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Our year in photos: Richard's most memorable shot of 2024
Beyer-Garratt 143 passes through Nantmor halt, southbound on the Welsh Highland Railway
Fujifilm 16-55mm F2.8 LM WR II @ 19.3mm | F6.4 | 1/1000 sec | ISO 5000
Photo: Richard Butler
After a frankly overwhelming 2023, this year has been one that's helped me re-connect with my love of photography.
A couple of trips back to the UK have certainly helped with this. Despite nominally being on vacation, it's always tempting to use trips home as a means of building up 'real-world' time on a camera, or take the literal change of scenery as a way to add variety to our sample galleries. It was still something of a surprise to notice that none of the images I narrowed my choice down to were taken in Seattle.
My final choice was as much about the experience of shooting it as the image itself. It was taken during a five-day hike across North Wales, because that seemed like a sensible thing to do in late October.
"It was taken on day three of a five-day hike across North Wales"Day three of the trip had included the first serious downpour and our spirits were a little overcast as we stopped for lunch. Our break was interrupted by the distant sound of a steam train's whistle, and suddenly I made the connection to the stream of smoke we'd seen trailing across the Glaslyn valley, from a high vantage point earlier in the day.
Another hour's walk and our route finally crossed the hilariously narrow-gauge tracks of the Welsh Highland Railway, at Nantmor halt. A search of the station showed no sign of a timetable, and roaming data wasn't in any hurry to convey the information but eventually we found that a southbound train was due at the station just north of us in about ten minutes' time.
This gave my companion a chance to rest his legs and me enough time to set up the camera for the train's arrival. Could I possibly take both a video and a photo of a train that wasn't necessarily going to stop? I'd need to change the camera settings pretty rapidly to achieve both.
Thankfully I knew that 'Movie Optimized Control' mode on the X-T5 would ensure that none of the exposure settings would carry across from video mode to stills, so that I didn't try to capture a photo of a moving train at 1/48 seconds or shoot video at 1/1000th.
Fleeting patches of sunshine meant five minutes of anxiously adjusting the vari ND on the front of the lens, but also meant there was a decent level of contrast when the train finally appeared.
I captured some 22 seconds of video of the train's arrival before hitting stop and frantically unscrewing the ND filter from the front of the lens. I then managed about three backward steps and to quickly zoom the lens out before hitting the shutter.
The result is a surprisingly decent shot of the Manchester-built, ex South African Railways 2-6-2+2-6-2T Garratt loco. Or a train that "looks like a sad one-eyed monster" as a friend described it.
Richard's also-ransI always find it hard to judge my own photos. Here are the others that didn't quite make the cut, with descriptions of why I picked them:
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Laugh out loud: The 2024 Nikon Comedy Wildlife Awards showcase hilarious animal antics
The Nikon Comedy Wildlife Photography Awards has announced the winners of its annual competition. For 2024, the contest received more than 9,000 entries from photographers worldwide, which judges whittled down to 10 category winners and 10 highly commended winners. Top winners received prizes ranging from a Kenyan safari to Nikon gear, including cameras and lenses.
Overall winner and mammals category winnerPhotographer: Milko Marchetti (Italy)
Title: Stuck Squirrel
Location: Parco Podere Pantaleone, Italy
Caption: The photo was taken in the “Podere Pantaleone” park in Bagnacavallo, Ravenna, Italy. It is a park open to the public and schools, but from October to March, it is closed to visitors, and I am allowed (in exchange for photographs for educational and promotional purposes) to use a fixed photographic hide to photograph passerines, woodpeckers, hawks, and even 3-4 squirrels that come to visit the photographic set consisting of a small lake, and the surrounding vegetation. Generally, in Italy, especially in the area where I live, in the Po Delta Regional Park, it is very difficult to see and photograph squirrels (they are very rare), but here in the park, they are quite confident.
A few meters from the hide, an old cut tree has a hole (an old woodpecker's nest), and here, the squirrels (two years ago, there were four specimens) sometimes come out of curiosity to check out the old hollow tree. I have taken several photos of squirrels in many situations, but the shot I chose to participate in the Nikon Comedy Wildlife immediately struck me for the strange position assumed by the squirrel that seems to be stuck halfway in the hole in the tree, but in reality, it is the moment in which it is detaching the support on its hind legs and enters the hole.
This photo had an effect on me and made me smile a lot in the moment that I clicked the button, and during my evenings of slideshows and nature videos that I often hold at photography clubs and theaters, the audience always explodes in energetic laughter when I show this photo. I knew I had to enter it into the competition.
© Milko Marchetti / Nikon Comedy Wildlife
Insect category winnerPhotographer: Jose Miguel Gallego Molina (Spain)
Title: Mantis Flamenca
Location: Onda, Spain
Caption: On my way back from my photo walk in a swamp near my town (Pantano el Sitjar), I suddenly stopped my car on the road when I saw someone ordering me to stop. This was when I saw my friend, the Flemish Mantis, for the first time. You can imagine the faces of the other cars passing by, seeing a car with the indicators on and the door open, stopped on the roadside, and a madman lying on the ground with his camera in his hand.
© Jose Miguel Gallego Molina / Nikon Comedy Wildlife
Reptile category winnerPhotographer: Eberhard Ehmke (Germany)
Title: Frog in a Balloon
Location: Bergwinkel, Germany
Caption: During a photo shoot at the pond, I discovered this frog with its head in a bubble. This resembles a tree bell.
© Eberhard Ehmke / Nikon Comedy Wildlife
Bird category winnerPhotographer: Damyan Petkov (Bulgaria)
Title: Whiskered Tern crash on landing
Location: Svishtov, Bulgaria
Caption: Whiskered tern head hit the rock when trying to land
© Damyan Petkov / Nikon Comedy Wildlife
Fish and other aquatic animals category winnerPhotographer: Przemyslaw Jakubczyk (Poland)
Title: Unexpected Role Swap
Location: Szczecin Lagoon, Poland
Caption: Every annoyed and overtired fish needs to de-stress by hunting for a bald eagle
© Przemyslaw Jakubczyk / Nikon Comedy Wildlife
Nikon junior category winner (16 years and under)Photographer: Sarthak Ranganadhan (India)
Title: Smooching owlets
Location: Gurgaon, India
Caption: Our parents always find a way to embarrass us; I guess that's also true in the case of spotted owlets. It was truly a funny sight to see two owlets trying to get some privacy as their little offspring stood next to them with a grin and shut eyes.
© Sarthak Ranganadhan / Nikon Comedy Wildlife
Nikon young photographer category winner (25 years and younger)Photographer: Kingston Tam (Hong Kong)
Title: Awkward Smiley Frog
Location: Queensland, Australia
Caption: In 2022, I moved to Australia from Hong Kong to study wildlife science, and my friends got me into ‘herping’ (looking for reptiles and amphibians in the wild) and through that, I met a bunch of amazing photographers who specialize in taking photos of these critters, and I started doing it as well. And that’s how I ended up photographing critters.
My goal for my images is to bring attention to our scaly or moist friends, showing that not only fluffy animals can be cute and beautiful. Ultimately, I wish my work could bring more conservation awareness to these amazing reptiles and amphibians, and that’s been my motivation to keep doing what I’m doing.
© Kingston Tam / Nikon Comedy Wildlife
People's Choice category winnerPhotographer: Tapani Linnanmäki (Finland)
Title: Shake Ruffle Rattle and Roll
Location: Kustavi Finland
Caption: In the picture, a white-tailed eagle is ruffling its feathers. The picture was taken with the Nikon Z9's auto-capture feature. The camera is placed on top of the sea ice on top of a bag of nuts at the level of the ice. I couldn't believe my eyes when I saw this picture. There were more than ten funny poses and expressions in the photo series.
© Tapani Linnanmäki / Nikon Comedy Wildlife
Portfolio category winnerThe portfolio category was presented to a photographer for a set of images. The photo above comes from a series of photos of a squirrel in a variety of comedic poses.
Photographer: Flynn Thaitanunde-Lobb (British, aged 10)
Title: Rock guitar
Location: Southampton, UK
Caption: I first heard of the Comedy Wildlife Photography Award when my mum showed me last year's winner of a kangaroo playing air guitar. I thought it was quite funny. I got into photography when my mum gave me her Nikon D3000 camera when I was 5 years old. I have been using a Nikon camera ever since.
I love taking photos of all kinds of animals: birds, foxes, spiders, butterflies, squirrels. Anything that catches my eyes. Anything that is beautiful. I won my first ever award, coming third place in the Bird Photography Of The Year (BPOTY) competition for the Under Eight category when I was 6 years old with my Perching Seagull. I went on to win the RSPCA Mobile Phone under 12 category in 2023 with my Weaving Spider.
© Flynn Thaitanunde-Lobb / Nikon Comedy Wildlife
Highly commended winnerPhotographer: Artur Stankiewicz (Poland)
Title: I'm too sexy for my love
Location: Mana Pools National Park, Zimbabwe
Caption: On one of the 'lazy' mornings, we decided to stop by the pool with hippos while in Mana Pools NP. My idea was to try and catch fighting hippos, yet they all were quite peaceful. I positioned on the bank, safely away from the potential charge and waited. Some of them raised their heads in curiosity or when proximity to the other individuals was too close. Then I got this idea to catch the portrait with water plants decorating his head; It looked like the guy just got out of the hairdresser with a big smile on his face :)
© Artur Stankiewicz / Nikon Comedy Wildlife
Highly commended winnerPhotographer: Randy Herman (USA)
Title: You're not my mother
Location: Cuyahoga Valley National Park, Ohio, USA
Caption: This female Red-bellied Woodpecker had been investigating this Screech Owl nest for a couple of days; perhaps it was her nest last year? This little owlet was definitely startled and didn't seem to know what to make of this intruder. The woodpecker moved on, and the owlet fledged with its two siblings about an hour later.
© Randy Herman / Nikon Comedy Wildlife
Highly commended winnerPhotographer: Ralph Robinson (British)
Title: Gang of Four
Location: Pebble Island, Falkland Islands
Caption: On the penguin highway, these rockhoppers are moving into town, and this town ain't big enough for all of them! I set up my camera a good distance from this ridge, where rockhopper penguins were returning from feeding in the southern Atlantic Ocean in the Falkland Islands. The long lens pulled them into the frame without disturbing their return to nests on the hill. I love photographing penguins after they've been in the water, as they are cleaner! These birds look like they are ready to kick some penguin ass!
© Ralph Robinson / Nikon Comedy Wildlife
Highly commended winnerPhotographer: Takashi Kubo (Japan)
Title: Mafia Boss
Location: Hokkaido Japan
Caption: It looked like he was sucking a cigar, and he looked like a mafia boss.
© Takashi Kubo / Nikon Comedy Wildlife
Highly commended winnerPhotographer: Leslie McLeod (Canada)
Title: Hide and seek
Location: Mara North Conservancy, Kenya
Caption: We were on safari in Kenya and happened upon this beautiful female who was looking for a mate. A group of topi were also keeping a pretty close eye on her as she left messages for a potential partner on various trees. This shot makes me think that the cheetah is just about to shout out, "Ready or not, here I come!"
© Leslie McLeod / Nikon Comedy Wildlife
Highly commended winnerPhotographer: Arvind Mohandas (Germany)
Title: The Contemplative Chimpanzee
Location: Uganda
Caption: Shot in the jungles of Uganda, following a group of around 50 chimpanzees. This one was obviously contemplating an important issue on a day of realization and reaffirmation of how close chimpanzees are to humans!
© Arvind Mohandas / Nikon Comedy Wildlife
Highly commended winnerPhotographer: Jan Piecha (Germany)
Title: I'll tell you a secret
Location: Germany
Caption: A tiny raccoon is telling a secret to its mum while whispering in her ear.
©Jan Piecha / Nikon Comedy Wildlife
Highly commended winnerPhotographer: Marti Phillips (USA)
Title: Are you kidding?
Location: Cape Cross Seal Reserve, Namibia
Caption: Two Cape Fur seals having a laugh
© Marti Phillips / Nikon Comedy Wildlife
Highly commended winnerPhotographer: Sanjay Patil (India)
Title: The Rock Star
Location: Maharashtra State, India
Caption: Fan-throated lizards are found only in the Indian subcontinent, where they have evolved under the influence of changing climates. These lizards are colorful and belong to the category of reptiles. Female Lizards do not display fans as they do not have [them]. Male lizards inflate their attractive neck pouch to attract females in the hot summer season. Here is the female lizard standing upright to escape the summer heat.
© Sanjay Patil / Nikon Comedy Wildlife
Highly commended winnerPhotographer: Andy Rouse (British)
Title: Alright, mate, back off – this is my bird
Location: South Georgia
Caption: This image was taken in South Georgia; it really does show a male king penguin trying to make a move on a female who has already paired up with her male. The body position and wing posture make the message clear - "Back off!"
© Andy Rouse / Nikon Comedy Wildlife
Fujifilm X-M5 In-Depth Review: a camera for the content age
The Fujifilm X-M5 is the company's latest APS-C mirrorless camera and comes in as the lowest-end entry in its current lineup. It uses the company's last-generation 26MP X-Trans sensor, the same one found in cameras like the X-T4 and X-100V, but comes equipped with its latest processor, giving it access to Fujifilm's AI-powered subject detection autofocus.
Key features:- 26MP X-Trans BSI CMOS sensor
- X-Processor 5 with AI-powered subject detection AF
- On-sensor phase detection
- Fully articulated 3", 1.04M-dot LCD
- 20 Film Simulation modes, including Reala ACE
- Continuous shooting up to 8fps (30fps with E-shutter and 1.25x crop)
- 6.2K 3:2 video up to 30p, 4K up to 60p with crop
- External mic and 3.5mm headphone socket
- Single UHS-I card slot
- Battery life rated up to 330 frames (440 frames in Eco) per charge
The X-M5 is available in silver at a body-only price of $799. A black version is coming in April 2025. Fujifilm is also selling a kit with the X-M5 and its XC15-45mmF3.5-5.6 OIS PZ lens for $899. Optically, it's not our favorite lens, but its size and price make it an obvious pairing with this camera.
Buy now:
$899 at Amazon.com Index:- What's new?
- How it compares
- Body and controls
- Image Quality
- Autofocus
- Video
- Conclusion
- Sample gallery
- Specifications
- Press release
The X-M5 is a return to a relatively old form factor, as the last time we saw a camera with the X-M label was the X-M1 from 2013, the third camera to feature the then-new X-mount, though the X-A series carried on until much more recently. It's broadly made up of parts we've seen before, put together with a few new tricks.
A tiny 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 a small bag or jacket pockets. Anyone who buys one will be hard-pressed to come up with an excuse not to take it with them when they leave the house.
It also helps that, subjectively, it's a very good-looking camera; Fujifilm's retro aesthetic with modern functionality continues to serve it well. More on that later.
The camera also features the film simulation dial found on the X-T50, which lets users play around with Fujifilm's color profiles to get the look they want without requiring them to dive into the menu. It may seem like a small thing given that Film Simulations have long been one of Fujifilm's main selling points, but putting them front and center like this strongly encourages people to experiment with them, even if they're averse to spending too much time in the menus.
4K LP 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 FHD LP mode, meanwhile, is only available in 50p and 60p and comes with a 1.29x crop. The company says you can record for over an hour at 4K when using the LP mode in temperatures of 25°C (77°F) and around 20 minutes at 40°C (104°F).
The X-M5 also has two new low-bitrate options, letting you capture footage at 25Mbps and 8Mbps. This lets you sacrifice image quality for small file sizes in scenarios when you want to get footage out quickly and will only be using it on social media, where it'll already be heavily compressed.
If you want to shoot with heavier codecs, the X-M5 is compatible with Fujifilm's optional cooling fan, which can help extend record times without using the LP modes and the cropping and loss of quality that come with them.
Three-microphone 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 added a new "Steady-State noise reduction" mode meant to make constant noises like air conditioners less noticeable.
If you'd rather plug in an external microphone, the X-M5 has cleverly placed the 3.5mm mic jack on the back of the camera, so the plug and cable won't block the screen when you're vlogging with it. The jack's cover is connected to the camera's body, so you don't have to keep track of a tiny piece of rubber when you're on the go.
Updated vlogging 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.
Pressing the Menu button gives you access to most of the options you'd need to control while vlogging. From left to right:
Top: Shooting mode, focus mode, image stabilization mode, Face/Eye Detection setting, Portrait enhancer
Bottom: Background defocus mode, Product priority mode, high-speed recording, self-timer, 9:16 short movie mode
While you'll still have to use the physical buttons on the back of the camera to change things like which codec, bitrate, or resolution you're recording in, vlog mode does a good job of putting most of the controls you'll need on the touchscreen without being overwhelming to newcomers.
9:16 short video modeThe camera also gains a 9:16 short video mode, which records vertical video by taking a 1080 x 1920 crop from the middle of the frame, rather than requiring you to physically turn the camera into portrait orientation. When you're shooting in this mode, the display will show you the full 16:9 image but darkens the frame outside what's being recorded. You can choose whether you want your clip to be 15, 30, or 60 seconds long.
9:16 short video mode shows you the entire preview, which could help if you want to move the camera while recording.The resulting videos will be small and quick to transfer to your phone for posting; by default the camera records them at an 8Mbps bitrate, though you can bump this up to 25Mbps. These bitrates, new for the X-M5, are also available across the camera's other video modes as well. File sizes will vary depending on what you're filming, but you can expect 60 second second clips shot at 8Mbps to usually be under 100 megabytes, or under 250MB if you shoot at 25Mbps.
The 15, 30 and 60-second record limits are upper boundaries, but you can stop recording before you hit the time limit; it's easy to imagine a worse version of this mode locking up your camera until the timer hits zero. If you want to record for longer than 60 seconds, you'll have to dig into the menus to switch to the 9:16 resolution mode, which also gives you control over codec and bitrate.
USB-to-smartphone 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. That's especially true given that the camera only supports an older Wi-Fi standard, not the faster 5Ghz standard.
In our tests, transferring a two-minute 4K video took around 28 seconds using a USB 4 cable and 11 minutes and 14 seconds using the camera's built-in Wi-Fi, so if you're someone who wants to capture something and post it right away, you'll definitely want to keep a cable within reach. That may be slightly annoying if you have an older iPhone, as you'll need a slightly more specialized USB-C to Lightning cable, but that should be less of a problem in the future as more and more people upgrade to phones with USB-C.
How it 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, and its litany of vlogging features should make it easier to get professional-looking video.
Fujifilm's also leaning on design; it's a safe bet that many creators know what its cameras look like now, ever since the X100V went viral. From its film simulation dial to the mic jack that's apparently inspired by the look of tiny viewfinders on vintage cameras, the X-M5's design screams, "this is a camera you want to be seen with."
Fujifilm X-M5 Sony ZV-E10 II Sony a6100 Canon EOS R50 Fujifilm X-T30 II MSRP $799, $899 with 15-45mm $999, $1099 w/ 16-50mm OSS II $750, $850 w/ 16-50mm $679, $799 with 18-45mm $899, $999 with 15-45mm Pixel count 26 MP 26 MP 24 MP 24 MP 26 MP Mech shutter Yes No Yes Yes Yes Top plate command dials 2 1 1 1 2 Max burst 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, 0.71x magnification 2.36M dots, 0.59x magnification 2.36M dots, 0.62x magnification Video capabilities- 6.2K/24p (3:2)
- 4K/60p (1.18x)
- 4K/30p, 24p no crop
- 10-bit
- 4K/60p (1.1x)
- 4K/30p, 24p no crop
- 10-bit
- 4K/30p 1.23x crop
- 4K/24p no crop
- 8-bit
- 4K/30p no crop
- 4K/30p no crop
- 10-bit HDR mode
- 4K/30p no crop
- 8-bit
The Sony ZV-E10 II is the most similar competitor to the X-M5. It, too, features a three-capsule microphone (though it comes with a handy wind cover for it), has background defocus and product showcase modes, and a microphone and headphone jack. It's arguably even more focused on video, with 10-bit internal recording and 4K/60p recording – though that focus comes at a cost for photography, as it lacks an EVF, just like the X-M5. Fujifilm's offering does at least include a mechanical shutter. Sony's autofocus tracking is also substantially stickier, especially in video.
Sony's a6100 can't quite match the X-M5's video specs, given its lack of a headphone port, 8-bit video, and crop in 4K/30p mode. However, its EVF will make it more enticing to people who want photography capabilities first and video second.
It's much the same story with the Fujifilm X-T30 II and the Canon EOS R50, though the latter distinguishes itself by being notably cheaper than the rest of the cameras in this lineup and by having the nicest display.
Body and 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 what's there is confidence-inspiring, especially when using the relatively small lenses that most people will likely pair with this camera.
While the camera is almost entirely plastic, it doesn't feel especially cheap. There are no creaks or squeaks when you're using it, the buttons are satisfyingly clicky, and the dials and hinges are reassuringly stiff.
Another nice touch is the inclusion of two top-plate command dials, which let you easily adjust your exposure settings without having to change your grip on the camera or switch to using the touchscreen. Of course, the target audience of vloggers and beginners may not be in the habit of manually adjusting exposure parameters, but it offers those users some room to grow.
You need good aim to hit the Q button.The Q button is less ideal. It's recessed and on the top of the camera rather than the back, which makes it a little difficult to access, especially when you're trying to change settings quickly. Also not helping matters are its small size and the fact that it's nestled between two large dials.
Given how many video features the camera has, it's also a bit disappointing that the slower UHS-I SD card slot is in the battery compartment on the bottom, which could make it difficult if you have a tripod plate installed. It's understandable why it isn't on the sides, which are mostly taken up by the headphone jack, USB-C port and micro-HDMI connecter, but it'll likely be a friction point for some users.
The camera doesn't have a D-pad. You can set focus with the touchscreen or joystick, and use swipes on the touchscreen to bring up menus of your choosing.The camera also gives you plenty of room for customization via the four 'C' settings on the mode selector dial. For example, you could set C1 up to use eye detection, C2 to be another subject detection mode, and C3 to be standard autofocus, letting you easily switch between them without ever touching the menu. You can also choose whether each custom slot will be a photo or video mode.
On the opposite side of the spectrum is the Auto mode, which gives the camera almost full control, while letting you make a few modifications to its choices if you see fit. it's a good inclusion for beginners new to the world of dedicated cameras, and doesn't restrict you from shooting Raw, in case you want to also learn how to make substantial edits to your photos.
The camera also has a likely less useful 'Filter' mode, which engages the camera's selectable Instagram-style filters to change the colors and add various effects such as vignetting. Anyone wanting to play around with the look of their image should probably reach for the Film Simulation dial instead, as its adjustments to your image's color and tone are generally more subtle and pleasing.
The mode dial also lets you switch the camera into video mode and vlog mode, which are two separate beasts. We've already covered the vlog-specific UI, but it's also worth noting that vlog mode and movie mode have separate settings, letting you quickly switch between entirely different modes of shooting.
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.
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.Looking at the Raws produced by the X-M5, it produces relatively detailed images, though most of its competitors capture slightly more detail despite having similar-resolution sensors. Some of that is likely because Adobe Camera Raw doesn't get the best from Fujifilm's proprietary 'X-Trans' color filter design, which helps prevent some of the false color that some of its competitors produce in areas of fine detail.
At higher ISOs, it tends to produce slightly less noise than its competitors, though by the top of the range, it has roughly the same level of noise.
As for its JPEG performance, the X-M5's sharpening at base ISO isn't quite as strong as Sony's or Canon's when it comes to making fine details pop. That trend continues into higher ISOs, where its noise reduction does a decent job at smoothing out noise but can't quite keep the finer details that its competitors can.
ColorsThe Velvia Film Simulation can be a bit heavy-handed for some people's tastes, but others like it.
Out of Camera JPEG
ISO 160 | 1/2700 sec | F2.8 | Fujifilm XF 27mmF2.8
One of the X-M5's main features is its 'Film Simulation' dial, which lets you quickly change the color mode for your JPEGs. The standard profile produces Fujifilm's typically pleasing colors, but if you want a more noticeably retro aesthetic, profiles like Classic Chrome or Nostaglic Negative are right at your fingertips.
Image Comparison SliderThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Dynamic RangeThe X-M5's dynamic range performance is similar to that of its competitors, which means it will handle most scenarios with bright lights and darker shadows reasonably well. However, you'll need to either adjust your exposure and work on the Raw files or use one of the camera's DR modes to get the most out of it.
It has Fujifilm's Dynamic Range modes that give you the option of capturing one or two extra stops of highlight information in high-contrast scenes. This can require an exposure reduction in bright scenes, which increases the noisiness of the image but provides a relatively simple way to get an out-of-camera JPEG without blown-out highlights.
ISO Invariance | Exposure Latitude
AutofocusThe X-M5's autofocus system is similar to the ones found on Fujifilm's higher-end cameras, such as the X-T50. It lets you choose anything from a fine AF point up to selecting the whole image area, which lets the camera select a subject. In continuous AF mode, there's also a 'Tracking' option that follows whatever is under the AF target when you half-press the shutter. You can use the joystick or the touchscreen to select a focus point.
It has AI-derived subject recognition, letting it recognize human faces / eyes, animals, birds, cars, motorcycles / bikes, airplanes and trains while taking pictures or videos.
The human settings are separate from the other subject detection modes, so switching between them can be a slight hassle since they're two separate menu items rather than humans being listed as one of the subject types.
Face and eye detection settings are in a separate menu.The subject recognition system works with the different focus point selection modes. For example, if you use a single point and have the camera set to recognize birds, it'll look for any birds around your chosen point. In our testing, the camera wasn't overly aggressive in focusing on a recognized subject; if we had facial recognition on and a human was somewhere in the frame, we could still focus on something else without the X-M5 fighting to focus on the face.
The X-M5 performed well in our basic autofocus test, which involves putting a single AF point on a subject and having the subject approach the camera at a consistent speed. A few photos throughout our three runs came out soft, but it got focus right on the vast majority.
Our autofocus tracking test is more complicated and requires the camera to follow a subject that's moving around the frame and approaching at a variable speed. Using basic tracking with no subject detection, the X-M5 struggled; it would consistently lose track of the subject the second or third time it slowed down and couldn't pick it back up.
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Switching to face detection yielded far better results, as the X-M5 was able to keep its focus point on the subject throughout the entire run. However, while the camera managed to keep track of the correct subject, it wasn't able to assess and respond to the changes in approach speed, meaning a handful of shots focused at the wrong distance.
At this point, it's clear that Fujifilm's tracking system is a fair bit behind the offerings of competitors like Nikon, Canon, and Sony, both in terms of the stickiness of general AF tracking and in terms of judging subject distance and keeping the subject in focus. While testing the X-M5, we also encountered a few situations where it would hunt back and forth for focus before eventually settling on the subject. This was more prevalent in low-light situations but would occasionally happen in daylight.
VideoThe X-M5 has a range of video modes, including UHD and DCI 4K at up to 60fps, 1080p at up to 240fps, and a 6240 x 4160 '6K' open-gate mode that lets you shoot full-sensor video at up to 30fps that can be cropped later, allowing a horizontal and vertical crop from the same footage, for instance.
Several video modes on the X-M5 require the camera to crop in, making the frame tighter, and turning on electronic image stabilization adds a further crop on top of those, though the amount will depend on your resolution and framerate. The UI makes it clear whenever you're shooting with a crop.
You don't have to change to video-appropriate settings when you switch modesThe camera also keeps your photo and movie settings largely separate; the white balance, exposure settings, and subject detection mode you pick in photo modes won't carry over to video mode, so you don't have to worry about quickly changing to a video-appropriate shutter speed every time you switch between modes. By default, the Film Simulation dial setting will carry over between photo and video modes, though you can prevent that by turning on Movie Optimized Control, an on-screen interface that lets you control your color mode and other video settings using the touchscreen when in video mode.
Despite being an entry-level camera, the X-M5 has several advanced video features. Open-gate video could be counted among them, since it generally needs to be edited before you can share it, which Fujifilm doesn't let you do within its app. You can also shoot in F-Log if you want flexibility to adjust color and contrast in post, and the camera supports 1/48 and 1/96 shutter speeds, which are perfect matches for shooting at 24fps. You can also use its autofocus illuminator as a front tally light to make clear when you're recording, and it even supports Tascam's XLR adapter for connecting professional-grade microphones, along with support for recording four-channel audio.
Video Performance Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The X-M5's 4K video is relatively detailed, even managing to be just about as clean as other cameras' 'HQ' modes, which downsample their 4K video from higher-resolution capture, often at the cost of higher heat output or cropping.
Shooting above 30fps in 4K will result in some loss in quality, though switching to 4K LP mode doesn't seem to impact much, beyond the crop. Using the lower-bitrate modes can introduce some artifacts and loss of detail, but given that it's intended for social media that likely would've happened anyways after your file goes through a site's compression algorithm.
Rolling shutterIf you shoot fast-moving subjects with the X-M5 or move the camera quickly, there's a good chance you'll run into issues with rolling shutter, where the video gets a jello-like skewing effect.
Shooting mode Crop Rolling shutter rate 6K open-gate Full-width (3:2) 24ms 4K/24p Full-width (16:9) 21ms 4K/60p 1.18x 16ms 4K/24p LP 1.18x 16ms 1080p/24p Full-width (16:9) 13msGenerally, we'd consider 24ms of rolling shutter to be somewhat poor and 21ms to be at the very limit of what we'd consider acceptable. Fujifilm says its digital image stabilization helps correct rolling shutter, and our tests showed that it appeared to be applying some compensation, it also uses a smaller portion of the sensor, which helps further reduce rolling shutter a little.
OverheatingThe X-M5's relatively compact form factor makes it seem like it'd overheat easily, and the included LP modes imply that Fujifilm was at least worried enough about it that it wanted to include a workaround for shooting in extreme conditions. However, you may not have to worry about it much in everyday use, especially if you're mainly shooting indoors or in the shade; we tested the camera by shooting its full 4K UHD mode – not the cropped LP mode – and were able to get over an hour over continuous recording in ambient temperatures of around 24°C (76°F).
Vlogging FeaturesThe X-M5 has a Vlog setting on its mode dial, which gives you access to the special vlogging UI. To illustrate how it performs as a vlogging camera, we've produced a short vlog with it.
ConclusionBy Mitchell Clark
Pros Cons- Relatively affordable way into photography
- Compact, attractive design
- Excellent image quality with proven Fujifilm colors
- Can do flash photography if needed
- Capable video abilities for vlogging or basic filmmaking
- Good ergonomics
- Excellent lens selection
- Decent battery life when shooting stills
- Only has 2.4Ghz Wi-Fi
- Autofocus system struggles to predict subject distance, leading to disappointing hit-rate
- General AF tracking prone to losing its subject
- Switching between face and subject detection is a two-step process
- Screen can be difficult to see in the sun
- Cameras with viewfinders are available for similar money
- Shooting video can run the battery down quickly
If you're looking for a camera to take pictures and videos for social media, the X-M5 is, at the very least, worth your consideration. The Film Simulation dial makes it exceedingly easy to control Fujifilm's famous color modes, so you can pick the right one for your post, and the camera's design makes it relatively easy to control basic photo settings once you've got the hang of it.
That design is also attractive, which is important if you're going to be carrying it around all day and if people are potentially going to be taking pictures of you while you're holding it. Thankfully, it's not much of a chore to take it with you since it's relatively compact and lightweight, depending on what lens you have attached.
Of course, it doesn't matter how easy it is to tote a camera around if it doesn't actually outperform your phone when it comes to taking pictures. Thankfully, the X-M5's image quality is good enough to justify its place, and its surprisingly capable video modes make it relatively easy to get professional-looking results.
The big downside is its autofocusThe big downside – the one that earns it a Silver award instead of a Gold – is its autofocus. On a camera like this, you want it to be simple, effective and reliable, and it doesn't always nail all those points in the way its competitors can. While its subject detection works well, it can struggle to predict where to focus, an issue you might struggle to work around if you're not familiar with techniques like pre-focusing or zone focusing.
There are other quibbles, too. At this price point, most of its peers have a viewfinder, which some people will miss, and transferring photos to your phone can take a while which is unfortunate given that this camera is so focused on creators and social media.
Despite those complaints, the X-M5 can still be a joy to use after you've learned to work with it, and it has enough capabilities to grow with you as a photographer. While there are other sub-$1,000 cameras worth considering, it's an easy camera to recommend to those looking for what it offers.
ScoringScoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Fujifilm X-M5Category: Entry Level Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe X-M5 nails most of the basics for taking photos and videos, especially for beginners.Good forBeginner photographers and fans of the 'GramNot so good forShooting fast-moving subjects or in bright light84%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"fujifilm_xm5","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 Sony ZV-E10 II is a video camera that can also take pictures, whereas the X-M5 is a stills camera that can also do video. Sony's vlogging camera has a large record button front-and-center, a zoom toggle for powered lenses around its shutter button, and comes standard with a windscreen for its capsule microphone. Meanwhile, the X-M5 has a mechanical shutter and twin top-plate control dials. The Sony will have more reliable autofocus tracking, though it can't detect as many subjects as Fujifilm's system – vehicles are a notable absence. Its design is also much more utilitarian and not as pocketable.
Sony's a6100, meanwhile, is decent for photos with its inclusion of a mechanical shutter and an EVF. Its video modes are no match for the X-M5's, though – it can't shoot the easy-to-edit 10-bit video, doesn't have a headphone port and has a substantial crop when shooting anything above 4K 24p. It also has a tilting screen instead of a fully articulating one, making it worse for vlogging.
Fujifilm's X-T30 II is designed around photography fundamentals. It has an EVF, built-in flash and dedicated dials for exposure compensation, shutter speed, and drive mode, though not for Film Simulations. Its video specs aren't as capable, and its battery likely won't last as long, though its biggest weakness compared to the X-M5 is its older processor, which doesn't support the AI-derived subject detection modes. It does still support face and eye detection for humans, but that's it.
The Canon EOS R50 fares very similarly upon comparison; it, too, has an EVF and pop-up flash, but is larger and only has a single control dial. Its video also can't quite live up to the standard of the X-M5's, as it can't shoot 4K 60p at all, and while the APS-C lens selection for RF mount has improved since we originally reviewed the EOS R50, it's still substantially better on Fujifilm's system.
While the Nikon Z50 II hadn't been announced when we initially reviewed the X-M5, it's an obvious competitor – it, too, has a focus on color modes, with Nikon adding a direct control for them to the body. While we haven't fully tested the Z50 II, we expect its autofocus performance to be a cut above Fujifilm's, though there are substantially more APS-C-appropriate lenses available for X-mount compared to Z-mount.
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$899 at Amazon.com Sample Gallery Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Pre-Production Sample Gallery Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Our year in photos: Mitchell's most memorable shot of 2024
Kenyon climbing Bolt Gun, 5.11b – we thought we were setting the rope up on a much easier 5.10a.
Sigma 18-50mm F2.8 RF @ 18mm | F2.8 | 1/1000 sec | ISO 100
Photo: Mitchell Clark
As a new member of the DPReview team, I got a lot of chances to push my photography this year. Part of that involved finding a wide array of subjects to take pictures of while testing cameras and lenses; an essential process to make sure we really know the gear inside and out, and that we're not boring our readers – or ourselves – to death with the same old photos over and over.
I was assigned to take a sample gallery with the Sigma 18-50mm F2.8 for Canon RF mount shortly before a weekend rock climbing trip I'd planned, so it seemed obvious that I should take the lens with me and try to get some interesting shots.
It wasn't exactly my first attempt at climbing photography: I've taken many pictures of friends climbing cool routes. However, they usually turn out rather uninspiring because I take them from the ground. My goal this time was to get an angle that actually captured the experience. If I could do that without dashing the camera and lens against the rock or falling to my death, all the better.
This was my first time rigging anything, so I went overkill on attaching myself to the wall: I clipped into a bolt with my personal anchor, clove-hitched into a quickdraw, and had my rope tied off to a tree.
Photo: Tom Steeber
While I had a blast getting set up and actually taking the pictures, I don't think Jimmy Chin has to start worrying about his job anytime soon. There are plenty of shots where either my hand or my foot snuck into frame, ruining what would otherwise be a good photo.
It can be difficult to judge your own work objectively. When choosing this picture – and the runners-up included in the gallery below – I often found myself wondering whether I liked a photo because it was actually good or if I just wanted to pick it because I had good memories surrounding it or had simply taken a photo of a cool thing that I like looking at.
Undoubtedly, the photo I've chosen for this article is a mix of all three to some extent – of course, I'm going to have fond memories of a weekend spent doing a hobby that I've replaced a large chunk of my personality with. However, I do think it stands up on its own, and I plan on doing more climbing photography in the future with the hopes of increasing the percentage of keepers.
And besides, if I were picking my favorite photo of the year based purely on what made me the happiest, you'd just be getting a gallery full of pictures of my cats.
I'm not joking.You can see a few more photos that I'm quite proud of from this year in the gallery below. If you want to play a fun game, make sure the details panel is collapsed and try to guess which two were taken with a cell phone instead of a full-fledged camera.
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Review recap: What we put to the test in 2024 (so far)
We're coming up on the end of the year, but are hard at work on getting a few more reviews done by 2025. In case you missed a thing or two here and there, here's a recap of the reviews and testing we've done this year so far!
December Nikon Nikkor Z 50mm F1.4: Sample GalleryNikon's latest F1.4 lens doesn't focus on clinical levels of sharpness like the F1.8 S models do, but instead has a bit of character. Whether you like that or not will depend a lot on your tastes, but hopefully our sample gallery will give you a good idea of what the images from it look like.
We also put it head-to-head with Nikon's DSLR-era 50mm F1.4G, which was its highest-end 50mm lens for a few years. The results were a bit surprising.
Click to see the sample gallery
Tamron 11-20mm F2.8 Di III-A RXD for RF: sample galleryThe Tamron 11-20mm F2.8 for APS-C bodies isn't a new lens, but the company recently made it available for Canon's RF mount, making it Tamron's first RF lens. We shot a sample gallery with it to see what Canon owners could expect from it.
Click to see the sample gallery
Fujifilm X-M5: Review Photo: Mitchell ClarkWe put Fujifilm's X-M5 through its paces to see how it performs as a stills and vlogging camera aimed towards beginner content creators.
You can also view the sample gallery we shot with the X-M5.
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$899 w/ 15-45 at Amazon.com$799 at Adorama$799 at B&H Photo November Nikon Z50II: Initial Review Photo: NikonThe Nikon Z50II is an update to 2019's Z50, adding Nikon's 3D Tracking autofocus, 4K 60p recording with a crop and a fully articulating touchscreen. It also adds a heavy focus on Nikon's 'Picture Control' color profiles; there's now a button dedicated to them, and you can add customized ones or pre-made ones from creators via Nikon's Imaging Cloud service.
Panasonic S9: Review Photo: Dale Baskin / Mitchell ClarkThe Panasonic S9 is a camera focused on creators who want the shorted path between shooting photos and videos and posting them to social media. We put it through its paces.
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$1799 w/ 18-40mm at Amazon.com$1498 at Adorama$1798 w/ 18-40mm at B&H Photo Sony a1 II: Initial ReviewPhoto: Mitchell Clark
The Sony a1 II is an update to the company's flagship camera aimed at professional photojournalists who need to capture high-resolution images of fast-moving subjects. The changes are relatively subtle – it uses the same sensor as its predecessor – but it comes with the company's latest industrial design and autofocusing system.
We were also able to use it to shoot part of a football game in New York City; you can see the photos in our sample gallery. It also made for a great initial impressions video, which you can watch below.
Sony 28-70mm F2 GM sample galleryWe got a bit of hands-on time with Sony's latest and brightest zoom lens, the 28-70mm F2 GM. We shot portraits with it on the High Line in New York City and took it to Florida, so there's plenty of variety there.
Click to see the Sample Gallery
October Sony ZV-E10 II: ReviewSony's ZV-E10 II is a stripped-down version of its APS-C flagship, the a6700, with a focus on vlogging. As such, our review mainly takes the form of a video, which you can watch above.
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$998 at Amazon.com$1098 w/ 16-50 at Adorama$1098 w/ 16-50 at B&H Photo Nikon Z6III: Review Photo: Richard ButlerThroughout our tests, the Nikon Z6III proved to be an incredibly capable camera at its price point. Its 24MP 'partially-stacked' sensor provided plenty of detail while also reading data out at a much higher speed, allowing for fast burst rates and video shooting with little risk of rolling shutter. We also appreciated its honed ergonomics and bright, high-resolution viewfinder.
Be sure to check out our Z6III sample gallery as well.
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$2196 at Amazon.com$2497 at Adorama$2497 at B&H Photo Panasonic 18-40mm F4.5-6.3: Sample gallery Photo: Mitchell ClarkPanasonic's 18-40mm F4.5-6.3 collapsable lens is meant to be an ultra-lightweight and compact companion to the company's S9 camera and is now being sold as a kit with the creator-focused offering.
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$499 at Amazon.com$499 at Adorama$497 at B&H Photo Fujifilm XF16-55mm F2.8 II: Sample gallery Photo: Richard ButlerAnother product Fujifilm launched in October was a second-generation of the company's 16-55mm F2.8 lens. It's essentially an APS-C version of the venerable 24-70, but unlike the first generation, the XF16-55mm F2.8 II is actually around 1/3 lighter than many of its full-frame counterparts. Its smaller size and weight convinced editor Richard Butler to take a preproduction copy with him on vacation to the UK, which gave him the opportunity to capture an incredible sample gallery.
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$1499 at Amazon.com$1199 at Adorama$1199 at B&H Photo Lowepro Photo Sport 300 photo pack: Review Photo: Dale BaskinDPReview editor Dale Baskin has had the Lowepro Photo Sport 300 AW II for over 10 years and has put thousands of miles on the pack during his adventures across the planet. Given that it's still going strong and that you can still pick one up today, we decided it was time for a review.
September Google Pixel Pro 9 Fold: Sample gallery Photo: Mitchell ClarkGoogle's flagship folding phone uses a different camera setup than the regular Pixel 9 Pro, so we shot a separate gallery to get a feel for what kind of performance you can expect from a phone that costs $1,800. Our sample guide article also discusses the experience of shooting with a phone that has a foldable 8" screen.
Sigma 28-105mm F2.8 DG DN Art: Sample gallery Photo: Mitchell ClarkSigma's 28-105mm F2.8 DG DN Art is a lens for L-mount and Sony E-mount that's surprisingly compact given its focal range and maximum aperture. We got the chance to shoot with it on a holiday weekend at Glacier National Park.
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Buy at Amazon.com$1499 at Adorama$1499 at B&H Photo Hasselblad XCD 20-35mm F3.2-4.5 E: Sample gallery Photo: Dale BaskinAnother lens released in September was the Hasselblad XCD 20-35mm F3.2-4.5 E, an ultra-wide zoom lens for the company's medium-format cameras. Our sample gallery was shot in Washington, DC and Oregon, giving us an idea of how the lens performs when shooting architecture and landscapes.
Canon EOS R5 II: Review Photo: Richard ButlerCanon's EOS R5 II is the company's latest high-end, full-frame mirrorless camera with a Stacked CMOS sensor and many of the autofocus features of the company's new flagship R1 model. It's so feature-rich that, in some ways, it was a struggle to review it; it's a tool for so many different types of photographers that it was nearly impossible for us to put ourselves in all those shoes. However, it's still clear that the EOS R5 II is an extremely capable camera for most use cases.
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$4299 at Amazon.com$4299 at Adorama$4299 at B&H Photo Leica Q3 43: Review Photo: Richard ButlerThe Leica Q3 43 is essentially what it says on the tin: a Q3 with the 28mm fixed lens replaced by a 43mm one, giving the camera a 'normal' focal length that some photographers will find more pleasing. The built-in lens is almost shockingly sharp, and the package as a whole is an impressive and premium photographic tool – as you would hope, given the $6895 price tag.
You can also view our Q3 43 sample gallery.
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Buy at AdoramaBuy at B&H PhotoBuy at Leica August Sigma 24-70mm F2.8 II: Sample gallery Photo: Dale BaskinSigma announced the second generation of its 24-70mm F2.8 DG DN Art lens in May, and we were able to shoot with it on our trip to Japan. However, we wound up publishing our sample gallery in August, as we wanted to ensure that the sample we'd used was representative.
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$1199 at Adorama$1199 at B&H Photo Google Pixel 9 Pro and Pixel 9 Pro XL: Sample gallery Photo: Dale BaskinWe shot a sample gallery with Google's latest flagship smartphones, making sure to test out each of the three cameras, as well as the night mode. Spoiler alert: the gallery isn't the last time Glacier National Park will feature in one of our tests.
Fujifilm X-T50: Review Photo: Richard ButlerThe Fujifilm X-T50 is a classically-styled mid-level APS-C mirrorless camera that uses Fujifilm's stabilized 40MP X-Trans sensor. We found that it's an excellent choice for those looking to learn the art of photography, or who want to upgrade from a smartphone – as long as they have some cash to spare.
You can also browse the sample gallery we shot with a production model.
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$1399 at Amazon.com$1399 at Adorama$1399 at B&H Photo Sony FE 85mm F1.4 GM II: Sample gallery Photo: Dale BaskinThis summer, Sony released the second generation of its FE 85mm F1.4 GM lens, which weighs around 20% less than the first-generation model. We shot a sample gallery with it and were generally impressed with how sharp the results were.
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$1798 at Adorama$1798 at B&H Photo July Leica D-Lux 8: Initial review Photo: Richard ButlerThe Leica D-Lux 8 is an updated 17MP enthusiast zoom compact camera, with a switch dedicated to taking different crops of its Four Thirds-sized sensor. It definitely comes at a premium price, but it's also one of the last enthusiast compacts left on the market.
While writing our initial review, we also shot a sample gallery with it.
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$1595 at Adorama$1595 at B&H Photo Sigma 18-50mm F2.8 DC DN for Canon RF: Sample gallery Photo: Mitchell ClarkThe Sigma 18-50mm F2.8 DC DN itself isn't new this year, but the version for Canon's RF mount is. It fills a gap in the lineup of fast standard zooms that made sense for Canon APS-C cameras, making them a little easier to recommend.
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$489 at Amazon.com$599 RF at Adorama$599 RF at B&H Photo Canon EOS R1: Initial review Photo: Dale BaskinIn July, Canon announced the EOS R1, a new high-end sports and photojournalism camera and the company's first mirrorless camera to bear the 1-series label. It features a 24MP stacked full-frame sensor and can shoot up to 40fps in E-shutter mode.
While attending Canon's North American launch event for the EOS R1, we took a sample gallery using a preproduction model.
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Buy at AdoramaBuy at B&H Photo Canon EOS R5 II: Pre-production sample gallery Photo: Dale BaskinAlongside the EOS R1, Canon also announced the EOS R5 II, an update to its high-end, high-resolution hybrid camera. Like the EOS R1, it features sports-focused Action Priority autofocus modes, which is why the sample gallery we shot with a pre-production model features plenty of basketball pictures.
June Sigma 28-45mm F1.8 DG DN: Sample gallery Photo: Richard ButlerThe Sigma 28-45mm F1.8 DG DN is a wide-to-medium zoom lens for E-mount and L-mount cameras.
We were able to test it out throughout the UK, from downtown London to the serene countryside.
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$1349 at Adorama$1349 at B&H Photo Panasonic Lumix DC-GH7: Initial review Photo: Dale BaskinPanasonic's GH-line of Micro Four Thirds cameras has historically been focused on video shooters. While the GH7 is no exception, it also has a surprisingly complete suite of photography features.
In addition to our initial review, we also released an initial impressions video.
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$2197 at Amazon.com$2198 at Adorama$2198 at B&H Photo Nikon Z6III: First-look video and sample gallery Photo: Richard ButlerIn June Nikon announced the Z6III, a full-frame camera designed for hybrid shooters and featuring a 25MP 'partially-stacked' sensor. It can shoot Raw video internally, and has a higher-resolution sensor than its predecessor.
We shot a video breaking down what's new with the camera and a sample gallery with a preproduction model on a fairly typical spring day in Seattle.
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$2196 at Amazon.com$2497 at Adorama$2497 at B&H Photo Pentax 17: Review Photo: Dale BaskinThe Pentax 17 is perhaps an unusual product for DPReview to cover, given that it's a film camera. However, it was hard to pass up the opportunity to review the first new film camera we've seen from a major manufacturer in decades.
The Pentax 17 takes half-frame photos, letting you squeeze double the shots out of any given roll of film – a sign of the times in an age where film prices have only been going up.
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$499 at Amazon.com$499 at Adorama$499 at B&H Photo May Fujifilm X100VI: Review Photo: Richard ButlerThe Fujifilm X100VI is a photographers' fixed-lens camera that combines a stabilized 40MP APS-C sensor with a 35mm equivalent F2 lens.
We had plenty of good things to say about it when we published our in-depth review in May, but even months later, it's still not easy to buy one. Still, give the full review a read so you know whether you want to jump on the opportunity to get it if one ever shows up – or to just live vicariously through us.
Google Pixel 8a: Sample gallery Image: Mitchell ClarkJapan is one of our favorite places to shoot sample galleries, especially when it's raining. We got the opportunity to do one for Google's budget phone while visiting the country to cover the launch of the Panasonic S9.
Sigma 15mm F1.4 Diagonal Fisheye: Sample Gallery Photo: Jose Francisco SalgadoAfter Sigma's announcement of the astrophotography-focused 15mm F1.4 DG DN Art, we teamed up with photographer José Francisco Salgado to put it through its paces in the Canadian sub-arctic.
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$1959 at Amazon.comBuy at Adorama$1999 at B&H Photo Fujifilm XF16-50mm F2.8-4.8 R LM WR: Sample gallery Photo: Jeff CarlsonThe Fujinon XF16-50mm F2.8-4.8 R LM WR is Fujifilm's second-generation premium kit zoom, and we were able to take preproduction samples in Stockholm, Sweden.
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$699 at Amazon.com$699 at Adorama$699 at B&H Photo Sony a9 III: Review Photo: Richard ButlerThe Sony a9 III is the company's latest high-end sports/action photography camera, with a 24MP global shutter.
In our in-depth review, we found some image quality trade-offs, but in return, you get the ability to shoot at 120fps without fear of banding.
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$5998 at Amazon.com$5998 at Adorama$5998 at B&H Photo Fujifilm X-T50: First look video and preview samples Photo: Richard ButlerIn May, Fujifilm announced the X-T50, an APS-C camera aimed at beginners, featuring a dial dedicated to controlling the company's 'film simulation' color profiles. At launch, we published our initial review, first look video and a sample gallery taken with preproduction hardware.
April Panasonic S5II: Review Photo: Richard ButlerThe Panasonic S5II had the unfortunate luck of landing in our office right about the time we found out that our parent company planned to close DPReview in 2023, so it never went through our regular review process. We've been looking for an opportunity to review it ever since we joined forces with Gear Patrol last summer and finally found the time.
The timing turned out to be good: Panasonic was able to provide us with an early version of the camera's new firmware (v3.0), so we were able to test it with the latest features. Read our review to find out why we think this camera is such a great all-around performer for enthusiasts and pros alike.
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$1697 at Amazon.com$1798 at Adorama$1798 at B&H Photo Sony FE 16-25mm F2.8 G: Sample gallery Photo: Shaminder DulaiThe Sony FE 16-25mm F2.8 G is a relatively compact wide-angle zoom lens aimed at street and travel photographers.
We were able to get our hands on the lens for a day and figured most readers would be curious to see some examples of street and architectural photography, so we hit the streets of downtown Seattle and ducked into the Seattle Public library when the weather turned ugly.
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$1198 at Amazon.com$1198 at Adorama$1198 at B&H Photo Viltrox AF 40mm F2.5 Z: Sample gallery Image: Dale BaskinThe Viltrox AF 40mm F2.5 Z is a full-frame lens for Nikon Z-mount cameras.
We were able to test it out in Seattle and Oregon, testing the normal lens in a variety of lighting situations.
March Sony FE 24-50mm F2.8 G: Sample gallery Photo: Eric LimerSony's FE 24-50mm F2.8 G is a fast, compact walk-around lens for its full-frame E-mount cameras. We took it out in snow and sun in New Jersey to put it through its paces.
In practice, we found that it makes for a light and portable package with convenient and satisfying hands-on controls and quick and quiet focus.
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$1,098 at Amazon $1,098 at B&H Photo $1,098 at Adorama Leica SL3: Initial review Photo: Richard ButlerThe Leica SL3 is a 60MP DSLR-shaped mirrorless camera built around Leica's L-mount. It brings a lot of technology from the Leica M11 models but also features a radically redesigned interface. In March we published our initial review.
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$6995 at Adorama$6995 at B&H Photo Panasonic Lumix S 28-200mm F4-7.1 Macro OIS: Sample gallery Photo: Dale BaskinPanasonic's newest zoom lens, the Lumix S 28-200mm F4-7.1 Macro OIS, is so small that it just begs to be used for travel, so we took it on a trip to Japan to see if it lives up to its promise. It proved to be an outstanding choice, allowing us to cover a wide range of focal lengths without ever feeling like we were dragging around too much gear. We were pretty pleased with the optical performance, too.
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$797 at Amazon.com$898 at Adorama$898 at B&H Photo Panasonic Lumix DC-G9 II: Studio scene Photo: Brendan NystedtAs we enter the final phase of our Panasonic Lumix DC-G9 II review, we've added the test scene images to our image comparison tool.
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$1697 at Amazon.com$1898 at Adorama$1898 at B&H Photo Sony a9 III: Sample gallery updated Photo: Carey RoseWe updated our Sony a9 III sample gallery to include more sports and to get a feel for how effective its global shutter sensor is when combined with subject-detection autofocus in a variety of scenarios. And just to be safe, we also included some low ISO landscape images for those who want to evaluate image quality for other types of photography.
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$5998 at Amazon.com$5998 at Adorama$5998 at B&H Photo The Panasonic S5IIX goes to Japan: Sample gallery Photo: Dale BaskinWe were working on our review of the Panasonic S5II when it came time for our annual trek to Yokohama, Japan, for the camera industry's annual CP+ trade show, so we took along the S5IIX for some additional testing. It was a joy to shoot and it did a great job of capturing the color and texture of Japan, from the streets of Tokyo to snow monkeys near Nagano. It also proved that its weather sealing was up to the task, operating for hours in pouring rain without missing a beat.
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$1997 at Amazon.com$1997 at Adorama$1997 at B&H Photo Panasonic Lumix G9 II: Review Photo: Brendan NystedtThe Panasonic G9 II is the first Panasonic Micro Four Thirds camera to include phase detect autofocus and is based on the same body as the full-frame S5 II. It also comes with a surprisingly long list of video features. Read our full review to find out what we liked and what we didn't.
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$1697 at Amazon.com$1898 at Adorama$1898 at B&H Photo Sigma 50mm F1.2 DG DN Art: Sample gallery Photo: Jeff CarlsonThe Sigma 50mm F1.2 DG DN Art is a comparatively lightweight prime lens aimed at travel, portrait and street photographers. Contributing editor Jeff Carlson immediately jumped on the opportunity to shoot a sample gallery with this lens, capturing spring cherry blossoms, portraits and some low-light photos for good measure.
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$1399 at Adorama$1399 at B&H Photo Nikon 28-400m F4-8: Pre-production sample gallery Photo: Dale BaskinWe had an opportunity to try a pre-production version of Nikon's new 28-400mm F4-8 superzoom lens shortly before it was announced. Let's just say this lens really intrigues us, and we can't wait to get our hands on a production copy for more testing.
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$1296 at Amazon.com$1297 at Adorama$1297 at B&H Photo February Hasselblad 907X / CFV 100C: Sample galleryImage: Hasselblad
Hasselblad's CFV 100C medium format digital back brings most of the features of the X2D 100C to smaller form factor that's compatible with a wide range of cameras from the company's history. We paired it with a 907X camera / lens adaptor and XCD 28mm F4.0 and XCD 90mm F2.5 lenses to shoot a sample gallery.
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$8,199 at B&H Photo $8,199 at Adorama Megadap ETZ21 Pro Sony-to-Nikon mirrorless lens adapter: Review Photo: Dan BracagliaAfter getting our hands on it, we can say that, as far as what’s currently available for Sony shooters wishing to dabble in the Nikon realm, there is no better option on the market than the Megadap ETZ21 Sony E-mount to Nikon Z-mount lens adapter.
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$249 at Amazon $249 at B&H Photo $249 at Adorama Nikon Zf: Video reel update Photo: Richard ButlerNikon's Zf is a full-frame mirrorless camera with classic styling, built around a 24MP BSI CMOS sensor. It's designed to mimic the look of the company's FM2 SLR from the early 1980s, meaning it effectively becomes a full-frame counterpart to the company's Z fc APS-C camera. In February, we updated our review with a video reel and impressions.
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$1997 at Amazon $1997 at B&H Photo $1997 kit at Adorama Panasonic Lumix DC-S5 II: Studio scene Photo: Richard ButlerAs we complete our Panasonic Lumix DC-S5 II review, we've run the camera through our recently revitalized studio test scene to see how it performs against the competition.
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$1798 at B&H Photo $1798 at Adorama $1798 at Amazon Fujifilm X100VI: Initial review Photo: Richard ButlerFebruary finally brought us the X100VI, a photographers' fixed-lens camera that combines a stabilized 40MP APS-C sensor with a 35mm equivalent F2 lens. We had it day one, and have published our initial review along with a sample gallery. Unfortunately, those won't help you actually find one to buy.
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$1,599 at B&H Photo $1,599 at Adorama $1,599 at Amazon OM System OM-1 II: Sample gallery Photo: Shaminder DulaiThe OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor. As the name implies, it's an updated version of the flagship OM-1, with a series of hardware and firmware improvements. In February we published a sample gallery to update our initial review.
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$2399 at Amazon $2399 at B&H Photo $2399 kit at Adorama January Sony a9 III: Initial review Photo: Richard ButlerThe Sony a9 III is the company's latest high-speed pro sports camera. It features a Stacked CMOS sensor capable of shooting at 120 fps and able to read all its pixels out simultaneously: the long hoped-for 'global' shutter. Our studio scene analysis shows that it comes at a cost.
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$5998 at Amazon $5998 at B&H $5998 at Adorama Lumix S 100mm F2.8 Macro: Sample gallery Photo: Shaminder DulaiPanasonic's Lumix S 100mm F2.8 Macro is a full-frame L-mount lens that's designed to be compact and lightweight, coming in at 82mm (3.2") long and 74mm (2.9") in diameter and tipping the scales at 298g (10.5 oz). Hands-on, we can confirm it is very tidy and light.
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$998 at B&H Photo $998 at Adorama Sony FE 16-35mm F2.8 GM II: Sample galleryPhoto: Dan Bracaglia
Sony's 16-35mm F2.8 GM II lens is smaller, lighter and more capable than its predecessor. Optical improvements come in the form of better corner-to-corner sharpness and a new close-focus distance of just 22 cm.
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$2,298 at B&H Photo $2,298 at Adorama iPhone 15 Pro Max: Sample gallery Photo: Jeff L CarlsonWhen we published our iPhone 15 Pro Sample Gallery, we didn’t yet have an iPhone 15 Pro Max model in hand. In addition to boasting a larger 6.7-inch screen, the Max differentiates itself by having a 5x (120mm equivalent) telephoto camera with a clever tetraprism design. The iPhone 15 Pro’s telephoto camera, meanwhile, shares the same 3x (77mm equivalent) field of view as the iPhone 14 Pro. Is the extra reach worth the bigger physical size and higher cost?
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iPhone 15 Pro Max: $1199 at Apple Canon EOS R100: Review Photo: Shaminder DulaiThe Canon EOS R100 is an ultra-compact 24 Megapixel APS-C mirrorless camera with an RF mount. It is the cheapest way to enter Canon's mirrorless ecosystem, offering more flexibility than a smartphone.
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$429 body only at Amazon $499 kit at B&H Photo $499 kit at Adorama Fujifilm XF23mm F2 R WR: Review Photo: Mike TomkinsThe Fujifilm XF 23mm F2 R WR is a very compact, portable, wide-angle prime lens for Fujifilm X-mount cameras. It makes a great walkaround lens and is well-suited for uses like travel and street photography, as well as things such as moderately wide landscapes and environmental portraiture.
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$449 at Amazon $449 at B&H $449 at Adorama Sony ZV-1 Mark II: Review Photo: Shaminder DulaiThe Sony ZV-1 Mark II is a vlogging-focused compact camera built around a 20MP Type 1 (13.2 x 8.8mm) Stacked CMOS sensor and an 18-50mm equivalent F1.8-4.0 lens. Besides the new focal length range, much of this camera remains the same as its predecessor, which was itself a competent pocket-sized video camera.
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$898 at Amazon $898 at B&H $898 at Adorama Tenba Axis V2 18L backpack: Review Photo: Tim BarribeauThe Tenba Axis V2 18L ($200) is a well-made, quietly competent but otherwise uninteresting backpack. Tenba has been in this industry long enough to know the basics of building a functional bag, but this simple black rectangle struggles to stand out against a field packed with more interesting, stylish, or specialized options like Peak Design's exceedingly versatile Everyday Bag or LowePro's hiking bag that happens to hold cameras well too.
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$200 at Tenba $200 at B&H Photo $200 at AmazonLaowa announces 55mm and 100mm F2.8 Tilt-Shift 1X Macro lenses
The Laowa 55mm F2.8 Tilt-Shift 1X Macro on a Canon RF-mount full-frame camera.
Image: Laowa
Laowa has expanded its lens lineup with the introduction of two tilt-shift lenses designed for full-frame camera systems: the 55mm F2.8 Tilt-Shift 1X Macro and the 100mm F2.8 Tilt-Shift 1X Macro. Laowa says the lenses produce an image circle large enough to also be compatible with digital medium format cameras. The company suggests the lenses are suitable for a variety of applications, including product, architectural, landscape, and macro photography.
Optically, the 55mm F2.8 Tilt-Shift 1X Macro consists of 14 elements in 11 groups, while the 100mm F2.8 Tilt-Shift 1X Macro comprises 13 elements in 10 groups. As the names suggest, both lenses offer a maximum magnification ratio of 1:1. The 55mm lens has a close focusing distance of 27cm (10.6"), and the 100mm lens focuses as close as 32cm (12.6").
The Laowa 100mm F2.8 Tilt-Shift 1X Macro mounted on a Fujifilm GFX-mount medium format camera.
Image: Laowa
The lenses provide ±10° of tilt and ±12mm of shift for full-frame cameras. When used with medium format cameras, this range is reduced to ±10mm tilt and ±8mm shift, as the edge of the imaging circle will encroach on the sensor sooner. Both lenses incorporate two rotation mechanisms: one enabling the tilt function to be rotated by 90° and another allowing for shift direction adjustment in 15° increments.
Both lenses are equipped with an Arca-Swiss compatible tripod foot and a 77mm front filter thread.
The 55mm F2.8 Tilt-Shift 1X Macro and 100mm F2.8 Tilt-Shift 1X Macro are available now for E, Z, RF, L, and GFX-mount cameras. Each lens has a suggested retail price of $1249.
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55mm F2.8 Tilt-Shift $1249 at B&H 100mm F2.8 Tilt-Shift $1249 at B&HViltrox's latest APS-C lens is a 35mm F1.7 for Nikon, Sony and Fujifilm
Image: Viltrox
Viltrox has announced a new APS-C lens, the 35mm (53mm equiv.) F1.7 'Air' lens, which is available for Sony E-mount, Fujifilm X-mount and Nikon Z-mount. The company says it aimed to make the lens "compact" with a "highly competitive price."
The lens' optical formula includes 11 elements in 9 groups, with 1 ED lens, 1 aspherical lens, and 2 high-refractive lenses. It also features nano-coating, and the aperture has nine blades. While Viltrox makes no claims of weather resistance, the front element does have a coating to resist oils and liquids.
An example image provided by Viltrox, shot on a Fujifilm X-T5.
Photo: Viltrox
The lens uses a stepper motor for autofocusing, and has a minimum focusing distance of 33cm (13"). The E-mount version of the lens weighs around 170 grams, and it's 56mm long. The lens is compatible with 52mm filters.
At an MSRP of $180, the lens is definitely a budget option, but it's hard to complain about there being another affordable prime available for these systems, especially in such a classic focal length. While manufacturers like Sony and Fujifilm have similar lenses with extra features like optical stabilization or weather resistance, they also come in at a much higher price.
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E-mount Z-mount X-mount Viltrox AF 35mm F1.7 Air Specifications: Principal specificationsLens typePrime lensMax Format sizeAPS-C / DXFocal length35 mmLens mountFujifilm X, Nikon Z, Sony EApertureMaximum apertureF1.7–16Minimum apertureF1.7–16Aperture ringNoNumber of diaphragm blades9OpticsElements11Groups9Special elements / coatings1 ED, 1 aspherical, 2 high-refractiveFocusMinimum focus0.33 m (12.99″)Maximum magnification0.13×AutofocusYesMotor typeStepper motorFull time manualYesDistance scaleNoDoF scaleNoPhysicalWeight180 g (0.40 lb)Diameter64 mm (2.52″)Length56 mm (2.2″)SealingNoFilter thread52 mmHood suppliedYesTripod collarNoBest fixed prime lens cameras in 2024
Updated December 18 2024
Fixed lens cameras may be a bit niche, but there's a reason they're so popular amongst photographers. They often come with some of the best lenses on the market, in a variety of focal lengths, matched to sensors ranging from APS-C to full-frame to give you the perfect field of view for your style of shooting.
Our picks range from pocketable models to larger cameras that you'll have to you'll have to consciously decide to take with you. They also cover a wide range of prices; while there sadly aren't any budget options, some come with much higher price tags than others, reaching well into the thousands of dollars.
Our picks:- Best fixed lens camera for patient people: Fujifilm X100 VI
- Best pocketable fixed lens camera: Ricoh GR III
- The Rolls Royce of fixed lens camera: Leica Q3 43
40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder
Image: Richard ButlerBuy now:
$2199 at Amazon.com$1599 at Adorama$1599 at B&H Photo 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
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. It features the same 35mm equivalent F2 lens and a hybrid viewfinder that lets you use it as a traditional rangefinder – with some digital augmentation if you want it – or as a modern, fully electronic viewfinder.
The addition of subject-recognition autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains. However, human (face/eye) detection is a separate mode. The lens is not the fastest to autofocus, prioritizing sharpness over speed, though that's not necessarily unique in this category.
The elephant in the room is that the X100VI has essentially been sold out since its initial release. However, if you're patient enough to sign up for waitlist notifications from a variety of sites, you may be able to get one in time.
It's probably worth the wait. While the X100VI has more dials and functions than previous versions, it still offers one of the most engaging photographic experiences out there. It's easy to see why it became so frustratingly unobtainable: It's an even better follow-up to a camera that was already popular with photographers of all kinds, and that had already sold out after going viral.
Click here to read our review of the Fujifilm X100VI
Click here to see the Fujifilm X100VI 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 pocketable fixed lens camera: Ricoh GR III24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth
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Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:- Excellent image quality
- Good controls and ergonomics
- Truly pocketable
- Short battery life
- No built-in flash
- Sluggish AF in low light
The GR III is the lightest and most compact camera on this list by a long shot, thanks to its retracting lens and lack of a viewfinder. If size is a major concern for you, it's definitely the fixed lens option to look at.
The GR III's image quality is excellent, especially in Raw (we found the JPEG color to be a little drab). The lens is impressively sharp, and in-body image stabilization means you can confidently shoot down to around 1/10 sec. The built-in stabilizer can attempt to shake off dust particles that find their way to the sensor. "Offers direct control and excellent image quality in a pocketable camera" The GR III handles well, despite its size, thanks to well-placed controls, flexible customization options and a responsive touchscreen. The grip is just the right size for easy one-handed operation. The Ricoh GR III offers direct control and excellent image quality in a pocketable camera. Its short battery life and fixed focal length lens mean this camera certainly isn't for everyone, but it's a compelling offering for travel, street and casual photographers alike.Click here to read our review of the Ricoh GR III
Click here to see the Ricoh GR 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. A different perspectiveRicoh also sells the GR IIIx, which is the same great camera as the standard GR III but with a 40mm equiv. lens instead. If you prefer the 'normal' field of view to a wider one, be sure to pick the IIIx up instead.
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.Buy now:
Buy at Amazon.comBuy at AdoramaBuy at B&H Photo The Rolls Royce of fixed lens cameras: Leica Q3 4343mm F2 stabilized lens | 60MP BSI CMOS full-frame sensor | 5.76M dot OLED EVF
Photo: Richard ButlerBuy now:
Buy at AdoramaBuy at B&H PhotoBuy at Leica What we like:- Excellent image quality
- Fast, dependable autofocus
- Good video support tools
- Subject recognition system could be better
- Auto white balance can be aggressively neutral/cool
- Significant price premium for the Leica name
While we've chosen the Q3 43 for its excellent control layout that puts photography first, the camera is also available with a 28mm F1.7 lens. There are minor cosmetic differences between the two Q3 models, such as the color of the leatherette wrap, but they're otherwise the same camera. There's also a price difference, with the 43 coming at a $600 premium.
Image quality is superb, with a lens that's very sharp and with high cross-frame consistency even at wide apertures. The light luminance noise reduction helps preserve detail at high ISOs. The Leica Q3 43 is a beautiful piece of engineering and design, and a welcome addition to the range. The controls are minimal, but help focus your attention on the fundamental settings of photography. It has the build quality that you'd expect of a luxury product. Autofocus is swift and precise, though the subject recognition system doesn't let you specify an AF point to pre-select a subject and can jump from one subject to another if there are multiple options in a scene. The Q3 43 is an impressive photographic tool, and manages to feel like a first-rate camera, not just a desirable object.Click here to read our review of the Leica Q3 43
Click here to see the Leica Q3 43 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. The other full-frame optionDespite the fact that the RX1R II is almost a decade old at this point, you can still buy Sony's last compact full-frame fixed-lens camera. Unsurprisingly, as a nine-year-old camera, it's rather showing its age. Its autofocus and menu systems are significantly more primitive than we've subsequently become used to, but focus speed isn't exactly a strength for any of the cameras in its class. Its 35mm F2 lens is excellent, and its sensor still delivers excellent image quality. Battery life is atrocious, though, and we considered its performance sluggish even by 2016 standards.
We can't wholeheartedly recommend it after all this time, but if you've already made the seemingly irrational decision of buying an expensive camera with a single, fixed focal length that doesn't really even fit in your pocket, you might be the sort of person that gets some enjoyment out of opting for the slow, awkward, oddball choice.
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$3,298 at Amazon $3,298 at B&H $3,298 at Adorama Why should you trust us?Our Buying Guides are based on extensive use and testing of the cameras included. We only recommend cameras once we know how they compare to their peers in a variety of shooting situations. All selections are made solely by our editorial and video teams and are the models we'd buy or recommend to friends and family. We gain no financial advantage from recommending one camera over another, either as individuals or as a business.
Your Lightroom or Photoshop plan may be getting more expensive
Adobe is raising the price of some of its photography-focused Creative Cloud Plans. The monthly Lightroom plan is going from $9.99 a month to $11.99 a month and the monthly Photography plan – which includes Photoshop, Lightroom, and 20GB of cloud storage – is going from $9.99 a month to $14.99 a month for existing subscribers. However, that tier will no longer be available for new subscribers, regardless of whether you're paying monthly or annually.
The annual versions of the plans are not increasing, remaining $120 a year. The pricing changes will take effect for new customers starting Wednesday, January 15, 2025. For customers on an annual, paid monthly plan, the price will go up upon their next renewal.
In case you're not intimately familiar with Adobe's photography plans, here's a chart explaining what they are and what they cost.
Plan Lightroom (1TB) Photography (20GB) Photography (1TB)Includes
Lightroom, 1TB cloud storage Lightroom, Photoshop, 20GB cloud storage Lightroom, Photoshop, 1TB cloud storage Current Price $9.99/month, $119/year $9.99/month, $119/year $19.99/month, $239/year New Price $11.99/month, $119/year $14.99/month, $119/year Unchanged Available for new subscribers? Yes No, starting Jan. 15 YesThis move makes it substantially more expensive to get into the Photoshop and Lightroom ecosystem for users who can't shell out for annual plans, as the affected plans are the cheapest way to access the apps. That's especially true with the discontinuation of the 20GB Photography plan for new subscribers; previously, you could get Photoshop and Lightroom for $10 a month, but you'll have to go up to the $20 a month Photography Plan, which includes 1TB of storage instead of 20GB. That plan hasn't gone up in price.
Adobe says the price increase for the Lightroom (1TB) plan will come with one perk: the plan will now include access to Lightroom Classic, alongside Lightroom for desktop, mobile, and web. Previously, you had to subscribe to one of the Photography bundles to get access to that particular version of the app, which includes some features not found in the more modern, cloud-based version.
The Photography plan has existed at its current price for a long time – in November 2013, we wrote about how it was being made available to everyone for $9.99 a month, and at the time, it included Photoshop CC, Bridge CC, Lightroom 5 and 20GB of cloud storage; very similar to the current offering.
Adobe says the price hikes are meant to "better reflect the value that the apps deliver." However, the news follows a notable downturn in the company's stock price. Earlier this month, the company reported record earnings for Q4 2024 and predicted it'd earn even more in 2025. Despite this, its stock fell by over 15% after the news, according to Forbes, and hasn't recovered by the time of writing.
The photo gifts we'd buy for ourselves if money were no object
As camera reviewers, we have the good fortune to try the latest and (sometimes) greatest in camera tech. In some ways, this can help tamp down on the all-too-common gear acquisition syndrome; it's hard to justify buying new cameras or lenses for our personal collections when we'd be too busy testing out new products to ever use them.
However, that doesn't mean we're completely unaffected. After all, when your job is testing cameras, it becomes really easy to cast your eye towards all the accessories meant to make your shooting experience easier, faster, or more luxurious. And sometimes you just really want that one special lens to shoot whenever and wherever you want.
As a fun holiday exercise, we've compiled some items that we think are cool but couldn't justify actually buying for ourselves unless money truly was no object.
DaleWhen thinking about what photo products I would buy if money were no object, I realized that most of the things I really wanted aren't necessarily that expensive. Sometimes, they're just difficult to obtain.
Another Lowepro Photo Sport 300 photo pack Photo: Dale BaskinA couple of months ago, I wrote an article about my favorite camera pack, the Lowepro Photo Sport 300, and it's been my go-to pack for over a decade. I love this pack because it just doesn't quit. Mine has trekked through tropical jungles, ridden on roof racks through snowstorms, dragged across ice in the sub-arctic and been bungied to the backs of motorcycles and tuk-tuks. It's a product I genuinely love.
Unfortunately, Lowepro doesn't make this exact model anymore, and while it makes similar models today, I like this one. If I found a good copy, I would buy it to save for the day when my current one finally gets pushed beyond the breaking point.
Mentorship by a photographer I admireI believe that no matter how good you are at something, you can always learn more. Most of the things I've learned in photography over the decades fall into two categories: things I learned from trial and error and wisdom passed on to me by more experienced photographers.
"While I can easily trial and error my way through life, mentorship and advice from the best photographers in the world is a rare commodity."While I can easily trial and error my way through life, mentorship and advice from the best photographers in the world are a rare commodity. So rare, in fact, that it's not something you can buy. They must recognize your passion and be inspired to take you under their wings.
However, if there was any way to swing it, I would find an opportunity to be mentored by a photographer that I admire, like Joel Sartore, whose work I've followed through years in the pages of National Geographic, or Cristina Mittermeier, who has done fantastic work with conservation photography.
An opportunity to tell an important storyClimate change is having a tremendous impact on the Amazon basin.
Photo: Dale Baskin
Many years ago, I was fortunate to have the opportunity to live in the Amazon, and I've been back many times since. Unfortunately, in the 20 years since I started going there, I've been able to see the impact of climate change in the Amazon basin firsthand: water at historically low levels, villages cut off when smaller tributaries dry up, and the resulting cultural and economic impact that ensues.
If I could really buy myself a photo gift where money was no object, it would be a return to the Amazon for an extended period to tell this important story, focused on the environmental impact of climate change in the Amazon and its impact on the people who live there. This one may not be so far-fetched, and the more I think about it, the more I realize I should probably apply for a grant to do this.
The Sigma 14mm F1.4 DG DN Art lens Photo: Dale BaskinOK, I'll give in to good 'ol consumerism on this one because it's fair for anyone to lust after something they want. Strictly speaking, I don't need the Sigma 14mm F1.4 DG DN as I already have the Sigma 14mm F1.8 DG HSM Art, which is fantastic for astrophotography. But dear lord, that 14mm F1.4 is a beautiful optic. So, yeah, if money were no object, I'd likely find myself splurging on this.
Matt WallerYou may not be familiar with Matt's name, but you're certainly familiar with his work – he keeps the marquee at the top of our site up to date with our latest stories and pictures.
Lightpix Labs FlashQ Trigger kit Image: Lightpix LabsAs a small camera user (my everyday carry is an Olympus Pen E-PL10) who's trying to get into off-camera flash, every trigger I try has been just too big and clunky, not much improvement on the on-camera flash. I recently found these, which are just what the doctor ordered. And yes, I could just buy them (and will), but they would make ideal small-camera-afficionado stocking stuffers (assuming one can find them in the stocking).
Richard Something flashy Image: ProfotoIn common with Matt, having more regular access to an offboard flash is probably the thing that would most improve my photographic life. In practice this is unlikely to happen, given I’m perpetually working with a chaotic mixture of whatever camera is going to be launched next, so the likelihood of me finding something compatible with all the different x-TTL systems is essentially nil.
While, given the ‘cost no object’ ethos of this article, I like the idea of something powerful enough for any situation, such as a ProFoto B3 or A2. In reality, I suspect something like a Godox V1 or V1 Pro would actually get more use in my hands. I love the idea of it having its own Li-ion battery and being USB chargeable, as it means I might actually be able to keep it topped-up when I’m traveling. Given the company’s smaller Li-ion flashes all feature removable batteries, separate chargers and the awkwardness of having to find power lead adapters, they’d probably end up taking up just as much room in my bags, so I’d rather that space was given over to the flash itself, rather than accessories and peripherals I’d inevitably leave in hotel rooms and on trains (as I have a number of X100 chargers, down the years).
Image: LumeCubeIn addition to a Godox, a couple of LumeCubes would mean I stopped worrying about TTL compatibility and would also provide a flexible option for a bit of fill for both stills and video work
A photo trip A photo Richard took on his last trip to the UK.On which note, perhaps the best thing I could buy to improve my photography next year would be a holiday. I’ve increasingly found that I shoot my best galleries while on vacation and, looking out of the window at another gray, wet Seattle December day, following a weekend where I didn’t take a single photo, the idea of a change of lighting, a change of scenery and a something novel to spur the imagination seems incredibly welcome. Of course, there’s then the question of whether it’s really going to be an inspiring creative opportunity if I’m feeling the nagging (self-imposed) pressure to get photos for work, but that’s not a quandary I can buy myself out of, irrespective of unlimited fantasy budgets.
Mitchell A better camera strapI don't mind the Peak Design strap, I just think there's something better out there for me.
Image: Peak Design
In absolute terms, most camera straps aren't particularly expensive. However, the issue is that I'm not 100% sure what I want, and I'd probably have to try a ton of them to find out what I actually like. Other than manufacturer-provided straps, I've only used the Peak Design Slide strap. It's fine, but I don't love it... though I also don't have any specific improvements I'm looking for; just a general feeling that it could be better. That may not really be its fault, as a metal plate on my collarbone makes me especially sensitive to how things fall across my shoulder.
I do have two in mind that I'd start my search with. The first is the MagPul MS4. It's actually a rifle strap, but it's compatible with the QD mounts that show up on some camera accessories, and it can be used in both single-point or double-point mode, depending on how I'm carrying it. The other option I've considered is on the completely other end of the complexity spectrum: one of those straps that are made out of recycled climbing rope, which I feel would be a very comfortable material, but only for lighter-weight setups.
A press photography pass to Kendrick Lamar's Grand National tour Image: Kendrick LamarThe only concerts I've photographed were for small indie bands with crowds that could be counted in the dozens, not the hundreds or thousands. So, while I'm approximately 0% qualified to photograph what will likely be one of the biggest tours of the year, I would still absolutely say yes to the opportunity if someone offered. I think it'd be extremely cool to photograph one of my favorite artists at what very well could be the height of their popularity – and think of what a great sample gallery that'd be.
What I'm saying is that if you're part of pgLang and want to make my Christmas, you know where to find me.
A massive card reader station Image: LexarA downside of writing our accessory roundup is that I often end up covering things that I couldn't possibly justify buying but that I still want. One of those items is this $600 docking station from Lexar, which can accept up to six (sold separately) card reader modules and lets you offload from them all at once at speeds up to 40Gbps.
Obviously, we work with a wide variety of cameras at DPReview, which involves juggling several types of cards. And while I've pretty much never needed the ability to dump six, it'd be fun knowing I could, even if I could realistically do my job just as well with a single CFexpress type A and Type B reader. Another plus of the Lexar dock: it gives you a few extra ThunderBolt and USB A ports, and I always feel like I could use one or two more of those despite already having a ThunderBolt dock.
The Sony 28-70mm F2 This is an incredible setup – it's a shame it costs $9,400.My personal favorite time to take photos is late at night, so I'm always looking for the fastest lens I can get my hands on – an unfortunately heavy and expensive hobby, I know. That's why Sony's new 28-70mm F2 is so compelling to me; it's a stop brighter than standard 24-70mm lenses, and even though it's got a tiny bit less range, it's still way more versatile than the F1.4 primes that make up the bulk of my arsenal. Of course, it had better be, given that it costs $2,800. Plus, I'd have to pay even more if I truly wanted to get one for myself since I currently don't own any Sony bodies.
Nikon Z9, Z8 and Z6III gain Frame.io compatibility through NX MobileAir app
The Nikon Z6III is one of three Nikon bodies to gain support for Adobe's Frame.io Camera to Cloud service.
Photo: Richard Butler
Nikon has announced that its NX MobileAir app for Android now supports Adobe's Frame.io Camera to Cloud service when used with the Nikon Z9, Z8 and Z6III cameras. Adobe revealed the upcoming integration with Nikon on its Frame.io blog during the Adobe MAX conference back in October.
Frame.io is a cloud-based service that allows teams to collaborate on video and photo projects. It provides a centralized location for uploading and sharing media, real-time project feedback, and integration with other tools.
The latest version of the NX MobileAir app can automatically or manually upload video files from the supported cameras to a user's Frame.io account, including the ability to filter uploads by file format or ratings if they have been applied.
By providing support through the NX MobileAir app, Nikon is taking a slightly different approach to Frame.io support than companies like Fujifilm and Panasonic, which embed support directly in the camera.
Frame.io has become a popular integration on mirrorless cameras in recent years, particularly among video shooters. More recently, Frame.io gained the ability to automatically upload photos and push them to a user's Adobe Lightroom account.
There are some constraints to Nikon's current Frame.io implementation: uploads are limited to video files, and support is limited to the Android version of the NX MobileAir app. The company says a version of the app for iOS with Frame.io support is in the works.
The NX MobileAir app for Android can be downloaded from the Google Play store.
Press release:
Nikon's NX MobileAir mobile app now supports Adobe's Frame.io Camera to Cloud NX MobileAir supports video transfer for the first timeMELVILLE, NY (December 16, 2024) -- Nikon Inc. is pleased to announce that NX MobileAir (Android version*) now supports Frame.io, Adobe’s creative collaboration platform, and its Camera to Cloud service. NX MobileAir, which enhances the efficiency of professionals’ workflow by providing high-speed image delivery without using a computer, will now support video transfer.
This latest version of NX MobileAir will allow users to manually or automatically upload recorded video files to Frame.io, where they can be shared with others for real-time cloud collaboration. Additionally, when selecting video files for upload, they can be filtered by rating and/or file format. Support for Frame.io will provide a more efficient workflow by seamlessly connecting the entire video production process, from recording to final delivery. This feature is especially useful when speed is of the essence, such as with live event social media creation as well as news and sports reporting.
The Frame.io feature will be compatible with the Nikon Z9, Z8, and Z6III mirrorless cameras via the NX MobileAir App. In addition, Nikon will continue to provide software updates to satisfy the needs of those involved in video production and to contribute to the development of imaging culture with the hope of further expanding possibilities for imaging expression.
For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit nikonusa.com.
*Development to add support to the iOS version of the app is currently underway.
Nikon's new Z9 firmware update introduces an important pro video feature
Nikon's latest firmware update for the Z9 is all about video, introducing the ability to set a shutter angle instead of a shutter speed among other improvements.
Shutter angle is important for pro videographers who frequently change recording framerates, as shutter angles will remain consistent. For example, if you were recording at 24fps and switched to 60fps, and your camera only supported setting shutter speed, you'd have to remember to change your shutter speed from 1/48 sec to 1/120 sec to make sure your level of motion blur was consistent. If your camera supports shutter angle, though, you could leave it at 180° shutter, and it'd automatically double the shutter speed with the frame rate.
Nikon says the Z9 will support 15 shutter angles between 5.6° (which would result in almost no motion blur) and 360° (which would create the maximum amount of motion blur). You'll only be able to set it in manual shooting mode.
Nikon also says the v5.10 update will let you change the color of the Z9's zebra pattern, and customize the transparency and position of the histogram and waveform displays.
Press Release:
Nikon releases the upgraded firmware version 5.10 for the Nikon Z9 full-frame mirrorless cameraLatest Free Firmware Update Adds Shutter Angle and Other Enhancements to Increase Appeal for Filmmakers
MELVILLE, NY (December 16, 2024) – Nikon is pleased to announce the release of firmware version 5.10 for its flagship full-frame/FX-format mirrorless camera, the Nikon Z9 (released in December 2021).
Z9 firmware version 5.10 adds features that respond to the needs of professional-level video recording. A new [Shutter mode] has been added, allowing the user to set the shutter angle to one of 15 steps between 5.6° and 360°.* This eliminates the need to select a shutter speed whenever the frame rate is adjusted, allowing users to always achieve optimal motion blur at the desired frame rate.
In addition, users can now change the color of the zebra pattern display, as well as customize the transparency and display position of brightness information displays along with their size, such as the histogram and waveform monitor. These capabilities were incorporated to make video recording easier by allowing the user to confirm appropriate exposure, even when recording high-contrast scenes.
Nikon will continuously meet users' needs through firmware updates that expand the functionality of its cameras.
*Shutter angle can only be specified in [M] shooting mode.
Panasonic brings refreshed DC-G97 and ZS99 / TZ99 models with subtle updates
The Panasonic G97 is essentially a G90/G95D with an updated screen and a USB-C socket.
Image: Panasonic
Panasonic has refreshed two of its more affordable models, creating the G97 from the G90/G91/G95D and the ZS99 (known as the TZ99 in Europe) 30x compact camera from the ZS80D / TZ95D.
Buy now:
$848 w/ 12-60mm at Adorama$848 w/ 12-60mm at B&H Photo Panasonic Lumix DC-G97The G97 is the more subtle of the two updates. The 20MP Micro Four Thirds camera gets a higher-resolution rear screen and USB-C connector as its main updates.
The USB-C socket still offers only USB 2.0 speeds and can be used for charging the camera but doesn't provide the ability to power it while in use. It also sees its Bluetooth feature upgraded to v5.0, a dedicated button for smartphone image transfers, a red frame around the screen when recording video and the ability to tag video shot in portrait orientation.
Other than this, the G97 is essentially the same camera as the G90/G91 launched in 2019, and the G95D (which itself was an updated variant of the US-market G95, with a nicer rear screen).
Panasonic Lumix DC-ZS99 / DC-TZ99The Panasonic Lumix DC-ZS99 also gets a USB-C socket...
Image: Panasonic
The ZS99 (TZ99 outside North America) represents a slightly more significant change. It too sees the addition of a USB-2.0 Type-C socket. However, the other change, relative to the ZS80D (TZ95D) that preceded it is the removal of the electronic viewfinder. Panasonic believes there is a larger audience for whom an EVF isn't considered essential, compared to those who insist on one.
The previous ZS80D / TZ95D models had already gained the 1.84M dot displays, setting them apart from 2019's ZS80 and TZ95 models.
...but loses the rear viewfinder that the ZS80D / TZ95D had. It also loses its Panorama mode.
Image: Panasonic
It remains a 30x zoom compact with a 20MP Type 1/2.3 (mm) sensor with a 24-720mm equiv lens. It gains the other feature additions made to the G97, but loses the Panorama and Beauty Retouch features of its predecessor.
Buy now:
$498 at Adorama$498 at B&H PhotoThe Panasonic Lumix DC-G97 will be available in mid-to-late February 2025 at a recommended price of $849 in a kit with the 12-60mm F3.5-5.6 Power OIS lens, a $350 reduction compared with the introductory price of the original DC-G95 in 2019. The Panasonic Lumix DC-ZS99 will be available from early-to-mid February at a recommended price of $499, a $50 increase over its predecessor.
Press release:
Panasonic Announces Two New Cameras:Compact Micro Four Thirds LUMIX G97 and Pocket-Sized Travel Zoom LUMIX ZS99
Newark, N.J. (December 16, 2024) – Panasonic is pleased to introduce two new cameras to its LUMIX lineup: the Micro Four Thirds G97 and Travel Zoom ZS99.
The new LUMIX G97 and ZS99 offer a wide range of updated photo and video features to bring excellent image quality and usability to enthusiasts, photographers, and videographers alike.
LUMIX continues to develop its lineup to satisfy the needs of a wide range of creators and continually deliver value, innovation, and reliability to its customers.
LUMIX ZS99: New Pocket-sized Travel 30x Zoom CameraCompact and feature-packed, the LUMIX ZS99 travel zoom camera is perfect for capturing life's adventures.
Powerful 30x zoom in a pocket-sized bodyEquipped with a 24-720mm LEICA DC lens*1, the LUMIX ZS99 offers 30x optical zoom and up to 60x with iZoom so that you can capture everything from sweeping landscapes to intricate details with stunning clarity.
With in-built 5-Axis HYBRID O.I.S.+, you can enjoy high-quality videos even at full zoom.
Record high-quality 4K video at 30p or capture quick bursts of 4K PHOTO at 30fps to ensure you never miss a moment. Additionally, its ability to capture HD high-speed video at 120fps adds creative flexibility for slow-motion shots.
Packed with travel-ready featuresA tiltable 1,840k-dot touchscreen makes creative angles easy, while USB Type-C charging ensures you’re always powered up on the go.
Easy image sharingConnect instantly with built-in Bluetooth® v5.0*2 and Wi-Fi, plus a dedicated Send Image button for seamless transfers to your smartphone.
Price and availabilityThe new LUMIX ZS99 will be available in black (DC-ZS99E-K) and silver (DC-ZS99E-S) in mid-February 2025 for $499.99 at valued channel partners.
*1 35mm camera equivalent.
*2 The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc., and any use of such marks by Panasonic Corporation is under license. Other trademarks and trade names are those of their respective owners.
The new LUMIX G97 camera balances high performance and simplicity, giving creators the tools to elevate their photography and video skills.
Superb picture qualityThe 20.3MP CMOS sensor, combined with the high-performance Image processor, delivers superb image quality with vibrant colors and sharp details.
Equipped with LUMIX Photo Style feature, users can fine-tune their images with a variety of color effect options, ensuring every shot matches your creative vision.
The Live View Composite feature is also included, providing the ability to combines multiple exposures in real time to create stunning light trails, star trails, or illuminated scenes without overexposing the background.
Smooth performanceThe LUMIX G97’s 5-stop 5-axis Dual I.S.2*1 system ensures unrivalled stability, so your photos and videos remain sharp even in challenging conditions.
With 4K PHOTO capabilities, you can capture bursts of high-resolution photos at 30fps, ensuring you never miss a fleeting moment. The perfect shot from burst footage makes this feature ideal for fast-moving subjects or spontaneous scenes.
Versatile video featuresRecord in crisp 4K at 30p with no time limitations*2, experiment with slow-motion (max.4x) or quick-motion (max.8x) in FHD, and create cinematic content with 12-stops of V-Log L. Dedicated headphone and microphone jacks ensure total audio control while recording.
Intuitive operation and reliable designWith a 1,840k-dot free-angle LCD and 2,360k-dot OLED Live View Finder*3, the LUMIX G97 makes it easy to frame and focus your shots accurately, even in bright conditions.
The durable dust/splash-resistant*4 construction is ideal for everyday creators looking for a camera that can reliably handle a variety of situations.
Built-in Bluetooth® v5.0 and Wi-Fi make sharing and remote control effortless, while USB Type-C charging adds convenience.
Price and availabilityThe new LUMIX G97 will be available in late February 2025 for $849.99 for a 12-60mm lens kit (DC-G97MK) at valued channel partners.
*1 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=140mm (35mm camera equivalent f=280mm), when H-FSA14140 is used.]
*2 When the ambient temperature is high, the camera may stop the recording. Wait until the camera cools down.
*3 35mm camera equivalent
*4 Dust and Splash Resistant does not guarantee that damage will not occur if this camera is subjected to direct contact with dust and water
- JPEG (Exif 2.31)
- Raw (Panasonic RW2)
- Contrast Detect (sensor)
- Multi-area
- Center
- Selective single-point
- Tracking
- Single
- Continuous
- Touch
- Face Detection
- Live View
- Program
- Shutter Priority
- Aperture Priority
- Manual
- Single
- Continuous
- 4K Photo
- Post Focus
- Interval
- Self-timer
- Multi
- Center-weighted
- Spot
- 3840 x 2160 @ 30p / 100 Mbps, MP4, H.264, AAC
- 3840 x 2160 @ 25p / 100 Mbps, MP4, H.264, AAC
- 3840 x 2160 @ 24p / 100 Mbps, MP4, H.264, AAC
- 1920 x 1080 @ 120p / 20 Mbps, MP4, H.264, AAC
- 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC
- 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC
- 1920 x 1080 @ 30p / 20 Mbps, MP4, H.264, AAC
- 1920 x 1080 @ 25p / 20 Mbps, MP4, H.264, AAC
- 1920 x 1080 @ 50p / 28 Mbps, AVCHD, MTS, H.264, Dolby Digital
- 1920 x 1080 @ 50i / 17 Mbps, AVCHD, MTS, H.264, Dolby Digital
- 1920 x 1080 @ 25p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
- 1920 x 1080 @ 24p / 24 Mbps, AVCHD, MTS, H.264, Dolby Digital
- JPEG (Exif v2.31)
- Raw (Panasonic ARW)
- Contrast Detect (sensor)
- Multi-area
- Center
- Selective single-point
- Tracking
- Single
- Continuous
- Touch
- Face Detection
- Live View
- Program
- Aperture priority
- Shutter priority
- Manual
- Clear Portrait
- Silky Skin
- Backlit Softness
- Clear in Backlight
- Relaxing Tone
- Sweet Child's Face
- Distinct Scenery
- Bright Blue Sky
- Romantic Sunset Glow
- Vivid Sunset Glow
- Glistening Water
- Clear Nightscape
- Cool Night Sky
- Warm Glowing Nightscape
- Artistic Nightscape
- Glittering Illuminations
- Handheld Night Shot
- Clear Night Portrait
- Soft Image of a Flower
- Appetizing Food
- Cute Dessert
- Freeze Animal Motion
- Clear Sports Shot
- Monochrome
- Multi
- Center-weighted
- Spot
- 3840 x 2160 @ 30p / 100 Mbps, MP4, H.264, AAC
- 3840 x 2160 @ 25p / 100 Mbps, MP4, H.264, AAC
- 1920 x 1080 @ 60p / 28 Mbps, MP4, H.264, AAC
- 1920 x 1080 @ 50p / 28 Mbps, MP4, H.264, AAC
- 1920 x 1080 @ 30p / 20 Mbps, MP4, H.264, AAC
- 1920 x 1080 @ 25p / 20 Mbps, MP4, H.264, AAC
Gear of the year – Dale's choice: Canon EOS R5 II
Every December, as we approach the end of the year, DPReview editors engage in our annual ritual of picking our Gear of the Year: that one photography item we enjoyed using most during the past twelve months. When I think about how much gear comes through the DPReview offices annually, I’m surprised the decision is usually as easy as it is, but in most years, one product usually stands out for me.
Not so this year. It got complicated.
The candidatesRegular readers may know that I love fast, wide prime lenses, particularly for astrophotography. In the past, I’ve selected a fast, wide prime as my gear of the year at least four times. It’s not exactly a tradition, but it’s starting to feel close. I think there are even a couple of readers who placed bets over whether I would choose the new Sigma 15mm F1.4 DG DN Fisheye lens this year.
If you took that bet, you lost. Better luck next year (and maybe diversify your portfolio). I came close, though. That Sigma lens is a beauty, and I’d love to have it in my kit. But it didn’t quite make the cut for the top spot this time around.
"I’ve selected a fast, wide prime as my gear of the year at least four times. It’s not exactly a tradition, but it’s starting to feel close."The next product I considered was a dark horse: The Panasonic DMC-LX7. In case you just did a double-take, that’s not a mistake. I almost picked a compact camera from 2012 as my favorite gear of 2024.
Unless your Wi-Fi went out in 2020 and you never bothered to fix it, you probably know that ‘vintage’ compact cameras – and I use the term ‘vintage’ loosely – have become all the rage among those who are too young to remember being frustrated by their image quality the first time around. (Those were the dark ages, kids.)
So, a few months ago, in a moment of nostalgia-inspired curiosity, I dug my LX7 out of storage and started using it just for fun. Thankfully, no bell bottoms or disco albums turned up alongside it, allowing me to put off confronting some earlier life choices.
Despite being released in 2012, the Panasonic LX7 almost snagged my 2024 Gear of the Year award. I rediscovered it earlier this year and have enjoyed its simple, point-and-shoot style.And oh, the fun I had! I found myself carrying the LX7 around for much of this year, using it for snapshots and embracing it for the fun of point-and-shoot photography.
I’m sure I'll snap out of it eventually and go back to more meaningful pursuits like obsessing over megapixels or arguing about negligible differences in dynamic range, but if I were to choose my gear of the year based on the pure joy I got from a product, the LX7 would be the clear winner.
The product that ultimately made the cut for the top spot is the Canon EOS R5 II, a camera I didn’t get to use nearly as much as I’d hoped but used enough to be convinced.
The EOS R5 II Photo: Richard ButlerThe original EOS R5, introduced in 2020, never made my shortlist for gear of the year. It was a capable workhorse, but nothing about shooting it felt particularly special. In contrast, the R5 II added three features that, for me, made the difference.
Stacked sensor: I don’t need a stacked sensor for most of the shooting I do, and I rarely shoot at the highest burst rates offered by most new cameras. However, after a few years of shooting cameras with stacked sensors, I’ve come to appreciate the blackout-free shooting experience such cameras offer.
"It's a little luxury, like heated car seats for your eyeballs."I can’t think of a single instance in which I’ve ever missed a shot due to viewfinder blackout, but I do notice the blackout. Call it a quality-of-life enhancement, if you will, but it’s becoming more important to me. It's a little luxury, like heated car seats for your eyeballs.
Eye-controlled AF: I’ve been a fan of Canon’s eye-controlled AF since the film days. A few years ago, I even wrote an article expressing my desire for Canon to bring it back with a more modern implementation; four years later, the EOS R3 delivered on that call to action. Thanks for listening, Canon ;)
Whether using eye-controlled AF or Canon's new Action Priority AF mode, the EOS R5 II's autofocus system is up to the task, even for sports. The pre-burst capture feature allowed me to get photos I would have missed. (Processed to taste in Adobe Camera Raw.)
Canon EOS R5 Mark II | F2.8 | 1/1250 | ISO 4000
Photo: Dale Baskin
I know eye-controlled AF doesn’t work for everyone, but when it does, it can be a transformative way of shooting. It pains me to know there are many people for whom eye-controlled AF still doesn’t work because it's such a natural way to interact with a camera.
Pre-burst capture: I’m an expert at shooting certain subjects but a rank amateur at others, and it’s this latter group where I find pre-capture helpful. This is particularly true when shooting sports, but I’ve also found it helpful for shooting birds or wildlife. It has allowed me to capture photos I wouldn’t have gotten otherwise.
"It pains me to know there are many people for whom eye-controlled AF still doesn’t work."To be clear, I don’t want to give Canon too much credit here. The R5 isn’t the first camera with a blackout-free stacked sensor, and it’s far from the first to offer pre-capture. However, it’s the first camera to offer those features alongside eye-controlled autofocus, and, for me, that combination is what makes the camera so enjoyable to shoot with.
There are many more things the R5 II does better or faster than its predecessor, and some of those things will matter more to other people, but most won’t make a big difference to my photography work. The R5 II hits a nice sweet spot for me, and the fact that it does so in a body with excellent ergonomics that delivers outstanding image quality is icing on the cake.
Canon EOS R5 II sample gallery Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Buy now:
$4299 at Amazon.com$4299 at Adorama$4299 at B&H Photo'Happy Holidays': Winners of the December Editors' Photo Challenge
Our December Editors' Photo Challenge theme was 'Happy Holidays': we asked you to show us what the end-of-the-year holiday season looks like through your lens. And you certainly focused on the festive spirit, capturing heartwarming moments and scenes filled with holiday cheer. From twinkling lights and decorated trees to snowy landscapes, your photos truly captured the essence of the holiday season.
Did you miss this challenge? Stay tuned for our January challenge announcement! In the meantime, consider participating in these current and upcoming challenges hosted by other members of the DPReview community:
Open challenges
- Underwater photography (closes Dec. 16)
- DPReview | Your best photo of 2024 (closes Dec. 16)
- Repitition (closes Dec. 20)
Upcoming challenges
- A Big Year 2024 (starts Dec. 16)
- Crepuscular rays (God rays) (starts Dec. 17)
- Colourful landscape in portrait mode (starts Dec. 21)
Drumroll, please! Here are our top picks from the December Editors' Photo Challenge.
Window shoppingPhotographer: morelens
Description: Window shopping in Beacon, NY, a small town on the Hudson River in NY State.
Equipment: Canon EOS R + unspecified 35mm lens
New Year's Eve, Mt. Hood, OregonPhotographer: rainrunner
Description: New Year's Eve at Mt Hood, Oregon, each year, if weather permits, we snow camp on New Year's Eve and watch the fireworks show at Timberline Lodge.
Equipment: Sony a7 IV + Tamron 70-180mm F2.8 Di III VXD
Christmas cardPhotographer: Aleksei Syrkin
Description: A little surprise for my wife, reflecting our life at that time and the atmosphere in the house.
Equipment: Canon EOS 5D Mark II + Canon EF 85mm F1.8 USM
Winter wonderlandPhotographer: Managarm
Description: My winter holiday tradition is taking long walks through the snowy landscape. Nothing brings me happier moments than a cool breeze of air and the sparkling snow in the woods.
Equipment: Ricoh GR IIIx
Ho! Ho! Happy holiday little fellaPhotographer: Hooyat
Description: The boy was watching children lining up to take pictures with Santa Claus. Santa noticed the boy was watching him for quite a while. He was alone with his mom. Santa came over, peeked around the fence, and told them he would take a picture with the boy... free of charge and ahead of the queue. Happy holiday.
Equipment: Nikon Z6 II +Nikon Nikkor Z 24-70mm F4 S
The listPhotographer: jaberg
Description: I think this is the "nice" list, but one can never be sure. This is part of the American Swedish Institute's 2024 Holiday Experience, Tomte: The Myth, The Gnome, The Legend.
Equipment: Fujifilm X100V + Fujifilm WCL-X100 II
Winter in WinterlandPhotographer: Viking60
Description: The capital city of Norway, Oslo, is already illuminated with lights indicating the upcoming arrival of Christmas.
Equipment: Leica SL2-S + TTartisan 50mm F0.95
Christmas light!Photographer: Jerodum
Description: A traditional Christmas village in France.
Equipment: Fujifilm X-T5 + Sigma 16mm F1.4 DC DN | C
A round worldPhotographer: xenofon
Description: This ball was up on the tree, at a height of 10 m (or more). As a result, the whole square, the fountain, even the parliament in the background, are all depicted in the ball in a spectacular and unique way.
Equipment: Canon EOS R10 + unspecified lens
New Year in the RockiesPhotographer: etrautmann
Description: Long exposure at a remote cabin near Aspen, CO, just after the New Year in 2022.
Equipment: Sony a7R IV + Sony FE 20mm F1.8G
Tamron 11-20mm F2.8 Di III-A RXD RF sample gallery
Tamron's 11-20mm F2.8 Di III-A RXD isn't a new lens, but the company recently released a version of it for Canon's RF mount. A lens becoming available for a new mount isn't usually a huge deal, except this is the company's first lens for the system. Until recently, there were no third-party autofocus lenses for RF mount; now, the Tamron joins several options from Sigma, including the quite similar 10-18mm F2.8.
We shot this gallery using Canon's EOS R7, which is higher resolution than most of its APS-C peers with its 33MP sensor. We also were lucky enough to get a few sunny days while trying out this lens, a rarity in the Pacific Northwest winter.
Click to see the sample gallery
$659 at Adorama $659 at B&HThe Atomos Shinobi II now supports touch-to-focus on more cameras
Atomos is making the touch to focus feature of its Shinobi II monitor compatible with more cameras. A firmware update lets you use the Shinobi II to control the focus point on the Canon EOS R1, EOS R5 Mark II, EOS R7, Nikon Z8, Sony FX3 and FX30, and the nine other previously supported cameras.
Being able to use an external monitor to control focus is useful for anyone who often films themselves and who would otherwise have to walk around to the back of the camera to make changes. The Shinobi II, which has a ~13cm (5"), 1,500 nit display, also gives you access to advanced monitoring tools that most cameras don't natively support, such as vectorscopes and false color overlays.
The update also adds 'Camera Control' support for the Fujifilm X-T3, X-T4 and X-T5, which lets you adjust settings like ISO, shutter speed, aperture, and white balance using the monitor.
You can download the firmware from Atomos' website.
Atomos Shinobi II:
$349 at Amazon $349 at B&H $349 at AdoramaBuying a vintage point and shoot camera in 2024
A few old point-and-shoots, though not necessarily ones we'd recommend.
Photo: Mitchell Clark
Old compact point-and-shoot cameras are having a moment, and have proven to be especially popular with young people who grew up after their heyday. Models that have spent years sitting on thrift shop shelves are suddenly being snapped up and sold for eye-watering prices on eBay – in some cases, for more than their original MSRPs.
Since we've spent the last 25 years covering these cameras as they came out, we decided to put together a mini-buying guide for Instagram, covering the things you should look out for when shopping for point-and-shoots in general. We also picked out a few specific cameras that we think stand out among the rest and will provide not just the point-and-shoot look but a genuinely nice photographic experience.
General tips for buying a point-and-shoot View this post on InstagramA post shared by Digital Photography Review (@dpreview)
View this post on InstagramA post shared by Digital Photography Review (@dpreview)
Some of our favorite vintage point-and-shoots View this post on InstagramA post shared by Digital Photography Review (@dpreview)
View this post on InstagramA post shared by Digital Photography Review (@dpreview)
If you want a deeper dive into our picks, you can check out our reviews of them below.
Adobe Camera Raw can now remove photo-ruining reflections – without generative AI
Adobe has announced a new Reflection Removal tool that aims to erase reflections in photos, showing only what's behind them. The company says it's meant to improve photos taken through windows or ones of reflective objects like movie posters.
The tool gives you a slider that goes from -100 to 100. If you set it at 0, your picture will remain unchanged. Setting it to 100 attempts to remove any reflections, showing only what's behind them, and setting it to -100 will try to show only the reflection. Of course, you can use the slider to keep a little reflection if it adds to your picture.
The tool tries to split apart the image, telling what's behind the reflection, and what's being reflected.Adobe's blog post says the tool specifically doesn't use generative AI; it doesn't guess what's supposed to be there and try to create it whole-cloth, so you don't have to worry about it adding things that weren't actually there.
The post has an in-depth explanation of how it all works, but the high-level overview is that Adobe created a bunch of photos with simulated reflections and then trained the model to predict what was behind the reflection and what the reflection looked like when it was isolated. Since Adobe had the original images, it could tell how accurate the model was and make improvements.
The tool is currently labeled as a technical preview and has some notable limitations. Probably the biggest is that it currently only works with Raw files, not with JPEGs or other compressed image formats. It's also only available in Adobe Camera Raw, though the company says it plans to "bring an expanded version to the entire Lightroom ecosystem" in the future.
Image Comparison SliderThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content.Adobe admits the tool isn't perfect. For example, it currently struggles with nighttime cityscapes, and it's really only built to deal with reflections from "plate glass windows that cover most or all of your field of view." If the window with distracting reflections is only a small part of the image, it likely won't be able to remove them. Likewise, it may struggle if you're trying to remove reflections from water.
Still, there are a lot of situations where the tool in its current state could still be useful. How many times have you tried to take a picture of something cool you saw out of a train or plane window, only to have it end up a bit of a mess because of reflections?
If you want to try Reflection Removal, open ACR, then go to Preferences > Technology Previews. Make sure the "New AI features and settings panel" box is checked, restart the app, and then open an image. There should now be a "Reflections" checkbox in the Remove panel.
Not dead yet: a DSLR lens tops LensRentals' 2024 charts
Canon's DSLR 24-70mm F2.8 topped this year's most-rented list but the number of EF-mount rentals as a whole fell.
Image: Canon
Camera and lens rental house LensRentals has published its annual top twenty list of the most frequently rented gear.
You can find more information over on the LensRentals blog, but here's the top twenty, with an indicator of their movement since last year in brackets:
LensRentals Most Popular Photo and Video Gear 2024- (⇑5) Canon EF 24-70mm F2.8L II
- (⇑1) Canon RF 70-200mm F2.8L IS
- (⇑4) Canon RF 24-70mm F2.8L IS
- (⇑4) Canon EF 70-200mm F2.8L IS III
- (⇓3) Canon RF 28-70mm F2L
- (⇓5) Canon EOS R5
- (⇑8) Canon EOS R6 Mark II
- (⇑8) Sony FE 24-70mm G2.8 GM II
- (⇑1) Sony FE 70-200mm F2.8 GM OSS II
- (⇑4) Canon EOS 5D Mark IV
- (⇓7) Sony a7S III
- (⇑1) Sony FX3
- (⇑5) Sony a7 IV
- (⇓3) Canon EOS R6
- (⇑5) Canon RF 100-500mm f4.5-7.1L IS
- (NE) Sony a7 III
- (⇓5) Sony FE 70-200mm F2.8 GM OSS
- (NE) Canon RF 50mm F1.2L
- (NE) Canon RF 15-35mm F2.8L
- (⇓1) Sony FE 24-70mm F2.8 GM
There are a number of interesting things to note in the numbers, the most obvious being that Canon EF-mount lenses and cameras moved up in popularity, with the DSLR 24-70 and 70-200mm F2.8 lenses taking the first and fourth spot, a rise of five and four places, respectively. And, while there's a chance that some of these EF-mount orders were placed by RF users (the EF versions are around 25% less expensive to rent), that doesn't account for the increased popularity of the EOS 5D Mark IV.
Nikon didn't make the top 20 list but saw the biggest year-on-year growth in rentals, cementing its third placeIt's also interesting to note what isn't there, with just two brands' products accounting for the entire top 20. However, LensRentals has also published figures for the relative value of the rentals of different brands. And, while Canon and Sony account for more than 46% of all rentals (up from 43% last year), Nikon saw the biggest year-on-year increase, growing from under 5% of rentals in 2023 to nearly 6% this year (a 21% increase).
Chart: LensRentalsFourth-placed DJI also saw an increase in rentals, with 13.82% YoY growth. Sigma and Blackmagic Design saw some decreases, while Fujifilm grew a 16.5%, though only accounted for 2.57% of the overall rentals.
Given these numbers are by rental value, there's an inherent advantage to the makers of more expensive gear: firstly the higher ticket items simply have more weighting on this list, but also people are more likely to rent pricey gear than buying it (or in the processes of deciding whether to buy). This doesn't come close to accounting for the order of magnitude difference between Canon and Fujifilm's position on the tables, though.
Chart: LensRentalsLensRentals blog is, as usual, well worth a read, as it digs into the relative popularity of different lens brands and lens mount. These show Canon RF growing and, despite all the appearances in the top 20, Canon EF rentals declining, year-on-year. This is enough to see RF mount lenses add up to around 50% more rentals than EF-mount lenses, in 2024.
Of course one rental company based in one particular market doesn't tell you much, if anything, about the relative strengths or popularity of different systems (if that's even something you care about). But there are definitely some interesting trends in terms of the amount of video gear and the continued popularity of high-end DSLR kit.