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Hasselblad's CFV 100C medium format digital back brings most of the features of the X2D 100C to smaller form factor that's compatible with a wide range of cameras from the company's history.

In addition, the CFV can be combined with the diminutive 907X camera / lens adaptor to allow its use with XCD lenses. We used this pairing, the XCD 28mm F4.0 and XCD 90mm F2.5 lenses to get some experience with the system.

Buy now:

$8,199 at B&H Photo $8,199 at Adorama

We also borrowed the optional 907X control grip, which gives you twin dials for controlling exposure, a joystick for positioning the AF point and a top-mounted shutter button (rather than the front-mounted one on the 907X camera itself). We found ourselves really enjoying this combination, even if the focus was perhaps a little slower and less dependably than, say, the Fujifilm GFX cameras.

We've hoping to get the camera back to conduct a full review in the coming months, but for now, explore the images we've got so far with the camera.

Due to a technical glitch, we've not yet been able to upload the >210MB Raw files that the CFV 100C produces. We're looking into the issue and hope to make those available for download shortly. We'll update this story as soon as they're available.

Click here to see our Hasselblad CFV100C / 907X sample gallery

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OM System's OM-1 Mark II updates its flagship high-speed Micro Four Thirds camera with incremental improvements to hardware and some performance and handling tweaks. Micro Four Thirds is marketed as a lightweight system ideal for travel and wildlife where reduced size and weight can make or break plans for what gear to take on a trip. So we hit Seattle in search of nature and sightseeing.

Buy now:

$2399 at Amazon $2399 at B&H Photo $2399 kit at Adorama

Winters in the Pacific Northwest mean rain and gray skies, with a rare day of sunshine every so often to remind us that color and contrast still exist. We encountered some eagles and hungry ducks in a downpour and caught up with some people and zoo animals on a dry day.

View our OM-1 Mark II 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.

Photos Dan Bracaglia

This story was originally published on Jan 8, 2021 and has been updated for 2024.

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Film photography is alive and well. Though digital photography is by far the dominant medium, film is still around, and has been growing in popularity over the last decade as photographers discover (or re-discover) the joys of chemical, analog photography. There's also a healthy supply of good used film cameras and many of varieties of film still on the market.

So how does one take the plunge into analog photography? Here are the bare necessities – what you need to get started.

Film cameras

No surprise there! But what kind of a film camera should you get? We recommend starting with a camera that uses 35mm film, as it's the most common format and offers the broadest variety of equipment.

If you're eager to get that 'film look' with the least amount of fuss, we recommend a compact point-and-shoot camera, which is easy to load and makes most of the exposure decisions for you (and usually makes them correctly).

We recommend starting with a camera that uses 35mm film, as it's the most common format and offers the broadest variety of equipment

If you're a more experienced photographer, you'll perhaps want an SLR or rangefinder that allows you to take more creative control. Auto-focus SLRs offer an experience similar to DSLRs, while manual-focus, manual-wind cameras require more involvement and present an enjoyable challenge. We'll talk more about types of cameras in future articles.

What about lenses? For cameras made after 1990, a couple of general-purpose zooms in the range of 28-85mm and 70-200mm should get you started. For older cameras, prime (fixed focal length) lenses offer better optical quality. Most SLR cameras came with a 50mm lens in the F1.7 - F2 range, which is a good place to start, and a 28mm wide-angle is a common second purchase.

Where to find film cameras There's plenty of film camera options out there, from very affordable to very pricey.

First, ask around! Chances are you have relatives or friends who have old film cameras sitting in a closet that they are happy to give away or sell cheap. You can also check local thrift stores or estates sales to see if you can find anything that looks promising.

If you're more determined, there's no substitute for finding and buying a specific camera online. If you're going to buy gear (in the US), a dealer like KEH or MPB is the safest way to go. They grade their gear so you'll know what kind of condition it's in, and they usually offer a guarantee and carry a healthy inventory of compatible lenses. Prices will be a little higher than buying from an individual seller; you're paying for peace-of-mind. Your local camera store may have used gear as well.

Auction sites like eBay are another beast. It can be a little bit of a gamble, but you can minimize your risk if you play your cards right. Popular point-and-shoots like the Olympus XA2 are available in spades, though price and condition obviously vary.

For the safest options, look for listings that explicitly say the camera is "tested" or in working condition and which have a return policy. "Untested" cameras are riskier, but not necessarily paperweights. Because testing film cameras is fairly arduous for non-enthusiast sellers, fully functional cameras do get listed this way. But if it's listed as "for parts" or "not working," you can safely assume it's busted.

Chances are you have relatives or friends who have old film cameras sitting in a closet that they are happy to give away or sell cheap

Remember, you don't need to spend a lot on a camera to get great pictures. You should be able to get a perfectly good camera for less than $100 (and sometimes less than $20). Lastly, if you're really just in it for the novelty or looking for a gift, you still purchase single-use cameras for about the cost of a movie ticket, or a refillable plastic camera for a few bucks more. Just don't expect much more out of the results than retro vibes.

Buy now:

Color Single Use: $14 B&W Single Use: $14 Kodak Refillable: $17 Film It's best to start out shooting with affordable films like Kodak Ultramax (bottom) and Ilford HP5 Plus (top), rather than pricer stocks like Kodak Portra or Fujifilm Natura.

Film is the medium on which analog cameras record their images. Basic film types include print and slide film, both of which come in color and black-white varieties. We'll be adding a guide in the future, diving into their differences.

For most folks, we recommend starting with color print (a.k.a. color negative) film, as it's the least expensive and easiest to get processed. Kodak ColorPlus 200 is cheap and has a nice vintage look. And while shooting film isn't much more difficult than shooting digital, beginner mistakes are always a possibility, so it's best to start with something low-cost.

For most folks, we recommend starting with color print (a.k.a. color negative) film, as it's the least expensive and easiest to get processed

A lot of film photography classes use B&W film, primarily because it's much easier to process by hand than color film. (Also, it looks really cool.) B&W film is often a bit cheaper than color print film, but processing may be more expensive. We don't recommend starting with color slide film as it requires perfect exposure to get good results.

The 2024 film market is surprisingly vibrant, thanks to the growing resurgence of analog photography. Companies like Cinestill and Harman have actually launched new filmstocks in recent years, Cinestill 400d and Phoenix 200, respectively. Are they cheap? Not exactly. But Kodak has recently reduced the price of its Tri-X stock.

IMPORTANT NOTE: Some cameras set film speed automatically, but others require you to set it manually. Be sure to set the ISO/ASA dial/switch to match the film speed, and don't change it mid-roll!

Buy now:

Cinestill 400d: $14 Harman Phoenix 200: $14 Kodak Tri-X 400: $10 Where to find film

Most local camera stores still stock film, and you can mail-order it from online retailers like Freestyle and B&H. Film does have an expiration date, and we advise beginners to avoid expired film as it produces unpredictable results.

Batteries

Chances are your analog camera will need some type of battery. (Mechanical cameras can usually operate without batteries, but their built-in light meters can't – and you’ll want a working meter). Later model film cameras will likely take AAs or lithium batteries that are easy to find.

Older manual cameras often take button batteries (S76 or LR44) that will last years, if not decades. Very old cameras may take 1.35V mercury cells which are no longer available, but there are workarounds. WeinCell offers mercury-free batteries that put out the proper voltage, and voltage converters for modern 1.5V batteries are also available. In general, we'd advise first-timers to avoid older mercury cell cameras.

A place to get your film developed

Film has to be developed, so you'll need a lab to process it for you. If you live near a moderately-sized city, you should have no problem finding a place to process your film, and there are also several mail-order labs. Search in Google and be sure to check prices. Expect to pay $10-$20 to develop a roll (more if you want scans and prints).

Expect to pay $10-$20 to develop a roll (more if you want scans and prints)

Most labs will scan your film, make paper prints, or do both. Some labs offer cut-rate processing by tossing the negatives and having you download scans. Don't do it! Get those negatives back – you'll want them in case you want to get better scans or have the photos reprinted at a later date.

What about developing your own film? B&W is a pretty easy and affordable to process, and while we wouldn't recommend it for absolute beginners, it's an easy skill to learn. If you are curious, we recommend reading our guide: Developing at home: everything you need to know.

Color processing requires more precision and higher temperatures, and is best suited to those who already have experience with B&W processing.

Other accessories you might want to consider: Having a second body (preferably in the same mount) is a handy way to shoot two different film stocks at the same time.

You don't need a lot of gear to get started in film, but there are a few accessories that can enhance the experience.

The owner’s manual

Film cameras are generally less complex than digitals, but the controls differ greatly. Paul Butkus' Orphan Camera site has manuals for over 5,000 different cameras, and we highly recommend getting yours. Paul doesn't charge anything, but please consider supporting him with a donation.

Tripod or monopod

Film cameras have no image stabilization and most films are in the ISO 100-400 range, with ultra-high ISO films (1600-3200) producing a grainier image. That means you'll need to stabilize your camera sooner than you might in digital. If you're shooting in conditions darker than an overcast day, a tripod will help.

One body with 100-speed film and another with 400 protects you if the clouds roll in, and running color film in one camera and B&W in another gives you more creative possibilities Filters

Film can benefit from a simple UV filter, which cuts down on haze and also protects one's lens. If shooting B&W, a yellow or red filter can give you better sky tones.

A light meter app

You can rely on the Sunny 16 rule if you don't have a light meter on your camera or don't trust the one that's there. You can also convert your phone into an excellent light meter with an app. Lightme is a terrific option for iOS users, but options abound on Google's Play Store as well.

Extra film

If you fill up your memory card, you can always delete a few photos – but you obviously can't do that with film, and it's inevitable you'll get to the end of a roll when there are still plenty of good photos to be taken. Always pack an extra roll of film or two. When you get back home, store unused rolls in the refrigerator or freezer.

A second camera body

This isn't a recommendation for absolute beginners, but at some point you may want to consider a second photo body (compatible with your first if you use an SLR). Why? With film, you can't change ISO on the fly, nor can you change from color to black-and-white – but you can have a second body loaded with a second type of film. One body with 100-speed film and another with 400 protects you if the clouds roll in, and running color film in one camera and B&W in another gives you more creative possibilities.

If the cameras use the same lens mount, you only need carry one set of lenses. And your second camera doesn't have to be the same model – a $50 Canon Rebel 2000 makes a great back-up body for your $200 Canon EOS 1N.

A sense of adventure

If you want to capture a perfectly sharp image that's exactly what you expect, odds are you have the tools you need to do it. Grab your film camera when you want to be surprised. There's no substitute for taking as many perfectly-focused pictures as your SD card can hold. There's also no substitute for opening up an envelope of prints, not knowing what is inside.

Photo: Richard Butler

After getting a new lease on life in 2023, we here at DPReview are making up for lost time and getting the throttle back up to max. Here's a recap of the reviews and testing we've done this year so far, with more (and more and more) to come as the year goes on!

Sony a9 III initial review Photo: Richard Butler

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

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Read the review.

Buy Now:

$5998 at Amazon $5998 at B&H $5998 at Adorama Lumix S 100mm F2.8 Macro sample gallery Photo: Shaminder Dulai

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

See the gallery here.

Buy now:

$998 at B&H Photo $998 at Adorama Nikon Zf review Photo: Richard Butler

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

Read the review.

Buy now:

$1997 at Amazon $1997 at B&H Photo $1997 kit at Adorama Sony FE 16-35mm F2.8 GM II sample gallery

Photo: Dan Bracaglia

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

See the gallery.

Buy now:

$2,298 at B&H Photo $2,298 at Adorama iPhone 15 Pro Max sample gallery Photo: Jeff L Carlson

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

See the gallery.

Buy now:

iPhone 15 Pro Max: $1199 at Apple Canon EOS R100 review Photo: Shaminder Dulai

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

Read the review.

Buy now:

$429 body only at Amazon $499 kit at B&H Photo $499 kit at Adorama Fujifilm XF23mm F2 R WR lens review Photo: Mike Tomkins

The Fujifilm XF 23mm F2 R WR is a very compact, portable, wide-angle prime lens for Fujifilm X-mount cameras. It makes a great walkaround lens and is well-suited for uses like travel and street photography, as well as things such as moderately wide landscapes and environmental portraiture.

Read the review.

Buy now:

$449 at Amazon $449 at B&H $449 at Adorama OM System OM-1 II Photo: Richard Butler

The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor. As the name implies, it's an updated version of the flagship OM-1, with a series of hardware and firmware improvements.

Read the initial review.

Buy now:

$2399 at Amazon $2399 at B&H Photo $2399 kit at Adorama Sony ZV-1 Mark II review Photo: Shaminder Dulai

The Sony ZV-1 Mark II is a vlogging-focused compact camera built around a 20MP Type 1 (13.2 x 8.8mm) Stacked CMOS sensor and an 18-50mm equivalent F1.8-4.0 lens. Besides the new focal length range, much of this camera remains the same as its predecessor, which was itself a competent pocket-sized video camera.

Read our review here.

Buy now:

$898 at Amazon $898 at B&H $898 at Adorama Tenba Axis V2 18L backpack review Photo: Tim Barribeau

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

Read the review.

Buy now:

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

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"3708545803","isMobile":false}) }) 83%Overall scoreJump to conclusion

Product images by Shaminder Dulai

The Sony ZV-1 Mark II is a vlogging-focused compact camera built around a 20MP Type 1 (13.2 x 8.8mm) Stacked CMOS sensor and an 18-50mm equivalent F1.8-4.0 lens. Besides the new focal length range, much of this camera remains the same as its predecessor, which was itself a competent pocket-sized video camera.

Key specifications:

• 20 megapixel Type 1 (13.2 x 8.8mm) Stacked CMOS sensor
• 18-50mm equivalent F1.8-4.0 lens with built-in ND filter
• 4K/30p, 1080/120p video
• 24fps stills in both JPEG and Raw, for up to 800 JPEGs
• Fully articulating, 921K dot, 3" touchscreen display
• 8-bit Log and 'HLG' video shooting modes
• Directional 3-capsule microphone with wind screen
• UHS-I SD card support
• USB-C charging port, which can also be used while the camera is on and for streaming
• 3.5mm stereo microphone socket
• Bluetooth and Wi-Fi for image and video transfer

The ZV-1 Mark II runs $899.99 (MSRP) and comes in two color options: black or white. The camera can be paired with a black or white Sony GP-VPT2BT Bluetooth shooting grip, which doubles as a compact tripod, for an additional $139.99.

Buy now:

$898 at Amazon $898 at B&H $898 at Adorama Index:

• What is it
• How it compares
• Body and handling
• Video
• Audio
• Autofocus
• Image quality
• Conclusion
• Sample gallery

What is it?

The ZV-1 Mark II is an entry-to-intermediate level vlogging camera designed first and foremost for users to film themselves speaking to camera from arm's length, at a tabletop or from a tripod. It has a three-mic array designed to isolate voices speaking to the camera, a selfie-friendly zoom range and touch controls to operate the camera with the rear screen flipped out for selfie video shooting.

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While the camera can shoot stills in Raw and JPEG (the cheaper ZV-1F couldn't shoot Raw), it's very evident that Sony sees this as mainly a walk-and-talk video camera for YouTubers and social media creators; for confirmation, we only need to look at Sony's logo on the touchscreen, which only appears right side up when it's flipped out for a selfie.

Compared to its predecessor, the ZV-1 Mark II is an update with very few changes save for one very notable switch (arguably correction) to a wider 18-50mm equivalent F1.8-4.0 lens. The original ZV-1 had a 24-70mm equivalent lens that made it challenging to frame wide-angle selfies, especially if you cropped in by engaging digital stabilization. With the updates to the lens, we can start at 18mm equiv. or employ digital image stabilization (IS), which imposes a 1.33x crop to give approximately 24mm equiv. field of view. The change means the Mark II gives a 24-67mm equiv range when stabilized, making it more usable for on-the-go selfie vlogging.

Other than the wider lens, the rest will be very familiar for ZV-1 users. The same Type 1 (13.2x8.8mm) Stacked CMOS 20MP sensor returns, which helps it achieve fast autofocus, quick and accurate people and animal tracking with low rolling shutter. It also has the same form factor as its predecessor, with the same buttons in the same configuration, the same rocker switch for the zoom, and the same distinctive fuzzy rat over the mic array, which slightly obscures the on/off button in the same way. Also carried over are the fully articulating 3" touchscreen, battery and ports for a 3.5mm stereo mic socket and Micro HDMI output. The multi-port has been swapped for a USB-C port. Absent once again is a headphone socket for audio monitoring.

How it compares

We've seen a slew of vlogging or creator cameras in recent years from Sony, Canon, Panasonic and even Nikon; there's no shortage of options. Sony alone has produced five models in its vlogging-focused 'ZV' range, stretching from the $500 ZV-1F to the $2200 full-frame interchangeable lens ZV-E1.

Considering the vlogging camera space and which cameras to compare, we thought it apt to include Sony's ZV-1F and ZV-E10. These cameras are aimed at a similar user need as the ZV-1 Mark II, yet they're spread across lower price points, making a features comparison useful. Among competitors, we also looked at the Canon PowerShot G7 X Mark III and Nikon Z30, as they fit the bill for size, weight and features aimed at vloggers, making a comparison meaningful.

Sony ZV-1 Mark II Sony ZV-1F Sony ZV-E10 Canon PowerShot G7 X Mark III Nikon Z30 MSRP $900 $500 $700 (body only), $800 (w/16-50 lens) $750 $710 (body), $850 (w/16-50mm lens) Sensor 20MP Type 1
(13.2 x 8.8mm)
Stacked CMOS 20MP Type 1
(13.2 x 8.8mm)
BSI CMOS 24MP
(23.5 x 15.6 mm)
APS-C CMOS 20MP Type 1
(13.2 x 8.8 mm)
Stacked CMOS 20.2MP
(23.5 x 15.7 mm)
APS-C CMOS Stabilization Electronic (Video only)

Electronic
(Video only)

Lens + electronic Lens + electronic Lens + electronic AF system Phase-detect Contrast-detect Phase-detect Contrast-detect Phase-detect Viewfinder No No No No No Lens/Zoom range 18–50 equiv 20mm equiv Interchangeable lenses 24-100mm equiv Interchangeable lenses Rear screen Fully articulating, 0.92M dot, 3" touchscreen

Fully articulating, 0.92M dot, 3" touchscreen

Fully articulating,
0.92M dot,
3" touchscreen

Tilting 1.04M-dot (180° up, 45° down) 3" touchscreen Fully articulating, 1.04M-dot, 3" touchscreen Video

Up to 4K/30p

Up to 4K/30p Up to 4K/30p Up to 4K/30p Up to 4K/30p Mic / headphone socket Yes/No Yes/No Yes/Yes Yes/No Yes/No Dials 1 rear dial 1 rear dial 2 rear dials 1 rear dials 1 front dial,
1 rear dial Card slots UHS-1 SD UHS-1 SD UHS-1 SD UHS-1 SD UHS-1 SD Battery life rating Still: 290; Video: 45 min at 4K Still: 350; Video: 60 min at 4K Still: 440;
Video: 80 min at 4K Still: 235; Video: 55 min at 4K Still: 330;
Video: 75 min at 4K Weight 292g 256g 343g 304g 405g Dimensions 106 x 60 x 47mm 106 x 60 x 47mm 115 x 64 x 45mm 105 x 61 x 41mm 128 x 74 x 60mm

If vlogging and auto mode simplicity are the chief concerns, then the Sony ZV-1 Mark II is a suitable option. It benefits from a Stacked sensor, allowing for faster readout for minimal rolling shutter, and has very responsive phase-detect autofocus to help it avoid focus hunting during videos.

However, if you're seeking more control and want the versatility of exchangeable lenses – and don't mind losing the outstanding autofocus, rolling shutter performance and pocketability of the ZV-1 Mark II – we recommend the Nikon Z30. It's a trade-off that gains a larger sensor and better ergonomics, and while you may miss focus more often for selfie videos, we think the positives outweigh the negatives.

Body and handling

The ZV-1 Mark II is small, compact, lightweight and relatively pocketable at 292g (10.3oz) and 106mm (4.2") on its longest side. The body is very boxy, with a slight bump along the front for a hand grip and a thumb rest along the back. For its size and stature, the bump and thumb rest in tandem are surprisingly efficient and comfortable in securing the camera when not shooting selfies. A wrist strap loop adds peace of mind that the camera won't get jostled loose while in use.

When held in selfie mode, the camera can become difficult to hold steady or maintain a nice grip. We found having an external handle to screw into the tripod mount was essential for steady operation. Sony has an optional Bluetooth shooting grip (Sony GP-VPT2BT) with REC and zoom controls, which can also double as a compact tripod, for an additional $139.99, but any grip will do if you're looking to save some money.

The camera is sparse on buttons. Along the top plate and rear are a limited set of buttons, a rocker switch for the zoom and one rear dial. There is no viewfinder on the ZV-1 Mark II, which may present a challenge when used in bright sunlight if you're not shooting video in selfie mode.

On the back, there's a button for the Fn menus and 4-way dial to make quick adjustments to camera settings, but aside from the prerequisite shutter button, menu button and some additional customizable function buttons, the ZV-1 Mark II delegates most operations to the touchscreen.

We found the touchscreen to register inputs quickly. With the screen flipped out for selfie video, the touchscreen allows quick adjustments to shutter, aperture, ISO and white balance settings, but anything more requires swiping the panel to bring up additional quick menus. For instance, if you want to activate the ND filter or switch from touch focus to touch tracking, you'll need to swipe up on the touchscreen to bring up the Fn menu. Starting and stopping recordings can also be done through a touchscreen button, but we found it far easier to use the physical record button on the top plate. Having a tactile confirmation you are recording is nice, but we also appreciate the inclusion of a tally light and a red border that appears around the screen when recording. However, adjusting beyond basic settings requires accessing the main menus, which became an issue when shooting in selfie mode.

With the screen-flipped out or selfies, the touchscreen becomes your main way to control the camera, with all basic settings a tap away, including focus and the record button.

While on the go, thankfully the ZV-1 Mark II is quick to boot up and be ready to shoot. Users can turn the camera on/off via a power button along the top plate. However, this button ends up obscured and buried under the fuzzy rat accessory which sits over the three-capsule microphone, but there is an alternative. The camera can be set to turn on and off by flipping open or closing the rear touchscreen, and this quickly became our preferred way of activating the camera.

Battery

The ZV-1 Mark II retains the same 4.5Wh NP-BX1 battery from the original ZV-1, which is CIPA-rated for 290 still frames per charge (it's pretty normal to achieve at least twice the rated value). This is a reasonable level of endurance to squeeze out of a small battery. The CIPA rating for "Actual" video recording is 45 minutes. In practice, we landed closer to 30-35 minutes for video, which became a pain point.

New to this version is a USB-C port, which can be used to recharge the battery. Using this method, we could recharge the battery from nearly empty to full in about 35 minutes. You can also power the camera while in use over USB. Hence, an external power bank becomes an option for longer shoots than a single battery will allow, but this also defeats the purpose of a small form factor and highly portable design.

Video

The ZV-1 Mark II can capture up to 4K/30p, but that drops to 1080 if you want to use slow-motion frame rates. Unlike its predecessor, this version does not have lens or in-body stabilization. Stabilization is only available in video as a digital process, which crops the frame and takes its video from a moving frame within the cropped region to correct for motion. It works fairly well when capturing 4K video, and the crop turns the 18mm equiv. into about a 24mm equiv. This crop feels intentional; to deliver a camera designed to be a stable 24mm equiv., an unstabilized 18mm equiv. lens was required. (If you're curious, the original ZV-1's digital IS had a crop that turned the 24mm equiv into about a 30mm equiv.)

1080 video crops

4K video crops

Sony has included HLG modes, which are designed for viewing on HDR displays, and S-Log2 and S-Log3, which are aimed at retaining additional tonal information about the scene to give users more control over how they color grade their footage during editing. But there's just one problem. The camera only has 8-bit color depth. This is unusual for HLG and has a major drawback for Log footage.

Capturing in 8-bit risks the footage falling apart if you try to adjust color too far; this is because a wide dynamic range is stored with too few data points, and the result is images can start to degrade, band and posterize as you try to make large adjustments. S-Log3, which tries to maintain a very wide dynamic range, is particularly susceptible to this. We'd tend to stick with S-Log2 on this camera.

A few creative modes and dedicated buttons also return from the ZV-1 for vlogging ease. A defocus button tells the camera to prioritize a shallow depth of field and a 'Product Showcase' mode uses face detection but tells the camera to automatically rack focus to any objects you hold up close to the camera, which should help for anyone doing make-up tutorials, cooking demos, unboxing videos or anything where you need to demonstrate something and shift focus from your face to the object. A 3-capsule mic array also automatically adjusts to isolate the speaker's voice, whether behind, in front or around the camera.

CineVlog mode

New to this version is CineVlog mode, which automatically sets the camera to a widescreen 2.35:1 aspect ratio with the 24p frame rate used in cinema and a gentler 'film-like' color profile. It also lets you apply color filters and adjust focus speed to mimic the big screen presentation.

Within CineVlog mode, a unique subset of color filters are broken down into "Moods" and "Looks." Broadly speaking, Moods adjust color response and Looks adjust tonal response and contrast. Both can be used in combination with each other to dial in a preferred presentation.

Looks: Chic Clean Mono Moods: Forest Gold Ocean

Four Mood options (Auto, Gold, Ocean and Forest) and five Look options (Classic, Clean, Chic, Fresh and Mono) exist. Autofocus transition speed may also be set between Hi, Mid and Lo.

The idea behind CineVlog is to produce ready-to-share videos directly from the camera. However, it should be noted this mode has baked-in black borders and the 2.35:1 isn't the native format YouTube and other social media platforms use.

File management and Sony's Creator App

One appeal of dedicated vlogging cameras is improved file management. Whereas a smartphone requires freeing up internal memory to continue shooting or a possibly slow and tedious download process that halts work, a camera with an SD memory card allows for quick swapping and downloading of files independently of a camera being used for filming.

In addition to memory cards and USB-C tethering, the ZV-1 Mark II can transfer files to mobile devices using Sony's Creator App (Android or iOS). With the app, files are meant to be moved directly from camera to phone and appear in the phone's photo/video library. In practice, we found the iOS version of the app was finicky with failed connections and frequent signal drops mid-transfer. We did not test the Android version.

Image stabilization performance

The quality of the stabilization will vary, depending on how much movement the camera is experiencing and in which direction. As you may expect, the slower and more steady the movement, the better the result in digital stabilization.

Walking at a normal pace – not briskly or intentionally slow to steady the camera – we found the stabilization to be better when moving forward and backward in the same direction as the walker talking to the camera. Vlogging to the camera was smooth, and pointing the camera out as we walked forward also yielded decent results.

Once we introduced walking turns around street corners and panning there was a noticeable drop in quality, with the the stabilization trying to grab onto the framing and then releasing as it reached the limit of what it could correct, giving a jerky experience. It's a very noticeable pain point that doesn't come up often, but it can make your work look amateur when it does.

Another option is bypassing the in-camera stabilization to use Sony's "Catalyst Browse" software. The camera records movement metadata from its IS sensors, making it possible to take unstabilized footage into the software and utilize the greater processing power of a computer, rather than expecting the camera to deliver results in real time. With this software, our stabilization results ranged from decent to marginally better. The extra steps to take this route are cumbersome and bring to question the camera's design ethos of steering users toward auto settings to make things quick and easy.

Audio performance

The ZV-1 Mark II has a directional 3-capsule microphone that can be set to auto or manually to capture directional sound from the front, back or all around. It is the same system used in the original ZV-1.

We tried a few simple tests to evaluate how much separation the microphones produce between the audio we want (a person talking to the camera) and the ambient noise in the environment. The results were mixed.

In Auto, the camera does its best in quiet and outdoor spaces but struggles indoors and in noisy environments, such as windy beaches or heavily trafficked city streets. Reverb is an issue with all audio capture, but on the ZV-1 mark II it is particularly bad indoors and gets worse as the distance between the speaker and camera increases. Auto audio mode struggles to discern where sound is coming from in these environments, and it's a guessing game if it will decide to use omnidirectional pick-up, recognize where the speaker's voice is coming from, or get fixated on the reverb source in the room.

We also noticed when rotating the camera 180 degrees, from having a person speaking behind it to in front of it in one continuous take, the auto mic array isn't consistently reliable in switching mic priority from rear to front. Another issue for continuous takes is that the camera also picks up the sound of the lens zoom motor.

When the system works as intended to identify a main speaker and prioritize them over ambient noise well, the results still leave something to be desired. Out-of-camera voice tracks are flat and tinny, and pale in comparison to external audio we captured simultaneously.

If possible, external audio is recommended, however, the Mark II does not have a headphone socket to monitor sound. There are visual levels, but there is no way to know exactly what those levels are measuring without listening.

Autofocus performance

One area this camera shines is the autofocus; it is very zippy, recognizing faces and eyes on people quickly. And once a face is locked in, the camera does a great job of staying on that person, even if other people enter the frame later.

Product Showcase mode demonstrates how effective the camera can be at tracking faces or transitioning to other subjects as required.

Thanks to the Stacked CMOS sensor, readout is fast and aids AF tracking to stay sticky on people and animals. We only noticed the camera losing focus in situations where we were briefly backlit and the focus jumped to the background, such as walking into a dark alley and the camera shifting focus to the trees behind us. In these situations, users can tap to focus on their face again or wait for the camera to recognize there is a face in the frame and start tracking it again.

Image quality

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

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The ZV-1 Mark II uses the the same Type 1 (13.2 x 8.8mm) sensor we've seen in RX100 models and image performance is similar as expected. The new lens is sharpest at the center with some falloff as you approach the corners. Colors and skin tone capture are fairly accurate, and we didn't notice skin tones going too pink for typically lighter skin or too red for darker skin. Greens and yellow are pleasing but not partially punchy using the standard profile. There is an issue with daylight white-balanced images going very blue, an unfortunate stumble in an otherwise capable system.

Conclusion What we like What we don't like

• Fast and reliable autofocus with face and eye tracking for people and animals
• Clean out-of-camera 4K video
• Touch-controls for selfie mode video
• Quick boot-up time
• Very good rolling shutter
• Tally light and red border on touchscreen to confirm video recording
• Built-in ND filters
• Auto modes that make tech invisible
• Wide lens for selfie videos

• Lack of IS for stills, digital-only for video
• Densely packed menus can be challenging to navigate
• No headphone socket
• Slow and quick motion drops to 1080
• Electronic shutter limits lower end to 1/4 sec
• Difficult to shoot stills in non-auto modes
• Limited body buttons
• S-Log3 in 8-bit has limited flexibility

The ZV-1 Mark II has many nice video features; it's fast to boot up, auto modes get you shooting quickly, autofocus and rolling shutter performance is very good and there's digital image stabilization for video (no IS for stills however). Users considering a compact vlogging camera or an upgrade to the original ZV-1 would find much to love in this camera, but there are stumbling points and limits that smartphone users and more advanced users may find frustrating. And, unsurprisingly, if you're primarily interested in stills and want manual control, this isn't the camera for you.

A brief note about stills

I've spent the bulk of this review examining the video capabilities of this compact, but if you noticed that 18-50mm equivalent F1.8-4.0 lens, stacked sensor and small form factor and thought, "This might make a great compact point-and-shoot," you're not alone. It's certainly not a thought that didn't occur to me during this review. The image quality is pretty decent; during our studio scene, we found minor softness in the extreme corners. However, while the ZV-1 Mark II is capable of stills, it's a camera aimed at vlogging and using it for stills isn't the most enjoyable photographer's compact.

"Video needs to be your primary need... making things using mostly auto modes and features."

The design philosophy of the ZV-1 Mark II is one built on automatic settings, aimed squarely at solo video creators. There's no need to know what an aperture is, what the lens is doing, the difference between cardioid and omnidirectional mics, or why Hollywood uses 24fps; the resulting look is the key here and Sony has tried to make it simple.

For all these promises, the ZV-1 Mark II is held back by a few glaring issues that prevent it from meeting the needs of its target users. Out-of-camera audio is better than most other cameras but isn't good enough to fully rely on: we don't recommend using it if you have other options. Then there is the issue with the jerky IS, which struggled to travel around corners, grabbing and releasing the frame. Coupled with color going too blue in some outdoor daylight scenes and an anemic battery run time for video, and it becomes hard to recommend the camera for users seeking a pocketable video-centric camera.

The biggest question to ask with any vlogging camera is whether the dedicated device is better than the smartphone we already carry daily. In this regard, we don't think the ZV-1 Mark II is up to the task.

The camera's excellent autofocus, subject tracking and rolling shutter performance are all leagues ahead of most smartphones. The addition of aperture control and memory cards that make it easier to transfer files is also appealing, but its over-reliance on auto modes, audio issues, terrible battery (I can't overstate this enough) and price point make it a product we would not recommend for users already meeting their needs with a good smartphone.

For smartphone users hoping to find manual controls a smartphone can't provide, I'm afraid here too, the ZV-1 Mark II does not fit the bill. It does have manual controls, but using them is punishing as you have to navigate menus and virtual buttons on the touch screen, and it's very easy to errantly adjust a setting with a misplaced finger. Manual focus is a non-starter here, as in: it's available, but we don't advise ever trying to use it.

Scoring

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

Sony ZV-1 Mark IICategory: Enthusiast Large Sensor Compact CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe video-centric Sony ZV-1 Mark II has excellent rolling shutter, industry-leading autofocus and a very nice selfie-friendly zoom lens, but runs into issues with short battery life and flat out-of-camera audio. The camera thrives in auto modes, making it best suited for users seeking a simple-to-use camera.Good forVideo creators seeking a feature-packed dedicated device without a large learning curve.Not so good forVideo creators desiring manual controls and still photographers seeking a pocketable compact.83%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"sony_zv1m2","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

Amongst Sony's ZV line of vlogging-centric cameras, the closest competitors to the ZV-1 Mark II are the Sony ZV-1F and Sony ZV-E10.

The ZV-1F is the lowest-priced alternative to the ZV-1 Mark II, something it accomplishes by cutting features. The most notable 'cut' is that the camera only has contrast-detect autofocus. This isn't an issue for stills but will make videos, particularly selfie videos, an exercise in regularly having footage with missed focus and focus hunting. The camera also suffers significant rolling shutter, making it further unsuitable for video. We don't recommend it over the ZV-1 Mark II. Saving $400 (MSRP) may seem appealing, but don't do it.

On paper, Sony's ZV-E10 looks like a better buy, but it also pales next to the ZV-1 Mark II. Although the ZV-E10 has a larger APS-C sensor, dual dials and the flexibility of interchangeable lenses, the ZV-1 Mark II's faster readout gives smoother video from a more compact package. If your main use case will be selfie videos on the go, we prefer the ZV-1 Mark II.

Canon's closest competitor is the PowerShot G7 X Mark III, but it is the worst vlogging option among the cameras highlighted here. Video quality is significantly lacking compared to the ZV-1 Mark II, and contrast-detect autofocus introduces notable bouts of focus hunting. If you don't see yourself ever capturing video, then the Canon's ease of manual operation makes it an appealing option for stills.

Nikon's Z30 captures lovely video and has a low-light advantage over the ZV-1 Mark II thanks to its larger sensor. Rolling shutter performance isn't as good as the ZV-1 Mark II and its stacked sensor, but it's not terrible either. The autofocus is also less dependable.

We recommend Nikon's Z30 over the ZV-1 Mark II for vloggers who can accept a less pocketable option. A kit with a 12-28mm F3.5 can be had for cheaper than the ZV-1 Mark II. The only thing really holding this camera back is a limited selection of lenses (there are 5 own-brand and a few third-party lenses at present).

Buy now:

$898 at Amazon $898 at B&H $898 at Adorama Sample gallery

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

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Photo: Shaminder Dulai

Blink, and you may have missed it, but the first month of 2024 has already come and gone. Here's a recap of the most noteworthy camera gear announced, released, or put up for preorder this January.

Hasselblad CFV 100C Image: Hasselblad

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

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Read more here.

Buy now:

$8,199 at B&H Photo $8,199 at Adorama Panasonic Lumix S 100mm F2.8 macro Image: Panasonic

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

Read more here.

Preorder:

$998 at B&H Photo $998 at Adorama OM System OM-1 Mark II

Photo: Shaminder Dulai

The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor. As the name implies, it's an updated version of the flagship OM-1, with hardware and firmware improvements.

The OM-1 Mark II will be available from February 26th at a recommended price of $2399, a $200 increase compared with the original model from February 2022. US customers ordering before Feb 25th will receive a second BLX-1 battery and $300 off select lenses; we'd expect other regions to offer similar pre-order incentives.

Read our initial review here.

Preorder:

$2,400 at Amazon $2,400 at B&H Photo $2,400 at Adorama OM System 150-600mm F5.0-6.3 IS Image: OM System

OM System just announced its new OM-1 II, but that's only some of the news the company had to share. Also breaking cover is a 150-600mm F5.0-6.3 super telephoto zoom (equivalent focal length range of 300-1200mm) as well as a new version of the Olympus 9-18mm F4.0-5.6 (18-36mm equivalent) with an updated body and OM System branding.

Read more here.

Preorder:

$2,700 at B&H Photo $2,700 at Adorama DJI Mic 2 Image: DJI

This January, DJI announced the Mic 2, the sequel to its first wireless microphone system released back in 2022. We were fans of the original, especially the details of its interface and user experience, and the Mic 2 expands on that with some additional creature comforts, 32-bit float backup recordings and a new transparent design.

Read more here.

Buy now:

$349 at Amazon $349 at DJI $349 at B&H Photo Apple Vision Pro Image: Apple

Apple announced the Apple Vision Pro's February 2nd shipping date during CES 2024. The flagship, first-generation "spatial computer" is now available to preorder on Apple's website for $3,499. Apple Vision Pro is not primarily a camera, of course, but it is, in part, a device for capturing photos and videos. The Vision Pro will be able to capture spatial photos and video using a button along the top edge of the goggle part of the device.

Read more here.

Preorder:

$3,499 at Apple Sony a9 III Photo: Richard Butler

The Sony a9 III is the company's latest high-speed pro sports camera. It features a Stacked CMOS sensor capable of shooting at 120 fps while reading all its pixels out simultaneously: the long hoped-for 'global' shutter. Announced in 2023, it's currently up for preorder with a February ship date (at Adorama, at least), though some readers report it's already available in Europe.

Read our review in progress here.

Buy Now:

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

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Product images by Shaminder Dulai

The OM System OM-1 Mark II is a high-speed Micro Four Thirds camera based around a 20MP Stacked CMOS sensor. As the name implies, it's an updated version of the flagship OM-1, with a series of hardware and firmware improvements.

Key Specifications:

• 20MP Four Thirds Stacked CMOS sensor
• Continuous shooting at up to 50fps with full autofocus, 120fps with AF/AE locked
• In-body stabilization rated to 8.5EV
• 4K (UHD or DCI) at up to 60p with 10-bit and Log capture options
• Extended subject recognition AF modes
• 5.76m dot OLED viewfinder with 0.83x magnification
• 80MP multi-shot high res mode with 50MP hand-held option
• Live composite, Live ND and Graduated ND mutli-shot modes
• Environmentally sealed to IP53 standard
• Twin UHS-II cards

The OM-1 Mark II will be available from February 26th at a recommended price of $2399, a $200 increase compared with the original model from February 2022. US customers ordering before Feb 25th will receive a second BLX-1 battery and $300 off select lenses, we'd expect other regions to be offering similar incentives to pre-order.

Index:

• What's new?
• Body and controls
• Initial impressions
• Sample gallery
• Specifications
• Press release

What's new?

The OM-1 Mark II arrives two years on from the original model and offers a series of improvements, rather than a radical change of specs, compared with the existing model.

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The OM-1 II uses the same TruePic X processor as the original model did and its headline capabilities are essentially the same, but the new version has more RAM onboard, which the company says underpins many of the changes that have been made possible.

So, while the max burst rate and video specs remain unchanged, the way features are implemented and the performance of the camera within the bounds of those headline figures have changed.

Improved AF A 'Human detection' option in the camera's subject detection system replaces Face/Eye detection. It should be better at recognizing smaller subjects as well as helping simplify the user interface.

The headline change is the improvement of the camera's autofocus. The OM-1 II builds on what was one of the earliest implementations of machine-learning-trained subject recognition. The Olympus E-M1 X was the first camera to use machine learning to offer an AF system with AF algorithms that had been trained to recognize a broad range of subjects (previous rivals could only recognize people and domestic animals, typically).

The biggest outward change is that OM-1 II gains a Human detection mode, which extends subject recognition beyond just face detection but also means that all the camera's recognition modes are now integrated within the same section of the interface (Face Detection was a separate mode on the OM-1).

The company also says the refresh rate of the AF system has been improved, boosting the performance of the (non-recognition-based) C-AF + Tracking mode as well as the effectiveness of the AI-trained subject recognition modes.

As before, you can specify what the camera does if the recognized subject ventures beyond your chosen AF area: stick with the subject or revert to focusing within your chosen area. This can be set separately for stills and video.

We're also told the based C-AF tracking (without subject recognition) has been improved, which we're looking forward to testing.

Improved IS

Another major step forward in the OM-1 II is its improved in-body image stabilization. The revamped system, which uses updated algorithms, is now rated to deliver an impressive 8.5EV of correction when subjected to industry-standard testing.

This is unlikely to mean that you can actually reliably shoot at 8.5 stops below the traditional 1/focal length shutter speed (with a 50mm equiv lens, that would be an exposure of around seven seconds), but it does leave the OM-1 II as the highest-rated camera on the market.

More blackout-free modes

The existing OM-1 offered true blackout-free shooting at its fastest shooting settings. The Mark II extends this to some of its slower burst rates, meaning that photographers who don't always need to use the camera's fastest rates still experience the benefit of the sensor's rapid readout.

Bigger buffer

The most obvious sign of a hardware change in the Mark II is its deeper buffer. The Mark II can shoot 256 Raw frames at 50fps or 213 in its single (initial) AF 120fps mode. These numbers are around double the figures that the original model could achieve, and help boost the value of its high-speed capabilities.

In many circumstances, the benefit won't so much be the ability to stay on the shutter for five seconds, but instead that it decreases the likelihood of the buffer being full at the moment you need to capture another quick 50fps burst.

Graduated Neutral Density filter The OM-1 II's GND feature lets you adjust the severity of the gradient and adjust its position and angle.

Building on the Live ND option, which blends lots of short exposures to give the effect of a neutral density filter, the OM1 II gains the ability to simulate a graduated neutral density filter.

It gives the choice of whether you want the gradient to have a hard, medium or soft edge, and whether you want it to have a 1, 2, or 3-stop impact (ND 2, 4 or 8). You can then use the four-way controller or the touchscreen to move the mid-point of the gradient, and the dials to rotate its angle. The front dial rotates the gradient effect by 15 degrees, while the rear dial makes single degree adjustments.

The camera's Live ND feature has also been extended and can now simulate a 7-stop ND128 filter: a stop darker than the original model.

14-bit multi-shot Raw

The OM-1 II has the option to capture its multi-shot high-res images in 14-bit Raw. In both the 80MP mode that requires the use of a tripod and the 50MP mode designed for hand-held shooting, the camera can now store Raw files with the capacity for wider dynamic range that multi-shot shooting generates. It doesn't appear that this additional Raw depth is used to store the image data any more efficiently, though: the multi-shot Raws are between 2.4 and 4 times the size of a single-image file. We look forward to discovering whether there's an appreciable difference one we get independent Raw support for the camera.

Body and handling The OM-1 II shares a body with its predecessor: a compact, dense body with a well-designed layout that offers extensive direct control, despite the camera's small size.

The most obvious change between the OM-1 and the Mark II is that the camera now wears OM System branding across its viewfinder hump. The original OM-1 was at quite an advanced stage of development when Olympus divested its camera business, so it still had the previous company's branding emblazoned on it, which the Mark II sets straight.

Beyond this, the handling of the camera is almost identical to that of the original camera. We say 'almost' because OMDS has changed the camera's command dial to one with a rubbery coating. These offer an improved tactile feel and also make the camera a little easier to operate when using gloves.

The OM-1 II's dials have a rubberized finish to them, improving the feel and making them easier to use when wearing gloves.

The result is a small camera with a huge degree of direct control but with a layout that means these two factors are rarely in conflict (unless you have very large hands). We remain impressed with how much direct access is available and how comfortable the camera is to hold and shoot.

The elimination of the separate face detection option means that subject recognition options can now take its place on the Super Control Panel, just below the White Balance setting.

Beyond this, the camera's handling and operation remain unchanged. It continues to use the updated version of the Super Control Panel quick menu, making it easy to see and adjust the camera's key settings.

The dizzying degree of customization of the camera is still present. For instance, you can set the two-position lever around the AEL button to switch between focus settings, at which point you can decide whether this affects the AF mode, AF area mode and chosen AF area, so that it does exactly what you want. However, newer features such as focus limiter and subject recognition mode aren't options for what the switch changes, so you can't use this feature to engage and disengage subject detection mode or switch between subject types.

Viewfinder and screen Caption

The OM-1 uses the same 5.76M dot (1600 x 1200 px) OLED viewfinder as the previous model. The viewfinder optics give a finder with 0.83x magnification. As before, this can be run at up to 120Hz, with OMDS claiming a refresh lag of 5ms. It's a large and responsive viewfinder.

As you might hope, the OM-1 II also comes with the little FL LM3 flash. This mounts in the camera's hotshoe and can be rotated sideways and upwards, allowing you to bounce it. It's not very powerful in itself, but as well as being a lot more flexible than a typical built-in flash, it can also be used to communicate flash information to external flash units using the 'RC' infrared system.

Battery

The OM-1 II uses the same BLX-1 battery as the previous model. This is a 16.4Wh unit that powers the camera to a CIPA rating of 500 shots per charge: a very slight drop compared with the existing camera. In the more efficient Quick Sleep mode, the rating jumps to 1010 shots per charge, but with the screens slowing and then going dark much, much more quickly after each interaction with the camera.

As always, CIPA numbers tend to significantly underestimate the number of shots you're likely to get from a camera. Double the rated value isn't unusual, and this number significantly increases if you're shooting shots in bursts, where you're unlikely to view each image individually for long periods on the rear screen.

The OM-1 Mark II is compatible with the existing HLD-10 battery grip, which adds a second battery to the camera.

Initial impressions

By Richard Butler

The first thing that's likely to strike many OM System and Olympus users about the OM-1 II is that OMDS has chosen to update one of its most recent models rather than expanding or refreshing the rest of its lineup.

The company's presentation about the camera talked in terms of "perfecting" the already impressive capabilities of the original OM-1, rather than significantly expanding them. A deeper buffer, improved AF performance and uprated image stabilization suggest the company's engineers have been busy, though.

The new camera has more onboard memory, which we're told enables some of the new features. The deeper buffer during burst shooting is the most obvious outcome, but it could plausibly also be underpinning features such as the virtual Graduated ND feature that requires lots of frames to be held while the processor blends them together. But it's clear why the company has called this a Mark 2, rather than branding it as an entirely new model.

The move to a human detection mode within the camera's subject recognition options, rather than face/eye detection that lives separately, helps improve the coherence of the camera's operation. But there are still clear signs (such as the limited functions that can be controlled by the two-way switch) that this is a camera that's been added to, year by year, rather than developed from a blank sheet of paper.

What it continues to offer is pro-level speed with camera/lens combinations that are appreciably smaller and lighter than larger formats. There's a trade-off to be made for this, but features such as hand-held high resolution mode can help to overcome the differences.

The OM-1 II's video specs are unchanged, compared with the existing camera.

OMDS has clearly recognized this, and if the improved AF performance makes the camera more effective for wildlife photography, then it could help strengthen the brand's handhold in that niche. We're still in the early days of testing the OM-1 II, but more effective autofocus, combined with the OM-1's speed, its weather sealing and the availability of light long lenses, would help justify the company's focus on its high-end models.

We'd love to see a continuation of the PEN line of small, classic-looking cameras, as they were some of the models that helped define the early promises of the move to mirrorless. But the speed and multi-shot capabilities Olympus and OMDS have developed make more sense in a rugged camera to be taken into the wilderness with a long lens for landscape and wildlife shooting. Arguably, some of these capabilities could also translate into a go everywhere/do everything travel camera, too, but for now the efforts have been concentrated on the OM-1 and OM-5 lines.

As with the move from the E-M1 II to the III, there'll be people who wonder whether the changes could have been made as a firmware update, and it'll be interesting to see whether some of the behavioral refinements of the Mark II are made available to owners of the original camera. But our first impressions are that the OM-1 II represents a meaningful advance in the areas that matter for its intended uses. Whether they're meaningful enough to prompt OM-1 users to upgrade is something we'll discover in the coming weeks.

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Image: OM System

OM System just announced its new OM-1 II, but that's not all the news it has today. Also breaking cover is a 150-600mm F5.0-6.3 super telephoto zoom (equivalent focal length range of 300-1200mm) as well as a new version of the Olympus 9-18mm F4.0-5.6 (18-36mm equivalent) with an updated body and OM System branding.

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The 150-600mm shares the bulk of its specs with Sigma's 150-600mm F5-6.3, suggesting it's a version of the same, modified with a Micro Four Thirds mount to fit OM System cameras. OM System's 150-600mm has an optical construction of 25 elements in 15 groups, weighs in at 2,065g (4.6 lbs), and provides up to 7 stops of stabilization paired with the OM-1 II, with 6 stops of stabilization on the lens itself.

Image: OM System

The new 9-18mm F4.0-5.6 sports an all black casing and OM System branding, but is otherwise functionally equivalent to the lens Olympus released in 2010, its third for the Micro Four Thirds system.

Both lenses will be available in late February, the 150-600mm F5.0-6.3 for $2,700 and the 9-18mm F4.0-5.6 for $700.

Introducing the M.ZUIKO DIGITAL ED 150-600 F5.0-6.3 IS Lens

Capture Wild Birds Easily with Powerful Image Stabilization and Super-Telephoto Hand-Held Shooting

Bethlehem, PA - January 30, 2024 - OM Digital Solutions Corporation is pleased to announce the M.ZUIKO DIGITAL ED 150-600mm F5.0-6.3 IS (35mm equivalent: 300-1200mm) lens, a pinnacle in super telephoto zoom technology. This Micro Four Thirds System standard-compliant super telephoto zoom lens is a testament to innovation, offering an expansive focal length of up to 1200mm equivalent¹ on its own and up to 2400mm equivalent1 when combined with the optional M.ZUIKO DIGITAL 2x Teleconverter MC-20, redefining versatility, delivering unparalleled imaging excellence. This lens will be available beginning in late February 2024 and features compatibility with 5-axis sync IS when used with the new OM-1 Mark II, providing up to 7 shutter speed steps of image stabilization². When used independently, it offers up to 6 shutter speed steps of image stabilization³, for razor-sharp clarity even at extreme distances, eliminating the need for a tripod and allowing photographers to seize decisive moments on the fly.

Crafted with resilience in mind, the M.ZUIKO DIGITAL ED 150-600mm F5.0-6.3 IS lens features IPX1 splash & dust-proof performance, complete with fluorine coating, making it a reliable companion in the harshest environments. Its compact, lightweight design grants photographers unparalleled mobility, enabling fast and nimble maneuverability while seeking elusive subjects. The OM SYSTEM M.ZUIKO DIGITAL 150-600mm F5.0-6.3 IS lens heralds a new chapter in photographic excellence. Empowering photographers with unparalleled reach, resilience, and performance, it redefines boundaries and captures the extraordinary.

Pricing & availability for OM SYSTEM M.ZUIKO DIGITAL ED 150-600mm F5.0-6.3 IS lens

The M.ZUIKO DIGITAL ED 150-600mm F5.0-6.3 IS lens will be available beginning in late February 2024 at a suggested retail price of $2,699.99 US and $3,599.99 CAD.

1 35mm equivalent

2 According to CIPA standards; Image stabilization is disabled at the halfway release when correction is performed on two axes (yaw and pitch) Camera body: OM-1 Mark II at a lens focal distance of 150mm (35mm equivalent focal length: 300mm)

3 According to CIPA standards; Image stabilization is disabled at the halfway release when correction is performed on two axes (yaw and pitch). Camera body: E-M10 Mark IV at a lens focal distance of 150mm (35mm equivalent focal length: 300mm)

Introducing the M.ZUIKO DIGITAL ED 9-18mm F4.0-5.6 II Lens (35mm Equivalent: 18-36mm) with Retractable Design for Unmatched Portability

Experience Effortless Creativity with the Unique Photographic Possibilities of an Ultra Wide-Angle Zoom Lens

Bethlehem, PA, January 30, 2024 - OM Digital Solutions Corporation is pleased to announce the launch of the M.ZUIKO DIGITAL ED 9-18mm F4.0-5.6 II, with a 35mm equivalent of 18-36mm. This wide-angle lens complies with the Micro Four Thirds System standard, providing users with a versatile tool to explore a wide range of photographic possibilities. Customers can pre-order the lens now. The lens is set to hit the market in late February 2024.

The M.ZUIKO DIGITAL ED 9-18mm F4.0-5.6 II stands out as the lightest and most compact option among the three M.ZUIKO DIGITAL ultra wide-angle zoom lenses.¹ Photographers can fully leverage its wide-angle capabilities to capture expansive natural landscapes and take wide macro shots of flowers and trees from a low angle, encompassing the sky in the composition. This approach emphasizes perspective by bringing the subject closer, resulting in an effortless expansion of the photographer’s creative palette in outdoor photography.

Pricing & availability for OM SYSTEM M.ZUIKO DIGITAL ED 9-18mm F4.0-5.6 II Lens

The M.ZUIKO DIGITAL ED 9-18mm F4.0-5.6 II lens will be available beginning in late February 2024 at a suggested retail price of $699.99 (US); $949.99 (CAD)

1 Among these three lenses: M.ZUIKO DIGITAL ED 9-18mm F4.0-5.6 II, M.ZUIKO DIGITAL ED 8-25mm F4.0 PRO, and M.ZUIKO DIGITAL ED 7-14mm F2.8 PRO.

Photo: Jeff L Carlson

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Photo: Jeff L Carlson

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

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

Photo: Jeff L Carlson

iPhone 15 Pro Max main camera without Night mode.

Photo: Jeff L Carlson

iPhone 15 Pro Max main camera with Night mode active.

How to lock focus and exposure

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

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

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

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

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

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

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

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

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

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

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

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

How to record video to external storage

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

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

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

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

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

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

How to record spatial video for the Apple Vision Pro

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

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

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

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

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

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

Sony World Photography Awards Student and Youth shortlists announced

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

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

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

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

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

Lonely Surfer

Photographer Name: Daniel Murray

Image Name: Lonely Surfer

Year: 2024

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

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

Flock of Magic

Photographer Name: Zy Grei Zander Esperanza

Image Name: Flock of Magic

Year: 2024

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

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

Self-portrait

Photographer Name: Joyce Xu

Image Name: Self-portrait

Year: 2024

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

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

Snow Mountain at Sunset

Photographer Name: Chengchen Wang

Image Name: Snow Mountain at Sunset

Year: 2024

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

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

Tea-Portrait

Photographer Name: Shayna Cuenca

Image Name: Tea-Portrait

Year: 2024

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

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

63.4057° N, 19.0716° W

Photographer Name: Isaac Friend

Image Name: 63.4057° N, 19.0716° W

Year: 2024

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

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

The Beginning Hours of the Sourdough Fire

Photographer Name: River Lewis-Gosch

Image Name: The Beginning Hours of the Sourdough Fire

Year: 2024

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

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

Comet Falls to Earth

Photographer Name: Sebastián Fernández Lora

Image Name: Comet Falls to Earth

Year: 2024

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

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

Keep Me Awake

Photographer Name: Kas Christiaens

Image Name: Keep Me Awake

Year: 2024

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

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

Untitled

Photographer Name: Afiq Sharkawi

Image Name: Untitled

Year: 2024

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

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

Appleby

Photographer Name: Frederik Rüegger

Image Name: Appleby

Year: 2024

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

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

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

Appleby (2)

Photographer Name: Frederik Rüegger

Image Name: Appleby

Year: 2024

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

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

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

Peers

Photographer Name: Gaoge Ouchen

Image Name: Peers

Year: 2024

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

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

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

The Orange Tree

Photographer Name: Gaoge Ouchen

Image Name: The Orange Tree

Year: 2024

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

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

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

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

Photographer Name: Gaston Zilberman

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

Year: 2024

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

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

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

Home traditions

Photographer Name: Gaston Zilberman

Image Name: Home traditions

Year: 2024

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

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

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

Untitled

Photographer Name: Kazi Arifujjaman

Image Name: Untitled

Year: 2024

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

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

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

Untitled

Photographer Name: Kazi Arifujjaman

Image Name: Untitled

Year: 2024

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

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

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

Resting in unfamiliar places (I)

Photographer Name: Siphosethu Sanelisiwe Sikhosana

Image Name: Resting in unfamiliar places (I)

Year: 2024

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

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

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

Resting in unfamiliar places (IV)

Photographer Name: Siphosethu Sanelisiwe Sikhosana

Image Name: Resting in unfamiliar places (IV)

Year: 2024

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

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

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

Don't Trust Pretty Girls

Photographer Name: Kayin Luys

Image Name: Don't Trust Pretty Girls

Year: 2024

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

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

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

Don't Trust Pretty Girls (2)

Photographer Name: Kayin Luys

Image Name: Don't Trust Pretty Girls

Year: 2024

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

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

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

Ta ii

Photographer Name: Makaziwe Radebe

Image Name: Ta ii

Year: 2024

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

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

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

Ubumbano

Photographer Name: Makaziwe Radebe

Image Name: Ubumbano

Year: 2024

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

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

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

High Noon

Photographer Name: Yufei Ma

Image Name: High Noon

Year: 2024

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

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

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

Middle Break

Photographer Name: Yufei Ma

Image Name: Middle Break

Year: 2024

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

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

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

20 Years of service

Photographer Name: Brayan Enriquez

Image Name: 20 Years of service

Year: 2024

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

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

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

My mother

Photographer Name: Brayan Enriquez

Image Name: My mother

Year: 2024

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

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

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

Childhood is rough

Photographer Name: Juan David Aguirre

Image Name: Childhood is rough

Year: 2024

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

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

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

This is not the freedom they promised us

Photographer Name: Juan David Aguirre

Image Name: This is not the freedom they promised us

Year: 2024

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

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

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

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_0261659899","galleryId":"0261659899","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });Recent Videos!function(n){if(!window.cnx){window.cnx={},window.cnx.cmd=[];var t=n.createElement('iframe');t.src='javascript:false';t.display='none',t.onload=function(){var n=t.contentWindow.document,c=n.createElement('script');c.src='//cd.connatix.com/connatix.player.js?cid=a1b625fb-cd44-410e-9479-699e835fd645',c.setAttribute('async','1'),c.setAttribute('type','text/javascript'),n.body.appendChild(c)},n.head.appendChild(t)}}(document); (new Image()).src = 'https://capi.connatix.com/tr/si?token=1cad57d1-aae3-42ce-aa46-cb49bb02d99a&cid=a1b625fb-cd44-410e-9479-699e835fd645';cnx.cmd.push(function() { cnx({ playerId: "1cad57d1-aae3-42ce-aa46-cb49bb02d99a" }).render("0f952e209d6147a793d43f13d9e1cfa2"); });

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

Buy now:

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

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

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

View our Nikon Zf sample gallery

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

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View our Nikon Zf preview sample gallery

Buy now:

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

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

Image: Hasselblad

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

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

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

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

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

Image: Hasselblad

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

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

Photo: Hasselblad

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

HASSELBLAD UNVEILS THE 907X & CFV 100C

ENHANCING MEDIUM FORMAT PHOTOGRAPHY WITH VERSATILITY & UNMATCHED IMAGE QUALITY

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

A MODULAR DESIGN. THREE APPLICATIONS.

THE 907X CAMERA BODY

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

HASSELBLAD V SYSTEM FILM CAMERAS

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

TECHNICAL CAMERAS

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

UNIQUE DESIGN AND ICONIC HERITAGE

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

UNPARALLELED IMAGE QUALITY, LIFE LIKE AND TRUE TO COLOUR

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

ADVANCED AUTOFOCUS AND FACE DETECTION

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

BUILT-IN STORAGE SYSTEM

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

REDUCED WEIGHT AND COMPACT SIZE

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

WHERE TO GET IT

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

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

Photo: Antonio Faccilongo/World Press Photo

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

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

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

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

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

Photo: Yasuyoshi Chiba/World Press Photo

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

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

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

Photo: Frank van Beek/ANP/World Press Photo

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

85%Overall scoreJump to conclusion

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

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

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

Index:

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

Key specifications:

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

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

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

Buy now:

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

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

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

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

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

Price (MSRP)

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

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

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

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

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

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

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

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

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

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

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

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

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Handling

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

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

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

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

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

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

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

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

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

Autofocus and focus breathing

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

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

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

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

For videographers

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

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

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

Image quality

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

Sharpness

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

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

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

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

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

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

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

Distortion and vignetting

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

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

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

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

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

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

F2 F2.8 F4 F5.6 F8

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

Photos: Mike Tomkins

Bokeh

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Buy now:

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

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Product images by Shaminder Dulai

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

Key features:

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

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

Buy now:

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

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

What is it?

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

Sensor and processor

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

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

Autofocus

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

Creative Assist mode

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

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

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

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

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

Video

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

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

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

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

Lens selection

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

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

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

Wireless connectivity

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

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

How it compares

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

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

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

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

* Contrast detection when shooting 4K video

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

Body and handling

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

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

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

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

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

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

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

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

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Autofocus

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

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

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

Image quality

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

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

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

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

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

Out-of-camera JPEG Raw conversion +100 shadows

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

Video

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Scoring

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

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

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

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

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

Buy now:

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

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

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

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

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

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

Buy now:

iPhone 15 Pro Max: $1199 at Apple

Image: Apple

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

Buy now:

$3,499 at Apple

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

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

Image: Apple

The Apple Vision Pro's sensor array

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

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

Image credit: Shaminder Dulai

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

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

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

Read the entire series here.

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

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

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

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

Need versus want

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

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

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

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

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

This is a lesson I took some time to learn.

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

Image credit: Shaminder Dulai

Look at your kit with fresh eyes

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

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

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

Three steps to better (photographic) living

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

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

Stuff I don't use

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

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

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

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

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

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

Stuff I use often

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

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

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

Stuff I'd like to use

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

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

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

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

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

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

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

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

Image: Sony

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

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

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

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

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

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

Sony Electronics Announces New Firmware Updates to Cinema Line Cameras

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

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

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

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

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

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

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

Image: DJI

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

Buy now:

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

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

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

Image: DJI

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

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

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

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

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

Pro Audio Recording Functions in Pocket-Size

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

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

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

User-Friendly Design for a Seamless and Intuitive Experience

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

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

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

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

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

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

Stability and Reliability in Every Recording

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

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

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

Price and Availability

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

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

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

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

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

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

[4] Sold separately.

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

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

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

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