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7Artisans' has introduced its first autofocus lens, a 50mm F1.8, for full-frame Sony E-mount bodies. The company has built up an extensive collection of manual focus lenses (for numerous mounts), and we imagine that this "nifty fifty" is the first of many AF lenses to come.

Spec-wise, the 50mm F1.8 has 11 elements, including aspherical, extra-low dispersion and high-refractive glass. The focus group is driven by a stepping motor (STM) for quick and quiet autofocus. 7Artisans claims that the lens supports all of Sony's AF features, including eye detection. The minimum focus distance is 0.5m (20") from the end of the lens.

The lens has an all-metal chassis, though there's no indication that it's weather-resistant. It's 104mm (4.1") long and weighs in at 421g (14.9oz)

The 7Artisans 50mm F1.8 AF is available for $228.

Buy now:

$228 at B&H Photo$228 at Amazon.com

Fujifilm's Jun Watanabe and Yuji Igarashi, speaking to us, following the X100 VI's launch. Photo: Richard Butler

"We wouldn’t be here if we didn’t have the X100," says Fujifilm's Yuji Igarashi, "If that failed, we would have been in a very difficult position."

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Igarashi, Divisional Manager of Fujifilm's Professional Imaging Group was speaking to us just before the launch of the X100VI. He and his colleague, Product Planning Manager Jun Watanabe discussed the importance of the X100 series in establishing the Fujifilm brand as it's now recognized. They also spoke about the future of the industry, the role AI has to play and perhaps even hinted at the possibility of a video-centered camera.

"That was the first camera when we stepped up from selling point-and-shoot, entry-level compact cameras," Igarashi remembers: "Smartphones were becoming popular and demand for point-and-shoot cameras was declining so fast."

"But we were determined to continue and to grow in this industry, so we thought very hard, how can we change our business model. This was our first attempt to do that, using the APS-C-sized sensor. X100 was a huge success, which gave us confidence."

What happens next?

Nearly fifteen years later and it feels like the industry is facing up to another existential threat, as the quality of computational photography and the always with you, always connected convenience of smartphones along with the arrival of AI image generation threaten even high-end cameras. But Igarashi sees room for growth, still.

“It’s the younger generation that will drive photography," he says: "People who are photo literate, who use their smartphones all the time, those people have a huge potential”

And he believes there's still room for dedicated cameras, alongside smartphones. “Taking images with your smartphone is great, it’s fun, and you can share those images instantly, but many people don’t know there’s more to it. So if you take time to take pictures or even print your photos you get to learn more about photography and then photography passion will grow.”

But to do this, the camera has to offer something distinctive, he suggests. “We have to think about where the differences are between smartphones and cameras. What is the difference between these two, and what makes them [want to] use a camera."

What can a dedicated camera offer? Yuji Igarashi - Divisional Manager of Fujifilm's Professional Imaging Division

Watanabe puts forward some suggestions: “Smartphone connectivity is, of course, the most important thing. And the joy of operability of the camera is an important factor”

"The operability and image quality," Igarashi agrees. “and the quality of the product,” says Watanabe.

That ease of sharing is improving, suggests Igarashi: “Most people feel you have to transfer the image. Frame.io, camera-to-cloud has been a game-changer in that sense, but I think we can make it even more seamless in future.”

"When people think it’s one ecosystem, that’s when I think people who use smartphones will feel that a camera is part of their photography life.”

The role of AI

Chatting about smartphones led, perhaps inevitably, to discussions about computational photography and the role AI will play in the coming years.

“I think AI technology has been the trend, in both a good and bad sense," says Igarashi: "It’s helped us improve our subject detection, and make huge improvements in the autofocus, so it can help us enhance our gear a lot. But there are also concerns about what’s a real photographic image, about who created that image, et cetera. So it’s good and bad and I think as an industry we’re still trying to work that out.”

But he thinks the role AI will play in dedicated cameras will be different from those in smartphones.

“For smartphones, in most cases, it would support you automatically. It gives you probably the best-looking picture for a lot of people, but less personality," says Igarashi: "cameras like to assist you to be more creative. How can the AI support you to be more creative, to do what you imagined? So it won't be like smartphone AI.”

But, he says, "I think the biggest impact of AI technology probably has yet to come."

Room for improvement

One area AI might continue to provide benefits is autofocus, says Watanabe: “We think there is some room for improvement. For example, in group sports such as football or basketball it is not possible for the camera to precisely follow the athlete that the photographer wants to follow.”

Also, despite the arrival of AF tracking in the recent GFX 100 II and X100 VI, he also highlights video AF as an area still developing: "The demands of video autofocus are different than for stills photographers. For video the focus has to change smoothly or to change at the speed the creator wants. So there is much room for improvement," he says.

Balancing stills and video Jun Watanabe - Product Development manager for Fujifilm's X Series

The idea of new video AF features making their X-series debut in the stills-focused X100 VI prompted us to ask about the company's thinking about stills and video, and how they're offered in different products.

"It depends on our product lineup," says Igarashi: "For example, the X100 VI, we’d never have a flip-out screen in this camera. We’re still enhancing the video capabilities but making sure it’s still a photography-centric camera. Then, for example, our hybrid range is totally different: we try to accommodate both as well as possible. And then we would probably have products that are more video-centric. So we try to look at the customers on a case-by-case basis: how and what they want to use it for. I think it’s impossible to have everything [in one camera]."

For this, he says, they listen to customer feedback. "We get feedback on video capability from the X-H side and more requests on the stills side from X-T. So we’re learning a lot and we’re thinking more about the cameras depending on the situation, which camera should be used, how? So it’s been very helpful for us, having different ranges, T and H. I don’t think they’re getting closer but maybe not much further apart. It’s about trying to figure out the right balance."

In discussing the challenges of improving video, Watanabe made a similar point: "In terms of design for a stills and video hybrid, we achieved a successful level. But for a more video-orientated camera we can create another kind of form-factor for easy-to-use, easy-to-handle for video recording. I think we can create another type of design."

The future of X-Pro

For all these apparent hints at a more video-centric model, Igarashi ended the interview by raising the subject of one of the company's most photo-focused models: the rangefinder style X-Pro series. "That's an important category for us. We started with the rangefinder-style X100, then we introduced the rangefinder-style interchangeable [model], the X-Pro," he reminds us. "That's a line we're determined to continue."

Image: Logitech

Today, Logitech announced the Mevo Core, a 4K-capable live-streaming camera built around a Micro Four Thirds sensor and lens mount. It's an upgrade from Logitech's existing Mevo cameras which served a similar purpose as wireless, battery-powered streamers, but had a smaller sensor and a fixed lens.

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The Mevo Core is rated at 6 hours of battery life and supports Wi-Fi 6E connectivity for streaming video in 4K/30p or 1080/30p. With its Micro Four Thirds lens mount, it's compatible with any MFT lens but has been officially tested with four:

• Olympus 14-42mm EZ
• Lumix 14-42mm PZ
• Lumix 45-175mm PZ
• Sigma 16mm

Users can set up multiple Mevo Core cameras in a single setup through the use of Logitech's Mevo Multicam App or opt for wires and make use of the camera's HDMI out, even setting the Core up as a traditional webcam.

The Mevo Core is available now for $1,000 (body only).

Buy now:

$1,000 at Amazon $1,000 at B&H Photo New Logitech Mevo Core 4K Camera Enables Seamless Wireless Live Streaming of Any Event, Anywhere

Choose your lens, connect multiple Mevo Core cameras wirelessly and stream directly to your favorite platforms using the Mevo Multicam app

LAUSANNE, Switzerland & SAN JOSE, Calif.--(BUSINESS WIRE)--Today, Logitech International (SIX: LOGN) (Nasdaq: LOGI) introduced Mevo Core, the next generation live streaming camera in the Mevo ecosystem.

Mevo Core is a new intuitive 4K camera, built for live streaming and content creation, which can be fully controlled from a smartphone or tablet. Featuring a compact, sleek design with versatile mounting options, Mevo Core’s interchangeable lens design gives streamers the freedom to accomplish high-quality results every time.

“We are on a journey to democratize live content creation for everyone at any skill level. Mevo Core embodies this value by bringing beautiful 4K DSLR level quality but with a fraction of the complexity of a traditional camera,” said Otto Cedeno, head of Mevo. “Every single aspect, from adjusting the optical zoom, to setting the right focus are simple taps, making it an incredibly accessible pro-level camera, even for beginners.”

For many content creators, setting up a professional camera takes time and often requires added software, encoders and endless cords that can be costly and complicated to set up. Managing multiple devices can be discouraging, especially for new streamers that are looking to bring their vision to life with the highest quality possible. With Mevo Core, streamers get a professional 4k camera that plugs natively into a mobile production studio, the Mevo Multicam App, that they can take anywhere. The Mevo Multicam app is a free download available on the Apple App Store and in Google Play. With Mevo Multicam, content creators can connect and control several Mevo Core cameras at one time.

With Mevo Core’s powerful 6-hour battery life and the power of built-in Wi-Fi 6E support, multiple Mevo Core devices can be connected at once and placed nearly anywhere. Designed with a Micro Four Thirds sensor, Mevo Core enables professional video capturing in fantastic 4K30p quality, and high-definition 1080p30 live streams. With Mevo Core’s Micro Four Thirds lens compatibility, content creators have the opportunity to choose the lens that works for them—simply tap to focus and start streaming.

Mevo Core was designed from the ground up for customization and creativity. Creators can select a lens and adjust key professional features like aperture and focus. The built-in 3-mic array, enhanced with spatial audio processing and noise cancellation, allows the camera to detect and eliminate unwanted background noise. And content can be streamed directly to YouTube or Twitch—all with the power of Mevo Multicam.

"Logitech's Mevo Core is the best solution for my Multicam live streaming setup, both in the studio and while on tour with DragonForce,” said Grammy-nominated musician and content creator Herman Li.

For more advanced scenarios, creators can now connect to additional workflows via the camera’s HDMI output and built-in NDI and SRT integration for an efficient video connectivity experience. Mevo Core can also be used as a wireless or wired HD webcam that is compatible with any computer running Mac or Windows. With these added-in capabilities, Mevo Core removes the limits of video connectivity and creates a more versatile production experience.

Image: Fujifilm

When Fujifilm announced its new X100VI rangefinder-style camera at a press event in Japan last month, it teased a special version of the camera: the X100VI Limited Edition. Following an announcement on its Instagram channel today, we now know that sales of the Limited Edition model in the US will be limited to just 300 cameras.

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According to Fujifilm, 100 cameras will be sold daily in the US from March 21st to March 23rd on a first-come, first-served basis, and you'll need to buy them directly from Fujifilm's online store, so if you want one, you'll need to move quickly (and maybe have a bit of luck to boot).

Here's a rundown of where to order the X100VI Limited Edition in different countries:

• US: Fujifilm online store (300 cameras, March 21-23, first come, first served)
• UK: Fujifilm House of Photography (April 6, according to Amateur Photographer)
• Australia: Fujifilm House of Photography (75 cameras, window closed)

Have information on where to order the X100VI in other markets? Let us know in the comments, or send us a message, and we'll add it to the list.

View this post on Instagram

A post shared by FUJIFILM X/GFX USA (@fujifilmx_us)

Fujifilm tells us the X100VI Limited Edition is a nod to the company's founding 90 years ago in 1934, with a production run of just 1934 units worldwide. The Limited Edition model is functionally identical to the regular X100VI but will be adorned with Fujifilm's original logo on the camera's top plate and matching lens cap, and each unit will be individually numbered. The camera will also come with a box including some "Fujifilm history cards" and a special strap.

At the camera's launch event, Fujifilm indicated that the Limited Edition would have an MSRP of $2,000, a $400 premium over the standard model's list price of $1,600. However, considering the cult following recent models of the X100 series have developed, we'll likely see prices go higher on the resale market. Although one hopeful eBay seller famously listed a Limited Edition model at an eye-watering $18,000, a search of sold items on eBay shows that at least a couple of Limited Edition cameras have sold for prices over $4,000.

Even the standard edition X100VI can be hard to come by right now, but if you're OK with not having a Limited Edition model, you can order or pre-order it from resellers now.

Buy now:

$1599 at B&H Photo$1599 at Adorama

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All gallery images are uncropped out-of-camera JPEGs with accompanying lossless-compressed Raw files.

In spite of all the coverage coming out of CP+, we've been quietly at work in the background pushing through our final Sony a9 III review. While we've got some more shooting lined up with it in the coming weeks, we've been getting a feel for just how effective its novel global shutter sensor is when combined with subject-detection autofocus in a variety of scenarios. And for those that just want to see the real-world impact on outright image quality, there are a few low ISO landscape images in the gallery as well.

Is the new a9 III on your shortlist or in your bag already? Let me know how you'd take advantage of Sony's speedy new sports flagship in the comments.

This image, released by the UK's Royal family on March 10, 2024, was later found to have been manipulated. Several news agencies took the rare step of issuing a 'photo kill.'

Image credit: Kensington Palace

The best way to turn a few burning embers into a roaring fire is to give it oxygen. That's just what we saw this week when a photo of Kate Middleton, Princess of Wales, that was in part meant to show she was perfectly safe, healthy and happy was found to have been digitally altered. The photo backfired, royally.

What happened with Kate Middleton's photo? The picture was shared through social media and provided as a handout to media on March 10, 2024.

It should have been a humdrum affair; last Sunday was Mother's Day in the UK, and Kensington Palace published a picture of Kate with her children. It was the first official photo of Kate, who has been in the public eye since a January abdominal surgery. During her absence, there were rumors and increasing speculation about her health and whereabouts, and the photo was pulling double duty to show she was doing great. That should have been the end, but instead, the royal family Photoshopped their way into a scandal.

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Upon the photo's release on March 10, several social media posts pointed out odd inconsistencies that suggested the image may have been manipulated. Later in the day, news agencies that had distributed the photo confirmed some of the allegations and notified newsrooms of edits they'd uncovered that contradicted journalistic norms for news photography, The Guardian reported.

"It appeared the source had manipulated the image in a way that did not meet AP's photo standards," the AP wrote in its 'kill' notice. Reuters, Getty Images and Agence France-Presse also took the same rarely-used action of alerting newsrooms to 'kill' the photo. The UK's largest agency, PA Media, had initially resisted issuing a similar order to remove the image, saying they were seeking clarification from the royal family. The next day, they reported, "In the absence of that clarification, we are killing the image from our picture service."

Among the tells: a hand not aligning naturally with a sweater sleeve, a zipper that abruptly ends and starts again a few pixels to the right and various points of oddly blurred hair and misaligned straight lines that confirm edits were made.

The metadata also shows that the file was edited twice, once at 9:54 pm (GMT) on March 8, 2024, and then again at 9:39 am (GMT) the next day. Kensington Palace claims Prince William took the photo earlier in the week in Windsor, but the file does not reveal when the photo was taken. Several online reports have also suggested it was taken with a Canon EOS 5D Mark III, but our independent verification did not reveal such information.

About 24 hours after the image's release, the Prince and Princess of Wales confirmed on social media that the photo had been manipulated. Kate explained it as an "experiment with editing."

An apology for photo manipulation was issued on social media just over 24 hours after the initial release of the altered official photo handout.

The fallout further fueled a fervor about the absence of the royals from public life this year. This attempt to pass a heavily manipulated image as authentic only reignited rumors and outright conspiracy theories on the health and safety of the Princess of Wales.

Don't keep calm and carry on

On the surface, this may seem like much ado about nothing. Let's take the apology at face value. It may be easy to dismiss it as an edited family photo carelessly manipulated by a mother trying to make her family look perfect. Defenders of the royals have argued that manipulating social media images is a fact of life and played up a whataboutism spin of "everyone is doing it."

But this is not just any photo; this was an official handout from a seat of power entered into the public record as authentic and factual. The UK monarchy may essentially be ceremonial today, but as a head of state for the British government, its actions signal to others what is 'proper' or acceptable. There is also an expectation that the monarchy will be truthful to the public. Setting a precedent that news images can be fake is not an ideal message to send. There is a higher standard at play in this case.

AP's 'kill' notice. Reuters' 'kill' notice.

The photo was released, at best, as a mistake and, at worst, as intentional misdirection, but it does not matter whether the motives were malicious or careless.

As the British Press Photographrers' Association pointed out, it's also concerning that the family did not recognize the importance of truth in images and "... whether there is something else behind their actions is not as important as getting the message out there that it is wrong."

"News consumers need to be able to trust that the news reported to them is truthful."

Troubling still, once the manipulation was brought to light, Kensington Palace rebuked media requests to release the unedited image. Doing so would allow the record to be corrected and to get a fuller sense of how the manipulation came to be. One of the goals of journalism is to be a first draft of history by accurately gathering the day's events and then reporting them on behalf of the public to maintain an informed citizenry. This is a big deal.

This moment is also a wake-up call to news agencies to re-evaluate policies toward using and distributing handout photos. The agencies failed to recognize the need to apply the same journalistic standards for verification to a handout image that they apply to a first-time freelancer working on an assignment for them.

"The agencies failed to recognize the need to apply the same journalistic standards for verification to a handout image that they apply to a first-time freelancer."

Handout photos from any entity are essentially PR images (it's why at DPReview we take our own product photos and publish out-of-camera sample images). This is a moment when the press needs to make a definitive call about whether to treat handouts from anyone, including the monarchy, as a source of news or as a source of PR.

Beyond rethinking handout policies, I hope every newsroom that has accepted handouts from Kensington Palace is re-examining everything in its archive. It's all questionable now and throws doubt over everything ever released as an official handout from the royal family.

Ethics and why holding power accountable to truth matters

In a span of a few hours, we moved from a fairly pedestrian handout for tabloid fodder into a controversy about image manipulation, the use of handouts by news media and seats of (ceremonial) power leveraging images to spin a narrative.

An explanation has been shared. Whether it is true or not is beside the point. It happened. It shouldn't have happened.

To see the UK's royal family suggest through their actions that doctoring photos and passing them as authentic is kosher is troubling. As figureheads for the state, along with ribbon cuttings and charity work, they set the tone for suitable etiquette and grace. To offer a half-hearted 'oopsie' apology and double down on refusing to correct the record with an unedited photo is unsettling.

"To knowingly hand out falsified images to the public and the press and tell journalists they are authentic is akin to handing newsrooms a ticking timebomb to sit on."

Even if you prefer to ignore the UK royal family, they have an influence on global affairs as representatives of the British government. World leaders meet with them, industry titans discuss policy with them, and causes are taken up at their behest. When the queen addresses climate change or a princess shakes hands with an AIDS patient, it makes headlines.

Kate-gate (from the school of everything is a 'gate' in the US) is also about the integrity of news photos and the credibility of journalists during a time when attacks and mistrust of journalists are at historic highs. To knowingly hand out falsified images to the public and the press and tell journalists they are authentic is akin to handing newsrooms a ticking timebomb to sit on. This is why the reaction from the AP, Getty, Reuters and other newsrooms has been quick and decisive. News consumers need to trust that the news reported to them is truthful.

It should also not be lost that we're having this discussion during a time of weaponized misinformation and the dawn of AI-generated images lowering the threshold for anyone to attempt to mislead others.

In this case, a closer look made the manipulation fairly obvious, but as AI image generation improves, looking closely may not make it so easy. This royal attempt at Photoshop manipulation is our wake-up call to the threat of misinformation. It's not as hard as you might think. Even the people at the top who should know better are capable of doing it (purposely or not). And the next time around, it may not be so poorly done to where we notice it.

About 20 manipulations have been identified in the official handout image so far. Here are three of them: 1. A line in the background appears to have shifted. 2. A zipper abruptly ends and begins again a few pixels over. 3. A wrist does not align with the sweater. Avoiding another dodgy affair

One silver lining: amid the posts about "I also edit my photos" and "Leave Kate alone," I've also seen many, many more wondering where the line should be when it comes to photos shared by people with influence for images that are presented as news.

It does my heart good and gives me hope that the world has taken an interest in photo manipulation and ethics, if only for a moment. We should expect better from images that purport to represent something that actually happened, and not something that someone idealized in their mind and wished happened. Be that three kids smiling with eyes open simultaneously or something more serious.

It's good to see that truth still matters.

Lest I leave you in despair, let me offer some solutions. Moving forward, there are some tactics the press and the public can use to spot potential misinformation.

"The photo backfired, royally."

By year's end, expect to see some open-source authentication software that will allow anyone to check an image's provenance and authenticity to know when an image was made and how it was edited before it was shared. C2PA and CAI authentication standards will be built into cameras and software to give us the tools to verify and practice media literacy.

In a case like the royal photo, such implementation would have captured in great detail what was done in each edit and not just a date stamp that an edit occurred. News agencies would have been able to verify the image history and 'kill' it for manipulation before sharing it with the public as authentic. Once published, you and I can also do our independent check with CAI tools.

A lower-tech consideration is to look at the captions associated with a photo. Captions can tell us the who/what/where, and the intention of how the image is meant to be seen. In the royal photo, the text tacitly acknowledged the speculation about Kate not being seen in public. Few other details were offered, but this suggested a possible motivation for why the photo was shared (and why the fallout has only reignited more speculation).

Such tools and methods may help, but newsrooms must also be more responsible for how they use handouts, and they need to establish new norms going forward. My advice: stop using handout images. If a photo of Kate is newsworthy, then newsrooms must insist on being allowed to take their own pictures. Years of disinvestment in photojournalism and accepting handout photos as 'news' have made it possible for something like Kate's manipulated PR photo to attempt to masquerade as a news photo.

"If a photo of Kate is newsworthy, then newsrooms must insist on being allowed to take their own pictures."

Time will tell what comes from the fallout in the coming weeks and years. Will this be a footnote about a photo that launched a thousand conspiracy theories, or will it start a needed conversation about world leaders and their responsibility to truth, which will help lead to real accountability?

This brings us to a crossroads: do we make jokes and move on, forgetting what happened here? Or do we question if we should allow people in power to put out only the images they approve so that we can accept them as factual? The choice is up to you, my friend.

Photo: Brendan Nystedt

As we enter the final phase of our Panasonic Lumix DC-G9 II review, we've added the test scene images to our image comparison tool.

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These have been shot using our standard process meaning that they can be directly compared with the hundreds of cameras we've previously shot. As usual we've shot in two different lighting conditions and uploaded both JPEGs and Raws processed using Adobe Camera Raw.

Buy now:

$1897 at Amazon.com$1898 at Adorama$1898 at B&H Photo

High resolution images shot using the G9 II's pixel shift high resolution mode have also been included (100MP Tripod mode, no motion correction). These have been shot at F4 to reduce the impact of diffraction.

As always, the original out-of-camera JPEGs and Raws can be downloaded and subjected to your preferred processing workflow, to see whether they suit your needs.

$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-37574222","widgetId":907,"initialStateId":5889}) })

Updated: March 13, 2024

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It's not so long ago that $2000 would buy you the lowliest, entry-level full-frame camera. Now, for around the same money, you get a choice of high spec cameras that shoot excellent stills and video, and include autofocus systems approaching the performance of professional sports cameras.

Choosing a camera also means committing to a lens mount, and the wider system that goes with it, so we advise checking whether the lenses you want to use are available at a price you're willing to pay. Not all camera makers allow other lens makers to produce lenses for thier mount, for instance, which can limit choice.

It's worth noting that the latest lens designs for mirrorless cameras regularly out-perform their older DSLR counterparts. If you have any lenses already, it's worth considering whether they're good enough that you need to stick with a camera to which they can be adapted. You might get better results by selling-up and buying modern equivalents of your most-used lenses.

Several cameras have arrived in this price bracket fairly recently, and we've not yet completed our full reviews. We've only recommended cameras we've used extensively enough to be confident you'll be happy with them.

Our recommendations:

• Best camera around $2000: Canon EOS R6 II
• Best camera under $2000: Nikon Zf
• The compact, versatile option: Sony a7C II
• Best for stills and video: Panasonic Lumix DC-S5 II
• Best for vlogging: Sony ZV-E1
• A fixed-lens option: Fujifilm X100VI

Best camera around $2000: Canon EOS R6 II

24MP Dual Pixel AF CMOS sensor | 40fps burst shooting | 4K/60 from 6K capture

Photo: Dale Baskin

Buy now:

$2499 at Amazon $2499 at B&H Photo $2499 at Adorama What we like:

• Simple, powerful AF for stills
• Fast 40fps shooting with continuous AF
• Excellent battery life

What we don't:

• AF less reliable in video mode
• SD cards limit burst duration
• E-shutter can distort fast-moving subject

The EOS R6 Mark II is Canon's second-generation full-frame enthusiast mirrorless camera, and is based around a stabilized 24MP Dual Pixel CMOS sensor.

The R6 II has a substantial hand grip and well spaced controls that pair with a simple touchscreen interface and logically-arranged menu system. It fits comfortably in the hand even with larger lenses. Autofocus performance is consistently reliable, even when capturing images at 40fps. A wide variety of subject detection modes and a surprisingly clever 'Auto' detection mode allow the camera to choose appropriate AF areas and algorithms for many commonly-photographed subjects. The EOS R6 Mark II is a great stills and video camera, with fast burst shooting being its standout feature. Rolling shutter is surprisingly well controlled in 40fps electronic shutter mode, though like most of its peers, the R6 Mark II drops to 12-bit capture, reducing dynamic range. In the less fast modes, the image quality is excellent. Video is substantially improved over the original R6, with full width oversampled 4K up to 60p, and greatly improved thermal management. Video autofocus still has a tendency to jump to the background, requiring the user to continually redirect the camera to your chosen subject while filming. Aside from the maximum burst rate, the Canon R6 Mark II might look like a minor upgrade from its 2020 Camera of the Year precursor, but the impressive number of small improvements add up to one of the most well-rounded full-frame cameras in its price range.

Read our full review of the Canon EOS R6 II

See the Canon EOS R6 II studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7953502801","isMobile":false}) }) Best 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:

$1997 at B&H Photo $1997 kit at Adorama $1997 at Amazon 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

The Nikon Zf is a retro-styled camera built around an image-stabilized 24MP full-frame BSI CMOS sensor.

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 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 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 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 initial review of the Nikon Zf

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"6922569214","isMobile":false}) }) The compact option: Sony a7C II

33MP BSI CMOS sensor | 4K/60p video with 10-bit color | Dedicated ‘AI’ processor for AF system

Photo: Richard Butler

Buy now:

$2198 at B&H Photo $2198 at Adorama $2198 at Amazon What we like:

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

What we don't:

• No joystick control
• No fully mechanical shutter

The Sony a7C II is a compact, full-frame mirrorless camera with a 33MP BSI CMOS sensor.

The a7C II's viewfinder is a little small and rather low resolution for this price, but it's part of what helps the camera stay so compact. Modern full-frame lenses are often so large as to make the difference in camera size fairly trivial but Sony's E-mount has the widest range of lenses available, so there are some relatively compact options.

The a7C II is impressively small for a full-frame camera. The addition of a front control dial improves handling significantly and brings it closer to its peers. A fully articulating screen anchors the back and features an extremely responsive touch interface. Unlike many cameras at this price, there’s no joystick control. Autofocus performance on the a7C II is fantastic and is helped by having a processor dedicated to handling machine learning-derived algorithms. Subject recognition is quick, and the AF system tracks subjects tenaciously around the frame in both stills or video. 10 fps burst shooting with continuous AF results in a dependably high hit rate. “The a7C II is a surprisingly capable camera for its size.” The a7C II's 4K/30p video is downsampled from 7K, but with fairly high rolling shutter. There's also 4K/60p from an APS-C crop, all in 10-bit color. S-Log3 and S-Cinetone profiles provide flexibility in post, and the camera supports internal LUTs. Auto Framing mode punches in on subjects, keeping them framed and in focus. The camera includes mic and headphone jacks. The a7C II is a surprisingly capable camera for its size. It essentially provides the same level of image quality, video capabilities, and AF performance as Sony’s a7 IV, but in a smaller package. In exchange for the small size, you make a few tradeoffs, like no AF joystick, but if compact size is a priority the a7C II will get you there with few compromises.

Read our full review of the Sony a7C II

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0861943200","isMobile":false}) }) Should I buy the Sony a7 IV, a7 III or a7C?

The Sony a7 IV is, in several ways, a better camera than the a7C II. It has a much nicer viewfinder and slightly better ergonomics. It also has a full mechanical shutter, which means there's no risk of the slight image glitches that can occur if you shoot images at very high shutter speeds with wide apertures. But it's also larger, heavier and offers less effective image stabilization than the newer, generally less expensive model. If compactness doesn't matter to you then it might be worth your while to pay a little extra for the a7 IV's larger, higher-resolution viewfinder, but only if the price difference is small.

It's a similar story with the a7 III and a7C. These are from an older generation of products with less sophisticated autofocus, video and image stabilization. They also use an older, more awkward-to-navigate menu system which we'd happily pay to avoid ever having to use again. The a7C lacks the version II's front control dial and features an even smaller viewfinder, so we'd be inclined to save up for one of the newer models.

What about other sensor sizes?

There are a couple of high-end APS-C cameras that fall in the realm of our 'around $2000' guide, and they're certainly worth a look. The smaller APS-C sensor format generally gives the Canon EOS R7 and Fujifilm X-T5 an image quality disadvantage, compared with the full-frame models in this guide, but also means they can give smaller lens/camera combinations. They're also markedly less expensive than the other cameras we'd recommend.

In the case of the Fujifilm X-T5, you gain access to a wide range of lenses that includes some well-priced options and a healthy selection of prime lenses, that can be fun to shoot with. Fujifilm's X-T series significantly pre-dates Nikon's Zf and Z fc throwback models and arguably has a more refined shooting experience. Its autofocus isn't up with the best cameras in this guide, nor is its video output, but it's a camera we really like, if a compact kit and prime lenses appeal to you.

Also worth mentioning is the OM System OM-1 II, released in early 2024, holding the torch as a flagship for Micro Four Thirds. At a price of $2,400, it's quite a bit more than $2,000 and really only makes sense for adventurers who demand high speed from the most compact possible kit.

Best for video and stills: Panasonic Lumix DC-S5 II

24MP BSI CMOS sensor | 6K/30p 10-bit video | 96MP high-resolution mode

Photo: Richard Butler

Buy now:

$1998 at B&H Photo $1998 at Adorama $1998 at Amazon What we like:

• Great ergonomics
• Effective subject recognition
• Fan gives long video record periods

What we don't:

• Subject tracking could be stickier
• E-shutter not as fast as rivals
• Middling battery life

The Panasonic Lumix DC-S5 II is an enthusiast-level camera with impressive feature sets for both stills and video, It's built around a 24MP CMOS sensor and uses the L-mount shared with Leica and Sigma.

The S5 II can't quite keep up with the latest Sony and Canon bodies for AF reliability, but it's pretty close, and its video feature list is particularly strong. Features such as waveforms and a built-in fan for recording dependability make it the strongest option in its class if you plan to shoot both stills and video.

The mid-sized, weather-sealed body has good ergonomics. It includes a lot of external control points, including a dedicated AF mode switch, which isn’t common at this level, and an articulating rear screen. The menu system and touchscreen interface are among the best at any level. Phase detect autofocus provides more predictable AF than previous Panasonic models. Human subject recognition is effective, prioritizing the eyes, followed by faces, heads, and bodies. An 8-way joystick makes manual AF point selection easy. 30fps bursts use e-shutter, with moderate risk of rolling shutter distortion. “The Panasonic S5 II is one of the most well-rounded cameras in its class... For an enthusiast-level camera, there’s a lot to like.” The S5 II captures detailed video in a variety of resolutions and aspect ratios, all in 10-bit color. There are also advanced video tools that are rare or unique in this class of camera, including waveform and vectorscopes, shutter angle, and advanced audio options like dual input gain.

There's also an S5 IIX model which can record video directly to an external SSD, allowing higher quality capture in All-I and ProRes codecs. It's a better choice if you're serious about video.

The Panasonic S5 II is one of the most well-rounded cameras in its class. Its excellent ergonomics make for great handling, and its AF system is adept at identifying subjects, though subject tracking could be stickier and more decisive. It produces great photos and video and includes one of the deepest video feature sets for its price range.

Read our initial review of the Panasonic DC-S5 II

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1023117505","isMobile":false}) }) What's best for video?

If you're only interested in video, Sony's FX30 might be a better choice than the S5 II or S5 IIX. The Panasonics offer full-frame 4K up to 30p, which give a potential image quality benefit over the APS-C FX30, but the Sony will exhibit less rolling shutter distortion. The FX30 also has the benefit that its 60p footage isn't cropped-in, compared with its 24 and 30p capture, meaning you won't have to zoom or swap lenses if you change frame rates. It applies a heavy crop for its 4K/120p mode, but that's something the Panasonics can't offer at all.

The S5 II also offers a waveform display and control in terms of shutter angle, which the Sony lacks, but the Sony's gimbal or rig-friendly design and superior autofocus make it the better choice if video is your primary focus.

Best for vlogging

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

Photo: Richard Butler

Buy now:

$2198 at B&H Photo $2198 at Adorama $2198 at Amazon 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.

The ZV-E1 is a specialist tool designed for vlogging. It shares many of its capabilities with the more expensive FX3 and a7S III but adds a series of modes that automatically frame and follow a presenter around the scene, if you're trying to shoot video single-handed. The lack of fan and single card slot significantly dent its recording endurance, so it's unlikely to work as a cheaper alternative to the FX3 for serious video work.

The ZV-E1 has two command dials, both on the back of the camera, which makes manual video control a little fiddly, there's a touchscreen-led interface to encourage more automated presenter/operator working, though. The ZV-E1's subject recognition system is highly reliable. The lack of a fan means it's much more susceptible to overheating than the otherwise similar FX3. It adds automated modes that crop and follow a recognized subject around the frame, adding dynamism to single-operator footage. "The ZV-E1 has some clever automated modes but can be a bit fiddly to operate. It's hard to match the power for the price, though" The camera's 4K footage (up to 120p) is detailed with relatively little rolling shutter, but you'll want to use the strongest level of image stabilization (with crop) for hand-held shooting as it's a little juddery in less intensive modes. The camera's 12MP sensor takes perfectly attractive images with plenty of dynamic range and pleasant JPEG color but the low resolution means it wouldn't be our choice if stills shooting is important to your work. The ZV-E1 tries to marry the capability of the FX3 cinema camera with automated ease-of-use, but can end up being quite confusing in the auto modes and quite fiddly if you try to take a more hands-on approach. It's hard to match the power for the price, though.

Read our initial review of the Sony ZV-E1

A fixed-lens option: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy.

Photo: Richard Butler

Buy now:

$1,599 at B&H Photo $1,599 at Adorama What we like:

• Excellent build quality
• Subject-detection autofocus
• Now with in-body image stabilization

What we don't:

• Lens not especially fast to focus
• Hard to find in stock

While the rest of our selections from this guide have interchangeable lenses, a feature you might demand at this price point, the incredibly hyped-up Fujifilm X100VI also sits just under the $2,000 price range at a (new, higher-than-its-predecessor) price of $1,600 and is worth considering.

A fixed-lens camera with a 35mm equivalent F2 lens, the X100VI is in active production following its 2024 launch, and so should be somewhat easier to buy than its constantly out-of-stock forebear. The reality, at the moment, is that it's also quite hard to find.

Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.

The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.

If you're looking to make an investment in a camera with a ton of versatility, the X100VI can't quite go toe-to-toe with cameras that support dozens or hundreds of lenses. But for the price point, it's the best at what it does.

Read our Fujifilm X100VI review

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7109242674","isMobile":false}) }) 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.

Nikon has released firmware 5.0 for its Z9 pro sports flagship, enhancing the Auto Capture function introduced last Jun, offering presets for countering LED flicker, adding the portrait color mode and processing options from the Z8 and Zf, along with a series of smaller refinements.

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The full list of changes is in the press release below but one eye-catching improvement is the addition of a series of preset frequencies that can be used to mitigate flicker from common LED lights and signboards, for use with the High-Frequency Flicker Reduction function.

Pros using the Auto Capture mode to take photos when certain criteria (ie subject type, distance and direction of movement) will appreciate the ability to set the camera to only activate at a particular time and for a particular period. This prevents a remotely sited camera running-down its battery or filling its memory before the event starts. Auto Capture now also works with the Airplane detection mode added in firmware v4.10.

Other changes include refinements in the way playback mode works, to make it quicker and easier to review the large numbers of images the Z9 can shoot, as well as expanding both the number of custom functions that can be assigned to buttons, and the range of buttons to which they can be assigned.

The Rich Tone Portrait color mode from the Zf has been added, along with Skin Softening and a Portrait Impression Balance processing function which fine-tunes skin tone rendering and brightness.

Press Release:

Nikon releases firmware version 5.00 for the Nikon Z 9 full-frame mirrorless camera

Nikon Also Updates SnapBridge App to V 2.11 and Adds Easy Shooting Setup Feature

MELVILLE, NY (March 13, 2024) – Nikon is pleased to announce the release of firmware version 5.00 for its flagship full-frame/FX-format mirrorless camera, the Nikon Z 9.

Firmware version 5.00 is the fourth major update since the release of the Z 9 and increases usability for sports photography by expanding the Auto Capture and High-Speed Frame Capture+ functions. Portrait photography is also enhanced for more effective capture of the images photographers want, with the Skin Softening and Portrait Impression Balance functions, and Rich Tone Portrait Picture Control that enables rendering of details of the subject’s complexion with rich tones. Furthermore, the evolution of the Z 9 continues with improved operability achieved in response to feedback from professionals requesting increased speed and efficiency.

Nikon will continuously meet users' needs through firmware updates that expand the functionality of its cameras.

Primary features of firmware version 5.00 for the Z 9:

• Expanded functions for sports photography
  • A function that lets users specify the shooting start date/time and duration in advance has been added to Auto Capture. This helps to reduce battery consumption for more efficient shooting, even when the camera must be positioned and configured well before it will actually be used. Auto Capture flexibility has also been increased to allow users to shoot using the DX crop (24×16) image area, and also adds the addition of an [Airplanes] AF subject-detection mode, plus the display of a yellow frame when the camera is in standby for shooting.
  • In addition, a low-speed [C15] item has been added to High-Speed Frame Capture+ options for increased usability with continuous shooting. What’s more, frequency presets for common LED lighting and signboards have been added to the High-Frequency Flicker Reduction function, making it easier to choose the optimal shutter speed and efficiently reduce the effects of high-frequency flicker.
• Enhanced portrait functions
  • A Rich Tone Portrait Picture Control suitable for creating base images in situations that require retouching, such as wedding and studio photography, has been added. Also, a variety of functions designed to improve portrait photography, including Portrait Impression Balance and Skin Softening have been incorporated. Further, Nikon offers NIKKOR Z lenses including the NIKKOR Z 50mm f/1.2 S, NIKKOR Z 85mm f/1.2 S, and NIKKOR Z 135mm f/1.8 S Plena, all of which support the capture of portraits that accurately express the user’s intent.
  • Overall, convenience has been increased with the ability to use the continuous LED light of the Profoto A10 as an AF-assist illuminator1 and the addition of a [Prefer focus point (face priority)] option for frame advance when reviewing images displayed with playback zoom enabled.
• Other features added for enhanced operability
  • When [Extended menu banks] is enabled, users can now manage the shooting modes for photo mode and video mode, which were previously linked, separately.
  • Visibility is improved with an option that allows the user to adjust the width of the focus point border.
  • Manual focusing is now possible with maximum aperture live view in manual focus mode.
  • A function that allows the user to cancel zoom when focus mode is set to manual focus and the view through the lens is zoomed in by pressing the shutter-release button halfway has been added.
  • High-Res Zoom operability has been improved, and the AF-area brackets display color when the subject is in focus has been changed from red to green.2
  • The number of functions that can be assigned to custom controls has been increased, as has the number of controls that can be customized.
  • The addition of a [Customize retouch options] item allows the user to choose the functions displayed in the retouch menu.
  • [Loop playback], [Wait before playback], and [Auto series playback speed] options have been added for playback of a series of images captured with a burst of continuous shooting.
  • Playback speed for all videos can now be specified in advance from the i menu ([Original speed], [1/2× speed], [1/4× speed]).
  • Wi-Fi station mode has been added to enable connection to SnapBridge without occupying the entire Wi-Fi connection on a smartphone.

Nikon SnapBridge Update:

SnapBridge is Nikon’s companion Android and iOS app that connects to your camera to automatically download photos and videos, and remotely activate the shutter. Now with Ver.2.11.0, SnapBridge adds new functions such as Easy Shooting Setup, which allows users to configure camera shooting settings suited to a particular scene or subject directly from a user’s smart device3.

The new Easy Shooting Setup function can be used by tapping [Easy Shooting Setup]4 in the SnapBridge camera tab, selecting a main subject or situation, and deciding output parameters, such as having a soft out-of-focus background or motion blur. It allows even those who are unsure about camera functions and terms to easily create camera shooting settings that achieve desired results. Settings are applied the moment they are sent to the camera, allowing users to immediately begin capturing their vision. Easy Shooting Setup also provides tips for available scenes and subjects such as people, landscapes and pets to help users better achieve the intended results. Furthermore, favorite shooting settings can be assigned to one of the user setting positions5.

Supported operating systems:


Android™ (version 10 or later), iOS (version 15.7 or later)

Cameras that support Ver.2.11.0’s Easy Shooting Setup:

Nikon Z f, Nikon Z 5, Nikon Z fc, Nikon Z 50 and Nikon Z 30

The NX Ready app available in some regions will be discontinued with the release of SnapBridge Ver.2.11.0.

1. It is necessary to update the firmware of the Profoto A10 to the latest version. Please refer to the Profoto website for details.
2. In any focus mode except AF-F.
3. The SnapBridge app can be downloaded free of charge from the Google Play™ and App Store®. See Nikon's website for further information.
See Google Play™ for Android™ device system requirements. See the App Store® for iOS device system requirements. There is no guarantee that this app will run on all devices.

4. Not displayed if the camera with which the smart device running SnapBridge is paired does not support Easy Shooting Setup.

5. Z 50, Z 30, and Z 5 only (as of March 13, 2024).

Nikon has updated its SnapBridge remote control and image transfer app, adding an "Easy Shooting Setup" option that sets up a camera to suit a series of common shooting situations. This function works with the company's entry and mid-level cameras, from the Z30 up to the Zf.

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The 'Easy Shooting Setup' button only appears in the app when it's paired with a camera that supports the function. It lets you select from subject types such as people, landscape or pets, then, through options for out-of-focus-background and motion-blur lets the user set the aperture and shutter speed. These settings are then sent to the camera, leaving it set-up and ready to go.

Press Release:

Nikon SnapBridge Update:

SnapBridge is Nikon’s companion Android and iOS app that connects to your camera to automatically download photos and videos, and remotely activate the shutter. Now with Ver.2.11.0, SnapBridge adds new functions such as Easy Shooting Setup, which allows users to configure camera shooting settings suited to a particular scene or subject directly from a user’s smart device1.

The new Easy Shooting Setup function can be used by tapping [Easy Shooting Setup]2 in the SnapBridge camera tab, selecting a main subject or situation, and deciding output parameters, such as having a soft out-of-focus background or motion blur. It allows even those who are unsure about camera functions and terms to easily create camera shooting settings that achieve desired results. Settings are applied the moment they are sent to the camera, allowing users to immediately begin capturing their vision. Easy Shooting Setup also provides tips for available scenes and subjects such as people, landscapes and pets to help users better achieve the intended results. Furthermore, favorite shooting settings can be assigned to one of the user setting positions3.

Supported operating systems:


Android™ (version 10 or later), iOS (version 15.7 or later)

Cameras that support Ver.2.11.0’s Easy Shooting Setup:

Nikon Z f, Nikon Z 5, Nikon Z fc, Nikon Z 50 and Nikon Z 30

The NX Ready app available in some regions will be discontinued with the release of SnapBridge Ver.2.11.0.

1. The SnapBridge app can be downloaded free of charge from the Google Play™ and App Store®. See Nikon's website for further information.
See Google Play™ for Android™ device system requirements. See the App Store® for iOS device system requirements. There is no guarantee that this app will run on all devices.

2. Not displayed if the camera with which the smart device running SnapBridge is paired does not support Easy Shooting Setup.

3. Z 50, Z 30, and Z 5 only (as of March 13, 2024).

Image: Richard Butler

Less than a month after its announcement, the Fujifilm X100VI is in ridiculously high demand. The the camera already back-ordered at B&H Photo and Adorama (the latter of which predicts a June restock date), buyers and sellers are turning to eBay.

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An eBay user known as elar-9021 briefly attempted to sell a "confirmed order" for a Fujifilm X100VI Limited Edition camera for a whopping $18,000. As first reported by Fuji Rumors, the seller claimed to have purchased the camera from the Fujifilm House of Photography for a price censored out of the receipt.

The listing has since disappeared, but other sellers who are asking slightly more modest prices (in relative terms) are making actual sales. A search of sold items on eBay shows that, at the time of this writing, two cameras have sold for a price in excess of $4,000.

Completed eBay listings for the X100VI, in limited edition and non-limited varieties.

Other sellers are trying to make a quick buck by selling the regular model for $3,000 or more (list price $1,599). Several of them claim that the camera is "in hand," which is possible since the X100VI is now shipping in small batches.

We'll likely never know the story of the $18,000 X100VI Limited Edition, now that the profiteer seller has removed the listing. Your chance to pay a 1000% markup may be gone, but a 100% markup is still very much on the menu.

Sony World Photography Awards: Open competition winners

The World Photography Organisation has announced the category winners for the 2024 Sony World Photography Awards 'Open' competition. The ten winners took home awards in popular photo categories, including portraiture, landscape, travel, street photography and more. We previously covered the finalists for the competition's Professional and Student and Youth categories.

The 2024 Sony World Photography Awards drew entries from photographers from over 220 countries, who submitted 395,000 photos to the free-to-enter competition.

The overall winner of the Open competition will be announced in London on April 18, but you can see the ten category-winning photos right here. Let us know what you think in the comments.

Portraiture: Michelle Sank (United Kingdom)

Photographer Name: Michelle Sank

Image Name: Zenande, Sinawe, Zinathi and Buhle at Sea Point Pavilion, Cape Town

Image Description: This image is part of my ongoing series Ballade, which is a poetic homage to my birthplace. My strongest memories are of Sea Point Promenade and the Pavilion swimming pool, although due to apartheid it was only for the privileged white population. Returning in 2023 I was again drawn to these spaces where little seems to have changed in terms of structure and recreation, but they now celebrate cultural and social diversity.

Copyright: © Michelle Sank, United Kingdom, Winner, Open Competition, Portraiture, Sony World Photography Awards 2024

Landscape: Liam Man (United Kingdom)

Photographer Name: Liam Man

Image Name: Moonrise Sprites over Storr

Image Description: As a moonrise burns across the horizon, lights dance above the Old Man of Storr in Scotland. This iconic rock formation was illuminated with powerful lights attached to drones, which cut through the darkness to reveal the icy landscape. Blizzards howled for the majority of the night, leaving mere minutes to execute this photograph before the moon became too bright.

Copyright: © Liam Man, United Kingdom, Winner, Open Competition, Landscape, Sony World Photography Awards 2024

Architecture: Ana Skobe (Slovenia)

Photographer Name: Ana Skobe

Image Name: Falling Out of Time

Image Description: Bathed in soft evening light, a lighthouse rises into the clear sky, its clean, sleek, geometric design contrasting with the coastal landscape. Positioned at its base is a figure – a contemplative man gazing out at the expanse of the ocean before him. The juxtaposition of the solitary silhouette against the infinite horizon creates a moment of reflection and connection with the vastness of the ocean.

Copyright: © Ana Skobe, Slovenia, Winner, Open Competition, Architecture, Sony World Photography Awards 2024

Lifestyle: Alvin Kamau (Kenya)

Photographer Name: Alvin Kamau

Image Name: Twende Ziwani (Let’s go to the Lake)

Image Description: This editorial photoshoot was inspired by haute couture fashion culture. The photograph was taken in a studio in Nairobi, Kenya. ‘Twende Ziwani' is Swahili for 'Let's go to the Lake'. The model's pose shows him carrying his shoes on his shoulders while looking to his side. The title also refers to Lake Victoria, the largest lake in Africa and the source of the Nile River.

Copyright: © Alvin Kamau, Kenya, Winner, Open Competition, Lifestyle, Sony World Photography Awards 2024

Natural World & Wildlife: Ian Ford (United Kingdom)

Photographer Name: Ian Ford

Image Name: Caiman Crunch

Image Description: We had bid farewell to our São Lourenço River lodge, marking the end of our Pantanal adventure, but as we were leaving we heard that a jaguar had been spotted roughly 30 minutes away. We raced to the scene and encountered this sleek female jaguar stalking her prey. Our boat – and my camera – was perfectly positioned as she pounced on an unsuspecting caiman.

Copyright: © Ian Ford, United Kingdom, Winner, Open Competition, Natural World & Wildlife, Sony World Photography Awards 2024

Street Photography: Callie Eh (Malaysia)

Photographer Name: Callie Eh

Image Name: The Hand

Image Description: A groom waves enthusiastically while passing by during a ceremonial procession for a wedding in Bhaktapur, Nepal.

Copyright: © Callie Eh, Malaysia, Winner, Open Competition, Street Photography, Sony World Photography Awards 2024

Motion: Samuel Andersen (Norway)

Photographer Name: Samuel Andersen

Image Name: Rider Getting Down and Dirty

Image Description: A rider passes through a muddy part of the course at the Norwegian National Championships in Hafjell Bike Park, Norway. As I was using an 11mm fisheye lens I needed to get really close to get this shot, and both myself and my gear ended up getting splashed. It was worth it though, as the backlighting from this angle was very effective.

Copyright: © Samuel Andersen, Norway, Winner, Open Competition, Motion, Sony World Photography Awards 2024

Creative: Rob Blanken (Netherlands)

Photographer Name: Rob Blanken

Image Name: Untitled

Image Description: A 5x enlargement of crystals of amino acids (B-alanine, L-glutamine and glycine), photographed with the help of polarising filters.

Copyright: © Rob Blanken, Netherlands, Winner, Open Competition, Creative, Sony World Photography Awards 2024

Travel: Yan Li (China Mainland)

Photographer Name: Yan Li

Image Name: Between Calm and Catastrophe

Image Description: On Lake Titicaca, between Peru and Bolivia, a tranquil floating village stands in stark contrast to the approaching wildfire, a dramatic testament to nature’s dual disposition.

Copyright: © Yan Li, China Mainland, Winner, Open Competition, Travel, Sony World Photography Awards 2024

Object: Toni Rinaldo (Indonesia)

Photographer Name: Toni Rinaldo

Image Name: Coalition

Image Description: I took this picture in a waiting room. The difference in colour of the two chairs next to one another caught my eye. This reminded me of my country, Indonesia, where different cultures exist side by side, and that is what makes people interested in visiting it.

Copyright: © Toni Rinaldo, Indonesia, Winner, Open Competition, Object, Sony World Photography Awards 2024

Introduction Photo: Richard Butler

At the core, both Sony's a7R V and Leica's SL 3 share a fundamental building block: a 60MP BSI CMOS sensor. But almost everything layered on top of that foundation diverges in radically different directions. With the SL3 having dropped earlier this week, we decided to take a look at this pair in detail.

Sony a7R V:

$3898 at B&H Photo $3898 at Adorama $3898 at Amazon

Leica SL3:

$6995 at B&H Photo $6995 at Adorama Sensor and specs Built around the same sensor, these two cameras take different approaches.

How they're similar: The main similarity, and primary basis for comparison between these two cameras, is the sensor they share. The 60MP BSI CMOS sensor in each is almost certainly the same, produced by industry juggernaut Sony Semiconductor Solutions. As such, both have comparable image quality, and both can do 8K video, with some caveats and differences we'll get into.

Where they differ: The Sony has better stabilization, rated for 3 extra stops of IBIS (8 EV to Leica's 5). The a7R V also has a multi-shot pixel shift high-res mode, which is somewhat unwieldy in that it requires post-processing on a computer, but the Leica has no comparable mode at all, so there may be some niches where this gives the Sony an advantage.

The SL3 can technically shoot faster, up to 15fps (at 12-bit, using the e-shutter, with focus and exposure locked at the first frame). That's a higher rate than the a7R V's 10fps max, but Leica’s speed tops out at a sluggish 4fps if you want AF and full bit-depth, which the Sony will deliver at its highest speed, so long as you don't want to shoot compressed Raw.

Body and handling The Sony a7R V sports a wonderland of buttons and dials.

How they're similar: Both the Leica and the Sony are interchangeable-lens cameras with protruding handgrip, external buttons and dials, and an articulating screen. Both are moisture and dust resistant, but not fully weather sealed. However, while the Sony is stated as being resistant, the Leica is certified to the IP54 standard.

How they're different: While both cameras share the same general form, they each take it to a different extreme. The a7R V, with its numerous dials and buttons, takes a "more is more" approach to design. If you might ever want to do it, there's a button for it, somewhere.

The Leica SL3 takes a much more reserved and focused approach, going back to the drawing board with its design. There are just enough dials for the three fundamental settings (shutter speed, aperture, and ISO), but far more emphasis on the clever, clean and customizable UI on its tilting screen.

Autofocus The SL3's autofocus options are fewer than the a7R V's.

Where they're similar: Both cameras feature phase-detection autofocus with a variety of smart-recognition modes.

Where they differ: The a7R V's autofocus is excellent, with a broad range of subject recognition modes that sit on top of one of the more tenatious tracking systems on the market, snapping to specified subjects that are in proximity to an AF area. Each layer of the system is individually tunable, adding complexity, but for the most part it just works.

We still need to do more testing with the SL3's autofocus, it's Leica's first use of on-sensor phase detection and offers smaller selection of options for subject recognition mode, one of which was still designated as "beta" at launch. It's behaved well in our usage so far but we've not yet had a chance to really challenge it, as we have with the a7R V.

Video Both stills-focused cameras are capable of 8K video, though the quality differs.

How they're similar: Neither the Leica SL3 or Sony a7R V are video-focused cameras, but they both have some chops and can deliver up to 8K 10-bit video in addition to 4K/60p.

How they're different: The Leica SL3 can shoot UHD 8K up to 30p at a 1.24 crop, with a DCI 8K/30p mode as well. However, it suffers from significant rolling shutter.

The Sony a7R V is limited to 24p for its UHD 8K, with the same 1.24 crop and similar rolling shutter numbers. But, the Sony can shoot UHD 4K at the full width of the sensor (up to 30p). The Leica’s UHD and DCI 4K modes, meanwhile, are taken from the 8K capture region meaning crops of 1.17 or worse, regardless of the framerate.

Viewfinder and screens Both cameras have flexible rear screens and high-res OLED finders

How they're similar: Both cameras have very DSLR-like designs with prominent viewfinder humps housing high-resolution finders and movable rear touchscreens.

How they're different: The a7R V has a 9.44M dot EVF (2048 x 1536px) with 0.9x magnification, rather than the Leica's 5.76M dot (1600 x 1200px) finder with 0.76x magnification. You need to engage a 'high quality' mode to get that full resolution on the Sony, and the display becomes less detailed as you focus. The Sony has a fully-articulated rear screen on a tilting cradle, making it more flexible than the Leica's.

Lenses Sony's E-mount gives you access to a wide array of third-party options.

How they're similar: Both the Leica and the Sony are interchangeable-lens cameras with full-frame sensors, so their lenses are broadly similar in size and weight across the various focal lengths.

How they're different: Leica's L-mount system was designed in partnership with Panasonic and Sigma, which gives it a wide breadth of options including very high-end and pricey Leica glass as well as more mid-range and affordable options from Panasonic and Sigma.

Sony's E-mount is the oldest full-frame mirrorless mount, meaning Sony's own suite of lenses is quite broad, the recent additions have included some excellent performers and a variety of interesting focal lengths. Sony's E-mount is also open to third parties, which means there are also loads of options from Sigma, Tokina, Tamron, Samyang, and more.

Price Neither is cheap, but only the Leica is a Leica.

How they're similar: Both the SL3 and the a7R V are premium cameras. Both are serious investments that will cost you multiple thousands of dollars new or used.

How they're different: The Leica SL3, perhaps unsurprisingly, puts a premium on premium. At a list price of $6,995, the SL3 is not fully twice as expensive as the $3,898 Sony a7R V; it's merely close. Whether or not that differential is even worth entertaining depends in large part on your preference for, or investment in, L-mount glass.

Sony a7R V:

$3898 at B&H Photo $3898 at Adorama $3898 at Amazon

Leica SL3:

$6995 at B&H Photo $6995 at Adorama

A second DPReview film festival

It's Oscar weekend, so we've assembled another DPReview film festival celebrating our favorite star: photography!

Last year, we focused on fictional films starring the humble camera for a hypothetical single-day film festival you could do at home. So, it only feels fitting to turn the coin over and unearth the gems on the factual side.

Within the world of documentary films lies a rich tapestry of stories about photographers, the meaning of photography, and studies on the motivations that guide creators. With the right lineup, you can cut close to a graduate school level of learning and inspiration. If you're lucky, perhaps some life lessons as well.

We've assembled seven documentaries and one interview (to break up the pace), which we hope you'll enjoy. This isn't a comprehensive list of every great documentary film, and I'm certain some of your favorites may feel "missing." Our intention is to be mindful about what to include and in what order, and we didn't want to list things to list them without being able to say why we enjoyed them or why they fit into this flow for a hypothetical single-day film festival. That isn't genuine, nor is it the DPReview way.

Enjoy the show!

Alfred Stieglitz: The Eloquent Eye

Let's start by rewinding to the early 1900s, Alfred Stieglitz, and modern photography's origins.

Regarded as the father of modern photography, the man who once remarked, "Where there is light, one can photograph," helped usher in a new era of photography that sought to change how the public views photography.

Stieglitz embraced the camera and elevated photography as a new art form, emphasizing the ideals of competition, juxtaposition, light and interpretation above documenting for its own sake or seeking sharpness above all.

Produced for PBS's American Masters series, "Alfred Stieglitz: The Eloquent Eye" can be slow at points, painfully so as it slow pans across images while narrators read old letters he and his contemporaries wrote, but it's also packed with nuggets of history worthy of uncovering.

It's the right starting point for any conversation about the impact of photography on culture in the 20th century.

I give it 3/5 stars.

War Photographer

2001's "War Photographer" shadows photojournalist James Nachtwey during assignments in the West Bank, Kosovo and Indonesia. We see firsthand how he approaches his work and the people he works with.

A tension soon emerges as we must consider what photography represents for the people in the images and the people, like us, who later view them. What is our responsibility to the people in the pictures? How close is too close? When is it not okay to take a picture?

With inventive camera work and an unguarded look at a type of photography often overly romanticized, this film allows us to see the personal toll it takes on the photographer and the responsibility of protecting the stories others have allowed you to witness.

If the only thing you take away from this film is that Nachtwey uses a Canon, you've missed the point.

I give it 5/5 stars.

Marwencol

A tightrope of a film, "Marwencol," deftly navigates the question of who our photography is for and what happens when others want in.

Following a violent attack outside a bar that left him with brain damage and amnesia, Mark Hogancamp spent nine days in a coma and another 40 days in recovery. Unable to afford proper mental healthcare after leaving, he began to isolate himself and turned to a fictional world he created in his backyard.

He created Marwencol, a 1/6th scale World War II-era fictional Belgian town filled with elaborate stories deeply rooted in his past and present struggles. Out of these motifs would emerge hundreds of images of soldiers being tortured, rescued and fighting. Others get wind of his work and seek to celebrate it, risking taking it away from its creator in the process.

I give it 4/5 stars.

The Jazz Loft According to W. Eugene Smith

As the story goes, former LIFE Magazine photographer W. Eugene Smith had left his job in 1955 and then his family two years later to move into a rundown New York City loft space. This is where he went a little mad.

The building became a late-night spot for jazz musicians to hang out after a performance or a stopping point for musicians traveling through. Among the big names were Thelonious Monk, Charles Mingus, Bill Evans and more, and these gatherings eventually turned into jam sessions.

Seeing and hearing this, Smith knew he had to document it and proceeded to wire virtually every inch of the building, from the sidewalk to the top floor, with microphones. Between sounds of creaking stairs and busses passing by, there are overheard conversations between musicians about life on the road, racism and many, many hours of the masters of jazz riffing off each other.

Smith made nearly 40,000 photographs and over 4,000 hours of audio recordings from 1957 and 1965 until he was evicted from the building.

The power of documentary photography is on full display in "The Jazz Loft According to W. Eugene Smith." If you're a fan of storytelling and music, this is some of the most fun you'll have at the movies.

I give it 5/5 stars.

Charlie Rose interviews Henri Cartier-Bresson

Strictly speaking, this isn't a documentary film, but we've included it sheerly for the treat of hearing from Henri Cartier-Bresson himself how he approaches photography.

Interviewed later in life, when he wasn't taking as many pictures or granting interviews, it's a rare firsthand account of his approach and the thoughts of a master on his legacy. As an added treat, Richard Avedon also briefly appears to discuss Cartier-Bresson's influence and place in photo history.

It's a perfect intermission for our day of film.

I give it 3/5 stars.

Born into Brothels

In the previous interview clip with Cartier-Bresson, we heard him reflect on the power of a 'decisive moment.' This concept of impact and the ability of images to stop time and reveal something new is on full display in "Born into Brothels."

This film is about adapting and the little joys that go unnoticed. Put another way, I sometimes think of a real-life "Amélie," with more truth and less manic pixie girl energy.

Filmmakers had intended to document life in the brothels of Calcutta, but the community wanted no part of it. However, the kids in the area were curious about the filmmakers' cameras, and there was no resistance to teaching them about photography and filmmaking, so that's what they did.

Handed cameras and empowered by their new interest in photography, the youth of the district embraced the chance to make images. The result is a powerful and intimate film that gives the children of prostitutes autonomy over the stories of their lives in the red-light district of Calcutta.

I give it 4/5 stars.

Half Past Autumn

In a biopic disguised as a documentary, photojournalist and film director Gordon Parks reflects on his life and photographic history in a film that will have you smiling and laughing one moment and break your heart the next. If Stieglitz helped us take photography as a serious medium for art, Parks propelled it forward as an agent for change.

In lengthy interviews, Parks takes us through his first forays into photography (he wished to become a fashion photographer), his transition into photojournalism almost by accident, and finally, his recognition of photography as a means to induce civic reckoning and social change.

In the pantheon of photo greats, there have been few like him. The film was created during Park's first US retrospective of his life's work, and the melancholy tone reflects the reverence many photographers of the era felt for him.

The film can be hard to find, but thankfully, the film's producer/director has uploaded it to their Vimeo page, and you can watch it below.

I give it 5/5 stars.

Watch Half Past Autumn on Vimeo

Cameraperson

This film will challenge you. It may even infuriate you. But by the end, it will reward you by not letting go of you, and that's why we're ending our film marathon with it.

A pseudo-autobiographical chronicling of Kirsten Johnson's lifetime as a globetrotting documentary filmmaker and cameraperson, the film takes us from interviews with a Bosnian woman to an Al Qaeda detention facility in Yemen, with stops to visit her family sprinkled throughout.

At first glance, it may appear as a disparate association of slices of life from around the globe, something borrowed from the quiver of "Koyaanisqatsi" or "Samsara," perhaps. But that is where you'd be wrong. At some point during "Cameraperson," when you are on the verge of giving up on it, it will 'click,' you'll be rewarded with a document of ethics and humanity, a meditation on memory and a journey into our relationships, all rolled into one.

It's never straightforward in its intentions but always inviting. Step through.

At the core of "Cameraperson" is a life lesson that celebrates why we capture images and their value as a document of the people witnessed and those witnessing.

I give it 5/5 stars.

That's a wrap!

Our day-long documentary film festival has come to an end. If you attempted to follow along at home, what moments stood out for you most? What would you suggest we watch next?

There can only be so many films in a single day, and creating a mix that challenges us to dig deeper and lets us breathe when needed can be tricky. Let us know if we missed your favorites in the comments.

And if you're not entirely "filmed out," we have even more cinema suggestions to keep you glued to the TV for another day. Take a look at our non-fiction lineup of films on photography.

Up next: A DPReview non-fiction film festival

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Panasonic's newest zoom lens, the Lumix S 28-200mm F4-7.1 Macro OIS, covers a range of popular focal lengths for travel photography, so I decided to take it on a recent trip to Japan as my sole travel lens, using it to photograph everything from snow monkeys near Nagano to night scenes in Yokohama.

A couple of notes about this gallery: All the photos were captured using a Panasonic S5IIX camera, a 24MP body, as we're working on finishing up our review of the S5II and S5IIX, and this was the camera I had with me in Japan. We'll add photos from a higher-resolution body at a later date. Similarly, we'll add some macro images to the gallery when we get a chance.

View our Panasonic Lumix S 28-200mm F4-7.1 sample gallery

Note: 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.

Buy now:

$898 at B&H Photo$898 at Adorama

Lensrentals, the US's largest photo and video gear rental company, is buying competitor BorrowLenses. The acquisition will significantly increase Lensrentals' rental and used gear inventory.

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In addition to shipping equipment in sturdy Pelican cases, LR customers can now pick up their gear at BorrowLenses' San Carlos, CA, location. Lensrentals currently has pickup options in the Nashville, Memphis, and Boston areas.

The terms of the acquisition were not made available at the time of publication. Lensrentals previously snapped up Concord, Massachusetts-based LensProToGo in 2017.

Lensrentals Acquires BorrowLenses Brand and Select Assets to Expand Largest Resource of Inventory for Creatives and Production Teams Seeking Photo and Video Equipment for Rental in the United States

Renowned for stellar customer service, Lensrentals maintains vital gear rental resource for anyone from movie and entertainment productions, professional sports leagues, to all videographers, photographers and content creators nationwide

Memphis, TN – March 7, 2024 – Lensrentals, the leading and largest online photo, video, audio and lighting equipment rental and production resource company, announced the acquisition of select assets of the BorrowLenses business, an online marketplace for photographic and video equipment rentals.

The acquisition will expand Lensrentals’ loyal customer base while augmenting its enormous inventory of more than 400,000 copies of over 6,000 different lenses, cameras, drones, lighting, audio and other high quality production equipment and accessories, in every format, from every major manufacturer available in the market. Additionally, the used gear program known as Keeper will also receive a significant boost in inventory.

Lensrentals has long maintained the largest inventory of photo, video, audio, lighting and accessories and has attracted more than a million orders since its founding. Additionally, the company’s expertise as a production resource and high quality customer service has enabled Lensrentals to align with brands that include world leading box office movie and entertainment companies, professional sports leagues and the journalism professionals that cover them.

Similarly, BorrowLenses has provided cutting-edge photo and video gear for rental, convenient pick-up and shipping options, and exceptional service to its loyal base of creatives and professionals with more than one million orders over sixteen years.

“As a big group of employee-owners, via our Employee Stock Ownership Plan, I think I speak for all employees when I say: we’re collectively delighted and genuinely grateful to strengthen the Lensrentals family with the addition of the BorrowLenses brand, alongside whom we’ve served customers for nearly two decades, while pushing each other to excel. The acquisition will enable us to extend our high-quality rental and production experience to a growing customer base that demands the highest-quality technical equipment a creative needs to produce movies, video and audio, and photographic content, without the up-front expenses associated with buying gear outright and continued maintenance,” said Tyler Beckman, CEO of Lensrentals. “We’re proud of our reputation as the most reliable video and photo gear rental experience online. We employ experienced team members with hands-on video and photo experience to provide the right counsel and ensure the gear which our customers use is not only the highest quality professional grade, but also curated for individual scenarios, down to the right cables and extra batteries for cold conditions. We look forward to welcoming all BorrowLenses customers to the Lensrentals experience.”

With operations in San Carlos, CA, BorrowLenses provided photographers and videographers with a similar range of equipment for rental as Lensrentals. BorrowLenses has offered local pickup in California, like Lensrentals and LensProToGo in Tennessee and Massachusetts respectively, as well as nationwide shipping options.

Lensrentals has long been renowned for providing the highest quality of customer service, by an experienced team of photo and video industry professionals. The customer service team recommends, troubleshoots, and offers counsel on what equipment will work best for each scenario presented. Whether the production is a box office movie, a televised multi-team race around the world, the sidelines of a professional or college sporting event, a new family member, a solar event, a road trip or a wedding, the customer service team operates like a trusted first assistant.

Every piece of gear in the Lensrentals and LensProToGo inventory is cleaned and inspected optically and physically to guarantee orders arrive on time with compatible, working equipment. All technical equipment is shipped in weatherproof hard shipping cases and arrives with a return label in the box, to facilitate an easy return at the end of a rental.

About Lensrentals

Founded in 2006 and headquartered in Memphis, TN with additional facilities in Tennessee and Massachusetts, Lensrentals provides photography, video, audio, lighting gear and drones, amongst more than 400,000 equipment items, for lease from the largest inventory of equipment in the United States. The company ships to customers throughout the 50 states with pickup and return services available to local customers in Memphis, TN and Concord, MA. Lensrentals provides services to hundreds of thousands of photographers annually, maintaining the values of its founder; sharing the best available equipment, at its optimum quality and educating its users to make sure they can achieve their goals as a professional, amateurs and enthusiasts. The company maintains the highest quality of available equipment with the lowest equipment failure rate in the industry.

Image: RED

Nikon has just announced it will be acquiring US cinema camera manufacturer RED Digital Cinema. Founded in 2005 by Jim Jannard, RED has produced cinema cameras that were used in the production of over 25 percent of top-grossing films in the mid 2010s as well as Oscar winners like 2021's Mank.

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The acquisition comes after RED sued Nikon for allegedly infringing on patents it held for video compression technology in 2022 and Nikon, in response, squared off the fight the allegations before the case was ultimately dismissed in April of 2023.

It's easy to assume there's some connection between these two events, but irrespective of this, the purchase makes a lot of sense for Nikon from a business perspective. RED has established a toe-hold in Hollywood and with the rental houses used by independent production teams, in a way that would take Nikon years to achieve. Likewise, absorbing a company that's already developed an industry-accepted set of tools could let Nikon sidestep the teething troubles that it might otherwise encounter as it continues to expand its video features.

Nikon to Acquire US Cinema Camera Manufacturer RED.com, LLC

Accelerating Expansion in Professional Digital Cinema Camera Market

March 7, 2024

TOKYO - Nikon Corporation (Nikon) hereby announces its entry into an agreement to acquire 100% of the outstanding membership interests of RED.com, LLC (RED) whereby RED will become a wholly-owned subsidiary of Nikon, pursuant to a Membership Interest Purchase Agreement with Mr. James Jannard, its founder, and Mr. Jarred Land, its current President, subject to the satisfaction of certain closing conditions thereunder.

Since its establishment in 2005, RED has been at the forefront of digital cinema cameras, introducing industry-defining products such as the original RED ONE 4K to the cutting-edge V-RAPTOR [X] with its proprietary RAW compression technology. RED's contributions to the film industry have not only earned it an Academy Award but have also made it the camera of choice for numerous Hollywood productions, celebrated by directors and cinematographers worldwide for its commitment to innovation and image quality optimized for the highest levels of filmmaking and video production.

This agreement was reached as a result of the mutual desires of Nikon and RED to meet the customers’ needs and offer exceptional user experiences that exceed expectations, merging the strengths of both companies. Nikon's expertise in product development, exceptional reliability, and know-how in image processing, as well as optical technology and user interface along with RED’s knowledge in cinema cameras, including unique image compression technology and color science, will enable the development of distinctive products in the professional digital cinema camera market.

Nikon will leverage this acquisition to expand the fast-growing professional digital cinema camera market, building on both companies' business foundations and networks, promising an exciting future of product development that will continue to push the boundaries of what is possible in film and video production.

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Product photos: Richard Butler

The Leica SL3 is a 60MP DSLR-shaped mirrorless camera built around Leica's L-mount. It brings a lot of technology from the Leica M11 models but also features a radically redesigned interface.

Key specifications

• 60MP BSI CMOS sensor
• 5-axis in-body image stabilization rated at 5.0EV
• ISO 50-100,000 (base ISO 100)
• Hybrid phase/contrast-detect autofocus
• Eye/face/body and animal detection AF
• DCI 8K video in H.265, 1080p in ProRes all with no time limits
• 5.76M dot OLED EVF with up to 120fps refresh
• 2.33M dot tilting rear touchscreen
• 4fps 14-bit shooting with AF, 5fps in 12-bit mode, up to 15fps, 12-bit with focus and exposure locked at first frame.

The Leica SL3 is available immediately at a recommended price of $6995. This is a $1000 increase over the price of 2019's SL2, though inflation means this is lower in real terms.

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Buy now:

$6995 at B&H Photo$6995 at Adorama Index:

• What's new
• Body and controls
• Initial impressions
• Sample gallery
• Specifications
• Press release

What's new

The Leica SL3 is the fourth in the company's range of full-frame, L-mount cameras, following 2017's 24MP SL, the 47MP SL2 from 2019 and the video/stills hybrid SL2-S from 2020. The SL3 adopts a 60MP BSI CMOS sensor, making it both the highest resolution SL camera yet and also the one most likely to play nicely with Leica's M series rangefinder lenses (BSI sensors are better at receiving light from close-mounted lenses, as their photosensitive region is closer to the surface).

As with the M11 cameras, the SL3 can output Raws or JPEGs in your choice of 60MP, 36MP or 18MP resolution, with the option for different resolutions for each file type.

The available ISO range of the sensor stretches from 50 to 100,000, but the company says the native gain steps of this dual gain sensor are ISOs 100 and 320 (200 and 640 in L-Log, 400 and 1250 in HLG).

The SL3 accepts CFexpress Type B slot in addition to UHS-II SD.

The sensor has on-sensor phase detection elements, allowing depth-aware focusing. This combines with a subject recognition system we suspect stems from the L² technology partnership with Panasonic. It can be set to recognize human bodies, faces and eyes, and will track and focus on the smallest of these that's available. It also has animal detection including birds.

The camera uses the same "Maestro IV" processors as Leica's Q3 model, with an 8Gb buffer that's double the size of that in the SL2. Despite this processing power and buffer the SL3's continuous shooting rate is very low by modern standards, hitting just 4 frames per second if you want autofocus and the sensor's full 14-bit readout, this increased to 5fps if you drop to 12-bit mode and then trebles if you don't need focus or exposure updates between shots. This is especially odd given the camera has enough grunt to deliver 8K video.

8K video The SL3's includes a full-sized HDMI port, as well as headphone and mic sockets

The SL3 can capture 8K video (in 1.89:1 or 16:9 aspect ratios) at up to 30p in 10-bit. This uses the H.265 codec and can record 4:2:0 to the CFexpress slot until you run out of card space or battery. It will also output 4K in 10-bit 4:2:2 over the HDMI socket if you shoot Log or HLG, or are recording to a card at the same time. HDMI output is 8-bit 4:2:0 UHD 8K if you're not in one of these modes and not recording to a card.

The 4K (UHD or DCI) is taken from the 8K capture when shooting at up to 30p. It appears to line-skip to deliver up to 4K/60p from the same region of the sensor.

Frame rates Crop Bit-depth Chroma Codec Bitrate
(Mbps) Rolling shutter C8K mode Internal
(DCI 8K) 30, 25, 24, 23.97 1.17 10-bit 4:2:0 H.265 300 31.5ms HDMI*
(DCI 4K) 4:2:2 8K mode Internal (UHD 8K) 30, 25, 24, 23.97 1.24 10-bit 4:2:0 H.265 300 31.5ms HDMI*
(UHD 4K) 4:2:2 C4K mode DCI 4K 60, 50, 48, 47.95** 1.17 10-bit 4:2:2 H.265 600 15.6ms 30, 25, 24, 23.97 400 31.5ms 4K mode UHD 4K 60, 50, 48, 47.95 1.24 10-bit 4:2:2 H.265 600 15.6ms 30, 25, 24, 23.97 400 31.5ms *C8K or UHD 8K is output over HDMI in 8-bit 4:2:0 if you are not recording internally and not in L-Log or HLG modes.
**Camera outputs 4K/24 or 23.98 over HDMI in 4K 48p or 47.95p modes

The camera offers five preset slots in which you can define resolution, frame rate, codec, compression, with the choice of gamma encoding, Log or HLG capture. This lets you jump between pre-defined modes, rather than risking changing one setting and forgetting to change another (or forgetting to change a contingent setting back, when you revert to your main shooting mode).

The SL3 also has the ability to sync timecode over a flash sync socket on the side of the viewfinder hump.

Body and controls The third command dial on the right of this image sets the SL3 apart from its predecessors

The body of the SL3 looks a lot like the previous SL models but is recognizably a little smaller. And, while the overall appearance is consistent with prior models, there are more changes, the closer you look at the camera.

The biggest change is the addition of a third command dial to the left of the camera's viewfinder. This allows default behavior that puts the key exposure controls, shutter speed and aperture, on the main two command dials and ISO on the new left-hand dial, giving immediate access to all the fundamental photographic settings.

The other really obvious alteration is that the array of three buttons (Play, Fn, Menu) have been shifted across to the right-hand side of the rear screen, so that a tilting screen design can be implemented without conflict between the screen and the buttons.

The on-off switch on the left of the camera has been replaced by a button that you hold down to wake the camera. This is surrounded by an LED indicator that glows green when the camera is charging, pulses white when the camera is in sleep mode and is constantly illuminated white when the camera is awake.

Despite the articulated screen, the SL3 continues to offer the IP54 water and dust protection rating as its predecessor.

It has a 5.76M dot (1600 x 1200 pixel) viewfinder with 0.76x magnification that can run at up to 120fps and a 2.33M dot (1080 x 720 pixel) rear screen that tilts up or down.

Interface

Where the SL3 stands out is in its user interface (UI). Leica has been working on variations of a touch-led interface all the way back to its first L-mount camera, the Leica T (long enough that the mount was still called the T-mount at that point). The SL3's UI isn't quite as radical as its APS-C forebear but it still feels quite innovative compared with most cameras.

The primary means of interacting with the camera is through the three command dials, as you might expect. Their functions can be reconfigured for each of the camera's exposure modes but with the choice of a second configuration if you're using adapted M lenses (ie: if you're using a lens with an aperture ring, you may choose not to assign a dial to aperture value).

The bulk of the camera's other settings are adjusted through its touch-operated settings menu, with a relatively shallow menu system sitting behind this. Holding your finger on one of the onscreen buttons lets you customize its function (the exposure and ISO settings can't be repurposed).

Swipe left and the photo settings give way to the video settings and yellow highlighting (reflecting the color scheme of the distance scales on Leica's Cine lenses).

The settings panel shows either the stills settings or, if you swipe a finger across the screen, the video settings. The settings screen and menus have red indicators when you're in stills mode and yellow to denote video mode.

The camera's live view displays can also be customized, with a choice of which settings appear onscreen, and whether the screen is re-arranged for portrait orientation. Up to six banks of presets that include button and screen customization can be named, saved and exported, so that you can quickly set the camera up for your preferred way of working.

The menu includes touch toggles, meaning you don't need a separate screen for binary choices. On this screen you can limit which options are available when you customize the action of the Fn button, to make operation faster.

The menus themselves include nice touches such as toggle switches for on/off settings, so that you don't need to go into a deeper level of the menus just to switch settings on and off. You can also slim down the list of which settings are available to be assigned to buttons, to make selection quicker.

On top of this, the camera lets you define up to four presets of capture assistants (grids, levels, highlight warnings, etc). The camera will use whichever of these presets you last used and will retain separate settings for capture and playback.

Battery

The SL3 uses a new, higher power BP-SCL6 battery which now offers 15.8Wh capacity (up from 14.4). The camera is still compatible with the older BP-SCL4 batteries but some video functions are only available with the newer version. The camera is rated at a rather low figure of 320 shots per charge per the CIPA standard. But Leica says that it will deliver 1350 shots per charge if the camera auto power off function is used every 50 shots, rather than the standard's 10, giving an insight into why the CIPA standard tends to significantly underestimate most people's real-world usage

A DC-powered dummy battery is available, allowing the camera to be powered using USB-C for extended periods and without tying up the camera's USB-C socket.

Initial impressions

By Richard Butler

The Leica SL3 is an interesting camera, bringing the sensor and many of the developments of the recent M11 models to the L-mount for the first time. The body is appreciably smaller without sacrificing any of the solidity or consistency of look from the existing cameras.

Despite taking more from Leica's technology tie-up with Panasonic, the SL3 isn't simply a rebadged DC-S5 II. The three-dial layout makes it distinct both from the Panasonic and the existing SL models, and this felt informative, as I was using the camera.

It's that focus on the fundamentals, and the back-to-basics rethink that led to it, that leaps out about the SL3. The rest of its specifications aren't particularly different to most of its peers, but the way it's operated is.

The SL3's interface will be unfamiliar to almost everyone at first, in that it doesn't particularly resemble the behavior of most cameras we've encountered. But this is perhaps a good time to remind ourselves that, while the word is often used, almost no aspect of camera operation is literally "intuitive". You don't know how to use a different brand's cameras because it's innately obvious, you do so because it behaves like something you've learned. And our first impressions are that the SL3's interface, while unfamiliar, is simple, sensibly arranged and should be quick to learn.

Leica says it redesigned every one of the camera's icons, and even went so far as to adopt a new typeface for its menus, but these are merely the outward signifiers of a fairly 'ground, up' approach to rethinking how a camera should work.

We suspect we'll find a few quirks and oddities, as we get to use it day-in, day-out, but in a landscape of cameras that can often look and feel interchangeable, with only lens choices to distinguish between them, it's interesting to encounter a camera that tries to do something different. And, in keeping with its maker's reputation, the SL3 seems to be searching for a way to make a camera that's focused on photography's fundamentals.

That said, it's hard not to notice that the SL3 costs around 80% more than Sony's excellent a7R V which also features a 60MP, dual conversion gain BSI CMOS sensor. And that's a significant premium to have to pay for an innovative interface. So the wisdom of choosing the SL3 may come down to your belief in the quality of Leica's lenses, meaning the decision essentially does come back to lens choice.

Buy now:

$6995 at B&H Photo$6995 at Adorama 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.

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Photo: Richard Butler

Nikon has released firmware version 1.60 for the Z fc , which includes a few tweaks and creature comforts for the 2021 camera.

Buy now:

$997 w/ 16-50mm at Amazon $997 w/ 16-50mm B&H Photo $997 w/ 16-50mm at Adorama

The update adds a variety of new 'welcome screens' which are displayed when the camera turns on, if the feature is enabled. It also adds background color options for the information display, and fixes a bug related to assigning Release Mode to a Fn button in AUTO mode.

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It can be downloaded from Nikon's download center.

Below is the full change log:

Changes from “C” Firmware Version 1.50 to 1.60

• More background color options are now available for the [Information display] item in the [SETUP MENU].
• Added a [Welcome screen] item in [SETUP MENU]. A welcome screen will be displayed when the camera is turned on.
• Added [Red REC frame indicator] to the [CUSTOM SETTINGS MENU] in position g7.
• Fixed an issue that [Release mode] could not be properly adjusted using the Fn button in AUTO mode when [Release mode] was assigned to the Fn button.

Updated March 2024

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Travel can expose you to once-in-a-lifetime sights and experiences, and a good camera can be the perfect way to preserve those memories. We've looked at a range of models that offer great image quality, good autofocus and excellent video, so that you can capture whatever you encounter on your travels. We've also tried to select relatively small cameras so they don't interfere with your trip.

Our selections include relatively compact cameras with fixed lenses, perfect for just documenting what you saw on your trip; they also include Micro Four Thirds and APS-C models that allow smaller camera/lens combinations, if you're looking to travel light. Full-frame cameras open up the potential for even better image quality but the lenses can get pretty big, so it's worth checking how big the total package is, before committing to a large-sensor model.

Our recommendations

• Best pocketable travel camera: Ricoh GR III
• The classic choice: Fujifilm X100VI
• Truly compact mirrorless: OM System OM-5
  
• All-round compact capability: Sony a6700
• The great travel kit: Fujifilm X-S20 with 18-55mm F2.8-4.0 OIS
• The stylish travel companion: Nikon Zf
• Portable full-frame: Sony a7CR

Best pocketable travel camera: Ricoh GR III

24MP APS-C sensor | 28mm equiv. F2.8 lens | Wi-Fi + Bluetooth

The Ricoh is a pocketable compact with a large APS-C sensor.

Photo: Barney Britton

Buy now:

$997 at B&H Photo $997 at Adorama $1016 at Amazon What we like:

• Excellent image quality
• Good controls and ergonomics
• Truly pocketable

What we don't:

• Short battery life
• No built-in flash
• Sluggish AF in low light

The Ricoh GR III is the latest in a series of classic compact cameras with a large APS-C sensor and a 28mm equivalent lens. It's not the most flexible camera but it's one of the most pocketable and has built up a dedicated following of photographers who find it a joy to shoot with.

The GR III handles well, despite its size, thanks to well-placed controls, flexible customization options and a responsive touchscreen. The grip is just the right size for easy one-handed operation. The GR III focuses swiftly and accurately in good light, but it slows significantly as light levels drop. There's also a Snap Focus option, where the user can preset a focus distance the camera 'snaps' to with a full press of the shutter button. The GR III's battery life is disappointing, at a rated 200 shots per charge. "Offers direct control and excellent image quality in a pocketable camera"

Our only concern, in terms of using the GR III for travel are that some users have found dust can get into the lens. So it's worth trying to find some sort of protective bag to keep it in.

The Ricoh GR III offers direct control and excellent image quality in a pocketable camera. Its short battery life and fixed focal length lens mean this camera certainly isn't for everyone, but it's a compelling offering for travel, street and casual photographers alike.

There's also the GR IIIx, a variant with a longer, 40mm equivalent lens on it. This may be a little tight for documenting your travels, but it's historically a popular focal length.

Read our Ricoh GR III review

See the Ricoh GR III studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7380089310","isMobile":false}) }) The classic choice: Fujifilm X100VI

40MP BSI CMOS APS-C X-Trans sensor | 35mm equiv F2 lens | Hybrid viewfinder

The Fujifilm X100VI is a refinement of everything that made the X100V great, but it's still difficult to buy.

Photo: Richard Butler

Buy now:

$1,599 at B&H Photo $1,599 at Adorama What we like:

• Excellent build quality
• Subject-detection autofocus
• Now with in-body image stabilization

What we don't:

• Lens not especially fast to focus
• Hard to find in stock

Like the Fujifilm X100V before it, the Fujifilm X100VI is a classically styled fixed lens camera with a 35mm equivalent F2 lens. But being in active production following its 2024 launch, the X100VI is somewhat easier to buy than its constantly out-of-stock forebear.

Updated with in-body image stabilization rated at up to 6EV of correction and a 40MP BSI CMOS APS-C X-Trans sensor, the X100VI is a significant upgrade over its predecessor despite looking virtually identical. And those improvements in part explain the X100VI's $200 increase in list price to $1,600.

Like its older brother, the X100VI isn't the smallest or most inconspicuous camera, but its fixed focal length means you develop an 'eye' for the photos it'll take, essentially making it a better quality, more engaging alternative to snapping away with your phone.

The addition of subject-detection autofocus has given the X100VI the ability to recognize animals, birds, automobiles, motorcycles and bikes, airplanes, and trains though human (face/eye) detection is a separate mode. However, the lens the X100VI shares with the X100V is not the fastest to autofocus, prioritizing sharpness over speed.

The X100VI brings a level of polish you would expect from a sixth iteration of a camera. Fujifilm has done a great job keeping the X100-series up to date without messing with the formula that's made it so popular. No surprise, this is the best X100 yet.

Unfortunately, despite ramped-up production, demand for the X100VI seems to have outstripped supply with the camera already on backorder at virtually all dealers. With any luck, however, its release will depress the over-inflated sale price of previous generation X100V cameras, which are still quite capable if you can find them for prices befitting used gear.

Read our Fujifilm X100VI review

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7109242674","isMobile":false}) }) Truly compact mirrorless: OM System OM-5

20MP Four Thirds CMOS sensor | 4K/30p video | In-body stabilization rated to 6.5EV (7.5 with some lenses)

Photo: Brendan Nystedt

Buy now:

$999 at B&H Photo $999 at Adorama $999 at Amazon What we like:

• Attractive JPEG output
• Selection of clever photo features
• Excellent image stabilization
• IP53 rating supports claims of weather sealing

What we don't:

• AF tracking is disappointing
• Image quality is behind larger sensor cameras

The OM System OM-5 is a compact interchangeable lens camera with a 20MP Four Thirds sensor in a compact body with plenty of external control.

That relatively small sensor means it can remain fairly small, even with a lens attached, and the Micro Four Thirds lens system provides extensive options in that regard, from compact zooms to small prime lenses.

The OM-5 has a compact body but a decent number of control points and offers a high degree of customization. Its menu system is quite cluttered by the camera's extensive array of features. Viewfinder and rear screen are typical for the price. It has good phase-detect autofocus with face detection, but tracking for other subjects is distinctly unreliable. Using a single point or zone of focus and trying to keep up with the subject yields best results, but is somewhat awkward due to the lack of an AF joystick. "Its combination of IP-rated weather sealing, image stabilization and compact size helps the OM-5 offer something different" The OM-5's 4K video isn't the most detailed, but this is made up for by some of the best image stabilization on the market, making the OM-5 a competent hand-held video option. Video AF tracks faces and people decently, but can struggle with other kinds of subjects. The OM-5 offers strong all-round capability with excellent image stabilization in a compact IP53-rated weather-sealed body and access to one of the largest mirrorless camera lens systems.

Read our OM System OM-5 review

See the OM System OM-5 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0126081229","isMobile":false}) }) All-round compact capability: Sony a6700

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

Photo: Richard Butler

Buy now:

$1398 at B&H Photo $1398 at Adorama $1398 at Amazon 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 built around a 26MP APS-C-sized sensor. Its excellent autofocus performance means it excels at both stills and video capture. There's a good choice of relatively compact lenses available, too. We'd suggest avoiding the really small 16-50mm F3.5-5.6 though: it's not the lens to get the most out of this camera.

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.

Fast, dependable autofocus with a selection of subject recognition modes means the a6700 will help maximize your chances of capturing the unexpected moments on a trip.

"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

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7692340468","isMobile":false}) }) The great travel kit: Fujifilm X-S20 with 18-55mm F2.8-4.0 OIS

26MP X-Trans APS-C sensor | Up to 6.2K/30P 10-bit video | In-body image stablization

Photo: Shaminder Dulai

Buy now:

$1699 w/ 18-55mm at B&H Photo $1699 w/ 18-55mm at Adorama $1699 w/ 18-55mm at Amazon What we like:

• Excellent still and video quality
• Long battery life
• Comfortable, simple ergonomics

What we don't:

• AF tracking still lags behind peers
• Small electronic viewfinder
• Micro HDMI instead of full-size

Fujifilm's X-S20 is also worth considering. Like the a6700, it's built around a 26MP BSI CMOS sensor and is strong at both stills and video. Its autofocus isn't as simple and powerful as the Sony's, but its JPEG color modes produce really attractive results, and there's a wide choice of lenses including compact prime and the well-priced, supremely useful 18-55mm F2.8-4.0 OIS, which is a great travel option.

The camera has an approachable layout with two customizable dials set into a large hand grip. The camera is well-built and feels robust thanks to its partial metal construction. The EVF is a little small, though. "The X-S20 delivers a long list of options to still shooters and vloggers alike, all while offering solid battery life." Overall image quality is very good. JPEGs have pleasing color, and Film Simulation modes make it easy to change the style of your photos. Some cameras capture more detail at low sensitivities, but the X-S20 is more competitive at high ISOs. The camera's sensor gives you plenty of latitude when processing Raw images. The X-S20's video specs are impressive, with 10-bit 4K capture at up to 60p. Videographers will appreciate its F-Log capture, while the Eterna color profile is attractive if you want a simpler workflow. An optional fan extends record times but autofocus isn't especially dependable. The X-S20 takes Fujifilm's higher-end still and video features and puts them into a simple, cleanly designed body with built-in image stabilization. Image quality is great, autofocus is good in most situations, and the breadth of video features is impressive.

Read our Fujifilm X-S20 initial review

See the Fujifilm X-S20 studio scene

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"7569171898","isMobile":false}) }) The stylish travel companion: 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:

$1997 at B&H Photo $1997 kit at Adorama $1997 at Amazon 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

The Nikon Zf is a classically styled full-frame camera built around a 24MP full-frame sensor that's used by many of its peers. The angular 80s-style body isn't the most comfortable to hold in your hand for extended periods, but the lack of stick-out grip makes it smaller than many of its rivals, making it a tempting travel companion.

At least in its all-black form, there's a chance of it being mistaken for a film camera, which may help avoid the wrong kind of attention, when you're out and about in an unfamiliar setting.

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 initial review of the Nikon Zf

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"6922569214","isMobile":false}) }) Portable full-frame: 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 B&H Photo $2998 at Adorama $2998 at Amazon What we like:

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

What we don't:

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

The Sony a7CR is a relatively compact full-frame camera with an image-stabilized 61MP CMOS sensor. You sacrifice the convenience of an AF joystick and get a pretty small and basic viewfinder to keep the camera's size down, but there's little else that delivers this much image quality in such a compact package.

You'll need to pick your lenses carefully to keep the camera portable but the a7CR's autofocus means it can respond rapidly to just about anything you encounter on your travels.

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

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0740273820","isMobile":false}) }) 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.