Produkt nyheder
OM System OM-5 II preview
The OM System OM-5 II is a Micro Four Thirds mirrorless camera that uses the same stabilized 20MP sensor as its predecessor. It also features the same processor as the OM-5, so the list of new features is relatively subtle, but it gains some minor updates that make it feel a bit more modern.
Key Specifications- 20MP Four Thirds CMOS sensor
- 50MP handheld high-res multi-shot mode
- Up to 7.5EV stabilization with Sync IS lenses
- Up to 30fps continuous shooting, configurable pre-capture
- 2.36M-dot 0.68x OLED viewfinder
- IP53 dust and water resistance rating
- USB-C for charging / data transfer
- Updated menu system
The OM-5 II will retail for $1199 body-only, the same as its predecessor, and will be available at "the end of June." It will come in black, silver and a "sand beige" tan.
Buy now:
Buy at AdoramaBuy at B&H Photo Index:- What's new?
- How it compares
- Body and handling
- Initial Impressions
- Sample gallery
- Specifications
- Press release
When the OM-5 launched in 2022, its use of a micro USB port instead of a USB-C one felt like a huge omission, especially given that the European Union was already well on its way to mandating the more modern charging and communication standard. Thankfully, the OM-5 II doesn't repeat that mistake; it uses USB-C for charging and connecting to your computer, where it retains the ability to act as a webcam without any additional software or drivers via the UVC/UAC protocol.
This is mostly an upgrade to the charging experience. You'll still want to use an SD card reader for offloading photos, as the type C port still runs at USB 2.0, less than a tenth the speed of the 5Gbps "SuperSpeed" ports found on a majority of modern cameras.
Updated gripWhile the OM-5 II's design is mostly unchanged from its predecessor's, OM System has made the grip a touch larger to help with ergonomics. Compared to the OM-5's, it fills out your hand just a bit more, which helps make it a touch more comfortable and easier to handle.
New menus The OM-5 II's menus, like those on the rest of the company's modern cameras, now look and work a lot like Canon's.OM System has also brought over its updated menu system from the OM-1 and OM-3, with color-coded sections and tabs. Unlike its predecessor, the camera will try to give you an explanation for why certain items are unavailable instead of leaving you to guess what you need to change to access those features.
You can navigate through the sections using the front dial and switch pages using the rear one, which can be very quick once you get the hang of it. The four-way controller is required for changing your settings; you can use the touchscreen to switch tabs and sections but not to navigate through or adjust the settings themselves.
CP buttonOM System has replaced the OM-5's exposure compensation button with the 'CP' button that debuted on the OM-3. It gives you quick access to the camera's myriad computational photography modes; giving it a single press will activate your last-used mode, and if you press and hold it, you can use either command dial to scroll through the various modes and select the one you'd like to use.
The OM-5 II doesn't gain any new computational features compared to its predecessor, which is a bit of a shame since we've found the Live Graduated ND feature included in the higher-end models to be useful in some situations (though that may only be possible because of those cameras' Stacked sensors, which capture images faster, with less risk of rolling shutter). However, the OM-5 II still has a suite of useful computational modes:
OM-5 II OM-1 (II) / OM-3 Multi-shot high-res 50MP handheld / 80MP tripod 50MP handheld / 80MP tripod Live ND 1-4EV 1-6EV / 1-7EV for OM-1 II Live graduated ND — 1-3EV Focus stacking Yes, with select lenses Yes, with select lenses HDR Yes Yes Multiple exposure Yes Yes Live Bulb Yes YesAll the multi-shot modes are processed in-camera, making them much more convenient to use compared to similar modes from other brands that have to be stitched with desktop software. However, that can take a while for some modes; the most taxing are the handheld high-res shots, which lock up the camera for over 15 seconds; even the progress bar won't move from the EVF to the display or vice versa if you move your eye to or away from the camera.
New color modes Standard Color Profile OM Cinema 1 OM Cinema 2The OM-5 II includes the two "OM Cinema" color modes from the OM-3, which are made to capture the same level of highlight information as the Log mode but without the extremely low-contrast, low-saturation logic that requires grading. The company says the OM Cinema 1 mode is designed to highlight yellows in the bright parts of your image and blues in the darker areas, while Cinema 2 adds a bit of cyan to the highlights and shadows while lowering contrast.
Light, camera, actionSpeaking of video, the OM-5 II now features a red LED in the top right corner on the front of the camera, which acts as a tally light to make it obvious when you're recording video.
A little helpThe OM-5 II adds two new assistance features: a night vision mode that boosts the live view's brightness, making it easier to focus and/or compose in dark environments and a handheld assist mode that shows you how stable you're keeping the camera during long exposures. It gives you a target that shows how much you've moved the camera since you started taking the picture. It makes it easier to tell whether your photo will come out blurry since you'll know whether you've moved more than the stabilization system can compensate for.
How it comparesThe OM-5 II is mainly focused on people looking to capture their outdoor adventures, a niche that's often serviced by action video cameras. However, there's nothing about its design that precludes it from being a general-use stills camera. As such, we're comparing it to several comparably-priced APS-C cameras that are good for photos (no EVF-less, e-shutter only, single-dial cameras here) but that still include some decent video specs.
OM System OM-5 II Canon EOS R10 Fujifilm X-S20 Nikon Z50II MSRP $1199 $979 $1299 $909 Pixel Count / Sensor Size (Crop Factor) 20MPFour Thirds (2.0x) 24MP
APS-C (1.6x) 26MP
APS-C (1.5x) 21MP
APS-C (1.5x) Image Stabilization 6.5EV
Up to 7.5EV w/ lens coordination Lens only Up to 7.0EV Lens only Max frame rate 6fps mech*
10fps elec with C-AF
30fps elec w/ focus and exposure lock 15fps mech
23fps elec 8fps mech
20fps elec
30fps w/1.25x crop 11fps mech
15fps elec
30fps JPEG-only Pre-burst recording? Yes Yes (Raw Burst mode) Yes Yes, JPEG-only Built-in flash? No Yes Yes Yes Weather sealing IP53 water/dust resistant certified No No Yes AF subject detection types Human / Eye Human / Eye
Animals
Vehicles Human / Eye
Animal
Bird
Cars
Motorcycle / Bike
Airplane
Train Auto
Human / Eye
Animal
Bird
Cars
Motorcycle / Bike
Airplane
Train 10-bit HDR Stills No PQ HEIF No HLG HEIF Viewfinder res. / mag. 2.36M dot
0.68x
2.36M dot
0.59x 2.36M dot
0.62x
2.36M dot
0.68x
Rear screen res. / type
3" 1.04M dotFully-articulating 3" 1.04M dot
Fully-articulating 3" 1.84M dot
Fully-articulating 3.2" 1.04M dot
Fully-articulating AF selection Touchscreen / 4-way controller Touchscreen / joystick Touchscreen / joystick Touchscreen / 4-way controller
Video
Full-width UHD/DCI 4K <30p UHD 4K 60p w/ 1.56x cropFull-width UHD 4K <30p
Up to 6.2K/30p 3:2 (open gate)
UHD/DCI 4K 60p w/ 1.18x crop
Full-width UHD/DCI <30p
Full-width UHD 4K <30p 10-bit options OM-Log HDR PQ F-Log/F-Log 2
HLG
N-Raw
N-Log
HLG
(4.9 x 3.3 x 2.0") 123 x 88 x 83mm
(4.8 x 3.5 x 3.3") 128 x 85 x 65mm
(5.0 x 3.3 x 2.6") 127 x 97 x 67mm
(5 x 3.9 x 2.7")
* - the original OM-5 could shoot at 10fps mechanical, but not with continuous autofocus.
In some ways, OM System sets itself apart at this price point by offering features you'd usually need to pay more for, such as a stabilized sensor and weather sealing. Fujifilm is the only other brand with the former in this range (you'd have to jump up to the $1499 EOS R7 from Canon or $1399 Sony a6700 to find another APS-C camera with it), and OM System is one of only two camera companies to offer a specific IP rating rather than a vague claim of "weather resistance." The other is Leica.
Like Fujifilm, there's a wide array of sensible lenses available you can pair with the OM-5 II, though Micro Four Thirds offers lighter and more compact options than even APS-C.
However, the OM-5 II misses out on some features that are quickly becoming table stakes, such as the ability to shoot 10-bit stills that use an HDR response curve, a 60p video mode, and a wider array of AI-derived subject detection modes for its autofocus system. At this point, there are cameras well under $1000 that have these features, so they feel like a notable absence.
Body and HandlingLike its predecessor, the OM-5 II is very light, while still managing to remain well-balanced when paired with larger lenses like OM System's 40-150mm F4 Pro. The extra grip helps in this regard, filling out your palm and making the camera feel more substantial without adding much weight or bulk.
The OM-5 II has a selection of buttons and levers, and as is tradition for the brand, most of them can be customized to do pretty much anything you'd like. While the buttons around the four-way controller are fixed, you're free to do what you wish with the buttons on the top plate, including the two semi-circular ones atop the power lever. The settings are separate for stills and video modes.
It also has OM System's customary function lever, which is unfortunately much more limited; it can only be used to power the camera on or off (leaving the dedicated power lever to do nothing), turn the camera into video mode, or to switch between a small subset of dial functions or autofocus settings. It does not recognize the eye recognition mode, so you can't use it to switch between, say, tracking autofocus and continuous autofocus with eye recognition – unlike many other cameras, you can't have both human detection and tracking on at once.
It also features a locking mode dial, with settings for all the major exposure modes, along with video, scene and art filter modes. Its two top-plate command dials have relatively aggressive knurling, making them easy to manipulate even while wearing gloves.
Despite the revised menus, one of the OM-5 II's best features remains its "Super Control Panel," which is mapped to the OK button by default. It lets you easily access and control most of the camera's main shooting settings on a single touchscreen panel: drive mode, AF mode, face and eye detection, exposure and ISO control, etc.
EVF and MonitorThe OM-5 II's viewfinder remains unchanged from the 2.36M dot 0.68x (equiv.) magnification model found on its predecessor. While it's relatively small, it usually gets the job done, and it's good to have in bright conditions where the fully articulating 3" LCD – also unchanged – will get washed out.
Battery The OM-5's tripod mount is somewhat controversial – OM Systems tells us it's unchanged for the II.The OM-5 II uses the same 8.5Wh BLS-50 battery as its predecessor, which the company says will last for around 310 shots based on CIPA test standards. While you can generally expect to get more shots than the rated number in real-world use, it's a useful indicator for comparing across cameras. In this case, it's relatively low; if you're going into the wilderness for a weekend, you may want to pack a spare battery or plan on topping it up with your USB-C power bank.
Initial ImpressionsBy Mitchell Clark
Let me start by saying that, despite the harsh headline, I still think there are people who should consider the OM-5 II. It fills a niche of cameras that are rugged, small and light but that still pack features you'd have to pay more to get in larger-sensor cameras. The OM-5 II still does all that while including some modern comforts.
However, it's hard to ignore that it's a version II seemingly separated from its predecessor by a single port, a few millimeters of rubber, a red LED and a software update. It also doesn't help that OM System had most of these pieces before the OM-5 even launched – the OM-1 debuted with the new menu system and USB-C months before that camera hit the market. To put it bluntly, it feels like OM System should've released this camera three years ago.
Even if we ignore that and take the OM-5 II on its own terms, parts of it still feel last-gen. Autofocus is the main one: it's been a while since I've used a new camera whose AF points didn't go all the way to the edge of the sensor (though admittedly, they cover as much as most people will probably need), and that didn't have AI-derived subject recognition. Even in my brief time with it, it's made me work much harder to focus on and track animals and birds than cheaper cameras from Canon, Nikon and even Fujifilm. That feels like a miss for an adventure camera made for the outdoors.
But again, that doesn't necessarily mean there's still no place for the OM-5 II. Those other cameras don't have stabilized sensors, IP water and dust resistance ratings or the arsenal of multi-shot modes that OM System brings to the table. They also use lenses that are heavier and bulkier than the OM-5 II's; the most sophisticated autofocusing in the world doesn't do you any good if you leave your camera at home because you can't be bothered to carry it.
It's nice to see a follow-up that isn't more expensive than its predecessorIt's also nice to see a follow-up that isn't more expensive than its predecessor these days. But I can't help but feel like the camera deserves more attention than it got from the company – a few autofocus improvements here, some more work on the controls there, and it might have been a standard-bearer for OM System and Micro Four Thirds as a whole, like some of its predecessors.
We'll need to spend more time shooting with and testing the OM-5 II before we can really say how well it competes in today's market. It could wind up being more than the sum of its parts. But at first glance, these are some pretty familiar parts.
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.Fujifilm X-E5 review-in-progress
The Fujifilm X-E5 is the latest mid-range rangefinder-style mirrorless camera to join the X-series. It takes several steps back towards the enthusaist-friendly outlook of the original X-E models and gains image stabiliation along the way.
Key specifications- 40MP BSI CMOS APS-C sensor
- Image stabilization rated to 7.0EV
- Twin clickable command dials
- Film simulation dial with 'recipe' option
- 2.36M dot EVF
- 1.04M dot rear up/down tilt LCD
- Video up to 6.2K//30 (with 1.23x crop)
- Continuous shooting up to 8fps, 13fps with e-shutter
- Mic socket, headphones via USB
The Fujfilm X-E5 will be available in August at a recommended price of $1699, body only, or $1899 with the new 23mm F2.8R WR lens. The body-only price represents a $300 premium over the launch price of the similarly-specced X-T50. This difference doesn't exist outside the US. In the UK, for instance, the body-only price is the same £1299 the X-T50 launched at, and in Canada it's CAD $2000: a 5% increase over the X-T50's launch price.
Simply put, in most countries, the X-E5 matches the launch price of the X-T50, in the US it matches that of the X-T5.
Index:- What's new
- How it compares
- Body and handling
- Initial impressions
- Sample gallery
- Press release
- Fujifilm X-E5 specifications
Buy now:
Buy w/ 23mm F2.8 at AdoramaBuy at B&H Photo What's new Film simulation dialSlightly unexpectedly for such an enthusiast-focused camera, the X-E5 has a dedicated film simulation dial. In a purely aesthetic flourish, the selected film simulation is displayed through a small circular window on the top of the camera. It's pure style over function, and yet...
Film simulation recipes You can save different sets of parameters for each of the three FS positions on the dial, and configure a button to toggle between your standard settings and the recipe.The detail we found really interesting, though, is the ability to assign not just your choice of film simulation to the dial, but the option to assign film sim 'recipes,' with Fujifilm explicitly adopting the term that originally came from the user community.
Each of the three customizable FS positions on the dial gives you the option to customize a full suite of settings, including grain effect, highlight and shadow response, clarity, noise reduction and color chrome effect (red and blue). These settings are retained specifically for that FS slot, and changing them when a different film sim is selected doesn't override the values you've chosen.
Image stabilizationAnother thing signalling the X-E5's status in the Fujifilm lineup is the incorporation of in-body image stabilization. Like the version in the X-T50, the X-E5's stabilization is rated as giving up to 7.0 stops of correction at the center and 6.0 at the peripheries. Fujifilm says it's using an updated gyro to detect roll motion and an updated algorithm to improve performance.
'Self-timer' switchThe X-E5 regains several of the control points it lost in the previous iteration, but also adds, for the first time, one from the X100 series. The faux 'self-timer' switch on the front of the camera is the same as the one on the X100VI, which can be pushed left or right to select a function or held (for >2 sec) in either direction to access a further two. There's a button at the center of the switch to access a fifth function, with all five options being customizable.
Classic viewfinder mode The X-E5's classic viewfinder modeOne of the other additions to the X-E5 is perhaps the clearest reminder that this is a camera that comes from the designers who brought you the X half. It's a retro display mode for the viewfinder that shows just the exposure mode, exposure settings and battery indicator in red, as if you were looking at an LED-lit display. The image preview shows the effect of exposure comp and film suimulations, as usual.
In this mode the exposure comp scale on the left of the display is replaced by a needle-style indicator on the right. It's almost impossible to interpret with any accuracy, at anything other than the centered position, but it's visually in keeping with the rest of the camera's looks. Charming or ridiculous: you decide.
Other functionsIn most other respects, the X-E5 matches the spec of the X-T50, with both cameras sharing a sensor and processor and hence offering the same video modes, the same burst rates and otherwise similar capabilities.
How it compares:The most obvious comparison for the X-E5 is to the X100VI. The two are very similar in size and feature set, especially if you pair the X-E5 with the new 23mm F2.8. The X-E5 is an interchangeable lens camera, giving you more overall flexibility. But this means leaving room for a focal plane shutter, the absence of which lets the X100VI's lens extend closer to the sensor, making it easier to deliver an extra stop of brightness, despite the similar external dimensions. The big difference is the hybrid optical/electronic viewfinder and the all-in-one package the X100 offers. We suspect most people will know which they want.
If you're looking for interchangeable lenses, the X-E5's most similar competitor is the Sony a6700. They follow very different schools of design but are both very capable, relatively compact, stabilized APS-C cameras.
Simply put: in most countries, the X-E5 matches the launch price of the X-T50, in the US it matches the X-T5.The high price (in the US, at least) puts the X-E5 into low-end full-frame territory. Its shape and leatherette cover might make you think of the Panasonic DC-S9 but that's aimed as much at vlogging as photography. We think the Nikon Z5 II, with its twin command dials, is a better comparison, despite its SLR-like format. And, if you're not committed to the X-E's boxy layout, Fujifilm's own X-T50 and X-T5 are interesting comparisons. Outsidethe US you can get the X-T50 for similar money, but we're going to compare the X-T5 here, simply because there's more to set them apart.
Fujifilm X-E5 Sony a6700 Nikon Z5 II Fujifilm X-T5MSRP US
/ RRP UK
£1299 $1399
£1429 $1699
£1599 $1699
£1699 Sensor res,
type, size
40MP BSI CMOS
APS-C
APS-C 24MP BSI CMOS
Full-frame 40MP BSI CMOS
APS-C Stabilization 7.0EV 5.0EV 7.5EV 7.0EV Viewfinder 2.36M dot OLED
0.62x mag 2.36M dot OLED
0.70x mag 3.69M dot
OLED
0.8x mag 3.69M dot OLED
0.8x mag Rear screen 3.0" 1.04M dot
tilt up/down 3.0" 1.04M dot
fully-articulating 3.2" 2.10M dot
fully-articulated 3.0" 1.84M dot
two-axis tilt Cont. shooting 8fps Mech
13fps Elec. 11fps Mech
11fps Elec. 9.4fps EFCS
10fps Elec* 15fps Mech
13fps Elec. Video options 6.2K/30 w/ 1.23x crop
4K/60 w/ 1.14x crop
4K/30 full width 4K/120 w/1.58x crop
4K/60 oversampled 4K/60 w/1.5x crop
4K/30 oversampled 6.2K/30 w/ 1.23x crop
4K/60 w/ 1.14x crop
4K/30 full width Mic/'phones Yes / Via USB Yes / Yes Yes / Yes Yes / Yes 4ch audio Via optional adapter Via optional adapter No Via optional adapter Media slots 1x UHS-II SD 1x UHS-II SD 2x UHS-II SD 2x UHS-II SD Battery life LCD / EVF 310 / – 570 / 550 350 / 330 580 x 590 Weight 445g (15.7oz) 493g (17.4oz) 700g (24.7oz) 557g (19.6 oz) Dimensions 125 x 73 x 38mm 122 x 69 x 64mm 134 x 101 x 72mm 130 x 91 x 64mm
*30fps in 12-bit readout, JPEG-only mode
The X-E5's high price in North America pits it against some impossible competition, including the X-T5, which with its nicer viewfinder, twin card slots and weather-resistant build, is clearly meant to sit higher up in the lineup. It'll be interesting to see whether its price has to rise in the coming weeks.
There are certainly arguments to be made for a smaller, lighter camera, and the smaller, lighter lenses that go with it, but the strong specs and aggressive price of the Nikon Z5II mean it's a tempting option, if size and weight aren't especially important to you.
It's much easier to make the case for the X-E5 at its UK price, where it undercuts all the other cameras here, and its style and charm can make their case a little more loudly, without being drowned-out by the noise of trade concerns.
Body and handlingThe X-E5 is a very solid feeling camera. At 445g, almost a third heavier than the previous iteration. The whole camera feels more dense than earlier models in the series, giving more of an impression of solidity than before.
Control pointsThe X-E5 has more control points than its immediate predecessor, regaining the twin pressable command dials of the earlier models. It also has the side-panel focus mode switch, which was absent from the X-E4.
In addition to these reinstated controls, there's the self-timer style switch and button combination on the front of the camera, meaning you can access up to five settings or functions quickly (or, at least, three of them quickly and another two eventually).
GripThe X-E5 also gains a bulge along the front and back right edge of the camera, giving it more of a grip than the last model and again bringing it closer into line with the previous cameras. It's not the most substantial grip and it stops just above the camera's base plate, leaving a hard edge that you probably don't want to wrap your fingers under.
As with previous X-Es, this is a camera you're mostly likely to be supporting with your left hand when in a shooting stance, and we'd consider the grip to be sufficient, rather than anything more than that.
ViewfinderThere's a small viewfinder at the top left of the camera. It's a relatively small finder with the same 2.36M dot (1025 x 768px) resolution as the X-E4 had.
It has a very small, hard rubber surround, but no real eye cup to protect from stray light. It has a fairly short eye-point, so glasses wearers are likely to find they can't see the whole finder at the same time. We'd say it's there for working in bright light, rather than full-time use, which is more of an X-T5 way of working.
The rear screen is the same tilt up/down 1.04M dot (720 x 480px) touchscreen as on the X-M5.
BatteryThe X-E5 uses the same NP-W126s battery as most of Fujifilm's smaller cameras. Fujifilm has not provided a battery life figure for the camera but we would expect it to be very similar to the 305 shot/charge rating of the X-T50, with which it shares the majority of its components.
CIPA ratings tend to significantly under-represent most people's real-world shooting patterns, and getting double the quoted figure isn't unusual. A rating around 300 shots is reasonable and should be good for a weekend of occasional shots or an afternoon of committed photography. The camera can be charged or powered over USB-C.
Initial impressions By Richard ButlerWe found it interesting to compare the X-E5 to the hypothetical one we wrote about, last October. We correctly guessed that it would have a stabilized 40MP sensor but didn't think it would have a film simulation dial. We were also right when said we thought there was room below the X-T5 to fit an enthusiast model, and that the X-E5 could fill that gap by regaining its second command dial.
And while we said we didn't expect it to be the case, we're delighted that the X-E5 has taken a step back towards being the photographer-friendly camera the series started out as. In the process of doing so it's gained more or a premium feel to its design and build than previous models.
The X-E5, right, regains a number of control points missing from the X-E4, left. These include a second clickable dial on the back of the camera, along with the 'self-timer' style switch on the front, that can accommodate up to five functions, a focus mode switch on the side and the film simulation dial on the top plate.Personally, I would have preferred two non-clickable dials, as it gives a more solid feeling to the control points and avoids any risk of you accidentally clicking while you're trying to turn the dial. I tend to find two command dials are sufficient to control all the key parameters on a camera that also has a dedicated exposure comp dial. I accept that it gives greater freedom of choice and that the ability to press something directly under your thumb to punch in for check focus in manual focus mode is convenient, but I think it would be more in keeping with the sense of well-built solidity that other parts of the design imply.
I also found, as on the X100VI, the long-press of the self-timer switch takes far too long to register: you have to hold the switch for over two seconds to access the second function assigned to that directional press. This is far longer than necessary to prevent accidental access, and means you don't really have particularly quick access to whatever function you've assigned.
Paired with the new 23mm F2.8R WR, the X-E5 is perhaps the closest you can get to an interchangeable lens X100VI. It's likely an updated X-Pro would be larger and more expensive.Not that I've found myself trying to configure every possible control on the X-E5. It's a camera stuffed to the brim with features (Film recipes, DR modes, face and eye detection separate from its other subject recognition modes...) and yet there are very few of them I need such quick access to that I require two multi-function dials, nine customizable buttons and switches, and four directional swipes on the screen. But they're there if you need them.
But, to a large extent, this is the same thing I felt about the recent X100 models, which in itself is telling. The X-E5, especially with the 23mm F2.8 being launched alongside it, is perhaps the closest we've yet got to an interchangeable lens X100.
We're impressed to see Fujifilm pay attention to its users by providing a simple way to build the 'recipes' that have become a popular way to get the most out of the film simulation system.But it's impossible to assess the launch of a new Fujifilm model without having to address price and availability. Fujifilm tells us "units are being manufactured in accordance with demand forecasts," and that cameras for the US market will be made in Japan. Notably the 23mm F2.8R WR lens isn't being offered to other customers until "late 2025," prioritising production for X-E5 kits, so there's some reason for optimism.
The price is undeniably high, though: the X-E series had become progressively less expensive as they were made simpler, so this more ambitious model was always going to be a step above its predecessor. The subsequent pricing of the X-T50 and X-M5 also hints at the contribution of inflation in four and a half years since the X-E4's launch. Collectively, these might have explained a launch price that matched the X-T50, as is the case outside the US. Unfortunately, that's not the version of the world we live in.
Buy now:
Buy w/ 23mm F2.8 at AdoramaBuy at B&H Photo 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.The 7 Best compact zoom cameras in 2025
Updated May 29, 2025
It's sad to say, but the golden age of compact cameras is pretty much over, thanks to the rise of smartphone cameras that are, in many cases, good enough for most people. Manufacturers seem to realize this, too; the major players have only released a small handful of compact zooms in the past few years, and most were very minor updates on old designs. The ones that remain can be difficult to find in stock, even when the companies that make them promise they're still a part of their lineups.
However, that doesn't mean the category is completely dead. Even today, there are several types of compact cameras, and some have capabilities that pretty much no phone can match. This list calls out the few that are still available and looks at what they're good for – because there are still cases where a compact camera is a great option.
Our recommendations: Enthusiast compactsThe final niche in which it's difficult for a smartphone to compete is for enthusiast photography. No matter how good smartphone image quality gets, it's difficult for a phone to provide the feeling of connection to the process of taking photos that an enthusiast compact with lots of direct controls can offer.
We've picked cameras with large sensors that deliver good image quality, zoom lenses and direct controls. Some have built-in electronic viewfinders for shooting when it's bright outside, again giving a more pleasant experience than a smartphone.
Best enthusiast compact: Canon PowerShot G7 X III20MP Type 1 Stacked CMOS sensor | 24-100mm equiv. F1.8-2.8 lens | 4K/30p video capture
Photo: Dan BracagliaBuy now:
Buy at Amazon.comBuy at B&H PhotoBuy at MPB What we like:- Nice grip and well-placed controls
- 4K/30p recording with live streaming to YouTube
- Fast burst shooting
- Lens is soft at wide-angle
- Limited battery life
- Contrast-detect only autofocus
The Canon PowerShot G7 X III is an enthusiast compact built around a 20MP Type-1 (13.2 x 8.8 mm) Stacked CMOS sensor with a bright 24-100mm equivalent F1.8-2.8 zoom.
The large sensor, and zoom that covers a really useful range help set it apart from a smartphone but it's clicking control dial around the lens and the dedicated exposure compensation dial that really help you feel you're in the driving seat of the photo-taking process that makes us enjoy it so much.
This camera is frequently out of stock, but Canon has told investors it was ramping up production of its compacts, citing the popularity of the G7 X III, and has assured us it's still in production.
"If you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look" Though it's jacket-pocketable, the G7 X Mark III has a decent-sized grip and feels secure in the hand. The 'clicky' control rings around the lens and on the rear of the camera give good control over aperture, shutter speed and ISO, and the exposure compensation dial on the top plate is a nice touch. The touchscreen interface on its tilting 3" LCD is polished and responsive. Overall, we're impressed by the upgrades on this model. The Mark III brings improved video and continuous shooting performance while maintaining excellent controls and a competitive price point. If you do a lot of wide-angle shooting, there are options with better lenses, but if you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look.Read our Canon Powershot G7X III review
See the Canon Powershot G7X III 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. What about the PowerShot V1?Canon recently released the PowerShot V1, which may tempt photographers hungry for a new compact thanks to its large Type 1.4 (18.4 x 12.3mm) sensor. However, it's clearly designed for vlogging; its cooling fan makes it relatively thick, which, paired with its shallow grip, makes it a bit hard to handle. Its controls – especially the free-rotating lens dial – also aren't optimized for stills, and it lacks the G7 X III's dedicated exposure compensation dial. For photography, we'd recommend sticking with Canon's older compact if you can find one, though we're still evaluating the PowerShot V1's vlogging capabilities.
Best do-it-all compact: Sony Cyber-shot DSC-RX100 VII20MP Type 1 Stacked CMOS sensor | 24-200mm equiv. F2.8-4.5 lens | Hybrid AF system
Photo: Dan BracagliaBuy now:
Buy at Amazon.comBuy at B&H PhotoBuy at MPB What we like:- Industry-leading autofocus
- Excellent image quality
- Oversampled 4K video
- User interface can be overwhelming
- Low light performance limited by slow lens
- Slippery grip
- Expensive
The Sony Cyber-shot DSC-RX100 VII is built around a 20MP Stacked CMOS sensor and a long, flexible 24-200mm equivalent lens. It's not as bright at the long end as the zooms on the now-discontinued Mark VA or the Canon G7 X III, but it provides a lot more reach, still in a compact package.
Like the Canon, the RX100 VII can be difficult to find, but Sony tells us it's still making it. It also uses micro USB to charge instead of the near-ubiquitous and, in the EU, legally-mandated USB-C. US buyers should also be conscious of price; the camera launched at $1200, but when it's available, it now seems to be selling for around $1700, though Sony hasn't said if this is the result of tariffs or other factors.
"The RX100 VII is the most capable pocketable camera ever made" The RX100 VII has a limited number of direct controls, but offers extensive customization for making the most of them. A touchscreen can be used for choosing a focus point or initiating AF tracking in video. The camera also includes the single-press pop-up viewfinder we liked so much on its predecessor. The RX100 VII is easily the most-capable compact camera on the market thanks to its great image and video quality, fast shooting, versatile lens and a highly-capable, easy-to-use AF system, though all of that comes with a high price tag.Read our Sony RX100 VII review
See the Sony DSC-RX100 VII 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 interface: Leica D-Lux 817MP crop of Four Thirds sensor | 24-75mm equiv F1.7-2.8 | 4K video
Photo: Richard ButlerBuy now:
Buy at AdoramaBuy at B&H PhotoBuy at Leica What we like:- Photo-focused interface
- Large sensor
- Bright lens
- Zoom is laggy and slow
- Lens not always sharpest
The D-Lux 8 combines an enjoyable shooting experience with a large sensor and bright lens. It's expensive, for sure – a situation made even worse for US buyers thanks to tariffs – but it is one of the few enthusiast compacts to receive a refresh in recent years, so we felt we should include it.
"The D-Lux 8 is a lovely camera to shoot with and offers a lot of image quality in a compact package" The D-Lux 8 has an elegant and photo-focused interface, with dedicated dials for shutter speed and aperture, and a couple of buttons that are easy to customize. It's engaging and enjoyable to shoot with. The D-Lux 8 is a lovely camera to shoot with and offers a lot of image quality in a compact package. But, for us, its image quality doesn't live up to its promise, or its price tag.See the Leica D-Lux 8 studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Waterproof camerasWaterproof cameras are another specialty that smartphones can't necessarily displace. Many flagship phones are waterproof to a decent degree but you shouldn't try to submerge them to any appreciable depth. Waterproof cameras also tend to be pretty rugged, designed to withstand a lot more mistreatment than a phone will withstand, meaning you can carry them with you at all times, without ever having to worry about it. Great for bikers, climbers and custodians of small, inquisitive but not necessarily careful children.
Best waterproof camera: OM System Tough TG-725-100mm equiv. F2.0-4.9 lens | 12MP Type 1/2.3 sensor | Waterproof to 15m (50ft)
Buy now:
$550 at B&H $550 at Adorama $532 at Amazon What we like:- Bright, wideangle lens
- Built-in GPS, compass and manometer
- Raw image capture allowing creating edits
- Range of accessories
- 12MP is fairly low
- Lens isn't very bright at long end
- Limited battery life
- Relatively expensive
The OM System Tough TG-7 is a rugged, waterproof compact with a 25-100mm equivalent zoom lens. It is fully waterproof down to a depth of 15m (50 ft).
The OM System isn't the only rugged waterproof still on the market, nor the cheapest, but it has several major factors in its favor. The first is that it lets you shoot Raw images, which gives you the ability to correct the white balance, which even the best cameras tend to get wrong when shooting underwater. Another factor is that there is a range of accessories for the TG-7, including a light guide that directs light from the built-in flash into a circle around the lens, letting you illuminate close-up objects.
"The TG-7 is relatively expensive but packs in a host of useful features that help it stand out"Beyond this there are a few details that different users may find handy: it has an unusually wide-angle lens with a bright maximum aperture, helping the performance underwater and in low light. It also has a built-in GPS, compass and pressure sensor that lets you log your adventures. These all add up to a camera that's worth the added expense, we feel.
Read our hands-on with the OM System TG-7 article
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Long zoom camerasPerhaps the greatest weakness of smartphones is their lack of zoom capabilities. Many of the best phones have a camera with a slightly longer focal length and then try to crop into their images and use AI algorithms to try to approximate the fine detail to give the impression of zooming, but this has its limits.
Dedicated cameras aren't constrained by the need to slip into your pocket, which can afford them the space to have an optical zoom lens to gain you more reach than your smartphone can deliver. There can be a trade-off: the small sensors required to put lots of zoom in a relatively small camera will be outshone by the computational cleverness that smartphones bring to bear on their images. But superzoom cameras can gain you the kind of reach that no current smartphone can get near.
Best long-zoom camera: Sony Cyber-shot DSC-RX10 IV20MP Type 1 Stacked CMOS sensor | 24-600mm equiv. F2.4-4 lens | 4K video
Photo: Dan BracagliaBuy now:
Buy at Amazon.comBuy at B&H PhotoBuy at MPB What we like:- Long, very sharp lens
- Very good image quality
- Impressive subject tracking
- Excellent video quality and features
- Very expensive
- Large and heavy
- Some camera features locked while buffer clears
The Sony RX10 IV is a superzoom cameras with a large Type-1 (13.2 x 8.8mm) Stacked CMOS sensor and a 24-600mm equivalent F2.8-4.0 zoom lens. The large sensor gives it image quality up there with the best smartphones while the lens delivers a 24x zoom that smartphones can't come close to matching.
The RX10 IV has been on the market for a while, so its autofocus isn't as good as Sony's newer cameras, but its fast Stacked CMOS sensor and excellent face detection system means it'll track action very well. This combines with its ability to shoot at 24 frames per second to stretch its capabilities even further beyond those of a smartphone.
Like Sony's other compacts, availability is a big issue; it's only occasionally in stock at some stores, so getting one may require some patience.
The RX10 IV offers a reasonable degree of direct control and customization, including a dedicated aperture ring, exposure comp dial and controls that can be kept silent for video shooting. It has a hefty, weather-sealed body along with a tilting touchscreen display and high-res OLED viewfinder. "The RX10 IV offers a high level of competence across an impressively broad range of shooting situations" The F2.4-4.0 lens means you can get a decent amount of light to the sensor at any focal length, which helps get the most out of the camera's Type 1 (13.2x 8.8mm) sensor. The JPEGs' color isn't our favorite but the sophisticated sharpening and noise reduction mean they remain detailed even in fairly low light. The camera's oversampled 4K is some of the most detailed available and exhibits little in the way of rolling shutter. Mic and headphone sockets, along with a selection of tools to help judge exposure make the RX10 IV a very flexible all-in-one package. The RX10 IV is an expensive camera but it's also unique in its combination of zoom range, image quality, autofocus and excellent video with a lot of detail. It's not the best possible solution to any one question but it offers a high level of competence across an impressively broad range of shooting situations.See the Sony DSC-RX10 IV 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 ultra-zoom camera: Nikon Coolpix P110016MP 1/2.3" BSI-CMOS sensor | 24-3000mm equiv. F2.8-8 lens | 4K video capture
Photo: Barney BrittonBuy now:
$1097 at Adorama$1097 at B&H Photo What we like:- Focal range cannot be matched by any camera
- Respectable image quality, given camera's purpose
- Raw support
- Well-built, with logical control layout
- Large and unbalanced when zoom is extended
- Lens is slow at long end, reducing sharpness
- No touchscreen
- Poor battery life
The Nikon Coolpix P1100 is a very slightly refreshed version of the P1000, with the biggest difference being the adoption of a USB connector. Its Type 1/2.3 (6.17 x 4.55mm) sensor will be out-performed by a good smartphone's clever merging of multiple images but the Nikon's gargantuan 24-3000mm equiv. lens is its selling point.
The small sensor means image quality isn't the camera's strength, but its frankly ludicrous zoom reach means it can photograph distant subjects in a way no other device (smartphone or dedicated camera) can.
The P1100 is a large camera that weighs a substantial 1.4kg (3.2lbs). We found it can be difficult to compose a photo at 3000mm equiv since the stabilization can't fully correct hand movement. A 'snapback' function quickly zooms out so you can locate your subject. The P1100's fully articulating LCD, is not touch-enabled. Connectivity to smartphones works well. "When it comes to zoom power, there's no camera that comes close to Nikon's Coolpix P1100" The P1100's image quality depends greatly on the focal length. Photos are generally on par with other small-sensored cameras, with pleasant colors and a bit too much noise reduction. It offers Raw, though, so you can choose your noise/detail balance and modestly brighten shadows. Heat haze, coupled with the lens's slow maximum aperture limit image quality at the longest focal lengths. The P1100 has very good video quality for a camera with point-and-shoot roots. It can capture 4K video at 30p (with no crop) as well as 1080/60p and time-lapse/super-lapse clips. There's a manual exposure mode, a zoom microphone and a socket for addition an external mic. Electronic Vibration Reduction is available at 1080p and below. When it comes to zoom power, nothing comes close to Nikon's Coolpix P1100. Whether it's taking a portrait from 2 blocks away or getting up close and personal with a bird in the distance, this lens can do it. That said, while other cameras can't match that lens, many will offer better image and video quality for the same money, especially those with larger sensors.Read our review of the existing P1000 model
See the Nikon Coolpix P1000 studio scene
Vlogging camerasSmartphones are great for vlogging, but a dedicated vlogging camera can shoot better quality video, have more sophisticated microphones (and provide options for connecting better mics), and can autofocus very reliably, dependably delivering YouTube-ready footage.
Best vlogging camera: Sony ZV-1 Mark II20MP Stacked CMOS sensor | 24fps burst shooting | 4K/30p, 1080/120p video
Photo: Shaminder DulaiBuy now:
$898 at B&H $898 at Adorama $898 at Amazon What we like:- Low rolling shutter
- 3-way mic array
- Touchscreen interface for vlogging
- Limited body buttons/dials
- No stabilization for stills
- 8-bit color not ideal for grading
The Sony ZV-1 Mark II is one of three ZV-1 models and is by far the best. Its wide-angle 18-50mm equivalent F2.8-4.0 lens is ideally suited to self-shot video. Its excellent autofocus includes options such as 'Product Showcase' that focuses on the presenter unless an object is held up to the camera.
"A vlogging beast for smartphone users wanting to upgrade to a dedicated device for more control over exposures, file workflow, sound and optical zoom without a large learning curve" The ZV-1 Mark II is primarily touchscreen-controlled to allow control while vlogging or shooting selfies. It's lightweight and easy to hold but has limited control points if you want to take more manual control. The ZV-1 Mark II is a big improvement on the original thanks to a more selfie-video-friendly zoom range. Video footage and autofocus are both very good. It is a camera that thrives in auto modes, making it best suited for users seeking a simple-to-use camera.Read our Sony ZV-1 Mark II Review
See the Sony ZV-1 Mark 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. 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.
Using the Camp Snap camera
With summer approaching, many kids will soon head off to summer camp, toting duffel bags filled with sunscreen, bug spray, and, often, a camera to capture their memories. The Camp Snap ($70) is a point-and-shoot camera designed specifically for this purpose. It’s super simple – no LCD screen, no complex settings – and its price means it won’t be a disaster if it ends up at the bottom of a lake or covered in s'mores.
Crucially, its screen-free design helps address a common challenge: many camps restrict or ban smartphones and regular digital cameras, aiming for an immersive, screen-free experience for campers.
Key features- 8 Megapixel resolution (4.6 x 3.2mm sensor)
- 35mm (equivalent) F1.8 lens
- LED flash
- 4 GB microSD card included
- USB-C port
- Internal battery
Buy now:
Buy at Camp Snap The case for a dedicated summer camp cameraSummer camp can be one of the most magical experiences kids can have. I admit I might be biased; not only did I attend camp in my youth, but I also ran a summer camp for several years when I was a bit older. I won’t lie – it was probably the best job I ever had.
"Its screen-free design helps address a common challenge: many camps restrict or ban smartphones and regular digital cameras."One of the best things about camp is it provides an opportunity to immerse kids in an experience different from their normal lives, focusing on new activities and the environment. Fortunately for me, I ran a camp before smartphones were everywhere. If kids brought cameras, they were film cameras, and they had to wait until they got home to see the photos.
Camp Snap camera | F2.8 | 1/750 sec | ISO 100Photo: Dale Baskin
Today’s camp directors face a very different challenge. To ensure kids get that immersive experience, many camps restrict or prohibit smartphones or regular digital cameras. Constant digital interaction is a distraction, and many camps insist on a screen-free experience. That’s where the Camp Snap comes in. It lets kids capture memories without a screen, complying with camp rules.
In useThe Camp Snap camera is super easy to use because there’s very little to control – perfect for most kids. In fact, it's a lot like using a disposable film camera. There's only one button, the shutter button, and there’s an optical tunnel-type viewfinder. A tiny LCD on the back displays the shot count.
The Camp Snap camera has only two physical controls: the shutter button on top (which doubles as an on/off switch) and a switch for the flash setting (on, off or auto).
Photo: Dale Baskin
The only other physical control is for the LED flash, which can be switched to on, off, or auto. This simplicity ensures kids won’t come home with unviewable photos because a setting was accidentally changed.
It ships with a 4GB microSD card, which Camp Snap says should hold about 2,000 photos. Based on my usage, it's probably closer to 1,500, but that's probably ample for a week at camp, and you have the option to put in a larger card if needed.
"The Camp Snap camera is super easy to use because there’s very little to control – perfect for most kids."Notably, the microSD card slot is hidden behind a panel that requires a small Phillips screwdriver to remove. This prevents kids from casually removing the card and, more importantly, losing it. Trust me, kids are really good at losing things at summer camp.
The manual flash control is a pleasant surprise, though I suspect most kids will either leave it off or set it to auto. The flash is an LED type, similar to a smartphone, which can result in that same washed-out look.
The microSD card is located on the bottom of the camera behind a screw-in panel that discourages kids from trying to remove the card. The USB-C port can be used for charging or to plug the camera into a computer for direct file transfer.
Photo: Dale Baskin
There's a slight delay between clicking the shutter and taking a photo. It's not as fast as a DSLR, but it's more responsive than many compact cameras I've used. The shutter button also doubles as an on/off switch. You press and hold it for about three seconds to turn the camera on, at which point the shutter button glows green. A flashing red light indicates a low battery. (I only ran into this once during testing.) Holding the shutter button down for another three seconds turns the camera off.
There's one small quirk to the on/off process. When pressing the shutter button to turn off the camera, the camera emits the shutter click sound, followed by another sound about three seconds later when it powers down. Initially, I thought I was taking an extra photo every time I turned off the camera. That turned out not to be the case, but it was confusing.
Camp Snap camera | F2.8 | 1/160 sec | ISO 100Photo: Dale Baskin
In my opinion, the 35mm equivalent lens is a good choice. It’s wide enough for activities like boating or building a monkey bridge, but not so wide that friends look distorted in group shots. The optical viewfinder doesn’t provide 100% coverage, meaning photos should have a bit of extra room around the edges, which can be helpful for cropping. Unfortunately, the viewfinder itself is tiny and exhibits distortion. It's functional, but not great.
The camera can capture photos using several preset filters, including Standard, B&W, Vintage, KodaClone and 101Clone. Only one filter can be loaded into the camera at a time. Interestingly, it ships with the 'Vintage' filter installed by default, something I didn’t realize until I was well into testing. Camp Snap claims the battery should last for about 500 photos, and it recharges via the USB-C port; I never ran out of power when testing it.
Image qualityLet’s set appropriate expectations: the Camp Snap aims to survive summer camp and provide a screen-free experience, not win image quality awards. Photos are OK, but the camera's sensor is smaller than the ones found on the main cameras of most smartphones and half the size of those in most older compact models, and it will perform accordingly.
Camp Snap camera | F2.8 | 1/100 sec | ISO 100Photo: Dale Baskin
In short, if you have a modern Android phone or iPhone, don't expect the same level of image quality, particularly since the Camp Snap doesn't benefit from the sort of computational wizardry those devices employ. However, the photos should be good enough to capture those core camp memories.
The camera uses a fixed-focus lens design, so there's no autofocus system to worry about. In even light, the metering does a pretty good job, but it struggles with strongly back-lit scenes. White balance is generally on target, though some of my photos exhibited a slightly green color cast.
The most visible artifacts you're likely to observe are clipped highlights on bright objects or skies, and if you zoom in, you’ll probably see compression artifacts.
This photo illustrates the types of artifacts you're likely to see in some photos from the Camp Snap camera. Look closely at the sky: you'll see banding in the blue areas and places where the color is clipped, making the sky appear cyan and white.
Camp Snap camera | F2.8 | 1/640 sec | ISO 100
Photo: Dale Baskin
As mentioned, this camera isn't going to win awards for image quality. Does it matter? When I look back at the grainy, often over- or under-exposed photos 12-year-old me took at summer camp with a film camera, I don’t worry much about the quality because those photos captured important memories. I think the same applies here, particularly if the alternative is having no camera at all due to technology restrictions.
"This camera isn't going to win awards for image quality. Does it matter?"One minor annoyance: most of the photos I shot are tilted slightly to the right, suggesting the sensor may not be perfectly aligned with the camera. However, considering how many of the photos I shot as a 12-year-old were off-kilter anyway, I'm not sure this is a showstopper.
Should you buy it?If your child is headed to summer camp and you need to navigate a screen ban – whether it’s a camp policy or your own rule – the Camp Snap is worth considering. In my opinion, it's best suited to younger kids. Older kids (13 and up) might find it a bit simplistic. Just set your expectations appropriately; a modern smartphone will take better photos, but those may not be allowed at many camps.
It’s worth considering other screen-free options, too. A disposable film camera won’t violate screen bans, and if your child can change film rolls, a used point-and-shoot film camera could work. Instax or other instant cameras offer instant fun, though film costs can rise quickly. That’s one area where a digital camera like the Camp Snap, with its large capacity and one-off price, has an advantage.
Summer camp is special, creating memories that last a lifetime, and If your kid has an interest in photography, I encourage you to support that enthusiasm. Whether it’s with the Camp Snap camera or something else, camp is a great place to begin, or feed, one’s photography journey.
Buy now:
Buy at Camp SnapCanon EOS R50 V review
Product Photos: Mitchell Clark
The Canon EOS R50 V is a small mirrorless camera designed for vloggers and consumers looking to take video. It's built around the same 24MP APS-C sensor found in the more stills-oriented EOS R50.
Key Features- 24MP Dual Pixel AF CMOS sensor
- Full-width 4K up to 30p, derived from 6K
- 4K 60P w/ 1.56x crop
- Front-facing tally lamp
- Dual record buttons and zoom toggle
- Canon Log-3 profile, HDR PQ and HLG options
- Extra 1/4-20" tripod thread for vertical shooting
The EOS R50 V is available for $649 body-only, and in a kit with the RF-S 14-30mm F4-6.3 IS STM PZ power zoom lens for $849.
Index:Buy now:
Buy w/ 14-30mm at Amazon.comBuy w/ 14-30mm at B&H PhotoBuy w/ 14-30mm at Canon What's New Video-first designDespite the camera's name associating it with the EOS R50, the two cameras actually have very different designs. The EOS R50 V lacks a viewfinder and built-in flash, has an almost entirely redesigned control scheme and features a headphone port, which its sibling lacked. It also adds a tally light on the front to make it obvious when you're recording, a front-facing record button, a zoom toggle switch and an additional tripod thread on the right side of the camera, which lets you easily mount it for vertical shooting.
The front grip is also substantially less pronounced than that of the standard EOS R50. While this makes it less comfortable to hold in the traditional way, depending on your hand size it may be quite a bit more comfortable to hold the camera facing yourself for when you're vlogging or taking selfies.
The mode dial also gets a redesign, with stills shooting relegated to a single space. The rest is taken up by video modes.
Stills For taking photos; exposure mode is selected using the touchscreen S&F Slow and Fast: for recording slow-motion video in-camera and timelapses Video Standard video mode with configurable settings Video C1 First custom video mode you can use to save specific settings (e.g., 60fps 4K with V-Log color and human subject detection AF) Video C2 Second custom video mode Video C3 Third custom video mode Scn Scene mode: pick from 'smooth skin movie,' 'movie for close-up demos,' and 'movie IS mode' scenes Video A+ 'Fully Automatic Recording' - adjusts camera settings based on scene conditionsSomewhat oddly, the close-up demo mode, which over-rides the camera's face detection autofocus when you hold an object up close to the camera, can't be accessed in the rest of the video modes. That also means you can't use it with your chosen exposure mode; you're stuck with letting the camera automatically pick the settings, which you can only influence by using exposure compensation.
More video capabilitiesUnlike the regular EOS R50, the V can shoot 4K video at 60p, though doing so incurs a 1.56x crop. It also features Canon's C-Log 3 color profile, which lets you capture low-contrast footage designed to be color-graded later. It also includes a 'false color' exposure assistance mode and a Log / HDR view assist mode that shows you what your footage will look like after grading, though you can't use both assist modes at the same time.
The EOS R50 V has an upgraded menu system that lets you choose your codec and bitrate independently.Canon has also upgraded the video menu system to the one found on its higher-end cameras like the EOS R5 II, allowing more granular control over codecs and bitrates than the EOS R50 provides. One annoyance is that it doesn't automatically match your frame rate to your chosen mode; if you switch to the 4K Crop resolution, it won't automatically select the 60p framerate. Instead, you get a message saying, "These items cannot be combined," which you have to push past to choose the correct framerate or resolution. This also happens when you're switching back to the non-crop mode; the camera makes you select both the frame rate and crop mode, even though one of the crop modes only has a single frame rate option.
Like most cameras, the EOS R50 V risks overheating if you record for extended periods. You can raise the temperature threshold at which it cuts out, if you're not planning on holding it. Canon says it'll cut out after around 55min of 4K capture at room temperature, with no limit if you set the threshold to 'high.'
The slow and fast mode, which lets you record higher framerates that are saved as slow-motion videos at lower framerates, is also new for the EOS R50 V. There's also a new "Cinema View" mode that bakes black bars onto your footage for a 2.35:1 aspect ratio and a product demo mode that tunes the autofocus system to focus on objects being held up to show the camera, rather than on the person holding the product.
Vlogging UIThe on-screen user interface has been redesigned to give you access to all your vital video settings without having to go into the menu, which is useful when you have the camera mounted to a tripod facing you. Tapping the "Q" button on the screen or using the hardware Q button brings up a scrolling menu that lets you change things like your shooting mode, autofocus area, autofocus subject detection, resolution and framerate, digital stabilization settings, color mode and more.
For some operations, the camera will bring you into its more traditional menu system, though the relevant sections have clearly been optimized for touchscreen operation. However, unlike the Q menu and live view info display, they don't rotate when you're using the camera in portrait orientation, which can make them a bit awkward to use depending on how you have the camera mounted.
A video-focused kit lensAlongside the EOS R50 V, Canon introduced the RF-S 14-30mm (22-48mm equiv.) F4-6.3 IS STM PZ powerzoom lens. Its zoom range is well-suited for vlogging, letting you get wide enough that it's easy to film yourself even if you're using a mode with digital crop – though things will start to get tight if you combine the 60p mode with the most aggressive digital image stabilization. However, the lens's optical stabilization means you're less likely to have to do that, and its power zoom lets you get smooth pushes in or pulls out.
How it comparesThe market for entry-level cameras with no viewfinder, a boxy design, and vlogging-focused features is relatively robust; most brands have a camera they market toward creators, though some have a much more extensive list of video features than others.
Canon EOS R50 V Fujifilm X-M5 Sony ZV-E10 II Nikon Z30 MSRP $649 $799 $998 $706 Pixel count 24MP 26MP 26MP 21MP Mech shutter Electronic First Curtain Yes No Yes Video rates (crop factor)4K 60p (1.56x)
4K 30p (full-width)
4K 60p (1.18x)
4K 30p (full-width)
4K 60p (1.1x)
4K 30p
Wi-Fi – 2.4Ghz, 5Ghz USB-C 10Gb/s
Wi-Fi – 2.4Ghz USB-C 5Gb/s
Wi-Fi – 2.4Ghz, 5Ghz USB-C 5Gb/s
Wi-Fi – 2.4Ghz, 5Ghz SD slots 1x UHS-II (base) 1x UHS-I (base) 1x UHS-II (side) 1x UHS-I (base) Battery life (CIPA) 390 frames 440 frames 610 frames 330 frames Dimensions 119 x 74 x 45 mm
(4.7 x 2.9 x 1.8") 112 x 67 x 38 mm
(4.4 x 2.6 x 1.5") 115 x 68 x 54 mm
(4.5 x 2.7 x 2.1") 128 x 74 x 60 mm
(5.1 x 2.9 x 2.4") Weight 370g (13oz) 355g (12.5oz) 377g (13.3oz) 405g (14.3oz)
Aside from its rolling shutter rates, the EOS R50 V compares relatively well to the competition when it comes to shooting video. It also has many of the vlogging-specific features that are also available on the Sony and Fujifilm, though it doesn't have an easy background defocus setting to tell the camera whether to prioritize a wide open or stopped-down aperture.
For shooting stills with flash it benefits compared to the Sony by having a partially mechanical shutter, but suffers compared to the Fujifilm by having a Canon multi-function shoe, rather than a standard hotshoe (though you can buy an adapter).
Body and handlingThe EOS R50 V doesn't feel appreciably smaller than the regular EOS R50, though the lack of a viewfinder hump and minimal grip give it a boxier design that should play well with handheld gimbals.
The top plate shutter button is styled as a record button and has a toggle switch to control focal length for power zoom lenses or the digital zoom function available when recording in FHD. You can also use it to change which top-level section you're in when navigating the camera's menu.
The default button assignments make a lot of sense for run-and-gun videos.Behind that is the camera's only top-plate control dial. If you want to control a second parameter, you'll have to use the small, rear plate dial which can be a bit fiddly given how sensitive it is, and the fact that it also acts as a multi-directional controller, so you can accidentally activate another function if you press down too hard in one area.
The camera has two other programmable buttons on the back, alongside a menu, playback, and info button, and a programmable button on the top plate, as well as a "Lock" button that deactivates the camera's control dials. That's especially handy, since it's really easy to bump them while you're vlogging, potentially ruining a shot. By default, the "Color" button lets you access the menu to control the standard color mode, as well as the 14 color filters Canon includes to let you add various looks to your footage and the more advanced response modes such as C-Log or HLG.
ScreenThe camera is mainly made to be controlled using the 3" articulating touchscreen, which lets you adjust your settings and shooting parameters and navigate through the menus. Like most cameras' displays, it can be challenging to see in direct sunlight, especially if you're trying to judge exposure.
Ports and slotsThe EOS R50 V has a particularly quick 10Gbps USB-C port, which should be handy if you want to offload footage without taking off your tripod plate to get at the SD card. It also supports UVC/UAC streaming to a computer, letting you use it as a 4K webcam*.
It also has a headphone jack so you can monitor audio and a mic port so you can attach an external microphone. Also included is an ever-fragile micro HDMI port, which you can use to output video to a monitor or to a streaming box if your setup doesn't support USB.
* You'll be limited to 1080p if you want your camera to also draw power over USB instead of relying on its battery.
Battery The battery and card slot are both under a door on the bottom of the camera.The EOS R50 V uses the same 7.5 Wh LP-E17 battery that can be found in many of the company's other small ILCs, such as the original EOS R50. The company says it's good for 390 shots based on the CIPA rating. As always, the main use of the rating is as a common reference point among cameras, as the literal number of shots you get will depend on many factors.
Canon hasn't publically published CIPA video test results for the EOS R50 V. However, the camera's manual says you can expect around 70 minutes of 4K 30p recording on a charge, and about double that if you're shooting in 1080p. Those numbers are for single autofocus.
Video Video Quality Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The EOS R50 V's standard 4K footage is derrived from 6K capture and provides a good level of detail for most vlogging uses. The 4K 60p setting uses a smaller region of the sensor and has less detail than the >30p modes, but still provides a very usable image if your audience is mainly people watching videos on the web.
Recording OptionsThe EOS R50 V has four different recording formats, which can be used with any framerate and resolution.
Color Depth Bit Depth H.256 4:2:2 10 4:2:0 H.264 4:2:2 10 4:2:0 8While the camera has a screen for selecting your compression type, the only option is Long GOP.
AutofocusThe EOS R50 V offers several autofocus area options, ranging from spot to whole area autofocus. You move the point using the touchscreen, and in whole area autofocus you can use tap-to-focus to track a specific area. You can also use the four-way controller to select your focus point, provided you configure a button to engage AF point selection mode.
It can recognize three types of subjects: people, animals (including birds) and vehicles. There's also an "auto" mode that will track any recognized subjects in those categories. The subject recognition can be used with any of the autofocus area options, and the camera does a good job of honoring your selected area, rather than trying to jump to a subject not under your focus point the moment it recognizes one.
Autofocus settings, like most of the rest of the camera's settings, are separate between video and stills modes.
We found that the autofocus tracking was reliable at keeping whatever we were shooting in focus, especially when using subject recognition mode. There are also several options to tune it if the initial settings don't work for your needs: you can make the focus speed faster if you want it to quickly jump between points or slower if you want longer focus pulls, and you can also adjust how willing the camera is to refocus to a different distance or subject.
We also found that it was relatively tenacious, even when tracking a non-recognized subject. We could tap an object on the screen and be relatively sure it would keep it in focus as we moved the camera around, provided the movements weren't too extreme and that the subject mostly stayed in the frame. It also didn't tend to lose subjects after zooming in or out and was quick to refocus after zooming.
Rolling ShutterThere's no way to sugar-coat it: the EOS R50 V's rolling shutter performance is quite poor. If you pan the camera even at a moderate speed or point it at something moving relatively quickly, you'll get jello-like skewing, which can be quite distracting depending on what you're shooting.
Video Mode Readout Rate UHD 4K Crop 60p 15.7ms UHD 4K 24p 31.9ms 1080p 24p 12.3msThe problem is far less pronounced in the 60p 4K crop mode due to the fact that it's sampling a smaller portion of the sensor, which takes less time. This leads to good rolling shutter performance, which is also the case in the 1080p modes.
Electronic image stabilizationUnsurprisingly, given its price, the EOS R50 V doesn't have a stabilized sensor, which means you'll have to rely on optical stabilization, a gimbal and/or electronic image stabilization to reduce shake when shooting handheld. The EOS R50 V has two electronic stabilization modes: normal and "Enhanced." Both crop in on the image, with the latter adding more crop than the standard mode. Both also work in the 4K Crop mode required for shooting in 60p, but you will end up with a substantially tighter image.
Stabilization mode UHD frame rate Total Crop Normal 24p 1.11x 60p 1.71x Enhanced 24p 1.41x 60p 2.23xWe found the electronic stabilization can work well for static shots or shots with slow movements, but isn't a great fit for walking and talking shots, especially if you pan the camera. It has a noticeable grab-and-release effect that can make your footage look stuttery, and while it does take out the most intense shakes, you can wind up with video that looks a little wobbly instead of steady.
Conclusion What we like What we don't- Great image/video quality
- Reliable autofocus
- Stable of useful video assistance tools
- Well-considered ergonomics
- Good value
- Decent battery life
- Great choice of kit lens
- Poor rolling shutter performance
- Big crop for 4K60p
- Digital stabilization isn't the best
- Some features can be hard to find
- Doesn't have every vlogging feature its competitors include
- No included wind sock for otherwise decent built-in microphone
Given the EOS R50 V's heavy focus on vlogging, we've filmed the bulk of our conclusions as a vlog, which should help provide an idea of what kind of results the camera can produce.
Outside of vlogging, it's worth touching on the photo-taking experience with this camera. Put simply, stills aren't what this camera is designed for. From a technical perspective, it's quite capable; it has pretty much every photo feature the EOS R50 does (including a mechanical second curtain shutter), and its image quality is solid. You can check out the studio scene here.
The experience of taking photos with it, however, just isn't all that fun. It could've actually been an improvement on the EOS R50 by having two control dials instead of one – we're no fans of rear control dials, but they're better than nothing – but the top plate dial being at the back of the camera instead of the front means that you'll have to manage both dials with your thumb. That minimizes the speed benefits that you typically get from having a second command dial.
That, along with the missing EVF, means that the EOS R50 V is best suited to taking occasional photos rather than being a really good stills camera that also excels at video. While you can absolutely use it to capture some great photos, people who split their time more evenly between stills and video will want to consider a less vlogging-focused model.
While the rolling shutter performance, crop in 4K60p and few UI quirks make it hard to recommend this camera to absolutely anyone interested in video, it's undoubtedly still worth considering if you're looking to get into vlogging or videography, especially if budget is a concern. The value the EOS R50 V provides with its image quality, autofocus system and feature set is what earns it a silver award.
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Buy w/ 14-30mm at Amazon.comBuy w/ 14-30mm at B&H PhotoBuy w/ 14-30mm at Canon ScoringScoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Canon EOS R50 VCategory: Entry Level Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe EOS R50 V is a solid video camera, but is let down by its heavy crop to achieve 4K 60p and slow rolling shutter.Good forVloggers shooting indoors Videographers shooting static or slow-moving subjects Filmmakers on a shoestring budgetNot so good forVloggers shooting action Videographers that make heavy use of 4K 60p People not interested in video84%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"canon_eosr50v","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 Fujifilm X-M5 offers a complete experience for both stills and video shooters than the EOS R50 V thanks to its two top-plate control dials and especially robust lens ecosystem. Its open-gate recording mode can also provide a bit more flexibility over framing in post and still has better rolling performance than the EOS R50 V despite its taller aspect ratio. However, Fujifilm's autofocus tracking performance won't be as good for unrecognized subjects.
Compared to the EOS R50 V, the Sony ZV-E10 II's much faster sensor means it'll have far less rolling shutter, and will be able to shoot in 4K60p with far less crop, making it better for fast moving subjects or shooting styles. Ergonomically, the side-mounted SD card slot means you'll never have to take off your tripod plate to get at your footage, though, like the rest of the competition, it lacks the Canon's vertical tripod mounting thread. But while the EOS R50 V's battery life is sufficient, the ZV-E10 II's massive battery will let you record for substantially longer.
The Nikon Z30 struggles to keep up with the newer cameras on this list. It can't shoot 4K60p at all, which means you'll have to drop down to 1080p if you want to shoot in slow motion, and it also doesn't support 10-bit color or Log, meaning you'll be more limited in post when it comes to color grading. The lack of a headphone jack will also make it harder to tell if your audio is turning out correctly.
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.Fujifilm X half review-in-progress
All product photos: Richard Butler
The Fujifilm X half is a JPEG-only compact camera with a fixed focal length and a vertically orientated sensor, designed to mimic the experience of shooting with a half-frame film camera. It prioritises fun over technical excellence.
Key features- Vertical 18MP, 8.8 x 11.7mm CMOS sensor
- 32mm equiv F2.8 lens
- JPEG-only output
- 2-in-1 mode combining sequential shots into a 3:2 image
- Tunnel-style optical viewfinder
- Film Camera mode simulates the film camera experience
- 10 Film Simulations
- 18 Filters
- Twin touchscreen interface
- Date stamp option
- 880 shot per charge rating when using OVF
- 'Film advance' lever
- Direct printing to Instax printers
The obvious reference point will, no doubt, be Fujifilm's own X100 series cameras, and we doubt Fujifilm will dislike the comparison, given their popularity. But, whereas the X100 cameras look a lot like miniature Leicas, the cute, boxy X half looks more like a scaled-down Rollei 35.
The X half will have a recommended price of $849 and will be available in black, charcoal or silver. There's no obvious precedent for a camera like this and the uncertainty around the cost of importing items from China into the US makes it a little hard to make sense of, but it seems like a lot for a camera that's putting more effort into being fun than functional.
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Buy at AdoramaBuy at B&H Photo What is it?The Fujifilm X half is a fixed-lens camera built around an 8.8 x 11.3mm sensor. Those dimensions may not sound familiar but it's essentially a 4:3 crop from a 20MP 3:2 Type 1 sensor, turned on its side.
So, when Fujifilm talks in terms of half frame, it's talking about the 3:4 shooting experience you get from shooting half a frame of 135 film, not about mimicking the same capture area that would give.
It has a 10.8mm F2.8 prime lens, and that sensor's 2.94x crop factor means this gives a 32mm equivalent field of view and an F8.2-equiv maximum aperture.
Flicking the film advance lever just after you've taken a shot (or when you're reviewing an image in playback mode) lets you combine that shot with the next one you take.
Left image: Provia film sim | F2.8 | 1/800 sec | ISO 200
Right image: Provia film sim | F2.8 | 1/1600 sec | ISO 200
Photos: Richard Butler
You can shoot individual 3:4 vertical images, swiping on the Film Simulation window on the back of the camera to change your virtual film stock. Alternatively, if you flick the film advance lever after taking a shot, you can combine your previous and next images to create a side-by-side diptych. Both individual images are saved to the memory card, in addition to the combined version.
Film Camera modeThe X half is best understood through its Film Camera mode. Engage the mode and you'll be asked how many exposures you want on your virtual film: 36, 54 or 72. If those second two numbers look unfamiliar, remember that this is styling itself as a half-frame camera, so you can fit 72 shots on a '36 exposure' film.
"Once you start shooting, you'll have to use the film advance lever after each shot: the camera won't take another photo until you do"When in film camera mode, you lose the live view on the back of the camera and have to compose via the optical viewfinder. You also lose the ability to swipe to change Film Simulation or filter: you're using a single roll of 'film,' after all.
And, once you start shooting, you'll have to remember to use the film advance lever after each shot: the camera won't take another photo until you do.
Once you've taken all your photos, you can connect your camera to the app and transfer the photos, at which point you get to see a contact sheet and watch the images 'develop.' That contact sheet image, complete with sprocket holes, frame numbering (with the images numbered as 01, 01A, 02, 02A and so forth), can also be downloaded.
If you lose interest in a project before the end of the roll, you can double-tap the film window screen and the camera will 'rewind' the roll, leaving you with a partially-complete film strip. Fujifilm also warns that removing the memory card or the battery can result in film camera mode being abandoned.
Filters and Film SimulationsOne of the X half's main selling points is likely to be Fujifilm's film simulation modes, and the camera includes ten of the most popular ones.
- Provia / Standard
- Velvia / Vivid
- Astia / Soft
- Classic Chrome
- Reala ACE
- Classic Neg.
- Nostalgic Neg.
- Eterna / Cinema
- Acros (with Red, Yellow or Green filter)
- Sepia
The X half also has a range of Filter modes, including Toy Camera, Vignetting, Light Leak, Halation and Expired Film. These give more extreme looks than the film simulations, but include some fun options such as giving the expired film mode a green or red tint, or the light leak mode that applies a one of a selection red/yellow bursts across each image at random, which are only visible in the final image. Filters can't be combined with Film Simulation modes.
ISO and AutofocusThe camera's base ISO is 200 and there are three pre-defined Auto ISO settings, you choice is essentially whether the camera stops at ISO 800, 3200 or 12,800.
In terms of autofocus, you have a choice of two AF area modes: a large central point or an AF area that can be moved to one of nine positions. There are eye and face detection options on top of this, and the camera will prioritize faces in your scene, regardless of the AF position.
Autofocus is somewhat laggy and distinctly slow, though, so we found the camera to be much more dependable in AF-S mode. This is not a camera for action or moving subjects, really.
VideoThe X half can shoot up to 1080/24 footage at up to 50Mbps, captured in a 3:2, 1080 x 1440 format. It can also shoot 2x slowmo footage. These video clips can be combined with still images in 2-in-1 diptychs, output as 2160 x 1440px MOV files. There's a 3.5mm-to-USB-C lead in the box that lets you use an external mic with the camera, if you insist.
Body and handlingThe X half is small, boxy and really rather cute: both its size and looks attract attention. It's also pretty well built. It feels like a lot of it is plastic but it's thick enough that the camera doesn't feel flimsy. It's small enough to fit in a coat pocket, despite the protruding lens.
The lens has an aperture ring around it, controllable in whole stops and with an 'A' position at one end, passing control back to the camera body. There is no other control dial on the camera, so there's no way to gain 1/3EV control of the aperture.
The camera's shutter tops out at 1/2000 sec, so in bright light you'll need to remember to stop down; especially if you're using the viewfinder, where there's nothing to indicate that your shots will be overexposed.
The lens is covered with a soft plastic lens cap. It's not the prettiest or most convenient feature, but ends up highlighting a benefit to the lens design: it doesn't change length. As such you never have to worry about stripping the gears or damaging a motor if you turn the camera on in your pocket or with the cap still attached.
The top of the camera is decidedly simple: a large exposure comp dial, that photo advance lever and an power switch, which releases the level from its stowed position. There's also a cold shoe slot in the middle of the camera. We're not really sure why.
The whimsy continues on the back, with a film-window-style rounded LCD panel that displays the currently active Film Simulation mode or Filter effect. It's a touchscreen, so you can swipe up or down to change mode (unless you're in Film Camera mode).
Next to this is the main display, a small, portrait-orientation 2.4" 640 x 480px touchscreen. In regular shooting mode this shows a live view display, just as you'd expect. Swiping your finger across the screen brings up one of four menus.
Swipe rightSwipe down
Swipe right
Swipe up
Swipe left
Swiping down gives you the choice between connecting to a smartphone and entering Film Camera mode.
Swiping right lets you select whether you're in Film Simulation or Filter mode. There are icons at the bottom of the screen to let you determine which of these modes applies to stills or video shooting. You don't select which of the simulations of filters you're using, just which mode the camera is in.
Swiping up brings up a quick menu, detailing eight of the camera's core settings:
- Exposure mode (P, S, A, M)
- Image size (L, M, S)
- Face/Eye detection setting
- Portrait enhancer
- Focus mode (MF, AF-C, AF-S)
- Self-timer (2s, 10s, Off, Continue)
- Grain (Roughness / Size)
- White balance
Finally, swiping left brings up the camera's main menu. It's a much-simplified variant of the one from other Fujifilm cameras, divided up into seven catagories: Shooting settings, Movie settings, IQ settings, AF/MF settings, Audio settings, Set up and Networking/USB settings. These catagories are navigated by swiping up and down on the film window, next to the main LCD.
The film advance leverOne of the only physical controls on the whole camera is the film advance lever. In normal camera mode its job is to engage 2-in-1 diptych mode, in Film Camera mode it acts as the film advance lever it mimics. Push the lever in towards the body in normal shooting mode and the camera will show you the last image you took, while the lever is held in. Again, we're not entirely sure why.
BatteryThe X half takes the same NP-W126S battery as Fujifilm's other small cameras. It's a relatively large battery for such a small camera, making up something like 1/7th of the camera's volume. This helps power the camera to a rating of 880 shots per charge, if you use the OVF. We've not seen a figure for shooting with live view.
This is enough that you'll essentially never have to worry about charging the battery. The camera can charge over its USB-C socket, so all you need to do is remember to plug it in from time-to-time.
Initial impressionsThe Fujifilm X half is, objectively, a profoundly silly camera. It is, after all, a digital camera with a film advance lever. But that's not to say it's a joke, necessarily.
Whether you think the X half is cute and fun or utterly ridiculous is likely to come down to what you think of its Film Camera mode. If you like the creative challenge and playfulness of a mode where you have to shoot a whole virtual roll's worth of images before 'developing' them on your phone, then you might well really enjoy the X half.
If you find the idea preposterous, worry about it only being able to produce JPEGs, or find yourself thinking 'it's basically half of Four Thirds, doesn't that make it 1/8th frame?' then it's fair to say this isn't the camera for you.
Even without using Film Camera mode, the ability to combine images (with a choice of dividers and widths) prompts you to think about pairs of images that will go well together.
Left image: Provia film sim | F2.8 | 1/125 sec | ISO 640
Right image: Provia film sim | F2.8 | 1/125 sec | ISO 640
Photos: Richard Butler
The X half will inevitably ride on the coat-tails of the hugely successful X100 series, but whereas that camera was beloved both by established photographers and newcomers enraptured by its stylish aesthetic and attractive color response; the X half's pull is likely to be much stronger for the latter group.
"Expecting you to crank the non-existent film forward is inherently ridiculous, but entertainingly so"The pictures aren't great and the camera is distinctly laggy in most of the things it does. If you're coming from a modern mirrorless camera, it might be a bit of a shock. If you've been buying old compacts on eBay, you'll probably feel right at home. And it seems likely that this is the intended audience for this camera: someone who appreciates a small camera with a sense of fun.
Because yes, the Film Camera mode is fun. Expecting you to crank the non-existent film forward is inherently ridiculous, but entertainingly so. Likewise the idea of a retro-feeling compact camera that can deliver Fujifilm's Film Simulation colors is a delightful prospect, even with the X half's drawbacks.
It's hard to get a sense, from pictures, of just how small the X half is. It's not much bigger than the palm of my hand.Our main concern is the price, though. Even after a surge of inflation that's left us all a little unsure how much our money is now worth, $849 feels like a lot for something so playfully flirting with frivolity. And, on our production camera, albeit with non-final firmware, the lagginess and autofocus speed risks taking some of that joy out of the experience.
The X half doesn't take itself too seriously, and that doesn't in itself make it a joke, but we worry its price tag risks being a punch-line that falls rather flat.
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Buy at AdoramaBuy at B&H Photo 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.
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