with other companies' APS-C offerings

Buy now:

$1399 at Amazon.com

$1399 at B&H Photo

Full-frame mirrorless

Full-frame cameras (those with image sensors the same size as traditional "35mm" film) offer the potential for better image quality than smaller formats, simply because they have a larger area on which to capture light. However, you don't get something for nothing: even if you can find an affordable, compact full-frame camera at a good price, the lenses needed to make the most of it will be larger and will typically cost more than those for APS-C or Four Thirds sensors. Broadly speaking, there's a balance to be struck between image quality, size and price, which is worth contemplating before you make the assumption that full-frame is the best (or even 'better') format.

Best value full-frame mirrorless: Nikon Z5II

24MP BSI full-frame sensor | In-body image stabilization | Dual UHS-II card slots

Photo: Mitchell Clark

Buy now:

Read our full review of the Nikon Z5II

What we like:

Excellent image quality
Very good autofocus, for a range of subjects
Excellent handling, ergonomics and feature set

What we don't:

Reasonable, but not great, battery life
Needs to crop to deliver 4K/60
Lens choice limited by Nikon

The Nikon Z5II is a full-frame mirrorless camera built around a 24MP BSI CMOS sensor.

Don't be scared by the "value" part of this pick; the Z5II doesn't feel cheap, and there aren't obvious features cut for cost. In fact, we suspect most photographers would struggle to push its limits, and unless you must absolutely have faster or higher-resolution shooting or top-end video, it's hard to argue that most people truly need anything better.

The Z5II is a solid camera with a deep grip and plenty of customizable buttons. It's comfortable to use, even for long sessions using a relatively large lens.

The autofocus is very good, especially in subject recognition modes. It's not quite as dependable at recognizing people in low light, but it's very competitive and light-years better than even higher-end cameras from just a few years ago.

The Nikon Z5II is almost unimaginably good for a camera priced under $2000.

Video quality is good, though with a decent amount of rolling shutter, and it offers advanced options like Log, HLG HDR and N-Raw capture. Autofocus isn't as dependable as it is in stills.

Image quality is excellent, and the Z5II can capture HLG HDR images using HEIF files for a more life-like viewing experience.

The Z5II is an impressive all-rounder that delivers excellent image quality and good video, underpinned by very good autofocus in a body that's well-designed and comfortable to use. It's hard to see what more an enthusiast photographer could want from a camera.

See the Nikon Z5II studio scene

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What are the other entry-level full-frame options?

We also think the Canon EOS R8 is worth considering if you're looking for a comparatively affordable full-frame camera. Like Nikon's Z-mount system, Canon's RF lens ecosystem is also somewhat short on affordable lenses to pair with an entry-level camera.

Its usability is what keeps it from topping this guide; it has shorter battery life and a smaller viewfinder than the Z5II, and lacks in-body image stabilization, a second SD card slot and an AF joystick. However, it can shoot 4K60 video without a crop, which could be interesting to videographers, though, unlike the Z5II, it doesn't offer any Raw options.

Buy now:

$1499 at Amazon.com

$1499 at Adorama

$1499 at B&H Photo

Best mid-priced full-frame mirrorless: Nikon Z6III

25MP full-frame 'Partially Stacked' CMOS sensor | 6K/60p N-Raw video | 5.76M dot OLED 0.8x EVF

Photo: Richard Butler

Buy now:

What we like:

Very good image quality
Good autofocus tracking with auto subject recognition mode
Extensive choice of video resolutions and codecs

What we don't:

Peak dynamic range lower than peers
N-Raw video format has limited support
Nikon controls 3rd-party lens options

The Nikon Z6III is Nikon's third-generation full-frame enthusiast mirrorless camera, with a 'partially stacked' 25MP CMOS sensor.

The Nikon Z6III is a significant step up for the Z6 series, and is a very capable camera for both stills and video. Its main benefit over less expensive models are its sensor readout speeds – and, therefore, rolling shutter performance in video. At its MSRP, at least in the US, it's not quite as good as its similarly priced rivals, but it's routinely available for hundreds of dollars off, a price that makes it a bit more attainable as this category gets increasingly expensive.

The Z6III has an ample grip and easy-to-use control scheme. Nikon's menus and touchscreen layout are also well-refined, but the camera lacks the company's traditional AF mode button or front-corner switch.

The Z6III is a genuine do-anything camera with excellent video and photo capabilities.

Autofocus is generally reliable, and the camera includes Nikon's 3D-tracking system and plenty of subject recognition modes. It can shoot 20 raws per second, or 60fps in JPEG mode.

The Z6III shoots many video formats, including Raw, and has dependable subject-tracking autofocus and a waveform display. Its 4K and 5.4K modes produce excellent detail, even in 60p, and its rolling shutter performance is outstanding.

Image quality is very good, with lots of detail and acceptable amounts of noise. There is a recognizable dynamic range tradeoff for that speed, but it's only noticeable in extreme situations.

The Z6III is a significant step-up from its predecessor and is to-date the most all-round capable camera in its class. It excels in both stills and video.

Read our full review of the Nikon Z6III

See the Nikon Z6III studio scene

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Most capable mid-range mirrorless: Canon EOS R6 III

32MP full-frame CMOS sensor | 3.0", 1.62M dot fully-articulating screen | 7K recording up to 60p

Photo: Mitchell Clark

Buy now:

Read our full review of the Canon EOS R6 III

What we like:

Excellent image quality
Dependable autofocus
Full suite of video recording modes and assist features

What we don't:

Overheating in ambitious video modes
Dynamic range isn't as strong as its best competitors'
Hitting buffer's limit slows camera down

The Canon EOS R6 III is a full frame enthusiast camera, with a 33MP sensor.

It earns its place on this list by being a complete package that's enjoyable to use. Its image quality, burst rates and autofocus are capable of helping you tackle pretty much any subject, and it's also a powerful video camera. No matter what your needs it's hard to imagine you'll find that the EOS R6 III holding you back.

It has plenty of customizable buttons and a decent range of settings for them. It's comfortable to hold, but its viewfinder and display aren't the nicest around.

The EOS R6 III has very dependable autofocus across its selection of tracking and subject recognition modes. It can shoot at bursts up to 40fps (though with reduced dynamic range), and supports pre-capture for up to 0.5 sec before you press the shutter.

Rather than "jack of all trades, master of none." It's a master of most.

Images from the EOS R6 III have very good levels of detail and pleasing colors. The camera's peak dynamic range can't match the best of its competitors, and it'll struggle a bit more in e-shutter mode, but it's good enough for most use cases.

The video quality from the camera's open gate, Raw and oversampled 4K modes is quite good at 24p, though its higher-framerate and subsampled modes suffer a bit. Its rolling shutter performance is great, and it's quite nice to use for shooting video. However, its overheating performance could limit its most ambitious modes in hot shooting environments.

The EOS R6 III is an abundantly capable camera for most kinds of stills and video shooting. It pairs great performance with excellent ergonomics and a refined user experience.

See the Canon EOS R6 III studio scene

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The enthusiast rivals

The category of mid-range enthusiast full-frame cameras is perhaps the most competitive in the industry: each option is very capable, but with different strengths and weaknesses. Depending on your needs, the Sony a7 V or the Panasonic S1II may be slightly better options than the EOS R6 III or Z6III, but for most users, it's hard to go wrong with any of them. For more info on the subtle differences between them, check out our full best cameras under $3000 buying guide.

Some other notable mentions: if you shoot outside a lot and need a compact system with excellent weather sealing, the OM System OM-1 II is worth considering; outside of that use case, it's probably worth considering other options unless you're heavily invested in Micro Four Thirds lenses.

Sony's a7C II is also a reasonable choice, as its high-resolution sensor is good for stills, though its slow readout speeds limit its video capabilities. Its autofocus isn't quite as advanced as that of the a7 V, but it's appreciably smaller than its rivals. This does mean that the viewfinder is small, and there's no AF joystick, though, which are the main reasons it's not one of our main picks: it's better on paper than in the hand.

Best high-end mirrorless camera: Canon EOS R5 II

45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting

Photo: Richard Butler

Buy now:

Read our full Canon EOS R5 II review

What we like:

Excellent image quality
Fast, dependable autofocus
Good video support tools

What we don't:

Slight reduction in dynamic range in extreme scenarios
Temperamental eye control
Temperature limits in heaviest video modes

The Canon EOS R5 II is one of the most capable cameras we've ever tested and will almost certainly be up to any task that most photographers can throw at it. It shoots at high resolution, has an excellent autofocus system and sports plenty of video features.

The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps.

The EOS R5 II does a vast range of things, most of them extremely well: it's impressive for action, landscapes, video, you name it.

It has plenty of video options up to Raw 8K/60p, offering high levels of detail, though it can overheat when shooting in its most impressive modes. Its rolling shutter rates are generally quite good.

The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right.

The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.

See the Canon EOS R5 II studio scene

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A worthy competitor

The strongest competitor to the EOS R5 II, besides the original EOS R5, is Nikon's Z8. And, frankly, there's very little to choose between them. Canon's high-end model has some features that could be useful to certain photographers, like Action Priority AF and Eye Control, but outside of that, your choice should again be dictated by lens selection, as they're both supremely capable cameras.

Buy now:

Compact high-resolution: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

Read our full Sony a7CR review

What we like:

Big camera features in a small body
Outstanding AF performance
Auto Framing video mode

What we don't:

Small, low-res viewfinder
No joystick control
No fully mechanical shutter

The Sony a7CR takes most of the features of the more expensive a7R V and provides them in a smaller package. The viewfinder is disappointing for such an expensive camera, but nothing gives you so much image quality in such a small, capable package.

Autofocus performance on the a7CR is very good and is helped by a dedicated processor for crunching complex machine learning-trained algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in either stills or video. 8 fps burst shooting with continuous AF results in a dependably high hit rate.

"If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat."

The a7CR captures 4K video at up to 60 fps. The most detailed, oversampled footage results from a 1.2x crop of the sensor, which makes it challenging to maintain wider focal lengths. Auto Framing mode uses AI algorithms to mimic the way a camera operator might punch in on subjects, keeping them framed and in focus.

See the Sony a7CR studio scene

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IQ above all else: Fujifilm GFX 100S II

102MP BSI medium format sensor | In-body image stabilization | 5.76M dot viewfinder

Photo: Mitchell Clark

Buy now:

What we like:

Excellent detail capture
Very high tonal quality
Ready-to-go JPEG or malleable Raws

What we don't:

Autofocus not especially fast
Video prone to rolling shutter

The Fujifilm GFX 100S II is a 100MP medium format mirrorless interchangeable lens camera with built-in image stabilization.

This camera is perhaps the most specialized pick on this list: it's not especially fast or versatile, but in terms of image quality, it essentially offers the best levels of detail we've ever seen. It's a true step up over even the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good).

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What are the other high-end options?

Just about all the cameras that cost $3000 and up are, unsurprisingly, rather good. We go into a little more detail about their relative merits in our High-end camera buying guide. As with any budget, the key things to consider are what types of photography you plan to do (and hence, which features and capabilities are most important to you), and whether the lenses you need are available at a price you're willing to pay.

Why you should trust us

The best cameras under $3000 in 2026

Wed, 04 Mar 2026 17:27:00 Z

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Updated: March 4, 2026

These days, midrange cameras go for around $2500-3000, though in the US tariffs have made great deals in this price range a little harder to come by. For that money, you get something that's incredibly capable; our picks are high-spec options that are excellent for stills and video, and many have autofocus systems that come close to the performance of professional sports cameras.

Choosing a camera means committing to the ecosystem of lenses that are available for it, so we advise looking into the price and availability of your preferred kit. It's also worth noting that some camera manufacturers are more restrictive of what options third-party lens makers can provide, so be sure to consider that during your lens research.

Speaking of lenses, it's also worth considering that the latest lens designs for mirrorless cameras regularly outperform their older DSLR counterparts. If you have any lenses already, you may want to think about whether it's worth adapting them, or if you'd be better off selling them to help you buy modern equivalents of your most-used lenses. This option also gives you a path to switching brands, if you feel there's a compelling reason to do so.

Our Recommendations

Best camera under $3000: Canon EOS R6 III

32MP full-frame CMOS sensor | 3.0", 1.62M dot fully-articulating screen | 7K recording up to 60p

Photo: Mitchell Clark

Buy now:

Read our full review of the Canon EOS R6 III

What we like:

Excellent image quality
Dependable autofocus
Full suite of video recording modes and assist features

What we don't:

Overheating in ambitious video modes
Dynamic range isn't as strong as its best competitors'
Hitting buffer's limit slows camera down

The Canon EOS R6 III is a full frame enthusiast camera, with a 33MP sensor.

It earns top place on this list because it's such a complete package, with image quality, burst rates and autofocus capable of helping you tackle pretty much any subject. It's also a very capable video camera; no matter what your needs, it's hard to imagine you'll find that the EOS R6 III holds you back.

It has plenty of customizable buttons and a decent range of settings for them. It's comfortable to hold, but its viewfinder and display aren't the nicest around.

Rather than "jack of all trades, master of none." It's a master of most.

The EOS R6 III is an abundantly capable camera for most kinds of stills and video shooting. It pairs great performance with excellent ergonomics and a refined user experience.

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A close second: Sony a7 V

33MP full frame 'partially stacked' sensor | Up to 7.5EV IBIS | Configurable pre-burst capture up to 1 second

Photo: Mitchell Clark

Buy now:

Read our full review of the Sony a7 V

The Sony a7 V is a full-frame enthusiast camera, with a 33MP 'partially stacked' sensor.

It earns its place on this list by being an extremely capable camera. If you're already a Sony shooter, it's the obvious pick, as the other cameras in this list offer precious little to warrant a switch. However, if you're not currently tied down by lenses, we feel the EOS R6 III's ergonomics and usability give it the edge, even though they come at the cost of a more tightly controlled mount.

It has excellent image quality in terms of detail capture, and impressive dynamic range when shooting with its mechanical second shutter. This drops in the e-shutter modes used for fast shooting, but only to the same level as most of its peers.

The a7 V's autofocus system is very effective and its subject recognition system works well with the user interface. It can be fine-tuned but is tenacious at tracking subjects and focusing on eyes, even at default settings. It can shoot at up to 30ps in e-shutter mode, and can pre-capture for up to 30 frames.

The a7 V is more camera than most of us will ever need, and it'll support you almost regardless of what you ask it to do.

It has plenty of customizable dials and buttons to fit however you shoot. We're not the biggest fans of the grip, nor do we love the complex menu system, which is arguably overwhelmed by the camera's level of features and customization.

The a7 V produces very detailed 4K footage, derived from 7K capture. It can, at a push, shooting full-width, oversampled 4K/60. While it doesn't offer features like Raw or open gate capture, it can record for quite a long time before overheating.

The a7 V is perhaps the best all-round camera Sony has yet made, outside its pro-grade (and priced) models, excelling at both stills and video capture. Sony's interface still isn't our favorite, but familiarity and customization can help. E-mount offers an extensive choice of lenses.

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The premium video shooter

The Panasonic S1II is also a very capable option, though its $3200 price tag technically puts it out of the price range of this buying guide, and means you'll have to consider whether it's worth the extra over our top picks. Its autofocus isn't quite as good as Canon or Sony's, but for video shooters, the S1II is the best in class: it offers all the features that the EOS R6 III does, but with longer record times thanks to its built-in fan. We also appreciate the lens options available on L-mount.

The budget pick: Nikon Z6III

25MP full-frame 'Partially Stacked' CMOS sensor | 6K/60p N-Raw video | 5.76M dot OLED 0.8x EVF

Photo: Richard Butler

The Nikon Z6III is Nikon's third-generation full-frame enthusiast mirrorless camera, with a 'partially stacked' 25MP CMOS sensor.

At its MSRP, we feel the Z6III struggles to keep up with the competition because of its lower dynamic range in stills and (especially) video and lack of Raw pre-capture. However, it's often on sale for hundreds off, making those issues easier to overlook for the price-conscious buyer (though anyone looking to make long-term investments into lenses should note that Nikon, like Canon, exercises tight control over its mount). And despite those quibbles, which some shooters may never even encounter, it's a very solid camera when it comes to ergonomics and autofocus.

Autofocus is generally reliable, and the camera includes Nikon's 3D-tracking system and plenty of subject recognition modes. It can shoot 20 raws per second, or 60fps in JPEG mode.

The Z6III is a genuine do-anything camera with excellent video and photo capabilities.

Image quality is very good, with lots of detail and acceptable amounts of noise. There is a recognizable dynamic range tradeoff for that speed, but it's only noticeable in extreme situations.

The Z6III is a significant step-up from its predecessor and is to-date the most all-round capable camera in its class. It excels in both stills and video.

Read our full review of the Nikon Z6III

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The compact option: Sony a7C II

33MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

$2198 at Amazon.com

$2198 at Adorama

$2198 at B&H Photo

What we like:

Big camera features in a small body
Outstanding AF performance
Auto Framing video mode

What we don't:

No joystick control
No fully mechanical shutter

The Sony a7C II is a compact, full-frame mirrorless camera with a 33MP BSI CMOS sensor.

The a7C II's viewfinder is a little small and rather low resolution for this price, but it's part of what helps the camera stay so compact. Modern full-frame lenses are often so large as to make the difference in camera size fairly trivial but Sony's E-mount has the widest range of lenses available, so there are some relatively compact options.

The a7C II is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly and brings it closer to its peers. A fully articulating screen anchors the back and features an extremely responsive touch interface. Unlike many cameras at this price, there’s no joystick control.

Autofocus performance on the a7C II is fantastic and is helped by having a processor dedicated to handling machine learning-derived algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in both stills or video. 10 fps burst shooting with continuous AF results in a dependably high hit rate.

“The a7C II is a surprisingly capable camera for its size.”

The a7C II's 4K/30p video is downsampled from 7K, but with fairly high rolling shutter. There's also 4K/60p from an APS-C crop, all in 10-bit color. S-Log3 and S-Cinetone profiles provide flexibility in post, and the camera supports internal LUTs. Auto Framing mode punches in on subjects, keeping them framed and in focus. The camera includes mic and headphone jacks.

The a7C II is a surprisingly capable camera for its size. It essentially provides the same level of image quality, video capabilities, and AF performance as Sony’s a7 IV, but in a smaller package. In exchange for the small size, you make a few tradeoffs, like no AF joystick, but if compact size is a priority the a7C II will get you there with few compromises.

Read our full review of the Sony a7C II

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Should I buy the Sony a7 IV, a7 III or a7C?

The Sony a7 IV is tough to wholeheartedly recommend in 2025. Its viewfinder, ergonomics, and full mechanical shutter are improvements over the a7C II, but it's also larger, heavier and offers less effective image stabilization. If you're you don't care about compactness, it might be worth paying a little extra for the a7 IV's larger, higher-resolution viewfinder, but only if the price difference is small.

It's a similar story with the a7 III and a7C. These are from an older generation of products with less sophisticated autofocus, video and image stabilization. They also use an older, more awkward-to-navigate menu system, which we'd happily pay to avoid ever having to use again. The a7C lacks the version II's front control dial and features an even smaller viewfinder, so we'd strongly recommend saving up for one of the newer models.

What about APS-C?

We make most of our APS-C recommendations in our best cameras under $2000 buying guide, which covers cameras like the Fujifilm X-T5, Canon EOS R7 and Sony a6700. The latter two are the highest-end crop sensor cameras from their respective brands, but Fujifilm makes the X-H2S, which is historically one of the better video cameras on the market. However, cameras like the Z6III have arguably caught up in capabilities and framerate options, and while the X-H2S' global price is more competitive, in the US it's around the same price as the EOS R6 III and a7 V.

The wildlife option with reach: OM System OM-1 II

20MP Four Thirds Stacked sensor | 50fps continuous shooting w/AF, 120fps AF/AE locked | IBIS rated to 8.5EV

Photo: Shaminder Dulai

Buy now:

Read our initial review of the OM System OM-1 II

The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor.

It's well-suited to wildlife photography, as the Micro Four Thirds system has several lenses that give you plenty of reach without being back (or pack) breakingly large, and its Stacked sensor gives it fast autofocus and incredible burst rates for shooting even the fastest subjects. It also has several computational modes that let it adapt to a wide variety of situations, and sports an IP53 rating for dust and water resistance, so you won't have to worry if it starts raining.

The body is quite rugged-feeling (while still being smaller than full-frame counterparts), with dials designed to be used with or without gloves, and has plenty of customizable control points. The viewfinder is relatively large and bright.

While we haven't put the OM-1 II through our full review process, we do have extensive experience with it and with the OM-3, which uses the same processor and sensor. We've found the autofocus to be reliable, though not class-leading, and it's a bit of a shame that continuous autofocus in its 50fps is limited to certain lenses. There's an image quality price to be paid for the smaller sensor, but, for Four Thirds, the OM-1 II's sensor provides good amounts of detail, and the multi-shot modes can compensate for this in some circumstances.

While there are more all-round capable cameras at this price point, the OM-1 II fits into its niche quite well and is still quite solid for other kinds of photography. Its video capabilities aren't at the level that other companies provide, but if you simply want to record something, it's certainly up to the task.

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Other Four Thirds cameras

The OM-1 II shares most of its DNA with the OM System OM-3, a smaller, more stylish and less expensive option that uses a smaller viewfinder to achieve its classic styling. Both are similar to the Panasonic G9II, though that's substantially larger, sharing its body with the full-frame S5II. All are Micro Four Thirds, which offers smaller camera/lens combinations at the cost of ultimate image quality. However, they can well worth considering if your photography requires the most compact kit available.

Best for vlogging: Nikon ZR

24.5MP full-frame 'partially Stacked' sensor | 7.5EV IBIS | R3D (NE) Raw video codec

Photo: Mitchell Clark

Buy now:

The Nikon ZR is a video-focused mirrorless camera with a 24.5MP full-frame 'partially Stacked' sensor.

While its Red co-branding and three flavors of Raw shooting show its ambitions as a video production camera, the ZR has a lot of features that make it a great tool for vlogging, too. It has IBIS, Nikon's fairly effective autofocus system, and a 4", 3.07M dot display that can go up to 1000 nits, which should make previewing your image relatively easy, even if the camera is a bit far away from you.

It's also the first mirrorless camera with support for 32-bit float audio recording built-in, even on the 3.5mm input, which means you won't have to worry nearly as much about your audio gain levels when trying to capture the moment.

It can shoot compressed video at up to 5.4K/60, and is capable of 4K/120 for proper slow-motion, though going above 4K/60 will come with a 1.5x crop. In Raw, the ZR can record full-width 6K/60.

We'll be putting the ZR through its paces more in the coming weeks, but it's essentially a Z6III at heart, with a few more video features that should make it a very capable option if you want to go from vlogging to full-on production.

Why you should trust us

The 8 best cameras for travel in 2026

Fri, 27 Feb 2026 18:09:00 Z

When you use DPReview links to buy products, the site may earn a commission.

Updated February 25, 2026

Travel can expose you to once-in-a-lifetime sights and experiences, and a good camera can be the perfect way to preserve those memories. We've looked at a range of models that offer great image quality, good autofocus and excellent video, so you'll be prepared to capture whatever you run into.

We've also tried to select relatively small cameras so they don't interfere with your trip, though it's worth touching briefly on lens size. If you choose a system with a Four Thirds or APS-C sensor, you'll be able to use lenses that are lighter and more compact than their full-frame counterparts. Full-frame sensors, however, offer the potential for even better image quality, so it's worth considering whether portability or image quality matters more to you and doing some research on what types of lenses you'd like to use and how big the full-frame versions are.

Our recommendations

Portable full-frame: Sony a7CR

61MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

Read our full Sony a7CR Review

What we like:

Big camera features in a small body
Outstanding AF performance
Auto Framing video mode

What we don't:

Small, low-res viewfinder
No joystick control
No fully mechanical shutter

The Sony a7CR is a relatively compact full-frame camera with an image-stabilized 61MP CMOS sensor. You sacrifice the convenience of an AF joystick and get a pretty small and basic viewfinder to keep the camera's size down, but there's little else that delivers this much image quality in such a compact package.

You'll need to pick your lenses carefully to keep the camera portable but the a7CR's autofocus means it can respond rapidly to just about anything you encounter on your travels.

"If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat."

See the Sony a7CR studio scene

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All-round compact capability: Sony a6700

26MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen

Photo: Richard Butler

Buy now:

$1398 at Amazon.com

$1398 at B&H Photo

Read our full Sony a6700 review

What we like:

Front and rear command dials
Excellent AF in stills and video
4K/120p capture (with crop)

What we don't:

No AF joystick
JPEG sharpening can be aggressive

The Sony a6700 is built around a 26MP APS-C-sized sensor. Its excellent autofocus performance means it excels at both stills and video capture. There's a good choice of relatively compact lenses available, too. We'd suggest avoiding the really small 16-50mm F3.5-5.6 though: it's not the lens to get the most out of this camera.

The a6700 has a thumb-and-forefinger dial interface missing from Sony's less expensive models. It’s just slightly larger than previous models in the line, but in exchange, you also get a fully articulating display. However, it lacks the AF joystick found on many cameras in its class.

Fast, dependable autofocus with a selection of subject recognition modes means the a6700 will help maximize your chances of capturing the unexpected moments on a trip.

"Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts."

The camera produces very detailed 4K video up to 60p with 10-bit color, with good rolling shutter performance. There’s also a 4K/120p mode, albeit with a 1.58x crop. Autofocus performance is top-notch, with a well-designed touch interface. It's a strong option both for videographers and vloggers.

Excellent photo and video quality, best-in-class AF in stills and video, and a deep set of features to support both make it an excellent choice for enthusiasts. Sony's E-mount also includes a good range of available lenses.

See the Sony a6700 studio scene

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The great travel kit: Fujifilm X-T50 w/ 16-50mm F2.8-4.8

40MP APS-C BSI CMOS sensor | In-body image stabilization rated to 7EV | 6.2K 10-bit video recording

Photo: Richard Butler

Buy now:

$1399 at Amazon.com

$1399 at B&H Photo

Read our full Fujifilm X-T50 review

What we like:

Great JPEG colors with a profile control dial
Full-featured auto mode
Compact and light

What we don't:

Autofocus tracking can struggle to keep up
Tiny viewfinder
Small battery

The Fujifilm X-T50 is a 40MP, APS-C image-stabilized mirrorless camera aimed at beginners.

The X-T50 can be purchased with Fujifilm's excellent 16-50mm F2.8-4.8 kit lens, which provides a versatile focal length for travel and should be able to keep up in darker environments. Fujifilm also sells a wide variety of relatively fast, compact primes.

The X-T50 has dials for important exposure settings, and a small but useful grip. Its rear screen can tilt up or down. Its joystick and some buttons can be awkward to use, but the film simulation dial encourages the use of one of the camera's key features.

Its autofocus can recognize and accurately track several subject types, but its general tracking isn't the most reliable. Its 8fps mode isn't particularly fast.

The X-T50's controls and auto mode make it great for beginners, who can expect it to keep up with them as they grow. More experienced shooters will appreciate Fujifilm's robust lens selection.

See the Fujifilm X-T50 studio scene

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The other APS-C options

If you're looking for an APS-C camera that's even smaller than the X-T50, the Fujifilm X-M5 may be worth considering. It's substantially cheaper, though it's easy to see where the company has saved money: it uses a lower-resolution 26MP sensor, which isn't stabilized, and there's no EVF. It does have the same film simulation dial and autofocus subject recognition modes, though, so those tradeoffs may be worth it if size or price are your top priority.

The Nikon Z50II is also a strong all-around contender, but its lens selection isn't as strong as Sony or Fujifilm's, nor does it have a stabilized sensor. However, it does have solid autofocus performance, a viewfinder, and a sub-$1000 price point.

Buy now:

Buy w/ 15-45 at Amazon.com

The ready-for-anything mirrorless: OM System OM-3

20MP Four Thirds Stacked CMOS sensor | 2.36M dot EVF 0.69x magnification | IP53-rated weather sealing

Photo: Mitchell Clark

Buy now:

Read our OM System OM-3 review

What we like:

Very fast shooting with low rolling shutter
Controls put best features front-and-center
Excellent battery life

What we don't:

Small, low-res EVF
Subject detection separate from tracking AF
8-bit 4K footage softer than Log option

The OM System OM-3 is a 20MP Micro Four Thirds camera with a Stacked sensor capable of shooting up to 50fps with continuous autofocus.

The OM-3 is well-suited to traveling, as the Micro Four Thirds system lets you use especially compact lenses, and its Stacked sensor gives it fast autofocus, incredible burst rates for shooting even the fastest subjects, and the ability to use computational modes to adapt to a wide variety of situations. It also sports an IP53 rating for dust and water resistance, so you won't have to worry if it starts raining.

It has plenty of customizable buttons, though no AF joystick or grip. Its color dial and computational photography button put key features front-and-center.

The subject recognition and tracking autofocus modes work well, though it can struggle to predict a subject's movement. It supports pre-capture, has very little rolling shutter, and can shoot up to 50fps with continuous autofocus when paired with specific lenses.

The OM-3 is a great little camera that packs a lot of technology and features into a classic-looking body.

It can shoot full-width 4K footage at 60fps, though its 8-bit modes have less detail than the 10-bit Log or HLG modes. It has very little rolling shutter, and microphone and headphone jacks.

The OM-3 is a stylish camera that can go anywhere, and is fast enough to shoot almost any subject. Its autofocus is reliable, though not class-leading, and its viewfinder is on the small side, but its compact design and lenses make it appealing for travel.

See the OM System OM-3 studio scene

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The other Micro Four Thirds options

OM System's OM-5 is substantially cheaper than the OM-3, though you give up the speed, USB-C port and advanced subject recognition autofocus, as well as a few of the computational modes. It is, however, slightly more compact if space is at a premium in your pack.

The Panasonic Lumix G9 II has similar capabilities as the OM-3, but in a significantly larger body. That bulk does come with dual card slots and more video features, but the weather sealing likely won't be as good as OM System's.

Buy now:

The stylish travel companion: Nikon Zf

24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV

Photo: Richard Butler

Buy now:

See the Nikon Zf studio scene

What we like:

Distinctive design with direct controls
Effective subject recognition
Strong stills and video features

What we don't:

Weight and minimal grip can become uncomfortable
Slow MicroSD second slot
Few custom buttons

The Nikon Zf is a classically styled full-frame camera built around a 24MP full-frame sensor that's used by many of its peers. The angular 80s-style body isn't the most comfortable to hold in your hand for extended periods, but the lack of stick-out grip makes it smaller than many of its rivals, making it a tempting travel companion. However, like with the a7CR, many of the full-frame lenses available for it will greatly increase its size and weight.

At least in its all-black form, there's a chance of it being mistaken for a film camera, which may help avoid the wrong kind of attention when you're out and about in an unfamiliar setting.

The Zf gives the choice of using the dedicated control dials or customizable command dials. In most respects it copies its well-polished control system from other recent Nikons. Not everyone will enjoy the angular early 80's handling but it handles just as well as the cameras it resembles.

The Zf's autofocus is impressive, with both subject recognition and AF tracking both working well. It's perhaps not quite as confidence-inspiring as the latest Sony cameras, but it's not far off. It'd be nice to have an AF joystick but the rear control pad does a decent job.

"The Zf's looks may date from 1981, but its performance is completely contemporary"

The Zf has a very solid video feature set. Oversampled 4K/30 and cropped 4K/60 is standard for this sensor, but the Zf also adds a waveform display that's especially useful for exposing its 10-bit Log footage.

The Zf uses a very familiar 24MP BSI sensor that has underpinned numerous cameras in recent years, and the results are predictably good. There's plenty of dynamic range and enough detail capture for all but the most demanding applications.

The Nikon Zf's performance lives up to its looks. It's not as comfortable to hold for long periods as more modern designs, but it's also distinctive and engaging in a way they're arguably not. We're still completing our testing, but it hasn't disappointed yet.

Read our review of the Nikon Zf

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Best pocketable travel camera: Ricoh GR IV

26MP APS-C sensor | 28mm equiv F2.8 lens | 5-axis image stabilization

The Ricoh is a pocketable compact with a large APS-C sensor.

Photo: Richard Butler

Buy now:

Read our Ricoh GR IV review

What we like:

Great image quality
Well-considered controls
53GB of built-in storage is extremely convenient

What we don't:

Dated autofocus performance
Pricey (even more with flash)
Battery life is just okay

The Ricoh GR IV is the latest entry in the company's series of classic compact cameras with large APS-C sensors and a 28mm equivalent lens. It's not the most flexible camera, but it has engaging controls and is one of the most pocketable models with a large sensor, which is probably why the GR series has built up a dedicated following of photographers who find it a joy to shoot with.

The GR IV has well-considered controls, letting you easily change the most important settings with one hand. It's also very customizable.

It's at its best in its single-focus modes, which are generally responsive in most situations, and its Snap Focus modes for zone focusing. Continuous and tracking autofocus aren't up to par with most modern cameras, which isn't helped by the relatively slow unit focus.

The user interface, both hardware and software, is pitch-perfect for the type of shooting you're likely to do with the GR IV.

The GR IV packs a lot into a camera that you can fit in a pocket and carry around with you. It's not perfect, but it nails the basics and is the only camera left that offers this level of image quality and portability.

Our one concern with using the GR IV for travel is that some users of the previous generation model reported dust getting into the lens. Ricoh has said it's made a few changes that should help prevent that, but still doesn't make any claims of weather sealing, so it may be worth keeping it in protective bag and putting it away in particularly unpleasant weather.

There's also the GR IIIx, which has the previous generation sensor and processor, but with a longer, 40mm equivalent lens. This may be a little tight for documenting your travels, but it's historically a popular focal length. Ricoh also sells a GR IV Monochrome, though a camera that only shoots black and white probably wouldn't be our first pick for travel photograph.

See the Ricoh GR IV studio scene

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Other compacts

Canon has recently announced that it plans to increase its production of compact cameras, citing an increasing number of orders for the PowerShot G7 X III, which has a 24 – 100mm (equiv.) zoom lens, providing a solid range for travel photography. Its autofocus isn't

The Leica D-Lux 8 features a larger sensor than the G7 X III – it uses up to up to 83% of the area of a Four Thirds (17.3 x 13 mm) sensor, while the G7 X III has a Type-1 (13.2 x 8.8 mm) sensor – and has a photo-focued interface that we particularly like. However, its slow zoom, only decent image quality and substantial price tag make it hard to recommend to all but the most Leica-faithful.

The classic choice: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy.

Photo: Richard Butler

Buy now:

$1599 at Adorama

$1599 at B&H Photo

What we don't:

Lens not especially fast to focus
Hard to find in stock

Like the Fujifilm X100V before it, the Fujifilm X100VI is a classically styled fixed lens camera with a 35mm equivalent F2 lens. Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.

It's not smallest or most inconspicuous camera, but its fixed focal length means you develop an 'eye' for the photos it'll take, essentially making it a better quality, more engaging alternative to snapping away with your phone.

The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.

The X100VI brings a level of polish you would expect from a sixth iteration of a camera. Fujifilm has done a great job keeping the X100-series up to date without messing with the formula that's made it so popular. No surprise, this is the best X100 yet.

Unfortunately, despite ramped-up production, demand for the X100VI seems to have outstripped supply with the camera already on backorder at virtually all dealers.

Read our Fujifilm X100VI review

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The best video camera for travel: DJI Osmo Pocket 3

Photo: Richard Butler

$519 at B&H

$519 at Amazon

$519 at Adorama

DJI’s Osmo Pocket 3 is a stabilized handheld vlogging camera, designed for on-the-move vlogging. It’s built around a type 1 (13.2 x 8.8mm) sensor mounted on a tiny gimbal, meaning it can deliver stabilized footage with smoother motion than any conventional camera or phone.

When you're traveling in an unfamiliar place, there are a million things to focus on; the Pocket 3 lets you capture it all, without requiring much effort on your part. It can also natively film in horizontal or vertical, which can be useful if you're looking to share footage from your travels on social media.

Its small sensor means the Pocket 3 works better in well-lit situations, though a reasonably bright F2.0 lens means it’s usable indoors, too.

It can shoot 4K 16:9 video or, by rotating the screen into the upright position, 3K vertical 9:16 footage. A small joystick lets you control the camera’s movement, and tapping the joystick button flips between the camera pointing toward you or away from you.

Its reliance on contrast-detection autofocus means its focus can be prone to hunting, though its face-detection mode works well enough that this is rarely a problem when talking to the camera.

The video quality isn’t always the highest, and the autofocus can occasionally lead to frustration, but overall the quality and convenience of the Pocket 3 as a package is really hard to beat.

Read our hands-on impressions of the Osmo Pocket 3

Why you should trust us

Best cameras for vlogging in 2026

Tue, 24 Feb 2026 18:08:00 Z

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Updated: February 24, 2026

Whether you're just sharing clips with friends or you're launching an online on-camera career, vlogging matters. And there's a point at which your smartphone may not give you the look, control, or flexibility you're after. With 180-degree selfie screens, wide-angle lenses, microphone inputs and great video quality, more and more dedicated cameras are catering to people who want to take video of themselves and post it online.

The meaning of vlogging has changed over the years, so our picks cover a variety of styles – we'll explain what makes each camera good for vlogging, and what key features each has that make taking video of yourself easier. We've also included videos shot on the cameras in question when we have them to give you an idea of what kind of performance to expect.

Our recommendations:

Best camera for vlogging on the move: DJI Osmo Pocket 3

Photo: Richard Butler

$519 at B&H

$519 at Amazon

$519 at Adorama

The small sensor means the Pocket 3 works better in well-lit situations, though a reasonably bright F2.0 lens means it's usable indoors, too.

It can shoot 4K 16:9 video or, by rotating the screen into the upright position, 3K vertical 9:16 footage. A small joystick lets you control the camera's movement, and tapping the joystick button flips between the camera pointing toward you or away from you.

Its reliance on contrast-detection autofocus means its focus can be prone to hunting, though its face-detection mode works well enough that this is rarely a problem when talking to the camera.

In addition to the smooth stability of its gimbal and its genuine pocketability, one of the Osmo's main benefits is that it's compatible with a series of Bluetooth microphones, meaning you can capture good-quality audio without the need for additional transmitters or receivers.

The video quality isn't always the highest, and the autofocus can occasionally lead to frustration, but overall the quality and convenience of the Pocket 3 as a package is really hard to beat.

Read our hands-on impressions of the Osmo Pocket 3

A self-contained vlogging kit: Canon PowerShot V1

16-50mm F2.8-4.5 zoom | 22MP 18x12mm Dual Pixel CMOS sensor | 4K/60 with crop

Buy now:

Read our full PowerShot V1 review

What we like:

Attractive output in stills and video
Versatile wide-angle zoom
Fan for extended video recording

What we don't:

Relatively large body
Full width video has appreciable rolling shutter
Optimized for vlogging vs stills

The Canon PowerShot V1 is a mid-sized vlogging compact with a relatively large sensor and wide zoom lens.

It offers a competitive suite of vlogging features, a built-in ND filter and good stabilization options. It's also comfortable to hold pointing towards you, and lets you access key settings from the touchscreen. It includes microphone and headphone jacks and a fan for extended recording sessions.

AF performance is good, with reliable tracking AF and effective subject recognition. The camera is generally pretty responsive, with the zoom reacting quickly to input.

The V1's wide lens means you can crop-in for its 4K/60p mode and still maintain a wide-angle view. The full-sensor footage exhibits quite high levels of rolling shutter, so you may have to use the cropped 50/60p mode for capturing shots with lots of movement.

The V1 is a capable option with a useful zoom range, and there's a lot to be said for an all-in-one option. You do give up some flexibility for other types of filmmaking, but it should cover most of your bases when it comes to vlogging.

We also considered Sony's range of entry-level vlogging cameras with Type 1 sensors, the ZV-1, ZV-1F, and ZV-1 II. The latter is the best pick of the bunch, given its wideangle zoom lens and built-in ND, but it's hard to recommend. Its quality will be slightly better than that of a flagship phone, but if you're going to be carrying an extra gadget around anyway, it's probably best to spend a bit more for a more flexible or capable camera.

For ambitious vloggers and videographers: Sony ZV-E10 II

26MP APS-C sensor | Full-width 4K/24p, 1.1x crop 4K/60p video | Fully articulating screen

Buy now:

$1098 w/ 16-50 at Amazon.com

$1098 w/ 16-50 at B&H Photo

Read our full review of the Sony ZV-E10 II

What we like:

Reliable, accurate autofocus
Good rolling shutter performance
Plenty of video options, including 10-bit

What we don't:

No in-body stabilization
Doesn't includes Sony's latest and greatest AF
Not fun for photography

The Sony ZV-E10 II is focused on vlogging, with solid 4K/24p and 4K/60p shooting capabilities, and a suite of features for taking footage of yourself.

The ZV-E10 II has an excellent grip, easy-to-hit buttons and a touchscreen that lets you control the most important settings without turning the camera around. The zoom rocker is great for power zoom lenses.

Subject tracking autofocus is fast, sticky, and accurate, though it doesn't have all the modes available on other Sony cameras. Product showcase prioritizes items held up in front of your face and has lots of options. Menus are easy to learn and responsive, and battery life is good.

The ZV-E10 II pairs useful, video-focused features with excellent hardware, making it an excellent vlogging camera depending on your style.

The rolling shutter performance is good, bordering on excellent. The lack of IBIS can make handheld footage look shakey, and electronic stabilization is only useful for stable shots. The built-in microphone is good, and the camera has headphone and mic jacks.

The ZV-E10 II brings many – but not all – of the a6700's vlogging features to a more compact and less expensive body. If you can live without IBIS and built-in ND, it's a solid interchangeable lens vlogging camera.

Potential alternatives?

We also considered Canon's (noticeably cheaper) EOS R50V, but chose the Sony because of its much faster sensor that provides better rolling shutter performance and requires less cropping to shoot at 4K/60. We also looked at Nikon's Z30, but its lack of headphone socket and 10-bit video means we lean towards the Sony. The Nikon Z50II has strong video specs and some of the features the Z30 lacks, such as a headphone jack, but its form factor and heavy crop in its 4K/60 mode make it not particularly well-suited to vlogging.

Best high-end vlogging camera: Nikon ZR

24.5MP full-frame 'partially Stacked' sensor | 7.5EV IBIS | R3D (NE) Raw video codec

Buy now:

Read our initial review of the Nikon ZR

What we like:

Detailed 4K capture
Large and bright display
Internal 32-bit float audio

What we don't:

MicroHDMI and microSD ports
Lack of a mechanical shutter limits hybrid appeal
Screen can clash with mic and headphone jacks

The Nikon ZR is a video-focused camera built around a 24.5MP full-frame 'partially Stacked' CMOS sensor, with up to 7.5EV of stabilization.

Despite the Red branding, the ZR has a lot more in common with Nikon's mirrorless cameras, which is a benefit to vloggers. It has the ability to shoot 4K/60 with no crop and excellent rolling shutter in all its video modes. The ZR also supports 32-bit float audio recording, essentially eliminating the risk of clipping, which can be a real benefit when shooting run-and-gun.

The ZR features Nikon's subject detection autofocus for people, animals, vehicles and planes, and includes an "Auto" mode to switch between them. It also has a "product review mode" that will override face detection if you hold an item up to show the camera.

The ZR also makes provision for more serious productions, such as its inclusion of a choice of Raw recording formats. While vloggers and, realistically, most videographers won't need to shoot Raw often, but for those that feel they need it, it's nice to have the option. It certainly makes the ZR a versatile option.

We haven't fully finished evaluating the Nikon ZR, but have enough experience with it and the Z6III upon which it's based enough to know that it deserves a place on this list.

Why you should trust us

Sony a7 V review

Mon, 23 Feb 2026 17:29:00 Z

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Product photos: Mitchell Clark

The Sony a7 V is an enthusiast-tier camera with a new, full-frame, 33MP 'partially stacked' CMOS sensor, with a focus on high burst rates, capable autofocus and a complete suite of video features.

Key Specifications

33MP full frame 'partially stacked' sensor
IBIS rated to 7.5EV in the center
AI-derived recognition for six subject types
"Blackout-free" continuous shooting at 30fps
Configurable pre-burst capture up to 1 second
3.2" tilting/fully-articulating display
Dual USB-C ports for power and data
4K up to 60p derived from 7K capture, 4K up to 120p with 1.5x crop
AI-based auto-framing in video

Sony says the a7 V is available now with a recommended retail price of $2899, body only, making it $400 more expensive than the Mark IV, back in 2021.

Index:

Buy now:

ISO invariance | Exposure latitude

What's new?

New sensor

Like its predecessor, the a7 V features a 33MP sensor, but with extra readout circuitry to improve readout speeds (which were one of the a7 IV's weak points). We've seen this "partially stacked" technology in 24MP cameras like the Nikon Z6III and Panasonic S1II, but here it's being applied to a higher-resolution sensor.

Sony says this allows the a7 V to achieve much higher burst rates than its predecessor – 30 fps, up from 10 – and to do so with a full 14-bit readout, rather than requiring Sony's destructively lossy Raw compression. The maximum e-shutter speed has been increased to 1/16000 sec, too. The company also promises it won't have the same dynamic range reduction we saw with the Z6III, where increased read noise was evident if you pushed the shadows in post. Though we'll have to see if these claims are borne out in testing.

The IBIS system has also been upgraded, now stabilizing the sensor by 7.5EV, up from 5.5EV with the a7 IV.

New processor, new autofocus

The sensor is paired with a new "Bionz XR2" processor, bringing Sony's most up-to-date autofocus system to the a7 line. While the previous camera had human and animal recognition, the a7 V gets the autofocus system found on most of Sony's other modern cameras, with support for recognizing six subject types, as well as a configurable 'Auto' mode.

The Subject Recognition: Auto mode can be fine-tuned so that it only looks for the types of subject you expect to encounter. You can also select how specific the focus is (eg whether it looks for birds' eyes)

The Human / Face / Eye recognition is significantly upgraded from the previous camera, with the a7 V trained to recognize humans in all sorts of different positions, so that it continues to track the same person and re-finds their face faster, even if they are partially obscured.

The camera also gains a few new focus area settings, and Sony says it performs autofocus calculations 60 times per second. (It hasn't shared the a7 IV's rate, but says the a1 II does 120 calculations per second.)

The processor is an update to the one found in Sony's earlier cameras, such as the a1 II, a7R V and a6700, which paired their image processors with an "AI" coprocessor to handle autofocusing duties. Now, both functions are bundled onto one chip. Rather than providing for new features, this seems to be a play to make the system more efficient when doing the same tasks.

New Raw format

In among the new features, Sony says there's a new, 'lightweight' Raw system. We weren't given any more information than this, and there isn't any third-party support for the files, yet. The only thing we can say is that they end up being a similar size to Sony's old, damagingly lossy Raw format, but hopefully without the potential pitfalls.

AI-powered features

Apart from autofocus, the new processor allows for several other features that are based on complex algorithms created by machine learning. The first is Auto Framing: a video mode that crops in and then follows your subject around the frame. This lets you set up a wide-angle shot, then have the camera pan around the scene to make it look like you had a camera operator. The feature offers three levels of crop and includes options to show the wide shot first before punching in shortly after your subject enters the frame.

There's also a framing stabilizer option that uses the digital video stabilization to not only move a crop within the sensor to counteract shake, but also to maintain your subject's position in the frame (either centrally or in a position you've defined). In both cases, the video is then upscaled to your chosen resolution.

Pre-burst capture

The a7 V gains the pre-burst capture system that first appeared in the a9 III. This lets you capture images (in any format) for up to one second between the time you initiate AF and the time you fully press the shutter button. You get quite fine-grained control over the period of time before the full shutter press that gets retained. 1 second is the maximum, 0.03sec (i.e., 1 frame at the camera's maximum 30fps) is the minimum, so you can tune it to match your response time, rather than always capturing a full second's worth of images prior to full-press.

Despite the minimum duration being based on 30fps shooting, you can use pre-burst with any of the camera's shooting rates.

A video upgrade

The faster sensor lets the a7 V capture most of its video modes at up to twice the framerates its predecessor could deliver. It also gains the auto-framing and framing stabilizer modes discussed above.

There are a few other nice-to-haves, too, such as the option to upload your own LUTs to let you preview the scene with your intended grading. The camera can also embed the LUT alongside your footage, so that it's also available to whoever's editing the project. However, unlike the FX series cameras, there's no option to simply burn the LUT onto your video.

In context

The a7 V lands in the most competitive part of the market: between the out-and-out pro models and the somewhat pared-back entry-level models. This puts it up against some very good opposition: the recently-released Canon EOS R6 III, the recently firmware-boosted Panasonic S1II and Nikon's Z6III.

We don't have room to compare all four here, so we're going to include the more expensive Panasonic S1II, as it's built around a similar sensor to the Nikon Z6III but gets a bit more out of it, in terms of image quality, video and speed. We'll include more about the Nikon in a follow-up article, soon.

	Sony a7 V	Sony a7 IV	Canon EOS R6 III	Panasonic DC-S1II
MSRP (US/UK)	$2899 / £2799	$2699 / £2400	$2799 / £2799	$3199 / £2899
Sensor type	Partially stacked CMOS	BSI CMOS	Dual Pixel AF FSI CMOS	Partially stacked CMOS
Resolution	33MP	33MP	33MP	24MP
Viewfinder res/ magnification/eyepoint	3.69M dot 0.78x 23mm	3.69M dot 0.78x 23mm	3.69M dot 0.76x 23mm	5.76M dot 0.78x 21mm
Rear screen	3.2" 2.09M dot Tilt + Fully articulating	3.0" 1.04M dot Fully articulating	3.0" 1.62M dot Fully articulating	3.0" 1.84M dot Tilt + Fully articulating
Image stabilization	7.5EV	5.5EV	8.5EV*	8EV
AF subject detection	Human Animal Bird Insect Car Train Plane Automatic	Human Animal Bird	Human Animal (Dog / Cat / Bird / Horse) Vehicle (car, motorcycle, plane, train) Automatic	Human Animal Plane Train Vehicles Motorcycle/ Bike
Maximum burst rate	10fps mech. 30fps e-shutter (14-bit)	10fps mech./e-shutter	12fps mech. 40fps e-shutter (12-bit)	10fps mech. 70fps e-shutter (12 bit) 60fps e-shutter (14 bit)
Pre-burst capture?	Variable, up to 1 sec	No	Yes, up to 0.5 sec	Yes, up to 1.5 sec
Stills rolling shutter rate (ms)	∼15.1ms	∼67.6ms	∼13.5ms (12-bit)	∼14.6ms
HDR still output	HLG HEIF (no Raw)	HLG HEIF (no Raw)	PQ HEIF	HLG HEIF
Video resolutions	UHD 4K/60 (full-width, oversampled) UHD 4K/120 (1.5x crop) 1080/240	UHD 4K/30 (full-width, oversampled) UHD 4K/60 (1.5x crop)	7K DCI/60 (Raw) 7K/30 open-gate 4K/120 (full-width, oversampled ≤60p) 1080/180 (full-width)	6K/30 3:2 (Raw / open gate) 5.7K/60 DCI (Raw) 5.9K/60 (16:9) 4K/120 w/ 1.17x crop
Raw video (internal)	No	No	C-Raw	ProRes Raw
Video assist tools	Log view assist Custom LUTs Auto Framing Framing Stabilizer	Log view assist	Waveform False color Log view assist Custom LUTs	Waveform False color Vectorscope Anamorphic desqueeze Shutter angle Log view assist Custom LUTs
Media types	1x CFexpress type A/UHS-II SD 1x UHS-II SD	1x CFexpress type A/UHS-II SD 1x UHS-II SD	1x CFexpress Type B 1x UHS-II SD	1x CFexpress Type B 1x UHS-II SD
Battery life EVF / LCD	630 / 750	520 / 580	270 / 510	310 / 350
Dimensions	130 x 96 x 72mm	131 x 96 x 80mm	138 x 98 x 88mm	134 x 102 x 92mm
Weight	695g (24.5oz)	658g (23.2oz)	699g (24.7oz)	800g (28oz)

* When combined with a stabilized lens

The table works as a striking illustration of just how far behind the latest generation of cameras the a7 IV was, a situation the a7 V has mostly rectified. Sony's E-mount also remains a leader in terms of openness and the availability of a wide range of first and third-party lenses, though it's worth noting that several big players have recently promised to start producing options for L-mount. Sony also only allows third-party lenses to continuously autofocus at 15fps and below, a limitation that wasn't a factor on the a7 IV, but that a7 V users may bump up against.

Other companies are also offering more video options than Sony; both the Canon EOS R6 III and Panasonic S1II have modes for open-gate recording, DCI 4K and internal Raw video, all of which the a7 V lacks. Sony also hasn't implemented exposure assistance tools such as a waveform monitor or false color overlay, though it has AI tricks that Canon and Panasonic don't offer.

Body and handling

The a7 V uses an updated version of the body from the a7 IV. This means it has two main command dials, a toggle-lockable exposure comp dial on its shoulder and a third, fiddly command dial on its rear plate. However you wish to shoot, the a7 V can be set up to put the parameters you care about at your fingertips.

The front grip has been redesigned to make it feel more comfortable, though it doesn't gain the tilted-forward shutter button design that the company's pro-grade a9 III and a1 II benefit from.

We're still not great fans of the new grip: it's large enough, but the two of us shooting with the camera both found it dug into our fingers a little. This isn't helped by the unyielding grip texture on the camera that does nothing to cushion the hand.

Menus

The a7 V uses Sony's latest generation menus, which are certainly an improvement on the ones used in earlier models. They definitely have their foibles still, though.

The a7 V uses Sony's newer menu system, which represented a big step forward from the a7 III. It's been updated slightly from the previous model through the addition of a Home/Status Panel screen at the top of the menu. We're not fans, as it's easy to navigate away from by mistake (not ideal for quick settings changes), and it can get in the way of reaching the actual menus. The ability to minimize it as you navigate to the left-hand tabs serves no obvious purpose, beyond reinforcing the sense that it's a potentially good idea shoehorned into a context where it doesn't quite fit.

As with any menu system, you can learn it in time, or use the My Menu system and Fn menu to circumvent the need. But the a7 V's very high level of customization comes with the price of a long, complex menu frequently featuring an odly trunctd nmng systm.

EVF / rear screen

The a7 V uses the same 3.69M dot viewfinder as its predecessor, with the optics giving 0.78x magnification. By default the viewfinder doesn't use a feed that uses the full 1280 x 960px resolution of this panel. Depending on your requirements, you can either push the panel into a higher speed or a higher resolution mode (though not both). Either option will have an impact on the battery life.

It gains a tilting cradle on which its slightly larger, fully articulated rear screen is mounted. This means it can be tilted up or down, close to the back of the camera for waist-level or overhead stills shooting as well as flipping out to the side for videos or selfies. The added movement also lets you move the screen away from the camera, reducing the risk of the screen fouling your cables when you flip it out. The new panel has around 2.1M dots, giving around a 1024 x 682px resolution.

Flipping the screen out over-rides the viewfinder's eye sensor by default, so the rear screen won't black-out if you bring the camera too close to your body when working at waist level. We had occasional issues getting the finder to work when the screen was re-stowed, though (closing the screen seems to put the camera to sleep).

USB ports

The a7 V becomes the second camera we've encountered to have two USB-C ports: one for high-speed data transfer, one for charging, using the USB-PD standard. It's worth remembering which is which: the upper port can transfer files at up to 10Gbps, the lower one is around one twentieth of this speed.

It's perhaps noteworthy that many recent Sony cameras had retained a USB Micro B socket alongside their USB-C data port, to maintain compatibility with the company's "Multi Terminal" accessories. The second slot on the a7 V appears to essentially be a continuation of this USB 2.0 socket in a new shape.

Battery

The a7 V uses the same NP-FZ100 battery that the a7 series has used for several generations, now. It's a fairly substantial 16.4Wh unit that powers the camera to a rating of 750 shots per charge if you rely on the rear screen and 630 shots per charge if you use the viewfinder.

These are both impressive figures for a camera in this class, especially given that the CIPA-defined tests tend to significantly underestimate the number of shots most people find they actually get. Everyone's usage differs, of course, but so long as you don't spend lots of your time reviewing the images you just shot, it's not unusual to get double the rated number of shots.

Image quality

Image Comparison

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Comparing processed Raws at base ISO, the a7 V's 33MP sensor provides a similar level of detail to cameras with similar resolutions, such as its predecessor and Canon's EOS R6 III, while offering a bump up from its 24MP competitors. It appears Sony has slightly tweaked the formula for the camera's color response compared to the a7 IV, and we've liked the JPEG results we've got.

At high ISOs, the a7 V's Raws show a touch more noise than those of its competition, a trend that continues as you push your ISO higher, but its JPEG engine does a decent job of reducing noise while still retaining details. Its ISO range extends a stop higher than the Canon EOS R6 III's, but in most circumstances, this simply means you have a wider range of settings that provide an unusable image.

Overall, the a7 V's images are very similar to the a7 IV's, but its partially stacked sensor brings better low-ISO dynamic range and burst rates without any noticeable impact on image quality. Though these two benefits aren't delivered simultaneously: maximum DR can't be achieved in the camera's fastest modes, which use electronic shutter.

Dynamic range

The a7 V gets a significant boost in its dynamic range, compared with its predecessor, thanks to sensor that's able to combine the output of both its dual conversion gain readout modes, meaning you get the same highlight performance as before but with less noise in the shadows. Specifically, it gets a boost in its lower ISO settings, where dynamic range is highest and where you're most likely to want to use it.

All the benefit appears in the deep shadows: the relationship between the sensor's clipping point and the camera's metering (and JPEG middle gray) is the same as on the a7 IV, so there's the same amount of highlight headroom as before. Increased DR means there are darker tones that remain usable in this camera's Raw files than the ones that have been overwhelmed on cameras with lower DR. So if you aren't pushing your Raws to exploit the information in the deep shadows, you won't encounter this benefit.

This combined dual gain mode is only active in modes where the mechanical shutter is closed at the end of the exposure (ie: mechanical and electronic first curtain modes) so that there's no impact from the slower read-out in these modes.

Video

The Sony a7 V records full-width UHD 4K footage at up to 60p, downsampled from 7K capture, and also offers 4K 120p recording from an APS-C-sized region of the sensor.

The camera can also use the sensor's extra resolution to power its AI Auto Framing mode, which will recognize a human in the scene and crop in on them, like a camera operator might if they were zooming in and panning around to keep a subject in frame. You can configure how tight you want the framing to be and how quickly you want the camera to move the frame to keep up with the subject. Similarly, the highest tier of digital stabilization also has a 'Framing Stabilizer' option, which aims to keep your chosen composition locked onto a selected subject, even while the camera is moving.

There's also a slight caveat to the full-width 4K/50 and 60 modes; to actually get full-width recording, you have to turn on a mode called "4K Angle of view Priority," which Sony says turns off in-camera noise reduction.

Sony includes its S-Log3 and S-Cinetone color modes in the a7 V. The former is designed to capture as much dynamic range as possible, but will require color grading before delivery, while the latter is designed to have a subtle, movie-like appearance that's flat enough to provide a little editing latitude. You can also shoot in Hybrid Log Gamma (HLG) mode to deliver output-read HDR footage for playback on high dynanic range devices.

Recording Modes

Compared to its competitors, the a7 V actually has relatively few recording modes, since it only records compressed, 16:9 video. However, it offers a few choices of codecs and compression types, which you can choose between depending on what you're shooting and how capable your editing computer is.

Resolution	Rates	Crop	XAVC type
Resolution	Rates	Crop	HS	S	S-I
UHD 4K (3840 x 2160)	23.98	1.0x	Yes	Yes	Yes
	25, 30	1.0x		Yes	Yes
	50, 60	1.0x / 1.17x *	Yes	Yes	Yes
	100, 120	1.52 / 1.79x *	Yes	Yes
Full HD (1920 x 1080)	23.98, 25, 30, 50, 60	1.0x		Yes	Yes
Full HD (1920 x 1080)	100, 120	1.0x		Yes

*Depending on "4K Angle of view priority" setting.

Sony's menus for choosing your recording mode aren't the nicest to navigate, but they get the job done. You start by choosing your file format to determine your resolution and compression, and which are named using Sony's XAVC branding, decrypted as follows:

XAVC HS = 4:2:0 10-bit, H.265 Long GOP
XAVC S = 4:2:0 8-bit, H.264 Long GOP
XAVC S-I = 4:2:2 10-bit, H.264 All-I

Then, you can go into a separate menu to choose your frame rate and bit rate/depth and chroma subsampling settings.

Temperature limits

While the a7 V doesn't have a fan, it has the graphite heatsink introduced with the a7S III built into the IBIS unit for better thermal performance in the camera's more demanding video modes. At roughly room temperature (20°C, 68°F), the company says you can expect to get around 90 minutes of recording time at 4K/60. At a torturous 41°C (105°F), the company claims it should still be able to manage up to 60 minutes of 4K/60. Though it doesn't specify, we assume these figures are for indirect heat and with the overheat warnings relaxed.

Video performance

The Sony a7 IV paid a price for its move to a higher-res sensor, when it came to video. Although its detail capture level was a touch higher, it took longer to read out, so exhibited more rolling shutter. That's not a problem for the Mark V: its partially-stacked sensor read out significantly faster, which both reduces rolling shutter and allows full-width 4K/60p capture.

However, it's working at its limit to do so, though, hence the need to reduce noise reduction if you want to shoot 4K/50 or 60 and continue to use the full width of the sensor, or to use the standard APS-C region for 4K/100 and 120.

Image Comparison

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The Sony's main 4K modes are derived from full-width, 7K output. This means they correspond to { ImageComparisonLink:6300, text="Canon's "HQ" modes" } on the EOS R6 III, rather than its standard, sub-sampled modes. Its higher res sensor makes it a little more detailed than Panasonic's S1 II.

The a7 V only captures footage in output-ready resolutions and aspect ratios (primarily UHD 4K), so you can't gain the ability to crop and reframe that other cameras offer, but most of its 4K output modes make makes use of the sensor's full resolution.

One exception is the 4K/60 mode with angle-of-view priority turned off. This uses a slightly cropped region of the sensor and captures a fraction less detail as a result (we absolutely would not expect such a minor difference to be visible when cutting to/from this footage). There's no sign of a difference in noise in this image, shot at low ISO but a single frame grab can't show differences in temporal noise reduction, applied to reduce noise difference frame-to-frame.

	Crop	Rolling shutter rate
4K/24	1.00	14.5ms
4K/60 Aov Priority On	1.00	13.3ms
4K/60 Aov Priority Off	1.17	14.7ms
4K/120 Aov Priority Off	1.79	7.1ms

Another mode that doesn't use the full resolution is the 4K/120 mode. This is taken from an APS-C region of the sensor and still uses fractionally more capture pixels than the output resolution, so it remains detailed. However, the nature of using a smaller region of the sensor, plus the shorter exposures used for 120p capture means it'll be noisier. Again you'll need to use the angle of view priority option to avoid a slightly larger crop (1.79x vs 1.52).

Sony's in-body image stabilization is pretty good in video, but the better results tend to be achieved by applying at least some degree of digital correction, which comes with a crop. You have a series of choices: the basic level that tends to work pretty well if you're trying to keep the camera still and a more extreme mode, accompanied by an even great crop, if you're trying to smooth-out significant amounts of movement.

Dynamic range

Unlike the Panasonic S1II, the Sony doesn't have any DR Boost mode or equivalent that lets you trade off speed for greater dynamic range by combining the output of both its sensor's gain modes. Instead, you just get the fast mode, which is a distinct benefit over its comparatively tardy predecessor, but you don't get the DR benefits we saw in stills mode.

The Sony is missing a couple of features that rivals such as the Panasonic S1II and Canon EOS R6 III offer, most obviously the ability to capture native resolution video, Raw video and the option to output in taller aspect ratios to give you more cropping options during the edit.

These are both potentially useful features to some users but we wouldn't expect either to be essential for many people. If either is a feature you need, you should look elsewhere, but a lot of users won't need them at all, so it's worth being realistic with yourself about how you intend to use a camera.

Autofocus

The a7 V uses the latest iteration of Sony's AF system. It works very well, but having some familiarity with an existing version definitely helps.

You can narrow down the number of AF area modes available, if you find the choice of 24 at all overwhelming.

As with most cameras you get a choice of AF area modes, from a small square box up to "Wide" area, which covers the whole scene and lets the camera pick a subject. One of the first things we'd suggest doing is moving the camera from AF-A mode (where it tries to pick between single AF acquisition and continuous AF), into AF-C, because that gives you access to tracking versions of all the AF areas.

There's a menu option to limit which AF area modes are available, to bring things back to a quickly manageable selection, and we'd recommend doing this, once you have a sense for the modes you prefer to use.

The tracking tends to work very well and for a lot of photography we find we can leave the camera in AF-C with a small or medium-sized tracking box, and it'll focus on what we ask, whether the subject is static or moving and regardless of how we adjust the composition, after picking a subject.

Subject recognition

You can choose a specific target type to track or select the Auto mode that chooses between them. You can filter the list of subjects available in the menus and which subjects the Auto mode selects from.

The a7 V has a series of subject recognition modes derived from machine learning. It adds several additional subject types that the a7 IV hadn't been trained to recognize and also adds and 'Auto' subject mode that will try to hunt for multiple subject types. This Auto mode can be fine-tuned so that it only tries to look for the specific subject types you want to photograph, which should improve speed and help prevent the camera getting distracted.

Subject recognition modes will only focus onto subject under or near to your chosen AF point, so you can leave subject recognition on, without having to worry about the camera focusing off on a recognized subject, if you're trying to focus on somethign else in the scene.

You can fine-tune the behavior of each subject recognition mode to get it to precisely match your shooting style and the conditions in which you shoot. The defaults already work very well, we found.

You can fine-tune each subject type, to adjust how close to your AF area a subject has to be, before it locks onto it. So, for instance, you could limit human detection to having to be very close to your AF point, while casting a wider net in bird detection mode, to give you more leeway if you can't keep your AF point precisely over a flying bird. This setting is called "Tracking Shift Range." Several subject types can be fine-tuned to make sure the camera focuses exactly where you want it to.

The good news is that this level of per-subject fine-tuning is just that: the ability to further hone the behavior, if you have specific needs. The a7 V's default behavior is already very good.

Likewise, the camera lets you specify how it should respond if something crosses in front of the subject being focused on (which you may need to configure differently, if you're shooting certain sports), but for most shooting you can just leave it at its defaults.

Overall the autofocus works very well. Hidden behind some often rather opaque naming, there's the ability to customize it to a pretty fine degree. The good news is that for a lot of photography, it already works very well without you having to do this.

In use

By Richard Butler

The a7 V's buttons and dials are well positioned but something about the shape of the new grip really makes the camera's weight apparent when holding it for any length of time, despite it being no heavier than its peers.

We've always said the Sony user interface benefits most from a little customization: even with their improved (but already overstuffed) left-tabbed menus, you'll want to spend as little time in the main menus as possible. This process of working out which features you want to access quickly via buttons or semi-quickly via the quick menu is made all the more pressing by the a7 V's broad range of capabilities. It's very unlikely that any one photographer will use all of all the camera's features, so it makes sense to surface the features that make sense for your use.

The camera's Fn menu is completely customizable. But note that it includes the 'pre-burst' option that isn't even available by default. You'll need to change both the shutter type and drive mode before it becomes selectable.

By default, the quick menu has pre-burst shooting as one of its options. But to engage that you need to also be in e-shutter and burst shooting modes, so there's quite a lot of setting changes to access the camera's new feature. Likewise, if you encounter a scene you think would work well as a high DR image, you'll need to disengage Raw shooting, select HEIF as your output type and then select HLG photo mode, then reverse all those changes when you want to shoot Raws again.

None of this is insurmountable: you can configure the custom positions on the mode dial to engage these modes and make all the settings changes necessary, but it means more setup and configuration than we'd really like to see, or than we'd expect to have to do with its peers.

Personally, I find it rather unhelpful to have a settings panel within the main menu structure: it's too easy to navigate away from accidentally, to be useful as a settings panel so it's just clutter, the rest of the time.

I find it even more unhelpful that one of the ways you can inadvertently navigate out of it is to this intermediate page. I have no idea why this step exists between the setting page and the tabs on the left.

The differences between the mid-range cameras from the major brands become narrower and narrower, all the time. Lens selection, in terms of the specific lenses you want, at a price/performance level you're happy with (not just number of lenses available) should probably be a bigger deciding factor between brands than most slight differences between specs or feature sets.

For me, the a7 V's grip would put me off it, as would the lack of ability to re-process the Raws, in-camera, while I'm traveling. But this is the level of specific personal preference that will dictate which camera you opt for.

There are few knockout punches being thrown, so it's all in the realm of the points totals of individual judges. Ignore anyone babbling on about the lack or presence of this feature or that unless you are absolutely certain that you will use one of those specific features, because all of these cameras have almost everything most people might need.

Conclusion

By Richard Butler

Pros	Cons
Excellent image quality Impressive stills dynamic range in modes with mechanical 2nd shutter Powerful and effective AF system Very detailed video with low rolling shutter Big step up in burst rate over predecessor, plus pre-capture Very good battery life Good thermal control for long video recording High level of customization	Busy menu arguably overwhelmed by level of customization available Grip meant some users find it heavy in the hand Viewfinder defaults to low resolution Less extensive video options than peers Can't shoot HLG stills and Raw No in-camera Raw conversion

The a7 V is perhaps the best all-round camera Sony has yet made, outside its pro-grade (and priced) models, excelling at both stills and video capture. Like its immediate peers, it brings a level of performance that exceeds what professionals relied on, less than a decade ago, meaning you get a camera that will support you almost regardless of what you ask it to do.

The latest sensor has been cleverly used so that it brings a dynamic range benefit for photographers who need to really push their files, while also delivering a speed improvement over its predecessor, giving smoother, better quality footage and less rolling shutter distortion at its fastest burst rates.

The a7 V's autofocus is very good in a wide range of circumstances. You can fine-tune the behaviour and simplify things if you want. But for most people, simply engaging AF-C when they first get the camera will be the only essential setup step.

Sony 85mm F1.4 GM II | F2.2 | 1/100 sec | ISO 640
Photo: Richard Butler

Autofocus strikes a good balance between capability and tunability: there are countless options to fine-tune it to get exactly the behavior you want, but its performance out-of-the-box is so good that this is a question of achieving a final, perfect polish, rather than being a necessary step you have to overcome.

Sony's interface still isn't our favorite, and can feel cluttered and unruly at times, especially as features and interdependencies continue to grow. But it can be learned and customized easily enough that this won't be a concern, once you've got yourself up to speed. Similarly, more than one of the team found the camera's grip shape and weight made it hard to hold for long periods. Overall, ergonomics and usability are, perhaps, the closest the a7 V has to a weak-point.

If you're an existing E-mount user, the a7 V is likely to represent an appreciable upgrade

If you're an existing a7 or a7C-series user, the a7 V is likely to represent an appreciable upgrade, with the benefits being more apparent the older the model you have (for a7IV users, the benefits would mostly be felt by keen video shooters). For new buyers without any commitment to a system, the E-mount's extensive choice of lenses is another factor in its favor.

The a7 V is more camera than most of us will ever need, and it'll support you almost regardless of what you ask it to do. It's hard to see any basis for awarding it less than our highest award.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Sony a7 V

Category: Mid Range Full Frame Camera

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The a7 V is a spectacular all-rounder, with advanced autofocus, excellent dynamic range or fast shooting and impressive 4K video. Its interface and ergonomics count against it and some video specialists might find its feature set a little shallow. For most people it'll be more camera than they'll ever need.

Good for

A broad range of photo and video applications.

Not so good for

Certain (very) specific video applications.

91%

Overall score

Compared to its peers

The Canon EOS R6 III is the greatest challenge to Sony. It has shorter battery life and a narrower selection of lenses, but it also has a more comfortable grip and an interface that seems to struggle less with the extent of its feature set. It's this enjoyability, rather than relatively niche video features, such as Raw capture and open-gate recording, that would make us lean towards the Canon. But it should present a challenging decision, if you're not yet committed to a system, and you're unlikely to feel you've made the wrong decision, whichever way you jump.

Like the Sony, the Panasonic S1II has a "partially stacked" sensor that can combine the output of its dual gain readout modes to give improved dynamic range. Unlike the Sony it also lets you do this in video mode, letting you choose between speed and DR. It also has a broader range of video output resolutions. Its autofocus isn't quite as foolproof as the Sony's, but the difference is much smaller, with the latest firmware, and the L-mount system has an increasingly interesting range of lenses, making the S1 II probably the stronger choice if you're interested in video.

Nikon's Z6III risks being somewhat overshadowed by its more recent peers, as it can't combine the output of its dual gain modes, despite using a similar sensor to the Panasonic. It lower dynamic range won't be apparent for most photographers but landscape shooters and anyone trying to push their Raw video may start to encounter some of the Nikon's limitations. For most use it's excellent, though, with nicer ergonomics and arguably a better interface than the Sony. Though, as with the Canon, your lens choice is quite tightly controlled.

Sony has a habit of keeping its existing bodies in the lineup for some time, so it's worth comparing the a7 IV to the newer model. We much prefer the newer camera: it can shoot faster, has much improved video and upgraded autofocus. It's better in almost every regard. If you have any E-mount lenses, we think it's worth saving for the V, almost regardless of what you plan to shoot.

Buy now:

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Pre-production sample gallery

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The best cameras under $1000 in 2026

Thu, 12 Feb 2026 17:12:00 Z

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Updated February 12, 2026

$1000 might sound like a lot of money for a camera, but it's probably the least we'd recommend spending if you want to go beyond phone photography, especially as photography equipment is steadily getting more expensive. The picks on this list will give you more control than a phone and offer a more satisfying photographic experience.

At this price point, your options will be entry-level interchangeable lens cameras or larger-sensor compact cameras with built-in lenses. Compacts offer more control than a phone and a greater zoom range, but likely won't offer a huge jump in image quality compared to the latest flagship phones (despite their typically larger sensors).

Meanwhile, an interchangeable lens camera won't be as easy to carry around and comes with the added expense of lenses. However, they can make you feel even more involved in the photographic process, and the flexibility of swappable lenses will let you learn and grow into different types of photography as you develop your passion. They also feature much larger sensors than phones and the majority of compacts.

It's worth noting that camera makers sometimes assume that beginners will stick with the basic 'kit' zoom that comes with the camera, so it's worth checking whether a good selection of lenses is available (at a price you're willing to spend) before deciding which brand's system to buy into.

Our recommendations:

Best camera under $1000: Canon EOS R10

24MP Dual Pixel APS-C CMOS sensor | 4K/30p video (60p with crop) | 15fps shooting (23fps with e-shutter)

Photo: Shaminder Dulai

Buy now:

Read our Canon EOS R10 review

What we like:

Capable stills and video camera
Simple, effective AF in stills
Relatively easy-to-use

What we don't:

Video autofocus is less effective than stills
Mediocre battery life
Few sensible RF lens choices

The Canon EOS R10 is a 24MP mid-level APS-C mirrorless camera for stills and video shooting.

There are a few things that earn it the top spot on this list. The first is its stand-out usability, with dual top-plate dials for controlling exposure settings and a joystick to control its very capable autofocus system. It also has a decent selection of lenses; third parties like Sigma and Tamron have stepped in to round out the selection of primes and higher-end zoom lenses available for it, so you have several good options for moving beyond the kit lens that came with it, something that isn't necessarily true with Nikon's system.

The R10 has a powerful AF tracking system with subject recognition that makes it especially good at focusing on people, animals and vehicles. We found it both easy to use and effective. 15fps shooting with the mechanical shutter is good, though the buffer is limited.

"The EOS R10 is an approachable, capable option for stills and video"

The R10 has a relatively small body but finds room for two command dials. Most key settings can be accessed through the Q menu, making it easy to access the camera's core functions.

The R10 can shoot 4K video at up to 60p with a crop, or 30p using its full sensor width. The footage isn't the most detailed but, as in stills mode, there's the option to shoot footage for HDR TVs. Autofocus isn't as dependable as it is in stills mode.

Overall, the EOS R10 is a very capable camera for its price point, and offers a lot of room to grow for those starting out in photography, especially now that there's a reasonable selection of APS-C lenses for it.

See Canon EOS R10 studio scene

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The other options

While we much prefer the higher level of control that the EOS R10 provides, the less expensive Canon EOS R50 may also be worth a look if you're extremely budget-conscious but still want to stay in the Canon ecosystem. It has fewer control points – most notably, it misses out on the EOS R10's joystick – and it loses out on features such as 4K/60p video capture and faster burst rates, but it's still pretty capable.

We don't recommend the cheaper still EOS R100. It's based on a previous generation of technology, so it's slower and has less sophisticated autofocus.

We also like the Fujifilm X-T30 III in this price bracket. While its autofocus isn't quite as easy to use as Canon's, it has a flexible Auto mode that still gives you a fair level of control to let you grow into the camera, and a kit lens whose wide-angle focal range will be familiar to phone photographers. Fujifilm's "Film Simulation" JPEG color mode help it deliver really attractive out-of-camera images, and the retro design language has proven popular, too.

The better performer: Nikon Z50II

20.9MP APS-C sensor | Subject recognition AF | Full-width 4K video up to 30p

Photo courtesy Nikon

Buy now:

Read our Nikon 50II review

What we like:

Twin command dials
Simple tracking AF w/ subject recognition
Strong video specs

What we don't:

Weak battery life
Limited zoom lens selection
Non-stabilized sensor limits video

The Nikon Z50II is an entry-level APS-C mirrorless camera, built around a 21MP CMOS sensor. It features Nikon's '3D tracking' autofocus system, and can recognize nine subject types.

The Z50II makes a case for being the best pick for beginners, thanks to a simple and mostly reliable AF system with automatic subject detection. Nikon has introduced a bright standard zoom lens for APS-C, providing a solid upgrade path from the kit lens, but hasn't allowed third parties to make similar lenses available on its mount, so you have fewer options than with other brands, overall.

The Z50II delivers on the basics without breaking the bank.

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What about the Z fc?

Nikon's Z fc is a stylish camera based on the original Z50, which means it has the same sensor as the Z50II. We like it a lot, but the autofocus on the Z50II is such a marked improvement that it's hard to recommend picking up a Z fc at this point – you can read our full comparison between the two cameras here. If you have a strong attachment to the Z fc's aesthetics, your best option is probably holding off for a bit to see if Nikon updates the Z fc. If that's not an option, see if you can get it on sale or used.

The affordable kit: Sony a6100

24MP APS-C sensor | Hybrid AF with Real-time Tracking | 4K video capture

The Sony a6100 offers a lot of power in a compact, well-priced body. The 16-50mm power zoom isn't the best, though.

Photo: Richard Butler

Buy now:

$598 at B&H Photo

Read our Sony a6100 review

What we like:

Excellent autofocus system
4K/30p video recording
Tilting touchscreen LCD

What we don't:

Less robust build quality
Rolling shutter 'jello effect' present in 4K video
Crop when recording 4K/30p video

The Sony a6100 is an entry-level APS-C mirrorless camera. It has a compact body and a 24MP sensor.

It was a very capable and affordable camera when it was launched several years ago, offering some of the best autofocus around and a wide selection of lenses. The latter part is still an advantage, but many competitors' autofocus systems are now on par with the a6100's. However, it's still worth considering if you want to get both a camera body and a decent prime lens for under $1,000.

The a6100 is the most basic model in the a6000-series and doesn't feel quite as robust as its step-up siblings. It offers a lower-resolution electronic viewfinder, and control dials that are both thumb-operated. Its touchscreen flips upward 180-degrees for easy selfie framing and vlogging. It also uses Sony's old menu system, which can be a chore to work with.

"The a6100's autofocus can effortlessly track whatever you point it at"

See the Sony a6100 studio scene

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Best compact camera under $1000: Canon G7X III

20MP Type 1 Stacked CMOS sensor | 24-100mm equiv. F1.8-2.8 lens | 4K/30p video capture

The PowerShot G7X III can deliver excellent image quality, backed up by good (though not great) autofocus

Buy now:

Read our Canon PowerShot G7X III review

What we like:

Nice grip and well-placed controls
4K/30p recording with live streaming to YouTube
Fast burst shooting

What we don't:

Lens is soft at wide-angle
Limited battery life
Contrast-detect only autofocus

The Canon PowerShot G7X III is the last in what used to be a popular style: the pocketable enthusiast photographers' compact, with a relatively large Type 1 20MP sensor and bright zoom lens. Canon has added features to make it more vlogging-friendly, but the clicking control wheel gives a satisfying, hands-on shooting experience.

A note on availability: the PowerShot G7X III has been difficult to get for a while, but Canon has recently reiterated that it's working on ramping up production. Still, getting your hands on one for anything near its original MSRP may require some patience.

The G7 X III can't focus continuously as fast as the best models in its class, and it can't track subjects around the frame while shooting bursts. If you follow your subject yourself, you get a not-too-shabby 8.3 fps with a single autofocus area. There's a 30 fps Raw burst mode, though focus is locked. In general use, the G7 X III is very responsive, though battery life is on the short side.

"If you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look"

It has two top-plate control dials and a focus control joystick, but no four-way controller. It also features the company's film simulation dial for controlling the color profile.

Overall, we're impressed by the upgrades on this model. The Mark III brings improved video and continuous shooting performance while maintaining excellent controls and a competitive price point. If you do a lot of wide-angle shooting, there are options with better lenses, but if you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look.

See the Canon PowerShot G7X III studio scene

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Best camera for content creation: Fujifilm X-M5

26MP APS-C BSI CMOS sensor | Fully articulated 3" LCD | 6.2K 3:2 video up to 30p

What we like:

Great JPEG colors with dedicated dial
Solid selection of vlogging features and UI
Good level of direct control

What we don't:

No viewfinder
AF tracking performance isn't the strongest
Unstabilized sensor

The Fujifilm X-M5 is based around an APS-C 26MP X-Trans sensor, and equipped with AI-powered subject detection autofocus.

It's aimed at creators taking pictures and video for the web, with a suite of vlogging features that let you shoot video that's ready to upload as soon as you transfer it to your phone. It also has a dial for easily switching between 'Film Simulations,' Fujifilm's much-loved color modes, and the full suite of stills features from larger, more expensive models – minus a viewfinder. Its support for X-mount lenses also gives you access to the most complete range of APS-C lenses, no matter what journey you're on.

Fujifilm's autofocus can recognize and accurately track several subject types, but overall its autofocus isn't as swift or reliable as its rivals and its general subject tracking isn't as dependable.

The X-M5's stills mode is among the most competent in vlogging-focused cameras

It has two top-plate control dials and a focus control joystick, but no four-way controller. It also features the company's film simulation dial for controlling the color profile.

The X-M5 can shoot up to 6.2K open-gate footage, which can be cropped for sharing on multiple platforms. Many of its video modes, such as 4K 60p, lighter-weight 4K LP mode, and electronic stabilization modes, come with a substantial crop.

If you're looking for a camera to take pictures and videos for social media, the X-M5 is worth your consideration. It has an attractive design, great image quality in stills and video, and engaging controls, though its autofocus doesn't match the best of its peers.

Read our Fujifilm X-M5 review

See the Fujifilm X-M5 studio scene

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What if I only vlog?

If you plan to shoot more videos than photos, it's worth considering the Canon PowerShot V1. It's a compact camera built for vlogging with its integrated 16-50mm equiv. F2.8-4.5 lens, large (for a compact) Type 1.4 (18.4 x 12.3mm) sensor, complete with optical image stabilization and an ND filter. While we don't think it offers an especially enjoyable photography experience, features like a built-in fan for cooling, headphone and microphone ports, very usable stabilization and the ability to shoot 4K60p with a 1.4x crop make it a quite powerful video camera for its size.

Click here to read the Canon PowerShot V1 review

If you only care about vlogging, and want an even more pocketable option, the DJI Osmo Pocket 3 comes in under $1000 and can't be beat when it comes to stabilization thanks to its built-in gimbal. That, and the ability to sync with DJI's wireless microphones, earn it the top spot in our dedicated vlogging buying guide.

Click here to read our Best Cameras for Vlogging buying guide

Why you should trust us

Fujifilm X-T30 III review

Tue, 10 Feb 2026 18:04:00 Z

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Product photos: Richard Butler

86%

The Fujifilm X-T30 III is the company's latest entry-level, SLR-shaped mirrorless camera, with its latest color mode recipes and autofocus.

Key specifications

26MP X-Trans APS-C BSI CMOS sensor
Film simulation dial with recipe positions
Tilt up/down rear screen
2.36M dot EVF
4K/60 video with 1.18x crop, 6.2K/30 full-sensor capture
315 shot-per-charge battery life, 425 in power saving mode

The X-T30 III is available at a recommended price of $999. There is also the option to buy the camera with a new, unusually wide, 13-33mm F3.5-6.3 OIS zoom lens, which will cost around $1150.

Index

Buy now:

What's new?

The Film Simulation dial on the camera's shoulder has three custom positions that can be assigned to film simulations or the simulation-and-parameter-tweak combinations known as 'recipes.'

The X-T30 III, as the name implies, is an iterative update of the existing X-T30 II. It gains the latest Fujifilm processor, which brings subject recognition autofocus. This brings it into line with the X-M5 and X-T50.

It also gains a Film Simulation dial, instead of the drive mode dial on the previous X-T30 models. Like the more expensive X-E5, the three custom positions on the dial can be set up to store 'recipes': sets of JPEG processing settings that modify the behavior of an underlying film simulation.

The more powerful processor also brings a boost in the video features, with 60fps 4K video options (with a 1.18x crop) and the option to shoot using the whole sensor in 6.2K resolution at up to 30fps.

Finally, the X-T30 III becomes the first model to be offered with a new 13-33mm F3.5-5.6 stabilized kit zoom. This offers an unusually wide 20-50mm equivalent range, which is likely to be a welcome capability for photographers whose previous experience has mainly been with the wide-angle cameras on smartphones.

What is it?

The X-T30 III maintains the classic-SLR looks of the X-T series.

The X-T30 III plays the same role in the lineup as its predecessor did: the least expensive SLR-shaped camera in the Fujifilm range. Like the Mark II and the X-M5, it's built around an unstabilized 26MP BSI CMOS sensor. It's an APS-C-sized chip with Fujifilm's proprietary X-Trans filter pattern in front of it. This was originally designed to reduce visible errors in images, but increasingly just seems to make the files a little trickier to process.

The X-T30 III offers a decent set of features: it'll shoot moderately quickly, captures good quality video and offers a range of subject-recognition AF modes, making it quick and easy to focus on common subject types. It also has a switch to jump quickly to its Auto mode that tries to select the appropriate scene mode and settings for whatever you point it at. It's also somewhat unusual in still offering a small pop-up flash.

The standout feature of the X-T30 III, in common with the rest of the Fujifilm range, is the provision of its film simulation color modes, giving you a selection of (mostly) well-judged, attractive color responses for your images. The Mk III puts these at your fingertips by providing a dedicated dial, making it easy to experiment with the different looks it offers.

How it compares

The X-T30 III is one of Fujifilm's entry-level models. The viewfinder means it's a little more expensive than the rangefinder-style X-M5, but it has a list price lower than that of the image-stabilized X-S20. We'll include the X-S20 as the most affordable stabilized APS-C camera.

In terms of rivals, the Nikon Z50II is probably the most like-for-like competitor, with Canon's EOS R10 also offering similar specs for similar money. We're omitting the distinctly elderly Sony a6400 as it only shoots 8-bit video and doesn't have such extensive subject recognition AF. The OM System lineup either offers the OM-D E-M10 IV for less money or the OM-5 II for more, both are built around smaller but stabilized sensors. The OM-5 II is the least expensive mirrorless camera to offer an 'IP' rating for its weather sealing.

	Fujifilm X-T30 III	Nikon Z50II	Canon EOS R10	Fujifilm X-S20
MSRP	$1000, $1150 w/ 13-33mm	$1010, $1150 w/ 16-50mm	$1100, $1250 w/ 18-45mm	$1500, $1600 w/ 15-45mm
Resolution	26MP	21MP	24MP	26MP
Stabilization	Lens only	Lens only	Lens only	In-body (up to 7EV)
Flash, ISO 100	GN 5	GN 7	GN 6	GN 5
Cont. burst rate	8fps Mech 20fps Elec	11fps Mech 15fps Elec	15fps Mech 23fps Elec	8fps Mech 20fps Elec
EVF	2.36M dots 0.62x mag	2.36M dots 0.67x mag	2.36M dots 0.59x mag	2.36M dot 0.62x mag
Rear screen	1.62 dots 3.0" Tilt up/down	1.04M dots 3.2" Fully-artic.	1.04M dots 3.0" Fully-artic.	1.84 dots 3.0" Fully-artic.
Video options	6.2K/30 open gate 4K/60 1.18x crop 4K/30 full-width	4K/60 1.44x crop 4K/30 full-width	4K/60 1.6x crops 4K/30 full-width	6.2K/30 open gate 4K/60 1.18x crop 4K/30 full-width
Mic / 'phones?	2.5mm / Via USB adapter	Yes / Yes	Yes / No	Yes / Yes
Battery life rating	315	220 EVF / 230 LCD	210 EVF / 350 LCD	750
Dimensions	118 x 83 x 47mm	127 x 97 x 67mm	123 x 88 x 83mm	128 x 85 x 65mm
Weight	378g	550g	429g	491g

In spec terms, there's not much to choose between these models. What the chart can't show is that the Nikon probably has the best autofocus tracking performance here, with the Canon a very close second (it's a little less dependable in video mode). This is still something of a weakness for the Fujifilm, though its subject-recognition modes do well.

Both the Canon and Nikon handle better than the Fujifilm, having fewer, but in our experience, better laid-out controls that are harder to operate accidentally. The Fujifilm's Auto switch will be handy for some users and anyone looking for a camera to grow into is more likely to find the lenses they want in the X mount, but the offerings for Canon and Nikon are (finally) improving, so it's worth investigating whether the lenses you think you might want are available for each system, before picking a camera body.

The X-T30 III is also the smallest camera here and offers a wider array of attractive color modes than its rivals. There's also the option of that unusually wide kit zoom.

Body and handling

The X-T30 II offers plenty of hands-on control, including two clickable command dials, an exposure comp dial and an AF joystick, but these have all been fitted into a small space.

The body of the X-T30 III is essentially the same as the one from previous X-T30 models, meaning it's slightly smaller than the X-T50 and lighter. A ridge down the front of the camera and a protruding bump on the back means it fits firmly in the hand, and feels secure thanks to the tactile rubber coating, front and rear.

The X-T30 III has a fair degree of external control, including six buttons that can be customized and four swipeable directions on the rear touch screen. It also has two well-positioned clickable command dials, a dedicated exposure comp dial and dedicated shutter speed dial, as well as that film simulation dial.

There's also a joystick for positioning the AF point or navigating the menus and flick switches under two of the dials to activate the flash and to engage full Auto mode.

While we're pretty impressed, overall with this level of direct and customizable control, we find it's perhaps a little overwhelming on a body this small. If you have larger fingers, or don't know what all the controls do, the X-T30 III risks being a bit of a handful. The clicking button under the front command dial can also be easy to inadvertently press when holding the camera or trying to change your settings, which, by default, will cycle it to control a different parameter than the one you were attempting to change. Of course, you can customize it to perform only a single function to avoid that problem.

The X-T30 III only has three ports on its right-hand side, but they offer a lot of functions.

In terms of ports, the X-T30 III has a 2.5mm socket that serves double-duty as a remote control connector or a mic input. Most mics use a 3.5mm plug, so you'll need an adapter to attach one. Below this there's a USB socket that can be used for charging the camera, transferring data or connecting a pair of headphones, with the supplied adapter.

Finally, there's the micro HDMI socket for outputting video or a Raw video data stream that can then be encoded by either a BlackMagic or Atomos external recorder to BRaw or ProRes Raw, respectively. This isn't the obvious model to do that from, especially not given how delicate micro HDMI sockets can be, but it's nice that Fujifilm hasn't omitted a feature this hardware can support.

Battery

The X-T30 III uses the same 8.7 Wh NP-W126S battery as most of Fujifilm's smaller cameras. It powers the camera to a rated value of 315 shots per charge, or 425 in 'Economy' mode. These numbers don't reflect the number of shots you'll get from the camera (getting twice the rated figure isn't unusual, depending on your use of image review, flash or burst shooting), but they're broadly comparable between cameras.

A figure of over 300 shots per charge is good for this class of camera and is likely to mean you can use it for a weekend of casual shooting without having to think about the battery. The battery can be recharged over USB.

Image Quality

The X-T30 III has proven image quality.

Fujifilm X-T30 III | Fujifilm XF 35mm F2 R WR | F5 | 1/680 sec | ISO 320
Photo: Mitchell Clark

Fujifilm is using a very familiar sensor in the X-T30 III, as it's the same one that appeared in the previous two iterations of the X-T30 (and older versions of the more expensive X-T series). It's also the same sensor/processor combination that we saw in the Fujifilm X-M5.

None of this should be read as a complaint; the images from these cameras capture a good level of detail in Raw, with ever so slightly less than other 26MP models, potentially because of Fujifilm's 'X-Trans' color filter design not playing particularly well with Adobe Camera Raw. We've also found that the JPEGs don't always make fine details pop, a situation that gets slightly worse at higher ISOs when noise reduction is being applied, though you may not even notice either unless you're zooming or cropping pretty far into your images.

If you're a beginner photographer, though, don't take those quibbles as a reason to avoid the X-T30 III. Its image quality and dynamic range are very good, and those factors won't hold you back as you build your skills. Plus, you'll benefit from Fujifilm's well-considered JPEG colors, which have proven to be crowd-pleasing.

Shutter shock

One caveat to its otherwise good image quality is that, when paired with the 13-33mm kit lens, there can often be noticeable shutter shock in images taken with the lens zoomed in. This manifests as them looking not particularly sharp when you zoom in on them (though typically they'd still be acceptable to post on social media or to send to friends).

The easiest way to avoid this is to set the camera to use the electronic first curtain shutter (using the "E-Front + mechanical" mode so that it switches back to mech shutter at fast shutter speeds), especially if you plan to shoot at our around 1/100 sec shutter speed, or if you're letting the camera automatically set your shutter speed. Fujifilm programs its more entry-level cameras to use a faster shutter speed in auto, which means that, when paired with lenses up to 35mm, the X-T30 III's minimum shutter speed in several of its modes will be 1/100 sec; directly in the problematic range.

The issue also isn't as prevalent with all lenses; we didn't see much shutter shock when we tested it with the 35mm XF F2 lens, despite its focal length being very similar to the long end of the kit lens, where the issue is most noticeable.

Autofocus

Fujifilm X-T30 III | Fujifilm XC 13-33mm F3.5-6.3 OIS | 30mm | F6.1 | 1/180 sec | ISO 320
Photo: Mitchell Clark

The X-T30 III uses essentially the same autofocusing system as the rest of the company's modern cameras. It lets you select what you want to focus on with a variety of AF area sizes, ranging from a single point if you're trying to be precise, to the "Wide" mode that hands control of what to focus on over to the camera. If your camera is set to continuous focus mode, Wide mode is replaced by a tracking box, which will attempt to stick to whatever you put it over as it or the camera moves.

You can select the focus point using the joystick on the back of the camera or by tapping directly on your desired subject using the touchscreen. There's also the option to use a customizable portion of the touchscreen as a joystick when your eye is up to the EVF.

The tracking option gives you a single-size box, but other modes offer more precision.

The X-T30 III has AI-trained subject detection modes for humans, animals, birds, cars, motorcycles/bikes, airplanes and trains. The settings for human detection are separate from the other subject detection modes, which, in most cases, makes it a small hassle to switch between them. You'll either have to set up two custom buttons or delve into the Q menu if you want to go from taking pictures of people to a non-human subject, or vice versa.

The subject recognition works no matter what your focus point selection method is, and it does a good job of only trying to focus on a recognized subject that's directly under or quite close to your chosen AF point. That means you can leave subject detection on without worrying that the camera will try to jump to a recognized subject if it's somewhere else in the scene.

This means you can use the AF area to specify which subject you want to focus on, if there's more than one in the scene. This works less well in Wide mode, where the camera is choosing where to focus. It'll only indicate a single recognized subject, and though you can use the joystick to pick another, you won't really be sure of what it'll select. Similarly, if the current subject turns away, the camera will leap to any other subject it can find. Generally, we find you can get more out of the subject recognition modes when you select an AF area to tell the camera what to focus on.

Autofocus performance

When it comes to photographing relatively static scenes or subjects the camera can recognize, it does a decent job of getting things in focus, even if they're moving at moderate speeds. For everyday photography, its single and continuous autofocus modes will likely get the job done.

If you're trying to shoot sports, action or even particularly squirmy pets or children, though, the story may be a bit different. As with many of Fujifilm's cameras, tracking non-recognized or fast-moving recognized subjects isn't the X-T30 III's strong suit. Even in decent lighting, there were several times when the tracking box would wander off the static subject we wanted it to stick to, and even if it does stick to something, it may slightly misjudge the focus or just not be able to keep up with a subject moving quickly towards it (though it's hard to say how much of that is on the camera, versus on the lens).

While there were just as many times that it let us successfully use the track and recompose method, it'd be hard to trust it as much as a similar camera from Nikon, Canon or Sony in a situation where you only had a limited amount of time to get the shot. This isn't to say that you can't get the shots you want with the X-T30 III; you can, with a little bit of practice. It's just that other cameras may make it a bit easier.

Video

The X-T30 III's video specs are competitive, but there are other models better suited to video within the range.

The X-T30 III gains all the video modes we've seen appear in this generation of 26MP Fujifilm models. In many respects, it's a sensor better suited to video than the 40MP chip in their more expensive models, because it doesn't have to read out so much data to produce its 4K footage.

The X-T30 II can capture full-sensor, 'open gate' footage at up to 30p in 6.2K resolution, or it can deliver 4K derived from this 6.2K resolution in more common aspect ratios. It can shoot 4K at up to 60p with a slight crop, and also has a "9:16 short movie mode" like the X-M5, allowing you to record vertical videos from a center crop of the sensor, without having to actually turn the camera on its side.

Shooting mode	Crop	Rolling shutter rate
6K open-gate	Full-width (3:2)	24ms
4K/24p	Full-width (16:9)	21ms
4K/60p	1.18x	16ms
1080p/24p	Full-width (16:9)	13ms

Like the X-M5, it produces relatively detailed video in its 6K and 4K/24 modes, though you'll lose a bit of quality if you shoot 4K above 30fps (with the trade-off being that you can change the playback framerate when you're editing, producing slow-motion footage.) The camera lets you use its Film Simulations in video as well, including the subtle, attractive 'Eterna' Sim designed for video, and supports recording HDR video using the HLG tone curve. It also offers FLog and FLog2 tone curves. These trade convenience – you'll have you edit your footage before it's ready for viewing – for flexibility, giving you the ability to adjust lightness and tones when you're editing, either manually, or with a pre-made LUT (Look Up Table) that lets you easily apply a specific look to your footage.

However, while the video specs are more than solid for this class of camera, the X-T30 III's lack of image stabilization makes the X-T30 II a harder camera to shoot good footage with (a flaw shared by the rest of the cameras in this class that can be rectified with a tripod or gimbal). The kit zoom is stabilized, and you can add digital stabilization in the camera, but the X-S20 is probably the better choice if video is a significant interest to you. As well as stabilization, the X-S20 has standard 3.5mm mic and headphone sockets and is compatible with the accessory fan unit to extend recording times.

In Use

Forgive the awkward grip on the camera; it's mounted to a tripod whose stability was questionable.
Photo: Antoni Carlson

The X-T30 III's big new trick over its predecessor is its 'Film Simulation' dial, which comes with an improved experience by supporting the 'Film Recipes' that are popular with many in the Fujifilm community. The dial gives you easy access to several of the company's mostly well-judged color modes, encouraging you to change up the aesthetic of your photos while you're shooting, rather than in editing.

The 'Recipes' system lets you customize it further, letting you modify those Simulations further with a selection of settings, and letting you save recipes to the three "FS" positions on the dial. This feature is taken directly from the higher-end X-E5, and its inclusion is just as welcome here.

While more experienced users may enjoy how many physical controls the X-T30 III has, we fear that it risks being overwhelming to beginner photographers. Not only is it covered with buttons and dials, but some are multi-function, and too easily activated. While more experienced shooters may notice that their easily pressed dial is suddenly doing something other than what they wanted, a beginner might be tricked into thinking they're doing something wrong. And while we're happy to have the joystick, its placement in the camera's already tight grouping of controls means it's not the easiest to reach, especially if you're trying to use the camera one-handed.

It's not a camera you have to think long and hard about bringing with you

One last small annoyance: rather than being near the center of the camera, the tripod socket has been put as close to the battery / SD card slot compartment as it could be. That means that, no matter how small your tripod plate is, you'll have to remove it if you want to get to your storage or battery. The camera's use of a 10Gbps USB-C port means it's less likely that you'll need to do that, as you can quickly offload images from it or charge it, but it still would've been nice to have the option to open the flap without taking off your tripod plate.

It is worth noting, though, that this decision could be mostly due to the camera's compact size. It's just a touch smaller than the higher-end X-T50, which means it's just as easy to carry around, or to throw in your bag on a whim. That's especially true if you're using the collapsing kit lens, which makes its footprint even smaller. While it'd be a stretch to call it pocketable, it's not a camera you have to think long and hard about bringing with you.

The Auto Experience

Flipping the Auto switch puts the camera in charge of most of the settings, but doesn't take away your creative control.

The X-T30 III's Auto mode, easily accessible by a switch on the top plate, is a useful provision for beginners who won't have the experience to know which settings are best to use in every situation. We found that it typically used reasonable settings and didn't feel too limiting: it still allows shooting in Raw + JPEG, and gives you control over settings like the focus point, Film Simulation, exposure compensation, and whether to use the flash or not. This means the X-T30 III offers some of the ease of shooting with a phone, while still retaining the engagement of using a dedicated camera.

The camera attempts to recognize what you're trying to take a picture of, and in what conditions

Part of what makes it work is that the camera attempts to recognize what you're trying to take a picture of, and in what conditions (e.g., backlit portrait, fast-moving animal, etc), and set its exposure parameters and dynamic range settings accordingly. You can also manually specify what you're shooting to have the camera tune its settings to be more appropriate, with dedicated modes for shooting portraits, landscapes, sports and more.

The autofocus also works a bit differently in Auto mode. Rather than making you manually select between human recognition or other kinds of subject recognition, it uses an automatic subject detection mode that you don't have access to in the traditional shooting modes, which tries to detect any of its recognized subject types in the scene, including humans. While it does a good job of showing which subject it's selecting, it still doesn't make it obvious if it's recognizing multiple subjects that you can switch between.

Another complaint around Auto mode is that, if you set an ISO setting in the standard mode, and then switch to Auto, it retains that setting, which could leave the camera fighting to get a proper exposure. While it's nice that you have control over ISO in Auto, it'd probably be best for it to initially switch to auto ISO mode.

Conclusion

By Mitchell Clark

Pros	Cons
Excellent image quality (in most cases) Extensive lens selection Good battery life Useful Auto mode Wide kit lens provides familiar shooting experience to phone photographers Lightweight, attractive design Built-in flash for low-light shooting Film Simulations and Recipes are fun to play with and deliver attractive results	Visible shutter shock with kit lens at a shutter speed, Auto ISO tends to use General AF tracking less dependable than rivals Potentially overwhelming number of easily-knocked controls Hardware and support tools don't live up to the strong video specs Wi-Fi limited to slower 2.4Ghz

Overall, the X-T30 III is a solid option for beginners looking to start with photography, or for those who feel like the lack of interchangeable lenses on their phone is holding them back. Paired with its kit lens, it offers a range of focal lengths that people will likely already be familiar with, but with enough image quality to stand out from most smartphone snaps (though you can get even more out of its sensor by switching to a nicer lens).

While the shooting experience might be overwhelming at first – there are a lot of buttons, dials and switches – the camera offers the escape hatch of a well-considered Auto mode that lets you focus on composition, without taking away all your creative freedom. And when you're ready for it, you can customize the buttons and dials to act in a way that works for you, though it would be nice if they were set up a little more sensibly out of the box.

Speaking of creative freedom, the Film Simulation dial and its support for quickly switching between the "Recipes" often shared by the Fujifilm community is a useful tool for getting the look you want straight out of camera. While you could achieve everything it's doing with a Raw file and editing software, the latter requires the knowledge of how to use it and, often, a subscription or up-front payment that you may not be ready to commit to.

It's a solid option for beginners, and should grow with you

The X-T30 III isn't a perfect camera, though. It's unfortunate that you have to manually work around the shutter shock issue to get maximum image quality with the kit lens, and its autofocus system isn't the easiest or the most confidence-inspiring. You'll have to practice a fair bit with it to get results that other cameras let you achieve out of the box.

Ultimately, it's a combination of these factors that keeps this camera from getting a Gold award. But it's still a solid option for beginners, and should be able to grow with you wherever your photography journey takes you, in part thanks to the near-endless selection of lenses that you can pair with it. For that, it earns our Silver award.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Fujifilm X-T30 III

Category: Mid Range Interchangeable Lens Camera / DSLR

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The X-T30 III isn't the overall most capable camera in the category, but its style, mostly well-judged kit lens and capable Auto mode make it a good pick for beginners.

Good for

Phone photographers looking for an upgrade Beginners who want a stylish camera

Not so good for

Sports / action photography Intensive video work

86%

Overall score

Compared to its peers

Nikon's Z50II has better autofocus than the Fujifilm X-T30 III, which could be important if you think your photography journey will lead you to shooting sports and action. It's also likely a better pick for video, thanks to its standard ports for headphones and microphones. However, while Nikon has slowly been improving its APS-C lens lineup, there still aren't nearly as many options as there are for X mount, and the company exerts stricter control over what lenses are allowed to exist for Z mount.

The story is very similar for the Canon EOS R10, though its video capabilities are closer to the X-T30 III's. As with Nikon, Canon exerts more control than Fujifilm over what lenses can be made for its lens mount and produces far fewer first-party options. However, its autofocus will perform better than Fujifilm's, and its ergonomics (though probably not its looks) will be preferable to some.

By virtue of its stabilized sensor and price, the Fujifilm X-S20 represents a step up from the rest of the cameras we're comparing. Its image quality and autofocus will be virtually identical to the X-T30 III's, and while it offers the same Film Simulations, it doesn't make it quite as easy to get to them, nor does it make adopting recipes so simple. The IBIS system, fully articulating screen and full headphone / microphone jacks make it a much more capable video tool, despite it having otherwise very similar specs.

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Sample gallery

Production samples

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Pre-production samples

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Panasonic Lumix DC-S1RII review

Fri, 30 Jan 2026 17:05:00 Z

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Product photos: Mitchell Clark

The Panasonic Lumix DC-S1RII is the company's latest high-resolution full-frame mirrorless camera, now beefed-up with 8K video capabilities and improved autofocus.

Key features

Full-frame 44MP dual gain CMOS sensor
Up to 40fps continuous shooting with pre-burst capture (e-shutter only)
8.1K/8K video at up to 30p
5.76M dot viewfinder
Flip-out and tilt rear screen
ProRes 422 and ProRes RAW capture
Capture to CFExpress Type B, UHS II SD or external SSD
Multi-shot high res mode up to 177MP
32-bit float audio via optional XLR 2 adapter

The S1RII is available now with a recommended retail price of $3300.

Update, Jan 2026: In light of the significant improvement in autofocus performance we experienced with the latest firmware on the S1II, we've re-tested the S1RII with its Ver. 1.3 update. The improvements to the S1RII appear to be much more subtle, so we've made slight adjustments to phrasing but don't feel it warrants a revision to the score or award.

Index:

Buy now:

2025

Feb 25: Initial review published
Mar 31: Image quality and Autofocus results published
Apr 23: Autofocus section updated and conclusion added
Aug 7: Video section added, conclusion updated

2026

Jan 30: Updated with note about AF performance after V1.3 update

What's new

New sensor

Rather than the 47MP used in the original S1R, or the 61MP chip used in Leica's SL3, Panasonic has opted for a slightly lower resolution but faster sensor for the S1RII.

It features dual conversion gain on which, as usual on Panasonic cameras, you can manually select which of its two readout modes it uses, at intermediate ISO settings. Panasonic doesn't always disclose when it's using BSI technology, but in this instance it has confirmed it.

Its design means it's appreciably slower than the more expensive Stacked CMOS sensors, with an electronic shutter mode that takes 37.5ms (~1/27 sec) to read out in 14-bit mode and 20.2ms (~1/50 sec) in the 12-bit mode used for bursts and other quick-fire shooting modes.

Autofocus

The S1RII represents the second generation of Panasonic cameras to feature phase detection autofocus, with the inherent depth awareness that this brings. The company says it's significantly improved both its subject recognition and its tracking algorithms in the new camera, to bring its performance closer into line with the best of its peers.

The S1RII has algorithms trained to recognize the following subjects:

Human
Animal (Dog, Cat, Bird)
Car
Motorcycle / Bike
Train
Airplane

We're told it should be quicker at finding a subject and better at continuing to track it, even if, for instance, the subject turns away from the camera or is partially obscured. As before, you can choose whether the camera homes-in on specific details, such as the helmet of a motorbike rider, the nose of a plane or the eyes of an animal. Selecting the more precise focus position can lower the system's responsiveness to smaller, faster-moving subjects.

Cinelike A2 color mode

The S1RII gains a new 'Cinelike A2' color mode, in both stills and video modes. It offers a very gentle response, somewhere between the flat, DR-prioritizing Cinelike D2 and the punchy, ready-to-go Cinelike V2 profile.

Panasonic says the A2 mode's color response stems from work they've been doing in recent months. And it's perhaps worth considering which partners Panasonic has been working with, recently, to guess at the significance of the letter 'A' in the name. Unlike the camera's Leica Monochrome mode, any connection isn't made explicit.

Real time LUT

The S1RII gains the Real Time LUT function we've seen on recent Panasonic cameras, letting you create and upload color and tone-modifying profiles in format with a workflow that's already widely supported across the industry. The S1RII allows you to load up to 39 LUTs onto the camera, with the option to combine two LUTs with varying intensity, if you wish.

Additional LUTs can be created or downloaded via Panasonic's Lumix Lab app.

False color

The S1RII becomes one of the first stills/video cameras to include a false color display option. This is a feature common in the video world, giving a mono preview with certain brightness levels highlighted in different colors, to help you recognize which bits of the image are clipped or near clipping and which areas are exposed as mid tones or at a level appropriate for light skin tones. This display can be used in boths stills and video modes.

Capture One tethering

The S1RII becomes the first Panasonic camera that can be shot, tethered, from Capture One, the popular studio software. We're told any decisions about whether to expand support to other models will depend on customer demand.

What's new for video

The 44MP sensor means the S1RII has slightly more horizontal pixels than necessary to deliver UHD 8K (7680 x 4320) footage and a fraction short of what's needed to capture the DCI 8K's 8192 x 4320 resolution. Instead it offers what Panasonic called 8.1K (8128 x 4288), which conforms to the same 1.89:1 aspect ratio as DCI footage.

The degree to which the sensor resolution is suited to 8K capture is unlikely to be coincidental, and the S1RII offers the kind of extensive video feature set that you might expect from the company that brought us the GH series, rather than the pared-back list of options the original S1R brought.

It also includes everything you'd expect from Panasonic: the option to set exposure in terms of shutter angle, waveforms, vectorscopes, filtering or custom lists of video modes, four-channel audio and 32-bit Float audio via the optional XLR2 accessory, support for anamorphic lenses and a tally lamp to let you know you're rolling. The attention to detail goes beyond the addition of a big red button on the front.

Video options:

	Output dimensions	Frame Rates	Crop	MOV	ProRes
1.89:1 modes
8.1K	8128 x 4288	30, 25, 24	1.0	4:2:0	–
5.8K	5760 x 4030	30, 25, 24	1.0	4:2:0	422/HQ
		30, 25, 24	1.31	–	RAW/HQ
		60, 50, 48	1.04	4:2:0	–
DCI 4K	4096 x 2160	30, 25, 24	1.0	4:2:2	422/HQ
		60, 50	1.04
		60, 50, 30, 25, 24	1.52
		120, 100	1.10	4:2:2	–
16:9 Modes
8.0K	7680 x 4320	30, 25, 24	1.0	4:2:0	–
5.9K	5888 x 3312	30, 25, 24	1.0		–
5.9K	5888 x 3312	60, 50, 48	1.11		–
UHD 4K	3840 x 2160	30, 25, 24	1.0	4:2:2	422/HQ
		60, 50	1.11
		60, 50, 30, 25, 24	1.52
		120, 100	1.17	4:2:2	–
3:2 Modes
8K open gate	8064 x 5376	24	1.0	4:2:0	–
7.2K open gate	7200 x 4800	30, 25, 24	1.0	4:2:0	–
6.2K open gate	6432 x 4228	30, 25, 24	1.0	4:2:0	–
4:3 Modes
4.7K	4736 x 3552	60, 50, 48, 30, 25, 24	1.65	4:2:0	422/HQ*

- Boxes marked green offer All-I compression options.
- Red boxes have a ProRes option.
* ProRes 422/HQ only available up to 30p

The S1RII can also shoot Full HD (1920 x 1080) footage at any of the frame-rates and crops offered in UHD 4K mode, with the additional ability to capture 120 and 100p footage from the APS-C region.

Dynamic Range Expansion

The S1RII gains a DR Expansion mode, letting you capture an additional stop of highlight information in high-contrast situations. This can be activated in any of the movie modes at frame rates up to 30p, and can only be applied when shooting V-Log footage (where the response curve can easily accommodate different levels of DR capture).

	Base ISO	2nd gain step
Standard color mode	ISO 80	ISO 400
Cinelike D2, V2, A2	ISO 160	ISO 800
HLG	ISO 320	ISO 1600
V-Log	ISO 200	ISO 1000
V-Log + DR Expansion	ISO 400	ISO 2000

This is not the same system as the dual readout DR Boost function in the company's 25MP Micro Four Thirds camera. Instead it moves to a higher bit-depth readout, meaning there's a rolling shutter cost to engaging it. It also boosts the minimum available ISO, to prompt the use of a lower exposure, to capture that additional stop of highlights.

Open gate shooting

A still grab from the S1RII's 8K open gate mode.

The S1RII can capture 8K footage from the entire 3:2 region of its sensor, which can be recorded as-is, or downsampled to 6.4K.

Open gate shooting lets you choose and adjust your crop during post production. It also makes it possible to frame wide and then take both landscape and portrait video crops if you're trying to deliver to multiple different output platforms.

5.XK at up to 60p, 4K at up to 120p

Like the S5II models, the S1RII gives you the choice of 1.89:1 DCI 4K capture or 16:9 UHD 4K, or 5.9K or 5.8K versions taken from the same capture regions. All four are available as 10-bit footage, with 4K encoded with 4:2:2 chroma precision and the 5.XK modes in 4:2:0.

Footage up to 30p is taken from the full width of the sensor using the full capture resolution, with a slight crop in to give 60p. 4K (in both flavors) is available at up to 120p with the addition of a further slight crop. Line skipping is used to deliver these 100p and 120p modes.

DCI and UHD 4K can also be captured at up to 60p from an APS-C region of the sensor.

	UHD		DCI
	Crop	Rolling shutter	Crop	Rolling shutter
8K, 5.xK*, 4K 30/25/24	1.00	24.9ms	1.00	22.4ms
5.xK*, 4K 50/60	1.11	15.4ms	1.04	15.3ms
4K 100/120	1.17	7.3ms	1.10	7.3ms
4K/30 DRExp*	1.00	31.7ms	1.00	29.8ms

*8.1K and 5.9K modes give the same results as DCI 4K, 8.0K and 5.8K matches UHD

Tellingly the rolling shutter rate in DR Expansion mode is consistent with the rate of 14-bit stills, which suggests it's based on 14-bit capture, explaining Panasonic's claims of greater dynamic range.

In turn, the 60p output's rolling shutter is consistent with the 12-bit stills readout rate. This stongly implies that the standard 24, 25 and 30p modes, which are slower than this but quicker than 14-bit mode are taken from 13-bit capture.

In addition to the conventional MOV compressed footage, the S1RII also lets you capture various resolutions in either ProRes 422 or ProRes RAW formats, both of which can either be recorded to the camera's internal CFExpress type B card or to an external SSD. ProRes RAW (with a choice of HQ or standard compression levels) is taken from a 1.31x crop of the sensor, whereas the ProRes 422 (again HQ or Std) is derived from the full-width 8.1K capture. It can also output 8.1K and 7.2K Raw over HDMI to a compatible recorder.

How it compares

The new, more compact S1RII arrives in a market where you can choose between the high resolution Sony a7RV or pay more for the likes of Nikon's Z8 and Canon's EOS R5 II that are both high resolution and fast. The Panasonic occupies something of a middle ground: offering some of the speed of the faster cameras (a higher peak frame rate but with more rolling shutter), but at a lower cost than Canon and Nikon's Stacked CMOS cameras.

We've opted to include the Canon EOS R5 II in this table, but the Nikon Z8 ends up looking very similar in terms of areas of strength, if you were to substitute that in. We've also chosen the DSLR-shaped a7R V from Sony, rather than the smaller, less expensive a7C R, because the larger model more closely resembles the Panasonic in terms of form factor, viewfinder quality, shutter options and screen articulation. But if size and price are your biggest concerns, the a7C R is in the running.

	Panasonic Lumix DC-S1RII	Canon EOS R5 II	Sony a7R V	Panasonic Lumix DC-S1R
MSRP	$3300	$4300	$3900	$3700
Pixel count	44MP	45MP	61MP	47MP
Sensor type	BSI CMOS	Stacked CMOS	BSI CMOS	FSI CMOS
Stabilization (IBIS / Synced)	8.0 EV / 7.0 EV	– / 8.5 EV	8.0EV / –	6.0 EV / 7.0 EV
Max burst rate (Mech / E-shutter)	10 fps / 40 fps	12 fps / 30fps	10 fps /	9 fps /
Viewfinder res / mag	5.76M dot OLED / 0.78x	5.76M dot OLED / 0.76x	9.44M dot OLED 0.9x	5.76x dot OLED / 0.78x
Rear screen	3.0" 1.84M dot Tilt + Fully Artic.	3.2" 2.1M dot Fully Artic.	3.2" 2.1M dot Tilt + Fully Artic.	3.2" 2.1M dot two-way tilt
Max video resolution	8.1K [1.89:1] / 30p UHD 8K / 30p Full-width 5.9K 60p	DCI 8K / 60p UHD 8K / 60p	UHD 8K / 24p	5K [3:2] / 30p UHD 4K / 60p
Output options	MOV H.264 MOV H.265 ProRes 422 ProRes RAW	MP4 H.264 MP4 H.265 Canon Raw (/Light)	MOV H.264 MOV H.265	MOV H.265 MP4 H.264
Storage formats	1x UHS-II SD 1x CFe B External SSD	1x UHS-II SD 1x CFe B	2x UHS-II SD / CFe A	1x UHS-II SD 1x CFe B / XQD
Flash sync speed	1/250 sec	1/250 sec 1/160 sec	1/250 sec	1/320 sec
HDR output options (Stills / Video)	HLG HEIF / HLG video	HDR PQ HEIF / HDR PQ video	HLG HEIF* / HLG video	HLG Photo / HLG video
USB	USB-C 3.2 Gen 2 (10 Gbps)	USB-C 3.2 Gen 2 (10 Gbps)	USB-C 3.2 Gen 2 (10 Gbps)	USB-C 3.1 Gen 1 (5 Gbps)
Battery life LCD / EVF	350 / 300	540 / 250	530 / 440	380 / 360
Dimensions	134 x 102 x 92mm	139 x 101 x 94mm	131 x 97 x 82mm	149 x 110 x 97mm
Weight	795g	746g	723g	1,020g

Despite being comfortably less expensive than its immediate peers, the S1RII's specs are competitive across the board. And while its video exhibits a fair bit more rolling shutter than the Stacked-sensor Nikon and Canon models, it significantly out-performs the Sony.

The a7R V's rolling shutter rate of 38ms means it can't deliver 8K/30, whereas the Panasonic can shoot 8K 30 and do so as fast as 24ms. This is respectable but not as impressive as the ∼13 and 14ms that the EOS R5 II and Z8 provide, respectively, from their much more expensive sensors.

Much of whether it's actually competitive, for both stills and video, will come down to whether the autofocus improvements are as significant as Panasonic promises.

* - Sony's implementation of HLG HEIF disables Raw recording, so you only get the output file.

Body and handling

The S1RII uses a body based on the smaller S5II series, rather than the more substantial design of the first-gen S1 series cameras. This leaves it both smaller and lighter than its predecessor.

It has the internal fan from the S5II, with two small exhaust ports on either side of its viewfinder hump. This doesn't give quite 'GH series' recording reliability, but still allows the S1RII to record for extended periods.

However, while the body itself is similar in size to the S5II, it has a deeper hand grip, making it more comfortable to use with larger lenses. It maintains a row of three buttons along its top plate, immediately behind the shutter button, but omits the top plate display that the Mark 1 had.

Other losses in the move to the smaller body see the S1RII offer only a single function button between the mount and the hand grip, and the replacement of the two-position switch at the lower corner of the front panel by a large red [REC] button (whose function can be customized).

The S1RII also goes without a flash sync socket, but gains a dedicated Stills/Movie/Slow&Quick switch. Moving the exposure modes to the right of the camera allows the drive mode to be promoted to the top of the left-side dial, making room for shooting mode to occupy the switch underneath. Both mode dials have toggle lock buttons.

The removal of movie mode from the exposure mode dial in turn provides room for five custom positions on the exposure dial, each of which can be customized separately for stills and video custom settings. Position 5 on the dial can be used to access custom banks 5-10, if you wish, giving you a total of up to ten photo and ten video custom setting sets. Thankfully the camera's settings can be saved to a memory card and duplicated across cameras.

Rear screen

On the back of the camera, Panasonic has adopted a similar screen layout to the one Panasonic used on its explicitly video-focused S1H: a fully articulated rear screen mounted on a cradle that tilts up and down. This means that stills shooters can use the tilt mechanism if they want to keep the screen on-axis (and can flip the screen to face inwards for protection, when stowing the camera), but video shooters can extend the screen out and tilt it away from the mic, headphone and HDMI sockets while shooting.

Battery

The S1RII uses the same 15.8Wh DMW-BLK22 battery as the S5II, a significant reduction compared with the original S1R. Despite this, it achieves a CIPA battery rating of 350 shots per charge if you use the rear screen and 300 via the viewfinder. The usual caveats apply to this number: most people get many, many more shots out of a camera than the CIPA rating (between two and three times the rated figure isn't unusual). To put it in context, 350 is a respectable figure and shouldn't leave you caught out during a busy day's shooting, but it doesn't have the confidence-inspiring duration that Sony's a7R V offers.

A new DMW-BG2 battery grip is also available to fit the S1RII. It adds a second battery in the grip, and is designed to allow hot-swapping of batteries: the external battery is used until the battery door is opened, at which point the camera switches to using the internal battery until a new battery is inserted in the grip. The grip also allows the camera to use both batteries simultaneously, for high power-consumption combinations such as capturing high bit-rate video to an external SSD.

Image Quality

Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

Image Comparison

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The results are pretty positive. In terms of detail capture, the S1RII performs as we'd expect, capturing less detail than the 61MP Sony a7R V but with no meaningful difference vs the likes of the Canon EOS R5 II, Nikon Z8 or its own predecessor.

There's a fair bit of moiré visible in various places suggesting there's no anti-aliasing filter. But it's not significantly more pronounced than in most of its rivals, suggesting we were just unlucky that we got to see some artefacts in one of our real-world shooting. If anything, looking around various high-frequency targets in the scene, Panasonic's JPEG engine seems to be doing a pretty good job of suppressing the effects of moiré.

In terms of color rendition the Panasonic looks a lot like its immediate peers, with no significant differences in most colors, compared with its peers. The light skin tone patch is perhaps a fraction more pink than Canon's rendering, but there aren't any nasty surprises: something backed up by our experiences of shooting with the camera.

Noise levels seem competitive at low to moderately-high ISO settings but it looks like noise reduction is being applied to the Raws at the higher ISO settings, with distinct blurring of the noise patterns. JPEG noise reduction strikes a pretty good balance between noise suppression and detail retention, but gets a bit overwhelmed at the highest settings.

Dynamic range

The S1RII's sensor is a modern design with dual conversion gain; it has Panasonic's 'Dual Native ISO' function that lets you decide exactly where the switch in modes happens, but at default settings, it's at ISO 400 that the switch happens. Sure enough, if you brighten an ISO 320 image, you'll see it has slightly more noise than images shot at ISOs above that point, with the same exposure.

The further you venture into the ISOs from that low gain mode, the more noisy you'll find the very deep shadows (this is exactly the read noise that using the higher gain step minimizes). So the widest possible dynamic range is encountered at ISO 80, but if you're tempted to underexpose in low light, to protect highlights, you shouldn't venture below ISO 400.

The S1RII has a lower base ISO than its predecessor, so you can't make a direct comparison (the new camera receives 1/3EV more light), but even with that slight discrepancy, it's results seem comparable. It's a competitive result, even compared with the best of its peers.

High res multi-shot

Shot using hand-held multi-shot mode.

Lumix S 20-60mm F3.5-5.6 | 26mm | F8 | 1/250 sec | ISO 80
Photo: Richard Butler

While we generally haven't found high-resolution multi-shot modes to be particularly useful, they can help you capture a bit more detail in the right circumstances. The S1RII has one of the best implementations of the feature, too, with both tripod and handheld modes and the option to compensate if your subject moves a bit at the cost of resolution in that area. Perhaps most importantly, the processing happens in-camera; you don't have to manually combine the shots later on in desktop software.

It's pretty apparent that the Panasonic Lumix DC-S1RII is built around the IMX366 sensor from Sony Semiconductor. So we see a sensor with dual conversion gain giving lots of dynamic range at base ISO and well-controlled noise once you move to the second gain mode. Its BSI design means its high image quality should be maintained right to the corners of the image, as it means the pixels can reliably receive light from more acute angles than on older FSI sensors.

Autofocus

Autofocus operation

The Panasonic S1RII features a revised version of the phase-detection AF system introduced with the S5II cameras. It can detect and track more subjects than the S5II supported at launch, and Panasonic promises it's both quicker to find focus and more tenacious in terms of tracking.

The S1RII's button layout puts all your autofocus controls close at hand.

The interface will be familiar to anyone who's used a Panasonic in the past ten-or-so years: pressing the AF Area button on the back of the camera brings up a row of seven icons representing the different AF areas the camera offers. Pressing upwards on the four-way controller or joystick then lets you choose whether the camera should look for a recognized subject near your chosen AF area. Pressing the 'DISP' button lets you select which subjects the camera looks for.

The S1RII's autofocus menu gives you a lot of options from a single screen.

There's a twist, though: the S1RII can either be set to use its focus tracking system, or it can be set to track a recognized subject but, unlike most modern cameras, these are separate functions. The upshot is that if you want to focus on a non-recognized subject for one shot, or the camera fails to find the subject it's supposed to recognize, you'll need to disengage the subject tracking: the S1RII will not fall back to its generic tracking system.

This is disappointing as the S5II has now gained the ability to detect all the same subjects as the S1RII, but its subject recognition is built on top of the generic tracking system, so the camera will fall back to tracking AF, making it more flexible.

AF interface

The interface generally does a good job of managing multiple subjects without overwhelming you with information. In most AF area modes, it'll only draw a box over the recognized subject nearest your selected area. If you move the point over another subject in the scene, it'll instantly snap the box to that subject instead. It's responsive enough that it doesn't feel like you're missing out by not having all the recognized subjects highlighted.

When the S1RII finds faces, it can do a good job of sticking with them. In this scenario, it was able to track someone who started out walking straight-on towards the camera but who ended up at an angle to it without losing track of them or jumping to the person next to them.

Lumix S Pro 24-70 F2.8 | 35mm | F4 | 1/200 | ISO 80
Photo: Mitchell Clark

If you prefer, you can use the 'full area' tracking mode. In this mode, the camera highlights all the recognized subjects, letting you select which one you want to focus on using the joystick or touchscreen. The boxes do jiggle quite a bit, though, and can sometimes flicker on and off, which isn't the most confidence-inspiring user experience and means a tap of the joystick doesn't always select the subject you wanted.

Autofocus performance

Our experiences with the S1RII were distinctly mixed: when the AF system works, it can be very good, but overall, we found it to be appreciably less reliable than we've come to expect from the likes of Canon, Nikon and Sony cameras.

We found the camera's AF Custom Setting Set 3 mode was better at tracking the subject than the defaults, which frequently lost track of it if it changed speed as it approached the camera. The custom setting, which is designed to handle unpredictably moving subjects, increased success in following the subject around, but the camera usually still struggled to keep it in focus as it changed speeds.


1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

Standard tracking, AF Custom Setting Set 3

The subject recognition mode is more successful at tracking the subject and keeping it in focus; using AF Custom Setting Set 3 upped this dependability further. While the camera couldn't respond quickly enough to the subject's approach-rate changing to get every shot in focus, unlike the generic tracking it recovered quickly enough to give a good hit rate.


1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

Subject recognition mode, AF Custom Setting Set 3

Testing the camera in a variety of settings suggests the S1RII's AF performance varies much more with adjustment of the AF Custom Settings than we've become used to with other brands. Generally, we consider Set 3 to be a good starting point.

Overall, the S1RII's autofocus is generally reliable, and slightly more so after firmware updates, but still lags behind the best of its peers (and, given how much the firmware improved the S1II, even some of its siblings).

Video

Image Comparison

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Following the v1.2 update, the S1RII now supports an open-gate 8K mode, which records a 3:2, 8064 x 5376 image using (almost) the entire sensor. Unsurprisingly, it offers a noticeable increase in detail captured compared to the downsampled ∼6K open-gate mode initially offered in the camera, and the 6K open-gate modes found in its other models like the S5II/X and S9. Most people shooting in this mode will be doing so because they want flexibility to reframe their shots in post, and the higher resolution offers even more of that; you can crop in even further while still retaining a native 4K resolution.

The camera's UHD 8K and 1.89:1 "8.1K"* capture are derived from this full-width region of the sensor, and have the same level of detail, though are less flexible in post as they're already in delivery-ready aspect ratios. Still, if you plan on outputting in 4K, they'll offer at least some room to move the frame around.

Standard 4K 24p output is on par with the oversampled modes from Canon's EOS R5 II, though the Nikon Z8's output shows noticeably more detail than either, suggesting Panasonic and Canon may be filtering out aliasing before downsizing. The S1RII's rolling shutter rate is considerably higher than the Canon or Nikon; see the chart below for its readout speeds. Compared to the EOS R5 II's subsampled 4K mode, which is mainly useful for avoiding overheating or accessing higher framerates, the S1RII's footage provides finer detail.

	UHD		DCI
	Crop	Rolling shutter	Crop	Rolling shutter
8K, 5.xK*, 4K 30/25/24	1.00	24.9ms	1.00	22.4ms
5.xK*, 4K 50/60	1.11	15.4ms	1.04	15.3ms
4K 100/120	1.17	7.3ms	1.10	7.3ms
4K/30 DRExp*	1.00	31.7ms	1.00	29.8ms

*8.1K and 5.9K modes give the same results as DCI 4K, 8.0K and 5.8K matches UHD

The story is much the same at 60p, where the S1RII's 4K footage retains a similar level of detail found in the 24p mode, which is good news for anyone hoping to slow their footage down a mild amount, or who prefer the hyper-real look. It does, however, come with a slight crop, and the lower rolling shutter rates strongly imply that it's derived from a 12-bit readout rather than a 13-bit one.

While 60p isn't available in the open-gate modes, you can shoot it at greater-than-4K resolutions; it's available in the 16:9 5.9K mode and the 1.89:1 5.8K mode, which offer slightly more detail than their 4K counterparts, and more flexibility in post.

120p is only available in 4K resolutions, and the capture has a noticeable loss in detail compared to lower framerates; the S1RII is obviously skipping lines to achieve these readout speeds. (Panasonic makes a camera with a faster sensor that's much better-suited to shooting at 120p if that's vital to you.)

Raw video

Panasonic's implementation of ProRes Raw currently doesn't support lens corrections, which will likely require some more work when shooting with modern mirrorless lenses.

LUMIX S 50mm F1.4 | F5.6 | ISO 200 | 1/100 sec | 5.8K ProRes RAW (Internal) | No sharpening

The S1RII has several options for Raw video output, including the ability to send a 8.1K open-gate raw stream to a supported BlackMagic or Atomos recorder via HDMI as of the latest firmware update. It can also record ProRes and ProRes RAW to a CFexpress card using an up-to 5760 x 4030 native-pixel, 1.31x crop (though there are currently no 16:9 options).

Raw video doesn't offer the dramatic benefits that stills shooters may be used to

We'd only recommend a Raw workflow to those working on professional productions that have a compelling reason to use it. While Raw recording can offer more flexibility to adjust parameters like white balance and lightness ("ISO") in post, as we've detailed before, it doesn't offer the dramatic benefits that stills shooters may be used to from comparing Raw and JPEG files.

Shooting Raw also requires substantial post-processing to add back in noise reduction and sharpening. And, while ProRes RAW gained support for lens correction data in 2023, Panasonic's implementation currently doesn't support it, unlike Canon or Nikon's cameras. This adds further work if you're shooting with modern lenses designed with geometric distortion correction as part of their optical formulas instead of older or cinema glass (which, realistically, is what we'd expect most people shooting Raw to be using).

Autofocus and Stabilization

Panasonic continues to have best-in-class sensor stabilization performance and provides several options for tuning it, including a 'Boost' mode that increases steadiness by correcting all movement (rather than assessing whether some movement may be intentional). Outside of that mode, it responds well to pans and tilts, simply smoothing out shakes without any noticeable jumps or other odd behavior.

The electronic stabilization is similarly good, further reducing noticeable shakes without introducing the grab-and-release effect during pans that some other systems suffer from. New to the S1RII is a "cropless" e-stabilization mode, which is intended to reduce perspective distortion when using a wide-angle lens, without reducing the field-of-view. While the resulting footage obviously isn't as smooth as what you'll get from the traditional electronic stabilization, we've found that it can make a noticeable difference.

Video autofocus is capable, but not class-leading

The camera's autofocus performance in video is similar to its performance in stills mode, which is to say that it's capable, but not class-leading. The generic tracking is relatively tenacious, but can occasionally get confused, drifting off target or getting stuck onto something else. However, the camera's subject detection modes are also available in most video modes, and can provide better results depending on what you're shooting.

Conclusion

By Mitchell Clark

What we like

What we don't

Excellent image quality
Solid and highly customizable controls
Comfortable ergonomics
Large, responsive viewfinder
Versatile display with tilting and articulation
Competitive burst rates and pre-burst options
In-camera multi-shot provides resolution boost for static subjects
Solid L-mount lens ecosystem
Extensive suite of video features, codecs, and resolutions
Fan allows dependable video recording for extended periods

Relatively short battery life
Autofocus tracking still isn't as reliable as its rivals
Subject detection doesn't fall back to standard tracking autofocus
Higher rolling shutter rates than Stacked-sensor cameras
Relatively small buffer given fast burst rates

The S1RII was always going to be a difficult camera to build. Its predecessor was Panasonic's flagship stills camera, but since its release, the company has become famous for its devotion to providing every video feature and workflow tool you could possibly want. To its credit, Panasonic doesn't seem to have compromised much on the stills side in its quest to make the S1RII a very capable hybrid shooter.

Image quality is, as you should expect from a modern camera, very good. The out-of-camera JPEGs are attractive, and the Raws seem to be both detailed and flexible when you process them. The S1RII gains Panasonic's LUT options, giving you essentially endless customization options if you want to develop your own 'look.' And, while we tend to find multi-shot high res modes quite limited in their value, the S1RII has probably the most usable implementation.

A 177MP image, produced using the hand-held multi-shot mode.

Lumix S 20-60mm F3.5-5.6 | 21mm | F8 | 1/500 sec | ISO 80
Photo: Richard Butler

We were also impressed by the S1RII's body and handling. It has a more comfortable grip and retains a good level of direct control and customization without these control points getting too cramped, despite a move away from the large 'professional' style body of its predecessor. It's only really button backlighting that goes missing in the transition, but the updated tilting/articulating screen more than makes up for that, in our opinion.

Our biggest concern with the camera is its autofocus system. While AF tracking is an improvement from previous Panasonic cameras, its performance is still well behind that of its competitors. That's combined with Panasonic's unusual decision to separate general tracking from subject recognition, which makes the camera slower and less dependable to use. The battery life also isn't great, considering its pro-level aspirations, though that can be mitigated with Panasonic's battery grip, which supports hot-swapping.

The S1RII offers the most complete video shooting package

On the video side, there's a lot to recommend the S1RII. Its sheer number of resolutions and recording modes, not to mention support for internal and external Raw, anamorphic desqueeze preview and best-in-class stabilization, make it a formidable video tool. While its rolling shutter rates may appear outdated by the standards set by Stacked sensor cameras, they're still very usable for many types of videography and filmmaking.

But while it offers video features that competitors like the Z8 and EOS R5 II don't, it's hard to argue that you should choose it over those cameras unless you need the unique things it offers. The S1RII may offer the most complete video shooting package at a lower price, but it's not like those other cameras are slouches when it comes to their filmmaking credentials.

That's ultimately the story with the camera as a whole. It is certainly a capable option, and for some people it may be the best option. But while it's a very able camera, especially for video, the autofocus system and performance make a compelling argument to spend the bit more for one of its high-resolution competitors if your shooting includes action and movement. While it's still possible some of those issues will be fixed with still further firmware updates, we don't feel the S1RII currently stands out enough to get one of our awards.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Panasonic Lumix DC-S1RII

Category: Semi-professional Full Frame Camera

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The S1RII is a hybrid camera that offers solid detail capture, pleasing JPEGs and plenty of video capabilities, but its autofocus system isn't the best for capturing action and movement.

Good for

High quality movie and stills shooting without stacked sensor price

Not so good for

Shooting action when absolute dependability is required

91%

Overall score

Compared to its peers

The Canon EOS R5 II and the Nikon Z8 are the S1RII's main competitors. They offer similar image quality and hybrid capabilities, though they don't have the excellent tilting/articulating rear display and can't deliver multi-shot high-res images out-of-camera. Both, however, have better battery life, deeper buffers and lower rolling shutter rates for shooting video or stills using the electronic shutter. We also find their autofocus tracking performance to be more capable and user-friendly, as they both fall back to their still quite reliable generic tracking systems when there's no subject to detect. You'll certainly pay for the extra speed and reliability, but it's probably worth it.

Sony's a7R V also has a very capable autofocus system, though it trades speed for even higher resolution. If you're looking to do video or shoot faster-moving subjects, the S1RII is a much better pick, as the a7R V reads out quite slowly. However, it produces even more detailed photos, which may be useful depending on what you're shooting.

Buy now:

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External SSDs for photographers tested

Sat, 17 Jan 2026 14:00:00 Z

We put the USB 3.2 Gen 2 Samsung T7 Shield, USB4 SanDisk Extreme Pro and Thunderbolt 5 OWC Envoy Ultra head-to-head.
Photo: Mitchell Clark

These days, there are an overwhelming number of options when it comes to buying an external SSD to expand your computer's storage (an increasingly important ability as Raw sizes and video bitrates balloon). The highest-end options use protocols like Thunderbolt 5 or USB4 to achieve blistering speeds, but this raises the question: do photographers need all that performance?

We tested several SSDs across a range of price points to see if each one had more to offer for photographers, or if the returns quickly diminished.

What we tested and how we tested them

For this article, we used a 1TB Samsung T7 Shield as our sample for USB 3.2 Gen 2, a 2TB SanDisk Extreme Pro to represent USB4 and a Thunderbolt 5 2TB OWC Envoy Ultra. The tests were carried out on a 2024 MacBook Pro with an M4 Pro processor, which supports Thunderbolt 5, and we tested each SSD one at a time, using the cable it came with.

While this isn't meant to act as a review for the specific SSDs we used for our testing, the results can't necessarily be universally applied to each product in their class. For example, the USB4 SanDisk SSD is using the faster 40Gbps version of the spec, but another USB4 SSD may only be able to reach 20Gbps speeds. We may also see faster USB 4 and Thunderbolt 5 drives as the market around those specifications matures, but, as of early 2026, the drives we've tested are some of the best in their respective classes.

How do the drives stack up?

USB 3.2 Gen 2

The magic of USB-C: it can be used for almost anything. The downside of USB-C: it can run at almost any speed.

Starting with our standard-bearer for USB 3.2 Gen 2, the Samsung T7 Shield handled a number of photography-related tasks with aplomb. We didn't notice any hiccups scrolling through a Lightroom Classic library with over 3600 images, and it wasn't meaningfully slower than the competition when we were copying hundreds of Raw/JPEG pairs to it from a CFExpress or SD card. However, it did take noticeably longer to import and build previews for that Lightroom library, and copying files to the drive from the computer (and vice versa) could take several times longer than on our faster drives.

For the photographers who occasionally stumble into the land of video, we also found that the slower SSD struggled a bit more when editing footage off of it. Adobe Premiere would frequently drop frames during playback, and more complex sequences could slow it to a crawl. Final Cut fared a bit better and was surprisingly usable, though there were still occasional hitches.

USB4

Despite the USB 3.2 Gen 2 drive's general competence, there were definitely times when the USB4 drive made it obvious that it was using a next-generation interface capable of real-world read and write speeds anywhere from 2.5 to 6.4 times faster than those of the Samsung model. Moving files back and forth between it and the computer was very quick, and most of the playback issues in our video editing suites disappeared or were substantially less noticeable. And, of course, it handled all our photo editing and organization tasks with the same ease as the lower-end model.

Thunderbolt 5

The point of the Thunderbolt spec is to be an assurance of performance; USB4 may just be Thunderbolt 4 in a trenchcoat, but until you do some digging, you won't know exactly what speeds a piece of USB4 gear can deliver. That's not the case with Thunderbolt.

Unsurprisingly, the Thunderbolt 5 drive easily handled everything we threw at it, and it never felt like it was a performance bottleneck. However, there also weren't any scenarios we ran into where it was noticeably faster than the USB4 drive, outside of our synthetic benchmarks*. While there are probably some users who'd be able to push it to its limits, we suspect most photographers and video editors wouldn't see a ton of benefit over a good USB4 drive.

* - And even there, the gains weren't nearly as large a jump as the one from USB 3.2 Gen 2 to USB4; our Thunderbolt 5 drive ran around 1.2 to 1.8 times faster than our USB4 one, not quite realizing the theoretical 2x improvement that the standard would allow for.

What's in a name?

No discussion of external SSDs would be complete without a rant on just how confusing things have become when it comes to USB ratings and speeds. What was once relatively simple (USB 2 = slow, USB 3 = fast) has become incredibly complex, with the version of USB that your device supports actually telling you very little about what speeds it supports. For example, a device labeled "USB 3.2" may only run at 5Gbps, or it could rival earlier versions of Thunderbolt, supporting up to 20Gbps. USB4 has the same issue, with potential speeds ranging from 10Gbps to 120Gbps.

Wikipedia has an excellent chart showing all the permutations of the USB specification and the speeds they provide. Which explains a bit why the standard is such a nightmare for those who care about performance.
Graphic: Wikipedia

While external SSDs usually come with maximum speed ratings that tell you what they should be capable of (even the fastest SSDs won't be capable of fully saturating USB4's top speeds), it's more of a concern when it comes to the port on your computer and the cable you use to connect the two. While the USB Implementers Forum has been leaning on people to label equipment with their speed and power delivery ratings, not everyone will, so you'll want to make sure you're familiar with which ports on your computer are the fastest, and that you're using a high-quality cable that's capable of providing the speeds your SSD needs. If you have a random USB-C to C cable laying around your house that came with some device, assume it runs at USB 2 speeds, and shouldn't be used for transferring data.

The cable that comes with the SanDisk is, thankfully, labeled with the speeds and power delivery that it's capable of, but this is currently far from the norm.
Photo: Mitchell Clark

Thankfully, the story is simpler with Thunderbolt, as each generation has only a single speed. If you have a Thunderbolt 4 cable, you know it should run at 40 Gbps. Of course, this is part of the reason why the price floor for Thunderbolt devices and accessories is so much higher than it is for their USB counterparts. It's also worth noting that Thunderbolt is cross-compatible with USB; if you plug a Thunderbolt drive into a 20Gbps USB-C port on your computer, it will still work, albeit at the lower speeds allowed by the connection.

Summary

This isn't a review of the OWC Envoy Ultra, but it's been a very enjoyable drive to use. The attached cable may be a bit of a mixed bag in terms of repairability but means you can never accidentally leave it at home.

For most photography tasks, you can get away with a relatively standard USB 3.2 SSD with a port and cable rated for 10Gbps speeds. If you frequently move around large chunks of data, edit complex videos, or are just generally impatient, though, it may be worth upgrading to a faster USB4 one, with the greatest gains to be had by going with a model that supports a 40Gbps connection. Most photographers and videographers will be able to stop there; unless you just enjoy having the best version of a thing possible, or need a specific feature, capacity or form factor only offered by a Thunderbolt drive,

Canon EOS R6 Mark III review

Tue, 16 Dec 2025 17:56:00 Z

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Product Photos: Mitchell Clark

The Canon EOS R6 III is an enthusiast-class camera with a new 32MP full-frame CMOS sensor, aimed at photographers and videographers who need high burst rates and fast readout speeds.

Key specifications

32MP full-frame CMOS sensor
Built-in image stabilization rated to 8.5EV
40fps burst rate w/ pre-capture
3.0", 1.62M dot fully-articulating screen
7K recording up to 60p (Canon Cinema Raw Lite)
Oversampled 4K ≤60p, subsampled 4K 120p
3:2 Open Gate recording up to 30p

The Canon EOS R6 III is available at a recommended price of $2799, a $300 premium over the Mark II's launch price. The EOS R6 II has formally dropped to a $2299 price point. There is also a variant costing $100 more, designed to work with the professional stop-motion software, Dragonframe.

The EOS R6 III is available as a kit with the RF 24-105mm F4-7.1 IS STM for around $3150 and with the RF 24-105mm F4.0 L IS USM for $4050.

Index:

Buy now:

What's new?

New sensor

The 33MP FSI CMOS sensor at the heart of the EOS R6 III is a new one for Canon's hybrid mirrorless lineup, having only appeared recently in the cinema-focused EOS C50. Canon isn't claiming any particular technological leaps with this sensor, but it has even faster readout speeds than the lower-resolution chip found in the EOS R6 II. As usual for Canon, it has a dual pixel design with two sub-pixels at each location, one capturing the left half of the image, the other capturing the right, allowing the entire sensor to be used for phase detection AF.

The faster readout speeds, paired with changes to the card slot and processor, allow for big improvements to video capture. The stabilization system has also gotten a bit of a bump, going from 8EV to 8.5EV.

Updated ports

The EOS R6 III replaces one of its predecessor's dual UHS-II SD card slots with a CFexpress Type B one. While you can still use most of the camera's features with an SD card, you will need to use the faster, larger and more expensive storage to record Raw video.

Speaking of video, the EOS R6 II's microHDMI port is no more on the EOS R6 III. In its place is a full-size one, which is much more appropriate on a camera destined to be many people's workhorse.

Better burst

Despite having the same rates, the EOS R6 III improves on its predecessor's burst rates, no longer requiring a special Raw Burst mode to enable pre-burst capture. Instead, there's now a pre-continuous shooting option that you can simply enable when in the H+ drive mode. Canon says this is largely thanks to that CFexpress card slot and its faster write speeds.

Raw Burst mode is no longer on the camera, though it's hard to be sad about that. While there were benefits to Raw Burst mode, such as it displaying bursts as a single thumbnail in the playback menu, it was overall a relatively clunky experience. To edit the photos you took outside of Canon's own software, you had to select the individual frames you want, and save them as a standard .CR3 Raw files, JPEGs, HEIFs or combinations thereof. That extra step is no longer necessary.

Canon also now says the shutter has been durability tested to 500,000 actuations. We're not used to Canon explicitly giving a figure for a camera at this level.

Raw, 7K and open-gate video

The Canon EOS R6 III gains the ability to record Raw video internally at up to 7K/60 in Canon's proprietary Canon Cinema Raw format. It can also now shoot 'open-gate' video at up to 7K/30, recording the entire area of the sensor to produce a 3:2 image that you can take vertical and landscape crops from.

The menus for selecting your recording mode have also been updated. The EOS R6 II presented you with an overwhelming list containing each possible combination of resolution, frame rate and compression settings, but the EOS R6 III thankfully lets you choose these all independently.

The EOS R6 III also now gains a dedicated red tally lamp, making it obvious to both you and your on-screen talent when you're recording.

AF Upgrades

Looking at the autofocus system, it seems largely the same as the one in the EOS R6 II, with subject recognition support for people, animals and vehicles, as well as an auto mode. However, Canon says the algorithms underpinning those modes have been updated to match the ones on cameras like the EOS R1 and EOS R5 II, making it even more reliable.

The EOS R6 III's Register People Priority supports up to ten faces, and will prioritize them according to your set order.

The EOS R6 III also gains the Register People Priority feature, where you can train it to recognize a specific person and principally focus on tracking them over other people that may be in the scene.

While the cameras theoretically both have 'Digic X' processors, Canon says it's made intergenerational improvements to the chip that allow for some of the EOS R6 III's new features.

What is it?

The EOS R6 III is part of the class of "do anything" hybrid cameras.

The EOS R6 III is Canon's enthusiast-tier full-frame camera, which means it's designed to excel at pretty much whatever you want to shoot with it. Like the rest of the cameras in this class (and its predecessor), it's capable enough for most kinds of photography, from landscape shooting to fast-paced action and sports, and comes equipped with the kinds of video features you would've had to buy a cinema camera to get just a few years ago. It also has weather sealing and dual card slots.

Of course, there are some things that separate it from the even higher-end stacked sensor cameras like Canon's own EOS R5 II. It misses out on a bit of extra resolution and a few features that pros might want, such as the ability to control the focus point with your eye, in-camera 'AI' upscaling and Action Priority modes. Canon says the latter two require a still-expensive co-processor that just wasn't in the budget for this camera, but it should still easily handle whatever tasks enthusiasts throw at it.

It supports pre-burst capture, which can help if you're just a bit too slow to the shutter

It can shoot at a 40fps burst rate for up to 150 shots in Raw and JPEG, and supports pre-burst capture, which can help if you're just a bit too slow to the shutter. You no longer have to use the somewhat clunky Raw burst mode to access pre-burst capture, like you did with the EOS R6 II.

It also supports HDR output, with its ability to produce 10-bit HEIF stills with the PQ tone curve, in place of JPEGs. While PQ isn't as broadly supported as the HLG curve used by other companies like Nikon and Panasonic, it can, at least, simultaneously record both HEIF and Raws, unlike Sony, which makes you choose between Raw capture and HDR output files. When shooting video, it can capture HDR video footage using either PQ or HLG. The latter is more widely supported when it comes to playback and is a new addition compared to the EOS R6 II.

Speaking of video, the EOS R6 III is well-equipped for motion pictures too. It supports internal Raw recording, a false color overlay to help you nail exposure and the >4K open gate capture gives you greater flexibility in post.

The EOS R6 III in context

The EOS R6 III is launching into a market segment with robust competition. Its predecessor was still quite a sensible option, so we've included it in the comparison, alongside the Nikon Z6III, which offers a similar combination of fast shooting, top-tier autofocus and incredible video specs. We're also comparing the Sony a7 V, as its 33MP sensor, fast readout speeds and burst rates make it an obvious competitor.

	Canon EOS R6 III	Canon EOS R6 II	Nikon Z6III	Sony a7 V
MSRP (US / UK)	$2800 / £2800	$2300 / £2200	$2700 / £2500	$2900 / £2800
Sensor type	Dual Pixel AF FSI CMOS	Dual Pixel AF FSI CMOS	'Partially stacked' CMOS	'Partially stacked' CMOS
Resolution	33MP	24MP	24MP	33MP
Maximum shooting rate	12fps mech. 40fps e-shutter	12fps mech. 40fps e-shutter	14fps mech. 20fps e-shutter 60fps JPEG-only	10fps mech. 30fps e-shutter (14-bit)
Pre-burst capture?	Yes, up to 0.5 sec	Yes (Raw Burst mode)	Yes (JPEG only)	Variable, up to 1 sec
Image stabilization	8.5EV*	8EV	8EV	7.5EV
Stills rolling shutter rate (ms)	∼13.5ms (12-bit)	∼14.7ms (12-bit)	∼14.6ms (14-bit)	∼15.1ms
Flash sync speed	1/250 sec	1/250 sec	1/200 sec	1/250 sec
AF subject detection	Human Animal (Dog / Cat / Bird / Horse) Vehicle (car, motorcycle, plane, train) Automatic	Human Animal (Dog / Cat / Bird / Horse) Vehicle (car, motorcycle, plane, train) Automatic	Human Dog/Cat Bird Plane Car Motorcycle / Bike Train Automatic	Human Animal Bird Insect Car Train Plane Automatic
HDR still output	PQ HEIF	PQ HEIF	HLG HEIF	HLG HEIF (no Raw)
Video resolutions	7K DCI/60 (Raw) 7K/30 open-gate 4K/120 (full-width) 1080p/180 (full-width)	4K/60 (full-width, oversampled from 6K) 1080p/180 (full-width)	6K/60 (Raw) 5.4K/60 (full-width) UHD 4K/60 (full-width) UHD 4K/120 (1.5x crop)	UHD 4K/60 (full-width, oversampled) UHD 4K/120 (1.5x crop) 1080/240
Uncompressed video	C-Raw	6K over HDMI	N-Raw ProRes RAW	No
Video assist tools	False color overlay Waveform Log view assists	False color overlay Log view assist	Waveform Log view assist Shutter angle	Log view assist Custom LUTs Auto Framing Framing Stabilizer
Viewfinder res/ magnification/ eyepoint	3.69M dot 0.76x 23mm	3.69M dot 0.76x 23mm	5.76M dot 0.8x 21mm	3.69M dot 0.78x 23mm
Rear screen	3.0" 1.62M dot Fully-articulating	3.0" 1.62M dot Fully-articulating	3.2" 2.1M dot Fully-articulating	3.2" 2.1M dot Tilt + Fully articulating
Media types	1x CFexpress Type B 1x UHS-II SD	2x UHS-II SD	1x CFexpress Type B 1x UHS-II SD	1x Combo CFexpress Type A / UHS-II SD 1x UHS-II SD
Battery life EVF / LCD	270 / 510	320 / 580	360 / 390	630 / 750
Dimensions	138 x 98 x 88mm (5.5 x 3.9 x 3.5")	138 x 98 x 88mm (5.5 x 3.9 x 3.5")	139 x 102 x 74mm (5.5 x 4 x 3")	130 x 96 x 72mm
Weight	699g (25.7oz)	680g (24.0oz)	760g (26.8oz)	695g (24.5oz)

*When combined with a stabilized lens

The Z6III's partially stacked sensor has higher read noise than other designs, which gives it a disadvantage compared to other cameras when raising the shadows (though, importantly, this has no impact on the midtones, and the EOS R6 III doesn't perform markedly better). For both cameras, it's worth checking to make sure whether the lenses you want exist before choosing a system, as both companies place restrictions on third-party lens makers.

The a7 V is a very capable camera with excellent image quality and dynamic range, though it lacks a few of the more niche video features that most of the other cameras in this class offer, such as open gate and internal Raw recording. While Sony does allow third-party lenses on E-mount, buyers should be aware that it limits non-Sony lenses to 15fps.

Body and Handling

The EOS R6 III hews close to Canon's tried-and-true design formula, and its body is very similar – though not exactly the same – as the EOS R6 II. It has a hefty grip that fits well in your hand, even with a heavier lens attached. It has an array of customizable buttons – nine in total – which can have different functions depending on whether you're in stills or video mode. Switching between the two modes is handled by a dedicated lever to the left of the EVF.

The autofocus joystick and surrounding buttons are placed within easy reach of where your thumb naturally falls when you're holding the camera, and are grouped in ways that help you tell which one you're pressing by feel, even when your eye is up to the EVF.

Canon's M-Fn menu can be used to bring up a customizable menu that lets you change nine different settings.

The EOS R6 III has plenty of buttons that provide a decent degree of customization. There are a few functions that we'd like that currently can't be assigned (quickly being able to turn AF tracking on and off, or adjust your auto ISO minimum shutter speed), but there are also relatively robust options for quickly recalling sets of specific exposure or autofocus settings, or directly cycling through options like AF selection point or subject detection.

Canon also has its M-Fn menu (by default assigned to the M-Fn button, but you can move it if you wish), which lets you have up to five pairs of settings that you can control using the top and rear plate dials. You can customize which of nine settings you want to control:

ISO
Drive mode
AF mode
White balance
Flash exposure compensation
Exposure compensation
AF selection point
Metering mode
Color mode

Beyond this, the camera expects you to control most of its settings through the Q menu, which has 11 customizable slots. Like the rest of its menus, it can be controlled entirely using the touchscreen, entirely via the dials, or with a mix of both.

Screen and viewfinder

The viewfinder and LCD have been unchanged from the EOS R6 II, though that's not really a complaint. The rear 3.0" screen is fully-articulated, which will be welcome to those using the camera for video. It's relatively bright, but can be a little difficult to see in extremely bright sunlight.

The viewfinder is large and can refresh at up to 120fps for a very responsive preview. It's not the highest resolution model out there, though, and it can't quite manage to show you a proper HDR preview when you're shooting in PQ mode, though it does have Canon's OVF simulation mode that gives you a better idea of how much dynamic range you're capturing, at the cost of truly previewing your exposure.

There's no discernible viewfinder blackout when shooting in at the highest burst rate settings using the electronic viewfinder, though it'll show up when shooting in lower burst rates or with the mechanical shutter.

Ports

The EOS R6 III has all the connectivity you might expect from this class of camera: USB C, headphone and microphone sockets, a multi-function hotshoe, 2.5mm remote terminal and full-size HDMI port. The latter represents a bit upgrade from the less-reliable and robust microHDMI port found on the EOS R6 II.

It has two card slots: one CFexpress Type B, and one UHS-II SD. You'll have to use the former if you want to record Raw video internally.

Battery

The EOS R6 III uses 16Wh LP-E6P battery, to give battery life ratings of 270 shots per charge via the viewfinder and 510 if you use the rear screen. These numbers jump to 390 and 620, respectively, if you engage power saving mode. As always, the CIPA-defined tests tend to under-represent how many images you can actually get, with double the rated figure not being unusual, but they're useful to compare between cameras.

These are reasonable but not great for a camera likely to be used quite heavily by an enthusiast photographer. If you have an extremely long shoot, you are able to roughly double the battery life with Canon's BG-R20 battery grip, the same model used by the rest of the EOS R6 and R5-series cameras,

The camera will still work with older batteries such as the LP-E6NH, though it warns that not all features will be available, and that some accessories won't work. Most notably, the camera loses support for network connectivity, refusing to connect to your smartphone or other devices.

Image Quality

Image Comparison

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As you might hope, the Canon captures more detail than its 24MP rivals, and comparable amounts to its 33MP Sony peer, while also matching the color response of the EOS R6 II. The slightly richer, more yellowy pinks than the Sony and Nikon suggest it'll give the skin tone response that many Canon users have come to enjoy.

The detail difference is more apparent in the processed Raws, where the Canon and Sony present the horizontal lines in the doorway in a similar manner, whereas the R6 II and Nikon Z6III can't. Interestingly, the Nikon presents a convincing but completely spurious representation of the vertical lines above the door, while the EOS R6 II represents similar thick lines horizontally: both the result of aliasing.

At mid-to-high ISO there's little to choose between any of these cameras in terms of noise. As you creep towards the very highest ISOs the gap starts to open up, but it's only in the camera's extended 102,400 setting that the difference becomes clear. Even then, this is unlikely to be the difference between the images from some of these cameras being usable and others not: they're all going to be pretty hard to salvage.

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Dynamic Range

In terms of dynamic range it performs exactly as we might expect. There's plenty of scope to lift the shadows with all these cameras. There's a tiny bit more read noise coming from the Canon, which makes itself known if you delve really deep into the files.

It's also worth noting that the noise that is visible appears slightly smeared, rather than as individual points, which could be indicative of noise reduction. Our scene has plenty of fine detail, much of it with low contrast, if you want to download the files and see if you think it'll have any impact when processed with your preferred workflow.

Switching to electronic shutter mode sees the camera drop to 12-bit sensor readout, which has the predictable effect of curtailing the dynamic range of the Raws (the reduction in available values to encode the shadows presents as quantization noise).

Our ISO Invariance test suggests this is a dual-gain sensor that switches to its higher gain step around ISO 800. There's very little benefit to raising ISO above that point, but opportunity to keep ISO down to protect highlights.

Autofocus

The EOS R6 III's autofocus system uses the same interface as the ones from Canon's higher-end EOS R5 II and EOS R1. There are several options for selecting your autofocus point, including a "Spot" pinpoint option, three customizable zones and a "whole area" option, where the camera picks a subject.

Each of these modes can be used with or without tracking, which you have to enable through the Q menu, where the camera will try to follow whatever was under the point when you started focusing, and in conjunction with the camera's subject recognition modes, listed below. There's also an "auto" subject recognition mode, which will attempt to identify any of the recognized subjects in the scene.

	Type of subject	Optional detail
Human	—	Eye (Auto, Left, Right)
Animal	Cat, dog, bird, horse
Vehicles	Car, motorcycle, plane, train	Driver

The camera has and additional four autofocus point options with a Lock symbol, which don't use tracking or subject recognition, so you don't have to manually switch off both features if you're trying to gain complete control over your focusing point in a hurry: you can just select a 'locked' AF area. There's a menu option to let you narrow down which AF areas are available through the Q or M-Fn menus, to make selection and swapping faster.

In general, we found that the EOS R6 III was generally very good at not getting distracted by a nearby subject when we were trying to focus on something else, so we didn't have to switch to the locked modes that often.

Performance

We found the EOS R6 III's autofocus to be accurate and reliable, and its tracking to be very tenacious. In most situations, the tracking point simply stuck to whatever we put it on, no matter how much it or the camera moved. We also found the subject detection modes to be good at picking out people or animals, even if they were small parts of the scene, though it was occasionally prone to jumping from one person to another in very tight groups.

The Register People Priority mode does a decent job of selecting your preferred subject, if there's more than one person in the frame. However, because you can only use a single image to 'train' the camera, it may be confused if you subject looks significantly different to the image you selected: eg if they were/weren't wearing glasses in the training shot, so it's worth trying to grab a quick reference image at the start of your shoot, if you can.


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The EOS R6 III's generic tracking system will draw a box over the entire object that it's tracking, rather than just using your single defined point, but it's not entirely consistent in which part of the object it's focusing on (which is what you'd expect if it's not recognizing it as a known type of subject).

In our tests, the camera's generic tracking dealt very well with a subject moving across the frame at varying speeds. It kept track of the subject throughout the run and was very accurate at driving the lens to the correct distance, resulting in very few soft images. That's no small feat when shooting at 40fps.


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The performance was much the same with human subject recognition turned on, with the camera locking on to the subject's eye throughout the run and keeping up with its changing rate of approach with impressive accuracy.

Video capabilities

The EOS R6 III has all the video assist tools most shooters will need: proxies, waveform and false color, dual-level zebras and Log/HDR view assist.

The EOS R6 III can shoot oversampled 4K, taken from a 7K region, at up to 60p. Alternatively, it offers subsampled 4K at up to 120p. It can also capture its entire sensor area in native 7K resolution, 'open gate' recording at up to 30p.

It also lets you record in Canon's C-Log 2 or 3 response curves, and now has a button that defaults to opening the Color menu, making it a bit easier to switch between Log and non-Log recording.

It provides both DCI and UHD 4K options, though, humorously, the true 24fps mode (as opposed to 23.98) is only available when recording DCI. Its Raw mode also lacks a 16:9 mode, but can record open-gate at up to 30p, from which you can take a UHD crop.

Video settings are well separated from photo settings, with the exception of the custom white balance (which, as long as you know that the setting is shared, is probably a good thing). You can also easily set up custom modes for different types of shooting; one for standard 4K/24 recording, using a 1/50 sec shutter by default, and another for 4K/60 slow-motion that uses a 1/125 sec shutter. The one downside is that custom modes do have separate custom white balance settings, which means you can't set one and have it set for all the others (or, at least not without also having other settings carry over that you may not necessarily want).

Recording modes

While the EOS R6 III shares a sensor with the fan-cooled EOS C50, Canon includes several more options on its more cinema-focused camera. As an example, the EOS R6 III doesn't have an HQ Raw mode, nor does it support crop modes in Raw. It can, however, still record proxy files to its SD card slot, which could be quite useful when shooting Raw video.

	Dimensions	Rates	Raw
1.89:1
7K	6960 x 3672	60, 50, 48, 30, 25, 24, 23.98	ST (up to 30p), LT
DCI 4K	4096 x 2160	120, 100, 60, 50, 48, 30, 25, 24, 23.98	–
DCI 2K	2048 x 1080	180, 150, 120, 100, 60, 50, 48, 30, 25, 24, 23.98	–
16:9 modes
UHD 4K	3840 x 2160	120, 100, 60, 50, 48, 30, 25, 24, 23.98	–
Full HD	1920 x 1080	180, 150, 120, 100, 60, 50, 48, 30, 25, 24, 23.98	–
3:2 Open gate
7K Raw	6960 x 4640	30, 25, 24, 23.98	ST, LT
7K Compressed	6912 x 4608	30, 25, 24, 23.98	–

* - with a 1.13x crop

Both the 4K and Full HD modes can be used in the "Fine" oversampling modes at all but their highest frame rates; the former from 7K capture, and the latter from 3.5K capture. However, Canon is upfront that, while the 4K/60 Fine mode is still oversampled, it won't have the same image quality that you get from the 4K/30 and slower modes.

Temperature limits

Unlike the video-focused EOS C50, the EOS R6 III is not fan-cooled. Canon has given the following figures for continuous recording times at 23°C (73°F). Taking shorter clips with some rest time between them is likely to give much longer durations.

Continuous recording times (approx.)
	Auto Off Temp: Std	Auto Off Temp: High
Raw 7K/60	23 min	23 min
DCI 4K/120	28 min	35min
DCI 4K/60 Fine (oversampled)	23 min	23 min
Open gate 7K/30 (MP4)	24 min	36 min

The subsampled 4K/60 modes, along with both subsampled and oversampled 'Fine' 4K modes at 30p and slower, have no documented temperature restrictions. It's worth being aware of these limits if and when you use the camera's more ambitious modes.

Having shot several projects with the EOS R6 III, both indoors and outdoors, we never had it shut down due to overheating, even when we were shooting in open gate. However, we haven't had the chance to test it in a hot environment in direct sunlight, and would expect it to struggle in those conditions.

Workflow

Canon includes a variety of tools to help make shooting video and, in particular, nailing exposure, easier. The EOS R6 III has options for both waveform monitoring, which provides more detail about what parts of your image are clipping than a traditional histogram, and a false color overlay, which makes it easier to tell if your skin tones are properly exposed.

It's now much easier to set your white balance in video mode

It's also now much easier to set your white balance in video mode; you can capture it from the live view, rather than having to set it from a still image on the card (a process that, on other Canon cameras, meant switching into stills mode, taking a picture of your gray card, then switching back into the video mode before diving back into the settings). Speaking of live view, the camera also (finally!) provides access to level gauges and magnification while recording, so you can make sure your horizon is perfect and your subject is in focus while you're rolling, though you have to tap the screen to access larger magnifications.

The EOS R6 III lets you upload LUTs into the camera, so you can preview an effect you wish to apply, but you can't bake the result into your footage. The EOS R6 III can output lower-resolution proxy files to an SD card while you capture your main footage to the CFexpress card. The only exception is open gate shooting, where you can capture a proxy alongside Raw shooting, but not if you're using MP4 as your main output.

One feature Canon's retained for its cinema cameras is shutter angle, which derives the shutter speed from the recording framerate, rather than an absolute setting, so you don't have to adjust your shutter speed after changing frame rates to retain the same level of motion blur. It's a setting that some of the EOS R6 III's competitors, such as the Nikon Z6III and Panasonic S1II, have, but that it lacks.

Video Performance

Image Comparison

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Starting with the open gate mode, the 6912 x 4608 image the EOS R6 III produces captures lots of detail, appreciably more than the 5952 x 3968 open gate image from the Panasonic S1II. The difference will almost certainly be less noticeable in motion, but the EOS R6 III's higher resolution allows for a bit more room to crop in if you're delivering a vertical or horizontal 4K video (or if you shot a bit too wide, and are trying to take a 9:16 vertical crop without using the full height).

The increased detail versus the S1II is still there, though slightly less obvious, when you're using the oversampled 4K mode. The Z6III offers similar levels of detail, though at default settings, it appears to apply more (or perhaps less subtle) sharpening than Canon does. Canon's oversampled modes also don't seem to reduce moire as much as we might expect them to, compared to the open gate mode.

The EOS R6 III loses its edge in detail when you bump up to 4K/60. The oversampled fine setting is massively more detailed than the line-skipped standard mode, but, as Canon said, it's less detailed than the oversampled footage from 24p mode. Interestingly, the rolling shutter figure is the same, so it's perhaps a processing difference, rather than a readout one, presumably for reasons of heat.

The Nikon Z6III's output is again sharper (and more sharpened), but it's not far off the output of the Panasonic S1II. This isn't because Nikon and Panasonic's 60p modes are more detailed than their 24p ones; it's because Canon's oversampled 60p mode isn't as detailed as its 24p one. Perhaps most painfully, though, is that even the EOS R6 II's 4K/60 footage has a slight edge in detail over its successor's.

The EOS R6 III's standard modes all run at the same level of subsampling required to achieve the full-width 4K/120 this camera can provide, as evidenced by their shared rolling shutter rate, and thus come with a substantial step down in detail compared to the oversampled modes. Thankfully, the subsampling doesn't seem to come with a notable penalty in high ISO noise performance; that may speak more to the strength of Canon's noise reduction, though, as you'd expect to see more noise in a mode derived from less of the sensor.

	Rolling shutter
7K open gate	17.9ms
UHD 4K 24/60/120 standard	7.1ms
UHD 4K 24/60 "fine"	14.3ms

Comparing the EOS R6 III's 4K/120 capture with the S1II's, which comes with a 1.24x crop, shows that the Canon is a long way behind when it comes to detail. That's even true of the the Z6III as well, which requires a 1.5x crop to achieve 4K/120. Despite those being derived from a smaller area of the sensor, it's very likely they're derived from more pixels that aren't spread as far apart as they are on the EOS R6 III.

Raw Video

As always, when discussing Raw video options, it's worth keeping in mind that the difference between Raw video and Log video is nowhere near as stark as the difference between Raw and JPEG for stills when it comes to editing flexibility. While shooting in Raw for video gives you control over noise reduction, sharpening* and white balance, it doesn't offer substantially more latitude to adjust your footage's lightness than Log footage does.

With that in mind, the EOS R6 III's Raw footage looks good, capturing a lot of detail from either the entire sensor in open gate mode, or from a 7K 1.89:1 crop derived from that footage. The latter can be shot in up to 60p, though going above 30p will require switching to Canon's Raw Lite format, which compresses the footage more. If there are compromises to detail that come from that, they're not evident in our test scene.

Unlike some of its competitors, Canon applies lens distortion corrections to its Raw footage, arguably making them a bit less Raw, but saving you the extra work of having to manually apply them after the fact, which is especially important for those RF-mount lenses that utilise those corrections as part of their optical formulas.

* Put another way, shooting in Raw puts the onus of noise reduction and sharpening on you.

Autofocus

We found autofocus performance in video to be extremely reliable, with the camera locking onto tracked subjects and not easily getting distracted by things in the background, as we sometimes experienced with its predecessor. We also noticed very little hunting when the camera was tracking a subject or object, which meant we could keep it on without worrying about distracting focus pulsing.

The camera is also quite good at tracking arbitrary subjects, though the interface for doing so can be frustrating. Tapping on a subject will focus on it, but, unlike in stills mode, it won't start tracking it unless you're in the whole area autofocus mode; the camera will continue to focus on whatever the AF selection point is over, and it won't stick to your chosen subject. If you want to use tap to track, you'll have to use the whole area mode; otherwise, you'll have to manually move the AF point with the joystick or touch screen, or keep it over the subject, changing the composition.

The EOS R6 III's autofocus options remain the same throughout its recording modes; you still get continuous autofocus with subject recognition even when recording 4K/120 and 1080/180. This is true both in the standard video recording mode and in the Slow-and-Fast mode that doesn't record audio and produces a file that plays back at a slowed-down or sped-up framerate.

IBIS

The in-body stabilization system of the EOS R6 III is good, but doesn't quite match the performance we'd expect from, say, a Panasonic. It likely won't fool anyone into thinking you're using a tripod, but it smooths out the most distracting shakes. When we shot from odd angles or using a more telephoto lens we were left wishing we'd brought at least a monopod. But in a pinch where we were forced to shoot an entire video handheld with an 85mm lens, we still got usable footage, which is a testament to what the system is capable of.

All the A-roll in this video was shot handheld with the EOS R6 III with an 85mm lens, and it worked well enough that warp stabilization could make up the difference. It struggled a bit more when we were using a 70-200mm lens to shoot the a7 V video, but we still got usable footage.

While we'd generally recommend turning IBIS off when mounting the camera to a tripod, especially if you'll be panning or tilting, it's not always practical to do so in a fast-paced environment when you're frequently switching between handheld and locked-off shots. Thankfully, the EOS R6 III's IBIS system does a good job of not fighting against what are clearly intentional camera moves.

That changes a little if you turn on the digital stabilization modes; both the standard (which comes with a 1.11x crop) and the "Enhanced" (1.43x crop) settings do okay with the panning itself, but stop very suddenly when you stop moving the camera. However, they're decent when it comes to smoothing out that little bit extra hand shake, and are available in the oversampled modes as well as the subsampled ones (though, obviously, not in Raw or open gate).

In Use

By Mitchell Clark

I think the best word to describe the user experience of the EOS R6 III is "refined." While Canon's previous cameras like the EOS R5 II, EOS R1 and EOS R6 II are great in their own rights, they had a few rough edges; setting custom white balance in video was a chore, you couldn't punch in while recording, the burst mode used a weird custom container, you couldn't turn pre-burst shooting on and off with a single button unless you used a hacky workaround.

The EOS R6 III solves all those issues and, therefore, has few quirks left to complain about... though I will spend most of the rest of this section complaining about them, because nothing is perfect. But the topline message is that this camera is very easy to get along with.

The biggest gotcha for photographers will be its burst modes, or situations where you need to shoot silently but still want maximum image quality. The e-shutter dropping to 12-bit readout means you won't have as much latitude to pull up shadows before noise starts creeping in as you do with photos taken with the mechanical shutter (though, realistically, the situations requiring maximum burst rates and the ones demanding maximum DR are usually separate). This also isn't an issue unique to the Canon; all its peers also have to use their e-shutters to achieve their maximum burst rates, which typically incurs a dynamic range cost.

Pre-burst capture only being available at the maximum burst rates is also a frustrating limitation, and often leads to you taking more photos than you'd actually need. It also eats into this camera's limited buffer; at its 40fps mode, it can last for around three seconds (or two and a half if you've used up half a second with your pre-capture). And once you hit the limit, it can take up to eight seconds before it'll let you start shooting again, even if you're using a fast CFexpress card.

I find Canon's menus to be pleasant enough, with their color-coding and the ability to scroll through sections and pages with the command dials. And while I personally don't find the M-Fn menu to be all that useful, that's more a testament to how good the "Q" menu is for this camera, and I can imagine shooters who are used to it preferring it as a way to quickly control various settings without taking their fingers off the command dials. I also appreciate the way Canon has set up the settings for video, letting you choose most of your shooting parameters separately, rather than making you scroll through a list of 100 different options.

Having just reviewed the Panasonic S1II and used the Sony a7 V, going back to the plain, fully articulating display on the EOS R6 III feels like a downgrade. I'd pick it over a display that can only tilt but not flip out, but now that displays that can do both are making their way to many of its competitors, it feels like the correct choice for a camera aiming to be great at both stills and video.

Conclusion

By Mitchell Clark

Pros

Cons

Excellent image quality
Dependable autofocus performance
Full suite of video recording modes and assist features
Refined ergonomics and responsive UI
Rolling shutter rates can capture all but the fastest action
Higher framerate video modes don't come with a crop
Burst rates capable of capturing most things you'd point a camera at
Battery is decent, but you may want a spare or a USB-C power bank for heavy days
IBIS does its job for photo and video

Filling the buffer means waiting for the camera to finish processing
Overheating in ambitious video modes can be limiting for prolonged or outdoor use
Dynamic range isn't as strong as its best competitors', and is further limited in e-shutter mode
Precapture could be more flexible
Subsampled video modes aren't particularly detailed
Canon tightly controls RF mount lenses

The biggest challenge with reviewing the EOS R6 III is figuring out what to say about it that isn't just "it's really good." Like most of the cameras in its class, it sets out with the goal of being everything to everyone; a stills camera capable of autofocus tracking and burst rates that would've made professional cameras from a few years back envious and a video camera that you could sensibly shoot a movie with. And somehow, it more or less succeeds at that task.

It's not the only camera to do so, of course. Those are, increasingly, table stakes for this class. But it does so with just that bit of extra shine. Its higher resolution sensor lets it capture more detail than the Z6III and S1II, and it offers more video modes than Nikon or Sony. Its menus are well laid out (if a little bloated, like everyone else's), and it offers all of the ports and buttons that you could ever want. Unless you're a working professional or just really want the best of the best, it's hard to imagine that you'd need more than this camera, no matter what you hope to do with it.

Which is not to say it's perfect. It has some foibles that may annoy power users, but for most people, the ease of use it provides will more than make up for that. If you're equally into video as well as stills, it's probably worth paying more to get the Panasonic S1II with its fan and more detailed 4K slow-motion modes. And if you're looking for the utmost image quality in stills, you'll have to decide whether you value the detail the EOS R6 III provides or the dynamic range of the S1II more (or, potentially, get both with the a7 V, at the cost of some specific video features).

Still, the EOS R6 III proves that we may be getting past the age of "jack of all trades, master of none." Instead, it's a master of most. Given that its pricing is in line with the rest of its peers, and that its capabilities match or exceed them, it handily earns our Gold award.

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Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Canon EOS R6 Mark III

Category: Mid Range Full Frame Camera

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The EOS R6 III offers an excellent shooting experience for all types of still photography and videography.

Good for

Most kinds of photography Capturing relatively short bursts of action All but the most demanding of videographers

Not so good for

Photographers who need maximum IQ and speed in e-shutter Videographers doing long takes in hot environments

91%

Overall score

Compared to its peers

Compared to the EOS R6 II, Canon's latest offers higher resolution stills and a more refined shooting experience, dropping the fiddly Raw Burst mode and multi-step custom white balance picker. The EOS R6 III improves on its predecessor's already very good autofocus with extra features and being that bit more reliable. It's also a much more capable video camera, even if its 60p oversampled 4K mode isn't quite as detailed. That said, the R6 II is remains hugely capable if there's a big price difference between the two.

The Nikon Z6III has a nicer viewfinder and rear display than the EOS R6 III, and Z mount has a few more third-party lens options than RF mount. However, its Raw burst rates are substantially slower (though more configurable) than the Canon's, and its pre-burst capture is only available when shooting in its JPEG-only modes. Both are capable video options, with the Z6III having a slight edge in slow-motion (albeit with a crop), and the EOS R6 III gaining open-gate, a feature Nikon doesn't offer.

The Panasonic S1II's fan lets it record more ambitious video modes for longer, and it offers better dynamic range performance when shooting stills with the mechanical shutter. However, unless you're using the battery-destroying multi-shot high-resolution mode, it won't quite offer the same detail as the EOS R6 III does. We also find Canon's ergonomics to be a bit more refined and comfortable to hold, though your mileage will vary. But if you value the availability of third-party lenses, the L mount is the better choice.

We haven't finished our testing of the Sony a7 V, but early impressions show it to be a very impressive contender when it comes to stills. It matches the EOS R6 III's resolution and seems to have a good chance of outperforming it when it comes to dynamic range, thanks to its ability to read out both its low and high gain steps when using the mechanical shutter. Some video shooters may miss its specific capabilities such as open gate or Raw capture, and we find it's not as comfortable to hold, especially with larger lenses.

Sample Gallery

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Pre-production samples

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Panasonic Lumix DC-S1II review

Wed, 26 Nov 2025 16:10:00 Z

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Product photos: Richard Butler

Editor's note: This review is based on Panasonic's November 2025 v1.2 firmware update for the S1II, which was provided to DPReview ahead of its public release.

The Panasonic Lumix DC-S1II is the company's second-generation, high-end 24MP full-frame mirrorless camera, now based around a partially stacked CMOS sensor, and the same body introduced as the S1RII.

Key specifications

24MP partially-stacked BSI CMOS sensor
Up to 70fps shooting, including Raw
1.5 seconds pre-burst capture
96MP multi-shot mode with in-cam combination and motion correction
10-bit HLG HEIF still images
In-body stabilization rated at up to 8.0EV of correction
Open-gate 6K video up to 30p
Full-width 5.9K or 4K up to 60p
4K/120p video with slight crop
6K Raw output over HDMI
Built-in fan for extended recording
External SSD output for video
V-Log with 15-stops in DR Boost mode
Arri C-Log3 paid upgrade option
4 channel and 32-bit float audio with XLR2 adapter
Bluetooth timecode sync

The Panasonic S1II is available now at a recommended price of $3199. As with the launch of the original S1, this is around $400 more than the list price of its nearest competitors from Nikon or Canon.

Index:

Buy now:

May 13: Initial review published
Nov 26: Image quality, AF (based on f/w 1.2), video, in use and conclusion added.

What's new

Partially-stacked CMOS sensor

The S1II becomes the second camera we've encountered to promise a 'partially stacked' CMOS sensor. This is a conventional BSI sensor with more complex readout circuitry applied as an additional layer around the edges of the sensor. This allows faster readout than with a BSI chip with single-layer readout circuitry, but without the significantly higher manufacturing complexity and cost of a fully Stacked CMOS design.

Panasonic says the 24MP sensor it's using is 3.5x quicker to read out than the BSI chip used elsewhere in its range. It's unlikely to be a coincidence that this is the same figure Nikon gave the improvement it saw between the Z6 II and Z6III.

The sensor allows the S1II to shoot stills at up to 70fps (10fps with mechanical shutter). Panasonic highlights that this capability, combined with pre-shot capture, is designed to help capture key moments, not to make it an out-and-out sports camera. We found it could shoot for around 3 seconds at full speed which, despite those reservations, is likely to be more than enough for a wide range of photography, though afterwards it can take several seconds for the buffer to fully clear.

ISO and dual gain

The sensor's base ISO is 100, when using the camera's Standard Photo Style. Other response modes have higher base ISO ratings to encourage the use of lower exposures to capture additional highlight information. The sensor is a dual conversion gain design on which Panasonic lets you manually select which gain mode the camera is using.

	Low gain mode	High gain mode
Standard Photo Style	ISO 100	ISO 800
Cinelike A2, D2, V2	ISO 200	ISO 1600
Hybrid Log Gamma (HLG)	ISO 400	ISO 3200
V-Log	ISO 640	ISO 5000

HLG HEIF

The S1II gains the ability to shoot 10-bit HEIF files using the HLG high-dynamic range tone curve. You can shoot with the standard color response, a mono mode or with a custom LUT applied. This allows you to shoot true HDR photos in-camera and do so while still capturing a Raw file alongside.

You can convert the HEIF to an SDR JPEG or, alternatively, you can re-process the Raw in-camera and output an adjusted version as a HEIF. This only works for Raws taken with the camera in HEIF mode, though: Raws shot alongside JPEGs can only be re-processed as SDR HEIFs or JPEGs.

This brings us another step closer to cameras being able to exploit the increasing prevalence of HDR displays. The HEIF format still isn't widely, reliably supported, and HLG files don't always live up to the promise of working equally well on SDR and HDR displays, but with Panasonic, Sony and Nikon all offering HLG HEIFs as an HDR option, it looks like the industry is approaching the adoption of a common standard.

Urban sports AF

The S1II gains a new subject recognition mode, Urban Sports recognition. This is designed for the likes of breakdancing or skateboarding, essentially: situations in which humans are making shapes that the basic human recognition mode isn't necessarily trained to recognize.

Settings backup and transfer

The S1II gains the ability to back-up its settings to an SD card. These can then be used to reset the camera to your preferred settings or to quick-configure other cameras. Panasonic says this capability will be extended to other models, with mutually-supported settings carrying over from one model to another.

Video capabilities

It shouldn't come as a surprise to find the S1II's video feature set is extensive, building on the large array of options provided by the S1RII but underpinned by a much faster-reading sensor.

We detail the options as fully as possible, later in this article, but the headlines features are:

Open gate recording
The S1II can record 6K footage from its entire 6000 x 4000 sensor at up to 30p or 5.1K footage derived from the same region at up to 60p
4K up to 120p
4K video can be captured in DCI or UHD 4K at up to 60p from the full width of the sensor or in 5.9/5.8K resolution from the same regions. Alternatively, with a small crop, the camera can capture 4K/120p
Cinemascope 120p
Another option is to shoot a very wide 'Cinemascope' style 2.4:1 region of the sensor in 4K resolution at up to 120p
Anamorphic shooting
Videographers using anamorphic lenses can capture 4.8K video from a 4:3 region the full height of the sensor at up to 60p
ProRes RAW capture
The S1II can also capture 1.89:1 ProRes RAW video from either the full sensor width at up to 30p or from a native DCI 4K region at up to 60p

Beyond this, the S1II offers highlight warnings set at two different thresholds (dual zebras), false color, the ability to specify exposure in terms of shutter angle (especially valuable on a camera that can so easily switch between frame rates), and the ability to preview corrected Log footage and record proxies.

Cinelike A2

Like the S1RII, the S1II gains the new Cinelike A2 color profile. It's essentially a midway between the low-contrast Cinelike D2 profile and the punchier, ready-to-use Cinelike V2 one. The color response is designed to be a little more like that of a major cinema camera maker.

On a similar note, Panasonic says that the ability to natively shoot Arri's Log C3 profile will be offered as an extra cost firmware upgrade to the S1II. They say this uses Arri's Log response natively, not shooting V-Log and —trying to map across to an approximation of C3.

DR Boost

The S1II has a Dynamic Range Boost mode when shooting video, allowing it to capture up to 15 stops of dynamic range. While Panasonic hasn't shared exactly how it's being delivered, it has said it's not comparable to the GH7's DR Boost function, which combines parallel readout paths, shot simultaneously (but with no option to turn the function off). Nor is it the same as the DR Expansion function on the S1RII, which changes the readout bit-depth to gain DR at the expense of more rolling shutter.

There is a significant rolling shutter impact for DR Boost on the S1II, and the available video modes top out at 30p (24p for the full-height 6K, 5.1K and 4.8K modes). Base ISO in V-Log mode increases by 2/3EV to ISO 1000, when engaged.

	DR Boost Off	DR Boost On
6K Open Gate /30	14.6ms	—
6K Open Gate /24	14.6ms	34.1 ms
UHD 4K /24	12.4 ms	30.4 ms

Panasonic promises a DR increase from "14+ stops" to "15 stops" of dynamic range if you engage DR Boost mode, but its lower speed not only makes many of the camera's video modes impossible, it also means you should only use it in situations with very little motion in the scene.

32-bit Float capability

As with other recent Panasonic cameras, the S1II is compatible with the optional DMW-XLR2 adapter, making it one of the only cameras able to capture 32-bit Float audio. This uses two different gain levels and clever data encoding to allow very quiet and very loud signals to be captured simultaeously, meaning you don't have to worry about audio levels.

AI-AWB

Image Comparison Slider

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In this shot, the background is lit by the overcast light from a window, while the subject is lit by a warm LED lamp. The AI white balance produces more true-to-life colors, especially with the green paint on the wall.

As well as the ability to re-process Raws as HEIFs (so long as you were shooting HEIF at the point of capture), the S1II gains a new, "AI Auto White Balance" option if you re-process a Raw file in the camera.

The mode is too processor-intensive to use as you shoot but will try to analyse the scene to give the best white balance. Panasonic also says additional processing should allow it to cope better with shots taken under mixed lighting.

How it compares

The S1II comes in at something of a premium, compared with its apparent peers. Its $3200 price tag makes it more expensive than the likes of Nikon's Z6III, with which it very probably shares a sensor, or the Sony a7 IV and Canon EOS R6 III with which the Nikon competes.

Following tariffs in the US, much of the competition sits between the mass-market $2500 models and the high-end, high-res options, which run nearer $4000. This essentially means one of its only direct competitors is its own sibling, the S1RII, whose list price is just $100 more, giving a high speed or high-res choice of second-gen S1 cameras.

Here we're going to show it against the Nikon, the Canon and its less-expensive sister model, the S1IIE (the 'E' stands for "essentials," Panasonic tells us).

	Panasonic Lumix DC-S1II	Panasonic Lumix DC-S1IIE	Nikon Z6III	Canon EOS R6 III
MSRP	$3199	$2499	$2700	$2800
Pixel Count	24MP	24MP	24MP	33MP
Stabilization	Up to 8EV	Up to 8EV	Up to 8EV	Up to 8.5EV (with lens sync)
Max burst rate	10fps mech. (continuous AF) 70fps e-shutter (continuous AF)	10fps mech. (continuous AF) 30fps e-shutter (continuous AF)	14fps mech. 20fps e-shutter 60fps e-shutter JPEG only	12 fps mech. 40fps e-shutter (12-bit)
Pre-burst capture	Up to 1.5 sec	Up to 1.5 sec	Up to 1 sec JPEG-only	Up to 0.5 sec
Stills rolling shutter rate (ms)	∼14.6ms (14-bit)	∼51.3ms	∼14.6ms (14-bit)	∼13.5ms (12-bit)
Viewfinder res / mag	5.76M dot OLED / 0.78x	5.76M dot OLED / 0.78x	5.76M dots / OLED 0.8x	3.69M dots/ OLED 0.76x
Rear screen	3.0" 1.8M dot Tilt + Fully Artic.	3.0" 1.8M dot Tilt + Fully Artic.	3.2" 2.1M dot fully articulated	3.0" 1.62M-dot fully articulated
Max video resolution	6K/30 (3:2) 5.9K/60p (16:9) DCI 4K/96, 120p w/ 1.17x crop	6K/30 (3:2) 5.9K / 4K UHD 30p 6K/60 (2.4:1)	6K/60 (Raw) 5.4K 60p UHD 4K/60, 120 w/ APS-C crop	7K DCI/60 (Raw) 7K/30 open-gate 4K/120 (full-width) 1080p/180 (full-width)
Rolling shutter rate (UHD 24p)	12.8ms	21.6ms	9.4ms	14.3ms (oversampled) 7.2ms
Video format options	H.264 H.265 ProRes ProRes HQ ProRes Raw	H.264 H.265 ProRes ProRes HQ ProRes Raw	H.264 H.265 ProRes HQ ProRes Raw N-Raw	H.264 H.265 C-Raw
Storage formats	1x UHS-II SD 1x CFe B External SSD	1x UHS-II SD 1x CFe B External SSD	1x UHS-II SD 1x CFe B	1x UHS-II SD 1x CFe B
HDR output (stills / video)	HLG HEIF / HLG	HLG HEIF / HLG	HLG HEIF / HLG	PQ HEIF / PQ
USB	USB-C 10 Gbps UVC	USB-C 10 Gbps UVC	USB-C 5Gbps UVC	USB-C 10Gbps UVC
Battery life LCD / EVF (CIPA)	360 / 320	380 / 340	360 / 390	270 / 510
Dimensions	134 x 102 x 92 mm	134 x 102 x 92 mm	139 x 102 x 74 mm	138 x 98 x 88 mm
Weight	800g (28.2oz)	795g (28oz)	760g (26.8oz)	699g (25.7oz)

The Panasonic S1II is competitive on paper with all its immediate peers, even pulling ahead in terms of continuous shooting rate and its vast array of video modes. Its peers are starting to compete with the range of video support tools provided, but Panasonic still outshines them with specialist options such as full support for anamorphic shooting. The Panasonics are also the only cameras in this class to let you shoot multi-shot high-res images and have them automatically combined in camera (Raw and JPEG).

Only its price counts against it, with it commanding a premium compared with its immediate peers, though post-tariff adjustments have closed the gap since the S1II was launched.

Body and handling

The S1II's body is essentially identical to that of the S1RII: similar in size to the more basic S5 models but with a better grip design and a carefully-struck balance between being compact and giving an excellent level of direct control.

The camera is appreciably smaller and lighter than the original S1 model but still feels solidly built. It maintains an extensively environmentally-sealed design with gaskets at all the joins. It feels comfortable in the hand with a pleasant density to it.

The mic socket sits high up on the left hand side of the camera, comfortably clear of the rear monitor, which pulls out on a tilting cradle, as well as then flipping out and rotating, which lets you keep it clear of the headphone socket, further down its flank. A USB C socket with 10 Gbps transfer speeds sits below this, allowing charging, tethered shooting and video recording to SSD. A full-sized HDMI socket completes the left-side ports.

On the right-hand side of the camera is a 2.5mm remote socket. There's no flash sync socket on the S1II but anyone looking to sync timecode from the camera will find the S1 compatible with Atomos' Bluetooth timecode sync system.

Like the S1RII, and distinct from the S5 models, the S1II has one CFexpress Type B slot and one UHS-II SD card slot. It can also output video over its USB socket to an external SSD.

It has both the viewfinder and the adjacent cooling fans of the S1RII, meaning it has a 5.76M dot display (1600 x 1200 pixels). It has 0.78x magnification, making it pretty large. An eyepoint of 21mm means it can be a little difficult to see the extreme corners, if you wear glasses.

Battery

The S1II takes the same 15.8Wh DMW-BLK22 battery as most of the rest of Panasonic's range. This powers it to a CIPA rating of 360 shots per charge via the rear LCD or 320 shots using the viewfinder. Both figures are measured using an SD card, with both declining by 10 shots per charge if you use a CFexpress card. As always, these numbers are likely to significantly under-represent how many shots you're likely to achieve, but they provide a reasonably like-for-like comparison and these are reasonable numbers for this class of camera.

The S1II is compatible with the DMW-BG2, introduced alongside the S1RII. This adds a second battery and has a sensor on the battery door that switches the camera over to the internal battery when its open, allowing you to hot-swap batteries.

Image Quality

Image Comparison

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The S1II performs well at shooting our test scene, providing great image quality. Looking at base ISO Raws, the S1II captures similar levels of detail to the other 24MP full-frame cameras on the market*, though Panasonic's JPEG engine doesn't seem to get rid of quite as much moiré artefacting as Nikon or Canon's.

Speaking of that JPEG engine, we've quite liked Panasonic's colors for a while now, and the S1II is no exception; like the rest of its competition and the company's previous cameras, its colors are solid.

At mid ISOs to high ISOs the S1II's noise levels are competitive. Its JPEG engine does an admirable job of reducing noise while still retaining detail.

* The S1II's price puts it in competition with much slower, but higher-resolution cameras like the Sony a7CR and Panasonic's own S1RII; if you care more about image quality than speed, that's worth noting.

Dynamic Range

Shadows boosted +3.5EV in ACR. Panasonic S1II | Panasonic S Pro 16-35mm F4 | F4 | 1/160 sec | ISO 100

The S1II provides a good amount of dynamic range, giving you room to pull your shadows up without the detail being overwhelmed by noise. Our tests showed that its shadows have less noise than the Nikon Z6III, which uses a similar 'partially stacked' sensor technology to improve readout speeds. However, the Panasonic doesn't show the read noise penalty that clips the usable shadows on the Nikon around a stop and a third earlier than its peers.

It appears that, in most modes, the S1II combines the output from a low and high-gain readout of its sensor, using the low-gain information to preserve highlights the high-gain output for cleaner shadows. This hypothesis is further backed up by PhotonsToPhotos' data, which doesn't show the expected dynamic range bump at the second gain step that exists with the Z6III (and other dual conversion gain sensors), which would make sense if it's already using the data from that second step in its output.

This readout mode is available in both mechanical and electronic first curtain modes, where the mechanical shutter ends the exposure and gives the camera time to use the slower readout mode required for this DR Boost mode. When using the electronic shutter, it produces shadows that are similarly noisy to the ones from the Nikon Z6III, suggesting it's using its faster, single readout mode.

Autofocus

Autofocus Operation

Panasonic S1II | Lumix S 24-60mm F2.8 | 60mm | F2.8 | 1/60 sec | ISO 100
Photo: Richard Butler

The S1II adopts the same phase-detection autofocus system found on the S1RII, which itself was a refresh of the one found on the S5II. This means it has several AI-derived recognition modes for subjects like humans, animals, planes, trains, vehicles and bikes.

Most of the autofocus adjustments can be made from the menu that comes up when you press the AF Area button. This lets you choose the size and shape of your autofocus selection point, and turn subject recognition off or on, as well as choose what kind of subject you want the camera to recognize.

The S1II supports everything from pinpoint selection to analyzing the whole sensor, though the former is only accessible in single autofocus mode. There's also a tracking area mode, though, as with Panasonic's other cameras in this generation, it won't fall back to this generic tracking mode if you have subject recognition on, but it doesn't find a recognized subject.

This means that if you want to use the track and recompose style of focusing, you'll have to constantly engage and disengage subject recognition mode, depending on what you're shooting. The S1II lets you set a custom button to toggle subject recognition on and off, though, which helps make that easier, but it's an extra step that other cameras don't make you conduct.

Autofocus Performance

Following the v1.2 update that came out several months after the camera's release, the S1II's autofocus represents a step-up in reliability compared to what we've come to expect from Panasonic. Our testing with the initial firmware yielded relatively disappointing results, with the camera's generic tracking system struggling to keep track of subjects, and the subject detection mode misjudging distance relatively frequently. Now, though, it provides substantially better results that are closer to (though still not quite on par with) what we'd expect from companies like Canon, Nikon and Sony.


1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

The S1II's generic tracking system eventually got back to tack-sharp focus (though it's hard to illustrate a 30fps burst), but most of these shots would be completely usable for all but the most demanding purposes.

With firmware v1.2 the standard tracking AF did a good job of sticking to a subject, even as it changed the rate at which it approached the camera. During those moments, the camera struggled to judge the exact distance, resulting in strings of slightly soft, though still usable, photos. In our tests, we found that using AF Custom Setting 4, designed for "Situations where the speed of the subject changes significantly," earned us a better hit rate than the default Setting 1 did, with the camera more reliably staying with the subject, rather than losing track and snapping to infinity.


1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

Subject recognition would occasionally misstep, but recovered within a frame or two.

The subject recognition mode performed similarly when the subject was further away from the camera, producing slightly soft images as the subject changed its rate of approach. As the subject got closer to the camera, though, the recognition appeared to improve; while there were still occasionally soft images, it was significantly faster to recover than with the generic tracking.

While we typically base our autofocus conclusions on both our day-to-day use and our autofocus tests, we also had the opportunity to get an opinion from Seattle-based sports photographer Aaron Benson. He had previously been using the original S1 and S5II, and was impressed by the S1II, saying he was able to rely on autofocus in situations where he would've previously only used manual focus. This was prior to firmware v1.2, which delivers even greater reliablility.

Video

As you'd expect from Panasonic, especially in a camera with a relatively quick sensor, the S1II has an extensive array of video features. In addition to its many, many recording modes, it has a considerable array of supporting features to help you get the best results and to give you more creative flexibility.

The S1II lets you control exposure in terms of shutter angle (handy for quick changes when using different frame rates), offers waveforms, false color and dual zebras for setting exposure, a vectorscope display for matching color and the ability to show a corrected view for Log, HLG or anamorphic shooting.

There's a tally lamp to make it clear when the camera is recording, the ability to record low-res proxy versions alongside your primary footage, a choice of mic gain levels. The list is near endless. On which note: the ability to add video modes to a custom list by pressing the 'Q' button, letting you quickly access just the modes you want to use, is hugely valuable on a camera with this many video modes.

Open gate and Anamorphic modes

Users wanting to crop or reframe in post or add digital stabilization during their edit are likely to appreciate the S1II's open gate recording mode, which captures the full area of the sensor.

As has become standard for Panasonic, the S1II can alternatively capture a full-height 4:3 region of the sensor for use with anamorphic lenses. It comes with the option to show a desqueezed preview when working with anamorphic lenses and, in a feature unique to Panasonic, lets you set the stabilization system to correct shake with anamorphic lenses, which require different corrections in their horizontal and vertical axes.

Widescreen modes

The S1II's partially stacked sensor reads out faster than any in previous S-series cameras, allowing it to offer full-width 60p capture or 4K/120 with a moderate crop.

There are also a host of 5.xK modes that capture most of the sensor width natively, rather than downsampling to 4K. The S1II, like its 'E' sister model, adds a very widescreen 2.41:1 mode, mimicking the CinemaScope movie aspect ratio of the 1960s. Conveniently, this also uses about the maximum height of the sensor that can be read fast enough for 120p output, without having to crop horizontally.

Video modes

	Dimensions	Rates	Crop	MOV	ProRes
1.89:1
5.8K	5760 x 3040	60, 50, 48, 30, 25, 24, 23.98	1.00	4:2:0	Up to 30p
5.8K	5760 x 3040	30, 25, 24, 23.98	1.04	—	Raw
DCI 4K	4096 x 2160	96*, 60, 50, 48, 30, 25, 24, 23.98	1.00	4:2:2	Up to 60p
		120, 100	1.17	4:2:0
		120, 100, 96, 60, 50, 48, 30, 25, 24, 23.98	1.45	4:2:0	Up to 60p
		60, 50, 30, 25, 24, 23.98	1.46	—	Raw
16:9 modes
5.9K	5888 x 3312	60, 50, 48, 30, 25, 24, 23.98	1.00	4:2:0
UHD 4K	3840 x 2160	60, 50, 48, 30, 25, 24, 23.98	1.00	4:2:2	Up to 60p
		120, 100	1.24	4:2:0
		120, 100, 60, 50, 48, 30, 25, 24, 23.98	1.51	4:2:0	Up to 60p
2.4:1 'Cinemascope'
6K	5952 x 2512	60, 50, 48, 30, 25, 24, 23.98	1.00	4:2:0
Cs4K	4096 x 1728	120, 100, 96, 60, 50, 48, 30, 25, 24, 23.98	1.00	4:2:2	Up to 60p
Cs4K	4096 x 1728	120, 100, 96, 60, 50, 48, 30, 25, 24, 23.98	1.45	4:2:0
3:2 Open gate
6K	5952 x 3968	30, 25, 24, 23.98	1.00	4:2:0
5.1K	5088 x 3392	60, 50, 48, 30, 25, 24, 23.98	1.00	4:2:0
4:3 for anamorphic shooting
4.8K	4800 x 3600	60, 50, 48, 30, 25, 24, 23.98	1.13	4:2:0	Up to 30p
3.3K	3328 x 2496	60, 50, 48, 30, 25, 24, 23.98	1.63	4:2:2	Up to 60p
3.3K	3328 x 2496	120, 100	1.72	4:2:0

Despite this table covering 166 different modes – without even delving into different compression levels or MP4 options – it's not quite complete, as there are instances of Pixel/Pixel and APS-C modes that have identical options and virtually identical crops existing alongside one another. For reasons of sanity, we've not tried to measure them all.

For similar reasons, we'd strongly suggest the use of the camera's 'My List' feature, which lets you quickly create a list of the modes you plan to use, preventing accidental use of a mode with the wrong frame rate, chroma subsampling method or crop factor and avoiding you needing to scroll through the whole list. We occasionally found ourselves wishing the company also let you filter by aspect ratio, but that option currently isn't available.

Raw options

The S1II can capture ProRes RAW footage, either in the Standard or HQ levels of compression. These are taken either from a 5760 x 3040 region of the sensor or a native 4096 x 2160 pixel region (imposing a 1.46x crop). In both instances, footage can be recorded either to the camera's CFexpress slot or to an external SSD.

Alternatively, if you have an Atomos or Blackmagic external recorder, the S1II can output a Raw stream over its HDMI port, which can be encoded into ProRes RAW or Blackmagic Raw.

	Resolution	Aspect ratio	Frame rates	Crop
6K	6000 x 4000	3:2	30, 25, 23.98	1.00 (Full height)
5.9K	5888 x 3312	16:9	30, 25, 23.98	1.00
5.7K	5738 x 3024	1.89:1	60, 50, 30, 25, 23.98	1.00
4.8K	4800 x 3600	4:3	60, 50, 30, 25, 23.98	1.20 (Full height)
C4K	4096 x 2160	1.89:1	120, 100, 60, 50, 30, 25, 23.98	1.46
3.5K	3535 x 2656	4:3	60, 50, 30, 25, 24, 23.98	1.63

While Raw recording may be useful for those on professional shoots who need the utmost control over their footage, Raw video isn't something that most shooters will likely find useful. In short, it doesn't offer the same benefits that stills shooters expect from Raw images versus JPEG ones, and it will require a lot of post-processing work, especially if you're using modern mirrorless lenses that have geometric distortion correction as part of their optical formula, as Panasonic's implementation of ProRes Raw doesn't embed them.

Video performance

Image Comparison

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With the S1II, Panasonic continues the tradition of offering "open gate" recording that uses the entire sensor area, which, like with the S5II, produces a roughly 6K 3:2 image (though the S1II's rolling shutter is substantially faster). This mode provides great levels of detail and more flexibility in post; if you're working on a 4K timeline, you have a fair amount of room to reframe a shot, and you can use the same footage for both landscape and vertical output.

The camera also has a 5.1K open gate mode with a little less resolution and detail. That cuts down on its flexibility, but allows for a first for full-frame Lumix cameras: open gate recording at 60p. The 5.1K 24p and 60p modes apparently have the same level of detail.

The camera's 4K modes are all oversampled from ∼6K capture, and have similar levels of detail to those of competitors like the Z6III and EOS R6 II, even at up to 60p, though its sharpening doesn't appear to be quite as aggressive. The S1II can't quite manage full-width 4K 120p in UHD or DCI, but the mode only requires a 1.24x crop, rather than a 1.5x crop like with the Z6III (or you can use the vertically cropped, full-width 'Cinemascope' 4K/120 mode). So while there's some reduction in detail compared to the slower framerates, it does capture a tad more detail than the Nikon, and will come with a smaller change to your field of view.

If you don't prefer oversampling, the S1II also offers a 16:9 5.9K capture mode and a 1.89:1 5.8K capture mode, both of which are available at up to 60p. The extra resolution offers a bit more detail and more flexibility in post, though not quite as much as the 6K open-gate mode.

Focus

In video, we found the S1II's autofocus to be quite reliable; for talking head footage, it did a good job of locking on to the presenter without getting distracted by other people walking by in the background, or hunting for focus. Its subject detection and tracking modes aren't available in its highest (>200fps) framerate modes, but for most shooting scenarios we found ourselves trusting them to get it right.

The S1II also provides the obvious suite of manual focusing tools, too, including focus peaking and the ability to magnify the preview, even while recording, to make sure you've achieved critical focus.

Rolling Shutter

In most of its S1II's standard dynamic range modes, it has excellent rolling shutter rates, so you likely won't see any artifacting unless you're moving the camera very quickly or shooting something that moves extremely fast. Its performance is competitive with the Nikon Z8 with its Stacked Sensor, though falls a little behind the EOS R5 II and, somewhat surprisingly, the Nikon Z6III.

	Panasonic S1II	Nikon Z6III
UHD 24p	12.4ms (DR Boost Off) 30.4ms (DR Boost On)	9.4ms
6K open gate 24p	14.8ms (DR Boost Off) 34.1ms (DR Boost On)	—

As noted above, that story will change if you activate the DR Boost mode, so it's best to save that for scenes where you're prioritizing dynamic range capture over the capture of motion.

Overheating

The S1II is one of the few cameras in this class to have an internal fan, though it can still get quite hot, especially when recording to CFexpress cards. Panasonic is, however, quite transparent when it comes to providing estimates for how long you can expect to be able to record in the camera's most demanding modes.

In our use, we found that the camera was quite resilient as as long as we were shooting with sensible settings (Panasonic has directly told us that recording in open gate produces less heat than, say, DCI 4K at 60p). We were able to shoot for around forty minutes in direct sunlight, with an ambient temperature of around 30°C (86°F), without even getting an overheating warning, once we'd switched into the "High" recording max temperature mode.

Firmware v1.2 promises to make more use of the camera's ambient temperature sensors, so that the camera doesn't shut down until absolutely necessary, which can further boost recording times.

Stabilization

Panasonic has some of the best stabilization for video that we've seen, as it copes well with obviously intentional moves like pans and tilts, smoothing out any shakes without adding jarring ones of its own when you come to a stop. It also has a boost mode that will keep your footage as steady as possible, at the cost of not reacting as fluidly if you intentionally move the camera. In practice, we've been able to achieve great results with it, even when shooting in places where a tripod or gimbal would've been impractical.

As an example, we shot all the outdoor scenes in this video handheld with the S1II, and only had to stabilized a few shots in post.

New to the second-gen S1 series cameras is a cropless electronic stabilization mode, which Panasonic says utilizes pixels outside the standard region to gather information about the camera's movement. This means it only works with the company's own S-series lenses, rather than the full array of L-mount glass, but it gives you an option to cut down on peripheral distortion that happens from small shakes when you're using a wide-angle lens.

In use

By Mitchell Clark

We've already made known our feelings about how Panasonic's latest generation of autofocus interface separates subject recognition from generic tracking, but while testing the S1II, we found some ways to make it more agreeable. The first was to use the zone autofocus selection setting, and only switch to tracking or single point when trying to focus on smaller subjects. The second was to set a custom button to turn subject recognition on and off, which meant we didn't have to dive into the menu quite as frequently.

We still prefer the way that companies like Canon, Nikon, Sony and Fujifilm handle tracking (using the tracking AF point to select a subject if it recognizes one and then falling back to generic tracking if it doesn't), but we were able to find a way to work with Panasonic's new system.

It's telling that Panasonic isn't marketing the S1II as a sports and action camera

While the S1II is capable of some extraordinarily high burst rates, it's telling that Panasonic isn't marketing it as a sports and action camera. The camera's buffer simply isn't large enough to support shooting at its highest framerates for very long, and it can take a while to clear. If you're not precise with your burst, you can wind up missing the shot altogether, though the inclusion of pre-burst capture helps a bit in this regard.

On release, the situation was made more difficult by the lack of more moderate burst settings, as there were no options between 10fps and 70fps. With the latest firmware, though, Panasonic has added a 30fps mode, providing a much-needed middle ground, letting you shoot for around five to six seconds while still capturing all but the fastest action. We still wish there was more room to customize the framerates for each mode, making it easier to manage your buffer, or a Sony-like option to temporarily bump up to a faster framerate for important moments.

The inclusion of a fan – something all its competitors lack – show how serious the S1II is about video.

While the length of this review's video section provides a good idea of how competent it is as a filmmaking tool, it's worth plainly stating just how capable it is. Panasonic has put in a lot of effort to make its cameras excellent at video, and it shows. That's not just in the dizzying array of resolutions and recording modes and top-of-class stabilization options, but in the built-in tools that just make your life a little easier.

The S1II has features that other companies simply don't offer, such as configurable frame-line guides, a hybrid zoom mode that adds an increasing amount of digital zoom as you optically zoom in with your lens, and the 'Focus Transition' tool that lets you do repeatable, configurable focus racks between two set distances. And as we've filmed several of our recent videos either in whole or in part with the S1II, we've found that it's these features that make that process just that bit easier (not to mention the combination tilting/fully articulating screen that's a massive benefit for video shooters).

The only real fly in the ointment is the fact that its ProRes RAW modes, for those that need them, don't currently support the lens corrections that many L-mount lenses require, making the option more awkward to use than it otherwise might be.

Conclusion

By Mitchell Clark

The S1II gives you the option of shooting with either maximum dynamic range, or at high speeds.
Panasonic S1II | Lumix S Pro 16-35mm F4 | 35mm | F4.5 | 1/125 sec | ISO 100

Pros	Cons
Great image quality Delivers both dynamic range and high speed Well-considered ergonomics and controls Tilt/articulating screen a pleasure for stills and video Unmatched suite of video features/modes High-res multishot modes process in-camera Fan (mostly) controls heat in intensive video modes Multi-partner lens mount	Autofocus UI can require extra steps Battery can run out quickly Some burst rates outrun the buffer Raw video doesn't yet support lens corrections required by many Panasonic lenses EVF eyepoint not ideal for glasses-wearers Priced well above the competition

The S1II might just be Panasonic's first great do-it-all full frame camera. While entries in the S series have always had something to recommend them, they always came with some asterisk, such as the depth-from-defocus system that couldn't really keep up with the phase detecting competition.

There aren't that many caveats with this camera. The baseline image quality is great and, thanks to whatever tricks Panasonic is pulling, you can get class-leading dynamic range or speed, as the situation requires. It also includes niche, but sometimes useful, features such as multi-shot high resolution and focus stacking, which it can process in-camera, that its competitors can't match.

The story is similar with video, but even more so. It has a borderline absurd range of features, assistance tools and recording modes, best-in-class stabilization and, again, support for niche types of shooting with things like its anamorphic desqueeze preview and stabilization.

The autofocus performs better than anything else the company's released up to this point

We may still not be the biggest fans of the direction Panasonic's taken its autofocus implementation, but as of the v1.2 firmware release, it performs better than anything else the company's released up to this point.* It might not be the very top of the pile, but it should be more than sufficient in most scenarios; Panasonic even included a special detection mode for humans in weird positions to make sure that's the case.

In many ways, the S1II is the most capable camera in this class; it lets you side-step the dynamic range concerns that the Z6III had with its partially stacked sensor, and it offers a suite of video features that no one else matches. However, it's also the most expensive in its class, and that just about keeps it to a Silver award. For people who mostly shoot stills, or just dabble in video, it'd be hard to justify the extra cost, unless you're really excited by the L-mount lens offerings. But if you're a true video and stills shooter, we'd recommend starting – and maybe ending – your search with the S1II.

* The difference in our autofocus test results between the initial firmware and the update has me re-evaluating my ranking of which companies are best at putting out firmware updates for their existing cameras.

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Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Panasonic Lumix DC-S1II

Category: Mid Range Full Frame Camera

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The S1II is extremely capable for both stills and video. It's the most expensive in its class, but may offer enough features to justify the cost.

Good for

True hybrid shooters Photographers doing landscapes and action Dedicated videographers

Not so good for

Professional sports shooters Stills-only shooters

91%

Overall score

Compared to its peers

Compared to Panasonic's own S1IIE (and, by extension, the very similarly-specced S5II/X), the S1II represents a big step forward in terms of video capabilities. While Panasonic has long provided a wide selection of video assistance tools and format options, this is the first time we've seen those features paired with such a fast sensor. For purely stills shooters who don't capture that much action, though, it'd be hard to argue that the extra cost the S1II commands couldn't be better spent on an additional lens.

The Nikon Z6III's big advantage over the S1II is its autofocus system, which we've found to be that bit more reliable and nicer to use in most situations, at least when shooting stills. To gain that, though, you have to accept less flexible Raws for some shooting scenarios (it'll only be noticeable if you're really stretching your shadows), the lack of open-gate video recording and a more tightly-controlled lens mount.

We've not finished testing the Canon EOS R6III, but our initial impression is that it's a relatively even match for the S1II, providing a 16% increase in linear resolution, better autofocus and similar open gate/internal Raw recording capabilities. But while Canon's made a lot of improvements in terms of video assistance tools, it still can't quite measure up to what Panasonic provides, especially when it comes to heat-limited recording times, and the RF mount is still much more tightly controlled than L mount.

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Leica Q3 Monochrom review

Thu, 20 Nov 2025 14:00:00 Z

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Product photos: Richard Butler

The Leica Q3 Monochrom is a black-and-white only version of the company's 61MP full-frame fixed 28mm lens camera.

Key specifications

61MP BSI CMOS sensor with no color filter
Reduced res JPEGs or Raws at 36MP or 18MP
28mm F1.7 lens
5.76M dot OLED EVF with 0.79x magnification
3" tilt touchscreen LCD with 1.84 million dots
8K video capture in UHD or DCI ratios up to 30p (H.265)
Apple ProRes 422HQ support for 1080p video capture up to 60p
AI-assisted perspective control mode
IP52-rated dust and water resistant
Wi-Fi and Bluetooth

The Leica Q3 Monochrom will be available from today at a recommended price of $7790.

Index:

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What is it?

The Q3 Monochrom is an updated version of the Q2 Monochrom based, as the name implies, on the newer Q3 camera. This means it has the same lens as the Q2 but with the excellent 61MP BSI CMOS sensor and Maestro IV processor from the newer camera, bringing features such as perspective correction.

However, unlike the color Q3, it does not gain phase-detection AF, instead relying on contrast detection (presumably the version of Panasonic's Depth-from-Defocus) system that Leica used for some years.

New interface

The Q3 Mono also gains the updated interface from the SL3 cameras, which separates stills and video features into red and yellow-accented displays, switched between by swiping left and right on the settings display screen.

Leica says that, in addition to the reworked display logic, every single icon on the camera has been redesigned. The updated interface will be available for Leica Q3 and Leica Q3 43 users via a free firmware update, shortly.

Content credentials

The Q3 Monochrom also joins the list of Leica cameras that can embed CAI Content Credentials in its images. Leica's implementation relies on specific hardware, so this feature will not be extended to existing Q3 and Q3 43 owners.

Why B&W?

From a technical perspective, there are a couple of benefits to using a camera with no color filter array, assuming you're not interested in capturing color. The first is that, because you're not demosaicing to interpolate the missing colors at each pixel location, you aren't softening your output.

A monochrome camera makes you think in terms of light and shade, rather than color. If anything, this shot would have be overwhelming and confused in color, and probably more objectionably noisy.

The absence of a filter sapping around a stop of light also means the Q3 Mono should prove a stop less noisy and have a stop's improved tonal quality at every ISO (with the caveat that the standard Q3's base ISO is a stop lower, so in good light, it'll catch up, if you can give it enough light). On top of this, many people find noise less distracting if it's rendered as the wrong brightness, rather than the wrong color, so the perceived advantage is likely to be even more than a stop, in low light.

There's no safety net on a mono camera

However, along with these benefits comes an increased exposure challenge. The ability to recover the highlights comes primarily from the fact that a camera with a CFA's color channels don't all clip at the same point, so there's often enough further information about brightness being captured above what appears to be the clipping point, in the Raws. This lets you reconstruct and approximate the detail in the highlights, well beyond the point that you can capture accurate color. There's no such safety net on a mono camera: if an area is clipped, then there's no way for processing software to tell what's 'just' clipped from what's spectacularly clipped: it's just unrecoverably white.

The temptation is to err on the side of underexposure and cut into that one-stop advantage.

How it compares:

When Leica launched the original Q2 Monochrom back in 2019, there was no direct competition, as Leica was the only major brand making black and white cameras. Since then, Ricoh has joined the fray with its Pentax K-3 III Monochrome and the forthcoming GR IV Monochrome. The GR IV makes an interesting comparison to the Leica. It uses a smaller sensor and has a slower lens, so it's not going to compete for peak image quality, but it's a lot smaller and, we have to assume, a lot less expensive. We've included the details we know so far and those we can infer from the specs of the color GR IV.

	Leica Q3 Mono	Leica Q2 Mono	Ricoh GR IV Mono
MSRP:	$7790	$5995	∼$1499
Sensor size	Full frame (36 x 24mm)	Full frame (36 x 24mm)	APS-C (23.3 ax 15.5mm)
Resolution	61MP	47MP	26MP
Lens	28mm F1.7	28mm F1.7	28mm equiv F2.8
Max sync speed	1/2000 sec	1/2000 sec	1/4000 sec
Max burst rate	4fps 12-bit (with AF) 15fps 12-bit (with AF/AE fixed)	5fps (with AF) 10fs (with AF/AE fixed)	∼ 4fps
Viewfinder	5.76M dot (1600 x 1200px) 0.76x mag	3.69M dot (1280 x 960px)	–
Rear LCD	1.84M dots tilt up/down	1.04M dots fixed	1.04M dots fixed
Wi-Fi	Wi-Fi 5 (b/g/n/ac)	Wi-Fi 4 (b/g/n)	Wi-Fi 6E (b/g/n/ac/ax)
Internal storage	–	–	53Gb
	UHS-II SD	UHS-II SD	UHS-I SD
Battery life	350 shots	350 shots	∼250 shots
Dimensions	130 x 80 x 93mm	130 x 80 x 92mm	110 x 61 x 34mm

In many respects, the Leica Q3 remains peerless; it's a substantial upgrade over the Q2, primarily by dint of a much better sensor. We can't know exactly how much better the image quality of the Q3 Monochrome will be than that of the as-yet-unreleased Ricoh GR IV Monochrome but given the fact that the Ricoh is being built around a sensor that uses the same pixels on a chip with 42% of the light-capturing area, we can make an estimate with pretty high precision. We can also get a very good idea of the impact of the slower maximum aperture.

As is so often the case with Leica products, if you want what the Q3 Mono offers, then this is pretty much the only option available.

Body and handling

The camera's primary exposure settings are controlled via a dedicated aperture ring around the front of the lens and a shutter speed dial on the top plate. There's also a command dial on the camera's rear right shoulder that lets you adjust exposure compensation or ISO, or fine-tune the shutter speed.

The body is an exact match for the Q3, with the same solid-feeling build and IP52 environmental sealing rating. The only difference is the word Monochrom embossed in the top plate and the complete absence of color on the body.

As with the Q3, the camera is environmentally sealed to the point of earning an IP52 rating. This isn't especially strenuous but means that there should be limited dust ingress, to a degree that shouldn't interfere with operation and that it can withstand water droplets falling on the camera at up to 15 degree angles from vertical. This isn't much, but the fact that it's been designed and built to repeatably withstand such a test is more of a commitment than you get from most cameras.

The Q3 Monochrom has a 5.76M dot viewfinder and a tilt up/down rear touchscreen. Just next to the viewfinder is a diopter adjuster, which pops out when you press it. Here it's shown in its extended position.

The handling is fairly straightforward with a dedicated aperture ring and shutter speed dial, each of which has an auto position. There's also a customizable command dial on the top rear corner, which has a function button at its center. This gives direct access to the camera's principle exposure parameters, fairly easily.

There's a thumb rest on the camera's focus ring that has a tiny button on its edge, which engages and disengages manual focus mode. The lens is focus-by-wire but has a linear response and a distance scale, so it gives a very good impression of a physically connected focus ring. Set behind this is a ring that shunts the lens between its standard focus range (0.3m – Infinity) and the camera's Macro range (0.17m – 0.3m).

A ring next to the camera's body lets you shift the lens into its Macro range.

Press the menu button and you get a settings display that you can touch to change any of the camera's core settings. Swipe left and the display switches to a yellow-accented version that shows the video settings. Hit Menu again and you enter the short, well-organized camera menu. It's not dramatically different to the version in the existing Q3 and Q3 43 but it's that bit cleaner and neater. We'd definitely advise users of those cameras to update their firmware when this version of the UI becomes available.

Battery

The base of the battery forms the bottom of the camera, rather than sitting behind a door. The sliver lever to its left releases the first of two catches to eject the battery.

The camera's battery embeds into its baseplate and is released with a large silver lever. Once you've pushed the lever, you have to then push the battery in a little to release a second catch within the body.

The BP-SCL6 battery is a relatively large 16Wh unit from which the camera delivers a battery life of 350 shots per charge. These numbers always significantly understate the amount of shots most people will actually get, and a rating of 350 shots per charge is pretty solid for a day's committed shooting. It can be recharged over the USB slot on the camera's slide.

Initial assessment

A compact camera with a prime lens is something of a niche proposition. Add to that Leica's premium pricing, and that niche becomes smaller still. Take the color filter away, and its appeal narrows to the point that you wonder whether the company already knows the photographers and collectors who'll buy one by name.

I like shooting with prime lens cameras, but tend more towards normal lenses than wide angles. So the prospect of shooting a wide-angle camera with added restrictions was daunting, to say the least. In practice, I found the challenge fascinating.

Autumn has well and truly molded Seattle to its fleeting fashion, leaves red and golden, glistening in low, stark sunshine between the rain and wind storms that will sweep us on into winter, all too soon. In those breaks in the cloud, some of the color is spectacular, and of no interest whatsoever to a monochrome camera.

At I first I wandered through this scene, constantly frustrated that the Q3 Mono couldn't see any of the things I saw to capture. But, just as the restriction of a single focal length makes you see the world through its specific lens, so the inability to capture color forced me to focus instead on light and shade.

The downside of the camera embedding Content Credentials is you might inadvertently credit your photos to the previous user of the camera.

Of course, it didn't suddenly make me an expert black and white photographer in the handful of days during which I had the camera and the sky wasn't just overcast, but it was enough to make me recognize what the Q3 Monochrom is for.

There are a couple of technical benefits to the lack of a color filter (sharper images and better quality when you're light-limited), but for me, the strongest case for the Q3 Mono is the creative restriction. And, just as I argued a camera with a fixed prime is not the same thing as an ILC with a prime lens on it, I'll argue vehemently that a mono camera isn't the same as switching your existing camera to black and white mode, even if you put the technical benefits to one side. There's a difference between seeing a colorful autumnal scene and knowing in the back of your mind that you could just shoot it in color, and knowing that you have to move on, because your camera is literally incapable of capturing it.

As ever, Leica's pricing seems to defy rational analysis (that's arguably partly by intent), so it's senseless to ask whether the Q3 Mono is 'worth it.' No, of course it's not. Unless, for you, it is. For the rest of us, it's quite exciting to know that the smaller, much more affordable Ricoh GR IV Monochrome is on its way. It won't come close to the Leica in terms of image quality or, perhaps, desirability, but it'll let more of us explore the fascinating restrictions of black and white digital.

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OM System OM-5 II review

Wed, 29 Oct 2025 14:24:00 Z

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Product Photos by Mitchell Clark

82%

The OM System OM-5 II is a Micro Four Thirds mirrorless camera that uses the same stabilized 20MP sensor as its predecessor. It also features the same processor as the OM-5, so the list of new features is relatively subtle, but it gains some minor updates that make it feel a bit more modern.

Key Specifications

20MP Four Thirds CMOS sensor
50MP handheld high-res multi-shot mode
Up to 7.5EV stabilization with Sync IS lenses
Up to 30fps continuous shooting, configurable pre-capture
2.36M-dot 0.68x OLED viewfinder
IP53 dust and water resistance rating
USB-C for charging / data transfer
Updated menu system

The OM-5 II retails for $1199 body-only, the same as its predecessor, and is available now. It comes in black, silver and a "sand beige" tan.

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Index:

What's New

USB-C

When the OM-5 launched in 2022, its use of a micro USB port instead of a USB-C one felt like a huge omission, especially given that the European Union was already well on its way to mandating the more modern charging and communication standard. Thankfully, the OM-5 II doesn't repeat that mistake; it uses USB-C for charging and connecting to your computer, where it retains the ability to act as a webcam without any additional software or drivers via the UVC/UAC protocol.

This is mostly an upgrade to the charging experience. You'll still want to use an SD card reader for offloading photos, as the type C port still runs at USB 2.0, less than a tenth the speed of the 5Gbps "SuperSpeed" ports found on a majority of modern cameras.

Updated grip

While the OM-5 II's design is mostly unchanged from its predecessor's, OM System has made the grip a touch larger to help with ergonomics. Compared to the OM-5's, it fills out your hand just a bit more, which helps make it a touch more comfortable and easier to handle.

New menus

The OM-5 II's menus, like those on the rest of the company's modern cameras, now look and work a lot like Canon's.

OM System has also brought over its updated menu system from the OM-1 and OM-3, with color-coded sections and tabs. Unlike its predecessor, the camera will try to give you an explanation for why certain items are unavailable instead of leaving you to guess what you need to change to access those features.

You can navigate through the sections using the front dial and switch pages using the rear one, which can be very quick once you get the hang of it. The four-way controller is required for changing your settings; you can use the touchscreen to switch tabs and sections, but not to navigate through or adjust the settings themselves.

CP button

OM System has replaced the OM-5's exposure compensation button with the 'CP' button that debuted on the OM-3. It gives you quick access to the camera's myriad computational photography modes; giving it a single press will activate your last-used mode, and if you press and hold it, you can use either command dial to scroll through the various modes and select the one you'd like to use.

The OM-5 II doesn't gain any new computational features compared to its predecessor, which is a bit of a shame since we've found the Live Graduated ND feature included in the higher-end models to be useful in some situations (though that may only be possible because of those cameras' Stacked sensors, which capture images faster, with less risk of rolling shutter). However, the OM-5 II still has a suite of useful computational modes:

	OM-5 II	OM-1 (II) / OM-3
Multi-shot high-res	50MP handheld / 80MP tripod	50MP handheld / 80MP tripod
Live ND	1-4EV	1-6EV / 1-7EV for OM-1 II
Live graduated ND	—	1-3EV
Focus stacking	Yes, with select lenses	Yes, with select lenses
HDR	Yes	Yes
Multiple exposure	Yes	Yes
Live Bulb	Yes	Yes

All the multi-shot modes are processed in-camera, making them much more convenient to use compared to similar modes from other brands that have to be stitched with desktop software. However, that can take a while for some modes; the most taxing are the handheld high-res shots, which lock up the camera for over 15 seconds; even the progress bar won't move from the EVF to the display or vice versa if you move your eye to or away from the camera.

New color modes


Standard Color Profile	OM Cinema 1	OM Cinema 2

The OM-5 II includes the two video-only "OM Cinema" color modes from the OM-3, which are made to capture the same level of highlight information as the Log mode but without the extremely low-contrast, low-saturation logic that requires grading. The company says the OM Cinema 1 mode is designed to highlight yellows in the bright parts of your image and blues in the darker areas, while Cinema 2 adds a bit of cyan to the highlights and shadows while lowering contrast.

Like Log mode, these modes capture the additional highlight information by using a minimum ISO of 400, meaning they're designed to receive one stop less exposure than standard mode.

Light, camera, action

Speaking of video, the OM-5 II now features a red LED in the top right corner on the front of the camera, which acts as a tally light to make it obvious when you're recording video.

A little help

The OM-5 II adds two new assistance features: a 'Night Vision' mode that boosts the live view's brightness, making it easier to focus and/or compose in dark environments and a 'Handheld Assist' mode that shows you how stable you're keeping the camera during long exposures. It gives you a target that shows how much you've moved the camera since you started taking the picture. It makes it easier to tell whether your photo will come out blurry since you'll know whether you've moved more than the stabilization system can compensate for.

How it compares

The OM-5 II is mainly focused on people looking to capture their outdoor adventures, a niche that's often serviced by action video cameras. However, there's nothing about its design that precludes it from being a general-use stills camera. As such, we're comparing it to several comparably-priced APS-C cameras that are good for photos (no EVF-less, e-shutter only, single-dial cameras here) but that still include some decent video specs.

	OM System OM-5 II	Canon EOS R10	Fujifilm X-S20	Nikon Z50II
MSRP	$1199	$979	$1499	$909
Pixel Count / Sensor Size (Crop Factor)	20MP Four Thirds (2.0x)	24MP APS-C (1.6x)	26MP APS-C (1.5x)	21MP APS-C (1.5x)
Image Stabilization	6.5EV Up to 7.5EV w/ lens coordination	Lens only	Up to 7.0EV	Lens only
Max frame rate	6fps mech* 10fps elec with C-AF 30fps elec w/ focus and exposure lock	15fps mech 23fps elec	8fps mech 20fps elec 30fps w/1.25x crop	11fps mech 15fps elec 30fps JPEG-only
Pre-burst recording?	Yes	Yes (Raw Burst mode)	Yes	Yes, JPEG-only
Built-in flash?	No	Yes	Yes	Yes
Weather sealing	IP53 water/dust resistant certified	No	No	Yes
AF subject detection types	Human / Eye	Human / Eye Animals Vehicles	Human / Eye Animal Bird Cars Motorcycle / Bike Airplane Train	Auto Human / Eye Animal Bird Cars Motorcycle / Bike Airplane Train
10-bit HDR Stills	No	PQ HEIF	No	HLG HEIF
Viewfinder res. / mag.	2.36M dot 0.68x	2.36M dot 0.59x	2.36M dot 0.62x	2.36M dot 0.68x
Rear screen res. / type	3" 1.04M dot Fully-articulating	3" 1.04M dot Fully-articulating	3" 1.84M dot Fully-articulating	3.2" 1.04M dot Fully-articulating
AF selection	Touchscreen / 4-way controller	Touchscreen / joystick	Touchscreen / joystick	Touchscreen / 4-way controller
Video	Full-width UHD/DCI 4K <30p	UHD 4K 60p w/ 1.56x crop Full-width UHD 4K <30p	Up to 6.2K/30p 3:2 (open gate) UHD/DCI 4K 60p w/ 1.18x crop Full-width UHD/DCI <30p	UHD 4K 60p w/ 1.5x crop Full-width UHD 4K <30p
10-bit options	No	HDR PQ	F-Log/F-Log 2 HLG	N-Log HLG
Mic / headphone sockets?	Yes / No	Yes / No	Yes / Yes	Yes / Yes
CIPA Battery rating (LCD/EVF)	310 / –	430 / 260	750 / 750	230 / 220
Weight	418g (14.7oz)	429g (15.1oz)	491g (17.3oz)	550g (19oz)
Dimensions	125 x 85 x 52mm (4.9 x 3.3 x 2.0")	123 x 88 x 83mm (4.8 x 3.5 x 3.3")	128 x 85 x 65mm (5.0 x 3.3 x 2.6")	127 x 97 x 67mm (5 x 3.9 x 2.7")

* - the original OM-5 could shoot at 10fps mechanical, but not with continuous autofocus.

In some ways, OM System sets itself apart by offering features you'd usually need to pay more for, such as a stabilized sensor and weather sealing. You have to jump up to at least $1499 and the Fujifilm X-S20 to get them in a mirrorless APS-C camera, and OM System is one of only two camera companies to offer a specific IP rating rather than a vague claim of "weather resistance." The other being Leica.

Like Fujifilm, there's a wide array of sensible lenses available you can pair with the OM-5 II, though Micro Four Thirds offers lighter and more compact options than even APS-C. It also offers an unusually high number of multi-shot modes with in-camera processing, that can boost its performance.

However, the OM-5 II misses out on some features that are quickly becoming table stakes, such as the ability to shoot 10-bit video or stills for playback on HDR displays, a 60p video mode, and a wider array of AI-derived subject detection modes for its autofocus system. At this point, there are cameras well under $1000 that have these features, so they feel like notable absences.

Body and Handling

Like its predecessor, the OM-5 II is very light, while still managing to remain well-balanced when paired with larger lenses like OM System's 40-150mm F4 Pro. The extra grip helps in this regard, filling out your palm and making the camera feel more substantial without adding much weight or bulk.

The OM-5 II has a selection of buttons and levers, and as is tradition for the brand, most of them can be customized to do pretty much anything you'd like. While the buttons around the four-way controller are fixed, you're free to do what you wish with the buttons on the top plate, including the two semi-circular ones atop the power lever. The settings are separate for stills and video modes.

It also has OM System's customary function lever, which is unfortunately much more limited; it can only be used to power the camera on or off (leaving the dedicated power lever to do nothing), turn the camera into video mode, or to switch between a small subset of dial functions or autofocus settings. It does not recognize the eye recognition mode, so you can't use it to switch between, say, tracking autofocus and continuous autofocus with eye recognition – unlike many other cameras, you can't have both human detection and the general tracking mode on at once.

It also features a locking mode dial, with settings for all the major exposure modes, along with video, scene and art filter modes. Its two top-plate command dials have relatively aggressive knurling, making them easy to manipulate even while wearing gloves.

Despite the revised menus, one of the OM-5 II's best features remains its "Super Control Panel," which is mapped to the OK button by default. It lets you easily access and control most of the camera's main shooting settings on a single touchscreen panel: drive mode, AF mode, face and eye detection, exposure and ISO control, etc. You can just tap on the screen and spin a command dial to change all the camera's key settings.

EVF and Monitor

The OM-5 II's viewfinder remains unchanged from the 2.36M dot 0.68x (equiv.) magnification model found on its predecessor. While it's relatively small, it usually gets the job done, and it's good to have in bright conditions where the fully articulating 3" LCD – also unchanged – will get washed out.

Battery

The OM-5's tripod mount is somewhat controversial, and OM System tells us it's unchanged for the II.

The OM-5 II uses the same 8.5Wh BLS-50 battery as its predecessor, which the company says will last for around 310 shots based on CIPA test standards. While you can generally expect to get more shots than the rated number in real-world use, it's a useful indicator for comparing across cameras. In this case, it's relatively low; if you're going into the wilderness for a weekend, you may want to pack a spare battery or plan on topping it up with your USB-C power bank.

Image Quality

The handheld high-res multi-shot mode is easier to access than ever on this camera, and can be used to gain a bump in image quality. But it only works with very still subjects, and is slow to process.

OM-5 II | OM System 25mm F1.8 II | F5.6 | 1/500 sec | ISO 200
Photo: Mitchell Clark

Image Comparison

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To start by answering the obvious question: there are no discernible differences between the output of the OM-5 and the OM-5 II that couldn't be explained by run-to-run variation; the two cameras perform virtually identically in our tests.

That's not necessarily a bad thing, as the original provided solid image quality. At base ISO, the OM-5 II's Raws have good levels of detail, roughly in line with what the Canon EOS R10 and Nikon Z50II capture, and slightly more than the Fujifilm X-S20 (though that may come down more to the difficulty some programs have with processing pictures taken using Fujifilm's X-Trans color filter). Given its smaller sensor, it's unsurprising that it has more noise across the tonal range than its APS-C competitors.

This also translates to worse low-light performance, though the images from the OM-5 II are still usable at mid-range ISOs and its stabilized sensor will let you shoot at slower shutter speeds (depending on your subject) than with its unstabilized competitors, so you may not have to use the higher ISOs as often.

Its JPEG processing generally does a good job of sharpening and reducing noise at base ISO, though Canon and Nikon have a slight edge when it comes to preserving fine details. At higher ISOs, the OM-5 II does a good job of reducing noise without smoothing away details, as do the rest of the cameras in this lineup.

We found the colors in the OM-5 II's JPEGs to be quite pleasing. They're not overly punchy, but are saturated enough to make images pop.

The multi-shot high resolution modes, which are thankfully processed in-camera rather than in a desktop app, can be used to gain a bit of extra detail under the right circumstances. They only work with very still subjects, such as landscapes (as long as there's not a lot of wind), which limits their usefulness.

Dynamic Range

Shot at base ISO and exposed to preserve highlights. Shadows lifted in Adobe Camera Raw and edited to taste.

OM-5 II | OM System 20mm F1.4 Pro | F4 | 1/160 sec | ISO 200
Photo: Mitchell Clark

The camera offers good dynamic range performance, giving you lots of flexibility to shoot to preserve highlights and to raise shadows in post. However, it doesn't have the advantage in read noise that it once did; when the OM-5 came out, we found it had substantially cleaner shadows than the (much more expensive) Panasonic GH6. Comparing it to the GH7, that's no longer the case, not that we suspect most people will be choosing between these two cameras, despite their shared sensor size.

Autofocus

The OM-5 II doesn't have eye detection or animal detection, but the tracking can do a decent job, even on somewhat wiggly subjects.
OM System 20mm F1.4 Pro | F2.8 | 1/8000 sec | ISO 800

The OM-5 II has several autofocus modes: single, continuous and continuous with tracking, as well as a special star autofocus mode for shooting the night sky. In the standard modes, you have several selection point shapes to choose from, ranging from a small single point to the whole area. You can also set up four custom-size zones and exclude whichever target modes you want from the menu.

To move the autofocus point or area, you can use the screen for tap-to-focus or the four-way controller. You can also enable the "AF targeting pad," which lets you use the right half of the screen as an autofocus controller while looking through the EVF. These options do a decent job of making up for the lack of an autofocus joystick, though we still occasionally found ourselves missing that direct physical control.

The OM-5 II's autofocus points only cover around 60% of the sensor, which means you'll have to be a bit more cautious when composing, trying to track a subject, or setting up your camera to get a shot when something enters the frame.

The OM-5 II has face/eye detection, which works in single, continuous, and manual focus modes, but it feels like a decidedly first-generation implementation. It typically only recognizes humans' eyes, not animals'. It can occasionally struggle to identify human faces if they're wearing glasses, tinted or clear. And unless you're using tap-to-focus, the camera won't respect your chosen focus point if it recognizes a face; it'll snap to it, and you'll likely have to turn detection off to get it to focus on something else.

The face detection also doesn't work in conjunction with tracking mode; you can have either it or tracking. And, frustratingly, you can't just switch to the C-AF + Tracking mode to turn off face detection; you have to turn off face detection to even be able to access the option, though the camera will automatically switch back to tracking in some (but not all) circumstances.

Autofocus Performance

The OM-5 II's single and continuous autofocus performance is snappy and accurate, generally doing a good job of driving the lens to get the subject in focus without having to hunt. There were very occasional misteps that resulted in slightly soft images, but overall we were quite pleased with it.

Its tracking performance is a slightly different story. While it could do a decent job of keeping the autofocus point on a selected subject, it does feel a ways behind what companies like Nikon, Canon and Sony are doing. The tracking point isn't always as tenacious as we'd like, and it was sometimes unable to lock onto lower-contrast subjects at all. It would also occasionally start to drift off the subject being tracked, and the tracking box the camera displays sometimes lagged behind what it was supposed to be tracking.

Because of its identity as an outdoor adventure camera, the tracking performance means you may have to work a bit harder if you're trying to photograph wildlife or athletic activities. For some, that won't be an issue, but it could lead to a slightly frustrating learning curve for beginner photographers who may otherwise find the OM-5 II's price and relatively robust feature set attractive.

Video

The OM-5 II's 4K/30 video is reasonably sharp for everyday use, but falls well short of the image quality you can get from other cameras like the Nikon Z50II and Fujifilm X-S20. It includes a Log profile that lets you shoot footage designed to retain flexibility for color grading, but unlike its more expensive siblings, can only do so in 8-bit, which severely limits that flexibility. It also lacks a 4K/60 mode for higher-resolution slow-motion.

Image Comparison

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It also lacks some of the assistance tools that are increasingly becoming standard for serious video shooting, such as a waveform monitor or false color preview, HDR output, or in-camera support for LUTs (though there is at least preview assistance when you're shooting in Log). And while it has a microphone socket, you won't have any way to monitor the audio, given its lack of a corresponding headphone port and apparent* lack of support for a USB-C to 3.5mm adapter.

This isn't to say that the OM-5 II isn't capable of casually shooting video, but it'd be a frustratingly limited tool for more serious shoots. For capturing clips, though, the IBIS is relatively effective at smoothing out hand shake and other movement, and the autofocus generally does a good job, though it can occasionally drift, especially when capturing more complex scenes.

This is made all the more disappointing as its rolling shutter performance is excellent, taking 10ms to read out the sensor when shooting in 4K/24.

* - We tested with one to no effect, but they're not always universal.

In Use

When I reviewed the OM-3, I found myself very willing to try out the handheld high-res mode to get a bit more image quality, even in situations where I was a little unsure whether it'd produce good results. That wasn't true with the OM-5 II; I quickly learned that the time it takes to process the 50MP images was far longer than I'm willing to wait. The other computational modes – made easier to access by the "CP" button – are a bit quicker, but it's the area where this camera's processor most shows its age. I also found that they ate through the camera's already relatively meager battery quite rapidly. That made me far less willing to use them outside of very specific scenarios where I knew I'd get the full benefit.

There are very few other cameras that I'd be willing to put in my backpack when paired with a 100-400mm equiv. lens.
OM System 50-200mm F2.8 IS Pro | F2.8 | 1/100 sec | ISO 2500

That frustration was somewhat offset by just how easy it was to take this camera anywhere. It's nowhere in the realm of pocketable, even with a small prime attached, but it's small enough that I found myself throwing it in whatever bag I was taking, just in case I ran into interesting things to photograph. That included bringing it along on a backpacking trip and a kayaking outing (my confidence perhaps a bit too buoyed by the IP53 rating), where I was able to get photos that looked substantially nicer than what my phone could've produced.

None of this will be a revelation to the Micro Four Thirds faithful, but it's a benefit worth reiterating. Although in theory someone should be able to build an APS-C rival with a comparable feature set, the OM-5 II still offers an unmatched combination of size, price and capabilities.

It's also hard to overstate how far the new menu system goes to making the camera feel more modern than the original OM-5. While there will be those who prefer a vertical tab system versus a horizontal one, the color coding and improved tips that give you a hint as to why certain options aren't selectable go a long way to making the camera feel more approachable. Their inclusion here makes their exclusion on the original OM-5 all the more baffling, but at least they're here now.

Minor complaint: if you set the function switch to act as the power switch (letting you turn the camera on and control it with the same hand), the default power switch on the left side of the camera becomes completely useless.

The new menus don't solve OM System's issue of its features not necessarily integrating with one another. It remains frustrating that you can't use the mode toggle switch, which would otherwise be a very handy feature, to switch between, say, continuous autofocus with facial recognition, and Tracking autofocus. The face detection mode (and any other modes added after the switch first appeared on the OM-D E-M5 II) can't be controlled by the switch; it will simply stay on, overriding Tracking AF. Still, the camera is very customizable, letting you reassign most of its buttons and dial directions.

Of course, USB-C is also a massive improvement, especially given that the OM-5 II has just okay battery life. Being able to charge your camera using the same equipment you have for your phone, computer, etc., is a luxury that you don't miss until it's gone, and it's a tradeoff this camera no longer asks you to make. Particularly for traveling, this is valuable.

Speaking of tradeoffs, though, we'll also point out that the OM-5 II isn't compatible with OM System's FL-LM3 flash unit, which we consider to be the best pack-in flash unit. We've written an entire article on the matter (and have since attached the flash to our OM-5 II to confirm it didn't work), but felt it deserved a mention here, given that the FL-LM3 did work with the original OM-5.

Conclusion

By Mitchell Clark

Pros	Cons
Good image quality New menus are a welcome improvement IBIS and IP rating are excellent for the price USB-C charging brings camera to modern age Lots of features in a small package Excellent handling for such a small camera	Dated video features Computational features can take a while to process Autofocus system isn't on par with cheaper options from Canon / Nikon / Sony, and even Fujifilm Customization options can't always control newer features Few cut features sting in such an otherwise small update

When viewed in a vacuum, it's hard to find much to complain about with the OM-5 II. It has a winning combination of good image quality, ergonomics and usability, combined with extra features you normally wouldn't get at this price point like an IP rating, computational photography modes and very solid IBIS. If this was your first camera, or if you were coming from a much older model, you'd probably be pretty happy with it.

There are, however, places where it starts to show its age. And unfortunately, it's in the basics. Autofocus is perhaps the most glaring; in 2025, even much cheaper cameras (which, admittedly, lack those aforementioned features) will provide more reliable tracking and offer greater AF area coverage and additional subject recognition types. Most will also have better video specs, with more flexible 10-bit recording modes and a headphone jack.

This camera's hardware also makes OM System's computational photography features – a major selling point on some of its other cameras – less appealing, because of just how long it takes to process them. That also means it's less convenient to use the high-resolution modes to gain back some of the image quality you give up by going with a smaller sensor.

For some thoughts on what the OM-5 II means for OM System and Micro Four Thirds, check out our initial review video.

The OM-5 II's biggest problem, at least initially, may be the original OM-5 itself, which is now selling for significantly less money. It's not that the Mark II doesn't offer any meaningful upgrades, because it does. But if you're willing to put up with microUSB and the old menus, you're getting essentially getting the same camera, but with slightly faster fixed-focus mechanical shutter burst rates and support for one of the best small flashes out there.

We do think there's a market for the OM-5 II. Like the company's other cameras, it still fits well into its niche as a tool for those traveling outdoors who may encounter bad weather and who don't necessarily want to bring a tripod. But as the entry point to that system, there are enough asterisks that you'd have to really want the specific things the OM-5 II is offering to choose it.

In theory, it's the kind of camera we'd love to recommend to people just starting out with the hobby, but its once ground-breaking spec is just a bit too far behind (in a way that cameras like the OM-3 and OM-1 / OM-1 II aren't) at this point for us to do that. As such, we don't feel as if we can grant it an award.

Buy now:

Click here to read our review of the Fujifilm X100VI

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

OM System OM-5 II

Category: Mid Range Interchangeable Lens Camera / DSLR

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The OM-5 II still offers some of the most features at its price point, but doesn't nail the basics as well as its competitors.

Good for

Travelers who need a small kit Outdoor enthusiasts IBIS fans

Not so good for

Sports and action shooters Videographers

82%

Overall score

Compared to its Peers

The Canon EOS R10 will provide more capable autofocus with better general tracking, face detection, and support for detecting other kinds of subjects. Some users will also greatly appreciate the ability to select an autofocus point with a joystick, rather than a touchscreen or four-way controller, and others will benefit from its much better video spec and higher burst rates. While Canon tightly controls what lenses are available for APS-C RF cameras, the selection that's available now is quite good for most types of shooting, even if it's not as extensive as the Micro Four Thirds system. Of course, it does ask you to give up weather resistance and sensor stabilization.

The Fujifilm X-S20 also has better face-tracking and more subject detection modes, but the autofocus performance gap between it and the OM-5 II isn't quite as big as with the Canon. However, it's even more capable when it comes to video – the headphone jack is great for monitoring audio – and is the cheapest APS-C option to offer a stabilized sensor (though its US price has crept up by a few hundred dollars since we listed it as a competitor).

The Nikon Z50II's comparison will reach much the same as the Canon's; it has much better autofocus and video than the OM-5 II, but is slightly held back by lens selection and an unstabilized sensor. Like the OM-5 II, it lacks an AF selection joystick, though the reliability of its '3D Tracking' system means you may find yourself missing it less. It's also the only APS-C camera in this price range to make a claim of weather resistance, though it's the typical vague promise, rather than the IP rating OM System tests for.

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Pre-Production Sample Gallery

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Leica M EV1 preview

Thu, 23 Oct 2025 13:00:00 Z

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Product photos: Richard Butler

The Leica M EV1 is a full-frame manual focus mirrorless camera with a 60MP BSI sensor. It's shaped like the company's other M-series models but has no optical viewfinder or rangefinder mechanism, relying instead on an electronic viewfinder.

Key specifications

60MP BSI CMOS full-frame sensor
60, 36 or 18MP output, Raw or JPEG
5.76M dot OLED EVF with 0.76x magnification
Two-way Fn switch on front
2.33M dot LCD rear touchscreen
64GB of internal storage
2.4/5Ghz Wi-Fi

The Leica M EV1 is available everywhere except the USA, where gaining FCC approval has caused a delay. Once cleared for sale in the US, it will be available at a recommended price of $8995.

Index

What's new

The Leica M EV1 features a new, diamond-patterned leatherette coating.

There's not much that's new on the M EV1, other than the concept of removing the rangefinder and optical viewfinder that goes with it, and replacing it with an EVF. Leica points out this isn't the first M-series camera to go without a rangefinder: the M1 made that move, while the MD, MD-a and MD-2 had no viewfinder, either.

Instead the M EV1 uses a variant of the 5.76M dot viewfinder found in the Q3 cameras, with 0.76x magnification. Unlike the conventional Ms, this viewfinder can accurately present the field of view of 21 and 24mm lenses, and show output from 90mm lenses at a decent size.

In addition to adapting better to a wider range of lenses, the magnified live view and focus peaking available in the viewfinder should allow greater precision than the traditional rangefinder mechanism, giving more reliable results with fast aperture lenses and not needing such careful handling or calibration.

How it compares

Leica cameras are luxury goods, as well as being cameras, so it's somewhat hard to compare them. When the brand name and cost (and the exclusivity it implies) are part of the allure, conventional spec comparisons fall apart.

At the most basic level, you can get essentially the same sensor in the Sony a7CR for considerable less money, and get a similar shooting experience by adapting your M-mount lenses to fit. It won't be as small, be as nicely built or say Leica on the front, but in purely pragmatic terms, it'll be comparable.

	Leica M EV1	Leica M11-P	Sony a7CR
MSRP	$8995	$9840	$3399
Sensor	60MP BSI CMOS Full-frame	60MP BSI CMOS Full-frame	60MP BSI CMOS Full-frame
Viewfinder	5.76M dot / 0.76x	Optical	2.36M dot / 0.7x
Focus system	MF via liveview	MF via rangefinder	Autofocus MF via liveview
Shutter	Up to 1/4000 Mech Up to 1/16000 Elec Sync 1/180	Up to 1/4000 Mech Up to 1/16000 Elec	Up to 1/4000 EFCS Up to 1/8000 Elec Sync 1/160
Video	No	No	4K/60 (1.2x crop) 4K/30 full-width 4K/30 (1.5x crop, 6.2K)
Content credentials	Yes	Yes	No
Battery rating LCD / Viewfinder	244 / 237	244 / 700	530 / 490
Dimensions	147 x 80 x 38mm	147 x 80 x 38mm	124 x 71 x 63mm
Weight	484g	530g (black) 640g (silver)	515g

We could also have compared the Leicas to the company's own SL3 model or Sony's higher-specced a7R V, but we thought choosing the smaller Sony was the closest in size and format.

Of course we don't think anyone will actually be choosing between the Leicas and the Sony, but it gives some perspective on what you do and don't get for your money. But, while it's impossible to objectively say whether autofocus is inherently better than using a rangefinder (and hence haven't assigned red or green highlighting), our experience has been that both the M11-P and a7CR offer a lot that the M EV1 doesn't.

Body and handling

The M EV1 essentially has the same body as the M11-P but with no viewfinder window at the front. The ISO dial is also absent from the shoulder of the camera, presumably as the EVF extends further into the space it would usually occupy.

The rest of the layout is very similar. The body has a nice, solid-feeling weight to it, and it has the same minimalist design that fits in the hand nicely and gives off a sense of solidity when you hold it.

The move to an EVF allows you to adjust the diopter, using the little pop-out dial. It can be adjusted from -4 up to +2 correction.

The camera uses a menu system similar to the one we liked on the Q3 43, but unfortunately with the addition of a 'Leica Content Credentials' option that means it takes an extra step before you can get into the menu proper. It's an odd decision, given Content Credentials doesn't seem like a setting you're likely to want to change regularly.

Battery

The M EV1 uses the same BP-SCL7 battery as the rest of the M11 family of cameras. It's a fairly substantial 13.3Wh unit that Leica says will power the camera to a rating of 244 shots per charge if you use the rear screen and 237 if you use the viewfinder. These numbers use the CIPA testing standard, which tends to significantly under-represent the battery life, but sub 300 ratings usually mean having to carry a spare battery or external USB power pack if you're a prolific photographer.

Initial impressions

by Richard Butler

I remember the first time I got to use a Leica rangefinder. Within a few hours I'd taken two photos that I can still picture in my head, nearly two decades later. They weren't necessarily in perfect focus, but I found it so quick to match the overlayed images that I quickly came to see how a technology could be superseded several times over, yet not be rendered obsolete.

"Anyone really interested in photography should rent a rangefinder for a weekend," has been a recurring phrase I've used in the years since.

Sadly, the M EV1 offers none of this experience.

Leica M-Summicron 35mm F2 | F4.8 | 1/250 sec | ISO 64
Processed with Adobe Camera Raw
Photo: Richard Butler

Focus peaking makes it possible to match some of the speed of using a rangefinder, with perhaps somewhat similarly approximate focus. As with all these systems, it's highly dependent on aperture and light level, meaning everything can end up highlighted, at times, or nothing, sometimes. For the sort of precision that 60MP probably deserves, you'll need to use magnified live view.

Unlike some modern mirrorless cameras, the M EV1 doesn't have anything like a subject recognition system, to let you punch-in on potential subjects, so you'll have to tap on the screen or use the four-way controller to very slowly reposition the target point you want to zoom in on, though be careful not to tap the screen with your nose, if you're left-eye dominant, because that'll move your point, too.

Of course you could focus at the center and shift the camera, as you might with a rangefinder, but that would throw away any precision benefit that live view should have.

Leica M-Summicron 35mm F2 | F2.0 | 1/1250 sec | ISO 64
Processed with Adobe Camera Raw
Photo: Richard Butler

I wrote, back when the M11 was launched, that the flexibility of live view and the added focusing precision it offered risked making the rangefinder and optical viewfinder seem redundant. My experience with the M EV1 so far suggests I was wrong.

I should make clear, I'm not a fan of shooting with manual focus lenses on modern cameras, full-stop. I find it slow and imprecise, and the focus tools are nothing like as simple and fast (albeit imprecise) as a split prism finder on an SLR or a rangefinder.

This job doesn't allow me the leeway of being 'there or thereabouts' in terms of focus, and I just find the whole thing slow, frustrating and fiddly.

Leica M-Summicron 35mm F2 | F2.8 | 1/1160 sec | ISO 64
Photo: Richard Butler

Based on using the camera for a week, I can't see the point in paying 91% of the cost of a Leica rangefinder, only to get something that isn't a rangefinder and that's no more elegant to shoot with than any other mirrorless camera trying to manual focus. Yes it's beautifully made and it has a red dot, but I'm not sure you gain much over, say, a Sony a7CR, with which it shares a sensor.

After a few minutes of shooting with an M9, I understood why someone might buy a rangefinder. After a few days with the M-EV1, I'm at a loss to why anyone would buy this instead.

Best fixed prime lens cameras in 2025

Wed, 01 Oct 2025 14:20:00 Z

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Updated October 1, 2025

Fixed lens cameras may be a bit niche, but there's a reason they're so popular amongst photographers. They often come with small, bright lenses that offer better image quality than most compact zooms, in a variety of focal lengths, matched to relatively large sensors to give you the perfect field of view for your style of shooting.

Our picks range from pocketable models to larger cameras that you'll have to you'll have to consciously decide to take with you. They also cover a wide range of prices; while there sadly aren't any budget options, some come with much higher price tags than others, reaching well into the thousands of dollars.

Our picks:

Best fixed lens camera for patient people: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

Image: Richard Butler

Buy now:

$1599 at Adorama

$1599 at B&H Photo

What we like:

Excellent build quality
Subject-detection autofocus
Now with in-body image stabilization

What we don't:

Lens not especially fast to focus
Hard to find in stock

The X100VI is a relatively small camera with a 35mm equiv. F2 lens that focuses on producing great JPEGs and having tactile controls. It adds to that experience with a hybrid viewfinder that you can use in optical mode with or without projected framelines, similar to a traditional rangefinder, or as an electronic viewfinder, ideal for close-ups.

All of that was also true of its predecessor, but the VI is a significant upgrade despite its identical appearance; it gains in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor and subject-recognition autofocus, which gives it the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains. However, human (face/eye) detection is a separate mode.

The lens is not the fastest to autofocus, prioritizing sharpness over speed, though that's not necessarily unique in this category.

The X100VI is probably worth the wait

The elephant in the room is that the X100VI has been quite hard to get since its initial release, though that slowly appears to be changing if you're willing to sign up for waitlists or are lucky enough to live in countries where demand for it is lower.

It's probably worth the wait. While the X100VI has more dials and functions than previous versions, it still offers one of the most engaging photographic experiences out there. It's easy to see why it became so frustratingly unobtainable: It's an even better follow-up to a camera that was already popular with photographers of all kinds, and that had already sold out after going viral.

However, if you like the X100VI and want a camera that does much of what it does, but even more so, read on for our next pick.

Click here to see the Fujifilm X100VI studio scene

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The super X100: Sony DSC-RX1R III

60.2MP Full-frame BSI CMOS sensor | 35mm F2 lens | Compact body with direct controls

Photo: Richard Butler

Buy now:

Click here to read our review of the Sony RX1R III

What we like:

Excellent image quality
Genuinely small
Very responsive

What we don't:

Very expensive
Fixed screen limits flexibility
Low-res viewfinder

The Sony DSC-RX1R III is the company's fourth full-frame, fixed-lens 35mm camera, now using a 60.2MP BSI CMOS sensor.

If you're attracted to the X100's combination of a 35mm equiv lens in a small body with great image quality, you might find you really love the Sony RX1R III. It takes a 35mm F2 lens and pairs it with a 61MP full-frame sensor, delivering the most image quality you can get from a camera this small.

Its autofocus also outperforms the Fujifilm, thanks to some excellent subject recognition algorithms and a faster-focusing lens.

"You can't get this much image quality out of anything else this small"

It comes at a serious price and, on paper, you can out-spec it for less money by buying the interchangeable lens Sony a7CR, with which it shares many components. But the ILC's controls aren't as engaging, it ends up being a fair bit larger than the RX1 if you add a comparable lens and it just doesn't have the build quality or desirability of a small, focused, dedicated photographers' compact.

If you don't get why people like the X100 series (or simply don't value the things it offers), walk away. If you understand the appeal, then this is the cost-no-object step up from that concept.

Click here to see the RX1R III studio scene

What about larger formats?

Fujifilm also makes the GFX100RF, which pairs a wider, 28mm equiv. F4 lens with a 102MP medium format sensor. There's a lot to recommend it: it's beautifully designed, lets you use its large, high-resolution sensor in creative ways, and offers the best image quality of any fixed-lens camera we've seen in the right conditions. But we feel it doesn't quite excel enough in any one area to beat out the rest of the competition on this list. It's small for what it is, but still not particularly compact, and the relatively slow lens and no image stabilization limit the number of situations you can use it in while still getting the most out of its sensor. If you mainly shoot in good light, though, the GFX100RF offers image quality unparalleled for its size.

Best pocketable fixed lens camera: Ricoh GR IV

24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth

Photo: Richard Butler

Buy now:

Click here to read our review of the Ricoh GR IV

What we like:

Great image quality
Well-considered controls
53GB of built-in storage is extremely convenient

What we don't:

Dated autofocus performance
Pricey (even more with flash)
Battery life is just okay

The Ricoh GR IV is a photographer's compact camera with a 26MP APS-C BSI sensor and (very sharp) fixed 28mm equiv. F2.8 lens, all contained in a very small body.

Aside from the X half, the GR IV is the lightest and most compact camera on this list by some margin, thanks to its retracting lens and lack of a viewfinder. If size is a major concern for you, it's definitely the fixed lens option to look at.

Image quality is excellent in Raw, though the JPEGs aren't quite as sharp as they could be. The lens is very sharp across most of the frame, even wide open.

The user interface, both hardware and software, is pitch-perfect for the type of shooting you're likely to do with the GR IV.

The GR IV has well-considered controls, letting you easily change the most important settings with one hand. It's also very customizable.

Click here to see the Ricoh GR IV studio scene

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A different perspective

Ricoh also sells the GR IIIx, which is the same great camera as the now-discontinued GR III but with a 40mm equiv. lens instead. If you prefer the 'normal' field of view to a wider one, it's the option Ricoh provides, though it won't include the upgrades brought along by the IV, such as the bigger battery, improved IBIS and updated controls (not to mention the better processing engine, with JPEG colors that we much prefer).

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Buy now:

The Rolls-Royce of fixed lens cameras: Leica Q3 43

43mm F2 stabilized lens | 60MP BSI CMOS full-frame sensor | 5.76M dot OLED EVF

Photo: Richard Butler

Buy now:

Click here to read our review of the Leica Q3 43

What we like:

Excellent image quality
Fast, dependable autofocus
Good video support tools

What we don't:

Subject recognition system could be better
Auto white balance can be aggressively neutral/cool
Significant price premium for the Leica name

Built around the same sensor and even higher price tags, the Leica Q3 and Q3 43 are 28 and 43mm equiv rivals to the Sony RX1R III. They're both appreciably larger than the Sony, but offer a similarly-focused photographic experience with more refined menus and interfaces. Both have sharper lenses and offer image stabilization, so you're getting more for your extra money than simply the cachet of that famous red dot on the front.

While we've chosen the Q3 43 for its excellent control layout that puts photography first, the camera is also available with a 28mm F1.7 lens. There are minor cosmetic differences between the two Q3 models, such as the color of the leatherette wrap, but they're otherwise the same camera. There's also a price difference, with the 43 coming at a $600 premium.

Image quality is superb, with a lens that's very sharp and with high cross-frame consistency even at wide apertures. The light luminance noise reduction helps preserve detail at high ISOs.

The Leica Q3 43 is a beautiful piece of engineering and design, and a welcome addition to the range.

The controls are minimal, but help focus your attention on the fundamental settings of photography. It has the build quality that you'd expect of a luxury product.

Autofocus is swift and precise, though the subject recognition system doesn't let you specify an AF point to pre-select a subject and can jump from one subject to another if there are multiple options in a scene.

The Q3 43 is an impressive photographic tool, and manages to feel like a first-rate camera, not just a desirable object.

Click here to see the Leica Q3 43 studio scene

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The just-for-fun fixed lens: Fujifilm X half

18MP Type 1 sensor | 32mm equiv F2.8 lens | Film Camera simulation mode

Photo: Richard Butler

Buy now:

Click here to read our review of the Fujifilm X half

What we like:

Genuinely compact
Attractive color modes
A lot of fun

What we don't:

Focus rather unreliable
Touchscreens are laggy
Expensive

The X half is a JPEG-only pocket camera that shoots vertical images and makes a game of approximating the film experience.

This camera is very different from the others on this list because its entire reason for being is fun; it doesn't hold up as a competitor if you're looking for a camera to take seriously. From its separate film simulation window, built-in dyptic feature and film camera mode, the X half is designed to encourage you to play with your photography. If you find yourself scrutinizing its image quality, thinking about it as a miniature X100, or are at all annoyed that it doesn't shoot Raw, you should treat it like a rod of cobalt-60: drop and run. (Or, less dramatically, simply don't buy it).

It's all a question of whether you want a camera that might be called "adorable"

It has direct controls for exposure comp, aperture and a 'film' advance lever. Most other settings are controlled via two touchscreens, one of which pretends to be a film window.

AF is the camera's biggest shortcoming: being rather slow and laggy. The camera can detect faces but can't always then successfully focus on them. It's worth being patient with, though.

The X half is not a serious camera, but it's tremendous fun. The price and unreliable people focus put us off, but we found it constantly endearing to use. It's all a question of whether you want a camera that might be called "adorable," rather than technically excellent.

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Why should you trust us?

The best cameras under $2000 in 2025

Tue, 30 Sep 2025 16:02:00 Z

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Updated: September 30, 2025

$2000 or the equivalent in your local currency is a lot to spend on a camera, especially when you're just starting out. However, if you can spare the funds, it's the price bracket where cameras start to get really good. You can expect powerful but easy-to-use autofocus systems, cameras that make it easier than ever to learn the craft of photography, and even some more advanced and capable options.

While this article used to only consider cameras up to $1500, because of inflation (and, in the US, tariffs), this class of camera has risen in price; if a camera cost $1500 when it was introduced in 2019, its successor may now cost around $1800.

The biggest decision will likely be whether to go with a full-frame camera – a name that comes from their sensors being the same size as a frame of 35mm film – or a camera with a smaller APS-C or Micro Four Thirds sensor.

Essentially, choosing a sensor size comes with trade-offs between size, price, and image quality, as well as features. You can get some pretty advanced cameras in all three sensor sizes for under $2000, so that focus on system price and portability vs. peak image quality is the biggest distinction.

After extensive use, the following cameras would be our picks in this price range:

Our picks:

Best camera for under $2000: Nikon Z5II

24MP BSI full-frame sensor | In-body image stabilization | Dual UHS-II card slots

The Nikon Z5 II is the first full-frame camera to launch for under $2000 that doesn't feel like it's asking you to make big compromises. Lens availability is still a concern, but it's a capable and enjoyable camera to use.
Photo: Mitchell Clark

Buy now:

Read our full review of the Nikon Z5II

What we like:

Excellent image quality
Very good autofocus, for a range of subjects
Excellent handling, ergonomics and feature set

What we don't:

Reasonable, but not great, battery life
Needs to crop to deliver 4K/60
Lens choice limited by Nikon

The Nikon Z5II is a full-frame mirrorless camera built around a 24MP BSI CMOS sensor.

It earns its place on this list by being one of the most capable and fully featured full-frame options we've seen at this price point. More expensive options may offer better video, faster burst rates and more bells and whistles, but the Z5II will be more than enough camera for a vast number and variety of photographers. You'll have a hard time outgrowing it.

The Z5II is a solid camera with a deep grip and plenty of customizable buttons. It's comfortable to use, even for long sessions using a relatively large lens.

The Nikon Z5II is almost unimaginably good for a camera priced under $2000.

Video quality is good, though with a decent amount of rolling shutter, and it offers advanced options like Log, HLG HDR and N-Raw capture. Autofocus isn't as dependable as it is in stills.

Image quality is excellent, and the Z5II can capture HLG HDR images using HEIF files for a more life-like viewing experience.

See the Nikon Z5II studio scene

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The other full-frame options

Canon's entry-level full-frame camera, the EOS R8, used to top this list thanks to its great autofocus and detailed, full-width video. With the Z5II, Nikon has caught up in autofocus performance, and we feel its inclusion of IBIS, better viewfinder, autofocus joystick and larger battery make it a significantly nicer full-frame pick.

We also considered the Sony a7c, which is still available at seemingly tempting prices. However, it's a little hard to recommend in 2025; it's essentially a smaller and less-expensive a7 III, which means it also has less sophisticated autofocus, video and image stabilization, as well as clunky, dated menu design. The a7c also has no front control dial – a feature Sony added to the a7c II – and, most significantly, a very small, low-resolution viewfinder.

A single control dial and lack of EVF also keep the Panasonic S9 from a more prominent position on this list, and it doesn't help that its autofocus isn't quite on pace with Canon, Nikon or Sony's greatest.

Enjoyable to shoot with: Fujifilm X-T5

The X-T5 puts control over all your exposure parameters right on the top plate.
Photo: Richard Butler

Buy now:

Read our full Fujifilm X-T5 review

What we like:

Dedicated dial interface shows your settings
Detailed 40MP images
Photo-centric design and feature set

What we don't:

Autofocus prone to false-positives
Significant rolling shutter in e-shutter mode
Smaller buffer, lower-spec video than X-H2

The Fujifilm X-T5 is a classically-styled, photo-focused 40MP enthusiast mirrorless camera, based around an image-stabilized BSI sensor.

While the X-T5 doesn't have the absolutely best autofocus or highest-end video, we find its user interface, honed over several generations and complete with every dial you could ever ask for, makes it one of the most enjoyable and engaging APS-C cameras to shoot with.

The X-T5 foregoes some of the X-H2's video features to offer a more photo-centric experience with classic styling

See the Fujifilm X-T5 studio scene

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Most versatile option: Sony a6700

26MP BSI CMOS sensor | 4K/60p video capture | Fully articulating screen

The Sony a6700 combines all-round stills and video capabilities with class-leading autofocus. The standard 16-50mm kit zoom's not great, though.
Photo: Richard Butler

Buy now:

$1398 at Amazon.com

$1398 at B&H Photo

Read our full Sony a6700 review

What we like:

Front and rear command dials
Excellent AF in stills and video
4K/120p capture (with crop)

What we don't:

No AF joystick
JPEG sharpening can be aggressive

The Sony a6700 is an enthusiast-level APS-C mirrorless camera built around an image-stabilized, 26MP BSI CMOS sensor. It includes an impressive collection of features for both photo and video shooters, and is included on this list because it provides some of the best autofocus you can get in an APS-C camera.

Autofocus on the a6700 offers class-leading subject detection and tracking capabilities. Combined with a dedicated ‘AI’ processor, it effectively tracks subjects around the frame even when shooting at the maximum 11 fps burst shooting rate.

"Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts."

Image quality is very good in JPEG or Raw. JPEG colors are pleasing to the eye, though sharpening can be a bit aggressive. Base ISO noise levels are consistent with other modern APS-C models but in low light it exhibits a little more noise.

See the Sony a6700 studio scene

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Other APS-C cameras worth considering

The Canon EOS R7 is also an excellent option, providing a high-resolution sensor, great autofocus, and the ability to shoot at up to 15fps. Sigma has also recently started making APS-C lenses for RF mount, giving those who want to go beyond the kit lens more options, though there's still no particularly great telephoto option for sports and wildlife photographers.

A fixed-lens option: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy.
Photo: Richard Butler

Buy now:

$1599 at Adorama

$1599 at B&H Photo

What we like:

Excellent build quality
Subject-detection autofocus
Now with in-body image stabilization

What we don't:

Lens not especially fast to focus
Hard to find in stock

While the rest of our selections from this guide have interchangeable lenses, a feature you might demand at this price point, the incredibly hyped-up Fujifilm X100VI also sits just under the $2,000 price range at a new, higher price than its predecessor and is worth considering.

A fixed-lens camera with a 35mm equivalent F2 lens, the X100VI is in active production following its 2024 launch, and so should be somewhat easier to buy than its constantly out-of-stock forebear. The reality, at the moment, is that it too can still quite hard to find.

Updated with in-body image stabilization and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical.

If you're looking to make an investment in a camera with a ton of versatility, the X100VI doesn't compete with cameras that support dozens or hundreds of lenses. But for the price point, it's the best at what it does.

Read our Fujifilm X100VI review

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The affordable kit: OM System OM-5 II

20MP Four Thirds sensor | Up to 7.5EV stabilization | IP53-rated dust and water resistance

The OM-5 II offers a smaller, more rugged alternative to APS-C or full-frame cameras.
Photo: Mitchell Clark

Buy now:

Read our OM System OM-5 review

Even smaller than APS-C are Four Thirds sensors. The Micro Four Thirds system uses a sensor one-quarter the size of that in 'full-frame,' which means there'll be an appreciable image quality hit in many situations, and it'll be harder to achieve the blurry backgrounds that full-frame can give. The flipside, though, is a significantly smaller system for which some of the lenses are much less expensive.

The OM System OM-5 II is a compact 20MP image-stabilized Micro Four Thirds mirrorless camera. And while most cameras in this list are around $1500-2000 on their own, you can easily get the OM-5 II and a lens while still staying within that budget. We're still working on our full review of it, but its hardware is very similar to that of the original OM-5, so it should perform identically when it comes to image quality and autofocus.

See the OM System OM-5 studio scene

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Why you should trust us

Ricoh GR IV review

Wed, 24 Sep 2025 15:00:00 Z

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Product photos: Richard Butler

The Ricoh GR IV is a photographer's compact built around a 26MP APS-C sensor with a fixed 28mm equiv. F2.8 lens. It's the fourth entry in the GR series (though that was preceded by the long-running GR Digital series and film models prior to that), and includes elements from previous GR cameras that had been dropped by its predecessor.

Key Specs:

25.74MP APS-C sensor
18.3mm F2.8 lens (28mm equiv)
Magnesium alloy body
Built-in 2EV ND
5-axis image stabilization
53GB internal storage and UHS-I Micro SD slot
3.0" 1.04M dot LCD (720 x 480 px)
FullHD (1080) video up to 60p
262g with memory card and battery

The GR IV is available at an MSRP of $1499. This price represents a substantial increase from the GR III's $899 2018 launch price, though is less of a jump from the former market rate for the special editions of that camera, which go for around $1100 (when you can find them in stock).

Index:

Buy now:

What's New

Updated sensor

The GR IV uses a 25.74MP backside-illuminated sensor, compared to the 24MP frontside-illuminated one found in the GR III. It seems likely that it's the same sensor Sony uses for its a6700 and Pentax in the K-3 III, which would mean Ricoh is continuing its tradition of using tried-and-true imaging tech in the GR series.

In large sensors, the benefits of BSI tend to have more to do with getting even illumination at the corners of the sensor, rather than having much impact on overall noise.

Redesigned lens

Also getting an update is the 18.3mm (28mm equiv) F2.8 lens. Ricoh has refreshed the formula, adding another aspherical element, which it says should provide better detail and sharpness in the corners. More importantly, the lens barrel is thinner, which means it can extend faster, improving the camera's startup time by 0.2 seconds. This may not sound like much, but it's a 25% improvement.

The company also says it focused on making the lens suck in less dust when it retracts and extends. While it's still not making any claims about weather or dust resistance, it clearly saw users' complaints about their previous GR cameras getting dust on the sensor, as it's also added a new anti-fouling and anti-static coating to the UV/IR cut filter. That should make it easier for the sensor's cleaning routine to shake off any dust that makes it into the body.

New old control layout

Left: GR IV. Right: GR III

The GR IV's control scheme reverses several changes made with the GR III, and so more closely resembles the layout of the original GR and GR II. Most notably, it replaces the rear-plate control dial with a multi-directional controller, and regains the "+ / –" rocker switch the III dropped.

It isn't just a complete remake of the GR II, though. The rear jog lever that's been on all of the GR cameras up to this point has been replaced with a clickable command dial. The company has also added a position for the Snap Distance Priority mode, introduced via a firmware update to the GR III, onto the camera's mode dial. It makes the camera's zone focusing system a little more approachable, letting you control your focus distance with one dial, and the depth of field with the other, with the camera setting your other exposure settings accordingly.

The Program auto mode has also received a substantial rework, adopting Pentax's Hyper Program mode in all but name. You can now use the dials to override it to either prioritize aperture or shutter speed, using the command dials, and can reset back to auto with a press of the mode dial's lock button.

Upgraded internals and battery

The GR IV has a new image processor, which the company says can provide more sophisticated noise reduction and more accurate color reproduction in the out-of-camera JPEGs. It's also paired with new autofocus algorithms, which should improve its focusing speed and accuracy, especially in more difficult scenarios, according to Ricoh.

The sensor stabilization system has also been upgraded, moving from a three-axis design to a five-axis one, providing a bump from a 4EV rating of stabilization to 6EV.

Additionally, Ricoh has massively increased the amount of internal storage; while the GR III had around 2GB built-in, the GR IV has 53GB, which, for many users, may be enough to obviate a separate memory card. Which may be a relief, given that Ricoh has chosen to go with a Micro SD card slot, rather than a full-size one, this time around, to make way for other changes.

A flashy accessory

The GF-2 is sold separately, but provides a reasonably-priced, compact option for those who miss the original GR's built-in flash.

Alongside the GR IV, Ricoh is launching the GF-2, a sold-separately external flash designed to be compact and to fit the camera's design. It has a guide number of 3 at ISO 100, and has its own battery and charges via USB-C, so using it won't wear down the camera's battery. And while it's not a TTL flash, it is aware of the camera's exposure settings and focus distance, allowing for an automatic mode, though it can also be used manually.

Ricoh says that its customers are split on whether they care about the GR having an internal flash, but that they universally care about it being compact and pocketable. According to the company, the external flash lets the camera be as small as possible while making it so those who don't care about having it don't have to pay for its inclusion.

The flash doesn't power on with the camera, as you may not wish to use it every time, but it is clever enough to power down when you switch the camera off.

The GF-2 flash unit will cost $119.

How does it compare?

Specs-wise, the GR IV is a mild update to the GR III, but there are enough differences to its core specs that we felt it was worth a direct comparison. We've also included Fujifilm's fixed-lens X100 VI; while its 35mm equiv. focal length will likely appeal to a different set of shooters, it's arguably the most famous of the photographer's fixed-lens cameras out there today. And while the RX100 VII's zoom lens and smaller sensor make for a very different shooting experience than the fixed lens APS-C cameras on this list, its size may make it attractive to the same photographers considering a GR.

	Ricoh GR IV	Ricoh GR III	Fujifilm X100 VI	RX100 VII
MSRP	$1499	$899 / £799	$1799 / £1599 / €1799	$1698
Sensor Size	APS-C (367mm²)	APS-C (367mm²)	APS-C (367mm²)	Type 1 (116mm²)
Pixel Count	25.74MP	24MP	40.2MP	20.1MP
Lens (equiv)	28mm F2.8	28mm F2.8	35mm F2	24-200mm F2.8-4.5
Stabilization	IBIS, 6EV	IBIS, 4EV	IBIS, 6EV	OIS
Burst Rate	4fps	4fps	6fps mech. 13fps elec.	20fps
EVF	N/A	N/A	3.69M dot 0.66x Hybrid optical / EVF	2.36M dot 0.59x Pop-up
Rear screen	3.0" 1.04M dot Fixed	3.0" 1.04M dot Fixed	3.0" 1.62M dot Tilting	3.0" 0.92M dot Tilting
Built-in flash?	No	No	Yes, fixed	Yes, pop-up
Weather sealing?	No	No	Yes, w/ optional adapter ring and filter	No
Built-in ND?	2EV	2EV	4EV	No
Storage	53GB internal 1x UHS-1 Micro SD	2GB internal 1x UHS-1 SD	1x UHS-1 SD	1x UHS-1 SD
Battery life Shots/charge	250	200	310 EVF / 450 OVF	240 EV / 260 LCD
Video max res/rate	FullHD 60p	FullHD 60p	6.2K 30p (1.23x crop) UHD / DCI 4K 30p (full width) 4K 60p (1.14x crop)	UHD 4K 30p (1.08x crop)
USB / Wi-Fi	Type C / 2.4 + 5 Ghz	Type C / 2.4Ghz	Type C 10Gbps / 2.4 + 5 GHz	Micro USB / 2.4 GHz
Dimensions	109 x 61 x 33mm	109 x 62 x 33mm	128 x 75 x 55mm	102 x 58 x 43mm
Weight	262g	257g	521g	302g

While it's certainly not large, the X100 VI is substantially bulkier and heavier than the GR III/IV. However, there are reasons why: you get better battery life, a faster lens and a viewfinder experience that can be very engaging to shoot with. It's not the best option if you're looking for the most pocketable option, but it's still a portable and engaging fixed-lens camera, with features like a built-in flash and weather resistance that some fans of the Ricoh GR series have been asking for.

The RX100 VII is the oldest camera on this list, and that manifests in several ways; while its older autofocus system was once top-of-the-pack (and is still mostly competitive today), Sony's latest versions are even better. The menu system hasn't aged as gracefully, as it arguably wasn't very good to begin with, and the Micro USB port means that most people will have to carry a separate charger for it. However, its zoom lens and stacked sensor make it a more versatile pick for those looking for a camera that can also handle sports and action.

Body and Handling

The GR IV retains the same utilitarian styling that the GR series has always been known for, though it is now slightly slimmer and shorter. The difference is subtle on the spec sheet, but is noticeable in the hand and the pocket.

At the heart of the camera are its controls, which can be operated entirely with one hand. The two top-plate command dials are placed near where your thumb and forefinger naturally rest, giving you quick control over your exposure settings.

Pressing the rear dial brings up the 'ADJ' quick settings menu, which is entirely customizable. You can choose up to five categories of settings to be accessible from the menu, from 17 options such as color mode, drive mode, ISO settings, focus mode and so on. One dial switches between the categories, while the other lets you make your selection from them. You can arrange them in whatever order you prefer, so your most-changed settings are immediately at your fingertips.

You can pare the Adjust menu down to contain just your essentials.

By default, the menu will pop back up until you confirm your selection, though you can set the camera to do so with a half-press of the shutter. This customizability carries over to the rest of the camera, too, with over thirty settings for the function button and granular control over what a half-press of the shutter button does.

The menu system is also entirely navigable by touch if you prefer a more direct form of interaction. While it can be set to take a photo when you tap the screen, the menu doesn't live on the liveview display, avoiding the risk of accidentally toggling between touch-to-focus and touch-shutter modes.

In short, the GR IV gives you plenty of room to set it up in a way that suits your shooting style. It's extremely quick to operate once you have it dialed in, letting you change your most-accessed settings on the fly while staying in the moment, and making it easy to focus on the essentials of photography, rather than your camera.

All of this hasn't come about by chance: it's a result of continuous evolution of a well-loved interface, and it can be really quick to operate, once you're got a feel for it.

Display

The 3.0" rear LCD's resolution is unchanged from the previous model, and while it's not particularly high-resolution, it's sufficient for composing and checking focus after the fact (as long as you punch in to 1:1). It now has an auto-brightness setting, which monitors the ambient light through the lens and makes adjustments accordingly. Even when shooting on very sunny days, we found it relatively visible given its fixed placement on the back of the camera.

While the camera doesn't have a viewfinder, it is still compatible with the add-on optical viewfinders released for the GR III. The company says it plans on releasing new models more suited to the new camera's reduced depth, but that the older models should still fit reasonably well.

Ports and connectivity

The GR IV has a USB-C port hidden under a flap, which you can use to charge the camera even while in use and to offload images from its internal memory and Micro SD card.

It also gains 5Ghz Wi-Fi in regions where the standard is allowed, making offloading images to your phone via the GR World app even faster.

Battery

The GR IV uses a 6.9Wh DB-120 battery, which has around 40% greater capacity than the 4.9Wh DB-110 used by the GR III. The CIPA battery life rating receives a more modest bump; the GR IV is rated for 250 shots versus the GR III's 200, a 25% improvement. It's a physically larger battery, which is almost certainly why the GR IV has had to adopt a Micro SD slot.

CIPA ratings tend to be lower than what you'll actually get in real-world conditions, and are more useful as a common point of comparison between cameras than a literal number of shots that you can expect to get. With that said, it wasn't uncommon for the GR III to run out of power well before hitting 200 shots, and we found we could actually hit around 250 per charge with the IV, so it's a bigger jump than the ratings suggest.

Image Quality

Image Comparison

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At base ISO, the GR IV's Raws capture a good amount of detail, though not noticeably more than its predecessor (though that's not particularly surprising, given the tiny bump in resolution and limitations of how closely we can match focus). The higher-resolution X100VI captures a touch more detail, but both capture more than the lower-resolution sensor and zoom lens in the RX100 VIII. Compared to its contemporaries, low ISO noise performance follows sensor size, with the GR IV and X100VI performing similarly, though the GR IV appears to have noticeably less than its predecessor, which is somewhat suspicious.

At high ISOs, however, it's clearly applying noise reduction to its Raws, like the Pentax K-1 II does. Thankfully, the cross-hatching pattern that shows up in that camera's Raws doesn't make a return here, but it's still disappointing to see, as it means the camera is throwing away some of the detail it's capturing.

We find the GR IV's standard color mode to be more pleasing than the one on the GR III.

The GR III's JPEG engine doesn't do a great job of expressing fine details at base ISO, and unfortunately, that's true of the GR IV, too. The trend continues at higher ISOs, with the noise reduction further reducing the amount of detail while still falling behind the Fujifilm in terms of graininess. We find its colors a bit more pleasing than the GR III's, though, and, realistically, this is an enthusiast camera, so we expect many owners to be working with its Raws to better control sharpness (or choosing to make it even softer with the grain effects in custom color modes).

Lens performance

Our studio test scene isn't designed to test lenses, and we had to shoot it from quite close, thanks to the 28mm equiv. lens. However, our working distance was still enough that the results mirror what we saw in the shots we took with it.

Compared to its predecessor, the GR IV doesn't have a significant lead in center sharpness. Move out towards the edges, though, and the story changes; the GR IV has some of the strongest performance we've seen in this class of camera, delivering noticeably better results than its peers, and more consistent performance across the frame than its predecessor. When you get to the corners, it's a bit soft, similar to the GR III, but Ricoh's use of a unit-focus lens design means it doesn't suffer nearly as much as the Fujifilm or Sony.

Image Comparison

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Speaking of the corners, you've likely noticed the heavy vignetting. While it's a touch better than the III, compared to cameras like the X100VI and the RX1R III, the GR IV's lens is noticeably darker in the periphery, even at F5.6. It doesn't get much worse when you open it up to F2.8, though, so the camera's built-in correction profile doesn't have to do a bunch of extra brightening for wide-open shots. It deals with the vignetting very nicely in JPEGs, though the corners getting less light means you'll see the extra noise there upon correction.

That consistency applies to its sharpness, too. At the edges, the lens is almost as good at F2.8 as it is at F5.6. The very corners are definitely softer with the lens wide-open, but performance improves as soon as you stop down.

Overall, we're impressed with the GR IV's lens. The GR III was already impressively sharp at the center, and Ricoh has done an admirable job stretching that performance out towards the edges of the frame. It's also quite consistent, so opening it up to let in more light doesn't come with a heavy cost.

Dynamic Range

F4 | 1/800 sec | ISO 100
Underexposed to protect highlights, brightness raised 2EV in Adobe Camera Raw.

The GR IV uses a sensor we're familiar with, and, as expected, has great dynamic range performance. It adds very little read noise, which means you have room to take a picture at its base ISO of 100 to capture the maximum dynamic range, and then boost it in post.

It also performs well when you're boosting shadows, letting you expose to preserve highlights, as seen above.

Autofocus

F2.8 | 1/500 sec | ISO 200 | Macro mode

The GR IV has a variety of autofocus area modes, including auto, which samples the whole frame, zone, which has a single size that covers roughly a quarter of the frame, a single, small AF point, and a pinpoint option. These autofocus selection options are single AF only; they'll focus when you half-press the shutter, but there's no way to get them to continuously update to account for movement.

This is more separated than most contemporary cameras, which typically let you use many of their selection point options in either continuous or single AF mode. With the GR IV, continuous is restricted to the Continuous and Tracking modes, both of which have small, non-resizable points. This somewhat limits your options for shooting moving subjects, especially ones where you don't know where exactly they'll enter frame, or ones that move erratically.

The facial recognition on the GR IV didn't reliably recognize people wearing sunglasses as humans.

The GR IV's face/eye detection mode works almost exclusively on humans (sorry, pet owners) and is available in the single focus modes. It's nowhere near as advanced as most manufacturers' systems; it generally only recognizes people who are close to and facing the camera. When it recognizes a face or faces, it automatically selects it, and you can choose between multiple recognized faces by tapping on the screen or using the directional controller. You can also tap elsewhere on the screen to get your AF selection point back and to ignore the recognized face.

You can move your focus point or zone using the four-way controller, though it's generally more expedient to do so via the touchscreen.

Autofocus performance

You can capture fast-moving objects with the GR IV, with a little pre-planning.

F2.8 | 1/60 sec | ISO 800

We found that the GR IV was generally quick and accurate when focusing in its single autofocus modes, though it would still occasionally hunt in darker, lower contrast scenarios, even with the help of the AF assist lamp.

Continuous autofocus performance was weaker. The camera was far more likely to hunt for a bit, then show a red box indicating that it couldn't focus on the subject. It would also occasionally seem to acquire focus on a subject, turning the box around it green, only to start hunting for focus again in the moment before we pressed the shutter, frustratingly leading to a completely out-of-focus shot.

Its tracking performance is also well off the pace for modern cameras. In ideal scenarios, it does a reasonable job of staying with your selected subject, allowing for track and recompose shooting, as long as you don't move too fast. However, with less favorable conditions, it would frequently wander off target, not keep up with a moving subject, or give up on tracking entirely.

But who needs it anyway?

Of course, many GR-series die-hards don't buy the camera for its autofocus capabilities. The line is famous for its zone focus-emulating Snap Focus system, which lets you specify a pre-determined distance. When you press the shutter button, it'll immediately focus to that distance and take a picture.

The Snap Focus priority mode, which now gets its own place on the mode dial, makes it even easier to use by giving you direct control of focus distance via a command dial (when shooting Snap Focus in other modes, you have to press a button and turn the dial to change your distance). It also lets you change your aperture setting by telling the camera how deep you want your field of focus to be, though it doesn't give you direct control over shutter speed, unless you work around it using the auto ISO minimum shutter speed setting.

Snap Focus priority mode, added via firmware update to the GR III, has graduated to having its own spot on the mode dial.

The mode (and zone focusing in general) takes time to get used to, but once you do, it can be a powerful tool, especially for street photography. However, you don't have to be all-in on the mode to benefit from it. In Snap Focus mode, you can touch the screen, and the camera will autofocus on your selected point, overriding the set focus distance. You can also set the camera to shoot at your selected Snap Focus distance even in your autofocus modes, provided you press the shutter all the way down immediately, with no half-press in between.

The GR IV is also one of the very rare compacts that retains your manual focus position even when you turn it completely off, letting you set the focus where the action will happen, then turn the camera off until just before the moment happens to conserve battery. As in all its focus modes, the camera's manual focus mode also does a good job of visualizing what the depth of field will be, given your aperture setting.

It has a dedicated infinity focus mode as well, where the camera will always focus to infinity when you press the shutter button (though as with Snap Focus, you can override it with a tap on the screen).

In Use

The GR IV isn't a revolutionary change to the series' formula, so there aren't that many surprises when it comes to what it's like to use. It's still a camera that can fit in a pant or jacket pocket, offers a lot of manual control and customizability, and is booted and ready to take a picture as soon as you take it out.

I find the return to the GR II's control scheme is a welcome one; the +/– rocker is a much nicer control point than a fiddly rear-plate dial, and the multi-directional controller is better for accessing your custom functions. Ricoh also doesn't make you waste time diving through menus; for example, if you use the on-screen display to adjust ISO, you can toggle auto mode with a press of the Fn button.

The GR IV (front) returns to a more traditional control scheme for the series, after the III (rear) departed a bit from it.

Of course, you could also do so using the extensively customizable Adjust menus, which feel like this camera's secret weapon. They put the controls that matter most to you right at your fingertips, making it so you rarely have to dive into the menus while shooting. The fact that you can zip through them using the two dials and have the option of confirming your choice with a half-press of the shutter button means it's very friendly to one-handed use, which is great for when you want to quickly grab a snapshot of whatever's happening in front of you.

The menus are, thankfully, entirely operable by touch for the rare times you have to dive into them. Of course, if you prefer the dials or multi-directional controller, those will work as well. The GR IV, characteristically, also gives you several options for choosing what a tap on the touchscreen does in live view, and there's no easily-brushable on-screen button that will change that choice on you.

Battery life still isn't exceptional, but you don't have to constantly worry about it

While battery life still isn't exceptional, it is now at least to the point where you don't have to constantly worry about it. I found I didn't feel the need to charge it after a light outing, where I'd only shot around 50-60 images; I was confident the camera could make it through another similar outing without dying.

The GR III lets you manually boost the screen's brightness to make it easier to see outdoors, but you can now set the GR IV to do so automatically, which is a nice touch. It appears to still be the same panel, though, so it will wash out in really bright conditions, making it a bit hard to compose and review your images.

Conclusion

By Mitchell Clark

Pros	Cons
Great image quality Lens performs great wide-open Actually fits in your pocket Well-considered controls Standard JPEG colors are much improved Built-in storage is extremely convenient IBIS works well in lower light Good built-in color modes with customization Updated Hyper Program Auto mode is actually useful	JPEGs aren't as sharp as they could be Dated autofocus performance Pricey (even more with flash) Screen could be brighter Battery life is still just fine MicroSD slot mildly annoying Video mode feels like an afterthought

Reviewing a camera like the GR IV is tough; it has a lot of dedicated fans who use it in a very particular way, and Ricoh has put a lot of effort into making sure the camera caters to that style of shooting. But at the same time, there's clearly a lot of interest in photographers' compacts outside of that core audience, and those buyers will likely value very different parts of the experience.

This divide is likely at its deepest when it comes to autofocus. I'm sure there will be GR IV owners who would never even consider using the camera's tracking mode, but if you're coming to the camera with experience from modern mirrorless systems, you'll likely find its continuous autofocus modes a letdown. Even compared to those on the X100VI, they're a fair way behind what we've come to expect, and the rest of the camera is absolutely good enough to justify a better class of autofocus.

If you can look past that, though, there's so much to like here. The user interface, both hardware and software, is pitch-perfect for the type of shooting you're likely to do with the GR IV. The better battery life makes it easier to take with you, without having to worry if it's fully charged. The Raw image quality is great, it has plenty of highly customizable and pleasing JPEG color modes, and the lens is shockingly good given the body it has to fit into.

That size is, increasingly, the star of the show, and it's impressive that Ricoh managed to make the GR IV even smaller (the difference is subtle, but definitely there). While the GR series has long provided some of the best image quality available in a pocketable camera, there used to be at least some competition.

Now, though, that's not really the case, and that brings us to what will likely be a big sticking point: price. Value is rarely as distinctly in the eye of the beholder as it is with this camera, because there aren't other options that provide this much image quality in a package this small. If you're willing to budge on either of those points, you can get something cheaper or with more bang for the buck. If you're not, your only real option is to pay what Ricoh is asking, even if it is substantially more than it asked for the previous model.

If the GR III were still available, we suspect there'd be customers who went for it to save some money... but they'd be missing out.

Ricoh perhaps could have softened that blow by packing in the flash (or at least making a slightly discounted kit available), or by improving the autofocus or making a noticeably bigger leap in image quality compared to the (still quite good) III. But as we've said before, we can only review the camera that the company actually made, and despite its price, the GR IV is still a very fun camera to carry, and an even more fun one to use.

While the autofocus performance keeps it from getting a Gold Award, we feel it handily deserves its silver thanks to its image quality, user interface and the subtle but important improvements it makes compared to its predecessor.

Buy now:

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Ricoh GR IV

Category: Enthusiast Large Sensor Compact Camera

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Optics

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The GR IV offers the most image quality you can get in a camera this size, alongside an engaging user interface.

Good for

Street photography Travelers People who want a truly pocketable fixed lens camera

Not so good for

Sports/Action Videographers

84%

Overall score

Compared to its peers

For some, a comparison to the Fujifilm X100VI will be a non-starter, thanks to its 35mm equiv. lens and noticeably larger body that won't fit in most pockets. If you're fine with the focal length and size, though – and are somehow lucky enough to find one for sale – its extra features like weather resistance, viewfinder, and flash could be quite enticing. While Fujifilm's continuous and tracking autofocus is more reliable than Ricoh's, it's not at its fastest in the X100VI, thanks to the unit-focus lens.

As for the Sony RX100 VII, it's a hard camera to recommend today, and is in some ways the GR IV's polar opposite; rather than giving you hands-on, engaging controls, it fights against you if you try to use it as anything other than a point-and-shoot. Its zoom lens makes it undeniably more versatile (at the cost of the focused style of photography that comes with a fixed prime), and its built-in flash and pop-up viewfinder will make some GR fans jealous, as will its autofocus. But even if you're willing to accept the lower image quality that comes from its smaller sensor, its antiquated menus, microUSB port, and absurdly inflated price tag are all reasons to avoid it in 2025.

Compared to its predecessor, the Ricoh GR III, there's no one standout spec that makes the GR IV the obvious winner. Rather, it's the compound effect of all the little improvements: the more consistent lens, improved autofocus, nicer user interface, bigger battery and more storage all add up to make it a noticeably more enjoyable camera to use.

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Hasselblad X2D II 100c review

Mon, 15 Sep 2025 17:10:00 Z

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Product Photos: Mitchell Clark

90%

The Hasselblad X2D II 100C is a medium format mirrorless camera, built around a 44mm x 33mm, 100MP BSI CMOS sensor. It's designed to deliver a high-dynamic range image workflow, and gains continuous autofocus supported by Light Detection and Ranging (LiDAR) sensors and more effective image stabilization.

Key Specifications

100MP 44x33mm BSI CMOS sensor
HDR output (HEIF or Ultra HDR JPEG) by default
IBIS up to 10EV
Continuous autofocus
3.6", 2.36M dot tilting rear OLED display w/ 1400 nit peak brightness
5.76M dot 1x EVF
Human, pet and vehicle AF subject detection
LiDAR for autofocus
1TB internal SSD + CFexpress Type B slot

Despite the significant upgrades, the X2D II 100C sees the body-only price fall to $7399 / €7200 / £6400, an $800 reduction, compared with the existing X2D 100C.

Index:

Buy now:

What's New

"End-to-end" HDR

This image, captured as an Ultra HDR JPEG, makes the chrome of the car's wire wheels shine much more convincingly when viewed on an HDR display.

Hasselblad X2D 35-100mm F2.8-4.0 @ 60mm | F3.5 | 1/500 sec | ISO 100
Photo: Mitchell Clark

Hasselblad claims to be the first company to make a medium format camera with "end-to-end" HDR and has equipped the X2D II with a high-brightness viewfinder and rear screen, so that you can see some of the wider brightness range as you shoot. Its default output is in the HEIF format but it can also create 'Ultra HDR JPEGs' which have an embedded brightness map to let them convey a wider tonal range on compatible devices, while still maintaining backward compatibility. The company says this gives images with up to three additional stops of dynamic range compared to standard sRGB JPEGs, using a technique adopted by Google in its Pixel phones, and by Sigma in its BF Mirrorless camera.

The camera supports the P3 color gamut throughout the shooting and editing experience, in addition to making fuller use of the wide color range, as well as the wider tonal range, of its large sensor. It says it doesn't use either the HLG or PQ response curves used by other brands, and instead uses gain maps with linear response and a roll-off in the highlights to give a natural look. The system appears to be utilizing the highlight data that's usually clipped in the JPEG output, rather than reducing exposure to capture any additional highlight information.

HDR images are only captured in P, S or A modes, where the camera has some control over exposure. The company says it assumes people setting exposure manually may be trying to capture a very specific look that may not lend itself to HDR, so disengages the feature, rather than producing a potentially unnatural-looking image that the photographer didn't want.

Embedded in the above image is this 1/4 resolution brightness map, which tells compatible devices which parts of the image to display with addtional brightness.

The X2D II's rear display has also been substantially upgraded to support HDR, going from a TFT LCD to an OLED panel that can display up to 1400 nit peak brightness. That lets it provide the HDR experience when you're reviewing your images, giving you a better idea of what you've captured.

Hasselblad has also updated its Phocus Mobile 2 app to allow for editing the X2D II's HDR files, and even reprocessing Raws from some of its other cameras, such as the original X2D and the CFV 100C, into HDR output files.

Continuous autofocus

While the original X2D was limited to single autofocus and manual focus, the II gains continuous autofocus, making it easier to capture moving subjects. Like many modern cameras, the system also includes AI-derived subject recognition for humans, dogs/cats and vehicles, and support for tracking arbitrary subjects.

At first seven of the company's more recent lenses will support continuous autofocus, and each will require a firmware update before they can access the feature.

The supported lenses are the XCD 35-100mm F2.8-4.0E zoom, launched alongside the camera, along with the 25mm, 38mm, 55mm and 90mm V-series lenses, and the 28mm and 75mm P lenses.

Even more AF improvements

To feed the autofocus system with information, Hasselblad has not only increased the number of phase detect autofocus points – 425 versus 294 on the original X2D – but added an entirely new type of sensor as well. The X2D II also uses Light Distance and Ranging (LiDAR) to judge how far away a subject is, with this input fully integrated into the AF system.

It's reasonable to assume this technology comes from DJI, which owns a majority stake in Hasselblad, as the company already uses the technology in several of its cinema tools. The camera also now has an AF illuminator lamp on the front, which doubles as a self-timer countdown indicator.

Improved IBIS

The camera's in-body stabilization allows the capture of images at slow shutter speeds, and boosts the frequency with which you'll get the full resolution out of the camera.

Hasselblad XCD 35-100E @ 35mm | 0.3 sec | F8 | ISO 800
Photo: Richard Butler

The original X2D had an IBIS system rated for up to 7 stops of stabilization, but the X2D II takes it even further, with Hasselblad promising up to 10 stops. In real-world use, your results will depend on how still your subject is and how steady you can hold the camera, but in the right conditions, you can definitely use it to push your exposure times past where you'd be able to with an unstabilized system.

Updated controls

Hasselblad has updated the controls, adding a joystick that can be used for controlling the autofocus selection point or scrolling through menus and a customizable button on the back plate. Additionally, the front control dial can now be pressed in to access yet another custom function.

The camera also gains a vibration motor to provide haptic feedback for certain operations, such as confirming that the camera has acquired focus or that you have both your spirit levels centered.

How it compares

While medium format cameras are most often associated with high-end studio work (a task the X2D II is fully capable of), the X2D series has always clearly been designed to be taken outdoors and used in a wider variety of conditions. The company suggests that the addition of C-AF expands its audience to include subjects such as "landscapes, daily, portraits and street photography."

Fujifilm targets a very similar audience with the GFX 100S II, which uses a very similar sensor and also comes complete with IBIS and continuous autofocus. (The higher-end GFX 100 II is also comparable, but has faster burst rates, more video features and nicer ergonomics.) We've also included the Sony a7R V, since its full-frame sensor uses the same 3.8µm pixels, just fewer of them.

	Hasselblad X2D II	Fujifilm GFX 100S II	Sony a7R V
MSRP	$7399 / €7200	$5499 / £4999 / €5499	$4199 / £3999 / €4500
Sensor size	Medium format (44 x 33 mm)	Medium format (44 x 33 mm)	Full-frame (36 x 24 mm)
Pixel count	102MP	102MP	60MP
Stabilization	10EV	8EV	8EV
Flash sync speed	Dependent on lens (Typically 1/2000 - 1/4000 sec)	1/125 sec	1/250 sec
HDR output	HEIF Ultra HDR JPEG	N/A (Shoots SDR HEIF or HDR video)	HLG HEIF*
Burst rate	3fps	7fps	10fps (compressed Raw)
Viewfinder res / mag	5.76M dot 1.0x	5.76M dot 0.84x	9.44M dot 0.9x
Rear screen Size / Res / movement	3.6" 2.36M dot Tilting OLED	3.2" 2.36M dot Tilting	3.2" 2.1M dot Fully-articulated/Tilting
Storage	1TB SSD 1x CFexpress Type B	2x UHS-II SD	2x UHS-II SD / CFexpress Type A
Battery (CIPA rating)	327 shots	530 shots	440 shots EVF 530 shots LCD
Dimensions	149 x 106 x 75mm	150 x 104 x 87mm	131 x 97 x 82mm
Weight	840g	883g	723g

*Cannot shoot Raw and HLG HEIFs simultaneously

Fujifilm and Sony don't have the same focus on HDR that Hasselblad does; while the a7R V can shoot HDR HEIFs, doing so comes at the cost of your ability to save Raw files, which is a serious downside for high-end work. The Fujifilm can shoot HEIF images and HLG video, but can't combine the two to offer HDR stills.

Another big difference is that the GFX 100S II and a7R V both have focal plane shutters, while the X2D II uses leaf shutters built into each lens. This comes with the benefit of being able to sync flash at any speed, but means that Hasselblad lenses will be significantly more complex and expensive than similarly-speced counterparts from Fujifilm and Sony. Another side effect: if you want to use a third-party lens with the X2D II, you'll be stuck with the very slow electronic shutter.

While high-resolution cameras have always been more suited to stills, the GFX100S II and a7R V both have relatively complete suites of video features as well, with Log profiles, 10 bit video and headphone and microphone jacks. By contrast, the X2D II doesn't shoot video at all; something to consider if your work ever requires motion pictures.

Body and Handling

The X2D II feels extremely sturdy and well-crafted in the hand, and the grip instills confidence, even when you're using a relatively large zoom lens. The controls are laid out well, with the essential buttons and dials within easy reach.

The camera has two top plate control dials and several customizable buttons. Two – one on the back and one on the front – are unlabeled, while another two can be accessed by pressing down on the joystick and the front dial. The top-plate M and WB/ISO buttons can also be reassigned if you choose, with a choice of 35 options.

The joystick is a four-direction control and can be used for moving your autofocus point (though we found it somewhat slow, and often significantly quicker to just tap on the screen) and to navigate through the menus. Both tasks can also be achieved directly using the touchscreen, which has its own selection of buttons for controlling playback and accessing the menu.

Viewfinder and Screens

The camera's rear screen tilts out, and there's a sensor to ensure the camera doesn't switch to using the viewfinder when the screen is extended.

The X2D II's viewfinder is large, bright and responsive, providing an excellent preview for composing and exposure. The low-profile rubber eyecup doesn't do the best job of sealing out light, but it'll be sufficient in most cases, and less likely to snag when you're taking it in and out of a bag than some other designs.

While the screen's 1400-nit peak brightness allows it to properly display HDR images, you won't get the full effect until after you've taken a photo and the camera has generated your HDR output file. It is, however, still very effective for composing your images and is easy to see, even in direct sunlight. Its hinge allows you to pull it out and position it at a 90° angle for waist-level shooting unobstructed by the viewfinder.

While shooting, the screen provides plenty of resolution for the camera's excellent punch-in manual focusing experience.

The X2D II also has a 1" color display on the top plate, which shows your battery life, exposure settings, and a light meter when the camera is on. It's typically blank while the camera is turned off, though a quick tap of the power button will get it to display your remaining charge.

Ports

The X2D II's minimal selection of ports is hidden behind sprung, latching doors, which feel great to open and close. It has a 10Gbps USB-C port for charging and offloading data, and a 3.5mm for use with Hasselblad's somewhat eccentric cable shutter release.

It also has an CFexpress Type B slot, which can be used for backup or as an overflow, should you fill the internal storage. It's worth noting that the internal storage has capacity for over 4000 16-bit Raw and JPEG/HEIF pairs.

Battery

The battery is rated as delivering 327 shots per charge, if tested to CIPA's standards. This can be increased, depending on the camera's configuration. These numbers tend to underestimate how many shots you'll actually get, with double the rated figure not being unusual, depending on how you shoot.

In practice, a rating of over 300 shots per charge will let you shoot for a good period of time, especially if you're shooting occasional, considered shots, rather than rattling off hundreds of snaps at a time. We suspect it's few enough to start to be of concern for professional wedding shooters, who'll definitely want to develop a system for ensuring they have spare batteries charged and ready to go. But with the option to charge over USB-C, the X2D II should be relatively comfortable, away from the studio.

In Use

The X2D II can seem a little daunting at first, with four buttons marked with potentially unfamiliar glyphs down the right-hand side of the screen, PlayStation style. Their functions turn out to be pretty self-evident once you start using the camera: Play, Ok, Cancel/Delete and Menu.

Most other functions can be assigned to one of four customizable buttons (one on the front of the camera, one on the rear and the Mode and WB/ISO buttons on the top plate), or to a press of the front command dial, rear command dial or press of the AF joystick.

Press the Menu button once and you are presented with a settings panel. Some settings, including drive mode, AF mode and ISO can be set by tapping on the screen or using the joystick. Some exposure parameters can be changed from this screen, but not exposure comp, which tells you to use the dial instead.

The camera offers Auto ISO, including in manual exposure mode. You can set the threshold shutter speed that the system will try to maintain, either by selecting a specific shutter speed or by choosing a relationship to the current focal length, with the choice of: 4f, 3f, 2f, 1.5f, f or f/2, if you're very steady.

Press the Menu button a second time, or swipe your finger left across the screen and you reach the main menus. It's a simple and well-arranged system with eleven named icons arrayed around the screen. Within each category (exposure, focus, connection...) are a handful of settings, often with explanatory text if their function isn't obvious. Swipe upward from this menu page or the settings page and you'll find yourself back in live view, ready to shoot.

It's a quick and easy-to-learn system that lets you just get on and shoot.

Our experience of the autofocus has left us impressed. There are occasions where it would erroneously confirm focus, but most of the time it focused quickly and accurately, with eye detection in particular giving us a level of performance we'd associate with some of the better mass-market cameras. Combined with the up-rated image stabilization, the X2D II is one of the easiest-to-shoot medium format cameras we've encountered.

Initial impressions

By Richard Butler

The X2D II 100C in many ways still looks a lot like the original X1D launched back in 2016, but the reality of using the two cameras couldn't be more different. The original camera looked great, and was capable of delivering excellent images, but its short battery life and lack of responsiveness meant that it wasn't nearly as comfortable untethered from the studio as its small body would imply.

It's worth noting, though, that the original X1D was launched just a few months after DJI first took a stake in the company, so its development would have started long before. The X2D II can perhaps be seen as what happens when a well-established photography company and an ambitious, advanced tech company come together. The X2D may still resemble the original camera but it's worlds away in terms of performance and usability.

The introduction of LiDAR (already used in products such as the Ronin 4D gimbal camera) is the most overt sign of input from DJI, but it's hard to imagine Hasselblad's cameras would have developed so far, so fast, without DJI's contributions. Continuous autofocus with highly effective eye detection autofocus was not on the cards for the contrast-detect X1D, yet here, and in conjunction with in-body image stabilization it allows you to use medium format like it was a point-and-shoot.

The X2D II will shoot HDR unless you go out of your way to stop it

Then there's the decision to lean into HDR photography, something that's becoming increasingly common in modern cameras but poorly supported and even more poorly communicated or promoted to photographers. Most modern mirrorless cameras can capture HDR HEIFs that can make use of the wide dynamic range and wide color gamut of modern displays, but very few cameras give you a good preview of its impact or make much effort to encourage its use. The X2D II will shoot HDR unless you go out of your way to stop it.

The X2D II has an excellent screen that can give an impression of how much more vibrant and lifelike your images can look. And, in addition to HEIF files, which can still be awkward to share and view reliably, the Hasselblad can capture JPEGs with brightness map embedded in them: giving full backward compatibility with just about every viewing device imaginable, but giving HDR vibrancy on devices that support it.

In the right conditions, HDR can make it feel less like you're looking at a photo, and more like you're looking through a window to the world, with much more realistic representation of the way light reflects from objects. To get the effect, open the photo in a supported browser.

Hasselblad XCD 35-100mm F2.8-4 E @ 100mm | F10 | 1/160 sec | ISO 50
Photo: Richard Butler

By letting you see the benefits of well-judged HDR as you shoot the images, the X2D II encourages you to make use of the capability and start thinking about how to ensure your customers and viewers are able to see those results. We regularly found ourselves as impressed by the way the camera uses its greater DR output as we were by the stunning amounts of detail it captures.

What's all the more impressive is that Hasselblad is launching the X2D II 100C at a lower price than the previous model. In fact, it's at a lower price in money terms than the original X1D 50c, despite the vast improvements that have been made in the intervening nine years. The XCD lenses, with their leaf-shutter designs, tend to be more expensive, and often slower, than the rival Fujifilm system, but the X2D II 100c brings a level of performance and usability that makes the system as a whole look more competitive than it's ever been.

Image quality

Image Comparison

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Unsurprisingly, the X2D II's Raws provide superb amounts of detail at low ISOs, besting the single-shot performance of the a7R V's 61MP sensor and matching the GFX 100S II. At its base ISO of 50, it provides the cleanest image of the bunch; the GFX 100S II has slightly more noise, but still outperforms the a7R V thanks to its larger sensor.

Its JPEGs, however, don't seem to quite do that level of detail capture justice, with the finest parts of the image looking a little softer than they do with the GFX 100S II. The details are generally still present in the JPEG, but they don't stand out as much, at least when viewed 1:1 (though that's likely to be a very unusual use-case for images taken on this camera).

The X2D II's Raws continue to look good even at higher ISOs, though its chroma noise is more noticeable than Fujifilm's. And while the JPEG engine doesn't reduce noise as aggressively, that means it does a better job at preserving details.

The X2D II only has one color mode, but we found it strikes a really good balance between accuracy an attractive level of saturation.

Click here to view the original file, which will display in HDR if you have a compatible device.

Hasselblad XCD 35-100mm E | 60mm | F3.5 | 1/500 sec | ISO 100

Back at lower ISOs, the Hasselblad's colors are generally less saturated than Fujifilm's or Sony's, though in our use outside the studio, we found that it still produced pleasing skin tones for portrait work. We also didn't have any issues with getting images that popped with vibrant colors, especially with HDR switched on.

Dynamic Range

As we've come to expect from this sensor, the X2D II has excellent dynamic range at its base ISO, with very little read noise. This means you won't face much penalty for taking an image at ISO 50 to get the maximum DR, then boosting it in post, compared to taking an image at a higher ISO to achieve your desired lightness.

Its files also hold up well when you're boosting shadows, which is helpful if you're shooting at lower ISOs to protect your highlights with plans to brighten the image in post.

Note about studio scene Raws: Leaf shutters tend to become less accurate at high shutter speeds. We got lighter results than expected for our higher ISO images. To ensure the images are comparable, we shot the high ISO Raws using exposures that gave consistent Raw values across different ISO settings.

HDR consequences

By default, the camera shoots HDR images (in either the HEIF or JPEG format). It appears to assess the level of brightness and contrast in the scene and adjust its exposure strategy accordingly: not just in terms of selecting the exposure values and ISO setting but deciding how much highlight headroom it needs. In high contrast settings you may see it select a reduced exposure (reflected as a higher ISO value), to capture the additional highlights. The higher ISO value doesn't mean more analog gain is being applied, but it does mean you pay whatever noise cost comes from the reduced exposure. In theory, then, there might be a slight IQ benefit to turning HDR off and letting the extra highlights clip, if you don't intend to use the HDR output.

Autofocus

The LiDAR sensors augment the camera's improved phase detection system.

Autofocus is one of the X2D II's biggest areas of improvement over previous models. It adds LiDAR to its on-sensor phase detection system and gains a range of subject-recognition modes, based on algorithms developed by machine learning. When used with the latest handful of lenses that have suitably fast motors, the X2D II becomes the first XCD camera to be able to continuously autofocus.

The results are really quite impressive. We weren't about to race down to our local sporting venue with the X2D II but in its responsiveness and reliability, we found the X2D II's autofocus made it a much easier to use camera that could adapt to a much broader range of shooting situations.

Its generic tracking (of non-recognized subjects) is pretty sticky and its human detection, which we used most extensively, is very dependable in terms of finding an eye to focus on. There are a few instances of eye-lash, rather than iris focus, but given the level of scrutiny a 100MP medium format camera allows, we were impressed by how reliably the camera focused perfectly. We'd consider the X2D II 100C paired with the 35-100mm F2.8-4 to be more dependable for capturing people quickly than the Fujifilm GFX paired with the 110mm F2 lens. The Fujifilm does a very good job but hasn't historically given us as high a hit rate as we saw from the Hasselblad, thanks to its sticky eye detection and high focusing speed.

Conclusion

By Richard Butler

Pros	Cons
Some of the highest image quality we've encountered HDR display HDR output in backward-compatible format Very usable autofocus Very effective image stabilization Reasonable battery life Flash sync at any shutter speed with native lenses	JPEGs don't make the most of the Raws' detail level Autofocus performance distinctly lens dependent Reliance on leaf shutters makes lenses expensive Slow startup times Write times somewhat unpredictable

Our review is primarily focused on the use of the camera out in the field, rather than sitting comfortably tethered in a studio, where these cameras have already proven themselves.

We found it striking how usable the X2D II 100C is, not just in comparison to the rather slow experiences we had with the X1D cameras, but even when held up against modern, more mainstream cameras.

The improvements in autofocus and stabilization, in particular, mean you can comfortably shoot 100MP medium format every bit as easily as you could a high-end full-frame camera. You don't have to adapt your shooting or give extra consideration to what you're doing to gain the camera's extra capability over those cameras.

This, as much as the price, makes the X2D II a much more credible rival to Fujifilm's GFX range. If anything, with the latest lenses, the X2D II is a little more dependable when shooting impromptu people pictures, in terms of both focus speed and consistency. This isn't necessarily true of all lenses, and there's still the fundamental decision to be made about the pros (full-power flash at any shutter speed) and cons (lens cost and occasionally odd bokeh) of whether you want a system built around leaf or focal-plane shutters. But the Fujifilm system no longer has the advantage in out-and-about flexibility it previously had.

Whether you see any benefit from the X2D II's HDR capabilities will depend on what you use it for

Whether you see any benefit from the X2D II's HDR capabilities will depend on what you use the camera for. If you plan to produce prints or work from Raw, it isn't really going to make much difference to you, and you'll probably benefit from explicitly disengaging the function. But if you, for instance, want to be able to share images with a client that have a bit of an extra 'wow' factor, particularly if viewed on their phones, it can deliver results that show off more of the underlying capability of the camera's hardware. The option to output JPEGs that will work as SDR or HDR, as available, makes them especially valuable.

In the past, Fujifilm's GFX cameras had a distinct advantage in this regard: outputting attractive, shareable images immediately, with a choice of creative looks. The Hasselblad only offers a single color mode (there's not even so much as a mono option), but the HDR output can be easily shared via, say, a Google Photos album, letting people immediately see strikingly good-looking results. If this is valuable to you, it's worth ceding a little control over exposure logic and risking a little extra noise to let it handle the highlights.

It's still a medium format camera, so there is additional size and weight to carry around, vs a full-frame camera, and even though you may find the IQ boost you get worth it, for better or worse, this is a camera people will notice. There are a couple of areas in which it lags. Startup time is still a little slow, for instance. And, despite having a super-fast internal SSD, we found the X2D II could sometimes be rather slow to record images, showing a spinning icon on the screen: something we haven't encountered in a while on more mass market systems.

The X2D II feels like a system really hitting its stride

Overall, the X2D II feels like a system really hitting its stride. The fact that you can shoot it as if it were any other mirrorless camera (hell, almost as if it were a point and shoot), feels like a major step forward in terms of practicality. It's still a lot of money, but the X2D II makes it almost unbelievably easy to capture some of the highest image quality currently available.

Buy now:

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Hasselblad X2D II 100C

Category: Professional Interchangeable Lens Camera / DSLR

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Connectivity

Value

PoorExcellent

Conclusion

The Hasselblad X2D II 100C produces sensational image quality but what makes it really compelling are its improved stabilization and autofocus that make the camera much easier to use than before. It's the first camera to provide a high brightness screen to let you preview the HDR images it can take. I can be a little slow and battery life isn't great but it can deliver some of the best image quality we've ever seen, with the ease of a point-and-shoot.

Good for

A wide range of professional photography.

Not so good for

Sports and action. Travel photography.

90%

Overall score

Sample gallery

All out-of-camera JPEGs in this gallery are Ultra HDR JPEGs: please click "Original" link on the right of the preview to download the original file, if you're viewing on an HDR-capable device.

Sample gallery

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Nikon Z5II review

Tue, 12 Aug 2025 14:43:00 Z

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Sample gallery

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Product photos: Mitchell Clark

The Nikon Z5II is a full-frame mirrorless camera built around a 24MP BSI CMOS sensor. It's an update to Nikon's entry-level full-frame Z5 and is essentially a version of the Zf that trades retro styling for a more conventional design.

Key Features

24MP BSI full-frame CMOS sensor
In-body image stabilization, rated up to 7.5EV
Autofocus subject detection with support for 9 subject types
11 fps Raw w/ mechanical shutter
30fps JPEG-only mode with pre-release capture
3.69M dot 60Hz EVF with 3000-nit peak brightness
4K/30 full-width, 60p w/ 1.5x crop
10-bit N-Log or N-Raw capture
Dual UHS-II card slots
Downloadable color mode presets via Imaging Cloud

The Z5II is available for $1699 – a $300 increase over its predecessor in absolute terms, though a very similar price when considering inflation and its greater ambitions. Kits will also be available with a 24-50mm f/4-6.3 lens for $1999, or with a 24-200mm f/4-6.3 VR for $2499.

Index:

Buy now:

Apr 3: Initial review published
Aug 11: Image quality, AF, video and conclusion added. Body and handling updated, review gallery added.

What's new

A new old sensor

The Z5II's sensor is one we know well, as it features in cameras like the Zf and Z6 II. While it's certainly not state-of-the-art, it's historically performed excellently and offers noticeably faster readout speeds than the non-BSI sensor found in the original Z5, which hailed from the early 2010s.

That'll be most noticeable in video modes – its readout speeds are still slow enough that you likely won't want to use e-shutter mode unless you really need to shoot silently or are doing JPEG-only bursts where it drops to its faster, 12-bit readout mode. However, the Z5II supports much faster burst rates than its predecessor, shooting in Raw at up to 11fps with its mechanical shutter, where the original topped out at 4.5fps.

Hybrid abilities

The Z5II is a much more capable video camera than its predecessor, which could only manage shooting at 4K/30 with a substantial 1.7x crop. The new model, meanwhile, can shoot full-width 4K at up to 30fp and 120fps in 1080p for slow-motion shooting, double what the Z5 was capable of.

It also has a slate of advanced video features such as a product-priority focus mode, electronic stabilization, 10-bit N-Log, waveform monitors and even N-Raw. While the Z5II's target audience likely won't find much use for those later modes, it's hard to complain about their inclusion.

However, while its sensor has good readout speeds, it isn't anywhere near as fast as the one on the more expensive Z6III. That means you'll see more rolling shutter in full-width 4K, and will have to deal with a 1.5x crop if you want to shoot 60p, though the Z5II is at least capable of the higher framerate.

Latest-gen processor

The Z5II has Nikon's latest processor, the same one that powers cameras like the Z8 and Z6III. That means it largely has the same autofocus capabilities as those more expensive models. It supports the same subject recognition types – the Z5 only recognizes humans and animals, while the Z5II can also detect birds, cars, bicycles, motorcycles, trains and planes.

It also gains a 30fps JPEG-only mode, which supports pre-burst capture. The Z6III's faster sensor gives it a leg up in this area, though: it can shoot full-resolution JPEGs at up to 60fps and can hit 120fps by dropping down to an APS-C crop.

The company also claims the Z5II supports more advanced noise reduction, putting out cleaner JPEGs at high ISOs, and has added an AF-A mode, where the camera decides whether to use single or continuous autofocus.

A bright viewfinder and a more flexible screen

Nikon says the Z5II's viewfinder can reach a brightness of up to 3000 nits, which should help when shooting in harsh daylight. The company doesn't quote brightness figures for the Z5's EVF, though it otherwise has similar specs – both cameras use a 3.69M dot display running at 60Hz.

There are also some changes to the Z5II's LCD. At 3.2", it's the same size as the Z5's, but it's higher resolution and fully articulated, while the original's screen was limited to tilt adjustments.

How it compares

While the Z5II isn't as cheap as its predecessor, it is still among the least expensive full-frame ILCs ever released. Some other cameras on that list, like the original Z5 and Canon's EOS R8, are among its competitors.

At $2000, Panasonic's S5II has a substantially higher MSRP than those cameras and, before the Z5II, offered a more complete package than any full-frame camera in the sub-$2000 range. The S9, which is based around the same sensor, is closer in price to the Z5II but is aimed at a more video-focused audience, as it lacks both an EVF and a mechanical shutter. Given that, it didn't feel as appropriate for this list. While the S5II frequently goes on sale, street prices for cameras drop relative to their MSRPs – a camera that starts off at $1700 is likely to end up significantly cheaper than one that started life at $2000.

The one exception to that rule is if a camera sticks around long enough to get a permanent price cut to reposition it when its replacement arrives. That's essentially what's happened with Sony's a7 III, which was originally released in 2018. It shows its age in many ways but is still in a similar class to the other cameras in this comparison.

	Nikon Z5II	Nikon Z5	Canon EOS R8	Panasonic S5II	Sony a7 III
MSRP	$1699	$1399	$1499	$1999	$1799 (Originally $2000)
Pixel count	24MP	24MP	24MP	24MP	24MP
Stabilization	IBIS	IBIS	No	IBIS	IBIS
Max burst rate (Mech / E-shutter)	11fps Raw 30 JPEG-only	4.5fps	6fps elec. first curtain 40fps e-shutter	7fps mech. 30fps e-shutter	10fps
Pre-buffer	Yes, JPEG	No	Yes, Raw, 0.5 sec	Yes, Raw, 0.5 sec	No
Autofocus recognition subjects	People Birds Animals Vehicles	Human Animal	People Animals Vehicles	Human, Animal, Car, Motorcycle, Airplane, Train	Eye AF
Max video resolution	4K 60p w/ 1.5x crop 4K 30p full-width	4K 30p w/ 1.7x crop	4K 60p full-width	6K 30p open gate 4K 60p w/1.5x crop 4K 30p full-width	4K 30p w/ 1.2x crop 4K 24p full-width
10-bit options	N-Raw N-Log HLG	N/A	C-Log3 HDR PQ	V-Log HLG	S-Log 3 HLG
Headphone / Mic jack	Yes / Yes	Yes / Yes	Yes / Yes	Yes / Yes	Yes / Yes
Viewfinder res / mag	3.69M dots 0.8x	3.69M dots 0.8x	2.36M dots 0.7x	3.68M dot 0.78x	2.36M dots 0.78x
Rear screen	3.2" 2.1M dot fully articulated	3.2" 1.04M dot tilting	3" 1.62M-dot fully articulated	3" 1.84M-dot fully articulated	3" 921.6K tilting
Storage formats	2x UHS-II SD	2x UHS-II SD	1x UHS-II SD	2x UHS-II SD	1x UHS-II SD 1x UHS-I SD
Battery life (CIPA)	330 shots	470 shots	290 shots	370 shots	710 shots
Dimensions	134 x 101 x 72 mm	134 x 101 x 70 mm	133 x 86 x 70 mm	134 x 102 x 90 mm	127 x 96 x 74 mm
Weight	700g	675g	461g	740g	650g

With the upgrades it gains over its predecessor, the Z5II has become one of the most complete full-frame options for under $2000. You're not giving up IBIS, battery life and an autofocus joystick like you would be with the EOS R8, and you're not giving up an EVF and dual top-plate control dials like with the Panasonic S9. It's relatively evenly matched with the S5II, though we've generally found Nikon's autofocus performance to be more reliable.

The a7 III may still seem like a worthy competitor on paper, especially considering that Nikon and Canon can't match E-mount's wide range of lenses. However, other brands have caught up to its once class-leading autofocus system, and its menus were dated and annoying to use even back in 2018. The once enthusiast-focused Sony is really showing its age.

Body and Handling

The Z5II's design is relatively unchanged from its predecessor, though that isn't a complaint. It has a standard mode dial with three custom slots, as well as two top-plate dials for controlling your exposure settings. The camera also comes with a wide variety of buttons, including two customizable ones on the front near the lens mount.

Nikon has added its Picture Control button, which debuted with the Z50II and lets you easily control your JPEG color mode. While the Z5II comes with Nikon's classic range of color modes built-in, you can also download more via the company's Nikon Imaging Cloud service and create or customize your own using the company's desktop software.

Out of camera JPEG, shot using the 'Deeptone Monochrome' color mode.

Nikkor Z 50mm F1.8 S | F5.6 | 1/2000 sec | ISO 100
Photo: Mitchell Clark

This setup provides a fair amount of flexibility and control over the look of your out-of-camera JPEGs, though it doesn't come with the freedom and enormous back-catalog of the industry-standard LUTs that companies like Panasonic let you use.

Handling

The Z5II is a solid camera with a deep grip, which fits well in the hand. It's sturdy – Nikon says the front, back and top covers are made from magnesium alloy – and sealed against moisture and dust. We shot our sample gallery in light to medium rain with no issues.

The control layout is the same one that Nikon has used across much of its Z lineup – anyone familiar with the original Z5 or Z6 series will be instantly familiar with it. Most of the buttons on the back are generally easy to access while shooting, as is the autofocus joystick. The Z5II also supports using portions of its touchscreen to control the autofocus point. The one button that can be difficult to reach in general use is Picture Control, as its position on the top plate will likely require you to re-adjust your grip to reach it.

A good number of the buttons are customizable, but there are some odd limitations to which settings you can apply to them. For instance, we find it can be useful to have quick access to the shutter speed threshold for Auto ISO, but this can't be assigned to a button. It also can't be assigned to MyMenu, so you can't use the old workaround of putting it there and assigning 'Top item on MyMenu' to a custom button. It's a strange omission from a modern camera.

The Z5II also lacks a sensor indicating that the rear screen is extended, so its a bit prone to blacking-out the rear screen if you shoot at waist level, unless you switch it to LCD-only mode.

Viewfinder

The Z5II's viewfinder is high-resolution and has a relatively high magnification, but where it really sets itself apart from the crowd is in brightness. It has a peak brightness of 3000 nits, which means it should still be clearly visible, even on a bright, sunny day.

The panel runs at 60Hz. While that's not as fast as the 120Hz mode found on Nikon's higher-end cameras, it should be responsive enough for all but the most fast-paced situations.

Screen

The Z5II features a large, high-resolution, fully-articulated display. While it doesn't provide stills shooters with the ability to tilt up or down in a single motion, once you flip it out, you can use it at pretty much any angle. It also lets you monitor video you're taking of yourself, an essential feature for anyone looking to try their hand at vlogging.

Ports and slots

Again, the Z5II's port selection remains largely unchanged from its predecessor's. It retains the dual UHS-II SD card slots, headphone and microphone jacks, USB-C socket and micro HDMI port. Overall, it's hard to find fault with this selection.

Battery

The Z5II uses the same 16Wh EN-EL15c battery as many of Nikon's other full-frame cameras. It's CIPA-rated to get around 330 shots on a single charge. While you can generally expect to get a fair bit more than the literal number of rated shots, the rating provides a consistent benchmark we can use to measure cameras against each other.

We'd consider a rating around 300 to be acceptable for a day of shooting or a weekend where you're occasionally taking photos, but anything more, and you'll probably want to keep an extra battery or USB-C battery bank at hand.

If you routinely have marathon shooting sessions, the Z5II can be fitted with the sold-separately MB-N14 battery grip, the same that's used for cameras like the Z6 II and Z6III. It should roughly double your battery life and lets you hot-swap in a fresh battery without cutting power to your camera.

Image quality

Image Comparison

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The test scene throws up no surprises at all: detail capture is consistent with other 24MP full-frame cameras, as is noise performance at high ISO. Default JPEG color is the usual Nikon response: on the punchy side of accurate, which is a result a lot of people like.

JPEG sharpening pulls out a lot of fine detail, though false color isn't as well suppressed as in the Canon's files. Noise reduction smoothes away a little more detail than its peers, but overall, the results are very solid.

This is a well-known sensor, so the results aren't surprising, but until recently, you had to spend a fair amount more than this to get the same combination of IQ, handling and autofocus performance.

HDR photos

Like many recent cameras, the Z5II can capture HDR images using the HLG response curve and 10-bit HEIF files. The process for switching is pleasantly simple: just select HLG, rather than SDR in the menus and the camera jumps from recording 8-bit standard DR JPEGs to 10-bit high-DR HEIFs. Base ISO jumps from 100 to 400, so that exposure gets reduced in order to capture up to 2EV of additional highlight information.

Unlike, say, Sony cameras, you can shoot Raw + HLG HEIF files and use the in-camera options to reprocess the Raw as a HEIF while changing some settings. However, that can only be done with Raws that were originally shot in HLG mode: the camera needs to have exposed for HDR capture (using at least ISO 400 exposures) to capture the additional highlights that the files contain.

This is a JPEG produced in-camera from a Raw/HEIF pair. Viewed on a compatible display, the rose's petals and the upward facing leaves 'glow' in a way that's much closer to how the scene really appeared, in the HEIF version, which you can download by clicking here.

Nikkor Z 28-70mm F2.8 S @ 70mm | F4 | 1/1600s | ISO 400
Photo: Richard Butler

There's also a separate 'HDR overlay' mode that takes two images and combines them into an standard DR image. The results aren't terrible but they're not nearly as impressive as the 'true' HDR mode that captures more realistic highlights for viewing on wide-gamut, high brightness displays.

Autofocus

The Z5II's eye detection doesn't always put the focus precisely on the iris, but it gets the eye area in very good focus so often that you can just think about composition and timing of your photo, without having to worry about focus.

Nikkor Z 24-70mm F2.8 S @ 45mm | F5.6 | 1/125 sec | ISO 100
Photo: Richard Butler

The Z5II has the same autofocus interface as the company's range-topping sports cameras. You can choose from a variety of AF area modes, with a '3D Tracking' area that follows whatever's under the target area, in continuous AF. On top of these, the Z5II has a range of subject recognition modes, including an 'Auto' mode that will look to engage human, animal or vehicle recognition. These can be used with Wide AF areas, 3D Tracking and All-area AF.

AF performance

In terms of performance it works very well and is a big step up from the previous generation of cameras, meaning the sub-$2000 Z5II is an easier-to-use and more dependable camera than the Z6 II that used to sit one step further up the range.

"The Z5II is an easier-to-use and more dependable camera than the Z6 II that used to sit further up the range"

The performance isn't quite on the same level as its more expensive contemporary Nikons, as all of those use sensors that read-out faster. In particular, we noticed the camera was a little prone to picking something near the object we were trying to select, then focusing on that instead, necessitating the disengagement of subject recognition.

These experiences were reinforced by our standardized basic test, where tracking with subject recognition turned off could sometimes lose its subject.


1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

Generic Tracking Rollover


1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

Face Recognition Rollover

Turning subject recognition on boosted tracking reliability but it still wasn't as responsive as the Nikon Z6III, which was a little better at maintaining focus as the rate-of-approach changed.

As light levels fell we found it got a little less good at finding eyes and faces (we were shooting alongside a camera that was doing very well, in that regard). But overall it's very competitive, relative to its immediate peers. Which is to say: light years ahead of any camera made more than a few years ago. The range of activities to which the Z5 II can adapt is really quite striking.

Video

Nikon's video has improved significantly in the past few years and the Z5II gains the majority of those benefits, making it a much more capable video camera than its predecessor.

The 24MP BSI sensor isn't the fastest to read out, so it has a reasonable amount of rolling shutter if your camera or subject moves too quickly, but this is the same sensor around which Panasonic built its video-focused S1H and S5IIX models, so it's not a bad performer, even if this is an area in which technology is improving.

Image Comparison

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The addition of options such as 10-bit capture in SDR, HLG HDR or Log is a major step foward over the Z5, which had to crop-in to even offer 4K. The Z5II also offers N-Raw video, which produces files no larger than the 10-bit capture but appears to be sub-sampled, rather than downscaled, so captures less detail and more is more prone to moiré and hasn't had any sharpening applied. Editing support is currently rather limited, though Adobe has said it's working on it. It's worth noting that it doesn't give anything like the same increase in flexibility that moving to Raw stills does, vs JPEG shooting.

Autofocus isn't quite as dependable as in stills but, especially for recognized subject types, it does a good job of staying on your chosen target. Autofocus speed can be adjusted depending on whether you want smooth transitions or rapid, attentive autofocus on a single subject. Image stabilization works pretty well, with electronic stabilization improving smoothness in return for an addition 1.25x crop.

	E stabilization Off	E stabilization On
4K/30/25/24 10-bit	1.00x crop (22.2ms)	1.25x crop (17.8ms)
4K/60/50 10-bit	1.52x crop (14.6ms)	1.90x crop (11.7ms)
4K/30/25/24 12-bit N-Raw	1.00 crop (22.2ms) 1.52x crop (11.6ms)	N/A

Interestingly, the full-width Raw footage is two-thirds the sensor's full resolution (and has aliasing suggesting it may be line-skipped), yet takes as long to read-out as the downscaled, processed 4K footage. By comparison, the N-Raw footage taken from the cropped region is read-out faster than the 4K/60p taken from the same area, suggesting it's further line-skipped at the point of being read.

Conclusion

By Richard Butler

Pros	Cons
Excellent image quality Very good autofocus, for a range of subjects Excellent handling and ergonomics Strong feature set, including image stabilization, interval shooting, etc... Impressive range of video modes and support features Simple-to-use HDR stills and video capture Snapbridge App works pretty reliably (at least on Android)	Menus rather long and featureless Subject recognition can sometimes distract the camera from the thing you'd asked it to focus on Video autofocus less dependable Video somewhat prone to rolling shutter Needs to crop to deliver 4K/60 Battery life reasonable, rather than great No sensor to stop the camera switching to viewfinder mode with rear screen extended Lens choice limited by Nikon

The Nikon Z5II is almost unimaginably good for a camera priced under $2000. Previous models in this price range have tended to be significantly cut-down versions of more expensive cameras, assembled from elderly tech or simply been rather aged models re-positioned downmarket, past their best-before dates. That's not the case with the Z5II.

The Z5II is an impressive all-rounder that delivers excellent image quality and good video, underpinned by very good autofocus in a body that's well-designed and comfortable to use. As with any full-frame camera, many of the lenses are quite large (and expensive) but that's the price you pay for the image quality benefits.

The Z5II hasn't been shorn of control points or card slots to distinguish it from its more expensive siblings. So you get plenty of custom buttons, a joystick and two UHS-II slots, despite the lowly position in the lineup.

In part it benefits because the last generation of sensor was already so good that it still gives a solid foundation for a modern camera (Panasonic's newer, more expensive S1IIE is based on the same chip). But also, with Nikon's latest Z6III getting a major speed boost, the Z5II can be very capable without treading on its toes. So it can offer very credible video without undercutting the even better Z6III.

Like many mainstream cameras, the Z5II's menus would benefit from some pruning and reworking (as an aperture priority shooter I'd love to more easily access the Auto ISO shutter speed threshold settings), but the ability to customize the 'i' menu and neat touches like the custom settings menu memorizing which setting you last used within each section can help mitigate the challenges, somewhat.

The Z5II shoots quickly and accurately enough that you can use it for an extremely wide range of shooting. From wildlife to landscapes, portraits to sports, it'll be rare that the camera will hold you back, rather than your abilities and experience.

Nikkor 24-70mm F2.8 S @ 70mm | F5.0 | 1/80 sec | ISO 500
Raw reprocessed in-camera: white balance warmed, D-lighting increased to 'Normal'
Photo: Richard Butler

Part of that complexity comes from the fact the Z5II tries to do so much. Each may be of niche appeal but focus bracketing, interval shooting, multi-shot high-res capture and the ability to shoot faster than Nikon's pro sports model did, a decade ago, make the Z5II incredibly flexible. And Nikon hasn't omitted image stabilization or a reasonably-sized battery in the process.

Other than a relaxation of Nikon's rather restrictive approach to third-party lenses, it's hard to see what more an enthusiast photographer could want from a camera. Sure, there are higher res cameras, models with faster sensors for improved video, and pro-focused kit with more solid build and additional bells and whistles, but the Z5II will be more than enough camera for a vast number and variety of photographers. And it's likely to be a very difficult camera to outgrow, regardless of where your creativity takes you. Very few of us truly need anything more.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Nikon Z5II

Category: Entry Level Full Frame Camera

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The Nikon Z5II combines a well-regarded sensor, with a broad range of features for both stills and video shooters. It's a fairly sizeable camera, especially once you include lenses, but the provision of in-body stabilization and Nikon's latest AF systems make it a hugely accomplished all-rounder.

Good for

A remarkably broad range of photographers and videographers.

Not so good for

Photographers looking for a compact kit for travel. Anyone with the most demanding AF requirements.

91%

Overall score

Compared to its peers

The Canon EOS R8 is a very capable camera but its lack of image stabilization, its short battery life and small, lower-res viewfinder look the corners that had to be cut, to stop it competing with the more expensive EOS R6 II. That's not the case with the Z5II, which is differentiated from the Z6III by the use of a different sensor, so there's less need to hold the cheaper camera back. The EOS R8 doesn't need to crop to deliver 4K/60, but the Z5II is stronger in just about every other respect.

Panasonic's Lumix DC-S5II is priced a little higher than the Nikon and it's noticeable in the more solid-feeling metal body. It offers open-gate shooting from the same, not-especially-fast sensor, along with better stabilization algorithms and a cooling fan for extended recording periods. But the Nikon's more dependable autofocus in both stills and video makes a big difference. The L-mount system offers a wider choice of autofocus lenses, but in terms of everyday usability, the Nikon's AF gives it the edge, for us.

Sony's a7 III was the camera to beat when it launched, but that was in early 2018, before Canon or Nikon had introduced their full-frame mirrorless systems. Its eye detection AF is still competitive with the Z5II but the autofocus interface and implementation, along with the rest of its UI and menus, really show their age. The Nikon comfortably out-points it in just about every other respect: video quality, video AF, viewfinder and screen quality, card slot consistency, feature set. We'd probably choose the Z5II over the more expensive a7IV, if it came down to it.

Nikon is selling off the original Z5 at some very tempting prices. We'd still be inclined to go for the Mark II if you can save for a little longer, or your budget will stretch. The image quality of the two cameras is pretty similar but the Z5 II is better in most other ways. Most noticeably, its autofocus is hugely improved, in terms of operation and performance, with the 3D Tracking mode working better, even before you engage any subject recognition. The newer model shoots faster, offers a wider array of features and has vastly improved video: it's just a more capable all-rounder.

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Sony DSC-RX1R III review

Mon, 04 Aug 2025 17:07:00 Z

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Product photos by Richard Butler

88%

The Sony DSC-RX1R III is the company's fourth full-frame compact camera with the same Zeiss-branded 35mm F2 lens. The latest version uses a 60.2MP sensor and Sony's latest processors.

Key specifications

60.2MP BSI CMOS sensor
35mm F2 Zeiss-branded lens
2.36M dot (1024 x 768px) EVF with 0.7x magnification
2.36M dot (1024 x 768px) fixed LCD touchscreen
NP-FW50 battery, rated to 300 shots per charge
4K video up to 30p with 10-bit 4:2:2 options, Log and S-Cinetone
Range of color modes including 3 'Film' modes

The RX1R III is available now, at a recommended price of $5099, £4200, €4900. There are also a series of rather expensive accessories available, including an add-on thumb rest, a lens hood and a leather half-case.

The US price is notably higher, in comparison to the European and UK prices, than is typical for Sony products. We have to assume the approximately 10% higher pricing is a result of the tariffs imposed by the US government.

Index:

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Click here to read our experience of shooting with the Sony RX1R III

What's new

The RX1R III is a surprisingly subtle update of the Mark II, given the near 10 years gap between models, but the changes that have been made are significant.

The most obvious is the move to the 60.2MP BSI CMOS sensor from the a7R V and a7CR, and also the Leica Q3 models that most directly compete with the Sony. The lens remains unchanged, but that turns out to be less of an issue than many people predicted. Gone is the unique 'cancellable' anti-aliasing filter, with the higher resolution sensor needing it less, especially behind a lens that's a touch soft at wide apertures.

Another big upgrade is the addition of Sony's latest 'Bionz XR' processor with accompanying 'AI Processing Unit,' a dedicated processor for crunching the complex, chewy algorithms produced by machine learning. Collectively, these promise much improved AF tracking both for recognized and unrecognized subjects.

Beyond that there's a fixed viewfinder, rather than the RX1R II's pop-up unit. It's the highest-resolution 2.36M dot (1024 x 768px) unit that's available in the smallest panel size, but this means the spec and the 0.7x magnification optics are shared with the much less expensive Sony a7CR. The rear screen is now fixed, which feels like a step backward: taken to keep the body size down.

Finally, the camera gains a new battery. The NP-FW50 isn't especially large (it was one of our least favorite features of most of Sony's APS-C mirrorless cameras), but it's a big step forward from the old camera, both in terms of capacity and voltage. Sony has managed to fit it into a body that isn't much wider than the battery itself, and it addresses one of the biggest criticisms of the existing models.

Crop mode	Crop factor	Pixel count	Effective sensor size
35mm	1.00	60.2MP	36 x 24mm
50mm equiv	1.43	29.4MP	25.2 x 16.8mm
70mm equiv	2.00	15.1MP	18 x 12mm

With the boost in resolution, Sony has added a "step crop" feature that lets you crop in to a 50mm or 70mm equivalent region of the sensor. If you're shooting Raw, it continues to record the full image but includes crop metadata that your software may or may not choose to honor. As with the GFX100RF these modes can be handy but be aware you're effectively paying a high price for a smaller sensor camera when you use them.

How does it compare?

Like most prime lens compacts, the Sony is priced higher than the otherwise similarly specced Mirrorless model elsewhere in the range. We include the a7CR for reference, but its most direct competitors are the Leica Q3 43, which is conceptually most similar, and Fujifilm's X100VI, which is essentially an APS-C attempt at the same prime-lens photographers' compact concept.

	Sony DSC RX1R III	Leica Q3 43	Fujifilm X100VI	Sony a7CR
MSRP (2025)	$5099 / £4200 / €4900	$7380 / £5900 / €6750	$1799 / £1599 / €1799	$3200 / £3200 / €3700
Sensor size	Full-frame (864mm²)	Full-frame (864mm²)	APS-C (369mm²)	Full-frame (864mm²)
Pixel count	60.2MP	60.3MP	39.8MP	60.2MP
Lens	35mm F2	43mm F2	23mm F2 (35mm F3 equiv)	ILC
Stabilization	No	Lens	Sensor	Sensor
Burst rate	5 fps	4fps with AF 15fps 12-bit with S-AF	6 fps (Mech) 13 fps (Elec)	8 fps (Mech)
Max shutter speed	1/2000 at F2.0 1/3200 from F4.0 1/4000 from F5.6	1/2000 sec	1/4000 sec	1/8000 sec
Flash sync speed	Max shutter speed	Max shutter speed	Max shutter speed	1/160 sec
Viewfinder Res / Mag	2.36M dots / 0.7x	5.76M dots / 0.76x	3.69M dots / 0.66x hybrid optical / EVF	2.36M dots / 0.7x
Rear screen Size / Res / movement	3.0" / 2.36M dots / fixed	3.0" / 1.84M dots /tilt up/down	3.0" / 1.62M dots / tilt up/down	3.0" / 1.04M dots / fully articulated
Storage	1x SD (UHS-II)	1x SD (UHS-II)	1x SD (UHS-I)	1 x SD (UHS-II)
Battery life Shots/charge	300 LCD 270 EVF	350 LCD	450 LCD 310 EVF	530 LCD 490 EVF
Video max res/rate	UHD 4K/30	DCI 8K/30	6.2K/30 UHD 4K/60	UHD 4K/60
Dimensions	113 x 68 x 88mm (inc eyecup)	130 x 80 x 98mm	128 x 75 x 55mm	124 x 71 x 63 mm (w/o lens)
Weight	498g	772g	512g	515g (w/o lens)

The lack of stabilization and the low-res viewfinder are the most glaring omissions from the RX1R III. Its video specs are also relatively modest but this isn't a camera we'd particularly look to for video shooting. For the RX1R III, the key specs (and two we don't give best/worst ratings for) are the size and weight. Despite its larger sensor and the lens that comes with that, it's the lightest camera here and also the smallest full-frame camera currently on the market. If that isn't right near the top of your list of priorities, there are plenty of less expensive alternatives out there.

Body and handling

The RX1R III is small and feels very solidly built. It does a good job of minimizing weight without feeling too light and a good job of being small without negatively impacting handling.

The camera puts the aperture ring exactly where your left hand is likely to hold the camera, the exposure comp dial under your thumb, with the rear command dial and AF-On buttons a short movement away. A custom button next to the shutter button is easy to reach and there's another hiding on the right flank, where the [REC] button used to be on the RX1R II.

The viewfinder cup screws into place on the top left of the camera, adding to the size of the body but significantly increasing comfort and usability, both compared with using the camera without one, and with the pop-up finder on the predecessor.

Despite the camera's features being fairly stripped back (the lack of stabilization means it lacks the a7R models' multi-shot high res mode), the RX1R III's menus are pretty dense and complex. They definitely feel like a hollowed-out version of a still-more complex menu structure: the contrast with the ruthless focus of Leica's current menus is stark. Quite a high proportion of the menu options appear to be for limiting the number of options available, elsewhere, whether that be in terms of AF area modes, subjects to detect or drive modes.

In keeping with recent Sony models, the RX1R III has a settings display page, one level deep in the menus, between the user-definable My Menu section and the main body of the menus themselves. Here more than ever, its presence and function is hard to fathom: it feels like a quick menu that's got accidentally misplaced in the midst of a menu structure: not customizable, easy to inadvertently navigate away from, and with a menu system that defaults to opening on an empty page adjacent to it.

Thankfully, with its dedicated aperture ring, exposure comp dial, top-plate thumb dial and (if you need it), fiddly rear-plate dial, you have most of the camera's key functions to hand, with eight custom buttons available to gain more.

By the time you've slimmed-down all the options you might want to use, and maybe amended some of the Fn menu options, it's hard to see why you'd need to visit the menus at all.

The one instance that might require menu diving is if you want to shoot HLG HDR images, as you not only have to engage HEIF shooting and select the HDR mode but also disengage Raw shooting. So it requires some fairly involved button smashing to switch to and from HDR stills capture.

Image quality

Image quality offers no great surprises: we've seen this sensor often enough to know it's excellent for stills.

Image Comparison

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We'll take a closer look at the lens in a separate test, but you can see the RX1R III's sensor performs as you'd expect. It can't quite match the Leica Q3 43 for detail but it's capturing finer detail than the Mark II, with its 42MP sensor, could. Noise is comparable with the two other cameras with which it shares a sensor and with its predecessor, when compared at a common output size.

The JPEG engine does a good job of pulling out fine detail, and retains it to a reasonable degree at high ISO. Color rendition seems to be a match for recent Sony cameras, with perhaps slightly less bluey greens and greenish yellows than the RX1R II had.

Shooting the lens at a variety of apertures shows that it doesn't sharpen up to yield the full resolution of the camera until something like F5.6. But portraits shot at the sorts of distances and apertures you might want to use look really good, without being excessively revealing, while more stopped-down images bristle with detail.

The combination of a large sensor, bright lens and good autofocus in a small package is more flexible than it might at first appear.

Sony DSC-RX1R III | F4.0 | 1/125 sec | ISO 6400
Cropped and selectively warmed with Adobe Camera Raw
Photo: Richard Butler

It feels odd to sound like we're in the realms of 'good enough' in a camera costing this much money, but it's more a case that it delivers what you might want it to, where needed. It doesn't match the Leica Q3 43's lens, in a test-chart shootout, but when you're out shooting, you may find the difference matters less than test charts might make it might appear.

That said, it's worth noting that as a means of ensuring maximum detail from the sensor, Sony has configured the Auto ISO's default setting to maintain a minimum shutter speed of 1/125 sec (roughly 1/ four-times-focal-length). This means shooting in anything other than bright light may see the camera need to raise ISO earlier than expected, with the reduced exposure hitting image quality. Some degree of stabilization would have allowed higher IQ in these circumstances, for relatively static subjects.

Autofocus

The RX1R III's autofocus system is essentially a match for recent Sony models, and it's striking how much these things have improved since the last RX1R model.

The camera has something like twelve shapes and sizes of AF area, tracking versions of which become available in AF-C mode. There's also an array of subject recognition modes, some of which can be selected as part of an 'Auto' subject detection mode. The camera only focuses on a recognized subject on or near your chosen AF area.

There are countless options for customizing and fine-tuning the AF system. You can set it to jump to a different preset location when you rotate the camera, or register an AF position and mode to be recalled at the press of a button. You can limit which subjects are listed in the recognition list and define, per-subject, how strictly the camera should honor your chosen AF point, when it recognizes a subject elsewhere.

The high resolution of the camera highlights when eye-detection puts focus closer to the eye-lashes, rather than the surface of the iris, but overall the system is impressively responsive and dependable.

Sony RX1R III | F4 | 1/125 sec | ISO 100
Photo: Richard Butler

But for the most part, you don't need to: we found we could set the camera to AF-C and a medium-sized tracking target, engage human detection and just shoot. It would focus on a human if we directed it to, or focus on something else if we chose not to.

You can set an AF point by tapping the rear screen or (if you engage the Touchpad function) by tapping or swiping on the screen while the camera is held up to your eye. The Touchpad area and behavior can be specified to avoid inadvertent operation.

The focus itself works unexpectedly well: improved algorithms (and, we suspect, an improvement in focus motor speed) make the RX1R III one of the fastest focusing large-sensor, prime lens cameras on the market. Eye detection doesn't always put focus precisely on the iris, but it's close enough, often enough, quickly enough that you'll get the shot you're going for.

Video

The RX1R III can shoot video, with the settings topping out at 4K/30 in 10-bit 4:2:2 precision with All-I encoding. But, to a large extent, that's only because the software already exists. In the same way that the a7CR missed out on 8K capture for concerns of temperature, the RX1R III misses out on 4K/60, too.

But, while the RX1R can shoot video, it gives a series of hints that it's not expected to be used much. So although the camera has the same option to upload LUTs for preview, embedding or application to footage, it's worth noting that the camera has no headphone socket for monitoring audio. It has no movable screen, to allow operation in a steady fashion. And it's lost its dedicated video record button.

The footage itself is subsampled, giving a decent balance between detail capture and rolling shutter (18.3ms). The only stabilization option is an 'Enhanced' electronic stabilization mode which applies a 1.3x crop and significantly lowers detail levels.

Then there's the fact that camera will run through its battery in no time at all, once you start rolling. It's not a camera we'd recommend if you're expecting to shoot a lot of video, but it can do it if you just need some clips, here and there.

Conclusion

By Richard Butler

Pros:	Cons:
Excellent image quality Smallest full-frame camera available Impressively lightweight Best-in-class autofocus performance and operation Battery life much improved Attractive JPEGs and excellent Raws Very good photo-focused controls and layout High build quality	Image stabilization would be a benefit Fixed rear screen will be limiting Lens isn't critically sharp at close distances and wide apertures Battery life still not great 'Film' color modes are quite extreme Dense, complex menus That price

The RX1R III is an expensive camera that succeeds an expensive camera, following a decade with periods of relatively high inflation and, in the US, the imposition of arbitrary tariffs. It also arrives not too long after the launch of the a7CR, with which is shares many of its core components, and whose feature set it fails to match. All of which make it seem more extravagant than ever.

But, although the RX1R III is expensive (especially in the US), it's usual to pay a premium for the niche appeal of a prime lens photographers' camera. All the more so when they're the smallest full-frame digital camera you can buy, which is what the RX1R III currently is.

If you like a small, prime-lens compact and you like the 35mm focal length, the RX1R III is an excellent camera. The autofocus is vastly improved, to the point that it's probably the fastest and most usable camera of its type.

A key part of the RX1R III's appeal is its size and weight. If that isn't one of your top priorities, then the camera as a whole won't make sense. But for those people who need a small, well-built and highly photo-focused camera, it's an excellent, albeit expensive, option.

Lots of 35mm shooters don't find tilting screens or image stabilization to be essential, but it's hard to argue that their inclusion wouldn't have significantly benefited the RX1R III. Of course, you have the option to buy the Leica Q3 (/43) if you consider them necessary for your shooting, but there's a cost to be paid for that, both in terms of size and at the till.

There are plenty of people that don't see the appeal of Fujifilm's X100 series, and yet they've continually found an audience among keen photographers. The RX1R III is a rarefied version of that same concept: a compact, photography-focused 35mm equiv camera, but boosted by the image quality benefits of a larger sensor. If you're fed up of waiting for an X100VI, this is what a Super-X100 looks like.

The lens is a little softer at close distances and wide apertures. It's up to you whether you think this is going to be a problem for your photography.

Sony RX1R III | F2 | 1/800 sec | ISO 100
Photo: Richard Butler

While it is an excellent camera in its own right, the pincer-movement of the higher-specced a7CR below it and the larger, but image stabilized, Leica twins above, can't help but further narrow its already niche appeal. But if you are the kind of photographer who wants top-notch image quality in a tiny package...

Ultimately, we can only review the camera that's been released, not the one we think could or should have been made. With the RX1R III, Sony has addressed the focus and battery life concerns we have about the previous camera, and made what might be a future classic in the process. While the criticism that Sony could have done more seems reasonable, and the pricing (especially in the US) doesn't, if you're lucky enough to get the RX1R III in your hands, you'll immediately recognize that it's incredibly good at what it sets out to do.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Sony DSC-RX1R III

Category: Enthusiast Large Sensor Compact Camera

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Optics

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The RX1R III is the smallest full-frame camera on the market. It features a 35mm F2 lens that can be a touch soft at wide apertures but delivers the full resolution when stopped down. Its autofocus is best in class, in terms of speed and dependability. It's an expensive camera and there are cheaper models with more features, but it's hard to think of a photographers' compact that takes better images so readily.

Good for

X100 users who want even more. Photographers for whom size and portability are paramount.

Not so good for

Anyone needing flexibility. Photographers shooting lots of video.

88%

Overall score

Compared to its peers

Leica offers the Q3 and Q3 43 models, if you prefer a focal length slightly wider or narrower than 35mm. Both cameras share a sensor with the Sony and have excellent, bright lenses. The Sony has the edge in terms of autofocus reliability and usability, but the Leicas add both tilting screens and image stabilization. You'll have to pay around a 30% premium for the German brand's cameras, but you are getting something beyond just the name, for that upcharge. The Sony is appreciably smaller, but it's never going to say Leica on the front, if that's something that speaks to you.

The Fujifilm X100VI is, in many respects, the most similar camera to the Sony on the market. It's a very photo-focused compact, built around a large sensor and a fixed 35mm equivalent lens. The distinction is the Fujifilm rocks a classic aesthetic and dedicated dials (along with programmable command dials) and its innovative hybrid optical/electronic viewfinder, whereas the Sony is more utilitarian. The most significant difference, though is the sensor size, with the RX1R III commanding a premium for having a sensor 2.3x larger, and the stop-and-a-bit IQ benefit this can bring. This, combined with the Sony's faster, more reliable focus is what makes us see it as a 'super-X100,' but you've really got to want that extra capability to make the step up worthwhile.

The Sony a7CR is a very different camera. It's undeniably better specced, with image stabilization, a bigger battery, flip-out screen and more extensive video capabilities, before you even get to the flexibility of being able to change lenses. But it'll never be as small or focused as the RX1R III (which is most of the camera's raison d'etre). In practice, even with the smallest lenses, you can't fully recreate the RX1R III experience with a Mirrorless camera, so it comes down to a question of whether size and focus or spec and utility matter most to you: both conclusions are equally valid.

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Fujifilm X-E5 review

Wed, 30 Jul 2025 16:55:00 Z

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Product photos: Richard Butler

85%

The Fujifilm X-E5 is the latest mid-range rangefinder-style mirrorless camera to join the X-series. It takes several steps back towards the enthusiast-friendly outlook of the original X-E models and gains image stabilization along the way.

Key specifications

40MP BSI CMOS APS-C sensor
Image stabilization rated to 7.0EV
Twin clickable command dials
Film simulation dial with 'recipe' option
2.36M dot EVF
1.04M dot rear up/down tilt LCD
Video up to 6.2K//30 (with 1.23x crop)
Continuous shooting up to 8fps, 13fps with e-shutter
Mic socket, headphones via USB

The Fujifilm X-E5 will be available in August at a recommended price of $1699, body only, or $1899 with the new 23mm F2.8R WR lens. At launch, this represented a $300 premium over the similarly specced X-T50 for US customers, likely to leave room for tariffs. However, Fujifilm has now adjusted the rest of its lineup's prices, so the X-E5's US price is more in-line with the rest of the world (for now).

Jul 30: Initial review published
Aug 4: Review updated with updated X-T50/X-T5 pricing

Index:

Buy now:

What's new

Film simulation dial

Slightly unexpectedly for such an enthusiast-focused camera, the X-E5 has a dedicated film simulation dial. In a purely aesthetic flourish, the selected film simulation is displayed through a small circular window on the top of the camera. It's pure style over function, and yet...

Film simulation recipes

You can save different sets of parameters for each of the three FS positions on the dial, and configure a button to toggle between your standard settings and the recipe.

The detail we found really interesting, though, is the ability to assign not just your choice of film simulation to the dial, but the option to assign film sim 'recipes,' with Fujifilm explicitly adopting the term that originally came from the user community.

Each of the three customizable FS positions on the dial gives you the option to customize a full suite of settings, including grain effect, highlight and shadow response, clarity, noise reduction and color chrome effect (red and blue). These settings are retained specifically for that FS slot, and changing them when a different film sim is selected doesn't override the values you've chosen.

Image stabilization

Another thing signalling the X-E5's status in the Fujifilm lineup is the incorporation of in-body image stabilization. Like the version in the X-T50, the X-E5's stabilization is rated as giving up to 7.0 stops of correction at the center and 6.0 at the peripheries. Fujifilm says it's using an updated gyro to detect roll motion and an updated algorithm to improve performance.

'Self-timer' switch

The X-E5 regains several of the control points it lost in the previous iteration, but also adds, for the first time, one from the X100 series. The faux 'self-timer' switch on the front of the camera is the same as the one on the X100VI, which can be pushed left or right to select a function or held (for >2 sec) in either direction to access a further two. There's a button at the center of the switch to access a fifth function, with all five options being customizable.

Classic viewfinder mode

The X-E5's classic viewfinder mode

One of the other additions to the X-E5 is perhaps the clearest reminder that this is a camera that comes from the designers who brought you the X half. It's a retro display mode for the viewfinder that shows just the exposure mode, exposure settings and battery indicator in red, as if you were looking at an LED-lit display. The image preview shows the effect of exposure comp and film simulations, as usual.

In this mode, the exposure comp scale on the left of the display is replaced by a needle-style indicator on the right. With no scale to the indicator, you'll just have to learn to interpret what it's indicating for anything other than the centered position. It's visually in keeping with the rest of the camera's looks, though. Charming or ridiculous: you decide.

Other functions

In most other respects, the X-E5 matches the spec of the X-T50, with both cameras sharing a sensor and processor and hence offering the same video modes, the same burst rates and otherwise similar capabilities.

How it compares:

The most obvious comparison for the X-E5 is to the X100VI. The two are very similar in size and feature set, especially if you pair the X-E5 with the new 23mm F2.8. The X-E5 is an interchangeable lens camera, giving you more overall flexibility. But this means leaving room for a focal plane shutter, the absence of which lets the X100VI's lens extend closer to the sensor, making it easier to deliver an extra stop of brightness, despite the similar external dimensions. The big difference is the hybrid optical/electronic viewfinder and the all-in-one package the X100 offers. We suspect most people will know which they want.

If you're looking for interchangeable lenses, the X-E5's most similar competitor is the Sony a6700. They follow very different schools of design but are both very capable, relatively compact, stabilized APS-C cameras.

Its price puts the X-E5 into low-end full-frame territory. Its shape and leatherette cover might make you think of the Panasonic DC-S9, but that's aimed as much at vlogging as photography. We think the Nikon Z5 II, with its twin command dials, is a better comparison, despite its SLR-like format. And, if you're not committed to the X-E's boxy layout, Fujifilm's own X-T50 and X-T5 are interesting comparisons. You can get the X-T50 for similar money, but we're going to compare the X-T5 here, simply because there's more to set them apart.

	Fujifilm X-E5	Sony a6700	Nikon Z5 II	Fujifilm X-T5
MSRP US / RRP UK	$1699 £1299	$1399 £1429	$1699 £1599	$1899 (post-tariff adjustment) £1699
Sensor res, type, size	40MP BSI CMOS APS-C	26MP BSI CMOS APS-C	24MP BSI CMOS Full-frame	40MP BSI CMOS APS-C
Stabilization	7.0EV	5.0EV	7.5EV	7.0EV
Viewfinder	2.36M dot OLED 0.62x mag	2.36M dot OLED 0.70x mag	3.69M dot OLED 0.8x mag	3.69M dot OLED 0.8x mag
Rear screen	3.0" 1.04M dot tilt up/down	3.0" 1.04M dot fully-articulating	3.2" 2.10M dot fully-articulated	3.0" 1.84M dot two-axis tilt
Cont. shooting	8fps Mech 13fps Elec.	11fps Mech 11fps Elec.	9.4fps EFCS 10fps Elec*	15fps Mech 13fps Elec.
Video options	6.2K/30 w/ 1.23x crop 4K/60 w/ 1.14x crop 4K/30 full width	4K/120 w/1.58x crop 4K/60 oversampled	4K/60 w/1.5x crop 4K/30 oversampled	6.2K/30 w/ 1.23x crop 4K/60 w/ 1.14x crop 4K/30 full width
Mic/'phones	Yes / Via USB	Yes / Yes	Yes / Yes	Yes / Yes
4ch audio	Via optional adapter	Via optional adapter	No	Via optional adapter
Media slots	1x UHS-II SD	1x UHS-II SD	2x UHS-II SD	2x UHS-II SD
Battery life LCD / EVF	310 / –	570 / 550	350 / 330	580 x 590
Weight	445g (15.7oz)	493g (17.4oz)	700g (24.7oz)	557g (19.6 oz)
Dimensions	125 x 73 x 38mm	122 x 69 x 64mm	134 x 101 x 72mm	130 x 91 x 64mm

*30fps in JPEG-only mode, from 12-bit readout

The X-E5's price pits it against some strong competition; in the US, you still don't have to spend much more to get the X-T5, which, with its nicer viewfinder, twin card slots and weather-resistant build, is clearly meant to sit higher up in the lineup.

There are certainly arguments to be made for a smaller, lighter camera, and the smaller, lighter lenses that go with it, but the strong specs and aggressive price of the Nikon Z5II mean it's a tempting option, if size and weight aren't especially important to you.

It's much easier to make the case for the X-E5 at its UK price, where it undercuts all the other cameras here, and its style and charm can make their case a little more loudly, without being drowned out by the noise of trade concerns.

Body and handling

The X-E5 is a very solid feeling camera. At 445g, it's almost a third heavier than the previous iteration. The whole camera feels more dense than earlier models in the series, giving more of an impression of solidity than before.

Control points

The X-E5 has more control points than its immediate predecessor, regaining the twin pressable command dials of the earlier models. It also has the side-panel focus mode switch, which was absent from the X-E4.

In addition to these reinstated controls, there's the self-timer style switch and button combination on the front of the camera, meaning you can access up to five settings or functions quickly (or, at least, three of them quickly and another two eventually).

Grip

The X-E5 also gains a bulge along the front and back right edge of the camera, giving it more of a grip than the last model and again bringing it closer into line with the previous cameras. It's not the most substantial grip, and it stops just above the camera's base plate, leaving a hard edge that you probably don't want to wrap your fingers under.

As with previous X-Es, this is a camera you're most likely to be supporting with your left hand when in a shooting stance, and we'd consider the grip to be sufficient, rather than anything more than that.

Viewfinder

There's a small viewfinder at the top left of the camera. It's a relatively small finder with the same 2.36M dot (1025 x 768px) resolution as the X-E4 had.

It has a very small, hard rubber surround, but no real eye cup to protect from stray light. It has a fairly short eye-point, so glasses wearers are likely to find they can't see the whole finder at the same time. We'd say it's there for working in bright light, rather than full-time use, which is more of an X-T5 way of working.

The rear screen is a tilt up/down, 1.04M dot (720 x 480px) display, the same panel used by the X-M5's fully articulating screen.

Battery

The X-E5 uses the same NP-W126s battery as most of Fujifilm's smaller cameras. Fujifilm says it's rated to get 310 shots per charge, which is just a touch more than the X-T50, with which it shares the majority of its components.

CIPA ratings tend to significantly under-represent most people's real-world shooting patterns, and getting double the quoted figure isn't unusual. A rating around 300 shots is reasonable and should be good for a weekend of occasional shots or an afternoon of committed photography. The camera can be charged or powered over USB-C.

Image quality

Image Comparison

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As expected, the X-E5's Raw detail capture is identical to Fujifilm's other 40MP cameras, and it outperforms the 24MP Nikon Z5II and 26MP Sony a6700. Its images also have more detail than those from its 26MP predecessor, the X-E4.

Its base ISO noise performance is on par with the rest of the current-gen APS-C competition, and it's a bit cleaner than the X-E4; no surprise, given that its base ISO is 125 while its predecessor's was 160. The full-frame Z5II, however, provides around a stop improvement in noise, which follows its increased sensor area.

These trends continue at mid to high ISOs, and the X-E5's lead in detail slips away past around ISO 1600.

The camera's JPEG engine isn't quite as good as its competitors at emphasizing fine details, even at base ISOs, so its lead isn't as apparent as it is in Raw. However, it continues Fujifilm's tradition of offering pleasing colors and does a decent job of retaining details even while reducing noise at higher ISOs, though its performance does suffer a bit in low-contrast areas.

Dynamic range

This sensor has always offered excellent dynamic range with low read noise, and it's no different in the X-E5.

This means it offers plenty of room to bring up shadows in post, so you can make the most of its maximum dynamic range at base ISO. Its design also lets you choose to extend dynamic range when shooting in low-light scenes, as long as you're willing to use a lower ISO to reduce blown highlights.

Autofocus

The X-E5 has the same autofocus system that Fujifilm has used in many of its recent cameras, which provides a lot of flexibility for your focus selector, with sizes that range from a single point to customizable zones and a wide area. In continuous autofocus mode, the wide area is replaced by the tracking mode, where you get a box that you can place over your subject, which the camera will try to follow. You can select your focus point using the joystick, by directly touching the area you want to focus on with the touchscreen or using a configurable section of the screen as a touchpad when the camera is to your eye.

All these modes can be used in conjunction with the camera's AI-derived subject recognition system, which has been trained to pick out humans, animals, birds, cars, motorcycles/bikes, planes and trains. The X-E5 will automatically jump to a recognized subject if your focus point is over or around it, though it does a good job of not jumping to a subject if your selected area is far enough away from it.

Humans and their faces/eyes are a separate function from the rest of the subject detection modes, which can make it more of a hassle to use; if you want to set a custom button to turn on subject detection, you'll have to decide whether you want it to be for humans or something else (or devote two buttons to switching between them). Other brands' systems side-step this issue by having humans listed as a subject alongside the others that the camera can recognize.

You choose between AF-S, AF-C and the manual focus modes using a switch on the side of the camera. Despite being placed on a part of the camera that you may touch frequently, it's stiff enough that we didn't find ourselves in an unexpected mode too often.

Autofocus performance

Fujifilm XF 33mm F1.4 | F1.4 | 1/950 sec | ISO 160
Photo: Mitchell Clark

The X-E5's autofocus system is generally quick and reliable, doing a good job of focusing on whatever you've put your focus point over. The vast majority of the shots we took while testing it were perfectly in focus, with only a few coming out a touch soft.

Fujifilm's tracking system continues to be off the pace set by the likes of Canon, Nikon and Sony, but in most situations, it got the job done. It was occasionally distractible, wandering off the target or failing to lock onto it. It's at its best when using subject recognition, though even then, we've historically found that it can occasionally misjudge distance (especially for moving objects) or wind up focusing on someone's eyelashes rather than their pupils.

Those issues seem like bigger shortcomings on Fujifilm's higher-end cameras meant to take on sports and action cameras than they are for this style of body, though; for most use cases, its autofocus system should prove sufficient. That's especially true if you spend some time optimizing your settings.

Video

The X-E5 has a microphone jack, but no headphone jack aside from the ability to use a USB-C to headphone adapter.

The X-E5 isn't designed to be an ultra-capable hybrid shooter, but it essentially has the same mix of resolutions and features as the X-T50, with the ability to shoot 6.2K footage and oversampled 4K derived from it. Like that camera, the X-E5 has a microphone socket but no port for headphones, though it does come with a USB-C to 3.5mm adapter in the box if you really need to monitor audio.

It has some provisions for those who want to take video of themselves: the display has a second articulation point so you can flip it up for a selfie view (though pretty much any microphone will block it).

The X-E5 also has Fujifilm's classic Movie Optimized Control setting, which does a good job of keeping your settings for stills and video separate; it ignores the settings on your shutter speed, exposure compensation, and aperture dials. While this setting makes it easier to switch between modes, it unfortunately also makes it so you can't use the film simulation dial either.

That's a bit of a shame, since the video mode actually supports recipes too. Your settings won't carry over from your stills recipes, and there are far fewer parameters to tweak, but you can make at least some changes to the underlying simulations.

Video performance

The carryover from the X-T50 means it provides solid levels of detail, especially in its 6.2K and HQ modes, though they have a relatively slow 24.9ms rolling shutter rate, which can result in a jello-like effect when shooting fast-moving subjects or panning the camera quickly. The standard 4K mode still provides a fair amount of detail, but with only 15.3ms of rolling shutter, which is quite decent.

Unlike some of Fujifilm's more video-focused cameras, the X-E5 isn't compatible with the company's fan accessory, which can extend video record times. However, it doesn't seem particularly eager to overheat, especially if you're only trying to shoot short clips.

In use

The X-E5 takes the series back up-market, and it definitely feels the part. Fujifilm says the aluminum top plate is made using the same process as the GFX100RF, which allows for a beveled edge that the dials are inlaid into. The knurling on those makes them easy to locate and operate, and the camera has a solid feel overall.

Speaking of the GFX100RF, the X-E5 comes with the same rope-style shoulder strap. While it certainly looks fancier than the traditional pack-in strap, it's an absolute pain to install, even with the plastic tool Fujifilm packs in the box. The tiny eyelets on the camera are low-profile, sure, but that does mean you'll have a far from premium experience as you struggle to get the included strap's snap-rings onto them.

The X-E5 will be very familiar to anyone who's picked up a Fujifilm recently

Once you've got past the strap or installed your own (Peak Design includes a similar tool and snap rings with its ever-popular anchor straps, and the installation is way easier), the camera will be very familiar to anyone who's picked up a Fujifilm recently. The menus are largely unchanged, for better or worse, depending on your level of familiarity with them. Of course, there is the inclusion of a new trick: the recipes system.

We've written a more in-depth piece about those here, but if you find that you're not satisfied by the built-in (and, likely, more subtle) Film Simulation color modes, they'll be lots of fun to play around with. They also make a more compelling case for the Film Simulation dial than previous iterations by giving it an extra layer of control. And while editing a Raw will always give you more flexibility, seeing the style as you're shooting may change how you compose your scene, or what you decide to take pictures of.

Sample gallery

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The system won't be for everyone, and it has its flaws: you add the recipes by setting up to a dozen parameters, while other camera systems let you download community-made looks through their app, and they aren't available everywhere that you might use a Film Simulation. But for those that are interested, it provides easy access to the ability to put your own mark on your JPEGs.

Like with the X100VI, it can feel like the X-E5 has more controls than necessary. While we're happy to see the second command dial return, having both be the clicking variety and adding a front toggle switch* with an extra button on the front and a bluetooth button on the bottom risks making it feel a little unfocused and unclear how you're expected to operate the camera. For some, that won't be an issue, especially on an ILC, but those concerned with the purest photo experience may need to learn to ignore some of the buttons, dials and functions.

* with four functions: two for a press in either direction, and two for long presses that take just a little too long.

Conclusion

By Mitchell Clark

What we like	What we don't
Great image quality Film recipe system turns fan favorite into a great feature Very packable size, especially with kit lens Premium build quality Goes a long way to replicating X100 look and feel Plenty of direct controls	Not so premium screen/viewfinder Recipe system could still use some improvement Weather sealing would've been nice Battery life is just decent US pricing still doesn't quite differentiate the X-T5 enough

The X-E5 launched with an albatross around its neck: in the US, it was priced with tariffs built in, while, by and large, its competitors – even those among Fujifilm's own lineup – were not. Now that the company has adjusted the prices of the rest of its cameras, though, the story is a bit more straightforward: now everywhere its price is similar to the X-T50's, and it's cheaper than the higher-end X-T5.

The gap between the X-E5 and X-T5 is still relatively small, given the former's single card slot, relatively small viewfinder and lack of weather sealing (all of which the latter has), but it's enough to highlight this camera's main appeal. The main reason to get an X-E5 isn't necessarily for its capabilities, but because it's one of the few cameras with a high-resolution sensor and up-to-date processor to come in a rangefinder-shaped package.

Is the X-E5 a substitute for an X100? It very well could be, depending on your needs.

That styling is very 'in' right now. Even 18 months after its announcement, the popular X100VI is still hard to get at list price, and the X-E5 comes very close to replicating the experience of using one, apart from the appeal of a fixed lens and the compelling hybrid optical viewfinder.

That's good news for enthusiasts who are, ultimately, the ones who will most likely be interested in this camera. Its predecessor, the X-E4, had stripped-back controls which made it less engaging to use and an unstabilized sensor. The X-E5 no longer asks you to make those compromises to get a classically-styled body that's easy to pack with you, depending on your lens choice. It comes with the full suite of tech that you'd get from many of Fujifilm's other current-generation cameras.

That means it inherits some of the parts of Fujifilm's formula that would benefit from an update in the next generation, such as its autofocus system and complex, non-touch-friendly menus. However, the company is also clearly continuing to make improvements. The recipe feature, in particular, does a good job of putting control over one of Fujifilm's greatest strengths: its JPEG colors, right at your fingertips.

Of course, that's not to say it's perfect. We would've liked to see a higher resolution and magnification viewfinder, though that likely would've made the camera larger. More focused controls and an autofocus system with performance closer to its competitors' would've also been nice. And while Fujifilm isn't entirely to blame for the US pricing, a camera coming in at double what its predecessor cost will always be a bit hard to swallow, even with the move back up-market.

Still, we're happy that move has happened, and that the X-E5 remains a photography focused tool. If you're not into rangefinder styling, there are certainly more capable options, especially if you're paying the price demanded in the US market. But if that's important to you, Fujifilm has done a great job with this camera, and it's one of your best options in the absence of any updated X Pro. For that reason, we feel it handily earns our Silver award.

Buy now:

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Fujifilm X-E5

Category: Mid Range Interchangeable Lens Camera / DSLR

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The X-E5 is an excellent option if you want rangefinder styling, but other cameras offer more substance.

Good for

Street and travel photography People who want an X100 but can't get one

Not so good for

Sports/action photography Serious video shooters

85%

Overall score

Compared to its peers

The Fujifilm X-T50 has a similar price and specifications. Its SLR styling allows for the inclusion of a built-in pop-up flash and it has a higher-resolution screen, but otherwise the two cameras have very similar capabilities, though the X-T50 build quality and controls are aimed more towards beginners, while the X-E5 feels built for enthusiasts. At time of writing, the recipes system hasn't made its way to the X-T50, despite it also having a Film Simulation dial.

Sony's a6700 is a very technically capable camera, with an autofocus system that's more reliable than Fujifilm's and a chunky grip that should make it comfortable to use with a wider array of lenses... though Sony remains a runner-up to Fujifilm when it comes to the expansiveness of its APS-C lens ecosystem. Interestingly, the a6700 uses the same sensor as Fujifilm's budget model, the X-M5, though it adds stabilization, which that camera lacks. Its headphone jack and fully articulated screen make it a much better choice for video, though we suspect some photographers will struggle to find joy shooting with it.

The full-frame Nikon Z5 II is, in many ways, a more capable camera: its full-frame sensor provides better image quality, and it comes equipped with dual card slots, a larger, brighter viewfinder, weather sealing and a more reliable autofocus system. However, the boost in image quality also comes at the cost of larger, more expensive lenses, and its styling is more conventional.

Fujifilm's X-T5 has a very different focus. Its much larger and higher resolution EVF, weather sealing and dual card slots mark it as a camera that could happily act as a professional workhorse. Its focus is less on size and looks, and more on giving you an incredible amount of control at your fingertips. It trades the film simulation dial for an ISO one, which may have more appeal to some photographers.

Sample gallery

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Pre-production sample gallery

Sample gallery

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Fujifilm X half review

Mon, 14 Jul 2025 17:34:00 Z

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Sample gallery

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All product photos: Richard Butler

The Fujifilm X half is a JPEG-only compact camera with a fixed focal length and a vertically orientated sensor, designed to mimic the experience of shooting with a half-frame film camera. It prioritizes fun over technical excellence.

Key features

Vertical 18MP, 8.8 x 11.7mm CMOS sensor
32mm equiv F2.8 lens
JPEG-only output
2-in-1 mode combining sequential shots into a 3:2 image
Tunnel-style optical viewfinder
Film Camera mode simulates the film camera experience
10 Film Simulations, 18 Filters
Twin touchscreen interface
Date stamp option
880 shot per charge rating when using OVF
'Film advance' lever
Direct printing to Instax printers
UHS-I SD card slot

The obvious reference point will, no doubt, be Fujifilm's own X100 series cameras, and we doubt Fujifilm will dislike the comparison, given their popularity. But, whereas the X100 cameras look a lot like miniature Leicas, the cute, boxy X half looks more like a Rollei 35.

The X half has a recommended price of $849 and is available in black, charcoal or silver. There's no obvious precedent for a camera like this and the uncertainty around the cost of importing items from China into the US makes it a little hard to make sense of, but it seems like a lot for a camera that's putting more effort into being fun than functional.

Index:

Buy now:

May 22: Initial review published
Jul 14: Film camera mode section amended, image quality, smartphone section and conclusion added. Sample gallery expanded.

What is it?

The Fujifilm X half is a fixed-lens camera built around an 8.8 x 11.3mm sensor. Those dimensions may not sound familiar but it's essentially a 4:3 crop from a 20MP 3:2 Type 1 sensor, turned on its side.

So, when Fujifilm talks in terms of half frame, it's talking about the 3:4 shooting experience you get from shooting half a frame of 135 film, not about mimicking the same capture area that would give.

It has a 10.8mm F2.8 prime lens, and that sensor's 2.94x crop factor means this gives a 32mm equivalent field of view and an F8.2-equiv maximum aperture.

Flicking the film advance lever just after you've taken a shot (or when you're reviewing an image in playback mode) lets you combine that shot with the next one you take.

Left image: Provia film sim | F2.8 | 1/800 sec | ISO 200
Right image: Provia film sim | F2.8 | 1/1600 sec | ISO 200
Photos: Richard Butler

You can shoot individual 3:4 vertical images, swiping on the Film Simulation window on the back of the camera to change your virtual film stock. Alternatively, if you flick the film advance lever after taking a shot, you can combine your previous and next images to create a side-by-side diptych. Both individual images are saved to the memory card, in addition to the combined version.

Film Camera mode

The X half is best understood through its Film Camera mode. Engage the mode and you'll be asked how many exposures you want on your virtual film: 36, 54 or 72. If those second two numbers look unfamiliar, remember that this is styling itself as a half-frame camera, so you can fit 72 shots on a '36 exposure' film.

"Once you start shooting, you'll have to use the film advance lever after each shot: the camera won't take another photo until you do"

When in film camera mode, you lose the live view on the back of the camera and have to compose via the optical viewfinder. You also lose the ability to swipe to change Film Simulation or filter: you're using a single roll of 'film,' after all.

And, once you start shooting, you'll have to remember to use the film advance lever after each shot: the camera won't take another photo until you do. Annoyingly there's a distinct lag after each shot before the film advance lever becomes active, so there's no point trying to develop a fast winding shooting style: the camera will ignore your input then wait for you to wind the roll on again.

The film camera mode interface is simplified, with a four-step zone focus option, if you select manual focus. Sadly the film advance lever, while feeling pretty solid, doesn't give any sense of mechancal feedback and it won't recognize your input if you try to 'wind-on' too soon after each shot.

Once you've taken all your photos, you can connect your camera to the app and transfer the photos, at which point you get to see a contact sheet and watch the images 'develop.' That contact sheet image, complete with sprocket holes, frame numbering (with the images numbered as 01, 01A, 02, 02A and so forth), can also be downloaded.

If you lose interest in a project before the end of the roll, you can double-tap the film window screen and the camera will 'rewind' the roll, leaving you with a partially-complete film strip. Fujifilm also warns that removing the memory card or the battery can result in film camera mode being abandoned.

we found the Film Camera mode to be fun, but the entertainment value waned quickly

In use we found the Film Camera mode to be fun, but the entertainment value waned quickly. 36 shots is a lot to combine as a single, cohesive project but if we were shooting over an extended period, the way you might have with real film, the temptation to swap filmstocks or regain live view so that we would tell what we were focusing on meant we abandoned most 'films,' mid-roll.

Filters and Film Simulations

One of the X half's main selling points is likely to be Fujifilm's film simulation modes, and the camera includes ten of the most popular ones.

Provia / Standard
Velvia / Vivid
Astia / Soft
Classic Chrome
Reala ACE

Classic Neg.
Nostalgic Neg.
Eterna / Cinema
Acros (with Red, Yellow or Green filter)
Sepia

The X half also has a range of Filter modes, including Toy Camera, Vignetting, Light Leak, Halation and Expired Film. These give more extreme looks than the film simulations, but include some fun options such as giving the expired film mode a green or red tint, or the light leak mode that applies a one of a selection red/yellow bursts across each image at random, which are only visible in the final image. Filters can't be combined with Film Simulation modes.

ISO and Autofocus

The camera's base ISO is 200 and there are three pre-defined Auto ISO settings, you choice is essentially whether the camera stops at ISO 800, 3200 or 12,800. All three settings try to maintain a shutter speed of at least 1/125 sec, good for movinging subjects but much quicker than needed for static or slow-moving ones, meaning you end up with lower image quality that you could get, in those situations.

In terms of autofocus, you have a choice of two AF area modes: a large central point or an AF area that can be moved to one of nine positions. There are eye and face detection options on top of this, and the camera will prioritize faces in your scene, regardless of the AF position.

Autofocus is somewhat laggy and distinctly slow, though, so we found the camera to be much more dependable in AF-S mode. This is not a camera for action or moving subjects, really.

Video

The X half can shoot up to 1080/24 footage at up to 50Mbps, captured in a 3:2, 1080 x 1440 format. It can also shoot 2x slowmo footage. These video clips can be combined with still images in 2-in-1 diptychs, output as 2160 x 1440px MOV files. There's a 3.5mm-to-USB-C lead in the box, but this is for attaching headphones (?!?) rather than an external mic, as is the case on other Fujifilm models.

Body and handling

The X half is small, boxy and really rather cute: both its size and looks attract attention. It's also pretty well built. It feels like a lot of it is plastic but it's thick enough that the camera doesn't feel flimsy. It's small enough to fit in a coat pocket, despite the protruding lens.

The lens has an aperture ring around it, controllable in whole stops and with an 'A' position at one end, passing control back to the camera body. There is no other control dial on the camera, so there's no way to gain 1/3EV control of the aperture.

The camera's shutter tops out at 1/2000 sec, so in bright light you'll need to remember to stop down; especially if you're using the viewfinder, where there's nothing to indicate that your shots will be overexposed.

There's a narrow ring around the front of the lens that can be used for manual focus. The ring moves quite freely and the stepping of focus distances isn't very fine-grained, but it's there if you want it.

The lens is covered with a soft plastic lens cap. It's not the prettiest or most convenient feature, but ends up highlighting a benefit to the lens design: it doesn't change length. As such you never have to worry about stripping the gears or damaging a motor if you turn the camera on in your pocket or with the cap still attached.

The top of the camera is decidedly simple: a large exposure comp dial, that photo advance lever and an power switch, which releases the level from its stowed position. There's also a cold shoe slot in the middle of the camera. We're not really sure why.

The whimsy continues on the back, with a film-window-style rounded LCD panel that displays the currently active Film Simulation mode or Filter effect. It's a touchscreen, so you can swipe up or down to change mode (unless you're in Film Camera mode).

Next to this is the main display, a small, portrait-orientation 2.4" 640 x 480px touchscreen. In regular shooting mode this shows a live view display, just as you'd expect. Swiping your finger across the screen brings up one of four menus.

Swipe right


Swipe down	Swipe right	Swipe up	Swipe left

Swiping down gives you the choice between connecting to a smartphone and entering Film Camera mode.

Swiping right lets you select whether you're in Film Simulation or Filter mode. There are icons at the bottom of the screen to let you determine which of these modes applies to stills or video shooting. You don't select which of the simulations of filters you're using, just which mode the camera is in.

Swiping up brings up a quick menu, detailing eight of the camera's core settings:

Exposure mode (P, S, A, M)
Image size (L, M, S)
Face/Eye detection setting
Portrait enhancer

Focus mode (MF, AF-C, AF-S)
Self-timer (2s, 10s, Off, Continue)
Grain (Roughness / Size)
White balance

Finally, swiping left brings up the camera's main menu. It's a much-simplified variant of the one from other Fujifilm cameras, divided up into seven catagories: Shooting settings, Movie settings, IQ settings, AF/MF settings, Audio settings, Set up and Networking/USB settings. These catagories are navigated by swiping up and down on the film window, next to the main LCD.

The film advance lever

One of the only physical controls on the whole camera is the film advance lever. In normal camera mode its job is to engage 2-in-1 diptych mode, in Film Camera mode it acts as the film advance lever it mimics. Push the lever in towards the body in normal shooting mode and the camera will show you the last image you took, while the lever is held in. Again, we're not entirely sure why.

Battery

The X half takes the same NP-W126S battery as Fujifilm's other small cameras. It's a relatively large battery for such a small camera, making up something like 1/7th of the camera's volume. This helps power the camera to a rating of 880 shots per charge, if you use the OVF. We've not seen a figure for shooting with live view.

This is enough that you'll essentially never have to worry about charging the battery. The camera can charge over its USB-C socket, so all you need to do is remember to plug it in from time-to-time.

Image quality

This isn't the most sensible way to assess the X half's image quality, but we wanted to check how it compares to other cameras on the market. Our test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.

Image Comparison

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Ultimately, the X half isn't a camera where we think absolute image quality it critical to its appeal (most of its fun/retro rivals have much, much smaller sensors and consequently much noisier images with lower image quality). But it doesn't do terribly, in this regard, compared to enthusiast compacts. It doesn't pull as much detail out of its files as the likes of the Sony RX100 V. The Sony uses the full 116mm² of it Type 1 sensor, rather than the 103mm² crop used by the Fujifilm, but a 12% diffence isn't especially significant, as can been seen by looking at the high ISO images.

We'd suggest thinking about how and where you're likely to use the X half's images, then upload or output them via that medium and see how they look, rather than worrying about the nth degree of pixel-level performance. Or look at the sample gallery and ask yourself "could I have fun with that?"

Smartphone app and connectivity

One of the great paradoxes of modern compacts is that they exist as an alternative to smartphone cameras, yet need to be able to connect to them easily, and be used in conjunction with them.

The X half achieves this with its own, dedicated app. At its core, it seems to essentially be a version of the company's X app but with a simpler pairing system because there's only one model it has to know how to connect to. This means there's no ambiguity about how to pair the devices and little risk that updated to support future models will break its existing function.

The dedicated X half app lets you download images from the camera, 'process' the results of Film Camera mode or combine 2-in-1 diptychs. Click to see the full image.

Once connected, the X half app maintains a constant Bluetooth connection and is able to fire up Wi-Fi when you need to transfer images. The app itself lets you combine images into diptychs, just as the camera does, with a choice of the width, style and color of the divider between images. Unlike the camera you can also flip each image horiztonally, if that improves the composition. You can then select which images to share beyond the app, with the option to crop a central square from the each picture. It's all very straightforward.

The other function the app performs is 'processing' the output of the camera's Film Camera mode. You can't view any of the images taken in Film Camera mode until you've transfered them to the smartphone and waited for them to 'develop.' The images are then copied to your phone and seemingly deleted from the camera (though you can re-import and process the film if you wish: the images are still on your SD card, just placed in a different folder.

Finally, there's the option to connect directly to one of Fujifilm's Instax printers, which feels like one of the core ways they expect the X half to be used.

Conclusion

What we like

What we don't

Stylish, fun camera
Better image quality than most point-and-shoots
Film simulations and filter modes make the pictures look interesting but still attractive
Film sim 'window' touchscreen is [chef's kiss]
Exposure comp dial gives direct access to the most important setting
Optical viewfinder for shooting outdoors
Good battery life
X half app is simple and works well

Expensive
Touchscreens are a bit laggy
AF is a bit slow and unreliable for people pictures or shooting in low light
Film advance lever doesn't have any mechanical resistance
Delay between taking a shot and the film advance lever being usable
Viewfinder and rear screen give only a rough idea of what you're going to capture
Auto ISO uses very high min shutter speed, reducing IQ when you don't need 1/125 sec shutter
LED 'flash' has minimal effect

The more we use the X half, the more it confirms our initial impression: it's profoundly silly, and also a lot of fun. But absolutely inherent to its appeal is that it doesn't take itself seriously, so you shouldn't, either: doing so both misses the point and the appeal.

If you think the idea of swiping a 'film window' to select which retro filmstock the camera mimics is cute, then you're likely to be delighted by the way it takes cool-looking snaps whenever the whim takes you. If you are frustrated about its lack of Raw-shooting capability or fretting over how its images might look in a large print, you'd be better off with almost any other camera from Fujifilm's lineup.

If you look at the film window touchscreen on the back of the camera and think 'that's adorable' then the X half might be for you. If you're weighing it up against enthusiast compacts, you're barking up the wrong tree. Possibly in the wrong forest.

The X half is good-looking and handily small, making it a ready companion. It takes attractive images and has a well-judged touchscreen interface with mercifully few options to interact with. Most of the time, you'll need to set only exposure compensation and film simulation.

The Film Camera mode feels exactly like the design study that it started as: an amusing diversion that it's hard to imagine wanting to use too often, once the initial interest has waned. But if it helps inspire a photo project or two, then why not? After that, the faux film winder becomes a quick way to interact with the camera's diptych feature, which felt like something with more staying power, to us.

We really enjoyed the camera's diptych "2-in-1" feature and found the ability to create them in-camera as you shoot encouraged thinking about pairs of images that will work well together, which you don't get by combining them later.

In purely objective terms, the X half isn't an especially good camera. The images are much better than most run-of-the-mill compact cameras, due to it having a much larger sensor, and its color rendering options are excellent, but it's not going to win any prizes if you start pixel peeping. It's also a fairly slow camera, with some touchscreen swipes being ignored and the laggy, simplistic and somewhat unreliable AF system undermining its appeal as a social camera.

The cost is also a concern. That larger sensor means it has to be more expensive than most of its 'just a bit of fun' peers, but the asking price, particularly the preemptively tariff-adjusted US one, is steep.

It's good looking and easy to carry around with you.

As a knowingly frivolous, endlessly entertaining carry-everywhere lifestyle accessory, the X half is great. And it's better than most second-hand point-and-shoots from yesteryear, in just about every respect: easier to use, more fun, better color. But the price tag requires quite a lot of commitment to the bit.

The things that makes the X half so endearing aren't the sorts of things measured by our scoring system, and trying to view it through that lens would be to take the camera (and ourselves) too seriously. Our awards, which are based on looking at the product from the perspective of the would-be buyer, still feel apt. Unfortunately, much as we enjoyed it, lack of dependability of face and eye detection detracts a little too much to let us award the camera a Silver.

Buy now:

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The Best compact zoom cameras in 2025

Wed, 09 Jul 2025 13:45:00 Z

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Updated July 9, 2025

It's sad to say, but the golden age of compact cameras is pretty much over, thanks to the rise of smartphone cameras that are, in many cases, good enough for most people. Manufacturers seem to realize this, too; the major players have only released a small handful of compact zooms in the past few years, and most were very minor updates on old designs. The ones that remain can be difficult to find in stock, even when the companies that make them promise they're still a part of their lineups.

However, that doesn't mean the category is completely dead. Even today, there are several types of compact cameras, and some have capabilities that pretty much no phone can match. This list calls out the few that are still available and looks at what they're good for – because there are still cases where a compact camera is a great option.

Our recommendations:

Enthusiast camera

Waterproof cameras
- Best waterproof compact: OM System Tough TG-7

Long zoom camera
- Best ultra-zoom camera: Nikon Coolpix P1100

Vlogging cameras
- Best vlogging compact: Canon PowerShot V1

Enthusiast compacts

The final niche in which it's difficult for a smartphone to compete is for enthusiast photography. No matter how good smartphone image quality gets, it's difficult for a phone to provide the feeling of connection to the process of taking photos that an enthusiast compact with lots of direct controls can offer.

We've picked cameras with large sensors that deliver good image quality, zoom lenses and direct controls. Some have built-in electronic viewfinders for shooting when it's bright outside, again giving a more pleasant experience than a smartphone.

Best enthusiast compact: Canon PowerShot G7 X III

20MP Type 1 Stacked CMOS sensor | 24-100mm equiv. F1.8-2.8 lens | 4K/30p video capture

Photo: Dan Bracaglia

Buy now:

Read our Canon PowerShot G7X III review

What we like:

Nice grip and well-placed controls
4K/30p recording with live streaming to YouTube
Fast burst shooting

What we don't:

Lens is soft at wide-angle
Limited battery life
Contrast-detect only autofocus

The Canon PowerShot G7 X III is an enthusiast compact built around a 20MP Type-1 (13.2 x 8.8 mm) Stacked CMOS sensor with a bright 24-100mm equivalent F1.8-2.8 zoom.

The large sensor, and zoom that covers a really useful range help set it apart from a smartphone but it's clicking control dial around the lens and the dedicated exposure compensation dial that really help you feel you're in the driving seat of the photo-taking process that makes us enjoy it so much.

This camera is frequently out of stock, but Canon has told investors it was ramping up production of its compacts, citing the popularity of the G7 X III, and has assured us it's still in production.

"If you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look"

Though it's jacket-pocketable, the G7 X Mark III has a decent-sized grip and feels secure in the hand. The 'clicky' control rings around the lens and on the rear of the camera give good control over aperture, shutter speed and ISO, and the exposure compensation dial on the top plate is a nice touch. The touchscreen interface on its tilting 3" LCD is polished and responsive.

See the Canon PowerShot G7X III studio scene

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What about the PowerShot V1?

Canon's PowerShot V1 may tempt photographers hungry for a new compact thanks to its pairing of a large Type 1.4 (18.4 x 12.3mm) sensor and ultra-wide angle 16-50mm equiv. lens. However, we wouldn't recommend it unless you really need that lens or plan to shoot just as many videos as stills; the controls simply aren't engaging for photography enthusiasts.

Best do-it-all compact: Sony Cyber-shot DSC-RX100 VII

20MP Type 1 Stacked CMOS sensor | 24-200mm equiv. F2.8-4.5 lens | Hybrid AF system

Photo: Dan Bracaglia

Buy now:

Read our Sony RX100 VII review

What we like:

Industry-leading autofocus
Excellent image quality
Oversampled 4K video

What we don't:

User interface can be overwhelming
Low light performance limited by slow lens
Slippery grip
Expensive

The Sony Cyber-shot DSC-RX100 VII is built around a 20MP Stacked CMOS sensor and a long, flexible 24-200mm equivalent lens. It's not as bright at the long end as the zooms on the now-discontinued Mark VA or the Canon G7 X III, but it provides a lot more reach, still in a compact package.

Like the Canon, the RX100 VII can be difficult to find, but Sony tells us it's still making it. It also uses micro USB to charge instead of the near-ubiquitous and, in the EU, legally-mandated USB-C. US buyers should also be conscious of price; the camera launched at $1200, but when it's available, it now seems to be selling for around $1700, though Sony hasn't said if this is the result of tariffs or other factors.

"The RX100 VII is the most capable pocketable camera ever made"

The RX100 VII has a limited number of direct controls, but offers extensive customization for making the most of them. A touchscreen can be used for choosing a focus point or initiating AF tracking in video. The camera also includes the single-press pop-up viewfinder we liked so much on its predecessor.

The RX100 VII is easily the most-capable compact camera on the market thanks to its great image and video quality, fast shooting, versatile lens and a highly-capable, easy-to-use AF system, though all of that comes with a high price tag.

See the Sony DSC-RX100 VII studio scene

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Best interface: Leica D-Lux 8

17MP crop of Four Thirds sensor | 24-75mm equiv F1.7-2.8 | 4K video

Photo: Richard Butler

Buy now:

Read our Leica D-Lux 8 review

What we like:

Photo-focused interface
Large sensor
Bright lens

What we don't:

Zoom is laggy and slow
Lens not always sharpest

The Leica D-Lux 8 is an enthusiast compact with one of the largest sensors with a fixed zoom lens.

The D-Lux 8 combines an enjoyable shooting experience with a large sensor and bright lens. It's expensive, for sure – a situation made even worse for US buyers thanks to tariffs – but it is one of the few enthusiast compacts to receive a refresh in recent years, so we felt it deserved a spot on this list.

"The D-Lux 8 is a lovely camera to shoot with and offers a lot of image quality in a compact package"

The D-Lux 8 has an elegant and photo-focused interface, with dedicated dials for shutter speed and aperture, and a couple of buttons that are easy to customize. It's engaging and enjoyable to shoot with.

The D-Lux 8 is a lovely camera to shoot with and offers a lot of image quality in a compact package. But, for us, its image quality doesn't live up to its promise, or its price tag.

See the Leica D-Lux 8 studio scene

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Waterproof cameras

Waterproof cameras are another specialty that smartphones can't necessarily displace. Many flagship phones are waterproof to a decent degree but you shouldn't try to submerge them to any appreciable depth or use them in salt water. Waterproof cameras also tend to be pretty rugged, designed to withstand a lot more mistreatment than a phone will withstand, meaning you can carry them with you at all times, without ever having to worry about it. Great for bikers, climbers and custodians of small, inquisitive but not necessarily careful children.

Best waterproof camera: OM System Tough TG-7

25-100mm equiv. F2.0-4.9 lens | 12MP Type 1/2.3 sensor | Waterproof to 15m (50ft)

Buy now:

Read our hands-on with the OM System TG-7 article

What we like:

Bright, wideangle lens
Built-in GPS, compass and manometer
Raw image capture allowing creating edits
Range of accessories

What we don't:

12MP is fairly low
Lens isn't very bright at long end
Limited battery life
Relatively expensive

The OM System Tough TG-7 is a rugged, waterproof compact with a 25-100mm equivalent zoom lens. It is fully waterproof down to a depth of 15m (50 ft).

The OM System isn't the only rugged waterproof still on the market, nor the cheapest, but it has several major factors in its favor. The first is that it lets you shoot Raw images, which gives you the ability to correct the white balance, which even the best cameras tend to get wrong when shooting underwater. Another factor is that there is a range of accessories for the TG-7, including a light guide that directs light from the built-in flash into a circle around the lens, letting you illuminate close-up objects.

"The TG-7 is relatively expensive but packs in a host of useful features that help it stand out"

Beyond this there are a few details that different users may find handy: it has an unusually wide-angle lens with a bright maximum aperture, helping the performance underwater and in low light. It also has a built-in GPS, compass and pressure sensor that lets you log your adventures. These all add up to a camera that's worth the added expense, we feel.

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Long zoom cameras

Perhaps the greatest weakness of smartphones is their lack of zoom capabilities. Many of the best phones have a camera with a slightly longer focal length and then try to crop into their images and use AI algorithms to try to approximate the fine detail to give the impression of zooming, but this has its limits.

Dedicated cameras aren't constrained by the need to slip into your pocket, which can afford them the space to have an optical zoom lens to gain you more reach than your smartphone can deliver. There can be a trade-off: the small sensors required to put lots of zoom in a relatively small camera will be outshone by the computational cleverness that smartphones bring to bear on their images. But superzoom cameras can gain you the kind of reach that no current smartphone can get near.

Best ultra-zoom camera: Nikon Coolpix P1100

16MP 1/2.3" BSI-CMOS sensor | 24-3000mm equiv. F2.8-8 lens | 4K video capture

Photo: Barney Britton

Buy now:

$1097 at Adorama

$1097 at B&H Photo

What we like:

Focal range cannot be matched by any camera
Respectable image quality, given camera's purpose
Raw support
Well-built, with logical control layout

What we don't:

Large and unbalanced when zoom is extended
Lens is slow at long end, reducing sharpness
No touchscreen
Poor battery life

The Nikon Coolpix P1100 is a very slightly refreshed version of the P1000, with the biggest difference being the adoption of a USB connector. Its Type 1/2.3 (6.17 x 4.55mm) sensor will be out-performed by a good smartphone's clever merging of multiple images but the Nikon's gargantuan 24-3000mm equiv. lens is its selling point.

The small sensor means image quality isn't the camera's strength, but its frankly ludicrous zoom reach means it can photograph distant subjects in a way no other device (smartphone or dedicated camera) can.

The P1100 is a large camera that weighs a substantial 1.4kg (3.2lbs). We found it can be difficult to compose a photo at 3000mm equiv since the stabilization can't fully correct hand movement. A 'snapback' function quickly zooms out so you can locate your subject. The P1100's fully articulating LCD, is not touch-enabled. Connectivity to smartphones works well.

"When it comes to zoom power, there's no camera that comes close to Nikon's Coolpix P1100"

The P1100's image quality depends greatly on the focal length. Photos are generally on par with other small-sensored cameras, with pleasant colors and a bit too much noise reduction. It offers Raw, though, so you can choose your noise/detail balance and modestly brighten shadows. Heat haze, coupled with the lens's slow maximum aperture limit image quality at the longest focal lengths.

The P1100 has very good video quality for a camera with point-and-shoot roots. It can capture 4K video at 30p (with no crop) as well as 1080/60p and time-lapse/super-lapse clips. There's a manual exposure mode, a zoom microphone and a socket for addition an external mic. Electronic Vibration Reduction is available at 1080p and below.

When it comes to zoom power, nothing comes close to Nikon's Coolpix P1100. Whether it's taking a portrait from 2 blocks away or getting up close and personal with a bird in the distance, this lens can do it. That said, while other cameras can't match that lens, many will offer better image and video quality for the same money, especially those with larger sensors.

Read our review of the existing P1000 model

See the Nikon Coolpix P1000 studio scene

In memoriam

Since we last updated this guide, our pick for the best long-zoom camera, the Sony RX10 IV, appears to have been fully discontinued. It was essentially the only high-end long zoom camera on the market, with a large Type-1 (13.2 x 8.8mm) Stacked CMOS sensor and a 24-600mm equivalent F2.8-4.0 zoom lens, and competent (though not cutting-edge) autofocus. If you're looking for a camera with excellent reach and image quality, it may be worth poking around for a used model; it's unclear whether we'll see the likes of this camera again.

Vlogging cameras

Smartphones are great for vlogging, but a dedicated vlogging camera can shoot better quality video, have more sophisticated microphones (and provide options for connecting better mics), and can autofocus very reliably, dependably delivering YouTube-ready footage.

Best vlogging compact: Canon PowerShot V1

16-50mm F2.8-4.5 zoom | 22MP 18x12mm Dual Pixel CMOS sensor | 4K/60 with crop

Buy now:

Read our full PowerShot V1 review

What we like:

Attractive output in stills and video
Versatile wide-angle zoom
Fan for extended video recording

What we don't:

Relatively large body
Full width video has appreciable rolling shutter
Optimized for vlogging vs stills

The Canon PowerShot V1 is a mid-sized vlogging compact with a relatively large sensor and wide zoom lens.

AF performance is good, with reliable tracking AF and effective subject recognition. The camera is generally pretty responsive, with the zoom reacting quickly to input.

The V1 is a capable option with a useful zoom range, and while its slower sensor may not be the greatest for capturing fast action, it has all the features you'd need to start capturing the world around you.

Why you should trust us

Canon PowerShot V1 review

Thu, 03 Jul 2025 14:00:00 Z

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Product images by Mitchell Clark / Richard Butler

The Canon PowerShot V1 is a vlogging compact built around a large sensor and a 16-50mm equivalent zoom lens. Despite its focus on video, which extends to a cooling fan for extended capture periods, its similarity to the PowerShot G1 series of large-sensor enthusiast compacts has caught the attention of photographers.

Key features:

22MP Type 1.4 (18.4 x 12.3mm) Dual Pixel AF CMOS sensor
16-50mm equiv. F2.8-4.5 zoom lens with 3EV ND filter
Full-width 4K up to 30p from 5.7K capture
4K/60p from a 1.4x crop
Up to 30 fps stills capture in e-shutter mode
Cooling fan for extended video recording
Wired or wireless video streaming
Multi-function hotshoe for flash or audio accessories
Fully-articulated rear touchscreen
Headphone and mic sockets

The Canon PowerShot V1 was originally announced as costing $899 in the US. Elsewhere, pricing was set at €999 and £959, including VAT. However, the US price has subsequently risen to $979.

Index:

Buy now:

Click here to download the accompanying Raw file.

What's new

The V1 is Canon's first high-end vlogging compact, with a multi-module mic on top and a cooling fan to extend its recording duration. But, while its wide-angle lens points at its ambitions to help self-filming social mediaists, its use of a roughly-four-thirds-sized sensor and a zoom lens can't help but evoke the more stills-focused PowerShot G1 X cameras.

The sensor's specs are a match for using a similarly sized chunk of the EOS R7's chip. Both need to crop into the same size of their sensor to deliver 4K/60, but the smaller 'full image' region on the V1 means the difference between the full-width and cropped areas is much less dramatic than was the case with the R7.

The camera is built around a 16-50mm equivalent F2.8-4.5 stabilized lens with a leaf shutter that appears to operate using an electronic first curtain shutter, limiting its maximum flash sync speed to (a still very respectable) 1/400 sec. There's a built-in 3EV ND filter to help you keep to video-friendly shutter speeds in bright light. It can be set to activate automatically in video mode and can be manually engaged when shooting stills.

It has a built-in fan and fully articulating touchscreen but there's no built-in flash or electronic viewfinder, nor the option to fit one.

Body and handling

The degree to which the V1 has prioritized vlogging becomes apparent when you pick it up: the body is surprisingly deep, as a result of the fan-cooled chamber at the back of the camera, and the grip is unexpectedly shallow.

Just as we saw with the EOS R50V, the grip is designed so that it's easy to hold the camera facing towards you, but with less to hold onto if you're behind it. The body feels pleasantly dense and solid, with the grippy rubber coating making it feel secure in the hand. But while it works pretty well from both sides of the lens, it's not as well optimized for conventional hand holding as a dedicated photo camera.

All the camera's control points are quite small, though, with the shutter button, its surrounding zoom lever and the exposure mode dial all looking as if they've shrunk in the wash. The little power button gets partially obscured if you fit the included mic wind screen into place.

One of the principal control points is the free-rotating dial around the lens. Its default function varies, depending on your mode (controlling aperture value in Av mode, for instance). The direction of its operation can be reversed, if you find that easier, when facing the camera.

There's also a small, rather fiddly dial around the four-way controller on the back of the camera. Its function can't be changed directly, but if you assign the front dial to a specific function, such as Exposure Comp or ISO, it takes on the function that the front dial would otherwise do.

The PowerShot V1 has both Mic and Headphone sockets, placed on the right flank, meaning they can't clash with the articulated screen mounted on the other side of the camera.

Below these are a USB-C and a Micro HDMI port.

There are two small camera strap points on either side of the body: a protruding lug on one side, a recessed bar on the other. Both are quite small, which will limit your choice of neck or wrist straps to those with very thin cords.

Battery

The V1 uses the relatively small LP-E17 battery, from which it achieves a rating of 340 shots per charge (400 in power saving mode). These numbers shouldn't be taken literally, as it's common to get twice the rated number, depending on your shooting style. But the numbers are broadly comparable between cameras and a rating of around 350 shots per charge will usually allow you to shoot for a good amount of time without having to worry about it.

The V1 can be charged over USB and, with a powerful enough USB PD power source, can record or stream video and charge, simultaneously (you'll need a battery in the camera to do this, though).

Memory cards

We found the V1 could be a little temperamental with SD cards. In principle, its highest video rate is the cropped 4K/60 mode, which uses a 230 Mbps average bit rate. This is just under 30MB/s so should be safely accommodated by a memory card with U3 or V30 speed rating (the fastest class of UHS I cards). In practice, we found we also needed to use the low-level format option in the camera if we wanted it to work reliably. We'd strongly recommend doing this if you notice that the V1 is taking a long time to write video or Raw files to the card.

In use: for vlogging

The PowerShot V1 essentially uses a cropped version of the sensor from the EOS R7. This means it can deliver oversampled 4K video from its full width at up to 30p but has to crop-in to a roughly native 4K region of the sensor to deliver 60p, with the crop factor shown in the table below.

	Lens IS On / Off	Digital IS On	Digital IS Enhanced	Subj. track IS
4K up to 30p	1.00	1.11x	1.43x	1.43x
4K 50/60	1.43x	–	–	–

It also means its rolling shutter numbers are proportionate to those of the EOS R7: a fraction faster because it's using a smaller region of the sensor, but not dramatically different.

Interestingly, the rolling shutter rate in the standard 4K modes is slower than the mode used for whole-image electronic shutter in stills (23.4ms). We're not sure why this is.

	Stabilization Off	Digital IS On	Enhanced / Subj. track IS
4K up to 30p	26.3ms	23.7ms	18.4ms
4K 50/60	15.9ms	–	–

All the 4K/24 and 30 modes are taken from the same readout mode: the decreased rolling shutter is accounted for entirely by the degree to which they're cropped. The 60p mode, meanwhile, is actually being read faster.

We generally consider rolling shutter rates below 25ms to be acceptable, those below 20ms to be good and those below 15ms to be very good. With the Powershot V1, if you're moving the camera it's well worth applying at least some degree of digital IS to make your footage smoother and reduce the rolling shutter rate a little. There's a noise and detail penalty to be paid as you crop in, but it's probably a worthwhile compromise.

The 4K/60 options disappear from the menu if you have any form of Digital IS engaged, which is worth being conscious of.

In terms of their intended effect, we found both IS modes to be very effective, with the basic digital IS letting you maintain a fairly steady handheld shot and 'Enhanced' doing a good job of handling more significant motion. There's also a subject recognition IS mode that applies a large crop so that it has freedom to move the capture area around to maintain your chosen composition, relative to a recognized subject.

We were also pleasantly surprised by the internal mics. The sound isn't as good as using an external mic but it's better than we've become used to, with these vlogging cameras.

In general, the V1 makes video capture fairly simple but there are a few quirks. 'Close-up Demo' mode, which over-rides face detection AF when you hold something in front of the camera is only available as a 'Scene' mode, so you suddenly lose control over things like mic volume and exposure. The same is true if you want to use the camera's skin-smoothing effect.

While we understand Canon wanting to make these functions easy to access, the fact you can only use them in a very limiting, highly automated manner means you lose any control over audio and white balance. To be truly useful, it should be available as an AF option for experienced users as well as a Scene mode for beginners.

In use, for photography

Although conceptually the V1 looks a lot like a wide-angle successor to the PowerShot G1 X series, its increased focus on vlogging seriously undermines its usability as an enthusiast compact.

The lack of a clicking front dial and the awkwardness of operating the small rear dial means it's not a camera that gives effortless access to, say, aperture and exposure comp. This is the same thing that stopped Sony's RX100 series from shining as enthusiast compacts, and meant instead they worked better as (superlative) point-and-shoots. The V1's added bulk means it doesn't rate so highly in that regard, either.

Add to this the insubstantial hand grip and slightly bulky body and you end up with a camera that, on paper, appears to have the capabilities of a high-quality wide-angle compact for photographers but that never delivers on the experience. The small buttons and awkward dials (of which only the front one can be customized), mean taking direct control is more fiddly than would be ideal.

Also worth noting is that you'll need to assign one of the camera's buttons if you want to position the AF point with anything other than the touchscreen.

The large sensor and ultrawide lens can deliver the goods.

Canon PowerShot V1 @ 16mm | F2.8 | 1/250 sec | ISO 100
Photo: Richard Butler

On the plus side, the V1 has a hot shoe, compatible with newer flashes or with older ones if you buy an adapter. Despite having a leaf shutter, the V1 has the same 1/400 sec flash sync speed limit as the G1 X III with external flashes: still good but not as flexible as being able to sync all the way up to 1/2000 sec.

Even those photographers who can live without a viewfinder or the capacity to add one are likely to find themselves fighting against the V1 to get the most out of it, despite all the promise. For some people, that wide range and large sensor, unmatched by any other compact, will make it worthwhile. But if you've used a previous G-X model, you'll be constantly reminded of what's been taken away.

This isn't the camera's intent, of course, but it's disappointing that a camera that sounds like it should double as a pretty adept photographers' compact isn't more engaging to use as one.

Image quality

Image Comparison

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As we suspected, the pixel-level noise performance of the V1 is very similar to that of the EOS R7, whose sensor is very similar, but with a consequent disadvantage of around half a stop, when compared at the whole-image level, because of its smaller active sensor area.

This puts the V1 comfortably ahead of Sony's ZV-1 Mark II vlogging compact, but behind its ZV-E10 II mirrorless vlogging camera.

Detail levels in the JPEG are good, but the Raw results suggest it's having to apply a fair amount of sharpening and contrast to get the results it's delivering.

Wide-angle performance:

Our studio scene isn't intended as a lens test chart but we thought it'd be interesting to see how it performs at its widest setting, too.

Canon PowerShot V1 @ 16mm equiv | F5.6 | 1/40 | ISO 100

As we'd expect of such a small lens delivering an ultrawide field of view in front of a relatively large sensor, its design includes a significant amount of digital correction of geometric distortion.

However, despite producing an alarming-looking projection if you hack away that element of the lens design, the final results (derived from around 80% of the sensor area) are surprisingly good.

It's quite difficult to precisely align such a wide lens with our chart, which can undermine consistency between the four corners, yet despite this potential source of error, all four corners look pretty detailed. The far extremes get distinctly blurry but we were quite impressed by the performance for a retractable zoom that goes this wide.

And, of course, it's less of a concern for vloggers, where those extreme corners won't be used for the 16:9 output footage.

Conclusion

Pros

Cons

Very good image quality
Ultra-wide lens performs well
Lens still wide even with 4K 50 or 60p crop
Effective IS options
Grip comparatively effective, both sides of the camera
Strong feature set including ND filter, headphone socket, subject tracking stabilization and C-Log3 options
Built-in mics aren't bad, wind-screen comes in the box
Fan adds reassurance when recording video for longer periods

Relatively high rolling shutter figures
'Close-up' Demo mode offers very little control
Grip not optimized for photography
Fewer photo controls than G1 X cameras
Clickless control dial not ideal for discrete parameters
Fan adds bulk to camera
Small strap lugs limit wrist/neck strap options
Can be somewhat picky about memory cards
Smartphone App requires login

The Canon PowerShot V1 is an interesting addition to the vlogging market, with a larger sensor and wider lens than any of the currently available models. And, for now at least, it's also the closest we have to an ultra-wide-angle compact for photography. It's significantly better at one than the other.

As a vlogging camera the V1 is pretty capable, offering a good selection of features with good video quality and a relatively easy-to-use interface. The internal mics are no substitute for a good external mic but they're not terrible and the wind screen helps for outdoor work. More advanced users can attach their own and take advantage of options like C-Log3 capture, without beginners finding themselves too overwhelmed.

This balance isn't always perfectly struck: the 'close-up demos' scene mode works well for beginners but limits control to the point that users worried about matching footage or controlling the volume of an external mic can't really use it reliably.

As a photo camera, the V1 works less well. It can produce excellent images and its uniquely wide-angle lens will make it worth perservering with, for some photographers. But the small and rather limited controls mean it's not as fun or engaging a camera as the company's previous G-series compacts were.

This isn't the camera's main intent, and if you've been waiting for a compact with an ultrawide lens, that may be worth working 'round. But it's worth being aware that you may feel that you're having to coax something out of the camera it wasn't particularly designed to do.

As a vlogging camera its range of capabilities and ability to accommodate a range of users and vlogging styles earns it our silver award. It's a powerful piece of kit for getting your message out to the world.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Canon PowerShot V1

Category: Enthusiast Large Sensor Compact Camera

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Optics

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The PowerShot V1 is a capable vlogging tool that will support a wide range of vloggers and a wide range of vlogging styles. It's less compelling just for photos, but if you plan primarily to shoot video, it's pretty powerful.

Good for

Vlogging of all types

Not so good for

Photo-only shooters

84%

Overall score

Compared to its peers

The PowerShot V1's most obvious peers are two of Sony's ZV series of vlogging cameras.

The Sony ZV-1 Mark II is the most direct competitor, with is 18-50mm equivalent lens. That lens has an F1.8-4.0 maximum aperture, which sounds impressive next to the V1's F2.8-5.6 zoom, but if you factor-in sensor size, the difference is much less pronounced. The V1 is likely to perform around a third of a stop less well in low light and in terms of depth-of-field at the wide end, and around two thirds of a stop better at the long end. Its larger sensor should give it the edge in good light.

The Sony is a lot smaller than the Canon, its autofocus that bit more reliable and its 'product showcase' mode is more readily accessible and controlable. Conversely, we found the Canon's stabilization to be more effective than the Sony's, giving smoother output and being less prone to the distracting grab-and-release effect if you intentionally pan. The Canon also has a 4K/60 option, that the Sony lacks, making it our choice overall.

And, despite our reservations about the V1 as a photographers' compact, its larger sensor and wider lens make it a more appealing option, despite its significantly greater size.

The other real rival is Sony's ZV-E10 Mark II, a mirrorless camera built around an APS-C sensor. It's an appreciably larger sensor that's much faster to read out, and it has the same advantages in terms of autofocus. Its interchangeable lens design gives you more flexibility overall but means you end up with a larger camera/lens combination and a larger bill, as soon as you add something like the Sony 10-20mm F4 PZ G power zoom to approximately match the V1's range. Again, the V1 looks like a better-judged package, unless you specifically need an unusual lens, the attractive S-Cinetone mode or will benefit from its less-cropped, higher quality 4K/60 capability.

As a stills camera the V1 also out-points the ZV-E10 II, as Sony has omitted to include a mechanical shutter or physical stabilization: features you need to move up to the a6700 to gain.

Much as we were left cold by the V1 as an enthusiast compact, it is essentially your only option if you're looking for something plausibly pocketable with decent image quality and an ultrawide lens, it's essentially the best option purely as a consequence of being your only option.

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Fujifilm GFX100RF review

Wed, 25 Jun 2025 14:30:00 Z

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89%

Product Photos: Richard Butler

The Fujifilm GFX100RF is a 100-megapixel medium format digital camera with a fixed 28mm equivalent F4 lens.

Key features

102MP Medium format (44 x 33 mm) BSI CMOS sensor
35mm (28mm equiv) F4 lens w/ leaf shutter
5.76M dot OLED EVF
Weather sealed when using included filter ring and filter
Subject recognition autofocus
Aspect ratio dial
3.2" tilting rear touchscreen
4K video up to 30fps
Built-in 4EV ND filter
14 film simulations

The GFX100RF has a recommended price of $4899. It comes in either black or black and silver, and includes a braided strap, filter ring, filter and a color-matched square lens hood.

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Index:

What's New

Fixed lens medium format body

The GFX100RF occupies a new space in Fujifilm's lineup and comes with a new design. It's essentially the long-rumored 'medium format X100,' in that it takes the formula of classic styling, direct controls and a wideangle prime lens permanently mounted on the front.

Don't take the rangefinder implications of the letters 'RF' too seriously though: this is essentially the world's most ambitious compact camera, lacking not just a rangefinder but also the X100/X-Pro hybrid viewfinder that gives the appearance of a classic rangefinder camera. Instead, the RF's EVF is a relatively standard 5.76M dot affair located in the top left corner of the back of the camera.

While the body is nowhere near as large as the interchangeable lens GFX cameras, it still has a lot of presence. You'll never forget that you have it on you and would be hard-pressed to fit it into a pocket. That's especially true when it's fitted with the included square lens hood, which adds style points but has to be mounted on the adapter ring, adding a substantial amount of depth, substituting flair for flare.

Like the X100VI, the GFX100RF can be weather-sealed with an adapter ring and filter, though this too makes it bulkier. The hood can still be fitted to the adapter ring when the filter is installed.

The fixed lens

Fujifilm says it went with a 28mm equivalent lens to make the camera as compact as possible while also letting users shoot with (to a point) lower shutter speeds without the aid of IBIS or optical stabilization. That ability, which largely depends on how still your hands and subject are, will come in handy given the lens's relatively slow F4 (F3.2 equiv) aperture.

The lens has a minimum focus distance of 20cm (7.9") and can accept 49mm filters when fitted with its adapter ring. Its being fixed also allows for the provision of a leaf shutter, letting the GF to sync with flashes up to 1/2000 (technically, it can sync all the way up to 1/4000, but you risk cutting off some of the flashes' burst using such a brief exposure).

Aspect ratio dial

Looking at the back of the camera, the first thing that sticks out is the large dial above the screen. Its sole purpose is to let you apply various crops to your image, changing your JPEG's aspect ratio – and reducing how much of the sensor's area and resolution you're using.

There are nine options to choose from, and the camera gives you a few ways to preview your chosen aspect ratio. It can use black borders, a bounding box or raise the opacity of the portions of the image that will be cut off.

Amusingly, the label for the XPan-emulating 65:24 aspect ratio is a bit too wide for the window; you can see the labels for neighboring aspect ratios peeking through.

There's also a "C" setting that lets you control the aspect ratio via one of the camera's command dials or the menus. If you decide you're unhappy with the crop after the fact, you can use the in-camera Raw reprocessing feature to change the aspect ratio, assuming you've been shooting in Raw + JPEG, as the camera maintains the full sensor Raw file and saves the intended crop as metadata.

Crop zoom


28mm equiv.	35mm equiv.	50mm equiv.	63mm equiv.

GFX100RF | F9 | ISO 80 | 1/125

Photos: Mitchell Clark

In addition to its choice of aspect ratio crops, the GFX100RF has a crop mode that punches in to give the impression of using a longer lens. You physically control the crop using a toggle switch situated under the power switch and front control dial.

As always, cropping reduces the area of the sensor being used, meaning a reduction in resolution and of total light capture. This has a consequent reduction in tonal quality if viewed at the same scale as full-sensor images. The table below indicates the equivalent focal length that each of the crops gives, both with reference to the camera's 44 x 33mm sensor, which is how the camera reports the 'focal lengths' of the crops, and in terms of their full-frame equivalents for reference.

In 44x33 terms		In 'full-frame' terms
Effective focal length	Crop	Equivalent focal length (vs full-frame)	Crop factor	Pixel count (4:3)
35mm	1.00x	28mm equiv.	0.79x	102 MP
45mm	1.29x	35mm equiv.	1.00x	62 MP
63mm	1.81x	50mm equiv.	1.42x	31 MP
80mm	2.28x	63mm equiv.	1.79x	20 MP

As you can see, hitting the lever once essentially turns the camera into a "full-frame" camera with a 35mm F4 equiv lens, before dropping down to nearer APS-C and Four Thirds image quality.

As with the aspect ratio crops, the zoom is only applied to the JPEG, leaving your Raw untouched. You also have the same preview options, as well as the ability to have your chosen crop fill the screen, but doing so won't give you any context to what's outside of your frame.

You can remove the crop using the in-camera Raw reprocessing feature, though you can't select a different crop in-camera: it's the crop you shot the image with or the full sensor, only.

How it compares

The fixed-lens camera market is small but has several strong competitors, especially if you're willing to spend this much money on one. Leica's Q3, with its high-resolution full-frame sensor and 28mm focal length, is the most obvious point of comparison, but Fujifilm's X100VI is also a potential competitor for those who prefer the 35mm field of view or want a substantially smaller, less expensive option.

We've also included the Hasselblad X2D, which has a similar sensor but with an interchangeable lens mount. The Fujifilm GFX 100 S II is perhaps a more direct competitor in both specs and price, but the Hasselblad's size and use of leaf shutter lenses prompted us to include it instead.

	Fujifilm GFX100RF	Leica Q3	Fujifilm X100VI	Hasselblad X2D
MSRP	$4899	$6295	$1599	$8,199
Sensor	102MP medium format (Bayer)	60MP full-frame (Bayer)	40MP APS-C (X-Trans)	100MP medium format (Bayer)
Lens (full-frame equiv.)	28mm F3.1	28mm F1.7	35mm F3.1	Interchangeable - Hasselblad X mount
Stabilization?	No	Optical	IBIS / Optical	IBIS
Built-in ND?	4EV	No	4EV	No
Weather sealing	With included filter	Yes	With optional filter	No
Viewfinder res / mag	5.76M dot 0.84x equiv OLED electronic	5.76M dot 0.79x equiv OLED electronic	3.69M dot 0.66x equiv OLED electronic / optical	5.76M dot 1.00x equiv OLED electronic
Video capture	4K/30p	8K/30p 4K/60p	6.2K/30p 4K/60p	None
Rear screen	3.2" tilting	3" tilting	3" tilting	3.6" tilting
Storage formats	2x UHS-II SD, external SSD	1x UHS-II SD	1x UHS-1 SD	1TB internal, CFexpress Type B
Flash sync speed	1/4000 s	1/2000 s	1/4000 s	up to 1/4000 s*
Battery life (CIPA)	820 shots	350 shots	420 shots	420 shots
Dimensions	134 x 90 x 77mm	130 x 80 x 93mm	128 x 75 x 55 mm	149 x 106 x 75mm
Weight	735g (25.9oz)	743g (26.2oz)	521g (18.4oz)	895g (31.6oz)

*Flash sync speed is lens-dependent

The GFX100RF's sensor may appear to be in a class above many of its fixed-lens peers, and in good light, we'd expect its larger sensor to give it a proportionate image quality advantage.

But it's worth considering raw light-gathering ability if low-light shooting is a big concern for you. Wide-open, the Q3's much faster lens gives it a 1.7EV potential advantage despite its smaller sensor, and there are lenses substantially faster than F4 available for the X2D (though they do come at significant expense). Even the APS-C-equipped X100VI* can gather a bit more light per-whole-image than the GFX can in its 35mm crop mode.

While the difference in focal length is a deal-breaker for some photographers, those who like 35mm equiv may find that Fujifilm's smaller offering provides a more engaging shooting experience thanks to its standout hybrid viewfinder – the GFX100RF, meanwhile, has a good but otherwise standard EVF. It's also the only camera in this lineup without any form of stabilization, which further reduces its capability as light level drops, even if you take into account the reduced risk of shake from its leaf shutter.

*It's impossible to mention the X100VI without acknowledging that, over a year after its announcement, it's still extremely hard to get. Persistent stock issues mean you'll have to be patient or willing to pay a reseller a substantial premium over MSRP if you want one.

Body and Handling

The GFX100RF is relatively wide and boxy, though a small grip helps make it easier to hold. While it's undoubtedly large for a fixed-lens camera, it's not particularly heavy, making it easy to tote around all day.

From the top, the family resemblance to the X100VI is obvious. Though that top plate sits on an appreciably larger camera.

The GFX100RF is brimming with controls. There are two programmable command dials: a knurled barrel on the front and a conventional dial in the back, with the rear one being clickable to cycle through functions. There's also a dedicated exposure compensation dial and autofocus mode control.

Shutter speed and ISO control share a dial, with the latter requiring you to pull up on the bezel before rotating. The lens has an aperture ring, which includes an automatic setting and two opposed nubs that make it easy to turn.

On the left of this shot, top-to-bottom are the camera's power switch, the barrel-style front command dial and the 'digital teleconverter' toggle at the bottom. To the right is the front plate lever (designed to look like the self-time control on a film camera). This can be flicked in either direction to access two functions or held (for just a bit too long) in either direction to access two more.

Also fixed in function are the zoom toggle on the front and the aspect ratio dial; neither can be reconfigured. The lever on the front plate, however, is entirely customizable, and you can assign up to four functions to it, as it can differentiate between a flick and a pull and hold. The latter action takes around three seconds to activate. It also has a customizable button in the center.

The Q button, which by default brings up a customizable, on-screen control panel, is on the edge of the grip, which makes it difficult to press without adjusting your hand. This sort of placement makes a bit of sense on smaller cameras where there's nowhere else to put it, but it's baffling on a camera with so much room on the back. Also hard to hit while using the camera is the small, unlabeled button on the top plate right above the exposure compensation dial, which can be customized. As with many of Fujifilm's cameras, you can also have up to four settings that are controllable by swiping up, down, left or right on the touchscreen.

You can also use the touchscreen to position the autofocus point, though the camera has a dedicated joystick for that purpose.

The dual UHS-II SD card slots live on the right-hand side of the camera, while a door on the left opens up to reveal headphone and microphone sockets, the USB-C port, and a micro-HDMI port.

Display and EVF

The GFX100RF has a two-way tilting screen, which can help when you're trying to compose shots at waist level or above your head. The lack of side-to-side tilting does limit your options somewhat, though this was likely another concession to making the camera as compact as possible.

It's easy to wish that Fujifilm had gone with the hybrid optical/electronic viewfinder found on the X-100 and X-Pro series; it would enhance the rangefinder aesthetic and could make using the camera more engaging. One of the senior planners for GFX told us Fujifilm went with a 5.76M dot, 0.84x equiv. EVF instead because the more complicated hybrid viewfinder couldn't provide as much magnification and didn't really work when using the digital teleconverter feature – depending on how far you punch in, you'd be composing through some very small guidelines.

The EVF we did get is large, bright and easy to compose through. It's hard to complain about the experience it provides.

Battery

The GFX100RF uses the 16Wh NP-W235 battery, the same that powers cameras like the GFX 100 II or X-T5. It's rated to get 820 shots in its normal mode, which is a frankly stunning performance. We consider ratings – which rarely reflect the number of shots most people get but rather act as a standard benchmark to measure cameras against each other – of around 400 shots or more to be sufficient for a heavy weekend of shooting, and the GFX100RF almost doubles that figure.

Image Quality

Image Comparison

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We'll get into the nerdy details in a second, but a top-level summary is that the GFX100RF has superb image quality that's downright incredible once you consider its size and weight. We've long been impressed with what this sensor can do, and Fujifilm's work on getting great JPEGs out of it is paying dividends now that it's in a camera aimed at more casual and spontaneous styles of photography.

Unsurprisingly, the GFX100RF's Raws capture noticeably more detail than the 61MP full-frame sensor used in the Q3, Leica's high-end large sensor compact, and substantially more than the Fujifilm X100VI's 40MP APS-C sensor. The camera's JPEG engine does a good job of preserving those details.

The lens can't match the $2700 dedicated Macro lens we used for the GFX100 but the JPEG processing does its best to make up for the difference.

Those trends continue in low-light, and looking at high-ISO Raws noise performance follows sensor size. The JPEG engine does a decent job of not blurring away details when applying noise reduction.

Dynamic Range

The GFX100RF has excellent dynamic range performance at its base ISO of 80; it adds very little read noise to the image, meaning there's little difference in images shot at the same exposure but different ISOs, and then brightened to match each other in post. Its files also provide plenty of room to raise shadows, which will help if you want to shoot at a lower exposure to protect highlights.

The PDAF banding we saw in our original DR tests for the GFX 100 doesn't appear in our tests for the GFX100RF: there are reports it was also fixed on the GFX 100 via software update.

Lens Performance

Our studio test scene isn't designed to test lenses, but it can still tell us something about some aspects of performance. The 28mm equiv lens on the GFX100RF has to be shot quite close-up, but it's still around 30x the focal length away from the chart, so it should be a reasonable representation of real-world performance. Our tests are shot at F5.6 to maintain a reasonable depth-of-field and across-frame-consistency, but the F4/F5.6 comparisons we've shot show little difference in corner performance (it's vignetting, rather than sharpness differences, that has more of an impact).

With all of that said, the lens performs well under these conditions. It's quite sharp in the center. It performs reasonably well out to the corners, where there's some light falloff visible in the Raws (which the JPEG engine does a good job of correcting). While the original GFX100, paired with Fujifilm's 120mm F4 macro, renders our scene more uniformly and sharply, that lens alone weighs more than an entire GFX100RF.

At F5.6, chromatic aberration also seems well-controlled compared to the X100VI's lens.

In our out-of-studio testing, we didn't find the lens to be a limiting factor to our image quality. While we certainly shot images that we felt could have been sharper given the conditions, it's the lack of stabilization that kept the sensor from living up to its full potential, not the lens.

Autofocus

GFX100RF | 1/125 sec | F4 | ISO 3200

The GFX100RF uses the same autofocus system found in the rest of Fujifilm's X-Processor 5 cameras, complete with AI-derived detection for a variety of subjects: humans/eyes, animals, birds, cars, planes, bikes/motorcycles and trains.

You can use the touchscreen or the joystick to select a focus point, which can be anywhere from a pinpoint to a wide area. It also lets you store up to three zones with customizable widths and heights. When you're in AF-C mode, you get a medium-sized point that attempts to track your selected target as it or the camera moves. It also supports tap-to-track via the touchscreen.

The camera is usually good at respecting your chosen focus point, even when there's a subject it recognizes in the frame. However, we found that, on some occasions, it was more liable than other Fujifilm cameras to jump to a subject that was relatively far away from the selected focus point, which could force you to disengage subject detection for certain compositions.

Like the rest of Fujifilm's cameras in this generation, the GFX100RF's human subject detection mode is separate from the rest of its subject detection modes, where most other camera systems have humans listed as a subject. That means if you want to set a custom button to activate subject detection, you have to decide whether you want it to be for faces or one of the other modes, or devote two buttons to it.

Autofocus Performance

We found the autofocusing system to be generally reliable for the type of shooting the GFX100RF is suited for: street scenes, landscapes (both natural and urban), portraits and the like. While the lens isn't sluggish to focus, we also wouldn't try to use it to shoot a subject moving quickly through the focal plane.

As with Fujifilm's other cameras with its fifth-gen processor, the GFX100RF's tracking isn't as sticky as that of other brands; it can occasionally lose subjects or fail to lock on to them, especially if they're moving quickly. In most situations, though, it worked well enough for track-and-recompose shooting.

In Use

Despite its large-for-a-compact size, the GFX100RF isn't much of a burden to carry along. It's not like a Ricoh GR or Fujifilm X100 – a nearly pocketable camera that you'd take with you every day just in case you ran into something photogenic – but it's not so bulky that you'd hesitate to grab it if you're headed off to do something interesting.

While the front control dial is aesthetically pleasing, we did find it could be a bit hard to use, despite its aggressive knurling. Unlike traditional control dials, it's flush with the grip, which can make it a little difficult to find and to use smoothly. And if you miss it, there's a good chance you'll accidentally flick the fixed-purpose "digital teleconverter" toggle instead.

Whether you'll find that toggle useful mostly depends on how much you value image quality versus convenience. It's unavoidable that every time you punch in, you're throwing away more and more of the light-gathering ability and resolution that justify the camera's size and price – that's especially true if you use it in conjunction with the aspect ratio dial.

Aspect ratio	28mm equiv.	35mm equiv.	50mm equiv.	63mm equiv.
4:3	102MP 44x33mm	62MP 34x26mm	31MP 24x18mm	20MP 19x14mm
3:2	90MP 44x29mm	55MP 34x23mm	28MP 24x16mm	17MP 19x13mm
16:9	76MP 44x25mm	46MP 34x19mm	23MP 24x14mm	15MP 19x11mm
65:24	50MP 44x16mm	30MP 34x13mm	15MP 24x9mm	10MP 19x7mm
17:6	48MP 44x16mm	29MP 34x12mm	15MP 24x9mm	9MP 19x7mm
3:4	57MP 25x33mm	35MP 19x26mm	18MP 14x18mm	11MP 11x14mm
1:1	76MP 33x33mm	46MP 26x26mm	23MP 18x18mm	15MP 14x14mm
7:6	89MP 38x33mm	54MP 30x26mm	27MP 21x18mm	17MP 17x14mm
5:4	95MP 41x33mm	58MP 32x26mm	29MP 23x18mm	18MP 18x24mm

However, it's also unarguably convenient, and if you're in good light, even the cropped images will be spectacular. I took the camera on vacation with me as my main tool for documenting the trip and used the in-camera crop with abandon (with the knowledge that the camera was still saving the full image as a Raw). I found it was a very natural way to shoot, and I was happy with the image quality of the crops, though I rarely went past the second 50mm equiv. step, which uses an approximately APS-C-sized region of the sensor.

If you pixel-peep there's a fair amount of noise in this image, but I still find it perfectly acceptable at reasonable sizes and viewing distances.

GFX100RF | 1/80 sec | F5 | ISO 6400 | 50mm equiv. crop

There is an argument to be made that using the camera in this manner is wasting its potential. However, you could also say that you're using it for something other than pure image quality; the full capabilities of the sensor are there for when you want them or need them, but you can also use the massive resolution and light-gathering ability to add a bit of flexibility to a fixed-lens camera, in a way that doesn't work as well with a smaller sensor. Which side of that debate you land on will likely be a good indicator of whether you should even consider a GFX100RF.

The aspect ratio dial is also a similar story, in that you'll probably already have a good idea whether it's something you'd be interested in using or not. Playing around with aspect ratios isn't a creative muscle that I've personally built up, and I found myself struggling to find compositions that I thought would look better in, say, 16:9 or 1:1... or, at least, so much better that it was worth using less of the sensor for.

That's not for a lack of effort on Fujifilm's part, though. The experience has clearly been thought through, with the Raws letting you see the chosen crop in post-processing software, while still giving you access to the whole sensor's output, and the different preview modes for both forms of cropping giving you flexibility with how much information you want about what's outside your chosen frame. For those who do appreciate different aspect ratios, it's hard to imagine the GFX100RF's experience leaving them wanting.

Conclusion

What we like	What we don't
Superb image quality Plenty of tactile controls Exceptionally compact for a medium format camera Relatively easy to carry around Built-in ND and included weather-sealing filter make it more versatile Incredible battery life Autofocus works well for street and considered photos	No stabilization limits the extremely capable sensor Compact lens isn't the sharpest edge-to-edge that we've seen Familiar EVF gives an unremarkable experience Dedicated zoom and aspect ratio controls won't be useful if you want max IQ Stylish square lens hood adds substantial bulk

You don't get a camera/lens combo this much smaller than the similarly-specced one to the right without breaking a few eggs.

It may be tempting to see the GFX100RF as a super-sized and super-powered X100VI: a take-everywhere camera that's engaging to use and signals to others that you're someone who's Into Photography. And while it handily achieves that last point (even before you see the massive film format-emulating aspect ratio dial), it doesn't quite live up to the versatility of Fujifilm's smaller cameras.

Every camera has trade-offs, even pricey, premium ones aimed at buyers who expect a lot. The GFX100RF is no different, but it's in the odd position of having two identities: an image quality monster with a massive sensor, and a walkaround, everyday camera that aims to be as compact as possible. Fujifilm has clearly put in a lot of work to balance those competing personas, but with each concession, it narrowed the envelope within which the camera can perform at its best.

To be clear, in good light, the camera produces high-resolution images with incredible detail and tonal quality, the likes of which you simply couldn't get without a much larger kit. But in lower-light scenes, the lack of optical or in-body stabilization and the 28mm equiv. F4 lens make it harder to get the most out of the camera. And when you need to shoot at an odd angle, you may find yourself cursing the screen that only tilts up and down. Ironically, the decisions that make it so compelling to carry with you everywhere you go also make it less well-suited for the situations you may find yourself in when you get there.

Would an X-T5-style three-way tilting screen really have made the camera noticeably larger?

But while image quality may be the GFX100RF's raison d'être, it's also not designed to be a purely practical tool, the way many professional and prosumer cameras are. It's built to be played with, for you to take it everywhere and mess around with how you see the world through its viewfinder via the digital teleconverter and aspect ratio dial. Why else would those features get top billing with large, non-customizable, non-customizable controls?

Ultimately, whether the camera is for you or not will depend on how obsessive you are about image quality and how much you appreciate the things that make the GFX100RF special. Those concerned with maximum image quality in any situation and corner-to-corner sharpness above all may want to look elsewhere, but if you're willing to budge a bit on that, there's a lot to recommend it... provided, of course, that you can afford the asking price and appreciate the field(s) of view its fixed lens provides.

The limitations make it hard to award it a gold, but its combination of image quality, compactness and user experience comfortably earns it a silver.

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Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Fujifilm GFX100RF

Category: Enthusiast Large Sensor Compact Camera

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Optics

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The GFX100RF offers incredible image quality in a relatively compact package – in the right conditions.

Good for

Those who want a more flexible compact camera Fans of Fujifilm's old medium format film cameras with out-there aspect ratios

Not so good for

Night and indoor-shooting enthusiasts

89%

Overall score

Compared to its peers

In terms of direct competiton, the GFX100RF pretty much stands alone; there aren't any other fixed-lens, medium format digital cameras out there. However, there are other large-sensor enthusiast compact cameras out there (albiet with sensors that aren't quite as large).

The Leica Q3 is the most directly comparable, with its high-resolution full-frame sensor and in-camera cropping feature (not to mention two choices of lens with the Q3 43). It has a substantially faster lens that more than makes up for the sensor's lower light-gathering ability, optical stabilization and a brand name that, for some, will make every time they use it feel special. The GFX100RF doesn't offer the back-to-fundamentals user interface that the Leica Q3 wowed us with; when it comes to menus and controls, the GFX100RF is like pretty much any other Fujifilm camera in that it offers a lot of options spread out through pages and pages of settings. The Leica is substantially pricier, coming in at around $1400 more.

If you're looking for maximum portability from a compact, Fujifilm's X100VI will be a much better fit. In return for dropping down to a much smaller sensor, you get in-body stabilization and a hybrid optical/electronic viewfinder that offers a very engaging shooting experience – assuming you can find one, or are willing to pay scalpers' markups.

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Using the Camp Snap camera

Wed, 28 May 2025 14:00:00 Z

Photo: Dale Baskin

With summer approaching, many kids will soon head off to summer camp, toting duffel bags filled with sunscreen, bug spray, and, often, a camera to capture their memories. The Camp Snap ($70) is a point-and-shoot camera designed specifically for this purpose. It’s super simple – no LCD screen, no complex settings – and its price means it won’t be a disaster if it ends up at the bottom of a lake or covered in s'mores.

Crucially, its screen-free design helps address a common challenge: many camps restrict or ban smartphones and regular digital cameras, aiming for an immersive, screen-free experience for campers.

Key features

8 Megapixel resolution (4.6 x 3.2mm sensor)
35mm (equivalent) F1.8 lens
LED flash
4 GB microSD card included
USB-C port
Internal battery

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The case for a dedicated summer camp camera

Summer camp can be one of the most magical experiences kids can have. I admit I might be biased; not only did I attend camp in my youth, but I also ran a summer camp for several years when I was younger. I won’t lie – it was probably the best job I ever had.

"Its screen-free design helps address a common challenge: many camps restrict or ban smartphones and regular digital cameras."

One of the best things about camp is it provides an opportunity to immerse kids in an experience different from their normal lives, focusing on new activities and the environment. Fortunately for me, I ran a camp before smartphones were everywhere. If kids brought cameras, they were film cameras, and they had to wait until they got home to see the photos.

Camp Snap camera | F2.8 | 1/750 sec | ISO 100
Photo: Dale Baskin

Today’s camp directors face a very different challenge. To ensure kids get that immersive experience, many camps restrict or prohibit smartphones or regular digital cameras. Constant digital interaction is a distraction, and many camps insist on a screen-free experience. That’s where the Camp Snap comes in. It lets kids capture memories without a screen, complying with camp rules.

In use

The Camp Snap camera is super easy to use because there’s very little to control – perfect for most kids. In fact, it's a lot like using a disposable film camera. There's only one button, the shutter button, and there’s an optical tunnel-type viewfinder. A tiny LCD on the back displays the shot count.

The Camp Snap camera has only two physical controls: the shutter button on top (which doubles as an on/off switch) and a switch for the flash setting (on, off or auto).

Photo: Dale Baskin

The only other physical control is for the LED flash, which can be switched to on, off, or auto. This simplicity ensures kids won’t come home with unviewable photos because a setting was accidentally changed.

It ships with a 4GB microSD card, which Camp Snap says should hold about 2,000 photos. Based on my usage, it's probably closer to 1,500, but that's probably ample for a week at camp, and you have the option to put in a larger card if needed.

"The Camp Snap camera is super easy to use because there’s very little to control – perfect for most kids."

Notably, the microSD card slot is hidden behind a panel that requires a small Phillips screwdriver to remove. This prevents kids from casually removing the card and, more importantly, losing it. Trust me, kids are really good at losing things at summer camp.

The manual flash control is a pleasant surprise, though I suspect most kids will either leave it off or set it to auto. The flash is an LED type, similar to a smartphone, which can result in that same washed-out look.

The microSD card is located on the bottom of the camera behind a screw-in panel that discourages kids from trying to remove the card. The USB-C port can be used for charging or to plug the camera into a computer for direct file transfer.

Photo: Dale Baskin

There's a slight delay between clicking the shutter and taking a photo. It's not as fast as a DSLR, but it's more responsive than many compact cameras I've used. The shutter button also doubles as an on/off switch. You press and hold it for about three seconds to turn the camera on, at which point the shutter button glows green. A flashing red light indicates a low battery. (I only ran into this once during testing.) Holding the shutter button down for another three seconds turns the camera off.

There's one small quirk to the on/off process. When pressing the shutter button to turn off the camera, the camera emits the shutter click sound, followed by another sound about three seconds later when it powers down. Initially, I thought I was taking an extra photo every time I turned off the camera. That turned out not to be the case, but it was confusing.

Camp Snap camera | F2.8 | 1/160 sec | ISO 100
Photo: Dale Baskin

In my opinion, the 35mm equivalent lens is a good choice. It’s wide enough for activities like boating or building a monkey bridge, but not so wide that friends look distorted in group shots. The optical viewfinder doesn’t provide 100% coverage, meaning photos should have a bit of extra room around the edges, which can be helpful for cropping. Unfortunately, the viewfinder itself is tiny and exhibits distortion. It's functional, but not great.

The camera can capture photos using several preset filters, including Standard, B&W, Vintage, KodaClone and 101Clone. Only one filter can be loaded into the camera at a time. Interestingly, it ships with the 'Vintage' filter installed by default, something I didn’t realize until I was well into testing. Camp Snap claims the battery should last for about 500 photos, and it recharges via the USB-C port; I never ran out of power when testing it.

Image quality

Let’s set appropriate expectations: the Camp Snap aims to survive summer camp and provide a screen-free experience, not win image quality awards. Photos are OK, but the camera's sensor is smaller than the ones found on the main cameras of most smartphones and half the size of those in most older compact models, and it will perform accordingly.

Camp Snap camera | F2.8 | 1/100 sec | ISO 100
Photo: Dale Baskin

In short, if you have a modern Android phone or iPhone, don't expect the same level of image quality, particularly since the Camp Snap doesn't benefit from the sort of computational wizardry those devices employ. However, the photos should be good enough to capture those core camp memories.

The camera uses a fixed-focus lens design, so there's no autofocus system to worry about. In even light, the metering does a pretty good job, but it struggles with strongly back-lit scenes. White balance is generally on target, though some of my photos exhibited a slightly green color cast.

The most visible artifacts you're likely to observe are clipped highlights on bright objects or skies, and if you zoom in, you’ll probably see compression artifacts.

This photo illustrates the types of artifacts you're likely to see in some photos from the Camp Snap camera. Look closely at the sky: you'll see banding in the blue areas and places where the color is clipped, making the sky appear cyan and white.

Camp Snap camera | F2.8 | 1/640 sec | ISO 100
Photo: Dale Baskin

As mentioned, this camera isn't going to win awards for image quality. Does it matter? When I look back at the grainy, often over- or under-exposed photos 12-year-old me took at summer camp with a film camera, I don’t worry much about the quality because those photos captured important memories. I think the same applies here, particularly if the alternative is having no camera at all due to technology restrictions.

"This camera isn't going to win awards for image quality. Does it matter?"

One minor annoyance: most of the photos I shot are tilted slightly to the right, suggesting the sensor may not be perfectly aligned with the camera. However, considering how many of the photos I shot as a 12-year-old were off-kilter anyway, I'm not sure this is a showstopper.

Should you buy it?

If your child is headed to summer camp and you need to navigate a screen ban – whether it’s a camp policy or your own rule – the Camp Snap is worth considering. In my opinion, it's best suited to younger kids. Older kids (13 and up) might find it a bit simplistic. Just set your expectations appropriately; a modern smartphone will take better photos, but those may not be allowed at many camps.

It’s worth considering other screen-free options, too. A disposable film camera won’t violate screen bans, and if your child can change film rolls, a used point-and-shoot film camera could work. Instax or other instant cameras offer instant fun, though film costs can rise quickly. That’s one area where a digital camera like the Camp Snap, with its large capacity and one-off price, has an advantage.

Summer camp is special, creating memories that last a lifetime, and If your kid has an interest in photography, I encourage you to support that enthusiasm. Whether it’s with the Camp Snap camera or something else, camp is a great place to begin, or feed, one’s photography journey.

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Canon EOS R50 V review

Tue, 27 May 2025 15:00:00 Z

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Product Photos: Mitchell Clark

The Canon EOS R50 V is a small mirrorless camera designed for vloggers and consumers looking to take video. It's built around the same 24MP APS-C sensor found in the more stills-oriented EOS R50.

Key Features

24MP Dual Pixel AF CMOS sensor
Full-width 4K up to 30p, derived from 6K
4K 60P w/ 1.56x crop
Front-facing tally lamp
Dual record buttons and zoom toggle
Canon Log-3 profile, HDR PQ and HLG options
Extra 1/4-20" tripod thread for vertical shooting

The EOS R50 V is available for $649 body-only, and in a kit with the RF-S 14-30mm F4-6.3 IS STM PZ power zoom lens for $849.

Index:

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What's New

Video-first design

Despite the camera's name associating it with the EOS R50, the two cameras actually have very different designs. The EOS R50 V lacks a viewfinder and built-in flash, has an almost entirely redesigned control scheme and features a headphone port, which its sibling lacked. It also adds a tally light on the front to make it obvious when you're recording, a front-facing record button, a zoom toggle switch and an additional tripod thread on the right side of the camera, which lets you easily mount it for vertical shooting.

The front grip is also substantially less pronounced than that of the standard EOS R50. While this makes it less comfortable to hold in the traditional way, depending on your hand size it may be quite a bit more comfortable to hold the camera facing yourself for when you're vlogging or taking selfies.

The mode dial also gets a redesign, with stills shooting relegated to a single space. The rest is taken up by video modes.


Stills	For taking photos; exposure mode is selected using the touchscreen
S&F	Slow and Fast: for recording slow-motion video in-camera and timelapses
Video	Standard video mode with configurable settings
Video C1	First custom video mode you can use to save specific settings (e.g., 60fps 4K with V-Log color and human subject detection AF)
Video C2	Second custom video mode
Video C3	Third custom video mode
Scn	Scene mode: pick from 'smooth skin movie,' 'movie for close-up demos,' and 'movie IS mode' scenes
Video A+	'Fully Automatic Recording' - adjusts camera settings based on scene conditions

Somewhat oddly, the close-up demo mode, which over-rides the camera's face detection autofocus when you hold an object up close to the camera, can't be accessed in the rest of the video modes. That also means you can't use it with your chosen exposure mode; you're stuck with letting the camera automatically pick the settings, which you can only influence by using exposure compensation.

Vlogging UI

The on-screen user interface has been redesigned to give you access to all your vital video settings without having to go into the menu, which is useful when you have the camera mounted to a tripod facing you. Tapping the "Q" button on the screen or using the hardware Q button brings up a scrolling menu that lets you change things like your shooting mode, autofocus area, autofocus subject detection, resolution and framerate, digital stabilization settings, color mode and more.

For some operations, the camera will bring you into its more traditional menu system, though the relevant sections have clearly been optimized for touchscreen operation. However, unlike the Q menu and live view info display, they don't rotate when you're using the camera in portrait orientation, which can make them a bit awkward to use depending on how you have the camera mounted.

A video-focused kit lens

Alongside the EOS R50 V, Canon introduced the RF-S 14-30mm (22-48mm equiv.) F4-6.3 IS STM PZ powerzoom lens. Its zoom range is well-suited for vlogging, letting you get wide enough that it's easy to film yourself even if you're using a mode with digital crop – though things will start to get tight if you combine the 60p mode with the most aggressive digital image stabilization. However, the lens's optical stabilization means you're less likely to have to do that, and its power zoom lets you get smooth pushes in or pulls out.

How it compares

The market for entry-level cameras with no viewfinder, a boxy design, and vlogging-focused features is relatively robust; most brands have a camera they market toward creators, though some have a much more extensive list of video features than others.

	Canon EOS R50 V	Fujifilm X-M5	Sony ZV-E10 II	Nikon Z30
MSRP	$649	$799	$998	$706
Pixel count	24MP	26MP	26MP	21MP
Mech shutter	Electronic First Curtain	Yes	No	Yes
Video rates (crop factor)	4K 60p (1.56x) 4K 30p (full-width)	6.2K 24p (open gate) 4K 60p (1.18x) 4K 30p (full-width)	4K 60p (1.1x) 4K 30p	4K 30p (full-width)
UHD 24p rolling shutter rate	31.9ms	20.4ms	16.7ms	21ms
Video bit-depth	10 bit, C-Log 3	10 bit, F-Log/F-Log 2	10-bit, S-Log3	8-bit
Exposure assistance tools	False color, 2-level zebra, HDR/Log assist	1-level zebra, Log assist	1-level zebra, HDR/Log assist	1-level zebra
Front tally light	Yes	Yes (AF assist lamp)	Yes	Yes
Rear screen	3" 1.04M-dot fully articulated	3" 1.04M-dot fully articulated	3" 1.04M dots fully articulated	3" 1.04M dots fully articulated
Top plate command dials	1	2	1	2
Mic / Headphone sockets	Yes / Yes	Yes / Yes	Yes / Yes	Yes / No
Connectivity	USB-C 10Gb/s Wi-Fi – 2.4Ghz, 5Ghz	USB-C 10Gb/s Wi-Fi – 2.4Ghz	USB-C 5Gb/s Wi-Fi – 2.4Ghz, 5Ghz	USB-C 5Gb/s Wi-Fi – 2.4Ghz, 5Ghz
SD slots	1x UHS-II (base)	1x UHS-I (base)	1x UHS-II (side)	1x UHS-I (base)
Battery life (CIPA)	390 frames	440 frames	610 frames	330 frames
Dimensions	119 x 74 x 45 mm (4.7 x 2.9 x 1.8")	112 x 67 x 38 mm (4.4 x 2.6 x 1.5")	115 x 68 x 54 mm (4.5 x 2.7 x 2.1")	128 x 74 x 60 mm (5.1 x 2.9 x 2.4")
Weight	370g (13oz)	355g (12.5oz)	377g (13.3oz)	405g (14.3oz)

Aside from its rolling shutter rates, the EOS R50 V compares relatively well to the competition when it comes to shooting video. It also has many of the vlogging-specific features that are also available on the Sony and Fujifilm, though it doesn't have an easy background defocus setting to tell the camera whether to prioritize a wide open or stopped-down aperture.

For shooting stills with flash it benefits compared to the Sony by having a partially mechanical shutter, but suffers compared to the Fujifilm by having a Canon multi-function shoe, rather than a standard hotshoe (though you can buy an adapter).

Body and handling

The EOS R50 V doesn't feel appreciably smaller than the regular EOS R50, though the lack of a viewfinder hump and minimal grip give it a boxier design that should play well with handheld gimbals.

The top plate shutter button is styled as a record button and has a toggle switch to control focal length for power zoom lenses or the digital zoom function available when recording in FHD. You can also use it to change which top-level section you're in when navigating the camera's menu.

The default button assignments make a lot of sense for run-and-gun videos.

Behind that is the camera's only top-plate control dial. If you want to control a second parameter, you'll have to use the small, rear plate dial which can be a bit fiddly given how sensitive it is, and the fact that it also acts as a multi-directional controller, so you can accidentally activate another function if you press down too hard in one area.

The camera has two other programmable buttons on the back, alongside a menu, playback, and info button, and a programmable button on the top plate, as well as a "Lock" button that deactivates the camera's control dials. That's especially handy, since it's really easy to bump them while you're vlogging, potentially ruining a shot. By default, the "Color" button lets you access the menu to control the standard color mode, as well as the 14 color filters Canon includes to let you add various looks to your footage and the more advanced response modes such as C-Log or HLG.

Screen

The camera is mainly made to be controlled using the 3" articulating touchscreen, which lets you adjust your settings and shooting parameters and navigate through the menus. Like most cameras' displays, it can be challenging to see in direct sunlight, especially if you're trying to judge exposure.

Ports and slots

The EOS R50 V has a particularly quick 10Gbps USB-C port, which should be handy if you want to offload footage without taking off your tripod plate to get at the SD card. It also supports UVC/UAC streaming to a computer, letting you use it as a 4K webcam*.

It also has a headphone jack so you can monitor audio and a mic port so you can attach an external microphone. Also included is an ever-fragile micro HDMI port, which you can use to output video to a monitor or to a streaming box if your setup doesn't support USB.

* You'll be limited to 1080p if you want your camera to also draw power over USB instead of relying on its battery.

Battery

The battery and card slot are both under a door on the bottom of the camera.

The EOS R50 V uses the same 7.5 Wh LP-E17 battery that can be found in many of the company's other small ILCs, such as the original EOS R50. The company says it's good for 390 shots based on the CIPA rating. As always, the main use of the rating is as a common reference point among cameras, as the literal number of shots you get will depend on many factors.

Canon hasn't publically published CIPA video test results for the EOS R50 V. However, the camera's manual says you can expect around 70 minutes of 4K 30p recording on a charge, and about double that if you're shooting in 1080p. Those numbers are for single autofocus.

Video

Video Quality

Image Comparison

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The EOS R50 V's standard 4K footage is derived from 6K capture and provides a good level of detail for most vlogging uses. The 4K 60p setting uses a smaller region of the sensor and has less detail than the >30p modes, but still provides a very usable image if your audience is mainly people watching videos on the web.

Recording Options

The EOS R50 V has four different recording formats, which can be used with any framerate and resolution.

	Color Depth	Bit Depth
H.256	4:2:2	10
H.256	4:2:0	10
H.264	4:2:2	10
H.264	4:2:0	8

While the camera has a screen for selecting your compression type, the only option is Long GOP.

Autofocus

The EOS R50 V offers several autofocus area options, ranging from spot to whole area autofocus. You move the point using the touchscreen, and in whole area autofocus you can use tap-to-focus to track a specific area. You can also use the four-way controller to select your focus point, provided you configure a button to engage AF point selection mode.

It can recognize three types of subjects: people, animals (including birds) and vehicles. There's also an "auto" mode that will track any recognized subjects in those categories. The subject recognition can be used with any of the autofocus area options, and the camera does a good job of honoring your selected area, rather than trying to jump to a subject not under your focus point the moment it recognizes one.

Autofocus settings, like most of the rest of the camera's settings, are separate between video and stills modes.

We found that the autofocus tracking was reliable at keeping whatever we were shooting in focus, especially when using subject recognition mode. There are also several options to tune it if the initial settings don't work for your needs: you can make the focus speed faster if you want it to quickly jump between points or slower if you want longer focus pulls, and you can also adjust how willing the camera is to refocus to a different distance or subject.

We also found that it was relatively tenacious, even when tracking a non-recognized subject. We could tap an object on the screen and be relatively sure it would keep it in focus as we moved the camera around, provided the movements weren't too extreme and that the subject mostly stayed in the frame. It also didn't tend to lose subjects after zooming in or out and was quick to refocus after zooming.

Rolling Shutter

There's no way to sugar-coat it: the EOS R50 V's rolling shutter performance is quite poor. If you pan the camera even at a moderate speed or point it at something moving relatively quickly, you'll get jello-like skewing, which can be quite distracting depending on what you're shooting.

Video Mode	Readout Rate
UHD 4K Crop 60p	15.7ms
UHD 4K 24p	31.9ms
1080p 24p	12.3ms

The problem is far less pronounced in the 60p 4K crop mode due to the fact that it's sampling a smaller portion of the sensor, which takes less time. This leads to good rolling shutter performance, which is also the case in the 1080p modes.

Electronic image stabilization

Unsurprisingly, given its price, the EOS R50 V doesn't have a stabilized sensor, which means you'll have to rely on optical stabilization, a gimbal and/or electronic image stabilization to reduce shake when shooting handheld. The EOS R50 V has two electronic stabilization modes: normal and "Enhanced." Both crop in on the image, with the latter adding more crop than the standard mode. Both also work in the 4K Crop mode required for shooting in 60p, but you will end up with a substantially tighter image.

Stabilization mode	UHD frame rate	Total Crop
Normal	24p	1.11x
Normal	60p	1.71x
Enhanced	24p	1.41x
Enhanced	60p	2.23x

We found the electronic stabilization can work well for static shots or shots with slow movements, but isn't a great fit for walking and talking shots, especially if you pan the camera. It has a noticeable grab-and-release effect that can make your footage look stuttery, and while it does take out the most intense shakes, you can wind up with video that looks a little wobbly instead of steady.

Conclusion

What we like	What we don't
Great image/video quality Reliable autofocus Stable of useful video assistance tools Well-considered ergonomics Good value Decent battery life Great choice of kit lens	Poor rolling shutter performance Big crop for 4K60p Digital stabilization isn't the best Some features can be hard to find Doesn't have every vlogging feature its competitors include No included wind sock for otherwise decent built-in microphone Canon controls lens choice quite tightly

Given the EOS R50 V's heavy focus on vlogging, we've filmed the bulk of our conclusions as a vlog, which should help provide an idea of what kind of results the camera can produce.

Outside of vlogging, it's worth touching on the photo-taking experience with this camera. Put simply, stills aren't what this camera is designed for. From a technical perspective, it's quite capable; it has pretty much every photo feature the EOS R50 does (including a mechanical second curtain shutter), and its image quality is solid. You can check out the studio scene here.

The experience of taking photos with it, however, just isn't all that fun. It could've actually been an improvement on the EOS R50 by having two control dials instead of one – we're no fans of rear control dials, but they're better than nothing – but the top plate dial being at the back of the camera instead of the front means that you'll have to manage both dials with your thumb. That minimizes the speed benefits that you typically get from having a second command dial.

That, along with the missing EVF, means that the EOS R50 V is best suited to taking occasional photos rather than being a really good stills camera that also excels at video. While you can absolutely use it to capture some great photos, people who split their time more evenly between stills and video will want to consider a less vlogging-focused model.

While the rolling shutter performance, crop in 4K60p and few UI quirks make it hard to recommend this camera to absolutely anyone interested in video, it's undoubtedly still worth considering if you're looking to get into vlogging or videography, especially if budget is a concern. The value the EOS R50 V provides with its image quality, autofocus system and feature set is what earns it a silver award.

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Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Canon EOS R50 V

Category: Entry Level Interchangeable Lens Camera / DSLR

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The EOS R50 V is a solid video camera, but is let down by its heavy crop to achieve 4K 60p and slow rolling shutter.

Good for

Vloggers shooting indoors Videographers shooting static or slow-moving subjects Filmmakers on a shoestring budget

Not so good for

Vloggers shooting action Videographers that make heavy use of 4K 60p People not interested in video

84%

Overall score

Compared to its peers

The Fujifilm X-M5 offers a complete experience for both stills and video shooters than the EOS R50 V thanks to its two top-plate control dials and especially robust lens ecosystem. Its open-gate recording mode can also provide a bit more flexibility over framing in post and still has better rolling performance than the EOS R50 V despite its taller aspect ratio. However, Fujifilm's autofocus tracking performance won't be as good for unrecognized subjects.

Compared to the EOS R50 V, the Sony ZV-E10 II's much faster sensor means it'll have far less rolling shutter, and will be able to shoot in 4K60p with far less crop, making it better for fast moving subjects or shooting styles. Ergonomically, the side-mounted SD card slot means you'll never have to take off your tripod plate to get at your footage, though, like the rest of the competition, it lacks the Canon's vertical tripod mounting thread. But while the EOS R50 V's battery life is sufficient, the ZV-E10 II's massive battery will let you record for substantially longer.

The Nikon Z30 struggles to keep up with the newer cameras on this list. It can't shoot 4K60p at all, which means you'll have to drop down to 1080p if you want to shoot in slow motion, and it also doesn't support 10-bit color or Log, meaning you'll be more limited in post when it comes to color grading. The lack of a headphone jack will also make it harder to tell if your audio is turning out correctly.

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Panasonic Lumix DC-S1IIE review-in-progress

Tue, 13 May 2025 14:00:00 Z

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Product Photos: Mitchell Clark

The Panasonic Lumix S1IIE is a 24MP full-frame camera aimed at stills and video shooters. It uses the same BSI sensor found in the Panasonic S5II and S5IIX but paired with the body of the S1II and S1RII, giving it some additional capabilities and features not found in the S5-series.

Key Features

24MP BSI CMOS sensor
Up to 30fps e-shutter shooting with C-AF and Raw
1.5 seconds pre-burst capture
96MP high-resolution multi-shot mode
10-bit HEIF recording
6K 4:2:0 open-gate recording up to 30p
Internal Raw recording
32-bit float recording via optional XLR 2 adapter
2.1M dot flip-out and tilting display
5.76M dot viewfinder

The S1IIE will be available starting in late June for a recommended price of $2499.

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Index:

What's New

As a blend of existing cameras, the S1IIE doesn't have anything entirely its own. However, some of the features are brand-new on the S1II, announced the same day as the S1IIE, so it's worth looking at what it inherited from that camera and the S1RII and what it keeps the same as the S5II/X.

HLG HEIF

Like the S1II, the S1IIE can record stills to a 10-bit HEIF file using the HLG high-dynamic range tone curve, which can also be paired with mono and LUT color modes. This lets you get HDR images straight-out-of-camera without the need to process Raws, though HEIFs aren't nearly as widely supported as JPEGs.

You can do an in-camera HEIF to SDR JPEG conversion, though there is a strange limitation when outputting HDR HEIFs. If you originally shot the image as HEIF+Raw, you can reprocess the Raw and output an HDR HEIF, adjusting settings such as white balance. However, if you shot the image as JPG+Raw, you can only reprocess the Raw into an SDR HEIF. Of course, you can always bring that Raw into desktop editing software to output it however you like, but it is strange that the in-camera processor can only output HDR HEIFs in certain circumstances.

AI white balancing

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Photo taken in a challenging condition with daylight coming in through a window and indoor lighting. The AI white balance tool was much closer to what it looked like in real life.
S1IIE | Sigma 24mm F1.4 DG DN Art | 1/250 sec | F1.4 | ISO 100 | Cropped to taste

Speaking of the in-camera Raw processing, the S1IIE has the same "AI Auto White Balance" feature as the S1II. It's only available in post-processing, but Panasonic says it should be better at producing pleasing colors in difficult lighting situations.

New Body

The S1IIE has the same body as the S1RII and S1II, which makes it just a tad bigger than the S5II. That means it has the same control layout, complete with a dial for switching between stills, video and slow and quick modes, the lock switch and extra custom modes. It also has the large, high-resolution viewfinder and the tilting/fully-articulating display.

Updated autofocus

The S5II brought phase-detect autofocus to Panasonic's full-frame lineup, and the system the S1IIE inherits from the S1RII is a refinement of that. It has the enhanced human subject recognition, complete with support for "urban sports" like breakdancing or skateboarding, where people will be moving their bodies into positions that the previous system may not have recognized.

Compared to the S5II, there's a key difference in the autofocus user interface: the S1IIE, like the S1RII, doesn't fall back to its generic tracking if it's in subject detection mode but doesn't recognize a subject in the scene.

New movie capabilities

Despite using the same sensor, the S1IIE has 30 more recording modes than the S5IIX. Some of those are the "Cinemascope" modes, which offer a 2.4:1 aspect ratio, as well as the ability to shoot in 60/50/48p in full-width 6K and 4K. Like the S5IIX, it's essentially achieving the faster frame rates by dropping down to an APS-C region of its sensor, just a super-wide one.

The S1IIE also includes the "Cinelike A2" color profile, the ability to record ProRes Raw internally to a CFexpress Type B card, proxy recording to a second card and 32-bit float audio recording via an add-on XLR 2 adapter. You can also use it with Bluetooth timecode synchronization devices and Panasonic's Lumix Flow app, which aims to streamline the process of writing a script, creating storyboards and shotlists and sorting captured footage.

It has the S1II's upgraded stabilization system as well, which the company says is "60% more efficient" than the S5II's. That includes the "cropless" electronic image stabilization mode that's compatible with the company's S-series lenses, though not other L-mount options from Sigma or Leica.

And even more...

As is becoming tradition, Panasonic has promised even more features coming via a future firmware update. Those include:

A paid upgrade for Arri LogC3
Multiple frame markers, like the S9 and S5II
Bluetooth connectivity to DJI gimbals

How it compares

The S1IIE is playing in a relatively crowded field; every manufacturer is pitching their mid-level full-frame cameras as a great hybrid option for stills and videos. We're comparing the S1IIE to Nikon and Canon's similarly-positioned Z6III and EOS R6 II. We've also compared it to the S5IIX, which Panasonic has said will remain in its lineup for now, as the S1IIE is essentially an upgraded version of that camera.

	Lumix S1IIE	Lumix S5IIX	Nikon Z6III	Canon EOS R6 II
MSRP	$2499	$2199	$2499	$2499
Pixel Count	24MP	24MP	24MP	24MP
Stabilization (IBIS / Synced)	Up to 8EV	Up to 6.5EV	Up to 8.0EV	Up to 8EV
Max burst rate	10fps mech. (continuous AF) 30fps e-shutter (continuous AF)	9fps mech. (single AF) 30fps e-shutter (continuous AF)	14fps mech. 20fps e-shutter 120fps JPEG only, APS-C	12 fps mech. 40fps e-shutter (12-bit)
Pre-burst capture	Up to 1.5 sec	Up to 1.5 sec	Up to 1 sec JPEG-only	Up to 0.5 sec in Raw Burst mode
Viewfinder res / mag	5.76M dot OLED / 0.78x	3.8M dot OLED / 0.78x	5.76M dots / 0.8x	3.69M dots/ 0.76x
Rear screen	3.2" 2.1M dot Tilt + Fully Artic.	3" 1.84M dot fully articulated	3.2" 2.1M dot fully articulated	3.0" 1.62M-dot fully articulated
Max video resolution	6K 30p (3:2) 5.9K / 4K UHD 30p 6K 60p (2.4:1)	6K 30p (3:2) 5.9K / 4K UHD 30p	6K (Raw) 60p 5.4K 60p UHD 4K 60p / 120p w/ APS-C crop	UHD 4K 60p (full width, from 6K)
Video format options	H.264 H.265 ProRes ProRes HQ ProRes Raw	H.264 H.265 ProRes Raw (via HDMI)	H.264 H.265 ProRes HQ ProRes Raw N-Raw	H.264 H.265 ProRes RAW (w/ Atomos recorder)
Storage formats	1x UHS-II SD 1x CFe B External SSD	2x UHS-II SD	1x UHS-II SD 1x CFe B	2x UHS-II SD
HDR output (stills / video)	HLG HEIF / HLG	- / HLG	HLG HEIF / HLG	PQ HEIF / PQ
USB	USB-C 10 Gbps UVC	USB-C 10Gbps	USB-C 5Gbps	USB-C 10Gbps UVC
Battery life LCD / EVF (CIPA)	380 / 340	370 / 370	360 / 390	580 / 320
Dimensions	134 x 102 x 92 mm	134 x 102 x 90 mm	139 x 102 x 74 mm	138 x 98 x 88 mm
Weight	795g (28oz)	740g (26.1oz)	760g (26.8oz)	670g (23.6oz)

The Z6III and EOS R6 II are both strong competitors, and we've found their autofocus systems to be quite capable of shooting moving subjects and action, which wasn't always the case for Panasonic's system when we tested it in other cameras. With such feature-packed cameras, though, the differences are going to come down to the details like the fact that the Canon can't do internal Raw video, the Z6III's highest burst rates being limited to JPEG-only, or that the S1IIE doesn't have an automatic subject detection mode like the Z6III and EOS R6 II do.

Those who focus on video have to deal with even more nuance. Nikon's use of a 'partially stacked' sensor lets it shoot at quite high framerates, though sometimes only in Raw. While the S1IIE doesn't have the same level of speed, Panasonic has loaded it with resolution and aspect ratio options and an army of assistance features. Those are things like waveforms, vectorscopes and false color monitoring to help you nail exposure, a desqueezed preview if you're shooting with anamorphic lenses and its real-time LUT system that lets you use industry-standard color profiles to grade your footage straight out of camera.

Body and handling

The S1IIE's buttons and dials are well-placed, making it easy to almost completely control the camera using one hand.

The S1IIE's body will be familiar to anyone who's used an S5II/X, and even more so to those who've used an S1RII. It's a tiny bit larger and heavier than the S5-series and has a larger grip, but otherwise feels quite similar in the hand. The control layout is largely similar, with the same autofocus layout and dial setup that should make it easy to avoid the menu system during a shoot.

Compared to the S5II, the S1IIE gains a lock switch, which can be customized to lock different buttons depending on whether you're shooting stills or video, a mode dial for stills, video and slow and quick mode and a slightly deeper grip. There's also now a record button on the left front corner of the camera, which we've found is extremely easy to accidentally press, though you can set it to do nothing in stills mode.

The camera's ports now get their own individual doors, which makes for less flapping around if you only have a few things plugged in.

Rear Display

The S1IIE inherits the combination tilting / articulating screen from the S1RII, giving you the versatility of a fully articulating screen that can be viewed from the front without sacrificing the ability to position it for waist-level or above-the-head shooting with a single motion. It also provides plenty of clearance, even with a microphone and headphones plugged into the camera.

Battery

The S1IIE uses the same 15.8Wh DMW-BLK22 battery as the S5II and the rest of the S1II family. It's CIPA-rated to provide 380 shots when using the LCD. You'll likely be able to shoot many more photos than that on a single charge, but the rating provides a consistent point of comparison between cameras. It's not the best in class, but it should get you through a weekend of light-to-moderate shooting.

You can charge it via USB-C, and it's compatible with the DMW-BG2 battery grip launched with the S1RII, which should roughly double its battery life.

The company says it can record an approximately 100-minute continuous 4K 60p clip on a charge, and about half that if you're repeatedly starting and stopping recording.

Initial Impressions

Let's get this out of the way: there's a lot to like about the S1IIE. It'd be shocking if there wasn't, given that it's essentially a blend of the S1RII and S5IIX, both of which are more than solid in their own right. While we haven't put it through our thorough testing process yet, it's pretty much a given that it'll provide great image quality, sturdy ergonomics and more video features than most people would use in a lifetime.

While the formula isn't new, the S1IIE is in a bit of a complicated position. On one hand, it's a version of the S1II that costs substantially less and comes with a lot of the same features but has a slower sensor that limits burst rates and 4K-and-above framerates. But you could also look at it as a slightly fancier S5IIX; its capabilities are quite similar, but its upgraded processor, refined design and higher price tag will give you a more premium experience.

You now have to consider five cameras if you want a 24MP hybrid camera from Panasonic

For certain users, that'll be worth it. Depending on what you need from a camera, the S1IIE's support for Capture One tethering could be a deciding factor on its own. But if you don't have a slam-dunk reason to buy it, you now have to consider five different cameras (the S5II, S5IIX, S1II, S1IIE and S9) if you're looking to get a 24MP hybrid camera from Panasonic.

Even as a reviewer, it can be hard to keep the differences straight in my head, and I feel like I'd need to have a 15-minute conversation with someone before I'd feel confident that I knew which model(s?) they should consider. And that's before you even consider the competition: the S1IIE is up against cameras with just plain faster sensors, which allow for higher framerates and better rolling shutter performance.

Panasonic still includes plenty of features that make its cameras stand out, like shutter angle, timecode sync, in-camera multi-shot and support for anamorphic lenses. However, some of those will only appeal to people with quite specific needs, and the base video capabilities that used to be Panasonic's competitive advantage are now relatively common. We'll have to fully test the S1IIE to see if it does enough to stand out among the rest.

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Sigma BF review

Mon, 12 May 2025 15:11:00 Z

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85%

Product photos: Richard Butler

The Sigma BF is a minimalist 24MP full-frame mirrorless camera that offers distinctive design and an unconventional user interface.

Key specifications

24MP full-frame CMOS sensor
Phase detection AF with human and animal detection
Full-time HDR capture embedded in JPEGs
No mechanical shutter
3.2" 2.1M dot rear touchscreen
Pressure-sensitive buttons with haptic feedback
6K video up to 30p, 4K up to 30p
1080 up to 120p
Leica L-Log profile
Zebras and False Color exposure displays
230GB of internal memory
10Gbps USB-C port, external mic compatible

The Sigma BF is available in Black or Silver at a cost of $2000. Sigma has also made versions of all its i-series primes to match the silver version of the camera.

Index:

Buy now:

What's the Sigma BF really like to live with?

Mar 13: Initial review published
Apr 21: Shooting experience and additional galleries added
May 12: IQ, AF, Video and conclusion added

What is it?

The Sigma BF is explicitly not trying to be a do-everything, Swiss Army Knife of a camera. Sony's a7C II already exists, bringing an EVF, multiple dials, a mechanical second-curtain shutter mechanism and in-body image stabilization, for a list price just 10% higher than the BF's.

But if Sigma was trying to go head-to-head with Sony in the mass market, it probably wouldn't be spending seven hours milling each camera out of blocks of aluminium, nor doing so in Japan: neither of which is the approach you take if you're primarily driven to hit a specific price point.

Similarly, just looking at the specs, the BF might be mistaken for an unstabilized Panasonic S9 in a fancier body, but despite sharing a sensor, the two cameras couldn't be more different.

Instead Sigma explicitly says the BF is designed for 'everyday' photography. An elegant object designed to be carried with you, rather than a utilitarian device you take when you're taking photos. It's absolutely not optimized for rapid operation, it's not teeming with clever features. Instead it includes only the bare essentials for photography (or, arguably, slightly less than that, given its lack of mechanical shutter).

Think of it like a Moleskine notebook: in many respects it's not as practical for taking notes and recording ideas as the smartphone you're already carrying, but the very process of carrying it with you acts as a prompt to look at the world and capture the thoughts you were having. The BF is trying to do the same.

It's the difference between a camera that you'd grab when you want to go and take photos of something, vs a tool that encourages you to look for things to photograph.

Body and controls

User interface

The best way to understand the BF is to note the dedicated settings display towards the top right-hand corner on the back of the camera. This displays one of ten parameters:

Drive mode	File format	Aspect ratio	Focus mode	White balance
Shutter speed	Aperture value	Exp comp.	ISO	Color mode

These are also the ten parameters that appear on the main screen if you press the center button on the back of the camera, in the pattern shown in the table above.

You can navigate between them by pressing the cardinal points on the rear dial, then scroll the dial to change the current setting.

Pressing the center button lets you see and edit the camera's core ten parameters, but the chosen setting is also shown in the dedicated settings display to the top right of the screen.

In this instance the aperture value is shown in dark grey because it's being controlled from the lens.

But you don't have to press the center button and bring them up on the main screen: once you've learned their relative positions (and chances are it's the ones in the bottom row you'll change regularly), you can navigate around them just using the settings display. And, for me, that's the key to understanding the BF: it's designed so that the core settings can be adjusted without looking at the main screen. You can set the camera to show all the settings on the main screen,

In keeping with this idea, the touchscreen is almost solely used for positioning the AF point or selecting a subject to track: even if you summon-up the settings on the main screen, you can't tap to change settings, just choose what to focus on.

Exposure modes

The BF has no mode dial, so exposure mode is set by selecting which parameters you want to be controlled by the camera. This is done via the main screen. Press the center button to bring up the settings then press it again to edit them, and the ISO, aperture value and shutter speed indicators show 'Auto' options above them, letting you engage and disengage automated control of each parameter.

Any of the exposure parameters that can't be changed by spinning the dial, either because they're set to Auto or because aperture value is being set by an aperture ring, is rendered in darker grey, both in the settings display and on the main screen display.

Other settings

Ten further settings, including the level gauge and options to display information such as focal length and focus distance are accessed via the three-dot button. Navigating down to the word 'System' takes you to the menu where fundamental settings such as date and time are edited.

Another ten settings, six of which relate to how much detail appears on the main screen (exposure parameters, guides, virtual horizon, etc), can be accessed by pressing the 'three dots' settings button. At the bottom of this settings menu is the word 'System' which gives you access to a ten-option-long list of fundamental camera settings, including firmware information, copyright information, menu language and date/time.

That's the extent of the BF's interface: ten top-level parameters, ten settings and ten menu options. But what this doesn't fully convey is the degree to which it's a camera in which Shutter speed, Aperture value, Exposure compensation and ISO can all be set using just the settings display, leaving the monitor solely for focus and composition.

Handling

The BF is a very solid-feeling camera, as you might expect from something hewn from a solid block of metal. The body itself is relatively light but the weight adds up as soon as you mount a lens of any appreciable size on it.

Despite it's minimalist appearance, it's quite easy to hold. The textured front-plate and raised thumb rest at the back mean you can get a pretty solid grip on the camera, and you can cradle the weight of the lens in your left hand if you're working with anything larger than one of the compact primes offered by Sigma or Panasonic.

However, we found that it was common for our ring finger to wrap around to the base of the camera as we held it, which quickly makes apparent how sharply angled the edge of the BF is. It's not hard to imagine users adding a little tape to the lower edge of the camera or being tempted to chamfer the edge with a fine file, once they come to live with the camera.

I've primarily used it with the Sigma 35mm F2 prime and the Panasonic 20-60mm F3.5-5.6 lenses, both of which are small and light enough that it's been comfortable to use.

Electronic shutter

The BF has no mechanical shutter and a sensor that takes 24.8ms to read out. Having seen this sensor in other cameras, this suggests its stills are being captured with 12-bit precision, which will slightly blunt the dynamic range at base ISO.

This readout speed (corresponding to 1/40 sec) also means the camera couldn't sync with a flash at shutter speeds faster than this rate. It also introduces the possibility of rolling shutter distortion of fast-moving subjects and means you're likely to encounter banding when shooting under artificial lights.

It's better news on the video side of things, where a rolling shutter rate of 20.9ms for its 24, 25 and 30p modes (6K, 4K or 1080) isn't too terrible. Things speed up to deliver the 1080/60 mode (10.4ms) and 1080/120 modes (7.8ms), suggesting line-skipping is being used.

Battery

The BF uses a new 11.88Wh BP-81 battery. This will power the camera to a CIPA rating of 260 shots per charge. As always, the CIPA figure will tend to under-represent how many shots you're likely to get, and we found it's the camera's propensity to show its charge percentage on its settings display that caused us to worry a little disproportionately.

Still, a rating of 260 is pretty low and means you may want to consider carrying a power bank if you plan to do more than occasional shots each day. Putting it on to charge overnight, just as you might do with your phone will probably be sufficient for everyday casual use, though.

A gentle press of the power button puts the camera into standby mode, but the battery will continue to drain at an appreciable rate. The BF starts up from cold quickly enough that this is usually a better approach.

Initial impressions

By Richard Butler

Even the body cap is an over-engineered delight.

The Sigma BF is one of the most unusual cameras we've ever encountered. On paper it looks like an under-specced rival to the Panasonic DC-S9 or even the Sony a7C II. Or, perhaps even a slightly re-purposed Sigma fp. But, even though it shares components and a small rectangular body, the BF is quite unlike any of these cameras.

Sigma's CEO, Kazuto Yamaki talked about completely re-thinking the camera's interface to pare it back to the fundamental things a camera needs to offer, in an attempt to make it simple to use, with the aim of making a camera for everyday use. And the more I use the BF, the more I think I understand this intent.

The idea of a dedicated settings display, leaving the main screen as a means of composing your image and positioning the focus point is a refreshingly simple one, undermined only by the challenge of viewing a fixed LCD in bright light. The decision to display only one setting, rather than a full array of settings and icons makes it very quick to interpret and I did find it made me consider what changes I wanted to make, shot-to-shot, in a way I don't on a more conventional twin-dial camera.

Playback mode has three levels of information that can be displayed, this is the most detailed, but you can also opt just to see the top two rows of information, or just the first.

Touching, rather than pressing, the playback button lets you review the last image you shot, without entering the full playback mode, for as long as your finger remains on the button.

This really hit home when I realized I prefer to set aperture from the camera, rather than using an aperture ring; I think the camera works best with everything controlled from the settings display, rather than trying to increase the number of control points.

Another surprise was how good the BF's autofocus appears to be. Its subject tracking is very simple to use and impressively tenacious, while its eye detection works well and can be left turned on without minimal risk of the camera prioritizing nearby faces ahead of a different subject you've selected.

There are distinct downsides, though. The lack of mechanical shutter not only means there's a risk of rolling shutter and that the camera can't be used with flash, it also means it's quite prone to banding caused by the inherent flicker of artificial lights. This can be fairly subtle at longer shutter speeds but becomes increasingly apparent in short exposures, limiting its use as an indoor camera, despite a sensor that works well in low light.

Sigma 35mm F2.0 | F4.0 | 1/500 sec | ISO 400

Photo: Richard Butler

Sigma's sometimes quite dramatic color modes may not be to everyone's tastes, and I'm not wholly convinced by the 'Light Source Priority' auto white balance mode, that tries to maintain some of the character of the detected light source. But even when the results are unexpected, they're often interesting.

The BF's battery life is also quite short. An external charger is available, if you want to keep a second battery topped-up, but mainly it's a case of remembering to put the camera on to charge regularly, just as you might for your smartphone.

Other than a slight concern about the sharp lower front edge, I'm really looking forward to spending more time with the BF. It's not a camera that lets you respond quickly to the unexpected; instead it's one that makes you slow down and look for the photos you might otherwise not notice.

Shooting experience

We took the time to spend a couple of weeks shooting with the BF the way it was designed to be used: as a daily companion whose presence would hopefully encourage us to look for photographic opportunities we might not otherwise recognize.

It constantly asked "what are you trying to photograph, and how do you want to capture it?"

It turns out to be surprisingly capable, if seen and used this way, with its unusual but highly focused interface making us think about what we were trying to achieve, with each shot. Find out more in our shooting experience article:

Image quality

We'll be conducting our full studio tests soon. We'll be testing a series of cameras alongside one another and will add the images to this review and revisit the score as necessary.

In our general use we've found the camera's standard color mode to be pretty good and its slightly more idiosyncratic 'Rich' color mode gives distinctive, and often attractive, results. We've encountered this sensor often enough that we're confident in the Raw results.

Base ISO and HDR

The JPEGs do contain a surprise though: the BF has a base ISO of 320 and an Auto ISO system that likes to use ISO 400 as its lowest setting. This is done to prompt lower exposure levels, capturing more highlight information. This extra highlight information is then used to give highlights with a more gentle roll-off and to allow the camera's undocumented HDR capabilities.

The JPEGs look normal on most displays but they also include a gain map that can be used by devices with high dynamic range displays to make the very bright highlights glow brighter. You don't have to do anything, an HDR version of your image is created within the standard JPEGs.

The downside of this is that, unless you override it by setting the camera to a lower ISO, all your shots with be a bit noisier than they could be, because you're capturing less light for your midtones and shadows, in order to capture more highlights.

There are a few odd quirks beyond this: at present DNGs shot below ISO 320 can sometimes be rendered at the wrong lightness if you try to re-process in-camera, and minor adjustments of the 'Look Effect' of each mode can have an unexpectedly large and unpredictable impact. But generally, we found the Sigma produces interesting-looking images and gives you a good amount of scope to adjust them in-camera.

Autofocus

The BF's autofocus system is very simple: you can either select all-area or specify a single point. You can decide whether subject detection is engaged and whether it is looking for people, animals or both.

The BF's AF is simple but effective, and its eye detection is very reliable.

Sigma 35mm F2 DG | F2.8 | 1/100 sec | ISO 100
Photo: Richard Butler

There's also a choice about whether manual focus for fine-tuning is available any time you turn the focus ring or just when the shutter is half-pressed. With focus precision in mind, there's a focus peaking option, with a choice of color and intensity and, in AF-S mode, the option for the camera to show you a zoomed-in view of the selected AF point when focus is achieved.

Generally we'd leave the camera in AF-C mode and all-area focus with subject detection engaged. This way the camera would focus on people's eyes if there's a human in the frame but leaving the option to tap on the screen if there's a specific point we wanted to focus on instead. For the kinds of photos the BF is designed for, this worked 99% of the time (with one instance of having to use manual focus override for a very backlit shot).

The camera's eye detection proved very fast and precise, letting us focus on composition and capturing a good expression, in social situations. It's not a complex system that would be well suited for sports or wildlife shooting, but for casual and social photography, it does exactly what you want, without you really having to think about it.

Video

The Sigma BF has a surprisingly strong video feature set, can accept external mics via USB and is easy to balance on a gimbal.

The Sigma BF has a surprisingly extensive video feature set for such a seemingly minimalist camera. But perhaps it shouldn't be a surprise, given the same sensor underpinned Panasonic's S1H video flagship.

You have the option to shoot 6K (or UHD 4K derived from that same capture) at up to 30fps. Alternatively it can capture 1080 video at up to 120p. Unlike the fp, though, the BF can happily save 10-bit footage as H.265 files, and gains the ability to shoot Log footage using Leica's Log profile (meaning conversion LUTs are available).

The Sigma includes video features that are still relatively unusual on hybrid cameras, including a false color display that applies a colored tint to different brightness regions, to let you quickly assess exposure even when working in hard-to-interpret color modes. It can also let you adjust exposure time in terms of shutter angle, making it easy to maintain correct exposure when switching frame rates.

"Its compact form, low body weight and built-in storage means it's a surprisingly good choice for gimbal work"

It can accept external mics or headphones via its USB socket. We weren't able to test whether its 'Headset' mode, that expects both a mic and headphone connection works with a USB splitter/adapter. The BF is also compatible with the UVC/UAC standards, so can be used as a webcam.

Its lack of stabilization weighs heavily against it for handheld use, but its compact form, low body weight and built-in storage means it's a surprisingly good choice for gimbal work. The single dial interface is likely to be a little fiddly to adjust, once mounted, but if you set the shutter speed (or shutter angle, that's an option) to your chosen value, use a lens with an aperture ring and either leave ISO locked or on Auto, you shouldn't need to change too many settings.

Conclusion

Pros	Cons
Excellent image quality Elegantly focused UI Simple, powerful autofocus Interesting range of color modes Strong video feature set Distinctive design and solid build Built-in storage provides speed and space Connects quickly to most USB devices (phone, PC or SSD) for image transfer Good in-camera DNG conversion system HDR images embedded in standard JPEGs	Lack of mechanical shutter limits its flexibility Absence of viewfinder a drawback in bright light Short battery life Needs USB cable to offload images Body has some sharp edges Lack of mechanical stabilization limits video Auto ISO's use of ISO 400 exposures (to capture HDR highlights) increases noise

On paper the Sigma BF sounds worryingly like a rebodied Sigma fp: the company's modular hybrid camera that was received as much more of a video rig than they'd intended. Encountered in-person and it risks looking like a design exercise, with all the attendant concerns that it might be style over substance. Actually using the camera dismisses both concerns.

The BF's user interface is perhaps its strongest feature, giving a refreshingly uncluttered shooting experience. There aren't indecipherable icons or pages of menus, just a settings display for your shooting parameters and a rear LCD for composition. It's about as back-to-basics as you can get but, critically, without its minimalism making things awkward.

The Sigma BF doesn't have a large, protruding grip, but the textured metal front means it's easy enough to grip, fairly comfortably (unless your fingers extend around the sharp lower edge of the camera).

It's not an all-rounder by any means. Its lack of viewfinder limits its usability in bright light, its lack of mechanical shutter rules out the use of flash and means you have to pay attention to artificial lighting. Its interface and operation prioritizes considered shooting ahead of the ability to respond quickly. If you're looking for a camera that can do a bit of everything, there are plenty of better alternatives.

However, as a device for capturing moments, and encouraging you to capture moments, it's really rather good. Its interface is genuinely radical and well thought out and I was constantly surprised by how simple but effective its autofocus is.

The Sigma is a lovely device for capturing the world around you.

Sigma 35mm F2.0 DG | F7.1 | 1/160 sec | ISO 125
Photo: Richard Butler

Overall I've enjoyed my time with the BF tremendously, and I suspect plenty of other people will, too. I found the experience both fascinating and refreshing: paring photography back to its very essence. It was this focus and simplicity – which shouldn't be mistaken for minimalism for its own sake – that makes the BF so unfamiliar and so compelling. The allegation that it's style over substance is misguided, I believe, as it's the substance, rather than the style that I found most enjoyable. It certainly has some style to it – I don't remember the last time so many friends and strangers asked me what I was shooting with – but it's not something that evoked much of a response, personally.

That's probably too niche a prospect for us to be able to give the BF one of our awards. Those are framed in terms of whether a camera should be on your shortlist. And if there's any other camera on your shortlist, then the BF shouldn't be there, because it's a dreadful substitute for anything else. But that's not its intent and that's not its appeal.

I don't feel we can give it an award, but it's going to take a lot for it not to be my Gear of the Year.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Sigma BF

Category: Mid Range Interchangeable Lens Camera / DSLR

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The Sigma BF is an idiosyncratic photo taking device, to the point we'd barely call it a camera: its not a sensible substitute for much else that's on the market. But every aspect of its design is both innovative and clever. It's focused solely on exposure and composition. Joyously so.

Good for

Capturing the details of your life.

Not so good for

Shooting in bright surroundings, sports photography, flash photography...

85%

Overall score

Compared to its peers

As I've tried to argue throughout most of this review, the Sigma BF doesn't really have any direct peers, because it's not really trying to be the same thing as other cameras. If judged on their terms, it's limited and limiting. You can look at the list of what it lacks, by comparison, and write it off. And if you're considering other cameras, then you'd probably be right to do so.

It's barely appropriate to even think of it as a camera. At the most fundamental level a car and a bicycle are both devices to get you from A to B, and yet thinking of a bike as a car that's missing an engine and two of its wheels would be to completely miss the point. The BF and most other cameras are both devices for capturing images, but the way they do it and the experience that you get from them means direct comparison doesn't necessarily make sense.

The BF costs more than Panasonic's S9 because it features much more solid (and expensive) construction and is made in Japan by a company that can't compete with the economies-of-scale larger camera companies can achieve. There's little sign of any significant Leica-esque 'luxury goods' markup, though.

If you want to be needlessly reductive, you could compare it to Panasonic's vlogging-focused Lumix DC-S9. They're both small, single dial cameras with no viewfinders, based around the same sensor and same lens mount. The Panasonic has a flip-out screen, in-body image stabilization and a list price $500 lower. For taking photos I'd choose the Sigma every time.

The S9 has a single control dial but uses the same interface as Panasonic's three-dial S-series cameras. This isn't necessarily a drawback for the vlogging for which it's designed, but having used both for photography, the BF feels pleasantly focused, while the S9 feels maddeningly lacking. If you've never used either, it might look like the S9 lets you get just as much camera, plus IBIS and a lens for the same money. That's a cynical assumption, duly evoking Wilde's line about knowing "the price of everything and the value of nothing".

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One photo a day with the Sigma BF

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A photo day in London

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Canon EOS R50 V vs EOS R50: which is better?

Tue, 06 May 2025 13:00:00 Z

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Canon EOS R50 vs R50 V

Canon recently announced the EOS R50 V, a camera aimed at creators looking to shoot high-quality video without spending a ton of money. However, it made similar claims about the original EOS R50, which – unsurprisingly, given the name – the EOS R50 V shares a lot of DNA with. They have the same 24MP APS-C sensor and many of the same features.

So what are the differences between the two, and which one should you buy? We'll aim to break it down in this comparison.

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Design

Even at a glance, it's easy to tell that these cameras are aimed at different audiences. The EOS R50 looks like a small stills camera, with a relatively deep front grip and a prominent hump at the top for the electronic viewfinder and pop-up flash. On the top is a relatively standard stereo microphone.

The EOS R50 V does away with the viewfinder and flash, giving it a much boxier and slightly larger design. Its grip is less prominent, though this has the effect of making it more comfortable to hold when it's facing toward you. There's also a record button on the front, along with a tally light to make it obvious when you're recording, both of which can be quite useful when you're trying to film yourself. It has an upgraded internal microphone, which Canon says has three capsules to help make audio clearer and to reduce noise. We've found it provides decent audio for vlogging, as long as there's no wind.

The EOS R50 V has an extra tripod mount for vertical shooting.

Both cameras have tripod sockets on the bottom, but the EOS R50 V has an additional one on its right side, making it easy to mount it vertically.

Handling / Controls

The EOS R50 has a shutter button towards the front of its grip, right around where your index finger would fall, and its main control dial behind it.

Looking at the back, it has a stills-focused control layout, with a multi-directional controller and buttons for choosing your autofocus area, setting exposure compensation and locking your exposure. The mode select dial lets you choose from the various exposure modes like manual, shutter priority, aperture priority and auto, and has a setting for video. There's also a separate record button on the top plate.

The EOS R50 V, meanwhile, has a decidedly more video-focused layout. The top plate control dial is towards the back of the camera, and the shutter button has been replaced by a record button, which is surrounded by a zoom toggle switch. The mode dial, meanwhile, flips the script from the EOS R50's: stills are relegated to a single position, while the rest of the modes are for video.

The buttons continue the video focus; while some are the same as the EOS R50's, it swaps some photo functions for quick access to white balance, color options and livestreaming modes. The multi-directional controller is swapped out for a spinning dial, though you can still press up, down, left or right to access specific functions. While we typically prefer two top-plate control dials, this rear-mounted one is better than nothing, especially when taking stills. There's also a button on the top that sets the camera to ignore input from the control dials, so you don't accidentally change your settings while vlogging.

Stills capabilities

The two cameras have very similar stills-taking capabilities. Both can shoot Raws and use electronic-first curtain shutter and a mechanical shutter to end the exposure, which eliminates concerns about rolling shutter in stills and gives you more flexibility if you're shooting with flash.

EOS R50 V | RF-S 14-30mm F4-6.3 IS STM PZ | 21mm | F5.6 | 1/1250 | ISO 100

However, the lack of an EVF on the EOS R50 V can make it difficult to judge your exposure and composition in bright sunlight. It doesn't help that the EOS R50 V's display is lower-resolution. You also don't have that pop-up flash to help add some light if you need a bit of fill on your subject or are shooting in a darker environment. The default button layout for the EOS R50 is definitely more suited to shooting stills – you don't have to rely on the touchscreen as much – though spending some time to customize your button layout can alleviate that on the EOS R50 V; you can have separate settings for photo and video modes.

Video capabilities

The EOS R50 has a fair number of video capabilities. Its 4K footage is derived from 6K capture, giving it a bit of extra detail, and it has a microphone jack that'll let you record better audio. It can also shoot 10-bit HDR video, though only in the more obscure PQ response curve.

The EOS R50 V builds on top of that, with some pretty substantial additions: instead of topping out at 30fps for 4K, it can shoot at up to 60fps*, though with a substantial 1.56x crop. It also adds the ability to record C-Log 3, which gives you more flexibility to adjust color, lightness and contrast in post, and a headphone jack, so you can monitor the audio you're recording. If that wasn't enough, it includes false color assistance, which helps you nail your exposure by providing an overlay that makes it clear where your image clips and where your skin tones should be.

While both cameras have a microphone port, the EOS R50 V has subtle tweaks that make it easier to use with one. Unlike with the EOS R50, the screen won't run into the cable when you're trying to flip it out and articulate it. The actual display panel has also been moved over, so the microphone jack will mostly block your bezel rather than your preview.

* The 4K modes above 30p aren't based on 6K capture

User Interface

The EOS R50 and R50 V have similar user interfaces, though the latter has some definite upgrades regarding video. It has an updated menu system for selecting your resolution and framerate. Rather than listing all the possible combinations of framerate, resolution, and codec, it allows you to set all three independently. This takes some getting used to, but gives you more control over what codec you want to record in, which can be especially helpful if you want to edit your footage on a less powerful device.


The EOS R50's Q menu for video mode has the same layout as it does for photo mode.	The EOS R50 V's Q menu for video is a scrolling list that's a bit easier to use when you're in front of the camera.

The EOS R50 V also has an updated Q menu for video mode, giving you slightly easier access to all your settings, as well as the vlogging-specific features it has. We've found that it's a fair bit nicer for switching your most important settings during a shoot, especially if you're shooting vertically: the on-screen display gains the ability to rotate with the camera. The addition of three custom video modes also makes it particularly easy to quickly switch between resolutions, framerates and other settings without having to dive into the menus.

Ports and Connectivity

The EOS R50 has a USB-C port, microHDMI port, and a 3.5mm socket for attaching an external microphone.

The EOS R50 V has all that and more: it gains a single-pole remote terminal that lets you control the camera from afar and has a faster USB-C port. The EOS R50's USB port runs at USB 2 speeds, while the EOS R50 V's can transfer data at 10Gbps; over 20 times faster. That helps when you're offloading footage, but also has the benefit of making it a more capable webcam: while both can be used to stream video to your computer using the UVC protocol, the EOS R50 tops out at 1080p 30fps, while the EOS R50 V can deliver 4K 30fps*.

The EOS R50 V may also wirelessly transfer photos to your phone faster since it supports 5 GHz Wi-Fi as well as 2.4 GHz. The EOS R50, meanwhile, can only use 2.5 GHz.

* The camera can't draw power from the computer when shooting at 4K, only 1080p, so you will be limited by battery life.

Price and Kit options

Body-only, the EOS R50 V costs $649, $30 less than the EOS R50. If you're looking at the kit options, though, the vlogging-focused model is more expensive; you can get it with the new RF-S 14-30mm F4-6.3 IS STM PZ lens for $849. The EOS R50, meanwhile, comes with the collapsable RF-S 18-45mm F4.5-6.3 IS STM for $799.

While the 18-45mm's wider range makes it a better pick if you're shooting a wide variety of subjects, if you mainly intend to vlog, you'll appreciate the wider field-of-view on the 14-30mm. That's especially true if you plan on features that add crops, such as 60 fps or electronic stabilization; the lens is still wide enough to produce a reasonable frame while vlogging. The powerzoom is also nice to have, especially since it's quiet enough that the camera's internal microphones don't pick it up, and you never have to worry about having to extend it when you're trying to capture a moment quickly.

Conclusion

If you're looking for a camera to mostly shoot stills or mostly shoot video, it's pretty easy to pick between the EOS R50 and EOS R50 V. It's a little trickier if you want to do both; while the latter has a compelling list of video features that aren't available on the former, they do come at the cost of a viewfinder, which can also be useful for videographers (providing they're filming something other than themselves).

EOS R50:

Buy now:

However, if you think you'll end up shooting a lot of video, the EOS R50 V has more features and capabilities that will likely come in handy.

EOS R50 V:

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Hello Kitty Camera review

Tue, 01 Apr 2025 13:00:00 Z

Photo: Dale Baskin

On a recent trip to Japan, I found myself in one of those situations universally dreaded by travelers: showing up for an international flight with a pocketful of unspent local currency and nowhere to spend it except a duty-free shop. I was swimming in a Scrooge McDuckian sea of unused Yen.

The idea of bringing home yet another Toblerone bar, that triangular brick of duty-free despair, was soul crushing. I desperately searched for something – anything – else to needlessly throw my money at.

Then I saw the Hello Kitty Toy Camera, a small rangefinder-shaped camera complete with an optical viewfinder and removable memory card. You can find these toy cameras all over Japan at stores like Bic Camera, but I never considered buying one until I was in a use-it-or-lose-it cash scenario.

Watch our hands-on review of the Hello Kitty toy camera.

Given the choice of drowning my sorrows in yet another Toblerone bar, snagging a box of Tokyo Bananas or dropping a pocketful of Yen on the Hello Kitty camera, my duty to DPReview came first. Which is why, dear readers, I'm going to tell you about yet another camera you never knew you didn't want.

Key specifications

1.3MP Type 1/10 CMOS sensor (approximately 1.28 x 0.96mm)
3.2mm F2.8 fixed-focus lens
Optical viewfinder
ISO 100 (fixed)
Single Micro SDHC card slot
Video capture (720x480/30p)
Fake buttons and controls
Pink Hello Kitty styling

How it compares

It's hard to find cameras that are directly comparable to the Hello Kitty Toy Camera, so we decided the best course of action would be to compare it to another rangefinder-style camera: the Fujifilm X100VI.

As the table below illustrates, we can make the Hello Kitty camera appear competitive with the more expensive X100VI by picking just the right specs to compare.

	Hello Kitty Toy Camera	Fujifilm X100VI
MSRP	$45	$1599
Sensor size (crop factor)	1.25mm² * (27x)	369mm² (1.53x)
Resolution	1.3MP	40MP
Max aperture	F2.8	F2
Viewfinder	Optical	Optical
Hello Kitty-themed art	Yes	No
Trendy color options	Yes	No
Fake buttons to look more professional	Yes	No
Memory card type	Micro SDHC	UHS-I SD
Number of existential mid-life crises induced in the average camera reviewer during testing	3	0
Weight	18g	521g

On paper, both cameras earn superlatives in some areas. While the Fujifilm wins on key specs like sensor size and resolution, it's hard to ignore the price tag and uber-light weight of the Hello Kitty camera. Along with the fact that the Hello Kitty camera can fit in a real pants pocket, not the ambiguous 'jacket pocket' reviewers always talk about.

The number of existential mid-life crises induced in a camera reviewer is a spec that's often overlooked in reviews. The Hello Kitty camera definitely wins here. As long as we're clear that by 'wins', we mean 'loses'.

Body and handling

Photo: Dale Baskin

The Hello Kitty camera is a rangefinder-shaped camera with silver-colored top and bottom plates and an optical viewfinder. I call it a 'rangefinder-shaped' camera because it's not actually a rangefinder. But, then again, neither is the Fujifilm X100VI.

You won't use the viewfinder. It's either so bad that it makes you dizzy, or it's a window into 4-dimensional space the human brain isn't wired to comprehend. Either way, it will drive you to madness.

The optical viewfinder is a nice touch, but trying to use it will drive you to madness.

Photo: Dale Baskin

The camera includes two functional controls along with two other controls that are just for show. The On/Off button on the top plate doubles as the shutter button, and the Mode button adjacent to it lets you switch the camera between photo, video and audio recording modes.

The other controls are fake, fooling absolutely no one.

The 3.2mm F2.8 lens, which I'm pretty sure is made of a chunk of polished candy, has ridged edges that beg to be rotated. But trying that would be a mistake and would break the camera. You just have to embrace it for what it is.

Here's a picture of the Hello Kitty camera that better illustrates its size. Yep, it's that small. Also, that lever on the front is fake.

Photo: Dale Baskin

Taking photos is best accomplished with a 'spray and pray' approach. You point, shoot and hope. I say 'hope' because the camera doesn't actually take a photo of what's in front of you but something off to one side. It's like having an integrated AI that guesses what you're trying to photograph, then fails spectacularly every time.

Image quality

No DPReview camera review would be complete without our studio test scene.

A quick glance at the studio scene doesn't reveal anything except digital despair. The camera captures light, but it's notably short on fine detail. Or any detail. The sensor's dynamic range can best be described as 'on' or 'off'.

I have to come clean. I didn't take this photo in our studio because I couldn't justify the time it would have taken to do so. Instead, I used a life-sized print of the studio scene I keep at home, captured using a $45,000, 150MP Phase One camera. Don't worry; you won't be able to tell the difference in the images from the Hello Kitty camera.

For that matter, you probably wouldn't be able to tell the difference between the real studio scene and an impressionist painting of it.

The photos from the Hello Kitty camera are so bad as to border on some kind of avant-garde art.

Photo: Dale Baskin

The one redeeming quality I can see in the images is that they're so bad as to border on some kind of avant-garde art. They have a certain je ne sais quoi, if the 'quoi' is 'blurry, pixelated and eye-watering.'

Video

This clip shows the video capabilities of the Hello Kitty camera, which captures 720x480 resolution at 30fps. And yes, of course it's a cat video.

It's incredible that this camera even shoots video, capturing 720x480 resolution, which I'm pretty sure is the same resolution my not-inexpensive Panasonic DVX100 video camera captured about 20 years ago. Though the Panasonic had the advantage of being a 3-CCD system. And having a lens that could fully resolve an image of an avocado.

If your idea of quality video is watching a bootleg copy of the movie ET your parents recorded on a VHS tape in 1984, you'll be delighted with the results.

Conclusion

With my journalistic integrity now hanging by a thread – or a pink piece of yarn – I have to find some way to wrap up this review. My professional reputation is in the hands of an animated cat, and I'm strangely OK with that.

Photo: Dale Baskin

I'm not sure if this camera is a toy or a subtle form of psychological warfare aimed at photographers. I've temporarily convinced myself it was a sound purchase, knowing a crushing pink wave of buyer's remorse will eventually hit me like a pixelated tsunami; after all, this is one of the worst photography products I've ever used.

And yet, I have a weird affinity for it.

My six-year-old niece loves using the Hello Kitty camera. So does my cat. But instead of taking photos, he mostly just wants to kill it. I don't know if he has some kind of Hello Kitty issue he's working through or if it's just because cats are basically little killing machines who happen to be cute.

But it does make me wonder if it might actually be possible to put a price on happiness: $45 (plus the cost of therapy).

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Panasonic Lumix DC-GH7 review

Thu, 20 Feb 2025 16:55:00 Z

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Product Photos by Dale Baskin

89%

The Panasonic Lumix DC-GH7 is the latest in Panasonic's line of high-end cameras historically aimed at video shooters. We say 'historically' because the GH7 makes a strong case for being a true photo-video hybrid. It includes flagship video features like internal ProRes RAW recording, optional 32-bit float audio and 4K/120p capture, along with all the photography features found on Panasonic's more recent G9 II model.

Key specifications

25.2MP BSI CMOS sensor with parallel gain readouts
Phase-detection autofocus
ProRes RAW / HQ internal recording
32-bit Float audio capture via optional accessory
Arri LogC3 gamma profile (optional paid upgrade - see below)
UHD or DCI 4K in 10-bit 4:2:2 up to 60p
Slow-mo UHD or DCI 4K in 10-bit 4:2:0 at up to 120 fps
5.7K full-width capture at up to 60p
5.8K full-sensor 'open gate'/anamorphic capture at up to 30p
60 fps burst shooting with AF and pre-capture
External SSD recording
LUT support for photos and video
1 x CFexpress Type B, 1 x UHS-II SD slot
Tilting/fully-articulating rear screen
Built-in fan for unlimited recording

The Panasonic Lumix DC-GH7 has a suggested retail price of $2199, the same as the GH6 at launch in 2022.

Additionally, Panasonic has partnered with Arri, a leading manufacturer of digital cinema cameras, to bring Arri's LogC3 profile to the GH7. LogC3 matches Arri's color and tone response and allows the use of LUTs designed for Arri cameras. Since enabling this feature requires paying a license to Arri, LogC3 is an optional $200 upgrade, and can be installed by purchasing Panasonic's DMW-SFU3A software upgrade key.

Index:

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Find out more about dual conversion gain, dual output gain and how they work

What's new:

Sensor

The GH7 is built around a revised version of the sensor from the GH6. Although the two cameras share the same resolution, the GH7 uses the same 25.2MP BSI CMOS sensor found in the more recent Lumix G9 II, which gives it the updated capabilities of that camera.

The most notable is support for Panasonic's 'Phase Hybrid' phase-detection autofocus system. This promises to be a boon for video shooters as it enables the camera to interpret distance and depth in a scene and can acquire focus on a desired subject without overshooting or creating a pulsing effect while trying to maintain focus on a relatively static subject.

The sensor is also pretty fast, and our readout speed tests show that its performance is almost identical to the GH6. We don't expect the rolling shutter to be a problem in most situations.

	29.97, 25, 24, 23.98p	59.94, 50p	119,88, 100p
5.8K (Full sensor height)	20.5 ms	—	—
5.7K (1.9:1)	13.1 ms	13.1 ms	—
DCI 4K (1.9:1)	13.2 ms	13.2 ms	7.0 ms
UHD 4K (16:9)	14.1 ms	14.1 ms	7.4 ms

The other benefit of the new sensor is the improved version of the camera's dual output gain system. In a nutshell, the sensor employs two parallel readout paths with different gain levels: a low-gain path to capture highlights and a high-gain path to capture cleaner shadows. The data from both paths is combined as a 16-bit Raw file, allowing enough room to encode the wider dynamic range.

On the GH6, the high gain (shadow) path was only used at ISO settings three stops above base ISO (ISO 800 in standard color modes / ISO 2000 in V-Log) when using Dynamic Range Boost mode. On the GH7, however, Panasonic has reduced the lowest step used by the high-gain path, and it now works beginning at base ISO.

However, it's worth noting that the GH6's base ISOs were 100 for standard color modes and 250 for V-Log. On the GH7, they're 100 and 500, respectively. The one-stop jump in base ISO in V-Log mode suggests the high-gain path is applying one stop more gain than the low path in its base state (rather than the 3-stop difference required in the GH6). This doesn't explain how Panasonic can offer a mode with a high-gain component while maintaining the same ISO 100 rating for standard gamma. Interestingly, when you exceed 60fps (where the dual output mode can't operate), the minimum ISO in V-Log drops to 250, suggesting this might still be the true 'base' state.

32-bit Float audio

The optional DMW-XLR2 adapter has two XLR and one 3.5mm mic input and three dials to control the gain of each input. It can power mics that accept 48V phantom power.

While it's become common for rivals to offer 4-channel audio if you attach a module to connect XLR mics, the GH7 becomes the first camera to cross our desks that offers 32-bit Float audio capture.

32-bit Float audio doesn't encode its data directly as numerical values. Instead, it captures them as scientific notation, with most bits encoding the value and the last few describing the magnitude (i.e., how many zeros there should be after the value). This enables a much wider range of values to be encoded than just using all 32 bits to record the number directly.

To make use of this extra capacity, you'll need the new DMW-XLR2 microphone adapter ($499). It features two analog-to-digital converters (ADCs), one with amplification applied to boost the quiet sounds and the other with no gain to protect much louder sounds. It's still possible to clip loud sounds if you exceed the capacity of your microphones, but the system should accurately capture everything that's fed into it.

This means you don't need to worry nearly as much about capture levels and can fit it down into a narrower dynamic range for playback during the edit.

When recording 4-channel audio, this display allows you to view all four channels' input levels simultaneously, though only two can be monitored live. When recording 32-bit float audio, the meters will always be green.

With the DMW-XLR2, you can record up to four channels of 32-bit Float audio so long as all your audio is routed through the adapter: if you use the camera's mic input, everything drops down to conventional 24-bit capture.

There's a display for setting all four channels' input levels, but only two can be monitored live during recording. If you're in 32-bit Float capture, the VU meters will always appear green, no matter how high they peak.

Video

The GH7's headline video feature is support for internal ProRes RAW recording, with ProRes RAW and RAW HQ options, using the camera's CFexpress card (or a USB-C SSD). ProRes RAW provides extra flexibility in post-processing, including the ability to adjust white balance and exposure offsets.

ProRes RAW can be captured at either 5.7K resolution in a 17:9 aspect ratio using the entire width of the sensor or at the standard DCI 4K resolution (4096 x 2160) up to 60p, which results in a 1.41x crop.

Raw Codec

Resolution

Frame Rate

Crop

Destination

ProRes RAW

ProRes RAW HQ

5.7K (5728 x 3024)

29.97
25
24
23.98

Full width

CFexpress card or external SSD*

DCI 4K (4096 x 2160)

59.94
50
29.97
25
24
23.98

1.41x

*Supports SSDs up to 2TB capacity

The GH7 also gains the ability to record proxy files, which are lower resolution, lower bit rate versions of each video clip captured by the camera. You can optionally apply a LUT to proxy files as they're recorded for a more finished look while saving your full-resolution footage in ungraded V-Log. This can be handy for projects requiring a rapid turnaround.

The GH7 retains all of the video modes present on the GH6, including 4K/120p, 5.7K up to 60p, 1080 at up to 240p in 10-bit mode, 1080 up to 300p in Variable Frame Rate mode (without AF or audio), open gate recording and anamorphic lens support. Except for the most basic MP4 modes, the GH7's video modes are all 10-bit, and it can shoot 4K 4:2:2 at up to 60p and 4K 4:2:0 at up to 120p.

In an improvement we've been requesting for years, it's now possible to magnify the on-screen image while recording video to check focus. In a nod to social media shooters, the camera's gyro will also detect when a video is shot in vertical format.

Subject recognition AF

In addition to gaining phase-detect autofocus, the GH7 inherits the subject recognition modes found on the G9 II and S5II (with firmware 3.0) and adds some new bells and whistles of its own. Like those cameras, it can detect humans, animals, cars and motorcycles, but it adds two new subject types to the menu: trains and airplanes.

Yes, the GH7 has a true 'trains, planes and automobiles' subject recognition system.

Human detection can identify eyes, face and body (prioritized in that order) or just eyes and face; similarly, animal detection can identify eyes and body, or just bodies. For other subject types, the GH7 lets you specify your preferred target: when shooting trains, planes, and motor vehicles, you can specify whether you want to prioritize focus on the front of the vehicle or the entire vehicle; when using front-of-vehicle priority for cars and motorcycles, the camera will prioritize focus on a driver/rider's helmet if it can identify one.

Subject recognition works in both still and video modes.

Photography features

While initial attention on the GH7 will likely focus on video, Panasonic has ensured that the camera is also a photography powerhouse. In fact, the GH7 includes all the photography features found on its sibling, the G9 II, and matches its performance to boot. This includes 10 fps burst shooting with mechanical shutter, 60 fps with continuous autofocus with electronic shutter, or 75 fps with single AF. You can also pre-capture up to 1.5 seconds at those same frame rates.

Other features that carry over from the G9 II include Panasonic's handheld high-res mode, which captures 50.5MP or 100MP images in either Raw or JPEG format, and Live Composite mode, a multi-exposure mode that only captures areas of the frame that change in brightness with each exposure.

The GH7 also gets Panasonic's Real-time LUT system and integration with the new Lumix Lab smartphone app. Real-time LUTs allow you to instantly apply a LUT to a photo (or video) as it's captured, providing a finished look straight out of the camera. The Lumix Lab app has numerous LUTs available for download and also makes it easy to create your own; you can transfer your favorite LUTs to the camera so they are available at any time. The GH7 includes 39 memory banks for custom LUTs.

This image, captured on the Lumix S9, illustrates how Panasonic's real-time LUT system allows you to generate your own custom looks straight out of camera.

Photo by Dale Baskin

We explored real-time LUTs and the Lumix Lab app in detail as part of our Panasonic S9 initial review, so we recommend giving those sections a read if you want to learn more.

Other improvements

Image stabilization on the GH7 is rated at 7.5 stops per CIPA standard, both for in-body stabilization and when using Dual I.S. 2, which helps maintain this performance with longer lenses. It also includes Boost I.S., which tries to cancel all movement for a tripod-like look, and E.I.S., which is meant to correct distortion that occurs during video shooting.

Like other recent Lumix cameras, the GH7 incorporates Frame.io camera-to-cloud function, which automatically uploads video proxy files or images to Adobe's Frame.io service.

How it compares

The GH7 sits at the high end of the Micro Four Thirds market, though in the video space, it's highly competitive with the best video-oriented APS-C cameras. The GH series has enjoyed a well-deserved reputation for excellence in video. Still, the competition in this category has become fierce, with rivals now offering compelling video-oriented models of their own.

Can the GH7 stand out among the crowd? We compare it to other video-centric models, including the Sony FX30 and Fujifilm X-H2S. We'll also include the Nikon Z6III, a full-frame camera with a strong video feature set, in the comparison.

	Panasonic GH7	Panasonic GH6	Sony FX30	Fujifilm X-H2S	Nikon Z6III
MSRP at launch	$2200	$2200	$1800	$2500	$2500
Sensor size/type	Four Thirds BSI CMOS	Four Thirds BSI CMOS	APS-C BSI CMOS	APS-C Stacked CMOS	"Semi-stacked" BSI CMOS
Cooling	Built-in fan	Built-in fan	Built-in fan	Optional screw-on fan	No fan
High res modes	5.8K (4:3) 5.7K (1.9:1)	5.8K (4:3) 5.7K (1.9:1)	None	6.2K (3:2)	6K (1.78:1) 5.4K (1.78:1)
High speed modes	4K/120p (full width) FHD/300p	4K/120p (full width) FHD/300p	4K/60p (1.04x crop) 4K/120p (1.56x crop) FHD/240p	4K/60p (full width) 4K/120p (1.29x crop) FHD/240p	4K/120p (1.5x crop)
Codec options	ProRes RAW ProRes RAW HQ ProRes 422 HQ ProRes 422 H.265 (All-I / Long GOP) H.264 (All-I / Long GOP)	ProRes 422 HQ ProRes 422 H.265 (All-I / Long GOP) H.264 (All-I / Long GOP)	X-AVC HS (H.265 Long GOP) X-AVC I (H.264 All-I) X-AVC S (H.264 Long GOP)	ProRes 422 HQ ProRes 422 ProRes LT H.265 (All-I / Long GOP) H.264 (All-I / Long GOP)	N-Raw ProRes RAW HQ ProRes 422 HQ H.265 (Long GOP) H.264 (Long GOP)
Assist tools	Zebras Peaking Custom LUT preview Waveforms Vectorscope	Zebras Peaking Custom LUT preview Waveforms Vectorscope	Zebras Peaking Focus map Custom LUT preview	Zebras Peaking Fixed LUT preview	Zebras Peaking Fixed LUT preview Waveforms
Profile options	V-Log Arri LogC3* HLG CinelikeD2	V-Log HLG CinelikeD2	S-Log3 HLG S-Cinetone	F-Log F-Log2 HLG Eterna	N-Log HLG
Media type	1x CFexpress B 1x UHS-II SD	1x CFexpress B 1x UHS-II SD	2x CFexpress A /UHS-II SD	1x CFexpress B 1x UHS-II SD	1x CFexpress B 1x UHS-II SD
Viewfinder	3.86M dot OLED 0.8x mag	3.86M dot OLED 0.76x mag	None	5.76M dot OLED 0.8x mag	5.76M dot OLED 0.8x mag
HDMI	Full-sized	Full-sized	Full-sized	Full-sized	Full-sized
Audio	Up to 4ch with optional XLR2 unit, 32-bit float audio	Up to 4ch with optional XLR1 unit	Up to 4ch with optional XLR handle	Up to 4ch with optional Tascam XLR unit	Stereo audio
Battery life (CIPA) LCD	380	360	570	580	390
Weight	805g (28.4 oz)	823g (29.0 oz)	646g (22.8oz)	660g (23.3oz)	760g (26.8oz)

From a specs standpoint, the GH7's main advantages are ProRes RAW, which can also be found on the Z6 III, 32-bit Float audio, and the ability to add Arri's LogC3 gamma profile (as a paid upgrade).

Other than those callouts, the cameras are reasonably well-matched on paper, but we don't use them on paper; we use them in the real world, where other design considerations can be as critical as specs. The Sony FX30 stands out in that respect. It is designed with multiple 1/4"-20 mounting points so you can build the exact rig you want. On the flip side, it's the one camera in the cohort exclusively focused on video and might not be a good choice as a hybrid camera.

The Nikon may seem like the odd duck here, given that it has a full-frame sensor. However, it has an impressively strong video feature set, and with a retail price within spitting distance of the GH7, it merits serious consideration as an alternative. One thing the table doesn't capture? The Nikon will surely surpass the other models in still image quality.

Body and controls

The GH7's body is essentially unchanged from the GH6. It's built on the same chassis, has the same dimensions, and all buttons and ports are in the same locations. Actually, there is one very minor change, but it isn't visible when looking at the camera. We'll get to that in a moment.

There's a certain logic to this approach. Serious video shooters tend to use a lot of accessories, including camera cages, off-camera recorders, microphones, and maybe even rails, matte boxes, or a follow focus. Keeping the same body from one generation to the next makes it easier for users to upgrade, knowing their existing accessories will continue to work.

EVF and rear screen

Remember that one minor change we mentioned? This is where you'll find it. The GH7's electronic viewfinder (EVF) receives a very minor update: it still uses the same 3.68M-dot OLED (1280 x960px) screen, but the viewfinder's magnification has increased from 0.76x to 0.8x (in equivalent terms). This doesn't impact the size or shape of the body, but it makes the EVF just a bit nicer to use.

The GH7 features the same 1.84M-dot (960 x 640px), 3" rear touchscreen mounted on a hybrid tilt/articulated hinge. This allows you to extend the screen out from the back of the camera and tilt it up about 45 degrees, flip it out to the side, or both. The latter has the advantage of keeping the screen clear of the camera's ports so that it doesn't interfere with any cables.

Audio button and 32-bit Float audio

The GH7 includes a dedicated button that provides direct access to the camera's audio settings, which frequent video shooters will appreciate. Out of the box, the camera captures 48kHz, 24-bit audio using its internal mics and up to 96kHz, 24-bit audio from an external mic connected to the camera.

As mentioned above, the GH7 can also capture 4-channel 32-bit Float audio. This requires the optional DMW-XLR2 adapter, which includes two XLR inputs and one 3.5mm input. You must run all audio sources through the XLR2 adapter to use 32-bit Float recording.

All four audio channels are output over HDMI.

Built-in fan

The GH7 includes the same built-in fan as the GH6 to keep the camera cool while shooting video, with the fan located outside the camera's sealing. With its standard settings, the fan allows for unlimited recording at resolutions and frame rates up to DCI 4K/60p.

Panasonic tells us the GH7 can provide unlimited recording at all resolutions and frame rates. However, opening the Thermal Management menu and changing the setting from standard to 'High' may be necessary in some of the more demanding modes.

"The GH7 can provide unlimited recording at all resolutions and frame rates."

The fan can be configured to run continuously at a set speed or in one of two auto modes: one that prioritizes keeping the body cool and the other that only engages when absolutely necessary.

Battery

The GH7 uses the same DMW-BLK22 battery found on other recent Lumix models. When used with SD cards and the Panasonic 12-60mm F2.8-4 lens, it can power the camera to a CIPA rating of 380 shots or 100 minutes of continuous video; using CFexpress cards reduces this by about 10%. This is essentially the same performance as the GH6.

The battery does have one notable limitation: When recording files to an external SSD, it's only possible to record at frame rates up to 60p, no matter what codec or resolution you're using. This is due to the extra power required to operate the SSD. Since the SSD occupies the camera's USB-C port, connecting the camera directly to an external power source simultaneously isn't an option.

To circumvent this, Panasonic has introduced the DMW-DCC18, a dummy battery with a USB-C port that can be connected to external power or a battery pack. When used, it will allow you to record to SSDs using any frame rate as long as you have a PD-rated power source that can deliver 9V, 3A.

Video capabilities

The GH7 supports a dizzying array of resolutions, frame rates, and codecs to choose from, along with comprehensive tools to support a video workflow. This grows to an even greater number, thanks to the inclusion of both ProRes and ProRes RAW capture.

"The GH7 supports a dizzying array of resolutions, frame rates, and codecs."

Frankly, it would be impractical for us to list every possible combination here – something that takes 11 full pages out of the camera's 977-page user manual, not including special modes like VFR – so we're going to focus primarily on the 5.7K and 4K modes that will interest most users.

Before we dive into the details, it's worth noting that the GH7 can use autofocus and record sound at almost every resolution and frame rate, up to 240fps in FHD mode. If you need to go faster than that, there's a 300fps VFR mode without AF or audio capture. Also, with the exception of basic MP4 files, all video modes on the GH7 can capture 10-bit video.

Our video and social media Director, Mykim Dang, used the GH7 to shoot a short video profile of Flowfold, a Maine-based manufacturer of outdoor bags committed to using sustainable materials.

5.7K

The GH7 isn't the first GH camera to capture 5.7K video, but it is the first to support 5.7K ProRes RAW capture, which can be recorded either internally to the camera's CFexpress card or to an attached SSD. (The GH6, could capture 5.7K video using the standard ProRes or H.265 codecs.)

ProRes RAW provides additional flexibility when editing. It's possible to adjust settings like white balance or exposure offsets that are baked into gamma-encoded file types. A Raw workflow introduces other challenges, though: the data rates are enormous, and, while providing flexibility, the files might require more downstream processing than other formats, including sharpening and noise reduction. In many cases, it's a lot more efficient to use a non-Raw format unless you really require the benefits of a Raw workflow.

When shooting in 5.7K, the camera captures video in the DCI (17:9) aspect ratio.

Resolution	Frame rate	Chroma	Comp.	Codec	Bitrate (Mbps)	Card type
5.7K (5760 x 4320)	29.97	Bayer	Lossy	ProRes RAW	4200	CFexpress or SSD
	25				3500
	24				3300
	23.98				3300
	29.97				2800
	25				2300
	24				2200
	23.98				2200
	29.97	4:2:2	All-I	ProRes	1900
	25				1600
	24				1500
	23.98				1500
	29.97				1300
	25				1100
	24				1000
	23.98				1000
	59.94 50 48 47.95	4:2:0	Long GOP	H.265	300	CFexpress, SSD or SD
	29.97 25 24 23.98	4:2:0	Long GOP	H.265	200	CFexpress, SSD or SD

4K: DCI and UHD

Although 5.7K video is impressively detailed, we expect many video shooters will choose to use the camera's 4K modes unless they require flexibility to zoom or pan at the editing stage.

The GH7 can capture 4K video using either the 16:9 UHD or 17:9 DCI aspect ratio. However, ProRes and ProRes RAW are limited to the 17:9 DCI format.

Additionally, 4K ProRes RAW video comes with a 1.41x crop. By virtue of being a Raw format, it captures a native 4K region from the middle of the sensor rather than using oversampled (i.e. processed) data from the full width of the sensor.

Resolution	Frame Rate	Chroma	Comp.	Codec	Bitrate (Mbps)	VFR	Card type
DCI (4096 x 2160) 1.41x crop	59.94	Bayer	Lossy	ProRes RAW HQ	4200	No	CFe or SSD
	50				3500
	29.97				2100
	25				1800
	24				1700
	23.98				1700
	59.94			ProRes RAW	2800
	50				2400
	29.97				1400
	25				1200
	24				1100
	23.98				1100
DCI (4096 x 2160)	59.94	4:2:2	All-I	ProRes 422HQ	1900
	50				1600
	29.97				972
	25				811
	24				779
	23.98				778
	59.94			ProRes 422	1300
	50				1100
	29.97				648
	25				541
	24				519
	23.98				519
DCI (4096 x 2160) or UHD (3840 x 2160)	120 119.88 100	4:2:0	LongGOP	H.265	300		CFe, SSD or SD
	59.94 50 47.95	4:2:2	All-I	H.264	800		CFe or SSD
		4:2:2	All-I	H.264	600		CFe, SSD or SD
		4:2:0	LongGOP	H.265	200	Yes
	29.97 25 24 23.98	4:2:2	All-I	H.264	400	Yes
		4:2:2	LongGOP	H.264	150	No
		4:2:0	LongGOP	H.265	150	Yes

With such a mind-boggling number of combinations, just finding the settings you want in the camera's menus can be a challenge. Fortunately, the GH7 continues the ability to filter video modes, including by frame rate, resolution, codec, VFR mode, HLG and proxy recording capabilities, and favorites can be saved to a designated "My List" for quick access.

5.8K / 4.4K Anamorphic

Like its predecessor, the GH6, the GH7 can capture 'open gate' 4:3 footage from its entire sensor. Open gate recording provides additional flexibility to zoom, pan or add stabilization in post-processing. It can also be used in combination with anamorphic lenses to leverage the full area of the camera's sensor when de-squeezed to a widescreen format.

1080 (Full HD)

While not a headline feature, the GH7 retains the ability to capture the full range of full HD video modes, which are directly comparable to the camera's 4K options. This includes the choice of All-I or LongGOP codecs as well as the choice of 4:2:2 or 4:2:0 color modes.

Full HD video can be captured at frame rates up to 240fps with support for autofocus and audio recording, or up to 300fps in VFR mode without AF or audio. It can be captured in ProRes 422 and ProRes 422 HQ at up to 60p

Image quality

Studio Scene

If you'd like to see a comparison to more photography-oriented peers, you can view the studio scene for the G9 II, which has the same photography specs and uses the same sensor.

Image Comparison

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The GH7 is capable of capturing impressive levels of detail, thanks to its 25MP sensor. At base ISO, the results are broadly comparable to its APS-C peers, though it's not quite up to the level of the full-frame Z6III.

The sensor handles noise well, outperforming its predecessor, the GH6, by a hair. It falls a short of the APS-C sensor in the X-H2S, while managing to keep a bit closer to the a6700, though it can't beat physics and match it. Predictably, the full-frame sensor in the Z6III outpaces the other models here. At very high ISOs, we observe much the same pattern.

JPEG images deliver good detail, visible in the fine stitched texture of The Beatles' clothing. It also handles natural textures, like hair, gracefully, without looking oversharpened.

At higher ISOs, the JPEG engine does a good job of controlling noise, however, this comes at the expense of fine detail, with the GH7 falling a behind the other cameras in this cohort.

The GH7 produces very good colors using its standard JPEG settings. A look at the color patches reveals slightly vibrant pinks, with subtly pale yellows and blues. In real-world photos, we found colors very natural and pleasing, similar to other recent Panasonic models we've used.

Olympus ED 40-150mm F2.8 Pro @120mm | F2.8 | 1/400 sec | ISO 1000
Photo: Dale Baskin

Dynamic range

A sensor with a wide dynamic range provides more latitude to boost shadows with a minimal increase in noise, and our tests show that the GH7 has ample room for pulling up shadows at base ISO. Its performance isn't quite as good as the larger APS-C sensors in this regard, falling about 2/3 EV behind the other sensors across the image, but it will mostly be in the deepest shadows where you notice the difference.

I exposed this photo for the highlights in the sky, which left the foreground very dark. I raised the shadows approximately 3.5 stops in Adobe Camera Raw to recover details in and around the road.

Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F4 | 1/20 sec | ISO 400
Photo: Dale Baskin

Dynamic range is one of the GH7's most notable improvements relative to its predecessor, the GH6. That camera exhibited significant shadow noise at base ISO, only improving from ISO 800 upwards when its DR Boost mode engaged. By implementing dual parallel gain at ISO 100, Panasonic has enabled the GH7 to be much more competitive in this regard.

Autofocus

The most notable – and possibly most anticipated – upgrade to the GH7 is the addition of phase-detect autofocus, in the form of Panasonic's Phase Hybrid AF system.

Performance

Not surprisingly, we found the GH7's autofocus system performed better than its predecessor, which relied on Panasonic's Depth-from-Defocus (DFD) system, delivering a more reliable, more confident experience.

The camera had no trouble identifying the bird in this photo when subject detection was set to 'Animal', even against this busy background.

Olympus ED 40-150mm F2.8 Pro @150mm | F2.8 | 1/2000 sec | ISO 1250
Photo: Dale Baskin

The camera's subject detection modes are very quick to identify subjects and work across both photo and video modes. However, subject tracking still lags behind the best-in-class AF systems we've used. Specifically, while the system is quick to identify subjects, it's not quite as tenacious at sticking to subjects as they move, particularly if they move quickly.

Video autofocus

Video is where phase-detect autofocus makes the greatest impact on the GH7's performance. DFD was notorious for not being decisive enough for video use; this frequently resulted in undesirable artifacts, most notably a slight fluttering of the image when the AF system attempted to confirm focus on a subject or predict focus when a subject started to move.

"Video is where phase-detect autofocus makes the greatest impact on the GH7's performance."

We haven't encountered this with the GH7, making it much more suitable for run-and-gun use or any other application that requires autofocus, for that matter.

Subject identification and tracking work impressively well in video mode, particularly human and animal identification. Combined with phase-detect autofocus, it delivers reliable and predictable results in most situations. It's a level of confidence we haven't previously experienced when using a GH camera.

Photography autofocus

Since the photography features of the GH7 are identical to the G9 II, we would broadly expect it to perform similarly, or the same, as that camera, and this has been consistent with our experience. In a nutshell, it performs very well but isn't quite as dependable as the best of its peers. One continued frustration: if the camera doesn't detect a subject right away, it will sometimes flash a red box and leave you waiting for up to a second before starting to focus.

To read our in-depth analysis of the G9 II's AF system for photography, which matches our experience with the GH7, you can read the autofocus section of our Panasonic G9 II review.

Video performance

Video quality

Image Comparison

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Panasonic's GH cameras set high expectations for video, and the GH7 continues this trend. It delivers essentially the same results as its predecessor, the GH6, though with improved dynamic range at lower ISOs (more on that below).

Straight out-of-camera, it doesn't look quite as crisp as rivals like the Fujifilm X-H2S or the Nikon Z6III. Historically, Panasonic hasn't baked quite as much sharpening into its files, resulting in a less crunchy out-of-camera look. However, those files typically sharpen up nicely in post-processing if desired, leaving a lot of flexibility for an editor.

The GH7 delivers very similar results even when shooting 4K/120p high frame rate video. In this mode, it continues to use the full area of its sensor to render oversampled 4K footage, and it solidly outperforms other video-oriented models here.

At its highest 5.7K resolution settings, the GH7 is capable of capturing quite a bit of additional detail. However, it still falls noticeably short of the level of detail generated by Panasonic's own S5II when shooting in 6K mode. For maximum flexibility, you can capture 5.7K using ProRes RAW, but you'll need to do some downstream processing to make the most of it.

DR Boost

The GH7 provides more flexibility than the GH6 to capture a wider dynamic range using an expanded range of ISO settings. For the comparison below, we shot our DR test wedge using both cameras so that the very brightest patch just reached the clipping point, as shown by the video waveforms from DaVinci Resolve Studio.

GH7 V-Log (24p)

ISO 2000
1/640 sec
F10

DR Boost

GH6 V-Log (24p)

ISO 2000
1/640 sec
F10

DR Boost

GH7 V-Log (24p)

ISO 500
1/160 sec
F10

DR Boost

GH6 V-Log (24p)

ISO 500
1/320 sec
F10

The first two buttons illustrate the impact of Panasonic's DR Boost mode. Both cameras were shot in V-Log at ISO 2000, the lowest ISO at which the GH6 supports DR Boost mode (ISO 800 when shooting in standard color modes). Since both cameras benefit from DR Boost mode at this ISO, the waveforms look very similar, as do the resulting video images.

However, the GH7 gains the ability to use DR Boost mode all the way down to its nominal base ISO of 500 in V-Log (ISO 100 in standard color modes). The next two buttons illustrate the advantage this gives it over the GH6 when shooting at ISOs below 2000: we've had to give the GH6 a whole stop less light to prevent the brightest tones in our test chart from clipping.

Note that the sensor's dual output gain system, which makes DR Boost possible, can't operate at frame rates exceeding 60p, so if you're planning to shoot at higher frame rates, you can expect the dynamic range to match that of the GH6 without DR Boost enabled.

Image stabilization

The GH7 gains Panasonic's Active I.S. technology, first introduced on the S5II series. Active I.S. is designed to more effectively dampen dramatic movements when walking while filming or using longer lenses and takes advantage of a new, higher precision gyroscope, which it shares with the G9 II. It's not an option you can switch on and off, but something the camera does automatically.

"Active I.S. is designed to more effectively dampen dramatic movements when walking."

Recent GH cameras have delivered impressive image stabilization, particularly in Boost I.S. mode, which is designed to correct all camera movement to simulate the effect of using a tripod for a stationary shot. Active I.S. is intended to play a somewhat analogous role, but when the camera is moving to deliver a smooth, if not quite gimbal-like performance when walking with the camera. In our experience, it's quite effective.

When this improved stabilization is combined with the camera's electronic stabilization modes, it turns in a very impressive performance that could be mistaken for a gimbal. It's not magic, though. As with a gimbal, it still requires good technique to get the best results, but if you can manage that, it's another useful tool in the camera's bag of tricks.

Conclusion

What we like	What we don't
Excellent video quality Phase-detect autofocus Internal ProRes and ProRes Raw recording Expanded DR Boost mode captures wider dynamic range at lower ISOs Impressive image stabilization in both stills and video Strong video workflow support Magnified live view during video capture 32-bit float audio (with XLR2 adapter) Real-time LUTs USB-C SSD support	Autofocus can hesitate to engage if the camera doesn't immediately find something to track Subject tracking still lags behind peers DR Boost is not available at frame rates greater than 60p

At a high level, the GH7 delivers exactly what we expect from a GH camera: excellent video quality with an extensive set of tools for video shooters. It even adds some new tricks to its bag in the form of internal ProRes RAW recording and the ability to capture 32-bit float audio when used with Panasonic's XLR2 adapter.

Whereas previous GH-series cameras were primarily aimed at video shooters, Panasonic included all the photography features from its sibling, the G9 II, on the GH7. If you want Panasonic's best Micro Four Thirds camera for either photography or video, this is it – you can get it all in one package.

The inclusion of phase-detect autofocus is a hugely beneficial addition, particularly for video, and it effectively eliminates our biggest pain point with previous GH models: the tendency of the AF system to pulse or flutter during video capture as it tried to confirm or predict a subject's movement. Still, autofocus continues to be an area where the GH7 still lags behind the best of its peers, most notably in photography. It's generally quite good at identifying subjects, but it's not always as effective at tracking them.

Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F2.8 | 1/40 sec | ISO 3200
Photo: Dale Baskin

It used to be that you could count on every new GH camera to be first across the line with the latest video features, and there was a time when a GH camera was the obvious go-to choice for serious video users, but the landscape has evolved. It's still one obvious choice for video aficionados, but can it still stand out in a market where almost every new model purports to be a "hybrid" camera?

In short, yes.

The GH7 sets itself apart not just with specs, but with an implementation that reflects the needs of a serious video shooter: shutter angle, a built-in fan, pro audio capture, a proven and flexible Log curve, and incredible image stabilization that's designed around videography use cases. It sports a vast, but sensible array of codecs and frame rates, and offers little touches like the ability to filter them and save your favorites to a custom list. Yes, other cameras include some of these features, but they don't all work in concert like they do on the GH7.

In essence, the GH7 is the result of continuous improvement that started with the original GH1 16 years ago, and at this point, it's pretty dialed in. If you just want a hybrid camera that excels at photos and can also capture good video, there are other options. But if you want a production tool that's been refined over generations and polished to a shine – while also being able to shoot stills when needed – the GH7 is a great choice, in a way that raw specs simply can't convey, and for that, it wins our Silver Award.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Panasonic Lumix DC-GH7

Category: Mid Range Interchangeable Lens Camera / DSLR

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The Panasonic GH7 is a Micro Four Thirds camera with a strong focus on shooting video, and is an evolutionary upgrade from its predecessor, the GH6. The addition of phase-detect autofocus makes it more usable for run-and-gun video, and it gains 32-bit float audio recording and improved dynamic range as well. Although it's a hybrid camera with deep feature sets for both stills and video, it's really video where it excels.

Good for

Serious videographers who need support for a video-centric workflow.

Not so good for

Users who primarily want to shoot still photos rather than video.

89%

Overall score

Compared with its peers

Like the GH7, the Fujifilm X-H2S has a long list of advanced video features, though it doesn't have the same attention to detail around those features; the GH7's more polished video toolset makes it a more dependable camera for shooting video. However, photo image quality is better, and it's worth choosing for stills even if the AF doesn't live up to its fast shooting promise. It's also the only system to rival Micro Four Thirds' range of compact lenses.

If you would prefer a purpose-built camera for video, the Sony FX30 is worthy of consideration. Its boxy body is built from the ground up for video use and includes half a dozen threaded attachment points so you can build your rig, your way. It also has more dependable autofocus and better battery life, though you'll need an external recorder to capture Raw video. Whatever you do, don't get it for photography; it's not made for it and doesn't include a mechanical shutter.

If you have a significant interest in shooting stills and don't mind its larger lenses, the Nikon Z6III is a very strong choice, with much better image quality and a more sophisticated AF system. While its video specs are competitive on paper and it's capable of producing high-quality video, the GH7's dependability and refined video implementation make it a superior choice for video work.

Finally, it's worth considering Panasonic's own G9 II, particularly if video is more of a 'sometimes' activity rather than your primary focus. It includes the exact same photography features, and all but the most advanced video options, from the GH7, but in a body that's almost 20% lighter and less expensive. Also like the GH7, it benefits from a large catalog of size-appropriate lenses that can keep your kit small if desired.

Buy now:

Sample gallery

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Leica D-Lux 8 review

Mon, 10 Feb 2025 16:42:00 Z

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83%

Product photos: Richard Butler

The Leica D-Lux 8 is an updated 17MP enthusiast zoom compact camera that uses a series of crops of a Four Thirds sized sensor to give multiple aspect ratios. It's a gentle update of the D-Lux 7 with refreshed look, revised interface and a much-improved viewfinder.

Key Specifications

Up to 17MP images from a 22MP Four Thirds (17.3 x 13mm) CMOS sensor
24-75mm equiv. 10.9-34mm F1.7-2.8 stabilized lens
2fps shooting with AF, up to 11fps without
Captures DNG Raw files
Larger, 2.36M dot OLED viewfinder
1.84M dot rear touchscreen
Updated user interface
UHS-II card compatibility
5Gbps USB-C port

The D-Lux 8 is one of the only enthusiast compacts on the market, but follows on from some of the best of their type. It combines a relatively large sensor, a bright F1.7-2.8 zoom and a high level of direct control for shutter speed, aperture value and ISO or exposure compensation. In many respects it's conceptually similar to Fujifilm's X100 series, but with a zoom.

The Leica D-Lux8 is available at a recommended price of $1595, a $400 premium over the previous model.

Buy now:

Index:

What's new

The D-Lux8 is a relatively subtle update of the 2018 D-Lux 7, with much of the underlying hardware unchanged. The body has been redesigned and there are some changes to the controls and interface but the sensor and lens are the same as those used in the D-Lux7 and the Panasonic LX100 II.


4:3	3:2	16:9	1:1

This sees it use the same arrangement by which the entire sensor region is never used but instead a choice of three aspect ratios that have the same diagonal angle-of-view is offered. So you can switch between 4:3, 3:2 or 16:9 and maintain the same 24mm equiv. widest angle from the lens. The 1:1 setting is handled more like the majority of cameras and simply crops in from the default sensor region.

OLED viewfinder

The most significant change is the use of a standard OLED viewfinder. Previous models used field-sequential displays that would display their red, green and blue components one after the other. For some users this can give distracting red/green/blue fringing artefacts when their eye moves around the frame or they engage the menus because they become aware that the three colors haven't updated to the same degree.

So although the viewfinder spec looks like a downgrade on paper, in practice its 2.36M dots (1024 x 768 px) can give a more pleasant experience than the 2.76M dot-equivalent finder in the D-Lux 7. Also, because the old panel was a widescreen 16:9 aspect ratio, the new finder is actually higher resolution when you shoot 4:3.

The D-Lux 8's finder is also larger, with a magnification equivalent to 0.74x, rather than 0.7x in the previous camera. Again it sounds like a small change but it results in a much nicer experience.

The rear screen also sees a resolution boost, moving to 1.84M dots (960 x 640 px), rather than the 1.24M (∼786 x 524px) of the older model.

DNG capture

The other significant specification change in the D-Lux8 is that it can now capture its Raw data in the standard DNG format, rather than Panasonic's RW2 files that the D-Lux 7 shot.

The D-Lux 8 also adopts a USB-C connector, rather than the Micro B type connection on the previous model. Likewise the camera's Bluetooth capabilities have been brought up to the newer 5.0 LE standard, rather than 4.2, but the Wi-Fi is still a relatively basic 2.4Mhz connection.

Beyond this, much of what sets the D-Lux 8 apart from its predecessor is its revised body and interface. Leica has made an effort to bring it into line with the Q3 full-sensor fixed lens camera, generally for the better.

How it compares

As mentioned at the start of the article, the D-Lux 8 enters a much-reduced enthusiast compact space, compared with the one its predecessor competed in. But there are still small cameras offering good image quality and photographer-friendly levels of direct control, even as most of the market retreats to the higher profit margins of interchangeable lens cameras.

Sony's RX100 Va is still a current model, offering a similar short, bright zoom and, of course, there's perhaps the most visible small camera for photographers, the Fujifilm X100 VI.

	Leica D-Lux 8	Sony DSC-RX100 VA	Fujifilm X100 VI	Ricoh GR III
MSRP	$1595	$999	$1599	$899
Sensor size (Crop factor)	183mm² (2.21x)	116mm² (2.72x)	369mm² (1.53x)	367mm² (1.53x)
Resolution	17MP (4:3)	20MP	40MP	24MP
Zoom range (FF Equiv)	24-75mm	24-70mm	35mm	24mm
Max aperture (Equivalent range)	F1.7-2.8 (F3.8-6.2)	F1.8-2.8 (F4.9-7.7)	F2 (F3.1)	F2.8 (F4.3)
Viewfinder	OLED 2.36M dots 0.74x mag	Pop-up OLED 2.36M dots 0.59x mag	Hybrid Optical/Electronic 2.39M dots 0.66x mag	None
Rear screen	1.86M dot fixed	1.22M dot tilting	1.62M dot tilting	1.04M dot fixed
File formats	JPEG DNG	JPEG ARW	JPEG HEIF RAF	JPEG DNG PEF
USB connection	USB-C 5 Gbps	USB-B (Micro) 480 MBPS	USB-C 10 Gbps	USB-C 5 Gbps
Mic / Headphone socket	No / No	Yes / No	Yes / via adapter	No / No
Memory card type	UHS-II	UHS-I SD Memory Stick	UHS-I	UHS-I
Weight	397g	299g	521g	257g

The updates to the D-Lux 8 means it has one of the best viewfinders in the class, and becomes one of the only options to use the faster UHS-II SD cards (not that these stills-focused cameras especially need it). Its sensor size means it's a larger camera than the Sony but can offer a zoom, whereas you need to move to a prime lens if you want a larger sensor in a compact camera.

Body and Handling

The D-Lux 8 has a significantly simplified body and interface compared with the D-Lux 7.

The top plate of the camera now has a power button, rather than the on-off switch of its predecessor. The dedicated exposure comp dial has been replaced by a command dial with a custom button at its center, which itself replaces the 'A' button that was present on the D-Lux 7.

This custom button and the two just below the shutter speed dial and the button at the center of the four-way controller can be configured to control any of 38 options, from Exposure Comp and ISO Shutter Speed Limit to switching between the video and stills modes. You can reconfigure the function of a button by simply holding the button down for two seconds.

The command dial on the corner of the camera has four possible settings: Exposure Comp, ISO, Off or Auto. The Auto setting sees the dial's function change depending on the position of the aperture ring and shutter speed dial.

Shutter speed dial	Aperture ring setting	Exposure mode	Command dial function (Auto)
A	F-no	Aperture priority	Exposure Comp.
Time value	A	Shutter priority	1/3EV shutter adj
A	A	Flexible Program	F-no
Time value	F-no	Manual Exposure	1/3EV shutter adj

Interface

There have been big changes to the D-Lux's interface, too, giving it a close resemblance to that of the Q3 (it hasn't gained the red/yellow indication for stills/video shooting that we saw on the SL3).

Pressing the menu button takes you to a settings panel screen, from which you can adjust any exposure value that isn't being set by the specific position of one of the dials (you can't over-rule the aperture or shutter speed controls). Below this are a series of icons that can be tapped or navigated to, to change various camera settings.

To get to the main menu you need to press the menu button a second time or tap the icon with three lines at the lower right of the settings panel. This takes you into a five page, 29-option menu.

Within the menu, scrolling up and down also scrolls between its five pages. Pressing right changes the current option or takes you into a sub-menu, where required. Pressing left takes you back out of the sub-menus and back up to the main menu level.

There is one minor oddity, though: pressing left from the top level of the menu jumps you one page to the left. But you press the Menu button to jump a page to the right. This is slightly unusual behavior as it's more common for left/right or up/down button combinations to deliver opposing actions. The left/Menu combination requires a little more conscious thought.

Most of key options are in the settings screen, and the ability to quickly reconfigure the camera's four customizable buttons means you can gain quick or semi-quick access to all the photographic parameters you're likely to need. Like the Q3 and other recent Leica cameras, the D-Lux 8 ends up being an impressively photo-focused camera: you have direct access to shutter speed, aperture and either exposure comp or ISO, and then quick access to the other. Everything else is somewhat secondary to this, meaning you can focus on your photos, not the camera's other functions.

Battery

The D-Lux 8 uses the same BP-DC15 battery as its predecessor. This is a benefit in terms of compatibility with wide availability. But it also means it's still dependent on a relatively small 7.4Wh battery. Leica doesn't specify a CIPA-standard battery figure but we'd guess at a number somewhere in the sub-300 shot-per-charge region. It's certainly small enough that you'll want to keep track of where your USB-C lead is.

Image quality

Image Comparison

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The D-Lux8's image quality isn't all you might hope for, for the price. By the standards of compact cameras it has a very large sensor: it uses up to 83% of the area of a Four Thirds sensor, which is still ∼60% larger than the Type 1 (13.2 x 8.8mm) chips used by the likes of Sony's RX100 series or Canon's G5X and G7 X models.

This still leaves it with about half the sensor area of the APS-C, prime-lens cameras such as the Ricoh GR III and Fujifilm X100 VI, though. This results in image quality about a stop noisier than those cameras. It's not as different from the Type 1 Sony as we'd expect at base ISO, but by high ISOs, the differences are as we'd expect (note the different settings used).

Despite multiple attempts, we couldn't get the lens on our copy of the D-Lux 8 to match the results we got out of the Panasonic LX100 II, but it's worth bearing in mind that a test chart, by its nature, is good at highlighting small differences. The sharpness we were able to achieve is pretty well maintained out toward the corners, which isn't always the case with zoom compacts.

Dynamic range

The D-Lux 8 uses a relatively old sensor: old enough that it underperforms modern expectations, when it comes to dynamic range. If you try to underexpose base ISO to protect highlights, with the intention of pulling up shadows, its results start to resemble those of the RX100 VII. For the first few stops of pulling it has the 2/3EV advantage that you'd expect, but then starts to drop to the Sony's level, before falling behind. This suggests it's adding more noise than the Sony and that noise appears to have a pattern to it, making it harder to remove. This rather limits the camera's Raw latitude.

If given the same exposure, the ISOs above 200 look very similar, suggesting there's little benefit to raising the ISO much above this. If you're trying to shoot bright lights such as neons in low light, you might be better off using the 'correct' exposure, then reducing ISO, giving you a stop of recoverable highlights for every stop you reduce the ISO.

Image Comparison

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Autofocus

The D-Lux 8's autofocus system is pretty simple: you can select a series of different AF area sizes or select a Face Detection mode or a Tracking AF mode. To move the AF point you can either use the touchscreen or use the four-way controller, which is a little slow to operate.

Within the Face or Tracking options there's no control over the AF point size and the modes can't be combined, as is increasingly common in other brands. This means you'll need to switch in and out of Face Detection mode, rather than the camera using its Tracking mode and then engaging Face Detection when appropriate.

In terms of performance the AF does pretty well. Improvements in either the algoritms or processing power of the camera mean it's much more sticky than we remember the previous generation of camera being. If you point it at a subject it'll generally do a good job of keeping its attention on that subject.

The D-Lux 8 doesn't have phase detection autofocus though, so can be prone to hunting, especially in low light. Overall the D-Lux 8's autofocus is not at all bad, but both the clunkiness of the interface and the reliability feel like they're a few years behind the times.

Video

In video the autofocus tracking continues to do a good job of staying on the subject you've specified but the focus itself can take a while to catch up with any changes. There's no ability to adjust the focus speed, to choose whether you want a rapid response to keep things in focus or a slow 'pull' between subjects.

It's a strictly 8-bit affair, so there are no Log or HDR options for those more adventurous output ambitions.

Image Comparison

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The D-Lux 8's video isn't bad, by any means, with pretty good levels of detail capture. The downside is that the focus is prone to hunting and pulsing, due to its use of the depth-from-defocus system that needs to shift focus to attempt to build a depth map of the scene. Add into this the inability to use an external mic and the lack of means to monitor the audio and the risk is you'll end up with clips that look ok but sound bad: something that's more off-putting than a lower detail capture level.

Perfectly good for social media use, where you can overlay a clip of music or some uncanny generated speech, but not an option we'd consider if video is of real interest to you.

In use

The D-Lux 8 has a variation of the user interface from the company's third-gen SL models, putting core exposure parameters front-and-center.

The D-Lux has a dedicated aperture ring and shutter speed dial, with the command dial on the shoulder that defaults to exposure compensation. There are also four customizable buttons, including one placed in the center of that shoulder dial, that can be used to access settings such as ISO.

Holding any of the buttons down for more than a second pops-ups a list of the 38 functions that can be assigned to them. Unlike the SL cameras, you can't edit this down to just include the settings that you want quick access to, if you find yourself needing regular access to more than four options.

The main things that we found got in the way of our enjoyment of the D-Lux 8 came down to its distinctly slow zoom motor

Also setting the D-Lux apart from the SL cameras is that the video mode's settings aren't as well separated from the stills mode's. There's also none of the red/yellow color-coding to distinguish them. This is less of a problem, given the D-Lux isn't especially suited to video capture.

Because there's no Time or Bulb setting on the shutter speed dial, you can't set a separate shutter speed for video and stills modes: both have to follow the dial's setting. And again, the lack of mic input or headphone socket means the audio on your video won't be great, so unless you plan to overlay music on your footage, it may end up pretty unwatchable.

The main things that we found got in the way of our enjoyment of the D-Lux 8 came down to its distinctly slow zoom motor. The camera has a rocker switch around the shutter button, but not much happens when you press it: there's a distinct lag before the camera decides to communicate the message down to the engine room and set the zoom motor into action. This, more than anything else, makes the camera feel unresponsive, taking you out of the moment, distancing you from the action and significantly undermining the shooting experience.

There's a lot to like about the D-Lux 8 but waiting for the zoom lens to react and move where you want isn't necessarily one of them.

Similarly the camera's on/off button adds to the frustration: the use of a button, rather than a switch, means you have to hold it down for a moment to prevent inadvertently turning the camera on, constantly. Then you have to wait for the zoom to painfully extend out into position. By which stage you may well have missed the moment.

And yet, despite adding an extra lag before the lens plays its part in slowing you down, the confirmation lag on the D-Lux 8 is brief enough that you are likely to find yourself accidentally turning the camera on. It's the worst of both possible worlds, essentially. There's a reason so many cameras use on/off switches, rather than buttons.

We still love what the D-Lux 8 is. Its bright 24-70mm equiv lens, with that clever aspect ratio switch prompting you to make the most of its multi-aspect lens/sensor design is great. But it doesn't deliver the responsive, 'pure photography' experience that other Leicas do.

Conclusion

Pros	Cons
Decent image quality with a choice of interesting color modes Useful lens range with bright maximum aperture Well-designed user interface Good size-to-image quality balance Switch to exploit multi-aspect sensor/lens arrangement Decent video spec	Lens isn't especially sharp Zoom function is slow and laggy Sensor noisier than more modern examples Lack of mic or headphone socket make audio capture hit-or-miss Power button easy to engage inadvertently

The Leica D-Lux 8 is an infuriating combination of a great concept disappointingly executed. We love the idea of someone making a new enthusiast compact camera with a good degree of direct control. But while the D-Lux brings a particularly good user interface to the table, it's not enough to overcome the limitations of elderly hardware and a borderline ridiculous price tag.

As photographers, the enthusiast compact must offer two things: fitting as much image quality as possible in a pocket and ergonomics to let you take hands-on control of the photographic process, so your contribution amounts to more than just pointing your smartphone and tapping the screen.

However, while the D-Lux 8 gets some of the basics of this equation right, there are too many shortcomings for it to all add up.

The D-Lux 8 is small enough to boost the chances you'll have it with you when you encounter good light, engaging enough that you'll feel you played a part in the images it produces, and good enough to be worth using, instead of your phone.

Built-in lens @ 70mm equiv. | F2.8 | 1/400 sec | ISO 200
Photo: Richard Butler

The slow and laggy zoom of the lens can really distance you from the shooting experience: a critical failing in an photographer's compact. And while the autofocus performance is good enough to overcome our concerns about the rather awkward AF interface, the same accommodations can't be made for the image quality.

Quite simply the sensor performance doesn't look particularly great and the lens never seems especially sharp. And those are killer blows. The D-Lux 8 falls short on both experience and results by too much, and that's before you even start to think about how much the camera costs.

Conceptually, the Leica D-Lux 8 is exactly the kind of camera we desperately want someone to make. It's small enough to keep with you, and is engaging enough to make you feel like you're playing a part in the images is makes, but the drawbacks definitely add up. With heavy hearts, we feel it falls too far short of this promise to justify us giving it an award.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Leica D-Lux 8

Category: Enthusiast Large Sensor Compact Camera

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Optics

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The D-Lux 8 puts a lot of image quality and flexibility in a small, attractive package. The slow-zooming lens undermines the shooting experience and the image quality doesn't quite live up to the price tag. We admire the D-Lux 8 more than we love it.

Good for

Photographers wanting a flexible compact.

Not so good for

Budget-conscious shooters who need true pocketability.

83%

Overall score

Compared to its peers

Sony's RX100 Va is one of the few direct competitors to the D-Lux 8. Its image quality isn't too far behind, despite having a sensor around 60% of the size. Its autofocus is more dependable but its interface is nothing like as engaging as the Leica's, with chaotic menus and a clickless control wheel undermining experience of using the camera. The Sony is more capable, the D-Lux more enjoyable.

Canon recently said it's upping production of the PowerShot G7X III, suggesting we're not the only people interested in the concept of enthusiast compacts. The G7X III again offers a conceptually similar set of features, a pretty engaging shooting experience, and not too much of an IQ drop. This makes it the more rational choice: it's not quite as nicely built but it's significantly smaller and less expensive.

The Fujifilm X100VI is in some senses a logical rival to the D-Lux 8 in that they both aim to offer high image quality in a compact package with lots of direct control points (if anything, the VI's have become a bit over-cluttered). They're also utterly different: the fixed 35mm equiv lens on the Fujifilm makes for a delightfully limited / focused camera, and its image quality is in a different league to the Leica's. For the same money, assuming you're ok shooting with a prime lens, we'd go for the Fujifilm.

The Ricoh GR IIIs (both the 28mm and 43mm equiv versions) again offer better image quality in a smaller package, but with a fixed focal length lens. The interface is more intricate than the Leica's, and there's a similar need to pay attention to dust ingress. But the Ricohs are also significantly less expensive. There's a reason they have a cult following.

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OM System OM-3 review

Thu, 06 Feb 2025 06:00:00 Z

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86%

Product photos: Mitchell Clark

The OM System OM-3 is the company's latest Micro Four Thirds mirrorless camera. Its use of the same 20MP Four Thirds Stacked CMOS sensor found in the OM-1 Mk II makes it the least expensive interchangeable lens camera to feature a Stacked sensor we've seen to date, and it has most of the features and capabilities of the more expensive model.

OM System has packaged it all in a retro-styled body, which features a knob for quickly switching between color modes, as well as a button that, by default, gives you quick access to the many computational photography features that the company has become known for.

Key Specifications

20MP Four Thirds Stacked CMOS sensor
In-body image stabilization rated up to 6.5EV
2.36M dot EVF 0.69x magnification
Up to 50fps continuous shooting with C-AF, 120fps with AF/AE locked
Configurable pre-capture
Up to 4K 60p video with 10-bit Log option
Color and effects dial
IP53-rated weather sealing
50MP handheld / 80MP tripod high-res composite mode
Battery rated to 590 shots

The OM-3 will be available for sale starting February 27th, with a body-only MSRP of $1999. It will also be available as a kit with OM System's M.Zuiko ED 12-45mm F4.0 Pro lens for $2299. In the US, the company is running a pre-order bonus until Feburary 26th, where you can get $200 off if you purchase the camera with either the 17 or 25mm F1.8 primes that launched alongside it.

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Index:

What's new

A new design

Unlike the OM-1 and OM-5, the OM-3 isn't a direct continuation of an existing Olympus camera line, which results in a camera that looks quite distinct from other models bearing the OM badge. There's absolutely still a family resemblance – it looks a bit like a larger OM-5, despite mostly being an OM-1 II inside – but the OM-3 also very clearly draws influence from classic film SLRs.

This is most obvious when viewing it from the front. There's no raised grip to speak of, and a black leatherette wraps around the silver camera body. The texture and substantial thumb rest on the rear make the camera relatively easy to hold on to, at least for our testers, and the metal build feels reassuringly solid in the hand.

The camera is remarkably wide, though that evokes classic film bodies and provides plenty of room for its battery.

Beyond its shape, the OM-3 differs from previous OM System cameras in several ways. Instead of being integrated into a raised circular section with two buttons atop it, the power switch is now on its own. The buttons have been replaced by a dial, which lets you quickly switch between stills, video and 'slow and quick' video modes. Speaking of dials, there's one on the front that warrants an in-depth look.

The 'Creative Dial'

The OM-3 features a front control knob called the "Creative Dial." It'll be familiar to fans of the PEN-F, whose similar dial set it apart from preceding PEN models.

Like the PEN-F's, the OM-3's dial has five positions; the middle lets you use the standard color modes for the camera. Switching to Color gives you access to four profiles, which are designed to replicate specific film looks. Another click to the left takes you to the Mono mode, with four more profiles, this time in black and white. The other side of the dial gives you access to the "Art" modes, which act as filters to add effects like pinhole camera or bleach bypass, and the color creator mode, which lets you add a tint to your photos.

You can use the customizable Color Profiles to create some relatively extreme looks.

The real fun comes from customizing the color and mono profiles. OM System gives you the basic sliders – sharpness, contrast, vignetting – but also offers finer-grained control. In the mono modes, you can add a virtual color filter, a simulated grain effect in three strengths and choose a sepia, blue, purple, or green tint. In the color profiles, you get a color wheel giving you control over the saturation levels of 12 hues. You can also control shadows, mid-tones and highlights, boosting them or lowering them to get the look you want.

It's worth noting that most of these customizations aren't wholly new to OM System; the OM-1 II also gives you a lot of control over how your JPEGs turn out, including the shadow, midtone, and highlight control. However, the OM-3 puts those features front and center, making it much harder to miss them, and having four custom profiles instead of one makes it easier to create some dramatic looks without having to worry about using up your one custom slot.

Quick access computation

Lately, we've seen a trend of camera companies adding physical controls for their standout features – think the Fujifilm Film Simulation dial or the Panasonic S9's LUT button. OM System has done the same with the OM-3's "CP" button, which gives you easy access to the camera's vast array of computational photography features without requiring you to dive into the menus. For those unacquainted, these features are multi-shot modes, where the camera takes several exposures to achieve certain effects in-camera, without the need to stitch anything together using external software.

The modes available on the OM-3 via the CP button are:

High resolution (tripod / handheld)
Live ND (1-6EV)
Live Graduated ND (1-3 EV)
Focus Stacking*
HDR
Multiple exposure

* Only available with select lenses

These features are arguably part of what sets OM System apart from its competitors, so it makes sense to replace what was traditionally an AE / AF lock button with something that puts one of the camera's main selling points at your fingertips.

This straight-out-of-camera shot was taken using the Live Graduated ND mode to keep the sky from being overexposed. Its availability at the press of a button made using it a no-brainer.

OM System 12-40mm F2.8 PRO II | F4 | 1/250 sec | ISO 200
Photo: Mitchell Clark

A single press of the CP button activates the last computational mode you used, with a long press gaining you access to the other available options. You can limit this list in the menus so that even the long-press takes you to a list of only the modes you actually want to use. This approach does slightly reduce the button's ability to help new users discover all the features, but means experienced shooters can get straight to the function they want.

OM Cinema video color modes


Standard Color Profile	OM Cinema 1	OM Cinema 2

The OM-3 includes two new "OM Cinema" color modes for video, which the company says are meant to give you the same highlight capture capabilities as its OM-Log mode, while giving you a cinematic look straight out of camera. OM Cinema 1 is designed to highlight yellows in the bright parts of your image, and blues in the darker areas, while Cinema 2 adds a bit of cyan to the highlights and shadows while lowering contrast.

Like the OM-Log400 mode, both modes have a base ISO of 400, pushing you to use exposures that can capture the additional highlight range.

How it compares

The OM-3 is the least expensive ILC we've seen to use an expensive Stacked CMOS sensor. Internally, it's very similar to OM System's flagship OM-1 Mk II, featuring the same sensor, burst rates, autofocus subject recognition, computational photography modes and weather sealing. The more expensive model has a faster mechanical shutter, more buttons, a beefy grip, deeper buffer, a larger, higher-res viewfinder and dual card slots. However, we suspect looks and size, rather than capability, will be the deciding factor between the two for most people.

The use of an expensive, Stacked sensor puts the OM-3 in an interesting position. Multiple full-frame cameras are available for this much money or less, offering a substantial increase in light-gathering ability at the cost of larger, heavier lenses, much slower burst rates and generally fewer features. But if you want a larger sensor that's still Stacked, you'll have to pay for it – the Fujifilm X-H2S's MSRP is 25% more expensive.

At this price point, the OM-3 is playing in a few markets. You could consider high-performance models like the Panasonic G9 II, Canon EOS R7, or Fujifilm X-H2S as its peers, but it also competes with style-conscious options such as Fujifilm's X-T5 and the Nikon Zf. We've included a selection of both.

	OM System OM-3	Canon EOS R7	Fujifilm X-T5	Panasonic G9 II	Nikon Zf
MSRP	$1999	$1499	$1699	$1899	$1999
Pixel count	20MP	33MP	40MP	25MP	25MP
Sensor size	Four Thirds (225mm²)	APS-C (329 mm²)	APS-C (367mm²)	Four Thirds (225mm²)	Full-frame (864mm²)
Sensor tech	Stacked CMOS	FSI-CMOS (Dual Pixel)	BSI-CMOS	CMOS	BSI-CMOS
Viewfinder res / mag	2.36M dot 0.69x*	2.36M dot 0.72x	3.69M dot 0.8x	3.68M dot 0.8x	3.69M dot 0.8x
Stabilization	IBIS, can coordinate with select lenses	IBIS, can coordinate with select lenses	IBIS	IBIS, can coordinate with select lenses	IBIS, can coordinate with select lenses
Max burst rate	6fps (mech.) 50fps (C-AF, e-shutter) 120fps (S-AF, e-shutter)	15fps (mech.) 30fps (elec.)	15fps (mech.) 20fps (e-shutter, 1.29x crop)	14fps (mech.) 60fps (C-AF, e-shutter) 75fps (S-AF, e-shutter)	11 fps Raw 14 fps JPEG (15 e-shutter) 30fps in C30 JPEG mode
Pre-release capture	Yes	Yes	Yes	Yes	Yes (JPEG only)
Rear screen	3" 1.62M dot fully-articulated	3" 1.62M dot fully-articulated	3" 1.84M dot three-way tilt	3" 1.84M dot fully-articulated	3.2" 2.1M dot fully-articulated
Battery life (LCD/EVF)	590 / -	660 / 380	580 / -	390 / 390	380 / 360
Card slot	1x UHS-II SD	2x UHS-II SD	2x UHS-II SD	2x UHS-II SD	1x UHS-II SD 1x UHS-I Micro SD
Dimensions	139 x 89 x 46mm	132 x 90 x 91mm	130 x 90 x 92mm	134 x 102 x 90mm	144 x 103 x 49mm
Weight	496g	612g	557g	658g	710 g

*Using the whole-panel 'Viewfinder style 3'

Every system listed here will have strengths and weaknesses compared to the OM-3. The EOS R7, for example, is technically an extremely capable camera with its larger sensor, reliable autofocus, and dual SD card slots, though the OM-3 shoots significantly faster and with less rolling shutter. Nowadays, the lens selection for Canon APS-C systems is a little more healthy, but still well short of the Micro Four Thirds system's. The EOS R7 also doesn't have the retro design that the OM-3 does; like the G9 II, its looks lean toward the industrial.

The Nikon Zf and Fujifilm X-T5 have similar aesthetics, but while the Nikon is relatively small for a full-frame camera, the same can't be said for the lenses you'll have to attach to it. Fujifilm's lens ecosystem is the only one that's as comprehensive as Micro Four Thirds, though its autofocus system isn't as good as OM's in many situations and is well off the pace from the state of the art.

Only Panasonic's G9 II comes close to offering the range of in-camera multi-shot computational modes, and even then, the OM-3's faster readout gives it an advantage.

Body and controls

The OM-3's retro design is one of its biggest selling points over the OM-1 Mk II. It trades rubberized, inset dials for top-mounted ones with chunky knurling and silver accents placed on the top plate. Despite the prominent hump, the viewfinder is actually relatively small, though it usually gets the job done.

It's clearly a throwback to old-school SLRs, with its metal bottom and top plates and SLR hump. That may disappoint those who saw the Creative Dial and hoped for a rangefinder-style PEN-F revival, but given that SLR-shaped cameras have long outsold rangefinder-styled ones, its inclusion here hints that this may be the closest we'll get to a direct successor.

The OM-3 isn't as compact as the OM-5 but takes up less space than the OM-1 II.

The OM-3 isn't as much smaller than the OM-1 as we initially expected; several DPReview staff remarked on how wide it was upon picking it up for the first time. That does, however, add to the film camera aesthetic and gives it room for a large battery, and the lack of a grip does make it easier to fit in a bag, especially without a lens attached. However, you still likely won't be able to stow it in a pocket or purse like you could with the smallest Micro Four Thirds bodies.

During our testing, we found that the camera's controls were well laid out, with all the essential buttons being easy to reach. It has several customizable buttons that you can map to your preferred functions and OM System's traditional function lever, which lets you quickly change an unfortunately very limited selection of your dial functions or autofocus settings. The locking mode dial also gives you access to five custom shooting modes, which can recall a much broader range of settings, providing a generous number of setups that most photographers would likely struggle to fill.

It's generally easy to use one-handed, though the lack of a grip can make things a bit harder when you have to hold a button and operate the dials simultaneously. Depending on how you have the camera set up, its UI will require that relatively frequently. The lack of a joystick for controlling your focus point also means that you'll likely have to use two hands when moving your focus point around, whether using the directional pad or the touchscreen.

The OM-3 has OM System's latest menu system, which is very similar to Canon's. The sections are color-coded, which can help remind you of where everything is, and you can use the customizable My Menu to create a section filled with your most-accessed settings.

You can navigate through the sections using the front dial and switch pages using the rear one, making it easy to zip around once you get a feel for where everything is. However, you'll have to use the four-way controller to actually change your settings; the camera lets you use the touchscreen to switch tabs and pages but not to navigate through or adjust the settings themselves.

The OM-3's menus are logically laid out, though it would be nice if the top categories were always color-coded rather than just showing the color when you select them.

You may not actually have to spend that much time in the menus, though. The OM-3 features the company's "Super Control Panel," which is, by default, mapped to the "OK" button. Bringing it up gives you easy access to most of your important shooting settings: drive mode, AF mode, AF subject section settings, exposure and ISO control, etc. All of which can then be adjusted with a spin of the dial or tapped to display their options. Combined with all the physical controls, it can make a trip to the menus a rarity if you spend some time setting everything up.

Battery

The OM-3 uses OM System's large, 17Wh BLX-1 battery, the same found in the OM-1 Mk II. It's rated to provide around 590 shots on a charge when using the LCD. That's an impressive capacity for a camera this size, and it bore out in our testing; we didn't often find ourselves reaching for a charger, even over long weekends of shooting with frequent use of the computational modes. That's good news for those hoping to use it as a travel camera.

As always with CIPA ratings, the exact number isn't a literal indicator of how many pictures you can expect to get out of a charge, and we find you can generally expect to get at least double the rating. It does, however, act as a common point of comparison among cameras, and 590 is a very healthy rating.

Image quality

Image Comparison

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At base ISO, the OM-3's Raws provide good levels of detail, even compared to its 25MP peers. Canon and Fujifilm's use of higher-resolution sensors give them a leg up in detail, though the differences are subtle when viewed at comparative sizes. Differences between noise levels are also subtle at base ISO, though the advantages of a larger sensor become more noticeable at mid and higher ISOs. It's difficult to directly compare the OM-3 and the G9 II, as the latter appears to be applying noise reduction, even in Raw.

Straight out of camera using handheld multi-shot mode.

Lumix G Vario 35-100 F2.8 II | F2.8 | 1/400 sec | ISO 200
Photo: Mitchell Clark

Like the G9 II, the OM-3 has a multi-shot high-res mode that promises to bump its resolution while also improving noise performance thanks to the multiple exposures. As we've pointed out before, the performance of such modes – especially the handheld ones – will be limited by how steady you can keep the camera and how still your subject is. However, the OM-3 makes it easy to give it a try, as it combines the shots in-camera; you won't spend precious time combining shots on your desktop only to discover motion artifacts. We found that, in the right situations, the modes provided a decent bump in detail.

The OM-3's JPEG engine does a good job of retaining fine detail without giving it an over-processed look and strikes a good balance of smoothing out noise without giving up too much detail at higher ISOs. There isn't much to distinguish it from its peers when it comes to its standard color mode; it competently reproduces pleasing skin tones and has pleasant, but not overbearing, yellows, reds and greens.

Dynamic Range

Exposed for highlights, +2EV in ACR, edited to taste.

OM System 25mm F1.8 | F1.8 | 1/80 sec | ISO 200
Photo: Mitchell Clark

Given that the OM-3 shares a sensor with the OM-1, it's no surprise to see that its dynamic range performance is just as good. The sensor doesn't add much read noise, and the shadow noise performance is good, giving you room to shoot to preserve highlights, and lift the shadows in post.

Autofocus

To select an autofocus point, you can use the touchscreen or the four-way controller. There are a variety of target mode settings, including the option to select a single point, small, medium, and large areas, a cross-pattern area, and a wide area that allows the camera to analyze the frame and choose what to focus on. You can also create four custom-sized zones.

The OM-3 has several autofocus modes, including the ability to recognize and track several types of subjects: Humans / eyes, cars and motorcycles, airplanes / helicopters, trains, birds and dogs / cats. It also has a specialized star autofocus mode for astrophotography.

The OM-3 lets you engage subject recognition mode, and use it with your chosen AF target type. The camera will focus on whatever's under your AF point and will track it if it's a recognized subject, but it won't jump off to recognized subjects elsewhere in the scene. However, unlike many contemporary cameras, you can't combine AF Tracking mode with subject recognition: if you want your camera to track something it's not been trained to recognize, you'll have to switch to the dedicated Tracking mode. This means you can't just leave it in a single mode and expect it to use the selected recognition mode only when appropriate; instead, you have to constantly turn subject detection on and off.

As for the autofocus system's performance, the camera performed well – though not exceptionally – in our standard tests and in our general use. For a subject moving straight toward the camera at a consistent speed, the OM-3 was generally able to keep them in focus, though it occasionally misstepped, resulting in a small number of slightly soft images.


1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

Even in subject recognition mode, shown here, the OM-3 occasionally misjudged the distance it needed to drive the lens when tracking a subject moving at a variable speed toward the camera.

Its standard autofocus tracking system was quite sticky and reliably stayed on the subject moving towards the camera and across the frame at varying speeds. While many of the resulting photos were in focus, the camera still sometimes struggled to judge and drive the lens to the correct place, leading to a handful of soft shots. Human subject recognition faired better and was tenacious at sticking to the subject, though there were still a handful of shots with the same issue, implying that the fault lies with the distance assessment/prediction algorithms, not the camera's inability to figure out what to focus on. The camera has C-AF speed and sensitivity adjustments that you can try to use to improve its performance for the specific subject you're shooting.

During our usage, the autofocus was generally reliable but occasionally faltered in situations that it felt like it should handle easily. We ran into a few situations where the tracking point would wander off the selected target or where the subject recognition AF would get confused by objects partially covering a subject's eye, such as glasses frames or fence wire.

Video

The OM-3 has capable video specs, with a standout being its ability to shoot 4K UHD at full-width at up to 60 fps. It can also shoot at up to 240fps in FHD for slow motion, though the higher frame rates are the rare video modes that come with a crop – the only other time you won't get full-width video is if you enable electronic stabilization, which adds a 1.18x crop in 4K. That electronic image stabilization is quite good, especially paired with the stabilized sensor; it handles camera movement well, and generally doesn't have a noticeable grab-and-release effect if you pan the camera.

The video autofocus system can recognize the same subjects available in stills, though it's not as competent at tracking a subject that it hasn't been trained on. Unlike the notably sticky performance in stills, it was relatively easy to get the camera to lose track of the subject. In common with stills mode, the camera provides options to tune continuous autofocus performance, so you can choose whether you want slow, cinematic focus pulls between subjects or quick, snappy ones trying to maintain focus on a moving subject.

Most of the OM-3's ports are made for video and are along the left side. That does mean you may occasionally struggle with the flip-out screen hitting the microphone cable.

The camera also has a variety of features that make recording video a bit easier. It has headphone and microphone jacks, which are vital if you want to get good audio, and a micro HDMI port – it's better than nothing, but anyone who makes a habit of outputting video through HDMI will almost certainly wish for the more robust full-size port. It can display two levels of zebra patterns, making it easy to spot when your highlights are clipping or are about to clip, a red frame recording indicator and the ability to use the front lamp as a tally light, and a view assist mode that gives you some idea of what your Log footage will look like when it's graded.

The OM-3 has several features that make recording video easier

The OM-3 supports 10-bit H.265 recording for Log and Hybrid Log-gamma HDR recording, which is where the extra bit-depth will be most useful. If you want to shoot footage using its standard color mode, you'll have to do it using 8-bit H.264 which comes with a penalty in detail – more on that in a moment...

Switching between photo and video modes using the dial is relatively easy, and both retain their own settings, so you won't have to constantly change your exposure parameters when shooting a mix of stills and video. You can also use the Creative Dial for video as well if you have the color mode set to "Same as Picture Mode," giving you access to the same color mode presets you've created for stills. However, if you've set the camera to use one of the video color modes, such as Flat, OM Cinema, or OM-Log, it will ignore the dial.

Video Performance

Image Comparison

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The OM-3 has the same video system as the OM-1 and OM-1 II, which means that its 8-bit 4K H.264 modes deliver video with relatively good detail and that you won't pay any apparent penalty for going from 24p to 60p. However, like the OM-1, the OM-3's 10-bit H.265 video mode appears to offer a noticeable increase in detail in its 24p mode.

This doesn't carry over to 60p, though the bigger limitation is that you can only shoot in 10-bit mode when using the OM-Log400 or HLG color mode for HDR. That means that if you want the extra detail, you'll have to do some post-processing work.

For most use cases, the difference in detail will be very hard to discern when you're taking video of moving subjects, but it's something to be aware of if you intend to use the camera for serious video work.

Rolling Shutter

Given the OM-3's Stacked sensor, it's no surprise that its rolling shutter performance is strong across its modes.

Shooting Mode	Crop	Rolling Shutter Rate
4K 30p	Full-width	5.8ms
4K 60p	Full-width	5.8ms
FHD 24p	Full-width	5.8ms
FHD 120p	1.27x	3.5ms

Its consistent rolling shutter rate of 5.8ms across its main video modes means that you'll essentially never have to worry about jello-like artifacting when shooting fast-moving subjects or panning the camera.

In use

It's clear a lot of thought has gone into the user experience – with some notable exceptions that we'll address shortly. The interface is sprinkled with small icons that let you know what you're doing, like the hearts and diamonds that let you know when you're shooting in electronic shutter or anti-shock mode. The menu also lends a helping hand, giving you explanations when settings are greyed out; for example, if a specific computational mode isn't available because of your shooting mode, the camera will just tell you that instead of leaving you to wonder.

The camera also has a great degree of customizability. You can change the function lever into a power switch, swap the dial directions depending on what you're used to, narrow down the CP menu options, and much (much) more. Perhaps that's not a surprise, given that second-system shooters are one of the main target audiences for this camera; being able to set it up to work like your main camera goes a long way to reducing the friction that often comes with switching between cameras.

OM System has built new features after adding the function lever and not gone back to update its behavior

This has long been one of the brand's calling cards, though it's not unlimited – OM System has continued to build new features after adding the function lever and not gone back to update its behavior. If you set it to change autofocus modes it only controls certain parameters, meaning newer AF functions can get ignored or overridden. For example, if you have switch position 1 set to continuous autofocus with tracking and position 2 set to be single autofocus, if then you activate subject recognition while in position 2 and switch to position 1, the choice of subject recognition over-rides the C-AF+Tracking mode.

The FN lever options are still extremely limited.

It feels like a missed opportunity. If the lever supported a wider array of settings, as the custom modes do, you could use it to switch between very different shooting styles. Instead, it's only useful in very specific situations, and you'll have to use the custom mode slots if you want to be able to quickly change between more sophisticated setups like subject recognition settings, your auto ISO minimum shutter speed, or focus limiters.

While we're discussing downsides, the lack of a joystick to control autofocus points was a disappointment, as we suspect it will be to anyone used to using one. However, OM System has made it so that each button on the four-way controller will start moving the autofocus point by default. You don't have to press a button to activate autofocus select mode before starting to move it. You can change this behavior if you want, using each direction as its own shortcut for other functions.

Using the camera's 25fps continuous shooting mode let us capture moments that would've been difficult to photograph with slower cameras.

OM System 100-400 F5-6.3 II | F6.3 | 1/250 sec | ISO 200
Photo: Mitchell Clark

Putting those complaints aside, though, it's just plain fun shooting at 50 or 120fps using a camera this compact, though it is worth noting that you can only do 50fps in the continuous autofocus mode with certain lenses. Many lenses, including the 100-400mm F5-6.3 IS II that launched alongside the OM-3, will be limited to 25fps when shooting stills in the continuous autofocus mode. For our birding outings, that was still a sufficient display of the power of a Stacked sensor, and while some competitors may be able to shoot faster than 25fps, their sensor readout rates will also be higher, likely leading to distortion from rolling shutter.

Speaking of shooting fast-moving subjects, the OM-3 also has a generous pre-capture buffer, so you can capture the moments – or even seconds – that happened before you fully pressed the shutter when in one of the "Pro Capture" modes.

While the Creative Dial will likely delight those who love developing and playing around with 'recipes' for their JPEGs, the pre-programmed Color Profiles available through the dial weren't compelling enough that we found ourselves reaching for it all that often.


Color Profile 1	Color Profile 2	Color Profile 3	Color Profile 4

The camera comes pre-loaded with four color modes available via the Color setting on the Creative Dial. You can customize them however you want, but these are the defaults.

That's not true of the CP button, though. We used it almost every time we went out to shoot with the camera, and it became second nature to use the hand-held 50MP multi-shot mode since it was often only a button press away, helping you quickly access some of the modes that set the OM-3 apart from its peers.

One small detail that delighted us, to balance out some of the criticism: if the display is flipped out, the camera won't switch to the EVF if its sensors are blocked, preventing your jacket or shirt from making the monitor go blank while you're trying to compose your shot. Fans of waist-level shooting rejoice.

Conclusion

Pros

Cons

Good image quality that can be improved with in-camera multi-shot
Controls put best features front-and-center
Super Control Panel quick to use
Custom color / monochrome modes leave room for creativity
Sensor allows for very fast shooting with low rolling shutter
Wide variety of computational photography modes
Good degree of customization
IP water resistance certification
Excellent battery life

Expensive compared to its slower peers
Small, low-res EVF
No autofocus joystick
50fps mode limited to certain lenses
AF tracking isn't as accurate as best of its peers
Some features and functions can't be assigned to custom buttons and switches

At times, it's been difficult to think about and write about the OM-3 on its own terms instead of analyzing what it means for OM System as a whole. The brand has been in an odd spot since it spun out from Olympus, with most of its releases being minor updates to Olympus models. While the OM-3 has a lot of that same DNA, it is arguably the first real new model we've seen from OM System, and the temptation is to talk about what that means for the company going forward.

Doing so, however, would feel unfair to the OM-3. Because on its own, it's a great little camera which manages to pack a lot of technology and features into a classic-looking body. What's more, it makes those features easily accessible; the color mode dial on the front invites you to tailor your images to your preferences and makes it easy to shoot in black and white on a whim. The Super Control Panel makes it easy to access your most important settings without diving into the menus, and the CP button gives you access to the entire bag of multi-shot tricks that have become OM System's calling card.

The OM-3 is a testament to the age we're in, where many photographers want a camera that looks great and where usability has replaced image quality as the main factor setting cameras apart. With that said, at this price, it's hard to completely ignore image quality; it doesn't help that there are several great competitors. If you're looking to spend $2,000 on what will be your only camera, there's a compelling argument that you should pick up an APS-C camera and a decent standard zoom for around the same price. They won't shoot as fast as the OM-3, but they can still manage speeds that will be sufficient for most situations.

That does mean that the OM-3 is a bit of a niche camera; you'll have to want the flagship-tier performance that comes with a Stacked sensor while being okay with giving up some light-gathering ability. It's that limited appeal, along with its autofocus system that doesn't quite match the state of the art, and the small papercuts of some features being restricted to certain lenses and customization limitations, that keep it from getting Gold.

I usually wouldn't consider bringing a camera with a 200-800mm equiv. lens on a walk, but with the OM-3 and the 100-400mm F5.0-6.3 II announced alongside it, it wasn't really a burden.

OM System 100-400mm F5.0-6.3 II | F5.8 | 1/60 sec | ISO 250
Photo: Mitchell Clark

However, it earns its silver by being really, really good for its niche. If you're willing to give up some light-gathering ability, you'll get a camera that you can take almost anywhere to do almost anything, all while staying stylish in the process.

It seems especially well-suited for travelers since its blistering shooting speeds and relatively reliable autofocus mean you'll be able to capture subjects no matter how fast they are, and you won't have to dedicate an entire carry-on to lenses, even if you want to bring a few. And when the pace slows down, you can use the multi-shot modes to get some of that image quality you gave up back, or to capture a beautiful sunset, even if you didn't remember to pack a physical graduated ND filter.

Buy now:

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about the changes to our scoring system and what these numbers mean.

OM System OM-3

Category: Mid Range Interchangeable Lens Camera / DSLR

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The OM-3 is a camera that's small enough to go anywhere, with enough speed and computational tricks to capture almost any subject you'll come across.

Good for

Travelers who may encounter anything

Not so good for

Shooters that need maximum image quality

86%

Overall score

Compared to its peers

The Canon EOS R7 has a decidedly different form factor than the OM-3, with its deep grip, AF joystick, and dual card slots. It also doesn't allow for the same level of customization, and while the lineup of APS-C lenses for RF mount is improving, telephoto options are still a bit of a weak point, which is definitely not the case for Micro Four Thirds. The EOS R7 has some of the most simple and dependable stills autofocus in its class, and would likely nab you a few more tack-sharp shots than the OM-3 in most situations.

The Fujifilm X-T5 has similar SLR-throwback styling, as well as a very competitive selection of lenses. However, it can't shoot nearly as fast, and its X-Trans color filter means that its 40MP images won't quite offer the improvement in detail that you'd expect, given the pixel count delta between it and the OM-3. Fujifilm's tracking autofocus performance also isn't quite as good as OM System's, though its performance in subject recognition mode works well, and it lets you use tracking without turning off subject recognition. The X-T5 also has a substantially nicer viewfinder.

The Panasonic Lumix DC-G9 II is a close competitor to the OM-3, offering a similar number of computational modes. It's noticeably larger and heavier – it uses a body borrowed from Panasonic's full-frame S5 II – and has notably worse battery life, making it a less compelling travel companion. However, if you shoot a lot of video, the G9 II is almost certainly the better buy, with its open-gate support, full-size HDMI, a broader range of codecs, and tools like waveforms, vectorscopes, shutter angle settings and more.

The main advantage of the Nikon Zf over the OM-3 is the pure image quality improvements of a full-frame sensor, at the cost of substantially slower shooting and significantly larger body/lens combinations that also hurt its packability. Its autofocus system is easier to use, as you won't have to choose between tracking and subject recognition. Despite its retro aesthetics, the Zf is quite capable for video, but can't manage full-width at 4K/60p like the OM-3 can, and will have substantially worse rolling shutter. While Nikon's full-frame lens lineup is becoming pretty robust, your options will also be bigger, heavier, and more expensive than their Micro Four Thirds equivalents, again making it less appealing for travelers.

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Nikon Z50II review

Tue, 28 Jan 2025 17:51:00 Z

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88%

Product photos by Richard Butler

The Nikon Z50II is the company's latest entry-level APS-C mirrorless camera, built around a 21MP CMOS sensor. As with the original Z50, it's expressly aimed at stills and video creators looking for a small camera that makes it easy to upload.

It brings updated burst modes and AF functions to its predecessor, but most of the advancements are on the video side of the camera.

Key specifications

20.9MP APS-C sensor
Twin control dials
Full-width 4K video up to 30p (60p with crop)
3D-tracking autofocus and subject recognition for nine subject types
Up to 11fps mechanical, with up to 1 second pre-release capture
Fully articulated 3.2" touchscreen
Single UHS-II SD card slot in battery compartment
2.36M dot EVF with brightness up to 1000nits

The Z50II retails for a recommended price of $909 body-only and $1,049 as a kit with Nikon's DX 16-50 F3.5-6.3 lens.

Index:

Buy now:

ISO Invariance | Exposure latitude

What's new

The Z50II is, as the name suggests, an updated version of the company's original APS-C Z-mount camera. Much of what it gains comes from the use of a newer, more powerful Expeed 7 processor, but there are some subtle yet potentially significant additions beyond that.

Flexible Color Picture Control and Picture Control Button

The new Picture Control button is right above the rear control dial.

It's a change unrelated to processing power that helps signpost what the Z50II is and who it's intended for: the addition of a dedicated 'Picture Control' button to let you select the camera's color mode.

The changes go deeper than the labeling of a button, though. The Z50II becomes the first model to offer 'flexible' Picture Control profiles that let you adjust or download additional profiles. The camera comes with 31 but you can add more, and limit which ones appear when you hit the Picture Control button, so that it doesn't become overwhelming.

Nikon has, at least as far back as 2008, been one of the few brands to offer software to let you edit its in-camera profiles. The company's NX Studio software lets you adjust the existing Picture Controls, applying your own custom tone curve or changing the sharpening and saturation of the profile. However, you only get limited control over the color response, with a global hue adjustment, rather than the ability to re-map colors that a LUT would give.

It's the ability to download Creator Recipe profiles from Nikon's Imaging Cloud that we suspect most users will experiment with.

Brighter viewfinder

The Z50II also gains a brighter viewfinder, now capable of displaying up to 1000 nits, double the maximum brightness of the one in the existing model. The display isn't bright enough to fully preview HLG high dynamic range capture though, and is still the same 2.36M dot resolution.

Subject recognition / 3D Tracking

One of the most significant improvements that does come from the new processor is the Z50II's autofocus system. It gains the subject recognition modes from other recent Nikon cameras, boosting the number of recognized subjects from three to nine.

	Nikon Z50II	Nikon Z50 / Zfc
Subjects recognized	Humans (Eye, Face, Upper Body) Birds Cats Dogs Cars Motorcycles Bicycles Trains Airplanes	Humans (Eye, Face, Upper Body) Cats Dogs

It also adds the 3D Tracking AF mode, that makes it quicker to track subjects, regardless of whether the camera has been specifically trained to recognize them.

C30 and pre-burst

Another Expeed 7 feature to arrive on the Z50II is its ability to shoot at high speeds in e-shutter mode, with the option to start buffering images when the shutter is half-pressed and saving images captured up to one second before the shutter button is fully depressed.

The Z50II's C30 and C15 modes can shoot with autofocus at up to 30fps or 15fps, respectively, though they only record JPEGs.

Nikon Imaging Cloud

The Z50II is also compatible with Nikon's Imaging Cloud service, which debuted with the Z6III. That means that, when connected to a Wi-Fi network, it can automatically upload your photos to Nikon's servers, which shuffle them off to your choice of third-party cloud storage services, such as Dropbox, Google Drive, or Lightroom. You can also have your camera automatically download firmware updates, and have it sync Picture Control presets that you've selected on your computer or phone. While many cameras have similar features, they have to be paired with a smartphone or camera to use them – the Z50II can do it on its own connected to your router.

What's new for video:

Despite using the same sensor as the Z50, Nikon has managed to squeeze significantly better video out of it. The Z50II can now encode video in 10-bit precision, allowing internal N-Log capture to maximize color and tone grading potential, or HLG high dynamic range capture for playback on HDR displays and TVs.

The Z50II also gains the ability to capture 4K/60 footage from a cropped region of the sensor.

On top of this, Nikon says the electronic image stabilization (eVR) in video mode is improved. The Z50II also gets a "Product review" autofocus mode, that knows to override its face detection AF if an object is held up in front of the camera: a feature that can be useful for vloggers discussing a specific product they want to show.

How it compares

The Z50II arrives into what was previously a competitive point in the market but one that fewer and fewer manufacturers seem to be catering to. Fujifilm offers the similarly beginner-friendly X-M5 for around $200 less, but with no viewfinder, or the high-resolution, image stabilized X-T50 for a whopping $400 more. Meanwhile, Sony offers the now rather elderly a6400 at a comparable price. It makes fewer accommodations to people new to ILCs and its age means its video spec lags way behind.

It's only really Canon, with its EOS R10 that offers an approximately like-for-like competitor to the Z50II. The other camera we feel it makes sense to compare it to is Nikon's own Zfc. It has near identical specs to the original Z50, other than its fully articulated rear screen. By including another Nikon entry-level camera, we can see what's changed over the past five years.

	Nikon Z50II	Canon EOS R10	Sony a6400	Nikon Zfc
MSRP (With kit zoom)	$909 ($1049 w/ 16-50 F3.5-6.3)	$979	$900	$960
Pixel count	20MP	24MP	24MP	20MP
Image stabilization	No	No	No	No
Max frame rate	11fps (mech) 30fps (e-shutter, JPEG)	15fps (mech) 23fps (e-shutter)	11fps (mech) 8fps (e-shutter)	11 fps (12-bit Raw) 9 fps (14-bit)
Viewfinder res. / mag.	2.36M dot 0.68x	2.36M dot 0.59x	2.36M dot 0.71x	2.36M-dot 0.68x
Rear screen res. / type	3.2" / 1.04M dot fully-articulated	3.0" / 1.04M dot fully-articulated	3.0" / 921k dot tilting touchscreen	3.0" / 1.04M-dot fully-articulating
AF selection	Touchscreen / D-pad	Touchscreen / joystick	Touchscreen / D-pad	Touchscreen / D-pad
Video	UHD 30p full-width UHD 60p with 1.5x crop	UHD 30p full-width UHD 60p from 1.56x crop	UHD 24p full width 30p with 1.22x crop	UHD 30p/24p full-width
10-bit options	N-Log, HLG	HDR PQ	No	No
Mic / headphone sockets?	Yes / Yes	Yes / No	Yes / No	Yes / No
CIPA Battery rating (LCD/EVF)	230 / 220	350 / 210	410 / 360	360 / 310
Weight	520g (18.3 oz)	426g (15oz)	403 g (14.2oz)	445g (15.7oz)
Dimensions	127 x 97 x 67mm (5.0 x 3.8 x 2.6")	126 x 88 x 83 mm (5.0 x 3.5 x 3.3")	120 x 67 x 60 mm (4.7 x 2.6 x 2.4")	135 x 94 x 44 mm (5.3 x 3.7 x 1.7")

As well as advances in technology, another change since we reviewed the Z50 is that both Nikon and Canon have allowed some third-party lenses into their respective APS-C systems. In the case of Nikon, that includes three of Sigma's DC DN prime lenses, which add relatively affordable ways to boost the camera's capabilities. Canon, meanwhile, has allowed Sigma to offer its two DC DN zooms, with four prime lenses to follow.

This still leaves both systems well short of the variety of APS-C focused lenses offered for Fujifilm's X mount, or of the selection available for Sony, but means you're not solely dependent on the camera maker's development priorities for either camera anymore.

Body and handling

The body of the Z50II is very much like that of its predecessor, which is to say it's like a slightly shrunk-down version of Nikon's original Z-series full-frame models. Despite the size reduction, the Z50II retains a fairly substantial hand grip.

The body is primarily made from fiber-reinforced plastic, which gives it a fairly solid feel without becoming overly heavy. There's a textured coating around the handgrip and the back corner of the camera that gives a comfortable and reassuring amount of grip on the camera. The front and rear command dials are well positioned for forefinger and thumb operation without any need to shift your hand position on the camera.

It gains four extra buttons along the back of the camera, compared with its predecessor, which means its controls much more closely mimic those of the full-frame Z models, with dedicated +/– zoom buttons, a drive mode button and a 'DISP' button being added. There's an additional button on the top of the camera, too: just behind the existing [REC], ISO and Exposure Comp buttons is a dedicated 'Picture Control' button.

It doesn't gain the joystick that the full-frame models have, though, and the Stills/Movie switch they feature around their DISP buttons is instead on the Z50II's top plate. The Play and Drive Mode buttons are transposed relative to some of Nikon's full-frame models, but we doubt enough people will be trying to shoot both side-by-side for this difference to matter).

The Z50II also moves from a tilt up/down screen to a fully articulated one, as featured on the Zfc and Z30. Nikon has described all four of its APS-C Z-mount models as being for 'creators,' so this change is no real surprise.

Viewfinder & screen

The Z50II's viewfinder can now go as bright as 1000 nits, twice as bright as the one in the older model, which should mean there's less need for your eye to adapt when you're using the camera in bright sunshine. It's not bright enough to fully preview HLG images, though.

It remains a relatively low-resolution 2.36M dot display, in keeping with the Z50II's lowly position in the lineup. It offers 0.68x magnification, in equivalent terms, which is pretty large for a camera at this price.

Ports & slots

The Z50II's specs tell the story of how far we've come in the five years since the launch of the original model. Its SD card slot can now make full use of the faster UHS-II cards, while its USB socket has been upgraded to the Type C standard and 5Gbit/s transfer rates. It's also been made compatible with the UVC/UAC USB video and audio standards, so it can be used as a webcam without the need for any specialist drivers or software.

The camera also gains a headphone socket to allow audio monitoring, something that really boosts its usefulness as a video camera.

Battery

The Z50II uses a new EN-EL25a battery, which sees the capacity increase from 8.5Wh to 9.4Wh. Despite this 10% increase, the CIPA battery ratings for the Z50II are 250 shots per charge using the rear screen and 230 using the viewfinder. These are around 20% lower than on its predecessor, presumably as a consequence of the more powerful processor.

CIPA figures tend to assume extensive use of flash and rather more looking at image review than most people actually do, so we wouldn't be at all surprised to get twice as many shots as this in our own usage, more if we were shooting bursts. You can also gain around 9 percent more shots if you engage power-saving mode, but these aren't great figures for a camera you might want to use a lot.

As you'd expect, the camera can be charged over its USB-C socket, so there are ways to top the battery up fairly easily. However, it does not come with a battery charger in the box.

Image quality

Image Comparison

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The Z50II's image quality it very similar to that of its predecessor and, for that matter, to its peers. Detail capture is very similar to its rivals and, other than it being a prone to moiré at very slightly lower frequencies, the images look essentially the same when compared at a common output size. Likewise, its noise levels are very similar to other modern APS-C cameras even at very high ISO settings.

The color response is pretty standard for Nikon, with very yellow yellows but rather pink pinks, which is perhaps the root of some people's preference for other brands' skin-tone response. We enjoyed the real-world photos we got, but it's inevitably a question of taste. The default sharpening prioritizes emphasis over trying to convey the very finest detail being captured, suggesting Nikon expects you to print or view the images at a sensible size, rather than analyzing at a pixel level.

Noise reduction errs on the side of smoothing, and doesn't maintain fine detail quite as well as the best of its rivals, but neither is it the most heavy-handed. In practice the JPEGs are very usable.

Some rolling shutter can become apparent in the e-shutter based C30 mode, but it's only likely to be an issue for subjects moving quickly across the frame.

Video performance

The Z50II's core video specs are pretty standard for its class: 4K capture at up to 30p from the full-width of the sensor or 4K/60 from a native, 1.44x cropped region. Cropping has a number of disadvantages: using a smaller area of the sensor means noisier results (compounded by the shorter exposures typically used for faster frame rates), and can make it difficult to find a lens that gives a wide-angle view, once cropped.

However, as you dig deeper, there are details that help the Z50II stand out. It can capture 10-bit Hybrid Log Gamma (HLG) footage to give true HDR video when played back on high dynamic range displays. Alternatively, you can shoot Log footage: a means of preserving editing flexibility of tone and color for if you plan to significantly adjust the look of your footage when you edit (though shooting to capture extra highlights comes with a noise cost, so Log should only be used when necessary). You can also shoot standard color modes in 10-bit precision if you wish, but it's rarely worth doing.

	Crop	Rolling shutter rate
4K/30p	1.0 (full-width)	21ms
4K/30p with eVR	1.25x	17ms
4K/60p	1.44x	14.7ms

On top of this, the Z50II is the least expensive camera to offer a waveform display: helping you judge exposure by showing how light or dark different areas of the frame are. Collectively, these are capabilities that only used to appear on more video-focused high-end cameras.

And, above all these, the Z50II is one of the only cameras in its class to offer a headphone socket to allow audio monitoring. This is a big distinction, as bad audio will undermine a video more than slight difference in detail capture or rolling shutter, and good audio is difficult to maintain without some way of checking your recording levels and monitoring for interference or distracting background noises.

Image Comparison

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Something that counts against all the cameras in this class is the lack of in-body stabilization. The Z50II's kit zoom is stabilized and there's an electronic stabilization option that constantly adjusts the position of a crop of the video to counteract any camera movement, but both these options tend to be less effective than being able to move the sensor.

In use, autofocus is one of the more dependable systems we've encountered, especially if you're shooting a subject type that it knows how to recognize. Limited battery life is a significant downside, though. Despite these shortcomings, it's one of the strongest video options amongst its immediate peers, with only the more vlogging-focused (and less stills adept) Sony ZV-E10 II offering serious competition.

Autofocus

The Z50II has the same AF user interface as the rest of Nikon's newest cameras: you can choose everything from a single small AF point up to the whole image area or use the '3D Tracking' option to specify an AF point that should then follow your subject.

Its subject recognition modes are well-integrated, with the camera recognizing and tracking your choice of subject if it's suitably near the selected AF area or zone. This means you can easily select between subjects to track if there's more than one in a scene. Human detection is positioned within the subject recognition modes (and is part of the 'Auto' subject recognition mode), which makes it quick and easy to enable and disable subject recognition of all types.

The Z50II has the same user and headline AF specifications as Nikon's pro-level Z8 and Z9 cameras, but that doesn't guarantee the same levels of performance. And, both our testing and general usage shows this isn't the case.


1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

In practice we primarily used the human/face recognition aspect of the camera's 'Auto' subject detection mode and found it worked pretty well. It doesn't seem quite as decisive at finding and maintaining a subject as Nikon's other models, with fewer shots using a focus point on subjects' eyes, as a result.

Similarly, the '3D' tracking system generally does a good job of sticking to subjects the camera hasn't been trained to recognize, but it's not quite as dependable as we've become used to. But, underpinning it all, the camera seems to be very good at judging and anticipating subject distance.

In our standard tests, 3D Tracking consistently lost track of the subject at the second turn. Human detection and Auto Subject detection did much better, with Auto only losing the subject on one of our three test runs and then re-finding it before the end of the run. Human detection (shown above), did a very good job of keeping the subject in focus even in the maximum, 30fps mode.

It's not a bad performance, by any means, and represents a significant step up from the results we got from the Z50 (with the improvement being even greater in video mode), but it means we'd probably expect Canon's latest models to be a bit more dependable in stills mode.

In use

The Z50II's controls are all really well-placed, with the arguable exception of the Picture Control button, which we kept forgetting about. Given Nikon finds room for an AF joystick on its similiarly-sized Z5 model, it's a shame not to see one here.

In general use the Z50II behaves much like any other Nikon, which is to say very well. Its dials and buttons are well placed and its 'Easy Exposure Compensation' option makes it easy to assign Exposure Comp to one of the camera's main dials to put all your key shooting parameters at your fingertips.

Most of the key day-to-day features you might need are in the 'i ' quick menu and this can be customized if the shooting you do requires access to something else. This is probably for the best, as Nikon's menus, while well arranged, have become quite long and complex. The Customs Settings section is split into color-coded sections with logical names, so is easy to navigate, but the Photo and Video sections are now continuous, undifferentiated lists running to more than five screens-worth of scrolling, each.

Nikon's Auto ISO implementation retains all its perverse quirks: it's weirdly easy to set a minimum ISO that the camera will use, yet oddly difficult to set a minimum shutter speed for it to maintain, which is typically what you actually want to do. The camera's handling would also benefit from the AF joystick that the company's similarly-sized Z5 model offers.

The retractable kit zoom isn't optically great but it increases the likelihood of you having the camera with you at times you might otherwise not.

Nikkor 16-50mm F3.5-6.3 @ 37mm | F5.3 | 1/250 sec | ISO 8000
Photo: Richard Butler

We didn't find ourselves using the Picture Control button on the top of the camera: it's probably the hardest button to reach while you're shooting and isn't visually prominent enough to remind you of its existence.

Overall, though, the Z50II sits nicely in the hand and with the unexciting but usefully small kit zoom, makes a handily compact traveling companion. Its seemingly robust SnapBridge app makes it pretty easy to pull pictures off the camera to a smartphone, including a useful ∼8MP option (3240 x 2160px) that's more than sufficient for social media. A relatively sophisticated in-camera Raw reprocessing option lets you optimize your shots before you do.

Generally, it's a well-featured camera compared with its ∼$1000 peers. But some omissions, such as the lack of % change and battery life indication, feel like unnecessary cut-backs. It's difficult to imagine that it significantly adds to the price of the battery.

Conclusion

Pros	Cons
Excellent image quality Well-designed ergonomics Good AF performance with easy-to-use interface Snapbridge app is one of the most reliable we've encountered Excellent video spec (incl. 10-bit capture, waveforms and headphone socket) Pre-capture mode helps you catch the action Decent choice of color modes with good in-camera Raw re-processing option	Limited battery life No in-body stabilization (especially notable for video shooters) Autofocus performance good, rather than excellent Lens range remains somewhat limited Menu sections can have >5 pages of options in an unbroken list.

The Nikon Z50II is a really solid camera: delivering the spec, features and performance you might expect for a camera at this price and doing a wide range of things well. And, just as importantly, we found it to be engaging and enjoyable to use.

It's not the enthusiast-focused model with in-body stabilization and D500-like build or capabilities that some photographers are hoping for, but it does what it's supposed to do well.

What it doesn't do, though, is excel in any particular respect, at least for photography. Although its AF interface is a match for the Z6III, Z8 and Z9, its performance isn't. And while it's a very solid performer, it's not the best in its class. It's well-priced but competent, rather than compelling. The pre-capture mode could make it stand out for some types of photography, but there are few affordable lens options for activities such birding or sports that would benefit most from it.

Where it does stand out most is video. Its basic specs are pretty standard but the provision of 10-bit capture, a headphone socket and waveform display will help you get good results. This is backed up by an AF system that's dependable enough to use for anything that you could re-shoot if you needed to. Only the lack of in-body stabilization and the limited battery life hold it back.

Nikon's SnapBridge app has grown to be one of the more reliable and easy-to-use apps for transferring images to a smartphone.

The Z50II's sensor has been around for a while, but it still delivers very good image quality and its relatively low pixel count helps it deliver very decent 4K video. Its JPEGs are attractive, its Raws contain plenty of dynamic range and its resolution isn't meaningfully behind its 24MP peers.

Two main things stand in the way of the Z50II gaining our Gold award. The first is that, while companies such as Sigma and Viltrox sell some interesting prime lenses for Z-mount, Nikon hasn't granted licenses for the likes of Sigma's F2.8 zooms, which means there's less room to grow than with most rival APS-C mirrorless systems. You may find the choice of primes to provide all the expansion you need, so the more pertinent issue is its failure to stand apart from its peers. It's a really good camera but there's no regard in which we can say "it's better for this," which is required for our top award.

Its kit zoom very much prioritizes size over image quality but it still helps make the Z50II a more satisfying travel camera than just using a smartphone.

Nikkor 16-50mm F3.5-6.3VR @ 16mm | F6.3 | 1/60sec | ISO 100
Photo: Richard Butler

Except, perhaps, video. If you're someone for whom video is as important as stills, and your budget won't stretch to a more expensive, stabilized camera, you should perhaps imagine the silver award glinting in the last rays of evening sunshine, or with a warming, golden LUT applied to its Log footage. Battery life concerns aside, it's as a hybrid that the Z50II looks strongest.

Overall, we liked the Z50II a lot and think it's very much worth considering if you're looking for a relatively compact all-rounder. Depending on your tastes, of course; things might get even more interesting if Nikon updates its retro-looking Zfc with similar capabilities.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Nikon Z50II

Category: Mid Range Interchangeable Lens Camera / DSLR

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The Nikon Z50II is a very competent all-rounder for both stills and video. Its limited battery life dents its otherwise strong performance for video but overall it's an enjoyable camera to shoot with.

Good for

A wide range of photo and video pursuits

Not so good for

Being the 'everything camera' you build a system around.

88%

Overall score

Compared to its peers

There's not a lot to choose between the Nikon and Canon's EOS R10 in terms of performance: we found Canon's AF a little more reliable in stills but a little less so video mode. If video is your primary focus, the Nikon's waveforms and headphone socket make it easier to exploit to its full potential. Neither offers great battery life, so we'd really make the decision based on which sits more comfortably in your hand and, more critically, which has the lenses you want: the option to use Sigma's F2.8 APS-C zooms is a distinct benefit for the Canon.

The Sony a6400 is a significantly older camera, and while its stills AF is likely to be more reliable in many situations, its interface is rather more clunky and its subject detection is limited primarily to people. Its video now looks significantly off-the-pace, with appreciable rolling shutter and no 10-bit capability. The Sony E-mount has many more options than the Nikon, from Sony's own 16-55mm F2.8 to a host of third-party choices. For video the ZV-E10 II vlogging camera is a stronger competitor or the stabilized a6700 if your budget will stretch to it. In general, though, we'd go for the nicer-to-use Nikon over the a6400 at this point.

The OM System OM-5 again has a higher list price but offers significantly smaller lens/camera combinations with a much wider choice of lenses. You also gain both excellent image stabilization and weather sealing. However, image quality from that smaller sensor is generally lower, which becomes increasingly noticeable at higher ISOs. And, while single AF is fast, its AF tracking performance falls a long way short of the Nikon. The Z50II's lack of stabilization is a disadvantage but in every other regard it's a much stronger video camera.

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Leica SL3-S initial review

Thu, 16 Jan 2025 14:00:00 Z

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Product photos: Richard Butler

The Leica SL3-S is the company's fast 24MP full-frame L-mount mirrorless camera, sitting alongside the high-res SL3 and superseding the SL2-S.

Key Specifications

24MP BSI CMOS full-frame sensor with on-sensor phase detection
Up to 30fps shooting
IP54 weather sealed body
96MP Multi-shot high res mode
6K full-sensor 'open gate' video up to 30p
Full-width 4K video up to 30p, 60p with APS-C crop
ProRes 422 HQ internal capture, output to SSD and Raw over HDMI
'Camera-to-cloud' compatibility with Frame.io collaboration platform
CAI Content Credentials authenticity metadata

The Leica SL3-S will be available immediately at a recommended price of $5295.

Index:

Buy now:

What's new

Speed

Leica describes the SL3-S as its fastest-ever camera, able to shoot at up to 30fps. This can be done with Raw capture (12-bit), including full use of the camera's subject recognition and tracking autofocus.

In terms of autofocus, the SL3-S gains on-sensor phase detection and the ability to detect people (head/face/eyes) and animals.

In concert with this added speed, the SL3-S's Wi-Fi has been updated, now offering 2x2 Mimo for parallel connections. This allows transfers at up to eight times the speed offered by the SL2-S, with 40MB/s transfer allowing DNGs to be sent in around half a second.

High Resolution multi-shot

The SL3-S includes a multi-shot high resolution mode. Generally we find these to be of quite limited use (they tend to be fiddly and require absolutely static subjects to gain their full benefit) but, as part of the L² partnership with Panasonic, this is one of the better implementations.

You have the choice of a tripod mode or a handheld mode, which doesn't have such precise control of sensor movement, so doesn't give such detailed results. There's also a choice of how any motion in the scene is dealt with: either by combining shots to give blurred motion or by selecting a single frame to hide any intra-shot movement (but with lower detail in the areas of movement, as a result).

The nature of combining multiple shots gives a noise performance boost and this implementation has the benefit of letting you combine the images in-camera, rather than requiring desktop software.

Video

The SL3-S offers an extensive array of video modes, many of which map very closely to those offered by Panasonic's S5IIX model. So there's 6K Open Gate capture at up to 30p or 4K at 60p if you use the APS-C region of the sensor.

Open-gate shooting, which uses the whole sensor region, gives flexibility in the edit, letting you choose different crops from a tall 3:2 area, so you can add some movement to your framing by re-positioning the crop, apply post-shot stabilization, or cut both vertical and horizontal crops out of the same clip, if your target is social media.

Options include internal 5.8K ProRes 422 HQ capture or 4K/60 without record limits to a CFexpress card. Alternatively, 5.9K Raw at up to 30p or 4.1K Raw data from the APS-C region can be output over the HDMI socket for encoding by off-camera recorders. There's also the ability to capture compressed footage direct to an external SSD using the camera's USB-C output.

Content Credentials

The SL3-S also becomes one of the first publicly-available cameras to be able to embed 'Content Credentials,' the cryptographically-signed metadata authenticating the source of images it produces.

This lets you embed evidence that the image was taken using an SL3-S, in a manner that's becoming increasingly widely adopted. Popular editing tools such as Photoshop, Lightroom and Photo Mechanic can then add details of any edits they've conducted, letting you present a chain-of-custody to prove that no AI elements have been introduced.

The scheme has wide-enough backing across the industry that we'd expect some news services to start demanding content credentials on submitted images, and it's not impossible to imagine some photo contests going down the same path, if it becomes widely adopted.

Camera-to-cloud

Like recent Fujifilm models and several recent Panasonics, the SL3-S will gain the ability to upload images and footage directly to Adobe's Frame.io collaborative working platform. Once you've given the camera the login details for a Wi-Fi network, it can directly upload to a folder in Frame.io. In recent months, Adobe has been improving the integration between Frame and its other cloud-based applications, meaning images uploaded to Frame can then be ingested into a Lightroom catalogue, for instance.

Leica says this feature will be added during 2025.

Leica Looks

The SL3-S gains the latest 'Leica Look,' downloadable using the company's Fotos app, these include the 'Brass' look added in Fotos v.5.0.

The app now allows you to combine looks, with an option for the intensity with which each one is applied.

How it compares

As usual with Leica, the pricing of its cameras is inherently out-of-step with competing cameras with comparable specs from more quotidian brands. Here, we compare it with the Panasonic Lumix DC S5IIX, simply because they share a sensor, along with a fair number of features and capabilities, thanks to the L² tech-sharing partnership with Panasonic.

We also compare with the Nikon Z6III, which is a comparably fast 24MP full-frame camera. In terms of price, the more expensive Z8 is also relevant, but we're primarily looking at bodies that offer comparable resolution here.

	Leica SL3-S	Leica SL3	Panasonic S5IIX	Nikon Z6III
MSRP	$5,295	$6,995	$2,199	$2,496
Sensor	24MP BSI Full-frame	60MP BSI Full-frame	24MP BSI Full-frame	24MP 'Partially Stacked' Full-frame
Maximum burst speed	30fps (12-bit)	5fps (14-bit, AF-C) 15fps (14-bit, AF/AE locked)	30fps (12-bit)	20fps Raw 60fps JPEG
Viewfinder res/mag	5.76M dots OLED 0.76x	5.76M dots OLED 0.76x	3.68M dots OLED 0.78x	5.76M dots OLED 0.8x
Rear screen	3.2" tilting 2.3M dots	3.2" tilting 2.3M dots	3" fully articulated 1.84M dots	3.2" fully articulated 2.1M dots
Max video res	6K 'open gate' up to 30p	UHD 8K up to 30p	6K 'open gate' up to 30p	6K 16:9 capture up to 60p in N-Raw
Other video options	4K/60 (APS-C)	4K/60 (line-skipped)	4K/60 (APS-C)	5.4K/60 ProRes
Media types	CFexpress Type B UHS-II SD SSD (via USB)	CFexpress Type B UHS-II SD	2x UHS-II SD SSD (via USB)	CFexpress Type B UHS-II SD
USB	3.2 Gen 2 (10Gbps)	3.2 Gen 1 (5Gbps)	3.2 Gen 2 (10Gbps)	3.2 Gen 1 (5Gbps)
Battery life rating (EVF / LCD)	– / 315	– / 260	370 / 370	360 / 390
Wi-Fi	2.4/5Ghz 'ac' 2x2 Mimo	2.4/5Ghz 'ac'	2.4/5Ghz 'ac'	2.4/5Ghz 'ac'
Weight	852g	854g	740g	760g
Dimensions	141 x 108 x 85 mm	141 x 108 x 85 mm	134 x 102 x 90mm	139 x 102 x 74mm

On paper, the SL3-S looks very expensive, compared to its peers. Part of this is because a specs comparison isn't very good at capturing some of the things that Leica brings to the table: the SL3-S's exceptionally solid-feeling build (backed up by an actual, albeit relatively modest, IP rating), and its distinctive, photo-focused user interface. Then, of course, there's the mythos of the Leica name and the promise of being "handmade in Germany." Ultimately, along with the exclusivity that the price ensures, that's one of the things you're paying for.

Our tables only mark green and red factors that are unarguably beneficial or disadvantageous; it's up to each individual to decide how important pixel count or brand history are to them.

Body and handling

The SL3-S has essentially the same body as the original SL3: an impressively imposing and solid-feeling lump of metal. It's an unusually large camera by modern standards and one that's hard to miss, despite its distinctly minimalist aesthetic.

It uses the same control system as the SL3, which is one of the most focused interfaces we've encountered in many years. The SL3 is full of options and special functions, but the main control points are primarily geared towards the core exposure parameters.

A large dial on the top right of the camera and a command dial on the rear right shoulder handle most of your exposure controls, with a third dial on the left shoulder being customizable to cover a third parameter.

Beyond these, there are a series of customizable buttons whose function can be re-assigned by holding them down for a couple of seconds. The list of functions then available to be assigned can be modified in the camera's main menu, meaning you only see a list of the features you're likely to want quick access to.

The SL3-S gains a 2.3M dot tilting touchscreen without reducing its IP54 protection rating.

Photo montage: Richard Butler

As with the SL3, swiping your finger right-to-left across the settings screen switches the camera from stills to video mode, indicated by all the highlighting in the menu switching from red to yellow.

The menus are comparatively sparse despite the presence of complex, multi-option features such as high-res mode. And, while I still get confused by pressing left, taking me one tab to the left in the menus but pressing right not having the opposite effect (it selects or changes the current option), overall, it's one of the cleanest, most focused user interfaces in the industry.

Video mode selection

Where the camera's behavior becomes very odd or, at least, very unfamiliar is in the way you select video modes. You can select a video mode based on any basic parameter: resolution, frame rate, chroma-subsampling method and so on. Unlike most cameras, this doesn't then filter your list of other available options: if you then choose another parameter that's incompatible with one you've already selected, the camera simply overrules your existing choice.

With the 6K option 'locked,' the other parameters are then limited to options that are compatible with that choice.

If it's important to you, you can choose to 'lock' your selection. Doing so indicates that you've made an inviolable choice, and only then are the other options filtered so that you can only make selections compatible with your 'locked' selection. It's a very unfamiliar way of working, but it means you don't have to wade through a long list looking for a specific combination of settings and can instead just filter the options based on which properties are most important to you.

Battery

The SL3-S uses the same battery as the SL3, and is also compatible with the HG-SCL7 accessory grip and DC-SCL6 dummy battery options designed for it.

Photo: Richard Butler

The SL3-S uses the newer, larger BP-SCL6 battery from the SL3 and Q3s. It's a 15.8Wh capacity battery, up around 20% from the 13.4Wh of the SCL4. That's enough to drive the SL3-S to a rating of 315 shots per charge, using CIPA's standard testing protocol.

We always point out that CIPA numbers tend to significantly under-represent most people's real-world use, but are usefully comparable between cameras of a similar type. And, while we typically say you can expect at least double the rated value, Leica has developed its own variation of testing, which extends the number to over 1000.

Either way, it's a reasonable – but not great – number for a camera this big. And you'll probably want to think about a second battery or a USB-charging pack of some sort for more intensive shoots.

Initial impressions

The SL3-S takes its blacked-out minimalism from its predecessor which, unfortunately, is the approach that Panasonic has subsequently taken with its similarly-specced S5IIX model.

Photo: Richard Butler

From Leica's position, this is a lower-resolution, faster SL3 for $1700 less. But these cameras don't exist in a vacuum.

The very nature of being a luxury brand is that the price premium is part of the appeal. This will sound absurd to some people. But the exclusive price tag, along with the distinctive design, innovative UI and use of impressively high-quality feeling materials, is part of what sets it apart from other products.

What risks undermining this is partly the commoditized nature of many of the components modern cameras are built from (they're primarily using sensors, EVF panels and LCD screens purchased from a very small number of suppliers), but also the explicit technology tie-up with Panasonic.

Full-sized HDMI, headphone and mic sockets suggest Leica is serious about the SL3-S's use as a video tool

Photo: Richard Butler

This isn't, in any way, to take away from Panasonic, but if you can count through the features on a $5000+ Leica camera and identify how many of them have come from this Panasonic collaboration, then the temptation is to look at the Lumix lineup and ask yourself how close to this camera could you buy, if you don't need the super-premium build or superbly focused user interface.

Even for the ultimate heart-over-head purchase, the existence of the S5IIX risks amplifying the 'head' voice in the conversation.

It's somewhat unfair to solely focus on the Leica's price, but it's also not really possible, from a reviewer's perspective, because it's essential that I acknowledge that it'll immediately rule the camera out for a decent proportion of readers. But it is worth acknowledging the effort that's gone into the SL3-S compared with its predecessor: the faster Wi-Fi and powerful Fotos app, the full-sized HDMI port and CFexpress card slot that have been added to support its more advanced video features. All these improvements, as well as the L²-sourced features such as multi-shot mode make it a much better camera.

The SL3-S is a beautifully-built camera with a genuinely compelling user interface. Our impressions of its autofocus are that, as with Panasonic, its dependability in terms of continuous AF and subject tracking is somewhere behind the best of its peers. But overall it's a well-designed, feature-packed camera. The question is, does it have enough Leica stardust to make it appeal to you?

A short loan period and Seattle winter weather meant we weren't able to shoot a sample gallery with the SL3-S, but the experience of the test shooting we did do was hugely enjoyable.

Photo: Richard Butler

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Fujifilm X-M5 review

Thu, 19 Dec 2024 15:18:00 Z

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Buy w/ 15-45 at Amazon.com

Product Photos by Mitchell Clark/Dale Baskin

The Fujifilm X-M5 is the company's latest APS-C mirrorless camera and comes in as the lowest-end entry in its current lineup. It uses the company's last-generation 26MP X-Trans sensor, the same one found in cameras like the X-T4 and X-100V, but comes equipped with its latest processor, giving it access to Fujifilm's AI-powered subject detection autofocus.

Key features:

26MP X-Trans BSI CMOS sensor
X-Processor 5 with AI-powered subject detection AF
On-sensor phase detection
Fully articulated 3", 1.04M-dot LCD
20 Film Simulation modes, including Reala ACE
Continuous shooting up to 8fps (30fps with E-shutter and 1.25x crop)
6.2K 3:2 video up to 30p, 4K up to 60p with crop
External mic and 3.5mm headphone socket
Single UHS-I card slot
Battery life rated up to 330 frames (440 frames in Eco) per charge

The X-M5 is available in silver at a body-only price of $799. A black version is coming in April 2025. Fujifilm is also selling a kit with the X-M5 and its XC15-45mmF3.5-5.6 OIS PZ lens for $899. Optically, it's not our favorite lens, but its size and price make it an obvious pairing with this camera.

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ISO Invariance | Exposure Latitude

Index:

What's new

The X-M5 is a return to a relatively old form factor, as the last time we saw a camera with the X-M label was the X-M1 from 2013, the third camera to feature the then-new X-mount, though the X-A series carried on until much more recently. It's broadly made up of parts we've seen before, put together with a few new tricks.

A tiny design

The X-M5 is very lightweight and compact – even with the power zoom kit lens attached, it comes in under 500g (17.6oz) and is small enough to fit in a small bag or jacket pockets. Anyone who buys one will be hard-pressed to come up with an excuse not to take it with them when they leave the house.

It also helps that, subjectively, it's a very good-looking camera; Fujifilm's retro aesthetic with modern functionality continues to serve it well. More on that later.

The camera also features the film simulation dial found on the X-T50, which lets users play around with Fujifilm's color profiles to get the look they want without requiring them to dive into the menu. It may seem like a small thing given that Film Simulations have long been one of Fujifilm's main selling points, but putting them front and center like this strongly encourages people to experiment with them, even if they're averse to spending too much time in the menus.

4K LP video

The Fujifilm X-M5 has 4K and 1080p 'Long Play' modes that crop in on the sensor, letting you record for longer before the camera overheats. The 4K LP mode has a 1.18x crop and is available in 23.98p, 24p, 25p, and 30p. The FHD LP mode, meanwhile, is only available in 50p and 60p and comes with a 1.29x crop. The company says you can record for over an hour at 4K when using the LP mode in temperatures of 25°C (77°F) and around 20 minutes at 40°C (104°F).

The X-M5 also has two new low-bitrate options, letting you capture footage at 25Mbps and 8Mbps. This lets you sacrifice image quality for small file sizes in scenarios when you want to get footage out quickly and will only be using it on social media, where it'll already be heavily compressed.

If you want to shoot with heavier codecs, the X-M5 is compatible with Fujifilm's optional cooling fan, which can help extend record times without using the LP modes and the cropping and loss of quality that come with them.

Three-microphone system

Fujifilm has added an extra microphone to the camera to help distinguish between the audio you're trying to capture and ambient noise. Its UI lets you select whether you want it to let everything in, focus on audio from in front of the camera, behind the camera, or both. The last option could be useful if you're filming someone and talking to them from behind the camera.

The company also says the camera has improved wind reduction and added a new "Steady-State noise reduction" mode meant to make constant noises like air conditioners less noticeable.

If you'd rather plug in an external microphone, the X-M5 has cleverly placed the 3.5mm mic jack on the back of the camera, so the plug and cable won't block the screen when you're vlogging with it. The jack's cover is connected to the camera's body, so you don't have to keep track of a tiny piece of rubber when you're on the go.

Updated vlogging UI

Vlog mode isn't entirely new to Fujifilm's lineup: it appeared on the X-S20 as well, but the company has updated it for the X-M5, making it even easier to control the most important settings via the touchscreen.

Vlog mode has its own UI separate from the standard video recording interface. When you've selected Vlog on the control dial, the camera puts relatively large buttons on the touchscreen that allow you to control focus, access playback mode and start and stop recording.

The vlog mode UI has a clean layout with easy-to-press buttons for the most important functions.

There's also a menu button that brings up controls for other settings, letting you control eye autofocus, electronic image stabilization, 'Portrait Enhancer' mode, background defocus mode, product priority mode, and more without flipping the camera around.

Pressing the Menu button gives you access to most of the options you'd need to control while vlogging. From left to right:

Top: Shooting mode, focus mode, image stabilization mode, Face/Eye Detection setting, Portrait enhancer

Bottom: Background defocus mode, Product priority mode, high-speed recording, self-timer, 9:16 short movie mode

While you'll still have to use the physical buttons on the back of the camera to change things like which codec, bitrate, or resolution you're recording in, vlog mode does a good job of putting most of the controls you'll need on the touchscreen without being overwhelming to newcomers.

9:16 short video mode

The camera also gains a 9:16 short video mode, which records vertical video by taking a 1080 x 1920 crop from the middle of the frame, rather than requiring you to physically turn the camera into portrait orientation. When you're shooting in this mode, the display will show you the full 16:9 image but darkens the frame outside what's being recorded. You can choose whether you want your clip to be 15, 30, or 60 seconds long.

9:16 short video mode shows you the entire preview, which could help if you want to move the camera while recording.

The resulting videos will be small and quick to transfer to your phone for posting; by default the camera records them at an 8Mbps bitrate, though you can bump this up to 25Mbps. These bitrates, new for the X-M5, are also available across the camera's other video modes as well. File sizes will vary depending on what you're filming, but you can expect 60 second second clips shot at 8Mbps to usually be under 100 megabytes, or under 250MB if you shoot at 25Mbps.

The 15, 30 and 60-second record limits are upper boundaries, but you can stop recording before you hit the time limit; it's easy to imagine a worse version of this mode locking up your camera until the timer hits zero. If you want to record for longer than 60 seconds, you'll have to dig into the menus to switch to the 9:16 resolution mode, which also gives you control over codec and bitrate.

USB-to-smartphone transfer

Fujiifilm also says you'll be able to use XApp transfer files from the X-M5 to your phone using a USB cable, which should be appreciably faster and more reliable than Wi-Fi. That's especially true given that the camera only supports an older Wi-Fi standard, not the faster 5Ghz standard.

In our tests, transferring a two-minute 4K video took around 28 seconds using a USB 4 cable and 11 minutes and 14 seconds using the camera's built-in Wi-Fi, so if you're someone who wants to capture something and post it right away, you'll definitely want to keep a cable within reach. That may be slightly annoying if you have an older iPhone, as you'll need a slightly more specialized USB-C to Lightning cable, but that should be less of a problem in the future as more and more people upgrade to phones with USB-C.

How it compares

The X-M5 is far from the first small interchangeable lens camera pitched as a hybrid vlogging and photography tool.

This time, Fujifilm is using size, price, and convenience to make its offering more appealing to people who are used to shooting on their phones. While it's certainly bigger than a modern smartphone, it costs about as much as buying the latest iPhone outright, even with the kit lens, and its litany of vlogging features should make it easier to get professional-looking video.

Fujifilm's also leaning on design; it's a safe bet that many creators know what its cameras look like now, ever since the X100V went viral. From its film simulation dial to the mic jack that's apparently inspired by the look of tiny viewfinders on vintage cameras, the X-M5's design screams, "this is a camera you want to be seen with."

	Fujifilm X-M5	Sony ZV-E10 II	Sony a6100	Canon EOS R50	Fujifilm X-T30 II
MSRP	$799, $899 with 15-45mm	$999, $1099 w/ 16-50mm OSS II	$750, $850 w/ 16-50mm	$679, $799 with 18-45mm	$899, $999 with 15-45mm
Pixel count	26 MP	26 MP	24 MP	24 MP	26 MP
Mech shutter	Yes	No	Yes	Yes	Yes
Top plate command dials	2	1	1	1	2
Max burst rate	8 fps (mechanical) 30 fps (e-shutter)	11 fps	11 fps	12 fps 15 fps (elec)	8 fps (mechanical) 30 fps (e-shutter)
Rear screen	1.04M-dot fully articulated	1.04M dots fully articulated	921K dots tilting	1.62M dots fully articulated	1.04M dot fully articulated
EVF	No	No	1.44M dots, 0.71x magnification	2.36M dots, 0.59x magnification	2.36M dots, 0.62x magnification
Video capabilities	6.2K/24p (3:2) 4K/60p (1.18x) 4K/30p, 24p no crop 10-bit	4K/60p (1.1x) 4K/30p, 24p no crop 10-bit	4K/30p 1.23x crop 4K/24p no crop 8-bit	4K/30p no crop 4K/30p no crop 10-bit HDR mode	4K/30p no crop 8-bit
Log video	F-Log / F-Log 2	S-Log 3 / S-Log 3 Cine Gamut	No	No	F-Log
Mic / Headphone sockets?	Yes / Yes	Yes / Yes	Yes / No	Yes / No	Yes / No
Battery life (LCD)	440 frames	610 frames	420 frames	370 frames	380 frames
Card slot	1x UHS-I	1x UHS-II	1x UHS-I	1x UHS-1	1x UHS-1
Dimensions	112 x 67 x 38 mm	121 x 68 x 54mm	120 x 67 x 59mm	116 x 86 x 69 mm	118 x 83 x 47 mm
Weight	355g	377g	396g	375g	378g

The Sony ZV-E10 II is the most similar competitor to the X-M5. It, too, features a three-capsule microphone (though it comes with a handy wind cover for it), has background defocus and product showcase modes, and a microphone and headphone jack. It's arguably even more focused on video, with 10-bit internal recording and 4K/60p recording – though that focus comes at a cost for photography, as it lacks an EVF, just like the X-M5. Fujifilm's offering does at least include a mechanical shutter. Sony's autofocus tracking is also substantially stickier, especially in video.

Sony's a6100 can't quite match the X-M5's video specs, given its lack of a headphone port, 8-bit video, and crop in 4K/30p mode. However, its EVF will make it more enticing to people who want photography capabilities first and video second.

It's much the same story with the Fujifilm X-T30 II and the Canon EOS R50, though the latter distinguishes itself by being notably cheaper than the rest of the cameras in this lineup and by having the nicest display.

Body and handling

The X-M5 is a very compact camera; compared to the Sony ZV-E10 II, it feels smaller than the minor differences in its dimensions would suggest. Part of that can likely be chalked up to its much shallower grip, but what's there is confidence-inspiring, especially when using the relatively small lenses that most people will likely pair with this camera.

While the camera is almost entirely plastic, it doesn't feel especially cheap. There are no creaks or squeaks when you're using it, the buttons are satisfyingly clicky, and the dials and hinges are reassuringly stiff.

Another nice touch is the inclusion of two top-plate command dials, which let you easily adjust your exposure settings without having to change your grip on the camera or switch to using the touchscreen. Of course, the target audience of vloggers and beginners may not be in the habit of manually adjusting exposure parameters, but it offers those users some room to grow.

You need good aim to hit the Q button.

The Q button is less ideal. It's recessed and on the top of the camera rather than the back, which makes it a little difficult to access, especially when you're trying to change settings quickly. Also not helping matters are its small size and the fact that it's nestled between two large dials.

Given how many video features the camera has, it's also a bit disappointing that the slower UHS-I SD card slot is in the battery compartment on the bottom, which could make it difficult if you have a tripod plate installed. It's understandable why it isn't on the sides, which are mostly taken up by the headphone jack, USB-C port and micro-HDMI connecter, but it'll likely be a friction point for some users.

The camera doesn't have a D-pad. You can set focus with the touchscreen or joystick, and use swipes on the touchscreen to bring up menus of your choosing.

The camera also gives you plenty of room for customization via the four 'C' settings on the mode selector dial. For example, you could set C1 up to use eye detection, C2 to be another subject detection mode, and C3 to be standard autofocus, letting you easily switch between them without ever touching the menu. You can also choose whether each custom slot will be a photo or video mode.

On the opposite side of the spectrum is the Auto mode, which gives the camera almost full control, while letting you make a few modifications to its choices if you see fit. it's a good inclusion for beginners new to the world of dedicated cameras, and doesn't restrict you from shooting Raw, in case you want to also learn how to make substantial edits to your photos.

The camera also has a likely less useful 'Filter' mode, which engages the camera's selectable Instagram-style filters to change the colors and add various effects such as vignetting. Anyone wanting to play around with the look of their image should probably reach for the Film Simulation dial instead, as its adjustments to your image's color and tone are generally more subtle and pleasing.

The mode dial also lets you switch the camera into video mode and vlog mode, which are two separate beasts. We've already covered the vlog-specific UI, but it's also worth noting that vlog mode and movie mode have separate settings, letting you quickly switch between entirely different modes of shooting.

Battery

The X-M5 uses Fujifilm's 8.7 Wh NP-W126s battery, which has been around since the days of the original X-M1 and persists in modern cameras like the X-T50 – Fujifilm's higher-end, physically larger cameras have moved on to a new, higher-capacity model. It's rated to last around 330 shots or 440 if you're using eco mode. That'll likely be good for a day or so of shooting or a weekend of sporadic photography, though it's far from one of the best batteries in its class.

The camera has a USB-C port, which it can charge with even while in use.

Image Quality

Image Comparison

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Looking at the Raws produced by the X-M5, it produces relatively detailed images, though most of its competitors capture slightly more detail despite having similar-resolution sensors. Some of that is likely because Adobe Camera Raw doesn't get the best from Fujifilm's proprietary 'X-Trans' color filter design, which helps prevent some of the false color that some of its competitors produce in areas of fine detail.

At higher ISOs, it tends to produce slightly less noise than its competitors, though by the top of the range, it has roughly the same level of noise.

As for its JPEG performance, the X-M5's sharpening at base ISO isn't quite as strong as Sony's or Canon's when it comes to making fine details pop. That trend continues into higher ISOs, where its noise reduction does a decent job at smoothing out noise but can't quite keep the finer details that its competitors can.

Colors

The Velvia Film Simulation can be a bit heavy-handed for some people's tastes, but others like it.

Out of Camera JPEG

ISO 160 | 1/2700 sec | F2.8 | Fujifilm XF 27mmF2.8

One of the X-M5's main features is its 'Film Simulation' dial, which lets you quickly change the color mode for your JPEGs. The standard profile produces Fujifilm's typically pleasing colors, but if you want a more noticeably retro aesthetic, profiles like Classic Chrome or Nostaglic Negative are right at your fingertips.

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Dynamic Range

The X-M5's dynamic range performance is similar to that of its competitors, which means it will handle most scenarios with bright lights and darker shadows reasonably well. However, you'll need to either adjust your exposure and work on the Raw files or use one of the camera's DR modes to get the most out of it.

It has Fujifilm's Dynamic Range modes that give you the option of capturing one or two extra stops of highlight information in high-contrast scenes. This can require an exposure reduction in bright scenes, which increases the noisiness of the image but provides a relatively simple way to get an out-of-camera JPEG without blown-out highlights.

Autofocus

The X-M5's autofocus system is similar to the ones found on Fujifilm's higher-end cameras, such as the X-T50. It lets you choose anything from a fine AF point up to selecting the whole image area, which lets the camera select a subject. In continuous AF mode, there's also a 'Tracking' option that follows whatever is under the AF target when you half-press the shutter. You can use the joystick or the touchscreen to select a focus point.

It has AI-derived subject recognition, letting it recognize human faces / eyes, animals, birds, cars, motorcycles / bikes, airplanes and trains while taking pictures or videos.

The human settings are separate from the other subject detection modes, so switching between them can be a slight hassle since they're two separate menu items rather than humans being listed as one of the subject types.

Face and eye detection settings are in a separate menu.

The subject recognition system works with the different focus point selection modes. For example, if you use a single point and have the camera set to recognize birds, it'll look for any birds around your chosen point. In our testing, the camera wasn't overly aggressive in focusing on a recognized subject; if we had facial recognition on and a human was somewhere in the frame, we could still focus on something else without the X-M5 fighting to focus on the face.

The X-M5 performed well in our basic autofocus test, which involves putting a single AF point on a subject and having the subject approach the camera at a consistent speed. A few photos throughout our three runs came out soft, but it got focus right on the vast majority.

Our autofocus tracking test is more complicated and requires the camera to follow a subject that's moving around the frame and approaching at a variable speed. Using basic tracking with no subject detection, the X-M5 struggled; it would consistently lose track of the subject the second or third time it slowed down and couldn't pick it back up.


1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

Switching to face detection yielded far better results, as the X-M5 was able to keep its focus point on the subject throughout the entire run. However, while the camera managed to keep track of the correct subject, it wasn't able to assess and respond to the changes in approach speed, meaning a handful of shots focused at the wrong distance.

At this point, it's clear that Fujifilm's tracking system is a fair bit behind the offerings of competitors like Nikon, Canon, and Sony, both in terms of the stickiness of general AF tracking and in terms of judging subject distance and keeping the subject in focus. While testing the X-M5, we also encountered a few situations where it would hunt back and forth for focus before eventually settling on the subject. This was more prevalent in low-light situations but would occasionally happen in daylight.

Video

The X-M5 has a range of video modes, including UHD and DCI 4K at up to 60fps, 1080p at up to 240fps, and a 6240 x 4160 '6K' open-gate mode that lets you shoot full-sensor video at up to 30fps that can be cropped later, allowing a horizontal and vertical crop from the same footage, for instance.

Several video modes on the X-M5 require the camera to crop in, making the frame tighter, and turning on electronic image stabilization adds a further crop on top of those, though the amount will depend on your resolution and framerate. The UI makes it clear whenever you're shooting with a crop.

You don't have to change to video-appropriate settings when you switch modes

The camera also keeps your photo and movie settings largely separate; the white balance, exposure settings, and subject detection mode you pick in photo modes won't carry over to video mode, so you don't have to worry about quickly changing to a video-appropriate shutter speed every time you switch between modes. By default, the Film Simulation dial setting will carry over between photo and video modes, though you can prevent that by turning on Movie Optimized Control, an on-screen interface that lets you control your color mode and other video settings using the touchscreen when in video mode.

Despite being an entry-level camera, the X-M5 has several advanced video features. Open-gate video could be counted among them, since it generally needs to be edited before you can share it, which Fujifilm doesn't let you do within its app. You can also shoot in F-Log if you want flexibility to adjust color and contrast in post, and the camera supports 1/48 and 1/96 shutter speeds, which are perfect matches for shooting at 24fps. You can also use its autofocus illuminator as a front tally light to make clear when you're recording, and it even supports Tascam's XLR adapter for connecting professional-grade microphones, along with support for recording four-channel audio.

Video Performance

Image Comparison

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The X-M5's 4K video is relatively detailed, even managing to be just about as clean as other cameras' 'HQ' modes, which downsample their 4K video from higher-resolution capture, often at the cost of higher heat output or cropping.

Shooting above 30fps in 4K will result in some loss in quality, though switching to 4K LP mode doesn't seem to impact much, beyond the crop. Using the lower-bitrate modes can introduce some artifacts and loss of detail, but given that it's intended for social media that likely would've happened anyways after your file goes through a site's compression algorithm.

Rolling shutter

If you shoot fast-moving subjects with the X-M5 or move the camera quickly, there's a good chance you'll run into issues with rolling shutter, where the video gets a jello-like skewing effect.

Shooting mode	Crop	Rolling shutter rate
6K open-gate	Full-width (3:2)	24ms
4K/24p	Full-width (16:9)	21ms
4K/60p	1.18x	16ms
4K/24p LP	1.18x	16ms
1080p/24p	Full-width (16:9)	13ms

Generally, we'd consider 24ms of rolling shutter to be somewhat poor and 21ms to be at the very limit of what we'd consider acceptable. Fujifilm says its digital image stabilization helps correct rolling shutter, and our tests showed that it appeared to be applying some compensation, it also uses a smaller portion of the sensor, which helps further reduce rolling shutter a little.

Overheating

The X-M5's relatively compact form factor makes it seem like it'd overheat easily, and the included LP modes imply that Fujifilm was at least worried enough about it that it wanted to include a workaround for shooting in extreme conditions. However, you may not have to worry about it much in everyday use, especially if you're mainly shooting indoors or in the shade; we tested the camera by shooting its full 4K UHD mode – not the cropped LP mode – and were able to get over an hour over continuous recording in ambient temperatures of around 24°C (76°F).

Vlogging Features

The X-M5 has a Vlog setting on its mode dial, which gives you access to the special vlogging UI. To illustrate how it performs as a vlogging camera, we've produced a short vlog with it.

Conclusion

By Mitchell Clark

Pros	Cons
Relatively affordable way into photography Compact, attractive design Excellent image quality with proven Fujifilm colors Can do flash photography if needed Capable video abilities for vlogging or basic filmmaking Good ergonomics Excellent lens selection Decent battery life when shooting stills	Only has 2.4Ghz Wi-Fi Autofocus system struggles to predict subject distance, leading to disappointing hit-rate General AF tracking prone to losing its subject Switching between face and subject detection is a two-step process Screen can be difficult to see in the sun Cameras with viewfinders are available for similar money Shooting video can run the battery down quickly

If you're looking for a camera to take pictures and videos for social media, the X-M5 is, at the very least, worth your consideration. The Film Simulation dial makes it exceedingly easy to control Fujifilm's famous color modes, so you can pick the right one for your post, and the camera's design makes it relatively easy to control basic photo settings once you've got the hang of it.

That design is also attractive, which is important if you're going to be carrying it around all day and if people are potentially going to be taking pictures of you while you're holding it. Thankfully, it's not much of a chore to take it with you since it's relatively compact and lightweight, depending on what lens you have attached.

Of course, it doesn't matter how easy it is to tote a camera around if it doesn't actually outperform your phone when it comes to taking pictures. Thankfully, the X-M5's image quality is good enough to justify its place, and its surprisingly capable video modes make it relatively easy to get professional-looking results.

The big downside is its autofocus

The big downside – the one that earns it a Silver award instead of a Gold – is its autofocus. On a camera like this, you want it to be simple, effective and reliable, and it doesn't always nail all those points in the way its competitors can. While its subject detection works well, it can struggle to predict where to focus, an issue you might struggle to work around if you're not familiar with techniques like pre-focusing or zone focusing.

There are other quibbles, too. At this price point, most of its peers have a viewfinder, which some people will miss, and transferring photos to your phone can take a while which is unfortunate given that this camera is so focused on creators and social media.

Despite those complaints, the X-M5 can still be a joy to use after you've learned to work with it, and it has enough capabilities to grow with you as a photographer. While there are other sub-$1,000 cameras worth considering, it's an easy camera to recommend to those looking for what it offers.

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Fujifilm X-M5

Category: Entry Level Interchangeable Lens Camera / DSLR

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The X-M5 nails most of the basics for taking photos and videos, especially for beginners.

Good for

Beginner photographers and fans of the 'Gram

Not so good for

Shooting fast-moving subjects or in bright light

84%

Overall score

Compared to its peers

The Sony ZV-E10 II is a video camera that can also take pictures, whereas the X-M5 is a stills camera that can also do video. Sony's vlogging camera has a large record button front-and-center, a zoom toggle for powered lenses around its shutter button, and comes standard with a windscreen for its capsule microphone. Meanwhile, the X-M5 has a mechanical shutter and twin top-plate control dials. The Sony will have more reliable autofocus tracking, though it can't detect as many subjects as Fujifilm's system – vehicles are a notable absence. Its design is also much more utilitarian and not as pocketable.

Sony's a6100, meanwhile, is decent for photos with its inclusion of a mechanical shutter and an EVF. Its video modes are no match for the X-M5's, though – it can't shoot the easy-to-edit 10-bit video, doesn't have a headphone port and has a substantial crop when shooting anything above 4K 24p. It also has a tilting screen instead of a fully articulating one, making it worse for vlogging.

Fujifilm's X-T30 II is designed around photography fundamentals. It has an EVF, built-in flash and dedicated dials for exposure compensation, shutter speed, and drive mode, though not for Film Simulations. Its video specs aren't as capable, and its battery likely won't last as long, though its biggest weakness compared to the X-M5 is its older processor, which doesn't support the AI-derived subject detection modes. It does still support face and eye detection for humans, but that's it.

The Canon EOS R50 fares very similarly upon comparison; it, too, has an EVF and pop-up flash, but is larger and only has a single control dial. Its video also can't quite live up to the standard of the X-M5's, as it can't shoot 4K 60p at all, and while the APS-C lens selection for RF mount has improved since we originally reviewed the EOS R50, it's still substantially better on Fujifilm's system.

While the Nikon Z50 II hadn't been announced when we initially reviewed the X-M5, it's an obvious competitor – it, too, has a focus on color modes, with Nikon adding a direct control for them to the body. While we haven't fully tested the Z50 II, we expect its autofocus performance to be a cut above Fujifilm's, though there are substantially more APS-C-appropriate lenses available for X-mount compared to Z-mount.

Buy now:

Buy w/ 15-45 at Amazon.com

Sample Gallery

Sample gallery

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Pre-Production Sample Gallery

Sample gallery

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Sony a1 II preview

Tue, 19 Nov 2024 14:30:00 Z

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Product photos by Mitchell Clark

The Sony Alpha 1 II is the company's latest flagship full-frame mirrorless camera. It's built around the same 50.1MP stacked CMOS sensor as the original but now includes an "AI processing unit," which allows its autofocus system to recognize seven different subject types and to automatically select one based on what's in the scene.

Key specifications

50.1MP stacked CMOS sensor
In-body stabilization rated at up to 8.5EV
Improved autofocus subject recognition with automatic selection
Continuous shooting at up to 30fps with full AF tracking
Pre-release capture from 0.03 to 1 second
Fully-articulated rear screen on tilt-out cradle
8K 30p video downsampled from 8.6K / 4K 120fps
9.44M dot viewfinder with refresh up to 240fps (at lower res)

The a1 II will retail for $6,499.99 – the same as its predecessor – and will be available in mid-December.

Index:

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What's new

Despite using the same sensor as its predecessor, Sony claims the a1 II will have improved image quality at mid-to-high ISOs thanks to its improved image processing engine. Presumably, these improvements will only appear in the JPEGs.

Improved Autofocus

The original a1's autofocus system could recognize humans when shooting stills and videos, and animals and birds when shooting stills. The a1 II, however, inherits the dedicated "AI processor" seen in cameras like the a7R V and a9 III and can now recognize even more subjects: it adds insects, cars, trains and airplanes. All the recognition modes are now available in movie mode as well, and the system can specifically target key parts of recognized subjects, such as a driver's helmet.

The a1 II brings an 'Auto' subject recognition mode to the Alpha line

Sony also claims that human and animal eye recognition should be around 30% better than the a1 and that bird eye recognition should be 50% better. The Animal and Bird modes have also been merged, meaning you won't have to switch between subject recognition modes if you want to go from shooting animals to birds or vice versa.

The a1 II's Auto Subject Detection mode lets you narrow-down the types of subject it'll search for, to help optimize the performance.

Not that you would necessarily have to switch modes manually. The a1 II is Sony's first Alpha camera to have an Auto subject recognition mode, where it can determine what type of subject it should be tracking and lock on to it. As with the similar system on Nikon's cameras, this comes with a small speed penalty compared to having a specific subject recognition mode selected. However, it can be useful if you need to quickly go between shooting a variety of subject types.

You can also speed up the system by limiting which types of subjects the Auto mode selects between; for example, you can make it so it only looks for humans, animals, and birds if you're not planning to shoot any insects or vehicles.

Finally, Sony's also adding extra small and extra large spot focus area options.

Pre-Capture

One feature that's become commonplace since the launch of the a1 is pre-capture – a way for the camera to save the moments before you press the shutter, helping you capture key moments beyond your ability to anticipate them. The a1 II adds it, recording up to 30 frames in the moments leading up to you pressing the shutter button, though if you want to go above 20fps, you will be limited to using lossy compressed Raws instead of lossless compressed ones. When enabled, the pre-capture is activated by a half-press of the shutter, the press of the AF button, or both, depending on your settings.

You can set the pre-record window to be as short as 0.03 seconds or as long as a second, with several options in between.

Better stabilization

The a1 II's internal image stabilization is now rated for up to 8.5 stops in the center of the frame and 7 stops on the periphery (a new CIPA metric), up from a 5.5 stop rating on the a1.

Viewfinder

Hardware-wise, the a1 II's EVF seems largely unchanged from the a1's: it's the same resolution and can run at the same 240fps, but resolution drops when you do. There's now a 'deep' viewfinder eyecup included in the box, alongside the standard one

Video

The a1 II retains most of the original's video specs. This means 8K capture at up to 30p, full-width 4K capture at up to 60p and up to 120p with a 1.13x crop. The 4K isn't derived from the 8K footage, though, so you don't gain the detail benefit of 2x oversampling.

The a1 II adds a few quality-of-life updates, though. The most impactful will probably be the aforementioned support for using all the subject tracking modes while shooting video, but you can also now import up to 16 custom LUTs that you can use to preview what your Log footage will look like when graded. You can also embed the LUT alongside your files, so that someone else editing your footage can match your intended look.

Just as we've seen with Sony's other recent large-sensor cameras, the a1 II only shoots the S-Log3 profile, which captures a very wide dynamic range. It no longer offers the less expansive S-Log2 option. The a1 II also gains the attractive and flexible S-Cinetone profile if you don't want to color grade in post.

The camera also has the Auto Framing feature found on some of Sony's vlogging cameras, where it will crop in on the subject and move the frame around to make it seem like there's a cameraperson tracking them. There's also a 'Dynamic active' image stabilization mode, which Sony says will increase the stabilization by up to 20% compared to the standard 'Active' mode, and a 'Framing Stabilizer' mode that's meant to ensure that your frame maintains the same composition as much as possible when shooting handheld.

Noise Reduction Composite Raw

Sony has expanded on the a1's pixel shift multi-shot mode, adding a noise reduction mode that shoots between 4 and 32 Raw images that can be composited together using a desktop computer running the company's Imaging Edge software. Sony pitches it as a mode for low-light portraiture.

It's most easily understood as a multi-shot mode without the pixel-shift movement. Rather than trying to boost resolution it aligns and combines multiple images to boost the signal-to-noise ratio (ie: tonal quality) at each pixel position. As with pixel shift mode, it'll work best when there's little to no movement within your scene.

The a1 II also gains focus bracketing, which the original a1 lacked.

How it compares

The most direct competitor to the a1 II is Nikon's Z9, its pro-focused high speed, high resolution model. Canon's EOS R1 lower resolution makes it more of an a9 III competitor, but it's these models primarily and explicitly made for professional shooting in the most demanding circumstances that Sony's trying to target.

However, given how much of the Z9 and R1 Nikon and Canon have included in the Z8 and EOS R5 II, respectively, it's also fair to include one of those models here, too. Sony doesn't use the two-grip and larger battery design for its pro models, which makes the comparison even more inviting, despite them being a different class of camera.

	Sony a1 II	Nikon Z9	Canon EOS R5 II	Sony a1
MSRP	$6,499	$5,499	$4,299	$6,499
Pixel count	50MP	45MP	45MP	50MP
Sensor type	Stacked CMOS	Stacked CMOS	Stacked CMOS	Stacked CMOS
Max frame rate	E: 30fps lossy compressed Raw / 20fps lossless compressed raw	20fps 14-bit Raw 30fps JPEG	E: 30fps M: 12fps	E: 30fps lossy compressed Raw / 20fps lossless compressed raw M: 10fps
Flash sync speed	M: 1/400 E: 1/200	E: 1/200	M: 1/200 E: 1/160	M: 1/400 E: 1/200
Stabilization	8.5EV center, 7EV periphery	6EV	8.5EV	5.5EV
Max video res / rate	8K/30	8K/60	8K/60	8K/30
Video formats	XAVC HS XAVC S XAVC S-I	N-Raw ProRes Raw ProRes 422 HQ H.265 H.264	Canon Raw Canon Raw Light XF HEVC S XF AVS S	XAVC HS XAVC S XAVC S-I
AF sensitivity	-5.33EV*	-5.0EV (-7.0 in Starlight AF mode)	-7.5EV	-5.33EV*
Viewfinder	9.44M dots 0.90x	3.69M dots 0.80x	5.76M dots 0.76x	9.44M dots 0.90x
Rear LCD	3.2" 2.1M dot, fully articulating with tilt	3.2" 2.1M dot, 4-axis tilting	3.2" 2.1M dot, fully articulated	3.0" 1.44M dot, tilting
Connectivity	802.11ac Wi-Fi 2x2 MiMO USB-C 3.2 Gen 2 10Gbps 2.5Gb Ethernet 2x CFexpress Type A / UHS-II SD	802.11ac Wi-Fi USB-C 3.2 Gen 1 5Gbps 1Gb Ethernet 2x CFexpress Type B	802.11ax Wi-Fi 2x2 MiMO USB-C 3.2 Gen 2 10Gbps 1x CFexpress Type B 1x UHS-II SD	802.11ac Wi-Fi USB-C 3.2 Gen 2 10Gbps 1Gb Ethernet 2x CFexpress Type A / UHS-II SD
Stills battery life EVF / LCD	420 / 520	700 / 740	250 / 540	430 / 530
Video battery life (LCD) Cont. / Actual	150 min / 90 min	170 min / -		150 min / 95 min
Dimensions	136 x 97 x 83mm	149 x 150 x 91mm	138 x 98 x 88mm	129 x 97 x 81mm
Weight	743g	1340g	670g	737g

* - Sony rates its AF sensitivity using an F2 lens, while Nikon and Canon use an F1.2 lens. We've adjusted Sony's rating by -1.33EV to account for the difference.

The a1 II has the joint fastest shooting rate here and its sensor readout is quicker than the roughly 1/160 that the EOS R5 II can achieve. Likewise it has a built-in Ethernet connection, which the Canon lacks and, unlike the EOS R5 II and Nikon Z8, has matched card slots so that pros can focus on a single type of media and never have to worry about an performance difference between slots.

It's much more evenly-matched against the Z9, which has a much lower resolution viewfinder but a low-latency readout path from its sensor to make the viewfinder more responsive. The Z9 can only shoot at up to 20fps in Raw, dropping to 12-bit readout and JPEG-only mode to hit 30fps.

Body and handling

Given that the a1's audience is professionals who use it day in and day out, it's no surprise that Sony has been conservative with changes to its magnesium body and controls – the a1 II's tweaks are largely the same as the a9 III's, with the grip getting deeper and the shutter button being angled forward towards your finger.

The dials and buttons are largely in the same places, though the exposure compensation markings have been removed from the locking top-plate control dial. The stills / video / S&Q modes have also been moved to a sub-dial rather than being settings on the mode selector dial, and the drive select dial now has a disable setting that lets you control the camera's drive mode purely through menus.

The a1 II also features an additional programmable button on the front next to the grip. By default, it acts as a 'Speed Boost' button, upping your shooting rate as you hold it down. For example, you could be shooting at 15fps and press the button to start shooting at 30fps for a few seconds when the action speeds up or when you want to be sure you'll capture a specific moment. This option can be moved to another button and the boosted frame-rate can be tailored to suit your subject.

The biggest physical change is the display. It's a bit larger and higher resolution than the a1's, and it can now tilt in addition to being fully articulated. It's a design we saw with the a7RV, and one that should make both photographers and videographers happy. It also has the slightly updated menu system from the a7RV as well, with the interactive settings tab.

As discussed above, the viewfinder is largely still the same, with a large 0.9x magnification and 9.44M dots giving a resolution of 2048 x 1536px. Its 120fps mode is nicer to use now that it doesn't come with a substantial drop in resolution.

Ports and slots

The a1 II's I/O is largely unchanged from its predecessor, though the ports have moved around a bit. It still has a headphone and microphone jack, a USB-C port that runs at 3.2 Gen 2 10Gbps speeds, a full-size HDMI port, Sony's micro USB 'Multi' accessory port, and a flash sync port.

It also has dual-band 2.4 and 5GHz Wi-Fi with 2x2 MIMO and an upgraded Ethernet port that runs at 2.5Gbps instead of the 1Gbps speeds the port on the a1 was limited to. That should make transferring large videos and batches of photos over long distances faster – try finding a high-speed USB-C cable that's more than a few meters long – and is another sign of the pro workflows this camera is designed to support. The Ethernet port also now has a Wake on LAN feture that can be used to remotely turn the a1 II on using Remote Camera Tool.

On the other side, the a1 II features a pair of the combined CFexpress Type A / UHS-II SD card slots for storage that feature on many of Sony's cameras.

Battery

The a1 II uses Sony's NP-FZ100 batteries, and includes a dual-battery charger in the box, which it claims will charge two batteries at once in around 155 minutes.

The camera is rated to give 420 shots per charge when using the rear screen. As always, CIPA figures tend to significantly underestimate the actual number of shots most people will get, and this discrepancy gets significantly larger when you're shooting bursts. But, while we'd expect a camera rated at 420 shots per charge to actually be able to shoot multiple times this number in practice, it's usually a good indicator of how its battery life compares with other cameras (ie: if it gets a rating 50% lower than another camera, it's likely to capture around 50% fewer shots per charge).

Initial impressions

By Richard Butler

The a1 II's AF proved very effective at staying focused on the player we'd specified, in our testing so far.

Sony FE 400mm F2.8 GM OSS | F2.8 | 1/4000 sec | ISO 640
Photo: Richard Butler

When the original a1 arrived, just shy of four years ago, it represented an unprecedented combination of high resolution and speed. Despite a 50MP sensor, its Stacked CMOS design with on-board RAM let it capture stills at up to 30fps with readout speeds of around 4ms (fast enough to allow flash sync at up to 1/200 sec). This was around four times faster readout than the 20fps Canon EOS R5, which had previously come closest to offering high-speed and high res.

However, in the time that's passed, both Canon and Nikon have produced fast high-res bodies and done so at something closer to a consumer-reachable price, leaving Sony's pro flagship looking expensive, rather than exemplary. Don't let this or Sony's single-grip approach fool you: the a1 II is designed to square-up against the Z9 and R1, not the Z8 and R5 II. But it goes to show how quickly things have been moving that these more affordable models can match so much of the of the original a1's spec and offer more advanced subject recognition.

A pro sports camera doesn't have to be used solely for sports, and its impressive autofocus can help maintain a very high hit-rate even when scrutinizing all 50 million pixels.

Sony 28-70mm F2 GM @ 70mm | F8 | 1/200 sec | ISO 100

The a1 II helps redress this balance, somewhat, pairing the same processing capabilities as Sony's other pro-focussed model, the a9 III, with the 50MP Stacked CMOS sensor. This includes the gain of subject recognition AF modes with the first 'Auto' option that lets you pare back the range of subjects it hunts for, to hit an optimal speed/convenience balance for your photography. We've been very impressed by the camera's AF performance so far.

The a1 II also gains the pre-capture option that's been becoming increasingly common on action-focused cameras. It still tops-out at 8K/30 on the video side though, and has no option for 4K derived from this 8K capture, leaving it behind both the R5 II and Z8 in this regard.

Interestingly, the a1 II still needs to drop to Sony's damagingly lossy Raw format at 30 fps: it can only shoot lossless compressed Raw at 20fps. The difference only becomes apparent at high-contrast edges after significant editing pushes, so is unlikely to be a major issue for action shooting, but it's a surprise that this couldn't be addressed with the Mark II's greater processing grunt.

"It's these workflow features aimed at professionals that try to set the camera apart"

Critically, the a1 II also includes a series of features from both the a1 and the a9 III designed specifically for professionals trying to deliver images quickly that the less expensive rivals lack. This includes a variety of transfer options, including SFTP and several ways of marking files to be transferred. We'd also expect the a1 II to gain the ability to encode C2PA authentication metadata to its files.

Unsurprisingly, it's the cumulative impact of these workflow features aimed at professionals working in high-intensity environments that try to set the camera apart. And if you're not one of those people (and most of us aren't), then the a1 II almost certainly isn't worth so much more than the more consumer-priced models.

Details such as a high-speed Ethernet port and options like Start-on-LAN to enable a goal-line camera to be remotely activated and controlled are what help set the pro-tier products apart from the very high-end enthusiast/crossover models.

But how can these small details, an Ethernet port, that huge, high-res viewfinder and details like matched media card slots really add up to justify a 50% premium over the enthusiast/pro crossover bodies, such as the Z8 and EOS R5 II? Ultimately, it may simply be a 'Pro Tax': that $6K is how much a pro-focused camera costs. It's the amount the market has shown it will bear, and it's likely to be how much companies (including single-photographer companies) will have budgeted.

If there's any doubt in your mind about whether the a1 II is worth the extra $2000 over the Z8 or EOS R5 II, then you're not its target audience, and consequently it almost certainly isn't, But if you are a Sony-shooting pro, the a1 II adds significantly to the skill-set of the previous model. But against dramatically improved competition and with so much Z9 and R1 tech trickling down to the Z8 and R5 II, it's not the game-changer its predecessor was. We'll get a chance to test this assessment as we continue using the camera.

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Panasonic Lumix DC-S9 review

Tue, 12 Nov 2024 20:00:00 Z

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85%

$1799 w/ 18-40mm at Amazon.com

Product images by Dale Baskin/Mitchell Clark

The Panasonic Lumix S9 is the newest addition to Panasonic's line of full-frame mirrorless cameras, though it differs considerably from previous models by being the first to diverge from the traditional DSLR form factor. More significantly, it's the first full-frame Lumix camera aimed squarely at social media content creators.

The basic premise of the S9 is that it's designed to simplify and speed up the social media workflow. The goal is to allow content creators to generate photos or videos ready to publish straight out of the camera without additional editing in other applications.

Key specifications

24MP BSI CMOS full-frame sensor with on-sensor phase detection
Sensor stabilized to 5EV (6.5EV w/ lens)
1.84M dot fully-articulating LCD
Open-gate video at 4K or 6K up to 30p
Extensive range of video resolutions, frame-rates and codecs
Dedicated LUT button to apply LUTs to output (photos and video)
Tight integration with the new Lumix Lab smartphone app
Dual conversion gain sensor with explicit 'Dual Native ISO' gain selection
Single UHS-II card slot

The Lumix S9 is available at a suggested retail price of $1499 in six color options: night blue, dark olive, crimson red, sakura pink, mint green and jet black.

Alongside the S9, Panasonic also announced a new L-mount lens designed to pair with the camera. The Lumix S 26mm F8 is a fixed-aperture, manual focus 'pancake' style lens with a suggested retail price of $199. But the S9's primary kit lens is the 18-40mm 4.3-6.3, a collapsible zoom that presents a compact combination, but increases the cost to $1797.

Index:

Buy now:

$1498 at Adorama

$1798 w/ 18-40mm at B&H Photo

What's new:

Under the hood, the Panasonic S9 has a lot of similarities to the Panasonic S5II. However, by necessity, it omits some of that camera's hardware features in the interest of size, including an EVF, a second main command dial, a joystick, a second card slot and an integrated fan.

While the two cameras share a common technology platform, the S9 is not simply a more compact version of the S5II: the cameras have very different design philosophies and are aimed at different types of users. One of the starkest examples of this is in the S9's lack of a mechanical shutter or hot-shoe mount, which signals its prioritization of video over stills. There's no reasonable way to use a flash with this camera, and you'll have to be careful to avoid rolling shutter when shooting moving subjects.

Social media-focused workflow

The S9 is specifically designed with a social media workflow in mind. This means providing social media creators with the tools necessary to generate distinctive, signature looks to their photos and videos straight out of the camera without requiring any editing skills. Panasonic describes this as the ability to "Shoot, edit and share in 30 seconds." While 30 seconds may be a bit optimistic, it's important to understand that this social media workflow underpins the camera's features and design choices.

In essence, the S9 is intended to provide a camera-to-social-media workflow that can be executed quickly and easily, without relying on a computer or any third-party software. Although the camera can support an enthusiast photographer's workflow, it's not optimized for it, and lacks features that dedicated photographers are likely to value, such as a dedicated viewfinder, a second command dial and direct controls for features such as AF mode and area.

Expanded use of 'Real Time' LUTs

A core feature of the S9's social media workflow is Panasonic's 'Real Time' LUT system, first introduced on the S5II. This does more or less what it sounds like: it lets you instantly apply a look-up table (LUT) color transformation to a photo or video as they're captured to provide a custom look that would otherwise require additional editing to achieve.

LUTs have been a standard method of applying color and tone transformations in the video world for years, but Panasonic has expanded their use to broadly apply to both stills and video. It promises this LUT-based workflow will let you skip the color editing step entirely because you can use LUTs to achieve whatever look you want straight out of the camera.

LUTs are such an essential part of the S9's identity that it has a dedicated LUT button next to the AF-On button on the back of the camera. Tapping this button allows you to quickly cycle through all the LUTs loaded into the camera to select the look you want to achieve.

The S9's Real Time LUT feature allows you to generate custom looks straight out of the camera.

Photo: Dale Baskin

In addition to a dedicated LUT button, the camera improves upon the system found on the S5II in several ways. The S9 can store up to 39 LUTs in memory, up from ten on the S5II. LUTs can also now be applied to any of the camera's Photo Style color modes; previously, LUTs could only be applied to the V-Log style (for which most existing LUTs are designed). When using the Real Time LUT system, this is handled automatically; if the LUT you're using is designed for V-Log, it'll be applied on top of V-Log. If it's designed for the standard color mode, it'll be applied on top of that, and so on.

Users also now have the ability to control LUT opacity, ranging from 10-100%, and it's even possible to apply two LUTs at once by creating a custom 'My Photo Style', which lets you choose a base Photo Style and apply one or two LUTs on top of it. However, switching between a single Real Time LUT and a customized Photo Style requires using a separate menu, as the My Photo Styles aren't included in the list of LUTs.

New LUTs can be added to the camera quickly and easily using a companion smartphone app, though it's also possible to add a LUT in .cube or .vlt format from an SD card if desired.

4K open-gate recording and MP4 (Lite) codec

Another part of the S9's focus on social-media-ready footage is its 4K open-gate video mode. This captures video from the entire 3:2 sensor region and downsamples it from 6K to 4K. The taller, squarer 3:2 format makes it easier to take both a standard 16:9 crop (for platforms such as YouTube) as well as a tall, narrow 9:16 crop for vertical video platforms such as Instagram and TikTok.

The 4K open gate footage is captured in a new MP4 (Lite) codec, which records either 25 or 30p footage at an average of 50Mbps. This low bitrate assumes you won't be making major edits to your footage (having already used LUTs to get the color right, in-camera), and allows quick transfer to a smartphone. This is the camera's default mode.

The S9 can still capture standard resolutions at higher bitrates if you prefer, and handles vertical shooting well if you're solely interested in 9:16 output. It can also capture its full sensor 'open gate' output at full 6K resolution, if you want to punch-in and pan around the footage on your computer. But the camera's app doesn't handle the MOV files these higher quality modes are recorded in.

	Aspect ratios	Frame rates	Bit-depth	Chroma	Max bitrate
6K Open gate 3:2, full width	3:2	29.97, 25, 24, 23.98	10-bit	4:2:0	200
3.8K Open gate 3:2, full width*	3:2	25, 30			50
5.9K full-width	16:9, 1.89:1	29.97, 25, 24, 23.98			200
4K full-width		29.97, 25, 24, 23.98		4:2:2	150
4K APS-C		59.94, 50, 29.97, 25, 24, 23.98 (48, 47.95)		4:2:2	200

*Open gate 4K recording is the default video mode for camera

In most of the camera's modes it will shoot 4K open-gate footage by default. This can be changed in the menu, but the camera can only shoot at up to 4K resolution. To access the full-width 5.9K and 6K open-gate options, you'll need to switch out of the dedicated video mode to use them.

In video mode you also get access to Panasonic's excellent video features like waveform monitor, shutter angle, zebras, Log view assist, record frame indicator, and the other usual suspects (including extensive support for shooting with anamorphic lenses).

Lumix Lab app

Part of the S9's social media workflow depends on the Lumix Lab smartphone app.

Lumix Lab allows you to apply LUTs to photos and videos and to manage the LUTs installed on your camera. However, the real power of Lumix Lab is the ability to quickly and easily create your own custom looks and generate custom LUTs based on those looks. The app includes various editing tools, including exposure, color, HSL, tone curve, split toning, sharpening, noise reduction, sharpness, and even simulated film grain. If you edit an image or video clip and get a look that you want to reproduce in the future, you can instantly save a custom LUT based on your edits and load it into one of the camera's 39 memory banks.

The Lumix Lab app allows you to create and manage LUTs on your camera.

The idea is to allow you to create a signature look that you can automatically apply to any media you capture in the future simply by selecting your custom LUT using the camera's LUT button.

Lumix Lab also includes a library of ready-to-use LUTs, including LUTs created by Panasonic and by other social media content creators. This means you have many creative options to choose from, even without having to make LUTs yourself.

You can also use Lumix Lab to generate different crops from a video to post to different platforms. This comes into its own if you shoot the default whole-sensor 3:2 'open-gate' footage. However, the app only accepts footage shot in the MP4 (Lite) and MP4 formats. The 6K open-gate and full-width 5.9K modes, which you might want to edit more extensively, can only be shot as MOV footage, so aren't compatible. So you need to think about your intended workflow when choosing a codec.

Lumix Lab has a fair number of tools for editing your footage – assuming you shot it in MP4 instead of MOV.

Its auto-transfer system is also at the mercy of your phone's operating system. When testing it on iOS, it would often stop automatically downloading files from the camera when the phone went to sleep, prompting the S9 to pop up a warning about un-transferred files that would prevent the camera from turning off until we tapped a button. It is possible to get around this by selecting what media you want to send to your phone from your camera, rather than having your phone try to automatically download everything.

How it compares

Panasonic's pitching this camera squarely at creators who are still mainly shooting with their phones. If it wants the S9 to woo them, it has to do two things: be almost as convenient to carry around and shoot with as a phone while producing much higher-quality images. The camera's compact size, along with the revamped app, are plays at making it convenient, while its full-frame sensor should provide enough raw photo and video quality to stand out in a crowd of smartphone images.

Of course, the S9 isn't the only choice for creators looking to step up to a dedicated camera. Sony's ZV-E1 is a direct rival focused on meeting the needs of creators. We've also included the Panasonic DC-S5II, the company's more photographer-friendly model underpinned by similar hardware.

Finally, the Sigma fp is admittedly a slightly left-field comparison, but its lack of viewfinder, reliance on an electronic shutter, and use of the same sensor make it an interesting point of comparison.

	Panasonic S9	Sony ZV-E1	Panasonic S5II	Sigma fp
MSRP	$1499	$2200	$1999	$1899
Pixel count	24MP	12MP	24MP	25MP
Viewfinder (Res/Mag)	N/A	N/A	3.69M dot OLED, 0.76x	Optional
Rear Screen	3.0" 1.84M dots, fully articulating	3.0" 1.04M dots, fully-articulating,	3.0" 1.62M dot, fully-articulating	3.2″ 2.1M dot, fixed
Image stabilization	Body: 5EV w/lens: 6.5EV	Body: 5EV	Body: 8EV w/lens: 8EV	N/A
Cont. shooting rate	30fps e-shutter	10fps e-shutter	30fps e-shutter 7fps mech (AF-C)	18fps e-shutter
Mechanical shutter	No	No	Yes	No
Video resolution	6K 3:2 <30p 6K/5.9K <30p 4K 60p (APS-C) 4K <30p (full width)	4K <60p 1080 <120p (4K <120p, 1080 <240p via f/w*)	6K 3:2 <30p 6K/5.9K <30p DCI/UHD <30p DCI/UHD <60p (1.5x crop)	4K <30p 1080P <120p
Video bit-depth	10 bit with HLG and Log	10 bit with HLG and Log	10 bit with HLG and Log	12 bit Cinema DNG No 10-bit or Log option
Mic/Headphone sockets	Yes / No	Yes / Yes	Yes / Yes	Yes / Yes (via USB-C)
Card slots	1x UHS-II	1x UHS-II	2x UHS-II	1x UHS-II
Battery life (CIPA) LCD / EVF	470	570	370 / 370	280
Weight	486g (17.1 oz)	483g (17oz)	740g (26.1oz)	422 g (14.89 oz)
Dimensions	126 x 74 x 47 mm	121 x 72 x 54mm	134 x 102 x 90mm	113 x 70 x 45 mm

*A free firmware upgrade is required to access 4K/120 shooting on the ZV-E1

For its price and size, the S9 has a pretty impressive spec sheet for an entry-level camera, largely owing to its high-res, full-frame sensor and ample video features. The company's stabilization tech is some of the best in the business when it comes to video, but its autofocus is still not the most reliable, while Sony's is.

This makes the comparison with the Sony ZV-E1 interesting. It, too, aims to make creators' lives easier, but through different means. The S9's forte is making it easy to find or create a look for your images, while the ZV-E1 is tuned to make filming yourself easier. While it has its own custom LUT feature, it's mostly focused on video instead of photos, and can only be applied to S-Log3 footage.

The S9's focus on creators means there are plenty of features that could push enthusiast and more photo-focused buyers towards more expensive cameras like the S5II. The S9's bigger cousin has more controls, a viewfinder, a mechanical shutter and a second SD card slot. It's also better equipped for video, with a full-size HDMI port versus a fragile micro one and a dedicated headphone socket (with the ability to record to an SSD on the more expensive S5II X model). The S5II's extra features come at a cost, though, both figurative and literal; it's over 50% heavier, and its MSRP is $500 higher than the S9's, both factors that could be dealbreakers for on-the-go content creators or people who are just starting out.

Body and handling

The S9 has a sleek design reminiscent of old rangefinder film cameras. Its face is a mostly flat surface, a leatherette cover that comes in six colors. (Real ones, too; it's nice that Panasonic hasn't skimped on saturation like many gadget makers are these days.) Unlike Panasonic's higher-end offerings, the S9 doesn't have any programmable buttons up front.

The camera is relatively compact for housing a full-frame sensor; it's smaller and lighter than Panasonic's four thirds-equipped G9II. However, the S9 is still not a small object, and we felt its thickness, rounded edges, and lack of ergonomic affordances made it difficult to confidently shoot it one-handed like you can with cameras like the S5II or GH5II. Its surface finishes are relatively slick, and it doesn't have any front grip to speak of. (There is a leatherette-inlaid thumbrest, but it can only do so much.)

At the top of the camera is the mode dial, along with a programmable command dial that runs around the shutter button. There's also a programmable red button that, by default, will start recording up to 4K video even if you're in a photo mode, in your choice of MP4 Lite, standard MP4, or MOV. If you want access to the camera's highest resolution mode or all of its framerates, though, you'll have to switch to video mode. Finally, there's a cold shoe mount, which could be useful for mounting accessories like vlogging microphones or on-camera lights as long as they can provide their own power.

Moving to the back of the camera, there's the flip-out touchscreen, which is the S9's only display. It's also the main way to select your focus points, though you can also use the four-way controller once you've entered the AF point select mode. The screen is responsive, crisp and clear at 3.0" and 1.84 million dots (960 x 640px), but it's susceptible to glare and washing out even on relatively overcast days.

Above the display, you'll find the LUT and AF On buttons, both of which are programmable and easy to reach while shooting. Down to the right is the control wheel, along with the rest of the camera's buttons. We found the dial to be quite sensitive, which limited our choices while choosing its function; it's no fun looking down at your camera and discovering that you accidentally changed to a black and white photo style, or adjusted your white balance.

That sensitivity does help you zip around menus, but it doesn't make it any easier to use the wheel when you're one-handing the camera. It's placed such that you'll have to remove your thumb from the thumbrest to make adjustments, something that will almost certainly unbalance the camera unless you're supporting it with a second hand.

Photographers used to direct control of two principal parameters will probably wish for an extra command dial, and those who hate diving into menus will likely want an extra programmable button or two. However, you can make things a little less fiddly if you customize the Q menu and "My Menu" systems. The main menus of the camera are also reasonably easy to navigate, and you can control them with either dial, or using the touchscreen.

Battery

The S9 uses Panasonic's 16 Wh DMW-BLK22 battery, the same one found in the S5II, G9II, and GH5II. It's rated to give you around 470 shots per charge, though as always that number is likely well below what you'll get during real-world use. That's quite a good showing, especially for a camera of this size; that's enough power that most photographers could head out for a weekend of shooting without worrying about bringing a second battery, unless you plan on shooting a lot of video.

The S9 doesn't come with a power adapter or battery charger, but it has a USB-C port that you can use with standard charging bricks. According to Panasonic, you should be able to keep it topped up with a battery bank, provided it and your USB cable support outputting at 9V at 3A.

Image quality

Image Comparison

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The S9 has the same sensor as the S5 II, so it's no surprise that it has very similar image quality in most situations. While we haven't shot the studio scene with the ZV-E1, the a7S III has nearly identical performance to it. Its 12MP sensor captures much less detail than the S9's 24MP one, meaning that it's even less suited to taking stills.

The S9's Raw files have roughly the same amount of detail as most other 24MP cameras, such as the Nikon Z6 II, and similar levels of noise at moderately high and very high ISOs.

The S9's JPEG engine does a decent job at sharpening fine details at low ISOs without giving images an overprocessed look. At moderately high ISOs the noise reduction does a good job of retaining all but the finest details, though it can start to struggle at extremely high ISOs.

In its standard color mode, the S9's JPEGs generally have good colors, and, though our color chart does suggests the greens can be a bit yellow, and the yellows can be a bit green, this didn't have a noticeable impact in landscapes or photos of foliage that we took as part of our testing.

Part of the allure of the camera is the ability to easily go beyond the standard color mode by applying a LUT. With the ability to built LUTs on top of the built-in Photo Styles, and to mix them together using the My Photo Style profiles, the S9 gives you more ability to tune the JPEGs to your liking than most other cameras – though that does come with the risk of going overboard.

Dynamic Range

The S9 doesn't have the strongest dynamic range performance, displaying higher levels of read noise than other cameras that use the same sensor. This is because the lack of a mechanical shutter forces it to use the faster 12-bit readout mode on the sensor, which results in lower dynamic range than a 14-bit readout mode.

The camera's intended audience of content creators and vloggers likely won't run into issues with it unless they routinely edit their Raw images and try to raise the shadows.

It's of no disadvantage at all for video users, as almost all of its rivals also drop to 12-bit readout to capture video. It is one more small reason not to consider the S9 as a general-purpose photography camera, though, as it could be somewhat limiting when shooting high-contrast work such as landscapes.

$1799 w/ 18-40mm at Amazon.com

Lenses

A few months after the S9 launched, Panasonic released its 18-40mm F4.3-6.3 collapsible lens, which became one of the kit lens options for the camera. You can look at our sample gallery, shot with the S9, to get an idea of what images taken with it look like, but the summary is that it's a lens that prioritizes compactness and lightness over image quality. That isn't necessarily a bad thing; when paired with the lens, the S9 is surprisingly light and compact for a full-frame camera.

That won't necessarily be true if you decide to upgrade the lens. There are plenty of L-mount options that are good for video, but the faster and sharper the lens, the bigger and heavier it'll be; you don't have to go much bigger than the 18-40mm before the lens starts to outweigh the S9, partially negating its compact design.

Autofocus

The S9 features 779 autofocus points, along with several modes for choosing autofocus: pinpoint, one area, one area plus, zone, horizontal / vertical zone, full area and tracking.

To select where you want the camera to focus, you can either tap the touchscreen or use the four-way controller. By default, the four-way controller focus point select mode requires a button press before you can start moving the focus point.

Each subject detection mode also has its own part priority mode.

Like most modern cameras, the S9 features several subjects that it can automatically recognize. It also lets you pick which part of each subject you'd like to prioritize. Following the v1.1 firmware update, that list is:

Humans (Eye/Face or Eye/Face/Body)
Animal (Eye/Body or Body)
Car (Driver/front priority or entire subject)
Motorcycle (Helmet priority or entire subject)
Train (Cab priority or First car)
Airplane (Nose priority or airframe)

The S9 also does a good job of not overriding your tracking selection point if it recognizes a subject elsewhere in the frame.

All the subject recognition modes are also available when shooting video. As with many cameras, the regular autofocus tracking performance isn't as strong in video, but the subject recognition tracking is relatively dependable. It would occasionally have to hunt for focus in busy scenes, but such instances were rare.

When shooting photos, the S9 could keep up with a subject moving towards it at a predictable speed, in a straight line in focus at its 8fps 'high' speed during our continuous autofocus test.


1	2	3	4	5	6	7	8	9	10	11	12	13	14	15	16

The usually reliable subject detection system wasn't able to keep the subject in focus as he slowed down and then sped back up.

Its performance in our more difficult autofocus tracking test wasn't as reliable. When asked to identify and stay on a subject moving across the frame and coming towards it at a varying speed, it sometimes struggled to keep him in focus. Like many cameras, it would do fine until the subject turned, slowing the speed with which the subject was moving toward the camera.

The issue appeared in both the regular tracking mode and when using subject detection, and the S9 was generally able to recover after two or three frames, suggesting the camera is able to recognize the subject it should be focusing on but is less good at measuring and predicting its distance. While this performance is far from terrible, it solidly places the S9's autofocus system in a tier behind the most capable systems from Sony, Nikon, or Canon.

Our everyday use of the camera outside of the test reinforces those results, but the main focusing pain point wasn't the system's accuracy; it was the ergonomics of picking a tracking point. Both methods – using the touchscreen or the four-way controller – require readjusting your grip and touching the camera, which can throw off your framing. Overall, we found it difficult to quickly select a focus point and get the framing we wanted, which hurt the experience of photographing quick-moving subjects.

Video

The S9 can shoot open-gate in both 6K and 4K; the former is useful if you want maximum quality and flexibility to crop and reframe in traditional editing software, and the latter is useful if you plan on doing quick, simple crops on your phone. The goal is to make it easy to shoot a single video that can be output as vertical and landscape, though it can be difficult to frame a shot in a way that'll be sensible in both formats.

It can also shoot in standard UHD 4K, DCI 4K, and 1080p and has some more obscure options: 5.9K for maximum resolution but pre-cropped to 16:9 and a 4:3 '3.3K' mode that uses a 1.5x crop of the sensor and can be used for shooting with anamorphic lenses. You'll also run into that crop if you shoot above 30p in the 4K modes.

The S9 has several video-focused features: it has a resizable and movable waveform exposure monitor, a red border on the screen to act as a recording indicator, two levels of zebra patterns, the option to set shutter angle instead of speed and, as of the v1.1 update, multiple customizable frame guides to make it easier to compose for different aspect ratios.

You can have up to three frame guides, which you can move and scale, letting you understand how your framing will work for different output crops.

Perhaps the most important feature, especially for vloggers, is the quite capable in-body image stabilization. The stabilized sensor does a good job of smoothing out the shakes that come with shooting hand-held footage while still being reactive enough to let you intentionally move the camera without the sensor fighting you. We didn't run into much of the jerkiness or grab-and-release issues that can show up with less sophisticated stabilization systems.

If you need an even steadier shot, you can also activate 'Boost I.S.' mode, which is meant to mimic footage shot on a tripod, at the cost of giving you less freedom to move the camera – if you try to pan with Boost I.S. on, the aforementioned issues will start to show up. The S9 also has electronic image stabilization that can be layered on top of the physical stabilization and support for Panasonic's 'Dual I.S.' mode that syncs the IBIS with a lens' optical image stabilization to provide an even smoother shot.

One notable omission is the 3.5mm headphone jack. Thanks to the lack of audio monitoring, we had to re-shoot a few videos we filmed with the S9; while an audio meter appears on the display when you plug in an external microphone, it won't always tell the whole story, especially if the issue is interference or handling noise.

One last note for vloggers hoping to quickly capture footage from their lives: the S9 can occasionally take upwards of 4 seconds to boot up. Subsequent boot times are much lower, around a second, but it's worth being aware of if you need your camera to reliably start up in situations where two or three seconds could be the difference between getting a shot and missing it.

Video Quality

Image Comparison

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The standard 4K footage from the S9 has an acceptable level of detail, though it's far from the best we've seen. It does manage to provide a little more detail than purely 4K cameras like the ZV-E1, which aren't able to do any downsampling. When shooting above 30fps in 4K, the camera uses a crop of the sensor, resulting in less detail and worse noise performance. This is something to keep in mind if you prefer to shoot at 60fps for slow-motion purposes or to achieve a hyper-real aesthetic.

Switching to 6K or the other >4K resolutions does provide a slight increase in detail. That's another advantage over the Sony ZV-E1, which caps out at 4K, for scenes where you really need that extra bit of resolution. However, most creators would likely best be served sticking to 4K rather than dealing with substantially larger files, especially if they plan on transferring the files to their phones. The exception is those who need the flexibility of the open gate aspect ratio in editing.

Rolling Shutter

It's not the worst rolling shutter performance we've seen, but it's definitely something to keep an eye out for.

Depending on what subjects you typically shoot, the S9's rolling shutter performance could be something to watch out for.

Shooting mode	Rolling shutter rate
6K / 3.8K open gate	25ms
4K 24p	22ms
4K 60p	14ms
1080p 24p	22ms

The camera's 4K 24p mode takes a little over 20ms to read out, which is towards the upper end of what we'd consider acceptable. There's a definite risk of you seeing the warping effects of rolling shutter at these speeds (though we didn't experience any jello-like interaction between this and the camera's stabilization movements).

The 6K and 3.8K open-gate modes take even longer, as they're reading more of the sensor's height at the same rate. This is no problem if you then crop a 16:9 region out of the footage, since there'll only be 22ms worth of change between the top and bottom of that crop, but any full-height, vertical 9:16 crops will have a higher risk of distortion, as they'll show the full 25ms.

LUTs

The S9 isn't the first time we've seen Panasonic's Real Time LUT system, but it obviously plays a big role on the camera, given the dedicated button for it. Essentially, it lets you shoot footage with a 'look' baked in; you can download new looks from Panasonic's Lumix Lab app or make your own.

If you're used to a LUT-based workflow where you apply a LUT to Log footage, there is one extra aspect to be aware of: Photo Styles. The S9's LUTs have a base Photo Style, which can be – but isn't necessarily – V-Log. Many of the new LUTs are built to be applied to other color modes, such as Standard or Portrait.

If you stick to using the Real Time LUT feature via the LUT button, it's not something you'll have to worry about; the camera automatically figures it out for you. However, it's something to be aware of if you're using the My Photo Style feature to apply two LUTs at once. It automatically sets the base color profile based on the LUT you put in the first slot, but if you inadvertently change the base Photo Style or your second LUT is meant to apply to a different Photo Style, you can end up with some strange results.

You can combine two LUTs in a custom Photo Style.

There is one quirk of the LUT button: it automatically switches to the Real Time LUT photo style, but you have to use the separate Photo Style menu to switch out of it if you want to return to one of the built-in color modes. It's navigable once you've figured out the hierarchy, but can take some getting used to.

The S9 also has a "Log View Assist" mode, which lets you shoot in VLog but use one of the LUTs for the preview on the display rather than baking it into the footage. That way, you don't have to guess how it'll look with the LUT applied in editing but aren't married to that particular look.

Overheating

The camera usually takes a few minutes to recover from overheating.

When it was first released, the S9 had aggressive record-time limits to prevent overheating. With the v1.1 update, Panasonic added a setting that lets you bypass them if you're okay with trading known software record limits for longer but more unpredictable thermal ones. During our testing, we found it was possible to get the S9 to overheat, but it was able to handle recording for far longer than the typical social media workflow requires.

Conditions

Record time

18°C (64°F) / 6K

Indoors

Did not overheat; card filled after 87 minutes

23°C (73°F) / 6K

Indoors

41 minutes: temperature warning

51 minutes: overheat shutoff

26°C (79°F) / 4K 24p

Indoors

1 hour: temperature warning

1 hour, 20 minutes: overheat shutoff

31°C (88°F) / 4K 24p

Outdoors, direct sun

13 minutes recording over 17 minutes: overheated

If your shooting style involves recording relatively short clips with breaks in between, as is the case with many vloggers, you likely won't run into issues unless you're shooting outdoors in harsh conditions. The one time we ran into overheating issues during actual use was when shooting relatively long (4-6 minute) clips in direct sunlight with high ambient temperatures around 31°C (88°F). It must be said that the person shooting the clips also struggled in those conditions.

Conclusion

By Mitchell Clark

Pros	Cons
Wide range of video features Quick camera-to-phone workflow Real Time LUTs can negate the need to color grade Very capable in-body image stabilization Comes in fun colors that complement a sleek, classic design Aggressive price for a full-frame camera L-mount lens ecosystem is robust	No EVF, mechanical shutter or hot shoe and limited controls make it clear it's not for photographers Autofocus tracking is decent but not great No headphone socket or front tally light Mediocre rolling shutter performance Screen can be hard to see outdoors Only one top plate control dial; rear control dial is extremely sensitive Add-on front grip is almost a must

When reviewing some cameras, it can be hard to tell where the line is between a stills camera that can also record video and a video camera that can also take stills. This has not been an issue with the S9. To put it bluntly, you will be disappointed if you buy this camera purely for photography – many people will probably be sad to hear that, given that its $1,499 price makes it one of the most inexpensive full-frame mirrorless cameras ever released, and its looks make it appealing.

That's not to say that you can't get good pictures out of the S9 because you can. If your goal is to separate yourself from the crowd on Instagram with image quality, the S9 is more than up to that task. However, if you're looking to get into photography as a hobby or already consider yourself a photographer and want a compact full-frame camera, it's worth looking for something that makes the experience more enjoyable. In the weeks I've been shooting pictures with the S9, I haven't reached a flow state with it where it felt like an extension of my hand; I had to stop and dive into menus or adjust my grip to change settings or focus.

In the weeks I've been shooting pictures with the S9, I haven't reached a flow state with it

I came closer to reaching that flow state when I stopped trying to use it as a photography tool and started using it to shoot videos with the intention of sharing them online. In the course of this review, I filmed part of a video review for the DPReview YouTube channel and almost a dozen videos for our Instagram page with it, and it fits well into that role. Its autofocus was mostly reliable, the video quality was more than sufficient for social media and even low-to-mid-range commercial work, and the ergonomics didn't matter once it was mounted to a tripod. When I took it off the tripod, the image stabilization was one of the better systems I've used.

I also appreciated that it was flexible enough for shoots where I was uploading straight to Instagram, and ones that had more extensive editing. That's clear from the differences in open-gate modes; the 4K one is good for quick phone-based edits and crops, and the 6K option provides wiggle-room for reframing in proper editing software even if you're delivering in 4K.

This came in use when shooting our video review of the S9, which you can watch below – it, like our first look video, was filmed entirely using an S9, which should give you some sense of how it performs.

Personally, I'm less enthused about the emphasis on LUTs. As I've said before, I suspect most people will find or develop one or two looks that they broadly stick with rather than picking a new LUT for each piece of content they're producing. If that's your workflow, though, the S9's LUT button makes it easy. However, I suspect many S9 owners will end up reprogramming it to do something else – even if they continue to use the Real-Time LUT feature to apply their signature look in-camera.

Outside of not being able to download MOV videos, Lumix Lab does a good job of streamlining the process of getting things off your camera and onto the Internet while still giving you the power to create and edit LUTs, apply them to ungraded images and videos, and make crops for different sites. However, it also didn't feel like the camera was useless without the app – if you wanted to use it more like a traditional camera that offloads footage to a computer, it's more than capable of that, too.

The microphone socket is so lonely without a headphone jack.

Some annoyances cropped up even when I was using the camera for its intended purpose. During my testing, the lack of a front tally light and a headphone jack occasionally led to me having to reshoot videos that I thought were in the bag, and rolling shutter performance could definitely be improved.

However, for most beginner creators, those will be caveats, not dealbreakers. If someone asked me what camera to buy to start a YouTube channel or to up their Instagram game, the S9 would definitely be on my list of recommended cameras.

Arguably, that could mean that it deserves a Silver award since it serves its niche well. The thing that keeps it from getting it, though, is that it's a bit of an unhappy medium competing for an audience that already has a lot of good choices: yes, it's really good for social media, but so are a lot of cameras that will also give you more room to grow as a photographer or videographer. And if you are really only going to be doing social media, you should think about saving some money and going with one of the APS-C vlogging cameras that are even smaller and lighter.

For those looking for the perfect photographer's compact or even one that's just good, you'll have to keep waiting with the rest of us.

Buy now:

$1498 at Adorama

$1798 w/ 18-40mm at B&H Photo

Scoring

Scoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.

Panasonic Lumix DC-S9

Category: Entry Level Full Frame Camera

Build quality

Ergonomics & handling

Features

Metering & focus accuracy

Image quality (raw)

Image quality (jpeg)

Low light / high ISO performance

Viewfinder / screen rating

Performance

Movie / video mode

Connectivity

Value

PoorExcellent

Conclusion

The S9 is a capable video camera for creators who want the look and image quality of a full-frame camera. Its ergonomics and lack of photography essentials like an EVF and mechanical shutter don't make it ideal for stills, but we're impressed by the well-thought-out video-to-phone-to-social-media workflow.

Good for

Shooting video for social media Experimenting with different colors Occasional picture taking for social media

Not so good for

Photo hobbyists or enthusiasts Ultra-compact kits

85%

Overall score

Compared to its peers

As a vlogging or general-purpose video camera, the Sony ZV-E1 is a strong contender to the S9. Sony's autofocus tracking is quite a bit ahead of Panasonic's, and the ZV-E1's 12MP sensor is more suited to video and has substantially less rolling shutter – and substantially less detail in stills. It also has features like a front tally light, auto framing to add dynamic movement to what would otherwise be static shots and a product showcase mode. And while it doesn't go all-in on LUTs like the S9 does, you can still upload your own looks and use them for monitoring and recording, though there’s no equivalent of the extensively customizable My Photo Styles. You will pay for those upgrades, though, as the ZV-E1 is much more expensive than the S9.

The Panasonic S5II shares a sensor with the S9 but in a substantially larger and heavier body. In return, you get all the features a photographer would want: an EVF, mechanical shutter, hot shoe mount, dual card slots and a heaping extra helping of buttons and control dials. It also adds a fan for cooling during marathon video shoots. And, thanks to a recent software update, you can now program one of the S5II's buttons to be a Real-Time LUT shortcut. It's also now compatible with the Lumix Lab app. Like the ZV-E1, the S5II is more expensive than the S9, to the tune of around $500.

The Sigma fp has always been a bit of an odd camera, but it is intriguingly comparable to the S9 in terms of its size, weight and, if you find the right sale, price. However, the fp's video could hardly be more different than the "Shoot. Share." ethos of the S9. To get the best out of it, you'll have to shoot the rather awkward CinemaDNG Raw to an external SSD or stream to a separate capture device; it doesn't have an internal codec capable of 10-bit encoding. It also has a fixed screen and contrast-based autofocus; while the S9 isn't an autofocus champion by any measure, its system runs circles around the fp's.

Sample Gallery

Sample gallery

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Note: these sample images were taken using the original samples provided by Panasonic. However, the company said the models were reviewable. If you'd like to see samples taken with updated firmware, you can browse the sample gallery for the 18-40mm F4.5-6.3 kit lens, which we've re-uploaded with out-of-camera JPEGs.

Sample gallery

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Lowepro Photo Sport 300 review

Sun, 20 Oct 2024 13:00:00 Z

The Lowepro Photo Sport 300 AW II alongside the Panasonic GH7 with 12-60mm F2.8-4 and Olympus 40-150mm F2.8 Pro for scale.

Photo: Dale Baskin

We don't usually test a product for a decade before reviewing it, but in the case of the Lowepro Photo Sport 300 AW II camera pack, I'm going to do precisely that. Why? Because this is a piece of gear I genuinely love. Over the past ten years, I've probably used it as much as any other product I own, except for my mobile phone.

I've auditioned many camera packs: I've bought some, borrowed some, tried packs that came through the DPReview offices and built my own DIY solutions. None worked as well for me as the Photo Sport 300 AW II.

Let's agree up front that there's no such thing as a perfect camera pack, but I'll explain why this pack has traveled everywhere with me for ten years. This long-term review is based on a decade of using the Photo Sport 300 AW II.

Lowepro Photo Sport 300 AW II overview

The Photo Sport 300 AW II backpack is part of Lowepro's 'Photo Sport' line, aimed at hikers and outdoor enthusiasts, and it looks more like an outdoor pack than a camera pack.

A configurable camera cube sits at the bottom of the pack, accessed through a side panel. It provides adequate space for most full-frame mirrorless cameras, like a Sony a7, Nikon Z6, or Canon R6, with a lens attached, along with a second lens.

The configurable camera cube has enough space for most full-frame (or similarly sized) mirrorless cameras and a second lens as long as it's not a big telephoto. Don't plan on putting a Nikon Z9 or Canon R1 in it, though.

Photo: Dale Baskin

The upper section of the pack is top-loading and closes with a drawstring, similar to many climbing packs. The top flap includes an integrated storage compartment, and the side has a pocket for carrying a water bottle or a small tripod.

There's also a 2-liter compartment for a water reservoir. A small compartment on the bottom hides a very capable rain cover, so it's always with you.

The upper section of the pack closes with a drawstring, similar to some climbing packs. You can stuff a lot of gear inside as long as you don't mind the pack getting a little bit taller.

Photo: Dale Baskin

The back panel is pretty minimalist. It doesn't have a mesh design for ventilation, which I know many people like, but I prefer the simpler design. I've never found it too hot, even in the Amazon jungle. After years of hiking with it, I've worn through the fabric right down to the padding, but it still works great.

The back panel has a minimalist design, but I find it still breaths well and keeps the pack compact. At the bottom, you can see where I've worn through the fabric after years of daily use.

Photo: Dale Baskin

Lowepro no longer makes this exact model; its successor, the Photo Sport Outdoor Backpack BP 24L AW III, has a similar design and should perform similarly. You can read our full review of the Photo Sport 24L AW III to learn more about it.

Buy the Photo Sport Outdoor Backpack 24L AW III:

$249 at Amazon

$249 at B&H

$249 at Adorama

What I like

For me, the Photo Sport 300 AW II is a Goldilocks product: it provides just the right balance between camera storage and space for other gear.

I keep using it for three primary reasons: lifestyle, durability and flexibility.

Lifestyle

The Photo Sport 300 AW II works so well for me because it's a good match for my lifestyle, and that's a good guiding principle for any camera pack. I often travel with a combination of camera and non-camera gear, and I generally pack pretty light.

I've become more efficient with gear over the years, and despite anxiety about not having every possible focal length in my bag, I've learned to work with a single body and just one or two lenses most of the time. If I need something extra, I put it in a padded case in the top of the pack.

I live in the Pacific Northwest, so my lifestyle often includes rain. Thanks to a hidden compartment in the base of the pack, the very effective rain cover is always with me.

Photo: Dale Baskin

The side panel access makes getting to my cameras quick and easy. I realize this is a polarizing aspect of camera pack design, but this design works for me on this pack. I would choose something other than side access on a pack meant to carry multiple bodies and lenses, but on this pack, it works very naturally for me.

Durability

This pack is tough as hell and never failed me despite being subjected to a lot of abuse. It's been used almost every day for ten years, and it still feels like it has years left in it.

It's been dragged through taiga forests in the sub-arctic and the mud of tropical jungles. It's been stuffed into cargo bins on buses, tied to the roofs of minivans going over mountain passes in snowstorms, traveled around the Amazon in open canoes, bungied to the backs of motorcycles and tied to tuk-tuks. It has the dirt and grime to prove it.

My pack has the dirt and grime to prove it's been used and abused. It's a far cry from the bright blue color it had when I bought it.

Photo: Dale Baskin

In short, this is a bag I trust.

It's showing some wear and tear. A couple of fabric spots in the pack's interior are a bit frayed, and the bottom of the water bottle pocket has small holes from being scraped on the ground too many times. But everywhere it really matters – the straps, zippers, and any critical points of attachment – it's stitched to last and as solid as the day I bought it.

Flexibility

The Photo Sport 300 AW II is relatively compact when needed, but the main compartment holds a larger volume than you would expect as a result of its similarity to a climbing pack. However, I've never had trouble fitting it under an airplane seat (as long as I haven't stuffed it too full).

There's a compartment for a water reservoir, but I've found it works equally well for a 13-14" laptop computer, and I currently use it to carry a 14" MacBook Pro.

The hydration compartment works equally well for carrying a water reservoir or a laptop computer. My 14" MacBook Pro slides right in, though I have to spread the straps a bit to do it.

Photo: Dale Baskin

In those rare cases where I don't want to carry camera gear (hey, it happens), I like that I can squish the padded cube to take up less space, allowing me to use it as a regular daypack.

Finally, this pack doesn't scream 'camera bag'! Most people will likely think it's a daypack rather than a camera pack, making it easier to blend in. Those in the know will recognize the Lowepro name if they see it, but the logo is pretty small and subtle.

Things I'd like to see improved

I like the Photo Sport 300 AW II a lot, but there are a few things I'd like to see improved.

I often use the side pocket to carry a compact tripod, like the Peak Design Travel Tripod. However, the side strap that secures the tripod's top is too high for many travel tripods. As a result, I also use the strap from the top panel to help secure the tripod, but it's an imperfect solution.

I often carry a travel tripod in the side pocket, but the blue strap that secures the top is just a little bit too high to reliably hold it in place.

Photo: Dale Baskin

I wish the hip bet were removable. I use the hip belt for hiking, but the pack is so versatile that I also use it for travel, where I don't want the hip belt hanging off my back while riding trains or walking through a foreign city.

Finally, I wish the camera cube was removable when not carrying photo gear. Fortunately, Lowepro also figured this out: the cube is removable in later versions of the pack I've seen, which seems to have carried through to the newer model(s).

The final word

Finding the right camera pack is one of the most elusive things in photography – more difficult than finding the right camera, in my opinion. That explains why so many photographers have a closet full of them. I'm thrilled to have found one that works so well for me.

Most people won't recognize the Photo Sport 300 AW II as a camera backpack. Those in the know will recognize the Lowepro logo, but it's relatively small.

Photo: Dale Baskin

Despite my affinity for the Photo Sport 300 AW II, I'll be the first to tell you it's not the best bag for every situation. If I'm on a shoot that requires multiple bodies and lenses or a bunch of video gear, I'll use an appropriate pack. But the Photo Sport 300 AW II is my daily driver for most activities, even ones that don't involve photography.

Lowepro no longer sells this exact model, but the Photo Sport Outdoor Backpack 24L AW III that replaces it is very similar, albeit slightly smaller. I suspect most of my observations about the Photo Sport 300 AW II would also apply to it.

You've heard from me, so now I want to hear from you. In the comments section below, tell me what your favorite camera pack is and why you love it!

Buy the Photo Sport Outdoor Backpack 24L AW III:

$249 at Amazon

$249 at B&H

$249 at Adorama

Nikon Z6III review

Thu, 03 Oct 2024 15:20:00 Z

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Product Photos by Richard Butler

The Nikon Z6III is the company's third-generation full-frame mirrorless camera, bringing a faster 24MP sensor that boosts the autofocus and video capabilities of this stills/video hybrid.

Key specifications

24MP "Partially Stacked" CMOS sensor
14fps with mech shutter, 20fps e-shutter up to 1000 Raw files
Up to 60fps JPEG in full resolution, 120fps with APS-C crop
In-body image stabilization rated at up to 8.0 stops
5.76M dot EVF with high brightness and wide color gamut
Fully articulated 3.2" 2.1M dot rear screen
6K/60p N-Raw video, 6K/30p ProRes Raw
5.4K/60p H.265 video
Pre-burst capture, pixel-shift high-res mode

The Nikon Z6III is available at a recommended price of $2500. This is a $500 increase over the previous Z6 models but brings it into line with the likes of Canon's EOS R6 II and Sony's a7 IV, with which it directly competes.

Buy now:

Index:

What's new

24MP "Partially Stacked" CMOS sensor

Nikon's image of the Z6III's sensor, showing the extensive readout circuitry above and below the sensor.

Image: Nikon

The sensor at the heart of the Z6III is responsible for much of what the new camera brings. Nikon uses the term "Partially Stacked" to suggest it has some of the performance benefits of the Stacked CMOS chips it uses in its Z8 and Z9 models, but without the associated cost.

Applying an additional layer of silicon at the edges of the chip allows its readout circuitry to be more sophisticated than it would be, were it fabricated as part of the sensor layer, enabling faster data handling.

The result is that the camera can read out its sensor fast enough to deliver full-width 6K video at up to 60p in N-Raw mode and an e-shutter flash sync speed of 1/60 sec. This means it must be able to read the entire sensor in less than 1/60 sec. This is around the same speed as the Canon EOS R6 II, but in 14-bit sensor readout mode, rather than 12-bit. It can shoot full-res JPEGs (presumably from 12-bit readout) at up to 50fps.

However, that e-shutter sync speed of 1/60th is around a quarter of the speed of true Stacked CMOS sensors and not a vast leap forward from the previous generation of sensors. It should improve AF performance and video capabilities but won't deliver the blisteringly fast performance of the likes of the Z8.

Improved AF

Along with the faster sensor, the Z6III also gains the autofocus improvements seen in Nikon's recent models, including 3D Tracking and subject recognition. The company says AF is up to 20% faster than it was in the Z6 II, and that the performance is comparable with the Z8 and Z9.

On top of this, the camera can focus at down to –10EV without you having to engage the Starlight AF mode (though it's worth noting that this figure is predicated on an F1.2 lens being attached). It also gains most of the subject recognition modes from the Zf, though lacks the dedicated bird detection mode that the Z8 and Z9 have recently gained.

Subject detection modes
People Animals Vehicles Airplanes Auto	(Dogs, cats, birds) (Cars, motorbikes, trains, airplanes, bicycles)

These all reflect a significant improvement over the Z6 II. The 3D Tracking system resembles those on Nikon's DSLRs: pick an AF point and the camera will follow whatever's under that point when you hold the shutter half depressed or the AF-On button. As soon as you release it reverts to your previously chosen position. Unlike the Z6 II's system you don't need to press a button to cancel tracking and it doesn't revert to the center.

But as well as this increased ease-of-use, the interface controls a much more effective and reliable tracking system that's much less likely to lock onto the wrong thing or just lose it completely (which was not uncommon, especially in movie mode, on the previous generation of cameras). Add to this the camera's ability to recognize a series of subjects near your chosen AF point and the Z6 III should be much quicker and easier to work with than previous mid-level Nikons.

Video

The faster sensor sees the Z6III's video capabilities gain a significant upgrade, compared with its predecessor. It's too soon for Nikon's purchase of cinema camera maker RED to have played into this camera's development, but it relieves any uncertainty around the inclusion of onboard capture of both N-Raw and ProRes Raw video formats.

All of the codecs offer both 4K and a higher-resolution capture mode, all of which use the full width of the sensor. The Raw modes offer 6K or 4K capture, while the gamma-encoded modes (ProRes 422, H.265, H.264) offer 5.4K or UHD 4K recording.

Codec	Resolutions and max frame rates
N-Raw	6K/60p 4K/60p
ProRes RAW	6K/30p 4K/60p
ProRes 422	5.4K/60p UHD 4K/60p
H.265	5.4K/60p UHD 4K/60p
H.264	UHD 4K/30p

Like the Z8, the Z6III includes shooting aids such as waveforms, zebras and focus peaking.

The Z6III also becomes the first Nikon to accept a line-level input over its mic socket. It's also compatible with Atomos' AirGlu, a Bluetooth-based Timecode sync system.

Additional functions

The Z6III also gains all the other functions that have been added to Nikon cameras since the launch of the Z6 II, including pre-burst capabilities and multi-shot high-resolution modes.

It also has an image stabilization system that centers its correction on your chosen AF point. This is particularly valuable if you're focused in the corners of wide-angle shots, where the required pitch and yaw correction is significantly different from that needed at the center of the image.

In addition, like the Zf, the Z6III can use its subject recognition system even if you're in manual focus mode. This means that engaging magnified live view will punch in on your subject's eye, as you check focus, rather than you having to navigate around the scene to find it.

Finally, the Z6III will be compatible with a "Flexible Color" tool that will be added to Nikon's NX Studio software, which provides an enhanced set of color tools for creating custom Picture Control color modes to install on the camera.

Cloud access

The Z6III will be the first Nikon camera to use the Nikon Imaging Cloud service. This will fulfill a series of functions. At its most basic it'll be a service to which images can be uploaded and then sent on to other storage and social media services (rather than the camera itself having to know how to connect to multiple services).

It'll also be a source for "Imaging Recipes," which are camera settings intended for taking specific types of image, created with the help of Nikon's sponsored creators. There will also be "Cloud Picture Controls" presets that can be downloaded. This service isn't available yet, so we won't be able to assess its usefulness until it is.

How it compares

The $500 price hike brings the Nikon directly into line with the MSRPs of its two most comparable competitors: Sony's a7 IV and Canon's EOS R6 II. All three cameras are highly capable stills and video machines with strong AF systems. We've included the more expensive of Panasonic's DC-S5II models here because the 'X' version's video capabilities and price are closer to those of the Nikon.

	Nikon Z6III	Canon EOS R6 II	Sony a7 IV	Panasonic Lumix DC-S5II X	Nikon Z6 II
MSRP	$2500	$2500	$2500	$2200	$2000
Sensor type	"Semi-stacked" BSI CMOS	Dual Pixel AF FSI CMOS	BSI CMOS	BSI CMOS	BSI CMOS
Resolution	24MP	24MP	33MP	24MP	24MP
Maximum shooting rate	20fps (Raw) 60fps (JPEG)	40fps (12-bit Raw or JPEG)	10 fps (lossy Raw)	30fps (e-shutter)	14fps 10fps (14-bit Raw)
Rolling shutter rate (ms)	∼14.6ms (14-bit)	∼14.7ms (12-bit)	∼67.6ms (14-bit)	∼51.3ms (14-bit)	∼50.8ms (14-bit)
Video resolutions	6K (Raw) 5.4K UHD 4K	6K (Raw over HDMI) DCI 4K UHD 4K	UHD 4K	6K 5.9K 5.9K (Raw over HDMI) DCI 4K UHD 4K	UHD 4K
Uncompressed video	N-Raw ProRes RAW	Over HDMI	Over HDMI	Over HDMI	—
Viewfinder res/ magnification/ eye-point	5.76M dot OLED/ 0.8x/ 21mm	3.69M dot OLED/ 0.76x/ 23mm	3.68M dot OLED/ 0.78x/ 23mm	3.68M dot OLED/ 0.78x/ 21mm	3.69M dot OLED/ 0.8x/ 21mm
Rear screen	3.2" fully-articulated 2.1M dot	3.0" fully articulated 1.62M dot	3.0" fully articulated 1.04M dot	3.0" fully articulated 1.84M dot	3.2" tilting 2.1M dot
Image stabilization	Up to 8.0EV	Up to 8.0EV	Up to 5.5EV	Up to 5.0EV Up to 6.5EV with Dual IS 2 lens	Up to 5.0EV
Media types	1x CFe B 1x UHS II SD	2x UHS II SD	1x CFe A / UHS II SD 1x UHS II SD	2x UHS II SD	1x CFe B 1x UHS II SD
Battery life EVF / LCD	360 / 390	320 / 580	520 / 580	370 / 370	360 / 420
Dimensions	139 x 102 x 74mm	138 x 98 x 88mm	131 x 96 x 80 mm	134 x 102 x 90mm	134 x 101 x 70mm
Weight	760g	670g	659g	740g	705g

What the table can't capture is the subtle differences in performance between these models, which is increasingly what it comes down to, in this most competitive of classes. Our early impressions are that the Z6III matches the Canon and Sony in terms of autofocus tracking performance and usability, wheres the Panasonic lags a little and the Z6 II feels like it's left significantly behind.

Likewise the new Nikon and the Canon stand ahead in terms of video performance, as they offer faster video capture with less rolling shutter, especially compared with the rather slow Sony. We'll need to shoot the Nikon more to know whether it can outdo the Canon's video AF, which isn't the most dependable.

The stills stabilization figures do nothing to convey the smoothness of video stabilization, either, with the Panasonic doing particularly well in this regard. Increasingly, choice and availability of lenses will be the critical deciding factor for a lot of people.

Body and handling

The Z6III looks, at first glance, a lot like the existing Z6 and Z7 models, with a familiar low-height camera with significant hand grip and viewfinder hump extending from it. But if you put them side-by-side you find that the Z6III is a very different body, even if it uses the same styling cues.

It's a larger camera than its predecessors and heavier. However, it's much closer in size to them than it is to the Z8. It's wider and thicker but maintains a solid, comfortable grip. The button positions are essentially unchanged, compared to the previous cameras, with twin function buttons on the front and an AF joystick on the back.

The body is constructed from a mixture of magnesium alloy and thermoplastic composite, which feels fairly dense and solid in the hand. Nikon also points out the efforts it's made to seal the joins between body panels, though makes no explicit claims about how weather-proof it end up being.

Although the styling is similar and the button layout essentially the same, the Z6III is a larger, heavier camera than its predecessors. Its grip is a little more comfortable than before, partly because it's slightly taller, so there's less risk of your little finger extending beyond the bottom of the handgrip.

We generally like the button layout on the Z6 series: there are a lot of controls but they're not too small or cramped and they're generally withing easy reach when you're gripping the camera. We still miss the focus mode switch from Nikon's DSLRs though: the provision of a button on the lower front corner of the Z8 gave us hope that we might get one here, too, but no.

While the grip is generally quite comfortable, we found that extended use makes you aware of some fairly hard edges, so it's worth thinking about how you handle it. While working with heavier and longer lenses, it's normal to take most of the weight in the hand cradling the lens, but we found it helped to bias towards taking the weight with your left hand when lifting the camera into the shooting position, too: the limitations of the camera's grip will make themselves felt if you lead with your right hand when swinging a large lens up to your eye.

Viewfinder

The Z6III is a larger, heavier body than its predecessor, but the controls are essentially the same. The Playback and drive mode buttons have been swapped, but that's the most significant change. There's also a button on the top plate to illuminate the settings panel.

The Z6III becomes the first Z-series camera to move beyond the 3.69M dot panels used so far. It sees a jump to 5.76M dots but, more importantly, also gains a significant brightness boost. The panel can go as bright as 4000nits and can cover the DCI P3 gamut required for HLG.

You'll need to manually push it to its brightest setting to get this full brightness but it means the camera can represent true HDR capture when shooting in HEIF mode, and generally give a viewfinder that differs less in brightness, relative to the real world. It can be run at up to 120fps.

There's no viewfinder blackout when shooting bursts in electronic shutter modes, but the use of a mechanical shutter means it's present in most modes.

Articulated rear screen

The Z6III becomes the first in its series to gain a fully-articulated screen, rather than the tilting panels that the previous models have had. It's a 3.2" LCD panel with 2.1M dots.

The hinge is very close to the camera's (full-sized) HDMI port and only a little in front of the mic and headphone sockets, so expect it to be a little awkward to use if you've got a lot of things plugged into the side of the body.

Battery

The Z6III uses the same EN-EL15c battery as its predecessor, and is rated as delivering a similar number of images. In standard mode it is rated to give 390 shots per charge if used via the rear LCD, and 360 shots through the viewfinder. Move into power saving mode and these numbers increase to 410 and 380 shots per charge, respectively. As always, these numbers tend to significantly under-represent the number of shots most people will achieve. Getting twice the rated figure isn't unusual, and more if you shoot a lot of images as bursts.

The camera can be charged or powered over USB, but it seems to prefer high-powered USB-PD chargers, so it's worth checking that the 'CHG' lamp above the USB socket is illuminated, if you're expecting to come back to find your battery replenished.

A battery grip with vertical controls and space for two, hot-swappable, batteries has been created. The MB-N14 is backward compatible with the Z6 II and Z7 II. This grip displaces the internal battery, meaning you end up with two batteries in total. It has its own USB-C socket for charging the batteries even with the grip detached.

Image quality

Image Comparison

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The Z6III's image quality is very good, with high levels of detail capture for a 24MP sensor. It exhibits a little more noise than its predecessor at moderate ISOs and this difference becomes more apparent at extremely high ISO, though the results are still comparable with its peers.

The JPEG engine doesn't quite pull out as much fine detail from its files as Sony's does, but again the results are definitely competitive. JPEG color is the usual, attractive Nikon result, with slightly over-pink Caucasian skintones but attractively yellow yellows. Noise reduction errs on the side of smooth, rather than trying to maintain very fine detail, with the difference becoming significant at very high ISO settings.

Pixel Shift

Like many modern cameras, the Z6III has a multi-shot pixel shift mode (or, arguably, two: one that just cancels the Bayer pattern, to boost color resolution in a 24MP image and a second to boost the spatial resolution, too). As with all cameras, these require a very steady tripod and completely static subject to get the best results, and in the case of the Z6III there's no motion correction to deliver some sort of result in less-than-optimal circumstances. In the case of the Z6III, the images must be combined using Nikon's free Capture NX software, which makes the process fairly quick and painless. The merged NEFX files can be opened with other software, including Adobe Camera Raw.

At present, even with a heavy, sandbagged tripod, our studio experiences too much vibration to use these modes to their full effect, so we can't test them to a degree we're satisfied with. This isn't a problem specific to the Z6III but does help illustrate the real-world limitations of such modes.

Dynamic range

As with other fast readout sensors, the Z6III exhibits slightly higher levels of electronic read noise, which becomes apparent as reduced dynamic range, with the deep shadows of the Raw files becoming unusable very slightly sooner. This is a direct trade-off for the Z6III's shooting and autofocus speed.

The question is, does this matter for your photography? Lower dynamic range doesn't necessarily imply a reduction in image quality of images as a whole, just that there's less scope for exploiting the deep shadows of Raw files, as you might when shooting sunrise or sunset landscapes, for instance. The Z6III's situation is not comparable with that of the Sony a9 III, though, where its higher base ISO brings a reduction both in dynamic range and in tonal quality across the whole image, not just the deep shadows.