Photo News

Fujifilm to sponsor World Press Photo contest, provide GFX prize packages

DP Review Latest news - Tue, 01/23/2024 - 11:23

"Habibi" – 2021 World Press Photo Story of the Year

Photo: Antonio Faccilongo/World Press Photo

Fujifilm has signed on to sponsor the World Press Photo (WPP) annual awards. The company says it will support workshops, printing services, and provide Fujifilm GFX100 II mirrorless medium format camera kits as prizes. Recipients of World Press Photo of the Year, World Press Photo Story of the Year, World Press Photo Long-Term Project Award, and World Press Photo Open Format Award will each take home a prize package.

Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false';t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645';cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2"); });

The WPP awards rank among the most prestigious accolades in photojournalism and documentary circles. Winning a top prize earns a spot in a traveling exhibition, inclusion in an annual book and a nice resume line that can help open doors to informal portfolio reviews with top editors. This year, winners of four global categories will also take home gear from Fujifilm.

WPP received over 60,000 entries; regional winners will be announced on April 3, 2024, with the global winners announcement on April 18, 2024.

"We are very pleased to announce this strategic partnership with Fujifilm," said Joumana El Zein Khoury, Executive Director of World Press Photo Foundation, in a written statement. "This strategic partnership will help us reach more people, improve our exhibitions, and directly support the news and documentary photography community."

"Straight Voice" – 2020 World Press Photo of the Year

Photo: Yasuyoshi Chiba/World Press Photo

Beyond the GFX100 II camera prize packages (consisting of two lenses and the body), Fujifilm will also sponsor ten workshops in cities worldwide in 2024, with more in the following years. As of press time, scant details on the scope of these workshops or who is eligible to attend have been shared, and only four countries have been listed for where workshops will take place: Australia, Netherlands (WPP's home base), Germany and Mexico. A traveling WPP exhibition is planned in more than 80 cities worldwide, starting in Amsterdam on April 19, 2024.

"We are excited to establish this strategic partnership, enabling us to contribute to the growth of trustworthy storytelling and global communication through the power of photography," said Masato Yamamoto, Fujifim's Director, Executive Vice President and General Manager of Imaging Solutions Division in a press release. "Through this partnership with the World Press Photo Foundation, we support the creative individuals involved in the dynamic field of photography."

A traveling exhibition of winning images will begin in Amsterdam on April 19, 2024.

Photo: Frank van Beek/ANP/World Press Photo

The two organizations have gone out of their way to avoid calling this a sponsorship and have leaned into calling it a 'strategic partnership.' The awards have a long pedigree as a platform for journalistic work, not without their fair share of controversy over the years, which is likely the reason for the careful choice of language used.

Categories: Photo News

Fujifilm XF23mm F2 R WR lens review

DP Review Latest news - Tue, 01/23/2024 - 06:00

85%Overall scoreJump to conclusion

The Fujifilm XF 23mm F2 R WR is a very compact, portable, wide-angle prime lens for Fujifilm X-mount cameras.

It makes a great walkaround lens and is well-suited for uses like travel and street photography, as well as things such as moderately wide landscapes and environmental portraiture.

The XF 23mm F2 R WR carries a list price of $450.

Index:

How it compares
Handling
Autofocus and focus breathing
For videographers
Image quality
Conclusion
Samples

Key specifications:

Focal length: 23mm (35mm-equivalent)
Aperture range: F2 - F16
In-lens stabilization: No
Filter thread: 43mm
Close focus: 0.22m (8.7")
Maximum magnification: 0.13x
Diaphragm blades: 9
Hood: Included, plastic
Weight: 180g (6.4oz)
Optical construction: 10 elements in 6 groups, two aspherical

Fujifilm X-H2 | ISO 125 | 1/220 sec | F 4
Photo: Mike Tomkins

All images edited in Capture One with manufacturer's corrections applied. Adjustments limited to white balance, exposure, highlights, shadows, white and black levels.

Buy now:

$449 at Amazon $449 at B&H $449 at Adorama How it compares

Although it has quite a few rivals that are at least in its ballpark, the XF 23mm F2 is a lens with no direct competition, either from Fujifilm or third parties. Unlike every other X-mount option at this focal length, it opts for a slightly less bright F2.0 maximum aperture instead of the more typical F1.4.

That means you'll need to use up to a one-stop longer shutter speed to maintain a similar exposure level, or you'll need to accept a lower exposure and increase the ISO. It also won't give you quite the same potential for bokeh-licious backgrounds when shooting up close. However, the narrower aperture is the special sauce, making this lens much more travel-friendly than the F1.4 alternatives.

Below, we compare the XF 23mm F2 against its AF-equipped F1.4 rivals:

Fujifilm XF23mm F2 R WR Fujifilm XF23mm F1.4 R LM WR Sigma 23mm F1.4 DC DN | C Tokina atx-m 23mm f/1.4 Viltrox AF23mm F1.4 XF

Price (MSRP)

$450 $900 $549 $499 $329 Optical construction 10 elements, 6 groups 15 elements, 10 groups 13 elements, 10 groups 11 elements, 10 groups 11 elements, 10 groups Special elements 2 aspherical 2 aspherical, 3 ED 2 aspherical, 3 SLD 2 Low-dispersion 2 ED, 2 high refraction index Aperture blades 9 9 9 9 9 Aperture control Lens ring Lens ring Controlled from camera Lens ring Lens ring Weather sealed Yes Yes Yes, mount only No No AF drive DC coreless Linear motor Stepping motor Stepping motor Stepping motor Minimum focus distance / max magnification 0.22m (8.66″) / 0.13x 0.19m (7.48″) / 0.2x 0.25m (9.9″) / 0.14x 0.30m (11.8″) / 0.1x 0.30m (11.8″) / 0.1x Filter size 43mm 58mm 52mm 52mm 52mm Diameter x Length
(no hood) 60mm x 51.9mm (2.36" x 2.04") 67mm x 77.8mm (2.63" x 3.06") 65.8mm x 79.2mm (2.6" x 3.1") 65mm x 72mm (2.6" x 3.1") 65mm x 72mm (2.6" x 3.1") Weight 180g (6.4oz) 375g (13.1oz) 335g (11.8oz) 276g (9.6oz) 260g (9.2oz)

The eagle-eyed will note one intentional omission, as Fujifilm itself has offered two different 23mm F1.4 lenses for X-mount. Considering their identical pricing and the lack of stock for Fujifilm's earlier XF 23mm F1.4 R, it has largely been replaced by the newer 23mm F1.4 R LM WR model, even if it's not officially discontinued.

Had we included the original Fujifilm 23mm F1.4 R on the list, though, it would be the nearest OEM option in terms of size and weight, even if still larger and heavier by two-thirds. It would also prove somewhat hobbled by stepping motor-driven autofocus and a seven-bladed aperture.

Fujifilm X-T2 | ISO 200 | 1/240 sec | F2
Photo: Rishi Sanyal

Like all other rivals, the newer XF 23mm F1.4 R LM WR opts for a nine-bladed aperture instead. Its linear autofocus motor should give it an edge in AF performance, and a more complex optical formula portends better image quality, too. In turn, it'll also focus closer than every rival for a higher maximum magnification and the potential for creamier bokeh.

Both OEM alternatives are double the price of the XF 23mm F2, though, which is pretty standard pricing for lenses that can let in twice as much light. If you want a closer value proposition, you'll need to consider third-party glass. Sigma is the most expensive third-party option, costing 22% more, while the Viltrox is 27% cheaper than the Fujifilm F2.

But there are some tradeoffs to going with one of the faster third-party optics: they're heavier and largely skip on weather sealing, so it depends on what your priorities are.

Fujifilm X-T2 | ISO 200 | 1/180 sec | F2.8
Photo: Samuel Spencer

Sigma does include a seal, but only at the lens mount. Its 23mm F1.4 DC DN Contemporary lens is the largest, heaviest and priciest third-party option, but also the most optically sophisticated and closest-focusing, roughly matching the Fuji 23mm F2. It also lacks a physical aperture control on the lens barrel, something provided by every other lens in this comparison.

The Viltrox AF23mm F1.4 XF is the most affordable option by some $120. It's also the lightest alternative to the 23mm F2, although it's still some 44% heavier. Tokina sits somewhere between the Sigma and Viltrox in price, although closer to the latter as it appears to share the same optical design (though possibly with different coatings, firmware etc.)

[I'm still uncomfortable with the idea of suggesting the Tokina sits between the Sigma and Viltrox in terms of specs. It sits between them in terms of price, but it's so close to being the same lens as the Tokina that it still reads as if we don't know that]

Speaking of Tokina, note that there's also a renamed PLUS version of its lens. This is identical to the standard variant except for a higher price tag and a bundled lens cloth.

Back to top

Handling

Fujifilm's XF 23mm F2 R WR lens isn't just smaller than its F1.4 rivals; it's also an extremely compact lens in its own right. By itself, it measures just 52mm (2.0") long with a 60mm (2.4") diameter, and the included lens hood only adds another 8mm (0.3") to the length.

Despite its solid, all-metal construction, the XF 23mm F2 tips the scales at a svelte 180g (6.4 oz), making for a great walkaround lens. The plastic hood adds just another 8g (0.3 oz), which isn't enough to notice in hand.

The all-metal exterior and nicely damped lens rings help to lend a premium, quality feel.

Thanks to the compact size and minimal weight, balance will not be an issue even on the smallest X-mount camera bodies. And with just two control rings and no buttons, switches or other protrusions, it's about as clean and simple a design as you could hope for.

The frontmost control ring is for manual focus adjustment and, thanks to Fujifilm's by-wire focusing, spins smoothly and without limit in either direction. Nearer to the body mount, the aperture ring has clear markings for full-stop adjustments and a gentle click detent at every 1/3-stop position.

Attaching the plastic lens hood only adds fractionally to the lens' size and weight.

This detent is soft enough that I found myself occasionally skipping slightly past my intended aperture or stopping between detents, but a firmer click stop would be noisier and slower to adjust, so I didn't find this overly concerning.

Nor should you be too troubled by the elements while shooting with the 23mm F2. Comprehensive weather-sealing, not just at the lens mount but also as needed to seal control rings on the barrel.

The weather stayed dry throughout my own shooting, but Fujifilm says that this lens is designed to handle both light rain and dusty environments, so long as it's mounted on a similarly-sealed camera body.

Autofocus and focus breathing

Typically, autofocus performance tends to be less of an issue for wide-angle lenses, and that's certainly true of the XF 23mm F2. Its DC coreless AF motor delivers very swift, consistent, and confident focusing, and I had no issues even in relatively low light levels.

In my testing, autofocus was nearly always very quick, even with extreme changes in focus distance. Focusing is also pretty much silent, so if you disable any camera beeps, it won't distract your subjects in the least.

Fujifilm X-T2 | ISO 200 | 1/125 sec | F 2
Photo: Rishi Sanyal

This lens is also free from focus breathing, so it won't distract your viewers with shifts in focal length as you tweak focus or use it to shoot video.

For videographers

Fujifilm isn't aiming its 23mm F2 lens at videographers, but it could prove useful for video capture. As I mentioned earlier, the focus drive mechanism is quick, confident and essentially silent. Even when controlled manually, the focusing step size is small enough not to be bothersome.

Fujifilm X-T2 | ISO 200 | 1/180 sec | F2
Photo: Rishi Sanyal

The only major downside from a videography perspective is that aperture adjustment isn't stepless or silent, meaning changes will be visible (and possibly audible) if made while recording.

Image quality

Its portability is the real attention-grabber, but this lens also delivers a solid performance on the image quality front, especially in terms of its crispness and lack of distortion.

Sharpness

Stopped down a bit, this shot is pretty crisp all the way out to the corners.

Fujifilm X-H2 | ISO 125 | 1/8 sec (tripod-mounted) | F 5.6
Photo: Mike Tomkins

Detail-gathering is a key strength for the Fujifilm XF 23mm F2 R WR, which is excellent news. Even when shooting wide-open, images are crisp in the centers, improving only slightly when stopped down to F2.8.

Corner detail is also pretty good, even when shooting wide-open, although it's noticeably less crisp here than in the centers. You'll want to stop down a little more for the crispest results, achieved around F4.

That said, we're looking here at more typical shooting distances. Although probably not the most frequent use-case for the lens, if your subject is near its minimum focusing distance and you're shooting wide open at the same time, things can get rather soft across the frame. You're best off stopping down a little or shooting further from your subject.

Fujifilm X-T2 | ISO 400 | 1/25 sec | F2
Photo: Samuel Spencer

I didn't notice any significant issues with field curvature, either. The plane of focus is relatively flat, so I didn't see a significant improvement in corner detail if I placed the autofocus point there instead.

Distortion and vignetting

Another strength of the Fujifilm 23mm F2 is its relative lack of distortion. Only very slight barrel distortion is present, which isn't just being corrected in software. The same is true of Raw images processed without any manufacturer corrections, so this is down to the optical characteristics of the lens instead.

Sadly, the same isn't true of vignetting. Relatively strong vignetting is present in Raws shot with the 23mm F2 R WR, and even with Fujifilm's corrections applied in processing, vignetting remains quite noticeable when shooting wide-open.

Fuji's 23mm F2 exhibits only the slightest amount of barrel distortion.

Fujifilm X-H2 | ISO 125 | 1/160 sec | F2
Photo: Mike Tomkins

That said, just stopping down from F2 to F2.8 helps significantly and the issue is entirely resolved by F5.6. The vignetting that remains after Fujifilm's Raw processing also has a relatively gentle falloff, which isn't unattractive and could be a positive for some subjects.

And, of course, should it bother you, the remaining vignetting is also pretty easy to correct in post-processing.

F2 F2.8 F4 F5.6 F8

Here, we see a comparison of vignetting levels at five different apertures. Note that these comparisons are being made after Fujifilm's default vignetting correction has been applied. The real vignetting levels before processing are even higher!

Photos: Mike Tomkins

Bokeh

Although it won't offer quite the same possibilities as its F1.4 rivals when it comes to bokeh, the Fujifilm 23mm F2 can nevertheless deliver some deliciously blurred-out backgrounds.

Given the tendency for wide-angle lenses towards greater depth of field, you'll need to get quite close to the lens' minimum focusing distance of just over 20cm (∼9"), should you want the best background separation. But since this is a wide-angle optic, it's probably best used for wider portraits rather than closely-shot and tightly-cropped ones, putting you in a bit of an either/or situation. Also, as mentioned above, shooting close-up and wide-open isn't this lens's strong point.

Although it could be tricky to get a lot of background separation other than for nearer subjects, the good news is that backgrounds never feel busy when sufficiently blurred. The transition from in-focus to out-of-focus areas with this lens is quite pleasing, too.

Specular highlights also deliver very nice, rounded bokeh balls when shooting wide-open. Stopping down just a little, though – even just as far as F2.8 – you quickly notice flat spots forming on the bokeh balls and starbursts starting to form on the brightest highlights.

Fujifilm X-T2 | ISO 250 | 1/60 sec | F2
Photo: Rishi Sanyal

While I sometimes noticed a little fine onion ring patterning on specular highlights, this was never strong enough to be objectionable. I did notice a tendency towards a brighter 'soap bubble' ring around bokeh balls.

The lens does create some cat's eye bokeh, which is caused by the obstruction of incoming light by the lens barrel itself and leads the bokeh balls to become squashed on one side, leading them towards more of a cat's eye shape.

Fujifilm X-T2 | ISO 1600 | 1/60 sec | F2
Photo: Rishi Sanyal Lateral and longitudinal chromatic aberration (fringing)

Although lateral chromatic aberration – often called LaCA – isn't an issue for the Fujifilm 23mm F2 R WR, I found it prone to its similarly abbreviated counterpart, LoCA, or longitudinal chromatic aberration. That's a pity, as LoCA is by far the more bothersome of the duo to tame in post-processing.

The good news, though, is that it's pretty easy to solve before you ever get to the processing step in the first place. Stopping down to F2.8 improves the aberration significantly, and it's largely gone by the time you reach F4.

F2 F2.8 F4 Here, we're looking at 100% crops with three different apertures. Notice the blue and red halos on either side of the focal plane and how they have all but disappeared by F4.
Photos: Mike Tomkins Flare, ghosting and sunstars

As I noted in the handling section, Fujifilm includes a very compact and lightweight plastic lens hood in the product bundle for the 23mm F2. This feels less high-end than the rest of the lens, but it definitely helps when you need to shoot at an angle where the sun might be starting to impinge on the front lens element.

Not surprisingly, given its shallow depth, it only moderately extends the range of angles you can shoot while keeping the lens shielded. Fujifilm would have had to make the hood much bulkier were it to have been any more effective, though, so that's certainly understandable.

Fujifilm X-T2 | ISO 200 | 1/90 sec | F11
Photo: Samuel Spencer

So what happens when you have to shoot nearer to the sun? Well, it turns out that the lens is pretty resistant to flare even when shooting very close to (or directly into) the sun. Catch it at the right angle, though, and it will accompany its relatively minor glare with some quite bright and colorful ghosts.

The good news is that you can get quite nice sunstars if you stop down. The aperture's nine blades give 18-pointed sunstars that can have fairly long and crisp rays. The ghosting, if present, sometimes muddies these a bit with colorful streaks in between the main sunrays.

Fujifilm X-T2 | ISO 800 | 1/200 sec | F11
Photo: Rishi Sanyal Conclusion Pros Cons

Very compact and lightweight
Affordably priced for OEM glass
Premium build with weather-sealing
Very swift, accurate and silent autofocus
Pretty crisp images, even wide-open
Excellent detail levels across the frame if stopped down a little
Minimal distortion
No focus breathing
Decent background separation when shooting up close and wide-open
Great resistance to lens flare

Shooting subjects close up at F2 can result in slightly soft images
Noticeable vignetting at the widest apertures, even after manufacturer corrections
LoCA is noticeable, especially at apertures wider than F2.8
Bokeh balls show some soap bubble effect and start to lose roundness by F2.8
Prone to cat's eye bokeh

The Fujifilm XF 23mm F2 R WR is a lens with quite a bit going for it, but perhaps one of the key factors is the lack of a direct F2 rival. If you want to shoot with a prime lens on a Fujifilm camera at this focal length, your other options are much bulkier, heavier lenses. (And most have less capable autofocus and weather-sealing, too.)

Sure, you trade away a stop-worth of maximum aperture, but in exchange, you get a trimmer and lighter lens, not to mention one that's more affordably priced than all but one of its F1.4 rivals.

However, what if having a faster aperture is a priority? In that case, the Viltrox lens can get you there for more than $100 less, albeit with some of the above-mentioned caveats, and it's about 30% lighter than Fujifilm's own 23mm F1.4 lens. It's still more than 40% heavier than the XF 23mm F2, however, but it could be a good Goldilocks option if you don't need the weather sealing.

Fujifilm X-T2 | ISO 200 | 1/210 sec | F2.5
Photo: Samuel Spencer

Yet despite its portability, the Fujifilm 23mm F2 still feels reassuringly solid in hand, and other than its plastic lens hood, it exudes a feeling of quality.

And it manages all this while delivering pretty solid image quality, with a few caveats. Distortion is nearly nonexistent, and bokeh is generally rather attractive, though you'll get some cat's eyes and mild soap bubble rings wide open, as well as some LoCA. These are tamed by stopping down the lens a little, where the excellent image quality seen at the center of the frame wide open is extended to bring the corners up to scratch as well.

There are still some downsides, like vignetting, a propensity towards LoCA and cat's eye bokeh. There's also the need to get very close to your subjects to maximize background blurring, but, as noted above, sharpness drops off when shooting close and wide open. At this price, and for the level of image quality it offers, not to mention its unique portability, the Fujifilm XF 23mm F2 R WR is a decent option for X-mount shooters unless up-close, wide-open sharpness is a major concern.

Fujifilm X-T2 | ISO 200 | 1/210 sec | F2.8
Photo: Samuel Spencer Sample galleries

Please do not reproduce any of these images without prior permission (see our copyright page).

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_3541606881","galleryId":"3541606881","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

Back to top

Scoring Fujifilm XF 23mm F2 R WRCategory: Wideangle LensOptical QualityBuild QualityAutofocusImage StabilizationErgonomics and HandlingValuePoorExcellentConclusionThe Fujifilm XF 23mm F2 R WR is a very compact wide-angle lens for Fujifilm X-mount cameras, delivering a 35mm full-frame equivalent field of view. With an F2 maximum aperture, it's a bit slower than other X-mount prime options at the same focal length, but in exchange, it's much smaller and lighter than the competition, making it a great walkaround or travel option. The lens captures a lot of detail and has virtually no distortion, though shooting subjects close up and wide open can produce slightly soft images. Bokeh is generally pleasing, albeit with some cat's eye effects. Some vignetting is visible at larger apertures, as well as some longitudinal chromatic aberration wide open.Good forAny application for which a smaller, lighter lens is desirable, including travel or street photography.Not so good forPhotographers who would benefit from faster F1.4 apertures found on competing lenses; photographers who want to take photos of subjects close-up with wide-open apertures.85%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"fujifilm_xf_23_2_r_wr","scoringSchema":{"id":"Lenses","variables":[{"id":"OpticalQuality"},{"id":"BuildQuality"},{"id":"Autofocus"},{"id":"ImageStabilization"},{"id":"ErgonomicsAndHandling"},{"id":"Value"}],"categories":[{"id":"Wideangle","label":"Wideangle Lens","shortLabel":"Wideangle"},{"id":"Normal","label":"Normal Lens","shortLabel":"Normal"},{"id":"Telephoto","label":"Telephoto Lens","shortLabel":"Telephoto"},{"id":"Superzoom","label":"Superzoom Lens","shortLabel":"Superzoom"}]},"helpText":"Choose one or more lenses from the drop-down menu, then roll your mouse over the names to see how their scores compare to the lens on review."})

Back to top

Buy now:

$449 at Amazon $449 at B&H $449 at Adorama

Categories: Photo News

Canon EOS R100 review: Rebel-like mirrorless camera, cheap but cuts corners

DP Review Latest news - Mon, 01/22/2024 - 08:11

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"0255461265","isMobile":false}) })

Product images by Shaminder Dulai

The Canon EOS R100 is an ultra-compact 24 Megapixel APS-C mirrorless camera with an RF mount. It is the cheapest way to enter Canon's mirrorless ecosystem, offering more flexibility than a smartphone.

Key features:

24.2MP APS-C CMOS sensor with Dual Pixel AF
3.5 fps burst shooting with autofocus (6.5 fps without)
4K/24p video capture from a cropped region of the sensor
High-speed 120 fps shooting at 1280 x 720
2.36M dot OLED viewfinder
3", 1.04M dot fixed display (non-touchscreen)
External mic input

The R100 sits at the bottom of Canon's mirrorless lineup, below the EOS R50. It has recommended prices of $479 body-only, $599 with the RF-S 18-45mm F4.5-6.3 IS STM lens, and $829 with the 18-45mm and an RF-S 55-210mm F5-7.1 IS STM telephoto lens.

Buy now:

$429 body only at Amazon $499 kit at B&H Photo $499 kit at Adorama Index:

What is it?
How it compares
Body & handling
Autofocus
Image quality
Video
Conclusion
Scoring
Sample Gallery
Specifications

What is it?

The EOS R100 is more-or-less the equivalent of the EOS Rebel T7 (EOS 2000D) digital SLR in that it uses a lot of components from cameras of years past. That means a dated sensor, processor and autofocus system. The R100 also has a fixed display that is not touch-enabled, which is jarring in the smartphone era.

Sensor and processor

The R100's 24 Megapixel APS-C sensor dates back several years and is likely similar to the one used on the EF-M mount EOS M200, M50 and M50 II. Just because it's on the older side doesn't mean that it's not competitive; quite the contrary, as you'll see below.

The Digic 8 processor is also a generation behind the Digic X chip used in the newest Canon models, having first appeared in 2018. In addition to faster overall performance and higher frame rate 4K video, the main thing Digic 8 users miss out on is advanced subject recognition autofocus.

Autofocus

The R100 uses Canon's Dual Pixel autofocus system, using every pixel as a depth-aware autofocus point, albeit the previous version. It can recognize faces and eyes, but for animal and car detection, you'll need to step up to the more expensive EOS R50. It offers a dedicated face detection + tracking mode, along with spot, 1-point, and zone focus areas. Since the R100 lacks a touchscreen or AF joystick, you'll move the focus point around using its four-way controller.

Creative Assist mode

The R100 has many, but not all, of Canon's features to make adjusting camera settings accessible to beginners. Modes that use multiple exposures cannot be found on the R100. Again, you'll need to step up to use those.

The background blur option lets the user adjust the aperture using a simple slider interface.

The main feature here is Creative Assist, which is available in Intelligent Auto mode. This mode has a simple interface using terminology that first-time photographers will understand. For example, the term 'Brightness' is used instead of 'exposure compensation,' while 'Background Blur' is actually controlling the aperture. Color presets such as Vivid, Soft, and Black & White are also available.

In Food mode, one of several scene modes, users can adjust the color tone to get accurate white balance in artificial lighting.

Several of the scene modes allow you to adjust settings easily. For instance, you can adjust the color tone (a/k/a white balance) in food mode, or how blurry the background is when you pan the camera in panning mode. Since the R100's burst rate is quite low (3.5 fps with AF) and the buffer fills very quickly, so don't expect miracles in sport or panning modes.

Video

It's nice to see an input for an external mic on a camera in this price range. The R100 also supports Canon's RS-60E3 remote shutter release.

The EOS R100 captures 4K/24p video using a 1.5x crop from the center of the sensor. This has a number of downsides: it makes it very difficult to maintain a wide-angle view of the world (the wide end of the 18-45mm kit lens ends up being equivalent to a not-wide-at-all 43mm). It also means you get the additional noise of effectively using a smaller sensor. And, if you turn on Digital IS for shake reduction, an additional 1.1x crop is added.

If you're shooting wide-angle footage, then the best inexpensive lens for the job is the RF-S 10-18mm F4.5-6.3 IS STM, which is 24mm equiv. at its wide end with Digital IS turned off.

There are several other issues related to 4K capture that we'll mention further down in this review.

Lens selection

The RF-S 18-45mm F4.5-6.3 IS STM kit lens in its collapsed position.

If you're looking for a large selection of RF-mount lenses designed for APS-C cameras (known as RF-S), we have bad news: there are only four at the time of publication. They include the collapsable 18-45mm F4.5-6.3 IS STM, 55-210mm F5-7.1 IS STM ($349), the versatile 18-150mm F3.5-6.3 IS STM ($499), and ultra-wide 10-18mm F4.5-6.3 IS STM ($329).

You can also buy Canon's regular RF-mount lenses, designed for its full-frame bodies, but they aren't cheap. Since Canon keeps its lens mount design private, third-party lenses aren't likely to come anytime soon (though Sigma will reportedly release full-frame lenses this year). You can also add an adapter to mount older EF and EF-S lenses for DSLRs, but both these options can get unwieldy quickly, undermining the point of buying such a small body.

Wireless connectivity

While lacking many other features, the R100 includes full wireless connectivity, Wi-Fi (2.4GHz only), and Bluetooth 4.2.

The Canon Camera Connect app (iOS, Android) can be used for camera control (with or without live view), image transfer, geolocation, and firmware updates. It can also upload images to Canon's 'image.canon' cloud service. The Android app we tested with the camera was responsive and bug-free.

How it compares

We've already described the main differences between the EOS R100 and its more expensive peer, the R50. Here's how the R100 sizes up against two of its closest competitors.

Canon EOS R100 Canon EOS R50 Sony a6100 OM-D E-M10 IV List price at launch $479 ($599 with 18-45mm F3.5-6.3 IS) $679
($799 with 18-45mm F3.5-6.3 IS) $699
($850 with 18-55mm F3.5-5.6 OSS)

$699
($799 with 14-45mm F3.5-5.6 EZ)

Pixel count 24MP 24MP 24MP 20MP Sensor size APS-C
332mm² APS-C
332mm² APS-C
372mm² Four Thirds
226mm² Autofocus Dual Pixel* Dual Pixel II Hybrid Contrast Stabilization? Lens only Lens only Lens only In-body Burst rate 3.5 fps 12 fps
15 fps (elec) 11 fps 8.7 fps Viewfinder
(mag.) 2.36M dot OLED (0.59x) 2.36M dot OLED (0.59x) 1.44M dot OLED (0.70x) 2.36M dot OLED (0.61x) Rear screen 1.04M dot fixed (non-touch) 1.62M dot fully-articulating 0.92M dot tilt up/down 1.04M dot tilt up/down Video 4K/24p 1.6x crop 4K/30p no crop
8-bit or 10-bit HDR mode 4K/24p no crop
4K/30p 1.23x crop 4K/30p no crop Mic / Headphone? Yes / No Yes / No Yes / No Yes / No Connector USB-C
(USB 2.0 / 480 Mbps) USB-C
(USB 2.0 / 480 Mbps) USB Micro B
(USB 2.0 / 480 Mbps) USB Micro B
(USB 2.0 480 / Mbps) Battery life
LCD / EVF 430 / 340 370 / 230 420 / 380 360 / – Dimensions 116 x 86 x 69mm 116 x 86 x 69 mm 120 x 67 x 59mm 122 x 85 x 49mm Weight (with battery + card) 356g
(12.6oz) 375g (13.2oz) 396g (14.0oz) 383g (13.5oz)

* Contrast detection when shooting 4K video

The table above illustrates what you're giving up to save about $200: speed, user experience (via the LCD), and the hefty 4K crop mentioned earlier. That said, if you're interested in shooting 4K, you probably won't buy a camera with a fixed non-touch display (enter the EOS R50).

Body and handling

The EOS R100 is one of Canon's smallest SLR-style bodies. Yes, even smaller than the Rebel SL3 (EOS 250D) from way back in 2019. While the R100 is the same size as the R50, it's about 20 grams (0.7 ounces) lighter, probably due to the difference in LCD design. The R100's body is largely composite and is very light in the hand. The available RF-S lenses make for a nice balance, though that will change if you attach heavier RF glass.

Small cameras come with small grips, but Canon has done an excellent job of making the R100 easy to grasp. While there is a decent-sized thumb rest, it's pretty easy to press a button accidentally. The R100 has a single control dial and no joystick, requiring the use of the four-way controller in certain situations, such as shooting in 'M' mode or moving the focus point around. The majority of the buttons are customizable to some extent.

The camera's LCD and EVF are average at best, though this is a cheap camera. The real disappointment is the lack of a touchscreen. We are more than fifteen years into the smartphone era, after all. The EVF is also a bit small compared to many of its peers, though there's little room for a larger one.

The R100 has a USB-C socket, but transfer speeds are slow, and it cannot be used for charging. A micro-HDMI port is also seen here.

In terms of input/output sockets, Canon includes those for micro-HDMI, USB-C, wired remote, and mic input. The latter is a surprise, given that the R100 isn't a vlogging camera, but we'll take it. The R100 can't capture true HDR stills or video but can display HDR interpretations of its Raw files over HDMI, if you have a modern high dynamic range TV.

There are some critical things to know about the USB-C socket. First, it runs at USB 2.0 speeds up to 480Mbps. Second, and more importantly, the USB socket does not support charging or powering the camera. It's for file transfer only, which is disappointing.

The R100 uses Canon's venerable LP-E17 battery, which stores 7.5 Wh of energy. From this the R100 can eke out some of the best battery life in its class. Officially, the camera can take 430 shots using the LCD and 340 using the viewfinder in 'power saving' mode, which sees the screens darken and the camera go to sleep if you've not pressed a button recently. The industry-standard rating system tends to significantly under-represent the number of shots you're likely to get, though. It's not unusual to get double the rated number of shots from a camera.

Switching to 'smooth' mode, which increases the frame rate of the display, will reduce battery life, as will frequent use of Wi-Fi or Bluetooth.

Back to index

Autofocus

While its feature set isn't as robust as on higher-end Canon models, the R100 still performs well when shooting stills. It doesn't have animal detection or anything like that but recognizes human faces and eyes without issue. Setting the AF point is a bit of a pain since there's no joystick or touchscreen; you must use the four-way controller to tap-tap-tap from point to point. To switch between faces, you press the AF select button and then use the left/right directions on the controller.

Converted from Raw using ACR 16.2. White balance adjusted.
RF-S 18-150mm F3.5-6.3 @ 50mm equiv. | ISO 1000 | 1/100 sec | F5.6
Photo: Jeff Keller

Despite not having Canon's latest autofocus system, the R100 was still quite capable in our tests. It acquired subjects quickly, and it could keep subjects in focus as they approached the camera. The tracking feature worked very well when tested with a child running erratically, remaining locked into their face (or eye) most of the time.

Image quality

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

$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-61598049","widgetId":905,"initialStateId":null}) })

The EOS R100's sensor captures a lot of detail, holding its own against the Sony a6100 and Nikon Z50. Our scene shows some false color in areas of high-contrast detail, but this is mainly down to us using an insanely sharp (and expensive) lens. Even this is (mostly) eliminated$(document).ready(function() { $("#icl-5856-240998182").click(function() { ImageComparisonWidgetLink(5856); }); }) by the camera's JPEG engine. The Canon generally controls moiré artifacts quite well: compare$(document).ready(function() { $("#icl-5857--972042761").click(function() { ImageComparisonWidgetLink(5857); }); }) the Jack's hair with the Nikon to see the slight difference.

At middle ISOs$(document).ready(function() { $("#icl-5858-5717015").click(function() { ImageComparisonWidgetLink(5858); }); }) the R100's older sensor is slightly noisier than its peers. The same is true at even higher sensitivities: ISO 6400$(document).ready(function() { $("#icl-5859--1090835201").click(function() { ImageComparisonWidgetLink(5859); }); }) in this example.

The R100's JPEGs have vibrant, saturated color that can be seen in our studio scene$(document).ready(function() { $("#icl-5860-742181492").click(function() { ImageComparisonWidgetLink(5860); }); }) and the real world. Images have a good amount of sharpening$(document).ready(function() { $("#icl-5861-2136971307").click(function() { ImageComparisonWidgetLink(5861); }); }) (in our opinion), and Canon goes easy on the noise reduction$(document).ready(function() { $("#icl-5862-1547554799").click(function() { ImageComparisonWidgetLink(5862); }); }), allowing fine detail to remain intact. Noise levels are competive at ISO 1600$(document).ready(function() { $("#icl-5863--1373160366").click(function() { ImageComparisonWidgetLink(5863); }); }) but are a bit behind its peers at ISO 6400$(document).ready(function() { $("#icl-5864--1090835201").click(function() { ImageComparisonWidgetLink(5864); }); }).

Out-of-camera JPEG Raw conversion +100 shadows

We were pleased to see that the R100's sensor lets you brighten shadows with only a slight increase in noise. In low light, noise will be slightly more pronounced when you pull up the shadows, but it's still competitive. (Note: Adobe Camera Raw applied lens distortion correction in the converted photo.)

Video

As mentioned earlier, the EOS R100 captures heavily cropped 4K/24p video and uncropped 1080/60p footage. Turning on digital image stabilization, which is quite effective, adds an additional (but small) crop. The R100 can also capture 120p footage, albeit at 1280 x 720 resolution and with manual focus. The camera doesn't have the bells and whistles of the EOS R50, like vertical video shooting or HDR. You can at least adjust the exposure manually.

In 1080 mode the video quality looks good. That said, several issues make the R100 a subpar choice for 4K video capture. Not only is the footage cropped, but it also suffers from significant rolling shutter, which creates distortion that makes straight lines appear curved. You'll see this when panning the camera or if a past subject passes by. Thankfully, this unflattering effect is mild in 1080p mode.

We measured the rolling shutter rate in 4K mode at 35ms and usually consider anything over 25ms to be bad. It won't take much camera movement for the effect to become noticeable.

Unsurprisingly, the R100 has a dedicated video recording button. To capture 4K footage, you must put the mode dial into the video position.

The other issue is autofocus. When shooting 1080p footage, everything is lovely; the camera uses its Dual Pixel AF system, which is responsive when subjects are initially acquired and if they move. 4K capture is a different story because the R100 uses contrast detection, which involves a lot of back-and-forth hunting as the camera struggles to lock focus. It's not good.

Combining all that with the lack of an articulating touchscreen, the R100 is not a great choice for those looking for an inexpensive camera with video capabilities.

Conclusion RF-S 18-150mm F3.5-6.3 @ 35mm equiv. | ISO 100 | 1/200 sec | F9
Photo: Jeff Keller What we like What we don't

Cheapest way into Canon's mirrorless system
Very good image quality
Lightweight and portable
Responsive autofocus, good tracking outside of 4K video mode
Good battery life
Input for external microphone

Dated technology in most areas
Fixed, non-touch LCD
4K is cropped, uses 'old' autofocus tech, and has significant rolling shutter
Sluggish burst rate and small buffer
Tightly packed controls
Limited RF-S (APS-C) lens selection
No in-camera battery charging

There are two ways in which you can evaluate the Canon EOS R100. For a camera that sells for under $500 with a kit lens, it does what it needs to do. That said, the R100's technology is dated, so it lacks Canon's bells and whistles and has several compromises. The lack of a touchscreen is a massive disappointment in 2024. But, if you want to spend as little as possible, the R100 does take very nice photos and is easy to carry around.

RF-S 18-45mm F4.5-6.3 @ 18mm equiv. | ISO 100 | 1/160 sec | F7.1
Photo: Jeff Keller

That said, if you can dig $250 out of your sofa cushions, you can get a much, much nicer camera, the EOS R50, if you want to stay in Canon's ecosystem. (Hint: The R50 kit can sometimes be found factory refurbished for around $600.)

Even if you buy a higher-end model, you'll hit the same limitation: there just aren't many RF-S lenses. And, if you're spending under $500 on a camera kit, a $1000+ lens is probably out of reach.

RF-S 18-45mm F4.5-6.3 @ 35mm equiv. | ISO 100 | 1/200 sec | F10
Photo: Jeff Keller

If you want to join the mirrorless world, the Canon EOS R100 is one of the least expensive ways to get there. It's not a camera we're jumping up and down about, but it does what it's supposed to: take pretty photos. Overall, though, there are too many compromises negatively affecting the shooting experience for us to be able to recommend it.

Scoring

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

Canon EOS R100Category: Entry Level Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe compact Canon EOS R100 does a fine job at its most important tasks: taking good quality photos and having a long-lasting battery. However, a lot of corners were cut to reach its bargain price, so it's not a great choice for videographers, action photographers, or anyone who prefers a touchscreen. Unless money is tight, we recommend spending a little more for a more capable camera.Good forPhotographers on a tight budget.Not so good forThose who want capable 4K video capture, better performance, and a touchscreen.79%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"canon_eos_r100","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

In this review, we've already compared the R100 to Canon's step-up model, the EOS R50. In short, if you want into the modern Canon mirrorless system, it's worth the extra money to get the R50. The autofocus is more sophisticated, as are its video capabilities, but it's the added usability that comes from the articulated touchscreen that makes the difference between wanting to use the camera and not.

Another camera that's worth a look is the Sony a6100. It's more expensive than even the R50 and is five years old but still quite competitive. Its 24MP sensor is reliable, the autofocus is excellent, and the 4K video is much more detailed. Its electronic viewfinder and battery life are bigger and better than those of its peers. The a6100 also suffers from significant rolling shutter when capturing 4K, and its interface isn't very refined. Unlike Canon's APS-C mirrorless cameras, plenty of lenses are available for this E-mount camera.

The OM System (formerly Olympus) E-M10 Mark IV is an attractive Micro Four Thirds camera with many physical controls. Its image quality might be a bit behind the other cameras mentioned due to its smaller sensor, and its autofocus system is less robust. Still, it makes up for that by offering in-body image stabilization, uncropped 4K video, and fast burst shooting. The Micro Four Thirds lens system is expansive, as well.

Buy now:

$429 body only at Amazon $499 kit at B&H Photo $499 kit at Adorama Sample galleries

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.

Review sample gallery $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_7186474957","galleryId":"7186474957","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

Back to index

Categories: Photo News

iPhone 15 Pro Max sample gallery: Is 5x telephoto reach worth the upgrade?

DP Review Latest news - Fri, 01/19/2024 - 06:00

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_6852827640","galleryId":"6852827640","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false';t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645';cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2"); });

When we published our iPhone 15 Pro Sample Gallery, we didn’t yet have an iPhone 15 Pro Max model in hand. In addition to boasting a larger 6.7-inch screen, the Max differentiates itself by having a 5x (120mm equivalent) telephoto camera with a clever tetraprism design. The iPhone 15 Pro’s telephoto camera, meanwhile, shares the same 3x (77mm equivalent) field of view as the iPhone 14 Pro. Is the extra reach worth the bigger physical size and higher cost?

The main and ultra-wide cameras on both iPhone 15 Pro models share the same specs, so this gallery is heavy on photos shot with the telephoto camera. Each of the three lenses on an iPhone 15 Pro is a separate camera sensor, so the image resolutions fluctuate. The main camera can capture up to 48MP, but the telephoto will only output 12MP images.

The iPhone 15 Pro Max's 120mm equivalent field of view is handy when capturing distant details, but it’s also within a favorite range for portrait photographers. The iPhone’s fixed-aperture lenses won’t deliver the same beautiful bokeh as a good 120mm lens, but we found that it does optically soften the background a little — not in an especially eye-catching way, but enough to give a bit more separation from a subject. You can additionally apply Portrait mode, of course, which is automatically enabled if the iPhone detects a person or pet, and you can choose whether the simulated bokeh effect is applied by default or just made available when you edit the image. We include a sample of each.

All of the photos in this gallery were captured by an iPhone 15 Pro Max, and they’re straight out of camera except in a few instances where we’ve noted minor edits using Apple Photos.

Buy now:

iPhone 15 Pro Max: $1199 at Apple

Categories: Photo News

Apple Vision Pro now available for preorder

DP Review Latest news - Fri, 01/19/2024 - 05:00

Image: Apple

Apple announced the Apple Vision Pro's February 2nd shipping date during CES 2024, and today the flagship, first-generation "spatial computer" is now available to preorder on Apple's website for $3,499.

Buy now:

$3,499 at Apple

As with any first-generation device of novel design, the main appeal for early adopters will be to experience the bleeding edge of Apple's first-party spatial computing applications while the broader software ecosystem develops and matures over the headset's first few years of life.

Apple VIsion Pro is not primarily a camera of course, but it is in part a device for capturing photos and videos. The Vision Pro will be able to capture spatial photos and video, using a button along the top edge of the goggle part of the device. The Vision Pro will then use its infrared, depth-sensing TrueDepth camera as well as its onboard LiDAR scanner to capture depth information along with photo and video. You don't need a Vision Pro to do this though; the iPhone 15 Pro is also capable of spatial photography and video as well. You will, however, need an Apple Vision Pro to revisit them in 3D.

Image: Apple

The Apple Vision Pro's sensor array

We haven't gotten our hands on an Apple Vision Pro just yet, but are in talks with Apple about an opportunity to put one through its paces. If you are planning on preordering an Apple Vision Pro, please let us know in the comments or drop us a line through our tips form if you'd be interested in participating in potential future coverage!

Categories: Photo News

One thing: Taking stock of gear and when to let go or lean in

DP Review Latest news - Thu, 01/18/2024 - 06:00

If you're not careful, it's easy to get caught up in acquiring a lot of gear and chasing the next new shiny object. Rather than specs, what if we looked at our habits and what we enjoy photographing? Doing this might reveal what you really need to buy instead of what you think you want to buy.

Image credit: Shaminder Dulai

This isn't a story about new gear. This isn't a story about the latest shiny new camera with a breathless rundown of specs and features. This story will not convince you to go out and buy the trendy thing. No, this story will ask you to rethink how you think about new gear, and I will ask you not to look to others to decide what you should buy but to look inward to yourself.

One Thing: Advice, tips and tricks from the DPReview editors

About this series:
Our team cuts through the noise to share the things that made the biggest impact on our work and what lessons you can bring into your own work.

Read the entire series here.

I've been thinking about how and why we buy and upgrade gear. It's easy to get caught up in chasing the next shiny object, and before you know it, you've amassed a large cache of equipment, or worse, you're the person who is always selling their gear to buy the next one and not actually using any of it. Recently, I've been hearing from many former colleagues in the photojournalism world with questions about global shutter and the Sony a9 III. (Before joining DPReview, I spent decades as a working photojournalist, photo editor and video producer.)

It may surprise you, but many professional photojournalists are still using DSLRs. So when a handful of people started to independently ask me if now was the moment to go mirrorless finally and if the a9 III was going to be the camera to trigger the change, it got me thinking about how often the professionals upgrade, what I learned to value and the lessons I learned the hard way.

"Instead of looking at what's new or comparing yourself to what you don't have, why not look at what you do have in a new light?"

Making a living from photography and video changes how you think about gear and the purchases you make (or have to convince your employer to make). In that world, getting new gear was a luxury that involved budget requests months to years in advance and a lot of begging and pleading. Or, during my freelance years, saving up for months or years. In that environment, you embrace the gear you have and learn how to squeeze out the most from it.

Need versus want

That scarcity teaches you the value of carefully considering what you 'needed' versus 'wanted.' During this time, I learned that what I 'wanted' may be the shiny new thing, but what I really 'needed' was an 50mm F1.8 workhouse to replace my aging 50mm F4.5.

You may have similar realizations as you embark on this exercise. Do you actually need a longer telephoto, or would you be better served by a 2x teleconverter? Your back and bank account will thank you.

A drone may seem appealing, but the better investment may be a monopod to help make more steady shots from the ground.

I'm just as guilty as the next fellow in getting excited about some shiny new gear and its whiz-bang new features that promise to change my visual life for the better. Case in point, when I was just a few years into working for daily newspapers, I had convinced myself that my photography was being held back by not having a wider angle lens. I had a 24-35mm lens but coveted an 11-24mm lens for some reason. I thought of all the fantastic images I could produce (and be hired to produce) if only I had this wider lens. A few years later, I finally got my hands on one and then proceeded to make some of my worst pictures.

It wasn't the lens's fault; it was my fault for thinking this gear would magically gel with me and make me better. The truth was, I should have invested in a faster 24-35mm (which I eventually did and still use today), but I was so enamored with the novelty of the 11mm that I forgot to ask if it was the right lens for the work I was doing (it was not).

This is a lesson I took some time to learn.

I've downsized over the years, and today, I can head out for 75% of assignments with items that fit in just one bag. Turns out I didn't 'need' as much fancy gear as I once thought.

Image credit: Shaminder Dulai

Look at your kit with fresh eyes

It's fun to look at new gear and debate what to buy next, but let's not lose sight of the gear we already have by our side. Look at what you have with fresh eyes. Are there things you use often and might benefit from getting a newer version? Are there things everyone says you must have (e.g., a ring light) but don't really jibe with your goals? Instead of looking at what's new or comparing yourself to what you don't have, why not look at what you do have in a new light?

"It's fun to look at new gear and debate what to buy next, but let's not lose sight of the gear we already have by our side."

I am of the opinion that it's not necessary to upgrade often, and only by running our current gear into the ground can we learn what we like, need or would enjoy using next. This experience guides us through experimenting, trial and error, and ultimately, it's only when we hit a roadblock that we genuinely know what purchase will make the most positive impact on our photography. By gaining a better appreciation of what we have and considering what gives us joy and spurs us to get out there to make some images, we'll discover the things that matter.

Three steps to better (photographic) living

With a nod to Marie Kondo, I propose we ask the most obvious question, "Does this give me joy?" And then, for good measure, I'll tack on, "Does this motivate my creativity?"

I propose we shift our thinking on gear, invest in what helps drive your creativity and growth in photography, and don't worry so much about having the latest gear. And then, let's use this rubric to guide us in when and what to buy next. To help us get started, I suggest we look at all our gear and place everything into one of three categories: 'stuff I don't use,' 'stuff I use often,' and 'stuff I'd like to use.'

Stuff I don't use

The tricky bit with this one is needing to be honest with yourself and asking if you are still using stuff you have. Over the years, I know I've accumulated gear that either didn't deliver as promised, I never got around to using, or I've grown past needing it.

"Use the stuff; don't just buy the stuff."

It's time to let this stuff go. As a bonus, while clearing up space, it's also an excellent time to examine what you value in your photography and why you never used or outgrew part of your kit. This self-examination may reveal what you 'need' next.

Don't just throw your old gear in the rubbish bin. Consider selling or donating your unused gear. If you think your gear can still fetch a pretty sum, it makes sense to sell your unused gear to help fund your next purchase. Or, bypass the hassle of selling and donating your unused gear to a younger photographer.

Used gear is how I got my chance to get my foot in the door, and it's a great way to pass down your passion for photography to others. My first real usable professional camera was the Canon EOS-1D Mark II, donated to me by co-workers at a newspaper. That camera set me down my path and I'm still grateful over a decade later. The newsroom was upgrading staff to the 'N,' so it could have just as easily thrown away the older camera, but by gifting it to someone in need, it had a purpose for a few more years.

A donated Canon EOS-1D Mark II became my daily shooter for years, taking me coast to coast across the US on assignments ranging from sports to documentary projects. It had over 200K shutter actuations, an unreliable battery door, and I'm pretty sure it had spent time embedded in the Iraq War, but I loved it, and it helped me get started.

Stuff I use often

In our kits, there are workhorse items that we take for granted. A medium zoom kit lens isn't 'sexy', but if we think about it, it's where many of us started, and it's a focal length still heavily used and practical for many uses. Instead of lusting after a very lovely 85mm F1.2 prime, how about upgrading your 18-35mm F4 zoom lens to a 16-35mm F2.8 zoom lens? Which would you get a lot more use out of?

"Do you actually need a longer telephoto, or would you be better served by a 2x teleconverter? Your back and bank account will thank you."

You could start by looking at what you're using. What have you worn out? What are the things you love that you currently own? Are better versions worth upgrading to? If you started with a DSLR, maybe it makes more sense to look at your most used DSLR lens and replace it with the better mirrorless version before chasing the halo products.

Stuff I'd like to use

As you move through this organization process, you'll no doubt have a few items that you don't use enough today but have always wanted to. For some stuck in an annual upgrade cycle, this could even mean your primary camera.

It's time to do something with what you have. Use the stuff; don't just buy the stuff.

Get out there and make some images. Take your camera everywhere and challenge yourself to make one image weekly (or daily). Create a personal project documenting your family, friends, pets, garden or how light rakes across your yard over the year (it worked for Claude Monet).

If you're low on ideas, here are three challenges I'd like to offer to get you started.

"If you're low on ideas, here are three challenges I'd like to offer to get you started."

One: What do you care about? Make a list of 10 items and then narrow it down to one. For 30 days, make one image a day that illustrates the idea you care about most. You don't need to show it to anyone; this is for you to develop a practice for image making and using the tools you own to be creative.

Two: The alphabet game. Each day, take a walk and find an image in the world that looks like a letter. Do one letter a day for 26 days, and by the end, you'll see the letter C in the curl of laundry rolling in the dryer, the letter J in highway onramps, and the letter Z in leaf patterns on house plants. It's a great way to start seeing the world from another angle, develop composition and framing techniques and have a completed project to inspire your next one.

Three: The DPReview photo challenges are a great place to share work, find community and have some fun. These are meant just for fun (there's no prize other than bragging rights). DPReview members can view work, vote for winners, or host challenges. Join the fun and start sharing your work, or get inspired to try new tricks with old gear.

Categories: Photo News

Sony is bringing shutter angle to the FX3 and FX30 (eventually)

DP Review Latest news - Wed, 01/17/2024 - 14:38

Image: Sony

Since they were released in 2021 and 2022, respectively, Sony's two more affordable alpha-branded Cinema Line cameras, the FX3 and FX30, have been missing an exceedingly valuable creature comfort possessed by the more premium FX6: the ability to set exposure using shutter angle. Now, Sony has announced a firmware update that will bring that feature to both cameras in September of 2024.

For the uninitiated, the ability to specify shutter angle spares videographers the trouble of doing a bunch of basic (but irritating) shutter speed arithmetic to dial in the degree of motion blur that creates natural-looking footage.

The cost of doing that math wrong (or forgetting) is winding up with undesirably dreamlike or hyperrealistic footage. And it's a mistake that only gets more likely if you switch between various framerates at a given shoot.

With a dedicated shutter angle setting, you don't have to adjust shutter when you switch between frame rates, because the set exposure stays relative to the frame rate. That's why we've always liked to see it as an option in mirrorless cameras designed with video in mind.

Until now, the only companies providing shutter angle in cameras around this price point have been Panasonic and Blackmagic, so it's great to see Sony getting on board as well. Hopefully it's only the beginning of bringing this very useful feature to the rest of its mirrorless lineup, or at the very least, cameras that are focused on video, like the a7S III.

The updates will be available for free, along with some updates for the FX6, and are scheduled to land in May 2024.

Sony Electronics Announces New Firmware Updates to Cinema Line Cameras

Plans Include Updates to Cinema Line Cameras: FX30, FX3 and FX6

SAN DIEGO – Jan. 17, 2024 – Sony Electronics announces upcoming updates for the FX6, FX3 and FX30 cinema cameras at the BSC Expo 2024 in London, exhibiting its extensive range of filmmaking technology. The new firmware updates showcase Sony’s commitment to its cinema line.

The ILME-FX6 ver.5.0 firmware update is expected from May 2024 or later and will include:

The addition of 1.5x de-squeeze function for anamorphic lenses
Integrated high-quality 3D LUT processes inspired by the VENICE cinema camera, which allows for more accurate color processing
Monitor & Control App v2.0 features (ex. Waveform, False color)
Breathing Compensation Expansion: More lenses will be supported including 100-400 GM and the 200-600 G lenses

The firmware update for FX3 and FX30 is expected from September 2024 or later and will include:

Addition of Shutter Angle: Users will be able to choose from both Shutter Speed/Shutter Angle similar to what is available with the FX6
Ability to add clip flags to mark shots
SRT/RTMP/RTMPS support for live streaming via the Creator’s App

The firmware updates will be available free of charge starting in May 2024 for the FX6 ver.5.0 and the FX30/FX3 updates will be available starting in about September 2024.

Categories: Photo News

DJI's new Mic 2 wireless microphone comes with Bluetooth, 32-bit float backup recordings and a dial

DP Review Latest news - Wed, 01/17/2024 - 10:20

Image: DJI

This morning, DJI announced the Mic 2, the sequel to its first wireless microphone system released back in 2022. We were fans of the original, especially the details of its interface and user experience, and the Mic 2 expands on that with some additional creature comforts and a new transparent design.

Buy now:

$349 at Amazon $349 at DJI $349 at B&H Photo

Like the original, the Mic 2's receiver unit has an onboard OLED screen to see and modify settings, but the Mic 2 ups the ante by slightly increasing its size and including a physical dial.

But you don't actually need a receiver this time around because Mic 2 transmitters can pair directly to a smartphone or other capable devices directly via Bluetooth, with some caveats. Only one transmitter can be connected at a time, and Bluetooth connection disables some of the Mic 2's new software features like AI noise canceling.

Image: DJI

Other improvements include higher-quality 32-bit float internal recording to serve as a backup to the recording on your camera, and upgrades to the charging case included with the two-transmitter bundle, which now packs 18 hours of additional charge, three hours more than the original version.

The Mic 2 is available for purchase immediately, with the two-transmitter plus charging case package available for $349, a receiver-and-transmitter pair (with no charging case) for $219, and individual transmitters for $99.

DJI Mic 2: Elevating Professional Audio Recording Excellence
with Unparalleled Quality, User-Centric Design, and Exceptional Stability

Jan 17, 2024 – DJI, the global leader in civilian drones and innovative camera technology, today announced the launch of the new DJI Mic 2, setting a new benchmark in audio recording solutions. With DJI Mic 2, creators can expect an exceptional experience, marked by high-quality recording functions, user-friendly designs, and remarkable stability.

"DJI Mic 2 represents a leap forward in audio recording technology. We've combined high-quality recording functions, user-friendly designs, and noteworthy stability to empower content creators with the tools they need to capture extraordinary audio, no matter where their creativity takes them," said Paul Pan, Senior Product Line Manager at DJI.

Pro Audio Recording Functions in Pocket-Size

At the heart of DJI Mic 2 lies the promise of capturing brilliance in different sounds. It's equipped with omnidirectional recording capabilities, thoughtfully optimized for vocal clarity, ensuring that the audio content of users shines in various scenarios. Whether content creators are producing engaging vlogs, conducting insightful interviews, or recording in diverse environments, DJI Mic 2 guarantees that their audio is of high quality.

DJI Mic 2 also features intelligent noise-canceling technology[1], a game-changer for content creators working in bustling urban areas or crowded rooms. This innovative feature effectively reduces environmental noise, delivering clear vocals and uninterrupted audio recordings. Regarding windy or fast-moving scenarios, DJI Mic 2 has included windscreen to lower wind noise, ensuring clean sound capture in windy outdoor scenarios.

As an added layer of protection for the user's audio, DJI Mic 2 offers the Safety Track feature. It allows content creators to record a second track at -6dB alongside the primary audio track, safeguarding against unexpected audio level spikes. Even in the midst of audibly complicated environments such as rock concerts, DJI Mic 2 delivers balanced results with remarkable ease.

User-Friendly Design for a Seamless and Intuitive Experience

DJI Mic 2 is not just developed with technical advancement, but also designed with users in mind. Its sleek and smart aesthetic is elevated by a premium metal charging case that not only has a minimalistic appearance but also offers a newly added locking latch, which provides a secure and reliable solution to prevent accidental drops for peace of mind during use.

To suit the style and preferences of different users, DJI Mic 2 is available in two transmitter colors: Shadow Black and Pearl White[2]. Shadow Black adds a discreet, high-tech appearance to the Mic 2 setup, while Pearl White offers an elegant alternative for those seeking a light-tone colorway.

When it comes to getting started, DJI Mic 2 simplifies the process. The system is ready to use anytime, anywhere. Users can just open the charging case, and DJI Mic 2 will then spring to life, automatically pairing the receiver and transmitters while charging them. Additionally, DJI Mic 2 can be seamlessly connected to DJI Osmo Action 4, DJI Osmo Pocket 3 and smartphone devices[3] via Bluetooth, while also offering hassle-free compatibility with various recording devices through USB-C, Lightning Adapters, as well as 3.5mm TRS analog output.

DJI Mic 2 also puts control at the fingertips of the user with its effortless touchscreen operation. A 1.1-inch OLED touchscreen paired with a precision dial provides quick access to critical information. Content creators will be able to adjust volume, gain, brightness, and more with ease, achieving the optimal audio setup smoothly.

With magnetic attachment for quick concealment, the transmitters feature a user-friendly clip-on design that simplifies the process of attaching them to clothing. DJI Mic 2 even offers dual-channel recording, allowing content creators to capture audio from two sources simultaneously, simplifying multi-source recording and enhancing efficiency during post-production.

To further expand the creative horizons of the user, DJI offers practical accessories[4] such as the DJI Lavalier Mic and DJI Mic 2 Charging Case.

Stability and Reliability in Every Recording

Stability is a hallmark of DJI Mic 2, ensuring that the audio recordings of the user are consistently outstanding. DJI Mic 2 is equipped with 8GB of internal storage per transmitter, offering up to 14 hours of uncompressed 48kHz 24-bit audio recording[5]. This ensures that content creators can record for extended periods without worrying about storage constraints.

DJI Mic 2 stands out significantly due to its cutting-edge 32-bit float internal recording[6] capability. This feature not only delivers high-quality recording but also adapts seamlessly to complex sound environments, capturing nuances of sounds, from quiet whispers to booming decibel levels. This level of flexibility provides greater reliability in erratic noise scenarios and offers more options for post-production fine-tuning.

When it comes to range and battery life, DJI Mic 2 shines. It offers an impressive maximum audio transmission range of up to 250 meters[7] (820 ft.) in open, unobstructed environments without interference. This range caters to common scenarios such as live streaming, studio recording, and outdoor recording. Plus, each transmitter and receiver has a remarkable 6-hour operating time[8], which can be extended to a generous 18 hours with the charging case, making it perfect for extended content creation sessions.

Price and Availability

The DJI Mic 2 is available to order from store.dji.com and authorized retail partners, with shipping starting today, in the following configurations:

The DJI Mic 2 (2 TX + 1 RX + Charging Case) retails for $349, and includes a DJI Mic 2 Receiver, two DJI Mic 2 Transmitters (Shadow Black), a DJI Mic 2 Charging Case, DJI Mic 2 Camera Audio Cable (3.5mm TRS), a DJI Mic 2 Mobile Phone Adapter (Type-C), a DJI Mic 2 Mobile Phone Adapter (Lightning), two DJI Mic 2 Windscreens, two DJI Mic 2 Clip Magnets, a DJI Mic USB-C Charging Cable and a DJI Mic 2 Carrying Bag.

The DJI Mic 2 (1 TX + 1 RX) retails for $219, and includes a DJI Mic 2 Receiver, a DJI Mic 2 Transmitter (Shadow Black), a DJI Mic 2 Camera Audio Cable (3.5mm TRS), a DJI Mic 2 Mobile Phone Adapter (Type-C), a DJI Mic 2 Mobile Phone Adapter (Lightning), a DJI Mic 2 Windscreen, a DJI Mic 2 Clip Magnet, a DJI Mic Splitter Charging Cable, and a DJI Mic 2 Carrying Pouch. The DJI Mic 2 Transmitter (Shadow Black) and DJI Mic 2 Transmitter (Pearl White) can also be purchased separately at $99 each. The DJI Lavalier Mic retails at $39 and DJI Mic 2 Charging Case retails at $69.

[1] Intelligent noise canceling of DJI Mic 2 cannot be enabled when the transmitter is connected to a smartphone via Bluetooth.

[2] Both the DJI Mic 2 (2 TX + 1 RX + Charging Case) combo and the DJI Mic 2 (1 TX + 1 RX) combo come with transmitter(s) in Shadow Black. DJI Mic 2 Transmitter (Pearl White) is sold separately.

[3] The transmitter needs to be worked with third-party video recording software when connected to smartphones via Bluetooth. For more details on compatibility, refer to the product page on the official DJI website.

[4] Sold separately.

[5] Each transmitter has 8 GB of internal storage to store up to 14 hours of uncompressed 48kHz 24-bit audio.

[6] Internal recording of DJI Mic 2 cannot be used when the transmitter is connected to a smartphone via Bluetooth.

[7] Measured with FCC compliance in an unobstructed environment without interference (160 m under CE). This data is for reference only. Actual transmission distance may vary depending on the environment.

[8] Tested with both transmitters connected to the receiver, without backup recording, and the receiver connected to a camera with the Camera Audio Cable (3.5mm TRS).

Categories: Photo News

Getting started with photography, our best primers for beginners

DP Review Latest news - Wed, 01/17/2024 - 06:00

If you've recently picked up your first dedicated digital camera, or you're eager to move beyond automatic settings and unlock the full potential of your photography and video, you've come to the right place.

Not knowing where to start with photography can feel daunting. A canyon of technical principles and dense concepts can feel like a mountain too high or, at worst, act as a gatekeeper to enjoying photography.

We're here to tell you, don't let that deter you. We all start somewhere, but once the learning begins, it never truly ends.

Think of this article as an introduction, a place to get started and an invitation to join the party. Over the years, we've chronicled the rise of digital photography and written our fair share of technical breakdowns, tutorials and how-tos. Here are some of our best articles for getting started with photography and how to level up to advanced concepts when ready.

Getting started

Getting a new camera is exciting, no doubt. Sometimes, even the most seasoned among us could use a few basic reminders to properly set up our new best friend.

We'll start with a bit of choose-your-own-adventure:

Click here for a beginner's guide to your first camera

Click here for a more advanced guide to setting up a camera

Even more advanced setup

Have the basics down but running into particular issues with your specific camera? Please hop on over to our Digital Photography Review discussion forums. Since January 1999, they've been home to the best digital photography forums on the internet.

In addition to our editors, industry engineers, inventors, and working professionals have been known to pop in to answer questions, share advice, or shoot the breeze over what they love (and don't love) about their gear. If you have a question on settings to use or how to get the most out of your camera, chances are there will be an answer on the forum. Just visit your relevant channel (i.e., Canon channels for Canon cameras) and ask away!

Seek answers in the DPReview forums

Choosing a memory card

It may seem trivial, but choosing the right memory card for your camera could be the thing that saves your hide later. Beyond knowing which format your camera uses, and if your camera has two slots or one, there are a myriad of industry specs to consider. Want to shoot video? What specs matter most? We help you pick the right card for you in our primer on memory cards.

A beginner's guide to memory cards

Cleaning your sensor

Even seasoned pros are nervous about cleaning their camera's sensors, but it doesn't have to be scary. We'll walk you through the process with some tips and techniques for sensor maintenance and what not to do.

How to clean your camera's sensor

Cleaning your lens

Cleaning a lens isn't quite as scary as cleaning a sensor, but even here, there are some common mistakes even the most seasoned photographers continue to make; give yourself a leg up and avoid them. Your lens and photos will thank you for the extra love and care.

How to clean your camera lens

Organizing your gear

As you start to delve deeper into photography, you'll begin to acquire more gear and accessories. To get the most life out of your investments and to make sure you can find them when you need them, it's essential to have a system to organize your camera body and lenses, hard drives, cords, dongles, adapters, card readers, notes, hard drives and other assorted ephemeral trinkets. We have a guide to start creating a system that works for you for years to come.

Organize your gear on the cheap

Getting started with outdoor photography

We're in the middle of winter in Seattle right now; in fact, as I write this, we're receiving a dusting of snow. At this time of year, it can feel hard to get out and even harder to know what to photograph. We've assembled some tips on what and where to shoot when it gets cold.

Cold weather shooting tips

Getting started with landscape photography

In our ten-part series on landscape photography, we'll start with composition and examine how elements such as masses and lines come together to create a photographic vision. In each installment, we build on this foundation with lessons on balance, juxtaposition, negative space and more. It's a great way to get started and move quickly to nail down the fundamental understanding of landscape photography. By the end of the series, you'll be ready to capture the natural world around you.

Landscape series

8 creative tips for shooting waterfalls

Photographing waterfalls can be a tricky endeavor – especially when shooting in conditions where the light can change drastically depending upon the weather conditions. If you've ever struggled to get the waterfall shot you envisioned, you've come to the right place. This article will cover everything from basic tips to more advanced techniques to make shooting waterfalls a breeze.

Dive in

6 tips for better wildflower photos

Shooting wildflowers can be an intimidating endeavor, especially if you're looking to capture grand scenes and vistas. Navigating the crowds, finding the perfect composition and nailing the shot can all be overwhelming. But it doesn't have to be that way – in this article, I'll help you navigate these challenges so you can enjoy the experience and make the most of peak wildflower season.

Stop and smell the wildflowers

Getting started with macro photography

You don't have to look far to explore the tiny worlds around us. Get up close and personal with everyday objects, insects, flowers and more with macro photography. We caught up with renowned macro photographer Don Komarechka, who demonstrates a few simple techniques that can improve your macro photos in a big way.

Macro stater guide

DIY tips for lighting the shot

Understanding light and how to control it can help amp up your photography. Everything from people to landscapes can be perked up with subtle fill light, or go for a more dramatic look. But lighting gear can be expensive, and you won't know what you want or need until you've learned what you light and how to modify light. (I'm begging you, please, don't run out for a ring light because you saw it on social media.)

We've assembled some DIY home hacks you can try out on the cheap. By experimenting first, you'll be better prepared later to spend your hard-earned cash on the right gear for you.

A beginner's guide to lighting tools

Focus stacking, what is it and when to use it

Ever wonder how landscape photographers get stunning sharpness throughout their images, even when shooting in challenging conditions? The answer is simple, but the process can be difficult. Focus stacking isn't for the faint of heart, but this tutorial should help to shed some light on the process.

Time to look sharp

Buying your first lens

We purposely put this item lower in this guide, under all the intro to learning stories. The first thing you should not be doing when you are new to photography is buying lenses. A kit lens is okay to start with. You need to practice and learn what you like and don't like about the kit lens you have. Only by learning and doing will you know for sure what you want to invest in next. Please don't rush into it; gear can get expensive, and you don't want to regret the purchase or sell it at a loss right after buying it.

What you need to know before buying your first lens

Processing your images

After you've taken your photos or videos, you may want to dive into color correction. You'll ideally want to have a properly calibrated monitor to get the most out of your image editing. It stands to reason that if your monitor is too blue, you may unknowingly end up editing all your photos too blue.

Read our Intro to Color Calibration series starting with "Color measurement basics and how colorimeters work." Then, once you have the basics down, move on to part two of the series, "How monitor calibration actually works." This one's a bit more technical, but understanding these fundamentals is worth the effort if you plan to print your work.

Read "Intro to color, part 1 "

Read "Intro to color, part 2"

Display your work offline

However you feel about social media, without a doubt, sharing photos online has become the de facto way most people distribute their photography today. For as much as we pixel peep around here, the fact of the matter is that there aren't many large display installations or prints being made to take advantage of all the available visual fidelity today's cameras provide.

If you're ready to move beyond online and get the most out of your files, might we suggest a photo book? Making a photo book can be a fun exercise in learning how to edit for a story, sequence images, and make them a sharable keepsake that lasts beyond the flicker of a screen.

Read "How to plan your first photo book"

Don't forget to save your work

Now that you've set up and used your camera to make your amazing images, don't risk losing them. A backup system is crucial in ensuring your precious memories don't join the digital ether in the future.

Learn how to set up an archival system

Embrace failure, and you'll be in the right headspace to keep learning

As you learn, there will be times an idea will not click, or you're not getting the results you want out of your photography. Don't give up. There will also be times when others will try to discourage you or act as gatekeepers. They may have some valid points; take the lessons, but don't get discouraged. The important thing is that you keep trying and learning.

What I love about the photo and video world is that you're limited only by your creativity and ambition, the desire to discover new tools and ways of getting better at wielding them. Photography can be difficult, but if you're willing to learn, open to feedback and offer help when asked, it can also be a nurturing and fulfilling family.

Becoming a lifelong learner

Advanced learning series

If you've gone through this beginner series of how-tos and learning and want more, head over to our advanced learning series. We go even deeper into the technical side of cameras and break down the science of imaging. There's a lot to learn, so go at your own pace. As you go, if you have any questions, pop them into the comments or head over to the forums to tap into the collective knowledge of the DPReview community. Some topics can get pretty 'heady,' but the important thing is that you're here to learn, and we aim to support your growth.

Graduate to the advanced learning series

Never miss the latest news, reviews, how-tos and more

The best way to keep up with new lessons and learning articles is to subscribe to DPReview's weekly newsletter. It's the best photography, camera and gear news, delivered right to your inbox.

And we don't just stop at the news. Newsletter subscriber benefits include behind-the-scenes articles, letters to the editor, exclusive sneak peeks on what we’re working on, ways to share feedback directly with DPReview editors to help us shape future stories and more! There is no AI here; real people are writing the newsletters and reading your feedback (me!).

BONUS: Behind the scenes with the DPReview studio test scene

If you want to learn more about cameras, another place to start is by looking at one way we evaluate cameras.

Our studio scene tool is designed to measure image quality, meaning there's a lot of stuff on this scene, and none of it arrived by accident. Every inch tells a different story about camera performance, and learning how to read it can go a long way in learning how cameras expose. We help you get started with some resources to learn how to read it.

An introduction to our studio test scene

A DPReview history of the test scene

What do you want to learn?

This is just version one of our beginner guide to photography. We're thinking about articles for the next year and want to hear from you. What skills and tutorials would you like to see added to this guide? What types of stories would you find helpful as a beginner? Let us know in the comments, and you may see it updated here in the coming year.

Categories: Photo News

Sony FE 16-35mm F2.8 GM II sample gallery

DP Review Latest news - Tue, 01/16/2024 - 06:00

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_6135165848","galleryId":"6135165848","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false';t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645';cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2"); });

Sony's 16-35mm F2.8 GM II lens is smaller, lighter and more capable than its predecessor. Optical improvements come in the form of better corner-to-corner sharpness and a new close-focus distance of just 22 cm.

Meanwhile, an 11-bladed aperture produces stunning sun stars when stopped down. Shot wide open, the lens renders out-of-focus regions with an almost dream-like quality. Plus, photo and video shooters both will likely appreciate the lens' super-fast, near-silent autofocus system, which employs four linear motors.

Editor's note: This sample gallery was shot in parallel with our testing of the Sony a7C II camera. We will add additional images from a higher-resolution body at a future date.

View our Sony 16-35mm F2.8 GM II lens gallery

Categories: Photo News

Nikon Zf review: the classiest mirrorless of them all?

DP Review Latest news - Mon, 01/15/2024 - 08:49

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"9696397340","isMobile":false}) }) Product photos by Richard Butler
90%Overall scoreJump to conclusion

Nikon's Zf is a full-frame mirrorless camera with classic styling, built around a 24MP BSI CMOS sensor. It's designed to mimic the look of the company's FM2 SLR from the early 1980s, meaning it effectively becomes a full-frame counterpart to the company's Z fc APS-C camera.

Key specifications

24MP full-frame BSI CMOS sensor
In-body image stabilization rated up to 8EV
Dedicated Monochrome mode
Up to 14fps continuous shooting (JPEG), 11 fps Raw
'C30' JPEG-only 30fps mode with pre-burst function
AF system with tracking and recognition of 9 subject types
4K/30 video from 6K capture, 4K/60 with crop, 10-bit N-Log recording
32-shot high-res mode to give 96MP images
SD and MicroSD card slots

The Zf sells at a recommended price of $2000, the same as the launch price of the Nikon Z6 II, which gives a reasonable idea of the camera's ambitions.

Buy now:

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

What's new?
How it compares
Body and controls
Initial impressions
Operation and handling
Image quality
Autofocus
Video
Conclusion
Sample gallery
Specifications
Press release

Sept 20: Initial review published
Jan 15: Operation and handling, Image quality, Autofocus, Video, Conclusion and updated Sample gallery published

What's new? Sensor/Processor

Nikon isn't making any claims about the Zf's 24MP BSI CMOS sensor being new and, other than wider AF coverage, most of its performance appears to be consistent with the elderly but well-respected sensor in the Z6 II.

The adoption of the latest 'Expeed 7' processor brings significant changes, though. For a start, it brings subject recognition to the camera's AF system as well as a Z9-like implementation of the company's '3D Tracking' along with the 9-type subject recognition system. In addition, there's context-sensitive noise reduction that more aggressively smooths areas that appear not to have detail. It's this noise reduction in the JPEGs and HEIF files that convinced Nikon to let the camera's ISO range expand up to 204,800 (the unexpanded limit also rises to 64,000).

The move to the latest processor also allows the Zf to capture Raw files compressed with the more efficient High Efficiency compression system we first saw on the Z9.

The Zf can shoot at up to 11fps in Raw (in Continuous High Extended mode, that we suspect won't include live view refreshes between shots), and up to 15 or 14fps depending on the use of electronic or mechanical shutter for JPEG mode. There's also a JPEG-only 'C30' mode that uses a video stream to shoot 30fps images, with a pre-burst option like that on the Z8 and Z9.

B&W mode

Commanding its own position on the control that selects between stills and video shooting, the camera's black and white mode gives a choice of mono profiles, including a low-contrast 'Flat mono' and 'Deep tone mono' that accentuates red details in the scene. These profiles can be applied to both still images and video footage, and emphasize Nikon's focus on the creative process.

Video capabilities

Unlike the Df, which promised photographic purity by omitting any video features, the Zf is a pretty capable video machine. It can shoot up to 4K/60 from an APS-C (DX in Nikon speak) crop of the sensor or can capture 4K up to 30p from the full 6K pixel width of its sensor.

The camera we used was pre-production but the 22ms rolling shutter we measured for 30p capture is consistent with the existing sensor in the Z6 models. We doubt it's a coincidence that Panasonic's S5 II models also have to crop into an APS-C region to deliver 60p capture while showing similar readout speeds.

It also adds waveforms, which helps, when trying to assess exposure for video, especially now that we have 10-bit internal capture, allowing Log recording.

Multi-shot pixel shift

Nikon joins the ranks of camera makers using its image stabilization system to offer a multi-shot pixel shift mode, moving the sensor by precise degrees to ensure the capture of each color at every pixel location or in fractions of a pixel to boost the resolution of the output image. Nikon's system offers four modes, all of which require that Raw files be combined in desktop software: a four-shot mode that captures full color at each pixel, an 8-shot mode that does this twice, to further improve tonal quality and noise, a 16-shot mode that also boosts image resolution 96MP, and then a 32-image version that doubles this up, too.

Image Stabilization linked to AF point

As companies try to maximize the performance of their IS systems, it's becoming more and more difficult to offer further improvements. Nikon says the Zf's performance has been improved by linking the IS system to the chosen autofocus point.

The logic is that pitch and yaw movements (tilting up/down and rotation to the left and right) cause greater shifts in the image away from the center, particularly when using wide-angle lenses. The Zf's IBIS system can use the chosen AF point as the central point of its corrections, rather than the center of the image, helping to provide more effective stabilization when using off-center AF points with wide lenses. This approach should help maintain sharpness at the point you're focused on, helping the camera to its 8EV stabilization rating, when tested to the CIPA standard.

How it compares

The Zf arrives in the hotly contested ∼$2000 corner of the market, where there are plenty of very capable full-frame options available. What's interesting to note is that, while its styling brings something you won't get from its immediate rivals, Nikon hasn't used this as an excuse to offer a lesser specification.

Other than the space-saving decisions around card type and their location in the camera, the Zf appears perfectly competitive.

Nikon Zf Sony a7 IV Canon EOS R6 II Panasonic Lumix S5 II Nikon Z6 II MSRP at launch $2000 $2500 $2500 $2000 $2000 Sensor size Full-frame Full-frame Full-frame Full-frame Full-frame Resolution 24MP 33MP 24MP 24MP 24MP Stabilization (up to) 8EV 5.5EV 8EV (with lens IS) 5EV (6.5EV with lens. IS) 5.5EV Burst rate 11 fps Raw
14 fps JPEG
(15 e-shutter)
30fps in C30 JPEG mode 10 fps 12 fps (40 fps e-shutter) 7 fps (30 fps e-shutter) 14 fps Viewfinder res / mag 3.68M dot OLED
0.8x 3.68M dot OLED
0.78x 3.68M dot OLED
0.76x 3.68M dot OLED
0.78x 3.69M dot OLED
0.8x Rear screen 2.1M dot
fully articulated 1.04M dot fully-articulated 1.62M dot fully-articulated 1.84M dot fully-articulated 2.1M dot tilting Video 4K/30p full width*
4K/60p APS-C 4K/30p full width*
4K/60p APS-C 4K/60p full width
4K/60p APS-C 6.2K/30p (3:2)
5.9K/30p
4K/30p full width*
4K/60p APS-C 4K/30p full width*
4K/60p APS-C 10-bit modes N-Log, HLG (HDR) S-Log3
HLG (HDR) C-Log2
HDR PQ V-Log
HLG Over HDMI Rolling shutter (4K/24) 22ms 27ms 17ms 21ms 22ms Storage 1x UHS-II SD
1x UHS-I Micro SD 1x CFe Type A / UHS-II SD
1x UHS-II SD 2 x UHS-II SD 2 x UHS-II SD 1x CFe Type B
1x UHS-II SD Battery life
LCD / EVF 380 / 360 580 / 520 580 / 320 370 / 370 410 / 340 Dimensions 144 x 103 x 49mm 131 x 96 x 80mm 138 x 98 x 88mm 134 x 102 x 90mm 134 x 101 x 70mm Weight 710g (25.0oz) 659g (23.3 oz) 670g (23.6 oz) 740g (26.1oz) 705g (24.9 oz) *Oversampled, using all horizontal pixels to produce 4K footage from 6K capture (7K on a7 IV). The Canon EOS R6 II offers oversampled 4K at up to 30p. Body and controls

The most obvious thing to say about the Zf's body is that it very closely resembles the Nikon FM2 film camera from the 1980s. Placed side-by-side it's apparent the new camera is larger but the proportions have been kept, so it still looks the part.

The Zf has primarily magnesium alloy construction (with some plastic panels to act as a radio window to let the Wi-Fi work), which Nikon says is 'dust and drip resistant.' Its adherence to the traditional look means that there's no protruding hand grip yet, like the FM2 and cameras of its vintage, it can be used quite comfortably. The few millimeters of added depth don't make it hard to grasp and the dials feel well-positioned such that they can be operated without feeling like you're going to drop the camera.

There was some criticism of the smaller Z fc, that its light weight made it feel flimsy, an impression compounded by rather plasticky dials. The added heft of the Zf avoids this problem: it feels more substantial and the feel of the controls is consistent with that.

Card slots Perhaps the most baffling decision on the Zf: two card slots hidden in the battery compartment, one of which is a UHS-I Micro SD slot.

Nikon has given the Zf two card slots, but to keep its size under control, has opted to make the second card slot a MicroSD type. These are pretty small and can be fiddly to insert and remove from the camera, so it might make sense to leave a fast microSD card in the camera at all times as overflow, rather than planning on removing it too often. That said, while the SD slot is UHS II compatible, the Micro SD is only UHS I.

The slots are positioned next to one another in the battery compartment, adding an extra layer of inconvenience, especially for tripod users, though the speed of the USB-C port means it's easy enough to get data off the camera or power into it, without accessing the underside door at all.

Viewfinder

The Zf has a 3.68M dot EVF, which is not especially high by today's standards. Without the super-fast dedicated readout path that the Z8's sensor offers, it can't match the near-zero-lag experience that that camera does. Overall, it's a pretty middling viewfinder experience, but one definitely improved by the pretty good 0.8x magnification.

Screen

The Zf's rear touchscreen is fully articulated: a choice that made more sense on the more video and social media-focused Z fc. It's a 2.1M dot LCD that we found to work well even in bright light, but I suspect we won't be alone in having preferred the two-way tilt arrangement of the Z8's screen, which could potentially have made the camera a fraction slimmer.

Battery

The Zf uses the same EN-EL15c battery as the majority of Nikon's mid-range cameras, which powers it to a respectable rating of 380 shots per charge (LCD) and 360 shots per charge (EVF). These numbers rise to 430 and 410 shots per charge if you turn energy saving mode on. It's rechargeable over the camera's USB C port, of which, unlike the Z8, there's just one.

Unlike the Z6 II, there's no option to mount a battery grip to the Zf.

Initial impressions

By Richard Butler
Published Sept 20 2023

When Nikon introduced the smaller-sensor Z fc model, it made very clear that it was a camera designed for social media content creators, hoping to attract some of the younger photographers who've perhaps learned the craft on second-hand 70s and 80s film SLRs. But Nikon can't have missed the number of established photo enthusiasts who said they wanted a full-frame version.

That said, Nikon is also likely to remember that the initial buzz generated by the teaser videos for its last retro full-framer (the rather half-baked Df) didn't turn into the sales success it was hoping for.

However, where the Df was a rather misproportioned lump that commanded a significant premium over the D610 on which it was heavily based, the Zf is an altogether more handsome affair (and if you're aiming to attract a style-conscious audience, that matters), and one that out-specs the Z6 II while selling for the same price.

In fact, in the absence of a Z6 III, the Zf becomes the company's best-specced camera around the high-contested $2K price point. It still seems to use the same image sensor as the previous Z6s but features the newer Expeed 7 processor from the Z9 and Z8, which brings updates such as the mirrorless camera implementation of the company's '3D Tracking' system.

"In the absence of a Z6 III, the Zf becomes the company's best-specced camera around the high-contested $2K price point"

These days we can simply call it 'tracking,' as the majority of brands have now adopted a comparable approach of simply following whatever is under your chosen AF point (or near to it, in the case of most subject recognition systems). It's such an obvious approach that, for once, the term 'intuitive' might almost be appropriate, but the idea of integrating tracking into the main AF interface really started with Nikon, so it's great to see the Zf catch up to the 'best practice' approach that Nikon itself pioneered.

Multiple multi-shot modes

In a more reactive manner, Nikon has also become one of the last brands to add a multi-shot high-res mode to its camera. Multi-shot modes that try to cancel out the effect of the Bayer filter or oversample the scene to produce more detailed images have become increasingly common as engineers look for ways to exploit the presence of in-body stabilization mechanisms.

In many instances, they're not terribly useful: often requiring tripods and near-static subjects, with a combination of images often requiring proprietary desktop software. There are clearly lots of patents protecting different implementations, as almost every brand appears to take its own approach (in terms of the number of shots and degree of in-camera processing).

The Zf offers a range of modes, including one that takes a staggering 32 images, collected in around four seconds, to deliver a 96MP final image. That's a long time during which your subject might move, which undermines its usefulness, but there are at least other options if your subject doesn't include much motion. So, perhaps primarily in the interest of people who like to wage brand wars over the obscure ends of the spec sheets, Nikon now offers the feature.

In use the Zf was enjoyable during the period I got to use it. The distinctive styling was something of a curse, given Nikon's concerns about it being seen out in the wild, but from today onwards, it's more likely to be an asset. The camera I used was the all-black version, but six other leatherette color schemes will also be available. There's no news of a silver/black version. It's not clear whether this is because of the challenge of delivering matched silvers across different materials to maintain the camera's premium character or because Nikon plans a special edition at some point in the future.

The pre-production camera I was using started to show temperature warnings after around two hours of stills shooting, but it should be noted that I was shooting in 32°C (90°F) conditions, often in direct sunshine. It didn't get warm enough to start a countdown to auto shutoff, though.

AF tracking isn't as sticky as with the Z8 and Z9. This isn't a huge surprise but, for instance, when I tried to pick out a particular part of a flower, the Zf's tracking target would sometimes wander off the specific detail I'd been wanting it to track. Performance with a recognized subject appeared excellent, though, with seemingly unerring tracking of eyes, for instance.

Ultimately, though, the Zf moves things forward from the Z6 II and finally seems to deliver the camera that so many people hoped the Df would be. Now if only the barriers to Sigma introducing its compact, aperture ring-sporting i-series primes for Z-mount could be overcome, then things would get very interesting indeed.

Buy now:

$1997 at Amazon $1997 at B&H Photo $1997 kit at Adorama Operation and handling

It's been interesting to encounter such a squared off camera after decades of increasingly large stick-out grips. The Zf's weight and squareness meant I found it would cut into my little finger if I didn't make a conscious effort to maintain most of the weight using my left hand, supporting the lens. This was particularly acute when the Zf was combined with a heavier lens, such as the 24-70mm F2.8.

We also found the Zf offers a little less customization than we'd expect of a camera at this level. The Zf appears to have five customizable buttons, as the Z6 II does, but one of these is the Playback button, effectively leaving you with four if you actually want to be able to review your images. Similarly, the Zf includes the usual options to change exposure comp without pressing a button, and letting you choose whether the front or rear command dial changes the setting, but these only have any function if the dedicated exposure comp dial is deactivated by turning it to its 'C' position, so for much of the time one of the camera's command dials has no function. No one has considered letting you assign ISO to the dial, for instance, so quick access to ISO requires a button press and takes up one of your precious custom buttons, and again this button stops working if you select a specific ISO value from the dial. Oddly, this means you also lose the ability to disengage or engage Auto ISO, if you turn the ISO dial. The overall effect is quirky, to say the least.

The dials play a central part in the camera's retro appeal but the way they interact with some button and dial functions takes some getting used to.

Unlike previous Nikons, there's no way to quickly access the 'minimum shutter speed' value if you use Auto ISO. Some previous models let you assign this option to the camera's My Menu list, meaning you could gain quick access by setting a custom button to 'Access top item in My Menu,' but the Zf doesn't allow this. Overall it feels like no one has really thought through the full impact or opportunity of adding the dedicated shutter speed and exposure comp dials to the camera.

Combine all this with the lack of AF joystick – the four-way controller defaults to AF point positioning but isn't as quick or as well-positioned – and the Zf is not a fast or fluid a camera to use as the Z6s were, nor the likes of Panasonic's S5 II, its most closely-priced competitor.

It gets a lot right, though: its on-screen interface is relatively clean, in an era succumbing to increased clutter, and the menus are pretty well laid out, albeit very, very long. It's hard to escape the suspicion that the same components in the form of a Z6 III would be a much more effective photographic tool. Albeit one that's nothing like as pretty.

Image quality

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

$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-35143146","widgetId":902,"initialStateId":null}) })

The Nikon Zf is based on the widely-used 24MP BSI CMOS sensor, so there are no great surprises to its image quality. In terms of detail capture, it does exactly as you'd expect a 24MP sensor to. And the performance both at moderately high$(document).ready(function() { $("#icl-5844--1455016584").click(function() { ImageComparisonWidgetLink(5844); }); }) and very high ISO$(document).ready(function() { $("#icl-5845-279875647").click(function() { ImageComparisonWidgetLink(5845); }); }) is very good, as you'd expect.

Nikon's default JPEG sharpening is very large radius, so it appears to be capturing much less detail$(document).ready(function() { $("#icl-5846--1679771462").click(function() { ImageComparisonWidgetLink(5846); }); }) than its peers (even though we know from the Raws$(document).ready(function() { $("#icl-5847--315668740").click(function() { ImageComparisonWidgetLink(5847); }); }) that this isn't the case). Color exhibits standard Nikon response$(document).ready(function() { $("#icl-5848--1838968747").click(function() { ImageComparisonWidgetLink(5848); }); }) with lots of punch and saturation. Yellows are vibrant with no green or orange tint but the pink closest to a generic caucasian skintone is notably brighter and more pink than either the Sony or Canon renderings. We tried to include plenty of portraits in the gallery so you can decide what you think of this.

The Zf's noise reduction at high ISO$(document).ready(function() { $("#icl-5850--2076747484").click(function() { ImageComparisonWidgetLink(5850); }); }) smooths away noise pretty well but takes a lot of the fine detail$(document).ready(function() { $("#icl-5849--698116929").click(function() { ImageComparisonWidgetLink(5849); }); }) with it. Overall it's a very similar performance to the Z6 II, which we really liked.

Dynamic range

Again there are no surprises from the Zf's sensor. It's been around for a few years, but we've not encountered any chips that are significantly better in a mid-priced camera. At base ISO the camera adds very little noise, so there's scope to reduce exposure to protect highlights, with the reduction in exposure being the main source of noise and the limit on how far you can push things. Its dual gain design means there's even less shadow noise from ISO 800 upwards, and minimal benefit to increasing the ISO above that point. In low light scenes with bright highlights, underexposing ISO 800 by three stops and then brightening should give similar noise to ISO 6400 but with three additional stops of highlights preserved in the Raw.

Exposure latitude | ISO Invariance

White balance in the real world Auto WB (Keep overall atmosphere) Reprocessed in-camera: Natural light Auto WB

The camera’s auto white balance lets you decide how completely the camera tries to cancel-out the effect of the color of the light you’re shooting under. It defaults to ‘Keep overall atmosphere,’ with a more extreme ‘Keep white (reduce warm colors)’ option or a less severe ‘Keep warm lighting colors’ setting. We found the last of these to give the nicest results: even the default middle-ground setting can tend to render subjects a little cold/blue. There’s also a ‘Natural light Auto’ mode that works better for outdoor shooting. It’s definitely worth switching to this mode when you know you’ll be shooting outdoors, but it’s bit of a disappointment that the standard auto mode isn’t as set-and-forget as you might hope.

Autofocus

The Nikon Zf is the first mirrorless model to include 3D Tracking autofocus but not have a super-fast readout Stacked CMOS sensor to drive it. The distinction between this and the tracking on previous models is twofold: firstly it's an AF area mode, just like any other, rather an optional feature engaged separately from area modes and, secondly, it doesn't need to be disengaged once initiated: release the AF-On or shutter button and the AF point reverts to wherever it was originally placed: no 'cancel' required and no resetting to the center of the scene.

The Nikon Zf’s AF tracking is generally very good and noticeably improved, compared with the previous generation models, such as the Z6 II and Z5. The 3D tracking mode does a good job of staying on the target you’d pointed it at. The performance improves still further if you select one of the camera’s subject recognition modes to run alongside it.

In our basic AF tracking test the basic 3D tracking mode would tend to lose track of the subject as it passed through one of the corners (where the subject’s approach rate changes, as well as its direction). It would typically find the subject again when it returned near to the center of the frame, where the AF was initially placed. This was a somewhat surprising result, as we didn't encounter this often in our more general shooting. The camera gave the same result repeatedly, though, which suggests performance can vary with subject.

However, engaging human/face detection ensured the camera didn’t ever lose the subject. It continued to work, regardless of whether the subject was wearing dark glasses, obscuring part of the face.

However, it’s also noticeable that portraits taken with face detection aren’t always perfectly focused on the eye itself. The camera’s detection and the persistence of its tracking is very good but the precision isn’t always as high as some of its immediate peers, with a tendency to focus just in front of the eye itself. That said, eye detection and the way it respects the selected AF point make it a really valuable feature on the camera, meaning you can focus on the camera’s other settings and on interacting with your subject, rather than having to think about focus.

The improved AF tracking extends to video mode, where it was recognizably weaker on previous models. Overall we got the sense that the Zf’s autofocus doesn’t quite match the pro-level performance of the Z8 and Z9 but brings Nikon’s AF behavior and handling to the point it’s very competitive with its rivals.

Video Despite the 80's styling, the Zf has mic and headphone sockets to support its pretty capable video feature set. The HDMI socket is of the rather sensitive 'micro' variety, so we wouldn't plan on making it the center of our workflow.

The Zf's 24MP sensor was one of the first full-frame sensors from which manufacturers squeezed 4K footage. It reads out quickly enough that the Zf can deliver 4K video derived from 6K capture at up to 30p or it can shoot 60p if you crop into an APS-C region of the sensor ('DX' in Nikon's terminology).

But the Zf does more with the sensor than the Z6 or Z6 II did, gaining internal 10-bit capture with Log and HLG recording, giving more flexibility to the editing and output options. It also gains waveform displays for helping you expose your Log footage, making it a much more usable video camera.

$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-62323340","widgetId":904,"initialStateId":null}) })

The Zf's 24p footage is more detailed than it was from the Nikon Z6 II, but it becomes noticeably less sharp in its 60p mode.$(document).ready(function() { $("#icl-5854-1380459765").click(function() { ImageComparisonWidgetLink(5854); }); }) You probably wouldn't notice this difference, intercutting between footage from the two, but the smaller capture region used for 60p will mean it gets noisier, faster, as will the need to use shorter exposures, so for indoor shooting, expect cuts to slowed-down 60p to have a little extra graininess to them.

Rolling shutter for the full-width footage measures around 22ms. This is reasonable (Panasonic's high-end, video-centric S1H from a few years ago gives a very similar performance), but it's not great. 22ms is slow enough that attempts to pan the camera or capture fast movement across the frame will see vertical lines become horizontally skewed, and this distortion can interact badly with the camera's attempt to shift the sensor to stabilize its footage, causing slight jitter in the footage.

The use of a relatively slow UHS-I Micro SD card as the camera's second memory card slot means it's not really practical to leave a card in the smaller slot and use it as internal memory for shooting video to. You can shoot video to the SD slot and stills to Micro SD but you risk blunting the camera's performance that way.

Image stabilization

The camera's image stabilization is pretty good, with digital stabilization applying a 1.25x crop that gives the camera room to move that crop around within the video capture region in order to cancel out unintended motion. The stabilization is quite smooth, gently drifting around rather than trying to maintain a tripod-like lock on proceedings. But, as mentioned, there is some vertical jitter introduced when stabilization is active, presumably as the camera moves the region its capturing while the existing area was still being read-out.

Conclusion What we like What we don't

Excellent image quality
Very good autofocus
Very strong video feature set
Classic styling
Dedicated controls whose setting can be read even with the camera switched off
Reasonable level of direct control
Decent battery life
$40 SmallRig grip (initially bundled in some markets) improves handling
Good set of features (time-lapse, focus bracketing, pixel shift high-res, multiple exposures...)

Interaction between dials and button functions often peculiar
No quick access to Auto ISO settings
Use of slow Micro SD reduces the value of second card slot
Body becomes uncomfortable with large lenses
Limited choice of small lenses or options with aperture rings
Cards in battery compartment are inaccessible when on a tripod
Some vertical jitter in video footage with electronic VR engaged
Multi-shot high res combined off-camera with no motion correction

The Nikon Zf looks a lot like the camera everyone was hoping the Df would be: a cutting-edge camera styled to look like one of Nikon's classic models from the early 80s, without too much additional size or weight. And I think most people would agree it succeeds spectacularly from an aesthetic perspective.

We're a little less convinced when it comes to the camera's handling. Even compared with the cameras it's modeled on, the Zf can become uncomfortable to hold after a while, and we found it hard to shake the perception that Nikon's engineers hadn't really thought-through the full implications of having dedicated dials when they copied over most behaviors from their other cameras.

The Zf is a lovely camera to sling over your shoulder when you're out for the day. Until you mount a heavy lens on the front.

Nikkor Z 24-70mm F2.8 S @ 40mm | F5.6 | 1/100 sec | ISO 100
Processed in Adobe Camera Raw: straightened, highlights reduced, white balance adjusted
Photo: Richard Butler

The Zf works less and less well, the larger the lens you mount on it, and Nikon's range of lenses doesn't have many small, light options. Worse still, there's plenty to suggest that it's blocking third-party makers from filling that gap. Relatedly, Nikon's Z lenses tend not to have aperture rings, but the Zf mimics the control layout of cameras from a system in which they did, which isn't ideal.

So, while the Nikon offers a distinct image quality benefit over the likes of Fujifilm's X-T series, the Fujifilm cameras have size, weight and a wide choice of small lenses with aperture rings on their side. This and a higher level of operational consistency has the unfortunate effect of showing how this concept can be delivered more successfully.

Improved autofocus tracking and subject recognition give the Zf a distinct edge over previous mid-range Z series cameras.

Nikkor Z 85mm F1.8 S | F8.0 | 1/160 sec | ISO 720
Photo: Richard Butler

The Zf's performance is very good, though. It's built around a excellent, well-proven sensor and delivers very good autofocus performance, particularly with subject recognition engaged. It's also a remarkably capable video camera, providing a level of flexibility and capability that its classic styling might otherwise disguise.

We're sure a lot of enthusiast photographers will happily work around the Zf's quirks and oddities, in return for getting to own and use a camera that has so much character to it, and they won't be let down by the photos it produces. But having used Fujifilm X-T cameras so much, and knowing what the liked of Sigma's I-series lenses would add, it's hard not to contemplate what might have been.

Speaking as someone for whom the Zf's styling has a powerful resonance, I thought I was going to love this camera. But having used it for several months, my head says Silver, even though my heart says Gold.

Scoring

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

Nikon ZfCategory: Mid Range Full Frame CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Nikon Zf is a camera whose image quality and performance live up to its stylish looks, but its handling and operation isn't always quite as slick. Paired with smaller, lighter lenses, it's a joy, but your Z-mount options are somewhat limited at present.Good forEnthusiast photographers for whom style and design matterNot so good forPhotographers using longer lenses or needing constant quick settings changes90%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"nikon_zf","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

The Canon EOS R6 II is still the camera to beat in this class. It's more expensive than the Nikon and no longer offers such an advantage in terms of autofocus, but it can shoot full-width 4K/60p, can capture faster bursts and is simply nicer from a handling and operation perspective. Both cameras are restricted to relatively limited lens ranges, with Nikon at least allowing some third-party options in, but it's worth checking that the lenses you want are available at reasonable prices before opting for either camera.

The Sony a7 IV is another strong contender at this price. It offers slightly higher resolution (and more sophisticated JPEG processes emphasize the difference) and slightly more dependable autofocus than the Nikon. It's not a great video camera, though, and costs more than the Zf, making it a less capable all-rounder. The wider choice of lenses comes out clearly in favor of the Sony, with the likes of Sigma's affordable i Series optics making a great match.

The i Series lenses are also available for the L-mount used by Panasonic's S5 II and S5 II X. The operation and handling of the Panasonic pair are also significantly nicer than those of the Nikon. However, even with phase detect AF having been added to the S5 II, the Zf has a simpler and more dependable AF system than the Panasonics. And, perhaps unexpectedly, the Nikon's video capabilities are a good match for those of the S5 II, so overall we found the Nikon to be that bit more usable.

Finally, it's worth considering the comparison with Fujifilm's similarly-styled X-T5. The Fujifilm is based around a smaller sensor, giving the Nikon an immediate image quality advantage and greater flexibility in terms of depth-of-field. The X-T5 is also arguably less good at video: it seems to offer better specs on paper but varying crops and rolling shutter means that advantage disappears when the bits hit the memory card. But the Fujifilm is nicer to use, despite its ostensibly similar control ethos, and the smaller size, lighter weight and slight front bulge make it more comfortable to use. And, of course, the X-mount offers many, many more lenses, including a vast range of primes, that work well on the X-T5. On balance it's a more difficult choice than it might initially seem.

Sample gallery

Review sample gallery $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_0261659899","galleryId":"0261659899","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) }); Preview sample gallery $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_6922569214","galleryId":"6922569214","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

Back to index

Categories: Photo News

We're hiring! DPReview is looking for a full-time Reviews Editor

DP Review Latest news - Fri, 01/12/2024 - 11:00

DPReview is hiring! We're looking for a Reviews Editor to join our Seattle-based team. You will create content for the largest audience of photography and video enthusiasts in the world, and help lead our efforts to create best-in-class reviews of cameras and other photography-oriented products. Bring your talent and creativity to our team and help shape the future of DPReview. Follow the link below for full details.

Find out more and apply for this role - Reviews Editor, Digital Photography Review

Reviews Editor
Full-time (Seattle, WA)

DPReview is seeking a full-time Reviews Editor to join our growing team.

The Reviews Editor role is intended for experienced digital content creators or technical writers with a deep understanding of digital photography.

At a high level, qualified candidates will be capable of testing, writing, editing, and coordinating camera reviews and related coverage. They should likewise feel comfortable serving as “on-camera” talent for multimedia and platforms content, including in videos and podcasts. Finally, they must also be strong collaborators and communicators capable of working alongside strategy and operation experts to ensure content signals positively impact KPIs and are produced to specification, on time, and within budget.

A typical week for a reviews editor will involve tracking and immediately addressing breaking camera news, spending time testing and writing camera reviews, updating DPReview’s camera information databases, speaking with outside experts for background knowledge, responding to DPReview community comments and questions, and meeting with senior DPReview leaders to produce components of major cross-team editorial projects and strategies, as well as evaluating past content success metrics to create strategic takeaways.

Like all successful DPReview team members, candidates must also be goal-focused self-starters who maintain an agile mindset, operate independently, lead by example, and communicate effectively across all channels.

This role will report directly to Senior Editors or Managing Editors depending on organizational needs while working closely with other editorial staffers.

Key job responsibilities

Test and evaluate camera equipment following established in-studio and off-site best practices.
Write, edit, and produce robust camera reviews as well as related camera news coverage, technology explainers, buying guides, interviews, franchises, and features that engage and grow DPReview’s camera enthusiast audience.
Capture photos and video clips of cameras and the camera reviewing process according to editorial and video and platform guidelines.
Optimize content to maximize and grow its potential for affiliate revenue generation by rigorously adhering to internal best practices.
Help plan and oversee editorial calendars and projects.
Regularly monitor information resources such as competitive publications, PR contacts and social media for new story ideas.
Consult with senior editorial leaders to help produce portions of major editorial projects, including The DPReview camera awards, etc.
Meet regularly with senior editorial leaders to discuss production, traffic and affiliate goals.
Interface with internal strategic experts such as the SEO Manager to ensure stories are ideally positioned to reach the largest relevant audience possible.
Coordinate with DPReview’s social media and platform teams to help produce and promote relevant editorial content for various channels.
Work to build and maintain relationships with brands, PR companies, influencers and industry experts.
Serve as an ambassador for DPReview’s editorial team while attending external events, advertiser meetings, conferences and trade shows.

Click here for full details and to apply

DPReview strives to be a diverse and inclusive company. We firmly believe that different voices, experiences and points of view are an essential component of our current and future success. We do not discriminate on the basis of an individual’s gender, age, race, religion, national origin, marital status, sexual orientation, disability, genetics or any other personal characteristics protected by law.

Categories: Photo News

Tenba Axis V2 18L backpack review: Fully functional, but lacking in features and flair

DP Review Latest news - Fri, 01/12/2024 - 07:00

Photo: Tim Barribeau

The Tenba Axis V2 18L ($200) is a well-made, quietly competent but otherwise uninteresting backpack. Tenba has been in this industry long enough to know the basics of building a functional bag, but this simple black rectangle struggles to stand out against a field packed with more interesting, stylish, or specialized options like Peak Design's exceedingly versatile Everyday Bag or LowePro's hiking bag that happens to hold cameras well too.

Buy now:

$200 at Tenba $200 at B&H Photo $200 at Amazon Key features and specifications

MOLLE straps for extra accessories
Large side access openings
Useful pockets for organizing small extras (notably an Airtag or Bluetooth tracker)
Size: 27x43x20 cm (10.5”x16.75”x8”)
Weight: 1.36 kg (3lbs)
Laptop size: 14”
Capacity: 18L
Example max loadout: 1-2 Mirrorless or DSLR cameras with 4-6 lenses (up to attached 70-200mm F2.8)

Pockets and construction Photo: Tim Barribeau

The Tenba Axis V2 18L has two side access panels that are very well designed and one on the top, which is less so. When you swing the bag around to get in via either of the side panels, it’s easy to grab what you need. The panels are suitably large – they don’t run the whole length of the bag like Peak Design’s, but they’re not so small that it would be hard to grab a camera with a full zoom lens out of the bag. The openings use two zippers, which I found to slide easily and which feel rugged enough to handle considerable use.

Each panel has zippered internal pockets for stashing small items. I used them for batteries and spare lens caps. There are also expandable pockets on the outside for water bottles and travel tripods. As per usual, you set up the interior of the bag with velcro walls that you can mix and match to your heart’s delight, establishing a good layout for your own gear. Unfortunately, unlike Tenba's larger models, the Axis V2 18L doesn’t clamshell open all the way. This makes it harder to place all the velcro walls quickly and make sure everything fits because you can't view the whole space all at once. You're stuck reaching through access panels, doing it by feel. This is a common issue with camera bags, but it’s always a pain.

There’s also the de rigueur large back pocket with lots of internal organization for stashing pens, small notebooks, lens wipes, and all the other miscellanea you need often but not that often. There’s even a dedicated little neoprene pouch for tucking in an Apple Airtag, Tile Tracker, or other similarly sized tracking device, so you can always find your bag.

The zipper and flap are an annoying combination.

Photo: Tim Barribeau

The issue comes with the top access panel, which has both a flap and a zipper. The flap stays shut with a hook that clips into the MOLLE (modular, lightweight load-carrying equipment) webbing on the outside the bag. And then it’s held down again by a zipper. When the zipper was shut, I couldn't lift the flap enough to easily unzip it. Either of these fasteners would have been fine on their own, but doubling up caused me trouble and didn't give me any additional functionality. It could help prevent theft by making it hard to quickly dive into the bag, but it frustrated me every time I encountered it because it made it hard to quickly dive into the bag.

Design and style Photo: Tim Barribeau

The Axis wears its military influence on its sleeve. The layers of MOLLE straps on the exterior of a bulky plain black bag show the clear lineage of milspec style and design, similar to the Wotancraft New Pilot. Tenba wears this influence proudly, “Tenba’s tactical Axis bags were inspired by the ultra-durable bags we’ve made for the military throughout our 40+ year history.”

The MOLLE webbing is a series of nylon straps that go around the bag horizontally and vertically and gave me useful places to place modular add-ons. Since many manufacturers make MOLLE accessories, you can mix and match anything from a first aid kit and trauma shears to a baby bottle holder. Tenba makes a number of its own addons that work with the MOLLE system, such as small pouches, battery holders, even space for an extra lens.

"The Axis wears its military influence on its sleeve."

In shape, the bag is very simple and rectangular. This meant I was able to squeeze more than I expected into its remarkably reasonable external dimensions; Tenba’s estimate of two small cameras and 4-6 lenses is right on the buzzer from my experience, which is impressive for something that’s less than 30cm tall.

But that comes with downsides. There’s functionally no tapering to the bag, and there’s no give to the body. It’s exactly the same size and shape, full or empty. If you can’t fit this under the seat in front of you on the airplane or into a jampacked car trunk, no amount of finagling or moving lenses around will change that.

Fortunately, I found the back padding did a good enough job at cushioning my back from the bag itself, making it reasonably comfortable to wear, but it got hot very quickly.

Photo: Tim Barribeau Conclusion

The Tenba Axis V2 18L is certainly a functional bag. The components feel tough, the material is rugged, and the attachment system is practical and open-source enough to use with almost anything, including any gear you might already have. It has (mostly) smartly arranged access and pockets.

But without any standout features or compelling aspects to its design, it's hard to recommend. It’s an uninspired black box of a bag, and while that anonymity has its upsides, the boxiness has its downsides. It’s competent in almost every facet, but it's not especially ergonomic, nor are there any flashes of genius in its design.

I think any photographer would be totally fine using this bag, but for $200, odds are you can find something that suits your needs more directly.

What we like What we don't

Tough build quality
Large and easy-to-use access points
MOLLE for lots of extras
Fits a lot in a small space

Chunky shape
Workaday design
Irritating top flap

Buy now:

$200 at Tenba $200 at B&H Photo $200 at Amazon

Categories: Photo News

CES 2024: AI is inescapable

DP Review Latest news - Fri, 01/12/2024 - 06:00

Images: Samsung

In the past few years, there has been no shortage of "AI" tech, shaking up the conventional wisdom in all corners of the photography world.

Adobe has taken its "Firefly" generative AI out of beta and wrapped it into Creative Cloud, Google's Magic Eraser is making it practically trivial to remove people or objects from photos with the touch of a finger, AI-powered plugins are very close to undermining the whole idea of a watermark.

If you had any doubt that this trend would continue, CES 2024 should put it to rest. As the show closes on Friday, we've seen an absolute avalanche of AI products, features, promises, and prognostication, with companies like Samsung, Intel, AMD, and Qualcomm all placing the buzzword front and center in their press conferences.

Image: Intel

But at the center of the swirling AI hype storm is the ever-present question: What exactly are these companies talking about? If CES 2024 has provided any answer, it's: "No one particular thing."

Far from machines or computers or apps that can think for themselves or approximate human intelligence or creativity, 'AI' has lately and increasingly referred to the products of "machine learning," where computers are 'trained' on a set of data produced by actual humans and 'learn' to produce an equivalent unthinkingly, uncritically and to varying degrees of success.

What do companies mean when they say 'AI'? If CES 2024 has an answer, it's: 'No one particular thing.'"

In practice, 'AI' serves a few very specific purposes for the companies that use it as a technology and a buzzword. It's a useful shorthand to refer to the automation of complex or labor-intensive tasks. It's an excuse to add software features to products that might not have had them and to make those features relatively opaque, proprietary, and subscription- or cloud-dependent. Not least of all, it's a way for marketing teams to slap some sheen on otherwise uninteresting or superfluous functionality. A little extra jazz for when the specs don't tell a good enough story on their own.

You can see all of the above at play in some of the goofier AI reveals of this year's CES. Look no further than the AI grill that ostensibly learns from your ratings of its performance, or BMW's ChatGPT-powered companion, or the free TV with a chatbot for a remote (and also lots of ads), or Samsung's AI home assistant robot "Ballie," which has been coming soon since 2020.

The "Perfecta" AI grill

Image: Seergrills

Though AI is sometimes a gimmick, it is, of course, not only a gimmick, as CES has proven as well. Were it not serious, the actors' trade union SAG-AFTRA would not be making deals about future AI voice actors. Getty would not be partnering with NVIDIA to bring AI-generated imagery into the iStock fold instead of keeping it out. If AI did not promise a solution to real and deeply felt problems, the AI companion that promises to use all your annoying apps for you wouldn't have sold out the same day it was announced.

So what can CES 2024 tell us? What you probably already know and/or dread: The AI onslaught will not stop. This means more devices with janky features that change unpredictably with software updates. It means more services that demand the right to feed your work into the machine, typically articulated in fine print, far down in the terms and conditions that they're depending on you not to read. And, hopefully, it means less time doing boring, rote, unrewarding tasks.

"When AI makes obvious sense, it doesn't need to announce itself. It just takes over."

It's reasonable to see the tradeoffs here and want to opt out, but it's clear that the bet from big tech is to find the killer application that's too good to refuse. There is, of course, a theoretical tipping point, just like the pivot at which cameras tipped from film to digital, and mirrored to mirrorless when the objective advantages became too good to ignore.

Will AI tech get there? In some ways, it already has. The most obviously advantageous applications are already slipping into quiet dominance. Adobe's built-in AI Denoise is well-poised to replace third-party tools for all but the most decerning users. AI-based translation and transcription already reign supreme at lower price points and for personal use.

When AI makes obvious sense, it doesn't need to announce itself. It just takes over. But everywhere else? Well, get ready to keep hearing about it.

Categories: Photo News

Hopes, dreams and speculations for 2024: Shaminder’s wild ideas about the year ahead

DP Review Latest news - Thu, 01/11/2024 - 06:00

What will we see in 2024?

The possibilities of a new year can inspire us to (re)ignite passions, set new goals or send the mind raveling in wild flights of fancy. In the grand scheme, the heavens do not notice that a rock has hurtled through the cosmos to retrace its steps once more, but on that rock, we humans take notice every January.

It’s customary to celebrate in one of three ways. It used to be four, but we no longer have checkbooks (as late as the mid-00s, it was still common in North America to write paper checks to pay for groceries or the electric bill, and we often wrote the wrong date for weeks at the start of a new year).

You can take the tried and true action of making a New Year's resolution or the equally tried and true action of loudly rejecting resolutions.

You can choose to sign up for a gym membership that you’ll use a handful of times and then try to cancel for six months.

Or, you can play the prediction game. That's the route I'm choosing today. We can't see into the future, but why not try anyway? Here are my predictions (best guesses) for 2024.

A brief diversion before we get started. These predictions are meant as a little fun with tongue firmly in cheek. Some serious, some not-so-serious, some wishes and dreams, but on some level, I'm aiming to be plausible and based on some truth. In other words, if I'm right, it's "I told you so," and if I'm wrong, "just kidding." Enjoy!

Global Shutter will be the buzzword of the year

I think this one is a no-brainer. There won't be any escaping 'global shutter' in 2024. With Sony's anticipated February release of the a9 III, there's a lot of hoopla about global shutter finally coming to a still photography camera.

We've already seen a wave of think pieces on how revolutionary this camera will be. YouTube is saturated with thumbnails, declaring it a 'game changer.'

I was recently surprised to hear from dozens of photojournalists wondering if they should preorder the a9 III ASAP. Surprising, because these same photojournalists have yet to make the switch to mirrorless systems, and yet here they are asking if this is THE camera that would convince them to leave DSLR behind finally.

Global shutter is nifty for doing away with rolling shutter and making flash sync a near afterthought, but it is not without its compromises. In our testing, we found that a9 III image quality takes a hit, particularly at higher ISO settings. It still makes sense for sports shooters, but its use of global shutter isn't the 'game changer' and future for every type of photography. (Not just yet anyway, maybe version 2 down the road?)

Still, that won't stop flame wars and talking points about global shutter this year.

Nikon Zf added to studio scene

DP Review Latest news - Wed, 01/10/2024 - 07:00

As part of completing our Nikon Zf review, we've run the camera through our standard test scene, to see how it performs.

As usual, this means it can now be selected from within other reviews, so you can compare it to the cameras of your choosing.

$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-66764462","widgetId":902,"initialStateId":null}) })

The Zf is based around a 24MP full-frame BSI CMOS sensor which has to crop in to a 1.5x crop to deliver its highest-speed 4K/60p video footage. Those are very familiar specs, shared with the existing Z6 II and the likes of Panasonic's S5 models, so it probably shouldn't come as unexpected that the Zf's image quality holds no great surprises.

It captures a good amount of detail and, with its dual conversion gain sensor, the performance both at moderately high$(document).ready(function() { $("#icl-5844--1455016584").click(function() { ImageComparisonWidgetLink(5844); }); }) and very high ISO$(document).ready(function() { $("#icl-5845-279875647").click(function() { ImageComparisonWidgetLink(5845); }); }) is very good.

Nikon's default JPEG sharpening is very large radius, so it appears to be capturing less detail$(document).ready(function() { $("#icl-5846-345180885").click(function() { ImageComparisonWidgetLink(5846); }); }) than its peers (even though we know from the Raws$(document).ready(function() { $("#icl-5847--315668740").click(function() { ImageComparisonWidgetLink(5847); }); }) that this isn't the case). Color exhibits standard Nikon response$(document).ready(function() { $("#icl-5848--1838968747").click(function() { ImageComparisonWidgetLink(5848); }); }) with lots of punch and saturation. Yellows are vibrant with no green or orange tint but the pink closest to a generic caucasian skintone is notably brighter and more pink than either the Sony or Canon renderings.

The Zf's noise reduction at high ISO$(document).ready(function() { $("#icl-5850--2076747484").click(function() { ImageComparisonWidgetLink(5850); }); }) smooths away noise pretty well but takes a lot of the fine detail$(document).ready(function() { $("#icl-5849--698116929").click(function() { ImageComparisonWidgetLink(5849); }); }) with it. Up against the likes of Sony, which applies context-sensitive noise reduction, the Nikon's output can seem a little soft in low light.

Buy now:

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

Categories: Photo News

DPReview Reader's Choice Awards 2023: Product of the Year

DP Review Latest news - Tue, 01/09/2024 - 07:00

Product of the Year 2023: the results

The final round of voting has closed, and it's time to reveal the winner of our annual Reader's Choice Awards! Beginning in December, DPReview readers picked their favorite cameras, zoom lenses and prime lenses released in 2023. The winners of the first round of voting were then pitted against each other for the title of Product of the Year. Take a look and see which products came out on top.

Honorable mention: Sony FE 20-70mm F4 G

The Sony FE 20-70mm F4 G may not have won our Reader's Choice survey for Best Zoom Lens of 2023, but when put up against the best of the best, it surged forward into the third place position in this year's survey, earning it an honorable mention. It's easy to see the attraction of this lens: those extra four millimeters at the wide end make it much more versatile than a standard 24-70mm zoom, and its compact size makes it a great walkaround lens for applications ranging from landscape to travel.

Of course, those extra millimeters only matter if image quality is up to snuff, and the 20-70mm F4 G delivers where it counts. It's very sharp wide open, produces pleasing bokeh, and does a good job of controlling flare. Even videographers have reason to consider this lens: it's possible to combine Sony's Active SteadyShot and breathing compensation features and still maintain a roughly 24mm field of view. Between its zoom range, size, performance and price, it's easy to understand why so many readers voted for the Sony FE 20mm F4 G.

Buy now:

$1098 at B&H $1098 at Adorama $1098 at Amazon Honorable mentinon: Nikon Zf

Readers have been clamoring for years for a new full-frame retro camera from Nikon. How do we know? Because every time we covered a retro camera from another company, we could always depend on the Nikon faithful to jump into the comments thread and ask when Nikon would deliver one.

Well, they finally went and did it with the Nikon Zf, and apparently, it is what you wanted because it received the second-highest vote count in our Reader's Choice Product of the Year survey. The Zf's design is an homage to Nikon's FM2 and F3 SLRs from the early 1980s, but despite looking like an aged film camera, it ticks off all the essential boxes on a modern enthusiast camera's spec sheet. It would be a solid choice from a price/performance perspective, but that's not what makes this camera special. Instead, it's the nostalgia factor: the experience of using it, the joy of carrying it around your neck, or even just holding it and admiring it for what it is. The fact that it's incredibly competitive in its class is a bonus. Nikon users have waited a long time for this camera, but it turns out the wait was worth it.

Buy now:

$1997 at B&H Photo $1997 kit at Adorama $1997 at Amazon Winner: Nikon Z8

The winner of our 2023 Reader's Choice Product of the Year award goes to the Nikon Z8, which ran away with 53.8% of the total vote to win by an overwhelming margin. It probably shouldn't surprise us: in 2021, the Z8's big brother, the Z9, won the same award by similarly impressive numbers. The only problem? The Z9's large, dual grip body and $5500 price point made it impractical for most enthusiasts. Well, Nikon solved that problem with the Z8.

Make no mistake – the Z8 is a product built to meet the needs of pro users, and it can do just about anything the Z9 can, but at a price more within reach of dedicated enthusiasts. It offers the same 46MP Stacked CMOS sensor, high-speed burst rates, pre-burst options and video specs found on the Z9, but in a smaller body that's more sensible for many photographers. In many ways, the Z8 is the spiritual successor to the Nikon D850, one of the greatest – if not the greatest – DSLR ever made, yet it outperforms the D850 in almost every way. We have little doubt that the Z8 will be considered a classic, and it's easy to understand why our readers chose it as their Product of the Year.

As always, thanks to everyone who voted in our polls. We appreciate your participation and couldn't do any of this without you!

Buy now:

$3696 at Amazon $3696 at B&H $3696 at Adorama

Categories: Photo News

Panasonic Lumix S 100mm F2.8 Macro sample gallery

DP Review Latest news - Tue, 01/09/2024 - 06:00

Panasonic's Lumix S 100mm F2.8 Macro is a full-frame L-mount lens that's designed to be compact and lightweight, coming in at 82mm (3.2") long and 74mm (2.9") in diameter and tipping the scales at 298g (10.5 oz). Hands-on, we can confirm it is very tidy and light.

The Lumix S 100mm F2.8 Macro's primary goal is to be a versatile portraiture and medium telephoto lens as well as a compact macro, and it has a minimum focusing distance of 0.204m (8.03″). We took the lens out for some street portraits and macro shots of everyday objects, and you'll find a range of frames to inspect in the gallery.

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_6590447999","galleryId":"6590447999","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

View our Lumix S 100mm F2.8 Macro 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:

$998 at B&H Photo $998 at Adorama

Categories: Photo News

Panasonic announces Lumix S 100mm F2.8 macro lens, ultra compact and more than just a macro

DP Review Latest news - Mon, 01/08/2024 - 10:45

Image: Panasonic

In conjunction with CES 2024, Panasonic has announced the Lumix S 100mm F2.8 Macro lens for full-frame L-mount cameras. Panasonic calls it "the world’s smallest and lightest medium-telephoto fixed focal length macro lens." However, as important as its size and weight is versatility: Panasonic tells us its goal was to produce a macro that can also handle portraiture and medium telephoto shooting with vanishingly few drawbacks.

Buy now:

$998 at B&H Photo $998 at Adorama

The 100mm F2.8 Macro is the same size as the other lenses in Panasonic's line of F1.8 L-mount prime lenses, though it breaks the mold with its smaller F2.8 aperture. At 298g (10.5 oz), it's also the second lightest in the suite, completing a span of lenses ranging from 18mm to 100mm, which differ by no more than 60g, within the margin of error for many gimbals and drones. It's 82mm (3.2") long and 74mm (2.9") in diameter.

According to Panasonic, this makes it the world's smallest and lightest macro lens in its class, with a few caveats applied: smallest and lightest among autofocus-capable, full-frame lenses with a 1:1 magnification ratio and focal length of at least 90mm.

Part of the small size is owing to Panasonic's new 'Dual Phase linear motor', which it claims has allowed it to shrink the motor size by half while retaining the thrust of a motor twice the size. This allows the 100mm F2.8 to move its two independent focus groups smoothly, letting photographers focus on subjects near and far quickly and with optically corrected focus breathing. Additionally, Panasonic tells us the lens incorporates a newly designed aperture mechanism with a thinner profile and smaller physical diameter.

Image: Panasonic

Optically, the lens comprises 13 elements in 11 groups, including three aspherical, two UED, and one ED elements, and uses an internal focusing design. It has a minimum focus distance of 20.4cm (8"), includes a 67mm filter thread, and is designed to render identical colors to match the other lenses in its series. One nuanced touch: Panasonic says it replaced the white paint typically used for lens markings around the front element with a dark gray variety to ensure that those markings don't reflect off objects in macro photos.

Other features include a new sensor for the focus-by-wire system that provides six times more resolution for moving between focus steps, a focus limiter with the ability to program your own focus-limiting range in software, and dust- and splash-resistant construction.

We have the 100mm F2.8 Macro on hand and are putting it through its paces to test out Panasonic's performance claims, but purely in terms of form factor, this 100mm F2.8 has a unique appeal, especially for anyone interested in being able to swap lenses of various focal lengths in and out of a stabilization setup without having to bother with constant recalibration.

The Lumix S 100mm F2.8 Macro will be available later this month with an MSRP of $1,000.

Panasonic Announces its Newest S Series Lens at CES 2024

The LUMIX S-E100 is the world’s smallest and lightest* medium-telephoto fixed focal length macro lens

Las Vegas, NV (January 8, 2024) – Panasonic is pleased to introduce the brand new LUMIX S 100mm F2.8 MACRO (S-E100) lens based on the L-Mount system standard. Compact and lightweight to match the camera body, the S-E100 lens joins the LUMIX S Series lineup which is designed to address the demand for accessible yet professional grade photography gear.

With a new optical design and a newly developed Dual Phase linear motor, the S-E100 is the world’s smallest and lightest medium-telephoto fixed focal length macro lens, weighing approximately 298 grams. It boasts high resolution, stunning bokeh unique to macro lenses, excellent depth in expression, and fast focusing in a chassis matched to our existing F/1.8 series of lenses. At the same time, its compact nature ensures excellent mobility outdoors and in other shooting locations.

In addition to close proximity photography, the S-E100 also produces impressive portraits and images unique to medium-telephoto lenses, with support for fast autofocusing and bright F/2.8 aperture. Following increased demand for video capabilities, the S-E100 produces high-quality video content through silent operation with optically corrected focus breathing. This is due to the newly developed linear focus motor and micro-step aperture control. These features allow for smooth exposure change and the ability to choose between linear or nonlinear focus ring settings.

By providing cutting edge, improved performance and mobility for camera enthusiasts and professionals, LUMIX aims to create a new digital mirrorless camera market.

Main Features

The World’s Smallest and Lightest* Medium-Telephoto Fixed Focal Length Macro Lens
- A more compact structure thanks to an optical design, featuring a new Double Focus System, three aspherical lenses and a newly developed Dual Phase Linear Motor with a new actuator.
- Suitable for use in a wide range of situations due to its excellent mobility, whether it’s close proximity photography, natural photos and portraits, or faster paced action, unique to medium telephoto lenses.
High Resolution and Outstanding Photographic Performance
- Boasts high resolution and elaborate photographic performance in every area, from the center of the image to its edges.
- Captures every detail of the subject while creating bokeh unique to medium-telephoto macro lenses.
Optimal Video Functionality for Video Production
- Offers silent operation thanks to a newly developed Dual Phase Linear Motor.
- Suppresses focus breathing, in which the angle of view changes, caused by movements in the focus position.
Fast Autofocus performance for expanded capabilities
- • Newly developed Dual Phase Linear Autofocus motor enables speed and precision for faster action tracking in both Photo and Video uses.
- Ultra-High precision manual focus sensor allows for unparalleled manual focus precision, even when working at 1:1 macro.
Unified Design and rendering
- Designed to match our exiting F/1.8 series of lenses, the S-E100 allows photographers and videographers to maintain a unified experience from 18mm – 100mm with matched size, filter threads, and similar weight.
- Image renders has been tuned within this series of lenses to produce unified color regardless of which lens is used.

The LUMIX S-E100 lens will be available at valued channel partners at the end of January 2024 for $999.99 MSRP.

* As of January 9, 2024. Among interchangeable lenses for AF compatible full-frame mirrorless cameras, and macro lenses with a magnification ratio of 1:1 with a focal length of 90mm or more.

Panasonic Lumix S 100mm F2.8 Macro specifications Principal specificationsLens typePrime lensMax Format size35mm FFFocal length100 mmImage stabilizationNoLens mountL-MountApertureMaximum apertureF2.8Minimum apertureF22Aperture ringNoNumber of diaphragm blades9OpticsElements13Groups11Special elements / coatings3 ASPH, 2 UED, 1 EDFocusMinimum focus0.20 m (8.03″)Maximum magnification1×AutofocusYesMotor typeLinear MotorFull time manualNoFocus methodInternalDistance scaleNoDoF scaleNoFocus distance limiterYesPhysicalWeight298 g (0.66 lb)Diameter74 mm (2.91″)Length82 mm (3.23″)SealingYesColourBlackFilter thread67 mm

Categories: Photo News

Sony a9 III review in progress

DP Review Latest news - Mon, 01/08/2024 - 07:00

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"1373181763","isMobile":false}) })

Product photos: Richard Butler

The Sony a9 III is the company's latest high-speed pro sports camera. It features a Stacked CMOS sensor capable of shooting at 120 fps and able to read all its pixels out simultaneously: the long hoped-for 'global' shutter.

Key features

24MP global shutter Stacked CMOS sensor
High speed shooting up to 120 fps
Pre-burst capture of up to 1 sec before the shutter is fully pressed
Shutter speeds up to 1/80,000 with flash sync across the full range
9.44M dot (2048 x 1536px) OLED viewfinder with 0.9x magnification
2.0M dot rear LCD with tilting cradle on a fully articulated hinge

The a9 III will be available in early 2024 at a recommended price of $6500. This is a $2000 increase over the previous iteration from 2019. A matching VG-C5 battery grip that provides space for two batteries is available for an additional $398.

Buy Now:

$5998 at Amazon $5998 at B&H $5998 at Adorama Index:

What's new
How it compares
Body & handling
Image quality
Initial impressions
Sample gallery
Specifications

What's new Global shutter sensor

The big news with the a9 III is the move to a sensor that offers a global electronic shutter: reading out all its pixels simultaneously so that there's no lag or rolling shutter effect. Such sensors have existed before (some CCD chips, for instance), but this is the first one to use a full-frame sensor in a modern mirrorless camera to deliver the full potential benefits.

The sensor delivers the camera's two main selling points: the global shutter, which extends what the camera can offer in three specific areas, and sheer speed. As well as having no motion distortion from its capture, the a9 III is able to shoot at up to 120 frames per second.

Its fast readout also allows incredibly high speed capture, with shutter speeds that extend to 1/80,000 sec. The global readout also means it can sync with flashes all the way up to its maximum shutter speed (though the power of the flash will be reduced at the very shortest exposures and may require the timing of the flash trigger signal to be fine-tuned so that the exposure syncs with the brightest point of the flash output).

There are downsides to the sensor, though: the global shutter design works by using what is effectively a second photodiode within each pixel to act as a buffer: holding the charge generated by the exposure so it can all be read out at the same time. This reduces the effective size of the photodiode used to capture the image, reducing the amount of charge each pixel can hold before it becomes full.

This reduced capacity for charge means the pixel becomes saturated sooner, so it can tolerate less light before clipping. In turn, this means it needs to be given less exposure, which is reflected in the base ISO of 250, 1.3EV higher than typical. Giving a sensor less light instantly reduces the image quality, because light itself is noisy, and this noise is more visible, the less light you capture.

120fps shooting The new C5 button on the front of the camera is set, by default, to activate the speed boost function for temporary access to 120 fps shooting.

The super-fast sensor readout allows the a9 III to deliver a faster shooting rate than we've ever seen from a sensor this large. Whereas the previous generation of Stacked CMOS sensors with progressive readout would shoot at up to 30 frames per second, the a9 III quadruples this to 120. Sony has published a list of its lenses that can operate at this full speed.

It's a reasonable question to consider how often even the most demanding sports photographers will need to shoot at 120 frames per second, and how much more sorting and selecting work will be created by generating so many additional files.

You can lower the burst rate to whatever makes the most sense for your specific subject, but there's also an option to temporarily jump back to a faster rate when you hold a button down, meaning you could shoot at, say, 30 fps in the buildup to what you expect to be the critical moment, then press a custom button to give a faster, more concentrated burst around the moment of interest itself.

Like the other recent high-end Sonys, the a9 III has a pair of CFexpress Type A and UHS-II SD card slots set one within the other, providing compatibility with both the widely available SD format or the faster CFexpress format. Both are still significantly slower than the CFe Type B cards adopted by most other manufacturers.

Interestingly, the a9 III continues to use Sony's preferred CFexpress Type A cards, which have half the read/write channels of the larger Type B format. This means the a9 III has to depend that bit more heavily on its internal buffer. It has the capacity to shoot 196 uncompressed 14-bit Raw files in a burst, allowing 1.6 seconds of capture at its fastest rate. This is nearly 10GB of data, which gives some idea of the size of the camera's buffer but also of how quickly you'd fill up your cards if you shot at full tilt in Raw.

Pre-capture

The a9 III becomes the first Sony to have a pre-capture feature: starting to buffer images when you half-press the shutter button or hold the AF-On button, then retaining up to one second's worth of images when you fully press the shutter. You can reduce the time period to as little as 1/200 sec if you're really confident in your ability to anticipate the crucial moment, but the pre-buffer time isn't affected by your choice of shooting rate.

Dedicated 'AI' processor

The a9 III gains the 'AI' processor that Sony first introduced in the a7R V. This does not add any 'intelligence' or learning in and of itself, but is designed to process the complex subject algorithms created by machine learning for functions such as subject recognition. This should boost the camera's subject recognition performance compared to previous generations of cameras, such as the a1, making the tracking more responsive and more robust.

8EV image stabilization The a9 III gets the flexible tilt-and-hinge cradle we previously saw on the a7R V. It can be manipulated into all sorts of positions, for wherever you're shooting from.

The a9 III also gains the latest image stabilization processing algorithms, helping it deliver performance that's rated at up to 8.0EV of correction, using the CIPA standard methodology. This is an appreciable increase over the 5.5EV offered by previous generations of cameras. Unlike Canon's system, this doesn't depend on synchronized use of in-body and in-lens IS mechanisms, so users should see an increase in correction performance over a wide range of lenses, though the peak correction may not be so well maintained quite so well at extremely long and short focal lengths.

C2PA authentication

Although not present at launch, Sony says it plans to add C2PA authentication to the a9 III. This is a cryptographic metadata standard developed by a range of software makers, camera makers and large media organizations that will provide a secure record of the file's provenance and edit history, allowing media organizations to know that the images they are receiving can be traced back to a specific camera and haven't been inappropriately manipulated.

How it compares

With its high shooting speed and pro-friendly features, the a9 III's closest competitors are the pro sports bodies from Canon and Nikon, as well as Sony's own a1. This is an exclusive group, not only in the sense of commanding a significant price but also in that they have professional support networks established to ensure working pros have the most possible 'up' time. While other cameras promise fast shooting and capable autofocus, these are the models that the most demanding professionals rely on.

Sony a9 III Sony a1 Canon EOS R3 Nikon Z9 MSRP $6500 $6500 $6000 $5500 Pixel count 24MP 50MP 24MP 46MP Sensor type Stacked CMOS
(Global shutter) Stacked CMOS Stacked CMOS Stacked CMOS Max burst rate 120fps 30fps 30 fps
196 fps** (AE/AF fixed) 30fps (JPEG)
20fps (Raw)
120fps (11MP JPEG) Pre-capture? Up to 1 sec – – JPEG only IS rating (CIPA) Up to 8.0 EV Up to 5.5EV Up to 8.0 EV Up to 6.0EV Base ISO 250 100 100 64 Max ISO 51200 102400 204800 102400 Max shutter speed 1/80,000 1/32,000
1/8000 mech 1/64,000***
1/8000 mech 1/32,000 Flash sync 1/80,000 1/400 1/250 EFCS
1/200 Mech
1/180 Elec 1/250 Viewfinder
res / size / eyepoint 9.44M dots
0.9x
25mm 9.44M dots
0.9x
25mm 5.76M dots
0.76x
23mm 3.69M dots
0.8x
23mm Refresh rate Std: 120 fps
High: 240 fps Std: 60 fps
High: 120 fps
H+: 240 fps* Power save: 60 fps
Smooth: 120 fps Std: 60 fps
High: 120 fps Rear screen 2.0M dots fully articulated on tilt cradle 1.44M dots fully articulated 4.15M dots fully articulating 2.1M dots, two-way tilt Max video res 4K up to 120p MOV 8K/30 UHD MOV 6K/60 DCI Raw
4K/120 DCI/UHD MOV 8K/60 Raw
8K/30 DCI MOV Media 2x CFexpress Type A / UHS II SD 2x CFexpress Type A / UHS II SD 1 CFe Type B
1 UHS II SDq 2x CFe Type B / XQD USB 10Gbps 10Gbps 10Gbps 5Gbps CIPA Battery life (LCD / EVF) 530 / 400 530 / 430 860 / 620 740 / 700 Weight 702g 737g 822g 1340g Dimensions 136 x 97 x 83 mm 129 x 97 x 81 mm 150 x 143 x 87 mm 149 x 150 x 91 mm

**Viewfinder res and display size are reduced
**AF and AE locked, in bursts of up to 50 images.
***Whole stop increments only between 1/16,000 and 1/64,000

The a9 III stands out, even from the other manufacturer's pro-grade cameras, in offering 120 fps shooting as a standard mode, with full AF and Raw capture, whereas Canon's R3 locks AF and AE at the first exposure (rarely ideal for the kinds of action shooting that require high speed bursts) and the Nikon outputs significantly reduced resolution JPEGs.

Like the EOS R3, the a9 III opts for speed over resolution, meaning it can't deliver the 8K footage that the a1 and Z9 can. Also, any users hoping for Raw video will need to buy an external recorder, rather than being able to capture this in-camera, as you can on the Canon and Nikon.

The biggest apparent shortcoming is the relatively low battery life of the a9 III, as it's a single grip camera and hence lacks the space for the larger batteries included in the Canon and Nikon. Adding the BG-C5 battery grip adds space for a second battery, as well as providing duplicate portrait orientation controls.

Body and handling

Although the company's a7, a9 and a1 models all look similar, each generation has seen the control layout reworked and details such as the handgrip tweaked. The a9 III sees a larger than typical re-working of Sony's ergonomics.

The grip is a little deeper, with a more prominent dent for the forefinger to rest in, but more significantly, the shutter button is placed on a surface that angles forward rather than sitting in the same plane as the camera's top plate. This means you don't have to rotate your hand or stretch your finger quite so far to reach the shutter. In turn, the custom buttons on the camera's top plate have been extended upwards so that they're still accessible from this less stretched position.

It's a relatively small adjustment but enough that you'll notice it after several hours of shooting. Given the a9 III's target audience, it's hard not to make assumptions that this change has been made in response to Sony's tie-up with the Associated Press, giving the company more feedback from a large pool of working pros.

Beyond this, the body is pretty familiar from the previous generation of cameras, with most of the control points and custom buttons existing in the same places. The main exception to this is that the a9 III gains a fifth custom button, on its front panel. By default, this is used for the 'speed boost' function, but this can be modified.

The a9 III has the same 9.44M dot (2048 x 1536px) OLED viewfinder that first appeared in the Sony a7R V. The optics in front of the panel give an impressive 0.9x magnification, meaning it's very large to look at, and the fast sensor means its full resolution is used even when refreshing at 120fps. There's a 240fps mode if you need an even more frequent update of what's going on in the scene, but this runs at a reduced resolution. The viewfinder shows no blackout at all when shooting images.

The rear screen is a 2M dot panel that's arranged on a tilting cradle that is itself hinged at the side, providing a wide range of movement and adjustment.

The a9 III uses the same NP-FZ100 battery as all the most recent full-frame cameras have. It's a well-sized 16.4Wh unit that powers the camera to a rating of 530 shots per charge, using the rear LCD according to CIPA standard tests. This drops to 400 shots per charge if you use the viewfinder. These are strong numbers compared to most cameras but some way behind those of its pro sports peers, which typically have a twin-grip body with space for a much larger battery.

Battery life can be increased significantly through the addition of the optional VG-C5 vertical grip. This adds the space for a second FZ100 and more than doubles the battery life, as Sony has developed a system for treating the two batteries as a single large power source.

It's also worth noting that the CIPA standard tests are even less reflective of the behavior of pro sports cameras than they are elsewhere. Bursts of images use much less power than the individual shot shoot-and-review process that standard testing assumes. As such, a rating of 400 shots per charge for a camera that shoots at 120 frames per second should not be taken to mean that the battery will only last for 3.3 seconds of holding the shutter down. This is nowhere close to being true.

Image quality

$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-48943606","widgetId":898,"initialStateId":5837}) })

We've looked at the a9 III's image quality and have found that its performance is up to a stop behind those of contemporary full-frame cameras. Essentially the halving of the photodiode size halves the amount of light the sensor can tolerate. This raises the base ISO, limiting the maximum image quality the camera can deliver (ie: comparing base ISO to base ISO).

The added complexity of the sensor's design also means that it isn't able to offer a second low-noise readout path as has become common in dual conversion gain sensors that dominate the market. This sees up to a stop noise penalty, relative to its full-frame peers.

All of that said, a lot of sports shooting doesn't necessarily happen at ISO 100, so being limited to ISO 250 or higher needn't be a major issue. Likewise, even a one-stop increase in noise at high ISO isn't likely to be a deal-breaking difference, especially if the a9 III's global shutter and incredibly rapid burst rates mean that it can get a shot that its rivals simply miss.

So, while the a9 III's sensor tech may not make as much sense in other cameras, for the high-speed users it's designed for, these aren't necessarily a significant drawback.

Initial impressions Only time in the hands of a large number of pro photographers will test how much value 120 fps capture with no risk of banding is, but historically faster has proven to be better, even when the current level of performance has let people get results.

We now have a full production spec a9 III but want to put it through its paces at some sporting events before drawing any firm conclusions about its overall performance, so these comments should still considered be initial impressions.

The arrival of global shutter is a significant advance for the industry, and provides a recognizable benefit in specific circumstances, specifically: high-speed flash sync, avoidance of banding with high-frequency displays and zero rolling shutter distortion for movies and very fast movement. However this capability comes at a cost, with the a9 III not being able to match the best image quality of its rivals.

The question is: do the camera's strengths outweigh this cost for the types of shooting it's designed for? The a9 III is a specialized camera designed for very specific types of shooting, not an all-rounder that might be used for landscape work, just as often as wildlife and sports. As a sports camera, speed is of the essence, and working at elevated ISOs is the norm. Likewise, the need for very broad dynamic range to be exploited during Raw processing isn't likely to be a priority for many of its users.

The provision of a LAN socket and full-sized HDMI port show that Sony wants the camera to fit readily into professional workflows, and the camera will ultimately succeed or fail on that basis.

This isn't to make excuses, just to put it in context. The a9 III offers capabilities for high speed capture far beyond those of its rivals, but at the cost of being a less flexible camera. Which may prove to be an acceptable, or even entirely reasonable, trade-off for sports pros, if it transpires that the ability to shoot at 120 fps around the critical moment, or to avoid any distracting ad-board flicker prove suitably valuable.

These caveats mean that the a9 III's advances need to be seen in context: global shutter probably shouldn't be assumed to be the future toward which all cameras are heading. For now the trade-offs mean it only makes sense for some photographers: those for which it's designed. And those trade-offs would have more significant impact in smaller sensors, so we're not suddenly dreaming of APS-C or Four Thirds sensors that utilize this particular technology.

Judged for what it is, though, the a9 III looks to be a very powerful addition to the market, with a lot of handling and workflow changes that will make it ideal for pro sports use. This is what we'll be testing over the coming weeks. However, that doesn't make it the camera by which all others should be judged.

Buy Now:

$5998 at Amazon $5998 at B&H $5998 at Adorama Pre-production sample gallery

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_5079693977","galleryId":"5079693977","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

Categories: Photo News

Photo News

Fujifilm to sponsor World Press Photo contest, provide GFX prize packages

Fujifilm XF23mm F2 R WR lens review

Canon EOS R100 review: Rebel-like mirrorless camera, cheap but cuts corners

iPhone 15 Pro Max sample gallery: Is 5x telephoto reach worth the upgrade?

Apple Vision Pro now available for preorder

One thing: Taking stock of gear and when to let go or lean in

Sony is bringing shutter angle to the FX3 and FX30 (eventually)

DJI's new Mic 2 wireless microphone comes with Bluetooth, 32-bit float backup recordings and a dial

Getting started with photography, our best primers for beginners

Sony FE 16-35mm F2.8 GM II sample gallery

Nikon Zf review: the classiest mirrorless of them all?

We're hiring! DPReview is looking for a full-time Reviews Editor

Tenba Axis V2 18L backpack review: Fully functional, but lacking in features and flair

CES 2024: AI is inescapable

Hopes, dreams and speculations for 2024: Shaminder’s wild ideas about the year ahead

Nikon Zf added to studio scene

DPReview Reader's Choice Awards 2023: Product of the Year

Panasonic Lumix S 100mm F2.8 Macro sample gallery

Panasonic announces Lumix S 100mm F2.8 macro lens, ultra compact and more than just a macro

Sony a9 III review in progress

Pages

Latest posts

Connect with us

Twitter Updates

RSS Feed

Photo News

Pages

Latest posts

User login

Search form

Connect with us

Twitter Updates

RSS Feed