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Photo: Jeff L Carlson

Much of the appeal of using your smartphone as a camera is that it's simple – and for most people, it is. But things can rapidly get complex for photographers who want the best quality and full control when shooting with their phones. That's the case with the iPhone 15 and iPhone 15 Pro.

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Which of the phone's various cameras gives you the best resolution? Which modes override that resolution? When are you capturing an optical image versus digital upsampling, which can switch without your knowledge? To help you get the best quality from the camera that’s always with you, let’s look at these and other situations.

For this article, we’re talking about capturing photos using the built-in Camera app. You can find even more specific features, such as shooting in unaltered Raw format or using manual modes, using third-party apps such as Halide, Lightroom for mobile or Obscura.

Also, even though we're focusing on the iPhone 15 and iPhone 15 Pro, much of the information here applies to the iPhone 14 Pro (which can capture 48MP in Raw mode) and other models capable of running iOS 17.

How to get 48MP resolution on the iPhone 15 and iPhone 15 Pro

One of the most appealing features of the iPhone 15 and iPhone 15 Pro cameras is the ability to capture images at 48MP resolution, but you won’t get it every time without deliberate preparation.

Each lens on the iPhone 15 is backed by its own sensor, so an iPhone 15 Pro includes four separate cameras, including the front-facing one. Only the main camera includes a 48MP sensor, so for 48MP images, you need to be shooting at 1x zoom. The 0.5x ultrawide and 3x or 5x telephoto (on the Pro and Pro Max models) cameras use 12MP sensors.

Despite that 48MP main sensor, the default resolution is set to 24MP, presumably to rein in large file sizes. To kick that up to 48MP, go to Settings > Camera > Formats and turn on Resolution Control (on the iPhone 15 and iPhone 15 Plus) or ProRAW & Resolution Control (on the iPhone 15 Pro and iPhone 15 Pro Max).

On the Pro models, set the Pro Default option to HEIF Max or ProRAW Max. That enables a control at the top of the Camera app that enables the Max (48MP) resolution.

Make sure the Resolution Control setting is turned on. Look to the Resolution control to make sure you're capturing 48MP.

When you want to capture in 48MP, tap the control (labeled HEIF Max or RAW Max), removing the diagonal line through the text to enable it. To switch back to the 24MP default, tap it again.

Viewing the information about the photo reveals the resolution. 24MP HEIF capture (exported as JPEG from Apple Photos) 48MP HEIF capture (exported as JPEG from Apple Photos)

That toggle seems straightforward, but sometimes you won’t get the maximum resolution even when enabled. Resolution gets knocked down to 12MP whenever Night mode, Macro mode, or the built-in flash is enabled. Similarly, the resolution is reduced in Portrait mode when a lighting style (such as Contour Light) is selected.

On the Pro models, touch and hold the control to choose a format without navigating back to the Settings app.

Touch and hold the Resolution control at the top of the Camera app on iPhone 15 Pro models to quickly switch options. How to choose the right format: Raw, HEIF, or JPEG

The default image format for all recent iPhones is HEIF (High Efficiency Image Format), which saves files with the extension .HEIC (High Efficiency Image Coding). It’s a format that compresses better than the near-universal standard JPEG and acts as a container that includes other data, such as depth map information.

If you’d rather store images in JPEG format to make sharing or publishing images easier without converting them later, go to Settings > Camera > Formats and choose Most Compatible under Camera Capture.

To capture in JPEG format, choose Most Compatible in the Camera settings.

On the iPhone 15 Pro models, you can also capture Raw images saved in Apple ProRAW format. Raw photos include more dynamic range information and give you more editing flexibility. However, ProRAW differs from most Raw formats in that Apple demosaics the raw data to create a hybrid image incorporating the iPhone’s computational processing.

If you want to edit the unaltered data from the camera’s sensor, you’ll need to turn to third-party apps that can shoot Raw. If you’re using the non-Pro iPhone 15 models, those other apps are the only way to shoot Raw photos since Apple reserves ProRAW as a feature for its Pro models.

You can capture either 48MP in the ProRAW Max mode or 12MP using the ProRAW 12 setting. When shooting Raw, 24MP is not an option. That resolution is possible only when shooting HEIF or JPEG because the camera captures multiple 12MP exposures and computationally combines them with a 48MP image.

Choose the resolution and format that is active when you launch the Camera app. How to minimize digital zoom

The ultrawide (0.5x) or telephoto (3x/5x) cameras each capture images optically, where each pixel corresponds to the area perceived in the field of view – if you don't tweak the zoom. If you choose an arbitrary zoom level between those ranges, such as by pinching two fingers on the screen, the camera zooms digitally and interpolates how the pixels appear based on that field of view, which can introduce softness or artifacts.

The main camera is a special case. At 1x and with HEIF Max or RAW Max enabled it records 48MP of optical information. The 2x level remains at 12MP because it's a crop of the main camera sensor. But for the other zoom levels, including 1x with HEIF Max turned off, the iPhone uses computational photography to create a final 24MP photo. It pixel-bins the sensor (grouping sets of nearby pixels to act like a single, larger pixel) to create a 12MP image and then combines that with a 48MP reference image.

With the Pro models' 1.2x and 1.5x zoom levels, the camera is cropping the 1x frame and then upsampling to make the 24MP photo. The results are usually quite good, which is no doubt why Apple makes 24MP the default resolution.

At the 1.5x zoom (35mm equivalent), the image is captured at 24MP. (Shot on iPhone 15 Pro Max.) At the 2x zoom (48mm equivalent), the image is 12MP. (Shot on iPhone 15 Pro Max.)

If you want to minimize that upsampling, you can go to Settings > Camera > Formats and change Photo Mode to 12MP, which gives you the pixel-binned version without the scaling, at the expense of overall resolution.

Sometimes, though, the camera system attempts to be clever. For instance, if you’re using the telephoto camera (with an aperture of f/2.8) on the iPhone 15 Pro and the system calculates that there isn’t enough light to get a good exposure, it automatically – and silently – switches to the main camera with its wider aperture (f/1.78) and digitally crops to capture the same field of view.

You can confirm this in the Photos app by tapping the (i) button and seeing which camera was used. The result may be acceptable because the better-quality main camera uses a crop of its high-resolution sensor to mimic the zoomed-in field of view. However, it may not be what you wanted.

In this case, the room was darkened and the 5x telephoto was used. The Camera app decided that the 5x telephoto camera wouldn't capture enough light, so the photo was actually made using the main camera simulating the 120mm field of view.

Ideally, the solution here is to add light to the scene somehow, move to a position that lets you get a similar composition using the main camera or capture a 48MP photo and crop it later during editing.

An even more drastic version of this auto-switching can happen on the iPhone 15 Pro models using Macro mode. The mode uses the ultrawide camera with its 2cm (0.78 inch) focal distance to capture subjects close up. (Even though the iPhone 15 and 15 Plus include an ultrawide camera, the Macro feature is reserved for the Pro models.)

When the camera senses objects very close to the lens, it automatically switches to the ultrawide camera (without changing the zoom indicator). You can display a button that appears when this happens by going to Settings > Camera and turning on Macro Control.

Macro mode uses a cropped portion of the ultrawide camera’s sensor, no matter which camera you've selected. This can become a blurry problem if you start with one of the telephoto cameras. To replicate the same field of view, the iPhone blows up a severe crop of the ultrawide camera's sensor, and you wind up with a blurry mess.

The 1x view is active, but the camera detected close-up items and activated Macro mode (the yellow button at top). When you start with the telephoto camera (3x on the iPhone 15 Pro) and use Macro mode, you end up with a mess. How to capture low-light photos

Computational photography has greatly improved shooting low-light photos with smaller sensors. The iPhone’s Night mode can do a great job of illuminating dark situations, even if you're shooting handheld. If the lighting is dim enough, the Night mode icon at the top of the screen turns yellow and displays the number of seconds needed to capture a good exposure.

Normally, that countdown is dictated automatically, but you can specify a different duration. Tap the carat (^) button at the top of the screen to reveal additional controls (which appear below the image preview), then tap the Night mode icon above the shutter button. This gives you a slider to set the exposure duration. When you tap the shutter button, you’re asked to “Hold still”: try to keep the crosshairs aligned to improve the sharpness of the image.

Night mode determines the exposure time for a dark scene (top), which can be adjusted using its control (below the preview). When hand-holding in Night mode, try to keep the + icons aligned during the exposure.

However, even with this manual control, the Camera app still limits the exposure time based on its reading of the available light and whether the internal gyroscopes detect that you’re shooting handheld, such as setting the Max value to 5s or 10s. To extend that time to 30 seconds in especially dark situations, put the iPhone on a tripod or stabilize it so it’s not moving.

Photo: Jeff L Carlson

This photo of the sky was captured using a tripod and a 10-second exposure. (iPhone 15 Pro capture, white balance adjusted in Lightroom.)

Another way to get decent photos in the dark, without Night mode active, is to make sure you’re using the main camera, which has much better light-gathering ability than the ultrawide or telephoto cameras.

Photo: Jeff L Carlson

iPhone 15 Pro Max main camera without Night mode.

Photo: Jeff L Carlson

iPhone 15 Pro Max main camera with Night mode active.

How to lock focus and exposure

This feature has existed since the first iPhone camera, but many people don't know about it. You probably know that you can tap an area of the screen to set focus, which also adjusts the exposure value. But if you tap elsewhere or reframe the scene, the focus and exposure shift based on that new area. If you move the camera, it attempts to reset the focus and exposure based on the scene.

To lock focus and exposure, touch and hold the area you want to focus and meter until an AE/AF LOCK badge appears at the top of the screen. To turn off the lock, tap anywhere in the scene.

Touch and hold an area (indicated by the box on the image) to lock exposure and focus. How to apply exposure compensation

The iPhone's exposure metering is usually pretty good, but you may want to adjust the exposure manually. But because the Camera app lacks a manual shutter speed control, you need to change the exposure value (EV).

To do that, tap the carat (^) button at the top of the screen to reveal the additional controls, then tap the (+/–) button to display the Exposure slider. Drag to the left or right to decrease or increase the value. A new badge at the top of the screen indicates the EV amount. That compensation stays fixed while you’re shooting until you reset it (tap the badge to display the slider again).

Adjust the Exposure Compensation control to set a fixed EV between shots.

A quicker approach (that isn’t sticky) is to tap the screen to set focus and exposure, lift your finger, and then drag the sun-shaped exposure icon up or down.

Drag the exposure icon down reduce the exposure. Drag the icon up to increase the exposure. How to capture in Burst mode

For years, the way to shoot bursts of photos on the iPhone was to touch and hold the shutter button. Now, though, that’s a shortcut for recording video. Instead, drag the shutter button to the left to capture a burst.

Another option is to enable the Volume Up button to be used as the burst trigger. Go to Settings > Camera and turn on Use Volume Up for Burst feature.

Drag the shutter button to the left to capture multiple shots in burst mode. Burst mode photos appear in a group in the Photos app. Tap Select to choose which ones to keep.

A burst is saved in the Photos library as a single group of shots, regardless of how many frames you shot. Tap Select to view them all. Tap to select your favorite images from the bunch, then tap Done, at which point you’re asked if you want to keep the entire set or only the ones you selected.

How to record video to external storage

Now that the iPhone 15 and iPhone 15 Pro models use USB-C for wired connections, the Pro models can finally record video to external storage such as an SSD or a memory card reader. That’s great news when you’re working with Apple ProRes 4K/30 files that occupy as much as 6 GB for every minute of video (or higher for some formats and resolutions). Naturally, there are caveats to making it work.

Only video saved in ProRes format can be recorded externally. First, go to Settings > Camera > Formats, enable the Apple ProRes option and choose HDR, SDR or Log encoding. Next, when you’re ready to record, tap the ProRes button at the top of the screen to enable ProRes, and also specify the resolution (HD or 4K) and frame rate (24, 30 or 60). ProRes 4K/60 is available only when recording externally.

Hardware-wise, you need a USB-C cable that supports USB 3 speeds of at least 10Gbit/s; the cable that comes with the phone supports only slower USB 2 data speeds as it is mainly intended for charging. The storage device must write at speeds of 220MB or faster and be formatted as APFS or ExFAT.

Lastly, make sure the external device is plugged in and the Camera app is reading it. You should see “USB-C” near the port.

Look for the "USB-C" badge to indicate that video will be recorded on a connected external device.

Note that it’s possible to shoot still photos and save them directly to external storage, although the Camera app does not currently do this. The app Photon has this feature. We expect other developers to follow suit.

How to record spatial video for the Apple Vision Pro

The iPhone 15 Pro models running iOS 17.2 and later have another video trick. It can record spatial videos for the Apple Vision Pro. When viewed on the iPhone or any other device, the video looks the same as you shot it, but on the Vision Pro, the depth information generated during recording adds a 3D element to the footage.

To enable this option, go to Settings > Camera > Formats and turn on Spatial Video for Apple Vision Pro.

In the Camera app, switch to Video mode and hold the iPhone in its landscape orientation. Provided there’s sufficient light (the mode won’t activate in dim environments), tap the Spatial Video button that appears. If the app can’t easily discern subjects in front of the camera, it may direct you to move farther away.

With the Spatial Video for Apple Vision Pro option enabled, tap the Spatial Video icon to record footage with embedded depth information.

Now that you know about how the iPhone 15's camera works under the hood, it should be a little easier to bully it into giving you the results you want instead of just the results that it thinks you want.

Let us know in the comments if you’ve run into unexpected complexity or if there are other features our readers (or their friends and family members who they might forward this to) should know about.

Sony World Photography Awards Student and Youth shortlists announced

Photo: Chengchen Wang, China Mainland, Shortlist, Youth Competition, Sony World Photography Awards 2024

This week, the World Photography Organization announced the shortlist for Student and Youth Photographer of the Year, a subset of the broader Sony World Photography Awards of 2024.

The students, all attendees of institutes of higher learning, each put together bodies of work based on the prompt "Home." The photos run the gamut, depicting the inside of some of the photographers' actual homes, while others speak more broadly to the cultures of the various countries they hail from.

The youth photographers, all 19 or under, shot for the prompt "Through Your Eyes," with results covering landscape, portraits, astrophotography and more.

The winners will be announced on April 18th 2024, but you can feast your eyes on all the contenders right here, right now.

Lonely Surfer

Photographer Name: Daniel Murray

Image Name: Lonely Surfer

Year: 2024

Image Description: I took this picture in Newquay, Cornwall, at the start of summer to capture the figure on the beach. I felt that this moment summed up Cornwall quite nicely in one picture.

Copyright: © Daniel Murray, United Kingdom, Shortlist, Youth Competition, Sony World Photography Awards 2024

Flock of Magic

Photographer Name: Zy Grei Zander Esperanza

Image Name: Flock of Magic

Year: 2024

Image Description: This is an image inspired by the photographer Trent Parke. My image consists of two ICM shots of a flying flock of doves I photographed on 19 May in my backyard, then blended together in an editing software. Though not taken with the same process as Parke’s, it still has the same goal that he is known for, to ‘turn the ordinary into the magical using light.’

Copyright: © Zy Grei Zander Esperanza, Philippines, Shortlist, Youth Competition, Sony World Photography Awards 2024

Self-portrait

Photographer Name: Joyce Xu

Image Name: Self-portrait

Year: 2024

Image Description: In June 2023, I took this self-portrait in a photo studio. I was in an introspective mood, grappling with an inner turmoil, torn between my connection to Chinese culture and tradition, and my hope to liberate myself from self-imposed constraints linked to my heritage. This image represents a quest for belonging, adaptation, and identity in unfamiliar lands.

Copyright: © Joyce Xu, Australia, Shortlist, Youth Competition, Sony World Photography Awards 2024

Snow Mountain at Sunset

Photographer Name: Chengchen Wang

Image Name: Snow Mountain at Sunset

Year: 2024

Image Description: This photo was taken at the beginning of the year, when the sun slowly set and the sunset hit the snow mountain of Yala. It looked so holy, so I took this photo.

Copyright: © Chengchen Wang, China Mainland, Shortlist, Youth Competition, Sony World Photography Awards 2024

Tea-Portrait

Photographer Name: Shayna Cuenca

Image Name: Tea-Portrait

Year: 2024

Image Description: For my image titled ‘Tea-Portrait,’ I took a self-portrait, printed the image, and cut it into tea bag-sized pieces. I then transferred the cut pieces onto tea bags using Modge Podge, and reattached the tea bag strings. Finally, I laid out the bags and pieced them together to create my image.

Copyright: © Shayna Cuenca, United States, Shortlist, Youth Competition, Sony World Photography Awards 2024

63.4057° N, 19.0716° W

Photographer Name: Isaac Friend

Image Name: 63.4057° N, 19.0716° W

Year: 2024

Image Description: Basalt columns on a black beach in low visibility.

Copyright: © Isaac Friend, United Kingdom, Shortlist, Youth Competition, Sony World Photography Awards 2024

The Beginning Hours of the Sourdough Fire

Photographer Name: River Lewis-Gosch

Image Name: The Beginning Hours of the Sourdough Fire

Year: 2024

Image Description: This was taken during the first hours of the Sourdough Fire, a fierce wildfire in the North Cascades National Park, which was started by a lightning strike. While returning from a nearby backpacking trip in the woods we came upon this fire. Completely surprised, I took out my camera and took this shot. A firefighting helicopter carrying water can be seen in the top right.

Copyright: © River Lewis-Gosch, United States, Shortlist, Youth Competition, Sony World Photography Awards 2024

Comet Falls to Earth

Photographer Name: Sebastián Fernández Lora

Image Name: Comet Falls to Earth

Year: 2024

Image Description: This image is of comet C/2023 P1 (Nishimura), which, close to the horizon like the Sun at dawn, appears to be falling onto Earth. This photo was taken on the morning of 8 September, shortly before sunrise, from a rooftop.

Copyright: © Sebastián Fernández Lora, Spain, Shortlist, Youth Competition, Sony World Photography Awards 2024

Keep Me Awake

Photographer Name: Kas Christiaens

Image Name: Keep Me Awake

Year: 2024

Image Description: This image is about light pollution. As a young artist interested in nature and stars, I became aware that light pollution is a major factor affecting the sky’s clarity. I live in Belgium, a small country with a large population living in the countryside, so there is light pollution everywhere you go. The red light in this image is coming from a street lantern, the blue light from a nearby city.

Copyright: © Kas Christiaens, Belgium, Shortlist, Youth Competiton, Sony World Photography Awards 2024

Untitled

Photographer Name: Afiq Sharkawi

Image Name: Untitled

Year: 2024

Image Description: The traditional weapon known as a ‘keris’ is expertly made by the master craftsman.

Copyright: © Afiq Sharkawi, Malaysia, Shortlist, Youth Competition, Sony World Photography Awards 2024

Appleby

Photographer Name: Frederik Rüegger

Image Name: Appleby

Year: 2024

Image Description: Taken at Appleby horse fair, June 2023.

Series Description: The English and Irish traveller communities face discrimination from many angles and are compelled to settle by the government. As a result, the nomadic lifestyle that has been a centuries-old part of their way of life is becoming more endangered than ever. There are, however, several events where the travellers can freely live out their traditions, including the horse fairs that are held each year at Ballinasloe, in County Galway, Ireland, and Appleby, England. In 2023 I photographed at both of these fairs, aiming to capture an intimate and authentic portrayal of the lives of the traveller communities. This project is set to continue for 18 months, and my goal is to highlight their rich cultural heritage, unique lifestyle and the challenges they face. Through my photographs I hope to shed light on the social importance of these communities and help foster an understanding and empathy among my audience.

Copyright: © Frederik Rüegger, Germany, Shortlist, Student Competition, Sony World Photography Awards 2024

Appleby (2)

Photographer Name: Frederik Rüegger

Image Name: Appleby

Year: 2024

Image Description: Taken at Appleby horse fair, June 2023.

Series Description: The English and Irish traveller communities face discrimination from many angles and are compelled to settle by the government. As a result, the nomadic lifestyle that has been a centuries-old part of their way of life is becoming more endangered than ever. There are, however, several events where the travellers can freely live out their traditions, including the horse fairs that are held each year at Ballinasloe, in County Galway, Ireland, and Appleby, England. In 2023 I photographed at both of these fairs, aiming to capture an intimate and authentic portrayal of the lives of the traveller communities. This project is set to continue for 18 months, and my goal is to highlight their rich cultural heritage, unique lifestyle and the challenges they face. Through my photographs I hope to shed light on the social importance of these communities and help foster an understanding and empathy among my audience.

Copyright: © Frederik Rüegger, Germany, Shortlist, Student Competition, Sony World Photography Awards 2024

Peers

Photographer Name: Gaoge Ouchen

Image Name: Peers

Year: 2024

Image Description: My cousin, who returned with me, is about the same age and we share the same employment concerns.

Series Description: During the pandemic, time seemed to stand still. When I returned to my hometown, I shared the same worries with my peers who had likewise returned. The streets were filled with elderly people and children. In the backyard of my hometown, the orange trees my father planted had dropped their oranges to the ground.

Copyright: © Gaoge Ouchen, China Mainland, Shortlist, Student Competition, Sony World Photography Awards 2024

The Orange Tree

Photographer Name: Gaoge Ouchen

Image Name: The Orange Tree

Year: 2024

Image Description: The orange trees in my grandmother’s home, which my father and mother diligently planted, dropped oranges all over the ground.

Series Description: During the pandemic, time seemed to stand still. When I returned to my hometown, I shared the same worries with my peers who had likewise returned. The streets were filled with elderly people and children. In the backyard of my hometown, the orange trees my father planted had dropped their oranges to the ground.

Copyright: © Gaoge Ouchen, China Mainland, Shortlist, Student Competition, Sony World Photography Awards 2024

The Urus stand, honoring the legacy of their ancestral way of life

Photographer Name: Gaston Zilberman

Image Name: The Urus stand, honoring the legacy of their ancestral way of life

Year: 2024

Image Description: The disappearance of the lake put an end to the possibility of hunting and fishing for the indigenous Uru community. Now, only memories of their ancestral life remain, but they strive to keep alive the memory and essence of being Qotzuñi – ‘people of the lake’.

Series Description: ‘The lake was our mother and father, our home. Now, we are orphans,’ said Rufino Choque, whose words echo through the desolate, windswept salt flat that had once been the thriving shore of Lake Poopó, Bolivia. Rufino’s indigenous Uru community had lived in harmony with the waters of this ancient lake for generations, nurturing a profound bond that sustained their lives and preserved their unique cultural identity. Today, however, their way of life is marked by profound transformation, as climate change-induced droughts and industrial contamination caused Lake Poopó to disappear entirely by 2016. Prior to this, the Urus lived in floating houses and spent weeks on their boats in the lake; hunting and fishing was their main source of subsistence. By narrating the Uru community’s loss of their cherished home, my goal is to provoke reflection and raise awareness about the urgent need to address the consequences of climate change and contamination.

Copyright: © Gaston Zilberman, Argentina, Shortlist, Student Competition, Sony World Photography Awards 2024

Home traditions

Photographer Name: Gaston Zilberman

Image Name: Home traditions

Year: 2024

Image Description: Cipriana stands in front of her adobe home. The Uru community maintains a traditional way of life, although it has been heavily transformed by the loss of their source of livelihood.

Series Description: ‘The lake was our mother and father, our home. Now, we are orphans,’ said Rufino Choque, whose words echo through the desolate, windswept salt flat that had once been the thriving shore of Lake Poopó, Bolivia. Rufino’s indigenous Uru community had lived in harmony with the waters of this ancient lake for generations, nurturing a profound bond that sustained their lives and preserved their unique cultural identity. Today, however, their way of life is marked by profound transformation, as climate change-induced droughts and industrial contamination caused Lake Poopó to disappear entirely by 2016. Prior to this, the Urus lived in floating houses and spent weeks on their boats in the lake; hunting and fishing was their main source of subsistence. By narrating the Uru community’s loss of their cherished home, my goal is to provoke reflection and raise awareness about the urgent need to address the consequences of climate change and contamination.

Copyright: © Gaston Zilberman, Argentina, Shortlist, Student Competition, Sony World Photography Awards 2024

Untitled

Photographer Name: Kazi Arifujjaman

Image Name: Untitled

Year: 2024

Image Description: In this picture, the chatal workers are working and their sons and daughters are playing in the same place.

Series Description: A chatal is a place where paddy (raw rice) is boiled, dried in the sun and threshed to be made into prepared rice – the staple food of Bangladesh. Families from different parts of the country work together in a chatal, which is also their place of residence. As many families from different cultures come together, the chatal becomes like a large house.

Copyright: © Kazi Arifujjaman, Bangladesh, Shortlist, Student Competition, Sony World Photography Awards 2024

Untitled

Photographer Name: Kazi Arifujjaman

Image Name: Untitled

Year: 2024

Image Description: After letting the paddy dry on the floor, the women do their housework.

Series Description: A chatal is a place where paddy (raw rice) is boiled, dried in the sun and threshed to be made into prepared rice – the staple food of Bangladesh. Families from different parts of the country work together in a chatal, which is also their place of residence. As many families from different cultures come together, the chatal becomes like a large house.

Copyright: © Kazi Arifujjaman, Bangladesh, Shortlist, Student Competition, Sony World Photography Awards 2024

Resting in unfamiliar places (I)

Photographer Name: Siphosethu Sanelisiwe Sikhosana

Image Name: Resting in unfamiliar places (I)

Year: 2024

Image Description: This single pinhole photograph is composed of five negatives that together reflect both the confusion and acceptance of my identity.

Series Description: This series of pinhole photographs was taken for my Fine Arts degree in 2023. It speaks of the struggles and changes I faced in terms of my identity when leaving childhood and becoming a young adult. The series reflects my confusion with various aspects of myself, such as my faith, sexuality and place in the world, and my later acceptance of who I am.

Copyright: © Siphosethu Sanelisiwe Sikhosana, South Africa, Shortlist, Student Competition, Sony World Photography Awards 2024

Resting in unfamiliar places (IV)

Photographer Name: Siphosethu Sanelisiwe Sikhosana

Image Name: Resting in unfamiliar places (IV)

Year: 2024

Image Description: A side-by-side view of a negative and positive image of the same photograph, representing a new sense of clarity.

Series Description: This series of pinhole photographs was taken for my Fine Arts degree in 2023. It speaks of the struggles and changes I faced in terms of my identity when leaving childhood and becoming a young adult. The series reflects my confusion with various aspects of myself, such as my faith, sexuality and place in the world, and my later acceptance of who I am.

Copyright: © Siphosethu Sanelisiwe Sikhosana, South Africa, Shortlist, Student Competition, Sony World Photography Awards 2024

Don't Trust Pretty Girls

Photographer Name: Kayin Luys

Image Name: Don't Trust Pretty Girls

Year: 2024

Image Description: I had a fascination with my partner’s grandfather’s tattoo, which reads ‘don't trust pretty girls’.

Series Description: This series explores my relationship with my in-laws, with the title referring to the tattoo on my partner’s grandfather’s left arm. I wanted to explore the tension between fiction and reality, guided by stories I was told, memories and my interpretations of both. The result is a play of possibilities that reflect and/or transcend reality. Thanks to the increasingly strong bond formed, I found a second home with my new family.

Copyright: © Kayin Luys, Belgium, Shortlist, Student Competition, Sony World Photography Awards 2024

Don't Trust Pretty Girls (2)

Photographer Name: Kayin Luys

Image Name: Don't Trust Pretty Girls

Year: 2024

Image Description: This aunt loves to sing karaoke, and often does during family gatherings.

Series Description: This series explores my relationship with my in-laws, with the title referring to the tattoo on my partner’s grandfather’s left arm. I wanted to explore the tension between fiction and reality, guided by stories I was told, memories and my interpretations of both. The result is a play of possibilities that reflect and/or transcend reality. Thanks to the increasingly strong bond formed, I found a second home with my new family.

Copyright: © Kayin Luys, Belgium, Shortlist, Student Competition, Sony World Photography Awards 2024

Ta ii

Photographer Name: Makaziwe Radebe

Image Name: Ta ii

Year: 2024

Image Description: Whom was a boxer when he was younger, and his living room is filled with many of his trophies. I took pictures of his family with their chosen outfits and treasured objects while my mother and brother helped hold the white background.
Emdeni, Jun 2023

Series Description: Soweto raised me. This series is in honour of my childhood home – the familiar faces and the streets that continue to shape how I move in the world. My childhood was immersed in the embrace of a tight-knit community where love and ambitious dreams thrived. Like the day I defied going home, facing my mother’s wrath and her looming belt. A neighbour intervened, guiding me back and turning my tumultuous action into a serene evening. Fezile, a steadfast friend, was always at the corner, and our quiet journey to school was a cherished routine; soggy bacon and eggs, bathed in tomato sauce and well-worn grease, awaited our return.

Copyright: © Makaziwe Radebe, South Africa, Shortlist, Student Competition, Sony World Photography Awards 2024

Ubumbano

Photographer Name: Makaziwe Radebe

Image Name: Ubumbano

Year: 2024

Image Description: A collective embrace through the silent language of prayer. Thinking about these moments of quiet I realise that how I move in the world is intimately connected with the ease I feel at home.

Series Description: Soweto raised me. This series is in honour of my childhood home – the familiar faces and the streets that continue to shape how I move in the world. My childhood was immersed in the embrace of a tight-knit community where love and ambitious dreams thrived. Like the day I defied going home, facing my mother’s wrath and her looming belt. A neighbour intervened, guiding me back and turning my tumultuous action into a serene evening. Fezile, a steadfast friend, was always at the corner, and our quiet journey to school was a cherished routine; soggy bacon and eggs, bathed in tomato sauce and well-worn grease, awaited our return.

Copyright: © Makaziwe Radebe, South Africa, Shortlist, Student Competition, Sony World Photography Awards 2024

High Noon

Photographer Name: Yufei Ma

Image Name: High Noon

Year: 2024

Image Description: This photo was taken in a neighbourhood built on a deck next to my house. On their side near the road, they also have a platform for drying sheets. The contrast between the tall buildings and this neighbourhood reminded me of the ways that city life differs from traditional living habits.

Series Description: The Intermission project began with a spring sunset casting a soft glow on the clothes drying on my family's rooftop, transporting me back to childhood evenings at my grandmother's home. This nostalgia inspired me to capture the essence of everyday traditions in our fast-paced world. My work focuses on these commonplace scenes in my hometown, particularly the airing of linens and garments at noon, symbolising a pause in our daily hustle. Through my lens, I explore how these moments become tranquil intermissions in urban life, offering glimpses of simplicity and continuity. This project represents a reflection on time, a respect for the past, and a hope for the future. Each photo weaves a story of deep familial connections and traditions, aiming to resonate with shared emotions and memories about home.

Copyright: © Yufei Ma, China Mainland, Shortlist, Student Competition, Sony World Photography Awards 2024

Middle Break

Photographer Name: Yufei Ma

Image Name: Middle Break

Year: 2024

Image Description: This photo was taken at midday one day. The sun was shining on these children's clothes hanging on the clothesline. In that moment I felt a sense of calm, neutrality and peace.

Series Description: The Intermission project began with a spring sunset casting a soft glow on the clothes drying on my family's rooftop, transporting me back to childhood evenings at my grandmother's home. This nostalgia inspired me to capture the essence of everyday traditions in our fast-paced world. My work focuses on these commonplace scenes in my hometown, particularly the airing of linens and garments at noon, symbolising a pause in our daily hustle. Through my lens, I explore how these moments become tranquil intermissions in urban life, offering glimpses of simplicity and continuity. This project represents a reflection on time, a respect for the past, and a hope for the future. Each photo weaves a story of deep familial connections and traditions, aiming to resonate with shared emotions and memories about home.

Copyright: © Yufei Ma, China Mainland, Shortlist, Student Competition, Sony World Photography Awards 2024

20 Years of service

Photographer Name: Brayan Enriquez

Image Name: 20 Years of service

Year: 2024

Image Description: They sit in the uniforms of the only job they could get: Steak ‘n Shake. Her name tag reads ‘Gloria Salinas, 20 years of service’.

Series Description: Twenty-six years ago my parents immigrated to the United States. As a child, I would imagine my parents’ odyssey in rudimentary terms: walking, loving and being bold. Through the years, however, I’ve managed to contextualise the reality of our situation and now use words such as treacherous, lonely and fearful. When asked, my father replays the moment his group lay flat on their stomachs, hiding from an oblivious ICE (Immigration and Customs Enforcement) officer who sat nearby. My mother recalls trekking through knee-high mud in an Arizona desert, thousands of miles away from her home in Acapulco, Mexico. My sister, on the other hand, can’t remember much – she was only five years old at the time. This project navigates this complicated history, highlighting how this experience isn’t wholly unique to my family. The photographs were all taken within our home, because of its function as a place of refuge for undocumented immigrants across the nation.

Copyright: © Brayan Enriquez, United States, Shortlist, Student Competition, Sony World Photography Awards 2024

My mother

Photographer Name: Brayan Enriquez

Image Name: My mother

Year: 2024

Image Description: My mother sits alone. Just before I pressed the shutter button I asked: ‘What are you thinking about?’ Her response was simply ‘home’.

Series Description: Twenty-six years ago my parents immigrated to the United States. As a child, I would imagine my parents’ odyssey in rudimentary terms: walking, loving and being bold. Through the years, however, I’ve managed to contextualise the reality of our situation and now use words such as treacherous, lonely and fearful. When asked, my father replays the moment his group lay flat on their stomachs, hiding from an oblivious ICE (Immigration and Customs Enforcement) officer who sat nearby. My mother recalls trekking through knee-high mud in an Arizona desert, thousands of miles away from her home in Acapulco, Mexico. My sister, on the other hand, can’t remember much – she was only five years old at the time. This project navigates this complicated history, highlighting how this experience isn’t wholly unique to my family. The photographs were all taken within our home, because of its function as a place of refuge for undocumented immigrants across the nation.

Copyright: © Brayan Enriquez, United States, Shortlist, Student Competition, Sony World Photography Awards 2024

Childhood is rough

Photographer Name: Juan David Aguirre

Image Name: Childhood is rough

Year: 2024

Image Description: Children living in the tenement tend to grow up faster than others, as they experience harsh conditions from a young age.

Series Description: The photographs in this series were all taken on August 10, 2023, in the Andes tenement in the city of Medellín, Colombia, a space inhabited by homeless people. The tenement is likened to a prison because in its rooms you can feel a sense of confinement: the people who live there look for bread each day, living with deep uncertainties about the future as even their dreams have been taken away.

Copyright: © Juan David Aguirre, Colombia, Shortlist, Student Competition, Sony World Photography Awards 2024

This is not the freedom they promised us

Photographer Name: Juan David Aguirre

Image Name: This is not the freedom they promised us

Year: 2024

Image Description: Supposedly, our entire system is meant to defend freedom, but only for those who can pay for it.

Series Description: The photographs in this series were all taken on August 10, 2023, in the Andes tenement in the city of Medellín, Colombia, a space inhabited by homeless people. The tenement is likened to a prison because in its rooms you can feel a sense of confinement: the people who live there look for bread each day, living with deep uncertainties about the future as even their dreams have been taken away.

Copyright: © Juan David Aguirre, Colombia, Shortlist, Student Competition, Sony World Photography Awards 2024

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Nikon's Zf is a full-frame camera designed to be a head turner; built around a 24MP BSI CMOS sensor, it combines excellent image quality, very good autofocus and classic styling that borrows from the manufacturer's film bodies of yesteryear. As part of our review we took it out on the streets of London and Seattle, and were pleased to find it didn't attract too much attention to itself.

Buy now:

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

In our final review, we found the Zf's image quality to be very similar to the Z6 II, which we also liked and awarded Silver in 2020. Detail capture performance on the Zf was very good across all ISO ranges, even at very high ISO settings. Noise reduction helps smooth out high ISO captures. However, there is a trade-off in that it takes a lot of the fine detail with it.

Color is vibrant and saturated, which aligns with what to expect from Nikon. We've included a wide range of portraits and natural images so you can judge skin tone capture and color for yourself.

View our Nikon Zf sample gallery

We also have our preview sample gallery if you haven't gotten your fill with the sample gallery above. The images in this set were made with a pre-production Nikon Zf and were limited to out-of-camera JPEG samples.

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View our Nikon Zf preview sample gallery

Buy now:

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

The 100MP CFV 100C back can be used with existing Hasselblad V-series bodies or with the 907X camera and XCD lenses.

Image: Hasselblad

Hasselblad has announced a 100MP version of its CFV digital camera back, which combines with the 907x camera to create the smallest medium format camera on the market.

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The CFV 100C back contains most of the camera functions, meaning the 907x is almost an adaptor plate with a shutter release button. It natively accepts Hasselblad's XCD lenses, designed to match the CFV's 44 x 33mm sensor, but can also accept adaptors to mount HC/HCD lenses, V-series lenses or XPan lenses.

The CFV 100C is built around the same BSI CMOS sensor as the X1D 100C, which Hasselblad claims delivers 15 stops of dynamic range. The chip features on-sensor phase detection and offers face detection autofocus. It has 1TB of built-in storage and accepts CFexpress Type B memory cards. It has a tilting 3.2", 2.36M dot touchscreen and can be used with a new hotshoe adapter that allows TTL flash metering when used with Nikon-compatible flashes.

Like the closely related X2D 100C, the CFV 100C has an ISO range of 64 up to 25,600 and captures 16-bit Raw files (which Hasselblad wants to market as capturing trillions of colors). It can also shoot 10-bit HEIF files.

The tiny 907X 'camera', seen here between the CFX 100C back and the XCD /38 lens, allows the creation of a small medium format combination that echoes the style of the cameras on which Hasselblad's reputation was founded.

Image: Hasselblad

When combined with the 907x camera and XCD lenses, the CFV 100C delivers a compact, autofocus medium format camera styled after Hasselblad's classic 6x6 film cameras (now know as the V Series). This gives access to a 14-strong lens lineup that extends from the 16mm equiv XCD 4/21 up to the 105mm equiv XCD 2.8/135, all of which use in-lens leaf shutters capable of speeds up to 1/4000 sec with flash sync at any shutter speed. The CFV 100C with 907X camera weighs just 620g (21.9oz) without a battery or memory card (roughly 780g / 27.5oz with a battery).

The CFV back uses the standard Hasselblad magazine mount, so can also be used with the majority of other Hasselblad bodies, including 500 and 200-series manual focus cameras (though not SWC fixed-lens wideangle cameras). Its use of the 44 x 33mm medium format standard means there'll be a 1.27x crop, relative to 645 film or a 1.21x crop, relative to the larger 53.5 x 40mm digital medium format sensors Hasselblad previously used in its H6D-100c camera.

Photo: Hasselblad

The Hasselblad CFV 100C will be available with the 907x for a recommended price of $8199 or €7799 in Europe.

HASSELBLAD UNVEILS THE 907X & CFV 100C

ENHANCING MEDIUM FORMAT PHOTOGRAPHY WITH VERSATILITY & UNMATCHED IMAGE QUALITY

Hasselblad, a pioneer in medium format photography, introduces the 907X & CFV 100C, a fusion of modular design and advanced technologies that offer three distinctly different photographic abilities, presenting the most compatible Hasselblad 100-megapixel medium format camera to date. Building on its iconic design, the 907X & CFV 100C has been upgraded with a new 100-megapixel back-illuminated sensor, doubling the resolution of its predecessor, the 907X & CFV II 50C.

A MODULAR DESIGN. THREE APPLICATIONS.

THE 907X CAMERA BODY

The 907X & CFV 100C combine to create the smallest and most powerful medium format camera in the industry. This dynamic combination is compatible with all XCD, HC/HCD, and Xpan lenses, uniting high optical lenses to produce the best image straight out of the camera.

HASSELBLAD V SYSTEM FILM CAMERAS

The CFV 100C breathes new life into Hasselblad V System cameras, such as the 500 and 200 series. Photographers can use their beloved film camera with the powerful CFV 100C sensor to produce the same picture quality of the digital age while also providing the unique experience of shooting at waist level. The CFV 100C keeps a classic timeless in every sense of the word.

TECHNICAL CAMERAS

With the CFV 100C, technical film cameras will reap the benefits of its 100-megapixel sensor, helping photographers, museums, or institutions meet rigorous and precise photographic needs. The 3.2-inch touchscreen display and 2.36 million resolution, with its superior flexibility and colour richness, provide photographers with an easy-to-use experience and a cost-effective digital solution for a technical camera.

UNIQUE DESIGN AND ICONIC HERITAGE

The 907X & CFV 100C provide users with the unique experience of capturing images at waist level. Its classic design, waist-level viewfinder, leather-like coverage, and chrome frame are tailored for individuals who seek to showcase their unique taste and appreciation of vintage aesthetics. The viewfinder can be tilted upward from 40 to 90 degrees to provide photographers with a range of perspectives.

UNPARALLELED IMAGE QUALITY, LIFE LIKE AND TRUE TO COLOUR

The CFV 100C, combined with the Hasselblad Natural Colour Solution (HNCS), ensures colours are captured with unparalleled accuracy, reproducing scenes just as the human eye perceives them. Photographers can capture their subjects with true and natural colour presentation in both JPG or RAW format. With a 16-bit colour depth, the CFV 100C presents approximately 281 trillion colours, providing photographers with an extensive palette for capturing the full visual spectrum. The CFV 100C introduces an ISO sensitivity as low as 64, producing image quality that is delicate, pure, and rich in lifelike details. With an impressive 15-stop dynamic range for preserving rich light and dark details, the CFV 100C ensures a smooth and natural transition in every image, allowing photographers to push creative boundaries.

ADVANCED AUTOFOCUS AND FACE DETECTION

The 907X & CFV 100C introduce users to its Phase Detection Autofocus (PDAF) with 294 zones spread over the 100-megapixel sensor surface. Covering an impressive 97% of the focus range, this advanced autofocus technology ensures every shot is sharp and precisely focused. Its face detection capabilities make capturing portraits easier in various locations.

BUILT-IN STORAGE SYSTEM

The CFV 100C boasts a remarkable 1TB of built-in storage space, marking it as the first modular camera with built-in storage capabilities. The 1TB of built-in storage space allows users to store up to 4600 RAW images directly on the camera. This exciting new feature eliminates photographers' concerns about running out of storage during crucial moments or not being able to locate a memory card.

REDUCED WEIGHT AND COMPACT SIZE

The 907X & CFV 100C weighs 120g less than the 907X & CFV 50C, making it lightest, smallest and high-resolution medium format camera in the industry. The reduction in weight enhances comfort during extended shoots, minimizing fatigue and contributing to improved stability for handheld photography.

WHERE TO GET IT

The Hasselblad 907X & CFV 100C has an MSRP of USD $8,199. It is now available to order online. See details of the new product at www.hasselblad.com.

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

Photo: Antonio Faccilongo/World Press Photo

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

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

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

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

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

Photo: Yasuyoshi Chiba/World Press Photo

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

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

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

Photo: Frank van Beek/ANP/World Press Photo

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

85%Overall scoreJump to conclusion

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

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

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

Index:

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

Key specifications:

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

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

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

Buy now:

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

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

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

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

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

Price (MSRP)

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

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

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

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

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

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

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

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

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

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

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

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

Back to top

Handling

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

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

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

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

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

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

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

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

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

Autofocus and focus breathing

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

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

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

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

For videographers

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

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

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

Image quality

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

Sharpness

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

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

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

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

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

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

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

Distortion and vignetting

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

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

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

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

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

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

F2 F2.8 F4 F5.6 F8

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

Photos: Mike Tomkins

Bokeh

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Buy now:

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

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Product images by Shaminder Dulai

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

Key features:

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

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

Buy now:

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

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

What is it?

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

Sensor and processor

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

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

Autofocus

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

Creative Assist mode

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

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

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

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

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

Video

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

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

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

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

Lens selection

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

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

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

Wireless connectivity

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

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

How it compares

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

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

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

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

* Contrast detection when shooting 4K video

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

Body and handling

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

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

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

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

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

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

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

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

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Autofocus

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

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

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

Image quality

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

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

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

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

Out-of-camera JPEG Raw conversion +100 shadows

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

Video

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Scoring

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

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

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

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

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

Buy now:

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

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

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

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

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

Buy now:

iPhone 15 Pro Max: $1199 at Apple

Image: Apple

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

Buy now:

$3,499 at Apple

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

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

Image: Apple

The Apple Vision Pro's sensor array

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

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

Image credit: Shaminder Dulai

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

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

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

Read the entire series here.

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

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

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

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

Need versus want

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

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

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

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

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

This is a lesson I took some time to learn.

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

Image credit: Shaminder Dulai

Look at your kit with fresh eyes

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

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

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

Three steps to better (photographic) living

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

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

Stuff I don't use

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

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

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

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

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

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

Stuff I use often

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

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

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

Stuff I'd like to use

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

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

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

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

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

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

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

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

Image: Sony

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

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

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

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

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

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

Sony Electronics Announces New Firmware Updates to Cinema Line Cameras

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

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

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

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

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

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

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