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OM System announces 150-600mm F5.0-6.3 super telephoto zoom

DP Review Latest news - Mon, 01/29/2024 - 22:00

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.

Categories: Photo News

How to get the most out of your iPhone 15 and iPhone 15 Pro cameras

DP Review Latest news - Mon, 01/29/2024 - 07:00

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.

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.

Categories: Photo News

Sony World Photography Awards Student and Youth shortlists announced

DP Review Latest news - Fri, 01/26/2024 - 21:00

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.

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.

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.

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.

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.

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.

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.

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.

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’.

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

Categories: Photo News

Nikon Zf real world sample galleries

DP Review Latest news - Thu, 01/25/2024 - 07:00

$(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.

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_6922569214","galleryId":"6922569214","isEmbeddedWidget":true,"selectedImageIndex":0,"isMobile":false}) });

View our Nikon Zf preview sample gallery

Buy now:

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

Categories: Photo News

Hasselblad CFV 100C delivers modern medium format with classic style

DP Review Latest news - Wed, 01/24/2024 - 05:00

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.

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.

Categories: Photo News

Fujifilm to sponsor World Press Photo contest, provide GFX prize packages

DP Review Latest news - Tue, 01/23/2024 - 11:23

"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.

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.

Categories: Photo News

Fujifilm XF23mm F2 R WR lens review

DP Review Latest news - Tue, 01/23/2024 - 06:00

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.

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

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

Index:

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

Key specifications:

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

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

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

Buy now:

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

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

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

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

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

Price (MSRP)

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

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

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

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

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

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

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

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

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

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

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

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

Back to top

Handling

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

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

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

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

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

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

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

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

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

Autofocus and focus breathing

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

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

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

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

For videographers

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

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

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

Image quality

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

Sharpness

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

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

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

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

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

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

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

Distortion and vignetting

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

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

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

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

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

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

F2 F2.8 F4 F5.6 F8

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

Photos: Mike Tomkins

Bokeh

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Categories: Photo News

Canon EOS R100 review: Rebel-like mirrorless camera, cheap but cuts corners

DP Review Latest news - Mon, 01/22/2024 - 08:11

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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.

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

Autofocus

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

Creative Assist mode

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

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

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

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

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

Video

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

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

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

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

Lens selection

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

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

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

Wireless connectivity

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

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

How it compares

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

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

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

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

* Contrast detection when shooting 4K video

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

Body and handling

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

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

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

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

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

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

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

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

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Autofocus

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

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

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

Image quality

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

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

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

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

Out-of-camera JPEG Raw conversion +100 shadows

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

Video

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Scoring

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

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

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

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

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

Buy now:

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

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Categories: Photo News

iPhone 15 Pro Max sample gallery: Is 5x telephoto reach worth the upgrade?

DP Review Latest news - Fri, 01/19/2024 - 06:00

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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

Categories: Photo News

Apple Vision Pro now available for preorder

DP Review Latest news - Fri, 01/19/2024 - 05:00

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.

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!

Categories: Photo News

One thing: Taking stock of gear and when to let go or lean in

DP Review Latest news - Thu, 01/18/2024 - 06:00

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.)

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.

Categories: Photo News

Sony is bringing shutter angle to the FX3 and FX30 (eventually)

DP Review Latest news - Wed, 01/17/2024 - 14:38

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.

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.

Categories: Photo News

DJI's new Mic 2 wireless microphone comes with Bluetooth, 32-bit float backup recordings and a dial

DP Review Latest news - Wed, 01/17/2024 - 10:20

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.

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).

Categories: Photo News

Getting started with photography, our best primers for beginners

DP Review Latest news - Wed, 01/17/2024 - 06:00

If you've recently picked up your first dedicated digital camera, or you're eager to move beyond automatic settings and unlock the full potential of your photography and video, you've come to the right place.

Not knowing where to start with photography can feel daunting. A canyon of technical principles and dense concepts can feel like a mountain too high or, at worst, act as a gatekeeper to enjoying photography.

We're here to tell you, don't let that deter you. We all start somewhere, but once the learning begins, it never truly ends.

Think of this article as an introduction, a place to get started and an invitation to join the party. Over the years, we've chronicled the rise of digital photography and written our fair share of technical breakdowns, tutorials and how-tos. Here are some of our best articles for getting started with photography and how to level up to advanced concepts when ready.

Getting started

Getting a new camera is exciting, no doubt. Sometimes, even the most seasoned among us could use a few basic reminders to properly set up our new best friend.

We'll start with a bit of choose-your-own-adventure:

Click here for a beginner's guide to your first camera

Click here for a more advanced guide to setting up a camera

Even more advanced setup

Have the basics down but running into particular issues with your specific camera? Please hop on over to our Digital Photography Review discussion forums. Since January 1999, they've been home to the best digital photography forums on the internet.

In addition to our editors, industry engineers, inventors, and working professionals have been known to pop in to answer questions, share advice, or shoot the breeze over what they love (and don't love) about their gear. If you have a question on settings to use or how to get the most out of your camera, chances are there will be an answer on the forum. Just visit your relevant channel (i.e., Canon channels for Canon cameras) and ask away!

Seek answers in the DPReview forums

Choosing a memory card

It may seem trivial, but choosing the right memory card for your camera could be the thing that saves your hide later. Beyond knowing which format your camera uses, and if your camera has two slots or one, there are a myriad of industry specs to consider. Want to shoot video? What specs matter most? We help you pick the right card for you in our primer on memory cards.

A beginner's guide to memory cards

Cleaning your sensor

Even seasoned pros are nervous about cleaning their camera's sensors, but it doesn't have to be scary. We'll walk you through the process with some tips and techniques for sensor maintenance and what not to do.

How to clean your camera's sensor

Cleaning your lens

Cleaning a lens isn't quite as scary as cleaning a sensor, but even here, there are some common mistakes even the most seasoned photographers continue to make; give yourself a leg up and avoid them. Your lens and photos will thank you for the extra love and care.

How to clean your camera lens

Organizing your gear

As you start to delve deeper into photography, you'll begin to acquire more gear and accessories. To get the most life out of your investments and to make sure you can find them when you need them, it's essential to have a system to organize your camera body and lenses, hard drives, cords, dongles, adapters, card readers, notes, hard drives and other assorted ephemeral trinkets. We have a guide to start creating a system that works for you for years to come.

Organize your gear on the cheap

Getting started with outdoor photography

We're in the middle of winter in Seattle right now; in fact, as I write this, we're receiving a dusting of snow. At this time of year, it can feel hard to get out and even harder to know what to photograph. We've assembled some tips on what and where to shoot when it gets cold.

Cold weather shooting tips

Getting started with landscape photography

In our ten-part series on landscape photography, we'll start with composition and examine how elements such as masses and lines come together to create a photographic vision. In each installment, we build on this foundation with lessons on balance, juxtaposition, negative space and more. It's a great way to get started and move quickly to nail down the fundamental understanding of landscape photography. By the end of the series, you'll be ready to capture the natural world around you.

Landscape series

8 creative tips for shooting waterfalls

Photographing waterfalls can be a tricky endeavor – especially when shooting in conditions where the light can change drastically depending upon the weather conditions. If you've ever struggled to get the waterfall shot you envisioned, you've come to the right place. This article will cover everything from basic tips to more advanced techniques to make shooting waterfalls a breeze.

Dive in

6 tips for better wildflower photos

Shooting wildflowers can be an intimidating endeavor, especially if you're looking to capture grand scenes and vistas. Navigating the crowds, finding the perfect composition and nailing the shot can all be overwhelming. But it doesn't have to be that way – in this article, I'll help you navigate these challenges so you can enjoy the experience and make the most of peak wildflower season.

Stop and smell the wildflowers

Getting started with macro photography

You don't have to look far to explore the tiny worlds around us. Get up close and personal with everyday objects, insects, flowers and more with macro photography. We caught up with renowned macro photographer Don Komarechka, who demonstrates a few simple techniques that can improve your macro photos in a big way.

Macro stater guide

DIY tips for lighting the shot

Understanding light and how to control it can help amp up your photography. Everything from people to landscapes can be perked up with subtle fill light, or go for a more dramatic look. But lighting gear can be expensive, and you won't know what you want or need until you've learned what you light and how to modify light. (I'm begging you, please, don't run out for a ring light because you saw it on social media.)

We've assembled some DIY home hacks you can try out on the cheap. By experimenting first, you'll be better prepared later to spend your hard-earned cash on the right gear for you.

A beginner's guide to lighting tools

Focus stacking, what is it and when to use it

Ever wonder how landscape photographers get stunning sharpness throughout their images, even when shooting in challenging conditions? The answer is simple, but the process can be difficult. Focus stacking isn't for the faint of heart, but this tutorial should help to shed some light on the process.

Time to look sharp

Buying your first lens

We purposely put this item lower in this guide, under all the intro to learning stories. The first thing you should not be doing when you are new to photography is buying lenses. A kit lens is okay to start with. You need to practice and learn what you like and don't like about the kit lens you have. Only by learning and doing will you know for sure what you want to invest in next. Please don't rush into it; gear can get expensive, and you don't want to regret the purchase or sell it at a loss right after buying it.

What you need to know before buying your first lens

Processing your images

After you've taken your photos or videos, you may want to dive into color correction. You'll ideally want to have a properly calibrated monitor to get the most out of your image editing. It stands to reason that if your monitor is too blue, you may unknowingly end up editing all your photos too blue.

Read our Intro to Color Calibration series starting with "Color measurement basics and how colorimeters work." Then, once you have the basics down, move on to part two of the series, "How monitor calibration actually works." This one's a bit more technical, but understanding these fundamentals is worth the effort if you plan to print your work.

Read "Intro to color, part 1 "

Read "Intro to color, part 2"

Display your work offline

However you feel about social media, without a doubt, sharing photos online has become the de facto way most people distribute their photography today. For as much as we pixel peep around here, the fact of the matter is that there aren't many large display installations or prints being made to take advantage of all the available visual fidelity today's cameras provide.

If you're ready to move beyond online and get the most out of your files, might we suggest a photo book? Making a photo book can be a fun exercise in learning how to edit for a story, sequence images, and make them a sharable keepsake that lasts beyond the flicker of a screen.

Read "How to plan your first photo book"

Don't forget to save your work

Now that you've set up and used your camera to make your amazing images, don't risk losing them. A backup system is crucial in ensuring your precious memories don't join the digital ether in the future.

Learn how to set up an archival system

Embrace failure, and you'll be in the right headspace to keep learning

As you learn, there will be times an idea will not click, or you're not getting the results you want out of your photography. Don't give up. There will also be times when others will try to discourage you or act as gatekeepers. They may have some valid points; take the lessons, but don't get discouraged. The important thing is that you keep trying and learning.

What I love about the photo and video world is that you're limited only by your creativity and ambition, the desire to discover new tools and ways of getting better at wielding them. Photography can be difficult, but if you're willing to learn, open to feedback and offer help when asked, it can also be a nurturing and fulfilling family.

Becoming a lifelong learner

Advanced learning series

If you've gone through this beginner series of how-tos and learning and want more, head over to our advanced learning series. We go even deeper into the technical side of cameras and break down the science of imaging. There's a lot to learn, so go at your own pace. As you go, if you have any questions, pop them into the comments or head over to the forums to tap into the collective knowledge of the DPReview community. Some topics can get pretty 'heady,' but the important thing is that you're here to learn, and we aim to support your growth.

Graduate to the advanced learning series

Never miss the latest news, reviews, how-tos and more

The best way to keep up with new lessons and learning articles is to subscribe to DPReview's weekly newsletter. It's the best photography, camera and gear news, delivered right to your inbox.

And we don't just stop at the news. Newsletter subscriber benefits include behind-the-scenes articles, letters to the editor, exclusive sneak peeks on what we’re working on, ways to share feedback directly with DPReview editors to help us shape future stories and more! There is no AI here; real people are writing the newsletters and reading your feedback (me!).

BONUS: Behind the scenes with the DPReview studio test scene

If you want to learn more about cameras, another place to start is by looking at one way we evaluate cameras.

Our studio scene tool is designed to measure image quality, meaning there's a lot of stuff on this scene, and none of it arrived by accident. Every inch tells a different story about camera performance, and learning how to read it can go a long way in learning how cameras expose. We help you get started with some resources to learn how to read it.

An introduction to our studio test scene

A DPReview history of the test scene

What do you want to learn?

This is just version one of our beginner guide to photography. We're thinking about articles for the next year and want to hear from you. What skills and tutorials would you like to see added to this guide? What types of stories would you find helpful as a beginner? Let us know in the comments, and you may see it updated here in the coming year.

Categories: Photo News

Sony FE 16-35mm F2.8 GM II sample gallery

DP Review Latest news - Tue, 01/16/2024 - 06:00

$(document).ready(function() { SampleGalleryV2({"containerId":"embeddedSampleGallery_6135165848","galleryId":"6135165848","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"); });

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.

Meanwhile, an 11-bladed aperture produces stunning sun stars when stopped down. Shot wide open, the lens renders out-of-focus regions with an almost dream-like quality. Plus, photo and video shooters both will likely appreciate the lens' super-fast, near-silent autofocus system, which employs four linear motors.

Editor's note: This sample gallery was shot in parallel with our testing of the Sony a7C II camera. We will add additional images from a higher-resolution body at a future date.

View our Sony 16-35mm F2.8 GM II lens gallery

Categories: Photo News

Nikon Zf review: the classiest mirrorless of them all?

DP Review Latest news - Mon, 01/15/2024 - 08:49

$(document).ready(function() { SampleGalleryStripV2({"galleryId":"9696397340","isMobile":false}) }) Product photos by Richard Butler
90%Overall scoreJump to conclusion

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.

Key specifications

24MP full-frame BSI CMOS sensor
In-body image stabilization rated up to 8EV
Dedicated Monochrome mode
Up to 14fps continuous shooting (JPEG), 11 fps Raw
'C30' JPEG-only 30fps mode with pre-burst function
AF system with tracking and recognition of 9 subject types
4K/30 video from 6K capture, 4K/60 with crop, 10-bit N-Log recording
32-shot high-res mode to give 96MP images
SD and MicroSD card slots

The Zf sells at a recommended price of $2000, the same as the launch price of the Nikon Z6 II, which gives a reasonable idea of the camera's ambitions.

Buy now:

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

What's new?
How it compares
Body and controls
Initial impressions
Operation and handling
Image quality
Autofocus
Video
Conclusion
Sample gallery
Specifications
Press release

Sept 20: Initial review published
Jan 15: Operation and handling, Image quality, Autofocus, Video, Conclusion and updated Sample gallery published

What's new? Sensor/Processor

Nikon isn't making any claims about the Zf's 24MP BSI CMOS sensor being new and, other than wider AF coverage, most of its performance appears to be consistent with the elderly but well-respected sensor in the Z6 II.

The adoption of the latest 'Expeed 7' processor brings significant changes, though. For a start, it brings subject recognition to the camera's AF system as well as a Z9-like implementation of the company's '3D Tracking' along with the 9-type subject recognition system. In addition, there's context-sensitive noise reduction that more aggressively smooths areas that appear not to have detail. It's this noise reduction in the JPEGs and HEIF files that convinced Nikon to let the camera's ISO range expand up to 204,800 (the unexpanded limit also rises to 64,000).

The move to the latest processor also allows the Zf to capture Raw files compressed with the more efficient High Efficiency compression system we first saw on the Z9.

The Zf can shoot at up to 11fps in Raw (in Continuous High Extended mode, that we suspect won't include live view refreshes between shots), and up to 15 or 14fps depending on the use of electronic or mechanical shutter for JPEG mode. There's also a JPEG-only 'C30' mode that uses a video stream to shoot 30fps images, with a pre-burst option like that on the Z8 and Z9.

B&W mode

Commanding its own position on the control that selects between stills and video shooting, the camera's black and white mode gives a choice of mono profiles, including a low-contrast 'Flat mono' and 'Deep tone mono' that accentuates red details in the scene. These profiles can be applied to both still images and video footage, and emphasize Nikon's focus on the creative process.

Video capabilities

Unlike the Df, which promised photographic purity by omitting any video features, the Zf is a pretty capable video machine. It can shoot up to 4K/60 from an APS-C (DX in Nikon speak) crop of the sensor or can capture 4K up to 30p from the full 6K pixel width of its sensor.

The camera we used was pre-production but the 22ms rolling shutter we measured for 30p capture is consistent with the existing sensor in the Z6 models. We doubt it's a coincidence that Panasonic's S5 II models also have to crop into an APS-C region to deliver 60p capture while showing similar readout speeds.

It also adds waveforms, which helps, when trying to assess exposure for video, especially now that we have 10-bit internal capture, allowing Log recording.

Multi-shot pixel shift

Nikon joins the ranks of camera makers using its image stabilization system to offer a multi-shot pixel shift mode, moving the sensor by precise degrees to ensure the capture of each color at every pixel location or in fractions of a pixel to boost the resolution of the output image. Nikon's system offers four modes, all of which require that Raw files be combined in desktop software: a four-shot mode that captures full color at each pixel, an 8-shot mode that does this twice, to further improve tonal quality and noise, a 16-shot mode that also boosts image resolution 96MP, and then a 32-image version that doubles this up, too.

Image Stabilization linked to AF point

As companies try to maximize the performance of their IS systems, it's becoming more and more difficult to offer further improvements. Nikon says the Zf's performance has been improved by linking the IS system to the chosen autofocus point.

The logic is that pitch and yaw movements (tilting up/down and rotation to the left and right) cause greater shifts in the image away from the center, particularly when using wide-angle lenses. The Zf's IBIS system can use the chosen AF point as the central point of its corrections, rather than the center of the image, helping to provide more effective stabilization when using off-center AF points with wide lenses. This approach should help maintain sharpness at the point you're focused on, helping the camera to its 8EV stabilization rating, when tested to the CIPA standard.

How it compares

The Zf arrives in the hotly contested ∼$2000 corner of the market, where there are plenty of very capable full-frame options available. What's interesting to note is that, while its styling brings something you won't get from its immediate rivals, Nikon hasn't used this as an excuse to offer a lesser specification.

Other than the space-saving decisions around card type and their location in the camera, the Zf appears perfectly competitive.

Nikon Zf Sony a7 IV Canon EOS R6 II Panasonic Lumix S5 II Nikon Z6 II MSRP at launch $2000 $2500 $2500 $2000 $2000 Sensor size Full-frame Full-frame Full-frame Full-frame Full-frame Resolution 24MP 33MP 24MP 24MP 24MP Stabilization (up to) 8EV 5.5EV 8EV (with lens IS) 5EV (6.5EV with lens. IS) 5.5EV Burst rate 11 fps Raw
14 fps JPEG
(15 e-shutter)
30fps in C30 JPEG mode 10 fps 12 fps (40 fps e-shutter) 7 fps (30 fps e-shutter) 14 fps Viewfinder res / mag 3.68M dot OLED
0.8x 3.68M dot OLED
0.78x 3.68M dot OLED
0.76x 3.68M dot OLED
0.78x 3.69M dot OLED
0.8x Rear screen 2.1M dot
fully articulated 1.04M dot fully-articulated 1.62M dot fully-articulated 1.84M dot fully-articulated 2.1M dot tilting Video 4K/30p full width*
4K/60p APS-C 4K/30p full width*
4K/60p APS-C 4K/60p full width
4K/60p APS-C 6.2K/30p (3:2)
5.9K/30p
4K/30p full width*
4K/60p APS-C 4K/30p full width*
4K/60p APS-C 10-bit modes N-Log, HLG (HDR) S-Log3
HLG (HDR) C-Log2
HDR PQ V-Log
HLG Over HDMI Rolling shutter (4K/24) 22ms 27ms 17ms 21ms 22ms Storage 1x UHS-II SD
1x UHS-I Micro SD 1x CFe Type A / UHS-II SD
1x UHS-II SD 2 x UHS-II SD 2 x UHS-II SD 1x CFe Type B
1x UHS-II SD Battery life
LCD / EVF 380 / 360 580 / 520 580 / 320 370 / 370 410 / 340 Dimensions 144 x 103 x 49mm 131 x 96 x 80mm 138 x 98 x 88mm 134 x 102 x 90mm 134 x 101 x 70mm Weight 710g (25.0oz) 659g (23.3 oz) 670g (23.6 oz) 740g (26.1oz) 705g (24.9 oz) *Oversampled, using all horizontal pixels to produce 4K footage from 6K capture (7K on a7 IV). The Canon EOS R6 II offers oversampled 4K at up to 30p. Body and controls

The most obvious thing to say about the Zf's body is that it very closely resembles the Nikon FM2 film camera from the 1980s. Placed side-by-side it's apparent the new camera is larger but the proportions have been kept, so it still looks the part.

The Zf has primarily magnesium alloy construction (with some plastic panels to act as a radio window to let the Wi-Fi work), which Nikon says is 'dust and drip resistant.' Its adherence to the traditional look means that there's no protruding hand grip yet, like the FM2 and cameras of its vintage, it can be used quite comfortably. The few millimeters of added depth don't make it hard to grasp and the dials feel well-positioned such that they can be operated without feeling like you're going to drop the camera.

There was some criticism of the smaller Z fc, that its light weight made it feel flimsy, an impression compounded by rather plasticky dials. The added heft of the Zf avoids this problem: it feels more substantial and the feel of the controls is consistent with that.

Card slots Perhaps the most baffling decision on the Zf: two card slots hidden in the battery compartment, one of which is a UHS-I Micro SD slot.

Nikon has given the Zf two card slots, but to keep its size under control, has opted to make the second card slot a MicroSD type. These are pretty small and can be fiddly to insert and remove from the camera, so it might make sense to leave a fast microSD card in the camera at all times as overflow, rather than planning on removing it too often. That said, while the SD slot is UHS II compatible, the Micro SD is only UHS I.

The slots are positioned next to one another in the battery compartment, adding an extra layer of inconvenience, especially for tripod users, though the speed of the USB-C port means it's easy enough to get data off the camera or power into it, without accessing the underside door at all.

Viewfinder

The Zf has a 3.68M dot EVF, which is not especially high by today's standards. Without the super-fast dedicated readout path that the Z8's sensor offers, it can't match the near-zero-lag experience that that camera does. Overall, it's a pretty middling viewfinder experience, but one definitely improved by the pretty good 0.8x magnification.

Screen

The Zf's rear touchscreen is fully articulated: a choice that made more sense on the more video and social media-focused Z fc. It's a 2.1M dot LCD that we found to work well even in bright light, but I suspect we won't be alone in having preferred the two-way tilt arrangement of the Z8's screen, which could potentially have made the camera a fraction slimmer.

Battery

The Zf uses the same EN-EL15c battery as the majority of Nikon's mid-range cameras, which powers it to a respectable rating of 380 shots per charge (LCD) and 360 shots per charge (EVF). These numbers rise to 430 and 410 shots per charge if you turn energy saving mode on. It's rechargeable over the camera's USB C port, of which, unlike the Z8, there's just one.

Unlike the Z6 II, there's no option to mount a battery grip to the Zf.

Initial impressions

By Richard Butler
Published Sept 20 2023

When Nikon introduced the smaller-sensor Z fc model, it made very clear that it was a camera designed for social media content creators, hoping to attract some of the younger photographers who've perhaps learned the craft on second-hand 70s and 80s film SLRs. But Nikon can't have missed the number of established photo enthusiasts who said they wanted a full-frame version.

That said, Nikon is also likely to remember that the initial buzz generated by the teaser videos for its last retro full-framer (the rather half-baked Df) didn't turn into the sales success it was hoping for.

However, where the Df was a rather misproportioned lump that commanded a significant premium over the D610 on which it was heavily based, the Zf is an altogether more handsome affair (and if you're aiming to attract a style-conscious audience, that matters), and one that out-specs the Z6 II while selling for the same price.

In fact, in the absence of a Z6 III, the Zf becomes the company's best-specced camera around the high-contested $2K price point. It still seems to use the same image sensor as the previous Z6s but features the newer Expeed 7 processor from the Z9 and Z8, which brings updates such as the mirrorless camera implementation of the company's '3D Tracking' system.

"In the absence of a Z6 III, the Zf becomes the company's best-specced camera around the high-contested $2K price point"

These days we can simply call it 'tracking,' as the majority of brands have now adopted a comparable approach of simply following whatever is under your chosen AF point (or near to it, in the case of most subject recognition systems). It's such an obvious approach that, for once, the term 'intuitive' might almost be appropriate, but the idea of integrating tracking into the main AF interface really started with Nikon, so it's great to see the Zf catch up to the 'best practice' approach that Nikon itself pioneered.

Multiple multi-shot modes

In a more reactive manner, Nikon has also become one of the last brands to add a multi-shot high-res mode to its camera. Multi-shot modes that try to cancel out the effect of the Bayer filter or oversample the scene to produce more detailed images have become increasingly common as engineers look for ways to exploit the presence of in-body stabilization mechanisms.

In many instances, they're not terribly useful: often requiring tripods and near-static subjects, with a combination of images often requiring proprietary desktop software. There are clearly lots of patents protecting different implementations, as almost every brand appears to take its own approach (in terms of the number of shots and degree of in-camera processing).

The Zf offers a range of modes, including one that takes a staggering 32 images, collected in around four seconds, to deliver a 96MP final image. That's a long time during which your subject might move, which undermines its usefulness, but there are at least other options if your subject doesn't include much motion. So, perhaps primarily in the interest of people who like to wage brand wars over the obscure ends of the spec sheets, Nikon now offers the feature.

In use the Zf was enjoyable during the period I got to use it. The distinctive styling was something of a curse, given Nikon's concerns about it being seen out in the wild, but from today onwards, it's more likely to be an asset. The camera I used was the all-black version, but six other leatherette color schemes will also be available. There's no news of a silver/black version. It's not clear whether this is because of the challenge of delivering matched silvers across different materials to maintain the camera's premium character or because Nikon plans a special edition at some point in the future.

The pre-production camera I was using started to show temperature warnings after around two hours of stills shooting, but it should be noted that I was shooting in 32°C (90°F) conditions, often in direct sunshine. It didn't get warm enough to start a countdown to auto shutoff, though.

AF tracking isn't as sticky as with the Z8 and Z9. This isn't a huge surprise but, for instance, when I tried to pick out a particular part of a flower, the Zf's tracking target would sometimes wander off the specific detail I'd been wanting it to track. Performance with a recognized subject appeared excellent, though, with seemingly unerring tracking of eyes, for instance.

Ultimately, though, the Zf moves things forward from the Z6 II and finally seems to deliver the camera that so many people hoped the Df would be. Now if only the barriers to Sigma introducing its compact, aperture ring-sporting i-series primes for Z-mount could be overcome, then things would get very interesting indeed.

Buy now:

$1997 at Amazon $1997 at B&H Photo $1997 kit at Adorama Operation and handling

It's been interesting to encounter such a squared off camera after decades of increasingly large stick-out grips. The Zf's weight and squareness meant I found it would cut into my little finger if I didn't make a conscious effort to maintain most of the weight using my left hand, supporting the lens. This was particularly acute when the Zf was combined with a heavier lens, such as the 24-70mm F2.8.

We also found the Zf offers a little less customization than we'd expect of a camera at this level. The Zf appears to have five customizable buttons, as the Z6 II does, but one of these is the Playback button, effectively leaving you with four if you actually want to be able to review your images. Similarly, the Zf includes the usual options to change exposure comp without pressing a button, and letting you choose whether the front or rear command dial changes the setting, but these only have any function if the dedicated exposure comp dial is deactivated by turning it to its 'C' position, so for much of the time one of the camera's command dials has no function. No one has considered letting you assign ISO to the dial, for instance, so quick access to ISO requires a button press and takes up one of your precious custom buttons, and again this button stops working if you select a specific ISO value from the dial. Oddly, this means you also lose the ability to disengage or engage Auto ISO, if you turn the ISO dial. The overall effect is quirky, to say the least.

The dials play a central part in the camera's retro appeal but the way they interact with some button and dial functions takes some getting used to.

Unlike previous Nikons, there's no way to quickly access the 'minimum shutter speed' value if you use Auto ISO. Some previous models let you assign this option to the camera's My Menu list, meaning you could gain quick access by setting a custom button to 'Access top item in My Menu,' but the Zf doesn't allow this. Overall it feels like no one has really thought through the full impact or opportunity of adding the dedicated shutter speed and exposure comp dials to the camera.

Combine all this with the lack of AF joystick – the four-way controller defaults to AF point positioning but isn't as quick or as well-positioned – and the Zf is not a fast or fluid a camera to use as the Z6s were, nor the likes of Panasonic's S5 II, its most closely-priced competitor.

It gets a lot right, though: its on-screen interface is relatively clean, in an era succumbing to increased clutter, and the menus are pretty well laid out, albeit very, very long. It's hard to escape the suspicion that the same components in the form of a Z6 III would be a much more effective photographic tool. Albeit one that's nothing like as pretty.

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.

$(document).ready(function() { ImageComparisonWidget({"containerId":"reviewImageComparisonWidget-35143146","widgetId":902,"initialStateId":null}) })

The Nikon Zf is based on the widely-used 24MP BSI CMOS sensor, so there are no great surprises to its image quality. In terms of detail capture, it does exactly as you'd expect a 24MP sensor to. And the performance both at moderately high$(document).ready(function() { $("#icl-5844--1455016584").click(function() { ImageComparisonWidgetLink(5844); }); }) and very high ISO$(document).ready(function() { $("#icl-5845-279875647").click(function() { ImageComparisonWidgetLink(5845); }); }) is very good, as you'd expect.

Nikon's default JPEG sharpening is very large radius, so it appears to be capturing much less detail$(document).ready(function() { $("#icl-5846--1679771462").click(function() { ImageComparisonWidgetLink(5846); }); }) than its peers (even though we know from the Raws$(document).ready(function() { $("#icl-5847--315668740").click(function() { ImageComparisonWidgetLink(5847); }); }) that this isn't the case). Color exhibits standard Nikon response$(document).ready(function() { $("#icl-5848--1838968747").click(function() { ImageComparisonWidgetLink(5848); }); }) with lots of punch and saturation. Yellows are vibrant with no green or orange tint but the pink closest to a generic caucasian skintone is notably brighter and more pink than either the Sony or Canon renderings. We tried to include plenty of portraits in the gallery so you can decide what you think of this.

The Zf's noise reduction at high ISO$(document).ready(function() { $("#icl-5850--2076747484").click(function() { ImageComparisonWidgetLink(5850); }); }) smooths away noise pretty well but takes a lot of the fine detail$(document).ready(function() { $("#icl-5849--698116929").click(function() { ImageComparisonWidgetLink(5849); }); }) with it. Overall it's a very similar performance to the Z6 II, which we really liked.

Dynamic range

Again there are no surprises from the Zf's sensor. It's been around for a few years, but we've not encountered any chips that are significantly better in a mid-priced camera. At base ISO the camera adds very little noise, so there's scope to reduce exposure to protect highlights, with the reduction in exposure being the main source of noise and the limit on how far you can push things. Its dual gain design means there's even less shadow noise from ISO 800 upwards, and minimal benefit to increasing the ISO above that point. In low light scenes with bright highlights, underexposing ISO 800 by three stops and then brightening should give similar noise to ISO 6400 but with three additional stops of highlights preserved in the Raw.

Exposure latitude | ISO Invariance

White balance in the real world Auto WB (Keep overall atmosphere) Reprocessed in-camera: Natural light Auto WB

The camera’s auto white balance lets you decide how completely the camera tries to cancel-out the effect of the color of the light you’re shooting under. It defaults to ‘Keep overall atmosphere,’ with a more extreme ‘Keep white (reduce warm colors)’ option or a less severe ‘Keep warm lighting colors’ setting. We found the last of these to give the nicest results: even the default middle-ground setting can tend to render subjects a little cold/blue. There’s also a ‘Natural light Auto’ mode that works better for outdoor shooting. It’s definitely worth switching to this mode when you know you’ll be shooting outdoors, but it’s bit of a disappointment that the standard auto mode isn’t as set-and-forget as you might hope.

Autofocus

The Nikon Zf is the first mirrorless model to include 3D Tracking autofocus but not have a super-fast readout Stacked CMOS sensor to drive it. The distinction between this and the tracking on previous models is twofold: firstly it's an AF area mode, just like any other, rather an optional feature engaged separately from area modes and, secondly, it doesn't need to be disengaged once initiated: release the AF-On or shutter button and the AF point reverts to wherever it was originally placed: no 'cancel' required and no resetting to the center of the scene.

The Nikon Zf’s AF tracking is generally very good and noticeably improved, compared with the previous generation models, such as the Z6 II and Z5. The 3D tracking mode does a good job of staying on the target you’d pointed it at. The performance improves still further if you select one of the camera’s subject recognition modes to run alongside it.

In our basic AF tracking test the basic 3D tracking mode would tend to lose track of the subject as it passed through one of the corners (where the subject’s approach rate changes, as well as its direction). It would typically find the subject again when it returned near to the center of the frame, where the AF was initially placed. This was a somewhat surprising result, as we didn't encounter this often in our more general shooting. The camera gave the same result repeatedly, though, which suggests performance can vary with subject.

However, engaging human/face detection ensured the camera didn’t ever lose the subject. It continued to work, regardless of whether the subject was wearing dark glasses, obscuring part of the face.

However, it’s also noticeable that portraits taken with face detection aren’t always perfectly focused on the eye itself. The camera’s detection and the persistence of its tracking is very good but the precision isn’t always as high as some of its immediate peers, with a tendency to focus just in front of the eye itself. That said, eye detection and the way it respects the selected AF point make it a really valuable feature on the camera, meaning you can focus on the camera’s other settings and on interacting with your subject, rather than having to think about focus.

The improved AF tracking extends to video mode, where it was recognizably weaker on previous models. Overall we got the sense that the Zf’s autofocus doesn’t quite match the pro-level performance of the Z8 and Z9 but brings Nikon’s AF behavior and handling to the point it’s very competitive with its rivals.

Video Despite the 80's styling, the Zf has mic and headphone sockets to support its pretty capable video feature set. The HDMI socket is of the rather sensitive 'micro' variety, so we wouldn't plan on making it the center of our workflow.

The Zf's 24MP sensor was one of the first full-frame sensors from which manufacturers squeezed 4K footage. It reads out quickly enough that the Zf can deliver 4K video derived from 6K capture at up to 30p or it can shoot 60p if you crop into an APS-C region of the sensor ('DX' in Nikon's terminology).

But the Zf does more with the sensor than the Z6 or Z6 II did, gaining internal 10-bit capture with Log and HLG recording, giving more flexibility to the editing and output options. It also gains waveform displays for helping you expose your Log footage, making it a much more usable video camera.

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The Zf's 24p footage is more detailed than it was from the Nikon Z6 II, but it becomes noticeably less sharp in its 60p mode.$(document).ready(function() { $("#icl-5854-1380459765").click(function() { ImageComparisonWidgetLink(5854); }); }) You probably wouldn't notice this difference, intercutting between footage from the two, but the smaller capture region used for 60p will mean it gets noisier, faster, as will the need to use shorter exposures, so for indoor shooting, expect cuts to slowed-down 60p to have a little extra graininess to them.

Rolling shutter for the full-width footage measures around 22ms. This is reasonable (Panasonic's high-end, video-centric S1H from a few years ago gives a very similar performance), but it's not great. 22ms is slow enough that attempts to pan the camera or capture fast movement across the frame will see vertical lines become horizontally skewed, and this distortion can interact badly with the camera's attempt to shift the sensor to stabilize its footage, causing slight jitter in the footage.

The use of a relatively slow UHS-I Micro SD card as the camera's second memory card slot means it's not really practical to leave a card in the smaller slot and use it as internal memory for shooting video to. You can shoot video to the SD slot and stills to Micro SD but you risk blunting the camera's performance that way.

Image stabilization

The camera's image stabilization is pretty good, with digital stabilization applying a 1.25x crop that gives the camera room to move that crop around within the video capture region in order to cancel out unintended motion. The stabilization is quite smooth, gently drifting around rather than trying to maintain a tripod-like lock on proceedings. But, as mentioned, there is some vertical jitter introduced when stabilization is active, presumably as the camera moves the region its capturing while the existing area was still being read-out.

Conclusion What we like What we don't

Excellent image quality
Very good autofocus
Very strong video feature set
Classic styling
Dedicated controls whose setting can be read even with the camera switched off
Reasonable level of direct control
Decent battery life
$40 SmallRig grip (initially bundled in some markets) improves handling
Good set of features (time-lapse, focus bracketing, pixel shift high-res, multiple exposures...)

Interaction between dials and button functions often peculiar
No quick access to Auto ISO settings
Use of slow Micro SD reduces the value of second card slot
Body becomes uncomfortable with large lenses
Limited choice of small lenses or options with aperture rings
Cards in battery compartment are inaccessible when on a tripod
Some vertical jitter in video footage with electronic VR engaged
Multi-shot high res combined off-camera with no motion correction

The Nikon Zf looks a lot like the camera everyone was hoping the Df would be: a cutting-edge camera styled to look like one of Nikon's classic models from the early 80s, without too much additional size or weight. And I think most people would agree it succeeds spectacularly from an aesthetic perspective.

We're a little less convinced when it comes to the camera's handling. Even compared with the cameras it's modeled on, the Zf can become uncomfortable to hold after a while, and we found it hard to shake the perception that Nikon's engineers hadn't really thought-through the full implications of having dedicated dials when they copied over most behaviors from their other cameras.

The Zf is a lovely camera to sling over your shoulder when you're out for the day. Until you mount a heavy lens on the front.

Nikkor Z 24-70mm F2.8 S @ 40mm | F5.6 | 1/100 sec | ISO 100
Processed in Adobe Camera Raw: straightened, highlights reduced, white balance adjusted
Photo: Richard Butler

The Zf works less and less well, the larger the lens you mount on it, and Nikon's range of lenses doesn't have many small, light options. Worse still, there's plenty to suggest that it's blocking third-party makers from filling that gap. Relatedly, Nikon's Z lenses tend not to have aperture rings, but the Zf mimics the control layout of cameras from a system in which they did, which isn't ideal.

So, while the Nikon offers a distinct image quality benefit over the likes of Fujifilm's X-T series, the Fujifilm cameras have size, weight and a wide choice of small lenses with aperture rings on their side. This and a higher level of operational consistency has the unfortunate effect of showing how this concept can be delivered more successfully.

Improved autofocus tracking and subject recognition give the Zf a distinct edge over previous mid-range Z series cameras.

Nikkor Z 85mm F1.8 S | F8.0 | 1/160 sec | ISO 720
Photo: Richard Butler

The Zf's performance is very good, though. It's built around a excellent, well-proven sensor and delivers very good autofocus performance, particularly with subject recognition engaged. It's also a remarkably capable video camera, providing a level of flexibility and capability that its classic styling might otherwise disguise.

We're sure a lot of enthusiast photographers will happily work around the Zf's quirks and oddities, in return for getting to own and use a camera that has so much character to it, and they won't be let down by the photos it produces. But having used Fujifilm X-T cameras so much, and knowing what the liked of Sigma's I-series lenses would add, it's hard not to contemplate what might have been.

Speaking as someone for whom the Zf's styling has a powerful resonance, I thought I was going to love this camera. But having used it for several months, my head says Silver, even though my heart says Gold.

Scoring

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

Nikon ZfCategory: Mid Range Full Frame CameraBuild qualityErgonomics & handlingFeaturesMetering & focus accuracyImage quality (raw)Image quality (jpeg)Low light / high ISO performanceViewfinder / screen ratingOpticsPerformanceMovie / video modeConnectivityValuePoorExcellentConclusionThe Nikon Zf is a camera whose image quality and performance live up to its stylish looks, but its handling and operation isn't always quite as slick. Paired with smaller, lighter lenses, it's a joy, but your Z-mount options are somewhat limited at present.Good forEnthusiast photographers for whom style and design matterNot so good forPhotographers using longer lenses or needing constant quick settings changes90%Overall scoreRegularScoreCompareWidget({"mainElementId":"scoringWidget","mainProduct":"nikon_zf","scoringSchema":{"id":"SLRs","variables":[{"id":"BuildQuality"},{"id":"ErgonomicsAndHandling"},{"id":"Features"},{"id":"MeteringAndFocusAccuracy"},{"id":"QualityRaw"},{"id":"QualityJpeg"},{"id":"LowLightHighISO"},{"id":"ViewfinderScreenRating"},{"id":"Optics"},{"id":"Performance"},{"id":"Movie"},{"id":"Connectivity"},{"id":"Value"}],"categories":[{"id":"EntryLevel","label":"Entry Level Interchangeable Lens Camera / DSLR","shortLabel":"Entry Level"},{"id":"MidRange","label":"Mid Range Interchangeable Lens Camera / DSLR","shortLabel":"Mid Level"},{"id":"EntryLevelFullFrame","label":"Entry Level Full Frame Camera","shortLabel":"Entry Level Full Frame"},{"id":"MidRangeFullFrame","label":"Mid Range Full Frame Camera","shortLabel":"Mid Range Full Frame"},{"id":"SemiProfessional","label":"Semi-professional Interchangeable Lens Camera / DSLR","shortLabel":"Semi-professional"},{"id":"SemiProfessionalFullFrame","label":"Semi-professional Full Frame Camera","shortLabel":"Semi-professional Full Frame"},{"id":"Professional","label":" Professional Interchangeable Lens Camera / DSLR","shortLabel":"Professional"},{"id":"LargeSensorCompactEntry","label":"Entry Level Large Sensor Compact Camera","shortLabel":"Entry Level Large Sensor Compact"},{"id":"LargeSensorCompactEnthusiast","label":"Enthusiast Large Sensor Compact Camera","shortLabel":"Enthusiast Large Sensor Compact"},{"id":"VideoCamera","label":"Video Camera","shortLabel":"Video Camera"}]},"helpText":"Choose one or more cameras from the drop-down menu, then roll your mouse over the names to see how their scores compare to the camera on review."}) Compared to its peers

The Canon EOS R6 II is still the camera to beat in this class. It's more expensive than the Nikon and no longer offers such an advantage in terms of autofocus, but it can shoot full-width 4K/60p, can capture faster bursts and is simply nicer from a handling and operation perspective. Both cameras are restricted to relatively limited lens ranges, with Nikon at least allowing some third-party options in, but it's worth checking that the lenses you want are available at reasonable prices before opting for either camera.

The Sony a7 IV is another strong contender at this price. It offers slightly higher resolution (and more sophisticated JPEG processes emphasize the difference) and slightly more dependable autofocus than the Nikon. It's not a great video camera, though, and costs more than the Zf, making it a less capable all-rounder. The wider choice of lenses comes out clearly in favor of the Sony, with the likes of Sigma's affordable i Series optics making a great match.

The i Series lenses are also available for the L-mount used by Panasonic's S5 II and S5 II X. The operation and handling of the Panasonic pair are also significantly nicer than those of the Nikon. However, even with phase detect AF having been added to the S5 II, the Zf has a simpler and more dependable AF system than the Panasonics. And, perhaps unexpectedly, the Nikon's video capabilities are a good match for those of the S5 II, so overall we found the Nikon to be that bit more usable.

Finally, it's worth considering the comparison with Fujifilm's similarly-styled X-T5. The Fujifilm is based around a smaller sensor, giving the Nikon an immediate image quality advantage and greater flexibility in terms of depth-of-field. The X-T5 is also arguably less good at video: it seems to offer better specs on paper but varying crops and rolling shutter means that advantage disappears when the bits hit the memory card. But the Fujifilm is nicer to use, despite its ostensibly similar control ethos, and the smaller size, lighter weight and slight front bulge make it more comfortable to use. And, of course, the X-mount offers many, many more lenses, including a vast range of primes, that work well on the X-T5. On balance it's a more difficult choice than it might initially seem.

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Categories: Photo News

We're hiring! DPReview is looking for a full-time Reviews Editor

DP Review Latest news - Fri, 01/12/2024 - 11:00

DPReview is hiring! We're looking for a Reviews Editor to join our Seattle-based team. You will create content for the largest audience of photography and video enthusiasts in the world, and help lead our efforts to create best-in-class reviews of cameras and other photography-oriented products. Bring your talent and creativity to our team and help shape the future of DPReview. Follow the link below for full details.

Find out more and apply for this role - Reviews Editor, Digital Photography Review

Reviews Editor
Full-time (Seattle, WA)

DPReview is seeking a full-time Reviews Editor to join our growing team.

The Reviews Editor role is intended for experienced digital content creators or technical writers with a deep understanding of digital photography.

At a high level, qualified candidates will be capable of testing, writing, editing, and coordinating camera reviews and related coverage. They should likewise feel comfortable serving as “on-camera” talent for multimedia and platforms content, including in videos and podcasts. Finally, they must also be strong collaborators and communicators capable of working alongside strategy and operation experts to ensure content signals positively impact KPIs and are produced to specification, on time, and within budget.

A typical week for a reviews editor will involve tracking and immediately addressing breaking camera news, spending time testing and writing camera reviews, updating DPReview’s camera information databases, speaking with outside experts for background knowledge, responding to DPReview community comments and questions, and meeting with senior DPReview leaders to produce components of major cross-team editorial projects and strategies, as well as evaluating past content success metrics to create strategic takeaways.

Like all successful DPReview team members, candidates must also be goal-focused self-starters who maintain an agile mindset, operate independently, lead by example, and communicate effectively across all channels.

This role will report directly to Senior Editors or Managing Editors depending on organizational needs while working closely with other editorial staffers.

Key job responsibilities

Test and evaluate camera equipment following established in-studio and off-site best practices.
Write, edit, and produce robust camera reviews as well as related camera news coverage, technology explainers, buying guides, interviews, franchises, and features that engage and grow DPReview’s camera enthusiast audience.
Capture photos and video clips of cameras and the camera reviewing process according to editorial and video and platform guidelines.
Optimize content to maximize and grow its potential for affiliate revenue generation by rigorously adhering to internal best practices.
Help plan and oversee editorial calendars and projects.
Regularly monitor information resources such as competitive publications, PR contacts and social media for new story ideas.
Consult with senior editorial leaders to help produce portions of major editorial projects, including The DPReview camera awards, etc.
Meet regularly with senior editorial leaders to discuss production, traffic and affiliate goals.
Interface with internal strategic experts such as the SEO Manager to ensure stories are ideally positioned to reach the largest relevant audience possible.
Coordinate with DPReview’s social media and platform teams to help produce and promote relevant editorial content for various channels.
Work to build and maintain relationships with brands, PR companies, influencers and industry experts.
Serve as an ambassador for DPReview’s editorial team while attending external events, advertiser meetings, conferences and trade shows.

Click here for full details and to apply

DPReview strives to be a diverse and inclusive company. We firmly believe that different voices, experiences and points of view are an essential component of our current and future success. We do not discriminate on the basis of an individual’s gender, age, race, religion, national origin, marital status, sexual orientation, disability, genetics or any other personal characteristics protected by law.

Categories: Photo News

Tenba Axis V2 18L backpack review: Fully functional, but lacking in features and flair

DP Review Latest news - Fri, 01/12/2024 - 07:00

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.

Buy now:

$200 at Tenba $200 at B&H Photo $200 at Amazon Key features and specifications

MOLLE straps for extra accessories
Large side access openings
Useful pockets for organizing small extras (notably an Airtag or Bluetooth tracker)
Size: 27x43x20 cm (10.5”x16.75”x8”)
Weight: 1.36 kg (3lbs)
Laptop size: 14”
Capacity: 18L
Example max loadout: 1-2 Mirrorless or DSLR cameras with 4-6 lenses (up to attached 70-200mm F2.8)

Pockets and construction Photo: Tim Barribeau

The Tenba Axis V2 18L has two side access panels that are very well designed and one on the top, which is less so. When you swing the bag around to get in via either of the side panels, it’s easy to grab what you need. The panels are suitably large – they don’t run the whole length of the bag like Peak Design’s, but they’re not so small that it would be hard to grab a camera with a full zoom lens out of the bag. The openings use two zippers, which I found to slide easily and which feel rugged enough to handle considerable use.

Each panel has zippered internal pockets for stashing small items. I used them for batteries and spare lens caps. There are also expandable pockets on the outside for water bottles and travel tripods. As per usual, you set up the interior of the bag with velcro walls that you can mix and match to your heart’s delight, establishing a good layout for your own gear. Unfortunately, unlike Tenba's larger models, the Axis V2 18L doesn’t clamshell open all the way. This makes it harder to place all the velcro walls quickly and make sure everything fits because you can't view the whole space all at once. You're stuck reaching through access panels, doing it by feel. This is a common issue with camera bags, but it’s always a pain.

There’s also the de rigueur large back pocket with lots of internal organization for stashing pens, small notebooks, lens wipes, and all the other miscellanea you need often but not that often. There’s even a dedicated little neoprene pouch for tucking in an Apple Airtag, Tile Tracker, or other similarly sized tracking device, so you can always find your bag.

The zipper and flap are an annoying combination.

Photo: Tim Barribeau

The issue comes with the top access panel, which has both a flap and a zipper. The flap stays shut with a hook that clips into the MOLLE (modular, lightweight load-carrying equipment) webbing on the outside the bag. And then it’s held down again by a zipper. When the zipper was shut, I couldn't lift the flap enough to easily unzip it. Either of these fasteners would have been fine on their own, but doubling up caused me trouble and didn't give me any additional functionality. It could help prevent theft by making it hard to quickly dive into the bag, but it frustrated me every time I encountered it because it made it hard to quickly dive into the bag.

Design and style Photo: Tim Barribeau

The Axis wears its military influence on its sleeve. The layers of MOLLE straps on the exterior of a bulky plain black bag show the clear lineage of milspec style and design, similar to the Wotancraft New Pilot. Tenba wears this influence proudly, “Tenba’s tactical Axis bags were inspired by the ultra-durable bags we’ve made for the military throughout our 40+ year history.”

The MOLLE webbing is a series of nylon straps that go around the bag horizontally and vertically and gave me useful places to place modular add-ons. Since many manufacturers make MOLLE accessories, you can mix and match anything from a first aid kit and trauma shears to a baby bottle holder. Tenba makes a number of its own addons that work with the MOLLE system, such as small pouches, battery holders, even space for an extra lens.

"The Axis wears its military influence on its sleeve."

In shape, the bag is very simple and rectangular. This meant I was able to squeeze more than I expected into its remarkably reasonable external dimensions; Tenba’s estimate of two small cameras and 4-6 lenses is right on the buzzer from my experience, which is impressive for something that’s less than 30cm tall.

But that comes with downsides. There’s functionally no tapering to the bag, and there’s no give to the body. It’s exactly the same size and shape, full or empty. If you can’t fit this under the seat in front of you on the airplane or into a jampacked car trunk, no amount of finagling or moving lenses around will change that.

Fortunately, I found the back padding did a good enough job at cushioning my back from the bag itself, making it reasonably comfortable to wear, but it got hot very quickly.

Photo: Tim Barribeau Conclusion

The Tenba Axis V2 18L is certainly a functional bag. The components feel tough, the material is rugged, and the attachment system is practical and open-source enough to use with almost anything, including any gear you might already have. It has (mostly) smartly arranged access and pockets.

But without any standout features or compelling aspects to its design, it's hard to recommend. It’s an uninspired black box of a bag, and while that anonymity has its upsides, the boxiness has its downsides. It’s competent in almost every facet, but it's not especially ergonomic, nor are there any flashes of genius in its design.

I think any photographer would be totally fine using this bag, but for $200, odds are you can find something that suits your needs more directly.

What we like What we don't

Tough build quality
Large and easy-to-use access points
MOLLE for lots of extras
Fits a lot in a small space

Chunky shape
Workaday design
Irritating top flap

Buy now:

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

Categories: Photo News

CES 2024: AI is inescapable

DP Review Latest news - Fri, 01/12/2024 - 06:00

Images: Samsung

In the past few years, there has been no shortage of "AI" tech, shaking up the conventional wisdom in all corners of the photography world.

Adobe has taken its "Firefly" generative AI out of beta and wrapped it into Creative Cloud, Google's Magic Eraser is making it practically trivial to remove people or objects from photos with the touch of a finger, AI-powered plugins are very close to undermining the whole idea of a watermark.

If you had any doubt that this trend would continue, CES 2024 should put it to rest. As the show closes on Friday, we've seen an absolute avalanche of AI products, features, promises, and prognostication, with companies like Samsung, Intel, AMD, and Qualcomm all placing the buzzword front and center in their press conferences.

Image: Intel

But at the center of the swirling AI hype storm is the ever-present question: What exactly are these companies talking about? If CES 2024 has provided any answer, it's: "No one particular thing."

Far from machines or computers or apps that can think for themselves or approximate human intelligence or creativity, 'AI' has lately and increasingly referred to the products of "machine learning," where computers are 'trained' on a set of data produced by actual humans and 'learn' to produce an equivalent unthinkingly, uncritically and to varying degrees of success.

What do companies mean when they say 'AI'? If CES 2024 has an answer, it's: 'No one particular thing.'"

In practice, 'AI' serves a few very specific purposes for the companies that use it as a technology and a buzzword. It's a useful shorthand to refer to the automation of complex or labor-intensive tasks. It's an excuse to add software features to products that might not have had them and to make those features relatively opaque, proprietary, and subscription- or cloud-dependent. Not least of all, it's a way for marketing teams to slap some sheen on otherwise uninteresting or superfluous functionality. A little extra jazz for when the specs don't tell a good enough story on their own.

You can see all of the above at play in some of the goofier AI reveals of this year's CES. Look no further than the AI grill that ostensibly learns from your ratings of its performance, or BMW's ChatGPT-powered companion, or the free TV with a chatbot for a remote (and also lots of ads), or Samsung's AI home assistant robot "Ballie," which has been coming soon since 2020.

The "Perfecta" AI grill

Image: Seergrills

Though AI is sometimes a gimmick, it is, of course, not only a gimmick, as CES has proven as well. Were it not serious, the actors' trade union SAG-AFTRA would not be making deals about future AI voice actors. Getty would not be partnering with NVIDIA to bring AI-generated imagery into the iStock fold instead of keeping it out. If AI did not promise a solution to real and deeply felt problems, the AI companion that promises to use all your annoying apps for you wouldn't have sold out the same day it was announced.

So what can CES 2024 tell us? What you probably already know and/or dread: The AI onslaught will not stop. This means more devices with janky features that change unpredictably with software updates. It means more services that demand the right to feed your work into the machine, typically articulated in fine print, far down in the terms and conditions that they're depending on you not to read. And, hopefully, it means less time doing boring, rote, unrewarding tasks.

"When AI makes obvious sense, it doesn't need to announce itself. It just takes over."

It's reasonable to see the tradeoffs here and want to opt out, but it's clear that the bet from big tech is to find the killer application that's too good to refuse. There is, of course, a theoretical tipping point, just like the pivot at which cameras tipped from film to digital, and mirrored to mirrorless when the objective advantages became too good to ignore.

Will AI tech get there? In some ways, it already has. The most obviously advantageous applications are already slipping into quiet dominance. Adobe's built-in AI Denoise is well-poised to replace third-party tools for all but the most decerning users. AI-based translation and transcription already reign supreme at lower price points and for personal use.

When AI makes obvious sense, it doesn't need to announce itself. It just takes over. But everywhere else? Well, get ready to keep hearing about it.

Categories: Photo News

Hopes, dreams and speculations for 2024: Shaminder’s wild ideas about the year ahead

DP Review Latest news - Thu, 01/11/2024 - 06:00

What will we see in 2024?

The possibilities of a new year can inspire us to (re)ignite passions, set new goals or send the mind raveling in wild flights of fancy. In the grand scheme, the heavens do not notice that a rock has hurtled through the cosmos to retrace its steps once more, but on that rock, we humans take notice every January.

It’s customary to celebrate in one of three ways. It used to be four, but we no longer have checkbooks (as late as the mid-00s, it was still common in North America to write paper checks to pay for groceries or the electric bill, and we often wrote the wrong date for weeks at the start of a new year).

You can take the tried and true action of making a New Year's resolution or the equally tried and true action of loudly rejecting resolutions.

You can choose to sign up for a gym membership that you’ll use a handful of times and then try to cancel for six months.

Or, you can play the prediction game. That's the route I'm choosing today. We can't see into the future, but why not try anyway? Here are my predictions (best guesses) for 2024.

A brief diversion before we get started. These predictions are meant as a little fun with tongue firmly in cheek. Some serious, some not-so-serious, some wishes and dreams, but on some level, I'm aiming to be plausible and based on some truth. In other words, if I'm right, it's "I told you so," and if I'm wrong, "just kidding." Enjoy!

Global Shutter will be the buzzword of the year

I think this one is a no-brainer. There won't be any escaping 'global shutter' in 2024. With Sony's anticipated February release of the a9 III, there's a lot of hoopla about global shutter finally coming to a still photography camera.

We've already seen a wave of think pieces on how revolutionary this camera will be. YouTube is saturated with thumbnails, declaring it a 'game changer.'

I was recently surprised to hear from dozens of photojournalists wondering if they should preorder the a9 III ASAP. Surprising, because these same photojournalists have yet to make the switch to mirrorless systems, and yet here they are asking if this is THE camera that would convince them to leave DSLR behind finally.

Global shutter is nifty for doing away with rolling shutter and making flash sync a near afterthought, but it is not without its compromises. In our testing, we found that a9 III image quality takes a hit, particularly at higher ISO settings. It still makes sense for sports shooters, but its use of global shutter isn't the 'game changer' and future for every type of photography. (Not just yet anyway, maybe version 2 down the road?)

Still, that won't stop flame wars and talking points about global shutter this year.

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