Feed aggregator

A promotional image for The Odyssey, which will feature Matt Damon as the titular Odysseus. Image: Universal

Director Christopher Nolan is no stranger to epic undertakings, and his latest project pushes the limits even more. In a recent interview with Empire, Nolan said that they shot more than two million feet of film while on the set of The Odyssey.

Much of the filming for The Odyssey took place on the ocean, too. "It’s pretty primal!" Nolan told Empire. "I’ve been out on it for the last four months. We got the cast who play the crew of Odysseus’ ship out there on the real waves, in the real places. And yeah, it’s vast and terrifying and wonderful and benevolent, as the conditions shift. We really wanted to capture how hard those journeys would have been for people."

It was clear from the outset that The Odyssey was going to be a massive project. Earlier this year, it was revealed that the movie would be the first commercial feature film to be shot entirely using Imax film cameras. While Nolan has frequently used the 65mm format, including on The Dark Knight, Interstellar and Oppenheimer, he's still had to rely on 35mm film because of the practical limitations of the bulky and noisy IMAX cameras.

Nolan reportedly convinced Imax to improve its cameras and workflow for The Odyssey, resulting in cameras that are lighter and 30% quieter, along with faster processing techniques. The updates made Imax cameras more feasible to use for an entire production, including one set mostly at sea. As a result, Nolan and his production team were able to use Imax cameras for the entire 91-day shoot, producing those 2 million feet of film.

All of that film won't make the final cut of the movie, of course. But it's not Nolan's first time producing extensive volumes of film for a movie. His dedication to the format also required innovation on the set of Oppenheimer. That movie resulted in 11 miles of film, which was unprecedented. It was so much film that Imax had to develop a custom platter just to hold it all.

The Odyssey is an adaptation of Homer's epic Greek poem, telling the tale of Odysseus (played by Matt Damon) making a decade-long journey home to his wife, Penelope, after the Trojan War. Nolan told Empire that he's been dreaming of making this film for decades. He said he grew up with mythological cinematic work, but he'd "never seen that done with the sort of weight and credibility that an A-budget and a big Hollywood, IMAX production could do."

"By embracing the physicality of the real world in the making of the film, you do inform the telling of the story in interesting ways"

Nolan added that the film format was especially important when telling this particular story. "By embracing the physicality of the real world in the making of the film, you do inform the telling of the story in interesting ways," he told Empire. "Because you’re confronted on a daily basis by the world pushing back at you."

There's surely plenty of work left on the production of the movie, which is slated for release in cinemas in July 2026. We'll be eagerly awaiting teasers and trailers as that date approaches.

Image: Sigma

Lens names can be complicated things. Companies often try to fit every detail of the lens into the name, resulting in a string of abbreviations. While Sigma isn't the worst offender, it tends to stack quite a few terms into the names of its lenses. In this article, we'll be breaking down terms specific to Sigma lenses so that you can more easily gather relevant features and technologies without having to be a Sigma engineer.

Lens format and series designations

While many companies list some designations at the very beginning of a lens name, Sigma keeps all of its terms after the focal length and aperture. The first acronyms refer to the lens format and, when applicable, the lens series.

DG, DC and DN

Like other companies, Sigma has specific acronyms to identify whether a lens is designed for full-frame or APS-C cameras. DG is Sigma's designation for full-frame lenses, while DC is for APS-C (often called crop sensor) cameras.

DN is Sigma's term that indicates a lens is made for mirrorless cameras. Since Sigma produces mirrorless lenses for both full-frame and APS-C cameras, you may see DN in combination with either DG or DC. However, Sigma has dropped the DN on newly released mirrorless lenses, as it is no longer developing new DSLR lenses. As a result, you won't see DN on the latest Sigma lenses, even though they are mirrorless optics.

A, C, S and I The silver 'A' on the lens body means it's part of the Art line of Sigma lenses.
Image: Sigma

Sigma also offers four specific lens series that focus on different capabilities tailored to various types of photographers. If you see an 'S' in the lens name, it means the lens is part of the Sports line, which, as you may guess, is made for documenting action such as sports and wildlife. The Spots lineup consists of telephoto and super telephoto prime and zoom lenses made to handle rough conditions. They offer shock resistance and more advanced weather sealing, along with customization opportunities through on-lens controls.

An 'A' means the lens is part of the Art line, which prioritizes optical performance. These lenses typically feature fast apertures and are available in both prime and zoom lens formats. Sigma says that the Art line is for those who want creative outcomes over compactness and multifunction, so they aren't as compact or lightweight as its other lens lineups.

The 'C' stands for Contemporary, which prioritizes portability and convenience. The Contemporary lineup consists of a mix of prime and zoom lenses, covering just about every focal length. However, in every format, the focus remains on keeping the lenses compact and lightweight. As a result, they are ideal for travel, casual snapshots and other similar applications.

I series lenses come in both black and silver.
Image: Sigma

Lastly, the I series is the company's smallest lens lineup, consisting of just nine lenses at the time of writing. It functions as a subset of the Contemporary lineup. Like the Contemporary line, the I series is a collection of compact, mid-price, medium-fast aperture lenses. However, it differs from the broader Contemporary lineup because all the I series lenses are primes designed for full-frame mirrorless cameras. They also all feature metal construction, manual aperture rings and high-end build quality. The lenses offer retro looks and come in both silver (to match the silver Sigma BF) and black.

Lens features and autofocus

While not always in the lens name, Sigma also has some specific terms related to autofocus and other lens features.

OS The Sigma 70-200mm f/2.8 DG DN OS Sports lens offers optical stabilization, as indicated by the 'OS' in the name and on the lens.
Image: Sigma

OS, which stands for Optical Stabilizer, is Sigma's optical stabilization technology. As with any stabilization feature, it aims to reduce blur associated with the motion of the camera. It helps obtain sharper images when using slower shutter speeds, which is especially helpful on telephoto lenses and when working in low-light conditions.

HSM and HLA

If you see 'HSM' in a Sigma lens name or description, it indicates that the lens uses the company's patented Hyper Sonic Motor for autofocus. This motor, as the name suggests, is an ultrasonic-type autofocus motor, which results in fast, quiet and accurate autofocus. It's commonly found in many of Sigma's Art, Sports and Contemporary lenses.

The Sigma 'HLA,' or High-response Linear Actuator, is its newest autofocus motor. It allows for faster autofocus performance, with more responsive subject acquisition and tracking to keep up with modern mirrorless cameras.

Lens technology

Finally, Sigma uses some proprietary lens elements that you may see mentioned in lens descriptions. Its FLD (F Low Dispersion) element mimics fluorite elements (which is what the 'F' stands for), though it is less expensive. Sigma says it is the "highest level low dispersion glass available," and it offers extra control of chromatic aberrations.

ELD (Extraordinary Low Dispersion) is another type of glass element that reduces chromatic aberrations for better clarity and color fidelity even in challenging lighting conditions. Finally, the oldest of the bunch: SLD (Special Low Dispersion). This element is yet another that reduces optical aberrations. It was first introduced on the Sigma 50-200mm F3.5-4.5 in 1984.

Image: Sigma

Lens names can be complicated things. Companies often try to fit every detail of the lens into the name, resulting in a string of abbreviations. While Sigma isn't the worst offender, it tends to stack quite a few terms into the names of its lenses. In this article, we'll be breaking down terms specific to Sigma lenses so that you can more easily gather relevant features and technologies without having to be a Sigma engineer.

Lens format and series designations

While many companies list some designations at the very beginning of a lens name, Sigma keeps all of its terms after the focal length and aperture. The first acronyms refer to the lens format and, when applicable, the lens series.

DG, DC and DN

Like other companies, Sigma has specific acronyms to identify whether a lens is designed for full-frame or APS-C cameras. DG is Sigma's designation for full-frame lenses, while DC is for APS-C (often called crop sensor) cameras.

DN is Sigma's term that indicates a lens is made for mirrorless cameras. Since Sigma produces mirrorless lenses for both full-frame and APS-C cameras, you may see DN in combination with either DG or DC. However, Sigma has dropped the DN on newly released mirrorless lenses, as it is no longer developing new DSLR lenses. As a result, you won't see DN on the latest Sigma lenses, even though they are mirrorless optics.

A, C, S and I The silver 'A' on the lens body means it's part of the Art line of Sigma lenses.
Image: Sigma

Sigma also offers four specific lens series that focus on different capabilities tailored to various types of photographers. If you see an 'S' in the lens name, it means the lens is part of the Sports line, which, as you may guess, is made for documenting action such as sports and wildlife. The Spots lineup consists of telephoto and super telephoto prime and zoom lenses made to handle rough conditions. They offer shock resistance and more advanced weather sealing, along with customization opportunities through on-lens controls.

An 'A' means the lens is part of the Art line, which prioritizes optical performance. These lenses typically feature fast apertures and are available in both prime and zoom lens formats. Sigma says that the Art line is for those who want creative outcomes over compactness and multifunction, so they aren't as compact or lightweight as its other lens lineups.

The 'C' stands for Contemporary, which prioritizes portability and convenience. The Contemporary lineup consists of a mix of prime and zoom lenses, covering just about every focal length. However, in every format, the focus remains on keeping the lenses compact and lightweight. As a result, they are ideal for travel, casual snapshots and other similar applications.

I series lenses come in both black and silver.
Image: Sigma

Lastly, the I series is the company's smallest lens lineup, consisting of just nine lenses at the time of writing. It functions as a subset of the Contemporary lineup. Like the Contemporary line, the I series is a collection of compact, mid-price, medium-fast aperture lenses. However, it differs from the broader Contemporary lineup because all the I series lenses are primes designed for full-frame mirrorless cameras. They also all feature metal construction, manual aperture rings and high-end build quality. The lenses offer retro looks and come in both silver (to match the silver Sigma BF) and black.

Lens features and autofocus

While not always in the lens name, Sigma also has some specific terms related to autofocus and other lens features.

OS The Sigma 70-200mm f/2.8 DG DN OS Sports lens offers optical stabilization, as indicated by the 'OS' in the name and on the lens.
Image: Sigma

OS, which stands for Optical Stabilizer, is Sigma's optical stabilization technology. As with any stabilization feature, it aims to reduce blur associated with the motion of the camera. It helps obtain sharper images when using slower shutter speeds, which is especially helpful on telephoto lenses and when working in low-light conditions.

HSM and HLA

If you see 'HSM' in a Sigma lens name or description, it indicates that the lens uses the company's patented Hyper Sonic Motor for autofocus. This motor, as the name suggests, is an ultrasonic-type autofocus motor, which results in fast, quiet and accurate autofocus. It's commonly found in many of Sigma's Art, Sports and Contemporary lenses.

The Sigma 'HLA,' or High-response Linear Actuator, is its newest autofocus motor. It allows for faster autofocus performance, with more responsive subject acquisition and tracking to keep up with modern mirrorless cameras.

Lens technology

Finally, Sigma uses some proprietary lens elements that you may see mentioned in lens descriptions. Its FLD (F Low Dispersion) element mimics fluorite elements (which is what the 'F' stands for), though it is less expensive. Sigma says it is the "highest level low dispersion glass available," and it offers extra control of chromatic aberrations.

ELD (Extraordinary Low Dispersion) is another type of glass element that reduces chromatic aberrations for better clarity and color fidelity even in challenging lighting conditions. Finally, the oldest of the bunch: SLD (Special Low Dispersion). This element is yet another that reduces optical aberrations. It was first introduced on the Sigma 50-200mm F3.5-4.5 in 1984.

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Product photos: Richard Butler

The Leica Q3 Monochrom is a black-and-white only version of the company's 61MP full-frame fixed 28mm lens camera.

Key specifications

• 61MP BSI CMOS sensor with no color filter
• Reduced res JPEGs or Raws at 36MP or 18MP
• 28mm F1.7 lens
• 5.76M dot OLED EVF with 0.79x magnification
• 3" tilt touchscreen LCD with 1.84 million dots
• 8K video capture in UHD or DCI ratios up to 30p (H.265)
• Apple ProRes 422HQ support for 1080p video capture up to 60p
• AI-assisted perspective control mode
• IP52-rated dust and water resistant
• Wi-Fi and Bluetooth

The Leica Q3 Monochrom will be available from today at a recommended price of $7790.

Index:

• What is it
• How it compares
• Body and handling
• Initial assessment
• Sample gallery
• Specifications
• Press release

Buy now:

Buy at AdoramaBuy at B&H Photo What is it?

The Q3 Monochrom is an updated version of the Q2 Monochrom based, as the name implies, on the newer Q3 camera. This means it has the same lens as the Q2 but with the excellent 61MP BSI CMOS sensor and Maestro IV processor from the newer camera, bringing features such as perspective correction.

However, unlike the color Q3, it does not gain phase-detection AF, instead relying on contrast detection (presumably the version of Panasonic's Depth-from-Defocus) system that Leica used for some years.

New interface

The Q3 Mono also gains the updated interface from the SL3 cameras, which separates stills and video features into red and yellow-accented displays, switched between by swiping left and right on the settings display screen.

Leica says that, in addition to the reworked display logic, every single icon on the camera has been redesigned. The updated interface will be available for Leica Q3 and Leica Q3 43 users via a free firmware update, shortly.

Content credentials

The Q3 Monochrom also joins the list of Leica cameras that can embed CAI Content Credentials in its images. Leica's implementation relies on specific hardware, so this feature will not be extended to existing Q3 and Q3 43 owners.

Why B&W?

From a technical perspective, there are a couple of benefits to using a camera with no color filter array, assuming you're not interested in capturing color. The first is that, because you're not demosaicing to interpolate the missing colors at each pixel location, you aren't softening your output.

A monochrome camera makes you think in terms of light and shade, rather than color. If anything, this shot would have be overwhelming and confused in color, and probably more objectionably noisy.

The absence of a filter sapping around a stop of light also means the Q3 Mono should prove a stop less noisy and have a stop's improved tonal quality at every ISO (with the caveat that the standard Q3's base ISO is a stop lower, so in good light, it'll catch up, if you can give it enough light). On top of this, many people find noise less distracting if it's rendered as the wrong brightness, rather than the wrong color, so the perceived advantage is likely to be even more than a stop, in low light.

There's no safety net on a mono camera

However, along with these benefits comes an increased exposure challenge. The ability to recover the highlights comes primarily from the fact that a camera with a CFA's color channels don't all clip at the same point, so there's often enough further information about brightness being captured above what appears to be the clipping point, in the Raws. This lets you reconstruct and approximate the detail in the highlights, well beyond the point that you can capture accurate color. There's no such safety net on a mono camera: if an area is clipped, then there's no way for processing software to tell what's 'just' clipped from what's spectacularly clipped: it's just unrecoverably white.

The temptation is to err on the side of underexposure and cut into that one-stop advantage.

How it compares:

When Leica launched the original Q2 Monochrom back in 2019, there was no direct competition, as Leica was the only major brand making black and white cameras. Since then, Ricoh has joined the fray with its Pentax K-3 III Monochrome and the forthcoming GR IV Monochrome. The GR IV makes an interesting comparison to the Leica. It uses a smaller sensor and has a slower lens, so it's not going to compete for peak image quality, but it's a lot smaller and, we have to assume, a lot less expensive. We've included the details we know so far and those we can infer from the specs of the color GR IV.

Leica Q3 Mono Leica Q2 Mono Ricoh GR IV Mono MSRP: $7790 $5995 ∼$1499 Sensor size Full frame
(36 x 24mm) Full frame
(36 x 24mm) APS-C
(23.3 ax 15.5mm) Resolution 61MP 47MP 26MP Lens 28mm F1.7 28mm F1.7

28mm equiv F2.8

Max sync speed 1/2000 sec 1/2000 sec 1/4000 sec Max burst rate 4fps 12-bit (with AF)
15fps 12-bit (with AF/AE fixed) 5fps (with AF)
10fs (with AF/AE fixed) ∼ 4fps Viewfinder 5.76M dot
(1600 x 1200px)
0.76x mag 3.69M dot
(1280 x 960px) – Rear LCD 1.84M dots tilt up/down 1.04M dots fixed 1.04M dots fixed Wi-Fi Wi-Fi 5
(b/g/n/ac) Wi-Fi 4
(b/g/n) Wi-Fi 6E
(b/g/n/ac/ax) Internal storage – – 53Gb UHS-II SD UHS-II SD UHS-I SD Battery life 350 shots 350 shots ∼250 shots Dimensions 130 x 80 x 93mm 130 x 80 x 92mm 110 x 61 x 34mm

In many respects, the Leica Q3 remains peerless; it's a substantial upgrade over the Q2, primarily by dint of a much better sensor. We can't know exactly how much better the image quality of the Q3 Monochrome will be than that of the as-yet-unreleased Ricoh GR IV Monochrome but given the fact that the Ricoh is being built around a sensor that uses the same pixels on a chip with 42% of the light-capturing area, we can make an estimate with pretty high precision. We can also get a very good idea of the impact of the slower maximum aperture.

As is so often the case with Leica products, if you want what the Q3 Mono offers, then this is pretty much the only option available.

Body and handling The camera's primary exposure settings are controlled via a dedicated aperture ring around the front of the lens and a shutter speed dial on the top plate. There's also a command dial on the camera's rear right shoulder that lets you adjust exposure compensation or ISO, or fine-tune the shutter speed.

The body is an exact match for the Q3, with the same solid-feeling build and IP52 environmental sealing rating. The only difference is the word Monochrom embossed in the top plate and the complete absence of color on the body.

As with the Q3, the camera is environmentally sealed to the point of earning an IP52 rating. This isn't especially strenuous but means that there should be limited dust ingress, to a degree that shouldn't interfere with operation and that it can withstand water droplets falling on the camera at up to 15 degree angles from vertical. This isn't much, but the fact that it's been designed and built to repeatably withstand such a test is more of a commitment than you get from most cameras.

The Q3 Monochrom has a 5.76M dot viewfinder and a tilt up/down rear touchscreen. Just next to the viewfinder is a diopter adjuster, which pops out when you press it. Here it's shown in its extended position.

The handling is fairly straightforward with a dedicated aperture ring and shutter speed dial, each of which has an auto position. There's also a customizable command dial on the top rear corner, which has a function button at its center. This gives direct access to the camera's principle exposure parameters, fairly easily.

There's a thumb rest on the camera's focus ring that has a tiny button on its edge, which engages and disengages manual focus mode. The lens is focus-by-wire but has a linear response and a distance scale, so it gives a very good impression of a physically connected focus ring. Set behind this is a ring that shunts the lens between its standard focus range (0.3m – Infinity) and the camera's Macro range (0.17m – 0.3m).

A ring next to the camera's body lets you shift the lens into its Macro range.

Press the menu button and you get a settings display that you can touch to change any of the camera's core settings. Swipe left and the display switches to a yellow-accented version that shows the video settings. Hit Menu again and you enter the short, well-organized camera menu. It's not dramatically different to the version in the existing Q3 and Q3 43 but it's that bit cleaner and neater. We'd definitely advise users of those cameras to update their firmware when this version of the UI becomes available.

Battery The base of the battery forms the bottom of the camera, rather than sitting behind a door. The sliver lever to its left releases the first of two catches to eject the battery.

The camera's battery embeds into its baseplate and is released with a large silver lever. Once you've pushed the lever, you have to then push the battery in a little to release a second catch within the body.

The BP-SCL6 battery is a relatively large 16Wh unit from which the camera delivers a battery life of 350 shots per charge. These numbers always significantly understate the amount of shots most people will actually get, and a rating of 350 shots per charge is pretty solid for a day's committed shooting. It can be recharged over the USB slot on the camera's slide.

Initial assessment

A compact camera with a prime lens is something of a niche proposition. Add to that Leica's premium pricing, and that niche becomes smaller still. Take the color filter away, and its appeal narrows to the point that you wonder whether the company already knows the photographers and collectors who'll buy one by name.

I like shooting with prime lens cameras, but tend more towards normal lenses than wide angles. So the prospect of shooting a wide-angle camera with added restrictions was daunting, to say the least. In practice, I found the challenge fascinating.

Autumn has well and truly molded Seattle to its fleeting fashion, leaves red and golden, glistening in low, stark sunshine between the rain and wind storms that will sweep us on into winter, all too soon. In those breaks in the cloud, some of the color is spectacular, and of no interest whatsoever to a monochrome camera.

At I first I wandered through this scene, constantly frustrated that the Q3 Mono couldn't see any of the things I saw to capture. But, just as the restriction of a single focal length makes you see the world through its specific lens, so the inability to capture color forced me to focus instead on light and shade.

The downside of the camera embedding Content Credentials is you might inadvertently credit your photos to the previous user of the camera.

Of course, it didn't suddenly make me an expert black and white photographer in the handful of days during which I had the camera and the sky wasn't just overcast, but it was enough to make me recognize what the Q3 Monochrom is for.

There are a couple of technical benefits to the lack of a color filter (sharper images and better quality when you're light-limited), but for me, the strongest case for the Q3 Mono is the creative restriction. And, just as I argued a camera with a fixed prime is not the same thing as an ILC with a prime lens on it, I'll argue vehemently that a mono camera isn't the same as switching your existing camera to black and white mode, even if you put the technical benefits to one side. There's a difference between seeing a colorful autumnal scene and knowing in the back of your mind that you could just shoot it in color, and knowing that you have to move on, because your camera is literally incapable of capturing it.

As ever, Leica's pricing seems to defy rational analysis (that's arguably partly by intent), so it's senseless to ask whether the Q3 Mono is 'worth it.' No, of course it's not. Unless, for you, it is. For the rest of us, it's quite exciting to know that the smaller, much more affordable Ricoh GR IV Monochrome is on its way. It won't come close to the Leica in terms of image quality or, perhaps, desirability, but it'll let more of us explore the fascinating restrictions of black and white digital.

Buy now:

Buy at AdoramaBuy at B&H Photo Sample gallery

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

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

When you use DPReview links to buy products, the site may earn a commission. Sample galleryThis widget is not optimized for RSS feed readers. Please open this article's permalink in a browser to view this content. Product photos: Richard Butler

The Leica Q3 Monochrom is a black-and-white only version of the company's 61MP full-frame fixed 28mm lens camera.

Key specifications

• 61MP BSI CMOS sensor with no color filter
• Reduced res JPEGs or Raws at 36MP or 18MP
• 28mm F1.7 lens
• 5.76M dot OLED EVF with 0.79x magnification
• 3" tilt touchscreen LCD with 1.84 million dots
• 8K video capture in UHD or DCI ratios up to 30p (H.265)
• Apple ProRes 422HQ support for 1080p video capture up to 60p
• AI-assisted perspective control mode
• IP52-rated dust and water resistant
• Wi-Fi and Bluetooth

The Leica Q3 Monochrom will be available from today at a recommended price of $7790.

Index:

• What is it
• How it compares
• Body and handling
• Initial assessment
• Sample gallery
• Specifications
• Press release

Buy now:

Buy at AdoramaBuy at B&H Photo What is it?

The Q3 Monochrom is an updated version of the Q2 Monochrom based, as the name implies, on the newer Q3 camera. This means it has the same lens as the Q2 but with the excellent 61MP BSI CMOS sensor and Maestro IV processor from the newer camera, bringing features such as perspective correction.

However, unlike the color Q3, it does not gain phase-detection AF, instead relying on contrast detection (presumably the version of Panasonic's Depth-from-Defocus) system that Leica used for some years.

New interface

The Q3 Mono also gains the updated interface from the SL3 cameras, which separates stills and video features into red and yellow-accented displays, switched between by swiping left and right on the settings display screen.

Leica says that, in addition to the reworked display logic, every single icon on the camera has been redesigned. The updated interface will be available for Leica Q3 and Leica Q3 43 users via a free firmware update, shortly.

Content credentials

The Q3 Monochrom also joins the list of Leica cameras that can embed CAI Content Credentials in its images. Leica's implementation relies on specific hardware, so this feature will not be extended to existing Q3 and Q3 43 owners.

Why B&W?

From a technical perspective, there are a couple of benefits to using a camera with no color filter array, assuming you're not interested in capturing color. The first is that, because you're not demosaicing to interpolate the missing colors at each pixel location, you aren't softening your output.

A monochrome camera makes you think in terms of light and shade, rather than color. If anything, this shot would have be overwhelming and confused in color, and probably more objectionably noisy.

The absence of a filter sapping around a stop of light also means the Q3 Mono should prove a stop less noisy and have a stop's improved tonal quality at every ISO (with the caveat that the standard Q3's base ISO is a stop lower, so in good light, it'll catch up, if you can give it enough light). On top of this, many people find noise less distracting if it's rendered as the wrong brightness, rather than the wrong color, so the perceived advantage is likely to be even more than a stop, in low light.

There's no safety net on a mono camera

However, along with these benefits comes an increased exposure challenge. The ability to recover the highlights comes primarily from the fact that a camera with a CFA's color channels don't all clip at the same point, so there's often enough further information about brightness being captured above what appears to be the clipping point, in the Raws. This lets you reconstruct and approximate the detail in the highlights, well beyond the point that you can capture accurate color. There's no such safety net on a mono camera: if an area is clipped, then there's no way for processing software to tell what's 'just' clipped from what's spectacularly clipped: it's just unrecoverably white.

The temptation is to err on the side of underexposure and cut into that one-stop advantage.

How it compares:

When Leica launched the original Q2 Monochrom back in 2019, there was no direct competition, as Leica was the only major brand making black and white cameras. Since then, Ricoh has joined the fray with its Pentax K-3 III Monochrome and the forthcoming GR IV Monochrome. The GR IV makes an interesting comparison to the Leica. It uses a smaller sensor and has a slower lens, so it's not going to compete for peak image quality, but it's a lot smaller and, we have to assume, a lot less expensive. We've included the details we know so far and those we can infer from the specs of the color GR IV.

Leica Q3 Mono Leica Q2 Mono Ricoh GR IV Mono MSRP: $7790 $5995 ∼$1499 Sensor size Full frame
(36 x 24mm) Full frame
(36 x 24mm) APS-C
(23.3 ax 15.5mm) Resolution 61MP 47MP 26MP Lens 28mm F1.7 28mm F1.7

28mm equiv F2.8

Max sync speed 1/2000 sec 1/2000 sec 1/4000 sec Max burst rate 4fps 12-bit (with AF)
15fps 12-bit (with AF/AE fixed) 5fps (with AF)
10fs (with AF/AE fixed) ∼ 4fps Viewfinder 5.76M dot
(1600 x 1200px)
0.76x mag 3.69M dot
(1280 x 960px) – Rear LCD 1.84M dots tilt up/down 1.04M dots fixed 1.04M dots fixed Wi-Fi Wi-Fi 5
(b/g/n/ac) Wi-Fi 4
(b/g/n) Wi-Fi 6E
(b/g/n/ac/ax) Internal storage – – 53Gb UHS-II SD UHS-II SD UHS-I SD Battery life 350 shots 350 shots ∼250 shots Dimensions 130 x 80 x 93mm 130 x 80 x 92mm 110 x 61 x 34mm

In many respects, the Leica Q3 remains peerless; it's a substantial upgrade over the Q2, primarily by dint of a much better sensor. We can't know exactly how much better the image quality of the Q3 Monochrome will be than that of the as-yet-unreleased Ricoh GR IV Monochrome but given the fact that the Ricoh is being built around a sensor that uses the same pixels on a chip with 42% of the light-capturing area, we can make an estimate with pretty high precision. We can also get a very good idea of the impact of the slower maximum aperture.

As is so often the case with Leica products, if you want what the Q3 Mono offers, then this is pretty much the only option available.

Body and handling The camera's primary exposure settings are controlled via a dedicated aperture ring around the front of the lens and a shutter speed dial on the top plate. There's also a command dial on the camera's rear right shoulder that lets you adjust exposure compensation or ISO, or fine-tune the shutter speed.

The body is an exact match for the Q3, with the same solid-feeling build and IP52 environmental sealing rating. The only difference is the word Monochrom embossed in the top plate and the complete absence of color on the body.

As with the Q3, the camera is environmentally sealed to the point of earning an IP52 rating. This isn't especially strenuous but means that there should be limited dust ingress, to a degree that shouldn't interfere with operation and that it can withstand water droplets falling on the camera at up to 15 degree angles from vertical. This isn't much, but the fact that it's been designed and built to repeatably withstand such a test is more of a commitment than you get from most cameras.

The Q3 Monochrom has a 5.76M dot viewfinder and a tilt up/down rear touchscreen. Just next to the viewfinder is a diopter adjuster, which pops out when you press it. Here it's shown in its extended position.

The handling is fairly straightforward with a dedicated aperture ring and shutter speed dial, each of which has an auto position. There's also a customizable command dial on the top rear corner, which has a function button at its center. This gives direct access to the camera's principle exposure parameters, fairly easily.

There's a thumb rest on the camera's focus ring that has a tiny button on its edge, which engages and disengages manual focus mode. The lens is focus-by-wire but has a linear response and a distance scale, so it gives a very good impression of a physically connected focus ring. Set behind this is a ring that shunts the lens between its standard focus range (0.3m – Infinity) and the camera's Macro range (0.17m – 0.3m).

A ring next to the camera's body lets you shift the lens into its Macro range.

Press the menu button and you get a settings display that you can touch to change any of the camera's core settings. Swipe left and the display switches to a yellow-accented version that shows the video settings. Hit Menu again and you enter the short, well-organized camera menu. It's not dramatically different to the version in the existing Q3 and Q3 43 but it's that bit cleaner and neater. We'd definitely advise users of those cameras to update their firmware when this version of the UI becomes available.

Battery The base of the battery forms the bottom of the camera, rather than sitting behind a door. The sliver lever to its left releases the first of two catches to eject the battery.

The camera's battery embeds into its baseplate and is released with a large silver lever. Once you've pushed the lever, you have to then push the battery in a little to release a second catch within the body.

The BP-SCL6 battery is a relatively large 16Wh unit from which the camera delivers a battery life of 350 shots per charge. These numbers always significantly understate the amount of shots most people will actually get, and a rating of 350 shots per charge is pretty solid for a day's committed shooting. It can be recharged over the USB slot on the camera's slide.

Initial assessment

A compact camera with a prime lens is something of a niche proposition. Add to that Leica's premium pricing, and that niche becomes smaller still. Take the color filter away, and its appeal narrows to the point that you wonder whether the company already knows the photographers and collectors who'll buy one by name.

I like shooting with prime lens cameras, but tend more towards normal lenses than wide angles. So the prospect of shooting a wide-angle camera with added restrictions was daunting, to say the least. In practice, I found the challenge fascinating.

Autumn has well and truly molded Seattle to its fleeting fashion, leaves red and golden, glistening in low, stark sunshine between the rain and wind storms that will sweep us on into winter, all too soon. In those breaks in the cloud, some of the color is spectacular, and of no interest whatsoever to a monochrome camera.

At I first I wandered through this scene, constantly frustrated that the Q3 Mono couldn't see any of the things I saw to capture. But, just as the restriction of a single focal length makes you see the world through its specific lens, so the inability to capture color forced me to focus instead on light and shade.

The downside of the camera embedding Content Credentials is you might inadvertently credit your photos to the previous user of the camera.

Of course, it didn't suddenly make me an expert black and white photographer in the handful of days during which I had the camera and the sky wasn't just overcast, but it was enough to make me recognize what the Q3 Monochrom is for.

There are a couple of technical benefits to the lack of a color filter (sharper images and better quality when you're light-limited), but for me, the strongest case for the Q3 Mono is the creative restriction. And, just as I argued a camera with a fixed prime is not the same thing as an ILC with a prime lens on it, I'll argue vehemently that a mono camera isn't the same as switching your existing camera to black and white mode, even if you put the technical benefits to one side. There's a difference between seeing a colorful autumnal scene and knowing in the back of your mind that you could just shoot it in color, and knowing that you have to move on, because your camera is literally incapable of capturing it.

As ever, Leica's pricing seems to defy rational analysis (that's arguably partly by intent), so it's senseless to ask whether the Q3 Mono is 'worth it.' No, of course it's not. Unless, for you, it is. For the rest of us, it's quite exciting to know that the smaller, much more affordable Ricoh GR IV Monochrome is on its way. It won't come close to the Leica in terms of image quality or, perhaps, desirability, but it'll let more of us explore the fascinating restrictions of black and white digital.

Buy now:

Buy at AdoramaBuy at B&H Photo Sample gallery

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

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

Photo: Mitchell Clark

Peak Design has announced that its Pro line of tripods is now available for sale, following a Kickstarter campaign in June, which raised around $4.6 million. The tripods build upon the company's well-regarded Travel Tripod, but are made to hold more gear and to be more capable for videographers.

There are three models: the Pro Lite, Pro and Pro Tall, with maximum heights of 162.5cm (64.0"), 168.4cm (66.3") and 197.4cm (77.7"), respectively. The two larger models can carry payloads of up to 18.1kg (40lb), while the Lite model can hold 15.9kg (35lb).

Compared to the Travel Tripod, the Pro tripod's biggest upgrade is the ball head. While it's not as compact, it has an automatic locking mechanism, as well as a secondary lock to keep you from accidentally ejecting your camera. It also has a fluid mechanism for getting smooth, steady pans.

The Pro Tripod with the Tilt Mod.
Photo: Mitchell Clark

There are also several accessories for the Pro Tripods, but the most interesting is the Tilt Mod. Like its name implies, it adds a fluid tilting mechanism; combine it with the tripod, and you get something close to the tilt/pan models videographers generally choose.

As with many of Peak Design's products, none of this comes cheap. The Pro Lite costs $799, with the Pro and Pro Tall going for $899 and $999. The Tilt Mod costs $149 on top of that. The company says it's offering 5% off the tripods and their accessories until December 1st as part of its Black Friday sale (though the discounts on its other products are more substantial).

If you want to read more about the Pro Tripods, you can check out the article we wrote when they were initially announced.

Pro Lite

Buy at Peak Design Buy at B&H

Pro

Buy at Peak Design Buy at B&H

Pro Tall

Buy at Peak Design Buy at B&H

Photo: Mitchell Clark

Peak Design has announced that its Pro line of tripods is now available for sale, following a Kickstarter campaign in June, which raised around $4.6 million. The tripods build upon the company's well-regarded Travel Tripod, but are made to hold more gear and to be more capable for videographers.

There are three models: the Pro Lite, Pro and Pro Tall. with maximum heights of 162.5cm (64.0"), 168.4cm (66.3") and 197.4cm (77.7"), respectively. The two larger models can carry payloads of up to 18.1kg (40lb), while the Lite model can hold 15.9kg (35lb).

Compared to the Travel Tripod, the Pro tripod's biggest upgrade is the ball head. While it's not as compact, it has an automatic locking mechanism, as well as a secondary lock to keep you from accidentally ejecting your camera. It also has a fluid mechanism for getting smooth, steady pans.

The Pro Tripod with the Tilt Mod.
Photo: Mitchell Clark

There are also several accessories for the Pro Tripods, but the most interesting is the Tilt Mod. Like its name implies, it adds a fluid tilting mechanism; combine it with the tripod, and you get something close to the tilt/pan models videographers generally choose.

As with many of Peak Design's products, none of this comes cheap. The Pro Lite costs $799, with the Pro and Pro Tall going for $899 and $999. The Tilt Mod costs $149 on top of that. The company says it's offering 5% off on the tripods and their accessories until December 1st as part of its Black Friday sale (though the discounts on its other products are more substantial).

If you want to read more about the Pro Tripods, you can check out the article we wrote when they were initially announced.

Pro Lite

Buy at Peak Design Buy at B&H

Pro

Buy at Peak Design Buy at B&H

Pro Tall

Buy at Peak Design Buy at B&H

Photo: onuma Inthapong / E+ via Getty Images

Buying used camera equipment can be a great way to save money while still expanding your creative toolkit. After all, used cameras and lenses are typically much less expensive than their new counterparts. It can be intimidating to shop for used gear, though, as there are certainly risks involved. However, by taking some precautions and educating yourself, you can make wise online purchases to better protect yourself.

Online purchases

For most of us, online sources are the primary (if not only) option for buying used gear. Shopping used online certainly adds a layer of convenience, but it can make vetting the piece of equipment more challenging and comes with its own set of risks. To help protect yourself, there are several things to look out for when shopping for used camera gear online.

First and foremost, while there are countless platforms for buying used gear out there, not all are created equal. Some offer more protection for the buyer than others, which is especially important if you're paying for an expensive piece of equipment like a camera or lens. You don't want your order to arrive only to discover that the camera isn't in working order or otherwise not as advertised, with no option to get your money back.

Whenever possible, it's best to order from reputable sites.

Whenever possible, it's best to order from reputable sites that offer some form of buyer protection. MPB, for example, offers a 6-month warranty for equipment purchased through its site, along with a 14-day return policy. KEH offers a 180-day warranty covering defects and a 21-day return policy. These types of sites also photograph the actual piece of gear you are buying, instead of using generic stock imagery.

eBay also offers some protection through its Money Back Guarantee policy. It outlines that buyers can get their money back if an item didn't arrive, is faulty or damaged, or doesn't match the listing. Sites that offer such policies give you a layer of protection in case something isn't right after your purchase.

Buying peer-to-peer DPReview has a forum for buying and selling gear.

There are times when buying from dedicated reseller websites isn't an option, though. Marketplaces like Facebook Marketplace and Craigslist can still offer worthy purchases. Additionally, DPReview’s For Sale and Wanted forum provides space for individuals to list used equipment. While these sites can offer good deals, it’s crucial to remember that transactions are not covered by specific buyer protection or warranties. As a result, it's essential to thoroughly vet the listing to avoid potential scams.

Start by researching the typical price of the item you are considering. If the price on a particular listing is far below that, it may be a sign that it's too good to be true and there's something nefarious at play.

Depending on the site, you may also be able to research the seller by checking their profile or selling history. If their account lacks a profile picture or history, it could be a fake or spam account, and it's best to move on. Opt for sellers who have a proven track record and good feedback. It's also a red flag if the seller wants communication to happen somewhere other than the platform where the listing is. If they want you to reach out to WhatsApp or some other way, proceed with caution (if at all).

Opt for sellers who have a proven track record and good feedback.

When possible, ask for additional images or videos, especially for high-ticket items. That can help verify that they have the product in hand, and it isn't just a fake listing. It's also smart to ask clarifying questions if any part of the listing is vague, such as simply stating a camera is in "good shape."

There are also some general payment aspects to consider. If the seller asks for a deposit before you receive the item, that's generally not a good sign, and you should keep looking. Avoid any seller that requests payment through wire transfer, gift cards or 'friends and family' payment options, as those don't offer recourse for recovery should something not work out. Whenever possible, pay with a credit card, which allows you to dispute the charge, or something like PayPal, which offers some purchase protection.

Finally, trust your gut. If the seller seems pushy, evasive to certain questions, or something just feels off, your best bet is to keep looking elsewhere.

Visual inspections

Always perform a thorough visual inspection, even if it's after you order something.
Photo: NickyLloyd / iStock / Getty Images Plus via Getty Images

Getting to assess a used piece of gear in person is always ideal. That way, you can visually inspect the item and see for yourself what its condition is, rather than relying on photos and descriptions. Even if you purchased something online, giving it a thorough inspection as soon as it arrives is best. You want to catch any inconsistencies or potential issues as soon as possible, as otherwise you may not have any recourse should something be amiss.

Whether you're buying a camera or lens, it's smart to bring either a compatible body or lens that you already own (or can borrow) so that you can do some testing. You'll also want to have a memory card with you, and some way to view those files on the spot. It's worth asking the seller about the history of the item, and if they have any receipts, have had it serviced and what accessories come with it. Always take your time and feel free to walk away if anything seems off.

How to inspect cameras This type of damage is obvious, but don't forget to look through the viewfinder for more subtle issues when buying a used camera.
Photo: Boy_Anupong / Moment via Getty Images

If you are able to have some hands-on time with the item, start with a general once-over to check for scratches, dents and other signs of abuse. Make sure that all port doors close, latches catch where they should and so on. Some dents and scratches are fine, but others could seriously impact the functionality or be a sign that something else is broken beneath the surface.

After an exterior inspection, take a look at the sensor (and mirror in the case of SLRs and DSLRs). Inspect carefully for any scratches or damage. If possible, take a photo of a plain background (a white wall, blue sky, etc.) at a small aperture and inspect for any dust spots or sensor defects. While sensors can be cleaned of dust and certain types of smudges, there could be more significant damage going on that's not fixable.

There could be more significant damage going on that's not fixable.

It's also important to check the battery, battery compartment and all other electronic ports for any corrosion, residue, or damaged contacts. Press all the buttons, dials and switches to check for responsiveness, and to make sure they don't stick. Examine the viewfinder and rear display for potential dead pixels, lines and other issues, and if it's a flip-out display, make sure it moves as expected.

Checking the shutter is also crucial. Fire the shutter at various speeds and listen carefully for any unusual sounds or potential timing issues. This is also a good time to check that the autofocus works as expected. Finally, if possible, check the number of shutter actuations. Lower counts are better.

How to inspect lenses Photo: Luen Wantisud / iStock / Getty Images Plus via Getty Images

Like cameras, you should first check the lens you're looking at for obvious scratches and dents. That includes checking the lens mount to verify it's free from corrosion and dents, and examining the front filter thread for dents or cross-threading.

Shining a flashlight through the lens can help you identify if there are any signs of scratches, chips, haze, fungus or dirt inside the lens. Small amounts of dust aren't a deal breaker, but if you spot signs of fungus, that signals deeper issues.

If possible, change the aperture (either via an aperture ring on the lens or with a camera) to make sure it moves smoothly. Rotate the zoom (when applicable) and focus rings to ensure those also move smoothly without any odd grinding or catches. If you are able to connect the lens to a compatible camera, check that the autofocus works. It's also important to verify that any switches or buttons on the lens body perform as they should.

Final thoughts on buying used gear

No matter how or where you are buying used camera gear, it's always worthwhile to check what accessories come with it. Dedicated resellers typically list them, but for more general marketplaces, you may need to ask specifically. The more complete picture you can get of the condition and what comes with the gear, the better.

Buying used is typically a great opportunity to save some money while building out your kit. There are certainly risks, but by shopping smart and doing your research ahead of time, you can prevent getting caught in a bad situation.

Photo: onuma Inthapong / E+ via Getty Images

Buying used camera equipment can be a great way to save money while still expanding your creative toolkit. After all, used cameras and lenses are typically much less expensive than their new counterparts. It can be intimidating to shop for used gear, though, as there are certainly risks involved. However, by taking some precautions and educating yourself, you can make wise online purchases to better protect yourself.

Online purchases

For most of us, online sources are the primary (if not only) option for buying used gear. Shopping used online certainly adds a layer of convenience, but it can make vetting the piece of equipment more challenging and comes with its own set of risks. To help protect yourself, there are several things to look out for when shopping for used camera gear online.

First and foremost, while there are countless platforms for buying used gear out there, not all are created equal. Some offer more protection for the buyer than others, which is especially important if you're paying for an expensive piece of equipment like a camera or lens. You don't want your order to arrive only to discover that the camera isn't in working order or otherwise not as advertised, with no option to get your money back.

Whenever possible, it's best to order from reputable sites.

Whenever possible, it's best to order from reputable sites that offer some form of buyer protection. MPB, for example, offers a 6-month warranty for equipment purchased through its site, along with a 14-day return policy. KEH offers a 180-day warranty covering defects and a 21-day return policy. These types of sites also photograph the actual piece of gear you are buying, instead of using generic stock imagery.

eBay also offers some protection through its Money Back Guarantee policy. It outlines that buyers can get their money back if an item didn't arrive, is faulty or damaged, or doesn't match the listing. Sites that offer such policies give you a layer of protection in case something isn't right after your purchase.

Buying peer-to-peer DPReview has a forum for buying and selling gear.

There are times when buying from dedicated reseller websites isn't an option, though. Marketplaces like Facebook Marketplace and Craigslist can still offer worthy purchases. Additionally, DPReview’s For Sale and Wanted forum provides space for individuals to list used equipment. While these sites can offer good deals, it’s crucial to remember that transactions are not covered by specific buyer protection or warranties. As a result, it's essential to thoroughly vet the listing to avoid potential scams.

Start by researching the typical price of the item you are considering. If the price on a particular listing is far below that, it may be a sign that it's too good to be true and there's something nefarious at play.

Depending on the site, you may also be able to research the seller by checking their profile or selling history. If their account lacks a profile picture or history, it could be a fake or spam account, and it's best to move on. Opt for sellers who have a proven track record and good feedback. It's also a red flag if the seller wants communication to happen somewhere other than the platform where the listing is. If they want you to reach out to WhatsApp or some other way, proceed with caution (if at all).

Opt for sellers who have a proven track record and good feedback.

When possible, ask for additional images or videos, especially for high-ticket items. That can help verify that they have the product in hand, and it isn't just a fake listing. It's also smart to ask clarifying questions if any part of the listing is vague, such as simply stating a camera is in "good shape."

There are also some general payment aspects to consider. If the seller asks for a deposit before you receive the item, that's generally not a good sign, and you should keep looking. Avoid any seller that requests payment through wire transfer, gift cards or 'friends and family' payment options, as those don't offer recourse for recovery should something not work out. Whenever possible, pay with a credit card, which allows you to dispute the charge, or something like PayPal, which offers some purchase protection.

Finally, trust your gut. If the seller seems pushy, evasive to certain questions, or something just feels off, your best bet is to keep looking elsewhere.

Visual inspections

Always perform a thorough visual inspection, even if it's after you order something.
Photo: NickyLloyd / iStock / Getty Images Plus via Getty Images

Getting to assess a used piece of gear in person is always ideal. That way, you can visually inspect the item and see for yourself what its condition is, rather than relying on photos and descriptions. Even if you purchased something online, giving it a thorough inspection as soon as it arrives is best. You want to catch any inconsistencies or potential issues as soon as possible, as otherwise you may not have any recourse should something be amiss.

Whether you're buying a camera or lens, it's smart to bring either a compatible body or lens that you already own (or can borrow) so that you can do some testing. You'll also want to have a memory card with you, and some way to view those files on the spot. It's worth asking the seller about the history of the item, and if they have any receipts, have had it serviced and what accessories come with it. Always take your time and feel free to walk away if anything seems off.

How to inspect cameras This type of damage is obvious, but don't forget to look through the viewfinder for more subtle issues when buying a used camera.
Photo: Boy_Anupong / Moment via Getty Images

If you are able to have some hands-on time with the item, start with a general once-over to check for scratches, dents and other signs of abuse. Make sure that all port doors close, latches catch where they should and so on. Some dents and scratches are fine, but others could seriously impact the functionality or be a sign that something else is broken beneath the surface.

After an exterior inspection, take a look at the sensor (and mirror in the case of SLRs and DSLRs). Inspect carefully for any scratches or damage. If possible, take a photo of a plain background (a white wall, blue sky, etc.) at a small aperture and inspect for any dust spots or sensor defects. While sensors can be cleaned of dust and certain types of smudges, there could be more significant damage going on that's not fixable.

There could be more significant damage going on that's not fixable.

It's also important to check the battery, battery compartment and all other electronic ports for any corrosion, residue, or damaged contacts. Press all the buttons, dials and switches to check for responsiveness, and to make sure they don't stick. Examine the viewfinder and rear display for potential dead pixels, lines and other issues, and if it's a flip-out display, make sure it moves as expected.

Checking the shutter is also crucial. Fire the shutter at various speeds and listen carefully for any unusual sounds or potential timing issues. This is also a good time to check that the autofocus works as expected. Finally, if possible, check the number of shutter actuations. Lower counts are better.

How to inspect lenses Photo: Luen Wantisud / iStock / Getty Images Plus via Getty Images

Like cameras, you should first check the lens you're looking at for obvious scratches and dents. That includes checking the lens mount to verify it's free from corrosion and dents, and examining the front filter thread for dents or cross-threading.

Shining a flashlight through the lens can help you identify if there are any signs of scratches, chips, haze, fungus or dirt inside the lens. Small amounts of dust aren't a deal breaker, but if you spot signs of fungus, that signals deeper issues.

If possible, change the aperture (either via an aperture ring on the lens or with a camera) to make sure it moves smoothly. Rotate the zoom (when applicable) and focus rings to ensure those also move smoothly without any odd grinding or catches. If you are able to connect the lens to a compatible camera, check that the autofocus works. It's also important to verify that any switches or buttons on the lens body perform as they should.

Final thoughts on buying used gear

No matter how or where you are buying used camera gear, it's always worthwhile to check what accessories come with it. Dedicated resellers typically list them, but for more general marketplaces, you may need to ask specifically. The more complete picture you can get of the condition and what comes with the gear, the better.

Buying used is typically a great opportunity to save some money while building out your kit. There are certainly risks, but by shopping smart and doing your research ahead of time, you can prevent getting caught in a bad situation.

Image: Westend61 / Westend61 via Getty Images

Welcome back to our Question of the Week series! This reader-focused series aims to get our photographic community to share thoughts on all sorts of photography-related topics in our forums. We pose questions about gear, favorite camera stores, advice, problem-solving and more, and you share your thoughts and opinions.

This week, we’re leaning into the holiday spirit! The season of giving (and occasionally re-gifting) is upon us, and that means it’s time to unwrap some memories – both heartwarming and hilarious.

What are the best (and worst) photography-related gifts you've received?

What’s the best photography-related gift you’ve ever received? Maybe it was a dream lens that caused you to take on an adventure deep in the mountains, or a handmade camera strap that’s now an essential part of your kit. And what about the worst? Perhaps someone thought you needed yet another "World’s Best Photographer" mug, or that odd lens filter set that turned every photo a shade of green.

In this edition of our Question of the Week series, we want to hear your gift stories: the memorable, the useful and the truly baffling. Share your favorites (and flops) in the forum link below. Photos of the gifts (or what you created with them) are also more than welcome! We'll highlight some of your most entertaining and heartfelt responses in next week's roundup.

Click here to answer the Question of the week

Image: Viltrox

Viltrox has announced that its Pro series portrait lens is now available for Nikon Z mount. The AF 85mm F1.4 Pro, which was initially released for full-frame Sony E mount earlier this year, offers a classic portrait focal length, a fast aperture, and pro-level features at a budget-friendly price.

The Z mount version of the Viltrox 85mm F1.4 Pro uses the same design as the Sony E mount model. The optical formula consists of 15 elements in 11 groups, with 3 ED, 9 HR and 1 UA elements to improve sharpness and manage aberrations. Viltrox promises pro-grade image quality from the lens, with excellent sharpness and accurate colors even in tricky lighting conditions. The lens features an 11-blade diaphragm, which Viltrox says results in "creamy bokeh."

Image: Viltrox

Viltrox built the 85mm F1.4 Pro with its Dual HyperVCM autofocus system. It promises fast, silent and precise autofocus that's compatible with face and eye detection and subject tracking. The lens can focus as close as 0.79m (2.6').

Despite its budget-friendly price, the Viltrox lens offers numerous higher-end features. That includes metal construction with a dust and splash-resistant design to protect the lens from inclement conditions. It also features a customizable Fn button, an AF/MF switch, an aperture ring and a switch to click and declick the aperture.

Like the E mount version, it uses a 77mm filter thread and features a USB-C port for firmware updates. The Z mount model is slightly heavier than the E mount counterpart, coming in at 835 grams (29.5 ounces).

The Viltrox AF 85mm F1.4 Pro for Nikon Z is available for purchase for $598.

Buy now: Buy at Viltrox Buy at B&H

Image: Viltrox

Viltrox has announced that its Pro series portrait lens is now available for Nikon Z mount. The AF 85mm F1.4 Pro, which was initially released for full-frame Sony E mount earlier this year, offers a classic portrait focal length, a fast aperture, and pro-level features at a budget-friendly price.

The Z mount version of the Viltrox 85mm F1.4 Pro uses the same design as the Sony E mount model. The optical formula consists of 15 elements in 11 groups, with 3 ED, 9 HR and 1 UA elements to improve sharpness and manage aberrations. Viltrox promises pro-grade image quality from the lens, with excellent sharpness and accurate colors even in tricky lighting conditions. The lens features an 11-blade diaphragm, which Viltrox says results in "creamy bokeh."

Image: Viltrox

Viltrox built the 85mm F1.4 Pro with its Dual HyperVCM autofocus system. It promises fast, silent and precise autofocus that's compatible with face and eye detection and subject tracking. The lens can focus as close as 0.79m (2.6').

Despite its budget-friendly price, the Viltrox lens offers numerous higher-end features. That includes metal construction with a dust and splash-resistant design to protect the lens from inclement conditions. It also features a customizable Fn button, an AF/MF switch, an aperture ring and a switch to click and declick the aperture.

Like the E mount version, it uses a 77mm filter thread and features a USB-C port for firmware updates. The Z mount model is slightly heavier than the E mount counterpart, coming in at 835 grams (29.5 ounces).

The Viltrox AF 85mm F1.4 Pro for Nikon Z is available for purchase for $598.

Buy now: Buy at Viltrox Buy at B&H

National Geographic Pictures of the Year 2025

National Geographic has revealed the Pictures of the Year 2025, highlighting images by Nat Geo photographers that inspired and defined the past year. This year's showcase features 25 images that cover the full spectrum of National Geographic coverage. It consists of wildlife portraits and human narratives to sweeping composites of changing landscapes and scientific discoveries.

The top 25 images were selected from hundreds of thousands of images captured in the field this year across more than 20 countries. The collection includes groundbreaking moments, such as the first underwater photograph of a great white shark in Maine, the precise moment an egg transforms into a chick. It also contains images that show the largest religious gathering in the world, the last Indigenous people of Europe, the largest land migration documented by drone, a new benchmark record set for a nuclear tokamak reactor and more.

"PICTURES OF THE YEAR is a project that is always inspiring and thought-provoking," said Nathan Lump, editor-in-chief of National Geographic. "Each year, our photographers and editors sift through thousands of images, searching for those rare moments that stop us in our tracks. Individually, these photographs speak to beauty, fragility, and wonder. Taken together, I see a collective sense of urgency — a call to preserve what’s in danger of being lost, as well as a reminder of the poetic beauty to be found in carrying on, in daring to dream of a better future."

You can see the full selection at natgeo.com/photos and in the December 2025 issue of National Geographic, which includes behind-the-scenes anecdotes.

Great white

Photographer: Brian Skerry

Caption: Photographer Brian Skerry has been chronicling marine life for decades, but this is his first picture of a great white shark off the coast of Maine, where he encountered one from four feet away. Sightings of sharks like this 10-footer are increasing from Cape Cod to Nova Scotia, due in part to the Marine Mammal Protection Act of 1972, which allowed seal populations to rebound.

Transformation

Photographer: Anand Varma

Caption: For years, photographer Anand Varma has attempted to document when an egg yolk can still be seen but a bird form has clearly emerged. He experimented by incubating embryos in artificial shells before finally capturing the transformation at 12 days old. Varma separately raised some embryos to chicks, which he donated to people in the community.

King Mwene Chivueka VI

Photographer: Jasper Doest

Caption: In the misty highlands of Angola, entry to one of southern Africa's least studied ecosystems is controlled by King Mwene Chivueka VI, leader of the Luchazi people. For generations, his community has venerated an elusive herd of elephants native to the area—which outside scientists have only recently begun tracking, with the king's permission.

Nuclear fusion

Photographer: Paolo Verzone

Caption: With an eye toward solving the global energy crisis, scientists are developing powerful nuclear fusion devices called stellarators. This model was created at a German lab where international researchers built a much larger one that generated an astonishing 54 million-degree-Fahrenheit reaction. For a record-breaking 43 seconds, it was the hottest entity in the entire solar system—including the sun's center.

Day to Night

Photographer: Stephen Wilkes

Caption: Over the course of one action-packed day, photographer Stephen Wilkes watched animals charge toward a meager water hole at the height of extreme drought in Botswana's Okavango Delta. Elephants flared their ears. The legs of antelope and zebras splayed in a mad dash. One hippo dipped its head to charge an elephant calf, while another opened its mighty mouth in an intimidating display. Wilkes applied his signature Day to Night technique, in which he takes as many as 1,500 pictures from one vantage point over the course of 18 to 36 hours, seamlessly layering the 50 or so best moments to create a final image.

National Geographic Pictures of the Year 2025

National Geographic has revealed the Pictures of the Year 2025, highlighting images by Nat Geo photographers that inspired and defined the past year. This year's showcase features 25 images that cover the full spectrum of National Geographic coverage. It consists of wildlife portraits and human narratives to sweeping composites of changing landscapes and scientific discoveries.

The top 25 images were selected from hundreds of thousands of images captured in the field this year across more than 20 countries. The collection includes groundbreaking moments, such as the first underwater photograph of a great white shark in Maine, the precise moment an egg transforms into a chick. It also contains images that show the largest religious gathering in the world, the last Indigenous people of Europe, the largest land migration documented by drone, a new benchmark record set for a nuclear tokamak reactor and more.

"PICTURES OF THE YEAR is a project that is always inspiring and thought-provoking," said Nathan Lump, editor-in-chief of National Geographic. "Each year, our photographers and editors sift through thousands of images, searching for those rare moments that stop us in our tracks. Individually, these photographs speak to beauty, fragility, and wonder. Taken together, I see a collective sense of urgency — a call to preserve what’s in danger of being lost, as well as a reminder of the poetic beauty to be found in carrying on, in daring to dream of a better future."

You can see the full selection at natgeo.com/photos and in the December 2025 issue of National Geographic, which includes behind-the-scenes anecdotes.

Great white

Photographer: Brian Skerry

Caption: Photographer Brian Skerry has been chronicling marine life for decades, but this is his first picture of a great white shark off the coast of Maine, where he encountered one from four feet away. Sightings of sharks like this 10-footer are increasing from Cape Cod to Nova Scotia, due in part to the Marine Mammal Protection Act of 1972, which allowed seal populations to rebound.

Transformation

Photographer: Anand Varma

Caption: For years, photographer Anand Varma has attempted to document when an egg yolk can still be seen but a bird form has clearly emerged. He experimented by incubating embryos in artificial shells before finally capturing the transformation at 12 days old. Varma separately raised some embryos to chicks, which he donated to people in the community.

King Mwene Chivueka VI

Photographer: Jasper Doest

Caption: In the misty highlands of Angola, entry to one of southern Africa's least studied ecosystems is controlled by King Mwene Chivueka VI, leader of the Luchazi people. For generations, his community has venerated an elusive herd of elephants native to the area—which outside scientists have only recently begun tracking, with the king's permission.

Nuclear fusion

Photographer: Paolo Verzone

Caption: With an eye toward solving the global energy crisis, scientists are developing powerful nuclear fusion devices called stellarators. This model was created at a German lab where international researchers built a much larger one that generated an astonishing 54 million-degree-Fahrenheit reaction. For a record-breaking 43 seconds, it was the hottest entity in the entire solar system—including the sun's center.

Day to Night

Photographer: Stephen Wilkes

Caption: Over the course of one action-packed day, photographer Stephen Wilkes watched animals charge toward a meager water hole at the height of extreme drought in Botswana's Okavango Delta. Elephants flared their ears. The legs of antelope and zebras splayed in a mad dash. One hippo dipped its head to charge an elephant calf, while another opened its mighty mouth in an intimidating display. Wilkes applied his signature Day to Night technique, in which he takes as many as 1,500 pictures from one vantage point over the course of 18 to 36 hours, seamlessly layering the 50 or so best moments to create a final image.

National Geographic Pictures of the Year 2025

National Geographic has revealed the Pictures of the Year 2025, highlighting images by Nat Geo photographers that inspired and defined the past year. This year's showcase features 25 images that cover the full spectrum of National Geographic coverage. It consists of wildlife portraits and human narratives to sweeping composites of changing landscapes and scientific discoveries.

The top 25 images were selected from hundreds of thousands of images captured in the field this year across more than 20 countries. The collection includes groundbreaking moments, such as the first underwater photograph of a great white shark in Maine, the precise moment an egg transforms into a chick. It also contains images that show the largest religious gathering in the world, the last Indigenous people of Europe, the largest land migration documented by drone, a new benchmark record set for a nuclear tokamak reactor and more.

"PICTURES OF THE YEAR is a project that is always inspiring and thought-provoking," said Nathan Lump, editor-in-chief of National Geographic. "Each year, our photographers and editors sift through thousands of images, searching for those rare moments that stop us in our tracks. Individually, these photographs speak to beauty, fragility, and wonder. Taken together, I see a collective sense of urgency — a call to preserve what’s in danger of being lost, as well as a reminder of the poetic beauty to be found in carrying on, in daring to dream of a better future."

You can see the full selection at natgeo.com/photos and in the December 2025 issue of National Geographic, which includes behind-the-scenes anecdotes.

Great white

Photographer: Brian Skerry

Caption: Photographer Brian Skerry has been chronicling marine life for decades, but this is his first picture of a great white shark off the coast of Maine, where he encountered one from four feet away. Sightings of sharks like this 10-footer are increasing from Cape Cod to Nova Scotia, due in part to the Marine Mammal Protection Act of 1972, which allowed seal populations to rebound.

Transformation

Photographer: Anand Varma

Caption: For years, photographer Anand Varma has attempted to document when an egg yolk can still be seen but a bird form has clearly emerged. He experimented by incubating embryos in artificial shells before finally capturing the transformation at 12 days old. Varma separately raised some embryos to chicks, which he donated to people in the community.

King Mwene Chivueka VI

Photographer: Jasper Doest

Caption: In the misty highlands of Angola, entry to one of southern Africa's least studied ecosystems is controlled by King Mwene Chivueka VI, leader of the Luchazi people. For generations, his community has venerated an elusive herd of elephants native to the area—which outside scientists have only recently begun tracking, with the king's permission.

Nuclear fusion

Photographer: Paolo Verzone

Caption: With an eye toward solving the global energy crisis, scientists are developing powerful nuclear fusion devices called stellarators. This model was created at a German lab where international researchers built a much larger one that generated an astonishing 54 million-degree-Fahrenheit reaction. For a record-breaking 43 seconds, it was the hottest entity in the entire solar system—including the sun's center.

Day to Night

Photographer: Stephen Wilkes

Caption: Over the course of one action-packed day, photographer Stephen Wilkes watched animals charge toward a meager water hole at the height of extreme drought in Botswana's Okavango Delta. Elephants flared their ears. The legs of antelope and zebras splayed in a mad dash. One hippo dipped its head to charge an elephant calf, while another opened its mighty mouth in an intimidating display. Wilkes applied his signature Day to Night technique, in which he takes as many as 1,500 pictures from one vantage point over the course of 18 to 36 hours, seamlessly layering the 50 or so best moments to create a final image.

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

Canon announced the EOS R6 III, its latest-generation enthusiast full frame camera, earlier this month, but to some, the news of what the company was doing with the previous generation was even more exciting. It's keeping the EOS R6 II in the lineup indefinitely – not just selling through remaining stock – but cutting the list price from $2499 to $2299.

For potential buyers, it raises the question of whether to go with the still extremely capable EOS R6 II or to spend the extra $500 to get the newer model with all its additional features and resolution. In this article, we'll go through the differences between the two models so you can decide which one is right for you or whether you should upgrade from one to the other.

Sensor The EOS R6 III's sensor is a new, higher-resolution model.

The EOS R6 III uses a new 33MP FSI sensor, which provides around 16% more linear resolution than the 24MP model found in its predecessor. Despite having more pixels to read out, both cameras have very similar readout speeds, so you're not giving up rolling shutter performance in e-shutter mode to get that extra detail. It is worth noting, however, that both cameras drop into 12-bit mode when reading out from their electronic shutter, meaning the images will have less dynamic range and noisier deep shadows than if they were taken with the mechanical shutter. Importantly, this is something their competitors with faster readout speeds don't have to do.

The company is also promising slightly better stabilization, rated at 8.5EV versus 8EV for the EOS R6 II. However, the EOS R6 III's expanded ISO setting tops out at 102,400, a stop below its predecessor's maximum of 204,800 (not that we've found such high settings to produce particularly usable images).

Autofocus

At a glance, the two cameras' autofocus systems are very similar; they support human, animal and vehicle detection, and have an 'auto' setting that will make the camera highlight any detected subjects in the scene.

However, Canon says it's updated the algorithms for the EOS R6 III, re-using the ones from the higher-end EOS R5 II and R1. We'll have to do more testing to see how much of a difference that makes in the real world, but the company says the system should be even more reliable. While we found the EOS R6 II's system to be capable for most situations, we would occasionally run into issues with it, particularly while recording video.

Also new on the EOS R6 III is Canon's 'Register People Priority' feature, which lets you take a picture of someone, then tell the camera to prioritize them when running subject recognition. This could be useful for group events or sports, where you want to make sure the camera doesn't jump to other recognized faces when it should be sticking to, say, the bride at a wedding. The system supports up to 10 faces, and lets you rank them in order of priority.

The EOS R6 III also has a few new focus selection modes that will always have subject detection and tracking turned off, letting you switch between area modes without losing your subject recognition settings when you switch back. It also gains the ability to assign a preset focus distance to a custom button to a preset focus distance, letting you press it to instantly focus the lens on a specific point.

Connectivity and storage

The EOS R6 III has received a few updates to its ports and card slots. It now features a full-size HDMI connector, rather than the rather fragile micro one, and replaces one of its predecessor's dual UHS-II SD card slots with a CFexpress Type B one.

While both cameras support the UVC protocol, allowing them to be used as webcams without additional drivers or software, the EOS R6 II could only do so at 1080p, while the newer model can stream up to 4K60p to your computer. While this will likely be overkill for standard video calls, it could be a big upgrade for streamers.

Finally, the EOS R6 III's USB-C port now supports 10Gbps speeds, while the EOS R6 II's topped out at 5Gbps.

Burst rates and pre-capture

As with autofocus, both cameras are very similar on first blush; they support burst rates of up to 40fps in e-shutter mode, and around half a second of pre-burst capture. However, the EOS R6 II required a special workflow for the latter, making you switch into a 'Raw Burst' mode that didn't record JPEGs and required special processing before you could bring the files into standard programs like Lightroom or Capture One.

The EOS R6 III does away with Raw Burst mode.

The EOS R6 III does away with this, making the pre-capture option a standard menu option that doesn't come with any of those caveats. Like with its predecessor, though, you can only access it in the "H+" drive mode, meaning you can't have pre-capture when shooting at slower burst rates.

Software

While the two cameras' operating systems are very similar to one another, the EOS R6 III's menus have some big quality-of-life improvements. Setting a custom white balance, for example, no longer requires taking a still image of your desired middle gray and then going into the menus to select it; you can simply do it from the Q menu.

The EOS R6 III's video menu is much more friendly.

The video modes are also much easier to navigate. The EOS R6 II would give you a list of every possible combination of resolution, frame rate, and compression type. The EOS R6 III, however, lets you set those parameters independently.

Video The EOS R6 II was no slouch when it came to video, but the III adds features like open gate, internal Raw and full-width 4K/120.

Video is where most people will probably notice the big differences between the EOS R6 III and its predecessor. While the EOS R6 II was no slouch – it offered full-width 4K/60 – Canon's latest model borrows a lot of inspiration from advancements that other companies have added to their enthusiast cameras, such as the adoption of an open-gate recording mode, internal Raw recording and waveform monitoring.

Canon EOS R6 III Canon EOS R6 II Video resolutions 7K DCI/60 (Raw)
7K/30 open-gate
4K/120 (full-width)
1080p/180 (1.13x crop above 120) 4K/60 (full-width, oversampled from 6K)

1080p/180 (full-width)

Video assist tools False color overlay
Waveform
Log view assist
Easy WB set False color overlay
Log view assist

The new sensor's extra resolution also affords greater than 4K recording modes. While the EOS R6 II's 4K modes were oversampled from 6K capture, the EOS R6 III gains the ability to actually record in 7K in its DCI Raw and open-gate modes. It also gains a full-width 4K/120 mode, though it almost certainly makes use of sub-sampling or line skipping to achieve those speeds.

Other video improvements include the addition of a front-facing tally lamp to the EOS R6 III, C-Log 2 and the ability to bake in a custom LUT to your footage, so you don't have to spend time grading it in post. The shooting display has also been improved, letting you punch-in to check focus while recording, and retain your spirit levels, which disappear when you start rolling on the EOS R6 II.

Body and battery The video record and M-Fn buttons on the EOS R6 III (left) now have secondary functions activated in playback mode. The mode dial also replaces the 'Hybrid Auto' setting that captures video alongside stills with a 'Slow and Fast' mode for recording over- or under-cranked video.

The two cameras have identical dimensions and feel essentially the same to hold, despite the EOS R6 III being slightly heavier on paper. The control layouts are largely unchanged*, though Canon's latest camera has a few new default functions assigned to buttons, such as the "Rate" control on the top left of the back plate; in the shooting mode, it now brings up the "Color" menu.

Canon EOS R6 III Canon EOS R6 II Dimensons 138 x 98 x 88mm
(5.5 x 3.9 x 3.5") 138 x 98 x 88mm
(5.5 x 3.9 x 3.5") Weight 699g
(25.7oz) 680g
(24.0oz) Battery life EVF / LCD 270 / 510 320 / 580

The EOS R6 III ships with Canon's latest LP-E6P battery. It can be used with the LP-E6NH used by its predecessor, though some features will be unavailable, such as network and smartphone connectivity. Despite both batteries having a rated 16Wh capacity, the R6 III is rated to get noticeably fewer shots per charge than its predecessor. We're told the camera's processor has been updated, despite having the same Digic X branding, which may account for some of that discrepancy.

* - Impossibly nerdy detail: the stills/video switch no longer has an embossed circle surrounding the center ridge. This didn't affect what it was like to use in the slightest.

Summary

Overall, the EOS R6 III represents a relatively sizable step up from its predecessor when it comes to shooting video, with the changes on the stills side being welcome, but more iterative. We find it hard to complain about extra resolution, but think most current EOS R6 II owners would have a hard time justifying the upgrade, unless they had serious video ambitions.

Canon EOS R6 II

Buy now:

$1999 at Amazon.comBuy at AdoramaBuy at B&H Photo

The decision line for new buyers falls along similar lines. If you mostly shoot stills and don't need the top-tier of autofocus for shooting sports and action or slightly higher resolution, it'll likely make more sense to pick up the EOS R6 II and an extra lens, rather than an EOS R6 III. If you shoot a lot of video – especially for social media – or think you'll be pushing the camera to its absolute limits, it may be worth considering spending the extra on the EOS R6 III.

Canon EOS R6 III

Buy now:

Buy at AdoramaBuy at B&H Photo

We'd also recommend checking out our comparisons between the EOS R6 III and the higher-end EOS R5 II, as well as our article comparing it to competitors from other brands.

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

Canon announced the EOS R6 III, its latest-generation enthusiast full frame camera, earlier this month, but to some, the news of what the company was doing with the previous generation was even more exciting. It's keeping the EOS R6 II in the lineup indefinitely – not just selling through remaining stock – but cutting the list price from $2499 to $2299.

For potential buyers, it raises the question of whether to go with the still extremely capable EOS R6 II or to spend the extra $500 to get the newer model with all its additional features and resolution. In this article, we'll go through the differences between the two models so you can decide which one is right for you or whether you should upgrade from one to the other.

Sensor The EOS R6 III's sensor is a new, higher-resolution model.

The EOS R6 III uses a new 33MP FSI sensor, which provides around 16% more linear resolution than the 24MP model found in its predecessor. Despite having more pixels to read out, both cameras have very similar readout speeds, so you're not giving up rolling shutter performance in e-shutter mode to get that extra detail. It is worth noting, however, that both cameras drop into 12-bit mode when reading out from their electronic shutter, meaning the images will have less dynamic range and noisier deep shadows than if they were taken with the mechanical shutter. Importantly, this is something their competitors with faster readout speeds don't have to do.

The company is also promising slightly better stabilization, rated at 8.5EV versus 8EV for the EOS R6 II. However, the EOS R6 III's expanded ISO setting tops out at 102,400, a stop below its predecessor's maximum of 204,800 (not that we've found such high settings to produce particularly usable images).

Autofocus

At a glance, the two cameras' autofocus systems are very similar; they support human, animal and vehicle detection, and have an 'auto' setting that will make the camera highlight any detected subjects in the scene.

However, Canon says it's updated the algorithms for the EOS R6 III, re-using the ones from the higher-end EOS R5 II and R1. We'll have to do more testing to see how much of a difference that makes in the real world, but the company says the system should be even more reliable. While we found the EOS R6 II's system to be capable for most situations, we would occasionally run into issues with it, particularly while recording video.

Also new on the EOS R6 III is Canon's 'Register People Priority' feature, which lets you take a picture of someone, then tell the camera to prioritize them when running subject recognition. This could be useful for group events or sports, where you want to make sure the camera doesn't jump to other recognized faces when it should be sticking to, say, the bride at a wedding. The system supports up to 10 faces, and lets you rank them in order of priority.

The EOS R6 III also has a few new focus selection modes that will always have subject detection and tracking turned off, letting you switch between area modes without losing your subject recognition settings when you switch back. It also gains the ability to assign a preset focus distance to a custom button to a preset focus distance, letting you press it to instantly focus the lens on a specific point.

Connectivity and storage

The EOS R6 III has received a few updates to its ports and card slots. It now features a full-size HDMI connector, rather than the rather fragile micro one, and replaces one of its predecessor's dual UHS-II SD card slots with a CFexpress Type B one.

While both cameras support the UVC protocol, allowing them to be used as webcams without additional drivers or software, the EOS R6 II could only do so at 1080p, while the newer model can stream up to 4K60p to your computer. While this will likely be overkill for standard video calls, it could be a big upgrade for streamers.

Finally, the EOS R6 III's USB-C port now supports 10Gbps speeds, while the EOS R6 II's topped out at 5Gbps.

Burst rates and pre-capture

As with autofocus, both cameras are very similar on first blush; they support burst rates of up to 40fps in e-shutter mode, and around half a second of pre-burst capture. However, the EOS R6 II required a special workflow for the latter, making you switch into a 'Raw Burst' mode that didn't record JPEGs and required special processing before you could bring the files into standard programs like Lightroom or Capture One.

The EOS R6 III does away with Raw Burst mode.

The EOS R6 III does away with this, making the pre-capture option a standard menu option that doesn't come with any of those caveats. Like with its predecessor, though, you can only access it in the "H+" drive mode, meaning you can't have pre-capture when shooting at slower burst rates.

Software

While the two cameras' operating systems are very similar to one another, the EOS R6 III's menus have some big quality-of-life improvements. Setting a custom white balance, for example, no longer requires taking a still image of your desired middle gray and then going into the menus to select it; you can simply do it from the Q menu.

The EOS R6 III's video menu is much more friendly.

The video modes are also much easier to navigate. The EOS R6 II would give you a list of every possible combination of resolution, frame rate, and compression type. The EOS R6 III, however, lets you set those parameters independently.

Video The EOS R6 II was no slouch when it came to video, but the III adds features like open gate, internal Raw and full-width 4K/120.

Video is where most people will probably notice the big differences between the EOS R6 III and its predecessor. While the EOS R6 II was no slouch – it offered full-width 4K/60 – Canon's latest model borrows a lot of inspiration from advancements that other companies have added to their enthusiast cameras, such as the adoption of an open-gate recording mode, internal Raw recording and waveform monitoring.

Canon EOS R6 III Canon EOS R6 II Video resolutions 7K DCI/60 (Raw)
7K/30 open-gate
4K/120 (full-width)
1080p/180 (1.13x crop above 120) 4K/60 (full-width, oversampled from 6K)

1080p/180 (full-width)

Video assist tools False color overlay
Waveform
Log view assist
Easy WB set False color overlay
Log view assist

The new sensor's extra resolution also affords greater than 4K recording modes. While the EOS R6 II's 4K modes were oversampled from 6K capture, the EOS R6 III gains the ability to actually record in 7K in its DCI Raw and open-gate modes. It also gains a full-width 4K/120 mode, though it almost certainly makes use of sub-sampling or line skipping to achieve those speeds.

Other video improvements include the addition of a front-facing tally lamp to the EOS R6 III, C-Log 2 and the ability to bake in a custom LUT to your footage, so you don't have to spend time grading it in post. The shooting display has also been improved, letting you punch-in to check focus while recording, and retain your spirit levels, which disappear when you start rolling on the EOS R6 II.

Body and battery The video record and M-Fn buttons on the EOS R6 III (left) now have secondary functions activated in playback mode. The mode dial also replaces the 'Hybrid Auto' setting that captures video alongside stills with a 'Slow and Fast' mode for recording over- or under-cranked video.

The two cameras have identical dimensions and feel essentially the same to hold, despite the EOS R6 III being slightly heavier on paper. The control layouts are largely unchanged*, though Canon's latest camera has a few new default functions assigned to buttons, such as the "Rate" control on the top left of the back plate; in the shooting mode, it now brings up the "Color" menu.

Canon EOS R6 III Canon EOS R6 II Dimensons 138 x 98 x 88mm
(5.5 x 3.9 x 3.5") 138 x 98 x 88mm
(5.5 x 3.9 x 3.5") Weight 699g
(25.7oz) 680g
(24.0oz) Battery life EVF / LCD 270 / 510 320 / 580

The EOS R6 III ships with Canon's latest LP-E6P battery. It can be used with the LP-E6NH used by its predecessor, though some features will be unavailable, such as network and smartphone connectivity. Despite both batteries having a rated 16Wh capacity, the R6 III is rated to get noticeably fewer shots per charge than its predecessor. We're told the camera's processor has been updated, despite having the same Digic X branding, which may account for some of that discrepancy.

* - Impossibly nerdy detail: the stills/video switch no longer has an embossed circle surrounding the center ridge. This didn't affect what it was like to use in the slightest.

Summary

Overall, the EOS R6 III represents a relatively sizable step up from its predecessor when it comes to shooting video, with the changes on the stills side being welcome, but more iterative. We find it hard to complain about extra resolution, but think most current EOS R6 II owners would have a hard time justifying the upgrade, unless they had serious video ambitions.

Canon EOS R6 II

Buy now:

$2099 at Amazon.comBuy at AdoramaBuy at B&H Photo

The decision line for new buyers falls along similar lines. If you mostly shoot stills and don't need the top-tier of autofocus for shooting sports and action or slightly higher resolution, it'll likely make more sense to pick up the EOS R6 II and an extra lens, rather than an EOS R6 III. If you shoot a lot of video – especially for social media – or think you'll be pushing the camera to its absolute limits, it may be worth considering spending the extra on the EOS R6 III.

Canon EOS R6 III

Buy now:

Buy at AdoramaBuy at B&H Photo

We'd also recommend checking out our comparisons between the EOS R6 III and the higher-end EOS R5 II, as well as our article comparing it to competitors from other brands.

Image: DJI

Hot on the heels of launching an entry-level drone and smartphone gimbal, DJI has announced yet another new product: the Osmo Action 6. The company's latest action camera promises to up the ante with a larger, custom-designed square sensor and a feature that most other action cameras can't match.

The DJI Osmo Action 6 gains a variable aperture lens, which is a standout in this field. It also features a wider maximum aperture of F2.0 (compared to the typical F2.8), which should improve low-light performance. It can also be adjusted to F4.0 for a deeper depth of field, though DJI didn't specify what increments are available.

In Auto mode, the camera offers various aperture range options, allowing for some additional creative control without requiring manual adjustments. For example, the Starburst mode promises to turn lights into starbursts by using a smaller aperture.

The Osmo Action 6 is compatible with DJI's Macro Lens and FOV Boost Lens.
Image: DJI

How much of a difference the F2.0 to F4.0 aperture range actually makes for achieving different looks remains to be seen, but it's interesting that the company is adding the option at all. Action cameras are typically only used for capturing broad views while recording action, but this inclusion shows that DJI is attempting to make the format more widely applicable, allowing creators to stick to one camera for more types of content.

The other notable change on the Osmo Action 6 is the sensor. DJI built the Osmo Action 6 around a custom square Type 1/1.1 (98mm²) sensor – a step up from the Osmo Action 5 Pro's 4:3 Type 1/1.3 (75mm²) sensor – with 2.4 μm "fusion large pixels." DJI hasn't clarified what exactly that means, but it wouldn't surprise us if it turns out the camera is binning pixels from a quad-bayer design in some of its modes. The larger sensor should also improve low-light performance, a traditionally weak area for action cameras and their small sensors. DJI says that the new sensor offers 13.5 stops of dynamic range.

Image: DJI

The square sensor format, which we recently saw in the selfie camera of Apple's latest iPhone, gives the camera more room for electronic image stabilization and unlocks the ability to adjust aspect ratio in post more easily. The Osmo Action 6 enables this through its new 4K Custom mode, which allows users to crop to various aspect ratios fit for different social media platforms. You can also use DJI's 10-bit D-Log M mode for even more flexibility in post.

In terms of video resolution, the Osmo Action 6 tops out at 4K 120fps in a 4:3 ratio. It's also capable of 4K 60 fps in 'SuperNight' mode, DJI's setting to maximize performance and quality in low-light situations. DJI also says the camera can "generate" 32x Super Slow Motion, just as the Osmo Action 5 Pro can. To do so, DJI says its software interpolates frames recorded at 1080p 240fps, essentially digitally generating extra frames to produce the equivalent of 960 fps when played back at 1080p 30fps.

The Osmo Action 6 is compatible with DJI's extensive list of accessories, including the ND filter set.
Image: DJI

The Osmo Action 6 also offers the standard features typically found on DJI's action cameras, including its RockSteady stabilization modes and Horizon Balancing modes. It also supports six built-in film tones, a Portrait Mode that optimizes exposure on the subject for better skin tones and Subject Centering and Tracking to keep the subject in the center of the frame.

The new action camera offers an IP68 rating and is waterproof to 20 meters without a case and 60 meters with the waterproof case. An integrated pressure gauge also records dive data. DJI promises four hours of battery life and the ability to charge to 80% in 22 minutes. It offers 50GB of on-board storage.

The Osmo Action 6 is available beginning today for £329/€379. Once again, US customers are missing out, as the camera isn't officially available in the US.

Press release:

DJI Breaks Through the Limits of Fixed Aperture with Osmo Action 6 - DJI’s First Action Camera with Variable Aperture

All-new 1/1.1-Inch Square Sensor Offers Flagship-level Image Quality, Delivering a Dynamic Range of Up to 13.5 Stops and a New 4K Custom Mode

November 18, 2025 - DJI, the global leader in civilian drones and creative camera technology, today launches the Osmo Action 6, an all-in-one action camera redefining DJI’s flagship imaging and unlocking more possibilities for creative shooting. Setting a new standard for action photography, the latest generation of DJI’s popular Osmo action camera series delivers several industry-firsts.

The Osmo Action 6 is the first action camera to feature a variable aperture, offering a range of f/2.0 to f/4.0 and promising excellent low-light performance. It is also equipped with DJI's custom 1/1.1-inch square CMOS sensor and 2.4 μm fusion large pixels, elevating the image quality found in an action camera.

DJI's first variable aperture action camera

The Osmo Action 6 breaks away from the traditional fixed-aperture design of action cameras, allowing users to choose from multiple aperture modes that suit a wide range of scenarios. With a maximum aperture of f/2.0, Osmo Action 6 allows more light to enter the shot and improves the image quality in low-light settings. In Auto mode, the Osmo Action 6 offers adaptive aperture range options, and the aperture adjusts automatically within each range to achieve clear results across various scenes from low-light night shots to bright, detailed landscapes. With Starburst mode, city lights become captivating starbursts, adding a stunning creative effect and interest to well-lit metropolitan scenes.

Creators can achieve a creative shallow depth of field in an action camera by using the Macro Lens accessory (sold separately), making close-ups of food, pets, and flowers stunningly beautiful. With the Macro Lens attached, the minimum focus distance is reduced from 35 cm to just 11 cm, allowing for crisp, close-up vlog selfies. For wide shots, when the Osmo Action 6 FOV Boost Lens (sold separately) is attached, the camera automatically switches to FOV Boost mode, expanding the native 155° field of view to 182°1, ideal for truly immersive, edge-to-edge POV action shots.

New 1/1.1-inch square sensor offers flagship-level image quality

The Osmo Action 6’s all-new 1/1.1-inch CMOS sensor with 2.4 μm fused large pixels delivers up to 13.5 stops of dynamic range to achieve crisp detail in high contrast settings. It also supports video recording up to 4K/120fps in 4:3 ratio, and the larger sensor allows better low-light image quality, ensuring clear, detailed footage even in extremely dark environments. With its larger sensor, larger aperture, and new noise reduction technology, Osmo Action 6 enables SuperNight mode to provide clarity at night, capturing detailed video up to 4K/60fps in low-light conditions.

Additionally, DJI's 10-bit D-Log M color system preserves highlight and shadow detail for
greater flexibility in post‐production. Osmo Action 6 also provides an on‐screen D‐Log M
preview for real‐time color and exposure monitoring.

4K Custom mode: shoot now, crop later

Powered by DJI’s custom-designed square sensor, the Osmo Action 6 debuts the new 4K Custom mode that allows users to shoot first and crop later in post-production to frame video, making it possible to share creative videos across different social media platforms. Creators no longer need to manually position the camera horizontally and vertically to get their shot.

Smooth, super slow motion

A standout in slow motion capture, Osmo Action 6 natively supports up to 4K/120fps
slow-motion recording and can intelligently generate up to 32x Super Slow Motion playback at 1080p, creating stunning, high-definition visuals. By interpolating frames recorded at 1080p/240fps, the Osmo Action 6 achieves a slowdown effect equivalent to 960fps when played back at 1080p/30fps, providing a cinematic effect for action footage.

Professional-level features in an action camera

Experience pro-grade capture with the Osmo Action 6’s many professional features:

• RockSteady 3.0/RockSteady 3.0+, HorizonBalancing and HorizonSteady
  stabilization modes reduce camera shake, correct tilts to maintain the horizon level
  within ±45°, and eliminates roll axis shakes within 360° to maintain a level horizon while
  ensuring 4K/60fps high-definition quality
• 2x Lossless Zoom allows users to zoom in up to 2x without compromising 4K quality,
  ensuring faraway details remain clear and sharp
• Natural Wide FOV keeps a broad perspective while reducing vertical distortion
• Film Tone customizes footage with a selection of six built-in film tones
• Portrait Mode intelligently detects and prioritizes the subject while optimizing exposure for true-to-life skin tones
• Subject Centering and Tracking intelligently tracks the subject to keep him or her
  center frame

The many adventures of Osmo Action 6

The Osmo Action 6 is ready for any type of action, from diving and skiing to mountain biking and hiking. With an IP68 waterproof rating, the camera is waterproof up to 20 meters without a case and up to 60 meters with the waterproof case. Its industry-leading, built-in color temperature sensor ensures true-to-life underwater colors, while the water pressure gauge records dive data.

Moments on the mountain or in any extreme environment are easy to capture thanks to Osmo Action 6’s cold-resistant design, suitable for temperatures as low as -20° C. The 4-hour battery life1 can outlast any adventure, and the battery can be fast-charged to 80% in just 22 minutes1. The standout 50GB of built-in storage ensures no moment is missed, even without a memory card on hand. Finally, gesture control and intelligent subject tracking makes the recording experience hands-free, so creators can focus on the journey itself.

The creative features of the Osmo Action 6 cater to adventurers, travelers, and everyday
vloggers. The Osmo Action 6's variable aperture enables closer video selfies, and the new
Natural Wide FOV keeps a broad perspective while reducing vertical distortion, delivering more natural-looking footage for travel and daily vlogs.

The benefits of the OsmoAudioTM Ecosystem

The Osmo Action 6 supports direct connection with up to two DJI microphone transmitters
(compatible with Mic 2, Mic 3, or Mic Mini), ensuring high-quality audio without the need for a receiver. The dual connection allows creators to record two different sources – making it possible to capture a two-person conversation, or ambient sounds like engine sounds and a voice-over. Even without transmitters, the camera's built-in three-mic array captures rich, stereo sound, while the intelligent noise reduction algorithm cuts through wind to ensure a loud and clear voice.

For more information, please refer to: https://www.dji.com/osmo-action-6

1 All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to the official DJI website.

Image: DJI

Hot on the heels of launching an entry-level drone and smartphone gimbal, DJI has announced yet another new product: the Osmo Action 6. The company's latest action camera promises to up the ante with a larger, custom-designed square sensor and a feature that most other action cameras can't match.

The DJI Osmo Action 6 gains a variable aperture lens, which is a standout in this field. It also features a wider maximum aperture of F2.0 (compared to the typical F2.8), which should improve low-light performance. It can also be adjusted to F4.0 for a deeper depth of field, though DJI didn't specify what increments are available.

In Auto mode, the camera offers various aperture range options, allowing for some additional creative control without requiring manual adjustments. For example, the Starburst mode promises to turn lights into starbursts by using a smaller aperture.

The Osmo Action 6 is compatible with DJI's Macro Lens and FOV Boost Lens.
Image: DJI

How much of a difference the F2.0 to F4.0 aperture range actually makes for achieving different looks remains to be seen, but it's interesting that the company is adding the option at all. Action cameras are typically only used for capturing broad views while recording action, but this inclusion shows that DJI is attempting to make the format more widely applicable, allowing creators to stick to one camera for more types of content.

The other notable change on the Osmo Action 6 is the sensor. DJI built the Osmo Action 6 around a custom square Type 1/1.1 (98mm²) sensor – a step up from the Osmo Action 5 Pro's 4:3 Type 1/1.3 (75mm²) sensor – with 2.4 μm "fusion large pixels." DJI hasn't clarified what exactly that means, but it wouldn't surprise us if it turns out the camera is binning pixels from a quad-bayer design in some of its modes. The larger sensor should also improve low-light performance, a traditionally weak area for action cameras and their small sensors. DJI says that the new sensor offers 13.5 stops of dynamic range.

Image: DJI

The square sensor format, which we recently saw in the selfie camera of Apple's latest iPhone, gives the camera more room for electronic image stabilization and unlocks the ability to adjust aspect ratio in post more easily. The Osmo Action 6 enables this through its new 4K Custom mode, which allows users to crop to various aspect ratios fit for different social media platforms. You can also use DJI's 10-bit D-Log M mode for even more flexibility in post.

In terms of video resolution, the Osmo Action 6 tops out at 4K 120fps in a 4:3 ratio. It's also capable of 4K 60 fps in 'SuperNight' mode, DJI's setting to maximize performance and quality in low-light situations. DJI also says the camera can "generate" 32x Super Slow Motion, just as the Osmo Action 5 Pro can. To do so, DJI says its software interpolates frames recorded at 1080p 240fps, essentially digitally generating extra frames to produce the equivalent of 960 fps when played back at 1080p 30fps.

The Osmo Action 6 is compatible with DJI's extensive list of accessories, including the ND filter set.
Image: DJI

The Osmo Action 6 also offers the standard features typically found on DJI's action cameras, including its RockSteady stabilization modes and Horizon Balancing modes. It also supports six built-in film tones, a Portrait Mode that optimizes exposure on the subject for better skin tones and Subject Centering and Tracking to keep the subject in the center of the frame.

The new action camera offers an IP68 rating and is waterproof to 20 meters without a case and 60 meters with the waterproof case. An integrated pressure gauge also records dive data. DJI promises four hours of battery life and the ability to charge to 80% in 22 minutes. It offers 50GB of on-board storage.

The Osmo Action 6 is available beginning today for £329/€379. Once again, US customers are missing out, as the camera isn't officially available in the US.

Press release:

DJI Breaks Through the Limits of Fixed Aperture with Osmo Action 6 - DJI’s First Action Camera with Variable Aperture

All-new 1/1.1-Inch Square Sensor Offers Flagship-level Image Quality, Delivering a Dynamic Range of Up to 13.5 Stops and a New 4K Custom Mode

November 18, 2025 - DJI, the global leader in civilian drones and creative camera technology, today launches the Osmo Action 6, an all-in-one action camera redefining DJI’s flagship imaging and unlocking more possibilities for creative shooting. Setting a new standard for action photography, the latest generation of DJI’s popular Osmo action camera series delivers several industry-firsts.

The Osmo Action 6 is the first action camera to feature a variable aperture, offering a range of f/2.0 to f/4.0 and promising excellent low-light performance. It is also equipped with DJI's custom 1/1.1-inch square CMOS sensor and 2.4 μm fusion large pixels, elevating the image quality found in an action camera.

DJI's first variable aperture action camera

The Osmo Action 6 breaks away from the traditional fixed-aperture design of action cameras, allowing users to choose from multiple aperture modes that suit a wide range of scenarios. With a maximum aperture of f/2.0, Osmo Action 6 allows more light to enter the shot and improves the image quality in low-light settings. In Auto mode, the Osmo Action 6 offers adaptive aperture range options, and the aperture adjusts automatically within each range to achieve clear results across various scenes from low-light night shots to bright, detailed landscapes. With Starburst mode, city lights become captivating starbursts, adding a stunning creative effect and interest to well-lit metropolitan scenes.

Creators can achieve a creative shallow depth of field in an action camera by using the Macro Lens accessory (sold separately), making close-ups of food, pets, and flowers stunningly beautiful. With the Macro Lens attached, the minimum focus distance is reduced from 35 cm to just 11 cm, allowing for crisp, close-up vlog selfies. For wide shots, when the Osmo Action 6 FOV Boost Lens (sold separately) is attached, the camera automatically switches to FOV Boost mode, expanding the native 155° field of view to 182°1, ideal for truly immersive, edge-to-edge POV action shots.

New 1/1.1-inch square sensor offers flagship-level image quality

The Osmo Action 6’s all-new 1/1.1-inch CMOS sensor with 2.4 μm fused large pixels delivers up to 13.5 stops of dynamic range to achieve crisp detail in high contrast settings. It also supports video recording up to 4K/120fps in 4:3 ratio, and the larger sensor allows better low-light image quality, ensuring clear, detailed footage even in extremely dark environments. With its larger sensor, larger aperture, and new noise reduction technology, Osmo Action 6 enables SuperNight mode to provide clarity at night, capturing detailed video up to 4K/60fps in low-light conditions.

Additionally, DJI's 10-bit D-Log M color system preserves highlight and shadow detail for
greater flexibility in post‐production. Osmo Action 6 also provides an on‐screen D‐Log M
preview for real‐time color and exposure monitoring.

4K Custom mode: shoot now, crop later

Powered by DJI’s custom-designed square sensor, the Osmo Action 6 debuts the new 4K Custom mode that allows users to shoot first and crop later in post-production to frame video, making it possible to share creative videos across different social media platforms. Creators no longer need to manually position the camera horizontally and vertically to get their shot.

Smooth, super slow motion

A standout in slow motion capture, Osmo Action 6 natively supports up to 4K/120fps
slow-motion recording and can intelligently generate up to 32x Super Slow Motion playback at 1080p, creating stunning, high-definition visuals. By interpolating frames recorded at 1080p/240fps, the Osmo Action 6 achieves a slowdown effect equivalent to 960fps when played back at 1080p/30fps, providing a cinematic effect for action footage.

Professional-level features in an action camera

Experience pro-grade capture with the Osmo Action 6’s many professional features:

• RockSteady 3.0/RockSteady 3.0+, HorizonBalancing and HorizonSteady
  stabilization modes reduce camera shake, correct tilts to maintain the horizon level
  within ±45°, and eliminates roll axis shakes within 360° to maintain a level horizon while
  ensuring 4K/60fps high-definition quality
• 2x Lossless Zoom allows users to zoom in up to 2x without compromising 4K quality,
  ensuring faraway details remain clear and sharp
• Natural Wide FOV keeps a broad perspective while reducing vertical distortion
• Film Tone customizes footage with a selection of six built-in film tones
• Portrait Mode intelligently detects and prioritizes the subject while optimizing exposure for true-to-life skin tones
• Subject Centering and Tracking intelligently tracks the subject to keep him or her
  center frame

The many adventures of Osmo Action 6

The Osmo Action 6 is ready for any type of action, from diving and skiing to mountain biking and hiking. With an IP68 waterproof rating, the camera is waterproof up to 20 meters without a case and up to 60 meters with the waterproof case. Its industry-leading, built-in color temperature sensor ensures true-to-life underwater colors, while the water pressure gauge records dive data.

Moments on the mountain or in any extreme environment are easy to capture thanks to Osmo Action 6’s cold-resistant design, suitable for temperatures as low as -20° C. The 4-hour battery life1 can outlast any adventure, and the battery can be fast-charged to 80% in just 22 minutes1. The standout 50GB of built-in storage ensures no moment is missed, even without a memory card on hand. Finally, gesture control and intelligent subject tracking makes the recording experience hands-free, so creators can focus on the journey itself.

The creative features of the Osmo Action 6 cater to adventurers, travelers, and everyday
vloggers. The Osmo Action 6's variable aperture enables closer video selfies, and the new
Natural Wide FOV keeps a broad perspective while reducing vertical distortion, delivering more natural-looking footage for travel and daily vlogs.

The benefits of the OsmoAudioTM Ecosystem

The Osmo Action 6 supports direct connection with up to two DJI microphone transmitters
(compatible with Mic 2, Mic 3, or Mic Mini), ensuring high-quality audio without the need for a receiver. The dual connection allows creators to record two different sources – making it possible to capture a two-person conversation, or ambient sounds like engine sounds and a voice-over. Even without transmitters, the camera's built-in three-mic array captures rich, stereo sound, while the intelligent noise reduction algorithm cuts through wind to ensure a loud and clear voice.

For more information, please refer to: https://www.dji.com/osmo-action-6

1 All data was tested in controlled conditions. Actual experience may vary. For more details, please refer to the official DJI website.

Owners of cameras like the X-H2S will be getting a more flexible way to use the company's famed Film Simulations.

Fujifilm has made several of its well-regarded Film Simulation color modes available as standardized LUT (Look Up Table) files. While they were released as part of the release of the Eterna 55, the company's new cinema camera, they can also be applied to footage from many recent Fujifilm cameras that can shoot F-Log2.

Those cameras have long been able to apply film simulations to video at the time of recording, but doing so was a commitment; once they were baked in, they were part of the footage forever. (Which could be especially noticeable with the less subtle ones like the black and white Acros or super-saturated Velvia.) This meant you had to choose between getting the aesthetic or flexibility. With the LUTs, though, you can apply the Film Simulation looks to video shot using F-Log2 in post, letting you experiment with which one works best and giving you more latitude to tweak the looks if you choose.

The LUTs only work with footage shot in the newer F-Log2 profile, which is available on most of the cameras released since the introduction of the X-H2, even including lower-end models like the X-T30 III and X-M5.

Fujifilm has previously provided a LUT that grades F-Log2 to look like its video-focused Eterna film simulation. Until now it's been possible to shoot in the subtle 'cinematic' Eterna profile and then match-up footage shot in circumstances where Log shooting was necessary, now you can do the same thing for a much wider range of film simulations.

• Acros
• Astia
• Classic Chrome
• Classic Neg.
• Eterna Bleach Bypass
• Pro. Neg.
• Provia
• Reala Ace
• Velvia

The LUTs are also available for footage taken using the company's wider gamut F-Log2C mode, available on higher-end cameras.

Fujifilm isn't the only company that has brought LUTs to its consumer cameras thanks to work done by its cinema arm. Last year, Nikon released three LUTs designed to be comparable with ones created for its Red cinema cameras.

Stay tuned for some sample footage graded using the newly released LUTs. They're available for free on Fujifilm's website.