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Revisiting past pranks

Happy April Fools' Day! In internet lore, this is a hallowed day for outlandish stories, friendly pranks and the birth of tale tales. Over the years, we've created our fair share of them. Some scared us when too many people thought they were true, and others amused us years later when what we thought was a ludicrous proposal turned out to be an accurate prediction for the future.

With this being our 25th anniversary year (our first article was published in Dec 1998), we've been feeling nostalgic. Let's take a look at some of our past pranks from our first quarter century.

DPReview 25th anniversary

About this series:
Celebrate with us all year as we look back at a quarterly century, reflect on where we've been and look ahead to where we might be going. It's our party and everyone's invited!

Read the entire series here.

While this list is exhaustive, there's a chance we may have missed some. In the comments, let us know if we missed any of your past favorites.

The circular sensor that wasn't there

When we look back at the annals of April Fools' tomfoolery, one trick stands heads, shoulders, knees and toes above the rest. In 2010, we created a fake camera sensor company that said it planned to make circular sensors. Through an elaborate backstory, fake patents and a website, we tried to make it as 'real' as possible.

"The circular sensor brings you a host of new opportunities beyond the conventional boundaries of digital capture. No longer do you need to throw away half of the circular image seen by your lens, now you can use it all – getting more from your glass than ever before," the press release read.

The story walked the fine line between seeming plausible but not logical. It sparked some debate in our forums with some not noticing the date. We even managed to trick our good friends over at Steve's Digicams, who took the press release and reported it as news. Good times.

The ultimate food photography camera

In 2017, DPReview's Carey Rose was feeling somewhat spicy when he cooked up this tart of an idea. Samsung's then new line of Family Hub 2.0 refrigerators featured a built-in camera that allowed users to see all the eggs, hot sauces and leftovers inside without having to open the door.

Rose gave the fridge's camera the DPReview treatment, complete with a rundown of specs, in-studio testing and some in-field reflections (you'll want to opt for the most extended extension cord). We determined that the camera, combined with the fridge's LED lights, had made basic food photography as easy as can be.

"The camera fridge acts essentially as a large softbox or cove, with ample space to style your food with ease," Rose wrote at the time.

This prank actually started in a serious place. We were thinking about where imaging is going and how cameras were beginning to appear in doorbells, cars, robot vacuums and other unexpected places.

"Also, Samsung's exit from the consumer market was still relatively fresh in our minds," Rose recalls how the idea came about. "Other than phones and tablets, I think the fridge lineup was the only other product line of theirs that had anything imaging-related about it. Plus, let's be real, a fridge might be one of the edgiest of edge cases where consumer imaging might even be considered relevant, so it seemed extra ridiculous to me."

Readers seemed to pick up quickly that our review was a prank. If they didn't right away, they certainly must have by the time we got to the field tests with wild bears.

As is the DPReview way, commenters also joined in on the fun. At one point, someone pointed out that we did a poor job comparing it with actual competing models (apparently, LG also had a fridge with a camera in it at the time). Perhaps a round-up would have been appropriate the following year.

A DPReview Golden Ticket

Inspired by the 50th anniversary of 1971's Gene Wilder-led "Willy Wonka and the Chocolate Factory," we decided to hold a Golden Ticket contest of our very own. Readers were invited to enter for a chance to win a trip to visit us in Seattle for two days, tour our studios, meet the editors, borrow some equipment and work on a sample gallery with us. They would also go home with a prize pack that included a new camera, lens and some DPReview swag like t-shirts and stickers.

We created an elaborate scavenger hunt on social media and our website announcing the contest, but we made one mistake. We overlooked that we announced the contest on April 1. Most readers thought it was an April Fool's joke. It wasn't. Whoops!

Due to legal reasons, we couldn't change the terms of the contest at the last minute to start it on April 2, and in the end, we only saw about 30 people enter. Joseph N. from France won and wowed us with an exceptional sample gallery.

A pet cam reviewed

In 2018, DPReview's Dale Baskin wrote a review of the Petzi Treat Cam, a pet camera with a built-in treat dispenser.

Baskin had actually gotten a few emails from companies that wanted us to review remote pet feeders with integrated cameras. "To this day, I have no idea how I got on that press list," he recalls, "But one morning a lightbulb went on over my head, and I thought, 'Let's review one of these as a real camera!"

Baskin contacted the folks at Petzi, who thought it was a fun idea and sent us the Petzi Treat Cam. We ran the camera through field tests, examined image quality through our studio scene and, for good measure, compared it to a Fujifilm GFX 50S, a 50MP medium format camera.

"Because why not? The Petzi earned a positive 'paws up' rating," said Baskin. We gave the camera high marks for its easy setup and large treat reservoir, and we were impressed by the Petzi social media network where pets could follow other pets. Less impressive was the camera resolution.

"The article had a bit of a reverse April Fools' effect. Some readers thought we had made up the Petzi for April Fools' Day, and we had to explain that it was, in fact, a real product," said Baskin. "One reader even sent an angry (and, as far as I could tell, serious) email accusing me of selling out to Big Pet."

That would be the end of the story if not for a tiny screw-up. The review included a video Baskin shot with Carey Rose that was supposed to illustrate how difficult it would be to replicate Pezti's treat dispensing functions using a regular camera. The video was only supposed to be seen by people who read the review.

This video was meant to be a humorous example of what it would take to replicate the Petzi Treat Cam's remote feeder function using a regular camera. We accidentally pushed it to all of our YouTube subscribers.

But nothing ever goes perfectly, and we accidentally sent push notifications to tens of thousands of our YouTube subscribers who collectively said, WTF? Undoubtedly, it is the weirdest, most out-of-context video ever published on what would become DPReview TV.

"We were still getting emails about that one weeks later from confused subscribers," said Baskin. "It still feels a little bit strange that, to this day, my review of the Petzi Treat Cam is often the #1 hit when searching for the product on Google, but I'd like to think it's pretty good publicity."

Voice-controlled AI drones take to the sky

When we came up with this one, drones and smart speakers were pretty new in the marketplace, but it already seemed evident that combining the two only made sense. Then, for extra measure, we imagined a drone where you could tell it what to do and an onboard computer (we weren't quite calling it AI back then) would go out and fetch any image you wanted.

To sell it, we described how we'd tested the drone around Seattle by prompting it: "Hey drone, get me some images of Orca whales."Two hours later, the drone had returned with images and video it had captured of whales from the Puget Sound. We didn't fool too many folks, with many readers calling the two-hour run time impossible.

But little did we know in 2011 that in 2023, we'd be invited to review the real thing. Japanese upstart NisaymonoIt had announced the world's first autonomous AI drone, the Nisaymono Flight, and it was uncanny how close we were, even down to the voice prompts the real-life 2023 version used.

That time we accidentally invented mirrorless cameras, sorta

Leading up to April 1, 2008, DPReview's Richard Butler asked a friend to post an image to our forums under the guise that they'd seen this camera in the wild and wanted to know what it was. (It perhaps went out to a Flickr group as well, our memory is a bit hazy.)

The camera did not exist. It was a composite created from photos of three other cameras, and we wondered how folks would respond.

"A bit of a dud, this one," Butler recalled about the prank. "We mocked up the kind of camera we all thought we'd like, using the flip-up screen from a Sony DSLR, the lens of a Sigma DP1 and some of the styling of my 1970s Olympus 35RC rangefinder."

For the prank, we tried to make sure Butler was recognizable, along with London's Tower Bridge (a frequent feature of our sample galleries at the time) in the background.

Three cameras were composited together to create this final image.

Little did we know at the time that a rangefinder body type with a tilt screen wasn't too far off from what modern mirrorless cameras would start to look like.

"Unfortunately, no one really bit. I suspect we over-estimated how recognizable we were and, in the days before rumor sites got going, there was no real way to build up any momentum behind it," said Butler. "Still, if nothing else, I think we got the "what sort of camera would people be interested in" aspect right."

The mashup didn't look anything like any cameras of the day, but looking back, it sure does look an awful lot like cameras to come, such as the FujiFilm X100VI.

As for the 'sorta' in inventing mirrorless cameras, well...

Since both the Sigma and Olympus are fixed lens cameras, we can't quite claim to have invented the mirrorless camera (this was five months before we first had a need to use that term), but we did effectively prefigure the X100 by nearly two and a half years (except we thought a tilt-up screen would be useful, which would take Fujifilm another decade to implement).

So, 'sorta.'

The ultimate selfie stick

We don't see them as often today, but around 2015, a groundbreaking coalescence of technology, dexterity, and tubing came together to produce the selfie stick. An innovation in imaging support systems, the selfie stick became the must-have smartphone accessory for everyone, from influencers and tourists to grandparents and children.

It's hard to overstress this; the selfie stick was everywhere! If you weren't using one, you were probably being annoyed by one and taking to social media to complain about it. We decided to get in on the action and crafted a very tongue-in-cheek selfie stick buying guide.

When we tabulated the results, we had several five-star recommendations, including using your own arm.

And now, one final prank... ... that's not really a prank.

Thank you for making DPReview an amazing community and for choosing to spend your day with us. Whether you've been here since the beginning or just recently discovered us, we're glad you're here.

Today, we revisited only a few of our favorite April Fools' Day pranks over the past 25 years. Who knows what tomorrow will bring. Now, if you'll excuse us, since we're 25 and in the US, we're finally old enough to rent a car with a surcharge, perhaps a road trip is in order.

In the meantime, we hope you enjoyed this trip down memory lane. Did we miss any past pranks that were your favorites? Do you have any stories of having been fooled by us? Let us know in the comments.

Today, I'd like to tell you a nice story about mistakes, drone crashes, coincidences and one very cool shoot in which I took a panorama of Tambora Volcano in Indonesia.

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Tambora is a volcano on the island of Sumbawa. In 1815, Tambora produced the largest volcanic eruption in recorded human history, which spewed 37-45 cubic kilometers (8.9-10.8 cubic miles) of rock, weighing about 10 billion tons, into the atmosphere. This left a caldera measuring 6-7 km across and 600-700 m (2,000-2,300 ft) deep. The eruption caused a volcanic winter, with 1816 being the second-coldest year in the northern hemisphere since around 1400. Now, doesn't that sound like something you'd want to visit?

But first, let's go back in time to a few days after the beginning of my trip to Indonesia in April last year. After taking a few days to do some formalities and get my work permit to allow me to guide my workshop a few weeks later, I used the rest of my time before meeting my participants to do a bit of shooting by myself. I took a short ferry from Bali to the small Penida Island (Nusa Penida), where I settled for a few days in the southwest of the island, where I could shoot some nice beaches with my drone. Unfortunately, this plan went south quickly when I crash-landed my (previously) trusty DJI Mavic II Pro into a tree, followed by it falling to the side of a cliff without any chance of recovering it.

"This plan went south quickly when I crash-landed my (previously) trusty DJI Mavic II Pro into a tree..."

It always hurts losing a drone. Not only are they expensive, but I was now lacking one of the most important tools I have as a nature photographer, and I still had over a month of shooting ahead of me. Luckily, I had invited Noah, one of my workshop participants, to arrive in Indonesia 10 days early to do some shooting together, and he was scheduled to arrive a few days after I lost the drone. I immediately asked Noah for help, and he gladly agreed to have a new drone shipped to him and bring it to me when he arrived. And so, I got a sparkling new Mavic III Classic. The accident and its consequences would greatly affect the upcoming Tambora shoot.

Noah and I traveled to our first shooting location: Moyo Island, specifically the spectacular Mata Jitu waterfall. A short motorcycle trip from our lodge, Mata Jitu is a wonderful gem located in a valley. It boggles the mind to think that in the distant past, people found this waterfall hidden deep in the middle of the jungle without any aids or roads. The waterfall features cascading pools of turquoise water created over the millennia due to the minerals contained in the flowing water.

Mata Jitu Waterfall. The drone's stability allowed me to shoot a relatively long exposure while still maintaining sharpness. DJI Mavic III Classic,

F5.6 | 0.6 sec | ISO100

Mata Jitu is fed by a beautiful stream, which is so serene that it's almost always reflective. I took advantage and took an image of the stream and surrounding trees. For a longer exposure, I used an ND filter and a polarizer, which I positioned in a way that didn't hurt the reflection. The high humidity condensed on my front element, enhancing the magical feeling in the image.

Canon 5D4, Tamron 24-70mm F2.8 at 52mm

F8 | 15 sec | ISO100

After wrapping up the Moyo Island shoot, we took a 2-hour police boat (that's what we found, don't judge!) to the main Island of Sumbawa. We spent the night in a local hostel and prepared for the main event: the climb to Tambora.

Tambora Volcano is one of the most famous Indonesian volcanoes and one that produced the largest volcanic eruption in recorded history back in 1810. Before the eruption, it was a conic volcano, standing 4500m above sea level. Today, it's less than 2500m. Imagine an eruption so monstrous that it exploded through and destroyed 2km of solid rock. If you're not scared, you're not imagining hard enough.

Anyway, today the volcano is quite dormant, and you can easily climb up there, even scaling most of the way up with a 4x4, albeit in a crazy, hellish drive. The journey up the volcano begins next to the sea, in comfortable plains, but this quickly changes to denser and denser vegetation and alternating climate zones: fields, rainforest and finally, the barren wasteland you learn to expect when ascending a gigantic monster of a volcano. Our 4x4 was well-suited for the drive but kept overheating, which added some anxiety to the mix.

The entrance to Tambora National Park. Now that's gotta make you feel welcome! Our 4x4 making its way in the rainforest. Our Tambora camp. Much better than nothing!

After finally arriving at camp, we turned in as early as we could since a very early rise was awaiting us. We were up at 2 a.m. to have a quick breakfast and start our climb. The night was rainy, and it wasn't at all certain we would be able to get up there or even see the landscape, which was a bit discouraging. But the weather gods smiled upon us, and 2 hours' trailless climb later, we were standing on top of Tambora with plenty of time to go before sunrise. The sky was luckily (and surprisingly) clear.

I hiked around a bit to get behind a large peak on the rim and prepared my drone for liftoff. When I sent it away, I could see a wonderful cloud inversion on the far side of the caldera. Having the Mavic III meant that I had the reception and battery capacity to fly almost 5km (over 3 miles) away and shoot the caldera with the cloud inversion surrounding the drone's point of view from below. This definitely made the shot and made me feel very lucky to have lost my previous drone, even though I had to go through a lot of stress to get the new one. All is well that ends well.

"Tambora Sandwich": 18-image, 3 row panorama

DJI Mavic III Classic, wide-angle converter
F5.6 | 1/50 sec | ISO 100

Tambora's volcanic crater is so gigantic that I had to get creative. I put on the wide-angle lens adapter and positioned the drone in the best vantage point I could find. This meant having the entire bottom of the image filled with the cloud inversion. I then proceeded to shoot a 3-row, 18-image panorama to cover the entire subject (with some margins for error).

Compositionally, it was important to include the clouds on both sides of the crater, as well as the bottom of the image. This is done to show the extent of the cloud inversion, which made even the huge caldera seem relatively small. In addition, note both the large cloud located slightly off-center to the left and the smaller clouds inside the crater. These subjects' positions in the frame meant I had to have more compositional weight on the bottom right as a counterbalance. Luckily, the cloud inversion was thicker on the right, in addition to the prominence added by the light coming from the right side.

Noah and I, tired but satisfied on top of Tambora. Coffee was well-deserved.

Big thanks to Noah, who not only carried the new drone all the way from the US but also kindly allowed me to use his behind-the-scenes shots after my phone broke down during the trip.

Erez Marom is a professional nature photographer, photography guide and traveler based in Israel. You can follow Erez's work on Instagram and Facebook, and subscribe to his mailing list for updates and to his YouTube channel.

If you'd like to experience and shoot some of the world's most fascinating landscapes with Erez as your guide, take a look at his unique photography workshops in Svalbard, Greenland, Madagascar, the Lofoten Islands, Namibia and Vietnam.

Erez also offers video tutorials discussing his images and explaining how he achieved them.

Selected Articles by Erez Marom:

• Landscape Composition - Balancing the weights
• Lava Frenzy: Shooting Fagradalsfjall Volcano
• Landscape Composition - Separation of Elements
• Parallelism in Landscape Photography
• Black Hole Sun: Shooting the Total Solar Eclipse in Argentina
• Winds of Change: Shooting Changing landscapes
• Landscape Composition - Negative space
• Shooting Kīlauea Volcano, Part 1: How to Melt a Drone
• Whatever It Doesn't Take

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Earlier this week, Nikon announced its new Nikkor Z 28-400mm F4-8 VR, a superzoom lens for Nikon Z-mount mirrorless cameras with a 14.2x zoom range. Ahead of the launch, we had an opportunity to shoot a small sample gallery around Seattle's Capitol Hill using a pre-production copy of the lens.

Due to the pre-production status of the lens, the photos in this gallery are out-of-camera JPEG images captured with a Nikon Z8 rather than converted Raw files, as is our normal protocol for lens galleries. We'll publish additional photos from this lens, converted from Raw files, once we receive a production copy.

View our Nikon Z 28-200m F4-8 pre-production sample gallery

Buy now:

$1297 at B&H Photo$1297 at Adorama$1299 at Amazon.com

Image: Ulanzi

Lens filters for smartphones are not a new concept. Designed to give photographers more creative and technical control over their images, there are several types on the market today that can control how much light comes into the camera, reduce reflections and flare or add more vibrancy to your images with different color tones.

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Up until a few years ago, photographers wanting to add a physical filter to a smartphone would need to attach a clamped filter that sits at the top of the phone’s camera lenses or use a third-party smartphone lens with filters.

Although useful, clamps tend to be bulky and aren’t always the easiest to align with your camera. Third party lenses offer more accuracy, but good-quality options can cost in excess of $100, without the inclusion of filters.

Ulanzi aims to be different by offering a lightweight foldable adapter ring that snaps on to the center of your MagSafe compatible device or case, which the manufacture says leads to a quicker workflow and more accurate alignment of the filter to the camera lens on the back of the phone. On an iPhone 14 or 15 it works by magnetically attaching to the rear using Apple's MagSafe attachment system.

For users without an iPhone, there are workarounds through the use of third-party smartphone cases with magnetic ring plates that emulating MagSafe. WIth such a case, you can attach Ulanzi’s adapter to the ring plate and use the filters as normal.

As we reported last week, the concept isn’t new. Tiffen recently released a similar product with its MagSafe 58mm Filter Mount. Both products approach a solution to adding filters in a similar manner but differ in design. The Ulanzi opts for compactness with a foldable design.

The Tiffen comes with one polarizing filter (you can buy other filters separately) at around $40. In contrast, the Ulanzi’s version comes as a kit for $219 with an ND filter, a polarizing filter, one soft focus filter and a selection of color effect filters. There’s a storage case as well. Having multiple filters packed in may be enticing to users seeking to experiment with different filters and want the simplicity of having them all packaged together.

Buy now:

$219 at Ulanzi

Image: Tamron

Tamron has announced it will release its popular 28-75mm F2.8 Di III VXD G2 fast standard zoom for Nikon's Z-mount.

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Nikon already sells a 28-75mm F2.8 with an optical formula and calculated MTF charts that are a match for Tamron's original, stepper-motor driven 28-75mm F2.8 Di III RXD. The newer, linear-motor-driven G2 model features improved optical performance.

Buy now:

$999 at B&H Photo $999 at Adorama

The G2 uses a more complex 17 element / 15 group design and has a fractionally shorter minimum focus distance (18cm/7.1" vs 19cm/7.5") to deliver very slightly increased maximum magnification. The G2 is also a fraction lighter than the Nikon-branded 28-75mm, weighing 550g (19.4oz), rather than 565g (19.9oz). On the E-mount versions, Tamron claimed the VXD linear motor design was twice as fast as the RXD version.

The focal length range makes the 28-75mm a wide to short-telephoto lens for Nikon's full-frame Z-mount cameras but could, in principle, be used as a 42-113mm equivalent on DX APS-C bodies, if you wished.

Click here to see the Tamron 28-75mm F2.8 G2 gallery shot on Sony E-mount

The announcement adds a more affordable option for Nikon's Z-mount users, but the hope has to be that, letting Tamron compete against its own-brand lenses, might also indicate some relaxation of Nikon's restrictions around the mount. As the footnotes make clear, this lens is "developed, manufactured and sold under the license agreement with Nikon Corporation."

The Tamron 28-75mm F2.8 Di III VXD will be available from April 18th at an MSRP of $999. This is $100 more than the E-mount version and a match for the current price of the Nikkor Z 28-75mm F2.8. It's $200 below Nikon's launch price for the Nikkor version.

TAMRON announces the launch of fast-aperture standard zoom lens for “Nikon Z mount system”

Outstanding resolution and superb overall performance in a lightweight and compact 28-75mm F2.8 G2 that inspires creativity

28-75mm F/2.8 Di III VXD G2 (Model A063) for Nikon Z mount

March 27, 2024, 11pm ET / 8PM PT, Commack, NY – Tamron announces the launch of the 28-75mm F/2.8 Di III VXD G2 (Model A063), a fast-aperture standard zoom lens, for Nikon Z mount full-frame mirrorless cameras1. The lens will be available April 18, 2024, at $999 USD / $1399 CAD.

The 28-75mm F2.8 G2 is compact and easy to use yet has excellent optical performance and is compatible with the latest digital cameras with increasingly high pixel resolution. The AF drive uses a linear motor focus mechanism VXD (Voice-coil eXtreme-torque Drive) that is fast, highly accurate and quiet. The lens also excels at close-up shooting, achieving an MOD (Minimum Object Distance) of 7.1” (0.18m) at the wide end and a maximum magnification ratio of 1:2.7. Additionally, the lens design takes operability into consideration by including a coating with excellent scratch resistance on the barrel of the lens and a rubber focusing ring for a comfortable, secure grip among other features.

TAMRON pioneered the category of compact fast-aperture standard zoom lenses for mirrorless models. Now the 28-75mm F2.8 G2 will be available for Nikon Z mount as the ideal everyday lens for Nikon full-frame mirrorless camera users.

Product highlights

1. Best image quality in the standard zoom lens class

The new zoom leverages the latest design expertise and comprises an optical construction with 17 elements in 15 groups. Two optimally arranged LD (Low Dispersion) and GM (Glass Molded Aspherical) lens elements control optical aberrations to the highest degree. The lens provides high-resolution performance from edge-to-edge and corner-to-corner over the entire zoom range, even at wide open aperture. In addition, the soft, beautiful, round bokeh that can be achieved with a fast-aperture lens adds a distinctive dimension, especially to portraits. The overall compact size and high performance can be used advantageously with top-class, ultra-high-resolution mirrorless cameras.

2. Fast, quiet VXD linear motor for high-speed and high precision autofocus

The AF drive system employs TAMRON’s VXD linear motor focus mechanism. The high-speed, high-precision AF is exceedingly responsive and provides dependable and accurate focusing performance from MOD to infinity, despite the fast F2.8 aperture. The lens delivers excellent focus tracking of moving objects, so you are always ready for fast action. Additionally, the focus motor is quiet, so it's ideal for shooting both still images and video in situations that demand low noise.

3. Lightweight and compact

The 28-75mm F2.8 G2 is a fast-aperture standard zoom lens with a remarkably compact and lightweight design, just 4.7” (119.8mm) long. The maximum diameter is 75.8mm and it weighs only 19.4 oz. (550g). Filter size is 67mm. With a size that's easy to carry and a light weight that’s well-suited for handheld shooting for extended periods, the 28-75mm F2.8 G2 will surely become your favorite zoom for travel, street shooting, everyday carry, and spontaneous photo opportunities.

4. MOD of 7.1” (0.18m) at the wide end and a maximum magnification ratio of 1:2.7 for creative close-ups

The 28-75mm F2.8 G2 features an MOD of 7.1” (0.18m) at the wide end. The working distance shrinks to around 1.7” (4.4cm) when used at MOD. Because the maximum magnification ratio is 1:2.7, you can get close to your subject for wide macro photography, enabling powerful visual impact with the subject positioned large in the frame while keeping a wide view of the background.

5. TAMRON Lens Utility™ expands the possibilities of still photography and video shooting

The 28-75mm F2.8 G2 is compatible with the dedicated TAMRON Lens Utility software developed in-house by TAMRON that empowers users to easily update the lens to the latest firmware without going through the camera2 and includes functions to support focusing operations and other actions when shooting still images or video. By utilizing a wide range of functions3, users can expand the breadth of expression in still images and video. For example, A-B Focus allows users to limit focusing to two pre-selected focus points, shifting focus from one subject to the other with just a click of the Focus Set Button. Users can also choose between Linear and Non-Linear, which affects how the focus shifts during manual focusing.

6. Enhanced overall lens design for user-friendly operation

Every individual part of the lens has been carefully scrutinized, right down to the fine details, resulting in an enhanced design that optimizes both operability and ergonomics. The surface of the lens exterior is glossy black. Improved abrasion resistance makes the lens barrel harder to scratch and resists fingerprints. Additionally, the grip performance has been improved. The smoothly curved, elegant surface of the brand ring creates a dignified appearance with a design that signifies functional beauty and high quality.

7. Moisture-Resistant Construction and Fluorine Coating provide extra protection

1. The lens for Sony E-mount previously launched on October 28, 2021.

2. To connect your PC and lens, use the TAMRON Connection Cable (USB Type-A to Type-C/ Model CC-150, or USB Type-C to Type-C/ Model CC-350) sold separately. To connect your smartphone and lens, use the TAMRON Connection Cable (USB Type-C to Type-C/ Model CC-350) sold separately. Lens firmware updates are not supported with the Mobile version. Performing firmware updates requires the TAMRON Lens Utility for PC and a computer.

3. The ring function (Focus/Aperture) is not supported for Nikon Z mount.

Tamron 28-75mm F2.8 Di III VXD G2 specifications

(Length and weight refer to E-mount version)

Photo: Dan Bracaglia

Sony has announced major firmware updates for four of its current full-frame range, bringing many features and behaviors up to its latest standards and adding C2PA authenticity verification capabilities.

Sony a1 f/w v2.00

Firmware v2.00 for the Sony a1 is perhaps the most extensive, adding features that have appeared in other models in the three-and-a-bit years since it was launched, such as the lens breathing compensation function. It also adds a handful of new features and modifications of behavior, including an option to ensure the EVF remains on, regardless of the LCD position, and relay playback of images across multiple media. Among the extensive list of additions an updates are features such as Timecode Sync, previously only available in Sony's Cinema Line cameras.

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A series of FTP options, including SFTP support are also added.

The firmware doesn't activate the C2PA function – which not only authenticates the camera and date/time but also that the photo is of a 3D subject, not a photo of a photo – but instead adds the capability to the camera. Once installed, users need to activate a separate license via the Creators' App to use the function.

Sony a7S III f/w v3.00

Firmware v3.00 brings many of the updates seen in the a1, including Timecode Sync, breathing compensation and relay playback. It also adds the ability to close the mechanical shutter when the camera is turned off, to mitigate dust ingress, and the ability to transfer Raw files to smartphones.

In addition to the C2PA capability, firmware v3.00 includes the ability to add DCI 4K 24p shooting. Again a license needs to be downloaded to a camera running the new firmware to actually activate the function.

Sony a7 IV f/w v3.00

As one of the most recently updated cameras on this list, the a7 IV gains fewer features than the other cameras here. But in addition to C2PA capability, it adds network streaming, direct cloud upload support and an expansion of the features accessible via software development kit (SDK).

Sony a9 III f/w v2.00 [Expected April 9th]

As the newest of the cameras here, the a9 III receives fewer additions and updates than the a1 and a7S III, as in many instances they are gaining the features that the latest a9 introduced. However, in addition to details such as outputting lens names in video file metadata, the a9 III gains the promised ability to use the camera's full shutter speed range when continuous shooting. But beyond this, the a9 III gains a small array of feature expansions and refinements being added across the four cameras, including the ability to extract stills from video capture, to take advantage of its lack of rolling shutter.

Sony Electronics Delivers Firmware Updates including C2PA Compliancy as a Next Step to Ensure Authenticity of Images

More than 45 Updates for the Alpha 1, Alpha 9 III, Alpha 7S III, and Alpha 7 IV will also improve Shooting Functions and Workflow

SAN DIEGO, March 27, 2024 – Today, Sony Electronics delivers the highly anticipated firmware updates for the Alpha 1 (Ver. 2.00), Alpha 7S III (Ver. 3.00), Alpha 7 IV (Ver. 3.00), and after April 2024, the Alpha 9 III (Ver.2.00). The update contains some of Sony’s most impactful technology, including Camera Authenticity Solution, the proprietary in-camera digital signature and C2PA (Coalition for Content Provenance and Authenticity) format support1. Together, these tools will make it possible for news agencies to ensure the authenticity of images, contributing to industry efforts to protect creators, and society from fake imagery.

Additionally, the firmware updates include many requested features to improve everyday use. The update evolves shooting functions and post-shooting workflow and brings advanced movie features like breathing compensation. It also includes new remote-control capabilities, new features for professional applications, and expanded access to cloud services applications.

“There is nothing more core to our mission than listening to the voices of the photographers, videographers, and filmmakers who shoot with Sony Alpha cameras. We know this community has been asking for these updates, and we’re happy to deliver. Each of these updates are designed to promote ease of use for our creators and allow them to maximize the strengths of their cameras,” says Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “We’re especially pleased to deliver C2PA compliancy with this update. This compliancy paired with our unique digital signature technology, allows us to offer the most secure and comprehensive solution to protect professional photographers, news agencies, and society from manipulated imagery.”

Camera Authenticity Solution

Last year, Sony announced its commitment to developing technology in its cameras to aid in the fight against manipulated imagery and AI-generated fakes. The severity of this issue is only increasing and it’s a complex problem that requires the focus and attention of our entire industry.

One critical part of the solution is making more Sony cameras C2PA compliant. C2PA is a Joint Development Foundation project, where Sony is a steering committee member. C2PA aims to develop an end-to-end open technical standard to provide publishers, creators and consumers with opt-in, flexible ways to understand the authenticity, and provenance of different types of media. The C2PA is a standards-setting body that will develop technical specifications on content provenance and authentication by certifying the source and history of media content. With this firmware update, the authenticity information embedded on images from Alpha 1, Alpha 9 III, Alpha 7S III, and Alpha 7 IV can be maintained from capture through publication. This provides professional photographers with the ability to preserve their digital signature from the camera, while tracking the editing history throughout revisions.

Another critical component of the solution is Sony’s in-camera digital signature technology2 that signs images in real-time. This new feature certifies the authenticity of an image at the point of capture and creates a ‘digital birth certificate’ that is retained throughout revisions. The signature contains metadata including 3D-depth information captured through the proprietary technology in the image sensor developed by Sony. This depth information can show if the image captured was of an actual 3D object, vs a photograph of an image or video, providing an extra level of protection and even more assurance of the content’s authenticity, and making Sony’s solution especially unique for photojournalists and news agencies.

Sony’s solution also helps protect the authenticity of content by including an Image Validation Site, which verifies the image even after edits have been made by C2PA-compliant editing software. This service confirms the authenticity of the photo was taken by a specific camera and that the object of the photo is 3D. This service will initially be offered to select news media agencies, expanding to other agencies at a later date.

Sony’s Camera Authenticity Solution overview diagram Example image of 3D Image verification Shooting and Playback Updates

The firmware updates include over 10 new features, as well as improvements to existing features, designed to improve the user’s overall shooting experience. These improved capabilities showcase Sony’s commitment to continuing to evolve the functionality of Sony’s existing camera models. A few highlights of the firmware update functions include:

• Relay Playback: Enables seamless sequential playback from one memory card slot to another on the Alpha 1, Alpha 7S III, and Alpha 9 III.
• Playback Filter Condition: Lets users categorize image playback based on select criteria including date, folder, file format, and more on the Alpha 1 and Alpha 7S III
• Breathing Compensation: The highly requested Breathing Compensation function3 is now available on the Alpha 1 and Alpha 7S III.
• Upgrade DCI 4K / 24.00p Upgrade License on Alpha 7S III: via a free downloadable license through Creators’ Cloud4.
• Sync Release function: Enables simultaneous shutter release with two or more multiple cameras connected to the main camera5 on the Alpha 1 and Alpha 9 III.
• Focus frame display: Focus frame will be displayed on the Remote Camera Tool screen on the Alpha 1 and Alpha 9 III.
• Enhanced image stabilization: The camera body and lens effectively work together to correct larger blurs6 on the Alpha 1.
• Increased upper limit of recordable images in a folder from 4,000 to 9,999 on the Alpha 1, Alpha 7S III, A7 IV, and Alpha 9 III.
• Matching the time code with other devices is now possible with a dedicated adapter cable (sold separately)7 on the Alpha 1 and Alpha 7S III.
• Up to 20 IPTC presets can be on the Alpha 1 and Alpha 7S III.
• Custom Grid Line is available as a paid license basis for some models8.

File Transfer and Network Connectivity

Additional updates aimed to optimize the post-production workflow efficiency include improvements to International Press Telecommunications Council (IPTC) preset and File Transfer Protocol (FTP) transfer operability. To streamline processes for users, expanded cloud upload and application services will be available. Key updates include:

• Cloud upload (camera direct) function allows users to upload images directly to the Sony’s Creators’ Cloud9. Key additional features include simplified camera software updates, direct camera registration to the Creators’ Cloud, and a flexible system for uploading, storing, and sharing content. Additionally, the capability to manage video and LUT files via mobile apps, along with the transfer of RAW files to smartphones, optimizes the creative process in fast-paced environments.
• FTP Transfer Improvements: A “Protected Images Only” option for the Auto FTP Transfer and a “Protect Image in FTP Transfer” option for the FTP transfer function have been added. Available on the Alpha 1, Alpha 7S III, and Alpha 9 III.
• Support for USB streaming10 on the Alpha 1.
• Secure File Transfer Protocol (SFTP) has been added to secure protocol on the Alpha 1, Alpha 7S III, and Alpha 9 III and WPA3-SAE is now supported for wireless LAN on the Alpha 1 and Alpha 7S III.
• Network streaming enables direct live streaming from the Alpha 7 IV to a streaming sitevii.
• Expansion of app support with Creators' App and Monitor & Control app now supported with the Alpha 1 and Alpha 7S III.

Many of these updates are applicable to multiple cameras, however for a list of each body’s specific update please check the Sony website.

Exclusive stories and exciting new content shot with Sony's imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony α - Alpha brand.

1. This feature is available to some news organizations at the press release timing.
2. Both Sony’s in-camera digital signature technology and C2PA compliancy are currently available through a separate upgrade license.
3. For compatible lens information, please refer to the support page (https://www.sony.net/dics/breathing/)
4. For regional app/service availability, check here. To use this service, it is necessary to download and install the upgrade license.
5. Remote Camera Tool Version 4.1.0 is required to activate the function.
6. For compatible lens information, please refer to the support page (https://www.sony.net/dics/fnc1002/)
7. A dedicated adapter cable, which is sold separately, is required to connect to the timecode source equipment.
8. Availability varies depending on country and region. Available through the Upgrade and License Management Suite at https://ulms.sony.net.
9. For regional app/service availability, check here. Creators’ App Ver.2.3.1 or later is necessary. Settings must be made in the Creators' App in advance. For more information, please visit the Creators' App support website (https://www.sony.net/ca/help/opr/)
10. When connecting to a device with a USB Type-C port, please use a commercially available USB cable or a conversion adapter.

Image: Ricoh

The Ricoh GR III HDF and GR IIIx HDF are variants of the company's existing fixed-lens APS-C premium compacts. They feature a unique "highlight diffusion filter" instead of the ND filter fitted in the standard versions of both cameras.

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Ricoh says the HDF has been developed using its inkjet technology and adds a diffusion effect to the images, particularly visible in highlight areas, comparable with a 'black mist' filter. This, it says gives images "resembling those captured in film photography or vintage movies."

By replacing the switchable ND filter in the optical path, the HDF effect can be turned on or off, depending on what you're trying to achieve in each shot. By default, the Fn button will be set to engage and disengage the HDF fitler.

Other than the filter, the cameras gain more customization around white balance (which will come to the standard GR III and GR IIIx in a forthcoming firmware update). There's also a Zone Select AF feature that lets you select a zone within which the camera narrows down when focusing.

The shutter buttons of the HDF versions of the cameras are dark silver, rather than black, to denote the difference, in every other respect, the HDF versions of the cameras are identical to their conventional versions.

Ricoh announces GR series cameras featuring built-in highlight diffusion filter

RICOH GR III HDF and RICOH GR IIIx HDF soften light sources and diffuse highlights for more expressive images that create a sense of depth and emotion

PARSIPPANY, NJ, March 27, 2024 — Ricoh Imaging Americas Corporation today announced the RICOH GR III HDF and RICOH GR IIIx HDF premium digital compact cameras. These new versions of the acclaimed RICOH GR III and RICOH GR IIIx cameras feature a newly-developed Highlight Diffusion Filter (HDF) that diffuses highlights for softer light, creating more expressive images with a sense of depth and emotion. The HDF, which can be turned on and off in a single action, allows the user to add a totally different kind of visual expression to captured images.

Developed using RICOH’s advanced inkjet technology cultivated over the years, this special- effect filter diffuses highlight areas and creates a blurred effect along the image’s edges, making it possible to produce images resembling those captured in film photography or vintage movies. Since the HDF can be instantly switched on and off with a single action, it lets the user effortlessly alternate between two completely different visual expressions — clear, sharply focused images characteristic of the RICOH GR series, and softer light, more expressive images captured by the HDF — depending on the subject or creative intention.

“The RICOH GR III HDF and RICOH GR IIIx HDF inherit the fundamental merits of our GR series – exceptional image quality, flawless point-and-shoot operation and outstanding portability,” said Ken Curry, president, Ricoh Imaging Americas Corporation. “The new GR HDF models give users a new creative option that expands the visual boundaries of snapshot photography.”

| Pricing and Availability |

The RICOH GR III HDF and RICOH GR IIIx HDF will be available in April at www.us.ricoh- imaging.com as well as at Ricoh Imaging-authorized retail outlets at a manufacturer’s suggested retail price of $1,069.95 for the RICOH GR III HDF and $1,149.95 for the RICOH GR IIIx HDF.

| Main features of the new RICOH GR III HDF and RICOH GR IIIx HDF |

• Single-action switching to the new, built-in HDF to create softer light, more expressive images:
  The new GR HDF versions incorporate the newly developed HDF (Highlight Diffusion Filter) to emphasize highlights and produce softer light and more expressive images. Developed using RICOH’s advanced inkjet technology cultivated over the years, this special-effect filter diffuses highlight areas and creates a blurred effect along the image’s edges, making it possible to capture images resembling those captured in film photography or vintage movies. Since the Highlight Diffusion Filter can be instantly switched on and off with a single action, it lets the user effortlessly alternate between two completely different visual expressions — clear, sharply focused images characteristic of the RICOH GR series, and softer light, more expressive images captured by the HDF — depending on the subject or creative intention. This creative versatility expands the visual boundaries of snapshot photography.
• The color of the shutter-release button has been changed to dark silver to subtly differentiate the HDF models from other GR series models and to symbolize the effortless shift of visual expression. The default setting of the Fn (Function) button has also been changed to the ON/OFF switching of the HDF,* allowing the user to quickly engage the HDF with a press of a button.
• The user can pre-program up to three white-balance settings as the base white balance.** It is also possible to couple the base white balance with the White-balance Fine Adjustment function.
• The new models feature Zone Select AF,*** which automatically sets the focus at the most appropriate point within the image area after the user shifts the 3X3 focus area to the desired zone.

* The user can also select another function as the default setting of the Fn button.
** This function can be added to all RICOH GR III- and GR IIIx-series models using function- expansion firmware, which is scheduled to be released along with the market launch of these new models.
*** The 3X3 focus area is identical in size to that of the Auto-area AF (Center) mode.

Image: Meike

Meike Global has released its first APS-C lens for Fujifilm, Sony and Nikon cameras. The new 55mm F1.4 targets photographers looking for a fast prime lens. At $200, the lens could be a sound budget alternative to similar lenses available on the market.

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Buy now:

$200 at B&H Photo$200 at Meike

The 55mm F1.4 uses 11 elements in 8 groups and has nine aperture blades. It has a minimum focusing distance of 0.6m (23.6”) and weighs 286g (10.1oz). Along the barrel, there is an AF/MF switch, a manual focus ring and an aperture ring. Meike has included a USB-C port at the rear of the lens, which it says will be used to install future firmware updates.

The $200 asking price is notably cheaper than other fast, APS-C prime lenses around the 55mm focal length.

Image: Meike

Meike’s 55mm lens has a de-clicked aperture ring, which may present an issue for users seeking a tactile response or greater precision. Meike also confirmed to DPReview that the lens isn’t weather-resistant, which may not be a surprise at this price point, but it’s good to know exactly what you’re buying.

Another consideration: although the company has a large catalog of manual focus lenses, this is only the Hong Kong-based manufacturer's fifth autofocus lens. This isn’t necessarily a bad thing, but it’s good to keep in mind that the company is relatively new to implementing the technology.

The Meike 55mm F1.4 APS-C is now available.

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The Sigma 50mm F1.2 DG DN Art is a lightweight prime lens aimed at travel, portrait and street photographers. At 745g (26.3oz) and 109mm (4.3") in length, it's also light and portable – Sigma claims it is the lightest lens of its type.

We got our hands on the lens recently, and it happened to be cherry blossom season, so you know we had to visit them for a sample gallery. We also made street portraits and visited Seattle's nightlife to make the most of our time with the lens.

View our Sigma 50mm F1.2 DG DN Art 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:

$1399 at B&H Photo$1399 at Adorama

Image: Nikon

Nikon has announced the Nikkor Z 28-400mm F4-8 VR, a superzoom lens with a 14.2x zoom range. Nikon tells us the lens is designed to meet the needs of both photo and video users.

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The 28-400mm F4-8 comprises 21 lens elements in 15 groups, including three aspherical and four ED lens elements, with nine aperture blades. It has a close focus distance of 0.2m (7.8") at 28mm and 1.2m (3.9 ft) at 400mm and a maximum reproduction ratio of 0.35x at 28mm.

Buy now:

$1297 at B&H Photo$1297 at Adorama

Additionally, the lens includes Nikon's vibration reduction (VR) technology, delivering 5.0 stops of image stabilization at 400mm, per CIPA standard, and up to 5.5 stops using Nikon's Synchro VR technology when paired with select Nikon cameras, including the Z8 and Z9, that have in-body stabilization.

Autofocus comes in the form of a stepping motor to deliver fast and quiet autofocus, and manual focus includes support for a linear focus response, which should appeal to video shooters.

This photo of the Z 28-400mm F4-8 VR, captured during our hands-on time with the lens, shows its size relative to the Nikon Z8.

Weighing in at 725g (1.6 lbs), the lens is 85mm (3.4") in diameter and 142mm (5.6") long when collapsed. It uses a 77mm filter thread.

The lens includes a compact, square lens hood, and Nikon describes the lens as dust and drip-resistant.

Pricing and availability

The Nikkor Z 28-400mm F4-8 VR will be available from mid-April at a suggested retail price of $1,299.

Nikon 28-400mm F4-8 VR pre-production sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_5462766060","galleryId":"5462766060","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) }); The All-In-One Lens that Goes the Distance: Nikon Releases the Nikkor Z 28-400mm F/4-8 VR Full-Frame Super Zoom

Versatility and Portability with Wide-Angle to Super-Telephoto Coverage

MELVILLE, NY (March 27, 2024) Today Nikon Inc. announced the release of the NIKKOR Z 28-400mm f/4-8 VR, a supremely versatile high-power super-zoom lens for Nikon Z series full-frame/FX-format mirrorless cameras. This latest addition to the expanding line of NIKKOR Z lenses offers the highest zoom ratio in its class*1, making it a must-have for travel, sports, backyard wildlife and more.

“So many photographers and creatives will love the versatility of the NIKKOR Z 28-400mm, which gives you clarity, range and fantastic backgrounds,” said Naoki Onozato, President and CEO, Nikon Inc. "Wherever your travels lead, this is definitely a lens to consider packing.”

The NIKKOR Z 28-400mm f/4-8 VR is a high-magnification zoom lens that covers a broad range of focal lengths — from 28mm to 400mm. Whether up close or far away, from landscapes to distant vistas, users will appreciate the extreme versatility and powerful capabilities of the 14.2× zoom. Although it is a super-telephoto zoom lens with a range up to 400mm, it’s also the lightest in its class*1, weighing only approximately 1.6 lbs (725 g), making it easy to carry when traveling.

This new lens also has a remarkably close minimum focus distance*2 of only 7.8 in. (0.2 m) at the maximum wide-angle position and 3.9 ft. (1.2 m) at the maximum telephoto position. The maximum reproduction ratio of 0.35x lets users capture close-ups at short distances for food, flowers and animals. When shooting far away, users can fill the frame with their subject and still have a pleasing blurred background.

The NIKKOR Z 28-400mm f/4-8 VR uses a stepping motor (STM), which enables fast and quiet autofocusing, allowing rapid focus on moving subjects. The lens also features a vibration-reduction (VR) function with performance equivalent to 5.0 stops, which helps achieve sharp photos and stable video with ease, even when handheld.*3

Primary features of the NIKKOR Z 28-400mm f/4-8 VR

• Covers a broad range of focal lengths— from 28mm to 400mm, with a 14.2× zoom which is a first among NIKKOR Z lenses.
• A minimum focus distance of 0.2 m at the maximum wide-angle position and a maximum reproduction ratio of 0.35× allow users to get closer to their subjects for dynamic expression.
• A total length of approx. 5.57 in. (141.5 mm) and a weight of approx. 1.6lbs (725g)– the lightest lens in its class– make this an easy lens to carry and shoot hand-held.
• Stable VR performance equivalent to a 5.0-stop increase in shutter speed effectively reduces blurring in dimly lit surroundings and with hand-held shooting. When paired with a compatible camera, Synchro VR can be activated to achieve up to 5.5-stop stabilization*4 by combining in-camera VR and lens VR.
• Stepping motor (STM) enables high-speed AF drive.
• Support for linear MF drive enables smooth focusing, which is especially useful for video shooting.
• Comes with a compact, square lens hood that combines superior performance and usability.
• Designed to be dust- and drip-resistant with thorough sealing on various portions including movable parts of the lens barrel to keep dust and water droplets from entering the lens.*5

Price and Availability

The new NIKKOR Z 28-400mm f/4-8 VR lens will be available in mid-April for a suggested retail price of $1299.95*. For more information about the latest Nikon products, including the vast collection of NIKKOR Z lenses and the entire line of Z series cameras, please visit Nikonusa.com.

*1. Among lenses with a zoom ratio of 10x or over for full-frame/FX-format interchangeable-lens mirrorless cameras, announced as of March 27, 2024.
*2. When capturing close-ups with the lens hood attached, take care that the lens hood does not come into contact with the subject.
*3. Measured in accordance with CIPA standards with VR function set to “NORMAL”, and zoom at the maximum telephoto position.
*4. Measured in accordance with CIPA standards with VR function set to “NORMAL” when combined with cameras that support Synchro VR.
*5. Thorough dust- and drip-resistance is not guaranteed in all situations or under all conditions.

Nikon Z 28-400mm F4-8 VR specifications Principal specificationsLens typeZoom lensMax Format size35mm FFFocal length28–400 mmImage stabilizationYesCIPA Image stabilization rating5 stop(s)Lens mountNikon ZApertureMaximum apertureF4–8Minimum apertureF22–45Aperture ringNoNumber of diaphragm blades9OpticsElements21Groups15Special elements / coatings3 Aspherical; 4 EDFocusMinimum focus0.20 m (7.87″)Maximum magnification0.35×AutofocusYesMotor typeStepper motorFull time manualUnknownFocus methodExtending frontDistance scaleNoDoF scaleNoPhysicalWeight725 g (1.60 lb)Diameter85 mm (3.33″)Length142 mm (5.57″)MaterialsPlasticSealingYesColourBlackZoom methodRotary (extending)Power zoomNoZoom lockYesFilter thread77 mmHood suppliedYesTripod collarNo

Buy now:

$1297 at B&H Photo$1297 at Adorama

Image: Sigma

Sigma has announced the 50mm F1.2 DG DN Art, its second F1.2 lens for the E and L full-frame mirrorless camera mounts.

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The company says the lens is designed give full detail levels even at maximum aperture. It uses 17 elements, four or which are aspherics, in 12 groups and has thirteen rounded aperture blades. It has an internal focus design with an 'HLA' high-thrust linear actuator to drive it.

The 50mm F1.2 will focus as close as 40cm (15.8"), giving up to a 1:6.2 reproduction ratio.

It weighs 745g (26.3oz) which Sigma says makes it the lightest lens of its type. Its 109mm (4.3") length makes it less than 1mm longer than the smallest of the major makers' 50mm F1.2 lenses.

Sigma says the lens will be available from April 18th at an MSRP of $1,399.

Sigma 50mm F1.2 DG DN Art sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

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Press Release:

SIGMA 50mm F1.2 DG DN

Unveiling another SIGMA Art line F1.2 lens. Elevating photographic mastery beyond conventional limits.

1. Highest descriptive power to take advantage of F1.2 brightness
2. Lightest weight lens body in its class, suitable for a wide range of applications
3. A wealth of functions for professional use and excellent build quality

The lightest in its class* ― Bright F1.2 maximum aperture and the highest level of descriptive power from SIGMA’s Art line

SIGMA's Art line has been offering new possibilities and surprise for expression, and now the SIGMA 50mm F1.2 DG DN | Art is here to break the standards. SIGMA's focus with this lens is on the descriptive power that is perfectly usable from the widest aperture, and on portability that allows the high performance to be demonstrated in any field. In terms of image rendition, SIGMA achieved high resolving power from the maximum aperture throughout the entire focus range, while also enriching the beauty of the large bokeh effect at F1.2. In addition, the lens construction and mechanical design have been stripped down to the bare essentials, resulting in a significantly compact and lightweight body. The lens is also equipped with a full range of functions suitable for professional use, including high-precision AF using the latest HLA (High-response Linear Actuator) that reduces volume while maintaining the same thrust. We hope users will enjoy the superb Art F1.2, which will transform everything they capture and even their photographic experience into something extra special.

[Key Features] 1. Highest descriptive power to take advantage of F1.2 brightness

The SIGMA 50mm F1.2 DG DN | Art has been designed with an emphasis on high resolution from the maximum aperture to the full focus range and large, beautiful bokeh expression. The contrast between the sharpness of the focus surface and the melting bokeh effect creates a three-dimensional effect thanks to its F1.2 aperture. In addition, the 13-blade diaphragm allows for beautiful bokeh expressions. Focus breathing is also well-suppressed that the F1.2 rendering can be fully utilized in video recording.

Brightness of F1.2 maximum aperture and high resolution from minimum to infinity focus
The latest optical design achieves high resolving power with each aberration thoroughly suppressed from the maximum aperture. The lens is capable of rendering details without color bleeding in any situation. In addition, the incorporated floating focus is advantageous in improving short-range performance, ensuring a stable, high-level image quality throughout the entire range from the minimum focusing distance to infinity.

Rich and beautiful bokeh without color bleeding
By correcting spherical aberration, sagittal coma flare, axial chromatic aberration, and other aberrations, the lens delivers natural bokeh images that blur smoothly and without color bleeding from the focal plane. Double-line bokeh is also suppressed, allowing users to take advantage of the mellow bokeh effect in their expression.

Rounded diaphragm with 13 blades
The lens incorporates SIGMA's first 13-blade diaphragm, which maintains a circular shape even when stopped down from the maximum aperture. The surface accuracy of the aspherical lens has been enhanced to the utmost to enable smooth and beautiful round bokeh expressions.

Designed to minimize focus breathing
Optimization of the focus group arrangement and aspherical shape significantly suppresses focus breathing. The change in angle of view due to focus shift is minimized, creating a natural-looking focus shift when recording video.

Designed to minimize flare and ghosting
Flare and ghosting, which reduce image quality, are addressed under all conditions of incident light, based on the most advanced simulation technology. High backlight resistance enables clear and sharp images under any lighting conditions.

2. Lightest weight lens body in its class*, suitable for a wide range of applications

By uncompromisingly pursuing high optical performance and portability, which are inherently contradictory, the highest level of performance has been condensed into the lightest lens body in its class. The SIGMA 50mm F1.2 DG DN | Art can be used not only in limited situations and applications, but in all kinds of shooting environments.

Dual HLA incorporating a new system
A new system was developed that significantly reduces the volume while maintaining the same thrust of the HLA, which is characterized by its high driving accuracy and quietness, and is featured in each of the two focus groups. This technological innovation has realized both high-speed autofocus and a compact lens body.

Lens construction and mechanical design stripped down to the absolute minimum
Each piece of glass is made as thin as possible while employing glasses with a high refractive index and four aspherical lenses. The high level of production technology at SIGMA’s only manufacturing base, the Aizu factory, provides the exacting precision necessary for processing these thin glass elements and making this mass production possible. In addition, the floating focus ensures high performance while shortening the overall length, resulting in a compact lens. In the mechanical design phase, emphasis was placed on weight reduction. Through the systematic elimination of individual components, SIGMA attained the distinction of producing the lightest lens in its class, weighing a mere 745g / 26.3oz.*2

3. A wealth of functions for professional use and excellent build quality

In addition to various functions that support photography, such as the AFL button*3 and an aperture ring, the construction of the lens body itself and its high-quality touch and feel are also pursued. The SIGMA 50mm F1.2 DG DN | Art is designed with high functionality and reliability to meet the stringent demands of professionals, as well as excellent build quality for long-lasting, reliable use.

Proud to be a tool of expression, excellent build quality with SIGMA’s Art line specifications
By assembling high-precision parts made of lightweight and strong TSC*4 and other materials, the lens has the high level of rigidity and durability of SIGMA’s Art line specifications without sacrificing portability, as well as excellent build quality that allows for long-lasting and reliable use as a photographic tool.

Various shooting assist functions
The lens is equipped with an AFL button which can be assigned to a range of functions via the menu on selected cameras. In addition to the aperture ring, the lens is equipped with an aperture ring lock switch and a click switch to turn the click on and off.

Dust and splash resistant structure*5 and water and oil repellent coating
In addition to a dust and splash resistant structure, the front element of the lens features a water and oil repellent coating, allowing photographers to shoot without concerns even in harsh outdoor environments.

Including a petal-type hood with lock
A dedicated petal-shaped hood is supplied. A locking mechanism is provided for secure attachment.

[Additional features]

• Lens construction: 17 elements in 12 groups (4 aspherical elements)
• Inner focus system
• Compatible with high-speed autofocus
• HLA (High-response Linear Actuator)
• Compatible with Lens Aberration Correction*6*7
• Supports DMF and AF+MF
• Compatible with AF assist (for Sony E-mount only)
• Super Multi-Layer Coating
• Water and Oil Repellent Coating (front element)
• Aperture ring
• Aperture ring click switch
• Aperture ring lock switch
• AFL button*8
• Focus Mode switch
• Support for switching between linear and non-linear focus ring settings (for L-Mount only)*9
• Dust and Splash Resistant Structure
• Petal-type hood with lock LH782-03
• Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
• Designed to minimize flare and ghosting
• Every single lens undergoes SIGMA’s proprietary MTF measuring system
• 13-blade rounded diaphragm
• High-precision, durable brass bayonet mount
• Mount Conversion Service available
• “Made in Aizu, Japan“ craftsmanship

*As an AF 50mm F1.2 interchangeable lens for full-frame mirrorless cameras. (As of March 2024 by SIGMA)
*2 These figures are for L-Mount
*3 Function available on supported cameras only. Available functions may vary depending on the camera used.
*4 TSC (Thermally Stable Composite) is a type of polycarbonate with a thermal expansion rate similar to that of aluminum. It has a high affinity to metal parts, which contributes to high quality product manufacturing.
*5 The structure is designed to be dust and splash resistant, but not waterproof. Be careful not to bring the lens in contact with a large amount of water. Water inside the lens may cause major damage and even render the lens unrepairable.
*6 Function available on supported cameras only. Available corrections or auto correction functionality may vary depending on the camera model.
*7 On cameras where lens aberration correction is controlled with ‘ON’ or ‘OFF’ in the camera menu, please set all aberration correction functions to ‘ON‘(AUTO).
*8 Function available on supported cameras only. Available functions may vary depending on the camera used.
*9 Function available on supported cameras only.

Sigma 50mm F1.2 DG DN Art specifications Principal specificationsLens typePrime lensMax Format size35mm FFFocal length50 mmImage stabilizationNoLens mountL-Mount, Sony E, Sony FEApertureMaximum apertureF1.2Minimum apertureF16Aperture ringYesNumber of diaphragm blades13Aperture notesRounded bladesOpticsElements17Groups12Special elements / coatings4 aspheric elementsFocusMinimum focus0.40 m (15.75″)Maximum magnification0.16×AutofocusYesMotor typeLinear MotorFocus methodInternalDistance scaleNoDoF scaleNoPhysicalWeight745 g (1.64 lb)Diameter81 mm (3.19″)Length109 mm (4.29″)Filter thread72 mmHood suppliedYesHood product codeLH782-03Tripod collarNo

Image: Fujifilm

Updated March 21st

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

Fujifilm UK has revised its plan for distributing its 110 units and is now asking prospective buyers to register for the Fujifilm X mailing list. A link to join a ballot will be sent out on March 25th, making it easier for photographers outside London to apply.

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

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

• US: Fujifilm online store (300 cameras, March 21-23, first come, first served)
• UK: Ballot of applicants via Fujifilm X email list (110 cameras)
• Australia: Fujifilm House of Photography (75 cameras, window closed)

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

View this post on Instagram

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

The X100VI Limited Edition will have a production run of just 1,934 cameras worldwide, a nod to the company's founding in 1934. Limited Edition cameras are available in silver and have Fujifilm's original logo engraved on the top plate and matching lens cap. Each camera will be individually numbered from 0001 to 1934, with numbers engraved on the camera's hot shoe. The camera will also include a titanium shutter button, a soft-release shutter button accessory, a special strap, and Fujifilm history cards.

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

Even the standard edition X100VI can be hard to come by right now, but unlike the Limited Edition, it's available to order today.

Buy now:

$2999 at Amazon.com$1599 at B&H Photo$1599 at Adorama

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Product photos by Brendan Nystedt

87%Overall scoreJump to conclusion

Almost six years after the announcement of the Lumix DC-G9, Panasonic rolled out its successor, the Lumix DC-G9 II. This is the company's high-end model aimed at stills shooters, and it is the first-ever Lumix Micro Four Thirds camera to include phase detection autofocus. Despite its target demographic, the G9 II comes with a surprisingly long list of video features as well. A thorough redesign, the G9 II is based on the chassis of the full-frame Lumix S5 II and S5 IIX, giving it room for plentiful controls and ports.

Key specifications

• 25MP CMOS sensor with dual output gain
• 5-axis in-body image stabilization (CIPA-rated to 8 stops)
• On-sensor phase detection (779 points)
• 3", 1.84M-dot fully articulating touchscreen
• 3.86M-dot OLED electronic viewfinder with 0.8x magnification
• 60 fps burst shooting with AF-C and electronic shutter (10 fps mechanical)
• 100MP handheld high-res mode
• Up to 5.8K Open Gate 4:2:0, C4K 4:2:2 10-bit, with V-Log and HLG
• ProRes 422 and 422 HQ recording to SSD
• Raw output to Atomos and Blackmagic external recorders
• 390 shots per charge battery life (using LCD)
• USB-C power delivery
• Dual UHS-II card slots

The G9 II is priced at $1899 body-only: a $200 increase from its predecessor.

Buy now:

$1898 at B&H Photo $1898 at Adorama $1898 at Amazon Index:

• What's new
• How it compares
• Body & handling
• Image quality
• Autofocus
• Video
• Conclusion
• Sample gallery
• Specifications
• Press release

• Sept 12: Initial review published
• Mar 25: Image quality, Autofocus, Video, Conclusion and additional Sample gallery published

What's new The Lumix G9 II is a departure from the original G9 design in a few key ways.

Rather than a refresh of the original DSLR-like Lumix G9 concept, the G9 II goes in a more modern direction. Not only does it take technological advancements from the full-frame Lumix S lineup, it has the same external design as the S5 II announced earlier in the year. It's taller, more squared off, and has more controls than its predecessor. It isn't just a similar design – it's literally the same outer shell, but without fan vents and with a different lens mount and sensor inside.

Hybrid autofocus and DR Boost improvements

The G9 II is based around a sensor related to the one in the GH6, but that Panasonic says has been revised at both the hardware and software levels. The most obvious difference is that the version in the G9 II has phase-detection elements that make it the first Micro Four Thirds Lumix model to offer inherently depth-aware autofocus.

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The other change that will make a big difference is the way the dual output gain system works. Panasonic describes it as having two parallel readout paths that are subjected to differing levels of gain, which are then combined. This way, you get the highlight capture benefits of low gain and the cleaner shadow performance of high gain paths, combined as a 16-bit Raw file to ensure room to encode this widened dynamic range.

The sensor in the G9 II is derived from the one in the GH6 but with some key improvements, both in hardware and software.

For the G9 II, Panasonic appears to have reduced the lowest step offered by the high-gain path. Whereas on the GH6, the high gain (shadow) path was only used at ISO settings three stops above base (ie, ISO 800 in standard color modes, ISO 2000 in V-Log mode), on the G9 II, Panasonic says it's available from base ISO upwards, suggesting the high gain step can be dropped further, to make it available at these lower ISOs.

However, it's worth noting that the GH6's base ISOs were 100 for standard color modes and 250 for V-Log, but for the G9 II, they're 100 and 500, respectively. The one-stop jump in base ISO in V-Log mode seems to suggest a high-gain path applying one stop more gain than the low path in its base state (rather than the 3-stop difference required for DR Boost on the GH6). This doesn't explain how Panasonic can offer a mode that includes a high-gain component while maintaining the same ISO 100 rating for standard gamma, and it's interesing to note that when you exceed 60fps (where the Dual Output mode can't operate) that the minimum ISO in V-Log drops to 250, suggesting this might still be the true 'base' state.

More video than you'd expect

Unlike the G9, which gained a lot of video features after launch, the G9 II throws in everything but the kitchen sink right from Day 1. Panasonic swears this is a camera for still shooters, but the number of video resolutions and features accounted for – including V-Log, open gate 5.8K, and ProRes support – sure make it feel almost as hybrid as the GH6 or S5 IIX. It retains the full-size HDMI port of the S5 II series and can even record directly to a USB-C SSD.

Although not marketed as a hybrid model, the G9 II has a ton of features that make it interesting for hybrid shooters and those curious about video.

With its improved autofocus, why would anyone buy a GH6 over the G9 II? Rest assured that CFexpress card support and the built-in fan let the GH6 retain its hybrid crown for now. Panasonic says that G9 II shooters should think of this camera more as a B-cam than a primary run-and-gun setup and that the lack of a fan might become an issue when shooting high-res video in hot environments.

Improved IBIS

The smaller Four Thirds-type sensor is cushioned from jostles by an aggressive 8-stop CIPA-rated in-body image stabilization system. Panasonic says that the SyncIS system, where the sensor and lens stabilization systems work together, is only rated for 7.5 stops and that they're reaching the physical limits of the lens-based optical stabilization systems at this point. There is a benefit though: the synchronization between the body and lens' IS systems allows the camera to maintain 7.5 stops of correction at longer focal lengths where the in-body system alone could not.

High-resolution mode

The improved IBIS also enables the G9 II's 100MP handheld high-res mode. Although the higher resolution of this mode means it's a little slower to stitch its photos together, the more sophisticated algorithm Panasonic uses does a good job of reducing subject motion.

There are two motion blur processing modes; mode 1 doesn't attempt it at all, and mode 2 does.

Handheld 100MP | ISO 100 | 1/250 sec | F5.6 | Leica DG 12-60mm F2.8-4 @ 38mm equiv.

Photo: Jeff Keller

The scene above is bustling, and you can see how well the G9 handled motion in this 100 Megapixel photo. A few people have extra feet, but otherwise, motion is handled very well.

While we're on the subject of high resolution, here's a real-world example of tripod mode. You'll find an additional example in our studio scene further down the page.

$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-3649968","widgetId":912,"initialStateId":5887}) }) Subject detection improvements

Panasonic's older depth-from-defocus AF system lagged behind the competition somewhat, but the G9 II looks to address that. With the addition of distance-aware phase-detection, the G9 II also brings some new subject detection and tracking algorithms.

There are a number of subject types in the AF menu, including animals (mainly pets, but also can track birds), one for cars (targeting motorsports photography), and another for motorcycles (which they say may work for bicycles, depending on the angle of the subject). Like the G9 II's improved human detection, the animal mode has eye detection as an additional option.

Cropped to taste. Shot in full area AF mode with animal tracking and continuous focus.
ISO 125 | 1/400 sec | F4 | Leica DG 50-200mm @ 384mm equiv.

Photo: Jeff Keller

Live Composite

Once a feature exclusive to Olympus cameras, Live Composite made its way to Panasonic's mirrorless lineup in 2020. This is essentially a multi-exposure mode where objects that do not change brightness are left alone during each shot. All you need to do is set the exposure time you want and the delay before shooting starts, then press the shutter release. The camera will silently take photos until you press the button again.

Converted from Raw using ACR. Exposure slightly brightened. Shot in Live Composite mode.
ISO 400 | 8 sec per exposure | F3.5 | Leica DG 8-18mm F2.8-4 @ 20mm equiv.

Photo: Jeff Keller

How the Panasonic Lumix DC-G9 II compares to its peers

The new Panasonic Lumix G9 II comes in at a high price, befitting a flagship model (at least, as Panasonic's G-series flagship for stills). Unfortunately, there's a lot of competition in the ∼$2K high-performance camera category. While the newcomer significantly out-specs its predecessor, its stills rival in the Micro Four Thirds world: the OM System OM-1 Mark II, is lighter, has better battery life, and a higher-res EVF. It's also quite a bit more expensive.

That's not to mention the slew of fantastic APS-C cameras out there, and we've included the Fujifilm X-T5 and Sony a6700 as two of the best, both of which are cheaper than the Lumix.

Panasonic Lumix G9 II Panasonic Lumix G9 OM System OM-1 II Sony a6700 Fujifilm X-T5 MSRP $1899 $1699 $2399 $1399 $1699 Pixel count 25.2MP

20.2MP

20.4MP 26MP 40MP Sensor size Four Thirds
(225mm²) Four Thirds
(225mm²) Four Thirds
(224mm²) APS-C
(361mm²) APS-C
(369mm²) Image stabilization In-body + in-lens In-body + in-lens In-body + in-lens In-body or in-lens In-body or in-lens Max burst rate 10 fps (mech shutter)
60 fps (elec shutter)

9 fps (mech shutter)
20 fps (elec shutter)

10 fps (mech shutter)
50 fps (elec shutter)

11 fps (mech shutter)
11 fps (elec shutter)

15 fps (mech shutter)
23 fps (elec shutter)

Viewfinder res / mag 3.68M dots
/ 0.8x 3.68M dots / 0.83x 5.76M dots / 0.83x 2.36M dots / 0.70x 3.69M dots
/ 0.8x Rear screen 3.0", 1.84M dot articulating touchscreen 3.0" 1.04M dot articulating touchscreen 3.0", 1.62M dot articulating touchscreen 3.0", 1.04M dot articulating touchscreen 3.0", 1.84M dot articulating touchscreen Video capabilities Up to 5.8K/30p open-gate 4:2:0 10-bit Up to C4K/30p 4:2:2 10-bit Up to DCI 4K/60p 10-bit Up to 4K/60p oversampled Up to 6.2K/30p, 4K/60p sub-sampled Log video V-Log, HLG $100 V-Log firmware OM-Log400, HLG S-Log3, HLG F-Log, F-Log 2, HLG Mic/ Headphone sockets Yes / Yes Yes / Yes Yes / Yes Yes / Yes Yes / Yes Battery life
(LCD) 390 400 520 570 580 Card slot 2x UHS II SD 2x UHS II SD 2x UHS II SD 1x UHS II SD 2x UHS II SD Weight
(loaded) 658g (23.21oz) 658g (23.21oz) 599g (21.13oz) 493g (17.4oz) 557g (19.6oz)

On the whole, the G9 II is fairly competitive in the Micro Four Thirds system. But looking at the APS-C options out there (like the Sony A6700 and Fujifilm X-T5), the G9 II doesn't appear to bring anything spectacular to the table, even if it is a noteworthy move forward for Panasonic's G-series. That said, it's alone here in being able to output video to an external SSD, if video is your thing.

Body and handling Looking at it from the back, the Lumix G9 II offers up a new 8-way joystick and an improved autofocus selector.

While the original G9 was far from compact, it certainly had a different design philosophy than its successor. Seemingly aimed at DSLR photographers, it was a wide camera with a big backlit top plate LCD. That camera also only had a single exposure mode dial (on the side opposite the grip), front and rear command dials, and a power switch that surrounded the shutter button.

The new G9 II, by comparison, feels more modern. Since it's basically the same design as the Lumix DC-S5 II, this camera throws a ton of controls at the user. Make no mistake: this is a clean-sheet redesign, and if you were a big fan of the original, you might be disappointed that nothing has remained the same. That said, for everything you lose (like the top LCD, front Fn lever, and flash sync port), you gain a whole lot more (more ergonomic twin dials, a more prominent AF selector switch, a dedicated dial for continuous shooting, and an upgraded 8-way joystick).

The Lumix G9 II, unlike the very similar S5 II, lacks fan vents at the bottom of the EVF hump.

And although the G9 II is taller and the grip a bit shallower, it still manages to feel plenty comfortable to hold, despite some of the rear controls being a bit clustered together. Overall, though, even though the weight is the same as the old model, this Micro Four Thirds body seems quite large for what it is.

Something that some found irritating on the original G9 was the overly sensitive shutter release button. Panasonic has addressed that on the G9 II with a firmer, less trigger-happy design.

What hasn't improved a whole lot is the EVF, which is a 3680k dot (1280 x 960px) panel with a slight decrease in magnification at 0.8x. In use, it's totally passable, and the magnification definitely makes up for the lack of sheer resolution. The rear articulating LCD, on the other hand, is a much higher resolution now at 1840k dots, making for a detailed, bright shooting experience even in direct sunlight.

The addition of a USB-C port and support for USB PD charging is a big step up from the original G9's USB 3.0 Micro B socket.

Like its cousin, the Lumix S5 II, the G9 II packs the ports we'd expect for a flagship camera in 2023. You get a full-size HDMI, fast USB-C PD charging (with 10Gbps transfer speeds and the ability to record stills and video to an external SSD), as well as mic and headphone sockets, the former of which is positioned out of the way of the screen hinge.

On the opposite side are 2 UHS-II speed SD card slots, which can be programmed to work in sequence or in parallel, backing up files on both for redundancy or filling the next card after the first one's full. One benefit that's worth mentioning is that since this is physically just about identical to the S5 II, many accessories will be compatible between the two models, including first-party accessories like the new DMW-BG1 battery grip and third-party add-ons like cages for video rigging.

The 2200mAh battery lets the G9 II shoot around 390 shots on a single charge.

Inside the G9 II is the same DMW-BLK22 16Wh battery as we've seen in other big Lumix models. On the G9 II, however, you're still only getting around 390 shots on a charge according to the CIPA method with either the LCD or EVF. That's lower than other cameras in its class and certainly in its price range, trailing the OM System OM-1 Mark II by 130 shots and the Fujifilm X-T5 by 190.

This is despite Panasonic putting the camera in a deep sleep mode when it's switched off, from which the camera takes 2-3 second to wake. Once awake, subsequent attempts to turn on the camera are quicker, but it's worth being aware that you can't just grab it from your bag and shoot.

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.

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The G9 II captures a decent amount of detail in its Raw files at base ISO, though the OM System OM-1 and Sony a6700 grab a smidge more$(document).ready(function() { $("#icl-5867-106884544").click(function() { ImageComparisonWidgetLink(5867); }); }). Moiré$(document).ready(function() { $("#icl-5868--1483283296").click(function() { ImageComparisonWidgetLink(5868); }); }) is well-controlled and competitive with most of its peers, save for the Sony a6700. At mid-ISOs$(document).ready(function() { $("#icl-5869--562229105").click(function() { ImageComparisonWidgetLink(5869); }); }) the G9 II looks a lot like its peers, but from ISO 6400$(document).ready(function() { $("#icl-5870--1090835201").click(function() { ImageComparisonWidgetLink(5870); }); }) upwards it falls increasingly behind.

Looking at JPEGs, the G9 II appears to use a bit more noise reduction than the other cameras in this comparison, which you can see in these brushes$(document).ready(function() { $("#icl-5871--1710229665").click(function() { ImageComparisonWidgetLink(5871); }); }). Color in JPEGs are vibrant$(document).ready(function() { $("#icl-5872--1772350668").click(function() { ImageComparisonWidgetLink(5872); }); }) without being oversaturated. There's very little noise at ISO 1600$(document).ready(function() { $("#icl-5873--1373160366").click(function() { ImageComparisonWidgetLink(5873); }); }) thanks to Panasonic's noise reduction system. At ISO 6400$(document).ready(function() { $("#icl-5888--1090835201").click(function() { ImageComparisonWidgetLink(5888); }); }), the G9 II is more-or-less the same as its peers.

In situations where you can use the tripod-based pixel shift mode, the G9 II is able to offer resolution capture far beyond its peers$(document).ready(function() { $("#icl-5890--1239802283").click(function() { ImageComparisonWidgetLink(5890); }); }). Our test shots are somewhat hampered by what we suspect is vibration in our testing studio, leaveing cross-hatched artifacts in places$(document).ready(function() { $("#icl-5891--475316386").click(function() { ImageComparisonWidgetLink(5891); }); }). This won't always be the case, though it does give an insight into how steady your tripod and subject need to be to capture the very highest resolution.

Real-world photo quality makes one forget that the G9 II uses a smaller sensor than most of its peers. Whether it's engraving in 19th-century buildings or the plumage on a short-ear owl, you'll see plenty of detail in its JPEGs. As usual, shooting Raw and running it through Adobe Camera Raw or DxO PureRAW will give you the ability to fine-tune sharpening. You can also create a custom Photo Style was stronger sharpening.

Out-of-camera JPEG Shadows/highlights adjusted in ACR

The G9 II's sensor allows you to boost shadows with a minimal increase in noise, as shown above, and in a few photos in the sample gallery.

Our DR tests bear this out, and highlight the improvement compared with the GH6. However Panasonic has been able to implement dual parallel gain at ISO 100, it works, with much cleaner shadows than its (even) more video-focused sibling. This means both the Raw files and the camera as a whole, are more flexible.

ISO Invariance | Exposure Latitude

Autofocus

Operating and adjusting autofocus isn't much different than on the 7-year-old DC-G9 (or any Panasonic camera released since then). A switch lets you quickly switch between single, continuous and manual focus. Pressing the button in the center of the switch opens up the AF area menu, which offers the following options:

• Tracking
• Full area
• Zone (Horizontal/Vertical)
• Zone
• 1-area+
• 1-area
• Pinpoint

With the exception of pinpoint (which is well-suited for macro photography), all of the AF options let you turn subject detection on or off.

Adjusting the focus point can be done in a few ways. You can use the joystick, tap on the screen, or by using "Touchpad AF." The latter is available when shooting through the viewfinder; to adjust the focus point, you move your finger on the LCD to adjust the focus point. There are a number of options for what area of the display is used for AF point movement. To switch between detected subjects, you can tap on the screen or use the joystick.

Cropped to taste. Shot in full area mode with animal tracking and continuous AF.
Leica DG 50-200 @ 400mm | ISO 100 | 1/640 sec | F4

Photo: Jeff Keller

Panasonic offers four options for subject detection: humans, animals, cars and motorcycles. For the first two options, you can select what you want the camera to lock onto: eye/face/body for humans and eye/body for animals.

The G9 II's animal mode can detect people, birds, canines (domestic and wild) and felines (big and small). We tested it with all of them, and the camera detected them without issue. It was impressive when tracking owls and harriers in the Skagit Flats conservation area in the full area mode, even when they were flying away.

Customizing AF behavior
One of the four menus for customizing how the camera reacts to moving subjects in AF-C

There are four sets of customizable parameters for continuous autofocus. Here, you can adjust AF sensitivity, AF Area switching sensitivity, and moving subject prediction. Set 1 is for general use, while the other three are for more specific situations. We found that choosing the most fitting option was the most effective.

For our test of continuous autofocus and its ability to judge distanct, we used Set 2, which is defined as "[when] the subject moves at a constant speed in one direction." Face detection was disabled.

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The G9 II's AF system did a nice job in this example. It took a few shots to lock on and then kept the cyclist in focus for the rest of the run, correctly anticipating subject distance and driving the lens accordingly.

Then we tested the camera's ability to track a subject moving around the scene and approaching the camera at a less predictable speed. Here we switched to set 4 ("for situations where the speed of the subject changes significantly"). We then performed the test both with and without face detection.

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As we often see with cameras in this test, the G9 II struggled to keep the cyclist in focus during the turns, where the rate of approach suddenly changes. This was the case both with and without face detection engaged.

When we used face detection, when it started to lose focus, the camera was briefly tricked by the statues of firefighters in the background. Thankfully the G9 II quickly figured it out and locked back onto the correct subject.The G9 II can shoot at 60 fps with continuous AF (75 fps is only for single AF) and performed about the same as at slower speeds, complete with the brief distraction of the statues. These tests don't represent all circumstances, of course, but suggest the G9 II's AF, even when tuned to match the expected subject movement, is not as dependable as the best of its peers.

Video

For what Panasonic bills primarily as a stills camera, the G9 II has a surprisingly complete set of video features. And, as it often does, Panasonic has added more video features to the G9 II since it was announced via a firmware update.

The G9 II can capture "open gate" 5.8K video using the entire Four Thirds sensor using either HEVC. This gives 5760 x 4320 pixel 10-bit 4:2:0 footage at either 30 or 24 frames per second, giving flexibility to crop-in in post, or to take vertical and landscape crops from the same footage. At 5.7K the aspect ratio ships from 4:3 to 17:9 and the maximum frame rate jumps to 60p. At lower resolutions you can shoot 4:2:2 footage, and high-speed 120p capture also becomes available.

The list of video recording options is overwhelming, though you can narrow it down via filters and save your favorites to a custom menu.

If you're using Apple ProRes you get 4:2:2, 17:9 video up to 30p, or 16:9 Cinema 4K at 60p. If it's Raw video output you're after, the G9 II can send it over HDMI to select Atomos and Blackmagic external recorders.

The G9 II supports V-Log capture or the moderately flat Cinelike D2 photo styles if you intend to color grade during the editing process. It also supports HLG capture in most of its modes for direct use on HDR TVs.

The bit rates of the highest quality settings are so high (approaching 2Gbps in some of the ProRes 422 modes) that an SD card just can't keep up, so you'll have to use an SSD connected via USB-C.

Resolution Frame rates Aspect ratio Crop Bit depth/ chroma Codec Media type 5.8K
(5760 x 4320)

• 29.97
• 25
• 24
• 23.98

4:3 open gate

• Full area

10-bit 4:2:0 H.265 SD / SSD 5.7K
(5728 x 3024)

• 59.94
• 50
• 48
• 47.95
• 29.97
• 25
• 24
• 23.98

1.89:1

• Full width

10-bit 4:2:0 H.265 SD / SSD 10-bit 4:2:2 ProRes SSD 4.4K
(4096 x 2160)

• 59.94
• 50
• 48
• 47.95

1.89:1

• 1.32x (1:1)

10-bit 4:2:0 H.265 SD / SSD DCI 4K
(4096 x 2160)

• 119.88
• 100
• 59.94
• 50
• 48
• 47.95
• 29.97
• 25
• 24
• 23.98

1.89:1

• Full width
• 1.41x (1:1)

10-bit 4:2:0 H.265 SD / SSD

• 59.94
• 50
• 48
• 47.95
• 29.97
• 25
• 24
• 23.98

10-bit 4:2:2 H.264 ProRes SSD UHD 4K
(3840 x 2160)

• 119.88
• 100
• 59.94
• 50
• 48
• 47.95
• 29.97
• 25
• 24
• 23.98

16:9

• Full width
• 1.50x (1:1)

10-bit 4:2:0 H.265 SD / SSD

• 59.94
• 50
• 48
• 47.95
• 29.97
• 25
• 24
• 23.98

10-bit 4:2:2 H.264 ProRes SSD

When 5.8K open-gate or UHD 4K is being captured, UHD 4K 4:2:2 is output over HDMI
When 5.7K or DCI 4K is being captured, DCI 4K 4:2:2 is output. 48p and 47.95p capture gives 24p or 23.98p HDMI out.

Scrolling through that list is overwhelming, but you can use Rec Quality (My List) feature. When you've found the resolution, frame rate, and bite rates that you lie, just press the Q button to get it to My List. You can then assign a button to access the list you've created, ensuring you only use one of your pre-selected modes.

Speaking of the Q button, there are separate Q Menus for both stills and video. By default, some settings are shared between still and video. Those include exposure, white balance, Photo Style, and metering and AF modes. You can break the link via the CreativeVideo Combined Set. option, found in the gear > image quality 2 section of the menu, to control which parameters do and don't carry over.

Image stabilization

There are two "enhanced IS" electronic image stabilization modes that work on top of the camera's sensor-shift IS system. This takes a small-to-medium crop of the frame and uses the surrounding area to compensate for camera movement. "Standard" enhanced IS adds a small 1.1x crop, while "High" adds a more substantial crop in exchange for its strong shake reduction.

Also worth being aware of is the "Boosts IS" function. This tells the camera that you're try to keep your shot entirely still, and will fight against any movement you then make, rather than trying to anticipate which of your movements are intentional. We found it highly effective at maintaining an almost tripod-like stability.

Some other useful capture tools include waveforms and vectorscopes, shutter angle, V-Log/HLG view assist, anamorphic de-squeeze, preset distances for automatic rack focusing, and numerous audio controls.

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At 4K (UHD), the G9 II looks nearly the same as the Sony a6700, which samples video from a 6K area of the frame. The a6700 is just a bit sharper$(document).ready(function() { $("#icl-5882--955778846").click(function() { ImageComparisonWidgetLink(5882); }); }), though you're unlikely to notice in the real world. The same is true at both DCI 4K and 4K/120p$(document).ready(function() { $("#icl-5883-162525127").click(function() { ImageComparisonWidgetLink(5883); }); }) settings. The results are similar looking at the high res 5.7K setting$(document).ready(function() { $("#icl-5884-808155803").click(function() { ImageComparisonWidgetLink(5884); }); }) versus Panasonic's GH6, with the smallest of difference in sharpness.

Sample video Conclusion

By Jeff Keller

What we like What we don't

• Excellent image quality and dynamic range
• Solid, weather-sealed body
• Open gate and 5.7K video
• Top-notch image stabilization
• Responsive AF with impressive subject recognition
• Super-fast burst shooting
• Plethora of video capture tools and output options
• Impressive handheld high res mode
• Dual SD card slots
• Full-size HDMI port

• Battery life well beneath its peers
• Very slow initial start
• Higher resolution EVF would've been nice
• Large number of buttons and menu options can be overwhelming at first
• Top LCD info panel from G9 is gone
• External battery charger not included

The Panasonic Lumix G9 II isn't the camera one would've expected Panasonic to release based on its predecessor. The original G9 was a very good stills-focused camera with some video features thrown in for good measure. The G9 II builds on those features, puts them in the body of the full-frame S5, and adds video tools that get it pretty close to the GH6.

Converted from Raw using ACR. White balance adjusted.
ISO 3200 | 1/60 sec | F3.8 | Leica DG 12-60mm F2.8-4 @ 68mm equiv.

Photo: Jeff Keller

The G9 was already a fairly large camera, especially for Micro Four Thirds, and the same is true with its successor. As one would expect, the body is weather-sealed, though Panasonic doesn't provide an IP rating. Our G9 II did have a close encounter with a muddy photographer and kept on going after some cleanup.

If you've just picked up the G9 II, you might find the sheer number of dials and buttons to be imposing. The menu system is overloaded with options, so putting your favorites into the "My Menu" is a smart idea.

Another thing to be aware of is that the G9 II's battery life is below that of its peers. If you use Bluetooth to geotag or auto-transfer your photos, it'll drain even faster. Carrying around a spare battery or a power brick (with USB PD support) is a smart idea if you're planning on a full day of shooting.

Cropped to taste. ISO 100 | 1/320 sec | F4 | Leica DG 50-200mm F2.8-4 @ 400mm equiv.

Photo: Jeff Keller

The G9 II's autofocus is generally pretty good and a significant step up from the G9, or any Panasonic camera that uses its Depth-from-Defocus system, for that matter. When attempting some bird photography, I was surprised by how reliably it detected them, locking onto and tracking them even when they were flying away from me. In that situation and some others we tested, the AF system may lose its subject, but it usually got it back.

The G9 II's 25 Megapixel sensor has further closed the gap between Four Thirds and APS-C. Noise levels are somewhat higher than on the likes of the Sony a6700 and Fujifilm X-T5 and trail a little behind the OM-1. While it was difficult to push the shadows on the old G9 without a noticeable increase in noise, you can get away with it on the G9 II.

When the G9 II was released, Panasonic called it a "launching point for video." The fact is that the G9 II is very close to Panasonic's "official" Micro Four Thirds video camera, the GH6. The G9 II can do almost everything the GH6 can, bar the longer recording times and 5.7K/60p capture that the GH6's fan-assisted design delivers.

ISO 100 | 1/125 sec | F3.2 | Leica DG 12-35mm F2.8 @ 52mm equiv.

Photo: Jeff Keller

One video feature that really impressed me was Boost IS, which is designed for stationary shooting. It does that amazingly well, even eliminating the slight tremor in my hands. For more action-oriented footage, the more traditional electronic stabilization modes performed well, with a small-to-moderate crop depending on the intensity.

In conclusion, as someone who has shot with the original G9 for years, Panasonic's G9 II is a significant upgrade in so many ways, from sensor to subject recognition to burst speeds. And it's nice being able to carry a camera and lenses in a range of focal lengths in a relatively small bag. It's not perfect: battery life is not great, the menus can be overwhelming, and it can be frustratingly slow to start up at times. This and AF tracking that's only good, rather than great, are the only things that stop it gaining our Gold award. Overall the G9 II has proven to be a reliable stills camera with strong image quality and some useful computational modes, and can get you well on your way to being a videographer.

Scoring

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

Panasonic Lumix DC-G9 IICategory: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe DC-G9 II offers image quality and autofocus improvements over the GH6 yet offers much of that camera's video spec and its amazing stabilization. We were disappointed with battery life but other than that it's a worthy Micro Four Thirds stills flagship.Good forWildlife and landscape photographers who want a portable camera system. Amateur videographers who don't need a GH6Not so good forSports photographers. Those who want to shoot for a day on one or two batteries.87%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"panasonic_dcg9ii","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 OM System OM-1 Mark II is an excellent camera conceptually very similar to the G9 II. While both cameras have weather-sealed bodies, the OM-1 II is rated to the IP53 standard and we'd have no qualms about using it in the rain. The larger and higher-res EVF on the OM-1 II is nice, and its battery life is significantly better. The G9 II has more to offer serious videographers in terms of support tools, resolution, frame rates and codecs. And while the OM-1 can recognize more subjects, we think the G9 II's AF tracking performance has a slight edge. Its price is also $500 below that of the Olympus, money that could be spent on lenses.

The Sony a6700's rangefinder-style design is 180° from the G9 II. It's smaller, with fewer, more cramped controls and an underwhelming EVF. Unlike the G9 II it has a single memory card slot and no AF joystick. It has many of the still and video specs of the Panasonic though it's not to the extent of capturing uncropped 4K/120p or open gate footage. That said, the a6700's autofocus tracking performance is probably the best on the market. Sony also has the magic touch when it comes to battery life, which is twice that of the G9 II.

Like the G9 II, the Fujifilm X-T5 appears to be stills-orientated, but with high res video capabilities. The truth is very different, with rolling shutter and significant cropping holding back the Fujifilm. The X-T5's control logic is much more traditional than the G9 II's, which some people will love, and it's a similar story with the two-axis LCD. The X-T5 also has a high-res mode but it requires more shots, has no motion correction and needs to be combined off-camera. The AF systems are similar with good subject recognition sometimes held back by failure to predict distance correctly, leading to significantly missed shots.

Buy now:

$1898 at B&H Photo $1898 at Adorama $1898 at Amazon Sample gallery

Please do not reproduce any of these images on a website or any newsletter/magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review); we do so in good faith, so please don't abuse it.

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Each iteration of X100 retains its family look but there's been constant evolution throughout the series

Photo: Richard Butler

The word kaizen has increasingly come into the vocabulary of camera enthusiasts. It's often been used in conjunction with Fujifilm but is increasingly applied to any company that adds features during firmware. I think this focus on firmware misses the point and risks obscuring the real meaning of the word.

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Kaizen is the name of a Japanese manufacturing philosophy that essentially says that the production process always has room for improvement. So far as I can tell, it was first used in relation to cameras by a blogger who saw parallels with Fujifilm's continued work on the firmware of the original X100, even after it had been superseded.

Fujifilm's commitment to the X100 was admirable and arguably helped relieve other manufacturers' concerns that firmware updates would signal that their products had previously been somehow unfinished or imperfect.

Kaizen is not just about firmware

But while it's definitely a welcome trend across the industry, this focus on firmware doesn't really represent the full concept of kaizen.

Writing a history of the X100 series and having to address whether the X100V users should upgrade made me realize that it's not Fujifilm's firmware updates that exemplify the kaizen concept: it's the series as a whole.

The X100VI is better than the V in a number of ways: a higher resolution sensor and in-body image stabilization being the most obvious, but there are a host of little changes, too. Do these make it worth upgrading from the previous version? That's hard to say, because the X100V was already a very good camera, but if you don't own the V, then the newer version is definitely the one to go for.

The small details are a big deal

It's a small detail, but just swapping the positions of AF-S and AF-C make the camera a little easier to use. And these little changes have happened throughout the camera, across the series, some of them made in firmware but others requiring different hardware.

Photo: Richard Butler

Looking back, this has always been the case. It's best seen in the small details: the way the X100S switched the order of Single and Continuous AF on its focus selection slider, to make the more useful mode more accessible. Or in the way the means of selecting the AF point has been constantly refined and updated: button hold and cardinal point of the rear dial, button press and cardinal point, assigning the four-way buttons to AF positioning and, finally, a joystick and touchscreen. Each implementation better than the last.

Those incremental changes made with every refresh of the camera represent the kaizen concept every bit as much as firmware updates

Look at the smaller changes made on the X100VI, for instance. Some redesign was necessary to accommodate the IBIS unit, but beyond this, the hand grip was been reworked after much prototyping. It meant Fujifilm had to create entirely new tooling for the new model but also means the camera just fits more comfortably in the hand. Likewise the rear tilt screen: it would have been easier to use the existing cradle, but the new version that pulls out a little further from the viewfinder is just a little better for waist-level shooting.

Those little, incremental changes that have been made with every refresh of the camera, represent the kaizen concept every bit as much as firmware updates and the retrospective addition of a film simulation.

Sometimes kaizen improves your next camera

From above, the changes are a little more apparent: the simplified top-plate of the V and VI, the addition of an ISO dial, which originally needed to be held in the up position as you were rotating it but now clicks up and down, the third-stop increments on the aperture ring...

Photo: Richard Butler

From a practical point of view, no company has the R&D resources to continue to support all its existing models, and many cameras are achieving a level of polish and refinement that means additional features would risk simply being semi-worthless clutter (don't get me started on multi-shot high res modes).

As an owner of an X100 series camera, I've definitely appreciated the feeling that Fujifilm wanted to keep supporting me, when firmware 2.0 was released. But that support can't last for all models, forever. So I appreciate that the kaizen philosophy means I will be able to buy a camera that's better than my current one could possibly be, when the time comes to upgrade.

Star Flyer – the 2013 eclipse as seen from the deck of a four-masted sailing ship racing across the Atlantic. Totality was 42 seconds long and I was on a quickly moving (and rocking) surface.

Photo and caption by Tyler Nordgren

Editor's note: We originally ran this story in conjunction with the solar eclipse of August 21, 2017. We've updated and republished it ahead of the solar eclipse of April 8, 2024.

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Essentially, it's the ultimate photo challenge. On April 8th, photographers across the continental United States – and especially photographers within the band of totality stretching from Texas to Maine – will have no more than a few minutes to get the shot of a lifetime when the moon passes in front of the sun, and a large swath of North America will be treated to a total eclipse.

And if you ask anybody who knows anything about astronomy, it is a huge deal. Dr. Tyler Nordgren is such a man. He's a professor of physics and astronomy, an award-winning photographer and a self-described Night Sky Ambassador. Here's what he had to say about the solar eclipse of August 21, 2017:

"Half the people that are alive right now weren’t even alive the last time something like this was visible from the continental US. Secondly, there are 12 million people just living in the path of totality that are going to get the chance to see it, so it will be the most-viewed total solar eclipse probably in history. The most seen, most photographed, most shared, most tweeted – potentially the most people in total are going to be able to experience this in one form or another."

"See your first eclipse, photograph your second."

But unless you're a seasoned landscape photographer or astrophotographer, Dr. Nordgren thinks you might be better off not photographing it at all and just enjoying the view. He quotes Warren De la Rue, a pioneer of astrophotography, and the first person to photograph a total eclipse. "He wrote in his journal afterwards, that if he ever got the chance to see another one, he hoped to be able to see it without any equipment at all."

In short, "See your first eclipse, photograph your second." But if you're unconvinced, Dr. Nordgren does have some advice.

Hungary – My first eclipse photo that I took in 1999 superimposed on the stamp I bought there comemorating the eclipse by showing its path across the country.

Photo and caption by Tyler Nordgren

How to prepare to photograph the eclipse

Preparation is key. Time is of the essence. Of course, you'll want a tripod and a cable release to lock everything down and minimize shake.

"If you really must photograph this, you’re going to want to practice a whole bunch of techniques in the weeks leading up so it’s as second nature as absolutely possible during those precious seconds."

Don't forget to take off the filter during totality!

Protecting your eyesight and your gear is equally important. It's only safe to point your eyes or your camera sensor directly at the sun during totality. Just seconds before or after and you're risking serious damage. He suggests a pair of solar eclipse glasses and a filter for your lens. Per NASA, your glasses should meet the ISO 12312-2 international standard.

Be sure to use both during partial phases of the eclipse – you risk damaging your eyesight, not to mention your camera, with just a pair of glasses and an unfiltered lens. Crucially, don't forget to take off the filter during totality. You'll be extremely disappointed with the results if you don't.

For nitty gritty details, Lensrentals posted a useful article detailing some specific settings to dial in if you plan on using a longer lens.

What lens to use to photograph the eclipse

What kind of lens should you use? Well, not surprisingly, it all depends on what you're going for. If you want the sun as your main subject, you'll obviously want a longer lens. "To really capture big detail in the corona and the object itself, you'll want a lens with a focal length of around 500mm; between 400 and 600mm at least."

But don't forget that a total eclipse also presents a unique landscape photo opportunity. If you'd rather capture the eerie effect on the scene, a wider lens will produce excellent results too. It's all a matter of personal preference.

No matter what kind of shot you're going for, you can size things up ahead of time by photographing a full moon.

"Something to keep in mind is that during totality the sun turns black, and is surrounded by this ghostly corona, so the spectacle of the object itself is this black disk with this white glow around it. That black disk is the size of the full moon, so take whatever your camera equipment is, take whatever your lens is and go out and photograph the next full moon. See if whatever size dot that appears. If that’s interesting to you, then great – that’s the lens to use."

Should you go to the path of the totality?

In a word: yes.

If you're set on photographing the eclipse and have the safety and gear requirements nailed down, all that's left to do is get yourself into the path of totality for the big moment. Easy enough, right? Well, unless you're lucky enough to live there, or you started planning your eclipse vacation years ago, chances are only getting slimmer that you'll be able to find accommodations. Your best bet is to find what you can within a reasonable driving distance and set out as early as possible.

Ideally, you also want to aim for somewhere that's less likely to have cloud cover. Dr. Nordgren knows all too well what a cloudy eclipse view looks like.

"If you’re going to do the close-up photograph, you could be almost anywhere provided you’ve got clear skies. But I’ve also seen some really spectacular photos of totality through wispy clouds that give this dramatic view as well... just as long as you’re within that path of totality and the cloud cover is not so total that you’re utterly blacked out. And I’ve had that happen."

This is the partial phase just a minute or two before totality in the Faroe Islands. Those clouds totally socked us all in 30 seconds before totality so we saw nothing.

Photo and caption by Tyler Nordgren

If you're hoping to get a wider shot, then great news: this eclipse will cross much of the continental US. Provided you can get there, you can pretty much take your pick of landscapes. "What do you find compelling?"

Whether or not you can get to the path of totality, and whether or not you choose to photograph the event, you'll still be treated to an amazing array of photos and videos from photographers across the US. And unless you're dead set on photographing it, consider leaving the camera at home.

"If you haven’t seen a total solar eclipse, I encourage you, don’t waste your time photographing it."

"If you haven’t seen a total solar eclipse, I encourage you, don’t waste your time photographing it. Chances are, somebody else will get a better photo. But if you are that kind of expert photographer, practice so that you can set your camera up and let it do its thing with as little input as possible." In the very best case scenario, you'll get a couple of minutes.

"That is not a lot of time to see what I think is the most awe-inspiring, unnatural, natural experience in nature."

Image: Photofast

Backing up your smartphone images usually involves sending them to the cloud or manually syncing them to a computer. Seamless? Maybe, until you have to start paying monthly storage fees. And while you can plug a hard drive into many modern smartphones, it isn't quite user-friendly or universal across all smartphones.

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PhotoCube PD+, launched via Kickstarter and Indiegogo by Hong Kong electronics company Photofast, aims to make cloud-free physical backups of phone photos more straightforward.

Built for USB-C devices, the PhotoCube PD+ attaches directly to your smartphone or tablet and is compatible with both iOS and Android. It accepts microSD cards with up to 2TB of storage space, and you can interchange your cards if needed.

Supporting SD cards up to 2TB in size, the PhotoCube PD+ can be configured to automatically back up photos when plugged in, as well as additional data like contacts, without the need for additional cables.

An obvious downside is that the device won’t work with iPhones older than the iPhone 15 or any other device that doesn't have a USB-C port. Android users shouldn’t have an issue using the portable device, even with slightly older handsets.

While there's no monthly fee, PhotoCube PD+ obviously costs money upfront. Also, PhotoCube PD+ doesn’t come with built-in storage or a card included, so prepare to bring your own.

The device is currently available for preorder, with two devices at an early bird price of $115 (USD) through Indiegogo with an estimated ship date of August 2024. As with all crowdfunded campaigns (and preorders in general), caveats apply. Crowdfunded products are no stranger to delays or quality control issues. The company's previous model eventually came to Amazon. Presumably, this one will too. Whether it's worth the gamble to get an early bird discount is up to you.

Note/disclaimer: Remember to do your research with any crowdfunding project before backing it. Pledges to crowdfunding campaigns are not pre-orders. DPReview does not have a relationship with this, or any such campaign, and we publicize only projects that appear legitimate, and which we consider will be of genuine interest to our readers. You can read more about the safeguards Kickstarter has in place on its 'Trust & Safety' page.

Image: Tiffen

Tiffen has announced its new Smartphone 58mm Filter Mount that attaches filters to an iPhone 14 or 15 using Apple's MagSafe attachment system.

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Smartphones have become indispensable tools for many photographers, often supplementing or even replacing a main camera for certain activities. However, one downside to smartphones as cameras is that attaching accessories like filters is more complicated. As a result, those wanting to use something like a polarizing filter for photography or a neutral density filter for video have needed to use add-on accessories to do so.

The Tiffen Smartphone 58mm Filter Mount uses the MagSafe system to quickly attach a 58mm filter to the back of Apple's iPhone 14 and 15 models.

Image: Tiffen

Tiffen's Smartphone Filter Mount doesn't do away with the need for accessories to attach filters, but it does aim to make the process of using them faster and easier. The Tiffen adapter snaps on and off the back of the camera using MagSafe technology instead of relying on clamps or specialized phone cases like many existing products do.

The Tiffen 58mm Smartphone Mount is compatible with all iPhone 14 and 15 models, including the Pro and Pro Max. It retails for $29.99 or bundled with a 58mm circular polarizer for $39.99. It's available for order on Tiffen's website or to pre-order through other retail channels.

Buy now:

$29.99 at Tiffen $29.99 at B&H Tiffen 58mm Filter System Ready for iPhone

Creative Tool for Content Creation, Scouting, iPhone Filmmaking & Photography

For the first time, Tiffen brings award-winning professional motion picture and still lens filters to the iPhone®. With the new Tiffen Smartphone 58mm Filter Mount, any user can benefit from the same trusted tools professionals count on to produce outstanding images.

With seamless integration and user-friendly design, installation is immediate—no tools needed. Thanks to Apple's MagSafe® Technology, the new Tiffen Filter Mount magnetically secures to the back of an iPhone, ready to accept any Tiffen 58mm filter. The filter then simply threads on—to capture images with enhanced creativity, light control, depth, and detail.

By adding the 58mm Filter Mount, the family of Tiffen Emmy and Academy Award® winning filters, (sold separately), offers a multitude of creative choices to enhance the camera-phone in most everyone's pocket. To control light, there's Neutral Density (NDs), UV Protectors, and Polarizers. To smooth complexions and enhance the atmosphere, there's Glimmerglass®, Pro-Mist®, Smoque, and Fog diffusion. For in-camera-phone effects, users can select Star FX, Digital Diffusion FX, and a rainbow of individual Color filters including Sunrise, plus dozens more.

The Tiffen Smartphone 58mm Filter Mount is precision made of black anodized aluminum, built for light weight and long life. It is compatible with iPhone 14/15, 14/15 Pro, 14/15 Plus, and 14/15 Pro Max models. The Tiffen Smartphone 58mm Filter Mount is priced at $29.99 list. Kits are also available. Tiffen Filters are available separately from top dealers worldwide.

There's been a fair amount of chatter, excitement and some cynicism around Fujifilm's announcement that it's making a limited run of X100VI etched with the company's original 1934 logo, but another company making rangefinder-style cameras has a more established history of doing the same.

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Leica, whose commitment to the rangefinder style that it makes actual rangefinder cameras, has regularly produced defined-number runs of its products.

The latest example is a production run of 200 copies of the M-Summilux 35mm F1.4 with an anodized black coating on its aluminum shell. The lens, whose original design dates back to the 60's, and that the company describes as 'the true king of bokeh,' was re-introduced in 2022. Part of the Leica Classic line, it usually comes in silver chrome with a stainless steel ring around the front.

The black version sees the distance scales on the lens reversed, compared with the standard version, with the metric markers further away from the camera. This change and the black anodized coating means it more closely matches the original version. It also says Leitz Wetzlar on the front, distinguishing it from the reissued version that simply says Leica.

Although unconfirmed by Leica, 200 is around the number of black copies of the original lens thought to have been made. The special edition will sell for $10,945, rather than the $3,895 of the standard silver chrome version.

New: Leica Summilux-M 35 f/1.4 now available as a limited special edition in black.

Teaneck, March 21, 2024. Leica M-Lenses’ legendary reputation precedes them. One of these outstanding lenses is the Leica Summilux-M 35 f/1.4. Still sought after today, it appeared in 1961 as the world’s fastest wide-angle lens at the time and experienced a renaissance with its new 2022 edition. Now, Leica Camera AG presents the classic lens in a strictly numbered, limited edition design variant.

Based on the first edition, the Summilux-M 35 f/1.4 now emerges in a black anodized finish, featuring the iconic silver stainless steel front ring, commonly referred to as the “Steel Rim”. The engraving on the front reads “LEITZ WETZLAR”. Another detail of the lens is the black painted brass focus lock button which acquires a unique patina with frequent use. To come as close as possible to the original, the engravings on the special edition’s focus ring have been adjusted. The arrangement of the feet and meter scale is also modelled on the original in terms of color and has been swapped in comparison to the silver series lens.

Regarding its imaging performance, the special edition corresponds to the series model. Photographing with open aperture creates pictures with an especially soft, almost magical bokeh which is hard to achieve even with digital image processing. Its extraordinary image look earned the Summilux-M 35 f/1.4 the title “True King of Bokeh”. When stopping down to f/2.8, it produces very sharp and particularly distortion-free pictures which also meet modern requirements for image quality.

The special packaging with its vintage look already hints at the origin of this edition. In addition to the lens, it also comprises of a lens container, a clip-on lens hood as well as an additional round lens hood with E46 thread for the use of filters.

The numbered, limited edition black anodized Leica Summilux-M 35 f/1.4 is available at select Leica Stores worldwide starting today. This lens is limited to 200 pieces worldwide and is priced at $10,495.

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Japan is one of my favorite places for photography, so when I traveled there last month for the annual CP+ camera expo, I thought about what camera to take. Since I'm working on finishing up our reviews of the Panasonic Lumix S5II and S5IIX twins, I decided it would be a perfect opportunity to get some extra shooting time on the S5IIX. As a bonus, it allowed me to test Panasonic's new 28-200 F4-7.1 Macro OIS, a lens so small it just begs to be used for travel.

If there's one theme that's consistent throughout this gallery, it's umbrellas. This was one of the rainiest trips I've taken in years, and except for a couple of days, I was hard-pressed to take a picture of anything without an umbrella in the frame. Although it wasn't specifically my mission, it was an excellent opportunity to test the S5IIX's weather sealing. On several occasions, the camera was exposed to constant rain for several hours, dripping wet the entire time. I'm happy to report that it never missed a beat. Kudos to Panasonic for that.

This gallery includes street photography from Tokyo and Yokohama, as well as photos of snow monkeys at Jigokudani Monkey Park near Nagano.

View our Panasonic Lumix S5IIX sample gallery from Japan

Want to see more images from the camera? Check out our original Lumix S5IIX sample gallery.

Buy now:

$1997 at Amazon.com$1997 at B&H Photo$1997 at Adorama

Image: Samsung

Samsung is working on a fix for an issue affecting photographers who take pictures using its flagship smartphone.

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Since its launch in January, users have complained of a bug on the Samsung S24 Ultra that results in dark or underexposed photos under particular conditions. According to Samsung, which acknowledged the problem and an upcoming fix in a recent post on its community forum, the bug occurs if users lock the auto exposure at specific zoom magnifications (1.6~1.9x, 4.6~9.9x) in the camera app. Fortunately, it's not a hardware issue, and Samsung says it can be fixed through a software update.

Samsung has advised users to “update your phone to the latest software in the event of a software update pop-up." The company is yet to confirm when exactly users can expect the update.

The Samsung S24 Ultra has a list price of $1,299.99 and comes with three rear cameras that provide 3x and 5x optical reach.

Buy now:

$1,150 on Amazon