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Sony a7CR studio scene: robust IQ in a small package

DP Review Latest news - Wed, 12/20/2023 - 08:00

Amid our move to a new office, our studio scene test chart was on a bit of a hiatus, but now we're back up and running. In the coming weeks, we'll be catching up on cameras that are in the queue to be tested.

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In our recent review of the Sony a7CR, we explained that our studio was still in flux and used the Sony a7R V's studio scene as a temporary surrogate. Both cameras sport the same 60MP BSI CMOS sensor and Bionz XR processor, and we reasoned image quality should match.

As we noted, this was meant to be a temporary measure. Now that we're back to a fully operational test scene, we'll be replacing our placeholder in the review, but we wanted to share the results with you as soon as possible.

Sony a7CR studio scene

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

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Turns out our calculation that the a7CR's image quality and performance would very closely align with that of the a7R V wasn't far from the mark. Color and detail capture are on par among both cameras. We see very similar low-light performance as well, with both cameras balancing noise reduction and detail to similar thresholds. This isn't an unexpected result, given it's the same sensor and processor, but it's always good to test and confirm.

The one glaring difference, however, is when it comes to sharpness. Images out of the a7CR are just a hair less sharp than the a7R V, perhaps bringing into question the type of anti-aliasing the camera uses.

These are just some of our initial observations, and we're still poring over the images. We will be updating our a7CR review with the new studio scene results shortly. For now, we didn't want to delay sharing the images and making them available for your own comparisons.

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Categories: Photo News

Gear of the Year: Shaminder's Choice - Leica Q3

DP Review Latest news - Tue, 12/19/2023 - 07:00

The Lecia Q3 was the most fun I had with any gear in 2023.

Photo: Shaminder Dulai

No camera stood out to me more this year than Lecia's Q3. But it's not for the reasons you may imagine.

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It's expensive, and the fixed 28mm lens limits how far you can go with it, literally and figuratively. The 3-second boot-up time can feel like an eternity when you come across the perfect photographic moment. And yes, as I pointed out upon its release, I find it a little offensive that a thumb rest is a $225 accessory on a $6000 camera. It's not every day you're looking at your budget and asking yourself if you should spend it on a camera or a used car (or health insurance if you're American).

But it's also the most fun I've had with any gear this year. Using the Leica Q3 took me back to the joy I first felt with 35mm film and 120 TLR cameras. It's a camera that is as simple or as complicated as you want it to be, and if you choose to, you can limit time in menus to an initial setup and then stick to the on-body buttons and dials. It's a welcome departure from cameras with custom function menus that bring up half a dozen or more options to pick from on a touch screen.

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$5995 at B&H Photo $5995 at Adorama $5995 at Leica

This focus on image-making rather than pixel-peeping appealed to me and took me back to why I fell in love with photography. It feels ridiculous to praise a $6000 camera for making things simple and not mapping all the bells and whistles to buttons and custom menus. Perhaps it stems from a nagging thought I've had the last couple of years that most cameras are pretty good these days, and the small differences aren't in the pixel peeping but in the usability and just flat out: is this fun to use? And thumb rest aside, I found the Q3 very nice to work with and, yes, 'fun.'

The Q3 stands apart from the crowd, a premium camera that emphasizes a slower pace for photography than our modern approach of the decisive moment motor drive.

Leica Q3 | 28mm | ISO 100 | 1/1000 sec | F3.5
Out-of-camera JPEG

Photo: Shaminder Dulai

There's also another reason I loved the Q3 this year, and like Richard, it also came to me at a time when I was preciously digging deeper into the cameras I was assigned and triple-checking every detail. During my time evaluating the camera, we were a team adrift, unsure if we'd find a safe port or be swallowed by the shifting waves below us. It's hard to separate what was happening to our team from what I was doing in my job to evaluate the Q3 for our initial review.

That uncertainty, a force more powerful than I, was at play. I told myself to make the most of it and own what I could. This helped me focus, my sight fixed on the five feet in front of me, the only clear vision I had amid a horizon that wouldn't make itself known. When the Leica Q3 arrived, it came just as many of the staff were taking planned time off. Anticipating a potential vacancy in our respective agendas, some wisely had planned vacations, family trips and long overdue visits home. I had no such plans, and I stayed behind when the call was made to “keep going a little longer.”

It was a vague call, but we control what we can. The Q3 was an opportunity to do it one more time, saddle up; let’s have some fun. Control what you can, and I dove in with gusto.

He was practicing goal kicks when I approached him. A kind smile from him and my questions about his jersey were all we needed to spark a conversation about living in America, our love of sports and family, and how culture is funny in the ways it pulls and pushes us through life.

Leica Q3 | 28mm | ISO 100 | 1/1000 sec | F4
Straight from camera JPEG

Photo: Shaminder Dulai

I still thought this might be my last DPReview camera review, and doing it right became my only focus. Contrary to conventional wisdom, this actually took the pressure off and was freeing. When nothing else matters, this is all that matters. Looking back, it was the experience of using the Q3 coupled with the headspace I was in that has given me fond memories.

I didn't go into the Q3 thinking I would like the camera; I was fearful it would feel like an overpriced status symbol, an accessory like a fancy handbag you carried to signal to others what means and taste you could afford. I was ruthless; if this was going to be my last byline, by golly, I was going to get it right. I questioned every claim, checked and rechecked performance, got my hands on a Q2 for comparison, asked colleagues what they thought of the older cameras in the series, and asked myself if I would advise a friend to buy it.

In the end, the Q3 won me over.

I'm sure there was also a part of me that was using this potential final initial review as a means to process saying goodbye, and that forced me to try to be present and intentional in every moment, one last time. I put the camera through its paces, but I also told myself to get out of the office and get back to my roots of seeking images, talking to people, gathering stories and having some fun.

Heading out for a few days to make pictures, I was talking to people on the street and remembering my days working on stories for newspapers and magazines, where the joy was as much in learning about others as it was in making photos and videos to share stories.

I happened upon this same group of Pickleball players on two different days at two different fields. It was my first exposure to the game, and while the Q3 is not meant to be a sports camera, I figured I'd give it a shot anyway. As expected, the fixed 28mm lens is fast, but it's a bit too distant if you don't choose to engage the lens crop modes.

Leica Q3 | 28mm | ISO 250 | 1/250 sec | F11 | -3EV
Straight from camera JPEG

Photo: Shaminder Dulai

On one of my walks, I came across a Pickleball match. The game was new to me, and the quartet of players was kind enough to show me how the game is played. I proceeded to do the ridiculous thing of trying to make the Q3 a sports camera. I can confirm it's not a sports camera unless that sport is chess, where you can get close enough with the 28mm lens.

Seeking low light, another walk took me into a bar to tinker with shadows, neon and rim light wrapping around patrons along the counter. There, I'd meet a 20-something fresh off work, stopping in for a pint, who, upon noticing my camera, would inquire what I was doing.

"I'm working on a story for a camera website," I'd say, adding on when questioned further, "for DPReview." His eyes lit up as he asked me about cameras he was considering as a present for his dad. You can't have moments like these behind a desk.

The Q3 wasn't always the best at everything (sports), but it was the most fun I've had with a camera this year and the closest I've come to recapturing the feeling of pure mechanical (invisible tech) photography in recent memory.

In moments like these, with a camera by my side, I'm reminded of how lucky I am to work at DPReview. My previous staff positions have always issued me a camera to use for a few years and told me to learn it inside and out, but I never had to compare multiple models and features to this level of detail.

I don't consider myself a gearhead, but I love tinkering and learning. One of my great joys working here has been the impromptu discussions that bubble up, often stemming from a simple question about base ISO or dynamic range and expanding into multiple whiteboards and a healthy smattering of charts and historical data.

This has informed how I approach cameras now. I'm looking to see if a camera can meet the promise of what it says it'll do, how useable it is, if the performance meets the needs of its price point compared to other options, and most of all, if it's actually enjoyable to use.

Working on the Q3 also meant I harassed my cat for days. Thankfully, he forgave me.

Leica Q3 | 28mm | ISO 100 | 1/125 sec | F1.7 | -3EV
Straight from camera JPEG

Photo: Shaminder Dulai

The Q3 is still out of my budget; I won't be buying one, but boy did it exceed my expectations. I enjoyed how it leaned into tactile picture-making by allowing me to stay out of menus if I wanted. If I could afford it, it would be my go-to camera of 2023. Yes, the Z8 is the perfect all-around camera, that's why I voted to award it as our product of the year, but the Q3 captures a 'joy' I haven't had in other recent cameras.

Incidentally, the initial review also led to one of the nicest e-mails I’ve ever gotten from a reader: someone sharing that they’ve been reading my bylines since I joined DPReview and how they've enjoyed the fresh perspective I bring. It’s rare to get a kind word in journalism. That not only made me proud of my work but also sad that it may all be ending. Thankfully, we know now that wasn't the ending that was being written. And with that, I get to say I can't wait for the next camera, the chance to do it again and spend some more time with you.

Buy now:

$5995 at B&H Photo $5995 at Adorama $5995 at Leica
Categories: Photo News

Five settings to get the most out of the Fujifilm X-T5

DP Review Latest news - Tue, 12/19/2023 - 06:00

The Fujifilm X-T5 offers a ton of features. Here are five settings you might explore to get your camera set up right.

Photo: John Greengo

The Fujifilm X-T5, like most of the company's cameras, is known for the dials and tactile controls, at least on the outside. Inside, they sport hundreds of features like any other modern digital camera.

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If you are new to Fujifilm or perhaps haven’t gone too deep into the menu, here are a few camera tweaks that may be helpful.

While this guide is tailored to the X-T5, the features aren't exclusive to the X-T5 or even to Fujifilm cameras. Just be advised that the exact names and functions may differ slightly or significantly.

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$1699 at Amazon $1699 at B&H Photo $1699 at Adorama How to set up the 'My Menu'

Menu location: 'MY MENU SETTING' - [SET UP > USER SETTING 1/2]

Setting options:

  • ADD ITEMS
  • RANK ITEMS
  • REMOVE ITEMS

By industry standards, the menu on the X-T5 is modest in size. After all, it only has about 395 features in it. But if you're unfamiliar with its ins and outs, trying to find a ‘lost’ feature by randomly going from one menu to the next will leave you frustrated.

MY MENU is designed to be a collection of shortcuts to your favorite features. By going into this feature [SET UP > USER SETTING > MY MENU SETTING] and adding items, then ranking them, you can quickly access them in the MY MENU tab at the bottom of the left column in the menu.

Use the MY MENU feature to collect and organize features that you use regularly.

You can choose up to 16 menu items and organize them over two pages. When set up with your most used features, you’ll hardly ever need to hunt for a menu feature again.

Not all menu items can be saved in MY MENU, but enough options are available to be helpful. Don’t forget that you can also customize the Q MENU [SET UP > BUTTON/DIAL SETTING > EDIT/SAVE QUICK MENU] with many shooting features. I recommend setting up the Q Menu before customizing the MY MENU. Use the Q Menu for your primary shooting controls and the MY MENU for all additional features.

How to change the number of focus points

Menu location: 'NUMBER OF FOCUS POINTS' - [AF/MF SETTING 1/3]

Setting options:

  • 117 POINTS (13x9)
  • 425 POINTS (25x17)

The X-T5 offers 425 individual focus points to choose from, so why would you want anything less? From the perspective of someone who lived through the era of one, three and five focus points, more has always been better.

With the standard array of 425 focus points covering nearly the entire frame of the X-T5, you can easily select and focus on a point exactly where you want it. If you desire the highest level of precision, sticking with the default 425-point array makes sense.

However, if you change focus point positions regularly, moving the focus point from one location to another is a tad tedious. For example, moving the point from the lower right to the upper left would involve 40 clicks of the focus stick. That’s enough to wear a deep indentation on your thumb.

425 Focus points 117 Focus points

You can speed the process up by holding the focus stick in the direction you want to go, and it will head in that direction until you release the stick. But the focus point will still be moving one line at a time to cover the entire 25 x 17 grid.

Switching this option to 117 points eliminates every other row and column of focus points. This would reduce the movement of the focus point by half the number of clicks and possibly half the time.

The array of 117 points is more than enough accuracy for most uses. It may help simplify and speed up the setup process so that you can focus on more important issues.

How to use pixel shift multi-shot mode

Menu location: 'PIXEL SHIFT MULTI SHOT' - [SHOOTING SETTING 3/3]

Setting options:

  • SHORTEST INTERVAL
  • 1 SEC INTERVAL
  • 2 SEC INTERVAL
  • 5 SEC INTERVAL
  • 15 SEC INTERVAL
  • OFF

If the X-T5’s standard sensor resolution of 40 megapixels isn’t enough, PIXEL SHIFT MULTI SHOT can get you up to 160 megapixels. By shooting 20 images with the sensor moving either 1/2 or 1 pixel in each direction, the resulting images can be combined into a massive 160-megapixel image.

The movement of the sensor is not only to pick up additional resolution information but also for more accurate color. A color filter array is used in front of all sensors so that each pixel records light levels for either red, green, or blue light. Processing is used to blend all this information into a normal color image.

"By shooting 20 images with the sensor moving either 1/2 or 1 pixel in each direction, the resulting images can be combined into a massive 160-megapixel image."

The PIXEL SHIFT MULTI SHOT process of moving the image sensor to different locations allows for more color resolution by collecting red, green, and blue data for each pixel location. Beyond that, the tonal quality is also improved because the combination of a dozen or more exposures can drastically reduce noise.

A menu option allows for shorter or longer intervals between shots to accommodate a flash unit that needs to recycle.

A final composite of the 20 images is not created in-camera. You’ll need to use Fujifilm’s Pixel Shift Combiner software. It’s available from Fujifilm for free for both PC and Mac. The software will combine all 20 photos into a DNG file - 15,456 x 10,304 (160MP) in size.

Pixel Shift Multi Shot image - 15,456 x 10,304 pixels

Fujifilm XF 50-140mm F2.8 LM OIS WR | ISO 125 | 6.5 sec | F8

PIXEL SHIFT MULTI SHOT - OFF PIXEL SHIFT MULTI SHOT - ON PIXEL SHIFT MULTI SHOT - OFF PIXEL SHIFT MULTI SHOT - ON

The process of taking 20 photos and moving the sensor between each shot takes about 5 seconds with a fast shutter speed and SHORTEST INTERVAL selected. The primary genres where this mode would be beneficial are architecture, product and still-life. Landscape photography may be possible, but if trees, leaves, water or other objects are moving, it will cause problems.

The difference between 40MP and 160MP sounds like a lot on paper, but the differences are less impressive in the real world. Yes, most people will see an increase in resolution, but the visual improvement isn't massive for most viewers in most scenarios. Given the time, effort, and increased file size, only a small percentage of users are likely to be able to take real advantage of this feature.

Make no mistake: This feature works if you have a suitably static subject. When you have the right situation, it creates a higher resolution image effectively. But when in doubt, you are probably fine without the extra trouble, especially considering Fujifilm's specific implementation of this technology isn't particularly user-friendly.

How to change the temperature at which the camera shuts down

Menu location: 'AUTO POWER OFF TEMP.' - [SET UP > POWER MANAGEMENT]

Setting options:

  • STANDARD
  • HIGH

Warm environments, continuous shooting and recording movies in long takes will cause any camera to rise in temperature. Fujifilm engineers have tested and determined the maximum temperature the camera can handle before they believe it should automatically shut down before it causes potential harm to a user or negatively impacts the image quality. This pre-determined temperature is the STANDARD setting for this feature and where most users would be wise to leave it.

With this feature set to HIGH, the camera will be allowed to continue to record images or movies until the camera reaches an even higher temperature cut-off point. The primary reason to set this feature to HIGH is if you are recording long movie takes and you really don’t want the camera to automatically shut down prematurely. The X-H2 model, with the option to add a fan, is the better choice if you regularly have this concern, but the thermal warning override will give you a little more latitude.

If you typically hold the camera in your hands, keep this feature set to STANDARD.

The downside is that the camera may get hot to the touch and could cause "low-temperature burns," according to Fujifilm. However, this is less of a hazard if the camera is mounted on a tripod or other mount system.

"The higher temperature of the camera may also adversely affect the image quality of the stills or video that you are recording."

The higher temperature of the camera may also adversely affect the image quality of the stills or video that you are recording. Hot sensors are more likely to exhibit noise, but you’ll need to do some testing to see if this will cause an issue for you.

The X-T5 isn’t designed for primary use as a video camera; it’s a compact stills camera that, as a side benefit, can also record video. The camera doesn’t have the size and features, like a heat sink, that a proper video camera would have with a sensor this size. This is the trade-off of getting high-end video features on a large sensor in a compact package.

How to turn on long exposure noise reduction

Menu location: 'LONG EXPOSURE NR' - [I.Q. IMAGE QUALITY SETTING 3/4]

Setting options:

  • ON
  • OFF

One of the challenges of shooting in low light conditions is avoiding or reducing noise in an image. Shooting with a long exposure is one way of working with low light levels, and this feature is designed to help “reduce mottling in long-time exposures.”

The way this feature works is that after a long exposure (8 seconds or longer), the camera takes a second dark photo of the same exposure length. Information from the black photo is subtracted from the dark areas of the original photo, and noise levels and, in particular, the effects of thermal noise and any hot/stuck pixels should be reduced.

There is little to no difference between images with LONG EXPOSURE NR turned on and off.

Fujifilm XF 50-140mm F2.8 LM OIS WR | ISO 125 | 15 sec | F5.6
Photo: John Greengo

ISO 125 | 15 sec | F5.6

LONG EXPOSURE NR - OFF

ISO 125 | 15 sec | F5.6

LONG EXPOSURE NR - ON

ISO 3200 | 15 sec | F22

LONG EXPOSURE NR - OFF

ISO 3200 | 15 sec | F22

LONG EXPOSURE NR - ON

A major annoyance when using this feature in the field is that you need to wait double the amount of time for every long exposure. If you take a one-minute exposure, it will be two minutes before you can use the camera for something else.

In my time testing this feature repeatedly with the X-T5, other Fujifilm cameras, and many other brands of cameras, I have yet to see a significant difference between having this feature ON or OFF.

The likely exception is if you shoot multiple very long exposures back to back. Astrophotography, in particular, is a discipline where thermal noise can build up over the course of many successive exposures and where hot pixels will be particularly noticeable against a black background.

Outside of relatively extreme use cases, LONG EXPOSURE NR will not noticeably improve the quality of most images, and you're safe with it disabled.

John Greengo specializes in photographic education through online training, books and international photo tours. His photographic teachings have been viewed by millions around the globe.

These tweaks are just a few tips on how you can get the most from your camera. In the Fujifilm X-T5 Complete Camera Guide, a 9-hour video course, John takes you through all camera operations to help you set it up for your needs. He also offers a multitude of classes covering a wide range of photographic topics including landscape, travel and gear-specific tutorials.

Buy now:

$1699 at Amazon $1699 at B&H Photo $1699 at Adorama
Categories: Photo News

Gear of the Year: Dale's choice - Sigma 14mm F1.4 DG DN Art

DP Review Latest news - Mon, 12/18/2023 - 07:00

My gear of the year is the Sigma 14mm F1.4 Art lens: a big, heavy and glorious ultra-wide prime lens with a fast aperture.

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I know, I know. I did it again. I picked another fast, ultra-wide lens as my Gear of the Year. At this point, you could call it a trend.

If you haven’t read my Gear of the Year articles over the past few years, now is probably the best time to point out that this isn’t the first ultra-wide lens I’ve selected for this honor. That was the Sigma 14mm F1.8 Art. It’s not the second, either. That was the Laowa 15mm F2 Zero-D. In fact, it’s not even the third. That was the Sony 14mm F1.8 GM.

The aurora borealis makes an appearance over Canada's northwest territories.

14mm | ISO 320 | 8 sec | F1.4
Photo: Dale Baskin

Buy now:

$1599 at Amazon $1599 at B&H $1599 at Adorama

To be precise, the Sigma 14mm F1.4 is the fourth fast, ultra-wide lens I’ve selected.

At least give me points for consistency, OK?

I blame this on my passion for shooting the night sky, something I started doing about a decade ago and can’t seem to stop doing. To be clear, all the lenses I mentioned above are outstanding optics and I wouldn’t hesitate to use any of them, but the Sigma 14mm F1.4 is something altogether different.

14mm | ISO 6400 | 6 sec | F1.4
Photo: Dale Baskin

Before I talk about the lens, let’s jump into the Wayback Machine and rewind to last February, when I had the opportunity to interview Sigma CEO Kazuto Yamaki. Discussing Sigma’s market strategy, he told me, “I think people’s demand for lenses is unlimited. Moving forward, we’ll probably release more unique or innovative lenses that don’t exist in the market today, and we will create demand for unique lenses in the future.”

The concept is that by providing unique products to photographers, Sigma would help create new markets for lenses that don’t currently exist.

Night photos don't have to point up at the sky. Although it's a bit bulky, the Sigma 14mm F1.4 makes a great walk-around lens after dark.

14mm | ISO 320 | 1/25 sec | F1.4
Photo: Dale Baskin

My mind raced to just such a product: the Sigma 14mm F1.8, a lens practically designed for astrophotography. Before that lens, photographers had access to wide lenses, but not wide lenses with apertures that fast. Not only did astrophotographers snap them up, but the mere existence of such a lens inspired people with little or no experience in the field, myself included, to buy them to learn astrophotography, and in the years following, many similar products have hit the market. That’s exactly what Mr. Yamaki meant by creating demand for unique lenses.

I secretly hoped that Sigma might be working on an updated, mirrorless version of the 14mm F1.8, though I certainly didn’t expect it. But then, in June, Sigma went and did exactly that. Except it wasn’t just an updated lens but an even faster F1.4 model.

This star field is one of the first images I captured to assess how the Sigma 14mm F1.4 would work for astrophotography. Click on it to see the full-resolution image.

14mm | ISO 3200 | 6 sec | F1.4
Photo: Dale Baskin

The move from F1.8 to F1.4 may not sound significant, but for night sky photography, every bit of light gathering ability matters, particularly when photographing the aurora borealis, one of my favorite subjects. Those two-thirds of a stop mean I can use lower ISOs for cleaner images, or more importantly, I can use faster shutter speeds to retain more of the structure of the aurora during a fast-moving substorm. It also makes it easier to manually focus on pinpricks of light.

In September, I took the lens on one of my regular trips to the subarctic to photograph the northern lights. Unfortunately, this wasn’t my year; between wildfire smoke and overcast skies, I saw less aurora than I’d hoped, but what I did see was pretty spectacular. And when the lights came out, the 14mm F1.4 was magic to use. Consistent with my earlier testing, it delivered sharp focus across the entire frame and extremely well-controlled (though not perfect) comatic aberration.

The Sigma 14mm F1.4 is also great for shooting landscapes.

14mm | ISO 125 | 1/400 sec | F2.8
Photo: Dale Baskin

As with any product, however, the little things often make the difference, and the 14mm F1.4 is no exception. I really appreciate the manual focus lock switch. Stars don’t move (at least not quickly enough for our purposes), and once I have a camera set up to shoot night skies, I don't want the focus to move. I’ve been burned by nudging focus on a lens before, and my DIY solution is to place gaffer’s tape across the barrel to keep the rings from turning. A hardware switch is a more elegant solution.

Similarly, an Arca-Swiss compatible tripod mount for a lens that’s pretty much guaranteed to be used on a tripod and a design intended to retain lens heaters for cold nights are practical touches (though I didn’t have to use the latter).

A curtain of lights rises over the taiga forest.

14mm | ISO 5000 | 5 sec | F1.4
Photo: Dale Baskin

It would be easy to praise Sigma simply for introducing a 14mm F1.4 lens, but that would be selling it short. In my opinion, this is the best lens I’ve used for wide-field astrophotography. It’s big and it’s heavy, but it delivers the goods. I’m not sure how Sigma will up its game in the future, but at this point, I wouldn't be surprised to see it manufacture an honest-to-goodness black hole that attaches to a camera, ensuring that even starlight can’t escape the sensor.

Ultimately, I chose the Sigma 14mm F1.4 because of its impressive performance. You might even call it stellar. But secondarily, I picked it because of Sigma’s dedication to creating unique products and challenging other manufacturers to do the same.

Next year, I promise I'll try to pick something with more telephoto reach, like a 20mm prime.

Buy now:

$1599 at Amazon $1599 at B&H $1599 at Adorama
Categories: Photo News

Behind the scenes: Setting up DPReview's studio test chart

DP Review Latest news - Sat, 12/16/2023 - 05:00

Senior Editor Shaminder Dulai inspects the test scene before mounting it on the wall.

Photo: Dale Baskin

A few weeks ago, we took you behind the scenes to tell you about the move to our new studio and some of the complexities involved. Although we've been in the new space for a while now, there's one thing we weren't able to do until recently: install our studio test scene.

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Regular readers will know that our studio test scene is a core part of a DPReview camera review. It allows us - and you - to perform detailed comparisons between camera models going back many years. It's one of the most popular features of our site.

We anticipated the test scene would be unavailable for a while following the move, so we made a concerted effort to test as many cameras as possible before shutting down the old studio. That gave us a bit of runway, but we needed to get the scene back up and running to keep testing cameras.

We started with a blank wall in our studio, stud finder in hand. Thankfully, there were plenty of studs into which we could bolt our support rails. I'm not sure exactly how much the studio scene weighs, but it's not light, at least 25kg (55 lbs), and we weren't looking forward to depending on drywall anchors to keep it in place. Our scene is custom-built and one-of-a-kind; not only did we need to take great care so as not to damage it or have anything move out of alignment, but we also needed to be confident it would stay mounted and never move in the future.

We started with a blank wall. In addition to mounting the test scene, we had to remove the elevated stage in front to clear space for other equipment and to mark the exact center of the test scene on the floor.

Photo: Shaminder Dulai

In addition to mounting the scene, we had to remove an elevated stage in front of the wall. Admittedly, the stage would be fantastic for hosting open mic nights or poetry slams. Alas, we'll need to find another location for those events; we need an uninterrupted flat floor to mark calibration lines extending several meters back from the wall and to allow free movement of our studio tripod and assortment of cables.

The first step in mounting the scene was to bolt two vertical rails to the wall, providing a rock-solid attachment point. In addition to being secure, this system allows us to adjust the height of the scene after it's been attached to the wall by sliding it up and down. It's not something we ordinarily do, but it's essential for the initial setup so we can ensure everything aligns properly.

Managing Editor Dale Baskin attaches brackets to the frame of the test scene that connects to rails on the wall. This system allows us to adjust the scene's height after it's mounted to ensure proper alignment with our other equipment.

Photo: Shaminder Dulai

No construction project is complete without at least one trip to the hardware store. Or, in our case, four. The folks at Home Depot probably think we're contractors at this point. Another truism of construction projects is that they're never complete without lying on your back on the floor to attach something or another. This one didn't disappoint.

No construction project is complete without lying on your back with a headlamp to put in a few bolts and screws.

Photo: Shaminder Dulai

With the scene securely mounted to the wall and the stage removed, we inspected our handiwork, slightly relieved that we hadn't dropped the test scene and shattered it into a thousand pieces. Had we done so, I'd be writing a very different article!

The next step was to bring together the other components of the studio scene setup: a lid that helps enclose the scene and control lighting, our Kino Flo studio lights, and a few other odds and ends. Noticeably missing from most of the photos you see here are the glass bottles that usually sit at the bottom of the scene; they were still in one of our unpacked boxes.

Shaminder, relieved that the studio scene didn't fall after letting go of it. The white barn doors you see here serve a dual purpose: they help support an enclosure that fits over the scene, allowing us to control light better, and they serve as a protective cover for the scene in the rare event that we need to move it.

Photo: Dale Baskin

Once everything was assembled, it was time to calibrate the scene. To do this, Technical Editor Richard Butler carefully measured the entire chart with an incident light meter to ensure consistent lighting across the scene. If it wasn't just right, we moved the lights and started over. It's a process we repeat occasionally, even after the scene is installed, but getting it right out of the gate is critical.

Finally, Richard and Shaminder measured and marked the exact center point of the scene on the floor, which is more complicated than it sounds. However, this is a mission-critical step, as cameras have to be perfectly aligned with the scene to get valid results. Every time we test a camera, we use a laser to perfectly align it with the horizontal and vertical axis of the scene, but that centerline has to be in precisely the right place for this to work.

Technical Editor Richard Butler uses a light meter to verify that light levels are within spec and consistent across the entire scene. The glass bottles have also been unpacked and are waiting to be returned to their rightful place at the bottom center of the scene.

Photo: Dale Baskin

The good news is that our studio scene is now up and running. Of course, testing cameras involves a lot more than shooting a static test scene, but we're excited to have this vital tool up and operational. It means we can catch up on a backlog of cameras waiting to be tested, and we'll be able to bring you test scene results from new cameras much more quickly.

There's still more work to do before our studio is fully operational, which we'll continue to share in these behind-the-scenes vignettes of life at DPReview. However, the studio scene is an important milestone for us because we know so many of you depend on it when evaluating cameras. Thanks for hanging in there with us through this busy year!

Categories: Photo News

2023's most-rented camera gear on Lensrental wasn't a camera or a lens

DP Review Latest news - Fri, 12/15/2023 - 11:11

It's the end of the year and time to reflect. As is tradition, Lensrentals does it with a year-end article slicing and dicing its rental statistics by brand, format and a few other variables. Who's winning the rental war? The usual suspects. But there are a couple of fun surprises as well.

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While Lensrentals doesn't share its specific rental numbers (though it does note that every entry in its top twenty list represents thousands of rentals), that doesn't preclude a ranking. So what wins for the most rented gear of 2023? Not your favorite camera, nor your favorite lens. But maybe your favorite... battery?

Image: Lensrentals

Last year's roundup, by comparison, didn't include a ranking of top-rented items by product, but rather shares by product type, where accessories were a distant third to lenses and cameras, respectively.

Also of note, of course, are market shares as calculated by percentage of total rentals. Here, you are in for precious few surprises.

Canon, Sony and Blackmagic stand on the podium for top-rented camera brands, with Sony gaining over the previous year as Canon and Blackmagic slipped. Contain your shock, as that's exactly the same scenario we saw in 2022.

Image: Lensrentals

Likewise, three top-rented lens brands remain unchanged. Canon, Sony and Sigma took gold, silver, and bronze, same as they did last year. But while Canon and Sigma were both sliding in 2022, Canon has turned it around to see growth in 2023.

Image: Lensrentals

The one category that has seen movement at the top is lens rentals by mount. Sony's E-mount has taken the crown as Canon's EF-mount unsurprisingly slides for the second year running as Canon turns its attention to RF-mount, which continues to gain alongside Sony E-mount.

Image: Lensrentals

Last, and frankly least, Lensrentals has also compiled a list of 'most popular' photography and videography gear for 2023. But before you feast your eyes, grab hold of a few grains (or even a shaker) of salt. These numbers are calculated by revenue, which gives expensive kit an advantage that renders this basically useless for most analyses. Add to that some classification quirks that have allowed the Sony FX3 to claim slots 13 and 17.

These rankings are perfect, however, for assistance in making whatever case you are already predisposed to argue to your friends or foes.

Image: Lensrentals

You can hop over to Lensrental's full roundup for additional tidbits and factoids, and snail mail yourself some predictions for 2024 to be opened this time next year.

Categories: Photo News

The 6 Best instant cameras

DP Review Latest news - Fri, 12/15/2023 - 05:00
There are plenty of choices for instant cameras, with different types of film and features. We break down the top six cams for every user's needs.

Instant cameras have dominated camera sales for over a decade. Fujifilm, the 800-pound gorilla in the sector, raked in over $890 million in Instax sales revenue worldwide in 2023, accounting for more than half of the company's overall revenue.

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As DSLR and mirrorless camera sales have declined recently, instant cameras, particularly Instax cameras from Fujifilm, have flourished. Perhaps that is due to appealing to a broad tent of potential users, from nostalgia-chasing Baby Boomers to younger Gen Z and Alpha users seeking a more tactile, physical and social form of photography. They've become more than a camera; they're part of pop culture and it's not uncommon to see special edition instant cameras from the likes of Taylor Swift or BTS.

If you're new to instant cameras or in the market for your next one, we've looked at the landscape and have broken down the six best instant cameras you can buy today.

An instant start

It's best to start with the film stock when considering instant cameras. Fujifilm's Instax film is by far the most popular and widely available and has been adopted by cameras made by Leica, Lomography and the occasional startup. Instax film comes in three types (mini, square and wide) and they're not interchangeable, so deciding which format of Instax you're most interested in before picking out a camera is vital.

Format name

Image size Shots per pack

Average cost of twin pack

Instax Mini 46 × 62 mm

(1.8 × 2.4")

10 ∼$13 / 20 exposures

Instax Square

62 x 62 mm
(2.4 x 2.4")

10 ∼$30 / 20 exposures

Instax Wide

99 x 62 mm

(3.9 x 2.4")

10 ∼$20 / 20 exposures

Buy now:

Instax Mini: $14 at B&H Instax Square: $19 at B&H Instax Wide: $20 at Amazon

There is also Polaroid film, which is presently used only by Polaroid cameras. We liked the color film for its muted colors and staying true to the nostalgic Polaroid look (which we should note is not the same film as the Polaroid of the 70s-90s, but a modern stock made by the Dutch company formerly known as the Impossible Project).

But we also felt that side by side, Instax film had better color, contrast and overall was more pleasing to the eye. Another consideration for budget-conscious shutterbugs, Polaroid's instant film options tend to be more expensive than Instax, running roughly $2 a shot to Instax's roughly $1 per exposure.

Format name

Image size Shots per pack

Average cost

i-Type 79 × 77 mm
(3.1 × 3") 8 ∼$27 / 16 exposures

600

79 × 77 mm
(3.1 × 3")

8 ∼$30 / 16 exposures

SX-7

79 × 77 mm
(3.1 × 3") 8 ∼$20 / 8 exposures

Buy now:

i-Type: $26 at Amazon 600: $30 at Amazon SX-7: $20 at Amazon

A little less popular is the Zink format, which is less of a film stock and more of a printing paper. We've seen this format show up in offerings from Kodak and Canon. Zink prints are the most economical, costing about $0.50 per shot. Unlike Instax and Polaroid film, which expose images on a light-reactive surface, Zink is photo paper with embedded ink dyes. Dyes in the paper are pressure-released and mixed to print photos. These prints tend to produce a wider range of colors than its competitors but struggle with blacks, often lacking contrast, and there's concern over how long prints last, with some from a decade ago showing extensive fading.

Format name

Image size Shots per pack

Average cost

Zink

5 x 7.6 mm
(2 × 3")

50 ∼$25 / 50 exposures

Picking a film stock will come down to taste. However, we recommend Instax Mini: photos are vibrant with great quality, it's a widely used format, which makes it unlikely it'll be hard to find, and it's affordable compared to Polaroid.

Buy now:

$25 at B&H Best entry-level instant camera: Fujifilm Instax Mini 12

Photo: Fujifilm

Buy now:

$75 at Amazon $80 at B&H

For casual and beginners seeking a way into instant photography and having fun with analog photography, the Mini 12 fits the bill. It has one-button operation, includes a tiny selfie mirror and most of all, it's affordable. Instax cameras aren't very complicated to begin with and the Mini 12 is as simple as can be. Everything is automatic, from flash control to exposure, and the emphasis is on picture-making; point it at something from 1-1.5m (4-5ft) away, click and out pops a photo. (As its name implies, it uses the mini format of Instax film which is easy to find.)

Pricing for older models like the Mini 11 isn't much lower than the Mini 12 and we don't recommend them. There are subtle improvements new to this model that might keep users from getting frustrated, such as parallax correction, which aligns the viewfinder with the lens when using Close-Up Mode so users no longer have to guess where the center of the frame is (and waste film).

One limiting factor to consider is the lack of flash control, which means that if you're too close to someone/something you will overexpose them/it. It's only worth mentioning as something to be aware of, most instant cameras don't let users control the flash until you get into more expensive cameras.

Best-looking entry-level instant camera: Fujifilm Instax mini 40 Photo: Dan Bracaglia

Buy now:

$95 at Amazon $100 at B&H

An Instax Mini 11 in a much much nicer suit, the Instax Mini 40 wraps itself in faux leather and silver trim for a retro rangefinder-eque design. The specs are identical to the Mini 11, so you won't gain the Mini 12's parallax correction to align the viewfinder with the lens in Close-Up Mode. Otherwise, you'll still have an easy-to-use, automatic camera that accepts Mini film. It's more 'grownup' than the candy-colored plastic design of the Mini 12, but the cool factor comes at a slightly higher cost.

Best wide Instax camera: Instax Wide 300 Photo: Fujifilm

Buy now:

$107 at Amazon $110 at B&H

If the Mini format feels too narrow, and it is if you're seeking large group shots or landscapes, there's the Instax Wide 300 ($120), also Fujifilm's only wide format camera.

Shooting Wide film (about twice the width of Mini format) has to be your priority before you consider this camera. The camera itself has limited exposure compensation control and two motor-driven focus positions; otherwise, it's fully automatic. There is an attachment for close-ups (down to 40cm). It's also pretty bulky due to the wide format film, but the larger size does gain a comfortable hand grip.

As an alternative, we also considered the Lomography Lomo'Instant Wide ($170), like the Wide 300 it's also a simple-to-use camera, but this model adds some manual controls, modes like multiple exposure mode, flash gels, an ultra wide-angle attachment lens and a remote trigger switch (but it's on the lens cap making it prone to accidental presses when you go to remove/replace the cap). There is a bit of a learning curve to using the camera, focusing is difficult and we found the plastic build to be lacking in ergonomics. We didn't think the added cost was worth recommending it over the solid and reliable Wide 300.

Best "overkill" Instax-film camera: NONS SL660 Photo: Gannon Burgett

Buy now:

$600 at Amazon

Built like a tank with anodized aluminum alloy, weighing nearly 900g (2lbs), with an EF-style lens mount, the NONS SL660 brings the SLR experience to instant photography. At $600, it's also only for the most passionate and dedicated photographers seeking a manual SLR-style instant camera that uses Instax Square film. There's also shutter control, bulb, a hot shoe for external flash and the camera supports multiple exposures.

Introducing interchangeable lenses with a TTL viewfinder makes using EF lenses or compatible adapters for other glass possible. A note, there are no electronic contacts on the EF-style mount, so you won't be able to adjust the aperture on genuine EF lenses and it'll default to their widest setting. Using EF adapters, older manual lenses with an aperture ring can be used.

It's pricey, but that price tag gets users solid build quality, a premium feel and new creative possibilities with instant photography.

Best instant hybrid digital camera: Fujifilm Instax Mini Evo Photo: Jeremy Gray

Buy now:

$200 at Amazon $200 at B&H

If you're not ready to commit to a fully analog experience, a few instant cameras have combined digital capture with instant film printing. We like Fujifilm's Instax Mini Evo. It's about $120 more than the analog Mini 12 and you gain a digital camera and a collection of lens effects and film effects such as monochrome, vivid and sepia. The digital images are rather small at 2560 x 1920, about 4.9MP, so it won't be mind-blowing.

There is also a tradeoff in giving up the experience of seeing a photo develop and waiting to see if you got the shot that makes instant photography unique, so on a base level, it is a different experience.

It's a bit of having your cake and eating it too; you can capture digital images and then decide which ones you want to print out on instant film. This saves printing costs for only those choice images you genuinely want and makes it easier to transfer digital files to your computer or smartphone for saving and sharing.

Best instant camera if you don't want Instax: Polaroid I-2 Photo: Dan Bracaglia

Buy now:

$630 at Amazon (w/ 1 pkg film) $600 at B&H

Our reservations over its film being more expensive and not as punchy aside, the Polaroid I-2 is truly one of the best-built instant cameras on the market. It's rather pricey, $600, which is due to all the tech jammed inside it and the purpose it was built for: for advanced users who want to revisit Poloroid's i-Type, 600, and SX-70 film.

The camera has full manual controls, aperture and shutter priority modes, LiDAR (Light Detection And Ranging) autofocus and a sharp 38mm f/3.2 equiv. lens. You also get flash on/off control, an uncommon feature for instant cameras.

Polaroid spent four years developing the I-2, tapping retired Olympus engineers for AF and lens design assistance. Every detail feels intentional, from a viewfinder with displays for current shutter speed, aperture, meter reading, remaining shots, battery life and flash status to the simple film-loading mechanism.

We still prefer Instax's color, contrast and price point, but this is the camera to beat if you're drawn to Polaroid films.

Categories: Photo News

DJI Brings 8K/75p performance to the Ronin 4D with the Zenmuse X9-8K camera

DP Review Latest news - Thu, 12/14/2023 - 12:51
Photo: DJI

When DJI announced its extremely innovative Ronin 4D camera and stabilizer combo in 2021, we were very impressed. Maybe the most innovative video product in a decade, the world's first four-axis cinema camera was a shoo-in for our 2021 DPReview awards. But one thing was missing at launch: the only available camera module was DJI's Zenmuse X9–6K module, which tops out at 6K/60p or 4K/120p. The Zenmuse X9-8K camera and the Ronin 4D-8K combo kit were slated to be released at "a later date." Now, two years later, that date is here.

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The Ronin's four-axis body remains unchanged, sporting its unique active Z-axis that cribs tech from DJI's drone line (downward-facing ToF sensors, forward and downward dual-visual sensors, a built-in IMU and even a barometer) to eliminate bounce above and beyond what was possible with a three-axis gimbal. That, plus two automated focus modes that lean on a built-in 10M LiDAR range finder to track subjects in low-light conditions where traditional autofocus struggles.

Also unchanged are the camera module's bells and whistles, including nine built-in physical ND filters for adjustment from ND2 to ND512 and the ability to record to SSD over USB-C, to CFexpress Type-B using the internal card slot, or to DJI's PROSSD 1TB SSD, which comes part and parcel with the Ronin 4D-8K combo package.

The Zenmuse X9-8K camera delivers footage at resolutions up to 8K/75p.

Photo: DJI

The meat and potatoes of this release is the DJI Zenmuse X9-8K Gimbal Camera itself, which finally enables the top-of-the-line performance capabilities, namely full-frame 8K/60fps at 17:9 (and 8K/75fps at 2.39:1) that DJI touted in 2021 when the 4D launched with only the 6K/60fps-limited Zenmuse X9-6K Gimbal Camera on offer.

The Ronin 4D-8K combo, which includes the 4D body, Zenmuse X9-8K camera, 1TB SSD, DJI 17-28mm T3.0 ASPH lens, LiDAR Range Finder, TB50 battery, monitor, handles, grips and other essential bits and pieces, has an MSRP of $12,838. If you already have a Ronin 4D body and want to upgrade, the Zenmuse X9-8K Gimbal Camera is available separately, including a case, for $3,599. The Ronin 4D-6K combo will remain available for a more modest $6,799.

Buy now:

$12,838 at DJI $12,838 at B&H

Press release:

DJI Reaches the Pinnacle of Imaging Excellence with the New Ronin 4D-8K

DJI's Cutting-Edge Color Science Comes to Life in The Ronin 4D-8K

December 14, 2023 – DJI, the global leader in civilian drones and creative camera technology, today announces the Ronin 4D-8K, a new iteration of the Ronin 4D professional cinema camera platform. This all-in-one 8K cinema camera integrates DJI’s most advanced technologies, including the revolutionary 4-axis stabilization, into one cutting-edge and comprehensive cinematography solution. A powerful, next-generation cinema camera, the Ronin 4D, is the future of filmmaking, offering groundbreaking flexibility to solo cinematographers and unlimited possibilities for coordinated shooting.

"Empowering creators with cutting-edge technology has always been at the heart of DJI's mission,” said Paul Pan, DJI Senior Product Line Manager. “The Ronin 4D-8K stands as a testament to our dedication to delivering unparalleled imaging solutions and providing creators with the tools they need to bring their visions to life with exceptional clarity and brilliance.”

A Filmmaking Powerhouse

The DJI Ronin 4D-8K stands out with its premium performance, delivering an impressive suite of features that cater to the diverse needs of cinematographers. With full-frame 8K/60fps & 4K/120fps capabilities, this camera ensures exceptional image quality, providing filmmakers with extraordinary versatility in capturing the demands of the scene. The 800/4000 Dual-Native ISO enhances performance across various lighting conditions, complemented by a maximum 14.7 stops of dynamic range, offering cinematic depth and rich color grades in any scenario.

The Ronin 4D-8K further proves itself with built-in 9-stop physical ND filters for precise exposure control, DL/E/L/PL/M interchangeable lens mounts for creative freedom, autofocus on manual lenses and Automated Manual Focus (AMF) for quick and accurate focusing with the innovative LiDAR focusing system. Its seamless transition to Flex Form without tools allows for on-the-go adjustments, highlighting the camera's versatility. In essence, the Ronin 4D-8K is a comprehensive solution that empowers filmmakers to bring their creative visions to life with ease and precision.

DJI Cinema Color Science

With the Ronin 4D-8K, DJI showcases the groundbreaking DJI Cinema Color Science (DCCS), which delivers natural skin tones that are both incredibly accurate and aesthetically pleasing, even in complex lighting conditions. Tailored for professional aerial and ground-based imaging equipment, DCCS unlocks boundless creative possibilities by vividly reproducing the kaleidoscopic colors perceived by the human eye. The DCCS color engine boasts a new algorithm, enabling smooth yet detailed images, high bit-width internal color and tone processing for natural transitions, and multiple high-precision LUT processing modules for precise color adjustments in diverse lighting conditions.

Complementing DCCS is the CineCore image processing platform, developed by DJI to deliver high-quality digital intermediates for post-production. Equipped with a proprietary chip and advanced processor architecture, CineCore supports up to 8K videos in professional codecs like Apple ProRes RAW, ProRes 422 HQ, H.264, and like on the Inspire 3, CinemaDNG. The D-Gamut color space is optimized for richer green coloring and skin tone representation. Covering over 14 stops of dynamic range, D-Log curve ensures detailed highlight and shadow retention even in challenging lighting, aligning effortlessly with ARRI cinema camera color and supporting the ACES workflow. With its film-consistent symmetrical dynamic distribution, DCCS preserves delicate and natural transitions in highlight areas, making it the ideal choice for filmmakers seeking unparalleled image quality and color grading flexibility.

ACES Compatibility

Empowering filmmakers with a seamless and standardized color management experience, the Academy Color Encoding System (ACES) is a collaborative effort by the Academy of Motion Picture Arts and Sciences, professional filmmakers, and color scientists. From image capture to final screening, ACES, now officially certified for DJI Ronin 4D, Inspire 3, and Zenmuse X7, ensures a consistent color journey, preserving the filmmaker's creative vision across various professional equipment and screening standards.

Pricing and Availability

The Ronin 4D-8K combo includes the Ronin 4D Main Body, a Zenmuse X9-8K Gimbal Camera, a DJI DL PZ 17-28mm T3.0 ASPH Lens, a PROSSD 1TB, a PROSSD Mount, Hand Grips, a Top Handle, a High-Bright Main Monitor, a TB50 Intelligent Battery, a LiDAR Range Finder, a DJI Ronin 4D RAW License Key and more. The combo retails for $12,838.

The Zenmuse X9-8K Gimbal Camera is also available for purchase, retailing at $3,599, and includes a Zenmuse X9-8K Gimbal Camera Protector Case, a X9 Gimbal Base Cap and a DL Mount Body Cap.

DJI Care Pro is now available for DJI Ronin 4D-8K, providing comprehensive protection for accidental damage. An unlimited number of free repairs are provided within the coverage limit for water damage, drop damage, improper use, and other accidents, together with International Warranty Service and two maintenance services by DJI technical experts.

Categories: Photo News

iPhone 15 Pro vs iPhone 15: Tested and Compared

DP Review Latest news - Thu, 12/14/2023 - 06:00

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When the iPhone 15 and iPhone 15 Pro models were first announced, we looked at the features and specs to compare them. Now that we’ve shot with both a Pro and non-Pro iPhone, it’s time to revisit the 'camera that’s always with you' and see how they stand up against each other.

Are the new 24- and 48-megapixel resolutions in the iPhone 15 enough of an improvement over previous models that you can save money on an upgrade by not going Pro? Or do the additional features such as the macro mode, telephoto camera and raw format support justify the higher price of the iPhone 15 Pro?

After testing, we think the Pro is a clear choice for anyone who wants a camera first and foremost, but let's dig into the details.

Buy Now:

iPhone 15 Pro: $999 at Apple iPhone 15: $799 at Apple A quick look at the specs

You can dig deeper into the spec sheets if you're so inclined, but here's the gist. The current iPhone models come in two tiers. The entry level comprises the iPhone 15 and iPhone 15 Plus (the option with a larger screen). Both have two rear-facing cameras and one front-facing camera; the camera hardware is the same on both devices regardless of screen size.

The upper tier comprises the iPhone 15 Pro and iPhone 15 Pro Max (the larger-screen version), each with three rear-facing cameras and one front-facing camera. The Pro versions share the same camera hardware, with the exception of the telephoto lens that both models have but which is 3x (72mm equivalent) on the iPhone 15 Pro and 5x (120mm equivalent) on the iPhone 15 Pro Max.

"After testing, we think the Pro is a clear choice for anyone who wants a camera first and foremost, but let's dig into the details."

The impressions that follow are based on hands-on experience with an iPhone 15 Plus and an iPhone 15 Pro, emphasizing the photographic differences of each.

iPhone 15 vs iPhone 15 Pro: Field of view and macro mode

For some people, this is the easiest differentiator between the two tiers: the Pro models include a dedicated telephoto camera. The 48MP main camera in all models does give a 2x optical zoom by cropping into the middle of the sensor, but the iPhone 15 Pros offer an additional 3x or 5x optical reach. Both can also digitally zoom to 10x or 15x, but friends don’t let friends zoom digitally without a very good reason.

But there are a few subtler disparities. The iPhone 15 Pro's main camera shoots at a native 24mm equivalent field of view, while the iPhone 15 captures a slightly narrower 26mm equivalent field of view.

(Technically, the iPhone 15 Pro is 6.86mm and the iPhone 15 is 5.96mm, but in the Camera app interface and the Apple Photos app, the focal length equivalents are used; I’ll stick with those so you don’t have to read “equivalent” repeatedly.)

iPhone 15 Plus iPhone 15 Pro The iPhone 15 and iPhone 15 Plus main camera has a 26mm equivalent field of view, while the iPhone 15 Pro and iPhone 15 Pro Max main camera is a wider 24mm.

The iPhone 15 Pro models take this one step further by offering three 'focal lengths' for the main camera: the standard 1x (24mm), 1.2x (28mm) and 1.5x (35mm). Does 24mm feel too wide? Tap the 1x button to switch between them. Or, go to Settings > Camera > Main Camera and pick one of them to be the default. The 28mm and 35mm ranges are just different fields of view – Apple is employing its computational photography processing instead of different sensor crops – but the results do not exhibit artifacts the way a more dramatic digital zoom would.

24mm 28mm 35mm On the iPhone 15 Pro models, you can shoot in 24mm, 28mm and 35mm equivalent focal lengths using the main camera.

Only the iPhone 15 Pro models include the Macro mode, even though all the phones have an ultra-wide camera (which has a minimum focus distance of just 2 centimeters).

iPhone 15 vs iPhone 15 Pro: Low-light performance

It used to be that photographing in low light with a phone was barely worth attempting. Tiny lenses and small sensors are not conducive to gathering light, particularly when the camera is handheld. The main and ultra-wide cameras in the iPhone 15 and iPhone 15 Plus have slightly better aperture values than the iPhone 15 Pro models, probably to balance out their smaller sensor size.

Camera* iPhone 15/Plus iPhone 15 Pro/Max Main F1.6 F1.78 Ultra Wide F2.4 F2.8

Telephoto
(both 3x and 5x)

— F2.8 * iPhone cameras have fixed apertures

Those aren’t large differences, and in general, the low-light capabilities of the iPhones owe much to computational processing. The iPhone automatically determines whether the light level in a scene is dark enough to invoke Night mode, which pixel-bins the main camera sensor and limits the resolution to 12MP.

The following side-by-side images show the iPhone 15 Pro with a small advantage over the iPhone 15 Plus in terms of low-light image quality.

iPhone 15 Plus iPhone 15 Pro Night mode on both devices reveals a lot of detail (including someone's snacks at the bottom that I didn't pay attention to while making the photos) without trying to make the images look like daylight. The iPhone 15 Pro photo looks slightly better to my eye.

Another factor is the light-gathering ability of the main cameras’ sensors: the iPhone 15 Pro and 15 Pro Max use a Type 1/1.28 (9.8x7.3mm) sensor with 1.22µm pixels (which effectively act as 2.44µm ‘quad pixels’ when combined at 12MP mode). The iPhone 15 and iPhone 15 Plus use a smaller 8x6mm main camera sensor with 1µm pixels (or 2µm ‘quad pixels’ when binned). In the following photos, clearly captured in darkness, each phone determined there was enough light to shoot without the aid of Night mode.

iPhone 15 Plus iPhone 15 Plus Both iPhones registered enough light in the scene that they didn't need to switch to Night mode.

The iPhone 15 Plus image was made at 24MP, while the iPhone 15 Pro image was saved at the maximum 48MP resolution. (I think I forgot to enable the ‘HEIF Max’ resolution on the iPhone 15 Plus for this shot; otherwise, it would also be a 48MP image.) Also worth noting: the ISO values – ISO 500 for the 15 Plus, and ISO 640 for the 15 Pro – are not absurdly high. The imaging pipeline is still doing its work to get a balanced image, but it doesn’t seem to be straining.

Further pushing the iPhone 15 Pro models ahead is a second-generation optical image stabilization system that can help in dark situations; the iPhone 15 includes first-generation OIS. The Pro cameras also offer Night mode when shooting in Portrait mode, which is not available on the iPhone 15.

"Further pushing the iPhone 15 Pro models ahead is a second-generation optical image stabilization system that can help in dark situations."

All that said, the iPhone 15 Pro isn’t dramatically superior to the iPhone 15 in low light. But if you find yourself taking iPhone photos at night or in poorly lit interiors, the Pro models will give you a slight edge.

iPhone 15 vs iPhone 15 Pro: Automatic Portrait Mode

Here the competition is a dead heat. Both camera models will automatically capture a depth map when they detect a person, dog or cat without needing to be switched to Portrait mode. The depth effect doesn’t appear unless you tap the ‘ƒ’ button that appears, but the data is saved with the image, so you can change the level of simulated blur later.

However, Portrait mode – automatic or manual – is disabled when shooting at 48MP (HEIF Max or RAW Max). So if you’re wondering why it’s not kicking in, check the resolution.

The iPhone 15 Plus detected the dog as the subject and automatically captured the photo in Portrait mode. iPhone 15 vs iPhone 15 Pro: Resolution and Raw

While the addition of a high-resolution sensor on each iPhone model opens the ability to capture more pixels, it also introduces complexity. Until last year’s iPhone 14 Pro, every photo you shot was 12MP. Now, you can make 48MP images, but only using the main camera in 1x zoom, and you must also specify the ‘HEIF Max’ mode. In the iPhone 15 and 15 Plus, you'll have to turn on the Resolution Control setting to reveal the button that lets you switch resolutions. If you’re not shooting at the full 48MP, the camera defaults to 24MP, in most cases. Night mode and flash photos are saved at 12MP.

iPhone 15 Plus 48MP iPhone 15 Pro 48MP – Captured as 48MP ProRAW and exported as JPEG from Apple Photos. iPhone 15 Plus 24MP iPhone 15 Pro 24MP

By default, all images are saved in the HEIC format (you can also opt to use JPEG instead), which bakes in Apple’s computational edits. If you want more editing flexibility by capturing Raw images, the iPhone 15 Pro models are your only choice.

The built-in Camera app records in Apple ProRAW format, which is more accurately described as a hybrid Raw format. It’s still the Raw data from the sensor, but Apple demosaics the information and runs it through its computational pipeline. You get a processed DNG image with extended dynamic range and tone-mapped areas that many photo editors can manipulate.

iPhone 15 Pro 48MP ProRAW unedited

iPhone 15 Pro 48MP ProRAW edited in Lightroom with Shadows +62 and Highlights –25

Pulling shadow detail out of a ProRAW image.

By comparison, the 48MP HEIC file created by the iPhone 15 Plus loses some fidelity when the deep shadows are raised.

iPhone 15 Plus 48MP HEIC iPhone 15 Plus 48MP HEIC edited in Lightroom with Shadows +62 and Highlights –25.

Although the iPhone 15 and iPhone 15 Plus don’t offer a Raw option in the Camera app, third-party apps such as Halide or Photon can access the native Raw image data and save it as a DNG, albeit limited to 12MP. That resolution limit also applies to non-Raw images.

A few device details

I’m focusing on the camera systems mostly, but a few other hardware aspects are worth considering for their photography and videography implications. Each model now uses a USB-C port instead of Lightning for charging and wired syncing. The iPhone 15 and 15 Plus, however, limit the port to USB 2, 480 Mbps, data speeds. The Pro models can transfer at USB 3, or up to 10 Gbps, though you need a separate cable capable of those speeds. The one in the box is primarily for charging and only moves data at USB 2 speeds.

Those faster speeds on the iPhone 15 Pros enable you to record video to an external SSD or memory card, including in Apple ProRes 4K resolution at up to 60fps. Recording internally is limited to 1080p at 60fps or 4K at 30fps. It’s also possible to save images directly to external storage if you’re using an app that supports it, such as Photon.

On the iPhone 15 Pro, when an SSD or memory card is connected to the USB-C slot, and you have a compatible cable and you're recording to ProRes Log format, the tiny 'USB-C' indicator near the port indicates where the footage is being saved.

Also available on the Pro models is the Action button, which replaces the hardware mute switch found on every other iPhone model, including the iPhone 15 and iPhone 15 Plus. It can perform a small variety of actions, from launching the Camera app to turning on the flashlight. You can also run a Shortcut to perform other actions, such as creating a workaround for launching a third-party photo app when the device is locked.

iPhone 15 vs iPhone 15 Pro: Which should photographers buy?

If you have any inclination toward using your phone for photography on purpose, go Pro. You get the Macro mode, a variety of optical field of view options, the dedicated telephoto camera (at 3x or 5x zoom), a larger main camera sensor and the ability to capture in Raw using the built-in Camera app.

The iPhone 15 and iPhone 15 Plus are great for most people who want good image quality but who want a seamless point-and-shoot experience. That can also include photographers who see their phone solely as a backup option to more traditional equipment. The convenience of grabbing your phone and capturing something quickly when your other gear isn’t at hand is unmatched, and the entry-level iPhone 15 models will create good-looking images you might otherwise have missed. And you can take the money you saved and put that toward your next lens or body.

Sample galleries

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

iPhone 15 Pro sample gallery $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_9434362346","galleryId":"9434362346","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) }); iPhone 15 Plus sample gallery $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_9046721848","galleryId":"9046721848","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

Buy Now:

iPhone 15 Pro: $999 at Apple iPhone 15: $799 at Apple
Categories: Photo News

Gear of the Year: Richard's Choice Nikon Z8

DP Review Latest news - Wed, 12/13/2023 - 06:00
Can you imagine a more 'DPReview' camera than the Nikon Z8?

The Nikon Z8 is, without question, my gear of the year. It's probably the best camera I've ever used, and yet that's only part of what made it stand out to me.

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Until recently, you had to choose one camera to capture the very best landscape images (that you're capable of), but quite another if you wanted to capture the action at the Olympics. The Z8 is competitive for both. And beyond this, it's a very credible video camera. And it does all this at two-thirds the cost of Nikon's top-end pro model, in a body that's a fraction smaller and lighter than the D850.

It's still a bigger, heavier and more expensive camera than I can ever imagine myself buying, but I felt lucky every time I hit the shutter button.

Buy now:

$3696 at Amazon $3997 at B&H Photo $3997 at Adorama

In 2023, DPReview went through what you might call 'rough air.'

At the start of the year, it was no secret that our then-parent company was planning layoffs, so the turbulence didn't come completely out of the blue.

By March 21st we could share the bad news publicly, which made it suddenly feel very real. It was made clear to us that the decision was final. Come a certain date, we would all be out of a job. All there was left to do was to put our affairs in order and accomplish whatever we could. Return all the cameras, prepare the site to become an archive, work out how to say goodbye.

We were already well into the glide path, publishing wind-down and goodbye content when a short message came over the headset.

"Could you, er, keep going for a bit?"

"For how long?" we asked.

"Just keep going."

We had already started publishing our 'sunsetting' articles when the request came through for us to keep going.

Nikkor Z 24-70mm F4 S | ISO 200 | 1/80 sec | F9.0
Processed in Adobe Camera Raw, Landscape color profile, Blacks darkened, highlights recovered, cropped to 16:9.
Photo: Richard Butler

And so we found ourselves pulling up on the stick, trying to settle into a plausible-looking holding pattern, and trying not to glance too often at the fuel gauge. We brainstormed new content ideas, returned to those articles we'd never quite got 'round to finishing, and waited for further updates.

This uncertainty meant having to make some distinctly noncommittal phone calls to our industry contacts: "I know we've said we are closing, but would it be possible for you to factor us in for any launches you might be planning?"

And one of the launches was the Nikon Z8, the first to fall after our supposedly non-negotiable end date. And can you imagine a more 'DPReview' camera than the Z8? The prospect that we wouldn't get to cover it had been heartbreaking.

Nikon was trying to keep the camera under wraps, so walking up to strangers and asking if I could take their photo to try out this new... er... lens, was the opposite of what they wanted me to do.

Nikkor Z 24-70mm F2.8 S @ 67mm | ISO 360 | 1/80 sec | F10
Taken with a pre-production Nikon Z8
Photo: Richard Butler

By the time of my call, Nikon had already made all its plans for demonstrating the camera without us. A little arm-twisting and calendar shuffling later and I'd arranged to fly to New York en route to the UK, where I'd been planning to lick my post-redundancy wounds.

Nikon US was doing all it could to keep the camera under wraps, so my last-minute need to film and take photos along The Highline in the midst of Manhattan must have been nerve-racking for its staff. But they were kind enough to accommodate us, if it helped reinforce the message that we wouldn't be closing, after all.

Being able to report on the camera changed my UK trip completely.

Back at the races! Nikon UK lent me a camera and I was able to borrow a Z 100-400mm from Amateur Photographer's Andy Westlake to get some photos at the Crystal Palace Crit series in London.

Nikkor Z 100-400mm F4.5-5.6 VR S @ 400mm | ISO 12,800 | 1/2000 sec | F5.6
Photo: Richard Butler

Train journeys across Scotland became opportunities to edit YouTube videos. Hotel Wi-Fi was pushed to extremes, uploading the footage and all those 46MP Raws ready for the embargo.

Nikon US also convinced Nikon UK to lend me one of its precious loaner cameras immediately after the embargo lifted. With access to the camera, the time I'd expected to spend with family, contemplating my future suddenly got repurposed. Instead I was looking for ways to scratch the surface of a camera that can shoot landscapes and action with equal aplomb. I was suddenly looking for sporting events and trying to borrow appropriate lenses from erstwhile colleagues.

And I loved every minute of it. There's something wonderfully confidence-inspiring about using a camera that you know is going to comfortably do whatever you ask of it. Even if you haven't worked out what that is yet.

My trip to the UK suddenly involved a lot more photography than I'd expected, but I appreciated every minute of it.

Nikkor Z 24-70mm F2.8 S @ 24mm | ISO 64 | 1/320 sec | F8.0
Processed from Raw using ACR, white balance warmed, vignetting corrected, blue tones adjusted
Photo: Richard Butler

But more than that, the experience of going out and shooting with a camera, and trying to find the clearest way to describe what it offers is what I love doing. And I appreciated it all the more for having spent several months believing I wouldn't get to do it anymore. I was excited to show we were still here, and that we weren't about to disappear.

That's what I meant when I said I felt lucky, every time I pressed the shutter button. And that's the story that plays in my head, every time I look back at the Z8 gallery: every photo contains a reminder of a distinctly bumpy period that's thankfully now behind us.

Now we've got through that period of turbulence, we look to have some clear skies ahead of us, so we're going to turn off the seatbelt sign and we invite you to settle back, relax and enjoy the journey. We're delighted to say that our regular on-screen entertainment will continue to be available.

Buy now:

$3696 at Amazon $3997 at B&H Photo $3997 at Adorama Review sample gallery $(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_6045530466","galleryId":"6045530466","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) }); Pre-production sample gallery from New York

All images shot using a pre-production Nikon Z8

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Categories: Photo News

Have your say: Vote now for best camera of 2023

DP Review Latest news - Tue, 12/12/2023 - 06:00
Readers' Choice: Best camera of 2023

We expected 2023 to be an exciting year for cameras, and we weren't disappointed, with models that included a ground-breaking pro-grade mirrorless camera, affordable full-frame mirrorless options, retro bodies, more video features in more models, and not one but two monochrome cameras. Now it's time to find out what you think of the Class of 2023.

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Our editorial team has had its say already in our 2023 DPReview Awards, but which of this year's new cameras was your favorite? This is your chance to let us and the industry know. If you think we missed something, please leave a comment to let us know.

Polls are now open; see below.

Voting occurs in three categories (cameras, prime and zoom lenses), running through December 31.

Once the vote has closed, we'll run a fourth and final poll drawn from the first three winners to determine the Readers' Choice Product of the Year. Look out for that poll early in 2024.

Voting is easy - pick your top 3 products by dragging and dropping to rank them in order of priority.

Have your say$(document).ready(function() { Poll({"pollId":"8980072522","openForVoting":true,"mainElementId":"poll0","slot":null,"isSingleChoicePoll":false,"minNumberOfChoices":1,"maxNumberOfChoices":3}); })Have your say: Best camera of 2023Your answers1. Required2. Optional3. OptionalYou need to login to voteCanon EOS R100Canon EOS R50Canon EOS R8Canon PowerShot V10Fujifilm GFX 100 IIFujifilm X-S20Leica M11 MonochromLeica M11-PLeica Q3Nikon Z8Nikon ZfOM System Tough TG-7Panasonic Lumix G9 IIPanasonic Lumix S5 IIPanasonic Lumix S5 IIXPentax K-3 Mark III MonochromePentax WG-90Sony a6700Sony a7C IISony a7CRSony a9 IIISony ZV-1 Mark IISony ZV-E1

Please note that for the best experience, we recommend voting on our desktop site.

Poll Rules:

This poll is meant to be a bit of fun. It's not sponsored, promoted, or paid for in any way, and DPReview doesn't care how you vote. Our readers' polls are run on the basis of trust. As such, we ask that you only vote once, from a single account.

Categories: Photo News

Have your say: Vote now for prime lens of 2023

DP Review Latest news - Tue, 12/12/2023 - 06:00
Readers' Choice: Best prime lens of 2023

Prime lenses aren't what they used to be. Today's lenses are bigger and more costly than their SLR-era ancestors, and advanced aspheric optics and exotic lens elements allow for designs that would have been impossible in the past. This year's lenses included updates of camera bag staple fifty one-fours, along with a healthy collection of wide-angle, telephoto, and even a couple of tilt-shift lenses.

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Our editorial team has had its say already, in our 2023 DPReview Awards, but which of this year's new prime lenses was your favorite? This is your chance to let us and the industry know. If you think we missed something, please leave a comment to let us know.

Polls are now open, see below.

Voting takes place in three categories (cameras, prime and zoom lenses), running through December 31.

Once the vote has closed, we'll run a fourth and final poll drawn from the winners of the first three to determine the Readers' Choice Product of the Year. Look out for that poll early in 2024.

Voting is easy - pick your top 3 products by dragging and dropping to rank them in order of priority.

Have your say$(document).ready(function() { Poll({"pollId":"6303144692","openForVoting":true,"mainElementId":"poll1","slot":null,"isSingleChoicePoll":false,"minNumberOfChoices":1,"maxNumberOfChoices":3}); })Have your say: Best prime lens of 2023Your answers1. Required2. Optional3. OptionalYou need to login to voteCanon RF 28mm F2.8 STMFujifilm GF 110mm F5.6 T/S MacroFujifilm GF 30mm F5.6 T/SFujifilm GF 55mm F1.7R WRFujifilm XF 8mm F3.5 R WRHasselblad XCD 28mm F4 PNikon Nikkor Z 135mm F1.8 S PlenaNikon Nikkor Z 26mm F2.8Nikon Nikkor Z 600mm F6.3 VR SNikon Nikkor Z 85mm F1.2 SNikon Nikkor Z DX 24mm F1.7Leica Summicron-M 28mm F2 ASPHLeica Summicron-SL 35mm F2 ASPHLeica Summilux-M 50mm F1.4 ASPH (2023)Leica Super-APO-Summicron-SL 21mm F2 ASPHOM System M.Zuiko Digital ED 90mm F3.5 Macro IS ProHD Pentax-FA 50mm F1.4smc Pentax-FA 50mm F1.4 ClassicSigma 14mm F1.4 DG DNSigma 17mm F4 DG DN | CSigma 23mm F1.4 DC DN | CSigma 50mm F1.4 DG DN ArtSigma 50mm F2 DG DN | CSony FE 300mm F2.8 GM OSSSony FE 50mm F1.4 GMViltrox 75mm F1.2 E/ZViltrox AF 16mm F1.8 FEViltrox AF 20mm F2.8 FEViltrox AF 27mm F1.2 Pro XF

Please note that for the best experience, we recommend voting on our desktop site.

Poll Rules:

This poll is meant to be a bit of fun. It's not sponsored, promoted, or paid for in any way, and DPReview doesn't care how you vote. Our readers' polls are run on the basis of trust. As such, we ask that you only vote once, from a single account.

Categories: Photo News

Have your say: Vote now for zoom lens of 2023

DP Review Latest news - Tue, 12/12/2023 - 06:00
Readers' Choice: Best zoom lens of 2023

Zoom lenses continue to evolve, with manufacturers continuously pushing the limits of what's possible. In 2023, we saw an incredibly diverse collection of zooms that range from 'second generation' models meant to improve on old designs, to models that push zoom ranges wider and longer, sometimes with faster apertures.

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Our editorial team has had its say already, in our 2023 DPReview Awards, but which of this year's new zoom lenses was your favorite? This is your chance to let us and the industry know. If you think we missed something, please leave a comment to let us know.

Polls are now open, see below.

Voting takes place in three categories (cameras, prime and zoom lenses), running through December 31.

Once the vote has closed, we'll run a fourth and final poll drawn from the winners of the first three to determine the Readers' Choice Product of the Year. Look out for that poll early in 2024.

Voting is easy - pick your top 3 products by dragging and dropping to rank them in order of priority.

Have your say$(document).ready(function() { Poll({"pollId":"3456616991","openForVoting":true,"mainElementId":"poll2","slot":null,"isSingleChoicePoll":false,"minNumberOfChoices":1,"maxNumberOfChoices":3}); })Have your say: Best zoom lens of 2023Your answers1. Required2. Optional3. OptionalYou need to login to voteCanon RF 10-20mm F4 L IS STMCanon RF 100-300mm F2.8L IS USMCanon RF 200-800mm F6.3-9 IS USMCanon RF 24-105mm F2.8 L IS USM ZCanon RF 24-50mm F4.5-6.3 IS STMCanon RF-S 10-18mm F4.5-6.3 IS STMCanon RF-S 55-210mm F5.0-7.1 IS STMLeica Super-Vario-Elmarit-SL 14-24mm F2.8 ASPHLeica Vario-Elmar-SL 100-400 f/5-6.3Nikon Nikkor Z 180-600mm F5.6-6.3 VRNikon Nikkor Z 70-180mm F2.8Nikon Nikkor Z DX 12-28mm F3.5-5.6 PZ VRPanasonic LUMIX S 14-28mm F4-5.6 MacroSigma 10-18mm F2.8 DC DNSigma 60-600mm F4.5-6.3 DG DN OSSigma 70-200mm F2.8 DG DN OS | SportsSony FE 16-35mm F2.8 GM2Sony FE 20-70mm F4 GSony FE 70-200mm F4 G OSS IITamron 17-50mm F4 Di III VXDTamron 70-180mm F2.8 Di III VC VXD G2

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Categories: Photo News

Fujifilm X-S20 review

DP Review Latest news - Mon, 12/11/2023 - 09:05
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Product photos by Shaminder Dulai and Brendan Nystedt

86%Overall scoreJump to conclusion

Fujifilm has debuted its enhanced midrange APS-C mirrorless model, the 26MP Fujifilm X-S20. This interchangeable lens camera has improved video features and a new vlog mode, but doesn't stray from the original very much. The X-S20 retains the deep grip, approachable design, plentiful ports, and in-body image stabilization of the X-S10 (though its grip hides a bigger battery), making for a well-rounded new camera for beginners and intermediate shooters alike.

Key specifications
  • 26MP X-Trans BSI-CMOS sensor
  • 5-axis in-body image stabilization (CIPA-rated to 7 stops)
  • On-sensor phase detection
  • 3", 1.84M-dot fully articulating touchscreen
  • 2.36M-dot OLED electronic viewfinder
  • 20 fps burst shooting (up to 30 fps with a crop)
  • DCI and UHD 4K at up to 30p with 10-bit F-Log and F-Log2 support
  • External mic and 3.5mm headphone socket
  • 750 shots per charge using LCD
  • USB power delivery support
  • Single UHS-II card slot
  • Wi-Fi + Bluetooth
  • Compatibility with FAN-001

The Fujifilm X-S20 will be available from June 29th with a recommended price of $1299 body-only. Two kit options will be available, one with the XC15-45 for $1399 and another with the XF18-55 for $1599. This is a $300 price increase from its predecessor, the X-S10.

Buy now:

$1399 with 15-45mm at B&H Photo $1399 with 15-45mm at Adorama $1699 with 18-55mm F2.8-4.0 at Amazon Index: What's new A bigger mode dial makes room for a Vlog mode. Larger buttons should be easier to press without looking, too.

A quick look at the spec sheet tells us that the Fujifilm X-S20 is a lot like its predecessor. It has the same 26MP X-Trans sensor, a slightly improved in-body stabilization system, and a very similar overall design. But look closer and the subtle changes start to pop out. Many buttons and dials are repositioned or larger to make them easier to press. The grip has grown a tad larger to fit a bigger battery. There's a flap for a headphone jack underneath the palm rest. And more differences start to appear once you dig into the menus and twist the mode dial.

Video upgrades

An upgraded X Processor 5 gives the biggest boost to the new model in its video capabilities. That means in-body 4K/60 4:2:2 10-bit internal is now on the table, as is open-gate (3:2 aspect) 6.2K. Fujifilm has also included is the F-Log2 color profile, giving users a Fujifilm-rated additional stop of grading potential at its base ISO of 1250. If you want to use an external HDMI recorder, the camera can now output to ProRes RAW or Blackmagic RAW if desired.

With the right accessories, the X-S20 becomes a fully-featured video shooting machine.

If you're thinking that this is starting to seem like a mini X-H2, then you're on the right track. The X-S20 adds compatibility with that camera's cooling fan, the FAN-001, which screws onto the back of the X-S20 with ease. Also new in this model is a headphone jack, eliminating the need for a USB-C to 3.5mm adapter.

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Continuous record time is a bit of an issue for the camera on its own, lasting only 36 minutes in the demanding 6.2K mode when tested by Fujifilm at 25°C (77°F). With the FAN-001 attached, runtime more than doubles to 78 minutes.

A new '1080/60P LP' mode is designed to make extended recording easier on the camera. By using a 1.29x crop and thus a smaller portion of the image sensor, the processor can take a break from binning or line skipping; this mode nets you 32 minutes recording in 40°C (104°F) heat, or 78 minutes equipped with the FAN-001.

Vlog mode and UAC webcam

Conveniently located on the mode dial, Vlog mode brings a new video shooting interface to the Fujifilm system. This is designed to make typical kinds of content creator work easy and accessible. Tap the Vlog button on the touchscreen, and you get six quick-access buttons for common features like stabilization, the self-timer, eye/face detection, a product priority mode (that makes the autofocus snap onto objects held towards the lens), a high-speed recording toggle, and a background defocus mode (that opens the lens up as much as possible). The X-S20 also shows the user it's filming with a red box around the LCD preview, or a green one if high-speed footage is being captured.

If you're less of an aspiring YouTuber and more of a Twitch streamer, then the X-S20 can be used as an impressive webcam. Using the USB-C port, you can output a 4K/60p live stream from the camera. And unlike older Fujifilm models, the XWebcam software isn't necessary, since the X-S20 relies on the UAC standard.

Autofocus and subject detection improvements

Stills shooters also get some extra help thanks to the faster X Processor 5 inside the X-S20. Fujifilm claims to have added an improved autofocus algorithm, developed originally for the high-end X-H2S model, so moving subjects and smaller subjects in particular should be captured with higher reliability.

The X-S20 also inherits the X-H2 family's subject detection modes. In PASM or custom modes, these can be individually selected. You can pick from Animal, Bird, Automobile, Motorcycle & Bike, Airplane, and Train modes. If you shoot in full Auto mode, the camera will attempt to recognize and apply the correct mode based on the subject in the frame.

How it compares

As the market of vlog-friendly cameras blossoms, hybrid shooters have a wide array of models to choose from at a surprising range of prices. Here we've compared the Fujifilm X-S20 to some of its APS-C competition. Though the X-S20 sits at the high end price-wise, it comes with a commensurate amount of features and seems like a good value overall.

Fujifilm X-S20 Nikon Z30 Sony a6700 Canon EOS R10 MSRP $1299 $710 $1398 $979 Pixel count 26MP 20.2MP 26MP 24MP Sensor size APS-C APS-C APS-C APS-C Image stabilization In-body + in-lens Lens only (+ digital in video) In-body Lens only (+ digital in video) Max burst rate 8 fps (mech shutter)
20 fps (elec shutter) 11 fps (mech shutter) 11 fps (mech shutter)

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

Viewfinder res / mag 2.36M dots
/ 0.62x N/A 2.36M dots / 0.71x 2.36M dots
/ 0.71x Rear screen 3.0", 1.84M-dot articulating touchscreen 3.0", 1.04M-dot articulating touchscreen 3.0", 1.04M-dot tilting touchscreen 3.2", 1.04M-dot articulating touchscreen Video capabilities Up to 6.2K/30p 3:2 (open gate), UHD/DCI/60p 4:2:2 10-bit UHD/30p Up to UHD 4K/60p 4:2:2 10-bit, 4K/120p with 1.58x crop UHD/30p full-width UHD/60p from 1.56x crop Log video F-Log, F-Log2 N/A S-Log3 HDR PQ Mic/ Headphone sockets? Yes / Yes Yes / No Yes / Yes Yes / No Battery life
(LCD) 750 330 570 350 Card slot 1x UHS II SD 1x UHS I SD 1x UHS II SD 1x UHS II SD Weight 491g (17.3oz) 405g (14.3oz) 493g (17.4oz) 426g (15oz)

We can see that although it's bested in a few minor specs, there's one standout area: its video capabilities (particularly the open gate 6.2K option) are beyond what most mirrorless competitors offer, which becomes doubly effective coupled with its strong battery. The Canon EOS R10, for instance, still maintains a good lead in continuous shooting, but has less than half the CIPA-rated battery life of the X-S20. The inexpensive vlog-centric Nikon Z30 might be good for those with 1080p video needs, but Fujifilm's option is in a different class altogether.

Body and handling While the X-S20 seems a dead ringer for the X-S10, it improves on the original design in subtle ways.

The Fujifilm X-S20 is hardly a shouty camera, choosing a subdued style that focuses on functionality over visual appeal. With its compact size, DSLR-style grip, and dual control dials, it's approachable – it looks like an average camera. Appropriately, it's the functional touches that have been adjusted on the body. Compared to its predecessor, many of the controls have been enlarged, with bigger dials and more pronounced buttons, while retaining the satisfyingly clicky rear joystick. The articulated touchscreen gets a small bump in resolution, while the electronic viewfinder, with its small OLED panel, is the same as in the X-S10.

The keen-eyed among you will recognize the two holes and small plug behind the rear LCD. Cribbing from the X-H2 models, the X-S20 can accept Fujifilm's FAN-001 accessory, which adds a cooling fan to the camera. This is a pricey accessory at around $200, but it can let the X-S20 shoot video for double the default duration and provide reliability in higher temperatures.

Thanks to the addition of a real headphone jack on the grip, the USB-C port can be used to power the camera while you monitor the audio.

Fujifilm has clearly tried to bolster everything photographers liked about the X-S10, including its port selection. It has a USB-C with power delivery for charging, a micro HDMI and a 2.5mm microphone jack that also can accept a wired shutter release. On the grip, there's a brand-new 3.5mm headphone terminal. In the X-S10, users needed to use a USB-C to 3.5mm adapter, but X-S20 users can plug in directly.

The Fujifilm X-S20 has a battery that can achieve a rating of 800 shots on a single charge, in the right mode.

Apart from the upgraded processor, the biggest internal change is shifting from the smaller, 8.7Wh NP-W126 battery to the 16Wh NP-W235 battery. This almost doubles the battery capacity: the CIPA-rated shot count on a single charge goes from 325 shots all the way to 750, or as far as 800 when using the camera's Economy power setting. In order to accommodate this bigger battery, the camera's grip is slightly larger, which makes the camera a bit more comfortable to hold. As usual, it's not uncommon to achieve twice the CIPA-rated value.

Next to the battery is the upgraded UHS-II SD card slot. While you only get the one slot, and it's more or less in the same spot, the uprated interface will be a boon for burst shooting. With a fast SD card, Fujifilm says the X-S20 can shoot more than 1,000 JPEGs or compressed Raw files at 8 fps.

Image quality

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

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Like we've seen in other recent 26-megapixel Fujifilm cameras, image quality is very good from the X-S20. All in all, you're basically getting image quality on par with the discontinued X-T4 – Fujifilm's still and video flagship from three years ago – which retailed for hundreds more. It's competitive with its peers, as well, showing similar image quality to the Canon EOS R10, Sony a6600, and Nikon Z fc.

Colors$(document).ready(function() { $("#icl-5834--1112319738").click(function() { ImageComparisonWidgetLink(5834); }); }) are typical of Fujifilm in the default profile, giving subjects just a bit of pop without looking overly garish. Reds, in particular, aren't as bright as those from Nikon or Canon. Of course, if you're buying a Fujifilm, you'll want to experiment with its signature film simulation modes, as JPEGs from the X-S20 can look very stylish if you don't want to fuss with developing Raws.

Dynamic range

Like its predecessors, the sensor in the X-S20 is somewhat of a known quantity as it's been turning out great images for a few years now. While it's of a previous generation and lacks whizzy new sensor technologies, it has plenty of dynamic range and will let you underexpose your photos to protect highlights, without sacrificing information in the shadows.

Autofocus

Although the sensor is old hat, the X-S20 adds faster processing which directly impacts autofocus performance and features. You can expect fairly good performance, but accuracy is very much tied to subject detection modes. If you're shooting a moving subject, definitely switch over to the camera's face detection mode to keep your subject in focus more reliably. The subject detection modes we tried worked well but is still somewhat prone to false positives, particularly in human face detection mode.

In our continuous AF test, we found that straight-line performance with face detection on or off was fairly similar, only starting to lose focus as the subject got closer to the camera. This is what we'd expect: the riding directly approaching the camera is simply meant to test the camera's ability to measure and predict subject distance, and to drive the lens to the correct focus distance.

But in a zig-zag, the subject was sometimes lost as the rider changes direction: a challenge for the camera as the rate of approach varies. The hit rate was pretty good, and the camera didn't try and refocus on the background, as some previous Fujifilm models have, but there are shots that are noticeably a bit out of focus as the X-S20 struggles to anticipate the movement. On the whole, Fujifilm's AF is still behind competitors like Sony, with its a6700 featuring far better subject tracking.

Video The ability to add a fan to the back of the X-S20 means you can add the ability to shoot for long periods more reliably but that stills-only shooters don't incur any expense or bulk. Having to keep the screen extended when the fan is attached is a but awkward, though.

Video is where the Fujifilm X-S20 picks up some new tricks from the company's X-H2 cameras. Not only will this shoot great-looking 4K at a number of standard frame rates, but it also picks up a 6.2K open-gate mode, perfect for cropping later into wide-and-tall aspects for all matter of social media. The X-S20 resolves a little less detail than the Sony a6700, but not by a whole lot and should still look great once uploaded to social media.

The provision of the attractive 'Eterna' color mode also helps give a stong starting point for making attractive video.

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For more advanced videographers, you have access to the Eterna and F-Log color profiles, as well as Hybrid Log Gamma. That means you'll be able to grade this footage after the fact to get the look you want.

Rolling shutter

Rolling shutter results we measured from the X-S20 were around the same as the X-T4. That means that in UHD 4K, when shooting 60p footage, you can expect 16ms, and when shooting 24p footage it's more like 20ms.

If you want to use the 3:2 aspect open-gate mode at 6.2K/24p, which uses the full height and width of the sensor, you can expect a slower response time at 24ms. That's far behind the stacked sensor of the pricier X-H2S, which clocked in at 6.2ms. This might sound worrying bad, but if you only use a crop of the frame, there'll be less of a lag between the top and bottom of your shot (as you'd expect, a full-width 16:9 crop would take around 20ms, while a native UHD crop would take a mere 12.5ms).

All of these results are very good, and as long as you aren't shooting very fast subjects, you shouldn't see much rolling shutter "jello" effect in your video.

Conclusion What we like... What we don't...
  • Great image quality
  • Compact size
  • Impressive video features
  • Solid battery life
  • Good burst shooting speed
  • Approachable control setup
  • Fair price
  • Headphone and mic jacks
  • Autofocus trails competitors
  • Small electronic viewfinder
  • AF joystick inconveniently placed for some users
  • Small ∼2 sec buffer makes 20fps shooting less useful

The bottom line is that Fujifilm's X-S20 gives you a lot of value for the money. Although it's a little more expensive than (and a dead ringer for) the previous X-S10, this is a meaningful upgrade in most regards – especially if you're hoping to capture video with it. The battery life makes it a competent companion for day-long shoots without having to hassle with USB-C charging or spare batteries.

Subject detection modes can come in handy, like when shooting trains or airplanes. Auto mode can apply subject detection without user intervention.

Fujinon XF 70-300mm F4-5.6 R LM | ISO 1000 | 1/1000 sec | F5.6
Taken using a pre-production Fujifilm X-S20
Photo: Brendan Nystedt

That's not to say it's a perfect camera. Fujifilm still is behind its competitors (specifically Canon and Sony) when it comes to tracking and keeping high-speed subjects in focus. Looking at the marketplace around the X-S20's price, you absolutely need to weigh your needs when it comes to autofocus – around the same MSRP you can get competing options with far more reliable subject tracking. Oh, and that itty-bitty viewfinder is fine in a pinch, but it's in need of a replacement the next time around.

The 26-megapixel X-Trans sensor is a little older, but can still output gorgeous images with vivid colors.

Fujinon XF 23mm F1.4 R LM | ISO 160 | 1/3200 sec | F1.4
Taken using a pre-production Fujifilm X-S20
Photo: Brendan Nystedt

All of that said, if lenses are what you're after, and you're eager to pick up some unique prime lenses, Fujifilm has a leg up in that department. Between Fujifilm's appealing film simulations and the diversity of lenses available, the X-S20 will be the pick for those who like to march to the beat of their own drum but don't want to compromise on image quality.

"If you're on the hunt for your first 'real' camera, the Fujifilm X-S20 is an extremely appealing package."

If you're on the hunt for your first 'real' camera, the Fujifilm X-S20 is an extremely appealing package. Especially when paired with the superb 18-55mm F2.8-4.0 kit lens, this is a camera that gives you most of Fujifilm's best technology for not a whole lot of dough. It might not have the distilled sex appeal of the tre chic X100V, but the X-S20 packs a powerful performance punch.

The autofocus and viewfinder stop it achieving our highest award, as it undermines its appeal to the general customer, but they don't stop it being one of our favorite photographer's cameras in its class.

They may look incredibly similar, but the X-S20 is a big upgrade from the previous generation. Scoring

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

Fujifilm X-S20Category: Mid Range Interchangeable Lens Camera / DSLRBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe X-S20 is a surprisingly capable APS-C camera, giving you 2020 flagship-level performance for a reasonable price. It lacks the autofocus performance of its competitors, but it makes up for that by cramming in a ton of features for videos and photos alike, giving content creators room to experiment and grow. It shoots charming, high-quality images, solid 4K video and arguably has more character than its competitors.Good forNew content creators shooting stills and videoNot so good forHigh-speed action or wildlife photography86%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"fujifilm_xs20","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

The Fujifilm X-S20 is a better-rounded camera than either the cheaper Canon EOS R10 or the slightly more expensive, higher-performance EOS R7. While the Canon cameras have more modern autofocus, a big pitfall is the lack of lenses in the Canon EOS RF-S system. While you can get plenty of full frame lenses, smaller, optimized-for-APS-C options are few and far between – and you'll have to get them only from Canon. Fujifilm's X-mount system is focused on APS-C and has a wide array of lenses to choose from, giving you a lot of choice.

Sony's lens selection, on the other hand, is quite good, and the competing a6700 is a real tough comparison. This has a faster-readout version of the same 26MP sensor as the X-S20, but with more sophisticated autofocus supporting it for shooting fast action. Plus, Sony's lens lineup is impressive, as it has been making APS-C mirrorless cameras longer than anyone, so there are options for most types of photography. Sony's offering is the logical one to pursue, but the Fujifilm X-S20, with all its flaws, still has a certain character that sets it apart.

The cheap-and-cheerful Nikon Z30 is a tempting option for beginners. Its autofocus tracking is a little more reliable than the X-S20, though it lacks the X-S20's subject recognition, so it's a little slower to use. It's a similar story with the Z50 and Zfc but both cameras lack in-body stabilization and their video features are far behind those of the Fujifilm X-S20. The range of APS-C lenses for Nikon's Z-mount is improving, but Fujifilm still has the much better selection on the whole, giving you more room to grow as a photographer.

Buy now:

$1399 with 15-45mm at B&H Photo $1399 with 15-45mm at Adorama $1699 with 18-55mm F2.8-4.0 at Amazon Sample gallery

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

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_7519621034","galleryId":"7519621034","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) }); Pre-production sample gallery

All images shot using a pre-production Fujifilm X-S20

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Categories: Photo News

12 of the Best Gifts for Photographers

DP Review Latest news - Sat, 12/09/2023 - 03:00
The best gifts for photographers in 2023

What's the best gift for the photographer in your life? It's not a camera, even if you were trying to spend upwards of a thousand dollars. The best things you can put under the Christmas tree are the fiddly bits and accessories, things everyone needs and no one gets around to buying. That, and maybe something a little flashy too. Here are some solid picks that will make any photographer's next shooting session just a little bit better.

Some extra microfiber cloths

Every photographer eventually arrives at the same number of microfiber cleaning cloths: several too few. Help stave off the inevitable for a little while by buying them some more. To make it feel like a luxury, get slightly more than seems reasonable. Six is a good minimum number to make them feel like they'll never be wanting again.

Buy now:

$10 at Amazon A place for cables and cards

There are dozens of highly engineered and luxe cable organizers. You could spend forever trying to find a perfect one. Save your favorite photographer from this fate by just buying them one, or even a second one. If you want to spice it up a little, put some other gifts inside.

Buy now:

$10 at Amazon A photographer's multitool

Any photographer who shoots with a tripod needs a quick way to tighten up what's come loose. A keychain-friendly multitool with a flathead and a 4mm hex wrench will always be in arm's reach. For the photographer with a more intense suite of accessories (or a bicycle) you can upgrade to a multitool with more components, just make sure it doesn't include a knife unless you're also trying to gift them travel headaches.

Buy now:

$13 at Amazon A way to get dust off their sensor

Switching lenses in the field always comes with the risk of getting dust on your sensor, and without the right tool at hand, a photographer will be reduced to trying to blow dryly, or worse. The classic Giottos Rocket Air Blaster is the best solution to the problem (though you can also find cheaper options that don't hold up as well if your budget demands.)

Buy now:

$18 at Amazon Better portraits of their kids

Any photographer with young kids will know the agony of trying to get them to look at the camera, much less smile in that general direction. This simian assistant can help with that. Just be wary of size, though, ut can be a tight fit on lenses with an 82mm or larger front element.

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$20 at Amazon An excuse to shoot some more of their film

You could get the film photographer in your life some more film, but chances are good that they already have too much. A gift card for development will encourage them to shoot some more of it. The Darkroom's mail-order service is about as simple as it gets. The cost to get mid-quality scans and a set of prints for a roll of 35mm color film is $15 at the time of this writing, and $20 will let them opt for better scans and no prints, or extras like uncut negatives or slide film processing. This one's on my list.

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$20+ at The Darkroom The ability to charge up no matter where they are

All travelers have charging needs, but photographers have more things to charge more often. If your photographer is an international jet setter, this colorful set of power adapters will make them think fondly of you at least once a day while they're out and about.

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$28 at Amazon Insurance against dropping their camera

The only thing worse than making sure your camera is always leashed to you is accidentally dropping it. Peak Design's cuff tries to make the former easier with a simple attachment design, anchors you can put on multiple cameras and a wrist strap that stays out of the way when not attached to anything. Once I got mine, I swore off neck straps forever.

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$35 at Amazon A versatile, portable light

Whether it's for product photography or video, a portable, temperature-tunable light like the Lume Cube Panel Mini will come in handy as a supplement to a flash.

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$53 at Amazon A little extra digital breathing room

When it comes to the things you can never have enough of, storage is towards the top of the list. This durable, portable SanDisk SSD is a great way to remove or delay a photographer's storage space headaches. Any size will do, but 1TB is a good amount for creating maximum elbow room without paying out the nose.

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$85 at Amazon A way to print phone photos

Some people are photographers because they like cameras. Others are photographers because they like pictures. A great gift for any groups de facto documentarian – the one who thinks to pull out their phone and take a shot – is another way to enjoy and share their work. The Fujifilm Instax Link Wide Printer uses Instax wide film to print photos from a smartphone over Bluetooth, providing some of the joy of instant photography without the limitations. Just remember to gift it with film.

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$120 at Amazon Some software with offsite storage

It can be frustrating to pay a subscription for what was once a one-time purchase, but Adobe's Lightroom Photography plan takes the edge of by bundling something you'd probably have to pay a subscription for anyway: an offsite backup. At $120 for a full year, you can save a photographer friend the frustration of biting the bullet themself.

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$120 at Adobe
Categories: Photo News

6 of the Best Cameras You Can Buy Right Now

DP Review Latest news - Fri, 12/08/2023 - 06:00
6 of the best cameras you can buy right now

As the year comes to a close, we're looking back at the cameras that have clawed their way to the top of their respective categories (and our buying guides). These aren't the only cameras worth buying, but when you start here, it's hard to go wrong.

Best Under $1,000: Nikon Z fc

If you’re set on spending less than a grand on a camera, it’s hard to go wrong with the Nikon Z fc. While its capabilities aren’t best-in-class, its performance is crucially respectable across the board. The image quality is terrific, with plenty of detail and dynamic range. While its oversampled 4K video is not the best on offer, it can comfortably hold its own whether you’re shooting in 4K or 1080p. It helps that the camera itself is attractive with its classic, throwback style. That won’t improve your photos, of course, but it may make you more likely to go out and take some.

Read More: Best Cameras Under $1,000

Best Pocketable Travel Camera: Ricoh GR III

When you're out and about to do something other than take photos, you don't necessarily want to lug around an enormous kit or just rely on your smartphone. The Ricoh GR III's ability to easily put a 24MP APS-C sensor literally in your pocket makes it a shoo-in for the best travel camera that won't weigh you down. Its 28mm equivalent lens lets you snap a quick shot without having to walk backwards and options such as Snap Focus and highly customizable controls make it ideal for quick-draw photography. But as its battery is only rated for 200 shots per charge, make sure you keep it juiced up and pick your battles.

Read More: The Best Travel Cameras

Best All-Around Mirrorless Camera: Canon EOS R6 II

At the mid-range price point of about $2,000, you'll be hard-pressed to find an option that does as many things as well as the Canon EOS R6 II does. Its excellent autofocus for stills combined with uncropped 4K/60p video put it ahead of its competitors from Panasonic, Sony and Nikon at this price. Perhaps its standout feature is its burst fire prowess, capable of 40fps shooting with continuous autofocus (albeit with some rolling shutter). That, plus extra battery life to boot.

Read More: The Best Mirrorless Cameras

Best Bargain Full Frame: Canon EOS R8

The EOS R8 takes the image quality and feature set of the pricier R6 II and puts it in a surprisingly compact body for a great price, at the cost of worse battery life, a lower quality viewfinder, and a lack of sensor stabilization. Its excellent autofocus and 4K/60p video capabilities balance out the equation. But before you pull the trigger, don't sleep on the Nikon Z5, the EOS R8's mirror universe twin. While the Z5's autofocus and video aren't fantastic, it does have great ergonomics, battery life and stabilization. Depending on your needs or wants, it's a great choice as well.

Read More: The Best Mirrorless Cameras

Best High-End Camera: Nikon Z8

If price is not a particular concern, the Nikon Z8 is an easy choice. With superb autofocus, excellent video abilities that can deliver 8K/60p footage, a comfortable grip and excellent image quality, the Z8 is an all-rounder with no significant downsides other than its nearly $4,000 pricetag. But even that is a strength, if you're ready and willing to spend, since no other camera offers this much functionality for a similar investment.

Read More: The Best High-End Cameras

Best Value Mirrorless Camera: Sony a6100

An entry-level APS-C camera with a 24MP sensor, the Sony a6100 is in its element when you spend your time in auto mode, leaning on its excellent autofocus tracking. Its interface isn't particularly welcoming if you're itching to dive into the settings and its kit zoom isn't our favorite, but its point-and-shoot prowess combined with a great variety of available upgrade lenses make it a terrific gateway drug.

Read More: The Best Mirrorless Cameras

Categories: Photo News

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