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Accessory roundup: gimbals galore and more
Happy weekend, folks! This week was a fairly quiet one for accessories, but that doesn't mean were left empty-handed. We'll look at a new light, plenty of gimbals and a memory card. But first, as always, deals.
Nikon sales Photo: Richard ButlerThe Nikon Z8 is one of the company's best-ever cameras, with features beyond its price. You can grab one for $600 off right now.
Buy at B&H Buy at Adorama Photo: Dan BracagliaIf the Z8 is a bit more than you need, the Nikon Z7 II is also a fantastic choice with excellent image quality, great ergonomics and a well-rounded feature set. It's currently on sale for $1,000 off as a standalone item, with additional savings for bundles with the FTZ II Mount Adapter. Adorama is also throwing in a memory card and an extra battery.
Buy at B&H Buy at Adorama Let it rain Photo: GodoxA few weeks ago, we shared the Godox P1200R Hard Pro light panel with an IP65 weather resistance rating. This week, Godox expanded its water-resistant lighting lineup for photographers with the KNOWLED M600Bi Pro Bi-Color LED Monolight. It features an IP54 rating for protection when working on outdoor sets. The 600W light offers 2800-6500K color temperatures and an output of up to 21,400 lux at 1m (3.3'), plus a long list of controls and 11 unique and customizable effects for more control over the light in your images.
$1529 at B&H $1529 at Adorama Speedy CFexpress Type B memory cards Image: AngelbirdEuropean memory card maker Angelbird has introduced a new lineup of extra-fast CFexpress Type B cards. The Angelbird AV Pro SE CFexpress v4 Type B cards use CFexpress 4.0 technology, which is twice as fast as CFexpress 2.0. It's important to note that no cameras currently take advantage of all that speed, but it will be beneficial when transferring files. Plus, it is a bit of a future-proofing move. The new cards are available in 512GB, 1TB, 2TB and 4TB capacities with a promised maximum read speed of 3700 MB/s and sustained read speed of 3500 MB/s.
$180 at B&H $180 at Angelbird Gimbals galore Image: Insta360It was certainly a busy week for gimbal and gimbal accessories. First up was the Insta360 AI Tracker, which made Insta360's popular yet Apple-centric Flow 2 Pro smartphone gimbal accessible to Android users. The little accessory uses a dedicated camera to support AI-driven tracking no matter what phone is on the gimbal or what app you use to record video. It also sports a built-in light with three adjustable brightness and color temperature settings. We covered the launch in its own article, which you can read here.
$40 at Insta360 Image: DJIDJI announced three new gimbals this week, starting with the Osmo Mobile 7 and Mobile 7P smartphone gimbals. Both feature DJI's seventh-generation three-axis stabilization and ActiveTrack 7.0, meaning they can automatically track subjects even in crowds or when moving. The Mobile 7P is the more advanced model of the two and comes with the company's new Multifunctional Module, which is quite similar to Insta360's AI Tracker. You can read more in our article about the release.
$89 at DJI $89 at B&H Image: DJIFinally, DJI announced its latest lightweight camera gimbal, the RS 4 Mini. The new offering streamlines the gimbal process, making it easier and faster to get up and running or pack things away. It is also more compact when folded down and promises better stabilization and battery life. Plus, DJI released yet another gimbal accessory similar to its Multifunction Module, albeit without the light. The RS Intelligent Tracking Module comes with the RS 4 Mini Combo and enables ActiveTrack with any camera or phone. You can find more details in our announcement article.
$369 at DJI $369 at B&H A DIY accessoryFinally, we always try to share some bits of knowledge from around the internet in this roundup. Today's video walks you through a bit of a DIY project, offering a different way to carry your camera without dropping loads of cash on specialized accessories.
View this post on InstagramUnderwater wonders: Awe-inspiring images from the Underwater Photographer of the Year 2025 contest
Photos: Abdulaziz Al Saleh, Enric Gener, Bryan H. Blauvelt, Ruruka, Alvaro Herrero (Mekan), Jenny Stock, Wojciech Dopierala, Bryant Turffs and Shunsuke Nakano / UPY 2025
The winners of the 2025 Underwater Photographer of the Year contest have been announced, showcasing spectacular underwater scenes. The UK-based contest began in 1965, though it appeared in its current form in 2014/2015. It celebrates work across 13 categories, including Portrait, Behavior, Wrecks, Coral Reefs and Macro, with three categories focused on photos taken in British waters.
This year, the contest saw 6750 entries with photographers coming from 28 different countries. Peter Rowlands, Tobias Friedrich and Dr Alexander Mustard MBE served as judges this year. You can find out more and see additional winners at the Underwater Photographer of the Year website.
Underwater Photographer of the Year 2025: 'Radiant Bond'Credit: Alvaro Herrero (Mekan)/UPY 2025
Nationality: Spain
Image caption: Radiant Bond
Country taken: French Polynesia
Location: Mo'orea
Camera: Nikon Z7 II
Lens: Nikkor Z 14-24mm 2.8 s
ISO: 1100
Aperture: F8
Shutter: 1/640
Lighting used: Natural Light
Housing: Isotta
Back story: A mother humpback whale accompanies her calf to the surface for its first breath early in the morning. The youngster is releasing a few bubbles as it rises, perhaps this is because it is still learning to control its breathing, or it is simply experimenting with its own body.
Every year, during the southern winter, I travel to French Polynesia to photograph these majestic animals. My favourite time of day is the early morning, because the light is soft and angled, allowing me to find the perfect angle to clearly define the shape of these animals in blue. For me, this photo is one that shows a mother’s love for her calf, communicating both the fragility and beauty of our oceans, and revealing one of the amazing species with whom we share our home world.
Underwater Photographer of the Year 2025: Macro winnerCredit: Paolo Bondaschi/UPY 2025
Nationality: Italy
Image caption: Magic backlit
Country taken: Anilao, Philippines
Location: Secret Bay, Anilao
Camera: Canon EOS R7
Lens: EF-S60mm f/2.8 Macro USM + wet lens AOI UCL-90PRO
ISO: 100
Aperture: F16.0
Shutter: 1/200
Lighting used: Backscatter MF-1 + Backscatter snoot OS-1
Housing: MARELUX MX-R7
Back story: At the end of this dive, I spotted a couple of underwater photographers focused on shooting and it piqued my curiosity about what they were photographing. I signalled to my guide to check what they were shooting. After realizing that it was one of my favourite subjects, a hairy shrimp, I waited patiently for my turn and used the time to plan and prepare for the shot. I chose to shoot it in profile, backlight with a snoot. My guide and my buddy played a fundamental role in expertly managing the light of the snoot. After a few test shots to find the right setting, I finally got the photo I was looking for.
Underwater Photographer of the Year 2025: Wrecks winnerCredit: Alex Dawson/UPY 2025
Nationality: Sweden
Image caption: Deep wreck
Country taken: Egypt
Location: Gulf Fleet No 31 wreck at Shaabruhr Umm Qammar
Camera: Nikon Z9
Lens: 8-15 fisheye
ISO: 800
Aperture: F4.5
Shutter: 1/80
Lighting used: ambient light
Housing: Nauticam Z9
Back story: The wreck sits on the reef at around 104m depth. When she sank she got wedged between the reef wall and a small reef so there is a swim through under the wreck. We did 25 min bottom time and about 2 1/2 hours of deco to produce this image.
Underwater Photographer of the Year 2025: Behavior winnerCredit: Shunsuke Nakano/UPY 2025
Nationality: Japan
Image caption: Face Off
Country taken: Japan
Location: Sado,Niigata
Camera: Nikon D850
Lens: af nikkor 28-70mm f3.5-4.5 d with Nauticam WACP-1
ISO: 200
Aperture: F16
Shutter: 1/250
Lighting used: INON Z330
Housing: Nauticam NA D850
Back story: This is a photo of two male Asian sheepshead wrasse fighting. The unique form of this species is characteristic of males, who form harems and claim territories during the breeding season. The one on the left in the photo is the harem king, who has defended his territory for more than 10 years and is estimated to be over 30 years old, while the one on the right is a young challenger.
Although I had planned carefully to capture the images, the 2024 season was more difficult to predict than usual, and despite staying there for a week during the breeding season, I was only able to observe this scene once, for just 10 seconds. And this was the only photograph I was able to take. The sight of them fighting in their flashy white outfits was so magnificent I can still remember it vividly.
Underwater Photographer of the Year 2025: Portrait winnerCredit: Abdulaziz Al Saleh/UPY 2025
Nationality: Kuwait
Image caption: Hydration
Country taken: Kuwait
Location: Al Wafra desert
Camera: Nikon Z8
Lens: Nikkor 8-15mm fisheye
ISO: 100
Aperture: F18
Shutter: 1/100
Lighting used: Inon Z330 (dual)
Housing: Nauticam NA-Z8
Back story: I had the idea of photographing the camels drinking water for about one and half a years. I wanted to photograph them drinking water from the underwater perspective because I did not see any images showing this. The weather was a critical, and it took me several weeks to get the best possible shots. The first week the camels were a bit hesitant to drink water while my camera was under the water and only few gathered to drink, which is not what i wanted. But after several days the camels had already accepted to me and my equipment.
After my first week of shooting the Camels, I changed to electronic synch cords for my strobes instead of fibre-optic cables because of problems. And finally the shots came together.
Underwater Photographer of the Year 2025: Coral Reefs winnerCredit: Catherine Holmes/UPY 2025
Nationality: United Kingdom
Image caption: Kaleidoscope of Colour
Country taken: Raja Ampat, Indonesia
Location: Gorgonian Passage, Wayil Batan Island, Misool
Camera: Nikon D500
Lens: Nikon Fisheye. 8-15 (3.5-4.5) @12mm
ISO: 320
Aperture: F11
Shutter: 1/160
Lighting used: Retra Pro strobes- with diffusers
Housing: NA-D500. Nauticam
Back story: Raja Ampat, Indonesia, is a magical destination where the colour, beauty, biodiversity and dense fish life can almost be an overload on the senses- a celebration of healthy reef life. I was lucky to find perfect conditions with clear water and schooling baitfish swirling amongst the canyons of a large coral bommie, adorned with verdant soft corals.
I aimed to capture the reef teeming with life and colour to inspire us all to protect this valuable habitat. All around the world, our oceans, and in particular the coral reefs, are under threat. They are vital habitat for the myriad of species they support, and critical for the oceans health. Climate change, pollution, overfishing and destructive fishing all threaten this environment, and the devastating outcomes are seen worldwide with bleached and dying reefs, with dwindling fish life. Awareness is essential to protect and sustain these precious environments for the future.
Underwater Photographer of the Year 2025: Black & White winnerCredit: Enric Gener/UPY 2025
Nationality: Spain
Image caption: Chasing Dolphins
Country taken: Egypt
Location: Red Sea
Camera: Canon5D Mark IV
Lens: Canon EF 16-35mm 1:2.8 L III USM
ISO: 160
Aperture: F4
Shutter: 1/500
Lighting used: No Lighting
Housing: SeaCam
Back story: This image was captured in the northern Red Sea during a freediving expedition in search of bottlenose dolphins. The moment portrays an intimate mating ritual, where several males—four visible in the picture, though others were nearby—were playfully chasing a female. It was a dynamic and ritualistic display, with the males engaging in friendly skirmishes and occasionally mating with the female, their bodies joining briefly for just a few seconds. Notably, the female was not attempting to escape; she actively participated, playing along and waiting for them. The entire group swam gracefully and at a slow, deliberate pace, creating a mesmerizing underwater scene.
Underwater Photographer of the Year 2025: Up & Coming winnerCredit: Ruruka/UPY 202
Nationality: Korea
Image caption: Aurora Underwater
Country taken: Mexico
Location: Cancun
Camera: Nikon Z8
Lens: Nikon Z 24-50mm F4 with Nauticam WACP-1
ISO: 800
Aperture: F9
Shutter: 1/60s
Lighting used: Natural Light
Housing: Nauticam NA-Z8
Back story: I first travelled to Cancun, Mexico, for a shoot two years ago, and since then, I’ve been captivated by its charm. These days, I find myself visiting Cancun frequently. From where I live, it’s a very long journey - about 24 hours by plane - but this place perfectly aligns with the direction of my photography and offers a variety of shooting opportunities. To capture this particular photo, I visited during the rainy summer season and worked with a local Korean guide as my model.
Underwater Photographer of the Year 2025: Compact winnerCredit: Bryant Turffs/UPY 2025
Nationality: United States
Image caption: The Beauty of the Swamp
Country taken: United States
Location: Everglades National Park
Camera: GoPro Hero 7 Black
Lens: AOI 0.73x Ultra Wide Lens
ISO: 791
Aperture: F2.8
Shutter: 1/180
Lighting used: N/A - Available
Housing: GoPro Supersuit
Back story: I captured this image at one of my favourite locations within the Everglades ecosystem. Historically, I primarily dove in saltwater, but I have become enamoured by this foreboding environment, with clear waters, light filtering through cypress trees, and the fish species, both native and introduced. I have revisited this spot many times trying to capture various subjects and the light just right. The water levels vary significantly, sometimes completely drying, during different times of year. The fish species are in constant flux, and this location is often dominated by exotics. Ironically, on this occasion, I hadn't invested too much thought and I was enjoying the scenery when this Florida Gar positioned itself perfectly in the frame of my GoPro.
Underwater Photographer of the Year 2025: British Waters Wide Angle winnerCredit: David Alpert/UPY 2025
Nationality: United Kingdom
Image caption: The Curious Seal
Country taken: United Kingdom
Location: Lundy Island
Camera: Canon 5D MKiii
Lens: Canon EF 16-35mm f/2.8L iii USM
ISO: 200
Aperture: F8
Shutter: 1/200
Lighting used: 2 x Inon Z330 Strobes
Housing: Nauticam
Back story: North Devon is easily one of the most beautiful coastlines in Britain. High jagged cliffs pounded by an unforgiving sea. With the second highest tide change in the world, the outgoing current whips up against waves and wind rolling in from the North Atlantic. Stand back and marvel.
Diving windows are limited so I based myself in the area for two months last year, exploring different locations. This shot shows a grey seal off Lundy Island, a marine protected area since 1973. Seals are delightfully curious creatures, more interactive than any other species I have dived with around the world. Briefly, I become one of the privileged few, crossing the bridge into the world of a sentient wild animal.
Underwater Photographer of the Year 2025: British Waters Macro winnerCredit: Dan Bolt/UPY 2025
Nationality: United Kingdom
Image caption: The Hitch Hiker
Country taken: UK
Location: Scotland
Camera: OM Systems OM-1
Lens: Panasonic 45mm macro
ISO: 250
Aperture: F13
Shutter: 1/250th
Lighting used: 2x Sea & Sea YS-D3Duo
Housing: AOI UH-OM1
Back story: Occasionally in my time under the water I have come across this medusa ‘Neoturris pileata’ in the open water but had not taken a decent photo of one. On this occasion however, my buddy and I were specifically targeting them and other similar creatures to try to explore the idea of UK ‘blackwater’ photographic opportunities. Of the many, many(!), images I took that day, this one revealed a larval crustacean within the bell of this medusa. The frames either side of this capture actually show that the larval crab (or lobster) is actually on the outside of the bell, but in this instant it was perfectly on the opposite side from me and hence the effect of being contained within the transparent body.
Underwater Photographer of the Year 2025: British Waters Living Together winnerCredit: Dan Bolt/UPY 2025
Nationality: United Kingdom
Image caption: Rusty Haven
Country taken: Scotland
Location: Loch Carron
Camera: OM Systems OM-1
Lens: Olympus 14-42mm with Nautocam WWL-1
ISO: 640
Aperture: F7.1
Shutter: 1/50
Lighting used: 2x Sea & Sea YS-D3 Duo
Housing: AOI UH-OM1
Back story: This images shows nature’s ability to make the best of a bad situation. The iron block and heavy chain are actually holding a small barge in-place on the surface where local scallop divers store their equipment. The barge itself is a floating reef system all of it own, and the anchor blocks have attracted many species too.
I was actually practising for a different underwater photography competition when I took this shot. For a couple of days before an on-the-day ‘splash in’ competition, this crab was consistently in this position, or very close by. Sadly on the day it was no-where to be seen! Happily for me though that meant I was able to use my practice photos for UPY!
'Save Our Seas Foundation' Marine Conservation Photographer of the YearCredit: Robert Marc Lehmann/UPY 2025
Nationality: Germany
Image caption: 1 / 200.000.000
Country taken: Indonesia
Camera: CANON R5
Lens: CANON EF 24mm f/1.4L II USM with EF to RF Mount
ISO: 1000
Aperture: F5.6
Shutter: 1/6400
Lighting used: n/a
Housing: n/a
Back story: This tiger shark is just one of around 200 million sharks that lose their lives every year at the hands of humans.
Since I was six years old (35 years+), I have been intensively studying sharks. In all these years, hardly anything has changed and that is frustrating. Sharks protect their habitat, the sea, through their ecological function as "health police". Over a billion people depend on the sea every day and we all breathe the oxygen that is largely produced in the sea. If we continue to eradicate the animals that guard our largest and most important habitat, we are taking away our own livelihood. And that's why I've been fighting for people to see and understand sharks through my eyes. Every time I take a photo like this, it hurts, but through imagery I can inspire millions of people to understand sharks and their situation and make a difference.
The 7 Best compact zoom cameras in 2025
Updated February 21, 2025
It's sad to say, but the golden age of compact cameras is pretty much over, thanks to the rise of smartphone cameras that are, in many cases, good enough for most people. Manufacturers seem to realize this, too; we last updated this list in 2023, and since then, there haven't really been any new additions to it. The ones that remain can also be difficult to find in stock, even when the companies that make them say they're still a part of their lineups.
However, that doesn't mean the category is completely dead. Even today, there are several types of compact cameras, and some have capabilities that pretty much no phone can match. This list calls out the few that are still available and looks at what they're good for – because there are still cases where a compact camera is a great option.
Our recommendations: Enthusiast compactsThe final niche in which it's difficult for a smartphone to compete is for enthusiast photography. No matter how good smartphone image quality gets, it's difficult for a phone to provide the feeling of connection to the process of taking photos that an enthusiast compact with lots of direct controls can offer.
We've picked cameras with large sensors that deliver good image quality, zoom lenses and direct controls. Several have built-in electronic viewfinders for shooting when it's bright outside, again giving a more pleasant experience than a smartphone.
Best enthusiast compact: Canon PowerShot G7 X III20MP Type 1 Stacked CMOS sensor | 24-100mm equiv. F1.8-2.8 lens | 4K/30p video capture
Photo: Dan BracagliaBuy now:
Buy at Amazon.comBuy at B&H PhotoBuy at MPB What we like:- Nice grip and well-placed controls
- 4K/30p recording with live streaming to YouTube
- Fast burst shooting
- Lens is soft at wide-angle
- Limited battery life
- Contrast-detect only autofocus
The Canon PowerShot G7 X III is an enthusiast compact built around a 20MP Type 1 (116mm²) Stacked CMOS sensor with a bright 24-100mm equivalent F1.8-2.8 zoom.
The large sensor, and zoom that covers a really useful range help set it apart from a smartphone but it's clicking control dial around the lens and the dedicated exposure compensation dial that really help you feel you're in the driving seat of the photo-taking process that makes us enjoy it so much.
This camera is frequently out of stock, but in February, Canon told investors it was ramping up production of its compacts, citing the popularity of the G7 X III.
"If you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look" Though it's jacket-pocketable, the G7 X Mark III has a decent-sized grip and feels secure in the hand. The 'clicky' control rings around the lens and on the rear of the camera give good control over aperture, shutter speed and ISO, and the exposure compensation dial on the top plate is a nice touch. The touchscreen interface on its tilting 3" LCD is polished and responsive. Overall, we're impressed by the upgrades on this model. The Mark III brings improved video and continuous shooting performance while maintaining excellent controls and a competitive price point. If you do a lot of wide-angle shooting, there are options with better lenses, but if you're after a pocketable high-quality compact, the Canon G7 X Mark III is well worth a look.Read our Canon Powershot G7X III review
See the Canon Powershot G7X III studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Also worth consideringThe Sony Cyber-shot DSC-RX100 VA is also worth a look as it offers a short, bright 24-70mm equivalent zoom. That's less range than the Canon, but we've found it to be more consistently sharp on the units we've tested. It has a pop-up viewfinder, adding to the appeal but also to the price. The Sony's autofocus is faster and more dependable than the Canon's but we prefer the handling of the Canon, thanks to its exposure compensation dial and clicking front control wheel. It's also worth noting that it charges via micro USB instead of using the near-ubiquitous USB-C connector found on the G7 X III.
Best do-it-all compact: Sony Cyber-shot DSC-RX100 VII20MP Type 1 Stacked CMOS sensor | 24-200mm equiv. F2.8-4.5 lens | Hybrid AF system
Photo: Dan BracagliaBuy now:
Buy at Amazon.comBuy at B&H PhotoBuy at MPB What we like:- Industry-leading autofocus
- Excellent image quality
- Oversampled 4K video
- User interface can be overwhelming
- Low light performance limited by slow lens
- Slippery grip
- Expensive
The Sony Cyber-shot DSC-RX100 VII is built around a 20MP Stacked CMOS sensor and a long, flexible 24-200mm equivalent lens. It's not as bright at the long end as the zooms on the Mark VA or the Canon G7 X III but it provides a lot more reach, still in a compact package.
"The RX100 VII is the most capable pocketable camera ever made" The RX100 VII has a limited number of direct controls, but offers extensive customization for making the most of them. A touchscreen can be used for choosing a focus point or initiating AF tracking in video. The camera also includes the single-press pop-up viewfinder we liked so much on its predecessor. The RX100 VII is easily the most-capable compact camera on the market thanks to its great image and video quality, fast shooting, versatile lens and a highly-capable, easy-to-use AF system, though all of that comes with a high price tag.Read our Sony RX100 VII review
See the Sony DSC-RX100 VII studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best interface: Leica D-Lux 817MP crop of Four Thirds sensor | 24-75mm equiv F1.7-2.8 | 4K video
Photo: Richard ButlerBuy now:
Buy at AdoramaBuy at B&H PhotoBuy at Leica What we like:- Photo-focused interface
- Large sensor
- Bright lens
- Zoom is laggy and slow
- Lens not always sharpest
The D-Lux 8 combines an enjoyable shooting experience with a large sensor and bright lens. It's expensive, for sure, but is one of the few enthusiast compacts to receive a refresh in recent years, so we felt we should include it.
"The D-Lux 8 is a lovely camera to shoot with and offers a lot of image quality in a compact package" The D-Lux 8 has an elegant and photo-focused interface, with dedicated dials for shutter speed and aperture, and a couple of buttons that are easy to customize. It's engaging and enjoyable to shoot with. The D-Lux 8 is a lovely camera to shoot with and offers a lot of image quality in a compact package. But, for us, its image quality doesn't live up to its promise, or its price tag.See the Leica D-Lux 8 studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Waterproof camerasWaterproof cameras are another specialty that smartphones can't necessarily displace. Many flagship phones are waterproof to a decent degree but you shouldn't try to submerge them to any appreciable depth. Waterproof cameras also tend to be pretty rugged, designed to withstand a lot more mistreatment than a phone will withstand, meaning you can carry them with you at all times, without ever having to worry about it. Great for bikers, climbers and custodians of small, inquisitive but not necessarily careful children.
Best waterproof camera: OM System Tough TG-725-100mm equiv. F2.0-4.9 lens | 12MP Type 1/2.3 sensor | Waterproof to 15m (50ft)
Buy now:
$550 at B&H $550 at Adorama $532 at Amazon What we like:- Bright, wideangle lens
- Built-in GPS, compass and manometer
- Raw image capture allowing creating edits
- Range of accessories
- 12MP is fairly low
- Lens isn't very bright at long end
- Limited battery life
- Relatively expensive
The OM System Tough TG-7 is a rugged, waterproof compact with a 25-100mm equivalent zoom lens. It is fully waterproof down to a depth of 15m (50 ft).
The OM System isn't the only rugged waterproof still on the market, nor the cheapest, but it has several major factors in its favor. The first is that it lets you shoot Raw images, which gives you the ability to correct the white balance, which even the best cameras tend to get wrong when shooting underwater. Another factor is that there is a range of accessories for the TG-7, including a light guide that directs light from the built-in flash into a circle around the lens, letting you illuminate close-up objects.
"The TG-7 is relatively expensive but packs in a host of useful features that help it stand out"Beyond this there are a few details that different users may find handy: it has an unusually wide-angle lens with a bright maximum aperture, helping the performance underwater and in low light. It also has a built-in GPS, compass and pressure sensor that lets you log your adventures. These all add up to a camera that's worth the added expense, we feel.
Read our hands-on with the OM System TG-7 article
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Long zoom camerasPerhaps the greatest weakness of smartphones is their lack of zoom capabilities. Many of the best phones have a camera with a slightly longer focal length and then try to crop into their images and use AI algorithms to try to approximate the fine detail to give the impression of zooming, but this has its limits.
Dedicated cameras aren't constrained by the need to slip into your pocket, which can afford them the space to have an optical zoom lens to gain you more reach than your smartphone can deliver. There can be a trade-off: the small sensors required to put lots of zoom in a relatively small camera will be outshone by the computational cleverness that modern smartphones will bring to bear on their images. But superzoom cameras can gain you the kind of reach that no current smartphone can get near.
Best long-zoom camera: Panasonic FZ1000 II20MP Type 1 BSI-CMOS sensor | 25-400mm equiv. F2.8-4 lens | 4K/30p video capture
Photo: Dan BracagliaBuy now:
Buy at B&H Photo What we like:- Relatively fast lens with versatile focal range
- Fully articulating touchscreen
- Responsive AF performance
- "Flutter" when focusing is distracting
- Substantial crop in 4K
- Body feels too "plasticky" for its price
The FZ1000 II predates Panasonic's switch to phase-detect autofocus, so it tends to hunt for focus. However, it can shoot at burst rates up to 7fps, and its 25-400mm equiv F2.8-4 lens gives you plenty of reach while still offering a fair amount of light-gathering ability.
The FZ1000 II has a comfortable grip and twin control dials, but its all-plastic construction doesn't live up to its price. It's extensively customizable, with an array of physical and on-screen buttons. The OLED EVF is very good. "Its versatile lens, snappy autofocus speeds, large EVF and 4K video capabilities should make it one of the better cameras in its class" The FZ1000's image quality is good for its class. The camera doesn't capture as much detail as we'd like and, if you're up to it, shooting Raw and post-processing will get the most out of the camera. The FZ1000 II captures 4K UHD video at 30p and 24p, though there is a substantial crop which narrows your field of view (this is not an issue at 1080). The autofocus system tends to 'hunt' for focus on occasion. The camera has a good set of video controls and a mic input socket. The FZ1000 was a solid camera and the improvements on its successor make it even better. While not best-in-class, its versatile lens, good image and video quality and reasonable price make the FZ1000 II well worth considering.Read our Panasonic FZ1000 II review
See the Panasonic FZ1000 II studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The retired champIn its day, the Sony Cyber-shot DSC-RX10 IV offered better performance and autofocus than the Panasonic, though at a substantially higher cost. In 2024, however, it's no longer available at retail, and the FZ1000 II is. If you manage to find an RX10 IV somewhere and are interested in a long-zoom compact, it's still worth snapping up – it's possible it'll be the best of its kind that was ever made.
Best ultra-zoom camera: Nikon Coolpix P110016MP 1/2.3" BSI-CMOS sensor | 24-3000mm equiv. F2.8-8 lens | 4K video capture
Photo: Barney BrittonBuy now:
$1097 at Adorama$1097 at B&H Photo What we like:- Focal range cannot be matched by any camera
- Respectable image quality, given camera's purpose
- Raw support
- Well-built, with logical control layout
- Large and unbalanced when zoom is extended
- Lens is slow at long end, reducing sharpness
- No touchscreen
- Poor battery life
The Nikon Coolpix P1100 is a very slightly refreshed version of the P1000, with the biggest difference being the adoption of a USB connector. Its Type 1/2.3 (6.17 x 4.55mm) sensor will be out-performed by a good smartphone's clever merging of multiple images but the Nikon's gargantuan 24-3000mm equiv lens is its selling point.
The small sensor means image quality isn't the camera's strength, but its frankly ludicrous zoom reach means it can photograph distant subjects in a way no other device (smartphone or dedicated camera) can.
The P1100 is a large camera that weighs a substantial 1.4kg (3.2lbs). We found it can be difficult to compose a photo at 3000mm equiv since the stabilization can't fully correct hand movement. A 'snapback' function quickly zooms out so you can locate your subject. The P1100's fully articulating LCD, is not touch-enabled. Connectivity to smartphones works well. "When it comes to zoom power, there's no camera that comes close to Nikon's Coolpix P1100" The P1100's image quality depends greatly on the focal length. Photos are generally on par with other small-sensored cameras, with pleasant colors and a bit too much noise reduction. It offers Raw, though, so you can choose your noise/detail balance and modestly brighten shadows. Heat haze, coupled with the lens's slow maximum aperture limit image quality at the longest focal lengths. The P1100 has very good video quality for a camera with point-and-shoot roots. It can capture 4K video at 30p (with no crop) as well as 1080/60p and time-lapse/super-lapse clips. There's a manual exposure mode, a zoom microphone and a socket for addition an external mic. Electronic Vibration Reduction is available at 1080p and below. When it comes to zoom power, nothing comes close to Nikon's Coolpix P1100. Whether it's taking a portrait from 2 blocks away or getting up close and personal with a bird in the distance, this lens can do it. That said, while other cameras can't match that lens, many will offer better image and video quality for the same money, especially those with larger sensors.Read our review of the existing P1000 model
See the Nikon Coolpix P1000 studio scene
Vlogging camerasSmartphones are great for vlogging, but a dedicated vlogging camera can shoot better quality video, have more sophisticated microphones (and provide options for connecting better mics), and can autofocus very reliably, dependably delivering YouTube-ready footage.
Best vlogging camera: Sony ZV-1 Mark II20MP Stacked CMOS sensor | 24fps burst shooting | 4K/30p, 1080/120p video
Photo: Shaminder DulaiBuy now:
$898 at B&H $898 at Adorama $898 at Amazon What we like:- Low rolling shutter
- 3-way mic array
- Touchscreen interface for vlogging
- Limited body buttons/dials
- No stabilization for stills
- 8-bit color not ideal for grading
The Sony ZV-1 Mark II is one of three ZV-1 models and is by far the best. Its wide-angle 18-50mm equivalent F2.8-4.0 lens is ideally suited to self-shot video. Its excellent autofocus includes options such as 'Product Showcase' that focuses on the presenter, unless an object is held up to the camera.
"A vlogging beast for smartphone users wanting to upgrade to a dedicated device for more control over exposures, file workflow, sound and optical zoom without a large learning curve" The ZV-1 Mark II is primarily touchscreen-controlled to allow control while vlogging or shooting selfies. It's lightweight and easy to hold but has limited control points if you want to take more manual control. The ZV-1 Mark II is a big improvement on the original thanks to a more selfie-video-friendly zoom range. Video footage and autofocus are both very good. It is a camera that thrives in auto modes, making it best suited for users seeking a simple-to-use camera.See the Sony ZV-1 Mark II studio scene
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Why you should trust usThis buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.
DJI's new camera gimbal packs advanced features into a compact body
DJI announced the Osmo Mobile 7 and 7P smartphone gimbals earlier this week, but that wasn't the end of things. Now, the company has announced a new version of its lightweight camera gimbal. The RS 4 Mini sees quite a few upgrades over the RS 3 Mini, borrowing features from its more expensive siblings in the flagship RS 4 lineup. DJI focused most of its updates on providing a "more efficient and seamless filming experience," along with better performance.
In order to streamline the process of using the gimbal, DJI added its automatic axis locks to the RS 4 Mini, which were previously only found on DJI's flagship gimbals. These allow the stabilizer's three axis locks to automatically unlock when you turn the gimbal on and automatically lock when turning it off. It is the first DJI gimbal to use the company's 2nd-Gen axis lock technology that allows it to unlock in only a second. It should be easier and faster to get shooting or pack away the gimbal.
The 3rd-Gen Native Vertical Switch, which DJI says "offers the fastest switch experience in the RS series, " also makes things more efficient. Plus, DJI updated the folding structure, making the axis arms fold flatter so that they take up less space when packed away.
The DJI RS Intelligent Tracking Module enables automatic subject tracking with any phone or camera.
Image: DJI
One of the most exciting new features for solo vloggers is the DJI RS Intelligent Tracking Module, which is included in the RS 4 Mini Combo. This little device is similar to the Multifunctional Module released with the Osmo Mobile 7P, though without the fill light. Like the Multifunctional Module, the Intelligent Tracking Module features a dedicated camera to enable Active Track on any phone or camera. It can track subjects up to 10 meters (33 feet) away, and DJI promises it will function reliably even in complex scenes.
Of course, the main goal of any gimbal is to smooth footage; that has not fallen by the wayside on DJI's latest camera gimbal. DJI improved the stabilization of the RS 4 Mini, moving the device to its 4th-gen stabilization. This update relies on more advanced algorithms to provide better results for smoother footage. The company also added a new Responsiveness Mode, allowing the gimbal to react better to fast hand movements. As a result, it should provide better results when tracking fast or sudden movement.
Image: DJIAll of these features do result in a slightly heavier weight. The RS 4 Mini comes in at 890g (2lbs), compared to the RS 3 Mini's 795g (1.75lbs). It maintains the same 2kg (4.4lbs) payload, though, which means it can handle most mirrorless cameras and even quite a few lightweight cinema cameras. Plus, it promises 30% better battery life for a total operating time of 13 hours.
The DJI RS 4 Mini is available for purchase today from DJI's website and authorized retailers. The standalone DJI RS 4 Mini costs $369, while the DJI RS 4 Mini Combo is $459.
Buy now: $369 at DJI $369 at B&HPress release:
DJI Launches All-New Compact and Lightweight Gimbal for Cameras and Smartphones DJI RS 4 Mini Delivers Efficient and Seamless Filming Experience for Content CreatorsFebruary 20, 2025 – DJI, the global leader in civilian drones and creative camera technology, today launched the DJI RS 4 Mini, an all-new compact and lightweight gimbal for cameras and smartphones that weighs just 890g (less than 2 pounds) and can carry payloads up to 2kg (4.4 pounds). Designed for the quick-filming needs of creators, the RS 4 Mini offers the automated axis locks first introduced in DJI’s flagship gimbals, allowing for faster setups, transitions, and breakdowns. Other features that deliver a more efficient and seamless filming experience include a new intelligent tracking module, faster switching to vertical shooting and Teflon™ coating for a smoother balancing experience.
"The Ronin Series continues to push the imaging industry forward as we bring new innovations to our ecosystem and democratize technology to more applications. Specifically, the DJI RS 4 Mini continues to feature our Emmy® Award-winning three-axis gimbal stabilization, offering seamlessly smooth and steady footage," says Ferdinand Wolf, Product Experience Director at DJI. "In adding the DJI RS 4 Mini to our offering, we have rounded out this generation of stabilizers to cater to every level of creator, from professional filmmakers to independent commercial videographers and content creators.
Next-Gen design for a more efficient workflow
The RS 4 Mini incorporates many proven features from DJI’s flagship gimbals, allowing creators to work more efficiently. With the 2nd-Gen auto-axis locks, creators can unlock the gimbal’s three-axis locks in one second, speeding up the filming, transition, and storage processes. The 3rd-Gen Native Vertical Switch offers the fastest switch experience in the RS series¹. With the meticulous upgrades to Teflon™ interlayers¹ and a fine-tuning knob, the RS 4 Mini can achieve smoother and more precise millimeter-level balancing when installing a camera.
Intelligent filming for stunning results
The RS 4 Mini Combo comes standard with the new DJI RS Intelligent Tracking Module¹ for intelligent framing and composition¹. Enabling ActiveTrack on any camera system or phone with or without the DJI Ronin app, it can keep a human subject in frame up to 10 meters, even in complex environments. Tracking can be enabled with one push of the trigger or an open-palm visual command.
In the new Responsive mode, the gimbal responds faster to hand movements upon start or stop, designed to suit fast-moving subject circling shots. Meanwhile, the classic Smooth follow mode provides a fluid gimbal response, ideally for normal subject following shots.
Other notable features include:
- Upgraded with 4th-Gen Stabilization: The RS 4 Mini strikes a superior balance between stabilization strength and camera movement's tactile feel, delivering excellent performance and an enhanced user experience. It also offers significantly improved stability when shooting vertically.
- Improved Battery Life: Compared to the DJI RS 3 Mini, the charging speed and battery life have increased by 30%¹, extending the operating time to 13 hours¹. It also supports fast charging, allowing 5 hours¹ of use after a 30-minute charge.
- Lightweight Build, High Payload¹: Weighing only 890 g (2 lbs), RS 4 Mini boasts a payload capacity of up to 2 kg (4.4 lbs). It supports a wide range of mainstream mirrorless cameras and lens combinations, delivering powerful performance.
- Next-gen RS Briefcase Handle¹: Designed especially for the RS 4 Mini, this new handle is 20%¹ smaller and 28 g lighter¹ than the current DJI RS Briefcase Handle.
- Quick-Release Magnetic Mount: The tracking module features a magnetic quick-release design, allowing it to attach to the tilt axis in just one second. The magnetic locking design will stay securely in place without loosening or falling off, ensuring a more reliable filming process.
Price and Availability
DJI RS 4 Mini will be available for purchase today from authorized retailers and at store.dji.com with two purchase options available.
The standalone DJI RS 4 Mini retails for $369 and includes one Gimbal, Quick-Release Plate, RS 4 Mini Tripod, L-Shaped Multi-Camera Control Cable, USB-C Charging Cable and one Screw Kit.
The DJI RS 4 Mini Combo retails for $459 and adds a RS Intelligent Tracking Module and RS 4 Mini Briefcase Handle.
1 All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to the product page on the official DJI website.
Leica revives a classic with an updated Summilux-M 50mm F1.4 lens
Leica has announced an updated version of one of its iconic lenses, expanding the Leica Classic Line in the process. The Summilux-M 50mm F1.4 (I) was launched in 1959 as the first offering under the Summilux umbrella. Thus, the lens has 65 years of history under its belt. This marks the fifth lens in the Leica Classic Line, joining the ranks of the Summaron-M 28mm F5.6, Thambar-M 90mm F2.2, Noctilux-M 50mm F1.2 ASPH and the Summilux-M 35mm F1.4.
The Summilux name is derived from the Latin "summa lux," which means "maximum light," in reference to its wide F1.4 aperture. The new lens stays true to its roots in form and function. In fact, Leica says that the Summilux-M 50mm F1.4 (II) is "an almost unchanged version" of the lens that was produced from 1962 to 2004. Indeed, like the original, it features seven lens elements in five groups. It also keeps the 12-blade aperture diaphragm of the historic model.
Photo: LeicaLike the first iteration, the updated Summulux-M 50mm promises "impressive image quality" with soft bokeh at wide apertures. It isn't all original, though. Leica says that it will be sharper and have higher contrast than its historical predecessor due to modern production techniques. Leica didn't offer any more details about how that improved quality is achieved, though. "The new edition of this classic lens fulfils all the requirements of modern M-Cameras with a high-resolution sensor," says Leica. Another benefit of the second edition is a shorter close focusing distance of 0.7m (2.3ft), down from the original version's 1m (3.3ft).
The Summilux-M 50mm F1.4 (II) features the "Made in Germany" label. It is made by hand from solid brass and comes with a round vintage lens hood. Leica also says it will be the first Leica lens in the newly designed packaging, which does away with all plastic.
The Leica Summilux-M 50mm F1.4 (II) is now available for purchase through Leica Stores, the Leica Online Store and specialist retailers for $3895.
Buy now: $3895 at Leica $3895 at B&H Manufacturer sample images: Photo: Leica Photo: LeicaPress release:
Leica Summilux-M 50 f/1.4Wetzlar, 20 February 2025
Lenses from Leica boast a tradition that spans over 150 years. During this time, many handcrafted masterpieces have been created and have gone on to reach numerous milestones while defining trend-setting standards. The history of the legendary M-Lenses began over 70 years ago. Each of them tells a success story, with some of these legends now enjoying a renaissance decades later. This is the case for the new Leica Summilux-M 50 f/1.4.
The Summilux-M 50 f/1.4 (I) was launched onto the market in 1959 as the first lens released under the name Summilux. This is derived from the Latin “summa lux”, meaning “maximum light”. Since then, Summilux has become synonymous for particularly fast Leica lenses featuring an aperture of f/1.4 to f/1.7. The new interpretation combines the classic vintage look with state-of-the-art technology and is the fifth member of the Leica Classic Line. Just like the Summaron-M 28 f/5.6, the Thambar-M 90 f/2.2, the Noctilux-M 50 f/1.2 ASPH. and the Summilux-M 35 f/1.4, its timeless aesthetics are reminiscent of its historical predecessor.
The optical calculation is based on the second Summilux-M 50 f/1.4 (II), an almost unchanged version of which was produced from 1962 to 2004. It is noted for its impressive image quality and unmatched image characteristics at a wide aperture. The new Summilux-M also captures the moment in this unique look with particularly soft bokeh when a wide aperture is used, making it ideal for portrait photography. When stopped down, the new lens produces sharper and higher-contrast images than its historical predecessor. This is ensured by modern production techniques and the use of special types of glass. The new edition of this classic lens fulfils all the requirements of modern M-Cameras with a high-resolution sensor. Compared to its historical predecessor, it offers even more creative freedom thanks to its extended close focusing distance of 0.7 m.
Like all M-System lenses, the new Summilux-M proudly bears the “Made in Germany” label and is testament to the quality for which Leica lenses are known all around the world. The new lens is made by hand from solid brass and fitted with a high-quality, round vintage lens hood. As the new standard lens in the Leica Classic Line, it combines a charming vintage design with technical precision par excellence.
The Summilux-M 50 f/1.4 is the first Leica lens to come in the newly designed packaging. The high-quality boxes do not contain any plastic at all and are also produced in Germany.
The Leica Summilux-M 50 f/1.4 is now available worldwide from all Leica Stores, the Leica Online Store and specialist retailers. The recommended retail price is EUR 3,850.00 incl. VAT.
Panasonic Lumix DC-GH7 review: A mature video camera disguised as a hybrid
Product Photos by Dale Baskin
89%Overall scoreJump to conclusionThe Panasonic Lumix DC-GH7 is the latest in Panasonic's line of high-end cameras historically aimed at video shooters. We say 'historically' because the GH7 makes a strong case for being a true photo-video hybrid. It includes flagship video features like internal ProRes RAW recording, optional 32-bit float audio and 4K/120p capture, along with all the photography features found on Panasonic's more recent G9 II model.
Key specifications- 25.2MP BSI CMOS sensor with parallel gain readouts
- Phase-detection autofocus
- ProRes RAW / HQ internal recording
- 32-bit Float audio capture via optional accessory
- Arri LogC3 gamma profile (optional paid upgrade - see below)
- UHD or DCI 4K in 10-bit 4:2:2 up to 60p
- Slow-mo UHD or DCI 4K in 10-bit 4:2:0 at up to 120 fps
- 5.7K full-width capture at up to 60p
- 5.8K full-sensor 'open gate'/anamorphic capture at up to 30p
- 60 fps burst shooting with AF and pre-capture
- External SSD recording
- LUT support for photos and video
- 1 x CFexpress Type B, 1 x UHS-II SD slot
- Tilting/fully-articulating rear screen
- Built-in fan for unlimited recording
The Panasonic Lumix DC-GH7 has a suggested retail price of $2199, the same as the GH6 at launch in 2022.
Additionally, Panasonic has partnered with Arri, a leading manufacturer of digital cinema cameras, to bring Arri's LogC3 profile to the GH7. LogC3 matches Arri's color and tone response and allows the use of LUTs designed for Arri cameras. Since enabling this feature requires paying a license to Arri, LogC3 is an optional $200 upgrade, and can be installed by purchasing Panasonic's DMW-SFU3A software upgrade key.
Index:- What's new?
- How it compares
- Body and controls
- Video
- Image quality
- Autofocus
- Video performance
- Conclusion
- Sample gallery
- Specifications
- Press release
Buy now:
Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What's new: SensorThe GH7 is built around a revised version of the sensor from the GH6. Although the two cameras share the same resolution, the GH7 uses the same 25.2MP BSI CMOS sensor found in the more recent Lumix G9 II, which gives it the updated capabilities of that camera.
The most notable is support for Panasonic's 'Phase Hybrid' phase-detection autofocus system. This promises to be a boon for video shooters as it enables the camera to interpret distance and depth in a scene and can acquire focus on a desired subject without overshooting or creating a pulsing effect while trying to maintain focus on a relatively static subject.
The sensor is also pretty fast, and our readout speed tests show that its performance is almost identical to the GH6. We don't expect the rolling shutter to be a problem in most situations.
29.97, 25, 24, 23.98p 59.94, 50p 119,88, 100p 5.8K (Full sensor height) 20.5 ms — — 5.7K (1.9:1) 13.1 ms 13.1 ms — DCI 4K (1.9:1) 13.2 ms 13.2 ms 7.0 ms UHD 4K (16:9) 14.1 ms 14.1 ms 7.4 msThe other benefit of the new sensor is the improved version of the camera's dual output gain system. In a nutshell, the sensor employs two parallel readout paths with different gain levels: a low-gain path to capture highlights and a high-gain path to capture cleaner shadows. The data from both paths is combined as a 16-bit Raw file, allowing enough room to encode the wider dynamic range.
On the GH6, the high gain (shadow) path was only used at ISO settings three stops above base ISO (ISO 800 in standard color modes / ISO 2000 in V-Log) when using Dynamic Range Boost mode. On the GH7, however, Panasonic has reduced the lowest step used by the high-gain path, and it now works beginning at base ISO.
Find out more about dual conversion gain, dual output gain and how they work
However, it's worth noting that the GH6's base ISOs were 100 for standard color modes and 250 for V-Log. On the GH7, they're 100 and 500, respectively. The one-stop jump in base ISO in V-Log mode suggests the high-gain path is applying one stop more gain than the low path in its base state (rather than the 3-stop difference required in the GH6). This doesn't explain how Panasonic can offer a mode with a high-gain component while maintaining the same ISO 100 rating for standard gamma. Interestingly, when you exceed 60fps (where the dual output mode can't operate), the minimum ISO in V-Log drops to 250, suggesting this might still be the true 'base' state.
32-bit Float audio The optional DMW-XLR2 adapter has two XLR and one 3.5mm mic input and three dials to control the gain of each input. It can power mics that accept 48V phantom power.While it's become common for rivals to offer 4-channel audio if you attach a module to connect XLR mics, the GH7 becomes the first camera to cross our desks that offers 32-bit Float audio capture.
32-bit Float audio doesn't encode its data directly as numerical values. Instead, it captures them as scientific notation, with most bits encoding the value and the last few describing the magnitude (i.e., how many zeros there should be after the value). This enables a much wider range of values to be encoded than just using all 32 bits to record the number directly.
To make use of this extra capacity, you'll need the new DMW-XLR2 microphone adapter ($499). It features two analog-to-digital converters (ADCs), one with amplification applied to boost the quiet sounds and the other with no gain to protect much louder sounds. It's still possible to clip loud sounds if you exceed the capacity of your microphones, but the system should accurately capture everything that's fed into it.
This means you don't need to worry nearly as much about capture levels and can fit it down into a narrower dynamic range for playback during the edit.
When recording 4-channel audio, this display allows you to view all four channels' input levels simultaneously, though only two can be monitored live. When recording 32-bit float audio, the meters will always be green.With the DMW-XLR2, you can record up to four channels of 32-bit Float audio so long as all your audio is routed through the adapter: if you use the camera's mic input, everything drops down to conventional 24-bit capture.
There's a display for setting all four channels' input levels, but only two can be monitored live during recording. If you're in 32-bit Float capture, the VU meters will always appear green, no matter how high they peak.
VideoThe GH7's headline video feature is support for internal ProRes RAW recording, with ProRes RAW and RAW HQ options, using the camera's CFexpress card (or a USB-C SSD). ProRes RAW provides extra flexibility in post-processing, including the ability to adjust white balance and exposure offsets.
ProRes RAW can be captured at either 5.7K resolution in a 17:9 aspect ratio using the entire width of the sensor or at the standard DCI 4K resolution (4096 x 2160) up to 60p, which results in a 1.41x crop.
Raw Codec Resolution Frame Rate Crop DestinationProRes RAW
or
ProRes RAW HQ
5.7K (5728 x 3024)- 29.97
- 25
- 24
- 23.98
- 59.94
- 50
- 29.97
- 25
- 24
- 23.98
*Supports SSDs up to 2TB capacity
The GH7 also gains the ability to record proxy files, which are lower resolution, lower bit rate versions of each video clip captured by the camera. You can optionally apply a LUT to proxy files as they're recorded for a more finished look while saving your full-resolution footage in ungraded V-Log. This can be handy for projects requiring a rapid turnaround.
The GH7 retains all of the video modes present on the GH6, including 4K/120p, 5.7K up to 60p, 1080 at up to 240p in 10-bit mode, 1080 up to 300p in Variable Frame Rate mode (without AF or audio), open gate recording and anamorphic lens support. Except for the most basic MP4 modes, the GH7's video modes are all 10-bit, and it can shoot 4K 4:2:2 at up to 60p and 4K 4:2:0 at up to 120p.
In an improvement we've been requesting for years, it's now possible to magnify the on-screen image while recording video to check focus. In a nod to social media shooters, the camera's gyro will also detect when a video is shot in vertical format.
Subject recognition AFIn addition to gaining phase-detect autofocus, the GH7 inherits the subject recognition modes found on the G9 II and S5II (with firmware 3.0) and adds some new bells and whistles of its own. Like those cameras, it can detect humans, animals, cars and motorcycles, but it adds two new subject types to the menu: trains and airplanes.
Yes, the GH7 has a true 'trains, planes and automobiles' subject recognition system.
Human detection can identify eyes, face and body (prioritized in that order) or just eyes and face; similarly, animal detection can identify eyes and body, or just bodies. For other subject types, the GH7 lets you specify your preferred target: when shooting trains, planes, and motor vehicles, you can specify whether you want to prioritize focus on the front of the vehicle or the entire vehicle; when using front-of-vehicle priority for cars and motorcycles, the camera will prioritize focus on a driver/rider's helmet if it can identify one.
Subject recognition works in both still and video modes.
Photography featuresWhile initial attention on the GH7 will likely focus on video, Panasonic has ensured that the camera is also a photography powerhouse. In fact, the GH7 includes all the photography features found on its sibling, the G9 II, and matches its performance to boot. This includes 10 fps burst shooting with mechanical shutter, 60 fps with continuous autofocus with electronic shutter, or 75 fps with single AF. You can also pre-capture up to 1.5 seconds at those same frame rates.
Other features that carry over from the G9 II include Panasonic's handheld high-res mode, which captures 50.5MP or 100MP images in either Raw or JPEG format, and Live Composite mode, a multi-exposure mode that only captures areas of the frame that change in brightness with each exposure.
The GH7 also gets Panasonic's Real-time LUT system and integration with the new Lumix Lab smartphone app. Real-time LUTs allow you to instantly apply a LUT to a photo (or video) as it's captured, providing a finished look straight out of the camera. The Lumix Lab app has numerous LUTs available for download and also makes it easy to create your own; you can transfer your favorite LUTs to the camera so they are available at any time. The GH7 includes 39 memory banks for custom LUTs.
This image, captured on the Lumix S9, illustrates how Panasonic's real-time LUT system allows you to generate your own custom looks straight out of camera.
Photo by Dale Baskin
We explored real-time LUTs and the Lumix Lab app in detail as part of our Panasonic S9 initial review, so we recommend giving those sections a read if you want to learn more.
Other improvementsImage stabilization on the GH7 is rated at 7.5 stops per CIPA standard, both for in-body stabilization and when using Dual I.S. 2, which helps maintain this performance with longer lenses. It also includes Boost I.S., which tries to cancel all movement for a tripod-like look, and E.I.S., which is meant to correct distortion that occurs during video shooting.
Like other recent Lumix cameras, the GH7 incorporates Frame.io camera-to-cloud function, which automatically uploads video proxy files or images to Adobe's Frame.io service.
How it comparesThe GH7 sits at the high end of the Micro Four Thirds market, though in the video space, it's highly competitive with the best video-oriented APS-C cameras. The GH series has enjoyed a well-deserved reputation for excellence in video. Still, the competition in this category has become fierce, with rivals now offering compelling video-oriented models of their own.
Can the GH7 stand out among the crowd? We compare it to other video-centric models, including the Sony FX30 and Fujifilm X-H2S. We'll also include the Nikon Z6III, a full-frame camera with a strong video feature set, in the comparison.
Panasonic GH7 Panasonic GH6 Sony FX30 Fujifilm X-H2S Nikon Z6III MSRP at launch $2200 $2200 $1800 $2500 $2500 Sensor size/type Four ThirdsBSI CMOS Four Thirds
BSI CMOS APS-C
BSI CMOS APS-C
Stacked CMOS "Semi-stacked" BSI CMOS Cooling Built-in fan Built-in fan Built-in fan Optional screw-on fan No fan High res modes 5.8K (4:3)
5.7K (1.9:1) 5.8K (4:3)
5.7K (1.9:1) None 6.2K (3:2)
6K (1.78:1)
5.4K (1.78:1)
FHD/300p 4K/120p (full width)
FHD/300p 4K/60p (1.04x crop)
4K/120p (1.56x crop)
FHD/240p
4K/60p (full width)
4K/120p (1.29x crop)
FHD/240p
ProRes RAW HQ
ProRes 422 HQ
ProRes 422
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) ProRes 422 HQ
ProRes 422
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP) X-AVC HS (H.265 Long GOP)
X-AVC I (H.264 All-I)
X-AVC S (H.264 Long GOP) ProRes 422 HQ
ProRes 422
ProRes LT
H.265 (All-I / Long GOP)
H.264 (All-I / Long GOP)
N-Raw
ProRes RAW HQ
ProRes 422 HQ
H.265 (Long GOP)
H.264 (Long GOP)
Peaking
Custom LUT preview
Waveforms
Vectorscope Zebras
Peaking
Custom LUT preview
Waveforms
Vectorscope Zebras
Peaking
Focus map
Custom LUT preview Zebras
Peaking
Fixed LUT preview
Zebras
Peaking
Fixed LUT preview
Waveforms
V-Log
Arri LogC3*
HLG
CinelikeD2
HLG
CinelikeD2 S-Log3
HLG
S-Cinetone
F-Log
F-Log2
HLG
Eterna N-Log
HLG Media type 1x CFexpress B
1x UHS-II SD 1x CFexpress B
1x UHS-II SD 2x CFexpress A /UHS-II SD 1x CFexpress B
1x UHS-II SD 1x CFexpress B
1x UHS-II SD Viewfinder 3.86M dot OLED
0.8x mag 3.86M dot OLED
0.76x mag None 5.76M dot OLED
0.8x mag 5.76M dot OLED
0.8x mag HDMI Full-sized Full-sized Full-sized Full-sized Full-sized Audio Up to 4ch with optional XLR2 unit, 32-bit float audio Up to 4ch with optional XLR1 unit Up to 4ch with optional XLR handle Up to 4ch with optional Tascam XLR unit Stereo audio Battery life (CIPA) LCD 380 360 570 580 390 Weight 805g (28.4 oz) 823g (29.0 oz) 646g (22.8oz) 660g (23.3oz) 760g
(26.8oz)
From a specs standpoint, the GH7's main advantages are ProRes RAW, which can also be found on the Z6 III, 32-bit Float audio, and the ability to add Arri's LogC3 gamma profile (as a paid upgrade).
Other than those callouts, the cameras are reasonably well-matched on paper, but we don't use them on paper; we use them in the real world, where other design considerations can be as critical as specs. The Sony FX30 stands out in that respect. It is designed with multiple 1/4"-20 mounting points so you can build the exact rig you want. On the flip side, it's the one camera in the cohort exclusively focused on video and might not be a good choice as a hybrid camera.
The Nikon may seem like the odd duck here, given that it has a full-frame sensor. However, it has an impressively strong video feature set, and with a retail price within spitting distance of the GH7, it merits serious consideration as an alternative. One thing the table doesn't capture? The Nikon will surely surpass the other models in still image quality.
Body and controlsThe GH7's body is essentially unchanged from the GH6. It's built on the same chassis, has the same dimensions, and all buttons and ports are in the same locations. Actually, there is one very minor change, but it isn't visible when looking at the camera. We'll get to that in a moment.
There's a certain logic to this approach. Serious video shooters tend to use a lot of accessories, including camera cages, off-camera recorders, microphones, and maybe even rails, matte boxes, or a follow focus. Keeping the same body from one generation to the next makes it easier for users to upgrade, knowing their existing accessories will continue to work.
EVF and rear screenRemember that one minor change we mentioned? This is where you'll find it. The GH7's electronic viewfinder (EVF) receives a very minor update: it still uses the same 3.68M-dot OLED (1280 x960px) screen, but the viewfinder's magnification has increased from 0.76x to 0.8x (in equivalent terms). This doesn't impact the size or shape of the body, but it makes the EVF just a bit nicer to use.
The GH7 features the same 1.84M-dot (960 x 640px), 3" rear touchscreen mounted on a hybrid tilt/articulated hinge. This allows you to extend the screen out from the back of the camera and tilt it up about 45 degrees, flip it out to the side, or both. The latter has the advantage of keeping the screen clear of the camera's ports so that it doesn't interfere with any cables.
Audio button and 32-bit Float audioThe GH7 includes a dedicated button that provides direct access to the camera's audio settings, which frequent video shooters will appreciate. Out of the box, the camera captures 48kHz, 24-bit audio using its internal mics and up to 96kHz, 24-bit audio from an external mic connected to the camera.
As mentioned above, the GH7 can also capture 4-channel 32-bit Float audio. This requires the optional DMW-XLR2 adapter, which includes two XLR inputs and one 3.5mm input. You must run all audio sources through the XLR2 adapter to use 32-bit Float recording.
All four audio channels are output over HDMI.
Built-in fanThe GH7 includes the same built-in fan as the GH6 to keep the camera cool while shooting video, with the fan located outside the camera's sealing. With its standard settings, the fan allows for unlimited recording at resolutions and frame rates up to DCI 4K/60p.
Panasonic tells us the GH7 can provide unlimited recording at all resolutions and frame rates. However, opening the Thermal Management menu and changing the setting from standard to 'High' may be necessary in some of the more demanding modes.
"The GH7 can provide unlimited recording at all resolutions and frame rates."The fan can be configured to run continuously at a set speed or in one of two auto modes: one that prioritizes keeping the body cool and the other that only engages when absolutely necessary.
BatteryThe GH7 uses the same DMW-BLK22 battery found on other recent Lumix models. When used with SD cards and the Panasonic 12-60mm F2.8-4 lens, it can power the camera to a CIPA rating of 380 shots or 100 minutes of continuous video; using CFexpress cards reduces this by about 10%. This is essentially the same performance as the GH6.
The battery does have one notable limitation: When recording files to an external SSD, it's only possible to record at frame rates up to 60p, no matter what codec or resolution you're using. This is due to the extra power required to operate the SSD. Since the SSD occupies the camera's USB-C port, connecting the camera directly to an external power source simultaneously isn't an option.
To circumvent this, Panasonic has introduced the DMW-DCC18, a dummy battery with a USB-C port that can be connected to external power or a battery pack. When used, it will allow you to record to SSDs using any frame rate as long as you have a PD-rated power source that can deliver 9V, 3A.
Video capabilitiesThe GH7 supports a dizzying array of resolutions, frame rates, and codecs to choose from, along with comprehensive tools to support a video workflow. This grows to an even greater number, thanks to the inclusion of both ProRes and ProRes RAW capture.
"The GH7 supports a dizzying array of resolutions, frame rates, and codecs."Frankly, it would be impractical for us to list every possible combination here – something that takes 11 full pages out of the camera's 977-page user manual, not including special modes like VFR – so we're going to focus primarily on the 5.7K and 4K modes that will interest most users.
Before we dive into the details, it's worth noting that the GH7 can use autofocus and record sound at almost every resolution and frame rate, up to 240fps in FHD mode. If you need to go faster than that, there's a 300fps VFR mode without AF or audio capture. Also, with the exception of basic MP4 files, all video modes on the GH7 can capture 10-bit video.
Our video and social media Director, Mykim Dang, used the GH7 to shoot a short video profile of Flowfold, a Maine-based manufacturer of outdoor bags committed to using sustainable materials. 5.7KThe GH7 isn't the first GH camera to capture 5.7K video, but it is the first to support 5.7K ProRes RAW capture, which can be recorded either internally to the camera's CFexpress card or to an attached SSD. (The GH6, could capture 5.7K video using the standard ProRes or H.265 codecs.)
ProRes RAW provides additional flexibility when editing. It's possible to adjust settings like white balance or exposure offsets that are baked into gamma-encoded file types. A Raw workflow introduces other challenges, though: the data rates are enormous, and, while providing flexibility, the files might require more downstream processing than other formats, including sharpening and noise reduction. In many cases, it's a lot more efficient to use a non-Raw format unless you really require the benefits of a Raw workflow.
When shooting in 5.7K, the camera captures video in the DCI (17:9) aspect ratio.
Resolution Frame rate Chroma Comp. Codec Bitrate (Mbps) Card type 5.7K (5760 x 4320)- 29.97
- 25
- 24
- 23.98
- 29.97
- 25
- 24
- 23.98
- 29.97
- 25
- 24
- 23.98
- 29.97
- 25
- 24
- 23.98
- 59.94
- 50
- 48
- 47.95
- 29.97
- 25
- 24
- 23.98
Although 5.7K video is impressively detailed, we expect many video shooters will choose to use the camera's 4K modes unless they require flexibility to zoom or pan at the editing stage.
The GH7 can capture 4K video using either the 16:9 UHD or 17:9 DCI aspect ratio. However, ProRes and ProRes RAW are limited to the 17:9 DCI format.
Additionally, 4K ProRes RAW video comes with a 1.41x crop. By virtue of being a Raw format, it captures a native 4K region from the middle of the sensor rather than using oversampled (i.e. processed) data from the full width of the sensor.
Resolution Frame Rate Chroma Comp. Codec Bitrate (Mbps) VFR Card typeDCI (4096 x 2160)
1.41x crop
- 59.94
- 50
- 29.97
- 25
- 24
- 23.98
- 59.94
- 50
- 29.97
- 25
- 24
- 23.98
- 59.94
- 50
- 29.97
- 25
- 24
- 23.98
- 59.94
- 50
- 29.97
- 25
- 24
- 23.98
DCI (4096 x 2160)
or
UHD (3840 x 2160)
- 120
- 119.88
- 100
- 59.94
- 50
- 47.95
- 29.97
- 25
- 24
- 23.98
With such a mind-boggling number of combinations, just finding the settings you want in the camera's menus can be a challenge. Fortunately, the GH7 continues the ability to filter video modes, including by frame rate, resolution, codec, VFR mode, HLG and proxy recording capabilities, and favorites can be saved to a designated "My List" for quick access.
5.8K / 4.4K AnamorphicLike its predecessor, the GH6, the GH7 can capture 'open gate' 4:3 footage from its entire sensor. Open gate recording provides additional flexibility to zoom, pan or add stabilization in post-processing. It can also be used in combination with anamorphic lenses to leverage the full area of the camera's sensor when de-squeezed to a widescreen format.
1080 (Full HD)While not a headline feature, the GH7 retains the ability to capture the full range of full HD video modes, which are directly comparable to the camera's 4K options. This includes the choice of All-I or LongGOP codecs as well as the choice of 4:2:2 or 4:2:0 color modes.
Full HD video can be captured at frame rates up to 240fps with support for autofocus and audio recording, or up to 300fps in VFR mode without AF or audio. It can be captured in ProRes 422 and ProRes 422 HQ at up to 60p
Image quality Studio SceneOur test scene is designed to simulate a variety of textures, colors and detail types you'll encounter in the real world. It also has two illumination modes to see the effect of different lighting conditions.
If you'd like to see a comparison to more photography-oriented peers, you can view the studio scene for the G9 II, which has the same photography specs and uses the same sensor.
Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.The GH7 is capable of capturing impressive levels of detail, thanks to its 25MP sensor. At base ISO, the results are broadly comparable to its APS-C peers, though it's not quite up to the level of the full-frame Z6III.
The sensor handles noise well, outperforming its predecessor, the GH6, by a hair. It falls a short of the APS-C sensor in the X-H2S, while managing to keep a bit closer to the a6700, though it can't beat physics and match it. Predictably, the full-frame sensor in the Z6III outpaces the other models here. At very high ISOs, we observe much the same pattern.
JPEG images deliver good detail, visible in the fine stitched texture of The Beatles' clothing. It also handles natural textures, like hair, gracefully, without looking oversharpened.
At higher ISOs, the JPEG engine does a good job of controlling noise, however, this comes at the expense of fine detail, with the GH7 falling a behind the other cameras in this cohort.
The GH7 produces very good colors using its standard JPEG settings. A look at the color patches reveals slightly vibrant pinks, with subtly pale yellows and blues. In real-world photos, we found colors very natural and pleasing, similar to other recent Panasonic models we've used.
Olympus ED 40-150mm F2.8 Pro @120mm | F2.8 | 1/400 sec | ISO 1000Photo: Dale Baskin Dynamic range
A sensor with a wide dynamic range provides more latitude to boost shadows with a minimal increase in noise, and our tests show that the GH7 has ample room for pulling up shadows at base ISO. Its performance isn't quite as good as the larger APS-C sensors in this regard, falling about 2/3 EV behind the other sensors across the image, but it will mostly be in the deepest shadows where you notice the difference.
I exposed this photo for the highlights in the sky, which left the foreground very dark. I raised the shadows approximately 3.5 stops in Adobe Camera Raw to recover details in and around the road.
Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F4 | 1/20 sec | ISO 400
Photo: Dale Baskin
Dynamic range is one of the GH7's most notable improvements relative to its predecessor, the GH6. That camera exhibited significant shadow noise at base ISO, only improving from ISO 800 upwards when its DR Boost mode engaged. By implementing dual parallel gain at ISO 100, Panasonic has enabled the GH7 to be much more competitive in this regard.
Exposure Latitude | ISO Invariance
AutofocusThe most notable – and possibly most anticipated – upgrade to the GH7 is the addition of phase-detect autofocus, in the form of Panasonic's Phase Hybrid AF system.
PerformanceNot surprisingly, we found the GH7's autofocus system performed better than its predecessor, which relied on Panasonic's Depth-from-Defocus (DFD) system, delivering a more reliable, more confident experience.
The camera had no trouble identifying the bird in this photo when subject detection was set to 'Animal', even against this busy background.
Olympus ED 40-150mm F2.8 Pro @150mm | F2.8 | 1/2000 sec | ISO 1250
Photo: Dale Baskin
The camera's subject detection modes are very quick to identify subjects and work across both photo and video modes. However, subject tracking still lags behind the best-in-class AF systems we've used. Specifically, while the system is quick to identify subjects, it's not quite as tenacious at sticking to subjects as they move, particularly if they move quickly.
Video autofocusVideo is where phase-detect autofocus makes the greatest impact on the GH7's performance. DFD was notorious for not being decisive enough for video use; this frequently resulted in undesirable artifacts, most notably a slight fluttering of the image when the AF system attempted to confirm focus on a subject or predict focus when a subject started to move.
"Video is where phase-detect autofocus makes the greatest impact on the GH7's performance."We haven't encountered this with the GH7, making it much more suitable for run-and-gun use or any other application that requires autofocus, for that matter.
Subject identification and tracking work impressively well in video mode, particularly human and animal identification. Combined with phase-detect autofocus, it delivers reliable and predictable results in most situations. It's a level of confidence we haven't previously experienced when using a GH camera.
Photography autofocusSince the photography features of the GH7 are identical to the G9 II, we would broadly expect it to perform similarly, or the same, as that camera, and this has been consistent with our experience. In a nutshell, it performs very well but isn't quite as dependable as the best of its peers. One continued frustration: if the camera doesn't detect a subject right away, it will sometimes flash a red box and leave you waiting for up to a second before starting to focus.
To read our in-depth analysis of the G9 II's AF system for photography, which matches our experience with the GH7, you can read the autofocus section of our Panasonic G9 II review.
Video performance Video quality Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Panasonic's GH cameras set high expectations for video, and the GH7 continues this trend. It delivers essentially the same results as its predecessor, the GH6, though with improved dynamic range at lower ISOs (more on that below).
Straight out-of-camera, it doesn't look quite as crisp as rivals like the Fujifilm X-H2S or the Nikon Z6III. Historically, Panasonic hasn't baked quite as much sharpening into its files, resulting in a less crunchy out-of-camera look. However, those files typically sharpen up nicely in post-processing if desired, leaving a lot of flexibility for an editor.
The GH7 delivers very similar results even when shooting 4K/120p high frame rate video. In this mode, it continues to use the full area of its sensor to render oversampled 4K footage, and it solidly outperforms other video-oriented models here.
At its highest 5.7K resolution settings, the GH7 is capable of capturing quite a bit of additional detail. However, it still falls noticeably short of the level of detail generated by Panasonic's own S5II when shooting in 6K mode. For maximum flexibility, you can capture 5.7K using ProRes RAW, but you'll need to do some downstream processing to make the most of it.
DR BoostThe GH7 provides more flexibility than the GH6 to capture a wider dynamic range using an expanded range of ISO settings. For the comparison below, we shot our DR test wedge using both cameras so that the very brightest patch just reached the clipping point, as shown by the video waveforms from DaVinci Resolve Studio.
GH7 V-Log (24p)
ISO 2000
1/640 sec
F10
DR Boost
GH6 V-Log (24p)
ISO 2000
1/640 sec
F10
DR Boost
GH7 V-Log (24p)
ISO 500
1/160 sec
F10
DR Boost
GH6 V-Log (24p)
ISO 500
1/320 sec
F10
The first two buttons illustrate the impact of Panasonic's DR Boost mode. Both cameras were shot in V-Log at ISO 2000, the lowest ISO at which the GH6 supports DR Boost mode (ISO 800 when shooting in standard color modes). Since both cameras benefit from DR Boost mode at this ISO, the waveforms look very similar, as do the resulting video images.
However, the GH7 gains the ability to use DR Boost mode all the way down to its nominal base ISO of 500 in V-Log (ISO 100 in standard color modes). The next two buttons illustrate the advantage this gives it over the GH6 when shooting at ISOs below 2000: we've had to give the GH6 a whole stop less light to prevent the brightest tones in our test chart from clipping.
Note that the sensor's dual output gain system, which makes DR Boost possible, can't operate at frame rates exceeding 60p, so if you're planning to shoot at higher frame rates, you can expect the dynamic range to match that of the GH6 without DR Boost enabled.
Image stabilizationThe GH7 gains Panasonic's Active I.S. technology, first introduced on the S5II series. Active I.S. is designed to more effectively dampen dramatic movements when walking while filming or using longer lenses and takes advantage of a new, higher precision gyroscope, which it shares with the G9 II. It's not an option you can switch on and off, but something the camera does automatically.
"Active I.S. is designed to more effectively dampen dramatic movements when walking."Recent GH cameras have delivered impressive image stabilization, particularly in Boost I.S. mode, which is designed to correct all camera movement to simulate the effect of using a tripod for a stationary shot. Active I.S. is intended to play a somewhat analogous role, but when the camera is moving to deliver a smooth, if not quite gimbal-like performance when walking with the camera. In our experience, it's quite effective.
When this improved stabilization is combined with the camera's electronic stabilization modes, it turns in a very impressive performance that could be mistaken for a gimbal. It's not magic, though. As with a gimbal, it still requires good technique to get the best results, but if you can manage that, it's another useful tool in the camera's bag of tricks.
Conclusion What we like What we don't- Excellent video quality
- Phase-detect autofocus
- Internal ProRes and ProRes Raw recording
- Expanded DR Boost mode captures wider dynamic range at lower ISOs
- Impressive image stabilization in both stills and video
- Strong video workflow support
- Magnified live view during video capture
- 32-bit float audio (with XLR2 adapter)
- Real-time LUTs
- USB-C SSD support
- Autofocus can hesitate to engage if the camera doesn't immediately find something to track
- Subject tracking still lags behind peers
- DR Boost is not available at frame rates greater than 60p
At a high level, the GH7 delivers exactly what we expect from a GH camera: excellent video quality with an extensive set of tools for video shooters. It even adds some new tricks to its bag in the form of internal ProRes RAW recording and the ability to capture 32-bit float audio when used with Panasonic's XLR2 adapter.
Whereas previous GH-series cameras were primarily aimed at video shooters, Panasonic included all the photography features from its sibling, the G9 II, on the GH7. If you want Panasonic's best Micro Four Thirds camera for either photography or video, this is it – you can get it all in one package.
The inclusion of phase-detect autofocus is a hugely beneficial addition, particularly for video, and it effectively eliminates our biggest pain point with previous GH models: the tendency of the AF system to pulse or flutter during video capture as it tried to confirm or predict a subject's movement. Still, autofocus continues to be an area where the GH7 still lags behind the best of its peers, most notably in photography. It's generally quite good at identifying subjects, but it's not always as effective at tracking them.
Panasonic Leica DG 12-60mm F2.8-4.0 @12mm | F2.8 | 1/40 sec | ISO 3200Photo: Dale Baskin
It used to be that you could count on every new GH camera to be first across the line with the latest video features, and there was a time when a GH camera was the obvious go-to choice for serious video users, but the landscape has evolved. It's still one obvious choice for video aficionados, but can it still stand out in a market where almost every new model purports to be a "hybrid" camera?
In short, yes.
The GH7 sets itself apart not just with specs, but with an implementation that reflects the needs of a serious video shooter: shutter angle, a built-in fan, pro audio capture, a proven and flexible Log curve, and incredible image stabilization that's designed around videography use cases. It sports a vast, but sensible array of codecs and frame rates, and offers little touches like the ability to filter them and save your favorites to a custom list. Yes, other cameras include some of these features, but they don't all work in concert like they do on the GH7.
In essence, the GH7 is the result of continuous improvement that started with the original GH1 16 years ago, and at this point, it's pretty dialed in. If you just want a hybrid camera that excels at photos and can also capture good video, there are other options. But if you want a production tool that's been refined over generations and polished to a shine – while also being able to shoot stills when needed – the GH7 is a great choice, in a way that raw specs simply can't convey, and for that, it wins our Silver Award.
ScoringScoring is relative only to the other cameras in the same category. Click here to learn about what these numbers mean.
Panasonic Lumix DC-GH7Category: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Panasonic GH7 is a Micro Four Thirds camera with a strong focus on shooting video, and is an evolutionary upgrade from its predecessor, the GH6. The addition of phase-detect autofocus makes it more usable for run-and-gun video, and it gains 32-bit float audio recording and improved dynamic range as well. Although it's a hybrid camera with deep feature sets for both stills and video, it's really video where it excels.Good forSerious videographers who need support for a video-centric workflow.Not so good forUsers who primarily want to shoot still photos rather than video.89%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"panasonic_dcgh7","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared with its peersLike the GH7, the Fujifilm X-H2S has a long list of advanced video features, though it doesn't have the same attention to detail around those features; the GH7's more polished video toolset makes it a more dependable camera for shooting video. However, photo image quality is better, and it's worth choosing for stills even if the AF doesn't live up to its fast shooting promise. It's also the only system to rival Micro Four Thirds' range of compact lenses.
If you would prefer a purpose-built camera for video, the Sony FX30 is worthy of consideration. Its boxy body is built from the ground up for video use and includes half a dozen threaded attachment points so you can build your rig, your way. It also has more dependable autofocus and better battery life, though you'll need an external recorder to capture Raw video. Whatever you do, don't get it for photography; it's not made for it and doesn't include a mechanical shutter.
If you have a significant interest in shooting stills and don't mind its larger lenses, the Nikon Z6III is a very strong choice, with much better image quality and a more sophisticated AF system. While its video specs are competitive on paper and it's capable of producing high-quality video, the GH7's dependability and refined video implementation make it a superior choice for video work.
Finally, it's worth considering Panasonic's own G9 II, particularly if video is more of a 'sometimes' activity rather than your primary focus. It includes the exact same photography features, and all but the most advanced video options, from the GH7, but in a body that's almost 20% lighter and less expensive. Also like the GH7, it benefits from a large catalog of size-appropriate lenses that can keep your kit small if desired.
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Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Canon reveals PowerShot V1 vlogging compact, but you can't have one yet
The Canon PowerShot V1 has a 16-50mm equivalent lens. Despite its vlogging focus it can capture Raw stills, too.
Rendering: Canon
Canon has announced the PowerShot V1 large-sensor vlogging compact, but for now, at least, it is only available in Asia. We get the impression it will be made more widely available at some point in the near future but Canon is giving no details.
The V1 is a "video-first" compact camera with a 16-50mm equivalent, F2.8-4.5 zoom lens. It's built around a 22-megapixel Type 1.4 (18.4 x 12.3mm) sensor with Canon's Dual Pixel AF II system. It features a fully articulating rear display and a windscreen for its top-mounted microphones, but no built-in flash or electronic viewfinder.
Key specifications:- 22MP Type 1.4 (18.4 x 12.3mm) Dual Pixel AF CMOS sensor
- 16-50mm equiv. F2.8-4.5 zoom lens with 3EV ND filter
- Full-width 4K up to 30p from 5.7K capture
- 4K/60p from a 1.4x crop (1:1 pixel capture)
- Up to 30 fps stills capture in e-shutter mode
- Cooling fan for extended video recording
- Wired or wireless video streaming
- Multi-function hotshoe for flash or audio accessories
- Fully-articulated rear touchscreen
- Headphone and mic sockets
The camera has a control ring around its lens, but we don't know if it rotates smoothly or clicks when turned.
What is a Type 1.4 sensor?The sensor is essentially the same size as a Four Thirds chip, but in the wider 3:2 aspect ratio. Its pixel size matches that of the 33MP EOS R7, strongly suggesting it is a variant or cropped version of that sensor: an approach Canon previously took with its G1X series of large-sensor enthusiast cameras.
Conceptually, the Canon PowerShot V1 is essentially akin to a PowerShot G1X Mark II (pictured), mixed with Sony's ZV-1 Mark II vlogging compact.
Photo: Richard Butler
The V1 can shoot 4K video at up to 30p using 5.7K readout from approximately the full width of its sensor, or can deliver 60p from a 1.4x cropped region. As with the EOS R7, that equates to a roughly 1:1 pixel region of the sensor. The camera has a built-in fan, and we're told it can shoot 4K/60 for over two hours if you set the overheat threshold to 'High.'
Even with that 1.4x crop, the 8.2-25.6mm lens still gives a 26-71mm equivalent field of view when shooting 60p video.
We were impressed by the sensor in the EOS R7, so the idea of a compact that can shoot Raw using a cropped version of that sensor is an attractive one. That's especially true as the V1 has the Human and Animal detection modes from the R7, and full P,A,S,M control modes.
Video capabilities Rendering: CanonThe V1 can capture 10-bit Log footage using the Canon Log3 response curve, giving the option to color grade after shooting. It can also tether to a smartphone over USB and Wi-Fi and, if connected to a computer, be used as a video camera for streaming.
The new compact has optical stabilization that can be combined with electronic stabilization in video mode. There's also a 'Subject Tracking IS' mode that uses the stabilization (optical and digital) to maintain the subject's position in the frame and correct for motion.
The camera also has dedicated movie scene modes for "close-up demos," where the autofocus will override face detection if you hold something up close to the camera and one that applies a skin-smoothing effect to the output.
Rendering: CanonThere are mic and headphone sockets to enable high-quality audio capture, along with Canon's multi-function hot shoe connector, which allows the use of audio accessories and a range of flashguns. The camera has an in-lens shutter, which should allow flash sync across its shutter speed range. There's also a built-in 3EV neutral density filter to allow the use of video-appropriate shutter speeds when shooting in bright light.
For now, the PowerShot V1 is only being released in Japan, China, Korea, Hong Kong and Taiwan, with the company saying it will be available in late April 2025. Our first chance to get our hands on it will be at the CP+ trade show in Japan next week.
Canon PowerShot V2 specifications Body typeBody typeCompactSensorMax resolution5750 x 3840Effective pixels22 megapixelsSensor photo detectors24 megapixelsImageWhite balance presets6Custom white balanceYesImage stabilizationOpticalImage stabilization notes5.0EV correction (center)CIPA image stabilization rating5 stop(s)Uncompressed formatRAWFile format- JPEG, HEIF, CR3 Raw
- P, Tv, Av, M, Scene Intelligent Auto, SCN, Creative Filter
- Multi
- Center-weighted
- Partial
- 3840 x 2160 @ 60p, MOV, H.265, Linear PCM
- 3840 x 2160 @ 50p, MOV, H.265, Linear PCM
- 3840 x 2160 @ 30p, MOV, H.265, Linear PCM
- 3840 x 2160 @ 25p, MOV, H.265, Linear PCM
- 3840 x 2160 @ 23.98p, MOV, H.265, Linear PCM
- 3840 x 2160 @ 60p, MOV, H.264, Linear PCM
- 3840 x 2160 @ 50p, MOV, H.264, Linear PCM
- 3840 x 2160 @ 30p, MOV, H.264, Linear PCM
- 3840 x 2160 @ 25p, MOV, H.264, Linear PCM
- 3840 x 2160 @ 23.98p, MOV, H.264, Linear PCM
If you are into photography, this isn't the iPhone for you
Apple has announced its latest iPhone in an expansion of the iPhone 16 lineup. The iPhone 16e is the lineup's cheapest model, essentially serving as a replacement for the budget-focused iPhone SE, though at a not as budget-friendly price. While the 2022 iPhone SE started at $429, the iPhone 16e is available for pre-order for $599. Even though it's not exactly cheap, it is $200 less than the standard iPhone 16.
The iPhone 16e features the latest A18 chip and the brand new Apple C1 modem. It is the first iPhone to use a modem developed by Apple itself, which Apple has been trying to do for years. The 6.1-inch OLED display is the same size as the standard iPhone 16, so those hoping for the return of a smaller model are out of luck. Apple also killed off the iPhone's Touch ID interface with the 16e, instead relying on the Face ID-enabled notch.
While Apple built the iPhone 16e with plenty of new and advanced technology, as a budget model, it naturally comes with compromises to keep the price relatively low. Unfortunately, the camera system on the 16e seems to take the biggest hit with only a single rear facing camera.
A sample from the iPhone 16e's 48MP Fusion camera.
Photo: Apple
Instead of the multi-camera array we've got used to seeing on modern phones, the 16e relies on a single 48MP module with a 26mm equiv F1.6 lens. By default this is used to deliver 24MP images, giving a result mid-way between the 12MP resolution of the filter array and the 48MP resolution of the photo sites.
Apple describes it as a "two-in-one camera system," which it says can "zoom with optical quality," up to 56mm equiv. to give a telephoto option. This is a rather grandiose way of saying that it crops in to use the central quarter of its sensor. Even with the benefits of combining multiple images, using a significantly smaller sensor area will mean lower image quality than using the full chip.
It's an approach we first saw in the iPhone 15 models, where a 12MP region of the 48MP sensor is used to deliver a 2x 'zoom.' The central quarter of the sensor does have 12 million photosites but these will almost certainly be behind a Quad Bayer-style 3MP array, so the results will need to be re-interpreted to give 12MP output.
And while Apple describes that both the 26mm equiv camera and 52mm equiv crop are taken using an F1.6 lens, this is slightly misleading in that the photographic impact of F1.6 changes with sensor size.
Portrait mode on the iPhone 16e.
Photo: Apple
Both of the rear facing cameras offer optical image stabilization. As is expected for smartphone cameras these days, they rely on computational photography and provide access to Apple's Night mode and Portrait mode. Beyond the 2x telephoto offering, the phone offers 10x digital zoom. The front of the phone features a standard 12MP F1.9 selfie camera. For video, the iPhone 16e promises "stunning videos" in up to 4K resolution with Dolby Vision up to 60 fps.
Naturally, Apple still promises excellent image quality across the board. It certainly is a significant step up from the iPhone SE, which only offered a single 12MP main camera and no Dolby Vision video. Additionally, the iPhone 16 and 16 Plus both feature a 48MP Fusion camera, which provides excellent results despite the reliance on what is effectively virtual zoom. The 16 and 16 Plus, though, have the addition of an ultra wide camera as well. That is not the case on the 16e, so users will be more limited on the new model.
For those who want a smartphone camera for capturing for memories and to serve as, well, a phone, the iPhone 16e is certainly a worthy device. But photography enthusiasts or those looking to get the most out of their smartphone camera will likely be a bit disappointed and limited by the camera setup.
Adobe celebrates 35 years of Photoshop with a new video series
Though it doesn't seem possible, Photoshop is turning 35 today. Naturally, the powerful photo editing platform has undergone much growth and change since its launch in 1990. To celebrate the milestone and the inspiring stories of those who use Photoshop, Adobe has announced a new content series on YouTube with Adobe's Russel Preston Brown, Sr. Principal Designer as host. Brown is the longest-standing employee to date at Adobe, having worked for an incredible 40 years at the company.
The inaugural episode features a conversation between Brown and Joel Grimes, a professional photographer who has been recognized as a Canon Legend Photographer and a Top Pro Elite Photographer by FJ Westcott. Their conversation explores how far photography has come in the past few decades and how Photoshop has evolved over the years. The pair discusses the transition from film to digital and how tools in Photoshop evolved from analog techniques. "Going from film to digital was very painful, but I had the greatest revelation I’ve ever had in photography – that is, I’m just an artist with a set of tools," Grimes explains in the video. "There’s no definition that’s going to bind me to one way of doing something."
The conversation is interesting, even covering where the name Photoshop came from. But at nearly 30 minutes long, you'll want to be sure to set aside some time to sit down and watch.
Along with the video, Adobe has shared a blog post highlighting key Photoshop milestones over the years, "from the release of Photoshop 1.0 in 1990 and its pivotal contributions to Hollywood, to the product’s ongoing evolution through the 2000’s and what’s still to come."
GoPro quietly announces a refresh of its Max 360 action camera
Rumors have been swirling for quite some time, but GoPro has finally officially (and quietly) announced an update to the Max 360, its 360-degree action camera. It first released the original GoPro Max 360 in 2019, so it was quite overdue for an update. Unfortunately for fans of the camera, a five-year wait didn't result in any groundbreaking changes and the updates are very minor. The fact that it shares the exact same name as the previous model is perhaps a hint that there isn't much new going on.
GoPro's blog post announcing the news only dedicated two sentences to the actual camera: "The 5.6K spherical camera now comes with a MAX Enduro Battery and an upgraded mounting system, making it compatible with all standard ¼-20 tripod mounts. All for only $349.99 MSRP." That's it.
The new Max 360 will feature the folding mounting fingers found on recent GoPro Hero Black cameras and a standard tripod mount. It will also use the larger-capacity Enduro Battery, though GoPro doesn't provide any details as to the expected battery life. The rest of the hardware, including its 5.6 K resolution, remains the same as the 2019 model.
View this post on InstagramA post shared by GoPro (@gopro)
Instead of focusing on hardware, GoPro prioritized software changes via the GoPro Quik app. One of the benefits of shooting 360-degree video is greater editing flexibility; indeed, GoPro is leaning on that. The Quik app will offer AI-Powered Object Tracking. You will be able to pick a subject, and then the app will use AI to keep that subject in view and in focus for the entirety of the clip. It should make editing footage from the camera much faster and easier than manually adjusting framing as a subject moves around the 360-degree field of view.
The Quick app will also take advantage of all the data the camera captures to create new camera effects, such as backflips, barrel rolls and more, with only a tap. Plus, you can set your view where you want it using Reframe if you want manual control over the 360-degree footage. Those who prefer desktop editing will also be able to take advantage of the "magic of Reframe" with a new GoPro Reframe plugin for Adobe Premiere Pro and After Effects.
Photo: GoPro"MAX never misses—and that’s why it’s the go-to 360 camera for the world’s most creative athletes, adventurers and content creators. Getting ‘the shot’ has never been this easy," says GoPro Founder and CEO, Nicholas Woodman. "And with the Quik App’s new 360 editing experience, featuring AI-powered Object Tracking and simplified but powerful editing tools, it’s never been this easy or fun to edit your 360 content into amazing sharable moments."
GoPro added that more 360-degree editing tools are in the works. "And this is just the beginning,” Woodman adds. “We’re excited to launch powerful new app features on an ongoing basis to keep taking the GoPro 360 experience further and further this year." Hopefully, that investment in 360 will eventually turn into a truly updated camera, though at least GoPro is catching up with editing tools already available for Insta360 users.
Photo: GoProIt isn't clear whether these software updates will benefit existing Max 360 users. Given that the changes are in the GoPro Quik app, it seems likely they will, though GoPro hasn't specified.
Perhaps the biggest change for the Max 360 is the price. It originally sold for $500. Luckily, GoPro is dropping the price of the 2025 model to $350. It is available for purchase as of today through GoPro's website.
Buy now: $350 at GoProInsta360's new accessory unlocks the Flow 2 Pro gimbal for Android users
Insta360 released its highly popular Flow 2 Pro smartphone gimbal a month ago with an impressive list of features and tools. Unfortunately for Android users, though, those features were specific to iPhone users, leaving them unable to take advantage of the powerful stabilizer. Now, though, Insta360 has announced a new accessory, dubbed the AI Tracker, that unlocks the Flow 2 Pro for Android phones.
The Insta360 AI Tracker uses a dedicated camera to enable tracking no matter the operating system or app.
Image: Insta360
Insta360 calls the Flow 2 Pro AI Tracker "the ultimate add-on to take your mobile content to the next level." The company designed the device to enable support across Android phones along with a greater number of apps. That means that even iPhone users benefit from this little accessory. To accomplish greater compatibility, the AI Tracker features a dedicated camera. It connects to the gimbal using a USB-C connection, allowing it to track subjects independently no matter what phone is attached to it or what app is being used to record.
The AI Tracker relies on Insta360's AI tracking algorithms. As the product's name suggests, it uses AI recognition to keep subjects framed, even if there are obstructions or multiple subjects. The AI system also works on cats and dogs. Plus, it enables hand gestures to activate tracking, just like iPhone users have access to on the Flow 2 Pro.
The Insta360 AI Tracker also features an integrated light with adjustable brightness and color temperature.
Image: Insta360
This little accessory also has a built-in LED light, offering three brightness levels and three color temperature settings for greater control over how you light your subject. It is a simple plug-and-play device that can be used without adjusting any settings.
The Flow 2 Pro AI Tracker is available as of February 17. If you already own the Flow 2 Pro, you can purchase the AI tracker as a standalone accessory for $40. If you want to buy the AI tracker with the Flow 2 Pro, you'll have to wait a little longer. Insta360 says that the AI Tracker Bundle is "soon-to-launch" for $179, though didn't provide a specific date.
Buy now: $40 at Insta360DJI's latest gimbal comes in two flavors for casual users and pros
DJI has announced its latest smartphone gimbal, which is available in two varieties. The Osmo Mobile 7 is the more affordable option for casual users, while DJI designed the Osmo Mobile 7P for pro-level users. Both models are compact and lightweight and offer one-step unfolding, Apple Watch control, an integrated extension rod and a built-in tripod, just like their predecessor. However, there are some noteworthy changes as well.
Image: DJIInterestingly, DJI did away with the side wheel on the Osmo Mobile 7, even though it was a new feature on the Osmo Mobile 6. In its place is what appears to be a more simple rocker. DJI kept the side wheel on the Osmo Mobile 7P, however. It promises more cinematic control, offering the ability to adjust focal length, smooth zoom control, and manual focus. Additionally, a long press of the side wheel enables control over the fill light, including brightness and color temperature.
Both models of the new gimbal feature DJI's seventh-generation three-axis stabilization and ActiveTrack 7.0, which DJI calls its "most advanced tracking technology." When paired with the DJI Mimo app, the Osmo Mobile 7 and 7P will automatically adjust to track subjects, even in crowds or when working with active subjects. It can also detect multiple subjects, allowing users to lock onto one or switch between subjects with a tap.
The new Multifunctional Module adds a fill light and extra controls.
Image: DJI
The Osmo Mobile 7P gets the added benefit of the new Multifunctional Module. With this new tool, users can access robust tracking with their phone's native camera, live streaming apps or another camera app. It attaches to the gimbal with a magnetic clip and enables hand gestures to take photos, start or stop recording, activate tracking or stop intelligent tracking. Additionally, the Multifunctional Module includes integrated light control, allowing users to change color temperature and brightness. It can also function as a microphone receiver through its USB-C port while providing extra power to your phone.
While the Osmo Mobile 7 doesn't come with the Multifunctional Module, it is compatible with the new accessory and is available for purchase separately.
Both the Osmo Mobile 7P and 7 promise up to 10 hours of battery life. That is quite the boost from the 6 hours and 24 minutes of battery life promised by the Osmo Mobile 6.
The DJI Osmo Mobile 7 and 7P are available for purchase starting today for $89 and $149, respectively.
Buy now: $89 at DJIPress release:
DJI Delivers Next-Level Intelligent Smartphone Photography with Osmo Mobile 7 SeriesNew Flagship Phone Gimbal Features Seventh Generation DJI Stabilization Technology and ActiveTrack 7.0 Technology
February 18, 2025 - DJI, the global leader in civilian drones and creative camera technology, today launches the Osmo Mobile 7 Series. This new generation of phone gimbal takes three-axis stabilization and intelligent tracking to new heights. Both the Osmo Mobile 7P and Osmo Mobile 7 feature DJI’s seventh-generation stabilization, ActiveTrack 7.0 technology¹, and a range of intelligent features for capturing cinematic-quality footage on a smartphone.
“From award-winning filmmakers to short-form content creators, DJI continues to expand our ecosystem of creative camera technologies and push the industry forward,” said Ferdinand Wolf, Product Experience Director at DJI. “With the Osmo Mobile 7 Series’ latest advances in intelligent tracking and camera stabilization, capturing beautiful, professional content with a smartphone has never been easier.”
The Osmo Mobile 7P features a more powerful three-axis smartphone stabilizer that maintains the lightweight, portable, and robust tracking capabilities of the Osmo Mobile 6. With the new Multifunctional Module¹, creators can easily track subjects and it includes integrated light control with multiple color temperature and brightness levels. When the Multifunctional Module functions as a microphone receiver, its USB-C port can be connected to your phone to deliver high-quality audio transmission while also providing extra power. It is also easy to set up thanks to the quick one-step unfolding, integrated extension rod, and built-in tripod.
The Osmo Mobile 7 is the lightest gimbal in its class, weighing about 10 ounces (approximately 300 g). Like the Osmo Mobile 7P, it features a compact design and is easy to use, but at a more entry-level price. It also allows for quick unfolding, a built-in tripod, one-step storage, and can support the Multifunctional Module (sold separately).
Power of the Multifunctional Module
The Multifunctional Module allows creators to easily track subjects using their smartphone’s native camera, live streaming apps, and other camera apps. It can accurately maintain focus in a crowd or reacquire a subject if they re-enter the frame after leaving briefly. The module can be easily attached to the gimbal with a simple magnetic clip and controlled using hand gestures1 to take photos, start or stop recording, activate tracking, or adjust a composition.
- Showing your palm to the module starts or stops intelligent tracking.
- Making a “V” gesture takes a photo. It can also start or stop video recording.
- Making a “Double L” gesture with two hands adjusts a subject’s framing.
ActiveTrack 7.0: Smarter Than Ever
When paired with the DJI Mimo app1, the Osmo Mobile 7 Series can use ActiveTrack 7.0. As DJI’s most advanced tracking technology, ActiveTrack 7.0 enables the gimbal to adjust to track subjects and follow their movements automatically, even in a crowded or active environment. Smart Capture allows the gimbal to detect multiple subjects, and users can direct the gimbal to lock onto one subject or switch to a different subject with a simple tap. Smooth tracking enables the gimbal to pinpoint the shooter’s preferred focus accurately and maintains continuous tracking even if the subject is obscured or moving rapidly.
Other Standout Features
- Side Wheel for More Cinematic Control: Creators can adjust the focal length for a more flexible composition and a smoother zoom or switch to a manual focus. Additionally, a long press enables control over the fill light, making it easy to adjust brightness and color temperature, thus simplifying your shooting experience.
- Compatible with Apple Watch1: Using the DJI Mimo app, creators can use their Apple Watch as a smart remote for the gimbal, remotely controlling their shoot and camera feed.
- Up to 10 hours of operational time¹.
Price and Availability
DJI Osmo Mobile 7 Series is available to order from store.dji.com and authorized retail partners, with shipping starting today, in the following configurations:
Osmo Mobile 7P retails for $149.
Osmo Mobile 7 retails for $89.
Accessories available include:
- DJI OM Magnetic Quick-Release Mount
- DJI Mic Mini Transmitter
- DJI OM 7 Series Tracking Kit
- DJI OM Grip Tripod
DJI Care Refresh
DJI Care Refresh, the comprehensive protection plan for DJI products, is now available for Osmo Mobile 7P and Osmo Mobile 7. Accidental damage is covered by the replacement service, including natural wear, collisions, and water damage. For a small additional charge, you can have your damaged product replaced if an accident occurs.
DJI Care Refresh (1-Year Plan) includes up to 2 replacements in 1 year. DJI Care Refresh (2-Year Plan) includes up to 4 replacements in 2 years. Other services of DJI Care Refresh include official warranty, international warranty service and free shipping. For a full list of details, please visit https://www.dji.com/support/service/djicare-refresh.
For more information, please refer to https://www.dji.com/osmo-mobile-7-series.
1 All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to https://www.dji.com/osmo-mobile-7-series.
Winter Games: Our February Photo Challenge is open for submissions
I shot this photo back in 2006 during a snowshoe trip sponsored by The Mountaineers, a Seattle-based outdoor organization that I've been a member of for many years, using my first DSLR, the Canon EOS 20D, along with my brand new Sigma 18-50mm F2.8 EX DC lens. It was the first time I had either out in winter conditions, and they both passed the test with flying colors.
Photo: Dale Baskin
Our February Editors' photo challenge is now open for submissions.
The theme for February is 'Winter Games', so show us your winter photos! Whether it's classic winter sports, building a snowman, or just enjoying the year's coldest season, we want to see what winter fun looks like through your lens.
Our favorite images will be featured on the DPReview homepage later this month.
Are you in the southern hemisphere? No worries – this challenge is open to photos taken at any time.
Important: Images MUST include a title and a caption of at least 25 words to be eligible. Viewers want to know the story behind your photo. We will consider both photos and captions when selecting our winners, so make sure to tell us that story! (Hint: the caption for the photo above is a good example.)
Photos can be submitted between Sunday, February 16, and Saturday, February 22 (GMT).
Visit the challenge page to read the full rules and to submit your photos for consideration.
Accessory Roundup: lights, camera, action
Welcome to the weekend everyone! For this accessory roundup, we're going to look at some new lights, especially small SSDs, and more. But first, as always, the deals.
High performance, low(er) pricesIf you want a Canon camera that's extremely competent at shooting sports, but that's not quite as expensive as the sports/action flagship EOS R1, the EOS R3 can now be had for $500 off its MSRP.
Buy now:
Buy at Amazon.comBuy at B&H PhotoBuy at MPB Photo: Richard ButlerIf you prefer single-grip cameras that are still about as capable as they come, the venerable Nikon Z8 is on sale again for $600 off.
Buy now:
Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Viltrox's lightsaber Image: ViltroxMany readers will be familiar with Viltrox's lenses, but the company is also active in the lighting space. It recently announced the K90 RGB light stick, which is more or less exactly what its name implies: a 97cm tube that can output up to 30W of light in a wide variety of colors. While the lights – which come in a two pack – can be used in a traditional lighting setup, they're also interesting as practicals that you can see in the photo or video itself.
The K90 has a built-in battery that charges via USB-C, which Viltrox says should be able to run the lights at full power for around 70 minutes. It features on-body controls, as well as compatibility with the company's app.
Buy at Amazon For the tablet fans Image: WacomPen tablets can be a great tool for editing your photos, and giving your wrists a break from using a mouse. And, in case you missed it, Wacom has just updated its flagship Intuos Pro tablets to improve the controls, pen, and aspect ratio – the new version is a better match for today's 16x9 displays. If you want a deeper drive, we covered the launch in its own article, which you can read here.
$380 at B&H Small SSDs Image: SeagateHigh-performance, portable SSDs are nothing new, but the latest generation is taking the concept even further. Seagate's new "Ultra Compact SSD" lives up to its name by being about the size of an old-fashioned flash drive. However, it can store up to 2TB of data, and will let you access it at up to 1,000MBps via its USB-C 10Gbps interface. It's also compatible with Android and iOS devices, which could be useful for those looking to record using the iPhone's highest-end codecs and frame rates, which require an external drive.
Buy at B&H Image: PlanckPhone recording is top of mind for the Planck SSD, which is designed to sit flush against the bottom of your phone, instead of protruding popsicle stick-style like the Seagate. The specs are similar to the Ultra Compact SSD, but the Planck does come with a bit of a caveat. It's currently being sold via a Kickstarter campaign, which means there's no guarantees that you'll actually get one should you decide to back the project. We always advise taking caution around crowdfunded products, especially ones from less established brands.
Light Rain Image: GodoxIf you want to be able to light a scene no matter what the conditions, you now have more options than ever – provided you work at a movie studio, or have the same funding as one. Both Nanlux and Godox have released new lights that promise to put out a ton of light while also being weatherproof.
Besides its IP65 weather resistance rating, the Godox P1200R Hard Pro is a relatively standard 1200W RGB light panel. It promises flicker-free light, controllability via a variety of standards, including an app, and a relatively compact build given the amount of light it's designed to put out.
Image: NanluxThe Nanlux Evoke 5000B, is a 5200W spotlight that also supports a weather resistance rating – IP66, this time – but it has a new trick up its sleeve. The company claims that it's the only light in its class that supports adjusting both its color temperature and its green/magenta values.
Neither light is aimed towards photographers, or priced for anyone other than serious professionals – the Godox is around $5300, while the Nanlux will run you $14,800 – but they do show what's possible with today's technology. With any luck, we'll start to see similar features start to trickle down to more consumer-focused lights.
Pro KitWe sometimes like to include videos or essays that aren't necessarily accessories, but that offer some insights or knowledge about the art of photography. This week's entry is a YouTube video by Kym Illman, where he goes over what gear he uses to professionally shoot F1 races.
Getting a look at someone's camera bag is always a fun experience, and can help inspire some changes to your own setup. However, it becomes even more interesting when that person is a working pro – it's a perspective we don't always get to see, so cheers to Illman for sharing his knowledge and gear.
This lens from a classic brand brings retro looks to M-mount
Cosina's latest offering is shrinking things down for M-mount. The Voigtländer Color-Skopar 35mm F3.5 Aspherical VM manual focus lens is just 14mm (0.5in) thick, meaning it barely sticks out from the lens mount. It also only weighs 99g (3.5oz). The slim, lightweight design design combined with the 35mm focal length makes it an ideal option for street or travel photography.
While such a thin design allows for a discreet shooting experience, it does limit room for both a focusing and aperture ring. As a manual-focus lens, it is important to have an easy way to change focus. As a result, Cosina opted for a focusing lever instead of a ring, making it easier to adjust focus despite the limited real estate.
A screenshot from the announcement video shows how to use the focusing lever.
Image: Cosina
Cosina still managed to include a filter thread, making the lens compatible with 34mm filters. It also comes with a dedicated hood. The retro-looking lens is made of brass and is available in either black or silver finishes. Its optical design comprises six elements in four groups. It features 10 aperture blades.
Cosina didn't provide an exact date for availability but says it will arrive in March 2025. The expected retail price is listed at ¥102,000 ($670 at the time of writing) for silver and ¥105,000 ($689) for black.
Tokina's super wide-angle mirrorless lens is coming to Fujifilm X-mount
Tokina has announced that its first super wide-angle zoom lens designed exclusively for mirrorless cameras will be coming to Fujifilm X-mount. The company initially released the atx-m 11-18mm F2.8 for Sony APS-C cameras in 2022. The Fujifilm version is identical in all but subtle ways to the E-mount model, though it will result in a 16.5-27mm equivalent field of view on Fujifilm cameras.
Beyond the distinct equivalent fields of view, the differences between the two mounts are extremely small. The X-mount model weighs ever so slightly less, at 320g (11.3oz) versus the 335g (11.8oz) E-mount version. The only other change is that the Tokina text is blue on the new mount, as opposed to the white text found on the E-mount model.
Image: TokinaOtherwise, the lenses share the same optical design and features. Like the original, Tokina promises "impressive resolution" across the zoom range, along with high contrast and low distortion. It designed the compact zoom as a hybrid lens, offering precise autofocus in both still and video modes. It provides a minimum focusing distance of 0.19m (7.5in), making dramatic wide-angle images possible.
The new model offers full compatibility with Fujifilm cameras. That includes image stabilization, MF Assist mode, eye detection and optical corrections. It will be available for $599 beginning on March 14.
Press release:
Tokina atx-m 11-18mm F2.8 X worldwide sales date announcementFeb 14, 2025
Kenko Tokina Co., Ltd. is proud to announce the sales release of the Tokina atx-m 11-18mm F2.8 X lens for Fujifilm APS-C size mirrorless cameras.
Sales will commence on March 14, 2025.
OverviewThe Tokina atx-m 11-18mm F2.8 X is the first super wide angle zoom lens in Tokina's product line-up designed exclusively for mirrorless cameras. It features a fast f/2.8 aperture throughout the zoom range, and a 11-18mm (17-27mm in 35mm equivalent) zoom stored in a compact and lightweight body for hybrid users who shoot stills and video.
The atx-m 11-18mm F2.8 X performs impressive resolution from the wide to tele end of the zoom. This lens boasts high contrast and low distortion, and quick and precise AF response in still and video modes. It is fully compatible with Fujifilm camera functions.
With its compact design, versatile focal length and optical quality, the Tokina atx-m 11-18mm F2.8 X is the perfect gear for shooting landscape, group photos, environmental portraits, architecture, astrophotography, automobile photography, street snaps, documentary videos and vlogging.
Highlighted Features- 11-18mm super wide angle zoom for dynamic video or landscape, architecture and astrophotography genres.
- Fast f/2.8 aperture throughout the zoom range for shallower depth-of-field, and 9 blades rounded diaphragm for soft bokeh background.
- Compact and lightweight design to carry while traveling, or attaching to gimbals.
- 2 aspherical and 2 super low-dispersion glass elements suppress chromatic aberrations.
- Superb resolution with rich color reproduction, low distortion and low light fall-off.
- Short minimum focusing distance to create unique wide-angle images with perspective effect.
- Full compatibility with Fujifilm cameras, including Image Stabilization, AF+MF, MF Assist mode, Eye Detection and optical corrections.
- Micro USB port (Type B) for firmware updates.
Harman is sharing some film love this Valentine's Day
Harman has announced a new 35mm film, expanding the options for analog photographers looking for unique colors. The United Kingdom-based company produces film under the Harman Photo, Ilford Photo and Kentemere brands, making a range of products for analog photographers. The company's latest film, Red 125, takes things to the more unique end of the spectrum, much like Lomography's Redscale offering. It says this release builds on the 2023 launch of Phoenix 200 and is "part of the company's long-term colour journey."
Red 125 is a professionally finished ISO 125 redscale film. Redscale is the effect of shooting through the back of color film, exposing the red-sensitive layer first. “By doing this you are exposing your image through the film’s base and the red sensitive layer first, creating amazing results primarily consisting of reds, oranges and yellows," explains Giles Branthwaite, Sales & Marketing Director. It's not a look for everyone or every situation, but can be a fun option to play with. “The high red sensitivity and lack of anti-halation layer make our Phoenix emulsion the perfect candidate for converting into a redscale film,” adds Branthwaite.
Harman Technology explains that the film is "backed by the recent announcement of significant capital investment in both operational and research & development functions, sales from this film will continue to be reinvested to support a roadmap of future colour films." It's exciting to hear that more new emulsions could be in the works.
Photo: Sue Evans / Harman PhotoHarman made Red 125 to offer a fair amount of flexibility. It says it has a usable exposure range of EI 50-400, but suggests shooting between EI 100-200. The look can change depending on the exposure and colors in a scene, ranging from "strong 'apocalyptic' looking bright orange and red tones to more subtle orange and green tones with delicate shadows."
The company explains that under-exposure results in coarser grain with more prominent shadows and deeper reds. In comparison, over-exposure produces fine grain, brighter, more contrast-heavy images with varying tones. Normal exposure results in more consistent orange tones with softer shadows.
Harman Red 125 uses a DX-coded cassette, so capable cameras can read relevant information about the film automatically. It also uses standard C41 processing, making it easy to develop.
The new film is available today through a range of retailers. You can find out more and find retailers at the Harman Photo website.
Buy now: $14 at B&H Sample photos Photo: Alex Doran / Harman Photo Photo: Michelle Parr / Harman Photo Photo: Sue Evans / Harman PhotoThe best cameras around $2000 in 2025
Updated: February 14, 2025
These days, $2000 gets you a lot of camera. The picks on our list are high-spec options that are excellent for stills and video, and many have autofocus systems that come close to the performance of professional sports cameras.
Choosing a camera means committing to the ecosystem of lenses that are available for it, so we advise looking into the price and availability of the types of lenses you'd like to shoot with. It's also worth noting that some camera manufacturers are more restrictive of what options third-party lens makers can provide, so be sure to look at that during your lens research.
Speaking of lenses, it's also worth considering that the latest lens designs for mirrorless cameras regularly out-perform their older DSLR counterparts. If you have any lenses already, you may want to think about whether they're worth keeping around and adapting to a new system, or whether you'd be better off selling them and using the proceeds to buy modern equivalents of your most-used lenses. This option also gives you a path to switching brands, if you feel there's a compelling reason to do so.
Our Recommendations- Best camera around $2,000: Nikon Z6III
- A close second: Canon EOS R6 II
- Best camera under $2,000: Nikon Zf
- The compact option: Sony a7C II
- The do-anything traveler: OM System OM-3
- Best for vlogging: Sony ZV-E1
- A fixed lens option: Fujifilm X100VI
25MP full-frame 'Partially Stacked' CMOS sensor | 6K/60p N-Raw video | 5.76M dot OLED 0.8x EVF
Photo: Richard ButlerBuy now:
Buy at Amazon.comBuy at AdoramaBuy at B&H PhotoBuy at MPB What we like:- Very good image quality
- Good autofocus tracking with auto subject recognition mode
- Extensive choice of video resolutions and codecs
- Peak dynamic range lower than peers
- N-Raw video format has limited support
- Nikon controls 3rd-party lens options
Read our full review of the Nikon Z6III
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. A close second: Canon EOS R6 II24MP Dual Pixel AF CMOS sensor | 40fps burst shooting | 4K/60 from 6K capture
Photo: Dale BaskinBuy now:
$2399 at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:- Simple, powerful AF for stills
- Fast 40fps shooting with continuous AF
- Excellent battery life
- AF less reliable in video mode
- SD cards limit burst duration
- E-shutter can distort fast-moving subject
It's hard to overstate how evenly matched the EOS R6 II and our overall winner, the Z6III, are. Nikon's latest beat the Canon by a hair on the strengths of its video specs – including its better autofocus performance when shooting video – and its slightly nicer viewfinder. If you don't shoot video, your choice between the two should purely be dictated by the two companies' lens lineups and how they match your preferences... with the knowledge that they both tightly control which lenses third parties like Sigma and Tamron can produce for their systems.
The R6 II has a substantial hand grip and well spaced controls that pair with a simple touchscreen interface and logically-arranged menu system. It fits comfortably in the hand even with larger lenses. Autofocus performance is consistently reliable, even when capturing images at 40fps. A wide variety of subject detection modes and a surprisingly clever 'Auto' detection mode allow the camera to choose appropriate AF areas and algorithms for many commonly-photographed subjects. The EOS R6 Mark II is a great stills and video camera, with fast burst shooting being its standout feature. Rolling shutter is surprisingly well controlled in 40fps electronic shutter mode, though like most of its peers, the R6 Mark II drops to 12-bit capture, reducing dynamic range. In the less fast modes, the image quality is excellent. Video is substantially improved over the original R6, with full width oversampled 4K up to 60p, and greatly improved thermal management. Video autofocus still has a tendency to jump to the background, requiring the user to continually redirect the camera to your chosen subject while filming. Aside from the maximum burst rate, the Canon R6 Mark II might look like a minor upgrade from its 2020 Camera of the Year precursor, but the impressive number of small improvements add up to one of the most well-rounded full-frame cameras in its price range.Read our full review of the Canon EOS R6 II
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best camera under $2,000: Nikon Zf24MP full-frame BSI CMOS sensor | Full-width 4K/30 video, cropped 4K/60 | Stabilization rated to 8EV
Photo: Richard ButlerBuy now:
Buy at Amazon.com$1997 at B&H PhotoBuy at MPB What we like:- Distinctive design with direct controls
- Effective subject recognition
- Strong stills and video features
- Weight and minimal grip can become uncomfortable
- Slow MicroSD second slot
- Few custom buttons
Read our full review of the Nikon Zf
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The compact option: Sony a7C II33MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system
Photo: Richard ButlerBuy now:
$2198 at Amazon.com$2198 at Adorama$2198 at B&H Photo What we like:- Big camera features in a small body
- Outstanding AF performance
- Auto Framing video mode
- No joystick control
- No fully mechanical shutter
The Sony a7C II is a compact, full-frame mirrorless camera with a 33MP BSI CMOS sensor.
The a7C II's viewfinder is a little small and rather low resolution for this price, but it's part of what helps the camera stay so compact. Modern full-frame lenses are often so large as to make the difference in camera size fairly trivial but Sony's E-mount has the widest range of lenses available, so there are some relatively compact options.
The a7C II is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly and brings it closer to its peers. A fully articulating screen anchors the back and features an extremely responsive touch interface. Unlike many cameras at this price, there’s no joystick control. Autofocus performance on the a7C II is fantastic and is helped by having a processor dedicated to handling machine learning-derived algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in both stills or video. 10 fps burst shooting with continuous AF results in a dependably high hit rate. “The a7C II is a surprisingly capable camera for its size.” The a7C II's 4K/30p video is downsampled from 7K, but with fairly high rolling shutter. There's also 4K/60p from an APS-C crop, all in 10-bit color. S-Log3 and S-Cinetone profiles provide flexibility in post, and the camera supports internal LUTs. Auto Framing mode punches in on subjects, keeping them framed and in focus. The camera includes mic and headphone jacks. The a7C II is a surprisingly capable camera for its size. It essentially provides the same level of image quality, video capabilities, and AF performance as Sony’s a7 IV, but in a smaller package. In exchange for the small size, you make a few tradeoffs, like no AF joystick, but if compact size is a priority the a7C II will get you there with few compromises.Read our full review of the Sony a7C II
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Should I buy the Sony a7 IV, a7 III or a7C?The Sony a7 IV is tough to recommend in 2025. Its viewfinder, ergonomics, and full mechanical shutter, are improvements over the a7C II, but it's also larger, heavier and offers less effective image stabilization than the newer, generally less expensive model. If you're sure you don't care about compactness, it might be worth paying a little extra for the a7 IV's larger, higher-resolution viewfinder, but only if the price difference is small.
It's a similar story with the a7 III and a7C. These are from an older generation of products with less sophisticated autofocus, video and image stabilization. They also use an older, more awkward-to-navigate menu system, which we'd happily pay to avoid ever having to use again. The a7C lacks the version II's front control dial and features an even smaller viewfinder, so we'd be inclined to save up for one of the newer models.
What about APS-C?There are a couple of high-end APS-C cameras priced around $2000 that are certainly worth a look. The smaller APS-C sensor format generally gives the Canon EOS R7 and Fujifilm X-T5 an image quality disadvantage compared to full-frame models, but also let you have much smaller lens/camera combinations. They're also markedly less expensive than the other cameras we'd recommend.
The Fujifilm X-T5 gives you access to a wide range of lenses, including some value options and a healthy selection of fun prime lenses. It also has a retro style with a refined shooting experience, which is helped by Fujifilm's habit of including aperture rings on many of its lenses. Its autofocus and video aren't up with the best cameras in this guide, but it's a camera we really like if you want a compact kit.
The do-anything traveler: OM System OM-320MP Four Thirds Stacked CMOS sensor | 2.36M dot EVF 0.69x magnification | IP53-rated weather sealing
Photo: Mitchell ClarkBuy now:
Buy at Amazon.comBuy at AdoramaBuy at B&H Photo What we like:- Very fast shooting with low rolling shutter
- Controls put best features front-and-center
- Excellent battery life
{RoundupContent:omsystem_om3 section=cons}
The OM System OM-3 is a 20MP Micro Four Thirds camera with a Stacked sensor capable of shooting up to 50fps with continuous autofocus.The OM-3 is well-suited to traveling, as the Micro Four Thirds system lets you use especially compact lenses, and its Stacked sensor gives it fast autofocus, incredible burst rates for shooting even the fastest subjects, and the ability to use computational modes to adapt to a wide variety of situations. It also sports an IP53 rating for dust and water resistance, so you won't have to worry if it starts raining.
It has plenty of customizable buttons, though no AF joystick or grip. Its color dial and computational photography button put key features front-and-center. The OM-3 is a great little camera that packs a lot of technology and features into a classic-looking body. The subject recognition and tracking autofocus modes work well, though it can struggle to predict a subject's movement. It supports pre-capture, has very little rolling shutter, and can shoot up to 50fps with continuous autofocus when paired with specific lenses. Image quality is good, and can be improved with easily accessible computational multi-shot modes. The JPEG colors are good and can be customized extensively, and the Raws are relatively flexible. The OM-3 is a stylish camera that can go anywhere, and is fast enough to shoot almost any subject. Its autofocus is reliable, though not class-leading, and its viewfinder is on the small side, but its compact design and lenses make it appealing for travel.Read our full review of the OM System OM-3
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Other Four Thirds camerasThe OM-3 shares most of its DNA with the OM System OM-1 II, though the latter is a little larger thanks to its inclusion of a better viewfinder and handgrip. Both are similar to the Panasonic G9II, though it's substantially larger, sharing its body with the full-frame S5II. All are Micro Four Thirds, which could be a tough sell given the sensor sizes people usually expect at this price. However, they may be worth considering if you're excited by computational photography features like handheld high-resolution multishot, are looking to get the most reach out of the smallest lenses, or are going on adventures that require the most compact kit available.
Best for vlogging: Sony ZV-E1Full-width 4K/60p, 120p with minor crop | Auto cropping/framing modes | Subject recognition AF
Photo: Richard ButlerBuy now:
$2199 at Amazon.com$2198 at Adorama$2198 at B&H Photo What we like:- 4K footage up to 120p
- Auto-cropped modes aid one-person operation
- Effective autofocus
- Recording times can be short in warm conditions
- 12MP resolution not optimal for stills
- Cropped footage is upscaled to 4K
The Sony ZV-E1 is a full-frame E-mount mirrorless camera aimed at vloggers and ambitious content creators.
The ZV-E1 is a specialist tool designed for vlogging. It shares many of its capabilities with the more expensive FX3 and a7S III but adds a series of modes that automatically frame and follow a presenter around the scene, if you're trying to shoot video single-handed. The lack of fan and single card slot significantly dent its recording endurance, so it's unlikely to work as a cheaper alternative to the FX3 for serious video work.
The ZV-E1 has two command dials, both on the back of the camera, which makes manual video control a little fiddly, there's a touchscreen-led interface to encourage more automated presenter/operator working, though. The ZV-E1's subject recognition system is highly reliable. The lack of a fan means it's much more susceptible to overheating than the otherwise similar FX3. It adds automated modes that crop and follow a recognized subject around the frame, adding dynamism to single-operator footage. "The ZV-E1 has some clever automated modes but can be a bit fiddly to operate. It's hard to match the power for the price, though" The camera's 4K footage (up to 120p) is detailed with relatively little rolling shutter, but you'll want to use the strongest level of image stabilization (with crop) for hand-held shooting as it's a little juddery in less intensive modes. The camera's 12MP sensor takes perfectly attractive images with plenty of dynamic range and pleasant JPEG color but the low resolution means it wouldn't be our choice if stills shooting is important to your work. The ZV-E1 tries to marry the capability of the FX3 cinema camera with automated ease-of-use, but can end up being quite confusing in the auto modes and quite fiddly if you try to take a more hands-on approach. It's hard to match the power for the price, though.Read our initial review of the Sony ZV-E1
What if I want to shoot videos, not vlogs?Realistically, all of our picks above have very capable video modes that should give you the flexibility to work on the occasional video project. If you're mainly buying a camera for video work, though, it's worth considering something like the Sony FX30, which is designed to be flown on gimbals and to produce 4K/60p video without having to crop in. Sony's more video-focused camera also has excellent rolling shutter rates, helping avoid a jello-like effect in fast-moving footage, as well as best-in-class autofocus.
The FX30 does have the downside of having an APS-C sensor, meaning it can't take in as much light as full-frame options. Its full-frame counterpart, the FX3, is priced way above $2,000. If you really value full-frame and video performance, the Panasonic S5 IIX has some serious video chops, including features like waveform displays and shutter angle settings. However, its autofocus is decidedly a tier below Sony's, as is its rolling shutter performance.
A fixed-lens option: Fujifilm X100VI40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder
The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy.
Photo: Richard Butler
Buy now:
$2179 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
While the rest of our selections from this guide have interchangeable lenses, a feature you might demand at this price point, the incredibly hyped-up Fujifilm X100VI also sits just under the $2,000 price range at a (new, higher-than-its-predecessor) price of $1,600 and is worth considering.
A fixed-lens camera with a 35mm equivalent F2 lens, the X100VI is in active production following its 2024 launch, and so should be somewhat easier to buy than its constantly out-of-stock forebear. The reality, at the moment, is that it's also quite hard to find.
Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.
The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.
If you're looking to make an investment in a camera with a ton of versatility, the X100VI doesn't compete with cameras that support dozens or hundreds of lenses. But for the price point, it's the best at what it does.
Read our Fujifilm X100VI review
Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Why you should trust usThis buying guide is based on cameras used and tested by DPReview's editorial team. We don't select a camera until we've used it enough to be confident in recommending it, usually after our extensive review process. The selections are purely a reflection of which cameras we believe to be best: there are no financial incentives for us to select one model or brand over another.
Portraits at F1.2: we've added to our Nikkor Z 35mm F1.2 S gallery
Nikkor Z 35mm F1.2 | F1.2 | 1/2000 sec | ISO 64
Photo: Richard Butler
We've had a chance to get our hands back on Nikon's new Nikkor Z 35mm F1.2 S, in better weather this time.
Nikon promotes 'environmental portraits' as one of the key uses for the lens, so we took the opportunity to shoot some, in a variety of lighting conditions. We shot at wider apertures than we'd typically use, to make it easier to see what the F1.2 maximum aperture allows the lens to do.
The lens is a pre-production sample, so we've only been allowed to publish out-of-camera JPEGs. We turned all the camera corrections off and confirmed that the camera wasn't correcting distortion or vignetting behind the scenes, so we can be confident they give a realistic impression of how the lens behaves.
We've added 20 new samples to the end of the gallery.
Nikon Nikkor Z 35mm F1.2 S pre-production sample galleryPlease do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.
Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.Zeiss is back in the picture with a teaser for a new product
To the delight of many, Zeiss posted an exciting teaser to its dedicated camera lens Instagram account. The post promises some "owlsome news" with a note that something is landing soon, suggesting a new lens is likely coming soon.
Click here to see the post on Instagram
This teaser comes as welcome news, as there was speculation in 2023 that the company had left the photography industry. After all, it last released a lens (the Zeiss Otus 100mm F1.4) in 2019. Six years is ages in the photography and tech worlds, so it is reasonable to question the company's dedication to photography. Zeiss denied the report, saying it "has not withdrawn from the photo lens market. But we have to face the facts. In the first months of the pandemic, the global market declined significantly and irreversibly. And companies have to adapt."
A statement to DPReview in June 2023 clarified what it meant by adapting, explaining that "this means that the overall market situation after the pandemic led to lower sales. Nevertheless, this does not change our commitment to our photo products." Even still, no product announcements came, and Zeiss fans were left without anything new.
Now, though, the Instagram post, which was spotted by Mirrorless Rumors, shows that Zeiss may have meant what it said in 2023, and it will be returning to the photography lens market. Of course, as expected for a teaser, details are incredibly slim. The photo in the post showcases an owl (likely in the Otus genus if we connect the dots), and the caption says it was captured with the Otus 85mm F1.4, a decade-old offering. The "owlsome news" furthers the owl theme.
Given all the owl mentions, it seems safe to guess that the new lens will join the Otus lineup. The existing Otus lenses – 55mm F1.4, 85mm F1.4, 28mm F1.4 and 100mm F1.4 – were all made for DSLR cameras, so it also seems likely that this will be the first Otus mirrorless lens. CP+ in Japan – which is usually ripe with product announcements – begins in just two weeks, so we may not have long to wait for additional details.