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Gear we love: My decade-long test of the Lowepro Photo Sport 300 photo pack
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 overviewThe 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 likeFor 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.
LifestyleThe 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.
DurabilityThis 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.
FlexibilityThe 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 improvedI 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 wordFinding 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 Adorama6 Best high-end cameras
Updated Oct 17, 2024
By the time you're spending over $2,500, you're looking at getting one of the best cameras around. You should expect it to deliver exceedingly detailed images and capture high-end video, all without having to compromise much on speed for when the action picks up.
For most applications, a camera around $2000 will be more than enough, but if you and your photography need the very highest image quality or some specialist capability, the cameras in this guide are among the best we've yet seen. There are a handful of dedicated sports/photojournalism cameras or luxury models above the $4000 upper limit we've set ourselves, but these are usually such singular offerings that we're assuming you don't need our help in choosing if you're seriously considering them.
At this level, there aren't really any bad picks, so if you have any investment at all in the lens system of one company, this should probably be the deciding factor for you. But we'll highlight the particular strengths we found in each camera, just in case you are planning to switch systems.
Our recommendations:- Best high-end camera: Canon EOS R5 II
- Another great option: Nikon Z8
- The compact option: Sony a7CR
- High-spec high res: Sony a7R V
- IQ above all else: Fujifilm GFX 50S II
- Best for video: Sony FX3
45MP Stacked CMOS sensor | Eye-controlled AF subject selection | Up to 30fps continuous shooting
The EOS R5 II is one of the most all-around capable cameras we've tested.
Photo: Richard Butler
Buy now:
$4299 at Amazon.com$4299 at B&H Photo$4299 at Adorama What we like:- Excellent image quality in a range of circumstances
- Very fast autofocus with great subject tracking
- Good video support tools, including waveform display
- Slight reduction in dynamic range in extreme scenarios
- Eye control can be tempermental
- Temperature limits require considered shooting in heaviest video modes
See the EOS R5 II Studio Scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. 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 2024.
Buy now:
Buy at AdoramaBuy at B&H PhotoBuy w/ 24-105mm f/4 at Amazon.com Another great option: Nikon Z846MP 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:
Buy at Amazon.comBuy at B&H PhotoBuy at Adorama What we like:- Superb autofocus
- Fast shooting
- Excellent video
- 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. Still, there are some key differences, like how Nikon’s Z mount 70-200mm F2.8 can be used with a teleconverter while Canon's RF-mount version can’t.
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. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The compact option: Sony a7CR61MP 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:
$2998 at B&H Photo $2998 at Adorama $2998 at Amazon What we like:- Big camera features in a small body
- Outstanding AF performance
- Auto Framing video mode
- 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.Read our Sony a7CR initial review
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. High-spec high res: Sony a7R V61MP BSI CMOS sensor | 8K/30p video | Subject recognition AF
Photo: Richard ButlerBuy now:
$3898 at B&H Photo $3898 at Adorama $3898 at Amazon What we like:- Very detailed Raw files with excellent dynamic range
- Tilt/articulating display suits both photo and video
- Very reliable autofocus, especially for human subjects
- Pixel shift high res and focus stacking require desktop s/w
- Severe rolling shutter for e-shutter and many video modes
The Sony a7R V is the company's fifth-generation high-res full-frame mirrorless camera, built around a stabilized 61MP sensor.
The Sony a7R V is focused more on high resolution than the combination of resolution and speed that the Nikon Z8 and EOS R5 II offer. It can shoot 8K video but only with a major crop and significant rolling shutter.
The a7R V is an excellent tool for capturing high-resolution images. The a7R V is an excellent tool for capturing high-resolution images with a mechanical shutter. The impressive autofocus performance means it is suitable for capturing a wide variety of subjects, including sports and wildlife. However, the sensor's slow readout limits its capabilities if your work requires video capture or the use of a silent electronic shutter.As a high-resolution studio or landscape camera, the a7R V is very, very good, but the existence of the a7CR, which offers much of the same capability in a smaller, less expensive body, is its biggest threat. It offers a much nicer viewfinder, faster USB connector for tethering, and better Wi-Fi than the a7CR, but except in the case of shooting wide apertures and fast shutter speeds together, there's no difference in image quality.
See the Sony a7RV studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Should I still buy a Sony a7R IV?The Sony a7R IV offers essentially the same image quality as the newer Mark V, and costs less, so it's still worth taking seriously. It's a less capable video camera, not so much because of the lack of 8K capture – which isn't the Mark V's best feature, by any means - but due to the lack of 10-bit recording, which gives the V's footage more editing flexibility.
For stills shooters, the older camera doesn't have the more sophisticated subject recognition AF of the Mark V, nor options such as focus bracketing, motion correction to make the high-res mode more useful, or the latest 2x2 MIMO Wi-Fi and 10Gbps USB port of the V.
IQ above all else: Fujifilm GFX 50S II51MP CMOS sensor | In-body stabilization system (up to 6.5EV) | Full HD video at up to 30p
Photo: Richard ButlerBuy now:
$3199 at B&H Photo $3199 at Adorama $3199 at Amazon What we like:- The most affordable medium-format ILC yet
- Photographer-friendly ergonomics, with lots of customization
- Effective in-body stabilization
- Contrast-detect AF is slower than its peers
- Image quality not signficantly better than the best full-frame
- Eye-detection AF isn't as dependable as rival systems
- Unimpressive video specifications (HD only)
The Fujifilm GFX 50S II is a (relatively) compact 50MP medium format mirrorless interchangeable lens camera with built-in image stabilization.
Fujifilm's most affordable medium format camera is a highly attractive option for enthusiasts and professionals alike. The 50S II is the least expensive digital medium format camera ever launched. Image stabilization and precise focus extend its usability far beyond the studio. Speed, autofocus and video aren't its greatest strengths, but it should have major appeal for enthusiast photographers wanting some of the best image quality available.The GFX 50S II is perhaps the most specialized here: it's not especially fast or versatile but in terms of image quality, it has a slight edge over the best of its full-frame rivals (some of which comes from its lenses - the GF primes often being particularly good). The more expensive 100MP versions offer a more significant IQ advantage, but for landscape and studio work, the 50S II is still very good.
Read our Fujifilm GFX 50S II review
See the Fujifilm GFX 50S II studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best for video: Sony FX312MP full-frame BSI CMOS sensor | Full-width 4K/60p, 120p w/ slight crop | 10-bit 4:2:2 capture
Buy now:
$3898 at B&H Photo $3898 at Adorama $3899 at Amazon What we like:- Excellent video quality
- XLR top-handle included
- Fan for extended recording
- No DCI video options
- No viewfinder for stills shooters
- No shutter angle option
The Sony FX3 is part of Sony's Cinema line of cameras, but we've included it here because it shares so much in common with the a7S III, but is a better choice, we feel.
The Sony FX3 is an image-stabilized, fan-cooled full-frame video camera designed to shoot UHD 4K footage at up to 120p.It loses out on a viewfinder, compared to the a7S III, but gains dependability and extended recording times thanks to the addition of a cooling fan. It appears to cost a little more on paper but the FX3 comes with a top handle with built-in XLR adapters, which is an expensive add-on to the a7S III. Sony has also added some video-centric features, such as EI exposure to the FX3 that haven't then appeared on its more stills-focused cameras.
You may also consider the EOS R5C, which is essentially a video-focused version of the original EOS R5. Compared to the FX3, it gains a fan but omits an image stabilization mechanism, though we prefer the more compact form-factor of the Sony, anyway, especially if you plan to shoot on a gimbal.
Why you should trust usThis 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.
Fujifilm X-M5 preview
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 will be available in November at a body-only price of $799. At launch, it'll be available in the silver color seen in the product photos here, but 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.
Buy now:
$799 at B&H Photo$899 w/ 15-45 at Amazon.com$799 at Adorama Index:- What's new?
- How it compares
- Body and controls
- Initial impressions
- Sample gallery
- Specifications
- Press release
It's been a very long time since we've seen a camera with the X-M label: the last, the X-M1, was announced in 2013 and was only the third camera to feature the then-new X-mount. It obviously wouldn't make sense to compare the X-M5 to that model, but it's also a bit tricky to find a direct predecessor in Fujifilm's modern lineup.
It has the same sensor/processor combination as the X-S20 and the same focus on vlogging. However, that's a substantially higher-end camera with a stabilized sensor and electronic viewfinder. The X-T30 II's viewfinder is also indicative of the fact that it started life as a higher-end and more photography-focused camera, though its age – exemplified by its last-gen processor – puts it at a similar price point as the X-M5. The newer camera does still bring some things to the table that you won't find in Fujifilm's prior models, though.
A tiny designThe 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 most purses, belly bags, 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 videoThe 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 HD 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 giving up quality or cropping in.
Three-microphone systemFujifilm 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 a new "Steady-State noise reduction" mode meant to make constant noises like air conditioners less noticable.
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 UIVlog 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. It also lets you put the camera into the new 9:16 short movie mode, which lets you record a vertical video without physically rotating the camera; in vlog mode, you can choose between recording 15, 30, and 60-second clips.
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 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 modeWe touched on the 9:16 short video mode in the previous section, but it's worth diving into a bit on its own. It achieves vertical video by taking a 1080 x 1920 crop from the middle of the frame, instead of 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.
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. 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 transferFujiifilm 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. It's another signal about who this camera is for: people who want to be able to capture something and then post it right away.
How it comparesThe 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. Its background defocus and product priority modes make it easier to get professional-looking video, even for those who don't know what aperture or subject tracking are. It's also worth pointing out that, for those used to shooting on a smartphone, the lack of an EVF won't feel like as much of a downside as they're already used to doing everything using a screen.
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 control dials 2 1 1 1 2 Max burst rate8 fps (mechanical)
30 fps (e-shutter)
11 fps 11 fps12 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, 1.07x magnification 2.36M dots, 0.95x magnification 2.36M dots, 0.93x 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
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 also just as 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, though Fujifilm's offering does at least include a mechanical shutter. The most interesting area of comparison will be in autofocus performance; traditionally, Sony has held the crown here, and so far, Fujifilm's latest-gen cameras haven't threatened to take it away. We'll also have to see if the X-M5 can match the ZV-E10 II's commendable rolling shutter performance
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 handlingThe 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 the grip the Fujifilm does have 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 control 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 does at least offer 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 the camera's focus on video, 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's still a bummer.
Another potential downside is the lack of a directional pad, as Fujifilm has opted to include a joystick instead. That makes it so you're not reliant on the touchscreen to set focus, but it also means you don't have the four quick settings shortcuts d-pads usually provide. Like with many other Fujifilm cameras, you can swipe in different directions on the touchscreen to bring up menus, but doing so is decidedly less ergonomic than using buttons.
If you're willing to spend some time diving into the menus to customize the camera, you may be able to work around some of those issues via the four custom settings on the mode selector dial. For instance, switching between human subject detection and other subject detection modes on Fujifilms has historically been a bit of a pain; they're two separate items, so disengaging one will put you back into standard autofocus tracking, not whatever subject tracking you were using before.
However, 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. Of course, you only have four custom settings on the mode dial, so you'll have to decide what's important to you. You can also choose whether each custom slot will be a photo or video mode.
A few other quick notes about the mode selector dial. It includes an Auto mode, which should be helpful for anyone who's new to the world of dedicated cameras, as well as a 'Filter' setting that activates the toy camera mode, which will be less useful to most people. Anyone wanting to play around with the look of their image should probably reach for the film simulation dial instead, as its adjustments 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.
BatteryThe 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.
Initial ImpressionsBy Mitchell Clark
Let's get one thing out of the way: the X-M5 is not a new photography-focused X-E camera. While plenty about it will likely appeal to photographers, such as its inclusion of a mechanical shutter and twin control dials, Fujifilm very clearly made this camera for people who shoot just as many videos as they do photos and who are "camera curious," as Victor Ha, vice president, Electronic Imaging and Optical Devices Divisions for Fujifilm North America put it.
If you're considering this as a secondary photography camera – who could blame you, given the price tag? – it's very much worth taking a step back and considering what this camera is rather than what you probably want it to be.
That's absolutely not to say that the X-M5 isn't an exciting new option. To be candid, we had almost given up on seeing a new camera at this price point, so it's nice to see that sub-$1,000 kits aren't dead yet.
It feels like Fujifilm actually spent some time figuring out what modern-day vloggers and content creators need in a camera. Despite its small size, it still has a microphone and headphone jack, which are critical for getting good audio in-camera. Vlogging mode and the suite of tools that come with it also strike me as well-suited for people trying to film themselves, and while the short vertical clip mode is easy to scoff at, I can see it truly being a big time saver for some creators. And, of course, the film simulation dial makes it easy to choose an aesthetic without messing around with LUTs in post – though the inclusion of F-Log means you can do that if you want.
The X-M5 does come with some notable downsides, though. Like the Sony ZV-E10 II, it lacks a stabilized sensor, which will be a concern if you like to walk and talk to your camera. Fujifilm says its latest iteration of digital image stabilization should help deal with that and even correct for rolling shutter, but it comes with a hefty 1.32x crop. Shooting at 60fps in 4K also comes with an additional crop. If you stack them all together, you end up with a 1.44x crop, which may require a substantially wider lens – or longer arms – if you want to film yourself with sensible framing.
Fujifilm's autofocus tracking system, while improved from previous models, is still decidedly second-tier compared to systems from Sony, Nikon and Canon. The screen can also be difficult to see in direct sunlight, making it annoying to shoot in harsh conditions.
Still, shooting stills and videos with it has been quite enjoyable, and its price may make it worth those trade-offs for someone who's just getting into the hobby. The size and weight have made it very easy to carry around, and the ergonomics of shooting with it are about as good as they can be on a camera without an EVF.
The X-M5's stills mode is among the most competent out of all the vlogging-focused cameras I've testedI'll again reiterate that this is not a camera for professional or enthusiast photographers. Still, its stills mode is among the most competent out of all the vlogging-focused cameras I've tested, at least from a controls standpoint. While I doubt many – or any – X-M5 users will actually attach a flash to its hot shoe, the mechanical shutter makes the act of taking a picture feel and sound substantially more satisfying than doing so on a phone. The joystick also greatly helps when selecting an autofocus point or moving through menus.
We'll have to spend some time vlogging with a production unit to really put it through its paces, but so far, it seems like Fujifilm has struck a good balance with this camera. While some people will wish the company had added extra features or capabilities, those also would've come at the expense of the size and cost that make this camera so attractive in the first place.
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Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The best cameras around $2000
Updated: October 10th, 2024
These days, $2000 gets you a lot of camera. The picks on our list 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 the types of lenses you'd like to shoot with. 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 look at that during your lens research.
Speaking of lenses, it's also worth considering that the latest lens designs for mirrorless cameras regularly out-perform their older DSLR counterparts. If you have any lenses already, you may want to think about whether they're worth keeping around and adapting to a new system, or whether you'd be better off selling them and using the proceeds to 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.
Best camera around $2,000: Nikon Z6III25MP full-frame 'Partially Stacked' CMOS sensor | 6K/60p N-Raw video | 5.76M dot OLED 0.8x EVF
Photo: Richard ButlerBuy now:
$2496 at Amazon.com$2497 at B&H Photo$2497 at Adorama What we like:- Very good image quality
- Good autofocus tracking with auto subject recognition mode
- Extensive choice of video resolutions and codecs
- Peak dynamic range lower than peers
- N-Raw video format has limited support
- Nikon controls 3rd-party lens options
Read our full review of the Nikon Z6III
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best camera under $2,000: Nikon Zf24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV
Photo: Richard ButlerBuy now:
$1996 at Amazon.com$1997 at B&H Photo$1997 at Adorama What we like:- Distinctive design with direct controls
- Effective subject recognition
- Strong stills and video features
- Weight and minimal grip can become uncomfortable
- Slow MicroSD second slot
- Few custom buttons
Read our full review of the Nikon Zf
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. A capable Canon: Canon EOS R6 II24MP Dual Pixel AF CMOS sensor | 40fps burst shooting | 4K/60 from 6K capture
Photo: Dale BaskinBuy now:
$2099 at Amazon.com$2499 at B&H Photo$2499 at Adorama What we like:- Simple, powerful AF for stills
- Fast 40fps shooting with continuous AF
- Excellent battery life
- AF less reliable in video mode
- SD cards limit burst duration
- E-shutter can distort fast-moving subject
It's hard to overstate how evenly matched the EOS R6 II and our overall winner, the Z6III, are. Nikon's latest beat the Canon by a hair on the strengths of its video specs – including its better autofocus performance when shooting video – and its slightly nicer viewfinder. If you don't shoot video, your choice between the two should purely be dictated by the two companies' lens lineups and how they match your preferences... with the knowledge that they both tightly control which lenses third parties like Sigma and Tamron can produce for their systems.
The R6 II has a substantial hand grip and well spaced controls that pair with a simple touchscreen interface and logically-arranged menu system. It fits comfortably in the hand even with larger lenses. Autofocus performance is consistently reliable, even when capturing images at 40fps. A wide variety of subject detection modes and a surprisingly clever 'Auto' detection mode allow the camera to choose appropriate AF areas and algorithms for many commonly-photographed subjects. The EOS R6 Mark II is a great stills and video camera, with fast burst shooting being its standout feature. Rolling shutter is surprisingly well controlled in 40fps electronic shutter mode, though like most of its peers, the R6 Mark II drops to 12-bit capture, reducing dynamic range. In the less fast modes, the image quality is excellent. Video is substantially improved over the original R6, with full width oversampled 4K up to 60p, and greatly improved thermal management. Video autofocus still has a tendency to jump to the background, requiring the user to continually redirect the camera to your chosen subject while filming. Aside from the maximum burst rate, the Canon R6 Mark II might look like a minor upgrade from its 2020 Camera of the Year precursor, but the impressive number of small improvements add up to one of the most well-rounded full-frame cameras in its price range.Read our full review of the Canon EOS R6 II
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The compact option: Sony a7C II33MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system
Photo: Richard ButlerBuy now:
$2198 at Amazon.com$2198 at B&H Photo$2198 at Adorama What we like:- Big camera features in a small body
- Outstanding AF performance
- Auto Framing video mode
- 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
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Should I buy the Sony a7 IV, a7 III or a7C?At this point, the Sony a7 IV is tough to recommend. There are ways it's better than the A7C II, such as its much nicer viewfinder, slightly better ergonomics, and full mechanical shutter, which eliminates the risk of the slight image glitches that can occur if you shoot images at very high shutter speeds with wide apertures. But it's also larger, heavier and offers less effective image stabilization than the newer, generally less expensive model. If you're sure you don't care about compactness, it might be worth your while to pay 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 be inclined to save up for one of the newer models.
What about other sensor sizes?There are a couple of high-end APS-C cameras that fall in the realm of our 'around $2000' guide, and they're certainly worth a look. The smaller APS-C sensor format generally gives the Canon EOS R7 and Fujifilm X-T5 an image quality disadvantage, compared with the full-frame models in this guide, but also means they can give smaller lens/camera combinations. They're also markedly less expensive than the other cameras we'd recommend.
In the case of the Fujifilm X-T5, you gain access to a wide range of lenses that includes some well-priced options and a healthy selection of prime lenses, that can be fun to shoot with. Fujifilm's X-T series significantly pre-dates Nikon's Zf and Z fc throwback models and arguably has a more refined shooting experience, thanks in part to the company's habit of including aperture rings on many of its lenses. Its autofocus isn't up with the best cameras in this guide, nor is its video output, but it's a camera we really like, if a compact kit and prime lenses appeal to you.
Also worth mentioning are the OM System OM-1 II and Panasonic G9II, which were both released 2024, and act as flagships for Micro Four Thirds. That format is smaller still than APS-C, which could be a tough sell given the sensor sizes people usually expect when they're spending this much on a camera – they cost $2,400 and $1,899, respectively. However, they may be worth considering if you're excited by computational photography features like handheld high-resolution mutishot, are looking to get the most reach out of the smallest lenses, or are going on adventures that require the most compact kit available.
Best for vlogging: Sony ZV-E1Full-width 4K/60p, 120p with minor crop | Auto cropping/framing modes | Subject recognition AF
Photo: Richard ButlerBuy now:
$2198 at B&H Photo$2199 at Amazon.com$2198 at Adorama What we like:- 4K footage up to 120p
- Auto-cropped modes aid one-person operation
- Effective autofocus
- Recording times can be short in warm conditions
- 12MP resolution not optimal for stills
- Cropped footage is upscaled to 4K
The Sony ZV-E1 is a full-frame E-mount mirrorless camera aimed at vloggers and ambitious content creators.
The ZV-E1 is a specialist tool designed for vlogging. It shares many of its capabilities with the more expensive FX3 and a7S III but adds a series of modes that automatically frame and follow a presenter around the scene, if you're trying to shoot video single-handed. The lack of fan and single card slot significantly dent its recording endurance, so it's unlikely to work as a cheaper alternative to the FX3 for serious video work.
The ZV-E1 has two command dials, both on the back of the camera, which makes manual video control a little fiddly, there's a touchscreen-led interface to encourage more automated presenter/operator working, though. The ZV-E1's subject recognition system is highly reliable. The lack of a fan means it's much more susceptible to overheating than the otherwise similar FX3. It adds automated modes that crop and follow a recognized subject around the frame, adding dynamism to single-operator footage. "The ZV-E1 has some clever automated modes but can be a bit fiddly to operate. It's hard to match the power for the price, though" The camera's 4K footage (up to 120p) is detailed with relatively little rolling shutter, but you'll want to use the strongest level of image stabilization (with crop) for hand-held shooting as it's a little juddery in less intensive modes. The camera's 12MP sensor takes perfectly attractive images with plenty of dynamic range and pleasant JPEG color but the low resolution means it wouldn't be our choice if stills shooting is important to your work. The ZV-E1 tries to marry the capability of the FX3 cinema camera with automated ease-of-use, but can end up being quite confusing in the auto modes and quite fiddly if you try to take a more hands-on approach. It's hard to match the power for the price, though.Read our initial review of the Sony ZV-E1
What if I want to shoot videos, not vlogs?Realistically, all of our picks above have very capable video modes that should give you the flexibility to work on the occasional video project. If you're mainly buying a camera for video work, though, it's worth considering something like the Sony FX30, which is designed to be flown on gimbals and to produce 4K/60p video without having to crop in. Sony's more video-focused camera also has excellent rolling shutter rates, helping avoid a jello-like effect in fast-moving footage, as well as best-in-class autofocus.
The FX30 does have the downside of having an APS-C sensor, meaning it can't take in as much light as full-frame options. Its full-frame counterpart, the FX3, is priced way above $2,000. If you really value full-frame and video performance, the Panasonic S5 IIX has some serious video chops, including features like waveform displays and shutter angle settings. However, its autofocus is decidedly a tier below Sony's, as is its rolling shutter performance.
A fixed-lens option: Fujifilm X100VI40MP 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:
$2399 at Amazon.com$1599 at B&H Photo$1599 at Adorama What we like:- Excellent build quality
- Subject-detection autofocus
- Now with in-body image stabilization
- 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-than-its-predecessor) price of $1,600 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's also quite hard to find.
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.
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.
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
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Why you should trust usThis 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.
Wildlife Photographer of the Year winners showcase wonders of our natural world
The Natural History Museum has announced the winners of its prestigious Wildlife Photographer of the Year competition. This year, the museum received a record-breaking 59,228 entries from 117 countries and territories and granted awards to 100 photos. The two Grand Title winners were selected from 18 category winners.
Celebrating its 60th year, Wildlife Photographer of the Year is developed and produced by the Natural History Museum, London. You can visit the exhibition in person at the museum beginning Friday, October 11, and on tour around the UK and in Australia, Canada, Denmark, France, Germany, Italy and Switzerland, with more locations to be announced. The exhibition features all 100 winning images, videos showing the impact wildlife photography can have globally, and past Grand Title winners.
Here, we present some of our favorites, including the Grand Title and winners of many award categories.
Wildlife Photographer of the Year: Grand TitleThe Swarm of Life by Shane Gross, Canada
Wildlife Photographer of the Year: Grand Title
Winner, Wetlands: The Bigger Picture
Shane Gross looks under the surface layer of lily pads as a mass of western toad tadpoles swim past. Shane snorkeled in the lake for several hours through carpets of lily pads. This prevented any disturbance of the fine layers of silt and algae covering the lake bottom, which would have reduced visibility. Western toad tadpoles swim up from the safer depths of the lake, dodging predators and trying to reach the shallows, where they can feed. The tadpoles start becoming toads between four and 12 weeks after hatching. An estimated 99% will not survive to adulthood.
Location: Cedar Lake, Vancouver Island, British Columbia, Canada
Technical details: Nikon D500 + Tokina fisheye 10–17mm F3.5–4.5 lens at 11mm; 1/200 at F13; ISO 640; 2x Sea & Sea strobes; Aquatica housing
Copyright Shane Gross / Wildlife Photographer of the Year
Young Wildlife Photographer of the Year: Grand TitleLife Under Dead Wood by Alexis Tinker-Tsavalas, Germany
Young Wildlife Photographer of the Year: Grand Title
Winner, 15-17 Years
Alexis Tinker-Tsavalas rolls a log over to see the fruiting bodies of slime mold and a tiny springtail. Alexis worked fast to take this photograph, as springtails can jump many times their body length in a split second. He used a technique called focus stacking, where 36 images, each with a different area in focus, are combined. Springtails are barely two millimeters long (less than a tenth of an inch). They are found alongside slime molds and leaf litter all over the world. They feed on microorganisms such as bacteria and fungi, improving soil by helping organic matter to decompose.
Location: Berlin, Germany
Technical details: Panasonic Lumix G91 + Laowa 25mm F2.8; 2.5–5x ultra macro lens; 1/200 at F4; ISO 200; Nikon SB-900 Speedlight flash; Cygnustech macro diffuser; focus stack of 36 images
Copyright Alexis Tinker-Tsavalas / Wildlife Photographer of the Year
Winner: Urban WildlifeTiger in Town by Robin Darius Conz, Germany
Winner, Urban Wildlife
Robin Darius Conz watches a tiger on a hillside against the backdrop of a town where forests once grew. Robin was following this tiger as part of a documentary team filming the wildlife of the Western Ghats. On this day, he used a drone to watch the tiger explore its territory before it settled in this spot. The protected areas in the Western Ghats, where tigers are carefully monitored, are some of the most biodiverse landscapes in India and have a stable population of tigers. Outside these areas, where development has created conflict between humans and wildlife, tiger occupancy has declined.
Location: Nilgiris, Tamil Nadu, India
Technical details: DJI Mavic 3 Pro Cine + 70mm F2.8 lens; 1/15 at F2.8; ISO 400
Copyright Robin Darius Conz / Wildlife Photographer of the Year
Winner, Behavior: BirdsPractice Makes Perfect by Jack Zhi, USA
Winner, Behavior: Birds
Jack Zhi enjoys watching a young falcon practicing its hunting skills on a butterfly above its sea-cliff nest. Jack has been visiting this area for the past eight years, observing the constant presence of one of the birds and photographing the chicks. On this day, it was a challenge to track the action because the birds were so fast. Should this young peregrine falcon make it to adulthood, tests have shown it will be capable of stooping or dropping down on its prey from above at speeds of more than 300 kilometers per hour (186 miles per hour).
Location: Los Angeles, California, USA
Technical details: Sony α9 II + 600mm F4 lens; 1/4000 at F5.6; ISO 640
Copyright Jack Zhi / Wildlife Photographer of the Year
Winner, Oceans: The Bigger PictureA Diet of Deadly Plastic by Justin Gilligan, Australia
Winner, Oceans: The Bigger Picture
Justin Gilligan (Australia) creates a mosaic from the 403 pieces of plastic found inside the digestive tract of a dead flesh-footed shearwater. Justin has been documenting Adrift Lab’s work for several years, often joining them on beach walks at dawn to collect dead chicks. The team brings together biologists from around the world to study the impact of plastic pollution on marine ecosystems. Studies found that three-quarters of adult flesh-footed shearwaters breeding on Lord Howe Island – and 100% of fledglings – contained plastic. The team, including a Natural History Museum scientist, discovered it causes scarring to the lining of the digestive tract, a condition called plasticosis.
Location: Lord Howe Island, New South Wales, Australia
Technical details: Nikon D850 + 24–70mm F2.8 lens; 1/125 at F11; ISO 400; Profoto B10 + A1 flash
Copyright Justin Gilligan / Wildlife Photographer of the Year
Winner, Behavior: InvertebratesThe Demolition Squad by Ingo Arndt, Germany
Winner, Behavior: Invertebrates
Ingo Arndt documents the efficient dismemberment of a blue ground beetle by red wood ants. ‘Full of ant’ is how Ingo described himself after lying next to the ants’ nest for just a few minutes. Ingo watched as the red wood ants carved an already dead beetle into pieces small enough to fit through the entrance to their nest. Much of the red wood ants’ nourishment comes from honeydew secreted by aphids, but they also need protein. They are capable of killing insects and other invertebrates much larger than themselves through sheer strength in numbers.
Location: Hessen, Germany
Technical details: Canon EOS 5DS R + 100mm F2.8 lens; 1/200 at F8; ISO 400; Canon Macro Twin Lite MT-24EX flash; softboxes
Copyright Ingo Arndt / Wildlife Photographer of the Year
Winner, PhotojournalismDusting for New Evidence by Britta Jaschinski, Germany/UK
Winner, Photojournalism
Britta Jaschinski looks on as a crime scene investigator from London’s Metropolitan Police dusts for prints on a confiscated tusk. Britta spent time at the CITES Border Force department, where confiscated animal products are tested. Newly developed magnetic powder allows experts to obtain fingerprints from ivory up to 28 days after it was touched, increasing the chances of identifying those involved in its illegal trade. The International Fund for Animal Welfare has distributed more than 200 specially created kits to border forces from 40 countries. They have been instrumental in four cases that resulted in 15 arrests.
Location: Heathrow Airport, London, England, UK
Technical details: Leica SL2 + 24–90mm F2.8–4 lens at 62mm; 1/80 at F3.8; ISO 200
Copyright Britta Jaschinski / Wildlife Photographer of the Year
Winner, 11-14 YearsAn Evening Meal by Parham Pourahmad, USA
Winner, 11-14 Years
Parham Pourahmad watches as the last rays of the setting sun illuminate a young Cooper’s hawk eating a squirrel. Over a single summer, Parham visited Ed R Levin County Park most weekends to take photographs. He wanted to showcase the variety of wildlife living within a busy metropolitan city and to illustrate that ‘nature will always be wild and unpredictable’. The Cooper’s hawk is a common species across southern Canada, the USA, and central Mexico, where it inhabits mature and open woodlands. These adaptable birds also live in urban spaces, where there are tall trees to nest in and bird feeders that attract smaller birds, which they can prey on.
Location: Ed R Levin County Park, California, USA
Technical details: Nikon D3500 + Sigma 150–600mm F5-6.3 lens at 210mm; 1/400 at F6.3; ISO 800
Copyright Parham Pourahmad / Wildlife Photographer of the Year
Winner, Animals in their EnvironmentFrontier of the Lynx by Igor Metelskiy, Russia
Winner, Animals in their Environment
Igor Metelskiy shows a lynx stretching in the early evening sunshine, its body mirroring the undulating wilderness. The remote location and changing weather conditions made access to this spot – and transporting equipment there – a challenge. Igor positioned his camera trap near the footprints of potential prey. It took more than six months of waiting to achieve this relaxed image of the elusive lynx. A survey carried out in 2013 estimated the entire Russian lynx population was around 22,500 individuals, with numbers for the Russian Far East, including those in Primorsky Krai, at 5,890.
Location: Lazovsky District, Primorsky Krai, Russia
Technical details: Sony α7 IV + 24–70mm F2.8 lens; 1/500 at F5.6; ISO 100; Scout camera controller + PIR motion sensor
Copyright Igor Metelskiy / Wildlife Photographer of the Year
Winner, Impact AwardRecording by Hand by Liwia Pawłowska, Poland
Winner, Impact Award
Liwia Pawłowska watches as a relaxed common whitethroat is gently held by a bird ringer. Liwia is fascinated by bird ringing and has been photographing ringing sessions since she was nine. She says that she hopes her photograph ‘helps others to get to know this topic better.’ Volunteers can assist trained staff at bird-ringing sessions, where a bird’s length, sex, condition and age are recorded. Data collected helps scientists to monitor populations and track migratory patterns, aiding conservation efforts.
Location: Rgielsko, Greater Poland Voivodeship, Poland
Technical details: Nikon Coolpix P900; 1/400 at F5; ISO 100
Copyright Liwia Pawlowska / Wildlife Photographer of the Year
Winner, Impact AwardHope for the Ninu by Jannico Kelk, Australia
Winner, Impact Award
Jannico Kelk illuminates a ninu, with the wire grass and shrubs behind it providing a frame against the darkness. Jannico spent each morning walking the sand dunes of a conservation reserve, searching for footprints that this rabbit-sized marsupial may have left the night before. Finding tracks near a burrow, he set up his camera trap. The greater bilby has many Aboriginal names, including ninu. It was brought to near extinction through predation by introduced foxes and cats. Within fenced reserves where many predators have been eradicated, the bilby is thriving.
Location: Arid Recovery, Roxby Downs, South Australia, Australia
Technical details: Canon EOS 60D + 24mm F2.8 lens; 1/80 at F9; ISO 320; 3x Nikon SB-28 Speedlight flashes; Camtraptions PIR motion sensor
Copyright Jannico Kelk / Wildlife Photographer of the Year
Winner, Behavior: Amphibians and ReptilesWetland Wrestle by Karine Aigner, USA
Winner, Behavior: Amphibians and Reptiles
Karine Aigner recognizes the skin of a yellow anaconda as it coils itself around the snout of a yacaré caiman. The tour group Karine was leading had stopped to photograph some marsh deer when she noticed an odd shape floating in the water. Through binoculars, Karine quickly recognized the reptiles and watched as they struggled with each other. Caimans are generalist feeders and will eat snakes. As anacondas get larger, they will include reptiles in their diet. It’s hard to determine who is the aggressor here. On the snake’s back are two tabanids, blood-sucking horseflies that are known to target reptiles.
Location: Transpantaneira Highway, Mato Grosso, Brazil
Technical details: Sony α1 + 200–600mm F5.6–6.3 lens; 1/400 at F16; ISO 800
Copyright Karine Aigner / Wildlife Photographer of the Year
Winner, Animal PortraitsOn Watch by John E Marriott, Canada
Winner, Animal Portraits
John E Marriott frames a lynx resting, with its fully grown young sheltering from the cold wind behind it. John had been tracking this family group for almost a week, wearing snowshoes and carrying light camera gear to make his way through snowy forests. When fresh tracks led him to the group, he kept his distance to make sure he didn’t disturb them. Lynx numbers usually reflect the natural population fluctuations of their main prey species, the snowshoe hare. With climate change reducing snow coverage, giving other predators more opportunities to hunt the hares, hare populations may decline, in turn affecting the lynx population.
Location: Yukon, Canada
Technical details: Canon EOS 5D Mark IV + 100–400mm fF.5–5.6 lens at 400mm; 1/800 at F9; ISO 1250
Copyright John E Marriott / Wildlife Photographer of the Year
Winner, Photojournalist Story AwardDolphins of the Forest by Thomas Peschak, Germany/South Africa
Winner, Photojournalist Story Award
‘Among the Trees’: The Amazon river dolphin is one of two freshwater dolphin species living in the Amazon and Orinoco basins. Only this species has evolved to explore the seasonally flooded forest habitat.
Portfolio Story: Thomas Peschak documents the relationship between endangered Amazon river dolphins, also known as botos or pink river dolphins, and the people with whom they share their watery home. The Amazon river dolphin’s relationship with humans is complex. Traditional Amazonian beliefs hold that the dolphins can take on human form, and they are both revered and feared. Others see them as thieves who steal fish from nets and should be killed. Thomas took these images in areas where local communities are creating opportunities for tourists to encounter the dolphins. This brings another set of problems: when they’re fed by humans, the dolphins become unhealthy, and younger individuals don’t learn to hunt for themselves.
Technical details: Nikon Z9 + 14–30mm F4 lens at 16mm; 1/320 at F6.3; ISO 1250
Location: Brazil and Colombia
Copyright Thomas Peschak/ Wildlife Photographer of the Year
Winner, Rising Star Portfolio AwardThe Serengeti of the Sea by Sage Ono, USA
Winner, Rising Star Portfolio Award
‘Rubies and Gold’: These tube-snout fish eggs will fade in color as the embryos develop. But for now, they sparkle like gems next to the kelp’s gold, glowing, gas-filled buoyancy aids. The green serrated edges of the kelp fronds complete the simple composition.
Portfolio Story: Sage Ono explores the abundant life around the giant kelp forests in Monterey Bay National Marine Sanctuary. Inspired by the stories told by his grandfather, a retired marine biologist, and by a photograph of a larval cusk eel, Sage acquired a compact underwater camera and decided to take up underwater photography. After university, he moved to the coast near the Monterey Bay National Marine Sanctuary to pursue his interest. Here, it’s the submerged world of the bay’s forests of giant kelp – the biggest of all seaweeds – and the diversity of life they contain that have captured his imagination.
Technical details: Nikon D850 + 60mm F2.8 lens; 1/160 at F14; ISO 250; Nauticam NA-D850 housing; 2x Sea & Sea YS-D2J strobes
Location: California, USA
Copyright Sage Ono / Wildlife Photographer of the Year
Nikon Z6III review
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:
$2496 at Amazon.com$2497 at B&H Photo$2497 at Adorama Index:- What's new?
- How it compares
- Body and handling
- Image quality
- Autofocus
- Video
- Conclusion
- Sample gallery
- Specifications
- Press release
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 AFAlong 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.
VideoThe 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/60p4K/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 functionsThe 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 accessThe 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 comparesThe $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
DCI 4K
UHD 4K UHD 4K
6K
5.9K
5.9K (Raw over HDMI)
DCI 4K
UHD 4K
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
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 handlingThe 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 screenThe 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.
BatteryThe 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 qualityOur 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 ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.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 ShiftLike 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 rangeAs 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.
Exposure Latitude | ISO Invariance
The Z6III's dynamic range limit is comfortably beyond what would typically be included in a JPEG, even with Active D-Lighting in full effect, so it's a drawback that will only become apparent if you're pushing your Raw files. By contrast, Canon's EOS R6 II has better dynamic range when shot using a mechanical shutter but worse when shot in e-shutter mode, and in e-shutter mode you may get to the point that you'd notice noisier shadows in the JPEGs if you have auto lighting optimizer and highlight tone priority engaged.
So the significance becomes question of what kind of shooting you do: if you want maximum Raw file flexibility for landscape work, you'd be better off with a Z7 II (for reasons of resolution, as much as DR). But for most people's shooting, the benefits of the Z6III's increased performance will be felt much more often than the noisier shadows of the base ISO Raws will become any sort of restriction.
AutofocusThe Z6III's AF interface will be familiar from previous models, with a selection of AF area modes ranging from a single point up to a mode that covers the entire scene and lets the camera select a subject.
In addition the Z6III gains the '3D' tracking mode that gives you a small AF box that you can position anywhere in the scene. Initiating autofocus causes the camera to track whatever is under that AF box, and releasing the shutter or AF-On button causes the box to revert to where you left it. It's the same behavior as Nikon's later DSLRs and is pretty much the default means of subject tracking across most modern cameras, so it's great that it has finally arrived in the Z6 series.
On top of this are the subject recognition modes that try to identify the chosen subject type. These honor the underlying AF area mode you've chosen, making it easy to select the subject you wish to focus on. This is especially useful when there are multiple potential subjects in a scene, though we found that sporting events are usually too complex for using the human detection modes, as the camera won't readily give up on one subject even when you want to switch to another.
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In our standard AF test, the camera did well. The above sequence was shot using the general 3D Tracking system. It a good job of sticking on them and keeping them pretty well in focus though as with a lot of cameras, it misjudges the acceleration as the subject comes out of the corner, leaving a few soft images.
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In Auto subject recognition mode, the camera does a better job at locking onto the subject's eyes, despite the cap and glasses making that job difficult. The AF point jumps around a lot less than in the general 3D Tracking mode, where the camera isn't trying to recognize the subject. However, the focus itself still shows a similar number of out-of-focus images as the rider's approach rate toward the camera changes. Generally, it's a very good performance, but it doesn't feel like it's up to the standard set by the Z8 and Z9.
Other subjectsThe Z6III doesn't, as yet, have the separate (and more comprehensive) bird detection mode added to the Z8 and Z9, just the basic bird recognition algorithm that makes up part of Animal detection mode. This is likely to mean it's less good at recognizing birds in front of complex backdrops. Add to this the fact that there's no focus limiter option in the camera and we found that the camera could recognize birds but not always assess their distance at first. Essentially the camera needs to drive the focus to approximately the correct distance before its phase detection system can correctly judge how far away a subject is. Once it had set the focus distance to around the right point, it proved very good at tracking and focusing on birds in flight.
Video A headphone socket set back from the rear screen hinge and a full-sized HDMI port hint at how seriously Nikon is taking video in this camera.The Z6III represents a major step forward for the Z6 series, in terms of video. The ability to capture internal 10-bit footage means that Log capture becomes much more usable than with the existing models. And there's a Raw capture option, which can be powerful if the benefits are worth the increased memory card demands and reduced choice of editing software that it brings (the gains to be had by shooting Raw video, rather than 10-bit Log are nothing like as significant as the differences between Raw and JPEG in stills).
But, just as important as the much-boosted capture options are the capture support tools. The addition of waveforms alone makes it much easier to correctly expose Raw and Log footage, which is just as significant as the ability to capture them.
On top of this, the Z6III's video autofocus is significantly more dependable than it was in previous Z6 cameras, particularly in terms of subject tracking. And while for stills the Z6III is competing with some very capable cameras, in terms of AF dependability for video, it's plausibly the best in class, as things stand.
Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The camera's video is very detailed, both at its 4K and 5.4K settings, with 60p capture clearly showing the same levels of detail in both cases. There's some loss of detail (and we'd expect an increase in noise) if you crop in to the APS-C/DX region of the sensor, but again there's no further step-down in resolving power if you then choose to shoot at 120p.
Raw video is harder to interpret, as it hasn't had the same level of noise reduction, sharpening or contrast applied to it. The bigger issue here is that the ProRes RAW format (which is more widely supported) doesn't appear to include the necessary lens correction profiles, which risks throwing a spanner in your workflow. Conversely, Nikon's own N-Raw format understands and implements these corrections but is only supported by DaVinci Resolve, which could be a problem if it's not the NLE you favor or are familiar with. Unlike Canon, Nikon hasn't created a plugin to expand its compatibility.
Rolling shutter is very well controlled in all modes, thanks to the Z6III's relatively quick sensor, with a readout of around 9.5ms in all the full-frame modes (6K, 5.4K and 4K, 60, 30 or 24p), and 6.3ms in APS-C mode, which is essentially the same readout speed but reading a smaller area.
Video dynamic rangeShot side-by-side, we found the Nikon's base ISO N-Log footage to be a little cleaner than that of the Canon EOS R6 II, with noise overwhelming the shadows around 11 stops below clipping, if using the Nikon/RED Filmbias LUT and with the Canon graded to match it. The Nikon falls behind as you raise the ISO but then catches up to the Canon again at ISO 6400 (ie: three stops above base ISO), where it switches over to using the higher gain step of its sensor.
If you really push the Raw or Log footage, you may see a strange pulsing in the very very dark areas of the footage, but these appear to be at levels where the Canon too is overwhelmed by noise, so it seems to mainly be a problem if you're pushing beyond the limits of what this type of camera can do. In general, the Z6III seems to be a very capable video camera.
Conclusion Pros Cons- Very good image quality
- Well-honed ergonomics and handling
- Bright, large, high-res viewfinder for its class
- Fast burst rates, timelapse, focus stacking and pixel shift modes give significant extensibility
- Good autofocus tracking with auto subject recognition mode
- Extensive choice of video resolutions and codecs
- Wide array of video support tools including waveforms
- Fairly dependable AF tracking in video mode
- Reasonable battery life
- Simple, reliable smartphone connection
- USB charging or power
- Peak dynamic range lower than peers
- Strange pulsing effect in deep shadows in video mode
- N-Raw video format has limited support
- ProRes Raw makes lens correction difficult
- Lacks the traditional Nikon AF mode button or switch on front corner
- Nikon controls 3rd-party lens options
The Z6III represents a significant step up for the Z6 series. Its price hike puts it into line with its rivals from Canon and Sony but the same it true of both its specifications and performance. Up until now, the Z6 series have been competitive cameras with size and control layout counting in their favor; with the Z6III it starts to look like the model others need to catch up to.
Most of this comes down to its new sensor with the faster, more sophisticated readout circuitry stacked along its edges. This, combined with processing and AF systems developed in the top-end Z9, turns the Z6III into a genuine do-anything camera to rival Canon's EOS R6 II. It's autofocus isn't quite as confidence-inspiring as the excellent Z8, but it's a big step forward for the Z6 series, making it competitive for its class.
The Z6III is a much more capable action camera than its predecessor.
Nikkor Z 70-200mm F2.8 @ 77mm | F2.8 | 1/1250 | ISO 110
Photo: Richard Butler
The cost of this added speed and capability is a reduction in dynamic range (at base ISO, where it's highest and matters most). For most applications, this won't have any impact at all: the Z6III has more dynamic range than most people use for most of their images. But for users that shoot high dynamic range scenes, such as sunrise or sunset scenes, this limitiation to Raw file flexibility is worth being aware of.
For most users, gaining a camera that meaningfully supports a vast range of photography, from casual social photography to sports, studio to wildlife and just about everything in between, this will be less of a concern.
The Z6III is also a significantly improved video camera, not just in terms of higher-quality output and lower rolling shutter but also in the provision of class-leading AF dependability and video support tool set. However, just as in stills, the increased read noise of the sensor becomes apparent in the deep shadows: this time as pulsing noise if you push the Raw or Log footage too far.
Nikkor Z 24-70mm F2.8 S @ 59mm | F8.0 | 1/500 | ISO 100Photo: Richard Butler
In our use and testing, we believe the benefits brought by the Z6III's sensor across a wide range of photography outweigh its higher read noise that only has a meaningful impact in a narrow range of circumstances. But we want to make sure that the trade-off is understood
Overall, even with these issues lurking in the shadows, the Z6III is not just comfortably the best Z6 model yet but, with the breadth of its capabilities, it's also the most all-round capable camera in its class. From the basics such as its well worked ergonomics and high-res viewfinder through to its fast shooting, excellent AF, great video and extensive support tools, it's a camera that will rise to almost any challenge you set it. It comfortably earns our Gold award.
ScoringScoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Nikon Z6IIICategory: Mid Range Full Frame CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Nikon Z6III is a significant upgrade to Nikon's mid-priced enthusiast full-framer. It's faster at shooting, has much improved autofocus and captures much more impressive, flexible video. The Raw files can't be pushed quite as hard as the previous models' could, but it's a better camera in every important regard. At the point of review, it's Nikon's first class-leader in this category. A do-everything camera that does a lot of things very well.Good forA very broad range of photo and video pursuitsNot so good forLandscape work and shooting that needs maximal DR capture.91%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"nikon_z6iii","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared with its peersOverall there's little to separate the Nikon Z6III from the Canon EOS R6 II, in most circumstances there'll be no meaningful IQ difference between the two and they're both good to shoot with. The Nikon's maximum burst rate is slower but it has a nicer viewfinder, offers Raw video and waveforms, and has more dependable AF in video mode. But if either system offers a lens that you really want, that's probably more significant than any of the differences between the cameras bodies.
It took a couple of generations, but Canon and Nikon's mirrorless offerings are making life hard for the Sony a7 series. The a7 IV has a resolution benefit over the Z6III but it no longer has anything like such a convincing autofocus advantage. The 33MP sensor isn't as strong for video, making it the weakest all-rounder of the bunch. That said, Sony's more open approach to third parties means the E-mount gives much more choice than the Z mount can, and Sony's own lens team has been on something of a roll, of late.
The Panasonic Lumix S5II X is the least expensive model in this group but looks a little off the pace. Image quality from its 24MP sensor is very good and the L-mount has more lens options than Nikon has amassed (/allowed). But, even with the arrival of phase-detection, the S5II X's autofocus is a generation behind the performance we're seeing from Canon, Nikon and Sony. Its older, slower sensor and the advances other brands have made in terms of video tools and capabilities mean it no longer stands out so strongly for video, either. It's alone in this group in letting you record video to an SSD over USB and its built-in fan makes it more dependable, but there's no option for Raw capture (you'll need an external recorder) and you have to drop to APS-C to shoot 4K/60p.
The Nikon Z6 II is still an interesting choice, at its currently reduced price. You lose a lot, relative to the III: speed, autofocus, video capabilities, viewfinder resolution... It's a less good camera in just about every way. Except the things that really, really matter: image quality and ergonomics. If your photography isn't especially demanding in these regards, then at its discounted price, it looks like an interesting, relatively affordable route into the Z-mount system.
Buy now:
$2496 at Amazon.com$2497 at B&H Photo$2497 at Adorama Sample galleryPlease do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Pre-production sample galleryAll images taken using a pre-production Z6III, from which we can only publish the out-of-camera JPEGs.
Sony ZV-E10 II review
The Sony ZV-E10 II is the company's second-generation APS-C vlogging ILC. It brings a new sensor and larger battery, along with improved video specs.
Key features:- 26MP APS-C BSI CMOS sensor
- Full-width 4K at up to 30p
- 4K/60p from a 1.1x crop (5.6K capture)
- 10-bit video capture
- S-Cinetone color mode and 'Creative Look' options
- Imports LUTs for previewing, embedding or applying to S-Log3 footage
- Three-capsule mic with automatic directional focus option
- No mechanical shutter
The Sony ZV-E10 II has a recommended price of $999 body-only or $1099 with an updated 16-50mm F3.5-5.6 OSS II retracting power zoom. These prices represent a $300 increase over the original version. The ZV-E10 II is available in black or white. The white version comes with a silver version of the 16-50mm PZ that isn't to be sold separately.
Buy now:
$998 at Amazon.com$1098 w/ 16-50 at B&H Photo$1098 w/ 16-50 at Adorama Index:- What's new
- How it compares
- Body & handling
- Video Quality
- Image Quality
- Conclusion vlog
- Specifications
- Press Release
The ZV-E10 II uses the same 26MP BSI CMOS sensor we've seen in the a6700 (and the pro-video FX-30). It's a much faster sensor than the one in the previous version of the camera, and is able to deliver 4K video at up to 60 frames a second, where the previous version had to crop-in to shoot at 30fps, meaning it showed significant rolling shutter in its 4K modes.
10-bit videoThe ZV-E10 II also gains a newer processor, allowing the camera to capture 10-bit video. This allows it to record Log footage with plenty of precision, which allows greater flexibility when grading color and tone. It also means the camera can capture true HDR footage for playback on HDR phones and TVs.
All the camera's 4K modes are taken from oversampled capture: 6K for modes up to 30p and 5.6K (with a 1.1x crop) for the 50 and 60p modes. There's no in-body stabilization in the camera, so digital stabilization applies a further 1.33x crop, meaning the 16-50mm kit lens ends up giving a 32mm equiv field of view, at its widest, if you want to use more than just the lenses' optical shake correction, and 35mm equiv in the high framerate modes.
Updated features The ZV-E10 II has the newer Bionz XR processor, rather than the 'X' of its predecessor. As part of this update it gains a UHS-II compatible SD card slot.The ZV-E10 II doesn't include Sony's 'AI processing unit' but includes some of the latest subject-recognition algorithms, we're told. It also gains the focus breathing compensation function that, with recognized Sony lenses, crops in to the narrowest effective field of view then progressively adjusts the crop and scaling to maintain consistent framing as the focus distance changes.
The ZV-E10 II also has the CineVlog mode from the ZV-1 Mark II, which gives a widescreen 2.35:1 look with baked-in black bars top and bottom and shoots at 24p. Onto this various 'Looks' and 'Moods' can be applied, to give a stylized appearance to your footage.
There's no sign of Sony's Auto Framing modes, though, so you can't set the camera on a tripod and let it crop-in and follow your subject around the scene, nor set a subject's position in the frame and have it crop to maintain that positioning, as you're filming yourself at arm's length.
Larger batteryThe ZV-E10 II now uses Sony's larger NP-FZ100 battery, allowing it to record for much longer. Sony did not disclose battery figures prior to launch, but the FZ100 has always made cameras much more usable than the smaller FZ50 used by the original ZV-E10.
Updated kit zoomThe ZV-E10 II typically comes bundled with the Sony E PZ 16-50mm F3.5-5.6 OSS II, a refreshed version of its compact, retractable power zoom. The version II gains the ability to focus while zooming, helping to keep your subject in focus if you change the focal length while recording, and also communicates information to help the camera's stabilization efforts.
In principle, the lens can focus fast enough to work with 120fps shooting, in the unlikely event anyone ever attaches it to an a9 III. However, Sony has not made any changes to the optical design of the lens, which we've never been particularly impressed by.
How it comparesWe've chosen to compare the ZV-E10 II to its predecessor, Nikon's Z30 that aims to offer something very similar, and to the a6700, to see what differences exist between Sony's vlogging model and its enthusiast stills/video option. The other obvious competitor in this space is Panasonic's DC-G100, which again offers a clever mic setup and front-facing screen for vlogging. However, its substantial crop in 4K mode makes it less well suited to high-res vlogging than the other cameras listed here, so that's the one we've omitted for reasons of space in the comparison table.
Sony ZV-E10 II Nikon Z30 Sony ZV-E10 Sony a6700 MSRP $1099 w/ 16-50mm OSS II $849 w/ 16-50mm VR $799 w/ 16-50mm OSS $1499 w/ 16-50mm OSS Resolution 26MP 21MP 24MP 26MP Mech shutter No Yes Yes Yes Image stabilization Digital only Digital only Digital only IBIS rated to 5.0 EV 4K video rates(crop factor) UHD/60 (1.1x)
UHD/30
UHD/24 UHD/30
UHD/24 UHD/30 (1.23x)
UHD/24 UHD/120 (1.58x)
UHD/60 full-width
UHD/30 full-width Video bit-depth 10-bit 8-bit 8-bit 10-bit Rear screen 1.04M dots fully articulated 1.04M dots fully articulated 0.92M dots fully articulated 1.04M dots fully articulated Viewfinder None None None 2.36M dot
0.7x mag Number of dials 1 main, 1 rear 2 main 1 main, 1 rear 2 main, 1 rear Mic / Headphone sockets Yes / Yes Yes / No Yes / Yes Yes / Yes USB 3.2 Gen 1 (5Gbps) 3.2 Gen 1 (5Gbps) 3.2 Gen 1 (5Gbps) 3.2 Gen 2 (10Gbps) SD slots 1x UHS II (side) 1x UHS-I (base) 1x UHS-I (side) 1x UHS-II (side) Video battery life, CIPA, min
Cont. / Actual 195 / 130 85 / 125 / 80 185 / 100 Dimensions 121 x 68 x 54mm 128 x 74 x 60mm 115 x 64 x 45mm 122 x 69 x 75mm Weight 377g 405g 343g 493g
Perhaps the biggest benefit of the ZV-E10 II over the original is the faster readout of its sensor. The mark 1 exhibited a lot of rolling shutter in 4K/24 mode and had to crop in to deliver 4K/30; by contrast, the new camera can shoot at 4K/60 using most of the sensor, meaning it's over twice as quick as its predecessor.
It's worth noting the differences, compared with the more expensive a6700, too. The a6700 has a viewfinder, in-body stabilization, twin control dials on its top plate and a mechanical shutter, and is able to shoot 4K/120 if you can live with a substantial 1.58x crop. These are all omitted from the less expensive, more influencer-focused ZV-E10 II.
Body and handlingThe ZV-E10 II's body is impressively small: it looks like an early Sony NEX model and is recognizably more compact than the a6700.
The downside of this is that the controls and operation also feel more like an NEX model, rather than one of Sony's latest cameras, if you attempt to shoot stills with it. Unlike the twin dial a6700, there's only a single top-plate dial on the ZV-E10 II and an awkward, fiddly rear-face dial that we've been trying to avoid having to use on Sony cameras for more than a decade, now.
The interface is primarily touchscreen-based, allowing direct operation while you're holding the camera to face you. There are also dedicated buttons both for Bokeh mode (which opens the aperture up to a value that can be adjusted in the menu) and Product Showcase mode that tells the camera to prioritize nearby objects over face detection. Both buttons can be customized to perform other functions, if you prefer.
The ZV-E10 II is the first Sony to rotate its interface display when you rotate the camera, to make vertical video capture easier.
The ZV-E10 II has both headphone and mic sockets, along with a 5Gbps USB-C port that can be used to stream up to 4K/30 video when acting as a webcam. There's also a micro HDMI slot.We didn't find the ZV-E10 II the easiest camera to hold, if we were facing towards it, to vlog, so we suspect the optional vlogging handle/table tripod with its Bluetooth-connected controls, will be really valuable. Trying to hold the camera at arm's length without it just meant worrying about accidentally starting or stopping recording, and constantly nudging the zoom rocker on the lens and not being able to reverse the effect without stopping recording and bringing the camera back into two hands to push the zoom back out to wide-angle.
BatteryThe use of the larger NP-FZ100 battery sees the battery life rating jump from the 440 shot-per-charge rating of its predecessor to 610 shots, using the standard CIPA testing methods. As always, these numbers underestimate the number of shots many people get, so double this number is entirely plausible.
For a vlogging camera, we'll also quote the CIPA video figures, which are 195 minutes of recording if just left to run (assuming you don't run out of card space or overheat before then), and 130 minutes using the CIPA "Actual" shooting duration test, which involves more stop/start recording, zooming of the lens and turning the camera on and off. Both are based on FullHD capture, not 4K.
Video Quality Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.As with the a6700, the ZV-E10 II's oversampled 4K mode provides a good level of detail, especially compared to subsampled video modes on cameras like the X-T50. While its 4k/60p mode does come with a crop, it should be more than detailed enough for its target vlogging audience.
Video Capture OptionsThe ZV-E10 II offers a huge variety of video options, arguably to the point where it may become confusing to beginners looking to use it as their first dedicated camera.
Resolution Codec Compression type Bit-depth X-AVC HS 4H 3840 x 2160 H.265 Long-GOP10-bit
X-AVC S-I 4K H.264 All-I 10-bit X-AVC S 4K Long-GOP 10-bit8-Bit X-AVC S-I HD 1920 x 1080 H.264 All-I 10-bit X-AVC S HD Long-GOP 10-bit
8-bit
Shooting in H.265 gives you a good balance between quality and file size, but older computers without dedicated decoding hardware will struggle when trying to edit the files. Using H.264 instead will come at the cost of larger file sizes but make it even easier to edit; the same is true of the All-I modes, but you'll need an especially fast V90 SD card to use it.
Rolling ShutterYou'll still see rolling shutter in a worst-case scenario, like with this large truck passing close to the static camera, but it shouldn't be a concern for most shooting situations.
Shot at 4K/24p.
Image: Mitchell Clark
The original Sony ZV-E10 had notable issues with rolling shutter performance, exhibiting a jello-like effect whenever you panned or pointed your camera at a fast-moving subject. That was especially true when shooting in 4K. Thankfully, the effect is much less pronounced with the ZV-E10 II, thanks to its much faster sensor readout times.
Video Mode Readout Rate4K/60p
16 ms4K/24p
17 ms 1080p/24 7 msWhile extreme cases like the one illustrated above will still exhibit some rolling shutter effect, it's no longer much of a concern for everyday shooting.
OverheatingThe manual for the ZV-E10 II warns that, by default, the camera can only record around 5 minutes of 4K footage before overheating in ambient temperatures of 25°C (77°F). Our tests found that to be accurate. However, setting the 'Auto Power OFF Temp' to 'High' allows you to record for much longer.
During our tests, shot indoors at an ambient temperature of 23°C (73°F) and recording 4K/60p at the maximum 200M 4:2:2 10-bit quality, the camera overheated in an hour and 17 minutes with 'Auto Power OFF Temp' set to high. Shooting 4K/60p at the lowest quality, 45M 10 bit 4:2:0, the camera held on for an hour and 53 minutes.
That time will be drastically lowered if you don't change the 'Auto Power Off Temp' setting or if you're shooting outdoors in direct sunlight. If you're indoors, you likely won't have to worry about the camera overheating in all but the most marathon of shooting sessions.
Image QualityEdited to taste in ACR.
Sony E PZ 16-50mm F3.5-5.6 @ 50mm| ISO 100 | 1/1250 sec | F5.6
Photo: Mitchell Clark
While the ZV-E10 II isn't really set up to be a stills camera, it's still capable of taking some excellent photos thanks to the sensor it shares with the Sony a6700. It produces pictures that have plenty of detail and colors that are vibrant without being aggressively unnatural. However, the lack of any mechanical shutter means you risk subject distortion with fast-moving subjects, and will be limited in your ability to shoot with flash.
It can also shoot Raw, and the files it produces give you a lot of flexibility to push and pull shadows. And while the lack of a mechanical shutter can sometimes come with a dynamic range hit, in our tests the ZV-E10 II performed similarly to the a6700 that it borrows its sensor from. Unlike its predecessor, it is capable of recording lossless – but still compressed – Raws, which give you a touch more leeway when editing versus lossy compressed Raws while still providing some space-saving benefits.
Click here to view the ZV-E10 II studio scene
ConclusionBy Mitchell Clark
As with our initial review, we've shot the bulk of our review and a conclusion as a vlog, using the ZV-E10 II. Our classic scorecard and comparison to competitors will be below.
Pros Cons- Has a robust set of video settings and features
- Beginner-friendly modes like background defocus and Intelligent Auto
- Detailed 4K video, even at 60p
- Good rolling shutter performance
- Touchscreen vlogging interface is good when you're actually vlogging
- Included wind sock is a nice touch
- Ergonomics aren't the greatest when you're trying to film yourself without a handle
- No built-in ND and IBIS, which would be great for on-the-go vloggers
- Screen can be difficult to see in direct sunlight
- Touchscreen controls can be fiddly for photography and make the screen busy when you're composing a shot
- It's not a stills camera
Overall, the ZV-E10 II can produce great 4K footage, especially when you're shooting in a controlled environment. For those looking to film themselves in their office or studio, its best-in-class autofocus and beginner-friendly modes and features make it a great step up from a smartphone.
However, if your vlogging style is more dynamic with a lot of handheld shooting outside, it may not be the best choice; it doesn't have the auto-framing or built-in ND of the ZV-1 II, nor does it have the stabilized sensor of the a6700. That means you'll have to keep yourself in frame and keep the camera stable. If that's the kind of video you want to make, it may be worth looking outside the ILC ecosystem and considering the DJI Osmo Pocket 3; it won't give you the same image quality due to its smaller sensor, but its built-in gimbal will give you a smoothness that sensor stabilization and optical image stabilization alone can't match.
One point especially bears repeating: the ZV-E10 II is not built for taking stills; it may share a sensor with the a6700, which is an excellent stills camera, but if you buy it hoping to get the same photo performance at a lower price, you'll be sorely disappointed. The lack of a viewfinder can make it quite difficult to compose shots in direct sunlight, and the exclusion of a mechanical shutter means you have far fewer options when shooting flash, and you'll have to worry about rolling shutter when shooting fast-moving subjects. The single-dial controls mean you'll often have to reach for the touchscreen to adjust your settings, and its interface is simply not laid out in a manner that makes sense for photography.
Buy now:
$998 at Amazon.com$1098 w/ 16-50 at B&H Photo$1098 w/ 16-50 at Adorama ScoringScoring 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.
Sony ZV-E10 IICategory: Entry Level Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe EV-10 II is excellent for certain types of vlogging, but lacks versatility for other uses.Good forContent creators looking for an indoor video setup People looking for a camera to record their daily lifeNot so good forContent creators mainly shooting outside without a tripod People looking for a main stills camera85%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"sony_zve10ii","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peersCompared to its predecessor, the Sony ZV-E10 II is a much more capable and usable camera for video. It has better controls – it now uses a three-way switch to control whether you're in photo, video, or slow/quick mode rather than a button – Sony's updated menu system and a faster sensor that substantially reduces rolling shutter and allows for 4K/60. The upgrade from 8-bit video to 10-bit is also a big win, as is the larger battery. It'd be hard to recommend that anyone buy the ZV-E10 now that the II exists.
Compared to the Nikon Z30, the ZV-E10 II's advantages are largely similar to its advantages over the original ZV-E10 with regards to bit-depth and 4K/60p. It also has a headphone jack for easy audio monitoring, and a Log recording mode, all of which the Nikon lacks. Finally, there's lens selection. If you want to upgrade from the 16-50mm kit lens, there aren't really any fast, wide-angle zooms available for Nikon Z mount that would make sense for the Z30. And while Sony makes a few F4 zooms that could be a decent match for the ZV-E10 II, the best upgrade would probably be your choice of Sigma's F2.8 wide-angle zooms, which are available for E-mount, but not for Nikon's system.
The Sony a6700 is an extremely capable camera that should at least be on the radar of anyone considering the ZV-E10 II. It's designed as a stills camera and thus has the EVF, second front control dial, and mechanical shutter the ZV-E10 II lacks. For vloggers, it has the same background defocus and product showcase features but adds in-body image stabilization, 4K/120p recording, auto-framing, and subject detection settings for insects, cars, trains and airplanes. However, those extra capabilities come at a cost: it's 116g heavier and has a $400 higher MSRP.
Buy now:
$998 at Amazon.com$1098 w/ 16-50 at B&H Photo$1098 w/ 16-50 at Adorama Sample GalleryPlease do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Leica Q3 43 review
The Leica Q3 43 is a variant of the company's full-frame prime lens compact, with a 43mm F2 lens mounted in front of a 60MP BSI CMOS sensor.
In almost every other respect, it's a match for the original, 28mm Q3. The longer lens, grey leatherette coating and a number engraved into the hotshoe are the things that set the two apart.
Key specifications- 43mm F2 image stabilized lens
- 60MP BSI CMOS full-frame sensor
- Options to crop in to 60, 75, 90, 120 or 150mm equiv focal lengths
- 5.76M dot OLED EVF with 0.79x magnification
- 3" tilt touchscreen LCD with 1.8 million dots
- Native ISO range of 100-100,000 (ISO 50 manually selectable)
- Hybrid autofocus (PDAF + contrast AF with DFD)
- Continuous shooting up to 15fps (7fps with AF-C)
- 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 and dynamic range tools for JPEG mode
- IP52-rated dust and water resistant
- Wi-Fi and Bluetooth with connection to Leica Fotos app
- Wireless charging via optional hand grip add-on
The Leica Q3 43 will be available from today at a recommended price of $6895, nearly $900 (15%) more than the existing Q3 was at launch, though that price has risen by $300 in the meantime. An optional accessory grip, giving a more pronounced hand-hold and adding Arca-compatible flanges for tripod mounting, will cost $250.
Buy now:
Buy at B&H PhotoBuy at AdoramaBuy at Leica Index:- What's new
- How it compares
- Body & handling
- Image quality
- Autofocus
- Video
- Conclusion
- Sample gallery
- Specifications
- Press Release
In terms of what's new, the answer is a paradoxical middle ground between: 'very little' and 'everything.'
The only major feature change present in the Q3 43 is the focal length of its lens, and consequently, the equivalent focal lengths of its crop modes. It's a completely new design comprising 11 lenses in 8 groups, including 7 aspherics. It wears Leica's 'APO' branding, indicating an apochromatic design that should optimize sharpness and minimize longitudinal chromatic aberration.
The focal length may sound unusual, to those more used to 28, 35 or 50mm options, but there's a logic to the use of 43mm. 43mm is the length of the diagonal of a full-frame sensor, which means a 43mm lens is neither slightly wide-angle, as a 35mm would be, nor slightly telephoto, as a 50mm is.
The result is a camera that's more flexible than a fixed 50mm would be, and more distinct from the existing 28mm Q3 than a 35mm would be. As someone who frequently uses the 35mm focal length, I found myself missing the slightly wide view I'd become familiar with, but quickly settled into the perfect normal view of the world the 43 gave me.
Anyone who's used Panasonic's 20mm F1.7 on Micro Four Thirds, Nikon's 40mm F2 on Z-mount, a 28mm lens on APS-C or Pentax's 43mm F1.9 Limited will instantly be at home. I'm not going to make claims that it matches the human field of view, because we don't see a single field of view all at the same time, with the same acuity across the scene (our eyes don't work like cameras), but it does intuitively feel like it captures 'the world in front of me.'
You don't really need to use the camera to know whether the Q3 or Q3 43 is right for you, as it's simple a question of whether you prefer to capture a wide view including a lot of the scene, or if you want to be able to be a bit more selective. It's really that simple.
'Macro' capabilities Rotate the ring nearest the camera (on the right of this image) and a new distance scale slides forward from the barrel of the lens, showing the close focus range of the lens.As with the previous Q cameras, the 43mm lens has been designed with a close-up option. This is engaged by turning the ring nearest the camera to the 'Macro' position. As you do so, a distance scale for closer focusing pushes forward, replacing the standard scale and indicating the closer focus range.
In its standard setting the distance scale indicates the range from 0.6m (23.6") to infinity. Switching to the Macro position shortens this minimum focus distance down to 0.27m (10.6"), now maxing out at 0.6m.
Triple resolution and crop modesThe Q3 makes the most of its high-resolution sensor, offering 60, 75, 90 120 and 150mm equivalent crops of its sensor of approximately 31, 21, 14, 8, and 5MP, respectively. Of course, cropping in not only reduces the available resolution but also uses an increasingly small region of the sensor, with the expected reduction in image quality and low light performance as a consequence. The pixel-level IQ will look the same, but when blown up or viewed at a common size, the smaller sensor images will look worse. By 150mm equiv, you're well into compact camera territory, so it's probably worth only using in good light.
Crop factor Pixel Count (MP) Approx sensor dimensions 43mm 1.0x 60.3 36 x 24mm 60mm equiv. 1.4x 30.8 26 x 17mm 75mm equiv. 1.7x 20.9 21 x 14mm 90mm equiv. 2.1x 13.9 17 x 12mm 120mm equiv 2.8x 7.8 13 x 9mm 150mm equiv. 3.5x 5.0 10.3 x 6.9If you don't find yourself needing 60MP files all the time, the Q3 43 can also output or 36 or 18MP files from its full sensor. These are downsampled from the original capture, so should be more detailed than actually using a 36 or 18MP camera. You can select the output size for JPEGs and Raw independently, so can opt for small JPEGs and full-sized Raws or, lower-res Raws with full-sized JPEGs, if you can come up with a rationale for doing so.
Leica LooksIn addition to the 'Film Style' color modes that come pre-installed on the camera, the Q3 43 lets you download up to six 'Leica Looks' via the Leica Fotos app. The distinction is that you can adjust settings such as contrast, saturation and sharpening for Film Styles, whereas Leica Looks are fixed, uneditable presets.
The latest version of the Fotos app adds a Leica Chrome option, bringing the choice of Lieica Looks to seven. This can be installed on either of the Q3 cameras or the SL3. Unlike the SL3, though, you can't edit the quick settings page, so you can't put Leica Looks into that menu, if you use them rather than the Film Styles.
Perspective correctionIt's a mode perhaps better suited to the original Q3's wide-angle lens, but the intelligent perspective correction mode does a good job of delivering an straightened image, out-of-camera.
Click here to see an un-corrected version.
Leica Q3 43 | F7.1 | 1/500 sec | ISO 100
Photo: Richard Butler
The Q3 43 has Leica's perspective correction function. When switched on, this analyses the scene, looking for converging lines it thinks should be parallel, then calculates the necessary corrections based on this. The corrections are only applied to the JPEG image but the uncorrected Raw can be saved alongside. The JPEG is scaled back up to whatever resolution you're currently operating the camera at.
How it comparesThere are no other prime-lens compacts offering a 43mm (or equiv) field of view. The most obvious peer is the Ricoh GR IIIx, which has a 40mm equivalent prime lens built in. Its 24MP APS-C sensor can't match the image quality and resolution of the Leica but also allows it to be much, much smaller and less expensive. The Ricoh's lens is a stop slower in absolute terms, before you consider the impact on depth-of-field and whole-image light capture of its smaller sensor.
Fujifilm's X100 VI has a wider, 35mm equiv lens – though we found it much easier to adapt to the 43mm field of view from 35mm equiv than we do switching back and forth between 35 and 28mm – and the cameras themselves are fairly different. The Fujifilm offers an interesting optical/electronic hybrid viewfinder and an APS-C sensor, whereas the Leica is full-frame and uses a conventional EVF.
Leica Q3 43 Leica Q3 Ricoh GR IIIx Fujifilm X100V MSRP (body) $6895 $5995 $999 $1599 Sensor 60 MP full-frame (Bayer) 60MP full-frame (Bayer) 24MP APS-C (Bayer) 40MP APS-C(X-Trans) Lens 43mm F2.0 28mm F1.7 40mm equiv. F2.8 35mm equiv. F2.0 Built-in ND filter No (accepts 49mm filters) No (accepts 49mm filters) 2.0 EV 4.0 EV ISO range 50-100,000 50-100,000 100-102400 100-51200 Viewfinder type 5.76M dot OLED electronic 5.76M dot OLED electronic Optical (optional) 3.69M-dot OLED electronic / optical hybrid LCD 3" tilting
1.84M dots 3" tilting
1.84M dots 3" fixed
1.037M dots 3" tilting
1.62M dots Touch-screen Yes Yes Yes Yes Included flash No No No Built-in Weather-sealing Yes (IP52) Yes (IP52) No Yes* Max. burst 15 fps (12-bit AF-S)
7fps (14-bit AF-C) 15 fps (12-bit AF-S)
7fps (14-bit AF-C) 4 fps 13 fps (elec. shutter)
6 fps (mech shutter) Max. shutter, mech / electronic 1/2000 / 1/16000 1/2000 / 1/16000 1/4000 1/4000 /
1/180,000 Video 8K/30p, 4K/60p, 1080/120p 8K/30p, 4K/60p, 1080/120p 1080/60p 6.2K/30p,
4K/60p
1080/120p Battery life (CIPA) 350 shots 350 shots 200 shots 310 shots (EVF) Weight 772 g 743 g 262 g 521g
Sony's long out-of-production RX1 series would also be a meaningful comparison, thanks to its similarly-sized sensor and 35mm F2 lens, but sadly it's a line that appears to have been abandoned.
As with most fixed-lens cameras, all four are built around in-lens 'leaf' shutters. These can't reach the 1/8000 sec exposures often offered by high-end focal-plane curtain shutters but can sync with flashes all the way across their mechanical shutter speed ranges.
Body & handlingThe Q3 43's body is essentially identical to that of the Q3, which itself was a relatively gentle refresh of the design of the Q2. The principle difference being that the 43 version comes in a grey leatherette finish, and has the numbers 43 both on its lens and milled into its hotshoe.
It's a design that takes its styling cues from Leica's history, particularly with the rounded edges to the body, without directly mimicking the company's flagship M rangefinder series. But, while there's little risk of it being mistaken for an M, the overall design and use of typography is unmistakably Leica, even if you were to cover up the red dot logo on the front.
The controls are pretty minimal, with a dedicated shutter speed dial and aperture ring, both of which have 'A' positions, to pass their control over to the camera. Other than this, there's a command dial on the rear shoulder that contains a customizable button at its center. It's a system that helps focus all your attention on the fundamental settings of photography.
The command dial, in its default Auto setting, takes on a different role, depending on your exposure mode.
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 adjThere are two more custom buttons along the top rear edge of the camera with the option to customize the central button of the four-way controller, which is primarily used for navigating the menus and positioning the AF point. Any of these buttons can be customized by holding them down. You can narrow-down the list of parameters available to be assigned to the buttons (on a per-button basis), so if you want to switch their function regularly, you can get straight to the options you want to select from.
There's a focus tab on the lower right of the lens that includes a small button. This button needs to be pressed to move the focus ring out of the 'Auto' position, to engage manual focus.
InterfaceThe Q3 43 has the most recent version of the interface Leica has been evolving for the past few years. As on the Q3 and SL3, pressing the menu button brings up a quick settings screen showing the exposure settings at the top and an array of other camera settings below. This display is touch-sensitive and swiping left brings up a similar quick settings menu but for video settings, taking you into video mode.
Pressing the Menu button again takes you to Page 1 of the menu proper, and pressing it again starts to toggle through the menu tabs. As with the D-Lux8 this raises the odd prospect of pressing left to jump one page to the left but having to press Menu to do the opposite (pressing right on the four-way controller adjusts the current setting or enters a sub-menu). It's a little quirk that doesn't take too long to adjust to, especially as there aren't many reasons to visit the main menu.
The Q3 43's interface resembles that of the original Q3 so doesn't yet include the updates made for the SL3, such as red color-coding for stills and yellow for video, or the ability to customize the quick settings menu. Instead you can save your prefered menu options in a 'Favorites' tab that appears as the first page of the main menus.
ViewfinderThe Q3 43 has the same 5.76M dot (1600 x 1200px) viewfinder as the existing Q3 model and the same 1.8M dot (560 x 640px) touchscreen that can be tilted up and down.
On the side of the camera is a small rubber door, behind which you'll find a Micro HDMI port and a USB-C socket. Video footage can be output over the HDMI port but precisely what resolution and codec is used depends on whether you're shooting L-Log, HLG or standard DR footage and whether you're simultaneously recording internally.
The USB port is a 3.1 Gen 2 interface, meaning it can transfer data at up to 10Gb/s. This can be used for tethering to the Leica Fotos app, if you use an iPhone.
BatteryThe Q3 43 uses the same battery as the wide-angle Q3, the 16Wh BP-SCL6. The battery life is rated at 350 shots per charge, using the CIPA methodology, which we find can regularly mean getting twice this figure. 350 is a very decent rating for a camera you're likely to want to shoot with over the course of a few days.
The camera can be charged over its USB-C port, even while the camera is being operated. There's also the option at add wireless charging. If you add an optional handgrip, the camera gains the ability to charge using standard Qi wireless chargers.
Image qualityOur 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 ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Because the Leica Q3 43 has so few direct peers and we've not always been able to get hold of production-spec Leicas for long enough to shoot our test scene, it's a little difficult to know what to compare it to. So we're primarily going to see how it looks alongside the Sony a7R V, with which it shares a sensor.
The detail levels are fractionally lower than with the Sony 85mm F1.4 GM lens, especially in the far corners, but very good for a fixed-lens camera. Noise levels, if anything, appear lower, despite Sony appearing to apply some sort of processing/noise reduction.
The Leica's JPEG engine isn't pulling out quite as much detail as the Sony, despite what appears to be quite heavy sharpening, that's causing a little bit of over-shoot at high-contrast edges. Leica's Standard color response is also quite unusual, with very magenta pinks and slightly dark yellows. The light pink patch is very neutral, which typically gives accurate, rather than attractive caucasian skin tones.
The default noise reduction aggressively supressed chroma noise but leaves unusually high levels of luminance noise. This approach both protects detail and gives the impression of detail, but means the images have a very high noise level. There's an argument that this luminance speckling is analogous to film grain, but it takes some getting used to.
White balance Image Comparison SliderThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.We also found the Q3 43's Auto white balance could err on the neutral or even cool side. While, theoretically, you might expect auto white balance to try to cancel-out any tint the lighting might have, in practice most people prefer it to leave a little warmth to the scene. The above photo, shot using daylight entering from windows behind the camera, is the one that prompted me to stop using Auto white balance, as JPEGs were appearing very clinical.
ISO Invariance | Exposure Latitude
Lens performance Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Our test scene isn't supposed to be a lens test, but it's shot from a reasonable distance, so for this focal length, it doesn't do a bad job. The lens is very, very sharp, all the way up to its widest F2.0 setting. There's a tiny drop-off in corner sharpness and some hint of vignetting, but these are only noticeable by comparison with stopped-down shots. Given we're looking at pixel level at a 60MP image, it's fair to say the lens is excellent.
These images were processed using Capture One, which enables us to use the manufacturer's distortion correction profile but disengage correction of lateral chromatic aberrations and vignetting. The Q3 43's lens is designed with geometric distortion corrected mathematically, so that other aberrations can be corrected optically without either increasing the size and complexity of the lens or adding to those aberrations through attempts to correct distortion.
Leica applies its 'Summicron' branding to the Q3 43's lens and both our test scene and real-world shooting suggest it's essentially free from chromatic aberration.We don't see any sense in assessing the performance of a lens with some of its elements removed: we're only interested in the quality of the final image. And if the corners look this good after correction, we don't believe it's relevant whether that was achieved through glass or mathematics, especially if it allows the lens to be this comparatively small.
Autofocus The Q3 43's lens has a small focus tab, much like Leica's M-mount lenses. There's a small release button on the upper lip, which needs to be pressed to release the focus ring from the AF position into the manual focus range.The Q3 43 has a series of AF modes: a basic AF spot, an AF field that can be shifted and scaled, multi-field or a large zone. There are also Eye/Face/Body detection and Eye/Face/Body + Animal detection modes that select a subject in the scene. You can then press the four-way controller to select between recognized subjects.
Autofocus on the Q3 43 is very quiet and reasonably speedy. We didn't subject it to our standard autofocus test because we simply don't believe that it usefully represents the sorts of autofocus challenge a camera with a 43mm lens will be subjected to. There was at least one rushed shot where the camera claimed to be in focus but wasn't, but for the vast majority of our usage, it proved very quick for a fixed prime compact.
However, one issue we did encounter is that the Q3 43's detection modes don't let you specify an AF point to pre-select a subject. This is disappointing, and we found we had to turn face detection off when trying to shoot candid photos including multiple people: the camera would constantly jump from one subject to another, and find and lose people's faces faster than it was possible to select them.
It's been a while since we encountered a subject recognition system that doesn't work in conjunction with a selected AF point and we found it made autofocus operation slower and more fiddly, at least in some circumstances.
This was our only real gripe about the AF, though. Generally, it's swift and confident enough that you can rely on it without having to think too much.
VideoThe Q3 43 has pretty ambitious video specifications, including up to 8K/30 capture and ProRes 422HQ footage at up to 1080/60. The camera can record video for up to 29 minutes. Leica says it'll be possible to connect external mics via the USB socket, with options becoming available in October.
To access video capture you press the menu button then swipe left on the screen, revealing the video settings menu. You can then choose from a range of resolutions and codecs.
File type Frame rates Codec Bit-depth / Chroma Bitrate DCI 8KMOV 29.97, 25, 24, 23.98 H.265 10-bit 4:2:0 300Mbps UHD 8K
MP4 DCI 4K MOV 59.94, 50, 48, 47.95 H.264 10-bit 4:2:2 600Mbps 29.97, 25, 24, 23.98 400Mbps UHD 4K 59.94, 50, 48, 47.95 600Mbps 29.97, 25, 24, 23.98 400Mbps MP4 59.94, 50 H.265 10-bit 4:2:0 100Mbps 29.97, 25, 23.98 H.264 8-bit 4:2:0 100Mbps
There are also FullHD / 1080 options at up to 120p either played back at capture speed or as slow-mo. Shooting up to FullHD/60 can be done using the ProRes 422HQ codec.
Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The level of detail capture in 8K is very high. UHD footage is essentially the same as DCI footage but with the edges cropped off, both in 8K and 4K modes. 4K footage up to 30p is derived from the same sensor readout as the 8K modes, and shows levels of detail comparable with the Canon EOS R5 II's oversampled 'HQ' modes.
Framerates above 30p are sub-sampled (with the halved rolling shutter rate suggesting 50% line skipping). These modes are not just less detailed but exhibit prominent moiré.
Unfortunately, while detail capture is high, the rolling shutter rates are pretty significant. Most modes show over 30ms of rolling shutter, which will make them very prone to warped and distorted motion if things move quickly across the camera or if you pan.
Rolling shutter rate 8K or 4K footage up to 29.97p 31.3ms (1/32 sec) 4K footage at 47.95p upwards 15.5ms (1/64 sec)Rolling shutter can also interact awkwardly with attempts at stabilization, as the movement to correct shake can both counter and exaggerate the distortion caused by the slow readout, leading to the so-called 'Jello' effect. We don't see video as a particularly critical feature on a camera with a fixed 43mm lens and no means of monitoring audio, but the results are a little disappointing given how promising the specs look on paper.
ConclusionBy Richard Butler
Pros Cons- Excellent image quality in both Raw and JPEG
- Impressive lens performance, even at the widest aperture setting
- Autofocus is swift and precise
- Flash sync across full (mechanical) shutter speed range
- Very light luminance noise reduction helps preserve detail at high ISOs
- Perspective Correction function is very usable
- Digital Zoom modes give you some additional flexibility
- Very detailed video with a good choice of codecs and bitrates
- Decent battery life
- You'll know you own a Leica
- Subject recognition incompatible with AF point selection
- Subject recognition not as persistent as some cameras we've tested
- Auto white balance can be aggressively neutral/cool
- Minimal default luma noise reduction leaves very noisy images in low light
- Button to shift from AF to MF is fiddly
- Auto ISO settings awkward to access
- Worth being aware of Digital Zoom's impact on image quality
- Significant rolling shutter in its most detailed video modes
- No audio out, despite strong video specs
- 4K capture above 30p shows a lot of aliasing
- Significant price premium for the Leica name
The Leica Q3 43 is a beautiful piece of engineering and design, and a welcome addition to the range if you don't see the world through the angle of view offered by the existing 28mm Q cameras.
Image quality is superb, with a lens that's very sharp and with high cross-frame consistency even at wide apertures. The camera's controls are also nicely focused on the fundamentals of photography, which is refreshing after the feature and icon overload that much of the industry has sleepwalked into.
The thread on the front of the lens has been cut so that the screw-in hood lines up exactly when fully tightened. It feels indicative of the attention to detail that's gone into the camera.The camera had a couple of quirks that felt relevant to the way it might be used. While its autofocus was swift and responsive, the autofocus interface feels a generation or so behind the competition. Its face detection mode ignoring your chosen AF point can make it almost impossible to keep the camera focusing on your preferred subject, especially when shooting candids.
The Q3 43's Auto white balance mode can also be rather painfully literal: neutralizing any color cast in the scene and seemingly erring on the side of a rather cool rendition. This is no problem if you're shooting Raw but a little off-putting. Most modern cameras recognize that there are times you want to preserve some of the ambience in a scene, or at least keep the colors on the flattering side of neutral. The rather hands-off approach to luminance noise also takes some getting used to.
The Leica Q3 43 didn't magically make me a better photographer in the weeks I was shooting with it. But it did feel, as the best camera do, like something that would encourage me to keep practicing and support me as I went.
Leica Q3 43 | F2.0 | 1/60 sec | ISO 160
Processed with Adobe Camera Raw
Photo: Richard Butler
Overall, though, it's an impressive photographic tool that has the build quality and attention to detail to leave no doubt that this is a distinctly premium product. That's not going to convince everyone that it's worth the asking price, of course, but that's the nature of luxury goods: the exclusivity is part of the package. But, in a way that's not always been true of Leica's digital cameras, this does feel like a first-rate camera just as much as it's a desirable object.
Personally, I found myself uncomfortable knowing I had something costing so many thousands of dollars slung over my shoulder (admittedly made still more acute by doing it at a time when it was both valuable and secret). And its size, even with a relatively compact lens, meant I couldn't really pocket or conceal it.
Considerations of price and how you feel about the cultural meaning of such a product are deeply personal, and not something anyone is likely to be swayed on. But as a camera, it's very, very good. If you want a camera that's a Leica in every sense, but don't want to commit the rest of your life to a quest for ever more unobtainable M-mount lenses, it's just about everything you might hope for.
ScoringScoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Leica Q3 43Category: Enthusiast Large Sensor Compact CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Leica Q3 43 provides a 'normal' alternative to the company's wide-angle fixed lens, full-frame compact. Its image quality is superb, thanks to an excellent lens, and its user interface is pleasantly photography focused. Its video modes and autofocus interface don't live up to these immensely high standards, but neither gets in the way of the camera's core mission.Good forPeople looking to document their life with the highest image qualityNot so good forCost-conscious photographers, anyone looking for a pragmatic tool to get a job done.89%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"leica_q343","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peersThe Leica Q3 43 doesn't really have any direct peers. The closest parallel is Ricoh's GR IIIx, which is a much, much more compact camera but also one with a lens that's a stop slower in absolute terms, even before you factor-in the effect of it having a much smaller sensor. The only fixed-lens camera that will give you the same image quality and photo-centric shooting experience as the Q3 43 is the existing wide-angle Q3. And the significant difference between a wide-angle and a perfect normal angle-of-view should make it obvious which makes sense to you.
The Q3 43 offers image quality and shooting experience to live up to the brand story that Leica has built around itself. You can fit a good lens to any number of mass-market full-frame mirrorless cameras can get something like the image quality, but you won't get such an elegantly simple shooting experience (or such a small package). If the Leica brand and all it represents (including cost/exclusivity) doesn't resonate with you, then that's the more pragmatic route to take. But if it does, then nothing else will come close to working as a substitute.
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