Sidste nyt fra dpreview

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

The FE 28-70mm F2.0 GM, attached to the newly-announced a1 II.

Photo: Mitchell Clark

Sony has announced the FE 28-70mm F2 GM, a zoom lens that trades 4mm at the wide end for an aperture that's a stop brighter than the one found on a classic 24-70mm F2.8. It's the company's first constant F2 zoom lens for its E-mount cameras.

The lens's optical formula consists of 20 elements in 14 groups, with three aspherical lenses, three super ED elements, and one ED element. It uses an 11-blade aperture. The front element has an oil and water-resistant flourine coating, and the lens is moisture and dust resistant.

It's far from a compact lens, though it's not as monstrously large as you might expect – it weighs in at 918g (32 oz) and is around 140mm (5.5") long. It has an 86mm filter thread.

Sony makes it obvious what lens it's competing with, highlighting that it's 36% lighter and 11% smaller in diameter than Canon's RF 28-70mm F2 L lens while claiming better corner-to-corner sharpness. The company also says the lens's four linear motors can focus even when shooting at 120fps, and emphasized that they're quieter than the older ring-type ultrasonic style motor in the Canon F2. In fairness, that lens was one of the original RF-mount releases, announced in 2018.

"Sony makes it obvious which lens it's competing with"

The quieter operation should help when shooting video. Other pluses for video: it has an internal focusing mechanism which should make it easier to use the lens on a gimbal, the ability to switch the aperture ring into clickless mode and support for the focus breathing compensation mode included on some Sony bodies. You can also set the manual focus ring to have a linear response, which should make focus pulls easier.

The lens has a variety of switches and buttons. There are two customizable focus hold buttons, an Iris lock switch, the aperture click switch and a zoom smoothness switch that lets you adjust between "smooth" and "tight" torque settings.

It's not the fastest zoom lens available for E-mount: at the time of writing, that prize goes to Sigma's 28-45mm F1.8, though that model has substantially less reach on the tele end and only a 1/3EV increase in light-gathering ability.

The FE 28-70mm F2 GM will be available in mid-December and has an MSRP of $2,899.

Buy now:

$2898 at B&H Photo

Press Release:

Sony Electronics Announces Its First Constant F2 Aperture Zoom Lens: The Full-Frame 28-70mm F2 G Master™

The Unique Combination of a Versatile Focal Range, Large F2 Aperture, and Compact Form Factor

SAN DIEGO, Nov. 19, 2024 - Sony Electronics Inc. introduces the 28-70mm F2 G Master, the first1 Sony zoom lens with a constant F2 aperture and 77th lens in the Sony E-Mount lineup. This full-frame lens offers a versatile focal range from 28mm to 70mm while delivering prime-like2 bokeh with its constant F2 aperture. Despite its wide aperture and zoom range, the 28-70mm F2 G Master remains compact, lightweight, and well-balanced, making it ideal for both photography and video applications. This combination of zoom range, large aperture, and compact design makes this an innovative and versatile lens for portrait, sports, wedding, event, and video professionals.

“Our goal with the 28-70mm F2 G Master was to create a high-performing zoom lens that could be a strong single lens alternative to multiple primes,” said Yang Cheng, Vice President of Imaging Solutions, Sony Electronics Inc. “We prioritized a lightweight design during the engineering process as we knew that was a critical factor for real-life, practical use. And in a manner that only Sony can do, we were able to deliver a small, standard F2 zoom lens that does not sacrifice image quality. We’re proud to add this to our G Master series and believe it is one of the most innovative lenses ever offered to professionals.”

Sharp Imagery and Beautiful Bokeh

The 28-70mm F2 G Master produces extremely sharp corner-to-corner results throughout the entire zoom range, even while shooting wide open at F2. The high-resolution output is made possible by the three XA (extreme aspherical) elements and three aspherical elements built within the lens that minimize aberrations. The lens also features a floating focusing system that helps maintain internal stability. This focusing mechanism enables an impressive minimum focusing distance of up to 14.8 inches (0.38m) throughout the entire zoom range.

Staying true to the G Master lens lineage, the lens’ aperture up to F2 produces extraordinary bokeh, ideal for creating images that showcase a shallow depth of field. The 28-70mm F2 amplifies the G Master bokeh standards through a newly designed 11-blade circular aperture unit. Chromatic aberrations, which cause color fringing within photos, are effectively minimized with three Super ED (extra-low dispersion) elements and one ED element built within the lens. Additionally, Sony’s Nano AR Coating II reduces flare and internal reflections, ensuring clear images, even when strong light sources are present in the frame.

Compact, Lightweight Design Without Compromising Quality

The 28-70mm F2 G Master is one of the most advanced mirrorless camera lenses manufactured with a total 20 different lens elements arranged within 14 internal groups. Despite the advanced optical design, the lens remains compact at 3.6 x 5.5 inches (92.9 x 139.8mm) and lightweight at approximately 32.3 ounces (918g). The combination of imaging performance and a compact form factor offers an innovative solution that meets the demands of industry professionals.

Precise Autofocus Tracking with Instant Response

Reliable and responsive autofocus is delivered through the lens’ four XD (extreme dynamic) linear motors powered by advanced control algorithms. This smooth performance system provides accurate and quick focus tracking, often essential in many professional use cases like weddings and sports. This lens is fully compatible with Sony’s Alpha 9 III‘s high-speed continuous shooting capabilities of up to 120 frames per second3 with AF/AE (autofocus/autoexposure) tracking, even while zooming.

Designed for High-Performance Video Shooting

Along with its F2 aperture, the zoom range of the 28-70mm G Master provides a versatile video option that can cover standard field-of-view shots and tighter compositions up to 70mm. This lens minimizes focus breathing through its build and compatibility with the Breathing Compensation feature on various Alpha bodies4. Its high autofocus performance ensures reliable focus even when recording in high frame rates up to 4K 120p / FHD 240p5. Additionally, the XD linear motors and newly developed aperture unit operates silently, preventing any lens noise from being captured during filming.

The lens is ideal for gimbal use with a minimal zoom extension of approximately .68 inches. The compact form factor and short external zoom helps maintain gimbal balance, even at varying focal lengths. ​

Operability and Reliability for Versatile Control

Key control features include Linear Response MF for intuitive manual focusing, adjustable zoom ring torque, and an aperture ring with a click ON/OFF switch. The lens also offers two customizable focus hold buttons, an iris lock switch, and an AF/MF switch. The 28-70mm F2 G Master has an 86mm filter diameter and a convenient window on the lens hood for variable filter adjustments.

For durability, all buttons and switches are sealed with silicone gaskets, and critical areas are designed to resist dust and moisture6. This ensures reliability, even while using in challenging outdoor environments. Additionally, a fluorine coating on the front element repels contaminants for easy cleaning.

Pricing and Availability

The 28-70mm F2 G Master will be available in December 2024 for approximately $2,899.99 USD and $3,999.99 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.

A product video on the new 28-70mm F2 G Master can be viewed here: https://youtu.be/7Y_O5YYQIl0

For detailed product information about the 28-70mm F2 G Master, please visit: https://electronics.sony.com/imaging/lenses/full-frame-e-mount/p/sel2870gm

Exclusive stories and exciting new content shot with the new 28-70mm F2 G Master and Sony's other imaging products can be found at www.alphauniverse.com, a site created to inform, educate, and inspire content creators.

Sony FE 28-70mm F2 GM Specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length28–70 mmImage stabilizationNoLens mountSony E, Sony FEApertureMaximum apertureF2–20Minimum apertureF2–20Aperture ringYesNumber of diaphragm blades11OpticsElements20Groups14Special elements / coatings3 aspherical, 3 super ED, 1 EDFocusMinimum focus0.38 m (14.96″)Maximum magnification0.23×AutofocusYesMotor typeLinear MotorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight918 g (2.02 lb)Diameter93 mm (3.66″)Length140 mm (5.51″)SealingYesColourBlackFilter thread86 mmHood suppliedYes

We're at Sony's 'Creative Space' event in New York, which happens to coincide with when the company said it would announce the Alpha 1 II. We'll be reporting from the event as it happens.

"Authentication technologies, that protect photographers are high on our list of priorities," says Masaaki Oshima - Head of Imaging Entertainment Business.

He's discussing the role played by the different models in the company's lineup.

The Alpha 1 provided extraordinary resolution and speed, he says, and feedback from its users has been incorporated into its new products.

As previously teased, he has revealed the Alpha 1 Mark II and a 28-70mm F2 G Master zoom.

In the a1 II, features for workflow efficiency have been updated and improved, he says.

He claims the lens rivals the quality of primes, without the use of digital compensation.

The a1 II has a dedicated "AI" processor, allowing what Sony says is "the best human detection, the best animal detection." It includes a technology Sony calls 'Human Pose Estimation' which tries to recognize human bodies in a wide range of poses, so that it can find the face and eye.

The AF system has 759 points, with 92% coverage and works down to -4EV when using an F2.0 lens. The system can perform 120 autofocus calculations per second.

The camera also gains pre-capture, allowing it to capture up to 1 seconds-worth of images at up to 30fps, with Raw. The a1 II also gains the 'Speed Boost' function from the a9 III, letting you boost the burst rate when you hold down a custom button.

The camera's in-body stabilization now performs 3 stops better than the Mark 1, now rated at 8.5EV. It co-ordinates with in-lens stabilization to maximise performance with OSS lenses.

In addition to the multi-shot pixel-shift mode, the a1 II also has a Raw compositing mode to boost noise performance by combining multiple images (in off-board software).

As with the Mark 1, the a1 II shoows 8K at up to 30p, derived from 8.6K capture. It can also shoot 4K/60p from an APS-Cregion, taken from 5.8K oversampling. It can also capture full-width 4K at up to 60p, though this isn't taken from the 8K feed.

It also gains the 'Auto Framing' and 'Framing Stabilizer' modes from the ZV-E1 vlogging camera: punching in to the footage and following your subject around the frame, to give dynamism to locked-off shots, or maintaining your chosen composition if you're presenting to camera, hand-held.

The a1 II has the same 0.9x magnification viewfinder as its predecessor, with 9.44MP dot resolution, and can be operated at up to 240 fps. It also comes with a second, alternative "squishy" eyepiece cup in the box.

The camera has a 2.5Gbps Ethernet port with improved FTP capabilities, 2.5x faster than in the a1 or a9 III.

The a1 II will be available in Decemeber 2024.

Read our initial review of the a1 II here

Sony FE 28-70mm F2.0 GM

The FE 28-70mm F2 is the company's 77th E-mount lens, the 56th full-frame E-mount lens and the first constant F2.0 zoom.

The company says it give "prime levels of performance" for both stills and video.

We're told the lens doesn't rely on digital correction. It weighs 981g (2.16lbs). Its autofocus is designed to work up to 120fps on the a9 III or 240fps for video. It uses four linear motors to drive its autofocus.

It has almost no focus breathing, Sony says, but you can add focus breathing compensation on compatible bodies to correct what breathing there is.

They say it has "the best image quality we've ever produced in a zoom lens."

It will also be available in December 2024.

Read our full story on the 28-70mm F2 here

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

Earlier this year, Sigma announced plans to release several of its DC DN APS-C lenses for Canon's RF mount, making it one of the first third-party manufacturers to sell autofocus RF lenses under license.

Today, the company has announced pricing and availability for four of those lenses: the 16mm F1.4 DC DN, the 23mm F1.4 DC DN, the 30mm F1.4 DC DN and the 56mm F1.4 DC DN. On Canon's APS-C cameras, the lenses deliver full-frame equivalent focal lengths of 26mm, 37mm, 48mm, and 90mm, respectively.

These prime lenses join two Sigma zoom lenses announced for RF-mount earlier this year: the 10-18mm F2.8 DC DN, announced on October 5, and the 18-50mm F2.8 DC DN, which has been available for other lens mounts since 2021.

This brings the total number of Sigma APS-C lenses for RF-mount cameras to six, significantly increasing the number of dedicated APS-C lenses available for Canon's RF system. To date, Canon has released only a handful of slow RF-S zoom lenses, along with a dual fisheye lens for VR or spatial capture, though users can also use Canon's full-frame RF-mount lenses on its APS-C cameras.

The four Sigma F1.4 DC DN prime lenses join two F2.8 zoom lenses in Sigma's APS-C lineup for Canon RF mount.

Image: Sigma

With Sigma's newly minted RF-mount lenses in the mix, Canon's RF mount should become more attractive to APS-C shooters, especially those looking for dedicated APS-C lenses with faster apertures or primes.

The six lenses are already available for Sony E-mount, Fujifilm X-mount, and L-mount cameras. The 16mm F1.4 DC DN and 56mm F1.4 DC DN are also available for Z-mount and Micro Four Thirds.

The Canon versions of the 30mm and 56mm lenses will arrive first, launching on December 5. The 30mm F1.4 DC DN will retail for $369, and the 56mm F1.4 DC DN will retail for $529.

The 16mm and 23mm lenses will follow on January 23. The 16mm F1.4 DC DN will retail for $489, and the 23mm F1.4 DC DN will retail for $599.

Pre-order now:

Sigma 16mm F1.4 DC DN for Canon RF mount

$489 at B&H $489 at Adorama

Sigma 23mm F1.4 DC DN for Canon RF mount

$599 at B&H $599 at Adorama

Sigma 30mm F1.4 DC DN for Canon RF mount

$369 at B&H $369 at Adorama

Sigma 56mm F1.4 DC DN for Canon RF mount

$529 at B&H $529 at Adorama

Photo: iStock/klikk

Editor's note: As DPReview celebrates its 25th anniversary, we're revisiting some key moments and trends in digital photography during that time. We invited Jeff Keller, a former DPReview editor and founder of DCResource.com – one of the internet's first sites dedicated to digital cameras – to share his historical perspective on some of the changes.

I've been using and reviewing digital cameras since 1995, which makes me the right person to tell the story of the consumer camera market's boom and bust. I became interested in digital photography thanks to my job at the university bookstore, which eventually became a successful website until 2013, when I jumped to DPReview.

The Casio QV-10A had a fixed 36mm-equivalent F2.8 lens with a macro mode, a simple (and slow) interface, and no memory card slot.

Photo: Jeff Keller

The first camera I ever used was the Casio QV-10A, the world's first consumer digital camera, which arrived in 1994. It had a 0.25 megapixel sensor that could take 320 x 240 stills and video, a 1.8" LCD with a terrible refresh rate, a swiveling lens, and a whopping 2MB of storage capacity. Unfortunately, it had no memory card slot; instead, it used a serial cable. Good luck finding one of those in 2024.

The swivel lens design was popular for a while, and I was a bit sad when rotating LCDs replaced it. The most famous camera with this design was the Nikon Coolpix 950 (introduced in 1999), which was one of DPReview's first reviews.

In addition to Casio and Nikon, Sony, Minolta, Ricoh, and Kyocera (remember them?) made swivel-lens cameras.

Photo: DPReview

Up next for me was the Olympus D-600L, which had an internal 3X zoom lens and a whopping 1.3 megapixel CCD. While it was my personal camera for many years, at this point, my website was launched, and I'd use whatever came through the door.

This is a photo from the Olympus D-600L, slightly cropped. The image quality is cringy, but it was very good in 1997. Shooting data is not available.

Photo: Jeff Keller

Cameras were pretty dull for the next few years, though there were some innovative models. Sony made cameras with mini CDs and floppy disks that created a file structure for easy viewing on a computer or TV. To create the CD or floppy, you had to 'finalize' the disc, which made it read-only.

Other fun cameras were the Minolta DiMAGE V, which had a detachable lens, several Kodak models with their own programming language, and, lest we forget, the Canon PowerShot Pro70.

The Pro70 was the first review on this website and a crowd favorite. It had a 1.5MP sensor, internal 28-70mm equiv. F2-2.4 lens, fully articulating LCD, Raw support, and two CompactFlash slots. Sony would bring out its competitor, the Cyber-shot DSC-D700, a beast of a camera with a fast 5X zoom lens, a manual zoom ring, a gigantic 2.5" (fixed) LCD, and a Memory Stick slot.

I could go on about the unique compact cameras over the years that followed, but we already have Throwback Thursday features that cover most of them.

The Megapixel Race

As the early 2000s began, two trends occurred. The first is that camera resolution kept going up and up, even though noise became a tradeoff after a certain point. The second is the overwhelming number of models, which I'll get to in the next section.

Average compact camera resolution over time

Visualization: Jeff Keller

You don't need to be a data analyst to see the substantial resolution increase between 2004 and 2010. I can't tell you how many cameras came out with a resolution bump and little else every year – sometimes twice yearly.

The higher resolution made cropping more flexible, but manufacturers were still mostly using very small sensors in compact cameras. Over time, better image processing somewhat compensated for the noise inherent to small sensors, but it couldn't fix the fact that smaller sensors simply captured less light.

Thankfully, there was a selection of cameras that bucked the norm. Sony's RX100 compacts and RX10 super zooms offered larger Type 1 (13.2 x 8.8mm) sensors, which were roughly 4X larger than sensors in other compacts. Canon also launched several models with Type 1 sensors, such as the PowerShot G9 X II.

"You don't need to be a data analyst to see the substantial resolution increase between 2004 and 2010."

Some companies went even larger. Panasonic's LX100 I and II (and their Leica counterparts) used crops of Four Thirds sensors, which allowed for shooting in multiple aspect ratios while still maintaining the field of view. Canon's G1 X Mark I/II siblings used a Type 1.5 sensor (18.7 x 14 mm), and the third iteration jumped to APS-C. Fujifilm's cult favorite, the X100 Series, uses an APS-C-sized sensor, as does the Ricoh GR series.

Are you wondering about the drop at the tail of the chart above? That can be attributed to the minuscule number of new products released – more on that below.

Overflow

If there was one time of year I dreaded during my time running DCResource, it was early January during the Consumer Electronics Show. On January 5th, 2011, fifty-four new cameras were announced. I had to add every one of them to my product database and write a news story. While I enjoyed my job most of the time, that wasn't one of those days, and I'm sure the DPReview team didn't love it either.

The manufacturers were releasing nearly identical models but at slightly different price points. You'd get a basic model, one with a somewhat larger display and another with a slightly longer lens. Case in point:

Model Features Price Sony W510 12MP CCD, 26-105mm lens, 2.7" LCD VGA video $110 Sony W530 Changes: 14MP CCD, slightly faster 'Carl Zeiss' lens $130 Sony W560 Changes: Optical image stabilization, 3" LCD, 720/30p video $160 Sony W570 Changes: 16MP CCD, 25-125mm lens, smaller 2.7" LCD $180

And there you have it: a camera at every price point. And there were two more models on top of those in the table. (To be fair, Sony wasn't the only company doing this.) You'd rarely see all of these models lined up at Best Buy, but they'd probably have two.

Another twist to the compact camera boom is that many people unknowingly bought cameras made by a completely different company than they thought, especially on the low end of the price spectrum. Let's just say that Sanyo made a lot of cameras for other companies.

Lenses were also sold under different brand names. Phil Askey noted this in his review of the Canon PowerShot G1:

These three lenses are identical yet carry different brand names. So who made it? In DPReview's Canon PowerShot G2 review, Canon insisted that it did.

This same lens also appeared on cameras from Casio and Sony.

The Fall

Apple introduced the iPhone in 2007, and, along with some help from Samsung and other manufacturers, it would change photography forever. However, iPhone sales didn't really take off until around 2012, and, what do you know, that's when the compact camera crash began.

Visualization: Jeff Keller

The number of compact camera introductions in 2016 was one-fifth of what it was the year before. While that meant fewer news stories to write, it was bad news for manufacturers (and digital camera websites). In the years that followed, most cameras were waterproof or enthusiast compacts. The effects of COVID-19 on the supply chain made 2020-2023 extremely quiet, with only one camera arriving in 2022: the Ricoh GR IIIx, which is very much an enthusiast model.

"You don't need to be a data analyst to see the substantial resolution increase between 2004 and 2010."

So, what were people buying instead of compact cameras? DSLR sales were sliding, and mirrorless cameras were becoming more popular, but let's face it: The compact camera buyer was now taking photos with their smartphone.

Data: Gartner, Visualization: Statista

The early years of smartphone photo-centric features were limited, but they were fine for shots of friends or tourist destinations. As the years passed, however, phones got better. Advances in computational photography, including the ability to merge multiple images, resulted in image quality that was good enough to meet most consumers' demands.

I made a living writing about compact cameras, and my PowerShot S95 is in a drawer somewhere. I use my Samsung S24 Ultra for everyday photos. My Panasonic G9 II comes out for travel and 'important' photography only.

Final Thoughts

Where do compact cameras go from here? In my opinion, they don't. I wouldn't be surprised to see waterproof, superzoom, and compacts with larger sensors sticking around, but I think we're mostly done in terms of innovation. As someone who spent two decades writing about point-and-shoot cameras, I'm a little sad, but technology has left compacts in the dust. (Please responsibly recycle your old electronics!)

Editors' Choice Photo Challenge: ‘Fog’

Our November Editor's Photo Challenge theme was 'Fog', and your entries rolled in thick and fast. We were astounded by over 500 photo submissions, many of which demonstrated exceptional quality and creativity. While we can only showcase a limited number here, you an view the complete collection and see how your peers voted on the challenge page.

Did you miss this challenge? Stay tuned for our December challenge announcement! In the meantime, consider participating in these current and upcoming challenges hosted by other members of the DPReview community:

• Just a Sec (closes Nov. 18)
• Macro (1:1 +) - Flowers (closes Nov. 21)
• A Big Year 2024 (closes Nov. 24)
• Close-up/Macro – Bugs (closes Nov. 28)

Without further ado, we present our picks for the November Editors' Photo Challenge.

Three paddlers at dawn

Photographer: hapster

Description: Three friends set off into the fog at sunrise for their normal morning paddle on Marsh Creek.

Equipment: Sony a99 II + Tamron SP 70-200mm F/2.8 Di VC USD

Sogi-no-Taki waterfall

Photographer: gnohz

Description: On this day, temperatures dipped below freezing point. I was initially disappointed to see the entire location covered with a thick mist upon arriving before dawn. Having taken landscapes primarily with an ultra-wide angle lens, I opted for 85mm on this occasion to frame the shot. When the sun rose (out of frame on the right), it lit up the falls beautifully and cleared away some of the mist.

Equipment: Nikon D850 + Nikon AF-S Nikkor 85mm F1.4G

Sunrise Bromo volcano caldera

Photographer: JeffryzPhoto

Description: Local Tennger horseman surveys the caldera of the Bromo Volcano in eastern Java in Indonesia

Equipment: Fujifilm X-T4 + Fujifilm XF 16-55mm F2.8 R LM WR

Halloween night in Paris

Photographer: dmullen

Description: Halloween night in Paris.

Equipment: Nikon Z6III + Nikon Nikkor Z 40mm F2

Bulls

Photographer: Bill Ferris

Description: Bull elk take shelter in a morning fog while grazing the Grass Flat Tank meadow in northern Arizona.

Equipment: Nikon Z9 + Nikon Nikkor Z 800mm F6.3 VR S

Night passerby

Photographer: Vlad Khodakovsky

Description: As we stepped out of the club into the cold April night in Helsinki, the surreal lighting amidst the deep fog instantly captivated us. The streets, slick with moisture, reflected lights from all directions, and the light sources themselves were shrouded in dense mist. I quickly seized my camera and began capturing the scene.

Equipment: Nikon Z8 + Nikon Nikkor Z 40mm F2

Roo family in fog

Photographer: Phil Belbin

Description: Roo family in fog.

Equipment: Canon EOS 5D Mark III + Canon EF 135mm F2L USM

Midnight oasis

Photographer: nbobinchak

Description: I made a wrong turn on a foggy night and ended up in a film photographer's dreamscape.

Equipment: Leica M4-P + Leica Summicron-M 35mm F2 v3

Hudson corridor

Photographer: Rreynolds1

Description: My friend and I were flying the Hudson when the fog crept in like cats' feet, a spectacular flight in 159 papa golf. As we were buzzing around Miss Liberty, my buddy handed me his tank, and I got off a few shots. Unfortunately, he had it on JPEG.

Equipment: Canon EOS 5D Mark III

Fog from above

Photographer: Embrace Living

Description: On this foggy morning, I knew I had to send the drone up. Having a drone on a foggy morning almost feels like a cheat code.

Equipment: DJI Mini 3

Soulmates circles

Photographer: Pierre Lagarde

Description: Buren's rings in Nantes (France) by a misty night.

Equipment: Nikon D5500 + Nikon AF-S Nikkor 70-200mm F4G ED VR

Morning fog

Photographer: Ralf68

Description: I shot this photo on my way to work in the morning, a few minutes after sunrise.

Equipment: Nikon D5500 + Sigma 8-16mm F4.5-5.6 DC HSM

Floating

Photographer: nikkista

Description: A small medieval tows sits on a sheer cliff above the fog.

Equipment: DJI Mavic 2 Pro

Morning fog on Riggs Rd

Photographer: arizonaphotoadventures

Description: Fog is a very rare occurrence in the Phoenix area and seems to happen even less frequently recently... This is a sunrise in the desert south of Phoenix, Arizona, on a cold December morning. Not much vegetation grows there, but what does created this eerie image.

Equipment: Canon EOS 6D + Canon EF 70-300mm f/4-5.6L IS USM

Slide and fog

Photographer: PAVBA

Description: Taken at Algonquin National Park, ON, Canada. Early morning, and the water in the lake is completely still, like a mirror. As the sun rises, the fog reveals an eerie scene.

Equipment: Fujifilm X-T5 + Fujifilm XF 18-55mm F2.8-4 R LM OIS

Mason Lake God rays

Photographer: tonerbaloner

Description: Taken on a trail headed home from Mason Lake in the Alpine Lakes Wilderness near Seattle, Washington, during a September backpacking trip last year. Morning mountain fog made for spectacular "God rays" through the alpine forest.

Equipment: Fujifilm X-T5 + Fujifilm XF 27mm F2.8 R WR

Tancarville Bridge

Photographer: Jerodum

Description: Fog, sun and the Tancarville bridge, Normandy, France.

Equipment: Fujifilm X-E2 + Neewer 35mm F1.2

Swiss lowlands

Photographer: Antonx1973

Description: Sunset over fog filling the Swiss lowlands taken from the ridges of the Jura hills.

Equipment: Sony a7 IV

Green reach

Photographer: JT26

Description: The trees in the first part of the forest look almost arm-like as if they are reaching out to the other side. Everything in this area is very green and very damp, making for a very colorful landscape.

Equipment: Leica M11-P + Leica APO-Summicron-M 50mm f/2 ASPH

Mount Mythen above the fog

Photographer: Fabian from Swizzy Land

Description: This is a photo of Mount Mythen at night, towering over patches of fog that lie over the town Schwyz beneath it. The photo was taken on a clear night, several hours after sunset. The landscape in the foreground was lit up by a nearby village. The mountain in the background is in the dark, but the night sky reveals its contours.

Equipment: Sony a7 IV + Sony FE 24-105mm F4 G OSS

Images: Lexar, ACDSee, OWC

Happy weekend, everyone. It seems like there's an interesting week ahead, but this past week was also quite a busy one for accessory makers. Today, we're going to look at some cards, card readers, exciting software updates, and more. But first, as always, the deals:

Some great Nikon deals Photo: Dan Bracaglia

For a while now, the Nikon Z5 – still one of the cheapest full-frame cameras ever released – has been on our Best Cameras under $1,500 buying guide thanks to its great ergonomics and stabilized sensor. It's older, but we still think it's a pretty solid buy for the money.

So imagine if it was $400 cheaper, coming in just under the $1,000 mark. Better yet, you don't have to imagine – you can just go to your retailer of choice and see it for yourself because that's the sale Nikon's running right now.

$996 at B&H $996 at Amazon $996 at Adorama Photo: Richard Butler

Speaking of cameras that rank highly on our buying guides, the Nikon Z8 is also on sale for $500 off. While the sale doesn't knock it down an entire price bracket like with the Z5, it will still let you get a heck of a lot of camera for $3,500 right now.

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo

Lower-end high-end cards

Image: OWC

If you have a recent Sony camera, you may be familiar with the difficulty of finding a CFexpress Type A card that doesn't break the bank, especially if you're looking for one of the faster 4.0-spec ones. While the situation has slowly been getting better, there are still not that many options for people who want CFexpress type A but don't want to spend a ton.

One company trying to fix this is OWC. It's added a 240GB card to its Atlas Pro lineup of CFexpress 4.0 type A cards, which comes in at $199. That's obviously a chunk of change, but for context, the 480GB option costs $319, and upgrading to the 960GB card adds another $70 on top of that. And while there's definitely a trade-off in capacity – expect to offload often if you're shooting 60MP Raws or 4K video – the cheaper card still sports up to 1,850MBps read speeds and 1,700MBps write speeds. That means that even when you fill it up, it should only take a few minutes to dump it onto your computer, assuming you have a reader fast enough. But we'll get to that in just a moment...

$199 at OWC Got ports? Image: OWC

Speaking of OWC, they've also got something for anyone who's just picked up one of the new M4 Pro or M4 Max Macs with Thunderbolt 5 and is wishing for a few more ports. The company's newly-announced Thunderbolt 5 Hub plugs into your computer with a single (included!) cable, and, through the power of Thunderbolt's daisy-chaining abilities, gives you access to three additional Thunderbolt ports, each with 120Gbps of throughput. There's even a USB 3.2 Gen 2 10Gbps USB-A port.

The hub can also provide up to 140W of charging to the computer it's connected to, which should be enough to keep even a top-spec MacBook Pro powered.

The Thunderbolt 5 Hub is available for pre-order for $189 at OWC's website.

If you're looking for a more traditional dock with a wider selection of ports, OWC isn't selling one yet. However, Kensington does have a $399 option, which has three Thunderbolt 5 ports, three USB-A ports, 2.5GB ethernet, a UHS-II SD card and microSD card reader, and a headphone jack.

Not enough card readers? Image: Lexar

Speaking of Thunderbolt add-ons, Lexar has come out with a new docking station designed to add storage, card readers, and ports to your setup. As its name implies, the Professional Workflow 6-Bay Docking Station has six slots that you can fill with your choice of the sold-separately card reader and storage modules.

There are several card reader modules available:

• Dual UHS-II SD
• UHS-II SD / microSD
• CFexpress 4.0 Type B
• CFexpress 4.0 Type A

The system is almost certainly overkill for most casual photographers, but it could be a good choice if you need to be able to offload several cards at a time, no matter what type. You will want to be a bit careful with how you arrange your modules, though: four slots run at 10Gbps USB 3.2 Gen 2, while two feature full-fat Thunderbolt 4 connectors capable of 40Gbps. If you buy SSD modules or CF Express readers, you'll want to put those in the faster ports.

In addition to the modular bays, the dock has two 10Gbps USB ports on the front – one type A and one type C – as well as two Thunderbolt 4 ports on the back, though you'll be using one to connect it to your computer. The other can be used to output to an up-to 8K display or to even daisy-chain to another dock or Thunderbolt device.

Image: Lexar

You probably wouldn't want to haul the dock around unless you had a cart for it to sit on, but you can pop out the card reader or SSD modules and connect them to a laptop with a standard USB-C cable.

As you may have guessed, none of this comes cheap. The docking station itself, without any modules, costs $599. The SD card readers cost $50 each, the CF Express ones $100, and the SSDs are $299 for a 2TB model, and $499 for a 4TB one.

$599 at B&H

If that's a bit rich for your blood, Sandisk's $340 Pro Dock 4 may be worth considering. It only has four slots and is a few years old, so it uses Thunderbolt 3, though theoretically, that shouldn't have a speed disadvantage compared to Thunderbolt 4.

A new Final Cut

Apple's latest update to its video editing software is a big one, at least according to the version number*: the company says that Final Cut 11 "begins a new chapter" for editors. That may be a bit of a stretch. It's largely the same software as before – there's no entirely new paradigm the way there was with the switch from FCP 7 to X. However, there are some cool new features.

The first is 'Magnetic Mask,' which is essentially a semi-automated rotoscoping system. It lets you select an object to cut out and will then attempt to automatically mask it out for the rest of the clip – though you can make tweaks if the system gets it wrong. That way, you can have the cut-out portion appear in front of titles, or add effects to it that don't affect the rest of the clip.

You can also now have Final Cut automatically transcribe your project's audio and create closed captions for it. The software is also now capable of editing "spatial" video clips, like the ones produced by iPhones or cameras with Canon's dual VR lenses. The update also includes various workflow improvements: you can now automatically scale clips to match the height of your timeline, hide clips in the browser, and easily create a picture-in-picture effect.

Thankfully, Apple hasn't used the version number upgrade to switch up pricing, or to make users pay for it again. It's still a $300 one-time purchase, and if you bought Final Cut Pro anytime between when it launched in 2011 and now, version 11 is just another free update. There was concern that wouldn't be the case, after Apple announced the subscription-based Final Cut for iPad, which also just got its own update. At least for now, that hasn't come to pass.

* - Real Mac-heads know this doesn't neccesarily mean much; in 2020 Apple ditched the long-running macOS 10.x naming scheme with macOS 11 Big Sur. The fact that it was called macOS 11 and not 10.16 didn't even get a mention in the press release.

ACDSee for Mac Image: ACDSee

Earlier this year, ACDSee released a new version of its photo editing and management software, Photo Studio. It added features like AI-powered upscaling and new AI selection masks. However, the update was only for Windows. Now, those features are available for the Mac, too, with the release of ACDSee Photo Studio for Mac 11.

In addition to the new and improved AI features, the software is now able to import a Lightroom database, letting you bring your collections, keywords, ratings and color labels into Photo Studio.

ACDSee Photo Studio for Mac normally costs $99, but the company is selling it for $79 through November 27th. There's also a free 15-day trial.

Click to read last week's accessory roundup

Our product database now includes the full range of Viltrox AF lenses, including the Viltrox AF 135mm F1.8 Lab.

Photo: Viltrox

Today we've added sixteen Viltrox autofocus lenses to our database, so that our site and its lens search tools represent a wider range of the lenses available for mirrorless cameras.

We're also committing to maintaining the database and will continue to add new lenses from Viltrox, as they're announced.

All lenses in our database will appear in our lens search tools, so that these give a clear picture of the options available for different mounts. Viltrox's range currently covers Sony E, Fujifilm X, Nikon Z and Canon EF-M mounts.

The addition of these lenses, with full specifications, is something we've been planning for some time, and was helped by some initial assistance from community member Wolfgang Janzen. We've also gone back and associated all our existing Viltrox news coverage with their respective products, so you can easily find all the information we've published about each lens.

Click here to see the full range of Viltrox AF lenses

We intend to add other makers of autofocus lenses as we have time and when we can establish reliable communication around specs and release dates.

To the DPReview Community,

We’re reaching out to you, our dedicated readers and fellow photography enthusiasts, to ask for your feedback on a topic that could help shape DPReview’s future: subscription options.

As you know, DPReview has always been a place for photographers to find in-depth reviews, up-to-date product news, and expert insights. To support these efforts, we’re exploring ways to create a sustainable DPReview that continues to bring you the content you love while also giving you choices for an ad-free experience.

To understand what might work best, we’re conducting a short survey focused specifically on audience interest in subscription options. And just to be clear, subscriptions would be optional; there are no plans to put DPReview's content behind a paywall.

What’s in the Survey?

This survey isn’t intended to gather feedback on every possible feature or future site direction. Instead, it’s focused on understanding your interest in a DPReview subscription, including considerations like key benefits, pricing, and site features.

By sharing your responses, you’ll help us make informed decisions about what a subscription model could look like if introduced and how we can design it to provide meaningful value.

Take the Survey and Make Your Voice Heard

If you have a few minutes, we’d be grateful if you could share your thoughts. Your feedback will be invaluable in shaping how we approach subscription options to serve the DPReview community better.

[Take the survey here]

Thank you for being a part of DPReview. Together, we’re building a better DPReview experience for all photographers.

Warm regards,

The DPReview Team

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

Meike has announced the 85mm F1.8 Pro, a full-frame autofocus lens for Nikon Z-mount, Sony E-mount, and L-mount cameras.

The lens is entering a bit of a crowded market, as there are a number of of 85mm F1.8 primes available for each of the mounts, including another similar model from Meike itself, which costs $130 less than the one with the "Pro" badge.

Compared to that lens, Meike's new offering adds a manual aperture ring and has a different optical formula. Meike's (even more) budget option is built out of 9 elements in 6 groups, while the new Pro model has 11 elements in 8 groups. The Pro has a minimum aperture of F16, while the regular model can stop down to F22. It also adds what appears to be a gasket at the lens mount, though the company doesn't make any claims of weather or dust sealing about the lens.

The 85mm F1.8 Pro has a 62mm filter thread and a minimum focusing distance of 0.85m (33.5").

In fact, Meike's product page doesn't say much of anything about the lens; there's a specs table, but no copy at all apart from a notice that the lens will be available starting November 19th for $339. There are seemingly official graphics floating around with weights and some information about lens composition, and we'll be sure to update this story with that information once it actually appears on Meike's site.

Meike 85mm F1.8 Pro Specifications Principal specificationsLens typePrime lensMax Format size35mm FFFocal length85 mmLens mountL-Mount, Nikon Z, Sony EApertureMaximum apertureF1.8–16Minimum apertureF1.8–16Aperture ringYesNumber of diaphragm blades9OpticsElements11Groups8FocusMinimum focus0.85 m (33.46″)AutofocusYesMotor typeStepper motorDistance scaleNoDoF scaleNoPhysicalDiameter76 mm (2.99″)ColourBlackFilter thread62 mm

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

The 26th anniversary of the Canon PowerShot Pro70 hitting the shelves heralds us nearing the end of our 25th anniversary year. It was the first camera founder Phil Askey reviewed, and that review's publication, on December 25th, 1998, is the point we consider the start of DPReview.com

The Pro70 was a pretty high-end camera for its day. It was built around a Type 1/2 (~6.7x4.5mm) sensor and an impressively ambitious 28-70mm equiv F2.0-2.4 lens. It arrived some ten years before automatic distortion correction allowed wide-angle zooms to be squeezed into small bodies, so that 28mm-equiv starting point was a premium feature, and one that helps explain the camera's size.

That wide, bright lens gives a hint at how high-end the Pro70 was. That and its $1500 MSRP marked it out as an enthusiast camera of its time. The next step up in quality from this was really the Kodak DCS SLRs, which costs multiple thousand dollars.

Because it dates from the very beginning of the site, I can't speak with authority on what the Pro70 meant for the progress of cameras, in the way we've tried to in the rest of this series. But instead I can highlight the way the Pro70's status as the first DPR camera has led to it popping up throughout the site's history.

Throwback Thursday: Canon PowerShot Pro70 (2016)

The Pro70 is such a landmark camera for the site, we've had cause to look back on it before. I shot the old studio test in preparation for the site's 10th anniversary, though we never ended up publishing the Pro70 vs Sony Mavica FD91 head-to-head we had planned. Technology had moved so fast in those first ten years that its lack of custom white balance, the choice of just two ISO settings (with a third available at 1/4 resolution), its tiny screen and agonizing shutter lag felt completely alien to someone who'd first really gone digital in about 2004.

The Canon PowerShot Pro70 isn't as significant to the history of cameras as many of the other models we've covered in this series, but it's popped up at key milestone's in the site's history.

Photo: Richard Butler

It cropped up again at another key point in the website's history: PIX 2015, the photo show we hosted at the Seattle Center in October 2015. As well as getting together a broad selection of speakers and brands to present to the in-person audience and over the web, we put together a booth showing what we did, giving attendees the chance to meet and talk to the team. Our booth included a range of significant cameras from the site's history, including a Pro70, displayed in a custom perspex case.

I suspect it's this same Pro70 that I planned to dig out as part of our 25th anniversary celebrations, only to find myself with a tighter deadline, when we were told the site was going to close in early 2023. I went ahead and shot our current studio scene, to show how far cameras had come during the site's history and I still enjoy the symmetry of the lowest resolution and highest resolution cameras having pixel counts that differ by a factor of approximately 100.

Canon PowerShot Pro70 added to studio scene (2023)

In that same, strange period for DPReview, I went back and rebuilt the sample galleries of the earliest reviews, accidentally deleted some years earlier, so that it would be the most complete version of the site that got delivered to the Internet Archive. Which means it's now possible to go back and see the Pro70 review as it was originally written, over twenty five years after it was first published.

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

Updated: November 13th, 2024

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

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

Best camera for vlogging on the move: DJI Osmo Pocket 3 Photo: Richard Butler $519 at B&H $519 at Amazon $519 at Adorama

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

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

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

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

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

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

Read our hands-on impressions of the Osmo Pocket 3

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

Best camera for filming indoors: Sony ZV-E10 II

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

Buy now:

$998 at Amazon.com$1098 w/ 16-50 at Adorama$1098 w/ 16-50 at B&H Photo What we like:

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

What we don't:

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

The Sony ZV-E10 II is focused on vlogging, with solid 4K/24p and 4K/60p shooting capabilities, and a suite of features for taking footage of yourself. The ZV-E10 II has an excellent grip, easy-to-hit buttons and a touchscreen that lets you control the most important settings without turning the camera around. The zoom rocker is great for power zoom lenses. Subject tracking autofocus is fast, sticky, and accurate, though it doesn't have all the modes available on other Sony cameras. Product showcase prioritizes items held up in front of your face and has lots of options. Menus are easy to learn and responsive, and battery life is good. The ZV-E10 II pairs useful, video-focused features with excellent hardware, making it an excellent vlogging camera depending on your style. The rolling shutter performance is good, bordering on excellent. The lack of IBIS can make handheld footage look shakey, and electronic stabilization is only useful for stable shots. The built-in microphone is good, and the camera has headphone and mic jacks. The ZV-E10 II brings many – but not all – of the a6700's vlogging features to a more compact and less expensive body. If you can live without IBIS and built-in ND, it's a solid interchangeable lens vlogging camera.

Read our full review of the Sony ZV-E10 II

A potential alternative

Fujifilm recently announced the X-M5, an APS-C camera with a lot of the vlogging features found in the ZV-E10 II. While we haven't had the opportunity to fully test it, its price point and Fujifilm's broad lens selection make it an interesting choice – however, based on experience with Fujifilm's other recent models, its autofocus system is likely to be less reliable than Sony's, particularly with moving subjects.

We also considered Nikon's Z30 and Sony's similarly-specced ZV-E10, but the improved video performance of the Mark II and the lack of headphone socket on either of these older models mean it's the newer Sony we'd lean towards.

Best camera if you do a mix of both: Panasonic S9

24MP BSI CMOS full-frame sensor | 6K/30p 10-bit video | Sensor stabilized to 5EV

Buy now:

$1799 w/ 18-40mm at Amazon.com$1498 at Adorama$1798 w/ 18-40mm at B&H Photo What we like:

• Wide range of video features
• Quick camera-to-phone-to-social-media workflow
• Aggressive price point for a full-frame camera

What we don't:

• Mid-tier autofocus performance
• No headphone jack or front tally light
• Mediocre rolling shutter performance
• Full frame setup can be heavy for vlogging with

The Panasonic S9 is a full-frame L-mount mirrorless camera aimed at creators who want to post images and videos to social with as little editing as possible.

The S9's stabilized sensor earns it a place on this list – while it won't provide video as smooth as the Osmo Pocket 3, it does a good job of reducing the shakiness that typically comes with handheld footage. Its full-frame sensor provides good image quality for shooting indoors.

It can be difficult to adjust settings when you're holding the camera with one hand, and the rear control dial is extremely sensitive, making it easy to accidentally change settings. Lack of a grip makes the camera a little slippery. The S9's autofocus is generally reliable but can occasionally miss or hunt for focus. It can overheat in harsh conditions. It's Real Time LUT system lets you get already-graded images and videos straight out of camera. The S9 is a camera that goes all-in on posting to social media. Its open-gate 6K and UHD 4K modes have good quality, with plenty of detail. Its open-gate 4K 'MP4 Lite' codec produces files that are quick to transfer to your phone, crop, and upload to social media. 10-bit video is a plus if you plan on editing. The S9 has a well-thought-out workflow for posting media from it to the Internet. It's very capable at shooting video, but the photography experience isn't as strong.

Read our review of the Panasonic S9

Best high-end vlogging camera

Full-width 4K/60p, 120p with minor crop | Auto cropping/framing modes | Subject recognition AF

Buy 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

What we don't:

• 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.

It has pretty much everything a vlogger would need: Sony's class-leading autofocus, a front tally light, a stabilized sensor, 4K60p with no crop and excellent rolling shutter performance. It also has features that make shooting alone easier, such as its auto framing mode that dynamically zooms in on the subject in a frame, much like a cameraperson would, and the product showcase mode that overrides the face detection AF when you're clearly trying to show the camera something.

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 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

Why you should trust us

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

Image: Fujifilm

Fujifilm has announced that it's working on "its first-ever filmmaking camera" called the GFX Eterna, which will use the 44 x 33 mm medium-format sensor found in its GFX 100 II and 100S II cameras. The company says it's set to be released in 2025, when it'll likely compete with other large-format* cameras like Red's V-Raptor with a 41 x 21.6 mm sensor, and Arri's Alexa 65 with its 54 x 25.6 mm sensor.

The 102MP sensor will be paired with Fujifilm's X-Processor 5, also brought over from its more stills-focused cameras. That sensor is "approximately 1.7 times larger" than 35mm sensors, which themselves are considered relatively big for cinema cameras.

The GFX Eternal looks like a typical cinema camera

While there are plenty of details still missing – this is only a development announcement – the company's news post includes two renders of the GFX Eterna, which looks like a typical cinema camera: it's adorned with buttons and ports, including connectors for Genlock, USB-C, Ethernet, remotes, audio equipment and video output. Also included is a locking lens mount, which is vital when dealing with extremely heavy and costly cinema glass.

Alongside the camera, the company says it's working on a 32-90mm power zoom GF lens, which translates to roughly 25-71mm full frame equiv. The company is also working on an adapter that will let you put industry-standard PL-mount lenses onto the camera's G-mount. However, anyone using PL mount lenses with the camera will want to make sure they have a big enough image circle, as many cinema lenses are made for cameras with "Super35" sensors, which can be 25 x 13.9 or 25 x 18.7 mm. That makes them closer in size to APS-C sensors than the 36 x 24 mm full-frame sensors the GFX sensor was made to outclass.

While the GFX Eterna may be the company's first cinema camera, it's not necessarily a surprising move. The GFX 100 II has a ton of video features, including a series of video modes designed for the company's incredibly expensive Premista cinema lenses, which have a larger imaging circle than full-frame but smaller than the full GF mount. However, it is interesting that the company would choose to jump into the cinema market with this sensor, given its relatively poor rolling shutter performance. In its UHD and DCI 4K modes, it manages a 14-15ms readout rate via line-skipping, but at higher resolutions, it reaches upwards of 30ms, which could render even moderate speed pans as a wobbly mess.

*In video terms

Press Release:

Fujifilm Unveils the Development of its First Filmmaking Camera “FUJIFILM GFX ETERNA”

Achieving rich, true to life visuals with the large format sensor

Paving the way for a new era of film production and timeless masterpiece creation

TOKYO, November 12, 2024 – FUJIFILM Corporation announces that it is currently in the process of developing its first-ever filmmaking camera, the “FUJIFILM GFX ETERNA” (GFX ETERNA), with plans for a release in 2025. The “GFX ETERNA” will feature a large format sensor, “GFX 102MP CMOS II HS”, which is approximately 1.7 times larger than a 35mm sensor, and the high-speed image processing engine “X-Processor 5”, enabling filmmakers to capture rich, true to life visuals and have enhanced flexibility in post-production. Both the “GFX 102MP CMOS II HS” sensor and “X-Processor 5” are the latest technologies featured in the mirrorless digital camera “FUJIFILM GFX100 II”, which delivers extraordinarily high image quality with its 102 million pixels.

Fujifilm will showcase the “GFX ETERNA” as a reference exhibit at the comprehensive media event “InterBEE 2024”, which will be held from November 13th to 15th 2024.

After its founding in 1934, the Fujifilm Group has played an important role in Japan’s film industry by developing and introducing domestically-produced positive film for movies. Through continuous innovation, Fujifilm has expanded its product range to include the motion picture color negative film “ETERNA series” and the cinema zoom lenses “Premista series” and “ZK Cabrio series”. For over 90 years, Fujifilm has been providing reliable products for the film production industry and beyond. In addition to its success with photographic films, cameras and digital cameras, in 2017, Fujifilm introduced the groundbreaking mirrorless digital camera “GFX series”, featuring a large format sensor approximately 1.7 times larger than a 35mm sensor, delivering extraordinarily high image quality. Fujifilm has since made continuous improvement to the “GFX series”, including its video capabilities.

The “GFX ETERNA,” currently in development, is set to revolutionize film production. Leveraging Fujifilm’s expertise and experience in the field of filmmaking, the company will combine the exceptional capabilities of Fujinon lenses with the advanced technology of the “GFX series.” Aptly named “GFX ETERNA,” it aspires to become a driving force in shaping a new era of filmmaking and dedicate to contributing to the creation of timeless cinematic masterpieces.

In addition to the development of the “GFX ETERNA”, Fujifilm is also working on the development of a power zoom GF lens that is optimized for this G mount camera, planned to have actual focal length of 32-90mm, and a mount adapter from G to PL mount lenses, widely employed in film production.

As the demand for producing various types of videos such as feature films, short films, documentaries, and web content continues to grow, there is a growing need in the film production industry for high-quality videos that can be produced quickly and inexpensively. In preparation for the launch of the “GFX ETERNA”, Fujifilm will conduct rigorous field tests, while expanding its product lineup to enhance the “GFX system”. Through these efforts, Fujifilm is committed to contributing to the video production with high-quality and productivity across a wide range of fields.

Image: Sony Alpha Universe

Sony has teased its newest high-performance camera, the a1 Mark II, on its Sony Alpha Universe website, as well as on its social media channels like Instagram and TikTok. According to the teaser, the new model will be announced next Tuesday, November 19, during a live-streamed event that starts at 9:00 am Eastern time.

The company did not provide any details beyond the new product name and announcement time. However, the banner on the Sony Alpha Universe website links to a scheduled video on Sony's YouTube channel where the launch will be live-streamed.

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. 85%Overall scoreJump to conclusion

Product images by Dale Baskin/Mitchell Clark

The Panasonic Lumix S9 is the newest addition to Panasonic's line of full-frame mirrorless cameras, though it differs considerably from previous models by being the first to diverge from the traditional DSLR form factor. More significantly, it's the first full-frame Lumix camera aimed squarely at social media content creators.

The basic premise of the S9 is that it's designed to simplify and speed up the social media workflow. The goal is to allow content creators to generate photos or videos ready to publish straight out of the camera without additional editing in other applications.

Key specifications

• 24MP BSI CMOS full-frame sensor with on-sensor phase detection
• Sensor stabilized to 5EV (6.5EV w/ lens)
• 1.84M dot fully-articulating LCD
• Open-gate video at 4K or 6K up to 30p
• Extensive range of video resolutions, frame-rates and codecs
• Dedicated LUT button to apply LUTs to output (photos and video)
• Tight integration with the new Lumix Lab smartphone app
• Dual conversion gain sensor with explicit 'Dual Native ISO' gain selection
• Single UHS-II card slot

The Lumix S9 is available at a suggested retail price of $1499 in six color options: night blue, dark olive, crimson red, sakura pink, mint green and jet black.

Alongside the S9, Panasonic also announced a new L-mount lens designed to pair with the camera. The Lumix S 26mm F8 is a fixed-aperture, manual focus 'pancake' style lens with a suggested retail price of $199. But the S9's primary kit lens is the 18-40mm 4.3-6.3, a collapsible zoom that presents a compact combination, but increases the cost to $1797.

Index:

• What's new?
• How it compares
• Body and controls
• Image Quality
• Autofocus
• Video
• Conclusion
• Sample gallery
• Specifications
• Press release

Buy now:

$1799 w/ 18-40mm at Amazon.com$1498 at Adorama$1798 w/ 18-40mm at B&H Photo What's new:

Under the hood, the Panasonic S9 has a lot of similarities to the Panasonic S5II. However, by necessity, it omits some of that camera's hardware features in the interest of size, including an EVF, a second main command dial, a joystick, a second card slot and an integrated fan.

While the two cameras share a common technology platform, the S9 is not simply a more compact version of the S5II: the cameras have very different design philosophies and are aimed at different types of users. One of the starkest examples of this is in the S9's lack of a mechanical shutter or hot-shoe mount, which signals its prioritization of video over stills. There's no reasonable way to use a flash with this camera, and you'll have to be careful to avoid rolling shutter when shooting moving subjects.

Social media-focused workflow

The S9 is specifically designed with a social media workflow in mind. This means providing social media creators with the tools necessary to generate distinctive, signature looks to their photos and videos straight out of the camera without requiring any editing skills. Panasonic describes this as the ability to "Shoot, edit and share in 30 seconds." While 30 seconds may be a bit optimistic, it's important to understand that this social media workflow underpins the camera's features and design choices.

In essence, the S9 is intended to provide a camera-to-social-media workflow that can be executed quickly and easily, without relying on a computer or any third-party software. Although the camera can support an enthusiast photographer's workflow, it's not optimized for it, and lacks features that dedicated photographers are likely to value, such as a dedicated viewfinder, a second command dial and direct controls for features such as AF mode and area.

Expanded use of 'Real Time' LUTs

A core feature of the S9's social media workflow is Panasonic's 'Real Time' LUT system, first introduced on the S5II. This does more or less what it sounds like: it lets you instantly apply a look-up table (LUT) color transformation to a photo or video as they're captured to provide a custom look that would otherwise require additional editing to achieve.

LUTs have been a standard method of applying color and tone transformations in the video world for years, but Panasonic has expanded their use to broadly apply to both stills and video. It promises this LUT-based workflow will let you skip the color editing step entirely because you can use LUTs to achieve whatever look you want straight out of the camera.

LUTs are such an essential part of the S9's identity that it has a dedicated LUT button next to the AF-On button on the back of the camera. Tapping this button allows you to quickly cycle through all the LUTs loaded into the camera to select the look you want to achieve.

The S9's Real Time LUT feature allows you to generate custom looks straight out of the camera.

In addition to a dedicated LUT button, the camera improves upon the system found on the S5II in several ways. The S9 can store up to 39 LUTs in memory, up from ten on the S5II. LUTs can also now be applied to any of the camera's Photo Style color modes; previously, LUTs could only be applied to the V-Log style (for which most existing LUTs are designed). When using the Real Time LUT system, this is handled automatically; if the LUT you're using is designed for V-Log, it'll be applied on top of V-Log. If it's designed for the standard color mode, it'll be applied on top of that, and so on.

Users also now have the ability to control LUT opacity, ranging from 10-100%, and it's even possible to apply two LUTs at once by creating a custom 'My Photo Style', which lets you choose a base Photo Style and apply one or two LUTs on top of it. However, switching between a single Real Time LUT and a customized Photo Style requires using a separate menu, as the My Photo Styles aren't included in the list of LUTs.

New LUTs can be added to the camera quickly and easily using a companion smartphone app, though it's also possible to add a LUT in .cube or .vlt format from an SD card if desired.

4K open-gate recording and MP4 (Lite) codec

Another part of the S9's focus on social-media-ready footage is its 4K open-gate video mode. This captures video from the entire 3:2 sensor region and downsamples it from 6K to 4K. The taller, squarer 3:2 format makes it easier to take both a standard 16:9 crop (for platforms such as YouTube) as well as a tall, narrow 9:16 crop for vertical video platforms such as Instagram and TikTok.

The 4K open gate footage is captured in a new MP4 (Lite) codec, which records either 25 or 30p footage at an average of 50Mbps. This low bitrate assumes you won't be making major edits to your footage (having already used LUTs to get the color right, in-camera), and allows quick transfer to a smartphone. This is the camera's default mode.

The S9 can still capture standard resolutions at higher bitrates if you prefer, and handles vertical shooting well if you're solely interested in 9:16 output. It can also capture its full sensor 'open gate' output at full 6K resolution, if you want to punch-in and pan around the footage on your computer. But the camera's app doesn't handle the MOV files these higher quality modes are recorded in.

Aspect ratios Frame rates Bit-depth Chroma Max bitrate 6K Open gate
3:2, full width 3:2 29.97, 25, 24, 23.98 10-bit 4:2:0 200 3.8K Open gate
3:2, full width* 25, 30 50 5.9K full-width 16:9, 1.89:1 29.97, 25, 24, 23.98 200 4K full-width 4:2:2 150 4K APS-C 59.94, 50, 29.97, 25, 24, 23.98
(48, 47.95) 200

*Open gate 4K recording is the default video mode for camera

In most of the camera's modes it will shoot 4K open-gate footage by default. This can be changed in the menu, but the camera can only shoot at up to 4K resolution. To access the full-width 5.9K and 6K open-gate options, you'll need to switch out of the dedicated video mode to use them.

In video mode you also get access to Panasonic's excellent video features like waveform monitor, shutter angle, zebras, Log view assist, record frame indicator, and the other usual suspects.

Lumix Lab app

Part of the S9's social media workflow depends on the Lumix Lab smartphone app.

Lumix Lab allows you to apply LUTs to photos and videos and to manage the LUTs installed on your camera. However, the real power of Lumix Lab is the ability to quickly and easily create your own custom looks and generate custom LUTs based on those looks. The app includes various editing tools, including exposure, color, HSL, tone curve, split toning, sharpening, noise reduction, sharpness, and even simulated film grain. If you edit an image or video clip and get a look that you want to reproduce in the future, you can instantly save a custom LUT based on your edits and load it into one of the camera's 39 memory banks.

The Lumix Lab app allows you to create and manage LUTs on your camera.

The idea is to allow you to create a signature look that you can automatically apply to any media you capture in the future simply by selecting your custom LUT using the camera's LUT button.

Lumix Lab also includes a library of ready-to-use LUTs, including LUTs created by Panasonic and by other social media content creators. This means you have many creative options to choose from, even without having to make LUTs yourself.

You can also use Lumix Lab to generate different crops from a video to post to different platforms. This comes into its own if you shoot the default whole-sensor 3:2 'open-gate' footage. However, the app only accepts footage shot in the MP4 (Lite) and MP4 formats. The 6K open-gate and full-width 5.9K modes, which you might want to edit more extensively, can only be shot as MOV footage, so aren't compatible. So you need to think about your intended workflow when choosing a codec.

Lumix Lab has a fair number of tools for editing your footage – assuming you shot it in MP4 instead of MOV.

Its auto-transfer system is also at the mercy of your phone's operating system. When testing it on iOS, it would often stop automatically downloading files from the camera when the phone went to sleep, prompting the S9 to pop up a warning about un-transferred files that would prevent the camera from turning off until we tapped a button. It is possible to get around this by selecting what media you want to send to your phone from your camera, rather than having your phone try to automatically download everything.

How it compares

Panasonic's pitching this camera squarely at creators who are still mainly shooting with their phones. If it wants the S9 to woo them, it has to do two things: be almost as convenient to carry around and shoot with as a phone while producing much higher-quality images. The camera's compact size, along with the revamped app, are plays at making it convenient, while its full-frame sensor should provide enough raw photo and video quality to stand out in a crowd of smartphone images.

Of course, the S9 isn't the only choice for creators looking to step up to a dedicated camera. Sony's ZV-E1 is a direct rival focused on meeting the needs of creators. We've also included the Panasonic DC-S5II, the company's more photographer-friendly model underpinned by similar hardware.

Finally, the Sigma fp is admittedly a slightly left-field comparison, but its lack of viewfinder, reliance on an electronic shutter, and use of the same sensor make it an interesting point of comparison.

Panasonic S9 Sony ZV-E1 Panasonic S5II Sigma fp MSRP $1499 $2200 $1999 $1899 Pixel count 24MP 12MP 24MP 25MP Viewfinder
(Res/Mag) N/A N/A 3.69M dot OLED,
0.76x Optional Rear Screen 3.0" 1.84M dots, fully articulating 3.0" 1.04M dots, fully-articulating, 3.0" 1.62M dot, fully-articulating 3.2″ 2.1M dot, fixed Image stabilization

Body: 5EV

w/lens: 6.5EV

Body: 5EV

Body: 8EV

w/lens: 8EV

N/A Cont. shooting rate 30fps e-shutter 10fps e-shutter 30fps e-shutter
7fps mech (AF-C) 18fps e-shutter Mechanical shutter No No Yes No Video resolution

• 6K 3:2 <30p
• 6K/5.9K <30p
• 4K 60p (APS-C)
• 4K <30p (full width)

• 4K <60p
• 1080 <120p
• (4K <120p, 1080 <240p via f/w*)

• 6K 3:2 <30p
• 6K/5.9K <30p
• DCI/UHD <30p
• DCI/UHD <60p (1.5x crop)

• 4K <30p
• 1080P <120p

Video bit-depth 10 bit with HLG and Log 10 bit with HLG and Log 10 bit with HLG and Log

12 bit Cinema DNG

No 10-bit or Log option

Mic/Headphone sockets Yes / No Yes / Yes Yes / Yes Yes / Yes (via USB-C) Card slots 1x UHS-II 1x UHS-II 2x UHS-II 1x UHS-II Battery life (CIPA) LCD / EVF 470 570 370 / 370 280 Weight 486g (17.1 oz) 483g (17oz) 740g (26.1oz) 422 g (14.89 oz) Dimensions 126 x 74 x 47 mm 121 x 72 x 54mm 134 x 102 x 90mm 113 x 70 x 45 mm *A free firmware upgrade is required to access 4K/120 shooting on the ZV-E1

For its price and size, the S9 has a pretty impressive spec sheet for an entry-level camera, largely owing to its high-res, full-frame sensor and ample video features. The company's stabilization tech is some of the best in the business when it comes to video, but its autofocus is still not the most reliable, while Sony's is.

This makes the comparison with the Sony ZV-E1 interesting. It, too, aims to make creators' lives easier, but through different means. The S9's forte is making it easy to find or create a look for your images, while the ZV-E1 is tuned to make filming yourself easier. While it has its own custom LUT feature, it's mostly focused on video instead of photos, and can only be applied to S-Log3 footage.

The S9's focus on creators means there are plenty of features that could push enthusiast and more photo-focused buyers towards more expensive cameras like the S5II. The S9's bigger cousin has more controls, a viewfinder, a mechanical shutter and a second SD card slot. It's also better equipped for video, with a full-size HDMI port versus a fragile micro one and a dedicated headphone socket (with the ability to record to an SSD on the more expensive S5II X model). The S5II's extra features come at a cost, though, both figurative and literal; it's over 50% heavier, and its MSRP is $500 higher than the S9's, both factors that could be dealbreakers for on-the-go content creators or people who are just starting out.

Body and handling

The S9 has a sleek design reminiscent of old rangefinder film cameras. Its face is a mostly flat surface, a leatherette cover that comes in six colors. (Real ones, too; it's nice that Panasonic hasn't skimped on saturation like many gadget makers are these days.) Unlike Panasonic's higher-end offerings, the S9 doesn't have any programmable buttons up front.

The camera is relatively compact for housing a full-frame sensor; it's smaller and lighter than Panasonic's four thirds-equipped G9II. However, the S9 is still not a small object, and we felt its thickness, rounded edges, and lack of ergonomic affordances made it difficult to confidently shoot it one-handed like you can with cameras like the S5II or GH5II. Its surface finishes are relatively slick, and it doesn't have any front grip to speak of. (There is a leatherette-inlaid thumbrest, but it can only do so much.)

At the top of the camera is the mode dial, along with a programmable command dial that runs around the shutter button. There's also a programmable red button that, by default, will start recording up to 4K video even if you're in a photo mode, in your choice of MP4 Lite, standard MP4, or MOV. If you want access to the camera's highest resolution mode or all of its framerates, though, you'll have to switch to video mode. Finally, there's a cold shoe mount, which could be useful for mounting accessories like vlogging microphones or on-camera lights as long as they can provide their own power.

Moving to the back of the camera, there's the flip-out touchscreen, which is the S9's only display. It's also the main way to select your focus points, though you can also use the four-way controller once you've entered the AF point select mode. The screen is responsive, crisp and clear at 3.0" and 1.84 million dots (960 x 640px), but it's susceptible to glare and washing out even on relatively overcast days.

Above the display, you'll find the LUT and AF On buttons, both of which are programmable and easy to reach while shooting. Down to the right is the control wheel, along with the rest of the camera's buttons. We found the dial to be quite sensitive, which limited our choices while choosing its function; it's no fun looking down at your camera and discovering that you accidentally changed to a black and white photo style, or adjusted your white balance.

That sensitivity does help you zip around menus, but it doesn't make it any easier to use the wheel when you're one-handing the camera. It's placed such that you'll have to remove your thumb from the thumbrest to make adjustments, something that will almost certainly unbalance the camera unless you're supporting it with a second hand.

Photographers used to direct control of two principal parameters will probably wish for an extra command dial, and those who hate diving into menus will likely want an extra programmable button or two. However, you can make things a little less fiddly if you customize the Q menu and "My Menu" systems. The main menus of the camera are also reasonably easy to navigate, and you can control them with either dial, or using the touchscreen.

Battery

The S9 uses Panasonic's 16 Wh DMW-BLK22 battery, the same one found in the S5II, G9II, and GH5II. It's rated to give you around 470 shots per charge, though as always that number is likely well below what you'll get during real-world use. That's quite a good showing, especially for a camera of this size; that's enough power that most photographers could head out for a weekend of shooting without worrying about bringing a second battery, unless you plan on shooting a lot of video.

The S9 doesn't come with a power adapter or battery charger, but it has a USB-C port that you can use with standard charging bricks. According to Panasonic, you should be able to keep it topped up with a battery bank, provided it and your USB cable support outputting at 9V at 3A.

Image Quality

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

Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

The S9 has the same sensor as the S5 II, so it's no surprise that it has very similar image quality in most situations. While we haven't shot the studio scene with the ZV-E1, the a7S III has nearly identical performance to it. Its 12MP sensor captures much less detail than the S9's 24MP one, meaning that it's even less suited to taking stills.

The S9's Raw files have roughly the same amount of detail as most other 24MP cameras, such as the Nikon Z6 II, and similar levels of noise at moderately high and very high ISOs.

The S9's JPEG engine does a decent job at sharpening fine details at low ISOs without giving images an overprocessed look. At moderately high ISOs the noise reduction does a good job of retaining all but the finest details, though it can start to struggle at extremely high ISOs.

In its standard color mode, the S9's JPEGs generally have good colors, and, though our color chart does suggests the greens can be a bit yellow, and the yellows can be a bit green, this didn't have a noticeable impact in landscapes or photos of foliage that we took as part of our testing.

Part of the allure of the camera is the ability to easily go beyond the standard color mode by applying a LUT. With the ability to built LUTs on top of the built-in Photo Styles, and to mix them together using the My Photo Style profiles, the S9 gives you more ability to tune the JPEGs to your liking than most other cameras – though that does come with the risk of going overboard.

Dynamic Range

The S9 doesn't have the strongest dynamic range performance, displaying higher levels of read noise than other cameras that use the same sensor. This is because the lack of a mechanical shutter forces it to use the faster 12-bit readout mode on the sensor, which results in lower dynamic range than a 14-bit readout mode.

The camera's intended audience of content creators and vloggers likely won't run into issues with it unless they routinely edit their Raw images and try to raise the shadows.

It's of no disadvantage at all for video users, as almost all of its rivals also drop to 12-bit readout to capture video. It is one more small reason not to consider the S9 as a general-purpose photography camera, though, as it could be somewhat limiting when shooting high-contrast work such as landscapes.

Exposure Latitude | ISO Invariance

Lenses

A few months after the S9 launched, Panasonic released its 18-40mm F4.3-6.3 collapsible lens, which became one of the kit lens options for the camera. You can look at our sample gallery, shot with the S9, to get an idea of what images taken with it look like, but the summary is that it's a lens that prioritizes compactness and lightness over image quality. That isn't necessarily a bad thing; when paired with the lens, the S9 is surprisingly light and compact for a full-frame camera.

That won't necessarily be true if you decide to upgrade the lens. There are plenty of L-mount options that are good for video, but the faster and sharper the lens, the bigger and heavier it'll be; you don't have to go much bigger than the 18-40mm before the lens starts to outweigh the S9, partially negating its compact design.

Autofocus

The S9 features 779 autofocus points, along with several modes for choosing autofocus: pinpoint, one area, one area plus, zone, horizontal / vertical zone, full area and tracking.

To select where you want the camera to focus, you can either tap the touchscreen or use the four-way controller. By default, the four-way controller focus point select mode requires a button press before you can start moving the focus point.

Each subject detection mode also has its own part priority mode.

Like most modern cameras, the S9 features several subjects that it can automatically recognize. It also lets you pick which part of each subject you'd like to prioritize. Following the v1.1 firmware update, that list is:

• Humans (Eye/Face or Eye/Face/Body)
• Animal (Eye/Body or Body)
• Car (Driver/front priority or entire subject)
• Motorcycle (Helmet priority or entire subject)
• Train (Cab priority or First car)
• Airplane (Nose priority or airframe)

The S9 also does a good job of not overriding your tracking selection point if it recognizes a subject elsewhere in the frame.

All the subject recognition modes are also available when shooting video. As with many cameras, the regular autofocus tracking performance isn't as strong in video, but the subject recognition tracking is relatively dependable. It would occasionally have to hunt for focus in busy scenes, but such instances were rare.

When shooting photos, the S9 could keep up with a subject moving towards it at a predictable speed, in a straight line in focus at its 8fps 'high' speed during our continuous autofocus test.

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

The usually reliable subject detection system wasn't able to keep the subject in focus as he slowed down and then sped back up.

Its performance in our more difficult autofocus tracking test wasn't as reliable. When asked to identify and stay on a subject moving across the frame and coming towards it at a varying speed, it sometimes struggled to keep him in focus. Like many cameras, it would do fine until the subject turned, slowing the speed with which the subject was moving toward the camera.

The issue appeared in both the regular tracking mode and when using subject detection, and the S9 was generally able to recover after two or three frames, suggesting the camera is able to recognize the subject it should be focusing on but is less good at measuring and predicting its distance. While this performance is far from terrible, it solidly places the S9's autofocus system in a tier behind the most capable systems from Sony, Nikon, or Canon.

Our everyday use of the camera outside of the test reinforces those results, but the main focusing pain point wasn't the system's accuracy; it was the ergonomics of picking a tracking point. Both methods – using the touchscreen or the four-way controller – require readjusting your grip and touching the camera, which can throw off your framing. Overall, we found it difficult to quickly select a focus point and get the framing we wanted, which hurt the experience of photographing quick-moving subjects.

Video

The S9 can shoot open-gate in both 6K and 4K; the former is useful if you want maximum quality and flexibility to crop and reframe in traditional editing software, and the latter is useful if you plan on doing quick, simple crops on your phone. The goal is to make it easy to shoot a single video that can be output as vertical and landscape, though it can be difficult to frame a shot in a way that'll be sensible in both formats.

It can also shoot in standard UHD 4K, DCI 4K, and 1080p and has some more obscure options: 5.9K for maximum resolution but pre-cropped to 16:9 and a 4:3 '3.3K' mode that uses a 1.5x crop of the sensor and can be used for shooting with anamorphic lenses. You'll also run into that crop if you shoot above 30p in the 4K modes.

The S9 has several video-focused features: it has a resizable and movable waveform exposure monitor, a red border on the screen to act as a recording indicator, two levels of zebra patterns, the option to set shutter angle instead of speed and, as of the v1.1 update, multiple customizable frame guides to make it easier to compose for different aspect ratios.

You can have up to three frame guides, which you can move and scale, letting you understand how your framing will work for different output crops.

Perhaps the most important feature, especially for vloggers, is the quite capable in-body image stabilization. The stabilized sensor does a good job of smoothing out the shakes that come with shooting hand-held footage while still being reactive enough to let you intentionally move the camera without the sensor fighting you. We didn't run into much of the jerkiness or grab-and-release issues that can show up with less sophisticated stabilization systems.

If you need an even steadier shot, you can also activate 'Boost I.S.' mode, which is meant to mimic footage shot on a tripod, at the cost of giving you less freedom to move the camera – if you try to pan with Boost I.S. on, the aforementioned issues will start to show up. The S9 also has electronic image stabilization that can be layered on top of the physical stabilization and support for Panasonic's 'Dual I.S.' mode that syncs the IBIS with a lens' optical image stabilization to provide an even smoother shot.

One notable omission is the 3.5mm headphone jack. Thanks to the lack of audio monitoring, we had to re-shoot a few videos we filmed with the S9; while an audio meter appears on the display when you plug in an external microphone, it won't always tell the whole story, especially if the issue is interference or handling noise.

One last note for vloggers hoping to quickly capture footage from their lives: the S9 can occasionally take upwards of 4 seconds to boot up. Subsequent boot times are much lower, around a second, but it's worth being aware of if you need your camera to reliably start up in situations where two or three seconds could be the difference between getting a shot and missing it.

Video Quality Image ComparisonThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

The standard 4K footage from the S9 has an acceptable level of detail, though it's far from the best we've seen. When shooting above 30fps in 4K, the camera uses a crop of the sensor, resulting in less detail and worse noise performance. This is something to keep in mind if you prefer to shoot at 60fps for slow-motion purposes or to achieve a hyper-real aesthetic.

Switching to 6K or the other >4K resolutions does provide a slight increase in detail, but most creators would likely best be served sticking to 4K rather than dealing with substantially larger files, especially if they plan on transferring the files to their phones. The exception is those who need the flexibility of the open gate aspect ratio in editing.

Rolling Shutter It's not the worst rolling shutter performance we've seen, but it's definitely something to keep an eye out for.

Depending on what subjects you typically shoot, the S9's rolling shutter performance could be something to watch out for.

Shooting mode

Rolling shutter rate

6K / 3.8K open gate 25ms 4K 24p 22ms 4K 60p 14ms 1080p 24p 22ms

The camera's 4K 24p mode takes a little over 20ms to read out, which is towards the upper end of what we'd consider acceptable. There's a definite risk of you seeing the warping effects of rolling shutter at these speeds (though we didn't experience any jello-like interaction between this and the camera's stabilization movements).

The 6K and 3.8K open-gate modes take even longer, as they're reading more of the sensor's height at the same rate. This is no problem if you then crop a 16:9 region out of the footage, since there'll only be 22ms worth of change between the top and bottom of that crop, but any full-height, vertical 9:16 crops will have a higher risk of distortion, as they'll show the full 25ms.

LUTs

The S9 isn't the first time we've seen Panasonic's Real Time LUT system, but it obviously plays a big role on the camera, given the dedicated button for it. Essentially, it lets you shoot footage with a 'look' baked in; you can download new looks from Panasonic's Lumix Lab app or make your own.

If you're used to a LUT-based workflow where you apply a LUT to Log footage, there is one extra aspect to be aware of: Photo Styles. The S9's LUTs have a base Photo Style, which can be – but isn't necessarily – V-Log. Many of the new LUTs are built to be applied to other color modes, such as Standard or Portrait.

If you stick to using the Real Time LUT feature via the LUT button, it's not something you'll have to worry about; the camera automatically figures it out for you. However, it's something to be aware of if you're using the My Photo Style feature to apply two LUTs at once. It automatically sets the base color profile based on the LUT you put in the first slot, but if you inadvertently change the base Photo Style or your second LUT is meant to apply to a different Photo Style, you can end up with some strange results.

You can combine two LUTs in a custom Photo Style.

There is one quirk of the LUT button: it automatically switches to the Real Time LUT photo style, but you have to use the separate Photo Style menu to switch out of it if you want to return to one of the built-in color modes. It's navigable once you've figured out the hierarchy, but can take some getting used to.

The S9 also has a "Log View Assist" mode, which lets you shoot in VLog but use one of the LUTs for the preview on the display rather than baking it into the footage. That way, you don't have to guess how it'll look with the LUT applied in editing but aren't married to that particular look.

Overheating The camera usually takes a few minutes to recover from overheating.

When it was first released, the S9 had aggressive record-time limits to prevent overheating. With the v1.1 update, Panasonic added a setting that lets you bypass them if you're okay with trading known software record limits for longer but more unpredictable thermal ones. During our testing, we found it was possible to get the S9 to overheat, but it was able to handle recording for far longer than the typical social media workflow requires.

Conditions Record time

18°C (64°F) / 6K

Indoors

Did not overheat; card filled after 87 minutes

23°C (73°F) / 6K

Indoors

41 minutes: temperature warning

51 minutes: overheat shutoff

26°C (79°F) / 4K 24p

Indoors

1 hour: temperature warning

1 hour, 20 minutes: overheat shutoff

31°C (88°F) / 4K 24p

Outdoors, direct sun

13 minutes recording over 17 minutes: overheated

If your shooting style involves recording relatively short clips with breaks in between, as is the case with many vloggers, you likely won't run into issues unless you're shooting outdoors in harsh conditions. The one time we ran into overheating issues during actual use was when shooting relatively long (4-6 minute) clips in direct sunlight with high ambient temperatures around 31°C (88°F). It must be said that the person shooting the clips also struggled in those conditions.

Conclusion

By Mitchell Clark

Pros Cons

• Has a wide range of video features
• Quick camera-to-phone workflow
• Real Time LUTs can save some time in post
• Capable in-body image stabilization
• Comes in fun colors that complement a sleek, classic design
• Aggressive price point for a full-frame camera
• L-mount lens ecosystem is robust

• No EVF, mechanical shutter, or hot shoe make it clear it's not for photographers
• Autofocus tracking is decent but not great
• No headphone jack or front tally light
• Mediocre rolling shutter performance
• Screen can be hard to see outdoors
• Only one top plate control dial; rear control dial is extremely sensitive
• Add-on front grip is almost a must

When reviewing some cameras, it can be hard to tell where the line is between a stills camera that can also record video and a video camera that can also take stills. This has not been an issue with the S9. To put it bluntly, you will be disappointed if you buy this camera purely for photography – many people will probably be sad to hear that, given that its $1,499 price makes it one of the most inexpensive full-frame mirrorless cameras ever released, and its looks make it appealing.

That's not to say that you can't get good pictures out of the S9 because you can. If your goal is to separate yourself from the crowd on Instagram with image quality, the S9 is more than up to that task. However, if you're looking to get into photography as a hobby or already consider yourself a photographer and want a compact full-frame camera, it's worth looking for something that makes the experience more enjoyable. In the weeks I've been shooting pictures with the S9, I haven't reached a flow state with it where it felt like an extension of my hand; I had to stop and dive into menus or adjust my grip to change settings or focus.

In the weeks I've been shooting pictures with the S9, I haven't reached a flow state with it

I came closer to reaching that flow state when I stopped trying to use it as a photography tool and started using it to shoot videos with the intention of sharing them online. In the course of this review, I filmed part of a video review for the DPReview YouTube channel and almost a dozen videos for our Instagram page with it, and it fits well into that role. Its autofocus was mostly reliable, the video quality was more than sufficient for social media and even low-to-mid-range commercial work, and the ergonomics didn't matter once it was mounted to a tripod. When I took it off the tripod, the image stabilization was one of the better systems I've used.

I also appreciated that it was flexible enough for shoots where I was uploading straight to Instagram, and ones that had more extensive editing. That's clear from the differences in open-gate modes; the 4K one is good for quick phone-based edits and crops, and the 6K option provides wiggle-room for reframing in proper editing software even if you're delivering in 4K.

This came in use when shooting our video review of the S9, which you can watch below – it, like our first look video, was filmed entirely using an S9, which should give you some sense of how it performs.

Personally, I'm less enthused about the emphasis on LUTs. As I've said before, I suspect most people will find or develop one or two looks that they broadly stick with rather than picking a new LUT for each piece of content they're producing. If that's your workflow, though, the S9's LUT button makes it easy. However, I suspect many S9 owners will end up reprogramming it to do something else – even if they continue to use the Real-Time LUT feature to apply their signature look in-camera.

Outside of not being able to download MOV videos, Lumix Lab does a good job of streamlining the process of getting things off your camera and onto the Internet while still giving you the power to create and edit LUTs, apply them to ungraded images and videos, and make crops for different sites. However, it also didn't feel like the camera was useless without the app – if you wanted to use it more like a traditional camera that offloads footage to a computer, it's more than capable of that, too.

The microphone socket is so lonely without a headphone jack.

Some annoyances cropped up even when I was using the camera for its intended purpose. During my testing, the lack of a front tally light and a headphone jack occasionally led to me having to reshoot videos that I thought were in the bag, and rolling shutter performance could definitely be improved.

However, for most beginner creators, those will be caveats, not dealbreakers. If someone asked me what camera to buy to start a YouTube channel or to up their Instagram game, the S9 would definitely be on my list of recommended cameras.

Arguably, that could mean that it deserves a Silver award since it serves its niche well. The thing that keeps it from getting it, though, is that it's a bit of an unhappy medium competing for an audience that already has a lot of good choices: yes, it's really good for social media, but so are a lot of cameras that will also give you more room to grow as a photographer or videographer. And if you are really only going to be doing social media, you should think about saving some money and going with one of the APS-C vlogging cameras that are even smaller and lighter.

For those looking for the perfect photographer's compact or even one that's just good, you'll have to keep waiting with the rest of us.

Buy now:

$1799 w/ 18-40mm at Amazon.com$1498 at Adorama$1798 w/ 18-40mm at B&H Photo Scoring

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

Panasonic Lumix DC-S9Category: Entry Level Full Frame CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe S9 is a capable video camera for creators who want the look and image quality of a full-frame camera. Its ergonomics and lack of photography essentials like an EVF and mechanical shutter don't make it ideal for stills, but we're impressed by the well-thought-out video-to-phone-to-social-media workflow.Good forShooting video for social media Experimenting with different colors Occasionally taking pictures for social mediaNot so good forPhotography hobbyists or enthusiasts Ultra-compact kits85%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"panasonic_dcs9","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

As a vlogging or general-purpose video camera, the Sony ZV-E1 is a strong contender to the S9. Sony's autofocus tracking is quite a bit ahead of Panasonic's, and the ZV-E1's 12MP sensor is more suited to video and has substantially less rolling shutter – and substantially less detail in stills. It also has features like a front tally light, auto framing to add dynamic movement to what would otherwise be static shots and a product showcase mode. And while it doesn't go all-in on LUTs like the S9 does, you can still upload your own looks and use them for monitoring and recording, though there’s no equivalent of the extensively customizable My Photo Styles. You will pay for those upgrades, though, as the ZV-E1 is much more expensive than the S9.

The Panasonic S5II shares a sensor with the S9 but in a substantially larger and heavier body. In return, you get all the features a photographer would want: an EVF, mechanical shutter, hot shoe mount, dual card slots and a heaping extra helping of buttons and control dials. It also adds a fan for cooling during marathon video shoots. And, thanks to a recent software update, you can now program one of the S5II's buttons to be a Real-Time LUT shortcut. It's also now compatible with the Lumix Lab app. Like the ZV-E1, the S5II is more expensive than the S9, to the tune of around $500.

The Sigma fp has always been a bit of an odd camera, but it is intriguingly comparable to the S9 in terms of its size, weight and, if you find the right sale, price. However, the fp's video could hardly be more different than the "Shoot. Share." ethos of the S9. To get the best out of it, you'll have to shoot the rather awkward CinemaDNG Raw to an external SSD or capture device; it doesn't have an internal codec capable of 10-bit color. It also has a fixed screen and contrast-based autofocus; while the S9 isn't an autofocus champion by any measure, its system runs circles around the fp's.

Sample Gallery

Please 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.

Note: these sample images were taken using the original samples provided by Panasonic. However, the company said the models were reviewable. If you'd like to see samples taken with updated firmware, you can browse the sample gallery for the 18-40mm F4.5-6.3 kit lens, which we've re-uploaded with out-of-camera JPEGs.

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

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

Nikon has talked about targeting 'creators' with each of the four APS-C Z-mount cameras it's launched so far, but has generally made sure the results are solidly photographer-friendly, too.

Its Z50 and Zfc models were differentiated primarily by the Zfc having a fully articulated rear screen, along with throwback styling and controls, which meant that the decision between the two was primarily a question of style. The Z50's built-in flash was the other key feature to set them apart.

With the launch of the Z50II, even the difference in rear screen movement has been eliminated, which might make the choice seem even harder. But the Z50II is based on a newer generation of technology than the Zfc, so we thought we'd take a look at what that means, so you can work out how much it matters for your needs.

Buy now:

$1049 w/ 16-50mm at Amazon.com$906 at Adorama$906 at B&H Photo Specs

Both the Zfc and Z50II are based around the same 21MP CMOS sensor, first introduced in 2016's D500 DSLR. We've seen 26 and 40MP APS-C sensors arrive in the intervening years but although these can capture more detail, they don't generally do any better in terms of tonal quality, noise and dynamic range, so we're not overly concerned about its age.

The main respect in which the two cameras differ is in terms of processor. The Z50II is built around the newer, more powerful Expeed 7 processor, helping it deliver a level of capability and performance the Zfc simply can't match.

Features

The newer, more powerful processor gives the Z50II much improved autofocus (which we'll look at later in this slideshow) as well as enabling faster shooting and much more flexible video.

In stills mode the Z50II can capture 15 or 30fps bursts of JPEGs with full autofocus, making it much better for capturing action than the Zfc, which topped-out at 11fps in JPEG (9fps in Raw). Also on the Z50II's side is its pre-burst capture mode that starts buffering images when you half-press the shutter, letting you record up to one second of action from before you fully press the button.

The Z50II can also capture 10-bit video, which expands your output options, and 4K/60p from a 1.52x crop region of the sensor. We'll look into the implications of this later.

The cost of the new processor is a precipitous drop in battery life. The Z50II is rated as delivering around 38% fewer shots per charge than the Zfc, using the same battery. This is a slightly unfair comparison, given the Z50II has a flash and the Zfc doesn't, but it's still rated to give at least 25% fewer shots per charge than the original Z50.

Handling

Beyond the difference in capabilities, the two cameras also differ in terms of controls and handling. The Zfc has dedicated dials for shutter speed, aperture and ISO, along with a P/A/S/M switch. It also has two command dials, so can be used in the same way as the Z50II, if you prefer. We found the Zfc's dedicated controls to be somewhat quirkily implemented – you'll often end up using the command dials to fine-tune the settings and the Auto ISO implementation is downright peculiar – but it looks distinctive and attractive in a way it's hard to argue the Z50II does.

The Z50II has an updated viewinder that, while it shares the same resolution and magnification as the Zfc (and its own predecessor), has a new OLED panel that can reach a peak brightness twice as high as the older cameras. This means there should be a less jarring transition when you start and stop using the viewfinder in bright conditions.

Autofocus

Autofocus is another area in which the Z50II benefits from a newer processor and five years more development.

The most obvious difference is that the Z50II has been trained to recognize nine different subject types (up from three) and gains an 'Auto' subject mode that prompts the camera to check for all the different subjects it can identify. This risks slowing the AF down a fraction in the very fastest-moving circumstances, at which point you can select the type of subject you're trying to capture, but for the most part, you can just leave it set to Auto and know the camera will use its full capabilities when needed.

But perhaps a bigger deal for day-to-day photography is the return of 3D Tracking, which mimics Nikon's quick and easy-to-use tracking system from the DSLR era. This helps bring the Z50II up to the standards of the latest Canon and Sony cameras in terms of speed and ease of use, whereas the Zfc's tracking was a little slower and more fiddly to use. The Z50II's tracking is generally less prone to drifting off its subject than with the Zfc.

All this makes the Z50II a quicker and easier to use camera in a wide range of photographic situations.

Image quality

Given they're based around the same 21MP CMOS sensor, we're not surprised not to have seen any obvious differences in image quality between the two cameras. This is no bad thing, as it's a chip that does a good job of balancing the demands of stills and video, even if it does fall a little behind some of the newer Fujifilm and Canon models in terms of detail capture.

However, while the image quality is directly comparable, the Z50II gains a button giving you direct access to the camera's Picture Control color modes and lets you download alternative color recipes from Nikon's cloud service. This should prompt much more experimentation with color modes than you're likely to remember to with the Zfc.

Finally, the Z50II can output 10-bit HEIF files conforming to the HLG standard, allowing you to take advantage of the greater capabilities of modern high dynamic range displays.

Neither camera would be our first choice for, say, landscape photography or situations that really benefit from additional detail capture, but they're both very capable for most requirements.

Video

The Z50II ends up being a significantly more capable video camera than the Zfc, despite them being based around the same sensor and both being aimed at a stills and video creator audience.

The Z50II gains the ability to capture 10-bit video. This allows it to shoot N-Log video that tries to maintain as much of the camera's captured data, to boost creative flexibility for color grading the footage. It also lets the camera capture Hybrid Log Gamma (HLG) video which is designed to take advantage of the wider range of colors and brightness that high dynamic range displays can offer.

It also gains a waveforms display that is especially useful for setting exposure when shooting Log footage. But the thing that's likely to have the biggest impact for the largest number of video shooters is that the Z50II has a headphone socket for monitoring audio (whether setting levels before recording or listening for distractions during recording), which the Zfc lacks.

Perhaps the most critical difference, though, is that the Z50II's video autofocus is much more reliable.

Lenses

In this article we've assumed you're interesting in buying into the APS-C line of Nikon's Z mount. Obviously there's no difference between the Z50II and Zfc in terms of available lenses, but it's still worth looking at what's available.

Now that Nikon has allowed Sigma to introduce some additional primes and Viltrox has just gone ahead and made some anyway, the baby Nikons are a much more interesting prospect than they were a few years ago. In terms of zooms you're currently stuck with Nikon's rather pedestrian variable aperture options, but there are plenty of primes to pick from.

Other companies offer more own-brand APS-C lens lineups and higher-end models with higher res and image stabilization that Nikon lacks, but we're no longer in the position of Nikon making nice-enough bodies with very limited lens choices.

Conclusion

The decision between the original Z50 and the Zfc primarily came down to a question of how much importance you gave to the style and traditional controls of the Zfc, vs the value of the built-in flash offered by the Z50.

Buy now:

$856 at Amazon.com$1097 w/ 16-50 at Adorama$1097 w/ 16-50 at B&H Photo

The Z50II makes enough of a leap forward, in terms of speed, autofocus sophistication and video that most people will be better served by the new camera, rather than the Zfc. You have to be really attracted by the styling (and unwilling to wait to see if there's going to be a ZfcII) to opt for the smaller, more retro model, at this point.

Buy now:

$1049 w/ 16-50mm at Amazon.com$906 at Adorama$906 at B&H Photo

When you use DPReview links to buy products, the site may earn a commission. Image: 7Artisans

7Artisans has announced the 10mm F2.8 II, a full-frame fisheye lens for Canon RF, Nikon Z, Sony E and L-mount camera systems, which replaces the company's existing 10mm F2.8 lens. 7Artisans suggests the lens should be good for applications like landscape, architecture and astrophotography.

Optically, the 10mm F2.8 II comprises 11 elements in 8 groups, including one aspherical and one ED element. The lens is manual focus with an internal focus design, and the minimum focus distance is 0.15m (5.9"). It features a 10-bladed aperture.

Buy now:

$278 at Amazon.com$278 at 7Artisans

The lens is constructed of metal and has a de-clicked manual aperture ring. It also has distance and depth of field scales.

The new lens weighs 602g (1.3 lbs), or about 6% more than its predecessor. It's 75mm (3") in diameter and 95mm (3.7") long.

The 7Artisans 10mm F2.8 II retails for $278 and is available immediately.

Buy now:

$278 at Amazon.com$278 at 7Artisans

When you use DPReview links to buy products, the site may earn a commission.Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab.

This week, Nikon announced its latest APS-C camera, the Z50II. It's an update to 2019's Z50, using the same sensor but with an upgraded processor. With it comes Nikon's 3D tracking autofocus system, which can recognize up to nine subjects and automatically switch between them.

During our brief time with the camera, we were able to put it to the test shooting some wildlife around Seattle, as well as a variety of landscapes and other subjects.

You can read our overview of the Z50II and our initial review here.

Buy now:

$906 at Adorama$906 at B&H Photo

Click here to see the gallery

Images: Lowepro, Harlowe, DJI

This week there were a ton of accessories released, so we're going to skip any pre-amble and get straight into it. Let's start with the deals:

It's beginning to look a lot like Christmas Photo: Richard Butler

We're still several weeks away from Thanksgiving, but several brands have already started announcing their holiday sales. First off is Sony, which has put several cameras and lenses on sale. Included on that list is the a7RV, which is available for $400 off MSRP.

$3,498 at B&H $3,498 at Amazon $3,498 at Adorama

If you're looking for a more entry-level model, the a7IV is also on sale for $400 off.

$2,098 $2,098 at B&H $2,098 at Adorama

The deals also cover lenses; Sony has reduced the price of several of its G Master lenses by $100.

Photo: Tamron

Tamron has also put many of its lenses on sale. Its 28-75mm F2.8 G2 for E-mount is $200 off, as is its 35-150mm F2-2.8, which is available for Sony E and Nikon Z mount. You can see the full list of lenses on sale on Tamron's website.

SmallRig takes on the Z50II Image: SmallRig

This week, Nikon announced its new Z50II APS-C camera. If you're on the list to get one, you may also want to check out some of the accessories SmallRig's making for it. There are the usual suspects; a $30 base plate for quickly mounting the camera to a tripod and attaching a few accessories, and a $70 cage if you really want to build a video shooting setup, but there's also a wireless shooting grip.

The grip, which is currently listed as "coming soon" on SmallRig's website, does many things; it's a mini tripod that you can use to prop your Z50II up on a table, as well as a selfie stick. Built into the handle is a detachable remote you can use to wirelessly control your camera. It has a zoom toggle, shutter and record button and a customizable button.

While it's not the type of thing that will likely appeal to seasoned photographers the way the cages and plates will, it is a smart accessory for the younger beginner photographers that the Z50II is mainly aimed at. Currently there's no word on pricing, though SmallRig does make a very similar product for Canon and Sony that runs around $90.

All of the lights Image: Harlowe

Harlowe, the company formerly known as Hobolite, which makes lighting equipment designed to look like classic film equipment, has some new lights available. First up are two RGB lighting tubes, which Harlowe calls the Blade series. The Blade 5 is 16.4cm (6.46") long, and the Blade ten is 36cm (14.17") long. They can be used to add a splash of color, or as tradition lights, as they also have a traditional bi-color white lighting mode.

Like most of Harlowe's products, there's a heavy emphasis on design; the Blade lights have a leather and metal look, which could be attractive to people who intend on including them in their shots. They're powered by a built-in battery, which charges via USB C, and can be controlled via dials or an app.

You can magnetically attach modifiers to the Blade lights, and they come with a frosted dome diffuser and barn doors, as well as a carrying bag. The Blade 5 is $199 and the Blade 10 is $299; there's also a kit that comes with one of each size for $399.

Blade 5

$199 at B&H $199 at Amazon

Blade 10

$299 at B&H $299 at Amazon

Folded up, the Sol 5 almost looks like an old lens.

Image: Harlowe

For creators that often shoot videos and photos on their phones, Harlowe has also released the Sol 5, a bi-color light that magnetically attaches to the back of an iPhone via MagSafe. By default it points away from the screen, lighting up whatever you're shooting with your phone's rear cameras, but it can also be flipped up to help provide some extra light for selfies. The Sol 5 is $79 by itself, or $159 if you opt for the "Travel Kit," which includes a diffusion panel and a carrying case.

$79 at B&H $79 at Amazon A new series of bags Photo: Lowepro

Lowepro has announced a ton of new bags in its new Protactic III series, including some classic photographer-focused backpacks, slings, and more. There are a variety of sizes and classes of bags; the "Lite" models can still carry a bunch of gear but aren't as burly as the standard bags. The Lite models have a few of Lowepro's "SlipLock tabs" which can be used to add pouches, pockets, and other accessories onto the bag, but the regular models are absolutely covered with them. The loops are also compatible with standard MOLLE and PALS add-ons.

Compared to older models, Lowepro says its BP 350 and 450 packs have an "adaptive harness" to make carrying heavier loads more comfortable, an improved webbing system that makes it easier to attach large tripods to the bag, an updated divider system, and more exterior pockets. Like the previous Protactic packs, they have four access points, letting you get at your gear from the top, back, or either side of the pack.

Most of the packs in the lineup are made of somewhere between 85 and 87% recycled fabric, which Loewpro says still meets its standards for durability.

The packs and their respective accessories should be available starting later this month.

Taking flight Photo: DJI

DJI has announced a newer, less expensive pair of FPV drone goggles called the Goggles N3. They're designed to work with the company's Avata 2 and Neo drones, and are built around a 1080p 60Hz LCD display that can put out up to 1350 nits of brightness. While that's definitely a step down from the dual Micro-OLED displays in DJI's more expensive Goggles 3, it does offer a 54° field of view, which is wider than the 44° FOV of the more premium goggles.

The Goggles N3 have a built-in defogging function, which could be useful if you're flying in a humid environment. They can be also used to play back panoramic videos from a microSD card, in case you want to feel like you're flying without actually getting out your drone.

The Goggles N3 will cost $229 when they launch later this month.

Click to see last week's roundup

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

Updated Nov 8, 2024

Sixteen years after Panasonic introduced the first mirrorless camera, mirrorless cameras now dominate the interchangeable lens camera market. They include cameras designed for a wide range of photo and video pursuits and models at everything from budget to professional price points.

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

Our picks:

• Best value: Sony a6100
• Best APS-C mirrorless camera: Sony a6700
• Best bargain full-frame: Canon EOS R8
• Best mirrorless camera under $2000: Nikon Zf
• Best mid-priced mirrorless camera: Nikon Z6III
  
• Best high-end mirrorless camera: Canon R5 II
• Compact high-resolution: Sony a7CR

Best value: Sony a6100

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

Photo: Richard Butler

Buy now:

Buy at Amazon.comBuy at Adorama$598 at B&H Photo What we like:

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

What we don't:

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

The Sony a6100 is an entry-level APS-C mirrorless camera. While in 2024 it's one of the older camera still available, its 24MP sensor, touchscreen for easy focus placement and Sony's excellent autofocus tracking, which especially excels at focusing on people and pets, still make it excellent value for its price.

The a6100 is happiest if you prefer to point-and-shoot in an auto mode, supported by its very good autofocus. The wide range of lenses available for it give you somewhere to grow if you find yourself catching the photography bug.

The a6100 is the most basic model in the a6000-series and doesn't feel quite as robust as its step-up siblings. It offers a lower-resolution electronic viewfinder, and twin control dials that are both thumb-operated. Its touchscreen flips upward 180-degrees for easy selfie framing and vlogging. Sony's autofocus system has been trained to recognize people and pets as subjects, and will follow them flawlessly throughout the frame. Coupled with the ability to touch the screen to place a focus point, it's a system that will serve beginner users very well, whatever they're shooting. "The a6100's autofocus can effortlessly track whatever you point it at" The a6100 makes it easy to record 4K footage or slow-motion 1080 video. There's a socket to connect an external mic but no way to connect headphones for monitoring. It can be set up for tap-to-track autofocus in video, too. There's significant 'jello-effect' distortion in the 4K footage though, especially in 24p mode. The a6100 is a good entry-level camera with a very powerful, easy-to-use autofocus system. We're not huge fans of the kit zoom and the interface isn't especially welcoming, but with a few settings changes, it can help you get excellent shots, easily.

Read our Sony a6100 review

See the Sony a6100 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 APS-C mirrorless camera: Sony a6700

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

Photo: Richard Butler

Buy now:

$1398 at Amazon.com$1398 at Adorama$1398 at B&H Photo What we like:

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

What we don't:

• No AF joystick
• JPEG sharpening can be aggressive

The Sony a6700 is an enthusiast-level APS-C mirrorless camera built around an image-stabilized, 26MP BSI CMOS sensor. It includes an impressive collection of features for both photo and video shooters.

The a6700 might look a lot like the a6100, but it's a much more advanced model with better build quality, greater capabilities in both stills and video, and more hands-on control points.

The a6700 has a thumb-and-forefinger dial interface missing from Sony's less expensive models. It’s just slightly larger than previous models in the line, but in exchange, you also get a fully articulating display. However, it lacks the AF joystick found on many cameras in its class. Autofocus on the a6700 offers class-leading subject detection and tracking capabilities. Combined with a dedicated ‘AI’ processor, it effectively tracks subjects around the frame even when shooting at the maximum 11 fps burst shooting rate. "Excellent photo and video quality with best-in-class AF in stills and video make it an excellent choice for enthusiasts." The camera produces very detailed 4K video up to 60p with 10-bit color, with good rolling shutter performance. There’s also a 4K/120p mode, albeit with a 1.58x crop. Autofocus performance is top-notch, with a well-designed touch interface. It's a strong option both for videographers and vloggers. Excellent photo and video quality, best-in-class AF in stills and video, and a deep set of features to support both make it an excellent choice for enthusiasts. Sony's E-mount also includes a good range of available lenses.

Read our full Sony a6700 review

See the Sony a6700 studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. What are my other APS-C options?

Although the Sony a6700 is the most capable APS-C camera, if you consider autofocus performance, image quality and video capabilities, there are several other worthy contenders to the title. We appreciate the combination of affordability and likeability of Nikon's Z fc, now that there are a handful of prime lenses to use with it, and we respect the Sony-rivaling capabilities of several of Canon's APS-C RF models, which you can now get some decent third-party fast zooms for. If you're willing to take a chance, Nikon's Z50II also looks to be a very interesting follow-up to the Z fc, but we haven't been able to test it enough to include it on this list.

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

Photo: Richard Butler

But it's the Fujifilm X-T50 that we'd suggest considering if you don't think the a6700 is for you. We like its design – including the film simulation button that encourages you to play with different looks – and it shoots great video and attractive stills. Touches such as the AF joystick make it that bit more engaging and enjoyable to shoot with, than the Sony.

Its autofocus tracking isn't nearly as reliable as Sony or Canon's latest cameras, but where it really shines is in the selection of lenses available for it. Fujifilm makes a broad selection of prime lenses and the excellent 16-50mm F2.8-4.8 OIS zoom, which is significantly better than the lenses bundled with most of these cameras. Third party support is strong, too, meaning the camera can grow with you as your photography develops.

Buy now:

$1399 at Amazon.com$1399 at Adorama$1399 at B&H Photo Full-frame mirrorless

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

Best budget full-frame mirrorless: Canon EOS R8

24 MP full-frame CMOS sensor | 4K/60p 10-bit video recording | 8 fps burst shooting

Photo: Richard Butler

Buy now:

$1499 at Amazon.com$1499 at Adorama$1499 at B&H Photo What we like:

• Great image quality
• Very good AF subject detection and tracking
• Good starting price

What we don't:

• No in-body image stabilization
• Short battery life
• No AF joystick

The Canon EOS R8 is a surprisingly capable compact full-frame mirrorless camera that has the features and image quality of Canon's EOS R6 II at a much lower price.

The EOS R8 has a comfortable grip and twin dials, giving a good level of direct control. There aren't many buttons so more committed users may want to move up to the EOS R6 II, rather than rely on the quick menu for changing settings. Autofocus is the R8's strong suit: tracking and subject detection are simple to use and very effective. There's no AF joystick, so you'll have to use the touchscreen or select a subject and recompose. Battery life is very limited for an entry-level full-frame camera, though it can charge over USB, at least. "If you're partial to Canon and are new to full-frame mirrorless, the EOS R8 is a great place to start your photographic journey." The R8 shoots attractive video, including 4K footage at up to 60p. The lack of in-body stabilization means you'll need a stabilized lens or a tripod to get the best results. Photos are on par with more expensive full-frame cameras, with great high ISO performance, detail-preserving noise reduction, and Canon's pleasing JPEG colors. The 40 fps burst mode is prone to rolling shutter distortion, reducing its usefulness for capturing action. The EOS R8 offers the image quality and many of the features of Canon's more expensive models but battery life, viewfinder resolution and lack of sensor stabilization are part of the price you pay for that. The RF mount is still fairly new so it's worth researching your lens options before buying, but an adapter allows the use of EF DSLR lenses if you have them.

Read our full review of the Canon EOS R8

See the Canon EOS R8 studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. What are the other entry-level full-frame options?

We also think the Nikon Z5 is worth considering if you're looking for a comparatively affordable full-frame camera. It's older than the Canon and its autofocus tracking and video capabilities lag significantly behind as a result. Like Canon's RF system, Nikon's Z-mount lens ecosystem is also somewhat short on affordable lenses to pair with an entry-level camera, though Nikon has allowed a couple of other brands to make selected lenses for the system.

Its usability is really what earns it a place in this guide, though. The Z5 has a larger, higher-resolution viewfinder than the EOS R8, much longer battery life, in-body image stabilization and an AF joystick, all of which can make it a rather more enjoyable camera to shoot with. Definitely worth a look.

Buy now:

$1296 at Amazon.com$1396 at Adorama$1396 at B&H Photo Best mirrorless camera under $2000: Nikon Zf

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

Photo: Richard Butler

Buy now:

$1796 at Amazon.com$1997 at Adorama$1997 at B&H Photo What we like:

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

What we don't:

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

There are some exceptionally good cameras in the $2000-$2500 price category, but few of them are as eye-catching as the Nikon Zf. While the styling is distinctly 1981, the performance is much more contemporary, with very competitive autofocus and the strong balance of stills and video capabilities that we've come to expect from a camera at this price.

The Zf gives the choice of using the dedicated control dials or customizable command dials. In most respects it copies its well-polished control system from other recent Nikons. Not everyone will enjoy the angular early 80's handling but it handles just as well as the cameras it resembles. The Zf's autofocus is impressive, with both subject recognition and AF tracking both working well. It's perhaps not quite as confidence-inspiring as the latest Sony cameras, but it's not far off. It'd be nice to have an AF joystick but the rear control pad does a decent job. "The Zf's looks may date from 1981, but its performance is completely contemporary" The Zf has a very solid video feature set. Oversampled 4K/30 and cropped 4K/60 is standard for this sensor, but the Zf also adds a waveform display that's especially useful for exposing its 10-bit Log footage. The Zf uses a very familiar 24MP BSI sensor that has underpinned numerous cameras in recent years, and the results are predictably good. There's plenty of dynamic range and enough detail capture for all but the most demanding applications. The Nikon Zf's performance lives up to its looks. It's not as comfortable to hold for long periods as more modern designs, but it's also distinctive and engaging in a way they're arguably not. We're still completing our testing, but it hasn't disappointed yet.

Read our review of the Nikon Zf

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Best mid-priced full-frame mirrorless: Nikon Z6III

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

Photo: Richard Butler

Buy now:

$2296 at Amazon.com$2497 at Adorama$2497 at B&H Photo What we like:

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

What we don't:

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

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

The Nikon Z6III represents a significant step up for the Z6 series, and from the Zf, becoming a very capable camera for both stills and video. Its autofocus has caught up to the pack, and its sensor readout speeds – and, therefore, rolling shutter performance in video – are among the best in its category.

The Z6III has an ample grip and easy-to-use control scheme. Nikon's menus and touchscreen layout are also well-refined, but the camera lacks the company's traditional AF mode button or front-corner switch. The Z6III is a genuine do-anything camera with excellent video and photo capabilities. Autofocus is generally reliable, and the camera includes Nikon's 3D-tracking system and plenty of subject recognition modes. It can shoot 20 raws per second, or 60fps in JPEG mode. The Z6III shoots many video formats, including Raw, and has dependable subject-tracking autofocus and a waveform display. Its 4K and 5.4K modes produce excellent detail, even in 60p, and its rolling shutter performance is outstanding. Image quality is very good, with lots of detail and acceptable amounts of noise. There is a slight dynamic range tradeoff for speed, but it's only noticeable in extreme situations. The Z6III is a significant step-up from its predecessor and is to-date the most all-round capable camera in its class. It excels in both stills and video.

Read our full review of the Nikon Z6III

See the Nikon Z6III studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. The mid-priced rivals

There are plenty of other cameras worth considering, in the around $2000 price category. Canon's EOS R6 II is probably the strongest competitor to the Z6III. It has a slightly smaller viewfinder, and its video specs aren't as good, but if you're just looking to shoot stills, your choice between the two should be dictated purely by which system has the lenses you want at prices you're happy with.

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

Sony's a7 IV is also not a bad choice, with capable autofocus and slightly higher resolution capture than its peers, though its video suffers as a consequence. However, we'd strongly recommend the smaller, less expensive a7C II instead. Its autofocus is a generation newer, and it's appreciably smaller than its rivals. The viewfinder is small, and there's no AF joystick, though, which are the main reasons it's not one of our main picks.

Best high-end mirrorless camera: Canon EOS R5 II

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

Photo: Richard Butler

Buy now:

$4299 at Amazon.com$4299 at Adorama$4299 at B&H Photo What we like:

• Excellent image quality in a range of circumstances
• Very fast autofocus with great subject tracking
• Good video support tools, including waveform display

What we don't:

• Slight reduction in dynamic range in extreme scenarios
• Eye control can be tempermental
• Temperature limits require considered shooting in heaviest video modes

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

The grip is very well-shaped and proportioned, and the controls are all well-placed and comfortable to use for extended periods. Eye Control for autofocus is excellent when it works, which isn't always The EOS R5 II has excellent tracking and subject-tracking autofocus performance. The subject detection is effective without getting in your way. It can shoot Raws at up to an extremely rapid 30fps. The EOS R5 II does a vast range of things and does most of them extremely well: it's a really impressive all-rounder for action, landscapes, video, you name it. It has plenty of video options up to Raw 8K/60p, offering high levels of detail, though it can overheat when shooting in its most impressive modes. Its rolling shutter rates are generally quite good. The 45MP Raws are highly detailed, and the JPEG sharpening and noise reduction are sensible. It can't quite match higher-resolution cameras like the A7R V, but performs well in its own right. The EOS R5 II excels at almost everything it tries to do, and that's a long list. It's hard to imagine what photo or video need it won't support you in.

Read our Canon EOS R5 II review

See the Canon EOS R5 II studio scene

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. A worthy competitor

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

Buy now:

Buy at Amazon.comBuy at AdoramaBuy at B&H Photo Compact high-resolution: Sony a7CR

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

Photo: Richard Butler

Buy now:

$2998 at Amazon.com What we like:

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

What we don't:

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

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

The a7CR is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly. Notably, there’s no joystick for positioning the AF point, and the viewfinder is small and very low resolution for a camera costing this much. Autofocus performance on the a7CR is very good and is helped by a dedicated processor for crunching complex machine learning-trained algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in either stills or video. 8 fps burst shooting with continuous AF results in a dependably high hit rate. "If you're looking for maximum resolution in a travel-sized body, the a7RC is tough to beat." The a7CR captures 4K video at up to 60 fps. The most detailed, oversampled footage results from a 1.2x crop of the sensor, which makes it challenging to maintain wider focal lengths. Auto Framing mode uses AI algorithms to mimic the way a camera operator might punch in on subjects, keeping them framed and in focus. The a7CR's 61MP sensor can capture a lot of detail, putting it ahead of most full-frame rivals; though it is a little noisier in low light. JPEG colors are pleasing, and excellent sharpening makes the most out of the 61MP sensor. Raw files provide plenty of latitude to pull up shadows at base ISO. The a7CR delivers impressive results for its size. It essentially provides the same level of image quality, and most of the same features, as Sony's a7R V, but in a smaller package. In exchange for the small size, you make a few compromises, like no AF joystick, but if you're looking for maximum resolution in a travel-sized body, the a7CR is tough to beat.

Read our Sony a7CR initial review

Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. What are the other high-end options?

Just about all the cameras that cost $2500 and up are, unsurprisingly, rather good. We go into a little more detail about their relative merits in our 'High-end camera buying guide.' As at any price, the key things to consider are what types of photography you plan to do (and hence, which features and capabilities are most important to you), and whether the lenses you need are available at a price you're willing to pay.

Why you should trust us

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

Image: Hasselblad

Hasselblad has officially announced its XCD 3,4/75P prime lens after teasing the new product on the company's X account earlier this week. It's part of the company's 'P' (for portable) series of more compact lenses. When used with Hasselblad's X, 907X and CFV 100C medium format digital cameras, the 75mm F3.4 lens provides a 59mm equivalent field of view.

Hasselblad suggests the lens should be suitable for a variety of applications, including portraiture with soft, natural bokeh or as a relatively fast, compact lens for street photography.

Optically, the XCD 3,4/75P comprises 10 elements in 10 groups, including one aspherical and three ED (Extra-low Dispersion) elements to help suppress chromatic aberration. It has a minimum focus distance of 55cm (21.6”) and a maximum magnification of 0.17x. It includes a 72mm front filter thread.

A linear stepping motor drives autofocus, and Hasselblad says the focusing lens group is designed to be small, allowing the lens to focus quickly.

The new lens is 75mm (2.9") in diameter, 76mm (2.9”) long and weighs 398g (14oz).

Sample galleryThis widget is not optimized for RSS feed readers. Click here to open it in a new browser window / tab. Images: Hasselblad

At 75mm, it becomes the longest lens in the P series, joining Hasselblad's existing XCD 4/28P (22mm equiv) and XCD 4/45P (35mm equiv) lenses. It's also considerably smaller and more than 60% lighter than Hasselblad's XCD 80mm F1.9, the lens with the most similar focal length in Hasselblad's current lens lineup.

Like other XCD lenses, the 3,4/75P includes a built-in leaf shutter, supporting shutter speeds up to 1/2000 sec, which makes it a stop slower than Hasselblad's latest XCD V series lenses (which top out at 1/4000 sec), but allows for flash synchronization at all shutter speeds. The leaf shutter design contrasts with lenses for Fujifilm's GFX medium format system, which rely on a focal plane shutter in the camera.

Alongside the new lens, Hasselblad has also announced the X Extension Tube (9mm), designed specifically for Hasselblad’s X system cameras, 907X cameras and XCD series of lenses. It extends the distance between the lens and the sensor to reduce the minimum focus distance and improve close-up photography.

The XCD 3,4/75P is expected to be available immediately for $2229 in the US or €2529 in Europe. The X Extension Tube (9mm) is priced at $299 or €339.

Press release:

Hasselblad Expands XCD Portable Lens Series with the Lightweight, Standard XCD 3,4/75P Lens, Ideal for Portraits, Street, and Still-Life Photography

The XCD 3,4/75P is the latest addition to the Hasselblad XCD Portable (P) lens series and the first standard lens in the lineup. With a 59mm full-frame equivalent focal length and the largest aperture in the XCD P series at f/3,4, the XCD 3,4/75P is designed for photographers who need powerful performance in a lightweight, agile form. Its exceptional optical quality and unique lightness make it ideal for capturing portraits, street scenes, and still life with effortless precision.

Mastering Light and Shadow for Exceptional Portraits

The XCD 3,4/75P boasts an optical structure of ten elements in ten groups, including one aspherical element and three ED elements, effectively suppressing chromatic dispersion. This sophisticated design contributes to its compact form and ensures a powerful optical performance that meets the demands of a 100-megapixel sensor. From the center to the edges of the frame, the lens delivers sharp, clear images with vibrant and lifelike colors. Its f/3,4 maximum aperture enhances detail capture in low-light portraits.

Exploring Diverse Subjects with a Unique Perspective

The XCD 3,4/75P has the longest focal length and the largest aperture in the XCD P series. It sits between standard and mid-telephoto lenses and is suitable for full-length and half-length portraits. The longer focal length, paired with its wide aperture, produces beautifully soft, natural bokeh to create stunning portrait images.

Elegance in Lightness for Photographers on the Go

Weighing just 398g and measuring only 71mm in length, the XCD 3,4/75P is a compact, lightweight, and highly portable lens, making it an excellent choice for portrait and street photographers on the move. Its sleek metal body is accentuated by a signature "H" pattern around the focus ring, adding elegance and Hasselblad’s distinctive style to its lightweight design.

Focusing on Beauty with Precision and Speed

Engineered for fast, accurate, and responsive focusing, the XCD 3,4/75P utilizes a linear stepping motor and a lighter, smaller focusing lens group. The linear stepping motor provides more precise control over the focus, enhancing accuracy, while the smaller focusing lens group makes focusing faster. When paired with a Hasselblad X System or V System medium format digital cameras that support PDAF, users will enjoy a smooth, quiet, and flexible focusing experience.

Silent and Subtle, Capturing Stunning Moments

The XCD 3,4/75P is equipped with a compact leaf shutter that operates with minimal vibration and noise, allowing users to shoot confidently in quiet environments. The leaf shutter offers speeds of up to 1/2000 second and full flash synchronization at all speeds, enabling photographers to capture high-speed subjects or use flash to creatively control light, even in bright sunlight, and achieve exceptional results.

The XCD 3,4/75P lens is priced at $2,229 USD / € 2529 EUR and is available to purchase online and at selected retail stores worldwide. For more information, visit www.hasselblad.com.

The Hasselblad X Extension Tube (9mm) will be launched simultaneously. It is designed specifically for the X System cameras, 907X cameras, and XCD series lenses. Extending the distance between the lens and the image sensor reduces the XCD lens's minimum focusing distance, enhancing the close-up capability and bringing intricate details within reach. The Hasselblad X Extension Tube is priced at $299 USD / €339 EUR and available to purchase online and at selected retail stores worldwide.

Principal specificationsLens typePrime lensMax Format sizeMedium Format (44x33mm)Focal length75 mmImage stabilizationNoLens mountHasselblad XApertureMaximum apertureF3.4Minimum apertureF32Aperture ringNoOpticsElements10Groups10Special elements / coatings2 aspherical element, 3 ED (Extra-low dispersion) elementsFocusMinimum focus0.55 m (21.65″)Maximum magnification0.17×AutofocusYesMotor typeStepper motorFull time manualUnknownFocus methodUnitDistance scaleNoDoF scaleNoPhysicalWeight398 g (0.88 lb)Diameter75 mm (2.95″)Length76 mm (2.99″)ColourBlackFilter thread72 mmHood suppliedYesTripod collarNo